Roland JUNO-Di Editor Owner`s manual

JUNO-Di Editor
Owner’s Manual
Copyright © 2009 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.
Contents
Using the JUNO-Di Editor ................... 3
1. Introduction......................................................3
2. Connections and Settings ..................................3
2-1. Connecting via USB cable.................................. 3
2-2. Connecting via MIDI cables................................ 3
3. About the Menus ..............................................4
3-1. FILE ................................................................. 4
3-2. EDIT ................................................................ 4
3-3. SETUP.............................................................. 4
4. Using the JUNO-Di Editor ..................................5
4-1.
4-2.
4-3.
4-4.
Reading/writing/synchronize settings ................. 5
How to edit values ............................................ 6
Initializing a value............................................. 6
About the KEYBOARD button.............................. 6
5. Notes Concerning Use of JUNO-Di Editor Together
with JUNO-Di Librarian .....................................7
6. If the Preset Name Display Becomes Incorrect ......7
7. If the Display Indicates “Unable to read/write data.” ..8
PATCH Parameters ............................................. 25
SUMMARY ............................................................25
COMMON ...........................................................28
STRUCTURE ...........................................................30
WG......................................................................32
TVF.......................................................................35
TVA ......................................................................37
LFO ......................................................................39
VELOCITY RANGE .................................................41
KEY RANGE ..........................................................42
MATRIX CONTROL.................................................42
CONTROL SW ......................................................43
Detailed Editing for a Rhythm Set
(RHYTHM Parameters)...................... 44
Editing a Rhythm Set........................................... 44
Initializing a Rhythm Set ..........................................44
Copying/Pasting Rhythm Set Settings........................44
WMT SWITCH/SELECT ..........................................44
Stereo Wave Settings .............................................45
Overview .......................................... 9
Saving a Rhythm Set ........................................... 45
How the JUNO-Di is Organized .............................9
RHYTHM Parameters .......................................... 46
Basic Structure......................................................... 9
Patch Mode and Performance Mode .......................... 9
About the Effects.................................................... 12
About Memory ...................................................... 13
SUMMARY ............................................................46
COMMON (RHYTHM COMMON) ..........................50
CONTROL (RHYTHM KEY CONTROL) ......................50
WMT (RHYTHM KEY WMT).....................................51
PITCH (RHYTHM KEY PITCH) ...................................52
TVF (RHYTHM KEY TVF) ..........................................53
TVA (RHYTHM KEY TVA) .........................................55
VELOCITY (RHYTHM KEY VELOCITY RANGE)............56
SYSTEM Parameters ......................... 14
COMMON........................................................... 14
SCALE TUNE for Patch Mode .................................. 15
EFFECTS Parameters......................... 16
Applying Effects .................................................16
How Effects are Handled in Each Mode ................... 16
Applying Effects .................................................16
PATCH EFFECTS.................................................17
Signal Flow and Parameters (ROUTING) .................. 17
PERFORM EFFECTS.............................................19
Signal Flow and Parameters (ROUTING) .................. 19
Multi-Effect Settings (MFX, MFX 1–3) .....................21
Controlling a Multi-Effect via MIDI
(CONTROL SOURCE/DESTINATION/SENS) ............ 21
Chorus Settings (CHORUS) ..................................22
Reverb Settings (REVERB).....................................22
Detailed Editing for a Patch
(PATCH Parameters)......................... 23
Editing a Patch ...................................................23
Initializing a Patch ................................................. 23
Copying/Pasting Patch Settings ............................... 23
TONE SWITCH/SELECT ......................................... 23
Stereo Wave Settings ............................................. 24
Saving a Patch ...................................................24
2
Detailed Editing for a Performance
(PERFORM Parameters) .................... 57
How to Edit a Performance .................................. 57
Editing a Patch in Performance Mode .......................57
Editing a Performance......................................... 57
Initializing a Performance........................................57
Copying/Pasting Performance Settings .....................57
Saving a Performance......................................... 57
PERFORM Parameters ......................................... 58
MIXER...................................................................58
ALL PARAMETERS (ALL PARAMS) .............................60
MIDI (PERFORM MIDI SETTING)...............................62
KEYBOARD RANGE ...............................................63
SCALE TUNE (PART SCALE TUNE)............................63
Effects List ....................................... 64
Using the JUNO-Di Editor
204
206e
206j
207
209
213
220
* Microsoft and Windows are registered trademarks of Microsoft Corporation.
* The screen shots in this document are used in compliance with the guidelines of the Microsoft Corporation.
* Windows® is known officially as: “Microsoft® Windows® operating system.”
* Apple and Macintosh are registered trademarks of Apple Inc.
* Mac OS is a trademark of Apple Inc.
* Pentium is a registered trademark of Intel Corporation.
* All product names mentioned in this document are trademarks or registered trademarks of their respective owners.
238
1. Introduction
JUNO-Di Editor is an application that lets you use your computer to make settings for the JUNO-Di parameters.
2. Connections and Settings
Connect the JUNO-Di and your computer as described in the JUNO-Di owner’s manual. JUNO-Di Editor may not
operate correctly if these connections are not made correctly.
* The first time you use JUNO-Di Editor, it may take as long as one minute or more for the program to start up. This is
because the software needs to obtain all the preset names from the JUNO-Di, then save them as a file on your
computer’s hard disk. This is normal, and should not be a cause for concern.
2-1. Connecting via USB cable
If the JUNO-Di is connected to your computer by a USB cable, you must power up the JUNO-Di before you start up
JUNO-Di Editor.
Do not disconnect the USB cable connected to the JUNO-Di while JUNO-Di Editor is running.
When using the software for the first time, you must set up MIDI devices using the procedure below.
1. Select [VENDER] as the USB driver on the JUNO-Di.
2. Install the USB driver from the included “JUNO-Di Editor” CD-ROM into your computer.
3. Start up JUNO-Di Editor.
4. Choose the menu command [SETUP] - “Set Up MIDI Devices” to open the dialog box, and for JUNO-Di Input/
Output, choose “JUNO.”
For details on switching the USB driver, refer to the JUNO-Di owner’s manual.
2-2. Connecting via MIDI cables
A separate MIDI interface is required in order to connect the JUNO-Di with your computer using MIDI cables. Connect
both the MIDI IN and MIDI OUT connectors on the MIDI interface connected to your computer to the MIDI connectors
on the JUNO-Di.
When using the software for the first time, you must choose the menu command [SETUP] - ”Set Up MIDI Devices” to open
the dialog box, and for JUNO-Di Input/Output, choose the port to which JUNO-Di is connected.
3
Using the JUNO-Di Editor
3. About the Menus
3-1. FILE
“Open” loads a file saved by JUNO-Di Editor containing the state of JUNO-Di Editor.
* The “Open” command of the toolbar does the same thing in Windows.
The “Save” and “Save As” commands will save a file that preserves the current state of JUNO-Di Editor.
* The “Save” command of the toolbar does the same thing in Windows.
“Export SMF” will save one of the following items in the form of SMF data.
The currently selected:
• Performance
• Performance and the Patches/Rhythm Sets used in that performance
• Patch/Rhythm Set
Use “Import SMF” to load these settings.
3-2. EDIT
The “Initialize” command initializes the settings of the currently selected Performance/Patch/Rhythm Set.
This command is useful when you want to create data from scratch.
The “Copy” command copies the settings to the clipboard.
The “Paste” command pastes the settings from the clipboard to the copy destination you select.
The “Copy MIDI Message to Clipboard” command copies the MIDI message (character string) displayed at “MIDI
MESSAGE” to the clipboard.
3-3. SETUP
Set the JUNO-Di Input/Output to the port to which the JUNO-Di is connected in “Set Up MIDI Devices.”
Through provides a thru-connection from the MIDI OUT of any desired MIDI device to the MIDI IN of any other MIDI
device.
4
Using the JUNO-Di Editor
4. Using the JUNO-Di Editor
Navigation block
Main block
• By clicking the buttons in the Navigation block you can select the parameters that will be shown in the Main block.
• The Main block is the editing area for the parameters you selected in the Navigation block.
4-1. Reading/writing/synchronize settings
The [READ]/[WRITE]/[SYNC] buttons are located in the top line of the main window.
Loading the settings
To load the JUNO-Di’s settings into JUNO-Di Editor, click the [READ] button.
The settings of the patch currently selected on the JUNO-Di will be loaded.
Writing the settings
To write the edited data to the JUNO-Di, click the [WRITE] button.
The data that will be written (patch or rhythm set/performance/system) will depend on the parameter that is currently
selected.
Synchronizing the settings
To synchronize the JUNO-Di with the Editor, click the [SYNC] button.
This is a command that you will need to use only if using JUNO-Di Editor together with JUNO-Di Librarian.
For details, refer to 5. Notes Concerning Use of JUNO-Di Editor Together with JUNO-Di Librarian (p. 7).
5
Using the JUNO-Di Editor
4-2. How to edit values
You can edit values by clicking (and dragging) the buttons, sliders, or knobs.
• If you feel that the sliders and knobs in the panel are too small, and find it difficult to make detailed settings, try
clicking (and holding) a knob or slider and then dragging the mouse farther away. This lets you set the value at
any position as long as you continue holding down the mouse button. When doing so, you will be able to make
precise adjustments to the value whenever the mouse cursor is away from the center of the knob or slider.
• When a value is displayed, you can also press the cursor keys (up/down) to modify it.
4-3. Initializing a value
Windows XP/Vista Users
You can initialize the value of a parameter by holding down the Ctrl key of your computer and clicking the slider or
knob of that parameter.
Macintosh Users
You can initialize the value of a parameter by holding down the command key of your computer and clicking the slider
or knob of that parameter.
4-4. About the KEYBOARD button
When you click the [KEYBOARD] button located in the top line of the main window, the Keyboard window will appear,
allowing you to transmit note messages by clicking your mouse.
Use the sliders to set the transmit channel and velocity. Clicking the [OCT] button will shift the octave. The note number
transmitted when you press the third “C” from the left, which is indicated by the Å¢ symbol, is shown below the [OCT]
button.
6
Using the JUNO-Di Editor
5. Notes Concerning Use of JUNO-Di Editor Together with JUNO-Di
Librarian
You may experience some of the problems below if JUNO-Di Librarian and JUNO-Di Editor are used at the same time.
• When you click the Preview Start button in JUNO-Di Librarian, the correspondence between the values in JUNO-Di
Editor and the data in the JUNO-Di’s Temporary Area may be lost.
• After you’ve issued the “Write All Data” or “Write Selected Data” commands in JUNO-Di Librarian, the names of
items and their sequence in JUNO-Di Editor may no longer match the data in the JUNO-Di’s User Area.
If you have performed one of the above operations in JUNO-Di Librarian and then move to JUNO-Di Editor, you must
be sure to click the [SYNC] button located in the top line of JUNO-Di Editor’s main window before you begin editing.
This executes the following actions, allowing the JUNO-Di Editor and JUNO-Di settings to be synchronized.
• The values of settings in JUNO-Di Editor are written to the JUNO-Di’s Temporary Area.
• The name lists of Performance/Patch/Rhythm Set in the JUNO-Di’s User Area are read into JUNO-Di Editor.
6. If the Preset Name Display Becomes Incorrect
If the preset names are no longer displayed correctly, perform the following steps.
Windows XP
1. Delete the file Documents and Settings\(user account name)\Local Settings\Application Data\Roland\JUNO-Di
Editor\PresetName.txt.
2. Restart JUNO-Di Editor.
Windows Vista
1. Delete the file User\(user account name)\AppData\Local\Roland\JUNO-Di Editor\PresetName.txt.
2. Restart JUNO-Di Editor.
When you perform the above steps, the preset names will be read from the JUNO-Di (in the same way as they were
when you started up the first time) and will be saved as a file on your computer’s hard disk.
If the folder is not displayed, take the following steps so that all files and folders are displayed.
1. Start up Windows Explorer.
2. From the menu bar, choose “Tools” - ”Folder Options” to access the folder options dialog box.
3. Click the “View” tab, and in “Advanced settings”, choose the setting that allows you to see all files and folders.
Then click [OK].
Macintosh Users
1. Delete the file (home directory):Library:Application Support:Roland:JUNO-Di Editor:PresetName.txt.
2. Restart JUNO-Di Editor.
When you perform the above steps, the preset names will be read from the JUNO-Di (in the same way as they were when
you started up the first time) and will be saved as a file on your computer’s hard disk.
7
Using the JUNO-Di Editor
7. If the Display Indicates “Unable to read/write data.”
In cases such as the following, the display may indicate “Unable to read/write data.”
•
•
•
•
8
When
When
When
When
the JUNO-Di and the computer are not connected properly
a large number of notes are being sounded
playbacking with the player
JUNO-Di Editor and JUNO-Di Librarian simultaneously attempt to read (or write) data
Overview
How the JUNO-Di is Organized
Patch Mode and Performance Mode
Basic Structure
Broadly speaking, the JUNO-Di consists of a controller section, a
sound generator section, and a song player section.
fig.BasicStruct-e
Song Player Section
Song Player
When using the JUNO-Di as a MIDI sound module, you can use it in
either Performance mode or in Patch mode.
Playback
Rhythm Pattern
Sound Generator
Section
Patch Mode
In Patch mode you can use a connected keyboard or other device to
play a single Patch on the JUNO-Di. Since Patch mode lets you use a
variety of effects on a single patch, you can play very rich textures.
In Patch mode it’s also easy to edit the selected sound, so this is the
mode to use when editing or creating your own sounds.
Performance Mode
Play
Controller Section
(controllers such as keyboard, pitch bend/modulation lever, etc.)
In Performance mode you can use multiple patches or rhythm sets
simultaneously.
A performance contains sixteen “Parts.” You can assign a patch or
rhythm set to each part, and use them as an ensemble, or layer sounds
to create rich textures.
With the factory settings, Patch mode is selected.
Controller Section
This section consists of a keyboard, pitch bend/modulation lever, the
panel buttons and knobs, D Beam controller, and pedals connected to
the rear panel. The performance information generated when you
press/release a key or press a hold pedal are transmitted as MIDI
messages to the sound generator section and/or an external MIDI
device.
Sound Generator Section
How a Performance is Structured
A performance has a patch or rhythm set assigned to each of the 16
parts, and can simultaneously handle 16 sounds.
Because the JUNO-Di sound generator can control multiple sounds
(instruments) it is called a Multi-timbral sound generator.
Performance
Part 16
This section produces the sound. It receives MIDI messages from the
controller section, song player section, or an external MIDI device,
generates musical sound according to the MIDI messages that were
received, and outputs the sound from the output jacks and headphone
jack.
Part 1
Patch/
Rhythm Set
Song Player Section
The Song Player is used to play back audio files or SMF data saved in
USB memory.
It can also play rhythm patterns in a variety of styles.
You can play along on the keyboard accompanied by the song or
rhythm pattern played by the Song Player.
Part
A “part” is something to which you assign a patch or rhythm set. In
Performance mode, each performance has sixteen parts, and you can
assign a patch or rhythm set to each part.
When using the JUNO-Di’s Song Player to play songs, you can create
a “playlist” to specify the order in which songs will play. To create
playlists, you need to use the included “Playlist Editor.” For details,
refer to the JUNO-Di Owner’s Manual.
9
Overview
The JUNO-Di will enter Performance mode if you turn on Split, Dual,
or Super Layer. Of the sixteen parts of the performance, Split or Dual
use parts 1 and 2, and Super Layer uses parts 1 through 5.
When you turn on each of these functions, the settings of the JUNO-Di
will be as follows.
How a Patch is Structured
Patches are the basic sound configurations that you play during a
performance. Each patch can be configured by combining up to four
tones. Each tone can be turned on/off individually, allowing you to
select the tones that will produce sound.
Patch
When you turn Split on
Tone
1
Split refers to settings for the key ranges of parts 1 and 2 that result in
them being separated into upper and lower zones. The lowest key of
the upper zone is called the split point.
Parts 1 and 2 will be assigned as follows. The indication shown on the
display screen of the instrument itself is given in parentheses ( ).
Part name
Key range
Part 1: UPPER (U)
From the split point key to G9
Part 2: LOWER (L)
From C-1 to one key to the left of the split
point
Tone
2
Tone
3
Tone
4
Example 1: A Patch consisting of only one Tone
(Tones 2–4 are turned off).
Patch
Tone
1
Tone
2
Tone
3
Tone
4
Example 2: A Patch consisting of four Tones.
When you turn Dual on
Dual refers to settings in which the key ranges of parts 1 and 2
overlap. The indication shown on the display screen of the instrument
itself is given in parentheses ( ).
Part name
Key range
Part 1: PART 1 (1)
C-1--G9
Part 2: PART 2 (2)
C-1--G9
Tones
On the JUNO-Di, 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 blocks
which make up the patch.
Tone
LFO 1
LFO 2
When you turn Super Layer on
The sound of part 1 will be assigned to parts 1--5, and the following
settings will be made.
Parameter
Value
Explanation
Layer
2--5
The number of parts used.
0--30
Detune (FINE TUNE) will be applied to
parts 2--5.
Part 2: 0--30
Part 3: This will be the inverse of the
part 2 value. For example, if
part 2 is set to “+2,” part 3
will be set to “-2.”
Part 4: This will be 1.5 times the
value of part 2.
Part 5: This will be 1.5 times the
value of part 3.
Detune
WG
TVF
TVA
Pitch
Envelope
TVF
Envelope
TVA
Envelope
audio signal
control signal
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.
TVF (Time Variant Filter)
Specifies how the frequency components of the sound will change.
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).
10
Overview
LFO (Low Frequency Oscillator)
Use the LFO to create cyclic changes (modulation) in a sound. The
JUNO-Di has two LFOs. Either one or both can be applied to effect the
WG (pitch), TVF (filter) and/or 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 effect is produced.
Calculating the Number of Voices Being Used
The JUNO-Di 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.
How a Rhythm Set is Structured
(Number of patches being played) x (Number of tones used by patches
being played) x (Number of waves used in the tones)
Rhythm sets are groups of a number of different percussion instrument
sounds.
For example, a patch that combines four tones, each of which use two
waves, will use eight notes of polyphony at once. Also, when playing
in Performance mode, the number of sounds for each part is counted
to obtain the total number of sounds for all parts.
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) of a rhythm set will produce a
different percussion instrument.
Rhythm Set
How a Patch Sounds
When the JUNO-Di 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 (PRIORITY; p. 29).
Patch Priority can be set either to “LAST” or “LOUDEST.”
Note number 98 (D7)
Note number 97 (C#7)
When “LAST” is selected, a newly requested note that exceeds the
128 voice limit will cause the first-played of the currently sounding
notes to be turned off.
When “LOUDEST” is selected, the quietest of the currently sounding
notes will be turned off. Usually, “LAST” is selected.
Note number 36 (C2)
Note number 35 (B1)
Rhythm Tone (Percussion instrument sound)
WG
TVF
TVA
Pitch
Envelope
TVF
Envelope
TVA
Envelope
* There are four wave generators for each rhythm tone (percussion
instrument sounds).
* LFO is not included in the rhythm tones (percussion instrument
sounds).
Note priority in Performance Mode
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 (VOICE
RESERVE; p. 60). 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 (PRIORITY; p. 29).
Voice Reserve
The JUNO-Di 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 (VOICE RESERVE; p. 60).
It is not possible to make Voice Reserve settings that would cause the
total of all parts to be greater than 64 voices.
11
Overview
Effects in Patch Mode
About the Effects
The JUNO-Di 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.
The multi-effects, chorus and reverb effects can be set up individually
for each patch/rhythm set.
Adjusting the signal level to be sent to each effects unit (Send Level)
provides control over the effect intensity that’s applied to each tone.
Patch
Contained are 79 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 multieffects 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 one multi-effect.
Chorus
Reverb
Rhythm Set
A0
C8
Rhythm
Tone
Multi-Effects
Reverb
Chorus adds depth and spaciousness to the sound.
You can select whether to use this as a chorus effect or a delay effect.
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.
Effects in Performance Mode
The multi-effects, chorus and reverb effects 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.
Performance
Part 1
Patch
Tone
Multi-Effects
Chorus
Reverb
12
Multi-Effects
Chorus
Chorus
Part 16
Tone
Overview
Rewritable Memory
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.
USB Memory
Song
SMF
Audio File
System
User Memory
User memory is where you normally store the data you need.
To store a performance, execute Performance Write (p. 57). To store a
patch, execute Patch Write (p. 24). To store a Rhythm Set, execute
Rhythm Set Write (p. 45).
System Memory
System memory stores system parameter settings that determine how
the JUNO-Di functions.
To store system parameters, execute System Write (p. 5).
Patch
Rhythm Set
USB Memory
Performance
The following settings can be backed up together to USB memory.
Restore
Backup
• User patches (rhythm sets)
• User performances
• System settings
JUNO-Di
System
Non-Rewritable Memory
Preset Memory
User
Preset
Patch
Performance
GM (GM2)
Rhythm Set
Rhythm Set
Patch
Patch
Select
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.
Select
Rhythm Set
Select
Performance
Select
Write
Temporary Area
Temporary Memory
Temporary Area
This is the area that holds the data for the patch or performance that
you’ve selected using the panel buttons.
When you play the JUNO-Di, sound is produced based on data in the
temporary area. When you edit a patch or performance, you do not
directly modify the data in memory; rather, you call up the data into
the temporary area, and edit it there.
Settings in the temporary area will be lost when the power is turned
off or when you select another patch/performance. To keep the
settings you have modified, you must write them into user memory.
13
SYSTEM Parameters
COMMON
]
Parameter
MASTER LEVEL
Value
0–127
MASTER TUNE
415.3–466.2 Hz
PATCH REMAIN
OFF, ON
MASTER KEY SHIFT
-24–+24
PERFORM CTRL CH
(Performance Control
Channel)
1–16, OFF
PATCH RX/TX CH
(Patch Rx/Tx Channel)
RCV PC
(Receive Program Channel)
RCV BS
(Receive Bank Select)
SYSTEM CTRL SRC 1–4
(System Control Source 1–4)
Explanation
Volume of the entire JUNO-Di
Overall tuning of the JUNO-Di
The display shows the frequency of the A4 note (center A).
Specifies whether currently sounding notes will continue sounding when another patch or
rhythm set is selected (ON), or not (OFF).
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 controllers 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.”
Shifts the overall pitch of the JUNO-Di in semitone steps.
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.
1–16
Channel used to transmit and receive MIDI messages for the Keyboard part in Patch mode
OFF, ON
Specifies whether Program Change messages will be received (ON) or not (OFF).
OFF, ON
Specifies whether Bank Select messages will be received (ON) or not (OFF).
OFF, CC01–95,
PITCH BEND,
AFTERTOUCH
Selects the MIDI message used as the System Control.
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. 42). Similarly, the function allowing you to use MIDI messages to change multi-effects settings in realtime is called
the Multi-effects Control (p. 21).
Normally, the Matrix Control is used for making patch settings, and the Multi-effects Control for making settings to patches, rhythm sets, and
performances.
System Control applies to the entire JUNO-Di.
For example, if you want the same MIDI message to always be used for matrix control for other patches as well, select that MIDI message as
SYSTEM CTRL SRC 1, and select “SYS-CTRL 1” as the CONTROL SOURCE for the other patches. With these settings, even if you need to change
the MIDI message used for matrix control, all you need to do is simply choose a different MIDI message as the SYSTEM CTRL SRC 1. In other
words, you could call the System Controls global Matrix Control/Multi-effects Control for the entire JUNO-Di.
You can use up to four System Controls.
14
SYSTEM Parameters
SCALE TUNE for Patch Mode
Parameter
Value
Explanation
PATCH SCALE TUNE
The JUNO-Di 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. 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. 63).
* 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.
C–B
-64–+63
Make scale tune settings for Patch mode.
Equal Temperament
This tuning divides the octave into 12 equal parts, and is the most
widely used method of temperament used in Western music. The
JUNO-Di employs equal temperament when the Scale Tune Switch
is set to “OFF.”
<Example>
Note name
Equal
temperament
Just
intonation
Arabian
scale
C
0
0
-6
C
0
-8
+45
Just Intonation (Tonic of C)
D
0
+4
-2
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.
E
0
+16
-12
E
0
-14
-51
F
0
-2
-8
Arabian Scale
F
0
-10
+43
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-Di, you can use Arabian temperament
in the three keys of G, C and F.
G
0
+2
-4
G
0
+14
+47
A
0
-16
0
B
0
+14
-10
B
0
-12
-49
15
EFFECTS Parameters
Applying Effects
How Effects are Handled in Each Mode
Patch mode (p. 23)
In Patch mode, you can apply multi-effects (MFX), chorus, and reverb
to each patch or rhythm set; the same effect will be applied to each
tone.
By adjusting the amount of signal that is sent from each tone to each
effect, you can control the depth of the effect for each tone.
The patch or rhythm set’s effect settings that you edit will be lost when
you select a different patch or rhythm set. If you want to keep your
edited settings, press [WRITE] to save the patch or rhythm set settings
as a user patch (p. 24, p. 45).
Performance mode (p. 57)
In Performance mode, you can apply three multi-effects (MFX1, MFX2,
MFX3), one chorus, and one reverb to each performance.
The three multi-effects, chorus, and reverb can each 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.
In addition, the three multi-effects can not only be used individually but
also as a combination of multi-effects.
The effect settings of a performance you edit will be lost when you
select a different performance. If you want to keep your edited
settings, press [WRITE] to save the performance settings as a user
performance (p. 57).
“About the Effects” (p. 12) in “Overview.”
Applying Effects
When you click the following buttons in the Navigation block, the
content shown in the Main block will change, allowing you to edit the
effect settings.
• Performance mode:
The buttons shown below [PERFORM EFFECTS]
• Patch mode:
The buttons shown below [PATCH EFFECTS]
16
EFFECTS Parameters
PATCH EFFECTS
In Patch mode you can use one multi-effect (MFX), one chorus, and one reverb.
Signal Flow and Parameters (ROUTING)
Here you can make overall settings for effects, such as the output destination and level of the various signals.
Parameter
Range
Explanation
TONE SELECT
(KEY NAME)
1–4
(A0–C8)
The tone (rhythm tone) to edit
If you’ve selected a rhythm set, this will be KEY NAME.
MFX,
L+R,
L,
R,
TONE
Specifies how the unprocessed sound of the patch (rhythm set) will be output
If you’ve selected a rhythm set, this will be RHYTHM OUTPUT ASSIGN.
MFX: Output in stereo via the multi-effect. Chorus and reverb can also be applied after the multieffect.
L+R: Output in stereo from the OUTPUT jacks without passing through the multi-effect
L: Output in mono from the OUTPUT L jack without passing through the multi-effect
R: Output in mono from the OUTPUT R jack without passing through the multi-effect
TONE: Output according to the settings of each tone
TONE OUTPUT
ASSIGN
MFX,
L+R,
L,
R
Specifies how the unprocessed sound of each tone will be output
MFX: Output in stereo via the multi-effect. Chorus and reverb can also be applied after the multieffect.
L+R: Output in stereo from the OUTPUT jacks without passing through the multi-effect
L: Output in mono from the OUTPUT L jack without passing through the multi-effect
R: Output in mono from the OUTPUT R jack without passing through the multi-effect
* The setting you specify here is valid only if PATCH OUTPUT ASSIGN is set to “TONE.”
* If STRUCTURE (p. 30) is set to TYPE 02–10, the settings for tone 1 (3) will follow the settings of
tone 2 (4). (This is because the outputs of tones 1 and 2 are combined into tone 2, and the outputs
of tones 3 and 4 are combined into tone 4.)
TONE OUTPUT
LEVEL
0–127
Level of signal sent from each tone to the destination specified by OUTPUT ASSIGN
TONE CHORUS
SEND LEVEL
0–127
Level of signal sent from each tone to the chorus
TONE REVERB
SEND LEVEL
0–127
Level of signal sent from each tone to the reverb
MFX (Type)
0–79
Type of multi-effect to use (choose one of 79 types)
For details on each multi-effect, refer to “Multi-Effects Parameters (MFX1–3, MFX)” (p. 64).
MFX OUTPUT LEVEL
0–127
Volume of the sound that has been processed by the multi-effect
MFX CHORUS SEND
LEVEL
0–127
Amount of chorus applied to the sound that has been processed by the multi-effect
MFX REVERB SEND
LEVEL
0–127
Amount of reverb applied to the sound that has been processed by the multi-effect
CHORUS (Type)
OFF,
CHORUS, DELAY,
GM2 CHORUS
Type of chorus
OFF: Chorus/delay will not be used
CHORUS: Chorus
DELAY: Delay
GM2 CHORUS: GM2 chorus
CHORUS LEVEL
0–127
Volume of the sound that has been processed by the chorus
CHORUS OUTPUT
SELECT
MAIN,
MAIN+REV, REV
Output destination of the sound that has been processed by the chorus
MAIN: Output in stereo to the OUTPUT jacks
MAIN+REV: Output in stereo to the OUTPUT jacks and in mono to the reverb
REV: Output in mono to reverb
PATCH OUTPUT
ASSIGN
(RHYTHM OUTPUT
ASSIGN)
17
EFFECTS Parameters
Parameter
Range
Explanation
REVERB (Type)
OFF,
REVERB,
SRV ROOM,
SRV HALL,
SRV PLATE,
GM2 REVERB
Type of reverb
OFF: Reverb will not be used
REVERB: Basic reverb
SRV ROOM: Reverb that simulates the reverberation of a room in greater detail
SRV HALL: Reverb that simulates the reverberation of a hall in greater detail
SRV PLATE: Simulation of a plate echo (a reverb device that uses a metal plate)
GM2 REVERB: GM2 reverb
REVERB LEVEL
0–127
Volume of the sound that has been processed by the reverb
18
EFFECTS Parameters
PERFORM EFFECTS
In Performance mode you can use three multi-effects (MFX1, MFX2, MFX3), one chorus, and one reverb. The three multi-effects, chorus, and reverb
can each use the effect settings of the performance, or the effect settings of the patch or rhythm set assigned to the specified part.
In addition, the three multi-effects can not only be used individually but also as a combination of multi-effects.
Signal Flow and Parameters (ROUTING)
Here you can make overall settings for effects, such as the output destination and level of the various signals.
* The parameters listed below in MFX1–3 (Type), MFX OUTPUT LEVEL, MFX CHORUS SEND LEVEL, MFX REVERB SEND LEVEL and MFX1–3
SOURCE can be edited for each of the three multi-effects (MFX1–MFX3).
Parameter
Range
Explanation
PART
1–16
The part for which to make settings
PART OUTPUT
ASSIGN
MFX,
L+R,
L,
R,
PAT
Specifies how the unprocessed sound of each part will be output
MFX: Output in stereo via the multi-effect. Chorus and reverb can also be applied after the multieffect.
L+R: Output in stereo from the OUTPUT jacks without passing through the multi-effect
L: Output in mono from the OUTPUT L jack without passing through the multi-effect
R: Output in mono from the OUTPUT R jack without passing through the multi-effect
PAT: Output according to the settings of the patch or rhythm set that’s assigned to the part
PART OUTPUT LEVEL
0–127
Level of signal sent to the destination specified by PART OUTPUT ASSIGN
PART CHORUS
SEND LEVEL
0–127
Level of signal sent from each part to the chorus
PART REVERB
SEND LEVEL
0–127
Level of signal sent from each part to the reverb
PART OUTPUT MFX
SELECT
MFX1–3
Multi-effect used by the part (choose one of MFX 1–3)
MFX1–3 (Type)
0–79
Type of multi-effect to use (choose one of 79 types)
For details on each multi-effect, refer to “Multi-Effects Parameters (MFX1–3, MFX)” (p. 64).
MFX OUTPUT LEVEL
0–127
Volume of the sound that has been processed by the multi-effect
MFX CHORUS SEND
LEVEL
0–127
Amount of chorus applied to the sound that has been processed by the multi-effect
MFX REVERB SEND
LEVEL
0–127
Amount of reverb applied to the sound that has been processed by the multi-effect
CHORUS (Type)
OFF,
CHORUS,
DELAY,
GM2 CHORUS
Type of chorus
OFF: Chorus/delay will not be used
CHORUS: Chorus
DELAY: Delay
GM2 CHORUS: GM2 chorus
CHORUS LEVEL
0–127
Volume of the sound that has been processed by the chorus
CHORUS OUTPUT
SELECT
MAIN,
MAIN+REV, REV
Output destination of the sound that has been processed by the chorus
MAIN: Output in stereo to the OUTPUT jacks
MAIN+REV: Output in stereo to the OUTPUT jacks and in mono to the reverb
REV: Output in mono to reverb
REVERB (Type)
OFF,
REVERB,
SRV ROOM,
SRV HALL,
SRV PLATE,
GM2 REVERB
Type of reverb
OFF: Reverb will not be used
REVERB: Basic reverb
SRV ROOM: Reverb that simulates the reverberation of a room in greater detail
SRV HALL: Reverb that simulates the reverberation of a hall in greater detail
SRV PLATE: Simulation of a plate echo (a reverb device that uses a metal plate)
GM2 REVERB: GM2 reverb
REVERB LEVEL
0–127
Volume of the sound that has been processed by the reverb
MFX STRUCTURE
1–16
How MFX 1–3 will be combined
19
EFFECTS Parameters
Parameter
Range
Explanation
MFX1–3 SOURCE
PERFORM,
1–16
Multi-effect parameter settings used by the performance
PERFORM: Use the multi-effect settings of the performance
1–16: Use the multi-effect settings of the patch or rhythm set assigned to the specified part
CHORUS SOURCE
PERFORM,
1–16
Chorus parameter settings used by the performance
PERFORM: Use the chorus settings of the performance
1–16: Use the chorus settings of the patch or rhythm set assigned to the specified part
REVERB SOURCE
PERFORM,
1–16
Reverb parameter settings used by the performance
PERFORM: Use the reverb settings of the performance
1–16: Use the reverb settings of the patch or rhythm set assigned to the specified part
If you’ve specified a part number as the MFX SOURCE, CHORUS SOURCE, or REVERB SOURCE
If you specify a part number as a Source so that the settings of the patch or rhythm set will be used, those settings will be shown in the effect
setting screen of the performance, and can be edited.
If you want to keep the changes you made, save the settings of the patch or rhythm set (p. 24, p. 45). Then you must also save the settings of the
performance (p. 57).
20
EFFECTS Parameters
Multi-Effect Settings (MFX, MFX 1–3)
Parameter
Range
Explanation
ON/OFF
OFF, ON
Turns the multi-effect on/off
* The effect on/off settings cannot be saved.
TYPE
00: THROUGH–
79: VOCODER
Selects the type of multi-effect used by MFX.
Choose “00: THROUGH” if you don’t want to apply a multi-effect.
OUT
0–127
Volume of the sound that has been processed by the multi-effect
CHO
0–127
Amount of chorus applied to the sound that has been processed by the multi-effect
REV
0–127
Amount of reverb applied to the sound that has been processed by the multi-effect
SEND LEVEL
Parameters for each MFX
type
Edit the parameters of the MFX type you’ve selected. Refer to “Multi-Effects Parameters (MFX1–3, MFX)” (p. 64).
Controlling a Multi-Effect via MIDI (CONTROL SOURCE/DESTINATION/SENS)
Multi-Effect Control
In order to control the multi-effect’s volume or delay time from an external MIDI device, you would normally need to transmit system exclusive
messages (MIDI messages that are specific to the JUNO-Di). However, system exclusive messages are more complex to set up, and require a larger
amount of data to be transmitted.
For this reason, the JUNO-Di allows you to use control changes and other common MIDI messages to control the most important multi-effect
parameters.
For example, you might use the pitch bend lever to control the degree of distortion, or use keyboard touch to change the delay time. The parameters
that can be controlled in this way are predetermined for each type of multi-effect; such parameters are indicated by a “#” in the parameter lists in
“Multi-Effects Parameters (MFX1–3, MFX)” (p. 64).
“Multi-effect control” is the capability of using MIDI messages in this way to control multi-effect parameters in real time. You can specify up to four
multi-effect control assignments for each MFX 1–3.
In order to use multi-effect control, you’ll need to specify which MIDI message (SOURCE) will control which parameter (DESTINATION) by what
amount (SENS).
As a substitute for multi-effect control, you can also use matrix control (p. 42) to control important multi-effect parameters in real time.
Parameter
Range
Explanation
CONTROL SOURCE
(1–4)
OFF,
CC01–31,
CC33–95,
PITCH BEND,
AFTERTOUCH,
SYS CTRL 1–4
Specifies the MIDI message that will control the corresponding MFX control parameter.
OFF: MFX will not be used.
CC01–31: Controller number 1–31
CC33–95: Controller number 33–95
PITCH BEND: Pitch bend
AFTERTOUCH: Aftertouch
SYS-CTRL 1–4: Use the controller that is assigned by the System setting SYSTEM CTRL SRC
1–4 (p. 14).
DESTINATION
(1–4)
Refer to “Multi-Effects
Parameters (MFX1–3,
MFX)” (p. 64)
Selects the multi-effect parameter that will be controlled by CONTROL SOURCE.
The type of parameters that can be selected will depend on the type of multi-effect you’ve selected in MFX Type.
-63–+63
Specifies the depth of multi-effect control.
Specify a positive (+) value if you want to change the value of the assigned destination in a
positive direction (larger, toward the right, faster, etc.), or specify a negative value (-) if you
want to change the value in a negative direction (smaller, toward the left, slower, etc.).
Larger values will allow a greater amount of control.
SENS (1–4)
A patch or rhythm set contains parameters that specify whether pitch bend, controller number 11 (expression), and controller number 64 (hold
1) will be received for each tone or rhythm tone (p. 43, p. 50). If these settings are “ON,” receiving that MIDI message will not only change the
setting of the assigned destination parameter, but will also apply the corresponding pitch bend, expression, or hold 1 effect. Leave them “OFF”
if you only want to control the multi-effect parameter.
21
EFFECTS Parameters
A performance contains parameters that specify whether specific MIDI messages will be received for each MIDI channel (p. 62). If you want to
use multi-effect control, make sure that reception is enabled for the corresponding MIDI message. If MIDI messages cannot be received, multieffect control will not work.
Chorus Settings (CHORUS)
Parameter
Range
Explanation
ON/OFF
OFF, ON
Turns the chorus on/off
* The chorus on/off setting cannot be saved.
TYPE
OFF,
CHORUS,
DELAY,
GM2
CHORUS
Type of chorus
OFF: Chorus/delay will not be used
CHORUS: Chorus
DELAY: Delay
GM2 CHORUS: GM2 chorus
LEVEL
0–127
Volume of the sound that has been processed by the chorus
OUTPUT SELECT
MAIN,
MAIN+REV,
REV
Output destination of the sound that has been processed by the chorus
MAIN: Output in stereo to the OUTPUT jacks
MAIN+REV: Output in stereo to the OUTPUT jacks and in mono to the reverb
REV: Output in mono to reverb
Parameters for each
chorus type
Set the parameters of the selected chorus type.
Refer to “Chorus Parameters” (p. 91).
Reverb Settings (REVERB)
Parameter
Range
Explanation
ON/OFF
OFF, ON
Turns the reverb on/off
* The reverb on/off setting cannot be saved.
TYPE
OFF,
REVERB,
SRV ROOM,
SRV HALL,
SRV PLATE,
GM2 REVERB
Type of reverb
OFF: Reverb will not be used
REVERB: Basic reverb
SRV ROOM: Reverb that simulates the reverberation of a room in greater detail
SRV HALL: Reverb that simulates the reverberation of a hall in greater detail
SRV PLATE: Simulation of a plate echo (a reverb device that uses a metal plate)
GM2 REVERB: GM2 reverb
LEVEL
0–127
Volume of the sound that has been processed by the reverb
Parameters for each
reverb type
Set the parameters of the selected reverb type.
Refer to “Reverb Parameters” (p. 92).
22
Detailed Editing for a Patch (PATCH Parameters)
“Editing” is the process of modifying the values of the JUNO-Di’s
various settings (parameters). This chapter explains the procedure for
patch editing, and how the patch parameters work.
The JUNO-Di’s patches are organized into two groups: User and
Preset.
PRST (Preset)
These are the sounds that are built into the JUNO-Di.
This group contains 256 GM2-compatible patches.
You can modify the currently selected sound and WRITE (save) it at
number 501 and following.
USER
Editing a Patch
Select from the “EDIT” menu.
Initializing a Patch
The “Initialize” command initializes the settings of the currently
selected patch.
The Initialize command will initialize only the currently selected
patch. If you want to return all settings to their factory-set values,
execute a Factory Reset on the JUNO-Di itself.
These are sound numbers 501 and following in the JUNO-Di.
When you WRITE (save) the currently selected sound, it will be saved
at number 501 or following.
How to Edit a Patch
You can create a new patch by editing an existing patch.
A patch consists of up to four “tones.” Before editing a patch, you
should listen to each tone individually to familiarize yourself with the
role it plays in creating the overall sound of the patch.
Four tips when creating patches
● Choose a patch that’s close to what you have in mind
If you’re trying to create a new patch, it will be difficult to
make progress if you simply select any old patch and start
making changes blindly. It’s important to start by selecting a
patch that’s close to what you have in mind.
● Decide which tones you’ll use
When creating a patch, it’s very important to decide which
tones you’re going to use. In the edit screen, use the TONE
SWITCH 1–4 settings to specify whether each tone will be
heard (on) or silent (off). Turning off unneeded tones is also an
important way to conserve polyphony.
● Check the structure setting (p. 30)
The STRUCTURE parameter is a very important one; it
specifies how the four tones will be combined. Before you
begin actually editing the tones, you must understand the
relationship between the tones.
Copying/Pasting Patch Settings
The “Copy” command copies the settings to the clipboard.
The “Paste” command pastes the settings from the clipboard to the
copy destination you select.
TONE SWITCH/SELECT
Use TONE SWITCH (SW) 1--4 to turn each of the four tones on/off.
Use TONE SELECT 1--4 to select the tone that you want to edit.
[SUMMARY] and [LFO] editing screens
• The main window will show the settings of the first selected of the
currently selected tones (its button will be lit more brightly than
the others).
• You can select multiple tones by clicking a TONE SELECT button
while holding down your computer’s Shift key.
• When you edit the settings of a tone, the settings of the currently
selected tones will change simultaneously.
[WG], [TVF], [TVA], and [CONTROL SW] editing screens
• You can select multiple tones by clicking a TONE SELECT button
while holding down your computer’s Shift key.
• When you edit the settings of a tone, the settings of the currently
selected tones will change simultaneously.
• Unselected tones can be edited independently.
● Turn the effects off (p. 16)
The JUNO-Di contains a diverse array of effects, allowing you
to process the sound in sophisticated ways. Effects have a
major impact on the sound, and simply turning off the effects
may produce an entirely different impression. Turning off the
effects will allow you to hear the sound of the patch itself,
which makes it easier to hear the result of the changes you
make. In some cases, editing the effect settings may be
enough to create the sound you want.
23
Detailed Editing for a Patch (PATCH Parameters)
Stereo Wave Settings
Some of the waves that make up a tone key are stereo.
With stereo waves, the name of a left-channel wave ends in “L”, while
the name of a right-channel wave ends in “R.”
The left and right waves are numbered consecutively; the right-channel
wave number is one greater than the left-channel wave number.
You can use the following procedure to first select either the left or
right wave, and then select the other wave.
1.
Select a patch.
2.
Make sure that [SUMMARY] or [WG] is selected in the Navigation
block.
3.
Use WAVE NUMBER L to select the left-channel wave of the stereo
wave.
4.
Double-click WAVE NUMBER R.
The corresponding right-channel wave will be selected.
You can also use WAVE NUMBER R to select the right-channel
wave and then double-click WAVE NUMBER L to select the leftchannel wave.
Saving a Patch
Changes you make are temporary, and will be discarded when you
turn off the power or select another patch. If you want to keep a patch
you’ve modified, save it at number 501 or following in the internal
memory.
When you click the [WRITE] button located in the top line of the main
window, the data will be written to the JUNO-Di.
If you’ve edited a patch in Performance mode, you should also save
the performance after saving the patch (p. 57).
When you save, the data that previously occupied the save
destination will be overwritten.
Never turn off the power while data is being saved.
Note when selecting a waveform
The JUNO-Di uses complex PCM waveforms as the basis for its
sounds. For this reason, you should be aware that if you specify a
waveform that is very different than the original waveform, the result
may not be what you expect.
The JUNO-Di’s internal waveforms can be categorized into the
following two types.
One-shot:
These are sounds with a short decay time. One-shot waveforms
contain the entire duration of the sound from the attack until it
decays to silence. Some of these waveforms capture a complete
sound such as a percussion instrument, but there are also many
attack component sounds such as the hammer strike of a piano
or the fret noise of a guitar.
Loop:
These are sounds with a long decay, or sustaining sounds.
Looped waveforms will repeatedly play a portion of a sound
once it has reached a relatively stable state. These sounds also
include numerous component sounds, such as a vibrating piano
string or a resonating pipe.
The following illustration shows an example of a sound created by
combining a one-shot waveform with a loop waveform. (This example
is of an electric organ.)
fig.Waveform1-e.eps
TVA ENV for looped Organ
waveform (sustain portion)
TVA ENV for one-shot Key
-click waveform (attack portion)
Resulting TVA ENV
change
Level
+
Note off
Time
=
Note off
Note when selecting a one-shot waveform
It’s not possible to use the envelope settings to give a one-shot
waveform a longer decay than the original waveform contains,
or to make it a sustaining sound. Even if you made this type of
envelope setting, you would be trying to bring out something
that doesn’t exist in the original waveform.
Note when selecting a looped waveform
Many acoustic instruments such as piano or sax are marked by
a sudden change in timbre at the very beginning of the sound,
and this rapid change is what gives the instrument its distinctive
character. When using these waveforms, it’s best to use the
complex tonal changes in the attack portion of the sound without
attempting to modify them; use the envelope only to modify the
decay portion of the sound as desired. If you use the envelope to
modify the attack as well, the envelope settings will be affected
by the attack of the waveform itself, and you may not get the
result you intend.
fig.Waveform2-e.eps
Level
Looped portion
Tone change stored
with the wave
Time
Envelope
for the TVF filter
Resulting
tone change
24
Detailed Editing for a Patch (PATCH Parameters)
PATCH Parameters
SUMMARY
SYSTEM COMMON
Parameter
Value
Explanation
MASTER LEVEL
0–127
Volume of the entire JUNO-Di
PATCH RX/TX CH
(Patch Rx/Tx Channel)
1–16
Channel used to transmit and receive MIDI messages for the Keyboard part in Patch mode
Parameter
Value
Explanation
LEVEL
0–127
Volume of the patch
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.
PORTAMENT ON
OFF, ON
Specifies whether the portamento effect will be applied (ON) or not (OFF).
PORTAMENT TIME
0–127
Specifies the time over which the pitch will change.
PATCH COMMON
LFO1
Parameter marked with a “★” can be controlled using specified MIDI messages.
(Matrix Control, p. 42)
Parameter
Value
Explanation
WAVEFORM
SIN, TRI,
SAW-UP,
SAW-DW,
SQR, RND,
BEND-UP,
BEND-DW,
TRP, S&H, CHS,
VSIN, STEP
Waveform of the LFO
SIN: Sine wave
TRI: Triangle wave
SAW-UP: Sawtooth wave
SAW-DW: Sawtooth wave (negative polarity)
SQR: Square wave
RND: Random wave
BEND-UP: Once the attack of the waveform output by the LFO is allowed to develop in standard
fashion, the waveform then continues without further change.
BEND-DW: Once the decay of the waveform output by the LFO is allowed to develop in standard
fashion, the waveform then continues 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 similar to a step modulator.
* If you set this to “BEND-UP” or “BEND-DW,” you must turn the KEY TRIGGER parameter (p. 40) to
“ON.” If this is “OFF,” it will have no effect.
RATE ★
0–127, Note
Modulation speed of the LFO
If you want the LFO rate to be synchronized with the tempo, this should be set in terms of a note value.
* This setting will be ignored if the WAVEFORM parameter is set to “CHS.”
DELAY
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.
* Set this according to your purpose as described in “How to Apply the LFO” (p. 40).
DEPTH PITCH ★
-63–+63
How deeply the LFO will affect pitch
DEPTH TVF ★
-63–+63
How deeply the LFO will affect the cutoff frequency
DEPTH TVA ★
-63–+63
How deeply the LFO will affect the volume
DEPTH PAN ★
-63–+63
How deeply the LFO will affect the pan
25
Detailed Editing for a Patch (PATCH Parameters)
WG
Parameter marked with a “★” can be controlled using specified MIDI messages.
(Matrix Control, p. 42)
Parameter
Value
Explanation
Off, 1–
Basic waveform for a tone
When in monaural mode, only the left side (L) is specified. When in stereo, the right side
(R) is also specified.
To select a left/right pair of waveforms, first select the left (L) wave number, then doubleclick the wave number of the right (R) wave to select it.
GAIN
-6, 0, +6, +12
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. 31).
TEMPO SYNC
OFF, ON
When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”
* When this parameter is set to “ON,” set the TONE DELAY TIME parameter (p. 33) to “0.”
FXM ON
OFF, ON
This sets whether FXM will be used (ON) or not (OFF).
FXM COLOR
1–4
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
TUNE COARSE ★
-48–+48
Pitch of the tone’s sound (in semitones, +/-4 octaves)
TUNE FINE ★
-50–+50
Pitch of the tone’s sound (in 1-cent steps; one cent is 1/100th of a semitone)
PITCH ENV DEPTH
(Pitch Envelope 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.
PITCH ENV A
(Pitch Envelope Attack)
0–127
Pitch envelope times
Higher settings will result in a longer time until the next pitch is reached.
This will modify ENV T1 (p. 34).
PITCH ENV D
(Pitch Envelope Decay)
0–127
Pitch envelope times
This will modify ENV T3 (p. 34).
PITCH ENV S
(Pitch Envelope Sustain)
-63–+63
Pitch envelope levels
Specify how the pitch will change at each point, relative to the pitch set with COARSE
TUNE or FINE TUNE.
This will modify ENV L3 (p. 34).
PITCH ENV R
(Pitch Envelope Release)
0–127
Pitch envelope times
This will modify ENV T4 (p. 34).
WAVE NUMBER
L (Mono)/R
TVF
Parameter marked with a “★” can be controlled using specified MIDI messages.
(Matrix Control, p. 42)
Parameter
TYPE
26
Value
Explanation
OFF,
LPF,
BPF,
HPF,
PKG,
LPF2,
LPF3
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 unbrighten 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.
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.
Detailed Editing for a Patch (PATCH Parameters)
Parameter
Value
Explanation
CUTOFF ★
(Cutoff Frequency)
0–127
Frequency at which the filter begins to have an effect on the waveform’s frequency components
RES ★
(Resonance)
0–127
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.
FILTER ENV DEPTH
(Filter Envelope 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.
FILTER ENV A
(Filter Envelope Attack)
0–127
TVF envelope times
Higher settings will lengthen the time until the next cutoff frequency level is reached.
This will modify ENV T1 (p. 36).
FILTER ENV D
(Filter Envelope Decay)
0–127
TVF envelope times
This will modify ENV T3 (p. 36).
FILTER ENV S
(Filter Envelope Sustain)
0–127
TVF envelope levels
Specify how the cutoff frequency will change at each point, relative to the Cutoff Frequency value.
This will modify ENV L3 (p. 36).
FILTER ENV R
(Filter Envelope Release)
0–127
TVF envelope times
This will modify ENV T4 (p. 36).
TVA
Parameter
Value
Explanation
LEVEL ★
0–127
Volume of the tone
This setting is useful primarily for adjusting the volume balance between tones.
PAN ★
L64–0–63R
Left/right position of the tone
AMP ENV A
(Amp Envelope Attack)
0–127
TVA envelope times
Higher settings will lengthen the time until the next volume level is reached.
This will modify ENV T1 (p. 38).
AMP ENV D
(Amp Envelope Decay)
0–127
TVA envelope times
This will modify ENV T3 (p. 38).
AMP ENV S
(Amp Envelope Sustain)
0–127
TVA envelope levels
Specify how the volume will change at each point, relative to the LEVEL value.
This will modify ENV L3 (p. 38).
AMP ENV R
(Amp Envelope Release)
0–127
TVA envelope times
This will modify ENV T4 (p. 38).
SEND LEVEL OUT
(Output Level)
0–127
Level of the signal that is sent to the output destination specified by OUTPUT ASSIGN (p. 38)
SEND LEVEL (OUTPUT ASSIGN = MFX)
CHO (Chorus Send)
0–127
Level of the signal sent to chorus for each tone if the tone is sent through MFX
REV (Reverb Send)
0–127
Level of the signal sent to reverb for each tone if the tone is sent through MFX
SEND LEVEL (OUTPUT ASSIGN = non MFX)
CHO (Chorus Send)
0–127
Level of the signal sent to chorus for each tone if the tone is not sent through MFX
REV (Reverb Send)
0–127
Level of the signal sent to reverb for each tone if the tone is not sent through MFX
27
Detailed Editing for a Patch (PATCH Parameters)
COMMON
Parameter marked with a “★” can be controlled using specified MIDI messages.
(Matrix Control, p. 42)
Parameter
Value
Explanation
PATCH NAME
—
Patch name
CATEGORY
—
Type (category) of the patch
* If you select “NO ASSIGN” as the category, it won’t be possible to select the patch on the JUNODi itself.
LEVEL
0–127
Volume of the patch
PAN
L64–0–63R
Left/right position of the patch
OUTPUT ASSIGN
MFX,
L+R,
L,
R,
TONE
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.
L+R: Output in stereo to the OUTPUT jacks without passing through the multi-effect
L: Output in mono to the OUTPUT L jack without passing through the multi-effect
R: Output in mono to the OUTPUT R jack without passing through the multi-effect
TONE: Outputs according to the settings for each tone.
OCTAVE SHIFT
-3–+3
Pitch of the patch’s sound (in units of an octave)
TUNE COARSE ★
-48–+48
Pitch of the patch’s sound (in semitones, +/- 4 octaves)
TUNE FINE
-50–+50
Pitch of the patch’s sound (in 1-cent steps; one cent is 1/100th of a semitone)
STRETCH TUNE DEPTH
OFF, 1–3
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.
PITCH BEND RANGE UP
0–+48
Degree of pitch change in semitones when the Pitch Bend lever is all the way right (in semitones)
PITCH BEND RANGE
DOWN
-48–0
Degree of pitch change in semitones when the Pitch Bend lever is all the way left (in semitones)
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
Parameter
OFFSET (Modify)
28
Value
Description
CUTOFF
-63–+63
CUTOFF (p. 27)
RES (Resonance)
-63–+63
RES (p. 27)
ATTACK TIME
-63–+63
TVF Envelope Time 1, TVA Envelope Time 1 (p. 36, p. 38)
RELEASE TIME
-63–+63
TVF Envelope Time 4, TVA Envelope Time 4 (p. 36, p. 38)
VELOCITY SENS
-63–+63
Cutoff Velocity Sens, Velocity Sens (p. 36, p. 37)
Detailed Editing for a Patch (PATCH Parameters)
Parameter
Value
Explanation
PRIORITY
LAST,
LOUDEST
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.)
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.
OFF, ON
This setting specifies whether the Legato Switch will be used
(ON) or not (OFF).
LEGATO SW is valid when the Mono/Poly parameter is set to
“MONO.”
With the LEGATO SW “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 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.
OFF, ON
The setting determines whether sounds are replayed (ON) or not
(OFF) when performing legato.
The LEGATO RETRIGGER is valid when the Mono/Poly is set to
“MONO” and the LEGATO SW is set to “ON.” Normally you
will leave this parameter “ON.”
When “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 modulation with the mono synth keyboard sound.
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.”
SW
OFF, ON
Specifies whether the portamento effect will be applied (ON) or not (OFF).
MODE
NORMAL,
LEGATO
NORMAL: Portamento will always be applied.
LEGATO: Portamento will be applied only when you play legato.
TYPE
RATE, TIME
RATE: Speed of pitch change is uniform (the time required for the pitch change will correspond to the
distance of the pitch change)
TIME: The time it takes will be constant, regardless of how far apart in pitch the notes are.
START
PITCH,
NOTE
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.
TIME
0–127
Specifies the time over which the pitch will change.
SW (Switch)
LEGATO
RETRIGGER
ANALOG FEEL
PORTAMENTO
Let’s say you have the LEGATO SW
set to “ON,” and the LEGATO
RETRIGGER set to “OFF.”
When you try to sound a legato (by
pressing a higher key while a lower
key is held down), the pitch may
sometimes not be able to rise all the
way to the intended pitch (stopping
instead at an intermediate pitch).
This can occur because the limit of
pitch rise, as determined at the
wave level, has been exceeded.
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 to
“ON.”
Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key.
fig.PortaStart.e
Portamento Start: PITCH
Portamento Start: NOTE
Pitch
Pitch
C5
C5
D4
C4
D4
C4
Time
Time
press D4 key
press D4 key
press C5 key
press C4 key
PART MODULATION
press C5 key
press C4 key
OFF, ON
Specifies whether the part’s modulation depth range setting (the value specified by RPN) will be enabled
(ON) or disabled (OFF).
29
Detailed Editing for a Patch (PATCH Parameters)
STRUCTURE
Structure changes how a tone is sounded.
Parameter
Value
Explanation
TONE 1 & 2, 3 & 4 TYPE
1–10
Determines how tone 1 and 2, or tone 3 and 4 are connected.
The following 10 different Types of combination are available.
Type 01
Type 02
TONE 1 (3)
WG
TVF
TVA
TONE 1 (3)
WG
TONE 2 (4)
WG
TVF
TVA
TONE 2 (4)
WG
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.
Type 03
TONE 1 (3)
TVF
Type 04
WG
TVA
TONE 1 (3)
TVF
WG
TVA
WG
TVF
TVA
Type 05
TONE 2 (4)
WG
TVF
Type 06
WG
TVA
TONE 1 (3)
TVF
WG
TVA
TVF
R
WG
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, adjusting the depth of ring modulator.
Type 07
TONE 1 (3)
TONE 2 (4)
WG
TVF
Type 08
WG
TVF
TONE 1 (3)
TVA
WG
TVF
TVA
R
WG
TVF
TVA
This type applies a filter to tone 1 (3) and ring-modulates it with tone 2
(4) to create new overtones.
Type 09
TONE 1 (3)
TONE 2 (4)
WG
TVF
TVA
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 10
WG
TVF
TONE 1 (3)
TVA
WG
TVF
R
TONE 2 (4)
TVA
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 ringmodulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can
adjust the amount of the ring-modulated sound.
R
TONE 2 (4)
TVA
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.
R
TONE 2 (4)
TVF
B
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.
TONE 1 (3)
TVA
This type stacks the two filters together to intensify the characteristics of
the filters. The TVA for tone 1 (or 3) controls the volume balance between
the two tones.
B
TONE 2 (4)
TVF
TVA
WG
TVF
TVA
R
TVA
This type passes the filtered sound of each tone through a ring modulator
to create new overtones. The tone 1 (3) TVA will control the volume
balance of the two tones, adjusting the depth of ring modulator.
TONE 2 (4)
WG
TVF
TVA
This type passes the filtered sound of each tone through a ring modulator
to create new overtones, and also mixes in the sound of tone 2 (4). 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.
* When TYPE 02–10 is selected and one tone of a pair is turned off, the other tone will be sounded as TYPE 01 regardless of the displayed setting.
* If you limit the keyboard area in which a tone will sound (KEY RANGE, p. 42) or limit the range of velocities for which it will sound (VELOCITY
RANGE, p. 41), 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
02–10 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 01 regardless of the displayed setting.
30
Detailed Editing for a Patch (PATCH Parameters)
Parameter
Value
Explanation
TONE 1 & 2, 3 & 4 BOOSTER
0, +6,
+12, +18
Specifies the amount of boost that is applied (when the Structure Type is 03 or 04)
The booster distorts the sound by boosting the input signal, producing the distortion
effect that is often used with an electric guitar. Increasing this value will produce
stronger distortion.
Booster
The Booster is used to distort the incoming signal.
fig.Boost1.e
Booster level
In addition to using this to create distortion, you can use the
waveform (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. 32).
fig.Boost2.e
Uses WG1 as LFO
WG1
Adjusts WG1 output
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.
31
Detailed Editing for a Patch (PATCH Parameters)
WG
This modifies Waveforms/Pitch/Pitch Envelope.
Parameter marked with a “★” can be controlled using specified MIDI messages.
(Matrix Control, p. 42)
Parameter
Value
Explanation
Off, 1–
Basic waveform for a tone
When in monaural mode, only the left side (L) is specified. When in stereo, the right side
(R) is also specified.
To select a left/right pair of waveforms, first select the left (L) wave number, then doubleclick the wave number of the right (R) wave to select it.
GAIN
-6, 0, +6, +12
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. 31).
TEMPO SYNC
OFF, ON
When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”
* When this parameter is set to “ON,” set the TONE DELAY TIME parameter (p. 33) to “0.”
FXM ON
OFF, ON
This sets whether FXM will be used (ON) or not (OFF).
FXM COLOR
1–4
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
WAVE NUMBER L/R
Phrase Loop
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.”
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.
Parameter
Value
Explanation
TUNE COARSE ★
-48–+48
Pitch of the tone’s sound (in semitones, +/-4 octaves)
TUNE FINE ★
-50–+50
Pitch of the tone’s sound (in 1-cent steps; one cent is 1/100th of a semitone)
RANDOM PITCH
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.”
PITCH KF
(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.”
32
Detailed Editing for a Patch (PATCH Parameters)
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 JUNO-Di.
* If you are not going to use Tone Delay, set the TONE DELAY MODE parameter to “NORMAL” and DELAY TIME parameter to “0.”
* If STRUCTURE (p. 30) is set to TYPE 02–10, the settings for tone 1 (3) will follow the settings of tone 2 (4). (This is because the outputs of tones 1
and 2 are combined into tone 2, and the outputs of tones 3 and 4 are combined into tone 4.)
Parameter
TONE DELAY MODE
TONE DELAY TIME
Value
Explanation
NORMAL,
HOLD,
KEY-OFF-NOR,
KEY-OFF-DCY
Type of tone delay
NORMAL: The tone begins to play after the time specified in the TONE DELAY TIME parameter
has elapsed.
HOLD: Although the tone begins to play after the time specified in the TONE DELAY TIME
parameter has elapsed, if the key is released before the time specified in the TONE DELAY
TIME parameter has elapsed, the tone is not played.
KEY-OFF-NOR: Rather than being played while the key is pressed, the tone begins to play once
the period of time specified in the TONE 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.
KEY-OFF-DCY: Rather than being played while the key is pressed, the tone begins to play once
the period of time specified in the TONE 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), selecting “KEY-OFF-NOR” or “KEY-OFF-DCY” may
result in no sound being heard.
0–127, Note
Time from when the key is pressed (or if the Tone Delay Mode parameter is set to “KEY-OFF-NOR”
or “KEY-OFF-DCY,” the time from when the key is released) until when the tone will sound
Specify this as a note value if you want to synchronize the delay to the tempo of the
JUNO-Di.
fig.ToneDly1.e
Tone Delay Mode: NORMAL
Tone Delay Mode: KEY-OFF-NOR
Tone Delay Mode: HOLD
Tone Delay Mode: KEY-OFF-DCY
Delay time
No Tone Delay
Delay time
Delay time
Note on
Note off
Delay time
Note on
No sound
played
Note on
Note on
Note off
Note off
Note off
33
Detailed Editing for a Patch (PATCH Parameters)
PITCH ENV (WAVE PITCH ENVELOPE)
Parameter marked with a “★” can be controlled using specified MIDI messages.
(Matrix Control, p. 42)
Parameter
Value
Explanation
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.
TIME KF
(Time Keyfollow)
-100–+100
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 increasingly shorter times.
VEL SENS
(Velocity Sens)
-63–+63
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.
T1 SENS
(T1 Velocity Sens)
-63–+63
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.
T4 SENS
(T4 Velocity Sens)
-63–+63
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.
T1–4 ★
(Time 1–4)
0–127
Pitch envelope times (T1–T4)
Higher settings will result in a longer time until the next pitch is reached.
L0–4
(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 Keyfollow
Pitch
Time Keyfollow
Time
+200
-100
+100
+50
C1
C2
C3
C4
C5
-200
C6
-50
0
0
-50
+50
-100
C7
Key
C1
Pitch Envelope
T1
T2
T3
T4
Pitch L0
L1
Note off
Note on
L2
34
Time
L3
L4
C2
C3
C4
C5
C6
+100
C7
Key
Detailed Editing for a Patch (PATCH Parameters)
TVF
A filter cuts or boosts a specific frequency region to change a sound’s brightness, thickness, or other qualities.
Parameter marked with a “★” can be controlled using specified MIDI messages.
(Matrix Control, p. 42)
Parameter
Value
Explanation
FILTER TYPE
OFF, LPF, BPF, HPF,
PKG, LPF2, LPF3
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.
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 RES parameter will be ignored.
CUTOFF ★
(Cutoff Frequency)
0–127
Frequency at which the filter begins to have an effect on the waveform’s frequency components
RES ★
(Resonance)
0–127
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.
RES VEL SENS
(Resonance Velocity Sens)
-63–+63
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.
-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.
CUTOFF KF
(Cutoff Keyfollow)
Resonance
LPF
BPF
HPF
PKG
Cutoff frequency
(Octave)
Cutoff Keyfollow
Level
High
+200
Frequency
Parameter Value
Cutoff frequency
+100
+2
+50
+1
0
o
-1
-50
-2
C1
C2
C3
C4
C5
-200
C6
-100
C7
Key
Low
35
Detailed Editing for a Patch (PATCH Parameters)
Parameter
Value
VEL CURVE
(Cutoff Velocity Curve)
Explanation
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.
FIX, 1–7
1
VEL SENS
(Cutoff Velocity Sens)
2
3
4
5
6
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.
-63–+63
FILTER ENV (TVF ENVELOPE)
Parameter marked with a “★” can be controlled using specified MIDI messages.
(Matrix Control, )
p. 42
Parameter
Value
Explanation
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.
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.
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.
VEL CURVE
(Velocity Curve)
FIX, 1–7
1
2
3
4
5
6
7
VEL SENS
(Velocity 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 (-) settings will cause the effect to be less.
T1 SENS
-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.
T4 SENS
-63–+63
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.
T1–4 ★
(Time 1–4)
0–127
TVF envelope times (T1–T4)
Higher settings will lengthen the time until the next cutoff frequency level is reached.
L0–4
(Level 0–4)
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
Time Keyfollow
Time
T2
T3
-100
T4
-50
Cutoff
Frequency
0
L0
L1
Note on
L2
L3
L4
Time
+50
Note off
C1
36
C2
C3
C4
C5
C6
+100
C7
Key
Detailed Editing for a Patch (PATCH Parameters)
TVA
TVA adjusts the volume.
Parameter marked with a “★” can be controlled using specified MIDI messages.
(Matrix Control, p. 42)
Parameter
Value
Explanation
LEVEL ★
0–127
Volume of the tone
This setting is useful primarily for adjusting the volume balance between tones.
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.
VEL CURVE
(Velocity Curve)
FIX, 1–7
1
VEL SENS
(Velocity Sens)
2
3
4
5
6
7
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.
-63–+63
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
C-1 –G9
Key relative to which the volume will be modified
BIAS DIRECTION
LOWER,
UPPER,
LO&UP,
ALL
Direction in which change will occur starting from the Bias Position
LOWER: The volume will be modified for the keyboard area below the Bias Position.
UPPER: The volume will be modified for the keyboard area above the Bias Position.
LO&UP: The volume will be modified symmetrically toward the left and right of the Bias Position.
ALL: The volume changes linearly with the Bias Position at the center.
LOWER
+
Level
UPPER
Level
0
Bias Position
G9
LO&UP
+
Level
+
0
0
0
–
Key
–
C-1
+
C-1
Bias Position
Key
G9
–
C-1
–
Bias Position
ALL
Level
–
0
+
Key
G9
C-1
+
0
–
Bias Position
Key
G9
Parameter
Value
Explanation
PAN ★
L64–0–63R
Left/right position of the tone
PAN KF
(Pan Keyfollow)
-100–+100
Use this parameter if you want key position to affect panning.
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.
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.
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.
ALT. PAN DEPTH
(Alternate Pan Depth)
Pan Keyfollow
Pan
* When a TYPE 02–10 has been selected for STRUCTURE (p. 30), the
settings for PAN KF, RANDOM PAN DEPTH, and ALT. PAN DEPTH for tone
1 (3) will be in concord with the settings for tone 2 (4). (This is because the
outputs of tones 1 and 2 are consolidated in tone 2, and the outputs of
tones 3 and 4 are consolidated in tone 4.)
+100
R
+50
o
0
-50
-100
L
C1
C2
C3
C4
C5
C6
C7
Key
37
Detailed Editing for a Patch (PATCH Parameters)
AMP ENV (TVA ENVELOPE)
Parameter marked with a “★” can be controlled using specified MIDI messages.
(Matrix Control, p. 42)
Parameter
Value
Explanation
TIME KF
(TIME Keyfollow)
-100–+100
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 settings will produce greater change.
T1 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.
T4 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.
T1–4 ★
(Time 1–4)
0–127
TVA envelope times (T1–T4)
Higher settings will lengthen the time until the next volume level is reached.
L1–3
(Level 1–3)
0–127
TVA envelope levels (L1–L3)
Specify how the volume will change at each point, relative to the LEVEL value.
TVA Envelope
Time Keyfollow
Time
T1 T2
T3
-100
T4
-50
0
Level
L1
Note on
L2
Time
L3
+50
Note off
+100
C1
C2
C3
C4
C5
C6
C7
Key
OUTPUT
Parameter
Value
Explanation
SEND LEVEL OUT
(Output Level)
0–127
Level of the signal that is sent to the output destination specified by OUTPUT ASSIGN
SEND LEVEL (OUTPUT ASSIGN = MFX)
CHO (Chorus Send)
0–127
Level of the signal sent to chorus for each tone if the tone is sent through MFX
REV (Reverb Send)
0–127
Level of the signal sent to reverb for each tone if the tone is sent through MFX
SEND LEVEL (OUTPUT ASSIGN = non MFX)
CHO (Chorus Send)
0–127
Level of the signal sent to chorus for each tone if the tone is not sent through MFX
REV (Reverb Send)
0–127
Level of the signal sent to reverb for each tone if the tone is not sent through MFX
MFX,
L+R,
L, R
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.
L+R: Output in stereo to the OUTPUT jacks without passing through the multi-effect
L: Output in mono to the OUTPUT L jack without passing through the multi-effect
R: Output in mono to the OUTPUT R jack without passing through the multi-effect
* If the PATCH OUTPUT ASSIGN is set to anything other than “TONE,” these settings will be ignored.
* If “STRUCTURE” (p. 30) is set to TYPE 02–10, the settings for tone 1 (3) will follow the settings of tone
2 (4). (This is because the outputs of tones 1 and 2 are combined into tone 2, and the outputs of tones
3 and 4 are combined into tone 4.)
* 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 (p. 17).
OUTPUT ASSIGN
38
Detailed Editing for a Patch (PATCH Parameters)
LFO
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.
Parameter marked with a “★” can be controlled using specified MIDI messages.
(Matrix Control, p. 42)
Parameter
Value
Explanation
SIN, TRI,
SAW-UP,
SAW-DW,
SQR, RND,
BEND-UP,
BEND-DW,
TRP, S&H, CHS,
VSIN, STEP
Waveform of the LFO
SIN: Sine wave
TRI: Triangle wave
SAW-UP: Sawtooth wave
SAW-DW: Sawtooth wave (negative polarity)
SQR: Square wave
RND: Random wave
BEND-UP: Once the attack of the waveform output by the LFO is allowed to develop in standard
fashion, the waveform then continues without further change.
BEND-DW: Once the decay of the waveform output by the LFO is allowed to develop in standard
fashion, the waveform then continues 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 similar to a step modulator.
* If you set this to “BEND-UP” or “BEND-DW,” you must turn the KEY TRIGGER parameter (p. 40) to
“ON.” If this is “OFF,” it will have no effect.
OFFSET
-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 (-) settings will move the waveform so that modulation will occur from the central
value downward.
RATE VALUE ★
0–127, Note
Modulation speed of the LFO
If you want the LFO rate to be synchronized with the tempo, this should be set in terms of a note value.
* This setting will be ignored if the Waveform parameter is set to “CHS.”
RATE DETUNE
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 VALUE is set to “note.”
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.
* Set this according to your purpose as described in “How to Apply the LFO” (p. 40).
DELAY
KEYFOLLOW
(Delay Time
Keyfollow)
-100–+100
Adjusts the value for the DELAY TIME parameter depending on the key position, relative to the C4 key
(center C).
If this is set to a positive “+” value, the DELAY TIME will become shorter as you play notes higher
than the C4 key (middle C).
WAVEFORM
fig.T-KF.e
Time Keyfollow
Time
-100
-50
0
+50
C1
C2
C3
C4
C5
C6
+100
C7
Key
39
Detailed Editing for a Patch (PATCH Parameters)
Parameter marked with a “★” can be controlled using specified MIDI messages.
(Matrix Control, p. 42)
Parameter
Value
ON-IN,
ON-OUT,
OFF-IN,
OFF-OUT
FADE MODE
FADE TIME
0–127
KEY TRIGGER
DEPTH PITCH ★
DEPTH TVF ★
DEPTH TVA ★
DEPTH PAN ★
OFF, ON
-63–+63
-63–+63
-63–+63
-63–+63
Explanation
How the LFO will be applied
* Set this according to your purpose as described in “How to Apply the LFO” (below).
Time over which the LFO amplitude will reach the maximum (minimum)
* Set this according to your purpose as described in “How to Apply the LFO” (below).
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
How deeply the LFO will affect the cutoff frequency
How deeply the LFO will affect the volume
How deeply the LFO will affect the pan
Positive (+) and negative (-) settings for the DEPTH parameters 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 modulation 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.
* If “STRUCTURE” (p. 30) is set to TYPE 02–10, the settings for tone 1 (3) will follow the settings of tone 2 (4). (This is because the outputs of tones 1
and 2 are combined into tone 2, and the outputs of tones 3 and 4 are combined into tone 4.)
How to Apply the LFO
● Apply the LFO gradually after the key is pressed
high (more)
Delay
Time
Fade Time
Pitch
Cutoff Frequency
Level
Pan Note on
Depth
FADE MODE: ON-IN
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
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
Pan Note on
Depth
FADE MODE: ON-OUT
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
low (less)
● Apply the LFO gradually after the key is released
Delay
Time
high (more)
Pitch
Cutoff Frequency
Level
Pan
Fade Time
Depth
Note
on
Note
off
FADE MODE: OFF-IN
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
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)
Pitch
Cutoff Frequency
Level
Pan
low (less)
40
Fade Time
Depth
Note on
Note off
FADE MODE: OFF-OUT
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
Detailed Editing for a Patch (PATCH Parameters)
STEP LFO
Parameter
Value
Explanation
STEP TYPE
TYPE1,
TYPE2
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.
TYPE1: stair-step change
TYPE2: linear change
STEP 1–16
-36–+36
Specifies the data for the Step LFO.
If the LFO PITHC DEPTH is +63, each +1 unit of the step data corresponds to a pitch of +50 cents.
VELOCITY RANGE
You can use the force with which keys are played to control the way each Tone is played.
fig.TMT-V.e
Level
The tone sounded
when you play softly
The tone sounded
when you play strongly
Velocity
Velo Fade Upper
Velo Range Upper
Velo Fade Lower
Velo Range Lower
Parameter
Value
Explanation
VELOCITY CONTROL
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.
TMT CONTROL SW
OFF, ON
Use the Matrix Control (p. 42) to enable (ON), or disable (OFF) sounding of different tones.
FADE LOWER
0–127
Determines what will happen to the tone’s level when the tone is played at a velocity lower
than Velocity Range Lower.
If you don’t want the tone to sound at all, set this parameter to “0.”
LOWER
1–(UPPER)
Specifies the lowest velocity at which the tone will sound.
UPPER
(LOWER)–127
Specifies the highest velocity at which the tone will sound.
FADE UPPER
0–127
Determines what will happen to the tone’s level when the tone is played at a velocity greater
than Velocity 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 VELOCITY CONTROL
parameter to “OFF.”
41
Detailed Editing for a Patch (PATCH Parameters)
KEY RANGE
You can use the note number to control the way each Tone is played.
fig.TMT-K.e
Level
The tone sounded
in the lower range
The tone sounded
in the upper range
Pitch
Key Fade Upper
Key Range Upper
Key Fade Lower
Key Range Lower
Parameter
Value
Explanation
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.”
LOWER
C-1 –(UPPER)
Specifies the lowest note that the tone will sound for each tone.
UPPER
(LOWER)–G9
Specifies the highest note that the tone will sound for each tone.
FADE UPPER
0–127
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.”
MATRIX CONTROL
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 (SOURCE) will be used to control which parameter (DESTINATION), and how greatly
(SENS), and the tone to which the effect is applied (TONE).
Parameter
SOURCE 1–4
Value
Explanation
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: Controllers that are shared by the entire JUNO-Di (see TIP below)
VELOCITY: Pressure you press a key with
KEYFOLLOW: Keyboard position with C4 as 0
TEMPO: The specified tempo of the JUNO-Di or the tempo of an external MIDI sequencer.
LFO1: LFO 1
LFO2: LFO 2
PITCH ENV: Pitch envelope
TVF ENV: TVF envelope
TVA ENV: TVA envelope
VELOCITY and KEYFOLLOW 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-Di, select “SYS-CTRL1”–”SYS-CTRL4.” MIDI messages used as SYS-CTRL 1–4 are set
with the SYSTEM CTRL SRC 1–4 parameters (p. 14).
• If RCV BENDER, RCV EXP, or RCV HOLD-1 (p. 43) are “ON,” incoming MIDI messages of these types will affect the Pitch Bend, Expression, or
Hold 1 settings at the same time that they affect the target parameter (DESTINATION). If you want these incoming messages to affect only the
target parameter, turn these settings “OFF.”
• There are parameters that let you specify whether specific MIDI messages will be received for each channel in a performance (p. 62). 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-Di is set up such that reception of MIDI messages is disabled, then the Matrix Control will not function.
42
Detailed Editing for a Patch (PATCH Parameters)
Parameter
Value
Explanation
DESTINATION 1–4
OFF, PITCH, CUTOFF,
RESONANCE, LEVEL,
PAN, OUTPUT LEVEL,
CHORUS SEND,
REVERB SEND,
LFO1/2 PCH 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
Tone parameters that are 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 “★.”
-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 negative (-) 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.
OFF, ON, REV
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.
REV: The effect will be applied in reverse.
SENS 1–4
TONE 1–4
(Tone Switch 1–4)
CONTROL SW
Parameter
Value
Explanation
RCV BENDER
(Receive Bender)
OFF, ON
For each tone, specify whether MIDI Pitch Bend messages will be received (ON), or not (OFF).
RCV EXP
(Receive Expression)
OFF, ON
For each tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).
RCV HOLD-1
(Receive Hold-1)
OFF, ON
For each 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.
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.” This function is effective for piano sounds.
* In order to use this function, you must also set RCV HOLD-1 to “ON.”
CONTINUOUS,
KEY-ON
For each 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.
NO-SUS,
SUSTAIN
When a loop waveform (p. 24) 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 “NOSUS.”
* If a one-shot type wave (p. 24) is selected, it will not sustain even if this parameter is set to
“SUSTAIN.”
REDAMPER
RCV PAN MODE
(Receive Pan Mode)
ENV MODE
(Envelope Mode)
43
Detailed Editing for a Rhythm Set (RHYTHM Parameters)
“Editing” is the process of modifying the values of the JUNO-Di’s
various settings (parameters). This chapter explains the procedure for
editing a rhythm set, and describes the function of the rhythm set
parameters.
Rhythm sets are selected from the patch group. This means that just as
for patches, there will be two groups: user and preset.
For more about patch groups, refer to “Detailed Editing for a Patch
(PATCH Parameters)” (p. 23).
How to Edit a Rhythm Set
You can create a new rhythm set by editing an existing rhythm set. A
rhythm set is a collection of rhythm tones (percussion instrument
sounds). To edit a rhythm set, you need to edit the settings of the
rhythm tone assigned to each key.
The rhythm tone assigned to each key consists of up to four waves.
The relationship between rhythm tones and waves is the same as the
relationship between patches and tones.
Editing a Rhythm Set
Select from the “EDIT” menu.
Initializing a Rhythm Set
The “Initialize” command initializes the settings of the currently
selected rhythm set. It is also possible to initialize only a specific key
(rhythm tone) of the currently selected rhythm set.
Initialization will affect only the currently selected rhythm set. If
you want to return all settings to their factory-set values, execute a
Factory Reset on the JUNO-Di itself.
Copying/Pasting Rhythm Set Settings
The “Copy” command copies the settings to the clipboard.
The “Paste” command pastes the settings from the clipboard to the
copy destination you select.
WMT SWITCH/SELECT
Use WMT SWITCH (SW) 1--4 to turn each of the four waves on/off.
Use WMT SELECT 1--4 to select the wave that you want to edit.
[SUMMARY] editing screens
• The main window will show the settings of the first selected of the
currently selected waves (its button will be lit more brightly than
the others).
• You can select multiple waves by clicking a WMT SELECT button
while holding down your computer’s Shift key.
• When you edit the settings of a wave, the settings of the currently
selected waves will change simultaneously.
[WMT] editing screens
• You can select multiple waves by clicking a WMT SELECT button
while holding down your computer’s Shift key.
• When you edit the settings of a wave, the settings of the currently
selected waves will change simultaneously.
• Unselected waves can be edited independently.
44
Detailed Editing for a Rhythm Set (RHYTHM Parameters)
Stereo Wave Settings
Some of the waves that make up a rhythm set key are stereo.
With stereo waves, the name of a left-channel wave ends in “L”, while
the name of a right-channel wave ends in “R.”
The left and right waves are numbered consecutively; the right-channel
wave number is one greater than the left-channel wave number.
You can use the following procedure to first select either the left or
right wave, and then select the other wave.
1.
Select a rhythm set.
2.
Make sure that [SUMMARY] or [WMT] is selected in the
Navigation block.
3.
Use WAVE NUMBER L to select the left-channel wave of the stereo
wave.
4.
Double-click WAVE NUMBER R.
The corresponding right-channel wave will be selected.
You can also use WAVE NUMBER R to select the right-channel
wave and then double-click WAVE NUMBER L to select the leftchannel wave.
Note when selecting a waveform
The JUNO-Di uses complex PCM waveforms as the basis for its
sounds. For this reason, you should be aware that if you specify a
waveform that is very different than the original waveform, the result
may not be what you expect.
The JUNO-Di’s internal waveforms can be categorized into the
following two types.
One-shot:
These are sounds with a short decay time. One-shot waveforms
contain the entire duration of the sound from the attack until it
decays to silence. Some of these waveforms capture a complete
sound such as a percussion instrument, but there are also many
attack component sounds such as the hammer strike of a piano
or the fret noise of a guitar.
Loop:
These are sounds with a long decay, or sustaining sounds.
Looped waveforms will repeatedly play a portion of a sound
once it has reached a relatively stable state. These sounds also
include numerous component sounds such as a vibrating piano
string or a resonating pipe.
The following illustration shows an example of a sound created by
combining a one-shot waveform with a loop waveform. (This example
is of an electric organ.)
fig.Waveform1-e.eps
TVA ENV for looped Organ
waveform (sustain portion)
TVA ENV for one-shot Key
-click waveform (attack portion)
Resulting TVA ENV
change
Level
Saving a Rhythm Set
Changes you make are temporary, and will be discarded when you
turn off the power or select another patch or rhythm set. If you want to
keep a rhythm set you’ve modified, save it at number 501 or following
in the internal memory.
When you click the [WRITE] button located in the top line of the main
window, the data will be written to the JUNO-Di.
If you’ve edited a rhythm set in Performance mode, you should also
save the performance after saving the rhythm set (p. 57).
When you save, the data that previously occupied the save
destination will be overwritten.
Never turn off the power while data is being saved.
+
Note off
Time
=
Note off
Note when selecting a one-shot waveform
It’s not possible to use the envelope settings to give a one-shot
waveform a longer decay than the original waveform contains,
or to make it a sustaining sound. Even if you made this type of
envelope setting, you would be trying to bring out something
that doesn’t exist in the original waveform.
Note when selecting a looped waveform
Many acoustic instruments such as piano or sax are marked by
a sudden change in timbre at the very beginning of the sound,
and this rapid change is what gives the instrument its distinctive
character. When using these waveforms, it’s best to use the
complex tonal changes in the attack portion of the sound without
attempting to modify them; use the envelope only to modify the
decay portion of the sound as desired. If you use the envelope to
modify the attack as well, the envelope settings will be affected
by the attack of the waveform itself, and you may not get the
result you intend.
fig.Waveform2-e.eps
Level
Looped portion
Tone change stored
with the wave
Time
Envelope
for the TVF filter
Resulting
tone change
45
Detailed Editing for a Rhythm Set (RHYTHM Parameters)
RHYTHM Parameters
SUMMARY
SYSTEM COMMON
Parameter
Value
Explanation
MASTER LEVEL
0–127
Volume of the entire JUNO-Di
PATCH RX/TX CH
(Patch Rx/Tx Channel)
1–16
Channel used to transmit and receive MIDI messages for the Keyboard part in Patch mode
RHYTHM COMMON
Parameter
Value
Explanation
LEVEL
0–127
Volume of the rhythm set
MFX,
L+R,
L,
R,
TONE
Specifies how the unprocessed sound of the patch (rhythm set) will be output
MFX: Output in stereo via the multi-effect. Chorus and reverb can also be applied after the
multi-effect.
L+R: Output in stereo from the OUTPUT jacks without passing through the multi-effect
L: Output in mono from the OUTPUT L jack without passing through the multi-effect
R: Output in mono from the OUTPUT R jack without passing through the multi-effect
TONE: Output according to the settings of each tone
OUTPUT ASSIGN
RHYTHM CONTROL
Parameter
Value
Explanation
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.
OFF, 1–31
The Mute Group function allows you to designate two or more rhythm tones that are not allowed
to sound simultaneously.
On an actual acoustic drum set, an open hi-hat and a closed hi-hat sound can never occur
simultaneously. To reproduce the reality of this situation, you can set up a Mute Group. Up to
31 Mute Groups can be used. rhythm tones that are not belong to any such group should be
set to “OFF.”
ASSIGN TYPE
SINGLE, MULTI
Sets the way sounds are played when the same key is pressed a number of times.
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.
MULTI: Layer the sound of the same keys. Even with continuous sounds where the sound plays
for an extended time, such as with crash cymbals, the sounds are layered, without previously
played sounds being eliminated.
ENV MODE
NO-SUS,
SUSTAIN
When a loop waveform (p. 45) 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. 45) is selected, it will not sustain even if this parameter is set to
“SUSTAIN.”
ONESHOT MODE
OFF, ON
ON: The sound will play back until the end of the waveform (or the end of the envelope, whichever
comes first).
RCV EXP.
(Receive Expression)
OFF, ON
For each rhythm tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).
RCV HOLD-1
(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.
MUTE GROUP
46
Detailed Editing for a Rhythm Set (RHYTHM Parameters)
WMT
Parameter
Value
Explanation
WAVE NUMBER L/R
Off, 1–
Waves comprising the rhythm tone
When in monaural mode, only the left side (L) is specified. When in stereo, the right side (R) is
also specified.
To select a left/right pair of waveforms, first select the left (L) wave number, then double-click
the wave number of the right (R) wave to select it.
GAIN
-6, 0,
+6, +12
Gain (amplification) of the waveform
The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.
TEMPO SYNC
OFF, ON
When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”
LEVEL
0–127
Volume of the waveform
PAN
L64–0–63R
Left/right position of the waveform
TUNE COARSE
-48–+48
Pitch of the waveform’s sound (in semitones, +/-4 octaves)
TUNE FINE
-50–+50
Pitch of the waveform’s sound (in 1-cent steps; one cent is 1/100th of a semitone)
Parameter
Value
Explanation
TUNE COARSE
C-1–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. 51).
TUNE FINE
-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. 51).
PITCH ENV DEPTH
(Pitch Envelope 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.
PITCH ENV A
(Pitch Envelope Attack)
0–127
Pitch envelope times
Higher settings will result in a longer time until the next pitch is reached.
This will modify ENV T1 (p. 52).
PITCH ENV D
(Pitch Envelope Decay)
0–127
Pitch envelope times
This will modify ENV T3 (p. 52).
PITCH ENV S
(Pitch Envelope Sustain)
-63–+63
Pitch envelope levels
Specify how the pitch will change at each point, relative to the pitch set with COARSE TUNE
or FINE TUNE.
This will modify ENV L3 (p. 52).
PITCH ENV R
(Pitch Envelope Release)
0–127
Pitch envelope times
This will modify ENV T4 (p. 52).
PITCH
47
Detailed Editing for a Rhythm Set (RHYTHM Parameters)
TVF
Parameter
Value
Explanation
TYPE
OFF, LPF, BPF,
HPF, PKG, LPF2,
LPF3
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.
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 RES parameter will be ignored.
CUTOFF
(Cutoff Frequency)
0–127
Frequency at which the filter begins to have an effect on the waveform’s frequency components
RES
(Resonance)
0–127
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.
FILTER ENV DEPTH
(Filter Envelope 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.
FILTER ENV A
(Filter Envelope Attack)
0–127
TVF envelope times
Higher settings will lengthen the time until the next cutoff frequency level is reached.
This will modify ENV T1 (p. 54).
FILTER ENV D
(Filter Envelope Decay)
0–127
TVF envelope times
This will modify ENV T3 (p. 54).
FILTER ENV S
(Filter Envelope Sustain)
0–127
TVF envelope levels
Specify how the cutoff frequency will change at each point, relative to the Cutoff Frequency
value. This will modify ENV L3 (p. 54).
FILTER ENV R
(Filter Envelope Release)
0–127
TVF envelope times
This will modify ENV T4 (p. 54).
48
Detailed Editing for a Rhythm Set (RHYTHM Parameters)
TVA
Parameter
Value
Explanation
LEVEL
0–127
Volume of the rhythm tone
This setting is useful primarily for adjusting the volume balance between rhythm ones.
PAN
L64–0–63R
Left/right position of the rhythm tone
AMP ENV A
(Amp Envelope Attack)
0–127
TVA envelope times
Higher settings will lengthen the time until the next volume level is reached.
This will modify ENV T1 (p. 55).
AMP ENV D
(Amp Envelope Decay)
0–127
TVA envelope times
This will modify ENV T3 (p. 55).
AMP ENV S
(Amp Envelope Sustain)
0–127
TVA envelope levels
Specify how the volume will change at each point, relative to the LEVEL value.
This will modify ENV L3 (p. 55).
AMP ENV R
(Amp Envelope Release)
0–127
TVA envelope times
This will modify ENV T4 (p. 55).
SEND LEVEL OUT
(Output Level)
0–127
Level of the signal that is sent to the output destination specified by OUTPUT ASSIGN
SEND LEVEL (OUTPUT ASSIGN = MFX)
CHO (Chorus Send)
0–127
Level of the signal sent to chorus for each rhythm tone if the tone is sent through MFX
REV (Reverb Send)
0–127
Level of the signal sent to reverb for each rhythm tone if the tone is sent through MFX
SEND LEVEL (OUTPUT ASSIGN = non MFX)
CHO (Chorus Send)
0–127
Level of the signal sent to chorus for each rhythm tone if the tone is not sent through MFX
REV (Reverb Send)
0–127
Level of the signal sent to reverb for each rhythm tone if the tone is not sent through MFX
MFX,
L+R,
L, R
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.
L+R: Output in stereo to the OUTPUT jacks without passing through the multi-effect
L: Output in mono to the OUTPUT L jack without passing through the multi-effect
R: Output in mono to the OUTPUT R jack without passing through the multi-effect
* If the OUTPUT ASSIGN in “RHYTHM COMMON” is set to anything other than “TONE,” these
settings will be ignored.
* 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 parameters (p. 17).
OUTPUT ASSIGN
49
Detailed Editing for a Rhythm Set (RHYTHM Parameters)
COMMON (RHYTHM COMMON)
Parameter
Value
Explanation
RHYTHM NAME
—
Rhythm set name
LEVEL
0–127
Volume of the rhythm set
OUTPUT ASSIGN
MFX,
L+R,
L,
R,
TONE
Specifies how the unprocessed sound of the patch (rhythm set) will be output
MFX: Output in stereo via the multi-effect. Chorus and reverb can also be applied after the multieffect.
L+R: Output in stereo from the OUTPUT jacks without passing through the multi-effect
L: Output in mono from the OUTPUT L jack without passing through the multi-effect
R: Output in mono from the OUTPUT R jack without passing through the multi-effect
TONE: Output according to the settings of each tone
CONTROL (RHYTHM KEY CONTROL)
Parameter
Value
Explanation
RHYTHM KEY NAME
—
Name of the rhythm tone assigned to each key
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.
OFF, 1–31
The Mute Group function allows you to designate two or more rhythm tones that are not allowed to
sound simultaneously.
On an actual acoustic drum set, an open hi-hat and a closed hi-hat sound can never occur
simultaneously. To reproduce the reality of this situation, you can set up a Mute Group. Up to 31
Mute Groups can be used. rhythm tones that are not belong to any such group should be set to
“OFF.”
MUTE GROUP
RELATIVE LEVEL
-64–+63
Adjusts the volume of the rhythm tone.
This parameter is set by the system exclusive message Key Based Controller. Normally, you can
leave it set to 0.
If the rhythm tone level is set to 127, the volume cannot be raised any farther.
Sets the way sounds are played when the same key is pressed a number of times.
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.
MULTI: Layer the sound of the same keys. Even with continuous sounds where the sound plays for
an extended time, such as with crash cymbals, the sounds are layered, without previously played
sounds being eliminated.
ASSIGN TYPE
SINGLE, MULTI
ENV MODE
(Envelope Mode)
NO-SUS,
SUSTAIN
ONESHOT MODE
OFF, ON
ON: The sound will play back until the end of the waveform (or the end of the envelope, whichever
comes first).
RCV EXP.
(Receive Expression)
OFF, ON
For each rhythm tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).
RCV HOLD-1
(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.
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.
RCV PAN MODE
(Receive Pan Mode)
50
When a loop waveform (p. 45) 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. 45) is selected, it will not sustain even if this parameter is set to
“SUSTAIN.”
Detailed Editing for a Rhythm Set (RHYTHM Parameters)
WMT (RHYTHM KEY WMT)
WMT modifies waveforms/pitch/pitch envelope.
Parameter
Value
Explanation
WAVE NUMBER L/R
Off, 1–
Waves comprising the rhythm tone
When in monaural mode, only the left side (L) is specified. When in stereo, the right side (R) is
also specified.
To select a left/right pair of waveforms, first select the left (L) wave number, then double-click
the wave number of the right (R) wave to select it.
TEMPO SYNC
OFF, ON
When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”
GAIN
-6, 0,
+6, +12
Gain (amplification) of the waveform
The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.
LEVEL
0–127
Volume of the waveform
PAN
L64–0–63R
Left/right position of the waveform
RANDOM PAN
OFF, ON
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. 55).
ALT. PAN
(Alternate Pan)
OFF, ON, REV
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 ALT. PAN DEPTH parameter (p. 55) settings,
or to “REV” when you want the panning reversed.
TUNE COARSE
-48–+48
Pitch of the waveform’s sound (in semitones, +/-4 octaves)
TUNE FINE
-50–+50
Pitch of the waveform’s sound (in 1-cent steps; one cent is 1/100th of a semitone)
FXM ON
OFF, ON
This sets whether FXM will be used (ON) or not (OFF).
FXM COLOR
1–4
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
Phrase Loop
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.”
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.
51
Detailed Editing for a Rhythm Set (RHYTHM Parameters)
PITCH (RHYTHM KEY PITCH)
Parameter
Value
Explanation
TUNE COARSE
C-1–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. 51).
TUNE FINE
-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. 51).
RANDOM PITCH
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.”
PITCH ENV (WAVE PITCH ENVELOPE)
Parameter
Value
Explanation
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.
VEL SENS
(Velocity Sens)
-63–+63
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.
T1 SENS
(T1 Velocity Sens)
-63–+63
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.
T4 SENS
(T4 Velocity Sens)
-63–+63
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.
T1–4
(Time 1–4)
0–127
Pitch envelope times (T1–T4)
Higher settings will result in a longer time until the next pitch is reached.
L0–4
(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
L1
Note off
Note on
L2
52
Time
L3
L4
Detailed Editing for a Rhythm Set (RHYTHM Parameters)
TVF (RHYTHM KEY TVF)
A filter cuts or boosts a specific frequency region to change a sound’s brightness, thickness, or other qualities.
Parameter
Value
Explanation
FILTER TYPE
OFF, LPF, BPF,
HPF, PKG, LPF2,
LPF3
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.
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 RES parameter will be ignored.
CUTOFF
(Cutoff Frequency)
0–127
Frequency at which the filter begins to have an effect on the waveform’s frequency components
RES
(Resonance)
0–127
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.
RES VEL SENS
(Resonance Velocity Sens)
-63–+63
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.
Resonance
LPF
BPF
HPF
PKG
Level
High
Frequency
Parameter Value
Cutoff frequency
Low
Parameter
Value
Explanation
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.
VEL CURVE
(Cutoff Velocity Curve)
FIX, 1–7
1
VEL SENS
(Cutoff Velocity Sens)
-63–+63
2
3
4
5
6
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.
53
Detailed Editing for a Rhythm Set (RHYTHM Parameters)
FILTER ENV (TVF ENVELOPE)
Parameter
Value
Explanation
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.
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.
VEL CURVE
(Velocity Curve)
FIX, 1–7
1
2
3
4
5
6
7
VEL SENS
(Velocity 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 (-) settings will cause the effect to be less.
T1 SENS
-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.
T4 SENS
-63–+63
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.
T1–4
(Time 1–4)
0–127
TVF envelope times (T1–T4)
Higher settings will lengthen the time until the next cutoff frequency level is reached.
L0–4
(Level 0–4)
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
Cutoff
Frequency
T3
T4
L0
L1
Note on
54
T2
L2
L3
L4
Note off
Time
Detailed Editing for a Rhythm Set (RHYTHM Parameters)
TVA (RHYTHM KEY TVA)
This adjusts the volume.
Parameter
Value
Explanation
LEVEL
0–127
Volume of the rhythm tone
This setting is useful primarily for adjusting the volume balance between rhythm ones.
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.
VEL CURVE
(Velocity Curve)
FIX, 1–7
1
2
3
4
5
6
7
VEL SENS
(Velocity 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.
PAN
L64–0–63R
Left/right position of the rhythm tone
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.
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.
ALT. PAN DEPTH
(Alternate Pan Depth)
AMP ENV (TVA ENVELOPE)
Parameter
Value
Explanation
T1 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.
T4 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.
T1–4
(Time 1–4)
0–127
TVA envelope times (T1–T4)
Higher settings will lengthen the time until the next volume level is reached.
L1–3
(Level 1–3)
0–127
TVA envelope levels (L1–L3)
Specify how the volume will change at each point, relative to the LEVEL value.
TVA Envelope
T1 T2
T3
T4
Level
L1
Note on
L2
Time
L3
Note off
55
Detailed Editing for a Rhythm Set (RHYTHM Parameters)
OUTPUT
Parameter
Value
Explanation
SEND LEVEL OUT
(Output Level)
0–127
Level of the signal that is sent to the output destination specified by OUTPUT ASSIGN
SEND LEVEL (OUTPUT ASSIGN = MFX)
CHO (Chorus Send)
0–127
Level of the signal sent to chorus for each rhythm tone if the tone is sent through MFX
REV (Reverb Send)
0–127
Level of the signal sent to reverb for each rhythm tone if the tone is sent through MFX
SEND LEVEL (OUTPUT ASSIGN = non MFX)
CHO (Chorus Send)
0–127
Level of the signal sent to chorus for each rhythm tone if the tone is not sent through MFX
REV (Reverb Send)
0–127
Level of the signal sent to reverb for each rhythm tone if the tone is not sent through MFX
MFX,
L+R,
L, R
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.
L+R: Output in stereo to the OUTPUT jacks without passing through the multi-effect
L: Output in mono to the OUTPUT L jack without passing through the multi-effect
R: Output in mono to the OUTPUT R jack without passing through the multi-effect
* If the OUTPUT ASSIGN in “RHYTHM COMMON” is set to anything other than “TONE,” these
settings will be ignored.
* 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 parameters (p. 17).
OUTPUT ASSIGN
VELOCITY (RHYTHM KEY VELOCITY RANGE)
You can use the force with which keys are played to control the way each waveform is played.
fig.TMT-V.e
Level
The waveform sounded
when you play softly
The waveform sounded
when you play strongly
Velocity
Velo Fade Upper
Velo Range Upper
Velo Fade Lower
Velo Range Lower
Parameter
Value
Explanation
VELOCITY CONTROL
OFF, ON,
RANDOM
Determines whether a different waveform is played (ON) or not (OFF) depending on the force with
which the key is played (velocity).
RANDOM: The rhythm tone’s constituent waveforms will sound randomly, regardless of any
Velocity messages.
FADE LOWER
0–127
Determines what will happen to the waveform’s level when the rhythm tone is played at a velocity
lower than Velocity Range Lower.
If you don’t want the waveform to sound at all, set this parameter to “0.”
LOWER
1–(UPPER)
Specifies the lowest velocity at which the waveform will sound.
UPPER
(LOWER)–127
Specifies the highest velocity at which the waveform will sound.
FADE UPPER
0–127
Determines what will happen to the waveform’s level when the rhythm tone is played at a velocity
greater than Velocity Range Upper.
If you don’t want the waveform to sound at all, set this parameter to “0.”
56
Detailed Editing for a Performance (PERFORM Parameters)
The JUNO-Di’s performances are organized into two groups: User
and Preset.
PRST (Preset)
Editing a Performance
Select from the “EDIT” menu.
These are the performances that are built into the JUNO-Di.
You can modify the currently selected performance and WRITE (save)
it at number 501 and following.
USER
These are performances numbers 501 and following in the JUNO-Di.
When you WRITE (save) the currently selected performance, it will be
saved at number 501 or following.
How to Edit a Performance
In Performance mode, you can click [ALL PARAMETERS] in the
Navigation block to view all parameters for six parts.
To switch the parts that are displayed, use [-6][-1][+1][+6] located in
the upper part of the window.
Editing a Patch in Performance Mode
Initializing a Performance
The “Initialize” command initializes the settings of the currently
selected performance.
Initialization will affect only the currently selected performance. If
you want to return all settings to their factory-set values, execute a
Factory Reset on the JUNO-Di itself.
Copying/Pasting Performance Settings
The “Copy” command copies the settings to the clipboard.
The “Paste” command pastes the settings from the clipboard to the
copy destination you select.
Saving a Performance
When you use a patch (or rhythm set) in Performance mode, some
settings (such as the effects) will be affected by the settings of the
performance. If you want to edit the patch (or rhythm set) while
hearing it as it would actually sound within the performance, edit it
using the buttons shown below [PERFORM PATCH].
Changes you make are temporary, and will be discarded when you
turn off the power or select another performance. If you want to keep
a performance you’ve modified, save it at number 501 or following in
the internal memory.
For details on the parameters, refer to “Detailed Editing for a Patch
(PATCH Parameters)” (p. 23).
When you click the [WRITE] button located in the top line of the main
window, the data will be written to the JUNO-Di.
If you’ve edited a patch or rhythm set while in Performance mode, you
must first save the patch or rhythm set (p. 24, p. 45), and then save
the performance as well.
When you save, the data that previously occupied the save
destination will be overwritten.
Never turn off the power while data is being saved.
57
Detailed Editing for a Performance (PERFORM Parameters)
PERFORM Parameters
Parameter
Value
Explanation
PERFORM NAME
—
Performance name
PART
1–16
Part number
PATCH NAME
—
Patch name assigned to the part
CATEGORY
—
Type (category) of the patch
* “NO ASSIGN” can’t be selected on the JUNO-Di itself.
MIXER
MFX/CHORUS/REVERB Switch
The internal effects of the JUNO-Di are switched on/off as a whole. This conveniently allows you to switch off the effects whenever you want to hear
the dry (unprocessed) sound while editing.
The effect on/off settings cannot be saved.
Parameter
Value
Explanation
MFX 1–3 ON/OFF
OFF, ON
Turns the multi-effect on/off
MFX 1–3 TYPE
0–79
Type of multi-effect to use (choose one of 79 types)
For details on each multi-effect, refer to “Multi-Effects Parameters (MFX1–3, MFX)” (p. 64).
CHORUS ON/OFF
OFF, ON
Turns the chorus on/off
CHORUS TYPE
OFF,
CHORUS,
DELAY,
GM2
CHORUS
Type of chorus
OFF: Chorus/delay will not be used
CHORUS: Chorus
DELAY: Delay
GM2 CHORUS: GM2 chorus
REVERB ON/OFF
OFF, ON
Turns the reverb on/off
REVERB TYPE
OFF,
REVERB,
SRV ROOM,
SRV HALL,
SRV PLATE,
GM2 REVERB
Type of reverb
OFF: Reverb will not be used
REVERB: Basic reverb
SRV ROOM: Reverb that simulates the reverberation of a room in greater detail
SRV HALL: Reverb that simulates the reverberation of a hall in greater detail
SRV PLATE: Simulation of a plate echo (a reverb device that uses a metal plate)
GM2 REVERB: GM2 reverb
58
Detailed Editing for a Performance (PERFORM Parameters)
MIXER
Parameter
Value
Explanation
OFF, ON
Switch this to ON if you want to hear the part by itself.
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 parameter does not turn the part off, but sets the volume to minimum so that no
sound is heard. Therefore, MIDI messages are still received.
CATEGORY
—
Type (category) of the patch
* “NO ASSIGN” can’t be selected on the JUNO-Di itself.
PREV
(Preview)
OFF, ON
If you switch this to ON, you’ll be able to hear a preview sound played by that patch.
CHORUS
(Chorus Send Level)
0–127
Level of the signal sent to chorus for each part
REVERB
(Reverb Send Level)
0–127
Level of the signal sent to reverb for each part
OUTPUT
(Part Output Assign)
MFX,
L+R,
L, R,
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.
L+R: Output in stereo to the OUTPUT jacks without passing through the multi-effect
L: Output in mono to the OUTPUT L jack without passing through the multi-effect
R: Output in mono to the OUTPUT R jack without passing through the multi-effect
PAT: The part’s output destination is determined by the settings of the patch or rhythm set
assigned to the part.
• 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 parameters (p. 17).
MFX
(Part Output MFX Select)
1–3
Multi-effect used by the part (choose one of MFX 1–3)
LEVEL
(Part Output Level)
0–127
Level of the signal that is sent to the output destination specified by OUTPUT.
PAN
L64–0–63R
Left/right position of each part
LEVEL
0–127
Volume of each part
This setting’s main purpose is to adjust the volume balance between parts.
PART 1–16
SOLO
MASTER
* These settings are SYSTEM parameters (p. 14)
CONTROL CHANNEL
MFX 1–3
1–16, OFF
Specify the reception channel that will be used when using MFX control to control the multieffect parameter in real time, when MFX 1–3 SOURCE (p. 20) is set to “PERFORM.”
Leave this “OFF” if you’re not using MFX control.
* This parameter is not available in Patch mode.
MASTER LEVEL
0–127
Volume of the entire JUNO-Di
59
Detailed Editing for a Performance (PERFORM Parameters)
ALL PARAMETERS (ALL PARAMS)
Parameter
Value
Explanation
SOLO
OFF, ON
Switch this to ON if you want to hear the part by itself.
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 parameter does not turn the part off, but sets the volume to minimum so that no sound is heard.
Therefore, MIDI messages are still received.
GROUP
USER, PRST
Selects the group to which the desired patch belongs.
USER: User
PRST: Preset
CATEGORY
—
Type (category) of the patch
* “NO ASSIGN” can’t be selected on the JUNO-Di itself.
NUMBER
—
Patch name assigned to the part
LEVEL
0–127
Volume of each part
This setting’s main purpose is to adjust the volume balance between parts.
PAN
L64–0–63R
Left/right position of each part
VEL SENS
(Velocity Sens)
-63–+63
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.
OCT SHIFT
(Octave Shift)
-3–+3
Pitch of the part’s sound (in 1-octave units)
* This setting is ignored for parts to which a rhythm set is assigned.
TUNE COARSE
-48–+48
Pitch of the part’s sound (in semitones, +/-4 octaves)
TUNE FINE
-50–+50
Pitch of the part’s sound (in 1-cent steps; one cent is 1/100th of a semitone)
PB RANGE
(Pitch Bend Range)
0–24, PAT
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. 28), set this to “PAT.”
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 patch is to be played polyphonically. If you want to use the Mono/Poly setting of the patch
assigned to the part (p. 25), set this to “PAT.”
* This setting is ignored for parts to which a rhythm set is assigned.
LEGATO
OFF, ON, PAT
You can add legato when performing monophonically. The term “legato” refers to a playing style in which
notes are smoothly 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 Legato Switch setting of the patch assigned to the part (p. 29), set this to “PAT.”
* This setting is ignored for parts to which a rhythm set is assigned.
PORTAMENTO
SW (Switch)
OFF, ON, 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 Portamento Switch setting of the patch assigned to the part (p. 29), set this to “PAT.”
PORTAMENTO
TIME
0–127, 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. 29), set this to “PAT.”
VIBRATO RATE
-64–+63
For each part, adjust the vibrato speed.
VIBRATO DEPTH
-64–+63
For each part, this adjusts the depth of the vibrato effect.
VIBRATO DELAY
-64–+63
For each part, this adjusts the time delay until the vibrato.
VOICE RESERVE
0–63, FULL
This setting specifies the number of voices that will be reserved for each part when more than 128 voices
are played simultaneously.
* It is not possible for the settings of all parts to total an amount greater than 64.
60
Detailed Editing for a Performance (PERFORM Parameters)
Parameter
Value
Explanation
OFFSET
COF (Cutoff)
-64–+63
Adjusts the cutoff frequency for the patch or rhythm set assigned to a part.
OFFSET
RES (Resonance)
-64–+63
Adjusts the Resonance for the patch or rhythm set assigned to a part.
OFFSET
ATK (Attack)
-64–+63
Adjusts the TVA/TVF Envelope Attack Time for the patch or rhythm set assigned to a part.
OFFSET
DCY (Decay)
-64–+63
Adjusts the TVA/TVF Envelope Decay Time for the patch or rhythm set assigned to a part.
OFFSET
REL (Release)
-64–+63
Adjusts the TVA/TVF Envelope Release Time for the patch or rhythm set assigned to a part.
61
Detailed Editing for a Performance (PERFORM Parameters)
MIDI (PERFORM MIDI SETTING)
Parts 1–16 of a performance correspond to MIDI channels 1–16 of MIDI messages received from an external MIDI device.
For each channel you can specify whether MIDI message reception will be enabled (on) or disabled (off). You can also enable reception for only
specific types of messages.
Parameter
Value
Explanation
RCV CHANNEL
(Receive Channel)
1–16
MIDI receive channel for each part
RCV MIDI
(Receive MIDI)
OFF, ON
Enables/disables MIDI message reception for each part.
If this is OFF, that part cannot be played. Normally, you can leave this ON, but you
can turn it OFF if you don’t want a specific part to play.
OFF, ON
Enables/disables reception of the specific MIDI message for each MIDI channel.
OFF, ON
Set to “ON” when you want to suppress discrepancies in timing of parts played on the
same MIDI channel.
* 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.
RCV PC
(Receive Program Change)
RCV BS
(Receive Bank Select)
RCV PB
(Receive Pitch Bend)
RCV CH PRESS
(Receive Channel Pressure)
RCV POLY PRESS
(Receive Polyphonic Key
Pressure)
RCV MOD
(Receive Modulation)
RCV VOLUME
(Receive Volume)
RCV PAN
(Receive Pan)
RCV EXP
(Receive Expression)
RCV HOLD-1
(Receive Hold-1)
PHASE LOCK
VELOCITY CURVE TYPE
OFF, 1–4
Velocity curve for each MIDI channel
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
62
2
3
4
Detailed Editing for a Performance (PERFORM Parameters)
KEYBOARD RANGE
Parameter
Value
Explanation
SWITCH
OFF, ON
Specifies, for each part, whether or not the keyboard controller section will be connected to
the internal sound generator.
LOWER
C-1 –(UPPER)
Lowest note that the tone will sound for each part
Highest note that the tone will sound for each part
When the KEY RANGE (p. 42) 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
UPPER
(LOWER)–G9
Key range specified for Patch
The range in which notes will play
OCTAVE
-3–+3
Register of the keyboard for each part (in octave units)
SCALE TUNE (PART SCALE TUNE)
Parameter
Value
Explanation
SCALE TUNE SWITCH
OFF, ON
Turn this on when you wish to use a tuning scale other than equal temperament.
C–B
-64–+63
Make scale tune settings for each part.
Equal Temperament
This tuning divides the octave into 12 equal parts, and is the most
widely used method of temperament used in Western music. The
JUNO-Di employs equal temperament when the Scale Tune Switch
is set to “OFF.”
<Example>
Note name
Equal
temperament
Just
intonation
Arabian
scale
C
0
0
-6
C
0
-8
+45
Just Intonation (Tonic of C)
D
0
+4
-2
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.
E
0
+16
-12
E
0
-14
-51
F
0
-2
-8
Arabian Scale
F
0
-10
+43
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-Di, you can use Arabian temperament
in the three keys of G, C and F.
G
0
+2
-4
G
0
+14
+47
A
0
-16
0
B
0
+14
-10
B
0
-12
-49
63
Effects List
Multi-Effects Parameters (MFX1–3, MFX)
The multi-effects feature 79 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 Multi-Effects Control (p. 21) or Matrix Control (p. 42).
(Two setting items will change simultaneously for “#1” and “#2.”)
FILTER (10 types)
DELAY (13 types)
01
EQUALIZER
P.66
43
DELAY
P.79
02
SPECTRUM
P.66
44
LONG DELAY
P.79
03
ISOLATOR
P.66
45
SERIAL DELAY
P.80
04
LOW BOOST
P.66
46
MODULATION DELAY
P.80
05
SUPER FILTER
P.67
47
3TAP PAN DELAY
P.81
06
STEP FILTER
P.67
48
4TAP PAN DELAY
P.81
07
ENHANCER
P.67
49
MULTI TAP DELAY
P.81
08
AUTO WAH
P.68
50
REVERSE DELAY
P.82
09
HUMANIZER
P.68
51
SHUFFLE DELAY
P.82
10
SPEAKER SIMULATOR
P.68
52
3D DELAY
P.83
53
ANALOG DELAY
P.83
MODULATION (12 types)
11
PHASER
P.69
54
ANALOG LONG DELAY
P.83
12
STEP PHASER
P.69
55
TAPE ECHO
P.84
13
MULTI STAGE PHASER
P.69
14
INFINITE PHASER
P.70
56
LOFI NOISE
P.84
15
RING MODULATOR
P.70
57
LOFI COMPRESS
P.85
16
STEP RING MODULATOR
P.70
58
LOFI RADIO
P.85
17
TREMOLO
P.70
59
TELEPHONE
P.85
18
AUTO PAN
P.71
60
PHONOGRAPH
P.85
19
STEP PAN
P.71
20
SLICER
P.71
61
PITCH SHIFTER
P.86
21
ROTARY
P.72
62
2VOICE PITCH SHIFTER
P.86
22
VK ROTARY
P.72
63
STEP PITCH SHIFTER
P.86
CHORUS (12 types)
PITCH (3 types)
REVERB (2 types)
23
CHORUS
P.72
64
REVERB
P.87
24
FLANGER
P.73
65
GATED REVERB
P.87
25
STEP FLANGER
P.73
26
HEXA-CHORUS
P.73
66
OVERDRIVE → CHORUS
P.87
27
TREMOLO CHORUS
P.74
67
OVERDRIVE → FLANGER
P.87
28
SPACE-D
P.74
68
OVERDRIVE → DELAY
P.88
29
3D CHORUS
P.74
69
DISTORTION → CHORUS
P.88
30
3D FLANGER
P.75
70
DISTORTION → FLANGER
P.88
31
3D STEP FLANGER
P.75
71
DISTORTION → DELAY
P.88
32
2BAND CHORUS
P.75
72
ENHANCER → CHORUS
P.88
33
2BAND FLANGER
P.76
73
ENHANCER → FLANGER
P.89
34
2BAND STEP FLANGER
P.76
74
ENHANCER → DELAY
P.89
75
CHORUS → DELAY
P.89
76
FLANGER → DELAY
P.89
77
CHORUS → FLANGER
P.90
DYNAMICS (8 types)
64
LO-FI (5 types)
35
OVERDRIVE
P.77
36
DISTORTION
P.77
37
VS OVERDRIVE
P.77
38
VS DISTORTION
P.77
39
GUITAR AMP SIMULATOR
P.77
40
COMPRESSOR
P.78
41
LIMITER
P.78
42
GATE
P.78
COMBINATION (12 types)
PIANO (1 type)
78
SYMPATHETIC RESONANCE
P.90
VOCODER (1 type)
79
VOCODER
P.90
Effects List
About Note
When Using 3D Effects
Some effect parameters (such as RATE or DELAY TIME) can be set in
terms of a note value.
Such parameters have a RATE SYNC switch that lets you specify
whether you will set the value as a numerical value or as a note value.
If you want to set RATE (DELAY TIME) as a numerical value, set the
RATE SYNC switch to “OFF.” If you want to set it as a note value, set
the RATE SYNC switch to “ON.”
* If the RATE is specified as a note value, the modulation will be
synchronized with the tempo when you play back SMF song
data.
note:
The following 3D effects utilize RSS (Roland Sound Space) technology
to create a spaciousness that cannot be produced by delay, reverb,
chorus, etc.
52: 3D DELAY
29: 3D CHORUS
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
sufficient distance from the walls on either side.
fig.33-002
fig.MFX-note2.e_88
Sixty-fourth-note triplet
Sixty-fourth note
Thirty-second-note triplet
Thirty-second note
Sixteenth-note triplet
Dotted thirty-second note
Sixteenth note
Eighth-note triplet
Dotted sixteenth note
Eighth note
Quarter-note triplet
Dotted eighth note
Quarter note
Half-note triplet
Dotted quarter note
Half note
Whole-note triplet
Dotted half note
Whole note
Double-note triplet
Dotted whole note
Double note
If a parameter whose RATE SYNC switch is set to “ON” is
specified as a destination for multi-effect control, you will not be
able to use multi-effect control to control that parameter.
If you specify the delay time as a note value, slowing down the
tempo will not change the delay time beyond a certain length.
This is because there is an upper limit for the delay time; if the
delay time is specified as a note value and you slow down the
tempo until this upper limit is reached, the delay time cannot
change any further. This upper limit is the maximum value that
can be specified when setting the delay time as a numerical
value.
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.
About the STEP RESET function
06:
16:
19:
20:
63:
STEP FILTER
STEP RING MODULATOR
STEP PAN
SLICER
STEP PITCH SHIFTER
The above five types contain a sixteen-step sequencer.
For these types, you can use a multi-effect control (p. 21) to reset the
sequence to play from the first step.
To do this, set the multi-effect control DESTINATION to “STEP RESET.”
For example if you are using the modulation lever to control the effect,
you would make the following settings.
SOURCE:
CC01: MODULATION
DESTINATION: STEP RESET
SENS:
+63
With these settings, the sequence will play back from the first step
whenever you operate the modulation lever.
65
Effects List
01: EQUALIZER
03: ISOLATOR
This is a four-band stereo equalizer (low, mid x 2, high).
fig.MFX-01
L in
4-Band EQ
L out
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
ranges.
fig.MFX-03
R in
4-Band EQ
L in
Isolator
Low Boost
L out
R in
Isolator
Low Boost
R out
R out
Parameter
Value
Explanation
Low Freq
Low Gain #
Mid1 Freq
Mid1 Gain
200, 400 Hz
-15–+15 dB
200–8000 Hz
-15–+15 dB
Mid1 Q
0.5, 1.0, 2.0, 4.0, 8.0
Mid2 Freq
Mid2 Gain
200–8000 Hz
-15–+15 dB
Mid2 Q
0.5, 1.0, 2.0, 4.0, 8.0
High Freq
High Gain #
Level #
2000, 4000, 8000 Hz
-15–+15 dB
0–127
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
affected.
Frequency of the middle range 2
Gain of the middle range 2
Width of the middle range 2
Set a higher value for Q to
narrow the range to be
affected.
Frequency of the high range
Gain of the high range
Output Level
Parameter
Boost/
Cut Low #
Boost/
Cut Mid #
Boost/
Cut High #
This is a stereo spectrum. Spectrum is a type of filter which modifies
the timbre by boosting or cutting the level at specific frequencies.
Explanation
-60–+4 dB
These boost and cut each of the High,
Middle, and Low frequency ranges.
At -60 dB, the sound becomes
inaudible. 0 dB is equivalent to the
input level of the sound.
Anti Phase Low
Sw
OFF, ON
Anti Phase Low
Level
0–127
Anti Phase Mid
Sw
Anti Phase Mid
Level
02: SPECTRUM
Value
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
frequencies allows you to lend
emphasis 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.
OFF, ON
0–127
Low Boost Sw
OFF, ON
Low Boost Level
0–127
Level
0–127
Turns Low Booster on/off.
This emphasizes the bottom to create
a heavy bass sound.
Increasing this value gives you a heavier
low end.
* Depending on the Isolator and filter
settings this effect may be hard to distinguish.
Output Level
fig.MFX-02
L in
Spectrum
L out
R in
Spectrum
R out
Parameter
Value
Band1 (250Hz)
Band2 (500Hz)
Band3 (1000Hz)
Band4 (1250Hz)
Band5 (2000Hz)
Band6 (3150Hz)
Band7 (4000Hz)
Band8 (8000Hz)
-15–+15 dB
Q
0.5, 1.0, 2.0, 4.0,
8.0
Level #
0–127
Explanation
04: LOW BOOST
Boosts the volume of the lower range, creating powerful lows.
fig.MFX-04
Gain of each frequency band
Simultaneously adjusts the width of
the adjusted ranges for all the
frequency bands.
Output Level
L in
Low Boost
2-Band EQ
L out
R in
Low Boost
2-Band EQ
R out
Parameter
Value
Boost
Frequency #
50–125 Hz
Boost Gain #
0–+12 dB
Boost Width
Low Gain
High Gain
Level
66
WIDE, MID,
NARROW
-15–+15 dB
-15–+15 dB
0–127
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
Effects List
05: SUPER FILTER
06: STEP FILTER
This is a filter with an extremely sharp slope. The cutoff frequency can
be varied cyclically.
This is a filter whose cutoff frequency can be modulated in steps. You
can specify the pattern by which the cutoff frequency will change.
fig.MFX-05
fig.MFX-06
L in
Super Filter
L out
L in
Step Filter
L out
R in
Super Filter
R out
R in
Step Filter
R out
Parameter
Value
Filter Type
LPF, BPF, HPF,
NOTCH
Filter Slope
-12, -24, -36 dB
Filter
Cutoff #
0–127
Filter
Resonance #
0–127
Filter Gain
Modulation Sw
0–+12 dB
OFF,ON
TRI, SQR, SIN,
SAW1, SAW2
Modulation
Wave
Rate #
Depth
Attack #
Level
SAW1
Explanation
Parameter
Value
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
-36 dB: extremely steep
-24 dB: steep
-12 dB: gentle
Cutoff frequency of the filter
Increasing this value will raise the cutoff
frequency.
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
How the cutoff frequency will be modulated
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1: sawtooth wave (upward)
SAW2: sawtooth wave (downward)
Step 01–16
0–127
Cutoff frequency at each step
0.05–10.00 Hz,
Rate of modulation
note
Speed at which the cutoff frequency
0–127
changes between steps
Filter type
Frequency range that will pass through
each filter
LPF, BPF, HPF,
LPF: frequencies below the cutoff
NOTCH
BPF: frequencies in the region of the cutoff
HPF: frequencies above the cutoff
NOTCH: frequencies other than the
region of the cutoff
Rate #
Attack #
Filter Type
Filter Slope
-12, -24, -36 dB
Filter
Resonance #
0–127
Filter Gain
Level
0–+12 dB
0–127
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
You can use multi-effect control to make the step sequence play
again from the beginning (p. 65).
SAW2
0.05–10.00 Hz,
Rate of modulation
note
0–127
Depth of modulation
Speed at which the cutoff frequency will
change
0–127
This is effective if Modulation Wave is
SQR, SAW1, or SAW2.
0–127
Output level
Explanation
07: ENHANCER
Controls the overtone structure of the high frequencies, adding sparkle
and tightness to the sound.
fig.MFX-07
L in
R in
2-Band
EQ
L out
Mix
2-Band
EQ
R out
Mix
Enhancer
Enhancer
Parameter
Value
Explanation
Sens #
0–127
Mix #
0–127
Low Gain
High Gain
Level
-15–+15 dB
-15–+15 dB
0–127
Sensitivity of the enhancer
Level of the overtones
generated by the enhancer
Gain of the low range
Gain of the high range
Output Level
67
Effects List
Parameter
08: AUTO WAH
Value
Cyclically controls a filter to create cyclic change in timbre.
fig.MFX-08
L in
R in
Auto Wah
Auto Wah
Parameter
Value
Filter Type
LPF, BPF
Manual #
0–127
Peak
0–127
Sens #
0–127
Polarity
UP, DOWN
Rate #
Depth #
Phase #
Low Gain
High Gain
Level
2-Band EQ
L out
2-Band EQ
R out
Type of 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.
Set a higher value for Q to narrow the
range to be affected.
Adjusts the sensitivity with which the filter
is controlled.
Sets the direction in which the frequency
will change when the auto-wah filter is
modulated.
UP: The filter will change toward a
higher frequency.
DOWN: The filter will change toward a
lower frequency.
09: HUMANIZER
Adds a vowel character to the sound, making it similar to a human
voice.
fig.MFX-09
L in
L out
Formant
2-Band
EQ
R in
Pan L
Pan R
R out
Parameter
Value
Explanation
Drive Sw
OFF, ON
Drive #
0–127
Turns Drive on/off.
Degree of distortion
Also changes the volume.
Vowel1
Vowel2
a, e, i, o, u
Selects the vowel.
a, e, i, o, u
0.05–10.00 Hz,
Frequency at which the two vowels switch
note
0–127
Effect depth
LFO reset on/off
Determines whether the LFO for
OFF, ON
switching the vowels is reset by the input
signal (ON) or not (OFF).
Rate #
Depth #
Input Sync
Sw
Input Sync
Threshold
68
0–127
0–100
Low Gain
High Gain
Pan #
Level
-15–+15 dB
-15–+15 dB
L64–63R
0–127
Point at which Vowel 1/2 switch
49 or less: Vowel 1 will have a longer
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
Explanation
0.05–10.00 Hz,
Frequency of modulation
note
0–127
Depth of modulation
Adjusts the degree of phase shift of the left
0–180 deg
and right sounds when the wah effect is
applied.
-15–+15 dB
Gain of the low range
-15–+15 dB
Gain of the high range
0–127
Output Level
Overdrive
Manual #
Explanation
Volume level at which reset is applied
10: SPEAKER SIMULATOR
Simulates the speaker type and mic settings used to record the speaker
sound.
fig.MFX-10
L in
Speaker
L out
R in
Speaker
R out
Parameter
Value
Explanation
Speaker Type
(See the table right.)
Mic Setting
1, 2, 3
Mic Level #
Direct Level #
Level #
0–127
0–127
0–127
Type of speaker
Adjusts the location of the mic
that is recording the sound of the
speaker.
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
Specifications of each Speaker Type
The speaker column indicates the diameter of each speaker unit (in
inches) and the number of units.
Type
Cabinet
Speaker
Mic
SMALL 1
SMALL 2
MIDDLE
JC-120
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 STACK
2-STACK
3-STACK
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
large sealed enclosure
large sealed enclosure
large sealed enclosure
large double stack
large double stack
large triple stack
10
10
12
12
12
12
12
12
12
12
12
12
12
12
12
12
dynamic
dynamic
dynamic
dynamic
dynamic
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
x
x
x
x
x
x
x
x
x
x
x
x
x
x
1
2
2
2
2
2
2
2
2
4
4
4
4
4
Effects List
Parameter
11: PHASER
Value
Explanation
A phase-shifted sound is added to the original sound and modulated.
fig.MFX-11
L in
Phaser
Mix
Mix
R in
Phaser
2-Band
EQ
L out
2-Band
EQ
R out
Parameter
Value
Explanation
Mode
4-STAGE, 8-STAGE,
12-STAGE
Number of stages in the phaser
Manual #
0–127
Rate #
Depth
0.05–10.00 Hz, note
0–127
Polarity
Resonance #
INVERSE,
SYNCHRO
0–127
Cross
Feedback
-98–+98%
Mix #
Low Gain
High Gain
Level
0–127
-15–+15 dB
-15–+15 dB
0–127
Adjusts the basic frequency from
which the sound will be
modulated.
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.
Amount of feedback
Adjusts the proportion of the
phaser sound that is fed back
into the effect. Negative (-)
settings will invert the phase.
Level of the phase-shifted sound
Gain of the low range
Gain of the high range
Output Level
12: STEP PHASER
The phaser effect will be varied gradually.
fig.MFX-12
L in
Step Phaser
Mix
Mix
2-Band
EQ
L out
2-Band
EQ
R out
R in
Step Phaser
Parameter
Value
Explanation
Mode
4-STAGE, 8-STAGE,
12-STAGE
Number of stages in the phaser
Manual #
0–127
Rate #
Depth
0.05–10.00 Hz, note
0–127
Polarity
INVERSE,
SYNCHRO
Resonance #
0–127
Cross
Feedback
-98–+98%
Step Rate #
0.10–20.00 Hz, note
Mix #
Low Gain
High Gain
Level
0–127
-15–+15 dB
-15–+15 dB
0–127
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.
Amount of feedback
Adjusts the proportion of the
phaser sound that is fed back
into the effect. Negative (-)
settings 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
Output Level
13: MULTI STAGE PHASER
Extremely high settings of the phase difference produce a deep phaser
effect.
fig.MFX-13
L in
L out
Multi Stage
Phaser
Mix
2-Band
EQ
R in
Pan L
Pan R
R out
Resonance
Parameter
Value
Explanation
Mode
4-STAGE, 8-STAGE,
12-STAGE, 16-STAGE,
20-STAGE, 24-STAGE
Number of phaser stages
Manual #
0–127
Rate #
Depth
Resonance #
Mix #
0.05–10.00 Hz, note
0–127
0–127
0–127
Pan #
L64–63R
Low Gain
High Gain
Level
-15–+15 dB
-15–+15 dB
0–127
Adjusts the basic frequency
from which the sound will be
modulated.
Frequency of modulation
Depth of modulation
Amount of feedback
Level of the phase-shifted sound
Stereo location of the output
sound
Gain of the low range
Gain of the high range
Output Level
Adjusts the basic frequency from
which the sound will be
modulated.
Frequency of modulation
Depth of modulation
69
Effects List
14: INFINITE PHASER
16: STEP RING MODULATOR
A phaser that continues raising/lowering the frequency at which the
sound is modulated.
This is a ring modulator that uses a 16-step sequence to vary the
frequency at which modulation is applied.
fig.MFX-14
fig.MFX-16
L in
L out
L in
Step Ring Mod
2-Band EQ
L out
R in
Step Ring Mod
2-Band EQ
R out
Pan L
Infinite Phaser
2-Band EQ
Pan R
R in
R out
Parameter
Value
Mode
1, 2, 3, 4
Speed #
Explanation
Higher values will produce a
deeper phaser effect.
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
Panning of the output sound
Amount of boost/cut for the
low-frequency range
Amount of boost/cut for the
high-frequency range
Output volume
-100–+100
Resonance #
0–127
Mix #
0–127
Pan #
L64–63R
Low Gain
-15–+15 dB
High Gain
-15–+15 dB
Level
0–127
Parameter
Value
Explanation
Step 01–16
0–127
Rate #
0.05–10.00 Hz, note
Attack #
0–127
Low Gain
-15–+15 dB
High Gain
-15–+15 dB
Balance #
D100:0W–D0:100W
Level
0–127
Frequency of ring modulation at
each step
Rate at which the 16-step sequence
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
You can use multi-effect control to make the step sequence play
again from the beginning (p. 65).
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
sound sent into the effect.
fig.MFX-15
L in
R in
Ring Mod
Ring Mod
Parameter
Value
Frequency #
0–127
Sens #
0–127
Polarity
UP, DOWN
Low Gain
High Gain
-15–+15 dB
-15–+15 dB
D100:0W–
D0:100W
0–127
Balance #
Level
70
2-Band EQ
2-Band EQ
17: TREMOLO
Cyclically modulates the volume to add tremolo effect to the sound.
fig.MFX-17a
L in
Tremolo
2-Band EQ
L out
R in
Tremolo
2-Band EQ
R out
L out
R out
Parameter
Explanation
Adjusts the frequency at which modulation is
applied.
Adjusts the amount of frequency modulation
applied.
Determines whether the frequency
modulation moves towards higher
frequencies (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
Mod Wave
Rate #
Depth #
Low Gain
High Gain
Level
Value
Explanation
TRI, SQR, SIN, SAW1,
SAW2
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1/2: sawtooth wave
SAW1
0.05–10.00 Hz, note
0–127
-15–+15 dB
-15–+15 dB
0–127
SAW2
Frequency of the change
Depth to which the effect is applied
Gain of the low range
Gain of the high range
Output Level
Effects List
18: AUTO PAN
20: SLICER
Cyclically modulates the stereo location of the sound.
fig.MFX-18a
L in
Auto Pan
2-Band EQ
L out
R in
Auto Pan
2-Band EQ
R out
Parameter
Mod Wave
Value
Explanation
TRI, SQR, SIN, SAW1,
SAW2
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1/2: sawtooth wave
SAW1
R
L
Rate #
Depth #
Low Gain
High Gain
Level
SAW2
R
L
0.05–10.00 Hz, 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
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 sustaintype sounds.
fig.MFX-20
L in
Slicer
L out
R in
Slicer
R out
Parameter
Value
Explanation
Step 01–16
0–127
0.05–10.00
Hz, note
Level at each step
Rate at which the 16-step sequence will
cycle
Speed at which the level changes between
steps
Specifies whether an input note will cause
the sequence to resume from the first step of
the sequence (ON) or not (OFF)
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 following step is the
same as the preceding step.
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
Rate #
Attack #
0–127
Input Sync Sw
OFF, ON
Input Sync
Threshold
0–127
Mode
LEGATO,
SLASH
Shuffle #
0–127
Level
0–127
19: STEP PAN
This uses a 16-step sequence to vary the panning of the sound.
fig.MFX-19
L in
Step Pan
L out
R in
Step Pan
R out
Parameter
Value
Explanation
Step 01–16
L64–63R
Rate #
0.05–10.00 Hz, note
Pan at each step
Rate at which the 16-step sequence
will cycle
Attack #
0–127
Speed at which the pan changes
between steps
Input Sync Sw
OFF, ON
Specifies whether an input note
will cause the sequence to resume
from the first step of the sequence
(ON) or not (OFF)
Input Sync
Threshold
0–127
Volume at which an input note will
be detected
Level
0–127
Output volume
You can use multi-effect control to make the step sequence play
again from the beginning (p. 65).
You can use multi-effect control to make the step sequence play
again from the beginning (p. 65).
71
Effects List
21: ROTARY
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 Patches.
fig.MFX-21
L in
L out
Rotary
R in
Parameter
Speed #
R out
Value
SLOW, FAST
Woofer Slow Speed
0.05–10.00 Hz
Woofer Fast Speed
0.05–10.00 Hz
Woofer Acceleration
0–15
Woofer Level
Tweeter Slow Speed
Tweeter Fast Speed
Tweeter Acceleration
Tweeter Level
Separation
Level #
0–127
0.05–10.00 Hz
0.05–10.00 Hz
0–15
0–127
0–127
0–127
Explanation
Simultaneously switch the rotational
speed of the low frequency rotor
and high frequency rotor.
SLOW: Slows down the rotation
to the Slow Rate.
FAST: Speeds up the rotation to
the Fast Rate.
Slow speed (SLOW) of the low
frequency rotor
Fast speed (FAST) of the low
frequency rotor
Adjusts the time it takes the low
frequency rotor to reach the newly
selected speed when switching from
fast to slow (or slow to fast) speed.
Lower values will require longer
times.
Volume of the low frequency rotor
Parameter
Value
Woofer Trans Up
0–127
Woofer Trans Down
0–127
Woofer Level
Tweeter Slow Speed
Tweeter Fast Speed
Tweeter Trans Up
Tweeter Trans Down
Tweeter Level
0–127
0.05–10.00 Hz
0.05–10.00 Hz
0–127
0–127
0–127
Spread
0–10
Low Gain
High Gain
Level #
-15–+15 dB
-15–+15 dB
0–127
STANDARD,
STACK, CLEAN
Type
fig.MFX-23
Balance D
Value
Speed #
SLOW, FAST
Brake #
OFF, ON
Woofer Slow Speed
0.05–10.00 Hz
Woofer Fast Speed
0.05–10.00 Hz
72
2-Band
EQ
L in
Chorus
Balance W
Chorus
Balance W
R in
Balance D
Value
Cutoff Freq
200–8000 Hz
Pre Delay
0.0–100 msec
Rate #
Depth
Phase
Low Gain
High Gain
0.05–10.00 Hz, note
0–127
0–180 deg
-15–+15 dB
-15–+15 dB
Explanation
Balance #
D100:0W–D0:100W
Rotational speed of the rotating
speaker
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.
Low-speed rotation speed of the
woofer
High-speed rotation speed of the
woofer
Level
0–127
2-Band EQ
L out
2-Band EQ
R out
Rotary
Parameter
Type of rotary speaker
OFF, LPF, HPF
fig.MFX-22
R in
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
Filter Type
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 rotary
speaker.
L in
Settings of the tweeter
The parameters are the same as
for the woofer.
This is a stereo chorus. A filter is provided so that you can adjust the
timbre of the chorus sound.
Parameter
22: VK 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.
Volume of the woofer
23: CHORUS
Settings of the high frequency rotor
The parameters are the same as
for the low frequency rotor
Spatial dispersion of the sound
Output Level
Explanation
2-Band
EQ
L out
R out
Explanation
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
Center frequency when using the
filter to cut a specific frequency
range
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)
Output Level
Effects List
24: FLANGER
Parameter
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
adjust the timbre of the flanged sound.
fig.MFX-24
Balance D
L in
Flanger
2-Band
EQ
R in
Balance D
Parameter
Filter Type
Value
Balance W
Cutoff Freq
200–8000 Hz
Pre Delay
0.0–100 msec
Rate #
Depth
Phase
0.05–10.00 Hz, note
0–127
0–180 deg
Feedback #
-98–+98%
Low Gain
High Gain
-15–+15 dB
-15–+15 dB
Balance #
D100:0W–D0:100W
Level
0–127
Filter Type
OFF, LPF, HPF
Cutoff Freq
200–8000 Hz
Pre Delay
0.0–100 msec
Rate #
Depth
Phase
0.05–10.00 Hz, note
0–127
0–180 deg
Feedback #
-98–+98%
Step Rate #
Low Gain
High Gain
0.10–20.00 Hz, note
-15–+15 dB
-15–+15 dB
Balance #
D100:0W–D0:100W
Level
0–127
Balance W
2-Band
EQ
R out
Explanation
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
Center frequency when using the
filter to cut a specific frequency
range
Adjusts the delay time from when
the direct sound begins until the
flanger sound is heard.
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 (-) settings will
invert the phase.
Gain of the low range
Gain of the high range
Volume balance between the direct
sound (D) and the flanger 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 notevalue of a specified tempo.
fig.MFX-25
Balance D
Step Flanger
2-Band
EQ
Uses a six-phase chorus (six layers of chorused sound) to give richness
and spatial spread to the sound.
fig.MFX-26
L in
L out
Balance D
Balance W
Hexa Chorus
Balance W
R in
R out
Balance D
Parameter
Value
Pre Delay
0.0–100 msec
Rate #
Depth
Pre Delay
Deviation
Depth
Deviation
L out
Balance W
Pan Deviation
Balance W
Balance #
Feedback
Feedback
Step Flanger
R in
Balance D
2-Band
EQ
R out
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
Center frequency when using the
filter to cut a specific frequency
range
Adjusts the delay time from when
the direct sound begins until the
flanger sound is heard.
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 (-) settings 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)
Output Level
26: HEXA-CHORUS
Output Level
L in
Explanation
L out
Feedback
Feedback
Flanger
Value
Level
Explanation
Adjusts the delay time from the
direct sound until the chorus sound
is heard.
0.05–10.00 Hz, note Frequency of modulation
0–127
Depth of modulation
Adjusts the differences in Pre Delay
0–20
between each chorus sound.
Adjusts the difference in modulation
-20–+20
depth between each chorus sound.
Adjusts the difference in stereo
location between each chorus
sound.
0: All chorus sounds will be in the
0–20
center.
20: Each chorus sound will be
spaced at 60 degree intervals
relative to the center.
Volume balance between the direct
D100:0W–D0:100W
sound (D) and the chorus sound (W)
0–127
Output Level
73
Effects List
27: TREMOLO CHORUS
29: 3D CHORUS
This is a chorus effect with added Tremolo (cyclic modulation of
volume).
This applies a 3D effect to the chorus sound. The chorus sound will be
positioned 90 degrees left and 90 degrees right.
fig.MFX-27
fig.MFX-29
L in
L out
L
Balance D
Balance W
2-Band
EQ
L out
2-Band
EQ
R out
3D Chorus
Tremolo Chorus
Balance W
R in
R
R out
Balance D
Parameter
Parameter
Value
Pre Delay
0.0–100 msec
Chorus Rate #
0.05–10.00 Hz, note
Chorus Depth
0–127
Tremolo Rate #
0.05–10.00 Hz, note
Tremolo
Separation
Tremolo Phase
Value
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
Modulation frequency of the
tremolo effect
0–127
Spread of the tremolo effect
0–180 deg
Spread of the tremolo effect
Volume balance between the
direct sound (D) and the tremolo
chorus sound (W)
Output Level
Balance #
D100:0W–D0:100W
Level
0–127
Filter Type
OFF, LPF, HPF
Cutoff Freq
200–8000 Hz
Pre Delay
0.0–100 msec
Rate #
0.05–10.00 Hz, note
Depth
0–127
Phase
0–180 deg
Output Mode
SPEAKER, PHONES
Low Gain
High Gain
-15–+15 dB
-15–+15 dB
Balance #
D100:0W–D0:100W
Level
0–127
28: SPACE-D
This is a multiple chorus that applies two-phase modulation in stereo. It
gives no impression of modulation, but produces a transparent chorus
effect.
fig.MFX-28
Balance D
2-Band
EQ
L in
Space D
Balance W
Space D
Balance W
R in
Balance D
Parameter
Value
Pre Delay
0.0–100 msec
Rate #
Depth
Phase
Low Gain
High Gain
0.05–10.00 Hz, note
0–127
0–180 deg
-15–+15 dB
-15–+15 dB
Balance #
D100:0W–D0:100W
Level
0–127
74
2-Band
EQ
L out
R out
Explanation
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)
Output Level
Explanation
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
Center frequency when using the
filter to cut a specific frequency
range
Adjusts the delay time from the
direct sound until the chorus sound
is heard.
Frequency of modulation
Modulation depth of the chorus
effect
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 SPEAKER when using
speakers, or PHONES when using
headphones.
Gain of the low range
Gain of the high range
Volume balance between the
direct sound (D) and the chorus
sound (W)
Output Level
Effects List
Parameter
Value
Pre Delay
0.0–100 msec
Rate #
Depth
Phase
0.05–10.00 Hz, note
0–127
0–180 deg
Feedback #
-98–+98%
Step Rate #
0.10–20.00 Hz, note
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
Center frequency when using the
filter to cut a specific frequency
range
Output Mode
SPEAKER, PHONES
Low Gain
High Gain
-15–+15 dB
-15–+15 dB
Balance #
D100:0W–D0:100W
Adjusts the delay time from when
the direct sound begins until the
flanger sound is heard.
Level
0–127
30: 3D FLANGER
This applies a 3D effect to the flanger sound. The flanger sound will
be positioned 90 degrees left and 90 degrees right.
fig.MFX-30
2-Band
EQ
L
L out
3D Flanger
2-Band
EQ
R
Parameter
Filter Type
Value
OFF, LPF, HPF
Cutoff Freq
200–8000 Hz
Pre Delay
0.0–100 msec
Rate #
Depth
Phase
0.05–10.00 Hz, note
0–127
0–180 deg
Feedback #
-98–+98%
Output Mode
SPEAKER, PHONES
Low Gain
High Gain
-15–+15 dB
-15–+15 dB
Balance #
D100:0W–D0:100W
Level
0–127
R out
Explanation
Explanation
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 (-) settings 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 SPEAKER when using
speakers, or PHONES when using
headphones.
Gain of the low range
Gain of the high range
Volume balance between the
direct sound (D) and the flanger
sound (W)
Output Level
32: 2 BAND CHORUS
A chorus effect that lets you apply an effect independently to the lowfrequency and high-frequency ranges.
fig.MFX-32
L in
L out
High Band Chorus
Split
Low Band Chorus
High Band Chorus
Split
Low Band Chorus
R in
R out
Parameter
Value
Split Freq
200–8000 Hz
Low Pre Delay
0.0–100 msec
This applies a 3D effect to the step flanger sound. The flanger sound
will be positioned 90 degrees left and 90 degrees right.
Low Rate #
0.05–10.00 Hz, note
fig.MFX-31
Low Depth
0–127
Low Phase
0–180 deg
High Pre Delay
0.0–100 msec
High Rate #
0.05–10.00 Hz, note
High Depth
0–127
High Phase
0–180 deg
Balance #
D100:0W–D0:100W
Level
0–127
31: 3D STEP FLANGER
L
2-Band
EQ
L out
2-Band
EQ
R out
3D Step Flanger
R
Parameter
Filter Type
Cutoff Freq
Value
OFF, LPF, HPF
200–8000 Hz
Explanation
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
Center frequency when using the
filter to cut a specific frequency
range
Adjusts the delay time from when
the direct sound begins until the
flanger sound is heard.
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 (-) settings 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 SPEAKER when using
speakers, or PHONES when using
headphones.
Gain of the low range
Gain of the high range
Volume balance between the
direct sound (D) and the flanger
sound (W)
Output Level
Explanation
Frequency at which the low and
high ranges will be divided
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
Delay time from when the
original sound is heard to when
the high-range chorus sound is
heard
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 original
sound (D) and chorus sound (W)
Output volume
75
Effects List
33: 2 BAND FLANGER
34: 2 BAND STEP FLANGER
A flanger that lets you apply an effect independently to the lowfrequency and high-frequency ranges.
A step flanger that lets you apply an effect independently to the lowfrequency and high-frequency ranges.
fig.MFX-33
fig.MFX-34
L in
L out
L in
L out
High Band Flanger
Split
Split
High Band Step Flanger
Split
High Band Feedback
High Band Feedback
Low Band Flanger
Low Band Step Flanger
Low Band Feedback
High Band Feedback
Low Band Feedback
High Band Feedback
High Band Flanger
High Band Step Flanger
Low Band Feedback
Low Band Feedback
Split
Low Band Flanger
R in
Parameter
Value
Split Freq
200–8000 Hz
Low Pre Delay
0.0–100 msec
Low Rate #
0.05–10.00 Hz, note
Low Depth
0–127
Low Phase
0–180 deg
Low
Feedback #
-98–+98%
High Pre Delay
0.0–100 msec
High Rate #
0.05–10.00 Hz, note
High Depth
0–127
High Phase
0–180 deg
High
Feedback #
-98–+98%
Balance #
D100:0W–D0:100W
Level
0–127
76
Low Band Step Flanger
R out
Explanation
Frequency at which the low and
high ranges will be divided
Delay time from when the
original sound is heard to when
the low-range flanger sound is
heard
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
Proportion of the low-range
flanger sound that is to be
returned 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
Proportion of the high-range
flanger sound that is to be
returned to the input (negative
values invert the phase)
Volume balance of the original
sound (D) and flanger sound (W)
Output volume
R in
R out
Parameter
Value
Split Freq
200–8000 Hz
Low Pre Delay
0.0–100 msec
Low Rate #
0.05–10.00 Hz, note
Low Depth
0–127
Low Phase
0–180 deg
Low
Feedback #
-98–+98%
Low Step
Rate #
0.10–20.00 Hz, note
High Pre Delay
0.0–100 msec
High Rate #
0.05–10.00 Hz, note
High Depth
0–127
High Phase
0–180 deg
High
Feedback #
-98–+98%
High Step
Rate #
0.10–20.00 Hz, note
Balance #
D100:0W–D0:100W
Level
0–127
Explanation
Frequency at which the low and
high ranges will be divided
Delay time from when the
original sound is heard to when
the low-range flanger sound is
heard
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
Proportion of the low-range
flanger sound that is to be
returned 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
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
returned to the input (negative
values invert the phase)
Rate at which the steps will cycle
for the high-range flanger sound
Volume balance of the original
sound (D) and flanger sound (W)
Output volume
Effects List
35: OVERDRIVE
38: VS DISTORTION
Creates a soft distortion similar to that produced by vacuum tube
amplifiers.
This is a distortion effect that provides heavy distortion. The
parameters are the same as for “37: VS OVERDRIVE.”
fig.MFX-35
fig.MFX-38
L in
L out
Over
drive
Amp
Simulator
2-Band
EQ
R in
Pan R
R out
Parameter
Value
Drive #
0–127
Amp Type
SMALL, BUILT-IN,
2-STACK, 3-STACK
L in
Pan L
L out
Distortion
-15–+15 dB
-15–+15 dB
Pan #
L64–63R
Level
0–127
Degree of distortion
Also changes the volume.
Type of guitar amp
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
Gain of the high range
Stereo location of the output
sound
Output Level
36: DISTORTION
Pan L
Pan R
R in
R out
39: GUITAR AMP SIMULATOR
This is an effect that simulates the sound of a guitar amplifier.
fig.MFX-39
L in
Pre Amp
Pan R
L out
2-Band
EQ
R in
Pan L
Pan R
R out
37: VS OVERDRIVE
R out
Parameter
Value
Explanation
Pre Amp Sw
OFF, ON
JC-120,
CLEAN TWIN,
MATCH DRIVE,
BG LEAD, MS1959I,
MS1959II, MS1959I+II,
SLDN LEAD,
METAL 5150,
METAL LEAD,
OD-1,
OD-2 TURBO,
DISTORTION, FUZZ
Turns the amp switch on/off.
fig.MFX-36
Amp
Simulator
Pre Amp
Volume #
Pre Amp
Master #
Pre Amp Gain
Pre Amp Bass
Pre Amp
Middle
Pre Amp
Presence
Volume and amount of distortion
of the amp
0–127
Volume of the entire pre-amp
LOW, MIDDLE, HIGH
Amount of pre-amp distortion
Tone of the bass/mid/treble
frequency range
* Middle cannot be set if
“MATCH DRIVE” is selected as
the Pre Amp Type.
Tone for the ultra-high frequency
range
Turning this “On” produces a
sharper and brighter sound.
* This parameter applies to the
“JC-120,” “CLEAN TWIN,”
and “BG LEAD” Pre Amp
Types.
Determines whether the signal
passes through the speaker (ON),
or not (OFF).
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 mic
Volume of the direct sound
Stereo location of the output
Output level
0–127
0–127
fig.MFX-37
L in
L out
Amp
Simulator
2-Band
EQ
R in
Pan L
Pre Amp Bright OFF, ON
Pan R
R out
Parameter
Value
Drive #
0–127
Tone #
Amp Sw
0–127
OFF, ON
Amp Type
SMALL, BUILT-IN,
2-STACK, 3-STACK
Low Gain
High Gain
Pan #
Level
-15–+15 dB
-15–+15 dB
L64–63R
0–127
Explanation
Degree of distortion
Also changes the volume.
Sound quality of the Overdrive effect
Turns the Amp Simulator on/off.
Type of guitar amp
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
Gain of the high range
Stereo location of the output sound
Output Level
Type of guitar amp
0–127
Pre Amp Treble
This is an overdrive that provides heavy distortion.
Speaker
R in
Pre Amp Type
L in
L out
Pan L
Produces a more intense distortion than Overdrive. The parameters
are the same as for “35: OVERDRIVE.”
Overdrive
2-Band
EQ
Explanation
Low Gain
High Gain
Distortion
Amp
Simulator
Speaker Sw
OFF, ON
Speaker Type
(See the table below.)
Mic Setting
1, 2, 3
Mic Level
Direct Level
Pan #
Level #
0–127
0–127
L64–63R
0–127
77
Effects List
Specifications for each Speaker Type
The speaker column indicates the diameter of each speaker unit (in
inches) and the number of units.
Type
Cabinet
Speaker
SMALL 1
SMALL 2
MIDDLE
JC-120
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 STACK
2-STACK
3-STACK
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
large sealed enclosure
large sealed enclosure
large sealed enclosure
large double stack
large double stack
large triple stack
10
10
12
12
12
12
12
12
12
12
12
12
12
12
12
12
x
x
x
x
x
x
x
x
x
x
x
x
x
x
1
2
2
2
2
2
2
2
2
4
4
4
4
4
Mic
dynamic
dynamic
dynamic
dynamic
dynamic
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
41: LIMITER
Compresses signals that exceed a specified volume level, preventing
distortion from occurring.
fig.MFX-41
L in
Limiter
2-Band EQ
L out
R in
Limiter
2-Band EQ
R out
Parameter
Value
Release #
0–127
Threshold #
0–127
Ratio
Post Gain
Low Gain
High Gain
Level #
1.5:1, 2:1,
4:1, 100:1
0–+18 dB
-15–+15 dB
-15–+15 dB
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 compression
begins
Compression ratio
Adjusts the output gain.
Gain of the low frequency range
Gain of the high frequency range
Output level
40: COMPRESSOR
Flattens out high levels and boosts low levels, smoothing out
fluctuations in volume.
fig.MFX-40
L in
Compressor
2-Band EQ
L out
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-sounding
decrease in the reverb’s decay.
fig.MFX-42
R in
Compressor
Parameter
Attack #
Value
0–127
Threshold #
0–127
Post Gain
Low Gain
High Gain
Level #
0–+18 dB
-15–+15 dB
-15–+15 dB
0–127
2-Band EQ
L in
Gate
L out
R in
Gate
R out
R out
Explanation
Sets the time from when the input exceeds
the Threshold until the volume starts being
compressed
Adjusts the volume at which compression
begins
Adjusts the output gain.
Gain of the low frequency range
Gain of the high frequency range
Output level
Parameter
Value
Explanation
Threshold #
0–127
Mode
GATE,
DUCK
Attack
0–127
Hold
0–127
Release
0–127
Volume level at which the gate begins to close
Type of gate
GATE: The gate will close when the
volume of the original sound decreases,
cutting the original sound.
DUCK (Ducking): The gate will close when
the volume of the original sound
increases, cutting the original sound.
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.
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
Balance #
Level
78
D100:0W–
D0:100W
0–127
Effects List
43: DELAY
44: LONG DELAY
This is a stereo delay.
When Feedback Mode is NORMAL:
A delay that provides a long delay time.
fig.MFX-44
fig.MFX-43a
2-Band
EQ
L in
Delay
2-Band
EQ
L in
Balance D
L out
Pan L
Long Delay
Balance W
Pan R
Feedback
R in
Feedback
Feedback
Balance W
Delay
2-Band
EQ
R in
Balance D
R out
Parameter
Value
Delay Time
0–2600 msec, note
Phase
NORMAL, INVERSE
Feedback #
-98–+98%
HF Damp
200–8000 Hz,
BYPASS
Pan #
L64–63R
Low Gain
-15–+15 dB
High Gain
-15–+15 dB
Balance #
D100:0W–D0:100W
Level
0–127
When Feedback Mode is CROSS:
fig.MFX-43b
Balance D
2-Band
EQ
L in
Delay
L out
Balance W
Feedback
Feedback
Balance W
Delay
R in
Balance D
2-Band
EQ
R out
Parameter
Value
Explanation
Delay Left
Delay Right
Phase Left
Phase Right
Feedback
Mode
0–1300 msec,
note
Adjusts the time until the delay sound is
heard.
NORMAL,
INVERSE
Phase of the delay sound
Feedback #
-98–+98%
HF Damp
200–8000 Hz,
BYPASS
Low Gain
High Gain
Balance #
Level
NORMAL,
CROSS
-15–+15 dB
-15–+15 dB
D100:0W–
D0:100W
0–127
L out
2-Band
EQ
R out
Explanation
Delay time from when the
original sound is heard to when
the delay sound is heard
Phase of the delay (NORMAL:
non-inverted, INVERT: inverted)
Proportion of the delay sound
that is to be returned to the input
(negative values invert the phase)
Frequency at which the
high-frequency content of the
delayed sound will be cut
(BYPASS: 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 original
sound (D) and delay sound (W)
Output volume
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 frequencies, 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
79
Effects List
45: SERIAL DELAY
46: MODULATION DELAY
This delay connects two delay units in series. Feedback can be
applied independently to each delay unit, allowing you to produce
complex delay sounds.
Adds modulation to the delayed sound.
When Feedback Mode is NORMAL:
fig.MFX-46a
Balance D
fig.MFX-45
L in
L out
L in
Delay
Pan L
Delay 1
Delay 2
Feedback 1
Feedback 2
R in
Value
Delay 1 Time
0–1300 msec, note
Delay 1
Feedback #
-98–+98%
Delay 1 HF Damp
200–8000 Hz,
BYPASS
Delay 2 Time
0–1300 msec, note
Delay 2
Feedback #
-98–+98%
200–8000 Hz,
Delay 2 HF Damp
BYPASS
Pan #
L64–63R
Low Gain
-15–+15 dB
High Gain
-15–+15 dB
Balance #
D100:0W–D0:100W
Level
0–127
Balance W
Modulation
Balance W
Pan R
Delay
Explanation
Delay time from when sound is
input to delay 1 until the delay
sound is heard
Proportion of the delay sound
that is to be returned to the input
of delay 1 (negative values invert
the phase)
Frequency at which the
high-frequency content of the
delayed sound of delay 1 will be
cut (BYPASS: no cut)
Delay time from when sound is
input to delay 2 until the delay
sound is heard
Proportion of the delay sound
that is to be returned to the input
of delay 2 (negative values invert
the phase)
Frequency at which the
high-frequency content of the
delayed sound of delay 2 will be
cut (BYPASS: no cut)
Panning of the delay sound
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 delay sound (W)
Output volume
R in
Balance D
2-Band
EQ
R out
2-Band
EQ
L out
When Feedback Mode is CROSS:
fig.MFX-46b
Balance D
L in
Delay
Modulation
Balance W
Modulation
Balance W
Feedback
Feedback
Delay
R in
Balance D
2-Band
EQ
R out
Parameter
Value
Explanation
Delay Left
Delay Right
Feedback
Mode
0–1300 msec,
note
Adjusts the time until the delay sound is
heard.
NORMAL,
CROSS
Feedback #
-98–+98%
HF Damp
200–8000 Hz,
BYPASS
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
frequencies, set this parameter to BYPASS.
Rate #
Depth
Phase
Low Gain
High Gain
Balance #
Level
80
Modulation
L out
Feedback
Feedback
R out
Parameter
2-Band
EQ
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
Depth of modulation
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
Effects List
47: 3TAP PAN DELAY
49: MULTI TAP DELAY
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.
Produces three delay sounds; center, left and right.
fig.MFX-47
Balance D
L in
2-Band
EQ
L out
fig.MFX-49
Balance D
Balance W
Left Tap
L in
Triple Tap Delay
Feed
back
Center Tap
Delay 1
R in
Balance D
Parameter
Value
Delay Left/
Right/Center
0–2600 msec,
note
-98–+98%
HF Damp
200–8000 Hz,
BYPASS
Balance #
Level
2-Band
EQ
R out
Balance W
Delay 4
Delay 2
R in
Explanation
Center
Feedback #
Left/Right/
Center Level
Low Gain
High Gain
Multi Tap Delay
Balance W
Right Tap
L out
Balance W
Delay 3
Feedback
2-Band
EQ
Adjusts the time from the original sound
until the left, right, and center delayed
sounds are heard
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.
0–127
Volume of each delay
-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
Balance D
R out
Parameter
Value
Explanation
Delay 1–4 Time
0–2600 msec,
note
Delay 1
Feedback #
-98–+98%
HF Damp
200–8000 Hz,
BYPASS
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.
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.
Stereo location of Delays 1–4
Output level of Delays 1–4
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
Delay 1–4 Pan
Delay 1–4 Level
Low Gain
High Gain
Balance #
Level
48: 4TAP PAN DELAY
2-Band
EQ
L64–63R
0–127
-15–+15 dB
-15–+15 dB
D100:0W–
D0:100W
0–127
This effect has four delays.
fig.MFX-48a
Balance D
L in
L out
Delay 1
Balance W
Feedback
Delay 2
Quadruple Tap Delay
Delay 3
Balance W
Delay 4
R in
R out
Balance D
fig.MFX-48b
2
1
L
Parameter
Stereo location of each delay
3
4
R
Value
0–2600 msec,
Delay 1–4 Time
note
Delay 1
Feedback #
-98–+98%
HF Damp
200–8000 Hz,
BYPASS
Delay 1–4 Level 0–127
Low Gain
-15–+15 dB
High Gain
-15–+15 dB
D100:0W–
Balance #
D0:100W
Level
0–127
Explanation
Adjusts the time from the original sound
until delay sounds 1--4 are heard
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.
Volume of each delay
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
81
Effects List
50: REVERSE DELAY
51: SHUFFLE 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
delay.
Adds a shuffle to the delay sound, giving the sound a bouncy delay
effect with a swing feel.
fig.MFX-50
L in
2-Band
EQ
L in
Feedback
Rev
fig.MFX-51
Feedback
L out
Delay
D3
D2
Value
82
B
L out
2-Band
EQ
R out
R out
Explanation
Volume at which the reverse
delay will begin to be applied
Delay time from when sound is
Rev Delay Time
0–1300 msec, note
input into the reverse delay until
the delay sound is heard
Proportion of the delay sound
Rev Delay
that is to be returned to the input
-98–+98%
Feedback #
of the reverse delay (negative
values invert the phase)
Frequency at which the
Rev Delay HF
200–8000 Hz,
high-frequency content of the
Damp
BYPASS
reverse-delayed sound will be cut
(BYPASS: no cut)
Panning of the reverse delay
Rev Delay Pan
L64–63R
sound
Volume of the reverse delay
Rev Delay Level
0–127
sound
Delay time from when sound is
Delay 1 – 3 Time 0–1300 msec, note
input into the tap delay until the
delay sound is heard
Proportion of the delay sound
that is to be returned to the input
Delay 3 Feedback # -98–+98%
of the tap delay (negative values
invert the phase)
Frequency at which the lowfrequency content of the tap
Delay HF Damp
200–8000 Hz, BYPASS
delay sound will be cut (BYPASS:
no cut)
Delay 1 Pan,
L64–63R
Panning of the tap delay sounds
Delay 2 Pan
Delay 1 Level,
0–127
Volume of the tap delay sounds
Delay 2 Level
Amount of boost/cut for the
Low Gain
-15–+15 dB
low-frequency range
Amount of boost/cut for the
High Gain
-15–+15 dB
high-frequency range
Volume balance of the original
Balance #
D100:0W–D0:100W
sound (D) and delay sound (W)
Level
0–127
Output volume
Threshold
Delay B
R in
2-Band
EQ
R in
Parameter
A
Delay
D1
Rev. Delay
Delay A
2-Band
EQ
Parameter
Value
Explanation
Delay Time #
0–2600 msec,
note
Shuffle
Rate #
0–100
Acceleration
0–15
Feedback #
-98–+98%
HF Damp
200–8000 Hz,
BYPASS
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 speed which the Delay Time
changes from the current setting to its
specified new setting.
Adjusts the amount of the delay that’s
feedback 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.
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
0–127
Pan A/B
Level A/B
Low Gain
High Gain
Balance #
Level
0–127
0–127
-15–+15 dB
-15–+15 dB
D100:0W–
D0:100W
0–127
Effects List
52: 3D DELAY
This applies a 3D effect to the delay sound. The delay sound will be
positioned 90 degrees left and 90 degrees right.
Parameter
Value
Explanation
Feedback #
-98–+98%
HF Damp
200–8000 Hz,
BYPASS
fig.MFX-52
L
2-Band
EQ
Level
L out
3D Delay L
Low Gain
High Gain
3D Delay C
Balance #
Feedback
3D Delay R
2-Band
EQ
R
Level
R out
Parameter
Value
Explanation
Delay Left
Delay Right
Delay Center
0–2600 msec, note
Adjusts the delay time from the
direct sound until the delay
sound is heard.
Center
Feedback #
HF Damp
Left Level
Right Level
Center Level
Output Mode
-98–+98%
200–8000 Hz, BYPASS
-15–+15 dB
-15–+15 dB
D100:0W–
D0:100W
0–127
Adjusts the amount of the delay
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.
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
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 frequencies,
set this parameter to BYPASS.
54: ANALOG LONG DELAY
A delay in which the delay time can be varied smoothly, and allowing
an extended delay to be produced.
fig.MFX-54
L in
Balance D
SPEAKER, PHONES
Low Gain
High Gain
-15–+15 dB
-15–+15 dB
Balance #
D100:0W–D0:100W
Level
0–127
Output level of the delay 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 SPEAKER when using
speakers, or PHONES when using
headphones.
Gain of the low range
Gain of the high range
Volume balance between the direct
sound (D) and the effect sound (W)
Balance W
Balance W
R in
Balance D
Explanation
Delay Time #
0–2600 msec,
note
Adjusts the time until the delay is heard.
Acceleration
0–15
Feedback #
-98–+98%
HF Damp
200–8000 Hz,
BYPASS
Balance #
fig.MFX-53
L in
2-Band EQ
Time Ctrl Delay
L out
R out
Value
Pan #
Low Gain
High Gain
A stereo delay in which the delay time can be varied smoothly.
2-Band
EQ
Parameter
Output Level
53: ANALOG DELAY
L out
Time Control Delay
Feedback
0–127
2-Band
EQ
Level
L64–63R
-15–+15 dB
-15–+15 dB
D100:0W–
D0:100W
0–127
Adjusts the speed 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.
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.
Stereo location of the delay
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
Pan L
Feedback
Feedback
Time Ctrl Delay
R in
Pan R
2-Band EQ
Parameter
Value
Delay Time #
0–1300 msec, note
Acceleration
0–15
R out
Explanation
Adjusts the time until the delay is
heard.
Adjusts the speed 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.
83
Effects List
55: TAPE ECHO
56: LOFI NOISE
A virtual tape echo that produces a realistic tape delay sound. This
simulates the tape echo section of a Roland RE-201 Space Echo.
In addition to a lo-fi effect, this adds various types of noise such as
white noise and disc noise.
fig.MFX-55
fig.MFX-56
L in
L out
Direct Level
L in
Echo Level
2-Band
EQ
L out
2-Band
EQ
R out
Lo-Fi
Tape Echo
Echo Level
R in
Noise Gen.
R out
Direct Level
Lo-Fi
Parameter
Value
Mode
S, M, L, S+M,
S+L, M+L,
S+M+L
Repeat Rate #
0–127
Intensity #
Bass
Treble
Head S Pan
Head M Pan
Head L Pan
0–127
-15–+15 dB
-15–+15 dB
Tape Distortion
Wow/Flutter
Rate
Wow/Flutter
Depth
Echo Level #
Direct Level #
Level
L64–63R
0–5
0–127
Explanation
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
Boost/cut for the upper range of the echo sound
Independent panning for the short, middle,
and long playback heads
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.
Speed of wow/flutter (complex variation in
pitch caused by tape wear and rotational
irregularity)
0–127
Depth of wow/flutter
0–127
0–127
0–127
Volume of the echo sound
Volume of the original sound
Output level
R in
Parameter
Value
LoFi Type
1–9
Post Filter Type
OFF, LPF,
HPF
Post Filter
Cutoff
W/P Noise
Type
W/P Noise
LPF
W/P Noise
Level #
WHITE, PINK
Switch between white noise and pink noise.
200–8000 Hz,
BYPASS
Center frequency of the low pass filter applied
to the white/pink noise (BYPASS: no cut)
0–127
Volume of the white/pink noise
Disc Noise
LPF
200–8000 Hz,
BYPASS
Level
84
Center frequency of the filter
LP, EP, SP,
RND
Balance #
Degrades the sound quality. The sound
quality grows poorer as this value is
increased.
Type of filter that follows the LoFi effect
OFF: no filter is used
LPF: cuts the frequency range above the
Cutoff
HPF: cuts the frequency range below the
Cutoff
200–8000 Hz
Disc Noise
Type
Disc Noise
Level #
Hum Noise
Type
Hum Noise
LPF
Hum Noise
Level #
Low Gain
High Gain
Explanation
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 frequencies, set
this parameter to BYPASS.
0–127
Volume of the record noise
50 Hz, 60 Hz
Frequency of the hum noise
200–8000 Hz,
BYPASS
Center frequency of the low pass filter
applied to the hum noise (BYPASS: no cut)
0–127
Volume 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
Effects List
57: LOFI COMPRESS
59: TELEPHONE
This is an effect that intentionally degrades the sound quality for
creative purposes.
fig.MFX-57
L in
R in
Compressor
Compressor
Parameter
Value
Pre Filter Type
1–6
LoFi Type
1–9
Post Filter Type
Post Filter
Cutoff
Low Gain
High Gain
Balance #
Level #
OFF, LPF, HPF
Lo-Fi
Lo-Fi
2-Band
EQ
L out
2-Band
EQ
R out
Explanation
Selects the type of filter applied to the sound
before it passes through the Lo-Fi effect.
1: Compressor off
2–6: Compressor on
Degrades the sound quality. The sound
quality grows poorer as this value is
increased.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the
Cutoff
HPF: cuts the frequency range below the
Cutoff
200–8000 Hz
Basic frequency of the Post Filter
-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
This effect produces a muffled sound, like that heard through a telephone.
fig.MFX-59
L in
Telephone
L out
R in
Telephone
R out
Parameter
Voice
Quality #
Treble
Balance #
Level
Value
Explanation
0–15
Audio quality of the telephone voice
-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
60: PHONOGRAPH
Simulates a sound recorded on an analog record and played back on a
record player. This effect also simulates the various types of noise that are
typical of a record, and even the rotational irregularities of an old turntable.
fig.MFX-60
Balance D
L in
L out
Phonograph
Balance W
Phonograph
Balance W
R in
R out
Balance D
58: LOFI RADIO
In addition to a Lo-Fi effect, this effect also generates radio noise.
fig.MFX-58
2-Band
EQ
L in
L out
Parameter
Value
Explanation
Signal
Distortion
0–127
Depth of distortion
Frequency
Range
0–127
Disc Type
LP, EP, SP
Lo-Fi
Radio
Lo-Fi
2-Band
EQ
R in
Parameter
Value
LoFi Type
1–9
Post Filter Type
OFF, LPF,
HPF
Post Filter
Cutoff
Radio
Detune #
Radio Noise
Level #
Low Gain
High Gain
Balance #
Level
R out
Explanation
Degrades the sound quality. The sound
quality grows poorer as this value is
increased.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the
Cutoff
HPF: cuts the frequency range below the
Cutoff
200–8000 Hz
Basic frequency of the Post Filter
0–127
Simulates the tuning noise of a radio. As this
value is raised, the tuning drifts further.
0–127
Volume of the radio 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
Scratch Noise
Level
Dust Noise
Level
Hiss Noise
Level
Total Noise
Level #
Wow
Flutter
0–127
Frequency response of the playback system
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
0–127
Volume of noise due to dust on the record
0–127
Volume of continuous “hiss”
0–127
Volume of overall noise
0–127
0–127
Depth of long-cycle rotational irregularity
Depth of short-cycle rotational irregularity
Depth of indefinite-cycle rotational
irregularity
Random
0–127
Total Wow/
Flutter #
0–127
Depth of overall rotational irregularity
D100:0W–
D0:100W
0–127
Volume balance between the direct sound
(D) and the effect sound (W)
Output level
Balance #
Level
85
Effects List
61: PITCH SHIFTER
A stereo pitch shifter.
fig.MFX-61
L in
2-Band EQ
L out
Pitch Shifter
Pitch Shifter
R in
2-Band EQ
Parameter
Value
Coarse #1
-24–+12 semi
Fine #1
-100–+100 cent
Delay Time
0–1300 msec, note
R out
Explanation
Feedback #
-98–+98%
Low Gain
High Gain
-15–+15 dB
-15–+15 dB
Balance #
D100:0W–D0:100W
Level
0–127
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 shifted
sound is heard.
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
Gain of the high range
Volume balance between the
direct sound (D) and the pitch
shifted sound (W)
Output Level
62: 2VOICE PITCH SHIFTER
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.
fig.MFX-62
Balance D
L in
L out
Level 1
2Voice Pitch Shifter
Pan 1 L
Parameter
Value
Pitch2 Coarse #2
Pitch2 Fine #2
Pitch2 Delay
Pitch2 Feedback #
Pitch2 Pan #
Pitch2 Level
Low Gain
High Gain
-24-+12 semi
-100-+100 cent
0–1300 msec, note
-98–+98%
L64-63R
0–127
-15–+15 dB
-15–+15 dB
Balance
D100:0W-D0:100W
Level
0–127
Pan 2 R
R in
Balance W
R out
fig.MFX-63
L in
Value
Pitch1 Coarse #1
-24-+12 semi
Pitch1 Fine #1
-100-+100 cent
Pitch1 Delay
0–1300 msec, note
Pitch1 Feedback # -98–+98%
Pitch1 Pan #
L64-63R
Pitch1 Level
0–127
86
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.
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
Volume of the Pitch Shift1 sound
2-Band
EQ
L out
2-Band
EQ
R out
Step Pitch Shifter
Step Pitch Shifter
R in
Parameter
Value
Step 01–16
-24–+12 semi
Rate #
0.05–10.00 Hz, note
Attack #
0–127
Gate Time #
0–127
Fine
-100–+100 cent
Delay Time
0–1300 msec, note
Feedback #
-98–+98%
Low Gain
-15–+15 dB
High Gain
-15–+15 dB
Balance #
D100:0W–D0:100W
Level
0–127
Balance D
Parameter
Gain of the low range
Gain of the high range
Volume balance between the
direct sound (D) and the pitch
shifted sound (W)
Output Level
A pitch shifter in which the amount of pitch shift is varied by a 16-step
sequence.
Pan 2 L
Level 1
Settings of the Pitch Shift 2
sound.
The parameters are the same as
for the Pitch Shift 1 sound.
63: STEP PITCH SHIFTER
Balance W
Pan 1 R
Explanation
Explanation
Amount of pitch shift at each step
(semitone units)
Rate at which the 16-step
sequence 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-shifted
sound that is to be returned to the
input (negative values invert the
phase)
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 pitch-shifted sound
(W)
Output volume
You can use multi-effect control to make the step sequence play
again from the beginning (p. 65).
Effects List
64: REVERB
Adds reverberation to the sound, simulating an acoustic space.
Parameter
Value
Explanation
High Gain
-15–+15 dB
Balance #
D100:0W–D0:100W
Level #
0–127
Gain of the high range
Volume balance between the
direct sound (D) and the reverb
sound (W)
Output Level
fig.MFX-64
L in
2-Band
EQ
Balance D
L out
Balance W
66: OVERDRIVE → CHORUS
Reverb
Balance W
R in
Balance D
Parameter
Type
Value
2-Band
EQ
R out
fig.MFX-66
L out
L in
Balance D
Explanation
ROOM1, ROOM2,
STAGE1, STAGE2,
HALL1, HALL2
Pre Delay
0.0–100 msec
Time #
0–127
HF Damp
200–8000 Hz,
BYPASS
Low Gain
High Gain
-15–+15 dB
-15–+15 dB
Balance #
D100:0W–D0:100W
Level
0–127
Balance W
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
reverberance
HALL2: reverb with rich
reverberance
Adjusts the delay time from the
direct sound until the reverb sound
is heard.
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
parameter to BYPASS.
Gain of the low range
Gain of the high range
Volume balance between the direct
sound (D) and the reverb sound (W)
Overdrive
Chorus
Balance W
R out
R in
Balance D
Parameter
Value
Overdrive
Drive #
0–127
Explanation
Overdrive Pan # L64–63R
Chorus Pre
Delay
0.0–100 msec
Chorus Rate #
Chorus Depth
0.05–10.00 Hz, note
0–127
Chorus
Balance #
D100:0W–D0:100W
Level
0–127
Degree of distortion
Also changes the volume.
Stereo location of the overdrive
sound
Adjusts the delay time from the
direct sound until the chorus sound
is heard.
Frequency of modulation
Depth of modulation
Adjusts the volume balance
between the sound that is sent
through the chorus (W) and the
sound that is not sent through the
chorus (D).
Output Level
67: OVERDRIVE → FLANGER
fig.MFX-67
Balance D
L out
L in
Output Level
Feedback
65: GATED REVERB
Overdrive
Balance W
Flanger
Balance W
This is a special type of reverb in which the reverberant sound is cut
off before its natural length.
R out
R in
Balance D
fig.MFX-65
L in
Balance D
2-Band
EQ
L out
Balance W
Gated Reverb
Balance D
Parameter
Type
Value
NORMAL, REVERSE,
SWEEP1, SWEEP2
Pre Delay
0.0–100 msec
Gate Time
5–500 msec
Low Gain
-15–+15 dB
2-Band
EQ
Value
Overdrive
Drive #
0–127
Overdrive Pan # L64–63R
Balance W
R in
Parameter
R out
Explanation
Type of reverb
NORMAL: conventional
gated reverb
REVERSE: backwards reverb
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 reverb
sound is heard.
Adjusts the time from when the
reverb is heard until it disappears.
Flanger Pre
Delay
0.0–100 msec
Flanger Rate #
Flanger Depth
0.05–10.00 Hz, note
0–127
Flanger
Feedback #
-98–+98%
Flanger
Balance #
D100:0W–D0:100W
Level
0–127
Explanation
Degree of distortion
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 (-) settings will
invert the phase.
Adjusts the volume balance
between the sound that is sent
through the flanger (W) and the
sound that is not sent through the
flanger (D).
Output Level
Gain of the low range
87
Effects List
68: OVERDRIVE → DELAY
70: DISTORTION → FLANGER
fig.MFX-68
L out
L in
Balance D
Balance W
Overdrive
Delay
Balance W
Feedback
fig.MFX-70
R out
R in
Balance D
Parameter
Value
Overdrive Drive #
0–127
Overdrive Pan #
L64–63R
Balance D
L out
L in
Feedback
Explanation
Delay Time
0–2600 msec, note
Delay
Feedback #
-98–+98%
Delay HF Damp
200–8000 Hz,
BYPASS
Delay Balance #
D100:0W–D0:100W
Level
The parameters are essentially the same as in
“67: OVERDRIVE → FLANGER,” with the exception of the following
two.
Overdrive Drive → Distortion Drive,
Overdrive Pan → Distortion Pan
0–127
Degree of distortion
Also changes the volume.
Stereo location of the overdrive
sound
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 (-) 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 frequencies,
set this parameter to BYPASS.
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).
Output Level
Distortion
Balance W
Flanger
Balance W
R out
R in
Balance D
71: DISTORTION → DELAY
The parameters are essentially the same as in
“68: OVERDRIVE → DELAY,” with the exception of the following two.
Overdrive Drive → Distortion Drive,
Overdrive Pan → Distortion Pan
fig.MFX-71
L out
L in
Balance D
Balance W
Distortion
Delay
Balance W
Feedback
69: DISTORTION → CHORUS
R out
R in
Balance D
The parameters are essentially the same as in
“66: OVERDRIVE → CHORUS,” with the exception of the following
two.
Overdrive Drive → Distortion Drive,
Overdrive Pan → Distortion Pan
72: ENHANCER → CHORUS
fig.MFX-72
L in
fig.MFX-69
L out
Enhancer
Mix
L out
L in
Balance W
Balance D
Chorus
Balance W
Distortion
Balance W
Chorus
Balance W
R in
Balance D
R out
Enhancer
Mix
R out
R in
Balance D
Parameter
Value
Explanation
Enhancer Sens #
0–127
Enhancer Mix #
0–127
Chorus Pre Delay
0.0–100 msec
Sensitivity of the enhancer
Level of the overtones generated
by the enhancer
Adjusts the delay time from the
direct sound until the chorus sound
is heard.
Chorus Rate #
Chorus Depth
88
Balance D
0.05–10.00 Hz,
note
0–127
Chorus Balance #
D100:0W–
D0:100W
Level
0–127
Frequency of modulation
Depth of modulation
Adjusts the volume balance between
the sound that is sent through the
chorus (W) and the sound that is not
sent through the chorus (D).
Output Level
Effects List
73: ENHANCER → FLANGER
75: CHORUS → DELAY
fig.MFX-73
fig.MFX-75
Balance D
L in
L out
Enhancer
Mix
Feedback
Balance D
L in
L out
Balance D
Balance W
Balance W
Flanger
Balance W
R in
R out
Enhancer
Balance D
Mix
Value
Explanation
Enhancer Sens #
0–127
Enhancer Mix #
0–127
Flanger Pre Delay
0.0–100 msec
Sensitivity of the enhancer
Level of the overtones generated
by the enhancer
Adjusts the delay time from when
the direct sound begins until the
flanger sound is heard.
Flanger Depth
0.05–10.00 Hz,
note
0–127
Flanger
Feedback #
-98–+98%
Flanger Balance #
D100:0W–
D0:100W
Level
0–127
Balance W
Balance W
Feedback
R in
R out
Balance D
Balance D
Parameter
Flanger Rate #
Balance W
Delay
Chorus
Frequency of modulation
Depth of modulation
Adjusts the proportion of the
flanger sound that is fed back into
the effect. Negative (-) settings will
invert the phase.
Adjusts the volume balance between
the sound that is sent through the
flanger (W) and the sound that is not
sent through the flanger (D).
Output Level
74: ENHANCER → DELAY
Parameter
Value
Explanation
Chorus Pre
Delay
0.0–100 msec
Chorus Rate #
Chorus Depth
0.05–10.00 Hz, note
0–127
Chorus
Balance #
D100:0W–D0:100W
Delay Time
0–2600 msec, note
Delay
Feedback #
-98–+98%
Delay HF Damp
200–8000 Hz,
BYPASS
Delay
Balance #
D100:0W–D0:100W
Level
0–127
fig.MFX-74
L in
L out
Enhancer
Mix
Adjusts the delay time from the
direct sound until the chorus sound
is heard.
Frequency of modulation
Depth of modulation
Volume balance between the
direct sound (D) and the chorus
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 (-) 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 frequencies, set this
parameter to BYPASS.
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).
Output Level
Balance D
Balance W
Delay
Balance W
Feedback
R in
R out
Enhancer
Mix
Balance D
Parameter
Value
Explanation
Enhancer Sens #
0–127
Enhancer Mix #
0–127
Delay Time
0–2600 msec, note
Sensitivity of the enhancer
Level of the overtones generated
by the enhancer
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 (-) 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 frequencies,
set this parameter to BYPASS.
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).
Output Level
Delay
Feedback #
-98–+98%
Delay HF Damp
200–8000 Hz,
BYPASS
Delay Balance #
D100:0W–D0:100W
Level
0–127
76: FLANGER → DELAY
fig.MFX-76
Balance D
L in
L out
Balance D
Feedback
Flanger
Balance W
Balance W
Balance W
Delay
Balance W
Feedback
R in
Parameter
R out
Balance D
Balance D
Value
Explanation
Flanger Pre Delay 0.0–100 msec
Flanger Rate #
Flanger Depth
0.05–10.00 Hz, note
0–127
Flanger
Feedback #
-98–+98%
Flanger Balance # D100:0W–D0:100W
Delay Time
0–2600 msec, note
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 (-) settings 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.
89
Effects List
Parameter
Delay
Feedback #
Value
-98–+98%
Delay HF Damp
200–8000 Hz,
BYPASS
Delay
Balance #
D100:0W–D0:100W
Level
0–127
Explanation
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 frequencies, set this
parameter to BYPASS.
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).
Output Level
Parameter
Value
Explanation
Depth #
0–127
Damper #
0–127
Pre LPF
16–15000 Hz,
BYPASS
Pre HPF
BYPASS,
16–15000 Hz
Peaking Freq
200–8000 Hz
Peaking Gain
-15–+15 dB
Peaking Q
0.5, 1.0, 2.0, 4.0,
8.0
HF Damp
16–15000 Hz,
BYPASS
LF Damp
BYPASS,
16–15000 Hz
Lid
1–6
EQ Low Freq
EQ Low Gain
EQ Mid Freq
EQ Mid Gain
200, 400 Hz
-15–+15 dB
200–8000 Hz
-15–+15 dB
0.5, 1.0, 2.0, 4.0,
8.0
2000, 4000, 8000
Hz
-15–+15 dB
0–127
Depth of the effect
Depth to which the damper pedal is
pressed (controls the resonant
sound)
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 frequency
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-frequency
content of the resonant sound will be
cut (BYPASS: no cut)
Frequency at which the low-frequency
content of the resonant sound will be
cut (BYPASS: no cut)
This simulates the actual changes in
sound that occur when the lid of a
grand piano is set at different
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 values
make the region narrower)
77: CHORUS → FLANGER
fig.MFX-77
Balance D
Balance D
L in
L out
Balance W
Chorus
Feedback
Balance W
Flanger
Balance W
Balance W
R in
R out
Balance D
Parameter
Value
Chorus Pre
Delay
0.0–100 msec
Chorus Rate #
Chorus Depth
Chorus
Balance #
Flanger Pre
Delay
Flanger Rate #
Flanger Depth
Flanger
Feedback #
Flanger
Balance #
Level
Balance D
Explanation
Adjusts the delay time from the direct
sound until the chorus sound is heard.
Modulation frequency of the chorus
0.05–10.00 Hz, note
effect
0–127
Modulation depth of the chorus effect
Volume balance between the direct
D100:0W–D0:100W
sound (D) and the chorus sound (W)
Adjusts the delay time from when
0.0–100 msec
the direct sound begins until the
flanger sound is heard.
Modulation frequency of the flanger
0.05–10.00 Hz, note
effect
0–127
Modulation depth of the flanger effect
Adjusts the proportion of the flanger
sound that is fed back into the
-98–+98%
effect. Negative (-) settings will
invert the phase.
Adjusts the volume balance between
the sound that is sent through the
D100:0W–D0:100W
flanger (W) and the sound that is not
sent through the flanger (D).
0–127
Output Level
EQ Mid Q
EQ High Freq
EQ High Gain
Level
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 sympathetic
resonances.
fig.MFX-78
L in
3-Band
EQ
L out
3-Band
EQ
R out
Sym. Resonance
R in
90
Amount of high-range boost/cut
Output Level
79: VOCODER
fig.MFX-78
Mic Mix
MIC
INPUT
L out
Mic Sens
Vocoder
Level
L in
R out
R in
78: SYMPATHETIC RESONANCE
Frequency of the high-range EQ
Synth Level
Parameter
Value
Explanation
Mic Sens #
Synth Level #
0–127
0–127
Mic Mix #
0–127
Level
0–127
Input sensitivity of the mic
Input level of the instrument
Amount of mic audio added to the
output of the vocoder
Volume level after passing through
the vocoder
Effects List
Chorus Parameters
The JUNO-Di’s Chorus effect unit can also be used as a stereo delay unit.
These settings allow you to select chorus or delay, and the characteristics of the selected effect type.
Parameter
Value
Chorus Type
OFF,
CHORUS,
DELAY,
GM2 CHORUS
Chorus Level
0–127
Explanation
Selects either Chorus or Delay.
OFF: Neither Chorus or Delay is
used.
CHORUS: Chorus is used.
DELAY: Delay is used.
GM2 CHORUS: GM2 Chorus is
used.
Volume of the chorus sound
CHORUS
Filter Type
OFF, LPF, HPF
Cutoff Freq
200–8000 Hz
Pre Delay
0.0–100 msec
Depth
Phase
0.05–10.00 Hz,
note
0–127
0–180 deg
Feedback
0–127
Rate
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 the direct
sound until the chorus sound is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Adjusts the amount of the chorus sound
that is fed back into the effect.
DELAY
Delay Left
Delay Right
Delay Center
0–1000 msec, note
Center
Feedback
-98–+98%
HF Damp
200–8000 Hz,
BYPASS
Left Level
Right Level
Center Level
0–127
Adjusts the delay time from the direct
sound until the delay sound is heard.
If you specify the delay time as a note value, slowing down the
tempo will not change the delay time beyond a certain length.
This is because there is an upper limit for the delay time; if the
delay time is specified as a note value and you slow down the
tempo until this upper limit is reached, the delay time cannot
change any further. This upper limit is the maximum value that
can be specified when setting the delay time as a numerical
value.
note:
fig.MFX-note2.e
Sixty-fourth-note triplet
Sixty-fourth note
Thirty-second-note triplet
Thirty-second note
Sixteenth-note triplet
Dotted thirty-second note
Sixteenth note
Eighth-note triplet
Dotted sixteenth note
Eighth note
Quarter-note triplet
Dotted eighth note
Quarter note
Half-note triplet
Dotted quarter note
Half note
Whole-note triplet
Dotted half note
Whole note
Double-note triplet
Dotted whole note
Double note
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
frequencies, set this parameter to
BYPASS.
Volume of each delay sound
GM2 CHORUS
Pre-LPF
0–7
Level
0–127
Feedback
0–127
Delay
0–127
Rate
Depth
Send Level to
Reverb
0–127
0–127
0–127
Cuts the high frequency range of the
sound coming into the chorus.
Higher values will cut more of the
high frequencies.
Volume of the chorus sound
Adjusts the amount of the chorus sound
that is fed back into the effect.
Adjusts the delay time from the direct
sound until the chorus sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the amount of chorus sound
that will be sent to the reverb.
91
Effects List
Reverb Parameters
These settings allow you to select the desired type of reverb, and its characteristics.
Parameter
Reverb
Type
Reverb
Level
Value
OFF,
REVERB,
SRV ROOM,
SRV HALL,
SRV PLATE,
GM2 REVERB
0–127
Explanation
Type of reverb
OFF: Reverb is not used.
REVERB: Normal reverb
SRV ROOM: This simulates typical room
acoustic reflections.
SRV HALL: This simulates typical concert
hall acoustic reflections.
SRV PLATE: This simulates a reverb plate, a
popular type of artificial reverb unit that
derives its sound from the vibration of a
metallic plate.
GM2 REVERB: GM2 Reverb
Parameter
Volume of the reverb sound
REVERB
Type
ROOM1,
ROOM2,
STAGE1,
STAGE2, HALL1,
HALL2, DELAY,
PAN-DELAY
Time
0–127
HF Damp
200–8000 Hz,
BYPASS
Delay
Feedback
0–127
Type of reverb/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
DELAY: conventional delay effect
PAN-DELAY: delay effect with echoes that
pan left and right
Time length of reverberation
(Type: ROOM1–HALL2)
Delay time
(Type: DELAY, PAN-DELAY)
Adjusts the 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.
Adjusts the amount of delay feedback when
the Type setting is DELAY or PAN-DELAY.
Amount of delay sound returned to the input
(this setting is valid only if Type is DELAY or
PAN-DELAY)
SRV ROOM
SRV HALL
SRV PLATE
Pre
Delay
Time
Size
0.0–100 msec
0–127
1–8
High Cut
160–12500 Hz,
BYPASS
Density
0–127
Diffusion
0–127
LF Damp
Freq
50–4000 Hz
LF Damp
Gain
-36–0 dB
HF Damp
Freq
4000–12500 Hz
HF Damp
Gain
-36–0 dB
92
Adjusts the delay time from the direct sound until
the reverb sound is heard.
Time length of reverberation
Size of the simulated room or hall
Adjusts the 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 of reverb
Adjusts the 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.)
Adjusts the frequency below which the lowfrequency content of the reverb sound will be
reduced, or “damped.”
Adjusts the 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.
Adjusts the frequency above which the
high-frequency content of the reverb sound will
be reduced, or “damped.”
Adjusts the 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.
Value
Explanation
GM2 REVERB
Character
0–7
Pre-LPF
0–7
Level
Time
0–127
0–127
Delay
Feedback
0–127
Type of reverb
0–5: reverb
6, 7: delay
Cuts the high frequency range of the sound
coming into the reverb.
Higher values will cut more of the high
frequencies.
Output level of reverberation
Time length of reverberation
Adjusts the amount of the delay sound that is
fed back into the effect when the Character
setting is 6 or 7.