Roland g-70 业主指南
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G-70 Music Workstation
79. Telephone
This effect simulates the tonal character of a telephone trans-
mission.
● Voice Quality (0~15)—Audio quality of the telephone
This effect simulates the tonal character of a telephone trans-
mission.
● Voice Quality (0~15)—Audio quality of the telephone
voice.
● Treble (–15dB~0~15dB)—Bandwidth of the telephone
voice.
80. Phonograph
Simulates a sound recorded on an analog record and played
back on a record player. This effect also simulates the various
types of noise that are typical of a record and even the rota-
tional irregularities of an old turntable.
● Signal Distortion (0~127)—Depth of distortion.
● Frequency Range (0~127)—Frequency response of the
Simulates a sound recorded on an analog record and played
back on a record player. This effect also simulates the various
types of noise that are typical of a record and even the rota-
tional irregularities of an old turntable.
● Signal Distortion (0~127)—Depth of distortion.
● Frequency Range (0~127)—Frequency response of the
playback system. Decreasing this value will produce the
impression of an old system with a poor frequency
response.
impression of an old system with a poor frequency
response.
● Disc Type (LP, EP, SP)—Rotational speed of the turntable.
This will affect the frequency of the scratch noise.
● Scratch Noise Level (0~127)—Amount of noise due to
scratches on the record.
● Dust Noise Level (0~127)—Volume of noise due to dust on
the record.
● Hiss Noise Level (0~127)—Volume of continuous “hiss”.
● Total Noise Level (0~127)—Volume of overall noise.
● Wow (0~127)—Depth of long-cycle rotational irregularity.
● Flutter (0~127)—Depth of short-cycle rotational irregular-
● Total Noise Level (0~127)—Volume of overall noise.
● Wow (0~127)—Depth of long-cycle rotational irregularity.
● Flutter (0~127)—Depth of short-cycle rotational irregular-
ity.
● Random (0~127)—Depth of indefinite-cycle rotational
irregularity.
● Total Wow/Flutter (0~127)—Depth of overall rotational
irregularity.
81. Step Pitch
A pitch shifter in which the amount of pitch shift is varied by
a 16-step sequence.
● Step 1~16 (–24~0~12 semitones)—Amount of pitch shift
A pitch shifter in which the amount of pitch shift is varied by
a 16-step sequence.
● Step 1~16 (–24~0~12 semitones)—Amount of pitch shift
at each step (semitone units)
● Rate [Hz] (0.05~10.00Hz)—Rate at which the 16-step
sequence will cycle.
● Attack (0~127)—Speed at which the amount of pitch shift
changes between steps.
● Gate Time (0~127)—Duration of the pitch shifted sound
at each step.
● Fine (–100~100)—Pitch shift adjustment for all steps (2-
cent units).
● Delay Time [msec] (0~1300ms)—Delay time from the
original sound until the pitch-shifted sound is heard.
● Feedback (–98%~0~+98%)—Proportion of the pitch-
shifted sound that is to be returned to the input (negative
values invert the phase).
values invert the phase).
82. Sympa Reso
On an acoustic piano, holding down the damper pedal allows
other strings to resonate in sympathy with the notes you
play, creating rich and spacious resonances. This effect simu-
lates these sympathetic resonances.
● Depth (0~127)—Depth of the effect.
● Damper (0~127)—Depth to which the damper pedal is
On an acoustic piano, holding down the damper pedal allows
other strings to resonate in sympathy with the notes you
play, creating rich and spacious resonances. This effect simu-
lates these sympathetic resonances.
● Depth (0~127)—Depth of the effect.
● Damper (0~127)—Depth to which the damper pedal is
pressed (controls the resonant sound).
● Pre LPF (16~15000Hz, Bypass)—Frequency of the filter
that cuts the high-frequency content of the input sound
(BYPASS: no cut).
(BYPASS: no cut).
● Pre HPF (16~15000Hz, Bypass)—Frequency of the filter
that cuts the low-frequency content of the input sound
(BYPASS: no cut).
(BYPASS: no cut).
● Peaking Freq (200~8000Hz, Bypass) —Frequency of the
filter that boosts/cuts a specific frequency region of the
input sound.
input sound.
● Peaking Gain (-15dB~0~15dB)—Amount of boost/cut
produced by the filter at the specified frequency region of
the input sound.
the input sound.
● Peaking Q (0.5, 1.0, 2.0, 4.0, 8.0)—Width of the fre-
quency region boosted/cut by the ‘Peaking Gain’ parameter
(larger values make the region narrower).
(larger values make the region narrower).
● HF Damp (16~15000Hz, Bypass)—Frequency at which the
high-frequency content of the resonant sound will be cut
(BYPASS: no cut).
(BYPASS: no cut).
● LF Damp (16~15000Hz, Bypass)—Frequency at which the
low-frequency content of the resonant sound will be cut
(BYPASS: no cut).
(BYPASS: no cut).
● Lid (6, 5, 4, 3, 2, 1)—This simulates the actual changes in
sound that occur when the lid of a grand piano is set at
different heights.
different heights.
● EQ Low Frequency (200Hz, 400Hz)—Frequency of the
low-range EQ.
● EQ Low Gain (-15dB~0~15dB)—Amount of low-range
boost/cut.
● EQ Mid Frequency (200~8000Hz) —Frequency of the
midrange EQ.
● EQ Mid Gain (-15dB~0~15dB)—Amount of midrange
boost/cut.