Roland JD-Xi Parameter Guide
Parameter Guide
Contents
Shortcut List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Additional Explanation of the Pattern Sequencer . . . . . . . . 3
TR-REC Procedure for a Digital Synth Part or the Analog
Synth Part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Recording Methods Other Than TR-REC, Step Recording, and
Realtime Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Deleting All Notes at a Specic Step . . . . . . . . . . . . . . . . . . . . . . . 3
Tips for Realtime Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Note When Recording Eect Knob Movements . . . . . . . . . . . . . . 3
Initial Settings Following Complete Erasure of a Pattern . . . . . . 3
Other Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Error Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
How the JD-Xi Is Structured . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Getting Acquainted with the JD-Xi . . . . . . . . . . . . . . . . . . . . . . . . . 6
How a Tone Is Structured . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Digital Synth Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Analog Synth Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Drum Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
How the Eects Are Structured . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Changing the Connection Destination of Each Part . . . . . 9
About the Delay Send Level and Reverb Send Level . . . . 9
About Eect Connections for the Drums Part . . . . . . . . . . 9
About Vocoder/AutoPitch Tones . . . . . . . . . . . . . . . . . . . . . 9
Digital Synth Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
TONE EDIT: SuperNATURAL Synth Tone . . . . . . . . . . . . . . . . . . . . . 15
Drum Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
TONE EDIT: PCM Drum Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Eects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Eect Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Eect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
AutoPitch/Vocoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
AutoPitch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Vocoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
ARPEGGIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
ARPEGGIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Program List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Preset Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Bank Select/Program Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Preset Tone List (Digital Synth) . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Preset Drum Kit List (Drum Kit) . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Preset Tone List (Analog Synth) . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Preset Drum Kit Waveform Assign List . . . . . . . . . . . . . . . . . . . . 48
Program Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Program Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Analog Synth Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
TONE EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Copyright © 2015 ROLAND CORPORATION
01
Shortcut List
“[A] + [B]” indicates the operation of “holding down the [A] button and press the [B] button.”
Shortcut Explanation
Value [-] + [+] To change the value rapidly, hold down one of the buttons and press the other button.
[Shift] Shows the program name in the top line of the display.
[Shift] + Value [-] [+] Switches the program bank.
[Shift] + [Menu] Jumps to the WRITE screen.
[Shift] + Part Select button
[Shift] + [Enter] Switches sounds within a program, or reverts to the original sound after editing.
[Shift] + ARPEGGIO [ON] Jumps to the Arpeggio Edit screen.
[Shift] + [01]–[04] button
([01]–[08] buttons when the scale setting is
Thirty-second note)
When in Favorite mode
[Shift] + [01]–[16] button
[Shift] + [Erase] Jumps to the Pattern Erase screen.
[Shift] + CURSOR [K]
[Shift] + CURSOR [J]
Long-press [Menu/Write] Jumps to the Portamento setting screen.
[Menu/Write] + [10] button Jumps to the Pattern Copy screen.
[Menu/Write] + [16] button Sends the click sound from the right side of the headphones and the OUTPUT.
When entering a name
[Shift] + [K] button
When entering a name
[Shift] + [J] button
Mutes the selected part. You can also select multiple parts.
To return to the original state, hold down the [Shift] button and press the Part Select button once again.
Switches the measures of the pattern shown by the [01]–[16] buttons during playback or recording.
While you hold down [Shift], buttons [01]–[04] indicate the measure (half-measures if the scale setting is Thirty-second
note).
If the setting is four measures of sixteenth notes, pressing the [Shift] button makes the [01]–[04] buttons light and the
current measure blink. If the setting is four measures of thirty-second notes, pressing the [Shift] button makes the [01]–
[08] buttons light, allowing you to move in half-measure steps.
Switches the Favorite Bank.
In setting screens such as system or edit, moves between major menu items.
Deletes the character at the cursor position.
Inserts a space at the cursor position.
2
Additional Explanation of the Pattern Sequencer
TR-REC Procedure for a Digital Synth Part or the Analog Synth Part
You can use TR-REC for a digital synth part or the analog synth part in the same way as for a drum part.
1. Play the key that you want to record using TR-REC.
2. Use the [01]–[16] buttons to illuminate each step at which you want a note to sound.
3. Press the [
5 By pressing the [01]–[16] buttons while you hold down a chord on the keyboard, you can enter chords.
5 Note duration (Gate Time) is xed at 80%. Keyboard dynamics (Velocity) changes depending on the force with which you strike the key.
5 If you want to use TR-REC to re-input notes at a step in which you previously input a note, or which contains notes of a preset pattern, you must
s
] button to play back the pattern.
rst delete the existing notes. With pattern playback stopped, hold down the [Erase] button and press the button of the step number that you
want to erase. When you use step recording or realtime recording, the original notes are automatically deleted and replaced (overwritten) by the
newly entered notes.
Recording Methods Other Than TR-REC, Step Recording, and Realtime Recording
You can also record using the following methods.
1. Hold down the step button ([01]–[16] buttons) at which you want to enter a note.
2. While holding down the step button, play the keyboard.
3. Release the step button.
4. Press the [
5 With this recording method, the originally existing notes are not deleted; the notes you enter are added to the recording.
5 Note duration (Gate Time) is xed at 80%. Keyboard dynamics (Velocity) changes depending on the force with which you strike the key.
s
] button to play back the pattern.
Deleting All Notes at a Specic Step
If notes are recorded in the [01]–[16] buttons, turning o a button that contains a note (making the button go dark) prevents that note from
sounding. This only mutes the note and does not delete it; if you turn on the button once again (making the button light), its note resumes sounding.
If you want to completely erase the notes of a step, stop the pattern, hold down the [Erase] button, and press the button of the step that you want to
erase.
Tips for Realtime Recording
If you realtime-record while the pattern is playing, realtime recording is automatically defeated when you reach the end of the pattern (i.e., the
moment that playback returns to the beginning of the pattern).
If you want to continue realtime recording while the loop plays, turn the SYSTEM parameter “Loop Rec” ON.
Note When Recording Eect Knob Movements
You can use realtime recording to record movements of the Eect 1, Eect 2, Delay, and Reverb knobs.
However since eect knob movements are saved for the entire program, the eect knob movements are not erased even if you erase the entire
pattern.
* Since eect knob movements that you record cannot be erased, you’ll need to re-record.
Initial Settings Following Complete Erasure of a Pattern
If you want to completely erase a pattern, specify All as the target part and then erase; the number of measures is initialized to 1, and the scale will be
sixteenth notes.
3
Other Notes
5 Due to the characteristics of the analog circuitry, the Square wave and SubOSC of the analog part might not produce sound in the upper range of
the keyboard.
5 If you use Auto Note to record a pattern, the Pitch Bend Range is xed at 24. If you turn Auto Note OFF and play back the pattern, the pitch change
might be dierent than when recording. If you want a pattern that was recorded with Auto Note to play back in the same way as when it was
recorded, change the Pitch Bend Range to 24.
&
“Program Parameters” (p. 10)
5 If you turn the Envelope knob while a pattern is playing, the envelope movements or the pattern playback might not keep up.
If you record extreme knob movements, pattern playback might not keep up.
If the storage capacity for knob movements reaches its limit, the display indicates “Pattern Full!” and no further recording is possible. You might
be able to solve the problem by reducing the number of parameters whose movement you are recording, or by reducing the number of notes
that are being played back (e.g., reduce the number of instruments for a drum part, or reduce the number of partials for a digital synth part).
5 Vocoder/AutoPitch settings are saved for each program.
5 Vocoder/AutoPitch can be used for only one part. If you select Vocoder/AutoPitch, you can’t select an analog synth part.
5 If you have specied that the click out is sent only from the right side (Owner’s Manual: p. 14), the click sound from the OUTPUT R jack is mixed
with the output if you connect a cable only to the OUTPUT L/MONO jack. In this case, you can connect a cable or a dummy plug to the OUTPUT R
side as well so that the click sound is not sent from OUTPUT L.
4
Error Messages
Message Meaning Action
Be aware of the following points when backing up or restoring.
If you use a USB cable to connect the JD-Xi to your computer and execute a backup, a
Read Error!
Sys Mem
Damaged!
MIDI Bu Full!
INT Memory Full! There is insucient space on the internal memory.
MIDI Oine! The MIDI IN connection was broken.
Now Playing!
Now Recording!
Rec Overow!
Pattern Full!
It may be that the le being restored is not a backup le,
or that the le has been damaged.
It may be that the contents of system memory are
damaged.
An unusually large amount of MIDI data was received, and
could not be processed.
Since the JD-Xi is playing, this operation cannot be
executed.
Since the JD-Xi is recording, this operation cannot be
executed.
Since a large amount of recorded data was input all at
once, it could not be processed correctly.
The maximum number of notes that can be recorded in
one pattern has been exceeded; the pattern cannot be
recorded any further.
This indication may appear if a large amount of data, such
as movements of the [Envelope] knob, is being recorded.
No further pattern recording is possible.
folder opens on your computer screen, and you’ll see the folder “JD-Xi.” Copy this entire
“JD-Xi” folder to your computer.
When restoring, you must also copy the entire “JD-Xi” folder.
Backup and restore will not occur correctly if you copy only the “BACKUP” folder or
some of the les that are located within the “JD-Xi” folder.
Execute the factory reset operation.
If this does not solve the problem, contact your dealer or customer support.
Reduce the amount of MIDI messages that are being transmitted.
Initialize unneeded program patterns, and then save again to increase the amount of
free internal memory.
Check that there is no problem with the MIDI cable connected to the JD-Xi’s MIDI IN, and
that the MIDI cable was not disconnected.
Stop playback before you execute the operation.
Stop recording before you execute the operation.
Reduce the amount of recorded data.
Delete unneeded data from the pattern that you’re recording.
5
How the JD-Xi Is Structured
Getting Acquainted with the JD-Xi
Controller section
The controller section is what you use for
performing.
For example, a performer’s actions such
as “playing the keyboard” are sent to
the sound generator section, causing it to
produce sound.
The controller section of the JD-Xi consists
of the keyboard, the pitch bend and
modulation wheels, and the panel buttons
and knobs.
Sound generator section
The sound generator section creates the
sound.
In response to the performance data sent
from the controller section, this section
electrically generates the waveform that
is the basis of the sound, and modies the
brightness and loudness to produce an
incredible diversity of sounds.
The JD-Xi’s sound generator section lets
you use the panel knobs and buttons to
instantly change various aspects of the
sound, such as its waveform and pitch, brightness, and loudness.
Program
A program consists of four parts: Digital Synth 1, Digital Synth 2, Drums, and
Analog Synth.
A program you edited can be saved as a user program (64 programs in each bank E–H).
&
“Program Parameters” (p. 10)
Tone
You can select one tone for each part.
For an analog synth tone, the oscillator, sub-oscillator, and lter sections consist of analog circuits.
&
“Analog Synth Tone” (p. 12)
&
“Digital Synth Tone” (p. 15)
&
“Drum Kit” (p. 20)
Eects section
The JD-Xi contains four eect units. Eect settings are saved within each program.
&
“Eects” (p. 26)
Arpeggio
This function automatically plays an arpeggio according to the keys that you hold down. Arpeggio settings are saved within each program.
&
“ARPEGGIO” (p. 29)
Pattern sequencer
This function lets you perform while patterns of several measures play back. You can also create your own original patterns and save them in a
program.
System
This area stores system parameter settings that determine how the JD-Xi operates.
JD-Xi
Controller section
Keyboard
Knobs
Wheels
System
Program
Sound Generator section (4 parts)/
Eects section
Digital Synth 1 part
Digital Synth 2 part
Drums part
Analog Synth part
Arpeggio Pattern
Program Bank Number
Preset program A–D 01–64
User program E–H 01–64
Sequencer
Eects
6
How a Tone Is Structured
Digital Synth Tone
A digital synth tone contains three sets (Partials 1–3) of OSC (oscillator), FILTER (lter), AMP (amp), and LFO.
Each partial can be turned on/o, allowing you to choose which partials are heard.
&
“Part Output” (p. 10)
PARTIAL 3
PARTIAL 2
PARTIAL 1
LFO
How the JD-Xi Is Structured
OSC FILTER
AFTERTOUCH
MOD LFO
MISC
AMP
Analog Synth Tone
An analog synth tone consists of OSC, Sub OSC, and FILTER implemented by analog circuitry, and a digitally-controlled AMP and LFO.
The OSC, Filter, and AMP each have a separate envelope that can be controlled independently.
Analog circuit
OSC
Sub OSC
(Oct -1/-2)
FILTER AMP
Digital process
Pitch
Envelope
LFO
Filter
Envelope
Amp
Envelope
Drum Kit
A kit contains 26 sets (Partials 1–26) of WAVE, TVF, and TVA.
Each partial has four wave generators.
The 26 partials are assigned to the keyboard (C2–C#4) and can be played as a single instrument.
PARTIAL 26 (C#4)
PARTIAL 1 (C2)
WAVE TVF
Pitch
Envelope
* Each partial has four wave generators.
TVF
Envelope
TVA
TVA
Envelope
7
How the JD-Xi Is Structured
JD-Xi Block Diagram (Eect)
WG (Wave Generator)
This selects the PCM waveform that is the basis of the sound, and species how the pitch of the sound changes.
TVF (Time Variant Filter)
This species how the frequency components of the sound change over time.
TVA (Time Variant Amplier)
This creates volume changes and species the pan.
How the Eects Are Structured
As eects, the JD-Xi provides Eect 1, Eect 2, Delay, and Reverb.
For Eect 1 and Eect 2 you can choose from the following eect types.
Eect 1 Distortion, Fuzz, Compressor, Bit Crusher
Eect 2 Flanger, Phaser, Ring Mod, Slicer
* If the Flanger is selected, you can set the Feedback value to 0 and use it as a Chorus.
Each program contains a single set of eect type selection and settings.
For example, a program’s Digital Synth Part 1 cannot have Eect 1 set to Distortion while the same program’s Digital Synth Part 2 has Eect 1 set to
Fuzz.
However as shown below, you can change the connections to specify which eect is used by each part.
Eect block diagram
Digital Synth 2 PART
Digital Synth 1 PART
Digital Synth
Tone
Analog Synth PART
Analog Synth
Tone
Drum PART
Drum Kit
Each Partial
INPUT
MIC
LINE/GUITAR
Part
Level
Part
Level
Part
Level
Input
Level
Part Output
Delay
Send
Reverb Send
Part Output
Delay SendDelay
Reverb Send
Part Output
Delay Send
Reverb Send
Vocoder
Auto Pitch
Click out
USB Audio (Input)
Outputp
Assign
Delay Send
Reverb Send
Eect1
Output
Assign
Delay Send
Reverb Send
Eect2
Delay Send
Reverb Send
Delay
Reverb send
Reverb
Master
Level
OUTPUT
USB Audio
(Output)
PHONES/
OUTPUT
8
How the JD-Xi Is Structured
Changing the Connection Destination of Each Part
The Part Output parameter species the eects to which each part is connected (Program Parameter: p. 10).
As the connection destination, you can choose Eect 1, Eect 2, Delay, Reverb, or Direct (no eect applied).
Press the [Eects On/O] button located on the panel of the JD-Xi to specify the eect to which each part is connected. Use the [Part Select] button
to select the part.
You can also specify whether the Eect 1 output is connected to Eect 2 (series connection).
If the Eect 1 Output Assign parameter (p. 26) is set to EFX2, Eect 1 and Eect 2 are connected in series. If it is set to DIR, Eect 1 is not connected to
Eect 2.
For example if you want to use only Distortion on Part 1 and use Flanger on Part 2, set the Eect 1 Output Assign parameter to DIR, set the Part 1 Part
Output (p. 10) to EFX1, and set the Part 2 Part Output to EFX2.
About the Delay Send Level and Reverb Send Level
Delay and Reverb are “send eects.”
The depth of delay and reverb for each part are adjusted by the program parameters “Delay Send Level” and “Reverb Send Level” parameters
(p. 10).
If the Delay Send Level is “0,” no delay is applied even if you turn the panel [Delay] knob.
The panel [Delay] knob aects the Delay Level parameter (p. 26) within the Delay eect.
In the same way, the panel [Reverb] knob aects the Reverb Level parameter (p. 26) within the Reverb eect.
For example, suppose that you want to apply delay to Part 1 when you turn the [Delay] knob, but not to Part 2. In this case, you should raise the Delay
Send Level of Part 1, but set the Delay Send Level of Part 2 to 0.
About Eect Connections for the Drums Part
The Drums part lets you specify the eect connection destination, the Delay Send Level, and the Reverb Send Level for each partial (each instrument
assigned to its own key).
Within the Drum Kit parameters, the Output Assign, Delay Send Level, and Reverb Send Level are set for each partial (each instrument assigned to its
own key) (p. 25).
About Vocoder/AutoPitch Tones
If a Vocoder tone is selected
The currently selected Digital Synth part (Part 1 or Part 2) is connected to the Vocoder eect. You can choose the eect that is connected following
the sound processed by the Vocoder. Within the Vocoder parameters, use the Output Assign parameter to select the connection destination (p. 28).
If an AutoPitch tone is selected
The currently selected Digital Synth part (Part 1 or Part 2) turns o, and the external input (Mic Input or Guitar/Line Input) is connected to AutoPitch.
You can choose the eect that is connected following the sound processed by AutoPitch.
Within the AutoPitch parameters, use the Output Assign parameter to select the connection destination (p. 28).
9
Program Parameters
Program Edit
Menu
[Shift] + Cursor [K] [J]
COMMON
MAIN
Parameter
Cursor [K] [J]
Value
Value [-] [+]
Explanation
PROG: COMMON
Tempo 120
Tempo of the program
Tempo MIDI, 5–300
ProgramLevel 0–127 Volume of the program
PROG: MAIN D1
Level 127
PROG: MAIN AN
Level 127
Level 0–127 Volume of each part
Sound Mute OFF, MUTE Temporarily silences (MUTE) each part’s performance, or unmutes it (OFF).
Pan L64–63R
Part Output
Dly Send Lev
(Delay Send Level)
Rev Send Lev
(Reverb Send Level)
Mono/Poly (for the
Analog part, Mono only)
Legato Sw
(Legato Switch)
EFX1, EFX2, DLY, REV,
DIR, KIT
0–127
0–127
MONO, POLY, TONE
OFF, ON, TONE
The Tempo knob adjusts the setting in a range from 60 to 240.
If the SYSTEM parameter Sync Mode is set to SLAVE, only “MIDI” can be selected.
(Since the tempo is synchronized to an external device, it’s not possible to change the tempo
from the JD-Xi.)
PROG: MAIN D2
Level 127
The part that you’re editing is shown in the right of the upper line.
D1/D2
(Digital Synth 1/2), DR (Drums), AN (Analog Synth)
Use the [Part Select] button to switch parts.
Species the stereo position of each part’s sound.
“L64” is far left, “0” is center, and “63R” is far right.
Selects the eect(s) applied to each part.
EFX1: EFX1, EFX2, Delay, and Reverb are applied.
EFX2: EFX2, Delay, and Reverb are applied.
DLY : Delay and Reverb are applied.
REV: Reverb is applied.
DIR: Output without applying any eect.
KIT: Use the settings of each Partial (instrument assigned to its own note) of the Drum Kit.
KIT can be selected only if the Drum part is selected.
If you want to use EFX1 and EFX2 separately for each part, set the Eect 1 parameter Output
Assign to Dir. For details, refer to “Eect block diagram” (p. 8).
You can’t select this parameter if a Vocoder/AutoPitch tone is selected. Make settings within the
Vocoder/AutoPitch parameters (p. 28).
Species the amount of delay applied to each part.
Set this to 0 if you don’t want to apply delay.
You can’t edit this value if Part Output is set to Rev, DIR, or KIT.
Species the amount of reverb applied to each part.
Set this to 0 if you don’t want to apply reverb.
You can’t edit this value if Part Output is set to DIR or KIT.
Choose “MONO” if you want the tone that’s assigned to the part to play monophonically, or
choose “POLY” if you want it to play polyphonically. Choose “TONE” if you want to use the
settings of the tone.
When playing monophonically, you can apply legato. “Legato” is the performance technique in
which notes are smoothly connected from one to the next.
This produces an eect similar to hammering-on or pulling-o when playing a guitar.
Choose “ON” if you want to apply legato, or “OFF” if you don’t. Choose “TONE” if you want to
use the settings of the tone.
PROG: MAIN DR
Level 127
PITCH
10
PROG: PITCH D1
Octave Shift +1
Octave Shift -3–3 Adjusts the pitch of each part in units of an octave (in a range of ±3 octaves).
Coarse Tune -48–+48 Adjusts the pitch of each part in units of a semitone (in a range of ±4 octaves).
Fine Tune -50–+50
Bend Range 0–24, TONE
Porta Sw
(Portamento Switch)
Porta Time
(Portamento Time)
OFF, ON, TONE
0–127, TONE
Adjusts the pitch of each part in units of one cent (in a range of ±50 cents).
One cent is 1/100th of a semitone.
Species in semitone units the amount of pitch change that occurs when you move the pitch
bend wheel (in a range of up to two octaves). The same amount of change occurs when you
move upward or downward.
Choose “TONE” if you want to use the settings of the tone that’s assigned to the part.
Species whether portamento is applied. Choose “ON” if you want portamento to apply, or
“OFF” if not.
Choose “TONE” if you want to use the settings of the tone that’s assigned to the part.
Species the time over which the pitch change occurs when using portamento.
Choose “TONE” if you want to use the settings of the tone that’s assigned to the part.
Program Parameters
Menu
[Shift] + Cursor [K] [J]
OFFSET
Parameter
Cursor [K] [J]
Value
Value [-] [+]
Explanation
PROG:OFFSET D1
Cutoff Ofst 0
Cuto Ofst (Cuto Oset) -64–+63 Adjusts the cuto frequency for the tone/drum kit that’s assigned to the part.
Reso Oset
(Resonance Oset)
Attack Ofst (Attack Oset) -64–+63 Adjusts the Attack Time for the tone/drum kit that’s assigned to the part.
Decay Oset -64–+63 Adjusts the Decay Time for the tone/drum kit that’s assigned to the part.
Release Ofst
(Release Oset)
Vibrato Rate -64–+63
Vibrato Depth -64–+63
Vibrato Delay -64–+63
-64–+63 Adjusts the resonance for the tone/drum kit that’s assigned to the part.
-64–+63 Adjusts the Release Time for the tone/drum kit that’s assigned to the part.
Adjusts the vibrato speed of each part (the rate at which the pitch is modulated).
The pitch will be modulated more rapidly for higher settings, and more slowly with lower
settings.
Adjusts the Vibrato Depth (the depth of pitch modulation) for each part.
The pitch will be modulated more greatly for higher settings, and less with lower settings.
Adjusts the time delay until the vibrato (pitch modulation) eect begins. Higher settings will
produce a longer delay time before vibrato begins, while lower settings produce a shorter time.
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Analog Synth Tone
TONE EDIT
Menu
[Shift] + Cursor [K] [J]
COMMON
OSC
Parameter
Cursor [K] [J]
Value
Value [-] [+]
Explanation
TONE: COMMON
Porta SW OFF
Tone Name
Porta Sw
(Portamento Switch)
Porta Time
(Portamento Time)
Legato Sw
(Legato Switch)
Octave Shift -3–+3 Species the octave of the tone.
Bend Range U (Pitch
Bend Range Up)
Bend Range D (Pitch
Bend Range Down)
OFF, ON
0–127
OFF, ON
0–+24
0–-24
Species the name of the tone.
Although you can edit the name and save, this is saved not for individual tones but for the
program.
Species whether portamento is applied. Choose “ON” if you want to apply portamento, or
“OFF” if you don’t.
Species the time over which the pitch change occurs when using portamento. Higher settings
will cause the pitch change to the next note to take more time.
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.
Species the amount of pitch change that occurs when you move the pitch bend wheel all the
way up.
Species the amount of pitch change that occurs when you move the pitch bend wheel all the
way down.
TONE: OSC
Waveform SAW
Waveform SAW, TRI, PW-SQR Selects the waveform.
PWM Depth (Pulse Width
Modulation Depth)
Pulse Width 0–127
Sub OSC OFF, OCT-1, OCT-2
0–127
Species the amount (depth) of LFO that is applied to PW (Pulse Width). If the OSC Wave has
selected PW-SQR, it species the amount of LFO modulation applied to PW (pulse width).
Species the pulse width.
Only if PW-SQR is selected as the OSC Wave, you can specify the width of the square wave’s top
portion (the pulse width) as a percentage of the waveform’s full cycle.
Smaller values produce a narrower pulse, approaching a square wave (pulse width = 50%).
Increasing the value will increase the width, producing a distinctive sound.
Turns the sub-oscillator on/o.
OFF: Sub-oscillator is o
OCT-1: Turns on (mixes) a square wave one octave below.
OCT-2: Turns on (mixes) a square wave two octaves below.
PITCH
FILTER
TONE: PITCH
OSC Pitch 0
OSC Pitch -24–+24 Adjusts the pitch in semitone steps.
OSC Detune -50–+50 Adjusts the pitch in steps of one cent.
Env Attack (Pitch
Envelope Attack Time)
Env Decay (Pitch
Envelope Decay Time)
Env Depth (Pitch
Envelope Depth)
0–127
0–127
-63–+63 Species how much the pitch envelope will aect the pitch.
Species the attack time of the pitch envelope.
This species the time from the moment you press the key until the pitch reaches its highest
(or lowest) point.
Species the decay time of the pitch envelope.
This species the time from the moment the pitch reaches its highest (or lowest) point until it
returns to the pitch of the key you pressed.
TONE: FILTER
Type LPF
Type BYPASS, LPF Species whether to use the analog LPF or not use it (BYPASS).
Cuto 0–127 Species the cuto frequency.
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Analog Synth Tone
Menu
[Shift] + Cursor [K] [J]
FILTER
Parameter
Cursor [K] [J]
Cuto KF
(Cuto Key Follow)
Velo Sens (Filter Envelope
Velocity Sense)
Resonance 0–127 Emphasizes the sound in the region of the lter cuto frequency.
Attack (Filter Envelope
Attack Time)
Decay (Filter Envelope
Decay Time)
Sustain (Filter Envelope
Sustain Level)
Release (Filter Envelope
Release Time)
Depth -63–+63 Species the direction and depth to which the cuto frequency will change.
Value
Value [-] [+]
-100–+100
-63–+63
0–127
0–127
0–127
0–127
Explanation
Species how the lter cuto frequency will vary according to the key that you play.
Cuto frequency
(octave)
High
+2
+1
0
-1
-2
C4C3C2 C5 C6
Species how the lter envelope depth will vary according to the strength with which you play
the key.
Species the time from the moment you press the key until the cuto frequency reaches its
highest (or lowest) point.
Species the time from when the cuto frequency reaches its highest (or lowest) point, until it
decays to the sustain level.
Species the cuto frequency that will be maintained from when the attack and decay times
have elapsed until you release the key.
Species the time from when you release the key until the cuto frequency reaches its minimum
value.
+100
+50
0
-50
-100
Value
Low
Key
AMP
TONE: AMP
AMP Level 127
AMP Level 0–127 Volume of the tone
Level V-Sens (Amp Level
Velocity Sense)
Level KF (Amp Level Key
Follow)
Attack (Amp Envelope
Attack Time)
Decay (Amp Envelope
Decay Time)
Sustain (Amp Envelope
Sustain Level)
Release (Amp Envelope
Release Time)
-63–+63 Species how the volume will 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.
-100–+100
0–127
0–127
0–127
0–127
With positive (“+”) settings the volume increases as you play upward from the C4 key (middle C);
with negative (“-”) settings the volume decreases.
Higher values will produce greater change.
Species the attack time of the amp envelope. This species the time from the moment you press
the key until the maximum volume is reached.
Species the decay time of the amp envelope. This species the time from when the maximum
volume is reached, until it decays to the sustain level.
Species the sustain level of the amp envelope. This species the volume level that will be
maintained from when the attack and decay times have elapsed until you release the key.
Species the release time of the amp envelope. This species the time from when you release the
key until the volume reaches its minimum value.
13
Analog Synth Tone
Menu
[Shift] + Cursor [K] [J]
LFO
Parameter
Cursor [K] [J]
Value
Value [-] [+]
Explanation
TONE: LFO
Shape TRI
Shape
Rate 0–127 Species the LFO rate when LFO Tempo Sync Sw is OFF.
Tempo Sync OFF, ON If this is ON, the LFO rate can be specied as a note value relative to the tempo.
Sync Note
Fade Time 0–127
Key Trigger OFF, ON If this is ON, the LFO cycle will be restarted when you press a key.
Pitch Depth -63–+63 This allows the LFO to modulate the pitch, producing a vibrato eect.
Filter Depth -63–+63 This allows the LFO to modulate the FILTER CUTOFF (cuto frequency), producing a wah eect.
Amp Depth -63–+63 This allows the LFO to modulate the AMP LEVEL (volume), producing a tremolo eect.
Mod Pitch (Modulation
Pitch Depth)
Mod Filter (Modulation
Filter Depth)
Mod Amp (Modulation
Amp Depth)
Mod Rate
(Modulation Rate)
TRI, SIN, SAW, SQR, S&H,
RND
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
-63–+63
-63–+63
-63–+63
-63–+63
Selects the LFO waveform.
Species the LFO rate when LFO Tempo Sync Sw is ON.
Species the time from when the tone is played until the LFO reaches maximum amplitude.
Fade Time
Species the depth to which the modulation wheel (CC01) can apply modulation to the pitch of
the tone.
Species the depth to which the modulation wheel (CC01) can apply modulation to the FILTER
CUTOFF (cuto frequency).
Species the depth to which the modulation wheel (CC01) can apply modulation to the AMP
LEVEL (volume).
Species how the modulation wheel (CC01) will modify the LFO Rate.
Specify a positive (“+”) setting if you want the LFO Rate to speed up when you increase the
modulation wheel (CC01) value, or specify a negative (“-”) setting if you want the rate to slow
down.
14
Digital Synth Tone
TONE EDIT: SuperNATURAL Synth Tone
Each tone has three sets (Partial 1–3) of OSC, FILTER, AMP, and LFO settings.
Menu
[Shift] + Cursor [K] [J]
Parameter
Cursor [K] [J]
Tone Name Species the name of the tone.
Tone Category Selects the tone’s category.
Tone Level 0–127 Adjusts the overall volume of the tone.
RING Switch OFF, ON
Value
Value [-] [+]
Explanation
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 dierent pitches will make the ring modulator
eect more apparent.
Partial 1’s OSC
waveform
Partial 2’s OSC
waveform
Partial 1’s OSC
output waveform
COMMON
If Ring Switch is turned on, the OSC Pulse Width Mod Depth, OSC Pulse Width, and SUPER 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 dierence in sound compared to the originally selected
waveform.
Wave Shape 0–127
Analog Feel 0–127
Unison SW
(Unison Switch)
Unison Size 2, 4, 6, 8
Mono/Poly POLY, MONO Species whether notes will sound polyphonically (POLY) or monophonically (MONO).
Legato SW
(Legato Switch)
Porta SW
(Portamento Switch)
Porta Time
(Portamento Time)
Porta Mode
(Portamento Mode)
Octave Shift -3–+3 Species the octave of the tone.
Bend Range U (Pitch
Bend Range Up)
Bend Range D (Pitch
Bend Range Down)
OFF, ON
OFF, ON
OFF, ON Species whether the portamento eect will be applied (ON) or not applied (OFF).
0–127
NORMAL, LEGATO
0–+24
0–-24
Partial 1 will be modulated by the pitch of partial 2. Higher values produce a greater eect.
This has no eect if the partial 1 waveform is PW-SQR or SP-SAW.
Use this to apply “1/f uctuation,” a type of randomness or instability that is present in many
natural systems (such as a babbling brook or whispering breeze) and is perceived as pleasant by
many people.
By applying “1/f uctuation” you can create the natural-sounding instability that is
characteristic of an analog synthesizer.
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
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 produces an eect similar to hammering-on or pulling-o when playing
a guitar.
Species the time taken for the pitch to change when playing portamento. Higher values
lengthen the time over which the pitch will change to the next note.
NORMAL: Portamento will always be applied.
LEGATO: Portamento will be applied only when you play legato (i.e., when you press the next
key before releasing the previous key).
Species the amount of pitch change that occurs when the pitch bend/modulation lever is
moved all the way to the right.
Species the amount of pitch change that occurs when the pitch bend/modulation lever is
moved all the way to the left.
Number of
notes sounded
15
Digital Synth Tone
Menu
[Shift] + Cursor [K] [J]
OSC
PITCH
Parameter
Cursor [K] [J]
TONE:OSC P1
Waveform SP-SAW
Each tone has 3 Partials. The Partial (P1–P3) that is being edited is shown in the upper right of the screen.
Value
Value [-] [+]
Explanation
TONE:OSC P2
Waveform SP-SAW
TONE:OSC P3
Waveform SAW
Selecting partials
You can select and edit the Partial as below.
By pressing the [01] [02] and [03] buttons simultaneously, you can select or edit multiple partials.
For example if [01] [02] and [03] are all on, turning [Cuto] knob will change the cuto frequency of all partials.
Partial 1 select and edit Press the [01] button.
Partial 2 select and edit Press the [02] button.
Partial 3 select and edit Press the [03] button.
Partial 1 turn on Press the [05] button (lit).
Partial 2 turn on Press the [06] button (lit).
Partial 3 turn on Press the [07] button (lit).
SAW
SQR
PW-SQR
Waveform
Variation A, B, C
Wave Number 1–160
PCM Gain -6, 0, +6, +12 [dB]
PWM Depth (Pulse Width
Mod Depth)
Pulse Width 0–127
PW Shift
(Pulse Width Shift)
S-Saw Detune
(Super Saw Detune)
Pitch -24–+24 Adjusts the pitch in semitone steps.
Detune -50–+50 Adjusts the pitch in steps of one cent.
Attack (Pitch Env Attack
Time)
Decay (Pitch Env Decay
Time)
Depth (Pitch Env Depth) -63–+63 This species how much the pitch envelope will aect the pitch.
TRI
SINE
NOISE
SUPER SAW (SP-SAW)
PCM This is a PCM waveform.
0–127
0–127
0–127
0–127
0–127
This waveform contains a sine wave fundamental plus a xed proportion of sine wave harmonics
at all integer multiples of that fundamental.
This waveform contains a sine wave fundamental plus a xed proportion of sine wave harmonics
at odd-numbered multiples of that fundamental.
The overtone structure of this waveform will vary signicantly depending on the width of the
upper portion of the waveform (Pulse Width).
This waveform contains a sine wave fundamental plus a xed proportion of sine wave harmonics
at even-numbered multiples of that fundamental.
This is a sine wave. This is a waveform that produces just a single frequency; it is the basis of all
sound.
This waveform contains all frequencies. It is suitable for percussion instrument sounds or sound
eects.
This produces a tone similar to seven sawtooth waves heard simultaneously. Pitch-shifted sounds
are added to the center sound. It is suitable for strings sounds, and for creating thick sounds.
You can select variations of the currently selected WAVE.
* This has no eect for SP-SAW or PCM.
Selects the PCM waveform.
* This is valid only if PCM is selected for OSC Wave.
Species the gain (amplitude) of the waveform.
The value will change in 6 dB (decibel) steps. Each 6 dB increase doubles the gain.
* This is valid only if PCM is selected for OSC Wave.
Species the amount (depth) of LFO that is applied to PW (Pulse Width).
If the OSC Wave has selected (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 eect on partials 1 and 2.
Species the pulse width.
Only if (PW-SQR) is selected as the OSC Wave, you can specify the width of the square wave’s top
portion (the pulse width) as a percentage of the waveform’s full cycle.
Smaller values produce a narrower pulse, 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 eect on partials 1 and 2.
Shifts the range of change. Normally, you can leave this at 127.
* If the Ring Switch is on, this has no eect on partials 1 and 2.
Species the amount of pitch dierence between the seven sawtooth waves layered within a
single oscillator.
* Higher values will increase the pitch dierence. (OSC Detune applies an equal amount of pitch
dierence between each of the seven sawtooth waves.)
* If the Ring Switch is on, this has no eect on partials 1 and 2.
* This is valid only if SP-SAW is selected for OSC Wave.
Species the attack time of the pitch envelope.
This species the time from the moment you press the key until the pitch reaches its highest
(or lowest) point.
Species the decay time of the pitch envelope.
This species the time from the moment the pitch reaches its highest (or lowest) point until it
returns to the pitch of the key you pressed.
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