Roland JD-XA Parameter Guide

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Page 1

Parameter Guide

Contents

Program Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Program Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Part Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Analog Part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Tone Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Digital Part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Tone Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Eects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Eects Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

MFX Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Part EQ Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

TFX Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

REVERB Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

PROGRAM EFX Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

DELAY Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

MFX Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

About the STEP RESET Function . . . . . . . . . . . . . . . . . . . . . . 54

Controlling an MFX via MIDI (MFX CONTROL) . . . . . . . . . . 54

Mic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Mic Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

MIDI Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

MIDI Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Trigger Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Using the Arpeggio Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Turning Arpeggio On/O . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Making Settings for the Arpeggio Function . . . . . . . . . . . . 59

Selecting an Arpeggio Template . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Creating an Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Using the [-] [+] Buttons and [01]–[16] Buttons to Input

Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Using Step Recording to Input Data . . . . . . . . . . . . . . . . . . 62

Initializing the Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Playing a Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Pattern Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Changing the Length of One Step . . . . . . . . . . . . . . . . . . . . . . . . . 63

Changing the Number of Measures in the Pattern . . . . . . . . . . . 63

Changing the Tempo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Click Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Realtime Recording (Real Time REC) . . . . . . . . . . . . . . . . . . . . . . . 63

Erasing Only a Portion of a Phrase (Realtime Erase) . . . . . . . . . . 64

Step Recording (Step REC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Step Recording 2 (Step REC 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Playing Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Changing the Measures Controlled by the Step Buttons . . . . . . 65

Erasing an Entire Pattern (Pattern Erase) . . . . . . . . . . . . . . . . . . . . 65

Pattern Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Saving a Pattern (Write) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

CC Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Analog Part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Digital part: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

MIDI CTRL Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Digital OSC Waveform List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Page 2

Program Parameters

Program Edit

1. Press the [Menu] button.

2. Use the cursor [

] [J] buttons to select “PROGRAM EDIT” and press the [Enter] button.

PROGRAM: Level parameter appears.

[Shift] + Cursor [K] [J]

PROGRAM

(Program)

PROG ASGN

(Program Assign)

PROGRAM CV/GATE

(Program CV/Gate)

PROGRAM CTRL

(Program Control)

Parameter

Cursor [K] [J]

Level 0–127 Volume of the program

Tempo 5.00–300.00

* This parameter is enabled if SYSTEM SYNC/TEMPO TempoSrc is set to PROGRAM.

Pedal1

Pedal2

* This parameter is enabled if SYSTEM PEDAL1/PEDAL2 Asgn Src is set to PROGRAM.

* If you press the [Enter] button while this parameter is displayed, the assignable knobs and sliders will blink. You can move a blinking knob or

slider to directly specify the assignment.

Wheel1

Wheel2

* This parameter is enabled if SYSTEM WHEEL1/WHEEL2 Asgn Src is set to PROGRAM.

* If you press the [Enter] button while this parameter is displayed, the assignable knobs and sliders will blink. You can move a blinking knob or

slider to directly specify the assignment.

CV/Gate1 Ch

(CV/Gate 1 Channel)

CV/Gate2 Ch

(CV/Gate 2 Channel)

Ctrl Src1

(Control Source 1)

Ctrl Src2

(Control Source 2)

Ctrl Src3

(Control Source 3)

Ctrl Src4

(Control Source 4)

Value

Value [-] [+]

OFF No function is assigned.

CC01–CC31

CC33–CC95

CC102–CC119

BEND-DOWN The same eect as moving the pitch bend lever to the left.

BEND-UP The same eect as moving the pitch bend lever to the right.

AFT Aftertouch

OFF No function is assigned.

CC01–CC31

CC33–CC95

CC102–CC119

BEND

BEND-DOWN The same eect as moving the pitch bend lever to the left.

BEND-UP The same eect as moving the pitch bend lever to the right.

AFT Aftertouch

1–16

OFF

CC01–CC31

CC33–CC95

BEND

AFT

Explanation

Tempo of the program

The range adjustable by the Tempo knob is from 60.00 to 240.00.

Controller number 1–31, 33–95, 102–119

Move the wheel upward to raise the pitch, or downward to lower the pitch.

There is no pitch change when the wheel is in the center position.

Specify the channel whose notes are sent to the CV/GATE OUT 1 and CV/GATE OUT 2 jacks.

* This parameter is enabled if the SYSTEM CV/GATE1 OUT or CV/GATE2 OUT parameter Ch Src

is set to PROGRAM.

Specify the MIDI messages that will be used for Tone Control of the program.

* This parameter is enabled if SYSTEM CONTROL Src Sel is set to PROGRAM.

Page 3

Part Edit

These parameters are common to analog parts and digital parts.

1. Press the [Menu] button.

Program Parameters

2. Use the cursor [

PART: Kbd Sw parameter appears.

MEMO

Use the ANALOG PART Select [01]–[04] buttons and DIGITAL PART Select [01]–[04] buttons to select the part that you want to edit.

[Shift] + Cursor [K] [J]

PART

(Part)

PART MIDI

(Part MIDI)

Parameter

Cursor [K] [J]

Kbd Sw

(Keyboard Switch)

Range Lower

(Keyboard Range Lower)

Range Upper

(Keyboard Range Upper)

Arp Sw

(Arpeggio Switch)

Mute Sw

(Mute Switch)

Level 0–127

Pan L64–0–63R

Rev Send

(Reverb Send Level)

Voc Send Sw

(Vocoder Send Switch)

(Channel)

Rx Bender

(Receive Bender)

Rx PolyPress

(Receive Polyphonic Key Pressure)

Rx Ch Press

(Receive Channel Pressure)

Rx Mod

(Receive Modulation)

Rx Volume

(Receive Volume)

Rx Pan

(Receive Pan)

Rx Express

(Receive Expression)

Rx Hold-1

(Receive Hold-1)

] [J] buttons to select “PART EDIT” and press the [Enter] button.

Value

Value [-] [+]

OFF, ON

C -1–G 9 Species the lowest key of the keyboard range for each part.

C -1–G 9

OFF, ON Turns each part’s arpeggio switch on/o.

OFF, ON

0–127

OFF, ON Species whether each part is sent through the vocoder.

1–16 Species the MIDI channel of each part.

OFF, ON

OFF, ON For each MIDI channel, specify whether MIDI Pan messages will be received “ON,” or not “OFF.”

OFF, ON

Explanation

Turns each part’s keyboard switch on/o.

* This parameter is switched when you press the Part On button.

Species the highest key of the keyboard range for each part.

* If you raise the lowest key above the highest key, or the highest key below the lowest key,

the other setting will change to the same value.

Species whether each part’s performance is temporarily muted (ON) or not muted (OFF).

* The Mute parameter does not turn the part o; it mutes the sound by minimizing the

volume. Therefore, the part still receives MIDI messages.

Adjust the volume of each part.

This setting’s main purpose is to adjust the volume balance between parts.

Adjust the pan of each part.

“L64” is far left, “0” is center, and “63R” is far right.

Adjusts the amount of reverb for each part.

If you don’t want to add the reverb eect, set it to “0.”

For each MIDI channel, specify whether MIDI Pitch Bend messages will be received “ON,” or not

“OFF.”

For each MIDI channel, specify whether MIDI polyphonic key pressure messages will be received

“ON,” or not “OFF.”

For each MIDI channel, specify whether MIDI Channel Pressure messages will be received “ON,” or not “OFF.”

For each MIDI channel, specify whether MIDI Modulation messages will be received “ON,” or not “OFF.”

For each MIDI channel, specify whether MIDI Volume messages will be received “ON,” or not

“OFF.”

For each MIDI channel, specify whether MIDI Expression messages will be received “ON,” or not

“OFF.”

For each MIDI channel, specify whether MIDI Hold 1 messages will be received “ON,” or not

“OFF.”

Page 4

Program Parameters

[Shift] + Cursor [K] [J]

PART SCALE

(Part Scale)

PART CTRL SW

(Part Control Switch)

Parameter

Cursor [K] [J]

Type

(Scale Tune Type)

Key

(Scale Tune Key)

C–B

(Scale Tune for C–B)

Bend

(Control Bender)

Mod

(Control Modulation)

Hold

(Control Hold Pedal)

Pedal1

(Control Pedal 1)

Peadl2

(Control Pedal 2)

Wheel1

(Control Wheel 1)

Wheel2

(Control Wheel 2)

Value

Value [-] [+]

Explanation

These are templates that set all of the Scale Tune C–B settings.

CUSTOM Specify the tuning individually for Scale Tune C–B.

EQUAL Equal temperament

JUST-MAJ Just intonation (major)

JUST-MIN Just intonation (minor)

PYTHAGORE Pythagorean tuning

KIRNBERGE Kirnberger (type 3)

MEANTONE Meantone temperament

WERCKMEIS Werckmeister (type 1, number 3)

ARABIC Arabic scale

C–B Species the tonic note for the scale tune template.

-64–0–+63 Species the scale tuning.

OFF, ON

For each controller, these settings specify whether MIDI messages are (ON) or are not (OFF) be transmitted to the part.

OFF, ON

Page 5

Analog Part

Tone Edit

1. Press a ANALOG PART Select [01]–[04] button to make it light.

You can select multiple parts by pressing multiple buttons simultaneously. You can’t select analog parts and digital parts simultaneously. Each analog part consists of two oscillators. While editing, you can switch parts or change to selecting multiple parts. & For details of the overall structure, refer to the “JD-XA Structure Diagram” inside the front cover of the Owner’s Manual.

2. Press the [Menu] button.

3. Use the cursor [

] [J] buttons to select “TONE EDIT” and press the [Enter] button.

TONE COMMON: Porta Sw parameter appears.

[Shift] + Cursor [K] [J]

TONE COMMON

(Tone Common)

MATRIX CTRL1

(Matrix Control 1)

MATRIX CTRL2

(Matrix Control 2)

MATRIX CTRL3

(Matrix Control 3)

MATRIX CTRL4

(Matrix Control 4)

Parameter

Cursor [K] [J]

Porta Sw

(Portamento Switch)

Porta Time

(Portamento Time)

Legato Sw

(Legato Switch)

Unison Sw

(Unison Switch)

Oct Shift

(Octave Shift)

Bend Range D

(Pitch Bend Range Down)

Bend Range U

(Pitch Bend Range Up)

Bend Mode

(Pitch Bend Mode)

Src

(Source)

Value

Value [-] [+]

OFF, ON Species whether the portamento eect will be applied (ON) or not (OFF).

0–127

OFF, ON

-3–0–+3 Species the octave of the tone.

0–-24

0–+24

NORMAL The pitch bend lever works in the conventional way.

C+L (CATCH+LAST)

Sets the MIDI message used to change the parameter with the Matrix Control. Ordinarily, if you wanted to change analogue part parameters using an external MIDI device, you would need to send

System Exclusive messages–MIDI messages designed exclusively for the JD-XA. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can

get quite large. For that reason, a number of the more typical of the JD-XA’s analog part parameters have been designed so they accept

the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. This provides you with a variety of means of changing the way tones are played. For example, you can use the Pitch Bend lever to change the LFO cycle rate, or use the keyboard’s touch to open and close a lter.

The function which allows you use MIDI messages to make these changes in realtime to the tone parameters is called the

“Matrix Control.”

Up to four Matrix Controls can be used in a single part. To use the Matrix Control, specify which MIDI message (Source) will be used to control which parameter (Dest) and how

greatly (Sens).

* Velocity and Keyfollow correspond to Note messages.

* If you want to use common controllers for the entire JD-XA, select “SYS1”–“SYS4.” MIDI messages used as System

Control 1–4 are set with the Tone Control 1–4 Src (Owner’s Manual “Overall Settings for the JD-XA” (p. 12) 0

“CONTROL” 0 “Sys Ctrl1–4”).

OFF Matrix Control will not be used.

CC01–CC31 CC33–CC95

BEND Pitch Bend

AFT Aftertouch

SYS1–SYS4 MIDI messages used as common matrix controls.

VELOCITY Velocity (pressure you press a key with)

KEYFOLLOW Keyfollow (keyboard position with C4 as 0)

TEMPO Tempo specied by the tempo assign source, or the tempo of an external MIDI sequencer

Explanation

When portamento is used, this species the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time.

Applies legato. The term “legato” refers to a playing style in which notes are smoothly connected to create a owing feel. This creates a smooth transition between notes, which is eective when you wish to simulate the hammering-on and pulling-o techniques used by a guitarist.

* This is available only if poly stack is “o .”

This layers a single sound. If the Unison Switch is on, the number of notes layered on one key will change according to the number of keys you play.

* This is available only if poly stack is “on.”

Species the amount of pitch change that occurs when the pitch bend/modulation lever is moved all the way to the left.

Species the amount of pitch change that occurs when the pitch bend/modulation lever is moved all the way to the right.

The pitch lever aects only the last-sounded note. If you play a note while the pitch bend lever is already moved, that note sounds at its normal pitch (as though the lever were in the center). The pitch starts changing only after the lever passes through the center position.

Controller number 1–31, 33–95

Page 6

Analog Part

[Shift] + Cursor [K] [J]

MATRIX CTRL1

(Matrix Control 1)

MATRIX CTRL2

(Matrix Control 2)

MATRIX CTRL3

(Matrix Control 3)

MATRIX CTRL4

(Matrix Control 4)

Parameter

Cursor [K] [J]

Dest1

(Destination 1)

Dest2

(Destination 2)

Dest3

(Destination 3)

Dest4

(Destination 4)

Value

Value [-] [+]

Selects the parameter that is to be controlled when using the Matrix Control. The following parameters can be controlled. When not controlling parameters with the Matrix Control, set this to “OFF.” Up to four parameters can be specied for

each Matrix Control, and controlled simultaneously.

Explanation

If you’re not using Matrix Control

OFF Matrix Control will not be used.

Opening and Closing the Filter

CUTOFF Changes the cuto frequency.

RESO

Emphasizes the portion of the sound in the region of the cuto frequency, adding character to the sound.

Changing the Volume

AMP-LEV Changes the volume level.

Applying Cross Modulation

X-MOD Adjusts the amount of cross modulation that is applied.

Changing the Pitch

PIT-OSC1 PIT-OSC2

Changes the oscillator pitch.

Changing the pulse width

PW-OSC1 PW-OSC2

Changing the pulse width. The eect is applied if V (asymmetrical pulse wave) is selected as the oscillator waveform.

LFO1

(Low Frequency Oscillator 1)

LFO2

(Low Frequency Oscillator 2)

Sens1, Sens2, Sens3, Sens4

Shape

(LFO Shape)

Tempo Sync

(LFO Tempo Sync Switch)

Rate

(LFO Rate)

Sync Note

(LFO Tempo Sync Note)

Key Trigger

(LFO Key Trigger)

Applying LFO to Modulate Sounds

PIT-LFO1 PIT-LFO2

FLT-LFO1 FLT-LFO2

AMP-LFO1 AMP-LFO2

LFO1-RATE LFO2-RATE

-63–0–+63

Selects the LFO waveform.

TRI

SIN

SAW

SQR

S&H

RND RND: Random wave

OFF, ON If this is ON, the LFO rate can be specied as a note value relative to the tempo.

0–127 Species the LFO rate when Modulation LFO Tempo Sync is OFF.

16, 12, 8, 4, 2, 1, 3/4, 2/3, 1/2, 3/8, 1/3, 1/4, 3/16, 1/6, 1/8, 3/32, 1/12, 1/16, 1/24, 1/32

OFF, ON If this is ON, the LFO cycle will be restarted when you press a key.

Changes the depth (DEPTH) at which the oscillator pitch is modulated by the LFO.

Changes the depth (DEPTH) at which the lter cuto frequency is modulated by the LFO.

Changes the depth (DEPTH) at which the AMP volume is modulated by the LFO.

Changes the speed of the LFO. The speed does not change if Tempo Sync is ON.

Sets the amount of the Matrix Control’s eect that is applied. If you wish to modify the selected parameter in a positive (+) direction – i.e., a higher value 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 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 eect.

: Triangle wave

: Sine wave

: Sawtooth wave

: Square wave

: Sample and Hold (The LFO value will change once each cycle.)

Species the LFO rate when Modulation LFO Tempo Sync is ON.

Page 7

Analog Part

[Shift] + Cursor [K] [J]

LFO1

(Low Frequency Oscillator 1)

LFO2

(Low Frequency Oscillator 2)

LFO

(Low Frequency Oscillator)

MOD LFO

(Modulation LFO)

Parameter

Cursor [K] [J]

Value

Value [-] [+]

Explanation

This species the time from when the tone sounds until the LFO reaches its maximum amplitude.

Fade Time

(LFO Fade Time)

0–127

Fade Time

Pitch Dst

(LFO Pitch Destination)

Pitch Depth

(LFO Pitch Depth)

Filter Depth

(LFO FILTER Depth)

Amp Depth

(LFO AMP Depth)

OSC1+2 OSC1

Selects the oscillator(s) whose pitch is modulated by the LFO.

OSC2

-63–0–+63 Varies the oscillator pitch (vibrato).

-63–0–+63 This allows the LFO to modulate the FILTER CUTOFF (cuto frequency), producing a wah eect.

-63–0–+63 This allows the LFO to modulate the AMP LEVEL (volume), producing a tremolo eect.

OSC1+2

PW Dst

(LFO Pulse width Destination)

OSC1 OSC2

Selects the oscillator(s) whose PW (pulse width) is modulated by the LFO.

OFF

LFO Select LFO1, LFO2 Selects the LFO that is operated by the controller.

In addition to the LFO that is always applied to the analog part, there is a MODULATION LFO (MOD LFO) that is controlled by the modulation lever (CC01).

Selects the MODULATION LFO waveform.

: Triangle wave

: Sine wave

: Sawtooth wave

: Square wave

: Sample and Hold (The LFO value will change once each cycle.)

Shape

(Modulation LFO Shape)

TRI

SIN

SAW

SQR

S&H

RND RND: Random wave

Tempo Sync

(Modulation LFO Tempo Sync Switch)

Rate

(Modulation LFO Rate)

OFF, ON If this is ON, the LFO rate can be specied as a note value relative to the tempo.

0–127 Species the LFO rate when MOD LFO Tempo Sync is OFF.

16, 12, 8, 4, 2, 1, 3/4,

Sync Note

(Modulation LFO Tempo Sync Note)

2/3, 1/2, 3/8, 1/3, 1/4, 3/16, 1/6, 1/8, 3/32,

Species the LFO rate when MOD LFO Tempo Sync is ON.

1/12, 1/16, 1/24, 1/32

Pitch Dst

(Modulation LFO Pitch Destination)

Pitch Depth

(Modulation LFO Pitch Depth)

Filter Depth

(Modulation LFO Filter Depth)

Amp Depth

(Modulation LFO Amp Depth)

OSC1+2 OSC1 OSC2

-63–0–+63 Species the depth at which pitch is modulated via the modulation controller (CC01).

-63–0–+63

Selects the oscillator(s) whose pitch is modulated by the LFO via the modulation controller (CC01).

Species the depth at which the FILTER CUTOFF (cuto frequency) is modulated via the modulation controller (CC01).

Species the depth at which the AMP LEVEL (volume) is modulated via the modulation controller (CC01).

Page 8

Analog Part

[Shift] + Cursor [K] [J]

OSC1

(Oscillator 1)

Parameter

Cursor [K] [J]

Waveform

Pitch Range

(OSC Pitch Range)

Pitch

(OSC Pitch)

Fine

(OSC Fine Tune)

PWM-Depth

(Pulse Width Modulation Depth)

(Pulse width)

Cross Mod

(Cross Modulation)

Value

Value [-] [+]

SAW

Explanation

: Sawtooth wave

This waveform contains a sine wave fundamental plus a xed proportion of sine wave harmonics at all integer multiples of that fundamental.

SQR

: Square wave

This waveform contains a sine wave fundamental plus a xed proportion of sine wave harmonics at odd-numbered multiples of that fundamental.

PW-SQR

: Asymmetrical square wave

The overtone structure of this waveform will vary signicantly depending on the width of the upper portion of the waveform (Pulse Width).

: Triangle wave

TRI

This waveform contains a sine wave fundamental plus a xed proportion of sine wave harmonics at odd-numbered multiples of that fundamental. It produces an uncolored sound with fewer overtones than a square wave.

SIN

0oct, 1oct, 2oct, 3oct, 4oct

-48–0–+48

: Sine wave

This is a sine wave. This is a waveform that produces just a single frequency; it is the basis of all sound.

Species the range of the Pitch parameter in units of an octave.

Adjusts the pitch in semitone steps. The range of this setting depends on the Pitch Range setting.

-50–0–+50 Adjusts the pitch in steps of one cent.

Species the amount (depth) of LFO applied to PW (Pulse Width). If the Waveform has selected

0–127

(PW-SQR), you can use this slider to specify the amount of LFO modulation applied to PW

(pulse width).

* This is valid if LFO PW Dst (LFO Pulse width Destination) is set to OSC1+2 or OSC1.

Species the pulse width. If the Waveform has selected V (PW-SQR), you can use this slider to specify the width of the

0–127

upper portion of the square wave (the pulse width). Decreasing the value will decrease the width, approaching a square wave (pulse width = 50%).

Increasing the value will increase the width, producing a distinctive sound.

0–127 Species the amount by which the A-OSC2/AUX waveform modulates the A-OSC1 frequency.

Produces a metallic tonal character by multiplying A-OSC1 and A-OSC2/AUX.

OSC2

(Oscillator 2)

Ring Sw

(Ring Switch)

Mod Src

(Modulation Source)

Waveform

Phase Sync

(OSC Phase Sync Switch)

Pitch Range

(OSC Pitch Range)

Pitch

(OSC Pitch)

A-OSC1

waveform

OFF, ON

A-OSC2/AUX

waveform

A-OSC1

waveform

OSC2 AUX

SAW

Selects the waveform (A-OSC2/AUX) that will be the source of Cross Mod/Ring Sw modulation.

* If Mod Src is set to AUX, the sound of AUX (White Noise, Pink Noise, Digital Part, MIC) will not

be heard even if you raise AUX Level. AUX will be used only as a modulation source signal.

: Sawtooth wave

This waveform contains a sine wave fundamental plus a xed proportion of sine wave harmonics at all integer multiples of that fundamental.

SQR

: Square wave

This waveform contains a sine wave fundamental plus a xed proportion of sine wave harmonics at odd-numbered multiples of that fundamental.

PW-SQR

: Asymmetrical square wave

The overtone structure of this waveform will vary signicantly depending on the width of the upper portion of the waveform (Pulse Width).

: Triangle wave

TRI

SIN

: Sine wave

This is a sine wave. This is a waveform that produces just a single frequency; it is the basis of all sound.

OFF, ON If this is ON, the phase of OSC1 and OSC2 is synchronized when you play the keyboard.

0oct, 1oct, 2oct, 3oct, 4oct

-48–0–+48

Species the range of the Pitch parameter in units of an octave.

Adjusts the pitch in semitone steps. The range of this setting depends on the Pitch Range setting.

Page 9

Analog Part

[Shift] + Cursor [K] [J]

OSC2

(Oscillator 2)

O12 PITCH ENV

(Oscillator 1&2 Pitch Envelope)

O1 PITCH ENV

(Oscillator 1 Pitch Envelope)

O2 PITCH ENV

(Oscillator 2 Pitch Envelope)

PITCH ENV

(Pitch Envelope)

MIXER

(Mixer)

Parameter

Cursor [K] [J]

Fine

(OSC Fine Tune)

Value

Value [-] [+]

Explanation

-50–0–+50 Adjusts the pitch in steps of one cent.

Species the amount (depth) of LFO applied to PW (Pulse Width). If the Waveform has selected

PWM-Depth

(Pulse Width Modulation Depth)

0–127

(PW-SQR), you can use this slider to specify the amount of LFO modulation applied to PW

(pulse width).

* This is valid if LFO PW Dst (LFO Pulse width Destination) is set to OSC1+2 or OSC2.

Species the pulse width.

(Pulse width)

0–127

If the Waveform has selected V (PW-SQR), you can use this slider to specify the width of the upper portion of the square wave (the pulse width).

Decreasing the value will decrease the width, approaching a square wave (pulse width = 50%). Increasing the value will increase the width, producing a distinctive sound.

Creates a complex waveform by forcing A-OSC1 to return to the beginning of its cycle in synchronization with the A-OSC2 cycle.

A-OSC1

waveform

Sync Sw

(Sync Switch)

OFF, ON

A-OSC2

waveform

A-OSC1

synchronized to

A-OSC2

You can specify independent envelopes for OSC1 and OSC2.

MEMO

If PITCH ENV Select is set to “OSC1+2,” O1 PITCH Env is displayed as “O12 PITCH ENV.”

In this case, the OSC1 and OSC2 parameters can be edited simultaneously.

Depth

(Pitch Envelope Depth)

Attack

(Pitch Envelope Attack Time)

Decay

(Pitch Envelope Decay Time)

Velo Sens

(Velocity Sensitivity)

Select

(Pitch Envelope Select)

OSC1 Level

(Mixer OSC 1 Level)

OSC2 Level

(Mixer OSC 2 Level)

AUX Level

(Mixer AUX Level)

-63–0–+63

0–127

-63–0–+63

OSC1+2 OSC1 OSC2

0–127 Adjusts the level of the A-OSC1.

0–127 Adjusts the level of the A-OSC2.

0–127

Species the depth and direction of the pitch change.

Species the attack time of the pitch envelope.

This species the time from the moment you press the key until the pitch reaches its highest (or lowest) point.

Species the decay time of the pitch envelope.

This species the time from the moment the pitch reaches its highest (or lowest) point until it returns to the pitch of the key you pressed.

Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more eect for strongly played notes, set this parameter to a positive (+) value. If you want the pitch envelope to have less eect for strongly played notes, set this to a negative (-) value.

Selects the pitch envelope(s) that you want to edit.

OSC1+2: Edit the pitch envelopes of A-OSC1 and A-OSC2 simultaneously. OSC1: Edit the pitch envelope of OSC1 individually. OSC2: Edit the pitch envelope of OSC2 individually.

Species the AUX volume.

MEMO

If D-PART is selected as AUX Src, some sounds may be prone to clipping. If clipping occurs, adjust the AUX Level.

Pitch

Key-on

Time

Page 10

Analog Part

[Shift] + Cursor [K] [J]

MIXER

(Mixer)

FILTER

(Filter)

FILTER ENV

(Filter Envelope)

Parameter

Cursor [K] [J]

AUX Src

(AUX Source)

HPF Cuto

(High Pass Filter Cuto)

Drive

(Filter Drive)

Type

(Filter Type)

Cuto

(Filter Cuto)

Cuto Fine

(Filter Cuto Fine)

Resonance

(Filter Resonance)

Key Follow

(Filter Key Follow)

KF Fine

(Filter Key Follow Fine)

Depth

(Filter Envelope Depth)

Attack

(Filter Envelope Attack Time)

Decay

(Filter Envelope Decay Time)

Sustain

(Filter Envelope Sustain Time)

Release

(Filter Envelope Release Time)

Velo Sens

(Filter Envelope Velocity Sensitivity)

Value

Value [-] [+]

Explanation

When you specify the AUX source and play the keyboard, the sound of the selected source is heard.

About D-PART (Digital Part)

By selecting D-PART as the AUX Src, you can create sounds in which the sound of the digital part is processed by the lter of the analog part. Here’s how the sound of digital part 01 can be input to analog part 01.

1. Press the ANALOG PART ON [01] button so it’s lit.

2. Press the DIGITAL PART ON [01] button so it’s lit.

(White Noise)

WHITE

(Pink Noise)

PINK

(Digital Part)

D-PART MIC

0–127 Species the cuto frequency of an high-pass lter.

0–127

Species the lter type.

BYPASS The lter is bypassed.

(Low Pass Filter 1)

LPF1

(Low Pass Filter 2)

LPF2

(Low Pass Filter 3)

LPF3

(High Pass Filter)

HPF

(Band Pass Filter)

BPF

0–127 Resonance emphasizes the sound in the region of the lter cuto frequency.

-50–0–+50 Resonance emphasizes the sound in the region of the lter cuto frequency.

0–127 Resonance emphasizes the sound in the region of the lter cuto frequency.

-10–0–+10

-50–0–+50 Applies a ne adjustment to Key Follow.

-63–0–+63

0–127

-63–0–+63

3. Press the ANALOG PART Select [01] button so it’s lit.

4. Set AUX Src to D-PART.

Now the sound of digital part 01 is input to analog part 01. Adjust AUX Level as necessary.

* The digital part (D-PART) that can be selected as the AUX source will be the same part

number as the analog part. It is not possible to select a dierent part.

Analog part Digital part selected

Analog part 01 Digital part 01

Analog part 02 Digital part 02

Analog part 03 Digital part 03

Analog part 04 Digital part 04

Species the drive. Increasing this value produces a natural distortion.

A 4-pole lter of a circuit design often used by Roland, providing relatively standard operation.

A ladder lter using transistors, providing a strong character.

This is a multi-mode lter consisting of a simultaneous LPF, HPF, and BPF. Although it is a relatively standard circuit, it is designed so that the resonance changes dramatically.

Here’s how you can make the lter cuto frequency to vary according to the key you play. If the knob is turned toward the right, the cuto rises as you play higher notes. If the knob is turned toward the left, the cuto falls as you play higher notes.

Species the direction and depth to which the cuto frequency will change.

Species the time from when the key is pressed until the lter reaches its

Key-o

maximum depth.

Species the time from when the lter reaches its maximum depth

Cuto

Frequency

until it decreases to the sustain level.

Key-on

Species the lter depth that is maintained after the attack and decay times have elapsed until the key is released.

Species the time from when the key is released until the lter reaches its minimum depth.

Species how keyboard playing dynamics will aect the depth of the lter envelope. If you want the lter envelope to have more eect for strongly played notes, set this parameter to a positive (+) value. If you want the lter envelope to have less eect for strongly played notes, set this to a negative (-) value.

Depth

Time

Page 11

Analog Part

[Shift] + Cursor [K] [J]

AMP

(Amp)

AMP ENV

(Amp Envelope)

Parameter

Cursor [K] [J]

Level

(Amp Level)

Level V-Sens

(Amp Level Velocity Sensitivity)

Attack

(Amp Envelope Attack Time)

Decay

(Amp Envelope Decay Time)

Sustain

(Amp Envelope Sustain Time)

Release

(Amp Envelope Release Time)

Value

Value [-] [+]

Explanation

0–127 This species the AMP Level.

Set this when you want the volume of the AMP to change depending on the force with which you press the keys.

-63–0–+63

Set this to a positive (+) value to have the changes in AMP volume increase the more forcefully the keys are played; to make the AMP play more softly as you play harder, set this to a negative (-) value.

This species the time from the moment you

0–127

press the key until the maximum volume is reached.

This species the time from when the

0–127

maximum volume is reached, until it decays to the sustain level.

This species the volume level that will be

0–127

maintained from when the attack and decay times have elapsed until you release the key.

This species the time from when you release

0–127

the key until the volume reaches its minimum value.

Level

Key-on

Key-o

Time

Page 12

Digital Part

Tone Edit

1. Press a DIGITAL PART Select [01]–[04] button to make it light.

You can select multiple parts by pressing multiple buttons simultaneously. You can’t select analog parts and digital parts simultaneously. Each digital part consists of three partials. While editing, you can switch parts or change the selection to multiple parts. & For details of the overall structure, refer to the “JD-XA Structure Diagram” inside the front cover of the Owner’s Manual.

2. Press the [Menu] button.

3. Use the cursor [

] [J] buttons to select “TONE EDIT” and press the [Enter] button.

TONE COMMON: Porta Sw parameter appears.

[Shift] + Cursor [K] [J]

Parameter

Cursor [K] [J]

Porta Sw

(Portamento Switch)

Porta Time

(Portamento Time)

PortaMode

(Portamento Mode)

Chroma Porta

Portamento)

Ring Switch OFF, ON

(Chromatic

Value

Value [-] [+]

OFF, ON Species whether the portamento eect will be applied (ON) or not (OFF).

0–127

NORMAL Portamento will always be applied.

LEGATO

OFF, ON If this is turned on, portamento will operate in semitone steps.

Explanation

When portamento is used, this species the time over which the pitch will change. Higher values lengthen the time over which the pitch will change to the next note.

Portamento will be applied only when you play legato (i.e., when you press the next key before releasing the previous key).

Turns ring modulator on/o. By multiplying partial 1’s OSC and partial 2’s OSC, this creates a complex, metallic-sounding

waveform like that of a bell. The partial 1’s OSC waveform will change as shown in the illustration, and partial 2’s OSC will be

output with its original waveform. Setting the partial 1 OSC and the partial 2 OSC to dierent pitches will make the ring modulator

eect more apparent.

Partial 1’s OSC

waveform

Partial 2’s OSC

waveform

Partial 1’s OSC

output waveform

TONE COMMON

(Tone Common)

Mono/Poly

Legato Sw

(Legato Switch)

Unison Sw

(Unison Switch)

Unison Size 2, 4, 6, 8

Wave Shape 0–127

POLY

MONO

OFF, ON

If Ring Switch is turned “ON,” the PWM Depth, PW, and S-Saw Detune of partial 1 and partial 2 cannot be used.

In addition, if an asymmetrical square wave is selected as the OSC waveform, the OSC variation will be ignored, and there will be a slight dierence in sound compared to the originally selected waveform.

Species whether notes will sound polyphonically (POLY) or monophonically (MONO).

This is valid only if the Mono/Poly parameter is set to “MONO.” If this is “ON,” pressing a key while the previous key remains held down will cause the pitch to

change to that of the newly pressed key while maintaining the state in which the previous note was being sounded. This creates a smooth transition between notes, which is eective when you wish to simulate the hammering-on and pulling-o techniques used by a guitarist.

This layers a single sound.

If the Unison Switch is “ON,” the number of notes layered on one key will change according to the number of keys you play.

Number of notes assigned to each key when the Unison Switch is “ON”

Example: If Unison Size is 8

Number of keys pressed

1 8

2 4 each

3–4 2 each

5–8 1 each

Partial 1 will be modulated by the pitch of partial 2. Higher values produce a greater eect.

This has no eect if the partial 1 waveform is PW-SQR or SP-SAW.

Number of notes sounded

Page 13

Digital Part

[Shift] + Cursor [K] [J]

TONE COMMON

(Tone Common)

INTERVAL SENS

(Interval Sens)

Parameter

Cursor [K] [J]

Analog Feel 0–127

Oct Shift

(Octave Shift)

Bend Range D

(Pitch Bend Range Down)

Bend Range U

(Pitch Bend Range Up)

Bend Mode

(Pitch Bend Mode)

Attack Time

(Attack Time Interval Sens)

Release Time

(Release Time Interval Sens)

Porta Time

Interval Sens)

(Portamento Time

Value

Value [-] [+]

Explanation

Species the depth of 1/f modulation that is to be applied to the tone (1/f modulation is a pleasant and naturally-occurring ratio of modulation that occurs in a babbling brook or rustling wind.).

By adding this “1/f modulation,” you can simulate the natural instability characteristic of an analog synthesizer.

-3–0–+3 Species the octave of the tone.

0–-24

0–+24

Species the amount of pitch change that occurs when the pitch bend/modulation lever is moved all the way to the left.

Species the amount of pitch change that occurs when the pitch bend/modulation lever is moved all the way to the right.

NORMAL The pitch bend lever works in the conventional way.

The pitch lever aects only the last-sounded note. If you play a note while the pitch bend lever is

C+L

(CATCH+LAST)

already moved, that note sounds at its normal pitch (as though the lever were in the center).

The pitch starts changing only after the lever passes through the center position.

Shortens the FILTER and AMP Attack Time according to the spacing between note-on events.

0–127

Higher values produce a greater eect. With a setting of 0, there will be no eect.

This is eective when you want to play rapid notes using a sound that has a slow attack (Attack Time).

Shortens the FILTER and AMP Release Time if the interval between one note-on and the next note-

0–127

o is brief. Higher values produce a greater eect. With a setting of 0, there will be no eect.

This is eective when you want to play staccato notes using a sound that has a slow release.

0–127

Shortens the Portamento Time according to the spacing between note-on events. Higher values produce a greater eect. With a setting of 0, there will be no eect.

Use this to loop the envelope between certain regions during a note-on.

ENVELOPE LOOP

(Envelope Loop)

AFTERTOUCH

(Aftertouch)

LFO

(Low Frequency Oscillator)

Mode

(Envelope Loop Mode)

SyncNote

(Envelope Loop Sync Note)

Cuto Sens

(Cuto Aftertouch Sens)

Level Sens

(Level Aftertouch Sens)

Shape

(LFO Shape)

Tempo Sync

(LFO Tempo Sync Switch)

Rate

(LFO Rate)

Sync Note

(LFO Tempo Sync Note)

Sustain

Attack

Decay

OFF The envelope will operate normally.

FREE-RUN

When the Decay segment has ended, the envelope will return to the Attack. The Attack through Decay segments will repeat until note-o occurs.

TEMPO-SYNC Species the loop rate as a note value (Sync Note parameter).

16, 12, 8, 4, 2, 1, 3/4, 2/3, 1/2, 3/8, 1/3, 1/4, 3/16, 1/6, 1/8, 3/32, 1/12, 1/16, 1/24, 1/32

Returns to the Attack at the specied rate. If the Attack+Decay time is shorter than the specied rate, the Sustain Level will be maintained. If the Attack+Decay time is longer than the specied rate, the envelope will return to the Attack even though the Decay has not been completed. This will continue repeating until note-o occurs.

Species how aftertouch pressure will aect the cuto frequency. Specify a positive (+) value if you

-63–0–+63

want aftertouch to raise the cuto frequency; specify a negative (-) value if you want aftertouch to lower the cuto frequency.

Species how aftertouch pressure will aect the volume. Specify a positive (+) value if you want

-63–0–+63

aftertouch to increase the volume; specify a negative (-) value if you want aftertouch to decrease the volume.

Selects the LFO waveform.

TRI

SIN

SAW

SQR

S&H

: Triangle wave

Sine wave

Sawtooth wave

Square wave

Sample and Hold (The LFO value will change once each cycle.)

RND RND: Random wave

OFF, ON If this is ON, the LFO rate can be specied as a note value relative to the tempo.

0–127 Species the LFO rate when Modulation LFO Tempo Sync Switch is OFF.

16, 12, 8, 4, 2, 1, 3/4, 2/3, 1/2, 3/8, 1/3, 1/4, 3/16, 1/6, 1/8, 3/32,

Species the LFO rate when Modulation LFO Tempo Sync Switch is ON.

1/12, 1/16, 1/24, 1/32

Page 14

Digital Part

[Shift] + Cursor [K] [J]

LFO

(Low Frequency Oscillator)

MOD LFO

(Modulation LFO)

Parameter

Cursor [K] [J]

Key Trigger

(LFO Key Trigger)

Fade Time

(LFO Fade Time)

Pitch Depth

(LFO Pitch Depth)

Filter Depth

(LFO FILTER Depth)

Amp Depth

(LFO AMP Depth)

Pan Depth

(LFO Pan Depth)

Shape

(Modulation LFO Shape)

Tempo Sync

(Modulation LFO Tempo Sync Switch)

Rate

(Modulation LFO Rate)

Sync Note

(Modulation LFO Tempo Sync Note)

Pitch Depth

(Modulation LFO Pitch Depth)

Filter Depth

(Modulation LFO FILTER Depth)

Amp Depth

(Modulation LFO AMP Depth)

Pan Depth

(Modulation LFO Pan Depth)

Rate Control

(Modulation LFO Rate Control)

Value

Value [-] [+]

Explanation

OFF, ON If this is ON, the LFO cycle will be restarted when you press a key.

Species the time from when the partial sounds until the LFO reaches its maximum amplitude.

0–127

Fade Time

-63–0–+63 This allows the LFO to modulate the pitch of the partial, producing a vibrato eect.

-63–0–+63 This allows the LFO to modulate the FILTER CUTOFF (cuto frequency), producing a wah eect.

-63–0–+63 This allows the LFO to modulate the AMP LEVEL (volume), producing a tremolo eect.

-63–0–+63 This allows the LFO to make the PAN (stereo position) vary (auto panning).

In addition to the LFO that is always applied to the partial, there is a Modulation LFO (MOD LFO) that is controlled by the modulation controller (CC01).

Selects the Modulation LFO waveform.

TRI

SIN

SAW

SQR

S&H

Triangle wave

Sine wave

Sawtooth wave

Square wave

Sample and Hold (The LFO value will change once each cycle.)

RND RND: Random wave

OFF, ON If this is ON, the LFO rate can be specied as a note value relative to the tempo.

0–127 Species the LFO rate when MOD LFO Tempo Sync Switch is OFF.

16, 12, 8, 4, 2, 1, 3/4, 2/3, 1/2, 3/8, 1/3, 1/4, 3/16, 1/6, 1/8, 3/32,

Species the LFO rate when MOD LFO Tempo Sync Switch is ON.

1/12, 1/16, 1/24, 1/32

-63–0–+63 Species how the modulation controller (CC01) will vary the pitch of the tone (vibrato).

-63–0–+63

Species how the modulation controller (CC01) will vary the depth of LFO lter cuto modulation (wah).

Species how the modulation controller (CC01) will vary the depth of LFO amp level (volume) modulation (tremolo).

Species how the modulation controller (CC01) will vary the depth of LFO pan (stereo position) modulation (auto panning).

Species how the modulation controller (CC01) will vary the MOD LFO Rate.

Specify a positive (+) value if you want the Modulation LFO rate to become faster when you raise

-63–0–+63

the modulation controller (CC01) value; specify a negative (-) value if you want the rate to become slower.

* This is valid if Tempo Sync is OFF.

Page 15

Digital Part

[Shift] + Cursor [K] [J]

OSC

(Oscillator)

PITCH ENV

(Pitch Envelope)

Parameter

Cursor [K] [J]

Value

Value [-] [+]

Explanation

(Waveform) Refer to “Digital OSC Waveform List” (p. 74).

Pitch

(OSC Pitch)

Detune

(OSC Detune)

-24–0–+24 Adjusts the pitch in semitone steps.

-50–0–+50 Adjusts the pitch in steps of one cent.

Species the amount (depth) of LFO applied to PW (Pulse Width).

PWM Depth

Modulation Depth)

(Pulse Width

0–127

If the Waveform has selected V (PW-SQR), you can use this slider to specify the amount of LFO modulation applied to PW (pulse width).

* If the Ring Switch is on, this has no eect on partials 1 and 2.

Species the pulse width.

If the OSC Wave has selected V (PW-SQR), you can use this slider to specify the width of the upper

(Pulse Width)

0–127

portion of the square wave (the pulse width).

Decreasing the value will decrease the width, approaching a square wave (pulse width = 50%).

Increasing the value will increase the width, producing a distinctive sound.

* If the Ring Switch is ON, this has no eect on partials 1 and 2.

Sets the gain (amplication) of the waveform.

PCM Gain -6, 0, +6, +12

The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.

* This is eective if Waveform is set to 001:JP-8 Saw or a subsequent waveform.

Species the amount of pitch dierence between the seven sawtooth waves layered within a single oscillator.

S-Saw Detune

(Super Saw Detune)

0–127

Higher values will increase the pitch dierence. (OSC Detune applies an equal amount of pitch dierence between each of the seven sawtooth waves.)

* If the Ring Switch is ON, this has no eect on partials 1 and 2.

* This is valid only if SUPER-SAW is selected for the Waveform.

PW Shift 0–127

Depth

(Pitch Envelope Depth)

Attack

(Pitch Envelope Attack Time)

Decay

(Pitch Envelope Decay Time)

-63–0–+63 Species the direction and depth to which the pitch will change.

0–127

Shifts the range of PW (pulse width) change. Normally, you can leave this at 127.

* If the Ring Switch is ON, this has no eect on partials 1 and 2.

Species the attack time of the pitch envelope.

This species the time from the moment you press the key until the pitch reaches its highest (or lowest) point.

Species the decay time of the pitch envelope.

This species the time from the moment the pitch reaches its highest (or lowest) point until it returns to the pitch of the key you pressed.

Species the cuto frequency of an independent -6 dB high-pass lter.

FILTER

(Filter)

HPF Cuto 0–127

BYPASS

LPF1 (-24 dB)

LPF2 (-24 dB)

LPF3 (-24 dB)

HPF (-24 dB)

BPF (-24 dB)

Type

(Filter Type)

LPF4 (-24 dB)

PKG (-24 dB)

LPF1 (-12 dB)

LPF2 (-12 dB)

LPF3 (-12 dB)

LPF4 (-12 dB)

HPF (-12 dB)

BPF (-12 dB)

PKG (12 dB)

Cuto

(Filter Cuto)

Resonance

(Filter Resonance)

0–127 Species the cuto frequency.

0–127 Resonance emphasizes the sound in the region of the lter cuto frequency.

-6 dB HPF

Selects the type and slope of the lter.

For the LPF

Level

frequency

BYPASS, LPF, HPF, BPF, PKG

-24 dB

-12 dB

FrequencyCuto

Page 16

Digital Part

[Shift] + Cursor [K] [J]

FILTER

(Filter)

FILTER ENV

(Filter Envelope)

AMP

(AMP)

AMP ENV

(AMP Envelope)

Parameter

Cursor [K] [J]

Key Follow

(Filter Cuto Key Follow)

Depth

(Filter Envelope Depth)

Attack

(Filter Envelope Attack)

Decay

(Filter Envelope Decay)

Sustain

(Filter Envelope Sustain)

Release

(Filter Envelope Release)

Velo Sens

(Filter Envelope Velocity Sensitivity)

Level

(AMP Level)

Pan

(AMP Pan)

Level V-Sens

(AMP Level Velocity Sensitivity)

Key Follow

(AMP Level Keyfollow)

Attack

(AMP Envelope Attack)

Decay

(AMP Envelope Decay)

Sustain

(AMP Envelope Sustain)

Release

(AMP Envelope Release)

Value

Value [-] [+]

Explanation

Here’s how you can make the lter cuto frequency to vary according to the key you play.

Cuto frequency

(Octave)

-10–0–+10

-1

-2

Species the direction and depth

-63–0–+63

to which the cuto frequency will change.

Species the time from when

0–127

the key is pressed until the lter reaches its maximum depth.

Species the time from when the

0–127

lter reaches its maximum depth until it decreases to the sustain level.

Species the lter depth that is

0–127

maintained after the attack and decay times have elapsed until the key is released.

Species the time from when

0–127

the key is released until the lter reaches its minimum depth.

-63–0–+63

Here’s how you can make the lter envelope depth vary according to the strength with which you play the key.

0–127 Partial volume.

L64–0–63R The stereo position of the partial.

-63–0–+63

Here’s how you can make the volume vary according to the strength with which you play the keyboard.

Specify this if you want to vary the volume according to the position of the key that you play. With

-10–0–+10

the C4 key (middle C) as the base volume, “+” values will make the volume increase as you play above C4; “-” values will make the volume decrease. Higher values will produce greater change.

Species the attack time of the amp envelope.

0–127

This species the time from the moment you press the key until the maximum volume is reached.

Species the decay time of the amp envelope.

0–127

This species the time from when the maximum volume is reached, until it decays to the sustain level.

Species the sustain level of the amp envelope.

0–127

This species the volume level that will be maintained from when the attack and decay times have elapsed until you release the key.

Species the release time of the amp envelope.

0–127

This species the time from when you release the key until the volume reaches its minimum value.

C4C3C2 C5 C6

Cuto frequency

Key-on

Level

Key-on

+10

-5

-10

High

Value

Low

Key

Key-o

Depth

Time

Key-o

Time

Page 17

Eects

To move MFX, PART EQ, TFX1, TFX2, REVERB, or DELAY, hold down the [Shift] button and use the cursor [K][J] buttons.

Eects Edit

1. Press the [Menu] button.

2. Use the cursor [

MFX: Switch parameter appears.

Eect type

[Shift] + Cursor [K] [J]

MFX PART (TONE)

PART EQ PAR T

TFX1/TFX2 PROGRAM

REVERB PROGRAM

DELAY PROGRAM

MFX Edit

[Shift] + Cursor [K] [J]

MFX

(MFX)

MFX CTRL

(MFX Control)

Parameter

Cursor [K] [J]

Switch

(MFX Switch)

Use this parameter to select from among the 67 available MFXs. For details on multi-eects parameters, refer to “MFX Parameters” (p. 25).

Src1

(Source 1)

Src2

(Source 2)

Src3

(Source 3)

Src4

(Source 4)

Dest1

(Destination 1)

Dest2

(Destination 2)

Dest3

(Destination 3)

Dest4

(Destination 4)

Sens1, Sens2, Sens3, Sens4

] [J] buttons to select “EFFECTS EDIT” and press the [Enter] button.

Parameter storage location

Value

Value [-] [+]

OFF, ON Species whether multi-eect will be used (ON) or not used (OFF).

Sets the MIDI message used to change the multi-eects parameter with the MFX Control.

OFF Multi-eects control will not be used.

CC01–CC31 CC33–CC95

BEND Pitch bend

AFT Aftertouch

SYS1, SYS2, SYS3, SYS4 MIDI messages used as common multi-eects controls.

Refer to the parameters marked “#” on “MFX Parameters” (p. 25) and following.

-63–0–+63

Explanation

Controller number 1–31, 33–95

Species the depth of MFX Control. To make an increase in the currently selected value (to get higher values, move to the right, increase rates, and so on), select a positive value; to make a decrease in the currently selected value (to get lower values, move to the left, decrease rates, and so on), select a negative value. For either positive or negative settings, greater absolute values will allow greater amounts of change. Set this to “0” if you don’t want to apply the eect.

Page 18

Eects

Part EQ Edit

[Shift] +Cursor [K] [J]

PART EQ

(Part Equalizer)

Parameter

Cursor [K] [J]

Switch

(Part Equalizer Switch)

Low Freq

(Part Equalizer Low Frequency)

Low Gain

(Part Equalizer Low Gain)

Mid Freq

(Part Equalizer Mid Frequency)

Mid Gain

(Part Equalizer Mid Gain)

(Part Equalizer Mid Q)

High Freq

(Part Equalizer High Frequency)

High Gain

(Part Equalizer High Gain)

Value

Value [-] [+]

Explanation

OFF, ON EQ for each part on/o setting

16 Hz, 20 Hz, 25 Hz, 31 Hz, 40 Hz, 50 Hz, 63 Hz, 80 Hz, 100 Hz, 125 Hz, 160 Hz, 200 Hz, 250 Hz,

Frequency of the low range.

315 Hz, 400 Hz, 500 Hz, 630 Hz, 800 Hz

-15 dB–0–+15 dB Gain of the low frequency range

16 Hz, 20 Hz, 25 Hz, 31 Hz, 40 Hz, 50 Hz, 63 Hz, 80 Hz, 100 Hz, 125 Hz, 160 Hz, 200 Hz, 250 Hz, 315 Hz, 400 Hz, 500 Hz, 630 Hz, 800 Hz, 1000 Hz, 1250 Hz, 1600

Frequency of the middle range

Hz, 2000 Hz, 2500 Hz, 3150 Hz, 4000 Hz, 5000 Hz, 6300 Hz, 8000 Hz, 10000 Hz, 12500 Hz, 16000 Hz

-15 dB–0–+15 dB Gain of the middle frequency range

0.5, 1.0, 2.0, 4.0, 8.0

630 Hz,

, 800 Hz, 1000

Width of the middle frequency range Set a higher value for Q to narrow the range to be aected.

Hz, 1250 Hz, 1600 Hz, 2000 Hz, 2500 Hz, 3150 Hz, 4000 Hz, 5000 Hz,

Frequency of the high range

6300 Hz, 8000 Hz, 10000 Hz, 12500 Hz, 16000 Hz

-15 dB–0–+15 dB Gain of the high frequency range

TFX Edit

[Shift] +Cursor [K] [J]

TFX1

(TFX 1)

TFX2

(TFX 2)

Parameter

Cursor [K] [J]

Type

(TFX Type)

Ctrl

(TFX Control)

Switch

(TFX Switch)

Parameters for each type & “TFX Parameters” (p. 19)

Limit ModeSw

(TFX Limit Mode Switch)

HeadMargin

(TFX Head Margin)

Value

Value [-] [+]

00–29

0–127

OFF, ON

-18 dB, -15 dB, -12 dB,

-9 dB, -6 dB, -3 dB, 0 dB

Explanation

Use this parameter to select from among the 29 available total eect. For details on total eect parameters, refer to “TFX Parameters” (p. 19).

Globally controls the selected total eect. Global control means to control multiple parameters simultaneously.

Species whether total eect will be used (ON) or not used (OFF).

Edit the parameters for the selected TFX type.

If you turn Limit Mode on, the eect depth is restricted to prevent feedback or an extremely high volume.

Parameters that are aected by Limit Mode are indicated by a

symbol (p. 19). This can be

convenient when you’re performing in high-volume conditions at a club or hall.

* This parameter is not shown for types that have no parameters marked by

Simultaneously adjusts the input and output gain of the total eect. This is convenient when adjusting dynamics-type eects (such as overdrive or compressor) that

produce their eect by varying the volume. For some eects, it may be dicult to notice the result of this adjustment.

Page 19

TFX Parameters

Parameters that are aected by Limit Mode are indicated by a symbol.

Parameter Value Explanation

Eects

01: Flt+Drive

A low-pass lter with overdrive. It cuts the high frequencies and adds distortion.

Cuto 0–127 Adjusts the frequency that will be cut.

Resonance

Drive

02: Isolator

Isolates or removes the low, mid, or high frequency ranges.

Low

Mid

High

03: DJFX Looper

Loops a short portion of the input sound. You can vary the playback direction and playback speed of the input sound to add turntable-type eects.

Length

Speed -1.0–+1.0

Loop Sw OFF, ON If you turn this on while sound is playing, the sound at that point will be looped. Turn this o to cancel the loop.

04: BPM Looper

Loops a short portion of the input sound.

Length

Timing OFF, 1–8

Loop Sw OFF, ON If you turn this on while sound is playing, the sound at that point will be looped. Turn this o to defeat looping.

(FILTER+DRIVE)

0–127 Adjusts peak frequency response at the cuto frequency.

0–127 Adds distortion.

(ISOLATOR)

0–127 Isolates/removes the low-frequency range.

0–127 Isolates/removes the mid-frequency range.

0–127 Isolates/removes the high-frequency range.

(DJFX LOOPER)

0–127 Species the length of the loop.

Species the playback direction and playback speed. Negative (-) settings make the sound play backward. Positive (+) settings make the sound play forward. With a value of

0.0, playback stops.

(BPM LOOPER)

0–127 Species the length of the loop.

Species the timing (in 8th note units) at which sounds looped during a measure will automatically start playing. If you don’t want the loop to play automatically, turn this “OFF.”

05: Bit Crush

This creates a lo- sound.

Sample Rate 0–127 Adjusts the sample rate.

Bit

Filter 0–127 Adjusts the lter depth.

06: Wah

Peak 0–127 Adjusts the width of frequencies to which eect is applied.

Rate 0–127 Adjust the speed of modulation.

Manual 0–127 Adjusts the pitch of the eect sound.

(WAH)

Produces a wah eect.

07: Reverb

Adds reverberation to the sound.

Reverb Time 0–127 Adjusts the reverberation time.

Tone 0–127 Adjusts the tone of the reverberation.

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

08: Delay

Repeats the sound.

Delay Time Note *1 Adjusts the interval of the repeats.

Feedback

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

(DELAY)

09: Tape Echo

Simulates a tape-type echo unit of the past.

Rate 0–127 Species the tape speed.

Intensity 0–127 Species the amount of echo repeat.

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

(BIT CRUSH)

0–127 Adjusts the bit depth.

(REVERB)

0–127 Adjusts the number of the repeats.

(TAPE ECHO)

Page 20

Eects

Parameter Value Explanation

10: Pitch Sft

Changes the pitch.

Pitch 0–127 Adjusts the amount of pitch change.

Feedback

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

11: Voice Trans

Processes a human voice to create a variety of characters.

Formant 0–127 Adjusts the character (formant) of the voice.

Eect Level 0–127 Adjusts the volume of the eect sound.

Direct Level 0–127 Adjusts the volume of the direct sound.

12: Flanger

Creates modulation reminiscent of a jet airplane taking o and landing.

Depth 0–127 Adjusts the depth of modulation.

Rate 0–127 Adjusts the speed of modulation.

Feedback

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

13: Slicer+Flg

Repeatedly cuts the sound. A anger is added.

Timing Ptn

(Timing Pattern)

Rate Note *1 Adjusts the length of Timing Pattern.

Feedback

Attack 0–127 Adjusts the speed at which the level will change between steps.

(PITCH SHIFTER)

0–127 Adjusts the amount of pitch-shifted sound that is fed back.

(VOICE TRANS)

(FLANGER)

0–127 Adjusts the proportion of eect sound that is returned to the input.

(SLICER+FLANGER)

P01–P16 *2 The timing at which the sound is cut.

0–127 Adjusts the anger depth.

14: Phaser

Creates modulation by adding a phase-shifted sound.

Depth

Rate 0–127 Adjusts the speed of modulation.

Manual 0–127 Adjusts the pitch of the eect sound.

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

15: Chorus

Adds spaciousness and richness to the sound.

Depth 0–127 Adjusts the depth of modulation.

Rate 0–127 Adjusts the rate of modulation.

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

16: Tremolo/Pan

Cyclically varies the volume or panning.

Depth 0–127 Adjusts the amount of change in volume/panning.

Rate 0–127 Adjusts the speed of volume/panning change.

Waveform TRM, PAN Switches the curve of the cyclic change in volume (TRM) / panning (PAN).

17: Overdrive

Mildly distorts the sound.

Drive

Tone

Level

(PHASER)

0–127 Adjusts the depth of modulation.

(CHORUS)

(TREMOLO/PAN)

(OVERDRIVE)

0–127 Adjusts the degree of distortion.

0–127 Adjusts the tone.

0–127 Adjusts the volume.

18: Distortion

Intensely distorts the sound.

Drive

Tone

Level

0–127 Adjusts the degree of distortion.

0–127 Adjusts the tone.

0–127 Adjusts the volume.

(DISTORTION)

Page 21

Parameter Value Explanation

Eects

19: Fuzz

Adds overtones and intensely distorts the sound.

Drive

Tone

Level

20: Octave

Adds a pitch at lower octaves.

-2 Oct Level 0–127 Adds a pitch two octaves below.

-1 Oct Level 0–127 Adds a pitch one octave below.

Direct Level 0–127 Adjusts the volume of the direct sound.

21: Subsonic

Adds a low-frequency sine wave based on the volume being input to the eect (*3).

Pitch 0–127 Adjusts the frequency of the sine wave.

Threshold 0–127 Adjusts the volume at which the sine wave will begin sounding.

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

22: Ring Mod

Gives the sound a metallic character.

Frequency

Sens

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

23: ChromaticPS

A two-voice pitch shifter that changes the pitch in semitone steps.

Pitch1 -12–+12 Changes pitch 1 in semitone steps over a +/-1 octave range.

Pitch2 -12–+12 Changes pitch 2 in semitone steps over a +/-1 octave range.

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

(FUZZ)

0–127 Adjusts the degree of distortion.

0–127 Adjusts the tone.

0–127 Adjusts the volume.

(OCTAVE)

(SUBSONIC)

(RING MODULATOR)

0–127 Adjusts the pitch of the metallic sound.

0–127 Adjusts the depth to which the frequency is modulated.

(CHROMATIC PITCH SHIFTER)

24: C.Canceller

Cancels the vocal or other sound located in the center.

L-R Balance L64–63R Adjusts the point at which maximum cancellation occurs.

Low Boost 0–127 Boosts the low-frequency sounds located in the center, such as the bass.

High Boost 0–127 Boosts the high-frequency sounds.

25: Vinyl Sim

Simulates sound heard from an analog record.

Freq Range

(Frequency Range)

Noise Level 0–127 Adjusts the volume of noise.

Wow/Flutter 0–127 Adjusts the rotational instability of the analog record.

0–127 Adjusts the frequency response of the playback system.

26: RadioTuning

Simulates sound heard from a radio.

Detune 0–127 Adjusts the tuning drift of the radio.

Noise Level 0–127 Adjusts the volume of noise.

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

27: Noise Gen

Applies a lo- eect, and also adds noises such as white noise and record noise.

White Noise 0–127 Adjusts the volume of the “hiss” noise.

Disc Noise 0–127 Adjusts the volume of the “pop” noise.

Hum Noise 0–127 Adjusts the volume of the “hum” noise.

(CENTER CANCELLER)

(VINYL SIMULATOR)

(RADIO TUNING)

(NOISE GENERATOR)

Page 22

Eects

Parameter Value Explanation

28: Comp

(COMPRESSOR)

Makes the sound more consistent.

Sustain 0–127 Adjusts the depth of the compressor.

Attack

Level

29: Equalizer

0–127 Adjusts the attack. If Limit mode is on, this adjusts the release.

0–127 Adjusts the volume.

(EQUALIZER)

Adjusts the volume of each frequency region.

Low

Mid

High

*1: This setting is specied as a note value relative to the sequencer’s tempo. Note values that you can specify:

Thirty-second note Sixteenth note Eighth-note triplet

Eighth note Quarter-note triplet Dotted eighth note Quarter note

Half-note triplet Dotted quarter note Half note Dotted half note

Whole note

However, you can’t select a setting that would cause the delay time to exceed approximately 2,000 msec.

*2: Choose from the following Timing Patterns.

P01

0–127 Adjusts the low-frequency volume.

0–127 Adjusts the mid-frequency volume.

0–127 Adjusts the high-frequency volume.

Dotted sixteenth note

P09

P02

P03

P04

P05

P06

P07

P08

The cycle of the Timing Pattern is based on a 4/4 time signature. You can use Rate to adjust the synchronization speed as follows. Rate maximum: One cycle of Timing Pattern corresponds to one measure. Rate minimum: One cycle of Timing Pattern corresponds to a 32nd note. By changing the Rate setting you can change the cycle in the range between a 32nd note to one full measure.

*3: Set Balance to the center value, adjust PITCH to raise the frequency of the sine wave, and set Threshold so that the sine wave is heard appropriately for the input source. After you’ve nished setting the Threshold, adjust the Pitch and Balance. This is a useful way to strengthen a kick drum.

P10

P11

P12

P13

P14

P15

P16

Page 23

REVERB Edit

Eects

[Shift] +Cursor [K] [J]

REVERB

(Reverb)

Parameter

Cursor [K] [J]

Level

(Reverb Level)

Switch

(Reverb Switch)

Value

Value [-] [+]

0–127

OFF, ON

Explanation

Adjusts the volume of reverb sound.

Switches the reverb on/o.

Reverb Parameters

Parameter Value Explanation

00: OFF 01: Room 1 02: Room 2

Reverb Type

03: Hall 1 04: Hall 2 05: Plate 06: GM2 Reverb

01–05: Room 1/2, Hall 1/2, Plate

Pre Delay 0–100 ms (msec) Adjusts the delay time from the direct sound until the reverb sound is heard.

Time 0.1–10 s (sec) Time length of reverberation

Density 0–127 Density of reverb

Diusion 0–127

LF Damp 0–100 Adjusts the low-frequency portion of the reverb.

HF Damp 0–100 Adjusts the high-frequency portion of the reverb.

Spread 0–127 Reverb spread

Tone 0–127 Tonal character of the reverb

Selects the type of reverb.

OFF: Reverb will not be used Room 1/2: Reverb that simulates the reverberation of a room Hall 1/2: Reverb that simulates the reverberation of a hall Plate: Simulation of a plate echo GM2 Reverb: GM2 reverb

Adjusts the change in the density of the reverb over time. The higher the value, the more the density increases with time. (The eect of this setting is most pronounced with long reverb times.)

06: GM2 Reverb

Character 0–5 Type of reverb

Time 0–127 Time length of reverberation

PROGRAM EFX Edit

[Shift] +Cursor [K] [J]

PROGRAM EFX

(Program EFX)

The applicable MFX types are listed below.

04: Step Flt 06: Auto Wah 07: Humanizer 09: Phaser1 12: Step Ph

(Step Filter)

(Auto Wah)

(Humanizer)

(Phaser 1)

(Step Phaser)

13: Mlt Phaser 16: Tremolo 17: Auto Pan 18: Slicer 22: Chorus 23: Flanger 24: Step Flg 25: Hexa-Cho 26: Tre Cho 27: Space-D 34: Delay 35: Mod Delay

(Tremolo)

(Auto Pan)

(Slicer)

(Chorus)

(Flanger)

(Step Flanger)

(Hexa-Chorus)

(Tremolo Chorus)

(Space-D)

(Delay)

(Modulation Delay)

36: 3Tap Delay

Parameter

Cursor [K] [J]

FX TempoSync

(EFX Tempo Sync Switch)

(Multi Stage Phaser)

(3 Tap Pan Delay)

Value

Value [-] [+]

OFF, ON

37: 4Tap Delay 38: Mlt Tap Dly 39: Rvs Delay 40: Tm Ctrl Dly 43: Pitch Sft 44: 2Voice PS 45: Od->Cho 46: Od->Flg 47: Od->Dly 48: Dist->Cho 49: Dist->Flg 50: Dist->Dly 52: OD/DS->AWah 57: EP->Tre 58: EP->Cho 59: EP->Flg 60: EP->Ph 61: EP->Dly

(4 Tap Pan Delay)

(Reverse Delay)

(Pitch Shifter)

(2 Voice Pitch Shifter)

(Overdrive 0 Chorus)

(Overdrive 0 Flanger)

(Overdrive 0 Delay)

(Distortion 0 Chorus)

(Distortion 0 Flanger)

(Distortion 0 Delay)

(EP Amp Sim 0 Tremolo)

(EP Amp Sim 0 Chorus)

(EP Amp Sim 0 Flanger)

(EP Amp Sim 0 Phaser)

(EP Amp Sim 0 Delay)

Explanation

Synchronizes MFX and Delay to the tempo. If this is “OFF,” the Tempo Sync setting of each eect is used.

(Multi Tap Delay)

(Time Ctrl Delay)

(OD/DS 0 Auto Wah)

62: Eh->Cho 63: Eh->Flg 64: Eh->Dly 65: Cho->Dly 66: Flg->Dly 67: Cho->Flg

(Enhancer 0 Chorus)

(Enhancer 0 Flanger)

(Enhancer 0 Delay)

(Chorus 0 Delay)

(Flanger 0 Delay)

(Chorus 0 Flanger)

Page 24

Eects

DELAY Edit

[Shift] +Cursor [K] [J]

DELAY

(Delay)

Parameter

Cursor [K] [J]

Level

(Delay Level)

Switch

(Delay Switch)

Sync

(Delay Sync)

(Delay Time)

Time

This is valid only if “msec” is

selected for Delay Sync.

(Delay Note)

Note

This is valid only if “NOTE” is

selected for Delay Sync.

Acceleration

(Delay Acceleration)

Feedback

(Delay Feedback)

HF Damp

(Delay HF Damp)

Low Gain

(Delay Low Gain)

High Gain

(Delay High Gain)

Value

Value [-] [+]

0–127

OFF, ON

msec, NOTE

0–1300 ms (msec)

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1/1T, 1/2., 1/1, 2/1T, 1/1., 2/1

0–15

-98%–0–+98%

200 Hz, 250 Hz, 315 Hz, 400 Hz, 500 Hz, 630 Hz, 800 Hz, 1000 Hz, 1250 Hz, 1600 Hz, 2000 Hz, 2500 Hz, 3150 Hz, 4000 Hz, 5000 Hz, 6300 Hz, 8000 Hz, BYPASS

-15 dB–0–+15 dB

Explanation

Adjusts the volume of delay sound.

Switches the delay on/o.

If this is set to “msec,” you can specify the DELAY Time in msec units. If this is set to “NOTE,” you can specify the DELAY Note in terms of a note value relative to the

tempo. If Fx TempoSync is “ON,” this indicates (NOTE), and operation is the same as when “NOTE” is

specied.

Delay time from when the original sound is heard to when the delay sound is heard

Speed at which the current delay time changes to the specied delay time when you change the delay time. The rate of change for the Delay Time directly aects the rate of pitch change.

Adjusts the amount of the delay sound that’s fed back into the eect. Negative (-) values invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you do not want to lter out any high frequencies, set this parameter to BYPASS.

Amount of low-range boost/cut

Amount of high-range boost/cut

Page 25

Eects

MFX Parameters

The multi-eects feature 67 dierent kinds of eects. Some of the eects consist of two or more dierent eects connected in series.

Parameters marked with a sharp “#” can be controlled using a Multi-Eects Control (p. 54) (Two setting items will change simultaneously for “#1” and “#2”).

Type MFX Name Page

FILTER

MODULATION

CHORUS

DYNAMICS

DELAY

LO-FI

PITCH

(Thru)

00: Thru

01: Equalizer

02: Spectrum

03: Low Boost

04: Step Flt

05: Enhancer

06: Auto Wah

07: Humanizer

08: Sp Sim

09: Phaser1

10: Phaser2

11: Phaser3

12: Step Ph

(Equalizer)

(Spectrum)

(Low Boost)

(Step Filter)

(Enhancer)

(Auto Wah)

(Humanizer)

(Speaker Simulator)

(Phaser 1)

(Phaser 2)

(Phaser 3)

(Step Phaser)

13: Mlt Phaser

14: Inf Phaser

15: Ring Mod

16: Tremolo

17: Auto Pan

18: Slicer

19: Rotary 1

20: Rotary 2

21: Rotary 3

22: Chorus

23: Flanger

24: Step Flg

25: Hexa-Cho

26: Tre Cho

27: Space-D

28: Overdrive

29: Dist

(Ring Modulator)

(Tremolo)

(Auto Pan)

(Slicer)

(Rotary 1)

(Rotary 2)

(Rotary 3)

(Chorus)

(Flanger)

(Step Flanger)

(Hexa-Chorus)

(Tremolo Chorus)

(Space-D)

(Overdrive)

(Distortion)

30: GtrAmp Sim

(Compressor)

31: Comp

32: Limiter

33: Gate

34: Delay

35: Mod Delay

(Limiter)

(Gate)

(Delay)

(Modulation Delay)

36: 3Tap Delay

37: 4Tap Delay

38: Mlt Tap Dly

39: Rvs Delay

(Reverse Delay)

40: Tm Ctrl Dly

41: LOFI Comp

(Lo-Fi Compress)

42: BitCrusher

43: Pitch Sft

44: 2Voice PS

(Pitch Shifter)

(2 Voice Pitch Shifter)

(Multi Stage Phaser)

(Innite Phaser)

(Guitar Amp Simulator)

(3 Tap Pan Delay)

(4 Tap Pan Delay)

(Multi Tap Delay)

(Time Ctrl Delay)

(Bit Crusher)

−

p. 26

p. 27

p. 28

p. 29

p. 30

p. 31

p. 32

p. 33

p. 34

p. 35

p. 36

p. 37

p. 38

p. 39

p. 40

p. 41

Type MFX Name Page

COMBINATION

45: Od->Cho

46: Od->Flg

47: Od->Dly

48: Dist->Cho

49: Dist->Flg

50: Dist->Dly

(Overdrive 0 Chorus)

(Overdrive 0 Flanger)

(Overdrive 0 Delay)

(Distortion 0 Chorus)

(Distortion 0 Flanger)

(Distortion 0 Delay)

51: OD/DS->TWah

52: OD/DS->AWah

53: AmpSim->Cho

54: AmpSim->Flg

55: AmpSim->Ph

56: AmpSim->Dly

57: EP->Tre

58: EP->Cho

59: EP->Flg

60: EP->Ph

61: EP->Dly

62: Eh->Cho

63: Eh->Flg

64: Eh->Dly

65: Cho->Dly

66: Flg->Dly

67: Cho->Flg

(EP Amp Sim 0 Tremolo)

(EP Amp Sim 0 Chorus)

(EP Amp Sim 0 Flanger)

(EP Amp Sim 0 Phaser)

(EP Amp Sim 0 Delay)

(Enhancer 0 Chorus)

(Enhancer 0 Flanger)

(Enhancer 0 Delay)

(Chorus 0 Delay)

(Flanger 0 Delay)

(Chorus 0 Flanger)

(OD/DS 0 Touch Wah)

(OD/DS 0 Auto Wah)

(Guitar Amp Sim 0 Chorus)

(Guitar Amp Sim 0 Flanger)

(Guitar Amp Sim 0 Phaser)

(Guitar Amp Sim 0 Delay)

p. 42

p. 43

p. 44

p. 45

p. 46

p. 47

p. 48

p. 49

p. 50

p. 51

p. 52

p. 53

Page 26

Eects

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Step Filter

01: Equalizer

(Equalizer)

This is a four-band stereo equalizer (low, mid x 2, high).

4-Band EQ

Parameter Value Explanation

Low Freq 200, 400 Hz Frequency of the low range

Low Gain # -15–+15 dB Amount of low-range boost/cut

Mid1 Freq 200–8000 Hz Frequency of the middle range 1

Mid1 Gain -15–+15 dB Gain of the middle range 1

Mid1 Q

Mid2 Freq 200–8000 Hz Frequency of the middle range 2

Mid2 Gain -15–+15 dB Gain of the middle range 2

Mid2 Q

High Freq

High Gain # -15–+15 dB Amount of high-range boost/cut

Level # 0–127 Output volume

0.5, 1.0, 2.0, 4.0,

8.0

0.5, 1.0, 2.0, 4.0,

8.0

2000, 4000, 8000 Hz

Width of the middle range 1 Set a higher value for Q to narrow

the range to be aected.

Width of the middle range 2 Set a higher value for Q to narrow

the range to be aected.

Frequency of the high range

03: Low Boost

(Low Boost)

Boosts the volume of the lower range, creating powerful lows.

Low Boost

Parameter Value Explanation

Boost Freq # 50–125 Hz

Boost Gain # 0–+12 dB

Boost Wid

(Boost width)

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level 0–127 Output volume

04: Step Flt

WIDE, MID, NARROW

(Step Filter)

2-Band EQ

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

L out

This is a lter whose cuto frequency can be modulated in steps. You can specify the pattern by which the cuto frequency will change.

You can use MFX CONTROL to restart the step sequence from the beginning (p. 54).

02: Spectrum

(Spectrum)

This is a stereo spectrum. Spectrum is a type of lter which modies the timbre by boosting or cutting the level at specic frequencies.

Spectrum

L out

Spectrum

Parameter Value Explanation

Band1 (250 Hz)

Band2 (500 Hz)

Band3 (1000 Hz)

Band4 (1250 Hz)

Band5 (2000 Hz)

Band6 (3150 Hz)

Band7 (4000 Hz)

Band8 (8000 Hz)

Level # 0–127 Output volume

-15–+15 dB Gain of each frequency band

0.5, 1.0, 2.0, 4.0,

8.0

Simultaneously adjusts the width of the adjusted ranges for all the frequency bands.

Parameter Value Explanation

Step 01–16 0–127 Cuto frequency at each step

Sync Hz, NOTE

Rate #

Attack # 0–127

FilterType

FilterSlope -12, -24, -36 dB

FilterReso #

(Filter Resonance)

FilterGain 0–+12 dB Amount of boost for the lter output

Level 0–127 Output volume

0.05–10.00 Hz, note

LPF, BPF, HPF, NOTCH

0–127

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Rate of modulation

Speed at which the cuto frequency changes between steps

Type of lter Frequency range that will pass

through each lter

LPF: frequencies below the cuto BPF: frequencies in the region of

the cuto

HPF: frequencies above the cuto NOTCH: frequencies other than the

region of the cuto

Slope (steepness) of the lter

(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 cuto frequency.

Page 27

Eects

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L in

R in

R out

L in

R in

L out

R out

L in

R in

R out

05: Enhancer

(Enhancer)

Controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

Enhancer

Mix

Enhancer

Parameter Value Explanation

Sens # 0–127 Sensitivity of the enhancer

Mix # 0–127

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level 0–127 Output volume

06: Auto Wah

(Auto Wah)

Mix

2-Band

Level of the overtones generated by the enhancer

Cyclically controls a lter to create cyclic change in timbre.

Auto Wah

Parameter Value Explanation

Filter Type LPF, BPF

Manual # 0–127

Peak 0–127

Sens # 0–127

Polarity UP, DOWN

Sync Hz, NOTE

Rate #

Depth # 0–127

Phase # 0–180 deg

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level 0–127 Output volume

0.05–10.00 Hz, note

2-Band EQ

Type of lter

LPF: Produces a wah eect in a

broad frequency range.

BPF: Produces a wah eect in a

narrow frequency range.

Center frequency at which the wah eect is applied

Width of the frequency region at which the wah eect is applied

Increasing this value will make the frequency region narrower.

Sensitivity with which the lter is modied

Sets the direction in which the frequency will change when the auto-wah lter is modulated.

UP: The lter will change toward a

higher frequency.

DOWN: The lter will change toward

a lower frequency.

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Rate at which the wah eect is modulated

Depth at which the wah eect is modulated

Adjusts the degree of phase shift of the left and right sounds when the wah eect is applied.

L out

07: Humanizer

(Humanizer)

Adds a vowel character to the sound, making it similar to a human voice.

Overdrive

Parameter Value Explanation

Drive Sw OFF, ON Overdrive on/o

Drive # 0–127

Vowel1 a, e, i, o, u Vowel1

Vowel2 a, e, i, o, u Vowel2

Sync Hz, NOTE

Rate #

Depth # 0–127 Depth of the eect

In Sync Sw

(Input Sync Switch)

In Sync Thre

(Input Sync Threshold)

Manual # 0–100

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Pan # L64–63R Stereo location of the output

Level 0–127 Output volume

08: Sp Sim

(Speaker Simulator)

Formant

0.05–10.00 Hz, note

OFF, ON

0–127

2-Band

Degree of distortion Also changes the volume.

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Frequency at which the two vowels switch

LFO reset on/o Determines whether the LFO for

switching the vowels is reset by the input signal (ON) or not (OFF).

Volume level at which reset is applied

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.

Simulates the speaker type and microphone settings used to record the speaker sound.

Speaker

L out

Speaker

Parameter Value Explanation

Type

Mic Setting 1, 2, 3

Mic Level # 0–127 Volume of the microphone

Direct Level # 0–127 Volume of the direct sound

Level # 0–127 Output volume

(See the following table)

Type of speaker

Adjusts the location of the microphone that is recording the sound of the speaker.

This can be adjusted in three steps, from 1 to 3, with the microphone becoming more distant as the value increases.

Pan L

Pan R

Page 28

Eects

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L in

R in

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L in

R in

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Specications of each Speaker Type

The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.

Type Cabinet Speaker Microphone

SMALL 1 Small open-back enclosure 10 Dynamic

SMALL 2 Small open-back enclosure 10 Dynamic

MIDDLE Open back enclosure 12 x 1 Dynamic

JC-120 Open back enclosure 12 x 2 Dynamic

BUILT-IN 1 Open back enclosure 12 x 2 Dynamic

BUILT-IN 2 Open back enclosure 12 x 2 Condenser

BUILT-IN 3 Open back enclosure 12 x 2 Condenser

BUILT-IN 4 Open back enclosure 12 x 2 Condenser

BUILT-IN 5 Open back enclosure 12 x 2 Condenser

BG STACK 1 Sealed enclosure 12 x 2 Condenser

BG STACK 2 Large sealed enclosure 12 x 2 Condenser

MS STACK 1 Large sealed enclosure 12 x 4 Condenser

MS STACK 2 Large sealed enclosure 12 x 4 Condenser

METAL STACK Large double stack 12 x 4 Condenser

2-STACK Large double stack 12 x 4 Condenser

3-STACK Large triple stack 12 x 4 Condenser

09: Phaser1

(Phaser 1)

This is a stereo phaser. A phase-shifted sound is added to the original sound and modulated.

Parameter Value Explanation

Level 0–127 Output volume

10: Phaser2

(Phaser 2)

This simulates an analog phaser of the past. It is particularly suitable for electric piano.

Phaser

Parameter Value Explanation

Rate # 0–100 Modulation rate

Color 1, 2 Modulation character

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level 0–127 Output volume

11: Phaser3

(Phaser 3)

2-Band EQ

This simulates a dierent analog phaser than Phaser 2. It is particularly suitable for electric piano.

Phaser

2-Band EQ

L out

Phaser

Mix

Phaser

Parameter Value Explanation

Mode

Manual # 0–127

Sync Hz, NOTE

Rate #

Depth 0–127 Modulation depth

Polarity

Resonance # 0–127 Amount of feedback

Feedback -98–+98%

Mix # 0–127 Volume of phase-shifted sound

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

4-STAGE, 8-STAGE, 12-STAGE

0.05–10.00 Hz, note

INVERSE, SYNCHRO

Number of phaser stages

Center frequency at which the sound is modulated

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Modulation rate

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.

Adjusts the proportion of the phaser sound that is fed back into the eect.

Negative (-) values invert the phase.

2-Band

L out

Phaser

Parameter Value Explanation

Speed # 0–100 Modulation rate

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level 0–127 Output volume

2-Band EQ

Page 29

Eects

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L in

Resonance

L in

R in

L out

R out

L in

R in

L out

R out

12: Step Ph

(Step Phaser)

This is a stereo phaser. The phaser eect will be varied gradually.

Step Phaser

Mix

Step Phaser

Parameter Value Explanation

Mode

Manual # 0–127

Sync Hz, NOTE

Rate #

Depth 0–127 Modulation depth

Polarity

Resonance # 0–127 Amount of feedback

Feedback -98–+98%

Step Sync Hz, NOTE

StepRate #

Mix # 0–127 Volume of phase-shifted sound

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level 0–127 Output volume

4-STAGE, 8-STAGE, 12-STAGE

0.05–10.00 Hz, note

INVERSE, SYNCHRO

0.10–20.00 Hz, note

Number of phaser stages

Center frequency at which the sound is modulated

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Modulation rate

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.

Adjusts the proportion of the phaser sound that is fed back into the eect.

Negative (-) values invert the phase.

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Rate of the step-wise change in the phaser eect

2-Band

L out

13: Mlt Phaser

(Multi Stage Phaser)

Extremely high settings of the phase dierence produce a deep phaser eect.

Multi Stage

Phaser

Parameter Value Explanation

4-STAGE, 8-STAGE,

Mode

Manual # 0–127

Sync Hz, NOTE

Rate #

Depth 0–127 Modulation depth

Resonance # 0–127 Amount of feedback

Mix # 0–127 Volume of phase-shifted sound

Pan # L64–63R Stereo location of the output

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level 0–127 Output volume

12-STAGE, 16-STAGE, 20-STAGE, 24-STAGE

0.05–10.00 Hz, note

14: Inf Phaser

Mix

(Innite Phaser)

2-Band

Number of phaser stages

Center frequency at which the sound is modulated

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Modulation rate

A phaser that continues raising/lowering the frequency at which the sound is modulated.

Infinite Phaser 2-Band EQ

Parameter Value Explanation

Mode 1, 2, 3, 4

Speed # -100–+100

Resonance # 0–127 Amount of feedback

Mix # 0–127 Volume of phase-shifted sound

Pan # L64–63R Stereo location of the output

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level 0–127 Output volume

Higher values will produce a deeper phaser eect.

Speed at which to raise or lower the frequency at which the sound is modulated (+: upward / -: downward)

Pan L

Pan R

Pan L

Pan R

Page 30

Eects

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L in

R in

R out

L in

R in

R out

15: Ring Mod

(Ring Modulator)

This is an eect 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 eect.

Ring Mod

Parameter Value Explanation

Frequency # 0–127

Sens # 0–127

Polarity UP, DOWN

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Balance #

Level 0–127 Output volume

16: Tremolo

D100:0W– D0:100W

(Tremolo)

2-Band EQ

Adjusts the frequency at which modulation is applied.

Adjusts the amount of frequency modulation applied.

Determines whether the frequency modulation moves towards higher frequencies or lower frequencies.

UP: The lter will change toward a

higher frequency.

DOWN: The lter will change toward

a lower frequency.

Volume balance between the direct sound (D) and the eect sound (W)

L out

Cyclically modulates the volume to add tremolo eect to the sound.

17: Auto Pan

(Auto Pan)

Cyclically modulates the stereo location of the sound.

Auto Pan

Parameter Value Explanation

2-Band EQ

Modulation wave

TRI: triangle wave

TRI, SQR, SIN, SAW1, SAW2

SQR: square wave SIN: sine wave SAW1/2: sawtooth

Mod Wave

SAW1 SAW2

R R

L L

Sync Hz, NOTE

Rate #

Depth # 0–127 Depth to which the eect is applied

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level 0–127 Output volume

0.05–10.00 Hz, note

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Frequency of the change

wave

L out

Tremolo

Parameter Value Explanation

TRI, SQR, SIN SAW1, SAW2

Mod Wave

SAW1 SAW2

Sync Hz, NOTE

Rate #

Depth # 0–127 Depth to which the eect is applied

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level 0–127 Output volume

0.05–10.00 Hz, note

2-Band EQ

Modulation wave

TRI: triangle wave SQR: square wave SIN: sine wave SAW1/2: sawtooth wave

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Frequency of the change

L out

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Eects

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L out

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L in

R in

18: Slicer

(Slicer)

By applying successive cuts to the sound, this eect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially eective when applied to sustaintype sounds.

You can use MFX CONTROL to restart the step sequence from the beginning (p. 54).

Slicer

L out

Slicer

Parameter Value Explanation

Step 01–16 0–127 Level at each step

Sync Hz, NOTE

Rate #

Attack # 0–127

In Sync Sw

(Input Sync Sw)

In Sync Thre

(Input Sync Threshold)

Mode LEGATO, SLASH

Shue # 0–127

Level 0–127 Output volume

0.05–10.00 Hz, note

OFF, ON

0–127

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Rate at which the 16-step sequence will cycle

Speed at which the level changes between steps

Species whether an input note will cause the sequence to resume from the rst 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.

19: Rotary 1

(Rotary 1)

This simulates a classic rotary speaker of the past. Since the operation of the high-frequency and low-frequency rotors

can be specied independently, the distinctive modulation can be reproduced realistically. This is most eective on organ tones.

Rotary

Parameter Value Explanation

Simultaneously switch the rotational speed of the low frequency rotor

Speed # SLOW, FAST

Wf Slow

(Woofer Slow Speed)

Wf Fast

(Woofer Fast Speed)

Wf Accel

(Woofer Acceleration)

Wf Level

(Woofer Level)

Tw Slow

(Tweeter Slow Speed)

Tw Fast

(Tweeter Fast Speed)

Tw Accel

(Tweeter Acceleration)

Tw Level

(Tweeter Level)

Separation 0–127 Spatial dispersion of the sound

Level # 0–127 Output volume

0.05–10.00 Hz

0–15

0–127 Volume of the low frequency rotor

0.05–10.00 Hz

0–15

0–127

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.

Settings of the high frequency rotor The parameters are the same as for

the low frequency rotor

Page 32

Eects

R out

L in

R in

L out

R out

L in

R in

20: Rotary 2

(Rotary 2)

This type provides modied response for the rotary speaker, with the low end boosted further.

This eect features the same specications as the VK-7’s built-in rotary speaker.

2-Band EQ

Rotary

2-Band EQ

Parameter Value Explanation

Rotational speed of the rotating speaker

Speed # SLOW, FAST

Brake # OFF, ON

Wf Slow

(Woofer Slow Speed)

Wf Fast

(Woofer Fast Speed)

Wf Trans Up

(Woofer Trans Up)

Wf Trans Dw

(Woofer Trans Down)

Wf Level

(Woofer Level)

Tw Slow

(Tweeter Slow Speed)

Tw Fast

(Tweeter Fast Speed)

Tw Trans Up

(Tweeter Trans Up)

Tw Trans Dw

(Tweeter Trans Down)

Tw Level

(Tweeter Level)

0.05–10.00 Hz

0–127

0–127 Volume of the woofer

0.05–10.00 Hz

0–127

Spread 0–10 Sets the rotary speaker stereo image.

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level # 0–127 Output volume

SLOW: Slows down the rotation to

the Slow Rate.

FAST: Speeds up the rotation to the

Fast Rate.

Switches the rotation of the rotary speaker.

When this is turned on, the rotation will gradually stop. When it is turned o, the rotation will gradually resume.

Low-speed rotation speed of the woofer

High-speed rotation speed of the woofer

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 down when the rotation is switched from Fast to Slow.

Settings of the tweeter The parameters are the same as for

the woofer.

L out

21: Rotary 3

(Rotary 3)

This type includes an overdrive. By distorting the sound you can produce the intense organ sound used in hard rock.

RotaryOverdrive

Parameter Value Explanation

Rotational speed of the rotating speaker

Speed # SLOW, FAST

Brake # OFF, ON

Wf Slow

(Woofer Slow Speed)

Wf Fast

(Woofer Fast Speed)

Wf Trans Up

(Woofer Trans Up)

Wf Trans Dw

(Woofer Trans Down)

Wf Level

(Woofer Level)

Tw Slow

(Tweeter Slow Speed)

Tw Fast

(Tweeter Fast Speed)

Tw Trans Up

(Tweeter Trans Up)

Tw Trans Dw

(Tweeter Trans Down)

Tw Level

(Tweeter Level)

0.05–10.00 Hz

0–127

0–127 Volume of the woofer

0.05–10.00 Hz

0–127

Spread 0–10 Sets the rotary speaker stereo image.

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level # 0–127 Output volume

OD Switch

(Overdrive Switch)

OD Gain #

(Overdrive Gain)

OD Drive #

(Overdrive Drive)

OD Level

(Overdrive Level)

OFF, ON Overdrive on/o

0–127

0–127 Degree of distortion

0–127 Volume of the overdrive

SLOW: Slows down the rotation to

the Slow Rate.

FAST: Speeds up the rotation to the

Fast Rate.

Switches the rotation of the rotary speaker. When this is turned on, the rotation will gradually stop. When it is turned o, the rotation will gradually resume.

Low-speed rotation speed of the woofer

High-speed rotation speed of the woofer

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 down when the rotation is switched from Fast to Slow.

Settings of the tweeter The parameters are the same as for

the woofer.

Overdrive input level Higher values will increase the

distortion.

Page 33

Eects

L in

R in

R out

Balance D

R in

R out

L in

Balance D

22: Chorus

(Chorus)

This is a stereo chorus. A lter is provided so that you can adjust the timbre of the chorus sound.

2-Band

Chorus

Balance W

2-Band

Parameter Value Explanation

Type of lter

OFF: no lter is used

Filter Type OFF, LPF, HPF

Cof Freq

(Cuto Freq)

Pre Delay 0.0–100.0 ms

Sync Hz, NOTE

Rate #

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Balance #

Level 0–127 Output volume

200–8000 Hz

0.05–10.00 Hz, note

D100:0W– D0:100W

LPF: cuts the frequency range above

the Cuto

HPF: cuts the frequency range

below the Cuto

Center frequency when using the lter to cut a specic frequency range

Adjusts the delay time from the direct sound until the chorus sound is heard.

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Rate of modulation

Volume balance between the direct sound (D) and the chorus sound (W)

L out

23: Flanger

(Flanger)

This is a stereo anger (The LFO has the same phase for left and right.).

It produces a metallic resonance that rises and falls like a jet airplane taking o or landing.

A lter is provided so that you can adjust the timbre of the anged sound.

2-Band

Flanger

Feedback Feedback

Flanger

Balance W

2-Band

Parameter Value Explanation

Type of lter

OFF: no lter is used

Filter Type OFF, LPF, HPF

Cof Freq

(Cuto Freq)

Pre Delay 0.0–100.0 ms

Sync Hz, NOTE

Rate #

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

Feedback # -98–+98%

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Balance #

Level 0–127 Output volume

200–8000 Hz

0.05–10.00 Hz, note

D100:0W– D0:100W

LPF: cuts the frequency range above

the Cuto

HPF: cuts the frequency range

below the Cuto

Center frequency when using the lter to cut a specic frequency range

Adjusts the delay time from the direct sound until the anger sound is heard.

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Rate of modulation

Adjusts the proportion of the anger sound that is fed back into the eect.

Negative (-) values invert the phase.

Volume balance between the direct sound (D) and the anger sound (W)

L out

Page 34

Eects

R in

R out

L in

Balance D

L in

L out

R out

Balance D

24: Step Flg

(Step Flanger)

This is a anger in which the anger pitch changes in steps. The speed at which the pitch changes can also be specied in terms of a note-value of a specied tempo.

2-Band

Step Flanger

Feedback Feedback

Step Flanger

Balance W

2-Band

Parameter Value Explanation

Type of lter

OFF: no lter is used

Filter Type OFF, LPF, HPF

Cof Freq

(Cuto Freq)

Pre Delay 0.0–100.0 ms

Sync Hz, NOTE

Rate #

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

Feedback # -98–+98%

Step Sync Hz, NOTE

StepRate #

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Balance #

Level 0–127 Output volume

200–8000 Hz

0.05–10.00 Hz, note

0.10–20.00 Hz, note

D100:0W– D0:100W

LPF: cuts the frequency range above

the Cuto

HPF: cuts the frequency range

below the Cuto

Center frequency when using the lter to cut a specic frequency range

Adjusts the delay time from the direct sound until the anger sound is heard.

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Rate of modulation

Adjusts the proportion of the anger sound that is fed back into the eect.

Negative (-) values invert the phase.

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Rate (period) of pitch change

Volume balance between the direct sound (D) and the anger sound (W)

L out

25: Hexa-Cho

(Hexa-Chorus)

Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.

Balance D

Balance W

Hexa Chorus

Balance W

R in

Parameter Value Explanation

Pre Delay 0.0–100.0 ms

Sync Hz, NOTE

Rate #

Depth 0–127 Depth of modulation

Pre Delay Dev

(Pre Delay Deviation)

Depth Dev

(Depth Deviation)

Pan Dev

(Pan Deviation)

Balance #

Level 0–127 Output volume

0.05–10.00 Hz, note

0–20

-20–+20

0–20

D100:0W– D0:100W

Adjusts the delay time from the direct sound until the chorus sound is heard.

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Rate of modulation

Adjusts the dierences in Pre Delay between each chorus sound.

Adjusts the dierence in modulation depth between each chorus sound.

Adjusts the dierence in stereo location between each chorus sound.

0: All chorus sounds will be in the

center.

20: Each chorus sound will be

spaced at 60 degree intervals relative to the center.

Volume balance between the direct sound (D) and the chorus sound (W)

Page 35

Eects

L in

R in

L out

R out

Balance D

L in

R out

Balance D

L in

R in

L out

R out

26: Tre Cho

(Tremolo Chorus)

This is a chorus eect with added Tremolo (cyclic modulation of volume).

Balance D

Balance W

Tremolo Chorus

Balance W

Parameter Value Explanation

Pre Delay 0.0–100.0 ms

ChorusSync Hz, NOTE

Cho Rate #

(Chorus Rate)

Chorus Depth 0–127

Trem Sync

(Tremolo Sync)

TremRate #

(Tremolo Rate)

TremSeparate

(Tremolo Separation)

TremPhase

(Tremolo Phase)

Balance #

Level 0–127 Output volume

0.05–10.00 Hz, note

Hz, NOTE

0.05–10.00 Hz, note

0–127 Spread of the tremolo eect

0–180 deg Spread of the tremolo eect

D100:0W– D0:100W

Adjusts the delay time from the direct sound until the chorus sound is heard.

Hz: The Cho Rate value is specied

in Hz.

NOTE: The Cho Rate value is

specied as a note value.

Modulation frequency of the chorus eect

Modulation depth of the chorus eect

Hz: The TremRate value is specied

in Hz.

NOTE: The TremRate value is

specied as a note value.

Modulation frequency of the tremolo eect

Volume balance between the direct sound (D) and the tremolo chorus sound (W)

27: Space-D

(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 eect.

2-Band

Space D

R in

Parameter Value Explanation

Pre Delay 0.0–100.0 ms

Sync Hz, NOTE

Rate #

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Balance #

Level 0–127 Output volume

28: Overdrive

0.05–10.00 Hz, note

D100:0W– D0:100W

(Overdrive)

Balance W

2-Band

Adjusts the delay time from the direct sound until the chorus sound is heard.

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Rate of modulation

Volume balance between the direct sound (D) and the chorus sound (W)

This is an overdrive that provides heavy distortion.

Over drive

Amp

Simulator

2-Band

L out

Pan L

Pan R

Parameter Value Explanation

Drive # 0–127

Tone # 0–127 Sound quality of the Overdrive eect

Amp Sw OFF, ON Turns the Amp Simulator on/o.

AmpType

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Pan # L64–63R Stereo location of the output

Level 0–127 Output volume

SMALL, BUILT-IN, 2-STACK, 3-STACK

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

Page 36

Eects

L in

R in

L out

R out

L in

R in

L out

R out

L in

R in

R out

29: Dist

(Distortion)

This is a distortion eect that provides heavy distortion. The parameters are the same as for “28: Overdrive.”

Distortion

30: GtrAmp Sim

Amp

Simulator

(Guitar Amp Simulator)

2-Band

This is an eect that simulates the sound of a guitar amplier.

Pre Amp

Parameter Value Explanation

Pre Amp Sw OFF, ON Turns the amp switch on/o.

JC-120 CLEAN TWIN MATCHDRIVE BG LEAD MS1959I MS1959II

Type

Volume # 0–127

Master # 0–127 Volume of the entire pre-amp

Gain

Bass

Middle

Treble

Presence 0–127

Bright OFF, ON

Speaker Sw OFF, ON

SpType

(Speaker Type)

Mic Setting 1, 2, 3

Mic Level 0–127 Volume of the microphone

Direct Level 0–127 Volume of the direct sound

Pan # L64–63R Stereo location of the output

Level # 0–127 Output volume

MS1959I+II SLDN LEAD METAL5150 METAL LEAD OD-1, OD-2 TURBO DISTORTION FUZZ

LOW, MIDDLE, HIGH

0–127

(See the following table)

Speaker

Type of guitar amp

Volume and amount of distortion of the amp

Amount of pre-amp distortion

Tone of the bass/mid/treble frequency range

* Middle cannot be set if

“MATCHDRIVE” is selected as

the 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” Types.

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Type of speaker

Adjusts the location of the microphone that is recording the sound of the speaker.

This can be adjusted in three steps, from 1 to 3, with the microphone becoming more distant as the value increases.

Pan L

Pan R

Pan L

Pan R

Specications of each Speaker Type

The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.

Type Cabinet Speaker Microphone

SMALL 1 Small open-back enclosure 10 Dynamic

SMALL 2 Small open-back enclosure 10 Dynamic

MIDDLE Open back enclosure 12 x 1 Dynamic

JC-120 Open back enclosure 12 x 2 Dynamic

BUILT-IN 1 Open back enclosure 12 x 2 Dynamic

BUILT-IN 2 Open back enclosure 12 x 2 Condenser

BUILT-IN 3 Open back enclosure 12 x 2 Condenser

BUILT-IN 4 Open back enclosure 12 x 2 Condenser

BUILT-IN 5 Open back enclosure 12 x 2 Condenser

BG STACK 1 Sealed enclosure 12 x 2 Condenser

BG STACK 2 Large sealed enclosure 12 x 2 Condenser

MS STACK 1 Large sealed enclosure 12 x 4 Condenser

MS STACK 2 Large sealed enclosure 12 x 4 Condenser

METAL STACK Large double stack 12 x 4 Condenser

2-STACK Large double stack 12 x 4 Condenser

3-STACK Large triple stack 12 x 4 Condenser

31: Comp

(Compressor)

Flattens out high levels and boosts low levels, smoothing out uctuations in volume.

Compressor

Parameter Value Explanation

Attack # 0–127

Threshold # 0–127

Post Gain 0–+18 dB Adjusts the output gain.

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level # 0–127 Output volume

2-Band EQ

Sets the time from when the input exceeds the Threshold until the volume starts being compressed.

Adjusts the volume at which compression begins.

L out

Page 37

Eects

L in

R in

R out

L in

R in

R out

R in

R out

L in

Balance D

R in

R out

L in

Balance D

32: Limiter

(Limiter)

Compresses signals that exceed a specied volume level, preventing distortion from occurring.

Limiter

Parameter Value Explanation

Release # 0–127

Threshold # 0–127

Ratio

Post Gain 0–+18 dB Adjusts the output gain.

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level # 0–127 Output volume

33: Gate

1.5:1, 2:1, 4:1, 100:1

(Gate)

2-Band EQ

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

Cuts the reverb’s decay according to the volume of the sound sent into the eect. Use this when you want to create an articialsounding decrease in the reverb’s decay.

Gate

Parameter Value Explanation

Threshold # 0–127

Mode GATE, DUCK

Attack 0–127

Hold 0–127

Release 0–127

Balance #

Level 0–127 Output volume

D100:0W– D0:100W

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 original 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 eect sound (W)

L out

34: Delay

(Delay)

This is a stereo delay.

When Feedback Mode is NORMAL:

2-Band

Delay

Feedback Feedback

Delay

Balance W

2-Band

When Feedback Mode is CROSS:

2-Band

Delay

Feedback Feedback

Delay

Balance W

2-Band

Parameter Value Explanation

msec: The Delay L/R value is

Dly L/R Sync

(Delay Left/Right Sync)

Delay L/R

(Delay Left/Right)

Phase L/R

(Phase Left/Right)

FbackMode

(Feedback Mode)

Feedback # -98–+98%

HF Damp

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Balance #

Level 0–127 Output volume

msec, NOTE

0–1300 ms, note

NORMAL, INVERSE

NORMAL, CROSS

200–8000 Hz, BYPASS

D100:0W– D0:100W

specied in msec.

NOTE: The Delay L/R value is

specied as a note value.

Adjusts the time until the delay sound is heard.

Phase of the delay sound

NORMAL: Non-inverted INVERT: Inverted

Selects the way in which delay sound is fed back into the eect. (See the gures.)

Adjusts the amount of the delay sound that’s fed back into the eect.

Negative (-) values invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out.

If you do not want to lter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

L out

Page 38

Eects

R in R out

L in

Balance D

R in

R out

L in

Balance D

L in

R in

R out

Balance D

35: Mod Delay

(Modulation Delay)

Adds modulation to the delayed sound.

When Feedback Mode is NORMAL:

2-Band

Delay

Feedback Feedback

Delay

Modulation

Balance W

2-Band

When Feedback Mode is CROSS:

2-Band

Delay

Feedback Feedback

Delay

Modulation

Balance W

2-Band

Parameter Value Explanation

msec: The Delay L/R value is

Dly L/R Sync

(Delay Left/Right Sync)

Delay L/R

(Delay Left/Right)

FbackMode

(Feedback Mode)

Feedback # -98–+98%

HF Damp

Sync Hz, NOTE

Rate #

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Balance #

Level 0–127 Output volume

msec, NOTE

0–1300 ms, note

NORMAL, CROSS

200–8000 Hz, BYPASS

0.05–10.00 Hz, note

D100:0W– D0:100W

specied in msec.

NOTE: The Delay L/R value is

specied as a note value.

Adjusts the time until the delay sound is heard.

Selects the way in which delay sound is fed back into the eect (See the gures.).

Adjusts the amount of the delay sound that’s fed back into the eect.

Negative (-) values invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out.

If you do not want to lter out any high frequencies, set this parameter to BYPASS.

Hz: The Rate value is specied in Hz. NOTE: The Rate value is specied as

a note value.

Frequency of modulation

Volume balance between the direct sound (D) and the delay sound (W)

L out

36: 3Tap Delay

(3 Tap Pan Delay)

Produces three delay sounds; center, left and right.

Left Tap

Triple Tap Delay

Feedback

Parameter Value Explanation

Dly L/R/C Sync

(Delay Left/Right/Center Sync)

Delay L/R/C

(Delay Left/Right/Center)

C Feedback #

(Center Feedback)

HF Damp

Left/Right/ Center Level

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Balance #

Level 0–127 Output volume

msec, NOTE

0–2600 ms, note

-98–+98%

200–8000 Hz, BYPASS

0–127 Volume of each delay sound

D100:0W– D0:100W

Center Tap

Right Tap

msec: The Delay L/R/C value is

specied in msec.

NOTE: The Delay L/R/C value is

specied as a note value.

Adjusts the time from the direct sound until the left, right, and center delayed sounds are heard

Adjusts the amount of the delay sound that’s fed back into the eect.

Negative (-) values invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out.

If you do not want to lter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

2-Band

Balance W

2-Band

L out

Page 39

Eects

L in

R in

R out

Balance D

L in

R in

R out

Balance D

37: 4Tap Delay

(4 Tap Pan Delay)

This eect has four delays.

Feedback

Delay 1

Delay 2

Quadruple Tap Delay

Delay 3

Delay 4

2 3

Parameter Value Explanation

Dly 1–4 Sync

(Delay 1–4 Sync)

Dly 1–4 Time/ Note

(Delay 1–4 Time/Note)

Dly 1 Fback #

(Delay 1 Feedback)

HF Damp

Dly 1–4 Level

(Delay 1–4 Level)

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Balance #

Level 0–127 Output volume

msec: The Dly 1–4 Time value is

msec, NOTE

0–2600 ms, note

-98–+98%

200–8000 Hz, BYPASS

0–127 Volume of each delay

D100:0W– D0:100W

specied in msec.

NOTE: The Dly 1–4 Time value is

specied as a note value.

Adjusts the time from the direct sound until delay sounds 1–4 are heard

Adjusts the amount of the delay sound that’s fed back into the eect.

Negative (-) values invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out.

If you do not want to lter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

L out

Balance W

38: Mlt Tap Dly

(Multi Tap Delay)

This eect 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.

2-Band

Feed back

Delay 1

Delay 3

Balance W

Multi Tap Delay

Delay 4

Delay 2

Parameter Value Explanation

msec: The Dly 1–4 Time value is

Dly 1–4 Sync

(Delay 1–4 Sync)

Dly 1–4 Time/ NOTE

(Delay 1–4 Time/Note)

Dly 1 Fback #

(Delay 1 Feedback)

HF Damp

Delay 1–4 Pan L64–63R Stereo location of each delay

Dly 1–4 Level

(Delay 1–4 Level)

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Balance #

Level 0–127 Output volume

msec, NOTE

0–2600 ms, note

-98–+98%

200–8000 Hz, BYPASS

0–127 Volume of each delay

D100:0W– D0:100W

specied in msec.

NOTE: The Dly 1–4 Time value is

specied as a note value.

Adjusts the time from the direct sound until delay sounds 1–4 are heard

Adjusts the amount of the delay sound that’s fed back into the eect.

Negative (-) values invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out.

If you do not want to lter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the eect sound (W)

Balance W

2-Band

L out

Page 40

Eects

L in

R in

R out

2-Band

R in

R out

L in

Balance D

L in

R in

R out

2-Band

39: Rvs Delay

(Reverse Delay)

This is a reverse delay that adds a reversed and delayed sound to the input sound. A tap delay is connected immediately after the reverse delay.

Feedback

Rev. Delay

Parameter Value Explanation

Threshold 0–127

R-Dly Sync

(Reverse Delay Sync)

R-Dly Time/Note

(Reverse Delay Time/ Note)

R-Dly Fback #

(Reverse Delay Feedback)

R HF Damp

(Reverse Delay HF Damp)

R-Dly Pan

(Reverse Delay Pan)

R-Dly Level

(Reverse Delay Level)

Dly 1–3 Sync

(Delay 1–3 Sync)

Dly 1–3 Time/ Note

(Delay 1–3 Time/Note)

Feedback # -98–+98%

D HF Damp

(Tap Delay HF Damp)

Delay 1/2 Pan L64–63R

Dly 1/2 Level

(Delay 1/2 Level)

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Balance #

Level 0–127 Output volume

Rev

Delay

Volume at which the reverse delay will begin to be applied

msec: The R-Dly Time/Note value is

msec, NOTE

0–1300 ms, note

-98–+98%

200–8000 Hz, BYPASS

L64–63R

0–127 Volume of the reverse delay sound

msec, NOTE

0–1300 ms, note

200–8000 Hz, BYPASS

0–127 Volume of the tap delay sounds

D100:0W– D0:100W

specied in msec.

NOTE: The R-Dly Time/Note value is

specied as a note value.

Delay time from when sound is input into the reverse delay until the delay sound is heard

Proportion of the delay sound that is to be returned to the input of the reverse delay.

Negative (-) values invert the phase.

Frequency at which the highfrequency content of the reversedelayed sound will be cut.

If you do not want to lter out any high frequencies, set this parameter to BYPASS.

Stereo location of the reverse delay sound

msec: The Delay 1–3 Time/Note

value is specied in msec.

NOTE: The Delay 1–3 Time/Note

value is specied as a note value.

Delay time from when sound is input into the tap delay until the delay sound is heard

Proportion of the delay sound that is to be returned to the input of the tap delay.

Negative (-) values invert the phase.

Frequency at which the hi-frequency content of the tap delay sound will be cut.

If you do not want to lter out any high frequencies, set this parameter to BYPASS.

Stereo location of the tap delay sounds

Volume balance between the direct sound (D) and the delay sound (W)

2-Band

L out

40: Tm Ctrl Dly

A stereo delay in which the delay time can be varied smoothly.

Time Ctrl Delay

Parameter Value Explanation

Delay Sync msec, NOTE

Dly Time/NOTE #

(Delay Time/Note)

Acceleration 0–15

Feedback # -98–+98%

HF Damp

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Balance #

Level 0–127 Output volume

41: LOFI Comp

This is an eect that intentionally degrades the sound quality for creative purposes.

Compressor

Parameter Value Explanation

PreFilter Type 1–6

LoFi Type 1–9

PostFlt Type OFF, LPF, HPF

PostCutof 200–8000 Hz Basic frequency of the Post Filter

Low Gain -15–+15 dB Amount of low-range boost/cut

(Time Ctrl Delay)

Feedback Feedback

0–1300 ms, note

200–8000 Hz, BYPASS

D100:0W– D0:100W

(Lo-Fi Compress)

2-Band EQ

Balance W

2-Band EQ

msec: The Dly Time/Note value is

specied in msec.

NOTE: The Dly Time/Note value is

specied as a note value.

Delay time from the direct sound until the delay sound is heard

Adjusts the speed which the Delay Time changes from the current setting to a specied new setting. The rate of change for the Delay Time directly aects the rate of pitch change.

Adjusts the amount of the delay sound that’s fed back into the eect.

Negative (-) values invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out.

If you do not want to lter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

Lo-Fi

Selects the type of lter applied to the sound before it passes through the Lo-Fi eect.

1: Compressor o 2–6: Compressor on

Degrades the sound quality. The sound quality grows poorer as this value is increased.

Type of lter

OFF: no lter is used LPF: cuts the frequency range above

the Cuto

HPF: cuts the frequency range

below the Cuto

2-Band

L out

Page 41

Eects

L in

R in

R out

L in

R out

L in

R in

R out

Balance D

Parameter Value Explanation

High Gain -15–+15 dB Amount of high-range boost/cut

Balance #

Level # 0–127 Output volume

42: BitCrusher

D100:0W– D0:100W

(Bit Crusher)

Volume balance between the direct sound (D) and the eect sound (W)

This creates a lo- sound.

Bit Crusher

Parameter Value Explanation

Sample Rate # 0–127 Adjusts the sample rate.

Bit Down # 0–20 Adjusts the bit depth.

Filter # 0–127 Adjusts the lter depth.

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level 0–127 Output volume

43: Pitch Sft

(Pitch Shifter)

2-Band EQ

This is a stereo pitch shifter.

2-Band EQ

Pitch Shifter

R in

Parameter Value Explanation

Coarse #1 -24–+12 semi

Fine #1 -100–+100 cent

Delay Sync msec, NOTE

Dly Time/Note

(Delay Time/Note)

Feedback # -98–+98%

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Balance #

Level 0–127 Output volume

0–1300 ms, note

D100:0W– D0:100W

2-Band EQ

Adjusts the pitch of the pitch shifted sound in semitone steps.

Adjusts the pitch of the pitch shifted sound in 2-cent steps.

msec: The Dly Time/Note value is

specied in msec.

NOTE: The Dly Time/Note value is

specied as a note value.

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 eect.

Negative (-) values invert the phase.

Volume balance between the direct sound (D) and the pitch shifted sound (W)

L out

44: 2Voice PS

(2 Voice Pitch Shifter)

This shifts the pitch of the original sound. This can add two pitch shifted sounds to the original sound.

Level 1

2Voice

Pitch Shifter

Level 2

Parameter Value Explanation

P1 Coarse #1

(Pitch1 Coarse)

P1 Fine #1

(Pitch1 Fine)

P1Dly Sync

(Pitch1 Delay Sync)

P1 Delay

(Pitch1 Delay)

P1 Feedback #

(Pitch1 Feedback)

Pitch1 Pan # L64–63R

Pitch1 Level 0–127 Volume of the Pitch Shift 1 sound

P2 Coarse #2

(Pitch2 Coarse)

P2 Fine #2

(Pitch2 Fine)

P2Dly Sync

(Pitch2 Delay Sync)

P2 Delay

(Pitch2 Delay)

P2 Feedback #

(Pitch2 Feedback)

Pitch2 Pan # L64–63R

Pitch2 Level 0–127

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Balance #

Level 0–127 Output volume

-24–+12 semi

-100–+100 cent

msec, NOTE

0–1300 ms, note

-98–+98%

-24–+12 semi

-100–+100 cent

msec, NOTE

0–1300 ms, note

-98–+98%

D100:0W– D0:100W

Pan 1 L

Pan 1 R

Pan 2 L

Pan 2 R

Adjusts the pitch of Pitch Shift 1 in semitone steps.

Adjusts the pitch of Pitch Shift 1 in 2-cent steps.

msec: The P1 Delay value is specied

in msec.

NOTE: The P1 Delay value is

specied as a note value.

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 eect.

Negative (-) values invert the phase.

Stereo location of the Pitch Shift 1 sound

Settings of the Pitch Shift 2 sound. The parameters are the same as for

the Pitch Shift 1 sound.

Volume balance between the direct sound (D) and the pitch shifted sound (W)

Balance W

2-Band

L out

Page 42

Eects

L in

R in

L out

Balance W

Balance D

L in

R in

Balance W

Balance D

L in

R in

L out

Balance W

Balance D

L in

R in

L out

Balance W

Balance D

45: Od->Cho

Parameter Value Explanation

OD Drive #

(Overdrive Drive)

OD Pan #

(Overdrive Pan)

Cho PreDly

(Chorus Pre Delay)

ChorusSync Hz, NOTE

Cho Rate #

(Chorus Rate)

Chorus Depth 0–127 Depth of modulation

Cho Bal #

(Chorus Balance)

Level 0–127 Output volume

46: Od->Flg

(Overdrive 0 Chorus)

Overdrive

0–127

L64–63R

0.0–100.0 ms

0.05–10.00 Hz, note

D100:0W– D0:100W

(Overdrive 0 Flanger)

Balance D

Chorus

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.

Hz: The Cho Rate value is specied

in Hz.

NOTE: The Cho Rate value is

specied as a note value.

Rate 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).

Feedback

R out

L out

47: Od->Dly

(Overdrive 0 Delay)

Overdrive

Parameter Value Explanation

OD Drive #

(Overdrive)

OD Pan #

(Overdrive Pan)

Delay Sync msec, Note

Dly Time/Note

(Delay Time/Note)

DlyFeedback #

(Delay Feedback)

D HF Damp

Dly Bal #

(Delay Balance)

Level 0–127 Output volume

0–127

L64–63R

0–2600 ms, note

-98–+98%

200–8000 Hz, BYPASS

D100:0W– D0:100W

Balance D

Delay

Feedback

R out

Degree of distortion Also changes the volume.

Stereo location of the overdrive sound

msec: The Dly Time/Note value is

specied in msec.

NOTE: The Dly Time/Note value is

specied as a note value.

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 eect.

Negative (-) values invert the phase.

Adjusts the frequency above which sound fed back to the eect 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).

Overdrive

Parameter Value Explanation

OD Drive #

(Overdrive Drive)

OD Pan #

(Overdrive Pan)

Flg PreDly

(Flanger Pre Delay)

Flg Sync

(Flanger Sync)

Flg Rate #

(Flanger Rate)

Flg Depth

(Flanger Depth)

FlgFeedback #

(Flanger Feedback)

Flg Bal #

(Flanger Balance)

Level 0–127 Output volume

0–127

L64–63R

0.0–100.0 ms

Hz, NOTE

0.05–10.00 Hz, note

0–127 Depth of modulation

-98–+98%

D100:0W– D0:100W

Flanger

Degree of distortion Also changes the volume.

Stereo location of the overdrive sound

Adjusts the delay time from the direct sound until the anger sound is heard.

Hz: The Flg Rate value is specied

in Hz.

NOTE: The Flg Rate value is specied

as a note value.

Rate of modulation

Adjusts the proportion of the anger sound that is fed back into the eect.

Negative (-) values invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

R out

48: Dist->Cho

Parameter Value Explanation

Dist Drive #

(Distortion Drive)

Dist Pan #

(Distortion Pan)

Cho PreDly

(Chorus Pre Delay)

ChorusSync Hz, NOTE

Cho Rate #

(Chorus Rate)

Chorus Depth 0–127 Depth of modulation

Cho Bal #

(Chorus Balance)

Level 0–127 Output volume

(Distortion 0 Chorus)

Distortion

0–127

L64–63R

0.0–100.0 ms

0.05–10.00 Hz, note

D100:0W– D0:100W

Balance D

Chorus

R out

Degree of distortion Also changes the volume.

Stereo location of the distortion sound

Adjusts the delay time from the direct sound until the chorus sound is heard.

Hz: The Cho Rate value is specied

in Hz.

NOTE: The Cho Rate value is

specied as a note value.

Rate 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).

Page 43

Eects

L in

R in

Balance W

Balance D

L in

R in

L out

Balance W

Balance D

49: Dist->Flg

(Distortion 0 Flanger)

Distortion

Parameter Value Explanation

Dist Drive #

(Distortion Drive)

Dist Pan #

(Distortion Pan)

Flg PreDly

(Flanger Pre Delay)

Flg Sync

(Flanger Sync)

Flg Rate #

(Flanger Rate)

Flg Depth

(Flanger Depth)

FlgFeedback #

(Flanger Feedback)

Flg Bal #

(Flanger Balance)

Level 0–127 Output volume

0–127

L64–63R

0.0–100.0 ms

Hz, NOTE

0.05–10.00 Hz, note

0–127 Depth of modulation

-98–+98%

D100:0W– D0:100W

Feedback

L out

Flanger

R out

Degree of distortion Also changes the volume.

Stereo location of the distortion sound

Adjusts the delay time from the direct sound until the anger sound is heard.

Hz: The Flg Rate value is specied

in Hz.

NOTE: The Flg Rate value is specied

as a note value.

Rate of modulation

Adjusts the proportion of the anger sound that is fed back into the eect.

Negative (-) values invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

50: Dist->Dly

(Distortion 0 Delay)

Distortion

Parameter Value Explanation

Dist Drive #

(Distortion Drive)

Dist Pan #

(Distortion Pan)

Delay Sync msec, Note

Dly Time/Note

(Delay Time/Note)

DlyFeedback #

(Delay Feedback)

D HF Damp

Dly Bal #

(Delay Balance)

Level 0–127 Output volume

0–127

L64–63R

0–2600 ms, note

-98–+98%

200–8000 Hz, BYPASS

D100:0W– D0:100W

Balance D

Delay

Feedback

R out

Degree of distortion Also changes the volume.

Stereo location of the distortion sound

msec: The Dly Time/Note value is

specied in msec.

NOTE: The Dly Time/Note value is

specied as a note value.

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 eect.

Negative (-) values invert the phase.

Adjusts the frequency above which sound fed back to the eect 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).

Page 44

Eects

L in

R in

L out

R out

L in

R in

L out

R out

51: OD/DS->TWah

Overdrive/

Distortion

Parameter Value Explanation

Drive Switch OFF, ON Turns overdrive/distortion on/o

Type

Drive # 0–127

Tone # 0–127 Sound quality of the eect

Amp Switch OFF, ON Turns the Amp Simulator on/o.

AmpType

Touch Wah Sw

(Touch Wah Switch)

TWah FilterType

(Touch Wah Filter Type)

TWah Polar

(Touch Wah Polarity)

TWah Sens #

(Touch Wah Sens)

TWah Manual #

(Touch Wah Manual)

TWah Peak #

(Touch Wah Peak)

TWah Bal #

(Touch Wah Balance)

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level 0–127 Output volume

OVERDRIVE, DISTORTION

SMALL, BUILT-IN, 2-STACK, 3-STACK

OFF, ON Wah on/o

LPF, BPF

DOWN, UP

0–127

D100:0W– D0:100W

(OD/DS 0 Touch Wah)

Amp

Simulator

Touch

Wah

2-Band

Type of distortion

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

Type of lter

LPF: Produces a wah eect in a

broad frequency range.

BPF: Produces a wah eect in a

narrow frequency range.

Sets the direction in which the frequency will change when the touch-wah lter is modulated.

UP: The lter will change toward a

higher frequency.

DOWN: The lter will change toward

a lower frequency.

Sensitivity with which the lter is modied

Center frequency at which the wah eect is applied

Width of the frequency region at which the wah eect is applied.

Increasing this value will make the frequency region narrower.

Adjusts the volume balance between the sound that is sent through the wah (W) and the sound that is not sent through the wah (D).

52: OD/DS->AWah

Overdrive/

Distortion

Parameter Value Explanation

Drive Switch OFF, ON Turns overdrive/distortion on/o

Type

Drive # 0–127

Tone # 0–127 Sound quality of the eect

Amp Switch OFF, ON Turns the Amp Simulator on/o.

AmpType

Auto Wah Sw OFF, ON Wah on/o

AWah FltType

(Auto Wah Filter Type)

AWah Manual #

(Auto Wah Manual)

AWah Peak #

(Auto Wah Peak)

AWah Sync

(Auto Wah Sync)

AWah Rate #

(Auto Wah Rate)

AWah Depth #

(Auto Wah Depth)

AWah Bal #

(Auto Wah Balance)

Low Gain -15–+15 dB Amount of low-range boost/cut

High Gain -15–+15 dB Amount of high-range boost/cut

Level 0–127 Output volume

(OD/DS 0 Auto Wah)

Amp

Simulator

OVERDRIVE, DISTORTION

SMALL, BUILT-IN, 2-STACK, 3-STACK

LPF, BPF

0–127

Hz, NOTE

0.05–10.00 Hz, note

0–127

D100:0W– D0:100W

Auto

Wah

2-Band

Type of distortion

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

Type of lter

LPF: Produces a wah eect in a

broad frequency range.

BPF: Produces a wah eect in a

narrow frequency range.

Center frequency at which the wah eect is applied

Width of the frequency region at which the wah eect is applied

Increasing this value will make the frequency region narrower.

Hz: The AWah Rate value is specied

in Hz.

NOTE: The AWah Rate value is

specied as a note value.

Rate at which the wah eect is modulated

Depth at which the wah eect is modulated

Adjusts the volume balance between the sound that is sent through the wah (W) and the sound that is not sent through the wah (D).

Page 45

Eects

Balance D

53: AmpSim->Cho

(Guitar Amp Sim 0 Chorus)

L in

Pre Amp

Speaker

Chorus

R in

Parameter Value Explanation

Pre Amp Sw OFF, ON Turns the amp switch on/o.

JC-120, CLEAN TWIN, MATCHDRIVE,

Type

Volume # 0–127

Master # 0–127 Volume of the entire pre-amp

Gain

Bass 0–127

Middle 0–127

Treble 0–127

Speaker Sw

(Speaker Switch)

SpType

(Speaker Type)

Chorus Sw #

(Chorus Switch)

Chorus PreDly

(Chorus Pre Delay)

Cho Rate (Hz) #

(Chorus Rate)

Cho Depth #

(Chorus Depth)

Cho Bal #

(Chorus Balance)

Level 0–127 Output volume

Type of guitar amp

LOW, MIDDLE, HIGH

OFF, ON

(See the following table)

OFF, ON Chorus on/o

0.0–100.0 ms

0.05–10.00 Hz Rate of modulation

0–127 Depth of modulation

D100:0W– D0:100W

BG LEAD, MS1959I, MS1959II, MS1959I+II, SLDN LEAD, METAL5150, METAL LEAD, OD-1, OD-2 TURBO, DISTORTION, FUZZ

Volume and amount of distortion of the amp

Amount of pre-amp distortion

Tone of the bass/mid/treble frequency range

* Middle cannot be set if

“MATCHDRIVE” is selected as

the Type.

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Type of speaker

Adjusts the delay time from the direct sound until the chorus sound is heard.

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).

L out

Balance W

R out

Specications of each Speaker Type

The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.

Type Cabinet Speaker Microphone

SMALL 1 Small open-back enclosure 10 Dynamic

SMALL 2 Small open-back enclosure 10 Dynamic

MIDDLE Open back enclosure 12 x 1 Dynamic

JC-120 Open back enclosure 12 x 2 Dynamic

BUILT-IN 1 Open back enclosure 12 x 2 Dynamic

BUILT-IN 2 Open back enclosure 12 x 2 Condenser

BUILT-IN 3 Open back enclosure 12 x 2 Condenser

BUILT-IN 4 Open back enclosure 12 x 2 Condenser

BUILT-IN 5 Open back enclosure 12 x 2 Condenser

BG STACK 1 Sealed enclosure 12 x 2 Condenser

BG STACK 2 Large sealed enclosure 12 x 2 Condenser

MS STACK 1 Large sealed enclosure 12 x 4 Condenser

MS STACK 2 Large sealed enclosure 12 x 4 Condenser

METAL STACK Large double stack 12 x 4 Condenser

2-STACK Large double stack 12 x 4 Condenser

3-STACK Large triple stack 12 x 4 Condenser

Page 46

Eects

Balance D

54: AmpSim->Flg

(Guitar Amp Sim 0 Flanger)

L in

Feedback

Pre Amp

Speaker

Flanger

R in

Parameter Value Explanation

Pre Amp Sw OFF, ON Turns the amp switch on/o.

JC-120, CLEAN TWIN, MATCHDRIVE,

Type

Volume # 0–127

Master # 0–127 Volume of the entire pre-amp

Gain

Bass 0–127

Middle 0–127

Treble 0–127

Speaker Sw

(Speaker Switch)

SpType

(Speaker Type)

Flanger Sw #

(Flanger Switch)

Flg PreDly

(Flanger Pre Delay)

Flg Rate (Hz) #

(Flanger Rate)

Flg Depth #

(Flanger Depth)

FlgFeedback #

(Flanger Feedback)

Flg Bal #

(Flanger Balance)

Level 0–127 Output volume

Type of guitar amp

LOW, MIDDLE, HIGH

OFF, ON

(See the following table)

OFF, ON Flanger on/o

0.0–100.0 ms

0.05–10.00 Hz Rate of modulation

0–127 Depth of modulation

-98–+98%

D100:0W– D0:100W

BG LEAD, MS1959I, MS1959II, MS1959I+II, SLDN LEAD, METAL5150, METAL LEAD, OD-1, OD-2 TURBO, DISTORTION, FUZZ

Volume and amount of distortion of the amp

Amount of pre-amp distortion

Tone of the bass/mid/treble frequency range

* Middle cannot be set if

“MATCHDRIVE” is selected as

the Type.

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Type of speaker

Adjusts the delay time from the direct sound until the anger sound is heard.

Adjusts the proportion of the anger sound that is fed back into the eect.

Negative (-) values invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

L out

Balance W

R out

Specications of each Speaker Type

The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.

Type Cabinet Speaker Microphone

SMALL 1 Small open-back enclosure 10 Dynamic

SMALL 2 Small open-back enclosure 10 Dynamic

MIDDLE Open back enclosure 12 x 1 Dynamic

JC-120 Open back enclosure 12 x 2 Dynamic

BUILT-IN 1 Open back enclosure 12 x 2 Dynamic

BUILT-IN 2 Open back enclosure 12 x 2 Condenser

BUILT-IN 3 Open back enclosure 12 x 2 Condenser

BUILT-IN 4 Open back enclosure 12 x 2 Condenser

BUILT-IN 5 Open back enclosure 12 x 2 Condenser

BG STACK 1 Sealed enclosure 12 x 2 Condenser

BG STACK 2 Large sealed enclosure 12 x 2 Condenser

MS STACK 1 Large sealed enclosure 12 x 4 Condenser

MS STACK 2 Large sealed enclosure 12 x 4 Condenser

METAL STACK Large double stack 12 x 4 Condenser

2-STACK Large double stack 12 x 4 Condenser

3-STACK Large triple stack 12 x 4 Condenser

Page 47

Eects

L in

R in

L out

R out

Resonance

55: AmpSim->Ph

Pre

Amp

Parameter Value Explanation

Pre Amp Sw OFF, ON Turns the amp switch on/o.

Type

Volume # 0–127

Master # 0–127 Volume of the entire pre-amp

Gain

Bass 0–127

Middle 0–127

Treble 0–127

Speaker Sw

(Speaker Switch)

SpType

(Speaker Type)

Phs Switch #

(Phaser Switch)

Phs Rate (Hz) #

(Phaser Rate)

Phs Manual #

(Phaser Manual)

Phs Depth #

(Phaser Depth)

Phs Reso #

(Phaser Resonance)

Phs Mix #

(Phaser Mix)

Level 0–127 Output volume

(Guitar Amp Sim 0 Phaser)

Speaker

Type of guitar amp

LOW, MIDDLE, HIGH

OFF, ON

(See the following table)

OFF, ON Phaser on/o

0.05–10.00 Hz Modulation rate

0–127

0–127 Modulation depth

0–127 Amount of feedback

0–127 Volume of phase-shifted sound

Phaser

JC-120, CLEAN TWIN, MATCHDRIVE, BG LEAD, MS1959I, MS1959II, MS1959I+II, SLDN LEAD, METAL5150, METAL LEAD, OD-1, OD-2 TURBO, DISTORTION, FUZZ

Volume and amount of distortion of the amp

Amount of pre-amp distortion

Tone of the bass/mid/treble frequency range

* Middle cannot be set if

“MATCHDRIVE” is selected as

the Type.

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Type of speaker

Center frequency at which the sound is modulated

Mix

Specications of each Speaker Type

The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.

Type Cabinet Speaker Microphone

SMALL 1 Small open-back enclosure 10 Dynamic

SMALL 2 Small open-back enclosure 10 Dynamic

MIDDLE Open back enclosure 12 x 1 Dynamic

JC-120 Open back enclosure 12 x 2 Dynamic

BUILT-IN 1 Open back enclosure 12 x 2 Dynamic

BUILT-IN 2 Open back enclosure 12 x 2 Condenser

BUILT-IN 3 Open back enclosure 12 x 2 Condenser

BUILT-IN 4 Open back enclosure 12 x 2 Condenser

BUILT-IN 5 Open back enclosure 12 x 2 Condenser

BG STACK 1 Sealed enclosure 12 x 2 Condenser

BG STACK 2 Large sealed enclosure 12 x 2 Condenser

MS STACK 1 Large sealed enclosure 12 x 4 Condenser

MS STACK 2 Large sealed enclosure 12 x 4 Condenser

METAL STACK Large double stack 12 x 4 Condenser

2-STACK Large double stack 12 x 4 Condenser

3-STACK Large triple stack 12 x 4 Condenser

Page 48

Eects

Balance D

L in

R in

Balance D

56: AmpSim->Dly

Pre Amp

Parameter Value Explanation

Pre Amp Sw OFF, ON Turns the amp switch on/o.

Type

Volume # 0–127

Master # 0–127 Volume of the entire pre-amp

Gain

Bass 0–127

Middle 0–127

Treble 0–127

Speaker Sw

(Speaker Switch)

SpType

(Speaker Type)

Dly Switch #

(Delay Switch)

Dly Time #

(Delay Time)

DlyFeedback # (Delay Feedback)

D HF Damp

(Delay HF Damp)

Dly Bal #

(Delay Balance)

Level 0–127 Output volume

Type of guitar amp

LOW, MIDDLE, HIGH

OFF, ON

(See the following table)

OFF, ON Delay on/o

0–1300 ms

-98–+98%

200–8000 Hz, BYPASS

D100:0W– D0:100W

(Guitar Amp Sim 0 Delay)

Speaker

Delay

Feedback

JC-120, CLEAN TWIN, MATCHDRIVE, BG LEAD, MS1959I, MS1959II, MS1959I+II, SLDN LEAD, METAL5150, METAL LEAD, OD-1, OD-2 TURBO, DISTORTION, FUZZ

Volume and amount of distortion of the amp

Amount of pre-amp distortion

Tone of the bass/mid/treble frequency range

* Middle cannot be set if

“MATCHDRIVE” is selected as

the Type.

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Type of speaker

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 eect.

Negative (-) values invert the phase.

Frequency at which the highfrequency content of the delayed sound will be cut

(BYPASS: no cut)

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).

L out

Balance W

R out

Specications of each Speaker Type

The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.

Type Cabinet Speaker Microphone

SMALL 1 Small open-back enclosure 10 Dynamic

SMALL 2 Small open-back enclosure 10 Dynamic

MIDDLE Open back enclosure 12 x 1 Dynamic

JC-120 Open back enclosure 12 x 2 Dynamic

BUILT-IN 1 Open back enclosure 12 x 2 Dynamic

BUILT-IN 2 Open back enclosure 12 x 2 Condenser

BUILT-IN 3 Open back enclosure 12 x 2 Condenser

BUILT-IN 4 Open back enclosure 12 x 2 Condenser

BUILT-IN 5 Open back enclosure 12 x 2 Condenser

BG STACK 1 Sealed enclosure 12 x 2 Condenser

BG STACK 2 Large sealed enclosure 12 x 2 Condenser

MS STACK 1 Large sealed enclosure 12 x 4 Condenser

MS STACK 2 Large sealed enclosure 12 x 4 Condenser

METAL STACK Large double stack 12 x 4 Condenser

2-STACK Large double stack 12 x 4 Condenser

3-STACK Large triple stack 12 x 4 Condenser

Page 49

Eects

L in

R in

L out

R out

L in

R in

L out

R out

Balance D

57: EP->Tre

(EP Amp Sim 0 Tremolo)

Speaker TremoloEP Amp

Parameter Value Explanation

Type of amp

OLDCASE: a standard electric piano

Type

Bass # -50–+50 Amount of low-frequency boost/cut

Treble # -50–+50

Tremolo Sw #

(Tremolo Switch)

Trem Sync

(Tremolo Sync)

TremRate #

(Tremolo Rate)

TremoloDepth # 0–127 Depth of the tremolo eect

Tremolo Duty -10–+10

SpType

(Speaker Type)

OD Switch

(Overdrive Switch)

OD Gain

(Overdrive Gain)

OD Drive

(Overdrive Drive)

Level 0–127 Output volume

OLDCASE, NEWCASE, WURLY

OFF, ON Tremolo on/o

Hz, NOTE

0.05–10.00 Hz, note

LINE, OLD, NEW, WURLY, TWIN

OFF, ON Overdrive on/o

0–127 Overdrive input level

0–127 Degree of distortion

sound of the early 70s

NEWCASE: a standard electric piano

sound of the late 70s and early 80s

WURLY: a standard electric piano

sound of the 60s

Amount of high-frequency boost/ cut

Hz: The TremRate value is specied

in Hz.

NOTE: The TremRate value is

specied as a note value.

Rate of the tremolo eect

Adjusts the duty cycle of the LFO waveform used to apply tremolo.

Type of speaker

* If LINE is selected, the sound will

not be sent through the speaker simulation.

58: EP->Cho

(EP Amp Sim 0 Chorus)

Speaker ChorusEP Amp

Parameter Value Explanation

Type of amp

OLDCASE: a standard electric piano

Type

Bass # -50–+50 Amount of low-frequency boost/cut

Treble # -50–+50

Chorus Sw #

(Chorus Switch)

Cho PreDly

(Chorus Pre Delay)

ChorusSync Hz, NOTE

Cho Rate #

(Chorus Rate)

Cho Depth #

(Chorus Depth)

Cho Bal #

(Chorus Balance)

Sp Type

(Speaker Type)

OD Switch

(Overdrive Switch)

OD Gain

(Overdrive Gain)

OD Drive

(Overdrive Drive)

Level 0–127 Output volume

OLDCASE, NEWCASE, WURLY

OFF, ON Chorus on/o

0.0–100.0 ms

0.05–10.00 Hz, note

0–127 Depth of modulation

D100:0W– D0:100W

LINE, OLD, NEW, WURLY, TWIN

OFF, ON Overdrive on/o

0–127 Overdrive input level

0–127 Degree of distortion

sound of the early 70sA

NEWCASE: a standard electric piano

sound of the late 70s and early 80s

WURLY: a standard electric piano

sound of the 60s

Amount of high-frequency boost/ cut

Adjusts the delay time from the direct sound until the chorus sound is heard.

Hz: The Cho Rate value is specied

in Hz.

NOTE: The Cho Rate value is

specied as a note value.

Rate 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).

Type of speaker

* If LINE is selected, the sound will

not be sent through the speaker simulation.

Balance W

Page 50

Eects

R in

L out

R out

Balance D

L in

R in

L out

R out

Resonance

59: EP->Flg

L in

(EP Amp Sim 0 Flanger)

SpeakerEP Amp

Feedback

Flanger

Parameter Value Explanation

Type of amp

OLDCASE: a standard electric piano

Type

OLDCASE, NEWCASE, WURLY

sound of the early 70s

NEWCASE: a standard electric piano

sound of the late 70s and early 80s

WURLY: a standard electric piano

sound of the 60s

Bass # -50–+50 Amount of low-frequency boost/cut

Treble # -50–+50

Flanger Sw #

(Flanger Switch)

Flg PreDly

(Flanger Pre Delay)

OFF, ON Flanger on/o

0.0–100.0 ms

Amount of high-frequency boost/ cut

Adjusts the delay time from the direct sound until the anger sound is heard.

Hz: The Flg Rate value is specied

Flg Sync

(Flanger Sync)

Hz, NOTE

in Hz.

NOTE: The Flg Rate value is specied

as a note value.

Flg Rate #

(Flanger Rate)

Flg Depth #

(Flanger Depth)

0.05–10.00 Hz, note

Rate of modulation

0–127 Depth of modulation

Adjusts the proportion of the anger

FlgFeedback #

(Flanger Feedback)

-98–+98%

sound that is fed back into the eect.

Negative (-) values invert the phase.

Adjusts the volume balance

Flg Bal #

(Flanger Balance)

D100:0W– D0:100W

between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

Type of speaker

Sp Type

(Speaker Type)

LINE, OLD, NEW, WURLY, TWIN

* If LINE is selected, the sound will

not be sent through the speaker simulation.

OD Switch

(Overdrive Switch)

OD Gain

(Overdrive Gain)

OD Drive

(Overdrive Drive)

OFF, ON Overdrive on/o

0–127 Overdrive input level

0–127 Degree of distortion

Level 0–127 Output volume

Balance W

60: EP->Ph

(EP Amp Sim 0 Phaser)

Speaker

Amp

Phaser

Mix

Parameter Value Explanation

Type of amp

OLDCASE: a standard electric piano

Type

OLDCASE, NEWCASE, WURLY

sound of the early 70s

NEWCASE: a standard electric piano

sound of the late 70s and early 80s

WURLY: a standard electric piano

sound of the 60s

Bass # -50–+50 Amount of low-frequency boost/cut

Treble # -50–+50

Phaser Sw #

(Phaser Switch)

OFF, ON Phaser on/o

Amount of high-frequency boost/ cut

Hz: The Phs Rate value is specied

Phs Sync

(Phaser Sync)

Hz, NOTE

in Hz.

NOTE: The Phs Rate value is

specied as a note value.

Phs Rate #

(Phaser Rate)

Phs Manual #

(Phaser Manual)

Phs Depth #

(Phaser Depth)

Phs Reso #

(Phaser Resonance)

Phs Mix #

(Phaser Mix)

0.05–10.00 Hz, note

0–127

Modulation rate

Center frequency at which the sound is modulated

0–127 Modulation depth

0–127 Amount of feedback

0–127 Volume of phase-shifted sound

Type of speaker

Sp Type

(Speaker Type)

LINE, OLD, NEW, WURLY, TWIN

* If LINE is selected, the sound will

not be sent through the speaker simulation.

OD Switch

(Overdrive Switch)

OD Gain

(Overdrive Gain)

OD Drive

(Overdrive Drive)

OFF, ON Overdrive on/o

0–127 Overdrive input level

0–127 Degree of distortion

Level 0–127 Output volume

Page 51

Eects

Balance D

R in

Balance D

L in

R in

L out

R out

Mix

Enhancer

Balance W

L in

R in

R out

Mix

Balance W

Balance D

61: EP->Dly

L in

EP Amp

Parameter Value Explanation

Type

Bass # -50–+50 Amount of low-frequency boost/cut

Treble # -50–+50

Delay Switch # OFF, ON Delay on/o

Delay Sync msec, NOTE

Dly Time/Note #

(Delay Time/Note)

Delay Accel

(Delay Acceleration)

DlyFeedback #

(Delay Feedback)

D HF Damp

(Delay HF Damp)

Dly Bal #

(Delay Balance)

Sp Type

(Speaker Type)

OD Switch

(Overdrive Switch)

OD Gain

(Overdrive Gain)

OD Drive

(Overdrive Drive)

Level 0–127 Output volume

(EP Amp Sim 0 Delay)

Time Ctrl

Speaker

OLDCASE, NEWCASE, WURLY

0–1300 ms, note

0–15

-98–+98%

200–8000 Hz, BYPASS

D100:0W– D0:100W

LINE, OLD, NEW, WURLY, TWIN

OFF, ON Overdrive on/o

0–127 Overdrive input level

0–127 Degree of distortion

Delay

Feedback

Type of amp

OLDCASE: a standard electric piano

sound of the early 70s

NEWCASE: a standard electric piano

sound of the late 70s and early 80s

WURLY: a standard electric piano

sound of the 60s

Amount of high-frequency boost/ cut

msec: The Dly Time/Note value is

specied in msec.

NOTE: The Dly Time/Note value is

specied as a note value.

Adjusts the delay time from the direct sound until the delay sound is heard.

Speed at which the current delay time changes to the specied delay time when you change the delay time.

The rate of change for the Delay Time directly aects the rate of pitch change.

Adjusts the proportion of the delay sound that is fed back into the eect.

Negative (-) values invert the phase.

Adjusts the frequency above which sound fed back to the eect 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).

Type of speaker

* If LINE is selected, the sound will

not be sent through the speaker simulation.

L out

Balance W

R out

62: Eh->Cho

(Enhancer 0 Chorus)

Mix

Chorus

Enhancer

Parameter Value Explanation

EnhancerSens # 0–127 Sensitivity of the enhancer

Enhancer Mix # 0–127

Cho PreDly

(Chorus Pre Delay)

ChorusSync

(Chorus Sync)

Cho Rate #

(Chorus Rate)

Chorus Depth 0–127 Depth of modulation

Cho Bal #

(Chorus Balance)

Level 0–127 Output volume

63: Eh->Flg

0.0–100.0 ms

Hz, NOTE

0.05–10.00 Hz, note

D100:0W– D0:100W

(Enhancer 0 Flanger)

Enhancer

Mix

Level of the overtones generated by the enhancer

Adjusts the delay time from the direct sound until the chorus sound is heard.

Hz: The Cho Rate value is specied

in Hz.

NOTE: The Cho Rate value is

specied as a note value.

Rate 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).

Feedback

Enhancer

Parameter Value Explanation

EnhancerSens # 0–127 Sensitivity of the enhancer

Enhancer Mix # 0–127

Flg PreDly

(Flanger Pre Delay)

Flg Sync

(Flanger Sync)

Flg Rate #

(Flanger Rate)

Flg Depth

(Flanger Depth)

FlgFeedback #

(Flanger Feedback)

Flg Bal #

(Flanger Balance)

Level 0–127 Output volume

0.0–100.0 ms

Hz, NOTE

0.05–10.00 Hz, note

0–127 Depth of modulation

-98–+98%

D100:0W– D0:100W

Level of the overtones generated by the enhancer

Adjusts the delay time from the direct sound until the anger sound is heard.

Hz: The Cho Rate value is specied

in Hz.

NOTE: The Cho Rate value is

specied as a note value.

Rate of modulation

Adjusts the proportion of the anger sound that is fed back into the eect.

Negative (-) values invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

Balance D

L out

Flanger

Page 52

Eects

L in

R in

L out

R out

Mix

Enhancer

Balance W

R in

L out

R out

Balance W

Balance D

64: Eh->Dly

(Enhancer 0 Delay)

Mix

Feedback

Enhancer

Parameter Value Explanation

EnhancerSens # 0–127 Sensitivity of the enhancer

Enhancer Mix # 0–127

Delay Sync msec, NOTE

Dly Time/Note

(Delay Time/Note)

DlyFeedback #

(Delay Feedback)

D HF Damp

(Delay HF Damp)

Dly Bal #

(Delay Balance)

Level 0–127 Output volume

0–2600 ms, note

-98–+98%

200–8000 Hz, BYPASS

D100:0W– D0:100W

Level of the overtones generated by the enhancer

msec: The Dly Time/Note value is

specied in msec.

NOTE: The Dly Time/Note value is

specied as a note value.

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 eect.

Negative (-) values invert the phase.

Adjusts the frequency above which sound fed back to the eect 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).

Balance D

Delay

Balance D

65: Cho->Dly

(Chorus 0 Delay)

L in

Balance W

Chorus

Balance W

Parameter Value Explanation

Cho PreDly

(Chorus Pre Delay)

ChorusSync Hz, NOTE

Cho Rate/Note #

(Chorus Rate)

Chorus Depth 0–127 Depth of modulation

Cho Bal #

(Chorus Balance)

Delay Sync msec, NOTE

Dly Time/Note

(Delay Time/Note)

DlyFeedback #

(Delay Feedback)

D HF Damp

(Delay HF Damp)

Dly Bal #

(Delay Balance)

Level 0–127 Output volume

0.0–100.0 ms

0.05–10.00 Hz, note

D100:0W– D0:100W

0–2600 ms, note

-98–+98%

200–8000 Hz, BYPASS

D100:0W– D0:100W

Adjusts the delay time from the direct sound until the chorus sound is heard.

Hz: The Cho Rate/Note value is

specied in Hz.

NOTE: The Cho Rate/Note value is

specied as a note value.

Rate of modulation

Volume balance between the direct sound (D) and the chorus sound (W)

msec: The Dly Time/Note value is

specied in msec.

NOTE: The Dly Time/Note value is

specied as a note value.

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 eect.

Negative (-) values invert the phase.

Adjusts the frequency above which sound fed back to the eect 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).

Balance D

Delay

Feedback

Page 53

Eects

R in

R out

Balance W

Balance D

L in

R in

R out

Balance W

Balance D

66: Flg->Dly

(Flanger 0 Delay)

L in

Feedback

Flanger

Balance D

Parameter Value Explanation

Flg PreDly

(Flanger Pre Delay)

Flg Sync

(Flanger Sync)

Flg Rate #

(Flanger Rate)

Flg Depth

(Flanger Depth)

FlgFeedback #

(Flanger Feedback)

Flg Bal #

(Flanger Balance)

Delay Sync msec, NOTE

Dly Time/Note

(Delay Time/Note)

DlyFeedback #

(Delay Feedback)

D HF Damp

(Delay HF Damp)

Dly Bal #

(Delay Balance)

Level 0–127 Output volume

Balance W

0.0–100.0 ms

Hz, NOTE

0.05–10.00 Hz, note

0–127 Depth of modulation

-98–+98%

D100:0W– D0:100W

0–2600 ms, note

-98–+98%

200–8000 Hz, BYPASS

D100:0W– D0:100W

Balance D

L out

Delay

Feedback

Adjusts the delay time from the direct sound until the anger sound is heard.

Hz: The Flg Rate value is specied

in Hz.

NOTE: The Flg Rate value is specied

as a note value.

Rate of modulation

Adjusts the proportion of the anger sound that is fed back into the eect.

Negative (-) values invert the phase.

Volume balance between the direct sound (D) and the anger sound (W)

msec: The Dly Time/Note value is

specied in msec.

NOTE: The Dly Time/Note value is

specied as a note value.

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 eect.

Negative (-) values invert the phase.

Adjusts the frequency above which sound fed back to the eect 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).

Parameter Value Explanation

Cho Rate #

(Chorus Rate)

0.05–10.00 Hz, note

Chorus Depth 0–127

Cho Bal #

(Chorus Balance)

Flg PreDly

(Flanger Pre Delay)

Flg Sync

(Flanger Sync)

Flg Rate #

(Flanger Rate)

Flg Depth

(Flanger Depth)

FlgFeedback #

(Flanger Feedback)

Flg Bal #

(Flanger Balance)

D100:0W– D0:100W

0.0–100.0 ms

Hz, NOTE

0.05–10.00 Hz, note

0–127

-98–+98%

D100:0W– D0:100W

Level 0–127 Output volume

Note

Sixty-fourth-note triplet

Sixteenth-note triplet

Dotted sixteenth 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

Sixty-fourth note

Dotted thirtysecond note

Eighth note Quarter-note triplet Dotted eighth note

Modulation frequency of the chorus eect

Modulation depth of the chorus eect

Volume balance between the direct sound (D) and the chorus sound (W)

Adjusts the delay time from the direct sound until the anger sound is heard.

Hz: The Flg Rate value is specied

in Hz.

NOTE: The Flg Rate value is specied

as a note value.

Modulation frequency of the anger eect

Modulation depth of the anger eect

Adjusts the proportion of the anger sound that is fed back into the eect.

Negative (-) values invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

Thirty-second-note triplet

Sixteenth note Eighth-note triplet

Thirty-second note

67: Cho->Flg

(Chorus 0 Flanger)

Balance W

Chorus

Balance W

Parameter Value Explanation

Cho PreDly

(Chorus Pre Delay)

ChorusSync Hz, NOTE

0.0–100.0 ms

Feedback

Flanger

Adjusts the delay time from the direct sound until the chorus sound is heard.

Hz: The Cho Rate value is specied

in Hz.

NOTE: The Cho Rate value is

specied as a note value.

L out

Page 54

Eects

About the STEP RESET Function

04: Step Filter 18: Slicer

The above types contain a sixteen-step sequencer. For these types, you can use an MFX CONTROL to reset the sequence to play from the rst step. To do this, set the MFX CONTROL Destination to “Step

Reset.”

For example, if you are using the modulation lever to control the eect, you would make the following settings.

Parameter Value

Source CC01: Modulation

Destination Step Reset

Sens +63

With these settings, the sequence will play back from the rst step whenever you operate the modulation lever.

Controlling an MFX via MIDI (MFX CONTROL)

You can use MIDI messages such as control change messages to control the principal MFX parameters. This capability is called “MFX

CONTROL (multi-eects control).”

The parameters that can be controlled are preset for each MFX type, and are the parameters marked by a “#” symbol in the explanations of each MFX parameter on p. 25 and following. Up to four multieects control settings can be assigned using MFX CONTROL.

To use MFX CONTROL, you’ll need to specify which MIDI message (Source) will aect which parameter (Destination), and how greatly (Sens).

Parameter Value Explanation

Species the MIDI message that will control the corresponding MFX CONTROL parameter.

OFF MFX CONTROL will not be used.

CC01–31

Source (1–4)

Destination (1–4)

Sens (1–4) -63–+63

CC33–95

BEND Pitch bend

AFT Aftertouch

SYS 1–4

Refer to the parameters marked “#” on p. 26 and following

Controller number 1–31

Controller number 33–95

Use the controller that is assigned by the System Parameter setting Sys Ctrl 1–4.

Selects the multi-eect parameter that will be controlled by control source 1–4. The type of parameters that can be selected will depend on the type of multi-eect you’ve selected in MFX Type.

Species the depth of MFX 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.

Page 55

Mic

Mic Edit

1. Press the [Menu] button.

2. Use the cursor [

[Shift] + Cursor [K] [J]

] [J] buttons to select “MIC EDIT” and press the [Enter] button.

Parameter

Cursor [K] [J]

Phantom Sw

(Mic Phantom Switch)

Value

Value [-] [+]

OFF, ON

Explanation

If you’re using a condenser mic, connect it via the balanced (XLR) plug and turn this “ON” (phantom power is not supplied to the 1/4” plug).

If you’re using a dynamic mic, turn this “OFF.”

* You must leave phantom power turned o unless you have connected a condenser mic

that requires a phantom power supply. Supplying phantom power to a dynamic mic or an audio playback device can cause malfunctions. For details on mic specications, refer to the owner’s manual of the mic you’re using. (This unit’s phantom power supply provides DC 48 V, 10 mA maximum.)

MEMO

MIC

(Microphone)

Level

(Mic Level)

Mode

(Mic Mode)

0–127 Adjusts the mic input level.

Species the MIC mode.

OFF The mic is not used.

VOCODER The vocoder is used.

MOD

BYPASS The voice being input to the mic is output without change.

Phantom power settings are not memorized by the unit. When you turn o the power, the phantom power returns to “OFF.”

This is a mic modulation function that lets you use your voice to apply change to the sounds you’re playing. Changes in the volume of your voice can vary a parameter of the synthesizer’s analog part.

MIC VOCODER edit (if “VOCODER” is selected as the MIC Mode)

[Shift] + Cursor [K] [J]

MIC VOCODER

(Mic Vocoder)

Parameter

Cursor [K] [J]

Rev Send

(Reverb Send Level)

Envelope

(Vocoder Envelope)

Mic Sens

(Mic Sensitivity)

Synth Level

(Vocoder Synth Level)

Mic Mix

(Vocoder Mic Mix Level)

Mic HPF

(Mic High Pass Filter)

Level

(Mic Vocoder Level)

Value

Value [-] [+]

0–127 Adjusts the amount of reverb for the sound that passes through vocoder.

Selects the type of vocalization.

SHARP The human voice is emphasized.

SOFT The instrumental sound is emphasized.

LONG A vintage sound with a long decay is produced.

0–127 Species the input sensitivity of the mic.

0–127 Species the input level of the instrumental sound.

0–127

BYPASS, 1000 Hz, 1250 Hz, 1600 Hz, 2000 Hz, 2500 Hz, 3150 Hz, 4000 Hz, 5000 Hz, 6300 Hz, 8000 Hz, 10000 Hz,

12500 Hz, 16000 Hz

0–127 Adjusts the output level of the sound that passes through the vocoder.

Explanation

Species the amount of mic sound passing through the Mic HPF (Mic High Pass Filter) that is added to the output of the vocoder.

Species the frequency at which the high-pass lter (HPF) applied to the mic sound starts to take eect.

This does nothing if BYPASS is specied.

Page 56

Mic

MIC MODULATION (if “MOD” is selected as the MIC Mode)

[Shift] + Cursor [K] [J]

MIC MOD

(Mic Modulation)

Parameter

Cursor [K] [J]

Dest

(Mic Modulation Destination)

Sens

(Mic Modulation Sensitivity)

Value

Value [-] [+]

Here you can specify the parameter that is controlled by the mic modulation function. The following parameters can be controlled.

Mic modulation applies only to an analog part (it does not apply to a digital part).

Explanation

Not using Mic Modulation

OFF MIC MOD is not used

Opening and Closing the Filter

CUTOFF Changes the cuto frequency.

RESO

Emphasizes the portion of the sound in the region of the cuto frequency, adding character to the sound.

Changing the Volume

AMP-LEV Changes the volume.

Applying Cross Modulation

X-MOD Changes the depth of cross modulation.

Changing the Pitch

PIT-OSC1 PIT-OSC2

Changes the oscillator pitch.

Adjusting the pulse width.

PW-OSC1 PW-OSC2

Adjusts the pulse width. This eect is applied if V (asymmetrical square wave) is selected as the oscillator waveform.

Applying LFO to Modulate Sounds

PIT-LFO1 PIT-LFO2

FLT-LFO1 FLT-LFO2

AMP-LFO1 AMP-LFO2

LFO1 RATE LFO2 RATE

-63–0–+63

Changes the depth at which the LFO modulates the oscillator pitch.

Changes the depth at which the LFO modulates the lter cuto frequency.

Changes the depth at which the LFO modulates the amp volume.

Adjusts the modulation speed of the LFO. If the LFO’s Tempo Sync is ON, the speed does not change.

Species the depth of modulation. If you wish to modify the selected parameter in a positive (+) direction – i.e., a higher value or

Set this to “0” if you don’t want to apply the eect.

Page 57

MIDI Control

Operations on the JD-XA’s panel can be transmitted as MIDI messages from the MIDI OUT connector or USB MIDI OUT.

1. Press the [MIDI CTRL] button to turn it on.

According to your keyboard performance or panel operations, MIDI messages are output on eight channels (default setting: channels 9–16) dierent than the channels used by the analog parts and digital parts.

2. Use the ANALOG PART Select and DIGITAL PART Select buttons to select a part.

For each part, you can specify a desired MIDI channel and assign controllers to the knobs and sliders. You can use the sequencer to record the performance of a MIDI Control part onto the track of the specied channel. The output destination of the recorded track’s performance data can be specied in Track Settings. &“Pattern Utility” (p. 65) 0 “Track Settings”

3. Use the ANALOG PART On and DIGITAL PART On buttons to turn on the part that you want to output the keyboard and controller

data.

Section

PART

(Part)

PART MIDI

(Part MIDI)

PART CTRL SW

(Part Control Switch)

MIDI CTRL

(MIDI Control)

Parameter

Cursor [K] [J]

Kbd Sw

(Part Keyboard Switch)

Range Lower

(Keyboard Range Lower)

Range Upper

(Keyboard Range Upper)

Arp Sw

(Arpeggio Switch)

(Channel)

Bend

(Control Bender)

Mod

(Control Modulation)

Hold

(Control Hold Pedal)

Pedal1

(Control Pedal 1)

Pedal2

(Control Pedal 2)

Wheel1

(Control Wheel 1)

Wheel2

(Control Wheel 2)

LFO Rate

LFO Fade

LFO Pitch

LFO Filter

LFO Amp

OSC1 Pitch

OSC1 Fine

OSC1 PWM

OSC1 PW

Cross Mod

OSC2 Pitch

OSC2 Fine

OSC2 PWM

OSC2 PW

PEnv Depth

PEnv A

PEnv D

Value

Value [-] [+]

OFF, ON

C -1–G 9 Species the lowest key of the keyboard range for each part.

C -1–G 9

OFF, ON Turns each part’s arpeggio switch on/o.

1–16 Species the MIDI channel for each part.

OFF, ON

CC01-CC31 CC33-CC127 BEND AFT

Explanation

Turns each part’s keyboard switch on/o.

MEMO

This parameter is switched when you press a Part On button.

Species the highest key of the keyboard range for each part.

NOTE

If you raise the lowest key above the highest key, or the highest key below the lowest key, the other setting will change to the same value.

For each controller, these settings specify whether MIDI messages are (ON) or are not (OFF) be transmitted to the part.

Specify the MIDI message that is assigned to each knob or slider.

Page 58

MIDI Control

Section

MIDI CTRL

(MIDI Control)

Parameter

Cursor [K] [J]

A-OSC1

A-OSC2

AUX

HPF

Drive

Cuto

Resonance

Key Follow

Filt Env

Filt A

Filt D

Filt S

Filt R

Amp Level

Amp A

Amp D

Amp S

Amp R

Portamento

Value

Value [-] [+]

CC01-CC31 CC33-CC127 BEND AFT

Explanation

Specify the MIDI message that is assigned to each knob or slider.

Trigger Mode

You can assign MIDI messages to the [01]–[16] buttons so that the assigned MIDI message is transmitted from the MIDI OUT connector or USB MIDI OUT when you press the corresponding button. These messages are not transmitted to the internal sound engine or to the sequencer.

1. Hold down the [Shift] button and press the [MIDI CTRL] button.

The Program No. display changes to “

2. When you press the [01]–[16] buttons, the assigned MIDI messages are transmitted.

They are transmitted on the channel of the currently selected part.

* To turn trigger mode o, hold down the [Shift] button and press the [MIDI CTRL] button once again.

MEMO

If trigger mode is on but the trigger mode parameters are not shown, hold down the [Exit] button and press one of the [01]–[16] buttons to see the trigger mode parameters.

Button

[01]–[16]

Parameter

Cursor [K] [J]

Assign

Type (*)

TrG

,” trigger mode turns on, and the trigger mode parameters appear.

Value

Value [-] [+]

When you change the value, you’ll be able to edit any related values.

NOTE

BEND-DOWN

BEND-UP

AFT Outputs a channel pressure message.

PC+BS

MOMENTARY

LATCH The setting is turned on/o each time you press the button.

Explanation

Number: Note number

Velocity: Velocity

Number: Control change number

On Value: Value when button is turned on

O Value: Value when button is turned o

Outputs a pitch bend message.

MSB: Bank select MSB

LSB: Bank select LSB

PC: Program change

Remains on while you hold down the button. Turns o when you release the button.

* Available if Assign is NOTE, CC, BEND-DOWN,BEND-UP, or AFT.

Page 59

Arpeggio

Using the Arpeggio Function

Turning Arpeggio On/O

1. Press [Arpeggio] to turn the arpeggio function on.

2. Hold down a chord on the keyboard.

3. To turn the arpeggio function o, press the [Arpeggio] button once again to make it go dark.

The Arpeggio Switch parameter of each part species which part(s) will play arpeggios. & “Part Arpeggio Switch (Arp Sw)” (p. 3)

Making Settings for the Arpeggio Function

1. Hold down the [Shift] button and press the [Arpeggio] button.

2. Use the cursor buttons to select a parameter, and use the [-] [+] buttons to change the value.

Arp Hold: If this is on, the arpeggio continues playing even if you take your hand o the keyboard.

Using a pedal switch

If you hold down a pedal switch while playing a chord, the arpeggio continues playing even if you release the keyboard.

1. Connect your pedal switch (e.g., DP series; sold separately) to the HOLD jack.

2. Press the [ARPEGGIO] button.

3. Play a chord while holding down the pedal switch.

If you play a dierent chord or key while the arpeggio is being held, the arpeggio also changes.

Parameter

Cursor [K] [J]

Grid

Duration 30–120%, Full

Motif

Velocity REAL, 1–127

Oct Range (Octave Range)

Accent 0–100

Value

Value [-] [+]

1/4, 1/8, 1/8L, 1/8H, 1/12, 1/16, 1/16L, 1/16H, 1/24

& “Selecting the

upward/downward variation (Motif)”

-3–+3

Explanation

Species the time signature and swing of the arpeggio. This determines the note value of one grid unit, and species the shue strength (none/light/heavy).

1/4: Quarter note (one grid unit =one beat) 1/8: Eighth note (two grid units = one beat) 1/8L: Eighth note, light shue (two grid units = one beat; light shue) 1/8H: Eighth note, heavy shue (two grid units = one beat; heavy shue) 1/12: Eighth note triplet (three grid units = one beat) 1/16: 16th note (four grid units = one beat) 1/16L: 16th note, light shue (four grid units = one beat; light shue) 1/16H: 16th note, heavy shue (four grid units = one beat; heavy shue) 1/24: 16th note triplet (six grid units = one beat)

Species the duration that each arpeggiated note is sounded. This determines whether notes are played briey to produce a staccato feel, or lengthened to produce a tenuto feel.

30–120: For example if this is set to “30,” a note on the grid (or in the case of a note that is extended across multiple

grid units by a tie, the last tied note) will have a duration that is 30% of the note value specied by the Grid setting.

Full: Even if consecutive grid units are not connected by a tie, the note continues to sound until the same note is again

assigned to play.

Species how notes are sounded if more keys are pressed than the number of notes specied by the arpeggio. Refer to “Selecting the upward/downward variation (Motif)” (p. 60).

Species the strength at which the arpeggiated notes are sounded.

REAL: The velocity depends on the strength at which you play each key. 1–127: The notes are sounded at the velocity you specify here, regardless of how strongly you play the keys.

Species the range across which the arpeggio’s pitch is shifted. The pitch range is shifted in steps of an octave each cycle. You can specify this separately for the upward direction and the downward direction (maximum ±3 octaves).

Species the strength of the arpeggio’s accents. If this is set to “100,” dynamics are applied to the notes according to the velocities of the notes assigned to the

arpeggio. If this is set to “0,” all notes are sounded at the same strength.

Page 60

Arpeggio

Selecting the upward/downward variation (Motif)

You can specify how notes are sounded if you hold down more keys than the number of notes specied by the arpeggio.

* If you hold down fewer keys than the number of notes in the arpeggio, the highest key you press is sounded.

Value Explanation

Up (L) Notes are sounded consecutively starting with the lowest key you pressed, and only the lowest key you pressed is sounded every time.

Up (L&H) Notes are sounded consecutively starting with the lowest key you pressed, and both the lowest and highest keys you pressed are sounded every time.

Up (_) Notes you press will be sounded, from low to high. No note is necessarily sounded every time.

Down (L) Notes are sounded consecutively starting with the highest key you pressed, and only the lowest key you pressed is sounded every time.

Down (L&H) Notes are sounded consecutively starting with the highest key you pressed, and both the lowest and highest keys you pressed are sounded every time.

Down (_) Notes you press will be sounded, from high to low. No note is necessarily sounded every time.

U/D (L)

U/D (L&H)

U/D (_) Notes you press will be sounded, from low to high, and then back down from high to low. No note is necessarily sounded every time.

Rand (L) Keys you pressed are sounded in random order, and only the lowest key you pressed is sounded every time.

Rand (_) Notes you press will be sounded, in random order. No note is necessarily sounded every time.

Phrase When you press a single key, a phrase based on the pitch of that key is played. If you press more than one key, the last-pressed key is used.

< Example >

With an arpeggio assigned (from the lowest note) as “1-2-3-2,” you hold down the “C-D-E-F-G” keys

Notes are sounded consecutively from the lowest key you pressed, up toward the highest key and then returning back toward the lowest key; only the lowest key you pressed is sounded every time.

Notes are sounded consecutively from the lowest key you pressed, up toward the highest key and then returning back toward the lowest key; both the lowest and highest keys you pressed are sounded every time.

5 “UP (L)” setting:

C-D-E-D 0 C-E-F-E 0 C-F-G-F (0 repeat)

5 “UP (_)” setting:

C-D-E-D 0 D-E-F-E 0 E-F-G-F (0 repeat)

5 “U/D (L&H)” setting:

C-D-G-D 0 C-E-G-E 0 C-F-G-F 0 C-E-G-E (0 repeat)

Page 61

Selecting an Arpeggio Template

1. Press the [Arpeggio] button.

The arpeggio function turns on, and the ARPEGGIO screen appears. By holding down the [Shift] button and pressing the [Arpeggio] button, you can access the ARPEGGIO screen without turning the function on/o.

Arpeggio

2. Use the Cursor [

] [J] buttons to select “Select Template,” and then press the [Enter] button.

3. Use the [-] [+] buttons to select an arpeggio template, and press the [Enter] button.

4. Press the [Exit] button to return to the program select screen.

MEMO

When you select a template, all arpeggio parameters are changed to the values of the template.

Creating an Arpeggio

About arpeggios

An arpeggio contains data in a grid of up to 32 steps by 16 notes, with settings that specify the chord style and how the arpeggio is sounded.

Each grid location contains one of the following items of data.

5 On: Note-on (with velocity data) 5 Tie: Tie (hold the preceding note) 5 O (Rest): Rest (not sounded)

Based on “the lowest key you press during input,” the relative key position and order are stored in the arpeggio data.

Using the [-] [+] Buttons and [01]–[16] Buttons to Input Data

1. Hold down the [Shift] button and press the [Arpeggio] button.

The ARPEGGIO screen appears without changing the arpeggio on/o status.

2. Use the cursor [

3. Use the cursor [

4. Use the cursor and [-] [+] buttons to select the note number that you want to input.

If data has been input for the specied note number, the [01]–[16] button corresponding to each step is lit.

MEMO

You can also use the keyboard to specify the note number and velocity at the same time.

5. Use the cursor and [-] [+] buttons to specify the velocity that you want to input.

] [J] buttons to select “Pattern Edit,” and press the [Enter] button.

] [J] buttons to select “End Step,” and specify the number of steps.

Page 62

Arpeggio

6. Using the [01]–[16] buttons, turn “On” the button of each step that you want to input.

5 If you once again press a button that is “O n ,” it turns “O.” 5 You can’t turn “On” a step that is beyond the specied number of steps. 5 If you want to use the [01]–[16] buttons to work with step 17 and later, hold down the [Shift] button and press the [02] button to change the step

range. To return to working with steps 1–16, hold down the [Shift] button and press the [01] button.

Entering a TIE

If you press the [Enter] button, the velocity indication becomes “TIE.” By holding down the [Enter] button and turning a [01]–[16] button “O n ,” you can enter a “TIE” at the specied step.

7. Press the [Exit] button several times to return to the top screen.

Using Step Recording to Input Data

1. Hold down the [Shift] button and press the [Arpeggio] button.

The ARPEGGIO screen appears without changing the arpeggio on/o status.

2. Use the cursor [

3. Use the cursor [

] [J] buttons to select “Pattern Edit,” and press the [Enter] button.

] [J] buttons to select “End Step,” and specify the number of steps.

4. Press the [Step REC] button to make it light.

5. Play once on the keyboard.

The note is recorded in step 1; you automatically advance to the next step and the [02] button blinks. If you select multiple notes, a chord is recorded.

6. Repeat step 5 and record until the “End Step.”

5 If you want to erase data from a step (or enter a rest), press the [Erase] button. 5 If you want to enter a tie, press the [Enter] button. 5 If you want to change the step that you’re recording, press one of the [01]–[16] buttons.

If you want to use the [01]–[16] buttons to work with step 17 and later, hold down the [Shift] button and press the [02] button to change the step range.

To return to working with steps 1–16, hold down the [Shift] button and press the [01] button.

7. Press the [Step REC] button to nish step recording.

8. Press the [Exit] button several times to return to the top screen.

Initializing the Arpeggio

In the ARP EDIT screen, you can hold down the [Shift] button and press the [Program Select] button to initialize the arpeggio. Initialize the arpeggio if you want to start working from a blank condition.

Playing a Preview

In the ARP EDIT screen, press the [Play] button to audition the arpeggio that you’ve input. Press the [Play] button once again to stop.

Page 63

Pattern Sequencer

The pattern sequencer lets you record keyboard performance and knob operations, and play them back repeatedly.

When you record, the currently selected part is recorded. The pattern time signature is 4/4.

Changing the Length of One Step

1. Press the [Scale] button.

Changes the length of one step. The indicators at the left of the button show the setting.

5 The [01]–[12] buttons correspond to a recording input range of

two beats, allowing you to enter 16th note triplets.

5 The [01]–[12] buttons correspond to a recording input range of

one measure, allowing you to enter 8th note triplets.

5 The [01]–[16] buttons correspond to a recording input range of

two beats, allowing you to enter 32nd notes.

5 The [01]–[16] buttons correspond to a recording input range of

one measure, allowing you to enter 16th notes.

NOTE

Even if you change the Scale, the length of one step relative to the already-recorded data does not change.

Changing the Number of Measures in the

Changing the Tempo

Here you can specify the tempo of the arpeggio or the pattern sequencer.

5 [Tap ] button: You can change the tempo by pressing

the [Tap ] button three times or more at quarter-note intervals of the desired tempo.

5 [TEMPO] knob: Species the tempo in the range 60–240. 5 [Shift] + [Tap ]: Displays the tempo parameter.

Use the [-] [+] buttons to specify the integer value of the tempo. You can use [Shift] + [-] [+] buttons to specify the tempo value below the decimal point.

MEMO

5 By turning Tempo Rec ON during Realtime REC, tempo changes

can be recorded in the pattern.

5 The tempo is saved individually for each program.

& Owner’s manual “Saving a Program (Write)” (p. 7)

Click Settings

1. Press the [Menu] button.

2. Select “SYSTEM” and then press the [Enter] button.

3. Choose the CLICK parameter, and use the [-] [+] buttons to

change the value.

4. Press the [Exit] button several times to return to the top

screen.

Save the system parameters if necessary. & Owner’s manual “Saving the System Settings” (p. 14)

Pattern

1. Press the [Pattern Length] button.

2. Use the [01]–[04] buttons or the [-] [+] buttons to specify

the length.

* For some Scale settings, use the [01]–[08] buttons to specify the

length.

3. Press the [Enter] button.

a. If you’re increasing the number of measures

The screen asks “With Copying?”

With Copying? [EXIT]:N [ENT]:Y

5 [Enter] button Changes the number of measures by

repeatedly copying the recorded data.

5 [Exit] button Changes the measure position at which

looping occurs, leaving the recorded data unchanged.

b. If you’re decreasing the number of measures

The measure position at which looping occurs is changed, leaving the recorded data unchanged.

Realtime Recording (Real Time REC)

Here’s how to create a pattern by recording your performance of the keyboard and controllers in real time. Your performance is recorded by layering it onto the selected pattern.

1. Use the ANALOG PART or DIGITAL PART On [01]–[04]

buttons to turn on the part that you want to record.

2. Press the [Real Time REC] button (REC STANDBY).

3. Make settings for realtime recording.

Use the cursor [K] [J] buttons to select a parameter, and use the [-]

[+] buttons to change the value.

Parameter

Cursor [K] [J]

(Count In)

Cnt In

* This is shown

only during REC STANDBY.

Explanation

Selects the way in which recording is started.

O: Recording starts when you press the [Play]

button.

1 MEAS: When you press the [Play] button, recording

starts after a one-measure count.

2 MEAS: When you press the [Play] button, recording

starts after a two-measure count.

WAIT NOTE: Recording starts when you press the [Play]

button, or when you play a note on the keyboard or press the hold pedal.

Page 64

Pattern Sequencer

Parameter

Cursor [K] [J]

Input Qtz

(Input Quantize)

Reso

(Resolution)

Strength

Rate

Loop Rec

Tempo Rec

Click Switch Temporarily turns the click on/o.

Explanation

Quantize is a function that automatically corrects inaccuracies in the timing at which you play the keyboard, tightening-up the rhythmic accuracy.

You can apply the quantize function during realtime recording. This setting species whether quantize will be applied during recording.

OFF: Quantize is not applied during recording. GRID: Quantize is applied during recording. Use this when you

need precise timing, such as for drums or bass.

SHFL (SHUFFLE): Shue quantize is applied during recording.

Use this when you want to give the rhythm a shue or swing feel.

Species the note timing value at which quantization is applied.

GRID: 1/32 ( SHFL: 1/16 (

This setting is used with grid quantize. It species the degree to which your notes are moved to precise intervals of the note values specied by the Reso setting. If this is set to “100%,” the notes that you record are moved all the way to exact intervals of the specied Reso. With lower percentages, less correction is applied. If this is set to “0%,” the timing is not corrected at all.

0–100%

Use this setting when applying shue quantize. With a setting of “50%” the notes are spaced at equal intervals.

As you increase this setting, you’ll get an increasingly “bouncy” feel as though the notes were dotted.

Specify whether Real Time REC turns o (OFF) or stays on (ON) when you move to the next loop after recording your performance.

Species whether tempo changes are recorded (ON) or not recorded (OFF).

)–1/4 ( ) )–1/8 ( )

3. Use the [-] [+] buttons to choose what you want to erase,

and then press the [Enter] button.

The chosen data is erased while you hold down the button.

MEMO

In erase mode, notes of the key you hold down are erased while you continue holding down that key.

If you hold down two keys, all notes between those two keys are erased.

4. Press the [Erase] button once again.

The button goes dark and turns the Erase Mode o.

Step Recording (Step REC)

Here’s how to create a pattern by recording your keyboard performance one step at a time.

Your new recording replaces the pattern that’s selected.

Controller Explanation

[01]–[16] buttons The button of the step being recorded is blinking.

1. Use the ANALOG PART or DIGITAL PART On [01]–[04]

buttons to select the part that you want to record.

2. Press the [Step REC] button.

The [01] button blinks. The following screen is shown until you stop recording.

Indicates the measures “1–4” that are being controlled by the 16 steps. (If one measure cannot be expressed by 16 steps, the indication “A” (beats 1 and 2) or “B” (beats 3 and 4) is shown following the measure number.)

Measure: Beat

STEP REC: 1 1:1 Type 1/16(

Length of notes being input

)

(During playback 0 Playback position)

(When stopped 0 Recording position)

4. Press the [Play] button to start recording.

During playback, you can also press the [Real Time REC] button to start recording.

5. Play the keyboard.

Movements of the knobs and wheels are also recorded.

MEMO

Knob movements are recorded on the part that is selected by PART Select.

6. Press the [Real Time Rec] button to stop recording.

Erasing Only a Portion of a Phrase (Realtime Erase)

1. Use the ANALOG PART or DIGITAL PART On [01]–[04]

buttons to select the part that you want to erase.

2. During playback or recording, press the [Erase] button

(Erase Mode).

The button is lit, allowing you to erase notes. The Erase screen appears.

You can use the Cursor [K] [J] buttons to select a parameter, and use the [-] [+] buttons to edit the value of that parameter.

Parameter

Cursor [K] [J]

Type

(Note Type)

Value

[-] [+]

1/64 (‰)–2/1 (Œ):

Species the length of the notes being input, as a note value. The note value indicates the length from note-on until the next note-on.

MEMO

If you change the Scale, the corresponding Note Type is automatically set.

5–200%:

Gate Time

(Duration of the Note)

Velocity

(Keyboard Dynamics)

Species the duration of the notes relative to the note type. Gate time indicates the time from note-on to note-o. Specify a lower value if you want a staccato feel, or a higher

value if you want to produce tenuto or a slur. Normally you’ll specify a value of about 80%.

REAL: the actually-played dynamics 1–127: xed dynamics

3. Play one note on the keyboard.

Your performance is recorded in step 1; you automatically advance to the next step and the [02] button lights.

You can record a chord by selecting multiple notes.

Page 65

4. Repeat step 3 to record each step.

MEMO

5 To erase the data at a step (or to enter a rest), press the [Erase]

button.

5 To enter a tie, press the [Enter] button. 5 To change the step that you’re recording, press one of the [01]–

[16] buttons.

5 If you want to use the [01]–[16] buttons to change the measures

that you’re controlling, refer to “Changing the Measures

Controlled by the Step Buttons” (p. 65).

5. Press the [Step Rec] button to stop recording.

Step Recording 2 (Step REC 2)

While playing or stopped, use the [01]–[16] buttons to record on the selected step (step recording 2).

1. Press the [Step REC] button twice to turn Step REC o.

Pattern Sequencer

Erasing an Entire Pattern (Pattern Erase)

Here’s how to erase an entire pattern.

1. Hold down the [Shift] button and press the [Erase] button.

The Erase screen appears.

2. Use the [-] [+] buttons to select what you want to erase.

Value

[-] [+]

Track Erase only the data of the selected track.

SysEx Erase only the system exclusive data.

Tempo Erase only the tempo data.

All

Explanation

Erase the entire contents of the pattern.

* Pattern Length, Scale, and Track Settings are not initialized. If

you want Pattern Length, Scale, and Track Settings to also be initialized, execute Pattern Init. For more about Pattern Init, refer to the owner’s manual section “Initializing a Sound

(Init)” (p. 7).

2. Use the ANALOG PART or DIGITAL PART On [01]–[04]

buttons to select the part that you want to record.

3. On the keyboard, play the note that you want to record,

and then use the [01]–[16] buttons to turn the step on.

The note length is the length you specify for the Step REC parameter Type (note type).

MEMO

5 You can also record on a specied step by playing a note and

pressing a [01]–[16] button to specify the step. You can also specify chords.

5 By turning a knob while holding down one of the [01]–[16]

buttons, you can record the last state of that knob in the specied step.

5 Operation of the knob is recorded on the part selected in the

PART Select.

5 If you want to use the [01]–[16] buttons to change the measures

that you’re controlling, refer to “Changing the Measures

Controlled by the Step Buttons” (p. 65).

Playing Patterns

1. Press the [Play] button.

You can perform the following operations during playback.

Part Mute

Press [Shift] + each part’s On [01]–[04] buttons

Realtime Erase

& “Erasing Only a Portion of a Phrase (Realtime Erase)”

(p. 64)

2. To stop, press the [Play] button once again.

Changing the Measures Controlled by the Step Buttons

If the pattern is longer than 16 steps, hold down the [Shift] button and use the [1]–[4] buttons to change the range of measures and beats that are controlled by the 16 step buttons.

Depending on the scale setting, you can also use the [Shift] button +

[01]–[08] buttons to change this.

3. Press the [Enter] button.

The data is erased.

Pattern Utility

You can specify a pattern’s output destination settings, and import or export SMF data.

1. Press the [Menu] button.

2. Select “PATTERN UTIL” and then press the [Enter] button.

3. Use the cursor [

you want to execute, and then press the [Enter] button.

Function

Cursor [K] [J]

Track Settings

SMF Import

SMF Export

] [J] buttons to select the function that

Explanation

Species the output destination of each track.

INT: The track plays the JD-XA's internal sound generator. EXT: The track plays an external sound module connected to the

MIDI OUT/USB COMPUTER port.

BOTH The track plays the internal sound generator and the

external sound module.

OFF The track is not output.

* This setting is saved in the program together with the pattern.

Imports the specied SMF from the USB ash drive into the temporary area.

* When you import, the current state of the temporary area is

discarded.

The SMF that you want to import must be saved in the “IMPORT” folder of the USB ash drive.

SMF data that can be imported:

• Only SMF format 0 is supported.

• Up to four measures of SMF data can be imported. Subsequent

data is not imported.

MEMO

In the SMF Import screen, you can press the [Play] button to audition the selected SMF.

Exports the pattern currently in the temporary area to the

“EXPORT_SMF” folder of the USB ash drive as an SMF with the

name you specify.

Page 66

Pattern Sequencer

JD-XA folder

EXPORT_SMF folder

Exported SMF les are saved here.

IMPORT folder

Files that you want to import to the JD-XA should be copied here.

(File name).SVD :Tone import

(File name).MID :SMF import

ROLAND folder

JD-XA programs and backup data are saved here.

BACKUP folder

Backup data is saved here.

PROGRAM folder

Programs in the USB ash drive are saved here.

A folder

Bank A program data

B folder

Bank B program data

P folder

Bank P program data

Saving a Pattern (Write)

A pattern that you create will be lost if you select a dierent program or if you power-o the JD-XA.

When you’ve created a pattern that you like, you should save it as a program.

The pattern is saved as a program. & Owner’s manual “Saving a Program (Write)” (p. 7)

Page 67

Page 68

CC Assignments

Analog Part

The MIDI messages corresponding to each controller are shown below. Even for the same controller, the MIDI channel that is output will change depending on the part that you select. The MIDI messages that are output will also change depending on the LFO1/2 and PITCH ENV1/2 selection.

LFO [Rate] knob

LFO1: CC16 (LFO1 Rate)

LFO2: CC17 (LFO2 Rate)

LFO [Fade Time] slider

LFO1: NRPN MSB: 0, LSB: 6 (LFO1 Fade Time)

LFO2: NRPN MSB: 0, LSB: 7 (LFO2 Fade Time)

LFO [Pitch Depth] slider

LFO1: NRPN MSB: 0, LSB: 9 (LFO1 Pitch Depth)

LFO2: NRPN MSB: 0, LSB: 10 (LFO2 Pitch Depth)

LFO [Filter Depth] slider

LFO1: NRPN MSB: 0, LSB: 12 (LFO1 Filter Depth)

LFO2: NRPN MSB: 0, LSB: 13 (LFO2 Filter Depth)

LFO [Amp Depth] slider

LFO1: NRPN MSB: 0, LSB: 15 (LFO1 Amp Depth)

LFO2: NRPN MSB: 0, LSB: 16 (LFO2 Amp Depth)

A-OSC1 [Pitch] knob

CC19 (OSC1 Pitch)

A-OSC1 [Fine] knob

CC22 (OSC1 Fine)

A-OSC1 [PWM] slider

NRPN MSB: 0, LSB: 31 (OSC1 PWM Depth)

A-OSC1 [PW] slider

NRPN MSB: 0, LSB: 28 (OSC1 PW)

A-OSC1 [Cross Mod] knob

CC25 (Cross Mod)

A-OSC2 [Pitch] knob

CC20 (OSC2 Pitch)

A-OSC2 [Fine] knob

CC23 (OSC2 Fine)

A-OSC2 [PWM] slider

NRPN MSB: 0, LSB: 32 (OSC2 PWM Depth)

A-OSC2 [PW] slider

NRPN MSB: 0, LSB: 29 (OSC2 PW)

[Portamento Time] knob

CC05 (Porta Time)

PITCH ENV [Depth] knob

Pitch Env1: CC26 (O1 PITCH ENV Depth)

Pitch Env2: CC27 (O2 PITCH ENV Depth)

[Shift]+ PITCH ENV [Depth] knob

Pitch Env1: NRPN MSB: 0, LSB: 37 (O1 PITCH ENV Velo Sens)

Pitch Env2: NRPN MSB: 0, LSB: 38 (O2 PITCH ENV Velo Sens)

PITCH ENV [A] slider

Pitch Env1: NRPN MSB: 0, LSB: 43 (O1 PITCH ENV Attack)

Pitch Env2: NRPN MSB: 0, LSB: 44 (O2 PITCH ENV Attack)

PITCH ENV [D] slider

Pitch Env1: NRPN MSB: 0, LSB: 46 (O1 PITCH ENV Decay)

Pitch Env2: NRPN MSB: 0, LSB: 47 (O2 PITCH ENV Decay)

Page 69

CC Assignments

FILTER [HPF] knob

CC114 (FILTER HPF Cuto)

FILTER [Drive] knob

CC115 (FILTER Drive)

FILTER [Cuto] knob

CC102 (FILTER Cuto)

[Shift]+ FILTER [Cuto] knob

CC103 (FILTER Cuto Fine)

FILTER [Resonance] knob

CC105 (FILTER Resonance)

FILTER [Key Follow] knob

CC111 (FILTER Key Follow)

[Shift]+ FILTER [Key Follow] knob

CC112 (FILTER KF Fine)

FILTER [ENV Depth] knob

CC108 (FILTER ENV Depth)

[Shift]+ FILTER [ENV Depth] knob

NRPN MSB: 0, LSB: 58 (FILTER ENV Velo Sens)

FILTER [A] slider

NRPN MSB: 0, LSB: 70 (FILTER ENV Attack)

FILTER [D] slider

NRPN MSB: 0, LSB: 73 (FILTER ENV Decay)

FILTER [S] slider

NRPN MSB: 0, LSB: 76 (FILTER ENV Sustain)

FILTER [R] slider

NRPN MSB: 0, LSB: 79 (FILTER ENV Release)

AMP [Level] knob

CC117 (AMP Level)

[Shift]+AMP [Level] knob

NRPN MSB: 0, LSB: 85 (AMP Level V-Sens)

AMP [A] slider

NRPN MSB: 0, LSB: 88 (AMP ENV Attack)

AMP [D] slider

NRPN MSB: 0, LSB: 91 (AMP ENV Decay)

AMP [S] slider

NRPN MSB: 0, LSB: 94 (AMP ENV Sustain)

AMP [R] slider

NRPN MSB: 0, LSB: 97 (AMP ENV Release)

MIXER [A-OSC1] knob

CC29 (MIXER OSC1 Level)

MIXER [A-OSC2] knob

CC30 (MIXER OSC2 Level)

MIXER [AUX] knob

CC31 (MIXER AUX Level)

Program parameters

[TFX 1 Select] knob

CC80 (TFX1 Select)

[TFX 1 CTRL] knob

CC14 (TFX1 Ctrl)

[TFX 2 Select] knob

CC81 (TFX2 Select)

[TFX 2 CTRL] knob

CC15 (TFX2 Ctrl)

[Reverb] knob

CC12 (Reverb Level)

[Delay] knob

CC13 (Delay Level)

[Delay Time] knob

CC82 (Delay Time)

[MIC Level] knob

CC83 (MIC Level)

* The channel follows the system parameter

Prog Ctrl Ch.

Page 70

CC Assignments

Digital part:

LFO [Rate] knob

PARTIAL1: CC16 (LFO Rate)

PARTIAL2: CC17 (LFO Rate)

PARTIAL3: CC18 (LFO Rate)

LFO [Fade Time] slider

PARTIAL1: NRPN MSB: 0, LSB: 6 (LFO Fade Time)

PARTIAL2: NRPN MSB: 0, LSB: 7 (LFO Fade Time)

PARTIAL3: NRPN MSB: 0, LSB: 8 (LFO Fade Time)

LFO [Pitch Depth] slider

PARTIAL1: NRPN MSB: 0, LSB: 9 (LFO Pitch Depth)

PARTIAL2: NRPN MSB: 0, LSB: 10 (LFO Pitch Depth)

PARTIAL3: NRPN MSB: 0, LSB: 11 (LFO Pitch Depth)

LFO [Filter Depth] slider

PARTIAL1: NRPN MSB: 0, LSB: 12 (LFO Filter Depth)

PARTIAL2: NRPN MSB: 0, LSB: 13 (LFO Filter Depth)

PARTIAL3: NRPN MSB: 0, LSB: 14 (LFO Filter Depth)

LFO [Amp Depth] slider

PARTIAL1: NRPN MSB: 0, LSB: 15 (LFO Amp Depth)

PARTIAL2: NRPN MSB: 0, LSB: 16 (LFO Amp Depth)

PARTIAL3: NRPN MSB: 0, LSB: 17 (LFO Amp Depth)

[Shift]+ LFO [Amp Depth] slider

PARTIAL1: NRPN MSB: 0, LSB: 18 (LFO Pan Depth)

PARTIAL2: NRPN MSB: 0, LSB: 19 (LFO Pan Depth)

PARTIAL3: NRPN MSB: 0, LSB: 20 (LFO Pan Depth)

D-OSC [Pitch] knob

PARTIAL1: CC19 (OSC Pitch)

PARTIAL2: CC20 (OSC Pitch)

PARTIAL3: CC21 (OSC Pitch)

[Shift]+ D-OSC [Pitch] knob

PARTIAL1: NRPN MSB: 0, LSB: 100 (AMP Pan)

PARTIAL2: NRPN MSB: 0, LSB: 101 (AMP Pan)

PARTIAL3: NRPN MSB: 0, LSB: 102 (AMP Pan)

D-OSC [Fine] knob

PARTIAL1: CC22 (OSC Detune)

PARTIAL2: CC23 (OSC Detune)

PARTIAL3: CC24 (OSC Detune)

D-OSC [PWM] slider

PARTIAL1: NRPN MSB: 0, LSB: 31 (OSC PWM Depth)

PARTIAL2: NRPN MSB: 0, LSB: 32 (OSC PWM Depth)

PARTIAL3: NRPN MSB: 0, LSB: 33 (OSC PWM Depth)

D-OSC [PW] slider

PARTIAL1: NRPN MSB: 0, LSB: 28 (OSC PW)

PARTIAL2: NRPN MSB: 0, LSB: 29 (OSC PW)

PARTIAL3: NRPN MSB: 0, LSB: 30 (OSC PW)

[Portamento Time] knob

CC05 (Porta Time)

PITCH ENV [Depth] knob

PARTIAL1: CC26 (PITCH ENV Depth)

PARTIAL2: CC27 (PITCH ENV Depth)

PARTIAL3: CC28 (PITCH ENV Depth)

PITCH ENV [A] slider

PARTIAL1: NRPN MSB: 0, LSB: 43 (PITCH ENV Attack)

PARTIAL2: NRPN MSB: 0, LSB: 44 (PITCH ENV Attack)

PARTIAL3: NRPN MSB: 0, LSB: 45 (PITCH ENV Attack)

PITCH ENV [D] slider

PARTIAL1: NRPN MSB: 0, LSB: 46 (PITCH ENV Decay)

PARTIAL2: NRPN MSB: 0, LSB: 47 (PITCH ENV Decay)

PARTIAL3: NRPN MSB: 0, LSB: 48 (PITCH ENV Decay)

Page 71

CC Assignments

FILTER [HPF] knob

PARTIAL1: CC114

PARTIAL2: CC115

PARTIAL3: CC116 (FILTER HPF Cuto )

FILTER [Cuto] knob

PARTIAL1: CC102 (FILTER Cuto )

PARTIAL2: CC103 (FILTER Cuto )

PARTIAL3: CC104 (FILTER Cuto )

FILTER [Resonance] knob

PARTIAL1: CC105 (FILTER Resonance)

PARTIAL2: CC106 (FILTER Resonance)

PARTIAL3: CC107 (FILTER Resonance)

FILTER [Key Follow] knob

PARTIAL1: CC111 (FILTER Key Follow)

PARTIAL2: CC112 (FILTER Key Follow)

PARTIAL3: CC113 (FILTER Key Follow)

(FILTER HPF Cuto)

FILTER [ENV Depth] knob

PARTIAL1: CC108 (FILTER ENV Depth)

PARTIAL2: CC109 (FILTER ENV Depth)

PARTIAL3: CC110 (FILTER ENV Depth)

[Shift]+ FILTER [ENV Depth] knob

PARTIAL1: NRPN MSB: 0, LSB: 58 (FILTER ENV Velo Sens)

PARTIAL2: NRPN MSB: 0, LSB: 59 (FILTER ENV Velo Sens)

PARTIAL3: NRPN MSB: 0, LSB: 60 (FILTER ENV Velo Sens)

FILTER [A] slider

PARTIAL1: NRPN MSB: 0, LSB: 70 (FILTER ENV Attack)

PARTIAL2: NRPN MSB: 0, LSB: 71 (FILTER ENV Attack)

PARTIAL3: NRPN MSB: 0, LSB: 72 (FILTER ENV Attack)

FILTER [D] slider

PARTIAL1: NRPN MSB: 0, LSB: 73 (FILTER ENV Decay)

PARTIAL2: NRPN MSB: 0, LSB: 74 (FILTER ENV Decay)

PARTIAL3: NRPN MSB: 0, LSB: 75 (FILTER ENV Decay)

FILTER [S] slider

PARTIAL1: NRPN MSB: 0, LSB: 76 (FILTER ENV Sustain)

PARTIAL2: NRPN MSB: 0, LSB: 77 (FILTER ENV Sustain)

PARTIAL3: NRPN MSB: 0, LSB: 78 (FILTER ENV Sustain)

FILTER [R] slider

PARTIAL1: NRPN MSB: 0, LSB: 79 (FILTER ENV Release)

PARTIAL2: NRPN MSB: 0, LSB: 80 (FILTER ENV Release)

PARTIAL3: NRPN MSB: 0, LSB: 81 (FILTER ENV Release)

AMP [Level] knob

PARTIAL1: CC117 (AMP Level)

PARTIAL2: CC118 (AMP Level)

PARTIAL3: CC119 (AMP Level)

[Shift]+AMP [Level] knob

PARTIAL1: NRPN MSB: 0, LSB: 85 (AMP Level V-Sens)

PARTIAL2: NRPN MSB: 0, LSB: 86 (AMP Level V-Sens)

PARTIAL3: NRPN MSB: 0, LSB: 87 (AMP Level V-Sens)

AMP [A] slider

PARTIAL1: NRPN MSB: 0, LSB: 88 (AMP ENV Attack)

PARTIAL2: NRPN MSB: 0, LSB: 89 (AMP ENV Attack)

PARTIAL3: NRPN MSB: 0, LSB: 90 (AMP ENV Attack)

AMP [D] slider

PARTIAL1: NRPN MSB: 0, LSB: 91 (AMP ENV Decay)

PARTIAL2: NRPN MSB: 0, LSB: 92 (AMP ENV Decay)

PARTIAL3: NRPN MSB: 0, LSB: 93 (AMP ENV Decay)

AMP [S] slider

PARTIAL1: NRPN MSB: 0, LSB: 94 (AMP ENV Sustain)

PARTIAL2: NRPN MSB: 0, LSB: 95 (AMP ENV Sustain)

PARTIAL3: NRPN MSB: 0, LSB: 96 (AMP ENV Sustain)

AMP [R] slider

PARTIAL1: NRPN MSB: 0, LSB: 97 (AMP ENV Release)

PARTIAL2: NRPN MSB: 0, LSB: 98 (AMP ENV Release)

PARTIAL3: NRPN MSB: 0, LSB: 99 (AMP ENV Release)

Program parameters

[TFX 1 Select] knob

CC80 (TFX1 Select)

[TFX 1 CTRL] knob

CC14 (TFX1 Ctrl)

[TFX 2 Select] knob

CC81 (TFX2 Select)

[TFX 2 CTRL] knob

CC15 (TFX2 Ctrl)

[Reverb] knob

CC12 (Reverb Level)

[Delay] knob

CC13 (Delay Level)

[Delay Time] knob

CC82 (Delay Time)

[MIC Level] knob

CC83 (MIC Level)

* The channel follows the system parameter

Prog Ctrl Ch.

Page 72

CC Assignments

MIDI CTRL Parts

The MIDI messages (default values) corresponding to each controller are shown below. Even for the same controller, the MIDI channel that is output will change depending on the part that you select. MIDI CTRL lets you assign controllers to the knobs and sliders (p. 57).

LFO [Rate] knob

CC16

LFO [Fade Time] slider

CC91

LFO [Pitch Depth] slider

CC92

LFO [Filter Depth] slider

CC93

LFO [Amp Depth] slider

CC94

OSC1 [Pitch] knob

CC10

OSC1 [Fine] knob

CC22

OSC1 [PWM] slider

CC27

OSC1 [PW] slider

CC28

OSC1 [Cross Mod] knob

CC25

OSC2 [Pitch] knob

CC20

OSC2 [Fine] knob

CC23

OSC2 [PWM] slider

CC02

OSC2 [PW] slider

CC04

[Portamento Time] knob

CC05

PITCH ENV [Depth] knob

CC26

PITCH ENV [A] slider

CC70

PITCH ENV [D] slider

CC95

Page 73

CC Assignments

FILTER [HPF] knob

CC114

FILTER [Drive] knob

CC115

FILTER [Cuto] knob

CC74

FILTER [Resonance] knob

CC71

FILTER [Key Follow] knob

CC111

FILTER [ENV Depth] knob

CC108

FILTER [A] slider

CC76

FILTER [D] slider

CC77

FILTER [S] slider

CC78

FILTER [R] slider

CC79

AMP [Level] knob

CC07

AMP [A] slider

CC73

AMP [D] slider

CC75

AMP [S] slider

CC117

AMP [R] slider

CC72

MIXER [A-OSC1] knob

CC29

MIXER [A-OSC2] knob

CC30

MIXER [AUX] knob

CC31

Program parameters

[TFX 1 Select] knob

CC80 (TFX1 Select)

[TFX 1 CTRL] knob

CC14 (TFX1 Ctrl)

[TFX 2 Select] knob

CC81 (TFX2 Select)

[TFX 2 CTRL] knob

CC15 (TFX2 Ctrl)

[Reverb] knob

CC12 (Reverb Level)

[Delay] knob

CC13 (Delay Level)

[Delay Time] knob

CC82 (Delay Time)

[MIC Level] knob

CC83 (MIC Level)

* The channel follows the system parameter

Prog Ctrl Ch.

Page 74

Digital OSC Waveform List

No. Wave Name

SAW- A

SQR-A

PW-SQR-A

TRI-A

SINE-A

SUPER-SAW

NOISE-A

NOISE-B

NOISE-C

SAW-B

SAW- C

SQR-B

SQR-C

PW-SQR-B

PW-SQR-C

TRI-B

TRI-C

SINE-B

SINE-C

1 JP-8 Saw

2 Sy n Saw Wave

3 MG Saw 1

4 GR-300 Saw

5 P5 Saw

6 MG Saw 2

7 Calc.Saw

8 Calc.Saw inv

9 Digital Saw

10 JD Fat Saw

11 Unison Saw

12 DistSaw Wave

13 JP-8 Pls 05

14 Pulse Wave

15 Ramp Wave 1

16 Ramp Wave 2

17 Sine

18 PWM Wave 1

19 PWM Wave 2

20 PWM Wave 3

21 PWM Wave 4

22 Hollo Wave1

23 Hollo Wave2

24 Hollo Wave2+

25 SynStrings 1

26 SynStrings 2

27 SynStrings 3

28 SynStrings 4

29 SynStrings 5

30 SynStrings5+

31 SynStrings 6

32 SynStrings 7

33 SynStrings 8

34 SynStrings 9

35 FM Brass

36 Lead Wave 1

37 Lead Wave 2

No. Wave Name

38 Lead Wave 3

39 Lead Wave 4

40 Lead Wave 5

41 SqrLeadWave

42 SqrLeadWave+

43 SBF Lead 1

44 SBF Lead 2

45 Sync Sweep

46 Saw Sync

47 Unison Sync

48 Unison Sync+

49 Sync Wave

50 X-Mod Wave 1

51 X-Mod Wave 2

52 X-Mod Wave 3

53 X-Mod Wave 4

54 X-Mod Wave 5

55 X-Mod Wave 6

56 X-Mod Wave 7

57 FeedbackWave

58 SubOSC Wave1

59 SubOSC Wave2

60 SubOSC Wave3

61 Saw+Sub Wave

62 DipthongWave

63 DipthongWv +

64 Heaven Wave

65 Fanta Synth

66 Syn Vox 1

67 Syn Vox 2

68 Org Vox

69 ZZZ Vox

70 Male Ooh

71 Doo

72 MMM Vox

73 Digital Vox

74 Spark Vox 1

75 Spark Vox 2

76 Aah Formant

77 Eeh Formant

78 Iih Formant

79 Ooh Formant

80 Uuh Formant

81 SBF Vox

82 SBF Digi Vox

83 VP-330 Choir

84 FM Syn Vox

85 Fine Wine

86 Digi Loop

87 Vib Wave

88 Bell Wave 1

89 Bell Wave 1+

90 Bell Wave 2

91 Bell Wave 3

92 Bell Wave 4

93 Digi Wave 1

No. Wave Name

94 Digi Wave 2

95 Digi Wave 3

96 DIGI Bell

97 DIGI Bell +

98 Digi Chime

99 Org Bell

100 FM Bell

101 Hooky

102 Klack Wave

103 Syn Sax

104 Can Wave 1

105 Can Wave 2

106 MIDI Clav

107 Huge MIDI

108 Huge MIDI +

109 Pulse Clav

110 Pulse Clav+

111 Cello Wave

112 Cutters

113 5th Wave

114 Nasty

115 Wave Table

116 Bagpipe Wave

117 Wally Wave

118 Brusky Wave

119 Wave Scan

120 Wire String

121 Synth Piano

122 EP Hard

123 Vint. EP mp

124 Vint. EP f

125 Vint. EP 

126 Stage EP p

127 Stage EP f

128 SA EP 1

129 SA EP 2

130 Wurly mp

131 Wurly mf

132 FM EP 1

133 FM EP 2

134 FM EP 3

135 FM EP 4

136 FM EP 5

137 EP Distone

138 OrganWave 1

139 OrganWave 2

140 OrganWave 3

141 OrganWave 4

142 OrganWave 5

143 OrganWave 5+

144 OrganWave 6

145 PercOrgan 1

146 PercOrgan 1+

147 PercOrgan 2

148 PercOrgan 2+

149 OrganWave 7

No. Wave Name

150 OrganWave 8

151 Org Basic 1

152 Org Basic 2

153 3rd Perc Org

154 Vint.Organ

155 Chorus Organ

156 Org Perc

157 Org Perc 2nd

158 JLOrg1 Slw L

159 JLOrg1 Slw R

160 JLOrg1 Fst L

161 JLOrg1 Fst R

162 JLOrg2 Slw L

163 JLOrg2 Slw R

164 JLOrg2 Fst L

165 JLOrg2 Fst R

166 TheaterOrg1L

167 TheaterOrg1R

168 TheaterOrg2L

169 TheaterOrg2R

170 TheaterOrg3L

171 TheaterOrg3R

172 Positive ‘8

173 Pipe Organ

174 CathedralOrg

175 Clav Wave 1

176 Clav Wave 2

177 Clav Wave 3

178 Reg.Clav

179 Harpsi Wave1

180 Harpsi Wave2

181 Harpsi Wave3

182 Marimba Wave

183 Marimba Atk

184 Vibe Wave

185 Xylo Wave 1

186 Xylo Wave 2

187 FM Mallet

188 Tubular Bell

189 Celesta

190 Music Box 1

191 Music Box 2

192 Nylon Gtr

193 Brite Nylon

194 Ac. Gtr 

195 Strat Sust

196 Strat Wave 1

197 Jazz Gtr

198 Strat Wave 2

199 FstPick70s

200 Funk Gtr

201 Muters

202 Mute Gtr 1

203 Mute Gtr 2

204 Mute Gtr 3

205 Harm Gtr

Page 75

Digital OSC Waveform List

No. Wave Name

206 Nasty Gtr

207 E.Gtr Loop

208 Overdrive 1

209 Overdrive 2

210 Dist Gtr 1

211 Dist Gtr 2

212 Mute Dist

213 Fretless

214 SlapBs Wave1

215 SlapBs Wave2

216 Hollow Bass

217 Solid Bass

218 FM Super Bs

219 SynBs Wave

220 SynBs Wave +

221 Banjo Wave

222 Pluck Harp

223 Harp Harm

224 Harp Wave

225 E.Sitar

226 Sitar Wave

227 Sitar Drone

228 Yangqin

229 KalimbaWave1

230 KalimbaWave2

231 Gamelan 1

232 Gamelan 2

233 Gamelan 3

234 Steel Drums

235 Log Drum

236 Bottle Hit

237 Agogo

238 Agogo Bell

239 Crystal

240 Finger Bell

241 Church Bell

242 LargeChrF 1

243 LargeChrF 2

244 Female Aahs1

245 Female Oohs

246 Female Aahs2

247 Male Aahs

248 Gospel Hum 1

249 Gospel Hum 2

250 Pop Voice

251 Jazz Doo 1

252 Jazz Doo 2

253 Jazz Doo 1+

254 Jazz Doo 2+

255 Jazz Doot 1

256 Jazz Doot 2

257 Jazz Dat 1

258 Jazz Dat 2

259 Jazz Bap 1

260 Jazz Bap 2

261 Dow fall 1

No. Wave Name

262 Dow fall 2

263 Bass Thum

264 Strings 1

265 Strings 2

266 Strings 3

267 Strings 4

268 Strings 5 L

269 Strings 5 R

270 Marcato1 L

271 Marcato1 R

272 Marcato2

273 F.StrStac1

274 F.StrStac2 L

275 F.StrStac2 R

276 Pizz 1

277 Pizz 2

278 Pizzagogo

279 Flute Wave

280 Flute Push

281 PanPipe Wave

282 Bottle Blow

283 Rad Hose

284 Shaku Atk 1

285 Shaku Atk 2

286 OrchUnison L

287 OrchUnison R

288 Tp Section

289 Flugel Wave

290 Fr.Horn Wave

291 Harmonica

292 Harmonica +

293 Cowbell

294 Tabla

295 O’Skool Hit

296 Orch. Hit

297 Punch Hit

298 Philly Hit

299 ClassicHseHt

300 Tao Hit

301 Anklungs

302 Rattles

303 Xylo Seq. 1

304 Wind Chimes

305 Bubble

306 Xylo Seq. 2

307 Siren Wave

308 Scratch 1

309 Scratch 2

310 Scratch 3

311 Scratch 4

312 Scratch 5

313 Scratch 6

314 Scratch Push

315 Scratch Pull

316 Metal Vox 1

317 Metal Vox 1+

No. Wave Name

318 Metal Vox 2

319 Metal Vox 2+

320 Metal Vox 3

321 Metal Vox 3+

322 Scrape Gut

323 Strat Atk

324 EP Atk

325 Org Atk 1

326 Org Atk 2

327 Org Click

328 Harpsi Thmp1

329 Harpsi Thmp2

330 Shaku Noise

331 Klmba Atk

332 Shami Attack

333 Block

334 Wood Crak

335 AnalogAttack

336 Metal Attack

337 Pole Loop

338 Strike Pole

339 Switch

340 Tuba Slap

341 Plink

342 Plunk

343 Tin Wave

344 Vinyl Noise

345 Pitch Wind

346 Vox Noise 1

347 Vox Noise 2

348 SynVox Noise

349 Digi Breath

350 Agogo Noise

351 Wind Agogo

352 Polishing Nz

353 Dentist Nz

354 CrunchWind

355 ThroatWind

356 MetalWind

357 Atmosphere

358 DigiSpectrum

359 SBF Cym

360 SBF Bell

361 SBF Nz

362 White Noise

363 Pink Noise

364 Thickness Bs

365 Plastic Bass

366 Breakdown Bs

367 Dist TB

368 Pulse Bass

369 Hip Lead

370 VintageStack

371 Tekno Ld 1

372 Icy Keys

373 JP-8StringsL

No. Wave Name

374 JP-8StringsR

375 Revalation

376 Boreal Pad L

377 Boreal Pad R

378 Sea Waves L

379 Sea Waves R

380 Sweep Pad 1

381 Sweep Pad 2

382 Sweep Pad 3

383 Particles L

384 Particles R

385 3Delay Poly

386 Poly Fat 1

387 Poly Fat 2

388 Poly Fat 3

389 Alan’s Pad L

390 Alan’s Pad R

391 DlyReso Saw1

392 DlyReso Saw2

393 DlyReso Saw3

394 TranceSaws 1

395 TranceSaws 2

396 TranceSaws 3

397 Tekno Ld 2

398 NuWave

399 EQ Lead 1

400 EQ Lead 2

401 EQ Lead 3

402 80sBrsSect L

403 80sBrsSect R

404 LoveBrsLiveL

405 LoveBrsLiveR

406 ScoopSynBrsL

407 ScoopSynBrsR

408 Power JP L

409 Power JP R

410 ChasingBells

411 Bad Axe L

412 Bad Axe R

413 Cutting Lead

414 Poly Key

415 Buzz Cut

416 DsturbedSync

417 LFO Poly

418 HPF Pad L

419 HPF Pad R

420 Chubby Ld

421 FantaClaus

422 FantasyPad 1

423 FantasyPad 2

424 FantasyPad 3

425 Legend Pad

426 D-50 Stack

427 Digi Crystal

428 PipeChatter1

429 PipeChatter2

Page 76

Digital OSC Waveform List

No. Wave Name

430 PipeChatter3

431 JP Hollow L

432 JP Hollow R

433 VoiceHeavenL

434 VoiceHeavenR

435 Atmospheric

436 Air Pad 1

437 Air Pad 2

438 Air Pad 3

439 ChrdOfCnadaL

440 ChrdOfCnadaR

441 Fireies

442 NewJupiter 1

443 NewJupiter 2

444 NewJupiter 3

445 NewJupiter 4

446 NewJupiter 5

447 Pulsatron

448 JazzyBubbles

449 SynthFx 1

450 SynthFx 2