Roland JD-XA Parameter Guide

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

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.

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.”

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

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

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.

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).

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.

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

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

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

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

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

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.

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

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

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.

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.

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)

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)

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)

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

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)

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