OWNER’S MANUAL

English
General safety instructions
Power source
• Be sure that your local AC main voltage matches the voltage specified on the name plate before connecting to the mains.
• DC power cannot be used to power this instrument.

Handling the power cord

• Never touch the power cord or its plug with wet hands.
• Never pull on the cord to remove it from the wall socket, always pull the plug.
• Never forcibly bend the power cord.
• If the power cord is scarred, cut or broken, or has a bad contact, it will be a potential fire hazard or source of serious
electric shock. NEVER use a damaged power cord; have it replaced by a qualified technician.

If water gets into the instrument

• Remove the power cord from the wall socket at once, and contact the store where the unit was purchased.
• The top surface of your instrument should never be used as a shelf for flower vases and other containers which hold
liquids.

Metal items etc. inside the unit

• Do not permit metal items or other materials to fall inside the unit.
Metal items may result in electric shock or damage.
• Be especially careful with regards to this point when children are near the unit. They should be warned never to try to put
anything inside, and never to slide a hand into the unit while you or other persons are playing.
• If articles do fall inside, remove the power cord from the wall socket at once and, if necessary, contact the store where the
unit was purchased.
• As a general precaution, never open the unit and touch or tamper with the internal circuitry.

If the instrument plays in an abnormal way

• Turn off the power immediately, remove the power cord from the main outlet and contact the store where it was pur-
chased.
• Discontinue using the unit at once. Failure to do so may result in additional damage or other unexpected damage or
accident.

General user maintenance

• Clean the cabinet and keys of your instrument using a soft, clean, slightly damp cloth and polish with a soft, dry cloth.
• Never use industrial cleaners, detergents, abrasive cleansers, waxes, solvents or polishes as they may damage the instru-
ment finish.
• Always turn off the power supply after use and never turn the unit on and off repeatedly in quick succession as this places
an undue load on the electronic components.

The information in this publication has been carefully prepared and checked. The
manufacturers however decline all liability for eventual errors. All rights are reserved.
This publication may not be copied, photocopied or reproduced in part or in whole without
prior written consent from Generalmusic S.p.A. Generalmusic reserves the right to apply
any aesthetic, design or function modifications it considers necessary to any of its products
without prior notice. Generalmusic declines all liability for damage to property or
persons resulting from improper use of the instrument.

© 1999 Generalmusic S.p.A. All rights reserved.

 Table of contents
Section 1: Instrument Layout Store the modified Preset to a
different location .................................... 40
Front Panel ................................................. 2 Change the name of the Preset ................. 40
Rear Panel .................................................. 4
Power switch and Headphones................... 5 Section 5: General Edit
Turn the instrument on ............................... 5
Headphone Jacks ........................................ 5 1. Tune Control ....................................... 43
Pedal connection ........................................ 6 2. MIDI Channel..................................... 44
3. MIDI Mode ......................................... 45
Section 2: Quick Study Guide 4. MIDI Transpose .................................. 46
5. MIDI In Filters ................................... 47
Realtime operations .................................... 8 6. MIDI Out Filter .................................. 48
Selecting the RP90 Presets ........................ 11 7. MIDI Local ......................................... 49
The Selection buttons ................................ 11 8. MIDI Clock ........................................ 50
The Preset ................................................. 13 9. MIDI Dump ........................................ 51
Listen to the Demo Songs ........................ 14 10. Computer ............................................ 52
Recording a Song ..................................... 16 11. Restore Preset ..................................... 53
12. Restore Microtune .............................. 54
Section 3: Basic Functions 13. Piano Frame Level ............................. 55
14. Display Contrast ................................. 56
Brilliance .................................................. 18
Transpose ................................................. 18 Section 6: Recording Studio/Sequencer
Touch ........................................................ 19
Recording Studio Controls ....................... 58
Section 4: Perf Edit - The Presets and how Rec Control .............................................. 58
to edit them Time Signature ......................................... 58
Metronome (click) .................................... 58
The concept of the RP90 Preset ............... 22
Countdown ............................................... 59
The structure of a Preset ........................... 22
The Effects ............................................... 23
Section 7: Reference
The Perf Edit menu .................................. 24
1. Sound Program .................................... 25
RP90 Technical Specifications ................. 62
2. Sound Volume ..................................... 27
Technology ............................................... 63
3. Section Transpose ................................ 28
Natural String Resonance ......................... 63
4. Reverb Send (Rev. Send) ..................... 29
Damper Physical Model ........................... 63
5. Reverb Decay Time (Rev Time) .......... 30
Advanced Release Technology ................ 63
6. Effect Send Level (EFX Send) ............ 31
7 & 8. Effect parameter Editing .............. 32
Appendix
9. Damper Pedal Assign (Damp. Assign) 33
Preset/User Preset list .............................A. 2
10. Auto Wha Wha .................................. 34
MIDI Implementation chart ...................A. 3
11. Microtuning ....................................... 35
Special Control Change messages .........A. 4
User Microtuning .............................. 35
12. Detune ............................................... 37
13. Delay ................................................. 38
14. The Store command .......................... 39
How to store your modifications .............. 39
Store the modified Preset to the
same location ......................................... 39

a
b
Section 1

Instrument layout
Front panel
1 2 4 6 7 9 10 11 12 14 16
13 15

BRILLIANCE USER PRESET

INTERNAL PRESET RECORDING STUDIO
PAGE DATA
GRANDPIANO

VOLUME
TRANSPOSE SELECTION CONTROL

21 19 17
3 5 8 22 20 18

24 23

1. Demo : Activates the factory programmed demonstration of the internal sounds.

2. General : This button provides access to the functions which affect the instrument as a whole:
Tune, Midi, Piano Frame Level, Display Control, Restore Preset.
3. Volume Slider : Controls the main volume of the instrument.
4. Brilliance +\– : Use these buttons to adjust the overall tone of the instrument.
5. Transpose #/ b : Increases (#) or decreases (b) the overall pitch of the instrument in half-step
(semitone) increments.
6. Selection : Use these buttons to select Presets and User Presets (single, layer or split sound
combinations).
7. Preset\ This button switches between Preset selection mode and User Preset selection
User Preset : mode.
8. GrandPiano : Press this button to select the Grandpiano Preset which instantly recalls the
GrandPiano sound across the entire keyboard.
9. Page Use these buttons to step through the various functions in the Perf Edit and General
Up/Down / : menus.
10. Display : 2 x 16 LCD display, backlit.
11. Data +/– : These buttons adjust values shown in the display when using programmable
functions.
12. Balance / : These buttons regulate the volume balance between two sounds in either Layer or
Split modes.
13. Touch : This button adjusts the touch of the keyboard according to your playing style.
14. Store : Press this button when you are ready to store the changes you have made.

2
15. Rec.Control : Use this button to set the recording options of the on-board sequencer.
16. Play\Stop : Press this button to playback what you have recorded, to stop the playback or stop
the recording.
17. Rec. : Press this button to record what you play.
18. Perf. Edit : Use this button to edit a variety of Preset performance features.
19. Effect : Use this button to select an effect type. When the LED is off, the current effect type
is cancelled.
20. Reverb : Use this button to select a reverb type. When the LED is off, the current reverb type
is cancelled.
21. Layer : Press this button to instantly activate two layered sounds which play at the same
time across the entire keyboard.
22. Split : Turning this button on will split the keyboard into separate left and right parts and
automatically recall the sound for the left hand.
23. Power : Situated on the right key block, press this button to turn the instrument on and off.
24. Headphones : The Headphones jack panel is located on the left side of the instrument, under the
keyboard.

3
Rear panel

1 2 3 4 5

1. Computer : Allows direct connection of the instrument to a PC or Macintosh computer (or

relative compatibles) without the need to use a MIDI interface.
2. Output These two outputs are used to connect the instrument to another amplifier, mixer or
Left - Right/M : recording device in stereo. If you are connecting to mono equipment (e.g. a guitar
amplifier) then you should use only the Right/Mono jack.
3. Input You can use these two inputs to connect another instrument or sound module to the
Left - Right/M : piano. The output of the other instrument will be mixed with the main signal of the
RP90 and sent to the Output, Speaker and Headphone jacks. If you are connecting
a mono signal (e.g. a microphone) then you should use only the Right/Mono jack.
4. Pedal Switch : The pedal group consisting of two pedals (Damper and Soft) should be connected
to this connector.
5. MIDI interface : These ports allow the instrument to be connected to other MIDI devices. MIDI In
allows the sounds of the RP90 to be played by an external device, e.g. a controller
keyboard or sequencer. MIDI Out sends MIDI information from the RP90 to other
equipment so that the instrument can be used as a controller. MIDI Thru provides
a copy of the information being received by the MIDI In. Use MIDI Thru when
connecting a number of different instruments together.

4
Power switch and Headphones

Turn the instrument on

To turn the instrument on, press the Power switch located on the right key
block. After turning on, the name of the instrument appears in the display
for an instant.

* G E M *
REALPIANO RP90

Shortly after, the instrument sets for play showing a default display.

In this power up condition, you will be able to play a piano sound

(GrandPiano) across the entire keyboard without carrying out other
operations.

<--------------------- GrandPiano ---------------------->

Headphone jacks
The headphone jacks are located at the extreme left side of the rail which
runs beneath the keyboard.

Plugging a set of headphones into the left jack excludes the internal
speakers to allow you to play in total silence without disturbing others in
the same room. Plugging into the right jack does not exclude the internal
speakers.
Use the Volume slider to adjust the Headphones volume.

5
Pedal Connection
The RP90 is fitted with two pedals; Soft and Damper.
Connect the cable from the pedal assembly to the Pedal Switch connector
on the rear panel.

Soft : The Soft pedal (left) is a switch control pedal (On/

Off) and affects the timbre of the instrument such
that it plays softer, allowing you to continue using
the same playing style at a lower volume.
Damper : The Damper pedal (right) applies the Sustain ef-
fect to all notes released. If you release a note
after depressing the Damper, the note will proceed
towards its natural decay according to the type of
sound played.
The Damper is particularly effective with Piano
type sounds.
The Damper is controlled by a Physical Model.
See “Technology” in the Reference section.
Note: for all piano type sounds, the notes of the
uppermost keys (from E6 to C8) are automatically
sustained, such as in an acoustic piano.

6
 Section 2

Quick Study Guide

For those of you who don't like to read manuals or wish to read the
manual in detail later, here is everything you need to get started. This
section will explain how to approach the instrument for the first time in
a simple fashion. It will help you to get quickly acquainted with the most
important features of the instrument.
Realtime operations
The RP90 operating system has been conceived to permit several simple
and quick real time operations.

• Activate Split mode

Starting from the Single Preset “GrandPiano”, you can easily split the
keyboard by pressing the SPLIT button. This will divide the keyboard into
separate left and right sections.

<------- Ac. Bass ------><--------- GrandPiano ---------->

After pressing the SPLIT button (the LED turns on), the GrandPiano
sound remains active on the right side of the split. An Acoustic Bass
sound is automatically assigned on the left side of the split.
If you press the SPLIT button again, the LED will turn off and the keyboard
returns to the previous mode with the GrandPiano sound active to play
across the entire keyboard.

• Change the sound assigned to a Split

When you press the SPLIT button, for an instant (about 5 seconds) the
display shows the sound assigned to the left split together with the current
split point setting:

Left Split sound

Split Point note

After the temporary period, the display returns to normal showing the
starting situation (in this case the GrandPiano display).

1. Press the SPLIT button.

2. While the temporary display is shown, press the DATA +/– buttons
to scroll the various sounds.
In this case, pressing the DATA + button will change the sound
assigned to the left keyboard section from Ac.Bass to RideBass,
then to El.Bass and so on, cyclically through the entire Sound data
base (see the Sound Program table on page 26 of this manual).
LEFT: Ridebass LEFT: El.Bass
SPLIT Point :F#3
... SPLIT Point :F#3
...

Clearly, if you use the DATA – button, you can scroll the sounds in
reverse order.

8
• Change the Split point setting
The default setting of the Split point corresponds to F#3. You can quickly
modify the setting to suit your requirements.

1. Press and hold down the SPLIT button.

The temporary display appears showing the current split point
setting.
2. Press the note on the keyboard corresponding to the new split
point required.

In the example, the new split point is shown in the display as B3.

LEFT: Ridebass
SPLIT Point :B3

The setting remains memorized until you select a different Preset.

It is possible to assign a different Split point setting to each Preset.
• Activate Layer mode
To mix or “layer” two sounds together, simply press the LAYER button.

1. After pressing the LAYER button (the LED turns on), a second
sound is activated layered with the first (in this case, Strings is
added to the GrandPiano sound).

<------------------------ GrandPiano ---------------------->

<----------------------- Strings ---------------------->
2. If you press the LAYER button again, the LED turns off and the
keyboard returns to the previous mode with the GrandPiano sound
active to play across the entire keyboard.

• Change the sound assigned to a Layer

When you press the LAYER button, for an instant (about 5 seconds) the
display shows the sound assigned to the layer:

LAYER: Strings

After the temporary period, the display returns to normal showing the
starting situation (in this case the GrandPiano display).

1. Press the LAYER button.

2. While the temporary display is shown, press the DATA +/– buttons
to scroll the various sounds.
9
 In this case, pressing the DATA + button will change the sound
assigned to the layer section from Strings to Slow Strings, then to
Mellow Strings and so on, cyclically through the entire Sound data
base (see the Sound Program table on page 26 of this manual).
LAYER: Strings LAYER: Slow Str LAYER: Mellow St
... ...

Clearly, if you use the DATA – button, you can scroll the sounds in
reverse order.

• Adjust the Volume of the instrument

You can regulate the volume of the instrument as a whole by using the
Volume slider.
This control increases or decreases the volume of the internal speakers,
the Headphones and the Output Left - Right/M jacks.

• Change the Volume Balance between two sounds

If you are playing either in Layer or Split mode, you can regulate the
volume of the two sections in real time using the BALANCE buttons (in the
CONTROL section). These buttons regulate the volume of one section
with respect to the other, creating a perfect balance between the two
sections according to your requirements.

1. Press the right BALANCE button to increase the volume of the

main sound.
The volume of the second sound (split or layer) will decrease
automatically in proportion to the main one.
2. Conversely, press the left BALANCE button to increase the
volume of the second sound.
The volume of the main sound will decrease automatically in
proportion to the second one.
If you select a Single Preset (or deactivate the SPLIT or LAYER
button), the BALANCE buttons operate as normal Volume controls
for the main section.

• Add effects to the selected sound

You can easily add effects to the selected sound by using the REVERB
and EFFECTS buttons in the CONTROL section.
To add Reverb:
• Press the REVERB button (the LED turns on).
In this case, the Hall Reverb effect is added to the Grandpiano
sound.
To add Effect (chorus/delay/modulation):
• Press the EFFECT button (the LED turns on).
In this case, the Chorus effect is added to the GrandPiano sound.
Note. It is possible to add either Reverb, or Effect, or both effects
to a single sound, to a Split or Layer Preset and the settings can be
memorized.

10
Selecting the RP90 Presets
The RP90 contains 64 Internal Presets, consisting of single, split and
layered sound combinations which incorporate appropriately memorized
volume, balance, effect settings and more. An additional 64 User Preset
locations are available with as many sound variations and combinations,
where you can store your preferred programmed sound settings. The
Presets and User Presets are organized in the Selection section.

The Selection buttons

This section consists of a lower row of 8 Preset “family” Groups and an
upper row of 8 Presets of the selected Preset Group.

Presets

Preset
Groups

On the right are the Preset/User Preset button and the GrandPiano
button. The latter sets the instrument to play the default GrandPiano
sound instantly, returning the instrument to Single Preset mode from any
situation.
When the LED of the Preset button is off, the sounds recalled relate to the
internal Presets.
When the User Preset LED is on, the sounds recalled are user memorized
Presets.
The 8 Preset Group buttons are marked as follows: Acoustic Piano,
Electric Piano, Keyboard, Organ, Strings, Choir\Pad, Guitar, Vibes.
The 8 buttons of the upper row select 8 different Presets of the currently
selected Preset Group and are factory-set to recall Presets in the
following manner:
1 2 3 4 5 6 7 8
Single Single Single Single Layer Layer Split Split

Each Preset of the current Group contains a memorized Layer and Split
sound combination which you can recall in real time by activating the
appropriate buttons.

Similarly, a Layer or Split Preset is easily converted to one of the other

modes by activating/deactivating the Split or Layer buttons accordingly.

For example, if you have selected the Layer Preset 5 of a Preset Group,
simply press SPLIT to recall the memorized Split combination, or deac-
tivate LAYER to recall the memorized Single sound.
When you select a Preset Group from the lower row for the first time after
turning on, Preset n. 1 of the upper row is automatically selected by
default.

11
Example 1
1. If you select the Piano Group button, Preset 1 (GrandPiano) is
recalled automatically.

2. Now select button n. 3 of the top row.

This will recall the single Preset Upright Piano across the entire
keyboard.

Example 2
3. If you select the El. Piano Group button, Preset n. 1 of the top row
activates automatically, recallingthe Preset Rhodex.

4. Now press button 4 and you recall the Preset FM Piano.

Repeat the operations to select the other Presets.
The last Preset button selected for the current Preset Group remains
memorized. For example, if you select the Piano Group button (as in the
example explained above), Preset 3 (Upright Piano) will be recalled. If
you now select the El Piano Group button, you will recall the FM Piano
Preset (button 4). Note: For a list of Presets and factory
This system of memorizing the last selection made will help you recall User Presets, refer to the tables in the
your preferred Presets quickly. Appendix.

User Presets
The same logic also applies to the User Presets. Simply press the Preset
button to activate the User Presets (the LED turns on). Here you will find
an additional 64 User Presets belonging to the same Preset Groups which
recall different sound combinations with respect to the Presets.
For example, you can select the Preset n. 3 of the Piano Group to recall
Upright Piano, select User Preset n. 7 to recall Jazz Piano 2, then switch
from Preset to User Preset by pressing the Preset/User Preset button
repeatedly.
The User Presets are also programmable. You can memorize any
preferred sound setting to the User locations without permanently losing
the factory User Presets. These can be restored to their original status
using the Restore Preset function (see the General chapter).

12
The Preset
The changes that you make to your sounds and sound combinations (add
effects, select Split or Layer, adjust the volumes, change the effect sends,
etc., can be memorized to the User Preset locations.
In simple terms, a User Preset (sometimes also called a “Performance”)
is just the end result of some tweaking and editing where the instrument
now sounds the way you want it to. At this stage, your User Preset can
be saved in memory so that you can instantly recall it the next time you
need to use it.
Although the procedure for saving and naming a User Preset is described
in detail elsewhere in this manual, the basic steps are very simple.

• After creating a User Preset which you want to store, press the
STORE button.
• Next, choose one of the lower Selection buttons followed by one of
the 8 buttons of the upper row. Your User Preset is now stored to
memory.

13
Listen to the Demo songs
The RP90 contains a set of demonstration recordings of the internal
sounds.

• Press the DEMO button to trigger the playback of the demo songs.
The LEDS of the Selection section start to flash.

Shortly after, the first recording of a piano sound starts to play.

When it reaches the end, the second recording starts automatically
and so on....
• To stop the playback at any point, press the DEMO button again.

The demonstration sequence consists of 16 recordings, chained to play

as a medley automatically. Each recording corresponds to a demonstra-
tion of theselected Preset of the Selection section.

Select a single demonstration

It is possible select a single demonstration recording without activating
the chain playback.

1. Press the DEMO button then, while the LEDs of the Selection
buttons are flashing, press one of the Selection buttons to trigger
the playback of the single recording.
The titles of the recordings are listed below:
Demo song list
1 2 3 4 5 6 7 8
Beethoven Latin Tchaikovsky Walkin’ Bach Clouds Karma Combo
Romance Electric NutRock Jazz Organ Concerto Pad+Fretless Strato Vibes
Piano+String Grand+Bass Celesta + Bass Harpsi+String Bass + Pad + Bass
Chopin Nuances Bach v. Bach Vivaldi Bach 6 string Toccata
Prelude Rhodex Goldberg Fugue Concerto in A– Air Guitar Vibes
Piano solo solo Harpsichord ChurchOrgan Strings Choir Alborada solo
Ac.Piano El.Piano Keyboard Organ String Choir/Pad Guitar Vibes

The buttons of the lower row recall single Preset recordings: piano, organ,
etc.. The upper row of buttons recall recordings of the Presets containing
two sections: piano and strings, piano and bass, etc.
When you press a button, the corresponding LED remains on and the
corresponding demonstration recording starts to play.

14
Example:
1. Press the DEMO button. The display shows a message confirming
entry into the Demo mode:

RP90 DEMO

2. Press, for example, the El.Piano button.

The demo starts to play. At the same time, the display shows the
number and name of the Demo song currently playing:

RP90 DEMO
Song number 2 Nuances Song title

3. It is possible to pass instantly from one Demo song to another by

pressing another button (in this case Organ).

4. To stop the Demo song press the relative button again.

Note: In DEMO mode, all the instrument’s panel commands, the
keyboard and the MIDI interface will be temporarily disabled.

15
Recording a song
The RP90 sequencer (Recording Studio) allows you to record a simple
song just as you play it.

1. Select the Preset that you want to record.

2. Press the REC button.

The display shows the starting measure of the song pointer and the
current Tempo setting.

*REC.STUDIO 00/1 Song pointer

TEMPO = 120 Tempo

3. Using the DATA +/– buttons to the right of the display, you can
change the Tempo setting (the recording and playback speed).

4. Press the PLAY/STOP button.

A one measure countdown into the recording starts and the display
shows the message “Recording” to indicate that the sequencer is
ready to capture all that you play:

*REC.STUDIO 0/2
* RECORDING !*

5. Start to play after the one measure countdown.

6. When you have finished playing, press PLAY/STOP.

The display shows the “record end” message.

*REC.STUDIO 32/1
* RECORD END!*

7. Press the REC button to exit Record mode.

8. To playback your recording, press PLAY/STOP.

16
 Section 3

Basic Functions
This section will explain some basic real time panel functions which
affect the instrument as a whole.
BRILLIANCE –\+
The BRILLIANCE controls in the Control section allow you to adjust the
brightness of the instrument’s tone. Brilliance affects the instrument as
a whole and cannot be applied independently to individual sounds.

When both LEDs are off, the tone of the instrument is normal.

To change the Brilliance setting:

• Press BRILLIANCE – to activate the Loudness setting:

The Brilliance – button gives a softer tone (enhancement of the bass
frequencies).

• Press the currently deactivated BRILLIANCE button to activate the

Normal setting (in this case Brilliance +). The LED of the active
button will cancel.

• Press BRILLIANCE + to activate the Bright setting.

The Brilliance + button gives a brighter tone (enhancement of the
high frequencies).

TRANSPOSE
Pressing either TRANSPOSE button will adjust the pitch of the instrument
in half-step (semitone) increments or decrements, through the overall
range of –/+ 12 semitones.
When both LEDs are off, the pitch of the instrument is set to normal
(Equal: C = C).

To Transpose the instrument

1. Press TRANSPOSE #.
The pitch of the instrument is raised one semitone and the amount
of transposition is displayed as a relative value for a short period.

* TRANSPOSE *
+1 C = C#

After about 5 seconds, if you don’t press either Transpose button,

the display returns to the previous situation and the instrument
remains at the last set pitch.
Every time you press the TRANSPOSE # button, the pitch is raised
by one semitone.

18
2. Press TRANSPOSE b.
The pitch of the instrument is lowered one semitone and the amount
of transposition is displayed as a relative value for a short period.
(An eventual raised transpose setting will be lowered by one half-
step by pressing Transpose b).

* TRANSPOSE * * TRANSPOSE *
0 C = C -1 C = B

After about 5 seconds, if you don’t press either Transpose button,

the display returns to the previous situation and the instrument
remains at the last set pitch.
Every time you press the TRANSPOSE b button, the pitch is
lowered by one semitone.

The current Transpose setting remains memorized even after turning the
instrument off. When you turn the instrument on again, the LED of the
Transpose b or # buttons shown on indicate the lowered or raised status
of the pitch.

Reset
The current pitch setting can be cancelled instantly by pressing both
buttons together.

* TRANSPOSE *
0 C = C

This restores normal pitch to the instrument.

TOUCH
The RP90 offers three different keyboard responses, or “velocity curves”,
which affect the instrument as a whole. Every time you turn on the
instrument, the “NORMAL” curve is set automatically.
Two other curves are available: Soft and Hard.

Soft : this is useful for a player with a lighter touch or some-

body more accustomed to a synth action keyboard. It
requires only a relatively soft touch to achieve maximum
volume.
Normal : This setting most accurately represents the touch re-
sponse of a piano.
Hard : This setting is for “stronger” players. It requires a fairly
powerful touch to achieve maximum volume.

The various curves can be selected by repeatedly pressing either the

DATA + or – button after pressing the TOUCH button.

19
The display shows the selected curve for a short period, then returns to
the previous situation.

TOUCH SELECT
NORMAL

• After pressing the TOUCH button, press the DATA + button to select
the HARD setting.

TOUCH SELECT
HARD

After about 5 seconds, if you don’t press either DATA button, the
display returns to the previous situation and the instrument remains
at the Touch setting.
• Press the DATA + button again to select the SOFT setting.

TOUCH SELECT
SOFT

• Press the DATA + button once more to return to the NORMAL

setting.

TOUCH SELECT
NORMAL

The selection of the Touch curves using DATA + is cyclic (Hard, Soft,
Normal, Hard ....). Use the DATA – button to select the Touch response
curves in reverse order (Soft, Hard, Normal, Soft .....).

The selected response curve remains in memory until changed again, or

until you turn the instrument off. Turning on again will restore the
NORMAL setting.

20
 Section 4

Perf. Edit - the Presets

and how to edit them
When you construct a combination of sounds there are many powerful
performance features available under the PERF. EDIT button which
can help you tailor the sound combination to your needs. This section
will explain how to edit Presets to create User Presets.
The concept of the RP90 Preset
How to select the Sounds (or Presets) is discussed in the Quick Guide.
This chapter takes a deeper look into the Preset controlling parameters
and how to use them to create User Presets to suit your playing.
Whatever RP90 Preset is selected also recalls a set of user programma-
ble performance parameters, as shown in the table below.

Sound Program
KBD Mode: Single,Split Layer
Sound Volume (section)
Split Point
Section Transpose
Reverb send (section )
PRESET ----------- Reverb Type + Time
EFX send (section)
EFX Type & parameters
Damper assign
Auto Wha Wha
Microtuning
Detune
Delay
Preset Name

As can be seen in the table shown above, the RP90 Presets “carry”
several different types of variable performance parameters, easily accessed
and modified. The modified Presets can then be saved (together with any
other changes that you decide to make) to the User Preset locations for
future recall.

The structure of a Preset

The RP90 provides three different playing modes: Single, Split and Layer.
The passage from one mode to the other is simple and straight forward;
from Single, press Split or Layer. From Layer or Split, deactivate the
selected Control button to return to Single.
If you have followed the Quick Guide, you will have discovered that the
Single, Split and Layer Presets are appropriately programmed to suit the
mode being used.
The possibility of switching from one mode to the other is due to the RP90
Preset structure, which consists of three sections:

1. A section for the main sound (Single mode);

2. A section for the Split;
3. A section for the Layer.
The three sections recall independently programmed control parameter
settings together with the possibility of memorising the On/Off status of
each section.
You can check this by selecting, for example, the Preset buttons from 5
to 8 for any Preset Group button. You will note that the Split or Layer
button will activate automatically according to the Preset button selected.

22
The Single Presets, on the other hand (buttons 1 - 4) provide the
possibility of activating Layer or Split situations at any moment. Further-
more, in the User Preset section, you can save your modified Presets to
suit your playing needs.

The Effects
The Presets include DSP data (Reverb and modulating Effects), of
fundamental importance from the musical point of view, because it allows
you to select the Preset sounds together with appropriate effects settings
without additional operations. For example, the electric piano Preset
“Rhodex1” (El Piano n. 1) carries the Stage reverb and a Chorus effect,
while the Preset “Wurlie” (El Piano n. 2) recalls the Room reverb and a
Tremolo effect.
To insert or deactivate the effects, simply press the corresponding effect
button (Reverb and/or Effect). When you press one of these buttons, the
effect assigned to the current Preset is displayed for a short period.
Example:
1. Press the GrandPiano button.
2. Press the Reverb button.
The display shows the reverb type memorized for the GrandPiano
sound:

REV. TYPE SELECT

Hall

3. If, during the temporary display period, you press the DATA +/–
buttons to the right of the display, you can change the Reverb type.

REV. TYPE SELECT REV. TYPE SELECT

......
Small Room Church

The Reverb and Effect types are selected in cyclic order, as shown in the
following tables.

1. Room 1. Chorus
2. Stage 2. Tremolo
3. Hall 3. Phaser
4. Small Room 4. Flanger
5. Church 5. PitchShift
6. Plate 6. Delay 1
7. Slap 7. Delay 2
8. Concert 8. ChorusTremo

If you press the Reverb and/or the Effect button again (LED turns off), the
effect is bypassed and the sound plays “dry”.
Whatever changes you make to the Reverb or Effect selections for the
current Preset will be lost when you select another Preset. Further ahead
in the manual you will find instructions regarding how to save your
changes to memory.

23
The PERF. EDIT menu
The PERF. EDIT button gains access to several performance parameters
of the Presets which can help you tailor your Presets to your needs.
The status of the Edit varies according to the current Preset type selected:
Single, Split, Layer.
The following table shows the list of the Perf. Edit parameters:

1. Sound Program
2. Sound Volume (section)
3. Section Transpose
4. Rev. Send (section)
5. Reverb Time
6. EFX Send (section)
7. EFX Parameter 1
8. EFX Parameter 2
9. Damp assign (section)
10. Auto Wha Wha (section)
11. Microtuning
12. Detune (Layer mode only)
13. Delay (Layer mode only)

Press the Perf. Edit button to enter the Preset functions. The correspond-
ing LED starts to flash to indicate that an edit situation is currently in
course.
You can select the next or previous function by using the PAGE Up/Down
buttons located to the left of the display.
Page number Name of the Edit function

1 SOUND PROGRAM
N.1 Grand P1

Sound Program number Sound Program recalled

Use the DATA +/– buttons to change the value or status of the selected
parameter.
To escape the edit menu, press the Perf. Edit button again. The LED
stops flashing and turns off.

For the purpose of the following explanations, select the GrandPiano

Preset (press the corresponding button).
Press the Perf. Edit button to gain access to the relative Edit functions.
The first function displayed is the Sound Program.

24
1. Sound Program
The Sound Program is a fundamental function which determines the
instrument’s timbre.
Once selected, to change the Sound Program, simply press the DATA +/–
buttons to select the next or previous Sound Program (see the complete
Sound Program list on the next page).

1 SOUND PROGRAM 1 SOUND PROGRAM

N.1 Grand P1 N.2 Grand P2

As in all selection procedures, the Sound Program selection is cyclic. The

DATA + button selects in increasing order of Program change while the
DATA – button selects in the reverse order.
Up to this point, the changes described above apply to the single Preset
selected at the beginning (GrandPiano in this case).

Modify the Layer

It is also possible to modify the Layer status of the current Preset.
With the Sound Program function still active, press the LAYER button.
The programmed Layer sound (in this case Strings) is added to the main
sound. To view the Layer sound, simply press the PAGE UP button:

Letter “L” to indicate 1L SOUND PROGRAM

the LAYER Preset
N.29 Strings

To change the Layer sound, proceed as already described, by using the

DATA +/– buttons to select the required Sound Programs.

1L SOUND PROGRAM 1L SOUND PROGRAM

N.29 Strings N.30 Slow Str

Modify the Split

The Split status of the current Preset can also be modified using the same
method described for the Layer situation.
Press the SPLIT button followed by the PAGE UP button to view the Split
sound (in this case, Ac. Bass):

Letter “S” to indicate 1S SOUND PROGRAM

the SPLIT Preset
N.44 Ac.Bass

25
NOTE: If the Layer section is already selected, you will note that the
Sound Program display changes automatically when you press the
SPLIT button. The same applies if you press the LAYER button when the
Split section is already selected. This is valid for all the edit parameters
which affect the individual sections.
Change the Sound Program of the Split section by using the DATA +/–
buttons.
Pr.Ch. Name
1 Grand P1
2 Grand P2
1S SOUND PROGRAM 1S SOUND PROGRAM
3 Upright
N.44 Ac.Bass N.45 RideBass 4 RockPian
5 Honky T.
6 El.Grand1
7 El.Grand2
Clearly, it is possible to assign any sound from the Sound Program list to
8 Rhodex 1
either the Layer or Split sections. 9 Rhodex 2
10 Wurlitz
11 SynWurli
The Sound Program table 12 FM Piano1
The opposite margin shows a list of the Sound Programs available, 13 FM Piano2
including the relative Program Change numbers. 14 Harpsi1
15 Harpsi2
Note that the listed Sound Programs represent single Sounds that can be 16 Clavinet
assigned to either the Single, Split or Layer sections of the Presets. A 17 SynClavi
Preset can recall either a single Sound Program, or a combination of two 18 Celesta 1
Sound Programs (in Layer or Split form). The Sound Programs are not to 19 Celesta 2
be confused with the Presets, which are listed in the Appendix at the back 20 Harp
of the manual. 21 Vibes 1
22 Vibes 2
23 Marimba
24 Pipe Org
25 PopOrg1
26 PopOrg2
27 JazzOrg1
28 JazzOrg2
29 Strings
30 Slow Str
31 Mellow St
32 Choir
33 AtkChoir
34 PadChoir
35 TapPad
36 AtkPad
37 DarkPad
38 IceRain
39 ChimePad
40 NylonGtr
41 SteelGtr
42 JazzGtr
43 StratGtr
44 Ac.Bass
45 RideBass
46 El.Bass
47 Fretless
48 SlapBass

26
2. Sound Volume
Press the PAGE UP button to pass to the second screen (Sound Volume).

2 SOUND VOLUME
’’’’’’’’’’’ 127

The volume of the main sound of the current Preset is shown by a bar
graph and corresponding numerical value.
Press the LAYER button (LED on) followed by PAGE Up to activate the
Layer screen (identified by the letter “L”).

2L SOUND VOLUME
’’’’ 54

Press the SPLIT button (LED on) followed by PAGE Up to activate the
Split screen (identified by the letter “S”).

2S SOUND VOLUME
’’’’’’’’’’’ 127

NOTE: When you pass directly from Layer to Split situations (or vice-
versa), there is no need to press the Page Up button to see the relative
display.
To change the volume setting, press the DATA +/– buttons.
Holding down the DATA + or – button increases or decreases the volume
setting rapidly and stops instantly after release.
For another rapid way of changing the volume setting, you can also use
the Balance / buttons.

27
3. Section Transpose
Press the PAGE UP button to pass to the Section Transpose function.
This function is useful for “octave shifting” when using a Split or Layer
Preset. An octave shift is obtained by setting the transpose value to – 12
(one octave lower than normal) or +12 (one octave higher than normal).
A maximum Transposition of + 24 or – 24 semitones (2 octaves) can be
obtained.
A section transpose setting affects the individual Sound Programs of the
current Preset, not the instrument as a whole (as with the Transpose
buttons).
The status of the Section Transpose setting in this example is shown as
follows:

3 SECT. TRANSP.
0 C = C

The pitch of the currently displayed sound can be transposed using the
DATA + or – buttons. The display example below shows a section
transpose setting of one semitone above standard pitch, indicated by the
note symbols C=C#.

3 SECT. TRANSP.
1 C = C#

Press the LAYER button (LED on) followed by Page Up to activate the
Layer screen (identified by the letter “L”).

3L SECT. TRANSP.
0 C = C

Press the SPLIT button (LED on) followed by Page Up to activate the Split
screen (identified by the letter “S”).

3S SECT. TRANSP.
0 C = C

NOTE: When you pass directly from Layer to Split situations (or vice-
versa), there is no need to press the Page Up button to see the relative
Note: the same results are obtained
display.
if you use the panel Transpose b/#
To raise or lower the pitch by one semitone steps, press the DATA + or buttons, but only if you are still in the
DATA – buttons repeatedly until you obtain the desired pitch change. Section Transpose operating mode.

Reset Section Transpose

You can reset the pitch of the displayed sound to the standard pitch (C=C)
by pressing both TRANSPOSE # and b buttons together.

28
4. Reverb Send (Rev. Send)
Press the PAGE UP button to pass to the Rev. Send function.
If a Reverb effect has been selected (Reverb button on), the Rev Send
function can be used to independently control the amount of reverb
applied to a section (Single, Split or Layer) of the current Preset.
For example, the single Preset GrandPiano recalls a reverb send of 64 (a
moderate reverb amount), the Layer section (Strings) is programmed at
90 (to give more depth to the sound) and the Split section (Ac.Bass) plays
with a Rev Send value of 0.
Note: the following examples can be heard on your instrument only if the
Reverb button is selected (LED on).
The status of the Rev Send setting is shown as follows:

4 REV. SEND
’’’’’‘ 64

To apply more or less Rev Send to the currently displayed section, press
the DATA + or – buttons.
Press the LAYER button (LED on) followed by PAGE Up to activate the
Layer screen (identified by the letter “L”).

4L REV. SEND
‘‘‘‘‘‘‘‘‘‘‘ 90

Press the SPLIT button (LED on) followed by PAGE Up to activate the
Split screen (identified by the letter “S”).

4S REV. SEND
0

NOTE: When you pass directly from Layer to Split situations (or vice-
versa), there is no need to press the Page Up button to see the relative
display.
Holding down the DATA + or – button increases or decreases the Rev
Send value rapidly and stops instantly after release.
A maximum value of 127 or a minimum value of 0 can be obtained. The
“0” setting corresponds to no Reverb.

29
5. Reverb Decay Time (Rev. Time)
Press the PAGE UP button to pass to the Rev. Time function.
Unlike the Rev Send function, the Rev. Time page affects all three
sections of the current Preset, therefore, only one screen appears
regardless of the status of the Single, Layer or Split mode.
If a Reverb effect has been selected (Reverb button on), the Rev. Time
function can be used to control the “reverb time”, or the delay amount for
the particular reverb type selected for the current Preset. Basically, this
allows you to proportionally increase or decrease the dimensions of the
surroundings simulated by the DSP.
Pressing Page Up activates the following display:

5 REV. TIME Sec.

2.0

Holding down the DATA + or – button increases or decreases the Rev.

Time value rapidly and stops instantly after release. The value obtained
is expressed in seconds.
Note: To listen to the changes made, the Reverb button must be selected
(LED on).

30
6. Effect Send (EFX. Send)
Press the PAGE UP button to pass to the Efx. Send function.
This function works in exactly the same way as Reverb Send. The EFX.
Send function can be used to control the amount of Effect applied to the
sections of the current Preset.
For example, the single Preset GrandPiano recalls an Effect Send of 64,
the Layer section 100 and the Split section 0.
Note: the following examples can be heard on your instrument only if the
Effect button is selected (LED on).
The status of the Efx. Send setting is shown as follows:

6 EFX. SEND
’’’’’ 64

To apply more or less EFX. Send to the current sound, press the DATA
+ or – buttons.
Press the LAYER button (LED on) followed by PAGE Up to activate the
Layer screen (identified by the letter “L”).

6L EFX. SEND
’’’’’’’’’ 100

Press the SPLIT button (LED on) followed by PAGE Up to activate the
Split screen (identified by the letter “S”).

6S EFX. SEND
0

NOTE: When you pass directly from Layer to Split situations (or vice-
versa), there is no need to press the Page Up button to see the relative
display.
Holding down the DATA + or – button increases or decreases the EFX.
Send value rapidly and stops instantly after release.
A maximum value of 127 or a minimum value of 0 can be obtained. The
“0” setting corresponds to no Effect.

31
7 & 8. Effect Editing
Press the PAGE UP button to pass to the Effect Edit function.
The two pages which follow after the Efx. Send function will be different
depending on which Effect has been assigned to the current Preset.
The two Effect Editing functions affect all three sections of the current
Preset, therefore, only one screen for each parameter appears regard-
less of the status of the Single, Layer or Split mode:

7 EFFECT DEPTH
’’’ 4

The following table lists the available Effect Types and the two associated
parameters which can be modified:

Effect Type Parameter 1 Parameter 2

1. Chorus Modulation Depth (amount of Rate (modulation velocity)
modulation)
2. Tremolo Modulation Depth Rate
3. Phaser Modulation Depth Rate
4. Flanger Modulation Depth Rate
5. PitchShift Frequency Coarse Tune (coarse tune Fine Tune (fine tune of the
in semitone steps) frequency in "cents")
6. Delay 1 Delay Delay Time (the time it Feedback (the number of
takes for a repeat to repeats heard before effect
occur) fade out)
7. Delay 2 Delay Delay Time (the time it Feedback (the number of
takes for a repeat to repeats heard before effect
occur) fade out)
8. ChorusTremo Modulation Depth Rate

For example, the single Preset “GrandPiano” has been programmed to

play with the Chorus Effect.
From the table shown above, you can see that the first parameter
displayed for editing will be “Effect Depth” (the total amount of the
available Chorus).
Modify the first parameter value by using the DATA +/– buttons.
Press the Page Up button to pass to the second parameter, “Effect Rate”:

8 EFFECT RATE
’ 1

Modify the second parameter value by using the DATA +/– buttons.

32
9. Damper Pedal Assign (Damp. Assign)
Press the PAGE UP button to pass to the Damper Assign function.
This function allows you to assign the Damper pedal to the sections
(Single, Layer or Split) of the current Preset. The first screen to be shown
corresponds to the Single situation set to On:

9 DAMP ASSIGN
ON

For example, if you mixed a main Piano and secondary Strings sound
(layered combination) and you wanted the damper pedal to sustain the
piano but not to affect the strings, you would set the Damper Assign On
to the main single sound and Off to the Layer sound.
The default setting for this parameter is shown in the following table:

Main Split Layer

On Off On

You can modify the default status for the current Preset section to suit
your needs.
Press the LAYER button (LED on) followed by PAGE Up to activate the
Layer screen (identified by the letter “L”).

9L DAMP ASSIGN
ON

Press the SPLIT button (LED on) followed by PAGE Up to activate the
Split screen (identified by the letter “S”).

9S DAMP ASSIGN
OFF

NOTE: When you pass directly from Layer to Split situations (or vice-
versa), there is no need to press the Page Up button to see the relative
display.
To change the On/Off status of the Damper Assign function, use the
DATA +/– buttons.

33
10. Auto Wha-Wha
Press the PAGE UP button to pass to the Auto Wha-Wha function.
Auto Wha Wha is a classic effect from the vintage keyboard era, which the
RP90 allows you to control according to the velocity you apply to the
keyboard. This effect is independently assignable to the Preset sections
(Single, Split, Layer).
The default setting of this parameter is Off for all sections, as shown in the
following Single Preset display:

10 AUTO WAH-WAH
OFF

Use the DATA +/– buttons to switch the setting to On as required for the
current section:

10 AUTO WAH-WAH
ON

Press the LAYER button (LED on) followed by Page Up to activate the
Layer screen (identified by the letter “L”).

10L AUTO WAH-WAH

OFF

Press the SPLIT button (LED on) followed by Page Up to activate the Split
screen (identified by the letter “S”).

10S AUTO WAH-WAH

OFF

NOTE: When you pass directly from Layer to Split situations (or vice-
versa), there is no need to press the Page Up button to see the relative
display.
Use the DATA +/– buttons to change the On/Off status of the Layer or Split
sections.

34
11. Microtuning
Press the PAGE UP button to pass to the Microtuning function.
This function allows you to select from a variety of alternative tunings, or
Keyboard Scales (Temperaments). It is also possible to program a
preferred scale (User).
The selection of available scales is as follows:

Microtuning
1. Equal
2. Piano1
3. Piano2
4. Meantone
5. Kirnberger
6. User

As an example, the GrandPiano Preset is programmed to play with the

Piano1 tuning which faithfully reproduces the tuning scale of a concert
grand piano.
The tuning scale selected affects all sections of the current Preset
(Single, Layer, Split), therefore, only one screen appears regardless of
the status of the Single, Layer or Split mode:

11 MICROTUNING
PIANO1

Use the DATA +/– buttons to select from the various tunings available.
The selection procedure is cyclic as in other selection menus:

11 MICROTUNING 11 MICROTUNING
PIANO2 MEANTONE

The tuning scale is independently programmable for all Presets.

User Microtuning
If you select the User scale, you can accurately retune every note of the
instrument to create a personal tuning Preset.
Each note of the keyboard can be fine tuned through the range ± 64 cents.
The operation of this function is very simple.
Once you have selected the User option, press a key on the keyboard
corresponding to the note you wish to retune.

35
The display “captures” the key that you played:

11 MICROTUNING
USER : C4 =00

You can now repeatedly play the same key and adjust its tuning with the
DATA +/– buttons.

11 MICROTUNING
USER : C4 =34

When you have tuned the note to your requirement, press another key
and proceed as before.
When you have finished tuning all the notes you need of the scale, press
the Perf. Edit button to escape the edit and store your User scale by using
the Store function described further ahead.
Note: The User Microtuning scale is one only; it is not possible to program
a different User scale for each Preset.
If you want to restore the user tuning to the factory setting (all note values
= 0, corresponding to the Equal scale), you can use the Restore Tuning
function under the General button. Refer to the General chapter of this
manual for more details.

36
12. Detune
NOTE: This function is only available when a Layer Preset is being used.
If a Single Preset is currently displayed, the Detune display will not be
shown.
This feature allows you to detune the main sound of the current Layer
Preset with respect to the second by the number of cents displayed.
To gain access to this function, you must select a Layer Preset, or activate
the Layer section of a Single Preset.
Press the PAGE UP button to pass to the Detune function. The Layer
Detune display appears as follows:

12 DETUNE Cents
0

You can now repeatedly play a note on the keyboard and adjust the
Detune value with the DATA +/– buttons.

12 DETUNE Cents
’ 2

You can detune the main sound by up to +12 Cents. Lower values are
useful for creating a natural chorus effect between two sounds. At higher
values a “Honky Tonk” effect can be obtained.

37
13. Delay
NOTE: This function is only available when a Layer Preset is being used.
If a Single Preset is currently displayed, the Delay display will not be
shown.
This function allows you to apply a delay to the Layer section of a Preset.
To gain access to this function, you must select a Layer Preset, or activate
the Layer section of a Single Preset.
Press the PAGE UP button to pass to the Delay function. The Layer Delay
display appears as follows:

13 DELAY snd2 ms
0

Adjust the Delay value with the DATA +/– buttons.

The value shown represents the number of milliseconds which will elapse
before the second sound is heard.

13 DELAY snd2 ms
’’’’ 16

The range of values available are from 8 to 800 ms.

Note: This type of Delay is independent from the effect of the same name
generated by the DSP, because it is obtained by delaying the generation
of the Layer section with respect to the main Sound Program.

38
14. The Store command
The Store command allows you to save your new Preset to memory. After
you have spent some time adjusting the various Edit functions, you will
have created a USER PRESET. Refer to the explanations regarding the
Preset in the Quick Guide for more information.
You can choose to store the User Preset with its original name, or write
a different one.
If the changes you have made up to this point are not saved before you
select another Preset, they will be instantly lost as soon as you select a
new one. Therefore, if you have spent a long time adjusting your sound
combination, don’t forget this very important step.

How to store your modifications

1. After creating a Preset which you want to store, press the Store
button.
The display will show the following message.

STORE PRESET
GRAND PIANO

At the same time, the LEDs of all the Selection buttons, except those
corresponding to the current Preset, start to flash. This will help you
decide where to store your new User Preset. The LED of the User
Preset button remains on.
LED On

LEDs flashing

At this point, you can decide to overwrite to the current User Preset
or to a different one.

Store the modified Preset to the same location

2. Press the corresponding selection button (the one shown with the
LED off). Button 1 in this case.
Shortly after, the LEDs of all the other buttons stop flashing and the
display shows the modified sound ready to play. The Preset
currently occupying the location saved to will be overwritten by the
new one.
Note: remember that you can modify the sounds of the Preset and
User Preset memory locations but, when you store the new result,
it will always be stored to the User Preset locations. Therefore, if
you make some changes to a Preset, the modified version will be
stored to the equivalent location of the User Preset memory location
(as in the example explained above).
39
Store the modified Preset to a different location

3. After pressing Store, simply press any button corresponding to a

different location.

STORE PRESET
GRAND PIANO

You can choose to press either;

a different Preset button (store to the same Group location), or;
a different Group button (store to the same Preset location of a
different Group button); or;
a different Group button and Preset button (as in the example 2
opposite).
If you want to cancel the Store operation without saving, simply
1
press STORE again while the LEDs are still flashing.

Change the name of the Preset

It is possible to store your new Preset with a different name.

1. After making your changes, press the STORE button.

The Store Preset display is shown:

STORE PRESET
GRAND PIANO

2. Now, using the Page Up/Down buttons and the DATA +/– buttons,
you can change the name of the displayed Preset.
In this condition, the first character of the Preset name is active for
a change. The Page Up button moves the display cursor to the next
character position on the right, while Page Down moves it to the left.

STORE PRESET STORE PRESET

....
GRAND PIANO GRAND PIANO

The DATA + button selects the letters of the alphabet in increasing

order (A, B, … Y, Z) while the DATA – button selects in reverse
order.
3. Once you have written a new name for the User Preset, select its
location in the User Preset memory slots as described above.

Related subjects: General menu: Restore Preset, Midi Dump

menu.

40
 Section 5

General functions
The General button contains both the MIDI controls of the instrument
and a number of important General Control features.
General Functions
The GENERAL button contains a number of Master control features as
well as MIDI controls. The functions available are:

Tune Control, MIDI Channel, MIDI Mode, MIDI Transpose, Filter

MIDI In, Filter MIDI Out, MIDI Local, MIDI Clock, MIDI Dump,
Computer, Restore Preset, Restore Microtuning, Piano Frame and
Display Contrast.

To gain access to the General function, press the GENERAL button.

1 TUNE CONTROL
440.0 Hz.

Use the Page Up/Down buttons to navigate through the functions.

2 MIDI CHANNEL 3 MIDI MODE

01 COMMON CHANNEL

Use the DATA +/– buttons to change the selected parameter value or the
on/off status.
The selection procedure is cyclic, therefore, if you are on page 3 and want
to pass to page 13, simply use the DATA – button to select the functions
in reverse order; 2, 1, 14, 13, etc..
The last page selected is memorized, allowing you to leave the menu and
return at any time to the most frequently used General function.

42
1. Tune Control
This function allows the entire instrument to be tuned to match another
instrument which may be slightly out of tune.
Pressing the GENERAL button for the first time activates the Tune Control
display:

1 TUNE CONTROL
440.0 Hz.

The display refers to a standard reference for the pitch of concert A = 440
Hz. The available Tuning range is from 427.5 Hz to 452.5 Hz in steps of
0.5 Hertz at a time.
Use the DATA + button to raise the tuning value:

1 TUNE CONTROL
440.5 Hz.

Use the DATA – button to lower it:

1 TUNE CONTROL 1 TUNE CONTROL

…
440.0 Hz. 439.5 Hz.

Holding down either the DATA + or – button changes the value continually
until you release the button.
The Tune Control value remains in memory until changed again, or until
you turn the instrument off. When you turn on the instrument, the Tune
Control value will return to the standard value (A = 440).

Reset
To restore the Tune Control value to the standard setting in a single step,
press both DATA + and – buttons together.

43
2. MIDI Channel
This function allows you to change the “primary MIDI channel” for the
instrument, regardless of the keyboard status (single, layer or split).
Pressing Page Up shows the following display:

2 MIDI CHANNEL
01

This is both the send and receive channel for the Single section of the
current Preset across the entire keyboard.
The MIDI Channel of the secondary sections (Layer or Split) is automati-
cally controlled by the MIDI Mode function explained afterwards.
Use the DATA +/– buttons to select the MIDI channel, from 1 … 16:

2 MIDI CHANNEL 2 MIDI CHANNEL

....
02 16

When you reach channel 16, the next value is OFF; this disables the
instrument for MIDI transmission and reception:

2 MIDI CHANNEL
OFF

The channel selection procedure is cyclic, therefore, from channel 1, you

can pass directly to the MIDI Off situation using the DATA – button to
disactivate MIDI transmission/reception.
The last MIDI Channel selected is memorized, even after turning the
instrument off.

44
3. MIDI Mode
This function provides two different modes of operation for the MIDI
interface: Common Channel or Dual channel.

Common Channel
Press the PAGE Up button to pass to the Common channel page:

3 MIDI MODE
COMMON CHANNEL

The Common Channel mode is selected by default.

With this setting the RP90 receives and sends Midi data on a single
channel only (set on the previous page), regardless of the current
keyboard mode of the Preset (single, split, layer). The Common Mode
is best used when you connect the RP90 to an expander. In this case,
changing the Presets will send Program Change messages from 1 to 64
to the expander, while changing the User Presets will send Program
Change messages from 65 to 127, allowing you, therefore, to change the
sounds of the external generator from the RP90.
A Program Change message received by RP90 on the Common Channel
will not change one of the individual sound programs of a Preset. Instead,
it will be interpreted as a Preset Change message.

Dual Channel
This mode determines the MIDI channel of the main and secondary
sections of a Preset (Layer or Split).
Pressing the DATA + or – button selects the second MIDI Mode function:
Dual Channel.

3 MIDI MODE
DUAL CHANNEL

Selecting Dual Channel mode automatically disables Common channel

mode.
The MIDI channel of the main section is selected from the Midi Channel
page, as already explained. The MIDI Channel of the secondary section
(Layer or Split) is automatically assigned according to formula “N + 1”
where N = the MIDI channel of the main section. For example, if you have
assigned MIDI channel 1 to the main sound, the Layer or Split will have
MIDI channel 2. This channel will be both the send and receive channel
for the second section.
In Dual channel mode, the MIDI messages transmitted and received will
be separate for each section. The Program Change and Control Change
messages will depend on the Sound Program of the selected Preset (refer
to the MIDI Implementation chart in the Appendix).
The last MIDI Mode selected is memorized even after turning the instru-
ment off.

45
4. MIDI Transpose
This function allows you to enable/disable the transmission via MIDI of a
transposition that you may apply to the instrument, so that an external
MIDI device receives or doesn’t receive transposed note messages.
Pressing Page Up shows the following display:

4 MIDI TRANSP
ON

MIDI Transpose ON is the default setting.

For example, if you connect an external expander to RP90’s MIDI Out
and, with MIDI Transpose ON, you transpose RP90 by 1/2 semitone and
the external expander will also play 1/2 semitone higher.
To disable MIDI Transpose, use the DATA – button to select the “OFF”
setting:

4 MIDI TRANSP
OFF

The last setting remains in memory until changed again, or until you turn
the instrument off. When you turn on the instrument, the MIDI Transpose
will return to ON.

46
5. MIDI In Filter
This function allows you to block the reception of certain MIDI messages
which might be unwanted on some occasions.
Pressing Page Up shows the following display:

5 FILTER MidiIN
OFF

The following table lists the filter in messages available:

Midi In filter message

OFF no filter
Programs program change
All Contr All midi controllers
Prog + Vol prog.chng & volumes
Volume Midi volume
Pedals Hold,sustain,soft
Pitch pitch bend

Use the DATA +/– buttons to select the message that can be filtered out
of the MIDI IN data stream.
The default setting for the MIDI IN Filter is OFF.
For example, if you were playing a MIDI file from an external sequencer
using the El.Grand Preset, you might find that the Preset you have
selected changes every time you start playback of the sequence. This
happens because the sequence includes a Program Change at the
beginning of the song. To overcome this problem, you would select the
MIDI IN FILTER “PROGRAMS”.

5 FILTER MidiIN
Programs

This means that the RP90 would then ignore any Program Change
messages that it receives from the external device.
The last MIDI In Filter selected is memorized even after turning the
instrument off.

47
6. MIDI Out Filter
This function is used to stop the instrument from transmitting certain MIDI
messages which might be unwanted on some occasions.
Pressing Page Up shows the following display:

6 FILTER MidiOUT
OFF

The following table lists the filter out messages available:

Midi OUT Filter message

OFF no filter
Programs program change
All Contr All midi controllers
Prog + Vol prog.chng & volumes
Volume Midi volume
Pedals Hold,sustain,soft

Use the DATA +/– buttons to select the message that can be filtered out
of the MIDI OUT data stream.
The default setting for the MIDI OUT Filter is OFF.
For example, if you were to connect the instrument to an external MIDI
sound module, when you reduce the section volume of the RP90, a “MIDI
Volume” message is sent which also changes the volume of the sound
module. Furthermore, when you select a new sound on the RP90, a
“Program Change” message would also be sent to the sound module,
causing its sound to be changed too.
In situations where changes to the external device are not required, these
could be avoided by selecting the MIDI OUT FILTER “PROG + VOL”:

6 FILTERMidiOUT
Prog + Vol

This means that the RP90 would no longer send out these unwanted
messages.
The last MIDI Out Filter selected is memorized even after turning the
instrument off.

48
7. MIDI Local
This function, if OFF, isolates the RP90 from its internal sound engine
allowing it to be used as a MIDI controller. When ON, RP90’s keyboard
data is directed to the internal sound engine as well as the MIDI OUT port.
Pressing Page Up shows the following display:

7 MIDI LOCAL
ON

Press the DATA – button to set Local Off.

7 MIDI LOCAL
OFF

Return to the On setting with the DATA + button.

The Local Off setting simplifies the connection of the RP90 with an
external sequencer or computer, allowing the keyboard to be used as a
controlling device and the internal sound engine as an expander when
connecting to a sequencer/computer.
A typical example of the use of the Local control is when the RP90 MIDI
IN port is connected to the sequencer/computer MIDI OUT port, and the
RP90 MIDI OUT port to the sequencer/computer MIDI IN port (MIDI Loop
connection). Set the sequencer/computer to operate in MIDI Thru mode
(in other words, set it to return the data it receives from the RP90 keyboard
back to the RP90 MIDI IN).
With Local Off, all messages generated by the RP90 keyboard are
excluded from the internal sound engine and sent via the MIDI OUT to the
sequencer/computer, which then returns the data to the RP90 sound
engine via MIDI IN.
Note: The last Local setting remains memorized until changed again, or
until the instrument is turned off. Turning the instrument on again sets to
Local On.

49
8. MIDI Clock
This function allows you to select the timing clock for the Recording Studio
(sequencer).
Pressing Page UP shows the display set for Internal Clock operation.

8 MIDI CLOCK
INTERNAL

The two options available are:

Internal: the internal metronome controls the sequencer timing.

External: the MIDI IN clock signal transmitted by the external

device controls the sequencer timing.

Use the DATA – button to select the External option.

8 MIDI CLOCK
EXTERNAL

Return to Internal with the DATA + button.

The last setting remains in memory until changed again, or until you turn
the instrument off. When you turn on the instrument, the MIDI Clock will
return to Internal.

50
9. MIDI Dump
Using the MIDI Dump feature, you can send all of the information currently
held in the instrument’s User Preset section to an external storage device
such as a MIDI sequencer, data filer, etc.. Refer to the owner’s manual
of your MIDI software, sequencer or data filer for instructions on how to
receive MIDI dumps from other equipment.

Here’s the procedure for sending a MIDI dump:

1. Connect a MIDI cable between the RP90 MIDI OUT and the storage
device’s MIDI IN.
2. Access the MIDI DUMP function from the General button and press
PAGE UP several times until the correct display appears:

9 MIDI DUMP
OFF

3. Press the DATA + button to select “ON”:

9 MIDI DUMP
ON

4. Press the Page Up button to get the instrument ready for the
transmission:

Ready for Dump !

Press ^ to start

5. Prepare the storage device to receive a MIDI Dump.

6. Respond to the “Ready for dump - press ^ to start” message by
pressing Page UP once more.

Dump in progress Dump in progress

....
1 ’’’’’ 30

You will see the dump progress screen until the dump is complete.
The time taken for a MIDI dump depends on the amount of data
being transferred.
When the MIDI dump has finished, the display returns to the starting
display.

9 MIDI DUMP
OFF

At this point, you can proceed with the selection of the next General
function.

51
10. Computer
This function allows you to set the operating mode for the computer serial
port on the instrument’s back panel. This port allows two-way communi-
cation between the RP90 and a PC without the need for a MIDI interface.
A cable to connect the instrument to your PC or Macintosh can be
obtained from your dealer.
Pressing the Page Up button shows the following display:

10 COMPUTER
OFF

There are three modes which can be selected, as shown by the following
table:

Selections
OFF (default)
PC_1 (Slow)
PC_2 (Fast)
Apple

Use the DATA +/– buttons to select the options available.

OFF : all MIDI data is directed to the MIDI interface.

10 COMPUTER
PC_1 (Slow)

PC-1 : suitable for connection to a PC with 80386, or earlier

processor.

10 COMPUTER
PC_2 (Fast)

PC-2 : suitable for connection to a PC with 80486, Pentium or

faster processor.

10 COMPUTER
Apple

Apple : suitable for any Macintosh computer.

When you enable the Computer port for one of the transmission/reception
options, the instrument’s MIDI interface will be automatically disabled for
transmission/reception.
The last Computer setting selected is memorized even after turning the
instrument off.

52
11. Restore Presets
This function allows you to restore all of the factory-programmed User
Presets that you may have memorized to the User Preset locations.
Note: doing this will destroy any User Presets which you have saved into
the instrument yourself.
Entering the Restore Preset function with Page Up shows the following
display:

11 REST. PRESETS
Press+to restore

Press the DATA + button to display a confirmation request for the

operation:

11 REST. PRESETS
SURE?

Press the DATA + button once more to complete the restore operation:

11 REST. PRESETS
DONE !

After a few seconds, the display returns to normal to allow you to proceed
with the selection of another General function.

Note: before confirming the Restore Preset operation, be sure that you
have saved your User Presets to an external storage device by using the
MIDI Dump feature.

53
12. Restore Microtune
This function allows you to reset the User Microtuning temperament (Perf
Edit page n. 11).
This is a useful feature if you have been trying to create a user tuning
scale unsuccessfully and wish to start from the beginning again.
Entering the Restore Microtune function with Page Up shows the Restore
Microtune display:

12 REST. MICROT.
Press+to restore

Press the DATA + button to display a confirmation request for the restore
Microtune operation:

12 REST. MICROT.
SURE?

Press the DATA + button once more to complete the restore operation:

12 REST. MICROT.
DONE!

After a few seconds, the display returns to normal to allow you to proceed
with the selection of another General function.

54
13. Piano Frame Level
This function controls the volume of the string vibration that is conducted
through the plate of the piano from the undamped strings in the upper
register of the piano. The default value is 50 (a good simulated grand
piano plate size). Increasing the value increases these harmonics to
simulate a plate size beyond even a concert grand piano at a value of 127!
Decreasing the value softens the harmonics to faithfully reproduce the
plate size of a smaller console type piano.
Entering the Piano Frame function with Page Up shows the following
display with the default setting of 50:

13 PIANO FRAME
’’’’’’ 50

Use the DATA +/– buttons to adjust the value to a level to suit your playing.
Although characteristic of an acoustic piano, some players may prefer to
reduce the level of the Piano Frame effect or disable it completely (0
level).

13 PIANO FRAME 13 PIANO FRAME

....
’’’’’’’’’’ 127 0

The recommended level to simulate a 9 ft. grand piano is 50.

The setting programmed in this display remains memorized even after
turning off the instrument.

55
14. Display Contrast
Use this function to improve the visibility of the display under different
lighting conditions.
Pressing Page Up shows the default Display Contrast setting:

14 DISPLAY CONTR
’’’’’’’’’ 4

Use the DATA +/– buttons to adjust the Display Contrast value within the
range – 6, … 0, … 6.

14 DISPLAY CONTR 14 DISPLAY CONTR

...
’’’’’’’’’’’ 6 ’’’’’’’’’’’ -6

A higher value will give a stronger contrast.

56
 Section 6

Recording Studio/Sequencer
The RP90 features a simple but powerful sequencer which allows you
to accurately record your playing or create simple songs. This section
takes a closer look at the controls and related functions.

57
Recording Studio Controls
How to record a simple Song using RP90’s on-board sequencer (Record-
ing Studio) is explained in the Quick Guide (page 16). This section takes
a close look at the sequencer controls and how to use them.
The Recording Studio, located on the extreme right of the instrument’s
control panel, consists of two buttons: Play\Stop and Rec.
Play/Stop : Starts and stops either playback or recording.
Rec (Record) : Activates “Record pending” mode.
Recording actually starts when you press the Play
button.

Rec Control
Another sequencer control button, called REC CONTROL, resides in the
CONTROL section, located to the left of the Recording Studio.
This button allows you to adjust several fundamental recording param-
eters (Time Signature, Metronome, Countdown).

Time Signature
When you press the REC CONTROL button, the display shows the first
page of the Rec Control menu, corresponding to the Time Signature
function:

1 REC. CONTROL
TIME SIG. 4/4

This page offers a selection of Time Signatures for the Song you wish to
record. The default setting is 4/4.
By using the DATA +/– buttons, you can select from the following
selection table:

Time Sign.
2\4
3\4
4\4
5\4
6\8
9\8
12\8

Metronome (click)
Press Page Up to enter the second page of the Rec Control menu;
Metronome click.

2 REC. CONTROL
CLICK METR. ON

58
In this page you can activate/deactivate the Metronome (click).
The default setting is ON. Use the DATA – button to deactivate (Off) the
metronome.

2 REC. CONTROL
CLICK METR. OFF

The DATA + button reactivates the setting.

Countdown
Press PAGE Up to enter the last page of the Rec Control menu: Count-
down.

3 REC. CONTROL
COUNTDOWN ON

In this page you can activate/deactivate the countdown measure.

When you press PLAY to start your recording after activating the se-
quencer, the Countdown measure gives you a one measure lead into the
recording. No events are captured by the sequencer if you play during the
one measure countdown.
If you prefer to record without the countdown measure (ON by default),
press the DATA – button to deactivate the setting (Off).

3 REC. CONTROL
COUNTDOWN OFF

Start playing as soon as you press PLAY to start the recording.

The RP90 Recording Studio (sequencer) is able to record the following

events:
• Keyboard and pedal data;
• Preset change data;
• Changes of the Preset balance settings;
• Activation/deactivation of the Layer and Split buttons;

Note: Once you have recorded your sequence, it is possible to play along
with the recording using a different Preset.

59
60
Section 7

Reference

61
RP90 Technical Specifications

Keyboard 88 keys with hammer action

Polyphony 64 Voices
Sounds 64 Preset + 64 programmable User Preset,
Operating Modes Single - Split - Layer
General Controls Volume, Transpose, Brilliance, Tuning, Touch Sensitivity, Frame Control,
Balance, Demo
Edit Sound Program, Sound Volume, Section Transpose, Rev.Parameter, Reverb
Send A\B sounds, EFX Send A\B Sounds, EFX Parameter 1, EFX Parameter 2,
Microtuning, Auto-Wha, Detune, Delay, Damper assign.
Display 16 x 2 LCD (backlit).
Digital Effects 2 separate Digital Effects : 8 Reverb, 8 Modulation with separate Send Level
Physical Models Damper Physical Model, Natural String Resonance,
Advanced Release Technology
Recording Studio 1 song, Rec & Play function & control, 15.000 events
MIDI 16 channels, Common channel, Dump.
Connectors 2 Headphones, PedalSwitch (Damper, Soft), Computer (PC1, PC2, Mac),
MIDI In/Out/Thru, Stereo input, Stereo output.
Amplification 25 W + 25 W
Speakers 2 Full range 5"
Accessories Optional Bench
Notes Operating system in Flash ROM memory,
Operating System can be upgraded via computer

62
Technology
The RP90 features three unique applications of sound design technology
including “physical models” to simulate the internal characteristics of a
piano soundboard.

Natural String Resonance

The first physical model technology, patented by Generalmusic as “Natu-
ral String Resonance”, allows all of the complex harmonics normally
produced by the piano soundboard to be faithfully reproduced. This
means that a note’s individual sound will always be slightly different
depending upon which other notes are currently being held, (and conse-
quently which strings are un-damped and free to resonate in sympathy).
If you hold a low “C” and let the note decay, the strings for that note are
still un-damped for as long as the key remains depressed. If you now
strike another “C” higher up the keyboard, (staccato), you will hear the
sympathetic resonance of the low “C” strings in response to the new note
played. This natural effect replicates exactly what happens on a grand
piano. If you experiment with different combinations of notes you will hear
harmonic colours particular to each. Because this effect is produced by
physical models and not by samples or DSP effects, the result is a
musically and technically accurate simulation of a piano’s soundboard
and virtually infinite combinations of harmonics can be produced.

Damper Physical Model

The second technology, patented by Generalmusic as “Damper Physical
Model”. When the damper pedal is depressed, the damper physical
model will simulate the effect of sympathetic resonances being produced
by the un-damped strings. You can hear the effect of the Damper Physical
Model by comparing the sounds of notes played in the highest octave of
the instrument with and without the damper pedal depressed.

Advanced Release Technology

The third and final technology applied to the piano sounds in the RP90 is
“Advanced Release Technology”, (patent pending). Sample based elec-
tronic pianos traditionally use envelope generators to control what hap-
pens when a key is released. This simply allows the sample loop to
continue for a set period of time until it’s amplitude is reduced to zero by
the envelope generator. In an acoustic piano, vibrating strings are
silenced by the action of a damper making contact with the string. When
this happens, depending on the velocity with which the key was struck and
the length of the string itself, certain frequencies are damped earlier than
others producing a distinctive harmonic “ring” as the different frequencies
in the string’s tone dissipate throughout the piano soundboard. The ART
in the RP90 simulates exactly this feature with complete accuracy
throughout the 88 note range.

63
64
 N
Index Natural String Resonance 63
P
PC-1 52
A PC-2 52
Advanced release technology 63 Pedal Connection 6
Apple 52 Perf Edit menu 24
Auto Wha Wha 34 Perf. Edit 21
C Physical Model technology 63
Piano Frame Level 55
Change the name of a Preset 40
Play/Stop 58
Change the Split point 9
Power switch 5
Common Channel 45
Preset (the Concept ot) 22
Computer 52
Preset (The) 13
Countdown 59
Preset name 40
D Preset/User Preset table A. 2
Damper 6 R
Damper physical model 63
Delay 38 Rear panel 4
Demo button 14 Rec (Record) 58
Demo Song list 14 Rec Control 58
Demo Songs 14 Recording a Song 16
Detune 37 Recording Studio 57
Display Contrast 56 Recording Studio controls 58
Dual Channel 45 Reset Section Transpose 28
Restore Microtune 54
E Restore Preset 53
Effect Editing 32 Reverb Decay Time 30
Effects 23 Reverb Send 29
External Clock 50 S
F Section Transpose 28
Front panel 2 Selecting the RP90 Presets 11
G Selection buttons 11
Soft 6
General 42 Sound Program 25
General functions 41 Sound Program table 26
H Sound volume 27
Headphone 5 Special Control Change messages A. 4
Split 25
I Split button 8
Internal Clock 50 Split mode 8
K Split point 9
Store 39
Keyboard Scales 35
Store the modified Preset 39
L Structure of a Preset 22
Layer 25 T
Layer button 9
Technical Specifications 62
Layer mode 9
Technology 63
M Temperaments 35
Metronome 58 Time Signature 58
MIDI Channel 44 Tune Control 43
MIDI Clock 50 U
MIDI Dump 51
User Microtuning 35
MIDI Implementation Chart A. 3
User Preset 39
MIDI In Filters 47
User Presets 12
MIDI Local 49
MIDI Mode 45 V
MIDI Out Filter 48 Volume 10
MIDI Transpose 46 Volume Balance 10
Modify the Layer 25
Modify the Split 25

65
66
 Appendix
Appendice
Anhang

A-1
 RP90 PRESETS/USER PRESETS TABLE
PRESET USER PRESET
•GROUP PIANO • GROUP PIANO
1- GRANDPIANO 65- GRANDPIANO 2
2- ELECT.GRAND 66- CUSTOM GRAND
3- UPRIGHTPIANO 67- ROCK PIANO
4- HONKY TONKY 68- HONKY TONKY 2
5- CHORUS PIANO 69- EFX PIANO
6- STRING PIANO 70- POP PIANO
7- JAZZ PIANO 71- JAZZ PIANO 2
8- ELECTRIC DUO 72- ELECTRIC SPLIT
• GROUP EL.PIANO • GROUP EL.PIANO
9- RHODEX 1 73- PHASE RHODEX
10- WURLIE 74- SYNTH WURLIE
11- RHODEX 2 75- MIXRHODEX
12- FM PIANO 76- FM PIANO 2
13- RHODEX PAD 77- RHODEX PAD 2
14- FULL TINE 78- MIXED FM 2
15- RHODEX BASS 79- RHODEX BASS 2
16- WURLIE BASS 80- WURLIE BASS 2
• GROUP KEYBOARD • GROUP KEYBOARD
17- HARPSICHORD 81- HARPSICHORD 2
18- CLAVINET 82- SYN CLAVINET
19- CELESTA 83- CELESTA DROPS
20- GRAND HARP 84- GRAND HARP 2
21- MIXED CELESTA 85- MIXED HARP 2
22- PIANO HARP 86- MIXED CELESTA 2
23- CONTINUM 87- PIANO HARP2
24- SPLIT HARP 88- HYBRID PIANO 2
• GROUP ORGAN • GROUP ORGAN
25- JAZZ ORGAN 89- POP ORGAN 2
26- JAZZ ORGAN 2 90- JAZZ ORGAN 2
27- THEATRE ORGAN 91- THEATRE ORGAN 2
28- PIPE ORGAN 92- PIPE ORGAN 2
29- DRAWBARS 93- DRAWBARS 2
30- PIANORGAN 94- PIANORGAN 2
31- ORGAN COMBO 1 95- ORGAN COMBO 3
32- ORGAN COMBO 2 96- ORGAN COMBO 4
• GROUP STRING • GROUP STRING
33- STRING1 97- CONCERTO GROSSO
34- MELLOW STRING 98- STRING PAD
35- SLOW STRING 99- STRING THIN
36- OCTAVE STRING 100- STRING HARP
37- STRINGBELL 1 101- STRING RHODEX
38- STRINGBELL2 102- STRINGBELL 3
39- SYMPHONIC 103- SYMPHONIC 2
40- CONCERTO 104- CONCERTO 2
• GROUP CHOIR/PAD • GROUP CHOIR/PAD
41- CHOIR 1 105- CHOIR PAD
42- SLOW CHOIR 106- CHOIR BELL
43- ATTACK PAD 107- PAD RHODEX
44- TAP PAD 108- CLAIRE DE LUNE
45- MIXDPAD 1 109- MIXDPAD 3
46- MIXPAD 2 110- MIXPAD 4
47- RAIN PAD 111- RAIN PAD 2
48- BARCHIME PAD 112- BARCHIME PAD 2
• GROUP GUITAR • GROUP GUITAR
49- NYLON GUITAR 113- NYLON PAD
50- STEEL GUITAR 114- 12 STRING 2
51- JAZZ GUITAR 115- JAZZ DUO
52- STRATO GUITAR 116- STRATO PAD
53- HARPTAR 117- GUITAR DROPS
54- 12 STRING 1 118- MIXGUITAR 2
55- WES COMBO 119- GUITAR COMBO 3
56- COUNTRY DUO 120- ACOUSTIC DUO
• GROUP VIBES • GROUP VIBES
57- VIBES 1 121- VIBES DROPS
58- VIBES 2 122- VIBES RHODEX
59- VIBES 3 123- VIBRIMBA
60- MARIMBA 124- WURLIMBA
61- VIBES HARP 125- VIBES HARP 2
62- VIBES PIANO 126- VIBES PAD 2
63- VIBES COMBO 1 127- VIBES DUO
64- VIBES COMBO 2 128- VIBES GUITAR

A-2
 MIDI IMPLEMENTATION CHART

MANUFACTURER Date 15/05/99

GENERALMUSIC S.p.A. MODEL: RP90 Version 1:00
FUNCTION Transmitted Recognized Remarks
Basic Default 1 1
Channel Changed 1-16 1-16
Mode Default Mode 3 Mode 3
Messages X X
Altered ******** X
Note 9-120 9-120
Number True Voice ******** 9-120
Velocity Note ON o o
Note OFF o o
After Key’s x x
Touch Ch’s x x
Pitch Bender x x
Control 0 Bank select MSB
Change 7 Volume 7 Volume
64 Damper pedal 64 Damper pedal
66 Sostenuto 66 Sostenuto
67 Soft pedal 67 Soft pedal
91 Reverb send
93 Effect send
117 ( key on ) (1)
118 ( key off ) (1)
120 All sound off
121 Reset all controllers
121 Reset all controllers
Program 0-127 0-127 (2)
Change True number ******** 0-127
System Exclusive o o
System Song Position x x
Song Select x x
Common Tune x x
System Clock o o
Real Time Commands o o
Aux Local On/Off x x
Messages All Notes Off o o
Active Sensing o o
Reset x x
NOTES (1) On Common channel, these messages are interpreted as Special Control messages.
See table on the next page.
(2) Cn xx (0≤ ‘xx’ ≤47 select Single sounds when MIDI MODE is DUAL Channel.
Cn xx (0≤ ‘xx’ ≤ 63 select preset combinations when MIDI MODE is Common Channel.

o = YES; x = NO

A-3
Special Control Change messages

Generalmusic Special Control Changes

RP 90 KEYS selection
Bn 75 00 Push key DEMO Bn 76 00 Release key DEMO
Bn 75 01 Push key GENERAL Bn 76 01 Release key GENERAL
Bn 75 02 Push key TRANSPOSE b Bn 76 02 Release key TRANSPOSE b
Bn 75 03 Push key BRILLANCE - Bn 76 03 Release key BRILLANCE -
Bn 75 04 Push key TRANSPOSE # Bn 76 04 Release key TRANSPOSE #
Bn 75 05 Push key BRILLANCE + Bn 76 05 Release key BRILLANCE +
Bn 75 06 Push key PIANO 1 Bn 76 06 Release key PIANO 1
Bn 75 07 Push key 1 Bn 76 07 Release key 1
Bn 75 08 Push key EL PINAO Bn 76 08 Release key EL PINAO
Bn 75 09 Push key 2 Bn 76 09 Release key 2
Bn 75 0A Push key KEYBOARD Bn 76 0A Release key KEYBOARD
Bn 75 0B Push key 3 Bn 76 0B Release key 3
Bn 75 0C Push key ORGAN Bn 76 0C Release key ORGAN
Bn 75 0D Push key 4 Bn 76 0D Release key 4
Bn 75 0E Push key STRINGS Bn 76 0E Release key STRINGS
Bn 75 0F Push key 5 Bn 76 0F Release key 5
Bn 75 10 Push key CHOIR Bn 76 10 Release key CHOIR
Bn 75 11 Push key 6 Bn 76 11 Release key 6
Bn 75 12 Push key GUITAR Bn 76 12 Release key GUITAR
Bn 75 13 Push key 7 Bn 76 13 Release key 7
Bn 75 14 Push key VIBES Bn 76 14 Release key VIBES
Bn 75 15 Push key 8 Bn 76 15 Release key 8
Bn 75 16 Push key GRANDPIANO Bn 76 16 Release key GRANDPIANO
Bn 75 17 Push key PRESET Bn 76 17 Release key PRESET
Bn 75 18 Push key PAGE DOWN " Bn 76 18 Release key PAGE DOWN "
Bn 75 19 Push key PAGE UP ! Bn 76 19 Release key PAGE UP !
Bn 75 1A Push key DATA - Bn 76 1A Release key DATA -
Bn 75 1B Push key DATA + Bn 76 1B Release key DATA +
Bn 75 1C not defined Bn 76 1C not defined
Bn 75 1D not defined Bn 76 1D not defined
Bn 75 1E not defined Bn 76 1E not defined
Bn 75 1F not defined Bn 76 1F not defined
Bn 75 20 Push key SPLIT Bn 76 20 Release key SPLIT
Bn 75 21 Push key BALANCE - Bn 76 21 Release key BALANCE -
Bn 75 22 Push key LAYER Bn 76 22 Release key LAYER
Bn 75 23 Push key BALANCE + Bn 76 23 Release key BALANCE +
Bn 75 24 Push key REVERB Bn 76 24 Release key REVERB
Bn 75 25 Push key TOUCH Bn 76 25 Release key TOUCH
Bn 75 26 Push key EFFECT Bn 76 26 Release key EFFECT
Bn 75 27 Push key STORE Bn 76 27 Release key STORE
Bn 75 28 Push key PERF EDIT Bn 76 28 Release key PERF EDIT
Bn 75 29 Push key REC CONTROL Bn 76 29 Release key REC CONTROL
Bn 75 2A Push key STOP Bn 76 2A Release key STOP
Bn 75 2B Push key RECORD Bn 76 2B Release key RECORD

A-4
FEDERAL COMMUNICATIONS COMMISSION

Note: This equipment has been tested and found to comply with the limits for a Class B
digital device, pursuant to Part 15 of FCC Rules. These limits are designed to provide
reasonable protection against harmful interference in a residential installation. This
equipment generates, uses, and can radiate radio frequency energy and, if not installed
and used in accordance with the instructions, may cause harmful interference to radio
communications. However, there is no guarantee that interference will not occur in a
particular installation. If this instrument does cause harmful interference to radio or
television reception, which can be determined by turning the instrument off and on, the
user is encouraged to try to correct the interference by one or more of the following
measures:

- Reorient or relocate the receiving antenna.

- Increase the separation between the equipment and the receiver.
- Connect the equipment into an outlet on a circuit different from that to which the receiver
is connected.
- Consult the dealer or an experienced radio/TV technician for help.

CAUTION: Changes or modifications to this product not expressly approved by the

manufacturer could void the user’s authority to operate this product.
 GENERALMUSIC Code 271277

Specifications are subject to change without prior notice.

Specifiche soggette a cambiamento senza preavviso.
Änderungen -auch ohne Vorankündigung- sind vorbehalten.

PRINTED IN ITALY

Sales Division: I -47048 S.Giovanni in Marignano (RN) - Italy – Via delle Rose, 12 – tel. +39 541 959511 – fax +39 541 957404 – tlx 550555 GMUSIC I