Roland D-50 User manual

ElRoland
masmi ikifa^ <;YMTi-iF=:i7Fa
-5D
Owner's Manual
^Ifflk

-Q
~*~ IU
r'- K
3
£K —h-
<
•£ 7s Ul
U-
e"-S S
e- e-
*X u«
°"" IP H
"S ~'? 2
cT "^Ui
——
*
Z
t- —-A o
©o
w»:=
co<*•
O10 '_
>- s|
<4s£ M
c
O
c
t-
j"f
lil '~ •_
co) eo.= =re
aK>t- U O fc
a.

IMPORTANT NOTES
Power
>The appropriate power suppiy for this
unit is shown on its name piate. Please
make sure that the line voltage in your
country meets the requirement.
JPlease do not use the same socket used
for any noise generating device (such
as amotor or variable lighting system.)
sThis unit might not work properly if
turned on immediately after being turned
off. If this happens, simply turn it off
and turn it on again after waiting a
few seconds.
tit is normal for this unit to become
hot while being operated.
'Before setting up this unit with other
devices, turn this unit and all the other
units off.
#The D— 50 features amemory back —up
system that retains the data even when
switched off. The battery that supports
the back-up circuit should be replaced
every five years. Call Roland for battery
replacernent.(The first replacement may
be required before five years, depending
on how much time had passed before
you purchased the device.
#To avoid accidental erasure or loss of
data, please make adata memo, or save
the data onto aMemory Card. If it happens
to be erased while the device is being
repaired, there is no way to restore the
data.
*When the battery is low, the Display defaults
as shown below, and the data in the memory
may be lost.
iWhen disconnecting the power plug from
the socket, do not pull the cord but
hold the plug to avoid damaging the
cord.
2hec1; Int~rrial Ba1- 1-
e
t- y
>If the unit is not to be used for along
period of time, unplug the cord from
the socket.
(Operating this device near aneon or
fluorescent lamp may cause noise
interference. If so, change the angle or
the position of the device.
(Avoid using this device in extreme heat,
humidity or where it may be affected
by dust or vibration.
iTJse amild detergent for cleaning. Do
not use solvents such as thinner.

OUTLINE OF THE D-50
OUTLINE OF THE D-50
The ROLAND D—50 is very different from any other synthesizer,
past or present, and as such heralds the dawn of anew era in
synthesis, in the past, synthesizers have progressed through several
very diffrent stages. Firstly, there were ANALOG synthesizers, which
relied on avariety of components, such as, VCO's, VCF's, and
VCA's. These anaiog building blocks were relatively easy to
understand and program ,and they could produce sounds of
remarkable warmth and character. However, when it came to
accurately simulating acoustic sounds, the process could easily
become too involved.
On the other hand, the next breed of synthesizers, known as
DIGITAL synthesizers, could easily simulate acoustic sounds, yet they
were far more difficult to program. Furthermore, the digital
technology behind these instruments seemed to imply that a
different type of sound should occur. In general, just as an analog
synthesizer would be described as "warm" in character, the digital
counterpart was very often "thin". Essentially, the two types
complemented each other, one being easy to program, the other
capable of accurate simulation.
The ROLAND D—50 has now changed all that. Thanks to anew
custom disigned Integrated Circuit known as the 'LA CHIP'. Here,
LA stands for Linear Arithmetic synthesis which is the heart of the
new technology. LA synthesis involves agreat many technological
advances resulting not only in asuperior sound quality but also an
improved ease of programming. In this way, Roland has succeeded
in maintaining ahigh degree of familiarity to the user despite the
technical wizardry involved.
To explain the D—50 in avery simple manner, we must begin by
saying that it is the next step in DIGITAL synthesizers. This means
that the sound is entirely computer generated. In fact, the D—50
has four distinct sections :
1. ADigital Synthesizer
2. ADigital Equalizer
3. ADigital Chorus section
and 4. ADigital Reverberation section.
Moreover, these four sections occur entirely within the DIGITAL
DOMAIN, resulting in asound quality far beyond that of four similar
units combined. Consequently, the musician can take advantage of
acomplete instrument, one that requires no additional effects or
processing.
However, the true power of LA Synthesis lies within the Digital
Synthesizer section of the D—50. Remember, first of all, that this is
atotally digital instrument, even though the sound would seem to
suggest far more. Through LA synthesis, the D— 50 appears to have
four powerful synthesizers built in. Each of these hypothetical
synthesizers could behave like aconventional anaiog syntheizer, or
aPCM sampled synthesizer. Consequently, they are referred to as
PARTIALS, since they are far more than just apure synthesizer.
These Partials are combined in pairs to form aTONE. ATone could
either be amix of the two Partiais, or they could take advantage
of the LA version of cross modulation. In this way, some of
today's more popular digital sounds are remarkably easy to achieve.

Patch
OUTLINE OF THE D-50
Tons Tuning j
j
J
v
Kev Mode.
J
Upper Tone
If
Variations cf <!
Comrol Functions
Volume Balance
Ol "Tone,? ^> Outuu'. Mode (0.9. Revefbi
fr
Lower ione
u
l=>
PartiaS 1i
J
Tone
£"u"urE JCommon
JEMV tor piieh control)
ff
CT> jEqualizer JCy( ^j™".
During live performance, you can easily select aPATCH, which is
the combination of two Tones, together with programmed E.Q.,
chorus and reverberation. These other parameters are referred to as
COMMON parameters since they are common to both Tones.
Throughout the process of programming the D-50. the operation
remains simple and logical Even so, to further improve the ease
with which sound can be created, an optional programmer, the
PG-1000 is available, which graphically displays ail the parameters
of the D-50, making it exceptionally simple to operate.
However, it is the performance characteristics such as after —touch,
and the control of every aspect of the sound that makes the D-50
atotally new instrument. These things and asound that can only
be described as unique, the LA sound.
Partial Block Diagram
Partial (Synthesizer Sound Generator) Partial {PCM Sound Generator)
r-f
W-J
^^J
fcfc
-M CE^ ^M\/w j
—s_,™ ,„.
I—
i
)
-0
i
I.HVEl.O'S j
GeN£tU1OT ]
wc- 1

CONNECTION
2: CONNECTION
,.. CrV'JTWTtf t^PUt -.-——...,,-
SWITCH MOLD CONTROL P£EW>L PhC*«£S
TMSS-" OUT
Connect to
MIDI devices
Headphones
(or DP-6) Expression RH-100
Pedal
EV-5
O
OStereo Amplifier
O
O

PLAY MODE
3PLAY MODE
Make sure that the D—50 is correctly and securely connected with
the other devices, then turn the D—50 on.
£<LJ> oo
Power Switch
The Display responds as shown beiow.
*****:+ Linear £ynth>=• sizer- D-58;+:*;+:**:+:
~11*:if:**:+: *: :+: ***:+; »•: *-*****l_t !!»;:}!* :*: !+:;+: :-f: :-f:**
WHOLE SF C4 Bal 50 |_: **********
1. Patch Selection
The D—50 retains 64 different Patches. APatch is represented by
aBank Number (1 to 8) and aPatch Number (1 to 8).
Number
Bank\ 123d557e
2
3
4
s
6
7
|
Ei
vy/%\ Bank 3. Number &
DyQ BariK 7, Number 2

PLAY MODE
To seiect aPatch, assign the relevant Bank and Patch number.
ru
i—
i
i—
i
L7ZD
Assign aBank Assign aNumber
The Disoiav shows the selected Patch.
•When aPatch from the interns! memory is
selected, "I" is shown.
When aPatch -from the Memory Card is
selected. "C" is shown. The- names of the two Tones (U :Upper, L:Lower)
are shown.
The Bank and Patch number o; she
selected Patch is shown.
Patch Name
I—11**********
WHOLE SF' C4 Bal 5©
**********
**********
Split Point The volume balance of the Upper and
Lower Tones is shown.
Key Mode is shown
Key Mode determines how the Upper and Lower Tones are clayed on the keyboarc
3Key Modes
WHOLE The Upper Tone is played on the entire keyboard
in 16 voice polyphony.
DUAL Both Upper and Lower Tones are played by each
key in 8voice polyphony.
SPLIT
This mode divides the keyboard of the D-50 int
oupper and lower sections where two different T
ones can be used.
Each section of the keyboard is 8voice poly-
phonic. (Middle OC4)
*Some other special Key Modes are also provided.
[MEMORY CARD" Up to 64 different Patches can be stored on one Memory Card (M
-256D). You can save the sounds you have made onto aMemory
Card and recall them later.
10

PLAY MODE
Connect the Memory Card securely and correctly as shown in the
diagram.
Memory Card
1I
b£s.
r~i
CZ3^ 11 ILZDiZDi
Interna! Button Card Button
To call a Patch on the Memory Card, simply push the Card Button.
To return to the Internal Memory mode, push the Interna! Button.
*The Patches preprogrammed on the supplied Memory Card (ROM) can
be restored even if rewritten with new Patches.
*Please be sure to use the correct Memory Card (e.g. the supplied
Memory Card, M—256D, etc.).
11

PLAY MODE
2. TUNING
The. D-50 can be tuned to other musical instrumenis.(Masler Tune)
Step:
Stepl
EZD
Step2
Increment Button Decrement Button
r~n ;
T"1"™"
Step4 StepS
Step 1Push the Tune/Function Button.
The Display wili change.
Master Tune
442Hz proteotPedalSWExtCon
t
ON P-SFT BRL
Step 2Select "TUNING" using the appropriate Selector Button.
Master tune
/M2Hz
o
L7I3
D
protectPedalSWExtCont
ON P-SFT BRL
This flashes when
the corresponding
Selector Button is
Dressed.
Master- iune
—»»-"!'442!Hz
Pt- oteot Peda 1SW ExtCon
t
ON P-SFT BfiL
Step 3Tune the D-50 as -follows.
For fine tuning, use the Increment Button and the Decrement Button.
Holding the Increment Button down raises the pitch, and the
Decrement Button lowers pitch.
To change pitch drastically, move the Joystick right and left.
Movement to the right raises pitch.
12

PLAY MODE
The number shown in the Display is the frequency of the standard
pitch (A =440). The number in the Display changes in 1Hz steps, but
the pitch actually changes almost continuously.
Step 4Push the Exit Button, and the Display returns to the normal Piay
mode indication.
The Master Tuning you have set is retained in memory even after
the unit is turned off.

PLAY MODE
3. CONTROL FUNCTIONS
Contro! Functions can be effectively used for changing the sound,
during iive performance.
#How each Control Function actually affects the sound differs depending
on the individual Patch (Tone). Some Patches may not be affected at
aii.
[Key Transpose]
This function transposes the entire keyboard in semi-
tone steps, allowing you to piay the same keyboard
in different keys.
While holding the Key Transpose Button down (the
Display shows as below), press the key which you wish
to transpose to from -12 to +12{±1 octave).
if the value is set to other than zero, the indicator of the
Key Transpose Button will light up.
KEY
TRANSPOSE
ranspose
p. -HM *The Key Transpose you have set will be retained ever,
after the unit is turned off.
[Aftertouch Control Knob]
Aftertouch is the function that causes any change
when the key is pushed harder after playing it in
anormal manner. The change caused by the after-
touch includes pitch, vibrato, timbre and volume.
The maximum effect of the aftertouch is set indi-
vidually in each Patch or Tone, but the overall sen-
sitivity can be changed with this Knob.
[Master Volume]
This controls the volume of the sounds sent from
the Output Jack and the Headphone Jack.
[Bender Lever]
Using the Bender lever, you can change the pitches, or
create avibrato effect.
[Chase Button]
The Chase function can output either Lower Tone
slightly later than the Upper Tone which you have
played. The Chase function is available in the
Whole or Dual Key mode. When this function is
used in some Patches, delay or sound-on-sound
like effects can be obtained.
Pushing the Chase Button turns the function on,
and pushing it again turns it off.
Pushing it to the left
lowers the pitch.
Pushing it to the right
raises the pitch.
Pushing itforwardfinthe direction of MODULATION) generates
vibrato effects,
ON OFF
If the Chase Button is pushed in aKey Mode
other than Whole or Dual, the Display responds
as shown below without the Chase function being
turned on.
WHOLE or t>UftL
[Portamento Button]
Portamento is aslide from one pitch to another, and is often
used for violin performance.
Pushing the Portamento Button turns the function on, and
pushing it again turns it off.
PORTAMENTO PORTAMENTO
j
,77*. "j
ON OFF
14

PLAY MODE
[Velocity]
fPartiai Balance"
Velocity refers to dynamics, controlling volume, pitch and timbre.
This allows piano—like performance.
Using the Joystick, the following two volume balance controls can
be adjusted at the same time.
JVokirne balance of the two Partial sounds of either Tone ;Upper
or Lower,
Step 1
#Volume balance of the Upper and the Lower Tones.
Partial Balance drastically changes the generated sounds.
Select either Tone with the Partial Balance Button.
Step2 Stepl ^- upper Tone
v//—Lower Tone
J*\IKS
°1!"
iCZDI
czzj nzD\
it~i
DCZDEZD! czi czi
Step 2
Pushing the button will light up the corresponding indicator.
By moving the Joystick, adjust the volume balance of the two
Partial sounds and the Tones.
Volume balance of two Tones changes Volume balance of the selected
Tone's Partials changes.
The volume balance of the Tones is shown in the Display.
T—%1****#*:+: *:-r= :+: #M: #:*:-f: :+: >f: H-
WHOLE SP C4 Bal 56 1_ Sn: *:H-: *:¥ :+: *H-i :+: *
Volume Balance of the Tones
15

PLAY MODE
*The volume balance you have set here is not automatically written into
memory, and therefore will be erased when another Patch is selected.
*To write the Patch with anew Partial Balance setting, follow the
"Writing Procedure" on page 28.
fPeda! Control; By connecting apedal to the Control Input jack, you can control
various functions with the pedal.
©©©
Pedal Switch
(DP-2.DP-6)
[Pedal Switch]
The connected pedal switch can control the function
(parameter)which is selected in the Control Functions.
*Patch Shift function is selected bythe manufacturer.
The Patch Shift function allows you to change the
Patch Numbers sequentially,
(e. g.
f
1-11
T
1-12
T
1-13
¥
1-14
i
1-15
T
1-16
f
1-17
T
1-18
Expression Pedal
(EV-5)
[Expression Pedal]
This controls the volume of sound.
Expression Pedal
(EV-5)
[Externa! Control]
Afunction selected in the Control Functions can be
controlled.
*Tone Volume Balance is selected by the manufacturer.
Pedal Switch
(DP-2.DP-6)
[Pedal Hold Sustain]
Turns on or off the Hold effect, which allows the sound
to be held even after the key is released.
16

PLAY MODE
©Changing Control Functions
Each of the pedals connected to the Pedal Switch Jack and the
External Control jack can work differently, depending upon which
function is assigned to each pedal.
Step3 (The set value changes by moving \
\it to the right or to the ieft. /
Step!
CZZD
CZD
Step2
Decrement Button
ncrement Button
CZZD czpr
—
\
IZ1CZ1
A-
Step4 Step3
Step 1Push the Tune/Function Button,
The Display changes.
Step 2By using the appropriate Selector Button, select the pedal to which
you- wish to assign afunction.
Master Tune Protect Pedal SW ExtCent
442Hz ON P-SFT BflL
Peels! Switch Externa! Control
Pushing the button will cause the function currently assigned to the
pedal to flash.
Step 3By using the Joystick, or the increment and Decrement Buttons,
select the function to be asssigned.
17

PLAY MODE
The functions which can be assigned to each pedal are shown below
Pedal Switch
Control Function Description
P-SFT (Patch Shift) increases the Patch Number.
PORTA (Portamento) Turns the Portamento effect on or off.
CHASE (Chase) Turns the Chase effect on or off.
OFF The D-50 cannot be controlled, but the connected MIDI device can
be controlled. (See page 52 "MIDI" in the Advanced Course.)
Externa! Control
Control Function Description
BAL (Tone Balance) Controls the volume balance of the Upper and the Lower Tones.
AFTER (Aftertouch) Controls the Aftertouch effect.
MOD (Modulation) Controls the vibrato effect.
OFF The D-50 is not controlled, but the connected MIDI device can be
controlled. (See page 52 "MIDI" in the Advanced Course.)
*The Control Function set here will be retained even after the unit is
turned off.
*When AFTER is selected in the External Control section, aftertouch
cannot be controlled by the keyboard.
18

EDITING PERFORMANCE CONTROLLING FUNCTIONS
^EDITING PERFORMANCE CONTROLLING FUNCTIONS
The performance controlling functions (we call them "Factors" in
this manual) in each Patch can be edited by taking the following
procedure.
APatch consists of several Factors as shown below.
Patch
:>
Tone Tuning
s
Key Mode
S
Upper Tone
Variations of
Control Functions
Lower Tone
Tone Tuning
V
Volume Balance
of Tones O
<^
Output Mode
(e.g. Reverb)
Patch Name
MIDI
£
BASIC EDITING OPERATION
The Display shows several Factors at a time. If necessary, Scroll up
or down the Display to find the Factor to be edited by using the
Scroll Buttons. Then push the Selector Button that is located under
the Factor you wish edit and the Factor flashes showing that it can
be now edited. To return to the Play mode Display, simply push the
Exit Button.
Joystick
"I lr
Decrement Button"
Increment Button-
lTTJ
Scroll Button Selector Buttons Scrol! Button Exit Button

EDiTiNG PERFORMANCE CONTROLLING FUNCTIONS
How to change the value of a Factor
ochange the value drastically, use the Joystick. Moving the
Joystick to the right will increase the number.
*Usually, moving the Joystick forward and backward does not affect
the value.
ochange the value slightly, use the Increment and the Decrement
Buttons. Pushing the Increment Button increases the number and
pushing the Decrement Button decreases it.
To return to the Piay mode Display, you may need to push the Exit
Button several times.
*The edited data will be erased when anew Patch is seiected.
*To retain the edited data in memory, follow the "Writing Procedure"
on page 29.
*The D—50 does not allow you to change Patches unless it is turned
to the Play mode by pushing the Exit Button. This is to reduce the
possibility of accidental erasure of the edited data caused by pushing
aPatch Button by mistake.
[Compare] This function can be used while editing. While you are editing a
Patch, you may want to call the original Patch, to compare it with
vour edited version.
Step Push the Compare Button.
COMPARE
b
The Display responds as shown below, and the original Patch is
heard by playing the keyboard.
*:+: .•+: *:+: #H'- ****H- COFt P3fe *:+!*=+:
:
+:*:*:***
'
+: :+: *
Step 2Push the Compare Button again, and the edited Patch is retrieved.
20