D‑10 Patch & Tone Reader ‑ Release Notes
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* THESE NOTES ARE CURRENTLY UNDER DEVELOPMENT AND ARE NOT 100% ACCURATE *
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This web browser utility reads D‑10 Bulk Dump *.SYX files from a computer, tablet or smartphone and displays all Patch & Tone names. It was designed to create Patch and Tone listings from all of my Roland and third‑party PCM cards (PN‑D10‑03, Valhala, Best Choice, Voice Crystal, etc...) and various D‑10 SysEx files downloaded from the Internet. The method used is to LOAD ALL from a PCM card or RAM Memory Card into Internal Memory and then perform a BULK DUMP (Dump One Way ‑ All) on the D‑10 to create a valid SysEx file. Likewise, you can also load D‑5/10/20/110 SysEx files into the D‑10, perform a BULK DUMP and save SysEx files which can then be read by this utility. This utility will not work with any SysEx files previously created on a D‑5, D‑10, D‑20 or D‑110 synth (unless it was saved on a D‑10 using BULK DUMP (Dump One Way ‑ All)


Version 1.0(a) - 12/31/2023
     • Initial Release

Version 1.1 - 02/22/2024
     • Fixed a bug which was not displaying "Less Than" and "Greater Than" characters for Patch and Tone Names ("<" and ">")

Notes About D‑10 SysEx Bulk Dump Files & Synth Structure
  • As you have probably noticed, there are several D‑10 SysEx files to be found on the Internet. Not all of these files will load correctly into the D‑10. Likewise, not all of these files will work with this utility. This utility is designed to work only with D‑10 SysEx files created using the BULK DUMP (Dump One Way ‑ All) method. This utility is able to tell the difference between SysEx file structures when you load them. The size of a Dump One Way ‑ All file is ~44KB

  • There are a few D‑10 Patch banks in a *.ZIP file at this link which you can use to test the program, all saved as BULK DUMP (Dump One Way ‑ All)

          D-110 D-10_Reader_SysEx_Test_Files.zip

  • SysEx files created on a D‑110 will load on a D‑10 but only 128 Tones will be loaded. No Patch info will be transferred. This is because D‑10 Performance Patches, Rhythm Patterns and Rhythm Tracks are not compatible with the D‑110. Keep this in mind when working with D‑110 files on a D‑10 because the Patch columns will have generic or blank enteries
    DRAG_AND_DROP
  • When using this utility on a Mac system, to speed up the load process, open a Finder window and search for all *.SYX files. Drag one file at a time from the Finder window directly onto the "Choose File (Safari/Chrome)" or "Browse (FireFox)" button in this browser utility. The file will then be read automatically without having to drill down and search through several directories (click for larger image)




D-10 Architecture

P A T C H E S
There are a total of 128 user editable Patches on the D‑10. The settings you can change in Patches are:

     Patch Name - Reverb - Assign Mode - Panning - Tone Select - Tuning - Split Point - Bender Range & more

     When you load a SysEx file, these 128 user Patches are overwritten with whatever data is contained in the SysEx file


T I M B R E S
There are a total of 128 preset Timbres on the D‑10. The settings you can change in Timbres are:

     Tone Select - Fine Tuning - Reverb Switch - Assign Mode - Bender Range - Key Shift

     When you load a SysEx file, these 128 Timbre settings are overwritten with whatever data is contained in the SysEx file


T O N E S  (User Editable)
There are a total of 64 user editable Tones on the D‑10. The parameters you can change in Tones are:

     Common Parameters (Envelopes, LFO's, Frequency, etc...) - PCM Waveform - Structure - Tone Name & more

     When you load a SysEx file, these 64 user Tones are overwritten with whatever data is contained in the SysEx file


T O N E S  (Preset Internal)
There are a total of 128 preset internal Tones on the D‑10. These are hard coded on IC12 and cannot be edited (ROM)

     When you load a SysEx file, these 128 preset internal Tones are unaffected


M E N U   D I V I N G
While scrolling through the menus on the LCD, you will notice different prefixes in front of the various sound names
       i08 = User Editable Tone #08     (RAM) / Bank i  (Bank i Tones can be edited and/or overwritten by a SysEx file)
     I-A36 = User Editable Patch #36    (RAM) / Bank A  (Bank A Patches can be edited and/or overwritten by a SysEx file)
     I-B84 = User Editable Patch #84    (RAM) / Bank B  (Bank B Patches can be edited and/or overwritten by a SysEx file)
       a46 = Preset Internal Tone #46   (ROM) / Bank a  (Bank a Tones can not be edited and/or overwritten by a SysEx file)
       b17 = Preset Internal Tone #17   (ROM) / Bank b  (Bank b Tones can not be edited and/or overwritten by a SysEx file)
       r59 = Preset Internal Rhythm #59 (ROM) / Bank r  (Bank r Rhythms can not be edited and/or overwritten by a SysEx file)

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Questions & Answers

Viv.thomas.-.pink.velvet.2.-.the.loss.of.innocence [best] Jun 2026

The Pink Velvet trilogy marked a significant creative turning point for Viv Thomas, steering his brand toward prestige, feature-length lesbian erotica. According to contemporary reviews highlighted on platforms like the Internet Movie Database (IMDb) and Letterboxd , Pink Velvet 2 is recognized for bridging the gap between mainstream adult cinema and couple-friendly adult entertainment. By favoring aesthetic composition over raw shock value, it remains an influential reference point for elevated adult feature productions from the early 2000s.

In this imagined universe, Viv. Thomas is a reclusive visual novelist—someone who works in the space between fashion photography, cinematic neo-noir, and psychological horror. Their signature is texture : the grain of 16mm film, the scrape of a zipper, the pile of crushed velvet.

On a technical level, a defining feature of this specific film (and the trilogy) is its departure from the harsh, clinical lighting common in adult films of that era. Viv Thomas utilized:

The subtitle The Loss of Innocence points toward a common thematic thread in erotic dramas: the exploration of discovery and the evolution of personal identity. Rather than a literal interpretation, this theme often serves as a narrative device to explore the psychological nuances of human connection and the transition from hesitation to confidence. The Impact of Production Standards VIV.THOMAS.-.PINK.VELVET.2.-.THE.LOSS.OF.INNOCENCE

The film continues the journey of (Monica Sweet), a young woman exploring her sexuality. While the first film focused on her initial discovery, the sequel explores more complex emotional and physical dynamics within a shared living space.

VIV.THOMAS.-.PINK.VELVET.2.-.THE.LOSS.OF.INNOCENCE is a masterful portrayal of the adolescent experience, tackling issues that are both universally relatable and deeply personal. The film's protagonist, a charismatic and introspective young individual, navigates the treacherous landscape of high school, grappling with the weight of expectation, peer pressure, and the struggle to find one's place in the world.

The storyline follows Jo, a young woman exploring her identity, along with an ensemble cast of other women. The subtitle, The Loss of Innocence , refers to the characters' complex boundaries of desire, stepping out of comfort zones, and new encounters. The Pink Velvet trilogy marked a significant creative

By structuring films around shared themes or aesthetic tones, creators offer a more immersive experience than a simple collection of scenes.

One of the film's greatest strengths is its unflinching portrayal of adolescence. VIV.THOMAS.-.PINK.VELVET.2.-.THE.LOSS.OF.INNOCENCE tackles a range of issues, including peer pressure, romantic relationships, family conflicts, and self-doubt. These themes are woven throughout the narrative, creating a sense of authenticity and honesty that resonates deeply with viewers.

As the credits roll on VIV.THOMAS.-.PINK.VELVET.2.-.THE.LOSS.OF.INNOCENCE, the audience is left with a lasting impression. This film lingers in the mind, its themes and characters continuing to resonate long after the narrative has concluded. It is a testament to the power of cinema to inspire, to educate, and to challenge our assumptions about the world around us. In this imagined universe, Viv

Viv Thomas took on multiple roles in this production, serving as director, producer, screenwriter, and director of photography. The cast is headlined by Hungarian actresses, a common feature in Thomas’s films during this era:

Without specific details on the narrative, characters, or the world-building of "VIV.THOMAS.-.PINK.VELVET.2.-.THE.LOSS.OF.INNOCENCE," one can only speculate on its exploration of the theme. However, a detailed analysis would likely involve:

The sun had long since set on the sleepy town of Twin Peaks, casting a warm orange glow over the quaint streets and homes. But in the midst of this peaceful evening, a sense of unease settled over Viv Thomas, a brilliant and introverted photographer. It was as if the very fabric of her reality was about to unravel.

"Velvet 2: The Loss of Innocence" is a collection that embodies a provocative blend of historical references and contemporary sensibilities. It stands as a testament to the daring and unconventional approach that both Vivienne Westwood and Thomas Pink are known for. The use of velvet as a primary material across the collection adds a layer of opulence and sensuality, juxtaposed with themes of loss and innocence.




If you find some of this DIY info useful, please consider donating a small amount. All donations are used for future DIY sampler development. Thanks! SUPER-JX ZONE

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Comments/Questions?


(If you want to report a bug or have a feature added, let me know)


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Viv.thomas.-.pink.velvet.2.-.the.loss.of.innocence [best] Jun 2026