Owner’s Manual
Thank you, and congratulations on your choice of the Roland JUNO-G.
2B0e1afore using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY”
and “IMPORTANT NOTES” (p. 2; p. 4). These sections provide important information
concerning the proper operation of the unit. Additionally, in order to feel assured that
you have gained a good grasp of every feature provided by your new unit, Owner’s
manual should be read in its entirety. The manual should be saved and kept on hand as
a convenient reference.
Conventions Used in This Manual
Operating buttons are enclosed by square brackets [ ]; e.g., [REC].
Reference pages are indicated by (p. **).
The following symbols are used.
This indicates an important note; be sure to read it.
This indicates a memo regarding the setting or function; read it as desired.
This indicates a useful hint for operation; read it as necessary.
This indicates information for your reference; read it as necessary.
This indicates an explanation of a term; read it as necessary.
985
*
The explanations in this manual include illustrations that depict what should typically be shown by the display. Note, however, that your
unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may
not always match what appears in the manual.
2C0o2 pyright © 2006 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND CORPORATION.
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For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
USING THE UNIT SAFELY
The
symbol alerts the user to important instructions
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
The
symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.
* Material damage refers to damage or
other adverse effects caused with
respect to the home and all its
furnishings, as well to domestic
animals or pets.
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the power-
cord plug must be unplugged from the outlet.
001
006
•
Before using this unit, make sure to read the instruc-
tions below, and the Owner’s Manual.
•
When using the unit with a stand (KS-12) recommended
by Roland, the rack or stand must be carefully placed so it
is level and sure to remain stable. If not using a rack or
stand, you still need to make sure that any location you
choose for placing the unit provides a level surface that
will properly support the unit, and keep it from wobbling.
..........................................................................................................
•
002dDo not open or perform any internal modifications on
the unit or its AC adaptor. (The only exception would be
where this manual provides specific instructions which
should be followed in order to put in place user-
installable options; see p. 174, p. 176.)
..........................................................................................................
•
008c Be sure to use only the AC adaptor supplied with the
unit. Also, make sure the line voltage at the installation
matches the input voltage specified on the AC adaptor’s
body. Other AC adaptors may use a different polarity,
or be designed for a different voltage, so their use could
result in damage, malfunction, or electric shock.
..........................................................................................................
003
•
Do not attempt to repair the unit, or replace parts within it
(except when this manual provides specific instructions
directing you to do so). Refer all servicing to your retailer,
the nearest Roland Service Center, or an authorized
Roland distributor, as listed on the “Information” page.
..........................................................................................................
•
008eUse only the attached power-supply cord. Also, the
..........................................................................................................
supplied power cord must not be used with any other
device.
004
•
Never use or store the unit in places that are:
..........................................................................................................
• Subject to temperature extremes (e.g., direct sunlight
in an enclosed vehicle, near a heating duct, on top of
heat-generating equipment); or are
009
•
Do not excessively twist or bend the power cord, nor
place heavy objects on it. Doing so can damage the cord,
producing severed elements and short circuits.
Damaged cords are fire and shock hazards!
• Damp (e.g., baths, washrooms, on wet floors); or are
• Humid; or are
..........................................................................................................
• Exposed to rain; or are
010
• Dusty; or are
•
This unit, either alone or in combination with an
amplifier and headphones or speakers, may be capable
of producing sound levels that could cause permanent
hearing loss. Do not operate for a long period of time at
a high volume level, or at a level that is uncomfortable.
If you experience any hearing loss or ringing in the ears,
you should immediately stop using the unit, and consult
an audiologist.
• Subject to high levels of vibration.
..........................................................................................................
005
•
This unit should be used only with a stand (KS-12) that
is recommended by Roland.
2
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011
•
Do not allow any objects (e.g., flammable material,
coins, pins); or liquids of any kind (water, soft drinks,
etc.) to penetrate the unit. When you install the Wave
Expansion Board (SRX series) or memory (DIMM),
please be careful particularly.
•
101bThe unit and the AC adaptor should be located so their
location or position does not interfere with their proper
ventilation.
..........................................................................................................
•
101c This (JUNO-G) for use only with Roland stand (KS-12).
Use with other stands is capable of resulting in instability
causing possible injury.
..........................................................................................................
•
012bImmediately turn the power off, remove the AC adaptor
..........................................................................................................
from the outlet, and request servicing by your retailer,
the nearest Roland Service Center, or an authorized
Roland distributor, as listed on the “Information” page
when:
•
102c Always grasp only the plug on the AC adaptor cord
when plugging into, or unplugging from, an outlet or
this unit.
..........................................................................................................
• The AC adaptor, the power-supply cord, or the plug
has been damaged; or
•
103bAt regular intervals, you should unplug the AC adaptor
• If smoke or unusual odor occurs
and clean it by using a dry cloth to wipe all dust and
other accumulations away from its prongs. Also,
disconnect the power plug from the power outlet
whenever the unit is to remain unused for an extended
period of time. Any accumulation of dust between the
power plug and the power outlet can result in poor
insulation and lead to fire.
• Objects have fallen into, or liquid has been spilled
onto the unit; or
• The unit has been exposed to rain (or otherwise has
become wet); or
• The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
..........................................................................................................
104
013
•
•
Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be placed
so they are out of the reach of children.
In households with small children, an adult should
provide supervision until the child is capable of
following all the rules essential for the safe operation of
the unit.
..........................................................................................................
106
..........................................................................................................
•
Never climb on top of, nor place heavy objects on the
unit.
014
•
Protect the unit from strong impact.
(Do not drop it!)
..........................................................................................................
107c Never handle the AC adaptor or its plugs with wet
..........................................................................................................
•
015
•
hands when plugging into, or unplugging from, an
outlet or this unit.
Do not force the unit’s power-supply cord to share an
outlet with an unreasonable number of other devices. Be
especially careful when using extension cords—the total
power used by all devices you have connected to the
extension cord’s outlet must never exceed the power
rating (watts/amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat up and
eventually melt through.
..........................................................................................................
•
108bBefore moving the unit, disconnect the AC adaptor and
all cords coming from external devices.
..........................................................................................................
•
109bBefore cleaning the unit, turn off the power and unplug
016
•
Before using the unit in a foreign country, consult with
your retailer, the nearest Roland Service Center, or an
authorized Roland distributor, as listed on the “Infor-
mation” page.
..........................................................................................................
•
110bWhenever you suspect the possibility of lightning in
your area, disconnect the AC adaptor from the outlet.
..........................................................................................................
..........................................................................................................
022bAlways turn the unit off and unplug the AC adaptor
•
115aInstall only the specified circuit board(s) (SRX series,
•
before attempting installation of the circuit board (SRX
series; p. 174, DIMM; p. 176).
DIMM). Remove only the specified screws (p. 174, p.
176).
..........................................................................................................
..........................................................................................................
023
•
118aShould you remove the ground terminal screw or
•
DO NOT play a CD-ROM disc on a conventional audio
CD player. The resulting sound may be of a level that
could cause permanent hearing loss. Damage to
speakers or other system components may result.
screws that fasten the bottom cover or the PC card
protector, keep them in a safe place out of children’s
reach, so there is no chance of them being swallowed
accidentally.
3
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IMPORTANT NOTES
291a
In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:
Power Supply
•
Repairs and Data
•
301 Do not connect this unit to same electrical outlet that is being
452 Please be aware that all data contained in the unit’s memory may
used by an electrical appliance that is controlled by an inverter
(such as a refrigerator, washing machine, microwave oven, or air
conditioner), or that contains a motor. Depending on the way in
which the electrical appliance is used, power supply noise may
cause this unit to malfunction or may produce audible noise. If it
is not practical to use a separate electrical outlet, connect a power
supply noise filter between this unit and the electrical outlet.
be lost when the unit is sent for repairs. Important data should
always be backed up on a memory card, or written down on
paper (when possible). During repairs, due care is taken to avoid
the loss of data. However, in certain cases (such as when circuitry
related to memory itself is out of order), we regret that it may not
be possible to restore the data, and Roland assumes no liability
concerning such loss of data.
•
302 The AC adaptor will begin to generate heat after long hours of
consecutive use. This is normal, and is not a cause for concern.
Additional Precautions
•
•
307 Before connecting this unit to other devices, turn off the power to
all units. This will help prevent malfunctions and/or damage to
speakers or other devices.
551 Please be aware that the contents of memory can be irretrievably
lost as a result of a malfunction, or the improper operation of the
unit. To protect yourself against the risk of loosing important
data, we recommend that you periodically save a backup copy of
important data you have stored in the unit’s memory on a
memory card.
Placement
351 Using the unit near power amplifiers (or other equipment
•
552 Unfortunately, it may be impossible to restore the contents of
data that was stored on a memory card or unit’s memory once it
has been lost. Roland Corporation assumes no liability
concerning such loss of data.
•
containing large power transformers) may induce hum. To
alleviate the problem, change the orientation of this unit; or move
it farther away from the source of interference.
352a
•
553 Use a reasonable amount of care when using the unit’s buttons,
•
This device may interfere with radio and television reception. Do
not use this device in the vicinity of such receivers.
sliders, or other controls; and when using its jacks and
connectors. Rough handling can lead to malfunctions.
352b
•
Noise may be produced if wireless communications devices, such
•
554 Never strike or apply strong pressure to the display.
as cell phones, are operated in the vicinity of this unit. Such noise
could occur when receiving or initiating a call, or while
conversing. Should you experience such problems, you should
relocate such wireless devices so they are at a greater distance
from this unit, or switch them off.
•
556 When connecting / disconnecting all cables, grasp the connector
itself—never pull on the cable. This way you will avoid causing
shorts, or damage to the cable’s internal elements.
354a
558a
•
Do not expose the unit to direct sunlight, place it near devices
•
To avoid disturbing your neighbors, try to keep the unit’s volume
at reasonable levels. You may prefer to use headphones, so you
do not need to be concerned about those around you (especially
when it is late at night).
that radiate heat, leave it inside an enclosed vehicle, or otherwise
subject it to temperature extremes. Excessive heat can deform or
discolor the unit.
355b
559a
•
When moved from one location to another where the temper-
•
When you need to transport the unit, package it in the box
ature and/or humidity is very different, water droplets (conden-
sation) may form inside the unit. Damage or malfunction may
result if you attempt to use the unit in this condition. Therefore,
before using the unit, you must allow it to stand for several
hours, until the condensation has completely evaporated.
(including padding) that it came in, if possible. Otherwise, you
will need to use equivalent packaging materials.
•
561 Use only the specified expression pedal (EV-5; sold separately).
By connecting any other expression pedals, you risk causing
malfunction and/or damage to the unit.
562 Use a cable from Roland to make the connection. If using some other
•
358 Do not allow objects to remain on top of the keyboard. This can
•
be the cause of malfunction, such as keys ceasing to produce
sound.
360 Depending on the material and temperature of the surface on which
make of connection cable, please note the following precautions.
• Some connection cables contain resistors. Do not use cables
that incorporate resistors for connecting to this unit. The use
of such cables can cause the sound level to be extremely low,
or impossible to hear. For information on cable specifications,
contact the manufacturer of the cable.
•
you place the unit, its rubber feet may discolor or mar the surface.
You can place a piece of felt or cloth under the rubber feet to
prevent this from happening. If you do so, please make sure that the
unit will not slip or move accidentally.
566b
•
The sensitivity of the D Beam controller will change depending
on the amount of light in the vicinity of the unit. If it does not
function as you expect, adjust the sensitivity as appropriate for
the brightness of your location.
Maintenance
401a
•
For everyday cleaning wipe the unit with a soft, dry cloth or one that
has been slightly dampened with water. To remove stubborn dirt,
use a cloth impregnated with a mild, non-abrasive detergent. After-
wards, be sure to wipe the unit thoroughly with a soft, dry cloth.
•
402 Never use benzine, thinners, alcohol or solvents of any kind, to
avoid the possibility of discoloration and/or deformation.
4
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IMPORTANT NOTES
220 All product names mentioned in this document are trade-
marks or registered trademarks of their respective owners.
Before Using Cards
*
230 SmartMedia is a trademark of Toshiba Corp.
Using Memory Cards (p. 178)
*
•
704 Carefully insert the memory card all the way in—until it is firmly
234
in place.
*
CompactFlash and
Corporation and licensed by CompactFlash association.
are trademarks of SanDisk
•
705 Never touch the terminals of the memory card. Also, avoid
getting the terminals dirty.
*
235 Roland Corporation is an authorized licensee of the
•
707 This unit’s PC card slot accepts CompactFlash memory cards.
CompactFlash™ and CF logo (
) trademarks.
Microdrive storage media are not compatible.
•
708 CompactFlash and SmartMedia (3.3 V) are constructed using
precision components; handle the cards carefully, paying
particular note to the following.
• To prevent damage to the cards from static electricity, be sure
to discharge any static electricity from your own body before
handling the cards.
• Do not touch or allow metal to come into contact with the
contact portion of the cards.
• Do not bend, drop, or subject cards to strong shock or
vibration.
• Do not keep cards in direct sunlight, in closed vehicles, or
other such locations (storage temperature: -25 to 85˚ C).
• Do not allow cards to become wet.
• Do not disassemble or modify the cards.
Handling CD-ROMs
•
801 Avoid touching or scratching the shiny underside (encoded
surface) of the disc. Damaged or dirty CD-ROM discs may not be
read properly. Keep your discs clean using a commercially
available CD cleaner.
Copyright
•
851 Unauthorized recording, distribution, sale, lending, public
performance, broadcasting, or the like, in whole or in part, of a
work (musical composition, video, broadcast, public perfor-
mance, or the like) whose copyright is held by a third party is
prohibited by law.
•
853 Do not use this unit for purposes that could infringe on a
copyright held by a third party. We assume no responsibility
whatsoever with regard to any infringements of third-party
copyrights arising through your use of this unit.
5
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Panel Descriptions................................................................................11
Front Panel................................................................................................................................................. 11
Rear Panel.................................................................................................................................................. 13
Connections............................................................................................................................................... 14
Listening to the Demo Songs.................................................................................................................. 15
About Audio Track Recording............................................................................................................... 22
Switching the Sound Generator Mode.................................................................................................. 23
Using the Category Group Buttons to Select Patches ......................................................................... 26
Selecting the Tones That Will Sound (Tone On/Off).......................................................................... 29
How to Make Patch Settings................................................................................................................... 30
Creating a Rhythm Set .........................................................................49
How to Make Rhythm Set Settings........................................................................................................ 49
Saving Rhythm Sets You’ve Created (Write) ....................................................................................... 51
Functions of Rhythm Set Parameters .................................................................................................... 52
Playing in Performance Mode..............................................................58
Displaying PERFORM PLAY Screen..................................................................................................... 58
6
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Saving a Performance You’ve Created (Write) .................................................................................... 63
Control Pedal ............................................................................................................................................ 72
Playing Arpeggios ................................................................................73
About Arpeggio........................................................................................................................................ 73
Playing Arpeggios.................................................................................................................................... 73
Creating an Arpeggio Style (Arpeggio Style Edit) .............................................................................. 75
About the Chord Memory Function...................................................................................................... 77
Playing Rhythms...................................................................................79
About Rhythm Patterns........................................................................................................................... 79
Using Rhythm Groups............................................................................................................................. 79
Playing Rhythm........................................................................................................................................ 79
Rhythm Pattern Settings.......................................................................................................................... 80
Saving the Rhythm Group You Have Created (Write)....................................................................... 82
Creating a List of Frequently Used Patches, Performances, or Songs
Registering a Song.................................................................................................................................... 83
Loading and Playing a Song (Load Play).............................................................................................. 84
Playing MIDI Tracks Immediately (Quick Play) ................................................................................. 84
Various Playback Methods ..................................................................................................................... 85
Recording a Song (MIDI Track)............................................................87
Before You Record a New MIDI Track.................................................................................................. 87
Recording Your Performance as You Play It (Realtime Recording) ................................................. 88
Inputting Data One Step at a Time (Step Recording).......................................................................... 92
7
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Loading the Song You Want to Edit...................................................................................................... 94
Editing Sequencer Data Over the Specified Range (Track Edit) ....................................................... 97
Before You Record Audio via the AUDIO INPUT Jacks.................................................................. 104
Recording an Audio Track (SOLO/RE-SAMPLING)....................................................................... 105
Editing Audio Tracks (AUDIO TRACK Screen)................................................................................ 108
Saving a Song (Save) .............................................................................................................................. 113
Making Effect Settings........................................................................................................................... 125
Applying Effects in Performance Mode.............................................................................................. 127
Making Multi-Effects Settings (MFX1–3)............................................................................................ 129
Multi-Effects Parameters....................................................................................................................... 131
Making Reverb Settings......................................................................................................................... 155
Mastering Effect...................................................................................................................................... 156
Settings Common to All Modes (System Function) ........................157
System Information................................................................................................................................ 157
Initializing a Memory Card (Card Format) ........................................................................................ 164
File-Related Functions (File Utility)...................................................165
Basic Procedure....................................................................................................................................... 165
Copying a File (Copy)............................................................................................................................ 166
Deleting a File (Delete) .......................................................................................................................... 166
Moving a File (Move)............................................................................................................................. 166
Initializing a Memory Card (Card Format) ........................................................................................ 166
8
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Transferring Files to or from Your Computer (Storage Mode) ....................................................... 167
Exchanging MIDI Messages with Your Computer (MIDI Mode)................................................... 169
Installing JUNO-G Editor/Librarian into Your Computer.............................................................. 170
About PC Mode ...................................................................................................................................... 170
Connection Example.............................................................................................................................. 172
Cautions When Installing a Wave Expansion Board ........................................................................ 174
Precautions for Expanding Memory ................................................................................................... 176
Checking that memory is installed correctly...................................................................................... 177
Writing data to the card......................................................................................................................... 178
Troubleshooting..................................................................................179
Error Messages...................................................................................186
Performance List.................................................................................187
Arpeggio Style List .............................................................................205
About MIDI...........................................................................................209
MIDI Implementation...........................................................................210
MIDI Implementation Chart ................................................................241
Specifications......................................................................................243
Index.....................................................................................................244
9
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Main Features
The JUNO-G is a high-quality synthesizer with professional sounds
and playability. It features the latest sound generator, a variety of
effects, and a song recorder with audio tracks, all combined into an
easy-to-use instrument. The features listed below make the JUNO-G
a great choice for any style of music, in applications ranging from
stage performance to composition and arranging.
Versatile sound control functionality
In addition to a D Beam controller, the JUNO-G provides a wide
range of controllers, such as the sound modify knobs and a hold
pedal jack that can detect half-damper operations. The JUNO-G
gives you complete control over your on-stage sound.
Plenty of external interfacing
The latest sound engine with 128-
voice polyphony
The rear panel USB connector supports both file transfer and USB-
MIDI, and can be switched as desired. There’s also a PC card slot
that can accommodate SmartMedia or CompactFlash via a
commercially available adaptor. You can use a card to store as much
as 1 GB of data (when using CompactFlash).
The JUNO-G provides 128 voices of polyphony—the standard for
the new era. You can layer complex sounds and enjoy multitrack
recording using the song recorder.
Support for wave expansion boards
JUNO-G Editor/Librarian is included
To supplement the numerous patches that use the carefully selected
high quality waves built into the JUNO-G, you can install one wave
expansion board to add more waveform data. Depending on your
needs and your favorite musical styles, you can choose one board
from the wide variety of professionally acclaimed Roland SRX series
boards now available.
Dedicated editor/librarian software is included, letting you edit and
manage JUNO-G sounds from the large screen of your computer.
V-LINK functionality
V-LINK allows you to synchronize music and video, opening up
completely new performance possibilities.
If you use the JUNO-G in conjunction with a V-LINK compatible
video device (such as the Edirol motion dive .tokyo Performance
Package, DV-7PR, PR-50, or V-4), you’ll be able to control the images
using the same operations as when playing music on the JUNO-G.
Song recorder with audio tracks
The built-in song recorder provides four dedicated audio tracks
(stereo) in addition to the MIDI tracks (16 parts). This lets you create
songs that contain audio acquired from a performing vocalist or
guitarist in combination with the music produced by the internal
sound generator.
General MIDI/GM2 compatibility
The JUNO-G is compatible with General MIDI/GM2, and is able to
play back music data that complies with the General MIDI/GM2
standard (General MIDI scores).
The MIDI track section provides a high-resolution 16-part (MIDI)
sequencer that’s designed with features like loop recording so that
you can record non-stop without interrupting your musical
imagination.
The audio track section contains 4 MB of memory as standard
(corresponding to approximately 23.5 seconds of stereo recording).
You can add DIMM memory (up to 512 MB) to expand the recording
capacity to a maximum of 51 minutes (stereo). In addition to audio
phrases you record on the JUNO-G, you can also import audio files
(in WAV or AIFF format) from your PC and use them as audio track
phrases.
Live Setting function
The Live Setting function allows you to memorize settings and recall
them as your live set progresses, guaranteeing that your
performance will go smoothly.
Sample Patch function
This function lets you recall audio phrases from the audio tracks and
play them on the keyboard just like patches or rhythm sets.
Powerful effects including mastering
functionality
The JUNO-G provides three multi-effects processors (78 types), plus
independent chorus and reverb processors. There’s a mastering
effect, indispensable for adding the final touch to your production,
bringing your sound CD-master level impact and audio quality.
10
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Panel Descriptions
Front Panel
fig.Front
1
3
4
8
9
2
5
6
7
10
or lower the keyboard range in steps of a semitone (p. 29).
1
D BEAM
OCTAVE [UP] [DOWN]
Transposes the pitch of the keyboard in 1 octave units (p. 28).
Switches D Beam function on/off. You can apply a variety of effects
to sounds simply by moving your hand (p. 69).
[SOLO SYNTH]
Play the JUNO-G as a monophonic synthesizer (p. 70).
4
EDIT
[PATCH]
Make patch-related settings (p. 30).
[ACTIVE EXPRESS]
Play the JUNO-G as a active expression (p. 71).
[EFFECTS]
[ASSIGNABLE]
modify the sound in realtime (p. 71).
Make effect-related settings (p. 125).
[MENU]
*
Hold down [SHIFT] and press one of the corresponding buttons to
access the D BEAM setting screen.
Opens the MENU. The contents of the menu will depend on the
current mode.
[SONG]
2
Press this button to edit the entire song or to edit MIDI tracks. Also,
Song List screen (p. 84, p. 87, p. 94).
VOLUME Knob
Adjusts the overall volume that is output from the rear panel
[AUDIO]
This button accesses the Sample Edit screen. Also, this button is
pressed to toggle between the Sample Edit screen and the Sample
List screen (p. 117).
[V-LINK]
Switches the V-LINK function on/off (p. 172).
Press this button to access the V-LINK setting screen.
[WRITE]
Save edited settings into internal memory or a memory card (p. 32,
p. 51, p. 63, p. 76, p. 78, p. 124).
3
MODE
[PATCH]
Enter Patch mode (p. 25).
5
[PERFORM]
[ARPEGGIO]
View the Performance mode’s Play screen (p. 58).
Switches the ARPEGGIO on/off. The arpeggio setting screen will
appear when you turn this on (p. 73).
[LIVE SETTING]
View the LIVE SETTING screen (p. 83).
[CHORD MEMORY]
Switches the CHORD MEMORY on/off. The chord memory setting
screen will appear when you turn this on (p. 77).
[USB]
Accesses the USB function select screen (p. 167).
[PART MIXER]
View the Performance mode’s Mixer screen (p. 58).
6
Display
[AUDITION]
This displays information regarding the operation you are
performing.
Hold down this button to audition the currently selected sound (p. 28).
[TRANSPOSE]
By holding down [TRANSPOSE] and pressing [+] [-], you can raise
11
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Panel Descriptions
[RHYTHM PATTERN]
This button accesses the Rhythm Pattern playback screen (p. 79).
[STOP]
Controls song recorder stop.
[PART SELECT/TONE SW/SEL]
When you press this button so it’s lit, the category group buttons
will operate as part select, tone switch, or tone select buttons.
[PLAY]
*
While stopped, you can hold down [SHIFT] and Press [PLAY] to
perform MIDI Update (p. 86).
[RHYTHM]–[BASS]
These are the category group buttons (only in Patch mode).
[REC]
p. 105). If you press this button while recording a MIDI track, the
Function Buttons
([F1 (KBD/ORG)]–[F6 (VOCAL/PAD)])
The row of six buttons below the display are used to carry out
various functions during editing and other tasks. The functions of
these buttons will depend on the screen that you’ve selected (p. 23).
9
SOUND MODIFY
Turn these knobs to adjust the sound in real time or to edit
parameter values.
7
Pressing the button located at the left of knobs 1–4 will change the
illumination status of the indicators located above the button, and
will change the function of knobs 1–4 (p. 30).
VALUE Dial
the VALUE dial, the value will change in greater increments (p. 24).
*
In the performance mode, this button doesn’t function.
[DEC], [INC]
The CUTOFF knob and RESONANCE knob are dedicated to
controlling Cutoff Frequency and Resonance (p. 30).
This is used to modify values. If you keep on holding down one
button while pressing the other, the value change accelerates. If you
press one of these buttons while holding down [SHIFT], the value
will change in bigger increments (p. 24).
10
[
], [ ], [ ], [ ]
Pitch Bend/Modulation Lever
This allows you to control pitch bend or apply vibrato (p. 16).
Moves the cursor location up/down/left/right (p. 24).
[SHIFT]
This button is used in conjunction with other buttons to execute
various functions.
[EXIT]
Return to the previous screen, or close the currently open window.
aborted.
[ENTER]
Use this button to execute an operation.
8
SONG RECORDER
[AUDIO TRACK]
This button accesses the Audio Track screen (p. 104, p. 108).
[TEMPO]
Sets the tempo (BPM) (p. 73, p. 79, p. 85, p. 88).
[LOOP]
Turns Loop Play on/off. The loop setting screen will appear when
you turn this on (p. 86, p. 95).
AUDIO IN Slider
This adjusts the AUDIO INPUT level. If you hold down [SHIFT]
while operating this slider, the Input Setting screen will appear (p.
104).
TRACK A1–A4 Sliders
These sliders adjust the volume of each audio track (stereo).
[BWD], [FWD]
Moves the song position to the first beat of the previous or next
measure (p. 85).
*
While playback is stopped, you can hold down [STOP] and press
[BWD] to return the song position to the beginning of the song. If you
press this during playback, you will return to the beginning of the
song and stop.
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Panel Descriptions
Rear Panel
fig.Rear
1
2
3
4
5
AUDIO INPUT Jacks (L (MONO)/MIC, R)
Accept input of audio signals in stereo (L/R) from external devices.
If you want to use mono input, connect to the L jack. When
1
LCD CONTRAST Knob
This knob adjusts the contrast of the top panel display.
recording from a mic, connect it to the L jack
926a
*
When connection cables with resistors are used, the volume level of
equipment connected to the AUDIO INPUT jacks may be low. If this
happens, use connection cables that do not contain resistors, such as
those from the Roland PCS series.
USB Connector
This connector lets you use a USB cable to connect your computer to
the JUNO-G (p. 167, p. 170).
OUTPUT A (MIX) Jacks (L (MONO)/1, R/2)
These jacks output the audio signal to the connected mixer/amplifier
system in stereo. For mono output, use the L jack (p. 14).
2
PC CARD Slot
A memory card can be inserted here (p. 178).
*
You can also use these to output each part independently.
930
OUTPUT B Jacks (L/3, R/4)
These jacks output the audio signal to the connected mixer/amplifier
system in stereo.
*
Never insert or remove a memory card while this unit’s power is on.
Doing so may corrupt the unit’s data or the data on the memory card.
931
*
Carefully insert the memory card all the way in—until it is firmly in
place.
*
You can also use these to output each part independently.
PHONES Jack
This is the jack for connecting headphones (sold separately) (p. 14).
3
These connectors can be connected to other MIDI devices to receive
and transmit MIDI messages.
5
Cord Hook
Anchor the cord of the AC adaptor (p. 14).
CONTROL PEDAL Jack
You can connect optional expression pedals (EV-5, etc.) to these
jacks. By assigning a desired function to a pedal, you can use it to
also connect optional pedal switches (DP series etc.) to sustain sound
DC IN Jack
Connect the AC adaptor here (p. 14).
Be sure to use only the supplied AC adaptor.
(p. 16).
POWER ON Switch
925
Press to turn the power on/off (p. 15).
*
Use only the specified expression pedal (EV-5; sold separately). By
connecting any other expression pedals, you risk causing malfunction
and/or damage to the unit.
Ground Terminal
927
Depending on the circumstances of a particular setup, you may
HOLD PEDAL Jack
An optional pedal switch (DP series etc.) can be connected to this
jack for use as a hold pedal (p. 16).
This can also be set so it supports the use of half-pedaling
techniques. So, after connecting an optional expression pedal (DP-8/
10), you can employ pedal work to achieve even finer control in
experience a discomforting sensation, or perceive that the surface
feels gritty to the touch when you touch this device, microphones
connected to it, or the metal portions of other objects, such as guitars.
This is due to an infinitesimal electrical charge, which is absolutely
harmless. However, if you are concerned about this, connect the
ground terminal (see figure) with an external ground. When the unit
is grounded, a slight hum may occur, depending on the particulars
of your installation. If you are unsure of the connection method,
contact the nearest Roland Service Center, or an authorized Roland
distributor, as listed on the “Information” page.
4
AUDIO INPUT LEVEL Knob
Unsuitable places for connection
This knob adjusts the volume of the input to the AUDIO INPUT. Use
this knob to make adjustments if the sound is still distorted even
after you lower the top panel AUDIO IN slider, or conversely if the
volume is insufficient even after setting the slider to the maximum
position (p. 104).
•
•
•
Water pipes (may result in shock or electrocution)
Gas pipes (may result in fire or explosion)
Telephone-line ground or lightning rod (may be dangerous in
the event of lightning)
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Getting Ready
Connections
Since JUNO-G contains no amplifier or speakers, you’ll need to connect it to audio equipment such as a keyboard amplifier, monitor speaker
system or home stereo, or use headphones to hear its sound.
In order to fully experience the JUNO-G’s sound, we recommend using a stereo amp/speaker system. If you’re using a mono system, however,
make your connections to the JUNO-G’s OUTPUT A (MIX) jack L (MONO).
*
Audio cables are not included with the JUNO-G. You’ll need to provide them.
921
To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices
before making any connections.
fig.Connect.e
to the Power Outlet
AC adaptor
Stereo headphones
Monitor speakers
(powered)
Mixer etc.
Power amp
924
To prevent the inadvertent disruption of power to your unit (should the plug be pulled out accidentally), and to avoid applying undue stress
to the AC adaptor jack, anchor the power cord using the cord hook, as shown in the illustration.
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Getting Ready
Turning On/Off the Power
Adjusting the Display
941
Contrast (LCD Contrast)
*
Once the connections have been completed (p. 14), turn on power to
your various devices in the order specified. By turning on devices in
the wrong order, you risk causing malfunction and/or damage to
speakers and other devices.
The characters in the display may be difficult to view immediately
after turning on the JUNO-G’s power or after extended use. If this
occurs, turn the rear panel LCD CONTRAST knob to make the
display legible.
1. Before turning on the JUNO-G’s power, consider these two
questions:
•
•
Are all devices connected properly?
Listening to the Demo Songs
Have the volume controls of the JUNO-G and all connected
audio devices been turned to their lowest settings?
The internal demo songs will feature the JUNO-G’s exceptional
sounds and effects.
2. Turn on the POWER ON switch located on the rear panel of
1. Press EDIT [MENU] to open the Top Menu Window.
the JUNO-G.
fig.TopMenu
942
*
This unit is equipped with a protection circuit. A brief interval (a few
seconds) after power up is required before the unit will operate normally.
*
To ensure proper operation of the pitch bend lever, make sure not to
touch the lever when turning the JUNO-G’s power on.
2. Press [ ] [ ] to select “7. Demo Play.”
fig.DemoPlay
Do not touch!
3. Turn on the power for any connected audio devices.
4. While playing the keyboard, gradually raise the volume of
the JUNO-G and connected devices.
fig.Volume
3. Press [ENTER].
The DEMO MENU screen appears.
4. Turn the VALUE dial or use [INC] [DEC] to select a song.
5. Press [ENTER] to start playback.
Playback will stop automatically when the song ends.
If you press [F6 (PLAY ALL)], the songs will playback
successively, beginning from the first.
*
Press [EXIT] or [STOP] to stop the demo song.
6. Press [EXIT] to return to the previous screen.
For the names and copyright information of these demo songs,
Turning Off the Power
refer to the JUNO-G’s display.
981a
1. Before turning off the power, consider these two questions:
*
All rights reserved. Unauthorized use of this material for purposes
other than private, personal enjoyment is a violation of applicable laws.
•
Have the volume controls of the JUNO-G and all connected
audio devices been turned to their lowest settings?
982
•
Have you saved your JUNO-G sounds or other data you’ve created?
*
No data for the music that is played will be output from MIDI OUT.
2. Turn off the power for all connected audio devices.
3. Turn off the POWER ON switch of the JUNO-G.
When you perform demo playback, any patch or performance
you may have been editing will be lost.
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Various Performance Features
Velocity
Hold Pedal
The velocity—the force with which you play the keyboard—can
affect the volume or timbre of a sound.
If an optional pedal switch (DP series) is connected to the rear panel
PEDAL HOLD jack, you can press the pedal to cause notes to sustain
or “hold” even after their keys have been released.
fig.HolPdl
Pitch Bend/Modulation Lever
While playing the keyboard, move the lever to the left to lower the
pitch of the currently selected patch, or to the right to raise its pitch
(pitch bend). You can also apply vibrato by gently pushing the lever
away from you (modulation).
If you push the lever away from you and at the same time move it to
the right or left, you can apply both effects at once.
fig.Bender.e
Control Pedal
Pitch Bend
Modulation
If an optional expression pedal or pedal switch (EV-5, DP series) is
connected to the rear panel PEDAL CONTROL jack, you can use the
Octave Shift
pedal to control the volume or various function.
fig.CtrlPdl
You can shift the pitch of the keyboard in one-octave units over a
range of +/-3 octaves.
•
In the MODE section, use OCTAVE [DOWN] [UP] to adjust the
octave shift.
•
To return to the original pitch, press both buttons simultaneously.
Roland
Transpose
You can transpose the pitch of the keyboard in semitone steps, over a
range of G–F# (-5– +6 semitones).
•
Hold down MODE [TRANSPOSE] and use [-] [+] to change the
transposition.
•
To return to the original pitch, hold down [TRANSPOSE] and
press both buttons simultaneously.
For details on pedal settings, refer to Control Pedal Settings
(p. 72).
925
The Octave Shift and Transpose settings are remembered even
if you change patches or performances.
Use only the specified expression pedal or pedal switch (EV-5,
DP series; sold separately). By connecting any other expression
pedals, you risk causing malfunction and/or damage to the unit.
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Overview of the JUNO-G
How the JUNO-G Is Organized
Classification of JUNO-G Sound Types
When using the JUNO-G, you will notice that a variety of different
categories come into play when working with sounds. What follows
is a simple explanation of each sound category.
Basic Structure
Broadly speaking, the JUNO-G consists of a controller section, a
sound generator section, and a song recorder section.
fig.BasicStruct.e
Tones
Audio Input
On the JUNO-G, the tones are the smallest unit of sound. However,
it is not possible to play a tone by itself. The patch is the unit of
sound which can be played, and the tones are the basic building
Sample Event
Audio Track
blocks which make up the patch.
Recording
fig.Tone.e
Song Recorder Section
Playback
Tone
Audio Track
Sample
LFO 1
LFO 2
Resampling
Sound Generator
MIDI Track
Section
Recording
Play
WG
TVF
TVA
Controller Section (controllers such as keyboard, pitch bend lever, etc.)
Pitch
Envelope
TVF
Envelope
TVA
Envelope
Controller Section
This section consists of the keyboard, pitch bend/modulation lever,
panel knobs and buttons, and D Beam controller. It also includes any
pedals that may be connected to the rear panel. The performance
information generated when you do things such as press/release a
key, or depress the hold pedal is converted into MIDI messages and
sent to the sound generator section, song recorder section, and/or an
external MIDI device.
control signal
audio signal
Tones consist of the following five components.
WG (Wave Generator)
Specifies the PCM waveform (wave) that is the basis of the sound,
and determines how the pitch of the sound will change.
The JUNO-G has 1267 different waveforms. All patches built into the
JUNO-G consist of combinations of tones which are created based on
these waveforms.
Sound Generator Section
The sound generator section produces the sound. It receives MIDI
messages from the controller section and song recorder section and/
or from an external MIDI device, generates musical sound according
to the MIDI messages that were received, and outputs the sound
from the output jacks or headphones jack.
*
There are four wave generators for each rhythm tone (percussion
instrument sounds).
TVF (Time Variant Filter)
Specifies how the frequency components of the sound will change.
Song Recorder Section
This consists of MIDI tracks, which record keyboard and controller
operations as MIDI messages, and audio tracks, which record the
performance data (sample events) used to trigger audio phrases
(samples). The recorded data is sent to the sound generator section,
reproducing the performance. MIDI messages recorded on MIDI
tracks can also be transmitted from the MIDI OUT connector to
control external MIDI devices.
TVA (Time Variant Amplifier)
Specifies the volume changes and the sound’s position in a stereo
soundfield.
Envelope
You use Envelope to initiate changes to occur to a sound over time.
There are separate envelopes for Pitch, TVF (filter), and TVA
(volume). For example if you wish to modify the way in which the
sound attacks or decays over time, you would adjust the TVA
envelope.
Audio Track Recording
Audio track recording lets you capture sound from a CD player or
microphone connected to the audio input jacks into the sound
generator section as a sample. Performance data for that sample is
recorded on the song recorder’s audio track as a sample event.
The captured sample can be used in an audio track, or used in the
same way as a sound generator waveform. You can also record the
performance of the internal sound generator as a sample.
The JUNO-G can load WAV or AIFF format wave files as samples
via a USB connection.
LFO (Low Frequency Oscillator)
Use the LFO to create cyclic changes (modulation) in a sound. The
JUNO-G has two LFOs. You can use the LFO to apply an effect to
either the WG (pitch), the TVF (filter), or the TVA (volume). When
an LFO is applied to the WG pitch, a vibrato effect is produced.
When an LFO is applied to the TVF cutoff frequency, a wah effect is
produced. When an LFO is applied to the TVA volume, a tremolo
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Overview of the JUNO-G
effect is produced.
Performances
*
LFO is not included in the rhythm tones (percussion instrument
sounds).
A performance has a patch or rhythm set assigned to each of the 16
parts, and can simultaneously handle 16 sounds.
The JUNO-G’s performances are controlled via two screens; a Play
screen and a Part Mixer screen (p. 58).
Patches
Patches are the basic sound configurations that you play during a
performance. Each patch can be configured by combining up to four
tones. How the four tones are combined is determined by the
Use the PLAY screen if you want to play two or more patches
together (Layer) or play different patches in separate areas of the
keyboard (Split).
Structure Type parameter (p. 35).
Use the MIXER screen if you want to “mix” by individually
adjusting the pan and level settings for each of the sixteen parts.
Because the JUNO-G sound generator can control multiple sounds
fig.Patch.e
Patch
(instruments), it is called a Multi-timbral sound generator.
fig.Performance.e
Tone 4
Tone 3
Tone 2
Performance
LAYER/SPLIT
MIXER
Tone 1
LFO 1
LFO 2
Part 16
WG
TVF
TVA
Part 1
Patch/
Rhythm Set
Pitch
TVF
TVA
Envelope
Envelope
Envelope
Rhythm Sets
Part
Rhythm sets are groups of a number of different percussion
instrument sounds. Since percussion instruments generally do not
play melodies, there is no need for a percussion instrument sound to
be able to play a scale on the keyboard. It is, however, more
important that as many percussion instruments as possible be
available to you at the same time. Therefore, each key (note number)
On the JUNO-G, a “part” is something to which you assign a patch
or rhythm set. In Patch mode you can assign a patch or rhythm set to
the keyboard. In Performance mode, each performance has sixteen
parts, and you can assign a patch or rhythm set to each part.
of a rhythm set will produce a different percussion instrument.
fig.RhythmSet.e
Rhythm Set
Note Number 98 (D7)
Note Number 97 (C#7)
Note Number 36 (C2)
Note Number 35 (B1)
Rhythm Tone (Percussion instrument sound)
WG
TVF
TVA
Pitch
Envelope
TVF
Envelope
TVA
Envelope
Each percussion instrument consists of the following four elements.
(For details, refer to the explanations for “Tones.”)
•
•
•
•
WG (Wave Generator): 1–4
TVF (Time Variant Filter)
TVA (Time Variant Amplifier)
Envelope
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Overview of the JUNO-G
About Simultaneous Polyphony
The JUNO-G can play a maximum of 128 sounds simultaneously.
The following paragraphs discuss what this means, and what will
happen when more than 128 simultaneous voices are requested from
the JUNO-G.
About Memory
Patch and performance settings are stored in what is referred to as
memory. There are three kind of memory: temporary, rewritable,
and non-rewritable.
fig.04-006.e
JUNO-G
Preset (PRST)
Calculating the Number of Voices
Being Used
System
Rhythm Set
36
Performance
64
The JUNO-G is able to play up to 128 notes simultaneously. The
polyphony, or the number of voices (sounds) does not refer only to
the number of patches actually being played, but changes according
to the number of tones used in the patches, and the number of waves
used in the tones. The following method is used to calculate the
number of sounds used for one patch being played.
User (USER)
Preset F (PR-F)
Preset E (PR-E)
Patch
256
Preset D (PR-D)
Preset C (PR-C)
GM (GM2)
Rhythm Set
32
Preset B (PR-B)
(Number of patches being played) x (Number of tones used by
patches being played) x (Number of waves used in the tones)
For example, a patch that combines four tones, each of which use
two waves, will use eight notes of polyphony at once. Also, when
counted to obtain the total number of sounds for all parts.
Patch
256
Preset A (PR-A)
Performance
64
Rhythm Set
9
Patch
128
Select
Select
* 1
Select
Write
How a Patch Sounds
Temporary Area
When the JUNO-G is requested to play more than 128 voices
simultaneously, currently sounding notes will be turned off to make
room for newly requested notes. The note with the lowest priority
will be turned off first. The order of priority is determined by the
Patch Priority setting (p. 34).
Select
Write
Select
Patch Priority can be set either to “LAST” or “LOUDEST.” When
“LAST” is selected, a newly requested note that exceeds the 128
voice limit will cause the first-played of the currently sounding notes
currently sounding notes will be turned off. Usually, “LAST” is
selected.
CARD Slot
EXP Slot
Patch
Patch
256
Rhythm Set
32
Rhythm Set
Performance
64
Note Priority in Performance Mode
Memory Card
Wave Expansion Board
Since Performance mode is usually used to play an ensemble
consisting of several patches, it is important to decide which parts
take priority. Priority is specified by the Voice Reserve settings (p.
66). When a note within a patch needs to be turned off to make room
for a new note, the Patch Priority setting of the patch will apply (p.
34).
* 1 The selected Patches/Rhythm Sets cannot be changed.
Temporary Memory
Voice Reserve
This is the area that holds the data for the patch or performance that
you’ve selected using the panel buttons.
The JUNO-G has a Voice Reserve function that lets you reserve a
minimum number of notes that will always be available for each
part. For example if Voice Reserve is set to “10” for part 16, part 16
will always have 10 notes of sound-producing capacity available to it
even if a total of more than 128 notes (total for all parts) are being
requested. When you make Voice Reserve settings, you need to take
into account the number of notes you want to play on each part as
well as the number of tones used by the selected patch (p. 66).
It is not possible to make Voice Reserve settings that would cause the
total of all parts to be greater than 64 voices.
When you play the keyboard or play back a sequence, sound is
produced based on data in the temporary area. When you edit a
patch or performance, you do not directly change the data in
memory; rather, you call up the data into the temporary area, and
edit it there.
Settings in the temporary area are temporary, and will be lost when
the power is turned off or when you select another patch/
performance. To keep the settings you have changed, you must write
them into rewritable memory.
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Overview of the JUNO-G
Reverb
Reverb adds the reverberation characteristics of halls or
auditoriums. Five different types are offered, so you can select and
use the type that suits your purpose.
Rewritable Memory
System Memory
System memory stores system parameter settings that determine
how the JUNO-G functions.
Mastering Effect
This is a stereo compressor (limiter) that is applied to the final
output of the JUNO-G. It has independent high, mid, and low
ranges. Independently for the high-frequency, mid-frequency, and
low-frequency regions, this compresses any sounds that exceed the
specified level, making the volume more consistent.
User Memory
User memory is the internal memory area that holds patches,
performances, samples, and performance data.
Memory Card
How Effects Units Work in
Different Modes
You can use a memory card to store patches, performances, samples,
and performance data just as you can in User memory.
In Patch Mode
Non-Rewritable Memory
Preset Memory
Multi-effects can be used individually by each patch and rhythm set.
Chorus and reverb are each shared by patches and rhythm sets; the
same effect applies to each tone. Adjusting the signal level to be sent
to each effects unit (Send Level) provides control over the effect
Data in Preset memory cannot be rewritten. However, you can call
up settings from preset memory into the temporary area, modify
them and then store the modified data in rewritable memory (except
GM2).
intensity that’s applied to each tone.
fig.FXinPatch
Patch
TONE
Multi-Effects
Wave Expansion Board (SRX Series)
Chorus
Reverb
The JUNO-G can be equipped with a Wave Expansion Board (SRX
series; sold separately). Wave Expansion Boards contain Wave data,
as well as patches and rhythm sets that use this Wave data, which
can be called directly into the temporary area and played.
*
To each part you can assign either a Patch or a Rhythm Set.
About the Onboard Effects
In the Performance Mode
The multi-effects, chorus and reverb can be set individually for each
performance. The intensity of each effect will be set for each part.
When you apply effects in Performance mode, the effect settings of
the patch or rhythm set assigned to each part will be ignored, and
the effect settings of the performance will be used. Thus, the effects
for the same patch or rhythm set may differ when played in Patch
mode and in Performance mode. However, depending on the
settings, you can have effect settings for a patch or rhythm set
assigned to a part applied to the entire performance. In addition,
when using the multi-effects settings of a performance, you can use
three different multi-effects simultaneously, depending on the effect
Effect Types
The JUNO-G has built-in effect units, and you can independently
edit each unit’s settings.
Multi-Effects
The multi-effects are multi-purpose effects that completely change
the sound type by changing the sound itself. Contained are 78
different effects types; select and use the type that suits your aims. In
addition to effects types composed of simple effects such as
Distortion, Flanger, and other such effects, you can also set up a
wide variety of other effects, even connecting effects in series or in
parallel. Furthermore, while chorus and reverb can be found among
the multi-effects types, the following chorus and reverb are handled
with a different system. In Performance mode, three types of multi-
effect can be used simultaneously; these are referred to as MFX1,
MFX2, and MFX3. In Patch mode you can use MFX1 and MFX2.
type.
fig.FXinPfm.e
Performance/Multitimbre
Part 1
Patch
Part16
TONE
Multi-Effects
Chorus
Chorus
Reverb
Chorus adds depth and spaciousness to the sound. You can select
whether to use this as a chorus effect or a delay effect.
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Overview of the JUNO-G
What Is a Track?
Each section of a song which stores musical performance data is
About the Song Recorder
The song recorder records performance data from the keyboard and
controllers and performance data for the samples created by audio
track recording, and manages this data as a “song.” When you play
back the song recorder, this performance data is sent to the sound
generator, causing it to generate sound and reproduce the recorded
performance.
called a track.
MIDI Tracks 1–16
MIDI tracks record your keyboard playing and controller operations
as MIDI messages. When you play back a song, the MIDI tracks send
these recorded MIDI messages to the sound generator, causing it to
produce sound. MIDI tracks actually plays instruments instead of
the musician, and since it can record a musical performance, it is a
tape recorder as well.
What Is a Song?
For the JUNO-G, musical performance data for one song or
composition is referred to as a song. This consists of the
performance data recorded on the MIDI tracks (MIDI channels 1–16),
But in reality MIDI tracks doesn’t record sound, but actually the
steps that cause the sound generator to produce sound, so it offers
several advantages. Sound quality is always excellent, the equivalent
of first-generation tape, no matter how many times the data plays
back; tempo changes have no effect on pitch; detailed editing is
possible, etc.
the tempo track, the beat track, and audio tracks 1–4.
fig.Song.e_71
Song
MIDI Tracks
(.SVQ)
1
The MIDI tracks can record performance data for sixteen MIDI
channels. In Performance mode, the sound generator’s sixteen parts
correspond to the sixteen MIDI channels. In Patch mode, the
keyboard performance is recorded on MIDI channel 1 and the
rhythm pattern performance is recorded on MIDI channel 10 (with
the default settings).
16
Tempo Track
Beat Track
Sample
USER
U2000
U0002
U0001
Audio Tracks 1–4
AUDIO Tracks
Setup Mixer
(.SVA)
1
2
3
4
Audio tracks handle the samples you’ve captured by audio track
recording, as well as imported samples.
CARD
Referenced
C7000
Even if you change the tempo during the song, audio tracks will be
time-stretched so that they will continue playing in synchronization
with the song. You can also play back from the middle of a sample.
Audio tracks do not record the sample itself; they only contain
information that tells the sound generator to “play USER (or CARD)
sample number ‘x’ at this point.” (This information is called a
“sample event.”) This means that even if you delete a sample event
from the audio track, the sample data itself will remain.
sample event
Up to 256 events can be placed in a track.
C0002
C0001
Track settings are stored at the beginning of the song.
Up to 256 sample events can be placed on each audio track.
*
Each audio track can play back only one sample at a time. If there are
overlapping sample events on an audio track, the sample event located
later will be given priority.
Tempo Track
The Tempo track records tempo changes of a song over time. It can
be used for tempo changes during a song. If a song has the same
tempo from beginning to end, the Tempo track can be ignored.
When a song is first recorded on the JUNO-G, a tempo setting at the
time of recording will be stored at the beginning of the Tempo track.
Therefore when song playback starts from the beginning, the song
will always play back at this initial tempo.
Thus playback tempo is determined by the Tempo track setting. If
you modify the tempo during playback, the overall tempo of the
song will be controlled by the setting you make.
Beat Track
The Beat track records the time signature of each measure of a song.
Set the Beat track when recording a new song, or when you want to
change time signature during a song.
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Overview of the JUNO-G
Positions for Storing a Song
Temporary Area
About Audio Track Recording
Audio track recording lets you record external input sources such as
an audio device or microphone as digital audio data. A sound you
record can be played as a patch (sample patch), or used as the
waveform for a patch or drum set. You can also import WAV/AIFF
format files and use them in the same way.
The song recorder has an area called Temporary Area that can
temporarily store one song. So we call this temporary song.
The song in Temporary Area is volatile and will be lost when the
power is turned off. To keep a song, you must save it to user
memory or memory card.
Samples
A “sample” is a waveform (a piece of sound) obtained by recording
an audio track on the JUNO-G. In addition to the actual waveform
data itself, a sample also contains parameters such as start point,
loop start, and loop end. The JUNO-G can hold 9,000 samples (User:
Memory Card/User Memory
If you want to keep the song in Temporary Area that you recorded
or edited, you must save it as a song file onto a memory card or into
user memory. Either method lets you save up to 256 songs.
A card and user memory can contain two file types. The three-letter
symbol shown in parentheses ( ) is a file name extension that
distinguishes the different file types.
2000, Card: 7000).
fig.Sample.e
Sample
Sample List
0001 User Sample
0002
Song File (.SVQ, .SVA)
Audio
Recording
Added
automatically
Each song you create on the JUNO-G is saved as two files; a file with
a name consisting of the song name and an extension of “.SVQ” (the
SVQ file), and a file with an extension of “.SVA” (the SVA file). The
SVQ file contains mainly the data of the MIDI tracks. The SVA file
contains mainly the audio track data (sample events).
Drum
Wave
(Sample)
2000
Where Samples are Stored
Samples that you record or import are stored in sample memory.
This sample memory is temporary, and its data will be lost when
you turn off the power. If you want to keep these samples, you must
save them to user memory or a memory card.
Standard MIDI File (.MID)
Standard MIDI File is a standard file format that allows sequencer
data to be exchanged between most musical applications. JUNO-G
files can be saved as Standard MIDI Files. This also allows you to
play back commercially available music data (GM scores) that is
*
You cannot save data to the preset memory.
compatible with the GM/GM2 system.
fig.SampleMemory.e
fig.SongFile.e
Temporary Memory
User Memory
Sample Memory
Song file
Preset Memory
User Memory
Temporary Area
Write
Write
Preset Bank
User Bank
Card Bank
Standard MIDI file
Load
Write
JUNO-G
Memory Card
Song file
JUNO-G
Load/Write
Standard MIDI file
Memory Card
Audio Recording
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Basic Operation of the JUNO-G
fig.PatchPlay
Switching the Sound
Generator Mode
The JUNO-G has two sound generating modes: Patch mode,
Performance mode. You can select the sound generating mode
(state) that is most appropriate for how you are playing the JUNO-G.
The PERFORM PLAY screen and PART MIXER screen provide
Use the following procedure to switch between these modes.
different views of the same performance. For example, you’ll
want to use the PERFORM PLAY screen when you’re setting up
a keyboard split, or use the PART MIXER screen when you’re
adjusting the effect settings or volume balance of the patches for
each part.
Patch Mode
This is the mode you’ll use to play a single sound (patch/rhythm set)
from the keyboard.
The keyboard and sound generator are connected by a single MIDI
channel.
About the Function Buttons
The six [KBD/ORG]–[VOCAL/PAD] buttons located below the
display execute various functions (function buttons), and their
operation will differ depending on the screen. Functions will be
To select Patch mode
1. Press MODE [PATCH].
fig.PatchPlay
listed in the bottom of the screen.
fig.FButtons
Performance Mode
Window
This mode allows you to combine multiple sounds (patches or
rhythm sets).
The somewhat smaller screens that appear temporarily on top
of the normal screens are called windows. Various types of
windows appears according to the situation. Some display lists,
others allow you to make settings, and still others ask you to
PERFORM PLAY screen
confirm an operation.
fig.Tempo
Use this screen when you want to play two or more sounds
(patches/rhythm sets) together.
You can play patches together (Layer) or divide the keyboard into
two regions and play different patches in each region (Split).
1. Press MODE [PERFORM].
fig.PatchPlay
Press [EXIT] to close the window. Some windows will close
automatically when an operation is performed.
MIXER screen
Use this screen when you want to mix the sounds by adjusting the
level and pan for each of the 16 parts.
1. Press MODE [PART MIXER].
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Basic Operation of the JUNO-G
and press [INC].
•
If you press [INC] or [DEC] while holding down [SHIFT], the
value increments will get bigger.
Moving the Cursor
A single screen or window displays multiple parameters or items for
selection. To edit the setting of a parameter, move the cursor to the
value of that parameter. To select an item, move the cursor to that
item. When selected with the cursor, a parameter value or other
When the cursor is located at a parameter value, press [ENTER]
to display a window where you can set the value. Use [ ] [
]
to select a value, and then press [ENTER] to finalize the setting.
selection is highlighted.
fig.CursorScreen
Cursor
Assigning a Name
On the JUNO-G, you can assign names to each patch, rhythm set,
performance, Song and Sample. The procedure is the same for any
type of data.
Move the cursor with the [ ], [ ], [ ] and [ ] (cursor buttons).
fig.PatchName
[
[
]: moves the cursor up.
]: moves the cursor down.
[
[
]: moves the cursor to the left.
]: moves the cursor to the right.
•
•
If you hold down one cursor button while you also press the
cursor button for the opposite direction, the cursor will move
more rapidly in the direction of the first-pressed cursor button.
When you press [ENTER], the value of the parameter selected
by the cursor may appear in a list. This is convenient when you
want to see what your choices are.
1. Press [ ] [ ] to move the cursor to the location where you
wish to input a character.
2. Turn the VALUE dial, or press [INC] [DEC] to specify the
character.
•
[F2 (TYPE)]:
Selects the type of character. Each time you
press this, you will alternately select the first
character of a character set: uppercase (A),
lowercase (a), or numerals and symbols (0).
Changing a Value
To change the value, use the VALUE dial or the [INC] [DEC]
•
•
[F3 (DELETE)]: Deletes the character at the cursor location.
[F4 (INSERT)]: Inserts a space at the cursor location.
buttons.
fig.VALUE
•
•
[
[
] or [ ]:
], [ ]:
Move the cursor.
Switch between uppercase and lowercase
letters.
*
If you decide to discard your input, press [F5 (CANCEL)].
Available Characters/Symbols
space, A–Z, a–z, 0–9, ! “ # $ % & ` ( ) * + , - . / : ; < = > ? @ [ \ ] ^
_ ` { | }
In each screen of the JUNO-G, you can use the cursor buttons to
move the area displayed as highlighted, and modify its value.
VALUE Dial
From a naming screen you can press [MENU] and select “1.
Undo” to return the name to what it was before you changed it.
From [MENU] you can select “2. To Upper” or press [ ] to
change the character at the cursor to uppercase. From [MENU]
you can select “3. To Lower” or press [ ] to change the
character at the cursor to lowercase. From [MENU] you can
select “4. Delete All” to clear all the characters you were
inputting.
Turning the VALUE dial clockwise increases the value,
counterclockwise decreases the value.
•
Holding down [SHIFT] as you move the VALUE dial increases
value increments so you can make large value changes faster.
[INC] and [DEC]
Pressing [INC] increases the value, and [DEC] decreases it.
•
•
Keep the button pressed for continuous adjustment.
Song file names may not contain lowercase characters or certain
symbols (“ * + , . / : ; < = > ? [ \ ] |).
For faster value increases, keep [INC] pressed down and press
[DEC]. For decreasing value faster, keep [DEC] pressed down
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Playing in Patch Mode
Patch mode lets you play a single sound (patch/rhythm set) from
PR-A–F (Preset A–F), PRST (Preset)
the keyboard.
This is the group inside the JUNO-G which cannot be rewritten.
However you may modify the settings of the currently selected
patch, and then store the modified patch in User memory. Groups
A–F already contain 128 prepared patches each, for a total of 768
patches.
About the PATCH PLAY Screen
Press MODE [PATCH]. You will enter Patch mode, and the PATCH
PLAY screen appears.
GM (General MIDI 2)
fig.PatchPlay
This is an internal group of patches compatible with General MIDI 2,
a system of MIDI function specifications designed to transcend
differences between makers and types of devices; these patches
cannot be overwritten. Furthermore, settings of currently selected
patches from this group cannot be changed. The JUNO-G includes
256 preset patches.
CARD (Memory Card)
Functions in the PATCH PLAY Screen
This group lets you use patches stored on a memory card inserted in
the rear panel card slot. Since the data in this group can be rewritten,
you can use this group to store patches that you create.
fig.PatchFunc
3
1
2
4
6
5
7
USAM (User Sample)
You can use a sample from user memory as a patch (the Sample
Patch function), and play the sample in a pitched fashion just as a
conventional patch.
9
8
*
*
If there are no samples in memory, this will indicate “Empty.”
1. Indicates the current sound generating mode.
Since a stereo sample uses two adjacent sample numbers, you should
choose the L-channel sample number (the lower number). It will play
as a stereo patch. (If you choose the sample number for the R channel,
“---” will be indicated for it, and it will not be playable.
2. Indicates multi-effects (MFX), chorus (CHO), reverb (REV), and
mastering (MASTER) on and off.
3. Indicates the name of the currently selected song, the measure location.
4. Indicates the time signature, and the tempo.
5. Indicates/selects the group, number, and name of the selected patch.
6. Indicates the octave and transposition values.
7. Indicates the patch category group.
CSAM (Card Sample)
You can use a sample from card memory as a patch (the Sample
Patch function), and play the sample in a pitched fashion just as a
conventional patch.
8. Positions of the five SONG RECORDER sliders
9. SOUND MODIFY settings
*
*
If there are no samples in memory, this will indicate “Empty.”
Since a stereo sample uses two adjacent sample numbers, you should
choose the L-channel sample number (the lower number). It will play
as a stereo patch. (If you choose the sample number for the R channel,
“---” will be indicated for it, and it will not be playable.
Patch/Rhythm Set Group
The JUNO-G has several patch groups, including the User group and
Preset groups A–F and GM, with each group storing 128 patches
(256 in GM, USER). What’s more, you can further expand your
options by installing an optional Wave Expansion Board (SRX series;
sold separately), enabling you to select from a huge assortment of
available patches. There are also sample patches (USAM, CSAM)
that can use samples as patches.
EXP (Wave Expansion Board installed in EXP Slot)
These are groups used when using patches from Wave Expansion
Board installed in the EXP slot, and cannot be rewritten. However
you may modify the settings of the currently selected patch, and
then store the modified patch in User memory and Memory card.
The number of onboard patches depends on the specific Wave
Expansion Board installed.
USER
This is the group inside the JUNO-G which can be rewritten. Patches
you yourself create can be stored in this group. The JUNO-G
includes 256 preset patches and 32 rhythm sets.
*
EXP patches can be selected only if a Wave Expansion Board (SRX
series; sold separately) is installed in the slot.
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Playing in Patch Mode
The following categories can be selected.
Category
Contents
Selecting Patches in the
Main Screen
- - -
No Assign
No assign
PNO
EP
AC.Piano
EL.Piano
Keyboards
Bell
Acoustic Piano
Electric Piano
KEY
BEL
MLT
ORG
ACD
Other Keyboards (Clav, Harpsichord etc.)
Bell, Bell Pad
1. Press MODE [PATCH] to access the PATCH PLAY screen.
Mallet
Mallet
2. To switch patches or rhythm sets, move the cursor to the
Organ
Electric and Church Organ
Accordion
location shown below and use the VALUE dial or [INC]
Accordion
[DEC] to make your selection.
HRM Harmonica
Harmonica, Blues Harp
Acoustic Guitar
Electric Guitar
fig.PatchPlay
AGT
EGT
DGT
BS
AC.Guitar
EL.Guitar
Dist.Guitar
Bass
Distortion Guitar
Acoustic & Electric Bass
Synth Bass
SBS
Synth Bass
Strings
STR
ORC
HIT
Strings
Orchestra
Hit&Stab
Orchestra Ensemble
Orchestra Hit, Hit
Winds (Oboe, Clarinet etc.)
Flute, Piccolo
3. To select a patch (rhythm set) group, move the cursor to the
WND Wind
location shown below and use the VALUE dial or [INC]
FLT
BRS
SBR
SAX
PLK
ETH
FRT
BPD
SPD
VOX
HLD
SLD
TEK
PLS
FX
Flute
[DEC] to make your selection.
AC.Brass
Synth Brass
Sax
Acoustic Brass
fig.PatchPlay
Synth Brass
Sax
Plucked
Ethnic
Plucked (Harp etc.)
Other Ethnic
Fretted
Bright Pad
Soft Pad
Vox
Fretted Inst (Mandolin etc.)
Bright Pad Synth
Soft Pad Synth
Vox, Choir
4. Press [ ] [ ] to move the cursor to the patch number.
Hard Lead
Soft Lead
Hard Synth Lead
Soft Synth Lead
5. Use the VALUE dial or [INC] [DEC] to select a patch (or a
Techno Synth Techno Synth
rhythm set).
Pulsating
Synth FX
Pulsating Synth
Synth FX (Noise etc.)
Poly Synth
SYN
PRC
SFX
BTS
Other Synth
Percussion
Sound FX
Selecting Patches by Category
Percussion
Sound FX
The JUNO-G allows you to specify a type (category) of patch so that
you can quickly find the desired patch. There are a total of 38
categories.
Beat&Groove Beat and Groove
Drum Set
Combination Other patches which use Split and Layer
DRM Drums
CMB
1. Press MODE [PATCH] to access the PATCH PLAY screen.
Using the Category Group
Buttons to Select Patches
2. Move the cursor to the location shown below, and use the
VALUE dial or [INC] [DEC] to select a category.
fig.PatchPlay
You can use the category group buttons to quickly find the patch
you want. The 38 categories and rhythm sets are organized into ten
category groups that are assigned to these buttons.
1. Press MODE [PATCH] to access the PATCH PLAY screen.
2. With [TONE SW/SEL] unlit, press one of the [RHYTHM]–
3. Press [ ] to move the cursor one space to the left, and use
[BASS] (category group buttons) to select the category
the VALUE dial or [INC] [DEC] to lock the padlock symbol.
group for the desired patch.
fig.PatchPlay
*
If you don’t lock ( ) the category (the padlock symbol ) here, you
won’t be able to select patches by category.
4. Use [ ] [ ] [ ] [ ] to move the cursor to the patch group/
number, and use the VALUE dial or [INC] [DEC] to select a
patch.
*
If you didn’t lock the category in step 3, you will step through the
patch numbers in order.
3. Use [ ] [ ] to select the category.
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Playing in Patch Mode
4. Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select a
patch/rhythm set.
Selecting Patches from the
List
You can display a list of patches and select a patch from that list.
1. Press MODE [PATCH] to access the PATCH PLAY screen.
2. Press [ENTER].
5. Press [ENTER] to confirm your selection.
Category Group Category
PIANO
PNO
EP
AC.Piano
EL.Piano
Keyboards
Bell
ORG/KBD
KEY
BEL
MLT
ORG
ACD
HRM
AGT
EGT
DGT
BS
Mallet
Organ
The PATCH LIST screen appears.
Accordion
Harmonica
AC.Guitar
EL.Guitar
Dist.Guitar
Bass
fig.PatchPlay
GUITAR
BASS
SBS
Synth Bass
Strings
ORCH
STR
ORC
HIT
WND
FLT
BRS
SBR
SAX
HLD
SLD
TEK
PLS
Orchestra
Hit&Stab
Wind
3. To select a patch, press [F5 (PATCH)].
To select a rhythm set, press [F6 (RHYTHM)].
If you press [F6 (RHYTHM)], the RHYTHM LIST screen
appears.
BRASS
Flute
AC.Brass
Synth Brass
Sax
4. Press [F1 (UP)] [F2 (DOWN)] to select a group.
SYNTH
Hard Lead
Soft Lead
Techno Synth
Pulsating
Synth FX
Other Synth
Bright Pad
Soft Pad
Vox
5. Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select a
patch/rhythm set.
6. Press [ENTER] to confirm your selection.
FX
SYN
BPD
SPD
VOX
PLK
ETH
FRT
PRC
SFX
VOCAL/PAD
WORLD
Selecting Patches by Category
1. Press MODE [PATCH] to access the PATCH PLAY screen.
Plucked
Ethnic
2. Press [ENTER].
Fretted
The PATCH LIST screen appears.
Percussion
Sound FX
Beat&Groove
Drums
3. Press [F4 (CATEG)].
BTS
DRM
CMB
The CATEGORY screen appears.
Combination
RHYTHM
RHYTHM SET
4. Press [F1 (UP)] [F2 (DOWN)] to select a category.
5. Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select a
patch.
6. Press [ENTER] to confirm your selection.
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Playing in Patch Mode
Selecting Favorite Patches/Rhythm
Sets (Favorite Patch)
Auditioning a Patch or
Rhythm Set (Phrase Preview)
In the patch mode, you can bring together your favorite and most
frequently used patches (or rhythm sets) in one place by registering
them in the favorite patch. By using this function, you can rapidly
select favorite patches from Preset/User/Card area or a Wave
Expansion Board. You can register a total of 64 sounds (8 sounds x 8
banks) as favorite patches.
This function lets you audition a patch using a suitable phrase that’s
provided for each type (category) of patch.
1. In the PATCH PLAY screen, PATCH LIST screen, RHYTHM
LIST screen, FAVORITE PATCH screen, or CATEGORY
screen, hold down MODE [AUDITION].
The patch (rhythm set) selected in the screen will play.
Registering a Favorite Patch/Rhythm Set
2. The audition playback will stop when you take your finger
off the [AUDITION] button.
1. In the PATCH PLAY screen, select the patch (or rhythm set)
that you wish to register.
You can use the Preview Mode parameter to change the way in
which Phrase Preview plays the sound. (p. 158)
2. Press [ENTER] to access the PATCH LIST screen.
3. Press [F3 (FAVORIT)].
The FAVORITE PATCH screen appears.
Transposing the Keyboard in
Octave Units (Octave Shift)
The Octave Shift function transposes the pitch of the keyboard in 1
octave units (-3– +3 octaves).
For playing a bass part more easily using your right hand, transpose
the keyboard down by 1 or 2 octaves.
4. Press [ ] [ ] to select the Bank.
*
Octave Shift applies only to the keyboard part.
5. Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select a
1. In the PATCH PLAY screen, press OCTAVE [-] or [+] to set
the amount of transposition (-3– +3).
favorite number.
The button will light if this is set.
6. Press [F2 (REGIST)] to execute the registration.
•
Each time you press OCTAVE [+], the amount of transposition
will change in the order of +1, +2, and +3. Each time you press
OCTAVE [-], the amount of transposition will change in the
order of -1, -2, and -3.
7. Press [F3 (LIST)] to return to the PATCH LIST screen.
You can hold down MODE [AUDITION] or [F5 (PREVIEW)] to
audition the patch or rhythm set.
•
•
[UP] will light if the setting is +1, +2, or +3; [DOWN] will light if
the setting is -1, -2, or -3.
Canceling a patch registration
By pressing [F1 (REMOVE)] you can cancel the patch (or rhythm set)
registration that is selected in the FAVORITE PATCH screen.
Press both buttons simultaneously to return the setting to 0.
Choosing the Favorite Patch/Rhythm Set
1. Press MODE [PATCH] to access the PATCH PLAY screen.
2. Press [ENTER] to access the PATCH LIST screen.
There is a single Octave Shift setting (Setup parameter) for the
entire JUNO-G. The changed setting will be remembered even if
you switch patches or performances.
3. Press [F1 (FAVORIT)].
The FAVORITE PATCH screen appears.
4. To change the Bank, use the VALUE dial or [ ] [ ].
5. Press [INC] [DEC] or [ ] [ ] to select the patch.
6. Press [F6 (SELECT)] or [ENTER] to confirm your selection.
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Playing in Patch Mode
Transposing the Keyboard in
Semitone Steps (Transpose)
Transpose changes keyboard pitch in units of semitones.
This function is useful when you play transposed instruments such
as trumpet or clarinet following a printed score.
Adjusting the Volume
Balance between the
Keyboard Performance and
the Rhythm Pattern
1. In the PATCH PLAY screen, hold down [SHIFT] and press
[F4 (LEVEL)].
1. In the PATCH PLAY screen, hold down [TRANSPOSE] and
press [-] or [+] to specify the amount of transposition (G–
F#: -5–+6 semitones).
The PART LEVEL window appears.
•
•
[TRANSPOSE] will light if the setting is anything other than C.
Hold down [TRANSPOSE] and press both buttons
simultaneously to return the setting to C.
There is a single Transpose setting (Setup parameter) for the
entire JUNO-G. The changed setting will be remembered even if
you switch patches or performances.
2. Press [F4 (KBD)] (keyboard) or [F5 (PTN)] (rhythm pattern)
to select a part.
3. Use the VALUE dial or [INC] [DEC] to adjust the volume.
Selecting the Tones That Will
Sound (Tone On/Off)
4. Press [F6 (CLOSE)] to close the window.
Since a patch is a combination of up to four tones, you can switch
unwanted (tones out of the four) off and get just the sound of a
specific tone.
1. In the PATCH PLAY screen, press [TONE SW/SEL] so the
button is lit.
2. Use SWITCH [1]–[4] to turn each tone on/off.
Making the button light turns the tone on.
If you want just one or two tones to sound in a patch, turn the
others off and store that setting on a patch. This cuts
nonessential use of the JUNO-G’s simultaneous voices.
3. Press [TONE SW/SEL] once again so its illumination is
turned off.
Playing Percussion
Instruments
In Patch mode, you can play percussion instruments from the
keyboard by selecting a rhythm set. As the rhythm tone assigned to
each key varies by the rhythm set selected, you can play a wide
range of percussion instruments.
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Creating a Patch
settings. Each item that can be set is known as a parameter. When
you change the values of parameters, you are doing what is referred
to as Editing. This chapter explains the procedures used in creating
patches, and the functions of the patch parameters.
Changing the brightness of the sound and
adding special qualities (CUTOFF/RESONANCE)
The sound generator section of the JUNO-G contains a filter that can
cut or boost specific frequency regions of the sound. The CUTOFF
knob specifies the frequency (cutoff frequency) at which the filter
will begin to modify the sound, and the RESONANCE knob boosts
the region near the cutoff frequency to add a distinctive character to
the sound.
Four Tips for Editing Patches
Select a patch that is similar to the sound you wish to
create (p. 26)
It’s hard to create a new sound that’s exactly what you
want if you just select a patch and modify its parameters at
is related to what you have in mind.
5. Turn the CUTOFF or RESONANCE knobs.
Turning a knob toward the right increases the value.
FREQ: Frequency at which the filter begins to have an effect on
the waveform’s frequency components
Decide which tones will sound (p. 29)
Since a patch is a combination of up to any four tones, you
should listen to how the individual tones sound before you
important to turn off unused tones to avoid wasting voices,
unnecessarily reducing the number of simultaneous notes
you can play.
RESO: Emphasizes the portion of the sound in the region of the
cutoff frequency, adding character to the sound
*
Excessively high settings can produce oscillation, causing the sound to
distort.
Check the Structure setting (p. 35)
Editing the way that the volume will change
The volume continues to change from the time a key is pressed to
when it is released.
The important Structure parameter determines how the
four tones combine. Before you select new tones, make
sure you understand how the currently selected tones are
affecting each other.
6. Press the SOUND MODIFY select button to make AMP ENV
Turn Effects off (p. 125)
light.
Since you will hear the original sound of the patch itself
when the effects are turned off, the results of your
modifications will be easier to hear. Actually, sometimes just
changing effects settings can give you the sound you want.
7. Turn the ATTACK, DECAY, SUSTAIN, and RELEASE knobs.
Turning a knob toward the right increases the value.
A: Attack Time: The time from when the keyboard is pressed
until the maximum tonal change is reached.
D: Delay Time: The time from when the maximum tonal change
is reached until the Sustain Level is reached.
How to Make Patch Settings
S: Sustain level: Volume that is sustained while you hold down
the key
Using the Knobs to Edit the Sound
R: Release Time: The time from when the keyboard is released
until the sound disappears.
You can use the six SOUND MODIFY knobs to edit the sound in real time.
1. Press MODE [PATCH] to access the PATCH PLAY screen.
2. Select the patch whose settings you want to edit (p. 26).
*
If you press the SOUND MODIFY select button so all of the
indicators are off, turning these knobs will not produce any change.
Editing the way that tone (brightness) will
change
The tone undergoes changes between the moment you press a key
until you release it.
You cannot edit the patches in the GM2 group.
Selecting the tone to edit
3. In the PATCH PLAY screen, press [TONE SW/SEL] so the
8. Press the SOUND MODIFY select button to make FILTER
button is lit.
ENV light.
4. Press SELECT[1]–[4] to select the tone(s) you want to edit.
9. Turn the ATTACK, DECAY, SUSTAIN, and RELEASE knobs.
In the SOUND MODIFY 1–4 area at the bottom of the screen, a
Turning a knob toward the right increases the value.
check mark (✔) will be added to the tone number(s) you select.
*
If you press the SOUND MODIFY select button so all of the
fig.PatchPlay
indicators are off, turning these knobs will not produce any change.
Applying vibrato, wah, or tremolo (LFO)
The LFO, short for “low frequency oscillator,” makes changes to the
sound in periodic fashion. Vibrato is the effect produced by using
the LFO to vary the pitch. Wah is the effect produced by using the
LFO to vary the cutoff frequency. Tremolo is the effect produced by
using the LFO to vary the volume.
*
*
You can press multiple buttons simultaneously to select multiple tones.
By turning TONE SWITCH on/off you can edit the sound while
hearing only the desired tone.
30
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Creating a Patch
10.Press the SOUND MODIFY select button to make LFO light.
8. Press [WRITE] to save the changes you’ve made (p. 32).
If you do not wish to save changes, press [EXIT] to return to
the PATCH PLAY screen.
11.Turn the ATTACK, DECAY, SUSTAIN, and RELEASE knobs.
RATE: LFO RATE: Speed of LFO 1
If you return to the PATCH PLAY screen without saving, an “*”
will be displayed at the left of the rhythm set group.
pitch
FLT: LFO TVF Depth: Depth by which LFO 1 changes the TVF
cutoff frequency
display indicates “*,” your edited rhythm set will be lost.
AMP: LFO TVA Depth: Depth by which LFO 1 changes the
volume
Viewing and editing all
parameters (PRO EDIT)
For details on these parameters, refer to Modulating Sounds/
Output (p. 46).
*
If you press the SOUND MODIFY select button so all of the
For details on the parameters, refer to p. 34 and follows.
2. Select the patch whose settings you want to edit (p. 26).
indicators are off, turning these knobs will not produce any change.
(Zoom Edit)
The important parameters most commonly used to edit the sound
are available in eight screens for graphic editing.
You cannot edit the patches in the GM2 group.
3. Press EDIT [PATCH] so it’s lit.
Parameter
page
p. 40
p. 40
p. 41
p. 43
Parameter
PATCH EDIT
LFO 1/2
page
p. 35
p. 46
p. 47
PITCH ENVELOPE
TVF PARAMETER
TVF ENVELOPE
TVA ENVELOPE
4. Press [F6 (PRO EDIT)].
STEP LFO
5. Use [F2 (GRP ↑)] [F3 (GRP ↓)] to switch the parameter group.
*
Pressing [F1 (GRP LIST)] will display the Patch Pro Edit Menu
window. Use the VALUE dial or [INC] [DEC] [ ] [ ] to select a
parameter group, and press [ENTER].
1
6. Use [ ] [ ] to select a parameter.
2
3
of the screen.
1. Graphic display
2. Move the cursor and use the VALUE dial or [INC] [DEC]
3. Corresponds to SOUND MODIFY knobs 1--4.
1. Press MODE [PATCH] to access the PATCH PLAY screen.
2. Select the patch whose settings you want to edit (p. 26).
7. Use the VALUE dial or [INC] [DEC] to change the value.
Parameters with an indication of 1–4 can also be edited using
the corresponding SOUND MODIFY knob 1–4.
You cannot edit the patches in the GM2 group.
3. Press EDIT [PATCH] so it’s lit.
8. Repeat steps 5–7 to set each parameter.
4. Use [F1]–[F4] to select the parameter screen.
9. Press [WRITE] to save the changes you’ve made (p. 32).
If you do not wish to save changes, press [EXIT] to return to
the PATCH PLAY screen.
*
Pressing [F5 (PAGE)] will switch the [F1]–[F4] screens.
5. Use [ ] [ ] [ ] [ ] to select a parameter.
If you return to the PATCH PLAY screen without saving, an “*”
will be displayed at the left of the rhythm set group.
*
Some parameters can be edited independently for each tone. To select
the tone to edit, press [TONE SW/SEL] so it’s lit, and press one of the
SELECT [1]–[4] buttons.
If you turn off the power or select a different sound while the
display indicates “*,” your edited rhythm set will be lost.
6. Use the VALUE dial or [INC] [DEC] to change the value.
Parameters with an indication of 1–4 can also be edited using
the corresponding SOUND MODIFY knob 1–4.
7. Repeat steps 4–6 to set each parameter.
31
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Creating a Patch
5. Press [F6 (EXEC)] to execute the copy operation.
To cancel, press [F5 (CANCEL)].
*
Using the SOUND MODIFY Knobs
to Change the Value
The Compare Function
For the Patch Tone Copy and Patch Save operations, you can
use the Compare function.
If a number is displayed for the parameter name (1, 2, 3, 4), you can
use the SOUND MODIFY knobs 1–4 to set the value.
If you want to play the copy-source or write-destination patch,
press [F4 (COMPR)] to add a check mark (✔). Now you can
play the copy-source or write-destination patch from the
keyboard.
*
Press the SOUND MODIFY select button so all of the indicators are
off. If any indicator is lit, the knob functions will change.
For example, in the TVF ENVELOPE ZOOM screen, the knobs
correspond to parameters as follows.
*
The patch auditioned using the Compare function may sound
slightly different than when it is played normally.
Knob 1
Knob 2
Knob 3
Knob 4
A (Time 1)
D (Time 3)
S (Level 3)
R (Time 4)
Saving Patches You’ve
Created (Write)
Changes you make to sound settings are temporary, and will be lost
if you turn off the power or select another sound. If you want to keep
the modified sound, you must save it in the internal USER group
(user memory) or CARD group (memory card).
“Initialize” means to return the settings of the currently selected
sound to a standard set of values.
*
The Initialize operation will affect only the currently selected sound;
the sounds that are stored in user memory will not be affected. If you
wish to restore all of the JUNO-G’s settings to their factory values,
perform a Factory Reset (p. 164).
When you edit the patch settings, an “*” will appear in the PATCH
PLAY screen.
1. With EDIT [PATCH] lit, hold down [SHIFT] and press [F5 (INIT)].
When you perform the save procedure, the data that previously
occupied the save destination will be lost.
A message will ask you for confirmation.
1. Edit the patch.
2. Press [F6 (EXEC)].
The initialization will be carried out.
2. Press EDIT [WRITE].
*
To cancel, press [F5 (CANCEL)].
The WRITE MENU screen appears.
Copying Patch (Tone) Settings
This operation copies the settings of any desired patch to the
currently selected patch.
1. With EDIT [PATCH] lit, hold down [SHIFT] and press [F6
(TONE COPY)].
3. Press [F2 (PAT/RHY)].
The Patch Tone Copy window appears.
*
Alternatively, you can use [ ] [ ] to select “Patch/Rhythm,” and
then press [ENTER].
The PATCH NAME screen appears.
2. Press [ ] [ ] [ ] [ ] to move the cursor, and use the
VALUE dial or [INC] [DEC] to select the “Source (copy-
source)” group and number, and the tone.
4. Assign a name to the patch.
*
By pressing [F4 (COMPR)] to add a check mark (✔), you can check
the copy-source patch (Compare function).
For details on assigning names, refer to p. 24.
3. Press [ ] [ ] [ ] [ ] to move the cursor, and select the
5. When you have finished inputting the name, press [F6
(WRITE)].
“Destination (copy-destination)” tone.
4. Press [F6 (EXEC)].
A screen will appear, allowing you to select the write-
destination patch.
A message will ask you for confirmation.
32
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Creating a Patch
6. Use the VALUE dial, [INC] [DEC], or [ ] [ ] and [F1 (USER)]
Tips for Using an Acoustic Instrument’s
Waveform
[F2 (CARD)] to select the write destination and patch number.
*
By pressing [F4 (COMPR)] to add a check mark (✔), you can check
With many acoustic instruments such as piano and sax, extreme
timbral changes occur during the first few moments of each note.
This initial attack is what defines much of the instrument’s character.
For such waveforms, it is best to use the complex tonal changes of
the attack portion of the waveform just as they are, and to use the
the write-destination patch (Compare function).
7. Press [F6 (WRITE)].
A message will ask you for confirmation.
envelope only to modify the decay portion.
8. Press [F6 (EXEC)] to execute the save operation.
fig.06-006.e
*
To cancel, press [F5 (CANCEL)].
Level
Looped portion
Tone change stored
with the wave
Never switch off the JUNO-G while data is being saved.
Time
One-shot Waveform and Loop
Waveform
Envelope
for the TVF filter
The internal waveforms of the JUNO-G fall into the following two
groups.
One-shot:
These waveforms contain sounds that have short decays. A one-shot
waveform records the initial rise and fall of the sound.
The JUNO-G also contains many other one-shot waveforms that are
elements of other sounds. These include attack components such as
piano-hammer sounds and guitar fret noises.
Resulting
tone change
*
It is not possible to use the envelope to modify a one-shot waveform to
create a decay that is longer than the original waveform, or to turn it
into a sustaining sound.
Loop:
These waveforms include sounds with long decays as well as
sustained sounds. Loop waveforms repeatedly play back (loop) the
portion of the waveform after the sound has reached a relatively
steady state.
The JUNO-G’s looped waveforms also include components of other
sounds, such as piano-string resonant vibrations and the hollow
sounds of brass instruments.
The following diagram shows an example of sound (electric organ)
that combines one-shot and looped waveforms.
fig.06-005.e
TVA ENV for looped Organ
waveform (sustain portion)
TVA ENV for one-shot Key
-click waveform (attack portion)
Resulting TVA ENV
change
Level
+
=
Time
Note off
Note off
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Creating a Patch
Functions of Patch Parameters
Settings Common to the Entire Patch
GENERAL
Parameter marked with a “★” can be controlled using specified MIDI messages
(Matrix Control, p. 44)
Parameter
Value
Description
Patch Category
Patch Level
Patch Pan
Refer to p. 26.
0–127
Type (category) of the patch
Volume of the patch
L64–0–63R
LAST, LOUDEST
Left/right position of the patch
Patch Priority
How notes will be managed when the maximum polyphony is exceeded (128 voices)
LAST: The last-played voices will be given priority (Notes will be turned off in order, beginning with the first-
played note.)
LOUDEST: The loudest voices will be given priority (Notes will be turned off, beginning with the lowest-volume
voice.)
Octave Shift
-3– +3
Pitch of the patch’s sound (in units of an octave)
Patch Coarse Tune ★
Patch Fine Tune
Stretch Tune Depth
-48– +48
-50– +50
OFF, 1–3
Pitch of the patch’s sound (in semitones, +/- 4 octaves)
Pitch of the patch’s sound (in 1-cent steps; one cent is 1/100th of a semitone)
Stretched tuning (a system by which acoustic pianos are normally tuned, causing the lower range to be lower and the
higher range to be higher than the mathematical tuning ratios would otherwise dictate)
OFF: Equal temperament
1–3: Higher settings will produce the greater difference in the pitch of the low and high ranges.
Analog Feel
0–127
Depth of 1/f modulation (a pleasant and naturally-occurring ratio of modulation that occurs in a babbling brook or
rustling wind)
*
You can simulate the natural instability characteristic of an analog synthesizer by adding this “1/f modulation.”
Stretched Tuning
fig.06-011.e
Pitch difference from
equal temperament
Parameter value
3
2
1
OFF
OFF
1
2
3
High note range
Low note range
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Creating a Patch
Changing How a Tone Is Sounded (Structure)
Parameter
Value
Explanation
Struct 1 & 2, 3 & 4
(Structure Type)
TYPE 01–TYPE 10
Determines how tone 1 and 2, or tone 3 and 4 are connected.
The following 10 different Types of combination are available.
TYPE 1
TYPE 2
TONE 1 (3) WG
TONE 1 (3) WG
TONE 2 (4) WG
TVF
TVA
TVA
TVA
TVF
TONE 2 (4) WG
TVF
TVF TVA
With this type, tones 1 and 2 (or 3 and 4) are independent. Use this type when
you want to preserve PCM sounds or create and combine sounds for each tone.
This type stacks the two filters together to intensify the characteristics of the fil-
ters. The TVA for tone 1 (or 3) controls the volume balance between the two
tones.
TYPE 3
TYPE 4
TONE 1 (3) WG
TONE 2 (4) WG
TONE 1 (3) WG
TONE 2 (4) WG
TVA
TVF
TVA
TVF
B
B
TVF TVA
TVF TVA
This type mixes the sound of tone 1 (3) and tone 2 (4), applies a filter, and then
applies a booster to distort the waveform.
This type applies a booster to distort the waveform, and then combines the two
filters. The TVA for tone 1 (or 3) controls the volume balance between the two
tones and adjusts booster level.
TYPE 5
TYPE 6
TONE 1 (3) WG
TONE 2 (4) WG
TONE 1 (3) WG
TONE 2 (4) WG
TVA
TVF
TVA
TVF
R
R
TVF TVA
TVF TVA
This type uses a ring modulator to create new overtones, and combines the two
filters. The tone 1 (3) TVA will control the volume balance of the two tones, ad-
justing the depth of ring modulator.
This type uses a ring modulator to create new overtones, and in addition mixes
in the sound of tone 2 (4) and stacks the two filters. Since the ring-modulated
sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of the
ring-modulated sound.
TYPE 7
TYPE 8
TONE 1 (3) WG
TONE 2 (4) WG
TONE 1 (3) WG
TONE 2 (4) WG
TVF TVA
TVF TVA
R
R
TVF TVA
TVF TVA
This type applies a filter to tone 1 (3) and ring-modulates it with tone 2 (4) to cre-
ate new overtones.
This type sends the filtered tone 1 (3) and tone 2 (4) through a ring modulator,
and then mixes in the sound of tone 2 (4) and applies a filter to the result.
TYPE 9
TYPE 10
TONE 1 (3) WG
TONE 2 (4) WG
TONE 2 (4) WG
TVF TVA
TVF
TVF TVA
TVF
R
R
TVA
TVA
This type passes the filtered sound of each tone through a ring modulator to cre-
ate new overtones. The tone 1 (3) TVA will control the volume balance of the two
tones, adjusting the depth of ring modulator.
This type passes the filtered sound of each tone through a ring modulator to cre-
ate new overtones, and also mixes in the sound of tone 2 (4). Since the ring-mod-
ulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount
of the ring-modulated sound.
*
*
When TYPE 2–10 is selected and one tone of a pair is turned off, the other tone will be sounded as TYPE 1 regardless of the displayed setting.
If you limit the keyboard area in which a tone will sound (Keyboard Range, p. 37) or limit the range of velocities for which it will sound (Velocity Range, p.
38), the result in areas or ranges where the tone does not sound is just as if the tone had been turned off. This means that if TYPE 2–10 is selected and you
create a keyboard area or velocity range in which one tone of a pair does not sound, notes played in that area or range will be sounded by the other tone as
TYPE 1 regardless of the displayed setting.
35
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Creating a Patch
Parameter
Value
Explanation
Booster 1&2, 3&4
(Booster Gain)
0, +6, +12, +18
When a Structure Type of TYPE 3 or TYPE 4 is selected, you can adjust the depth of the booster. The booster increases the
input signal in order to distort the sound. This creates the distortion effect frequently used with electric guitars. Higher set-
tings will produce more distortion.
Booster
fig.Boost1.e
The Booster is used to distort the incoming signal.
Booster level
fig.Boost2.e
In addition to using this to create distortion, you can use the waveform
Uses WG1 as LFO
Adjusts WG1 output
(WG1) of one of the tones as an LFO which shifts the other waveform
(WG2) upward or downward to create modulation similar to PWM (pulse
width modulation). This parameter works best when you use it in
conjunction with the Wave Gain parameter (p. 38).
WG1
TVA
Booster
WG2
WG2
Adds to WG1
Distorted area of the
Waveform changes
Shift in waveform by WG1
Ring Modulator
fig.RingMod
A ring modulator multiplies the waveforms of two tones with each other,
generating many new overtones (in harmonic partials) which were not
present in either waveform. (Unless one of the waveforms is a sine wave,
evenly-spaced frequency components will not usually be generated.)
As the pitch difference between the two waveforms changes the harmonic
structure, the result will be an unpitched metallic sound. This function is
suitable for creating metallic sounds such as bells.
MODIFY
These values are added to the parameter values of each tone.
Parameter
Value
Description
Cutoff Offset
-63– +63
-63– +63
-63– +63
-63– +63
-63– +63
Cutoff Frequency (p. 40)
Resonance Offset
Attack Time Offset
Release Time Offset
Velocity Sens Offset
Resonance (p. 40)
F-Env Time 1, A-Env Time 1 (p. 41, p. 43)
F-Env Time 4, A-Env Time 4 (p. 41, p. 43)
Cutoff V-Sens, Level V-Sens (p. 41, p. 42)
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Creating a Patch
PORTAMENTO
Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key.
Parameter
Value
Explanation
Portamento Switch
Portamento Mode
OFF, ON
Specifies whether the portamento effect will be applied (ON) or not (OFF).
NORMAL, LEGATO
NORMAL: Portamento will always be applied.
LEGATO: Portamento will be applied only when you play legato.
Portamento Type
Portamento Start
Portamento Time
RATE, TIME
PITCH, NOTE
0–127
RATE: The time it takes will depend on the distance between the two pitches.
TIME: The time it takes will be constant, regardless of how far apart in pitch the notes are.
PITCH: Starts a new portamento when another key is pressed while the pitch is changing.
NOTE: Portamento will begin anew from the pitch where the current change would end.
Specifies the time over which the pitch will change.
fig.PortaStart.e
Portamento Start: PITCH
Portamento Start: NOTE
Pitch
Pitch
C5
C5
D4
C4
D4
C4
Time
Time
press D4 key
press C5 key
press D4 key
press C5 key
press C4 key
press C4 key
CONTROL
Parameter
Value
Explanation
Mono/Poly
MONO, POLY
MONO: Only the last-played note will sound. This setting is effective when playing a solo instrument patch
such as sax or flute.
POLY: Two or more notes can be played simultaneously.
Legato Switch
OFF, ON
ON: Pressing a key while continuing to press a previous key causes the note to change pitch to the pitch of the
most recently pressed key, sounding all the while. This is effective when you wish to simulate the hammering-
on and pulling-off techniques used by a guitarist.
*
Legato Switch is valid when the Mono/Poly parameter is set to “MONO.”
Legato Retrigger
OFF, ON
OFF: When one key is held down and another key is then pressed, only the pitch changes, without the attack
of the latter key being played. Set this to “OFF” when performing wind and string phrases or when using mod-
ulation with the mono synth keyboard sound.
ON: Normally you will leave this parameter “ON.”
*
Legato Retrigger is valid when the Mono/Poly is set to “MONO” and the Legato Switch is set to “ON.”
Pitch Bend Range Up
0– +48
-48–0
Degree of pitch change in semitones when the Pitch Bend lever is all the way right
Degree of pitch change in semitones when the Pitch Bend lever is all the way left
Pitch Bend Range Down
KEY RANGE
You can use the note number to control the way each Tone is played.
fig.TMT-K.e
The tone sounded
in the lower range
The tone sounded
in the upper range
Level
Pitch
Key Fade Upper
Key Range Upper
Key Fade Lower
Key Range Lower
Parameter
Value
Explanation
Key Fade Lower
0–127
Determines what will happen to the tone’s level when a note that’s lower than Key Range Lower is played.
If you don’t want the tone to sound at all, set this parameter to “0.”
Key Range Lower
Key Range Upper
Key Fade Upper
C - –(Upper)
(Lower)–G9
0–127
Specifies the lowest note that the tone will sound for each tone.
Specifies the highest note that the tone will sound for each tone.
Determines what will happen to the tone’s level when a note that’s higher than Key Range Upper is played.
If you don’t want the tone to sound at all, set this parameter to “0.”
37
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Creating a Patch
VELOCITY RANGE
You can use the force with which keys are played to control the way each Tone is played.
fig.TMT-V.e
The tone sounded
when you play softly
The tone sounded
when you play strongly
Level
Velocity
Velo Fade Upper
Velo Range Upper
Velo Fade Lower
Velo Range Lower
Parameter
Value
Explanation
Tone Mix Velo Con-
trol
OFF, ON,
RANDOM,
CYCLE
Determines whether a different tone is played (ON) or not (OFF) depending on the force with which the key is played
(velocity).
RANDOM: The patch’s constituent tones will sound randomly, regardless of any Velocity messages.
CYCLE: The patch’s constituent tones will sound consecutively, regardless of any Velocity messages.
Control Switch
OFF, ON
0–127
Use the Matrix Control (p. 44) to enable (ON), or disable (OFF) sounding of different tones.
Velo Fade Lower
Determines what will happen to the tone’s level when the tone is played at a velocity lower than Velo Range Lower.
If you don’t want the tone to sound at all, set this parameter to “0.”
Velo Range Lower
Velo Range Upper
Velo Fade Upper
1–(Upper)
(Lower)–127
0–127
Specifies the lowest velocity at which the tone will sound.
Specifies the highest velocity at which the tone will sound.
Determines what will happen to the tone’s level when the tone is played at a velocity greater than Velo Range Upper.
If you don’t want the tone to sound at all, set this parameter to “0.”
When using the Matrix Control to have different tones played, set the lowest value (Lower) and highest value (Upper) of the value of the
MIDI message used.
Instead of using Velocity, you can also have tones substituted using the Matrix Control. However, the keyboard velocity and the Matrix
Control cannot be used simultaneously to make different tones to sound. When using the Matrix Control to switch tones, set the Tone Mix
Velo Control parameter to “OFF.”
Modifying Waveforms/Pitch/Pitch Envelope
WAVE PARAMETER
Parameter
Value
Explanation
Wave Group
INT, EXP,
SAMP
Group for the waveform that is to be the basis of the tone
INT: Waveforms stored in internal
EXP: Waveform stored in a Wave Expansion Board (SRX series) installed in EXP slots
SAMP: Sample waveforms
Wave Bank
PRST, USER,
CARD
When the Wave Group is SAMP: PRST, USER, CARD
When the Wave Group is MSAM: USER, CARD
Wave No. L (Mono)
Wave No. R
----, 1–1267
Basic waveform for a tone (The upper limit will depend on the wave group.)
When in monaural mode, only the left side (L) is specified. When in stereo, the right side (R) is also specified.
If you want to select a left/right pair of Waves, select the left (L) Wave number, and then hold down [SHIFT] and
press [F4 (STEREO)] to add a check mark (✔); the right (R) (Wave) will be recalled.
Wave Gain
-6, 0, +6, +12
OFF, ON
Gain (amplification) of the waveform
The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.
*
If you intend to use the Booster to distort the waveform’s sound, set this parameter to its maximum value (p. 36).
Wave Tempo Sync
When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”
*
This is valid only when a separately sold wave expansion board is installed, and a waveform that indicates a tempo (BPM) is
selected as the sample for a tone.
If a waveform from a wave expansion board is selected for the tone, turning the Wave Tempo Sync parameter “ON”
will cause pitch-related settings and FXM-related settings to be ignored.
• If a sample is selected for a tone, you must first set the BPM (tempo) parameter of the sample.
• If a sample is selected for a tone, Wave Tempo Sync will require twice the normal number of voices.
• When this parameter is set to “ON,” set the Tone Delay Time parameter (p. 45) to “0.”
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Creating a Patch
Phrase Loop
Realtime Time Stretch
Phrase loop refers to the repeated playback of a phrase that’s
been pulled out of a song (e.g., by using a sampler). One
technique involving the use of Phrase Loops is the excerpting of
a Phrase from a pre-existing song in a certain genre, for example
dance music, and then creating a new song with that Phrase
used as the basic motif. This is referred to as “Break Beats.”
If the wave group is “SAMP” or “MSAM,” and the Wave
Tempo Sync parameter is turned “ON,” you can vary the
playback speed of the waveform without affecting the pitch.
Parameter marked with a “★” can be controlled using specified MIDI messages
(Matrix Control, p. 44)
Parameter
FXM Switch
FXM Color
Value
OFF, ON
1–4
Explanation
This sets whether FXM will be used (ON) or not (OFF).
How FXM will perform frequency modulation
Higher settings result in a grainier sound, while lower settings result in a more metallic sound.
FXM Depth ★
0–16
Depth of the modulation produced by FXM
FXM
FXM (Frequency Cross Modulation) uses a specified waveform
to apply frequency modulation to the currently selected
waveform, creating complex overtones. This is useful for
creating dramatic sounds or sound effects.
WAVE PITCH
Parameter marked with a “★” can be controlled using specified MIDI messages
(Matrix Control, p. 44)
Parameter
Value
Explanation
Tone Coarse Tune ★
Tone Fine Tune ★
Rand Pitch Depth
-48– +48
-50– +50
0–1200
Pitch of the tone’s sound (in semitones, +/-4 octaves)
Pitch of the tone’s sound (in 1-cent steps; one cent is 1/100th of a semitone)
Width of random pitch deviation that will occur each time a key is pressed (in 1-cent steps)
If you do not want the pitch to change randomly, set this to “0.”
Pitch Keyfollow
-200– +200
Amount of pitch change that will occur when you play a key one octave higher
If you want the pitch to rise one octave as on a conventional keyboard, set this to “+100.” If you want the pitch to rise
two octaves, set this to “+200.”
P-Env V-Sens
-63– +63
-63– +63
-63– +63
-100– +100
Keyboard playing dynamics can be used to control the depth of the pitch envelope.
If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a positive (+) value.
P-Env T1 V-Sens
P-Env T4 V-Sens
This allows keyboard dynamics to affect the T1 of the Pitch envelope.
If you want T1 to be speeded up for strongly played notes, set this parameter to a positive (+) value.
Use this parameter when you want key release speed to affect the T4 value of the Pitch envelope.
If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value.
P-Env Time KF
(Time Keyfollow)
Use this setting if you want the pitch envelope times (T2–T4) to be affected by the keyboard location.
Based on the pitch envelope times for the C4 key, positive (+) settings will cause notes higher than C4 to have increas-
ingly shorter times.
Pitch
Pitch Keyfollow
Time
Time Keyfollow
+200
-100
-50
+100
+50
0
0
+50
-50
+100
-200
C6
-100
C7
Key
Key
C1
C2
C3
C4
C5
C1
C2
C3
C4
C5
C6
C7
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Creating a Patch
WAVE PITCH ENV
Parameter marked with a “★” can be controlled using specified MIDI messages
(Matrix Control, p. 44)
Parameter
Value
Explanation
P-Env Depth
-12– +12
Depth of the Pitch envelope
Higher settings will cause the pitch envelope to produce greater change. Negative (-) settings will invert the shape of
the envelope.
P-Env Time 1–4 ★
0–127
Pitch envelope times (T1–T4)
Higher settings will result in a longer time until the next pitch is reached.
P-Env Level 0–4
-63– +63
Pitch envelope levels (L0–L4)
Specify how the pitch will change at each point, relative to the pitch set with Coarse Tune or Fine Tune.
Pitch Envelope
T1
T2
T3
T4
Pitch
L0
Time
L1
L3
Note off
L4
Note on
L2
Modifying the Brightness of a Sound with a Filter (TVF/TVF Envelope)
A filter cuts or boosts a specific frequency region to change a sound’s brightness, thickness, or other qualities.
TVF PARAMETER
Parameter marked with a “★” can be controlled using specified MIDI messages
(Matrix Control, p. 44)
Parameter
Value
Explanation
Filter Type
OFF, LPF,
BPF, HPF,
PKG,
Type of filter
OFF: No filter is used.
LPF: Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency in order to round off, or un-
brighten the sound.
BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency, and cuts the rest. This can
be useful when creating distinctive sounds.
LPF2,
LPF3
HPF: High Pass Filter. This cuts the frequencies in the region below the cutoff frequency. This is suitable for creating
percussive sounds emphasizing their higher tones.
PKG: Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency. You can use this to create
wah-wah effects by employing an LFO to change the cutoff frequency cyclically.
LPF2: Low Pass Filter 2. Although frequency components above the Cutoff frequency are cut, the sensitivity of this filter
is half that of the LPF. This filter is good for use with simulated instrument sounds such as the acoustic piano.
LPF3: Low Pass Filter 3. Although frequency components above the Cutoff frequency are cut, the sensitivity of this filter
changes according to the Cutoff frequency. While this filter is also good for use with simulated acoustic instrument
sounds, the nuance it exhibits differs from that of the LPF2, even with the same TVF Envelope settings.
*
If you set “LPF2” or “LPF3,” the setting for the Resonance parameter will be ignored.
Cutoff Frequency ★
0–127
0–127
Frequency at which the filter begins to have an effect on the waveform’s frequency components
Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound
Resonance ★
*
Excessively high settings can produce oscillation, causing the sound to distort.
Cutoff Keyfollow
-200– +200
Use this parameter if you want the cutoff frequency to change according to the key that is pressed.
Relative to the cutoff frequency at the C4 key (center C), positive (+) settings will cause the cutoff frequency to rise for
notes higher than C4, and negative (-) settings will cause the cutoff frequency to fall for notes higher than C4. Larger
settings will produce greater change.
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Creating a Patch
Cutoff frequency
(Octave)
Cutoff Keyfollow
Resonance
BPF HPF
LPF
PKG
Level
High
+200
+100
+50
0
Frequency
+2
Cutoff frequency
+1
o
-1
-2
-50
-200
C6
-100
C1
C2
C3
C4
C5
C7
Key
Low
Parameter
Value
Explanation
Cutoff V-Curve
FIX, 1–7
Curve that determines how keyboard playing dynamics (velocity) will affect the cutoff frequency
Set this to “FIX” if you don’t want the Cutoff frequency to be affected by the keyboard velocity.
1
2
3
4
5
6
7
Cutoff V-Sens
-63– +63
-63– +63
FIX, 1–7
Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. If you want
strongly played notes to raise the cutoff frequency, set this parameter to positive (+) settings.
Resonance V-Sens
F-Env V-Curve
This allows keyboard velocity to modify the amount of Resonance.
If you want strongly played notes to have a greater Resonance effect, set this parameter to positive (+) settings.
Curve that determines how keyboard playing dynamics (velocity) will affect the TVF envelope
Set this to “FIX” if you don’t want the TVF Envelope to be affected by the keyboard velocity.
1
2
3
4
5
6
7
F-Env V-Sens
-63– +63
Specifies how keyboard playing dynamics will affect the depth of the TVF envelope.
Positive (+) settings will cause the TVF envelope to have a greater effect for strongly played notes, and negative (-) set-
tings will cause the effect to be less.
F-Env T1 V-Sens
F-Env T4 V-Sens
-63– +63
-63– +63
This allows keyboard dynamics to affect the T1 of the TVF envelope.
If you want T1 to be speeded up for strongly played notes, set this parameter to a positive (+) value.
Use this parameter when you want key release speed to affect the T4 value of the TVF envelope.
If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value.
TVF ENVELOPE
Parameter marked with a “★” can be controlled using specified MIDI messages
(Matrix Control, p. 44)
Parameter
Value
Explanation
F-Env Depth
-63– +63
Depth of the TVF envelope
Higher settings will cause the TVF envelope to produce greater change. Negative (-) settings will invert the shape of the
envelope.
F-Env Time KF
(Time Keyfollow)
-100– +100
Use this setting if you want the TVF envelope times (T2–T4) to be affected by the keyboard location.
Based on the TVF envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have
increasingly shorter times.
F-Env Time 1–4 ★
0–127
0–127
TVF envelope times (T1–T4)
Higher settings will lengthen the time until the next cutoff frequency level is reached.
F-Env Level 0–4
TVF envelope levels (L0–L4)
Specify how the cutoff frequency will change at each point, relative to the Cutoff Frequency value.
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Creating a Patch
TVF Envelope
Time
Time Keyfollow
-100
-50
T1
T2
T3
T4
Cutoff
Frequency
0
L0
L1
Note on
Time
L2
L3
L4
+50
Note off
+100
Key
C1
C2
C3
C4
C5
C6
C7
Adjusting the Volume (TVA/TVA Envelope)
TVA PARAMETER
Parameter marked with a “★” can be controlled using specified MIDI messages
(Matrix Control, p. 44)
Parameter
Value
Explanation
Tone Level ★
0–127
Volume of the tone.
This setting is useful primarily for adjusting the volume balance between tones.
Level V-Curve
FIX, 1–7
Curve that determines how keyboard playing dynamics (velocity) will affect the volume
Set this to “FIX” if you don’t want the volume of the tone to be affected by the keyboard velocity.
1
2
3
4
5
6
7
Level V-Sens
-63– +63
Set this when you want the volume of the tone to change depending on keyboard playing dynamics.
Set this to a positive (+) value to have the changes in tone volume increase the more forcefully the keys are played; to
make the tone play more softly as you play harder, set this to a negative (-) value.
Bias
Bias causes the volume to be affected by the keyboard position. This is useful for changing volume through keyboard position (pitch) when
playing acoustic instruments.
Bias Level
-100– +100
Angle of the volume change that will occur in the selected Bias Direction
Larger settings will produce greater change. Negative (-) values will invert the change direction.
Bias Position
Bias Direction
C - –G9
Key relative to which the volume will be modified
LWR, UPR,
L&U, ALL
Direction in which change will occur starting from the Bias Position
LWR: The volume will be modified for the keyboard area below the Bias Point.
UPR: The volume will be modified for the keyboard area above the Bias Point.
L&U: The volume will be modified symmetrically toward the left and right of the Bias Point.
ALL: The volume changes linearly with the bias point at the center.
L&U
Level
ALL
Level
LWR
Level
UPR
Level
–
0
+
0
–
+
0
–
+
0
–
+
0
–
+
0
–
+
Key
Key
Key
Key
C-1
G9
C-1
G9
C-1
G9
C-1
G9
Bias Position
Bias Position
Bias Position
Bias Position
Parameter
Value
Explanation
Left/right position of the tone
Use this parameter if you want key position to affect panning.
Tone Pan ★
Pan Keyfollow
L64–0–63R
-100– +100
Positive (+) settings will cause notes higher than C4 key (center C) to be panned increasingly further toward the right,
and negative (-) settings will cause notes higher than C4 key (center C) to be panned toward the left. Larger settings
will produce greater change.
42
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Creating a Patch
Pan
Pan Keyfollow
+100
+50
0
R
o
-50
-100
L
Key
C1
C2
C3
C4
C5
C6
C7
Parameter
Value
Explanation
Random Pan Depth
0–63
Use this parameter when you want the stereo location to change randomly each time you press a key.
Higher settings will produce a greater amount of change.
Alter Pan Depth
L63–0–63R
This setting causes panning to be alternated between left and right each time a key is pressed.
Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan
will alternate between left and right. For example if two tones are set to “L” and “R” respectively, the panning of the
two tones will alternate each time they are played.
*
When any value from Type “2”–”10” is selected for the Structure parameter in the Pan KF, Rnd Pan Depth, Alter Pan Depth
parameter settings, the output of tones 1 and 2 are joined in tone 2, and the output of tones 3 and 4 are joined in tone 4. For this
reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 35).
TVA ENVELOPE
Parameter marked with a “★” can be controlled using specified MIDI messages
(Matrix Control, p. 44)
Parameter
Value
Explanation
A-Env T1 V-Sens
-63– +63
-63– +63
-100– +100
This allows keyboard dynamics to affect the T1 of the TVA envelope.
If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you
want it to be slowed down, set this to a negative (-) value.
A-Env T4 V-Sens
Use this parameter when you want key release speed to affect the T4 value of the TVA envelope.
If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you
want it to be slowed down, set this to a negative (-) value.
A-Env Time KF
(Time Keyfollow)
Use this setting if you want the TVA envelope times (T2–T4) to be affected by the keyboard location. Based on
the TVA envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have
increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger set-
tings will produce greater change.
A-Env Time 1–4 ★
0–127
0–127
TVA envelope times (T1–T4)
Higher settings will lengthen the time until the next volume level is reached.
A-Env Level 1–3
TVA envelope levels (L1–L3)
Specify how the volume will change at each point, relative to the Tone Level value.
TVA Envelope
Time
Time Keyfollow
-100
-50
T1 T2
T3
T4
0
Level
Time
L3
L2
L1
Note on
+50
Note off
+100
Key
C1
C2
C3
C4
C5
C6
C7
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Creating a Patch
Matrix Control Settings/Miscellaneous Settings
MATRIX CTRL1–4
The function which allows you use MIDI messages to make changes in realtime to the tone parameters is called the Matrix Control. Up to four
Matrix Controls can be used in a single patch.
To use the Matrix Control, specify which MIDI message (CTRL Source parameter) will be used to control which parameter (CTRL Destination
parameter), and how greatly (CTRL Sens parameter), and the tone to which the effect is applied (CTRL Switch parameter).
Parameter
Value
Explanation
CTRL 1–4 Source
OFF, CC01–31, 33–95,
PITCH BEND,
AFTERTOUCH,
SYS CTRL1–4,
VELOCITY,
KEYFOLLOW, TEMPO,
LFO1, LFO2, PITCH
ENV, TVF ENV, TVA
ENV
MIDI message used to change the tone parameter with the Matrix Control
OFF: Matrix control will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
PITCH BEND: Pitch Bend AFTERTOUCH: Aftertouch
SYS CTRL1–4: MIDI messages used as common matrix controls
VELOCITY: Pressure you press a key with KEY FOLLOW: Keyboard position with C4 as 0
TEMPO: The specified tempo (song recorder tempo) or the tempo of an external MIDI sequencer.
LFO1: LFO 1 LFO2: LFO 2
Velocity and Key follow correspond to Note messages.
Although there are no MIDI messages for LFO 1 through TVA Envelope, they can be used as Matrix Control. In this case, you can change the
tone settings in realtime by playing patches.
•
If you want to use common controllers for the entire JUNO-G, select “SYS CTRL1”–”SYS CTRL4.” MIDI messages used as System Control 1–
4 are set with the System Ctrl 1–4 Source parameters (p. 160).
There are parameters that determine whether or not Pitch Bend, Controller Number 11 (Expression) and Controller Number 64 (Hold 1) are
received (p. 45). When these settings are “ON,” and the MIDI messages are received, then when any change is made in the settings of the
desired parameter, the Pitch Bend, Expression, and Hold 1 settings also change simultaneously. If you want to change the targeted
parameters only, then set these to “OFF.”
•
There are parameters that let you specify whether specific MIDI messages will be received for each channel in a performance (p. 67). When a
patch with Matrix Control settings is assigned to a part, confirm that any MIDI messages used for the Matrix Control will be received. If the
JUNO-G is set up such that reception of MIDI messages is disabled, then the Matrix Control will not function.
Parameter
Value
Explanation
CTRL 1–4
Destination 1–
4
OFF, PITCH, CUTOFF, RES-
ONANCE, LEVEL, PAN,
OUTPUT LEVEL, CHORUS
SEND,
Tone parameter that is to be controlled when using the Matrix Control
Up to four parameters can be specified for each Matrix Control, and controlled simultaneously.
*
In this manual, Parameters that can be controlled using the Matrix Control are marked with a “★.”
REVERB SEND,
LFO1/2 PITCH DEPTH,
LFO1/2 TVF DEPTH,
LFO1/2 TVA DEPTH,
LFO1/2 PAN DEPTH,
LFO1/2 RATE,
PCH ENV A-TIME,
PCH ENV D-TIME,
PCH ENV R-TIME,
TVF ENV A-TIME,
TVF ENV D-TIME,
TVF ENV R-TIME,
TVA ENV A-TIME,
TVA ENV D-TIME,
TVA ENV R-TIME, TMT,
FXM DEPTH, MFX CTRL1–
4, TIME
Parameter
Value
Explanation
CTRL 1–4 Sens 1–4
-63– +63
Amount of the Matrix Control’s effect that is applied
If you wish to modify the selected parameter in a positive (+) direction—i.e., a higher value, toward the right, or
faster etc.—from its current setting, select a positive (+) value. If you wish to modify the selected parameter in a neg-
ative (-) direction—i.e., a lower value, toward the left, or slower etc.—from its current setting, select a negative (-)
value. For either positive or negative settings, greater absolute values will allow greater amounts of change. Set this
to “0” if you don’t want to apply the effect.
CTRL 1–4 Switch 1–4
OFF, ON,
REVS
Tone to which the effect is applied when using the Matrix Control
OFF: The effect will not be applied.
ON: The effect will be applied.
REVS: The effect will be applied in reverse.
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Creating a Patch
MISC
Tone Delay
This produces a time delay between the moment a key is pressed (or released), and the moment the tone actually begins to sound. You can also
make settings that shift the timing at which each tone is sounded. This differs from the Delay in the internal effects, in that by changing the sound
qualities of the delayed tones and changing the pitch for each tone, you can also perform arpeggio-like passages just by pressing one key.
You can also synchronize the tone delay time to the tempo of the song recorder.
*
If you are not going to use Tone Delay, set the Delay Mode parameter to “NORM” and Delay Time parameter to “0.”
•
If the Structure parameters set in the range of “2”–”10,” the output of tones 1 and 2 will be combined into tone 2, and the output of tones 3
and 4 will be combined into tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 35).
Parameter
Value
Explanation
Tone Delay Mode
NORM,
HOLD,
OFFN,
OFFD
Type of tone delay
NORM: The tone begins to play after the time specified in the Delay Time parameter has elapsed.
HOLD: Although the tone begins to play after the time specified in the Delay Time parameter has elapsed, if the key is re-
leased before the time specified in the Delay Time parameter has elapsed, the tone is not played.
OFFN: Rather than being played while the key is pressed, the tone begins to play once the period of time specified in the
Delay Time parameter has elapsed after release of the key. This is effective in situations such as when simulating noises
from guitars and other instruments.
OFFD: Rather than being played while the key is pressed, the tone begins to play once the period of time specified in the
Delay Time parameter has elapsed after release of the key. Here, however, changes in the TVA Envelope begin while the
key is pressed, which in many cases means that only the sound from the release portion of the envelope is heard.
*
If you have selected a waveform that is a decay-type sound (i.e., a sound that fades away naturally even if the key is not released), select-
ing “OFFN” or “OFFD” may result in no sound being heard.
Tone Delay Time
0-127,
Note
Time from when the key is pressed (or if the Delay Mode parameter is set to “OFFN” or “OFFD,” the time from when the key
is released) until when the tone will sound
Tone Delay Time specifies the beat length for the synchronized tempo when the tempo that specifies the elapsed time until
the tone is sounded (Patch Tempo) is synchronized with the tempo set in a song recorder.
fig.ToneDly1.e
Tone Delay Mode: NORM
Tone Delay Mode: OFFD
Tone Delay Mode: OFFN
Tone Delay Mode: HOLD
Delay time
No Tone Delay
Note on
Note off
Delay time
No sound
played
Delay time
Delay time
Note on
Note off
Note on
Note off
Note on
Note off
Parameter
Value
Explanation
Tone Env Mode
NSUS,
SUST
When a loop waveform (p. 33) is selected, the sound will normally continue as long as the key is pressed. If you want the
sound to decay naturally even if the key remains pressed, set this to “NSUS.”
*
If a one-shot type wave (p. 33) is selected, it will not sustain even if this parameter is set to “SUST.”
Rx Bender
OFF, ON
OFF, ON
OFF, ON
For each tone, specify whether MIDI Pitch Bend messages will be received (ON), or not (OFF).
For each tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).
For each tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).
Rx Expression
Rx Hold-1
*
If “NSUS” is selected for Env Mode parameter, this setting will have no effect.
Rx Pan Mode
Redamper Sw
CONT, K-
ON
For each tone, specify how pan messages will be received.
CONT: Whenever Pan messages are received, the stereo position of the tone will be changed.
K-ON: The pan of the tone will be changed only when the next note is played. If a pan message is received while a note
is sounding, the panning will not change until the next key is pressed.
*
The channels cannot be set so as not to receive Pan messages.
OFF, ON
You can specify, on an individual tone basis, whether or not the sound will be held when a Hold 1 message is received after
a key is released, but before the sound has decayed to silence.
If you want to sustain the sound, set this “ON.” When using this function, also set the Rx Hold-1 parameter “ON.” This
function is effective for piano sounds.
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Creating a Patch
Modulating Sounds/Output
An LFO (Low Frequency Oscillator) causes change over a cycle in a sound. Each tone has two LFOs (LFO1/LFO2), and these can be used to
cyclically change the pitch, cutoff frequency and volume to create modulation-type effects such as vibrato, wah and tremolo. Both LFOs have the
same parameters so only one explanation is needed.
LFO 1–2
Parameter marked with a “★” can be controlled using specified MIDI messages
(Matrix Control, p. 44)
Parameter
Value
Explanation
Wave Form
SIN,
Waveform of the LFO
TRI,
SIN: Sine wave
SAWU,
SAWD,
SQR,
RND, BD-
U, BD-D,
TRP,S&H,
CHS,
TRI: Triangle wave
SAWU: Sawtooth wave
SAWD: Sawtooth wave (negative polarity)
SQR: Square wave
RND: Random wave
BD-U: Once the attack of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then con-
tinues without further change.
VSIN,
STEP
BD-D: Once the decay of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then con-
tinues without further change.
TRP: Trapezoidal wave
S&H: Sample & Hold wave (one time per cycle, LFO value is changed)
CHS: Chaos wave
VSIN: Modified sine wave. The amplitude of a sine wave is randomly varied once each cycle.
STEP: A waveform generated by the data specified by LFO Step 1–16. This produces stepped change with a fixed pattern sim-
ilar to a step modulator.
*
If you set this to “BD-U” or “BD-D,” you must turn the Key Trigger parameter to “ON.” If this is “OFF,” it will have no effect.
Rate ★
0–127,
Note
Modulation speed of the LFO
LFO Rate sets the beat length for the synchronized tempo is synchronized with the tempo set in a sequencer.
*
This setting will be ignored if the Waveform parameter is set to “CHAOS.”
Rate Detune
Offset
0–127
Makes subtle changes in the LFO cycle rate (Rate parameter) each time a key is pressed.
Higher settings will cause greater change. This parameter is invalid when Rate is set to “note.”
-100– +100
Raises or lowers the LFO waveform relative to the central value (pitch or cutoff frequency).
Positive (+) settings will move the waveform so that modulation will occur from the central value upward. Negative (-) set-
tings will move the waveform so that modulation will occur from the central value downward.
Delay Time
0–127
Time elapsed before the LFO effect is applied (the effect continues) after the key is pressed (or released)
When using violin, wind, or certain other instrument sounds in a performance, rather than having vibrato added immediately
after the sounds are played, it can be effective to add the vibrato after the note is drawn out somewhat.
Delay Time KF
(Time Keyfol-
low)
-100– +100
Adjusts the value for the Delay Time parameter depending on the key position, relative to the C4 key (center C).
To decrease the time with each higher key that is pressed in the upper registers, select a positive value; to increase the elapsed
time, select a negative value. Larger settings will produce greater change. If you do not want the elapsed time to change ac-
cording to the key pressed, set this to “0.”
fig.T-KF.e
Time
Time Keyfollow
-100
-50
0
+50
+100
Key
C1
C2
C3
C4
C5
C6
C7
Parameter marked with a “★” can be controlled using specified MIDI messages
(Matrix Control, p. 44)
Parameter
Value
Explanation
How the LFO will be applied
Fade Mode
ON <, ON >,
OFF <, OFF >
Fade Time
0–127
Time over which the LFO amplitude will reach the maximum (minimum)
Specifies whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).
How deeply the LFO will affect pitch
Key Trigger
Pitch Depth ★
TVF Depth ★
TVA Depth ★
OFF, ON
-63– +63
-63– +63
-63– +63
How deeply the LFO will affect the cutoff frequency
How deeply the LFO will affect the volume
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Creating a Patch
Parameter
Value
Explanation
Pan Depth ★
-63– +63
How deeply the LFO will affect the pan
Positive (+) and negative (-) settings for the Depth parameter result in differing kinds of change in pitch and volume. For example, if you set
the Depth parameter to a positive (+) value for one tone, and set another tone to the same numerical value, but make it negative (-), the modu-
lation phase for the two tones will be the reverse of each other. This allows you to shift back and forth between two different tones, or combine
it with the Pan setting to cyclically change the location of the sound image.
*
When the Structure parameter is set to any value from “2” through “10,” the output of tones 1 and 2 will be combined into tone 2, and the output of tones
3 and 4 will be combined into tone 4. This applies to the Pan Depth parameter settings. For this reason, tone 1 will follow the settings of tone 2, and tone
3 will follow the settings of tone 4 (p. 35).
How to Apply the LFO
● Apply the LFO gradually after the key is pressed
Delay
Time
high (more)
Fade Time
Pitch
Cutoff Frequency
Level
Fade Mode: ON <
Depth
Delay Time: Time from when the keyboard is played until the LFO begins to be applied
Fade Time: Time over which the LFO amplitude will reach the maximum after the Delay
Time has elapsed
Pan
Note on
low (less)
● Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the effect
high (more)
Delay Time
Fade Time
Pitch
Cutoff Frequency
Level
Fade Mode: ON >
Depth
Delay Time: Time that the LFO will continue after the keyboard is played
Fade Time: Time over which the LFO amplitude will reach the minimum after the Delay
Time has elapsed
Pan
Note on
low (less)
● Apply the LFO gradually after the key is released
Delay
Time
high (more)
Fade Time
Pitch
Cutoff Frequency
Level
Fade Mode: OFF <
Depth
Delay Time: Time from when the keyboard is released until the LFO begins to be applied
Fade Time: Time over which the LFO amplitude will reach the maximum after the Delay
Time has elapsed
Pan
Note
on
Note
off
low (less)
● Apply the LFO from when the key is pressed until it is released, and gradually begin to decrease the
effect when the key is released
Delay
Time
high (more)
Fade Time
Pitch
Cutoff Frequency
Level
Fade Mode: OFF >
Depth
Delay Time: Time that the LFO will continue after the keyboard is released
Fade Time: Time over which the LFO amplitude will reach the minimum after the Delay
Time has elapsed
Pan
low (less)
Note on
Note off
STEP
Parameter
Value
Explanation
Step Type
TYP1, TYP2
When generating an LFO waveform from the data specified in LFO Step 1–16, specify whether the level will change abruptly
at each step or will be connected linearly.
TYP1: stair-step change
TYP2: linear change
Step 1–16
-36– +36
Specifies the data for the Step LFO.
If the LFO Pitch Depth is +63, each +1 unit of the step data corresponds to a pitch of +50 cents.
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Creating a Patch
OUTPUT
Parameter
Value
Explanation
Patch Out Assign
MFX,
A, B, 1–
4,
Specifies how the direct sound of each patch will be output.
MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-ef-
fects.
A, B: Output to the OUTPUT A (MIX) jacks or OUTPUT B jacks in stereo without passing through multi-effects.
1–4: Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.
TONE: Outputs according to the settings for each tone.
TONE
*
*
If you’ve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually
DIVIDUAL 1 jack.
If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158).
Tone Out Assign
MFX,
A, B, 1–
4
Specifies how the direct sound of each tone will be output.
MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-ef-
fects.
A, B: Output to the OUTPUT A (MIX) jacks or OUTPUT B jacks in stereo without passing through multi-effects.
1–4: Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.
*
*
If the Patch Out Assign is set to anything other than “TONE,” these settings will be ignored.
outputs of tones 3 and 4 will be combined with tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the
settings of tone 4 (p. 35).
*
If you’ve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually
inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the IN-
DIVIDUAL 1 jack.
*
*
If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158).
If you’ve set Tone Out Assign to “MFX,” set the MFX Output Assign parameter (p. 127) to specify the output destination of the sound
that has passed through the multi-effects.
*
*
Sounds are output to chorus and reverb in mono at all times.
The output destination of the signal after passing through the chorus is set with the Chorus Output Select and Chorus Output Assign pa-
rameters (p. 127).
*
The output destination of the signal after passing through the reverb is set with the Reverb Output Assign parameter (p. 127).
Tone Out Level
0–127
Level of the signal that is sent to the output destination specified by Tone Output Assign
Send Level (Output = MFX)
Tone Chorus Send
Tone Reverb Send
0–127
Level of the signal sent to chorus for each tone if the tone is sent through MFX
Send Level (Output = non MFX)
Tone Chorus Send
Tone Reverb Send
0–127
Level of the signal sent to chorus for each tone if the tone is not sent through MFX
Setting Effects for a Patch (Effects/MFX/MFX Control/Chorus/Reverb)
For details regarding effect settings, refer to the pages shown below.
•
•
•
•
Making Effect Settings (p. 125)
Making Multi-Effects Settings (MFX1–3) (p. 129)
Making Chorus Settings (p. 154)
Making Reverb Settings (p. 155)
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Creating a Rhythm Set
With the JUNO-G, you have total control over a wide variety of
Editing the way that the volume will change
settings. Each item that can be set is known as a parameter. When
you change the values of parameters, you are doing what is referred
to as Editing. This chapter explains the procedures used in creating
rhythm sets, and the functions of the rhythm set parameters.
The volume continues to change from the time a key is pressed to
when it is released.
7. Press the SOUND MODIFY select button to make AMP ENV
light.
How to Make Rhythm Set
Settings
8. Turn the ATTACK, DECAY, SUSTAIN, and RELEASE knobs.
Turning a knob toward the right increases the value.
A: Attack Time: The time from when the keyboard is pressed
until the maximum tonal change is reached.
Using the Knobs to Edit the Sound
D: Delay Time: The time from when the maximum tonal change
is reached until the Sustain Level is reached.
You can use the six SOUND MODIFY knobs to edit the sound in real
time.
S: Sustain level: Volume that is sustained while you hold down
the key
R: Release Time: The time from when the keyboard is released
until the sound disappears.
In the case of a sound that has only a brief duration, it may be
difficult to hear the effect of turning a knob.
*
If you press the SOUND MODIFY select button so all of the
indicators are off, turning these knobs will not produce any change.
1. Press MODE [PATCH] to access the PATCH PLAY screen.
Editing the way that tone (brightness) will change
2. Select the rhythm set whose settings you want to edit (p. 26).
The tone undergoes changes between the moment you press a key
until you release it.
You cannot edit the patches in the GM2 group.
9. Press the SOUND MODIFY select button to make FILTER
3. Press keys to specify the key (A0–C8) that is to be
ENV light.
controlled by the SOUND MODIFY knobs.
10.Turn the ATTACK, DECAY, SUSTAIN, and RELEASE knobs.
Selecting the tone to edit
Turning a knob toward the right increases the value.
4. In the PATCH PLAY screen, press [TONE SW/SEL] so the
*
If you press the SOUND MODIFY select button so all of the
button is lit.
indicators are off, turning these knobs will not produce any change.
5. Press SELECT[1]–[4] to select the tone(s) you want to edit.
In the SOUND MODIFY 1–4 area at the bottom of the screen, a
check mark (✔) will be added to the tone number(s) you select.
(Zoom Edit)
*
You can press multiple buttons simultaneously to select multiple
tones.
The important parameters most commonly used to edit the sound
are available in five screens for graphic editing.
*
By turning TONE SWITCH on/off you can edit the sound while
hearing only the desired tone.
Parameter
page
p. 54
p. 55
p. 55
p. 56
PITCH ENVELOPE ZOOM
TVF PARAMETER ZOOM
TVF ENVELOPE ZOOM
TVA ENVELOPE ZOOM
Changing the brightness of the sound and
adding special qualities (CUTOFF/RESONANCE)
The sound generator section of the JUNO-G contains a filter that can
cut or boost specific frequency regions of the sound. The CUTOFF
knob specifies the frequency (cutoff frequency) at which the filter
will begin to modify the sound, and the RESONANCE knob boosts
the region near the cutoff frequency to add a distinctive character to
the sound.
1. Press MODE [PATCH] to access the PATCH PLAY screen.
2. Select the rhythm set whose settings you want to edit (p. 26).
You cannot edit the patches in the GM2 group.
3. Press EDIT [PATCH] so it’s lit.
6. Turn the CUTOFF or RESONANCE knobs.
Turning a knob toward the right increases the value.
FREQ: Frequency at which the filter begins to have an effect on
the waveform’s frequency components
4. Press keys to specify the key (A0–C8) that is to be edited.
5. Use [F1]–[F4] to select the parameter screen.
6. Use [ ] [ ] [ ] [ ] to select a parameter.
RESO: Emphasizes the portion of the sound in the region of the
cutoff frequency, adding character to the sound
*
Excessively high settings can produce oscillation, causing the sound to
distort.
*
Some parameters can be edited independently for each tone. To select
the tone to edit, press [TONE SW/SEL] so it’s lit, and press one of the
SELECT [1]–[4] buttons.
49
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Creating a Rhythm Set
7. Use the VALUE dial or [INC] [DEC] to change the value.
Parameters with an indication of 1–4 can also be edited using
the corresponding SOUND MODIFY knob 1–4.
Using the SOUND MODIFY Knobs
to Change the Value
8. Repeat steps 4–6 to set each parameter.
If a number is displayed for the parameter name (1, 2, 3, 4), you can
use the SOUND MODIFY knobs 1–4 to set the value.
9. Press [WRITE] to save the changes you’ve made (p. 51).
If you do not wish to save changes, press [EXIT] to return to
the PATCH PLAY screen.
*
Press the SOUND MODIFY select button so all of the indicators are
off. If any indicator is lit, the knob functions will change.
If you return to the PATCH PLAY screen without saving, an “*”
will be displayed at the left of the rhythm set group.
For example, in the TVF ENVELOPE ZOOM screen, the knobs
correspond to parameters as follows.
Knob 1
Knob 2
Knob 3
Knob 4
A (Time 1)
D (Time 3)
S (Level 3)
R (Time 4)
display indicates “*,” your edited rhythm set will be lost.
Viewing and editing all
parameters (PRO EDIT)
“Initialize” means to return the settings of the currently selected
sound to a standard set of values.
For details on the parameters, refer to p. 52 and follows.
1. Press MODE [PATCH] to access the PATCH PLAY screen.
2. Select the rhythm set whose settings you want to edit (p. 26).
*
The Initialize operation will affect only the currently selected sound;
the sounds that are stored in user memory will not be affected. If you
wish to restore all of the JUNO-G’s settings to their factory values,
perform a Factory Reset (p. 164).
1. With EDIT [PATCH] lit, hold down [SHIFT] and press [F5 (INIT)].
You cannot edit the patches in the GM2 group.
3. Press EDIT [PATCH] so it’s lit.
A message will ask you for confirmation.
2. Press [F6 (EXEC)].
The initialization will be carried out.
4. Press [F6 (PRO EDIT)].
*
To cancel, press [F5 (CANCEL)].
5. Press keys to specify the key (A0–C8) that is to be edited.
6. Use [F2 (GRP ↑)][F3 (GRP ↓)] to switch the parameter
Copying Rhythm Tone Settings
group.
This operation copies the settings of any desired rhythm set to the
currently selected rhythm set.
*
Pressing [F1 (GRP LIST)] will display the Patch Pro Edit Menu
window. Use the VALUE dial or [INC] [DEC] [ ] [ ] to select a
parameter group, and press [ENTER].
1. With EDIT [PATCH] lit, hold down [SHIFT] and press [F6
(TONE COPY)].
7. Use [ ] [ ] to select a parameter.
The Rhythm Tone Copy window appears.
*
A check mark (✔) will be added to the tone number in the upper right
of the screen.
8. Use the VALUE dial or [INC] [DEC] to change the value.
Parameters with an indication of 1–4 can also be edited using
the corresponding SOUND MODIFY knob 1–4.
9. Repeat steps 5–7 to set each parameter.
2. Press [ ] [ ] [ ] [ ] to move the cursor, and use the
VALUE dial or [INC] [DEC] to select the “Source (copy-
source)” group and number, and the tone.
10.Press [WRITE] to save the changes you’ve made (p. 51).
If you do not wish to save changes, press [EXIT] to return to
the PATCH PLAY screen.
*
By pressing [F4 (COMPR)] to add a check mark (✔), you can check
If you return to the PATCH PLAY screen without saving, an “*”
will be displayed at the left of the rhythm set group.
the copy-source patch (Compare function).
3. Press [ ] [ ] [ ] [ ] to move the cursor, and select the
“Destination (copy-destination)” tone.
If you turn off the power or select a different sound while the
display indicates “*,” your edited rhythm set will be lost.
4. Press [F6 (EXEC)].
A message will ask you for confirmation.
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Creating a Rhythm Set
5. Press [F6 (EXEC)] to execute the copy operation.
To cancel, press [F5 (CANCEL)].
7. Press [F6 (WRITE)].
A message will ask you for confirmation.
*
8. Press [F6 (EXEC)] to execute the save operation.
The Compare Function
For the Rhythm Tone Copy and Rhythm Set Save operations,
you can use the Compare function.
*
To cancel, press [F5 (CANCEL)].
Never switch off the JUNO-G while data is being saved.
If you want to play the copy-source or write-destination rhythm
set, press [F4 (COMPR)] to add a check mark (✔). Now you can
play the copy-source or write-destination rhythm set from the
keyboard.
One-shot Waveform and Loop Waveform
The internal waveforms of the JUNO-G fall into the following two
groups.
*
The rhythm set auditioned using the Compare function may
sound slightly different than when it is played normally.
One-shot:
These waveforms contain sounds that have short decays. A one-shot
waveform records the initial rise and fall of the sound.
The JUNO-G also contains many other one-shot waveforms that are
elements of other sounds. These include attack components such as
piano-hammer sounds and guitar fret noises.
Saving Rhythm Sets You’ve
Created (Write)
Changes you make to sound settings are temporary, and will be lost
if you turn off the power or select another sound. If you want to keep
the modified sound, you must save it in the internal USER group
(user memory) or CARD group (memory card).
*
It is not possible to use the envelope to modify a one-shot waveform to
create a decay that is longer than the original waveform, or to turn it
into a sustaining sound.
Loop:
When you edit the patch settings, an “*” will appear in the PATCH
PLAY screen.
These waveforms include sounds with long decays as well as
sustained sounds. Loop waveforms repeatedly play back (loop) the
portion of the waveform after the sound has reached a relatively
steady state.
When you perform the save procedure, the data that previously
occupied the save destination will be lost.
The JUNO-G’s looped waveforms also include components of other
sounds, such as piano-string resonant vibrations and the hollow
sounds of brass instruments.
1. Edit the rhythm set.
2. Press EDIT [WRITE].
The following diagram shows an example of sound (electric organ)
The WRITE MENU screen appears.
that combines one-shot and looped waveforms.
fig.Waveform1.e
TVA ENV for looped Organ
waveform (sustain portion)
TVA ENV for one-shot Key
-click waveform (attack portion)
Resulting TVA ENV
change
3. Press [F2 (PAT/RHY)].
*
Alternatively, you can use [ ] [ ] to select “Patch/Rhythm,” and
then press [ENTER].
Level
The RHYTHM SET NAME screen appears.
+
=
Time
Note off
Note off
4. Assign a name to the rhythm set.
For details on assigning names, refer to p. 24.
5. When you have finished inputting the name, press [F6
(WRITE)].
A screen will appear, allowing you to select the write-
destination patch.
6. Use the VALUE dial, [INC] [DEC], or [ ] [ ] and [F1 (USER)]
[F2 (CARD)] to select the write destination and patch number.
*
By pressing [F4 (COMPR)] to add a check mark (✔), you can check
the write-destination patch (Compare function).
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Creating a Rhythm Set
Tips for Using an Acoustic Instrument’s Waveform
With many acoustic instruments such as piano and sax, extreme timbral changes occur during the first few moments of each note. This initial
attack is what defines much of the instrument’s character. For such waveforms, it is best to use the complex tonal changes of the attack portion of
the waveform just as they are, and to use the envelope only to modify the decay portion.
fig.waveform2.e
Level
Looped portion
Tone change stored
with the wave
Time
Envelope
for the TVF filter
Resulting
tone change
Functions of Rhythm Set Parameters
Settings Common to the Entire Rhythm Set
GENERAL
Parameter
Value
Description
Rhythm Level
0–127
Volume of the rhythm set
Rhythm Tone
Name
You can assign a name of up to 12 characters to the rhythm tone.
Press [ ] [ ] to move the cursor, and use the VALUE dial or [INC] [DEC] to select characters.
CONTROL
Parameter
Value
Explanation
Assign Type
MULTI, SIN-
GLE
Sets the way sounds are played when the same key is pressed a number of times.
such as with crash cymbals, the sounds are layered, without previously played sounds being eliminated.
SINGLE: Only one sound can be played at a time when the same key is pressed. With continuous sounds where the
sound plays for an extended time, the previous sound is stopped when the following sound is played.
Mute Group
OFF, 1–31
the reality of this situation, you can set up a Mute Group.
The Mute Group function allows you to designate two or more rhythm tones that are not allowed to sound simulta-
neously. Up to 31 Mute Groups can be used. rhythm tones that are not belong to any such group should be set to
“OFF.”
Tone Env Mode
NO-SUS, SUS-
TAIN
When a loop waveform (p. 51) is selected, the sound will normally continue as long as the key is pressed. If you want the
sound to decay naturally even if the key remains pressed, set this to “NO-SUS.”
*
If a one-shot type wave (p. 51) is selected, it will not sustain even if this parameter is set to “SUSTAIN.”
Tone Pitch Bend
Range
0–48
Amount of pitch change in semitones (4 octaves) that will occur when the Pitch Bend Lever is moved
The amount of change when the lever is tilted is set to the same value for both left and right sides.
One Shot Mode
OFF, ON
-63– +63
ON: The sound will play back until the end of the waveform (or the end of the envelope, whichever comes first).
If you have set Wave Group (p. 53) to SAMP, the loop setting will be forced to ONE SHOT.
Aftertouch Time
Ctrl Sens
If Wave Group is set to SAMP and Wave Tempo Sync is ON, aftertouch will control the amount of time stretching/shrink-
ing caused by Time Stretch.
If Time Stretch is not being applied, nothing will happen. If set to “+” the stretch/shrink time will become shorter, and
if set to “-” the time will become longer.
RECEIVE
Parameter
Value
Explanation
Tone Receive
Expression
OFF, ON
For each rhythm tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).
Tone Receive
Hold-1
OFF, ON
For each rhythm tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).
*
If “NO-SUS” is selected for Env Mode parameter, this setting will have no effect.
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Creating a Rhythm Set
Parameter
Value
Explanation
Tone Receive
Pan Mode
CONTINUOUS,
KEY-ON
For each rhythm tone, specify how pan messages will be received.
CONTINUOUS: Whenever Pan messages are received, the stereo position of the tone will be changed.
KEY-ON: The pan of the tone will be changed only when the next note is played. If a pan message is received while a
note is sounding, the panning will not change until the next key is pressed.
*
The channels cannot be set so as not to receive Pan messages.
Modifying Waveforms/Pitch/Pitch Envelope
WAVE PARAMETER
Parameter
Value
Explanation
Wave Group
INT, EXP,
SAMP
Group containing the waveforms comprising the rhythm tone
INT: Waveforms stored in internal
EXP: Waveform stored in a Wave Expansion Board (SRX series) installed in EXP slots
SAMP: Sample waveforms
Wave Bank
PRST, USER,
CARD
When the Wave Group is SAMP: PRST, USER, CARD
When the Wave Group is MSAM: USER, CARD
Wave No. L (Mono)
Wave No. R
----, 1–1267
Waves comprising the rhythm tone (The upper limit will depend on the wave group.)
When in monaural mode, only the left side (L) is specified. When in stereo, the right side (R) is also specified.
If you want to select a left/right pair of Waves, select the left (L) Wave number, and then hold down [SHIFT] and
press [F4 (STEREO)] to add a check mark (✔); the right (R) (Wave) will be recalled.
Wave Gain
-6, 0, +6, +12
OFF, ON
Gain (amplification) of the waveform
The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.
Wave Tempo Sync
When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”
*
This is valid only when a separately sold wave expansion board is installed, and a waveform that indicates a tempo (BPM) is
selected as the sample for a tone.
If a waveform from a wave expansion board is selected for the tone, turning the Wave Tempo Sync parameter “ON”
will cause pitch-related settings and FXM-related settings to be ignored.
• If a sample is selected for a tone, you must first set the BPM (tempo) parameter of the sample.
• If a sample is selected for a tone, Wave Tempo Sync will require twice the normal number of voices.
Phrase Loop
Realtime Time Stretch
Phrase loop refers to the repeated playback of a phrase that’s
been pulled out of a song (e.g., by using a sampler). One
technique involving the use of Phrase Loops is the excerpting of
a Phrase from a pre-existing song in a certain genre, for example
dance music, and then creating a new song with that Phrase
used as the basic motif. This is referred to as “Break Beats.”
If the wave group is “SAMP” or “MSAM,” and the Wave
Tempo Sync parameter is turned “ON,” you can vary the
playback speed of the waveform without affecting the pitch.
Parameter
FXM Switch
FXM Color
Value
OFF, ON
1–4
Explanation
This sets whether FXM will be used (ON) or not (OFF).
How FXM will perform frequency modulation
Higher settings result in a grainier sound, while lower settings result in a more metallic sound.
FXM Depth
0–16
Depth of the modulation produced by FXM
FXM
FXM (Frequency Cross Modulation) uses a specified waveform
to apply frequency modulation to the currently selected
waveform, creating complex overtones. This is useful for
creating dramatic sounds or sound effects.
WAVE PITCH
Parameter
Value
Explanation
Tone Coarse Tune
0 (C -)–
127 (G9)
Pitch at which a rhythm tone sounds
Set the coarse tuning for Waves comprising the rhythm tones with the Wave Coarse Tune parameter (p. 54).
Tone Fine Tune
-50– +50
Pitch of the rhythm tone’s sound (in 1-cent steps; one cent is 1/100th of a semitone)
Set the fine tuning for Waves comprising the rhythm tones with the Wave Fine Tune parameter (p. 54).
Tone Random Pitch
Depth
0–1200
Width of random pitch deviation that will occur each time a key is pressed (in 1-cent steps)
If you do not want the pitch to change randomly, set this to “0.”
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Creating a Rhythm Set
WAVE PITCH ENV
Parameter
Value
Explanation
P-Env Depth
-12– +12
Depth of the Pitch Envelope
Higher settings will cause the pitch envelope to produce greater change. Negative (-) settings will invert the shape of the
envelope.
P-Env V-Sens
-63– +63
-63– +63
-63– +63
0–127
Keyboard playing dynamics can be used to control the depth of the pitch envelope.
If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a positive (+) value.
P-Env T1 V-Sens
P-Env T4 V-Sens
P-Env Time 1–4
P-Env Level 0–4
This allows keyboard dynamics to affect the T1 of the Pitch envelope.
If you want T1 to be speeded up for strongly played notes, set this parameter to a positive (+) value.
Use this parameter when you want key release speed to affect the T4 value of the Pitch envelope.
If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value.
Pitch envelope times (T1–T4)
Higher settings will result in a longer time until the next pitch is reached.
-63– +63
Pitch envelope levels (L0–L4)
Specify how the pitch will change at each point, relative to the pitch set with Coarse Tune or Fine Tune.
Pitch Envelope
T1
T2
T3
T4
Pitch
L0
Time
L1
L3
Note off
Note on
L2
L4
WAVE MIX Parameters
WAVE MIX LV/PN
Parameter
Value
Description
Wave Level
Wave Pan
0–127
Volume of the waveform
L64–0–63R
OFF, ON
Left/right position of the waveform
Wave Rnd Pan Sw
Use this setting to cause the waveform’s panning to change randomly each time a key is pressed (ON) or not (OFF).
*
The range of the panning change is set by the Random Pan Depth parameter (p. 56).
Wave Alter Pan Sw
OFF, ON, REVS
This setting causes panning of the waveform to be alternated between left and right each time a key is pressed.
Set this to “ON” to pan the wave according to the Alternate Pan Depth parameter (p. 56) settings, or to “REVS”
when you want the panning reversed.
WAVE MIX TUNE
Parameter
Value
Explanation
Wave Coarse Tune
Wave Fine Tune
-48– +48
-50– +50
Pitch of the waveform’s sound (in semitones, +/-4 octaves)
Pitch of the waveform’s sound (in 1-cent steps; one cent is 1/100th of a semitone)
VELOCITY RANGE
You can use the force with which keys are played to control the way each waveform is played.
fig.TMT-V.e
The waveform sounded
when you play softly
The waveform sounded
when you play strongly
Level
Velocity
Velo Fade Upper
Velo Range Upper
Velo Fade Lower
Velo Range Lower
Parameter
Value
Explanation
Velocity Control
OFF, ON, RAN
Determines whether a different waveform is played (ON) or not (OFF) depending on the force with which the key
is played (velocity).
RAN: The rhythm tone’s constituent waveforms will sound randomly, regardless of any Velocity messages.
Velo Fade Lower
0–127
Determines what will happen to the waveform’s level when the rhythm tone is played at a velocity lower than Velo
Range Lower.
If you don’t want the waveform to sound at all, set this parameter to “0.”
Velo Range Lower
Velo Range Upper
1–UPPER
Specifies the lowest velocity at which the waveform will sound.
Specifies the highest velocity at which the waveform will sound.
LOWER–127
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Creating a Rhythm Set
Parameter
Value
Explanation
Velo Fade Upper
0–127
Determines what will happen to the waveform’s level when the rhythm tone is played at a velocity greater than Velo
Range Upper.
If you don’t want the waveform to sound at all, set this parameter to “0.”
Modifying the Brightness of a Sound with a Filter (TVF/TVF Envelope)
A filter cuts or boosts a specific frequency region to change a sound’s brightness, thickness, or other qualities.
TVF PARAMETER
Parameter
Value
Explanation
Filter Type
OFF, LPF,
BPF, HPF,
PKG,
Type of filter
OFF: No filter is used.
LPF: Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency in order to round off, or un-
brighten the sound.
BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency, and cuts the rest. This can
be useful when creating distinctive sounds.
LPF2,
LPF3
HPF: High Pass Filter. This cuts the frequencies in the region below the cutoff frequency. This is suitable for creating
percussive sounds emphasizing their higher tones.
PKG: Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency. You can use this to create
wah-wah effects by employing an LFO to change the cutoff frequency cyclically.
LPF2: Low Pass Filter 2. Although frequency components above the Cutoff frequency are cut, the sensitivity of this filter
is half that of the LPF. This filter is good for use with simulated instrument sounds such as the acoustic piano.
LPF3: Low Pass Filter 3. Although frequency components above the Cutoff frequency are cut, the sensitivity of this filter
changes according to the Cutoff frequency. While this filter is also good for use with simulated acoustic instrument
sounds, the nuance it exhibits differs from that of the LPF2, even with the same TVF Envelope settings.
*
If you set “LPF2” or “LPF3,” the setting for the Resonance parameter will be ignored.
Cutoff Frequency
Resonance
0–127
0–127
Frequency at which the filter begins to have an effect on the waveform’s frequency components
Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound.
*
Excessively high settings can produce oscillation, causing the sound to distort.
Resonance
BPF HPF
LPF
PKG
Level
High
Frequency
Cutoff frequency
Low
Parameter
Value
Explanation
Cutoff V-Curve
FIX, 1–7
Curve that determines how keyboard playing dynamics (velocity) will affect the cutoff frequency
Set this to “FIX” if you don’t want the Cutoff frequency to be affected by the keyboard velocity.
1
2
3
4
5
6
7
Cutoff V-Sens
-63– +63
-63– +63
Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. If you want
strongly played notes to raise the cutoff frequency, set this parameter to positive (+) settings.
Resonance V-Sens
This allows keyboard velocity to modify the amount of Resonance.
If you want strongly played notes to have a greater Resonance effect, set this parameter to positive (+) settings.
TVF ENVELOPE
Parameter
Value
Explanation
F-Env Depth
-63– +63
Depth of the TVF envelope
Higher settings will cause the TVF envelope to produce greater change. Negative (-) settings will invert the shape of the
envelope.
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Creating a Rhythm Set
Parameter
Value
Explanation
F-Env V-Curve
FIX, 1–7
Curve that determines how keyboard playing dynamics (velocity) will affect the TVF envelope
Set this to “FIX” if you don’t want the TVF Envelope to be affected by the keyboard velocity.
1
2
3
4
5
6
7
F-Env V-Sens
-63– +63
Specifies how keyboard playing dynamics will affect the depth of the TVF envelope.
Positive (+) settings will cause the TVF envelope to have a greater effect for strongly played notes, and negative (-) set-
tings will cause the effect to be less.
F-Env T1 V-Sens
F-Env T4 V-Sens
F-Env Time 1–4
F-Env Level 0–4
-63– +63
-63– +63
0–127
This allows keyboard dynamics to affect the T1 of the TVF envelope.
If you want T1 to be speeded up for strongly played notes, set this parameter to a positive (+) value.
Use this parameter when you want key release speed to affect the T4 value of the TVF envelope.
If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value.
TVF envelope times (T1–T4)
Higher settings will lengthen the time until the next cutoff frequency level is reached.
0–127
TVF envelope levels (L0–L4)
Specify how the cutoff frequency will change at each point, relative to the Cutoff Frequency value.
TVF Envelope
T1
T2
T3
T4
Cutoff
Frequency
L0
L1
Note on
Time
L2
L3
L4
Note off
Adjusting the Volume (TVA/TVA Envelope)
TVA PARAMETER
Parameter
Value
Explanation
Tone Level
0–127
Volume of the tone
This setting is useful primarily for adjusting the volume balance between tones.
Level V-Curve
FIX, 1–7
Curve that determines how keyboard playing dynamics (velocity) will affect the volume
Set this to “FIX” if you don’t want the volume of the tone to be affected by the keyboard velocity.
1
2
3
4
5
6
7
Level V-Sens
-63– +63
Set this when you want the volume of the tone to change depending on keyboard playing dynamics.
Set this to a positive (+) value to have the changes in tone volume increase the more forcefully the keys are played; to
make the tone play more softly as you play harder, set this to a negative (-) value.
Tone Pan
L64–0–63R
0–63
Left/right position of the tone
Random Pan Depth
Use this parameter when you want the stereo location to change randomly each time you press a key.
Higher settings will produce a greater amount of change.
Alternate Pan Depth
L63–0–63R
This setting causes panning to be alternated between left and right each time a key is pressed.
Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan
will alternate between left and right. For example if two rhythm tones are set to “L” and “R” respectively, the panning
of the two rhythm tones will alternate each time they are played.
TVA ENVELOPE
Parameter
Value
Explanation
A-Env T1 V-Sens
-63– +63
This allows keyboard dynamics to affect the T1 of the TVA envelope.
If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you
want it to be slowed down, set this to a negative (-) value.
A-Env T4 V-Sens
-63– +63
Use this parameter when you want key release speed to affect the T4 value of the TVA envelope.
If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you
want it to be slowed down, set this to a negative (-) value.
A-Env Time 1–4
A-Env Level 1–3
0–127
0–127
TVA envelope times (T1–T4)
Higher settings will lengthen the time until the next volume level is reached.
TVA envelope levels (L1–L3)
Specify how the volume will change at each point, relative to the Tone Level value.
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Creating a Rhythm Set
TVA Envelope
T1 T2
T3
T4
Level
Time
L3
L2
L1
Note on
Note off
Output Settings (OUTPUT)
Parameter
Value
Explanation
Rhythm Out Assign
MFX,
A, B, 1–
4,
Specifies for each rhythm set how the direct sound will be output.
MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-
effects.
A, B: Output to the OUTPUT A (MIX) jacks or OUTPUT B jacks in stereo without passing through multi-effects.
1–4: Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.
TONE: Outputs according to the settings for each rhythm tone.
TONE
*
*
If you’ve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually
inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the
INDIVIDUAL 1 jack.
Tone Out Assign
MFX,
A, B, 1–
4
Specifies how the direct sound of each rhythm tone will be output.
MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-
effects.
1–4: Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.
*
*
If the Rhythm Out Assign is set to anything other than “TONE,” these settings will be ignored.
If you’ve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually
inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the
INDIVIDUAL 1 jack.
*
*
If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158).
If you’ve set Tone Out Assign to “MFX,” set the MFX Output Assign parameter (p. 127) to specify the output destination of the sound
that has passed through the multi-effects.
*
*
Sounds are output to chorus and reverb in mono at all times.
The output destination of the signal after passing through the chorus is set with the Chorus Output Select and Chorus Output Assign
parameters (p. 127).
*
The output destination of the signal after passing through the reverb is set with the Reverb Output Assign parameter (p. 127).
Tone Out Level
0–127
Level of the signal that is sent to the output destination specified by Tone Output Assign
Send Level (Output = MFX)
Tone Chorus Send
Tone Reverb Send
0–127
0–127
Level of the signal sent to chorus for each rhythm tone if the tone is sent through MFX
Level of the signal sent to reverb for each rhythm tone if the tone is sent through MFX
Send Level (Output = non MFX)
Tone Chorus Send
Tone Reverb Send
Setting Effects for a Patch (Effects/MFX/MFX Control/Chorus/Reverb)
For details regarding effect settings, refer to the pages shown below.
•
•
•
•
Making Effect Settings (p. 125)
Making Multi-Effects Settings (MFX1–3) (p. 129)
Making Chorus Settings (p. 154)
Making Reverb Settings (p. 155)
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Playing in Performance Mode
A performance contains settings that apply to each individual part,
such as the patch (rhythm set) assigned to each part, and its volume
Functions in the PERFORMANCE
PLAY/MIXER Screen
and pan.
Broadly speaking, Performance mode consists of two screens: PLAY
screen and MIXER screen.
Use the PLAY screen when you want to combine multiple sounds
(patches or rhythm sets) to create complex sounds. This lets you play
patches together (“layer”) or play different patches in separate areas
of the keyboard (“split”).
PLAY screen
4
1
3
5
2
7
6
Use the MIXER screen when you want to mix the sounds by
adjusting the level and pan for each of 16 parts.
When you play the keyboard, you will hear the current part and the
parts whose keyboard switch is set to “ON.”
9
8
10
In addition to the settings of each part, the following settings can
also be stored for each performance.
1. Indicates the current sound generating mode.
2. Indicates the current part (use [ ] [ ] to change).
•
•
•
Controller settings such as the D Beam
Arpeggio and chord memory settings
Rhythm group number
3. Indicates multi-effects (MFX1, 2, 3), chorus (CHO), reverb (REV),
and mastering (MASTER) on and off.
4. Indicates the name of the currently selected song, the measure location.
5. Indicates the time signature, and the tempo.
Changes you make to sound settings are temporary, and will be
lost if you turn off the power or select another sound. If you want
to keep the modified sound, you must save it in the internal
USER group (user memory) or CARD group (memory card).
6. Group, number, and name of the selected performance
7. Octave and transposition values, arpeggio, arpeggio hold, chord
memory on/off, rhythm play/stop
8. Positions of the five SONG RECORDER sliders
9. Range in which you can play the keyboard, or range in which you
can play the rhythm set
When you edit the settings of a Performance, an “*” will appear
in the PERFORM PLAY screen.
10. Jump to the editing screen for the displayed function
MIXER screen
Displaying PERFORM PLAY
Screen
4
1
3
5
2
6
7
1. Press MODE [PERFORM].
8
You will enter Performance mode, and the PERFORM PLAY
screen appears.
9
1. Indicates the current sound generating mode.
2. Indicates the current part.
3. Indicates multi-effects (MFX1, 2, 3), chorus (CHO), reverb (REV),
and mastering (MASTER) on and off.
4. Indicates the name of the currently selected song, the measure location.
5. Indicates the time signature, and the tempo.
Displaying PART MIXER Screen
6. The patch or rhythm pattern
7. Group, number, and name of the patch or rhythm pattern
8. Each part’s volume (LEVEL), stereo position (PAN), reverb
(REVERB), chorus (CHORUS), resonance (RESO), cutoff frequency
(FREQ), Pitch Coarse (KEY), keyboard switch (KBD), rhythm pattern
playback part (RHY), arpeggio playback part (ARP), and output
destination (OUT) setting
1. Press MODE [PART MIXER].
You will enter Performance mode, and the PART MIXER screen
appears.
*
Use the function buttons to switch screens.
9. Jump to the editing screen for the displayed function
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Playing in Performance Mode
5. Use the VALUE dial, [INC] [DEC], or
[
] [
]
to select the
performance.
Selecting a Performance
The JUNO-G has three performance groups, including the User
group, Preset groups and Memory Card groups.
6. Press [F6 (SELECT)] or [ENTER] to finalize your choice.
Selecting Favorite Performances
USER
You can bring together your favorite and most frequently used
performances in one place by registering them in the Favorite
Performance. By using this function you can quickly select your
favorite performances.
This is the group inside the JUNO-G which can be rewritten.
Performances you yourself create can be stored in this group. The
JUNO-G contains 64 preset performances.
PRST (Preset)
This is the group inside the JUNO-G which cannot be rewritten.
However you may modify the settings of the currently selected
performance, and then store the modified performance in User
memory. The JUNO-G contains 64 preset performances.
1. Press MODE [PERFORM] to access the PERFORM PLAY
screen.
2. Move the cursor to the performance group or performance
number.
CARD (Memory Card)
This group lets you use patches stored on a memory card inserted in
the rear panel PC card slot. Since the data in this group can be
rewritten, you can use this group to store patches that you create.
3. Press [ENTER] and then press [F1 (FAVORIT)].
The FAVORITE PERFORMANCE screen appears.
1. Press [PERFORM].
2. Press [ ] [ ] to move the cursor to the performance group.
fig.PfmSelect.e
Performance group
Performance number
4. Use the VALUE dial, [INC] [DEC], or
[
] [
]
to select a
performance number.
To switch banks, press [ ] [ ].
5. Press [F6 (SELECT)] or [ENTER] to finalize your choice.
3. Use the VALUE dial, or [INC] [DEC] to select a performance group.
Registering a Favorite Performance
You can register a total of 64 Performances (8 sounds x 8 banks) as
4. Press [ ] [ ] to move the cursor to the performance number.
favorite Performance.
5. Use the VALUE dial or [INC] [DEC] to select the
performance number.
1. Select the Performance that you wish to register.
2. Access the FAVORITE PERFORMANCE screen.
Selecting Performances from the List
3. Press [ ] [ ] to select the bank in which you wish to
You can display a list of performances and select a performance from
that list.
register the Performance.
4. Use the VALUE dial, [INC] [DEC], or
[
] [
]
to select the
1. Press MODE [PERFORM] to access the PERFORM PLAY screen.
number to which you wish to register.
2. Move the cursor to the performance group or performance
5. Press [F3 (REGIST)] to execute the registration.
number.
*
To cancel, press [EXIT].
3. Press [ENTER].
The PERFORMANCE LIST screen appears.
By pressing [F2 (REMOVE)] you can cancel the Performance
registration that is selected in the FAVORITE PERFORM screen.
4. To switch the performance group, press [ ] [ ].
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Playing in Performance Mode
Using the PLAY Screen
Combining and Playing
Sounds Together (Layer)
Selecting a Part
In Performance mode you can play the sounds of all parts whose
The currently selected part is called the “current part.”
Keyboard Switch is on, and all connected parts. Combining the parts
will produce, thicker, fatter sounds.
1. From the PERFORM PLAY screen, use
[
] [
]
to select the part.
fig.Layer.e
Part 1
Part 2
Part 15
Part 16
(Rx ch.1)
(Rx ch.2)
(Rx ch.15)
(Rx ch.16)
You can also select the part by pressing [PART SELECT] to
make it light and pressing PART SELECT [1]–[8].
*
To select parts 9–16, press [9-16] to make it light, and then press
PART SELECT [9]–[16].
Keyboard Switch:
On
Selecting the Sound for a Part
It’s easy to switch the patch assigned to a part.
1 (Tx ch.1)
2 (Tx ch.2)
1. Select the part whose sound you want to switch.
2. Press [F1 (PAT LIST)].
15 (Tx ch.15)
16(Tx ch.16)
The PATCH LIST screen appears.
•
If you press [F3 (FAVORIT)], the FAVORITE PATCH screen (p. 28)
appears.
Rx ch.: Receive Channel
Tx ch.: Transmit Channel
•
•
•
If you press [F4 (CATEG)], you can select patches by category (p. 27).
If you press [F5 (PATCH)], the PATCH LIST screen (p. 27) appears.
If you press [F6 (RHYTHM)], the RHYTHM LIST screen appears.
1. Press MODE [PERFORM] to access the PERFORM PLAY screen.
2. Press [F2 (KBD SW)].
The Keyboard Switch window appears.
3. Use [F1 (UP)] [F2 (DOWN)] to select a category or bank.
4. Use the VALUE dial, [INC] [DEC], or ] [ to select a patch.
[
]
5. Press [ENTER] to select the patch.
3. Press [ ] [ ] to select the part you want to sound.
4. Use the VALUE dial, [INC] [DEC], or
[
] [
]
to select “ON.”
When you play the keyboard, you will hear the current part and
the parts whose keyboard switch is set to “ON.”
Press [PART SELECT] so it’s lit, then press PART SELECT [1]–
[8] to turn on/off the selected part.
*
To turn parts 9–16 on/off, press [9-16] so it’s lit, then press PART
SELECT [9]–[16].
5. Repeat steps 3–4 to turn the Keyboard Switch on for all
parts that are connected to the parts you want to play.
6. Press [F6 (CLOSE)] to return to the PERFORM PLAY screen.
About the keyboard switch
Use the keyboard switch when you want to play multiple
sounds layered together (Layer) or assign different sounds to
different regions of the keyboard (Split). Conversely, you can
turn off all keyboard switches when you are creating data, etc.
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Playing in Performance Mode
Playing Different Sounds in
Different Areas of the
Keyboard (Split)
Using the MIXER Screen
Selecting a Part
The currently selected part is called the “current part.”
In Performance mode you can divide the keyboard and play a
different patch in each area (this is called “split”). As the note range
that plays each part can be specified individually, you can split the
keyboard into a maximum of 16 sections.
1. In the PART MIXER screen, press
[
]
to move the cursor to
the Part number.
For instance, you can play strings in the lower range, piano in the
upper range, and both sounds in the middle range.
fig.Split.e
2. Use the VALUE dial or [INC] [DEC] to select the part.
Part 1: Strings
Part 1 + Part 2:
(Strings + Piano)
Part 2: Piano
You can also select the part by pressing [PART SELECT] to
make it light and pressing PART SELECT [1]–[8].
A split performance is one application of a layer. Changing the
key range of each part in the layer results in a split.
*
To select parts 9–16, press [9-16] to make it light, and then press
PART SELECT [9]–[16].
1. Press MODE [PERFORM] to access the PERFORM PLAY
screen.
Selecting the Sound for a Part
You can switch the patch that is assigned to a part.
1. Select the part whose sound you want to switch.
2. Press [F4 (KEYRANG)].
The Key Range window appears.
2. Press [ ] [ ] [ ] [ ] to move the cursor to the patch
number or patch group.
3. Press
[
] [
]
to select the part you want to play.
4. Press [F3 (KBDSW)]–[F5 (UPPER)] or [ ] [ ] to select the
parameter.
5. Use the VALUE dial or [INC] [DEC] to change the setting.
3. Use the VALUE dial or [INC] [DEC] to select a patch.
Parameter
KbdSW
Lower
Value
Explanation
Selecting the Rhythm Set
OFF, ON
C - –Upper
Lower–G9
Specifies whether or not the part will sound.
Lower limit of the range
Upper limit of the range
1. Select a part.
Upper
The bar shown above the keyboard indicates the range of keys
that will sound.
2. Press [ ] [ ] [ ] [ ] to move the cursor to the following
location.
6. When you are finished, press [F6 (CLOSE)] to return to the
PERFORM PLAY screen, and begin playing.
By specifying sections for different parts so that they overlap
each other, you can combine two or more parts only in a specific
section.
3. Use the VALUE dial or [INC] [DEC] to select “RHY.”
The rhythm set will be selected.
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Playing in Performance Mode
Editing the Part Settings
In the PART MIXER screen you can set the following parameters for
each part.
1. Press MODE [PART MIXER] to access the PART MIXER screen.
2. Press [F1 (LVL&PAN)]–[F4 (KEY/OUT)] to select the function.
you want to edit.
Parameter
Explanation
(Function Button)
[F1 (LVL&PAN)]
(left/right position) (Pan, p. 64)
[F2 (CHO&REV)]
The amount of signal sent from each part to
chorus (Chorus, p. 65) and to reverb (Reverb,
p. 65)
[F3 (FILTER)]
The part’s CUTOFF and RESONANCE values
[F4 (KEY/OUT)]
KEY
The part’s pitch (semitone units, +/-4
octaves) (Coarse, p. 65)
KBD
RHY
ARP
OUT
Keyboard Switch (p. 60)
Rhythm Part
Arpeggio Part (p. 74)
Output Assign (Asgn, p. 65)
Silencing the Playback of a Specific
Part (Mute)
When playing along with a song, you can turn off (i.e., mute) parts
you don’t want to hear. This allows you to turn off the melody part
for karaoke applications or for practicing the muted part.
1. Press MODE [PART MIXER] to access the PART MIXER screen.
2. Press [F6 (MUTE)].
The Part Mute window appears.
3. Press [ ] [ ] to select the part you want to mute.
4. Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select “ON.”
Parts whose mute setting is “ON” will not be heard.
Press [PART SELECT] so it’s lit, then press PART SELECT [1]–
[8] to turn on/off the selected part.
*
To turn parts 9–16 on/off, press [9-16] so it’s lit, then press PART
SELECT [9]–[16].
5. Press [F6 (CLOSE)] to return to the previous screen.
This setting can be saved as a performance setting.
*
Part Mute does not turn off the MIDI receive switch; rather, it sets the
volume to the minimum setting to silence the sound. Therefore, MIDI
messages are still received.
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Creating a Performance
With the JUNO-G, you have total control over a wide variety of
settings. Each item that can be set is known as a parameter. When
you change the values of parameters, you are doing what is referred
to as Editing. This chapter explains the procedures used in creating
Performances, and the functions of the Performance parameters.
3. Hold down [SHIFT] and press [F6 (INIT)].
The Performance Initialize window appears.
4. Press [ ] [ ] to select the initialization type.
Default:
Resets the currently selected performance in
the Temporary memory to the standard
values. Use this setting when you wish to
create a sound from scratch.
Adjusting the Parameters of
Each Part
In Performance mode you can view the part settings as a list. This is
called the “PART VIEW” screen. In this screen you can view a list
that shows settings for eight parts at once, such as the patch assigned
to each part, and its volume and pan settings. You can also edit these
settings here, and make detailed settings that cannot be made in the
PERFORM PLAY screen, or PART MIXER screen.
Sound Control: Initializes the values of the following part
parameters.
Cutoff Offset, Resonance Offset,
Attack Time Offset, Release Time Offset,
Decay Time Offset, Vibrato Rate,
Vibrato Depth, Vibrato Delay
5. Press [F6 (SELECT)].
A message will ask you for confirmation.
6. Press [F6 (EXEC)].
The initialization will be carried out.
1. Access the PERFORM PLAY screen or the PART MIXER
screen.
*
To cancel, press [F5 (CANCEL)].
2. Press [F5 (PARTVIEW)].
The PART VIEW screen will appear.
Changing the Settings of the
Patch Assigned to a Part
When using patches (or rhythm sets) in Performance mode, some
settings such as effects settings will be affected by Performance
settings. If you wish to edit a patch (rhythm set) while hearing how it
3. Press [ ] [ ] to select the part.
1. Make sure that MODE [PERFORM] is lit.
4. Press [F1]–[F6], and/or [ ] [ ] to select the parameter.
The name of the parameter at the cursor location is displayed in
the top line of the PART VIEW screen.
2. Press EDIT [PATCH].
The patch (rhythm set) assigned to the current part is displayed
in the PATCH EDIT screen.
5. Use the VALUE dial or [INC] [DEC] to change the value.
3. The rest of the procedure is the same as when making
changes in Patch mode (p. 30, p. 49).
6. When you’ve finished making settings, press [EXIT] to
return to the previous screen.
If you return to the previous screen without saving, an “*” will
be displayed at the left of the performance group.
When you’ve edited a patch, press EDIT [WRITE] to save the
patch.
If you turn off the power or select a different sound while the
display indicates “*,” your edited rhythm set will be lost.
Saving a Performance
You’ve Created (Write)
Changes you make to sound settings are temporary, and will be lost
if you turn off the power or select another sound. If you want to keep
the modified sound, you must save it in the internal USER group
“Initialize” means to return the settings of the currently selected
sound to a standard set of values.
*
The Initialize operation will affect only the currently selected sound;
the sounds that are stored in user memory will not be affected. If you
wish to restore all of the JUNO-G’s settings to their factory values,
perform a Factory Reset (p. 164).
When you edit the settings of a Performance, an “*” will appear in
the PERFORM PLAY screen.
When you perform the save procedure, the data that previously
occupied the save destination will be lost.
1. Press MODE [PERFORM] to access the PERFORM PLAY
screen.
1. Edit the performance.
2. Select the Performance that you want to initialize (p. 59).
2. Press [WRITE].
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Creating a Performance
The WRITE MENU screen appears.
Functions of Parameters of
Each Part
(Performance Parameters)
3. Press [F1 (PERF)].
*
Alternatively, you can use [ ] [ ] to select “Performance,” and
then press [ENTER].
[F1 (PATCH)]
Parameter
Value
Explanation
The PERFORMANCE NAME screen appears.
Type
Patch,
Rhythm
Sets the assignment of a patch (Patch) or rhythm
set (Rhythm) to each of the parts.
Group
USER,
PR-A–F,
GM,
CARD,
USAM,
CSAM,
EXP
Selects the group to which the desired patch be-
longs. (* If Type is Patch)
USER: User
4. Assign a name to the performance.
PR-A–F: Preset A–F
For details on assigning names, refer to Assigning a Name (p. 24).
GM: General MIDI (GM2)
CARD: Card
USAM: User Sample
CSAM: Card Sample
5. When you have finished inputting the name, press [F6 (WRITE)].
A screen will appear, allowing you to select the write-
destination performance.
EXP: Wave Expansion Board
USER,
PRST,
GM,
CARD,
EXP
Selects the group to which the desired rhythm
USER: User
6. Use the VALUE dial, [INC] [DEC], or [ ] [ ] and [F1 (USER)]
[F2 (CARD)] to select the write destination and rhythm set
number.
PRST: Preset
GM: General MIDI (GM2)
CARD: Card
EXP: Wave Expansion Board
Number
001–****
Selects the desired patch or rhythm set by its
number.
7. Press [F6 (WRITE)].
A message will ask you for confirmation.
*
When the cursor is at a Type, Group, or Number, you can press
[ENTER] to open the PATCH LIST screen and choose a patch from
the list (p. 27).
8. Press [F6 (EXEC)] to execute the save operation.
*
To cancel, press [F5 (CANCEL)].
[F2 (LVL PAN)]
Parameter
Value
Explanation
Never switch off the JUNO-G while data is being saved.
Level
0–127
Volume of each part
This setting’s main purpose is to adjust
the volume balance between parts.
When Changing the Settings for the
Patch or Rhythm Set Assigned to a
Part in a Performance
Pan
L64–0–63R
Left/right position of each part
Kbd
OFF, ON
(✔)
Specifies, for each part, whether or not the
keyboard controller section will be con-
nected to the internal sound generator.
If you’ve edited a patch or rhythm set assigned to a part in a
performance and then try to save the performance without first
saving the edited patch or rhythm set, the following message
appears.
Solo
OFF, ON
(✔)
Check “✔” this setting if you want to hear
the part by itself; this is called “soloing”
the part.
Mute
OFF, ON
(✔)
Mutes (✔) or un-mutes (OFF) each part.
Use this setting when, for example, you
want to use the instrument for karaoke
by muting the part playing the melody,
or when you want to play something
using a separate sound module.
*
The Mute Switch parameter does not turn
the part off, but sets the volume to mini-
mum so that no sound is heard. Therefore,
MIDI messages are still received.
In such cases, first save the patches and rhythm sets, and then save
the performance.
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Creating a Performance
[F3 (PITCH)]
Parameter
Value
Explanation
Octave
-3– +3
Pitch of the part’s sound (in 1-octave units)
*
Note that when a rhythm set is assigned to a part, you cannot modify this parameter.
Coarse
Fine
-48– +48
-50– +50
0–24, PAT
Pitch of the part’s sound (in semitones, +/-4 octaves)
Pitch of the part’s sound (in 1-cent steps; one cent is 1/100th of a semitone)
Bend
Amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is moved.
The amount of change when the lever is tilted is set to the same value for both left and right sides.
If you want to use the Pitch Bend Range setting of the patch assigned to the part (p. 37), set this to “PAT.”
Coarse Tune and Octave Shift
The Coarse Tune and Fine Tune parameters, along with the
Octave Shift parameter, can all be seen as doing the same thing to
the sound, i.e., changing the pitch of the sound. For example, if C4
(Middle C) is played with the Coarse Tune parameter set to “+12,”
the note produced is C5 (one octave above C4). For example, if C4
(Middle C) is played with the Octave Shift parameter set to “+1,”
the note produced is C5 (one octave above C4).
However, internally these function very differently. When the
Coarse Tune parameter is set to “+12,” the pitch itself is raised one
octave. On the other hand, when the Octave Shift parameter is set
to “+1,” it is the same as pressing the keys one octave up. In other
words, use the Coarse Tune parameter when changing the pitch,
and the Octave Shift parameter when you want to shift the entire
keyboard, for example, when the number of keys is insufficient.
[F4 (OUTPUT)]
Parameter
Value
Explanation
Asgn
MFX 1–3, A,
B, 1–4, PAT
1–3
Specifies for each part how the direct sound will be output.
MFX 1–3: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-
effects. Specify which multi-effects (1–3) will be used.
A, B: Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects.
PAT 1–3: The part’s output destination is determined by the settings of the patch or rhythm set assigned to the part. Specify
which multi-effects (1–3) will be used.
*
If you’ve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually
inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the IN-
DIVIDUAL 1 jack.
*
*
If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158).
If you’ve set Tone Out Assign to “MFX,” set the MFX Output Assign parameter to specify the output destination of the sound that has
passed through the multi-effects.
• Chorus and reverb are output in mono at all times.
• The output destination of the signal after passing through the chorus is set with the Chorus Output Select and Chorus Output
Assign parameters (p. 127).
• The output destination of the signal after passing through the reverb is set with the Reverb Output Assign parameter (p. 127).
Output
Chorus
Reverb
0–127
0–127
0–127
Level of the signal that is sent to the output destination specified by Part Output Assign
Level of the signal sent to chorus for each part
Level of the signal sent to reverb for each part
[F5 (FX SRC)]
Parameter
MFX1–3
Chorus
Value
Explanation
OFF, ON (✔)
The settings of a specific patch can be used as the settings for MFX1–MFX3, chorus, and reverb. This setting specifies the part
to which this patch has been assigned.
If no part is selected, the settings of the Performance will be used.
Reverb
[PAGE ↓] - [F1 (OFFSET)]
Parameter
Cutoff
Reso
Value
Explanation
-64– +63
-64– +63
-64– +63
-64– +63
-64– +63
Adjusts the cutoff frequency for the patch or rhythm set assigned to a part.
Adjusts the Resonance for the patch or rhythm set assigned to a part.
Adjusts the TVA/TVF Envelope Attack Time for the patch or rhythm set assigned to a part.
Adjusts the TVA/TVF Envelope Release Time for the patch or rhythm set assigned to a part.
Adjusts the TVA/TVF Envelope Decay Time for the patch or rhythm set assigned to a part.
Attack
Releas
Decay
[PAGE ↓] - [F2 (VIBRATO)]
Parameter
Vib Rate
Depth
Value
Explanation
-64– +63
-64– +63
-64– +63
OFF, ON
For each part, adjust the vibrato speed.
For each part, this adjusts the depth of the vibrato effect.
For each part, this adjusts the time delay until the vibrato.
Set to “ON” when you want to suppress discrepancies in timing of parts played on the same MIDI channel.
Delay
Phase
*
When this parameter is set to “ON,” parts on the same MIDI channel are put in a condition in which their timing is matched, enabling
them to be played at the same time. Accordingly, a certain amount of time may elapse between reception of the Note messages and playing
of the sounds. Turn this setting to “ON” only as needed.
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Creating a Performance
[PAGE ↓] - [F3 (KEYBORD)]
Parameter
Value
Explanation
Kbd
OFF, ON (✔)
C - –(Upper)
(Lower)–G9
Specifies, for each part, whether or not the keyboard controller section will be connected to the internal sound generator.
Lowest note that the tone will sound for each part.
K.L
K.U
Highest note that the tone will sound for each part
When the Key Range (p. 37) is set for each individual tone in a patch, sounds are produced in the range where the Key Range
of each tone and the Key Range for the part overlap.
Key range specified for Performance
Key range specified for Patch
The range in which notes will play
Velo
-63– +63
OFF, 1–4
Changes the volume and cutoff frequency for each part according to the velocity with which the keys are pressed.
If you want strongly played notes to raise the volume/cutoff frequency, set this parameter to positive (+) settings. If you
want strongly played notes to lower the volume/cutoff frequency, use negative (-) settings. Set Velocity Sensitivity to “0”
when you want sounds played at a fixed volume and cutoff frequency, regardless of the force with which the keys are
played.
Curve
Selects for each MIDI channel one of the four following Velocity Curve types that best matches the touch of the connected MIDI
keyboard.
Set this to “OFF” if you are using the MIDI keyboard’s own velocity curve.
1
2
3
4
Voice
Ch
0–63, FUL
1–16
This setting specifies the number of voices that will be reserved for each part when more than 128 voices are played simulta-
neously.
*
It is not possible for the settings of all parts to total an amount greater than 64. The remaining number of available voices will be displayed
at (rest=). Pay attention to this readout as you make Voice Reserve settings.
MIDI receive channel for each part
Calculating the Number of Voices Being Used
The JUNO-G is able to play up to 128 notes simultaneously. The
polyphony, or the number of voices (sounds) does not refer only
to the number of sounds actually being played, but changes
according to the number of tones used in the patches, and the
number of Waves used in the tones. The following method is used
to calculate the number of sounds used for one patch being
played.
(Number of Sounds Being Played) x (Number of Tones Used by
Patches Being Played) x (Number of Waves Used in the Tones)
Realtime Stretch requires twice the normal polyphony.
[PAGE ↓] - [F4 (KEY MOD)]
Parameter
Value
Explanation
Mono/Poly
MONO,POLY,
PAT
Set this parameter to “MONO” when the patch assigned to the part is to be played monophonically, or to “POLY” when the
to “PAT.”
*
This setting is ignored for parts to which a rhythm set is assigned.
Legato
OFF, ON, PAT
connected to create a flowing feel. This creates a smooth transition between notes, which is effective when you wish to simulate
the hammering-on and pulling-off techniques used by a guitarist.
Turn this parameter “ON” when you want to use the Legato feature and “OFF” when you don’t. If you want to use the Le-
gato Switch setting of the patch assigned to the part (p. 37), set this to “PAT.”
*
This setting is ignored for parts to which a rhythm set is assigned.
Portament
Time
OFF, ON, PAT
0–127, PAT
Specify whether portamento will be applied.
Turn this parameter “ON” when you want to apply Portamento and “OFF” when you don’t. If you want to use the Porta-
mento Switch setting of the patch assigned to the part (p. 37), set this to “PAT.”
When portamento is used, this specifies the time over which the pitch will change.
Higher settings will cause the pitch change to the next note to take more time. If you want to use the Portamento Time setting
of the patch assigned to the part (p. 37), set this to “PAT.”
[PAGE ↓] - [F5 (S.TUNE)]
Parameter
Value
Explanation
Part Scale Tune for C–B
-64– +63
Make scale tune settings for each part.
Scale Tune is switched on/off by means of the Scale Tune Switch parameter (p. 159).
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Creating a Performance
Equal Temperament
Arabian Scale
This tuning divides the octave into 12 equal parts, and is the most
widely used method of temperament used in Western music. The
JUNO-G employs equal temperament when the Scale Tune Switch
is set to “OFF.”
In this scale, E and B are a quarter note lower and C#, F# and G#
are a quarter-note higher compared to equal temperament. The
intervals between G and B, C and E, F and G#, Bb and C#, and Eb
and F# have a natural third-the interval between a major third and
a minor third. On the JUNO-G, you can use Arabian temperament
in the three keys of G, C and F.
Just Temperament (Tonic of C)
Compared with equal temperament, the principle triads sound
pure in this tuning. However, this effect is achieved only in one
key, and the triads will become ambiguous if you transpose.
<Example>
Note name
Equal temperament
Just Temperament (tonic C)
Arabian Scale
C
C#
D
0
0
0
0
0
0
0
0
0
0
0
0
0
-6
+45
-2
-8
+4
Eb
E
+16
-14
-2
-12
-51
-8
F
F#
G
-10
+2
+43
-4
G#
A
+14
-16
+14
-12
+47
0
Bb
B
-10
-49
MIDI Settings
1. Access the PERFORM PLAY screen, and select the Performance whose settings you wish to modify (p. 59).
2. Press [F6 (MIDI)].
The MIDI FILTER screen appears.
Parameter
Value
Explanation
Rx
OFF, ON (✔)
For each part, specify whether MIDI messages will be received (ON), or not (OFF).
If this is “OFF,” the part will not respond. Normally, you should leave this “ON,” but you can turn it
“OFF” when you do not want a specific part to be playing during song playback.
PC (Program Change)
BS (Bank Select)
PB (Pitch Bend)
OFF, ON (✔)
For each MIDI channel, specify whether MIDI messages will be received (ON), or not (OFF).
PA (Polyphonic Key Pressure)
CA (Channel Pressure)
Md (Modulation)
Vo (Volume)
Pn (Pan)
Ex (Expression)
Hd (Hold-1)
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Creating a Performance
Settings for the D Beam and
the Controller
You can change controller switch on/off settings for each patch in
the performance.
The JUNO-G lets you assign the parameters that will be affected
when you operate the D Beam.
1. In the CONTROL SETTING(PERF) screen, press [F1 (CTRL SW)].
The CONTROL SW(PERF) screen appears.
1. Access the PERFORM PLAY screen, and select the
Performance whose settings you wish to modify (p. 59).
2. Use [ ] [ ] [ ] [ ] to select the parameter.
2. Press [F3 (CONTROL)].
3. Use the VALUE dial or [INC] [DEC] to change the setting.
4. Repeat steps 2–3 to set each parameter you want to edit.
5. Press [F6 (EXIT)] to return to the previous screen.
The CTRL SETTING screen appears.
3. Press [F2]–[F5] and/or [ ] [ ] to select the parameter.
4. Use the VALUE dial or [INC] [DEC] to change the value.
5. Repeat steps 3–5 to set each parameter you want to edit.
[F1 (CTRLSW)]
Parameter
Value
Explanation
6. Press [WRITE] to save the changes you’ve made.
If you do not wish to save changes, press [EXIT] to return to
the PERFORM PLAY screen.
P.B
OFF,
ON (✔)
For each part, specify whether MIDI Pitch Bend
messages will be transmitted.
Mod
Hold
For each part, specify whether MIDI Modulation
messages will be transmitted.
*
Settings for the Active Expression and Solo Synth are saved for
system settings. Press [F6 (WRITE)] to execute the write operation.
If you return to the PERFORM PLAY screen without saving, an
“*” will be displayed at the left of the Performance group.
For each part, you can specify whether control
messages from a pedal connected to the HOLD
PEDAL jacks will be transmitted.
Ctrl
For each part, you can specify whether control
messages from a pedal connected to the CON-
TROL PEDAL jacks will be transmitted.
D Beam
Specifies whether each part will be controlled by
the D Beam.
If you turn off the power or select a different sound while the
display indicates “*,” your edited Performance will be lost.
Knob C/R
On/off setting for allowing the SOUND MODI-
FY section’s CUTOFF/RESONANCE knob to
control each part.
[F2 (TEMPO)]
[F2 (EXT)]
Parameter
Recommended Tempo
Value
Explanation
If you want the song recorder tempo to change when you switch
Performances, specify the tempo that will follow this change. This
setting is valid when the Seq Tempo Override parameter is “ON.” In
order to enable this setting, turn on the Tempo Override parameter.
VALUE: 20–250
Bank Sel
(MSB)
0–127,
OFF
If you want a Bank Select number MSB (controller
number 0) to also be transmitted when you switch
Performances, specify the value that you want to
transmit (0–127) for each part.
If you do not want this message to be transmit-
ted, set this to “OFF.”
*
The data of the part for which the Keyboard Switch
is turned off will not be transmitted.
*
This value is specified independently for each performance. This means
that when you switch performances, the tempo setting of the JUNO-G
will change.
Bank Sel
(LSB)
0–127
If you want a Bank Select number LSB (controller
number 32) to also be transmitted when you
switch Performances, specify the value that you
want to transmit (0–127) for each part.
*
The song recorder tempo will be overwritten to the new tempo when
you switch performances.
*
The data of the part for which the Keyboard Switch
is turned off will not be transmitted.
Prog
1–128,
OFF
If you want a Program Change number to also be
transmitted when you switch Performances, spec-
ify the value that you want to transmit (0–128) for
each part.
[F3 (DB ASGN)]
For details, refer to ASSIGNABLE (p. 71).
If you do not want this message to be transmit-
ted, set this to “OFF.”
The data of the part for which the Keyboard Switch
is turned off will not be transmitted.
[F4 (DB EXP)]
*
For details, refer to ACTIVE EXPRESSION (p. 71).
Level
Pan
0–127,
OFF
If you want Volume messages to also be transmit-
ted when you select a Performance, specify the
desired value (0–127) for the part.
If you do not want this message to be transmit-
ted, set this to “OFF.”
[F5 (DB SYN)]
For details, refer to SOLO SYNTH (p. 70).
*
The data of the part for which the Keyboard Switch
is turned off will not be transmitted.
L64–
0–63R,
OFF
If you want Pan messages to also be transmitted
when you select a Performance, specify the de-
sired value (L64–0–63R) for the part. If you do not
want this message to be transmitted, set this to
“OFF.”
*
These messages will not be transmitted by parts
whose Keyboard Switch is turned off.
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Modifying the Sound in Real Time
You can use the D Beam controller or a control pedal to modify the
sound while you perform.
The usable range of the D Beam controller
Here we will explain the procedures and settings for using these
functions in Patch mode. The operations are the same in
Performance mode.
The following diagram shows the usable range of the D Beam
controller. Waving your hand outside this range will produce
no effect.
fig.DBeamRange
D Beam Controller
The D Beam controller can be used simply by waving your hand
over it. It can be used to apply various effects, depending on the
function that is assigned to it. You can also create effects in which the
sound changes instantaneously, in a way that would not be possible
by operating a knob or the bender lever. On the JUNO-G, the D
Beam controller can be used not only to modify the sounds, but also
to control the pitch of a monophonic (solo) synthesizer sound.
The usable range of the D Beam controller will become
extremely small when used under strong direct sunlight.
Please be aware of this when using the D Beam controller
outside.
1. Press either the D BEAM [SOLO SYNTH], [ACTIVE EXPRESS],
or [ASSIGNABLE] button to turn on the D Beam controller.
[SOLO SYNTH]:
Lets you use the D Beam as a
monophonic synthesizer.
[ACTIVE EXPRESS]: The D Beam will add the ideal type of
expression for each sound.
The sensitivity of the D Beam controller will change depending
on the amount of light in the vicinity of the unit. If it does not
function as you expect, adjust the D Beam Sens parameter as
appropriate for the brightness of your location. Increase this
value will raise the sensitivity (p. 162).
[ASSIGNABLE]:
Operates the function assigned to the D
Beam controller.
2. While you play the keyboard to produce sound, place your
hand above the D Beam controller and move it slowly up
and down.
An effect will be applied to the sound, depending on the
function that is assigned to the D Beam controller.
3. To turn off the D Beam controller, once again press the
button you pressed in step 1 so the indicator goes out.
If Performance mode is selected, the D Beam controller on/off
setting is saved for each performance as part of the performance
settings.
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Modifying the Sound in Real Time
SOLO SYNTH
On the JUNO-G you can play a monophonic synthesizer whose pitch
2. Press [ ] [ ] to select the parameter.
is controlled by the D Beam.
3. Use the VALUE dial or [INC] [DEC] to make the setting.
4. If you want to save the settings, press [F6 (WRITE)].
1. Hold down [SHIFT] and press D BEAM [SOLO SYNTH].
A screen like the following appears.
Press [F3 (DB ASGN)] to access the D Beam assignment screen,
or [F4 (DB EXP)] to access the D Beam active expression screen.
5. Press [EXIT] to return to the previous screen.
Setting for the Solo Synth are saved for system settings.
Parameter
Value
Explanation
Level & Range
Level
0–127
0–127
0–127
Sets the volume.
Chorus Send Level
Reverb Send Level
Range
Level of the signal sent to chorus
Level of the signal sent to reverb
2OCT,
4OCT,
8OCT
Range in which the pitch of the solo synth will vary
Osc1
Osc 1 Waveform
SAW,
SQR
Waveform
SAW: Sawtooth wave
SQR: Square wave
Osc 1 Pulse Width
0–127
Pulse width of the waveform
By cyclically modifying the pulse width you can create subtle changes in the tone.
*
The Pulse Width is activated when “SQR” is selected with OSC1/2 waveform.
Osc 1 Coarse Tune
Osc 1 Fine Tune
Osc2 & Sync
-48– +48
-50– +50
Pitch of the tone’s sound (in semitones, +/-4 octaves)
Pitch of the tone’s sound (in 1-cent steps)
Osc 2 Waveform
Osc 2 Pulse Width
Osc 2 Coarse Tune
Osc 2 Fine Tune
Osc 2 Level
(same as Osc 1)
0–127
Adjust the level.
Osc Sync Switch
OFF, ON
Turning this switch on produces a complex sound with many harmonics.
This is effective when the OSC1 pitch is higher than the OSC2 pitch.
Filter
Filter Type
OFF,LPF,
BPF,
Type of filter
OFF: No filter is used.
HPF,
LPF: Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency (Cutoff) in order to round
off, or un-brighten the sound.
PKG
BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency, and cuts the rest.
HPF: High Pass Filter. This cuts the frequencies in the region below the cutoff frequency.
PKG: Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency.
Cutoff
0–127
0–127
Frequency at which the filter begins to have an effect on the waveform’s frequency components
Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound.
Resonance
*
Excessively high settings can produce oscillation, causing the sound to distort.
LFO
LFO Rate
0–127
Modulation speed of the LFO
LFO Osc 1 Pitch Depth
LFO Osc 2 Pitch Depth
-63– +63
-63– +63
-63– +63
Depth to which the LFO will modulate the Osc 1 pitch
Depth to which the LFO will modulate the Osc 2 pitch
Depth to which the LFO will modulate the pulse width of the Osc 1 waveform
LFO Osc 1 Pulse Width
Depth
*
The Pulse Width is activated when “SQR” is selected with Osc 1 waveform.
Depth to which the LFO will modulate the pulse width of the Osc 2 waveform
The Pulse Width is activated when “SQR” is selected with Osc 2 waveform.
LFO Osc 2 Pulse Width
Depth
-63– +63
*
70
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Modifying the Sound in Real Time
ACTIVE EXPRESSION
You can use the D Beam to apply the ideal type of expression for
2. Press [ ] [ ] to select the parameter.
each sound.
3. Use the VALUE dial or [INC] [DEC] to make the setting.
*
The way in which expression is applied will differ for each sound. For
some sounds, the effect may be difficult to notice.
Press [F3 (DB ASGN)] to access the D Beam assignment screen,
or [F5 (DB SYN)] to access the D Beam solo synth screen.
1. Hold down [SHIFT] and press D BEAM [ACTIVE EXPRESS].
A screen like the following appears.
4. Press [EXIT] to return to the previous screen.
Setting for the Active Expression are saved for system settings.
Parameter
Range Min
Range Max
Value
0–127
0–127
Explanation
Lower limit of the range of the D Beam controller
Upper limit of the range of the D Beam controller
By setting Range Max below Range Min you can invert the range of change.
ASSIGNABLE
You can assign various functions to the D Beam controller and apply
a wide range of effects to the sound in real time.
Press [F4 (DB EXP)] to access the D Beam active expression
screen, or [F5 (DB SYN)] to access the D Beam solo synth screen.
1. Hold down [SHIFT] and press D BEAM [ASSIGNABLE].
A screen like the following appears.
4. Press [EXIT] to return to the previous screen.
The settings for the ASSIGNABLE are saved independently for
each performance as part of the performance settings. This lets
you create performances that make effective use of controller
settings.
2. Press [ ] [ ] to select the parameter.
If Patch mode is selected, this is saved as part of the system
settings. If you want to save the settings, press [F6 (WRITE)].
3. Use the VALUE dial or [INC] [DEC] to make the setting.
Parameter
Value
Explanation
Type
CC01–31, 33–95,
BEND UP,
Function controlled by the D Beam controller
CC01–31, 33–95: Controller numbers 1–31, 33–95
BEND DOWN,
START/STOP,
TAP TEMPO,
BEND UP: Controls the pitch as specified by the “Pitch Bend Range Up” setting (p. 37).
BEND DOWN: Controls the pitch as specified by the “Pitch Bend Range Down” setting (p. 37).
START/STOP: Starts/Stops the song recorder.
TAP TEMPO: Tap tempo (a tempo specified by the interval at which you move your hand over the D Beam con-
ARP GRID,
ARP DURATION,
ARP MOTIF,
troller).
ARP GRID: Arpeggio Grid
ARP DURATION: Duration of each arpeggiated note
ARP MOTIF: Arpeggio Motif
ARP OCTAVE UP,
ARP OCTAVE DOWN,
ARP STEP,
ARP OCTAVE UP: The range in which the arpeggio is sounded will rise in steps of an octave (maximum 3 oc-
AFTERTOUCH
taves).
ARP OCTAVE DOWN: The range in which the arpeggio is sounded will lower in steps of an octave (maximum 3
octaves).
ARP STEP: Controls the playback position of the arpeggio pattern.
AFTERTOUCH: Aftertouch
Range Min
Range Max
0–127
0–127
Lower limit of the range of the D Beam controller
Upper limit of the range of the D Beam controller
By setting Range Max below Range Min you can invert the range of change.
71
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Modifying the Sound in Real Time
Control Pedal
You can modify the sound by pressing a pedal that is connected to
the rear panel HOLD PEDAL jack or CONTROL PEDAL jack.
Pedal such as expression pedals (EV-5; available separately), pedal
switches (DP series; available separately), or foot switches (BOSS FS-
5U; available separately) can be connected to the JUNO-G.
1. Access the Patch Play screen (p. 25).
2. While playing the keyboard to produce sound, operate a
pedal.
The sound will change according to the function that is assigned
to the control pedal.
Control Pedal Settings
1. Press EDIT [MENU].
3. Press [F2 (KBD/CTRL)], and then press [F2 (PDL BND)].
A screen like the following appears.
2. Press [ ] [ ] to select “2. System,” and then press
[ENTER].
The System Menu window appears.
4. Press [ ] [ ] to select the parameter.
5. Use the VALUE dial or [INC] [DEC] to make the setting.
Parameter
Value
Explanation
Control Pedal
Assign
CC01–31, 33–95,
BEND UP,
BEND DOWN,
AFTERTOUCH,
OCT UP,
Function of the pedal connected to the CONTROL PEDAL jack
CC01–31, 33–95: Controller numbers 1–31, 33–95
BEND UP: Controls the pitch as specified by the “Pitch Bend Range Up” setting (p. 37).
BEND DOWN: Controls the pitch as specified by the “Pitch Bend Range Down” setting (p. 37).
AFTERTOUCH: Aftertouch
OCT DOWN,
START/STOP,
PUNCH IN/OUT,
TAP TEMPO,
PROG UP,
PROG DOWN,
FAVORITE UP,
FAVORITE DOWN,
ARP SW,
RHY START/STOP,
CHORD SW,
LIVE SET UP,
LIVE SET DOWN,
LOOP
OCT UP: Pedal press raises the key range in octave steps (up to 3 octaves higher).
OCT DOWN: Pedal press lowers the key range in octave steps (up to 3 octaves lower).
START/STOP: The song recorder will start/stop.
PUNCH IN/OUT: Manual punch-in/out recording will start/stop.
TAP TEMPO: Tap tempo (a tempo specified by the interval at which you press the pedal).
PROG UP: The next sound number will be selected.
PROG DOWN: The previous sound number will be selected.
FAVORITE UP: The favorite patch/performance of the next number or bank will be selected.
FAVORITE DOWN: The favorite patch/performance of the previous number or bank will be selected.
ARP SW: Arpeggio/Rhythm function on/off
RHY START/STOP: Rhythm pattern playback on/off
CHORD SW: Switches the Chord Memory function on/off.
LIVE SET UP: Switches to the next step within a Live Setting list.
LIVE SET DOWN: Switches to the previous step within a Live Setting list.
LOOP: Loop Playback on/off
Control Pedal
Polarity
STANDARD,
REVERSE
Polarity of the pedal
On some pedals, the electrical signal output by the pedal when it is pressed or released is the opposite of other ped-
als. If your pedal has an effect opposite of what you expect, set this parameter to “REVERSE.” If you are using a
Roland pedal (that has no polarity switch), set this parameter to “STANDARD.”
Hold Pedal Po-
larity
Continuous
Hold Pedal
OFF, ON
Determines whether the HOLD PEDAL jack will provide support for half-pedaling (ON), or not (OFF).
When this is set to “ON,” you can then connect an optional damper pedal (DP-10, etc.), and employ pedal work to
achieve even finer control in performances in which piano tones are used.
6. If you want to save the settings, press [F6 (WRITE)].
7. Press [EXIT] to return to the previous screen.
72
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Playing Arpeggios
About Arpeggio
The JUNO-G’s Arpeggio function lets you produce arpeggios
automatically; simply hold down some keys, and a corresponding
arpeggio will be played automatically.
Not only can you use the factory-set Arpeggio Styles, which
rewrite Styles and enjoy performing your own original arpeggios.
An Arpeggio Style is not part of any Patch or Performance, but
rather independent data; you can store up to 128 Arpeggio Styles.
Therefore you can use a single Arpeggio Style in different Patches
and Performances. Arpeggio settings can be saved independently for
each performance. However, they cannot be saved as part of a patch.
What’s more, you can perform in ensemble using these arpeggios
and rhythm patterns (p. 79).
2. Use the VALUE dial or [INC] [DEC] to set the tempo value
(5–300), or set the value by tapping [F4 (TAP)] a number of
times with the same rhythm (Tap Tempo).
*
If you press [F5 (CLICK)] to add a check mark (✔), the click will
sound.
3. When you have made the setting, press [F6 (CLOSE)].
Holding an Arpeggio
By using the following procedure, you can produce arpeggios even
without continuing to press the keyboard.
Playing Arpeggios
1. Press [ARPEGGIO] to turn on the arpeggio.
The ARPEGGIO STYLE screen appears.
Turning Arpeggio On and Off
2. Press [F1 (HOLD)] to add a check mark (✔).
1. Press [ARPEGGIO] to turn it on.
The button will light.
3. Play a chord on the keyboard.
*
*
You can make arpeggio settings in this screen.
Press [EXIT] to return to the previous screen.
4. If you play a different chord or notes while the arpeggio is
being held, the arpeggio will change accordingly.
2. Play a chord on the keyboard.
5. To cancel Arpeggio Hold, press [F1 (HOLD)] once again.
The JUNO-G will play an arpeggio, according to the notes
forming the chord you have just voiced.
When Using a Hold Pedal
If you play an arpeggio while pressing the hold pedal, the arpeggio
3. To finish playing arpeggios, press [ARPEGGIO] again to
turn it off.
will continue to be played even if you release the chord.
1. Connect an optional pedal switch (DP series etc.) to the
In arpeggio settings, the Style (Arpeggio Style) (p. 74) is
particularly important. The playback pattern of the arpeggio is
determined mainly by this selection.
HOLD PEDAL jack.
2. Press [ARPEGGIO] to turn on the arpeggio.
3. Play a chord while pressing the hold pedal.
Using in Combination with the Chord
Memory Function
4. If you play a different chord or notes while the arpeggio is
being held, the arpeggio will change accordingly.
When performing with the Arpeggio, you can also use it along
with the Chord Memory function (p. 77). After first storing
complex Chord Forms in memory, you can then call them up
when Arpeggio function is on, and you can easily play complex
arpeggio sounds just by pressing a single key.
Song Recorder
When using arpeggios while the song recorder is playing, or when
you want to record arpeggios into the song recorder in real time, you
can synchronize the arpeggio with the start/stop timing of the song
recorder.
Determining the Tempo for
Arpeggio Performances
For details, refer to Arp/Rhythm Sync Switch (p. 162).
This sets the arpeggio tempo.
1. Press SONG RECORDER [TEMPO].
The current tempo value appears in the display.
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Playing Arpeggios
Arpeggio Settings
1. Press [ARPEGGIO] so it’s lit. Alternatively, hold down [SHIFT] and press [ARPEGGIO].
The ARPEGGIO STYLE screen appears.
*
When you hold down [SHIFT] and press [ARPEGGIO], the ARPEGGIO STYLE screen will appear regardless of whether the arpeggio function is on or off.
2. Press [ ] [ ] to select the parameter.
3. Use the VALUE dial or [INC] [DEC] to make the setting.
Parameter
Value
Explanation
(Arpeggio Style)
U001–128 (User),
P001–128 (Preset)
This selects the arpeggio’s basic performance Style.
The arpeggio styles are kept in preset memory and user memory.
Grid
1/4, 1/8, 1/8L,
1/8H, 1/12,
1/16, 1/16L,
1/16H, 1/24
This sets the particular note division and resolution in a “single grid” used in creating the arpeggio in an Arpeggio Style,
and how much of a “shuffle” syncopation is to be to applied (none/weak/strong) to it (grid type).
1/4: Quarter note (one grid section = one beat)
1/8: Eighth note (two grid sections = one beat)
1/8L: Eighth note shuffle Light (two grid sections = one beat, with a light shuffle)
1/8H: Eighth note shuffle Heavy (two grid sections = one beat, with a heavy shuffle)
1/12: Eighth note triplet (three grid sections = one beat)
1/16L: Sixteenth note shuffle Light (four grid sections = one beat, with a light shuffle)
1/16H: Sixteenth note shuffle Heavy (four grid sections = one beat, with a heavy shuffle)
1/24: Sixteenth note triplet (six grid sections = one beat)
*
Grid settings are shared with the rhythm pattern.
Duration
30–120%, Full
This determines whether the sounds are played staccato (short and clipped), or tenuto (fully drawn out).
30–120: For example, when set to “30,” the length of the note in a grid (or when a series of grids is connected with ties,
the final grid) is 30% of the full length of the note set in the grid type.
Full: Even if the linked grid is not connected with a tie, the same note continues to sound until the point at which the
next new sound is specified.
*
Duration settings are shared with the rhythm pattern.
Motif
(See p. 75.)
Refer to Selecting Ascending/Descending Variations (Motif) (p. 75).
Velocity
REAL, 1–127
Specifies the loudness of the notes that you play.
REAL: If you want the velocity value of each note to depend on how strongly you play the keyboard, set this parameter
to REAL.
1–127: If you want each note to have a fixed velocity regardless of how strongly you play the keyboard, set this param-
eter to the desired value.
OctRange
Accent
-3– +3
0–100
This adds an effect that shifts arpeggios one cycle at a time in octave units (octave range).
You can set the shift range upwards or downwards (up to three octaves up or down).
When you play arpeggios, the velocity of each arpeggiated note is determined by the velocity of the notes programmed
within the arpeggio style. You can adjust the amount (“spread”) of this dynamic variation.
With a setting of “100,” the arpeggiated notes will have the velocities that are programmed by the arpeggio style. With
a setting of “0,” all arpeggiated notes will be sounded at a fixed velocity.
Part
Part1–16
Here’s how to specify the part that will use the arpeggio in Performance mode. You can specify only one part for playing
arpeggios.
(Displayed in
Performance
mode)
If a rhythm set is assigned to a part in Performance mode, you can play a rhythm pattern along with the arpeggios.
*
The part you select here functions for both the arpeggio and the chord memory functions.
4. When you have made the setting, press [EXIT].
About Arpeggio Styles
Note 16
An Arpeggio Style is a series of data for basic arpeggio patterns and chord styles
recorded in the form of a grid consisting of a maximum of 32 steps x 16 pitches.
Each grid contains one of the following kinds of data.
HIGH
•
•
•
ON:
TIE:
Note On (with Velocity data)
Tie (hold of the previous note)
Note 06
Note 05
Note 04
Note 03
Note 02
Note 01
REST: Rest (no sound played)
STEP
The keys that are pressed along with the sequence in which they are pressed is
referenced to the “lowest-pitched key during input.” Thus, you can use a single
Arpeggio Style in different Patches and Performances at the same time.
1
8
10
11 ....
2
3
4
5
6
7
9
32
A Arpeggio Style is not part of any patch or Performance, but rather independent data.
74
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Playing Arpeggios
Selecting Ascending/Descending
Variations (Motif)
Creating an Arpeggio Style
(Arpeggio Style Edit)
In addition to using the built-in arpeggio styles, you are free to create
your own. After creating an original arpeggio style, you can store it
in the internal user memory.
This selects the method used to play sounds (motif) when you have a
greater number of notes than programmed for the Arpeggio Style.
*
When the number of keys played is less than the number of notes in the
Style, the highest-pitched of the pressed keys is played by default.
Broadly speaking, there are two ways to create an arpeggio style.
Value:
Up (L):
Only the lowest of the keys pressed is sounded each
time, and the notes play in order from the lowest of
the pressed keys.
Step-recording
In this method, you use the keyboard to step-record your arpeggio.
Each time you input a note, you will advance to the next step. This
method is convenient when you want to create an arpeggio from
scratch using a Style that contains no data.
Up (L&H):
Notes from both the lowest and highest pressed keys
are sounded each time, and the notes play in order
from the lowest of the pressed keys.
Up (_):
The notes play in order from the lowest of the
pressed keys. No one note is played every time.
Only the lowest of the keys pressed is sounded each
time, and the notes play in order from the highest of
the pressed keys.
If you want to create “from scratch,” you’ll need to initialize the
Style. In the ARPEGGIO STYLE EDIT screen, hold down
[SHIFT] and press [F4 (INIT)]. A message will ask whether you
want to initialize; press [F6 (EXEC)] to execute initialization.
Down (L):
Down (L&H): Notes from both the lowest and highest pressed keys
are sounded each time, and the notes play in order
from the highest of the pressed keys.
1. Press [ARPEGGIO] so it’s lit. Alternatively, hold down
[SHIFT] and press [ARPEGGIO].
Down (_):
The notes play in order from the highest of the
pressed keys. No note is played every time.
Notes will be sounded from the lowest to the highest
key you press and then back down to the lowest key,
with only the lowest key sounded each time.
Notes from both the lowest and highest pressed keys
are sounded each time, and the notes play in order
from the lowest of the pressed keys and then back
again in the reverse order.
*
When you hold down [SHIFT] and press [ARPEGGIO], the
ARPEGGIO STYLE screen will appear regardless of whether the
arpeggio function is on or off.
U/D (L):
2. Press [F5 (EDIT)].
U/D (L&H):
U/D (_):
The ARPEGGIO STYLE EDIT screen appears.
3. Press [F1 (SETUP)].
The Arpeggio Setup window appears.
The notes play in order from the lowest of the
pressed keys, and then back again in the reverse
order. No note is played every time.
4. Press [ ] to move the cursor to “End Step.”
5. Use the VALUE dial or [INC] [DEC] to specify the number of
steps for the arpeggio style.
Rand (L):
Rand (_):
Notes will be sounded randomly for the keys you
press, with only the lowest key sounded each time.
Only the lowest of the keys pressed is sounded each
time, the notes you press will be sounded randomly.
No note will sound each time.
6. Press [ ] to move the cursor to “Input Velocity.”
7. Use the VALUE dial or [INC] [DEC] to specify the velocity
setting for the data you will input.
Phrase:
Pressing just one key will play a phrase based on the
pitch of that key. If you press more than one key, the
key you press last will be used.
8. Press [F6 (CLOSE)] to close the Arpeggio Setup window.
9. Press [F6 (STP REC)] to add a check mark (✔).
<Example>
Now you’re ready to step-record.
Action of a Style starting from the lowest note, “1-2-3-2” when the
•
•
•
•
•
•
To move to the desired input location, press [ ] [ ] [ ] [ ].
keys “C-D-E-F-G” are played
To input notes, play the keyboard.
•
•
•
When “UP (L)” is selected as the motif:
To input a tie, press [F2 (TIE)].
C-D-E-D -> C-E-F-E -> C-F-G-F (-> repeated)
When “UP (_)” is selected as the motif:
To input a rest, press [F3 (REST)].
To erase the note, hold down [SHIFT] and press [F6 (CLR NOTE)].
To erase all notes at the current step, hold down [SHIFT] and
press [F5 (CLR STEP)].
C-D-E-D -> D-E-F-E -> E-F-G-F (-> repeated)
When “UP&DOWN (L&H)” is selected as the motif:
C-D-G-D -> C-E-G-E -> C-F-G-F -> C-E-G-E (-> repeated)
•
By pressing [F4 (PREVU)] to add a check mark (✔) you can
listen to the style that you’re entering.
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Playing Arpeggios
A maximum of sixteen note numbers (pitches) can be used in a
single style.
Saving the Styles You Have
Created (Write)
10.When you have finished, press [F5 (EXIT)].
The Styles you create are temporary; they are deleted as soon as you
turn off the power or select some other Style. You can store 128
arpeggio styles in the User memory.
Using the VALUE Dial or [INC] [DEC]
to Input Values
In this method, you’ll use the cursor to specify the step or pitch that
you want to input, and use the dial or [INC] [DEC] to input values.
This method is convenient when you want to edit or modify
previously input data.
Arpeggio style settings are saved as independent data, not
as part of the data for each patch. The settings in Patch mode,
it is not possible to save arpeggio parameters (e.g., Arpeggio
Style, Grid, Motif, Duration).
It can be saved to individual in Performance mode. If you
want to save your settings, press [WRITE] and save the
performance.
1. Press [ARPEGGIO] so it’s lit. Alternatively, hold down
[SHIFT] and press [ARPEGGIO].
*
When you hold down [SHIFT] and press [ARPEGGIO], the
ARPEGGIO STYLE screen will appear regardless of whether the
arpeggio function is on or off.
1. Create an arpeggio style.
2. Press [F5 (EDIT)].
2. Press [F6 (WRITE)].
The ARPEGGIO STYLE EDIT screen appears.
The ARPEGGIO STYLE NAME screen appears.
3. Press [F1 (SETUP)].
3. Assign a name to the Style.
The Arpeggio Setup window appears.
4. Press [ ] to move the cursor to “End Step.”
For details on assigning names, refer to p. 24.
5. Use the VALUE dial or [INC] [DEC] to specify the number of
4. When you have finished inputting the name, press [F6 (WRITE)].
A screen will appear, allowing you to select the write-
destination Style.
steps for the arpeggio style.
6. Press [F6 (CLOSE)] to close the Arpeggio Setup window.
7. Press [ ] [ ] [ ] [ ] to specify the step or pitch you want
to input.
*
When using this method of input, you can use the keyboard to specify
the pitch of the note. (Unlike when step-recording, pressing the
keyboard will not actually input the note.)
5. Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select the
8. Input the velocity value, using either the VALUE dial or [INC]
[DEC]. You can input a tie by turning VALUE all the way to
the right (or using [INC] to raise the value all the way).
write destination.
6. Press [F6 (WRITE)].
•
•
•
You can also input a tie by pressing [F2 (TIE)].
To input a rest, press [F3 (REST)].
A message will ask you for confirmation.
By pressing [F4 (PREVU)] to add a check mark (✔) you can
listen to the style that you’re entering.
7. To save the Style, press [F6 (EXEC)].
*
To cancel, press [F5 (CANCEL)].
A maximum of sixteen note numbers (pitches) can be used in a
single style.
Never switch off the JUNO-G while data is being saved.
9. When you have finished, press [F5 (EXIT)].
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Using the Chord Memory Function
Selecting Chord Forms
About the Chord Memory
Function
Changing the chord form will change the notes in the chord.
1. Press [CHORD MEMORY] so it’s lit. Alternatively, hold
down [SHIFT] and press [CHORD MEMORY].
The CHORD MEMORY screen appears.
Chord Memory is a function that allows you to play chords based on
pre-programmed Chord Forms, just by pressing a single key on the
keyboard. The JUNO-G can store 64 preset chord forms and 64 user
(factory set) chord forms.
*
When you hold down [SHIFT] and press [CHORD MEMORY], the
CHORD MEMORY screen will appear regardless of whether the
arpeggio function is on or off.
The chord memory function operates on the arpeggio part in
Performance mode. If a rhythm set is selected for that part, you can
also use this to play rhythms.
2. Use the VALUE dial or [INC] [DEC] to select a Chord Form
number.
U01–64: User
When you use the Chord Memory function with a tone for
which the Mono/Poly Parameters (p. 37) is Mono, only one
sound in the chord is played. When using the Chord Memory
function to turn Poly the Mono/Poly Parameters.
P01–64: Preset
The notes of the chord will be displayed.
3. When you have finished selecting a Chord Form, press
[EXIT].
Using in Combination with the Arpeggio
Function
Sounding a chord in the order of
its notes (Rolled Chord)
When performing with the Chord Form function, you can also
use it along with the Arpeggio function (p. 73). After first
storing complex Chord Forms in memory, you can then call
them up when Arpeggio is on, and you can easily create
complex arpeggio sounds just by pressing a single key.
This causes the notes within a chord to be sounded consecutively,
rather than simultaneously. Since the playback speed will change
according to the force with which you play the keyboard, you can
vary your playing dynamics to create a realistic simulation of
playing a guitar.
1. Press [CHORD MEMORY] so it’s lit. Alternatively, hold
down [SHIFT] and press [CHORD MEMORY].
The CHORD MEMORY screen appears.
Performing with the Chord
Memory Function
*
When you hold down [SHIFT] and press [CHORD MEMORY], the
CHORD MEMORY screen will appear regardless of whether the
arpeggio function is on or off.
Turning Chord Memory Function
On and Off
2. Press [F1 (ROLL)] to add a check mark (✔).
With this setting, the notes of the chord will be sounded
consecutively when you play the keyboard.
1. Press [CHORD MEMORY] to turn it on.
The button will light. The CHORD MEMORY screen appears.
*
*
In this screen you can select a chord form and make settings for the
Rolled Chord function.
Changing the order in which notes
are sounded
Press [EXIT] to return to the previous screen.
You can change the order in which the notes of a chord are sounded.
2. Play the keyboard.
A chord will sound according to the currently selected chord
1. In the CHORD MEMORY screen, use [ ] [ ] to move the
form.
cursor to “Rolled Chord Type.”
When you press the C4 key (Middle C), the chord is played
using the exact chord structure recorded in the Chord Form.
This is referenced to the C4 key; parallel chords are played by
pressing other keys.
2. Use the VALUE dial or [INC] [DEC] to change a value.
UP:
Notes will be sounded in order from bottom
to top.
DOWN:
Notes will be sounded in order from top to
bottom.
3. To finish playing chords, press [CHORD MEMORY] again to
turn it off.
ALTERNATE: The order in which the notes are sounded will
change each time you play the keyboard.
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Using the Chord Memory Function
Creating Your Own Chord
Forms
Saving the Chord Forms You
Have Created (Write)
Not only can you use the prepared internal Chord Forms, which
determine the constituent notes of chords played using the Chord
Memory function, but you can also freely create and rewrite them as well.
The Chord Forms you create are temporary; they are deleted as soon
as you turn off the power or select some other Chord Form. If you
want to keep a Chord Form you have made, save it to the JUNO-G’s
user memory.
1. Press [CHORD MEMORY] so it’s lit. Alternatively, hold
down [SHIFT] and press [CHORD MEMORY].
The CHORD MEMORY screen appears.
A chord form is not part of any patch or performance, but
rather independent data. Therefore you can use a single chord
form in different Patches and Performances.
*
When you hold down [SHIFT] and press [CHORD MEMORY], the
CHORD MEMORY screen will appear regardless of whether the
arpeggio function is on or off.
In Performance mode you can save these settings
individually for each performance. These settings cannot be
saved in a patch. If you want to save your settings, press
[WRITE] and save the performance.
2. Use the VALUE dial or [INC] [DEC] to select a chord form.
3. Press [F5 (EDIT)].
A screen like the following appears.
1. Create a chord form.
2. Press [F6 (WRITE)].
The CHORD NAME screen appears.
3. Assign a name to the Chord Form.
4. Use the keyboard to input the chord that you want to play.
For details on assigning names, refer to p. 24.
When you press a key, the note will be added in the screen.
•
If you input a note by mistake, press [F3 (DELETE)]. You can
also erase a note you input by pressing the same key.
If you want to erase all notes, press [F2 (ALL DEL)].
You can press [F4 (PREVIEW)] to hear the chord that you are
inputting.
4. When you have finished inputting the name, press [F6 (WRITE)].
A screen will appear, allowing you to select the write-
destination Chord Form.
•
•
5. When you have finished, press [F5 (EXIT)].
5. Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select the
write destination.
6. Press [F6 (WRITE)].
A message will ask you for confirmation.
7. To save the Chord Form, press [F6 (EXEC].
*
To cancel, press [F5 (CANCEL)].
Never switch off the JUNO-G while data is being saved.
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Playing Rhythms
4. Press [EXIT] to close the RHYTHM GROUP screen.
You can also press [EXIT] to close the RHYTHM GROUP screen
while a rhythm pattern is playing. In this case, you can press
[RHYTHM PATTERN] once again to open the RHYTHM
GROUP screen and press the blinking function button to stop
the pattern playback.
About Rhythm Patterns
The JUNO-G contains 256 preset rhythm patterns. You can play a
variety of rhythm patterns simply by pressing the function buttons
([F1]–[F6]). In addition to using these built-in rhythm patterns, you
can also create your own.
*
You can also stop the pattern playback by pressing SONG
RECORDER [STOP].
The 256 rhythm patterns are maintained as independent data;
they are not part of a performance’s data. This means that any one
rhythm pattern can be shared by various rhythm sets or performances. In
Performance mode, a number by which a rhythm pattern is
recalled can be stored as one of the performance parameters.
This number cannot be stored in Patch mode.
Determining the Tempo for Rhythm
Pattern Performances
This sets the Rhythm Pattern tempo.
1. Press SONG RECORDER [TEMPO].
Using Rhythm Groups
The current tempo value appears in the display.
A “group” consists of settings for each of the six buttons, specifying
the pattern that each function button will play. The rhythm set used
by that group is also stored as part of the settings.
*
You are free to change how rhythm pattern numbers and rhythm
sounds are assigned.
Rhythm group data is not part of a rhythm set or performance;
the 32 rhythm groups are stored as independent data. This
means that any one rhythm group can be shared by various
patches or performances. In addition to using the built-in
rhythm groups, you can also create your own.
2. Use the VALUE dial or [INC] [DEC] to set the tempo value
(5–300), or set the value by tapping [F4 (TAP)] a number of
times with the same rhythm (Tap Tempo).
*
If you press [F5 (CLICK)] to add a check mark (✔), the click will sound.
Rhythm Group settings can be saved independently for each
performance. However, they cannot be saved as part of a patch.
3. When you have made the setting, press [F6 (CLOSE)].
Select the Rhythm Group
Playing Rhythm
1. Press [RHYTHM PATTERN].
The RHYTHM GROUP screen appears.
Using the Rhythm Function
2. Use the VALUE dial or [INC] [DEC] to select a Rhythm group
number.
1. Press [RHYTHM PATTERN].
The RHYTHM GROUP screen appears.
This selects the Rhythm group’s basic performance Style.
U01–32: User
P01–32: Preset
*
When you select the Rhythm group, the most suitable rhythm set is
assigned to the Rhythm part. (In the screen, this is indicated by
“RECOMMENDED RHY PATTERN.”
3. When you have finished selecting a Rhythm group, press [EXIT].
2. Play a function button ([F1 (PAD 1)]–[F6 (PAD 6)]).
According to the button you pressed, the assigned rhythm pattern
will begin playing. The currently playing button will blink.
Recording the Rhythm Pattern Playback to
Song Recorder
In the RHYTHM GROUP screen, record the rhythm pattern to
Song Recorder.
In recording standby mode, when you press [PLAY] (or [F6
(START)]) the current rhythm pattern will start playback at the
same time, and you can record the rhythm pattern.
The pattern or rhythm tone that is sounded by each button can
be specified in Rhythm Group Edit (p. 82).
3. If you press a blinking button, the pattern will stop playing.
If you want to record the rhythm pattern at the same time
that it starts playback, set the Count In to Off in the
recording standby window.
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Playing Rhythms
Rhythm Pattern Settings
1. Press [RHYTHM PATTERN].
2. Hold down [SHIFT] and press [F2 (RHY PTN)].
The RHYTHM PATTERN screen appears.
3. Press [ ] [ ] to select the parameter.
4. Use the VALUE dial or [INC] [DEC] to make the setting.
*
You can audition the rhythm pattern by pressing [F4 (PREVU)] to add a check mark (✔).
Parameter
Value
Explanation
(Rhythm Pattern)
U001–256 (User),
P001–256 (Preset)
This selects the rhythm’s basic performance Style.
Grid
1/4, 1/8, 1/8L, 1/
8H, 1/12,
1/16, 1/16L,
1/16H, 1/24
This sets the particular note division and resolution in a “single grid” used in creating the pattern in an Rhythm Pat-
tern, and how much of a “shuffle” syncopation is to be to applied (none/weak/strong) to it (grid type).
1/4: Quarter note (one grid section = one beat)
1/8: Eighth note (two grid sections = one beat)
1/8L: Eighth note shuffle Light (two grid sections = one beat, with a light shuffle)
1/8H: Eighth note shuffle Heavy (two grid sections = one beat, with a heavy shuffle)
1/12: Eighth note triplet (three grid sections = one beat)
1/16: Sixteenth note (four grid sections = one beat)
1/16L: Sixteenth note shuffle Light (four grid sections = one beat, with a light shuffle)
1/16H: Sixteenth note shuffle Heavy (four grid sections = one beat, with a heavy shuffle)
1/24: Sixteenth note triplet (six grid sections = one beat)
*
Grid settings are shared with the arpeggio.
Duration
30–120%, Full
This determines whether the sounds are played staccato (short and clipped), or tenuto (fully drawn out).
30–120: For example, when set to “30,” the length of the note in a grid (or when a series of grids is connected with
ties, the final grid) is 30% of the full length of the note set in the grid type.
Full: Even if the linked grid is not connected with a tie, the same note continues to sound until the point at which
the next new sound is specified.
*
*
Duration settings are shared with the arpeggio.
This has no effect if the Tone Env Mode parameter (p. 52) is set to “NO-SUS.”
Velocity
Accent
1–127
0–100
Specifies the loudness of the rhythm pattern.
When you play rhythm patterns, the velocity of each note is determined by the velocity of the notes programmed with-
in the rhythm pattern. You can adjust the amount (“spread”) of this dynamic variation.
With a setting of “100,” the notes will have the velocities that are programmed by the rhythm pattern. With a setting
of “0,” all notes will be sounded at a fixed velocity.
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Playing Rhythms
Using the VALUE Dial or [INC] [DEC]
to Input Values
Creating a Rhythm Pattern
(Rhythm Pattern Edit)
In addition to using the built-in Rhythm Patterns, you are free to
create your own. After creating an original Rhythm Pattern, you can
store it in the internal user memory.
In this method, you’ll use the cursor to specify the step or pitch that
you want to input, and use the dial or [INC] [DEC] to input values.
This method is convenient when you want to edit or modify
previously input data.
Broadly speaking, there are two ways to create a Rhythm Pattern.
1. Press [RHYTHM PATTERN].
Step-recording
2. Hold down [SHIFT] and press [F2 (RHY PTN)].
In this method, you use the keyboard to step-record your Rhythm
Pattern. Each time you input a note, you will advance to the next
step. This method is convenient when you want to create a Rhythm
Pattern from scratch using a Pattern that contains no data.
3. Press [F5 (PTN EDIT)].
The RHYTHM PATTERN EDIT screen appears.
4. Press [F1 (SETUP)].
The Rhythm Setup window appears.
If you want to create “from scratch,” you’ll need to initialize the
Pattern. In the RHYTHM PATTERN EDIT screen, hold down
[SHIFT] and press [F4 (INIT)]. A message will ask whether you
want to initialize; press [F6 (EXEC)] to execute initialization.
5. Press [ ] to move the cursor to “End Step.”
6. Use the VALUE dial or [INC] [DEC] to specify the number of
steps for the Rhythm Pattern.
1. Press [RHYTHM PATTERN].
7. Press [F6 (CLOSE)] to close the Rhythm Setup window.
2. Hold down [SHIFT] and press [F2 (RHY PTN)].
8. Press [ ] [ ] [ ] [ ] to specify the step or pitch you want
3. Press [F5 (PTN EDIT)].
to input.
The RHYTHM PATTERN EDIT screen appears.
*
When using this method of input, you can use the keyboard to specify
the pitch of the note. (Unlike when step-recording, pressing the
keyboard will not actually input the note.)
4. Press [F1 (SETUP)].
The Rhythm Setup window appears.
5. Press [ ] to move the cursor to “End Step.”
9. Input the velocity value, using either the VALUE dial or [INC]
[DEC]. You can input a tie by turning VALUE all the way to
the right (or using [INC] to raise the value all the way).
6. Use the VALUE dial or [INC] [DEC] to specify the number of
steps for the Rhythm Pattern.
•
•
•
You can also input a tie by pressing [F2 (TIE)].
To input a rest, press [F3 (REST)].
7. Press [ ] to move the cursor to “Input Velocity.”
By pressing [F4 (PREVU)] to add a check mark (✔) you can
listen to the pattern you’ve input.
8. Use the VALUE dial or [INC] [DEC] to specify the velocity
setting for the data you will input.
The data will be input with the specified velocity.
A maximum of sixteen note numbers (pitches) can be used in a
single pattern.
9. Press [F6 (CLOSE)] to close the Rhythm Setup window.
10.When you have finished, press [F5 (EXIT)].
10.Press [F6 (STP REC)] to add a check mark (✔).
Now you’re ready to step-record.
•
•
•
•
•
To move to the desired input location, press [ ] [ ] [ ] [ ].
To input notes, play the keyboard.
To input a tie, press [F2 (TIE)].
To input a rest, press [F3 (REST)].
To erase the note, hold down [SHIFT] and press [F6 (CLR NOTE)].
Saving the Rhythm Pattern
You Have Created (Write)
The Rhythm Patterns you create are temporary; they are deleted as
soon as you turn off the power or select some other Pattern. You can
store 32 Rhythm Groups in the User memory.
•
To erase all notes at the current step, hold down [SHIFT] and
press [F5 (CLR STEP)].
•
By pressing [F4 (PREVU)] to add a check mark (✔) you can
listen to the pattern you’ve input.
Rhythm pattern settings are saved as independent data,
not as part of the data for each patch. The settings in Patch
mode, it is not possible to save rhythm pattern parameters (e.g.,
Rhythm Pattern, Grid, Duration).
It can be saved to individual in Performance mode. If you
want to save your settings, press [WRITE] and save the
performance.
A maximum of sixteen note numbers (pitches) can be used in a
single pattern.
11.When you have finished, press [F5 (EXIT)].
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Playing Rhythms
1. Create a rhythm pattern.
Parameter
Value
Explanation
Rhy
USER:
001–032
PRST:
001–036
GM:
Specifies which rhythm set will be used.
2. Press [F6 (WRITE)].
The RHYTHM PATTERN NAME screen appears.
001–009
CARD:
001–032
EXP:
3. Assign a name to the Rhythm Pattern.
For details on assigning names, refer to p. 24.
001–
6. When you have finished, press [F5 (EXIT)].
4. When you have finished inputting the name, press [F6 (WRITE)].
A screen will appear, allowing you to select the write-
destination pattern.
Saving the Rhythm Group
You Have Created (Write)
The Rhythm Groups you create are temporary; they are deleted as
soon as you turn off the power or select some other Group. You can
store 32 Rhythm Groups in the User memory.
Rhythm group settings are saved as independent data, not
as part of the data for each patch. The settings in Patch mode,
it is not possible to save rhythm group settings.
It can be saved to individual in Performance mode. If you
want to save your settings, press [WRITE] and save the
performance.
5. Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select the
write destination.
6. Press [F6 (WRITE)].
A message will ask you for confirmation.
7. To save the Rhythm Pattern, press [F6 (EXEC)].
1. Create a rhythm group.
*
To cancel, press [F5 (CANCEL)].
2. Press [F6 (WRITE)].
The RHYTHM GROUP NAME screen appears.
Never switch off the JUNO-G while data is being saved.
3. Assign a name to the Rhythm Group.
Creating a Rhythm Group
(Rhythm Group Edit)
Not only can you use the prepared internal Rhythm Groups that
determine how rhythm are played, but you can also create them as well.
This way, you can enjoy performing your own original rhythm group.
For details on assigning names, refer to p. 24.
4. When you have finished inputting the name, press [F6 (WRITE)].
A screen will appear, allowing you to select the write-
destination group.
1. Press [RHYTHM PATTERN].
The RHYTHM GROUP screen appears.
2. Use the VALUE dial or [INC] [DEC] to select a rhythm group
you want to edit.
3. Hold down [SHIFT] and press [F5 (GRP EDIT)].
5. Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select the
The RHY GRP EDIT screen appears.
write destination.
4. Press [ ] [ ] to select the parameter.
6. Press [F6 (WRITE)].
A message will ask you for confirmation.
5. Use the VALUE dial or [INC] [DEC] to set the value.
Parameter
Value
Explanation
7. To save the Rhythm Group, press [F6 (EXEC)].
Current
Pad Num-
ber
1–6
Select the function button for which you want
to make settings.
You can also choose the button that you
want to set by pressing that button.
*
To cancel, press [F5 (CANCEL)].
Ptn
U001–256,
P001–256
Specifies the pattern number that will sound
when you press the function button.
Never switch off the JUNO-G while data is being saved.
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Creating a List of Frequently Used Patches,
Performances, or Songs (Live Setting)
You can create a list of frequently used sounds, and recall them
instantly. Since you can register Patches, Rhythm Sets, Performances,
or Songs any type of sound you need can be recalled instantly
regardless of the mode.
Register the sounds in an order that’s appropriate for your song
or live performance.
5. Press [F6 (REGIST)] to register the sound.
For example, if you register the sound in Bank 1, number 02, the
display will indicate “Regist to 1-02.”
Each list (bank) can store a total of twelve patches, rhythm sets,
performances, and songs. You can create twenty of these banks.
For example, you might use bank 1 to list up to twelve sounds that
you use in the first song of your live set.
*
Press [EXIT] if you decide to cancel.
Registering a Song
1. Hold down [SHIFT] and press MODE [LIVE SETTING].
Recalling Sounds
1. Press MODE [LIVE SETTING].
The LIVE SET EDIT screen appears.
The LIVE SETTING screen appears.
*
You can also access this screen by pressing EDIT [MENU] and
choosing “5. Live Setting Edit” in the Top Menu window.
2. Use [F1 (BANK UP)] [F2 (BANK DOWN)] ([ ] [ ]) to select
the bank in which you want to register the song.
3. Use [ ] [ ] to select the number in which to register the
song.
You can register the song in any of the twelve numbers.
Register the songs in an order that’s appropriate for your song
or live performance.
2. Use [ ] [ ] to switch banks (1–20).
3. Press [F1 (1)]–[F6 (6)] to select the number that you want to
recall.
4. Press [F3 (SET SONG)].
To select 7–12, hold down [SHIFT] and press [F1 (7)]–[F6 (12)].
5. Press [F1 (USER)] (user memory) or [F2 (CARD)] (memory
*
The sound name or the song file name will be the function display for
the numbers you register.
card) to select the registration destination.
6. Use the VALUE dial or [INC] [DEC] to move the cursor to the
song you want to register, and press [F6 (SELECT)].
You can also use [INC] [DEC] to successively recall the next
number in the bank.
*
Press [EXIT] if you decide to cancel.
You can also use [ ] [ ] to select numbers within the bank. In
this case, the sound will not change until you press [ENTER].
Removing a Registration
1. In the LIVE SET EDIT screen, use [ ] [ ] to move the cursor
to the number that you want to remove.
Registering a Sound
2. Press [F4 (REMOVE NUMBER)].
For example, if you remove the registration for Bank 1, number
02, the display will indicate “Remove 1-02,” and that number
becomes empty.
1. Access the screen of the patch, rhythm set, or performance
that you want to register.
2. Hold down [SHIFT] and press MODE [LIVE SETTING].
The LIVE SET EDIT screen appears.
Removing all Registrations
from a Bank
1. In the LIVE SET EDIT screen, use [F1 (BANK UP)] [F2 (BANK
DOWN)] ([ ] [ ]) to move the cursor to the bank for which
you want to clear the registrations.
*
You can also access this screen by pressing EDIT [MENU] and
choosing “5. Live Setting Edit” in the Top Menu window.
2. Press [F5 (REMOVE BANK)].
If you clear the entire contents of Bank 1, the display will
indicate “Remove Bank 1,” and that bank is made empty.
3. Use [F1 (BANK UP)] [F2 (BANK DOWN)] ([ ] [ ]) to select
the bank in which you want to register the sound.
4. Use [ ] [ ] to select the number in which to register the
sound.
You can register the sound in any of the twelve numbers.
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Playing Back a Song
This chapter explains how you can use the JUNO-G’s song recorder
to play back a song.
4. Press [F6 (EXEC)].
When the song has finished loading, the performance data of
the loaded song will be displayed in the MIDI TRACK screen.
*
You can also load a song by holding down [SHIFT] and pressing
[WRITE] (p. 115).
When you play back a song, we recommend that you use the
sound generator in Performance mode. In Performance mode,
up to sixteen different sounds can be played separately by the
sixteen parts, making this mode ideal for playing songs that are
multi-instrument ensembles of drums, bass, piano, etc.
5. Press SONG RECORDER [PLAY] to start playback.
When the song finishes playing, it will stop automatically. If you
want to stop playback midway through the song, press [STOP].
With the factory settings, demo song data will automatically be
loaded into Temporary Area when the JUNO-G is powered up.
Here’s how to change this setting so that this automatic load
does not occur (i.e., the song memory will remain empty).
If you play back the song while the MIDI TRACK screen is
displayed, the screen will scroll in keeping with the song
playback location.
1. Press [MENU].
2. Press [ ] [ ] to select “2. System,” and then press
[ENTER].
There will be no sound if samples have not been loaded for the
patches used in the song. You must load the necessary samples
beforehand (p. 115).
3. Press [F1 (GENERAL)], and then press [F2 (AUTO LD)]
to select “Startup.”
4. Press [ ] [ ] to select “Load Demo Song at Startup.”
5. Use the VALUE dial or [INC] [DEC] to set it to “OFF.”
6. Press [F6 (WRITE)] to save the setting.
Playing MIDI Tracks
Immediately (Quick Play)
The JUNO-G can immediately play the MIDI tracks of SMF data
without loading the song into the temporary area (Quick Play).
This lets you verify the contents of a song before loading it into the
temporary area.
Loading and Playing a Song
(Load Play)
The JUNO-G can load a song from user memory or a memory card
into the temporary area, and play it.
Quick Play does not play back the audio tracks. If you want to
play the audio tracks, you must load the song into the
temporary area.
The Temporary Song will be lost if you turn power off or load
another song into Temporary Area. If Temporary Area contains
a song you wish to keep, you must save that song to user
memory or memory card (p. 113).
1. Press EDIT [SONG] to access the SONG LIST screen.
*
This button is pressed to toggle between the SONG LIST screen and
the MIDI TRACK screen.
1. Press EDIT [SONG] to access the SONG LIST screen.
*
By pressing [ ] [ ] in the above screen, you can specify the type of
songs that will be displayed. If various types of songs are saved
together, it will be easier to find the desired song if you restrict the
displayed file types in this way.
*
Pressing [SONG] toggles you between the SONG LIST screen and
MIDI TRACK screen.
ALL:
SVQ:
SMF:
all songs will be displayed
Only the SVQ song files are displayed
only Standard MIDI Files will be displayed
2. Use the VALUE dial or [INC] [DEC] to select the song.
*
By pressing [ ] [ ] in the above screen, you can specify the type of
songs that will be displayed. If various types of songs are saved
together, it will be easier to find the desired song if you restrict the
displayed file types in this way.
•
[F1 (USER)]: Songs in user memory
•
[F2 (CARD)]: Songs on a memory card
3. Press SONG RECORDER [PLAY] to start playback.
When the song finishes playing, it will stop automatically. If you
want to stop playback midway through the song, press [STOP].
ALL:
SVQ:
SMF:
all songs will be displayed
Only the SVQ song files are displayed
only Standard MIDI Files will be displayed
*
If you want to return to the song in the temporary area, press EDIT
[SONG] to access the MIDI TRACK screen, and then press [F5 (TMP
SONG)].
2. Use the VALUE dial or [INC] [DEC] to select the song.
•
[F1 (USER)]: Songs in user memory
•
[F2 (CARD)]: Songs on a memory card
There will be no sound if samples have not been loaded for the
patches used in the song. You must load the necessary samples
beforehand (p. 115).
3. Press [F6 (LOAD)].
A Message will ask you for confirmation.
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Playing Back a Song
*
To mute a MIDI track part 9–16, press [9-16] so it’s lit, then press
PART SELECT [9]–[16].
Various Playback Methods
If a MIDI track is muted when you save the song in Standard
MIDI File format, the data of that track will not be saved in the
file. If you save the song as a song file (SVQ file, SVA file), the
muted status of each track will be preserved in the file.
Fast-Forward and Rewind During
Playback
Fast-forward, rewind, and jump can be performed during playback,
as well as while stopped. Use the following procedures for each
operation.
If you clear the check mark (✔) for system exclusive messages
(SysEx), system exclusive messages will be ignored.
Fast-forward:
Press [FWD].
Continuous fast-forward: Press and hold [FWD].
Rapid fast-forward:
Rewind:
Hold down [FWD] and press [BWD].
If you clear the tempo track (Tempo) check mark (✔), the tempo
track will be muted. You can mute the tempo track if you want
a song containing recorded tempo changes to play back at a
fixed tempo.
Press [BWD].
Continuous rewind:
Rapid rewind:
Press and hold [BWD].
Hold down [BWD] and press [FWD].
Jump to the preceding marker location:
Hold down [SHIFT] and press [BWD].
Jump to the following marker location:
Hold down [SHIFT] and press [FWD].
Jump to the beginning of the song:
Hold down [STOP] and press [BWD].
5. When you have finished making settings, press [EXIT].
Playing Back with an Audio Track
Muted (Audio Track Mute)
If you want to play back a song with a specific audio track muted,
you can mute the audio track that plays that audio data.
*
*
*
Song playback will be interrupted if you jump to the beginning or end
of the song while the song is playing.
1. Press SONG RECORDER [AUDIO TRACK] to access the
A certain amount of time may be required for fast-forward, rewind, or
jump during Quick Play.
AUDIO TRACK screen.
2. Press [F4 (MUTE)].
You can’t jump to a marker location when using Quick Play.
3. Press [F1 (TRACK 1)]–[F4 (TRACK 4)].
The corresponding audio track will be muted, and the function
display color will be inverted. The function display for
unmuted tracks will remain black.
Playing Back with a Specific
Instrument Muted (MIDI Track Mute)
If you want to silence the playback of a specific instrument, you can
mute the part that contains the sequencer data for that instrument.
4. When you have finished making settings, press [EXIT].
1. Press EDIT [SONG] to access the MIDI TRACK screen.
Playing a Song Back at a Fixed
Tempo (Muting the Tempo Track)
2. Press [F4 (MUTE)].
If the tempo changes while a song is being played back, this is
because those tempo changes have been recorded in the Tempo
track. If you want to override these tempo changes and play back at
a fixed tempo, you can mute the Tempo track.
For details on operations, refer to “Playing Back with a Specific
Instrument Muted (MIDI Track Mute).”
3. Use [ ] [ ] [ ] [ ] to move the cursor to the part (MIDI
track) whose performance you want to mute.
4. Use the VALUE dial or [DEC] to clear the check mark (✔).
•
You can press [F5 (ALL MUTE)] to mute all of the MIDI track
parts.
•
You can press [F6 (ALL PLAY)] to clear muting for all of the
MIDI track parts.
You can press [PART SELECT] so it’s lit, and then press PART
SELECT [1]–[8] to mute the part for the selected MIDI track.
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Playing Back a Song
Changing the Playback Tempo of a
Song
Using the D Beam Controller to
Start/Stop Song Playback
The tempo at which a song will play back is recorded on its tempo
track, but the tempo of the entire song can be adjusted during
playback. The tempo at which the song actually plays is called the
playback tempo.
You can start/stop song playback by passing your hand over the D
Beam controller.
1. Select the song that you want to play back.
*
The playback tempo is a temporary setting. It will be lost if you switch
to another song or turn off the power. If you want the song to always
play back at this tempo, you must re-save the song (p. 113).
2. Hold down [SHIFT] and press D BEAM [ASSIGNABLE].
A screen like the following appears.
When you change the tempo, audio tracks will be time-
stretched (the sample length and tempo will change) so that
they remain in synchronization with the MIDI tracks.
1. Press SONG RECORDER [TEMPO].
3. Use [ ] [ ] to move the cursor to “Type.”
The Tempo window appears.
4. Use the VALUE dial or [INC] [DEC] to set this to “START/
2. Use the VALUE dial or [INC] [DEC] to set the playback tempo.
STOP.”
•
If you press [F5 (CLICK)] to add a check mark (✔), a click will
sound at the specified tempo.
5. Press [EXIT] to return to the previous screen.
•
By pressing [F4 (TAP)] you can set the tempo to the timing at
which you press the button (Tap Tempo). Press the button three
or more times at quarter-note intervals of the desired tempo.
6. Press D BEAM [ASSIGNABLE] to turn on the D Beam
controller.
7. When you pass your hand across the D Beam controller,
song playback will start. When you pass your hand across
it once again, playback will stop.
3. When you have finished making settings, press [F6 (CLOSE)].
The audio quality may be degraded if the audio tracks have been
time-stretched because of a change in tempo. If so, we recommend
that you limit the tempo change to an appropriate range.
*
You can also start/stop song playback by using a pedal connected to
the PEDAL CONTROL jack (p. 72).
D Beam controller settings are stored in the song. If you want to
save your settings, save the song.
Playing Back a Song Repeatedly
(Loop Play)
Playing Back Correctly from the
Middle of the Song (MIDI Update)
Use the Loop function when you want to repeatedly play back an
entire song or just a specified portion of a song.
according to the region and the number of times specified in the
Loop Play window.
fast-forward or rewind, the correct patch may not be selected, or the
pitch may be incorrect. This is because the MIDI messages in the area
that you skipped have not been transmitted to the sound generator.
In such cases, you can use the MIDI Update function. When you
perform MIDI Update, the MIDI messages (other than Note
messages) from the beginning of the song until the location to which
you moved will be transmitted to the sound generator, ensuring that
the sound generator will be in the correct state for the resumption of
playback.
*
To defeat the Loop function, press [LOOP] once again.
For details on making settings in the Loop window, refer to
Specifying the Area of a Song that will Repeat (Loop
Points) (p. 95).
2. When you have finished making settings, press [F6 (CLOSE)].
1. Make sure that song playback is stopped.
*
It is not possible to perform MIDI Update while the song is playing.
2. Hold down [SHIFT] and press SONG RECORDER [PLAY].
The display will indicate “MIDI Update...” while processing
takes place, and when finished, will indicate “MIDI Update
Completed!”
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Recording a Song (MIDI Track)
This chapter explains the procedure for using the JUNO-G’s song
recorder to record a song.
With the factory settings, demo song data will automatically be
loaded into Temporary Area when the JUNO-G is powered up.
Here’s how to change this setting so that this automatic load
does not occur (i.e., the song memory will remain empty).
Before you begin this procedure, put the sound generator in
Performance mode. Normally, when recording or playing
back a song, you will put the sound generator in Performance
the specified MIDI channel will be heard when you record
while playing the keyboard of the JUNO-G, and that when the
song is played back, the parts can independently play up to 16
different sounds. Thus, Performance mode is suitable for
recording and playing back a song that uses an ensemble of
multiple instruments, such as drums, bass, and piano. In
Performance mode, we recommend that you leave the keyboard
switches (p. 60) turned off (unchecked). If any keyboard
switches are on (checked), parts other than the current part will
also sound when you play the keyboard; you probably don’t
want this to occur while you’re creating a song.
1. Press MODE [PERFORM] to access the PERFORM
PLAY screen.
2. Press [MENU].
3. Press [ ] [ ] to select “2. System,” and then press
[ENTER].
4. Press [F1 (GENERAL)], and then press [F2 (AUTO LD)]
to select “Startup.”
5. Press [ ] [ ] to select “Load Demo Song at Startup.”
6. Use the VALUE dial or [INC] [DEC] to set it to “OFF.”
Select the Sound to be Used for
Recording
Before you record a song (MIDI tracks), select the sound that you
want to use for recording. Select the recording method that is
appropriate for your situation.
Two Recording Methods
step recording. Select the method that is appropriate for your situation.
Performance
Select a Performance when you want to record an ensemble
performance using multiple instruments. When recording a song, we
recommend that you normally select a Performance.
Realtime Recording (p. 88)
Realtime recording is the recording method in which your keyboard
playing and controller operations are recorded just as you perform them.
Patch/Rhythm set
Select a patch or rhythm set if you want to use a single patch or
rhythm set to record your playing.
Step Recording (p. 92)
Step recording is the recording method in which you can input notes
and rests one by one. This method is suitable for inputting drums or
bass with precise timing.
Erasing the Song from Temporary
Song (Song Clear)
Before You Record a New
MIDI Track
temporarily recorded in Temporary Area. If you want to record a
new song, you must erase any existing sequencer data from
The work flow for recording a new song (MIDI tracks) is as follows.
If Temporary Song contains an important song that you want to
keep, you should first save that song to user memory/memory
card (p. 113).
1. Select the sound to be used for recording
2. Clear the Temporary Song
3. Specify the time signature of the song (p. 88)
4. Set the tempo (p. 88)
1. Press EDIT [SONG] to access the MIDI TRACK screen.
5. Use realtime recording (p. 88) or step recording (p. 92) to
2. Hold down [SHIFT] and press [F6 (UTILITY)].
record
The Song Utility Menu appears.
6. Use track edit (p. 97) or micro edit (p. 99) to edit the song
3. Press [F2 (SONG CLEAR)].
7. Save the song to user memory or memory card (p. 113)
A message will ask you for confirmation.
4. Press [F6 (EXEC)] to execute the operation.
*
To cancel, press [F5 (CANCEL)].
When the operation has been completed, the display will briefly
indicate “Completed!”
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Recording a Song (MIDI Track)
Specifying the Time Signature
Recording Your Performance as
You Play It (Realtime Recording)
Realtime Recording is the recording method in which your keyboard
them. Use this recording method when you want to capture the
nuances of your own performance.
Before you record a new song, you must specify the time signature.
However, a time signature of 4/4 is automatically specified when
you perform the Song Initialize operation or when the power is
turned on, so you will need to make this setting only if you want to
record a new song in a different time signature.
1. Press EDIT [SONG] to access the MIDI TRACK screen.
2. Press [F3 (MICRO)].
The MICROSCOPE screen appears.
1. Make sure that the preparations for recording have been
completed as described in “Before You Record a New MIDI
Track” (p. 87).
3. Press [F5 (CH/PART)].
The Ch/Part Select window appears.
4. Press [F5 (BEAT)] (beat track).
If you want to record into an existing song, load the desired
song into Temporary Song (p. 115). Then press SONG
RECORDER [BWD] or [FWD] to specify the measure at which
will begin is indicated by the “M=” in the upper right of each
PLAY screen.
5. Press [F6 (CLOSE)].
The MICROSCOPE screen for the BEAT track appears.
Numerator” or “Beat Change Denominator.”
7. Use the VALUE dial or [INC] [DEC] to specify the time
2. Press SONG RECORDER [REC].
The [REC] indicator will blink, and the MIDI Rec Standby (Real
Time) window appears.
signature.
If you want to change time signatures midway through the
song, refer to Changing the Time Signature Midway Through
the Song (p. 103).
8. Press [EXIT] to return to the previous screen.
Setting the Tempo
3. As basic settings, specify the following two parameters.
Use [ ] [ ] [ ] [ ] to move the cursor to each parameter,
and use the VALUE dial or [INC] [DEC] to make the setting.
Set the tempo at which the song is to be recorded.
1. Press [TEMPO].
Parameter
Explanation
The Tempo window appears.
Rec Mode
Select how recording is to take place.
MIX:
Mix-recording will be carried out. Normally, you will record
using this method. If a performance has already been record-
ed on the recording-destination track, your newly recorded
performance will be added to the existing performance with-
ing, you can record repeatedly over a specified area without
erasing the previously recorded performance. For example,
this is a convenient way to record a drum performance one
instrument at a time; bass drum -> snare drum -> hi-hat, etc.
REPLACE:
Replace-recording will be carried out. If a performance has
already been recorded on the recording-destination track, it
will be erased as you record your new performance. Use this
when you want to re-record.
2. Use the VALUE dial or [INC] [DEC] to set the playback
tempo.
•
If you press [F5 (CLICK)] to add a check mark (✔), a click will
sound at the specified tempo. This will switch on/off each time
•
By pressing [F4 (TAP)] you can set the tempo to the timing at
which you press the button (Tap Tempo). Press the button three
or more times at quarter-note intervals of the desired tempo.
3. When you have finished making settings, press [F6 (CLOSE)].
*
Since system exclusive messages are not erased, you’ll need
to erase this data beforehand (p. 100).
If you want to change tempo midway through the song, refer to
Changing the Tempo Midway Through the Song (p. 102).
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Recording a Song (MIDI Track)
Parameter
Explanation
Recording the Rhythm Pattern Playback to
MIDI Track
Count In
Select how recording is to begin.
OFF:
Recording will begin immediately when you press [PLAY].
1 MEAS:
When you press [PLAY], a count (playback) will begin one
measure before the recording-start location, and recording
will begin when you reach the recording-start location.
2 MEAS:
When you press [PLAY], a count (playback) will begin two
will begin when you reach the recording-start location.
WAIT NOTE:
Recording will begin when you press [PLAY], or play a note
or press the pedal.
In the RHYTHM GROUP screen, record the rhythm pattern to
MIDI track.
In recording standby mode, when you press [PLAY] (or [F6
(START)]) the current rhythm pattern will start playback at the
same time, and you can record the rhythm pattern.
If you want to record the rhythm pattern at the same time
that it starts playback, set the Count In to Off in the
recording standby window.
In the MIDI Rec Standby (Real Time) window you can perform
the following operations.
•
•
•
•
Specifying the punch-in/out points
Song (Tempo Recording)
Specifying the loop points
Quantize (p. 90)
Selecting the sequencer data that will be recorded (p. 91)
For details on these operations, refer to the appropriate page.
If you want the tempo to change during the song, you can record
those tempo changes in the Tempo track. If tempo changes have
already been recorded in the tempo track, they will be rewritten.
Set the following recording parameters in addition to the basic
settings described in step 3 of Basic Operation for Realtime
Recording (p. 88).
4. When you are finished making settings in the MIDI Rec
Standby (Real Time) window, press [PLAY] or [F6 (START)].
The MIDI Rec Standby (Real Time) window will close, the
[REC] indicator will change from blinking to lit, and recording
will begin.
Parameter
Value
Explanation
Tempo Rec Sw
OFF, ON
Specify whether tempo changes will be
recorded (ON), or not (OFF).
When recording begins, the Realtime Rec Control window will
appear.
Recording
You can record repeatedly over a specified area (Loop recording), or
re-record just that area (Punch-in recording).
Set the following recording parameters in addition to the basic
settings described in step 3 of Basic Operation for Realtime
Recording (p. 88).
In the Realtime Rec Control window you can perform the
following operations.
•
•
•
Specifying the punch-in/out points
Realtime Erase (p. 91)
Parameter
Explanation
Loop/Punch
Specify how loop recording or punch-in recording is to
take place.
OFF:
Rehearsal Function (p. 92)
For details on these operations, refer to the appropriate page.
Loop recording or punch-in recording will not occur.
LOOP (POINT):
Recording takes place repeatedly, according to the loop
point settings.
LOOP (1–16 MEAS):
*
To close the Realtime Rec Control window, press [F6 (CLOSE)] or
[PLAY]. To open it once again, press [PLAY].
The 1–16 measure area starting at the record-start measure
will be recorded repeatedly.
5. When you are finished recording, press [STOP].
LOOP SONG ALL:
The [REC] indicator will go dark.
The entire song from beginning to end will be recorded re-
peatedly.
AUTO PUNCH:
If you’re not satisfied with the recording you just made, you can
press [F1 (UNDO)] in the MIDI TRACK screen to revert to the
state prior to recording (Undo). After executing Undo, you can
use Redo to revert to the previous state. After executing Undo, you
can execute Redo by performing the above procedure once again.
Auto punch-in recording will be performed.
MANUAL PUNCH:
Manual punch-in recording will be performed.
Start Point
End Point
Measure and beat at which loop recording or auto punch-
in recording is to begin
* It is not possible to specify the Tick.
Measure and beat at which loop recording or auto punch-
in recording is to Stop.
* It is not possible to specify the Tick.
* The minimum loop length is four quarter notes.
*
*
After loop recording, the loop points (p. 95) will automatically be set
to the recorded region.
You can also make loop settings by pressing SONG RECORDER
[LOOP].
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Recording a Song (MIDI Track)
Using Auto Punch-In Recording
You must pre-specify the area (punch points) in which recording is
to take place. This is convenient when you want to re-record over a
mistake. The song will play back when you begin recording. When
you reach the punch-in point, playback will switch to record mode.
Correct the Timing of Your Playing
The Quantize function automatically corrects inaccuracies in the
timing of your keyboard performance, aligning the notes to accurate
timing intervals. During realtime recording, you can quantize while
you record.
1. In the MIDI Rec Standby (Real Time) window, set the Loop/
Punch parameter to “AUTO PUNCH.”
2. Set the Start Point/End Point parameters to the desired
punch points.
Set the following recording parameters in addition to the basic
settings described in step 3 of Basic Operation for Realtime
Recording (p. 88).
3. Move to a measure earlier than the specified Start Point,
and press [PLAY] or [F6 (START)].
The song will begin playing. Recording will begin at the
location specified by the Start Point parameter. Playback will
resume at the location specified by the End Point parameter.
Parameter
Value
Explanation
Input Quantize
OFF, GRID,
SHUFFLE
OFF: Quantize will not be applied
while recording.
GRID: Grid Quantize will be applied
while recording. Use this when you
want the timing to be accurate, such as
when recording drums or bass.
SHUFFLE: Shuffle Quantize will be
applied while recording. Use this
when you want to give the rhythm a
“shuffle” or “swing” character.
4. Press [STOP] to stop playback.
Using Manual Punch-In Recording
Recording takes place (erasing the existing data) in the area that you
specify by pressing a pedal or button. This is convenient when you
want to re-record more than one location in which you made a
mistake. The song will play back when you begin recording. When
you press a pedal or button, playback will switch to record mode,
and will switch back to play mode when you press the pedal or
button once again. By pressing the pedal or button, you can toggle
between record and play modes.
When “Input Quantize” is “GRID”
Grid Resolu-
tion
Quantization time interval
,
,
,
,
,
,
Select the shortest note value that
will occur in the range to which
Grid Quantize will be applied.
Grid Quantize
Strength
0–100%
Degree to which notes will be adjusted
toward the timing intervals specified
by Grid Resolution
With a setting of “100%,” the notes
will be corrected precisely to the
timing of the Grid Resolution pa-
rameter. With a setting of “0%,” the
timing will not be adjusted at all.
If you want to use a pedal connected to the PEDAL CONTROL
jack to specify the area for recording, you must first set the
Control Pedal Assign parameter to “PUNCH IN/OUT” (p. 72).
When “Input Quantize” is “SHUFFLE”
Shuffle Resolu-
tion
Quantization time interval
,
Shuffle Quan-
tize
0–100%
Degree to which the backbeat will be
separated from the downbeat speci-
fied by Shuffle Resolution
With a setting of “50%,” the back-
beat will be exactly between adja-
cent downbeats. With a setting of
“0%,” the backbeat will be moved
to the same timing as the preceding
downbeat. With a setting of
1. In the MIDI Rec Standby (Real Time) window, set the Loop/
Punch parameter to “MANUAL PUNCH.”
2. Press [PLAY] or [F6 (START)].
Song playback will begin, and the Realtime Rec Control
window will appear.
“100%,” the backbeat will be moved
to the same timing as the following
downbeat.
3. At the point where you want to begin recording, press [F3
(PUNCH IN)] or step on the pedal.
Playback will switch to record mode.
When Quantize Type is “GRID”
4. At the point where you want to stop recording, once again
press [F3 (PUNCH OUT)] or step on the pedal.
You will return to playback mode.
Grid quantize with Resolution = ꢀ
5. Press [STOP] to stop playback.
When Quantize Type is “SHUFFLE”
Shuffle quantize with Rate = 75%
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Recording a Song (MIDI Track)
Rate:
Original performance data
Record (Realtime Erase)
Rate= 25%
Rate= 50%
Rate= 75%
Realtime Erase is a function that erases unwanted data during
realtime recording. This is particularly convenient during loop
recording, since it lets you erase data without stopping recording.
*
Realtime Erase can be executed only if the Recording Mode is set to “MIX.”
Rate=100%
1. Begin realtime recording (p. 88).
Up
beat
Up
beat
Up
beat
Up
beat
The Realtime Rec Control window appears.
2. Press [F4 (ERASE)].
The Realtime Erase window appears.
Selecting the Sequencer Data that
will Be Recorded (Recording Select)
When you use realtime recording, all of your sequencer data will
normally be recorded. If you want to avoid recording a specific type
of data, you can turn its Recording Select setting “OFF.”
1. Press [REC].
3. Erase unwanted data.
2. Press [F5 (REC SELECT)].
•
•
•
To erase all data, press [F5 (ALL NOTE)]. Data will be erased
The Recording Select window appears.
for as long as you hold down the button.
To erase notes of a specific key, hold down that key. Data for
that note will be erased for as long as you hold down that key.
To erase notes of a specific key range, hold down the top and
bottom keys of that range. Data for that range will be erased for
as long as you hold down those keys.
4. Press [F6 (CLOSE)] to close the Realtime Erase window.
3. Press [ ] [ ] [ ] [ ] to select the sequencer data (MIDI
messages) that will be recorded.
MIDI Message
Explanation
Recording Arpeggios Aligned to
the Measures of the Song Recorder
Note
Represent notes.
Control
Change
Apply various effects such as modulation or expression.
Program
Change
Select sounds.
When recording arpeggios in real time, you can synchronize the
arpeggio with the song recorder start/stop timing.
System Ex
Used to make settings unique to the JUNO-G, such as
sound parameters.
For details, refer to Arp/Rhythm Sync Switch (p. 162).
Channel After
Poly After
Apply aftertouch to an entire MIDI channel.
Apply aftertouch to individual keys.
Change the pitch.
Pitch Bend
4. Use the VALUE dial or [INC] [DEC] to add a check mark (✔).
The message will be recorded if you assign a check mark (✔),
and will not be recorded if you remove the check mark.
•
•
[F4 (ALL ON)]: All of the sequencer data will be recorded.
[F5 (ALL OFF)]: No sequencer data will be recorded.
5. Press [F6 (CLOSE)] to close the Recording Select window.
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Recording a Song (MIDI Track)
Recording (Rehearsal Function)
Inputting Data One Step at
The Rehearsal function lets you temporarily suspend recording
during realtime recording. This is convenient when you want to
audition the sound that you will use next, or to practice the phrase
that you will record next.
Step Recording is the method of inputting notes and rests
individually, as if you were writing them onto a musical staff.
1. Begin realtime recording (p. 88).
The Realtime Rec Control window appears.
1. Make sure that the preparations for recording have been
performed as described in “Before You Record a New MIDI
Track” (p. 87).
2. Press [F5 (REHEARSAL)] or [REC].
The [REC] indicator will blink, indicating that you are in
rehearsal mode. In this state, nothing will be recorded when
you play the keyboard.
If you want to record into an existing song, load the desired song
into Temporary Song (p. 115). Then press SONG RECORDER
[BWD] or [FWD] to specify the measure at which you want to
begin recording. The measure at which recording will begin is
indicated by the “M=” in the upper right of each PLAY screen.
2. Press [REC] twice, or hold down [SHIFT] and press [REC].
The [REC] indicator blinks, and the MIDI Rec Standby (Step
Rec) window appears.
3. To return to record mode, press [F5 (REHEARSAL)] or
[REC] once again.
3. Make settings for step recording. Use [ ] [ ] [ ] [ ] to
move the cursor to the desired parameter, and use the
VALUE dial or [INC] [DEC] to set it.
Parameter
Explanation
Rec Mode
Select how recording is to take place.
MIX:
Mix-recording will be carried out. If a performance has al-
ready been recorded on the recording-destination track,
your newly recorded performance will be added to the exist-
ing performance without erasing it. Normally, you will
record using this method.
REPLACE:
Replace-recording will be carried out. If a performance has
already been recorded on the recording-destination track, it
will be erased as you record your new performance. Use this
when you want to re-record.
Start Point
Specify the location (measure-beat-tick) at which recording
will begin.
4. Press [F6 (NOTE)] or [PLAY].
The [REC] indicator lights, and the STEP REC screen appears.
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Recording a Song (MIDI Track)
5. Specify the note that you want to input. Use [ ] [ ] to select
Inputting a Chord
the desired parameter.
Press the chord. The cursor will move to the next step when you
release all keys.
Parameter
Value
Explanation
Note Type
Note
(p. 93)
Specify the length of the notes that you want to in-
put, in terms of a note value.
The length of the note value indicates the
length from one note-on to the next note-on.
Moving the input location
Pressing [F6 ( )] will move the input location forward by the current
Gate Time
Input Velo
1–
Specify the proportion of the gate time relative to
the Note Type.
100%
Note Type value.
The gate time is the length between note-on
and note-off. Specify a lower value if you want
the notes to be played staccato, or a higher val-
ue if you want the notes to be played tenuto, or
as a slur. Normally, you will set this to about
“80%.”
Pressing [F5 ( )] will move the input location backward by the
current Note Type value.
Moving the display region
REAL,
1–127
Specify the strength with which the note will be
played.
If you want this to be the strength with which
you actually pressed the key, select “REAL.”
Otherwise, use settings of p (piano)=60, mf
(mezzo forte)=90, or f (forte)=120 as general
guidelines.
Pressing [ ] [ ] will move the displayed region of notes upward
or downward.
The Relation between Note Value Length
and Gate Time
6. Use the VALUE dial or [INC] [DEC] to make the setting.
The relation between the length of the note value and the gate
time is shown below. Since the JUNO-G’s song recorder uses a
TPQN (Ticks Per Quarter Note; i.e., resolution) of 480, a quarter
note gate time is 480 ticks.
7. Press [F5] or [F6] to move to the desired input location, and
press a note on the keyboard.
When you press a key, the input position will advance by the
value of the Note Type you specified. The velocities are
displayed as a bar graph.
Note
Gate time
You can use the function buttons to perform the following operations.
30
Button
Explanation
40
45
F1 (BAK DEL)
F2 (TIE)
Cancel the previously input note.
Extend the length of the previously input note by
the current setting.
60
F3 (UNTIE)
F4 (REST)
Cancel the previously input TIE.
80
Inputs a rest. First set the Note Type parameter to
a length that is the same as the rest you want to
input, and then press [F4 (REST)].
90
120
160
180
240
320
360
480
640
720
960
[SHIFT] + [F6 (VIEW)]
Switches the type of display in the STEP REC
screen (Piano Roll ↔ Event List)
8. Repeat the above steps to continue inputting.
The previous value of each parameter is remembered. This
means that if you want to use the same settings as the
previously input note, there is no need to change the settings.
Once you have set the Gate Time parameter and Input Velocity
parameter, it is not normally necessary to change them, so all
you have to do is set the Step Time parameter and specify the
pitch (note) of each note.
1920
3840
The gate time that is recorded in step recording will be the
original gate time value multiplied by the value of the Gate
Time parameter. For example, if the Gate Time parameter
is set to “80%,” inputting a quarter note will mean that the
gate time is 480 x 0.8=384.
The note will not be finalized as long as you hold down the key.
This means that you will be able to modify the various
parameters of the note (Note Type, Gate Time, Input Velo).
9. When you are finished step recording, press [STOP].
The [REC] indicator will go dark.
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Editing a Song (MIDI Track)
This chapter explains the procedure for editing a song (MIDI track).
3. Press [F3 (SET)] to add a marker to the beginning of the
current measure.
You can assign a marker location in this way even while
listening to the song play back.
Loading the Song You Want
to Edit
*
While the song is stopped, you can use SONG RECORDER [BWD]
[FWD] to move a measure at a time.
When you’re going to edit a song, you have to first load it into the
4. Press [F6 (CLOSE)] to close the window.
Temporary Area.
The Temporary Song will be lost if you turn power off or load
another song into Temporary Area. If Temporary Area contains a
song you wish to keep, you must save that song to user memory or
memory card.
Moving to marker locations
Use the following procedure to change the song location to a marker
location.
1. In the MIDI TRACK screen, press [F5 (MARKER)].
For details on how to load the song you want to edit, refer to
The Edit Marker List window appears.
Loading and Playing a Song (Load Play) (p. 84).
2. Use the VALUE dial or [INC] [DEC] [ ] [ ] to select the
marker to which you want to move.
MIDI TRACK Screen
You will move to the location of the specified marker.
The JUNO-G is able to record data of multiple MIDI channels.
This screen graphically shows the note data of each channel. The
height of the bar indicates the note pitch, and the length of the bar
indicates the duration.
You can hold down [SHIFT] and press [BWD] or [FWD] to jump
to the preceding or following marker location.
Part number
Indicates the name of the
currently selected song.
3. Press [F6 (CLOSE)] to close the window.
Measure
number
Status of each track
Indicates the song’s
playback tempo.
Deleting a marker
Measures
containing
Here’s how to delete a marker.
sequencer data
1. In the MIDI TRACK screen, press [F5 (MARKER)].
Measures
containing no
sequencer data
The Edit Marker List window appears.
marker to which you want to delete.
Playing Back with a Specific
Instrument Muted (MIDI Track Mute)
3. Press [F4 (CLEAR)].
The specified marker will be deleted.
4. Press [F6 (CLOSE)] to close the window.
For details on how to load the song you want to edit, refer to
Playing Back with a Specific Instrument Muted (MIDI Track
Mute) (p. 85).
Naming a marker
Here’s how to name a marker.
1. In the MIDI TRACK screen, press [F5 (MARKER)].
Assigning Markers in a Song
The Edit Marker List window appears.
You can add markers to desired measures within a song. This is a
convenient way to visually keep track of sections within a song, and
can also assist you in editing a song since you can easily and quickly
jump to the marker location you specify.
2. Use the VALUE dial or [INC] [DEC] [ ] [ ] to select the
marker that you want to rename.
3. Press [F5 (NAME)] or [ ].
The cursor will move to the right.
Assigning a marker
4. Use the VALUE dial or [INC] [DEC] to select a name.
Up to sixteen marker locations can be assigned in each song.
*
Choose from the list of names supplied.
1. Press EDIT [SONG] to access the MIDI TRACK screen.
5. Press [F5 (NAME)], [EXIT] or [ ] to finish assigning the
name.
2. Press [F5 (MARKER)].
The Edit Marker List window appears.
6. Press [F6 (CLOSE)] to close the window.
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Editing a Song (MIDI Track)
Specifying the Area of a Song that
will Repeat (Loop Points)
Aligning a Song’s Timing
(Quantize)
When using Loop Play or Loop Recording, you can use the loop
points you specify here to specify the repeated area, as an alternative
to repeating the specified number of measures.
In the chapter “Recording a Song (MIDI Track)” (p. 87), we
explained Recording Quantize, which lets you quantize during
realtime recording. Alternatively, it is also possible to quantize a
song that has already been recorded.
1. Press EDIT [SONG] to access the MIDI TRACK screen.
The JUNO-G has a Preview function that allows playing back the
results of a Quantize operation while you are still setting parameters
(before actual execution). This helps to make optimal Quantize settings.
2. Hold down [SHIFT] and press SONG RECORDER [LOOP].
The Loop Play window will open, with the Loop function still off.
Preview Function
The Preview function allows you to hear how quantizing will
work while you are still setting Quantize parameters (before
you execute operation). If you modify parameter values during
preview playback, the next preview playback will include those
latest value changes. Try various parameter settings to find the
one that works best.
*
If you press [LOOP] without holding down [SHIFT], the Loop
function will turn on and the Loop Play window will open.
*
*
You can’t preview the playback of a MIDI track that’s muted.
You can’t change the Quantize Type while using the Preview
function.
3. Move the cursor to the desired parameter, and use the
VALUE dial or [INC] [DEC] to make the setting.
Pressing [PLAY] when the Quantize window is displayed
selects Preview mode. The two measures from the current
location of the song will play back repeatedly. The preview start
location can also be specified by pressing [FWD] or [BWD]. To
exit Preview mode, press [STOP].
Parameter
Explanation
Repeat Times
Number of repeats
Value: INF, 1–99
If you want repetition to continue until you press
[STOP], set this to “INF.”
Start Point (S)
Location at which repetition is to begin
If you press [F3 (START)], the current location of the
song will be set as the starting location.
The Quantize operation will correct only the timing at which
notes were pressed (note-on) and released (note-off), and will
record MIDI messages such as bend range or modulation along
with notes, quantization can cause the notes to go out of sync
with the MIDI messages, skewing timing. To avoid such
problems it is better to record non-keyboard data afterward,
using mix recording, etc.
End Point (E)
Location at which repetition will end
If you press [F4 (END)], the current location of the
song will be set as the ending location.
* The location you specify here will not be included
in the repeated area.
4. If you press [LOOP] to make it light, or press [F5 (LOOP)] to
add a check mark (✔); looping will be turned on.
5. Press [F6 (CLOSE)] to close the window.
1. Access the SONG LIST screen, and then load the song you
want to edit (p. 84).
2. Press EDIT [SONG] to access the MIDI TRACK screen.
3. Press [F2 (QUANTIZE)].
The Quantize window appears.
4. Use [F3 ( )] [F4 ( )] or [ ] [ ] to select a parameter,
and use the VALUE dial or [INC] [DEC] to set the value.
Parameter
Value
Explanation
Ch/Part
ALL,
Ch 1–16
MIDI channel(s) of the notes to be quan-
tized
ALL: Quantizes all notes.
Ch 1–16 Quantizes only the notes of a
specific MIDI channel.
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Editing a Song (MIDI Track)
When Quantize Type is “GRID”
Parameter
Measure
For
Value
0001–
1–ALL
Explanation
Range of measures to be quantized
If you set “For” to “ALL,” all measures
will be specified.
Grid quantize with Resolution = ꢀ
Quantize
Type
GRID,
SHUFFLE,
TEMPLATE
(See below.)
When “Quantize Type” is “GRID”
Since the notes will be adjusted to the timing of the specified note value,
you can use this when you want drums or bass (for example) to play in
an accurate rhythm.
When Quantize Type is “SHUFFLE”
Resolution
Quantization time interval
Choose a Resolution that matches the
smallest note in the area you’re quantiz-
ing.
,
,
,
,
,
,
Shuffle quantize with Rate = 75%
Strength
0–100%
Percentage of how note timing will be cor-
rected toward the timing interval specified
by Resolution
Rate:
With a setting of “100%,” the note will move all the way to
the nearest timing interval of the Resolution setting. A set-
ting of “0%” will not change note timing at all.
Original performance data
Rate= 25%
Rate= 50%
Rate= 75%
When “Quantize Type” is “SHUFFLE”
Use this when you want to produce a “shuffle” or “swing” rhythmic feel.
Resolution
Rate
Quantization time interval
,
0–100%
How far apart you want a down-beat spec-
ified by Resolution to be from the up-beat
that immediately follows
By shifting the timing of an up-beat, you can create a
“swing” feel. A setting of “50%” will place the timing of the
up-beat note at the exact mid point between the down-beat
and the next down-beat. A setting of “0%” will move the up-
beat note to the same timing as the previous down-beat. A
setting of “100%” will move it to the same timing as the fol-
lowing down-beat.
Rate=100%
Up
beat
Up
beat
Up
beat
Up
beat
When “Quantize Type” is “TEMPLATE”
When Quantize Type is “TEMPLATE”
The JUNO-G provides 71 quantize templates. These templates contain
various quantize settings for applying rhythmic `feels’ of many different
musical categories. Select the template you want for quantization.
Here is a list of quantize templates.
No.
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
Explanation
* If your sequencer data notes are too far off from accurate time,
Template Quantize may not work that efficiently so you won’t
achieve the desired results. If this is the case, apply Grid Quan-
tize to your sequencer data first to lose timing mistakes.
Dance (small dynamics)
Dance (large dynamics)
Dance (light swing)
Dance (heavy swing)
Template
Timing
001–071
0–100%
Template you wish to use
Dance (dragging beats, small dynamics)
Dance (dragging beats, large dynamics)
Dance (dragging beats, light swing)
Dance (dragging beats, heavy swing)
Dance (pushing beats, small dynamics)
Dance (pushing beats, large dynamics)
Dance (pushing beats, light swing)
Dance (pushing beats, heavy swing)
Fusion (small dynamics)
How much a note will move toward the
timing interval of the template
At a setting of 100%, the note will be per-
fectly timed with the template. At a setting
of 0%, the note will not move at all.
Range Min
Range Max
0 (C -)–
127 (G9)
Range of note numbers to be quantized
You can also specify the key range by
pressing keys on the keyboard.
5. Press [F6 (EXEC)].
A message will ask you for confirmation.
Fusion (large dynamics)
Fusion (light swing)
6. Press [F6 (EXEC)].
Fusion (heavy swing)
Fusion (dragging beats, small dynamics)
Fusion (dragging beats, large dynamics)
Fusion (dragging beats, light swing)
Fusion (dragging beats, heavy swing)
Fusion (pushing beats, small dynamics)
Fusion (pushing beats, large dynamics)
Fusion (pushing beats, light swing)
Fusion (pushing beats, heavy swing)
Reggae (small dynamics)
*
To cancel, press [F5 (CANCEL)].
If you are not satisfied with the results of executing the
function, you can press [F1 (UNDO)] in the MIDI TRACK screen
to revert to the state prior to recording (Undo). After executing
Undo, you can use Redo to revert to the previous state. After
executing Undo, you can execute Redo by performing the above
procedure once again.
Reggae (large dynamics)
Reggae (light swing)
Reggae (heavy swing)
Reggae (dragging beats, small dynamics)
Reggae (dragging beats, large dynamics)
Reggae (dragging beats, light swing)
Reggae (dragging beats, heavy swing)
Reggae (pushing beats, small dynamics)
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Editing a Song (MIDI Track)
No.
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
065
066
067
068
069
070
071
Explanation
Reggae (pushing beats, large dynamics)
Reggae (pushing beats, light swing)
Reggae (pushing beats, heavy swing)
Pops (small dynamics)
Editing Sequencer Data
Over the Specified Range
(Track Edit)
Pops (large dynamics)
Pops (light swing)
Pops (heavy swing)
Track Edit lets you edit areas of sequencer data that you specify.
Pops (dragging beats, small dynamics)
Pops (dragging beats, large dynamics)
Pops (dragging beats, light swing)
Pops (dragging beats, heavy swing)
Pops (pushing beats, small dynamics)
Pops (pushing beats, large dynamics)
Pops (pushing beats, light swing)
Pops (pushing beats, heavy swing)
Rhumba (small dynamics)
Rhumba (large dynamics)
Rhumba (light swing)
Basic Operation for Track Editing
1. Access the SONG LIST screen, and then load the song you
want to edit (p. 94).
2. Press EDIT [SONG] to access the MIDI TRACK screen.
3. Press [F6 (EDIT)].
The Track Edit window appears.
Rhumba (heavy swing)
Rhumba (dragging beats, small dynamics)
Rhumba (dragging beats, large dynamics)
Rhumba (dragging beats, light swing)
Rhumba (dragging beats, heavy swing)
Rhumba (pushing beats, small dynamics)
Rhumba (pushing beats, large dynamics)
Rhumba (pushing beats, light swing)
Rhumba (pushing beats, heavy swing)
Samba (for Pandeiro, etc.)
Samba (for Surdo, Timbale)
Axe (for Caixa)
4. Press [F3 ( )] [F4 ( )] or [ ] [ ] to select the desired
function, and then press [F6 (SELECT)].
Copy
Erase (p. 98)
Delete (p. 98)
Axe (for Surdo)
Insert (p. 99)
Transpose (p. 99)
Salsa (for Cascala)
Salsa (for Conga)
For details on the setting windows of each track editing
Triplets
Quintuplets
function, refer to the following explanations of each function.
Sextuplets
Septuplets over two beats
5. Set the parameters for each function. Press [ ] [ ] [ ] [ ]
to move the cursor to the desired parameter, and use the
VALUE dial or [INC] [DEC] to set the value. First check the
region that is to be affected by the editing operation, and
then make corrections if you want to change it.
Lagging triplets
*
The templates are designed for a 4/4 time signature. Applying them to
a performance of a different time signature may not produce the
desired result.
6. Press [F6 (EXEC)].
*
The style names shown here are only for your convenience; they are
not intended to imply that the templates are usable only for the named
style. You can certainly try them with other styles of music.
A message will ask you for confirmation.
7. Press [F6 (EXEC)].
When the operation is completed, the display will briefly
indicate “Completed!”
*
To cancel, press [F5 (CANCEL)].
If you are not satisfied with the results of executing the
function, you can press [F1 (UNDO)] in the MIDI TRACK screen
to revert to the state prior to recording (Undo). After executing
Undo, you can use Redo to revert to the previous state. After
executing Undo, you can execute Redo by performing the above
procedure once again.
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Editing a Song (MIDI Track)
Copying Phrases (Copy)
Data (Erase)
This function copies a specified area of sequencer data. It is
convenient for repeating the same phrase several times.
This function erases all the sequencer data inside the specified area. As
the erased data is replaced by rests, the original measures will remain.
For details on the settings, refer to Basic Operation for Track
Editing (p. 97).
For details on the settings, refer to Basic Operation for Track
Parameter
Value
Explanation
Editing (p. 97).
Src Ch/Part
ALL, Ch 1–16
MIDI channel of the perfor-
mance data to be copied
Parameter
Value
Explanation
Ch/Part
ALL, Ch 1–16
MIDI channel of the data to
be erased
ALL: Copies all the sequencer data.
Ch 1–16: Copies only the sequencer data of a specific
MIDI channel.
You can’t specify this if Status is set to “System Exclusive.”
ALL: Erases all sequencer data.
Ch 1–16: Erases sequencer data of one specific MIDI
channel only.
*
Src Measure
For
0001–
Range of copy-source mea-
sures
If you set “For” to “ALL,”
all measures will be speci-
fied.
*
You can’t specify this if Status is set to “System Exclusive.”
1–ALL
Measure
For
0001–
Range of measures to be
erased
If you set “For” to “ALL,”
all measures will be speci-
fied.
1–ALL
Dst Ch/Part
ALL, Ch 1–16
MIDI channel of the copy-
destination performance
data
Status
ALL, Note, Poly Aftertouch,
Control Change, Program
Change, Channel Aftertouch,
Pitch Bend, System Exclusive
Type of data to be erased
ALL: Copy performance data to all MIDI channels.
Ch 1–16:Copy performance data to the specified MIDI
channel.
When “Status” is “Note” or “Poly Aftertouch”
*
You can’t specify this if Status is set to “System Exclusive.”
Range Min
Range Max
0 (C -)–127 (G9)
Range of note numbers to be
erased
You can also specify the
key range by pressing
keys on the keyboard.
Dst Measure
Copy Mode
0001–END
Copy-destination measure
*
If you want the copy destina-
tion to be right after the last
measure of a song, set this
parameter to “END.”
When “Status” is “Control Change”
MIX, REPLACE
Specifies whether you want
to preserve the existing data
in the copy destination when
copying.
Range Min
Range Max
0–127
Range of controller numbers
to be erased
When “Status” is “Program Change”
MIX: Combines the data from the copy source with the
existing data in the copy destination.
REPLACE: Musical data in the copy destination will
be erased (i.e., overwritten) when the copy takes place.
Only the sequencer data of the MIDI channels specified
by the Channel parameter will be overwritten, and
data of other MIDI channels will remain.
Range Min
Range Max
1–128
Range of program numbers
to be erased
*
If you selected “ALL” for “Ch/Part,” the tempo track and beat track
will also be erased at the same time.
Copy Times
Status
1–999
Number of times that the
data will be copied to the
copy destination
(Delete)
ALL, Note, Poly Aftertouch,
Control Change, Program
Change, Channel Aftertouch,
Pitch Bend, System Exclusive
Type of data to be copied
This function deletes a specified area of sequencer data, and moves
the subsequent data to fill the gap. As a result, the measure length
will be shortened by the number of deleted measures.
When “Status” is “Note” or “Poly Aftertouch”
Range Min
Range Max
0 (C -)–127 (G9)
Range of note numbers to be
copied
You can also specify the
key range by pressing
keys on the keyboard.
For details on the settings, refer to Basic Operation for Track
When “Status” is “Control Change”
Editing (p. 97).
Range Min
Range Max
0–127
Range of controller numbers
to be copied
Parameter
Measure
For
Value
Explanation
0001–
Range of measures to be deleted
If you set “For” to “ALL,” all measures will be
specified.
When “Status” is “Program Change”
1–
ALL
Range Min
Range Max
1–128
Range of program numbers
to be copied
*
The tempo track, beat track, and audio tracks will also be deleted at the
same time.
*
If you selected “ALL” for “Src Ch/Part” and “Dst Ch/Part,” the tempo
track, beat track, and audio tracks will also be copied at the same time.
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Editing a Song (MIDI Track)
Octave...
If your bass is played one octave higher than the staff notation,
use the Transpose function to lower it one octave.
To lower the bass sound one octave, set the Range parameter to
“Lowest-Highest” for the bass part, and set the Bias parameter
to “-12.”
This function inserts blank measures into a specified song position.
As you can set the time signature of the blank measures, this is
convenient when inserting a phrase having a different time signature
in the middle of a song.
When You Want to Change Percussion
Sounds...
For details on the settings, refer to Basic Operation for Track
Editing (p. 97).
You can also use the Transpose function to change percussion
sounds.
Parameter
Value
Explanation
Measure
0001–END
Measure location at which the blank
measures are to be inserted
Suppose you want to change conga to tom. If the conga sound is
assigned to the D4 key, and the tom sound is assigned to the C3
key, set the Range parameter to “D4–D4” and the Bias
parameter to “-14.”
For
1–
Number of blank measures to be insert-
ed
Beat
Numerator: 1–32
Denominator: 2,
4, 8, 16
In general, the time signature of the
measure immediately before insertion
will be used for the blank measures. To
change the time signature of the blank
measures to be inserted, use this pa-
rameter.
Editing Individual Items of
Sequencer Data (Micro Edit)
Micro Edit lets you edit individual items of sequencer data recorded
*
Beat can be specified only when you have
set “Track” to “TRK ALL.”
*
Blank measures will also be inserted into the tempo track, beat track,
and audio tracks at the same time.
*
When you’re going to edit a song, you have to first load it into the
Temporary Area (p. 94).
This transposes the pitch of notes within a specified area, over a +/-
127 semitone range. Use this function to modulate from one key to
another in a song, or to transpose the entire song.
Editing Sequencer Data (Basic
Access the Microscope screen when you want to view the sequencer
data recorded in a song. Each line indicates the location (measure-
beat-tick) at which the sequencer data is recorded, and the data
recorded at that location.
For details on the settings, refer to Basic Operation for Track
Editing (p. 97).
Parameter
Value
Explanation
Ch/Part
ALL, Ch 1–16
MIDI channel(s) of the notes to be trans-
posed
1. Load the song that contains the sequencer data you want to
ALL: Transposes all notes.
Ch 1–16: Transposes only the notes of a specific MIDI
channel.
view/edit (p. 115).
2. Press [F3 (MICRO)].
Measure
For
0001–
Range of measures to be transposed
If you set “For” to “ALL,” all mea-
sures will be specified.
The MICROSCOPE screen appears.
1–ALL
Press [ ] [ ] to view sequencer data.
Range Min
Range Max
0 (C -)–127 (G9)
Range of note numbers to be transposed
You can also specify the key range by
pressing keys on the keyboard.
Displays the parameter data at the cursor location
MIDI channel
Bias
-127– +127
Transpose amount in semitone steps
Set a “+” (positive) value to raise the
pitch, or a “-” (negative) value to low-
er the pitch.
Sequencer data
Location of the sequencer data (measure-beat-tick)
*
Each time you press [F6 (VIEW)] you will switch between the two
screens. (Piano Roll ↔ Event List)
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Editing a Song (MIDI Track)
Editing a System Exclusive Message
1. Use [ ] [ ] or the VALUE dial to select the system
exclusive message that you want to edit.
2. Press [ ].
The System Exclusive Edit screen appears.
3. Press [F5 (CH/PART)].
The Ch/Part Select window appears.
3. Press [ ] [ ] [ ] [ ] to move the cursor to the data you
want to edit.
4. Select the track whose performance data you want to view
4. Use the VALUE dial or [INC] [DEC] to edit the value.
or edit.
•
If you want to add data between “F0” and “F7,” move the
cursor to that location and press [F3 (INS)]. A value of “00” will
be inserted. Change this to the desired value.
To delete data, move the cursor to the relevant location and
press [F2 (DEL)].
•
[F3 (MIDI)]: MIDI track
Use the VALUE dial or [INC] [DEC] to make your selection.
ALL: Tracks of all MIDI channels
•
Ch1–Ch16: The track of the specified MIDI channel
[F4 (TEMPO)]: Tempo track
•
•
5. When you are finished editing, press [F6 (EXEC)] to finalize
[F5 (BEAT)]: Beat track
the values of the system exclusive message.
*
To cancel, press [F5 (CANCEL)].
For an explanation of each type of sequencer data, refer to
“Sequencer Data Handled by a MIDI Track,” below.
If you decide to discard the changes you made to the system
exclusive message and return to the MICROSCOPE screen,
press [EXIT].
5. Press [F6 (CLOSE)] to close the window.
6. Use [ ] [ ] or the VALUE dial to select the performance
•
•
In the case of a Roland type IV system exclusive message, the
checksum can be calculated automatically when you finalize the
values. If you do not want to calculate the checksum
automatically, press [F1 (AT SUM)] to remove the check mark (✔).
When you press [F4 (TEST)], the system exclusive message you
are editing will be transmitted from the MIDI OUT connector.
data that you want to edit.
7. Press [ ] [ ] to select the parameter that you want to edit.
8. Use the VALUE dial or [INC] [DEC] to set the value.
When editing the Note Number of note or polyphonic
aftertouch data, or the On Velocity or Off Velocity of a note, you
can also specify the value by playing a key on the keyboard.
Sequencer Data Handled by a MIDI
Track
•
When you press [ENTER], the sequencer data currently shown
at the “ ” will be transmitted from the MIDI OUT connector. In
the case of a note message, the note will sound when you press
[ENTER].
MIDI tracks can record the following seven types of sequencer data.
The recorded location (measure-beat-tick) is displayed at the far left
of each data item, and the MIDI channel number is displayed beside
it.
If you want to edit a system exclusive message, refer to “Editing
a System Exclusive Message,” below.
Note ( ꢁ )
These MIDI messages represent notes. From the left, the parameters
are Note Number, which indicates the name of the note; On Velocity,
which specifies the force with which the key is pressed; Duration,
which specifies the duration of the note; and Off Velocity, which
determines the speed with which the key is released.
9. To close the MICROSCOPE screen, press [EXIT].
Program Change
This MIDI message switches sounds. The program number (PC#)
selects the sound.
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Editing a Song (MIDI Track)
2. Hold down [SHIFT] and press [F5 (VIEW SEL)].
Control Change
This MIDI message applies various effects such as modulation or
expression. The controller number (CC#) selects the function, and
Value specifies the depth of the effect.
The View Select window appears.
Pitch Bend
This MIDI message changes the pitch. The value specifies the
amount of pitch change.
Poly Aftertouch
3. Use [ ] [ ] [ ] [ ] to select the sequencer data that will
This MIDI messages applies aftertouch to an individual note. From
the left, the parameters are Note Number which specifies the key,
and Value which specifies the depth of the aftertouch.
be displayed.
Note
System Exclusive
Pitch Bend
Poly Aftertouch
Program Change
Control Change
CC Select
Channel Aftertouch
Channel Aftertouch
This MIDI message applies aftertouch to an entire MIDI channel.
Value specifies the depth of the aftertouch.
Specifies the controller number that will be displayed.
4. Press [INC] or [DEC] to switch.
The message will be displayed if the check mark (✔) is
assigned, and will not be displayed if the check mark is
removed.
System Exclusive
These are MIDI messages used to make settings unique to the JUNO-
G, such as sound settings. Input the data between “F0” and “F7.”
•
•
•
•
•
[F1 (NOTE)]: Note
[F2 (CC)]: Control Change
[F3 (BEND)]: Pitch Bend
Data Handled by the Tempo Track
[F4 (ALL ON)]: All of the sequencer data will be displayed
[F5 (ALL OFF)]: None of the sequencer data will be displayed
The Tempo track records tempo data for the song.
Tempo Change
5. Press [F6 (CLOSE)] to close the View Select window.
This data specifies the tempo. The song will play back according to
the “Value” of the tempo change.
Inserting Sequencer Data (Create)
The value displayed in “ꢁ = **” is the tempo at which the song will
actually play (the playback tempo), and can be changed only in the
PLAY screen of each mode.
You can insert new sequencer data into a desired location of a MIDI
track.
*
If the tempo change value differs from the playback tempo, this means
that the playback tempo has been changed temporarily. In other words,
since the tempo change value has not been rewritten, this setting will
be lost if you select another song or turn off the power. If you want to
play back at this tempo the next time as well, you must re-save the
song to disk. This will rewrite the tempo change value so that it
matches the playback tempo.
For details on the sequencer data that can be inserted, refer to
Sequencer Data Handled by a MIDI Track (p. 100).
1. Access the MICROSCOPE screen for the track into which
you want to insert data.
2. Press [F1 (CREATE)].
The Create Event window appears.
Data Handled by the Beat Track
3. Press [ ] [ ] to select the data that will be inserted.
The Beat track records time signature data.
4. Press [F6 (EXEC)] to insert the performance data.
The inserted data will have the default parameter values, so edit
them as necessary.
Beat Change
This specifies the time signature (Beat).
Viewing Sequencer Data (View Select)
If you are not satisfied with the results of executing this
operation, press [EXIT] to close the MICROSCOPE screen, and
press [F1 (UNDO)] in the MIDI TRACK screen to return to the
state prior to execution (Undo). After executing Undo, you can
use Redo to revert to the previous state by performing the
above procedure once again.
Since a MIDI track contains a large amount of sequencer data, the
display may be cluttered and difficult to read. For this reason, the
JUNO-G lets you specify the type(s) of sequencer data that will be
displayed in the screen. This is convenient when you want to check
or edit only a specific type of sequencer data.
1. Access the MICROSCOPE screen.
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Editing a Song (MIDI Track)
Erasing Sequencer Data (Erase)
Copying Sequencer Data (Copy)
If desired, you can erase just an individual event of sequencer data.
You can also use the same operation to erase individual items of data
from the tempo track or beat track.
Sequencer data can be copied to the desired location. This is
convenient when you want to use the same sequencer data at
multiple locations. Data recorded in the tempo track or beat track
can also be copied in this way.
*
It is not possible to erase the tempo change located at the beginning of
the tempo track, the beat change located at the beginning of the beat
track.
1. Access the MICROSCOPE screen for the track whose data
you want to copy.
1. Access the MICROSCOPE screen for the track from which
2. Press [ ] [ ] to select the data that you want to copy.
you want to erase data.
3. Press [F3 (COPY)].
2. Press [ ] [ ] to select the data that you want to erase.
4. Press [F4 (PLACE)].
3. Hold down [SHIFT] and press [F6 (ERASE)] to erase the
The Place Event window appears.
sequencer data.
5. Press [ ] [ ] to move the cursor to the “Meas (measure),”
“Bt (beat),” and “Tick” fields.
If you are not satisfied with the results of executing this
operation, press [EXIT] to close the MICROSCOPE screen, and
press [F1 (UNDO)] in the MIDI TRACK screen to return to the
state prior to execution (Undo). After executing Undo, you can
use Redo to revert to the previous state by performing the
above procedure once again.
6. Use the VALUE dial or [INC] [DEC] to specify the location to
which the data will be copied.
7. Press [F6 (EXEC)] to paste the data.
If you are not satisfied with the results of executing this
operation, press [EXIT] to close the MICROSCOPE screen, and
press [F1 (UNDO)] in the MIDI TRACK screen to return to the
state prior to execution (Undo). After executing Undo, you can
use Redo to revert to the previous state by performing the
above procedure once again.
Moving Sequencer Data (Move)
You can move an individual item of sequencer data to a different
location. Data recorded in the tempo track or beat track can also be
moved in the same way.
*
It is not possible to move the tempo change located at the beginning of
the tempo track, the beat change and key signature located at the
beginning of the beat track.
Changing the Tempo Midway
Through the Song
1. Access the MICROSCOPE screen for the track whose data
If you want to change the tempo midway through the song, insert a new
Tempo Change into the tempo track. The song will play back at that
tempo following the location at which the tempo change was inserted.
you want to move.
2. Press [ ] [ ] to select the data that you want to move.
*
If you want to create gradual tempo changes such as ritardando or
accelerando, it is more convenient to use Tempo Recording (p. 89).
3. Press [F2 (MOVE)].
The Move Event window appears.
*
If you want to make the entire song faster or slower, change the
playback tempo in one of the PLAY screens.
4. Press [ ] [ ] to move the cursor to the “Meas (measure),”
“Bt (beat),” and “Tick” fields.
1. From the MICROSCOPE screen, press [F5 (CH/PART)].
5. Use the VALUE dial or [INC] [DEC] to specify the location to
The Ch/Part Select window appears.
which the data will be moved.
2. Press [F4 (TEMPO)] and then press [F6 (CLOSE)].
6. Press [F6 (EXEC)] to move the data.
3. Press [F1 (CREATE)].
The Create Event window appears.
If you are not satisfied with the results of executing this
operation, press [EXIT] to close the MICROSCOPE screen, and
press [F1 (UNDO)] in the MIDI TRACK screen to return to the
state prior to execution (Undo). After executing Undo, you can
use Redo to revert to the previous state by performing the
above procedure once again.
4. Press [F6 (EXEC)].
The Create Position window appears.
5. Press [ ] [ ] to move the cursor to the “Meas (measure),”
“Bt (beat),” and “Tick” fields.
6. Use the VALUE dial or [INC] [DEC] to specify the location at
which the data will be inserted.
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Editing a Song (MIDI Track)
7. Press [F6 (EXEC)] to insert the tempo change data.
Assigning a Name to a
Song (Song Name)
8. A default value is specified for the tempo change that is
inserted, so press [ ] and use the VALUE dial or [INC]
[DEC] to change the value as desired.
You can assign a song name to a song, or edit the song name. This
song name is independent of the file name assigned when saving a
song to user memory or memory card. Although you are not
required to assign a song name, you can assign one using up to 15
characters, and you may find it a convenient way to store a title or
memo that will help you organize your songs.
If you are not satisfied with the results of executing this
operation, press [EXIT] to close the MICROSCOPE screen, and
press [F1 (UNDO)] in the MIDI TRACK screen to return to the
state prior to execution (Undo). After executing Undo, you can
use Redo to revert to the previous state by performing the
above procedure once again.
*
Some commercially available Standard MIDI Files contain copyright
data. It is not possible to assign or modify the song name for such songs.
Changing the Time Signature
Midway Through the Song
1. Access the MIDI TRACK screen, and then load the song
whose song name you want to assign (p. 84).
2. Hold down [SHIFT] and press [F6 (UTILITY)].
If you want to change the time signature midway through the song,
insert a new Beat Change. The song will play back using that time
signature for measures following the inserted beat change.
The Song Utility Menu window appears.
3. Press [F1 (SONG NAME)].
The SONG NAME screen appears.
1. From the MICROSCOPE screen, press [F5 (CH/PART)].
The Ch/Part Select window appears.
4. Assign a song name to the song. (up to 15 characters).
2. Press [F5 (BEAT)] and then press [F6 (CLOSE)].
For details on assigning names, refer to p. 24.
3. Press [F1 (CREATE)].
The Create Event window appears.
5. After you have assigned a name, press [F6 (WRITE)].
*
To cancel, press [F5 (CANCEL)].
4. Press [F6 (EXEC)].
The Create Position window appears.
5. Use the VALUE dial or [INC] [DEC] to specify the location at
which the data will be inserted.
6. Press [F6 (EXEC)] to insert the beat change data.
7. A default value is specified for the beat change that is
inserted, so press [ ] and use the VALUE dial or [INC]
[DEC] to change the value as desired.
If you are not satisfied with the results of executing this
operation, press [EXIT] to close the MICROSCOPE screen, and
press [F1 (UNDO)] in the MIDI TRACK screen to return to the
state prior to execution (Undo). After executing Undo, you can
use Redo to revert to the previous state by performing the
above procedure once again.
It is not possible to change the time signature in the middle of a
measure. You must change the time signature at the beginning
of a measure.
If you want to change the time signature from a measure that is
later than the end of the song, or if it is ok to change the length
of the song, you will find it more convenient to use the track
edit Insert function (p. 99).
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Recording a Song (Audio Track)
•
Audio Input Asgn
Output destination of the external input sound that is mixed in
Before You Record Audio
via the AUDIO INPUT Jacks
Value
DRY:
Output to OUTPUT (A) jacks without passing
through effects
The JUNO-G lets you sample audio sources, such as an audio device,
MFX:
Output through multi-effects
mic, or CD.
When you select “MFX,” selects which of the three multi-effects
(1–3) will be used.
Before you record audio from a CD player, mic, or other external
audio source connected to the AUDIO INPUT jacks, please follow
the procedure described below.
•
Audio Input Level
Volume level of the external input sound.
Value:
0–127
Making AUDIO INPUT Settings
(Audio Input Setting)
*
You can also use the SONG RECORDER’s AUDIO IN slider to
adjust this.
•
Audio Input Cho Send
1. Connect your CD player, mic, or other audio source to the
Adjusts the depth of chorus that will be applied to the external
input source. Set this to “0” if you do not want to apply chorus.
AUDIO INPUT jacks located on the rear panel of the JUNO-G.
Value:
0–127
Cautions when using a microphone
•
Audio Input Reverb Send
Howling could be produced depending on the location of
microphones relative to speakers. This can be remedied by:
1. Changing the orientation of the microphone(s).
2. Relocating microphone(s) at a greater distance from
speakers.
Depth of reverb applied to the external input sound. Set this to 0
if you don’t want to apply reverb.
Value:
0–127
3. Lowering volume levels.
5. Press [F5 (In FX SW)] (Input Effect Switch) to add a check
mark; the external audio input will be routed through the
dedicated input effect.
2. While holding down [SHIFT], move the SONG RECORDER’s
AUDIO IN slider.
If you press [F5 (In FX SW)] to clear the check mark, the external
audio input will not be routed through the dedicated input effect.
The AUDIO INPUT SETTING screen appears.
6. Play back the external input source.
7. Turn the rear panel AUDIO INPUT LEVEL knob to adjust the
input level from the external audio source.
8. Press [EXIT] to return to the previous screen.
*
You can also access this screen by pressing EDIT [MENU] and
selecting “6. Input Setting” in the Top Menu window.
Input Effect Setup Settings
3. Press [ ] [ ] to select the parameter that you want to set.
1. While holding down [SHIFT], move the SONG RECORDER’s
AUDIO IN slider.
4. Turn the VALUE dial or press [INC] [DEC] to set the value.
The AUDIO INPUT SETTING screen appears.
•
Input Select
*
You can also access this screen by pressing EDIT [MENU] and
selecting “6. Input Setting” in the Top Menu window.
Specifies the input source of the sound to be sampled.
Value
LINE IN L/R:
LINE IN L:
INPUT jacks L/R (stereo)
INPUT jack L (mono)
2. Press [F6 (In FX SETUP)].
The INPUT FX SETUP screen appears.
MICROPHONE: INPUT jack L (mono, mic level)
Input FX (Effect) Type
•
Selects the type of effect that will be applied to the external
input source.
Value:
EQ, ENHANCER, COMPRESSOR, LIMITER, NOISE
SUP, C CANCELLER
When you press [F6 (In FX Setup)], the parameter setting screen
for the currently selected input effect will be displayed “Input
Effect Setup Settings.”
3. Press [ ] [ ] to move the cursor.
4. Turn the VALUE dial, or press [INC] /[DEC] to set the value.
In this settings screen, you can edit parameters for the type of
input effect you selected.
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Recording a Song (Audio Track)
*
You can also use the SOUND MODIFY knobs 1–4 to edit the value of
the corresponding parameters.
Recording an Audio Track
(SOLO/RE-SAMPLING)
•
01: EQUALIZER
Adjusts the tone of the low-frequency and high-frequency ranges.
Parameter
Range
Explanation
Center frequency of the low-
frequency range
Amount of low-frequency
boost/cut
Center frequency of the high-
frequency range
Low Freq
200, 400 Hz
Here’s how to record the input from an AUDIO INPUT jack or from
the internal sound generator.
Low Gain
High Freq
High Gain
-15–+15 dB
2000, 4000, 8000 Hz
-15–+15 dB
1. Press SONG RECORDER [AUDIO TRACK].
The AUDIO TRACK screen appears.
Amount of high-frequency
boost/cut
2. Press [REC].
•
•
02: ENHANCER
The [REC] indicator will blink, and the Audio Rec Standby
Modifies the harmonic content of the high-frequency range to
add sparkle to the sound.
window will appear.
Parameter
Sens
Mix
Range
0–127
0–127
Explanation
Depth of the enhancer effect
Volume of the harmonics that are generated
03: COMPRESSOR
Restrains high levels and boosts low levels to make the overall
volume more consistent.
Parameter
Attack
Range
0–127
Explanation
3. Use the Audio Rec Mode (Audio Recording Mode) field to
select the recording method you want to use.
Use [ ] [ ] to move the cursor to Audio Rec Mode, and turn
the VALUE dial or use [INC][DEC] to select the desired
recording mode.
Time from when the input exceeds the
Threshold until the volume begins to be
compressed
Volume level at which compression will
begin
Threshold
0–127
Post Gain
0–+18 dB
Level of the output sound
•
04: LIMITER
•
SOLO
Compresses the sound when it exceeds a specified volume, to
keep distortion from occurring.
The internal sound generator will play as usual, and only the
sound from the external audio input will be recorded.
Parameter
Release
Range
0–127
Explanation
*
You won’t be able to apply effects to the external audio input.
RE-SAMPLING
Time from when the input falls below the
Threshold until compression ceases
Volume level at which compression will
begin
•
Threshold
Post Gain
0–127
The sound from the internal sound generator (including the
audio tracks) will be recorded. The external audio input will not
be heard.
0–+18 dB
Level of the output sound
•
•
05: NOISE SUPPRESSOR
Suppresses noise during periods of silence.
*
The volume of a resampled phrase may be less than the original volume
of the phrase. As necessary, use Normalize (p. 121) to raise the volume.
Parameter
Threshold
Release
Range
0–127
0–127
Explanation
Volume at which noise suppression will begin
Time from when noise suppression begins
until the volume reaches zero.
*
Audio tracks whose Audio Track Output Assign (p. 111) parameter is
set to MON (Monitor) will not be recorded.
•
AUDIO MERGE
06: CENTER CANCELER
Multiple audio tracks will be combined into one audio track.
For details, refer to Combining Multiple Audio Tracks into
One Track (AUDIO MERGE) (p. 106).
Removes the sounds that are localized at the center of the stereo
input. This is a convenient way to eliminate a vocal.
Parameter
Range
Explanation
Ch Balance
-50– +50
Volume balance of the L (left) and R
(right) channels for removing the sound
Lower frequency limit of the band to
be removed
Upper frequency limit of the band to
be removed
4. Use the Audio Rec Count In (Audio Recording Count In)
field to specify how you want recording to start.
Range Low
Range High
16–15000 Hz
16–15000 Hz
Use [ ] [ ] to move the cursor to Audio Rec Count In, and turn
the VALUE dial or use [INC][DEC] to choose the desired setting.
•
OFF
Recording will start the moment you press [PLAY].
1 MEAS
When you enter the INPUT FX SETUP screen, the indicators
located at the left of SOUND MODIFY knobs 1--4 will go dark;
in this state, knobs 1--4 are used to edit the parameters of the
input effect. If you press the button once again to make the
indicator light, the knobs will return to their normal function.
When you exit the Input Effect Setup screen, the indicator will
automatically return to its previous lit state.
•
When you press [PLAY], there will be a count-in (playback)
beginning one measure before the recording start point.
Recording will start when you reach the recording start point.
2 MEAS
•
When you press [PLAY], there will be a count-in (playback)
beginning two measures before the recording start point.
Recording will start when you reach the recording start point.
5. Press [EXIT] to return to the previous screen.
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Recording a Song (Audio Track)
sample data (p. 118) or install more memory (p. 176).
5. Use the Audio Rec Channel (audio recording channel) field
to select whether you will record in stereo or in monaural.
Use
[
] [
]
to move the cursor to Audio Rec Channel, and turn
Recording the Rhythm Pattern Playback to
Audio Track
the VALUE dial or use [INC][DEC] to choose the desired setting.
•
MONO
In the RHYTHM GROUP screen, record the rhythm pattern to
Audio Track.
Record in monaural.
STEREO
•
In recording standby mode, when you press [PLAY] (or [F6
(START)]) the current rhythm pattern will start playback at the
same time, and you can record the rhythm pattern.
Record in stereo.
6. When you’ve chosen the desired setting in the Audio Rec
Standby window, press [PLAY] or [F6 (START)].
If you want to record the rhythm pattern at the same time
that it starts playback, set the Count In to Off in the
recording standby window.
The Audio Rec Standby window will close, the [REC] indicator
will change from blinking to steadily lit, and recording will start.
When recording starts, the Audio Recording window will appear.
Combining Multiple Audio
Tracks into One Track
(AUDIO MERGE)
A maximum of four tracks are available for you to use. By combining
(merging) several audio tracks, you can free up audio tracks for
other uses.
To close the Audio Recording window, press [F6 (Close)] or
[PLAY]. To open it once again, press [PLAY].
7. When you’ve finished recording, press [STOP].
When you record using Audio Merge, all MIDI tracks will be muted
automatically, and the audio tracks will be recorded according to the
current track mute setting.
The [REC] indicator will go dark.
8. The Audio Rec Sample Assign window will open.
1. Press SONG RECORDER [AUDIO TRACK].
The AUDIO TRACK screen appears.
2. Mute any tracks that you don’t want to merge (p. 85).
3. Press [REC].
The [REC] indicator will blink, and the Audio Rec Standby
Use [BWD]+[STOP] (TOP), [BWD] [FWD], the VALUE dial, or
window will appear.
[
] [ ] [ ] [ ] to specify the location at which you want to
assign the sample event.
4. In the Audio Rec Mode (Audio Recording Mode) field,
choose “AUDIO MERGE.”
9. Press [F6 (ASSIGN)].
Use [ ] [ ] to move the cursor, and turn the VALUE dial or
use [INC][DEC] to make the setting.
A sample event that plays the recorded sample will be assigned
to the audio track, and you will return to the previous screen.
•
If you press [F4 (UNLOAD)], the samples you just recorded will
be deleted (unloaded). A message will ask you for confirmation;
press [F6 (EXEC)] to confirm.
5. In the Audio Rec Count In (Audio Recording Count In) field,
specify how you want recording to start.
Refer to step 4 of “Recording an audio track (SOLO/RE-
SAMPLING).”
•
If you want to neither assign nor unload the sample, press [F5
(CANCEL)].
6. In the Audio Rec Channel (Audio Recording Channel) field,
*
Even if you cancel, the recorded sample data itself will remain in the
sample list.
select whether you will record in stereo or in monaural.
Refer to step 5 of “Recording an audio track (SOLO/RE-
SAMPLING).”
If the sample event you assign would exceed the length of the
song, a screen will ask you to confirm whether you want to
extend the length of the song. Press [F6 (EXEC)] to
automatically extend the length of the song so that the sample
event can play back completely.
7. When you’ve finished making settings in the Audio Rec
Standby window, press [PLAY] or [F6 (START)].
The Audio Rec Standby window will close, the [REC] indicator
will change from blinking to steadily lit, and recording will start.
When recording starts, the Audio Recording window will appear.
To close the Audio Recording window, press [F6 (CLOSE)] or
[PLAY]. To open it once again, press [PLAY].
If the sample memory is full, the “Sample Memory Full” error
will be displayed. In this case, you can either delete unneeded
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Recording a Song (Audio Track)
8. When you’ve finished recording, press [STOP].
The [REC] indicator will go dark.
9. The Audio Rec Sample Assign window will open.
The location at which the recorded sample event is to be
assigned will blink.
Use [BWD]+[STOP] (TOP), [BWD] [FWD], the VALUE dial, or
[
] [ ] [ ] [ ] to specify the location at which you want to
assign the sample event.
10.Press [F6 (ASSIGN)].
A sample event that plays the recorded sample will be assigned
to the audio track, and you will return to the previous screen.
•
If you press [F4 (UNLOAD)], the samples you just recorded will
be deleted (unloaded). A message will ask you for confirmation;
press [F6 (EXEC)] to confirm.
•
If you want to neither assign nor unload the sample, press [F5
(CANCEL)].
*
Even if you cancel, the recorded sample data itself will remain in the
sample list.
If the sample event you assign would exceed the length of the
extend the length of the song. Press [F6 (EXEC)] to
automatically extend the length of the song so that the sample
event can play back completely.
If the sample memory is full, the “Sample Memory Full” error
will be displayed. In this case, you can either delete unneeded
sample data (p. 118) or install more memory (p. 176).
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You will use the following two screens to edit audio tracks.
•
AUDIO TRACK screen
Editing Audio Tracks (AUDIO
TRACK Screen)
Here you can edit each audio track.
AUDIO MIXER screen (p. 111)
•
In this screen you can adjust the mixing of the audio tracks,
such as their level and pan.
Moving a Sample Event (Move)
Here’s how to move the currently selected sample event to another
track or location.
Items in the AUDIO TRACK
Screen
1. Use [ ] [ ] [ ] [ ] to select the sample event you want to
move.
1. Press SONG RECORDER [AUDIO TRACK].
The selected event is displayed in orange.
The AUDIO TRACK screen appears.
2. Press [SHIFT].
1
4
The cursor will change shape as follows.
3
2
5
6
7
8
9
10
11
12
13
If you hold down [SHIFT]
3. While continuing to hold down [SHIFT], press [ ] [ ].
Move the sample event to the desired track.
4. While continuing to hold down [SHIFT], use the following
buttons to move the sample event to the desired location.
•
[INC][DEC]
14
15
16
17
18
Move the sample event in steps of one tick.
1. Indicates the name of the currently selected song.
2. Indicates the current location of the audio track.
3. Audio level meter.
•
•
[
] [
]
Move the sample event in steps of one measure.
VALUE dial
4. Indicates the time signature and tempo of the song.
5. Indicates the current location.
Move the sample event in steps of 16th note (120 ticks).
6. Indicates the name, contents, and markers of audio tracks.
If the audio file referenced by the selected sample event is not
loaded, the sample number will be displayed for the sample
event.
Selecting and Auditioning a
Sample Event (Preview)
7. Shows details of the currently selected event.
9. Copies the sample event (p. 109).
1. Use to select a track.
2. Press [ENTER].
The sample in the track you selected in step 1 that is closest to
the current location will be selected.
sample by continuing to hold down [ENTER].
10. Deletes the selected sample event (p. 109).
11. Mutes audio tracks (p. 109).
12. Displays the marker list (p. 109).
13. Displays the AUDIO MIXER screen (p. 111).
14. Erases audio tracks (p. 109).
Inserting a Sample Event at a
Specified Location (Insert)
15. Names an audio track (p. 110).
1. Use [ ] [ ] to select the audio track into which you want
16. Unloads the sample (p. 110).
to insert a sample event.
17. Combines the contents of the tracks into a single audio track (p. 110).
18. Zooms in/out in the display (p. 110).
2. Specify the location at which you want to insert a sample
event.
The buttons have the following functions.
•
[STOP] + [BWD] (TOP)
Moves the current location to the beginning of the song.
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Editing a Song (Audio Track)
•
•
•
[INC] [DEC]
Move the current location in steps of one tick.
[BWD] [FWD]
Viewing a List of Markers (Marker
List)
Move the current location in steps of one measure.
VALUE dial
You can assign markers to desired measures within a song. This
gives you a visual indication of the structure of your song, and is a
real convenience when editing a song since you can move rapidly to
a desired marker.
Moves the current location in steps of 120 ticks.
3. Press [F1 (INSERT)].
The SAMPLE SEL screen will appear.
Here’s how you can view a list of the markers in the song, and edit
the markers.
4. Select the sample event that you want to insert, and press
[F6 (SELECT)].
1. Press [F5 (MARKER)].
The sample event will be inserted at the location you specified.
The Edit Marker List window will appear.
If inserting the sample event would exceed the current length of
the song, a screen will ask you whether you really want to
extend the length of the song. When you press [F6 (EXEC)], the
song will automatically be lengthened as necessary to
accommodate the newly inserted sample event.
The buttons have the following functions.
•
VALUE dial, [INC] [DEC], [ ] [
]
Copying a Sample Event (Copy)
Select a marker within the list. The current location will jump
Here’s how to copy the currently selected sample event.
accordingly.
•
•
[F3 (SET)]
1. Use [ ] [ ] [ ] [ ] to select the sample event that you
Adds a marker at the beginning of the current measure.
[F4 (CLEAR)]
want to copy.
2. Press [F2 (COPY)].
Deletes the selected marker.
The currently selected sample event will be copied to a location
immediately following itself.
•
[F5 (NAME)], [
]
Assigns a name to the currently selected marker. Use the
VALUE dial or [INC] [DEC] to select a name, and press [F5
If copying the sample event would make the track exceed the
current length of the song, a screen will ask you whether you
really want to extend the length of the song. When you press
[F6 (EXEC)], the song will automatically be lengthened as
necessary to accommodate the newly copied sample event.
(NAME)] or [ ] to finalize your choice.
Deleting the Selected Sample Event
from an Audio Track (Delete)
2. Press [F6 (CLOSE)] to close the window.
1. Use [ ] [ ] [ ] [ ] to select the sample event that you
Erasing Audio Tracks (Clear)
want to delete from an audio track.
1. Hold down [SHIFT] and press [F1 (CLEAR)].
2. Press [F3 (DELETE)].
*
in the sample list.
Muting Audio Tracks (Mute)
2. Turn the VALUE dial, or press [INC] [DEC] or [ ] [ ] to
Refer to Playing Back with an Audio Track Muted (Audio
select the menu.
Track Mute) (p. 85).
•
1 Clear All
All audio tracks will be erased. (The track names and setup data
will also revert to their default settings.)
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Editing a Song (Audio Track)
•
2 Clear Track
The selected audio track will be erased. (The track name and
setup data will also revert to its default settings.)
3. Press [F6 (SELECT)].
A message will ask you for confirmation.
•
•
Start Point
4. Press [F6 (EXEC)].
Specify the measure at which the mixdown is to start.
End Point
*
*
If you decide to cancel, press [F5 (CANCEL)].
This operation will not change the length of the song.
Specify the measure at which the mixdown is to end.
3. Press [PLAY] or [F6 (START)].
Naming an Audio Track (Track Name)
The Mixdown Standby window will close, and [REC] indicator
will change from blinking to lit, and the mixdown will begin.
When the mixdown begins, the Mixdown window will appear.
twelve characters).
1. Use to select the audio track that you want to name.
2. Hold down [SHIFT] and press [F2 (TRK NAME)].
The AUDIO TRACK NAME screen will appear.
3. Assign the desired name.
*
For details on how to assign a name, refer to p. 24.
To close the Mixdown window, press [F6 (CLOSE)] or [PLAY].
To open it again, press [PLAY].
4. Press [F6 (WRITE)] to confirm the name.
4. The mixdown will end automatically.
The [REC] indicator will go out.
Unloading a Sample (Unload Sample)
*
You can also press [STOP] to stop before you reach the end.
This operation deletes the currently selected sample event and also
unloads it from the sample list.
5. The Mixdown Sample Assign window will open.
Use [STOP] + [BWD] (TOP), [BWD][FWD] or [ ] [ ] [ ] [
to specify the location at which the sample event will be
assigned.
]
1. Hold down [SHIFT] and press [F3 (UNLOAD)].
A message will ask you for confirmation.
2. Press [F6 (EXEC)] to execute.
6. Press [F6 (ASSIGN)].
*
If you decide to cancel, press [F5 (CANCEL)].
A sample event that plays the mixed-down sample will be
assigned to the audio track, and you will return to the previous
screen.
Combining the Contents of the Tracks
into One Audio Track (Mixdown)
•
If you press [F4 (UNLOAD)], the samples you just mixed down
will be deleted (unloaded). A message will ask you for
confirmation; press [F6 (EXEC)] to confirm.
(CANCEL)].
This operation lets you specify a region, then have the performance
of all audio tracks and MIDI tracks in that region be combined into a
single track.
•
*
Even if you cancel, the mixed-down sample data itself will remain in
the sample list.
After creating a sample in this way, you can save it on your
computer as the audio data for a single song.
1. Hold down [SHIFT] and press [F4 (MIXDOWN)].
The [REC] indicator will blink, and the Mixdown Standby
window will appear.
If the sample memory is full, the “Sample Memory Full” error
will be displayed. In this case, you can either delete unneeded
sample data or install more memory (p. 176).
2. In the Mixdown Standby window, specify the region that
you want to mix down.
Zooming In and Zooming Out in
the Display
Use [ ] [ ] to move the cursor to each parameter, and turn
the VALUE dial or use [INC][DEC] to set the value.
1. Hold down [SHIFT] and press [F5 (Zoom <)] (reduce) / [F6
(Zoom >)] (magnify).
You can zoom in/out to display between two and thirty-two
measures in the screen.
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Editing a Song (Audio Track)
Adjusting the Chorus and Reverb
Items in the AUDIO MIXER
Screen
1. Press [F2 (CHO&REV)].
2. Use [ ] [ ] to move the cursor to the audio track you want
to edit.
1. With the AUDIO TRACK screen displayed, press [F6 (MIXER)].
The AUDIO MIXER screen will appear.
3. Use [ ] [ ] to move the cursor to the parameter you want
to edit.
*
Press [F6 (EDIT)] to switch the AUDIO TRACK screen.
•
CHO: Track Chorus Send Level
1
Adjusts the amount of signal sent from each audio track to the
2
3
chorus.
5
Value: 0–127
4
•
REV: Track Reverb Send Level
6
Adjusts the amount of signal sent from each audio track to the
reverb.
7
8
9
10
11
12
Value: 0–127
1. Indicates the name of the currently selected song.
2. Indicates the on/off status of the multieffects (MFX 1–3), chorus
(CHO), reverb (REV), and mastering effect (MASTER).
3. Indicates the time signature and tempo of the song.
4. Shows the parameters that can be controlled for each audio track.
5. Audio level meter.
4. Turn the VALUE dial or use [INC] [DEC] to adjust the value.
Setting the Audio Track Key Shift and
Output Assignment
1. Press [F3 (KEY&OCT)].
6. Displays a simplified view of the AUDIO TRACK screen.
7. Area 4 will show the volume and pan.
2. Use [ ] [ ] to move the cursor to the audio track you want
8. Area 4 will show the chorus and reverb.
to edit.
9. Area
4
will show the audio track key shift and the output assignment.
3. Use [ ] [ ] to move the cursor to the parameter you want
10. Mutes audio tracks.
to edit.
11. Displays the marker list.
•
KEY: Audio Track Key Shift
12. Displays the AUDIO TRACK screen (p. 108).
Adjusts the pitch of each track in semitone steps (+/-2 octaves).
Value: -24–+24
Controlling the Audio Tracks
(AUDIO MIXER screen)
•
OUT :Output Assign
Specifies how the direct sound from each audio track will be
output.
It’s convenient to use the AUDIO MIXER screen when you want to adjust
Value:
mixing parameters, such as the level and pan of the four audio tracks.
MFX 1–3: The sound will be routed through the multieffect and
output in stereo. You can also apply chorus or reverb to the
sound that has passed through the multi-effect.
A, B: The sound will be output in stereo from the OUTPUT A
(MIX) jacks or OUTPUT B jacks without passing through a
multi-effect.
Controlling the Audio Track Settings
Adjusting the Volume and Pan
MON: The sound will be output in stereo from the OUTPUT A
(MIX) jacks without passing through a multi-effect. Use this
setting if you want only to hear the sound without resampling
or recording it.
1. Press [F1 (LVL&PAN)].
2. Use [ ] [ ] to move the cursor to the audio track you want
to edit.
3. Use [ ] [ ] to move the cursor to the parameter you want
4. Turn the VALUE dial or use [INC] [DEC] to adjust the value.
to edit.
•
LEVEL: Track Level
Muting Audio Tracks (Mute)
Adjusts the volume of each audio track. This is used mainly to
set the volume balance between audio tracks.
Value: 0–127
Refer to Playing Back with an Audio Track Muted (Audio
•
PAN: Track Pan
Track Mute) (p. 85).
Adjusts the pan of each audio track. “L64” is far left, “0” is
center, and “63R” is far right.
Value: L64–0–63R
4. Turn the VALUE dial or use [INC] [DEC] to adjust the value.
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Editing a Song (Audio Track)
Viewing a List of Markers (Marker
List)
Refer to p. 109.
Using the Sliders to Control the
Mixer
You can move the SONG RECORDER TRACK A1–A4 sliders to
adjust the volume (track level) of each audio track.
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Songs you record are initially held in Temporary Area. A song in
Parameters included in System Setup
Temporary Area will be lost when you turn off the power or when
you load a different song. If you want to keep the song, you must
save it to user memory or a memory card.
•
Sound generator mode (Patch/Performance) and Patch/
Performance numbers
•
•
•
•
MFX 1–3/Chorus/Reverb switch
Conversely in order to edit a song (p. 94, p. 108), you must first load
it into Temporary Area.
Transpose and Octave Shift values
The selection of the function controlled by D Beam
All settings in the Arpeggio screen and the Arpeggio on/off
setting
Saving a Song (Save)
•
•
All settings in the Rhythm Group screen and the Rhythm
Pattern on/off setting
Basic Procedure
All settings in the Chord Memory screen and the Chord
Memory on/off setting
1. Hold down [SHIFT] and press EDIT [WRITE].
The SAVE/LOAD MENU screen appears.
Saving a Song with Samples
(Save Song+Smpls)
Here’s how to save the Temporary Song along with all samples in
sample memory and the current sound generator settings.
1. From the SAVE/LOAD MENU screen, press [F1 (1)].
*
When the MIDI TRACK screen, AUDIO TRACK screen, or AUDIO
MIXER screen is displayed, you can access the SAVE/LOAD MENU
screen simply by pressing EDIT [WRITE].
The SONG FILE NAME screen appears.
2. Assign a file name to the song (up to 8 characters). A file
name extension of “.SVQ” will automatically be added to
the song.
2. Press [F1 (1)]–[F3 (3)] to select the format in which you want
to save the song.
•
1. Save Song+Smpls:
For details on assigning names, refer to p. 24.
The temporary song will be saved as a song file (SVQ file, SVA
file). All samples in sample memory will also be saved. The
saved song includes the data of the temporary area.
2. Save Song:
Song file names may not contain lowercase characters or certain
symbols (space, “ * + , . / : ; < = > ? [ \ ] |).
•
•
The temporary song will be saved as a song file (SVQ file, SVA
file). The saved song includes the data of the temporary area.
3. Save all Samples:
3. After you have assigned a name, press [F6 (WRITE)].
The SAVE SONG screen appears.
All samples in sample memory will be saved.
4. Press [F1 (USER)] (User memory) or [F2 (CARD)] (Memory
card) to select the location where you want to save the
song.
Function
Button
[F1]
Song
ALL Samples
Save Song+Smpls
Save Song
✔
✔
–
✔
–
[F2]
5. Press [F6 (SAVE)].
Save all Samples
[F3]
✔
A message will ask you for confirmation.
✔: Saving is possible
6. Press [F6 (EXEC)] to execute.
*
To cancel, press [F5 (CANCEL)].
Data Saved Together with a Song
A song file having the same name, but with an extension of
“.SVA” will also be saved at the same time.
The performances, patches, and system setup you are using at that
time are saved together with the song recorder data.
The performances and patches saved along with the song are special
data used to reproduce the song; they are separate from the user
performances and user patches.
When samples are saved, they will automatically be overwritten onto
the same numbers of the same bank in the sample list. The samples will
be saved with a file name of “smpl****.wav (aif)” in the “ROLAND/
SMPL” folder of user memory or memory card. The number of the file
name will correspond to the number in the sample list.
*
If you want to use these performances or patches in a different song, or
without reference to a song, you’ll need to save them in the user area.
*
Mastering Effect settings are not included in the data saved with a
song. In order to completely reproduce the way in which the song
played back at the time it was saved, you will also need to check the
mastering settings.
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Saving/Loading a Song (Save/Load)
File Name and Song Name
Even if you save your song using “Save,” it cannot be played
back by a sequencer other than the JUNO-G’s song recorder.
If you want to play back the song’s MIDI track on a sequencer
other than the JUNO-G, save the song as an SMF file. Also at
this time, you must record the appropriate bank selects and
program numbers so that the correct sounds will be played.
The performance settings will be saved in the state they were in
when you executed Save. This means that if the performance
changed during the song, and you saved the song in that state
when you finished recording, the state in which recording
began will not be saved. In other words when you play back the
song from the beginning, it will begin with the performance
sounds that were being used at the point where you saved. If
you change the performance during the song, you must use the
Microscope screen etc. to insert the appropriate bank select and
program number at the beginning of the song to specify the
performance with which you began recording it.
Song Files and Standard MIDI Files have a song name in
addition to a file name. The file name is used to distinguish
between files, and must be assigned when you save a file. It will
help you manage songs if you use the file name to distinguish
between types of song, and use the song name to assign a title.
Use the SONG NAME screen (p. 103) to assign a song name.
existing in the user area or memory card, and attempt to save, a
message of “File “****” Already Exists! Overwrite Sure?” will
appear, asking you for confirmation. If it is OK to overwrite the
existing file, press [F6 (EXEC)]. If you decide to cancel the Save
operation, press [F5 (CANCEL)].
If you attempt to save data on a memory that was not formatted
by the JUNO-G, a message of “Unformatted!” (memory card
has not been formatted) will appear. Please format the memory
card on the JUNO-G (p. 164).
Saving Samples (Save all Samples)
Here’s how to save all samples from sample memory into user
memory or a memory card.
Saving a Song (Save Song)
Here’s how to save the Temporary Song with the current sound
generator settings.
1. From the SAVE/LOAD MENU screen, press [F3 (3)].
A message will ask you for confirmation.
1. From the SAVE/LOAD MENU screen, press [F2 (2)].
2. Press [F6 (EXEC)] to execute.
The SONG FILE NAME screen appears.
*
To cancel, press [F5 (CANCEL)].
When samples are saved, they will automatically be overwritten
onto the same number of the same bank in the sample list.
2. Assign a file name to the song (up to 8 characters). A file
name extension of “.SVQ” will automatically be added to
the song.
Saving a Song as an SMF
File (Save as SMF)
For details on assigning names, refer to p. 24.
Song file names may not contain lowercase characters or certain
symbols (space, “ * + , . / : ; < = > ? [ \ ] |).
Here’s how to convert the MIDI track data of the temporary song
into an SMF file and save it.
3. After you have assigned a name, press [F6 (WRITE)].
The SAVE SONG screen appears.
[F6 (UTILITY)].
2. Press [F5 (SAVE AS SMF)].
4. Press [F1 (USER)] (User memory) or [F2 (CARD)] (Memory
card) to select the location where you want to save the
song.
The SAVE AS SMF screen appears.
3. Assign a file name to the song.
5. Press [F6 (SAVE)].
A message will ask you for confirmation.
For details on assigning names, refer to p. 24.
6. Press [F6 (EXEC)] to execute.
*
To cancel, press [F5 (CANCEL)].
Song file names may not contain lowercase characters or certain
symbols (space, “ * + , . / : ; < = > ? [ \ ] |).
A song file having the same name, but with an extension of
“.SVA” will also be saved at the same time.
4. After you have assigned a name, press [F6 (WRITE)].
5. Press either [F1 (USER)] (user memory) or [F2 (CARD)]
(memory card) to select the save-destination.
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Saving/Loading a Song (Save/Load)
6. Press either [F3 (FMT 0)] or [F4 (FMT 1)] to select the format
for saving.
Loading a Song (Load)
•
FMT 0 (Format 0):
Convert the song to a Format 0 Standard MIDI File (all
performance data is saved in one phrase track) and save it to
disk. An extension of “.MID” will be added automatically.
FMT 1 (Format 1):
Basic Procedure
1. Hold down [SHIFT] and press [WRITE].
•
The SAVE/LOAD MENU screen appears.
Convert the song to a Format 1 Standard MIDI File
(performance data is saved in more than one phrase track) and
save it to disk. An extension of “.MID” will be added
automatically.
7. Press [F6 (SAVE)].
A message will ask for confirmation.
8. Press [F6 (EXEC)] to execute.
2. Press [F4 (4)]–[F6 (6)] to select the format in which you want
*
To cancel, press [F5 (CANCEL)].
to load the song.
The filename extension will be “.MID” whether you select “Save
SMF (Format 0)” or “Save SMF (Format 1).” The two cannot be
distinguished in this way.
•
4. Load Song+Smpls:
Loads a song into Temporary Area. All samples will be loaded
into sample memory.
•
•
5. Load Song:
Loads a song into Temporary Area.
6. Load all Samples:
When you save data in SMF format, the sound setup data will
not be saved. In order to ensure that the correct sounds are
played, you must record the appropriate bank select and
program numbers.
Loads all samples into sample memory.
Function
Button
[F4]
Song
ALL Samples
Load Song+Smpls
Load Song
✔
✔
–
✔
–
The audio track data is not saved when you save the song in
SMF format.
[F5]
Load all Samples
[F6]
✔
✔: Loading is possible
*
A song saved on the JUNO-G (.SVQ) also includes the data for the
sound generator’s temporary area.
existing in the user area or memory card, and attempt to save, a
message of “File “****” Already Exists! Overwrite Sure?” will
appear, asking you for confirmation. If it is OK to overwrite the
existing file, press [F6 (EXEC)]. If you decide to cancel the Save
operation, press [F5 (CANCEL)].
If you attempt to save data on a memory that was not formatted
by the JUNO-G, a message of “Unformatted!” (memory card
has not been formatted) will appear. Please format the memory
card on the JUNO-G (p. 164).
Loading a Song with Samples
(Load Song+Smpls)
Here’s how you can load a song into Temporary Area and all
samples into sample memory.
1. From the SAVE/LOAD MENU screen, press [F4 (4)].
The SONG LIST screen appears.
*
Alternatively, press EDIT [SONG] to access the SONG LIST screen.
This button is pressed to toggle between the SONG LIST screen and
the MIDI TRACK screen.
*
By pressing [ ] [ ] in the above screen, you can specify the type of
songs that will be displayed. If various types of songs are saved
together, it will be easier to find the desired song if you restrict the
displayed file types in this way.
ALL:
SVQ:
SMF:
all songs will be displayed
Only the SVQ song files are displayed
only Standard MIDI Files will be displayed
2. Press either [F1 (USER)] (User memory) or [F2 (CARD)]
(Memory card) to select the load-destination, and use [
]
[
] to select a song.
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Saving/Loading a Song (Save/Load)
3. Press [F6 (LOAD)].
A message will ask you for confirmation.
Deleting a Song (Delete Song)
4. Press [F6 (EXEC)] to execute.
Here’s how to delete a previously saved song from user memory or
the memory card.
*
To cancel, press [F5 (CANCEL)].
1. From the SAVE/LOAD MENU screen, press [F5 (5)].
Loading a song (Load Song)
The SONG LIST screen appears.
*
You can also access the SONG LIST screen by pressing EDIT
[SONG]. This button is pressed to toggle between the SONG LIST
screen and the MIDI TRACK screen.
Here’s how you can load a song into Temporary Area.
1. From the SAVE/LOAD MENU screen, press [F5 (5)].
The SONG LIST screen appears.
*
By pressing [ ] [ ] in the above screen, you can specify the type of
songs that will be displayed. If various types of songs are saved
together, it will be easier to find the desired song if you restrict the
displayed file types in this way.
*
Alternatively, press EDIT [SONG] to access the SONG LIST screen.
This button is pressed to toggle between the SONG LIST screen and
the MIDI TRACK screen.
*
By pressing [ ] [ ] in the above screen, you can specify the type of
songs that will be displayed. If various types of songs are saved
together, it will be easier to find the desired song if you restrict the
displayed file types in this way.
ALL:
SVQ:
SMF:
all songs will be displayed
Only the SVQ song files are displayed
only Standard MIDI Files will be displayed
2. Press either [F1 (USER)] (User memory) or [F2 (CARD)]
ALL:
SVQ:
SMF:
all songs will be displayed
(Memory card) to select the delete-destination, and use [
]
Only the SVQ song files are displayed
only Standard MIDI Files will be displayed
[
] to select a song.
3. Press [F4 (DEL SONG)].
2. Press either [F1 (USER)] (User memory) or [F2 (CARD)]
A message will ask you for confirmation.
(Memory card) to select the load-destination, and use [
]
[
] to select a song.
4. Press [F6 (EXEC)] to execute.
*
To cancel, press [F5 (CANCEL)].
3. Press [F6 (LOAD)].
A message will ask you for confirmation.
4. Press [F6 (EXEC)] to execute.
*
To cancel, press [F5 (CANCEL)].
Loading Samples (Load all
Samples)
Here’s how you can load all samples from user memory or memory
card into sample memory.
1. From the SAVE/LOAD MENU screen, press [F6 (6)].
A message will ask you for confirmation.
2. Press [F6 (EXEC)] to execute.
*
To cancel, press [F5 (CANCEL)].
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Audio phrases you record or import are saved and managed as
editable samples.
Loading a Sample
Editing is performed in sample memory—a memory area dedicated
to samples (p. 22).
Here’s how you can load a sample from the user area, a memory
card, or a preset into sample memory.
Sample List
Select a sample from the list.
1. Press EDIT [AUDIO].
The SAMPLE EDIT screen appears.
2. Press [F4 (LIST)] to access the SAMPLE LIST screen.
*
Pressing [AUDIO] toggles you between the SAMPLE EDIT screen
and the SAMPLE LIST screen.
Selecting a Sample
1. Press EDIT [AUDIO].
3. Press [ ] [ ] to select the group that contains the desired
The SAMPLE EDIT screen appears.
sample.
2. Press [F4 (LIST)] to access the SAMPLE LIST screen.
4. Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select a
sample.
*
Pressing [AUDIO] toggles you between the SAMPLE EDIT screen
and the SAMPLE LIST screen.
If you want to load two or more samples, press [F2 (MARK)] to
add a check mark (✔) to the samples that you want to select.
3. Press [ ] [ ] to select the group that contains the desired
To remove the check mark from a selected sample, select and
press [F2 (MARK)] again.
sample.
•
•
•
PRST: preset samples
If you hold down [SHIFT] and press [F4 (SET ALL)], a check
mark will be added to all samples of the selected group.
If you hold down [SHIFT] and press [F3 (CLR ALL)], check
marks will be removed from all selected samples.
USER: user samples
CARD: samples stored on a memory card
*
You cannot edit preset samples.
4. Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select a
5. Press [F5 (UTILITY)], and then press [F5 (LOAD)].
sample.
A message will ask you for confirmation.
*
You can press [F6 (PREVIEW)] to audition the selected sample.
6. Press [F6 (EXEC)] to load the sample.
5. Press [F4 (EDIT)] or [ENTER].
To cancel, press [F5 (CANCEL)].
The SAMPLE EDIT screen appears.
*
You can also perform this operation from the SAMPLE LIST or SAMPLE
EDIT screen by pressing [MENU] and selecting “Load Sample.”
The sample list shows the current state of
the samples.
Loading all Samples
fig.SampleState
Here’s all samples in the user memory and memory card can be
loaded.
When you execute Load All Samples, all unsaved samples
will be erased.
N (New):
turn off the power. The same is true for samples
imported as WAV/AIFF.
*
If the total size of the data in the user memory and card memory
exceeds the size of memory, the samples of the user memory will be
loaded first. At this time, as many card memory samples as possible
will be loaded, starting from the lowest-numbered sample.
U (Unload): The sample has been saved, but not loaded into
sample memory.
E (Edit):
The loaded or audio-recorded sample has been
edited. Your edits will be lost when you turn off
the power. If you want to keep them, you must
Write the sample. Save this data as necessary.
1. From the SAMPLE LIST screen, press [F5 (UTILITY)].
2. Press [F2 (LOAD ALL)].
If Load User Samples at Startup (p. 158) is turned off, samples
will not be loaded into memory when you turn on the power. In
this case, you will need to load samples into memory yourself.
If you have unload a sample from sample memory, you will
also need to load it again before you can re-select that sample.
A message will ask you for confirmation.
3. Press [F6 (EXEC)] to execute.
To cancel, press [F5 (CANEL)].
*
You can also perform this operation from the SAMPLE LIST screen
by pressing [MENU] and selecting “3. Load All Samples.”
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Editing a Audio Phrase (Sample)
Unloading a Sample
Importing an Audio File
(Import Audio)
Here’s how you can unload a sample from sample memory. The
saved sample file itself will not be deleted.
as a sample.
1. With the SAMPLE LIST screen shown, press [ ] [ ] to
select the group that contains the sample you want to
erase.
1. Place the audio files you want to import into the JUNO-G as
samples in user memory or in the “TMP/AUDIO_IMPORT”
folder of the memory card.
2. Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select a
sample.
If you want to unload two or more samples, press [F2 (MARK)]
to add a check mark (✔) to the samples that you want to select.
For details on how you can use your computer to copy files to
user memory or to a memory card, refer to p. 167.
To remove the check mark from a selected sample, select and
press [F2 (MARK)] again.
2. From the SAMPLE LIST screen, press [F5 (UTILITY)] and
then press [F1 (IMPORT AUDIO)].
If you hold down [SHIFT] and press [F4 (SET ALL)], a check
mark will be added to all samples of the selected group.
If you hold down [SHIFT] and press [F3 (CLR ALL)], check
marks will be removed from all selected samples.
The IMPORT AUDIO screen appears.
*
You can obtain the same result by pressing [MENU] and selecting “5.
Import Audio.”
3. Press [F1 (USER)] or [F2 (CARD)] to select the import-
source area.
3. Press [F5 (UTILITY)], and then press [F4 (UNLOAD)].
A message will ask you for confirmation.
[F1 (USER)]: Import from the user memory
4. Press [F6 (EXEC)] to unload the sample.
[F2 (CARD)]: Import from the memory card
To cancel, press [F5 (CANCEL)].
4. Press [ ] [ ] to select the file that you want to import.
If you want to select two or more files, press [F3 (MARK)] to
add a check mark (✔) to the files that you want to select.
To remove the check mark from a selected file, select and press
[F3 (MARK)] again.
*
You can also perform this operation from the SAMPLE LIST or SAMPLE
EDIT screen by pressing [MENU] and selecting “Unload Sample.”
Deleting a Sample
If you press [F5 (SET ALL)], a check mark will be added to all
files of the selected folder. If you press [F4 (CLR ALL)], check
marks will be removed from all selected files.
Here’s how to completely delete a sample file.
*
You cannot delete the preset samples.
5. Press [F6 (IMPORT)].
1. With the SAMPLE LIST screen shown, press [ ] [ ] to
select the group that contains the sample you want to
delete.
A message will ask you for confirmation.
6. Press [F6 (EXEC)].
2. Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select a
sample.
The file will be imported, and the SAMPLE LIST screen will
appear.
If you want to delete two or more samples, press [F2 (MARK)]
to add a check mark (✔) to the samples that you want to select.
*
To cancel, press [F5 (CANCEL)].
To remove the check mark from a selected sample, select and
press [F2 (MARK)] again.
The imported file will be added to the sample list as a sample.
This sample is temporary, and will be lost when you turn off the
power. If you want to keep it, press [WRITE] to save the data.
If you hold down [SHIFT] and press [F4 (SET ALL)], a check
mark will be added to all samples of the selected group.
If you hold down [SHIFT] and press [F3 (CLR ALL)], check
marks will be removed from all selected samples.
3. Press [F5 (UTILITY)], and then press [F3 (DELETE)].
A message will ask you for confirmation.
4. Press [F6 (EXEC)] to delete the sample.
To cancel, press [F5 (CANCEL)].
*
You can also perform this operation from the SAMPLE LIST or
SAMPLE EDIT screen by pressing [MENU] and selecting “Delete
Sample File.”
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Editing a Audio Phrase (Sample)
Start and End.
Sample Edit
1. Press EDIT [AUDIO].
4. Use the VALUE dial or [INC] [DEC] to move the point.
You can move the point in units of one beat by pressing [F1 ( )]
or [F2 ( )].
The SAMPLE EDIT screen appears.
fig.SampleEdit
If you hold down [F6 (PREVIEW)] and move Start/Loop Start/
End, the sample will play repeatedly across that point. This is a
convenient way to check your setting.
(Zooming-in or zooming-out on the waveform will change the
region that loops.)
*
If you’re in the SAMPLE LIST screen, press [F4 (EDIT)]. You can
also alternate between the SAMPLE LIST screen and the SAMPLE
EDIT screen by pressing [AUDIO].
After specifying Start and End, you can execute Truncate (p.
120) to delete unwanted portions at the beginning and end of
the sample.
*
Sample modify operations (Chop, Normalize, etc.) apply to the entire
sample. Even if you specify Start or End, they will be ignored. If you
want to apply the operation only to the region between the Start and
End, use Truncate to delete unwanted portions of the sample, and then
perform the sample modifying operation.
Samples that you edit will be lost when you turn off the power.
If you want to keep them, you must Save them (p. 124).
Magnifying/Shrinking the
Waveform Display (Zoom In/Out)
Using the knobs to edit the points
Here’s how to change the magnification of the sample display.
You can use the SOUND MODIFY 1–4 knobs to edit each point. Using the
knobs is convenient when you need to make large changes to the value.
From the left, the knobs have the following functions.
•
Horizontal axis (time axis): 1/1–1/65536
Press [ ] to increase the display magnification.
Press [ ] to decrease the display magnification.
: Start Point
: Loop Start
: End Point
1
2
3
•
Vertical axis (waveform amplitude axis): x1–x128
Hold down [SHIFT] and press [ ] to increase the display
magnification.
: Zoom-in/zoom-out the horizontal axis of the display
4
Hold down [SHIFT] and press [ ] to decrease the display
magnification.
Making Settings for Sample
(Sample Parameters)
Here you can make various settings for the sample.
Setting the Start/End Points of the
Sample
1. With the SAMPLE LIST screen shown, select the sample
that you want to edit.
You can specify the portion of the sample that will actually sound.
You can also specify the region that is to be looped.
3. Press [ ] [ ] to select a parameter.
1. With the SAMPLE LIST screen shown, select the sample
that you want to edit (p. 117).
4. Use the VALUE dial or [INC] [DEC] to edit the value.
5. Press [EXIT] when you are finished.
2. Press [F4 (EDIT)] or [ENTER] to access the SAMPLE EDIT screen.
3. Use [ ] [ ] to select the point that you want to set.
Parameter
Start
Explanation
Point
Explanation
Refer to Setting the Start/End Points of the Sample (p.
119).
Start
Point at which playback will start
Set this so that any unwanted portion at the beginning of
the sample will be skipped, and the sound will begin at
the desired moment.
Loop Start
End
Loop Start
Point at which loop playback (second and subsequent
times) will start
Set this if you want to loop the sound from a point other
than the start point.
*
This is useful when you’re using a sample as a sample patch
or as the waveform for a patch or rhythm set.
End
Point at which playback will end
Set this so that any unwanted portion at the end of the
sample will not be heard.
*
By pressing [F6 (PREVIEW)] you can audition the region between
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Editing a Audio Phrase (Sample)
Parameter
Explanation
Automatically calculating a sample’s
tempo
Loop Mode
Specifies how the sample will be played.
*
When you use a sample in an audio track, it will play as ONE-
SHOT regardless of this setting.
1. Move the cursor to “Tempo” and press [F1(CALC)].
FWD:
After the Sample played back from Start to End, it will
then be repeatedly played back in the forward direction,
from the Loop Start to End.
The BPM Calculator window appears.
*
You will always be able to select [F1 (CALC)] if the cursor is located
somewhere other than Start, Loop Start, or End.
Loop
Start P.
Start P.
End P.
2. Use [ ] [ ] [ ] [ ] to move the cursor, and use the
VALUE dial or [INC] [DEC] to specify the number of
measures in the sample and its time signature.
3. Press [F3 (EXEC)].
ONE-SHOT:
The sample will be played back only once, from the Start
to End.
The sample’s tempo will be calculated automatically.
*
To cancel, press [F2 (CLOSE)].
Loop
Start P.
Start P.
End P.
About the beat
Samples contain beat data. Up to 100 beat locations are specified
for one sample. If the sample contains more than 100 beats, fifty
beat locations will be specified from the beginning and end of
the sample, respectively.
REV:
When the sample has been played back from End to
Start, it will be repeatedly played back in the reverse di-
rection, from Loop Start to Start.
Loop
Start P.
When you want to reset the beat
indication (Reset Grid function)
Start P.
End P.
You can reassign the sample grid according to the specified Start
point and Tempo.
1. In the SAMPLE EDIT screen, specify the Start point and
REV-ONE:
The sample will be played back only once from End to
Start in the reverse direction.
Tempo of the sample.
Loop
Start P.
2. Press [F5 (UTILITY)], and then press [F1 (RESET GRID)].
Start P.
End P.
3. Press [F6 (EXEC)] to execute.
To cancel, press [F5 (CANCEL)].
Tempo
Original tempo of the sample
Sample (TRUNCATE)
You can hold down [SHIFT] and use the VALUE dial or
[INC] [DEC] to adjust the value to the right of the deci-
mal point.
5.00–300.00
*
In order to synchronize the tempo, Wave Temp Sync (p. 38, p.
53) must be turned ON.
This operation cuts the portions of the sample that are earlier than
the Start Point and later than the Loop End Point.
Org Key *
Note number that will play the sample at the pitch at which
it was sampled
*
You cannot execute this with more than one sample selected.
0 (C -)–127 (G9)
Time
Specifies how the tempo will be synchronized.
Decreasing this value will optimize the sound for more
rapid phrases, and increasing this value will optimize
the sound for slower phrases.
1. In the SAMPLE EDIT screen, specify the Start/End points of
Stretch
the sample (p. 119).
TYPE01–TYPE10
2. Press [F3 (MODIFY)] to open the Sample Modify Menu window.
Start Fine
Fine adjustment of the Start point
0–255
3. Press [F1 (TRUNC&EMPHS)], and then press [F1 (TRUNC)].
Loop Start
Fine *
Fine adjustment of the Loop Start point
0–255
fig.TRUNCATE
Loop End
Fine
Fine adjustment of the End point
0–255
Loop Tune *
Pitch of the loop region
Make fine adjustments in one-cent (1/100 semitone) in-
crements.
-50– +50
Zoom Horz
Zoom Vert
Display magnification (horizontal axis)
1/1–1/16384
Display magnification (vertical axis)
x1–x128
4. If you want to replace the current sample with the truncated
sample, press [F4 (OVER WRITE)] to display the “✔” mark.
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Editing a Audio Phrase (Sample)
fig.NORMALIZE
5. Press [F6 (EXEC)].
A message will ask you for confirmation.
6. To execute, press [F6 (EXEC)].
*
To cancel, press [F5 (CANCEL)].
Boosting or Limiting the High-
frequency Range of the Sample
(EMPHASIS)
3. If you want to replace the current sample with the
normalized sample, press [F4 (OVER WRITE)] to display the
“✔” mark.
4. Press [F6 (EXEC)].
In some cases, the audio quality will be improved if you boost the
high-frequency range of an imported sample. Also, the high-
frequency range of the sample may be emphasized when you use a
sampler made by another manufacturer. In this case, you can
minimize the change in tonal character by attenuating the high-
frequency range.
A message will ask you for confirmation.
5. To execute, press [F6 (EXEC)].
*
To cancel, press [F5 (CANCEL)].
AMP
*
You cannot execute this with more than one sample selected.
This operation adjusts the volume of the entire sample. You can also
apply an envelope (time-variant change) to the volume of the sample.
1. In the SAMPLE EDIT screen, press [F3 (MODIFY)] to open
the Sample Modify Menu window.
*
You cannot execute this with more than one sample selected.
2. Press [F1 (TRUNC&EMPHS)], and then press [F2 (EMPHS)].
fig.EMPHASIS
1. In the SAMPLE EDIT screen, press [F3 (MODIFY)] to open
the Sample Modify Menu window.
2. Press [F2 (NORM & AMP)], and then press [F2 (AMP)].
fig.AMP
3. Use the VALUE dial or [INC] [DEC] to select the emphasis
type.
PreEmphasis: Emphasizes the high-frequency range.
DeEmphasis: Attenuates the high-frequency range.
3. If you want to adjust the volume of the entire sample, use the
VALUE dial or [INC] [DEC] to set the rate of volume boost.
4. If you want to replace the current sample with the
emphasized sample, press [F4 (OVER WRITE)] to display
the “✔” mark.
Parameter
Explanation
Rate
Rate of volume boost: 0–400%
Specifies how much boost will be applied relative to the
current volume
5. Press [F6 (EXEC)].
A message will ask you for confirmation.
4. If you want to apply an envelope, specify points.
Press [F3 (POINT)] to display the “✔” mark. Then press [
]
6. To execute, press [F6 (EXEC)].
[
] to select a parameter, and then use the VALUE dial or
*
To cancel, press [F5 (CANCEL)].
[INC] [DEC] to set the value.
Parameter
Explanation
Current
Point
Currently selected point
Beginning near the start point, the points will be num-
bered 1, 2, 3, or 4.
Maximizing the Volume of a
Sample (NORMALIZE)
Point 1–4
Rate 1–4
Location of the current point
Amplification ratio of the current point: 0–400%
Specifies how the volume of each point is to be boosted
relative to the current value.
This operation raises the level of the entire sample as much as
possible without exceeding the maximum level. It is a good idea to
boost the volume by executing the Normalize operation.
5. If you want to replace the current sample with the edited
*
You cannot execute this with more than one sample selected.
sample, press [F4 (OVER WRITE)] to display the “✔” mark.
1. In the SAMPLE EDIT screen, press [F3 (MODIFY)] to open
6. Press [F6 (EXEC)].
the Sample Modify Menu window.
A message will ask you for confirmation.
2. Press [F2 (NORM & AMP)], and then press [F1 (NORM)].
7. To execute, press [F6 (EXEC)].
*
To cancel, press [F5 (CANCEL)].
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Editing a Audio Phrase (Sample)
fig.CHOP
Stretching or Shrinking a Sample
(TIME STRETCH)
This operation stretches or shrinks the sample to modify the length
or tempo. You can stretch or shrink the sample by a factor of one half
to double the original length.
3. Specify the point(s) at which the sample is to be divided.
Refer to “Procedure for Dividing a Sample” or “Automatically
Dividing a Sample (Auto Chop)” (p. 123).
*
You cannot execute this with more than one sample selected.
1. In the SAMPLE EDIT screen, press [F3 (MODIFY)] to open
the Sample Modify Menu window.
4. Audition the sample as described in the section
“Auditioning the Divided Samples” (p. 123).
2. Press [F3 (TIME STRETCH)].
If you want to re-make settings, move or delete the point (p. 123).
fig.TIMESTRETCH
5. Press [F6 (EXEC)].
A message will ask you for confirmation.
6. To execute the division, press [F6 (EXEC)].
The divided samples will be added to the sample list.
*
To cancel, press [F5 (CANCEL)].
3. Press [ ] [ ] to select the parameter.
When you execute the Chop operation, a message will ask
whether you want to execute Create Rhythm.
4. Use the VALUE dial or [INC] [DEC] to specify the tempo/length.
When setting the BPM (tempo) value, you can hold down
[SHIFT] and turn the VALUE dial, or use [INC] [DEC] to adjust
the value to the right of the decimal point.
Create Rhythm
This creates a rhythm set using the samples that were divided
by the Chop operation, and assigns it to a part. The samples are
assigned successively starting at the C2 key.
Parameter
BPM
Explanation
Change the BPM of the sample to the BPM you specify.
Specify the length of the sample as a time value.
Time
Rate
Specify the length relative to the current length of the
7. To execute Create Rhythm, press [F6 (EXEC)].
sample. (50.0–200.0%)
The Create Rhythm window opens.
Type
Lower settings of this value will make the sound more
suitable for faster phrases, and higher settings will make
the sound more suitable for slower phrases.
(TYPE01–TYPE10)
*
To cancel, press [F5 (CANCEL)].
8. 8. Use [ ] [ ] to select the part to which you want to
assign the rhythm set, and press [F6 (SELECT)].
A message will ask you for confirmation.
Quality Adjust
Make fine adjustments to the tonal quality of the Time
Stretch. (1–10)
5. Press [F6 (EXEC)].
*
You can’t select a part in Patch mode.
A message will ask you for confirmation.
9. To execute, press [F6 (EXEC)].
6. To execute, press [F6 (EXEC)].
The samples will be assigned to the selected part as a rhythm set.
The length of the sample will be changed as specified.
*
To cancel, press [F5 (CANCEL)].
*
To cancel, press [F5 (CANCEL)].
If you select a different rhythm set, the rhythm set to which the
samples are assigned will disappear. If you want to keep this
rhythm set, press [WRITE] to save it. (p. 124)
Dividing a Sample into Notes
(CHOP)
The chop function divides a sample waveform into separate notes.
Procedure for Dividing a Sample
*
You cannot execute this with more than one sample selected.
You can freely specify the dividing point(s).
1. In the SAMPLE EDIT screen, press [F3 (MODIFY)] to open
1. Press [ ] [ ] to move the cursor to “Current Address.”
the Sample Modify Menu window.
2. Use the VALUE dial or [INC] [DEC] to move the point.
2. Press [F4 (CHOP)].
3. At the location where you want to divide the sample, press
[F2 (ADD)].
The current location will be the dividing point.
4. Repeat steps 2 and 3 to specify other dividing points.
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Editing a Audio Phrase (Sample)
divided into a maximum of 16 pieces.
Joining Two or More Samples
(COMBINE)
Automatically Dividing a Sample (Auto
Chop)
This operation combines multiple samples into a single sample. You
can combine as many as sixteen samples. You can also place silent
spaces between the samples.
Here’s how you can automatically specify the points at which the
sample is to be divided, and then divide the sample.
1. From step 3 of p. 122, press [F4 (AUTO)].
1. In the SAMPLE EDIT screen, press [F3 (MODIFY)] to open
The Auto Chop window will appear.
the Sample Modify Menu window.
2. Use the VALUE dial or [INC] [DEC] to select the method by
2. Press [F5 (COMBINE)].
fig.COMBINE
which the sample is to be divided.
3. Press [ ] and then use the VALUE dial or [INC] [DEC] to
set the value.
Parameter
Explanation
Chop Type
How the sample will be divided
Level: Divide according to volume.
Beat: Divide at beats based on the Tempo (p. 120) of the
sample.
3. Press [ ] [ ] [ ] [ ] to select a parameter.
Divide x: Divide into ‘x’ number of equal lengths.
If Chop Type is Level
4. Use the VALUE dial or [INC] [DEC] to set the value.
Level Level at which the sample is to be divided
Lower settings of this value will cause the sample to be di-
Parameter
Explanation
vided more finely.
1–10
TYPE
Sample or silence to be combined
None: none
Sample: sample
If Chop Type is Beat
Beat Beat interval at which the sample is to be divided
1/32, 1/16T, 1/16, 1/8T, 1/8, 1/4T, 1/4, 1/2, 1/1, 2/1
If Chop Type is Divide x
Times Number of samples into which the sample is to be divided
2–16
Time: silent region (specified as time)
Beat: silent region (specified as a note value)
BANK
PRM
Bank that contains the sample
U: user
C: card
*
This will be displayed only if TYPE is set to Sample.
Sample number, or the duration/note value of the silent re-
gion
4. Press [F6 (EXEC)].
The sample will be automatically divided according to your
settings, and the points will be specified. A maximum of 15
division points will be set (16 regions).
The note value is based on the BPM of the sample imme-
diately before the silent region.
If there is no sample immediately before the silent region, the
current BPM will be used.
*
If TYPE is set to Sample
1–2000
*
To cancel, press [F5 (CANCEL)].
If TYPE is set to Time
1–10000 ms
If TYPE is set to Beat
Moving/Deleting a Dividing Point
1/32, 1/16T, 1/16, 1/8T, 1/8, 1/4T, 1/4, 1/2, 1/1, 2/1
1. Press [ ] [ ] to move the cursor to “Point No.”
*
You can press [F4 (PREVIEW)] to audition the selected sample.
2. Use the VALUE dial or [INC] [DEC] to select the point that
you want to move or delete.
5. Press [F6 (EXEC)].
In order from the start point, the points are numbered 1, 2,...15.
A message will ask you for confirmation.
3. To move the dividing point, press [ ] and then turn the
6. To execute, press [F6 (EXEC)].
VALUE dial.
*
To cancel, press [F5 (CANCEL)].
4. To delete the dividing point, press [F3 (CLEAR)].
Auditioning the Divided Samples
1. Press [ ] [ ] to move the cursor to “Point No.”
2. Use the VALUE dial or [INC] [DEC] to select the point that
you want to audition.
In order from the start point, the points are numbered 1, 2,...15.
3. Press [F4 (PREVIEW)].
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Editing a Audio Phrase (Sample)
A message will ask you for confirmation.
Saving a Sample (Write)
A edited sample, as well as any changes you’ve made in the settings
for a sample will be lost as soon as you turn off the power. If you
want to keep such data, you must save it as follows.
9. Press [F6 (EXEC)] to execute the save operation.
*
To cancel the operation, press [F5 (CANCEL)].
Never switch off the JUNO-G while data is being saved.
You can’t save by overwriting another sample.
Stereo samples must be saved to two consecutive sample
numbers.
1. Access the SAMPLE LIST screen. (p. 117)
•
•
Samples displayed as “N” or “E” have not yet been saved (p. 117).
2. Select the sample that you want to save.
If you want to select two or more samples, press [F2 (MARK)] to
add a check mark (✔) to the samples that you want to select.
To remove the check mark from a selected sample, select and
press [F2 (MARK)] again.
If you hold down [SHIFT] and press [F4 (SET ALL)], a check
mark will be added to all samples of the selected group.
If you hold down [SHIFT] and press [F3 (CLR ALL)], check
marks will be removed from all selected samples.
3. Press [WRITE].
The WRITE MENU screen will appear. Make sure that
“Sample” is highlighted.
fig.SampleWrite
4. Press [F3 (SAMPLE)] or [ENTER].
If you have selected more than one sample, a message will ask
into the identical number corresponding to each bank of the
sample list. Sample names will be assigned automatically. If
you want to write the samples, press [F6 (EXEC)]. If you decide
to cancel, press [F5 (CANCEL)].
5. Assign a name to the sample.
For details on assigning names, refer to p. 24.
6. When you have finished inputting the name, press [F6 (WRITE)].
A screen will appear allowing you to select the write-
destination sample.
fig.SampleWrite2
7. Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select the
write destination sample number.
The write destination can be either the JUNO-G’s internal user
memory (User), or a memory card (Card).
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This section explains the procedures and settings for applying effects
in each mode.
Making Effect Settings
For details of the JUNO-G’s onboard effects, refer to About the
1. In the appropriate mode, select the sound to which you
Onboard Effects (p. 20).
want to apply effects.
2. Press EDIT [EFFECTS] to access the EFFECT ROUTING
screen.
Turning Effects On and Off
The JUNO-G’s onboard effects can be turned on/off as a whole.
Turn these settings OFF when you wish to listen to the unprocessed
sound as you create a sound, or when you wish to use external
effects processors instead of the built-in effects.
3. Press [F1 (ROUTING)]–[F5 (MASTER)] to select the effect
that you want to edit.
4. Use the VALUE dial or [INC] [DEC] to set the effect type you
want.
*
Effect ON/OFF settings are global JUNO-G settings. These settings
cannot be made for each Patch or Performance individually.
1. Press EDIT [EFFECTS] to access the EFFECT ROUTING
screen.
fig.Routing*
5. Use [ ] [ ] [ ] [ ] to move the cursor to the parameter
you wish to change.
6. Use the VALUE dial or [INC] [DEC] to get the value you
want.
2. Press [F6 (SWITCH)].
7. Press [EXIT] to return to the previous screen.
The EFFECT SWITCH window appears.
fig.FxSw
*
You cannot edit the effect settings for patches of the GM group.
3. Press [F1 (MFX1)]–[F6 (MASTER)] to turn each effect switch
on/off.
The switch will turn on/off each time you press the button.
4. Press [EXIT] to return to the previous screen.
When you return to the PLAY screen, the settings will be
displayed in the following area.
fig.FxSw2
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Adding Effects
Applying Effects in Patch Mode
In Patch mode you can use one multi-effect (MFX), one chorus, and one reverb.
Specifying How the Sound Will Be Output (Routing)
Here you can make overall settings for effects, and the output destination and level of each signal.
fig.Routing
15
10
11
1
7
2
5
6
12
13
14
8
9
3
4
For details on these settings, refer to Making Effect Settings (p. 125).
Parameter
Value
Explanation
Tone Select
(Rhythm Key Se-
lect)
1–4 (A0–C8)
Tone (or rhythm tone) for which you want to make settings
This parameter is Rhythm Key Select when a rhythm set is being selected. You can select the rhythm tone (A0–
C8) for which you want to make settings.
1
Tone Output
Level
0–127
0–127
0–127
0–78
Level of the signal sent to the output destination specified by Output Assign
2
3
4
5
6
Tone Chorus
Send Level
Level of the signal sent to chorus for each tone
Tone Reverb
Send Level
Level of the signal sent to reverb for each tone
MFX Type
Selects from among the 78 available multi-effects.
For details on multi-effects parameters, refer to Multi-Effects Parameters (p. 131).
Patch Output
Assign
(Rhythm Output
Assign)
MFX,
A, B,
1–4,
Specifies how the direct sound of each patch will be output.
MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes
through multi-effects.
A, B: Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects.
1–4: Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.
TONE: Outputs according to the settings for each tone.
TONE
how the direct sound will be output.
*
If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158).
Tone Output As-
sign
MFX, A, B, 1–4
Specifies how the direct sound of each tone will be output.
MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes
through multi-effects.
A, B: Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects.
1–4: Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.
*
If the Patch Output Assign is set to anything other than “TONE,” these settings will be ignored.
• When the Structure Type parameter has a setting of Type “2”–”10,” the outputs of tones 1 and 2 will be combined
with tone 2, and the outputs of tones 3 and 4 will be combined with tone 4. For this reason, tone 1 will follow the
settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 35).
*
If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158).
MFX Output
Level
0–127
0–127
0–127
0–3
Volume of the sound passed through the multi-effects
Amount of chorus for the sound passed through multi-effects
Amount of reverb for the sound passed through multi-effects
7
8
MFX Chorus
Send Level
MFX Reverb
Send Level
9
Chorus Type
Selects either chorus or delay.
0 (OFF): Neither chorus or delay is used.
1 (CHORUS): Chorus is used.
2 (DELAY): Delay is used.
3 (GM2 CHO): General MIDI 2 chorus
10
Reverb Type
0–5
Type of reverb
11
0 (OFF): Reverb is not used.
1 (REVERB): Normal reverb
2 (SRV ROOM): Simulates typical room acoustic reflections.
3 (SRV HALL): Simulates typical concert hall acoustic reflections.
4 (SRV PLATE): Simulates a plate reverb, a popular type of artificial reverb unit that derives its sound from the
vibration of a metallic plate.
5 (GM2 REV): General MIDI 2 reverb
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Adding Effects
Parameter
Value
Explanation
MFX Output As-
sign
A, B
Output destination of the sound passed through the multi-effects
A: OUTPUT A (MIX) jacks in stereo
12
13
B: OUTPUT B jacks in stereo
*
If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158).
Chorus Output
Select
MAIN, REV,
M+R
Specifies how the sound routed through chorus will be output.
MAIN: Output to the OUTPUT jacks in stereo.
REV: Output to reverb in mono.
M+R: Output to the OUTPUT jacks in stereo, and to reverb in mono.
Chorus Level
0–127
A, B
Volume of the sound passed through chorus
Chorus Output
Assign
Selects the pair of OUTPUT jacks to which the chorus sound is routed when Chorus Output Select is set to “MAIN”
or “M+R.”
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
*
*
When Chorus Output Select is set to “REV,” this setting will have no effect.
If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158).
Reverb Level
0–127
A, B
Volume of the sound passed through reverb
14
15
Reverb Output
Assign
Specifies how the sound routed through reverb will be output.
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
*
If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158).
Mastering Effect
Type
0–5
Mastering effect settings (p. 156)
Applying Effects in Performance Mode
In Performance mode you can use three multi-effects (MFX1, MFX2, MFX3), one chorus, and one reverb. For each of the three multi-effects, the
chorus, and the reverb, you can specify whether it will operate according to the effect settings of the performance, or according to the effect
settings of the patch or rhythm set assigned to the part you specify. The three multi-effects can be used independently, or you can connect two or
three of them in series.
Specifying How the Sound Will Be Output (Routing)
Here you can make overall settings for effects, and the output destination and level of each signal.
fig.RoutingPfm
17
4
7
9
1
14
15
16
12
13
2
3
5
6
10
11
8
For details on these settings, refer to Making Effect Settings (p. 125).
7
9
11
14
, and settings can be made individually for three systems multi-effects (MFX1–MFX3).
*
For the following parameters
,
–
Parameter
Value
Explanation
Part Select
1–16
Part for which you want to make settings
1
2
Part Output As-
sign
MFX, A, B, 1–4,
PAT
Specifies for each part how the direct sound will be output.
MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes
through multi-effects.
A, B: OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects
1–4: INDIVIDUAL 1–4 jacks in mono without passing through multi-effects
PAT: Determined by the settings of the patch or rhythm set assigned to the part.
*
If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158).
Part Output
MFX Select
1–3
Specifies which multi-effects will be used.
3
4
5
6
(MFX1–MFX3)
Part Output Lev-
el
0–127
0–127
0–127
2
Level of the signal sent to the output destination specified by Part Output Assign (
Level of the signal sent to chorus for each part
)
Part Chorus
Send Level
PartReverbSend
Level
Level of the signal sent to reverb for each part.
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Adding Effects
Parameter
Value
Explanation
MFX Source
PRF, P1–P16
Multi-effects parameter settings used by the performance
PRF: Performance settings
7
P1–P16: Settings of the patch/rhythm set assigned to one of the parts (Select the part number.)
MFX Type
0–78
Selects from among the 78 available multi-effects.
For details on multi-effects parameters, refer to Multi-Effects Parameters (p. 131).
MFX Structure
1–16
Specifies how MFX1–3 will be connected.
8
MFX Output
Level
0–127
Volume of the sound passed through the multi-effects
9
MFX Chorus
0–127
Amount of chorus for the sound passed through multi-effects
Amount of reverb for the sound passed through multi-effects
10
Send Level
MFX Reverb
Send Level
0–127
11
Chorus Source
PRF, P1–P16
Chorus parameter settings used by the performance
PRF: Performance settings
12
P1–P16: Settings of the patch/rhythm set assigned to one of the parts (Select the part number.)
Chorus Type
0–3
Selects either chorus or delay.
0 (OFF): Neither chorus or delay is used.
1 (CHORUS): Chorus is used.
2 (DELAY): Delay is used.
3 (GM2 CHO): General MIDI 2 chorus
Reverb Source
PRF, P1–P16
0–5
Reverb parameter settings used by the performance
13
PRF: Performance settings
P1–P16: Settings of the patch/rhythm set assigned to one of the parts (Select the part number.)
Reverb Type
Type of reverb
0 (OFF): Reverb is not used.
1 (REVERB): Normal reverb
2 (SRV ROOM): Simulates typical room acoustic reflections.
3 (SRV HALL): Simulates typical concert hall acoustic reflections.
4 (SRV PLATE): Simulates a plate reverb, a popular type of artificial reverb unit that derives its sound from
the vibration of a metallic plate.
5 (GM2 REV): General MIDI 2 reverb
MFX Output As-
sign
A, B
Output destination of the sound passed through the multi-effects
A: OUTPUT A (MIX) jacks in stereo
B: OUTPUT B jacks in stereo
14
*
*
If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158).
For some settings of MFX Structure, the sound that passes through the multi-effect will be sent to a different multi-effect,
and the MFX Output Assign setting will be ignored.
Chorus Output
Select
MAIN, REV,
M+R
Specifies how the sound routed through chorus will be output.
MAIN: Output to the OUTPUT jacks in stereo.
REV: Output to reverb in mono.
15
M+R: Output to the OUTPUT jacks in stereo, and to reverb in mono.
Chorus Level
0–127
A, B
Volume of the sound passed through chorus
Chorus Output
Assign
Selects the pair of OUTPUT jacks to which the chorus sound is routed when Chorus Output Select is set to
“MAIN” or “M+R.”
A: OUTPUT A (MIX) jacks in stereo
B: OUTPUT B jacks in stereo
*
*
When Chorus Output Select is set to “REV,” this setting will have no effect.
If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158).
Reverb Level
16
0–127
A, B
Volume of the sound passed through reverb
Reverb Output
Specifies how the sound routed through reverb will be output.
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
Assign
*
If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158).
Mastering Effect
Type
0–5
Mastering effect settings (p. 156)
17
When Patch or Rhythm Set Settings Are Selected
When the patch or rhythm set’s effects settings are selected, those settings are shown in each of the performance’s effects setting screens, and
the settings can be then be changed as well. Changes to patch or rhythm set effects parameter settings are lost when another patch or rhythm
set is selected. To keep the modified settings, save the patch/rhythm set settings (p. 32, p. 51).
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Adding Effects
Making Multi-Effects Settings (MFX1–3)
fig.MFXSetting
For details on these settings, refer to Making Effect Settings (p. 125).
Parameter
Value
Explanation
(Multi-Effects Type)
00–78
Selects from among the 78 available multi-effects.
*
In this setting screen, you can edit the parameters of the multi-effects that is selected by the Multi-effects Type setting. For details on the parameters that
can be edited, refer to Multi-Effects Parameters (p. 131).
Parameters marked by
can be selected as a multi-effect control destination parameter (see below).
Making Multi-Effects Settings (MFX Control)
fig.MFXCtrl
For details on these settings, refer to Making Effect Settings (p. 125).
*
Press [F5 (CTRL)] to switch the multi-effects that will be modified.
Parameter
Value
Explanation
Source 1–4
OFF, CC01–31, 33–95,
PITCH BEND,
AFTERTOUCH,
SYS CTRL1–4
MIDI message used to change the multi-effects parameter with the multi-effects control
OFF: Multi-effects control will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
SYS CTRL1–4: MIDI messages used as common multi-effects controls
sages used as System Control 1–4 are set with the Sys Ctrl 1–4 Source parameters (p. 160).
Destination 1–4
Sens 1–4
Refer to p. 131.
-63– +63
Multi-effects parameters to be controlled with the multi-effects control
The multi-effects parameters available for control will depend on the multi-effects type. For details, refer to
Multi-Effects Parameters (p. 131).
To make an increase in the currently selected value (to get higher values, move to the right, increase rates, and
so on), select a positive value; to make a decrease in the currently selected value (to get lower values, move to
the left, decrease rates, and so on), select a negative value. For either positive or negative settings, greater ab-
solute values will allow greater amounts of change. Set this to “0” if you don’t want to apply the effect.
MFX Control
Channel
1–16, OFF
This determines the channel that will be used for reception when using the Multi-effects Control to modify multi-
effects parameters in real time, when the MFX1–3 Source parameter (p. 128) is set to “PRF.” Set this to “OFF”
when the Multi-effects Control is not being used.
*
This parameter is not found in Patch mode.
*
In patch/rhythm set mode, there are parameters that determine, for each tone/rhythm tone, whether or not Pitch Bend, Controller Number 11 (Expression)
and Controller Number 64 (Hold 1) are received (p. 45). When these settings are “ON,” and the MIDI messages are received, then when any change is
made in the settings of the desired parameter, the Pitch Bend, Expression, and Hold1 settings also change simultaneously. If you want to change the
targeted parameters only, then set these to “OFF.”
•
There are parameters that determine whether or not specific MIDI messages are received for each MIDI channel (p. 67). When using the
multi-effects control, confirm that any MIDI messages used for the multi-effects control will be received. If the JUNO-G is set up such that
reception of MIDI messages is disabled, then the multi-effects control will not function.
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Adding Effects
In the multi-effect setting screen, a “c” symbol will be shown at
the left of the parameter.
Multi-Effects Control
If you wanted to change the volume of multi-effects sounds, the
delay time of Delay, and the like, using an external MIDI device,
you would need to send System Exclusive messages—MIDI
messages designed exclusively for the JUNO-G. However,
System Exclusive messages tend to be complicated, and the
amount of data that needs to be transmitted can get quite large.
multi-effects parameters have been designed so they accept the
use of Control Change (or other) MIDI messages for the
purpose of making changes in their values. For example, you
can use the Pitch Bend lever to change the amount of distortion,
or use the keyboard’s touch to change the delay time of Delay.
The parameters that can be changed are predetermined for each
type of multi-effect; among the parameters described in Multi-
Effects Parameters (p. 131), these are indicated by a “#.”
The function that allows you use MIDI messages to make these
changes in realtime to the multi-effects parameters is called the
Multi-effects Control. Up to four multi-effects controls can be
used in a single patch/rhythm set/performance.
amount of control (Sens parameter) applied, the parameter
selected (Destination parameter), and the MIDI message used
(Source parameter).
By using the Matrix Control instead of the Multi-effects
Control, you can also change the some popular parameters
of multi-effects in realtime (p. 44).
Specifying the Multi-Effects Structure (MFX Structure)
Here’s how to specify how MFX 1–3 will be connected.
*
This parameter is not found in Patch mode.
fig.MFXStruct
For details on these settings, refer to Making Effect Settings (p. 125).
Parameter
Value
Explanation
Struct
TYPE01–TYPE16
00 (THRU)–78
Specifies how MFX1–3 will be connected.
Selects the multi-effect type of MFX1–3.
(MFX1–3 Type)
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Adding Effects
52
53
54
55
3D DELAY
P.146
P.146
P.146
P.146
TIME CTRL DELAY
LONG TIME CTRL DELAY
TAPE ECHO
Multi-Effects Parameters
The multi-effects feature 78 different kinds of effects. Some of the
effects consist of two or more different effects connected in series.
Parameters marked with a sharp “#” can be controlled using a
specified controller (Two setting items will change simultaneously
for “#1” and “#2”).
LO-FI (5 types)
56
57
58
59
60
LOFI NOISE
P.147
P.147
P.147
P.148
P.148
LOFI COMPRESS
LOFI RADIO
TELEPHONE
PHONOGRAPH
PITCH (3 types)
61
62
63
PITCH SHIFTER
P.148
P.148
P.149
FILTER (10 types)
2VOICE PITCH SHIFTER
STEP PITCH SHIFTER
01
02
03
04
05
06
07
08
09
10
EQUALIZER
SPECTRUM
P.132
P.132
P.132
P.132
P.132
P.133
P.133
P.133
P.134
P.134
ISOLATOR
REVERB (2 types)
LOW BOOST
SUPER FILTER
STEP FILTER
ENHANCER
AUTO WAH
64
65
REVERB
GATED REVERB
P.149
P.149
COMBINATION (12 types)
66
67
68
69
70
71
72
73
74
75
76
77
OVERDRIVE → CHORUS
OVERDRIVE → FLANGER
OVERDRIVE → DELAY
DISTORTION → CHORUS
DISTORTION → FLANGER
DISTORTION → DELAY
ENHANCER → CHORUS
ENHANCER → FLANGER
ENHANCER → DELAY
CHORUS → DELAY
P.150
P.150
P.150
P.150
P.150
P.150
P.151
P.151
P.151
P.151
P.152
P.152
HUMANIZER
SPEAKER SIMULATOR
MODULATION (12 types)
11
12
13
14
15
16
17
18
19
20
21
22
PHASER
P.134
P.134
P.135
P.135
P.135
P.135
P.136
P.136
P.136
P.136
P.137
P.137
STEP PHASER
MULTI STAGE PHASER
INFINITE PHASER
RING MODULATOR
STEP RING MODULATOR
TREMOLO
AUTO PAN
STEP PAN
SLICER
ROTARY
FLANGER → DELAY
CHORUS → FLANGER
PIANO (1 type)
78
SYMPATHETIC RESONANCE
P.152
About Note
Some effect parameters (such as Rate or Delay Time) can be set in
terms of a note value.
VK ROTARY
CHORUS (12 types)
23
24
25
26
27
28
29
30
31
32
33
34
CHORUS
FLANGER
STEP FLANGER
HEXA-CHORUS
TREMOLO CHORUS
SPACE-D
3D CHORUS
3D FLANGER
3D STEP FLANGER
2BAND CHORUS
2BAND FLANGER
2BAND STEP FLANGER
P.137
P.138
P.138
P.138
P.139
P.139
P.139
P.139
P.140
P.140
P.140
P.141
Such parameters have a num/note switch that lets you specify
whether you will set the value as a note value or as a numerical value.
If you want to set Rate (Delay Time) as a numerical value, set the
num/note switch to “Hz” (“msec”). If you want to set it as a note
value, set the num/note switch to “NOTE.”
fig.NumNoteSw
num/note switch
DYNAMICS (8 types)
35
36
37
38
39
40
41
42
OVERDRIVE
P.141
P.141
P.141
P.141
P.142
P.142
P.142
P.142
DISTORTION
VS OVERDRIVE
VS DISTORTION
GUITAR AMP SIMULATOR
COMPRESSOR
LIMITER
If a parameter whose num/note switch is set to “NOTE” is
specified as a destination for multi-effect control, you will not be
able to use multi-effect control to control that parameter.
GATE
DELAY (13 types)
43
44
45
46
47
48
49
50
51
DELAY
P.143
P.143
P.143
P.144
P.144
P.144
P.145
P.145
P.145
LONG DELAY
SERIAL DELAY
MODULATION DELAY
3TAP PAN DELAY
4TAP PAN DELAY
MULTI TAP DELAY
REVERSE DELAY
SHUFFLE DELAY
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Adding Effects
01: EQUALIZER
Parameter
Boost/
Cut Low #
Boost/
Cut Mid #
Boost/
Cut High #
Anti Phase
Low Sw
Value
-60– +4 dB
Explanation
This is a four-band stereo equalizer (low, mid x 2, high).
These boost and cut each of the High,
Middle, and Low frequency ranges.
At -60 dB, the sound becomes in-
audible. 0 dB is equivalent to the
input level of the sound.
fig.MFX-01
L in
L out
4-Band EQ
4-Band EQ
R in
R out
OFF, ON
0–127
Turns the Anti-Phase function on and
off for the Low frequency ranges.
When turned on, the counter-
channel of stereo sound is inverted
and added to the signal.
Adjusts the level settings for the Low
frequency ranges.
Adjusting this level for certain fre-
quencies allows you to lend em-
phasis to specific parts. (This is
effective only for stereo source.)
Settings of the Anti-Phase function
for the Middle frequency ranges
The parameters are the same as for
the Low frequency ranges.
Parameter
Low Freq
Low Gain #
Mid1 Freq
Value
Explanation
200, 400 Hz
-15– +15 dB
200–8000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle
range 1
Gain of the middle range 1
Width of the middle range 1
Set a higher value for Q to
narrow the range to be af-
fected.
Anti Phase
Low Level
Mid1 Gain
Mid1 Q
-15– +15 dB
0.5, 1.0, 2.0, 4.0, 8.0
Anti Phase
Mid Sw
Anti Phase
Mid Level
Low Boost Sw
OFF, ON
0–127
Mid2 Freq
200–8000 Hz
Frequency of the middle
range 2
OFF, ON
Turns Low Booster on/off.
This emphasizes the bottom to cre-
ate a heavy bass sound.
Increasing this value gives you a
heavier low end.
Mid2 Gain
Mid2 Q
-15– +15 dB
0.5, 1.0, 2.0, 4.0, 8.0
Gain of the middle range 2
Width of the middle range 2
Set a higher value for Q to
narrow the range to be af-
fected.
Frequency of the high range
Gain of the high range
Output Level
Low Boost
Level
0–127
0–127
*
Depending on the Isolator and fil-
ter settings this effect may be hard
to distinguish.
High Freq
High Gain #
Level #
2000, 4000, 8000 Hz
-15– +15 dB
0–127
Level
Output Level
02: SPECTRUM
04: LOW BOOST
This is a stereo spectrum. Spectrum is a type of filter which modifies
Boosts the volume of the lower range, creating powerful lows.
fig.MFX-04
the timbre by boosting or cutting the level at specific frequencies.
fig.MFX-02
L in
L out
R out
Low Boost
Low Boost
2-Band EQ
2-Band EQ
L in
L out
R out
Spectrum
Spectrum
R in
R in
Parameter
Boost
Frequency #
Boost Gain #
Value
50–125 Hz
Explanation
Center frequency at which the lower
range will be boosted
Amount by which the lower range
will be boosted
Width of the lower range that will be
boosted
Gain of the low frequency range
Gain of the high frequency range
Output level
Parameter
Value
-15– +15 dB
Explanation
Gain of each frequency band
0– +12 dB
Band1 (250Hz)
Band2 (500Hz)
Band3 (1000Hz)
Band4 (1250Hz)
Band5 (2000Hz)
Band6 (3150Hz)
Band7 (4000Hz)
Band8 (8000Hz)
Q
Boost Width
WIDE, MID,
NARROW
-15– +15 dB
-15– +15 dB
0–127
Low Gain
High Gain
Level
0.5, 1.0, 2.0, 4.0, 8.0
0–127
Simultaneously adjusts the
width of the adjusted ranges for
all the frequency bands.
Output Level
05: SUPER FILTER
This is a filter with an extremely sharp slope. The cutoff frequency
Level #
can be varied cyclically.
fig.MFX-05
L in
L out
R out
03: ISOLATOR
Super Filter
Super Filter
This is an equalizer which cuts the volume greatly, allowing you to
add a special effect to the sound by cutting the volume in varying
R in
ranges.
fig.MFX-03
Parameter
Value
Explanation
Filter Type
LPF, BPF,
HPF, NOTCH
Filter type
Frequency range that will pass
through each filter
LPF: frequencies below the cutoff
BPF: frequencies in the region of the
cutoff
L in
L out
R out
Isolator
Isolator
Low Boost
Low Boost
R in
HPF: frequencies above the cutoff
NOTCH: frequencies other than the
region of the cutoff
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Adding Effects
Parameter
Filter Slope
Value
-12, -24, -36 dB
Explanation
07: ENHANCER
Amount of attenuation per octave
-36 dB: extremely steep
-24 dB: steep
Controls the overtone structure of the high frequencies, adding
sparkle and tightness to the sound.
-12 dB: gentle
fig.MFX-07
Filter
0–127
0–127
Cutoff frequency of the filter
Increasing this value will raise the
cutoff frequency.
Cutoff #
2-Band
EQ
L in
L out
R out
Enhancer
Enhancer
Mix
Mix
Filter
Resonance #
Filter resonance level
Increasing this value will emphasize
the region near the cutoff frequency.
Amount of boost for the filter output
On/off switch for cyclic change
2-Band
EQ
R in
Filter Gain
Modulation
Sw
0– +12 dB
OFF,ON
Modulation
Wave
TRI, SQR,
SIN, SAW1,
SAW2
How the cutoff frequency will be mod-
ulated
Parameter
Sens #
Mix #
Value
0–127
0–127
Explanation
Sensitivity of the enhancer
Level of the overtones gen-
erated by the enhancer
Gain of the low range
Gain of the high range
Output Level
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1: sawtooth wave (upward)
SAW2: sawtooth wave (downward)
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
SAW1
SAW2
08: AUTO WAH
Cyclically controls a filter to create cyclic change in timbre.
fig.MFX-08
Rate #
0.05–10.00 Hz,
note
Rate of modulation
L in
L out
Auto Wah
Auto Wah
2-Band EQ
Depth
Attack #
0–127
0–127
Depth of modulation
Speed at which the cutoff frequency
will change
This is effective if Modulation Wave
is SQR, SAW1, or SAW2.
Output level
R in
R out
2-Band EQ
Level
0–127
Parameter
Filter Type
Value
LPF, BPF
Explanation
Type of filter
06: STEP FILTER
LPF: The wah effect will be applied
over a wide frequency range.
BPF: The wah effect will be applied
over a narrow frequency range.
Adjusts the center frequency at which
the effect is applied.
Adjusts the amount of the wah effect
that will occur in the range of the center
frequency.
This is a filter whose cutoff frequency can be modulated in steps.
You can specify the pattern by which the cutoff frequency will
change.
Manual #
Peak
0–127
0–127
fig.MFX-06
L in
L out
R out
Step Filter
Step Filter
Set a higher value for Q to narrow
the range to be affected.
R in
Sens #
0–127
Adjusts the sensitivity with which the
filter is controlled.
Parameter
Step 01–16
Rate #
Value
0–127
0.05–10.00 Hz,
note
0–127
Explanation
Cutoff frequency at each step
Rate of modulation
Polarity
UP, DOWN
Sets the direction in which the frequen-
cy will change when the auto-wah filter
is modulated.
UP: The filter will change toward a
higher frequency.
DOWN: The filter will change to-
ward a lower frequency.
Frequency of modulation
Attack #
Speed at which the cutoff frequency
changes between steps
Filter type
Frequency range that will pass
through each filter
LPF: frequencies below the cutoff
BPF: frequencies in the region of the
cutoff
HPF: frequencies above the cutoff
NOTCH: frequencies other than the
region of the cutoff
Amount of attenuation per octave
-12 dB: gentle
-24 dB: steep
-36 dB: extremely steep
Filter resonance level
Increasing this value will emphasize
the region near the cutoff frequency.
Amount of boost for the filter output
Output level
Filter Type
LPF, BPF,
HPF, NOTCH
Rate #
0.05–10.00 Hz,
note
0–127
Depth #
Phase #
Depth of modulation
0–180 deg
Adjusts the degree of phase shift of the
left and right sounds when the wah ef-
fect is applied.
Gain of the low range
Gain of the high range
Output Level
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
Filter Slope
-12, -24, -36 dB
0–127
Filter
Resonance #
Filter Gain
Level
0– +12 dB
0–127
133
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Adding Effects
Type
Cabinet
Speaker
Micro-
phone
09: HUMANIZER
Adds a vowel character to the sound, making it similar to a human
BUILT-IN 5
BG STACK 1
BG STACK 2
MS STACK 1
MS STACK 2
METAL STACK
2-STACK
open back enclosure
sealed enclosure
12 x 2
12 x 2
12 x 2
12 x 4
12 x 4
12 x 4
12 x 4
12 x 4
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
voice.
fig.MFX-09
large sealed enclosure
large sealed enclosure
large sealed enclosure
large double stack
large double stack
large triple stack
L in
L out
Pan L
2-Band
EQ
Overdrive
Formant
Pan R
3-STACK
R in
R out
11: PHASER
Parameter
Drive Sw
Drive #
Value
OFF, ON
0–127
Explanation
Turns Drive on/off.
Degree of distortion
Also changes the volume.
Selects the vowel.
A phase-shifted sound is added to the original sound and
modulated.
fig.MFX-11
Vowel1
Vowel2
Rate #
a, e, i, o, u
a, e, i, o, u
0.05–10.00 Hz,
note
0–127
OFF, ON
Frequency at which the two vowels
switch
Effect depth
Determines whether the LFO for
switching the vowels is reset by the in-
put signal (ON) or not (OFF).
Volume level at which reset is applied
2-Band
EQ
L in
L out
Phaser
Phaser
Mix
Mix
Depth #
Input Sync
Sw
2-Band
EQ
R in
R out
Input Sync
Threshold
Manual #
0–127
0–100
Point at which Vowel 1/2 switch
49 or less: Vowel 1 will have a long-
er duration.
50: Vowel 1 and 2 will be of equal
duration.
51 or more: Vowel 2 will have a
longer duration.
Gain of the low frequency range
Gain of the high frequency range
Stereo location of the output
Output level
Parameter
Value
Explanation
Number of stages in the phaser
Mode
4-STAGE, 8-
STAGE, 12-STAGE
0–127
Manual #
Adjusts the basic frequency from
which the sound will be modu-
lated.
Frequency of modulation
Depth of modulation
Selects whether the left and right
phase of the modulation will be
the same or the opposite.
INVERSE: The left and right
phase will be opposite. When
using a mono source, this
spreads the sound.
SYNCHRO: The left and right
phase will be the same. Select
this when inputting a stereo
source.
Low Gain
High Gain
Pan #
-15– +15 dB
-15– +15 dB
L64–63R
0–127
Rate #
Depth
Polarity
0.05–10.00Hz,note
0–127
INVERSE,
SYNCHRO
Level
10: SPEAKER SIMULATOR
Simulates the speaker type and mic settings used to record the
speaker sound.
fig.MFX-10
L in
L out
R out
Speaker
Speaker
Resonance #
Cross
Feedback
0–127
-98– +98 %
Amount of feedback
Adjusts the proportion of the
phaser sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Level of the phase-shifted sound
Gain of the low range
R in
Mix #
0–127
Parameter
Speaker Type
Mic Setting
Value
(See the table right.)
1, 2, 3
Explanation
Type of speaker
Adjusts the location of the mic
that is recording the sound of
the speaker.
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
Gain of the high range
Output Level
This can be adjusted in
three steps, with the mic
becoming more distant in
the order of 1, 2, and 3.
Volume of the microphone
Volume of the direct sound
Output Level
12: STEP PHASER
The phaser effect will be varied gradually.
fig.MFX-12
Mic Level #
Direct Level #
Level #
0–127
0–127
0–127
2-Band
EQ
L in
L out
R out
Step Phaser
Mix
Mix
Specifications of each Speaker Type
The speaker column indicates the diameter of each speaker unit (in
inches) and the number of units.
2-Band
EQ
Step Phaser
R in
Type
Cabinet
Speaker
Micro-
phone
SMALL 1
SMALL 2
MIDDLE
small open-back enclosure
small open-back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
10
10
dynamic
dynamic
dynamic
dynamic
dynamic
condenser
condenser
condenser
Parameter
Mode
Value
Explanation
Number of stages in the phaser
4-STAGE, 8-
STAGE, 12-STAGE
0–127
12 x 1
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
Manual #
Adjusts the basic frequency from
which the sound will be modu-
lated.
Frequency of modulation
Depth of modulation
JC-120
BUILT-IN 1
BUILT-IN 2
BUILT-IN 3
BUILT-IN 4
Rate #
Depth
0.05–10.00Hz,note
0–127
134
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Adding Effects
Parameter
Value
Explanation
Parameter
Value
Explanation
Polarity
INVERSE,
SYNCHRO
Selects whether the left and right
phase of the modulation will be
the same or the opposite.
INVERSE: The left and right
phase will be opposite. When
using a mono source, this
spreads the sound.
Low Gain
-15– +15 dB
Amount of boost/cut for the
low-frequency range
Amount of boost/cut for the
high-frequency range
Output volume
High Gain
Level
-15– +15 dB
0–127
SYNCHRO: The left and right
phase will be the same. Select
this when inputting a stereo
source.
15: RING MODULATOR
This is an effect that applies amplitude modulation (AM) to the input
signal, producing bell-like sounds. You can also change the
modulation frequency in response to changes in the volume of the
Resonance #
Cross
Feedback
0–127
-98– +98 %
Amount of feedback
Adjusts the proportion of the
phaser sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Rate of the step-wise change in
the phaser effect
Level of the phase-shifted sound
Gain of the low range
Gain of the high range
sound sent into the effect.
fig.MFX-15
L in
L out
R out
Ring Mod
Ring Mod
2-Band EQ
Step Rate #
0.10–20.00 Hz, note
Mix #
0–127
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
R in
2-Band EQ
Output Level
Parameter
Frequency #
Value
0–127
Explanation
Adjusts the frequency at which modula-
tion is applied.
Adjusts the amount of frequency modu-
lation applied.
Determines whether the frequency mod-
ulation moves towards higher frequen-
cies (UP) or lower frequencies (DOWN).
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
13: MULTI STAGE PHASER
Extremely high settings of the phase difference produce a deep
Sens #
0–127
phaser effect.
fig.MFX-13
Polarity
UP, DOWN
L in
L out
Pan L
Multi Stage
Phaser
2-Band
EQ
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Mix
Pan R
R in
R out
Resonance
Level
Parameter
Mode
Value
4-STAGE, 8-
STAGE,
Explanation
Number of phaser stages
16: STEP RING MODULATOR
This is a ring modulator that uses a 16-step sequence to vary the
12-STAGE, 16-
STAGE, 20-
STAGE, 24-STAGE
0–127
frequency at which modulation is applied.
fig.MFX-16
Manual #
Adjusts the basic frequency from
which the sound will be modu-
lated.
Frequency of modulation
Depth of modulation
Amount of feedback
Level of the phase-shifted sound
Stereo location of the output
sound
L in
L out
R out
Step Ring Mod
Step Ring Mod
2-Band EQ
2-Band EQ
Rate #
Depth
Resonance #
Mix #
Pan #
0.05–10.00 Hz, note
0–127
0–127
0–127
L64–63R
R in
Parameter
Value
Explanation
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
Gain of the low range
Gain of the high range
Output Level
Step 01–16
0–127
Frequency of ring modulation at
each step
Rate at which the 16-step se-
quence will cycle
Speed at which the modulation
frequency changes between
steps
Amount of boost/cut for the
low-frequency range
Amount of boost/cut for the
high-frequency range
Volume balance of the original
sound (D) and effect sound (W)
Output volume
Rate #
0.05–10.00 Hz, note
0–127
Attack #
14: INFINITE PHASER
A phaser that continues raising/lowering the frequency at which the
Low Gain
High Gain
Balance #
Level
-15– +15 dB
-15– +15 dB
sound is modulated.
fig.MFX-14
L in
L out
Pan L
D100:0W–
D0:100W
0–127
Infinite Phaser
2-Band EQ
Pan R
R in
R out
Parameter
Value
Explanation
Mode
1, 2, 3, 4
Higher values will produce a
deeper phaser effect.
Speed #
-100– +100
Speed at which to raise or lower
the frequency at which the sound
is modulated
(+: upward / -: downward)
Amount of feedback
Volume of the phase-shifted
sound
Resonance #
Mix #
0–127
0–127
Pan #
L64–63R
Panning of the output sound
135
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Adding Effects
17: TREMOLO
19: STEP PAN
Cyclically modulates the volume to add tremolo effect to the sound.
This uses a 16-step sequence to vary the panning of the sound.
fig.MFX-17a
fig.MFX-19
L in
L out
R out
L in
L out
Tremolo
Tremolo
2-Band EQ
2-Band EQ
Step Pan
Step Pan
R in
R in
R out
Parameter
Value
Explanation
Mod Wave
TRI, SQR, SIN,
SAW1, SAW2
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
Parameter
Step 01–16
Rate #
Value
L64–63R
0.05–10.00 Hz, note
Explanation
Pan at each step
Rate at which the 16-step se-
quence will cycle
Speed at which the pan changes
between steps
Specifies whether an input note
will cause the sequence to re-
sume from the first step of the se-
quence (ON) or not (OFF)
Volume at which an input note
will be detected
SAW1/2: sawtooth wave
Attack #
0–127
SAW1
SAW2
Input Sync
Sw
OFF, ON
Input Sync
Threshold
Level
0–127
0–127
Rate #
0.05–10.00Hz,note
0–127
-15– +15 dB
-15– +15 dB
0–127
Frequency of the change
Depth to which the effect is applied
Gain of the low range
Gain of the high range
Output Level
Depth #
Low Gain
High Gain
Level
Output volume
20: SLICER
By applying successive cuts to the sound, this effect turns a
conventional sound into a sound that appears to be played as a
backing phrase. This is especially effective when applied to sustain-
18: AUTO PAN
Cyclically modulates the stereo location of the sound.
fig.MFX-18a
type sounds.
fig.MFX-20
L in
L out
R out
Auto Pan
Auto Pan
2-Band EQ
2-Band EQ
L in
L out
R out
Slicer
Slicer
R in
R in
Parameter
Value
Explanation
Mod Wave
TRI, SQR, SIN,
SAW1, SAW2
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
Parameter
Step 01–16
Rate #
Value
0–127
0.05–10.00
Hz, note
0–127
Explanation
Level at each step
Rate at which the 16-step sequence will
cycle
Speed at which the level changes be-
tween steps
Specifies whether an input note will
cause the sequence to resume from the
first step of the sequence (ON) or not
(OFF)
SAW1/2: sawtooth wave
Attack #
SAW1
R
SAW2
R
Input Sync
Sw
OFF, ON
Input Sync
Threshold
Mode
0–127
Volume at which an input note will be
detected
Sets the manner in which the volume
changes as one step progresses to the
next.
LEGATO: The change in volume from
one step’s level to the next remains
unaltered. If the level of a following
step is the same as the one preceding
it, there is no change in volume.
SLASH: The level is momentarily set
to 0 before progressing to the level of
the next step. This change in volume
occurs even if the level of the follow-
ing step is the same as the preceding
step.
L
L
Rate #
0.05–10.00Hz,note
0–127
-15– +15 dB
-15– +15 dB
0–127
Frequency of the change
Depth to which the effect is applied
Gain of the low range
Gain of the high range
Output Level
LEGATO,
SLASH
Depth #
Low Gain
High Gain
Level
Shuffle #
Level
0–127
0–127
Timing of volume changes in levels for
even-numbered steps (step 2, step 4, step
6...).
The higher the value, the later the beat
progresses.
Output level
136
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Adding Effects
Parameter
Woofer Trans
Up
Value
0–127
Explanation
21: ROTARY
Adjusts the rate at which the
woofer rotation speeds up
when the rotation is switched
from Slow to Fast.
Adjusts the rate at which the
woofer rotation speeds up
when the rotation is switched
from Fast to Slow.
The Rotary effect simulates the sound of the rotary speakers often
used with the electric organs of the past. Since the movement of the
high range and low range rotors can be set independently, the
unique type of modulation characteristic of these speakers can be
simulated quite closely. This effect is most suitable for electric organ
Woofer Trans
Down
0–127
Woofer Level
Tweeter Slow
Speed
Tweeter Fast
Speed
Tweeter Trans
Up
Tweeter Trans
Down
0–127
0.05–10.00 Hz
Volume of the woofer
Settings of the tweeter
The parameters are the
same as for the woofer.
Patches.
fig.MFX-21
L in
L out
R out
0.05–10.00 Hz
0–127
Rotary
R in
0–127
Tweeter Level
Spread
0–127
0–10
Parameter
Speed #
Value
SLOW, FAST
Explanation
Sets the rotary speaker stereo
image. The higher the value
set, the wider the sound is
spread out.
Gain of the low range
Gain of the high range
Output Level
Simultaneously switch the rota-
tional speed of the low frequency
rotor and high frequency rotor.
SLOW: Slows down the rota-
tion to the Slow Rate.
FAST: Speeds up the rotation
to the Fast Rate.
Low Gain
High Gain
Level #
-15– +15 dB
-15– +15 dB
0–127
Woofer Slow
Speed
Woofer Fast
Speed
Woofer
Acceleration
0.05–10.00 Hz
0.05–10.00 Hz
0–15
Slow speed (SLOW) of the low
frequency rotor
Fast speed (FAST) of the low fre-
quency rotor
Adjusts the time it takes the low
frequency rotor to reach the new-
ly selected speed when switch-
ing from fast to slow (or slow to
fast) speed. Lower values will re-
quire longer times.
Volume of the low frequency ro-
tor
Settings of the high frequency ro-
tor
The parameters are the same
as for the low frequency rotor
23: CHORUS
This is a stereo chorus. A filter is provided so that you can adjust the
timbre of the chorus sound.
fig.MFX-23
Balance D
2-Band
L in
L out
R out
EQ
Balance W
Chorus
Chorus
Woofer Level
0–127
Balance W
Tweeter Slow
Speed
Tweeter Fast
Speed
0.05–10.00 Hz
0.05–10.00 Hz
0–15
2-Band
R in
EQ
Balance D
Tweeter
Acceleration
Tweeter Level
Separation
Level #
Parameter
Filter Type
Value
OFF, LPF, HPF
Explanation
Type of filter
OFF: no filter is used
LPF: cuts the frequency range
above the Cutoff Freq
0–127
0–127
0–127
Spatial dispersion of the sound
Output Level
HPF: cuts the frequency range
below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Gain of the low range
22: VK ROTARY
Cutoff Freq
Pre Delay
200–8000 Hz
0.0–100.0 ms
This type provides modified response for the rotary speaker, with
the low end boosted further.
This effect features the same specifications as the VK-7’s built-in
Rate #
Depth
Phase
Low Gain
High Gain
Balance #
0.05–10.00 Hz, note
0–127
0–180 deg
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
rotary speaker.
fig.MFX-22
L in
2-Band EQ
L out
R out
Gain of the high range
Volume balance between the di-
rect sound (D) and the chorus
sound (W)
Rotary
R in
2-Band EQ
Level
0–127
Output Level
Parameter
Value
Explanation
Speed #
SLOW, FAST
Rotational speed of the rotat-
ing speaker
Brake #
OFF, ON
Switches the rotation of the
rotary speaker.
When this is turned on, the
rotation will gradually
stop. When it is turned off,
the rotation will gradually
resume.
Woofer Slow
Speed
Woofer Fast
Speed
0.05–10.00 Hz
0.05–10.00 Hz
Low-speed rotation speed of
the woofer
High-speed rotation speed of
the woofer
137
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Adding Effects
24: FLANGER
Parameter
Depth
Phase
Value
0–127
0–180 deg
-98– +98 %
Explanation
Depth of modulation
This is a stereo flanger. (The LFO has the same phase for left and
right.) It produces a metallic resonance that rises and falls like a jet
airplane taking off or landing. A filter is provided so that you can
Spatial spread of the sound
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Rate (period) of pitch change
Gain of the low range
Gain of the high range
Volume balance between the
direct sound (D) and the
flanger sound (W)
Feedback #
adjust the timbre of the flanged sound.
fig.MFX-24
Step Rate #
Low Gain
High Gain
Balance #
0.10–20.00 Hz, note
-15– +15 dB
-15– +15 dB
Balance D
2-Band
L in
L out
EQ
D100:0W–D0:100W
Flanger
Balance W
Level
0–127
Output Level
Feedback
Feedback
26: HEXA-CHORUS
Balance W
Flanger
Uses a six-phase chorus (six layers of chorused sound) to give
2-Band
EQ
R in
R out
richness and spatial spread to the sound.
Balance D
fig.MFX-26
L in
L out
Parameter
Filter Type
Value
OFF, LPF, HPF
Explanation
Type of filter
OFF: no filter is used
LPF: cuts the frequency range
above the Cutoff Freq
Balance D
Balance W
Hexa Chorus
Balance W
HPF:cuts the frequency range
below the Cutoff Freq
R in
R out
Balance D
Cutoff Freq
Pre Delay
200–8000 Hz
0.0–100.0 ms
Basic frequency of the filter
Adjusts the delay time from
when the direct sound begins
until the flanger sound is heard.
Frequency of modulation
Depth of modulation
Parameter
Pre Delay
Value
Explanation
0.0–100.0 ms
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
Rate #
Depth
0.05–10.00 Hz, note
0–127
Phase
Feedback #
0–180 deg
-98– +98 %
Spatial spread of the sound
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Gain of the low range
Rate #
Depth
Pre Delay
Deviation
0.05–10.00 Hz, note
0–127
0–20
Frequency of modulation
Depth of modulation
Adjusts the differences in Pre
Delay between each chorus
sound.
Adjusts the difference in modu-
lation depth between each cho-
rus sound.
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
Depth
Deviation
-20– +20
0–20
Gain of the high range
Volume balance between the di-
rect sound (D) and the flanger
sound (W)
Pan Deviation
Adjusts the difference in stereo
location between each chorus
sound.
Level
0–127
Output Level
0: All chorus sounds will be in
the center.
20: Each chorus sound will be
spaced at 60 degree intervals
relative to the center.
Volume balance between the di-
rect sound (D) and the chorus
sound (W)
25: STEP FLANGER
This is a flanger in which the flanger pitch changes in steps. The
speed at which the pitch changes can also be specified in terms of a
Balance #
Level
D100:0W–D0:100W
0–127
note-value of a specified tempo.
Output Level
fig.MFX-25
Balance D
2-Band
L in
L out
EQ
Step Flanger
Balance W
Feedback
Feedback
Balance W
Step Flanger
2-Band
EQ
R in
R out
Balance D
Parameter
Value
Explanation
Filter Type
OFF, LPF, HPF
Type of filter
OFF: no filter is used
LPF: cuts the frequency
range above the Cutoff Freq
HPF: cuts the frequency
range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from
when the direct sound begins
until the flanger sound is
heard.
Cutoff Freq
Pre Delay
200–8000 Hz
0.0–100.0 ms
Rate #
0.05–10.00 Hz, note
Frequency of modulation
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Adding Effects
27: TREMOLO CHORUS
Parameter
Filter Type
Value
OFF, LPF, HPF
Explanation
Type of filter
OFF: no filter is used
This is a chorus effect with added Tremolo (cyclic modulation of
volume).
fig.MFX-27
LPF: cuts the frequency
range above the Cutoff Freq
HPF: cuts the frequency
range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
L in
L out
Balance D
Balance W
Cutoff Freq
Pre Delay
200–8000 Hz
0.0–100.0 ms
Tremolo Chorus
Balance W
R in
R out
Rate #
Depth
0.05–10.00 Hz, note
0–127
Frequency of modulation
Modulation depth of the chorus
effect
Balance D
Parameter
Pre Delay
Value
0.0–100.0 ms
Explanation
Phase
Output Mode
0–180 deg
SPEAKER, PHONES
Spatial spread of the sound
Adjusts the method that will be
used to hear the sound that is
output to the OUTPUT jacks.
The optimal 3D effect will be
achieved if you select SPEAK-
ER when using speakers, or
PHONES when using head-
phones.
Gain of the low range
Gain of the high range
Volume balance between the
direct sound (D) and the chorus
sound (W)
Adjusts the delay time from
the direct sound until the cho-
rus sound is heard.
Modulation frequency of the
chorus effect
Modulation depth of the cho-
rus effect
Modulation frequency of the
tremolo effect
Chorus Rate #
Chorus Depth
Tremolo Rate #
0.05–10.00 Hz, note
0–127
0.05–10.00 Hz, note
0–127
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
Tremolo
Spread of the tremolo effect
Separation
Tremolo Phase
Balance #
0–180 deg
D100:0W–D0:100W
Spread of the tremolo effect
Volume balance between the
direct sound (D) and the trem-
olo chorus sound (W)
Level
0–127
Output Level
Level
0–127
Output Level
30: 3D FLANGER
This applies a 3D effect to the flanger sound. The flanger sound will
28: SPACE-D
be positioned 90 degrees left and 90 degrees right.
This is a multiple chorus that applies two-phase modulation in
stereo. It gives no impression of modulation, but produces a
fig.MFX-30
2-Band
EQ
L
L out
R out
transparent chorus effect.
fig.MFX-28
3D Flanger
Balance D
2-Band
L in
L out
R out
2-Band
EQ
R
EQ
Balance W
Space D
Space D
Parameter
Value
Explanation
Balance W
Filter Type
OFF, LPF, HPF
Type of filter
2-Band
OFF: no filter is used
LPF: cuts the frequency
range above the Cutoff Freq
HPF: cuts the frequency
range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from
when the direct sound begins
until the flanger sound is
heard.
R in
EQ
Balance D
Parameter
Value
Explanation
Cutoff Freq
Pre Delay
200–8000 Hz
0.0–100.0 ms
Pre Delay
0.0–100.0 ms
Adjusts the delay time from
the direct sound until the
chorus sound is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Gain of the low range
Gain of the high range
Volume balance between
the direct sound (D) and the
chorus sound (W)
Rate #
Depth
0.05–10.00 Hz, note
0–127
Rate #
Depth
0.05–10.00 Hz, note
0–127
Frequency of modulation
Depth of modulation
Phase
0–180 deg
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
Phase
Feedback #
0–180 deg
-98– +98 %
Spatial spread of the sound
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Adjusts the method that will be
used to hear the sound that is
output to the OUTPUT jacks.
The optimal 3D effect will be
achieved if you select SPEAK-
ER when using speakers, or
PHONES when using head-
phones.
Level
0–127
Output Level
Output Mode
SPEAKER, PHONES
29: 3D CHORUS
This applies a 3D effect to the chorus sound. The chorus sound will
be positioned 90 degrees left and 90 degrees right.
fig.MFX-29
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
Gain of the low range
Gain of the high range
Volume balance between the
direct sound (D) and the
flanger sound (W)
2-Band
EQ
L
L out
R out
3D Chorus
2-Band
EQ
R
Level
0–127
Output Level
139
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Adding Effects
Parameter
High Pre Delay
Value
0.0–100.0 ms
Explanation
31: 3D STEP FLANGER
Delay time from when the
original sound is heard to
when the high-range chorus
sound is heard
This applies a 3D effect to the step flanger sound. The flanger sound
will be positioned 90 degrees left and 90 degrees right.
fig.MFX-31
High Rate #
High Depth
High Phase
Balance #
0.05–10.00 Hz, note
0–127
Rate at which the low-range
chorus sound is modulated
Modulation depth for the
high-range chorus sound
Spaciousness of the high-
range chorus sound
Volume balance of the origi-
nal sound (D) and chorus
sound (W)
2-Band
EQ
L
L out
R out
3D Step Flanger
0–180 deg
2-Band
EQ
R
D100:0W–D0:100W
Parameter
Value
Explanation
Level
0–127
Output volume
Filter Type
OFF, LPF, HPF
Type of filter
OFF: no filter is used
LPF: cuts the frequency
range above the Cutoff Freq
HPF: cuts the frequency
range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from
when the direct sound begins
until the flanger sound is
heard.
33: 2BAND FLANGER
A flanger that lets you apply an effect independently to the low-
frequency and high-frequency ranges.
fig.MFX-33
Cutoff Freq
Pre Delay
200–8000 Hz
0.0–100.0 ms
L in
L out
High Band Flanger
Split
Split
High Band Feedback
Low Band Flanger
Rate #
Depth
Phase
Feedback #
0.05–10.00 Hz, note
0–127
0–180 deg
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Rate (period) of pitch change
Adjusts the method that will be
used to hear the sound that is
output to the OUTPUT jacks.
The optimal 3D effect will be
achieved if you select SPEAK-
ER when using speakers, or
PHONES when using head-
phones.
-98– +98 %
Low Band Feedback
High Band Feedback
High Band Flanger
Low Band Feedback
Step Rate #
Output Mode
0.10–20.00 Hz, note
SPEAKER, PHONES
Low Band Flanger
R in
R out
Parameter
Value
Explanation
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
Gain of the low range
Gain of the high range
Volume balance between the
direct sound (D) and the
flanger sound (W)
Split Freq
200–8000 Hz
Frequency at which the low
and high ranges will be divid-
ed
Delay time from when the
original sound is heard to
when the low-range flanger
sound is heard
Low Pre Delay
0.0–100.0 ms
Level
0–127
Output Level
Low Rate #
Low Depth
Low Phase
0.05–10.00 Hz, note
0–127
Rate at which the low-range
flanger sound is modulated
Modulation depth for the low-
range flanger sound
Spaciousness of the low-range
flanger sound
32: 2BAND CHORUS
A chorus effect that lets you apply an effect independently to the
0–180 deg
low-frequency and high-frequency ranges.
fig.MFX-32
Low
-98– +98%
Proportion of the low-range
flanger sound that is to be re-
turned to the input (negative
values invert the phase)
Delay time from when the
original sound is heard to
when the high-range flanger
sound is heard
Rate at which the high-range
flanger sound is modulated
Modulation depth for the
high-range flanger sound
Spaciousness of the high-
range flanger sound
L in
L out
Feedback #
High Band Chorus
Split
Split
High Pre Delay
0.0–100.0 ms
Low Band Chorus
High Band Chorus
High Rate #
High Depth
High Phase
0.05–10.00 Hz, note
0–127
Low Band Chorus
R in
R out
0–180 deg
Parameter
Value
Explanation
High
-98– +98%
Proportion of the high-range
flanger sound that is to be re-
turned to the input (negative
values invert the phase)
Volume balance of the origi-
nal sound (D) and flanger
sound (W)
Split Freq
200–8000 Hz
Frequency at which the low
and high ranges will be divid-
ed
Delay time from when the
original sound is heard to
when the low-range chorus
sound is heard
Rate at which the low-range
chorus sound is modulated
Modulation depth for the low-
range chorus sound
Spaciousness of the low-range
chorus sound
Feedback #
Low Pre Delay
0.0–100.0 ms
Balance #
Level
D100:0W–D0:100W
0–127
Output volume
Low Rate #
Low Depth
Low Phase
0.05–10.00 Hz, note
0–127
0–180 deg
140
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Adding Effects
34: 2BAND STEP FLANGER
35: OVERDRIVE
A step flanger that lets you apply an effect independently to the low-
Creates a soft distortion similar to that produced by vacuum tube
frequency and high-frequency ranges.
amplifiers.
fig.MFX-34
fig.MFX-35
L in
L in
L out
Pan L
L out
High Band Step Flanger
Over
drive
Amp
Simulator
2-Band
EQ
Pan R
Split
Split
High Band Feedback
R in
R out
Low Band Step Flanger
Parameter
Drive #
Value
0–127
Explanation
Degree of distortion
Also changes the volume.
Type of guitar amp
SMALL: small amp
Low Band Feedback
High Band Feedback
Amp Type
SMALL,
High Band Step Flanger
Low Band Feedback
BUILT-IN,
2-STACK,
3-STACK
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Gain of the low range
Low Band Step Flanger
Low Gain
High Gain
Pan #
-15– +15 dB
-15– +15 dB
L64–63R
0–127
R in
R out
Gain of the high range
Stereo location of the output sound
Output Level
Level
Parameter
Value
Explanation
Split Freq
200–8000 Hz
Frequency at which the low
and high ranges will be divid-
ed
36: DISTORTION
Low Pre Delay
0.0–100.0 ms
Delay time from when the
original sound is heard to
when the low-range flanger
sound is heard
Produces a more intense distortion than Overdrive. The parameters
are the same as for “35: OVERDRIVE.”
fig.MFX-36
Low Rate #
Low Depth
Low Phase
0.05–10.00 Hz, note
0–127
Rate at which the low-range
flanger sound is modulated
Modulation depth for the low-
range flanger sound
Spaciousness of the low-range
flanger sound
L in
L out
Pan L
Amp
Simulator
2-Band
EQ
Distortion
Pan R
0–180 deg
R in
R out
Low
-98– +98%
Proportion of the low-range
flanger sound that is to be re-
turned to the input (negative
values invert the phase)
Rate at which the steps will
cycle for the low-range
flanger sound
Delay time from when the
original sound is heard to
when the high-range flanger
sound is heard
Feedback #
37: VS OVERDRIVE
This is an overdrive that provides heavy distortion.
fig.MFX-37
Low Step
Rate #
0.10–20.00 Hz, note
0.0–100.0 ms
L in
L out
Pan L
Amp
Simulator
2-Band
EQ
High Pre Delay
Overdrive
Pan R
R in
R out
High Rate #
High Depth
High Phase
0.05–10.00 Hz, note
0–127
Rate at which the high-range
flanger sound is modulated
Modulation depth for the
high-range flanger sound
Spaciousness of the high-
range flanger sound
Proportion of the high-range
flanger sound that is to be re-
turned to the input (negative
values invert the phase)
Rate at which the steps will
cycle for the high-range
flanger sound
Parameter
Drive #
Value
0–127
Explanation
Degree of distortion
Also changes the volume.
0–180 deg
Tone #
Amp Sw
Amp Type
0–127
OFF, ON
SMALL,
BUILT-IN,
2-STACK,
3-STACK
Sound quality of the Overdrive effect
Turns the Amp Simulator on/off.
Type of guitar amp
High
Feedback #
-98– +98%
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Gain of the low range
High Step
Rate #
0.10–20.00 Hz, note
D100:0W–D0:100W
0–127
Low Gain
High Gain
Pan #
-15– +15 dB
-15– +15 dB
L64–63R
0–127
Gain of the high range
Stereo location of the output sound
Output Level
Balance #
Level
Volume balance of the origi-
nal sound (D) and flanger
sound (W)
Level
Output volume
38: VS DISTORTION
This is a distortion effect that provides heavy distortion. The
parameters are the same as for “37: VS OVERDRIVE.”
fig.MFX-38
L in
L out
Pan L
Amp
Simulator
2-Band
EQ
Distortion
Pan R
R in
R out
141
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Adding Effects
39: GUITAR AMP SIMULATOR
40: COMPRESSOR
This is an effect that simulates the sound of a guitar amplifier.
Flattens out high levels and boosts low levels, smoothing out
fig.MFX-39
fluctuations in volume.
L in
L out
fig.MFX-40
Pan L
L in
L out
R out
Compressor
Compressor
2-Band EQ
Pre Amp
Speaker
Pan R
R in
R out
R in
2-Band EQ
Parameter
Pre Amp Sw
Pre Amp
Type
Value
Explanation
OFF, ON
Turns the amp switch on/off.
Type of guitar amp
JC-120, CLEAN TWIN,
MATCH DRIVE,
BG LEAD, MS1959I,
MS1959II, MS1959I+II,
SLDN LEAD,
METAL5150,
METAL LEAD, OD-1,
OD-2 TURBO,
Parameter
Attack #
Value
0–127
Explanation
Sets the speed at which compression
starts
Adjusts the volume at which compres-
sion begins
Adjusts the output gain.
Gain of the low frequency range
Gain of the high frequency range
Output level
Threshold #
0–127
Post Gain
Low Gain
High Gain
Level #
0– +18 dB
-15– +15 dB
-15– +15 dB
0–127
DISTORTION, FUZZ
0–127
Pre Amp
Volume #
Pre Amp
Master #
Pre Amp
Gain
Volume and amount of distor-
tion of the amp
Volume of the entire pre-amp
0–127
41: LIMITER
LOW, MIDDLE, HIGH
0–127
Amount of pre-amp distortion
Compresses signals that exceed a specified volume level, preventing
Pre Amp
Bass
Tone of the bass/mid/treble
frequency range
distortion from occurring.
fig.MFX-41
Pre Amp
Middle
Pre Amp
Treble
Pre Amp
Presence
*
Middle cannot be set if
“Match Drive” is selected as
the Pre Amp Type.
L in
L out
R out
Limiter
Limiter
2-Band EQ
0–127
(MATCH DRIVE:
-127 - 0)
Tone for the ultra-high fre-
quency range
R in
2-Band EQ
Pre Amp
Bright
OFF, ON
Turning this “On” produces a
sharper and brighter sound.
Parameter
Release #
Value
0–127
Explanation
Adjusts the time after the signal volume
falls below the Threshold Level until
compression is no longer applied.
Adjusts the volume at which compres-
sion begins
*
This parameter applies to
the “JC-120,” “Clean Twin,”
and “BG Lead” Pre Amp
Types.
Threshold #
Ratio
0–127
Speaker Sw
OFF, ON
Determines whether the signal
passes through the speaker
(ON), or not (OFF).
1.5:1, 2:1, 4:1,
100:1
0– +18 dB
-15– +15 dB
-15– +15 dB
0–127
Compression ratio
Post Gain
Low Gain
High Gain
Level #
Adjusts the output gain.
Gain of the low frequency range
Gain of the high frequency range
Output level
Speaker
Type
Mic Setting
(See the table below.)
1, 2, 3
Type of speaker
Adjusts the location of the mic
that’s capturing the sound of
the speaker.
This can be adjusted in three
steps, from 1 to 3, with the
mic becoming more distant
as the value increases.
Volume of the microphone
Volume of the direct sound
Stereo location of the output
Output level
42: GATE
Cuts the reverb’s delay according to the volume of the sound sent
into the effect. Use this when you want to create an artificial-
Mic Level
Direct Level
Pan #
0–127
0–127
L64–63R
0–127
sounding decrease in the reverb’s decay.
fig.MFX-42
Level #
L in
L out
R out
Gate
Gate
Specifications for each Speaker Type
The speaker column indicates the diameter of each speaker unit (in
inches) and the number of units.
R in
Type
Cabinet
Speaker
10
Microphone
dynamic
SMALL 1
SMALL 2
MIDDLE
small open-back enclosure
small open-back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
sealed enclosure
Parameter
Threshold #
Value
Explanation
10
dynamic
0–127
Volume level at which the gate begins to
close
12 x 1
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 4
12 x 4
12 x 4
dynamic
dynamic
dynamic
JC-120
Mode
GATE,
DUCK
Type of gate
BUILT-IN 1
BUILT-IN 2
BUILT-IN 3
BUILT-IN 4
BUILT-IN 5
BG STACK 1
BG STACK 2
MS STACK 1
MS STACK 2
METAL
GATE: The gate will close when the
volume of the original sound decreas-
es, cutting the original sound.
DUCK (Ducking): The gate will close
when the volume of the original
sound increases, cutting the original
sound.
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
large sealed enclosure
large sealed enclosure
large sealed enclosure
large double stack
Attack
Hold
0–127
0–127
Adjusts the time it takes for the gate to
fully open after being triggered.
Adjusts the time it takes for the gate to
start closing after the source sound falls
beneath the Threshold.
STACK
2-STACK
3-STACK
large double stack
large triple stack
12 x 4
12 x 4
condenser
condenser
142
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Adding Effects
Parameter
Value
Explanation
Release
0–127
Adjusts the time it takes the gate to fully
close after the hold time.
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Parameter
Delay Time
Value
0–2600 ms, note
Explanation
Delay time from when the
original sound is heard to
when the delay sound is
heard
Balance #
Level
D100:0W–
D0:100W
0–127
Phase
NORMAL, INVERSE
-98– +98%
Phase of the delay (NORMAL:
non-inverted, INVERT: in-
verted)
Proportion of the delay sound
that is to be returned to the in-
put (negative values invert
the phase)
43: DELAY
Feedback #
This is a stereo delay.
When Feedback Mode is NORMAL:
fig.MFX-43a
HF Damp
200–8000 Hz,
BYPASS
Frequency at which the high-
frequency content of the de-
layed sound will be cut (BY-
PASS: no cut)
Panning of the delay sound
Amount of boost/cut for the
high-frequency range
Amount of boost/cut for the
high-frequency range
Volume balance of the origi-
nal sound (D) and delay
sound (W)
Balance D
2-Band
EQ
Balance W
L in
L out
Delay
Pan #
Low Gain
L64–63R
-15– +15 dB
Feedback
Feedback
High Gain
Balance #
-15– +15 dB
Balance W
Delay
D100:0W–D0:100W
2-Band
EQ
R in
R out
L out
Balance D
Level
0–127
Output volume
When Feedback Mode is CROSS:
fig.MFX-43b
45: SERIAL DELAY
Balance D
2-Band
EQ
Balance W
L in
This delay connects two delay units in series. Feedback can be
applied independently to each delay unit, allowing you to produce
Delay
complex delay sounds.
fig.MFX-45
Feedback
Feedback
L in
L out
Pan L
Balance W
Delay
2-Band
EQ
Delay 1
Delay 2
R in
R out
Balance D
Pan R
Feedback 1
Feedback 2
R in
Parameter
Delay Left
Delay Right
Phase Left
Phase Right
Feedback
Mode
Value
0–1300 ms,
note
NORMAL,
INVERSE
NORMAL,
CROSS
Explanation
Adjusts the time until the delay sound is
heard.
R out
Parameter
Delay1 Time
Value
0–1300 ms, note
Explanation
Phase of the delay sound
Delay time from when sound
is input to delay 1 until the de-
lay sound is heard
Proportion of the delay sound
that is to be returned to the in-
put of delay 1 (negative values
invert the phase)
Frequency at which the high-
frequency content of the de-
layed sound of delay 1 will be
cut (BYPASS: no cut)
Delay time from when sound
is input to delay 2 until the de-
lay sound is heard
Selects the way in which delay sound is
fed back into the effect. (See the figures
above.)
Adjusts the amount of the delay sound
that’s fed back into the effect. Negative
(-) settings invert the phase.
Adjusts the frequency above which sound
fed back to the effect is filtered out. If you
don’t want to filter out any high frequen-
cies, set this parameter to BYPASS.
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
Delay1
Feedback #
-98– +98%
Feedback #
HF Damp
-98– +98 %
Delay1 HF
Damp
200–8000 Hz,
BYPASS
200–8000Hz,
BYPASS
Delay2 Time
0–1300 ms, note
-98– +98%
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Delay2
Feedback #
Proportion of the delay sound
that is to be returned to the in-
put of delay 2 (negative values
invert the phase)
Level
Delay2 HF
Damp
200–8000 Hz,
BYPASS
Frequency at which the high-
frequency content of the de-
layed sound of delay 2 will be
cut (BYPASS: no cut)
44: LONG DELAY
A delay that provides a long delay time.
fig.MFX-44
Pan #
Low Gain
L64–63R
-15– +15 dB
Panning of the delay sound
Amount of boost/cut for the
low-frequency range
2-Band
EQ
Pan L
L in
L out
R out
High Gain
Balance #
-15– +15 dB
Amount of boost/cut for the
high-frequency range
Volume balance of the origi-
nal sound (D) and delay
sound (W)
Long Delay
D100:0W–D0:100W
Pan R
Feedback
R in
2-Band
EQ
Level
0–127
Output volume
143
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Adding Effects
46: MODULATION DELAY
47: 3TAP PAN DELAY
Adds modulation to the delayed sound.
Produces three delay sounds; center, left and right.
fig.MFX-47
When Feedback Mode is NORMAL:
Balance D
fig.MFX-46a
2-Band
EQ
Balance W
L in
L out
Balance D
2-Band
EQ
L in
L out
Left Tap
Balance W
Delay
Modulation
Triple Tap Delay
Feedback
Center Tap
Feedback
Feedback
Balance W
Right Tap
2-Band
EQ
R in
R out
Balance W
Delay
Modulation
Balance D
Balance D
2-Band
EQ
R in
R out
L out
Parameter
Delay Left/
Right/Center
Center
Value
0–2600 ms,
note
Explanation
When Feedback Mode is CROSS:
Adjusts the time until the delay sound
is heard.
fig.MFX-46b
-98– +98 %
Adjusts the amount of the delay sound
that’s fed back into the effect. Negative
(-) settings invert the phase.
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you do not want to filter out any
high frequencies, set this parameter to
BYPASS.
Balance D
2-Band
EQ
Feedback #
L in
HF Damp
200–8000 Hz,
BYPASS
Delay
Modulation
Balance W
Feedback
Feedback
Left/Right/
Center Level
Low Gain
High Gain
Balance #
0–127
Volume of each delay
Delay
Modulation
Balance D
Balance W
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
2-Band
EQ
R in
R out
Level
Parameter
Delay Left
Delay Right
Feedback
Mode
Value
0–1300 ms,
note
NORMAL,
CROSS
Explanation
Adjusts the time until the delay sound
is heard.
Selects the way in which delay sound is
fed back into the effect (See the figures
above.)
48: 4TAP PAN DELAY
This effect has four delays.
fig.MFX-48a
Feedback #
HF Damp
-98– +98 %
Adjusts the amount of the delay sound
that’s fed back into the effect. Negative
(-) settings invert the phase.
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
high frequencies, set this parameter to
BYPASS.
Balance D
L in
L out
Delay 1
Feedback
200–8000 Hz,
BYPASS
Balance W
Delay 2
Quadruple Tap Delay
Delay 3
Rate #
0.05–10.00 Hz,
note
0–127
0-180 deg
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Frequency of modulation
Balance W
R out
Delay 4
Depth
Phase
Low Gain
High Gain
Balance #
Depth of modulation
R in
Spatial spread of the sound
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
Balance D
fig.MFX-48b
Stereo location of each delay
2
3
4
1
Level
R
L
Parameter
Delay 1–4
Time
Value
0–2600 ms,
note
Explanation
Adjusts the time until the delay sound
is heard.
Delay 1
-98– +98 %
Adjusts the amount of the delay sound
that’s fed back into the effect. Negative
(-) settings invert the phase.
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you do not want to filter out any
high frequencies, set this parameter to
BYPASS.
Feedback #
HF Damp
200–8000 Hz,
BYPASS
Delay 1–4
Level
0–127
Volume of each delay
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
Level
144
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Adding Effects
Parameter
Delay 3 Feed-
back #
Value
-98– +98%
Explanation
49: MULTI TAP DELAY
Proportion of the delay sound
that is to be returned to the in-
put of the tap delay (negative
values invert the phase)
Frequency at which the low-
frequency content of the tap
delay sound will be cut (BY-
PASS: no cut)
Panning of the tap delay
sounds
Volume of the tap delay
sounds
Amount of boost/cut for the
low-frequency range
Amount of boost/cut for the
high-frequency range
Volume balance of the origi-
nal sound (D) and delay
sound (W)
This effect provides four delays. Each of the Delay Time parameters
can be set to a note length based on the selected tempo. You can also
set the panning and level of each delay sound.
Delay HF
Damp
200–8000 Hz, BY-
PASS
fig.MFX-49
Balance D
2-Band
L in
L out
EQ
Delay 1 Pan’,
‘Delay 2 Pan
Delay 1 Level’,
‘Delay 2 Level
Low Gain
L64–63R
Feed
back
Delay 1
Delay 3
Balance W
0–127
Multi Tap Delay
Delay 4
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
Balance W
High Gain
Balance #
Delay 2
2-Band
EQ
R in
R out
Balance D
Level
0–127
Output volume
Parameter
Delay 1–4
Time
Delay 1
Feedback #
Value
0–2600 ms,
note
Explanation
Adjusts the time until Delays 1–4 are
heard.
Adjusts the amount of the delay sound
that’s fed back into the effect. Negative
(-) settings invert the phase.
51: SHUFFLE DELAY
-98– +98 %
Adds a shuffle to the delay sound, giving the sound a bouncy delay
effect with a swing feel.
fig.MFX-51
HF Damp
200–8000 Hz,
BYPASS
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
the high frequencies, set this parameter
to BYPASS.
2-Band
EQ
L out
L in
Feedback
Delay
Delay A
Delay B
A
B
Delay 1–4
Pan
Delay 1–4
Level
Low Gain
High Gain
Balance #
L64–63R
0–127
Stereo location of Delays 1–4
Output level of Delays 1–4
2-Band
EQ
R in
R out
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Parameter
Delay Time #
Value
0–2600 ms,
note
Explanation
Adjusts the time until the delay sound is
heard.
Adjusts the ratio (as a percentage) of the
time that elapses before Delay B sounds
relative to the time that elapses before the
Delay A sounds.
When set to 100%, the delay times are
the same.
Adjusts the time over which the Delay
Time changes from the current setting to
its specified new setting.
Adjusts the amount of the delay that’s
fed back into the effect. Negative (-) set-
tings invert the phase.
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
high frequencies, set this parameter to
BYPASS.
Stereo location of Delay A/B
Volume of delay A/B
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Level
Shuffle
Rate #
0–100 %
50: REVERSE DELAY
This is a reverse delay that adds a reversed and delayed sound to the
input sound. A tap delay is connected immediately after the reverse
Acceleration
Feedback #
HF Damp
0–15
delay.
fig.MFX-50
-98– +98 %
2-Band
EQ
L out
R out
L in
Feedback
Rev
D1
200–8000Hz,
BYPASS
Rev. Delay
Delay
D2
D3
2-Band
EQ
R in
Pan A/B
L64–63R
0–127
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Level A/B
Low Gain
High Gain
Balance #
Parameter
Threshold
Value
0–127
Explanation
Volume at which the reverse
delay will begin to be applied
Delay time from when sound
is input into the reverse delay
until the delay sound is heard
Proportion of the delay sound
that is to be returned to the in-
put of the reverse delay (nega-
tive values invert the phase)
Frequency at which the high-
frequency content of the re-
verse-delayed sound will be
cut (BYPASS: no cut)
Rev Delay
Time
0–1300 ms, note
-98– +98%
Level
Rev Delay
Feedback #
Rev Delay HF
Damp
200–8000 Hz,
BYPASS
Rev Delay Pan
L64–63R
Panning of the reverse delay
sound
Rev Delay
Level
0–127
Volume of the reverse delay
sound
Delay 1 – 3
Time
0–1300 ms, note
Delay time from when sound
is input into the tap delay un-
til the delay sound is heard
145
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Adding Effects
Parameter
HF Damp
Value
200–8000 Hz,
BYPASS
Explanation
52: 3D DELAY
Adjusts the frequency above
which sound fed back to the ef-
fect is filtered out. If you do not
want to filter out any high fre-
quencies, set this parameter to
BYPASS.
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the di-
rect sound (D) and the delay
sound (W)
This applies a 3D effect to the delay sound. The delay sound will be
positioned 90 degrees left and 90 degrees right.
fig.MFX-52
2-Band
EQ
L out
L
Level
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
3D Delay L
3D Delay C
Feedback
3D Delay R
Level
0–127
Output level
2-Band
EQ
R
R out
54: LONG TIME CTRL DELAY
A delay in which the delay time can be varied smoothly, and
allowing an extended delay to be produced.
Parameter
Value
Explanation
fig.MFX-54
Delay Left
Delay Right
Delay Center
Center
0–2600 ms, note
Adjusts the delay time from
the direct sound until the de-
lay sound is heard.
2-Band
EQ
Balance W
L in
L out
Balance D
-98– +98 %
Adjusts the proportion of the
delay sound that is fed back
into the effect. Negative (-)
settings will invert the phase.
Adjusts the frequency above
which sound fed back to the
effect will be cut. If you do not
want to cut the high frequen-
cies, set this parameter to BY-
PASS.
Feedback #
Time Control Delay
Balance W
Feedback
HF Damp
200–8000 Hz, BYPASS
2-Band
EQ
R in
R out
Balance D
Parameter
Delay Time #
Value
0–2600 ms,
note
Explanation
Adjusts the time until the delay is heard.
Left Level
0–127
Output level of the delay
sound
Right Level
Center Level
Output Mode
Acceleration
0–15
Adjusts the time over which the Delay
Time changes from the current setting to
a specified new setting.
The rate of change for the Delay Time
directly affects the rate of pitch
change.
Adjusts the amount of the delay that’s
fed back into the effect. Negative (-) set-
tings invert the phase.
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you do not want to filter out any
high frequencies, set this parameter to
BYPASS.
SPEAKER, PHONES
Adjusts the method that will
be used to hear the sound that
is output to the OUTPUT
jacks. The optimal 3D effect
will be achieved if you select
SPEAKER when using speak-
ers, or PHONES when using
headphones.
Feedback #
HF Damp
-98– +98 %
200–8000Hz,
BYPASS
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
Gain of the low range
Gain of the high range
Volume balance between the
direct sound (D) and the effect
sound (W)
Pan #
L64–63R
Stereo location of the delay
Level
0–127
Output Level
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
53: TIME CTRL DELAY
Level
A stereo delay in which the delay time can be varied smoothly.
fig.MFX-53
L in
2-Band EQ
L out
55: TAPE ECHO
A virtual tape echo that produces a realistic tape delay sound. This
Pan L
Time Ctrl Delay
simulates the tape echo section of a Roland RE-201 Space Echo.
Feedback
Feedback
fig.MFX-55
L in
L out
Direct Level
Echo Level
Pan R
Time Ctrl Delay
Tape Echo
R in
2-Band EQ
R out
Echo Level
R out
R in
Direct Level
Parameter
Value
Explanation
Delay Time #
0–1300 ms, note
Adjusts the time until the delay
is heard.
Parameter
Mode
Value
Explanation
Acceleration
0–15
Adjusts the time over which the
Delay Time changes from the
current setting to a specified new
setting.
The rate of change for the Delay
Time directly affects the rate of
pitch change.
Adjusts the amount of the delay
that’s fed back into the effect.
Negative (-) settings invert the
phase.
S, M, L,
S+M, S+L,
M+L,
S+M+L
0–127
Combination of playback heads to use
Select from three different heads with
different delay times.
S: short M: middle L: long
Tape speed
Increasing this value will shorten the
spacing of the delayed sounds.
Amount of delay repeats
Boost/cut for the lower range of the echo
sound
Repeat Rate #
Feedback #
-98– +98 %
Intensity #
Bass
0–127
-15– +15 dB
146
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Adding Effects
Parameter
Treble
Value
-15– +15 dB
Explanation
Boost/cut for the upper range of the echo
sound
57: LOFI COMPRESS
This is an effect that intentionally degrades the sound quality for
Head S Pan
Head M Pan
Head L Pan
Tape Distor-
tion
L64–63R
0–5
Independent panning for the short, mid-
dle, and long playback heads
creative purposes.
fig.MFX-57
2-Band
EQ
L in
L out
R out
Compressor
Compressor
Lo-Fi
Amount of tape-dependent distortion to
be added
This simulates the slight tonal changes
that can be detected by signal-analysis
equipment. Increasing this value will
increase the distortion.
2-Band
EQ
R in
Lo-Fi
Wow/Flutter
Rate
0–127
0–127
Speed of wow/flutter (complex variation
in pitch caused by tape wear and rota-
tional irregularity)
Parameter
Pre Filter
Type
Value
1–6
Explanation
Selects the type of filter applied to the
sound before it passes through the Lo-Fi
effect.
Degrades the sound quality. The sound
quality grows poorer as this value is in-
creased.
Wow/Flutter
Depth
Echo Level #
Direct Level #
Level
Depth of wow/flutter
0–127
0–127
0–127
Volume of the echo sound
Volume of the original sound
Output level
LoFi Type
1–9
Post Filter
Type
OFF, LPF,
HPF
Type of filter
OFF: no filter is used
56: LOFI NOISE
LPF: cuts the frequency range above
the Cutoff
HPF: cuts the frequency range below
the Cutoff
In addition to a Lo-Fi effect, this adds various types of noise such as
white noise and disc noise.
fig.MFX-56
Post Filter
Cutoff
Low Gain
High Gain
Balance #
200–8000 Hz
Basic frequency of the Post Filter
2-Band
EQ
L in
L out
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low range
Gain of the high range
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Lo-Fi
Noise Gen.
Lo-Fi
Level #
58: LOFI RADIO
2-Band
EQ
R in
R out
In addition to a Lo-Fi effect, this effect also generates radio noise.
fig.MFX-58
2-Band
EQ
L in
L out
Parameter
LoFi Type
Value
1–9
Explanation
Degrades the sound quality. The sound
quality grows poorer as this value is in-
creased.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above
the Cutoff
HPF: cuts the frequency range below
the Cutoff
Lo-Fi
Lo-Fi
Post Filter
Type
OFF, LPF,
HPF
Radio
2-Band
EQ
R in
R out
Post Filter
Cutoff
200–8000 Hz
Center frequency of the filter
W/P Noise
Type
W/P Noise
LPF
WHITE,
PINK
200–8000Hz,
BYPASS
Switch between white noise and pink
noise.
Center frequency of the low pass filter
applied to the white/pink noise (BY-
PASS: no cut)
Parameter
LoFi Type
Value
1–9
Explanation
Degrades the sound quality. The sound
quality grows poorer as this value is in-
creased.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above
the Cutoff
HPF: cuts the frequency range below
the Cutoff
Post Filter
Type
OFF, LPF,
HPF
W/P Noise
Level #
Disc Noise
Type
0–127
Volume of the white/pink noise
LP, EP, SP,
RND
Type of record noise
The frequency at which the noise is
heard depends on the selected type.
Adjusts the cutoff frequency of the low
pass filter applied to the record noise. If
you don’t want to filter out any high fre-
quencies, set this parameter to BYPASS.
Volume of the record noise
Disc Noise
LPF
200–8000Hz,
BYPASS
Post Filter
Cutoff
Radio
Detune #
200–8000 Hz
0–127
Basic frequency of the Post Filter
Simulates the tuning noise of a radio. As
this value is raised, the tuning drifts fur-
ther.
Disc Noise
Level #
Hum Noise
Type
Hum Noise
LPF
0–127
Radio Noise
Level #
Low Gain
High Gain
Balance #
0–127
Volume of the radio noise
50 Hz, 60 Hz
Frequency of the hum noise
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low range
Gain of the high range
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
200–8000Hz,
BYPASS
Center frequency of the low pass filter
applied to the hum noise (BYPASS: no
cut)
Hum Noise
Level #
0–127
Volume of the hum noise
Level
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low range
Gain of the high range
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Level
147
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Adding Effects
59: TELEPHONE
61: PITCH SHIFTER
fig.MFX-59
(Feedback Pitch Shifter)
L in
L out
R out
Telephone
A stereo pitch shifter.
fig.MFX-61
R in
Telephone
L in
2-Band EQ
2-Band EQ
L out
R out
Pitch Shifter
Parameter
Voice
Quality #
Treble
Value
0–15
Explanation
Audio quality of the telephone voice
Pitch Shifter
R in
-15– +15 dB
D100:0–
D0:100W
0–127
Bandwidth of the telephone voice
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Balance #
Level
Parameter
Value
Explanation
Coarse #1
-24– +12 semi
Adjusts the pitch of the pitch
shifted sound in semitone steps.
Adjusts the pitch of the pitch
shifted sound in 2-cent steps.
Adjusts the delay time from the
direct sound until the pitch shift-
ed sound is heard.
60: PHONOGRAPH
Fine #1
-100– +100 cent
0–1300 ms, note
Simulates a sound recorded on an analog record and played back on
a record player. This effect also simulates the various types of noise
that are typical of a record, and even the rotational irregularities of
Delay Time
Feedback #
-98– +98 %
Adjusts the proportion of the
pitch shifted sound that is fed
back into the effect. Negative (-)
settings will invert the phase.
Gain of the low range
an old turntable.
fig.MFX-60
Balance D
L in
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
L out
R out
Gain of the high range
Balance W
Balance W
Volume balance between the di-
rect sound (D) and the pitch
shifted sound (W)
Phonograph
Phonograph
Level
0–127
Output Level
R in
Balance D
62: 2VOICE PITCH SHIFTER
Parameter
Signal
Distortion
Frequency
Range
Value
0–127
Explanation
Depth of distortion
Shifts the pitch of the original sound. This 2-voice pitch shifter has
two pitch shifters, and can add two pitch shifted sounds to the
original sound.
0–127
Frequency response of the playback sys-
tem
fig.MFX-62
Decreasing this value will produce the
impression of an old system with a
poor frequency response.
Rotational speed of the turntable
This will affect the frequency of the
scratch noise.
Amount of noise due to scratches on the
record
Volume of noise due to dust on the
record
Balance D
L in
L out
Level 1
Disc Type
LP, EP, SP
Pan 1 L
Pan 1 R
Balance W
2Voice Pitch Shifter
Level 1
Scratch
0–127
0–127
0–127
0–127
0–127
0–127
0–127
0–127
Pan 2 L
Noise Level
Dust Noise
Level
Balance W
R out
Pan 2 R
Hiss Noise
Level
Total Noise
Level #
Volume of continuous “hiss”
R in
Balance D
Volume of overall noise
Wow
Depth of long-cycle rotational irregulari-
ty
Depth of short-cycle rotational irregular-
ity
Depth of indefinite-cycle rotational irreg-
ularity
Depth of overall rotational irregularity
Parameter
Pitch 1:
Coarse #1
Pitch 1:Fine #1
Pitch 1:Delay
Value
-24-+12 semi
Explanation
Adjusts the pitch of Pitch Shift 1
in semitone steps.
Adjusts the pitch of Pitch Shift
Pitch 1 in 2-cent steps.
Adjusts the delay time from the
direct sound until the Pitch Shift
1 sound is heard.
Flutter
-100-+100 cent
Random
0–1300 ms, note
Total Wow/
Flutter #
Balance #
D100:0W–
D0:100W
0–127
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Pitch 1:Feed-
back #
-98– +98 %
L64-63R
Adjusts the proportion of the
pitch shifted sound that is fed
back into the effect. Negative (-)
settings will invert the phase.
Stereo location of the Pitch Shift 1
sound
Level
Pitch 1:Pan #
Pitch 1:Level
Pitch 2:
Coarse #2
0–127
-24-+12 semi
Volume of the Pitch Shift1 sound
Settings of the Pitch Shift 2
sound.
The parameters are the same as
for the Pitch Shift 1 sound.
Pitch 2:Fine #2
Pitch 2:Delay
Pitch 2:Feed-
back #
-100-+100 cent
0–1300 ms, note
-98– +98 %
Pitch 2:Pan #
Pitch 2:Level
Low Gain
L64-63R
0–127
-15– +15 dB
-15– +15 dB
Gain of the low range
Gain of the high range
High Gain
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Adding Effects
Parameter
Value
Explanation
Parameter
Value
Explanation
Level Balance
A100:0B-A0:100B
Volume balance between the
Pitch Shift 1 and Pitch Shift 2
sounds
Pre Delay
0.0–100.0 ms
Adjusts the delay time from the di-
rect sound until the reverb sound
is heard.
Balance
Level
D100:0W-D0:100W
0-127
Volume balance between the di-
rect sound (D) and the pitch
shifted sound (W)
Time #
HF Damp
0–127
200–8000 Hz,
BYPASS
Time length of reverberation
Adjusts the frequency above
which the reverberant sound will
be cut.
As the frequency is set lower,
more of the high frequencies
will be cut, resulting in a softer
and more muted reverberance.
If you do not want to cut the
high frequencies, set this pa-
rameter to BYPASS.
Output Level
63: STEP PITCH SHIFTER
A pitch shifter in which the amount of pitch shift is varied by a 16-
step sequence.
fig.MFX-63
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
Gain of the low range
Gain of the high range
Volume balance between the direct
sound (D) and the reverb sound
(W)
2-Band
EQ
L in
L out
R out
Step Pitch Shifter
Step Pitch Shifter
Level
0–127
Output Level
2-Band
EQ
R in
65: GATED REVERB
This is a special type of reverb in which the reverberant sound is cut
Parameter
Step 01–16
Value
-24–+12 semi
Explanation
Amount of pitch shift at each
step (semitone units)
off before its natural length.
fig.MFX-65
2-Band
EQ
Balance W
Rate #
0.05–10.00 Hz, note
0–127
Rate at which the 16-step se-
quence will cycle
Speed at which the amount of
pitch shift changes between
steps
Duration of the pitch shifted
sound at each step
Pitch shift adjustment for all
steps (2-cent units)
Delay time from the original
sound until the pitch-shifted
sound is heard
Proportion of the pitch-shift-
ed sound that is to be returned
to the input (negative values
invert the phase)
L in
L out
R out
Balance D
Attack #
Gated Reverb
Balance W
Gate Time #
Fine
0–127
2-Band
EQ
R in
-100– +100 cent
0–1300 ms, note
Balance D
Delay Time
Parameter
Type
Value
NORMAL, REVERSE,
SWEEP1, SWEEP2
Explanation
Type of reverb
NORMAL: conventional
gated reverb
REVERSE: backwards re-
verb
Feedback #
-98– +98%
Low Gain
High Gain
Balance #
-15– +15 dB
Amount of boost/cut for the
low-frequency range
SWEEP1: the reverberant
sound moves from right to
left
SWEEP2: the reverberant
sound moves from left to
right
Adjusts the delay time from
the direct sound until the re-
verb sound is heard.
Adjusts the time from when
the reverb is heard until it
disappears.
Gain of the low range
Gain of the high range
Volume balance between the
direct sound (D) and the re-
verb sound (W)
-15– +15 dB
Amount of boost/cut for the
high-frequency range
Volume balance of the origi-
nal sound (D) and pitch-shift-
ed sound (W)
D100:0W–D0:100W
Pre Delay
Gate Time
0.0–100.0 ms
5–500 ms
Level
0–127
Output volume
64: REVERB
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
Adds reverberation to the sound, simulating an acoustic space.
fig.MFX-64
2-Band
EQ
L in
L out
Balance D
Reverb
Balance W
Level #
0–127
Output Level
Balance W
2-Band
EQ
R in
R out
Balance D
Parameter
Value
Explanation
Type
ROOM1,
ROOM2,
STAGE1,
STAGE2,
HALL1, HALL2
Type of reverb
ROOM1: dense reverb with
short decay
ROOM2: sparse reverb with
short decay
STAGE1: reverb with greater
late reverberation
STAGE2: reverb with strong
early reflections
HALL1: reverb with clear rever-
berance
HALL2: reverb with rich rever-
berance
149
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Adding Effects
66: OVERDRIVE → CHORUS
Parameter
Overdrive
Drive #
Value
0–127
Explanation
Degree of distortion
fig.MFX-66
L out
L in
Also changes the volume.
Stereo location of the over-
drive sound
Adjusts the delay time from
the direct sound until the de-
lay sound is heard.
Adjusts the proportion of the
delay sound that is fed back
into the effect. Negative (-)
settings will invert the phase.
Adjusts the frequency above
which sound fed back to the
effect will be cut. If you do not
want to cut the high frequen-
cies, set this parameter to BY-
PASS.
Adjusts the volume balance
between the sound that is sent
through the delay (W) and the
sound that is not sent through
the delay (D).
Balance D
Overdrive Pan #
L64–63R
Balance W
Overdrive
Chorus
Delay Time
0–2600 ms, note
Balance W
R out
R in
Delay
Feedback #
-98– +98 %
Balance D
Parameter
Overdrive
Drive #
Overdrive
Pan #
Value
0–127
Explanation
Degree of distortion
Also changes the volume.
Stereo location of the overdrive
sound
Delay HF Damp
200–8000 Hz,
BYPASS
L64–63R
Chorus Pre
Delay
0.0–100.0 ms
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
Delay Balance #
Level
D100:0W–D0:100W
0–127
Chorus Rate #
Chorus Depth
Chorus
0.05–10.00 Hz, note
0–127
D100:0W–D0:100W
Frequency of modulation
Depth of modulation
Adjusts the volume balance be-
tween the sound that is sent
through the chorus (W) and the
sound that is not sent through
the chorus (D).
Balance #
Output Level
69: DISTORTION → CHORUS
Level
0–127
Output Level
The parameters are essentially the same as in “66: OVERDRIVE →
CHORUS,” with the exception of the following two.
67: OVERDRIVE → FLANGER
Overdrive Drive
→
Distortion Drive, Overdrive Pan
→
Distortion Pan
fig.MFX-67
fig.MFX-69
Balance D
L out
L in
L out
L in
Balance D
Chorus
Feedback
Balance W
Balance W
Distortion
Overdrive
Flanger
Balance W
R out
Balance W
R out
R in
R in
Balance D
Balance D
Parameter
Overdrive
Drive #
Overdrive
Pan #
Value
0–127
Explanation
Degree of distortion
70: DISTORTION → FLANGER
The parameters are essentially the same as in “67: OVERDRIVE →
Also changes the volume.
Stereo location of the overdrive
sound
Adjusts the delay time from
when the direct sound begins
until the flanger sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Adjusts the volume balance be-
tween the sound that is sent
through the flanger (W) and the
sound that is not sent through
the flanger (D).
L64–63R
FLANGER,” with the exception of the following two.
Overdrive Drive
→
Distortion Drive, Overdrive Pan
→
Distortion Pan
Flanger Pre
Delay
0.0–100.0 ms
fig.MFX-70
Balance D
Feedback
Flanger Rate #
Flanger Depth
Flanger
0.05–10.00 Hz, note
0–127
-98– +98 %
L out
L in
Balance W
Feedback #
Distortion
Flanger
Balance W
R out
Flanger
Balance #
D100:0W–D0:100W
R in
Balance D
Level
0–127
Output Level
71: DISTORTION → DELAY
The parameters are essentially the same as in “68: OVERDRIVE →
68: OVERDRIVE → DELAY
DELAY,” with the exception of the following two.
fig.MFX-68
Overdrive Drive
→
Distortion Drive, Overdrive Pan
→
Distortion Pan
L out
L in
fig.MFX-71
Balance D
L out
L in
Balance W
Balance D
Overdrive
Delay
Balance W
Balance W
R out
Distortion
Delay
Feedback
Balance W
R out
R in
Feedback
Balance D
R in
Balance D
150
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Adding Effects
72: ENHANCER → CHORUS
74: ENHANCER → DELAY
fig.MFX-72
fig.MFX-74
L in
L out
L in
L out
Enhancer
Enhancer
Balance D
Chorus
Balance D
Mix
Mix
Balance W
Balance W
Delay
Feedback
Balance D
Balance W
R out
Balance W
R out
R in
R in
Enhancer
Enhancer
Balance D
Mix
Mix
Parameter
Value
Explanation
Parameter
Value
Explanation
Enhancer Sens #
Enhancer Mix #
0–127
0–127
Sensitivity of the enhancer
Level of the overtones generat-
ed by the enhancer
Enhancer Sens #
Enhancer Mix #
0–127
0–127
Sensitivity of the enhancer
Level of the overtones gener-
ated by the enhancer
Chorus Pre
Delay
0.0–100.0 ms
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the volume balance be-
tween the sound that is sent
through the chorus (W) and the
sound that is not sent through
the chorus (D).
Delay Time
0–2600 ms, note
-98– +98 %
Adjusts the delay time from
the direct sound until the de-
lay sound is heard.
Chorus Rate #
Chorus Depth
Chorus
0.05–10.00 Hz, note
0–127
D100:0W–
D0:100W
Delay
Feedback #
Adjusts the proportion of the
delay sound that is fed back
into the effect. Negative (-)
settings will invert the phase.
Adjusts the frequency above
which sound fed back to the
effect will be cut. If you do not
want to cut the high frequen-
cies, set this parameter to BY-
PASS.
Balance #
Delay HF Damp
200–8000 Hz,
BYPASS
Level
0–127
Output Level
Delay Balance #
Level
D100:0W–D0:100W
Adjusts the volume balance
between the sound that is sent
through the delay (W) and the
sound that is not sent through
the delay (D).
73: ENHANCER → FLANGER
fig.MFX-73
Balance D
L in
L out
Enhancer
0–127
Output Level
Mix
Feedback
Flanger
Balance W
Balance W
R out
75: CHORUS → DELAY
fig.MFX-75
R in
Enhancer
Balance D
L in
Balance D
Mix
L out
Balance D
Balance W
Chorus
Balance W
Parameter
Value
Explanation
Delay
Enhancer Sens #
Enhancer Mix #
0–127
0–127
Sensitivity of the enhancer
Level of the overtones generat-
ed by the enhancer
Balance W
Balance W
Feedback
R in
R out
Flanger Pre
Delay
0.0–100.0 ms
Adjusts the delay time from
when the direct sound begins
until the flanger sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Adjusts the volume balance be-
tween the sound that is sent
through the flanger (W) and the
sound that is not sent through
the flanger (D).
Balance D
Balance D
Flanger Rate #
Flanger Depth
Flanger
0.05–10.00 Hz, note
0–127
-98– +98 %
Parameter
Chorus Pre
Delay
Value
0.0–100.0 ms
Explanation
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
Frequency of modulation
Depth of modulation
Volume balance between the di-
rect sound (D) and the chorus
sound (W)
Adjusts the delay time from the
direct sound until the delay
sound is heard.
Feedback #
Chorus Rate #
Chorus Depth
Chorus
0.05–10.00 Hz, note
0–127
D100:0W–D0:100W
Flanger
Balance #
D100:0W–
D0:100W
Balance #
Delay Time
0–2600 ms, note
-98– +98 %
Level
0–127
Output Level
Delay
Feedback #
Adjusts the proportion of the
delay sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
Delay HF
Damp
200–8000 Hz,
BYPASS
Adjusts the frequency above
which sound fed back to the ef-
fect will be cut. If you do not
want to cut the high frequen-
cies, set this parameter to BY-
PASS.
Delay
D100:0W–D0:100W
0–127
Adjusts the volume balance be-
tween the sound that is sent
through the delay (W) and the
sound that is not sent through
the delay (D).
Balance #
Level
Output Level
151
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Adding Effects
Parameter
Flanger
Value
-98– +98 %
Explanation
76: FLANGER → DELAY
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Adjusts the volume balance be-
tween the sound that is sent
through the flanger (W) and the
sound that is not sent through
the flanger (D).
fig.MFX-76
Feedback #
Balance D
L in
L out
Balance D
Feedback
Flanger
Balance #
D100:0W–D0:100W
0–127
Balance W
Balance W
Flanger
Delay
Feedback
Balance D
Balance W
R out
Balance W
Level
Output Level
R in
Balance D
78: SYMPATHETIC RESONANCE
Parameter
Flanger Pre
Delay
Value
0.0–100.0 ms
Explanation
On an acoustic piano, holding down the damper pedal allows other
strings to resonate in sympathy with the notes you play, creating
rich and spacious resonances. This effect simulates these
Adjusts the delay time from
when the direct sound begins
until the flanger sound is
heard.
Flanger Rate #
Flanger Depth
Flanger
0.05–10.00 Hz, note
0–127
-98– +98 %
Frequency of modulation
Depth of modulation
sympathetic resonances.
fig.MFX-78
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Volume balance between the
direct sound (D) and the
flanger sound (W)
Adjusts the delay time from
the direct sound until the delay
sound is heard.
Adjusts the proportion of the
delay sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Adjusts the frequency above
which sound fed back to the ef-
fect will be cut. If you do not
want to cut the high frequen-
cies, set this parameter to BY-
PASS.
Adjusts the volume balance be-
tween the sound that is sent
through the delay (W) and the
sound that is not sent through
the delay (D).
3-Band
EQ
L in
L out
R out
Feedback #
Flanger
Balance #
D100:0W–D0:100W
0–2600 ms, note
-98– +98 %
Syn. Resonance
3-Band
EQ
Delay Time
R in
Delay
Feedback #
Parameter
Depth #
Damper #
Value
0–127
0–127
Explanation
Depth of the effect
Depth to which the damper ped-
al is pressed (controls the reso-
nant sound)
Delay HF
Damp
200–8000 Hz,
BYPASS
Pre LPF
16–15000 Hz,
BYPASS
Frequency of the filter that cuts
the high-frequency content of the
input sound (BYPASS: no cut)
Frequency of the filter that cuts
the low-frequency content of the
input sound (BYPASS: no cut)
Frequency of the filter that
boosts/cuts a specific frequency
region of the input sound
Amount of boost/cut produced
by the filter at the specified fre-
quency region of the input sound
Width of the frequency region
boosted/cut by the ‘Peaking
Gain’ parameter (larger values
make the region narrower)
Frequency at which the high-fre-
quency content of the resonant
sound will be cut (BYPASS: no
cut)
Frequency at which the low-fre-
quency content of the resonant
sound will be cut (BYPASS: no
cut)
This simulates the actual chang-
es in sound that occur when the
lid of a grand piano is set at dif-
ferent heights.
Frequency of the low-range EQ
Amount of low-range boost/cut
Frequency of the midrange EQ
Amount of midrange boost/cut
Width of midrange (larger val-
ues make the region narrower)
Frequency of the high-range EQ
Amount of high-range boost/cut
Output Level
Pre HPF
BYPASS,
16–15000 Hz
Delay
Balance #
D100:0W–D0:100W
Peaking Freq
Peaking Gain
Peaking Q
200–8000 Hz
-15– +15 dB
Level
0–127
Output Level
0.5, 1.0, 2.0, 4.0, 8.0
77: CHORUS → FLANGER
fig.MFX-77
Balance D
Balance D
L in
L out
HF Damp
LF Damp
Lid
16–15000 Hz,
BYPASS
Feedback
Flanger
Balance W
Chorus
Balance W
Balance W
BYPASS,
16–15000 Hz
Balance W
R out
R in
Balance D
Balance D
1–6
Parameter
Chorus Pre
Delay
Value
0.0–100.0 ms
Explanation
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
Modulation frequency of the
chorus effect
Modulation depth of the chorus
effect
Volume balance between the di-
rect sound (D) and the chorus
sound (W)
Adjusts the delay time from
when the direct sound begins
until the flanger sound is heard.
Modulation frequency of the
flanger effect
EQ Low Freq
EQ Low Gain
EQ Mid Freq
EQ Mid Gain
EQ Mid Q
200, 400 Hz
-15– +15 dB
200–8000 Hz
-15– +15 dB
0.5, 1.0, 2.0, 4.0, 8.0
Chorus Rate #
Chorus Depth
0.05–10.00 Hz, note
0–127
Chorus
Balance #
D100:0W–D0:100W
EQ High Freq
EQ High Gain
Level
2000, 4000, 8000 Hz
-15–+15 dB
0–127
Flanger Pre
Delay
0.0–100.0 ms
Flanger Rate #
Flanger Depth
0.05–10.00 Hz, note
0–127
Modulation depth of the flanger
effect
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Adding Effects
note:
fig.MFX-note2.e_88
(Sixty-fourth-note triplet),
(Sixty-fourth note),
(Sixteenth-note triplet),
(Eighth-note triplet),
(Thirty-second-note triplet),
(Dotted thirty-second note),
(Dotted sixteenth note),
About the STEP RESET function
06: STEP FILTER
(Thirty-second note),
(Sixteenth note),
16: STEP RING MODULATOR
19: STEP PAN
(Eighth note),
(Quarter note),
(Quarter-note triplet),
(Half-note triplet),
(Dotted eighth note),
20: SLICER
(Dotted quarter note),
(Whole note),
(Double note)
(Half note),
63: STEP PITCH SHIFTER
(Whole-note triplet),
(Double-note triplet),
(Dotted half note),
(Dotted whole note),
The above five types contain a sixteen-step sequencer.
For these types, you can use a multi-effect control to reset the
sequence to play from the first step.
When Using 3D Effects
To do this, set the multi-effect control Destination to “Step
Reset.”
The following 3D effects utilize RSS (Roland Sound Space)
technology to create a spaciousness that cannot be produced by
delay, reverb, chorus, etc.
For example if you are using the modulation lever to control the
effect, you would make the following settings.
52: 3D DELAY
29: 3D CHORUS
Source:
Destination: Step Reset
Sens: +63
CC01: MODULATION
30: 3D FLANGER
31: 3D STEP FLANGER
When using these effects, we recommend that you place your
speakers as follows. Also, make sure that the speakers are at a
With these settings, the sequence will play back from the first
step whenever you operate the modulation lever.
sufficient distance from the walls on either side.
fig.33-002
30˚ 30˚
If the left and right speakers are too far apart, or if there is too
much reverberation, the full 3D effect may not appear.
Each of these effects has an “Output Mode” parameter. If the
sound from the OUTPUT jacks is to be heard through speakers,
set this parameter to “SPEAKER.” If the sound is to be heard
through headphones, set it to “PHONES.” This will ensure that
the optimal 3D effect will be heard. If this parameter is not set
correctly, the full 3D effect may not appear.
153
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Adding Effects
Making Chorus Settings
*
The JUNO-G’s Chorus effect unit can also be used as a stereo delay unit.
fig.Chorus
For details on these settings, refer to Making Effect Settings (p. 125).
Parameter
Value
Explanation
(Chorus Type)
Chorus Level
Type 01: Chorus
Filter Type
00 (OFF)–03
0–127
Selects either chorus or delay.
Volume of the sound passed through chorus
OFF, LPF, HPF
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Cutoff Freq
Pre Delay
Rate
200–8000 Hz
0.0–100.0 ms
Basic frequency of the filter
Delay time from the direct sound until the chorus sound is heard
Frequency of modulation
0.05–10.00 Hz,
note
Depth
0–127
0–180˚
0–127
Depth of modulation
Phase
Spatial spread of the sound
Feedback
Type 02: Delay
Dly Left
Amount of the chorus sound fed back into the effect
0–1000 ms, note
Delay time from the direct sound until the delay sound is heard
Dly Right
Dly Center
Center Feedback
-98–+98 %
Proportion of the delay sound fed back into the effect
Negative (-) settings will invert the phase.
HF Damp
200–8000 Hz,
BYPASS
Frequency above which sound fed back to the effect will be cut
If you do not want to cut the high frequencies, set this parameter to BYPASS.
Left Level
0–127
Volume of each delay sound
Right Level
Center Level
Type 03: GM2 Chorus
Pre-LPF
0–7
Cuts the high frequency range of the sound coming into the chorus.
Higher values will cut more of the high frequencies.
Level
0–127
0–127
0–127
0–127
0–127
0–127
Volume of the chorus sound
Feedback
Amount of the chorus sound fed back into the effect
Delay time from the direct sound until the chorus sound is heard
Frequency of modulation
Delay
Rate
Depth
Depth of modulation
Send Level To Reverb
Amount of chorus sound that will be sent to the reverb
note:
fig.MFX-note2.e
(Sixty-fourth-note triplet),
(Sixty-fourth note),
(Sixteenth-note triplet),
(Eighth-note triplet),
(Thirty-second-note triplet),
(Thirty-second note),
(Sixteenth note),
(Dotted thirty-second note),
(Dotted sixteenth note),
(Eighth note),
(Quarter note),
(Quarter-note triplet),
(Half-note triplet),
(Dotted eighth note),
(Dotted quarter note),
(Whole note),
(Double note)
(Half note),
(Whole-note triplet),
(Double-note triplet),
(Dotted half note),
(Dotted whole note),
154
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Adding Effects
Making Reverb Settings
fig.Reverb
For details on these settings, refer to Making Effect Settings (p. 125).
Parameter
Value
Explanation
(Reverb Type)
Reverb Level
00 (OFF)–05
0–127
Type of Reverb
Type 01: Reverb (Normal Reverb)
Type
ROOM1, ROOM2,
Type of reverb/delay
STAGE1, STAGE2,
HALL1, HALL2,
DELAY,
ROOM1: short reverb with high density
ROOM2: short reverb with low density
STAGE1: reverb with greater late reverberation
STAGE2: reverb with strong early reflections
HALL1: very clear-sounding reverb
HALL2: rich reverb
PAN-DELAY
DELAY: conventional delay effect
PAN-DELAY: delay effect with echoes that pan left and right
Time
0–127
Time length of reverberation (Type: ROOM1–HALL2)
Delay time (Type: DELAY, PAN-DELAY)
HF Damp
Delay Feedback
200–8000 Hz,
BYPASS
Frequency above which the high-frequency content of the reverb sound will be cut or “damped”
If you do not want to cut the high frequencies, set this parameter to BYPASS.
0–127
Amount of delay feedback when the Type setting is DELAY or PAN-DELAY
Type 02: SRV Room (Simulates typical room acoustic reflections.)
Type 03: SRV Hall (Simulates typical concert hall acoustic reflections.)
Type 04: SRV Plate (Simulates a reverb plate, a popular type of artificial reverb unit that derives its sound from the vibration of a metallic plate.)
Pre Delay
Time
0.0–100.0 ms
0–127
Delay time from the direct sound until the reverb sound is heard
Time length of reverberation
Size
1–8
Size of the simulated room or hall
High Cut
160 Hz–12.5 kHz,
BYPASS
Frequency above which the high-frequency content of the reverb will be reduced
If you do not want to reduce the high frequencies, set this parameter to BYPASS.
Density
0–127
0–127
Density of reverb
Diffusion
Change in the density of the reverb over time
The higher the value, the more the density increases with time. (The effect of this setting is most pronounced with
long reverb times.)
LF Damp
50–4000 Hz
-36–0 dB
Frequency below which the low-frequency content of the reverb sound will be reduced or “damped”
LF Damp Gain
Amount of damping applied to the frequency range selected with LF Damp
With a setting of “0,” there will be no reduction of the reverb’s low-frequency content.
HF Damp
4000 Hz–12.5 kHz
-36–0 dB
Frequency above which the high-frequency content of the reverb sound will be reduced or “damped”
HF Damp Gain
Amount of damping applied to the frequency range selected with HF Damp
With a setting of “0,” there will be no reduction of the reverb’s high-frequency content.
Type 05: GM2 Reverb
Character
0–7
Type of reverb
0–5: reverb
6, 7: delay
Pre-LPF
0–7
Cuts the high frequency range of the sound coming into the reverb.
Higher values will cut more of the high frequencies.
Level
0–127
0–127
0–127
Output level of reverberation
Time
Time length of reverberation
Delay Feedback
Amount of the delay sound fed back into the effect when the Reverb Character setting is 6 or 7
155
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Adding Effects
Mastering Effect
This is a stereo compressor (limiter) that is applied to the final output of the JUNO-G. It has independent high, mid, and low ranges.
Independently for the high-frequency, mid-frequency, and low-frequency regions, this compresses any sounds that exceed the specified level,
making the volume more consistent. When mixing down to MD, or DAT, or when you procedure your own original audio CD, this lets you
master at an optimized level.
*
*
Mastering effect settings apply to the entire JUNO-G. These settings are not for individual patches or performances.
The mastering effect is applied to the sound that is output from the OUTPUT A (MIX) jacks. It will not be applied to the sound that is output from the
OUTPUT B jacks.
fig.Mastering
For details on these settings, refer to Making Effect Settings (p. 125).
Parameter
Value
Explanation
(Type)
00: Hard Comp,
01: Soft Comp, 02:
Low Boost, 03:
Mid Boost, 04: Hi
Boost,
Recalls effect settings.
00–04: Preset settings
05: User settings
By pressing [F6 (SYSTEM WRITE)] you can save the current settings as user settings.
*
Only one set of user settings can be saved.
05: User
Split Lo
200–800 Hz
2000–8000 Hz
0–24 dB
Frequency at which the low-frequency (LO) and mid-frequency (MID) bands are split
Frequency at which the high-frequency (HI) and mid-frequency (MID) bands are split
Output volume
Split Hi
Lo/Mid/Hi Level
Low/Mid/Hi Attack
Low/Mid/Hi Release
Low/Mid/Hi Thresh
Low/Mid/Hi Ratio
0–100 ms
Time from when the volume goes up the threshold level until the compressor effect applies
Time from when the volume falls below the threshold level until the compressor effect no longer applies
Volume level at which compression begins
50–5000 ms
-36–0 dB
1.00:1–INF:1(INF:
infinity)
Compression ratio
About THRESHOLD (Thresh) and RATIO
As shown in the diagram below, these parameters determine
how the volume is to be compressed.
fig.MasterComp.e
1:1
RATIO
2:1
4:1
INF:1
THRESHOLD
Input Level
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Settings Common to All Modes (System Function)
Settings that affect the entire operating environment of the JUNO-G,
such as tuning and MIDI message reception, are referred to as
Saving the System Settings
(System Write)
system functions. This section explains how to make settings for
the System functions and describes the functions of the different
System parameters.
Changes you make to the System function settings are only
temporary—they will be discarded as soon as the power is turned
How to Make System
Function Settings
off. If you want to keep any changes you’ve made in the system
settings, you must save them in internal system memory.
1. From the PATCH PLAY, PERFORM PLAY, or PART MIXER
When you perform the save procedure, the data that previously
screen, press EDIT [MENU].
occupied the save destination will be lost. However, the factory
setting data can be recovered by performing the Factory Reset
2. Use the VALUE dial or [INC] [DEC]
[
] [
]
to select “2.
procedure.
System,” and press [ENTER].
The System Menu window appears.
1. Change the system function settings, and press [F6 (WRITE)].
fig.SystemMenu
fig.SystemWrite
The display will indicate “System Write Completed!” The data
will be saved, and you’re returned to the SYSTEM SETUP
screen.
3. Press [F1]–[F5] to select the parameter group.
A SYSTEM SETUP screen appears.
4. Press [F1]–[F4] or
[
] [
]
to select the parameter you wish
to change.
System Information
5. Use the VALUE dial or [INC] [DEC] to change the setting.
1. Press EDIT [MENU].
6. Repeat steps 3–5 to set each system parameter you want
to change.
2. Use the VALUE dial or [INC] [DEC]
System,” and press [ENTER].
[
] [
]
to select “2.
7. To save the settings you changed, press [F6 (WRITE)].
The System Menu window appears.
8. Press [EXIT] to return to the previous screen.
3. Press [F6 (INFORMATION)].
The SYSTEM INFO screen appears.
4. Press [F1]–[F3] to display the information you wish to see.
[F1 (MEMORY)]: Amount of memory installed
[F2 (SRX)]: Name of the wave expansion board that is installed
[F3 (VERSION)]: Version of the JUNO-G’s system program
5. Press [F6 (EXIT)] or [EXIT] to return to the previous screen.
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Settings Common to All Modes (System Function)
Functions of System Parameters
This section explains what the different System parameters do, and also how these parameters are organized.
System Menu [F1 (GENERAL)]
[F1 (COMMON)]
Parameter
Value
Explanation
System Common
Power Up Mode
PATCH,
PERFORMANCE
Mode that the JUNO-G will be in when it is powered up.
PATCH: Patch mode
PERFORMANCE: Performance mode
Patch Remain
OFF, ON
Specifies whether currently sounding notes will continue sounding when another patch or rhythm set is selected (ON), or
not (OFF).
Also, when this is “ON,” changes produced by incoming MIDI messages such as Volume or Pan (CC 5, 7, 10, 65, 68, 71–
74, RPN 0, 1, 2, MONO ON, POLY ON), as well as tonal quality and volume changes produced by the various control-
lers will be inherited.
*
Effects settings change as soon as you switch to a new patch or rhythm set, without being influenced by the Patch Remain setting.
Because of this, certain effects settings can cause notes that were until then sounding to no longer be heard, even though Patch
Remain has been set to “ON.”
Audio Rec
Default File Type
Input Select
WAV, AIFF
File format used when saving a sample
LINE IN L/R,
LINE IN L,
MICROPHONE
Input source of the external input sound
LINE IN L/R: L/R (stereo)
LINE IN L: L (mono)
MICROPHONE: L (mono, mic level)
[F2 (AUTO LD)]
Parameter
Value
Explanation
Load Preset Samples at Startup
Load User Samples at Startup
OFF, ON
OFF, ON
Specifies whether the preset samples will be loaded into memory at power-on (ON) or not (OFF).
Specifies whether the samples of the user area and memory card will be loaded into memory at power-on (ON) or
not (OFF).
Load Demo Song at Startup
OFF, ON
Specifies whether the demo song will be loaded into the temporary area at power-on (ON), or not (OFF).
[F3 (SOUND)]
Parameter
Value
Explanation
Sound Generator
Master Tune
415.3–466.2 Hz
Overall tuning of the JUNO-G
The display shows the frequency of the A4 note (center A).
Master Key
Shift
-24– +24
Shifts the overall pitch of the JUNO-G in semitone steps.
Master Level
Output Gain
0–127
Volume of the entire JUNO-G
-12– 12 dB
Output gain from the JUNO-G’s Output
When, for example, there are relatively few voices being sounded, boosting the output gain can let you attain the most
suitable output level for recording and other purposes.
Mix/Parallel
MIX, PARALLEL
How the sound of the entire JUNO-G will be output
MIX: Set this to have the collective output of all sounds output from the OUTPUT A (MIX) jacks. When you want to check
the final overall sound being output, set to MIX.
PARALLEL: Output according to each Output Assign settings.
*
*
Sounds which are set in the respective Output Assign to be output from the INDIVIDUAL 3 jack are output from the left OUTPUT
A (MIX) jack; sounds which are set to be output from the INDIVIDUAL 4 jack are output from the right OUTPUT A (MIX) jack.
Sounds output from the PHONES jack are the same as those output from the OUTPUT A (MIX) jacks. Therefore, any sounds set with
Output Assign to be output from the OUTPUT B jacks is not output from the PHONES jack. Be sure to have any sound you want to
hear through the headphones set to “MIX.”
Preview
Preview
Mode
SINGLE,
CHORD,
PHRASE
SINGLE: The notes specified by Preview 1–4 Note Number will sound successively one by one.
CHORD: The notes specified by Preview 1–4 Note Number will sound simultaneously.
PHRASE: The Phrase associated with the patch’s type/category is played.
Preview 1–4
Note Number
C - –G9
Specify the pitch of the four notes that will sound when the Preview Mode is set to “SINGLE” or “CHORD.”
*
If “PHRASE” is selected for the Preview Mode parameter, these settings will have no effect.
Preview 1–4
Velocity
OFF, 1–127
Specify the velocity of the four notes that will sound when the Preview Mode is set to “SINGLE” or “CHORD.”
*
If “PHRASE” is selected for the Preview Mode parameter, these settings will have no effect.
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Parameter
Scale Tune for Patch Mode
The JUNO-G allows you to play the keyboard using temperaments other than equal temperament. The pitch is specified in one-cent units relative to the equal tempered pitch.
Value
Explanation
*
One-cent is 1/100th of a semitone.
One set of Scale Tune settings can be created in Patch mode. In Performance mode, this can be set for each part of the performance (p. 66).
In Patch mode, this is valid only for the keyboard part.
*
• The selected scale applies to MIDI messages received from an external MIDI device.
Scale Tune
Switch
OFF, ON
Turn this on when you wish to use a tuning scale other than equal temperament.
Patch Scale
Tune for C–B
-64– +63
Make scale tune settings for Patch mode.
[F4 (USB)]
Parameter
Value
Explanation
USB Mode
STORAGE, MIDI
Specifies the operating mode of the USB connector when the power is turned on.
STORAGE: Storage mode. Select this if you want to transfer files.
MIDI: MIDI mode. Select this if you want to exchange MIDI messages with a sequencer or other program.
*
For details on switching the USB mode, refer to Selecting the USB Operating Mode (p. 167)
USB-MIDI
Thru
OFF, ON
When USB Mode is set to “MIDI,” this switch specifies whether MIDI messages received at the MIDI connector will be retrans-
mitted from the MIDI OUT connector (ON) or not (OFF).
You must switch the USB Mode before you connect the JUNO-G to your computer via the USB cable. If you change this setting while the
JUNO-G is connected, the computer may fail to recognize it correctly.
For details on connections to your computer in each USB Mode, refer to p. 167.
System Menu [F2 (KBD/CTRL)]
[F1 (KBD)]
Parameter
Value
Explanation
Keyboard Velocity
REAL, 1–127
Velocity value that will be transmitted when you play the keyboard
REAL: Actual keyboard velocity will be transmitted.
1–127: A fixed velocity value will be transmitted regardless of how you play.
Touch Sens
LIGHT, MEDIUM,
HEAVY
Keyboard’s touch
LIGHT: Light weight synthesizer keyboard like
MEDIUM: Standard
HEAVY: Acoustic piano simulation
[F2 (PDL BND)]
Parameter
Value
Explanation
Pedal
Control Pedal Assign
CC01–31, 33–95,
BEND UP,
Function of the pedal connected to the PEDAL CONTROL jacks
CC01–31, 33–95: Controller numbers 1-31, 33-95
BEND DOWN,
AFTERTOUCH,
OCT UP,
OCT DOWN,
START/STOP,
PUNCH IN/OUT,
TAP TEMPO,
PROG UP,
PROG DOWN,
FAVORITE UP,
FAVORITE DOWN,
ARP SW,
RHY START/STOP,
CHORD SW,
LIVE SET UP,
LIVE SET DOWN,
LOOP
BEND UP: The pitch will rise in semitone steps (maximum 4 octaves) each time you press the pedal.
BEND DOWN: The pitch will fall in semitone steps (maximum 4 octaves) each time you press the pedal.
AFTERTOUCH: Aftertouch
OCT UP: Each pedal press raises the key range in octave steps (up to 3 octaves higher).
OCT DOWN: Each pedal press lowers the key range in octave steps (up to 3 octaves lower).
START/STOP: The song recorder will start/stop.
PUNCH IN/OUT: Manual punch-in/out recording will start/stop.
TAP TEMPO: Tap tempo (a tempo specified by the interval at which you press the pedal).
PROG UP: The next sound number will be selected.
PROG DOWN: The previous sound number will be selected.
FAVORITE UP: The favorite patch/performance of the next number or bank will be selected.
FAVORITE DOWN: The favorite patch/performance of the previous number or bank will be selected.
ARP SW: Arpeggio/Rhythm function on/off
RHY START/STOP: Rhythm pattern playback on/off
CHORD SW: Chord memory function on/off
LIVE SET UP: Switches to the next step within a Live Setting list.
LIVE SET DOWN: Switches to the previous step within a Live Setting list.
LOOP: Loop play on/off
Control Pedal Polarity
Hold Pedal Polarity
STANDARD,
REVERSE
Selects the polarity of the pedal.
On some pedals, the electrical signal output by the pedal when it is pressed or released is the opposite of
other pedals. If your pedal has an effect opposite of what you expect, set this parameter to “REVERSE.” If
you are using a Roland pedal (that has no polarity switch), set this parameter to “STANDARD.”
STANDARD,
REVERSE
Continuous Hold Pedal
OFF, ON
Determines whether the HOLD PEDAL jack will provide support for half-pedaling (ON), or not (OFF).
When this is set to support use of half-pedaling techniques, you can then connect an optional expression
pedal (DP-10, etc.), and employ pedal work to achieve even finer control in performances in which piano
tones are used.
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Settings Common to All Modes (System Function)
[F3 (CTRL)]
Parameter
Value
Explanation
Sys Ctrl 1–4 Source
OFF, CC01–95,
PITCH BEND,
AFTERTOUCH
OFF: The system control knob will not be used.
CC01–95: Controller numbers 1–95
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
System Control
This function, which departs from previously used methods,
and instead allows you to use MIDI messages to change tone
settings in realtime, is called the Matrix Control (p. 44).
Similarly, the function allowing you to use MIDI messages to
change multi-effects settings in realtime is called the Multi-
effects Control (p. 129).
However, if you do not need to change the MIDI messages used
for matrix control or multi-effects control by each patch/
rhythm set/performance, or if you want to use a specific MIDI
message for matrix control or multi-effects control, you will
want to make use of System Control. In other words, you
could call the System Controls global Matrix Control/Multi-
effects Control for the entire JUNO-G.
Normally, the Matrix Control is used for making patch settings,
and the Multi-effects Control for making settings to patches,
rhythm sets, and performances.
You can use up to four System Controls.
System Menu [F3 (MIDI)]
[F1 (GENERL)]
Parameter
Value
Explanation
Local Switch
OFF, ON
Determines whether the internal sound generator is disconnected (OFF) from the controller section (keyboard, pitch
bend/modulation lever, knobs, buttons, D Beam controller, pedal, and so on); or not disconnected (ON).
Normally this is left “ON,” but if you wish to use the JUNO-G’s keyboard and controllers to control only external
sound modules, set it to “OFF.”
Device ID
17–32
When you want to transmit or receive System Exclusive messages, set this parameter to match the Device ID number
of the other MIDI device.
Remote Keyboard Switch
OFF, ON
Set this parameter “ON” when you want to use an external MIDI keyboard instead of the JUNO-G’s keyboard.
In this case, the MIDI transmit channel of the external MIDI keyboard can be set to any channel. Normally you
will leave this parameter “OFF.”
*
Turn this “ON” when you want to control the JUNO-G from an external MIDI device when performing with the Arpeggio
function.
Performance Control Channel
Kbd Patch Rx/Tx Channel
1–16, OFF
1–16
Selects the MIDI receive channel used during switching of performances when MIDI messages (Program Change/
Bank Select) are sent from an external MIDI device.
Set this to “OFF” if performances are not to be switched from an external MIDI device.
*
If only a program change is received, and if this parameter setting coincides with the MIDI receive channel of a part, priority
will be given to switching the performance.
Channel used to transmit and receive MIDI messages for the Keyboard part in Patch mode
Using the Local Switch
When you’re using the JUNO-G with external sequencer software, leave the Local Switch turned off. Read the following for details.
Connecting the JUNO-G to an external sequencer
fig.LocalSw.e
Local Off
JUNO-G
JUNO-G
Keyboard
Sound Generator
(External)
Sequencer
Typically, things are hooked up so the data travels as follows: the JUNO-G’s keyboard → your external sequencer software → the JUNO-G’s
sound generator. Normally, the JUNO-G’s keyboard section is internally connected to its sound generator section; this internal connection is
controlled by the Local Switch. If you turn the Local Switch off, the JUNO-G’s keyboard and sound generator sections will be independent,
allowing you to use the connection described above with your external sequencer software.
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Settings Common to All Modes (System Function)
[F2 (TX)]
Parameter
Value
Explanation
Transmit Program Change
Transmit Bank Select
Transmit Active Sensing
Transmit Edit Data
OFF, ON
OFF, ON
OFF, ON
OFF, ON
Specifies whether Program Change messages will be transmitted (ON) or not (OFF).
Specifies whether Bank Select messages will be transmitted (ON) or not (OFF).
Specifies whether Active Sensing messages will be transmitted (ON) or not (OFF).
Specify whether changes you make in the settings of a patch, performance will be transmitted as system exclusive mes-
sages (ON), or will not be transmitted (OFF).
Soft Through
OFF, ON
Thru function re-transmits all messages received at the MIDI IN connector to the MIDI OUT connector without modi-
fying them in any way.
[F3 (RX)]
Parameter
Value
Explanation
Receive Program Change
Receive Bank Select
Receive Exclusive
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
Specifies whether Program Change messages will be received (ON) or not (OFF).
Specifies whether Bank Select messages will be received (ON) or not (OFF).
Specifies whether System Exclusive messages will be received (ON) or not (OFF).
Specifies whether General MIDI System On messages will be received (ON) or not (OFF).
Specifies whether General MIDI 2 System On messages will be received (ON) or not (OFF).
Specifies whether GS Reset messages will be received (ON) or not (OFF).
Receive GM System On
Receive GM2 System On
Receive GS Reset
[F4 (MMC MTC)]
Parameter
Value
Explanation
MMC
MMC (MIDI Machine Control) is a specification that allows MIDI messages to be used to control devices such as tape recorders, VTR’s, and digital recording systems.
Thirty-seven MMC commands are available, including Stop and Play.
MMC Mode
MASTER,
SLAVE
When synchronizing the JUNO-G with a hard disk recorder, such as one from the Roland VS series, specify which
synchronization signal the JUNO-G’s song recorder will use for operation.
MASTER: The JUNO-G will be the master. Use this setting when you want other devices to follow the operation
of the JUNO-G.
SLAVE: The JUNO-G will be the slave. Use this setting when you want the JUNO-G to receive MMC (MIDI Ma-
chine Control) from an external device and operate accordingly.
MMC Output
OFF, ON
OFF, ON
Turn this “ON” if you want to synchronize with a hard disk recorder, such as one from the Roland VS series.
When set “ON,” MMC (MIDI Machine Control) related commands (Play, Stop and Locate) will be transmitted.
MTC
MTC Sync Output
Set this parameter “ON” when you want MTC (MIDI Time Code) to be transmitted to an external MIDI device. If
not, set it “OFF.”
MTC Frame Rate
24, 25, 29N,
29D, 30
MTC frame rate
Make sure that the same mode is set in both master and slave devices.
24: 24 frames per second
25: 25 frames per second
29N: 29 frames per second, non-drop format
29D: 29 frames per second, drop format
30: 30 frames per second, non-drop format
*
When synchronizing with a hard disk recorder such as the Roland VS series, any frame rate is all right—as long as the setting
matches that of the JUNO-G. However, when synchronizing operation with video devices such as video decks, the video de-
vice’s frame rate is fixed, so the JUNO-G’s setting must correspond to that frame rate.
MTC Offset Time Hour
MTC Offset Time Minute
MTC Offset Time Second
MTC Offset Time Frame
MTC Error Level
0–23 (hours)
0–59 (minutes)
0–59 (seconds)
0–29 (frames)
0–10
Coordinates the playback timing of the JUNO-G and the external device in an hour units.
Coordinates the playback timing of the JUNO-G and the external device in a minute units.
Coordinates the playback timing of the JUNO-G and the external device in a second units.
Coordinates the playback timing of the JUNO-G and the external device in a frame units.
Determines how often the reception status is checked when MTC is being received from an external device. Stop syn-
chronization if a problem becomes apparent with the check.
The checking interval will be longer for larger values.
In strict terms, the lower the numerical value set, the more accurate the check is. However, playback may be
stopped overly frequently if too rigorous a check is made, and this soon becomes inconvenient. By raising the Er-
ror Level setting, then even if problems with the reception of MTC do occur, synchronization can then continue
as long as such problems remain at a level that does not cause undue problems.
MIDI Clock and MTC
MIDI Clock and MTC (MIDI Time Code) are both messages used for synchronization. Select either of them depending on the application.
MIDI Clock transmits and synchronizes operations to a song recorder’s performance tempo, whereas MTC synchronizes operations between
devices based on an absolute time. Since Roland VS Series workstations are hard disk recorders, they cannot send MIDI Clock. Therefore,
using a MTC is convenient for synchronization of the hard disk recorder and the JUNO-G. However, VS Series devices also feature
specialized tracks for recording MIDI Clock, so with the JUNO-G’s MIDI Clock recorded in this manner, we have another synchronizing
technique in which the VS device appears to be sending MIDI Clock (although it is actually playing back tracks to which MIDI Clock has
been recorded). However, since the tempo must be recorded to the VS sync track beforehand, MTC is only convenient in synchronizing with
songs that do not contain great amounts of tempo data.
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Settings Common to All Modes (System Function)
Types of MTC
The types of MTC that can be selected by the JUNO-G are shown below. Select the same frame rate as that set for the external device. When
not using a video device, then any frame rate may be selected as long as the rates are the same on both devices being synchronized.
30: This is 30 frames per second, non-drop format. This is used by audio devices such as analog tape recorders, and for NTSC format
black and white video (used in Japan and the U.S.).
29N: This is 29.97 frames per second, non-drop format. This is used for NTSC format color video (used in Japan and the U.S.).
29D: 29.97 frames per second drop format. This is used for NTSC format color video (used in Japan and the U.S.).
25: 25 frame per second frame rate. This is used for SECAM or PAL format video, audio equipment, and film (used in Europe and
elsewhere).
24: 24 frame per second frame rate. This is used for video, audio devices, and film in the US.
Non-Drop Format and Drop Format
There are two types of format used by NTSC video cassette recorders, non-drop and drop. Non-drop format features continuous time code,
whereas in drop format, which is used for NTSC color video format, the first two frames of every minute are dropped, except for those at ten-
minute intervals. In most video and audio production, since formats with continuous frames are easier to deal with, non-drop is generally
used. In contrast, in situations such as in broadcast, where the time code must match actual clock time, drop is used.
System Menu [F4 (METRO/SYNC)]
[F1 (METRO)]
Parameter
Value
Explanation
Metronome Mode
OFF,
Specifies when you want the metronome to sound.
OFF: Will not sound.
PLAY-ONLY: Will sound only during playback.
REC-ONLY: Metronome will sound only for recording.
PLAY&REC: Metronome will sound for playback and recording.
ALWAYS: Metronome will always sound.
PLAY-ONLY,
REC-ONLY,
PLAY&REC,
ALWAYS
*
If a check mark (✔) is added by pressing [F5 (CLICK)] in the Tempo window which appears when you press [TEMPO], the met-
ronome will always sound.
Metronome Level
Metronome Sound
0–10
Volume of the metronome
TYPE1–TYPE4
TYPE 1: A conventional metronome sound (A bell will sound on the first beat.)
TYPE 2: Clicks
TYPE 3: Beeps
TYPE 4: Cowbell
Beat Indicator Mode
REC&PLAY,
ALWAYS
How the beat indicator on the panel will blink
ALWAYS: always blinks at the specified tempo
REC&PLAY: blinks only during playback and recording
[F2 (SYNC)]
Parameter
Value
Explanation
Sync Mode
MASTER,
Synchronization message that the JUNO-G’s song recorder will use for operation
MASTER: The JUNO-G will be the master. Choose this setting when using the JUNO-G by itself without synchronizing to
another device, or when you want other MIDI devices to synchronize to the JUNO-G.
SLAVE-MIDI: The JUNO-G will be the slave. Choose this setting when you want the JUNO-G to synchronize to MIDI Clock
messages received from another MIDI device.
SLAVE-MIDI,
SLAVE-MTC,
REMOTE
SLAVE-MTC: The JUNO-G will be the slave. Choose this setting when you want the JUNO-G to synchronize to MTC (MIDI
Time Code) received from an external device.
REMOTE: Use this setting when you wish an external MIDI device to have remote start/stop control. The tempo will be
in accord with what has been set on the JUNO-G.
Sync Output
OFF, ON
OFF, ON
Set this parameter “ON” when you want synchronization related MIDI messages (MIDI Clock, Start, Continue, Stop, Song
Position Pointer and Song Select) to be transmitted to an external MIDI device. If not, set it “OFF.”
Arp/Rhythm
Sync Switch
Specifies whether the arpeggio or rhythm pattern will start/stop in synchronization with the song recorder.
OFF: Start/stop will not synchronize to the song recorder.
ON: While the song recorder is running, the arpeggio or rhythm pattern will start at the beginning of the next measure.
When you stop the song recorder, the arpeggio or rhythm pattern will also stop.
Tempo Override
OFF, ON
Specifies whether the song recorder tempo will change (ON), or will not change (OFF) when you switch performance.
System Menu [F5 (D BEAM)]
[F1 (GENERL)]
Parameter
Value
Explanation
SENSIBILITY
D Beam Sens
0–127
This sets the D Beam controller’s sensitivity.
The higher the value set, the more readily the D Beam Controller goes to into erect.
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[F2 (ASSIGN)]
Parameter
Value
Explanation
Type
CC01–31, 33–95,
BEND UP,
Function controlled by the D Beam controller
CC01–31, 33–95: Controller numbers 1–31, 33–95
BEND DOWN,
START/STOP,
TAP TEMPO,
BEND UP: Controls the pitch as specified by the “Pitch Bend Range Up” setting (p. 37).
BEND DOWN: Controls the pitch as specified by the “Pitch Bend Range Down” setting (p. 37).
START/STOP: Starts/Stops the song recorder.
TAP TEMPO: Tap tempo (a tempo specified by the interval at which you move your hand over the D Beam controller).
ARP GRID: Arpeggio Grid
ARP DURATION: Duration of each arpeggiated note
ARP MOTIF: Arpeggio Motif
ARP OCTAVE UP: The range in which the arpeggio is sounded will rise in steps of an octave (maximum 3 octaves).
ARP OCTAVE DOWN: The range in which the arpeggio is sounded will lower in steps of an octave (maximum 3 oc-
taves).
ARP GRID,
ARP DURATION,
ARP MOTIF,
ARP OCTAVE UP,
ARP OCTAVE DOWN
Range Min
Range Max
0–127
0–127
Lower limit of the range of the D Beam controller.
Upper limit of the range of the D Beam controller.
By setting Range Max below Range Min you can invert the range of change.
[F3 (ATV EXP)]
Parameter
Range Min
Range Max
Value
0–127
0–127
Explanation
Lower limit of the range of the Active Expression.
Upper limit of the range of the Active Expression.
By setting Range Max below Range Min you can invert the range of change.
[F4 (SYNTH)]
Parameter
Value
Explanation
Level & Range
Level
0–127
0–127
0–127
Sets the volume.
Chorus Send Level
Reverb Send Level
Range
Level of the signal sent to chorus
Level of the signal sent to reverb
Range in which the pitch of the solo synth will vary
2OCT,4OCT,
8OCT
Osc1
Osc 1 Waveform
SAW, SQR
0–127
Waveform
SAW: Sawtooth wave
SQR: Square wave
Osc 1 Pulse Width
Pulse width of the waveform
By cyclically modifying the pulse width you can create subtle changes in the tone.
*
The Pulse Width is activated when “SQR” is selected with OSC1/2 waveform.
Osc 1 Coarse Tune
Osc 1 Fine Tune
Osc2 & Sync
-48– +48
-50– +50
Pitch of the tone’s sound (in semitones, +/-4 octaves)
Pitch of the tone’s sound (in 1-cent steps)
Osc 2 Waveform
Osc 2 Pulse Width
Osc 2 Coarse Tune
Osc 2 Fine Tune
Osc 2 Level
(same as Osc 1)
0–127
Adjust the level.
Osc Sync Switch
OFF, ON
Turning this switch on produces a complex sound with many harmonics.
This is effective when the OSC1 pitch is higher than the OSC2 pitch.
Filter
Filter Type
OFF, LPF,
BPF, HPF,
PKG
Type of filter
OFF: No filter is used.
LPF: Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency (Cutoff) in order to round
off, or un-brighten the sound.
BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency, and cuts the rest.
HPF: High Pass Filter. This cuts the frequencies in the region below the cutoff frequency.
PKG: Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency.
Cutoff
0–127
0–127
Frequency at which the filter begins to have an effect on the waveform’s frequency components
Resonance
Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound.
Excessively high settings can produce oscillation, causing the sound to distort.
LFO
LFO Rate
0–127
Modulation speed of the LFO
LFO Osc 1 Pitch Depth
LFO Osc 2 Pitch Depth
-63– +63
-63– +63
-63– +63
Depth to which the LFO will modulate the Osc 1 pitch
Depth to which the LFO will modulate the Osc 2 pitch
Depth to which the LFO will modulate the pulse width of the Osc 1 waveform
LFO Osc 1 Pulse
Width Depth
*
The Pulse Width is activated when “SQR” is selected with Osc 1 waveform.
Depth to which the LFO will modulate the pulse width of the Osc 2 waveform
The Pulse Width is activated when “SQR” is selected with Osc 2 waveform.
LFO Osc 2 Pulse
Width Depth
-63– +63
*
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Data Management Functions/
Reset to Factory Settings (Factory Reset)
6. When the display indicates “Completed. Turn the Power off
UTILITY MENU screen
fig.UtilityMenu
and on again,” turn the power off, then on again.
If, after executing the User Backup operation, you add a file to
the JUNO-G’s internal memory (e.g., the TMP folder), the
message “User Area Full!” may appear when you execute the
User Restore operation, making it impossible to successfully
carry out the restoration. In this case, delete (p. 166) the file that
you added after performing the backup, and then execute the
Restore operation once again.
Backing Up User Data
(User Backup)
Factory Reset
This restores all data in the JUNO-G to the factory-set condition
Here’s how all user data in the user area can be saved on a memory
card.
(Factory Reset).
The following user data will be saved.
• Performances
• Rhythm Patterns
• Songs
• Patches
• Rhythm sets
If there is important data you’ve created that’s stored in the
JUNO-G’s User memory, all such data is discarded when a
Factory Reset is performed (the data of the internal user
memory will be lost). If you want to keep the existing data,
save it on a memory card (User Backup) or save it via USB to
your computer (Using JUNO-G Editor/Librarian (p. 170)).
• Rhythm Groups
• Samples
• Arpeggio styles
• Chord forms
• System settings
*
In order to execute User Backup, the memory card must have
approximately 16MB or more free area.
1. Press EDIT [MENU] to open the Top Menu window.
1. Insert a memory card into the slot.
2. Press EDIT [MENU] to open the Top Menu window.
3. Press ] [ to select “3. Utility,” and then press [ENTER].
2. Press
[
] [
]
to select “3. Utility,” and then press [ENTER].
The UTILITY MENU screen appears.
[
]
3. Press [F3 (FACTORY)].
The UTILITY MENU screen appears.
A message will ask you for confirmation.
4. Press [F1 (BACKUP)].
4. To execute the Factory Reset, press [F6 (EXEC)].
A message will ask you for confirmation.
*
To cancel, press [F5 (CANCEL)].
5. To execute the backup, press [F6 (EXEC)].
5. When the display indicates “Completed. Turn the Power off
*
To cancel, press [F5 (CANCEL)].
and on again,” turn the power off, then on again.
Data that’s been backed up on a JUNO-G must not be used to
perform a restore into some other device.
Never switch off the JUNO-G while executing the Factory Reset.
Initializing a Memory Card
(Card Format)
Restoring User Data that You
Backed Up (User Restore)
Here’s how to format (initialize) a memory card.
Here’s how user data saved on a memory card by the User Backup
operation can be reloaded back into the user memory of the JUNO-G.
When you execute the Format operation, the contents of the
memory card will be completely erased.
*
*
When you execute User Restore, the current contents of the user area
will be completely erased.
Data resulting from a backup performed on some other device must
not be used to perform a restore into a JUNO-G.
1. Insert a memory card into the slot.
2. Press EDIT [MENU] to open the Top Menu window.
1. Into the slot, insert the memory card on which user data has
3. Press
[
] [
]
to select “3. Utility,” and then press [ENTER].
been saved.
The UTILITY MENU screen appears.
2. Press EDIT [MENU] to open the Top Menu window.
4. Press [F4 (FORMAT)].
3. Press
[
] [
]
to select “3. Utility,” and then press [ENTER].
A message will ask you for confirmation.
The UTILITY MENU screen appears.
5. To format the card, press [F6 (EXEC)].
4. Press [F2 (RESTORE)].
*
To cancel, press [F5 (CANCEL)].
A message will ask you for confirmation.
5. To proceed with the restoration, press [F6 (EXEC)].
*
To cancel, press [F5 (CANCEL)].
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File-Related Functions (File Utility)
Here you can perform a variety of operations related to the files
stored in the JUNO-G’s user memory, and on memory cards. You
Basic Procedure
1. Press EDIT [MENU] to open the Top Menu window.
can copy, delete, or move files, as well as format memory cards.
The folder structure of the user area and memory card is as follows.
fig.Folders.e
(User, Card)
2. Press [ ] [ ] to select “4. File Utility,” and then press
ROLAND
[ENTER].
PNL
SEQ
The FILE UTILITY screen appears.
fig.FileUtility
SNG
SMPL
SND
TMP
AUDIO_IMPORT
BMP
TEXT
3. Press [F1]–[F6] to select the operation you want to carry out.
[F1 (USER)]: Select a file in user memory.
: Not used with the JUNO-G
[F2 (CARD)]: Select a file on the memory card.
[F3 (MARK)]: If you want to select two or more files, add a
check mark (✔) to the files. To remove the check
mark from a selected file, select and press this
button again.
You must observe the following points when managing files
with the JUNO-G connected to your computer via USB.
Don’t use your computer to move or delete folders within the
JUNO-G.
•
•
Don’t use your computer to format or optimize the JUNO-G’s
user memory or memory card, or execute operations such as
Scan Disk.
[F4 (DELETE)]: Delete a selected file or files with check marks.
[F5 (MOVE)]: Move a file or files with check marks to a
different folder.
•
•
The JUNO-G can only handle filenames consisting of single-
byte alphanumeric characters.
[F6 (COPY)]: Copy a file or files with check marks to a
different folder.
Don’t use your computer to delete or overwrite the files located
in the ROLAND/SND folder.
[
[
] [ ]:
] [ ]:
Select the folder.
Move between folder levels.
When copying files from your computer into the JUNO-G’s user area
or memory card, place them in the following folders.
Computer
JUNO-G
If you hold down [SHIFT] and press [F5 (SET ALL)], check
marks will be added to all files.
SONG file (.SVQ, .SVA)
Standard MIDI file (SMF format 0, 1)
Audio file (WAV/AIFF)
ROLAND/SEQ/SNG
ROLAND/SEQ/SNG
TMP/AUDIO_IMPORT
If you hold down [SHIFT] and press [F4 (CLR ALL)], check
marks will be removed from all files.
*
You can also perform these operations from the FILE UTILITY screen
by pressing EDIT [MENU] and selecting “1. Mark Set ALL” or “2.
Mark Clear ALL.”
Don’t place any files in the ROLAND/SMPL folder.
Don’t place files of any other format in the user memory or
memory card.
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File-Related Functions (File Utility)
Copying a File (Copy)
Moving a File (Move)
Here’s how you can copy a file to a different folder.
Here’s how you can move a file to a different folder.
1. As described in the basic procedure, select the file that you
want to copy.
1. As described in the basic procedure, select the file that you
want to move.
[F1 (USER)] [F2 (CARD)]: Select the memory
[F1 (USER)] [F2 (CARD)]: Select the memory
[
[
] [ ]:
] [ ]:
Select the folder
[
[
] [ ]:
] [ ]:
Select the folder
Move between folder levels
Move between folder levels
2. Press [F6 (COPY)].
2. Press [F5 (MOVE)].
A screen will appear, allowing you to select the folder to which
A screen will appear, allowing you to select the folder to which
the file is to be copied.
the file is to be moved.
3. View the contents of the copy-destination folder.
3. View the contents of the move-destination folder.
[F1 (USER)] [F2 (CARD)]: Select the memory
[F1 (USER)] [F2 (CARD)]: Select the memory
[
[
] [ ]:
] [ ]:
Select the folder
[
[
] [ ]:
] [ ]:
Select the folder
Move between folder levels
Move between folder levels
4. To copy the file, press [F6 (EXEC)].
To cancel, press [F5 (CANCEL)].
4. To move the file, press [F6 (EXEC)].
To cancel, press [F5 (CANCEL)].
*
*
Deleting a File (Delete)
Here’s how you can delete an unwanted file from a folder.
Initializing a Memory Card
(Card Format)
Here’s how to initialize a memory card.
1. As described in the basic procedure, select the file that you
want to delete.
[F1 (USER)] [F2 (CARD)]: Select the memory
When you execute the Format operation, the contents of the
memory card will be completely erased.
[
[
] [ ]:
] [ ]:
Select the folder
Move between folder levels
1. From the File Utility screen, press EDIT [MENU].
2. Press [F4 (DELETE)].
2. Press [ ] [ ] to select “3. Card Format,” and then press
[ENTER].
A message will ask you for confirmation.
A message will ask you for confirmation.
3. To delete the file, press [F6 (EXEC)].
*
To cancel, press [F5 (CANCEL)].
3. To format the card, press [F6 (EXEC)].
*
To cancel, press [F5 (CANCEL)].
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Connecting to Your Computer via USB
About USB Functions
The JUNO-G has two modes of USB functionality: storage mode for
transferring files, and MIDI mode for sending and receiving MIDI
messages. You must switch between these two modes on the JUNO-
G; they cannot be used simultaneously.
Transferring Files to or from
Your Computer (Storage Mode)
By connecting the JUNO-G with your computer via a USB cable, you
can transfer files from Internal user area or a memory card to and
from the hard disk or other media of your computer, in order to back
up your data.
Each mode can be used with the following operating systems.
Operating System
Windows XP/2000r
Windows Me
Mac OS X
Storage Mode
MIDI Mode
✔
You can use software on your computer to edit wave data you’ve
created on the JUNO-G. Conversely, wave data that you’ve created
on your computer can be used on the JUNO-G.
✔
✔
✔
✔
not supported
✔
Mac OS 9
not supported
In this way, USB Storage mode lets you transfer audio files to or
from a connected computer.
*
This may not work correctly with some types of computer.
Never disconnect the USB cable or turn off the power if USB
Storage mode is selected.
Selecting the USB Operating
Mode
1. With the JUNO-G not connected, start up your computer.
2. Use a USB cable to connect the JUNO-G to your computer.
3. Turn on the power (POWER switch) of the JUNO-G.
Using MIDI Mode
*
If you’ve selected USB MIDI mode, nothing can be received from the
MIDI IN connector.
4. Press MODE [USB].
The USB SELECT screen appears.
1. Press MODE [USB].
The USB SELECT screen appears.
5. Press [F4 (INTERNAL)] or [F5 (PC CARD)] to connect with
your computer.
[F4 (INTERNAL)]: Connect to the user memory
[F5 (PC CARD)]: Connect to the memory card
*
*
If MIDI mode was selected, a warning will appear. Press [F6 (OK)] if
you want to switch to USB Storage mode. Press [F5 (CANCEL)] if
you decide to cancel.
2. Press [F2 (MIDI)].
To cancel the connection, press [F6 (EXIT)].
The USB connector will switch to MIDI mode.
6. When you make the connection, one of the following indications
*
If USB Storage mode was selected, a warning will appear. Press [F6
(OK)] if you want to switch to MIDI mode. Press [F5 (CANCEL)] if
you decide to cancel.
will appear depending on the computer you’re using.
•
•
•
Windows XP users
A drive named “JUNO-G USER” will be displayed within My Computer.
Below that drive there will be folders named “ROLAND” and “TMP.”
Windows 2000 users
3. Press [F1 (SETUP)].
The SYSTEM SETUP USB screen will appear.
A drive named “Removable disk” will be displayed within My Computer.
Below that drive there will be folders named “ROLAND” and “TMP.”
Macintosh users
4. Press [ ] to select “USB-MIDI Thru.”
5. Use the VALUE dial or [INC] [DEC] to make settings for
USB-MIDI Thru.
A drive icon named “JUNO-G USER” will appear on the desktop.
If a memory card is connected, the volume name of the memory
card will be displayed.
This switch specifies whether MIDI messages received at the USB
connector or the MIDI IN connector will be retransmitted from the
USB connector or the MIDI OUT connector (ON) or not (OFF).
*
If you want the JUNO-G to start up with the USB connector in MIDI
mode the next time it’s powered up, press [F6 (WRITE)] to save the
system settings.
6. Press [EXIT] to return to the previous screen.
For details on operations in MIDI mode, refer to Exchanging
MIDI Messages with Your Computer (MIDI Mode) (p. 169).
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Connecting to Your Computer via USB
Cautions Regarding Folders and Files
Importing an Audio File
(Import Audio)
You must observe the following points when the JUNO-G is
connected to your computer via USB.
Here’s how to import an audio file (WAV/AIFF).
•
Don’t use your computer to move or delete folders within the
JUNO-G.
In order to import a file, it must be located in the following
folder found on your computer.
•
Don’t use your computer to format or optimize the JUNO-G’s
user memory or memory card, or execute operations such as
Scan Disk.
•
Windows XP, Macintosh users
JUNO-G USER (in the case of a card, the card volume)/
TMP/AUDIO_IMPORT folder
•
•
The JUNO-G can only handle filenames consisting of single-
byte alphanumeric characters.
•
Windows Me/2000 users
Removable disk (in the case of a card, the card volume)/
TMP/AUDIO_IMPORT folder
Only the following types of files can be transferred between the
JUNO-G and your computer.
*
“/” indicates a directory level.
Song files (.SVQ, .SVA)
Standard MIDI Files (.MID)
For details on how you can use your computer to copy files to
user memory or to a memory card, refer to p. 167.
Audio files (.WAV/AIFF)
•
To handle these files, use the appropriate method described below.
Song files,
Place the files in the following folder.
1. Press EDIT [AUDIO].
Standard MIDI Files
ROLAND/SEQ/SNG folder
The SAMPLE EDIT screen appears.
Audio files
When placing the files from your computer,
place them in the following location.
TMP/AUDIO_IMPORT folder
2. Press [F4 (LIST)] and then press [F5 (UTILITY)].
Then import the audio files.
The Sample List Utility Menu appears.
If you want to use your computer to read
samples that were written by the JUNO-G,
load the files from the ROLAND/SMPL fold-
er into your computer.
3. Press [F1 (IMPORT AUDIO)].
The IMPORT AUDIO screen appears.
•
•
Don’t use your USB-connected computer to delete or rewrite
any files placed in the ROLAND/SND folder.
4. Press [F1 (USER)] or [F2 (CARD)] to select the import-
source area.
Don’t place any files in the ROLAND/SMPL folder.
[F1 (USER)]: Import from user memory
[F2 (CARD)]: Import from a memory card
Exiting Storage Mode
5. Press [ ] [ ] to select the file that you want to import.
If you want to select two or more files, press [F3 (MARK)] to
add a check mark (✔) to the files that you want to select.
To remove the check mark from a selected file, select and press
[F3 (MARK)] again.
Windows Me/2000/XP Users
1. In My Computer, right-click the “removable hard disk” icon
and execute “Remove.”
If you press [F5 (SET ALL)], a check mark will be added to all
files of the selected folder. If you press [F4 (CLR ALL)], check
marks will be removed from all selected files.
Macintosh Users
1. Drag the JUNO-G drive icon into the trash.
6. Press [F6 (IMPORT)].
Canceling USB Communication
A message will ask you for confirmation.
If you want to power off the JUNO-G when it is connected to your
computer in Storage mode, you must first cancel USB
communication on your computer as described here.
7. Press [F6 (EXEC)].
The file will be imported, and the SAMPLE LIST screen will
appear.
*
To cancel, press [F5 (CANCEL)].
Windows Me/2000/XP Users
1. Use the device eject button shown in the taskbar at the
lower right of your computer screen to cancel the
connection with the JUNO-G.
The imported file will be added to the sample list as a sample.
This sample is temporary, and will be lost when you turn off the
power. If you want to keep it, press [WRITE] to save the data.
Macintosh Users
1. Make sure that the JUNO-G drive icon is not on your
desktop.
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Connecting to Your Computer via USB
What is the USB MIDI Driver?
Exchanging MIDI Messages
with Your Computer
(MIDI Mode)
The USB MIDI Driver is a software which passes data between
the JUNO-G and the application (sequencer software, etc.) that
is running on the USB-connected computer.
The USB MIDI Driver sends data from the application to the
JUNO-G, and passes data from the JUNO-G to the application.
fig.Driver.e
Driver Installation and Settings
In order to use the JUNO-G as a USB MIDI device from your
computer, you must first install the USB MIDI driver. The USB MIDI
driver is on the included “JUNO-G Editor CD” CD-ROM.
In order to use USB in MIDI mode, you must install the driver from
the included CD-ROM into your computer.
Application
USB connector
USB
The correct driver and the installation procedure will depend on
your system and on the other programs you are using. Be sure to
read the Readme file on the CD-ROM before installation.
Windows XP/2000
Driver
USB cable
Computer
\Win2kXP\Readme_E.htm
Mac OS X
\JUNO-G Driver OS X\Readme_E.htm
USB connector
Before Installing the Driver
You must set the USB Mode of the JUNO-G to “MIDI mode.” (p. 167)
Caution when disconnecting the
USB cable
JUNO-G
You must shut down your computer before disconnecting the
USB cable. Disconnecting the cable while your computer’s
power is on may destabilize its operation.
Using the Included SONAR LE
To install the included SONAR LE sequencing software for
Windows XP/2000 into your computer, follow the instructions given
in “To install SONAR LE” in the SONAR LE package.
You must perform the following steps before using SONAR LE.
*
Make sure that the included USB MIDI driver is installed. This is not
necessary if you’re using MIDI cables to connect the JUNO-G to your
computer.
1. Power up your computer and start up Windows.
2. Power up the JUNO-G, and switch the JUNO-G to MIDI
mode as described in “Using MIDI mode” (p. 167).
3. Use a USB cable to connect the JUNO-G to your computer.
*
If you’re using MIDI cables to connect the JUNO-G to your
computer, there’s no need to switch the JUNO-G to MIDI mode in
step 2. In this case, use MIDI cables to connect the JUNO-G’s rear
panel MIDI connectors to the MIDI interface that’s connected to your
computer.
4. Start up SONAR LE.
Make MIDI device settings as described in SONAR LE’s Help.
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Using JUNO-G Editor/Librarian
To help you take even greater advantage of its functionality, the
JUNO-G comes with JUNO-G Editor/Librarian software.
About PC Mode
JUNO-G Editor assigns parameters to sliders and knobs in the
computer screen, allowing you to work efficiently in a graphical
If you start up the sample editor within JUNO-G editor or perform a
editing environment.
Write operation from JUNO-G librarian, the JUNO-G will
automatically switch to PC mode and will be inoperable from its
own panel. This prevents conflict between operations on your
computer and on the JUNO-G itself.
UNO-G Librarian is software that lets you manage libraries of
JUNO-G parameter data on your computer. It provides an efficient
way to manage patch, rhythm set, and performance data.
Installing JUNO-G Editor/
Librarian into Your Computer
Carefully read the Readme file on the “JUNO-G Editor CD” CD-
ROM included with the JUNO-G, and then install the JUNO-G
editor/librarian.
When you finish using the editor/librarian, the JUNO-G will exit PC
mode, and the normal screen will reappear.
•
Windows users
Macintosh users
Only in the event of emergencies, such as when your computer
has crashed, you can press [F6 (EXIT)] to exit PC mode. A
screen will ask you for confirmation; press [F6 (OK)] and the
JUNO-G will be forcibly returned to the normal screen.
•
In the “JUNO-G Editor CD” CD-ROM, open the “ReadMe(English).”
Making Connections
1. Make sure that the USB Mode parameter is set to “MIDI.”
JUNO-G Editor/Librarian
System Requirements
Refer to “Using MIDI Mode” (p. 167).
*
If it is set to STORAGE, you cannot use the editor/librarian via a
USB connection.
System Requirements (Windows)
2. Use an USB cable (sold separately) to connect the JUNO-G
•
Operating System
and your computer.
Microsoft® Windows® XP
Microsoft® Windows® 2000 Professional
CPU/Clock
fig.USBconnect
JUNO-G
•
•
•
•
Pentium®/Celeron® processor 800 MHz or higher
Memory (RAM)
384 M bytes or more
Hard Disk
USB
110 MB or more
Display/Colors
800 x 600 or higher/65,536 colors (16 bit High Color) or more
204
*
Microsoft and Windows are registered trademarks of Microsoft
Corporation.
USB
206j
*
Windows® is known officially as: “Microsoft® Windows® operating
system.”
213
*
Pentium is a registered trademark of Intel Corporation.
Windows
Macintosh
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Using JUNO-G Editor/Librarian
System Requirements (Mac OS)
•
•
•
•
•
Operating System
Mac OS X 10.2 or later
CPU/Clock
PowerPC G4 867 MHz or higher
Memory (RAM)
384 MB or more
Hard Disk
110 M bytes or more
Display/Colors
800 x 600 or higher/32,000 colors or more
207
*
Apple and Macintosh are registered trademarks of Apple Computer,
Inc.
209
*
Mac OS is a trademark of Apple Computer, Inc.
986
While under most conditions, a computer similar to the above
will permit normal operation of the JUNO-G Editor, Roland
cannot guarantee compatibility solely on these factors. This is
due to numerous variables that may influence the processing
environment, such as differences in motherboard design and
the particular combination of other devices involved.
563
•
Unauthorized duplication, reproduction, hiring, and lending
prohibited.
564
•
Before you open the included CD-ROM, you must read the
“license agreement.” Opening the CD-ROM will be taken to
mean your acceptance of the license agreement.
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About V-LINK
What is V-LINK?
Turning the V-LINK ON/OFF
V-LINK is a function that allows music and images to be performed
together. By using MIDI to connect two or more V-LINK compatible
devices, you can easily enjoy performing a wide range of visual effects
that are linked to the expressive elements of a music performance.
For example if you use the JUNO-G in conjunction with Edirol motion
dive .tokyo Performance Package, you’ll be able to do the following
things.
1. Press [V-LINK] so the indicator is lit.
The V-LINK screen appears, and the V-LINK setting will be on.
fig.V-LINK
•
•
•
•
Operate the JUNO-G to make the necessary settings for
performing with motion dive .tokyo Performance Package.
Use the JUNO-G’s song recorder to enjoy synchronized
performances of music and video.
Operations on the JUNO-G
By operating the JUNO-G’s keyboard and knobs, you can
control the image along with your performance on the JUNO-G.
Use the JUNO-G’s keyboard to switch images in motion dive
.tokyo Performance Package.
•
•
[F1 (CLIP)] (Clip Reset): Turns the image off (solid black).
[F2 (ALL)] (All Reset): Resets the effect applied to the image,
and restores all settings such as brightness and hue to their
default values.
Use the JUNO-G’s CUTOFF knob and RESONANCE knob to
control the brightness and hue of the image.
•
•
•
•
•
•
[F5 (SETUP)]: Accesses the V-LINK SETUP screen.
Black keys: Switch tabs.
Connection Example
Connect the JUNO-G’s MIDI OUT connector to your V-LINK
White keys: Switch clips.
CUTOFF knob: Controls VISUAL PLUG-IN CONTROL.
RESONANCE knob: Controls COLOR EQ (Back).
D BEAM: Controls the parameter specified in V-LINK setup.
compatible device.
We will use Edirol motion dive .tokyo Performance Package as an
example.
*
When you turn V-LINK on, the settings in V-LINK setup will take
priority for D Beam operation.
Before connecting this unit to other devices, turn off the power
to all units. This will help prevent malfunctions and/or damage
2. With the V-LINK screen shown, Press [V-LINK] again.
The V-LINK button will go dark, and the V-LINK setting will be
to speakers or other devices.
off.
fig.V-LINKconnect.e
MIDI OUT
MIDI IN
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About V-LINK
V-LINK Settings (V-LINK SETUP)
1. Press [V-LINK] to access the V-LINK screen.
2. Press [F6 (SETUP)].
The V-LINK SETUP screen appears.
fig.V-LINK-SETUP
3. Use [ ] [ ] to move the cursor to the parameter you want to edit.
4. Use the VALUE dial or [INC] [DEC] to set the value.
Parameter
Value
Explanation
Note Tx Channel A
Note Tx Channel B
Note Tx Channel C
D BEAM
1–16
Controls the V-LINK device. Specify the MIDI channel. (*)
Assigns a V-LINK function to the D Beam controller.
OFF
The operation selected by [D BEAM] will occur regardless of whether
V-LINK is on or off.
CC1 (Modulation)
CC71 (Resonance)
CC3
ColorEQ Fore
ColorEQ Back
Scratch SW
Speed Knob
Total Fader
Cross Fader
BPM Sync SW
Clip Loop SW
Assign Knob
Fade Time SW
Visual Knob
AB SW
Used with motion dive .tokyo Performance Pack-
age
CC8 (Balance)
CC10 (Panpot)
CC11 (Expression)
CC64 (Hold)
CC65 (Portamento)
CC72 (Release)
CC73 (Attack)
CC74 (Cutoff)
CC81 (General-6)
CC83 (General-8)
CC85
Tap SW
Total Select
FX Select
CC86
Play Pos
CC91 (Reverb)
CC92 (Tremolo)
CC93 (Chorus)
CC94 (Celeste)
CC73 (Attack)
CC1 (Modulation)
CC71 (Resonance)
CC74 (Cutoff)
CC72 (Release)
CC91 (Reverb)
CC92 (Tremolo)
CC93 (Chorus)
CC10 (Panpot)
LoopStartPos
Loop End Pos
LayerModeSel
Dissolve Time
Color Cb Ctrl
Color Cr Ctrl
Brightness Ctrl
VFX1 Ctrl
Used with the DV-7PR and similar devices.
VFX2 Ctrl
VFX3 Ctrl
VFX4 Ctrl
Fade Ctrl
* : On V-LINK compatible devices such as the Edirol DV-7PR/P-1, only Note Tx Channel A is used.
In motion dive .tokyo Performance Package, the Note Tx Channel corresponds as follows.
A: The MIDI channel that controls section A
B: The MIDI channel that controls section B
C: The MIDI channel that controls the MIDI note plug-in
5. If you want to keep your settings, press [F6 (WRITE)].
6. Press [F5 (EXIT)] or [EXIT] to return to the previous screen.
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Installing the Wave Expansion Board
An optional Wave Expansion Board (SRX series; sold separately) can
be installed in the JUNO-G.
How to Install a Wave
Expansion Board
Wave Expansion Boards store Wave data, patches, and rhythm sets,
and by equipping the JUNO-G with these boards, you can greatly
expand your sound palette.
Install the Wave Expansion Board after removing the bottom panel
cover.
Cautions When Installing a
1. Before installing the Wave Expansion Board, turn off the
Wave Expansion Board
power of the JUNO-G and all connected devices, and
disconnect all cables, including the AC adaptor, from the
JUNO-G.
•
901 To avoid the risk of damage to internal components that can be
caused by static electricity, please carefully observe the following
whenever you handle the board.
2. From the JUNO-G, remove only the screws shown in the
1
following diagram, and detach the cover.
fig.Exp1.e
• Before you touch the board, always first grasp a metal object
(such as a water pipe), so you are sure that any static
electricity you might have been carrying has been discharged.
JUNO-G : bottom
Screws to be removed
2
• When handling the board, grasp it only by its edges. Avoid
touching any of the electronic components or connectors.
•
Use a Phillips screwdriver that is suitable for the size of the screw
(a number 2 screwdriver). If an unsuitable screwdriver is used,
the head of the screw may be stripped.
•
To remove a screw, rotate the screwdriver counter-clockwise. To
tighten the screws, rotate the screwdriver clockwise.
fig.Screw.e
928
loosen
tighten
When turning the unit upside-down, get a bunch of newspapers
or magazines, and place them under the four corners or at both
ends to prevent damage to the buttons and controls. Also, you
should try to orient the unit so no buttons or controls get
•
•
•
•
When installing a Wave Expansion Board, remove only the
specified screws.
Be careful that the screws you remove do not drop into the
interior of the JUNO-G.
damaged.
Do not leave the bottom cover removed. After installation of the
Wave Expansion Board is complete, be sure to replace the cover.
929
When turning the unit upside-down, handle with care to avoid
Be careful not to cut your hand on the edge of the cover or the
opening edge while removing the cover.
dropping it, or allowing it to fall or tip over.
911
fig.Exp2
•
Do not touch any of the printed circuit pathways or connection
terminals.
•
912 Never use excessive force when installing a circuit board. If it
doesn’t fit properly on the first attempt, remove the board and try
again.
•
913 When circuit board installation is complete, double-check your
work.
3. As shown in the following illustration, plug the connector of
the Wave Expansion Board into the connector of the
relevant slot, and at the same time insert the board holder
through the hole of the Wave Expansion Board.
fig.Exp3.e
Board holder
Position it as shown
before you install
the board.
Connector
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Installing the Wave Expansion Board
4. Use the Installation Tool supplied with the Wave Expansion
Board to turn the holders in the LOCK direction, so the
board will be fastened in place.
fig.Exp4.e
LOCK
Installation tool
5. Use the screws that you removed in step 2 to fasten the
cover back in place.
Expansion Board
After installation of the Wave Expansion Board has been completed,
check to confirm that the installed board is being recognized
correctly.
1. Turn on the power, as described in p. 15.
2. Press EDIT [MENU] to open the Top Menu window.
3. Press [ ] [ ] to select “2. System,” and then press
[ENTER].
4. Press [F6 (INFORMATION)].
The SYSTEM INFO screen appears.
5. Press [F2 (SRX)].
Verify that the name of the installed Wave Expansion Board is
displayed.
fig.SRXInfo
*
If the name of the board does not appear, it is possible that the board is
not being recognized correctly. Turn off the power as described in
Turning Off the Power (p. 15), and re-install the Wave Expansion
Board correctly.
6. Press [EXIT] to exit the SYSTEM INFO screen.
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Expanding the Memory
The JUNO-G comes with 4 MB of memory into which audio samples
can be loaded. However, in some cases, 4 MB of memory will be
How to Expand the Memory
Install the memory module after removing the bottom panel cover.
insufficient for loading large amounts of data. In such a case, you
will have to add separately sold memory (DIMM). Memory can be
expanded up to 64/128/256/512 MB.
Before expanding the memory, consult with your retailer, the nearest
Roland Service Center, or an authorized Roland distributor.
1. Before expanding the memory, turn off the power of the
JUNO-G and all connected devices, and disconnect all
cables, including the AC adaptor, from the JUNO-G.
2. From the JUNO-G, remove only the screws shown in the
Precautions for Expanding
Memory
following diagram, and detach the cover.
fig.Exp1.e
JUNO-G : bottom
Screws to be removed
•
901 To avoid the risk of damage to internal components that can be
caused by static electricity, please carefully observe the following
whenever you handle the board.
1
• Before you touch the board, always first grasp a metal object
(such as a water pipe), so you are sure that any static
electricity you might have been carrying has been discharged.
2
• When handling the board, grasp it only by its edges. Avoid
touching any of the electronic components or connectors.
•
Use a Phillips screwdriver that is suitable for the size of the screw
(a number 2 screwdriver). If an unsuitable screwdriver is used,
the head of the screw may be stripped.
928
When turning the unit upside-down, get a bunch of newspapers
or magazines, and place them under the four corners or at both
ends to prevent damage to the buttons and controls. Also, you
should try to orient the unit so no buttons or controls get
•
To remove a screw, rotate the screwdriver counter-clockwise. To
tighten the screws, rotate the screwdriver clockwise.
fig.Screw.e
loosen
tighten
damaged.
929
•
•
•
•
Install only the specified memory DIMM board. Remove only the
specified screws.
When turning the unit upside-down, handle with care to avoid
dropping it, or allowing it to fall or tip over.
Be careful that the screws you remove do not drop into the
interior of the JUNO-G.
fig.Exp2
Do not leave the bottom cover removed. After installation of the
memory module is complete, be sure to replace the cover.
Be careful not to cut your hand on the edge of the cover or the
opening edge while removing the cover.
•
911 Do not touch any of the printed circuit pathways or connection
terminals.
•
912 Never use excessive force when installing a circuit board. If it
3. Press outward the white clips at either end of the socket
doesn’t fit properly on the first attempt, remove the board and try
again.
should be in the downward position.
fig.DIMM1
•
913 When circuit board installation is complete, double-check your
work.
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Expanding the Memory
4. Paying attention to the location of the notch on the memory
module and the orientation, insert it vertically within the
guides at either side of the socket.
Checking that memory is
installed correctly
fig.DIMM2
1. Turn on the power, as described in p. 15.
2. Press EDIT [MENU] to open the Top Menu window.
3. Press [ ] [ ] to select “2. System,” and then press
[ENTER].
4. Press [F6 (INFORMATION)].
The SYSTEM INFO screen appears.
5. Press [F1 (MEMORY)].
Verify that the screen correctly shows the amount of memory
you installed.
fig.MemoryInfo
If you have difficulty inserting the memory module, try tilting it
a bit and inserting one end at a time.
5. Move the white clips upward, and press them until the
memory module is locked in place.
fig.DIMM3
*
If the correct amount of memory is not shown, it is possible that the
memory is not being recognized properly. Turn off the power as
described in Turning Off the Power (p. 15), and re-install the
memory correctly.
6. Press [EXIT] to exit the SYSTEM INFO screen.
Specifications of the expansion memory
(DIMM) that can be used
6. Use the screws that you removed in step 2 to fasten the
cover back in place.
Number of pins: 168-pin
Speed:
100 MHz (PC100 CL=2)
133 MHz (PC133 CL=3)
3.3 V
Removing the Memory
Voltage:
To remove the memory module, reverse the installation procedure.
Capacity:
64/128/256/512 MB
Board height: 38 mm or less
1. Simultaneously press outward the white clips located at
either end of the socket.
fig.DIMM4
The JUNO-G has been confirmed to work with standard
memory that meets the above specifications. However, we
cannot guarantee that all memory of these specifications will
work correctly. Please be aware that even with identical
specifications, differences in the design of the memory module
or the conditions of use may mean that a memory module may
not be usable.
2. Remove the memory module from the socket.
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Using a Memory Card
The JUNO-G features a PC card slot, allowing you to use
CompactFlash or SmartMedia via the appropriate PC card adaptor.
Before Using the Memory
Card
Make sure that the correct side of the card is facing upward, and
insert it into the JUNO-G’s PC card slot. When you need to remove
the card, press the eject button located beside the card.
fig.MemCard1.e
Eject
memory
card
Writing data to the card
Patches, rhythm sets, performances, samples, and song data can be
written to the card. For details on the writing procedure, refer to the
explanation for the corresponding parameters.
Installing the PC Card
Protector
The JUNO-G provides a PC card protector to prevent theft of the
memory card. To install the PC card protector, use the following
procedure.
1. Use a screwdriver to remove both of the screws from the
bottom side of the PC CARD slot.
2. Insert the memory card into the PC CARD card slot.
3. Use the screws to fasten the PC card protector as shown
below.
fig.MemCard2.e
Memory card
PC card protector
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If the JUNO-G does not function in the way you expect, first check
the following points. If this does not resolve the problem, consult
your dealer or a nearby Roland Service Station.
A specific Part does not sound.
Check the following points.
*
If any sort of message is being displayed on the screen during an
•
•
Has the volume level of the part been lowered?
Adjust the Level parameter to raise the volume of the part that
is not heard (p. 64).
operation, refer to Error Messages (p. 186).
Is the part being muted?
Problems Concerning the Entire
JUNO-G
Set the Mute parameter to “OFF” (p. 64).
Specific pitch ranges do not sound.
The power does not turn on.
Has a restricted range of notes been set?
Make sure that the JUNO-G’s AC adaptor is correctly connected
If a specific range of notes does not sound, check the Key Range
settings for the Patch Tone, the Performance Part.
Tone Key Range
to an AC outlet and to the rear panel power connector, and that
the adaptor itself and AC power cable are connected correctly
(p. 14).
•
•
Key Range Lower/Key Range Upper parameter (p. 37)
Part Key Range
K.L/K.U parameter (p. 66)
Issues Related to Sound
The sound is distorted.
There is no sound.
Check the following points.
Check the following points.
•
Is an effect which distorts the sound being applied?
If the sound for a specific patch or part is distorted, lower the
volume level on that part.
•
Is the power for connected amps and speakers turned on? Is the
volume turned all the way down?
•
•
If all sounds are distorted, use the VOLUME knob to lower the
volume level.
•
•
•
Is the VOLUME knob turned all the way down?
Have connections been made correctly?
Could the Output Gain be excessively high?
In “System,” check the “Sound” parameter.
Can you hear sound through headphones?
If there is sound in the headphones, it is possible that the
connection cables are broken, or that your amp/mixer has
malfunctioned. Check your cables and amp/mixer system once
again.
Pitch is incorrect.
Check the following points.
•
If you do not hear sound when you play the keyboard, check
whether the Local Switch is turned OFF.
•
•
Is the tuning of the JUNO-G incorrect?
Check the Master Tune parameter setting (p. 158).
Has the pitch been changed by pedal operations or by Pitch
Bend messages received from an external MIDI device?
specific Parts?
Make sure that the Local Switch parameter is turned on (p. 160).
Have all tones in the patch been turned off?
Turn on “Tone Switch.”
•
•
The Part level settings may be too low.
Access the Level parameter, and check the level of each part (p.
64).
Check the Coarse Tune parameter and Fine Tune parameter
settings (p. 65).
•
•
•
Are the Effect settings correct?
The sound is interrupted.
Check the Effect settings ON or OFF, the Effect Balance or Level
(p. 125).
Sounds will be interrupted if more than 128 voices are used
Are the settings for the output destination correct?
Check the various output assign settings (p. 48, p. 57, p. 65, p.
126, p. 127).
simultaneously.
•
•
Reduce the number of Tones that you are using.
Increase the Voice Reserve setting for parts that must not drop
out (p. 66).
Is the Wave Expansion Board properly installed?
When selecting the settings that stipulate the use of EXP waves,
Patches, or Rhythm Sets, check that the Wave Expansion Board
is installed properly in the slot (p. 174).
When I play the keyboard, notes do not stop.
Is the pedal polarity of the Hold Pedal reversed?
•
•
Has the volume been lowered by pedal operations or by MIDI
messages (volume messages or expression messages) received
from an external MIDI device?
Check the Hold Pedal Polarity parameter setting (p. 159).
Have the samples been loaded correctly? (p. 115)
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Troubleshooting
This occurs mainly when the JUNO-G’s upper pitch limit is
exceeded, so this issue doesn’t arise in the ranges normally
used. But, in any case, it does not indicate a malfunction.
The sound cuts off when I switch Patches in Patch mode.
Although you can apply a wide variety of multi-effects with the
type of multi-effects used.
Although the same Patch is selected, it sounds different when I
listen to it in the Performance.
In such instances, discrepancies between the sound being
produced and the multi-effects type can arise, which may result
in sounds being different than intended, so sounds produced
are in effect. In certain situations, such as when not using multi-
effects that have a great influence on the sound, remembering to
set Patch Remain parameter (p. 158) to “ON” allows you to
switch Patches without sounds being muted.
In Performance mode, the parameters of each part of the
performance can apply further modification to parameters such
as pan, octave, and filter, relative to the settings specified by the
patch. Thus, Patches in a Performance may sound different than
they do when heard in Patch mode.
Additionally, although a Patch may comprise tones created
with the use of the multi-effects, the multi-effects used in the
Performance may differ from the multi-effects selected by the
Patch. Check the multi-effect settings of the performance. Also
do the same for the Chorus and Reverb settings.
When switching Patches in Patch mode, the volume and other
parameters set with Control Changes end up being reset.
Set Patch Remain parameter (p. 158) to “ON.” Even once they
The volume level of the instrument connected to JUNO-G is too
low.
have switched Patches, Control Change messages that have
been received are carried forward, so even when switching a
Patch whose level is turned all the way down by a Control
Change volume message, the level remains unchanged.
Could you be using a connection cable that contains a resistor?
Use a connection cable that does not contain a resistor.
If the Tone Delay time value is set to the note, then does the
Issues Related to Effects
delay time not change beyond a fixed length when the tempo is
slowed down?
Effects not applied.
There is a maximum permissible value for the Tone Delay Time
parameter (p. 45). So, if the time setting is specified in terms of a
note value, and the tempo is slowed down, this maximum
permissible value will be reached, and it cannot be increased
further. The upper time limit for each is the maximum value
that can be set other than the numerical value for the beat.
Check the following points.
•
The “MFX,” “CHO,” “REV” or “MASTER” effect switches
located in the upper part of the PLAY screen may have been
turned off.
Press [EFFECTS]/[F6 (SWITCH)] to turn them on.
Are the various effect settings correct? (p. 125)
If the send level of each effect is set to 0, the effect will not be
applied. Check the settings.
Even when I set the Pan for a Patch completely to one side,
sound still comes from the other channel.
•
•
The JUNO-G’s internal effects are in stereo, so if you have
•
Even with send levels to each effect set at 0, effects are not
applied if the Multi-effects Output Level, the Chorus Level, or
the Reverb Level is set to 0. Check each setting.
If Output Assign is set to other than “MFX,” the Multi-effects
sound will not be output.
effects applied to a Patch, even if the Pan is set all the way to
one side, you will still be able to hear sounds of the effect
component from the other channel.
•
•
Sometimes, when playing legato, the pitch won’t rise. Why is
this?
If Output Assign is set to “PATCH” for each Part of the
Performance, the sound will be output according to the Output
Assign settings of the Patch (for each Tone) which is assigned to
those Parts. This means that if Output Assign for the Patch
(each Tone) is set to other than “MFX,” the Multi-effects sound
will not be output.
When the Legato Switch parameter (p. 37) is “ON,” and the
Legato Retrigger parameter (p. 37) is “OFF,” and you hold
down keys in the high register to play legato, the upper pitch
limit of the wave may be exceeded, so that the pitch does not
rise as far as you expect, but will stop rising at a certain point.
Additionally, if differing upper pitch limits are used for the
waves of a Patch that uses multiple tones, it may stop being
heard in MONO. When making large pitch changes, set the
Legato Retrigger parameter to “ON.”
The Modulation or other controller is always on.
Check the Matrix Controller settings (p. 44).
The JUNO-G allows you to use the Matrix Control to control
Patches in real time. The Matrix Control functions as the control
source for the Control Change and other MIDI messages
received by the JUNO-G, and makes changes to the various
Patch parameters based on these messages.
The notes sound strange in the upper registers of the keyboard.
Sometimes when playing the keys in the upper part of the
JUNO-G’s keyboard, the sound may stop, or the pitch may stop
rising; or with certain keys, there may be intermittent noise.
Depending on these settings, the JUNO-G may be responding to
MIDI messages sent from external MIDI devices, and may result
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Troubleshooting
the Patches sounding different than intended.
Raising the chorus or reverb send level for each part of a
performance still does not cause the effect to be applied
sufficiently.
The Arpeggio and D Beam controller settings in the
Performance are different than those for the Patch.
Since the JUNO-G stores arpeggio and D Beam controller
settings for each performance, it will operate according to the
arpeggio and D Beam controller settings that were specified for
each performance.
Although you can make Send level settings to the Chorus and
Reverb for each individual Part in a Performance, these values
only set the upper limit of the Chorus and Reverb Send levels
for the Patch used. Accordingly, even when the value is set to
the maximum of 127, if the Send level is lowered in the Patch
being used, there will be no effect. In addition, different Patch
Chorus and Reverb Send level settings can be used according to
whether or not the multi-effects are used.
Issues Related to Song Recorder
Song data is not played back correctly. (Only one instrumental
sound is heard, the wrong sound is heard, there’s no sound, etc.)
Using the Matrix Control or other such means to control the
LFO results in noise when the Pan is changed suddenly.
Check the following points.
•
Could the JUNO-G be in Patch mode?
Lower the change in speed (LFO Rate).
In Patch mode, it may be that only a single instrumental sound
playing back song data that consists of multiple channels.
song?
Due to the specialized processing used for the Pan, which alters
the volume level in each of the left and right sides, sudden Pan
movements causing rapid changes in these levels creates large
changes in volume, and noise from this may be audible as a
result.
•
•
If the song doesn’t sound right, execute MIDI Update (p. 86).
Could the patches used by the song be using samples that aren’t
loaded?
Multi-effect 43: TAP DELAY or other delay time value is set to
the note, and then the tempo is slowed down, does the delay
time not change beyond a fixed length?
You’ll need to load the necessary samples before you carry out
playback (p. 115).
Such Delay time settings have an upper limit, so if the upper
limit of a value set to the note is exceeded when the tempo is
retarded, that upper value cannot rise any further. The upper
time limit for each is the maximum value that can be set other
than the numerical value for the beat.
•
•
•
Could you have activated Track Mute?
Cancel the muting (p. 85).
Could you be using Quick Play?
If you’re using Quick Play, audio tracks won’t play back (p. 84).
Are the sound generator settings correct?
(Refer to: Issues Related to Sound, p. 179)
Issues Related to Saving Data
The tempo is different than the last time I played back the song.
The Performance sounds different than when it was written.
Check the following points.
If a song is played back after the tempo is changed, then the
new tempo is not saved unless the song is saved to the user
memory or memory card. Conversely, the previous tempo will
be erased when you save the song. When saving songs,
carefully check the current tempo.
•
performance, or if the temporary patch of the performance has
been modified by an external MIDI device, these patches must
also be saved.
If patches used by a performance have been edited when you
write that performance, the JUNO-G will display a message
asking whether you want to discard these patches. In such
cases, first save the patch (p. 32) or rhythm set (p. 51), and then
save the performance (p. 63) again.
Marker locations set in song have disappeared.
Check the following points.
•
•
Was the disk saved in a format other than Song File format
(SMF 0 or 1)?
•
The Mastering Effect settings may have changed. (These
settings are not stored as part of a performance.)
Marker locations will be saved with the song data only when
saving in Song File format.
Are you using Quick Play?
Patches sound different than when written.
In order to use Marker locations, the song must be loaded into
the JUNO-G.
Check the following points.
•
•
The write operation cannot be used to save Patches as changed
in Patch mode using Control Change messages from an external
MIDI device.
Can I easily move to a desired measure?
Yes, you can. The JUNO-G’s Marker function lets you easily
move to a desired measure by pressing a switch.
The Mastering Effect settings may have changed. (These
settings are not stored as part of a patch.)
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Troubleshooting
JUNO-G with Bank Select MSB/LSB. Note that if you omit the
Bank Select, and send only the Program Change, the tone in the
currently selected group that has the specified Program Change
number will play. Try reselecting the tone using the panel
controls. Furthermore, when selecting tones from an external
MIDI device, be sure to send the Bank Select MSB/LSB and the
Program Change as a single set for reliable reproduction. First
sending the MSB and LSB (the order in which these are sent
does not matter), followed by the Program Change.
Can I record an audio source such as guitar or vocals at the
same time that I record a MIDI performance from the JUNO-G’s
keyboard?
It’s not possible to record on an audio track at the same time
that you record MIDI from the JUNO-G’s keyboard. Record
your performance on the JUNO-G’s keyboard as MIDI, and
then overdub your audio performance on an audio track.
Sound Device Tones Are Switched Arbitrarily
In some cases, you may be unable to hear any sound after
playing the last song that was faded-out. This may be because
the volume has been lowered by volume messages or
expression messages. Check the value of these messages, and
set them to appropriate values.
Use the Microscope (p. 99) to check the following points.
•
•
Has an unneeded program change been input? Or are there
duplicate program changes?
Were any mistakes made in setting the data MIDI channels
when Program Change messages were input?
Performances are sluggish, or have interruptions.
Problems of sluggish and interrupted performances can crop up
Data supposed to be present does not appear in microscope.
Check the following points.
very easily when the song recorder or sound generator used for
the performance has to handle heavy data loads.
Main causes and possible corrective measures are considered
below.
•
•
Are the wrong tracks selected?
In View Select (p. 101), is any data set not to be displayed?
•
Are more than 128 voices playing simultaneously?
Reduce the number of voices. The composition of JUNO-G
Patches is such that up to eight Waves may be used for one
Patch. When using such Patches, even though only one sound
may be heard, it is actually eight sounds that are being played
simultaneously. In addition, with certain sounds like
continuous sounds with long releases, even though the actual
sound may not be audible to you, processing for playing the
sound is still underway, so in these cases as well, the
performance data can differ from the actual number of voices
being played.
When I play back song data, I hear the sounds of the GM sound
generator.
If the song data contains GM System On, GM2 System On, or
GS Reset MIDI messages, the sound generator will switch to
GM mode. To prevent this, turn the following reception settings
“OFF” (p. 161).
[SYSTEM SETUP] MIDI Receive: Receive GM System On,
Receive GM2 System On, and Receive GS Reset On
Music data (GM scores) does not play back correctly
Check the following points.
•
•
Are you using a Patch that uses a lot of LFO?
Try changing to a different Patch. LFO processing invariably
places a big load on the machine, so heavy use of the LFO slows
down processing for the JUNO-G overall, which can end up
having affecting the expression of sounds themselves.
Is the data concentrated at the beginning of the beats in the
sequence data?
•
•
Has the Receive General MIDI/General MIDI 2 System On
Switch been turned ON?
Set the Receive GM System ON/Receive GM2 System ON
parameter (SYSTEM/MIDI/RX) to “ON” (p. 161).
Are you trying to start playback from midway through the
song?
Avoid overlapping data with the same timing by setting an
offset of 1–2 clocks instead. Data may easily become
concentrated at the beginning of the beats in the song data
when, for example, the song data is input using Step Recording,
or if the data is quantized after being input with a keyboard in
real time. Because of this, large amounts of data are sent to the
JUNO-G, and the processing for expressing sounds becomes
bogged down.
The beginning of a GM score song contains a General MIDI/
General MIDI 2 System On message. In some cases, a GM score
cannot be played back correctly unless this message is received.
Are you trying to play song data designed for the GS Format?
When the JUNO-G receives a GS Reset message, the JUNO-G is
enabled for the GS format. This permits playback of music data
bearing the GS logo (GS music data). However, data created
exclusively for the Sound Canvas Series may not play back
properly on the JUNO-G.
•
•
•
Is there a Program Change at the point where the song
performance is sluggish?
Change the position of the Program Change. When Program
Changes are inserted in songs, processing time for switching
patches increases, which may then cause the performance to
become sluggish.
After using a song recorder to play a song, sounds stopped
playing, and no sound is played even when Program Changes
are sent.
It could be that a Bank Select in the song data that is not
Is there a System Exclusive message at the point where the song
performance is sluggish?
specified by the JUNO-G was encountered in the song. No
sound is played if the tone group is not one designated by the
Move the location of the data. System Exclusive messages
182
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Troubleshooting
contain large amounts of data, thus placing a heavy burden on
song recorders and sound modules. Try repositioning data and
changing System Exclusive messages to Control Changes for
any data for which Control Changes can be substituted.
Is there an Aftertouch or other such large Control Change at the
point where the song performance is sluggish?
What types of synchronization signals does the JUNO-G’s
internal song recorder support?
The song recorder supports either Slave or Master
synchronization for both MIDI Clock and MTC.
•
Can I make settings so that when I play back a song on the
Move the location of the data. If the data is no longer needed,
delete the data. In some cases, when using a keyboard that
features aftertouch to input data, you may end up inputting
huge amounts of data before realizing this is happening. Such
large amounts of data can place an excessive load on your song
recorder and sound module.
JUNO-G, a specific channel is played only by an external sound
module and not by the internal sound generator?
Since the JUNO-G is designed to play both the internal sound
generator and an external sound module simultaneously, you
will have to mute the internal sound generator for channels that
you want to play only on your external sound module. Mute
your external sound module for channels that you want to play
only on the internal sound generator.
Can I load “MRC Pro songs (SVQ files)” that were created on
other Roland products (such as one from the Fantom-X series)?
It’s not possible to load such data. The filename extension is the
There’s no indication of which MIDI track Ch/Part (channel/
same, but the data cannot be loaded because the song format is
different.
the data I play on the keyboard?
How can I delete a song that I saved to user memory or a
memory card?
The data is recorded on the channel and part that are assigned
to the keyboard. If you’re in Performance mode, press MODE
[PERFORM] and then press [F2 (KBD SW)] to check this (p. 60).
If you’re in Patch mode, press MODE[PATCH], then press EDIT
[MENU], select “2. System,” press [F3 (MIDI)], and check the
Kbd Patch Rx/Tx Channel (p. 160).
You can delete songs in the SONG LIST screen. Access the
SONG LIST screen, select the song that you want to delete, and
then press [F4 (DEL SONG)] to delete it (p. 116).
When I attempt to save a JUNO-G song as SMF, I can’t select
“Save As SMF.”
Can I apply the JUNO-G’s internal effects to the audio tracks?
If you’re unable to save a song as SMF, it’s possible that the
Yes, you can. The following effects can be applied (p. 104, p. 125).
song contains copyright information. For example if you use the
JUNO-G to create a song based on commercially available SMF
data containing copyright information, you won’t be able to re-
save that song as SMF data. (You will be able to save it as a song
(SVQ) file.) Copyright information included in a song cannot be
removed using the JUNO-G. Nor is it possible to use the JUNO-
G to add copyright information to a song or view it in the
display. Since the demo songs also contain copyright
Multi-effects (MFX 1–MFX 3), chorus (CHO), reverb (REV),
mastering (MASTER)
Can a song I created using MIDI tracks be mixed down to an
audio track?
Yes. The JUNO-G provides a Mixdown function that lets you mix
down the performance of the MIDI tracks and audio tracks in the
specified region to the single audio track you choose (p. 110).
information, you won’t be able to save them as an SMF even if
you’ve deleted the track data to create your own song.
Can I transpose (change the key of) the audio data?
How much song data (what size, and how many songs) can the
Yes, you can do this in the AUDIO MIXER screen. Set the Audio
Track Key Shift parameter (p. 111).
JUNO-G’s internal memory hold? How much song data can an
external memory card (PC card) hold?
Can I record in mono on an audio track?
The JUNO-G’s internal memory or an external memory card
Channel to “MONO” (p. 106).
can both hold up to 999 songs with up to 9,990 measures. The
maximum number of measures and the maximum number of
songs may be less depending on how they occupy the memory
capacity.
error appears, and recording stops.
When I record sequence data from an external source into the
Sample memory has become full. If this occurs, you can create
JUNO-G’s song recorder, all of the data becomes a single MIDI
channel.
free sample memory in either of the following ways.
Delete unneeded sample data (p. 118).
Install more memory (p. 176).
•
•
To prevent this from happening, so that the data is recorded
separately for each MIDI channel (part), go to the System
settings and turn the Remote Keyboard Switch “OFF” (p. 160).
183
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Troubleshooting
ensured for the upper limit of raised pitches, use caution when
setting the Bend Range above this figure.
Issues Related to MIDI and
External Devices
Issues Related to Audio Recording
No Sound from connected MIDI device.
Check the following points.
External input sound cannot be heard/volume is too low.
Check the following points.
•
•
Is the instrument set to transmit MIDI messages?
In Patch Mode
•
Could the level of the external input source be too low?
Could the top panel AUDIO IN slider be turned down?
Could the rear panel AUDIO INPUT LEVEL knob be turned
down?
Kbd Patch Rx/Tx Channel parameter (p. 160)
In Performance Mode
•
KBD switch (p. 60).
•
•
The volume of the device connected to AUDIO INPUT may be
lowered.
Exclusive messages are not received.
Check the following points.
Adjust it to an appropriate level.
Are the audio cables connected correctly?
Check the connections.
•
•
Is the instrument set to receive Exclusive messages?
Set the Receive Exclusive parameter to “ON” (p. 161).
Does the Device ID number of the transmitting device match
the Device ID number of the JUNO-G?
•
•
An audio cable may be broken.
Could you be using an audio cable with a built-in resistor?
Use a connection cable that does not contain a resistor (e.g.,
Roland PCS series).
Check the Device ID parameter (p. 160).
I connected an external sequencer or MIDI keyboard to the
External input sound is not stereo/is not monaural.
Check the following points.
MIDI IN connector, and attempted to play a JUNO-G rhythm
set, but there was no sound. Why?
•
In the INPUT SETTING screen that appears when you hold
down [SHIFT] and operate the AUDIO IN slider, could Input
Select be set to “LINE IN L” or “MICROPHONE”?
Check to make sure that the MIDI Transmit channel of the
external MIDI device and the JUNO-G’s MIDI Receive channel
are matched. The MIDI Receive channel used by the JUNO-G in
Patch mode is set with the Kbd Patch RX/TX Channel
parameter. Rhythm Set performance data is generally received
on MIDI Channel 10.
S
et “Input Select” to “LINE IN L/R” (p. 104).
Mic sound is not output/is too weak.
Check the following points.
Messages from MIDI IN are not being received.
•
Is the mic cable connected correctly?
Check the connection.
Additionally, the MIDI IN connector cannot be used if USB
Mode (p. 167) is set to MIDI. Set the USB mode to Storage.
•
•
The mic cable may be broken.
The input source may be set to something other than mic.
In the INPUT SETTING screen that appears when you hold
down [SHIFT] and operate the AUDIO IN slider, set Input
controls does not affect the sound.
Select to “MICROPHONE” (p. 104).
•
The mic level may have been lowered.
Could the top panel AUDIO IN slider be turned down?
Could the rear panel AUDIO INPUT LEVEL knob be turned
down?
not transmitted by the Thru function. If you are using such
sequencer software and want to record system exclusive
messages, turn on the following parameters.
In Patch Mode
•
•
Local Switch parameter (p. 160).
In Performance Mode
Can’t record a sample.
Check the following points.
KBD switch (p. 60).
•
Is there enough memory capacity?
When the Bend Range for a Patch is increased (48), the pitch
If there is insufficient sample memory, a message of “Sample
Memory Full!” will appear when you attempt to sample (p. 118).
Erase unneeded samples to increase the amount of free space.
If there is still not enough, install additional memory (DIMM
modules). (p. 176)
does not rise sufficiently, even when a MIDI Pitch Bend
message is received.
While Patch Bend Ranges can be set anywhere between 0 and
48, when certain Waves in which the pitch is raised (in the +
direction) are used, the pitch may stop rising at a fixed point,
rather than continuing to go up. Although a value of 12 is
184
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Troubleshooting
Check the following points.
•
•
Is the input level appropriate? If the input level is too high, the
recorded sound will be distorted. If it is too low, noise will be
heard. When audio recording, turn the AUDIO IN slider in the
AUDIO TRACK screen or AUDIO MIXER screen to adjust the
level while watching the level meter displayed in the upper part
of the display (p. 104).
Are the effect settings appropriate?
Some types of effect may increase the level louder than the
original sample, or may intentionally distort the sound. Some
effects will also cause noise to be emphasized.
Temporarily turn off effects, and check whether the sample
itself contains noise or distortion. Then adjust the effect settings
appropriately.
•
Are multiple samples being played simultaneously?
Even if the level of each individual sample is appropriate,
simultaneously playing multiple samples may cause the overall
level to be excessively high, causing distortion. Lower the level
of each sample so that the sound is not distorted.
Issues Related to a Memory Card
Can’t select data from a memory card.
Check the following points.
•
•
Is the memory card inserted correctly?
Turn off the power, remove the memory card, then re-insert the
memory card correctly.
The JUNO-G can use either PC card type memory cards, or
another type of memory card via a PC card adaptor.
I can’t use a memory card.
Is the memory card formatted?
An unformatted floppy disk cannot be used. Perform the
Format procedure (p. 164).
185
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Error Messages
If an incorrect operation is performed, or if processing could not be performed as you specified, an error message will appear. Refer to the
explanation for the error message that appears, and take the appropriate action.
Message
Meaning
Action
Cannot Edit Preset Sample!
Card Not Ready!
Data not found
Empty Sample!
Empty Song!
This is a preset sample, and therefore cannot be edited.
A memory card is not inserted in the slot.
The data for placement is not specified.
The sample contains no data.
The song has not been recorded, and therefore cannot be
played.
—
Insert a memory card into the slot.
—
Select a sample that contains data.
Select a song that contains data.
File Name Duplicate
A file with the same name already exists.
Delete the file bearing the same name from the disk,
and if overwriting and saving the data, merely save
the file. If you do not want to delete the file with the
same name from the disk, either save the file with a
different name.
Illegal File!
The JUNO-G cannot use this file.
—
Memory Damaged!
The contents of memory may have been damaged.
Please perform the Factory Reset operation.
If this does not resolve the problem, please contact
your dealer or the nearest Roland Service Center.
Delete unneeded data.
Memory Full!
Saving is not possible because there is insufficient space
in the user area or memory card.
MIDI Offline!
There is a problem with the MIDI cable connection.
Check that the MIDI cable has not been disconnect-
ed or broken.
—
Movable onto Bar Line Only
No More Note Numbers!
No More Sample Numbers!
The beat change event can be put only on bar line (be-
ginning of a measure).
A maximum of 16 different note numbers can be used in
one style of the arpeggio/rhythm function.
The sample cannot be divided any further.
Since fewer than 256 consecutive sample numbers are
vacant, no further sampling is possible.
No more songs can be saved. A maximum of 256 songs
can be handled simultaneously for both the user bank
and card bank.
Please delete unneeded notes.
Erase unneeded samples in order to allocate 256 or
more consecutive sample numbers.
No More Song Numbers!
Now Playing!
Please delete unneeded songs.
Since the JUNO-G is playing, this operation cannot be
executed.
Stop playback before you execute the operation.
Permission Denied!
Playback Tempo Range Over
The file is protected.
—
—
Tempo values exceed the allowable limit, and data is
created in which the closest time available within the al-
lowable range is specified.
Power off and check DIMM
Recording Parameter Error
Rec Over Flow
Turn off the power immediately, and re-insert the
DIMM memory correctly.
You are attempting to begin recording after a looped
segment.
Since a large amount of recorded data was input all at
once, it could not be processed correctly.
The sample is too short, and cannot be edited correctly.
—
You are attempting to begin recording within or be-
fore a looped segment.
Reduce the amount of recorded data.
Sample Length Too Short!
Sample Memory Full!
If the sample is extremely short, editing may not
produce the desired result.
Erase unneeded samples.
Since there is insufficient sample memory, no further
sampling or sample editing is possible.
This song is damaged.
Since the maximum number of notes that can be record-
ed in a song has been exceeded, no further recording/
editing is possible.
Song Format Error
Song Full
This song cannot be used.
Use the track edit Delete or Erase commands to re-
move unneeded data from the song that you are re-
cording/editing.
Song Not Found
The selected song cannot be found.
—
Too Many Sample Selected!
The operation cannot be executed, since marks are as-
signed to more than one sample.
Either clear the marks, or mark only one sample.
Unformatted!
The memory card is in an unsupported format.
This message cannot be copied.
This message cannot be erased.
Format the memory card.
You Cannot Copy This Message
You Cannot Erase This Message
You Cannot Move This Message
—
—
—
This message cannot be moved.
186
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Performance List
USER (User Group)
PRST (Preset Group)
No.
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
Name
No.
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Name
No.
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
Name
No.
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Name
Grand Orch
Clone Zone
Burning Lead
1:00AM
Rotary Multi
Dist Gt Mult
FreeFall Pad
Delay Santur
Str Stack
TrioPly Tmpl
Seq:Template
Grand Orch
Clone Zone
Burning Lead
1:00AM
AutoSequence
Jazzy Arps
Rotary Multi
Dist Gt Mult
FreeFall Pad
Delay Santur
Str Stack
SweetTheramx
Brass Sect
JUNO Pop 2
Triple Int
Jupiter8 Str
Japan Arp
SweetTheramx
Brass Sect
Piano+Pad 2
Fat Synth
JUNO Pop 2
Triple Int
CompuTekno
Infinite Phr
Groove 007
Auto Trance
Pno/Bs Split
Digi & Ana
JUNO Split
Bari Arp
Jupiter8 Str
Japan Arp
R&B Set
Piano+Pad 2
Fat Synth
RolldHrp/Vel
Bump It Up!
Slice Trance
SyncLead Seq
Merry Festa
OrganAns/Mod
90’s Set
CompuTekno
Infinite Phr
Groove 007
Auto Trance
Pno/Bs Split
Digi & Ana
JUNO Split
Bari Arp
R&B Set
RolldHrp/Vel
Bump It Up!
Slice Trance
SyncLead Seq
Merry Festa
OrganAns/Mod
90’s Set
Tempest
Highland
80’s Set
Sound Alarm
JUNO Pop 1
HipHop Set 1
Rnd Rhythm
Reflector
Angelis Pad
Motown
Tempest
Highland
80’s Set
Nwcomers/Mod
Night Gig
Sound Alarm
JUNO Pop 1
HipHop Set 1
Rnd Rhythm
Reflector
Angelis Pad
Motown
Disco Set
Nwcomers/Mod
Night Gig
FiltrHus/Mod
BrekBts Set
Fusion Set
Seaside
South Wind
HipHop Set 2
Reggae Set
Light Step
Disco Set
FiltrHus/Mod
BrekBts Set
Fusion Set
Seaside
1 Note Pop
Piano+Pad 1
R&B E.Piano
TrncyPad/Mod
AutoSequence
Jazzy Arps
South Wind
HipHop Set 2
Reggae Set
Light Step
Phase D
1 Note Pop
Piano+Pad 1
R&B E.Piano
TrncyPad/Mod
TrioPly Tmpl
Seq:Template
GM2 Template
Phase D
GM2 Template
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Patch List
USER (User Group)
No. Name
Voices Category
No. Name
078 Passing by
079 E-Grand
080 Juno-60 Bass
081 Latin Gtr
082 Ju-D Lead
083 DramaSect/Sw
084 Simply Fat
085 Crummy Organ
086 Sub Hit
Voices Category
No. Name
Voices Category
No. Name
Voices Category
TECHNO SYNTH
001 Juno-G Grand
002 Autotrance
003 Magestic Str
004 Rubber Bass
005 106 String 1
006 Searing COSM
007 Dreaming Box
008 Brass & Sax
009 Xadecimal
010 Mk2 Stg Phsr
011 80’s Combo
012 Aerial Choir
013 Peep Durple
014 Fairy’s Song
015 Wide SynBrs
016 Juno-60 Str
017 Pat is away
018 Dusty Sndtrk
019 Angelis Pad
020 Groove 007
021 Trance Keys
022 Wet Nyln Gtr
023 Curly Wurly
024 Comp’d JBass
025 Timeless Ld
026 Pipe Org/Mod
027 Mix Hit 2
2
4
8
3
2
2
4
5
4
3
3
4
5
4
2
2
5
4
4
4
2
4
2
2
2
4
4
1
5
4
2
3
2
3
3
2
2
3
2
4
4
1
4
1
2
2
2
4
2
6
4
2
6
2
2
4
2
2
1
1
1
1
3
2
4
4
2
3
4
2
6
2
4
2
4
3
3
AC.PIANO
BEAT&GROOVE
STRINGS
SYNTH BASS
BRIGHT PAD
DIST.GUITAR
BELL
AC.BRASS
PULSATING
EL.PIANO
4
4
2
1
2
4
3
2
3
1
2
4
3
4
2
1
1
4
4
4
2
5
2
4
2
1
4
6
8
1
2
3
4
2
4
1
4
2
4
3
5
1
2
2
6
2
2
2
2
1
2
2
4
2
3
1
1
2
3
2
3
1
3
2
2
4
2
2
1
2
2
4
3
4
1
4
2
SYNTH FX
AC.PIANO
SYNTH BASS
AC.GUITAR
HARD LEAD
STRINGS
OTHER SYNTH 161 Wire Keys
ORGAN
HIT&STAB
SOFT LEAD
PLUCKED
SOFT PAD
155 Hoover Again
156 Oblivion
157 sin(EP)
158 Fretnot 2
159 In Canada
160 JG Violin
4
3
2
3
3
1
2
4
3
4
2
4
6
2
3
2
1
1
3
7
5
2
4
4
2
3
4
8
3
1
2
2
2
2
1
2
4
3
3
4
4
4
3
3
4
4
2
4
1
1
4
4
2
4
1
1
2
3
1
2
3
3
2
2
5
4
2
4
4
1
2
4
2
4
4
4
2
TECHNO SYNTH 232 Coffee Bee
2
1
3
2
2
2
3
2
2
3
1
4
3
1
1
3
2
4
4
1
4
3
4
4
1
SYNTH FX
EL.PIANO
BASS
HARD LEAD
STRINGS
OTHER SYNTH 238 Jucy Saw
ORGAN
BRIGHT PAD
BEAT&GROOVE
SOFT LEAD
ETHNIC
233 JG Wurly
234 Rezo Sync
235 Solo Tp
236 Pressyn
237 ReverseSweep
EL.PIANO
HARD LEAD
AC.BRASS
OTHER SYNTH
BRIGHT PAD
OTHER SYNTH
PLUCKED
BRIGHT PAD
SYNTH BASS
STRINGS
PULSATING
SYNTH FX
OTHER SYNTH
SAX
SYNTH BASS
SYNTH FX
PLUCKED
162 Rochno Org
163 Ju-D CombPad
164 Beat (C4)
165 Mini Growl
166 C. McFizzy
239 Bosporus
240 SaturnHolida
241 OilDrum Bass
242 JG Cello
087 PeakArpSine
COMBINATION 088 Harpiness
VOX
ORGAN
089 JG Hollow
243 JG Strobe
090 Alpha Stack
091 Choir Aahs 2
092 LonesomeRoad
093 Clean Gtr
094 Alpha Bass 1
095 Vintagolizer
096 Stereo Brass
TECHNO SYNTH 167 Final Run
VOX
TECHNO SYNTH 244 FaceOfMars
SYNTH FX
SOFT PAD
SYNTH BRASS
BRIGHT PAD
PLUCKED
COMBINATION
SOFT PAD
BEAT&GROOVE 097 Air Pluck
OTHER SYNTH 098 VintageBrite
AC.GUITAR
EL.PIANO
BASS
168 Firefly
169 Sine Magic
170 FM EP
171 106 Bass 2
172 Amped Jazz
173 Bon Voyage
174 JG Brass
175 Sugar Synth
176 Harmonderca
177 Life-on
245 Potted Pixie
246 Alto Sax
247 Big Mini
248 Crystal
249 Monsoon
250 Stringship
251 Alpha ResoBs
EL.PIANO
EL.GUITAR
SYNTH BASS
HARD LEAD
AC.BRASS
MALLET
BRIGHT PAD
BEAT&GROOVE
SOFT LEAD
ETHNIC
PULSATING
EL.PIANO
SYNTH BASS
EL.GUITAR
HARD LEAD
AC.BRASS
BRIGHT PAD
SYNTH BASS
PULSATING
SOFT LEAD
SYNTH BASS
SAX
OTHER SYNTH 252 VirtualHuman
099 ElectroDisco
100 GR Lead
HARMONICA
BRIGHT PAD
BEAT&GROOVE
PLUCKED
SOFT PAD
TECHNO SYNTH
VOX
PULSATING
AC.PIANO
BASS
HARD LEAD
WIND
OTHER SYNTH
ORGAN
BRIGHT PAD
BEAT&GROOVE
SYNTH BASS
ETHNIC
SYNTH BRASS
TECHNO SYNTH
SYNTH FX
PULSATING
EL.PIANO
SYNTH BASS
AC.GUITAR
STRINGS
OTHER SYNTH
ORGAN
253 Howards Lead
254 DCO Bass
255 Sax Sect. 2
256 Philly Hit
101 TroubadorEns
102 JupiterMoves
103 Alpha Said..
104 Faked Piano
105 Denial River
106 Amadeus
178 Magma Bubble
179 JG Jamisen
HARD LEAD
ORGAN
SOFT PAD
TECHNO SYNTH 180 Day After...
HIT&STAB
HIT&STAB
SYNTH BRASS
PLUCKED
PULSATING
MALLET
TECHNO SYNTH 109 Good Old Day
BELL
COMBINATION
SYNTH FX
HARD LEAD
SYNTH FX
PULSATING
KEYBOARDS
BASS
HARD LEAD
WIND
181 Bounsynth
182 Sad ceremony
183 Step In
184 JD-800 Piano
185 JBass /Thumb
186 D-50 Fat Saw
028 106 Brass
029 LostParadise
030 Jazzy Arps
031 Vibrations
032 Killerbeez
033 Himalaya Ice
034 Analog Days
035 Try This!
107 Return2Base!
108 MODified Ld
110 Stacc Heaven
111 Chapel Organ
112 Ju-D Space
OTHER SYNTH 187 Clarence.net
ORGAN
188 RAVtune
BRIGHT PAD
SOFT LEAD
PERCUSSION
SYNTH BRASS
VOX
PULSATING
EL.PIANO
SYNTH BASS
EL.GUITAR
HARD LEAD
ORCHESTRA
189 Distord Bee
190 In The Pass
191 Compusonic 1
192 Flat SynBs
193 Ambi Shaku
194 Neo SuperBrs
195 Electrostars
196 Retro Sci-Fi
197 Auto Mouths
198 Spirit Tines
199 Sub Sonic
036 Hot Coffee
037 Uni-G
113 Ju-D Soft Ld
TECHNO SYNTH 114 Timpani+Low
SOFT PAD
038 Analog Pad
039 Punch MG 2
040 Detune Lead
041 Straight Str
042 Pulstar Ld
043 DelicatePizz
044 106 String 2
045 Over-D6
046 Sweet Keys
047 Atmospherics
048 Sweet 80s
049 Waspy Synth
050 Warm Str Pno
051 Ending Scene
052 JG Clavi
115 Poly Brass
116 Angels Choir
117 Mr. 4ier
118 Amped EP
119 Alpha Bass 2
120 Funk Guitar
121 Squarely
SYNTH BASS
HARD LEAD
SOFT PAD
SOFT LEAD
STRINGS
BRIGHT PAD
KEYBOARDS
OTHER SYNTH 123 Europe Xpres
122 Farewell
OTHER SYNTH 200 Pre Mass Hum
BELL
SOFT PAD
BEAT&GROOVE
OTHER SYNTH 126 In da Cave
124 Music Bells
125 Giant Sweep
201 Tape Memory
202 Atmorave
203 Smoky Organ
204 101 Basic
205 Quiet River
206 Chariots
207 Techno Pizz
208 Angel Breath
209 Saw Dogs
210 Tine EP
BRIGHT PAD
HIT&STAB
SOFT LEAD
SOFT PAD
PULSATING
AC.PIANO
SYNTH BASS
AC.GUITAR
HARD LEAD
SAX
AC.PIANO
ORCHESTRA
KEYBOARDS
PLUCKED
SYNTH BASS
PULSATING
ORGAN
AC.GUITAR
SOFT LEAD
EL.PIANO
SOFT PAD
DIST.GUITAR
SOFT LEAD
FLUTE
127 Theramax
128 Soft Breeze
129 FX World
SYNTH BASS
PLUCKED
SOFT PAD
053 Sitar on C
054 SH-101 Bs 1
055 PulsArt
130 Imagination
131 MC-404 Bass
132 12string Gtr
133 Sqr Sequence
134 Solo Sop Sax
135 Ju-D Fifths
136 Vodkakordion
137 Alpha Str 1
138 Krafty
139 SoloNzPeaker
140 X-cultural
141 SoftSynBrass
142 Synvox
TECHNO SYNTH
BRIGHT PAD
PULSATING
EL.PIANO
SYNTH BASS
DIST.GUITAR
EL.GUITAR
HARD LEAD
STRINGS
OTHER SYNTH
BRIGHT PAD
SYNTH BASS
ORCHESTRA
PLUCKED
056 Rotary Organ
057 Thick Steel
058 Evangelized
059 Vintage Tine
060 JX Strings
061 Nice Dist Gt
062 Alpha Spit
063 HimalayaPipe
064 303 NRG
065 PG Chimes
066 Analog Times
067 Ulti Ac Bass
068 Techno Dream
069 Pulsatron
070 Biting Clav
071 TrnsSweepPad
072 Nice Oct Gtr
073 D-50 Fantsia
074 SH-101 Bs 2
075 Ju-D Major7
076 Ju-D Pulsed
077 Analog Dream
211 Garage Bs 2
OTHER SYNTH 212 Get it LOUD!
ACCORDION
BRIGHT PAD
BEAT&GROOVE
SOFT LEAD
ETHNIC
SYNTH BRASS
VOX
PULSATING
EL.PIANO
SYNTH BASS
HARD LEAD
FLUTE
OTHER SYNTH 225 Digital Edge
MALLET
213 JC Strat Bdy
214 Legato Saw
215 Chamber Str
216 Flip Pad
217 Magic Wave
218 Detune Bass
219 Orch & Horns
220 Teky Drop
221 Heatstroke
222 Are U Ready?
223 LEO EP
HARD LEAD
BRIGHT PAD
SOFT PAD
BASS
143 Space Ocean
144 Wurly Trem
SYNTH FX
PULSATING
EL.PIANO
TECHNO SYNTH 145 106 Bass 1
PULSATING
KEYBOARDS
SOFT PAD
EL.GUITAR
BELL
146 Lone Prophat
147 Atk Flute
148 X-Racer
149 FM Wood
150 Alpha Str 2
151 Good Old Hit
224 Basement
BASS
HARD LEAD
BRIGHT PAD
FLUTE
BRIGHT PAD
SYNTH BASS
ETHNIC
226 MistOver5ths
227 Angel Pipes
228 Liquid Air
229 Storm Bass
230 Far East
BRIGHT PAD
HIT&STAB
SOFT LEAD
PERCUSSION
SOFT PAD
SYNTH BASS
TECHNO SYNTH 152 Naked Lead
PULSATING 153 Bass Drum
OTHER SYNTH 154 OB Slow Str
231 Strobot
PULSATING
188
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Patch List
PR-A (Preset A Group)
No. Name
Voices Category
No. Name
Voices Category
No. Name
Voices Category
No. Name
Voices Category
001 Juno-G Grand
002 Bright Grand
003 Soft Grand
004 A’live Piano
005 SoundCheck
006 JD-800 Piano
007 E-Grand
008 Blend Piano
009 LA Piano
010 Warm Pad Pno
011 Warm Str Pno
012 Imagination
013 Tine EP
2
2
2
2
2
1
4
5
3
4
6
4
1
1
2
4
5
2
3
2
3
5
5
4
2
4
3
2
3
2
2
3
3
2
6
1
AC.PIANO
AC.PIANO
AC.PIANO
AC.PIANO
AC.PIANO
AC.PIANO
AC.PIANO
AC.PIANO
AC.PIANO
AC.PIANO
AC.PIANO
AC.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
EL.PIANO
037 Wurly Trem
038 Curly Wurly
039 Super Wurly
040 JG Clavi
041 Cutter Clavi
042 D6 Clavi
2
2
2
2
2
3
2
2
2
1
2
2
1
2
2
4
6
8
1
1
1
2
4
4
2
4
4
2
4
4
2
4
1
1
8
1
EL.PIANO
EL.PIANO
EL.PIANO
KEYBOARDS
KEYBOARDS
KEYBOARDS
KEYBOARDS
KEYBOARDS
KEYBOARDS
KEYBOARDS
KEYBOARDS
KEYBOARDS
KEYBOARDS
KEYBOARDS
KEYBOARDS
KEYBOARDS
KEYBOARDS
KEYBOARDS
KEYBOARDS
BELL
BELL
BELL
BELL
BELL
BELL
BELL
BELL
BELL
BELL
BELL
BELL
BELL
BELL
BELL
BELL
MALLET
073 Vibrations
074 JG Marimba
075 JG Xylo
076 Steel Drums
077 Air Pluck
078 Synergy MLT
079 FM Wood
2
2
1
1
4
2
4
4
3
4
4
5
2
3
4
4
1
1
2
3
4
2
2
1
1
1
2
4
4
4
3
2
3
2
1
2
MALLET
MALLET
MALLET
MALLET
MALLET
MALLET
MALLET
MALLET
MALLET
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ACCORDION
ACCORDION
ACCORDION
HARMONICA
HARMONICA
HARMONICA
109 Wet Nyln Gtr
110 Nylon Guitar
111 Latin Gtr
112 Thick Steel
113 Comp Stl Gtr
114 Stl Gtr Duo
115 Wide Ac Gtr
116 So good!
117 12string Gtr
118 Pre Mass Hum
119 DynoJazz Gtr
120 Wet TC
4
2
1
2
2
2
4
2
3
4
1
1
1
1
2
2
1
2
1
1
AC.GUITAR
AC.GUITAR
AC.GUITAR
AC.GUITAR
AC.GUITAR
AC.GUITAR
AC.GUITAR
AC.GUITAR
AC.GUITAR
AC.GUITAR
EL.GUITAR
EL.GUITAR
EL.GUITAR
EL.GUITAR
EL.GUITAR
EL.GUITAR
EL.GUITAR
EL.GUITAR
EL.GUITAR
EL.GUITAR
043 Over-D6
044 Phase Clavi
045 BPFaze Clavi
046 Analog Clavi
047 Biting Clav
048 Pulse Clavi
049 PWM Clav
050 Funky Line
051 Harpsy Clavi
052 JG Harpsi
053 CoupleHarpsi
054 Amadeus
055 JG Celesta
056 JG Glocken
057 Music Box
058 Kalimbells
059 FM Syn Bell
060 FM Heaven
061 Music Bells
062 MuBox Pad
063 Dreaming Box
064 Himalaya Ice
065 D-50 Fantsia
066 JG Bell 1
080 Icy Keys
081 Toy Box
082 Rotary Organ
083 Zepix Organ
084 Peep Durple
085 R&B Organ
086 X Perc Organ
087 Rhythm’n’B
088 Rochno Org
089 LoFi PercOrg
090 Perky Organ
091 Euro Organ
092 FullStop Org
093 StakDraw Org
094 Crummy Organ
095 60’s Organ
096 Smoky Organ
097 Soap Opera
098 Distord Bee
099 Chapel Organ
100 Grand Pipes
101 Pipe Org/Mod
102 Masked Opera
103 Vodkakordion
104 Squeeze Me!
105 Guinguette
106 Harmonderca
107 BluesHrp /Sw
108 Green Bullet
121 Clean Gtr
014 Vintage Tine
015 LonesomeRoad
016 LEO EP
122 Amped Jazz
123 Kinda Kurt
124 Crimson Gtr
125 Plug n’ Gig
126 Nice Oct Gtr
127 Strat Gtr
017 70’s EP
018 Stage Tremlo
019 Stage Phaser
020 Back2the60s
021 Mk2 Stg Phsr
022 Amped EP
023 Backing PhEP
024 Psycho EP
025 Crystal EP
026 Celestial EP
027 Celestial EP
028 FM EP
128 JC Strat Bdy
029 FM E.Pad
030 sin(EP)
031 Pulse EP
067 JG Bell 2
032 Ballader
068 Candy Bell
069 JG Chime
070 Tubular Bell
071 Bell Ring
033 Spirit Tines
034 Remember
035 So story...
036 JG Wurly
072 JG Vibe
PR-B (Preset B Group)
No. Name
Voices Category
No. Name
037 Fretnot 2
Voices Category
No. Name
Voices Category
SYNTH BASS
No. Name
109 JG Cello
110 Contrabass
111 Dolce Qrt
Voices Category
001 BluNoteStrat
002 Funk Guitar
003 Fixx it
1
2
1
4
4
2
4
2
2
1
3
2
1
3
2
3
1
4
2
2
2
2
2
2
2
2
1
2
2
1
2
2
1
2
1
2
EL.GUITAR
EL.GUITAR
EL.GUITAR
EL.GUITAR
EL.GUITAR
EL.GUITAR
EL.GUITAR
EL.GUITAR
DIST.GUITAR
DIST.GUITAR
DIST.GUITAR
DIST.GUITAR
DIST.GUITAR
DIST.GUITAR
DIST.GUITAR
DIST.GUITAR
DIST.GUITAR
DIST.GUITAR
DIST.GUITAR
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
3
2
3
1
1
2
1
2
3
2
3
2
2
2
2
3
2
2
2
2
1
2
2
2
1
2
1
2
2
2
1
2
2
2
2
2
BASS
BASS
BASS
073 Alpha ResoBs
074 Fazee Bass
075 MG+SubOsc Bs
076 Hi-Energy Bs
077 Storm Bass
078 Beepin Bass
079 Nu RnB Bass
080 Rubber Bass
081 Acdg Bass
082 SQ Pan
083 Glide-iator
084 Detune Bass
085 Nu Saw Bass
086 LowFat Bass
087 Sub Sonic
088 Jungle Bass
089 101 Vibe
1
4
2
2
4
2
2
3
2
2
1
2
3
3
4
2
4
1
3
2
2
2
3
2
3
3
3
3
4
2
2
2
1
1
1
3
1
4
1
3
8
4
2
5
5
8
4
4
4
4
8
6
3
2
3
7
STRINGS
STRINGS
STRINGS
STRINGS
STRINGS
STRINGS
STRINGS
STRINGS
STRINGS
STRINGS
STRINGS
STRINGS
STRINGS
STRINGS
STRINGS
STRINGS
STRINGS
STRINGS
STRINGS
ORCHESTRA
038 RichFretless
039 NewAge Frtls
040 Alpha Bass 1
041 Alpha Bass 2
042 106 Bass 1
043 106 Bass 2
044 Intrusive Bs
045 Big Mini
046 Muffled MG
047 TransistorBs
048 Mini Like!
049 Da Chronic
050 SH-101 Bs 1
051 SH-101 Bs 2
052 Flat SynBs
053 Smooth Bass
054 MC-404 Bass
055 MC+TB Bass
056 Juno-60 Bass
057 Poly Bass
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
STRINGS
004 & Scratchee
005 Flexa Guitar
006 Dub Tales
007 GK Dubguitar
008 Mystic Gtr
009 Trem-o-Vibe
010 Nice Dist Gt
011 Get it LOUD!
012 Searing COSM
013 Plugged!!!
014 Rockin’ Dly
015 Punker
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
SYNTH BASS
112 Chamber Str
113 Magestic Str
114 Studio Sect.
115 Stringz 101
116 Crossed Bows
117 Warm Strings
118 JG Strings
119 Stacc Str mp
120 DelicatePizz
121 Orch. Pizz
122 DramaSect/Sw
123 Clustered!?!
124 Gang Strangs
125 Magnolia Str
126 Tape Memory
127 Mellow Tron
128 Wind & Str 1
016 Hurting Gtr
017 Touch Drive
018 JG Chunk
090 101 Basic
019 Power Chord
020 Ulti Ac Bass
021 All Round Bs
022 Roomy Bass
023 FingerMaster
024 Comp’d JBass
025 CompressBass
026 Tubby Mute
027 Thumb Up!
028 JBass /Thumb
029 Slap Bass
091 Garage Bs 1
092 Garage Bs 2
093 Gashed Bass
094 Unison Bass
095 OilDrum Bass
096 Acid SynBs
097 TexturedBusy
098 Vintage Sub
099 Super-G DX
100 SuBASSembly
101 DCO Bass
102 Destroyed Bs
103 Saturator
058 SH-1 Bass
059 Nu Bace
060 R&B Bass 1
061 R&B Bass 2
062 R&B Bass 3
063 R&B Bass 4
064 Kickin’ Bass
065 Electro Rubb
066 Enorjizor
030 Got Pop?
031 Snug Bass
032 Chicken Bass
033 Return2Base!
034 A Big Pick
035 Basement
067 Solid Goa
068 Punch MG 1
069 Punch MG 2
070 Foundation
071 Reso SynBs 1
072 Reso SynBs 2
104 Loco Voco
105 TBasic
106 Unplug it!
107 JG Violin
036 Fretnot 1
108 JG Viola
STRINGS
189
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Patch List
PR-C (Preset C Group)
No. Name
001 Wind & Str 2
002 Farewell
Voices Category
ORCHESTRA
No. Name
Voices Category
No. Name
Voices Category
SYNTH BRASS
No. Name
109 Crumble Syn
110 Clean?
111 Distortion
112 Squareheads
113 303 NRG
114 Hot Coffee
115 In Canada
116 DirtyVoltage
117 Bon Voyage
118 Modulator Ld
119 Beambreaker
120 Sync Tank
121 Synchro Lead
122 Stimulation
123 X-Sink Delay
124 Rezo Sync
125 Digital Edge
126 Griggley
Voices Category
HARD LEAD
5
6
5
4
7
4
3
2
4
2
2
4
4
4
4
4
1
2
2
2
2
2
5
3
3
2
1
1
1
2
2
2
2
1
3
3
037 F.Horns Sect
038 Tpts & Tmbs
039 TpTb Sect/Sw
040 Brass & Sax
041 JG Brass
042 StackTp Sect
043 Stereo Brass
044 DynamicBrass
045 BrassFall/Sw
046 Solo Tp
047 Horn Chops
048 Flugel Horn
049 Spit Flugel
050 Mute Tp /Mod
051 Harmon Mute
052 Soft Tb
3
2
2
5
7
4
4
8
2
2
2
1
3
3
1
2
2
1
2
5
3
1
4
4
4
2
2
2
2
4
4
2
2
2
1
4
AC.BRASS
AC.BRASS
AC.BRASS
AC.BRASS
AC.BRASS
AC.BRASS
AC.BRASS
AC.BRASS
AC.BRASS
AC.BRASS
AC.BRASS
AC.BRASS
AC.BRASS
AC.BRASS
AC.BRASS
AC.BRASS
073 VangJarris
074 Solo Sop Sax
075 Alto Sax mp
076 Alto Sax
1
1
1
1
1
1
2
3
1
3
4
2
2
2
2
2
3
1
3
4
4
2
1
4
2
2
2
2
2
2
2
1
4
2
3
2
2
2
4
2
2
2
3
2
3
2
2
2
2
4
3
3
2
2
2
2
ORCHESTRA
ORCHESTRA
ORCHESTRA
ORCHESTRA
ORCHESTRA
HIT&STAB
HIT&STAB
HIT&STAB
HIT&STAB
HIT&STAB
HIT&STAB
HIT&STAB
HIT&STAB
HIT&STAB
HIT&STAB
HIT&STAB
HIT&STAB
HIT&STAB
HIT&STAB
HIT&STAB
HIT&STAB
HIT&STAB
WIND
WIND
WIND
WIND
WIND
WIND
FLUTE
FLUTE
FLUTE
FLUTE
FLUTE
FLUTE
FLUTE
SAX
SAX
SAX
SAX
SAX
SAX
SAX
SAX
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
003 Orch & Horns
004 Soft Orch 1
005 Soft Orch 2
006 Ending Scene
007 Sub Hit
008 In da Cave
009 Orange Skin
010 Venus
011 Mojo Man
012 Good Old Hit
013 Mix Hit 1
014 Mix Hit 2
015 Lo-Fi Hit
016 Cheezy Movie
017 Philly Hit
018 BlastfrmPast
019 Smear Hit 1
020 Smear Hit 2
021 2ble Action
022 Funk Chank
023 Disto Stab!
024 Good Old Day
025 Wind ‘n Wood
026 Clarence.net
027 JG Oboe
028 JG Bassoon
029 English Horn
030 Atk Flute
031 JG Flute
032 Piccolo
077 Solo AltoSax
078 AltoLead Sax
079 SoloTenorSax
080 Fat TenorSax
081 Baritone Sax
082 Sax Sect. 1
083 Sax Sect. 2
084 Brassy Lead
085 Timeless Ld
086 Follow Me
087 Porta SoloLd
088 MODified Ld
089 Unleaded
090 Legato Tkno
091 HyperJupiter
092 Vintagolizer
093 Classic Lead
094 Squarely
095 Sqr Sequence
096 Square Times
097 Tristar
098 Eye see DC
099 Ju-D Lead
100 Legato Saw
101 D-50 Fat Saw
102 Gwyo Press
103 Dual Profs
104 Lone Prophat
105 Detune Lead
106 Syn Lead
SAX
SAX
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
053 Solo Bone
054 JG Tuba
AC.BRASS
AC.BRASS
AC.BRASS
AC.BRASS
055 Grande Tuba
056 Tb Section
057 Analog Brass
058 106 Brass
059 Neo SuperBrs
060 Brash!
061 Bend SynBrs
062 Wide SynBrs
063 DetuneSawBrs
064 PolyFlagship
065 Poly Brass
066 Saw Brass
067 Cheesy Brass
068 Dual Saw Brs
069 Silky JP
127 SonicVampire
128 Destroyed Ld
SYNTH BRASS
SYNTH BRASS
SYNTH BRASS
SYNTH BRASS
SYNTH BRASS
SYNTH BRASS
SYNTH BRASS
SYNTH BRASS
SYNTH BRASS
SYNTH BRASS
SYNTH BRASS
SYNTH BRASS
SYNTH BRASS
SYNTH BRASS
SYNTH BRASS
SYNTH BRASS
033 Angel Pipes
034 Pan Pipes
035 Andes Mood
036 HimalayaPipe
070 SoftSynBrass
071 Silk Brs Pad
072 Fat SynBrass
107 Space Lead
108 SynLead 0322
PR-D (Preset D Group)
No. Name
001 Distorted MG
002 C64 Lead
003 Noized Lead
004 Epic Lead
Voices Category
HARD LEAD
No. Name
038 Uni-G
Voices Category
No. Name
Voices Category
No. Name
Voices Category
1
2
3
2
3
3
1
1
2
1
3
4
1
1
1
2
1
2
1
2
2
2
1
1
3
4
1
2
2
2
2
2
2
2
1
3
2
2
4
4
2
2
7
3
3
4
4
1
4
1
1
4
4
4
6
8
7
7
4
4
4
3
4
2
1
2
3
3
8
3
5
6
1
2
TECHNO SYNTH 075 No Left Turn
TECHNO SYNTH 076 Digi-Seq
TECHNO SYNTH 077 Techno Dream
TECHNO SYNTH 078 Techno Pizz
TECHNO SYNTH 079 Techno Snips
TECHNO SYNTH 080 Alien Bubble
TECHNO SYNTH 081 MelodicDrums
TECHNO SYNTH 082 Technotribe
TECHNO SYNTH 083 Autolicker
TECHNO SYNTH 084 Pulsator
TECHNO SYNTH 085 Motion Bass
TECHNO SYNTH 086 Arposphere
TECHNO SYNTH 087 Voco Riff
TECHNO SYNTH 088 Jazzy Arps
TECHNO SYNTH 089 Pulsatron
TECHNO SYNTH 090 Mega Sync
TECHNO SYNTH 091 Ju-D Sliced
TECHNO SYNTH 092 Sine Magic
TECHNO SYNTH 093 JG Strobe
TECHNO SYNTH 094 Strobe X
TECHNO SYNTH 095 VirtualHuman
TECHNO SYNTH 096 Xadecimal
TECHNO SYNTH 097 ShapeURMusic
TECHNO SYNTH 098 Denial River
TECHNO SYNTH 099 Alpha Rave
TECHNO SYNTH 100 Synth Force
TECHNO SYNTH 101 Step In
5
2
3
2
2
1
2
2
3
4
2
4
4
4
4
2
3
3
4
5
4
4
5
6
5
4
3
1
8
2
4
1
2
7
2
3
2
TECHNO SYNTH 112 Euro Teuro
TECHNO SYNTH 113 HPF Slicer
TECHNO SYNTH 114 Sorry4theDLY
TECHNO SYNTH 115 Are U Ready?
TECHNO SYNTH 116 Strobot
TECHNO SYNTH 117 H-Pathetique
TECHNO SYNTH 118 Auto Mouths
TECHNO SYNTH 119 TMT Seq Pad
TECHNO SYNTH 120 Beat Pad
6
3
1
4
2
1
3
4
3
3
2
6
8
4
3
2
4
PULSATING
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
HARD LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
SOFT LEAD
039 Power Synth
040 Ju-D Trance
041 DelyResoSaws
042 Moon Synth
043 R-Trance
044 Killerbeez
045 Alpha Stack
046 Technocraft
047 Bounsynth
048 Trancepire
049 Nu Hoover
050 Alpha Said..
051 Alpha Hoover
052 Hoover Again
053 Raven Chord
054 Ju-D Major7
055 Braatz...
056 Morpher
057 AllinOneRiff
058 YZ Again
059 Going Mad!
060 Electrostars
061 Periscope
062 DreamInColor
063 Sweet House
064 Mad Dentist
065 Projector
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
005 Digital Ld 1
006 Digital Ld 2
007 PeakArpSine
008 R&B TriLead
009 JG Soft Ld
010 Shy Soloist
011 Reso Lead
012 Mid Saw Ld
013 Modulated Ld
014 Naked Lead
015 Waspy Lead
016 GR Lead
017 Pulstar Ld
018 Evangelized
019 Alpha Spit
020 JP Saw Lead
021 DC Triangle
022 Mini Growl
023 Theramax
024 Ju-D Soft Ld
025 Howards Lead
026 Dawn Of Pan
027 SoloNzPeaker
028 Dig-n-Duke
029 Square Lead
030 Round SQR
031 Sqr Diamond
032 Clone Zone
033 Sneaky Leady
034 Chubby Lead
035 Tranceformer
036 Shroomy
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
121 Brisk Vortex
122 PanninFormnt
123 DarknessSide
124 Vocastic
125 SpacePulse
126 Keep Running
127 StepPitShift
128 Dancefloor
TECHNO SYNTH 102 Eureggae
TECHNO SYNTH 103 Echo Echo
TECHNO SYNTH 104 Throbulax
TECHNO SYNTH 105 Rhythmic 5th
TECHNO SYNTH 106 Up For Air
TECHNO SYNTH 107 PulsArt
TECHNO SYNTH 108 ZipDoggyDoDa
TECHNO SYNTH 109 ThujonGroove
TECHNO SYNTH 110 Ju-D Pulsed
TECHNO SYNTH 111 Auto Trance
066 Coffee Bee
067 MetalVoxBox
068 Teethy Grit
069 Flazzynth
070 In-dee-yah
071 Bend’nMod Me
TECHNO SYNTH 072 Final Run
TECHNO SYNTH 073 Reso Seq Saw
TECHNO SYNTH 074 DetuneSeqSaw
037 HPF Sweep
190
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Patch List
PR-E (Preset E Group)
No. Name
001 Regenerator
002 Ionizer
Voices Category
PULSATING
No. Name
037 Jet Noise
Voices Category
No. Name
073 Tempest
074 Squeepy
Voices Category
No. Name
Voices Category
2
4
4
2
2
3
4
3
7
1
2
1
8
4
2
4
2
1
4
4
5
2
2
4
3
3
7
2
2
3
2
3
6
6
2
1
4
4
4
5
1
4
1
1
1
4
4
2
4
8
4
3
4
2
2
3
4
2
3
4
2
4
2
5
3
4
1
4
2
2
4
2
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
OTHER SYNTH 092 Wet Atax
OTHER SYNTH 093 Pressyn
OTHER SYNTH 094 Jucy Saw
OTHER SYNTH 095 Cue Tip
OTHER SYNTH 096 Potted Pixie
OTHER SYNTH 097 TB Sequence
OTHER SYNTH 098 TB Booster
OTHER SYNTH 099 SynOrch /Mod
OTHER SYNTH 100 DigimaX
OTHER SYNTH 101 X-Racer
OTHER SYNTH 102 Wire Keys
OTHER SYNTH 103 Metalizer
OTHER SYNTH 104 Fairy Factor
OTHER SYNTH 105 Orgaenia
OTHER SYNTH 106 4DaCommonMan
OTHER SYNTH 107 Digi-Vox
OTHER SYNTH 108 106 String 1
2
1
2
2
2
2
4
2
2
2
4
2
2
4
2
3
2
2
2
2
2
3
1
1
1
2
6
2
2
2
2
6
5
4
1
2
OTHER SYNTH 109 106 String 2
OTHER SYNTH 110 Giant Sweep
OTHER SYNTH 111 Phat Strings
OTHER SYNTH 112 Alpha Str 1
OTHER SYNTH 113 Alpha Str 2
OTHER SYNTH 114 Juno-60 Str
OTHER SYNTH 115 VintageBrite
OTHER SYNTH 116 Neo RS-202
OTHER SYNTH 117 Electric Pad
OTHER SYNTH 118 Stringship
OTHER SYNTH 119 NuSoundtrack
OTHER SYNTH 120 Ju-D CombPad
OTHER SYNTH 121 ReverseSweep
OTHER SYNTH 122 OB Rezo Pad
OTHER SYNTH 123 InfinitePhsr
OTHER SYNTH 124 Synthi Ens
OTHER SYNTH 125 In The Pass
OTHER SYNTH 126 Mod Dare
OTHER SYNTH 127 Voyager
OTHER SYNTH 128 Magic Wave
OTHER SYNTH
OTHER SYNTH
OTHER SYNTH
OTHER SYNTH
OTHER SYNTH
OTHER SYNTH
OTHER SYNTH
OTHER SYNTH
OTHER SYNTH
OTHER SYNTH
OTHER SYNTH
OTHER SYNTH
OTHER SYNTH
OTHER SYNTH
OTHER SYNTH
BRIGHT PAD
1
2
4
2
3
2
2
2
3
4
4
3
2
3
6
4
2
4
4
2
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
PULSATING
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
SYNTH FX
038 Passing by
039 Fantom Noise
040 Low Beat-S
041 CerealKiller
042 New Planetz
043 ResoSweep Dn
044 ResoSweep Up
045 Zap B3 & C4
046 Retro Sci-Fi
047 Space Echo
048 Lazer Points
049 PolySweep Nz
050 Bending Logo
051 Trancer
003 Newcomers
004 Tumblerz
005 FX World
006 Mr. 4ier
007 Space Ocean
008 Hellrazor
009 Dirty Beat
010 Electrons
011 Protons
075 Bustranza
076 SuperSaw
077 Saw Stack
078 Trance Keys
079 TranceSaws
080 JP OctAttack
081 DOC Stack
082 RAVtune
083 Atmorave
084 High Five
085 Steamed Sawz
086 Fragile Saws
087 Short Detune
088 Flip Pad
012 Saw Dogs
013 F1 Pad
014 Inverse Sqr
015 Myxlptylk
016 Robot Sci-Fi
017 Ourobotos
018 ARP x Race
019 Faked Piano
020 Chaos 2003
021 Shangri-La
022 12th Planet
023 Crystal
024 Magic Chime
025 SoundStrange
026 FaceOfMars
027 Scatter
028 SolarPleXus
029 Heatstroke
030 Oblivion
052 Try This!
053 Control Room
054 S&H Voc
089 Waspy Synth
090 Memory Pluck
091 Europe Xpres
055 WaitnOutside
056 Simply Fat
057 G PolySynth
058 Ju-D Fifths
059 Analog Dream
060 DCO Bell Pad
061 DigitalDream
062 Stacc Heaven
063 Sweet Keys
064 Sugar Synth
065 Ju-D Fantasy
066 Sleeper
067 Cosmic Drops
068 DoubleBubble
069 Big Planet
070 Digitaless
071 Xtatic
031 South Pole
032 Ambience
033 Neverville
034 Strange Land
035 Firefly
036 Breath Echo
072 Houze Clavi
PR-F (Preset F Group)
No. Name
Voices Category
BRIGHT PAD
No. Name
Voices Category
No. Name
075 BeautifulOne
076 Aah Vox
077 Synvox
078 FM Vox
Voices Category
No. Name
Voices Category
001 Liquid Air
002 New Year Day
003 Polar Morn
004 PG Chimes
005 Distant Sun
006 Ju-D Space
007 MistOver5ths
008 Filmscape
009 Cosmic Rays
010 Neuro-Drone
011 diGital Pad
012 two.two Pad
013 2.2 Pad
014 Digi-Swell
015 Angel Breath
016 XA:YTEM
017 Life-on
018 SaturnHolida
019 HugeSoundMod
020 Strangers
021 Analog Pad
022 JG Soft Pad
023 Soft Breeze
024 JP Strings 1
025 JP Strings 2
026 Fading Str
027 Straight Str
028 JX Strings
029 Super SynStr
030 TrnsSweepPad
031 JX Warm Pad
032 Strings Pad
033 Nu Epic Pad
034 Day After...
035 Syn Strings
036 OB Slow Str
037 Phaser Pad
4
4
4
4
4
4
4
5
4
7
4
4
7
3
4
4
4
2
4
4
3
3
2
3
6
2
4
1
2
6
2
2
2
3
5
2
2
038 Flange Dream
039 Organic Pad
040 Atmospherics
041 Magnetic 5th
042 Soft OB Pad
043 JG Hollow
044 Fairy’s Song
045 Glass Organ
046 FreezinNight
047 Lostscapes
048 Combination
049 Moving Pad
050 Wind Pad
051 Angelis Pad
052 JupiterMoves
053 Reso Pad
054 Silk Pad
055 As It Is
056 HumanKindnes
057 Chariots
058 Terra Nostra
059 Cloud #9
060 Analog Times
061 Oceanic Pad
062 Jazz Doos
4
3
2
2
3
4
4
3
5
2
4
8
4
4
2
3
3
5
4
4
8
3
4
2
4
4
4
4
4
4
2
4
8
8
4
3
3
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
VOX
VOX
VOX
VOX
VOX
VOX
VOX
VOX
VOX
VOX
VOX
VOX
VOX
4
2
2
4
3
2
2
4
5
5
1
4
6
1
6
3
3
5
4
4
2
2
8
4
1
3
4
2
4
3
4
2
4
2
4
1
4
VOX
VOX
VOX
VOX
112 Ambidextrous
113 ElectroDisco
114 Groove 007
115 In Da Groove
116 Sweet 80s
117 Autotrance
118 Juno Pop
119 Krafty
120 Compusonic 1
121 Compusonic 2
122 Beat (C4)
123 Naughty Bits
124 Magma Bubble
125 80’s Combo
126 Analog Days
127 Techno Craft
128 Dusty Sndtrk
2
5
4
4
4
4
4
3
4
4
4
4
4
3
3
3
4
SOUND FX
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
BRIGHT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
SOFT PAD
BEAT&GROOVE
BEAT&GROOVE
BEAT&GROOVE
BEAT&GROOVE
BEAT&GROOVE
BEAT&GROOVE
BEAT&GROOVE
BEAT&GROOVE
BEAT&GROOVE
BEAT&GROOVE
BEAT&GROOVE
BEAT&GROOVE
COMBINATION
COMBINATION
COMBINATION
COMBINATION
079 Let’s Talk!
080 Aerial Harp
081 Harpiness
082 AndreaIsBack
083 LostParadise
084 Ice Palace
085 Nice Kalimba
086 Quiet River
087 Sitar on C
088 Neo Sitar
089 JG Sitar
090 Electr Sitar
091 SaraswatiRvr
092 Pat is away
093 Santur Stack
094 Teky Drop
095 Bosporus
096 JG Jamisen
097 JG Koto
098 Monsoon
099 LongDistance
100 Ambi Shaku
101 C. McFizzy
102 Lochscape
103 Far East
104 X-cultural
105 TroubadorEns
106 JG Banjo
VOX
PLUCKED
PLUCKED
PLUCKED
PLUCKED
PLUCKED
PLUCKED
PLUCKED
PLUCKED
PLUCKED
PLUCKED
PLUCKED
PLUCKED
PLUCKED
PLUCKED
PLUCKED
PLUCKED
PLUCKED
PLUCKED
PLUCKED
ETHNIC
ETHNIC
ETHNIC
ETHNIC
ETHNIC
ETHNIC
ETHNIC
FRETTED
PERCUSSION
PERCUSSION
PERCUSSION
SOUND FX
SOUND FX
063 Choir Aahs 1
064 Choir Aahs 2
065 Angels Choir
066 Choir Ooh
067 Angelique
068 Gospel Oohs
069 Aerial Choir
070 Uhmmm
107 Timpani+Low
108 Timpani Roll
109 Bass Drum
110 Mobile Phone
111 En-co-re
071 Sad ceremony
072 Syn Opera
073 3D Vox
074 Morning Star
191
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Patch List
GM (GM2 Group)
Voice: number of voice
LSB: Bank Select LSB (CC#32), MSB (CC#0) is all 121
PC: Program Change Number
No. Name
001 Piano 1
Voices LSB
PC
1
1
1
2
2
3
3
4
4
5
5
5
5
6
6
6
6
6
7
7
7
7
8
8
No. Name
Voices LSB
PC
32
33
34
34
35
36
37
38
39
39
39
39
39
40
40
40
40
41
41
42
43
44
45
46
47
47
48
49
49
49
50
51
51
52
53
53
54
54
55
55
56
56
56
56
57
57
58
58
58
59
60
60
61
61
62
62
63
63
63
63
64
64
64
65
66
67
68
69
70
71
72
73
74
75
76
77
No. Name
153 Shakuhachi
154 Whistle
Voices LSB
PC
78
79
80
81
81
81
82
82
82
82
82
83
84
85
85
86
87
88
88
89
90
90
91
92
92
93
94
95
96
97
98
99
No. Name
229 Horse-Gallop
230 Bird 2
231 Telephone 1
232 Telephone 2
233 DoorCreaking
234 Door
Voices LSB
PC
124
124
125
125
125
125
125
125
126
126
126
126
126
126
126
126
126
126
127
127
127
127
127
127
128
128
128
128
4
4
4
4
4
2
2
2
2
3
3
2
2
2
2
3
2
2
1
2
1
2
1
1
1
1
1
2
2
1
1
1
1
1
1
1
2
2
1
2
2
2
2
3
1
2
2
2
1
1
2
1
2
1
2
2
2
1
2
2
2
1
1
1
2
1
1
1
2
1
2
2
2
2
2
1
0
1
2
0
1
0
1
0
1
0
1
2
3
0
1
2
3
4
0
1
2
3
0
1
0
0
0
0
1
0
1
0
0
1
2
0
0
1
2
3
0
1
2
0
0
1
2
0
1
0
1
0
0
0
1
2
3
0
1
2
3
0
1
0
1
2
0
1
2
3
0
1
0
1
2
0
077 Gt. Feedback
078 Acoustic Bs.
079 Fingered Bs.
080 Finger Slap
081 Picked Bass
082 Fretless Bs.
083 Slap Bass 1
084 Slap Bass 2
085 Synth Bass 1
086 SynthBass101
087 Acid Bass
088 Clavi Bass
089 Hammer
090 Synth Bass 2
091 Beef FM Bass
092 RubberBass 2
093 Attack Pulse
094 Violin
095 Slow Violin
096 Viola
097 Cello
098 Contrabass
099 Tremolo Str
100 PizzicatoStr
101 Harp
102 Yang Qin
103 Timpani
104 Orche str
105 Orchestra
106 60s Strings
107 Slow Strings
108 Syn.Strings1
109 Syn.Strings3
110 Syn.Strings2
111 Choir Aahs
112 Chorus Aahs
113 Voice Oohs
114 Humming
115 SynVox
1
2
1
2
2
2
2
3
2
1
1
2
2
3
2
2
1
1
1
1
1
1
3
2
1
2
3
2
4
4
2
3
3
3
2
2
3
2
3
1
2
2
2
2
1
1
1
1
1
1
1
1
2
1
4
4
3
3
3
3
3
2
2
1
1
2
2
2
1
1
1
1
1
1
1
2
1
0
0
1
0
0
0
0
0
1
2
3
4
0
1
2
3
0
1
0
0
0
0
0
0
1
0
0
1
2
0
0
1
0
0
1
0
1
0
1
0
1
2
3
0
1
0
1
2
0
0
1
0
1
0
1
0
1
2
3
0
1
2
0
0
0
0
0
0
0
0
0
0
0
0
0
2
1
2
2
1
1
2
1
2
2
2
2
2
2
2
2
2
2
2
2
1
2
2
4
3
3
3
3
2
2
2
2
1
2
3
2
2
3
2
2
1
2
1
2
2
2
1
3
2
1
3
1
1
1
1
3
4
1
1
2
2
1
1
1
1
1
1
1
2
2
1
2
2
2
2
1
0
0
0
0
1
2
0
1
2
3
4
0
0
0
1
0
0
0
1
0
0
1
0
0
1
0
0
0
0
0
0
0
1
0
0
0
0
1
2
0
0
1
0
0
0
1
0
0
0
0
0
0
0
0
1
0
1
0
1
0
1
1
0
0
1
2
0
1
0
1
2
3
4
5
0
1
1
1
1
1
1
1
2
2
2
1
1
1
2
1
1
2
2
2
2
1
1
1
1
1
1
1
1
2
2
3
0
1
2
3
4
5
0
1
2
3
4
5
6
7
8
9
0
1
2
3
4
5
0
1
2
3
002 Piano 1w
003 European Pf
004 Piano 2
005 Piano 2w
006 Piano 3
007 Piano 3w
008 Honky-tonk
009 Honky-tonk 2
010 E.Piano 1
011 St.Soft EP
012 FM+SA EP
013 60’s EP
014 E.Piano 2
015 Detuned EP 2
016 St.FM EP
017 EP Legend
018 EP Phase
019 Harpsichord
020 Coupled Hps.
021 Harpsi.w
022 Harpsi.o
023 Clav.
024 Pulse Clav
025 Celesta
026 Glockenspiel
027 Music Box
028 Vibraphone
029 Vibraphone w
030 Marimba
031 Marimba w
032 Xylophone
033 Tubular-bell
034 Church Bell
035 Carillon
155 Ocarina
156 Square Wave
157 MG Square
158 2600 Sine
159 Saw Wave
160 OB2 Saw
161 Doctor Solo
162 Natural Lead
163 SequencedSaw
164 Syn.Calliope
165 Chiffer Lead
166 Charang
167 Wire Lead
168 Solo Vox
169 5th Saw Wave
170 Bass & Lead
171 Delayed Lead
172 Fantasia
173 Warm Pad
174 Sine Pad
175 Polysynth
176 Space Voice
177 Itopia
178 Bowed Glass
179 Metal Pad
180 Halo Pad
181 Sweep Pad
182 Ice Rain
183 Soundtrack
184 Crystal
185 Syn Mallet
186 Atmosphere
187 Brightness
188 Goblin
189 Echo Drops
190 Echo Bell
191 Echo Pan
192 Star Theme
193 Sitar
235 Scratch
236 Wind Chimes
237 Helicopter
238 Car-Engine
239 Car-Stop
240 Car-Pass
241 Car-Crash
242 Siren
243 Train
244 Jetplane
245 Starship
246 Burst Noise
247 Applause
248 Laughing
249 Screaming
250 Punch
251 Heart Beat
252 Footsteps
253 Gun Shot
254 Machine Gun
255 Lasergun
256 Explosion
9
10
11
12
12
13
13
14
15
15
15
16
17
17
17
17
18
18
18
19
20
20
20
21
21
22
22
23
24
25
25
25
25
26
26
26
26
27
27
28
28
28
29
29
29
29
30
30
31
31
31
32
99
100
101
102
103
103
103
104
105
105
106
107
108
108
109
110
111
112
113
114
115
116
116
117
117
118
118
119
119
119
120
121
121
121
122
122
123
123
123
123
123
123
124
124
036 Santur
037 Organ 1
038 Trem. Organ
039 60’s Organ 1
040 70’s E.Organ
041 Organ 2
042 Chorus Or.2
043 Perc. Organ
044 Organ 3
045 Church Org.1
046 Church Org.2
047 Church Org.3
048 Reed Organ
049 Puff Organ
050 Accordion Fr
051 Accordion It
052 Harmonica
053 Bandoneon
054 Nylon-str.Gt
055 Ukulele
056 Nylon Gt.o
057 Nylon Gt.2
058 Steel-str.Gt
059 12-str.Gt
060 Mandolin
061 Steel + Body
062 Jazz Gt.
063 Pedal Steel
064 Clean Gt.
065 Chorus Gt.
066 Mid Tone GTR
067 Muted Gt.
068 Funk Pop
069 Funk Gt.2
070 Jazz Man
071 Overdrive Gt
072 Guitar Pinch
073 DistortionGt
074 Feedback Gt.
075 Dist Rtm GTR
076 Gt.Harmonics
116 Analog Voice
117 OrchestraHit
118 Bass Hit
119 6th Hit
120 Euro Hit
194 Sitar 2
195 Banjo
196 Shamisen
197 Koto
198 Taisho Koto
199 Kalimba
200 Bagpipe
121 Trumpet
122 Dark Trumpet
123 Trombone
124 Trombone 2
125 Bright Tb
126 Tuba
127 MutedTrumpet
128 MuteTrumpet2
129 French Horns
130 Fr.Horn 2
131 Brass 1
201 Fiddle
202 Shanai
203 Tinkle Bell
204 Agogo
205 Steel Drums
206 Woodblock
207 Castanets
208 Taiko
209 Concert BD
210 Melo. Tom 1
211 Melo. Tom 2
212 Synth Drum
213 808 Tom
214 Elec Perc
215 Reverse Cym.
216 Gt.FretNoise
217 Gt.Cut Noise
218 String Slap
219 Breath Noise
220 Fl.Key Click
221 Seashore
222 Rain
132 Brass 2
133 Synth Brass1
134 Pro Brass
135 Oct SynBrass
136 Jump Brass
137 Synth Brass2
138 SynBrass sfz
139 Velo Brass 1
140 Soprano Sax
141 Alto Sax
142 Tenor Sax
143 Baritone Sax
144 Oboe
145 English Horn
146 Bassoon
147 Clarinet
148 Piccolo
149 Flute
150 Recorder
151 Pan Flute
152 Bottle Blow
223 Thunder
224 Wind
225 Stream
226 Bubble
227 Bird
228 Dog
192
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Rhythm Set List
PRST (Preset Group)
USER (User Group)
GM (GM2 Group)
No.
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
Name
No.
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
Name
No.
001
002
003
004
005
006
007
008
009
Name
StandardKit1
StandardKit2
StandardKit3
Rock Kit 1
StandardKit1
StandardKit2
StandardKit3
Rock Kit 1
GM2 STANDARD
GM2 ROOM
GM2 POWER
GM2 ELECTRIC
GM2 ANALOG
GM2 JAZZ
Rock Kit 2
Rock Kit 2
Brush Jz Kit
Orch Kit
Brush Jz Kit
Orch Kit
GM2 BRUSH
GM2 ORCHESTRA
GM2 SFX
909 808 Kit
909 808 Kit
Limiter Kit
Limiter Kit
HipHop Kit 1
HipHop Kit 2
HipHop&Latin
Machine&Hip
R&B Kit
HipHop Kit 1
HipHop Kit 2
HipHop&Latin
Machine&Hip
R&B Kit
HiFi R&B Kit
Machine Kit1
4 Kit MIX
HiFi R&B Kit
Machine Kit1
4 Kit MIX
Kit-Euro:POP
House Kit
Kit-Euro:POP
House Kit
Nu Technica
Machine Kit2
ArtificalKit
Noise Kit
Nu Technica
Machine Kit2
ArtificalKit
Noise Kit
Kick Menu
Kick Menu
Snare Menu 1
Snare Menu 2
Percussion
Snare Menu 1
Snare Menu 2
HiHat Menu
Rim&Tom Menu
Clp&Cym&Hit
FX/SFX Menu
Percussion
Scrh&Voi&Wld
JG Break Kit
PassionDrums
Arpeggiate!?
De Facto Kit
Scrh&Voi&Wld
JG Break Kit
PassionDrums
Arpeggiate!?
De Facto Kit
193
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Rhythm Set List
001
001
StandardKit1
002
002
StandardKit2
003
003
StandardKit3
004
004
Rock Kit 1
005
005
Rock Kit 2
006
006
Brush Jz Kit
Prst:
User:
Note No.
28
MaxLow Kick3
Rk CmpKick
Gospel Clap
Boys Kick
Dance Kick
Dry Kick 1
Snr Roll
Power Kick
Amb.Snr 2
Power Kick
Reg.PHH
Reg.Kick
Reg.Kick
Wild Stick
Amb.Snr 1
Reg.SnrGst
Amb.Snr 2
Reg.F.Tom
Reg.CHH 1
Reg.L.Tom
Reg.CHH 2
Reg.M.Tom
Reg.OHH
Reg.M.TomFlm
Reg.H.Tom
Crash Cym 1
Reg.H.TomFlm
Rock Ride
China Cymbal
Splash Cym
Tamborine
Rock Crash 1
Cowbell Hi
Crash Cym 1
Cowbell Low
Rock Ride
Conga Hi Mt
Conga Lo Mt
Conga Hi Slp
Conga Hi Op
Conga Lo Op
Timbale Hi
Timbale Low
Mild Agogo H
Mild Agogo L
Cabasa Up
Maracas
Whistle Shrt
Whistle Long
Guiro Short
Guiro Long
Claves
Wood Block H
Wood Block L
Cuica Mute
Cuica Open
Triangle Mt
Triangle Op
Cabasa Cut
DigiSpectrum
Wind Chime
Wood Block
Cajon 2
HipHop Kick2
Frenzy Kick
Low Down Snr
TR707 Kick
Frenzy Snr 1
TR606DstKick
Reg.PHH
Low Kick 1
Old Kick
Lo-Bit Stk 4
Reg.Snr 1
R&B Kick
Rk CmpKick
Snr Roll
Bright Kick
Snr Roll Lp
SH32 Kick
Reg.PHH
Reg.Kick
Reg.Kick
Reg.Stick
Reg.Snr 2
MaxLow Kick2
MaxLow Kick1
Pop Snr Rim
Power Kick
Med Snare
Bright Kick
Rock CHH 2
Rock Kick
Rk CmpKick
Rock Stick
Maple Snr
Sft Snr Gst
Rock Snr
Sharp L.Tom6
Rock CHH 1
Sharp L.Tom5
Rock PHH
Sharp L.Tom4
Rock OHH
Sharp H.Tom3
Sharp H.Tom2
Crash Cym 1
Sharp H.Tom1
Ride Cymbal
China Cymbal
Ride Bell
Tamborine 3
Rock Crash 2
Cowbell Mute
Splash Cym
Cowbell
Rock Rd Cup
Conga Hi Mt
Conga Lo Mt
Conga Slp Op
Conga Hi Op
Conga Lo Op
Timbale Hi
Timbale Low
Agogo Bell H
Agogo Bell L
Cabasa Up
Maracas
TR909 Kick 1
TR909 Kick
Jz Brsh Slap
Old Kick
Soft Jz Roll
R&B Kick
Reg.PHH
Jazz Kick
Jazz Kick
Reg.Stick
29
30
31
32
33
Snr Roll
HipHop Kick2
Reg.PHH mf
Reg.Kick
Reg.Kick
Reg.Stick
Reg.Snr 2
Reg.SnrGst
Reg.Snr 1
Reg.F.Tom
Reg.CHH 1
Reg.L.Tom
Reg.CHH 2
Reg.M.Tom
Reg.OHH
Reg.M.Tom
Reg.H.Tom
Crash Cym 1
Reg.H.Tom
Rock Ride
34
35
36
37
38
39
40
C2
Jazz Rim
Jz Brsh Swsh
Jazz Snr
Amb Clap
Reg.SnrGst
Reg.Snr 1
Med Snare
Jazz Lo Tom
Reg.CHH 1
Jazz Lo Tom
Reg.CHH 2
Jazz Mid Tom
Reg.OHH
Jazz Mid Tom
Jazz Hi Tom
Crash Cym1
Jazz Hi Tom
Rock Rd Edge
China Cymbal
Rock Rd Cup
Tamborine
Splash Cym
Cowbell
Rock Crash 2
CR78 Guiro
Jazz Ride
Bongo Hi
Bongo Lo
Conga Hi Mt
Conga Hi
Conga Lo
Timbale Hi
Timbale Low
Cowbell Hi
Cowbell Low
Cabasa
Shaker
Urban CHH
Scratch 5
Syn Low Atk2
MG Zap 3
Syn Swt Atk1
Syn Swt Atk4
Bongo Hi Slp
Vox Hihat 2
Vox Hihat 3
Triangle 1
Triangle 2
Cajon
Cajon 3
Wind Chime
SprgDrm Hit
Crotale
R8 Click
Metro Bell
Reg.F.Tom
Reg.CHH 1
Reg.L.Tom
Reg.CHH 2
Reg.M.Tom
Reg.OHH
Reg.M.TomFlm
Reg.H.Tom
Crash Cym 1
Reg.H.TomFlm
Rock Ride
China Cymbal
Splash Cym
Tamborine
Rock Crash 1
Cowbell Hi
Crash Cym 1
Cowbell Low
Rock Ride
Conga Hi Mt
Conga Lo Mt
Conga Hi Slp
Conga Hi Op
Conga Lo Op
Timbale Hi
Timbale Low
Agogo Bell H
Agogo Bell L
Cabasa Up
Maracas
Whistle Shrt
Whistle Long
Guiro Short
Guiro Long
Claves
Wood Block H
Wood Block L
Cuica Mute
Cuica Open
Triangle Mt
Triangle Op
Cabasa Cut
DigiSpectrum
Wind Chime
Gtr Cut 1
Reg.F.Tom
Reg.CHH 1
Reg.L.Tom
Reg.CHH 2
Reg.M.Tom
Reg.OHH
Reg.M.Tom
Reg.H.Tom
Jazz Crash
Reg.H.Tom
Jazz Ride
China Cymbal
Ride Edge
Tamborine
Crash Cym
Cowbell Low
Crash Cym
Cowbell Hi
Ride Bell
Conga Hi Mt
Conga Lo Mt
Conga Lo Slp
Conga Hi Op
Conga Lo Op
Timbale Hi
Timbale Low
Agogo Bell H
Agogo Bell L
Cabasa Up
Maracas
41
42
43
44
45
46
47
C3 48
50
49
51
52
China Cymbal
Ride Edge
53
54
56
58
Tamborine
Crash Cym
Cowbell Low
Crash Cym 2
Cowbell Hi
Ride Bell
Conga Hi Mt
Conga Lo Mt
Conga Lo
Conga Hi Op
Conga Lo Op
Timbale Hi
Timbale Low
Agogo Bell H
Agogo Bell L
Cabasa Up
Maracas
Whistle Shrt
Whistle Long
Guiro Short
Guiro Long
Claves
Wood Block H
Wood Block L
Cuica Mute
Cuica Open
Triangle Mt
Triangle Op
Cabasa Cut
Castanet
Bongo Hi Mt
Bongo Hi Slp
Bongo Lo Slp
Bongo Hi Op
Bongo Lo Op
Cajon 1
55
57
59
C4 60
62
61
63
64
65
66
68
70
67
69
71
Whistle Shrt
Whistle Long
Guiro Short
Guiro Long
Claves
Wood Block H
Wood Block L
Cuica Mute
Cuica Open
Triangle Mt
Triangle Op
Cabasa Cut
Wind Chime
Dst Gtr Riff
Gtr Trill
Jazz Kick
Jazz Kick
Reg.Stick
Jazz Rim
Sft Snr Gst
Jazz Snr
C5 72
74
73
75
76
Reg.F.Tom
Reg.CHH 1
Reg.L.Tom
Reg.CHH 2
Reg.M.Tom
Reg.OHH
Reg.M.TomFlm
Reg.H.Tom p
Jazz Cymbal
Reg.H.TomFlm
Jazz Ride
China Cymbal
Cajon 1
Cajon 2
Cajon 3
Udo
Udu Pot Hi
Udu Pot Slp
TablaBayam 1
TablaBayam 2
TablaBayam 3
TablaBayam 4
TablaBayam 5
TablaBayam 6
Wind Chime
Tibet Cymbal
Slight Bell
77
78
80
82
79
81
83
C6 84
86
85
87
Gtr Cut 2
Gtr Cut 3
Gtr Cut 4
Rock PHH
Rock CHH 2
TablaBayam 1
Rock CHH 1
TablaBayam 2
Rock OHH
TablaBayam 5
Cajon 3
Gtr Cut 1
Gtr Cut 2
Gtr Cut 3
Gtr Cut 4
ConcertBD
R&B Kick
Dry Kick 2
88
DR202 Beep
Reverse Cym
Xylo Seq.
Vinyl Noise
Mobile Phone
Group Snap
Laser
89
Cajon 2
Cajon 3
Udo
Old Kick
Dist Mute
90
92
94
Jazz Doos
Agogo Noise
Rock OHH
JD Anklungs
Rock OHH
Udo
Dist Chord
DistGtr Nz 1
DistGtr Nz 2
DistGtr Nz 3
JD Switch
Cajon 3
Cajon 2
Cajon 1
Real Clap
Gospel Clap
Tibet Cymbal
Tamborine 1
Tamborine 2
91
93
Udu Pot Hi
Udu Pot Slp
TablaBayam 1
TablaBayam 2
TablaBayam 3
TablaBayam 4
TablaBayam 5
TablaBayam 6
Wind Chime
Tibet Cymbal
Slight Bell
95
Siren
C7 96
98
Cajon 1
AnalogKick 3
TR909 Kick 1
Reg.Kick
TR909 Snr 4
TR808 Snr 2
Artful Snr
Cajon 2
Cajon 1
97
99
Udu Pot Hi
Gospel Clap
Bright Clap
Rock Rd Cup
Cowbell
Gospel Clap
Rock Crash 2
Rock Rd Cup
Club FinSnap
TR909 Snr 6
100
101
102
Crash Cym 2
Cross Snr
103
194
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Rhythm Set List
007
007
Orch Kit
008
008
909 808 Kit
009
009
Limiter Kit
010
010
HipHop Kit 1
011
011
HipHop Kit 2
012
012
HipHop&Latin
Prst:
User:
Note No.
28
Timpani Roll
ConcertBD
Shaker 2
Jngl pkt Snr
Reverse Cym
Snr Roll Lp
Jazz Ride
Timpani Roll
ConcertBD
Hard Stick
Amb.Snr 2
Gospel Clap
Snr Roll
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
TR909 Kick 2
TR909 Kick 4
Urbn Sn Roll
TR909 Kick 5
TR909 Snr 3
TR909 Kick 3
TR909 PHH 2
TR909 Kick 6
TR909 Kick 1
TR909 Rim
TR909 Snr 1
TR909 Clap 1
TR909 Snr 2
TR909 Tom L
TR909 CHH 1
TR909 Tom L
TR909 PHH 1
TR909 Tom M
TR909 OHH 2
TR909 Tom M
TR909 Tom H
TR909 Crash
TR909 Tom H
TR909 Ride
TR909 Crash
TR909 Ride
CR78 Tamb
TR909 Crash
JD Sm Metal
TR909 Ride
Syn Swt Atk3
TR808 Kick
TR808 Kick
TR808 Rim
TR808 Snr 2
TR808 Clap 2
TR808 Snr 4
TR808 Tom L
TR808 CHH 1
TR808 Tom L
TR808 CHH 2
TR808 Tom M
TR808 OHH 1
TR808 Tom M
TR808 Tom H
TR606 Cym
TR808 Tom H
TR606 Cym
TR606 OHH
TR606 OHH
CR78 Tamb
CR78 OHH
Skool Kick
HipHop Kick1
Dry Stick 1
Low Kick 3
Dry Stick 4
Boys Kick
Swallow PHH
Rough Kick 3
R&B Kick
PlasticKick2
Low Kick 2
Snr Roll Lp
AnalogKick 3
GoodOld Snr5
Dist Kick
Bang CHH
TR707 Kick
Skool Kick
HipHop Kick1
HipHop Kick2
Grit Snr 4
Syn Low Atk1
Rk CmpKick
Grit Snr 1
HipHop Kick2
Jz Brsh Swsh
Pin Kick
Lo-Bit CHH 1
Back Kick
Back Kick
29
30
FB Kick
31
32
33
Boys Snr 2
Low Kick 2
Lo-Bit PHH
Skool Kick
Low Kick 1
Swag Rim
34
35
36
37
38
39
40
C2
Lo-Bit Stk 4
Grit Snr 2
Dist Clap
Lo-Bit Stk 4
Ballad Snr
Old Clap
R&B Rim 4
Pocket Snr
Old Clap
Back Snr
Planet Clap
R&B Snare 1
TR808 Tom L
Bang CHH
TR808 Tom L
TR808 CHH 1
TR808 Tom M
Reg.OHH ff
TR808 Tom M
TR808 Tom H
TR909 Crash
TR808 Tom H
Jazz Ride
Crash Cym 1
Ride Cymbal
Lo-Bit Snr
Lo-Bit PHH
HipHop OHH
TR808 PHH
Euro Hit
Low Kick 3
HipHop Kick1
R&B Rim 2
Jngl pkt Snr
Claptail
Dirty Snr 6
Scratch 1
HipHop CHH 1
Scratch 1
Urban CHH
Scratch 4
Neck OHH
Scratch 5
Syn Mtl Atk1
Crash Cym 1
Syn Mtl Atk2
TR909 Ride
DistGtr Nz 1
Rough Kick 3
Reg.Snr1
Funk Clap
Real Clap
Happy Clap
Gospel Clap
SBF Hrd Ld 1
MG Zap 4
Lo-Bit Snr 3
Reg.F.Tom
Lo-Bit CHH 2
Reg.F.Tom
Lo-Bit CHH 4
Reg.L.Tom
Lo-Bit OHH 2
Reg.L.TomFlm
Reg.H.Tom
Crash Cym 1
Reg.H.TomFlm
Lo-Bit OHH 1
TR606 Cym
Jazz Ride
Tamborine 1
TR606 OHH
Vibraslap
Neck Kick
Hip PHH
TR808 Kick
Neck Kick
Neck Rim
Neck Snr
R8 Clap
Boys Snr 1
TR808 Tom
Shaky CHH
TR808 Tom
Shaky CHH
TR606 Tom L
Lo-Bit OHH 2
TR606 Tom L
TR606 Tom H
Crash Cym 2
TR606 Tom H
Jazz Ride
Splash Cym
Rock Rd Edge
Tamborine 3
Guiro Long
Gospel Clap
Tibet Cymbal
Wind Chime
VoxKickSweep
Vox Kick 2
Vox Kick 1
Vox Snare 1
Pa!
Lo-Bit Snr 2
TR909 Tom L
Urban CHH
Deep Tom L
Swallow PHH
TR909 Tom M
Lo-Bit OHH 2
Deep Tom M
TR909 Tom H
Crash Cym 1
Deep Tom H
Rock Crash 1
Rock Rd Edge
China Cymbal
Snap
Grit Snr 1
CR78 Guiro
LowDwn CHH
7th Hit
Swallow PHH
DistGtr Nz 1
Reg.OHH
41
42
43
44
45
46
47
Pick Kick
Skool Kick
Regular Rim
Keen Snr 2
Hip Clap
Boys Snr 1
Funk Clap
Bang CHH
Real Clap
Street PHH
Gospel Clap
Bang OHH
Boys Kick
Low Kick 1
Lo-Bit Stk 1
GoodOld Snr1
LoBit SnrFlm
Dirty Snr 6
Grit Snr 2
Lo-Bit CHH 1
Dirty Snr 8
Lo-Bit CHH 1
Dirty Snr 2
Lo-Bit OHH 3
Lo-Bit Snr 2
Cajon 3
C3 48
50
Timpani
Timpani
Timpani
Timpani
49
51
52
Timpani
53
54
56
58
Tamborine 3
Concert Cym
Cowbell Mute
Crash Cym 1
Ride Cymbal
Crash Cym 1
Bongo Hi Op
Bongo Lo Op
Conga Hi Mt
Conga Hi Op
Conga Lo Op
Timbale Hi
Timbale Low
Agogo Bell H
Agogo Bell L
Cabasa Up
Maracas
Whistle Shrt
Whistle Long
Guiro Short
Guiro Long
Claves
Wood Block H
Wood Block L
Cuica Mute
Cuica Open
Triangle Mt
Triangle Op
Cabasa Cut
Finger Snap
Wind Chime
Slight Bell
Udo
55
Op Pandeiro
Mt Pandeiro
Guiro Long
Guiro Short2
Guiro Short1
Shaker 2
Shaker 1
Bone Shake
Vibraslap
57
59
C4 60
62
61
63
64
Vox Kick 1
65
Vox Snare 1
VoxKickSweep
Vox Snare 2
Vox Hihat 2
Vox Hihat 3
Vox Hihat 1
Vox Cymbal
Slight Bell
Tibet Cymbal
Wind Chime
Scratch 2
Scratch 1
Scratch 10
Scratch 9
OrangeHit 2
LoFi Min Hit
Thin Beef
Dist Hit
Narrow Hit 2
MG Attack
66
68
70
67
69
71
C5 72
74
TablaBayam 6
Cajon 1
Shaker 2
73
75
76
Cajon 2
Timbale Hi
Conga Lo Mt
Timbale Hi
Conga Lo Op
Timbale Low
Conga Slp Op
Timbale Low
Cowbell Low
Triangle Mt
Cowbell Hi
Triangle Op
Claves
77
78
80
82
79
Cowbell Mute
CR78 OHH
81
Syn Swt Atk5
TR808 OHH 2
808 Maracas
TR808 Claves
Triangle Mt
Triangle Op
Narrow Hit 2
Easy Gtr
MG Zap
Scratch 1
MG Zap 1
TR606 Snr 2
Synth Saw
83
C6 84
86
Scratch 9
Crotale
85
87
Vibraslap
Crotale
Applause
MG Zap 9
Pa!
HipHop OHH
OrangeHit 3
DistGtr Nz 3
Drive Hit
JD ScrapeGut
Office Phone
Bird Song
88
Vox Snare 2
Chiki!
R8 Shaker 1
Cabasa Down
Cabasa Cut
MaxLow Kick1
MaxLow Kick2
Lo-Bit Snr 1
LowDwn CHH
Wild Stick
MC500 Beep 1
MC500 Beep 2
Gospel Clap
TR606 Cym
China Cymbal
Rock Crash 2
CR78 OHH
Concert Cym
Tubular Bell
Tubular Bell
Tubular Bell
Tubular Bell
Tubular Bell
Tubular Bell
Tubular Bell
Tubular Bell
Tubular Bell
Tubular Bell
Tubular Bell
Tubular Bell
Tubular Bell
Church Bell
Church Bell
Castanet
Club Clap
Guiro 2
89
Vox Hihat 2
Vox Hihat 1
Vox Hihat 2
Vox Cymbal
Vox Hihat 3
Heartbeat
Scratch 2
Scratch 5
Scratch 1
Scratch 4
90
92
94
91
Cabasa Down
Crash Cym 1
TR707 Ride
TR606 Cym
CR78 OHH
Agogo Bell H
Agogo Bell L
Wood Block H
Wood Block L
Tamborine 2
Whistle
93
Polishing Nz
Dentist Nz
95
Digi Breath
Polishing Nz
TablaBayam 7
TablaBayam 6
Cajon 1
Filtered Hit
Door Creak
Vinyl Noise
Lo-Bit CHH 2
Dirty Snr 7
Lo-Bit CHH 2
Dirty Snr 9
Lo-Bit Snr 1
Neck OHH
Lo-Bit Snr 2
C7 96
98
97
99
Scratch 6
100
Mobile Phone
Wah Gtr Riff
Wah Gtr Riff
101
Vint.Phone
AnalogKick
102
Conga Thumb
103
195
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Rhythm Set List
013
013
Machine&Hip
014
014
R&B Kit
015
015
HiFi R&B Kit
016
016
Machine Kit1
017
017
4 Kit MIX
018
018
Kit-Euro:POP
Prst:
User:
Note No.
28
TR909 Kick 2
TR909 Kick 4
Chemical Snr
AnalogKick 6
TR808 Snr 1
70's Kick
TR808 PHH
SH32 Kick
Low Kick 2
TR808 Rim
Lite Snare
Short Clap
CR78 Snare
CR78 Tamb
Lite CHH
CR78 Tamb
Lite OHH
70's Kick
MaxLow Kick2
FB Kick
TR909 Kick 2
TR909 Kick 4
Light Snr
Back Kick
DR660 Snr
Pick Kick
TR808 PHH
AnalogKick 6
Pick Kick
TR808 Rim
Jngl pkt Snr
Funk Clap
Jngl pkt Snr
MG Attack
TR808 CHH 1
MG Attack
TR808 PHH
MG Blip
TR808 OHH 1
MG Blip
Beam HiQ
TR606 Cym
Beam HiQ
Lo-Bit OHH 1
TR606 Cym
Lo-Bit OHH 1
CR78 Tamb
TR606 Cym
JD Sm Metal
Lo-Bit OHH 1
Syn Swt Atk3
AnalogKick 6
Back Kick
R8 Comp Rim
Pocket Snr
TR909 Clap 2
Boys Snr 3
TR606 Tom L
Neck CHH
TR606 Tom
Lo-Bit CHH 1
TR606 Tom L
Reg.OHH
TR606 Tom M
TR606 Tom H
TR909 Crash
TR606 Tom H
Lite OHH
TR909 Crash
Lite OHH
CR78 Tamb
TR909 Crash
JD Sm Metal
Lite OHH
Syn Swt Atk1
TR808 OHH 2
808 Maracas
TR808 Claves
Triangle Mt
Triangle Op
Narrow Hit 2
OrangeHit 1
MG Zap 4
FB Kick
Pick Kick
TR707 Kick
AnalogKick 1
Dirty Snr 6
FB Kick
Skool Kick
Urbn Sn Roll
HipHop Kick2
Slap Snr 2
Old Kick
HipHop CHH 2
Filtered Hit
Vinyl Kick
Dry Stick 4
Dirty Snr 3
Frenzy Snr 1
Boys Snr 2
VoxKickSwepL
Club CHH 1
Reg.F.Tom
Neck CHH
VoxKickSwepM
Lo-Bit OHH 2
Reg.M.Tom
VoxKickSwepH
Rock Crash 1
Reg.H.Tom
Splash Cym
Rock Rd Edge
Concert Cym
Cheap Clap
Snap
Low Down Snr
Wood Block
Shaku Noise
Syn Hrd Atk1
Digi Loop 2
Maracas
Cabasa Up
Cabasa Down
Cabasa Cut
Tamborine 1
Tamborine 2
Tamborine 1
Triangle Mt
Triangle Op
Xylo Seq.
29
30
Rough Kick1
MaxLow Kick1
Rough Kick3
Rk CmpKick
Swallow Kick
Low Kick 1
Boys Kick
Tiny Snare
TR606DstKick
TR808 Snr 7
Hippie Kick
TR606 PHH 2
SH32 Kick
TR707 Kick
R&B Rim 4
Dirty Snr 6
TR808 Clap 2
Keen Snr 1
TablaBayam 7
Lo-Bit CHH 3
TablaBayam 7
TR606 PHH 1
TR909 DstTom
TR606 OHH
Skool Kick
Low Kick 1
R&B Rim 4
TR909 Snr 3
R8 Clap
Boys Snr 1
Bongo Hi Mt
Reg.OHH
Bongo Hi Mt
TR606 PHH 1
Bongo Lo Op
Reg.OHH ff
TR909 Kick 3
Click Kick
Swag Rim
Cross Snr
Snap
R&B Snare 1
Vox Snare 1
Reg.CHH 2
Vox Snare 2
Hip PHH
Triangle 1
Reg.OHH
AnalogKick 5
TR808 Kick
Scratch 5
Grit Snr 3
Happy Clap
Grit Snr 3
Snap
CR78 CHH
Snap
31
32
33
Artful Snr
PlasticKick2
Shaky CHH
Swallow Kick
TR909 Kick 6
R&B Rim 4
TR909 Snr 3
TR909 Clap 1
TR909 Snr 4
Sharp L.Tom2
TR909 CHH 1
Sharp L.Tom1
Urban CHH
Sharp M.Tom
TR909 OHH 2
Sharp M.Tom
Sharp H.Tom
TR909 Crash
Sharp H.Tom
TR909 Ride
China Cymbal
TR707 Ride
Tamborine 3
Crash Cym 1
Cowbell
34
35
36
37
38
39
40
C2
Hard Stick
GoodOld Snr3
GoodOld Snr4
GoodOld Snr2
Lo-Bit Snr 1
Shaky CHH
Slap Snr 3
Club CHH 2
Keen Snr 1
Reg.OHH
41
42
43
44
45
CR78 Beat
Lite OHH
46
47
CR78 Beat
CR78 Guiro
TR606 Cym
CR78 Guiro
Lo-Bit OHH 1
TR606 Cym
Lo-Bit OHH 1
CR78 Tamb
TR606 Cym
JD Sm Metal
Lo-Bit OHH 1
Syn Swt Atk3
Low Kick 3
Keen Snr 1
BmbCmp Snr
TR606 Cym
GoodOld Snr6
TR606 Cym
White Noise
SBF Cym Lp
CR78 Tamb
SBF Bell Lp
JD Sm Metal
TR606 Cym
Syn Swt Atk3
TR909 Kick 4
TR909 Kick 4
TR808 Rim
TR808 Snr 2
TR808 Clap 2
TR808 Snr 4
TR808 Tom 4
TR808 CHH 1
TR808 Tom 3
TR808 CHH 2
TR808 Tom 2
TR808 OHH 1
TR808 Tom 1
Scratch 3
C3 48
50
49
51
52
53
54
56
58
55
57
Rock Crash 2
Vibraslap
TR606 Cym
Bongo Lo
Bongo Hi
Conga Hi Mt
Conga Hi
59
Low Kick 2
C4 60
62
R&B Rim 2
Keen Snr 2
TR808 Clap 2
Back Snr
61
63
64
Conga Lo
TR606 Tom L
HipHop CHH 2
TR606 Tom L
TR808 PHH
TR606 Tom M
TR808 OHH 2
TR606 Tom M
TR606 Tom H
Lo-Bit OHH 3
TR606 Tom H
Lo-Bit OHH 1
TR909 Crash
Lite OHH
CR78 Tamb
TR909 Crash
JD Sm Metal
Lite OHH
Syn Swt Atk1
TR808 OHH 2
808 Maracas
TR808 Claves
Triangle Mt
Triangle Op
OrangeHit 1
Punch
MG Zap 1
Scratch 1
MG Zap 1
TR606 Snr 2
Synth Saw
Digi Breath
Polishing Nz
Vibraslap
Door Creak
Filtered Hit
TR909 Ride
EP Release
Syn Low Atk1
AnalogKick 6
Conga Efx
Vox Hihat 2
Vox Hihat 3
CR78 Beat
Cabasa Cut
Shaker 1
Street PHH
Scratch 7
Syn Low Atk2
MG Zap 7
Syn Swt Atk1
Syn Swt Atk4
Conga Thumb
Triangle 1
Triangle 2
Drive Hit
65
66
68
70
67
69
71
7th Hit
Mild Hit
Vinyl Noise
Cajon 1
Cajon 2
C5 72
74
Scratch 4
Scratch 5
Scratch 6
Short Clap
Hand Clap
R8 Clap
73
75
76
Cajon 3
Conga Hi Mt
Conga Lo Mt
Conga Hi Slp
Conga Lo Slp
Conga Hi Op
Conga Lo Op
Conga Slp Op
Conga Efx
Conga Thumb
Vox Cymbal
Chiki!
77
78
80
82
Cabasa Cut
R8 Shaker 2
Tamborine 2
Shaker 1
Bone Shake
Tibet Cymbal
Crotale
Slight Bell
Wind Chime
Triangle 1
Mild CanWave
JDStrikePole
JD Plunk
Syn Swt Atk2
GtrStroke Nz
River
Bubble
Train Pass
Dentist Nz
Org Leakage
Agogo Noise
SBF Vox Lp
SynVox Noise
R8 Click
79
CR78 OHH
TablaBayam 3
CR78 OHH
TablaBayam 3
Udu Pot Hi
TR606 Cym
Udu Pot Hi
Lo-Bit OHH 1
Crash Cym 1
TR707 Ride
Maracas
81
Tao Hit
Filtered Hit
Euro Hit
Wind Chime
Timpani Roll
Crotale
83
C6 84
86
85
87
R8 Click
Metro Bell
88
Castanet
CR78 Beat
CR78 OHH
CR78 CHH
Lite OHH
CR78 Tamb
JD Vox Noise
CR78 Guiro
Metro Click
Metro Bell
Wind Chime
Slight Bell
Crash Cym 1
TR909 Crash
CR78 OHH
Lite OHH
MC500 Beep 1
MC500 Beep 2
Atmosphere
Polishing Nz
Car Slip
Group Snap
Laser
ConcertBD Lp
AnalogKick 3
Old Kick
89
90
92
94
Scratch 1
MG Zap 1
TR606 Snr 2
Synth Saw
Digi Breath
Polishing Nz
TablaBayam 7
TablaBayam 6
Cajon 1
Filtered Hit
Door Creak
Vint.Phone
AnalogKick 6
TR707 Ride
Scratch 6
91
93
TR606 Cym
SBF Nz Lp
SBF Cym Lp
Agogo Noise
TablaBayam 7
TablaBayam 6
Cajon 1
Filtered Hit
Laugh
JD Triangle
AnalogKick 6
95
C7 96
98
97
99
Reg.Kick
TR909 Snr 4
TR808 Snr 2
Artful Snr
100
101
102
Syn Swt Atk1
Cross Snr
103
196
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Rhythm Set List
019
019
House Kit
020
020
Nu Technica
021
021
Machine Kit2
022
022
ArtificalKit
023
023
Noise Kit
024
024
Kick Menu
Prst:
User:
Note No.
28
TR909 Kick 3
SH32 Kick
SH32 Kick
AnalogKick 5
AnalogKick 6
Analog Snr 1
AnalogKick 1
TR808 Snr 4
FB Kick
TR808 PHH
AnalogKick 6
AnalogKick 6
Swag Rim
TR909 Kick 2
AnalogKick 2
TR808 Snr 5
TR909 Kick 3
Boys Snr 3
TR909 Kick 2
TR909 Kick 4
Urbn Sn Roll
TR909 Kick 5
SBF Nz Lp
TR909 Kick 1
Syn Swt Atk7
SBF Vox Kick
SBF Vox Kick
Laser
-----
-----
-----
-----
-----
-----
-----
Reg.Kick p
Reg.Kick f
Reg.Kick ff
Reg.Kick
Rock Kick p
Rock Kick mf
Rock Kick
Jazz Kick p
Jazz Kick mf
Jazz Kick f
JD EML 5th
AnalogKick 6
Low Kick 2
PlasticKick3
Low Kick 1
TR707 Kick
PlasticKick3
SH32 Kick
TR909 Snr 5
TR909 Snr 2
Flange Snr
29
30
Urbn Sn Roll
TR909 Kick 2
TR909 Snr 6
TR909 Kick 5
TR909 PHH 2
TR909 Kick 4
TR909 Kick 4
TR909 Rim
TR909 Snr 4
TR909 Clap 2
TR909 Snr 5
TR909 Tom L
TR909 CHH 2
TR909 Tom L
TR909 PHH 2
TR909 Tom M
TR909 OHH 2
TR909 Tom M
TR909 Tom H
TR909 Crash
TR909 Tom H
TR909 Ride
TR909 Crash
TR909 Ride
CR78 Tamb
MG Zap 4
31
32
33
FB Kick
34
TR606 Cym
AnalogKick 3
TVF Trigger
TR909 Rim
TR909 Snr 1
Claptail
TR909 Snr 3
TR909 Tom L2
TR909 CHH 1
TR909 Tom L1
TR909 PHH 1
TR909 Tom M2
TR909 OHH 2
TR909 Tom M1
TR909 Tom H2
TR909 Crash
TR909 Tom H1
TR909 Ride
White Noise
CR78 Beat
35
36
37
38
39
40
C2
TR909 Snr 1
TR707 Clap
Frenzy Snr 1
Deep Tom L
TR606 CHH 1
Deep Tom L
TR606 PHH 1
Deep Tom M
TR909 OHH 2
Deep Tom M
Deep Tom H
Lite OHH
Deep Tom H
TR808 OHH 1
TR606 Cym
TR909 Ride
CR78 Tamb
TR606 Cym
JD Sm Metal
TR909 Ride
Syn Swt Atk3
AnalogKick 1
AnalogKick 4
Urbn Sn Roll
Analog Snr 2
Dist Clap
Analog Snr 3
R8 Shaker 1
TR909 CHH 2
R8 Shaker 1
TR909 PHH 2
SBF Bell Lp1
TR909 OHH 2
SBF Bell Lp2
SBF Bell Lp3
TR909 Crash
SBF Bell Lp4
TR909 Ride
TR909 Crash
TR909 Ride
CR78 Tamb
MG Zap 2
SBF Nz Lp
Train Pass
SBF Nz Lp
Disc Clap
Dance CHH
TR606 DstCHH
TR909 PHH 2
TR606 PHH 2
TR909 OHH 1
Lite OHH
Rock Rd Cup
Syn Hrd Atk4
MG Zap 7
Syn Swt AtkL
Syn Swt Atk7
Syn Swt AtkL
Syn Mtl Atk2
Syn Swt AtkM
SBF Nz Lp
Syn Swt AtkM
Syn Swt AtkH
Digi Loop 1
Syn Swt AtkH
Calc.Saw
Crotale
Laser
MG Zap 11
Laser
MG Zap 4
41
42
43
44
45
Jazz Kick
Dry Kick 1
46
47
Tight Kick 1
Tight Kick 2
Old Kick
Jz Dry Kick
Bright Kick
Dry Kick 2
Dry Kick 3
Power Kick
R&B Kick
Rk CmpKick
MaxLow Kick1
MaxLow Kick2
MaxLow Kick3
Dist Kick
C3 48
50
49
51
MG Zap 9
MG Zap 8
MG Zap 10
52
HipHop CHH 2
Syn Swt Atk3
Street PHH
Syn Swt Atk6
HipHop OHH
TR909 OHH 2
TR909 R.Crsh
TR909 Crash
Rock Crash 1
MG Zap 2
53
54
56
58
Tamborine 3
Atmosphere
Cowbell Mute
Digi Loop 2
55
JD Sm Metal
MG Zap 5
Syn Swt Atk3
AnalogKick 2
TR909 Kick 2
TR909 Rim
57
Digi Loop 1
MG Zap 6
Cowbell
59
Reverse Cym
AnalogKick 5
Metal Vox W1
Metal Vox W2
Metal Vox W3
White Noise1
White Noise2
TR606 Cym
MG Blip
MG Blip Rev.
Polishing Nz
Ice Crash
Metal Vox L2
Thin Beef
7th Hit
Alpha Rave
DistTB Sqr
Finger Snap
Conga Slp Op
Conga Lo Op
Conga Hi Op
Triangle Mt
Triangle Op
Cabasa Cut
R8 Shaker 1
AnalogKick 1
PlasticKick2
PlasticKick3
TR909 Kick 1
AnalogKick 4
AnalogKick 6
TR909 Snr 2
TR909 Snr 4
TR909 Snr 5
TR909 Snr 6
TR808 Snr 1
TR808 Snr 2
TR808 CHH 1
TR808 OHH 1
TR909 CHH 2
TR909 OHH 2
Lite CHH
Syn Low AtkL
Syn Low AtkH
MG Attack
Syn Hrd Atk4
Train Pass
Syn Mtl Atk1
Syn Swt AtkL
Syn Swt Atk7
Syn Swt AtkL
Syn Mtl Atk2
Syn Swt AtkM
SBF Nz Lp
Syn Swt AtkM
Syn Swt AtkH
Digi Loop 1
Syn Swt AtkH
Calc.Saw
C4 60
62
FB Kick
61
63
TR909 Snr 1
TR909 Clap 1
TR909 Snr 2
TR909 D.TomL
TR909 CHH 1
TR909 D.TomL
TR808 CHH 2
TR909 D.TomM
TR909 OHH 1
TR909 D.TomM
TR909 D.TomH
TR909 Crash
TR909 D.TomH
TR909 Ride
TR909 Crash
TR909 Ride
Tamborine 2
MG Zap 2
Rough Kick1
Rough Kick2
Rough Kick3
Click Kick
Pick Kick
Back Kick
Vinyl Kick
Low Kick 1
Boys Kick
Hippie Kick
Frenzy Kick
PlasticKick1
Swallow Kick
Neck Kick
MG Zap 9
64
Smear Hit 2
Low Square
JD Wood Crak
Piano Atk Nz
JD Wood Crak
DR202 Beep
JD Wood Crak
Saw Sync B
DR202 Beep
OrangeHit 1
E.Gtr Harm
Filtered Hit
65
66
68
70
67
69
71
C5 72
74
73
75
76
Euro Hit
Crotale
Laser
MG Zap 11
Laser
MG Zap 4
70's Kick
Jazz Tom L
TR909 D.TomL
Jazz Tom M
TR909 D.TomM
Jazz Tom H
TR909 D.TomH
AnalogKick 3
AnalogKick 5
Happy Clap
TR808 Snr 7
TR808 Snr 3
TR909 Snr 6
TR909 CHH 2
TR606 DstCHH
Dance CHH
TR606 PHH 2
TR909 OHH 2
TR606 OHH
CR78 OHH
106SubOsc HD
TR909 Snr 6
MG Blip
Skool Kick
Dance Kick
HipHop Kick1
HipHop Kick2
Pin Kick
77
78
80
82
79
Cowbell Low
MG Zap 6
Cowbell Hi
JD Sm Metal
MG Zap 6
Syn Swt Atk1
MG Zap 7
808 Maracas
TR808 Claves
Triangle Mt
Triangle Op
Euro Hit
Scratch 4
Easy Gtr
Crotale
MG Zap 4
81
Crotale
MG Zap 6
Low Kick 2
Low Kick 3
AnalogKick 1
PlasticKick2
PlasticKick3
TR909 Kick 1
TR909 Kick 2
AnalogKick 2
TR909 Kick 3
AnalogKick 3
AnalogKick 4
AnalogKick 5
AnalogKick 6
TR606DstKick
TR808 Kick
TR909 Kick 4
TR909 Kick 5
SH32 Kick
TR707 Kick
TR909 Kick 6
Roll Kick
83
MG Zap 7
Syn Low Atk2
808 Maracas
TR808 Claves
Triangle Mt
Triangle Op
Udo
Conga Thumb
Easy Gtr A
Digi Loop 1
MG Zap 4
Urbn Sn Roll
Calc.Saw
White Noise
Polishing Nz
TablaBayam 7
Scream
Conga Hi Mt
Conga Lo Mt
Conga Lo Slp
Conga Hi Op
Conga Lo Op
Timbale Hi
Timbale Low
Agogo Bell H
Agogo Bell L
Cabasa Down
Maracas
Guiro Short
Guiro Long
Claves
Wood Block L
Wood Block H
Triangle Mt
Triangle Op
Castanet
C6 84
86
85
87
88
89
90
92
94
91
93
Urbn Sn Roll
Calc.Saw
95
White Noise
Polishing Nz
TablaBayam 7
TablaBayam 6
Cajon 1
Filtered Hit
Laugh
Office Phone
AnalogKick 6
C7 96
98
97
99
JD EML 5th
TR707 Clap
Dist Clap
MG Zap 5
MG Zap 7
Cajon 1
Filtered Hit
Laugh
ConcertBD Lp
Timpani Lp
100
Lite OHH
TR606 Cym
China Cymbal
101
102
Whistle
-----
103
197
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Rhythm Set List
025
025
Snare Menu 1
026
026
Snare Menu 2
027
---
HiHat Menu
028
---
029
---
Clp&Cym&Hit
030
---
FX/SFX Menu
Prst:
User:
Note No.
28
Rim&Tom Menu
Reg.Snr1 p
Reg.Snr1 mf
Reg.Snr1 f
Reg.Snr1 ff
Reg.Snr1
Reg.Snr2 p
Reg.Snr2 f
Reg.Snr2 ff
Reg.Snr2
Reg.Snr Flm
Amb.Snr1 p
Amb.Snr1 f
Amb.Snr1
Amb.Snr2 p
Amb.Snr2 f
Piccolo Snr
Maple Snr
Natural Snr1
Natural Snr2
Dry Snr p
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
29
30
Reg.CHH 1 p
Reg.CHH 1 mf
Reg.CHH 1 f
Reg.CHH 1 ff
Reg.CHH 1
Reg.CHH 2 mf
Reg.CHH 2 f
Reg.CHH 2 ff
Reg.CHH 2
Rock CHH1 mf
Rock CHH1 f
Rock CHH1
Rock CHH2 mf
Rock CHH2 f
Rock CHH2
Rock PHH
Lo-Bit CHH 1
Lo-Bit CHH 2
Lo-Bit CHH 3
Lo-Bit CHH 4
Lo-Bit CHH 5
Modern CHH
HipHop CHH 1
Urban CHH
Bang CHH
31
32
33
34
35
Grit Snr 1
Grit Snr 2
Grit Snr 3
Grit Snr 4
LoBit SnrFlm
Lo-Bit Snr 1
Lo-Bit Snr 2
Lo-Bit Snr 3
BmbCmp Snr
MrchCmp Snr
Frenzy Snr 1
Frenzy Snr 2
Slap Snr 1
Keen Snr 1
Reggae Snr
DR660 Snr
Pop Snr p
Pop Snr f
Reg.Stick
Soft Stick
Hard Stick
Wild Stick
Rock Stick
Lo-Bit Stk 1
Lo-Bit Stk 2
Lo-Bit Stk 3
Lo-Bit Stk 4
Dry Stick 1
Dry Stick 2
Dry Stick 3
Click Snr p
Click Snr f
Click Snr ff
Dry Stick 4
Dry Stick 5
R8 Comp Rim
R&B Rim 1
R&B Rim 2
R&B Rim 3
Neck Rim
Swag Rim
Step Rim
R&B Rim 4
Street Rim
Regular Rim
TR909 Rim
TR808 Rim
Reg.F.Tom p
Reg.F.Tom f
Reg.F.Tom
Reg.L.Tom p
Reg.L.Tom f
Reg.L.Tom
Reg.M.Tom p
Reg.M.Tom f
Reg.M.Tom
Reg.H.Tom p
Reg.H.Tom f
Reg.H.Tom
Reg.L.TomFlm
Reg.M.TomFlm
Reg.H.TomFlm
Jazz Lo Tom
Jazz Mid Tom
Jazz Hi Tom
Jazz Lo Flm
Jazz Mid Flm
Jazz Hi Flm
Sharp Lo Tom
Sharp Hi Tom
Dry Lo Tom
Dry Hi Tom
TR909 Tom
TR909 DstTom
TR808 Tom
TR606 Tom
Deep Tom
-----
Hand Clap
Club Clap
Short Clap
Real Clap
Bright Clap
R8 Clap
Gospel Clap
Amb Clap
Hip Clap
Funk Clap
Group Clap
Claptail
Planet Clap
Royal Clap
Happy Clap
TR808 Clap 1
Disc Clap
Dist Clap
MG Zap 1
MG Zap 2
MG Zap 3
MG Zap 4
MG Zap 5
MG Zap 6
MG Zap 7
MG Zap 8
MG Zap 9
MG Zap 10
MG Zap 11
MG Blip
Beam HiQ
MG Attack
Syn Low Atk1
Syn Low Atk2
Syn Hrd Atk1
Syn Hrd Atk2
Syn Hrd Atk3
Syn Hrd Atk4
Syn Mtl Atk1
Syn Mtl Atk2
Syn Swt Atk1
Syn Swt Atk2
Syn Swt Atk3
Syn Swt Atk4
Syn Swt Atk5
Syn Swt Atk6
Syn Swt Atk7
R8 Click
36
37
38
39
40
C2
41
42
43
44
45
46
47
Dry Snr f
C3 48
50
Ballad Snr
Light Snr p
Light Snr f
Light Snr ff
Light SnrRim
Rock Snr p
Rock Snr mf
Rock Snr f
Rock Snr
Rock Rim p
Rock Rim mf
Rock Rim f
Rock Rim
Reg.SnrGst
Rock Snr Gst
Sft Snr Gst
Jazz Snr p
Jazz Snr mf
Jazz Snr f
49
51
52
Pop Snr Rim
Pop Snr
Old Clap
53
54
56
58
TR909 Clap 1
TR909 Clap 2
TR808 Clap 2
TR707 Clap
Cheap Clap
Crash Cym1 p
Crash Cym1 f
Crash Cym 1
Crash Cym 2
Rock Crash 1
Rock Crash 2
Splash Cym
Jazz Crash
TR909 Crash
TR606 Cym
Ride Cymbal
Ride Bell
Rock Rd Cup
Rock Rd Edge
Jazz Ride p
Jazz Ride mf
TR909 Ride
TR707 Ride
China Cymbal
Concert Cym
ClassicHseHt
OrangeHit 1
OrangeHit 2
OrangeHit 3
7th Hit
Brassy Hit
Drive Hit
Filtered Hit
Mild Hit
Narrow Hit 1
Narrow Hit 2
Euro Hit
Dist Hit
Thin Beef
Tao Hit
Smear Hit 1
Philly Hit
Smear Hit 2
LoFi Min Hit
Orch. Hit
Med Snare
Jngl pkt Snr
Pocket Snr
Flange Snr
Slap Snr 2
Analog Snr 1
Analog Snr 2
Analog Snr 3
Jam Snr
55
LowDwn CHH
Disc CHH
57
Club CHH 1
HipHop CHH 2
TR909 CHH 1
TR909 CHH 2
Shaky CHH
Club CHH 2
TR808 CHH 1
TR808 CHH 2
TR606 CHH 1
TR606 CHH 2
TR606 DstCHH
Lite CHH
CR78 CHH
DR55 CHH
Neck CHH
Dance CHH
Reg.PHH mf
Reg.PHH f
59
C4 60
62
61
63
64
Back Snr
Keen Snr 2
Boys Snr 1
Slap Snr 3
Neck Snr
Artful Snr
Pin Snr
MC500 Beep 1
MC500 Beep 2
DR202 Beep
JD Switch
Cutting Nz
Vinyl Noise
Applause
River
65
66
68
70
67
Jazz Snr ff
Jazz Snr
69
Jazz Rim p
Jazz Rim mf
Jazz Rim f
Jazz Rim ff
Jazz Rim
Jz Brsh Slap
Jz Brsh Swsh
Swish&Turn p
Swish&Turn f
Swish&Turn
Snr Roll
Snr Roll Lp
Soft Jz Roll
BrushRoll Lp
GoodOld Snr1
GoodOld Snr2
GoodOld Snr3
GoodOld Snr4
GoodOld Snr5
GoodOld Snr6
Dirty Snr 1
Dirty Snr 2
Dirty Snr 3
Dirty Snr 4
Dirty Snr 5
Dirty Snr 6
Dirty Snr 7
Dirty Snr 8
Dirty Snr 9
Dirty Snr 10
-----
71
Chemical Snr
Sizzle Snr
Tiny Snare
R&B Snare 1
R&B Snare 2
Cross Snr
Grave Snr
Boys Snr 2
Boys Snr 3
Low Down Snr
TR909 Snr 1
TR909 Snr 2
TR909 Snr 3
TR909 Snr 4
TR909 Snr 5
TR909 Snr 6
TR808 Snr 1
TR808 Snr 2
TR808 Snr 3
TR808 Snr 4
Lite Snare
TR808 Snr 5
TR808 Snr 6
TR808 Snr 7
TR606 Snr 1
TR606 Snr 2
CR78 Snare
Urbn Sn Roll
Jngl SnrRoll
-----
C5 72
74
Thunder
Monsoon
Stream
73
75
76
Reg.PHH
Bubble
Street PHH
Swallow PHH
Hip PHH
Bird Song
Dog Bark
Gallop
Vint.Phone
Office Phone
Mobile Phone
Door Creak
Door Slam
Car Engine
Car Slip
Car Pass
Crash Seq.
Gun Shot
Siren
Train Pass
Airplane
77
78
80
82
79
TR909 PHH 1
TR909 PHH 2
TR808 PHH
TR606 PHH 1
TR606 PHH 2
Lo-Bit PHH
Lo-Bit OHH 1
Rock OHH
Reg.OHH mf
Reg.OHH f
Reg.OHH ff
Reg.OHH
81
83
C6 84
86
85
87
88
89
90
92
94
91
Lo-Bit OHH 2
Lo-Bit OHH 3
Neck OHH
93
Laugh
Scream
Punch
95
Bang OHH
-----
-----
-----
-----
-----
-----
-----
-----
HipHop OHH
TR909 OHH 1
TR909 OHH 2
TR808 OHH 1
TR808 OHH 2
TR606 OHH
Lite OHH
Heartbeat
Footsteps
Machine Gun
Laser
Thunder Lp
Metro Bell
Metro Click
-----
C7 96
98
97
99
Punch Hit
O'Skool Hit
-----
-----
-----
100
-----
-----
-----
-----
-----
-----
101
102
CR78 OHH
-----
103
198
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Rhythm Set List
031
027
Percussion
032
028
033
029
JG Break Kit
034
030
035
031
Arpeggiate!?
036
032
De Facto Kit
Prst:
User:
Note No.
28
Scrh&Voi&Wld
PassionDrums
-----
-----
-----
-----
-----
-----
-----
Finger Snap
Club FinSnap
Single Snap
Snap
Group Snap
Cowbell
Cowbell Mute
Wood Block
Claves
TR808 Claves
CR78 Beat
Castanet
-----
-----
-----
-----
-----
-----
-----
JG Brk AKick
JG Brk BKick
JG Brk CKick
JG Brk DKick
JG Brk EKick
JG Brk FKick
JG Brk GKick
JG Brk HKick
JG Brk IKick
SH32 Kick
MaxLow Kick3
Rk CmpKick
Gospel Clap
Boys Kick
Snr Roll
HipHop Kick2
Reg.PHH
Reg.Kick
Frenzy Kick
Vinyl Kick
Boys Kick
Reg.Kick
SBF Nz Lp
Metal Vox L2
Org Leakage
Gallop
Org Click 1
Thunder
JD EML 5th
AnalogKick 6
Low Kick 2
Low Kick 3
Back Kick
29
30
31
32
33
34
Car Pass
River
35
Scratch 1
Scratch 2
Scratch 3
Scratch 4
Scratch 5
Scratch 6
Scratch 7
Scratch 8
Scratch 9
Scratch 10
Vox Kick 1
Vox Kick 2
VoxKickSweep
Vox Snare 1
Vox Snare 2
Vox Hihat 1
Vox Hihat 2
Vox Hihat 3
Vox Cymbal
Pa!
PlasticKick3
TR909 Kick 4
R&B Rim 2
TR909 Snr 5
Back Snr
Boys Snr 2
Reg.L.Tom
TR606 CHH 2
Reg.M.Tom
Lo-Bit PHH
Reg.F.Tom
Lite OHH
Reg.M.Tom
ConcertBD
Crash Cym 2
Reg.H.Tom
Jazz Ride
MG Noise Fx
Heartbeat
Car Slip
Crash Seq.
Car Pass
Gun Shot
Train Pass
Airplane
36
37
38
39
40
C2
JG Brk BClap
JG Brk ASnar
JG Brk RStck
JG Brk BSnar
JG Brk DTomL
JG Brk RCHH
JG Brk DTomL
JG Brk RCHH
JG Brk DTomM
JG Brk RCHH
JG Brk DTomM
JG Brk DTomH
JG Brk RCrsh
JG Brk DTomH
JG Brk CRide
JG Brk JCrsh
JG Brk CCrsh
JG Brk Noise
JG Brk RCup
JG Brk LScra
JG Brk CCrsh
JG Brk LScra
JG Brk JKick
JG Brk KKick
JG Brk RClap
JG Brk CSnar
JG Brk RStck
JG Brk DSnar
JG Brk STomH
JG Brk SCHH
JG Brk STomH
JG Brk SPHH
JG Brk STomH
JG Brk SOHH
JG Brk STomH
JG Brk STomH
JG Brk RevON
JG Brk STomH
JG Brk RevOF
JG Brk ATabl
JG Brk BTabl
JG Brk CTabl
JG Brk DTabl
JG Brk SDrum
JG Brk AUdu
JG Brk AUdu
JG Brk AUdu
JG Brk ACong
JG Brk ACong
JG Brk ACong
JG Brk ACong
JG Brk ACong
JG Brk AHitL
JG Brk AHitL
JG Brk BHitL
JG Brk BHitL
JG Brk CHitL
JG Brk CHitU
JG Brk DHit
Reg.Kick
Low Kick 2
TR909 Kick 3
Conga Hi Mt
Jz Slap Bass
Gtr Cut 3
41
42
Laugh
Scream
43
44
45
Car Engine
Door Slam
Footsteps
Machine Gun
Laser
DistGtr Nz 2
Ac.Bass Nz 2
Punch
DistGtr Nz 1
DistGtr Nz 3
GtrStroke Nz
E.Bass Nz 2
ClassicHseHt
7th Hit
OrangeHit 3
OrangeHit 1
Brassy Hit
Filtered Hit
Mild Hit
Narrow Hit 1
Euro Hit
Dist Hit
Thin Beef
Tao Hit
Smear Hit 1
Smear Hit 2
LoFi Min Hit
Orch. Hit
Punch Hit
O'Skool Hit
Philly Hit
46
Scratch 1
Scratch 7
47
Whistle
Bongo Hi Mt
Bongo Hi Slp
Bongo Lo Slp
Bongo Hi Op
Bongo Lo Op
Conga Hi Mt
Conga Lo Mt
Conga Hi Slp
Conga Lo Slp
Conga Hi Op
Conga Lo Op
Conga Slp Op
Conga Efx
Conga Thumb
Timbale 1
Timbale 2
Cabasa Up
Cabasa Down
Cabasa Cut
Maracas
Syn Swt Atk1
TablaBayam 1
Udo
VoxKickSweep
Vox Hihat 1
Cowbell
Bongo Hi Mt
ClassicHseHt
Reg.CHH 1
Org Click 1
Digi Breath
SynVox Noise
JP8 Pls 3 HD
Metal Vox W1
Harmonica
Shamisen
C3 48
50
49
51
52
TR909 Kick 3
Disc CHH
53
54
56
58
CR78 Tamb
Bang CHH
ConcertBD Lp
TR909 OHH 2
Cowbell
TR606 Cym
TR909 Crash
Jazz Ride
Filtered Hit
P5 Sqr HD
Custm Sqr HD
TR808 Snr 3
Alpha Rave
Jazz Crash
Funk Clap
TR909 CHH 2
TR909 OHH 2
Mute Tp
Chiki!
55
Aah Formant
Eeh Formant
Iih Formant
Ooh Formant
Uuh Formant
Metal Vox W1
Metal Vox W2
Metal Vox W3
JD Gamelan
JD Gamelan
JD Gamelan
JD Gamelan
JD Gamelan
JD Gamelan
JD Gamelan
JD Gamelan
JD Gamelan
JD Gamelan
JD Gamelan
JD Gamelan
TablaBayam 1
TablaBayam 2
TablaBayam 3
TablaBayam 4
TablaBayam 5
TablaBayam 6
TablaBayam 7
Cajon 1
57
59
C4 60
62
61
63
64
Flute
Dyno EP mp
SlwPick70s
Cln Gtr Cut
Hard Clav
TVF Trigger
Applause
65
66
68
70
67
808 Maracas
R8 Shaker 1
R8 Shaker 2
Shaker 1
69
71
Euro Hit
MG Zap 1
Shaker 2
Ride Cymbal
MrchCmp Snr
Pick Kick
Lo-Bit Stk 1
TR909 Snr 3
Claptail
C5 72
74
Bone Shake
CR78 Guiro
Guiro 1
Syn Swt Atk2
Syn Hrd Atk2
GtrStroke Nz
JDStrikePole
Vint.Phone
DistGtr Nz 1
Reg.M.Tom
Jazz Lo Tom
Reg.L.TomFlm
TR909 Clap 2
Vox Snare 1
Cabasa Down
SprgDrm Hit
Digital Vox
JD Nasty
Vib Wave
Kalimba
JD Tabla
JD Log Drum
Bell Organ
Gtr Cut 1
Eeh Formant
Xylo Seq.
73
75
76
Guiro 2
Scratch 2
Scratch 3
Scratch 4
Scratch 5
Scratch 8
Scratch 9
Guiro Long
TR727Quijada
Vibraslap
Tamborine 1
Tamborine 2
Tamborine 3
CR78 Tamb
Timpani p
Timpani f
Timpani Roll
Timpani Lp
ConcertBD p
ConcertBD f
ConcertBD ff
ConcertBD Lp
ConcertBD
Triangle1 Mt
Triangle1 Op
Triangle2 Mt
Triangle2 Op
Tibet Cymbal
Slight Bell
Wind Chime
Crotale
77
Siren
78
80
82
TR808 OHH 1
Rk CmpKick
TR606 CHH 2
Syn Low Atk1
Low White Nz
MG Zap 9
79
81
Scratch 10
MG Zap 1
MG Zap 10
MG Zap 2
Syn Low Atk1
Syn Hrd Atk2
Syn Hrd Atk3
Syn Hrd Atk4
Syn Mtl Atk1
Syn Mtl Atk2
Syn Swt Atk1
Syn Swt Atk2
Syn Swt Atk4
Syn Swt Atk5
Vox Kick 2
VoxKickSweep
Vox Snare 2
Vox Cymbal
Pa!
83
Cajon 2
Cajon 3
Udo
C6 84
86
Happy Clap
TR808 Snr 7
TR808 Snr 3
TR808 Snr 2
Club CHH 2
CR78 OHH
LowDwn CHH
Lo-Bit OHH 1
TR909 OHH 2
TR606 OHH
CR78 OHH
106SubOsc HD
TR909 Snr 6
AnalogKick 3
MG Bass 2
TR808 Clap 1
Dist Clap
85
87
Udu Pot Hi
Udu Pot Slp
SprgDrm Hit
Op Pandeiro
Mt Pandeiro
Cuica
JD Anklungs
-----
-----
-----
-----
-----
-----
88
89
90
92
94
91
93
95
JG Brk ESnar
JG Brk FSnar
JG Brk GSnar
JG Brk ISnar
JG Brk ISnar
JG Brk JSnar
JG Brk KSnar
JG Brk HSnar
Gun Shot
C7 96
98
TablaBayam 3
TablaBayam 4
TablaBayam 5
TablaBayam 6
Wind Chime
Tibet Cymbal
Slight Bell
97
99
-----
-----
-----
-----
100
Agogo Bell H
Agogo Bell L
-----
Chiki!
MC500 Beep 2
MC500 Beep 1
101
Super Saw
MG Zap 7
102
103
199
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Rhythm Set List
GM (GM2 Group)
001
(PC: 1)
002
(PC: 9)
003
(PC: 17)
004
(PC: 25)
005
(PC: 26)
006
(PC: 33)
GM2 STANDARD
GM2 ROOM
GM2 POWER
GM2 ELECTRIC
GM2 ANALOG
GM2 JAZZ
Note No.
27
High-Q
Slap
High-Q
Slap
High-Q
Slap
High-Q
Slap
High-Q
Slap
High-Q
Slap
28
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Jazz Kick 2
Jazz Kick 1
Side Stick
Standard SN1
909 HandClap
Elec Snare 3
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
29
30
31
32
33
34
35
Standard KK1
Side Stick
Standard KK1
Side Stick
Power Kick1
Side Stick
Elec Kick 1
Side Stick
TR-808 Kick
808 Rimshot
808 Snare 1
909 HandClap
Elec Snare 3
808 Tom 2
TR-808 CHH
808 Tom 2
808__chh
808 Tom 2
TR-808 OHH
808 Tom 2
808 Tom 2
808 Crash
808 Tom 2
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
808cowbe
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
36
37
38
39
40
C2
Standard SN1
909 HandClap
Elec Snare 3
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Standard SN1
909 HandClap
Elec Snare 3
Room Tom 5
Close HiHat2
Room Tom 5
Pedal HiHat2
Room Tom 2
Open HiHat2
Room Tom 2
Room Tom 2
Crash Cym.1
Room Tom 2
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Dance Snare1
909 HandClap
Elec Snare 3
Rock Tom 4
Close HiHat2
Rock Tom 4
Pedal HiHat2
Rock Tom 4
Open HiHat2
Rock Tom 4
Rock Tom 1
Crash Cym.1
Rock Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Elec. Snare
909 HandClap
Elec Snare 2
Synth Drum 2
Close HiHat2
Synth Drum 2
Pedal HiHat2
Synth Drum 2
Open HiHat2
Synth Drum 2
Synth Drum 2
Crash Cym.1
Synth Drum 2
Ride Cymbal
ReverseCymbl
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
41
42
43
44
45
46
47
C3 48
50
49
51
52
53
54
56
58
55
57
59
C4 60
62
61
63
808 Conga
808 Conga
808 Conga
High Timbale
Low Timbale
Agogo
64
65
66
68
70
67
Agogo
Cabasa
Maracas
Agogo
Cabasa
Maracas
Agogo
Cabasa
Maracas
Agogo
Cabasa
Maracas
Agogo
Cabasa
Agogo
Cabasa
Maracas
69
808marac
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
808clave
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
71
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
C5 72
74
73
75
76
77
78
80
82
79
81
83
C6 84
86
85
87
88
PC: Program Change Number
Bank Select MSB is all 120, LSB is all 0
200
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Rhythm Set List
GM (GM2 Group)
007
(PC: 41)
008
(PC: 49)
009
(PC: 57)
GM2 BRUSH
GM2 ORCHSTRA
GM2 SFX
Note No.
27
High-Q
Slap
ScratchPush
ScratchPull
Sticks
Close HiHat2
Pedal HiHat2
Open HiHat2
Ride Cymbal
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Concert BD
ConcertBD Mt
Side Stick
Concert Snr
Castanets
Concert Snr
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
High-Q
Slap
28
29
30
31
32
SquareClick
Mtrnm.Click
Mtrnm. Bell
Jazz Kick 2
Jazz Kick 1
Side Stick
Brush Swirl
Brush Slap1
Brush Swirl
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
33
34
35
36
37
C2
38
39
40
ScratchPush
ScratchPull
Sticks
41
42
43
44
SquareClick
Mtrnm.Click
Mtrnm. Bell
Gt.FretNoiz
Gt.CutNoise
Gt.CutNoise
String Slap
Fl.KeyClick
Laughing
Screaming
Punch
Heart Beat
Footsteps
Footsteps
Applause
Creaking
Door
45
46
47
C3 48
50
49
51
Timpani
Timpani
Timpani
Timpani
52
53
54
56
58
Tambourine
Splash Cym.
Cowbell
Con.Cymbal2
Vibraslap
Concert Cym.
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
55
57
59
C4 60
62
Scratch
61
63
Wind Chimes
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
64
65
66
68
70
67
Agogo
Cabasa
Maracas
Agogo
Cabasa
Maracas
Train
69
Jetplane
Helicopter
Starship
Gun Shot
Machine Gun
Lasergun
Explosion
Dog
HorseGallop
Bird
Rain
Thunder
Wind
Seashore
Stream
71
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
Applause
C5 72
74
73
75
76
77
78
80
82
79
81
83
Bubble
-----
-----
-----
C6 84
86
85
87
88
-----
PC: Program Change Number
Bank Select MSB is all 120, LSB is all 0
201
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Waveform List
No.
Wave Name
Juno Saw HD
TB303 Saw HD
Custm Saw HD
Real MG Saw
MG Saw HD
700 Saw A
No.
Wave Name
DigiSpectrum
JD Vox Noise
SynVox Noise
Shaku Noise
Digi Breath
Agogo Noise
Polishing Nz
Dentist Nz
Vinyl Noise
White Noise
Pink Noise
SBF Cym Lp
SBF Bell Lp
SBF Nz Lp
MG Bass 1 A
MG Bass 1 B
MG Bass 1 C
DistTB Sqr
DistTBSqr Lp
Solid Bass
MG Big Bass
Jungle Bass
Garage Bass
106 Bs56
SH-101 Bs A
SH-101 Bs B
SH-101 Bs C
TB Natural
Poly Bass
Organ Bass
Voco Bass
MG Bass 2 A
MG Bass 2 B
MG Bass 2 C
MG Bass 3
MG Bass 4
MC Bass A
MC Bass B
MC Bass C
SH-101 Bs 4A
SH-101 Bs 4B
SH-101 Bs 4C
Atk Syn Bass
Warm Pad A
Warm Pad B
Warm Pad C
OB2 Pad 1 A
OB2 Pad 1 B
OB2 Pad 1 C
OB2 Pad 2 A
OB2 Pad 2 B
OB2 Pad 2 C
D-50 HeavenA
D-50 HeavenB
D-50 HeavenC
Syn Vox 1 A
Syn Vox 1 B
Syn Vox 1 C
Syn Vox 2 A
Syn Vox 2 B
Syn Vox 2 C
SBF Vox A
No.
Wave Name
Ac.Pno f C L
Ac.Pno f C R
JD Piano A
JD Piano B
JD Piano C
No.
Wave Name
3rd Perc Org
Lo-Fi Organ
Perc Organ 1
Perc Organ 2
Rock Organ A
Rock Organ B
Rock Organ C
RtryOrg1 A L
RtryOrg1 A R
RtryOrg1 B L
RtryOrg1 B R
RtryOrg1 C L
RtryOrg1 C R
RtryOrg2 A L
RtryOrg2 A R
RtryOrg2 B L
RtryOrg2 B R
RtryOrg2 C L
RtryOrg2 C R
LoFi RtryOrg
Vint.Org 1
No.
Wave Name
Funk Gtr B
Funk Gtr C
Funk MtGtr A
Funk MtGtr B
Funk MtGtr C
Easy Gtr A
Easy Gtr B
Easy Gtr C
Nasty Gtr
Clean TC A
Clean TC B
Clean TC C
Overdrive A
Overdrive C
Distortion A
Distortion B
Distortion C
Dist Mute A
Dist Mute B
Dist Mute C
Dist Chord A
Dist Chord B
Dist Chord C
Dst Gtr Riff
Gtr Trill
Cln Gtr Cut
Gtr Cut 1
Gtr Cut 2
Gtr Cut 3
Gtr Cut 4
Wah Gtr Riff
E.Gtr Harm
JD ScrapeGut
Harp A
Harp B
Harp C
No.
Wave Name
ThumbMtBs fB
ThumbMtBs fC
Fretlss Bs A
Fretlss Bs B
Fretlss Bs C
Fretlss SftA
Fretlss SftB
Fretlss SftC
Pick Bass 1A
Pick Bass 1B
Pick Bass 1C
Pick Bass 2
Slap Bass
Slap +Pull 1
Slap +Pull 2
Slap +Pull 3
Jz Slap Bass
Jz Slp+Pull1
Jz Slp+Pull2
Jz Slp+Pull3
Atk Flute A
Atk Flute B
Atk Flute C
Flute A
Flute B
Flute C
Piccolo A
Piccolo B
Piccolo C
Pan Flute
JD Rad Hose
Shakuhachi
JD Fl Push
Clarinet A
Clarinet B
Clarinet C
Oboe Mezzo A
Oboe Mezzo B
Oboe Mezzo C
Oboe Forte A
Oboe Forte B
Oboe Forte C
E.Horn A
0001
0002
0003
0004
0005
0006
0007
0008
0009
0010
0011
0012
0013
0014
0015
0016
0017
0018
0019
0020
0021
0022
0023
0024
0025
0026
0027
0028
0029
0030
0031
0032
0033
0034
0035
0036
0037
0038
0039
0040
0041
0042
0043
0044
0045
0046
0047
0048
0049
0050
0051
0052
0053
0054
0055
0056
0057
0058
0059
0060
0061
0062
0063
0064
0065
0066
0067
0068
0069
0070
0071
0072
0073
0074
0075
0076
0077
0078
0079
0080
0081
0082
0083
0084
0085
0086
0087
0088
0089
0090
0091
0092
0093
0094
0095
0096
0097
0098
0099
0100
0101
0102
0103
0104
0105
0106
0107
0108
0109
0110
0111
0112
0113
0114
0115
0116
0117
0118
0119
0120
0121
0122
0123
0124
0125
0126
0127
0128
0129
0130
0131
0132
0133
0134
0135
0136
0137
0138
0139
0140
0141
0142
0143
0144
0145
0146
0147
0148
0149
0150
0151
0152
0153
0154
0155
0156
0157
0158
0159
0160
0161
0162
0163
0164
0165
0166
0167
0168
0169
0170
0171
0172
0173
0174
0175
0176
0177
0178
0179
0180
0181
0182
0183
0184
0185
0186
0187
0188
0189
0190
0191
0192
0193
0194
0195
0196
0197
0198
0199
0200
0201
0202
0203
0204
0205
0206
0207
0208
0209
0210
0211
0212
0213
0214
0215
0216
0217
0218
0219
0220
0221
0222
0223
0224
0225
0226
0227
0228
0229
0230
0231
0232
0233
0234
0235
0236
0237
0238
0239
0240
0241
0242
0243
0244
0245
0246
0247
0248
0249
0250
0251
0252
0253
0254
0255
0256
0257
0258
0259
0260
0261
0262
0263
0264
0265
0266
0267
0268
0269
0270
0271
0272
0273
0274
0275
0276
0277
0278
0279
0280
0281
0282
0283
0284
0285
0286
0287
0288
0289
0290
0291
0292
0293
0294
0295
0296
0297
0298
0299
0300
0301
0302
0303
0304
0305
0306
0307
0308
0309
0310
0311
0312
0313
0314
0315
0316
0317
0318
0319
0320
0321
0322
0323
0324
0325
0326
0327
0328
0329
0330
0331
0332
0333
0334
0335
0336
0337
0338
0339
0340
0341
0342
0343
0344
0345
0346
0347
0348
0349
0350
0351
0352
0353
0354
0355
0356
0357
0358
0359
0360
0361
0362
0363
0364
0365
0366
0367
0368
0369
0370
0371
0372
0373
0374
0375
0376
0377
0378
0379
0380
0381
0382
0383
0384
0385
0386
0387
0388
0389
0390
0391
0392
0393
0394
0395
0396
0397
0398
0399
0400
0401
0402
0403
0404
0405
0406
0407
0408
0409
0410
0411
0412
0413
0414
0415
0416
0417
0418
0419
0420
0421
0422
0423
0424
0425
0426
0427
0428
0429
0430
0431
0432
0433
0434
0435
0436
0437
0438
0439
0440
0441
0442
0443
0444
0445
0446
0447
0448
0449
0450
0451
0452
0453
0454
0455
0456
0457
0458
0459
0460
0461
0462
0463
0464
0465
0466
0467
0468
0469
0470
0471
0472
0473
0474
0475
0476
0477
0478
0479
0480
Piano Atk Nz
MKS Piano A
MKS Piano B
MKS Piano C
Stage EP p A
Stage EP p B
Stage EP p C
Stage EP f A
Stage EP f B
Stage EP f C
Tine EP p A
Tine EP p B
Tine EP p C
Tine EP mf A
Tine EP mf B
Tine EP mf C
Tine EP ff A
Tine EP ff B
Tine EP ff C
Dyno EP mp A
Dyno EP mp B
Dyno EP mp C
Dyno EP mf A
Dyno EP mf B
Dyno EP mf C
Dyno EP ff A
Dyno EP ff B
Dyno EP ff C
Wurly mp A
Wurly mp B
Wurly mp C
Wurly mf A
Wurly mf B
Wurly mf C
Wurly ff A
700 Saw B
700 Saw C
OB2 Saw HD
DigitalSawHD
Calc.Saw
Calc.Saw inv
Synth Saw
JD Syn Saw
JD Fat Saw
JP-8 Saw
P5 Saw HD
D-50 Saw
Air Wave
Unison Saw A
Unison Saw B
Unison Saw C
Super Saw A
Super Saw B
Super Saw C
Trance Saw A
Trance Saw B
Trance Saw C
Alpha Rave
Saw Sync A
Saw Sync B
Saw Sync C
TB Dst Saw A
TB Dst Saw B
TB Dst Saw C
Juno Sqr HD
MG Sqr HD
P5 Sqr HD
Vint.Org 2
Vint.Org 3
Vint.Org 4
R_ORGAN A
Lite Dst Org
Positive ‘8
Pipe Organ
Cathedrl Org
Nylon Gtr1 A
Nylon Gtr1 B
Nylon Gtr1 C
Nylon Gtr2 A
Nylon Gtr2 B
Nylon Gtr2 C
Bright Gtr A
Bright Gtr B
Bright Gtr C
Ac.Gtr mp A
Ac.Gtr mp B
Ac.Gtr mp C
Ac.Gtr mf A
Ac.Gtr mf B
Ac.Gtr mf C
Ac.Gtr ff A
Banjo A
Banjo B
Banjo C
Sitar A
Sitar B
Sitar C
Sitar Drn A
Sitar Drn B
Sitar Drn C
E.Sitar A
OB2 Sqr HD
Custm Sqr HD
106SubOsc HD
TB303 Sqr HD
Fat Square
Wurly ff B
Wurly ff C
Lo-Fi Wurly
Soft SA EP A
Soft SA EP B
Soft SA EP C
Hard SA EP A
Hard SA EP B
Hard SA EP C
SA EP Ens A
SA EP Ens B
SA EP Ens C
SA E.Piano A
SA E.Piano B
SA E.Piano C
80’s E.Pno 1
80’s E.Pno 2
Hard E.Pno
Celesta
JP-8 Square
TB DstSqr 1A
TB DstSqr 1B
TB DstSqr 1C
Dist SquareA
Dist SquareB
Dist SquareC
Juno Pls HD
JP8 Pls 05HD
JP8 Pls 15HD
JP8 Pls 25HD
JP8 Pls 30HD
JP8 Pls 40HD
JP8 Pls 45HD
Syn Pulse 1
Syn Pulse 2
MG Tri HD
700 Triangle
Syn Triangle
JD Triangle
ARP Sine HD
Sine
E.Horn B
E.Horn C
Bassoon A
Bassoon B
Ac.Gtr ff B
Ac.Gtr ff C
E.Sitar B
E.Sitar C
Santur A
Santur B
Ac.Gtr Sld A
Ac.Gtr Sld B
Ac.Gtr Sld C
Ac.Gtr Hrm A
Ac.Gtr Hrm B
Ac.Gtr Hrm C
Jazz Gtr A
Bassoon C
Recorder A
Recorder B
Recorder C
SopranoSax A
SopranoSax B
SopranoSax C
Alto Sax Vib
Soft Alto A
Soft Alto B
Soft Alto C
Wide Sax A
Wide Sax B
Wide Sax C
BreathySax A
BreathySax B
BreathySax C
Tenor Sax A
Tenor Sax B
Tenor Sax C
Bari.Sax 1 A
Bari.Sax 1 B
Bari.Sax 1 C
Bari.Sax 2 A
Bari.Sax 2 B
Bari.Sax 2 C
Musette
Santur C
Dulcimer A
Dulcimer B
Dulcimer C
Shamisen A
Shamisen B
Shamisen C
Koto A
Koto B
Koto C
Ac.Bass A
Ac.Bass B
Jazz Gtr B
Jazz Gtr C
Clean Gtr A
Clean Gtr B
Clean Gtr C
Clr Mt Gtr A
Clr Mt Gtr B
Clr Mt Gtr C
E.Gtr Ld 1
E.Gtr Ld 2
Brt Strat A
Brt Strat B
Brt Strat C
SlwPick70s A
SlwPick70s B
SlwPick70s C
FstPick70s A
FstPick70s B
FstPick70s C
Plk Strat A
Plk Strat B
Plk Strat C
Strat Mute A
Strat Mute B
Strat Mute C
Funk Gtr A
Music Box
Reg.Clav A
Reg.Clav B
SBF Vox B
SBF Vox C
Reg.Clav C
Retro Clav A
Retro Clav B
Retro Clav C
Tight Clav A
Tight Clav B
Tight Clav C
Hard Clav A
Hard Clav B
Hard Clav C
JD Clav
Harpsi A
Harpsi B
Harpsi C
JD Full Draw
Org Basic 1
Org Basic 2
Ballad Org
Ac.Bass C
FngrCmp Bs A
FngrCmp Bs B
FngrCmp Bs C
Finger Bs A
Finger Bs B
Finger Bs C
Precision Bs
Jz Bs Soft A
Jz Bs Soft B
Jz Bs Soft C
6-FngBsSft A
6-FngBsSft B
6-FngBsSft C
ThumbMtBs pA
ThumbMtBs pB
ThumbMtBs pC
ThumbMtBs fA
SBF Vox Lp
Aah Formant
Eeh Formant
Iih Formant
Ooh Formant
Uuh Formant
Ac.Pno p A L
Ac.Pno p A R
Ac.Pno p B L
Ac.Pno p B R
Ac.Pno p C L
Ac.Pno p C R
Ac.Pno f A L
Ac.Pno f A R
Ac.Pno f B L
Ac.Pno f B R
CalcSIN2
KG800 Lead
MG Fs Lead
Juno Saw+Sub
260 Sub OSC
Spct2 20
JD EML 5th
SBF Hrd Ld 1
SBF Hrd Ld 2
Digi Attack
JD Fine Wine
Digi Loop 1
Digi Loop 2
JD MetalWind
Atmosphere
Harmonica A
Harmonica B
Harmonica C
Blues G-harp
Flugel A
Flugel B
202
Download from Www.Somanuals.com. All Manuals Search And Download.
Waveform List
No.
Wave Name
Flugel C
No.
Wave Name
Full Str C L
Full Str C R
ChmbrStrAtkA
ChmbrStrAtkB
ChmbrStrAtkC
ChmbrStrRevA
ChmbrStrRevB
ChmbrStrRevC
Vls Pizz A
Vls Pizz B
Vls Pizz C
VlsPizzRev A
VlsPizzRev B
VlsPizzRev C
Vcs Pizz A
No.
Wave Name
JD Nasty
No.
Wave Name
Drive Hit
Filtered Hit
Mild Hit
Narrow Hit 1
Narrow Hit 2
Euro Hit
Dist Hit
Thin Beef
Tao Hit
Smear Hit 1
Smear Hit 2
LoFi Min Hit
Orch. Hit
Punch Hit
O’Skool Hit
Philly Hit
Metal Vox W1
Metal Vox L1
Metal Vox W2
Metal Vox L2
Metal Vox W3
Metal Vox L3
Scratch 1
Scratch 2
Scratch 3
Scratch 4
Scratch 5
Scratch 6
Scratch 7
Scratch 8
Scratch 9
Scratch 10
MG Zap 1
MG Zap 2
MG Zap 3
MG Zap 4
MG Zap 5
MG Zap 6
MG Zap 7
No.
Wave Name
Power Kick
R&B Kick L
R&B Kick R
Rk CmpKick L
Rk CmpKick R
MaxLow Kick1
MaxLow Kick2
MaxLow Kick3
Dist Kick
No.
Wave Name
Dry Snr f
Ballad Snr
0481
0482
0483
0484
0485
0486
0487
0488
0489
0490
0491
0492
0493
0494
0495
0496
0497
0498
0499
0500
0501
0502
0503
0504
0505
0506
0507
0508
0509
0510
0511
0512
0513
0514
0515
0516
0517
0518
0519
0520
0521
0522
0523
0524
0525
0526
0527
0528
0529
0530
0531
0532
0533
0534
0535
0536
0537
0538
0539
0540
0541
0542
0543
0544
0545
0546
0547
0548
0549
0550
0551
0552
0553
0554
0555
0556
0557
0558
0559
0560
0561
0562
0563
0564
0565
0566
0567
0568
0569
0570
0571
0572
0573
0574
0575
0576
0577
0578
0579
0580
0581
0582
0583
0584
0585
0586
0587
0588
0589
0590
0591
0592
0593
0594
0595
0596
0597
0598
0599
0600
0601
0602
0603
0604
0605
0606
0607
0608
0609
0610
0611
0612
0613
0614
0615
0616
0617
0618
0619
0620
0621
0622
0623
0624
0625
0626
0627
0628
0629
0630
0631
0632
0633
0634
0635
0636
0637
0638
0639
0640
0641
0642
0643
0644
0645
0646
0647
0648
0649
0650
0651
0652
0653
0654
0655
0656
0657
0658
0659
0660
0661
0662
0663
0664
0665
0666
0667
0668
0669
0670
0671
0672
0673
0674
0675
0676
0677
0678
0679
0680
0681
0682
0683
0684
0685
0686
0687
0688
0689
0690
0691
0692
0693
0694
0695
0696
0697
0698
0699
0700
0701
0702
0703
0704
0705
0706
0707
0708
0709
0710
0711
0712
0713
0714
0715
0716
0717
0718
0719
0720
0721
0722
0723
0724
0725
0726
0727
0728
0729
0730
0731
0732
0733
0734
0735
0736
0737
0738
0739
0740
0741
0742
0743
0744
0745
0746
0747
0748
0749
0750
0751
0752
0753
0754
0755
0756
0757
0758
0759
0760
0761
0762
0763
0764
0765
0766
0767
0768
0769
0770
0771
0772
0773
0774
0775
0776
0777
0778
0779
0780
0781
0782
0783
0784
0785
0786
0787
0788
0789
0790
0791
0792
0793
0794
0795
0796
0797
0798
0799
0800
0801
0802
0803
0804
0805
0806
0807
0808
0809
0810
0811
0812
0813
0814
0815
0816
0817
0818
0819
0820
0821
0822
0823
0824
0825
0826
0827
0828
0829
0830
0831
0832
0833
0834
0835
0836
0837
0838
0839
0840
0841
0842
0843
0844
0845
0846
0847
0848
0849
0850
0851
0852
0853
0854
0855
0856
0857
0858
0859
0860
0861
0862
0863
0864
0865
0866
0867
0868
0869
0870
0871
0872
0873
0874
0875
0876
0877
0878
0879
0880
0881
0882
0883
0884
0885
0886
0887
0888
0889
0890
0891
0892
0893
0894
0895
0896
0897
0898
0899
0900
0901
0902
0903
0904
0905
0906
0907
0908
0909
0910
0911
0912
0913
0914
0915
0916
0917
0918
0919
0920
0921
0922
0923
0924
0925
0926
0927
0928
0929
0930
0931
0932
0933
0934
0935
0936
0937
0938
0939
0940
0941
0942
0943
0944
0945
0946
0947
0948
0949
0950
0951
0952
0953
0954
0955
0956
0957
0958
0959
0960
Trumpet A
Trumpet B
Trumpet C
Wide Tp A
Wide Tp B
Wide Tp C
Mute Tp A
Mute Tp B
Mute Tp C
Trombone A
Trombone B
Trombone C
Tbn mf A
Fat SparkVox
JD Spark Vox
JD Cutters
JD Rattles
Xylo Seq.
JD Tin Wave
JD Anklungs
JD Shami
SynBassClick
JD EP Atk
EP Release
Org Click 1
Org Click 2
Org Click 3
Org Click 4
Org Click 5
Org Leakage
MG Noise Fx
JD Sm Metal
JDStrikePole
Ice Crash
Light Snr p
Light Snr f
Light Snr ff
Light SnrRim
Click Snr p
Click Snr f
Click Snr ff
Rock Snr p
Rock Snr mf
Rock Snr f
Rock Rim p
Rock Rim mf
Rock Rim f
Reg.SnrGst L
Reg.SnrGst R
Rock Snr Gst
Sft Snr Gst
Jazz Snr p
FB Kick
Rough Kick1
Rough Kick2
Rough Kick3
Click Kick
Pick Kick
Back Kick
Vinyl Kick
Low Kick 1
Boys Kick
Hippie Kick
Frenzy Kick
PlasticKick1
Swallow Kick
Neck Kick
70’s Kick
Skool Kick
Dance Kick
HipHop Kick1
HipHop Kick2
Pin Kick
Low Kick 2
Low Kick 3
AnalogKick 1
PlasticKick2
PlasticKick3
TR909 Kick 1
TR909 Kick 2
AnalogKick 2
TR909 Kick 3
AnalogKick 3
AnalogKick 4
AnalogKick 5
AnalogKick 6
TR606DstKick
TR808 Kick
TR909 Kick 4
TR909 Kick 5
SH32 Kick
Tbn mf B
Tbn mf C
Tuba A
Tuba B
Vcs Pizz B
Vcs Pizz C
VcsPizzRev A
VcsPizzRev B
VcsPizzRev C
PizzyTechno
Female Ahs A
Female Ahs B
Female Ahs C
Female Oos A
Female Oos B
Female Oos C
Male Aahs A
Male Aahs B
Male Aahs C
Jazz Doos A
Jazz Doos B
Jazz Doos C
Jz Doos Lp A
Jz Doos Lp B
Jz Doos Lp C
Gospel Hum A
Gospel Hum B
Gospel Hum C
Soprano Vox
Kalimba
JD Klmba Atk
JD Wood Crak
JD Gamelan 1
JD Gamelan 2
JD Gamelan 3
JD Log Drum
JD Hooky
JD Tabla
JD Xylo
Marimba
Vibraphone
Glocken
Tuba C
Sft F.Horn A
Sft F.Horn B
Sft F.Horn C
French Hrn A
French Hrn C
F.HornSect A
F.HornSect B
F.HornSect C
Tp Section A
Tp Section B
Tp Section C
OctBrs p A L
OctBrs p A R
OctBrs p B L
OctBrs p B R
OctBrs p C L
OctBrs p C R
OctBrs f A L
OctBrs f A R
OctBrs f B L
OctBrs f B R
OctBrs f C L
OctBrs f C R
Brs Fall 1 L
Brs Fall 1 R
Brs Fall 2 L
Brs Fall 2 R
OrchUnis A L
OrchUnis A R
OrchUnis B L
OrchUnis B R
OrchUnis C L
OrchUnis C R
Violin Vib A
Violin Vib B
Violin Vib C
Violin A
Jazz Snr mf
Jazz Snr f
Jazz Snr ff
JD Switch
JD Tuba Slap
JD Plink
Jazz Rim p
Jazz Rim mf
Jazz Rim f
Jazz Rim ff
Jz Brsh Slap
Jz Brsh Swsh
Swish&Turn p
Swish&Turn f
Snr Roll
Snr Roll Lp
Soft Jz Roll
BrushRoll Lp
GoodOld Snr1
GoodOld Snr2
GoodOld Snr3
GoodOld Snr4
GoodOld Snr5
GoodOld Snr6
Dirty Snr 1
Dirty Snr 2
Dirty Snr 3
Dirty Snr 4
Dirty Snr 5
Dirty Snr 6
Dirty Snr 7
Dirty Snr 8
Dirty Snr 9
Dirty Snr 10
Grit Snr 1
JD Plunk
TVF Trigger
Cutting Nz
Ac.Bass Body
Flute Pad Nz
Applause
River
Thunder
Monsoon
Stream
Bubble
Bird Song
Dog Bark
Gallop
Vint.Phone
Office Phone
Mobile Phone
Door Creak
Door Slam
Car Engine
Car Slip
Car Pass
Crash Seq.
Gun Shot
Siren
Train Pass
Airplane
Space Voyage
Blow Loop
Laugh
MG Zap 8
MG Zap 9
MG Zap 10
MG Zap 11
MG Blip
Beam HiQ
MG Attack
Syn Low Atk1
Syn Low Atk2
Syn Hrd Atk1
Syn Hrd Atk2
Syn Hrd Atk3
Syn Hrd Atk4
Syn Mtl Atk1
Syn Mtl Atk2
Syn Swt Atk1
Syn Swt Atk2
Syn Swt Atk3
Syn Swt Atk4
Syn Swt Atk5
Syn Swt Atk6
Syn Swt Atk7
Reg.Kick p L
Reg.Kick p R
Reg.Kick f L
Reg.Kick f R
Reg.Kick ffL
Reg.Kick ffR
Rock Kick p
Rock Kick f
Jazz Kick p
Jazz Kick mf
Jazz Kick f
Dry Kick 1
Tight Kick 1
Tight Kick 2
Old Kick
TR707 Kick
TR909 Kick 6
Roll Kick
Reg.Snr1 p L
Reg.Snr1 p R
Reg.Snr1mf L
Reg.Snr1mf R
Reg.Snr1 f L
Reg.Snr1 f R
Reg.Snr1ff L
Reg.Snr1ff R
Reg.Snr2 p L
Reg.Snr2 p R
Reg.Snr2 f L
Reg.Snr2 f R
Reg.Snr2ff L
Reg.Snr2ff R
Reg.SnrFlm L
Reg.SnrFlm R
Amb.Snr1 p L
Amb.Snr1 p R
Amb.Snr1 f L
Amb.Snr1 f R
Amb.Snr2 p L
Amb.Snr2 p R
Amb.Snr2 f L
Amb.Snr2 f R
Piccolo Snr
Grit Snr 2
Grit Snr 3
Grit Snr 4
Steel Drums
JD Pole Lp
JD BottleHit
D-50 Bell A
D-50 Bell B
D-50 Bell C
D-50 Bell Lp
Agogo Bell
Scream
Punch
Heartbeat
Footsteps
Machine Gun
Laser
LoBit SnrFlm
Lo-Bit Snr 1
Lo-Bit Snr 2
Lo-Bit Snr 3
BmbCmp Snr
MrchCmp Snr
Frenzy Snr 1
Frenzy Snr 2
Slap Snr 1
Keen Snr 1
Reggae Snr
DR660 Snr
Pop Snr p
Violin B
Violin C
Cello Vib A
Cello Vib B
Cello Vib C
Cello A
Finger Bell
Thunder Lp
Ac.Bass Nz 1
Ac.Bass Nz 2
E.Bass Nz 1
E.Bass Nz 2
E.Bass Slide
DistGtr Nz 1
DistGtr Nz 2
DistGtr Nz 3
GtrStroke Nz
Gtr Fret Nz1
Gtr Fret Nz2
Gtr Fret Nz3
ClassicHseHt
OrangeHit 1
OrangeHit 2
OrangeHit 3
7th Hit
Cello B
Cello C
JD Cowbell
Tubular Bell
Church Bell
Mild CanWave
JD Crystal
Vl Sect. A L
Vl Sect. A R
Vl Sect. B L
Vl Sect. B R
Vl Sect. C L
Vl Sect. C R
Vc Sect. A L
Vc Sect. A R
Vc Sect. B L
Vc Sect. B R
Vc Sect. C L
Vc Sect. C R
Full Str A L
Full Str A R
Full Str B L
Full Str B R
Bell Organ
Old DigiBell
JD Bell Wave
TinyBellWave
Vib Wave
JD Brt Digi
Med Digi
Pop Snr f
Pop Snr Rim
Med Snare
Jngl pkt Snr
Pocket Snr
Flange Snr
Slap Snr 2
Analog Snr 1
Analog Snr 2
Analog Snr 3
Jam Snr
Bagpipe
Digital Vox
JD WallyWave
JD Brusky Lp
Bright Form
Mild Form
Jz Dry Kick
Bright Kick
Dry Kick 2
Dry Kick 3
Maple Snr
Natural Snr1
Natural Snr2
Dry Snr p
Brassy Hit
Back Snr
203
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Waveform List
No.
Wave Name
Keen Snr 2
Boys Snr 1
Slap Snr 3
Neck Snr
No.
Wave Name
Sharp Hi Tom
Dry Lo Tom
Dry Hi Tom
TR909 Tom
TR909 DstTom
TR808 Tom
TR606 Tom
No.
Wave Name
Splash Cym
Jazz Crash
TR909 Crash
TR606 Cym
Ride Cymbal
Ride Bell
Rock Rd Cup
Rock Rd Edge
Jazz Ride p
Jazz Ride mf
TR909 Ride
TR707 Ride
China Cymbal
Concert Cym
Hand Clap
Club Clap
Short Clap
Real Clap
Bright Clap
R8 Clap
Gospel Clap
Amb Clap
Hip Clap
No.
Wave Name
Cabasa Cut
Maracas
808 Maracas
R8 Shaker 1
R8 Shaker 2
Shaker 1
0961
0962
0963
0964
0965
0966
0967
0968
0969
0970
0971
0972
0973
0974
0975
0976
0977
0978
0979
0980
0981
0982
0983
0984
0985
0986
0987
0988
0989
0990
0991
0992
0993
0994
0995
0996
0997
0998
0999
1000
1001
1002
1003
1004
1005
1006
1007
1008
1009
1010
1011
1012
1013
1014
1015
1016
1017
1018
1019
1020
1021
1022
1023
1024
1025
1026
1027
1028
1029
1030
1031
1032
1033
1034
1035
1036
1037
1038
1039
1040
1041
1042
1043
1044
1045
1046
1047
1048
1049
1050
1051
1052
1053
1054
1055
1056
1057
1058
1059
1060
1061
1062
1063
1064
1065
1066
1067
1068
1069
1070
1071
1072
1073
1074
1075
1076
1077
1078
1079
1080
1081
1082
1083
1084
1085
1086
1087
1088
1089
1090
1091
1092
1093
1094
1095
1096
1097
1098
1099
1100
1101
1102
1103
1104
1105
1106
1107
1108
1109
1110
1111
1112
1113
1114
1115
1116
1117
1118
1119
1120
1121
1122
1123
1124
1125
1126
1127
1128
1129
1130
1131
1132
1133
1134
1135
1136
1137
1138
1139
1140
1141
1142
1143
1144
1145
1146
1147
1148
1149
1150
1151
1152
1153
1154
1155
1156
1157
1158
1159
1160
1161
1162
1163
1164
1165
1166
1167
1168
1169
1170
1171
1172
1173
1174
1175
1176
1177
1178
1179
1180
1181
1182
1183
1184
1185
1186
1187
1188
1189
1190
1191
1192
1193
1194
1195
1196
1197
1198
1199
1200
1201
1202
1203
1204
1205
1206
1207
1208
1209
1210
1211
1212
1213
1214
1215
1216
1217
1218
1219
1220
1221
1222
1223
1224
1225
1226
1227
1228
1229
1230
1231
1232
1233
1234
1235
1236
1237
1238
1239
1240
1241
1242
1243
1244
1245
1246
1247
1248
1249
1250
1251
1252
1253
1254
1255
1256
1257
1258
1259
1260
1261
1262
1263
1264
1265
1266
1267
Artful Snr
Pin Snr
Chemical Snr
Sizzle Snr
Tiny Snare
R&B Snare 1
R&B Snare 2
Cross Snr
Grave Snr
Boys Snr 2
Boys Snr 3
Shaker 2
Deep Tom
Bone Shake
CR78 Guiro
Guiro 1
Reg.CHH 1 p
Reg.CHH 1 mf
Reg.CHH 1 f
Reg.CHH 1 ff
Reg.CHH 2 mf
Reg.CHH 2 f
Reg.CHH 2 ff
Reg.PHH mf
Reg.PHH f
Guiro 2
Guiro Long
TR727Quijada
Vibraslap
Tamborine 1
Tamborine 2
Tamborine 3
CR78 Tamb
TablaBayam 1
TablaBayam 2
TablaBayam 3
TablaBayam 4
TablaBayam 5
TablaBayam 6
TablaBayam 7
Cajon 1
Cajon 2
Cajon 3
Udo
Udu Pot Hi
Udu Pot Slp
SprgDrm Hit
Op Pandeiro
Mt Pandeiro
Cuica
Low Down Snr
TR909 Snr 1
TR909 Snr 2
TR909 Snr 3
TR909 Snr 4
TR909 Snr 5
TR909 Snr 6
TR808 Snr 1
TR808 Snr 2
TR808 Snr 3
TR808 Snr 4
Lite Snare
TR808 Snr 5
TR808 Snr 6
TR808 Snr 7
TR606 Snr 1
TR606 Snr 2
CR78 Snare
Urbn Sn Roll
Jngl SnrRoll
Reg.Stick L
Reg.Stick R
Soft Stick
Reg.OHH mf
Reg.OHH f
Reg.OHH ff
Rock CHH1 mf
Rock CHH1 f
Rock CHH2 mf
Rock CHH2 f
Rock PHH
Funk Clap
Group Clap
Claptail
Planet Clap
Royal Clap
Happy Clap
TR808 Clap 1
Disc Clap
Rock OHH
Lo-Bit CHH 1
Lo-Bit CHH 2
Lo-Bit CHH 3
Lo-Bit CHH 4
Lo-Bit CHH 5
Modern CHH
HipHop CHH 1
Urban CHH
Bang CHH
Dist Clap
Old Clap
TR909 Clap 1
TR909 Clap 2
TR808 Clap 2
TR707 Clap
Cheap Clap
Finger Snap
Club FinSnap
Single Snap
Snap
Group Snap
Vox Kick 1
Vox Kick 2
VoxKickSweep
Vox Snare 1
Vox Snare 2
Vox Hihat 1
Vox Hihat 2
Vox Hihat 3
Vox Cymbal
Pa!
LowDwn CHH
Disc CHH
Timpani p
Timpani f
Club CHH 1
HipHop CHH 2
TR909 CHH 1
TR909 CHH 2
Shaky CHH
Club CHH 2
TR808 CHH 1
TR808 CHH 2
TR606 CHH 1
TR606 CHH 2
TR606 DstCHH
Lite CHH
CR78 CHH
DR55 CHH
Neck CHH
Dance CHH
Street PHH
Timpani Roll
Timpani Lp
ConcertBD p
ConcertBD f
ConcertBD ff
ConcertBD Lp
Triangle 1
Triangle 2
Tibet Cymbal
Slight Bell
Hard Stick
Wild Stick
Rock Stick
Lo-Bit Stk 1
Lo-Bit Stk 2
Lo-Bit Stk 3
Lo-Bit Stk 4
Dry Stick 1
Dry Stick 2
Dry Stick 3
Dry Stick 4
Dry Stick 5
R8 Comp Rim
R&B Rim 1
R&B Rim 2
R&B Rim 3
Neck Rim
Wind Chime
Crotale
R8 Click
Metro Bell
Metro Click
MC500 Beep 1
MC500 Beep 2
DR202 Beep
Low Saw1
Low Saw1 inv
Low Saw2
Low Pulse 1
Low Pulse 2
Low Square
Low Sine
Chiki!
Cowbell
Swallow PHH
Hip PHH
Swag Rim
Step Rim
R&B Rim 4
Street Rim
Cowbell Mute
Wood Block
Claves
TR808 Claves
CR78 Beat
TR909 PHH 1
TR909 PHH 2
TR808 PHH
TR606 PHH 1
TR606 PHH 2
Lo-Bit PHH
Lo-Bit OHH 1
Lo-Bit OHH 2
Lo-Bit OHH 3
Neck OHH
Regular Rim
TR909 Rim
TR808 Rim
Reg.F.Tom p
Reg.F.Tom f
Reg.L.Tom p
Reg.L.Tom f
Reg.M.Tom p
Reg.M.Tom f
Reg.H.Tom p
Reg.H.Tom f
Reg.L.TomFlm
Reg.M.TomFlm
Reg.H.TomFlm
Jazz Lo Tom
Jazz Mid Tom
Jazz Hi Tom
Jazz Lo Flm
Jazz Mid Flm
Jazz Hi Flm
Sharp Lo Tom
Castanet
Whistle
Bongo Hi Mt
Bongo Hi Slp
Bongo Lo Slp
Bongo Hi Op
Bongo Lo Op
Conga Hi Mt
Conga Lo Mt
Conga Hi Slp
Conga Lo Slp
Conga Hi Op
Conga Lo Op
Conga Slp Op
Conga Efx
Low Triangle
Low White Nz
Low Pink Nz
DC
Bang OHH
Reverse Cym
HipHop OHH
TR909 OHH 1
TR909 OHH 2
TR808 OHH 1
TR808 OHH 2
TR606 OHH
Lite OHH
CR78 OHH
Crash Cym1 p
Crash Cym1 f
Crash Cym 2
Rock Crash 1
Rock Crash 2
Conga Thumb
Timbale 1
Timbale 2
Cabasa Up
Cabasa Down
204
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Arpeggio Style List
PRST (Preset Group)
USER (User Group)
*
Arpeggio Styles are common between Preset Group and User Group.
No.
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
Name
No.
061
062
063
064
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
Name
No.
121
122
123
124
125
126
127
128
Name
Basic 1 (A)
Seq Ptn 55 (P)
Seq Ptn 56 (P)
Seq Ptn 57 (P)
Seq Ptn 58 (P)
Seq Ptn 59 (P)
Seq Ptn 60 (P)
Bassline 1 (1)
Bassline 2 (1)
Bassline 3 (1)
Bassline 4 (1)
Bassline 5 (1)
Bassline 6 (1)
Bassline 7 (1)
Bassline 8 (1)
Bassline 9 (1)
Bassline 10 (2)
Bassline 11 (2)
Bassline 12 (2)
Bassline 13 (2)
Bassline 14 (2)
Bassline 15 (2)
Bassline 16 (3)
Bassline 17 (3)
Bassline 18 (3)
Bassline 19 (3)
Bassline 20 (3)
Bassline 21 (3)
Bassline 22 (P)
Bassline 23 (P)
Bassline 24 (P)
Bassline 25 (P)
Bassline 26 (P)
Bassline 27 (P)
Bassline 28 (P)
Bassline 29 (P)
Bassline 30 (P)
Bassline 31 (P)
Bassline 32 (P)
Bassline 33 (P)
Bassline 34 (P)
Bassline 35 (P)
Bassline 36 (P)
Bassline 37 (P)
Bassline 38 (P)
Bassline 39 (P)
Bassline 40 (P)
Bassline 41 (P)
Sliced 1 (A)
Gtr Backing 1(A)
Gtr Backing 2(A)
Key Bckng1 (A)
Key Bckng2 (A)
Key Bckng3 (1-3)
1/1 Note Trg (1)
1/2 Note Trg (1)
1/4 Note Trg (1)
Basic 2 (A)
Basic 3 (A)
Basic 4 (A)
Basic 5 (A)
Basic 6 (A)
Seq Ptn 1 (2)
Seq Ptn 2 (2)
Seq Ptn 3 (2)
Seq Ptn 4 (2)
Seq Ptn 5 (2)
Seq Ptn 6 (3)
Seq Ptn 7 (3)
Seq Ptn 8 (3)
Seq Ptn 9 (3)
Seq Ptn 10 (3)
Seq Ptn 11 (3)
Seq Ptn 12 (3)
Seq Ptn 13 (3)
Seq Ptn 14 (3)
Seq Ptn 15 (3)
Seq Ptn 16 (3)
Seq Ptn 17 (3)
Seq Ptn 18 (4)
Seq Ptn 19 (4)
Seq Ptn 20 (4)
Seq Ptn 21 (4)
Seq Ptn 22 (4)
Seq Ptn 23 (4)
Seq Ptn 24 (4)
Seq Ptn 25 (4)
Seq Ptn 26 (4)
Seq Ptn 27 (4)
Seq Ptn 28 (4)
Seq Ptn 29 (4)
Seq Ptn 30 (5)
Seq Ptn 31 (5)
Seq Ptn 32 (6)
Seq Ptn 33 (P)
Seq Ptn 34 (P)
Seq Ptn 35 (P)
Seq Ptn 36 (P)
Seq Ptn 37 (P)
Seq Ptn 38 (P)
Seq Ptn 39 (P)
Seq Ptn 40 (P)
Seq Ptn 41 (P)
Seq Ptn 42 (P)
Seq Ptn 43 (P)
Seq Ptn 44 (P)
Seq Ptn 45 (P)
Seq Ptn 46 (P)
Seq Ptn 47 (P)
Seq Ptn 48 (P)
Seq Ptn 49 (P)
Seq Ptn 50 (P)
Seq Ptn 51 (P)
Seq Ptn 52 (P)
Seq Ptn 53 (P)
Seq Ptn 54 (P)
Recommended number of notes to press
(1) – (6): One to six notes
(1-3): One bass note + three-note chord
(A): As desired
(P): One note, with Motif (p. 75) set to “Phrase”
Sliced 2 (A)
Sliced 3 (A)
Sliced 4 (A)
Sliced 5 (A)
Sliced 6 (A)
Sliced 7 (A)
Sliced 8 (A)
Sliced 9 (A)
Sliced 10 (A)
Gtr Arp 1 (4)
Gtr Arp 2 (5)
Gtr Arp 3 (6)
205
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Rhythm Group List
PRST (Preset Group)
USER (User Group)
*
Rhythm Groups are common between Preset Group and User Group.
No.
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
Name
Recommended Rhythm Set
PRST:001 Standard Kit1
PRST:001 Standard Kit1
PRST:001 Standard Kit1
PRST:001 Standard Kit1
PRST:001 Standard Kit1
PRST:001 Standard Kit1
PRST:002 Standard Kit2
PRST:002 Standard Kit2
PRST:002 Standard Kit2
PRST:004 Rock Kit 1
Pop 1
Pop 2
Pop 3
Pop 4
Pop 5
Pop 6
Pop 7
Pop 8
Pop 9
Rock 1
Rock 2
PRST:005 Rock Kit 2
Funk
PRST:001 Standard Kit1
PRST:001 Standard Kit1
PRST:006 Brush Jz Kit
PRST:002 Standard Kit2
PRST:012 HipHop&Latin
PRST:011 HipHop Kit 2
PRST:017 4 Kit MIX
Fusion
Jazz
Bossa
Hip Hop 1
Hip Hop 2
R&B 1
R&B 2
PRST:015 HiFi R&B Kit
PRST:018 Kit-Euro:POP
PRST:021 Machine Kit2
PRST:018 Kit-Euro:POP
PRST:022 ArtificalKit
Reggae
Trance 1
Trance 2
Techno 1
Techno 2
House 1
House 2
Drum’n Bs
BreakBeats
Disco
PRST:034 PassionDrums
PRST:019 House Kit
PRST:018 Kit-Euro:POP
PRST:003 Standard Kit3
PRST:012 HipHop&Latin
PRST:003 Standard Kit3
PRST:020 Nu Technica
PRST:032 Scrh&Voi&Wld
PRST:031 Percussion
Nu Technica
Tabla Phr
Perc Phr
206
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Rhythm Pattern List
PRST (Preset Group)
USER (User Group)
*
Rhythm Patterns are common between Preset Group and User Group.
*
Recommended tempo is shown in parentheses ( )
No.
Name
Recommended
Rhythm Set
No.
Name
Recommended
Rhythm Set
No.
Name
Recommended
Rhythm Set
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
Pop 1-1 (120)
Pop 1-2 (120)
Pop 1-3 (120)
Pop 1-4 (120)
Pop 1-5 (120)
Pop 1-6 (120)
Pop 1-7 (120)
Pop 1-8 (120)
Pop 2-1 (120)
Pop 2-2 (120)
Pop 2-3 (120)
Pop 2-4 (120)
Pop 2-5 (120)
Pop 2-6 (120)
Pop 2-7 (120)
Pop 2-8 (120)
Pop 3-1 (150)
Pop 3-2 (150)
Pop 3-3 (150)
Pop 3-4 (150)
Pop 3-5 (150)
Pop 3-6 (150)
Pop 3-7 (150)
Pop 3-8 (150)
Pop 4-1 (120)
Pop 4-2 (120)
Pop 4-3 (120)
Pop 4-4 (120)
Pop 4-5 (120)
Pop 4-6 (120)
Pop 4-7 (120)
Pop 4-8 (120)
Pop 5-1 (103)
Pop 5-2 (103)
Pop 5-3 (103)
Pop 5-4 (103)
Pop 5-5 (103)
Pop 5-6 (103)
Pop 5-7 (103)
Pop 5-8 (103)
Pop 6-1 (096)
Pop 6-2 (096)
Pop 6-3 (096)
Pop 6-4 (096)
Pop 6-5 (096)
Pop 6-6 (096)
Pop 6-7 (096)
Pop 6-8 (096)
Pop 7-1 (104)
Pop 7-2 (104)
Pop 7-3 (104)
Pop 7-4 (104)
Pop 7-5 (104)
Pop 7-6 (104)
Pop 7-7 (104)
Pop 7-8 (104)
PRST:001
057
058
059
060
061
062
063
064
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
Pop 8-1 (130)
Pop 8-2 (130)
Pop 8-3 (130)
Pop 8-4 (130)
Pop 8-5 (130)
Pop 8-6 (130)
Pop 8-7 (130)
Pop 8-8 (130)
Pop 9-1 (125)
Pop 9-2 (125)
Pop 9-3 (125)
Pop 9-4 (125)
Pop 9-5 (125)
Pop 9-6 (125)
Pop 9-7 (125)
Pop 9-8 (125)
Rock 1-1 (120)
Rock 1-2 (120)
Rock 1-3 (120)
Rock 1-4 (120)
Rock 1-5 (120)
Rock 1-6 (120)
Rock 1-7 (120)
Rock 1-8 (120)
Rock 2-1 (114)
Rock 2-2 (114)
Rock 2-3 (114)
Rock 2-4 (114)
Rock 2-5 (114)
Rock 2-6 (114)
Rock 2-7 (114)
Rock 2-8 (114)
Funk 1 (115)
Funk 2 (115)
Funk 3 (115)
Funk 4 (115)
Funk 5 (115)
Funk 6 (115)
Funk 7 (115)
Funk 8 (115)
Fusion 1 (100)
Fusion 2 (100)
Fusion 3 (100)
Fusion 4 (100)
Fusion 5 (100)
Fusion 6 (100)
Fusion 7 (100)
Fusion 8 (100)
Jazz 1 (136)
PRST:002
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
Bossa 1 (160)
PRST:002
Standard Kit1
Standard Kit2
Standard Kit2
Bossa 2 (160)
Bossa 3 (160)
Bossa 4 (160)
Bossa 5 (160)
Bossa 6 (160)
Bossa 7 (160)
Bossa 8 (160)
PRST:001
Standard Kit1
PRST:002
Standard Kit2
HipHop 1-A (100)
HipHop 1-B (105)
HipHop 1-C (100)
HipHop 1-D (095)
HipHop 1-E (092)
HipHop 1-F (092)
HipHop 1-G (100)
HipHop 1-H (097)
HipHop 2-A (095)
HipHop 2-B (095)
HipHop 2-C (095)
HipHop 2-D (095)
HipHop 2-E (095)
HipHop 2-F (095)
HipHop 2-G (095)
HipHop 2-H (095)
R&B 1-A (100)
R&B 1-B (100)
PRST:012
HipHop&Latin
PRST:001
Standard Kit1
PRST:004
Rock Kit 1
PRST:011
HipHop Kit 2
PRST:001
Standard Kit1
PRST:005
Rock Kit 2
PRST:017
4 Kit MIX
R&B 1-C (100)
R&B 1-D (100)
R&B 1-E (100)
R&B 1-F (100)
R&B 1-G (100)
R&B 1-H (100)
R&B 2-A (140)
R&B 2-B (140)
PRST:001
Standard Kit1
PRST:001
Standard Kit1
PRST:015
HiFi R&B Kit
R&B 2-C (140)
R&B 2-D (140)
R&B 2-E (140)
R&B 2-F (140)
R&B 2-G (140)
R&B 2-H (140)
Reggae A (105)
Reggae B (094)
Reggae C (094)
Reggae D (090)
Reggae E (089)
Reggae F (105)
Reggae G (105)
Reggae H (100)
Trance 1-A (140)
Trance 1-B (138)
Trance 1-C (142)
Trance 1-D (142)
Trance 1-E (142)
Trance 1-F (142)
Trance 1-G (138)
Trance 1-H (138)
PRST:001
Standard Kit1
PRST:001
Standard Kit1
PRST:018
Kit-Euro:POP
PRST:002
Standard Kit2
PRST:006
Brush Jz Kit
PRST:021
Machine Kit2
Jazz 2 (136)
Jazz 3 (136)
Jazz 4 (136)
Jazz 5 (136)
Jazz 6 (136)
Jazz 7 (136)
Jazz 8 (136)
207
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Rhythm Pattern List
No.
Name
Recommended
Rhythm Set
No.
Name
Recommended
Rhythm Set
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
Trance 2-A (143)
Trance 2-B (142)
Trance 2-C (135)
Trance 2-D (140)
Trance 2-E (130)
Trance 2-F (154)
Trance 2-G (140)
Trance 2-H (138)
Techno 1-A (132)
Techno 1-B (142)
Techno 1-C (138)
Techno 1-D (141)
Techno 1-E (136)
Techno 1-F (143)
Techno 1-G (140)
Techno 1-H (140)
Techno 2-A (132)
Techno 2-B (126)
Techno 2-C (128)
Techno 2-D (128)
Techno 2-E (128)
Techno 2-F (130)
Techno 2-G (134)
Techno 2-H (130)
House 1-A (126)
House 1-B (126)
House 1-C (124)
House 1-D (128)
House 1-E (125)
House 1-F (128)
House 1-G (126)
House 1-H (126)
House 2-A (125)
House 2-B (130)
House 2-C (134)
House 2-D (127)
House 2-E (128)
House 2-F (128)
House 2-G (128)
House 2-H (128)
Drum’n Bs A (170)
Drum’n Bs B (160)
Drum’n Bs C (180)
Drum’n Bs D (160)
Drum’n Bs E (170)
Drum’n Bs F (170)
Drum’n Bs G (170)
Drum’n Bs H (170)
BrkBts A (130)
PRST:018
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
NuTeknica A (110)
NuTeknica B (110)
NuTeknica C (110)
NuTeknica D (110)
NuTeknica E (110)
NuTeknica F (110)
NuTeknica G (110)
NuTeknica H (110)
Tabla Phr A (120)
Tabla Phr B (120)
Tabla Phr C (120)
Tabla Phr D (120)
Tabla Phr E (120)
Tabla Phr F (120)
Tabla Phr G (120)
Tabla Phr H (120)
Perc Phr A (120)
Perc Phr B (120)
Perc Phr C (120)
Perc Phr D (120)
Perc Phr E (120)
Perc Phr F (120)
PRST:020
Kit-Euro:POP
Nu Technica
PRST:022
ArtificalKit
PRST:032
Scrh&Voi&Wld
PRST:034
PassionDrums
PRST:031
Percussion
Perc Phr G (120)
Perc Phr H (120)
PRST:019
House Kit
PRST:018
Kit-Euro:POP
PRST:003
Standard Kit3
PRST:012
HipHop&Latin
BrkBts B (130)
BrkBts C (130)
BrkBts D (130)
BrkBts E (130)
BrkBts F (130)
BrkBts G (130)
BrkBts H (130)
Disco A (125)
PRST:003
Standard Kit3
Disco B (125)
Disco C (125)
Disco D (120)
Disco E (130)
Disco F (124)
Disco G (125)
Disco H (125)
208
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About MIDI
MIDI (Musical Instruments Digital Interface) is a standard
specification that allows musical data to be exchanged between
electronic musical instruments and computers. MIDI With a MIDI
cable connecting MIDI devices that are equipped with MIDI
connectors, you can play multiple instruments with a single
keyboard, have multiple MIDI instruments perform in ensemble,
program the settings to change automatically to match the
performance as the song progresses, and more.
MIDI uses sixteen channels; 1 through 16. Set the receiving device so
that it will receive only the channel that it needs to receive.
Example:
Set the JUNO-G to send Channel 1 and Channel 2, then set sound
module A to receive only Channel 1 and sound module B only
Channel 2. With this setup, you can get an ensemble performance,
with, for example, a guitar sound from sound module A and bass
If you mainly use the JUNO-G as a standalone keyboard instrument,
you may really not need to know much at all about MIDI.
However, the following MIDI-related information is provided so
you can play the JUNO-G using an external MIDI device, or master
other advanced techniques.
from sound module B.
fig.MidiCh2.e
MIDI OUT
MIDI IN
MIDI THRU
Transmit channel: 1, 2
Receive channel: 1
Sound
Module
A
Receive channel: 2
MIDI IN
MIDI keyboard
Sound
Module
B
About MIDI Connectors
When used as a sound module, the JUNO-G can receive on up to
sixteen MIDI channels. Sound modules like the JUNO-G which can
receive multiple MIDI channels simultaneously to play different
sounds on each channel are called multi-timbral sound modules.
The JUNO-G is equipped with the three types of MIDI connectors,
each which works differently.
fig.MidiCon
General MIDI
General MIDI is a set of recommendations which seeks to
provide a way to go beyond the limitations of proprietary
designs, and standardize the MIDI capabilities of sound
generating devices. Sound generating devices and music files
that meet the General MIDI standard bear the General MIDI
MIDI IN Connector
This connector receives MIDI messages that are transmitted from
external MIDI devices. The JUNO-G can receive these messages to
play notes or select sounds, etc.
logo (
). Music files bearing the General MIDI logo can be
played back using any General MIDI sound generating unit to
produce essentially the same musical performance.
MIDI OUT Connector
This connector transmits MIDI messages to external MIDI devices.
The JUNO-G’s MIDI OUT connector is used for sending the
performance data of the keyboard controller section as well as data
used for saving various settings.
General MIDI 2
The upwardly compatible General MIDI 2 (
)
recommendations pick up where the original General MIDI left
off, offering enhanced expressive capabilities, and even greater
compatibility. Issues that were not covered by the original
General MIDI recommendations, such as how sounds are to be
edited, and how effects should be handled, have now been
precisely defined. Moreover, the available sounds have been
expanded. General MIDI 2 compliant sound generators are
capable of reliably playing back music files that carry either the
General MIDI or General MIDI 2 logo.
MIDI Channels and Multi-timbral
Sound Generators
MIDI transmits many types of data over a single MIDI cable. This is
made possible by the concept of MIDI channels. MIDI channels
allow messages intended for a given instrument to be distinguished
from messages intended for another instrument. In some ways,
MIDI channels are similar to television channels. By changing the
channel on a television set, you can view the programs that are being
broadcast by different stations. In the same way, MIDI also allows a
device to select the information intended for that device out of the
In some cases, the conventional form of General MIDI, which
does not include the new enhancements, is referred to as
“General MIDI 1” as a way of distinguishing it from General
MIDI 2.
variety of information that is being transmitted to it.
fig.MidiCh1.e
The cable from the antenna carries the TV
signals from many broadcast stations.
Station A
Station B
Station C
The TV is set to the channel of the station
you wish to watch.
209
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Model:
Date:
Version:
JUNO-G
Feb. 1, 2006
1.00
MIDI Implementation
❍Modulation (Controller number 1)
1. Data Reception (Sound Generator Section)
Status
BnH
2nd byte
01H
3rd byte
vvH
■Channel Voice Messages
n = MIDI channel number:
vv = Modulation depth:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
Not received in Performance mode when the Receive Switch parameter (PERFORM/
MIDI) is OFF.
*
Not received in Performance mode when the Receive Modulation parameter
(PERFORM/MIDI) is OFF.
●Note off
Status
2nd byte
kkH
3rd byte
❍Breath type (Controller number 2)
8nH
vvH
Status
BnH
2nd byte
02H
3rd byte
9nH
kkH
00H
vvH
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
vv = note off velocity:
*
JUNO-G receives it as ACTIVE EXPRESSION.
*
Not received when the Envelope Mode parameter (PATCH/CONTROL and RHYTHM/
COMMON) is NO-SUS.
❍Foot type (Controller number 4)
Status
BnH
2nd byte
04H
3rd byte
●Note on
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Status
2nd byte
kkH
3rd byte
9nH
vvH
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
❍Portamento Time (Controller number 5)
vv = note on velocity:
Status
BnH
2nd byte
05H
3rd byte
vvH
n = MIDI channel number:
vv = Portamento Time:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
●Polyphonic Key Pressure
Status
2nd byte
3rd byte
AnH
kkH
vvH
*
In Performance mode, the Part Portament Time parameter (PERFORM/PART) will
change.
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
vv = Polyphonic Key Pressure:
❍Data Entry (Controller number 6, 38)
Status
BnH
2nd byte
06H
3rd byte
mmH
llH
*
Not received in Performance mode when the Receive Poly Key Pressure parameter
(PERFORM/MIDI) is OFF.
BnH
26H
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm, ll = the value of the parameter specified by RPN/NRPN
mm = MSB, ll = LSB
●Control Change
*
If the corresponding Controller number is selected for the Patch Control Source 1, 2, 3 or
4 parameter (PATCH/CONTROL/CTRL1-4), the corresponding effect will occur.
If a Controller number that corresponds to the System Control Source 1, 2, 3 or 4
parameter (SYSTEM/CTRL) is selected, the specified effect will apply if Patch Control
Source 1, 2, 3 or 4 parameter (PATCH/CONTROL/CTRL1-4) is set to SYS-CTRL1, SYS-
CTRL2, SYS-CTRL3 or SYS-CTRL4.
*
❍Volume (Controller number 7)
Status
BnH
2nd byte
07H
3rd byte
vvH
n = MIDI channel number:
vv = Volume:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍Bank Select (Controller number 0, 32)
Status
BnH
2nd byte
00H
3rd byte
*
*
Not received in Performance mode when the Receive Volume parameter (PERFORM/
MIDI) is OFF.
mmH
BnH
20H
llH
In Performance mode, the Part Level parameter (PERFORM/PART) will change.
n = MIDI channel number:
mm, ll = Bank number:
0H - FH (ch.1 - 16)
00 00H - 7F 7FH (bank.1 - bank.16384)
❍Balance (Controller number 8)
Status
BnH
2nd byte
08H
3rd byte
*
*
*
Not received in Performance mode when the Receive Bank Select (PERFORM/MIDI) is
vvH
OFF.
n = MIDI channel number:
vv = Balance:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
The Performances, Patches, and Rhythms corresponding to each Bank Select are as
follows.
The SRX series corresponding to each Bank Select are to see the SRX series owner’s
manual.
❍Panpot (Controller number 10)
Status
BnH
2nd byte
0AH
3rd byte
vvH
BANK SELECT
MSB | LSB
| PROGRAM
| NUMBER
| GROUP
|
| NUMBER
|
n = MIDI channel number:
vv = Panpot:
0H - FH (ch.1 - 16)
-----+-----------+-----------+----------------------+-----------
00H - 40H - 7FH (Left - Center - Right),
000 |
| 001 - 128 | GM Patch
| 001 - 256
|
: |
|
|
063 |
| 001 - 128 | GM Patch
| 001 - 256
| 001 - 064
| 001 - 064
| 001 - 064
| 001 - 032
| 001 - 032
| 001 - 036
| 001 - 128
| 129 - 256
| 001 - 128
| 129 - 256
| 001 - 128
| 001 - 128
|
*
*
Not received in Performance mode when the Receive Pan parameter (PERFORM/MIDI)
is OFF.
085 | 000
| 032
| 001 - 064 | User Performance
| 001 - 064 | Card Performance
| 001 - 064 | Preset Performance
| 001 - 032 | User Rhythm
| 001 - 032 | Card Rhythm
| 001 - 036 | Preset Rhythm
| 001 - 128 | User Patch
| 001 - 128 | User Patch
| 001 - 128 | Card Patch
| 001 - 128 | Card Patch
| 001 - 128 | Preset Patch A
| 001 - 128 | Preset Patch B
| 064
In Performance mode, the Part Pan parameter (PERFORM/PART) will change.
086 | 000
| 032
| 064
❍Expression (Controller number 11)
Status
BnH
087 | 000
| 001
2nd byte
0BH
3rd byte
| 032
vvH
| 033
| 064
n = MIDI channel number:
vv = Expression:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
| 065
| :
|
| :
| SRX Rhythm
| :
| SRX Patch
| :
092 | 000 -
| :
| 001 -
| 001 -
|
|
*
*
Not received when Tone Receive Expression parameter (PATCH/CONTROL or
RHYTHM/COMMON) is OFF.
093 | 000 -
| :
120 |
121 | 000 -
| 001 -
|
| 001 -
|
| 001 - 057 | GM Rhythm
| 001 - 128 | GM Patch
| 001 - 009
| 001 - 256
Not received in Performance mode when Receive Expression parameter (PERFORM/
MIDI) is OFF.
210
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MIDI Implementation
❍Hold 1 (Controller number 64)
❍Cutoff (Controller number 74)
Status
BnH
2nd byte
40H
3rd byte
Status
BnH
2nd byte
4AH
3rd byte
vvH
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
vv = Cutoff value (relative change):
*
*
*
Not received when Tone Receive Hold-1 parameter (PATCH/CONTROL or RHYTHM/
COMMON) is OFF.
*
In Performance mode, the Part Cutoff Offset parameter (PERFORM/PART) will change.
Not received in Performance mode when Receive Hold-1 parameter (PERFORM/MIDI)
is OFF.
❍Decay Time (Controller number 75)
Status
BnH
2nd byte
4BH
3rd byte
When the Tone Redamper Switch parameter (PATCH/CONTROL) is turned ON, 128
discrete steps are recognized for the value.
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Decay Time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)
❍Portamento (Controller number 65)
Status
BnH
2nd byte
41H
3rd byte
*
In Performance mode, the Part Decay Time Offset parameter (PERFORM/PART) will
change.
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
❍Vibrato Rate (Controller number 76)
Status
BnH
2nd byte
4CH
3rd byte
*
In Performance mode, the Part Portamento Switch parameter (PERFORM/PART) will
change.
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Vibrato Rate value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)
In Performance mode, the Part Vibrato Rate parameter (PERFORM/PART) will change.
❍Sostenuto (Controller number 66)
Status
BnH
2nd byte
42H
3rd byte
*
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
❍Vibrato Depth (Controller number 77)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
Status
BnH
2nd byte
4DH
3rd byte
vvH
❍Soft (Controller number 67)
n = MIDI channel number:
vv = Vibrato Depth Value (relative change):
0H - FH (ch.1 - 16)
Status
BnH
2nd byte
43H
3rd byte
00H - 40H - 7FH (-64 - 0 - +63)
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
*
In Performance mode, the Part Vibrato Depth parameter (PERFORM/PART) will
change.
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
❍Legato Foot Switch (Controller number 68)
❍Vibrato Delay (Controller number 78)
Status
BnH
2nd byte
44H
3rd byte
Status
BnH
2nd byte
4EH
3rd byte
vvH
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
vv = Vibrato Delay value (relative change):
*
In Performance mode, the Part Legato Switch parameter (PERFORM/PART) will
change.
*
In Performance mode, the Part Vibrato Delay parameter (PERFORM/PART) will
change.
❍Hold-2 (Controller number 69)
❍General Purpose Controller 5 (Controller number 80)
Status
BnH
2nd byte
45H
3rd byte
Status
BnH
2nd byte
50H
3rd byte
vvH
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
A hold movement isn’t done.
*
The Tone Level parameter (PATCH/TVA) of Tone 1 will change.
❍Resonance (Controller number 71)
❍General Purpose Controller 6 (Controller number 81)
Status
BnH
2nd byte
47H
3rd byte
Status
BnH
2nd byte
51H
3rd byte
vvH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63),
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
vv= Resonance value (relative change):
*
In Performance mode, the Part Resonance Offset parameter (PERFORM/PART) will
change.
*
The Tone Level parameter (PATCH/TVA) of Tone 2 will change.
❍General Purpose Controller 7 (Controller number 82)
❍Release Time (Controller number 72)
Status
BnH
2nd byte
52H
3rd byte
Status
BnH
2nd byte
48H
3rd byte
vvH
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Release Time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63),
*
The Tone Level parameter (PATCH/TVA) of Tone 3 will change.
*
In Performance mode, the Part Release Time Offset parameter (PERFORM/PART) will
change.
❍General Purpose Controller 8 (Controller number 83)
Status
BnH
2nd byte
53H
3rd byte
❍Attack time (Controller number 73)
vvH
Status
BnH
2nd byte
49H
3rd byte
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Attack time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63),
*
The Tone Level parameter (PATCH/TVA) of Tone 4 will change.
*
In Performance mode, the Part Attack Time Offset parameter (PERFORM/PART) will
change.
211
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MIDI Implementation
❍Portamento control (Controller number 84)
●Program Change
Status
BnH
2nd byte
54H
3rd byte
Status
2nd byte
kkH
CnH
ppH
n = MIDI channel number:
kk = source note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
pp = Program number:
0H - FH (ch.1 - 16)
00H - 7FH (prog.1 - prog.128)
*
*
A
Note-on received immediately after
a
Portamento Control message will change
*
Not received in Performance mode when the Receive Program Change parameter
(PERFORM/MIDI) is OFF.
continuously in pitch, starting from the pitch of the Source Note Number.
If a voice is already sounding for a note number identical to the Source Note Number,
this voice will continue sounding (i.e., legato) and will, when the next Note-on is
received, smoothly change to the pitch of that Note-on.
●Channel Pressure
Status
2nd byte
*
The rate of the pitch change caused by Portamento Control is determined by the
Portamento Time value.
DnH
vvH
n = MIDI channel number:
vv = Channel Pressure:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍Effect 1 (Reverb Send Level) (Controller number 91)
Status
BnH
2nd byte
5BH
3rd byte
*
Not received in Performance mode when the Receive Channel Pressure parameter
(PERFORM/MIDI) is OFF.
vvH
n = MIDI channel number:
vv = Reverb Send Level:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
●Pitch Bend Change
Status
2nd byte
3rd byte
*
In Performance mode, the Part Reverb Send Level parameter (PERFORM/PART) will
change.
EnH
llH
mmH
n = MIDI channel number:
mm, ll = Pitch Bend value:
0H - FH (ch.1 - 16)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
❍Effect 3 (Chorus Send Level) (Controller number 93)
Status
BnH
2nd byte
5DH
3rd byte
*
*
Not received when the Tone Receive Bender parameter (PATCH/CONTROL) is OFF.
Not received in Performance mode when the Receive Pitch Bend parameter
(PERFORM/MIDI) is OFF.
vvH
n = MIDI channel number:
vv = Chorus Send Level:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
In Performance mode, the Part Chorus Send Level parameter (PERFORM/PART) will
change.
❍RPN MSB/LSB (Controller number 100, 101)
Status
BnH
2nd byte
65H
3rd byte
mmH
llH
BnH
64H
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm = upper byte (MSB) of parameter number specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN
<<< RPN >>>
Control Changes include RPN (Registered Parameter Numbers), which are extended.
When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any
order) should be sent in order to select the parameter, then Data Entry (Controller numbers
6 and 38) should be sent to set the value. Once RPN messages are received, Data Entry
messages that is received at the same MIDI channel after that are recognized as changing
toward the value of the RPN messages. In order not to make any mistakes, transmitting
RPN Null is recommended after setting parameters you need.
This device receives the following RPNs.
RPN
Data entry
MSB, LSB
mmH, llH
MSB, LSB
00H, 00H
Notes
Pitch Bend Sensitivity
mm: 00H - 18H (0 - 24 semitones)
ll: ignored (processed as 00H)
Up to 2 octave can be specified in semitone steps.
*
In Performance mode, the Part Bend Range parameter (PERFORM/PART) will change.
00H, 01H
mmH, llH
Channel Fine Tuning
mm, ll: 20 00H - 40 00H - 60 00H
(-4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent)
*
In Performance mode, the Part Fine Tune parameter (PERFORM/PART) will change.
00H, 02H
mmH, llH
Channel Coarse Tuning
mm: 10H - 40H - 70H (-48 - 0 - +48 semitones)
ll: ignored (processed as 00H)
*
In Performance mode, the Part Coarse Tune parameter (PERFORM/PART) will change.
00H, 05H
mmH, llH
Modulation Depth Range
mm, ll: 00 00H - 00 06H
(0 - 16384 x 600 / 16384 cent)
*
Not received in Patch mode.
7FH, 7FH ---, ---
RPN null
RPN and NRPN will be set as “unspecified.” Once this setting has been made, subsequent
Parameter values that were previously set will not change.
mm, ll: ignored
212
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MIDI Implementation
■Channel Mode Messages
■System Realtime Message
*
Not received in Performance mode when the Receive Switch parameter (PERFORM/
MIDI) is OFF.
●Active Sensing
Status
●All Sounds Off (Controller number 120)
FEH
Status
2nd byte
3rd byte
BnH
78H
00H
*
When Active Sensing is received, the unit will begin monitoring the intervals of all
further messages. While monitoring, if the interval between messages exceeds 420 ms,
the same processing will be carried out as when All Sounds Off, All Notes Off and Reset
All Controllers are received, and message interval monitoring will be halted.
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
When this message is received, all notes currently sounding on the corresponding
channel will be turned off.
■System Exclusive Message
●Reset All Controllers (Controller number 121)
Status
F0H
Data byte
Status
Status
2nd byte
3rd byte
iiH, ddH, ......,eeH F7H
BnH
79H
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
When this message is received, the following controllers will be set to their reset values.
F0H:
System Exclusive Message status
ii = ID number:
an ID number (manufacturer ID) to indicate the manufacturer whose
Exclusive message this is. Roland’s manufacturer ID is 41H.
ID numbers 7EH and 7FH are extensions of the MIDI standard;
Universal Non-realtime Messages (7EH) and Universal Realtime
Messages (7FH).
*
Controller
Reset value
Pitch Bend Change
Polyphonic Key Pressure
Channel Pressure
Modulation
+/-0 (center)
0 (off)
dd,...,ee = data:
F7H:
00H - 7FH (0 - 127)
0 (off)
EOX (End Of Exclusive)
0 (off)
Breath Type
0 (min)
Of the System Exclusive messages received by this device, the Universal Non-realtime
messages and the Universal Realtime messages and the Data Request (RQ1) messages and
the Data Set (DT1) messages will be set automatically.
Expression
127 (max)
However the controller will be at minimum.
Hold 1
Sostenuto
Soft
0 (off)
0 (off)
●Universal Non-realtime System Exclusive Messages
0 (off)
Hold 2
RPN
0 (off)
❍Identity Request Message
unset; previously set data will not change
unset; previously set data will not change
Status
F0H
Data byte
Status
NRPN
7EH, dev, 06H, 01H F7H
●All Notes Off (Controller number 123)
Byte
F0H
7EH
dev
Explanation
Status
2nd byte
3rd byte
Exclusive status
BnH
7BH
00H
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH, 7FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Request)
EOX (End Of Exclusive)
n = MIDI channel number: 0H - FH (ch.1 - 16)
06H
01H
F7H
*
When All Notes Off is received, all notes on the corresponding channel will be turned
off. However, if Hold 1 or Sostenuto is ON, the sound will be continued until these are
turned off.
*
When this message is received, Identity Reply message (p. 218) will be transmitted.
●OMNI OFF (Controller number 124)
Status
2nd byte
3rd byte
❍GM1 System On
BnH
7CH
00H
Status
F0H
Data byte
Status
n = MIDI channel number: 0H - FH (ch.1 - 16)
The same processing will be carried out as when All Notes Off is received.
7EH, 7FH, 09H, 01H F7H
*
Byte
F0H
7EH
7FH
09H
01H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
●OMNI ON (Controller number 125)
Status
2nd byte
3rd byte
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI 1 On)
EOX (End Of Exclusive)
BnH
7DH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
The same processing will be carried out as when All Notes Off is received. OMNI ON
will not be turned on.
*
*
When this messages is received, this instrument will turn to the Performance mode.
Not received when the Receive GM1 System On parameter (SYSTEM/MIDI) is OFF.
●MONO (Controller number 126)
❍GM2 System On
Status
2nd byte
3rd byte
Status
F0H
Data byte
Status
BnH
7EH
mmH
7EH 7FH 09H 03H F7H
n = MIDI channel number:
mm = mono number:
0H - FH (ch.1 - 16)
00H - 10H (0 - 16)
Byte
F0H
7EH
7FH
09H
03H
F7H
Explanation
Exclusive status
*
*
The same processing will be carried out as when All Notes Off is received.
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
In Performance mode, the Part Mono/Poly parameter (PERFORM/PART) will change.
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI 2 On)
EOX (End Of Exclusive)
●POLY (Controller number 127)
Status
2nd byte
3rd byte
BnH
7FH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
*
When this messages is received, this instrument will turn to the Performance mode.
Not received when the Receive GM2 System On parameter (SYSTEM/MIDI) is OFF.
*
*
The same processing will be carried out as when All Notes Off is received.
In Performance mode, the Part Mono/Poly parameter (PERFORM/PART) will change.
213
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MIDI Implementation
❍GM System Off
Status
F0H
●Global Parameter Control
Data byte
Status
*
Not received in Patch mode and Piano mode.
7EH, 7F, 09H, 02H F7H
❍Reverb Parameters
Byte
F0H
7EH
7FH
09H
02H
F7H
Explanation
Status
F0H
Data byte
Status
F7H
Exclusive status
7FH, 7FH, 04H, 05H, 01H, 01H,
01H, 01H, 01H, ppH, vvH
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI Off)
EOX (End Of Exclusive)
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
01H
ppH
vvH
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
*
When this messages is received, this instrument will return to the Performance mode.
●Universal Realtime System Exclusive Messages
❍Master Volume
Status
F0H
Parameter ID width
Value width
Data byte
Status
F7H
Slot path MSB
7FH, 7FH, 04H, 01H, llH, mmH
Slot path LSB (Effect 0101: Reverb)
Parameter to be controlled.
Value for the parameter.
Byte
F0H
7FH
7FH
04H
01H
llH
Explanation
Exclusive status
pp=0
Reverb Type
Small Room
Medium Room
Large Room
Medium Hall
Large Hall
Plate
ID number (universal realtime message)
Device ID (Broadcast)
vv = 00H
vv = 01H
vv = 02H
vv = 03H
vv = 04H
vv = 08H
pp=1
Sub ID#1 (Device Control)
Sub ID#2 (Master Volume)
Master Volume lower byte
Master Volume upper byte
EOX (End Of Exclusive)
mmH
F7H
Reverb Time
0 - 127
vv = 00H - 7FH
*
*
The lower byte (llH) of Master Volume will be handled as 00H.
The Master Level parameter (SYSTEM/GENERAL) will change.
F7H
EOX (End Of Exclusive)
❍Chorus Parameters
❍Master Fine Tuning
Status
F0H
Data byte
Status
F7H
Status
F0H
Data byte
Status
F7H
7FH, 7FH, 04H, 05H, 01H, 01H,
01H, 01H, 02H, ppH, vvH
7FH, 7FH, 04H, 03H, llH, mmH
Byte
F0H
7FH
7FH
04H
03H
llH
Explanation
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
02H
ppH
vvH
Explanation
Exclusive status
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
Sub ID#1 (Device Control)
Sub ID#2 (Master Fine Tuning)
Master Fine Tuning LSB
Master Fine Tuning MSB
EOX (End Of Exclusive)
mmH
F7H
Parameter ID width
Value width
Slot path MSB
mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])
The Master Tune parameter (SYSTEM/GENERAL) will change.
Slot path LSB (Effect 0102: Chorus)
Parameter to be controlled.
Value for the parameter.
*
pp=0
Chorus Type
Chorus1
Chorus2
Chorus3
Chorus4
FB Chorus
Flanger
❍Master Coarse Tuning
vv=0
Status
F0H
Data byte
Status
F7
vv=1
7FH, 7FH, 04H, 04H, llH, mmH
vv=2
vv=3
Byte
F0H
7FH
7FH
04H
04H
llH
Explanation
vv=4
Exclusive status
vv=5
ID number (universal realtime message)
Device ID (Broadcast)
pp=1
Mod Rate
0 - 127
vv= 00H - 7FH
pp=2
Sub ID#1 (Device Control)
Sub ID#2 (Master Coarse Tuning)
Master Coarse Tuning LSB
Master Coarse Tuning MSB
EOX (End Of Exclusive)
Mod Depth
0 - 127
vv = 00H - 7FH
pp=3
Feedback
0 - 127
mmH
F7H
vv = 00H - 7FH
pp=4
Send To Reverb
0 - 127
vv = 00H - 7FH
llH:
ignored (processed as 00H)
F7H
EOX (End Of Exclusive)
mmH:
28H - 40H - 58H (-24 - 0 - +24 [semitones])
*
The Master Key Shift parameter (SYSTEM/GENERAL) will change.
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MIDI Implementation
❍Channel Pressure
❍Scale/Octave Tuning Adjust
Status
F0H
Data byte
Status
F7H
Status
F0H
Data byte
Status
7FH, 7FH, 09H, 01H, 0nH, ppH, rrH
7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH...
F7
Byte
F0H
7FH
7FH
09H
01H
0nH
ppH
rrH
Explanation
Byte
F0H
7EH
7FH
08H
08H
ffH
Explanation
Exclusive status
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Channel Pressure)
MIDI Channel (00 - 0F)
Controlled parameter
Sub ID#1 (MIDI Tuning Standard)
Sub ID#2 (scale/octave tuning 1-byte form)
Channel/Option byte 1
bits 0 to 1 = channel 15 to 16
bit 2 to 6 = Undefined
Controlled range
pp=0
Pitch Control
ggH
hhH
ssH
Channel byte 2
rr = 28H - 58H
pp=1
-24 - +24 [semitones]
Filter Cutoff Control
-9600 - +9450 [cents]
Amplitude Control
0 - 200%
bits 0 to 6 = channel 8 to 14
Channel byte 3
rr = 00H - 7FH
pp=2
bits 0 to 6 = channel 1 to 7
12 byte tuning offset of 12 semitones from C to B
00H = -64 [cents]
rr = 00H - 7FH
pp=3
LFO Pitch Depth
0 - 600 [cents]
40H = 0 [cents] (equal temperament)
7FH = +63 [cents]
rr = 00H - 7FH
pp=4
LFO Filter Depth
0 - 2400 [cents]
F7H
EOX (End Of Exclusive)
rr = 00H - 7FH
pp=5
LFO Amplitude Depth
0 - 100%
❍Key-based Instrument Controllers
Status
F0H
rr = 00H - 7FH
Data byte
Status
F7H
F7H
EOX (End Of Exclusive)
7FH, 7FH, 0AH, 01H, 0nH, kkH, nnH, vvH
❍Controller
Status
Byte
F0H
7FH
7FH
0AH
01H
0nH
kkH
nnH
vvH
Explanation
Data byte
Status
Exclusive status
F0H
7FH, 7FH, 09H, 03H, 0nH, ccH, ppH, rrH F7H
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Key-Based Instrument Control)
Sub ID#2 (Controller)
MIDI Channel (00 - 0FH)
Key Number
Byte
F0H
7FH
7FH
09H
03H
0nH
ccH
ppH
rrH
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Control Change)
MIDI Channel (00 - 0F)
Control Number
Value
nn=07H Level
Controller number (01 - 1F, 40 - 5F)
Controlled parameter
vv = 00H - 7FH
nn=0AH
0 - 200% (Relative)
Pan
Controlled range
vv = 00H - 7FH
nn=5BH
Left - Right (Absolute)
Reverb Send
pp=0
Pitch Control
rr = 28H - 58H
pp=1
-24 - +24 [semitones]
Filter Cutoff Control
-9600 - +9450 [cents]
Amplitude Control
0 - 200%
vv = 00H - 7FH
nn=5D
0 - 127 (Absolute)
Chorus Send
rr = 00H - 7FH
pp=2
vv = 00H - 7FH
:
0 - 127 (Absolute)
:
rr = 00H - 7FH
pp=3
F7
EOX (End Of Exclusive)
This parameter affects drum instruments only.
LFO Pitch Depth
0 - 600 [cents]
rr = 00H - 7FH
pp=4
*
LFO Filter Depth
0 - 2400 [cents]
rr = 00H - 7FH
pp=5
LFO Amplitude Depth
0 - 100%
rr = 00H - 7FH
F7H
EOX (End Of Exclusive)
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MIDI Implementation
Status
F0H
Data byte
Status
F7H
●Data Transmission
41H, dev, 42H, 12H, aaH, bbH, ccH,
ddH, ... eeH, sum
This instrument can use exclusive messages to exchange many varieties of internal settings
with other devices.
The model ID of the exclusive messages used by this instrument is 00H 00H 15H.
Byte
F0H
41H
dev
Explanation
Exclusive status
❍Data Request 1 (RQ1)
This message requests the other device to transmit data. The address and size indicate the
type and amount of data that is requested.
ID number (Roland)
Device ID (dev: 10H - 1FH, 7FH)
Model ID (GS)
42H
12H
aaH
bbH
ccH
ddH
When a Data Request message is received, if the device is in a state in which it is able to
transmit data, and if the address and size are appropriate, the requested data is transmitted
as a Data Set 1 (DT1) message. If the conditions are not met, nothing is transmitted.
Command ID (DT1)
Address MSB: upper byte of the starting address of the transmitted data
Address: middle byte of the starting address of the transmitted data
Address LSB: lower byte of the starting address of the transmitted data
Status
F0H
data byte
status
Data:
the actual data to be transmitted. Multiple bytes of data are
transmitted starting from the address.
41H, dev, 00H, 00H, 15H, 11H, aaH, bbH, ccH, F7H
ddH, ssH, ttH, uuH, vvH, sum
:
:
eeH
sum
F7H
Data
Byte
F0H
41H
dev
Remarks
Checksum
Exclusive status
ID number (Roland)
device ID (dev: 10H - 1FH, 7FH)
model ID #1 (JUNO-G)
model ID #2 (JUNO-G)
model ID #3 (JUNO-G)
command ID (RQ1)
address MSB
EOX (End Of Exclusive)
*
*
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the address
and size given in Parameter Address Map (p. 222).
00H
00H
15H
11H
aaH
bbH
ccH
ddH
ssH
ttH
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
*
*
Regarding the checksum, please refer to p. 239.
address
Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF.
address
address LSB
size MSB
size
uuH
vvH
sum
F7H
size
size LSB
checksum
EOX (End Of Exclusive)
*
The size of data that can be transmitted at one time is fixed for each type of data. And
data requests must be made with a fixed starting address and size. Refer to the address
and size given in Parameter Address Map (p. 222).
*
*
For the checksum, refer to p. 239.
Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF.
❍Data set 1 (DT1)
Status
F0H
Data byte
Status
41H, dev, 00H, 00H, 15H, 12H, aaH, bbH, F7H
ccH, ddH, eeH, ... ffH, sum
Byte
F0H
41H
dev
Explanation
Exclusive status
ID number (Roland)
Device ID (dev: 00H - 1FH, 7FH)
Model ID #1 (JUNO-G)
00H
00H
15H
12H
aaH
bbH
ccH
ddH
eeH
Model ID #2 (JUNO-G)
Model ID #3 (JUNO-G)
Command ID (DT1)
Address MSB: upper byte of the starting address of the data to be sent
Address:
Address:
upper middle byte of the starting address of the data to be sent
lower middle byte of the starting address of the data to be sent
Address LSB: lower byte of the starting address of the data to be sent.
Data:
the actual data to be sent. Multiple bytes of data are transmitted
in order starting from the address.
:
:
ffH
sum
F7H
Data
Checksum
EOX (End Of Exclusive)
*
*
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the address
and size given in Parameter Address Map (p. 222).
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
*
*
Regarding the checksum, please refer to p. 239.
Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF.
216
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MIDI Implementation
❍Volume (Controller number 7)
2. Data Transmission
Status
BnH
2nd byte
07H
3rd byte
(Sound Generator Section)
vvH
n = MIDI channel number:
vv = Volume:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
■Channel Voice Messages
*
In Performance mode, these messages are not transmitted when External Level
parameter (PERFORMANCE/PART) is OFF.
●Note off
Status
2nd byte
kkH
3rd byte
❍Panpot (Controller number 10)
8nH
vvH
Status
BnH
2nd byte
0AH
3rd byte
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
vvH
n = MIDI channel number:
vv = Panpot:
0H - FH (ch.1 - 16)
vv = note off velocity:
00H - 40H - 7FH (Left - Center - Right),
●Note on
*
In Performance mode, these messages are not transmitted when External Pan parameter
(PERFORMANCE/PART) is OFF.
Status
2nd byte
kkH
3rd byte
9nH
vvH
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
❍Expression (Controller number 11)
Status
BnH
2nd byte
0BH
3rd byte
vv = note on velocity:
vvH
n = MIDI channel number:
vv = Expression:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
●Control Change
*
By selecting
a
controller number that corresponds to the setting of parameters of
controllers (REALTIME CONTROL knob, and so on), the JUNO-G can transmit any
control change message.
❍Hold 1 (Controller number 64)
Status
BnH
2nd byte
40H
3rd byte
vvH
❍Bank Select (Controller number 0, 32)
n = MIDI channel number:
0H - FH (ch.1 - 16)
Status
BnH
2nd byte
00H
3rd byte
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
BnH
20H
llH
*
When Continuous Hold Pedal parameter (SYSTEM/CTRL) is OFF, just only 00H (0FF)
and 7FH (0N) can be send as the control value.
n = MIDI channel number:
mm, ll = Bank number:
0H - FH (ch.1 - 16)
00 00H - 7F 7FH (bank.1 - bank.16384)
*
These messages are transmitted when Patch, Rhythm Set or Performance is selected. But
not transmitted when Transmit Program Change or Transmit Bank Select parameter
(SYSTEM/MIDI) is OFF.
❍Portamento (Controller number 65)
Status
BnH
2nd byte
41H
3rd byte
vvH
*
*
In Performance mode, these messages are not transmitted when External Bank Select
MSB or External PC Number parameter (PERFORMANCE/PART) is OFF.
Although with the JUNO-G you can select the Bank Select messages to be transmitted, be
sure to refer to Bank Select and Program Change Correspondence Chart (p. 240) for
the Bank Select messages transmitted when the JUNO-G is select a Patch, Rhythm Set or
Performance.
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
❍Resonance (Controller number 71)
Status
BnH
2nd byte
47H
3rd byte
vvH
*
The Bank Select Numbers corresponding to SRX series should be referred to the SRX
series owner’s manual.
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
vv= Resonance value (relative change):
❍Modulation (Controller number 1)
❍Release Time (Controller number 72)
Status
BnH
2nd byte
01H
3rd byte
Status
BnH
2nd byte
48H
3rd byte
vvH
vvH
n = MIDI channel number:
vv = Modulation depth:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
vv = Release Time value (relative change):
❍Breath type (Controller number 2)
❍Attack time (Controller number 73)
Status
BnH
2nd byte
02H
3rd byte
Status
BnH
2nd byte
49H
3rd byte
vvH
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Attack time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)
*
JUNO-G transmits this message when you operate ACTIVE EXPRESSION with the D
Beam controller.
❍Cutoff (Controller number 74)
Status
BnH
2nd byte
4AH
3rd byte
vvH
❍Portamento Time (Controller number 5)
Status
BnH
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
2nd byte
05H
3rd byte
vv = Cutoff value (relative change):
vvH
n = MIDI channel number:
vv = Portamento Time:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍General Purpose Controller 5 (Controller number 80)
Status
BnH
2nd byte
50H
3rd byte
vvH
❍Data Entry (Controller number 6, 38)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Status
BnH
2nd byte
06H
3rd byte
mmH
llH
BnH
26H
❍General Purpose Controller 6 (Controller number 81)
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm, ll = the value of the parameter specified by RPN/NRPN
mm = MSB, ll = LSB
Status
BnH
2nd byte
51H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
217
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MIDI Implementation
❍General Purpose Controller 7 (Controller number 82)
■System Exclusive Messages
Universal Non-realtime System Exclusive Message” and Data Set 1 (DT1) are the only
System Exclusive messages transmitted by the JUNO-G.
Status
BnH
2nd byte
52H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
●Universal Non-realtime System Exclusive Message
❍General Purpose Controller 8 (Controller number 83)
❍Identity Reply Message (JUNO-G)
Receiving Identity Request Message (p. 213), the JUNO-G send this message.
Status
BnH
2nd byte
53H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Status
F0H
Data byte
Status
F7H
7EH, dev, 06H, 02H, 41H, 6BH, 01H,
02H, 01H, 04H, 03H, 00H, 00H
❍Portamento control (Controller number 84)
Status
BnH
2nd byte
54H
3rd byte
Byte
Explanation
kkH
F0H
Exclusive status
n = MIDI channel number:
kk = source note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
7EH
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Reply)
dev
06H
●Program Change
Status
02H
2nd byte
41H
ID number (Roland)
CnH
ppH
6BH 01H
02H 01H
Device family code
n = MIDI channel number:
pp = Program number:
0H - FH (ch.1 - 16)
Device family number code
00H - 7FH (prog.1 - prog.128)
04H 03H 00H 00H Software revision level
F7H EOX (End of Exclusive)
*
*
These messages are transmitted when Patch, Rhythm Set or Performance is selected. But
not transmitted when Transmit Program Change parameter (SYSTEM/MIDI) is OFF.
In Performance mode, these messages are not transmitted when External PC Num
parameter (PERFORMANCE/PART) is OFF.
●Data Transmission
❍Data set 1 (DT1)
Status
F0H
Data byte
Status
●Channel Pressure
41H, dev, 00H, 00H, 15H,12H, aaH, bbH, F7H
ccH, ddH, eeH, ... ffH, sum
Status
2nd byte
DnH
vvH
n = MIDI channel number:
vv = Channel Pressure:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Byte
F0H
41H
dev
Explanation
Exclusive status
ID number (Roland)
●Pitch Bend Change
Device ID (dev: 00H - 1FH, 7FH)
Model ID #1 (JUNO-G)
00H
00H
15H
12H
aaH
bbH
ccH
ddH
eeH
Status
2nd byte
3rd byte
Model ID #2 (JUNO-G)
EnH
llH
mmH
Model ID #3 (JUNO-G)
n = MIDI channel number:
mm, ll = Pitch Bend value:
0H - FH (ch.1 - 16)
Command ID (DT1)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
Address MSB: upper byte of the starting address of the data to be sent
Address:
Address:
upper middle byte of the starting address of the data to be sent
lower middle byte of the starting address of the data to be sent
■Channel Mode Messages
Address LSB: lower byte of the starting address of the data to be sent.
Data:
the actual data to be sent. Multiple bytes of data are transmitted
in order starting from the address.
●MONO (Controller number 126)
Status
2nd byte
3rd byte
:
:
BnH
7EH
mmH
ffH
sum
F7H
Data
n = MIDI channel number:
mm = mono number:
0H - FH (ch.1 - 16)
00H - 10H (0 - 16)
Checksum
EOX (End Of Exclusive)
*
*
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the address
and size given in Parameter Address Map (p. 222).
●POLY (Controller number 127)
Status
2nd byte
3rd byte
BnH
7FH
00H
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
n = MIDI channel number: 0H - FH (ch.1 - 16)
■System Realtime Messages
●Active Sensing
Status
FEH
*
*
This message is transmitted at intervals of approximately 250 msec.
This message is not sent when Transmit Active Sensing parameter (SYSTEM/MIDI) is
OFF.
218
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MIDI Implementation
■Channel Mode messages
3. Data Reception (Sequencer Section)
●All Sound Off (Controller number 120)
3.1 Messages recorded during recording
■Channel Voice Messages
●Note Off
Status
2nd byte
3rd byte
BnH
78H
00H
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
●Reset All Controller (Controller number 121)
Status
2nd byte
3rd byte
Status
2nd byte
3rd byte
8nH
kkH
vvH
BnH
79H
00H
9nH
kkH
00H
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
n=MIDI channel number:
kk=note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
●Omni Off (Controller number 124)
vv=note off velocity:
Status
2nd byte
3rd byte
BnH
7CH
00H
*
Not received when the Note parameter (Recording Select window) is OFF.
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
●Note on
*
The same processing will be done as when an All Note Off message is received.
Status
2nd byte
kkH
3rd byte
9nH
vvH
●Omni On (Controller number 125)
Status
n=MIDI channel number:
kk=note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
2nd byte
3rd byte
BnH
7DH
00H
vv=note on velocity:
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
*
Not received when the Note parameter (Recording Select window) is OFF.
*
The same processing will be done as when an All Note Off message is received.
●Polyphonic Aftertouch
●Mono (Controller number 126)
Status
2nd byte
3rd byte
Status
2nd byte
3rd byte
AnH
kkH
vvH
BnH
7EH
mmH
n=MIDI channel number:
kk=note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
n=MIDI channel number:
mm=mono number:
0H - FH (ch.1 - ch.16)
00H - 10H (0 - 16)
vv=Polyphonic Aftertouch:
*
The same processing will be done as when an All Note Off message is received.
*
Not received when the Poly Afertouch parameter (Recording Select window) is OFF.
●Poly (Controller number 127)
●Control Change
Status
2nd byte
3rd byte
Status
2nd byte
3rd byte
BnH
7FH
00H
BnH
kkH
vvH
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
n=MIDI channel number:
kk=Control number:
vv=value:
0H - FH (ch.1 - ch.16)
00H - 78H (0 - 120)
00H - 7FH (0 - 127)
*
The same processing will be done as when an All Note Off message is received.
■System Exclusive Messages
*
Not received when the Control Change parameter (Recording Select window) is OFF.
Status
Data byte
Status
F0H
iiH, ddH, ......, eeH F7H
●Program Change
F0H:
System Exclusive message status
Status
2nd byte
ii=ID number:
This is the ID number (manufacturer ID) that specifies the
manufacturer whose exclusive message this is. Roland’s manufacturer
ID is 41H. ID numbers 7EH and 7FH are defined in an expansion of
the MIDI standard as Universal Non-real-time messages (7EH) and
Universal Realtime Messages (7FH).
CnH
ppH
n=MIDI channel number:
pp=Program number:
0H - FH (ch.1 - ch.16)
00H - 7FH (prog.1 - prog.128)
*
Not received when the Program Change parameter (Recording Select window) is OFF.
dd,..., ee = data:
F7H:
00H - 7FH (0 - 127)
EOX (End of System Exclusive)
●Channel Aftertouch
Status
2nd byte
*
*
Not received when the System Exclusive parameter (Recording Select window) is OFF.
DnH
vvH
MIDI Machine Control and MIDI Time code is not recorded. (Refer to “1.3 Messages
acknowledged for synchronization”)
n=MIDI channel number:
vv=Channel Aftertouch:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
*
Not received when the Channel Aftertouch parameter (Recording Select window) is
OFF.
●Pitch Bend Change
Status
2nd byte
3rd byte
EnH
llH
mmH
n=MIDI channel number:
mm, ll=Pitch Bend value:
0H - FH (ch.1 - ch.16)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
*
Not received when the Pitch Bend parameter (Recording Select window) is OFF.
219
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MIDI Implementation
■System Realtime Messages
3.2 Messages not recorded during recording
■Channel mode messages
●Timing Clock
Status
F8H
●Local On/Off (Controller number 122)
Status
2nd byte
3rd byte
*
Received when Sync Mode parameter (SYSTEM/TEMPO/SYNC) is set to SLAVE-MIDI.
BnH
7AH
vvH
n=MIDI channel number:
vv=Value:
0H - FH (ch.1 - ch.16)
00H, 7FH (Local Off, Local On)
●Start
Status
FAH
●All notes off (Controller number 123)
Status
2nd byte
3rd byte
*
Received when Sync Mode parameter (SYSTEM/TEMPO/SYNC) is set to SLAVE-MIDI
or REMOTE.
BnH
7BH
00H
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
●Continue
Status
*
When an All Note Off message is received, all notes of the corresponding channel that
are on will be sent Note Off’s, and the resulting Note Off messages will be recorded.
FBH
3.3 Messages acknowledged for synchronization
■System Common messages
●Tune Request
*
Received when Sync Mode parameter (SYSTEM/TEMPO/SYNC) is set to SLAVE-MIDI
or REMOTE.
●Stop
Status
Status
FCH
F6H
*
Received when Sync Mode parameter (SYSTEM/TEMPO/SYNC) is set to SLAVE-MIDI
or REMOTE.
●MIDI Time Code Quarter Frame Messages
MIDI Time Code Quarter Frame Messages can be transmitted while the sequencer is
running (Playing or Recording) if the Sync Mode parameter (SYSTEM/TEMPO/SYNC) is
MASTER and MTC Sync Output parameter (SYSTEM/MIDI/MMC MTC) is ON. The
transmitted time counts are summed to MTC Offset Time parameter (SYSTEM/MIDI/
MMC MTC) as the song top is “00:00:00:00.”
The sequencer synchronizes with the time counts which are summed to MTC Offset Time
parameter (SYSTEM/MIDI/MMC MTC) as the song top is “00:00:00:00” if the Sync Mode
parameter (SYSTEM/TEMPO/SYNC) is SLAVE(MTC).
Status
Second
F1H
mmH (= 0nnndddd)
nnn = Message type :
0 = Frame count LS nibble
1 = Frame count MS nibble
2 = Seconds count LS nibble
3 = Seconds count MS nibble
4 = Minutes count LS nibble
5 = Minutes count MS nibble
6 = Hours count LS nibble
7 = Hours count MS nibble
dddd = 4 bit nibble data : h - FH (0 - 15)
Bit Field is assigned as follows.
Frame Count
xxx
xxxyyyyy
Reserved (000)
Frame No.(0-29)
xxyyyyyy
xx
yyyyy
Seconds Count
Reserved (00)
Seconds (0-59)
yyyyyy
Minutes Count
Hours Count
xxyyyyyy
xx
Reserved (00)
yyyyyy
Minutes (0-59)
xyyzzzzz
x
Reserved (0)
yy
Time Code type
0 = 24 Frames / Sec
1 = 25 Frames / Sec
2 = 30 Frames / Sec (Drop Frame)
3 = 30 Frames / Sec (Non Drop Frame
zzzzz
Hours (0-23)
●Song Position Pointer
Status
2nd byte
3rd byte
llH
F2H
mmH
mm, ll=value:
00 00H - 7F 7FH (0 - 16383)
220
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MIDI Implementation
■System Exclusive Message
4. Data Transmission (Sequencer Section)
●MIDI Machine Control (MMC)
4.1 Messages transmitted during playing
Recorded messages are transmitted during playback.
*
Received when the MMC Mode parameter (SYSTEM/MIDI/MMC MTC) is SLAVE.
4.2 Soft Thru setting
❍STOP (MCS)
Status
Messages (except System Common and System Realtime Messages) that are received are
then sent out when Soft Thru parameter (SYSTEM/MIDI) is switched to ON.
Data byte
Status
F7H
F0H
7FH, dev, 06H, 01H
4.3 Messages that are generated and transmitted
Byte
F0H
7FH
7FH
06H
01H
F7H
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID
4.3.1 Messages Appearing When Synchronizing
with Other Devices
MMC command message
STOP (MCS)
EOX (End of Exclusive)
■System Common Messages
*
Sent when Sync Output parameter (SYSTEM/TEMPO/SYNC) is set to ON.
❍DEFERRED PLAY (MCS)
Status
F0H
Data byte
Status
F7H
●Song Position Pointer
7FH, dev, 06H, 03H
Status
2nd byte
3rd byte
llH
F2H
mmH
Byte
F0H
7FH
7FH
06H
03H
F7H
Remarks
mm, ll=value:
00 00H - 7F 7FH (0 - 16383)
Exclusive status
Universal System Exclusive Realtime Header
Device ID
■System Realtime Messages
*
Sent when Sync Output parameter (SYSTEM/TEMPO/SYNC) is set to ON.
MMC command message
DEFERRED PLAY (MCS)
EOX (End of Exclusive)
●Timing Clock
Status
❍LOCATE (MCP)
F8H
❍Format2-LOCATE [TARGET]
Status
F0H
Data byte
Status
F7H
●Start
7FH, dev, 06H, 44H, 06H, 01H,
hrH, mnH, scH, frH, ffH
Status
FAH
Byte
F0H
7FH
7FH
06H
44H
06H
01H
hrH
mnH
scH
frH
Remarks
●Continue
Exclusive status
Status
Universal System Exclusive Realtime Header
Device ID
FBH
MMC command message
LOCATE (MCP)
●Stop
Status
Byte count
FCH
“TARGET” sub-Command
Standard Time Specification with subframes
●Quarter Frame Messages
Status
2nd byte
F1H
mmH (= 0nnndddd)
ffH
F7H
EOX (End of Exclusive)
*
Sent when Sync Mode parameter (SYSTEM/TEMPO/SYNC) is set to MASTER and
MTC Sync Output parameter (SYSTEM/MIDI/MMC MTC) is set to ON. Furthermore,
sending a Quarter Frame Message with “00h00m00s00f00” at the beginning of the song
adds the MTC Offset Time parameter (SYSTEM/MIDI/MMC MTC).
221
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MIDI Implementation
■System Exclusive Message
5. Parameter Address Map
●MIDI Time code
*
Transmission of “#” marked address is divided to some packets. For example, ABH in
hexadecimal notation will be divided to 0AH and 0BH, and is sent/received in this
order.
❍Full Message
*
“<*>” marked address or parameters are ignored when the JUNO-G received them.
Full Messages are used, which encode the complete time into a single message.
This message transmitted when the song position moves.
Status
Data Byte
Status
F7H
5.1 JUNO-G (ModelID = 00H 00H 15H)
F0H, 7FH
xxH, 01H, 01H, hrH, mnH, scH, frH
+——————————————————————————————————————————————————————————————————————————————+
| Start
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
| 01 00 00 00 | Setup
|-------------+----------------------------------------------------------------|
| 02 00 00 00 | System
F0H, 7FH :
xxH :
Realtime Universal System Exclusive Header
7F (Device ID)
|
|
|-------------+----------------------------------------------------------------|
01H :
sub-ID #1 (MIDI Time code)
sub-ID #2 (Full Message)
| 10 00 00 00 | Temporary Performance
| 11 00 00 00 | Temporary Patch/Rhythm (Performance Mode Part 1)
| 11 20 00 00 | Temporary Patch/Rhythm (Performance Mode Part 2)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01H :
hrH :
hours and type: 0 yy zzzzz
|
:
|
| 14 60 00 00 | Temporary Patch/Rhythm (Performance Mode Part 16)
| 1E 00 00 00 | Temporary Rhythm Pattern
yy type:
| 1E 01 00 00 | Temporary Arpeggio (Performance Mode)
| 1E 02 00 00 | Temporary Chord (Performance Mode)
| 1E 03 00 00 | Temporary Rhythm Group (Performance Mode)
| 1E 11 00 00 | Temporary Arpeggio (Patch Mode)
00 = 24 Flame/sec
01 = 25 Flame/sec
10 = 30 Flame/sec
11 = 30 Flame/sec
Hours (00 - 23)
| 1E 12 00 00 | Temporary Chord (Patch Mode)
| 1E 13 00 00 | Temporary Rhythm Group (Patch Mode)
| 1F 00 00 00 | Temporary Patch/Rhythm (Patch Mode Part 1)
| 1F 20 00 00 | Temporary Patch/Rhythm (Patch Mode Part 2)
zzzzz :
mnH :
scH :
+——————————————————————————————————————————————————————————————————————————————+
Minutes (00 - 59)
Seconds (00 - 59)
Frames (00 - 29)
❍System
frH :
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
F7H :
EOX (End of Exclusive)
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
00 00 00 | System Common
|
|
|
|
00 02 00 | System Mastering
00 03 00 | System External Input
00 40 00 | System Controller
●MIDI Machine Control (MMC)
*
Not received when the MMC Mode parameter (SYSTEM/MIDI/MMC MTC) is Master.
+——————————————————————————————————————————————————————————————————————————————+
❍Temporary Patch/Rhythm
+——————————————————————————————————————————————————————————————————————————————+
❍STOP (MCS)
Status
Data byte
Status
F7H
| Offset
|
|
|
|
Address |
Description
F0H
7FH, dev, 06H, 01H
|—————————————+————————————————————————————————————————————————————————————————|
|
|
00 00 00 | Temporary Patch
10 00 00 | Temporary Rhythm
|
|
Byte
F0H
7FH
7FH
06H
01H
F7H
Remarks
+——————————————————————————————————————————————————————————————————————————————+
Exclusive status
❍Performance
Universal System Exclusive Realtime Header
Device ID
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address |
Description
MMC command message
STOP (MCS)
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 00 | Performance Common
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 02 00 | Performance Common MFX1
00 04 00 | Performance Common Chorus
00 06 00 | Performance Common Reverb
00 08 00 | Performance Common MFX2
00 0A 00 | Performance Common MFX3
00 10 00 | Performance MIDI (Channel 1)
00 11 00 | Performance MIDI (Channel 2)
EOX (End of Exclusive)
❍DEFFERRED PLAY (MCS)
Status
F0H
Data byte
Status
F7H
:
|
00 1F 00 | Performance MIDI (Channel 16)
00 20 00 | Performance Part (Part 1)
00 21 00 | Performance Part (Part 2)
7FH, dev, 06H, 03H
:
|
Byte
F0H
7FH
7FH
06H
03H
F7H
Remarks
00 2F 00 | Performance Part (Part 16)
00 50 00 | Performance Zone (Channel 1)
00 51 00 | Performance Zone (Channel 2)
Exclusive status
:
|
Universal System Exclusive Realtime Header
Device ID
00 5F 00 | Performance Zone (Channel 16)
00 60 00 | Performance Controller
+——————————————————————————————————————————————————————————————————————————————+
MMC command message
DEFERRED PLAY (MCS)
EOX (End of Exclusive)
❍Patch
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
❍LOCATE (MCP)
|
|
|
|
|
|
|
|
|
00 00 00 | Patch Common
|
|
|
|
|
|
|
|
|
00 02 00 | Patch Common MFX
00 04 00 | Patch Common Chorus
00 06 00 | Patch Common Reverb
00 10 00 | Patch TMT (Tone Mix Table)
00 20 00 | Patch Tone (Tone 1)
00 22 00 | Patch Tone (Tone 2)
00 24 00 | Patch Tone (Tone 3)
00 26 00 | Patch Tone (Tone 4)
❍Format2-LOCATE [TARGET]
Status
F0H
Data byte
Status
F7H
7FH, dev, 06H, 44H, 06H, 01H,
hrH, mnH, scH, frH, ffH
+——————————————————————————————————————————————————————————————————————————————+
Byte
F0H
7FH
7FH
06H
44H
06H
01H
hrH
mnH
scH
frH
Remarks
❍Rhythm
Exclusive status
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Universal System Exclusive Realtime Header
Device ID
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
00 00 00 | Rhythm Common
|
|
|
|
|
|
|
|
MMC command message
LOCATE (MCP)
00 02 00 | Rhythm Common MFX
00 04 00 | Rhythm Common Chorus
00 06 00 | Rhythm Common Reverb
00 10 00 | Rhythm Tone (Key # 21)
00 12 00 | Rhythm Tone (Key # 22)
Byte count
:
|
“TARGET” sub-Command
Standard Time Specification with subframes
01 3E 00 | Rhythm Tone (Key # 108)
+——————————————————————————————————————————————————————————————————————————————+
❍Arpeggio
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
ffH
|
|
|
|
|
00 00 00 | Arpeggio Common
00 10 00 | Arpeggio Pattern (Note 1)
00 11 00 | Arpeggio Pattern (Note 2)
|
|
|
|
|
F7H
EOX (End of Exclusive)
:
|
00 1F 00 | Arpeggio Pattern (Note 16)
+——————————————————————————————————————————————————————————————————————————————+
222
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MIDI Implementation
❍Chord
❍System Common
+——————————————————————————————————————————————————————————————————————————————+
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
| Offset
|
|
|
|
Address |
Description
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 00 | Chord Pattern
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa |
| 0000 bbbb |
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
| 0000 cccc |
| 0000 dddd | Master Tune
(24 - 2024) |
|
|
-100.0 - 100.0 [cent]
|
❍Rhythm Group
00 04 | 00aa aaaa | Master Key Shift
(40 - 88) |
-24 - +24 |
+——————————————————————————————————————————————————————————————————————————————+
|
|
| Offset
|
|
|
00 05 | 0aaa aaaa | Master Level
(0 - 127) |
(0 - 1) |
|
Address |
Description
00 06 | 0000 000a | Scale Tune Switch
|—————————————+————————————————————————————————————————————————————————————————|
|
|
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
MIX, PARALLEL |
|
|
00 00 00 | Rhythm Group
|
00 07 | 0000 000a | Patch Remain
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
00 08 | 0000 000a | Mix/Parallel
|
|
❍Setup
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
00 09 | 000a aaaa | Performance Control Channel
(0 - 16) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
1 - 16, OFF
|
| Offset
|
|
|
00 0A | 0000 aaaa | Kbd Patch Rx/Tx Channel
(0 - 15) |
|
Address |
Description
|
|
1 - 16
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 0B | 0000 0000 | (reserve) <*>
|
|
00 00 | 0000 0aaa | Sound Mode
(0 - 5) |
PATCH, PERFORM, GM1, GM2, GS, PIANO<*> |
|-------------+-----------+----------------------------------------------------|
00 0C | 0aaa aaaa | Patch Scale Tune for C (0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
00 01 | 0aaa aaaa | Performance Bank Select MSB (CC# 0)
00 02 | 0aaa aaaa | Performance Bank Select LSB (CC# 32)
00 03 | 0aaa aaaa | Performance Program Number (PC)
(0 - 127) |
(0 - 127) |
(0 - 127) |
00 0D | 0aaa aaaa | Patch Scale Tune for C#
|
|
|
00 0E | 0aaa aaaa | Patch Scale Tune for D
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
|
|
00 04 | 0aaa aaaa | Kbd Patch Bank Select MSB (CC# 0)
00 05 | 0aaa aaaa | Kbd Patch Bank Select LSB (CC# 32)
00 06 | 0aaa aaaa | Kbd Patch Program Number (PC)
00 07 | 0aaa aaaa | Rhy Patch Bank Select MSB (CC# 0)
00 08 | 0aaa aaaa | Rhy Patch Bank Select LSB (CC# 32)
00 09 | 0aaa aaaa | Rhy Patch Program Number (PC)
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
00 0F | 0aaa aaaa | Patch Scale Tune for D#
|
|
|
00 10 | 0aaa aaaa | Patch Scale Tune for E
|
|
|
00 11 | 0aaa aaaa | Patch Scale Tune for F
|
|
|
|-------------+-----------+----------------------------------------------------|
00 12 | 0aaa aaaa | Patch Scale Tune for F#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0A | 0000 000a | MFX1 Switch
(0 - 1) |
|
|
|
|
|
BYPASS, ON
|
00 13 | 0aaa aaaa | Patch Scale Tune for G
00 0B | 0000 000a | MFX2 Switch
(0 - 1) |
|
|
|
|
|
BYPASS, ON
|
00 14 | 0aaa aaaa | Patch Scale Tune for G#
00 0C | 0000 000a | MFX3 Switch
(0 - 1) |
|
|
|
|
|
BYPASS, ON
|
00 15 | 0aaa aaaa | Patch Scale Tune for A
00 0D | 0000 000a | Chorus Switch
(0 - 1) |
OFF, ON
|
|
|
|
|
|
00 16 | 0aaa aaaa | Patch Scale Tune for A#
00 0E | 0000 000a | Reverb Switch
(0 - 1) |
OFF, ON
(0 - 1) |
|
|
|
|
|
|
00 17 | 0aaa aaaa | Patch Scale Tune for B
00 0F | 0000 000a | Input Effect Switch
|
|
|
|
|
OFF, ON
|
|
|
00 10 | 0000 0000 | (reserve) <*>
00 11 | 0000 0000 | (reserve) <*>
|
|
|
|
|
|
|
|
|
|
|
|
00 18 | 0aaa aaaa | System Control 1 Source
(0 - 97) |
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT
(0 - 97) |
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT
(0 - 97) |
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT
(0 - 97) |
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT
|
|
|
|
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
00 12 | 0000 aaaa | Transpose Value
(59 - 70) |
-5 - +6
(61 - 67) |
-3 - +3 |
00 19 | 0aaa aaaa | System Control 2 Source
|
|
|
|
|
|
|
00 13 | 0000 0aaa | Octave Shift
|
|
|
00 1A | 0aaa aaaa | System Control 3 Source
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
|
|
|
|
|
|
00 14 | 0000 0aaa | D Beam Select
(0 - 3) |
|
|
|
OFF, (reserv), SOLO-SYN, ASGN
|
00 1B | 0aaa aaaa | System Control 4 Source
00 15 | 0000 0000 | (reserve) <*>
00 16 | 0000 0000 | (reserve) <*>
|
|
|
|
|
|
|
|
|
|
(0 - 8) |
|-------------+-----------+----------------------------------------------------|
00 17 | 0aaa aaaa | Arp/Ptn Grid
|
|
|
|
00 1C | 0000 000a | Receive Program Change
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON |
|
|
|
|
04_, 08_, 08L, 08H, 08t, |
|
|
|
16_, 16L, 16H, 16t
|
00 1D | 0000 000a | Receive Bank Select
00 18 | 0aaa aaaa | Arp/Ptn Duration
(0 - 9) |
|
|
|
|
|
|
30, 40, 50, 60, 70, 80, 90, |
|-------------+----------------------------------------------------------------|
100, 120, FUL
(0 - 1) |
OFF, ON |
|
| 00 00 00 1E | Total Size
|
00 19 | 0000 000a | Arpeggio Switch
+——————————————————————————————————————————————————————————————————————————————+
|
|
00 1A | 0aaa aaaa | Arpeggio Bank
(0 - 1) |
|
|
USER, PRESET
|
❍System Mastering
+——————————————————————————————————————————————————————————————————————————————+
00 1B | 0aaa aaaa | Arpeggio Style
(0 - 127) |
|
|
1 - 128
|
00 1C | 0aaa aaaa | Arpeggio Motif
(0 - 11) |
UP/L, UP/H, UP/_, dn/L, dn/H, |
dn/_, Ud/L, Ud/H, Ud/_, rn/L, |
| Offset
|
|
|
|
|
|
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
00 00 | 0000 000a | Mastering Switch (0 - 1) |
OFF, ON |
rn/_, PHRASE
(61 - 67) |
-3 - +3
(0 - 1) |
OFF, ON |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 1D | 0000 0aaa | Arpeggio Octave Range
|
|
|
|
|
00 01 | 0aaa aaaa | Low band Attack time
00 02 | 0aaa aaaa | Low band Release time
00 03 | 00aa aaaa | Low band Threshold
(0 - 100) |
(0 - 100) |
00 1E | 0000 000a | Arpeggio Hold
|
|
(0 - 36) |
00 1F | 0aaa aaaa | Arpeggio Accent Rate
00 20 | 0aaa aaaa | Arpeggio Velocity
(0 - 100) |
(0 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
-36, -35, -34, -33, -32, -31, |
-30, -29, -28, -27, -26, -25, |
-24, -23, -22, -21, -20, -19, |
-18, -17, -16, -15, -14, -13, |
-12, -11, -10, -9, -8, -7, |
|
|
REAL, 1 - 127
|
|
00 21 | 0000 0000 | (reserve) <*>
00 22 | 0aaa aaaa | Rhythm Pattern Bank
(0 - 1) |
USER, PRESET
|
|
|
|
-6, -5, -4, -3, -2, -1, 0 [dB]
|
00 23 | 0000 aaaa |
| 0000 bbbb | Rhythm Pattern Style
00 04 | 0000 aaaa | Low band Ratio
(0 - 13) |
1:1.0, 1:1.1, 1:1.2, 1:1.4, |
1:1.6, 1:1.8, 1:2.0, 1:2.5, |
1:3.2, 1:4.0, 1:5.6, 1:8.0, |
(0 - 255) |
1 - 256
(0 - 1) |
|
|
|
|
|
|
|
|
|
|
|
00 25 | 0000 000a | Rhythm Pattern Group Bank
|
|
USER, PRESET
|
1:16, 1:INF
|
00 26 | 0aaa aaaa | Rhythm Pattern Group Number
(0 - 31) |
1 - 32
00 05 | 000a aaaa | Low band Level
(0 - 24) |
0, 1, 2, 3, 4, 5, 6, 7, 8, |
9, 10, 11, 12, 13, 14, 15, |
16, 17, 18, 19, 20, 21, 22, |
|
|
|
|
|
|
|
|
|
|
|
00 27 | 0aaa aaaa | Rhythm Pattern Accent Rate
00 28 | 0aaa aaaa | Rhythm Pattern Velocity
(0 - 100) |
(1 - 127) |
|-------------+-----------+----------------------------------------------------|
23, 24 [dB]
|
|
|
|
|
|
00 29 | 0000 000a | Chord Switch
(0 - 1) |
OFF, ON |
(0 - 1) |
00 06 | 0aaa aaaa | Mid band Attack time
00 07 | 0aaa aaaa | Mid band Release time
00 08 | 00aa aaaa | Mid band Threshold
(0 - 100) |
(0 - 100) |
(0 - 36) |
|
|
00 2A | 0aaa aaaa | Chord Bank
|
|
USER, PRESET
|
|
|
|
|
|
|
|
|
|
|
|
|
-36, -35, -34, -33, -32, -31, |
-30, -29, -28, -27, -26, -25, |
-24, -23, -22, -21, -20, -19, |
-18, -17, -16, -15, -14, -13, |
-12, -11, -10, -9, -8, -7, |
00 2B | 00aa aaaa | Chord Form
(0 - 63) |
|-------------+-----------+----------------------------------------------------|
|
|
|
00 2C | 0000 0000 | (reserve) <*>
: |
00 30 | 0000 0000 | (reserve) <*>
|
|
|
|
-6, -5, -4, -3, -2, -1, 0 [dB]
|
|-------------+-----------+----------------------------------------------------|
00 09 | 0000 aaaa | Mid band Ratio
(0 - 13) |
1:1.0, 1:1.1, 1:1.2, 1:1.4, |
1:1.6, 1:1.8, 1:2.0, 1:2.5, |
1:3.2, 1:4.0, 1:5.6, 1:8.0, |
|
|
|
|
|
|
00 31 | 0000 000a | Rolled Chord
(0 - 1) |
OFF, ON |
|
|
|
|
|
|
|
|
|
|
00 32 | 0000 00aa | Rolled Chord Type
(0 - 2) |
|
|
UP, DOWN, ALTERNATE
|
1:16, 1:INF
|
00 33 | 00aa aaaa | Arpeggio Step
(0 - 32) |
00 0A | 000a aaaa | Mid band Level
(0 - 24) |
0, 1, 2, 3, 4, 5, 6, 7, 8, |
9, 10, 11, 12, 13, 14, 15, |
16, 17, 18, 19, 20, 21, 22, |
|
|
AUTO, 1 - 32
|
|
|
|
|
|
|
|
|
|-------------+----------------------------------------------------------------|
| 00 00 00 34 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
23, 24 [dB]
|
00 0B | 0aaa aaaa | High band Attack time
00 0C | 0aaa aaaa | High band Release time
00 0D | 00aa aaaa | High band Threshold
(0 - 100) |
(0 - 100) |
(0 - 36) |
|
|
|
|
|
|
|
|
|
|
|
|
-36, -35, -34, -33, -32, -31, |
-30, -29, -28, -27, -26, -25, |
-24, -23, -22, -21, -20, -19, |
-18, -17, -16, -15, -14, -13, |
-12, -11, -10, -9, -8, -7, |
-6, -5, -4, -3, -2, -1, 0 [dB]
|
00 0E | 0000 aaaa | High band Ratio
(0 - 13) |
1:1.0, 1:1.1, 1:1.2, 1:1.4, |
1:1.6, 1:1.8, 1:2.0, 1:2.5, |
1:3.2, 1:4.0, 1:5.6, 1:8.0, |
|
|
|
|
|
|
|
|
1:16, 1:INF
|
00 0F | 000a aaaa | High band Level
(0 - 24) |
0, 1, 2, 3, 4, 5, 6, 7, 8, |
9, 10, 11, 12, 13, 14, 15, |
16, 17, 18, 19, 20, 21, 22, |
|
|
|
|
|
|
223
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MIDI Implementation
|
|
|
|
|
|
|
|
|
23, 24 [dB]
|
❍System Controller
+——————————————————————————————————————————————————————————————————————————————+
00 10 | 0000 0aaa | Split Freq Low
(0 - 6) |
|
|
|
|
200, 250, 315, 400, 500, |
630, 800 [Hz]
|
| Offset
|
|
|
00 11 | 0000 0aaa | Split Freq High
(0 - 6) |
|
Address |
Description
|
|
|
|
2000, 2500, 3150, 4000, 5000, |
|—————————————+————————————————————————————————————————————————————————————————|
6300, 8000 [Hz]
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 000a | Transmit Program Change
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON |
|-------------+----------------------------------------------------------------|
|
|
|
| 00 00 00 12 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
00 01 | 0000 000a | Transmit Bank Select
|
|
00 02 | 0aaa aaaa | Keyboard Velocity
(0 - 127) |
|
|
REAL, 1 - 127
|
❍System External Input
+——————————————————————————————————————————————————————————————————————————————+
| Offset
00 03 | 0000 00aa | Keyboard Sens
(0 - 2) |
|
|
LIGHT, MEDIUM, HEAVY
|
|
|
00 04 | 0000 0000 | (reserve) <*>
|
|
|
|
|
|
Address |
Description
|-------------+-----------+----------------------------------------------------|
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
00 05 | 0000 0aaa | Hold Pedal Polarity
(0 - 1) |
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | External Dry Send Level
00 01 | 0aaa aaaa | External Chorus Send Level
00 02 | 0aaa aaaa | External Reverb Send Level
00 03 | 0000 aaaa | External Output Assign
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 1) |
|
|
STANDARD, REVERSE
|
00 06 | 0000 000a | Continuous Hold Pedal
(0 - 1) |
|
|
OFF, ON
|
|-------------+-----------+----------------------------------------------------|
|
|
MFX, DRY
(0 - 2) |
MFX1, MFX2, MFX3 |
|
|
|
|
|
|
|
|
|
|
|
|
00 07 | 0aaa aaaa | Pedal Assign
(0 - 111) |
CC01 - CC31, CC33 - CC95, |
BEND-UP, BEND-DOWN, AFT, |
OCT-UP, OCT-DOWN, |
00 04 | 0000 00aa | External Output MFX Select
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|-------------+-----------+----------------------------------------------------|
00 05 | 0000 aaaa | Input Effect Type (1 - 6) |
|
START/STOP, PUNCH-I/O, TAP-TEMPO, |
PROG-UP, PROG-DOWN, |
|-------------+-----------+----------------------------------------------------|
|#
|
00 06 | 0000 aaaa |
| 0000 bbbb |
|
|
|
FAV-UP, FAV-DOWN, ARP-SW, |
RHY-START/STOP, CHD-SW, |
|
| 0000 cccc |
LIVESET-UP, LIVESET-DOWN, SEQ-LOOP
(0 - 1) |
STANDARD, REVERSE |
|
|
| 0000 dddd | Input Effect Parameter 1
(12768 - 52768) |
-20000 - +20000
00 08 | 0000 0aaa | Pedal Polarity
|
|
|
|
|
|
|
|
|
|#
|
00 0A | 0000 aaaa |
| 0000 bbbb |
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 09 | 0000 aaaa | Beam Sens
00 0A | 0aaa aaaa | Beam Assign
(1 - 10) |
(0 - 104) |
CC01 - CC31, CC33 - CC95, |
BEND-UP, BEND-DOWN, |
|
| 0000 cccc |
|
| 0000 dddd | Input Effect Parameter 2
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 0E | 0000 aaaa |
| 0000 bbbb |
START/STOP, TAP-TEMPO, |
ARP-GRID, ARP-DUR, ARP-MOTIF, |
ARP-OCT-UP, ARP-OCT-DW, ARP-STEP, |
|
| 0000 cccc |
|
| 0000 dddd | Input Effect Parameter 3
(12768 - 52768) |
-20000 - +20000
AFT
|
|
|
|
|
|
|
|
00 0B | 0aaa aaaa | Beam Range Lower
(0 - 127) |
|#
|
00 12 | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 0C | 0aaa aaaa | Beam Range Upper
00 0D | 0000 0000 | (reserve) <*>
(0 - 127) |
|
| 0000 cccc |
|
|
|
|
|
| 0000 dddd | Input Effect Parameter 4
(12768 - 52768) |
-20000 - +20000
: |
|
|
|
|
|
|
|
|
00 4B | 0000 0000 | (reserve) <*>
|#
|
00 16 | 0000 aaaa |
| 0000 bbbb |
|
|
|-------------+----------------------------------------------------------------|
|
| 0000 cccc |
| 00 00 00 4C | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 dddd | Input Effect Parameter 5
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 1A | 0000 aaaa |
| 0000 bbbb |
❍Performance Common
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 cccc |
|
| 0000 dddd | Input Effect Parameter 6
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
| Offset
|
|
|
|#
|
00 1E | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Performance Name 1
(32 - 127) |
|
| 0000 dddd | Input Effect Parameter 7
(12768 - 52768) |
-20000 - +20000
|
|
32 - 127 [ASCII]
|
|
|
|
|
|
|
|
00 01 | 0aaa aaaa | Performance Name 2
(32 - 127) |
|#
|
00 22 | 0000 aaaa |
| 0000 bbbb |
|
|
32 - 127 [ASCII]
|
00 02 | 0aaa aaaa | Performance Name 3
(32 - 127) |
|
| 0000 cccc |
|
|
32 - 127 [ASCII]
|
|
| 0000 dddd | Input Effect Parameter 8
(12768 - 52768) |
-20000 - +20000
00 03 | 0aaa aaaa | Performance Name 4
(32 - 127) |
|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]
|
|#
|
00 26 | 0000 aaaa |
| 0000 bbbb |
00 04 | 0aaa aaaa | Performance Name 5
(32 - 127) |
|
|
32 - 127 [ASCII]
|
|
| 0000 cccc |
00 05 | 0aaa aaaa | Performance Name 6
(32 - 127) |
|
| 0000 dddd | Input Effect Parameter 9
(12768 - 52768) |
-20000 - +20000
|
|
32 - 127 [ASCII]
|
|
|
|
|
|
|
|
00 06 | 0aaa aaaa | Performance Name 7
(32 - 127) |
|#
|
00 2A | 0000 aaaa |
| 0000 bbbb |
|
|
32 - 127 [ASCII]
|
00 07 | 0aaa aaaa | Performance Name 8
(32 - 127) |
|
| 0000 cccc |
|
|
32 - 127 [ASCII]
|
|
| 0000 dddd | Input Effect Parameter 10
(12768 - 52768) |
-20000 - +20000
00 08 | 0aaa aaaa | Performance Name 9
(32 - 127) |
|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]
|
|#
|
00 2E | 0000 aaaa |
| 0000 bbbb |
00 09 | 0aaa aaaa | Performance Name 10
(32 - 127) |
|
|
32 - 127 [ASCII]
|
|
| 0000 cccc |
00 0A | 0aaa aaaa | Performance Name 11
(32 - 127) |
|
| 0000 dddd | Input Effect Parameter 11
(12768 - 52768) |
-20000 - +20000
|
|
32 - 127 [ASCII]
|
|
|
|
|
|
|
|
00 0B | 0aaa aaaa | Performance Name 12
(32 - 127) |
|#
|
00 32 | 0000 aaaa |
| 0000 bbbb |
|
|
32 - 127 [ASCII]
|
|-------------+-----------+----------------------------------------------------|
|
| 0000 cccc |
|
|
|
|
|
|
|
|
00 0C | 00aa aaaa | Solo Part Select
(0 - 16) |
|
| 0000 dddd | Input Effect Parameter 12
(12768 - 52768) |
-20000 - +20000
|
|
OFF, 1 - 16
|
|
|
|
|
|
|
|
00 0D | 000a aaaa | MFX1 Control Channel
(0 - 16) |
|#
|
00 36 | 0000 aaaa |
| 0000 bbbb |
|
|
1 - 16, OFF
|
|
|
|
|
00 0E | 0000 0000 | (reserve) <*>
|
| 0000 cccc |
|
|
|
| 0000 dddd | Input Effect Parameter 13
(12768 - 52768) |
-20000 - +20000
00 0F | 0000 0000 | (reserve) <*>
|
|
|
|
|
|
|
|
|
|#
|
00 3A | 0000 aaaa |
| 0000 bbbb |
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 10 | 0aaa aaaa | Voice Reserve 1
(0 - 64) |
|
| 0000 cccc |
|
|
0 - 63, FULL
|
|
| 0000 dddd | Input Effect Parameter 14
(12768 - 52768) |
-20000 - +20000
00 11 | 0aaa aaaa | Voice Reserve 2
(0 - 64) |
|
|
|
|
|
|
|
|
|
0 - 63, FULL
|
|#
|
00 3E | 0000 aaaa |
| 0000 bbbb |
00 12 | 0aaa aaaa | Voice Reserve 3
(0 - 64) |
|
|
0 - 63, FULL
|
|
| 0000 cccc |
00 13 | 0aaa aaaa | Voice Reserve 4
(0 - 64) |
|
| 0000 dddd | Input Effect Parameter 15
(12768 - 52768) |
-20000 - +20000
|
|
0 - 63, FULL
|
|
|
|
|
|
|
|
00 14 | 0aaa aaaa | Voice Reserve 5
(0 - 64) |
|#
|
00 42 | 0000 aaaa |
| 0000 bbbb |
|
|
0 - 63, FULL
|
00 15 | 0aaa aaaa | Voice Reserve 6
(0 - 64) |
|
| 0000 cccc |
|
|
0 - 63, FULL
|
|
| 0000 dddd | Input Effect Parameter 16
(12768 - 52768) |
-20000 - +20000
00 16 | 0aaa aaaa | Voice Reserve 7
(0 - 64) |
|
|
|
|
|
|
|
|
|
0 - 63, FULL
|
|#
|
00 46 | 0000 aaaa |
| 0000 bbbb |
00 17 | 0aaa aaaa | Voice Reserve 8
(0 - 64) |
|
|
0 - 63, FULL
|
|
| 0000 cccc |
00 18 | 0aaa aaaa | Voice Reserve 9
(0 - 64) |
|
| 0000 dddd | Input Effect Parameter 17
(12768 - 52768) |
-20000 - +20000
|
|
0 - 63, FULL
|
|
|
|
|
|
|
|
00 19 | 0aaa aaaa | Voice Reserve 10
(0 - 64) |
|#
|
00 4A | 0000 aaaa |
| 0000 bbbb |
|
|
0 - 63, FULL
|
00 1A | 0aaa aaaa | Voice Reserve 11
(0 - 64) |
|
| 0000 cccc |
|
|
0 - 63, FULL
|
|
| 0000 dddd | Input Effect Parameter 18
(12768 - 52768) |
-20000 - +20000
00 1B | 0aaa aaaa | Voice Reserve 12
(0 - 64) |
|
|
|
|
|
|
|
|
|
0 - 63, FULL
|
|#
|
00 4E | 0000 aaaa |
| 0000 bbbb |
00 1C | 0aaa aaaa | Voice Reserve 13
(0 - 64) |
|
|
0 - 63, FULL
|
|
| 0000 cccc |
00 1D | 0aaa aaaa | Voice Reserve 14
(0 - 64) |
|
| 0000 dddd | Input Effect Parameter 19
(12768 - 52768) |
-20000 - +20000
|
|
0 - 63, FULL
|
|
|
|
|
|
|
|
00 1E | 0aaa aaaa | Voice Reserve 15
(0 - 64) |
|#
|
00 52 | 0000 aaaa |
| 0000 bbbb |
|
|
0 - 63, FULL
|
00 1F | 0aaa aaaa | Voice Reserve 16
(0 - 64) |
|
|
| 0000 cccc |
|
|
0 - 63, FULL
|
|
|
|
|
| 0000 dddd | Input Effect Parameter 20
(12768 - 52768) |
-20000 - +20000 |
00 20 | 0000 0000 | (reserve) <*>
: |
00 2F | 0000 0000 | (reserve) <*>
|
|
|
|
|-------------+----------------------------------------------------------------|
| 00 00 00 56 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
00 30 | 00aa aaaa | MFX1 Source
(0 - 16) |
|
|
PERFORM, 1 - 16
|
00 31 | 00aa aaaa | MFX2 Source
(0 - 16) |
|
|
PERFORM, 1 - 16
|
00 32 | 00aa aaaa | MFX3 Source
(0 - 16) |
|
|
PERFORM, 1 - 16
|
00 33 | 00aa aaaa | Chorus Source
(0 - 16) |
224
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
|
|
|
|
PERFORM, 1 - 16
(0 - 16) |
PERFORM, 1 - 16
|
|#
|
00 51 | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 34 | 00aa aaaa | Reverb Source
|
|
|
|
| 0000 cccc |
|-------------+-----------+----------------------------------------------------|
|
|
| 0000 dddd | MFX Parameter 17
(12768 - 52768) |
|
|
|
|
|
|
00 35 | 00aa aaaa | MFX2 Control Channel
(0 - 16) |
|
|
-20000 - +20000
|
|
|
|
|
|
1 - 16, OFF
|
|#
|
00 55 | 0000 aaaa |
| 0000 bbbb |
00 36 | 00aa aaaa | MFX3 Control Channel
(0 - 16) |
|
|
1 - 16, OFF
|
|
| 0000 cccc |
00 37 | 0000 aaaa | MFX Structure
(0 - 15) |
1 - 16
|
| 0000 dddd | MFX Parameter 18
(12768 - 52768) |
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|-------------+----------------------------------------------------------------|
|#
|
00 59 | 0000 aaaa |
| 0000 bbbb |
| 00 00 00 38 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 19
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
❍Performance Common MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | MFX Parameter 20
(12768 - 52768) |
|
Address |
Description
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
00 61 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type
(0 - 78) |
0 - 127 |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 3) |
|
|
|
| 0000 cccc |
00 01 | 0aaa aaaa | MFX Dry Send Level
00 02 | 0aaa aaaa | MFX Chorus Send Level
00 03 | 0aaa aaaa | MFX Reverb Send Level
00 04 | 0000 00aa | MFX Output Assign
|
| 0000 dddd | MFX Parameter 21
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 65 | 0000 aaaa |
| 0000 bbbb |
|
|
A, B, ---, ---
|
|
| 0000 cccc |
|-------------+-----------+----------------------------------------------------|
|
| 0000 dddd | MFX Parameter 22
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source
(0 - 101) |
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|#
|
00 69 | 0000 aaaa |
| 0000 bbbb |
BEND, AFT, SYS1 - SYS4
|
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 - 127) |
|
| 0000 cccc |
|
|
-63 - +63
(0 - 101) |
|
|
| 0000 dddd | MFX Parameter 23
(12768 - 52768) |
00 07 | 0aaa aaaa | MFX Control 2 Source
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|#
|
00 6D | 0000 aaaa |
| 0000 bbbb |
BEND, AFT, SYS1 - SYS4
|
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 - 127) |
|
| 0000 cccc |
|
|
-63 - +63
(0 - 101) |
|
|
| 0000 dddd | MFX Parameter 24
(12768 - 52768) |
00 09 | 0aaa aaaa | MFX Control 3 Source
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb |
BEND, AFT, SYS1 - SYS4
|
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 - 127) |
|
| 0000 cccc |
|
|
-63 - +63
(0 - 101) |
|
|
| 0000 dddd | MFX Parameter 25
(12768 - 52768) |
00 0B | 0aaa aaaa | MFX Control 4 Source
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|#
|
00 75 | 0000 aaaa |
| 0000 bbbb |
BEND, AFT, SYS1 - SYS4
(1 - 127) |
-63 - +63 |
|
00 0C | 0aaa aaaa | MFX Control 4 Sens
|
| 0000 cccc |
|
|
|
| 0000 dddd | MFX Parameter 26
(12768 - 52768) |
|-------------+-----------+----------------------------------------------------|
|
|
|
-20000 - +20000
|
|
|
|
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 - 16) |
|#
|
00 79 | 0000 aaaa |
| 0000 bbbb |
|
|
|
OFF, 1 - 16
|
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 - 16) |
|
| 0000 cccc |
|
|
|
OFF, 1 - 16
|
|
| 0000 dddd | MFX Parameter 27
(12768 - 52768) |
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 - 16) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
OFF, 1 - 16
|
|#
|
00 7D | 0000 aaaa |
| 0000 bbbb |
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 - 16) |
|
|
|
OFF, 1 - 16
|
|
|
| 0000 cccc |
|#
|
00 11 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 28
(12768 - 52768) |
|
|
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 01 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 1
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 15 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 29
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 05 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 2
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 19 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 30
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 09 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 3
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 31
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 0D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 4
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 21 | 0000 aaaa |
| 0000 bbbb |
| 0000 dddd | MFX Parameter 32
(12768 - 52768) |
-20000 - +20000 |
|
|
|
|
| 0000 cccc |
|-------------+----------------------------------------------------------------|
|
| 0000 dddd | MFX Parameter 5
(12768 - 52768) |
-20000 - +20000
| 00 00 01 11 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
|
|#
|
00 25 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
❍Performance Common Chorus
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
| 0000 dddd | MFX Parameter 6
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 29 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
Address |
Description
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 7
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type
(0 - 3) |
(0 - 127) |
(0 - 3) |
|
|
|
|
|
|
|
00 01 | 0aaa aaaa | Chorus Level
00 02 | 0000 00aa | Chorus Output Assign
|#
|
00 2D | 0000 aaaa |
| 0000 bbbb |
|
|
A, B, ---, ---
|
|
| 0000 cccc |
00 03 | 0000 00aa | Chorus Output Select
(0 - 2) |
|
| 0000 dddd | MFX Parameter 8
(12768 - 52768) |
-20000 - +20000
|
|
MAIN, REV, MAIN+REV
|
|
|
|
|
|
|
|
|-------------+-----------+----------------------------------------------------|
|#
|
00 31 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 9
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 1
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 35 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 10
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 2
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 39 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 11
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 3
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 3D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 12
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 4
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 13
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 5
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 45 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 14
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 6
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 49 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 15
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 7
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 16
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 8
(12768 - 52768) |
-20000 - +20000 |
|
|
|
|
|
|
|
225
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|#
00 24 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
|
|
| 0000 dddd | Reverb Parameter 13
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Chorus Parameter 9
(12768 - 52768) |
|#
|
00 37 | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 14
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Chorus Parameter 10
(12768 - 52768) |
|#
|
00 3B | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 15
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Chorus Parameter 11
(12768 - 52768) |
|#
|
00 3F | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 16
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Chorus Parameter 12
(12768 - 52768) |
|#
|
00 43 | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 34 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 17
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Chorus Parameter 13
(12768 - 52768) |
|#
|
00 47 | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 38 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 18
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Chorus Parameter 14
(12768 - 52768) |
|#
|
00 4B | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 3C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 19
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Chorus Parameter 15
(12768 - 52768) |
|#
|
00 4F | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 40 | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 cccc |
| 0000 dddd | Reverb Parameter 20
(12768 - 52768) |
-20000 - +20000 |
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Chorus Parameter 16
(12768 - 52768) |
|-------------+----------------------------------------------------------------|
|
|
|
-20000 - +20000
|
|
|
|
| 00 00 00 53 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|#
|
00 44 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 17
(12768 - 52768) |
❍Performance MIDI
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 48 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
Address |
Description
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | Chorus Parameter 18
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 000a | Receive Program Change
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 4C | 0000 aaaa |
| 0000 bbbb |
00 01 | 0000 000a | Receive Bank Select
|
|
|
|
| 0000 cccc |
00 02 | 0000 000a | Receive Bender
|
| 0000 dddd | Chorus Parameter 19
(12768 - 52768) |
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
00 03 | 0000 000a | Receive Polyphonic Key Pressure
|#
|
00 50 | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 04 | 0000 000a | Receive Channel Pressure
|
|
| 0000 cccc |
|
|
|
| 0000 dddd | Chorus Parameter 20
(12768 - 52768) |
-20000 - +20000 |
00 05 | 0000 000a | Receive Modulation
|
|
|
|
|
|
|-------------+----------------------------------------------------------------|
00 06 | 0000 000a | Receive Volume
| 00 00 00 54 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
00 07 | 0000 000a | Receive Pan
|
|
|
00 08 | 0000 000a | Receive Expression
❍Performance Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
00 09 | 0000 000a | Receive Hold-1
|
|
|
|
|
|
|
Address |
Description
|-------------+-----------+----------------------------------------------------|
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
00 0A | 0000 000a | Phase Lock
(0 - 1) |
OFF, ON
(0 - 4) |
OFF, 1 - 4 |
|
|
|
|
00 00 | 0000 aaaa | Reverb Type
(0 - 5) |
(0 - 127) |
(0 - 3) |
|
|
|
00 01 | 0aaa aaaa | Reverb Level
00 02 | 0000 00aa | Reverb Output Assign
00 0B | 0000 0aaa | Velocity Curve Type
|
|
|
|
A, B, ---, ---
|
|-------------+----------------------------------------------------------------|
|-------------+-----------+----------------------------------------------------|
| 00 00 00 0C | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 1
(12768 - 52768) |
❍Performance Part
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
Address |
Description
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | Reverb Parameter 2
(12768 - 52768) |
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Receive Channel
(0 - 15) |
1 - 16
(0 - 1) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
00 01 | 0000 000a | Receive Switch
|
|
OFF, ON
|
|
|
|
|
|
| 0000 cccc |
00 02 | 0000 0000 | (reserve) <*>
|
| 0000 dddd | Reverb Parameter 3
(12768 - 52768) |
|
|
|
|
|
-20000 - +20000
|
|
|
|
00 03 | 0000 0000 | (reserve) <*>
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
|
|
|-------------+-----------+----------------------------------------------------|
|
| 0000 cccc |
|
|
|
00 04 | 0aaa aaaa | Patch Bank Select MSB (CC# 0)
00 05 | 0aaa aaaa | Patch Bank Select LSB (CC# 32)
00 06 | 0aaa aaaa | Patch Program Number (PC)
(0 - 127) |
(0 - 127) |
(0 - 127) |
|
| 0000 dddd | Reverb Parameter 4
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
00 07 | 0aaa aaaa | Part Level (CC# 7)
00 08 | 0aaa aaaa | Part Pan (CC# 10)
(0 - 127) |
(0 - 127) |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 5
(12768 - 52768) |
|
|
L64 - 63R
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50 |
|
|
|
|
-20000 - +20000
|
|
|
|
00 09 | 0aaa aaaa | Part Coarse Tune (RPN# 2)
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1)
|
| 0000 cccc |
|
|
|
| 0000 dddd | Reverb Parameter 6
(12768 - 52768) |
00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON)
MONO, POLY, PATCH
(0 - 2) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 1B | 0000 aaaa |
| 0000 bbbb |
00 0C | 0000 00aa | Part Legato Switch (CC# 68)
(0 - 2) |
|
|
OFF, ON, PATCH
|
|
| 0000 cccc |
00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0)
(0 - 25) |
|
| 0000 dddd | Reverb Parameter 7
(12768 - 52768) |
|
|
0 - 24, PATCH
|
|
|
|
-20000 - +20000
|
|
|
|
00 0E | 0000 00aa | Part Portamento Switch (CC# 65)
(0 - 2) |
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
|
|
OFF, ON, PATCH
|
|
00 0F | 0000 aaaa |
| 0000 bbbb | Part Portamento Time (CC# 5)
|
| 0000 cccc |
(0 - 128) |
|
| 0000 dddd | Reverb Parameter 8
(12768 - 52768) |
|
|
0 - 127, PATCH
|
|
|
|
-20000 - +20000
|
|
|
|
00 11 | 0aaa aaaa | Part Cutoff Offset (CC# 74)
(0 - 127) |
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
|
|
-64 - +63
|
00 12 | 0aaa aaaa | Part Resonance Offset (CC# 71)
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
|-------------+-----------+----------------------------------------------------|
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 9
(12768 - 52768) |
00 13 | 0aaa aaaa | Part Attack Time Offset (CC# 73)
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
00 14 | 0aaa aaaa | Part Release Time Offset (CC# 72)
|
|
|
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 10
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
00 15 | 0000 0aaa | Part Octave Shift
(61 - 67) |
-3 - +3
(1 - 127) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
00 16 | 0aaa aaaa | Part Velocity Sens Offset
|
|
-63 - +63
|
|
|
|
|
|
| 0000 cccc |
00 17 | 0000 0000 | (reserve) <*>
: |
00 1A | 0000 0000 | (reserve) <*>
|
| 0000 dddd | Reverb Parameter 11
(12768 - 52768) |
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 2F | 0000 aaaa |
| 0000 bbbb |
|
|
00 1B | 0000 000a | Mute Switch
(0 - 1) |
OFF, MUTE |
|
| 0000 cccc |
|
|
|
| 0000 dddd | Reverb Parameter 12
(12768 - 52768) |
|-------------+-----------+----------------------------------------------------|
|
|
|
-20000 - +20000
|
|
|
|
|
|
00 1C | 0aaa aaaa | Part Dry Send Level
00 1D | 0aaa aaaa | Part Chorus Send Level (CC# 93)
00 1E | 0aaa aaaa | Part Reverb Send Level (CC# 91)
(0 - 127) |
(0 - 127) |
(0 - 127) |
|#
|
00 33 | 0000 aaaa |
| 0000 bbbb |
226
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
|
|
|
|
|
00 1F | 0000 aaaa | Part Output Assign
(0 - 13) |
MFX, A, B, ---, ---, |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
dn/_, Ud/L, Ud/H, Ud/_, rn/L, |
|
|
|
|
|
|
rn/_, PHRASE
(61 - 67) |
-3 - +3
(0 - 1) |
OFF, ON |
|
1, 2, 3, 4, ---, ---, ---, ---, |
00 14 | 0000 0aaa | Arpeggio Octave Range
PATCH
(0 - 2) |
MFX1, MFX2, MFX3
|
|
|
|
00 20 | 0000 00aa | Part Output MFX Select
00 15 | 0000 000a | Arpeggio Hold
|
|
|
|
|
|-------------+-----------+----------------------------------------------------|
00 16 | 0aaa aaaa | Arpeggio Accent Rate
00 17 | 0aaa aaaa | Arpeggio Velocity
(0 - 100) |
(0 - 127) |
|
|
00 21 | 0aaa aaaa | Part Decay Time Offset (CC# 75)
(0 - 127) |
-64 - +63
|
|
|
|
|
REAL, 1 - 127
|
|-------------+-----------+----------------------------------------------------|
00 18 | 0000 aaaa | Arpeggio Zone Number
(0 - 15) |
|
|
|
|
|
|
00 22 | 0aaa aaaa | Part Vibrato Rate (CC# 76)
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
|
|
ZONE1 - ZONE16
|
|
|
|
00 19 | 0000 000a | Rhythm Pattern Switch
(0 - 1) |
00 23 | 0aaa aaaa | Part Vibrato Depth (CC# 77)
|
|
OFF, ON
|
|
|
|
00 1A | 0aaa aaaa | Rhythm Pattern Group Bank
(0 - 1) |
00 24 | 0aaa aaaa | Part Vibrato Delay (CC# 78)
|
|
USER, PRESET
|
|
|
|
00 1B | 0aaa aaaa | Rhythm Pattern Group Number
(0 - 31) |
1 - 32
|-------------+-----------+----------------------------------------------------|
00 25 | 0aaa aaaa | Part Scale Tune for C (0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
|-------------+----------------------------------------------------------------|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 1C | 0aaa aaaa | Rhythm Pattern Accent Rate
00 1D | 0aaa aaaa | Rhythm Pattern Velocity
(0 - 100) |
(1 - 127) |
|
|
|
00 26 | 0aaa aaaa | Part Scale Tune for C#
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
|
00 1E | 0000 000a | Chord Switch
(0 - 1) |
OFF, ON |
(0 - 1) |
00 27 | 0aaa aaaa | Part Scale Tune for D
|
|
|
|
|
00 1F | 0aaa aaaa | Chord Group
00 28 | 0aaa aaaa | Part Scale Tune for D#
|
|
USER, PRESET
|
|
|
|
00 20 | 00aa aaaa | Chord Form
(0 - 63) |
00 29 | 0aaa aaaa | Part Scale Tune for E
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
00 21 | 0000 0000 | (reserve) <*>
: |
00 53 | 0000 0000 | (reserve) <*>
|
|
|
|
00 2A | 0aaa aaaa | Part Scale Tune for F
|
|
|
|
00 2B | 0aaa aaaa | Part Scale Tune for F#
|
|
|
|
|
|-------------+-----------+----------------------------------------------------|
00 2C | 0aaa aaaa | Part Scale Tune for G
|#
|
00 54 | 0000 aaaa |
| 0000 bbbb | Recommended Tempo
|
|
|
|
(20 - 250) |
00 2D | 0aaa aaaa | Part Scale Tune for G#
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
00 56 | 0000 000a | Rolled Chord
(0 - 1) |
OFF, ON
(0 - 2) |
UP, DOWN, ALTERNATE |
00 2E | 0aaa aaaa | Part Scale Tune for A
|
|
|
|
|
|
00 57 | 0000 00aa | Rolled Chord Type
00 2F | 0aaa aaaa | Part Scale Tune for A#
|
|
|
|
|
|-------------+----------------------------------------------------------------|
00 30 | 0aaa aaaa | Part Scale Tune for B
| 00 00 00 58 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
| 00 00 00 31 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
❍Arpeggio Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
❍Performance Zone
+——————————————————————————————————————————————————————————————————————————————+
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
| Offset
|
|
|
|#
|
00 00 | 0000 aaaa |
| 0000 bbbb | End Step
|
|
Address |
Description
(1 — 32) |
|—————————————+————————————————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
00 00 | 0000 0000 | (reserve) <*>
|
|
|#
|
00 00 | 0000 aaaa |
| 0000 bbbb | End Step
|
|
|
(1 - 32) |
00 01 | 0000 000a | Zone Switch
(0 - 1) |
|-------------+-----------+----------------------------------------------------|
|
|
OFF, ON
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 02 | 0aaa aaaa | Arpeggio Name 1
(32 - 127) |
00 02 | 0000 0000 | (reserve) <*>
|
|
|
|
|
00 03 | 0aaa aaaa | Arpeggio Name 2
(32 - 127) |
|-------------+-----------+----------------------------------------------------|
|
|
|
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb | External Bank Select MSB (CC# 0)
|
00 04 | 0aaa aaaa | Arpeggio Name 3
(32 - 127) |
(0 - 128) |
|
|
|
|
|
|
0 - 127, NO-SEND
|
(0 - 127) |
|
00 05 | 0aaa aaaa | Arpeggio Name 4
(32 - 127) |
|
00 05 | 0aaa aaaa | External Bank Select LSB (CC# 32)
00 06 | 0000 aaaa |
|
|
|
|#
|
00 06 | 0aaa aaaa | Arpeggio Name 5
(32 - 127) |
| 0000 bbbb | External Program Number (PC)
|
(0 - 128) |
|
|
|
|
|
0 - 127, NO-SEND
|
|
00 07 | 0aaa aaaa | Arpeggio Name 6
(32 - 127) |
|#
|
|
00 08 | 0000 aaaa |
| 0000 bbbb | External Level (CC# 7)
|
|
|
(0 - 128) |
00 08 | 0aaa aaaa | Arpeggio Name 7
(32 - 127) |
|
|
0 - 127, NO-SEND
|
|
|
|
|
|#
|
|
00 0A | 0000 aaaa |
| 0000 bbbb | External Pan (CC# 10)
00 09 | 0aaa aaaa | Arpeggio Name 8
(32 - 127) |
(0 - 128) |
|
|
|
|
|
L64 - 63R, NO-SEND
|
00 0A | 0aaa aaaa | Arpeggio Name 9
(32 - 127) |
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
00 0C | 0aaa aaaa | Keyboard Range Lower
(0 - 127) |
00 0B | 0aaa aaaa | Arpeggio Name 10
(32 - 127) |
|
|
C-1 - UPPER
|
|
|
|
00 0D | 0aaa aaaa | Keyboard Range Upper
(0 - 127) |
00 0C | 0aaa aaaa | Arpeggio Name 11
(32 - 127) |
|
|
LOWER - G9
|
|
|
|
|-------------+-----------+----------------------------------------------------|
00 0D | 0aaa aaaa | Arpeggio Name 12
(32 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0E | 0000 000a | Control Bender
(0 - 1) |
|
|
|
|
|
OFF, ON
|
|
|
00 0E | 0aaa aaaa | Arpeggio Name 13
(32 - 127) |
00 0F | 0000 0000 | (reserve) <*>
|
|
|
|
|
00 0F | 0aaa aaaa | Arpeggio Name 14
(32 - 127) |
00 10 | 0000 000a | Control Modulation
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
|
|
|
|
|
|
00 10 | 0aaa aaaa | Arpeggio Name 15
(32 - 127) |
00 11 | 0000 000a | Control Hold Pedal
|
|
|
(32 - 127) |
|
|
|
|
00 11 | 0aaa aaaa | Arpeggio Name 16
00 12 | 0000 000a | Control Pedal
|
|
|
|
OFF, ON
|
|
|
|-------------+----------------------------------------------------------------|
00 13 | 0000 0000 | (reserve) <*>
| 00 00 00 12 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
00 14 | 0000 000a | Control D Beam
(0 - 1) |
|
|
OFF, ON
|
|
|
|
|
00 15 | 0000 0000 | (reserve) <*>
: |
00 1A | 0000 0000 | (reserve) <*>
❍Arpeggio Pattern
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
|
|
|
Address |
Description
|-------------+----------------------------------------------------------------|
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 1B | Total Size
|
|#
|
00 00 | 0000 aaaa |
| 0000 bbbb | Original Note
|
+——————————————————————————————————————————————————————————————————————————————+
(0 — 128) |
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 00 | 0000 aaaa |
| 0000 bbbb | Original Note
|
❍Performance Controller
+——————————————————————————————————————————————————————————————————————————————+
(0 - 128) |
|-------------+-----------+----------------------------------------------------|
| Offset
|
|
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
00 02 | 0000 aaaa |
| 0000 bbbb | Step1 Data
00 04 | 0000 aaaa |
| 0000 bbbb | Step2 Data
00 06 | 0000 aaaa |
| 0000 bbbb | Step3 Data
00 08 | 0000 aaaa |
| 0000 bbbb | Step4 Data
00 0A | 0000 aaaa |
| 0000 bbbb | Step5 Data
00 0C | 0000 aaaa |
| 0000 bbbb | Step6 Data
00 0E | 0000 aaaa |
| 0000 bbbb | Step7 Data
00 10 | 0000 aaaa |
| 0000 bbbb | Step8 Data
00 12 | 0000 aaaa |
| 0000 bbbb | Step9 Data
00 14 | 0000 aaaa |
| 0000 bbbb | Step10 Data
00 16 | 0000 aaaa |
| 0000 bbbb | Step11 Data
00 18 | 0000 aaaa |
| 0000 bbbb | Step12 Data
00 1A | 0000 aaaa |
| 0000 bbbb | Step13 Data
00 1C | 0000 aaaa |
| 0000 bbbb | Step14 Data
00 1E | 0000 aaaa |
| 0000 bbbb | Step15 Data
00 20 | 0000 aaaa |
| 0000 bbbb | Step16 Data
00 22 | 0000 aaaa |
| 0000 bbbb | Step17 Data
00 24 | 0000 aaaa |
|
|
Address |
Description
(0 - 128) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 0000 | (reserve) <*>
|
|
(0 - 128) |
|
|
|
00 01 | 0aaa aaaa | Beam Assign
(0 - 104) |
CC01 - CC31, CC33 - CC95, |
BEND-UP, BEND-DOWN, |
(0 - 128) |
|
|
|
|
|
|
|
|
|
|
|
|
|
(0 - 128) |
START/STOP, TAP-TEMPO, |
ARP-GRID, ARP-DUR, ARP-MOTIF, |
ARP-OCT-UP, ARP-OCT-DW, ARP_STEP, |
|
(0 - 128) |
|
AFT
|
(0 - 128) |
00 02 | 0aaa aaaa | Beam Range Lower
00 03 | 0aaa aaaa | Beam Range Upper
00 04 | 0000 0000 | (reserve) <*>
(0 - 127) |
|
(0 - 127) |
(0 - 128) |
|
|
|
|
|
: |
|
(0 - 128) |
00 0C | 0000 0000 | (reserve) <*>
|
|
|
(0 - 128) |
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0D | 0000 0000 | (reserve) <*>
|
(0 - 128) |
|
|
|
(0 - 8) |
|
00 0E | 0aaa aaaa | Arp/Ptn Grid
(0 - 128) |
|
|
|
|
04_, 08_, 08L, 08H, 08t, |
|
16_, 16L, 16H, 16t
|
(0 - 128) |
00 0F | 0aaa aaaa | Arp/Ptn Duration
(0 - 9) |
|
|
|
|
|
30, 40, 50, 60, 70, 80, 90, |
(0 - 128) |
100, 120, FUL
(0 - 1) |
OFF, ON
|
|
00 10 | 0000 000a | Arpeggio Switch
(0 - 128) |
|
|
|
|
00 11 | 0aaa aaaa | Arpeggio Bank
(0 - 1) |
(0 - 128) |
|
|
USER, PRESET
|
|
00 12 | 0aaa aaaa | Arpeggio Style
(0 - 127) |
(0 - 128) |
|
|
1 - 128
|
|#
|
|#
|
(0 - 128) |
|
00 13 | 0aaa aaaa | Arpeggio Motif
(0 - 11) |
|
|
UP/L, UP/H, UP/_, dn/L, dn/H, |
227
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
| 0000 bbbb | Step18 Data
(0 - 128) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
|
00 26 | 0000 aaaa |
|
00 31 | 0000 000a | Chord Note50
| 0000 bbbb | Step19 Data
00 28 | 0000 aaaa |
| 0000 bbbb | Step20 Data
00 2A | 0000 aaaa |
| 0000 bbbb | Step21 Data
00 2C | 0000 aaaa |
| 0000 bbbb | Step22 Data
00 2E | 0000 aaaa |
| 0000 bbbb | Step23 Data
00 30 | 0000 aaaa |
| 0000 bbbb | Step24 Data
00 32 | 0000 aaaa |
| 0000 bbbb | Step25 Data
00 34 | 0000 aaaa |
| 0000 bbbb | Step26 Data
00 36 | 0000 aaaa |
| 0000 bbbb | Step27 Data
00 38 | 0000 aaaa |
| 0000 bbbb | Step28 Data
00 3A | 0000 aaaa |
| 0000 bbbb | Step29 Data
00 3C | 0000 aaaa |
| 0000 bbbb | Step30 Data
00 3E | 0000 aaaa |
| 0000 bbbb | Step31 Data
00 40 | 0000 aaaa |
| 0000 bbbb | Step32 Data
(0 - 128) |
|
|
|
|
00 32 | 0000 000a | Chord Note51
(0 - 128) |
|
|
|
|
00 33 | 0000 000a | Chord Note52
(0 - 128) |
|
|
|
|
00 34 | 0000 000a | Chord Note53
(0 - 128) |
|
|
|
|
00 35 | 0000 000a | Chord Note54
(0 - 128) |
|
|
|
|
00 36 | 0000 000a | Chord Note55
(0 - 128) |
|
|
|
|
00 37 | 0000 000a | Chord Note56
(0 - 128) |
|
|
|
|
00 38 | 0000 000a | Chord Note57
(0 - 128) |
|
|
|
|
00 39 | 0000 000a | Chord Note58
(0 - 128) |
|
|
|
|
00 3A | 0000 000a | Chord Note59
(0 - 128) |
|
|
|
|
00 3B | 0000 000a | Chord Note60
(0 - 128) |
|
|
|
|
(0 - 128) |
|
00 3C | 0000 000a | Chord Note61
|
|
|
00 3D | 0000 000a | Chord Note62
(0 - 128) |
|
(0 - 128) |
|
|
|
|#
|
00 3E | 0000 000a | Chord Note63
|
|
|
|-------------+----------------------------------------------------------------|
00 3F | 0000 000a | Chord Note64
| 00 00 00 42 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
00 40 | 0000 000a | Chord Note65
|
|
|
00 41 | 0000 000a | Chord Note66
|
|
|
00 42 | 0000 000a | Chord Note67
❍Chord Pattern
|
|
|
00 43 | 0000 000a | Chord Note68
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
|
|
00 44 | 0000 000a | Chord Note69
|
Address |
Description
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 00 | 0000 000a | Chord Note1 (0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
00 45 | 0000 000a | Chord Note70
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
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|
|
|
|
|
|
|
|
|
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|
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|
|
|
|
|
|
00 46 | 0000 000a | Chord Note71
00 01 | 0000 000a | Chord Note2
|
|
|
|
|
|
00 47 | 0000 000a | Chord Note72
00 02 | 0000 000a | Chord Note3
|
|
|
|
|
|
00 48 | 0000 000a | Chord Note73
00 03 | 0000 000a | Chord Note4
|
|
|
|
|
|
00 49 | 0000 000a | Chord Note74
00 04 | 0000 000a | Chord Note5
|
|
|
|
|
|
00 4A | 0000 000a | Chord Note75
00 05 | 0000 000a | Chord Note6
|
|
|
|
|
|
00 4B | 0000 000a | Chord Note76
00 06 | 0000 000a | Chord Note7
|
|
|
|
|
|
00 4C | 0000 000a | Chord Note77
00 07 | 0000 000a | Chord Note8
|
|
|
|
|
|
00 4D | 0000 000a | Chord Note78
00 08 | 0000 000a | Chord Note9
|
|
|
|
|
|
00 4E | 0000 000a | Chord Note79
00 09 | 0000 000a | Chord Note10
|
|
|
|
|
|
00 4F | 0000 000a | Chord Note80
00 0A | 0000 000a | Chord Note11
|
|
|
|
|
|
00 50 | 0000 000a | Chord Note81
00 0B | 0000 000a | Chord Note12
|
|
|
|
|
|
00 51 | 0000 000a | Chord Note82
00 0C | 0000 000a | Chord Note13
|
|
|
|
|
|
00 52 | 0000 000a | Chord Note83
00 0D | 0000 000a | Chord Note14
|
|
|
|
|
|
00 53 | 0000 000a | Chord Note84
00 0E | 0000 000a | Chord Note15
|
|
|
|
|
|
00 54 | 0000 000a | Chord Note85
00 0F | 0000 000a | Chord Note16
|
|
|
|
|
|
00 55 | 0000 000a | Chord Note86
00 10 | 0000 000a | Chord Note17
|
|
|
|
|
|
00 56 | 0000 000a | Chord Note87
00 11 | 0000 000a | Chord Note18
|
|
|
|
|
|
00 57 | 0000 000a | Chord Note88
00 12 | 0000 000a | Chord Note19
|
|
|
|
|
|
00 58 | 0000 000a | Chord Note89
00 13 | 0000 000a | Chord Note20
|
|
|
|
|
|
00 59 | 0000 000a | Chord Note90
00 14 | 0000 000a | Chord Note21
|
|
|
|
|
|
00 5A | 0000 000a | Chord Note91
00 15 | 0000 000a | Chord Note22
|
|
|
|
|
|
00 5B | 0000 000a | Chord Note92
00 16 | 0000 000a | Chord Note23
|
|
|
|
|
|
00 5C | 0000 000a | Chord Note93
00 17 | 0000 000a | Chord Note24
|
|
|
|
|
|
00 5D | 0000 000a | Chord Note94
00 18 | 0000 000a | Chord Note25
|
|
|
|
|
|
00 5E | 0000 000a | Chord Note95
00 19 | 0000 000a | Chord Note26
|
|
|
|
|
|
00 5F | 0000 000a | Chord Note96
00 1A | 0000 000a | Chord Note27
|
|
|
|
|
|
00 60 | 0000 000a | Chord Note97
00 1B | 0000 000a | Chord Note28
|
|
|
|
|
|
00 61 | 0000 000a | Chord Note98
00 1C | 0000 000a | Chord Note29
|
|
|
|
|
|
00 62 | 0000 000a | Chord Note99
00 1D | 0000 000a | Chord Note30
|
|
|
|
|
|
00 63 | 0000 000a | Chord Note100
00 1E | 0000 000a | Chord Note31
|
|
|
|
|
|
00 64 | 0000 000a | Chord Note101
00 1F | 0000 000a | Chord Note32
|
|
|
|
|
|
00 65 | 0000 000a | Chord Note102
00 20 | 0000 000a | Chord Note33
|
|
|
|
|
|
00 66 | 0000 000a | Chord Note103
00 21 | 0000 000a | Chord Note34
|
|
|
|
|
|
00 67 | 0000 000a | Chord Note104
00 22 | 0000 000a | Chord Note35
|
|
|
|
|
|
00 68 | 0000 000a | Chord Note105
00 23 | 0000 000a | Chord Note36
|
|
|
|
|
|
00 69 | 0000 000a | Chord Note106
00 24 | 0000 000a | Chord Note37
|
|
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00 6A | 0000 000a | Chord Note107
00 25 | 0000 000a | Chord Note38
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00 6B | 0000 000a | Chord Note108
00 26 | 0000 000a | Chord Note39
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00 6C | 0000 000a | Chord Note109
00 27 | 0000 000a | Chord Note40
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00 6D | 0000 000a | Chord Note110
00 28 | 0000 000a | Chord Note41
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00 6E | 0000 000a | Chord Note111
00 29 | 0000 000a | Chord Note42
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00 6F | 0000 000a | Chord Note112
00 2A | 0000 000a | Chord Note43
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00 70 | 0000 000a | Chord Note113
00 2B | 0000 000a | Chord Note44
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00 71 | 0000 000a | Chord Note114
00 2C | 0000 000a | Chord Note45
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00 72 | 0000 000a | Chord Note115
00 2D | 0000 000a | Chord Note46
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00 73 | 0000 000a | Chord Note116
00 2E | 0000 000a | Chord Note47
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00 74 | 0000 000a | Chord Note117
00 2F | 0000 000a | Chord Note48
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00 75 | 0000 000a | Chord Note118
00 30 | 0000 000a | Chord Note49
228
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
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OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
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|#
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00 2F | 0000 aaaa |
| 0000 bbbb | Pad 5 Rhythm Pattern Number
|
00 76 | 0000 000a | Chord Note119
(0 - 255) |
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00 31 | 0000 0000 | (reserve) <*>
00 32 | 0000 0000 | (reserve) <*>
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00 77 | 0000 000a | Chord Note120
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00 78 | 0000 000a | Chord Note121
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00 33 | 0aaa aaaa | Pad 6 Velocity
(1 - 127) |
(0 - 1) |
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00 34 | 0000 000a | Pad 6 Rhythm Pattern Group
00 79 | 0000 000a | Chord Note122
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USER, PRESET
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|#
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00 35 | 0000 aaaa |
| 0000 bbbb | Pad 6 Rhythm Pattern Number
00 37 | 0000 0000 | (reserve) <*>
: |
00 71 | 0000 0000 |
| 0000 0000 | (reserve) <*>
00 7A | 0000 000a | Chord Note123
(0 - 255) |
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00 7B | 0000 000a | Chord Note124
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|#
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00 7C | 0000 000a | Chord Note125
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|-------------+----------------------------------------------------------------|
00 7D | 0000 000a | Chord Note126
| 00 00 00 73 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
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00 7E | 0000 000a | Chord Note127
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00 7F | 0000 000a | Chord Note128
❍Patch Common
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+——————————————————————————————————————————————————————————————————————————————+
| Offset
|-------------+-----------+----------------------------------------------------|
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01 00 | 0aaa aaaa | Chord Pattern Name 1
(32 - 127) |
|
Address |
Description
|
|
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|—————————————+————————————————————————————————————————————————————————————————|
00 00 | 0aaa aaaa | Patch Name 1 (32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(0 - 127) |
|-------------+-----------+----------------------------------------------------|
00 0D | 0000 0000 | (reserve) <*>
|-------------+-----------+----------------------------------------------------|
01 01 | 0aaa aaaa | Chord Pattern Name 2
(32 - 127) |
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01 02 | 0aaa aaaa | Chord Pattern Name 3
(32 - 127) |
00 01 | 0aaa aaaa | Patch Name 2
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01 03 | 0aaa aaaa | Chord Pattern Name 4
(32 - 127) |
00 02 | 0aaa aaaa | Patch Name 3
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01 04 | 0aaa aaaa | Chord Pattern Name 5
(32 - 127) |
00 03 | 0aaa aaaa | Patch Name 4
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01 05 | 0aaa aaaa | Chord Pattern Name 6
(32 - 127) |
00 04 | 0aaa aaaa | Patch Name 5
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01 06 | 0aaa aaaa | Chord Pattern Name 7
(32 - 127) |
00 05 | 0aaa aaaa | Patch Name 6
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01 07 | 0aaa aaaa | Chord Pattern Name 8
(32 - 127) |
00 06 | 0aaa aaaa | Patch Name 7
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01 08 | 0aaa aaaa | Chord Pattern Name 9
(32 - 127) |
00 07 | 0aaa aaaa | Patch Name 8
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01 09 | 0aaa aaaa | Chord Pattern Name 10
(32 - 127) |
00 08 | 0aaa aaaa | Patch Name 9
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01 0A | 0aaa aaaa | Chord Pattern Name 11
(32 - 127) |
00 09 | 0aaa aaaa | Patch Name 10
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01 0B | 0aaa aaaa | Chord Pattern Name 12
(32 - 127) |
00 0A | 0aaa aaaa | Patch Name 11
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01 0C | 0aaa aaaa | Chord Pattern Name 13
(32 - 127) |
00 0B | 0aaa aaaa | Patch Name 12
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01 0D | 0aaa aaaa | Chord Pattern Name 14
(32 - 127) |
00 0C | 0aaa aaaa | Patch Category
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01 0E | 0aaa aaaa | Chord Pattern Name 15
(32 - 127) |
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(32 - 127) |
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01 0F | 0aaa aaaa | Chord Pattern Name 16
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|#
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00 0E | 0aaa aaaa | Patch Level
00 0F | 0aaa aaaa | Patch Pan
(0 - 127) |
(0 - 127) |
|
|
|-------------+----------------------------------------------------------------|
|
|
L64 - 63R
|
| 00 00 01 10 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
00 10 | 0000 000a | Patch Priority
(0 - 1) |
|
|
LAST, LOUDEST
|
00 11 | 0aaa aaaa | Patch Coarse Tune
(16 - 112) |
|
|
-48 - +48
|
❍Rhythm Group
00 12 | 0aaa aaaa | Patch Fine Tune
(14 - 114) |
-50 - +50
(61 - 67) |
-3 - +3
(0 - 3) |
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
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00 13 | 0000 0aaa | Octave Shift
|
Address |
Description
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 14 | 0000 00aa | Stretch Tune Depth
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00 00 | 0aaa aaaa | Rhythm Group Name 1
(32 - 127) |
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OFF, 1 - 3
|
(0 - 127) |
(0 - 1) |
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00 15 | 0aaa aaaa | Analog Feel
00 16 | 0000 000a | Mono/Poly
00 01 | 0aaa aaaa | Rhythm Group Name 2
(32 - 127) |
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MONO, POLY
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON |
|
00 02 | 0aaa aaaa | Rhythm Group Name 3
(32 - 127) |
00 17 | 0000 000a | Legato Switch
|
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00 03 | 0aaa aaaa | Rhythm Group Name 4
(32 - 127) |
00 18 | 0000 000a | Legato Retrigger
|
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00 04 | 0aaa aaaa | Rhythm Group Name 5
(32 - 127) |
00 19 | 0000 000a | Portamento Switch
|
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00 05 | 0aaa aaaa | Rhythm Group Name 6
(32 - 127) |
00 1A | 0000 000a | Portamento Mode
(0 - 1) |
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|
NORMAL, LEGATO
|
00 06 | 0aaa aaaa | Rhythm Group Name 7
(32 - 127) |
00 1B | 0000 000a | Portamento Type
(0 - 1) |
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RATE, TIME
|
00 07 | 0aaa aaaa | Rhythm Group Name 8
(32 - 127) |
00 1C | 0000 000a | Portamento Start
(0 - 1) |
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PITCH, NOTE
|
00 08 | 0aaa aaaa | Rhythm Group Name 9
(32 - 127) |
00 1D | 0aaa aaaa | Portamento Time
00 1E | 0000 0000 | (reserve) <*>
00 1F | 0000 0000 |
(0 - 127) |
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00 09 | 0aaa aaaa | Rhythm Group Name 10
(32 - 127) |
|
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| 0000 0000 | (reserve) <*>
00 21 | 0000 0000 | (reserve) <*>
00 0A | 0aaa aaaa | Rhythm Group Name 11
(32 - 127) |
|
|
|
|-------------+-----------+----------------------------------------------------|
00 0B | 0aaa aaaa | Rhythm Group Name 12
(32 - 127) |
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00 22 | 0aaa aaaa | Cutoff Offset
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|
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|
00 0C | 0aaa aaaa | Rhythm Group Name 13
(32 - 127) |
00 23 | 0aaa aaaa | Resonance Offset
|
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00 0D | 0aaa aaaa | Rhythm Group Name 14
(32 - 127) |
00 24 | 0aaa aaaa | Attack Time Offset
|
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00 0E | 0aaa aaaa | Rhythm Group Name 15
(32 - 127) |
00 25 | 0aaa aaaa | Release Time Offset
|
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(32 - 127) |
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00 0F | 0aaa aaaa | Rhythm Group Name 16
00 26 | 0aaa aaaa | Velocity Sens Offset
|
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|
|
|-------------+-----------+----------------------------------------------------|
|-------------+-----------+----------------------------------------------------|
|
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|
00 10 | 0aaa aaaa | Recommended Rhythm Bank Select MSB
00 11 | 0aaa aaaa | Recommended Rhythm Bank Select LSB
00 12 | 0aaa aaaa | Recommended Rhythm Program Number
(0 - 127) |
(0 - 127) |
(0 - 127) |
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00 27 | 0000 aaaa | Patch Output Assign
(0 - 13) |
MFX, A, B, ---, ---, |
|
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|
1, 2, 3, 4, ---, ---, ---, ---, |
|-------------+-----------+----------------------------------------------------|
TONE
|
|
00 13 | 0000 0000 | (reserve) <*>
00 14 | 0000 0000 | (reserve) <*>
|
|
|-------------+-----------+----------------------------------------------------|
|
|
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|
|
00 28 | 0000 000a | TMT Control Switch
(0 - 1) |
OFF, ON |
(0 - 48) |
(0 - 48) |
|
00 15 | 0aaa aaaa | Pad 1 Velocity
00 16 | 0000 000a | Pad 1 Rhythm Pattern Group
(1 - 127) |
(0 - 1) |
|
|
|
00 29 | 00aa aaaa | Pitch Bend Range Up
00 2A | 00aa aaaa | Pitch Bend Range Down
|
|
|
USER, PRESET
|
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb | Pad 1 Rhythm Pattern Number
|
|-------------+-----------+----------------------------------------------------|
00 2B | 0aaa aaaa | Matrix Control 1 Source (0 - 109) |
(0 - 255) |
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00 19 | 0000 0000 | (reserve) <*>
00 1A | 0000 0000 | (reserve) <*>
|
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|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
|
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|
00 1B | 0aaa aaaa | Pad 2 Velocity
(1 - 127) |
(0 - 1) |
PIT-ENV, TVF-ENV, TVA-ENV
|
|
00 1C | 0000 000a | Pad 2 Rhythm Pattern Group
00 2C | 00aa aaaa | Matrix Control 1 Destination 1
(0 - 34) |
|
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USER, PRESET
|
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OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb | Pad 2 Rhythm Pattern Number
|
(0 - 255) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
00 1F | 0000 0000 | (reserve) <*>
00 20 | 0000 0000 | (reserve) <*>
|
|
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|
|
00 21 | 0aaa aaaa | Pad 3 Velocity
(1 - 127) |
(0 - 1) |
|
00 22 | 0000 000a | Pad 3 Rhythm Pattern Group
|
|
|
USER, PRESET
|
|#
|
00 23 | 0000 aaaa |
|
(0 - 255) |
|
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
| 0000 bbbb | Pad 3 Rhythm Pattern Number
00 2D | 0aaa aaaa | Matrix Control 1 Sens 1
|
00 25 | 0000 0000 | (reserve) <*>
00 26 | 0000 0000 | (reserve) <*>
|
|
|
|
|
00 2E | 00aa aaaa | Matrix Control 1 Destination 2
|
00 27 | 0aaa aaaa | Pad 4 Velocity
00 28 | 0000 000a | Pad 4 Rhythm Pattern Group
(1 - 127) |
(0 - 1) |
|
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|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
|
|
USER, PRESET
|
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|#
|
00 29 | 0000 aaaa |
| 0000 bbbb | Pad 4 Rhythm Pattern Number
|
(0 - 255) |
|
00 2B | 0000 0000 | (reserve) <*>
00 2C | 0000 0000 | (reserve) <*>
|
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|
|
00 2D | 0aaa aaaa | Pad 5 Velocity
(1 - 127) |
(0 - 1) |
|
00 2E | 0000 000a | Pad 5 Rhythm Pattern Group
TIME
|
|
|
|
USER, PRESET
|
00 2F | 0aaa aaaa | Matrix Control 1 Sens 2
(1 - 127) |
229
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
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-63 - +63
|
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|
TVA-ATK, TVA-DCY, TVA-REL, |
00 30 | 00aa aaaa | Matrix Control 1 Destination 3
(0 - 34) |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
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OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
TIME
(1 - 127) |
-63 - +63 |
|
00 45 | 0aaa aaaa | Matrix Control 3 Sens 4
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
|
|-------------+-----------+----------------------------------------------------|
00 46 | 0aaa aaaa | Matrix Control 4 Source (0 - 109) |
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OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
PIT-ENV, TVF-ENV, TVA-ENV
|
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
00 47 | 00aa aaaa | Matrix Control 4 Destination 1
(0 - 34) |
00 31 | 0aaa aaaa | Matrix Control 1 Sens 3
|
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|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
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|
00 32 | 00aa aaaa | Matrix Control 1 Destination 4
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
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|
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|
|
|
|
|
|
|
|
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|
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|
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|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
00 48 | 0aaa aaaa | Matrix Control 4 Sens 1
|
|
|
TIME
(1 - 127) |
-63 - +63
|-------------+-----------+----------------------------------------------------|
00 34 | 0aaa aaaa | Matrix Control 2 Source (0 - 109) |
|
00 49 | 00aa aaaa | Matrix Control 4 Destination 2
00 33 | 0aaa aaaa | Matrix Control 1 Sens 4
|
|
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|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
|
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
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OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
PIT-ENV, TVF-ENV, TVA-ENV
|
00 35 | 00aa aaaa | Matrix Control 2 Destination 1
(0 - 34) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
00 4A | 0aaa aaaa | Matrix Control 4 Sens 2
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
|
|
00 4B | 00aa aaaa | Matrix Control 4 Destination 3
|
|
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|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
00 36 | 0aaa aaaa | Matrix Control 2 Sens 1
|
|
|
00 37 | 00aa aaaa | Matrix Control 2 Destination 2
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
00 4C | 0aaa aaaa | Matrix Control 4 Sens 3
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
|
|
00 4D | 00aa aaaa | Matrix Control 4 Destination 4
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
00 38 | 0aaa aaaa | Matrix Control 2 Sens 2
|
|
|
00 39 | 00aa aaaa | Matrix Control 2 Destination 3
|
|
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|
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|
|
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|
|
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|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
TIME
(1 - 127) |
-63 - +63
|-------------+----------------------------------------------------------------|
|
00 4E | 0aaa aaaa | Matrix Control 4 Sens 4
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
|
|
| 00 00 00 4F | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
❍Patch Common MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
00 3A | 0aaa aaaa | Matrix Control 2 Sens 3
|
|
|
|
|
|
|
Address |
Description
00 3B | 00aa aaaa | Matrix Control 2 Destination 4
|—————————————+————————————————————————————————————————————————————————————————|
|
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|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 3) |
00 01 | 0aaa aaaa | MFX Dry Send Level
00 02 | 0aaa aaaa | MFX Chorus Send Level
00 03 | 0aaa aaaa | MFX Reverb Send Level
00 04 | 0000 00aa | MFX Output Assign
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
|
A, B, ---, ---
|
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
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|
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|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source
(0 - 101) |
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
|
TIME
(1 - 127) |
-63 - +63
|-------------+-----------+----------------------------------------------------|
00 3D | 0aaa aaaa | Matrix Control 3 Source (0 - 109) |
|
BEND, AFT, SYS1 - SYS4
|
00 3C | 0aaa aaaa | Matrix Control 2 Sens 4
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 - 127) |
|
|
|
|
|
-63 - +63
(0 - 101) |
|
00 07 | 0aaa aaaa | MFX Control 2 Source
|
|
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|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
BEND, AFT, SYS1 - SYS4
|
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 - 127) |
|
|
-63 - +63
(0 - 101) |
|
PIT-ENV, TVF-ENV, TVA-ENV
|
00 09 | 0aaa aaaa | MFX Control 3 Source
00 3E | 00aa aaaa | Matrix Control 3 Destination 1
(0 - 34) |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
BEND, AFT, SYS1 - SYS4
|
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 - 127) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
|
-63 - +63
(0 - 101) |
|
00 0B | 0aaa aaaa | MFX Control 4 Source
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4
(1 - 127) |
-63 - +63 |
|
00 0C | 0aaa aaaa | MFX Control 4 Sens
|
|
|-------------+-----------+----------------------------------------------------|
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 - 16) |
00 3F | 0aaa aaaa | Matrix Control 3 Sens 1
|
|
|
OFF, 1 - 16
|
|
|
|
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 - 16) |
00 40 | 00aa aaaa | Matrix Control 3 Destination 2
|
|
|
OFF, 1 - 16
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 - 16) |
|
|
|
OFF, 1 - 16
|
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 - 16) |
|
|
|
OFF, 1 - 16
|
|
|#
|
00 11 | 0000 aaaa |
| 0000 bbbb |
|
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 1
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
|#
|
00 15 | 0000 aaaa |
| 0000 bbbb |
00 41 | 0aaa aaaa | Matrix Control 3 Sens 2
|
|
|
|
| 0000 cccc |
00 42 | 00aa aaaa | Matrix Control 3 Destination 3
|
| 0000 dddd | MFX Parameter 2
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
|
|
|
|
|
|#
|
00 19 | 0000 aaaa |
| 0000 bbbb |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 3
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
|
| 0000 dddd | MFX Parameter 4
(12768 - 52768) |
-20000 - +20000
00 43 | 0aaa aaaa | Matrix Control 3 Sens 3
|
|
|
|
|
|
|
|
|
|
|#
|
00 21 | 0000 aaaa |
| 0000 bbbb |
00 44 | 00aa aaaa | Matrix Control 3 Destination 4
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 5
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 25 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
230
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
| 0000 dddd | MFX Parameter 6
(12768 - 52768) |
❍Patch Common Chorus
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 29 | 0000 aaaa |
| 0000 bbbb |
| Offset
|
|
|
|
| 0000 cccc |
|
Address |
Description
|
| 0000 dddd | MFX Parameter 7
(12768 - 52768) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type
(0 - 3) |
(0 - 127) |
(0 - 3) |
|#
|
00 2D | 0000 aaaa |
| 0000 bbbb |
00 01 | 0aaa aaaa | Chorus Level
00 02 | 0000 00aa | Chorus Output Assign
|
| 0000 cccc |
|
|
A, B, ---, ---
|
|
| 0000 dddd | MFX Parameter 8
(12768 - 52768) |
-20000 - +20000
00 03 | 0000 00aa | Chorus Output Select
(0 - 2) |
|
|
|
|
|
|
|
|
|
MAIN, REV, MAIN+REV
|
|#
|
00 31 | 0000 aaaa |
| 0000 bbbb |
|-------------+-----------+----------------------------------------------------|
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 9
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 1
(12768 - 52768) |
|#
|
00 35 | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 10
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 2
(12768 - 52768) |
|#
|
00 39 | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 11
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 3
(12768 - 52768) |
|#
|
00 3D | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 12
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 4
(12768 - 52768) |
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 13
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 5
(12768 - 52768) |
|#
|
00 45 | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 14
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 6
(12768 - 52768) |
|#
|
00 49 | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 15
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 7
(12768 - 52768) |
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 16
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 8
(12768 - 52768) |
|#
|
00 51 | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 24 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 17
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 9
(12768 - 52768) |
|#
|
00 55 | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 18
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 10
(12768 - 52768) |
|#
|
00 59 | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 19
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 11
(12768 - 52768) |
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 20
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 12
(12768 - 52768) |
|#
|
00 61 | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 34 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 21
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 13
(12768 - 52768) |
|#
|
00 65 | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 38 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 22
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 14
(12768 - 52768) |
|#
|
00 69 | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 3C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 23
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 15
(12768 - 52768) |
|#
|
00 6D | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 40 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 24
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 16
(12768 - 52768) |
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 44 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 25
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 17
(12768 - 52768) |
|#
|
00 75 | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 48 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 26
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 18
(12768 - 52768) |
|#
|
00 79 | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 4C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 27
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 19
(12768 - 52768) |
|#
|
00 7D | 0000 aaaa |
| 0000 bbbb |
|
|
-20000 - +20000
|
|
|
|
|#
|
00 50 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 28
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 20
(12768 - 52768) |
-20000 - +20000 |
|#
|
01 01 | 0000 aaaa |
| 0000 bbbb |
|
|
|-------------+----------------------------------------------------------------|
|
| 0000 cccc |
| 00 00 00 54 | Total Size
|
|
| 0000 dddd | MFX Parameter 29
(12768 - 52768) |
-20000 - +20000
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
|#
|
01 05 | 0000 aaaa |
| 0000 bbbb |
❍Patch Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 30
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
| Offset
|
|
|
|#
|
01 09 | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
00 00 | 0000 aaaa | Reverb Type
(0 - 5) |
(0 - 127) |
(0 - 3) |
|
| 0000 dddd | MFX Parameter 31
(12768 - 52768) |
-20000 - +20000
00 01 | 0aaa aaaa | Reverb Level
00 02 | 0000 00aa | Reverb Output Assign
|
|
|
|
|
|
|
|#
|
01 0D | 0000 aaaa |
| 0000 bbbb |
|
|
A, B, ---, ---
|
|-------------+-----------+----------------------------------------------------|
|
|
| 0000 cccc |
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
|
| 0000 dddd | MFX Parameter 32
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|-------------+----------------------------------------------------------------|
|
|
| 0000 dddd | Reverb Parameter 1
(12768 - 52768) |
| 00 00 01 11 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 2
(12768 - 52768) |
231
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
1 - UPPER
|
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
00 14 | 0aaa aaaa | TMT2 Velocity Range Upper
(1 - 127) |
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|
| 0000 cccc |
00 15 | 0aaa aaaa | TMT2 Velocity Fade Width Lower
00 16 | 0aaa aaaa | TMT2 Velocity Fade Width Upper
|
| 0000 dddd | Reverb Parameter 3
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|-------------+-----------+----------------------------------------------------|
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 17 | 0000 000a | TMT3 Tone Switch
(0 - 1) |
OFF, ON |
(0 - 127) |
C-1 - UPPER
(0 - 127) |
LOWER - G9
|
|
|
| 0000 cccc |
00 18 | 0aaa aaaa | TMT3 Keyboard Range Lower
|
| 0000 dddd | Reverb Parameter 4
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
00 19 | 0aaa aaaa | TMT3 Keyboard Range Upper
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 1A | 0aaa aaaa | TMT3 Keyboard Fade Width Lower
00 1B | 0aaa aaaa | TMT3 Keyboard Fade Width Upper
00 1C | 0aaa aaaa | TMT3 Velocity Range Lower
(0 - 127) |
(0 - 127) |
(1 - 127) |
1 - UPPER
(1 - 127) |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 5
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
00 1D | 0aaa aaaa | TMT3 Velocity Range Upper
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|
| 0000 cccc |
00 1E | 0aaa aaaa | TMT3 Velocity Fade Width Lower
00 1F | 0aaa aaaa | TMT3 Velocity Fade Width Upper
|
| 0000 dddd | Reverb Parameter 6
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|-------------+-----------+----------------------------------------------------|
|#
|
00 1B | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 20 | 0000 000a | TMT4 Tone Switch
(0 - 1) |
OFF, ON |
(0 - 127) |
C-1 - UPPER
(0 - 127) |
LOWER - G9
|
|
|
| 0000 cccc |
00 21 | 0aaa aaaa | TMT4 Keyboard Range Lower
|
| 0000 dddd | Reverb Parameter 7
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
00 22 | 0aaa aaaa | TMT4 Keyboard Range Upper
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 23 | 0aaa aaaa | TMT4 Keyboard Fade Width Lower
00 24 | 0aaa aaaa | TMT4 Keyboard Fade Width Upper
00 25 | 0aaa aaaa | TMT4 Velocity Range Lower
(0 - 127) |
(0 - 127) |
(1 - 127) |
1 - UPPER
(1 - 127) |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 8
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
00 26 | 0aaa aaaa | TMT4 Velocity Range Upper
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|
| 0000 cccc |
00 27 | 0aaa aaaa | TMT4 Velocity Fade Width Lower
00 28 | 0aaa aaaa | TMT4 Velocity Fade Width Upper
|
| 0000 dddd | Reverb Parameter 9
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|-------------+----------------------------------------------------------------|
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
| 00 00 00 29 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 10
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
❍Patch Tone
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
| 0000 cccc |
|
Address |
Description
|
| 0000 dddd | Reverb Parameter 11
(12768 - 52768) |
-20000 - +20000
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
00 00 | 0aaa aaaa | Tone Level
(0 - 127) |
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50
(0 - 30) |
|#
|
00 2F | 0000 aaaa |
| 0000 bbbb |
00 01 | 0aaa aaaa | Tone Coarse Tune
|
|
|
|
| 0000 cccc |
00 02 | 0aaa aaaa | Tone Fine Tune
|
| 0000 dddd | Reverb Parameter 12
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
00 03 | 000a aaaa | Tone Random Pitch Depth
|#
|
00 33 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, |
10, 20, 30, 40, 50, 60, 70, 80, |
90, 100, 200, 300, 400, 500, |
600, 700, 800, 900, 1000, 1100, |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 13
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
1200
(0 - 127) |
L64 - 63R
(54 - 74) |
|
|#
|
00 37 | 0000 aaaa |
| 0000 bbbb |
00 04 | 0aaa aaaa | Tone Pan
|
|
|
|
| 0000 cccc |
00 05 | 000a aaaa | Tone Pan Keyfollow
|
| 0000 dddd | Reverb Parameter 14
(12768 - 52768) |
-20000 - +20000
|
|
-100 - +100
|
(0 - 63) |
(1 - 127) |
|
|
|
|
|
|
|
00 06 | 00aa aaaa | Tone Random Pan Depth
00 07 | 0aaa aaaa | Tone Alternate Pan Depth
|#
|
00 3B | 0000 aaaa |
| 0000 bbbb |
|
|
L63 - 63R
(0 - 1) |
|
|
| 0000 cccc |
00 08 | 0000 000a | Tone Env Mode
|
| 0000 dddd | Reverb Parameter 15
(12768 - 52768) |
-20000 - +20000
|
|
NO-SUS, SUSTAIN
|
|
|
|
|
|
|
|
00 09 | 0000 00aa | Tone Delay Mode
(0 - 3) |
|#
|
00 3F | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
NORMAL, HOLD, KEY-OFF-NORMAL, |
KEY-OFF-DECAY
|
|
|
| 0000 cccc |
00 0A | 0000 aaaa |
| 0000 bbbb | Tone Delay Time
|
| 0000 dddd | Reverb Parameter 16
(12768 - 52768) |
-20000 - +20000
(0 - 149) |
0 - 127, MUSICAL-NOTES |
|
|
|
|
|
|
|
|
|
|#
|
00 43 | 0000 aaaa |
| 0000 bbbb |
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
|
00 0C | 0aaa aaaa | Tone Dry Send Level
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 12) |
|
| 0000 cccc |
00 0D | 0aaa aaaa | Tone Chorus Send Level (MFX)
00 0E | 0aaa aaaa | Tone Reverb Send Level (MFX)
00 0F | 0aaa aaaa | Tone Chorus Send Level (non MFX)
00 10 | 0aaa aaaa | Tone Reverb Send Level (non MFX)
00 11 | 0000 aaaa | Tone Output Assign
|
| 0000 dddd | Reverb Parameter 17
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 47 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
|
|
MFX, A, B, ---, ---, |
1, 2, 3, 4, ---, ---, ---, ---
|
| 0000 dddd | Reverb Parameter 18
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|-------------+-----------+----------------------------------------------------|
|#
|
00 4B | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
00 12 | 0000 000a | Tone Receive Bender
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON |
|
|
|
|
| 0000 cccc |
00 13 | 0000 000a | Tone Receive Expression
|
| 0000 dddd | Reverb Parameter 19
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
00 14 | 0000 000a | Tone Receive Hold-1
|#
|
00 4F | 0000 aaaa |
| 0000 bbbb |
|
|
00 15 | 0000 000a | Tone Receive Pan Mode
(0 - 1) |
CONTINUOUS, KEY-ON
|
|
| 0000 cccc |
|
|
|
| 0000 dddd | Reverb Parameter 20
(12768 - 52768) |
-20000 - +20000 |
00 16 | 0000 000a | Tone Redamper Switch
(0 - 1) |
OFF, ON
|
|
|
|
|
|
|-------------+----------------------------------------------------------------|
|-------------+-----------+----------------------------------------------------|
| 00 00 00 53 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 17 | 0000 00aa | Tone Control 1 Switch 1
(0 - 2) |
|
|
OFF, ON, REVERSE
|
00 18 | 0000 00aa | Tone Control 1 Switch 2
(0 - 2) |
|
|
OFF, ON, REVERSE
|
❍Patch TMT (Tone Mix Table)
+——————————————————————————————————————————————————————————————————————————————+
| Offset
00 19 | 0000 00aa | Tone Control 1 Switch 3
(0 - 2) |
|
|
OFF, ON, REVERSE
|
|
|
|
00 1A | 0000 00aa | Tone Control 1 Switch 4
(0 - 2) |
|
Address |
Description
|
|
OFF, ON, REVERSE
|
|—————————————+————————————————————————————————————————————————————————————————|
00 1B | 0000 00aa | Tone Control 2 Switch 1
(0 - 2) |
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Structure Type 1 & 2
(0 - 9) |
1 - 10
(0 - 3) |
|
|
OFF, ON, REVERSE
|
|
|
|
00 1C | 0000 00aa | Tone Control 2 Switch 2
(0 - 2) |
00 01 | 0000 00aa | Booster 1 & 2
|
|
OFF, ON, REVERSE
|
|
|
0, +6, +12, +18 [dB]
|
00 1D | 0000 00aa | Tone Control 2 Switch 3
(0 - 2) |
00 02 | 0000 aaaa | Structure Type 3 & 4
(0 - 9) |
1 - 10
|
|
OFF, ON, REVERSE
|
|
|
|
00 1E | 0000 00aa | Tone Control 2 Switch 4
(0 - 2) |
00 03 | 0000 00aa | Booster 3 & 4
(0 - 3) |
0, +6, +12, +18 [dB]
|
|
OFF, ON, REVERSE
|
|
|
|
00 1F | 0000 00aa | Tone Control 3 Switch 1
(0 - 2) |
|-------------+-----------+----------------------------------------------------|
|
|
OFF, ON, REVERSE
|
|
|
00 04 | 0000 00aa | TMT Velocity Control
(0 - 3) |
OFF, ON, RANDOM, CYCLE
00 20 | 0000 00aa | Tone Control 3 Switch 2
(0 - 2) |
|
|
|
|
|
OFF, ON, REVERSE
|
|-------------+-----------+----------------------------------------------------|
00 21 | 0000 00aa | Tone Control 3 Switch 3
(0 - 2) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0000 000a | TMT1 Tone Switch
(0 - 1) |
OFF, ON
(0 - 127) |
C-1 - UPPER
(0 - 127) |
LOWER - G9
|
|
OFF, ON, REVERSE
|
|
|
|
00 22 | 0000 00aa | Tone Control 3 Switch 4
(0 - 2) |
00 06 | 0aaa aaaa | TMT1 Keyboard Range Lower
|
|
OFF, ON, REVERSE
|
|
|
|
00 23 | 0000 00aa | Tone Control 4 Switch 1
(0 - 2) |
00 07 | 0aaa aaaa | TMT1 Keyboard Range Upper
|
|
OFF, ON, REVERSE
|
|
|
|
00 24 | 0000 00aa | Tone Control 4 Switch 2
(0 - 2) |
00 08 | 0aaa aaaa | TMT1 Keyboard Fade Width Lower
00 09 | 0aaa aaaa | TMT1 Keyboard Fade Width Upper
00 0A | 0aaa aaaa | TMT1 Velocity Range Lower
(0 - 127) |
(0 - 127) |
(1 - 127) |
1 - UPPER
(1 - 127) |
|
|
OFF, ON, REVERSE
|
00 25 | 0000 00aa | Tone Control 4 Switch 3
(0 - 2) |
|
|
OFF, ON, REVERSE
|
|
|
|
00 26 | 0000 00aa | Tone Control 4 Switch 4
(0 - 2) |
00 0B | 0aaa aaaa | TMT1 Velocity Range Upper
|
|
OFF, ON, REVERSE
|
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|-------------+-----------+----------------------------------------------------|
00 0C | 0aaa aaaa | TMT1 Velocity Fade Width Lower
00 0D | 0aaa aaaa | TMT1 Velocity Fade Width Upper
|
|
00 27 | 0000 00aa | Wave Group Type
(0 - 2) |
INT, SRX, SAMPLE
|
|
|
|
|
|
|-------------+-----------+----------------------------------------------------|
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
00 0E | 0000 000a | TMT2 Tone Switch
(0 - 1) |
OFF, ON
(0 - 127) |
C-1 - UPPER
(0 - 127) |
LOWER - G9
(0 - 127) |
(0 - 127) |
(1 - 127) |
|
|
|
|
| 0000 cccc |
00 0F | 0aaa aaaa | TMT2 Keyboard Range Lower
|
| 0000 dddd | Wave Group ID
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
|
|
|
|
00 10 | 0aaa aaaa | TMT2 Keyboard Range Upper
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 11 | 0aaa aaaa | TMT2 Keyboard Fade Width Lower
00 12 | 0aaa aaaa | TMT2 Keyboard Fade Width Upper
00 13 | 0aaa aaaa | TMT2 Velocity Range Lower
|
| 0000 cccc |
|
| 0000 dddd | Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384 |
|
|
|
232
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 01 | 000a aaaa | LFO2 Delay Time Keyfollow
(54 - 74) |
|
|
-100 - +100
|
| 0000 cccc |
01 02 | 0000 00aa | LFO2 Fade Mode
(0 - 3) |
| 0000 dddd | Wave Number R
(0 - 16384) |
|
|
ON-IN, ON-OUT, OFF-IN, OFF-OUT
|
(0 - 127) |
(0 - 1) |
|
|
OFF, 1 - 16384
|
01 03 | 0aaa aaaa | LFO2 Fade Time
01 04 | 0000 000a | LFO2 Key Trigger
00 34 | 0000 00aa | Wave Gain
(0 - 3) |
|
|
-6, 0, +6, +12 [dB]
|
|
|
OFF, ON
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|
00 35 | 0000 000a | Wave FXM Switch
(0 - 1) |
01 05 | 0aaa aaaa | LFO2 Pitch Depth
|
|
OFF, ON
|
|
|
|
00 36 | 0000 00aa | Wave FXM Color
(0 - 3) |
1 - 4
01 06 | 0aaa aaaa | LFO2 TVF Depth
|
|
|
|
|
|
00 37 | 000a aaaa | Wave FXM Depth
00 38 | 0000 000a | Wave Tempo Sync
(0 - 16) |
(0 - 1) |
01 07 | 0aaa aaaa | LFO2 TVA Depth
|
|
|
|
|
OFF, ON
(44 - 84) |
-200 - +200
|
01 08 | 0aaa aaaa | LFO2 Pan Depth
00 39 | 00aa aaaa | Wave Pitch Keyfollow
|
|
|
|
|
|
|-------------+-----------+----------------------------------------------------|
|-------------+-----------+----------------------------------------------------|
00 3A | 000a aaaa | Pitch Env Depth (52 - 76) |
-12 - +12
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(54 - 74) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 09 | 0000 aaaa | LFO Step Type
01 0A | 0aaa aaaa | LFO Step1
(0 - 1) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
(28 - 100) |
|
|
|
|
|
-36 - +36
|
00 3B | 0aaa aaaa | Pitch Env Velocity Sens
01 0B | 0aaa aaaa | LFO Step2
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
|-------------+----------------------------------------------------------------|
|
|
|
|
|
|
00 3C | 0aaa aaaa | Pitch Env Time 1 Velocity Sens
01 0C | 0aaa aaaa | LFO Step3
|
|
|
|
|
|
00 3D | 0aaa aaaa | Pitch Env Time 4 Velocity Sens
01 0D | 0aaa aaaa | LFO Step4
|
|
|
|
|
|
00 3E | 000a aaaa | Pitch Env Time Keyfollow
01 0E | 0aaa aaaa | LFO Step5
|
|
-100 - +100
|
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(1 - 127) |
|
|
|
00 3F | 0aaa aaaa | Pitch Env Time 1
00 40 | 0aaa aaaa | Pitch Env Time 2
00 41 | 0aaa aaaa | Pitch Env Time 3
00 42 | 0aaa aaaa | Pitch Env Time 4
00 43 | 0aaa aaaa | Pitch Env Level 0
01 0F | 0aaa aaaa | LFO Step6
|
|
|
01 10 | 0aaa aaaa | LFO Step7
|
|
|
01 11 | 0aaa aaaa | LFO Step8
|
|
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|
|
|
|
00 44 | 0aaa aaaa | Pitch Env Level 1
01 12 | 0aaa aaaa | LFO Step9
|
|
|
|
|
|
00 45 | 0aaa aaaa | Pitch Env Level 2
01 13 | 0aaa aaaa | LFO Step10
|
|
|
|
|
|
00 46 | 0aaa aaaa | Pitch Env Level 3
01 14 | 0aaa aaaa | LFO Step11
|
|
|
|
|
|
00 47 | 0aaa aaaa | Pitch Env Level 4
01 15 | 0aaa aaaa | LFO Step12
|
|
|
|
|
|
|-------------+-----------+----------------------------------------------------|
01 16 | 0aaa aaaa | LFO Step13
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 48 | 0000 0aaa | TVF Filter Type
(0 - 6) |
|
|
|
|
|
|
|
OFF, LPF, BPF, HPF, PKG, LPF2, |
01 17 | 0aaa aaaa | LFO Step14
LPF3
|
|
|
|
00 49 | 0aaa aaaa | TVF Cutoff Frequency
00 4A | 00aa aaaa | TVF Cutoff Keyfollow
(0 - 127) |
(44 - 84) |
01 18 | 0aaa aaaa | LFO Step15
|
|
|
|
|
-200 - +200
|
01 19 | 0aaa aaaa | LFO Step16
00 4B | 0000 0aaa | TVF Cutoff Velocity Curve
(0 - 7) |
|
|
|
|
|
FIXED, 1 - 7
|
00 4C | 0aaa aaaa | TVF Cutoff Velocity Sens
(1 - 127) |
| 00 00 01 1A | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
-63 - +63
|
00 4D | 0aaa aaaa | TVF Resonance
(0 - 127) |
(1 - 127) |
00 4E | 0aaa aaaa | TVF Resonance Velocity Sens
|
|
-63 - +63
(1 - 127) |
-63 - +63 |
|
❍Rhythm Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset
00 4F | 0aaa aaaa | TVF Env Depth
|
|
|
|
|
00 50 | 0000 0aaa | TVF Env Velocity Curve
(0 - 7) |
|
Address |
Description
|
|
FIXED, 1 - 7
|
|—————————————+————————————————————————————————————————————————————————————————|
00 00 | 0aaa aaaa | Rhythm Name 1 (32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
00 51 | 0aaa aaaa | TVF Env Velocity Sens
(1 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
-63 - +63
|
|
|
|
00 52 | 0aaa aaaa | TVF Env Time 1 Velocity Sens
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(54 - 74) |
00 01 | 0aaa aaaa | Rhythm Name 2
|
|
|
|
|
|
00 53 | 0aaa aaaa | TVF Env Time 4 Velocity Sens
00 02 | 0aaa aaaa | Rhythm Name 3
|
|
|
|
|
|
00 54 | 000a aaaa | TVF Env Time Keyfollow
00 03 | 0aaa aaaa | Rhythm Name 4
|
|
-100 - +100
|
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
|
|
|
00 55 | 0aaa aaaa | TVF Env Time 1
00 56 | 0aaa aaaa | TVF Env Time 2
00 57 | 0aaa aaaa | TVF Env Time 3
00 58 | 0aaa aaaa | TVF Env Time 4
00 59 | 0aaa aaaa | TVF Env Level 0
00 5A | 0aaa aaaa | TVF Env Level 1
00 5B | 0aaa aaaa | TVF Env Level 2
00 5C | 0aaa aaaa | TVF Env Level 3
00 5D | 0aaa aaaa | TVF Env Level 4
00 04 | 0aaa aaaa | Rhythm Name 5
|
|
|
00 05 | 0aaa aaaa | Rhythm Name 6
|
|
|
00 06 | 0aaa aaaa | Rhythm Name 7
|
|
|
00 07 | 0aaa aaaa | Rhythm Name 8
|
|
|
00 08 | 0aaa aaaa | Rhythm Name 9
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 5E | 000a aaaa | Bias Level
(54 - 74) |
00 09 | 0aaa aaaa | Rhythm Name 10
|
|
-100 - +100
|
|
|
|
00 5F | 0aaa aaaa | Bias Position
(0 - 127) |
00 0A | 0aaa aaaa | Rhythm Name 11
|
|
C-1 - G9
|
|
|
|
00 60 | 0000 00aa | Bias Direction
(0 - 3) |
00 0B | 0aaa aaaa | Rhythm Name 12
|
|
LOWER, UPPER, LOWER&UPPER, ALL
|
|
|
|
00 61 | 0000 0aaa | TVA Level Velocity Curve
(0 - 7) |
|-------------+-----------+----------------------------------------------------|
|
|
FIXED, 1 - 7
|
|
|
00 0C | 0aaa aaaa | Rhythm Level
00 0D | 0000 0000 | (reserve) <*>
00 0E | 0000 0000 |
| 0000 0000 | (reserve) <*>
00 10 | 0000 0000 | (reserve) <*>
(0 - 127) |
00 62 | 0aaa aaaa | TVA Level Velocity Sens
(1 - 127) |
|
|
|
|
|
|
-63 - +63
|
|#
|
00 63 | 0aaa aaaa | TVA Env Time 1 Velocity Sens
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(54 - 74) |
|
|
|
|
00 64 | 0aaa aaaa | TVA Env Time 4 Velocity Sens
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
00 11 | 0000 aaaa | Rhythm Output Assign
(0 - 13) |
MFX, A, B, ---, ---, |
00 65 | 000a aaaa | TVA Env Time Keyfollow
|
|
|
|
|
|
|
|
-100 - +100
|
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
1, 2, 3, 4, ---, ---, ---, ---, |
00 66 | 0aaa aaaa | TVA Env Time 1
00 67 | 0aaa aaaa | TVA Env Time 2
00 68 | 0aaa aaaa | TVA Env Time 3
00 69 | 0aaa aaaa | TVA Env Time 4
00 6A | 0aaa aaaa | TVA Env Level 1
00 6B | 0aaa aaaa | TVA Env Level 2
00 6C | 0aaa aaaa | TVA Env Level 3
TONE
|
|-------------+----------------------------------------------------------------|
| 00 00 00 12 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
❍Rhythm Common MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
|
|
|
|
00 6D | 0000 aaaa | LFO1 Waveform
(0 - 12) |
SIN, TRI, SAW-UP, SAW-DW, SQR, |
RND, BEND-UP, BEND-DW, TRP, S&H, |
|
|
|
|
|
|
|
|
|
|
Address |
Description
CHS, VSIN, STEP
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 6E | 0000 aaaa |
| 0000 bbbb | LFO1 Rate
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 3) |
(0 - 149) |
00 01 | 0aaa aaaa | MFX Dry Send Level
00 02 | 0aaa aaaa | MFX Chorus Send Level
00 03 | 0aaa aaaa | MFX Reverb Send Level
00 04 | 0000 00aa | MFX Output Assign
|
|
0 - 127, MUSICAL-NOTES
|
00 70 | 0000 0aaa | LFO1 Offset
(0 - 4) |
|
|
-100, -50, 0, +50, +100
|
(0 - 127) |
(0 - 127) |
(54 - 74) |
00 71 | 0aaa aaaa | LFO1 Rate Detune
00 72 | 0aaa aaaa | LFO1 Delay Time
|
|
A, B, ---, ---
|
|-------------+-----------+----------------------------------------------------|
00 73 | 000a aaaa | LFO1 Delay Time Keyfollow
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source
(0 - 101) |
|
|
-100 - +100
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
00 74 | 0000 00aa | LFO1 Fade Mode
(0 - 3) |
BEND, AFT, SYS1 - SYS4
|
|
|
ON-IN, ON-OUT, OFF-IN, OFF-OUT
|
(0 - 127) |
(0 - 1) |
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 - 127) |
00 75 | 0aaa aaaa | LFO1 Fade Time
00 76 | 0000 000a | LFO1 Key Trigger
|
|
-63 - +63
(0 - 101) |
|
00 07 | 0aaa aaaa | MFX Control 2 Source
|
|
OFF, ON
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
00 77 | 0aaa aaaa | LFO1 Pitch Depth
BEND, AFT, SYS1 - SYS4
|
|
|
|
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 - 127) |
00 78 | 0aaa aaaa | LFO1 TVF Depth
|
|
-63 - +63
(0 - 101) |
|
|
|
|
00 09 | 0aaa aaaa | MFX Control 3 Source
00 79 | 0aaa aaaa | LFO1 TVA Depth
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
BEND, AFT, SYS1 - SYS4
|
00 7A | 0aaa aaaa | LFO1 Pan Depth
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 - 127) |
|
|
|
|
|
-63 - +63
(0 - 101) |
|
00 7B | 0000 aaaa | LFO2 Waveform
(0 - 12) |
SIN, TRI, SAW-UP, SAW-DW, SQR, |
RND, BEND-UP, BEND-DW, TRP, S&H, |
00 0B | 0aaa aaaa | MFX Control 4 Source
|
|
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4
(1 - 127) |
-63 - +63 |
|
CHS, VSIN, STEP
|
|
00 0C | 0aaa aaaa | MFX Control 4 Sens
00 7C | 0000 aaaa |
| 0000 bbbb | LFO2 Rate
|
|
(0 - 149) |
|-------------+-----------+----------------------------------------------------|
|
|
0 - 127, MUSICAL-NOTES
|
|
|
|
|
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 - 16) |
00 7E | 0000 0aaa | LFO2 Offset
(0 - 4) |
|
|
OFF, 1 - 16
|
|
|
-100, -50, 0, +50, +100
|
(0 - 127) |
(0 - 127) |
00 0E | 000a aaaa | MFX Control Assign 2
(0 - 16) |
00 7F | 0aaa aaaa | LFO2 Rate Detune
01 00 | 0aaa aaaa | LFO2 Delay Time
|
|
OFF, 1 - 16
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 - 16) |
233
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
|
|
OFF, 1 - 16
|
|#
|
00 7D | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 - 16) |
|
|
|
OFF, 1 - 16
|
|
|
|
|
| 0000 cccc |
|#
|
00 11 | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 dddd | MFX Parameter 28
(12768 - 52768) |
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 01 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 1
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 15 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 29
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 05 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 2
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 19 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 30
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 09 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 3
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 31
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 0D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 4
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 21 | 0000 aaaa |
| 0000 bbbb |
| 0000 dddd | MFX Parameter 32
(12768 - 52768) |
-20000 - +20000 |
|
|
|
|
| 0000 cccc |
|-------------+----------------------------------------------------------------|
|
| 0000 dddd | MFX Parameter 5
(12768 - 52768) |
-20000 - +20000
| 00 00 01 11 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
|
|#
|
00 25 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
❍Rhythm Common Chorus
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
| 0000 dddd | MFX Parameter 6
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|#
|
00 29 | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type
(0 - 3) |
(0 - 127) |
(0 - 3) |
|
| 0000 dddd | MFX Parameter 7
(12768 - 52768) |
-20000 - +20000
00 01 | 0aaa aaaa | Chorus Level
00 02 | 0000 00aa | Chorus Output Assign
|
|
|
|
|
|
|
|#
|
00 2D | 0000 aaaa |
| 0000 bbbb |
|
|
A, B, ---, ---
|
00 03 | 0000 00aa | Chorus Output Select
(0 - 2) |
|
| 0000 cccc |
|
|
MAIN, REV, MAIN+REV
|
|
| 0000 dddd | MFX Parameter 8
(12768 - 52768) |
-20000 - +20000
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|#
|
00 31 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 1
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 9
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 35 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 2
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 10
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb |
|#
|
00 39 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 3
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 11
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 3D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 4
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 12
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 5
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 13
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 45 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 6
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 14
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb |
|#
|
00 49 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 7
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 15
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 8
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 16
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 24 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 51 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 9
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 17
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 55 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 10
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 18
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
|#
|
00 59 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 11
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 19
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 12
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 20
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 34 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 61 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 13
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 21
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 38 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 65 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 14
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 22
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 3C | 0000 aaaa |
| 0000 bbbb |
|#
|
00 69 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 15
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 23
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 40 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 6D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 16
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 24
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 44 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 17
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 25
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 48 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 75 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 18
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 26
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 4C | 0000 aaaa |
| 0000 bbbb |
|#
|
00 79 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 19
(12768 - 52768) |
-20000 - +20000 |
|
| 0000 dddd | MFX Parameter 27
(12768 - 52768) |
-20000 - +20000 |
|
|
|
|
|
|
234
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|#
|
00 50 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]
|
00 04 | 0aaa aaaa | Tone Name 5
(32 - 127) |
|
| 0000 cccc |
|
|
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
|
|
| 0000 dddd | Chorus Parameter 20
(12768 - 52768) |
00 05 | 0aaa aaaa | Tone Name 6
|
|
|
-20000 - +20000
|
|
|
|
|-------------+----------------------------------------------------------------|
00 06 | 0aaa aaaa | Tone Name 7
| 00 00 00 54 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
00 07 | 0aaa aaaa | Tone Name 8
|
|
|
00 08 | 0aaa aaaa | Tone Name 9
|
|
|
❍Rhythm Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset
00 09 | 0aaa aaaa | Tone Name 10
|
|
|
|
|
|
00 0A | 0aaa aaaa | Tone Name 11
|
Address |
Description
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 0B | 0aaa aaaa | Tone Name 12
|
|
|
|
00 00 | 0000 aaaa | Reverb Type
(0 - 5) |
(0 - 127) |
(0 - 3) |
|
|
|
00 01 | 0aaa aaaa | Reverb Level
00 02 | 0000 00aa | Reverb Output Assign
|-------------+-----------+----------------------------------------------------|
|
|
|
|
00 0C | 0000 000a | Assign Type
(0 - 1) |
MULTI, SINGLE
(0 - 31) |
OFF, 1 - 31
|
|
A, B, ---, ---
|
|
|
|
|-------------+-----------+----------------------------------------------------|
00 0D | 000a aaaa | Mute Group
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|-------------+-----------+----------------------------------------------------|
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0E | 0aaa aaaa | Tone Level
(0 - 127) |
(0 - 127) |
C-1 - G9
(14 - 114) |
-50 - +50
(0 - 30) |
|
| 0000 dddd | Reverb Parameter 1
(12768 - 52768) |
00 0F | 0aaa aaaa | Tone Coarse Tune
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
00 10 | 0aaa aaaa | Tone Fine Tune
|
|
|
|
| 0000 cccc |
00 11 | 000a aaaa | Tone Random Pitch Depth
|
| 0000 dddd | Reverb Parameter 2
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, |
10, 20, 30, 40, 50, 60, 70, 80, |
90, 100, 200, 300, 400, 500, |
600, 700, 800, 900, 1000, 1100, |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
1200
(0 - 127) |
L64 - 63R
|
|
| 0000 dddd | Reverb Parameter 3
(12768 - 52768) |
00 12 | 0aaa aaaa | Tone Pan
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
00 13 | 00aa aaaa | Tone Random Pan Depth
00 14 | 0aaa aaaa | Tone Alternate Pan Depth
(0 - 63) |
(1 - 127) |
L63 - 63R
(0 - 1) |
NO-SUS, SUSTAIN |
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 4
(12768 - 52768) |
00 15 | 0000 000a | Tone Env Mode
|
|
|
-20000 - +20000
|
|
|
|
|
|
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
|
00 16 | 0aaa aaaa | Tone Dry Send Level
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 12) |
|
| 0000 cccc |
00 17 | 0aaa aaaa | Tone Chorus Send Level
00 18 | 0aaa aaaa | Tone Reverb Send Level
00 19 | 0aaa aaaa | Tone Chorus Send Level (non MFX)
00 1A | 0aaa aaaa | Tone Reverb Send Level (non MFX)
00 1B | 0000 aaaa | Tone Output Assign
|
| 0000 dddd | Reverb Parameter 5
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
|
|
MFX, A, B, ---, ---, |
1, 2, 3, 4, ---, ---, ---, ---
|
| 0000 dddd | Reverb Parameter 6
(12768 - 52768) |
|
|
|
|
-20000 - +20000
|
|
|
|
|-------------+-----------+----------------------------------------------------|
|#
|
00 1B | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
00 1C | 00aa aaaa | Tone Pitch Bend Range
00 1D | 0000 000a | Tone Receive Expression
(0 - 48) |
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
CONTINUOUS, KEY-ON |
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 7
(12768 - 52768) |
00 1E | 0000 000a | Tone Receive Hold-1
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
00 1F | 0000 000a | Tone Receive Pan Mode
|
|
|
| 0000 cccc |
|-------------+-----------+----------------------------------------------------|
|
| 0000 dddd | Reverb Parameter 8
(12768 - 52768) |
|
|
00 20 | 0000 00aa | WMT Velocity Control
(0 - 2) |
OFF, ON, RANDOM |
|
|
|
-20000 - +20000
|
|
|
|
|
|
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
|-------------+-----------+----------------------------------------------------|
00 21 | 0000 000a | WMT1 Wave Switch (0 - 1) |
OFF, ON |
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 0000 cccc |
|
|
|
| 0000 dddd | Reverb Parameter 9
(12768 - 52768) |
00 22 | 0000 00aa | WMT1 Wave Group Type
(0 - 2) |
INT, SRX, SAMPLE
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
00 23 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 10
(12768 - 52768) |
| 0000 dddd | WMT1 Wave Group ID
(0 - 16384) |
OFF, 1 - 16384
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
00 27 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 11
(12768 - 52768) |
| 0000 dddd | WMT1 Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|#
|
00 2F | 0000 aaaa |
| 0000 bbbb |
00 2B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 12
(12768 - 52768) |
| 0000 dddd | WMT1 Wave Number R
(0 - 16384) |
OFF, 1 - 16384 |
(0 - 3) |
-6, 0, +6, +12 [dB]
|
|
|
-20000 - +20000
|
|
|
|
|
|
|#
|
00 33 | 0000 aaaa |
| 0000 bbbb |
00 2F | 0000 00aa | WMT1 Wave Gain
|
|
|
|
| 0000 cccc |
00 30 | 0000 000a | WMT1 Wave FXM Switch
(0 - 1) |
OFF, ON
(0 - 3) |
1 - 4 |
(0 - 16) |
(0 - 1) |
OFF, ON
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50
(0 - 127) |
L64 - 63R
(0 - 1) |
OFF, ON
(0 - 2) |
|
| 0000 dddd | Reverb Parameter 13
(12768 - 52768) |
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
00 31 | 0000 00aa | WMT1 Wave FXM Color
|#
|
00 37 | 0000 aaaa |
| 0000 bbbb |
|
|
00 32 | 000a aaaa | WMT1 Wave FXM Depth
00 33 | 0000 000a | WMT1 Wave Tempo Sync
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 14
(12768 - 52768) |
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
00 34 | 0aaa aaaa | WMT1 Wave Coarse Tune
|#
|
00 3B | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 35 | 0aaa aaaa | WMT1 Wave Fine Tune
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 15
(12768 - 52768) |
00 36 | 0aaa aaaa | WMT1 Wave Pan
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 3F | 0000 aaaa |
| 0000 bbbb |
00 37 | 0000 000a | WMT1 Wave Random Pan Switch
|
|
|
|
| 0000 cccc |
00 38 | 0000 00aa | WMT1 Wave Alternate Pan Switch
|
| 0000 dddd | Reverb Parameter 16
(12768 - 52768) |
|
|
OFF, ON, REVERSE
|
(0 - 127) |
(1 - 127) |
|
|
|
-20000 - +20000
|
|
|
|
00 39 | 0aaa aaaa | WMT1 Wave Level
|#
|
00 43 | 0000 aaaa |
| 0000 bbbb |
00 3A | 0aaa aaaa | WMT1 Velocity Range Lower
|
|
1 - UPPER
(1 - 127) |
|
|
| 0000 cccc |
00 3B | 0aaa aaaa | WMT1 Velocity Range Upper
|
| 0000 dddd | Reverb Parameter 17
(12768 - 52768) |
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
(0 - 1) |
|
|
|
-20000 - +20000
|
|
|
|
00 3C | 0aaa aaaa | WMT1 Velocity Fade Width Lower
00 3D | 0aaa aaaa | WMT1 Velocity Fade Width Upper
00 3E | 0000 000a | WMT2 Wave Switch
|#
|
00 47 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
OFF, ON
(0 - 2) |
INT, SRX, SAMPLE
|
|
| 0000 dddd | Reverb Parameter 18
(12768 - 52768) |
00 3F | 0000 00aa | WMT2 Wave Group Type
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|#
|
00 4B | 0000 aaaa |
| 0000 bbbb |
00 40 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 19
(12768 - 52768) |
| 0000 dddd | WMT2 Wave Group ID
(0 - 16384) |
OFF, 1 - 16384
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|#
|
00 4F | 0000 aaaa |
| 0000 bbbb |
00 44 | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 cccc |
| 0000 cccc |
| 0000 dddd | Reverb Parameter 20
(12768 - 52768) |
-20000 - +20000 |
| 0000 dddd | WMT2 Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
|
|
|
|-------------+----------------------------------------------------------------|
00 48 | 0000 aaaa |
| 0000 bbbb |
| 00 00 00 53 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 cccc |
| 0000 dddd | WMT2 Wave Number R
(0 - 16384) |
OFF, 1 - 16384 |
(0 - 3) |
-6, 0, +6, +12 [dB]
|
|
❍Rhythm Tone
00 4C | 0000 00aa | WMT2 Wave Gain
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
| Offset
00 4D | 0000 000a | WMT2 Wave FXM Switch
(0 - 1) |
OFF, ON
(0 - 3) |
1 - 4 |
(0 - 16) |
(0 - 1) |
OFF, ON
|
|
|
|
|
|
|
Address |
Description
00 4E | 0000 00aa | WMT2 Wave FXM Color
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Tone Name 1
(32 - 127) |
00 4F | 000a aaaa | WMT2 Wave FXM Depth
00 50 | 0000 000a | WMT2 Wave Tempo Sync
|
|
32 - 127 [ASCII]
|
00 01 | 0aaa aaaa | Tone Name 2
(32 - 127) |
|
|
|
|
|
32 - 127 [ASCII]
|
00 51 | 0aaa aaaa | WMT2 Wave Coarse Tune
(16 - 112) |
00 02 | 0aaa aaaa | Tone Name 3
(32 - 127) |
|
|
-48 - +48
|
|
|
32 - 127 [ASCII]
|
00 52 | 0aaa aaaa | WMT2 Wave Fine Tune
(14 - 114) |
00 03 | 0aaa aaaa | Tone Name 4
(32 - 127) |
235
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
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|#
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|#
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|#
|
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|#
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|#
|
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|#
|
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|
|
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|
|
-50 - +50
(0 - 127) |
L64 - 63R
(0 - 1) |
OFF, ON
(0 - 2) |
|
(0 - 127) |
(1 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
-63 - +63
(1 - 127) |
-63 - +63 |
|
00 53 | 0aaa aaaa | WMT2 Wave Pan
01 28 | 0aaa aaaa | TVF Env Depth
|
|
|
|
|
00 54 | 0000 000a | WMT2 Wave Random Pan Switch
01 29 | 0000 0aaa | TVF Env Velocity Curve Type
(0 - 7) |
|
|
|
|
|
FIXED, 1 - 7
|
00 55 | 0000 00aa | WMT2 Wave Alternate Pan Switch
01 2A | 0aaa aaaa | TVF Env Velocity Sens
(1 - 127) |
|
|
OFF, ON, REVERSE
|
|
-63 - +63
|
00 56 | 0aaa aaaa | WMT2 Wave Level
01 2B | 0aaa aaaa | TVF Env Time 1 Velocity Sens
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63 |
00 57 | 0aaa aaaa | WMT2 Velocity Range Lower
|
|
|
|
|
1 - UPPER
|
01 2C | 0aaa aaaa | TVF Env Time 4 Velocity Sens
00 58 | 0aaa aaaa | WMT2 Velocity Range Upper
(1 - 127) |
|
|
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
(0 - 1) |
01 2D | 0aaa aaaa | TVF Env Time 1
01 2E | 0aaa aaaa | TVF Env Time 2
01 2F | 0aaa aaaa | TVF Env Time 3
01 30 | 0aaa aaaa | TVF Env Time 4
01 31 | 0aaa aaaa | TVF Env Level 0
01 32 | 0aaa aaaa | TVF Env Level 1
01 33 | 0aaa aaaa | TVF Env Level 2
01 34 | 0aaa aaaa | TVF Env Level 3
01 35 | 0aaa aaaa | TVF Env Level 4
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
00 59 | 0aaa aaaa | WMT2 Velocity Fade Width Lower
00 5A | 0aaa aaaa | WMT2 Velocity Fade Width Upper
00 5B | 0000 000a | WMT3 Wave Switch
|
|
OFF, ON
|
00 5C | 0000 00aa | WMT3 Wave Group Type
(0 - 2) |
|
|
INT, SRX, SAMPLE
|
|
00 5D | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 cccc |
|-------------+-----------+----------------------------------------------------|
| 0000 dddd | WMT3 Wave Group ID
(0 - 16384) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 36 | 0000 0aaa | TVA Level Velocity Curve
(0 - 7) |
|
|
OFF, 1 - 16384
|
|
|
|
|
|
FIXED, 1 - 7
|
00 61 | 0000 aaaa |
| 0000 bbbb |
01 37 | 0aaa aaaa | TVA Level Velocity Sens
(1 - 127) |
|
|
-63 - +63
|
| 0000 cccc |
01 38 | 0aaa aaaa | TVA Env Time 1 Velocity Sens
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63 |
| 0000 dddd | WMT3 Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
|
|
|
01 39 | 0aaa aaaa | TVA Env Time 4 Velocity Sens
00 65 | 0000 aaaa |
| 0000 bbbb |
|
|
01 3A | 0aaa aaaa | TVA Env Time 1
01 3B | 0aaa aaaa | TVA Env Time 2
01 3C | 0aaa aaaa | TVA Env Time 3
01 3D | 0aaa aaaa | TVA Env Time 4
01 3E | 0aaa aaaa | TVA Env Level 1
01 3F | 0aaa aaaa | TVA Env Level 2
01 40 | 0aaa aaaa | TVA Env Level 3
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
| 0000 cccc |
| 0000 dddd | WMT3 Wave Number R
(0 - 16384) |
OFF, 1 - 16384 |
|
|
00 69 | 0000 00aa | WMT3 Wave Gain
(0 - 3) |
|
|
-6, 0, +6, +12 [dB]
|
00 6A | 0000 000a | WMT3 Wave FXM Switch
(0 - 1) |
|
|
OFF, ON
|
|-------------+-----------+----------------------------------------------------|
00 6B | 0000 00aa | WMT3 Wave FXM Color
(0 - 3) |
1 - 4
|
|
|
|
01 41 | 0000 000a | One Shot Mode
(0 - 1) |
OFF, ON
(1 - 127) |
-63 - +63 |
|
|
|
|
|
|
00 6C | 000a aaaa | WMT3 Wave FXM Depth
00 6D | 0000 000a | WMT3 Wave Tempo Sync
(0 - 16) |
(0 - 1) |
01 42 | 0aaa aaaa | Aftertouch Time Ctrl Sens
|
|
|
|
OFF, ON
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50
(0 - 127) |
L64 - 63R
(0 - 1) |
OFF, ON
(0 - 2) |
|
|-------------+----------------------------------------------------------------|
| 00 00 01 43 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
00 6E | 0aaa aaaa | WMT3 Wave Coarse Tune
|
|
|
|
00 6F | 0aaa aaaa | WMT3 Wave Fine Tune
|
|
|
00 70 | 0aaa aaaa | WMT3 Wave Pan
|
|
|
00 71 | 0000 000a | WMT3 Wave Random Pan Switch
|
|
|
00 72 | 0000 00aa | WMT3 Wave Alternate Pan Switch
|
|
OFF, ON, REVERSE
|
(0 - 127) |
(1 - 127) |
00 73 | 0aaa aaaa | WMT3 Wave Level
00 74 | 0aaa aaaa | WMT3 Velocity Range Lower
|
|
1 - UPPER
|
00 75 | 0aaa aaaa | WMT3 Velocity Range Upper
(1 - 127) |
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
(0 - 1) |
00 76 | 0aaa aaaa | WMT3 Velocity Fade Width Lower
00 77 | 0aaa aaaa | WMT3 Velocity Fade Width Upper
00 78 | 0000 000a | WMT4 Wave Switch
|
|
OFF, ON
|
00 79 | 0000 00aa | WMT4 Wave Group Type
(0 - 2) |
|
|
INT, SRX, SAMPLE
|
|
00 7A | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 cccc |
| 0000 dddd | WMT4 Wave Group ID
(0 - 16384) |
|
|
OFF, 1 - 16384
|
|
|
|
00 7E | 0000 aaaa |
| 0000 bbbb |
| 0000 cccc |
| 0000 dddd | WMT4 Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
01 02 | 0000 aaaa |
| 0000 bbbb |
| 0000 cccc |
| 0000 dddd | WMT4 Wave Number R
(0 - 16384) |
OFF, 1 - 16384 |
|
|
01 06 | 0000 00aa | WMT4 Wave Gain
(0 - 3) |
|
|
-6, 0, +6, +12 [dB]
|
01 07 | 0000 000a | WMT4 Wave FXM Switch
(0 - 1) |
|
|
OFF, ON
|
01 08 | 0000 00aa | WMT4 Wave FXM Color
(0 - 3) |
1 - 4 |
|
|
01 09 | 000a aaaa | WMT4 Wave FXM Depth
01 0A | 0000 000a | WMT4 Wave Tempo Sync
(0 - 16) |
(0 - 1) |
|
|
OFF, ON
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50
(0 - 127) |
L64 - 63R
(0 - 1) |
OFF, ON
(0 - 2) |
|
01 0B | 0aaa aaaa | WMT4 Wave Coarse Tune
|
|
|
01 0C | 0aaa aaaa | WMT4 Wave Fine Tune
|
|
|
01 0D | 0aaa aaaa | WMT4 Wave Pan
|
|
|
01 0E | 0000 000a | WMT4 Wave Random Pan Switch
|
|
|
01 0F | 0000 00aa | WMT4 Wave Alternate Pan Switch
|
|
OFF, ON, REVERSE
|
(0 - 127) |
(1 - 127) |
01 10 | 0aaa aaaa | WMT4 Wave Level
01 11 | 0aaa aaaa | WMT4 Velocity Range Lower
|
|
1 - UPPER
|
01 12 | 0aaa aaaa | WMT4 Velocity Range Upper
(1 - 127) |
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
01 13 | 0aaa aaaa | WMT4 Velocity Fade Width Lower
01 14 | 0aaa aaaa | WMT4 Velocity Fade Width Upper
|-------------+-----------+----------------------------------------------------|
01 15 | 000a aaaa | Pitch Env Depth (52 - 76) |
-12 - +12
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 16 | 0aaa aaaa | Pitch Env Velocity Sens
|
|
|
01 17 | 0aaa aaaa | Pitch Env Time 1 Velocity Sens
|
|
|
01 18 | 0aaa aaaa | Pitch Env Time 4 Velocity Sens
|
|
|
01 19 | 0aaa aaaa | Pitch Env Time 1
01 1A | 0aaa aaaa | Pitch Env Time 2
01 1B | 0aaa aaaa | Pitch Env Time 3
01 1C | 0aaa aaaa | Pitch Env Time 4
01 1D | 0aaa aaaa | Pitch Env Level 0
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(1 - 127) |
|
|
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|
01 1E | 0aaa aaaa | Pitch Env Level 1
|
|
|
01 1F | 0aaa aaaa | Pitch Env Level 2
|
|
|
01 20 | 0aaa aaaa | Pitch Env Level 3
|
|
|
01 21 | 0aaa aaaa | Pitch Env Level 4
|
|
|
|-------------+-----------+----------------------------------------------------|
|
|
|
|
|
|
|
|
|
|
01 22 | 0000 0aaa | TVF Filter Type
(0 - 6) |
|
|
|
|
OFF, LPF, BPF, HPF, PKG, LPF2, |
LPF3
|
01 23 | 0aaa aaaa | TVF Cutoff Frequency
(0 - 127) |
(0 - 7) |
01 24 | 0000 0aaa | TVF Cutoff Velocity Curve
|
|
FIXED, 1 - 7
|
01 25 | 0aaa aaaa | TVF Cutoff Velocity Sens
(1 - 127) |
|
|
-63 - +63
|
01 26 | 0aaa aaaa | TVF Resonance
(0 - 127) |
(1 - 127) |
01 27 | 0aaa aaaa | TVF Resonance Velocity Sens
236
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
|
|
|
40 1x 23 | 0000 000a | Rx. Bank Select<*>
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON |
5.2 GS (Model ID = 42H)
|
|
|
40 1x 24 | 0000 000a | Rx. Bank Select LSB<*>
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
❍System Parameter
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 1x 30 | 0aaa aaaa | Tone Modify 1 (Vibrato Rate)
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
|
|
|
40 1x 31 | 0aaa aaaa | Tone Modify 2 (Vibrato Depth)
| Start
|
|
|
|
|
|
|
Address |
Description
40 1x 32 | 0aaa aaaa | Tone Modify 3 (TVF Cutoff Freq.)
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|#
|
|
|
|
|
|
|
|
|
40 00 00 | 0000 aaaa |
| 0000 bbbb |
|
|
|
40 1x 33 | 0aaa aaaa | Tone Modify 4 (TVF Resonance)
|
|
|
| 0000 cccc |
40 1x 34 | 0aaa aaaa | Tone Modify 5 (TVF&TVA Env. Attack)
| 0000 dddd | Master Tune
(24 — 2024) |
|
|
|
|
|
—100.0 — 100.0 [cent]
|
40 1x 35 | 0aaa aaaa | Tone Modify 6 (TVF&TVA Env. Decay)
40 00 04 | 0aaa aaaa | Master Volume
40 00 05 | 0aaa aaaa | Master Key Shift
(0 — 127) |
(40 — 88) |
|
|
|
40 1x 36 | 0aaa aaaa | Tone Modify 7 (TVF&TVA ENv. Release)
|
|
—24 — +24 [semitone]
|
|
|
|
40 00 06 | 0aaa aaaa | Master Pan
(1 — 127) |
40 1x 37 | 0aaa aaaa | Tone Modify 8 (Vibrato Delay)
|
|
L63 — 63R
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
40 00 7F | 0aaa aaaa | Mode Set
(0, 127) |
GS—RESET, GS—EXIT |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 1x 40 | 0aaa aaaa | Scale Tuning C
(0 — 127) |
|
|
|
|
—64 — +63 [cent]
|
|—————————————+————————————————————————————————————————————————————————————————|
40 1x 41 | 0aaa aaaa | Scale Tuning C#
(0 — 127) |
|
|
—64 — +63 [cent]
|
40 1x 42 | 0aaa aaaa | Scale Tuning D
(0 — 127) |
❍Common Parameter
+——————————————————————————————————————————————————————————————————————————————+
|
|
—64 — +63 [cent]
|
40 1x 43 | 0aaa aaaa | Scale Tuning D#
(0 — 127) |
|
|
—64 — +63 [cent]
|
| Start
|
|
|
40 1x 44 | 0aaa aaaa | Scale Tuning E
(0 — 127) |
|
Address |
Description
|
|
—64 — +63 [cent]
|
|—————————————+————————————————————————————————————————————————————————————————|
40 1x 45 | 0aaa aaaa | Scale Tuning F
(0 — 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 01 10 | 0aaa aaaa | Voice Reserve 1
40 01 11 | 0aaa aaaa | Voice Reserve 2
40 01 12 | 0aaa aaaa | Voice Reserve 3
40 01 13 | 0aaa aaaa | Voice Reserve 4
40 01 14 | 0aaa aaaa | Voice Reserve 5
40 01 15 | 0aaa aaaa | Voice Reserve 6
40 01 16 | 0aaa aaaa | Voice Reserve 7
40 01 17 | 0aaa aaaa | Voice Reserve 8
40 01 18 | 0aaa aaaa | Voice Reserve 9
40 01 19 | 0aaa aaaa | Voice Reserve 10
40 01 1A | 0aaa aaaa | Voice Reserve 11
40 01 1B | 0aaa aaaa | Voice Reserve 12
40 01 1C | 0aaa aaaa | Voice Reserve 13
40 01 1D | 0aaa aaaa | Voice Reserve 14
40 01 1E | 0aaa aaaa | Voice Reserve 15
40 01 1F | 0aaa aaaa | Voice Reserve 16
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
|
|
—64 — +63 [cent]
|
40 1x 46 | 0aaa aaaa | Scale Tuning F#
(0 — 127) |
|
|
—64 — +63 [cent]
|
40 1x 47 | 0aaa aaaa | Scale Tuning G
(0 — 127) |
|
|
—64 — +63 [cent]
|
40 1x 48 | 0aaa aaaa | Scale Tuning G#
(0 — 127) |
|
|
—64 — +63 [cent]
|
40 1x 49 | 0aaa aaaa | Scale Tuning A
(0 — 127) |
|
|
—64 — +63 [cent]
|
40 1x 4A | 0aaa aaaa | Scale Tuning A#
(0 — 127) |
|
|
—64 — +63 [cent]
|
40 1x 4B | 0aaa aaaa | Scale Tuning B
(0 — 127) |
|
|
—64 — +63 [cent]
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 00 | 0aaa aaaa | Mod Pitch Control
(40 — 88) |
|
|
—24 — +24 [semitone]
|
|—————————————+———————————+————————————————————————————————————————————————————|
40 2x 01 | 0aaa aaaa | Mod TVF Cutoff Control
(0 — 127) |
|
|
|
|
|
|
|
40 01 30 | 0aaa aaaa | Reverb Macro
(0 — 7) |
(0 — 7) |
(0 — 7) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
|
|
—9600 — +9600 [cent]
|
40 01 31 | 0aaa aaaa | Reverb Character
40 01 32 | 0aaa aaaa | Reverb Pre—LPF
40 01 33 | 0aaa aaaa | Reverb Level
40 2x 02 | 0aaa aaaa | Mod Amplitude Control
(0 — 127) |
|
|
—100.0 — +100.0 [%]
|
40 2x 03 | 0aaa aaaa | Mod LFO1 Rate Control
(0 — 127) |
40 01 34 | 0aaa aaaa | Reverb Time
40 01 35 | 0aaa aaaa | Reverb Delay Feedback
40 01 36 | 0aaa aaaa | Reverb Send Level to Chorus<*>
|
|
—10.0 — +10.0 [Hz]
|
40 2x 04 | 0aaa aaaa | Mod LFO1 Pitch Control
(0 — 127) |
|
|
0 — 600 [cent]
|
|—————————————+———————————+————————————————————————————————————————————————————|
40 2x 05 | 0aaa aaaa | Mod LFO1 TVF Depth
(0 — 127) |
|
|
|
|
|
|
|
|
40 01 38 | 0aaa aaaa | Chorus Macro
40 01 39 | 0aaa aaaa | Chorus Pre—LPF
40 01 3A | 0aaa aaaa | Chorus Level
40 01 3B | 0aaa aaaa | Chorus Feedback
40 01 3C | 0aaa aaaa | Chorus Delay
40 01 3D | 0aaa aaaa | Chorus Rate
40 01 3E | 0aaa aaaa | Chorus Depth
40 01 3F | 0aaa aaaa | Chorus Send Level to Reverb
(0 — 7) |
(0 — 7) |
|
|
0 — 2400 [cent]
|
40 2x 06 | 0aaa aaaa | Mod LFO1 TVA Depth
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
|
|
0 — 100.0 [%]
|
40 2x 07 | 0aaa aaaa | Mod LFO2 Rate Control
(0 — 127) |
|
|
—10.0 — +10.0 [Hz]
|
40 2x 08 | 0aaa aaaa | Mod LFO2 Pitch Control
(0 — 127) |
|
|
0 — 600 [cent]
|
40 2x 09 | 0aaa aaaa | Mod LFO2 TVF Depth
(0 — 127) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
0 — 2400 [cent]
|
40 2x 0A | 0aaa aaaa | Mod LFO2 TVA Depth
(0 — 127) |
0 — 100.0 [%]
|
|
|
❍Part Parameter
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 10 | 0aaa aaaa | Bend Pitch Control
(64 — 88) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
0 — 24 [semitone]
|
| Start
|
|
|
40 2x 11 | 0aaa aaaa | Bend TVF Cutoff Control
(0 — 127) |
|
Address |
Description
|
|
—9600 — +9600 [cent]
|
|—————————————+————————————————————————————————————————————————————————————————|
40 2x 12 | 0aaa aaaa | Bend Amplitude Control
(0 — 127) |
|#
|
40 1x 00 | 0aaa aaaa | Tone Number CC#00 Value
| 0aaa aaaa | Tone Number PC Value
(0 — 127) |
(0 — 127) |
|
|
—100.0 — +100.0 [%]
|
40 2x 13 | 0aaa aaaa | Bend LFO1 Rate Control
(0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
—10.0 — +10.0 [Hz]
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 1x 02 | 0aaa aaaa | Rx. Channel
(0 — 16) |
40 2x 14 | 0aaa aaaa | Bend LFO1 Pitch Control
(0 — 127) |
|
|
1 — 16, OFF
|
|
|
0 — 600 [cent]
|
40 1x 03 | 0000 000a | Rx. Pitch Bend
(0 — 1) |
40 2x 15 | 0aaa aaaa | Bend LFO1 TVF Depth
(0 — 127) |
|
|
OFF, ON
|
|
|
0 — 2400 [cent]
|
40 1x 04 | 0000 000a | Rx. Channel Pressure
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
|—————————————+———————————+————————————————————————————————————————————————————|
40 2x 16 | 0aaa aaaa | Bend LFO1 TVA Depth
(0 — 127) |
|
|
|
|
|
0 — 100.0 [%]
|
40 1x 05 | 0000 000a | Rx. Program Change
40 2x 17 | 0aaa aaaa | Bend LFO2 Rate Control
(0 — 127) |
|
|
|
|
|
—10.0 — +10.0 [Hz]
|
40 1x 06 | 0000 000a | Rx. Control Change
40 2x 18 | 0aaa aaaa | Bend LFO2 Pitch Control
(0 — 127) |
|
|
|
|
|
0 — 600 [cent]
|
40 1x 07 | 0000 000a | Rx. Poly Pressure
40 2x 19 | 0aaa aaaa | Bend LFO2 TVF Depth
(0 — 127) |
|
|
|
|
|
0 — 2400 [cent]
|
40 1x 08 | 0000 000a | Rx. Note Message
40 2x 1A | 0aaa aaaa | Bend LFO2 TVA Depth
(0 — 127) |
0 — 100.0 [%]
|
|
|
|
|
|
40 1x 09 | 0000 000a | Rx. RPN
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 20 | 0aaa aaaa | CAf Pitch Control
(40 — 88) |
40 1x 0A | 0000 000a | Rx. NRPN
|
|
—24 — +24 [semitone]
|
|
|
|
40 2x 21 | 0aaa aaaa | CAf TVF Cutoff Control
(0 — 127) |
40 1x 0B | 0000 000a | Rx. Modulation
|
|
—9600 — +9600 [cent]
|
|
|
|
40 2x 22 | 0aaa aaaa | CAf Amplitude Control
(0 — 127) |
40 1x 0C | 0000 000a | Rx. Volume
|
|
—100.0 — +100.0 [%]
|
|
|
|
40 2x 23 | 0aaa aaaa | CAf LFO1 Rate Control
(0 — 127) |
40 1x 0D | 0000 000a | Rx. Panpot
|
|
—10.0 — +10.0 [Hz]
|
|
|
|
40 2x 24 | 0aaa aaaa | CAf LFO1 Pitch Control
(0 — 127) |
40 1x 0E | 0000 000a | Rx. Expression
|
|
0 — 600 [cent]
|
|
|
|
40 2x 25 | 0aaa aaaa | CAf LFO1 TVF Depth
(0 — 127) |
40 1x 0F | 0000 000a | Rx. Hold—1
|
|
0 — 2400 [cent]
|
|
|
|
40 2x 26 | 0aaa aaaa | CAf LFO1 TVA Depth
(0 — 127) |
40 1x 10 | 0000 000a | Rx. Portamento
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0 — 100.0 [%]
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40 2x 27 | 0aaa aaaa | CAf LFO2 Rate Control
(0 — 127) |
40 1x 11 | 0000 000a | Rx. Sostenuto
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—10.0 — +10.0 [Hz]
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40 2x 28 | 0aaa aaaa | CAf LFO2 Pitch Control
(0 — 127) |
40 1x 12 | 0000 000a | Rx. Soft
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0 — 600 [cent]
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40 2x 29 | 0aaa aaaa | CAf LFO2 TVF Depth
(0 — 127) |
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0 — 2400 [cent]
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40 1x 13 | 0aaa aaaa | Mono / Poly Mode
(0 — 1) |
40 2x 2A | 0aaa aaaa | CAf LFO2 TVA Depth
(0 — 127) |
0 — 100.0 [%]
|
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MODE, POLY
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40 1x 14 | 0aaa aaaa | Assign Mode<*>
(0 — 2) |
|—————————————+———————————+————————————————————————————————————————————————————|
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SINGLE, LIMITED—MULTI, |
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40 2x 30 | 0aaa aaaa | PAf Pitch Control
(40 — 88) |
FULL—MULTI
(0 — 2) |
OFF, MAP1, MAP2 |
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—24 — +24 [semitone]
|
40 1x 15 | 0aaa aaaa | Use for Rhythm Part
40 2x 31 | 0aaa aaaa | PAf TVF Cutoff Control
(0 — 127) |
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—9600 — +9600 [cent]
|
|—————————————+———————————+————————————————————————————————————————————————————|
40 2x 32 | 0aaa aaaa | PAf Amplitude Control
(0 — 127) |
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|#
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40 1x 16 | 0aaa aaaa | Pitch Key Shift
(40 — 88) |
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—100.0 — +100.0 [%]
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—24 — +24 [semitone]
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40 2x 33 | 0aaa aaaa | PAf LFO1 Rate Control
(0 — 127) |
40 1x 17 | 0000 aaaa |
| 0000 bbbb | Pitch Offset Fine
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—10.0 — +10.0 [Hz]
|
(8 — 248) |
40 2x 34 | 0aaa aaaa | PAf LFO1 Pitch Control
(0 — 127) |
|
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—12.0 — +12.0 [Hz]
|
(0 — 127) |
(0 — 127) |
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0 — 600 [cent]
|
40 1x 19 | 0aaa aaaa | Part Level (CC# 7)
40 1x 1A | 0aaa aaaa | Velocity Sens Depth
40 2x 35 | 0aaa aaaa | PAf LFO1 TVF Depth
(0 — 127) |
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0 — 2400 [cent]
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—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
|
40 2x 36 | 0aaa aaaa | PAf LFO1 TVA Depth
(0 — 127) |
40 1x 1B | 0aaa aaaa | Velocity Sens Offset
|
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0 — 100.0 [%]
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|
40 2x 37 | 0aaa aaaa | PAf LFO2 Rate Control
(0 — 127) |
40 1x 1C | 0aaa aaaa | Part Panpot (CC# 10)
|
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—10.0 — +10.0 [Hz]
|
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|
RANDOM, L63 — 63R
|
(0 — 127) |
(0 — 127) |
(0 — 95) |
(0 — 95) |
(0 — 127) |
(0 — 127) |
40 2x 38 | 0aaa aaaa | PAf LFO2 Pitch Control
(0 — 127) |
40 1x 1D | 0aaa aaaa | Keyboard Range Low
40 1x 1E | 0aaa aaaa | Keyboard Range High
40 1x 1F | 0aaa aaaa | CC1 Controller Number
40 1x 20 | 0aaa aaaa | CC2 Controller Number
40 1x 21 | 0aaa aaaa | Chorus Send Level (CC# 93)
40 1x 22 | 0aaa aaaa | Reverb Send Level (CC# 93)
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0 — 600 [cent]
|
40 2x 39 | 0aaa aaaa | PAf LFO2 TVF Depth
(0 — 127) |
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0 — 2400 [cent]
|
40 2x 3A | 0aaa aaaa | PAf LFO2 TVA Depth
(0 — 127) |
0 — 100.0 [%]
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237
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MIDI Implementation
|—————————————+———————————+————————————————————————————————————————————————————|
6. Supplementary Material
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40 2x 40 | 0aaa aaaa | CC1 Pitch Control
(40 — 88) |
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—24 — +24 [semitone]
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40 2x 41 | 0aaa aaaa | CC1 TVF Cutoff Control
(0 — 127) |
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—9600 — +9600 [cent]
|
40 2x 42 | 0aaa aaaa | CC1 Amplitude Control
(0 — 127) |
■Decimal and Hexadecimal Table
(An “H” is appended to the end of numbers in hexadecimal notation.)
In MIDI documentation, data values and addresses/sizes of Exclusive messages, etc. are
expressed as hexadecimal values for each 7 bits.
|
|
—100.0 — +100.0 [%]
|
40 2x 43 | 0aaa aaaa | CC1 LFO1 Rate Control
(0 — 127) |
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—10.0 — +10.0 [Hz]
|
40 2x 44 | 0aaa aaaa | CC1 LFO1 Pitch Control
(0 — 127) |
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0 — 600 [cent]
|
40 2x 45 | 0aaa aaaa | CC1 LFO1 TVF Depth
(0 — 127) |
|
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0 — 2400 [cent]
|
The following table shows how these correspond to decimal numbers.
40 2x 46 | 0aaa aaaa | CC1 LFO1 TVA Depth
(0 — 127) |
|
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0 — 100.0 [%]
|
40 2x 47 | 0aaa aaaa | CC1 LFO2 Rate Control
(0 — 127) |
|
|
—10.0 — +10.0 [Hz]
|
+——————+——————++——————+——————++——————+——————++——————+——————+
40 2x 48 | 0aaa aaaa | CC1 LFO2 Pitch Control
(0 — 127) |
| D
| H
|| D
| H
|| D
| H
|| D
| H
|
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|
0 — 600 [cent]
|
+——————+——————++——————+——————++——————+——————++——————+——————+
40 2x 49 | 0aaa aaaa | CC1 LFO2 TVF Depth
(0 — 127) |
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0 — 2400 [cent]
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0 | 00H ||
1 | 01H ||
2 | 02H ||
3 | 03H ||
4 | 04H ||
5 | 05H ||
6 | 06H ||
7 | 07H ||
8 | 08H ||
9 | 09H ||
10 | 0AH ||
11 | 0BH ||
12 | 0CH ||
13 | 0DH ||
14 | 0EH ||
15 | 0FH ||
16 | 10H ||
17 | 11H ||
18 | 12H ||
19 | 13H ||
20 | 14H ||
21 | 15H ||
22 | 16H ||
23 | 17H ||
24 | 18H ||
25 | 19H ||
26 | 1AH ||
27 | 1BH ||
28 | 1CH ||
29 | 1DH ||
30 | 1EH ||
31 | 1FH ||
32 | 20H ||
33 | 21H ||
34 | 22H ||
35 | 23H ||
36 | 24H ||
37 | 25H ||
38 | 26H ||
39 | 27H ||
40 | 28H ||
41 | 29H ||
42 | 2AH ||
43 | 2BH ||
44 | 2CH ||
45 | 2DH ||
46 | 2EH ||
47 | 2FH ||
48 | 30H ||
49 | 31H ||
50 | 32H ||
51 | 33H ||
52 | 34H ||
53 | 35H ||
54 | 36H ||
55 | 37H ||
56 | 38H ||
57 | 39H ||
58 | 3AH ||
59 | 3BH ||
60 | 3CH ||
61 | 3DH ||
62 | 3EH ||
63 | 3FH ||
64 | 40H ||
65 | 41H ||
66 | 42H ||
67 | 43H ||
96 | 60H |
97 | 61H |
98 | 62H |
99 | 63H |
40 2x 4A | 0aaa aaaa | CC1 LFO2 TVA Depth
(0 — 127) |
0 — 100.0 [%]
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|—————————————+———————————+————————————————————————————————————————————————————|
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40 2x 50 | 0aaa aaaa | CC2 Pitch Control
(40 — 88) |
68 | 44H || 100 | 64H |
69 | 45H || 101 | 65H |
70 | 46H || 102 | 66H |
71 | 47H || 103 | 67H |
72 | 48H || 104 | 68H |
73 | 49H || 105 | 69H |
74 | 4AH || 106 | 6AH |
75 | 4BH || 107 | 6BH |
76 | 4CH || 108 | 6CH |
77 | 4DH || 109 | 6DH |
78 | 4EH || 110 | 6EH |
79 | 4FH || 111 | 6FH |
80 | 50H || 112 | 70H |
81 | 51H || 113 | 71H |
82 | 52H || 114 | 72H |
83 | 53H || 115 | 73H |
84 | 54H || 116 | 74H |
85 | 55H || 117 | 75H |
86 | 56H || 118 | 76H |
87 | 57H || 119 | 77H |
88 | 58H || 120 | 78H |
89 | 59H || 121 | 79H |
90 | 5AH || 122 | 7AH |
91 | 5BH || 123 | 7BH |
92 | 5CH || 124 | 7CH |
93 | 5DH || 125 | 7DH |
94 | 5EH || 126 | 7EH |
95 | 5FH || 127 | 7FH |
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—24 — +24 [semitone]
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40 2x 51 | 0aaa aaaa | CC2 TVF Cutoff Control
(0 — 127) |
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—9600 — +9600 [cent]
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40 2x 52 | 0aaa aaaa | CC2 Amplitude Control
(0 — 127) |
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—100.0 — +100.0 [%]
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40 2x 53 | 0aaa aaaa | CC2 LFO1 Rate Control
(0 — 127) |
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—10.0 — +10.0 [Hz]
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40 2x 54 | 0aaa aaaa | CC2 LFO1 Pitch Control
(0 — 127) |
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0 — 600 [cent]
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40 2x 55 | 0aaa aaaa | CC2 LFO1 TVF Depth
(0 — 127) |
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0 — 2400 [cent]
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40 2x 56 | 0aaa aaaa | CC2 LFO1 TVA Depth
(0 — 127) |
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0 — 100.0 [%]
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40 2x 57 | 0aaa aaaa | CC2 LFO2 Rate Control
(0 — 127) |
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—10.0 — +10.0 [Hz]
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40 2x 58 | 0aaa aaaa | CC2 LFO2 Pitch Control
(0 — 127) |
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0 — 600 [cent]
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40 2x 59 | 0aaa aaaa | CC2 LFO2 TVF Depth
(0 — 127) |
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0 — 2400 [cent]
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40 2x 5A | 0aaa aaaa | CC2 LFO2 TVA Depth
(0 — 127) |
0 — 100.0 [%]
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+——————————————————————————————————————————————————————————————————————————————+
x: BLOCK NUMBER (0-F)
Part 1 (MIDI ch = 1) x = 1
Part 2 (MIDI ch = 2) x = 2
:
:
:
Part 9 (MIDI ch = 9) x = 9
Part10 (MIDI ch = 10) x = 0
Part11 (MIDI ch = 11) x = A
Part12 (MIDI ch = 12) x = B
:
:
:
Part16 (MIDI ch = 16) x = F
+——————+——————++——————+——————++——————+——————++——————+——————+
D: decimal
H: hexadecimal
❍Drum Setup Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start
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*
*
Decimal values such as MIDI channel, bank select, and program change are listed as one
greater than the values given in the above table.
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
41 m0 00 | 0aaa aaaa | Drum Map Name 1 (32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
|—————————————+———————————+————————————————————————————————————————————————————|
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A 7-bit byte can express data in the range of 128 steps. For data where greater precision
is required, we must use two or more bytes. For example, two hexadecimal numbers aa
bbH expressing two 7-bit bytes would indicate a value of aa x 128+bb.
In the case of values which have a +/- sign, 00H = -64, 40H = +/-0, and 7FH = +63, so
that the decimal expression would be 64 less than the value given in the above chart. In
the case of two types, 00 00H = -8192, 40 00H = +/-0, and 7F 7FH = +8191. For example, if
aa bbH were expressed as decimal, this would be aa bbH - 40 00H = aa x 128+bb - 64 x
128.
41 m0 01 | 0aaa aaaa | Drum Map Name 2
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41 m0 02 | 0aaa aaaa | Drum Map Name 3
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41 m0 03 | 0aaa aaaa | Drum Map Name 4
*
*
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41 m0 04 | 0aaa aaaa | Drum Map Name 5
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41 m0 05 | 0aaa aaaa | Drum Map Name 6
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41 m0 06 | 0aaa aaaa | Drum Map Name 7
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41 m0 07 | 0aaa aaaa | Drum Map Name 8
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Data marked “Use nibbled data” is expressed in hexadecimal in 4-bit units. A value
expressed as a 2-byte nibble 0a 0bH has the value of a x 16+b.
41 m0 08 | 0aaa aaaa | Drum Map Name 9
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41 m0 09 | 0aaa aaaa | Drum Map Name 10
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41 m0 0A | 0aaa aaaa | Drum Map Name 11
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<Example1> What is the decimal expression of 5AH?
41 m0 0B | 0aaa aaaa | Drum Map Name 12
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From the preceding table, 5AH = 90
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41 m1 rr | 0aaa aaaa | Play Note Number
41 m2 rr | 0aaa aaaa | Level
(0 — 127) |
(0 — 127) |
(0 — 127) |
41 m3 rr | 0aaa aaaa | Assign Group Number
<Example2> What is the decimal expression of the value 12 34H given as
hexadecimal for each 7 bits?
|
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NON, 1 — 127
|
41 m4 rr | 0aaa aaaa | Panpot
(0 — 127) |
|
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RAMDOM, L63 — 63R
|
41 m5 rr | 0aaa aaaa | Reverb Send Level
(0 — 127) |
From the preceding table, since 12H = 18 and 34H = 52
18 x 128+52 = 2356
|
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0.0 — 1.0
|
41 m6 rr | 0aaa aaaa | Chorus Send Level
(0 — 127) |
0.0 — 1.0
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON |
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41 m7 rr | 0000 000a | Rx. Note Off
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41 m8 rr | 0000 000a | Rx. Note On
<Example3> What is the decimal expression of the nibbled value 0A 03
09 0D?
|
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|—————————————+————————————————————————————————————————————————————————————————|
m: Map number (0 = MAP1, 1 = MAP2)
rr: drum part note number (00H-7FH)
From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13
((10 x 16+3) x 16+9) x 16+13 = 41885
<Example4> What is the nibbled expression of the decimal value 1258?
16 ) 1258
16 )
16 )
78 ...10
4 ...14
0 ... 4
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the result is: 00 04 0E
0AH.
238
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MIDI Implementation
■Examples of Actual MIDI Messages
■Example of an Exclusive Message and
Calculating a Checksum
Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before
F7) to make sure that the message was correctly received. The value of the checksum is
determined by the address and data (or size) of the transmitted Exclusive message.
<Example1> 92 3E 5F
9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and
5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4),
and velocity 95.
●How to calculate the checksum
(hexadecimal numbers are indicated by “H”)
<Example2> CE 49
CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14 and
49H = 73, this is a Program Change message with MIDI CH = 15, program number 74.
The checksum is a value derived by adding the address, size, and checksum itself and
inverting the lower 7 bits.
Here’s an example of how the checksum is calculated. We will assume that in the Exclusive
message we are transmitting, the address is aabbccddH and the data or size is eeffH.
<Example3> EA 00 28
EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (00H
= 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed
number in which 40 00H (= 64 x 12+80 = 8192) is 0, so this Pitch Bend Value is
28 00H - 40 00H = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 = -3072
aa + bb + cc + dd + ee + ff = sum
sum ÷ 128 = quotient ... remainder
128 - remainder = checksum
<Example> Setting CHORUS TYPE of PERFORMANCE COMMON to
DELAY (DT1)
If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch to
change -200 cents, so in this case -200 x (-3072) ÷ (-8192) = -75 cents of Pitch Bend is being
applied to MIDI channel 11.
According to the Parameter Address Map (p. 222), the start address of Temporary
Performance is 10 00 00 00H, the offset address of CHORUS at PERFORMANCE COMMON
is 04 00H, and the address of CHORUS TYPE is 00 00H. Therefore the address of CHORUS
TYPE of PERFORMANCE COMMON is;
<Example4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F
BnH is the Control Change status, and n is the MIDI channel number. For Control Changes,
the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or
more messages consecutive messages have the same status, MIDI has a provision called
“running status” which allows the status byte of the second and following messages to be
omitted. Thus, the above messages have the following meaning.
10 00 00 00H
04 00H
+)
00 00H
10 00 04 00H
DELAY has the value of 02H.
B3
64 00
65 00
06 0C
26 00
64 7F
65 7F
MIDI ch.4, lower byte of RPN parameter number:
(MIDI ch.4) upper byte of RPN parameter number:
(MIDI ch.4) upper byte of parameter value:
00H
00H
0CH
00H
7FH
7FH
So the system exclusive message should be sent is;
(B3)
(B3)
(B3)
(B3)
(B3)
F0
41
10 00 00 15 12
(3) (4) (5)
10 00 04 00
address
02
??
F7
(MIDI ch.4) lower byte of parameter value:
(1)
(2)
data
checksum
(6)
(MIDI ch.4) lower byte of RPN parameter number:
(MIDI ch.4) upper byte of RPN parameter number:
(1) Exclusive Status
(2) ID (Roland)
(3) Device ID (17)
(4) Model ID (JUNO-G)
(5) Command ID (DT1)
(6) End of Exclusive
In other words, the above messages specify a value of 0C 00H for RPN parameter number
00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH.
Then calculate the checksum.
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates
semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to +/-12
semitones (1 octave). (On GS sound generators the LSB of Pitch Bend Sensitivity is ignored,
but the LSB should be transmitted anyway (with a value of 0) so that operation will be
correct on any device.)
10H + 00H + 04H + 00H + 02H = 16 + 0 + 4 + 0 + 2 = 22 (sum)
22 (sum) ÷ 128 = 0 (quotient) ... 22 (remainder)
checksum = 128 - 22 (remainder) = 106 = 6AH
This means that F0 41 10 00 00 15 12 10 00 04 00 02 6A F7 is the message should be sent.
Once the parameter number has been specified for RPN or NRPN, all Data Entry messages
transmitted on that same channel will be valid, so after the desired value has been
transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents.
This is the reason for the (B3) 64 7F (B3) 65 7F at the end.
It is not desirable for performance data (such as Standard MIDI File data) to contain many
events with running status as given in <Example 4>. This is because if playback is halted
during the song and then rewound or fast-forwarded, the sequencer may not be able to
transmit the correct status, and the sound generator will then misinterpret the data. Take
care to give each event its own status.
It is also necessary that the RPN or NRPN parameter number setting and the value setting
be done in the proper order. On some sequencers, events occurring in the same (or
consecutive) clock may be transmitted in an order different than the order in which they
were received. For this reason it is a good idea to slightly skew the time of each event (about
1 tick for TPQN = 96, and about 5 ticks for TPQN = 480).
*
TPQN: Ticks Per Quarter Note
239
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MIDI Implementation
■The Scale Tune Feature (address: 40 1x 40)
Bank Select and Program Change
Correspondence Chart
The scale tune feature allows you to finely adjust the individual pitch of the notes from C
through B. Though the settings are made while working with one octave, the fine
adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can
obtain a complete variety of tuning methods other than equal temperament. As examples,
three possible types of scale setting are explained below.
Patch
Group
Number
Bank Select
Program
Number
*
The scale tune value received by the part 1 is used in Patch mode and Piano mode.
MSB
LSB
0
USER
001–128
129–256
001–128
129–256
001–128
001–128
001–128
001–128
001–128
001–128
001–256
87
87
87
87
87
87
87
87
87
87
121
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–128
❍Equal Temperament
1
This method of tuning divides the octave into 12 equal parts. It is currently the most widely
used form of tuning, especially in occidental music. On the JUNO-G, the default settings for
the Scale Tune feature produce equal temperament.
CARD
32
33
64
65
66
67
68
69
0–
PR-A
PR-B
PR-C
PR-D
PR-E
PR-F
GM(2)
❍Just Temperament (Tonic of C)
The principal triads resound much more beautifully than with equal temperament, but this
benefit can only be obtained in one key. If transposed, the chords tend to become
ambiguous. The example given involves settings for a key in which C is the keynote.
EXP (SRX-01)
001–
001–
:
93
93
:
0
1
:
1–
1–
:
(SRX-02)
:
❍Arabian Scale
By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for
ethnic music. For example, the settings introduced below will set the unit to use the Arabian
Scale.
*
The EXP group vary depending on the Wave Expansion Board you’ve installed. For
information about an SRX series board, refer to the Owner’s Manual that came with it.
Example Settings
Rhythm Set
Group
Note name
Equal Temperament
Just Temperament (Key-tone C) Arabian Scale
C
C#
D
0
0
0
0
0
0
0
0
0
0
0
0
0
-6
+45
-2
Number
Bank Select
Program
Number
1–32
1–32
1–36
1–57
-8
MSB
86
LSB
0
+4
USER
CARD
PRST
GM(2)
EXP (SRX-01)
001–032
001–032
001–036
001–009
001–
001–
:
Eb
E
+16
-14
-2
-12
-51
-8
86
32
86
64
120
---
F
92
92
:
0
1
:
1–
1–
:
F#
G
-10
+2
+43
-4
(SRX-02)
:
G#
A
+14
-16
+14
-12
+47
0
*
The EXP group vary depending on the Wave Expansion Board you’ve installed. For
information about an SRX series board, refer to the Owner’s Manual that came with it.
Bb
B
-10
-49
Performance
Group
The values in the table are given in cents. Convert these values to hexadecimal, and transmit
them as Exclusive data.
Number
Bank Select
Program
Number
1–64
1–64
1–64
MSB
LSB
0
For example, to set the tune (C-B) of the Part 1 Arabian Scale, send the following data:
USER
CARD
PRST
01–64
01–64
01–64
85
85
85
32
F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7
64
*
To switch multitimbres, the external MIDI device’s transmit channel needs to be
■ASCII Code Table
Patch Name and Performance Name, etc., of MIDI data are described the ASCII
code in the table below.
matched up with the Performance Control Channel (SYSTEM/MIDI/GENERAL) of the
JUNO-G.
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
| D
| H
| Char || D
| H
| Char || D
| H
| Char |
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
32 | 20H | SP ||
64 | 40H |
65 | 41H |
66 | 42H |
67 | 43H |
68 | 44H |
69 | 45H |
70 | 46H |
71 | 47H |
72 | 48H |
73 | 49H |
74 | 4AH |
75 | 4BH |
76 | 4CH |
77 | 4DH |
78 | 4EH |
79 | 4FH |
80 | 50H |
81 | 51H |
82 | 52H |
83 | 53H |
84 | 54H |
85 | 55H |
86 | 56H |
87 | 57H |
88 | 58H |
89 | 59H |
90 | 5AH |
91 | 5BH |
92 | 5CH |
93 | 5DH |
94 | 5EH |
95 | 5FH |
@ ||
A ||
B ||
C ||
96 | 60H |
97 | 61H |
98 | 62H |
99 | 63H |
` |
a |
b |
c |
d |
e |
f |
g |
h |
i |
j |
k |
l |
m |
n |
o |
p |
q |
r |
s |
t |
u |
v |
w |
x |
y |
z |
{ |
| |
} |
33 | 21H |
34 | 22H |
35 | 23H |
36 | 24H |
37 | 25H |
38 | 26H |
39 | 27H |
40 | 28H |
41 | 29H |
42 | 2AH |
43 | 2BH |
44 | 2CH |
45 | 2DH |
46 | 2EH |
47 | 2FH |
48 | 30H |
49 | 31H |
50 | 32H |
51 | 33H |
52 | 34H |
53 | 35H |
54 | 36H |
55 | 37H |
56 | 38H |
57 | 39H |
58 | 3AH |
59 | 3BH |
60 | 3CH |
61 | 3DH |
62 | 3EH |
63 | 3FH |
! ||
“ ||
# ||
$ ||
% ||
& ||
` ||
( ||
) ||
* ||
+ ||
, ||
— ||
. ||
/ ||
0 ||
1 ||
2 ||
3 ||
4 ||
5 ||
6 ||
7 ||
8 ||
9 ||
: ||
; ||
< ||
= ||
> ||
? ||
D || 100 | 64H |
E || 101 | 65H |
F || 102 | 66H |
G || 103 | 67H |
H || 104 | 68H |
I || 105 | 69H |
J || 106 | 6AH |
K || 107 | 6BH |
L || 108 | 6CH |
M || 109 | 6DH |
N || 110 | 6EH |
O || 111 | 6FH |
P || 112 | 70H |
Q || 113 | 71H |
R || 114 | 72H |
S || 115 | 73H |
T || 116 | 74H |
U || 117 | 75H |
V || 118 | 76H |
W || 119 | 77H |
X || 120 | 78H |
Y || 121 | 79H |
Z || 122 | 7AH |
[ || 123 | 7BH |
\ || 124 | 7CH |
] || 125 | 7DH |
^ ||——————+——————+——————+
_ |
+——————+——————+——————++——————+——————+——————+
D: decimal
H: hexadecimal
*
“SP” is space.
240
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MIDI Implementation Chart
Date : Feb. 1, 2006
(MSooduenldJUGNenOe-rGator Section) MIDI Implementation Chart
Version : 1.00
Function...
Transmitted
Recognized
MIDI Imp
Remarks
Basic
Channel Changed
Default
1–16
1–16
1–16
1–16
Memorized
Default
Messages
Altered
Mode 3
Mono, Poly
Mode 3
Mode 3, 4 (M = 1)
* 2
Mode
**************
Note
Number :
0–127
**************
0–127
0–127
True Voice
Note On
Note Off
O
O
O
O
Velocity
After
Touch
Key’s
Channel’s
X
O
O
O
*1
*1
Pitch Bend
O
O
*1
0, 32
1
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
X
*1
O
O
O
O
O
O
O
X
*1
*1
Bank select
Modulation
2
Breath type
*3
4
5
Foot type
Portamento time
Data entry
6, 38
7
*1
Volume
8
Balance
10
11
16
17
18
19
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
80
81
82
83
84
91
92
93
94
95
O
O
X
*1
*1
Panpot
Expression
General purpose controller 1
General purpose controller 2
General purpose controller 3
General purpose controller 4
Hold 1
X
X
Control
Change
X
O
O
O
O
O
O
X
*1
Portamento
Sostenuto
Soft
Legato foot switch
Hold 2
Sound variation
Resonance
O
O
O
O
O
O
O
O
Release time
Attack time
Cutoff
Decay time
Vibrato rate
Vibrato depth
Vibrato delay
O
O
O
O
O
O
X
(Tone 1 Level)
(Tone 2 Level)
(Tone 3 Level)
(Tone 4 Level)
General purpose controller 5
General purpose controller 6
General purpose controller 7
General purpose controller 8
Portamento control
General purpose effects 1
Tremolo
(Reverb)
(Chorus)
O
X
General purpose effects 3
Celeste
X
Phaser
1–31, 64–95
98, 99
100, 101
O
X
Pedal, Knob, D Beam
NRPN LSB, MSB
RPN LSB, MSB
X
O
Program
Change
O
*1
O
0–127
*1
*1
**************
: True Number
Program No. 1–128
System Exclusive
O
O
: Song Position
: Song Select
: Tune Request
X
X
X
X
X
X
System
Common
System
Real Time : Commands
: Clock
X
X
X
X
X
O
X
O
O
X
O
: All Sound Off
*4
O
: Reset All Controllers
Aux
Messages
X
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
*4
*1
O (123–127)
O
X
* 1 O X is selectable.
* 2 Recognized as M=1 even if M≠1. * 4 Transmitted only when V-LINK is ON.
* 3 Received it as ACTIVE EXPRESSION.
Notes
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
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MIDI Implementation Chart
(Song Recorder (MIDI TRACK) Section)
Date : Feb. 1, 2006
Version : 1.00
Model JUNO-G
MIDI Implementation Chart
Function...
Transmitted
Recognized
Remarks
Basic
Channel Changed
Default
All channel
X
All channel
1–16
There is no specific
basic channel.
Default
Messages
Altered
X
X
X
X
Mode
**************
Note
Number :
0–127
**************
0–127
0–127
True Voice
Note On
Note Off
O
O
O
O
Velocity
After
Touch
Key’s
Channel’s
O
O
O
O
*1
*1
Pitch Bend
O
O
O
O
*1
*1
0–119
Control
Change
Program
Change
O
O
0–127
*1
*1
**************
: True Number
System Exclusive
: Quarter Frames
System
Common : Song Select
: Tune Request
O
O
O
O
X
*1
*1
O
O
X
*2
*1
: Song Position
O
O
System
Real Time : Commands
: Clock
O
O
*1
*1
O
O
*1
*1
O
O
X
O
: All Sound Off
O
: Reset All Controllers
Aux
Messages
*2
*3
X
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
O
O
X
O (123–127)
*3
O
X
*1 O X is selectable.
*2 Not stored/transmitted when received, but can be created and transmitted using Microscope.
*3 Mode Messages (123–127) are recorded and transmitted, after all currently sounding notes
are turned off. The All Note Message itself is not recorded or transmitted. However, it can be
created in Microscope and transmitted.
Notes
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
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Specifications
JUNO-G: Synthesizer Keyboard (Conforms to General MIDI 2 System)
Rhythm Pattern
Preset:
256 (32 groups)
256 (32 groups)
Keyboard: 61 keys (with velocity)
User:
Sound Generator Section
Chord Memory
Preset:
64
64
Maximum Polyphony
User:
128 voices (shared with audio track section)
Controllers
Parts: 16 parts
D Beam Controller
Wave Memory
Pitch Bend/Modulation Lever
Sound Modify Knob x 6
64 M bytes (16-bit linear equivalent)
Preset Memory
Display
240 x 96 dots graphic LCD (with backlit)
Patches:
768 + 256 (GM2)
36 + 9 (GM2)
64
Rhythm Sets:
Performances:
Expansion Slots
SRX expansion board: 1 slot
User Memory
DIMM: 1 slot (memory expansion for audio recording)
Patches:
256
32
External Storage Device
Rhythm Sets:
Performances:
PC Card: 1 slot (supports SmartMedia and CompactFlash using
64
a PC card adaptor)
Effects
Connectors
Multi-Effects:
3 systems, 78 types
3 types
Headphones Jack
Chorus:
Output Jacks (L (MONO), R): 1/4 inch phone type
Input Jacks (L (MONO)/MIC, R): 1/4 inch phone type
MIDI Connectors (IN, OUT)
Reverb:
5 types
Input Effects:
6 types
Mastering Effects: 3-band compressor
Hold Pedal Jack
Control Pedal Jack
Song Recorder Section
USB Connector (supports file transfer and MIDI)
Tracks
MIDI tracks: 16
Power Supply
Audio tracks: 4 stereo tracks
Tempo track: 1
DC 9 V (AC Adaptor)
Current draw
Beat track: 1
2000 mA
Song Length: 9998 measures
Tempo: 5–300
Dimensions
1022.8 (W) x 298.4 (D) x 101.7 (H) mm
40-5/16 (W) x 11-3/4 (D) x 4-1/16 (H) inches
MIDI Track
Resolution: 480 TPQN
Weight
Note Capacity: approx. 400,000 notes
6.2 kg / 13 lbs 11 oz (excluding AC Adaptor)
Recording Method: Realtime recording, Step recording
Accessories
Owner’s Manual
Audio Track
Data Format: 16-bit linear
CD-ROM x 2 (Editor/Librarian/USB MIDI driver, SONAR LE)
Sample Rate: 44.1 kHz
Recording Time:
PC Card Protector
AC Adaptor
•
•
memory not expanded (4 M bytes): approx. mono 47 seconds
(stereo 23.5 seconds)
Options
Wave Expansion Board: SRX Series
memory fully expanded (516 M bytes): approx. mono 102
minutes (stereo 51 minutes)
Keyboard Stand: KS-12
Pedal Switch: DP series
Foot Switch: BOSS FS-5U
Expression Pedal: EV-5
Others
Arpeggiator
962a
Preset:
128
128
*
In the interest of product improvement, the specifications and/or
appearance of this unit are subject to change without prior notice.
User:
243
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Index
Auto Punch-In ........................................................................................................ 90
AUTO WAH ........................................................................................................ 133
Symbols
.MID ......................................................................................................................... 22
.SVA ........................................................................................................ 22, 165, 168
.SVQ ........................................................................................................ 22, 165, 168
.WAV ................................................................................................... 118, 165, 168
B
Beat
Auto Chop ................................................................................................... 123
Beat Indicator Mode ........................................................................................... 162
Beat Track ................................................................................................ 21, 88, 101
Bend ......................................................................................................................... 65
Bias
Patch ................................................................................................................ 42
Bias Direction .......................................................................................................... 42
Bias Level ................................................................................................................ 42
Bias Position ............................................................................................................ 42
Booster ..................................................................................................................... 36
Booster 1&2, 3&4 .................................................................................................... 36
Booster Gain ........................................................................................................... 36
BPM
Numerics
2BAND CHORUS ................................................................................................ 140
2BAND FLANGER .............................................................................................. 140
2BAND STEP FLANGER ................................................................................... 141
2VOICE PITCH SHIFTER .................................................................................. 148
3D CHORUS ......................................................................................................... 139
3D DELAY ............................................................................................................ 146
3D Effects .............................................................................................................. 153
3D FLANGER ...................................................................................................... 139
3D STEP FLANGER ............................................................................................ 140
3TAP PAN DELAY ............................................................................................. 144
4TAP PAN DELAY ............................................................................................. 144
Arpeggio ......................................................................................................... 73
Rhythm Pattern .............................................................................................. 79
A
Active Expression .................................................................................................. 71
A-Env Level 1–3
Patch ................................................................................................................ 43
Rhythm Set ..................................................................................................... 56
A-Env T1 V-Sens
Patch ................................................................................................................ 43
Rhythm Set ..................................................................................................... 56
A-Env T4 V-Sens
CARD ................................................................................................................ 25, 59
Card
Card Format ................................................................................................. 164, 166
Category Group Button ........................................................................................ 26
Ch/Part Select ...................................................................................... 88, 102–103
CHOP .................................................................................................................... 122
Chop Type ............................................................................................................ 123
Chord Form ............................................................................................................ 77
Chord Memory ....................................................................................................... 77
CHORD NAME ...................................................................................................... 78
CHORUS .................................................................................... 137–140, 150–152
Chorus ................................................................................................... 20, 111, 154
Chorus Level ................................................................................................ 127–128
Chorus Output Assign ............................................................................... 127–128
Chorus Output Select ................................................................................. 127–128
Solo Synth .............................................................................................. 70, 163
Chorus Source ..................................................................................................... 128
Chorus Type ....................................................................................... 126, 128, 154
Clear ...................................................................................................................... 109
Coarse Tune ............................................................................................................ 65
Amp and Speaker System ............................................................................. 14
Continuous Hold Pedal ............................................................................... 72, 159
Control Pedal ................................................................................................... 16, 72
Control Pedal Assign .................................................................................... 72, 159
Control Pedal Polarity .................................................................................. 72, 159
CONTROL SW(PERF) ........................................................................................... 68
Control Switch ........................................................................................................ 38
Controller Section .................................................................................................. 17
Copy ................................................................................. 32, 50, 98, 102, 109, 166
Copying ................................................................................................................ 166
Patch (Tone) Setting ....................................................................................... 32
Rhythm Tone Setting ..................................................................................... 50
Count In ................................................................................................................... 89
Create .................................................................................................................... 101
Create Event ................................................................................................. 101–103
Create Position ............................................................................................ 102–103
CSAM ...................................................................................................................... 25
CTRL ..................................................................................................................... 160
Patch ................................................................................................................ 43
Rhythm Set ..................................................................................................... 56
A-Env Time 1–4
Patch ................................................................................................................ 43
Rhythm Set ..................................................................................................... 56
A-Env Time KF ...................................................................................................... 43
Aftertouch Time Ctrl Sens .................................................................................... 52
AIFF ..................................................................................................... 118, 165, 168
Alter Pan Depth ..................................................................................................... 43
Alternate Pan Depth ............................................................................................. 56
AMP ....................................................................................................................... 121
AMP ENV ......................................................................................................... 30, 49
Analog Feel ............................................................................................................. 34
Arabian Scale ......................................................................................................... 67
Arp/Rhythm Sync Switch ................................................................................. 162
Arpeggio ................................................................................................................. 73
ARPEGGIO STYLE ............................................................................................... 74
ARPEGGIO STYLE EDIT ..................................................................................... 75
ARPEGGIO STYLE NAME .................................................................................. 76
ASSIGN ................................................................................................................. 163
Assign Type ............................................................................................................ 52
Assignable ........................................................................................................ 71, 86
ATTACK ........................................................................................................... 30, 49
Attack Time Offset ................................................................................................ 36
ATV EXP ............................................................................................................... 163
AUDIO IN Slider ................................................................................................. 104
AUDIO INPUT LEVEL Knob ............................................................................ 104
AUDIO INPUT SETTING .................................................................................. 104
AUDIO MERGE ................................................................................................... 106
AUDIO MIXER .................................................................................................... 111
Audio Rec Channel ............................................................................................. 106
Audio Rec Count In ............................................................................................ 105
Audio Rec Mode .................................................................................................. 105
Audio Rec Sample Assign .................................................................................. 106
Audio Rec Standby .............................................................................................. 105
Audio Recording ................................................................................................. 106
AUDIO TRACK .......................................................................................... 105, 108
Audio Track ........................................................................................................... 21
Merge ............................................................................................................ 106
Audio Track Clear Menu .................................................................................... 109
Audio Track Key Shift ........................................................................................ 111
Audio Track Mute ................................................................................................. 85
AUDIO TRACK NAME ..................................................................................... 110
Audio Track Recording .................................................................................. 17, 22
AUDITION ............................................................................................................. 28
Auto Chop ............................................................................................................ 123
AUTO LD ............................................................................................................. 158
AUTO PAN .......................................................................................................... 136
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Patch ................................................................................................................ 41
Rhythm Set ...................................................................................................... 56
CTRL 1–4 Destination 1–4 .................................................................................... 44
CTRL 1–4 Sens 1–4 ................................................................................................ 44
CTRL 1–4 Source ................................................................................................... 44
CTRL 1–4 Switch 1–4 ............................................................................................ 44
CTRL SETTING ..................................................................................................... 68
CTRLSW ................................................................................................................. 68
Cursor ...................................................................................................................... 24
Curve ....................................................................................................................... 66
CUTOFF ............................................................................................................ 30, 49
Cutoff Frequency
Patch ................................................................................................................ 40
Rhythm Set ..................................................................................................... 55
Cutoff Keyfollow ................................................................................................... 40
Cutoff Offset ........................................................................................................... 36
Cutoff V-Curve
Patch ................................................................................................................ 41
Rhythm Set ...................................................................................................... 56
Patch ................................................................................................................ 41
Rhythm Set ...................................................................................................... 56
Patch ................................................................................................................ 41
Rhythm Set ...................................................................................................... 56
F-Env Time KF ........................................................................................................ 41
Patch ................................................................................................................ 41
Rhythm Set ...................................................................................................... 56
Patch ................................................................................................................ 41
Rhythm Set ...................................................................................................... 56
File ......................................................................................................................... 165
File Name ............................................................................................................. 114
File Utility ............................................................................................................ 165
FILTER ENV .................................................................................................... 30, 49
Patch ................................................................................................................ 41
Rhythm Set ..................................................................................................... 55
Cutoff V-Sens
Patch ................................................................................................................ 41
Rhythm Set ..................................................................................................... 55
D
D BEAM ................................................................................................................ 162
D Beam .................................................................................................................... 69
Active Expression .......................................................................................... 71
Assignable ................................................................................................ 71, 86
Solo Synth ....................................................................................................... 70
D Beam Sens ......................................................................................................... 162
DEC ......................................................................................................................... 24
DECAY .............................................................................................................. 30, 49
Default File Type ................................................................................................. 158
DELAY ....................................................................................... 143–146, 150–152
Delay ....................................................................................................................... 65
Delay Time ............................................................................................................. 46
Delay Time KF ....................................................................................................... 46
Delete ...................................................................................................... 98, 109, 166
Delete Song ........................................................................................................... 116
Deleting ................................................................................................................. 166
Dividing Point ............................................................................................. 123
Sample ........................................................................................................... 118
Demo ....................................................................................................................... 15
Depth ....................................................................................................................... 65
Destination ........................................................................................................... 129
Device ID .............................................................................................................. 160
DIMM .................................................................................................................... 176
Display .................................................................................................................... 15
DISTORTION .............................................................................................. 141, 150
Drop Format ......................................................................................................... 162
Patch ................................................................................................................ 40
Rhythm Set ...................................................................................................... 55
FLANGER .................................................................................. 138–141, 150–152
Format
Memory Card ...................................................................................... 164, 166
Function Button ...................................................................................................... 23
FXM ................................................................................................................... 39, 53
Rhythm Set ...................................................................................................... 53
FXM Depth .............................................................................................................. 39
Rhythm Set ...................................................................................................... 53
FXM Switch ............................................................................................................. 39
Rhythm Set ...................................................................................................... 53
G
GATE .................................................................................................................... 142
GATED REVERB ................................................................................................. 149
GENERAL ............................................................................................... 34, 52, 158
General MIDI ....................................................................................................... 209
General MIDI 2 .................................................................................................... 209
GM ........................................................................................................................... 25
Grid Quantize Strength ......................................................................................... 90
Grid Resolution ...................................................................................................... 90
GUITAR AMP SIMULATOR ............................................................................ 142
E
Edit Marker List ............................................................................................ 94, 109
Editing
Patch ................................................................................................................ 30
Performance ................................................................................................... 63
Rhythm Set ..................................................................................................... 49
Sample ........................................................................................................... 117
Song (Audio Track) ..................................................................................... 108
Song (MIDI Track) ......................................................................................... 94
Editor ..................................................................................................................... 170
Effect ....................................................................................................... 20, 125–127
EFFECT ROUTING ............................................................................................. 125
EFFECT SWITCH ................................................................................................ 125
EMPHASIS ........................................................................................................... 121
End ......................................................................................................................... 119
End Point .......................................................................................................... 89, 95
ENHANCER ............................................................................................... 133, 151
Envelope ................................................................................................................. 17
Equal Temperament .............................................................................................. 67
EQUALIZER ........................................................................................................ 132
Erase ............................................................................................................... 98, 102
EXP .......................................................................................................................... 25
Expanding ............................................................................................................ 176
EXT .......................................................................................................................... 68
H
Hi Attack .............................................................................................................. 156
Hi Level ................................................................................................................ 156
Hi Ratio ................................................................................................................. 156
Hi Release ............................................................................................................. 156
Hi Thresh .............................................................................................................. 156
Hold Pedal .............................................................................................................. 16
Hold Pedal Polarity ...................................................................................... 72, 159
HUMANIZER ...................................................................................................... 134
I
Import Audio ............................................................................................... 118, 168
INFINITE PHASER ............................................................................................ 135
Memory Card ...................................................................................... 164, 166
Patch Setting ................................................................................................... 32
Performance Setting ...................................................................................... 63
Rhythm Set Setting ........................................................................................ 50
Input Effect Setup ............................................................................................... 104
INPUT FX SETUP ............................................................................................... 104
Input Quantize ....................................................................................................... 90
Input Select .................................................................................................. 104, 158
Insert ............................................................................................................... 99, 108
ISOLATOR ........................................................................................................... 132
F
Factory Reset ........................................................................................................ 164
Fade Mode .............................................................................................................. 46
Fade Time ............................................................................................................... 46
FAVORITE PATCH .............................................................................................. 28
FAVORITE PERFORMANCE ............................................................................. 59
F-Env Depth
Patch ................................................................................................................ 41
Rhythm Set ..................................................................................................... 55
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J
JUNO-G Editor/Librarian .................................................................................. 170
Just Temperament ................................................................................................. 67
M
Manual Punch-In ................................................................................................... 90
Marker List ........................................................................................................... 109
Master Key Shift .................................................................................................. 158
Master Level ........................................................................................................ 158
Master Tune ......................................................................................................... 158
Matrix Control ........................................................................................................ 44
MATRIX CTRL ....................................................................................................... 44
Memory Card ......................................................................................... 20, 22, 178
METRO ................................................................................................................. 162
METRO/SYNC ................................................................................................... 162
Metronome Level ................................................................................................ 162
Metronome Mode ............................................................................................... 162
Metronome Sound .............................................................................................. 162
MFX ....................................................................................................................... 129
2BAND CHORUS ....................................................................................... 140
2BAND FLANGER ..................................................................................... 140
2VOICE PITCH SHIFTER .......................................................................... 148
3D CHORUS ................................................................................................ 139
3D DELAY ................................................................................................... 146
3D FLANGER .............................................................................................. 139
3D STEP FLANGER ................................................................................... 140
3TAP PAN DELAY ..................................................................................... 144
4TAP PAN DELAY ..................................................................................... 144
AUTO PAN .................................................................................................. 136
AUTO WAH ................................................................................................ 133
CHORUS ..................................................................................... 137, 150–152
COMPRESSOR ............................................................................................ 142
DELAY ........................................................................................ 143, 150–152
DISTORTION ...................................................................................... 141, 150
ENHANCER ........................................................................................ 133, 151
EQUALIZER ................................................................................................ 132
FLANGER ................................................................................... 138, 150–152
GATE ............................................................................................................ 142
GATED REVERB ......................................................................................... 149
INFINITE PHASER .................................................................................... 135
ISOLATOR ................................................................................................... 132
LIMITER ....................................................................................................... 142
LOFI COMPRESS ........................................................................................ 147
LOFI NOISE ................................................................................................. 147
LOFI RADIO ................................................................................................ 147
LONG DELAY ............................................................................................. 143
LOW BOOST ............................................................................................... 132
MULTI TAP DELAY .................................................................................. 145
OVERDRIVE ........................................................................................ 141, 150
PHONOGRAPH ......................................................................................... 148
PITCH SHIFTER ......................................................................................... 148
REVERB ........................................................................................................ 149
REVERSE DELAY ....................................................................................... 145
RING MODULATOR ................................................................................. 135
ROTARY ....................................................................................................... 137
SERIAL DELAY .......................................................................................... 143
SHUFFLE DELAY ....................................................................................... 145
SPACE-D ...................................................................................................... 139
STEP FILTER ............................................................................................... 133
STEP FLANGER .......................................................................................... 138
STEP PAN .................................................................................................... 136
STEP PHASER ............................................................................................. 134
STEP PITCH SHIFTER ............................................................................... 149
STEP RING MODULATOR ...................................................................... 135
SUPER FILTER ............................................................................................ 132
SYMPATHETIC RESONANCE ................................................................ 152
TAPE ECHO ................................................................................................ 146
TELEPHONE ............................................................................................... 148
TIME CTRL DELAY ................................................................................... 146
TREMOLO ................................................................................................... 136
TREMOLO CHORUS ................................................................................. 139
K
K.L ........................................................................................................................... 66
K.U ........................................................................................................................... 66
KBD ....................................................................................................................... 159
Kbd .................................................................................................................... 64, 66
Kbd Patch Rx/Tx Channel ................................................................................. 160
KBD/CTRL ........................................................................................................... 159
Key Fade Lower ..................................................................................................... 37
Key Fade Upper ..................................................................................................... 37
KEY MOD ............................................................................................................... 66
KEY RANGE .......................................................................................................... 37
Key Range ............................................................................................................... 61
Key Range Lower .................................................................................................. 37
Key Range Upper .................................................................................................. 37
Key Trigger ............................................................................................................. 46
Keyboard Switch ................................................................................................... 60
Keyboard Velocity ............................................................................................... 159
KEYBORD .............................................................................................................. 66
Knob ..................................................................................................... 30, 32, 49–50
Selecting ........................................................................................................ 119
L
Layer ........................................................................................................................ 60
LCD Contrast ......................................................................................................... 15
Legato ...................................................................................................................... 66
Legato Retrigger .................................................................................................... 37
Legato Switch
Patch ................................................................................................................ 37
Performance ................................................................................................... 66
Level
Auto Chop .................................................................................................... 123
Solo Synth .............................................................................................. 70, 163
Level V-Curve
Patch ................................................................................................................ 42
Rhythm Set ..................................................................................................... 56
Level V-Sens
Patch ................................................................................................................ 42
Rhythm Set ..................................................................................................... 56
LFO ............................................................................................................. 17, 31, 46
Librarian ............................................................................................................... 170
LIMITER ............................................................................................................... 142
List ..................................................................................................................... 27, 59
LIVE SET EDIT ...................................................................................................... 83
Live Setting ............................................................................................................. 83
Lo Level ................................................................................................................ 156
Load
Song ............................................................................................................... 115
Load all Samples .................................................................................................. 116
Load Demo Song at Startup ............................................................................... 158
Load Play ................................................................................................................ 84
Load Preset Samples at Startup ......................................................................... 158
Load Song ............................................................................................................. 116
Load Song+Smpls ................................................................................................ 115
Load User Samples at Startup ........................................................................... 158
Loading ................................................................................................................. 115
Sample .................................................................................................. 116–117
Song ........................................................................................................ 94, 115
Local Switch ......................................................................................................... 160
LOFI COMPRESS ................................................................................................ 147
LOFI NOISE ......................................................................................................... 147
LOFI RADIO ........................................................................................................ 147
LONG DELAY ..................................................................................................... 143
LONG TIME CTRL DELAY ............................................................................... 146
Loop End Fine ...................................................................................................... 120
Loop Mode ........................................................................................................... 120
Loop Play .......................................................................................................... 86, 95
Loop Point .............................................................................................................. 95
Loop Recording ..................................................................................................... 89
Loop Start ............................................................................................................. 119
Loop Start Fine ..................................................................................................... 120
Loop Tune ............................................................................................................. 120
Loop Waveform ............................................................................................... 33, 51
Loop/Punch ........................................................................................................... 89
Low Attack ........................................................................................................... 156
LOW BOOST ........................................................................................................ 132
Low Frequency Oscillator .................................................................................... 17
Low Ratio .............................................................................................................. 156
Low Release .......................................................................................................... 156
Low Thresh ........................................................................................................... 156
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VK ROTARY ................................................................................................ 137
VS DISTORTION ......................................................................................... 141
VS OVERDRIVE .......................................................................................... 141
MFX Chorus Send Level ............................................................................ 126, 128
MFX Control Channel ......................................................................................... 129
MFX Output Assign ................................................................................... 127–128
MFX Output Level ..................................................................................... 126, 128
MFX Reverb Send Level ............................................................................ 126, 128
MFX Source .......................................................................................................... 128
MFX Structure ............................................................................................. 128, 130
MFX Type .................................................................................................... 126, 128
Micro Edit ............................................................................................................... 99
MICROSCOPE ................................................................................................. 88, 99
MID .......................................................................................................................... 22
Mid Attack ............................................................................................................ 156
Mid Level .............................................................................................................. 156
Mid Ratio .............................................................................................................. 156
Mid Release .......................................................................................................... 156
Mid Thresh ........................................................................................................... 156
MIDI ...................................................................................................................... 160
MIDI Channel ...................................................................................................... 209
MIDI Clock ........................................................................................................... 161
MIDI Connector ................................................................................................... 209
MIDI FILTER .......................................................................................................... 67
MIDI IN ................................................................................................................. 209
MIDI Mode .................................................................................................. 167, 169
MIDI OUT ............................................................................................................. 209
MIDI Rec Standby (Real Time) ............................................................................ 88
MIDI Rec Standby (Step Rec) ............................................................................... 92
MIDI TRACK ................................................................................................... 88, 94
MIDI Track .................................................................................................... 21, 100
MIDI Track Mute ................................................................................................... 85
MIDI Update .......................................................................................................... 86
MISC ........................................................................................................................ 45
Mix/Parallel ......................................................................................................... 158
Mixdown ............................................................................................................... 110
MIXER ..................................................................................................................... 23
MMC Mode .......................................................................................................... 161
MMC MTC ........................................................................................................... 161
MMC Output ....................................................................................................... 161
Mode ....................................................................................................................... 23
MODIFY .................................................................................................................. 36
Modulation ............................................................................................................. 16
MODULATION DELAY .................................................................................... 144
Mono/Poly
Patch ................................................................................................................ 37
Performance ................................................................................................... 66
Motif ........................................................................................................................ 75
Move .................................................................................................... 102, 108, 166
Move Event .......................................................................................................... 102
Moving .................................................................................................................. 166
Dividing Point ............................................................................................. 123
MTC .............................................................................................................. 161–162
MTC Error Level .................................................................................................. 161
MTC Frame Rate .................................................................................................. 161
MTC Offset Time Frame ..................................................................................... 161
MTC Offset Time Hour ...................................................................................... 161
MTC Offset Time Minute ................................................................................... 161
MTC Offset Time Second ................................................................................... 161
MTC Sync Output ............................................................................................... 161
MULTI STAGE PHASER ................................................................................... 135
MULTI TAP DELAY ........................................................................................... 145
Multi-Effect .................................................................................................... 20, 129
Multi-Effects Control .......................................................................................... 130
Multi-timbral Sound Generator ........................................................................ 209
Mute .................................................................................................................. 62, 85
Mute Group ............................................................................................................ 52
Output ..................................................................................................................... 65
Output Assignment ............................................................................................ 111
Output Gain ......................................................................................................... 158
Rhythm Set ...................................................................................................... 57
P
Pan ......................................................................................................................... 111
Pan Keyfollow ........................................................................................................ 42
Part Chorus Send Level ...................................................................................... 127
PART LEVEL .......................................................................................................... 29
PART MIXER ............................................................................................. 58, 61, 63
Part Output Assign ............................................................................................. 127
Part Output Level ............................................................................................... 127
Part Output MFX Select ..................................................................................... 127
Part Reverb Send Level ...................................................................................... 127
Part Scale Tune for C–B ......................................................................................... 66
PART SELECT ........................................................................................... 60–62, 85
Part Select ............................................................................................................. 127
PART VIEW ..................................................................................................... 63–64
Patch Category ....................................................................................................... 34
Patch Coarse Tune ................................................................................................. 34
PATCH EDIT .......................................................................................................... 63
Patch Fine Tune ...................................................................................................... 34
Patch Level .............................................................................................................. 34
PATCH LIST .................................................................................................... 27, 60
Patch Mode ...................................................................................................... 23, 25
PATCH NAME ....................................................................................................... 32
Patch Out Assign ................................................................................................... 48
Patch Output Assign .......................................................................................... 126
Patch Pan ................................................................................................................. 34
Patch Parameter ..................................................................................................... 34
PATCH PLAY ..................................................................................... 25–26, 30, 49
Patch Remain ....................................................................................................... 158
Patch Scale Tune for C–B ................................................................................... 159
Patch Tone Copy .................................................................................................... 32
PC Card Protector ............................................................................................... 178
PC CARD Slot ...................................................................................................... 178
PC Mode ............................................................................................................... 170
PDL BND .............................................................................................................. 159
Patch ................................................................................................................ 40
Rhythm Set ...................................................................................................... 54
Patch ................................................................................................................ 40
Rhythm Set ...................................................................................................... 54
Patch ................................................................................................................ 39
Rhythm Set ...................................................................................................... 54
P-Env T4 V-Sens
Patch ................................................................................................................ 39
Rhythm Set ...................................................................................................... 54
Patch ................................................................................................................ 40
Rhythm Set ...................................................................................................... 54
P-Env Time KF ....................................................................................................... 39
P-Env V-Sens
Patch ................................................................................................................ 39
Rhythm Set ...................................................................................................... 54
PERFORM PLAY ............................................................................................ 58, 63
Performance Control Channel .......................................................................... 160
PERFORMANCE LIST .......................................................................................... 59
Performance Mode ......................................................................................... 23, 58
PERFORMANCE NAME ...................................................................................... 64
Performance Parameter ......................................................................................... 64
PHASER ............................................................................................................... 134
PHONOGRAPH ................................................................................................. 148
Phrase Loop ..................................................................................................... 39, 53
Phrase Preview ....................................................................................................... 28
PITCH ...................................................................................................................... 65
Pitch Bend ............................................................................................................... 16
Pitch Bend Range Down ....................................................................................... 37
Pitch Bend Range Up ............................................................................................. 37
Pitch Depth ............................................................................................................. 46
Pitch Keyfollow ...................................................................................................... 39
N
Name .............................................................................................................. 24, 103
Non-Drop Format ................................................................................................ 162
NORMALIZE ....................................................................................................... 121
Number of Voices .................................................................................................. 66
O
Octave ..................................................................................................................... 65
Octave Shift ......................................................................................... 16, 28, 34, 65
OFFSET ................................................................................................................... 65
Offset ....................................................................................................................... 46
One Shot Mode ...................................................................................................... 52
One-shot Waveform ........................................................................................ 33, 51
Org Key ................................................................................................................. 120
OUTPUT .................................................................................................... 48, 57, 65
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PITCH SHIFTER .................................................................................................. 148
Place Event ........................................................................................................... 102
Polyphony .............................................................................................................. 19
Portament ............................................................................................................... 66
PORTAMENTO ..................................................................................................... 37
Portamento Mode .................................................................................................. 37
Portamento Start .................................................................................................... 37
Portamento Switch
REVERSE DELAY ............................................................................................... 145
Rhythm Group ................................................................................................ 79, 82
Rhythm Group Edit ............................................................................................... 82
RHYTHM GROUP NAME ................................................................................... 82
Rhythm Key Select .............................................................................................. 126
Rhythm Level ......................................................................................................... 52
RHYTHM LIST ....................................................................................................... 27
Rhythm Out Assign ............................................................................................... 57
Rhythm Pattern ............................................................................................... 79–80
Rhythm Pattern Edit .............................................................................................. 81
RHYTHM PATTERN NAME ............................................................................... 82
Rhythm Set ....................................................................................................... 18, 49
RHYTHM SET NAME .......................................................................................... 51
Rhythm Set Parameter .......................................................................................... 52
Rhythm Tone Copy ............................................................................................... 50
Rhythm Tone Name .............................................................................................. 52
RING MODULATOR ......................................................................................... 135
Ring Modulator ...................................................................................................... 36
Rolled Chord .......................................................................................................... 77
ROTARY ............................................................................................................... 137
Routing ......................................................................................................... 126–127
RX .......................................................................................................................... 161
Rx Expression ......................................................................................................... 45
Rx Hold-1 ................................................................................................................ 45
Rx Pan Mode ........................................................................................................... 45
Patch ................................................................................................................ 37
Performance ................................................................................................... 66
Portamento Time
Patch ................................................................................................................ 37
Performance ................................................................................................... 66
Portamento Type ................................................................................................... 37
Power ...................................................................................................................... 15
Power Up Mode ................................................................................................... 158
PR-A–F .................................................................................................................... 25
Preset Memory ....................................................................................................... 20
Preview .................................................................................................... 28, 95, 108
Preview 1–4 Note Number ................................................................................. 158
Preview 1–4 Velocity ........................................................................................... 158
Preview Mode ...................................................................................................... 158
PRO EDIT ......................................................................................................... 31, 50
PRST .................................................................................................................. 25, 59
Punch-In Recording .............................................................................................. 89
Q
Quantize ............................................................................................................ 90, 95
Quick Play .............................................................................................................. 84
S
S.TUNE .................................................................................................................... 66
Unloading .................................................................................................... 118
SAMPLE EDIT .................................................................................... 117, 119, 168
Sample Event ............................................................................................... 108–109
SAMPLE LIST ...................................................................................................... 117
Sample List ........................................................................................................... 117
Sample List Utility Menu ................................................................................... 168
Sample Modify Menu ................................................................................. 120–123
Sample Parameters ............................................................................................. 119
Sample Patch Function .......................................................................................... 25
Save
Save all Samples .................................................................................................. 114
Save as SMF ......................................................................................................... 114
Save Song ............................................................................................................. 114
Save Song+Smpls ................................................................................................ 113
SAVE/LOAD MENU ................................................................................. 113–116
Saving ........................................................................................................... 113–114
Rhythm Group ............................................................................................... 82
Rhythm Pattern .............................................................................................. 81
System Setting ............................................................................................. 157
Scale Tune ............................................................................................................... 66
Arabian Scale .................................................................................................. 67
Equal Temperament ...................................................................................... 67
Just Temperament .......................................................................................... 67
Scale Tune Switch ............................................................................................... 159
SELECT ............................................................................................................. 30, 49
Selecting
Patch ................................................................................................................ 27
Rhythm Set ...................................................................................................... 27
Tone ................................................................................................................. 29
SERIAL DELAY .................................................................................................. 143
SHUFFLE DELAY ............................................................................................... 145
Shuffle Quantize .................................................................................................... 90
Shuffle Resolution .................................................................................................. 90
Simultaneous Polyphony ...................................................................................... 19
SLICER ................................................................................................................. 136
Slider ..................................................................................................................... 112
SMF ................................................................................................................. 22, 114
Soft Through ........................................................................................................ 161
Solo ........................................................................................................................... 64
Solo Synth ............................................................................................................... 70
Song ......................................................................................................................... 21
Editing (Audio Track) ................................................................................ 108
Editing (MIDI Track) ..................................................................................... 94
Load .............................................................................................................. 115
Playing ............................................................................................................. 84
R
Rand Pitch Depth .................................................................................................. 39
Random Pan Depth ............................................................................................... 56
Patch ................................................................................................................ 43
Range
Solo Synth .............................................................................................. 70, 163
Range Max
D Beam ................................................................................................... 71, 163
Range Min
D Beam ................................................................................................... 71, 163
Rate .......................................................................................................................... 46
Rate Detune ............................................................................................................ 46
Realtime Control Knob
Selecting ........................................................................................................ 119
Realtime Erase ........................................................................................................ 91
Realtime Rec Control ............................................................................... 89, 91–92
Realtime Recording ............................................................................................... 88
Realtime Time Stretch ..................................................................................... 39, 53
Rec Mode .......................................................................................................... 88, 92
RECEIVE ................................................................................................................. 52
Receive Bank Select ............................................................................................. 161
Receive Exclusive ................................................................................................ 161
Receive GM System On ...................................................................................... 161
Receive GM2 System On .................................................................................... 161
Receive GS Reset .................................................................................................. 161
Receive Program Change ................................................................................... 161
Recording
Song (Audio Track) ..................................................................................... 104
Song (MIDI Track) ......................................................................................... 87
Recording Quantize .............................................................................................. 90
Recording Select .................................................................................................... 91
Redamper Sw ......................................................................................................... 45
Rehearsal ................................................................................................................. 92
RELEASE .......................................................................................................... 30, 49
Release Time Offset ............................................................................................... 36
Remote Keyboard Switch ................................................................................... 160
Repeat Times .......................................................................................................... 95
Reset Grid ............................................................................................................. 120
RESONANCE .................................................................................................. 30, 49
Resonance
Patch ................................................................................................................ 40
Rhythm Set ..................................................................................................... 55
Resonance Offset ................................................................................................... 36
Resonance V-Sens
Patch ................................................................................................................ 41
Rhythm Set ..................................................................................................... 55
REVERB ................................................................................................................ 149
Reverb .................................................................................................... 20, 111, 155
Reverb Level ................................................................................................ 127–128
Reverb Output Assign ............................................................................... 127–128
Reverb Send Level
Solo Synth .............................................................................................. 70, 163
Reverb Source ...................................................................................................... 128
Reverb Type ....................................................................................... 126, 128, 155
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Recording (Audio Track) ........................................................................... 104
Recording (MIDI Track) ............................................................................... 87
Save ............................................................................................................... 113
Song Clear .............................................................................................................. 87
Song File .................................................................................................................. 22
SONG FILE NAME .................................................................................... 113–114
SONG LIST ............................................................................................ 84, 115–116
SONG NAME ....................................................................................................... 103
Song Name ........................................................................................................... 114
Song Recorder ........................................................................................................ 21
Song Recorder Section .......................................................................................... 17
SONG RECORDER TRACK Slider ................................................................... 112
Song Utility Menu ........................................................................................ 87, 103
SOUND ................................................................................................................. 158
Sound Generator Section ...................................................................................... 17
SOUND MODIFY Knob .................................................................... 30, 32, 49–50
Source .................................................................................................................... 129
SPACE-D .............................................................................................................. 139
SPEAKER SIMULATOR ..................................................................................... 134
SPECTRUM .......................................................................................................... 132
Split .......................................................................................................................... 61
Split Hi .................................................................................................................. 156
Split Lo .................................................................................................................. 156
Standard MIDI File ................................................................................................ 22
Start ........................................................................................................................ 119
Start Fine ............................................................................................................... 120
Start Point .................................................................................................. 89, 92, 95
Start/End .............................................................................................................. 119
Start/Stop ............................................................................................................... 86
STEP ........................................................................................................................ 47
Step 1–16 ................................................................................................................. 47
STEP FILTER ........................................................................................................ 133
STEP FLANGER .................................................................................................. 138
STEP PAN ............................................................................................................. 136
STEP PHASER ..................................................................................................... 134
STEP PITCH SHIFTER ....................................................................................... 149
STEP REC ............................................................................................................... 92
Step Recording ....................................................................................................... 92
STEP RING MODULATOR ............................................................................... 135
Step Type ................................................................................................................ 47
Step-recording ........................................................................................................ 81
Storage Mode ....................................................................................................... 167
Stretch Tune Depth ............................................................................................... 34
Struct ..................................................................................................................... 130
Struct 1 & 2, 3 & 4 .................................................................................................. 35
Structure ................................................................................................................. 35
SUPER FILTER ..................................................................................................... 132
SUSTAIN .......................................................................................................... 30, 49
SVA ......................................................................................................... 22, 165, 168
SVQ ......................................................................................................... 22, 165, 168
SYMPATHETIC RESONANCE ........................................................................ 152
SYNC ..................................................................................................................... 162
Sync Mode ............................................................................................................ 162
Sync Output ......................................................................................................... 162
SYNTH .................................................................................................................. 163
Sys Ctrl 1–4 Source .............................................................................................. 160
System ................................................................................................................... 157
System Control .................................................................................................... 160
System Exclusive Edit ......................................................................................... 100
System Exclusive Message ................................................................................. 100
SYSTEM INFO ................................................................................... 157, 175, 177
System Memory ..................................................................................................... 20
System Menu ................................................................................................. 72, 157
System Parameters .............................................................................................. 158
SYSTEM SETUP USB .......................................................................................... 167
System Write ........................................................................................................ 157
Time Signature .............................................................................................. 88, 103
TIME STRETCH .................................................................................................. 122
Time Stretch ......................................................................................................... 120
Time Variant Amplifier ......................................................................................... 17
Time Variant Filter ................................................................................................. 17
Times ..................................................................................................................... 123
Tone ......................................................................................................................... 17
Patch ................................................................................................................ 48
Rhythm Set ...................................................................................................... 57
Tone Chorus Send Level .................................................................................... 126
Patch ................................................................................................................ 39
Rhythm Set ...................................................................................................... 53
Tone Delay .............................................................................................................. 45
Tone Delay Mode ................................................................................................... 45
Tone Delay Time .................................................................................................... 45
Patch ................................................................................................................ 45
Rhythm Set ...................................................................................................... 52
Patch ................................................................................................................ 39
Rhythm Set ...................................................................................................... 53
Patch ................................................................................................................ 42
Rhythm Set ...................................................................................................... 56
Tone Mix Velo Control .......................................................................................... 38
Tone On/Off ........................................................................................................... 29
Patch ................................................................................................................ 48
Rhythm Set ...................................................................................................... 57
Patch ................................................................................................................ 48
Rhythm Set ...................................................................................................... 57
Tone Output Assign ........................................................................................... 126
Tone Output Level .............................................................................................. 126
Patch ................................................................................................................ 42
Rhythm Set ...................................................................................................... 56
Tone Pitch Bend Range ......................................................................................... 52
Tone Random Pitch Depth ................................................................................... 53
Tone Receive Expression ...................................................................................... 52
Tone Receive Hold-1 ............................................................................................. 52
Tone Receive Pan Mode ........................................................................................ 53
Tone Reverb Send
Patch ................................................................................................................ 48
Rhythm Set ...................................................................................................... 57
Tone Reverb Send Level .................................................................................... 126
Tone Select ........................................................................................................... 126
TONE SW/SEL ............................................................................................... 30, 49
Touch Sens ........................................................................................................... 159
Track Level ........................................................................................................... 112
Track Name .......................................................................................................... 110
TRACK Slider ...................................................................................................... 112
Transmit Active Sensing .................................................................................... 161
Transmit Bank Select .......................................................................................... 161
Transmit Edit Data .............................................................................................. 161
Transmit Program Change ................................................................................ 161
TREMOLO CHORUS ......................................................................................... 139
TRUNCATE ......................................................................................................... 120
TVA Depth .............................................................................................................. 46
TVA ENVELOPE ............................................................................................ 43, 56
TVA PARAMETER ......................................................................................... 42, 56
TVF ENVELOPE ............................................................................................. 41, 55
TVF PARAMETER .......................................................................................... 40, 55
Type
T
TAPE ECHO ......................................................................................................... 146
TELEPHONE ....................................................................................................... 148
TEMPO .................................................................................................................... 68
Tempo
Arpeggio ......................................................................................................... 73
Rhythm Pattern ............................................................................................. 79
Sample ........................................................................................................... 120
Song .................................................................................................. 86, 88, 102
Tempo Override .................................................................................................. 162
Tempo Rec Sw ........................................................................................................ 89
Tempo Recording .................................................................................................. 89
Tempo Track ........................................................................................... 21, 85, 101
Temporary Area .............................................................................................. 19, 22
Time ......................................................................................................................... 66
TIME CTRL DELAY ............................................................................................ 146
D Beam ................................................................................................... 71, 163
U
Unload Sample .................................................................................................... 110
Unloading
Sample .......................................................................................................... 118
USAM ...................................................................................................................... 25
USB ................................................................................................................ 159, 167
USB Mode ............................................................................................................ 159
USB SELECT ........................................................................................................ 167
USB-MIDI Thru ................................................................................................... 159
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USER ................................................................................................................. 25, 59
User Backup ......................................................................................................... 164
User Memory ................................................................................................... 20, 22
User Restore ......................................................................................................... 164
UTILITY MENU .................................................................................................. 164
V
VALUE Dial ........................................................................................................... 24
Velo .......................................................................................................................... 66
Velo Fade Lower .............................................................................................. 38, 54
Velo Fade Upper .............................................................................................. 38, 55
Velo Range Lower ........................................................................................... 38, 54
Velo Range Upper ........................................................................................... 38, 54
Velocity ................................................................................................................... 16
Velocity Control ..................................................................................................... 54
VELOCITY RANGE ........................................................................................ 38, 54
Velocity Sens Offset .............................................................................................. 36
Vib Rate ................................................................................................................... 65
VIBRATO ................................................................................................................ 65
View Select ........................................................................................................... 101
VK ROTARY ........................................................................................................ 137
V-LINK .................................................................................................................. 172
V-LINK SETUP .................................................................................................... 173
Voice Reserve ......................................................................................................... 19
Volume ........................................................................................................... 15, 111
Volume Balance ..................................................................................................... 29
VS DISTORTION ................................................................................................. 141
VS OVERDRIVE .................................................................................................. 141
W
WAV .................................................................................................... 118, 165, 168
Wave Alter Pan Sw ............................................................................................... 54
Wave Bank
Patch ................................................................................................................ 38
Rhythm Set ..................................................................................................... 53
Wave Coarse Tune ................................................................................................ 54
Wave Expansion Board ............................................................................... 20, 174
Wave Fine Tune ..................................................................................................... 54
Wave Form ............................................................................................................. 46
Wave Gain
Patch ................................................................................................................ 38
Rhythm Set ..................................................................................................... 53
Wave Generator ..................................................................................................... 17
Wave Group
Patch ................................................................................................................ 38
Rhythm Set ..................................................................................................... 53
Wave Level ............................................................................................................. 54
WAVE MIX LV/PN .............................................................................................. 54
WAVE MIX TUNE ................................................................................................ 54
Wave No. L (Mono)
Patch ................................................................................................................ 38
Rhythm Set ..................................................................................................... 53
Wave No. R
Patch ................................................................................................................ 38
Rhythm Set ..................................................................................................... 53
Wave Pan ................................................................................................................ 54
WAVE PARAMETER ..................................................................................... 38, 53
WAVE PITCH .................................................................................................. 39, 53
WAVE PITCH ENV ........................................................................................ 40, 54
Wave Rnd Pan Sw ................................................................................................. 54
Wave Tempo Sync
Patch ................................................................................................................ 38
Rhythm Set ..................................................................................................... 53
WG ........................................................................................................................... 17
Window .................................................................................................................. 23
Write
Arpeggio Style ............................................................................................... 76
Chord Form .................................................................................................... 78
Patch ................................................................................................................ 32
Performance ................................................................................................... 63
Rhythm Group ............................................................................................... 82
Rhythm Pattern ............................................................................................. 81
Rhythm Set ..................................................................................................... 51
Sample ........................................................................................................... 124
System Setting .............................................................................................. 157
WRITE MENU ................................................................................. 32, 51, 64, 124
Z
Zoom ............................................................................................................ 110, 119
Zoom Edit ......................................................................................................... 31, 49
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Information
When you need repair service, call your nearest Roland Service Center or authorized Roland
distributor in your country as shown below.
PHILIPPINES
COSTA RICA
TRINIDAD
NORWAY
JORDAN
AFRICA
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
JUAN Bansbach Instrumentos
AMR Ltd
Roland Scandinavia Avd.
MUSIC HOUSE CO. LTD.
Ground Floor
Musicales
Kontor Norge
FREDDY FOR MUSIC
P. O. Box 922846
Amman 11192 JORDAN
TEL: (06) 5692696
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany
Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: 20-2-417-1828
Maritime Plaza
Barataria Trinidad W.I.
TEL: (868) 638 6385
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: (02) 899 9801
TEL: 2273 0074
SINGAPORE
SWEE LEE MUSIC
COMPANY PTE. LTD.
150 Sims Drive,
SINGAPORE 387381
TEL: 6846-3676
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa
1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
CURACAO
Zeelandia Music Center Inc.
Orionweg 30
Curacao, Netherland Antilles
TEL:(305)5926866
KUWAIT
EASA HUSAIN AL-YOUSIFI
& SONS CO.
Abdullah Salem Street,
Safat, KUWAIT
TEL: 243-6399
POLAND
MX MUSIC SP.Z.O.O.
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
REUNION
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
DOMINICAN REPUBLIC
Instrumentos Fernando Giraldez
Calle Proyecto Central No.3
Ens.La Esperilla
Santo Domingo,
Dominican Republic
TEL:(809) 683 0305
TAIWAN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung
Shan N.Road Sec.2, Taipei,
TAIWAN, R.O.C.
PORTUGAL
Roland Iberia, S.L.
Portugal Office
Cais das Pedras, 8/9-1 Dto
4050-465, Porto, PORTUGAL
TEL: 22 608 00 60
LEBANON
Chahine S.A.L.
Gerge Zeidan St., Chahine
Bldg., Achrafieh, P.O.Box: 16-
5857
Beirut, LEBANON
TEL: (01) 20-1441
VENEZUELA
Instrumentos Musicales
Allegro,C.A.
Av.las industrias edf.Guitar
REUNION ISLAND
TEL: (0262) 218-429
SOUTH AFRICA
That Other Music Shop(PTY)Ltd.
11 Melle St., Braamfontein,
Johannesbourg,
SOUTH AFRICA
TEL: (011) 403 4105
import
#7 zona Industrial de Turumo
Caracas, Venezuela
TEL: (212) 244-1122
TEL: (02) 2561 3339
ROMANIA
FBS LINES
Piata Libertatii 1,
535500 Gheorgheni,
ROMANIA
ECUADOR
Mas Musika
Rumichaca 822 y Zaruma
Guayaquil - Ecuador
THAILAND
OMAN
Theera Music Co. , Ltd.
330 Soi Verng NakornKasem,
New Road, Sumpantawongse,
Bangkok 10100, THAILAND
TEL: (02) 224-8821
TALENTZ CENTRE L.L.C.
Malatan House No.1
Al Noor Street, Ruwi
SULTANATE OF OMAN
TEL: 2478 3443
FAX: (011) 403 1234
EUROPE
TEL:(593-4)2302364
TEL: (266) 364 609
Paul Bothner(PTY)Ltd.
Royal Cape Park, Unit 24
Londonderry Road, Ottery 7800
Cape Town, SOUTH AFRICA
TEL: (021) 799 4900
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo II,
Edificio No.4010 San Salvador,
EL SALVADOR
AUSTRIA
Roland Elektronische
Musikinstrumente HmbH.
RUSSIA
MuTek
Dorozhnaya ul.3,korp.6
117 545 Moscow, RUSSIA
TEL: (095) 981-4967
VIETNAM
SAIGON MUSIC
DISTRIBUTOR
(TAN DINH MUSIC)
138 Tran Quang Khai Street
Dist. 1, Ho Chi Minh City
VIETNAM
QATAR
Al Emadi Co. (Badie Studio &
Stores)
P.O. Box 62, Doha, QATAR
Austrian Office
Eduard-Bodem-Gasse 8,
A-6020 Innsbruck, AUSTRIA
TEL: (0512) 26 44 260
TEL: 262-0788
TEL: 4423-554
SPAIN
ASIA
Roland Iberia, S.L.
Paseo García Faria, 33-35
08005 Barcelona SPAIN
TEL: 93 493 91 00
GUATEMALA
SAUDI ARABIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary
Bldg., 1st Floor, Alkhobar,
SAUDI ARABIA
BELGIUM/FRANCE/
HOLLAND/
LUXEMBOURG
Roland Central Europe N.V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
CHINA
Roland Shanghai Electronics
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai 200090, CHINA
TEL: (021) 5580-0800
Casa Instrumental
Calzada Roosevelt 34-01,zona 11
Ciudad de Guatemala
Guatemala
TEL: (08) 848-4068
SWEDEN
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
TEL:(502) 599-2888
AUSTRALIA/
NEW ZEALAND
AUSTRALIA/
NEW ZEALAND
Roland Corporation
Australia Pty.,Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
HONDURAS
Almacen Pajaro Azul S.A. de C.V.
BO.Paz Barahona
3 Ave.11 Calle S.O
San Pedro Sula, Honduras
TEL: (504) 553-2029
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
TEL: (014) 575811
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 3 Section Anhuaxili
Chaoyang District Beijing
100011 CHINA
CZECH REP.
K-AUDIO
Kardasovska 626.
CZ-198 00 Praha 9,
CZECH REP.
SYRIA
Technical Light & Sound
Center
Rawda, Abdul Qader Jazairi St.
Bldg. No. 21, P.O.BOX 13520,
Damascus, SYRIA
SWITZERLAND
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
SWITZERLAND
TEL: (061) 927-8383
MARTINIQUE
Musique & Son
Z.I.Les Mangle
97232 Le Lamantin
Martinique F.W.I.
TEL: 596 596 426860
TEL: (2) 666 10529
TEL: (010) 6426-5050
DENMARK
Roland Shanghai Electronics
Co.,Ltd.
(GUANGZHOU OFFICE)
2/F., No.30 Si You Nan Er Jie
Yi Xiang, Wu Yang Xin Cheng,
Guangzhou 510600, CHINA
TEL: (020) 8736-0428
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
TEL: (011) 223-5384
For Australia
UKRAINE
TIC-TAC
Mira Str. 19/108
P.O. Box 180
295400 Munkachevo,
UKRAINE
TEL: (03131) 414-40
Tel: (02) 9982 8266
For New Zealand
Tel: (09) 3098 715
TURKEY
ZUHAL DIS TICARET A.S.
Galip Dede Cad. No.37
Beyoglu - Istanbul / TURKEY
TEL: (0212) 249 85 10
Gigamusic SARL
10 Rte De La Folie
97200 Fort De France
Martinique F.W.I.
TEL: 596 596 715222
TEL: 3916 6200
FINLAND
Roland Scandinavia As, Filial
Finland
Elannontie 5
FIN-01510 Vantaa, FINLAND
TEL: (0)9 68 24 020
CENTRAL/LATIN
AMERICA
HONG KONG
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai,
U.A.E.
UNITED KINGDOM
MEXICO
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico
D.F. MEXICO
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844
Norderstedt, GERMANY
TEL: (040) 52 60090
TEL: 2415 0911
TEL: (04) 3360715
UNITED KINGDOM
TEL: (01792) 702701
TEL: (55) 5668-6699
Parsons Music Ltd.
NICARAGUA
Bansbach Instrumentos
Musicales Nicaragua
Altamira D'Este Calle Principal
de la Farmacia 5ta.Avenida
1 Cuadra al Lago.#503
Managua, Nicaragua
8th Floor, Railway Plaza, 39
Chatham Road South, T.S.T,
Kowloon, HONG KONG
TEL: 2333 1863
BARBADOS
NORTH AMERICA
A&B Music Supplies LTD
12 Webster Industrial Park
Wildey, St.Michael, Barbados
TEL: (246)430-1100
MIDDLE EAST
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
CANADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way
Richmond B. C., V6V 2M4
CANADA
INDIA
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra
Mahalaxmi Flats Compound
Off. Dr. Edwin Moses Road,
Mumbai-400011, INDIA
TEL: (022) 2493 9051
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
BRAZIL
Roland Brasil Ltda.
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
TEL: (505)277-2557
PANAMA
TEL: (604) 270 6626
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE
PANAMA
TEL: 17 211 005
HUNGARY
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint,
HUNGARY
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
Roland Canada Music Ltd.
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
INDONESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
CHILE
Comercial Fancy II S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
TEL: 315-0101
TEL: (23) 511011
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (595) 21 492147
TEL: (022) 66-9426
TEL: (905) 362 9707
IRELAND
Roland Ireland
G2 Calmount Park, Calmount
Avenue, Dublin 12
Republic of IRELAND
TEL: (01) 4294444
IRAN
MOCO INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
U. S. A.
KOREA
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
COLOMBIA
Centro Musical Ltda.
Cra 43 B No 25 A 41 Bododega 9
Medellin, Colombia
PERU
Audionet
Distribuciones Musicales SAC
Juan Fanning 530
Miraflores
TEL: (021) 285-4169
TEL: (323) 890 3700
ITALY
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
ISRAEL
Halilit P. Greenspoon & Sons
Ltd.
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
TEL: (574)3812529
MALAYSIA
Roland Asia Pacific Sdn. Bhd.
45-1, Block C2, Jalan PJU 1/39,
Dataran Prima, 47301 Petaling
Jaya, Selangor, MALAYSIA
TEL: (03) 7805-3263
Lima - Peru
TEL: (511) 4461388
As of December 10, 2005 (ROLAND)
04232578
2MP
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