Bedienungsanleitung Roland Juno-Stage (Seite 242 von 254) (Holländisch)

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MIDI Implementatie

■Example of an Exclusive Message and

Calculating a Checksum

Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before

F7) to make sure that the message was correctly received. The value of the checksum is

determined by the address and data (or size) of the transmitted Exclusive message.

●How to calculate the checksum

(hexadecimal numbers are indicated by “H”)

The checksum is a value derived by adding the address, size, and checksum itself and

inverting the lower 7 bits.

Here’s an example of how the checksum is calculated. We will assume that in the Exclusive

message we are transmitting, the address is aabbccddH and the data or size is eeffH.

aa + bb + cc + dd + ee + ff = sum

sum ÷ 128 = quotient ... remainder

128 - remainder = checksum

<Example> Setting CHORUS TYPE of PERFORMANCE COMMON to

DELAY (DT1)

According to the Parameter Address Map (p. 226), the start address of Temporary

Performance is 10 00 00 00H, the offset address of CHORUS at PERFORMANCE COMMON

is 04 00H, and the address of CHORUS TYPE is 00 00H. Therefore the address of CHORUS

TYPE of PERFORMANCE COMMON is;

10 00 00 00H

04 00H

+) 00 00H

10 00 04 00H

DELAY has the value of 02H.

So the system exclusive message should be sent is;

F0 41 10 00 00 25 12 10 00 04 00 02 ?? F7

(1) (2) (3) (4) (5) address data checksum (6)

(1) Exclusive Status (2) ID (Roland) (3) Device ID (17)

(4) Model ID (JUNO-STAGE) (5) Command ID (DT1) (6) End of Exclusive

Then calculate the checksum.

10H + 00H + 04H + 00H + 02H = 16 + 0 + 4 + 0 + 2 = 22 (sum)

22 (sum) ÷ 128 = 0 (quotient) ... 22 (remainder)

checksum = 128 - 22 (remainder) = 106 = 6AH

This means that F0 41 10 00 00 25 12 10 00 04 00 02 6A F7 is the message should be sent.

■The Scale Tune Feature (address: 40 1x 40)

The scale tune feature allows you to finely adjust the individual pitch of the notes from C

through B. Though the settings are made while working with one octave, the fine

adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can

obtain a complete variety of tuning methods other than equal temperament. As examples,

three possible types of scale setting are explained below.

* The scale tune value received by the Part 1 is used in Patch mode and Piano mode.

❍Equal Temperament

This method of tuning divides the octave into 12 equal Parts. It is currently the most widely

used form of tuning, especially in occidental music. On the JUNO-STAGE, the default

settings for the Scale Tune feature produce equal temperament.

❍Just Temperament (Tonic of C)

The principal triads resound much more beautifully than with equal temperament, but this

benefit can only be obtained in one key. If transposed, the chords tend to become

ambiguous. The example given involves settings for a key in which C is the keynote.

❍Arabian Scale

By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for

ethnic music. For example, the settings introduced below will set the unit to use the Arabian

Scale.

Example Settings

Note name Equal Temperament Just Temperament (Key-tone C) Arabian Scale

C0 0 -6

C# 0 -8 +45

D 0 +4 -2

Eb 0 +16 -12

E 0 -14 -51

F 0 -2 -8

F# 0 -10 +43

G 0 +2 -4

G# 0 +14 +47

A 0 -16 0

Bb 0 +14 -10

B 0 -12 -49

The values in the table are given in cents. Convert these values to hexadecimal, and transmit

them as Exclusive data.

For example, to set the tune (C-B) of the Part 1 Arabian Scale, send the following data:

F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7

■ASCII Code Table

Patch Name and Performance Name, etc. of MIDI data are described the ASCII

code in the table below.

+——————+——————+——————++——————+——————+——————++——————+——————+——————+

| D | H | Char || D | H | Char || D | H | Char |

+——————+——————+——————++——————+——————+——————++——————+——————+——————+

| 32 | 20H | SP || 64 | 40H | @ || 96 | 60H | ` |

| 33 | 21H | ! || 65 | 41H | A || 97 | 61H | a |

| 34 | 22H | “ || 66 | 42H | B || 98 | 62H | b |

| 35 | 23H | # || 67 | 43H | C || 99 | 63H | c |

| 36 | 24H | $ || 68 | 44H | D || 100 | 64H | d |

| 37 | 25H | % || 69 | 45H | E || 101 | 65H | e |

| 38 | 26H | & || 70 | 46H | F || 102 | 66H | f |

| 39 | 27H | ` || 71 | 47H | G || 103 | 67H | g |

| 40 | 28H | ( || 72 | 48H | H || 104 | 68H | h |

| 41 | 29H | ) || 73 | 49H | I || 105 | 69H | i |

| 42 | 2AH | * || 74 | 4AH | J || 106 | 6AH | j |

| 43 | 2BH | + || 75 | 4BH | K || 107 | 6BH | k |

| 44 | 2CH | , || 76 | 4CH | L || 108 | 6CH | l |

| 45 | 2DH | — || 77 | 4DH | M || 109 | 6DH | m |

| 46 | 2EH | . || 78 | 4EH | N || 110 | 6EH | n |

| 47 | 2FH | / || 79 | 4FH | O || 111 | 6FH | o |

| 48 | 30H | 0 || 80 | 50H | P || 112 | 70H | p |

| 49 | 31H | 1 || 81 | 51H | Q || 113 | 71H | q |

| 50 | 32H | 2 || 82 | 52H | R || 114 | 72H | r |

| 51 | 33H | 3 || 83 | 53H | S || 115 | 73H | s |

| 52 | 34H | 4 || 84 | 54H | T || 116 | 74H | t |

| 53 | 35H | 5 || 85 | 55H | U || 117 | 75H | u |

| 54 | 36H | 6 || 86 | 56H | V || 118 | 76H | v |

| 55 | 37H | 7 || 87 | 57H | W || 119 | 77H | w |

| 56 | 38H | 8 || 88 | 58H | X || 120 | 78H | x |

| 57 | 39H | 9 || 89 | 59H | Y || 121 | 79H | y |

| 58 | 3AH | : || 90 | 5AH | Z || 122 | 7AH | z |

| 59 | 3BH | ; || 91 | 5BH | [ || 123 | 7BH | { |

| 60 | 3CH | < || 92 | 5CH | \ || 124 | 7CH | | |

| 61 | 3DH | = || 93 | 5DH | ] || 125 | 7DH | } |

| 62 | 3EH | > || 94 | 5EH | ^ ||——————+——————+——————+

| 63 | 3FH | ? || 95 | 5FH | _ |

+——————+——————+——————++——————+——————+——————+

D: decimal

H: hexadecimal

* “SP” is space.

Roland Juno-Stage Seite 242

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