Roland JM-5 User Manual

Owner’s Manual

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For C.A. US (Proposition 65

)

WARNING

This product contains chemicals known to cause cancer, birth defects and other reproductive harm, including lead.

For EU Countries

This product complies with the requirements of European Directive EMC 2004/108/EC.

For the USA

FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

— Reorient or relocate the receiving antenna. — Increase the separation between the equipment and receiver. — Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. — Consult the dealer or an experienced radio/TV technician for help.

This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) This device must accept any interference received, including interference that may cause undesired operation.

Unauthorized changes or modification to this system can void the users authority to operate this equipment. This equipment requires shielded interface cables in order to meet FCC class B Limit.

For Canada

NOTICE

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

AVIS

For the U.K.

IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.

BLUE: BROWN:

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.

NEUTRAL LIVE

For the USA

DECLARATION OF CONFORMITY

Compliance Information Statement

VIMA JM-5

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Roland is either a registered trademark or a trademark of Roland Corporation in the United States and/or other countries.

Owner’s Manual

Thank you and congratulations on your choice of the Roland VIMA JM-5. To ensure that you obtain the maximum enjoyment and take full advantage of the JM-5’s functionality, please read

this owner’s manual carefully.

ENGLISH ENGLISH

About this manual

You should first read the chapter “Before you start using the JM-5” on p. 14. It explains how to connect the AC adaptor and turn on the power. This Owner’s Manual explains everything, from the JM-5’s basic operations to more advanced functions.

Conventions in this manual

In order to explain the operations as clearly as possible, this manual uses the following conventions:

•Text enclosed in square brackets [ ] indicates the name of a button or knob. Example: the [PLAYLIST] button.

• Paragraphs that begin with “NOTE” are cautionary statements that you must read.

• Paragraphs that begin with “MEMO” contain useful information that may come in handy.

•The numbers of pages that you can turn to for additional or related information are given like this: (p. **).

The explanations in this manual include illustrations that depict what should typically be shown by the display. Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., include newer sounds), so what you actually see in the display may not always match what appears in the manual.

Before using this instrument, carefully read “Using the unit safely” on p. 4 and “Important notes” on p. 6. Those sections provide information concerning the proper operation of the JM-5. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, the manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

ENGLISH ENGLISH

VIMA

Using the unit safely

JM-5

Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.

Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.

* Material damage refers to damage or

other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.

• Do not open (or modify in any way) the unit or its AC adaptor.

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• Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

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• Never install the unit in any of the following locations.

• Subject to temperature extremes (e.g., direct sunlight

in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are

• Damp (e.g., baths, washrooms, on wet floors); or are

• Exposed to steam or smoke; or are

• Subject to salt exposure; or are

• Humid; or are

• Exposed to rain; or are

• Dusty or sandy; or are

• Subject to high levels of vibration and shakiness.

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•Make sure you always have the unit placed so it is level and sure to remain stable. Never place it on stands that could wobble, or on inclined surfaces.

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• Be sure to use only the AC adaptor supplied with the unit. Also, make sure the line voltage at the installation matches the input voltage specified on the AC adaptor's body. Other AC adaptors may use a different polarity, or be designed for a different voltage, so their use could result in damage, malfunction, or electric shock.

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• Use only the supplied power-supply cord. Also, the supplied power cord must not be used with any other device.

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• Do not excessively twist or bend the power cord, nor place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are fire and shock hazards!

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The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.

The ● symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.

• This unit, in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist.

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• Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

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•Immediately turn the power off, remove the AC adaptor from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page when:

• The AC adaptor, the power-supply cord, or the plug has been

damaged; or

• If smoke or unusual odor occurs

• Objects have fallen into, or liquid has been spilled onto the unit;

or

• The unit has been exposed to rain (or otherwise has become

wet); or

• The unit does not appear to operate normally or exhibits a

marked change in performance.

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•In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit.

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• Protect the unit from strong impact. (Do not drop it!)

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• Do not force the unit's power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord's outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.

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• Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

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• The unit and the AC adaptor should be located so their location or position does not interfere with their proper ventilation.

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•Always grasp only the plug on the AC adaptor cord when plugging into, or unplugging from, an outlet or this unit.

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• At regular intervals, you should unplug the AC adaptor and clean it by using a dry cloth to wipe all dust and other accumulations away from its prongs. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time. Any accumulation of dust between the power plug and the power outlet can result in poor insulation and lead to fire.

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• Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children.

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• Never climb on top of, nor place heavy objects on the unit.

VIMA JM-5

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Using the unit safely

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• Never handle the AC adaptor or its plugs with wet hands when plugging into, or unplugging from, an outlet or this unit.

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• Before moving the unit, disconnect the AC adaptor and all cords coming from external devices.

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• Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet (see p. 17).

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•Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet.

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• Keep the included screw in a safe place out of children’s reach, so there is no chance of them being swallowed accidentally.

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•Always turn the phantom power off when connecting any device other than condenser microphones that require phantom power. You risk causing damage if you mistakenly supply phantom power to dynamic microphones, audio playback devices, or other devices that don't require such power. Be sure to check the specifications of any microphone you intend to use by referring to the manual that came with it. (This instrument's phantom power: 48V DC, 10mA Max)

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VIMA

JM-5

Important notes

1. Important notes

In addition to the items listed under “Using the unit safely” on p. 4, please read and observe the following:

Power supply

• Do not connect this unit to same electrical outlet that is being used by an electrical appliance that is controlled by an inverter (such as a refrigerator, washing machine, microwave oven, or air conditioner), or that contains a motor. Depending on the way in which the electrical appliance is used, power supply noise may cause this unit to malfunction or may produce audible noise. If it is not practical to use a separate electrical outlet, connect a power supply noise filter between this unit and the electrical outlet.

• The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a cause for concern.

• Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.

Placement

• Using the JM-5 near power amplifiers (or other equipment containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this instrument or move it further away from the source of interference.

• This device may interfere with radio and television reception. Do not use it in the vicinity of such receivers.

• Noise may be produced if wireless communications devices, such as cell phones, are operated in the vicinity of this unit. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch them off.

• Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit.

•When moved from one location to another where the temperature and/or humidity is very different, water droplets (condensation) may form inside the JM-5. Damage or malfunction may result if you attempt to use the unit in this condition. Therefore, before using the unit, you must allow it to stand for several hours, until the condensation has completely evaporated.

• Depending on the material and temperature of the surface on which you place the unit, its rubber feet may discolor or mar the surface. You can place a piece of felt or cloth under the rubber feet to prevent this from happening. If you do so, please make sure that the unit will not slip or move accidentally.

• Do not put anything that contains water (e.g., flower vases) on this unit. Also, avoid the use of insecticides, perfumes, alcohol, nail polish, spray cans, etc., near the unit. Swiftly wipe away any liquid that spills on the unit using a dry, soft cloth.

Maintenance

• For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, nonabrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.

• Never use benzene, thinner, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.

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Additional precautions

• Unfortunately, it may be impossible to restore the contents of data that was stored on a USB storage device once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

• Use a reasonable amount of care when using the JM-5’s buttons, other controls and jacks/connectors. Rough handling can lead to malfunctions.

• Never strike or apply strong pressure to the display.

•When connecting/disconnecting cables, grasp the connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable’s internal elements.

• To avoid disturbing your neighbors, try to keep the JM-5’s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially late at night).

•When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.

• Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For information on cable specifications, contact the manufacturer of the cable.

About the MIDI IN/OUT socket

• The JM-5 is equipped with standard MIDI IN functionality. Since the JM-5 can also transmit V-LINK messages, you can set this socket to function as MIDI OUT. See “MIDI Direction” on p. 58 and “V-LINK function” on p. 72 for details.

Storage devices that can be connected to the JM-5’s USB port

• The JM-5 allows you to connect commercially available storage devices, like USB Flash memory, CD-ROM drives, and hard disks. You can purchase such devices at a computer store, a digital camera dealer, etc.

• Though external hard disks with a capacity in excess of 2TB can be used, please bear in mind that the JM-5 can manage a maximum of 2TB. (FAT-32 formatted storage devices can be used right away.)

• Use USB memory sold by Roland. We cannot guarantee operation if any other USB memory is used.

Before using external USB storage devices

•When connecting a USB storage device, firmly insert it all the way into the JM-5’s USB port.

• Do not touch the pins of the USB memory port or allow them to become dirty.

•While using an external USB storage device, please observe the following points when handling it:

• To prevent damage from static electrical charges, discharge any

static electricity that might be present in your body before handling a USB storage device.

• Do not touch the terminals with your fingers or any metal

object.

• Do not bend or drop a USB storage device, or subject it to

strong impact.

• Do not leave a USB storage device in direct sunlight or in loca-

tions such as a closed-up automobile.

• Do not allow a USB storage device to become wet.

• Do not disassemble or modify your external USB storage device.

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•When connecting a USB storage device, position it horizontally

• GS ( ) is a registered trademark of Roland Corporation.

•All product names mentioned in this document are trademarks or registered trademarks of their respective owners.

•MPEG Layer-3 audio compression technology is licensed from Fraunhofer IIS Corporation and THOMSON Multimedia Corporation.

• This product uses certain software of the Independent JPEG group.

with the JM-5’s USB port and insert it without using excessive force. The USB port may be damaged if you use excessive force when inserting a USB storage device.

• Do not insert anything other than a USB storage device (e.g., wire, coins, other types of device) into the JM-5’s USB port. Doing so will damage the JM-5’s USB port.

• Carefully insert the USB storage device all the way into the port, until it is firmly in place.

• Never connect your USB storage device to the JM-5 via a USB hub.

Liability and copyright

• Recording, duplication, distribution, sale, lease, performance, or broadcast of copyrighted material (musical works, visual works, broadcasts, live performances, etc.) belonging to a third party in part or in whole without the permission of the copyright owner is forbidden by law.

• Do not use this unit for purposes that could infringe on a copyright held by a third party. Roland assumes no responsibility whatsoever with regard to any infringements of third-party copyrights arising through your use of this unit.

About supported picture files

•Picture files of the following formats can be loaded by the JM-5:

• JPG files with a maximum size of 4MB

•Max. width: 4096 pixels, max. height: 3072 pixels. Using 512 x

384 pixels, or 1024 x 768 pixels, is highly recommended.

• Do

not

save your pictures as “Progressive” JPG files if you want

to use them with the JM-5. Select the “Baseline” format.

• If pictures of different dimensions are displayed during a slide-

show, the final appearance may be disappointing.

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Important notes

About audio files

• Audio files in the following formats can be played back:

•WAV format

• 16-bit linear

• Sampling rate of 44.1kHz

• Stereo/mono

•mp3 files:

•MPEG-1 Audio Layer 3

• Sampling frequency: 8/11.025/12/16/22.05/24/32/44.1/48kHz

•Bit rate: 32/40/48/56/64/80/96/112/128/160/192/224/256/

320kbps, VBR (variable bit rate)

Supported Standard MIDI Files

• Format 0/1, .kar files

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VIMA

JM-5

Features

2. Features

Versatile player

The JM-5 can play back audio files (mp3 and WAV) and SMF files from an external USB Memory.

Connect two microphones

The JM-5 is a professional vocal system with two microphone inputs, vocal effects and a video output for displaying the song lyrics and chords on an external screen. It is perfect for karaoke applications in stores, bars, schools, private homes, concert venues and at parties.

Enjoy singing together

The JM-5 can be connected to a TV set, a monitor or a projector and display the lyrics of the selected songs as well as digital photos that to match the atmosphere.

There is no need to buy dedicated “karaoke versions” of the music you wish to perform: the JM-5 contains a “Center Cancel” function that can attenuate the vocal parts of most audio files.

Dedicated effects to enhance your vocal and instrumental performances

The two microphone inputs allow you to perform duets with someone else, and add other audio signals by connecting the source in question to the AUDIO IN socket.

You can also add automatic harmonies simply by singing to a song, add a reverb and echo effect (based on a model of the legendary Roland Space Echo) to your voice and change your voice to produce a robot, animal or “gender transformation” effect.

Multi-effects for Standard MIDI Files

With a view to obtaining the highest possible sound quality, the JM-5 contains three dedicated multieffects processors (MFX A, B, and C) for Standard MIDI Files.

USB-based Standard MIDI File and audio file player

The JM-5 plays Standard MIDI Files (SMF), mp3 and WAV files directly from a connected USB memory.

To get you started, the JM-5 is supplied with a Roland M-UF2G USB memory (with a capacity of 2GB) where you can save your audio recordings and the songs you wish to play back.

USB-based audio recorder

The JM-5 allows you to record your performances as audio data. The resulting WAV files can be played back on the JM-5 itself or transferred to a computer via a USB storage device.

A powerful MIDI module

The JM-5’s internal sound source can also be controlled via MIDI (from a MIDI-compatible keyboard instrument, a computer, etc.). Three real-time parts are available that can play different parts simultaneously, using different sounds. There is a second MIDI mode (“Song Parts”) in which the is 16-part multitimbral.

…and so much more!

Playlist function

Thanks to the JM-5’s “Playlist” function, you can program set lists for your performances or for background music in restaurants, bars, schools, hotel lobbies, concert halls, etc. This function is also convenient for entertainers who cannot afford to load the songs one after another while on stage.

Cover function for Standard MIDI Files

Simply by selecting one of 30 presets, you can cause a Viennese waltz to be played back by a heavy metal band, etc. Even though the arrangement (rhythm, riffs) does not change, the songs’ character can be modified beyond recognition.

Song Makeup Tools for Standard MIDI files

These tools allow you to modify songs in no time without knowing the MIDI commands normally used to perform such changes.

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Panel description

A

E

B

C

D

A

USB memory port

Connect the supplied M-UF2G an optional USB memory here.

Note: Roland does not recommend using USB hubs, irrespective of whether they are active or passive. Please connect only one USB storage device to this port.

NOTE

Use USB storage devices sold by Roland. We cannot guarantee operation if any other USB memory is used.

B

BACKING knob

This knob allows you to set the volume of the songs (audio or MIDI) you play back.

C

MASTER VOL knob

Use this knob to set the JM-5’s global output volume (all signals transmitted to the OUTPUT sockets). The setting of this knob also determines the volume in the headphones you may connect.

D

Headphone socket

This is where you can connect a pair of optional headphones (Roland RH-series).

E

Display

This display shows information related to your operation and the lyrics of the songs you play back (if they contain lyrics data).

FGH

I

J

K

F

G

H

I

J

NO

Q

P

S

L

USB MEMORY button

Press this button to call up a list of the files stored on the USB memory connected to the JM-5‘s USB memory port.

MENU button

This button allows you to open the JM-5’s menu page where you can view and select all available functions. Press it together with the [EXIT] button to listen to the JM-5’s demo songs.

EXIT button

This button is used to return to a higher menu level. Press and hold it to return to the JM-5’s main display page.

MIC1 and MIC2 knobs

The [MIC1] and [MIC2] knobs control the level of the microphone connected to the MIC 1 or MIC 2 jack.

SPACE ECHO knob

Press this button to switch the echo effect for the microphone signals on or off. Press and hold it if you need to change the echo effect’s settings. Pressing this button together with the [VOCAL EFFECT] button will activate TALK mode (page 25).

UV W

R

T

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VIMA JM-5

Panel description

K

VOCAL EFFECT button

The [VOCAL EFFECT] button activates the vocal effect. Press and hold it to select the desired voice transformation or harmony effect (page 25). Pressing this button together with the [SPACE ECHO] button will activate TALK mode (page 25).

L

AMBIENCE knob

This knob controls the level of the reverb effect (called “Ambience” on the JM-5) that is added to the [MIC1] and [MIC2] signals.

M

CURSOR/VALUE dial

This dial can be used to move the cursor in the display, to select parameters and to set values. By pressing it, you can select items in the display (SELECT).

N

[ª] button (Stop)

Press this button to stop playback of the currently selected song and to return to the beginning.

O

[®÷π] button (Play/Pause)

Pressing this button starts or temporarily halts playback of the currently selected song.

P

MELODY MUTE button

This button lets you mute the melody part of the selected Standard MIDI File, or attenuate the vocal part at the center of an audio file (WAV or mp3), allowing you to sing or play that part yourself.

Pressing and holding this button opens the “Melody Mute” page.

Q

[º] (Rewind) and [‰] (Fast-Forward) buttons

These buttons allow you to rewind or fast-forward within the currently selected song.

R

REC button

This button allows you to activate audio recording on the JM-5.

S

CONTROL KEY button

This button whose

as the signals received via the AUDIO IN socket. If the [KEY] button doesn’t light, the song (audio or MIDI) and audio input signals use their original pitch.

T

CONTROL TEMPO button

Press this button to select the “Tempo” function and to change a related setting.

U

PLAYLIST button

This button calls up the “Playlist” function (page 36).

V

NEXT button

This button selects the next song in the playlist and starts a fade-out of the song that is currently playing while the new song you selected is gradually faded in. This also works for songs on the connected USB memory (irrespective of whether or not you select them by hand).

W

FINDER button

Press this button to select the JM-5’s convenient “Finder” function that allows you to search for a song or picture whose location you don’t remember.

selects the

setting applies to MIDI and audio files as well

’s transpose function

JM-5

Rear panel

AB C D

A

POWER switch

Turns the power on/off (page 17).

B

DC IN socket

Connect the supplied AC adapter PSB-1U here (page 14).

C

MIC2 socket

This is a combo socket to which you can connect either a balanced XLR or an unbalanced 1/4” phone jack.

D

MIC1 socket

This is a combo socket to which you can connect either a balanced XLR or a balanced/unbalanced 1/4” phone jack, depending on the cable that is connected to your microphone. This is the main microphone input whose signal can be processed with the JM-5’s harmony function.

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EFG

I

H

The JM-5 can provide phantom power to this socket, allowing you to use a condenser microphone. See (page 27) for details about phantom power.

NOTE

This instrument is equipped with balanced (XLR and 1/4” phone) type jacks. Wiring diagrams for these jacks are shown below. Make connections after first checking the wiring diagrams of other equipment you intend to connect.

E

INPUT (STEREO) socket

This socket allows you to connect the audio outputs of an external signal source (CD/mp3 player, synthesizer, etc.). This is a stereo TRS socket to which you

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can connect a cable with a stereo 1/8” plug at one end (this ones needs to be connected to the JM-5) and two 1/4” or RCA mono plugs, or a 1/8” stereo plug that connect(s) to the external audio source.

NOTE

The audio in level can be set using the “Audio In Level” function (page 57).

F

AUDIO OUTPUT R & L/MONO sockets

These sockets transmit all audio signals the JM-5 generates as well as the signals you input to the JM-5.

NOTE

If you can/want to use only one channel on your external amplifier, connect the L/MONO socket to its input. For optimum sound quality, we recommend working in stereo, though.

G

VIDEO OUTPUT socket

Connect this socket to the appropriate input of your TV or external display.

NOTE

The signal format (PAL or NTSC) is selectable (page 56).

H

MIDI IN/OUT socket

This socket allows you to either transmit (OUT) or receive (IN) MIDI messages to/from an external MIDI device (page 62). It can also transmit V-LINK messages (page 72).

VIMA JM-5

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Rear panel

NOTE

See “MIDI Direction” on p. 58 for how to select the function of this socket.

I

COMPUTER port

Use a USB cable to connect the JM-5 to your computer via this port (page 69). This port only transmits and receives MIDI messages.

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VIMA JM-5

Before you start using the JM-5

4. Before you start using the JM-5

Connecting the AC adaptor

1.

Turn the [MASTER VOL] knob all the way to the left to minimize the volume.

2.

Connect the included power cord to the AC adapter.

The indicator will light once you plug the AC adaptor into a wall outlet.

AC adapter Power cord

to an AC outlet

Indicator

Place the AC adapter so the side with the indicator (see illustration) faces upwards and the side with textual information faces downwards.

NOTE

Depending on your region, the included power cord may differ from the one shown above.

3.

Connect the AC adaptor to the JM-5’s DC IN jack.

JM-5’s rear panel

Connecting the JM-5 to an amplifier, mixer, etc.

To use the JM-5, you need to connect it to a mixer or an amplification system.

NOTE

To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.

1.

Turn the [MASTER VOL] knob all the way to the left to minimize the volume.

2.

Switch off all devices.

3.

Connect the JM-5’s OUTPUT jacks to the inputs of your external device. Connect the outputs of an external signal source to the JM-5’s INPUT (STEREO) socket.

Connecting the JM-5 to an ampliﬁer

4.

Plug the power cord into a power outlet.

Note: Be sure to use only the AC adapter supplied with the

unit (PSB-1U). Also, make sure the line voltage at the installation matches the input voltage specified on the AC adapter’s body. Other AC adapters may use a different polarity, or be designed for a different voltage, so their use could result in damage, malfunction, or electric shock.

NOTE

If you won’t be using the JM-5 for an extended period of time, disconnect the power cord from the electrical outlet.

INPUT L + R

OUTPUT R + L/MONO

For the connection to an amplifier, please choose unbalanced (mono) cables with 1/4” plugs at one end (for the JM-5). The connectors at the other end need to match the input sockets of the device to which you are connecting the JM-5.

NOTE

When connection cables with resistors are used, the volume level of equipment connected to the audio inputs may be low. If this happens, use connection cables that do not contain resistors.

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VIMA JM-5

Connecting a microphone

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Connecting a microphone

Connect your microphone to the MIC 1 or MIC 2 socket.

Microphone: Roland DR-series. *Connect the microphone using either an unbalanced mono 1/4” or a balanced XLR plug.

If you are using only one microphone, choose the MIC 1 socket. This will allow you to take advantage of the JM-5’s voice effects and harmony function.

NOTE

You can connect a condenser microphone to the MIC 1 socket, in which case you need to switch on phantom power (page 27).

■ Cautions when using a microphone

•Lower the volume before you connect a microphone to the JM-5. If the volume is raised when you connect a microphone, noise may be output from the connected speakers.

• Howling could be produced depending on the location of microphones relative to speakers of your amplification system. This can be remedied by: (1) Changing the orientation of the microphones. (2) Relocating the microphone(s) at a greater distance from speakers. (3) Lowering volume levels.

Connecting a television set

(Commercially available)

NOTE

Before you make connections to other devices, you must turn down the volume of all devices and turn off their power to prevent malfunctions or damage to your speakers.

1.

Switch off the JM-5 and the television set you’ll be connecting.

2.

Connect the JM-5 to your television set.

Use a video cable (commercially available) to connect the JM-5’s VIDEO OUTPUT jack to the television set.

3.

Switch on the JM-5 (see p. 17).

4.

Switch on your television set.

5.

(As necessary) Specify the television output format (see p. 56).

6.

Specify the aspect ratio for your television set.

The aspect ratio is the proportional relationship between the width and height of the screen.

Video cable

Television

Connecting an external audio device

You can also connect an external audio device to the JM-5’s INPUT (STEREO) socket.

Headphone output

This connection requires a special cable: 1/8” stereo mini phone plug → 1/8” stereo mini phone plug

Portable audio player

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VIMA JM-5

Before you start using the JM-5

The “Audio In Level” parameter (see p. 57) allows you to set the input level.

NOTE

Signals received via the INPUT (STEREO) socket can also be processed by the “Center Cancel” function (see “Audio In Center Canc” on p. 57) and transposed (see “Audio In Transpose” on p. 57).

Listening through headphones

You can use headphones to enjoy the JM-5 without disturbing those around you, such as at night.

Attaching the JM-5 to a stand

By using the separately sold PDS-10, you can attach the JM-5 to a stand as shown in the illustration below.

NOTE

Use only the screws (M5x8) supplied with the JM-5 to attach the unit to the Roland PDS-10 stand (sold separately). Other screws or other usages of the screw holes may damage the JM-5.

NOTE

Never insert the 4 screws supplied with the JM-5 without attaching the JM-5 to the PDS-10 stand.

NOTE

When using the PDS-10, extend the legs to their maximum spread. Do not allow the overall height including the JM-5 to exceed 1 meter.

PSD-10 stand plate

JM-5 bottom plate

Headphones

1.

Plug the headphones into the headphone () socket located at the JM-5’s front.

If you don’t want to disturb others, switch off the external amplification system, because the JM-5’s OUTPUT sockets remain active even when you connect headphones.

2.

Use the JM-5’s [MASTER VOL] knob to adjust the headphone volume.

■ Cautions when using headphones

•To prevent damage to the cord’s internal conductors, avoid rough handling. When using headphones, mainly try to handle either the plug or the headset.

• Your headphones may be damaged if the volume of a device is already turned up when you plug them in. Minimize the volume before you plug in the headphones.

• Excessive input will not only damage your hearing, but may also strain the headphones. Please enjoy music at a reasonable volume.

•Use headphones fitted with a stereo 1/8” phone plug.

Notes: Be sure to use the screws supplied with the JM-5.

The assembly (JM-5 and PDS-10) should look as shown to the right.

• See the PDS-10’s owner’s manual for details about how to attach the JM-5 to it.

•For this procedure, turn the JM-5 upside-down, and place a bunch of newspapers or magazines under the four corners or at both ends to prevent damage to the buttons and controls. Also, you should try to orient the JM-5 so no buttons or controls get damaged.

NOTE

When turning the JM-5 upside-down, handle with care to avoid dropping it, or allowing it to fall or tip over.

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16

Turning the power on/off

Once the connections have been completed, turn on the power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.

NOTE

Never remove the USB memory while playback or recording is running or while data are being read from, or written to, an external USB memory.

Turning the power on

1.

Switch off the external amplification system.

2.

Turn the [MASTER VOL] knob all the way to the left to minimize the volume.

VIMA JM-5

Turning the power on/off

4.

Switch on your amplification system or connect a pair of headphones (see p. 16).

5.

Use the [MASTER VOL] knob to adjust the volume.

Turning the power off

1.

Turn the [MASTER VOL] knob all the way to the left to minimize the volume.

NOTE

Never switch off the JM-5 while playback or recording is running or while data are being read from, or written to, an external USB memory.

2.

Switch off your external amplification system.

3.

Press the JM-5’s [POWER] switch.

The display will go dark and the power will turn off.

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3.

Press and hold the [POWER] switch until the “Starting Up…” message appears in the display.

The power will turn on, an opening message will appear in the JM-5’s screen, and then the main page will appear.

After a brief interval, the JM-5 will be ready to produce sound.

NOTE

If you need to turn off the power completely, first turn off the [POWER] switch, then unplug the power cord from the power outlet. Refer to “Connecting the AC adaptor” on p. 14.

NOTE

This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally.

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VIMA JM-5

Before you start using the JM-5

Demo of the JM-5

Your JM-5 contains a demo that introduces all of its highlights. It might be a good idea to try it out now. The demo is self-explanatory, so we’ll just show you how to start and stop it.

NOTE

You will need to connect an external display to take advantage of the JM-5’s demo function. See “Connecting a television set” on p. 15.

1.

Simultaneously press the [MENU] and [EXIT] buttons.

2.

Enjoy the audio-visual demo.

3.

Press the [EXIT] button to leave the demo function.

NOTE

No data for the music that is played back will be output from USB–MIDI.

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5. Basic operation of the JM-5

VIMA JM-5

Basic operation of the JM-5

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About the display and cursor operation

This section introduces the information that appears on the main page in the JM-5’s display and how to navigate the menu.

Main page

Current measure Tempo setting Time signature

Transposition interval (“Key”)

Selected song ﬁle type: .SMF, .WAV, .mp3

Selected vocal effect

Moving between windows

Here is how to navigate the menu to select the setting you want to change.

1.

Press [MENU] button.

Level of the selected vocal effect

The display changes to:

On this display page, only one setting (“Display Brightness”) can be changed directly. Some of the remaining entries are followed by an arrow, meaning that they provide access to additional display pages.

4.

Try to select other “Menu” functions by proceeding as follows:

(a) Press the [EXIT] button once to return to the

“Menu” page.

(b) Rotate the [CURSOR÷VALUE] dial to select an entry,

then press the dial to go to the corresponding function group or setting.

(c) Press and hold the [EXIT] button (its indicator stops

flashing) to return to the JM-5’s main page.

MENU

The display changes to:

This page allows you to select the function group that contains the setting you want to change (indications followed by an arrow mean that you can select other display pages).

2.

Rotate the [CURSOR÷VALUE] dial to select the entry of the desired function group.

For this example, we will select “User Settings”.

3.

Press the [CURSOR÷VALUE] dial (“PUSH”) to go to the “User Settings” function group.

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VIMA JM-5

Playing back songs

6. Playing back songs

The JM-5 plays back songs stored on an external USB storage device (it doesn’t contain a hard disk). Be sure to prepare one with the songs you intend to use. You can use your computer to prepare the USB storage device (a USB memory). We recommend, however, to format the USB storage device with the JM-5 rather than your computer. See page 70 for how to format your storage device. In addition, the JM-5’s demo songs can be played back if you select the corresponding playlist.

On the JM-5, mp3, WAV and SMF files are considered “songs”. Be aware, however, that mp3 and WAV files are audio data (the ones you can burn onto a CD and play back with almost any CD player). Standard MIDI Files, on the other hand, contain MIDI data, i.e. instructions for a tone generator. This is important to remember, because it explains why some functions are only available for Standard MIDI Files, while others only work with audio files (WAV or mp3).

NOTE

See page 21 for the supported song files.

NOTE

Never remove the USB memory while playback or recording is running or while data are being read from, or written to, an external USB memory.

Playing back songs on a USB storage device

Here’s how you can listen to songs that are saved on a USB storage device (sold separately).

1.

Connect the JM-5 to an audio system (or connect a pair of headphones) and switch it on (see p. 17).

2.

Connect the USB memory containing the song you want to play back to the USB memory port on the front panel.

3.

If necessary, press the [USB MEMORY] button.

USB MEMORY

The display changes to:

(This is only an example of what may be displayed after performing step (3).)

NOTE

When you first connect a USB memory to the JM-5, this page appears automatically. In that case, you can skip step (3).

4.

Select the file you want to play back by first rotating the [CURSOR÷VALUE] dial and then pressing it to confirm your selection.

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20

The [USB MEMORY] button’s indicator lights.

VIMA JM-5

Supported song ﬁles

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5.

Press the [®÷π] button to start playback.

6.

Press [®÷π] again to temporarily pause playback. Press it yet again to resume playback.

7.

Press the [ª] button to stop playback and return to the beginning of the song.

■ If the file is located inside a folder

If the file you need is located inside a folder, select the folder in question by rotating the [CURSOR÷VALUE] dial and then pressing it to open that folder.

Next, select the file in the usual way (by rotating and pressing the [CURSOR÷VALUE] dial).

If you open a folder by accident, press the [EXIT] button to return to the previous level.

Press and hold the [EXIT] button (its indicator stops flashing) to return to the JM-5’s main page.

Supported song files

The JM-5 can play back mp3 and WAV files (audio) and Standard MIDI Files (SMF). The main difference between audio and SMF files is that SMF files do not contain vocal parts and rely on the JM-5’s internal tone generator for the sounds you hear.

8.

Use the [º] and [‰] buttons to rewind or fast-forward.

9.

Press and hold the [EXIT] button to return to the main page where you will find all important information regarding the selected song.

If you can’t see the song (or folder) you need

■ Scrolling up or down

If the USB storage device contains more files and/or folders than can be displayed at once, use the dial to move the list up or down.

Note: Audio files in the AIFF format are not supported.

File type Explanation

SMF Standard MIDI Files, formats 0 and 1

.kar files

mp3 mp3+CDG

WAV • 16-bit linear

VIMA TUNES (CD-ROMs produced for VIMA)

• MPEG-1 Audio Layer 3

• Sampling frequency: 44.1kHz

•Bit rate: 32/40/48/56/64/80/96/ 112/128/160/192/224/256/ 320kbps*, VBR (variable bit rate) (*) 320kbps is not available for mp3+CDG files

• Sampling frequency: 44.1kHz

• Stereo/mono

After connecting and optional CD-ROM drive to the JM-5’s EXTERNAL MEMORY port, you can play back commercially available CD-ROMs made for the VIMA (VIMA TUNES). While a song plays, you can view a slide show suitable for the character of that song on an external display or a television.

Music CDs If you connect an optional USB

CD-ROM drive to the JM-5’s external memory port, you can play back standard music CDs.

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VIMA JM-5

Singing and playing along to a song

7. Singing and playing along to a song

The JM-5 allows you to connect two microphones. It also provides several functions to process both your “live” signal sources and the songs you play back.

7.

If the song is too loud or too soft, you can

Connection and basic settings

1.

Set the [MIC 1] and/or [MIC 2] knob to the minimum value.

change the balance between the accompaniment and your singing:

•Use the [BACKING] knob to increase or decrease the song level.

BACKING

You should do so each time you need to connect or disconnect a microphone. Furthermore, only increase the setting if somebody actually wants to sing, and then set it back to the minimum value.

2.

Connect a microphone (see p. 15).

Socket Explanation

MIC 1 Is intended for the main microphone. The

signal received via this socket can be processed with the JM-5’s harmony effect (see p. 25). This socket can provide phantom power for a condenser microphone (see p. 27).

MIC 2 Can be used for a second microphone for

karaoke duets. The harmony effect is not available for the second microphone.

3.

Sing or talk into the microphone and gradually turn the [MIC 1] or [MIC 2] knob towards the right.

Set the knob in such a way that you can easily hear your voice or instrument. If the sound distorts, you need to turn the knob a little towards the left again.

NOTE

If you don’t hear anything, check the setting of the [MASTER VOL] knob.

If doing so would make the JM-5’s overall level way too soft, turn the [MIC 1] or [MIC 2] knob towards the right. (Be careful to avoid distorting the microphone signal, though.)

8.

Press the [ª] button to stop playback and return to the beginning of the song.

4.

Choose the song you want to play back (page 20).

5.

Press the [®÷π] button to start playback.

6.

Start singing or playing at the right moment.

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Adding effects to the microphone signals

Adding ambience to your vocal performance

The JM-5 provides a reverb effect for the signals received via the MIC 1 and MIC 2 sockets.

1.

Sing or play while setting the desired reverb amount with the [AMBIENCE] knob.

AMBIENCE

The setting of this knob applies to both microphone signals (MIC 1 and 2).

Turn the knob towards the right to increase the amount of Ambience effect, and to the left to decrease the amount.

■ Selecting a different Ambience effect

To select a different kind of Ambience effect, proceed as follows.

NOTE

The setting you make here applies to both the MIC 1 and the MIC 2 sockets.

1.

Press [MENU] button.

Adding effects to the microphone signals

3.

Again rotate the [CURSOR÷VALUE] dial to

VIMA JM-5

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select “Ambience Type” and press it again.

4.

Rotate the [CURSOR÷VALUE] dial to select the desired macro setting.

The following Ambience types are available:

Setting Meaning

Hall This type simulates the reverb characteristics

of a room or a concert hall.

Studio A brighter, more direct, reverb effect than

“Hall”.

Plate Digital simulation of a metal plate that is

sometimes used for creating reverb effects.

5.

Turn the [AMBIENCE] knob towards the right if you

can’t hear the effect.

6.

Press and hold the [EXIT] button (its indicator stops flashing) to return to the JM-5’s main page.

Adding echo to your vocal performance

The JM-5 provides a “Space Echo” effect that can be used to process the signals received via the MIC 1 and MIC 2 sockets. Press the [SPACE ECHO] button to switch this effect on or off.

MENU

The display changes to:

2.

Rotate the [CURSOR÷VALUE] dial to select the “User Settings” entry, then press the [CURSOR÷VALUE] dial.

SPACE ECHO

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VIMA JM-5

Singing and playing along to a song

■ Changing the settings of the Space Echo effect

The Roland SPACE ECHO RE-201 tape echo that is simulated by the Space Echo effect debuted in 1974. Even today, with the machine no longer in production, it remains a world-famous device that is still widely acclaimed.

The sound of the RE-201, especially the pleasing chorus effect created by the subtle wavering from the movement of the tape—and the characteristic compressed sound that results from magnetic saturation of the tape—continues to intrigue numerous musicians.

To change the Space Echo effect settings, proceed as follows.

NOTE

The settings you make here apply to both the MIC 1 and the MIC 2 sockets.

1.

Press [MENU] button.

2.

Rotate the [CURSOR÷VALUE] dial to select the “User Settings” entry, then press the dial.

3.

Again rotate the [CURSOR÷VALUE] dial to select “Space Echo” and press it again.

6.

Rotate the [CURSOR÷VALUE] dial to change the setting of the parameter you selected:

Parameter Setting range Explanation

Repeat Rate 0~127 This adjusts the intervals

between echoes. The spacing between the echoes is reduced as the value is decreased. Changing this setting while a signal is being processed will temporarily change the pitch of the echoes.

Intensity 0 ~ 127 This adjusts the volume of

the echo repeat sound (the feedback volume). The volume of the feedback increases as the value is increased. With certain sounds and settings, you can also produce oscillation.

Echo Level 0~127 Adjusts the volume of the

echo. The volume of the echo sounds increases as the value is raised.

7.

Press the [EXIT] button to return to a higher level, and then repeat steps (4)~(6) to set the other two parameters.

8.

Press and hold the [EXIT] button (its indicator stops flashing) to return to the JM-5’s main page.

NOTE

You can also select this page by pressing and holding the [SPACE ECHO] button.

4.

Rotate the [CURSOR÷VALUE] dial to select one of the available parameters.

5.

Press the [CURSOR÷VALUE] dial to confirm your selection.

■ Setting ‘Repeat Rate’ using the ‘Tap Tempo’ function

While the “Space Echo” page is displayed, the [TEMPO] button’s indicator flashes to indicate the “Repeat Rate” setting. To quickly synchronize the echo pattern to the current song tempo, simply press the [TEMPO] button at least twice in time with the song.

TEMPO

Press repeatedly in time with the song tempo

Note: Changing the “Repeat Rate” setting using this “Tap Tempo” function does not produce pitch changes of the repeated signals.

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VIMA JM-5

Harmony and vocal effects

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NOTE

While the “Space Echo” page is displayed, the [TEMPO] button has no effect on the song tempo—it only affects the “Repeat Rate” setting.

Talk

The “Talk” function is intended for announcements you wish to make in between songs. Switching it on will cause all effects available for the microphone signals (including the harmony effect) to be bypassed and simultaneously lower the song’s playback volume by approximately 40%.

1.

Simultaneously press the [SPACE ECHO] and [VOCAL EFFECT] buttons.

SPACE ECHO

TALK

SPACE ECHO

The indicators of both buttons start flashing to signal that the “Talk” function is active. Also, the “Talk” message appears in the bottom line of the main page:

■ Preparations

1.

Connect your microphone to the MIC 1 input on the JM-5’s rear panel.

2.

Press and hold the [EXIT] button until it stops flashing to return to the main page (if necessary).

3.

Switch on the [VOCAL EFFECT] button and sing or talk into the microphone while performing the following steps.

VOCAL EFFECT

4.

Press [MENU] and use the [CURSOR÷VALUE] dial to select “User Settings” ‰ “Vocal Effect”.

NOTE

Remember to press the [CURSOR÷VALUE] dial to confirm your selections.

The display changes to:

2.

To switch off the “Talk” function an reinstate the vocal effect settings, again simultaneously press the [SPACE ECHO] and [VOCAL EFFECT] buttons.

Harmony and vocal effects

The JM-5 provides a dedicated effect section that allows you to add harmonies to your singing and/or to change the character of your voice. The following is only available for the microphone connected to the MIC 1 socket.

Changing your voice/adding harmonies

When you sing along to an SMF song or a song on a “VIMA TUNES” CD-ROM, you can use the harmony function, which automatically adds harmony voices to your singing. Even during playback of an mp3 or WAV file, you can add one or several voices to your own, but they cannot be harmonized automatically: they use the same pitch or a pitch one octave above/below your own voice, which can still sound impressive.

NOTE

You can also select this page by pressing and holding the [VOCAL EFFECT] button.

5.

Rotate the [CURSOR÷VALUE] dial to select the “Type” parameter and press the dial.

The display changes to:

6.

Rotate the [CURSOR÷VALUE] dial to choose one of the following settings:

Setting Explanation

Duet* One harmony voice will be added to your

singing. If you selected an audio file, the added voice will be once octave below your own voice.

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VIMA JM-5

Singing and playing along to a song

Setting Explanation

Trio* Two harmony voices will be added to

your singing: one below and one above your own voice. If you selected an audio file, one added voice will have the same pitch as your own, and the other will be one octave higher.

Trio2* Two harmony voices will be added to

your singing: both will be above your own voice. If you selected an audio file, one voice will be one octave below, and the other one octave above your own voice.

Quartet* Three harmony voices will be added to

your singing. If you selected an audio file, one added voice will be one octave below, and another one octave above your own voice. The third voice will use the same pitch as you.

Kids Your voice will be given a child-like char-

acter.

Bear Your voice will be given a character sug-

gestive of a large animal.

Robot Your voice will be given a robot-like

character.

Duck Your voice will be given a duck-like char-

acter.

Setting Explanation

Keyboard Connect an external electronic instru-

ment to the JM-5’s MIDI IN/OUT socket and set its “MIDI Direction” function to “IN” (see p. 58). The notes you play will control the harmony voices that are added to your singing. The external instrument must transmit on MIDI channel 16.

Note: Only the options marked with an “*” generate harmonies.

NOTE

The voicing of the first four settings can be specified with the “B. Choir” parameter (see below).

7.

Press the [CURSOR÷VALUE] dial, rotate it to select the “Harmony Level” parameter on this page, then press the dial again to confirm your selection.

This parameter allows you to set the volume of the effect that is applied to your voice.

8.

Rotate the dial to select the desired level setting.

9.

Press and hold the [EXIT] button (its indicator stops flashing) to return to the JM-5’s main page.

The new settings of the two “Vocal Effect” parameters are displayed in the bottom line:

Alien Your voice will be given a character sug-

gestive of a space alien.

Computer Your voice will be given a computer-like

character.

Female A male voice will be given the character

of a female voice.

Male A female voice will be given the charac-

ter of a male voice.

Pitch Correct The pitch of your voice will be corrected

to match the melody of the SMF song.

NOTE

If you select this setting, you won’t hear the vocal from the microphone unless the song is playing.

Music File* The notes you sing (or say) use the

pitches of the notes (or chords) on track 5 of the selected Standard MIDI File.

NOTE

You can also specify another track/ MIDI channel for this function (see “Music File Channel” on p. 57).

■ Choosing the harmony voicing (Backing Choir)

For the “Duet”, “Trio”, “Trio 2” or “Quartet” setting, you can also specify the voicing (i.e. how many of the available harmony voices are above or below your own voice).

1.

Press [MENU] and use the [CURSOR÷VALUE] dial to select “User Settings” ‰ “Vocal Effect”.

The display changes to:

NOTE

You can also select this page by pressing and holding the [VOCAL EFFECT] button.

2.

Rotate the [CURSOR÷VALUE] dial to select the “Backing Choir” parameter and press the dial.

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26

The display changes to:

3.

Rotate the dial to choose one of the following settings:

Setting Explanation

Off There will be no backing choir.

Gregorian The harmonies are similar to the famous

singing technique used by European monks.

Gospel The harmony voicing is reminiscent of a

gospel choir.

Classical The harmony voicing sounds like a choir

in classical music. (This also works for pop music.)

Boys The harmony voicing sounds like a boys’

choir.

4.

Press the [CURSOR÷VALUE] dial, rotate it to select the “Backing Choir Level” parameter, then press the dial to confirm your selection.

5.

Rotate the dial to select the desired level setting.

6.

Press and hold the [EXIT] button (its indicator stops flashing) to return to the JM-5’s main page.

The “Backing Choir” function is now active and can be switched on/off with the [VOCAL EFFECT] button. (Doing so also activates the vocal effect).

7.

Start playback of a song and sing into the microphone connected to the MIC 1 socket to audition the effect.

Setting the microphone equalizers and phantom power

VIMA JM-5

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Setting the microphone equalizers and phantom power

The JM-5 provides two equalizers (tone controls) you can set for the two MIC inputs separately. If you connect a condenser microphone to MIC 1, you can also activate this socket’s phantom power. (The MIC 2 socket provides no phantom power.)

1.

Press [MENU] and use the [CURSOR÷VALUE] dial to select “User Settings” ‰ “Mic Settings”.

The display changes to:

The “MIC 1” parameters apply to the microphone connected to the MIC 1 socket. The “MIC 2” section applies to the microphone connected to the MIC 2 socket.

2.

Use the [CURSOR÷VALUE] dial to select “Mic 1 High”, then press the dial.

3.

Rotate the dial to increase (+1~+15) or decrease (–1~–15) the level of the high frequencies.

4.

Press the [CURSOR÷VALUE] dial again to confirm your setting, then rotate it to select the “Mic 1 Low” parameter.

5.

Press the dial, than rotate it to increase (+1~+15) or decrease (–1~–15) the level of the low frequencies.

6.

Press the [CURSOR÷VALUE] dial again to confirm your setting, then rotate it to select the “Mic 1 Phantom” parameter.

7.

Press the dial, then rotate it to select “On” (phantom power active) or “Off (phantom power off).

IMPORTANT REMARK: Never connect or disconnect

a condenser microphone while the “Mic 1 Phantom” parameter is set to “On”. We also recommend setting the [MASTER VOL] knob to the minimum position before connecting or disconnecting microphones. The JM-5’s phantom power supply: +48V DC, 10mA

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VIMA JM-5

Singing and playing along to a song

NOTE

Always turn the phantom power off when connecting any device other than condenser microphones that require phantom power. You risk causing damage if you mistakenly supply phantom power to dynamic microphones, audio playback devices, or other devices that don’t require such power. Be sure to check the specifications of any microphone you intend to use by referring to the manual that came with it.

NOTE

The “Mic 1 Phantom” parameter’s “On” setting can be stored in the JM-5’s “User Settings” memory (see p. 58). If you do so, a “Phantom Power On” message will warn you that this parameter is on each time you switch on the JM-5.

8.

Press the [CURSOR÷VALUE] dial to return to the “Mic Settings” list, then repeat steps (2)~(5) to set the “Mic 2” equalizer.

9.

Press and hold the [EXIT] button (its indicator stops flashing) to return to the JM-5’s main page.

Using ‘Melody Mute’ and ‘Center Cancel’

The JM-5 can play back audio (WAV or mp3) files and Standard MIDI Files. You can minimize the vocal sounds of an audio file and sing the vocal part. This is a convenient way to enjoy karaoke. Even though Standard MIDI Files contains no vocal parts and control the JM-5’s sound generator during playback, you can nevertheless temporarily mute the instrumental melody.

1.

Press the [MELODY MUTE] (CENTER CANCEL) button (its indicator lights).

This switches the “Melody Mute” or “Center Cancel” function back off.

When you play back a song, the following will occur depending on the file type:

File type Function Explanation

SMF Melody Mute One part of the selected

Standard MIDI File is muted (Default: channel 4, i.e. the melody).

Audio (mp3, WAV)

Center Cancel The sound of the melody

or vocal will be minimized.

Selecting the track(s) to mute for SMF songs

The following procedure allows you to specify the track of the selected Standard MIDI File that should be muted when you switch on the [MELODY MUTE] button.

NOTE

This function is not available for audio files.

1.

Select an SMF song.

2.

Press [MENU] and use the [CURSOR÷VALUE] dial to select “User Settings” ‰ “Melody Mute”.

The display changes to:

NOTE

You can also press and hold the [MELODY MUTE] (CENTER CANCEL) button to select this page.

3.

Rotate the dial to move the cursor to the track you want to switch off.

4.

Press the dial to highlight the corresponding parameter in the bottom row.

5.

Rotate the dial to change the setting.

The possibilities are:

The “Melody Mute” or “Center Cancel” function will turn on.

NOTE

For some audio songs, the vocal sound may not be eliminated completely.

2.

Press the [MELODY MUTE] (CENTER CANCEL) button again to make its indicator go dark.

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MELODY

MUTE

Display indication

<no indication> The associated track is played back.

M The associated track is no longer

played back (muted).

6.

If you want to save your selection of the track(s) that should be muted for any SMF file you play back, proceed as follows:

Press [MENU] and use the [CURSOR÷VALUE] dial to select “User Settings” ‰ “Save User Settings”. Next, confirm the question that is displayed (by selecting “Yes”). See also p. 58.

NOTE

Remember to press the [CURSOR÷VALUE] dial to confirm your selections.

8. Other important functions

VIMA JM-5

Other important functions

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Singing or playing in a different key (Key)

The “Key” function lets you play back a song in a different key. This is convenient when you’re singing or playing along with a song that is too high or too low for your voice, or for songs that you usually play in a different key.

You can control the key of WAV, mp3 and SMF music files.

1.

Press the [KEY] button.

KEY

The display changes to:

Changing the tempo (playback speed) of a song

If a song is too fast for you to play or sing along, you can slow it down to a more comfortable tempo. Changing the tempo (playback speed) does not affect the pitch. You can also change the tempo while a song is playing.

Here’s how to change the playback speed of a Standard MIDI File or audio song.

1.

Press the [TEMPO] button.

TEMPO

The display now shows the “Tempo” page. The setting ranges and units depend on the type of song file that is currently selected:

•For SMF files: q= 20~250BPM:

2.

Use the dial to edit the “Key” value.

This display page disappears after a few seconds. If “Key” is set to a value other than 0, the [KEY] but-

ton’s indicator lights. This parameter can be set in a range of –6~5 (semitone steps).

3.

To return to original “Key” setting, press an hold the [KEY] button.

The “Key” setting will return to “0” (original pitch of the song).

NOTE

By default, this setting also affects the pitch of signals received via the INPUT (STEREO) socket. Set “Audio In Transpose” on p. 57 to “Off” to prevent pitch changes of signals received via this socket.

•For audio files (WAV or mp3): 75%~125% (where “100%” represents to the original playback speed).

This display page disappears after a few seconds.

2.

Use the [CURSOR÷VALUE] dial to edit the “Tempo” value.

NOTE

On pages where the tempo value is not displayed, you can press the [TEMPO] button to display a popup window that shows the current tempo.

3.

To return to the original tempo of the song, press and hold the [TEMPO] button.

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VIMA JM-5

Other important functions

Recording your performance as audio data

Your JM-5 allows you to record everything it can transmit to its outputs, i.e. song playback, your playing, your singing, the harmonies created by the harmony effect (see p. 25) and any audio signal transmitted to the JM-5.

Feel free to connect the master outputs of an external mixing console to the JM-5’s INPUT (STEREO) socket if you want to record your band or the signals of additional synthesizers, pianos, drum machines, etc., as well.

The resulting audio file is stored in the WAV format (not mp3), which allows you to burn your recordings onto a CD using your computer.

NOTE

You will need a USB storage device to record your performance. Consider using the Roland USB Memory M-UF2G (with a capacity of 2GB) that is supplied with the JM-5. We cannot guarantee operation if any other USB memory is used.

5.

Set the desired balance between the song and the microphone signals using the [BACKING], [MIC1], and [MIC2] knobs (and possibly also the [AMBIENCE] knob).

6.

Press the [ª] button.

7.

Press the [REC] button (its indicator flashes).

NOTE

Never remove the USB memory while playback or recording is running or while data are being read from, or written to, an external USB memory.

Recording

NOTE

The following is based on the assumption that the “REC Audio Sync” parameter (page 57) is active.

1.

Connect the USB storage device to which you wish to save the audio data.

2.

Prepare everything you want to record:

• Select the song file you want to use as accompaniment

• Connect the microphone(s)

• Set the levels and effects, etc.

3.

Make the following settings (recommended):

Knob/parameter Details

BACKING Set it to “11 o’clock”

MIC1 (or MIC2) Set it to “11 o’clock”

REC

NOTE

If you pressed [REC] by accident, simply press the [ª] button to leave record standby mode.

8.

Press the [®÷π] button.

Harmony Level Set it to “90”

The “11 o’clock” position corresponds to the following setting:

4.

Start playback of the song you want to use as backing and sing into the microphone.

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30

MIC 1

The indicators of the [REC] and [®÷π] buttons light and the JM-5 starts playing back the selected song and recording. Everything you say, sing (into a connected microphone) or play (on a connected instrument) is recorded.

9.

At the end of the song, press the [REC] or [ª] button to stop recording.

Song playback and recording stop.

Recording your performance as audio data

VIMA JM-5

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The following message appears:

You can now…

(a) Save the song under a new name.

‰ “Saving your recording as an audio file”

(b) Save the song under the name suggested by the

JM-5 (“My recording001”). ‰Press the [MENU] button. After a few seconds, the display will return to the main page. In this case, your audio file is saved in the “My Recordings” folder.

(c) Decide to discard your recording, because you are

unhappy with it. ‰ Press the [EXIT] button. The display changes to:

‰ Rotate the [CURSOR÷VALUE] dial to select “YES”, then press the dial to erase your recording.

NOTE

Selecting “NO” here takes you back to the state where you can choose between options (a) and (b).

If you are happy with the name suggested by the JM-5, simply press the [MENU] button.

2.

Rotate the [CURSOR÷VALUE] dial to select a character.

3.

Press the dial to confirm your selection.

4.

Now rotate the [CURSOR÷VALUE] dial to select a different character position.

You can also press the [º] button to delete the selected character, or the [‰] button to insert a character.

5.

Repeat steps (2)~(4) to complete the name.

6.

Press the [MENU] button (it flashes) to save your recording under the new name and to return to the main page.

If the USB storage device already contains a file of that name, you will be asked whether you want to overwrite it:

Listening to your recording

If you selected (a) or (b) above, you can listen to your recorded performance:

1.

Press the [®÷π] button to start playback of your recording.

If your recording seems too loud or too soft, you may want to change the setting of the “Rec Audio Level” parameter ([MENU] button ‰ “User Settings“‰ “Utility”‰ “REC Audio Level”, p. 57).

NOTE

The JM-5 provides a second recording mode that allows you to start recording before the song you selected ([MENU] button

Audio Sync” on p. 57).

‰ “User Settings“‰ “Utility”‰ “Rec

Saving your recording as an audio file

When you stop recording (see above), the display shows the following message:

In this case, select “YES” by first rotating the [CURSOR÷VALUE] dial and then pressing it to replace the old file with the new one (the old file will be lost).

Otherwise, select “NO” to return to the page where you can change the name, and enter a different name, then press the [MENU] button.

When you press the [MENU] button, your audio file is saved to the “My Recordings” folder on the USB storage device.

1.

If you want to name your new song, proceed with step (2).

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VIMA JM-5

Adding pictures to the music

9. Adding pictures to the music

You can connect an external display or a television set to the JM-5, and use it to watch a slide show, or single pictures.

Displaying photos automatically

The JM-5 can display digital photos either in succession, thus creating an automatic slide show, or use the picture you choose as background on the external screen.

Enjoying a VIMA TUNES slide show

You can watch a slide show while listening to a “VIMA TUNES” song (produced for the VIMA series).

Songs on “VIMA TUNES” CD-ROMs provide slide show images suitable for each song, making it easy for you to enjoy a slide show without having to provide your own photos.

1.

Connect an external screen to the JM-5 (page 15).

2.

Connect an optional CD player to the JM-5’s external memory USB port.

3.

Insert the desired “VIMA TUNES” CD-ROM into the CD drive.

NOTE

“VIMA TUNES” songs are sold on CD-ROMs available from your Roland dealer.

The JM-5 now displays a list of the songs on the CD-ROM. If you don’t see that list, press the [USB MEMORY] button.

4.

Select the song you want to play back by first rotating the [CURSOR÷VALUE] dial and then pressing it to confirm your selection.

Enjoying a slide show of your own pictures

You can watch a slide show while listening to a song on a USB storage device.

NOTE

The slide show only starts if the folder that contains the desired pictures has the same name as the song file you selected. Also, the folder must be located on the same level within the USB memory’s file hierarchy.

1.

Use a graphic program on your computer to prepare the pictures you want to use.

Image data that can be displayed:

Size Recommended: 512 x 384 or 1024 x 768

pixels. (Images of 4096 x 3072 pixels or smaller and 4MB or less are supported). Note: If you use images that are larger than the recommended size, it may take longer to switch images.

Format JPEG format (.JPG)

2.

Connect the USB memory to your computer and create a folder named “Amazing Grace” (for example) on the USB storage device.

3.

Copy the pictures you want to display for this song to the “Amazing Grace” folder.

4.

Copy the song “Amazing Grace” to the same level as the folder of the same name. (Do not put the song file inside the folder.)

5.

Disconnect the USB memory from your computer in accordance with the standard procedure for the operating system you are using.

6.

Connect your USB memory to the JM-5’s EXTERNAL MEMORY port.

The [USB MEMORY] button’s indicator lights.

5.

Press the [®÷π] button to play back the song.

A slide show suitable for the character of the song will be shown on the external display or television set connected to the JM-5.

NOTE

When you press the [ª] button to stop song playback, the slideshow also stops. When you load another “VIMA TUNES” song, the previous slideshow stops and the display shows the first picture for the new song.

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32

The JM-5 automatically shows the contents of the USB memory you inserted.

Using one of your own pictures as background

VIMA JM-5

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7.

Select the song you want to play back (“Amazing Grace” in our example) by first rotating the [CURSOR÷VALUE] dial and then pressing it to confirm your selection.

8.

Press the [®÷π] button to play back the song.

The slide show of the pictures inside the “Amazing Grace” folder begins.

NOTE

The slide show stops when you pause or stop song playback, but the last picture is still displayed. You need to load a different song that has no associated slide show to cause the background or logo to be displayed (see “Using one of your own pictures as background”).

Using one of your own pictures as background

The JM-5 allows you to use one of your own pictures as screen background, allowing you to customize your performances.

1.

Connect the USB storage device that contains the picture you want to use to the JM-5’s external memory port.

If you select a song for which there is no picture folder on the same file level as the song file, however, your “User” background is displayed.

■ Picture display and song lyrics

If the first words (Lyrics data) of the last song you played back remain on the external screen while they are no longer needed, switch off the “External Lyrics” function (see p. 55) to make them disappear.

The display shows a list of the files on the USB storage device.

2.

Select the .JPG file you want to use.

That picture now appears on the external screen (if connected).

This picture will be considered your “User” setting and the “Background Mode” parameter (see p. 56) will be set to “USER”.

3.

To revert to the colored background or logo, you must select it using the “Background Mode” parameter (see p. 56).

If you once again select a .JPG picture (see above), the “Background Mode” parameter is again set to “User”.

■ ‘User’ background and slide shows

Even after selecting a new background picture (“User”), you can still take advantage of the JM-5’s slide show functionality (see p. 32).

33

VIMA JM-5

Functions related to song playback

10. Functions related to song playback

4.

Using the Finder to locate songs or pictures

The JM-5 provides a “Finder” function that allows you to search the connected USB storage device for the files you need. This function is available even while the JM-5 is playing back a song, allowing you to prepare the next song or picture without keeping your audience waiting.

1.

Press the [USB MEMORY] button.

USB MEMORY

Rotate the [CURSOR÷VALUE] dial to select the first character of the song or picture name (or fragment) the JM-5 should look for.

5.

Press the [CURSOR÷VALUE] dial to confirm your selection (the cursor changes to an underscore).

6.

Rotate the [CURSOR÷VALUE] dial to select the next (or another) character position, then press the dial.

7.

Repeat steps (4)~(6) to complete the character string you are looking for.

8.

If you made a mistake, correct it using one of the following procedures:

Correction Procedure

The display shows the contents of the connected USB storage device.

2.

If you know the folder where the file is located, select it by rotating the [CURSOR÷VALUE] dial and then pressing it.

If you are not sure about the location, do not select a folder to avoid that the “Finder” function only looks in that folder.

3.

Press the [FINDER] button.

FINDER

Change an existing character

Delete a character Perform steps (a) and (b) above,

Insert a character

9.

Press the [MENU] button to start the search.

(a) Press the [CURSOR÷VALUE]

dial once or twice until the cursor becomes an underscore.

(b) Rotate the dial to select the

erroneous character, then press the dial.

(c) Rotate the dial to select the

correct character, then press the dial.

then press the [º] button.

(a) Perform steps (a) and (b)

above, then press the [‰] but- ton. The new character position is inserted before the position you selected.

(b) Press the dial to select the

current position for editing, then rotate the dial to change the newly added character. Press the dial to confirm your setting.

The display changes to:

The first character position is already selected (“A”).

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34

MENU

VIMA JM-5

Using ‘Next’ to create transitions

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NOTE

If you decide that you don’t want to use the “Finder” function, press [EXIT] instead of [MENU].

The JM-5 searches the USB storage device for files whose names match the character string you entered and displays them:

NOTE

The “Finder” function can find and display 100 files at a time.

10.

Rotate the [CURSOR÷VALUE] dial to select the song you want to play back, then press the dial to confirm your selection.

Using ‘Next’ to create transitions

The “Next” function allows you to create medleys of separate songs by automatically fading out the current song and fading in the new song.

1.

Select the first song you want to play back.

This can be any song on your USB storage device, or a song of your playlist (see p. 36).

2.

Press the [®÷π] button to start playback of that song.

3.

While playback is still running, select another song.

If you prepared a playlist with all the songs you want to use for your medley, the JM-5 selects subsequent songs automatically.

If you do not select a song in step (3), pressing [NEXT] will select the next song in alphabetical order and make the transition. (If the folder of the song that is currently playing contains no additional songs, pressing [NEXT] does nothing.)

You can also briefly press the [EXIT] button to return to a higher folder or the USB memory’s root directory before pressing [NEXT] in step (4). In that case, pressing [NEXT] will start a song of the newly selected folder or the root directory.

11.

Press the [EXIT] button to close the list.

12.

Press the [®÷π] button to start playback of the selected song.

NOTE

You can also select the “Finder” function while the JM-5 doesn’t display the contents of your USB storage device. In that case, however, the search will be restricted to the last folder you selected (if any).

NOTE

To take advantage of this navigation trick, do not press and hold the [EXIT] button unless you want to return to the main page. Otherwise, the [NEXT] button keeps selecting songs within the folder of the song that is currently being played back.

If you selected a playlist that contains only one song, pressing [NEXT] does nothing. If your playlist contains several songs, however, automatic song selection will be based on the order in which the songs appear in the playlist. We therefore recommend using a playlist for your “standard” medleys rather than a folder on the USB storage device.

NOTE

You can also mix manual and automatic song selection.

4.

Press the [NEXT] button when you want to make the transition to the new song you selected.

VIMA JM-5

Functions related to song playback

There is no need to wait until the current song finishes: press [NEXT] when you feel the crowd is ready for a new song.

Here is what happens when you press [NEXT]:

Current song ‰ new song Transition to new song

Audio ‰ audio Cross-fade: fade-out of cur-

rent song and simultaneous fade-in of new song.

SMF ‰ SMF SMF ‰ audio Audio ‰ SMF

During the transition between the old and the new song, the [NEXT] button’s indicator flashes.

The current song stops with a fade-out, and after a brief interval, the new song starts with a fade-in.

Using playlists

The “Playlist” function allows you to prepare lists of all songs you want to use during a performance. The advantage of working with such “chains” is that you do not need to select files between songs. You can also use this functionality to provide background music between performances.

The JM-5 ships with a playlist called “Demo Playlist” and 20 songs to which the playlist refers. This playlist cannot be deleted.

Loading a playlist and playing back a song

1.

Connect an optional USB storage device to the JM-5’s external memory port.

NOTE

There is no need to connect a USB memory if you want to use the “Demo Playlist” file, because it is stored internally.

2.

Press the [PLAYLIST] button.

PLAYLIST

The display now shows a list of all available playlists.

The first line always contains the name of the internal playlist (“Demo Playlist”).

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36

NOTE

If you already selected a playlist at an earlier stage since switching on the JM-5, pressing [PLAYLIST] will show you the list of songs this playlist refers to. To select a different playlist at this stage, press the [EXIT] button.

VIMA JM-5

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Using playlists

3.

Rotate the [CURSOR÷VALUE] dial to select the playlist you want to use.

4.

Press the [CURSOR÷VALUE] dial to confirm your selection.

The display changes to:

5.

Rotate the [CURSOR÷VALUE] dial to select “Load”.

6.

Press the [CURSOR÷VALUE] dial to confirm your selection.

The [PLAYLIST] button lights to indicate that the JM-5 is ready to use the selected playlist, and the display shows a list of the songs that the active playlist refers to:

The display now shows a list of all available playlists.

NOTE

If you already selected a playlist at an earlier stage since switching on the JM-5, pressing [PLAYLIST] will show you the list of songs this playlist refers to. To select a different playlist at this stage, press the [EXIT] button.

3.

Rotate the [CURSOR÷VALUE] dial to select the playlist you want to rename.

4.

Press the [CURSOR÷VALUE] dial to confirm your selection.

The display changes to:

7.

If you do not want to start playback from the first song in the list, rotate the [CURSOR÷VALUE] dial to select another song, then press the dial to confirm.

8.

Press the [®÷π] button to start playback.

NOTE

You can also use the “Next” function to create smooth transitions between the songs of the selected playlist (see p. 35).

Renaming a playlist

The “Rename” function allows you to change the name of an existing playlist.

1.

Connect an optional USB storage device to the JM-5’s external memory port.

2.

Press the [PLAYLIST] button.

5.

Rotate the [CURSOR÷VALUE] dial to select “Rename”.

6.

Press the [CURSOR÷VALUE] dial to confirm your selection.

The display changes to:

7.

Rotate the [CURSOR÷VALUE] dial to change the first character of the name.

8.

Press the [CURSOR÷VALUE] dial to confirm your selection (the cursor changes to an underscore).

9.

Rotate the [CURSOR÷VALUE] dial to select the next (or another) character position, then press the dial.

10.

Repeat steps (7)~(9) to complete the character string you are looking for.

PLAYLIST

37

VIMA JM-5

Functions related to song playback

11.

If you made a mistake, correct it using one of the following procedures:

Correction Procedure

Change an existing character

Delete a character Perform steps (a) and (b) above,

Insert a character

12.

Press the [MENU] button to confirm the new

(a) Press the [CURSOR÷VALUE]

dial once or twice until the cursor looks like an underscore.

(b) Rotate the dial to select the

erroneous character, then press the dial.

(c) Rotate the dial to select the

correct character, then press the dial.

then press the [º] button.

(a) Perform steps (a) and (b)

above, then press the [‰] button. The new character position is inserted before the position you selected.

(b) Press the dial to select the

current position for editing, then rotate the dial to change the newly added character. Press the dial to confirm your setting.

name.

The display returns to the list of available playlists.

If the USB storage device already contains a file of that name, you will be asked whether you want to overwrite it:

Deleting a playlist

Playlists that you no longer need can be deleted. Note that this will not reclaim a big amount of storage capacity, because the JM-5’s playlists only contain references to the song files—not the songs themselves.

1.

See steps (1)~(4) under “Renaming a playlist” on p. 37 for how to select the playlist file you want to delete.

2.

Rotate the [CURSOR÷VALUE] dial to select “Delete”.

3.

Press the [CURSOR÷VALUE] dial to confirm your selection.

The display changes to:

4.

Select “YES” by first rotating the [CURSOR÷VALUE] dial and then pressing it to delete the playlist file.

The JM-5 returns to the list of available playlists. If you do not want to delete your playlist after all,

select “NO”.

In this case, select “YES” using the [CURSOR÷VALUE] dial to replace the old file with the new one (the old file will be lost).

Otherwise, select “NO” to return to the “Rename” page and enter a different name.

Specifying the playlist behavior

The JM-5 provides a function that lets you specify whether all songs of the selected playlist should be played back one after another or whether playback should stop at the end of each song. This function is on by default, but performers who rely on the “Playlist” functionality for their set may want to switch it off.

1.

Press the [MENU] button.

MENU

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38

2.

Use the [CURSOR÷VALUE] dial to select “User Settings”‰ “Utility”‰ “Playlist Next Song”.

3.

Use the [CURSOR÷VALUE] dial to select the desired setting:

Setting Meaning

On All songs of the selected playlist are played

back in succession. (Pressing the [ª] button during playlist playback automatically selects the next song.)

Off Playback stops at the end of the current step.

Pressing the [ª] button will not select the next song: the JM-5 will return to the beginning of the current song.

4.

Press and hold the [EXIT] button to return to the main page where you will find all important information regarding the selected song.

VIMA JM-5

2.

Select any playlist file and press the [CURSOR÷VALUE] dial.

If you select the “Demo Playlist” entry and press the [CURSOR÷VALUE] dial, the JM-5 will only display the “Load” and “Make New Playlist” functions.

3.

Rotate the [CURSOR÷VALUE] dial to select “Make New Playlist”.

After selecting a playlist ﬁle on the USB storage device:

After selecting the “Demo Playlist” entry:

4.

Press the [CURSOR÷VALUE] dial.

The display changes to:

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Using playlists

Creating new playlists and adding songs

The “Make New Playlist” function allows you to create new playlists. New playlists you create are empty at first, but you can use the “Add” function to populate them with the desired song file references.

1.

Press the [PLAYLIST] button.

PLAYLIST

The display shows a list of all available playlists.

NOTE

If you already selected a playlist at an earlier stage since switching on the JM-5, pressing [PLAYLIST] will show you the list of songs this playlist refers to. To select a different playlist at this stage, press the [EXIT] button.

5.

Press the [PLAYLIST] button and select “Add”.

The display changes to:

6.

Press the [CURSOR÷VALUE] dial to call up a list of all song files on the USB memory.

7.

Use the [CURSOR÷VALUE] dial to select the folder that contains the desired song (if necessary).

8.

Rotate the [CURSOR÷VALUE] dial to select the name of the song you want to add to the playlist and press the dial.

Repeat this step for all songs you wish to add to your playlist.

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VIMA JM-5

Functions related to song playback

You can select all song files in the current folder by pressing the [PLAYLIST] button to select “[PLAYLIST]: All”.

9.

Press the [MENU] button (its indicator flashes) to insert the song names in your playlist.

The asterisk (*) to the right of the playlist name means that the playlist has been edited and that you need to save it to keep those changes. See “Saving an edited playlist” on p. 42.

Quickly finding songs for your playlists

While compiling new playlists (or adding songs to an existing playlist), you can use the “Finder” function to locate the song(s) you need. To do so, proceed as follows:

1.

Connect the USB storage device that contains the desired songs to the external memory port and load an existing playlist, or create a new one (see “Creating new playlists and adding songs” on p. 39).

2.

Select the playlist you wish to modify.

NOTE

While a playlist is selected, the “Finder” function only looks for song files (picture files are ignored).

3.

Press the [PLAYLIST] button, select “Add”, then press the [CURSOR÷VALUE] dial.

The display changes to:

4.

Press the [FINDER] button.

FINDER

The display changes to:

The first character (“A”) is already selected.

5.

Rotate the [CURSOR÷VALUE] dial to select the first character of the song name (or fragment) the JM-5 should look for.

6.

Press the [CURSOR÷VALUE] dial to confirm your selection (the cursor changes to an underscore).

7.

Rotate the [CURSOR÷VALUE] dial to select the next (or another) character position, then press the dial.

8.

Repeat steps (5)~(7) to complete the character string you are looking for.

9.

If you made a mistake, correct it using one of the procedures described in the table on page 34.

10.

Press the [MENU] button to start the search.

MENU

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The JM-5 searches the USB storage device for files whose names match the character string you entered and displays them:

VIMA JM-5

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Using playlists

NOTE

The “Finder” function can find and display 100 files at a time.

11.

Use the [CURSOR÷VALUE] dial to select the song you want to add, then press the [MENU] button to add it to the playlist.

This takes you back to the “Edit/Save” page:

Deleting playlist steps

You can also remove song steps that you no longer need. This only deletes the playlist step in question—the song file it refers to remains on the USB storage device.

1.

See “Loading a playlist and playing back a song” on p. 36.

2.

If necessary, press the [PLAYLIST] button to call up the list of songs the selected playlist refers to.

As a reminder: the song file will not be deleted even though this display may suggest otherwise. Only the playlist step will be removed.

Select “NO” if you don’t want to delete the playlist step after all.

Moving existing steps to a different position

You can also change the order of existing steps in your playlist.

1.

See “Loading a playlist and playing back a song” on p. 36.

2.

If necessary, press the [PLAYLIST] button to call up the list of songs the selected playlist refers to.

PLAYLIST

3.

Select the step you want to remove.

4.

Press the [PLAYLIST] button and rotate the [CURSOR÷VALUE] dial to select “Delete”.

5.

Press the [CURSOR÷VALUE] dial.

The display changes to:

3.

Press the [PLAYLIST] button and rotate the [CURSOR÷VALUE] dial to select “Move”.

4.

Press the [CURSOR÷VALUE] dial.

5.

Select the step you want to move to a different location.

The selected playlist is step is now highlighted:

6.

Rotate the [CURSOR÷VALUE] dial to select the new position for the highlighted playlist step.

7.

Press the [CURSOR÷VALUE] dial to confirm the operation.

8.

Press the [EXIT] button to return to the song list.

6.

Rotate the [CURSOR÷VALUE] dial to select “YES”, then press the dial to delete the playlist step.

NOTE

An asterisk (*) next to the playlists’s name means that you have changed it and need to save it to keep your changes.

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VIMA JM-5

Functions related to song playback

Transposing songs in the ‘Playlist’ environment

This function allows you to change the key of songs contained in your playlist.

NOTE

The transposition interval you select in this way is not stored in the referenced song file, allowing you to use a different transposition setting in another playlist if necessary.

1.

See “Loading a playlist and playing back a song” on p. 36.

2.

If necessary, press the [PLAYLIST] button to call up the list of songs the selected playlist refers to.

The field to the left of each song name indicates the current transposition interval. The value “0” means that the song in question will not be transposed during playlist playback.

3.

Rotate the [CURSOR÷VALUE] dial to select the playlist step you want to transpose (“A Lessie.MID” in our example.)

4.

Press the [KEY] button.

KEY

The transposition interval field is highlighted to indicate that you can change it.

Saving an edited playlist

After creating a new or editing an existing playlist, you must save your changes if you want to keep them.

1.

Press the [PLAYLIST] button and use the [CURSOR÷VALUE] dial to select “Save Playlist”.

2.

Press the [CURSOR÷VALUE] dial to call up the following page:

The first character position is already selected.

NOTE

If you don’t need to change the playlist’s name, skip to step (8).

3.

Rotate the [CURSOR÷VALUE] dial to select the first character.

4.

Press the [CURSOR÷VALUE] dial to confirm your selection (the cursor changes to an underscore).

5.

Rotate the [CURSOR÷VALUE] dial to select the next (or another) character position, then press the dial.

6.

Repeat steps (3)~(5) to complete the name.

7.

If you made a mistake, correct it using one of the procedures described in the table on page 34.

8.

Press the [MENU] button to confirm your desire to save the playlist.

The display returns to the list of available playlists.

5.

Rotate the [CURSOR÷VALUE] dial to change the transposition interval (–6~+5 semitones).

NOTE

You can even change the “Key” setting of a playlist step while another song is being played back without affecting that other song.

6.

Press the [KEY] button again to deactivate the transposition interval field.

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If the USB memory already contains a playlist file of that name, you will be asked whether you want to overwrite it:

In this case, select “YES” using the [CURSOR÷VALUE] dial to replace the old file with the new one (the old file will be lost).

Otherwise, select “NO” to return to the “Save Playlist” page and enter a different name.

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Playback functions for SMF songs

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11. Playback functions for SMF songs

The JM-5 can also play back Standard MIDI Files (called “SMF”). Those are special song files with the “.mid” (or “.kar”) extension that require a tone generator for playback. The JM-5 contains such a tone generator and even allows you to change the orchestration and other aspects of such files.

4.

Rotate the [CURSOR÷VALUE] dial to select

SMF Cover: changing the orchestration

‰ Only available for Standard MIDI Files. The “SMF Cover” function provides “masks” that change the instrumentation of the selected song. Simply by selecting another preset, you can cause a Viennese waltz to be played back by a heavy metal band, etc.

1.

Select the SMF song you want to modify (see p. 20).

2.

Press the [®÷π] button to start playback of that song.

“SMF Cover“.

5.

Press the dial.

The display changes to:

6.

Use the [CURSOR÷VALUE] dial to select one of the 30 preset settings.

The names of the preset options already provide a good indication of what to expect.

After selecting a preset, you can return to the original orchestration (“Original”).

7.

Try out various presets.

8.

If you like the new version better than the original one, you can press the [MENU] button to save the song to the connected USB memory with this information (see below).

This allows you to listen to the song before you start editing it.

3.

Press the [MENU] button.

MENU

The display changes to:

NOTE

The “SMF Cover” information is part of the data only the JM-5 understands. Other SMF players (or sequencer software) ignore these settings.

Saving your modified SMF song

1.

On the display page shown above, press the [MENU] button.

The display shows the last folder you selected on the USB memory.

2.

Select a different folder if you don’t want to replace the original version of your song file.

3.

Press the [MENU] button.

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VIMA JM-5

Playback functions for SMF songs

The display changes to:

Using the SMF compressor and SMF equalizer

The JM-5 contains two effect processors that allow you to change the sound of SMF songs (WAV and mp3 files cannot be processed in this way).

4.

Rotate the [CURSOR÷VALUE] dial to select the character position you want to change, then press the dial.

5.

Rotate the [CURSOR÷VALUE] dial to select the desired character.

6.

Press the [CURSOR÷VALUE] dial to confirm your selection (the cursor changes to an underscore).

7.

Repeat steps (4)~(6) to complete the name.

8.

If you made a mistake, correct it using one of the procedures described in the table on page 34.

9.

Press the [MENU] button to confirm your desire to save the song.

The display returns to the “SMF Cover” list.

If the USB storage device already contains a song file of that name, you will be asked whether you want to overwrite it:

Although they are not meant to be changed for every song you intend to play back, switching settings is relatively easy and could therefore be used to great effect.

NOTE

These parameters also affect the External Tone Parts (page 59).

SMF Compressor

The multi-band compressor/limiter allows you to process three frequency ranges separately. A compressor reduces high levels (peaks) and boosts low levels, smoothing out fluctuations in volume.

1.

Select an SMF song (see p. 20).

2.

Press the [MENU] button.

MENU

In this case, select “YES” using the [CURSOR÷VALUE] dial to replace the old file with the new one (the old file will be lost).

Otherwise, select “NO” to return to the “Save” page and enter a different name.

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The display changes to:

3.

Rotate the [CURSOR÷VALUE] dial to select “SMF Compressor“.

4.

Press the dial.

The display changes to:

NOTE

The settings you make on this page can be saved to a User memory and recalled as and when necessary.

5.

Press [®÷π] to start playback of the selected song.

6.

Rotate the [CURSOR÷VALUE] dial to select the “Switch” parameter, then press the dial.

44

7.

If necessary, rotate the [CURSOR÷VALUE] dial to select “On”, then press the dial.

The compressor is now active and will affect SMF song playback.

8.

Rotate the [CURSOR÷VALUE] dial to select the “Preset” parameter, then press the dial.

9.

Rotate the [CURSOR÷VALUE] dial to select one of the available presets, then press the dial.

The available presets are:

1. Hard Comp

2. Soft Comp

3. Low Boost

10.

If none of the preset memories contains the

4. Mid Boost

5. High Boost

6. Standard

7. User

settings you need, use the [CURSOR÷VALUE] dial to select and set the following parameters:

Parameter Setting range Explanation

Level 0~127 Use this parameter to set

the compressor’s input level. The higher the value, the stronger the three frequency bands are compressed. The value you set here is added to the “Level” settings of the three bands. If you set this parameter to “0”, the compressor has no effect on the output signal.

Gain –12~0~12dB Use this parameter to

correct the level at the compressor’s outputs. If the settings of the remaining parameters lead to a significantly lower level, select a positive value. If your settings lead to a significantly higher level, select a negative value. “0” means that the level is neither boosted nor attenuated.

High/Mid/Low: Because the remaining parameters are the same for each band, we will only discuss them once. As you see, each of the three frequency ranges has its own set of parameters that allow you to specify their behavior.

Using the SMF compressor and SMF equalizer

VIMA JM-5

Parameter Setting range Explanation

Attack 0~100ms Use this parameter to

specify how fast the compressor of the band in question should start processing the signal once the level of that band exceeds the “Threshold” level. Choose a smaller value if you prefer a compression similar to that of FM radio stations. Higher values may yield a “snappier” or “funkier” sound.

Release 50~5000ms This parameter allows

you to specify how fast the compressor of the corresponding band should stop working when the signal level drops below the “Threshold” value.

Threshold –36~0dB This parameter allows

you to set the level the frequency band (“High”, “Mid” or “Low”) must reach to trigger its compressor. The lower the value, the more noticeable the compression will be.

Ratio 1:1.0~1:INF Use this parameter to

specify how strongly the level should be reduced when the band’s level exceeds the “Threshold” level. “1:2.0”, for example, means that level values above the “Threshold” level are halved. “1:INF” is useful if you set “Threshold” to “0dB” or thereabout. This produces a limiter effect, which means that no signal level will ever exceed the “Threshold” value. This may help you protect the speakers of the PA system etc.

Level –24~+24dB This parameter allows

you to establish the desired mix among the three compressor bands. Choose a negative value to decrease the level, or a positive one to increase it. Choose “0” for a band whose level is OK as is.

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VIMA JM-5

Playback functions for SMF songs

Parameter Setting range Explanation

Split High 2000~1200Hz These two parameters

specify the frequency where two bands are separated. The compressor has three bands, and

Split Low 80~800Hz

11.

To save the settings you have just made,

so there are two crossover frequencies you can set: “High” between the “Mid” and “High” ranges; and “Low” between the “Mid” and “Low” ranges.

press the [MENU] button.

Note: There is only one “User” memory (memory no. 7) for

your own settings. By saving new settings, you therefore overwrite the previous ones.

NOTE

When you switch on the JM-5, it automatically loads the “User” settings.

12.

Select “YES” and press the [CURSOR÷VALUE] dial if your new settings should replace the previous “User” settings.

NOTE

The settings you make on this page can be saved to a User memory and recalled as and when necessary.

5.

Press [®÷π] to start playback of the selected song.

6.

Rotate the [CURSOR÷VALUE] dial to select the “Switch” parameter, then press the dial.

7.

If necessary, rotate the [CURSOR÷VALUE] dial to select “On”, then press the dial.

The equalizer has the same function as the TREBLE, MID and BASS knobs on a mixer: it allows you to color the sound, or to apply tonal corrections.

The equalizer is now active and will affect SMF song playback.

8.

Rotate the [CURSOR÷VALUE] dial to select the “Preset” parameter, then press the dial.

The available presets are:

1. Flat

2. Rock

3. Pop

9.

If none of the preset memories contains the

4. Jazz

5. Classic

6. Standard

7. User

settings you need, you can change the following parameters using the [CURSOR÷VALUE] dial.

Select “NO” and press the [CURSOR÷VALUE] dial to return to the “SMF Compressor” page.

13.

Press and hold the [EXIT] button (its indicator stops flashing) to return to the JM-5’s main page.

SMF Equalizer

1.

Select an SMF song (see p. 20).

2.

Press the [MENU] button.

The display changes to:

3.

Rotate the [CURSOR÷VALUE] dial to select “SMF Equalizer“.

4.

Press the dial.

The display changes to:

NOTE

The settings you make on this page can be saved to a “User” memory and recalled as and when necessary.

Parameter Setting range Explanation

Level 0~127 Use this parameter to set

the equalizer’s input level. This may be necessary when the level of the input signals is so high that the sound distorts.

NOTE

Do not set this parameter to “0” if the equalizer is switched on, because doing so means that the SMF song is no longer audible.

Gain –9~0~9dB Use this parameter to

correct the level at the equalizer’s outputs. If the settings of the remaining parameters lead to a significantly lower level, select a positive value. If your settings lead to a significantly higher level, select a negative value. “0” means that the level is neither boosted nor attenuated.

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VIMA JM-5

Song (SMF) Makeup Tools

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Parameter Setting range Explanation

High Frequency

High Gain –15~15dB Use this parameter to set

Mid Frequency

Mid Q 0.5, 1, 2, 4, 8 Use this parameter to

2000~ 12000Hz

200~8000Hz Allows you to set the

Allows you to set the cutoff frequency of the high band (this is a shelving filter).

the level of the selected “High” frequency. Positive values boost (increase the volume of) that frequency band, negative values cut (attenuate) it.

cutoff frequency of the middle band (this is a peaking filter).

specify the width of the “Mid Frequency” band that you want to boost or cut. Smaller values mean that neighboring frequencies above/below that value are also affected.

Song (SMF) Makeup Tools

This function allows you to actually edit the selected SMF song (Standard MIDI File) without paying too much attention to the underlying parameters.

NOTE

The “SMF Makeup Tools” cannot be used to edit Standard MIDI Files that use the XG format.

Using the SMF Makeup Tools

1.

Select the SMF song you wish to modify (see p. 20).

2.

Press the [®÷π] button to start playback of the song.

This allows you to listen to the song before you start editing it. Press the [®÷π] button again to halt playback.

3.

Press the [MENU] button.

(4) Rotate the [CURSOR÷VALUE] dial to select “SMF

Makeup Tools”, then press the dial.

The display changes to:

Mid Gain –15~15dB Use this parameter to set

the level of the selected “Mid” frequency.

Low Frequency

Low Gain –15~15dB Use this parameter to set

10.

To save the settings you have just made,

50, 80, 100, 150, 200, 250, 300, 400Hz

Allows you to set the cutoff frequency of the low band (this is a shelving filter).

the level of the selected “Low” frequency.

press the [MENU] button.

Note: There is only one “User” memory (memory no. 7) for

your own settings. By saving new settings, you therefore overwrite the previous ones.

NOTE

When you switch on the JM-5, it automatically loads the “User” settings.

11.

Select “YES” and press the [CURSOR÷VALUE] dial if your new settings should replace the previous “User” settings.

This menu allows you to select the following entries:

Menu Option Explanation

Common Select this entry to change common

parameters that affect the song as a whole, like the reverb or chorus effect, the tempo, etc.

Instrument Select this entry to change the instru-

ments used in the song and their parameters.

Freeze Data Select this entry to “burn” your new set-

tings into the file. Doing so will allow you to use your new version with any sequencer (software).

Save Select this entry to save your song with

the “Song Makeup Tools” settings you have made.

■ If you select “Common”…

…the following display page appears:

Select “NO” and press the [CURSOR÷VALUE] dial to return to the “SMF Equalizer” page.

12.

Press and hold the [EXIT] button to return to the main page.

The “Common” parameters on this page apply to the entire song.

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VIMA JM-5

Playback functions for SMF songs

1.

Rotate the [CURSOR÷VALUE] dial to select the desired “Common” parameter, then press the dial.

The following parameters are available: Reverb Type: This parameter allows you to specify

what kind of reverb effect you need. The available reverb types are:

Setting Meaning

Original This setting means that the song uses its own

(programmed) reverb settings.

Room1, Room2, Room3

These types simulate the reverb characteristics of a room. The higher the number (1, 2 or

3), the bigger the “room” becomes.

Setting Meaning

Short Delay This is a full-fledged delay effect that

can be used instead of a chorus or flanger. As you will see, there are a lot of parameters you can program.

Short Dly FB This is a short delay with many repeats.

Chorus Level: This parameter allows you to modify the output level of the Chorus processor.

Song Volume: This parameter allows you to set the overall volume of the selected song if you think it is too loud/soft compared with other songs.

Song Tempo: Allows you to change the song’s tempo (q= 20~250).

Transpose: This parameter allows you to transpose all song parts (except the drums) up to 12 semitones (1 octave) up or down. This value is written to the song data and used every time you play back this song.

Undo Changes: This function allows you to cancel all “SMF Makeup Tools” settings you have made and to revert to the previously saved version. After selecting this parameter with the [CURSOR÷VALUE], press the dial to restore the setting of the last version you saved.

Hall1, Hall2

Plate This algorithm simulates the acoustics of a

Delay A delay effect (no reverb). Works a lot like an

Pan Delay This is a stereo version of the above delay

Reverb Level: This parameter allows you to modify the output level of the Reverb processor.

Chorus Type: Chorus broadens the spatial image of the sound and creates a stereo impression. You can choose from 8 types of chorus.

Setting Meaning

Original The song uses its own (programmed)

Chorus 1~4

These types simulate the reverb of a small (1) or large (2) concert hall and thus sound much “bigger” than the Room types above.

concert hall.

echo effect and thus repeats the sounds.

effect. It creates repetitions that alternate between the left and right channels.

chorus settings.

These are conventional chorus effects that add spaciousness and depth to the sound.

2.

If you are satisfied with your changes and wish to preserve them, save your song to the USB storage device.

See “Saving your new song version” on p. 53.

NOTE

The changes you make using the procedure described above can be “burned” into the song file using the “Freeze Data” (see p. 53) and “Save” commands. Doing so will allow you to hear those changes on any sequencer (software) you use. Changes you don’t “freeze” are nevertheless stored when you save the edited song file—but only the JM-5 can read them.

■ If you select “Instrument”

The display will show a list of all instruments that are used by the selected song:

Fbk Chorus This is a chorus with a flanger-like effect

Flanger This is an effect that sounds somewhat

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48

and a soft sound.

like a jet airplane taking off and landing.

VIMA JM-5

Song (SMF) Makeup Tools

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1.

Rotate the [CURSOR÷VALUE] dial to select the instrument you want to change, then press the dial.

The display changes to:

2.

Press the [NEXT] button to jump to the location where the instrument is used.

Playback starts automatically from that point.

3.

Rotate the [CURSOR÷VALUE] dial to select the parameter you wish to edit, then press the dial.

NOTE

If you select a Drum Set in step (1) above, the parameter list looks slightly different than for instruments that do not use a Drum Set. “Drum Sets” are special “Tones” that assign different sounds to most keys/note numbers, allowing you (and the JM-5) to play realistic drum and percussion parts.

Mute (T)/Drum Mute (D)

Switches the selected instrument off. The corresponding part is no longer played back. (This setting only applies to the selected instrument and thus not necessarily to the entire track.)

NOTE

In the case of the drums, you can mute two instrument groups (“Drum Mute” and “Perc Mute”, see below) separately.

Parameter Setting

Mute (T) Drum Mute (D)

On/Off

Solo

Switches off all instruments except the selected instrument.

Parameter Setting

Solo On/Off

Perc Mute (D)

Suppresses (or adds) the percussion sounds used by the drum part.

Parameter Setting

Perc Mute On/Off

Volume

Adjusts the volume of the selected instrument. Negative values decrease the current volume, positive values increase it. (This is a relative setting that is added to, or subtracted from, the original setting.)

Parameter Setting

Volume -127~0~+127

In the following, “(T)” refers to parameters that are only available for regular instruments (also called “Tones”), while “(D)” refers to parameters that are only available for Drum Sets.

The following parameters are available:

Families (T)

Allows you to select a different Tone family. See page 80 for a list of available Tones and Drum Sets.

Parameter Explanation

Families The JM-5’s Tones are grouped into 15

families (guitar, bass, strings, etc.) and 1 Drum Kit.

Tone (T)/Drum (D)

Allows you to select a different Tone within the active Tone family. See page 80 for a list of available Tones and Drum Sets.

Parameter Explanation

Tone (T) Drum (D)

The number of Tones depends on the selected family.

Reverb

Use this parameter to set the reverb send level. Negative values decrease the current reverb send level, positive values increase it. (This is a relative setting that is added to, or subtracted from, the original setting.)

Parameter Setting

Reverb -127~0~+127

Chorus

Use this parameter to set the chorus send level. Negative values decrease the current chorus send level, positive values increase it. (This is a relative setting that is added to, or subtracted from, the original setting.)

Parameter Setting

Chorus -127~0~+127

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VIMA JM-5

Playback functions for SMF songs

Panpot

Use this parameter to change the stereo placement of the selected instrument. “0” means “no change”, negative (–) values shift the instrument towards the left and positive (+) values shift it towards the right.

Parameter Setting

Panpot -127~0~+127

NOTE

In the case of Drum Sets, this setting applies to all drum/ percussion instruments. There is also a parameter that can be set for specific drum instruments. See page 53.

Octave (T)

Use this parameter to transpose the selected instrument up or down by up to 4 octaves.

Parameter Setting

Octave -4~0~+4

Velocity

This parameter allows you to modify the velocity range of the instrument in question. “0” means that the recorded velocity values are left untouched, negative values reduce all velocity values by the same amount (leaving differences between notes intact), while positive settings increase all velocity values.

Parameter Setting

Velocity -127~+127

Cut Off

This filter parameter allows you to make the selected sound darker or brighter. Positive settings mean that more overtones are allowed to pass, so that the sound becomes brighter. The further this value is set in the negative direction, the fewer overtones will be allowed to pass and the sound will become softer (darker).

Setting

Characteristics of a low-pass ﬁlter

Resonance

This is a parameter one invariably associates with a synthesizer. When the “Resonance” value is increased, the overtones in the area of the cutoff frequency will be emphasized, creating a sound with a strong character.

Parameter Setting

Resonance -127~+127

NOTE

For some sounds, negative (–) “Resonance” settings may produce no noticeable change because the resonance is already set to the minimum value.

The following parameters allow you to set the sound’s “envelope”. The envelope parameters affect both the volume (TVA) and the filter (TVF). The cutoff frequency will rise as the envelope rises and fall as the envelope falls.

Attack (T)

This parameter adjusts the onset of the sound. Negative values speed up the attack, so that the sound becomes more aggressive.

Parameter Setting

Attack -127~+127

Decay (T)

This parameter adjusts the time over which the sound’s volume and cutoff frequency fall from the highest point of the attack down to the sustain level.

Parameter Setting

Decay -127~+127

NOTE

Percussive sounds usually have a sustain level of “0”. Piano and guitar sounds are in this category. Holding the keys for a long time will have little effect on the duration of the notes you are playing, even if you select a high value here.

Parameter Setting

Cut Off -127~+127

NOTE

For some sounds, positive (+) “Cut Off” settings will cause no noticeable change because the preprogrammed “Cut Off” parameter is already set to its maximum value.

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50

Cutoff frequency

Frequency

Release (T)

This parameter adjusts the time over which the sound will decay after the note is released until it is no longer heard. The cutoff frequency will also fall according to this setting.

Parameter Setting

Release -127~+127

NOTE

Some sounds already contain natural (sampled) vibrato whose depth or speed cannot be changed.

Use the following three parameters if you think the instrument in question has too much (or could use a little more) vibrato.

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Song (SMF) Makeup Tools

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Vibrato Rate (T)

This parameter adjusts the speed of the pitch modulation. Positive (+) settings make the preset pitch modulation faster, and negative (–) settings make it slower.

Parameter Setting

Vibrato Rate -127~+127

Vibrato Depth (T)

This parameter adjusts the intensity of the pitch modulation. Positive (+) settings mean that the “wobble” becomes more prominent, while negative (–) settings make it shallower.

Parameter Setting

Vibrato Depth -127~+127

Vibrato Delay (T)

This parameter adjusts the time required for the vibrato effect to begin. Positive (+) settings increase the time before vibrato will begin and negative settings (–) shorten the time.

Parameter Setting

Vibrato Delay -127~+127

MFX

The JM-5 contains three multi-effect processors (“MFX”), one reverb processor and one chorus processor that can be used to process Standard MIDI Files.

Select “Off” for instruments that don’t need to be processed by any MFX.

Parameter Setting

MFX Off, A, B, C

NOTE

If you select “A”, “B” or “C”, additional parameters can be edited (see below).

MFX Type

Allows you to select the desired MFX type, i.e. the kind of effect you need. Each MFX (“A”, “B” and “C”) can be assigned to as many instruments as you like. Be aware, however, that selecting a different type will affect all instruments that use this MFX processor.

The available types are:

1. Thru

2. Stereo EQ

3. Overdrive

4. Distortion

5. Phaser

6. Spectrum

7. Enhancer

8. Auto Wah

9. Rotary

10. Compressor

11. Limiter

12. Hexa-Chorus

13. Trem Chorus

14. Space-D

15. St. Chorus

16. St. Flanger

17. Step Flanger

18. St. Delay

19. Mod. Delay

20. 3 Tap Delay

21. 4 Tap Delay

22. Time Delay

23. 2 Pitch Shifter

24. FBK Pitch

25. Reverb

26. Gate Reverb

27. OD‰ Chorus

28. OD‰ Flanger

NOTE

While the “MFX” parameter is set to “Off”, you cannot select a different type. In that case, the display will show the message “––––––––––––––––”.

29. OD‰ Delay

30. DST‰ Chorus

31. DST‰ Flanger

32. DST‰ Delay

33. EH‰ Chorus

34. EH‰ Flanger

35. EH‰ Delay

36. Chorus‰ DLY

37. Flanger‰ DLY

38. CHO‰ Flanger

39. CHO/DLY

40. Flanger/DLY

41. CHO/Flanger

42. Isolator

43. Low Boost

44. Super Filter

45. Step Filter

46. Humanizer

47. Speaker Sim

48. Step Phaser

49. MLT Phaser

50. INF Phaser

51. Ring Modul

52. Step Ring

53. Tremolo

54. Auto Pan

55. Step Pan

56. Slicer

57. VK Rotary

58. 3D Chorus

59. 3D Flanger

60. 3D Step Flgr

61. Band Chorus

62. Band Flanger

63. Band Step Flgr

64. VS Overdrive

65. VS Distortion

66. GT Amp Simul

67. Gate

68. Long Delay

69. Serial Delay

70. MLT Tap DLY

71. Reverse DLY

72. Shuffle DLY

73. 3D Delay

74. Long Time DLY

75. Tape Echo

76. LoFi Noise

77. LoFi Comp

78. LoFi Radio

79. Telephone

80. Phonograph

81. Step Pitch

82. Sympa Reso

83. Vib-Od-Rotary

84. Center Canc

MFX Edit

If you also want to edit the parameters of the selected effect type, press the [CURSOR÷VALUE] dial to jump to the “MFX Edit” page. You can then use the [CURSOR÷VALUE] dial to edit the available parame- ters.

See “MFX types and parameters” on p. 93 for the parameters that are available for the selected MFX type.

NOTE

While the “MFX” parameter is set to “Off”, you cannot edit the MFX parameters. In that case, the display will show the message “Please assign an MFX”.

Equalizer

Activate this setting if you want to change the timbre of the selected instrument.

Parameter Setting

Equalizer Off, On

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Playback functions for SMF songs

Edit EQ

To edit the equalizer parameters, press the [CURSOR÷VALUE] dial to jump to the “Edit EQ” page. You can then use the [CURSOR÷VALUE] dial to edit the available parameters:

Parameter Setting Explanation

Equalizer Off, On This parameter has the

same function (and is linked to) the “Equalizer” parameter described above.

High Frequency 1500 Hz, 2000

Hz, 3000 Hz, 4000 Hz, 6000 Hz, 8000 Hz, 12000 Hz

High Gain –15~+15 dB Use this parameter to

Allows you to set the cutoff frequency of the high band (this is a shelving filter).

set the level of the selected “High” frequency. Positive values boost (increase the volume of) that frequency, negative values cut (attenuate) it.

Parameter Setting Explanation

Undo Changes (Press the

[CURSOR÷VAL UE] dial)

This function allows you to cancel all settings you have made and to revert to the previously saved version.

Undo Changes

This function allows you to cancel all changes you have made and to revert to the previously saved version.

Select this parameter, then press the [CURSOR÷VALUE] dial to revert to the original version.

Drum Instrument (D)

If you want to edit the settings for specific instruments of the selected Drum Set, press the [CURSOR÷VALUE] dial to jump to the “Drum Instrument” page.

Select and instrument and press the [CURSOR÷VALUE] dial.

Mid Frequency 200~8000 Hz Allows you to set the

cutoff frequency of the middle band (this is a peaking filter).

Mid Q 0.5, 1.0, 2.0,

4.0, 8.0

Mid Gain –15~1+5 dB Use this parameter to

Low Frequency 90 Hz, 150 Hz,

180 Hz, 300 Hz, 360 Hz, 600 Hz

Low Gain –15~+15 dB Use this parameter to

Use this parameter to specify the width of the “Mid Frequency” band that you want to boost or cut. Smaller values mean that neighboring frequencies above/below that value are also affected.

set the level of the selected “Mid Frequency”. Positive values boost (increase the volume of) that frequency, negative values cut (attenuate) it.

Allows you to set the cutoff frequency of the low band (this is a shelving filter).

set the level of the selected “Low” frequency. Positive values boost (increase the volume of) that frequency, negative values cut (attenuate) it.

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You can then use the [CURSOR÷VALUE] dial to edit the available parameters.

Parameter Setting Explanation

Instr. All Drum Set

Instruments

Parameters for the selected instrument

Mute Off, On Suppress (or add) the

Solo Off, On Switches off all instru-

Volume -127~+127 Use this parameter to

Reverb -127~+127 Use this parameter to

Chorus -127~+127 Use this parameter to

Select the drum instrument you want to edit.

selected instrument.

ments except the selected instrument.

set the volume of the selected drum instrument.

set the reverb send level of the selected drum instrument. The effect itself can be changed on the “Common” page.

set the chorus send level of the selected drum instrument. The effect itself can be changed on the “Common” page.

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Parameter Setting Explanation

Panpot -127~+127 Use this parameter to

set the stereo placement of the selected drum instrument. “0” means “no change”, negative values shift the instrument towards the left and positive values shift it towards the right.

Velocity -127~+127 This parameter allows

you to modify the velocity range of the drum instrument in question. “0” means that the recorded values are left untouched, a negative setting reduces all velocity values by the same amount (leaving variations intact). A positive setting shifts all velocity values in a positive direction.

Pitch -127~+127 Use this parameter to

tune the selected drum instrument higher or lower. “0” means that the pitch is left unchanged.

Instr. Equalizer Global, Instr,

Off

Global: The drum instrument uses the equalizer settings of the Drum Set it belongs to. Instr: The drum instrument uses its own equalizer settings (see below). Off: The drum instrument is not equalized.

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Saving your new song version

4.

If you are satisfied with your changes and

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wish to preserve them, save your song to the USB storage device.

See “Saving your new song version” on p. 53.

NOTE

The changes you make using the procedure described above can be “burned” into the song file using the “Freeze Data” and “Save” commands. Doing so will allow you to hear those changes on any sequencer (software) you use. Changes you don’t “freeze” are nevertheless stored when you save the edited song file—but only the JM-5 can read them.

Freeze Data

Before saving your “made-up” song to a USB storage device, you can (but you don’t have to) “commit” your changes, thereby turning them into “regular” song data.

This may come in handy if you also want to play back your new song version on another sequencer or your computer. This operation is unnecessary for files you only want to use with the JM-5, but you need to perform it if you want to use the new settings on another sequencer.

Select this entry, then press the [CURSOR÷VALUE] dial to permanently change the song file you have been editing. Next, save your song (see below).

Saving your new song version

1.

If you are happy with your changes and wish to preserve them, select the “Save” parameter.

The display shows the last folder you selected on the USB memory.

Edit EQ (Press the

[CURSOR÷VAL UE] dial)

Undo Changes (Press the

[CURSOR÷VAL UE] dial)

Provides access to the EQ parameters of the currently selected drum instrument (if “Instr. Equalizer” is set to “Int”). See “Edit EQ” on p. 52 for a description of the available parameters.

This function allows you to cancel the “Drum Instrument (D)” settings of the currently selected instrument and to revert to the previously saved version.

NOTE

Even songs for which you did not perform the “Freeze Data” command need to be saved using this procedure if you want to keep the changes.

2.

Select another folder than the one that contains the original file if you do not want to overwrite the original version.

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Playback functions for SMF songs

3.

Press the [MENU] button.

MENU

The display changes to:

4.

Rotate the [CURSOR÷VALUE] dial to select the desired character.

5.

Press the [CURSOR÷VALUE] dial to confirm your selection (the cursor changes to an underscore).

6.

Rotate the [CURSOR÷VALUE] dial to select the character position you want to change, then press the dial.

Otherwise, select “NO” to return to the “Save” page and enter a different name.

7.

Repeat steps (6)~(4) to complete the name.

8.

If you made a mistake, correct it using one of the procedures described in the table on page 34.

9.

Press the [MENU] button to confirm your desire to save the song.

If the USB memory already contains a song file of that name, you will be asked whether you want to overwrite it:

In this case, select “YES” using the [CURSOR÷VALUE] dial to replace the old file (the old file will be lost).

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Menu parameters

12. Menu parameters

The [MENU] button provides access to a great number of parameters that allow you to fine-tune the JM-5’s behavior, to edit song files, etc. This chapter discusses all “Menu” parameters that haven’t been dealt with so far.

General procedure

1.

Return to the main page by pressing and holding the [EXIT] button.

2.

Press the [MENU] button.

MENU

The display changes to:

Function group Explanation

User Settings This function group contains parame-

ters that apply to all sections of the JM-5 (see p. 56).

SMF Cover This function group allows you to

quickly change the orchestration of a Standard MIDI File (see p. 43).

SMF Makeup Tools

SMF Compressor

SMF Equalizer This function group allows you to edit

MIDI This function group allows you to edit

External Tone Parts

V-LINK Allows you to take advantage of the

This function group allows you to edit Standard MIDI Files (see p. 47).

This function group allows you to edit the JM-5’s SMF compressor (see p. 44).

the JM-5’s SMF equalizer (see p. 46).

the JM-5’s MIDI parameters (see p. 62).

This function group allows you to set up the three “External Tone Parts” that can be controlled from an external MIDI device (see p. 59).

JM-5’s V-LINK functions (see p. 72).

3.

Rotate the [CURSOR÷VALUE] dial to select the desired function group.

The following function groups are discussed in this chapter:

Function group Explanation

Internal Lyrics Allows you to activate the display of

lyrics data on the JM-5 itself. (Only for SMF and mp3 files for which there are lyrics data.)

External Lyrics Allows you to cancel (“Off”) or activate

(“On”) the display of song lyrics on an external screen.

Factory Reset This command allows you to load the

JM-5’s factory settings (see p. 70).

Format USB Device

4.

Press the [CURSOR÷VALUE] dial to go to the

This command allows you to format an optional USB storage device (see p. 70).

display page where you can edit the parameters of the selected group, or to execute the selected command.

‘Menu’ parameters

Internal Lyrics

The JM-5’s display can show the lyrics of Standard MIDI Files or mp3 songs you load. If such song files contain Lyrics data, the lyrics are always displayed on an external screen you connect to the JM-5 (see “Connecting a television set” on p. 15), unless you set the “External Lyrics” to “Off” (see above).

Sometimes, however, it may be wiser to orient the external screen in such a way that the audience can easily follow the lyrics, which may then mean that you no longer see what is displayed. If you need to see the lyrics, you can follow them on the JM-5’s internal display:

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VIMA JM-5

Menu parameters

1.

Load a song with lyrics data (see p. 20).

2.

Select the “Internal Lyrics” command (see “General procedure”).

3.

Press the [CURSOR÷VALUE] dial.

The internal display now shows the lyrics of the selected song (4 lines at a time).

4.

At the end of the song, press and hold the [EXIT] button to return to the main page.

External Lyrics

This is, in fact, a switch that allows you to cancel (“Off”) or activate (“On”) the display of song lyrics on an external screen.

User Settings

The settings of the “User Settings” parameters can be saved to the JM-5’s global memory. If you don’t save them, your changes are lost when you switch off the JM-5.

1.

Select the “User Settings” function group (see “General procedure” on p. 55).

2.

Rotate the [CURSOR÷VALUE] dial to select the desired parameter, then press the dial.

NOTE

Some entries are function subgroups that first need to be selected before you can edit their parameters.

3.

Use the [CURSOR÷VALUE] dial to make the required changes.

The “User Settings” function group contains the following parameters and subgroups:

Display Brightness

Allows you to change the brightness of the JM-5’s display.

Parameter Parameter

Display Brightness 0~25

Mic Settings

See “Setting the microphone equalizers and phantom power” on p. 27.

Melody Mute

See “Using ‘Melody Mute’ and ‘Center Cancel’” on p. 28.

Tuning

This parameter allows you to tune your JM-5 to acoustic instruments that cannot be tuned. The default setting is 440.0Hz.

Parameter Parameter

Tuning 415.3~466.2 Hz

Video Settings

To edit the video parameters, you need to press the [CURSOR÷VALUE] dial to open the “Video Settings” page.

The following table shows the “Video Settings” parameters.

Parameter Value Explanation

Mode PAL, NTSC Allows you to adapt

the JM-5’s video standard to the screen you are using.

Aspect Ratio Full, Center Specifies the appropri-

ate aspect ratio in according with your TV

Lyrics Settings

To edit the Lyrics parameters, you need to press the [CURSOR÷VALUE] dial to open the “Lyrics Settings” page.

The following table shows the “Video Settings” parameters.

Parameter Value Explanation

Background Mode

Colour, Logo, User

Colour: The background is empty but uses the selected color. Logo: The JM-5’s logo is showed as background User: The JM-5 will use the selected .jpg picture as background. See page 33.

Vocal Effect

See “Changing your voice/adding harmonies” on p. 25.

Ambience Type

See “Adding ambience to your vocal performance” on p. 23.

Space Echo

See “Adding echo to your vocal performance” on p. 23.

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56

Background Colour

Highlight Colour

Row Displaying 2, 4 Allows you to select

1~8 Allows you to choose

the background color

1~8 Selects the highlight

color

the number text lines the Lyrics function may use on the external screen. This parameter has no effect on the internal display.

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‘Menu’ parameters

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Parameter Value Explanation

Chord View Off, On Select “On” if chord

symbols of the chords played by the selected SMF song should be displayed below the lyrics. The chord symbols only appear on the external screen.

Utility

To edit the “Utility” parameters, you need to press the [CURSOR÷VALUE] dial to open the “Utility” page.

The following table shows the “Utility” parameters.

Parameter Value Explanation

SMF QuickStart Off, 2nd Bar,

1st Note

Playlist Next Song

Off, On Specifies whether or

Off: Playback starts at the very beginning of the song file (which may contain a few silent bars). 2nd Bar: Causes playback to start from measure 2 of the selected Standard MIDI File. 1st Note: This is basically the same as the above, except that playback starts on the first note of the selected song.

not playback of the next song in playlist should start automatically. (Pressing the [ª] button during playlist playback automatically selects the next song.)

Parameter Value Explanation

Rec Audio Sync Off, On Off: Choose this set-

ting when you want to start recording before starting song playback. On: Choose this setting when you want to be able to start recording simultaneously with song playback. When you choose this setting, pressing the [REC] or [ª] button will stop both playback of the song and the recorder.

USB Driver Generic,

Original

Audio In Level 0~127 Allows you to set the

Audio In Center Canc

Off, On Select “On” if the “Cen-

Generic: Choose this if you want to use the standard USB driver that was included with your computer. Normally, you should use this mode. Original: Choose this if you want to use a USB driver downloaded from the Roland website (www.roland.com).

input level of the signals received via the INPUT (STEREO) socket. See also page 15.

ter Cancel” function (see p. 28) should also affect the signals received via the INPUT (STEREO) socket.

Music File Channel

Rec Audio Level -24, -18, -12,

1~16 Allows you to specify

-6, + 0 dB

the MIDI channel of the song file that contains the harmony data for the “Music File” setting (see p. 26).

Allows you to set the recording level for your own performances (see p. 30). The setting of the [MASTER VOL] knob does not affect the recording level.

Audio In Transpose

Auto Power Off Off, 240 min This parameter allows

Off, On Select “On” if the “Key”

function (see p. 29) should also affect the signals received via the INPUT (STEREO) socket.

you to cause the JM-5 to switch itself off after 240 minutes if you are not using it. The default setting is “Off”, meaning that the JM-5 remains on until you press the [POWER] switch again.

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Menu parameters

Parameter Value Explanation

MIDI Direction IN, OUT This parameter allows

you to select the function of the JM-5’s MIDI IN/OUT socket. In: The JM-5 receives MIDI data from an external device. Out: The JM-5 transmits MIDI data to external devices.

Version Info n.nn Shows the version

number of the JM-5’s operating system.

Saving your ‘User’ settings

The JM-5 doesn’t automatically remember the changes you make to the “User Settings” parameters: all unsaved changes are lost when you switch the JM-5 off.

1.

If you want to keep the setting changes, select the “Save User Settings” entry and press the [CURSOR÷VALUE] dial.

The display changes to:

2.

On the display page shown above, rotate the [CURSOR÷VALUE] dial to select “YES”, then press the dial to save the “User Settings” changes in the JM-5’s internal memory.

Select “NO” if you decide not to save them.

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External Tone Parts (for MIDI module operation)

VIMA JM-5

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13. External Tone Parts (for MIDI module operation)

The JM-5 can also be used as a three-part multitimbral MIDI module in conjunction with an external controller (master keyboard, MIDI accordion, etc.) or sequencer (software).

There are three MIDI parts (channels) that can be used alongside the 16-part tone generator for Standard MIDI File playback (for a total of 19 MIDI parts).

The JM-5 provides several parameters for these parts that allow you to select the desired sounds (called “Tones”) and several sound-related settings. These settings can be saved to one of the 10 “User” memories.

General procedure

NOTE

The External Tone Parts only sound if you set the “Load MIDi Set” parameter to “Tone Parts” (see p. 62).

1.

Press the [MENU] button.

MENU

The display changes to:

5.

Press the [CURSOR÷VALUE] dial to select “Part”.

6.

Select the part (“Tone1”~“Tone3”) whose settings you want to change, then press the dial.

NOTE

If you only want to select another “User” memory without editing its settings, rotate the [CURSOR÷VALUE] dial to select the “Preset”. See also “Loading the settings of an existing ‘User’ memory” on p. 61.

7.

Use the [CURSOR÷VALUE] dial to select and set the required parameters.

The following parameters can be set here:

The display changes to:

2.

See “Using the JM-5 as a MIDI module” on p. 62 for details about the MIDI parameters you may need to set.

3.

Rotate the [CURSOR÷VALUE] dial to select “External Tone Parts“.

4.

Press the dial.

Parameter Setting Explanation

Part Tone1~3 Selects the part whose

settings you can change.

Families The JM-5’s Tones are grouped into 16

families: guitar, bass, strings, etc.

Tone The number of Tones depends on the

selected family. See page page 80 for a list of available Tones and Drum Sets.

Volume 0~127 Use this parameter to

set the volume of the selected part.

Reverb Send 0~127 Use this parameter to

set the reverb send level of the selected part. The three MIDI parts use the reverb effect that can be set using the “Reverb Type” parameter (see p. 48).

Chorus Send 0~127 Use this parameter to

set the chorus send level of the selected part. The three MIDI parts use the chorus effect that can be set using the “Chorus Type” parameter (see p. 48).

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External Tone Parts (for MIDI module operation)

Parameter Setting Explanation

Panpot L63~0~R63 Use this parameter to

set the stereo placement of the selected part. “0” means “no change”, “L” values shift the instrument towards the left and “R” values shift it towards the right.

Preset User1~10 Allows you to select

the “User” memory whose setting you want to use or edit.

8.

Press and hold the [EXIT] button (its indicator stops flashing) to return to the JM-5’s main page.

EXIT

The display changes to:

This is only an example: the JM-5 may just as well display another Tone family.

6.

Rotate the dial to select the desired Tone family.

7.

Press the [CURSOR÷VALUE] dial (see the “Push: Go to tone” message).

The display now shows a list of all Tones that belong to the selected family.

8.

Rotate the [CURSOR÷VALUE] dial to select the desired sound.

9.

Do one of the following:

(a) If you cannot find the Tone you are looking for,

press the [CURSOR÷VALUE] dial (“Push: Go to families”).

(b) If you are happy with the sound, press the [EXIT]

button to return to the “External Tone Parts” page.

Operation details

Family and Tone selection

1.

Press the [MENU] button and rotate the [CURSOR÷VALUE] dial to select “External Tone Parts”.

2.

Press the dial to confirm your selection.

3.

Rotate the [CURSOR÷VALUE] dial to select “Part”, then press the dial.

NOTE

You can also select the “Families” parameter to check which family the currently selected Tone belongs to.

Setting the remaining ‘External Tone Parts’ parameters

1.

Press the [MENU] button and rotate the [CURSOR÷VALUE] dial to select “External Tone Parts”.

2.

Press the dial to confirm your selection.

3.

Rotate the [CURSOR÷VALUE] dial to select “Part”, then press the dial.

4.

Rotate the [CURSOR÷VALUE] dial to select the part (“Tone1”~“Tone3”) you want to edit, then press the dial.

5.

Rotate the [CURSOR÷VALUE] dial to select the desired parameter, then press the dial.

The display changes to:

4.

Rotate the [CURSOR÷VALUE] dial to select the part (“Tone1”~“Tone3”) you want to edit, then press the dial.

5.

Rotate the [CURSOR÷VALUE] dial to select “Families”, then press the dial.

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6.

Rotate the dial to select the desired setting, then press the dial.

7.

Repeat steps (5) and (6) to set the remaining parameters.

8.

Press and hold the [EXIT] button (its indicator stops flashing) to return to the JM-5’s main page.

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Operation details

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Saving your settings to a ‘User’ memory

After setting everything to your liking, you can decide to save your settings to one of the 10 External Tone Parts “User” memories.

NOTE

If you switch off the JM-5 or if you select another “User” memory before saving your last changes, those settings are lost.

1.

If necessary, press the [MENU] button and use the [CURSOR÷VALUE] dial to select “External Tone Parts”.

The display changes to:

2.

Press the [MENU] button again (“[MENU]: Write User”).

The display changes to:

Loading the settings of an existing ‘User’ memory

1.

If necessary, press the [MENU] button and use the [CURSOR÷VALUE] dial to select “External Tone Parts”.

The display changes to:

2.

Rotate the [CURSOR÷VALUE] dial to select “Preset”, then press the dial.

3.

Rotate the [CURSOR÷VALUE] dial to select the “User” memory you wish to use.

4.

Press the dial to load the settings of the selected “User” memory.

5.

Press and hold the [EXIT] button (its indicator stops flashing) to return to the JM-5’s main page.

3.

Rotate the [CURSOR÷VALUE] dial to select the “User” memory (1~10) where you wish to save your settings.

4.

Press the [MENU] button to confirm your choice and to save the settings to the selected “User” memory.

The display briefly confirms the operation and returns to the “External Tone Parts” page.

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Using the JM-5’s MIDI functions

14. Using the JM-5’s MIDI functions

“MIDI” stands for “Musical Instrument Digital Interface.” It is a universal standard that allows performance data to be exchanged among electronic musical instruments and computers. The JM-5 provides a MIDI IN socket so that performance data can be received from other MIDI instruments. It is also equipped with a USB MIDI port that can receive and transmit MIDI data.

About MIDI

MIDI can simultaneously transmit and receive messages on 16 channels, so that up to 16 instruments can be controlled. Nowadays, most instruments –like the JM-5– are multitimbral, which means that they can play several parts simultaneously with different sounds.

The JM-5 provides 10 “MIDI Set” memories where you can store your own settings.

1.

Press the [MENU] button ‰ “MIDI” ‰ “Load MIDI Set”.

2.

Use the [CURSOR÷VALUE] dial to select the desired parameter or function group, then press the dial.

If you select “Load MIDI Set”, you can select one of the following memories:

MIDI Set Meaning

Tone Parts This factory MIDI Set activates the Tone1,

Tone2 and Tone3 parts for MIDI data reception. In this case, the 16 Songs Parts cannot be controlled via MIDI.

NOTE

The harmony function only transmits and receives setting changes and MIDI note messages. The microphone signals it receives and the audio signals it generates are not converted into pitch information.

Using the JM-5 as a MIDI module

To control the JM-5’s sound source from an external MIDI instrument, proceed as follows.

Connections

NOTE

Before connecting the JM-5 to other devices, you must turn down the volume of all devices and turn off their power to prevent malfunctions or damage to external speakers.

1.

Set the volume of the JM-5 and of the MIDI equipment you are connecting to the minimum value.

2.

Switch off power to the JM-5 and the MIDI equipment you are connecting.

3.

Use a MIDI cable (commercially available) to connect the JM-5’s MIDI IN/OUT socket to the MIDI OUT socket of the external MIDI instrument.

Song Parts This factory MIDI Set activates the 16

Song Parts for MIDI data reception and transmission. In this case, the Tone Parts cannot be controlled via MIDI.

User1~8 The JM-5 provides 8 MIDI Set “User” mem-

ories that you can use to load and save settings for various MIDI configurations you may need. See “Saving your settings to a MIDI Set” on p. 68. Note that you can also start by loading the “Tone Parts” or “Song Parts” MIDI Set, edit it and then save the result to a “User” memory.

In addition to the 3 External Tone Parts and the 16 Song Parts, the following section can also be controlled via MIDI:

Section/function MIDI channel

Harmony effect 16 (“Keyboard” option, p. 26)

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MIDI OUT

MIDI master keyboard, MIDI-compatible piano, etc.

4.

Switch on the JM-5 and the connected MIDI equipment.

5.

Set the “MIDI Direction” parameter to “IN” (see p. 58).

6.

Adjust the volume of the JM-5.

7.

If necessary, use the [BACKING] knob to set the volume of the JM-5’s MIDI parts.

NOTE

The External Tone Parts parts can also be controlled when you connect the JM-5’s COMPUTER port to a USB port on your computer (see p. 69).

Setting MIDI channels on the external module for the ‘Tone Parts’ Preset

The JM-5 provides three parts that can be controlled from an external MIDI instrument (master keyboard, MIDI accordion, digital piano, etc.). If you select the “Tone Parts” preset (MIDI Set), those parts receive on the following MIDI channels:

External Tone Part MIDI channel (default setting)

Tone 1 1 (can be changed)

Tone 2 2 (can be changed)

VIMA JM-5

Using the JM-5 as a MIDI module

3.

Rotate the [CURSOR÷VALUE] dial to select “MIDI”, then press the dial.

The display changes to:

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Tone 3 3 (can be changed)

NOTE

Use [MENU] button ‰ “MIDI” ‰ “Edit Tone Parts” if you prefer to select other MIDI channels on the JM-5.

1.

Select one of the channels shown above as the transmit channel on your MIDI controller.

Instruments like a MIDI accordion transmit on several channels simultaneously. To control the JM-5’s parts simultaneously, select the channel numbers shown above on your external instrument.

2.

Press the [MENU] button.

MENU

4.

Press the [CURSOR÷VALUE] dial to select “Load MIDI Set“.

5.

Rotate the [CURSOR÷VALUE] dial to select “Tone Parts”.

6.

Press the [CURSOR÷VALUE] dial.

NOTE

This will also switch off MIDI reception and transmission for the JM-5’s Song Parts and cancel any MIDI settings you have made for the Song Parts.

7.

Press and hold the [EXIT] button (its indicator stops flashing) to return to the JM-5’s main page.

The display changes to:

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Using the JM-5’s MIDI functions

Setting MIDI channels and other MIDI parameters for the ‘Edit Tone Parts’ environment

1.

Use [MENU] button ‰ “MIDI” ‰ “Edit Tone Parts” to go to the following display page:

2.

Use the [CURSOR÷VALUE] dial to select and set the following parameters:

Parameter Setting Explanation

Part Tone1~3 Selects the part whose

settings you can change.

Rx Off, On This parameter allows

you to specify whether (On) or not (Off) the selected part should receive (RX) MIDI data.

Rx Ch 1~16 Allows you to assign a

MIDI channel to the selected part.

Rx Shift -48~+48 This parameter allows

you to transpose the received note messages before sending them to the JM-5’s tone generator. The maximum possible transposition is four octaves up (+48) or down (–48). Each step represents a semitone.

Rx Limit Low C–1~G9 These two parameters

allow you to set the note range to be received. If not all note messages received on a given MIDI channel

Rx Limit High C–1~G9

should be played by the selected External Tone Part, narrow down the range. Note: “Rx Limit Low” cannot be higher than “Rx Limit High” (and vice versa).

■ ‘Rx Event’ options:

Rx Event Setting Meaning

Program Change

Pitch Bender Off, On Pitch Bend messages.

Modulation Off, On Modulation messages

Volume Off, On Volume messages

Panpot Off, On Pan(pot) messages

Expression Off, On Expression messages

Reverb Off, On Reverb Send messages

Chorus Off, On Chorus Send messages

Hold Off, On Hold (Sustain, Damper)

Sostenuto Off, On Sostenuto messages

Soft Off, On Soft messages (CC67).

Caf Off, On Channel aftertouch.

RPN Off, On Registered parameter

NRPN Off, On Non-registered param-

System Exclusive

Select All — Switches all event fil-

3.

Press and hold the [EXIT] button (its indica-

Off, On Program change and

bank select (CC00, CC32) messages. These messages are used to select sounds and Drum Sets. “Bank Select” messages are control change messages (CC) that allow you to select sound banks (up to

128).

(CC01).

(CC07).

(CC10).

(CC11).

(CC91).

(CC93).

messages (CC64).

(CC66).

number (CC100/101).

eter number (CC98/99).

Off, On SysEx messages (sys-

tem exclusive).

ters off or on.

tor stops flashing) to return to the JM-5’s main page.

Rx Event ‰ see below The RX section pro-

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64

vides a number of filters that allow you to specify whether the messages in question should be received (On) or not (Off).

VIMA JM-5

MIDI parameters for the ‘Song Parts’

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MIDI parameters for the ‘Song Parts’

The 16 “Song Parts” are normally used to play back the SMF songs you select. You can, however, also use them as multitimbral parts controlled by your computer or an external sequencer. Conversely, they can transmit the MIDI data of the SMF song you are playing back, allowing you to record them on your computer, or to use external tone generators.

Activating the ‘Song Parts’ section

Here is how to enable the MIDI transmission and reception of the JM-5’s song parts. Note that selecting “Song Parts” for “Load MIDI Set” will deactivate the “Tone Parts”. Only one of these two sections can receive (and/ or transmit) MIDI data at any one time.

1.

Use [MENU] button ‰ “MIDI” ‰ “Load MIDI Set” to go to the following display page:

2.

Press the [CURSOR÷VALUE] dial, then rotate it to select “Song Parts”.

Parameter Setting Explanation

Rx Off, On This parameter allows

you to specify whether (On) or not (Off) the selected part should receive (RX) MIDI data.

Rx Ch 1~16 Allows you to assign a

MIDI channel to the selected part.

Rx Shift -48~+48 This parameter allows

you to transpose the received note messages before sending them to the JM-5’s tone generator. The maximum possible transposition is four octaves up (+48) or down (–48). Each step represents a semitone.

Rx Limit Low C–1~G9 These two parameters

allow you to set the note range to be received. If not all note messages received on a given MIDI channel

Rx Limit High C–1~G9

should be played by the selected part, narrow down the range. Note: The “Rx Limit Low” value cannot be higher than “Rx Limit High” (and vice versa).

3.

Press the [CURSOR÷VALUE] dial.

This loads the JM-5’s default MIDI settings for the song parts.

Setting MIDI channels and other MIDI parameters for the ‘Edit Song Parts’ environment

1.

On the page shown above, select “Edit Song Parts” to go to the following display page:

2.

Use the [CURSOR÷VALUE] dial to select and set the following parameters:

Parameter Setting Explanation

Part 1~16 Allows you to select

the song part whose MIDI settings you want to change.

Rx Event ‰ see below The RX section pro-

vides a number of filters that allow you to specify whether the messages in question should be received (On) or not (Off).

Tx Off, On Allows you to specify

whether (On) or not (Off) the selected part should transmit (TX) MIDI data.

Tx Ch 1~16 Allows you to assign a

MIDI transmit channel to the selected part. Note: Assigning the same channel to two or more parts is usually not a very good idea.

Tx Shift -48~+48 This parameter allows

you to transpose the note messages before they are transmitted to an external MIDI instrument or computer.

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VIMA JM-5

Using the JM-5’s MIDI functions

Parameter Setting Explanation

Tx Local Off, On Allows you to discon-

nect the part from the internal sound source (Off), or to re-establish that connection (On). If you select “Off” the song part in question is no longer controlled by the JM-5’s SMF player.

Tx Event ‰ see below The TX section provides

a number of filters that allow you to specify whether the messages in question should be transmitted (On) or not (Off).

■ ‘Rx Event’ and ‘Tx Event’ options:

Rx/Tx Event Setting Meaning

Program Change

Pitch Bender Off, On Pitch Bend messages.

Modulation Off, On Modulation messages

Volume Off, On Volume messages

Panpot Off, On Pan(pot) messages

Expression Off, On Expression messages

Reverb Off, On Reverb Send messages

Chorus Off, On Chorus Send messages

Hold Off, On Hold (Sustain, Damper)

Sostenuto Off, On Sostenuto messages

Soft Off, On Soft messages (CC67).

Caf Off, On Channel aftertouch.

Off, On Program change and

bank select (CC00, CC32) messages. These messages are used to select sounds and Drum Sets. “Bank Select” messages are control change messages (CC) that allow you to select sound banks (up to

128).

(CC01).

(CC07).

(CC10).

(CC11).

(CC91).

(CC93).

messages (CC64).

(CC66).

Rx/Tx Event Setting Meaning

NRPN Off, On Non-registered param-

eter number (CC98/99).

System Exclusive

Select All — Switches all events off

3.

Press and hold the [EXIT] button (its indica-

Off, On SysEx messages (sys-

tem exclusive).

or on.

tor stops flashing) to return to the JM-5’s main page.

MIDI synchronization (Edit Sync)

There may be times when you want to use the JM-5 together alongside an external sequencer, computer, drum machine, etc. For this to work properly, you need the JM-5 to follow the tempo of the external device (or vice versa) to ensure that they start and stop at the same time and use the same tempo.

1.

Use [MENU] button ‰ “MIDI” ‰ “Edit Sync” to go to the following display page:

2.

Use the [CURSOR÷VALUE] dial to select and set the required parameters.

The following parameters can be set here:

Parameter Setting Explanation

Song Rx Off, On This parameter allows

you to specify whether or not the JM-5 should receive MIDI real-time messages. This allows you to synchronize external instruments or (software) sequencers with your JM-5. Note: This only works if the “MIDI Direction” parameter is set to “IN” (see p. 58).

Mode Internal, Auto,

MIDI, Remote

Song Start/Stop Tx

Off, On If you activate this

‰ “About the ‘Mode’ options”

option, the JM-5 sends start (or stop) messages when you start (or stop) song playback.

RPN Off, On Registered parameter

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number (CC100/101).

VIMA JM-5

General MIDI parameters

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Parameter Setting Explanation

Song Clock Tx Off, On This option means that

the song sends MIDI Clock messages that tell the receiving instrument or MIDI device which tempo to choose. Note: This only works if the “MIDI Direction” parameter is set to “OUT” (see p. 58).

Song Position TxOff, On If you switch this

parameter on, the player of the JM-5 sends Song Position Pointer (SPP) messages that indicate the current playback position. Note: See your external sequencer’s, etc., manual to find out whether it accepts Song Position Pointer messages.

■ About the ‘Mode’ options

Mode Explanation

Internal The JM-5 uses its internal tempo (no syn-

chronization).

Auto This is a good setting for remote control of

song playback (using a PK-5A dynamic MIDI pedal board, for example). Whenever the JM-5 receives a MIDI Start message (FA), it waits for Clock messages that specify the tempo. If those Clock messages are not received, the JM-5 starts playback using its internal tempo. If, however, Clock messages (F8) follow after the Start message, the JM-5 uses the external tempo. You can nevertheless go on using the SMF player without MIDI Start/Clock messages.

MIDI Song playback can only be started or

stopped with MIDI real-time messages (Start, Stop, Clock) received from an external clock source.

Remote When the JM-5 receives a start message, it

starts using its own tempo. When it receives a stop message, playback stops. External clock messages are ignored.

3.

Press and hold the [EXIT] button (its indicator stops flashing) to return to the JM-5’s main page.

General MIDI parameters

Below please find a number of MIDI parameters (most of the filters) that apply to the JM-5’s overall MIDI behavior.

1.

Use [MENU] button ‰ “MIDI” ‰ “Edit Parameters” to go to the following display page:

2.

Use the [CURSOR÷VALUE] dial to select and set the required parameters.

The following parameters can be set here:

Parameter Setting Explanation

Rx Transpose Off, On Use this parameter to

specify whether note messages received via MIDI should be transposed.

Rx Velocity On,1~127 Your JM-5 is equipped

with a sound source capable of responding to velocity messages. This parameter allows you to switch the reception (RX) of velocity messages on or off. If you don’t want to use “On”, specify which velocity value to use instead of the continuous flux. This value will be used for all notes received via MIDI (hence “Rx”).

Rx Sysex Off, On Use this parameter to

specify whether the JM-5 should receive SysEx messages from other devices. Such messages are not standardized, so that each manufacturer can use them ad lib for temporary (or permanent) changes to the way a part behaves. They may slow down playback or yield no effect at all, which is why you have the option to switch off their reception.

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VIMA JM-5

Using the JM-5’s MIDI functions

Parameter Setting Explanation

Tx Velocity On,1~127 The Song Parts usually

transmit velocity messages when you activate them for MIDI playback (see p. 65). This parameter switches the transmission (TX) of velocity messages on or off. If you don’t want to use “On”, specify which velocity value to use instead of the continuous flux. This value will be used for all notes sent to MIDI (hence “Tx”).

Tx Sysex Off, On Use this parameter to

specify whether the JM-5 should send SysEx messages.

Tx Data Change Off, On This parameter allows

you to specify how the original program changes of the songs you play back are transmitted via MIDI. The JM-5 may change sound addresses (usually CC00 and CC32 values). If you switch this parameter on, such transformations are also transmitted via MIDI. If you switch this parameter off, the original sound addresses are transmitted to the receiving device. (But the JM-5’s tone generator continues to “enhance” the songs you play back.)

MIDI Sets

MIDI Sets are memories for MIDI settings. The JM-5 provides eight MIDI Set memories that you can use to store and load various MIDI configurations. These are called “User1”~“User8”. The “Song Parts” and “Tone Parts” settings are also MIDI Sets, however, they are preset and cannot be changed.

NOTE

The settings of the last “User” memory you saved will be loaded each time the JM-5 is switched on.

Saving your settings to a MIDI Set

1.

Set all required MIDI parameters (see above) to your liking.

2.

Press the [MENU] button.

MENU

3.

Rotate and press the [CURSOR÷VALUE] dial to select “MIDI” ‰ “Save MIDI Set”.

4.

Press the [CURSOR÷VALUE] dial.

The display changes to:

3.

Press and hold the [EXIT] button (its indicator stops flashing) to return to the JM-5’s main page.

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68

5.

Rotate the [CURSOR÷VALUE] dial to select the “User” memory where you want to save your MIDI settings (User1~8).

6.

Press the [MENU] button to confirm your selection.

The display briefly confirms the operation and then returns to the page shown in step (3) above.

VIMA JM-5

Connecting the JM-5 to your computer

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Loading a MIDI Set

1.

Press the [MENU] button ‰ “MIDI” ‰ “Load MIDI Set”.

2.

Press the [CURSOR÷VALUE] dial to confirm your selection.

3.

Rotate the [CURSOR÷VALUE] dial to select the desired MIDI Set (“User1”~ “User8”), then press the dial.

4.

Press and hold the [EXIT] button (its indicator stops flashing) to return to the JM-5’s main page.

NOTE

The settings of the last “User” memory you saved will be loaded each time the JM-5 is switched on.

If the computer doesn’t ‘see’ the JM-5

Normally, you don’t need to install a driver in order to connect the JM-5 to your computer. However, if some problem occurs, or if the performance is poor, using the Roland original driver may solve the problem.

For details on downloading and installing the Roland original driver, refer to the Roland website: http://www.roland.com/

Specify the USB driver you want to use, and then install the driver. For details, refer to “USB Driver” on p. 57.

■ Caution

•To avoid the risk of malfunction and/or damage to external speakers, always turn the volume all the way down and switch off the power on all devices before you make any connections.

• Only MIDI data can be transmitted and received via USB. Audio data for a song recorded on the JM-5 cannot be transmitted or received.

• Switch on the power to the JM-5 before you start up the MIDI application on your computer. Never turn the JM-5’s power on/off while your MIDI application is running.

Connecting the JM-5 to your computer

If you use a USB cable (commercially available) to connect the COMPUTER port located on the JM-5’s rear panel to the USB port of your computer, you’ll be able to do the following things.

•Use the JM-5 to play SMF music files played back by MIDI-compatible software.

• By transferring MIDI data between the JM-5 and your sequencer software, you’ll be able to enjoy a wide range of possibilities for music production and editing.

1.

Use a standard USB cable (A‰B-type connectors, commercially available) to connect the JM-5 to your computer as shown below.

USB port

Computer

2.

Refer to the Roland website for system requirements. Roland website: http://www.roland.com/

USB cable

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VIMA JM-5

Other useful operations

15. Other useful operations

Factory Reset

The following function allows you to recall the JM-5’s original factory settings. This has no effect on the data stored on a USB storage device.

1.

Press the [MENU] button.

MENU

The display changes to:

Formatting a USB memory

This function allows you to format the connected USB storage device.

USB storage devices using the FAT-32 file system may not need to be formatted. We nevertheless recommend formatting all new USB storage devices with the JM-5.

IMPORTANT NOTE: Formatting a USB storage device means that all files (songs, pictures, etc.) it contains are lost. Always check the contents of the storage device before deciding to format it.

1.

Connect the a USB storage device you want to format to the external memory port on the JM-5’s front panel.

2.

Press the [MENU] button.

MENU

2.

Rotate the [CURSOR÷VALUE] dial to select the “Factory Reset” entry, then press the [CURSOR÷VALUE] dial.

3.

Rotate the [CURSOR÷VALUE] dial to select “YES”, then press the dial to load the factory settings.

Select “NO” to return to the previous page. A confirmation message informs you that the JM-5

has been initialized.

The display changes to:

3.

Rotate the [CURSOR÷VALUE] dial to select the “Format USB Device” entry, then press the [CURSOR÷VALUE] dial.

4.

Rotate the [CURSOR÷VALUE] dial to select “YES”, then press the dial to format the USB storage device.

A confirmation message informs you that the USB storage device has been formatted.

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■ The following folders are created on the USB storage device

Name Value

My Playlists This folder contains all playlists you

create on the JM-5. (They are not stored internally.)

My Recordings This folder is used to store your audio

recordings (see p. 30).

My Songs You can (but you don’t have to) use

this folder to stored all songs you edit with the “SMF Makeup Tools” (see p. 47) or “SMF Cover” (see p. 43) functions.

NOTE

We recommend copying the contents of your USB storage device to your computer before formatting it.

VIMA JM-5

Formatting a USB memory

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VIMA JM-5

V-LINK function

16. V-LINK function

The JM-5 has a powerful new interface for realtime audio-and-video integration. V-LINK ( ) is a function that allows music and images to be performed together. When V-Link compatible devices are connected via MIDI, you’ll be able to easily enjoy a variety of visual effects that are linked to the expressive elements of your performance.

For example, if you use the JM-5 with the EDIROL P-10, you’ll be able to use the various controls on the JM-5’s front panel to switch and control images on the EDIROL P-10.

In order to enjoy V-LINK with the JM-5 and the EDIROL P-10, you’ll need to make connections using a MIDI cable (sold separately).

MIDI IN/OUT

MIDI IN

Image output

Edirol P-10 Visual

Projector

NOTE

To prevent malfunction and speaker damage, you must minimize the volume on all equipment and turn off their power before you make any connections.

Sampler

Operation V-LINK

Press [º] Switch images

(Clip 4)

Press [‰] Switch images

(Clip 5)

Press [REC] Switch images

(Clip 6)

Press [KEY] Switch images

(Clip 7)

Press [TEMPO] Switch images

(Clip 8)

Press [PLAYLIST] ‰ [CURSOR÷VALUE] dial

Press [NEXT] ‰ [CURSOR÷VALUE]

Press [FINDER] ‰ [CURSOR÷VALUE] dial

NOTE

See the owner’s manual of the P-10 for the effects produced with these commands.

Control the image Image Bank Select (Bank 1~13)

Control the image Color Cr Control (0~127)

Control the image Playback Speed (0~

127)

MIDI message

CF 03

CF 04

CF 05

CF 06

CF 07

BF 00 00~13

BF 47 00~7F

EF 00 00~00 40~7F 7F –8192~0~ 8191

Turning V-LINK on/off

1.

Set the “MIDI Direction” parameter to “OUT” (see p. 58).

2.

Press the [MENU] button.

3.

Rotate the [CURSOR÷VALUE] dial to select “V-LINK”.

4.

Press the dial to open the “V-LINK” page.

5.

Use the following controls on the JM-5’s front panel to control the Edirol P-10.

Operation V-LINK

Press [ª] Switch images

Press [®÷π] Switch images

Press [MELODY MUTE]

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(Clip 1)

(Clip 2)

Switch images (Clip 3)

MIDI message

CF 00

CF 01

CF 02

VIMA JM-5

17. Troubleshooting

Symptom Action Page

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Troubleshooting

Power does not turn on. Is the included AC adaptor/power cord correctly connected to an

AC outlet and to the JM-5? Do not use any AC adaptor or power cord other than the ones included. Doing so will cause malfunctions.

No sound from the JM-5. Did you connect the JM-5 to an external amplifier or mixing con-

sole? And did you switch it on?

Could the [MASTER VOL] knob be turned down? Select a higher setting.

If you don’t hear the song whose playback you started, did you set the [BACKING] knob to the minimum value? Select a higher setting.

If the microphone connected to the [MIC1] or [MIC2] socket doesn’t work, set the [MIC1] or [MIC 2] knob on the front panel to an appropriate value (not fully left).

If you are using a condenser microphone connected to the [MIC1] socket, you probably forgot to activate the phantom power parameter. Note: You can’t connect a condenser microphone to the [MIC2] socket.

If the audio source you connected to the INPUT (STEREO) socket is inaudible, you may have set “Audio In Level” to “0”.

The volume level of the instrument is too low when it is connected to an amplifier.

Could you be using a connection cable that contains a resistor? Use a connection cable that doesn’t contain a resistor.

14

—

22

27

57

—

Can’t hear the song that is playing. Did you set the [BACKING] knob to the minimum value? Select a

higher setting.

Can’t hear the vocal of an audio file (mp3 or WAV).

Can’t hear the melody of SMF files.

A “buzz” is heard from the external amplifier Is the external amplifier or other device used with the JM-5 con-

Your voice sounds strange Does the [VOCAL EFFECT] button light? Switch it off. —

The pitch of the selected song is incorrect. Is the “Tuning” setting appropriate?

Can’t play an audio/mp3-format song Is the song in a format that the JM-5 is able to read? 21

No sound when a MIDI device is connected to JM-5

If the [MELODY MUTE] button is lit, the vocal sound will be attenuated. If the [MELODY MUTE] button is lit, the melody of the MIDI files will be muted. Switch it off.

nected to a different AC power outlet? Connect the amplifier or other device to the same AC outlet as the JM-5.

Did you transpose the song?

Are all devices powered on? Did you connect a MIDI cable and set the “MIDI Direction” correctly? Did you select the correct MIDI channel?

Is the “Rx” parameter active? If not, switch it on. 64

Did you set the [BACKING] knob to the minimum value? Select a higher setting.

28

56 57

58

64

—

Unable to read from/write to USB memory Are you using an (optional) Roland USB Flash memory (M-UF

series)? Reliable performance cannot be guaranteed if you use non-Roland USB memory products.

—

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VIMA JM-5

Troubleshooting

Symptom Action Page

The JM-5 displays no song list. The song list will not appear when you press [USB MEMORY] after

connecting a USB storage device that doesn’t contain any songs.

The external screen remains dark Did you connect it to the VIDEO OUTPUT socket? 15

Did you switch on your TV or external screen—and did you select the correct channel? See the TV’s or screen’s owners manual for how to select the channel that corresponds to the video input to which the JM-5 is connected.

Are you using a supported TV or monitor screen? —

Thin horizontal lines flicker in the television screen Thin horizontal lines may flicker on the television screen, but this

is due to the television itself, and is not a malfunction of the JM-5.

Can’t see the edge of the image on the television screen

The slide show pictures look funny Did you select the aspect ratio that matches the size of your

My photos/slide shows are displayed with the first words of a song I played back a while ago

Lyric display is wrong For some types of music files, the lyrics may sometimes be dis-

In some cases, the edge of the image may not be visible on the television screen, but this is due to the characteristics of the television and is not a malfunction on the JM-5.

56

external TV or monitor screen?

Did you select the correct television format? Check the format required by your external TV set and select the appropriate setting on the JM-5.

You probably set the “External Lyrics” to “On”. Set it to “Off”. 55

played incorrectly. Some words may be incorrectly shown outside the screen display area.

56

—

The external screen no longer displays the lyrics of the SMF and mp3 songs I play back

You probably set the “External Lyrics” to “Off”. Set it back to “On”. 55

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18. Specifications

Display type

Display 132 x 64 pixels, graphic monochrome LCD (backlit)

Sound Source

Max Polyphony 128 voices (GM2/GS/XG Lite compatible)

Sounds 1,092 tones

57 Drum Sets

Multitimbral parts 16 Song Parts + 3 External Tone Parts

Master Tuning 415.3~466.2Hz

Key Control (Transpose) –6~+5 in semitones (for audio/MIDI data & AUDIO INPUT signals)

Tempo change 20~250BPM for SMF

75%~125% for mp3 and WAV files

Part mute functions MELODY MUTE: SMF

CENTER CANCEL: mp3, WAV, AUDIO IN signals

VIMA JM-5

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Speciﬁcations

Effects

SMF song section Reverb: 8 types

Chorus: 8 types MFX A, B, C: 84 types Parametric EQ Multi-band compressor

MIC1 & MIC2 Ambience: 3 reverb types

Space Echo

Vocal effects (MIC1) Auto Harmony: 4 types

Transformer: 9 types Music files, Keyboard

Songs

Real-time player SMF (Format 0/1), KAR, mp3, WAV, mp3+CDG

Song chord extractor Automatic chord detection for SMF files

SMF Makeup Tools Instrument-oriented editing

Playlist Lists of favorite songs for automatic playback

Finder Audio files, SMF, JPEG

Next Audio files, SMF,

SMF Cover 30 types

Demo

Demo songs plus slide show Yes

Recording

Media USB Flash memory

Save format Audio files: WAV (44.1kHz, 16-bit linear)

Video

Slide Shows Picture folder linked to songs (recommended resolution: 512 x 384 or 1024 x 768 pixels)

VIMA TUNES Yes

Lyrics SMF and mp3/WAV

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VIMA JM-5

Speciﬁcations

Panel Controls

Knobs MASTER VOL, BACKING, MIC1, MIC2, AMBIENCE

Rotary encoder Data dial with push switching function

Connectors

Phones 1x 1/8” jack (stereo)

Audio inputs INPUT (STEREO) (1/8” mini jack)

1x MIC 1 (XLR with switchable phantom power or 1/4”) 1x MIC2 (XLR or 1/4”)

USB ports 1x USB Host (data storage devices)

1x COMPUTER (reception and transmission of MIDI data)

MIDI IN/OUT socket MIDI IN/OUT (V-LINK function)

Video output 1x composite (PAL or NTSC, selectable)

Audio outputs OUTPUT R, L/MONO (1/4” phone sockets)

General specifications

Power supply 9V, DC adaptor, supplied PSB-1U adaptor

Power consumption 700mA

Dimensions 273 (W) x 230 (D) x 90 (H) mm

10-3/4 (W) x 9-1/16 (D) x 3-3/16 (H) inches

Weight 1.6kg, 3 lbs 9 oz (excluding AC adaptor)

Supplied Accessories

Roland M-UF2G USB memory, Owner’s Manual, AC adaptor, 4 screws (M5x8)

Options

Microphone Roland DR-series

Headphone Roland RH-series

USB USB flash memory (M-UF-series)

Amplifiers KC-series

Stand SS-PC1, PDS-10

Note: In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior notice.

Photographers and illustrators whose images are used in this product: Atelier Vision, Kenji Senda, Hiroshi Honda, Minoru Todani, Norio Matsushika, Masakazu Watanabe, Toshio Kimura, Masaru Kudo, Y.S.Shaw, Mark Tsuruta, Alberto Kniepkamp, Carl Heino, masayan, Tomoyuki Ejiri, Photo by © Koichi Shirahara, Photo by © Jiro.Morimoto, Photo by © Tomo Yun http://www.yunphoto.net/, Yoshihiko-HOSOI, Takashi Suyama, Four seasons, m-style http://m-style.ouchi.to/, Mana http://ibf.visithp.jp/Vine/, Eiji Kikuchi, Hideyuki Masaki, Hajime Nara, Photo Library MYOJYO, PURE MUSIC OFFICE

Note: Images included with this product may not be transferred or sold. Note: These images may not be printed, recorded, placed on the Internet, or used as screen savers, even for personal use.

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VIMA JM-5

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Shortcut list

19. Shortcut list

Pressing and holding the following buttons allows you to directly jump to a related parameter page, which is faster than selecting the page in question via the JM-5’s menu

Press and hold Selected display page

[SPACE ECHO] “Space Echo” page

[VOCAL EFFECT] “Vocal Effect” page

[MELODY MUTE/CENTER CANCEL] “Melody Mute” page

Pressing and holding the following buttons recalls the default settings of the associated parameters:

Press and hold Parameter

[TEMPO] Tempo of the currently selected song

[KEY] “Key” value (page 29)

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VIMA JM-5

Song list

20. Song list

Number Title Information

1 AMAZING GRACE (Performed by Massimiliano Coclite)

2 AULD LANG SYNE (Performed by Roberto Lanciotti)

3 AURA LEE (Performed by Roberto Lanciotti)

4 DID YOU EVER SEE A LESSIE (Performed by Roberto Lanciotti)

5 GO TELL IT ON THE MOUNTAIN (Performed by Roberto Lanciotti)

6 GREENSLEAVES (Performed by Roberto Lanciotti)

7 GUANTANAMERA (Performed by Roberto Lanciotti)

8 HAPPY BIRTHDAY (Performed by Roberto Lanciotti)

9 HOUSE OF THE RISING SUN (Performed by Roberto Lanciotti)

10 I’VE BEEN WORKING ON THE RAILROAD (Performed by Roberto Lanciotti)

11 LA BAMBA (Performed by Roberto Lanciotti)

12 LONDON BRIDGE IS FALLIN DOWN (Performed by Roberto Lanciotti)

13 MICHAEL ROW YOUR BOAT ASHORE (Performed by Roberto Lanciotti)

14 MY BONNIE (Performed by Roberto Lanciotti)

15 O CHRISTMAS TREE (Performed by Roberto Lanciotti)

16 OH SUSANNA (Performed by Roberto Lanciotti)

17 SCARBOROUGH FAIR (Performed by Roberto Lanciotti)

18 SILENT NIGHT (Performed by Roberto Lanciotti)

19 SWING LOW SWEET CHARIOT (Performed by Roberto Lanciotti)

20 THE CHERRY TREE CAROL (Performed by Roberto Lanciotti)

21 THE FARMER IN THE DELL (Performed by Roberto Lanciotti)

22 THE MUFFIN MAN (Performed by Roberto Lanciotti)

23 TWINKLE TWINKLE LITTLE STAR (Performed by Roberto Lanciotti)

24 WHEN THE SAINTS GO MARCHING IN (Performed by Roberto Lanciotti)

25 WHITE CHRISTMAS (Performed by Roberto Lanciotti)

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VIMA JM-5

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MIDI Implementation Chart

21. MIDI Implementation Chart

[VIMA] Date: January 2011 Model: JM-5 Version: 1.00

Function... Transmitted Recognized Remarks

Basic Channel

Mode

Note Number True Voice

Vel ocity

After Touch

Pitch Bend O *1 O *1

Control Change

Program Change True #

System Exclusive O *1 O *1

System Common

System Real Time

Aux Messages

Notes

Mode 1: OMNI ON, POLY Mode 3: OMNI OFF, POLY

Default Changed

Default Message Altered

Note ON Note OFF

Key’s Ch’s

100, 101

Song Position Pointer Song Sel Tune

Clock Commands

All Sounds Off Reset All Controllers Local On/Off All Notes Off Active Sensing Reset

1~16 1~16, Off

Mode 3 Mode 3, 4 (M=1) *****

0~127 *****

O*1 X

O O

0,32

O*1

1

O*1

5

O

6, 38

O

7

O*1

10

O*1

11

O*1

64

O*1

65

O

66

O*1

67

O*1

69

O

71

O

72

O

73

O

74

O

75

O

76

O

77

O

78

O

84

O

91

O*1

93

O*1

98, 99

O*1 O*1

O*1 *****

O*1 X X

O*1 O*1

X X X X O X

*1 O X is selectable *2 Recognized as M= 1 even if M≠ 1

Mode 2: OMNI ON, MONO Mode 4: OMNI OFF, MONO

1~16 1~16, Off

Mode 3 Mode 3, 4 (M=1) *2

0~127 0~127

O*1 X

O*1 O*1

O *1 O*1 O O*1 O*1 O*1 O*1 O*1 O*1 O*1 O*1 O O O O O O O O O O O (Reverb) *1 O (Chorus) *1 O*1 O*1

O*1 0~127

O X X

O*1 O*1

O (120, 126, 127) O (121) O (only for song parts) O (123-125) O X

16 parts (SMF songs) 3 parts (External In)

Bank Select Modulation Portamento Time Data Entry Vol um e Panpot Expression Hold 1 Portamento Sostenuto Soft Hold 2 Resonance Realease Time Attack Time Cutoff Decay Time Vibrato Rate Vibrato Depth Vibrato Delay Portamento Control Effect 1 Depth Effect 3 Depth NRPN LSB, MSB RPN LSB, MSB

Program Number 1~128

O: Yes X: No

79

VIMA JM-5

Tone List

22. Tone List

Piano

NaturalPiano 0 4 1 SuperiorPian 47 4 1 ClassicPiano 0 4 2 UprightPiano 1 4 1 Brite Piano 1 4 2 Piano+String 24 4 1 Piano+Choir 26 4 1 StackedPiano 47 4 3 Honky-tonk 1 0 4 4 RD Piano 1 0 4 3 Rock Piano 2 4 2 Dance Piano 80 4 2 Mild Piano 2 4 1 MonoAcPiano 45 4 1 European Pf 16 4 1 RD Piano 1 w 8 4 3 Honky-tonk 2 8 4 4

EP - Keyboard

Vintage EP1 81 4 5 Pro Stage 47 4 5 Phase EP 44 4 5 Vintage EP2 82 4 5 Stage 80 4 5 FM EPiano1 80 4 6 FM EPiano2 81 4 6 Wurly 24 4 5 Clav. 1 1 4 8 Harpsichord1 2 4 7 Tremolo EP 46 4 5 MIDI EPiano1 1 4 3 MIDI EPiano2 2 4 3 FM+SA EP 16 4 5 St.FM EP 16 4 6 EP Legend 10 4 6 EP Phase 32 4 6 Dist E.Piano 17 4 5 Phase Clav 17 4 8 JP8000 Clav. 38 4 8 St.Soft EP 8 4 5 E.Piano 1 0 4 5 E.Piano 2 0 4 6 Hard FM EP 24 4 6 Cho. E.Piano 9 4 5 EP Heaven 44 4 89 Reso Clav. 16 4 8 Coupled Hps. 8 4 7 Clav. 2 0 4 8 Analog Clav. 32 4 8 Harpsichord2 24 4 7 Harpsi.w 0 4 7

Chr Perc

Vibraphone 0 4 12 Marimba w 0 4 13 Glockenspiel 0 4 10 Celesta 0 4 9 Pop Celesta 1 4 9 Music Box 1 0 4 11 Carillon 9 4 15 Pop Vibe. 1 4 12 Tubular-bell 0 4 15 Vibraphone w 8 4 12 Music Box 2 1 4 11 Xylophone w 0 4 14 Church Bell 8 4 15 Balafon 17 4 13

CC00 CC32 PC

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Organ

B3 Sermon 89 4 18 Blues Perc 80 4 18 All Skate! 82 4 18 R&B B3 83 4 18 HeavyTrafﬁc 81 4 19 Organ 3 0 4 19 Stevie's B3 82 4 17 Church Org.1 0 4 20 Organ Flute 24 4 20 Theater Org. 33 4 20 Dyno Rotary 82 4 19 Hang Twice 85 4 18 Felix Ballad 84 4 18 XV Organ 80 4 19 B3 Has Come 88 4 18 Org Jazz1 /9 83 4 19 Church Org.2 8 4 20 Reed Organ 0 4 21 Head Up B3 80 4 17 Organ 1 0 4 17 Ful Organ 1 2 4 17 60's Organ 16 4 17 Jazz Organ 1 1 4 18 Perc.Organ 1 32 4 18 Rock Organ 17 4 19 Rotary Org.S 16 4 19 Rotary Org.F 24 4 19 Church Org.3 16 4 20 Rotary Organ 8 4 19 L-Organ 47 4 19 Organ 2 0 4 18 Ful Organ 2 3 4 17 Jazz Organ 2 3 4 18 Perc.Organ 2 33 4 18 Chorus Or 8 4 18 Mellow 1 83 4 17 Cheese Organ 24 4 17 JazzOrgan RD 81 4 18 Ful Organ 3 4 4 17 Jazz Organ 3 4 4 18 Perc.Organ 3 34 4 18 Fire Perc 86 4 18 Organ 101 1 4 17 Br.Ballad B3 81 4 17 JX8 Organ 30 4 17 D-50 Organ 25 4 17 VS Organ 28 4 17 Trem. Organ 8 4 17 E.Organ 16+2 2 4 18 Organ Bass 40 4 17 Ful Organ 4 10 4 17 Jazz Organ 4 5 4 18 Puff Organ 16 4 21 Hybrid Organ 27 4 17 Full Perc 87 4 18 70's E.Organ 32 4 17 Farf Organ 19 4 17 Orient.Org.1 116 4 17 Orient.Org.2 116 4 21

Accordion

Acc. Master 50 4 22 Acc. Classic 51 4 22 Italian Folk 52 4 22 Fr. Musette 53 4 22 Steierische 54 4 22 Bandoneon 1 8 4 24 Bandoneon 2 0 4 24 Bandoneon 3 52 4 24 Mellow Harm 0 4 23 Hand Harm. 51 4 23

CC00 CC32 PC

Accordion It 8 4 22 Accordion Fr 0 4 22 B.Harp Basic 8 4 23 B.Harp Suppl 9 4 23 Soft Accord 25 4 22 Accordion 1 64 4 22 Accordion 2 16 4 22 JV.Accordion 69 4 22 OrientalAcc1 65 4 22 OrientalAcc2 66 4 22 OrientalAcc3 67 4 22 OrientalAcc4 68 4 22

A.Guitar

Nylon Gt.1 64 4 25 Nylon-str.Gt 0 4 25 Steel.Gt2 64 4 26 Steel.Gt4 69 4 26 Ac.Guitar1 48 4 26 2_Guitars 66 4 26 12 Strings 8 4 26 Nylon+Steel2 67 4 26 MandolinTrem 18 4 26 Banjo 0 4 106 Nylon Gt.2 32 4 25 Nylon+Steel1 9 4 26 Steel.Gt5 70 4 26 Ac.Guitar2 49 4 26 Steel.Gt1 52 4 26 Steel.Gt3 65 4 26 12Stringsoft 7 4 26 Requint Gt.2 52 4 25 Mandolin Tr. 18 2 26 Muted Banjo 1 4 106 Nylon Gt.o 16 4 25 Ac.Gtr.Hrm 51 4 26 Steel + Body 33 4 26 Atmosphere 0 4 100 HollowReleas 4 4 100 Nylon Harp 2 4 100 Steel.Gt6 32 4 26 Ac.Guitar3 50 4 26 Mandolin 16 4 26 Fl.Gtr 1 48 4 25 Fl.Gtr 2 49 4 25 Fl.GtrRoll 51 4 25 Steel-str.Gt 0 4 26 Requint Gt.1 40 4 25 Nylon+Steel3 68 4 26 Ukulele 8 4 25 Velo Harmnix 24 4 25 Gt.FretNoise 0 4 121 Atk Steel Gt 10 4 26

E.Guitar - Bass

Clean Solid 69 4 28 Warm Drive 65 4 30 Distortion 64 4 31 Clean Mute 67 4 29 Jazz Guitar1 62 4 27 Ulti Ac Bass 0 4 33 Picked Bass1 0 4 35 Fingered Bs1 0 4 34 Nu Slap Bs 0 4 37 RubberBass 2 16 4 40 Clean Elect. 64 4 28 Clean El Oct 65 4 28 Dynamic Mute 66 4 28 JC ChrusGt 9 4 28 Jazz Guitar2 80 4 27 XV Ac.Bass 9 4 33 Fretless Bs1 0 4 36 Mute Bass 84 4 33

CC00 CC32 PC

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VIMA JM-5

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Tone List

Finger Slap 1 4 34 Slap Pop 1 4 37 Overdrive3 64 4 30 Distort Gt1 3 4 31 Dist. Mute 64 4 29 Muted Over 68 4 29 PedalSteel 8 4 27 5String Bs 83 4 33 Picked Bass2 1 4 35 Slap Bass 1 0 4 38 XV Bass+Ride 16 4 33 Drum'n'Bass 82 4 39 Distort Gt2 1 4 31 LP OverDrv 9 4 30 RockRhythm2 25 4 31 Muted Gt. 2 65 4 29 Jazz Gt. 0 4 27 Picked Bass3 2 4 35 Slap Bass 2 1 4 38 Jazz Bass 1 2 4 34 Synth Bass 2 0 4 40 Picked Bass4 3 4 35 RockRhythm1 24 4 31 Muted Gt. 3 66 4 29 TC MutedGt 2 4 29 TC Clean 19 4 28 JGuitar Scat 81 4 27 Reso Slap 8 4 37 Bass Invader 80 4 40 Jazz Bass 2 3 4 34 Rock Bass 4 4 34 Fretless Bs2 1 4 36 Power Gt.2 65 4 31 Power Gt.3 66 4 31 Distort Gt3 0 4 31 Dist Rtm GTR 26 4 31 Muted Gt. 1 0 4 29 TB Saw Bass 81 4 39 MG Bass 4 4 40 Modular Bass 2 4 40 Seq Bass 1 3 4 40 SynthBass201 1 4 40 LP HalfDrv2 11 4 30 Mid Tone GTR 23 4 28 Clean Gt. 0 4 28 JC CleanGt 4 4 28 Mellow Gt. 1 4 27 RubberBass 1 13 4 40 u/i/e/o V/Sw 84 4 40 VocoBass 83 4 40 Heart Bass 5 4 34 Raver Bass 1 81 4 40 LP RearAtk 22 4 28 Clean Half 1 4 28 OpenHard 1 2 4 28 OpenHard 2 3 4 28 TC RearPk 17 4 28 Guitaron 48 4 33 Raver Bass 2 82 4 40 MG Blip Bs 7 4 40 SH101 Bass 1 17 4 40 JP-8 Bass 4 4 39 Chorus Gt 8 4 28 TC Cln ff 18 4 28 AtkCleanGt 5 4 28 Funk Pop 8 4 29 LP Rear 21 4 28 Chung Ruan 24 4 28 WireStr Bass 11 4 40 MG Oct Bass2 6 4 40 SH101 Bass 2 18 4 40 Smooth Bass 19 4 40 Overdrv Gt 0 4 30 Overdrive1 1 4 30 Overdrive2 2 4 30 More Drive 3 4 30

Dist.Fast 4 4 31 AcBass 1 45 4 33 AcBass 2 46 4 33 AcBass 3 47 4 33 SH101 Bass 3 20 4 40 RND Bass 26 4 40 Dazed Gtr 2 4 31 Attack Dist 5 4 31 LP Rear Pk 20 4 28 LP HalfDrv 10 4 30 LP Chorus 12 4 30 Rockabilly 1 4 33 AcousticBs 49 4 33 Bubble Bass 28 4 40 Sync Bass 1 24 4 40 Spike Bass 21 4 40 Power Gt.1 16 4 31 TCFrntPick 16 4 28 Funk Gt. 16 4 29 Dance Dst.Gt 11 4 85 Pulse Mix Bs 31 4 40 Seq Bass 2 33 4 40 3rd Bass 34 4 40 MG Oct Bass1 35 4 40 Mild Bass 37 4 40 Gt.Feedback2 9 4 32 Gt.Feedback1 8 4 31 Gt.Harmonics 0 4 32 Ac.Gt.Harmnx 16 4 32 Gt.Cut Noise 1 4 121 MG LightBass 39 4 40 DistSynBass 40 4 40 DistEnvBass 38 4 40 LightSynBass 45 4 40 PopSynthBass 46 4 40 Pick Scrape 6 4 121 Sync Bass 2 30 4 40 SH101 Bass 4 47 4 40 TeeBee V/Sw 44 4 39 Odd Bass 15 4 40 303Sqr.Rev 43 4 39 X Wire Bass 10 4 40 Bassic Needs 83 4 39 Fretless Bs3 2 4 36 Beef FM Bass 8 4 40 Muted PickBs 8 4 35 Wood+FlessBs 8 4 36 Fretless Bs4 3 4 36 Double Pick 4 4 35 Mr.Smooth 5 4 36 String Slap 2 4 121 E.Bass Harm. 24 4 32 SynthBass101 1 4 39 Synth Bass 1 0 4 39 JP-4 Bass 3 4 39 CS Bass 2 4 39 Tekno Bass 10 4 39 Reso SH Bass 16 4 39 Rubber303 Bs 14 4 39 TB303 Bass 9 4 39 TB303 DistBs 18 4 39 TB303 Sqr Bs 17 4 39 Clavi Bass 19 4 39 Jungle Bass 21 4 39 Square Bass 22 4 39 Wild Ac.Bs 8 4 33 Baby Bass 48 4 34 AttackFinger 6 4 34 Arpeggio Bs 24 4 39 AtkSineBass 34 4 39 OB sine Bass 35 4 39 303SqDistBs 41 4 39 Echo SynBass 7 4 103 Bass Slide1 5 4 121 Bass Slide2 47 4 121 DoubleSlide 48 4 121

Strings

St.Strings 1 16 4 49 St.Slow Str1 10 4 50 JP8 Strings1 81 4 51 Warm Strings 9 4 50 Bright Str.3 5 4 49 Orchestra 1 9 4 49 X Violin 80 4 41 Harp 0 4 47 St.Pizzicato 3 4 46 OrchestraHit 0 4 56 SlowStrings1 0 4 50 Strings 0 4 49 Syn.Strings1 0 4 51 Syn.Strings2 0 4 52 Contrabass 0 4 44 Folk Violin 116 4 41 Viola 0 4 42 Timpani 0 4 48 St.Strings 2 17 4 49 Oct Strings1 32 4 49 St.Slow Str2 11 4 50 SlowStrings2 1 4 50 Syn.Strings5 10 4 51 ChamberStr 2 4 49 Str.+Flute 13 4 49 Strings+Horn 12 4 49 FolkViolinVb 116 4 40 St.Strings 3 18 4 49 SlowStrings3 2 4 50 JP8 Strings2 80 4 51 Air Strings 8 4 52 Orchestra 2 8 4 49 Slow Violin 8 4 41 Slow Tremolo 8 4 45 Cello 0 4 43 ContraBsSect 34 4 49 Cello sect. 3 4 49 Syn.Strings4 9 4 51 StraightStr. 10 4 52 JP Saw Str. 4 4 52 Orchestra 3 20 4 49 Violin Atk 0 4 41 Trem Str.St. 0 4 45 PizzicatoStr 0 4 46 Tremolo Orch 10 4 49 Oct Strings2 33 4 49 FilteredOrch 3 4 52 S.Str+Choir 12 4 50 JP Strings 3 4 51 OB Strings 1 4 51 Bright Str.2 4 4 49 Syn.Strings3 8 4 51 Bright Str.1 1 4 49 Harp&Strings 1 4 47 SuspenseStr 9 4 45 Legato Str. 8 4 50 Velo Strings 24 4 49 Viola Attack 1 4 42 Cello Attack 1 4 43 Strings Oct 116 4 11 Vcs&Cbs Pizz 1 4 46 Solo Pizz. 8 4 46 Solo Spic. 16 4 46 StringsSpic. 17 4 46 Harp St. 2 4 47 Uillean Harp 8 4 47 Synth Harp 16 4 47 Choir Str. 11 4 49 Mild Strings 7 4 49 60s Strings 40 4 49 High Strings 16 4 51 Tron Strings 24 4 51 Noiz Strings 25 4 51 JUNO Strings 2 4 52 DistStrings 6 4 52

CC00 CC32 PC

81

VIMA JM-5

Tone List

Vocal

Warm Voices 82 4 95 Syn Vox Pad 0 4 55 Fem Mm Srt 82 4 54 Rich Choir 2 81 4 53 St.ChoirAahs 8 4 53 Vox Pad 83 4 95 Real Choir 80 4 53 Jazz Scat 6 4 54 Choir Aahs 0 4 53 Melted Chr 33 4 53 ChorusLahs 24 4 53 ChorusAahs 32 4 53 Harpvox 3 4 100 Voice Oohs 48 4 54 Choir Hahs 16 4 53 LFO Vox 9 4 86 St.BoysChoir 13 4 53 VoiceAah Mal 36 4 54 Itopia 3 4 92 Humming 40 4 54 Silent Night 9 4 55 Melted Choir 9 4 53 Holy Voices 12 4 92 Solo Vox 0 4 86 JzVoiceBap 10 4 54 JzVoiceDow 11 4 54 Voice Dahs 8 4 54 JzVox Thum 12 4 54 JzVoiceDat 9 4 54 Vox Sweep 2 4 95 SynVox 1 4 55 SC Heaven 2 4 92 JX8P Vox 18 4 55 Syn.Voice 1 8 4 55 Syn.Voice 2 10 4 55 Tears Voices 12 4 95 VP330 Choir 16 4 55 Chorus Oohs2 3 4 54 Space Voice 0 4 92 Heaven II 1 4 92 Water Space 4 4 92 Cosmic Voice 8 4 92 Vocorderman 11 4 92 Horror Pad 8 4 95 Breath&Rise 11 4 95 Rich Choir 1 14 4 53 Chorus Oohs1 0 4 54 VoiceLah Fem 16 4 54 ChorusLahFem 17 4 54 ChorusLuhFem 19 4 54 VoiceUuh Fem 23 4 54 Fem Lah&Lan 24 4 54

Brass

Ac.Brass 80 4 62 Brass Sforz. 81 4 62 2Tps+Tb 43 4 62 Henry IV 47 4 64 Tuba 1 0 4 59 French Horns 0 4 61 Jump Brass 5 4 63 Africa Brass 80 4 64 St.Orch Brs1 36 4 62 Octave Brass 24 4 62 FatPop Brass 14 4 62 Trombone 1 0 4 58 Tuba 2 1 4 59 Tuba + Horn 8 4 59 Warm Brass 2 4 64 MG Brass fst 81 4 64 MKS Brass 4 4 63 St. Brass ff 3 4 62 Horn + Orche 2 4 61 Tuba 3 47 4 59 Fr.Horn 1 4 61 Trombone 2 1 4 58

CC00 CC32 PC

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JUNO Brass 1 4 63 Fat SynBrass 5 4 64 Poly Brass 80 4 63 PowerBrass 47 4 62 Bright Tb 4 4 58 V Twin bones 2 4 58 Polka Tuba 46 4 59 Bs.Trombone 8 4 58 Synth Brass 0 4 63 Dual Horns 9 4 61 Pro Brass 8 4 63 Orch Brass 33 4 62 St.Orch Brs2 38 4 62 Brass + Reed 25 4 62 Folk Tuba 45 4 59 P5 Brass 0 4 64 Brass 1 0 4 62 2Tps+Tb+Sax 44 4 62 Brass 2 8 4 62 Brass 3 9 4 62 Fat + Reed 26 4 62 F. Horn Rip 24 4 61 Brass sfz 1 10 4 62 OB Brass 9 4 64 Sync Brass 4 4 64 Oct SynBrass 16 4 63 Euphonium 16 4 58 Bones Sect. 2 4 62 Quad Brass2 5 4 62 SH-5 Brass 3 4 63 Brass sfz 2 12 4 62 Brass Fall 16 4 62 Brass Oct 116 4 42 Wide FreHrns 3 4 61 F. Hrn Slow 8 4 61 Velo Brass 1 16 4 64 SoaringHorns 46 4 64 Quad Brass1 4 4 62 DeepSynBrass 6 4 64

Sax - Trumpet

Tenor Sax 0 4 67 Baritone Sax 0 4 68 Bari & Tenor 8 4 68 MuteTrumpet1 0 4 60 FlugelHorn 8 4 57 Trumpet 0 4 57 BlowAltoVib 50 4 66 AltoSax Soft 46 4 66 Muted Tp 1 48 4 60 Romantc Tp 49 4 57 Trumpet2 48 4 57 Rom/Mar Tp 51 4 57 FolkTrumpVb 18 2 57 Soprano Exp. 8 4 65 Blowed Tenor 46 4 67 St.Tenor Sax 9 4 67 MariachiTp 50 4 57 Bright Tp. 24 4 57 Grow Sax 9 4 66 Folk A.Sax 17 2 66 Soprano Sax2 0 4 65 Folk A.SaxVb 18 2 66 Latin Tenor 44 4 67 Muted Tp 2 49 4 60 Tp Mar/Shk 52 4 57 Trumpet & Nz 4 4 57 MuteTrumpet2 2 4 60 TrumpetFall2 17 4 62 Super Tenor 47 4 67 Oriental SAX 116 4 66 AltoSax Exp. 8 4 66 TenorSaxFst 50 4 67 BreathyTn. 8 4 67 Warm Tp.1 25 4 57 Dark Trumpet 3 4 57 Tp Shake 53 4 57

CC00 CC32 PC

Atk Trumpet 47 4 57 FolkTrumpet 1 4 57 FolkAlto 51 4 66 Tenor Sax 1 45 4 67 Sax Section 17 4 66 AltoSax + Tp 16 4 66 Alto Sax 0 4 66 MuteTrumpet3 3 4 60 Muted Horns 8 4 60 Twi n Tp. 27 4 57 Warm Tp.2 26 4 57

Wind

FluteVibAtk 52 4 74 JazzClariVib 50 4 72 FolkClarinet 51 4 72 Oboe 0 4 69 Piccolo 1 0 4 73 Bassoon 0 4 71 BottleBlow1 0 4 77 Whistle 1 0 4 79 Pan Flute1 0 4 76 English Horn 0 4 70 FlTraverso 3 4 74 SoftClarinet 52 4 72 FolkClarinVb 17 2 72 Oboe Exp. 8 4 69 BottleBlow2 47 4 77 Bs Clarinet 8 4 72 Whistle 2 1 4 79 Pan Flute2 47 4 76 Multi Wind 16 4 72 Flute Exp 2 4 74 Clarinet 0 4 72 Folk Clarin 16 2 72 Quad Wind 17 4 72 Recorder 0 4 75 The Bottle 46 4 77 Ocarina 0 4 80 TinWhistle2 46 4 76 Pipe & Reed 9 4 74 Flute 1 0 4 74 Flute 2 1 4 74 Tron Flute 51 4 74

Synth

Big Lead 4 4 82 Unison Saws 46 4 91 OB Saw 26 4 82 LM Square 6 4 81 CC Solo 4 4 81 Poly Saws 83 4 91 80's PolySyn 1 4 91 Super Poly 4 4 91 D-50 Fantasy 43 4 89 Twin Sine 11 4 81 Dual Sqr&Saw 23 4 81 Velo Lead 5 4 82 MG Square 1 4 81 Hollow Mini 2 4 81 Polysynth 1 0 4 91 X-hale 81 4 95 Phenomena 80 4 87 Poly Key 82 4 91 Saw Wave 0 4 82 Unison SawLd 7 4 84 MG SawLead 2 39 4 82 TB Lead 1 4 84 Fat GR Lead 3 4 85 Brightness 0 4 101 Bell Heaven 3 4 89 New Age Pad 2 4 89 Syn.Calliope 0 4 83 OB Stab 2 4 101 Big & Raw 1 4 88 P5 Sync Lead 16 4 85 Acid Guitar 10 4 85 D-50 Fat Saw 11 4 82

CC00 CC32 PC

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VIMA JM-5

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Tone List

Euro-Dance 2 81 4 88 Polysynth 2 2 4 91 LowBirds Pad 8 4 102 D-50 Retour 5 4 101 Fantasia 1 0 4 89 OB DoubleSaw 12 4 82 Rock Lead 18 4 85 Techno Saw 47 4 82 JP DoubleSaw 13 4 82 JP SuperSaw 15 4 82 CS Saw 30 4 82 MG Saw Lead 31 4 82 Ice Rain 0 4 97 Oct Saw Lead 35 4 82 Chiffer Lead 0 4 84 LM Pure Lead 8 4 83 Big Blue 29 4 102 Vibra Bells 8 4 99 JUNO Rave 3 4 88 LA Brass Ld 22 4 85 Big Fives 1 4 87 Goblin 0 4 102 SequenceSaw3 46 4 82 Octave Stack 9 4 91 Euro-Dance 1 80 4 88 Crispy Lead 84 4 88 LM Blow Lead 9 4 83 Xpressive 83 4 88 7th Atmos. 17 4 104 Galaxy Way 18 4 104 Rising OSC. 19 4 104 Noise Peaker 6 4 92 Raver Blade 82 4 88 Etherality 5 4 104 Reso Stack 10 4 91 Techno Stack 11 4 91 TwinOct.Rave 13 4 91 Happy Synth 15 4 91 ForwardSweep 16 4 91 ReverseSweep 17 4 91 Minor Rave 24 4 91 SuperSaws 47 4 91 Bamboo Hit 7 4 92 AuhAuh 10 4 92 Square Wave 0 4 81 Mellow FM 3 4 81 Shmoog 5 4 81 2600 Sine 8 4 81 KG Lead 10 4 81 OB Square 17 4 81 JP-8 Square 18 4 81 Dist Square 19 4 81 303SquarDst1 20 4 81 303SquarDst2 21 4 81 Pulse Lead 24 4 81 JP8 PulseLd1 26 4 81 JP8 PulseLd2 28 4 81 260RingLead 29 4 81 303DistLead 30 4 81 JP8000DistLd 31 4 81 HipHop Sq 33 4 81 Flux Pulse 35 4 81 Pulse Saw 2 4 82 GR-300 Saw 6 4 82 LA Saw 7 4 82 Doctor Solo 8 4 82 Fat Saw Lead 9 4 82 Saw Impulse 5 4 97 Strange Str. 6 4 97 FatSawLead 14 4 82 Waspy Synth 16 4 82 PM Lead 17 4 82 MG Saw 24 4 82 Crystal 0 4 99 Syn Mallet 1 4 99 P5 Saw Lead 33 4 82

Soft Crystal 2 4 99 Round Glock 3 4 99 Loud Glock 4 4 99 Natural Lead 36 4 82 Synchronized 38 4 82 SequenceSaw1 40 4 82 Digi Bells 9 4 99 SequenceSaw2 41 4 82 Reso Saw 42 4 82 Cheese Saw 43 4 82 Blow Bell 12 4 99 Choral Bells 16 4 99 Air Bells 17 4 99 Bell Harp 18 4 99 Gamelimba 19 4 99 Bottom Bell 23 4 99 Warm Atmos 1 4 100 FatSolo Lead 4 4 84 ForcefulLead 5 4 84 Oct.UnisonLd 6 4 84 Mad Lead 8 4 84 Vaporish 80 4 91 CrowdingLead 9 4 84 Space Org X 81 4 87 Double Sqr. 10 4 84 Chord maj7th 82 4 87 PureFlatLead 47 4 84 Short Chord 83 4 87 Charang 0 4 85 Wire Lead 1 4 85 ShortCircuit 80 4 56 FB.Charang 2 4 85 Brass Star 3 4 101 Mellow GR Ld 5 4 85 Org Bell 8 4 101 Goblinson 1 4 102 50's Sci-Fi 2 4 102 Abduction 3 4 102 Fat SyncLead 17 4 85 Auhbient 4 4 102 5th DecaSync 19 4 85 LFO Pad 5 4 102 Random Str 6 4 102 Dirty Sync 20 4 85 DualSyncLead 21 4 85 UFO FX 14 4 102 5th Saw Wave 0 4 87 FallinInsect 18 4 102 LFO Oct.Rave 19 4 102 5th Lead 2 4 87 Just Before 20 4 102 RandomEnding 22 4 102 JP 5th Saw 5 4 87 Random Sine 23 4 102 JP8000 5thFB 6 4 87 Noise&SawHit 25 4 102 Bass & Lead 0 4 88 Fat & Perky 2 4 88 DancingDrill 27 4 102 Dirty Stack 28 4 102 Static Hit 30 4 102 Delayed Lead 7 4 88 Acid Copter 32 4 102 Fantasia 2 1 4 89 Fantasia 3 4 4 89 Fantasia 4 5 4 89 260HarmPad 7 4 89 Music Bell 10 4 99

Pad - Ethnic

Pad With 81 4 90 LA Warm Pad 82 4 90 Attack! Pad 83 4 90 Human Pad 10 4 90 OB Soft Pad 6 4 90 Sitar 1 0 4 105 NAY 1 8 4 73

CC00 CC32 PC

Shakuhachi 0 4 78 Oud 1 24 4 106 Kawala 1 8 4 76 JP8 Hollow 44 4 92 JP Soft Pad 13 4 90 Warm Squ Pad 46 4 92 Warm JP STR 47 4 90 Square Pad 45 4 92 Tam bra 8 4 105 Rabab 8 4 106 Shamisen 0 4 107 Kalimba 0 4 109 Sanza 8 4 109 Stacked Pad 45 4 90 Warm Pad 0 4 90 Thick Matrix 1 4 90 Big Panner 4 4 103 Reso Panner 5 4 103 Bagpipe 0 4 110 Gopichant 16 4 106 UillnPipe Or 11 4 110 Fiddle 0 4 111 Pungi 8 4 112 Sine Pad 5 4 90 Tamboura 16 4 105 Echo Drops 0 4 103 Rotary Strng 3 4 90 Stack Pad 9 4 90 Bozouki 24 4 26 Mizmar 1 24 4 112 Uillean Pipe 9 4 110 Sitar 2 1 4 105 Kanoun3 TrmV 60 4 108 Soundtrack 0 4 98 JP8Haunting 43 4 92 Metal Pad 0 4 94 Silky Pad 1 9 4 104 Echo Pan 1 2 4 103 Kawala 2 9 4 76 Di 16 4 73 KanounStereo 53 4 108 Zither 16 4 16 Hichiriki 16 4 112 Octave Pad 8 4 90 Sync Brs.Pad 11 4 90 Silky Pad 2 11 4 104 Star Dust 3 4 104 Mystic Pad 6 4 104 Pi Pa 32 4 106 Sitar/Drone 4 4 105 Sitar 3 5 4 105 Tsugaru 1 4 107 San Xian 9 4 106 Anklung Pad 3 4 97 Tine Pad 1 4 94 Hols Strings 4 4 98 Oct.PWM Pad 12 4 90 PWM Soft Pad 43 4 90 Koto 0 4 108 TinWhistle1 24 4 76 Syn Shamisen 8 4 107 TinWhtsle Nm 25 4 76 Gu Zheng 1 4 108 LFO Sweep 44 4 90 Ambient Pad 6 4 100 Saw Strings 46 4 90 JP8 Sqr Pad 2 4 93 SoftBellPad 1 4 93 Taisho Koto 8 4 108 Kanoon 16 4 108 Bodhran 9 4 109 Bodhran Mute 10 4 109 Didgeridoo 8 4 110 Panner Pad 2 4 94 Bowed Glass 0 4 93 Special Rave 4 4 94

83

VIMA JM-5

Tone List

Halo Pad 0 4 95 Sweep Pad 0 4 96 Oud1 Tremolo 40 4 106 Oud+Strings 28 4 106 Kanoon+Choir 19 4 108 Oct Harp 24 4 108 ShakuBamboo 47 4 78 Ambient BPF 2 4 96 Converge 8 4 96 Warriors 4 4 96 Shwimmer 9 4 96 Celestial Pd 10 4 96 UillnPipe Nm 10 4 110 Er Hu 8 4 111 Gao Hu 9 4 111 Shanai 1 0 4 112 Shanai 2 1 4 112 Sweep Stack 13 4 96 Sweep Pipe 12 4 96 SawsSweep 47 4 96 Stray Pad 15 4 96 Clavi Pad 8 4 97 Suona 1 32 4 112 Suona 2 33 4 112 Tinkle Bell 0 4 113 Gender 9 4 113 Pemade 15 4 113 EP Pad 9 4 97 CP Pad 11 4 97 Ancestral 1 4 98 Prologue 1 2 4 98 Prologue 2 3 4 98 Yang Qin 24 4 47 Santur 0 4 16 Cimbalom 8 4 16 Dulcimer 24 4 16 Kanoun 3 St 54 4 108 HistoryWave 5 4 98 Echo Pan 2 3 4 103 Pan Sequence 8 4 103 Star Theme 0 4 104 Echo Bell 1 4 103 Kanoun1 TrmV 58 4 108 Kanoun2 TrmV 59 4 108 Kanoun 1 50 4 108 Kanoun 2 51 4 108 Kanoun 3 52 4 108 Panning Lead 10 4 103 D-Mention 80 4 95 Kanoun Trm 57 4 108 Kanoun 3 Oct 56 4 108 Kanoun Oct. 55 4 108 Kawala Oct. 10 4 76 Kawala Oct.V 11 4 76 Bozouki Trm 25 4 26 Bozouki TrmV 26 4 26 Rababa 10 4 111 Oud 2 25 4 106 Oud 3 26 4 106 Oud2 Tremolo 41 4 106 Oud1Trm VMix 42 4 106 Oud2Trm VMix 43 4 106 Oud Oct. 27 4 106 NAY 2 10 4 73 NAY Oct. 11 4 73 NAY Oct.VMix 12 4 73 Mizmar Trm 28 4 112 Mizmar 2 25 4 112 Mizmar Oct 27 4 112 Mizmar Trm V 29 4 112 Mizmar Dual 26 4 112 Arghool 32 4 73

Percuss - Sfx

Reverse Cym. 0 4 120 Woodblock 0 4 116 Tai ko 0 4 117

CC00 CC32 PC

r

Agogo 0 4 114 Steel Drums 0 4 115 Gun Shot 0 4 128 Telephone 1 0 4 125 Car-Stop 2 4 126 Helicopter 0 4 126 Seashore 0 4 123 Sine Perc. 10 4 119 Fl.Key Click 1 4 122 Cymbal Roll 47 4 113 Elec Perc 9 4 119 Horse-Gallop 2 4 124 Dog 1 4 124 Bird 1 0 4 124 Growl 1 5 4 124 Kitty 4 4 124 Jazz Tom 3 4 118 808 Tom 8 4 119 Melo. Tom 1 0 4 118 Breath Noise 0 4 122 Small Club 7 4 127 Explosion 3 4 128 Car-Engine 1 4 126 Seal 8 4 124 Rain 1 4 123 Thunder 2 4 123 Wind 1 3 4 123 Stream 4 4 123 Melo. Tom 2 8 4 118 Jungle SD 18 4 118 Bubble 5 4 123 Wind 2 6 4 123 Bird 2 3 4 124 DoorCreaking 2 4 125 Siren 5 4 126 Train 6 4 126 Jetplane 7 4 126 Starship 8 4 126 Burst Noise 9 4 126 Synth Drum 0 4 119 Car-Pass 3 4 126 Door 3 4 125 Telephone 2 1 4 125 Cricket 7 4 123 Rev.Snare 8 4 120 Rev.ConBD 17 4 120 Rev.Kick 1 16 4 120 White Noise 17 4 123 Winds Hit 47 4 123 Pink Noise 16 4 123 Scratch 1 4 4 125 TapeRewind 9 4 125 Growl 2 6 4 124 Rev.Tom 25 4 120 Trumpet Nz 9 4 122 Fancy Animal 7 4 124 Scratch 2 7 4 125 ScratchKey 8 4 125 Phono Noise 10 4 125 MC-500 Beep 11 4 125 HandClapMenu 40 4 116 909 HandClap 32 4 116 Finger Snaps 24 4 116 Voice ComeOn 23 4 127 Car-Crash 4 4 126 Calculating 10 4 126 Concert BD 8 4 117 Wind Chimes 5 4 125 Voice One 16 4 127 Voice Two 17 4 127 Voice Three 18 4 127 Voice Tah 19 4 127 Castanets 8 4 116 Tambourine 16 4 114 Perc. Bang 11 4 126 Burner 12 4 126

Glass & Glam 13 4 126 Ice Ring 14 4 126 Crack Bottle 16 4 126 Kajar 17 4 113 Small Taiko 1 4 117 Voice Aou 24 4 127 Voice Oou 25 4 127 Voice Hie 26 4 127 Pour Bottle 17 4 126 Open CD Tray 19 4 126 Audio Switch 20 4 126 Bounce 18 4 117 Key Typing 21 4 126 SL 1 22 4 126 SL 2 23 4 126 Kelontuk Sid 20 4 113 Car Engine 24 4 126 Car Horn 25 4 126 Boeeeen 26 4 126 R.Crossing 27 4 126 Compresser 28 4 126 Sword Boom! 29 4 126 Sword Cross 30 4 126 Stab! 1 31 4 126 Stab! 2 32 4 126 Applause 1 0 4 127 Laughing 1 4 127 Screaming 2 4 127 Punch 3 4 127 Atarigane 8 4 114 Heart Beat 4 4 127 Footsteps 5 4 127 Applause 2 6 4 127 ApplauseWave 8 4 127 Angklung 16 4 116 BabyLaughing 9 4 127 Voice Whey 20 4 127 Voice Kikit 22 4 127 Machine Gun 1 4 128 Lasergun 2 4 128 Bebarongan 25 4 117 Dholak 27 4 117 Eruption 4 4 128 Big Shot 5 4 128 Clap Hit 27 4 56 Stack Hit 25 4 56 Double Hit 10 4 56 Industry Hit 26 4 56 Strings Hit 24 4 56 Technorg Hit 22 4 56 Rave Hit 23 4 56 Bit Hit 20 4 56 Bam Hit 19 4 56 Philly Hit 9 4 56 Dist. Hit 18 4 56 Impact Hit 8 4 56 Euro Hit 3 4 56 Bass Hit 1 4 56 6th Hit 2 4 56 Techno Hit 17 4 56 Lo Fi Rave 16 4 56 Perc. Hit 11 4 56 Shock Wave 12 4 56

84

23. Drum Sets

C2 36

38

40

41

43

45

47

37

39

42

44

46

C3 48

50

52

53

55

57

59

49

51

54

56

58

C4 60

62

64

65

67

69

71

61

63

66

68

70

C5 72

74

76

77

79

81

83

73

75

78

80

82

C6 84

C7 96

86

88

89

91

93

95

85

87

90

92

94

C0 12

14

16

17

19

21

23

13

15

18

20

22

C–1 0

2

4

5

7

9

11

1

3

6

8

10

C1 24

26

28

29

31

33

35

25

27

30

32

34

PC: 1 [CC32: 4] STANDARD 1

Std.1 Kick1 Std.1 Kick2 Std.2 Kick1 Std2 Kick2 Kick 1 Kick 2 Jazz Kick 1 Jazz Kick 2 Room Kick 1 Room Kick 2 Power Kick1 Power Kick2 Elec Kick 2 Elec Kick 1 TR-808 Kick TR-909 Kick Dance Kick 2 Voice One Voice Two Voice Three 85Rm BsDrum1 85Rm BsDrum2 MC-500 Beep MC-500 Beep Concert Snr Snare Roll FingerSnaps2 High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.Click Mtrnm. Bell 85St BsDrum1 85St BsDrum2 Side Stick 85St Snare2 909 HandClap 85St Snare1 Real Tom 6 Close HiHat2 Real Tom 6 Pedal HiHat2 Real Tom 4 Open HiHat2 Real Tom 4 Real Tom 1 Crash Cym.1 Real Tom 1 Ride Cymbal ChinaCymbal Ride Bell Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap Ride Cymbal Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa Maracas ShrtWhistle LongWhistle Short Guiro Long Guiro Claves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Applause 2

---

--82Rm Snare2 82Rm Snare1

PC: 2 [CC32: 4] STANDARD 2

Std.1 Kick1 Std.1 Kick2 Std.2 Kick1 Std2 Kick2 Kick 1 Kick 2 Jazz Kick 1 Jazz Kick 2 Room Kick 1 Room Kick 2 Power Kick1 Power Kick2 Elec Kick 2 Elec Kick 1 TR-808 Kick TR-909 Kick Dance Kick 2 Voice One Voice Two Voice Three

---

--MC-500 Beep MC-500 Beep Concert Snr Snare Roll Finger Snap High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.Click Mtrnm. Bell Std2 Kick2 Std.2 Kick1 Side Stick Std.2 Snare1 808clap Std.2 Snare2 Real Tom 6 Jazz Clsd.HH Real Tom 6 Pedal HiHat Real Tom 4 Jazz Open HH Real Tom 4 Real Tom 1 Crash Cym.1 Real Tom 1 Ride Cymbal ChinaCymbal Ride Bell Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap Ride Cymbal Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa Maracas ShrtWhistle LongWhistle Short Guiro Long Guiro Claves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bar Chimes Castanets Mute Surdo Open Surdo Applause 2

---

PC: 3 [CC32: 4] STANDARD L/R

---

--Voice One Voice Two Voice Three

---

--MC-500 Beep MC-500 Beep Concert Snr Snare Roll FingerSnaps2 High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.Click Mtrnm. Bell 85St BsDrum1 85St BsDrum2 Side Stick 85St Snare2 909 HandClap 85St Snare1 Real Tom 6 82StClsHatB Real Tom 6 Pedal HiHat2 Real Tom 4 82StOpenHatB Real Tom 4 Real Tom 1 Crash1c B Real Tom 1 Ride__c B ChinaCymbal Ridbl_c B Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap Ride Cymbal Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa Maracas ShrtWhistle LongWhistle Short Guiro Long Guiro Claves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Applause 2

---

--85St BsDrum1 85St BsDrum2

PC: 7 [CC32: 4] V-Pop1

HipHop BD1 Jazz Kick 1 Mex_Kik36 85Rm BsDrum1 85Rm BsDrum2 HipHop BD2 Techno BD1 JungleBD Set HipHop BD1 909 Comp BD 85St BsDrum1 NewJzKik NewRockKik Cymbal Roll NewRkCStk_2 82Rm Snare1 82Rm Snare2 85St Snare1 85St Snare2 NewJzSn2 NewJzSn1 NewR&BSn NewRockSn2_2 NewRockSn1_2 IPopSn38_2 IPopGstS39_2 IPopSn38_2 FingerSnaps2 909 HandClap 808clap Hand clap2 909 HandClap IPopPHat32 GospelHClp1 IPopSRll30_1 IPopKik35 IPopKik36 IPopCStk37_1 IPopSn38_1 IPopGstS39_1 IPopSn40_1 IPopTomLFl41 IPopHat1_42 IPopTomL43 IPopHat2_44 IPopTomMFl45 IPopHat3_46 IPopTomM47 IPopTomHFl48 IPopCyml2_52 IPopTomH50 IPopRd1_51 IPopCym1_49 IPopRd2_55 Tambourine Splash Cym. ChaChaCBell NewRkCrCym2 Vibraslap NewRkRdCym1 NewHiBongo NewLoBongo NewCongaSlp NewCongaOp NewLoConga NewTmblHi NewTmblLo Agogo Agogo NewShaker2 NewShaker1 ShrtWhistle LongWhistle NewQuide1 NewQuide2 NewClaves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Cana NewTmblHiFlm NewTmblLoFlm NewTmblPHS NewShekere1 NewShekere2 NHBngoMute NewLBngoMute CajonHi

PC: 5 [CC32: 4] V-R&B

HipHop BD1 Jazz Kick 1 Mex_Kik36 85Rm BsDrum1 85Rm BsDrum2 HipHop BD2 Techno BD1 JungleBD Set HipHop BD1 909 Comp BD 85St BsDrum1 NewJzKik NewRockKik Cymbal Roll NewRkCStk_2 82Rm Snare1 82Rm Snare2 85St Snare1 85St Snare2 NewJzSn2 NewJzSn1 NewR&BSn NewRockSn2_2 NewRockSn1_2 IPopSn38_2 IPopGstS39_2 IPopSn38_2 FingerSnaps2 909 HandClap 808clap Hand clap2 909 HandClap IPopPHat32 GospelHClp1 IPopSRll30_2 IPopKik35 IPopKik36 IPopCStk37_2 NewR&BSn NewR&BSnGst IPopSn40_2 IPopTomLFl41 IPopHat1_42 IPopTomL43 IPopHat2_44 IPopTomMFl45 IPopHat3_46 IPopTomM47 IPopTomHFl48 IPopCym1_49 IPopTomH50 IPopRd1_51 IPopCyml2_52 IPopRd2_55 Tambourine Splash Cym. ChaChaCBell NewRkCrCym2 Vibraslap NewRkRdCym1 NewHiBongo NewLoBongo NewCongaSlp NewCongaOp NewLoConga NewTmblHi NewTmblLo Agogo Agogo NewShaker2 NewShaker1 ShrtWhistle LongWhistle NewQuide1 NewQuide2 NewClaves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Cana NewTmblHiFlm NewTmblLoFlm NewTmblPHS NewShekere1 NewShekere2 NHBngoMute NewLBngoMute CajonHi

PC: 6 [CC32: 4] V-Fiesta

HipHop BD1 Jazz Kick 1 Mex_Kik36 85Rm BsDrum1 85Rm BsDrum2 HipHop BD2 Techno BD1 JungleBD Set HipHop BD1 909 Comp BD 85St BsDrum1 NewJzKik NewRockKik Cymbal Roll NewRkCStk_2 82Rm Snare1 82Rm Snare2 85St Snare1 85St Snare2 NewJzSn2 NewJzSn1 NewR&BSn NewRockSn2_2 NewRockSn1_2 IPopSn38_2 IPopGstS39_2 IPopSn38_2 FingerSnaps2 909 HandClap 808clap Hand clap2 909 HandClap Mex_PHat32 GospelHClp1 Mex_SnrRol34 Mex_Kik35 Mex_Kik36 IPopCStk37_2 Mex_Snr38 Mex_GstS39 Mex_Snr40 IPopTomLFl41 Mex_Hat1_42 IPopTomL43 Mex_Hat2_44 IPopTomMFl45 Mex_Hat3_46 IPopTomM47 IPopTomHFl48 IPopCym1_49 IPopTomH50 IPopRd1_51 IPopCyml2_52 IPopRd2_55 Tambourine Splash Cym. ChaChaCBell NewRkCrCym2 Vibraslap NewRkRdCym1 NewHiBongo NewLoBongo NewCongaSlp NewCongaOp NewLoConga NewTmblHi NewTmblLo Agogo Agogo NewShaker2 NewShaker1 ShrtWhistle LongWhistle NewQuide1 NewQuide2 NewClaves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Cana NewTmblHiFlm NewTmblLoFlm NewTmblPHS NewShekere1 NewShekere2 NHBngoMute NewLBngoMute CajonHi

PC: 9 [CC32: 4] ROOM

Std.1 Kick1 Std.1 Kick2 Std.2 Kick1 Std2 Kick2 Kick 1 Kick 2 Jazz Kick 1 Jazz Kick 2 Room Kick 1 Room Kick 2 Power Kick1 Power Kick2 Elec Kick 2 Elec Kick 1 TR-808 Kick TR-909 Kick Dance Kick 2 Voice One Voice Two Voice Three 85St BsDrum1 85St BsDrum2 MC-500 Beep MC-500 Beep Concert Snr Snare Roll Finger Snap High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.Click Mtrnm. Bell 85Rm BsDrum1 85Rm BsDrum2 Side Stick 82Rm Snare2 808clap 82Rm Snare1 Room Tom 5 Room Chh Room Tom 5 Pedal HiHat Room Tom 2 R8 Ohh2 Room Tom 2 Room Tom 2 Crash Cym.1 Room Tom 2 Ride Cymbal ChinaCymbal Ride Bell Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap Ride Cymbal Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa Maracas ShrtWhistle LongWhistle Short Guiro Long Guiro Claves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Applause 2

---

--85St Snare2 85St Snare1

PC: 10 [CC32: 4] HIP HOP

Elec Kick 2 Elec Kick 1 CR78 BD 1 CR78 BD 2 TR-606 BD1 TR-707 BD 808 Kick TR-808 Kick 808 BD TR-909 Kick Dance Kick 2 909 Comp BD TR-909 BD2 HipHop BD2 JungleBD Set Techno BD1 Bounce Voice One Voice Two Voice Three HipHop BD1 Std2 Kick2 MC-500 Beep MC-500 Beep Concert Snr Snare Roll FingerSnaps2 High-Q Slap Scrtch Push2 Scrtch Pull2 Sticks SquareClick Mtrnm.Click Mtrnm. Bell TR-909 BD2 909 Comp BD 808 Rimshot Rap Snare 909 HandClap House SD Brush Tom Room Chh Brush Tom Pedal HiHat Brush Tom R8 Ohh2 Brush Tom Brush Tom 909 Crash Brush Tom Ride Cymbal ReverseCymbl Ride Bell Shake Tamb Splash Cym. 808cowbe Crash Cym.2 Vibraslap Ride Cymbal Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa 808marac ShrtWhistle LongWhistle Short Guiro CR78 Guiro 808clave Woodblock Woodblock Hoo Hoo MuteTriangl OpenTriangl 626 Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Small Club Rap Snare Power Snare2 Noise Slap 85St Snare1 85St Snare2 82Rm Snare1 82Rm Snare2 Dance Snare1

PC: 11 [CC32: 4] JUNGLE

Elec Kick 2 Elec Kick 1 CR78 BD 1 CR78 BD 2 TR-606 BD1 TR-707 BD 808 Kick TR-808 Kick 808 BD TR-909 Kick Dance Kick 2 909 Comp BD TR-909 BD2 HipHop BD2 JungleBD Set Techno BD1 Bounce Voice One Voice Two Voice Three TR-909 BD2 909 Comp BD MC-500 Beep MC-500 Beep Concert Snr Snare Roll FingerSnaps2 High-Q Slap Scrtch Push2 Scrtch Pull2 Sticks SquareClick Mtrnm.Click Mtrnm. Bell HipHop BD1 Std2 Kick2 Side Stick Dance Snare1 HC2 Claps 2 House SD 909 Tom 606 CH 909 Tom Jungle HH 909 Tom 606 HiHat Op 909 Tom 909 Tom Jngl Crash 909 Tom Ride Cymbal ReverseCymbl Ride Bell Shake Tamb Splash Cym. 808cowbe Crash Cym.2 Vibraslap Ride Cymbal Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa 808marac ShrtWhistle LongWhistle Short Guiro CR78 Guiro 808clave Woodblock Woodblock Hoo Hoo MuteTriangl OpenTriangl 626 Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Small Club Jngl BD Roll Jngl SD Roll 66sn260 Dance Snare1 909 SD 1 Elec Snare 2 Dance Snare1 Rap Snare

PC: 12 [CC32: 4] TECHNO

Elec Kick 2 Elec Kick 1 CR78 BD 1 CR78 BD 2 TR-606 BD1 TR-707 BD 808 Kick TR-808 Kick 808 BD TR-909 Kick Dance Kick 2 909 Comp BD TR-909 BD2 HipHop BD2 JungleBD Set Techno BD1 Bounce Voice One Voice Two Voice Three HipHop BD2 TR-909 BD2 MC-500 Beep MC-500 Beep Concert Snr Snare Roll FingerSnaps2 High-Q Slap Scrtch Push2 Scrtch Pull2 Sticks SquareClick Mtrnm.Click Mtrnm. Bell Techno BD1 TR-909 BD2 808 Rimshot Dance Snare1 707 Claps 909 SD 1 606 Dist.Tom TR-707 HH-c 606 Dist.Tom CR-78 chh 606 Dist.Tom 909 OH 606 Dist.Tom 606 Dist.Tom 909 Crash 606 Dist.Tom Ride Cymbal ReverseCymbl Ride Bell Shake Tamb Splash Cym. 808cowbe 909 Crash Vibraslap Ride Cymbal CR78 HiBongo CR78 LoBongo 808 Conga 808 Conga 808 Conga High Timbale Low Timbale Agogo Agogo Cabasa 808marac ShrtWhistle LongWhistle Short Guiro CR78 Guiro 808clave Woodblock Woodblock Hoo Hoo MuteTriangl OpenTriangl 626 Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Applause 2 Dance Snare1 Elec Snare 2 Dance Snare1 House SD Rap Snare House SD Dance Snare1 Rap Snare

VIMA JM-5

r

Drum Sets

VIMA JM-5

Drum Sets

C–1 0

C0 12

C1 24

C2 36

C3 48

C4 60

C5 72

C6 84

C7 96

PC: 13 [CC32: 4] ROOM L/R

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1

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2

3

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4

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5

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6

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7

8

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9

---

10

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11

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13

---

14

15

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16

--Voice One

17

Voice Two

18

Voice Three

19

20

---

21

---

22

MC-500 Beep

23

MC-500 Beep Concert Snr Snare Roll

25

Finger Snap

26

27

High-Q

28

Slap ScratchPush

29

ScratchPull

30

Sticks

31

32

SquareClick

33

Mtrnm.Click

34

Mtrnm. Bell

35

85Rm BsDrum1 85Rm BsDrum2 Side Stick

37

82Rm Snare2

38

39

808clap

40

82Rm Snare1 Room Tom 5

41

82RmClsHatB

42

Room Tom 5

43

44

Pedal HiHat

45

Room Tom 2

46

82RmOpenHatB

47

Room Tom 2 Room Tom 2 Crash1c B

49

Room Tom 2

50

51

Ride__c B

52

ChinaCymbal Ridbl_c B

53

Tambourine

54

Splash Cym.

55

56

Cowbell

57

Crash Cym.2

58

Vibraslap

59

Ride Cymbal Bongo High Bongo Lo

61

Mute H.Conga

62

63

Conga Hi Opn

64

Conga Lo Opn High Timbale

65

Low Timbale

66

Agogo

67

68

Agogo

69

Cabasa

70

Maracas

71

ShrtWhistle LongWhistle Short Guiro

73

Long Guiro

74

75

Claves

76

Woodblock Woodblock

77

Mute Cuica

78

Open Cuica

79

80

MuteTriangl

81

OpenTriangl

82

Shaker

83

Jingle Bell Bell Tree Castanets

85

Mute Surdo

86

87

Open Surdo

88

Applause 2

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89

---

90

---

91

92

---

93

---

94

---

95

85Rm BsDrum1 85Rm BsDrum2

PC: 14 [CC32: 4] HOUSE

Elec Kick 2 Elec Kick 1 CR78 BD 1 CR78 BD 2 TR-606 BD1 TR-707 BD 808 Kick TR-808 Kick 808 BD TR-909 Kick Dance Kick 2 909 Comp BD TR-909 BD2 HipHop BD2 JungleBD Set Techno BD1 Bounce Voice One Voice Two Voice Three TR-909 BD2 Techno BD2 MC-500 Beep MC-500 Beep Concert Snr Snare Roll FingerSnaps2 High-Q Slap Scrtch Push2 Scrtch Pull2 Sticks SquareClick Mtrnm.Click Mtrnm. Bell HipHop BD2 TR-909 BD2 Side Stick House SD 909 HandClap Elec Snare 2 909 Tom TR-707 HH-c 909 Tom CR-78 chh 909 Tom 909 OH 909 Tom 909 Tom 909 Crash 909 Tom 909 Ride Cym ReverseCymbl Ride Bell Shake Tamb Splash Cym. 808cowbe 909 Crash Vibraslap Ride Cymbal CR78 HiBongo CR78 LoBongo 808 Conga 808 Conga 808 Conga High Timbale Low Timbale Agogo Agogo Cabasa 808marac ShrtWhistle LongWhistle Short Guiro CR78 Guiro 808clave Woodblock Woodblock Hoo Hoo MuteTriangl OpenTriangl 626 Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Applause 2 66sn260 Dance Snare1 909 SD 1 Dance Snare1 Dance Snare1 Rap Snare House SD House SD

PC: 17 [CC32: 4] POWER

Std.1 Kick1 Std.1 Kick2 Std.2 Kick1 Std2 Kick2 Kick 1 Kick 2 Jazz Kick 1 Jazz Kick 2 Room Kick 1 Room Kick 2 Power Kick1 Power Kick2 Elec Kick 2 Elec Kick 1 TR-808 Kick TR-909 Kick Dance Kick 2 Voice One Voice Two Voice Three

---

--MC-500 Beep MC-500 Beep Concert Snr Snare Roll FingerSnaps2 High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.Click Mtrnm. Bell Power Kick2 Power Kick1 Side Stick Dance Snare1 808clap Power Snare1 Rock Tom 4 Close HiHat2 Rock Tom 4 Pedal HiHat2 Rock Tom 4 Open HiHat2 Rock Tom 4 Rock Tom 1 Crash Cym.1 Rock Tom 1 Ride Cymbal ChinaCymbal Ride Bell Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap Ride Cymbal Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa Maracas ShrtWhistle LongWhistle Short Guiro Long Guiro Claves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Applause 2

---

PC: 20 [CC32: 4] V-Rock1

HipHop BD1 Jazz Kick 1 Mex_Kik36 85Rm BsDrum1 85Rm BsDrum2 HipHop BD2 Techno BD1 JungleBD Set HipHop BD1 909 Comp BD 85St BsDrum1 NewJzKik NewRockKik Cymbal Roll NewRkCStk_2 82Rm Snare1 82Rm Snare2 85St Snare1 85St Snare2 NewJzSn2 NewJzSn1 NewR&BSn IPopSn40_2 IPopSn38_2 IPopSn38_2 IPopGstS39_2 IPopSn40_2 FingerSnaps2 909 HandClap 808clap Hand clap2 909 HandClap NewRkHatPdl GospelHClp1 NewRkSnRll NewRockKik NewRockKik NewRkCStk_1 NewRockSn1_1 NewRkSnGst NewRockSn2_1 NewRkTomL2Fl NewRkHat1 NewRkTomL2 NewRkHat2 NewRkTomL1Fl NewRkHat3 NewRkTomL1 NewRkTomMFl NewRkCrCym1 NewRkTomM NewRkRdCym1 NewRkCrCym2 NewRkRdCym2 Tambourine NewRkCrCym3 ChaChaCBell NewRkCrCym4 Vibraslap IPopRd1_51 NewHiBongo NewLoBongo NewCongaSlp NewCongaOp NewLoConga NewTmblHi NewTmblLo Agogo Agogo NewShaker2 NewShaker1 ShrtWhistle LongWhistle NewQuide1 NewQuide2 NewClaves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Cana NewTmblHiFlm NewTmblLoFlm NewTmblPHS NewShekere1 NewShekere2 NHBngoMute NewLBngoMute CajonHi

PC: 19 [CC32: 4] V-Rock2

HipHop BD1 Jazz Kick 1 Mex_Kik36 85Rm BsDrum1 85Rm BsDrum2 HipHop BD2 Techno BD1 JungleBD Set HipHop BD1 909 Comp BD 85St BsDrum1 NewJzKik NewRockKik Cymbal Roll NewRkCStk_2 82Rm Snare1 82Rm Snare2 85St Snare1 85St Snare2 NewJzSn2 NewJzSn1 NewR&BSn IPopSn40_2 IPopSn38_2 IPopSn38_2 IPopGstS39_2 IPopSn38_2 FingerSnaps2 909 HandClap 808clap Hand clap2 909 HandClap NewRkHatPdl GospelHClp1 NewRkSnRll NewRockKik NewRockKik NewRkCStk_1 NewRockSn1_1 NewRkSnGst NewRockSn2_1 NewRkTomL1Fl NewRkHat1 NewRkTomL1 NewRkHat2 NewRkTomMFl NewRkHat3 NewRkTomM NewRkTomHiFl NewRkCrCym1 NewRkTomHi NewRkRdCym1 NewRkCrCym2 NewRkRdCym2 Tambourine NewRkCrCym3 ChaChaCBell NewRkCrCym4 Vibraslap IPopRd1_51 NewHiBongo NewLoBongo NewCongaSlp NewCongaOp NewLoConga NewTmblHi NewTmblLo Agogo Agogo NewShaker2 NewShaker1 ShrtWhistle LongWhistle NewQuide1 NewQuide2 NewClaves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Cana NewTmblHiFlm NewTmblLoFlm NewTmblPHS NewShekere1 NewShekere2 NHBngoMute NewLBngoMute CajonHi

PC: 25 [CC32: 4] ELECTRONIC

Elec Kick 2 Elec Kick 1 CR78 BD 1 CR78 BD 2 TR-606 BD1 TR-707 BD 808 Kick TR-808 Kick 808 BD TR-909 Kick Dance Kick 2 909 Comp BD TR-909 BD2 HipHop BD2 JungleBD Set Techno BD1 Bounce Voice One Voice Two Voice Three

---

--MC-500 Beep MC-500 Beep Concert Snr Snare Roll Finger Snap High-Q Slap Scrtch Push2 Scrtch Pull2 Sticks SquareClick Mtrnm.Click Mtrnm. Bell Elec Kick 2 Elec Kick 1 Side Stick Elec. Snare 808clap Elec Snare 2 Synth Drum 2 Jazz Clsd.HH Synth Drum 2 Pedal HiHat Synth Drum 2 Jazz Open HH Synth Drum 2 Synth Drum 2 Crash Cym.1 Synth Drum 2 Ride Cymbal ReverseCymbl Ride Bell Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap Ride Cymbal Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa Maracas ShrtWhistle LongWhistle Short Guiro Long Guiro Claves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Small Club

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PC: 26 [CC32: 4] TR-808

Elec Kick 2 Elec Kick 1 CR78 BD 1 CR78 BD 2 TR-606 BD1 TR-707 BD 808 Kick TR-808 Kick 808 BD TR-909 Kick Dance Kick 2 909 Comp BD TR-909 BD2 HipHop BD2 JungleBD Set Techno BD1 Bounce Voice One Voice Two Voice Three

---

--MC-500 Beep MC-500 Beep Concert Snr Snare Roll FingerSnaps2 High-Q Slap Scrtch Push2 Scrtch Pull2 Sticks SquareClick Mtrnm.Click Mtrnm. Bell 808 BD TR-808 Kick 808 Rimshot 808 Snare 1 808clap TR-808 SD2 808 Tom 2 TR-808 CHH 808 Tom 2 808__chh 808 Tom 2 TR-808 OHH 808 Tom 2 808 Tom 2 808 Crash 808 Tom 2 606 Ride Cym ChinaCymbal Ride Bell CR78 Tmb Splash Cym. 808cowbe 909 Crash Vibraslap RideCym Edge CR78 HiBongo CR78 LoBongo 808 Conga 808 Conga 808 Conga High Timbale Low Timbale Agogo Agogo Cabasa 808marac ShrtWhistle LongWhistle Short Guiro CR78 Guiro 808clave Woodblock Woodblock Hoo Hoo MuteTriangl OpenTriangl 626 Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Small Club

---

PC: 27 [CC32: 4] DANCE

Elec Kick 2 Elec Kick 1 CR78 BD 1 CR78 BD 2 TR-606 BD1 TR-707 BD 808 Kick TR-808 Kick 808 BD TR-909 Kick Dance Kick 2 909 Comp BD TR-909 BD2 HipHop BD2 JungleBD Set Techno BD1 Bounce Voice One Voice Two Voice Three HipHop BD2 TR-909 BD2 MC-500 Beep MC-500 Beep Concert Snr Snare Roll Finger Snap High-Q Slap Scrtch Push2 Scrtch Pull2 Sticks SquareClick Mtrnm.Click Mtrnm. Bell TR-909 BD2 Techno BD2 Side Stick Dance Snare1 909 HandClap Power Snare1 Synth Drum 2 CR-78 chh Synth Drum 2 808__chh Synth Drum 2 CR-78 ohh Synth Drum 2 Synth Drum 2 808 Crash Synth Drum 2 606 Ride Cym ReverseCymbl Ride Bell Shake Tamb Splash Cym. 808cowbe Crash Cym.2 Vibraslap Ride Cymbal Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa Maracas ShrtWhistle LongWhistle Short Guiro Long Guiro Claves Woodblock Woodblock Hoo Hoo MuteTriangl OpenTriangl 626 Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Small Club 66sn260 909 SD 1 Elec Snare 2 House SD Rap Snare House SD Dance Snare1 Rap Snare

PC: 28 [CC32: 4] CR-78

Elec Kick 2 Elec Kick 1 CR78 BD 1 CR78 BD 2 TR-606 BD1 TR-707 BD 808 Kick TR-808 Kick 808 BD TR-909 Kick Dance Kick 2 909 Comp BD TR-909 BD2 HipHop BD2 JungleBD Set Techno BD1 Bounce Voice One Voice Two Voice Three

---

--MC-500 Beep MC-500 Beep Concert Snr Snare Roll FingerSnaps2 High-Q Slap Scrtch Push2 Scrtch Pull2 Sticks SquareClick Mtrnm.Click Mtrnm. Bell CR78 BD 2 CR78 BD 1 CR78 Rim CR78 SD 1 707 Claps CR78 SD 2 78 TOM CR-78 chh 78 TOM 606 CH 78 TOM CR-78 ohh 78 TOM 78 TOM 808 Crash 78 TOM 606 Ride Cym ChinaCymbal Ride Bell CR78 Tmb Splash Cym. CR78 Cow 909 Crash Vibraslap RideCym Edge CR78 HiBongo CR78 LoBongo 808 Conga 808 Conga 808 Conga High Timbale Low Timbale Agogo Agogo Cabasa CR78 Maracas ShrtWhistle LongWhistle Short Guiro CR78 Guiro CR78 Clv Woodblock Woodblock Hoo Hoo CR78 M.Beat CR78 M.Beat 626 Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Small Club

---

PC: 29 [CC32: 4] TR-606

Elec Kick 2 Elec Kick 1 CR78 BD 1 CR78 BD 2 TR-606 BD1 TR-707 BD 808 Kick TR-808 Kick 808 BD TR-909 Kick Dance Kick 2 909 Comp BD TR-909 BD2 HipHop BD2 JungleBD Set Techno BD1 Bounce Voice One Voice Two Voice Three

---

--MC-500 Beep MC-500 Beep Concert Snr Snare Roll FingerSnaps2 High-Q Slap Scrtch Push2 Scrtch Pull2 Sticks SquareClick Mtrnm.Click Mtrnm. Bell CR78 BD 2 TR-606 BD1 CR78 Rim 66sn160 707 Claps 66sn260 606 Tom 606 CH 606 Tom 606 CH 606 Tom 606 HiHat Op 606 Tom 606 Tom 808 Crash 606 Tom 606 Ride Cym ChinaCymbal Ride Bell CR78 Tmb Splash Cym. CR78 Cow 909 Crash Vibraslap RideCym Edge CR78 HiBongo CR78 LoBongo 808 Conga 808 Conga 808 Conga High Timbale Low Timbale Agogo Agogo Cabasa CR78 Maracas ShrtWhistle LongWhistle Short Guiro CR78 Guiro CR78 Clv Woodblock Woodblock Hoo Hoo CR78 M.Beat CR78 M.Beat 626 Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Small Club

---

r

86

VIMA JM-5

(C7) (96)

98

100

101

103

105

107

97

99

102

104

106

C8 108

110

112

113

115

117

119

109

111

114

C9G9120

122

124

125

127

121

123

126

116

118

82Rm Snare1 Std.1 Snare1 Std.1 Snare2 Std.2 Snare1 Std.2 Snare2 Tight Snare Standard SN1 LD Snare M LD Snare C Jazz Snare 1 Jazz Snare 2 Room Snare 1 Room Snare 2 Dance Snare1 Power Snare1 Rev.Snare Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec. Snare Elec Snare 3 TR-707 SD 808 Snare 1 808 Snare 2 909 Snare 1 909 Snare 2 Rap Snare JungleSD1 House SD House Snare House SD

--Std.1 Snare1 Std.1 Snare2 Std.2 Snare1 Std.2 Snare2 Tight Snare Standard SN1 LD Snare M LD Snare C Jazz Snare 1 Jazz Snare 2 Room Snare 1 Room Snare 2 Dance Snare1 Power Snare1 Rev.Snare Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec. Snare Elec Snare 3 TR-707 SD 808 Snare 1 808 Snare 2 909 Snare 1 909 Snare 2 Rap Snare JungleSD1 House SD House Snare House SD

85St BsDrum2 Crash Cym.1 85St Snare2 Ride Cymbal 85St Snare1 Real Tom 6 Close HiHat2 Real Tom 4 Ride Bell Real Tom 1 Open HiHat2 82StBsDrum1P 82StBsDrum2P 82JzCrsCym1P 82StSnare2P Ride__c P 82St Snare1P Real6_t P 82St ClsHatP Real4_t P Ridbl_c P Real1_t P 82StOpenHatP

---

CajonHi CajonHiFlm CajonLo CajonLoFlm FlmncoHClp1 FlmncoHClp1 BongoCowBell AfHey MamboCowBell MexFVox2 AfFoots MexFVox1 MexMVox1 YodelFVox1 MexMVox2 YodelMVox1 MexMVox3 FlmncoFVox1 YodelFVox2 FlmncoFVox2 NewWhistle1 FlmncoFVox3 NewWhistle2 FlmncoMVox1 FlmncoMVox2 BrazilVox1 FlmncoMVox3 BrazilVox2 BrazilVox3 AfAahhh p33137v p33168v

85St Snare1 Std.1 Snare1 Std.1 Snare2 Std.2 Snare1 Std.2 Snare2 Tight Snare Standard SN1 LD Snare M LD Snare C Jazz Snare 1 Jazz Snare 2 Room Snare 1 Room Snare 2 Dance Snare1 Power Snare1 Rev.Snare Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec. Snare Elec Snare 3 TR-707 SD 808 Snare 1 808 Snare 2 909 Snare 1 909 Snare 2 Rap Snare JungleSD1 House SD House Snare House SD

Dance Snare1 Techno Hit Philly Hit Shock Wave Lo Fi Rave Bam Hit Bim Hit TapeRewind Phono Noise Dance Snare1 Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec. Snare Elec Snare 3 66sn260 TR-707 SD 808 Snare 1 808 Snare 2 TR-808 SD2 909 Snare 1 909 Snare 2 909 SD 1 TR-909 SD2 Rap Snare JungleSD1 House SD House Snare House SD Voice Tah Noise Slap

Rap Snare Techno Hit Philly Hit Shock Wave Lo Fi Rave Bam Hit Bim Hit TapeRewind Phono Noise Dance Snare1 Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec. Snare Elec Snare 3 66sn260 TR-707 SD 808 Snare 1 808 Snare 2 TR-808 SD2 909 Snare 1 909 Snare 2 909 SD 1 TR-909 SD2 Rap Snare JungleSD1 House SD House Snare House SD Voice Tah Noise Slap

PC: 1 [CC32: 4] STANDARD 1

PC: 2 [CC32: 4] STANDARD 2

PC: 3 [CC32: 4] STANDARD L/R

PC: 7 [CC32: 4] V-Pop1

PC: 5 [CC32: 4] V-R&B

PC: 6 [CC32: 4] V-Fiesta

PC: 9 [CC32: 4] ROOM

PC: 10 [CC32: 4] HIP HOP

PC: 11 [CC32: 4] JUNGLE

PC: 12 [CC32: 4] TECHNO

Rap Snare Techno Hit Philly Hit Shock Wave Lo Fi Rave Bam Hit Bim Hit TapeRewind Phono Noise Dance Snare1 Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec. Snare Elec Snare 3 66sn260 TR-707 SD 808 Snare 1 808 Snare 2 TR-808 SD2 909 Snare 1 909 Snare 2 909 SD 1 TR-909 SD2 Rap Snare JungleSD1 House SD House Snare House SD Voice Tah Noise Slap

(C7) (96)

98

100

101

103

105

107

97

99

102

104

106

C8 108

110

112

113

115

117

119

109

111

114

C9G9120

122

124

125

127

121

123

126

116

118

85Rm BsDrum2 Crash Cym.1 82Rm Snare2 Ride Cymbal 82Rm Snare1 Room Tom 5 Room Chh Room Tom 2 Ride Bell Room Tom 2 R8 Ohh2 82RmBsDrum1P 82RmBsDrum2P 82JzCrsCym1P 82RmSnare2 P Ride__c P 82RmSnare1P Room Tom 5 P 82Rm ClsHatP Room Tom 2 P Ridbl_c P Room Tom 2 P 82RmOpenHatP

---

House SD Techno Hit Philly Hit Shock Wave Lo Fi Rave Bam Hit Bim Hit TapeRewind Phono Noise Dance Snare1 Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec. Snare Elec Snare 3 66sn260 TR-707 SD 808 Snare 1 808 Snare 2 TR-808 SD2 909 Snare 1 909 Snare 2 909 SD 1 TR-909 SD2 Rap Snare JungleSD1 House SD House Snare House SD Voice Tah Noise Slap

--Std.1 Snare1 Std.1 Snare2 Std.2 Snare1 Std.2 Snare2 Tight Snare Standard SN1 LD Snare M LD Snare C Jazz Snare 1 Jazz Snare 2 Room Snare 1 Room Snare 2 Dance Snare1 Power Snare1 Rev.Snare Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec. Snare Elec Snare 3 TR-707 SD 808 Snare 1 808 Snare 2 909 Snare 1 909 Snare 2 Rap Snare JungleSD1 House SD House Snare House SD

CajonHi CajonHiFlm CajonLo CajonLoFlm FlmncoHClp1 FlmncoHClp1 BongoCowBell AfHey MamboCowBell MexFVox2 AfFoots MexFVox1 MexMVox1 YodelFVox1 MexMVox2 YodelMVox1 MexMVox3 FlmncoFVox1 YodelFVox2 FlmncoFVox2 NewWhistle1 FlmncoFVox3 NewWhistle2 FlmncoMVox1 FlmncoMVox2 BrazilVox1 FlmncoMVox3 BrazilVox2 BrazilVox3 AfAahhh p33137v p33168v

--Techno Hit Philly Hit Shock Wave Lo Fi Rave Bam Hit Bim Hit TapeRewind Phono Noise Dance Snare1 Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec. Snare Elec Snare 3 66sn260 TR-707 SD 808 Snare 1 808 Snare 2 TR-808 SD2 909 Snare 1 909 Snare 2 909 SD 1 TR-909 SD2 Rap Snare JungleSD1 House SD House Snare House SD Voice Tah Noise Slap

Rap Snare Techno Hit Philly Hit Shock Wave Lo Fi Rave Bam Hit Bim Hit TapeRewind Phono Noise Dance Snare1 Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec. Snare Elec Snare 3 66sn260 TR-707 SD 808 Snare 1 808 Snare 2 TR-808 SD2 909 Snare 1 909 Snare 2 909 SD 1 TR-909 SD2 Rap Snare JungleSD1 House SD House Snare House SD Voice Tah Noise Slap

--Techno Hit Philly Hit Shock Wave Lo Fi Rave Bam Hit Bim Hit TapeRewind Phono Noise Dance Snare1 Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec. Snare Elec Snare 3 66sn260 TR-707 SD 808 Snare 1 808 Snare 2 TR-808 SD2 909 Snare 1 909 Snare 2 909 SD 1 TR-909 SD2 Rap Snare JungleSD1 House SD House Snare House SD Voice Tah Noise Slap

PC: 13 [CC32: 4] ROOM L/R

PC: 14 [CC32: 4] HOUSE

PC: 17 [CC32: 4] POWER

PC: 20 [CC32: 4] V-Rock1

PC: 19 [CC32: 4] V-Rock2

PC: 25 [CC32: 4] ELECTRONIC

PC: 26 [CC32: 4] TR-808

PC: 27 [CC32: 4] DANCE

PC: 28 [CC32: 4] CR-78

PC: 29 [CC32: 4] TR-606

--Techno Hit Philly Hit Shock Wave Lo Fi Rave Bam Hit Bim Hit TapeRewind Phono Noise Dance Snare1 Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec. Snare Elec Snare 3 66sn260 TR-707 SD 808 Snare 1 808 Snare 2 TR-808 SD2 909 Snare 1 909 Snare 2 909 SD 1 TR-909 SD2 Rap Snare JungleSD1 House SD House Snare House SD Voice Tah Noise Slap

r

Drum Sets

87

VIMA JM-5

Drum Sets

C–1 0

C0 12

C1 24

C2 36

C3 48

C4 60

C5 72

C6 84

C7 96

PC: 30 [CC32: 4] TR-707

Elec Kick 2 Elec Kick 1

1

CR78 BD 1

2

3

CR78 BD 2

4

TR-606 BD1 TR-707 BD

5

808 Kick

6

TR-808 Kick

7

8

808 BD

9

TR-909 Kick

10

Dance Kick 2

11

909 Comp BD TR-909 BD2 HipHop BD2

13

JungleBD Set

14

15

Techno BD1

16

Bounce Voice One

17

Voice Two

18

Voice Three

19

20

---

21

---

22

MC-500 Beep

23

MC-500 Beep Concert Snr Snare Roll

25

FingerSnaps2

26

27

High-Q

28

Slap Scrtch Push2

29

Scrtch Pull2

30

Sticks

31

32

SquareClick

33

Mtrnm.Click

34

Mtrnm. Bell

35

TR-707 BD 2 TR-707 BD TR-707 Rim

37

TR-707 SD

38

39

707 Claps

40

TR-707 SD 2 TR-707 Tom

41

TR-707 HH-c

42

TR-707 Tom

43

44

TR-707 HH-c

45

TR-707 Tom

46

TR-707 OHH

47

TR-707 Tom TR-707 Tom 909 Crash

49

TR-707 Tom

50

51

909 Ride Cym

52

ChinaCymbal Ride Bell

53

344Tambourn

54

Splash Cym.

55

56

808cowbe

57

Crash Cym.2

58

Vibraslap

59

RideCym Edge Bongo High Bongo Lo

61

Mute H.Conga

62

63

Conga Hi Opn

64

Conga Lo Opn High Timbale

65

Low Timbale

66

Agogo

67

68

Agogo

69

Cabasa

70

808marac

71

ShrtWhistle LongWhistle Short Guiro

73

Long Guiro

74

75

Claves

76

Woodblock Woodblock

77

Hoo

78

Hoo

79

80

MuteTriangl

81

OpenTriangl

82

626 Shaker

83

Jingle Bell Bell Tree Castanets

85

Mute Surdo

86

87

Open Surdo

88

Small Club

---

89

---

90

---

91

92

---

93

---

94

---

95

---

PC: 31 [CC32: 4] TR-909

Elec Kick 2 Elec Kick 1 CR78 BD 1 CR78 BD 2 TR-606 BD1 TR-707 BD 808 Kick TR-808 Kick 808 BD TR-909 Kick Dance Kick 2 909 Comp BD TR-909 BD2 HipHop BD2 JungleBD Set Techno BD1 Bounce Voice One Voice Two Voice Three

---

--MC-500 Beep MC-500 Beep Concert Snr Snare Roll FingerSnaps2 High-Q Slap Scrtch Push2 Scrtch Pull2 Sticks SquareClick Mtrnm.Click Mtrnm. Bell Techno BD2 TR-909 BD2 TR-909 Rim 909 SD 1 909 HandClap TR-909 SD2 909 Tom TR-707 HH-c 909 Tom TR-707 HH-c 909 Tom 909 OH 909 Tom 909 Tom 909 Crash 909 Tom 909 Ride Cym ChinaCymbal Ride Bell 344Tambourn Splash Cym. 808cowbe Crash Cym.2 Vibraslap RideCym Edge Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa 808marac ShrtWhistle LongWhistle Short Guiro CR78 Guiro 808clave Woodblock Woodblock Hoo Hoo MuteTriangl OpenTriangl 626 Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Applause 2

---

PC: 33 [CC32: 4] JAZZ

Std.1 Kick1 Std.1 Kick2 Std.2 Kick1 Std2 Kick2 Kick 1 Kick 2 Jazz Kick 1 Jazz Kick 2 Room Kick 1 Room Kick 2 Power Kick1 Power Kick2 Elec Kick 2 Elec Kick 1 TR-808 Kick TR-909 Kick Dance Kick 2 Voice One Voice Two Voice Three 82Br BsDrum1 82Br BsDrum2 MC-500 Beep MC-500 Beep Concert Snr Snare Roll Finger Snap High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.Click Mtrnm. Bell 82Jz BsDrum1 82Jz BsDrum2 Side Stick 82Jz Snare1 Hand clap2 82Jz Snare2 Real Tom 6 Jazz Clsd.HH Real Tom 6 Pedal HiHat Real Tom 4 Jazz Open HH Real Tom 4 Real Tom 1 Crash Cym.1 Real Tom 1 Ride Cym IN ChinaCymbal Ride Bell Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap RideCym Edge Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa Maracas ShrtWhistle LongWhistle Short Guiro Long Guiro Claves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Applause

---

PC: 34 [CC32: 4] JAZZ L/R

---

--Voice One Voice Two Voice Three

---

--MC-500 Beep MC-500 Beep Concert Snr Snare Roll Finger Snap High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.Click Mtrnm. Bell 82Jz BsDrum1 82Jz BsDrum2 Side Stick 82Jz Snare1 Hand clap2 82Jz Snare2 Real Tom 6 82JzClsHatB Real Tom 6 Pedal HiHat Real Tom 4 82JzOpenHatB Real Tom 4 Real Tom 1 Crash1c B Real Tom 1 Ride_i B ChinaCymbal Ridbl_c B Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap RideCym Edge Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa Maracas ShrtWhistle LongWhistle Short Guiro Long Guiro Claves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Applause

---

--82Jz BsDrum1 82Jz BsDrum2

PC: 41 [CC32: 4] BRUSH

Std.1 Kick1 Std.1 Kick2 Std.2 Kick1 Std2 Kick2 Kick 1 Kick 2 Jazz Kick 1 Jazz Kick 2 Room Kick 1 Room Kick 2 Power Kick1 Power Kick2 Elec Kick 2 Elec Kick 1 TR-808 Kick TR-909 Kick Dance Kick 2 Voice One Voice Two Voice Three

---

--MC-500 Beep MC-500 Beep Concert Snr Snare Roll Finger Snap High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.Click Mtrnm. Bell Jazz Kick 2 Jazz Kick 1 Side Stick Brush Swirl Brush Slap1 Brush Swirl Lite Tom 4 Brs Chh Lite Tom 4 Pedal HiHat Lite Tom 4 Brush Ohh Lite Tom 4 Lite Tom 4 Brush Crash Lite Tom 4 Ride Cym IN ChinaCymbal Brush RideBL Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap RideCym Edge Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa Maracas ShrtWhistle LongWhistle Short Guiro Long Guiro Claves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Applause

---

PC: 42 [CC32: 4] BRUSH 2

Std.1 Kick1 Std.1 Kick2 Std.2 Kick1 Std2 Kick2 Kick 1 Kick 2 Jazz Kick 1 Jazz Kick 2 Room Kick 1 Room Kick 2 Power Kick1 Power Kick2 Elec Kick 2 Elec Kick 1 TR-808 Kick TR-909 Kick Dance Kick 2 Voice One Voice Two Voice Three 82Jz BsDrum1 82Jz BsDrum2 MC-500 Beep MC-500 Beep Concert Snr Snare Roll Finger Snap High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.Click Mtrnm. Bell 82Br BsDrum1 82Br BsDrum2 Side Stick 82Br Snare1 82Br Snare2 Brush Swirl Lite Tom 4 Brs Chh Lite Tom 4 Pedal HiHat Lite Tom 4 Brush Ohh Lite Tom 4 Lite Tom 4 Brush Crash Lite Tom 4 Ride Cym IN ChinaCymbal Brush RideBL Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap RideCym Edge Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa Maracas ShrtWhistle LongWhistle Short Guiro Long Guiro Claves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Applause

---

PC: 43 [CC32: 4] BRUSH 2 L/R

---

--Voice One Voice Two Voice Three

---

--MC-500 Beep MC-500 Beep Concert Snr Snare Roll Finger Snap High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.Click Mtrnm. Bell 82Br BsDrum1 82Br BsDrum2 Side Stick 82Br Snare1 82Br Snare2 Brush Swirl Lite Tom 4 82BrClsHatB Lite Tom 4 Pedal HiHat Lite Tom 4 82BrOpenHatB Lite Tom 4 Lite Tom 4 82BrCrsCym1B Lite Tom 4 82BrRdCymB ChinaCymbal 82BrRdBellB Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap RideCym Edge Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa Maracas ShrtWhistle LongWhistle Short Guiro Long Guiro Claves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Applause

---

--82Br BsDrum1 82Br BsDrum2

PC: 44 [CC32: 4] V-JazzBrush

HipHop BD1 Jazz Kick 1 Mex_Kik36 85Rm BsDrum1 85Rm BsDrum2 HipHop BD2 Techno BD1 JungleBD Set HipHop BD1 909 Comp BD 85St BsDrum1 NewJzKik NewRockKik Cymbal Roll NewRkCStk_2 82Rm Snare1 82Rm Snare2 85St Snare1 85St Snare2 NewJzSn2 NewJzSn1 NewR&BSn IPopSn38_2 IPopSn40_2 IPopSn38_2 IPopGstS39_2 IPopSn38_2 FingerSnaps2 909 HandClap 808clap Hand clap2 909 HandClap NewJzHatPdl GospelHClp1 IPopSRll30_1 NewJzKik NewJzKik NewJzSW1 NewJzSn1 NewJzSW2 NewJzSn2 NewJzTomLoFl NewJzHat1 NewJzTomLo NewJzHat2 NewJzTomMFl NewJzHat3 NewRkTomMid NewJzTomHiFl NewJzCrCym1 NewJzTomHi NewJzRide1 NewJzCrCym2 NewJzRide2 Tambourine Splash Cym. ChaChaCBell NewJzCrCym1 Vibraslap NewRkRdCym1 NewHiBongo NewLoBongo NewCongaSlp NewCongaOp NewLoConga NewTmblHi NewTmblLo Agogo Agogo NewShaker2 NewShaker1 ShrtWhistle LongWhistle NewQuide1 NewQuide2 NewClaves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Cana NewTmblHiFlm NewTmblLoFlm NewTmblPHS NewShekere1 NewShekere2 NHBngoMute NewLBngoMute CajonHi

PC: 49 [CC32: 4] ORCHESTRA

Std.1 Kick1 Std.1 Kick2 Std.2 Kick1 Std2 Kick2 Kick 1 Kick 2 Jazz Kick 1 Jazz Kick 2 Room Kick 1 Room Kick 2 Power Kick1 Power Kick2 Elec Kick 2 Elec Kick 1 TR-808 Kick TR-909 Kick Dance Kick 2 Voice One Voice Two Voice Three

---

--MC-500 Beep MC-500 Beep Concert Snr Snare Roll Finger Snap Jazz Clsd.HH Pedal HiHat Jazz Open HH Ride Cymbal Sticks SquareClick Mtrnm.Click Mtrnm. Bell Jazz Kick 1 Concert BD Side Stick Concert Snr Castanets Concert Snr Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Tambourine Splash Cym. Cowbell Con.Cymbal2 Vibraslap Concert Cym. Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa Maracas ShrtWhistle LongWhistle Short Guiro Long Guiro Claves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Applause

---

PC: 50 [CC32: 4] ETHNIC

---

--Finger Snap Tambourine Castanets Crash Cym.1 Snare Roll Concert Snr Concert Cym Concert BD Jingle Bell Bell Tree Bar Chimes Wadaiko Wadaiko Rim Shimedaiko Atarigane Hyoushigi Ohkawa H kotsuzumi L Kotsuzumi Ban_Gu Big Gong Small Gong Bend Gong RAMA Cymbal RAMA Cymbal Gamelan Gong Udo_Short Udo_Long Udo_slap Bendir Req_Dum Req_tik Tabla_Te Tabla_Na Tabla_Tun Tabla_Ge Tabla Ge Hi Talking Drum Bend tlk_drm Caxixi DJembe Djembe_rim Low Timbale Timbl Paila High Timbale Cowbell Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga MtLow Conga Slap Conga Lo Opn Conga Slide Mut Pandiero Opn Pandiero Open Surdo Mute Surdo Tamborim Agogo Agogo Shaker Low Whistle Low Whistle Mute Cuica Open Cuica MuteTriangl OpenTriangl Short Guiro Long Guiro Cabasa Up Cabasa Down

r

88

VIMA JM-5

C2 36

38

40

41

43

45

47

37

39

42

44

46

C3 48

50

52

53

55

57

59

49

51

54

56

58

C4 60

62

64

65

67

69

71

61

63

66

68

70

C5 72

74

76

77

79

81

83

73

75

78

80

82

C6 84

C7 96

86

88

89

91

93

95

85

87

90

92

94

C0 12

14

16

17

19

21

23

13

15

18

20

22

C–1 0

2

4

5

7

9

11

1

3

6

8

10

C1 24

26

28

29

31

33

35

25

27

30

32

34

PC: 51 [CC32: 4] KICK & SNARE

---

--CR78 BD 1 CR78 BD 2 TR-606 BD1 TR-707 BD 808 BD 909 Comp BD TR-909 BD2 HipHop BD2 HipHop BD1 Jungle BD2 JungleBD Set Techno BD2 Techno BD1 Mix Kick Standard KK1 Std.1 Kick1 Std.1 Kick2 Std.2 Kick1 Std2 Kick2 Kick 1 Kick 2 Soft Kick Jazz Kick 1 Jazz Kick 2 Concert BD Room Kick 1 Room Kick 2 Power Kick1 Power Kick2 Elec Kick 2 Elec Kick 1 Elec. Kick TR-808 Kick TR-909 Kick Dance Kick 2 Std.1 Snare1 Std.1 Snare2 Std.2 Snare1 Std.2 Snare2 Tight Snare Concert Snr Jazz Snare 1 Jazz Snare 2 Room Snare 1 Room Snare 2 Dance Snare1 Power Snare1 Rev.Snare Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 House Snare Elec. Snare Elec Snare 3 808 Snare 1 808 Snare 2 909 Snare 1 909 Snare 2 Brush Swirl Brush Tap Brush Slap1 Brush Slap2 Brush Slap Brush Swirl Brush Swirl Long Swirl Standard SN1 LD Snare M LD Snare C Rap Snare HipHop SD2

PC: 52 [CC32: 4] KICK&SNARE 2

---

--CR78 BD 1 CR78 BD 2 TR-606 BD1 TR-707 BD 808 BD 909 Comp BD TR-909 BD2 HipHop BD2 HipHop BD1 Jungle BD2 JungleBD Set Techno BD2 Techno BD1 Mix Kick Standard KK1 85St BsDrum1 85St BsDrum2 82Br BsDrum1 82Br BsDrum2 82Jz BsDrum1 82Jz BsDrum2 TR-909 BD2 909 Comp BD ConcertBD Mt Concert BD 85Rm BsDrum1 85Rm BsDrum2 HipHop BD1 Std2 Kick2 Jngl BD Roll TR-909 BD2 Techno BD2 Techno BD1 HipHop BD2 TR-909 BD2 85St Snare2 85St Snare1 Std.2 Snare1 Std.2 Snare2 Tight Snare Concert Snr 82Jz Snare1 82Jz Snare2 82Rm Snare2 82Rm Snare1 Rap Snare House SD Rev.Snare Power Snare2 Elec Snare 1 Dance Snare1 Rap Snare Dance Snare1 66sn260 909 SD 1 Elec Snare 2 Power Snare1 House SD Jngl SD Roll Brush Swirl Brush Tap 82Br Snare1 82Br Snare2 Brush Slap Brush Swirl Brush Swirl Long Swirl Standard SN1 LD Snare M LD Snare C Rap Snare HipHop SD2

PC: 53 [CC32: 4] ASIA

---

--Gamelan Gong Gamelan Gong Gamelan Gong Gamelan Gong Gamelan Gong Gamelan Gong Gamelan Gong Gamelan Gong Gamelan Gong Gamelan Gong Gender Gender Gender Gender Gender Bonang Bonang Bonang Bonang Bonang RAMA Cymbal RAMA Cymbal Sagat R Sagat L-c Jaw Harp Wow Wadaiko Wadaiko Rim Taiko Shimedaiko Atarigane Hyoushigi Ohkawa H kotsuzumi L Kotsuzumi Yyoo Dude Buk_f Buk_r Gengari_p Gengari_m Gengari_f Gengari_m Gengari S Jang-Gu_c Jang-Gu_k Jang-Gu_r Jing_p Jing_f Jing_m Asian Gong 1 Big Gong Small Gong Pai Ban Ban_Gu tangu60 tanmt60 Bend Gong L Bend Gong Huyin Luo L hynlo60 Huyin Luo Mt Hu yin Luo H Hynlo mute naobo60 xaobo60 Dholak 1 Dholak 2

---

PC: 54 [CC32: 4] CYMBAL&CLAPS

---

--rev.lvohh Rev. LVCHH 1 Rev. LVCHH 2 Jungle HH Close HiHat Jazz Clsd.HH Room Chh Close HiHat1 Close HiHat2 TR-707 HH-c 606 CH 808__chh TR-808 CHH CR-78 chh GS Pedal HH Pedal HiHat Pedal HiHat2 Half OpenHH1 Half OpenHH2 Open Hi Hat Jazz Open HH R8 Ohh2 Open HiHat2 909 OH TR-707 OHH 606 HiHat Op 808__ohh TR-808 OHH CR-78 ohh Crash Cym.1 Crash Cym.2 GS Crash Brush Crash Hard Crash 909 Crash 808 Crash Crash Mute 1 Crash Mute 2 ReverseCymbl Rev.Cymbal2 Reverse Cym. rev.tra_crsm Crash Cym.1 Splash Cym. Ride Bell Brush RideBL Ride Cymbal Ride Cymbal Brush Ride Ride Cym IN Ride Cym IN Ride Cym IN RideCym Edge RideCym Edge RideCym Edge 606 Ride Cym TR808 Ride ChinaCymbal Chaina Cym2 Hand Clap Hand clap2 808clap 909 HandClap HC2 Claps 2 707 Claps

PC: 55 [CC32: 4] GAMELAN 1

---

--KendangWadon KendangWadon Bebarongan Pelegongan Kelontuk Kelontuk Mt Kelontuk Sid Gong Wadon Gong Lanang Ceng Ceng Kopyak Op Kopyak Mt Kajar Kempur Jegogan Jegogan33up Jegogan33dw Jegogan33dw Jegogan Jublag Jublag33up Jublag33dw Jublag33dw Jublag Penyacah33dw Penyacah Penyacah Penyacah33up Penyacah33dw Penyacah33dw Penyacah Pemade33up Pemade33dw Pemade33dw Pemade Pemade Pemade33up Pemade33dw Pemade33dw Pemade Pemade33up Reyong33dw Reyong33dw Reyoung Reyoung Reyong33up Reyong33dw Reyong33dw Reyoung Reyoung Reyong33up Reyong33dw Reyong33dw

---

PC: 56 [CC32: 4] GAMELAN 2

---

--KendangWadon KendangWadon Bebarongan Pelegongan Kelontuk Kelontuk Mt Kelontuk Sid Gong Wadon Gong Lanang Ceng Ceng Kopyak Op Kopyak Mt Kajar Kempur Jegogan Jegogan40up Jegogan20dw Jegogan20up Jegogan40up Jublag Jublag40up Jublag20dw Jublag20up Jublag40up Penyacah20up Penyacah40up Penyacah Penyacah40up Penyacah20dw Penyacah20up Penyacah40up Pemade40up Pemade20dw Pemade20up Pemade20up Pemade Pemade40up Pemade20dw Pemade20up Pemade20up Pemade Reyong20dw Reyong20up Reyong20up Reyoung Reyong40up Reyong20dw Reyong20up Reyong40up Reyoung Reyong40up Reyong20dw Reyong20up

---

PC: 57 [CC32: 4] SFX

---

--MC-500 Beep MC-500 Beep ytwn3.xtp ytwn2.xtp Guitar Slap Chord Stroke Chord Stroke Biwa 3 Phono Noise TapeRewind Scrtch Push2 Scrtch Pull2 Gt.CutNoise2 Gt.CutNoise2 Dist.CutNoiz Dist.CutNoiz Bass Slide Pick Scrape High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.Click Mtrnm. Bell Gt.FretNoiz Gt.CutNoise Gt.CutNoise String Slap Fl.KeyClick Laughing Screaming Punch Heart Beat Footsteps Footsteps Applause Creaking Door Scratch Wind Chimes Car-Engine Car-Stop Car-Pass Car-Crash Siren Train Jetplane Helicopter Starship Gun Shot Machine Gun Lasergun Explosion Dog HorseGallop Bird Rain Thunder Wind Seashore Stream Bubble Kitty Bird 2 Growl Applause 2 Telephone 1 Telephone 2 Small Club Small Club 2 ApplauseWave Eruption Big Shot Perc. Bang

PC: 58 [CC32: 4] RHYTHM FX

---

--Rev.Kick 1 Rev.ConBD Rev.PowerK1 Rev.Elec.K1 Rev.Snare 1 Rev.Snare 2 Rev.Std1SD1 Rev.TightSD Rev.DanceSD Rev.808SD Rev.Tom 1 Rev.Tom 2 Rev.Sticks Rev.Slap ReverseCymbl Rev.Cymbal2 Rev.Open HH Rev.RideCym. Rev.CR-78OHH Rev.Clsd.HH Rev.BendGong Rev.Belltree Rev.Guiro Rev.Bendir Rev.GunShot Rev.Scratch Rev.Lasergun Click Tekno Thip Pop Drop Wood Slap Dist.Kick Syn.Drops Rev.Hi-Q ShrtWhistle Ice Block Digi Tambrn. Alias Mod.Bell Tambourine Metalic Perc Velo FX Noiz St.NoiseClap Swish Noise Slap Voice 1 Voice Au Hoo Tape Stop 1 Tape Stop 2 Missile Space Birds FlyingMonstr

---

PC: 59 [CC32: 4] RHYTHM FX 2

---

--rev.707bd rev.909bd2 rev.hphp_bd1 rev.jgl_bd2 rev.tech_bd2 rev.606sn2 rev.cr78sd1 rev.cr78sd2 rev.jgl_sd2 rev.tech_sd2 rev.707sd rev.606sn1 rev.909sd1 rev.hphp_sd2 rev.jgl_sd1 Rev House SD Rev. LVCHH 1 rev.606htcl rev.707chh rev.808chh rev.jgl_hh rev.344tmb2 rev.344tmb3 rev.808ohh rev.707ohh rev.lvohh rev.606cym Rev. HynLuo rev.707fx Voice One rev.one Voice Two rev.two Voice Three rev.three Voice Tah rev.tah Voice 1 Voice Au Voice Whey Frog Vpoce rev.yyooh Douby rev.douby Baert Baert Bounce rev.bounce Dist Knock ytwn3.xtp xxx Noise Attack SpaceWorms Emergency! Calculating SawLFOSaw

---

PC: 60 [CC32: 4] RHYTHM FX 3

---

--R Bs Mute NZ R Bs StQuail R Bs Atk NZ R ClnGtCutUp R ClnGtCutDn R ClnGtrMtUp R ClnGtrMtDn R DstGtCutUp R DstGtCutDn R DstGtrSgdn R DstGtrMute R SlGtrSdNz1 R SlGtrSdNz2 R SlGtrSdNz3 R SlGtrSdNz4 R SlGtrStkSD R SlGtrStkU1 R SlGtrStkD1 R SlGtrStkU2 R SlGtrStkD2 R Tbone NZ R Tpet NZ R St BsDrum1 R St BsDrum2 R Rm BsDrum1 R Rm BsDrum2 R Jz BsDrum1 R Jz BsDrum2 R Br BsDrum1 R Br BsDrum2 rev.hphp_bd1 rev.707bd rev.jgl_bd2 rev.707bd Rev.Kick 1 rev.909bd2 rev.hphp_bd1 rev.909bd2 rev.tech_bd2 R St Snare2 R St Snare1 R Rm Snare2 R Rm Snare1 R Jz Snare1 R Jz Snare2 R Br Snare1 R Br Snare2 R Br Snare1 Rev.Snare 1 R St Snare2 rev.606sn2 R Rm Snare2 Rev House SD rev.hphp_sd2 rev.606sn1 rev.hphp_sd2 R Jz Snare2 Rev.Snare 1 Rev.808SD Rev House SD Rev.Hi-Q Rev.DanceSD Rev.Tom 1 Rev.Tom 1 Rev.Tom 1 R 606 Tom R Jngl Crash Rev. LVCHH 1 Rev. LVCHH 1 Rev.CR-78OHH Rev. LVCHH 1 R Stab! 1 R Bounce R St Snare2 R Br Snare1 rev.hphp_sd2 Shaker Rev.Slap R Clap Hit R Boeeeen

r

Drum Sets

89

VIMA JM-5

Drum Sets

(C7) (96)

98

100

101

103

105

107

C8 108

110

112

113

115

117

119

C9G9120

122

124

125

127

97

99

102

104

106

109

111

114

116

118

121

123

126

PC: 30 [CC32: 4] TR-707

--Techno Hit Philly Hit Shock Wave Lo Fi Rave Bam Hit Bim Hit TapeRewind Phono Noise Dance Snare1 Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec. Snare Elec Snare 3 66sn260 TR-707 SD 808 Snare 1 808 Snare 2 TR-808 SD2 909 Snare 1 909 Snare 2 909 SD 1 TR-909 SD2 Rap Snare JungleSD1 House SD House Snare House SD Voice Tah Noise Slap

PC: 31 [CC32: 4] TR-909

--Techno Hit Philly Hit Shock Wave Lo Fi Rave Bam Hit Bim Hit TapeRewind Phono Noise Dance Snare1 Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec. Snare Elec Snare 3 66sn260 TR-707 SD 808 Snare 1 808 Snare 2 TR-808 SD2 909 Snare 1 909 Snare 2 909 SD 1 TR-909 SD2 Rap Snare JungleSD1 House SD House Snare House SD Voice Tah Noise Slap

PC: 33 [CC32: 4] JAZZ

---

--82Br Snare1 82Br Snare2 Brush Swirl Brush Tap Brush Slap1 Brush Slap2 Brush Slap Brush Swirl Brush Swirl Long Swirl Jazz Snare 1 Jazz Snare 2 Std.1 Snare1 Std.1 Snare2 Std.2 Snare1 Std.2 Snare2 Tight Snare Standard SN1 LD Snare M LD Snare C Room Snare 1 Room Snare 2 Dance Snare1 Power Snare1 Rev.Snare Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec Snare 3

PC: 34 [CC32: 4] JAZZ L/R

82Jz BsDrum2 Crash Cym.1 82Jz Snare1 Ride Cym IN 82Jz Snare2 Real Tom 6 Jazz Clsd.HH Real Tom 4 Ride Bell Real Tom 1 Jazz Open HH 82JzBsDrum1P 82JzBsDrum2P 82JzCrsCym1P 82Jz Snare1P Ride_i P 82Jz Snare2P Real6_t P 82Jz ClsHatP Real4_t P Ridbl_c P Real1_t P 82JzOpenHatP

---

PC: 41 [CC32: 4] BRUSH

---

--Brush Swirl Brush Tap Brush Slap1 Brush Slap2 Brush Slap Brush Swirl Brush Swirl Long Swirl Jazz Snare 1 Jazz Snare 2 Std.1 Snare1 Std.1 Snare2 Std.2 Snare1 Std.2 Snare2 Tight Snare Standard SN1 LD Snare M LD Snare C Room Snare 1 Room Snare 2 Dance Snare1 Power Snare1 Rev.Snare Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec Snare 3

PC: 42 [CC32: 4] BRUSH 2

---

--82Jz Snare1 82Jz Snare2 Brush Swirl Brush Tap Brush Slap1 Brush Slap2 Brush Slap Brush Swirl Brush Swirl Long Swirl Jazz Snare 1 Jazz Snare 2 Std.1 Snare1 Std.1 Snare2 Std.2 Snare1 Std.2 Snare2 Tight Snare Standard SN1 LD Snare M LD Snare C Room Snare 1 Room Snare 2 Dance Snare1 Power Snare1 Rev.Snare Power Snare2 Elec Snare 1 Dance Snare2 Elec Snare 2 Elec Snare 3

PC: 43 [CC32: 4] BRUSH 2 L/R

82Br BsDrum2 Brush Crash 82Br Snare1 Ride Cym IN 82Br Snare2 Lite Tom 4 Brs Chh Lite Tom 4 Brush RideBL Lite Tom 4 Brush Ohh 82BrBsDrum1P 82BrBsDrum2P 82BrCrsCym1P 82Br Snare1P 82Br RdCym P 82Br Snare2P Lite4_t P 82BrClsHat P Lite4_t P 82Br RdBellP Lite4_t P 82BrOpenHatP

---

PC: 44 [CC32: 4] V-JazzBrush

CajonHi CajonHiFlm CajonLo CajonLoFlm FlmncoHClp1 FlmncoHClp1 BongoCowBell AfHey MamboCowBell MexFVox2 AfFoots MexFVox1 MexMVox1 YodelFVox1 MexMVox2 YodelMVox1 MexMVox3 FlmncoFVox1 YodelFVox2 FlmncoFVox2 NewWhistle1 FlmncoFVox3 NewWhistle2 FlmncoMVox1 FlmncoMVox2 BrazilVox1 FlmncoMVox3 BrazilVox2 BrazilVox3 AfAahhh p33137v p33168v

PC: 49 [CC32: 4] ORCHESTRA

--Applause 2 Small Club Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani

---

PC: 50 [CC32: 4] ETHNIC

Cabasa Down Claves Woodblock Woodblock

---

(C7) (96)

98

100

101

103

105

107

C8 108

110

112

113

115

117

119

C9G9120

122

124

125

127

97

99

102

104

106

109

111

114

116

118

121

123

126

PC: 51 [CC32: 4] KICK & SNARE

HipHop SD2 JungleSD1 Jungle SD2 Slap MG_Blip House SD CR78 SD 1 CR78 SD 2 66sn160 66sn260 TR-707 SD TR-707 SD 2 TR-707 SD 3 TR-808 SD2 909 SD 1 TR-909 SD2

---

PC: 52 [CC32: 4] KICK & SNARE 2

HipHop SD2 JungleSD1 Jungle SD2 Slap MG_Blip House SD CR78 SD 1 CR78 SD 2 66sn160 66sn260 TR-707 SD TR-707 SD 2 TR-707 SD 3 TR-808 SD2 909 SD 1 TR-909 SD2

---

PC: 53 [CC32: 4] ASIA

---

PC: 54 [CC32: 4] CYMBAL&CLAPS

707 Claps

---

PC: 55 [CC32: 4] GAMELAN 1

---

PC: 56 [CC32: 4] GAMELAN 2

---

PC: 57 [CC32: 4] SFX

Perc. Bang

---

PC: 58 [CC32: 4] RHYTHM FX

---

PC: 59 [CC32: 4] RHYTHM FX 2

---

PC: 60 [CC32: 4] RHYTHM FX 3

R Boeeeen R Bounce R CD Tray R Drill R Glass Stir R Ice Ring R Klnzapcm R Scratch 4 R Scratch 5 R Scratch 6 R Scratch 7 R Seal R Stab! 1 R Stab! 2 R Swrd Boom! R Swrd Cross R Thrill Hit R Audio Sw R Typing 1 R Typing 2 R Typing 3 R Typing 4 R Typing 5 R Typing 6

---

r

90

VIMA JM-5

C2 36

38

40

41

43

45

47

37

39

42

44

46

C3 48

50

52

53

55

57

59

49

51

54

56

58

C4 60

62

64

65

67

69

71

61

63

66

68

70

C5 72

74

76

77

79

81

83

73

75

78

80

82

C6 84

C7 96

86

88

89

91

93

95

85

87

90

92

94

C0 12

14

16

17

19

21

23

13

15

18

20

22

C–1 0

2

4

5

7

9

11

1

3

6

8

10

C1 24

26

28

29

31

33

35

25

27

30

32

34

PC: 61 [CC32: 4] SFX 2

---

--A.Bs.Mute Nz A.Bs.TouchNz A.Bs.AtackNz DstGT.MuteNz StlGt.SldNz1 StlGt.SldNz2 StlGt.SldNz3 StlGt.SldNz4 Gt.StrokeNz1 Gt.StrokeNz2 Gt.StrokeNz3 Gt.StrokeNz4 Gt.StrokeNz5 Open CD Tray Audio Switch Key Typing 1 Key Typing 2 Key Typing 3 Key Typing 4 Key Typing 5 Key Typing 6 BabyLaughing Clap Hit Stab! 1 Stab! 2 Bounce Hit Boeeeen Glass & Glam Ice Ring Crack Bottle Pour Bottle Soda Car Engine 2 Car Horn R.Crossing SL 1 SL 2 Over Blow Sword Boom! Sword Cross Industry Hit Drill Hit Compresser Thrill Hit Explosion 2 Seal Fancy Animal Cricket Baert Frog Vpoce Wind 2 Scratch 3 Scratch 4 Scratch 5 Scratch 6 Scratch 7 Noise Attack Bounce Dist Knock xxx

---

PC: 63 [CC32: 4] CYM&CLAPS 2

---

--Rev. LVCHH 2 Rev. LVCHH 2 Rev. LVCHH 2 Rev. LVCHH 2 Close HiHat2 Jazz Clsd.HH Close HiHat2 Room Chh TR-707 HH-c 606 CH TR-808 CHH CR-78 chh GS Pedal HH Pedal HiHat Pedal HiHat2 Half OpenHH1 Half OpenHH2 Open HiHat2 Open HiHat2 Open Hi Hat Jazz Open HH 909 OH TR-707 OHH 606 HiHat Op TR-808 OHH CR-78 ohh Crash Cym.1 GS Crash Hard Crash Brush Crash Hard Crash 909 Crash Jngl Crash 808 Crash Crash Mute 2 Crash Mute 1 Crash Mute 2 Crash Mute 2 Crash Mute 1 Crash Mute 2 rev.tra_crsm rev.tra_crsm Reverse Cym. rev.tra_crsm Splash Cym. Ride Bell Ride Bell Ride Bell Brush RideBL Ride Cymbal Ride Cymbal Ride Cymbal Brush Ride 606 Ride Cym TR808 Ride ChinaCymbal Chaina Cym2 Hand clap2 HC2 Claps 2 808clap 808clap HC2 Claps 2 909 HandClap HC2 Claps 2 707 Claps

PC: 64 [CC32: 4] V-VoxDrum

HipHop BD1 Jazz Kick 1 p05002v 85Rm BsDrum1 85Rm BsDrum2 HipHop BD2 Techno BD1 JungleBD Set HipHop BD1 909 Comp BD 85St BsDrum1 NewJzKik NewRockKik Cymbal Roll NewRkCStk_2 82Rm Snare1 82Rm Snare2 85St Snare1 85St Snare2 NewJzSn2 NewJzSn1 NewR&BSn NewRockSn2_2 NewRockSn1_2 IPopSn38_2 IPopGstS39_2 IPopSn38_2 FingerSnaps2 909 HandClap 808clap Hand clap2 909 HandClap IPopPHat32 GospelHClp1 p35010v p05006v p33079v p33146v p32011v p43001v p33137v p33168v p33012v p34001v p33014v p33157v p33019v p33164v p33159v p35029v p33158v p43002v cym013v p45002v p36017v p34109v p36019v p44001v p36009v AfAahhh NewHiBongo NewLoBongo NewCongaSlp NewCongaOp NewLoConga NewTmblHi NewTmblLo Agogo Agogo NewShaker2 NewShaker1 ShrtWhistle LongWhistle NewQuide1 NewQuide2 NewClaves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Cana NewTmblHiFlm NewTmblLoFlm NewTmblPHS NewShekere1 NewShekere2 NHBngoMute NewLBngoMute CajonHi

PC: 117 [CC32: 3] Oriental 3

---

--Wadaiko Ohkawa Shimedaiko H kotsuzumi L Kotsuzumi Tabla_Ge Tabla_Na Tabla_Te Tabla_Tun Udo_Long Djembe_rim 909 HandClap Tambourine ChaChaCBell Agogo Agogo NewShaker2 NewShaker1 IPopSn40_1 Elec Snare 2 909 Snare 2 909 Snare 1 Elec Kick 2 TR-909 BD2 Std.2 Kick1 IPopCStk37_1 IPopSn38_1 HandClap1st Hand Clap 21 TR-707 SD Jazz Clsd.HH Real Tom 6 Pedal HiHat Real Tom 4 Jazz Open HH Real Tom 4 IPopTomL43 Crash Cym.1 IPopTomM47 NewRkRdCym1 IPopRd2_55 Dholla Dom Dholla Sak 1 Dholla Sak 2 Dholla Sak 3 Dholla Rim Dholla Raka Dholla Tak 1 Dholla Tak 2 DofDom 1 DofDom 2 DofDom 3 DofTak 1 DofTak 2 DofSak 1 DofRim 1 DofSak 2 DofRim 2 DofSak 3 DofFinger 1 DofFinger 2 Tabla Raka 1 Tabla Tak 1 Tabla Tik 1 Tabla Dom Tabla Sak Tabla Roll Tabla Tak 2 Tabla Raka 2 Tabla Rim 1 Tabla Toks Tabla Rim 2 Tabla Tik 2 Rek Raka Rek Dom Rek Trill Rek Tak 1 Rek Rim Rek Brass 1 Rek Tok Rek Brass 2 Rek Tak 2 Rek Sak Rek Tik Mazhar Dom

PC: 32 [CC32: 4] MultiDrum

IPopCyml2_52 IPopRd1_51 R&B Snare R&B Clap Techno Snare House Snare Jungle Snare Ps Snare 909 Snare 909Snare2 909 Kick 3 House Kick TR-808 Kick 909 Kick 909 Kick2 TR-909 OHHsh TR-909 OHH Ah Ha ShutHa ShutHi One Two Three Four Snare Roll FingerSnaps2 High-Q Slap Scrtch Push2 Scrtch Pull2 Sticks SquareClick Mtrnm.Click Mtrnm. Bell HipHop Kick SimpleKick Side Stick HipHop Snare 707 Claps HipHopSnare2 85St Tom16 HipHopCHH 85St Tom16 HipHopCHH 85St Tom12 HipHopOHH 85St Tom12 85St Tom10 85St CrsCym1 85St Tom10 85St RdCym ChinaCymbal 85St RdBell Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap Ride Cymbal Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa Maracas ShrtWhistle LongWhistle Short Guiro Long Guiro Claves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo ReverseCymbl Hoo Hoo MuteTriangl OpenTriangl MuteTriangl OpenTriangl 808 Tom 2 808 Tom 2

PC: 65 [CC32: 4] Or. R&B

House Kick HipHop Kick TR-808 Kick 909 Kick2 HipHopSnare2 Techno Snare TR-808 SD2 R&B Clap 707 Claps 344Tambourn R&B OHHsh R&B OHH Wadaiko Ohkawa Shimedaiko H kotsuzumi L Kotsuzumi Tabla_Ge Tabla_Na Tabla_Te Tabla_Tun Udo_Long Djembe_rim 909 HandClap Tambourine IPopHat1_42 IPopHat2_44 IPopHat3_46 NewShaker2 NewShaker1 IPopSn40st HipHop Snare Jungle Snare House Snare 808 BD 909 Kick 3 SimpleKick Side Stick R&B Snare HandClap1st Hand Clap 21 909Snare2 R&B CHH IPopKik36 R&B CHH IPopCStk37st R&B OHH IPopTomL43 IPopTomM47 IPopCyml2_52 IPopTomH50 IPopRd1_51 IPopCym1_49 Dholla Dom Dholla Sak 1 Dholla Sak 2 Dholla Sak 3 Dholla Rim Dholla Raka Dholla Tak 1 Dholla Tak 2 DofDom 1 DofDom 2 DofDom 3 DofTak 1 DofTak 2 DofSak 1 DofRim 1 DofSak 2 DofRim 2 DofSak 3 DofFinger 1 DofFinger 2 Tabla Raka 1 Tabla Tak 1 Tabla Tik 1 Tabla Dom Tabla Sak Tabla Roll Tabla Tak 2 Tabla Raka 2 Tabla Rim 1 Tabla Toks Tabla Rim 2 Tabla Tik 2 Rek Raka Rek Dom Rek Trill Rek Tak 1 Rek Rim Rek Brass 1 Rek Tok Rek Brass 2 Rek Tak 2 Rek Sak Rek Tik Mazhar Dom

PC: 66 [CC32: 4] Or. Techno

House Kick HipHop Kick SimpleKick 909 Kick2 HipHopSnare2 Techno Snare R&B Snare R&B Clap 707 Claps 344Tambourn TR-909 OHHsh TR-909 OHH Wadaiko Ohkawa Shimedaiko H kotsuzumi L Kotsuzumi Tabla_Ge Tabla_Na Tabla_Te Tabla_Tun Udo_Long Djembe_rim 909 HandClap Tambourine IPopHat1_42 IPopHat2_44 IPopHat3_46 NewShaker2 NewShaker1 IPopSn40st HipHop Snare Jungle Snare House Snare Techno BD2 TR-909 BD2 909 Kick TR-909 Rim 909 SD 1 HandClap1st Hand Clap 21 TR-909 SD2 TR-707 HH-c IPopKik36 TR-707 HH-c 909 Tom 909 OH 909 Tom 909 Tom 909 Crash 909 Tom 909 Ride Cym ChinaCymbal Dholla Dom Dholla Sak 1 Dholla Sak 2 Dholla Sak 3 Dholla Rim Dholla Raka Dholla Tak 1 Dholla Tak 2 DofDom 1 DofDom 2 DofDom 3 DofTak 1 DofTak 2 DofSak 1 DofRim 1 DofSak 2 DofRim 2 DofSak 3 DofFinger 1 DofFinger 2 Tabla Raka 1 Tabla Tak 1 Tabla Tik 1 Tabla Dom Tabla Sak Tabla Roll Tabla Tak 2 Tabla Raka 2 Tabla Rim 1 Tabla Toks Tabla Rim 2 Tabla Tik 2 Rek Raka Rek Dom Rek Trill Rek Tak 1 Rek Rim Rek Brass 1 Rek Tok Rek Brass 2 Rek Tak 2 Rek Sak Rek Tik Mazhar Dom

PC: 117 [CC32: 4] Oriental 4

---

--TR-707 BD TR-707 BD TR-707 Rim TR-707 SD Hand Clap 2 TR-707 SD Tom TR-707 HH-c Tom TR-707 HH-c Tom TR-707 HH-o Tom Tom TR-707 Crash Tom Ride Cymbal Dholla2 Dom2 Dholla 2 Sak Tambourine Dholla2 Rim1 Cowbell Dholla2 RimC Cabasa Doff 2 Dom 2 Doff2 Sak 1B Low Bongo Doff 2 Sak 2 High Bongo Doff 2 Rim 3 Tabla1 Dom 2 Tabla Roll Tabla 2 Sak Tabla Fx Tabla2 Tak1D Tabla 2 Tik Tabla2 Rim 2 Rek 2 Dom 1B Rek 2 Rim 2 Rek Dom 1 Rek 2 Tak 1 Rek 2 Tak 2C Rek 2 Sak 1 Hager 2 Rek2Khan Cl2 Zir 2 Rek2Khan Op2 Rek 2 Roll Rek 2 Sak 1 Sagat Mid Sagat Hi Sagat Sak Jingle Bell L ZaghroutaSm3 ZaghroutaEd3 TablaNurDom3 Nakrazhan 1 TablaNurRim2 Nakrazhan 2 TablaNurTak3 TR-707 BD Hand Clap 1

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Drum Sets

91

VIMA JM-5

Drum Sets

(C7) (96)

98

100

101

103

105

107

C8 108

110

112

113

115

117

119

C9G9120

122

124

125

127

97

99

102

104

106

109

111

114

116

118

121

123

126

PC: 61 [CC32: 4] SFX 2

---

PC: 63 [CC32: 4] CYM&CLAPS 2

707 Claps

---

PC: 64 [CC32: 4] V-VoxDrum

CajonHi CajonHiFlm CajonLo CajonLoFlm FlmncoHClp1 FlmncoHClp1 BongoCowBell AfHey MamboCowBell MexFVox2 AfFoots MexFVox1 MexMVox1 YodelFVox1 MexMVox2 YodelMVox1 MexMVox3 FlmncoFVox1 YodelFVox2 FlmncoFVox2 NewWhistle1 FlmncoFVox3 NewWhistle2 FlmncoMVox1 FlmncoMVox2 BrazilVox1 FlmncoMVox3 BrazilVox2 BrazilVox3 AfAahhh p33137v p33168v

PC: 117 [CC32: 3] Oriental 3

Mazhar Dom Mazhar Tak Mazhar Sak Mazhar Brass Sagat Mid Sagat Hi Sagat Closed Sagat Sak Dofs Tak Dofs Dom Dofs Sak Dofs Rim 1 Dofs Rim 2 Dofs Dom st. TablaNurDom Dofs Sak st. TablaNurRim TablaNurTak TablaNurSak BassSlideFX BassSlapFX ZaghroutaSm2 Zir 1 ZaghroutaEd2 NewHiBongo NewLoBongo NewCongaSlp NewCongaOp NewLoConga NewTmblHi NewTmblLo Hager 1

PC: 32 [CC32: 4] MultiDrum

808 Tom 2 808 Tom 2 808 Tom 2 808 Tom 2 808 Tom 2 808cowbe 808 Conga 808 Conga 808 Conga Synth Drum 2 Synth Drum 2 Synth Drum 2 Synth Drum 2 Synth Drum 2 Synth Drum 2 R&B OHHsh R&B OHH R&B CHH R&B OHH TR-909 CHH TR-909 OHH 909 Crash IPopKik36 IPopCStk37st IPopSn38st IPopSn40st IPopHat1_42 IPopHat2_44 IPopHat3_46 IPopTomL43 IPopTomM47 IPopTomH50

PC: 65 [CC32: 4] Or. R&B

Mazhar Dom Mazhar Tak Mazhar Sak Mazhar Brass Sagat Mid Sagat Hi Sagat Closed Sagat Sak Dofs Tak Dofs Dom Dofs Sak Dofs Rim 1 Dofs Rim 2 Dofs Dom st. TablaNurDom Dofs Sak st. TablaNurRim TablaNurTak TablaNurSak BassSlideFX BassSlapFX ZaghroutaSm2 Zir 1 ZaghroutaEd2 NewHiBongo NewLoBongo NewCongaSlp NewCongaOp NewLoConga NewTmblHi NewTmblLo Hager 1

PC: 66 [CC32: 4] Or. Techno

Mazhar Dom Mazhar Tak Mazhar Sak Mazhar Brass Sagat Mid Sagat Hi Sagat Closed Sagat Sak Dofs Tak Dofs Dom Dofs Sak Dofs Rim 1 Dofs Rim 2 Dofs Dom st. TablaNurDom Dofs Sak st. TablaNurRim TablaNurTak TablaNurSak BassSlideFX BassSlapFX ZaghroutaSm2 Zir 1 ZaghroutaEd2 NewHiBongo NewLoBongo NewCongaSlp NewCongaOp NewLoConga NewTmblHi NewTmblLo Hager 1

PC: 117 [CC32: 4] Oriental 4

Hand Clap 1

---

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92

24. MFX types and parameters

Note: Most parameter names mentioned below cannot be displayed in full on the JM-5 and are therefore abbreviated.

1. Thru

The effects processor is bypassed.

2. Stereo EQ

This is a four-band stereo equalizer (low, mid x 2, high). Stereo signals (like certain piano sounds) are thus not combined to a mono signal before being processed.

●

EQ Low Frequency (200, 400Hz)—Frequency of the low range

you wish to boost or cut.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low range. Negative

values reduce the level.

●

EQ High Frequency (2000, 4000, 8000Hz)—Frequency of the

high range you wish to boost or cut.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high range. Nega-

tive values reduce the level.

●

EQ Mid 1 Frequency (200~8000Hz)—Frequency of the middle

range 1 you wish to boost or cut. This is a parametric EQ band.

●

EQ Mid 1 Q (0.5, 1.0, 2.0, 4.0, 8.0)—Width of the middle range 1.

Set a higher value for “Q” to narrow the range to be boosted or cut.

●

EQ Mid 2 Gain (–15dB~0~15dB)—Gain of middle range 1.

●

EQ Mid 2 Frequency (200~8000Hz)—Frequency of the middle

range 2 you wish to boost or cut. This is a parametric EQ band.

●

EQ Mid 2 Q (0.5, 1.0, 2.0, 4.0, 8.0)—Width of the middle range 2.

Set a higher value for “Q” to narrow the range to be boosted or cut.

●

EQ Mid 2 Gain (–15dB~0~15dB)—Gain of the middle range 2.

●

Level (0~127)—Output level. Use this parameter to compensate

for exaggerated level differences resulting from the settings you made.

3. Overdrive

Creates a soft distortion similar to that produced by vacuum tube ampliﬁers.

●

Drive (0~127)—Degree of distortion. Also changes the volume.

●

Panpot (L64~0~63R)—Stereo location of the output sound. This

is a mono effect that combines incoming signals. You can, however, place the processed signal anywhere between the left and right channels.

●

Amp Simulator Type—Allows you to specify what kind of guitar

amp will be simulated: SMALL: small amp, BUILT-IN: single-unit type amp, 2-STACK: large double stack amp, 3-STACK: large triple stack amp.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high range.

●

Level (0~127)—Output level. Use this parameter to compensate

for exaggerated level differences resulting from the settings you made.

4. Distortion

Produces a more intense distortion than the above. The parameters are the same as for “3. Overdrive”.

5. Phaser

Adds phase-shifted copy to the original sound and modulates it.

●

Phaser Manual (100~8000Hz)—Adjusts the basic frequency that

is modulated by the effect.

●

Phaser Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Phaser Depth (0~127)—Modulation intensity.

●

Phaser Resonance (0~127)—Amount of feedback. Higher values

create a rather more “synthetic character”.

●

Phaser Mix Level (0~127)—Level of the phase-shifted sound

with respect to the original signal.

VIMA JM-5

●

Panpot (L64~0~63R)—Stereo location of the output sound. This is a mono effect that combines incoming signals. You can, however, place the processed signal anywhere between the left and right channels.

●

Level (0~127)—Output level. Use this parameter to compensate for exaggerated level differences resulting from the settings you made.

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6. Spectrum

Spectrum is a type of ﬁlter that modiﬁes the timbre by boosting or cutting the level at speciﬁc frequencies.

●

Spectrum 250Hz Gain (–15dB~0~15dB)

●

Spectrum 500Hz Gain (–15dB~0~15dB)

●

Spectrum 1000Hz Gain (–15dB~0~15dB)

●

Spectrum 1250Hz Gain (–15dB~0~15dB)

●

Spectrum 2000Hz Gain (–15dB~0~15dB)

●

Spectrum 3150Hz Gain (–15dB~0~15dB)

●

Spectrum 4000Hz Gain (–15dB~0~15dB)

●

Spectrum 8000Hz Gain (–15dB~0~15dB)—Gain of each fre-

quency band.

●

Spectrum Band Width Q (0.5, 1.0, 2.0, 4.0, 8.0)—Simultaneously adjusts the width of the adjusted ranges for all the frequency bands.

●

Panpot (L64~0~63R)—Stereo location of the output sound. This is a mono effect that combines incoming signals. You can, however, place the processed signal anywhere between the left and right channels.

●

Level (0~127)—Output level. Use this parameter to compensate for exaggerated level differences resulting from the settings you made.

7. Enhancer

This effect controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

●

Enhancer Sens (0~127)—Sensitivity of the enhancer.

●

Mix Level (0~127)—Level of the overtones generated by the enhancer.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high range.

●

Level (0~127)—Output level. Use this parameter to compensate for exaggerated level differences resulting from the settings you made.

8. Auto Wah

This effect controls a ﬁlter to create cyclic change in timbre (an automatic wah effect).

●

Auto Wah Filter Type (LPF, BPF)—Type of ﬁlter. LPF: the wah effect is applied over a wide frequency range. BPF: the wah effect is applied over a narrow frequency range.

●

Auto Wah Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Auto Wah Depth (0~127)—Modulation intensity.

●

Auto Wah Sens (0~127)—Adjusts the sensitivity with which the ﬁlter is controlled.

●

Auto Wah Manual (0~127)—Adjusts the center frequency at which the effect is applied.

●

Auto Wah Peak (0~127)—Adjusts the amount of the wah effect that will occur in the range of the center frequency. Set a higher value to narrow the range to be affected.

●

Level (0~127)—Output level. Use this parameter to compensate for exaggerated level differences resulting from the settings you made.

93

VIMA JM-5

MFX types and parameters

9. Rotary

This effect simulates the sound of the rotary speakers often used with the electric organs. Since the movement of the highrange and low-range rotors can be set independently, the unique type of modulation characteristic of these speakers can be simulated quite closely. This effect is most suitable for electric organ sounds (of the

[ORGAN]

bank – the Harmonic Bar sec-

tion has its own Rotary effect).

●

Tw eeter Slow Rate (0.05~10.0Hz)

●

Woofer Slow Rate (0.05~10.0Hz)—Slow speed (SLOW) of the

high- or low-frequency rotor.

●

Tw eeter Fast Rate (0.05~10.0Hz)

●

Woofer Fast Rate (0.05~10.0Hz)—Fast speed (FAST) of the high-

or low-frequency rotor.

●

Rotary Speed (Slow, Fast)—Simultaneously switches the rota-

tional speed of the low-frequency and high-frequency rotors. SLOW: Slows down the rotation to the “Slow Rate”. FAST: Speeds up the rotation to the “Fast Rate”.

●

Tw eeter Acceleration (0~15)

●

Woofer Acceleration (0~15)—Adjusts the time it takes the rotor

in question to reach the newly selected speed (“Fast” or “Slow”). Lower values correspond to slower transitions.

●

Tw eeter Level (0~127)

●

Woofer Level (0~127)—Volume of the rotor in question.

●

Separation (0~127)—Spatial dispersion of the sound.

●

Level (0~127)—Output level.

10. Compressor

Reduces high levels (peaks) and boosts low levels, smoothing out ﬂuctuations in volume.

●

Compressor Sustain (0~127)—Allows you to specify how

strongly incoming signals should be compressed, which results in a longer sustain.

●

Compressor Attack (0~127)—Sets the speed at which compres-

sion starts.

●

Panpot (L64~0~63R)—Stereo location of the output sound. This

is a mono effect that combines incoming signals. You can, however, place the processed signal anywhere between the left and right channels.

●

Compressor Post Gain (0, +6, +12, +18dB)—Adjusts the output

gain. Use this parameter to make up for a signiﬁcant volume loss due to extreme settings.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high range.

●

Level (0~127)—Output level.

11. Limiter

Compresses signals that exceed the speciﬁed level, preventing distortion from occurring. Unlike a compressor, it does not boost the level of weaker signals.

●

Limiter Threshold (0~127)—Adjusts the volume at which com-

pression begins.

●

Limiter Release (0~127)—Allows you to specify how long signal

compression should remain in effect after the signal volume falls below the Threshold value.

●

Limiter Ratio (1.5:1, 2:1, 4:1, 100:1)—Allows you to specify how

strongly volume peaks should be compressed. Choose “100:1” if the Threshold level must never be exceeded (which is a true Limiter function).

●

Panpot (L64~0~63R)—Stereo location of the output sound. This

is a mono effect that combines incoming signals. You can, however, place the processed signal anywhere between the left and right channels.

●

Limiter Post Gain (0, +6, +12, +18dB)—Adjusts the output gain.

Use this parameter to make up for a signiﬁcant volume loss due to extreme settings.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high range.

●

Level (0~127)—Output level.

12. Hexa-Chorus

Uses a six-phase chorus (six layers of chorused sound) to create a dense and spatial effect.

●

Chorus Pre Delay (0.0~100.0ms)—Adjusts the delay between the

incoming direct signal and the moment when the chorus starts working.

●

Chorus Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Chorus Depth (0~127)—Modulation intensity.

●

Chorus Pre Delay Deviation (0~20)—Adjusts the differences in

Pre Delay between each chorus line (there are six of them).

●

Chorus Depth Deviation (-20~0~20)—Adjusts the difference in

modulation depth between each chorus sound.

●

Chorus Pan Deviation (0~20)—Adjusts the distribution of the

various chorus lines in the stereo image.

0: All chorus sounds are in the center. 20: Each chorus sound will be spaced at 60 degree intervals rela-

tive to the center.

●

Balance (D100:0W, D50:50W, D0:100W)—Volume balance

between the direct (D) and the effect sound (W).

●

Level (0~127)—Output level.

13. Trem Chorus

This is a chorus effect with added Tremolo (cyclic modulation of volume).

●

Chorus Pre Delay (0.0~100.0ms)—Adjusts the delay between the

incoming direct signal and the moment when the chorus starts working.

●

Chorus Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Chorus Depth (0~127)—Modulation intensity.

●

Tremolo Rate (0.05~10.0Hz)—Modulation frequency of the

tremolo effect.

●

Tremolo Separation (0~127)—Allows you to set the level of the

tremolo effect with respect to the chorus modulation.

●

Tremolo Phase (0~180 deg)—Spread of the tremolo effect.

●

Balance (D100:0W, D50:50W, D0:100W)—Volume balance

between the direct (D) and the effect sound (W).

●

Level (0~127)—Output level.

14. Space-D

This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus effect.

●

Chorus Pre Delay (0.0~100.0ms)—Adjusts the delay between the

incoming direct signal and the moment when the chorus starts working.

●

Chorus Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Chorus Depth (0~127)—Modulation intensity.

●

Chorus Phase (0~180deg)—Spatial spread of the sound.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high range.

●

Balance (D100:0W, D50:50W, D0:100W)—Volume balance

between the direct (D) and the effect sound (W).

●

Level (0~127)—Output level.

15. St. Chorus

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

●

Filter Type (OFF, LPF, HPF)—Type of ﬁlter. OFF: no ﬁlter is used.

LPF: cuts the frequency range above the Cutoff value. HPF: cuts

the frequency range below the Cutoff value.

●

Cutoff Frequency (200~8000Hz)—Basic frequency of the ﬁlter.

●

Chorus Pre Delay (0.0~100.0ms)—Adjusts the delay between the

incoming direct signal and the moment when the chorus starts working.

●

Chorus Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Chorus Depth (0~127)—Modulation intensity.

●

Chorus Phase (0~180 deg)—Spatial spread of the sound.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high range.

●

Balance (D100:0W, D50:50W, D0:100W)—Volume balance

between the direct (D) and the effect sound (W).

●

Level (0~127)—Output level.

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94

VIMA JM-5

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16. St. Flanger

This is a stereo ﬂanger. It produces a metallic resonance that rises and falls like a jet airplane taking off or landing.

●

Filter Type (OFF, LPF, HPF)—Type of ﬁlter. OFF: no ﬁlter is used.

LPF: cuts the frequency range above the Cutoff value. HPF: cuts the frequency range below the Cutoff value.

●

Cutoff Frequency (200~8000Hz)—Basic frequency of the ﬁlter.

●

Flanger Pre Delay (0.0~100.0ms)—Adjusts the delay time from

when the direct sound begins until the ﬂanger sound is heard.

●

Flanger Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Flanger Depth (0~127)—Modulation intensity.

●

Flanger Phase (0~180 deg)—Spatial spread of the sound.

●

Flanger Feedback (–98%~0~98%)—Adjusts the proportion of

the ﬂanger sound that is fed back into the effect. Negative (–) settings will invert the phase.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high range.

●

Balance (D100:0W, D50:50W, D0:100W)—Volume balance

between the direct (D) and the effect sound (W).

●

Level (0~127)—Output level.

17. Step Flanger

A Step Flanger is a ﬂanger effect with clearly noticeable steps rather than continuous pitch changes.

●

Flanger Pre Delay (0.0~100.0ms)—Adjusts the delay time from

when the direct sound begins until the ﬂanger sound is heard.

●

Flanger Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Flanger Depth (0~127)—Modulation intensity.

●

Flanger Feedback (–98%~0~98%)—Adjusts the proportion of

the ﬂanger sound that is fed back into the effect. Negative (–) settings will invert the phase.

●

Step Rate (0.10~20.0Hz, note)—Rate (period) of pitch change

●

Flanger Phase (0~180deg)—Spatial spread of the sound.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high range.

●

Balance (D100:0W, D50:50W, D0:100W)—Volume balance

between the direct (D) and the effect sound (W).

●

Level (0~127)—Output level.

18. St. Delay

Delay is an effect that allows you repeat the input signal, thus creating echoes (repetition).

●

Delay FBK Mode (Normal, Cross)—Select the way in which delay

sound is fed back into the effect. NORMAL: The left delay sound will be fed back into the left delay and the right delay sound into the right delay. CROSS: The left delay sound will be fed back into the right delay and the right delay sound into the left delay.

●

Delay Left (0.0~500.0ms)—Adjust the time from the direct

sound until when the left delay sound is heard.

●

Delay Right (0.0~500.0ms)—Adjust the time from the direct

sound until when the right delay sound is heard.

●

FBK Phase Left (Normal, Invert)—Select the phase of the left

delay sound. NORMAL: Phase is not changed. INVERT: Phase is inverted.

●

FBK Phase Right (Normal, Invert)—Select the phase of the right

delay sound. NORMAL: Phase is not changed. INVERT: Phase is inverted.

●

Delay Feedback (–98%~0~98%)—Adjusts the amount of the

delay sound that’s fed back into the effect. Negative (–) settings invert the phase.

●

Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency

above which sound fed back to the effect is ﬁltered out. If you don’t want to ﬁlter out any high frequencies, set this parameter to BYPASS.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high range.

●

Balance (D100:0W, D50:50W, D0:100W)—Volume balance

between the direct (D) and the effect sound (W).

●

Level (0~127)—Output level.

19. Mod. Delay

This effect adds modulation to the delayed sound, producing an effect similar to a Flanger.

●

Delay FBK Mode (Normal, Cross)—Select the way in which delay sound is fed back into the effect. NORMAL: The left delay sound will be fed back into the left delay and the right delay sound into the right delay. CROSS: The left delay sound will be fed back into the right delay and the right delay sound into the left delay.

●

Delay Left (0.0~500.0ms)—Adjust the time from the direct sound until when the left delay sound is heard.

●

Delay Right (0.0~500.0ms)—Adjusts the time until the delay sound is heard.

●

Delay Feedback (–98%~0~98%)—Adjusts the amount of the delay sound that’s fed back into the effect. Negative (–) settings invert the phase.

●

Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency above which sound fed back to the effect is ﬁltered out. If you don’t want to ﬁlter out any high frequencies, set this parameter to BYPASS.

●

Modulation Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Modulation Depth (0~127)—Adjust the depth of the modulation.

●

Modulation Phase (0~180 deg)—Adjust the spatial spread of the sound

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high range.

●

Balance (D100:0W, D50:50W, D0:100W)—Volume balance between the direct (D) and the effect sound (W).

●

Level (0~127)—Output level.

20. 3 Tap Delay

The Triple Tap Delay produces three delay sounds: center, left and right.

●

Delay Left (200~1000ms, note)—Adjust the time from the direct sound until when the left delay sound is heard.

●

Delay Right (200~1000ms, note)—Adjust the time from the direct sound until when the right delay sound is heard.

●

Delay Center (200~1000ms, note)—Adjust the time delay from the direct sound until when the center delay sound is heard.

●

Delay Feedback (–98%~0~98%)—Adjusts the amount of the delay sound that’s fed back into the effect. Negative (–) settings invert the phase.

●

Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency above which sound fed back to the effect is ﬁltered out. If you don’t want to ﬁlter out any high frequencies, set this parameter to BYPASS.

●

Delay Level Left (0~127)—Adjust the volume of the left delay sound.

●

Delay Level Right (0~127)—Adjust the volume of the right delay sound.

●

Delay Level Center (0~127)—Adjust the volume of the center delay sound.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high range.

●

Balance (D100:0W, D50:50W, D0:100W)—Volume balance between the direct (D) and the effect sound (W).

●

Level (0~127)—Output level.

21. 4 Tap Delay

Delay with four repetition lines.

●

Delay 1~4 (200~1000ms, note)—Adjusts the time until the delay is heard.

●

Delay Level 1~4 (0~127)—Output level of the delay sound.

●

Delay Feedback (–98%~0~98%)—Adjusts the amount of the delay sound that’s fed back into the effect. Negative (–) settings invert the phase.

●

Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency above which sound fed back to the effect is ﬁltered out. If you don’t want to ﬁlter out any high frequencies, set this parameter to BYPASS.

●

Balance (D100:0W, D50:50W, D0:100W)—Volume balance between the direct (D) and the effect sound (W).

95

VIMA JM-5

MFX types and parameters

●

Level (0~127)—Output level.

22. Time Delay

This effect controls the delay time and pitch in realtime. Lengthening the delay time will lower the pitch and shortening it will raise the pitch.

●

Delay Time (200~1000ms, note)—Adjusts the time until the

delay is heard.

●

Delay Feedback (–98%~0~98%)—Adjusts the amount of the

delay sound that’s fed back into the effect. Negative (–) settings invert the phase.

●

Delay Acceleration (0~15)—Adjusts the time over which the

Delay Time changes from the current setting to a speciﬁed new setting. The rate of change for the Delay Time directly affects the rate of pitch change.

●

Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency

above which sound fed back to the effect is ﬁltered out. If you don’t want to ﬁlter out any high frequencies, set this parameter to BYPASS.

●

Panpot (L64~0~63R)—Stereo location of the output sound. This

is a mono effect that combines incoming signals. You can, however, place the processed signal anywhere between the left and right channels.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high range.

●

Balance (D100:0W, D50:50W, D0:100W)—Volume balance

between the direct (D) and the effect sound (W).

●

Level (0~127)—Output level.

23. 2 Pitch Shifter

A Pitch Shifter changes the pitch of the original sound. This 2voice effect contains two pitch shifters and adds two transposed copies to the original sound.

●

Pitch Shift Mode (1~5)—Higher settings of this parameter will

result in slower response, but steadier pitch.

●

Pitch A Coarse (–24~0~+12 semitone)—Adjusts the pitch of Pitch

Shift A in semitone steps (–2~+1 octaves).

●

Pitch B Coarse (–24~0~+12 semitone)—Adjusts the pitch of Pitch

Shift B in semitone steps (–2~+1 octaves).

●

Pitch A Fine (–100~0~+100 cent)—Makes ﬁne adjustments to

the pitch of Pitch Shift A in 2-cent steps (–100~+100 cents). One cent is 1/100th of a semitone.

●

Pitch B Fine (–100~0~+100 cent)—Makes ﬁne adjustments to the

pitch of Pitch Shift B in 2-cent steps (–100~+100 cents). One cent is 1/100th of a semitone.

●

Pitch A Pre Delay (0.0~500.0ms)—Adjust the time delay from

when the direct sound begins until the Pitch Shift A sound is heard.

●

Pitch B Pre Delay (0.0~500.0ms)—Adjusts the time delay from

when the direct sound begins until the Pitch Shift B sound is heard.

●

Pitch A Panpot (L64~0~63R)—Adjusts the stereo location of the

Pitch Shift A sound. L64 is far left, 0 is center and 63R is far right.

●

Pitch B Panpot (L64~0~63R)—Adjusts the stereo location of the

Pitch Shift B sound. L64 is far left, 0 is center and 63R is far right.

●

Level Balance (A100:0B, A50:50B, A0:100B)—Adjusts the vol-

ume balance between the Pitch Shift A and Pitch Shift B sounds. When set to A100:0B, only the sound of Pitch Shift A is output; when set to A0:100B, only the sound of Pitch Shift B is output.

●

Balance (D100:0W, D50:50W, D0:100W)—Volume balance

between the direct (D) and the effect sound (W).

●

Level (0~127)—Output level.

24. FBK Pitch

Pitch Shifter with several echoes.

●

Pitch Shift Mode (1~5)—Higher settings of this parameter will

result in slower response, but steadier pitch.

●

Pitch Coarse (–24~0~+12 semitones)—Adjust the pitch of the

pitch shifted sound in semitone steps (–2~+1 octaves).

●

Pitch Fine (–100~0~+100 cent)—Make ﬁne adjustments to the

pitch of the pitch shifted sound in 2-cent steps (one cent is 1/ 100th of a semi tone).

●

Pitch Pre Delay (0.0~500.0ms)—Adjust the time delay from

when the direct sound begins until the pitch shifted sound is heard.

r

●

Pitch Feedback (–98%~0~98%)—Adjust the proportion (%) of

the processed sound that is fed back into the effect. Negative (–) settings will invert the phase.

●

Panpot (L64~0~63R)—Stereo location of the output sound. This

is a mono effect that combines incoming signals. You can, however, place the processed signal anywhere between the left and right channels.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high range.

●

Balance (D100:0W, D50:50W, D0:100W)—Volume balance

between the direct (D) and the effect sound (W).

●

Level (0~127)—Output level.

25. Reverb

A nice Reverb effect.

●

Reverb Type (Room 1, Room 2, Stage 1, Stage 2, Hall 1, Hall 2) —

Type of reverb.

Room1: Dense reverb with short decay. Room2: Sparse reverb with short decay. Stage1: Reverb with greater late reverberation. Stage2: Reverb with strong early reﬂections. Hall1: Reverb with clear reverberance. Hall2: Reverb with rich reverberance.

●

Reverb Pre Delay (0.0~100.0ms)—Adjusts the delay time from

the direct sound until the reverb sound is heard.

●

Reverb Time (0~127)—Time length of reverberation.

●

Reverb HF Damp (200~8000Hz, Bypass)—Adjusts the frequency

above which sound fed back to the effect is ﬁltered out. If you don’t want to ﬁlter out any high frequencies, set this parameter to BYPASS.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high range.

●

Balance (D100:0W, D50:50W, D0:100W)—Volume balance

between the direct (D) and the effect sound (W).

●

Level (0~127)—Output level.

26. Gate Reverb

This is a special type of reverb in which the reverberant sound is cut off before its natural length.

●

Reverb Type (Normal, Reverse, Sweep 1, Sweep 2) —Type of

reverb.

NORMAL: Conventional gated reverb. REVERSE: Backwards reverb. SWEEP1: The reverberant sound moves from right to left. SWEEP2: The reverberant sound moves from left to right.

●

Reverb Pre Delay (0.0~100.0ms)—Adjusts the delay time from

the direct sound until the reverb sound is heard.

●

Reverb Gate Time (5~500ms)—Adjusts the time from when the

reverb is heard until it disappears.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high range.

●

Balance (D100:0W, D50:50W, D0:100W)—Volume balance

between the direct (D) and the effect sound (W).

●

Level (0~127)—Output level.

27. OD‰ Chorus

This effect connects an Overdrive and a Chorus in series. (“Series” means that the output signal of the ﬁrst effect is also processed by the second.)

●

Overdrive Drive (0~127)—Degree of distortion. Also changes

the volume.

●

Overdrive Panpot (L64~0~63R)—Stereo location of the over-

drive sound.

●

Chorus Pre Delay (0.0~100.0ms)—Adjusts the delay between the

incoming direct signal and the moment when the chorus starts working.

●

Chorus Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Chorus Depth (0~127)—Modulation intensity.

●

Chorus Balance (D100:0W, D50:50W, D0:100W)—Volume bal-

ance between the direct sound (D) and the chorus sound (W).

●

Level (0~127)—Output level.

96

VIMA JM-5

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28. OD‰ Flanger

This effect connects an Overdrive and a Flanger in series.

●

Overdrive Drive (0~127)—Degree of distortion. Also changes

the volume.

●

Overdrive Panpot (L64~0~63R)—Stereo location of the over-

drive sound.

●

Flanger Pre Delay (0.0~100.0ms)—Adjusts the delay time from

when the direct sound begins until the ﬂanger sound is heard.

●

Flanger Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Flanger Depth (0~127)—Modulation intensity.

●

Flanger Feedback (–98%~0~98%)—Adjusts the proportion of

the ﬂanger sound that is fed back into the effect. Negative (–) settings will invert the phase.

●

Flanger Balance (D100:0W, D50:50W, D0:100W)—Volume bal-

ance between the direct sound (D) and the ﬂanger sound (W).

●

Level (0~127)—Output level.

29. OD‰ Delay

This effect connects an overdrive and a delay in series.

●

Overdrive Drive (0~127)—Degree of distortion. Also changes

the volume.

●

Overdrive Panpot (L64~0~63R)—Stereo location of the over-

drive sound.

●

Delay Time (0.0~500.0ms)—Adjusts the time until the delay is

heard.

●

Delay Feedback (–98%~0~98%)—Adjusts the amount of the

delay sound that’s fed back into the effect. Negative (–) settings invert the phase.

●

Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency

above which sound fed back to the effect is ﬁltered out. If you don’t want to ﬁlter out any high frequencies, set this parameter to BYPASS.

●

Delay Balance (D100:0W, D50:50W, D0:100W)—Adjusts the vol-

ume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

●

Level (0~127)—Output level.

30. DST‰ Chorus

This effect connects distortion and a chorus in series.

●

Distortion Drive (0~127)—Degree of distortion. Also changes

the volume.

●

Distortion Panpot (L64~0~63R)—Stereo location of the distor-

tion sound.

●

Chorus Pre Delay (0.0~100.0ms)—Adjusts the delay between the

incoming direct signal and the moment when the chorus starts working.

●

Chorus Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Chorus Depth (0~127)—Modulation intensity.

●

Chorus Balance (D100:0W, D50:50W, D0:100W)—Volume bal-

ance between the direct sound (D) and the chorus sound (W).

●

Level (0~127)—Output level.

31. DST‰ Flanger

This effect connects distortion and a ﬂanger effect in series.

●

Distortion Drive (0~127)—Degree of distortion. Also changes

the volume.

●

Distortion Panpot (L64~0~63R)—Stereo location of the distor-

tion sound.

●

Flanger Pre Delay (0.0~100.0ms)—Adjusts the delay time from

when the direct sound begins until the ﬂanger sound is heard.

●

Flanger Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Flanger Depth (0~127)—Modulation intensity.

●

Flanger Feedback (–98%~0~98%)—Adjusts the proportion of

the ﬂanger sound that is fed back into the effect. Negative (–) settings will invert the phase.

●

Flanger Balance (D100:0W, D50:50W, D0:100W)—Volume bal-

ance between the direct sound (D) and the ﬂanger sound (W).

●

Level (0~127)—Output level.

32. DST‰ Delay

This effect connects distortion and a delay effect in series.

●

Distortion Drive (0~127)—Degree of distortion. Also changes the volume.

●

Distortion Panpot (L64~0~63R)—Stereo location of the distortion sound.

●

Delay Time (0.0~500.0ms)—Adjusts the time until the delay is heard.

●

Delay Feedback (–98%~0~98%)—Adjusts the amount of the delay sound that’s fed back into the effect. Negative (–) settings invert the phase.

●

Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency above which sound fed back to the effect is ﬁltered out. If you don’t want to ﬁlter out any high frequencies, set this parameter to BYPASS.

●

Delay Balance (D100:0W, D50:50W, D0:100W)—Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

●

Level (0~127)—Output level.

33. EH‰ Chorus

This effect connects an enhancer and a chorus in series.

●

Enhancer Sens (0~127)—Sensitivity of the enhancer.

●

Enhancer Mix Level (0~127)—Level of the overtones generated by the enhancer.

●

Chorus Pre Delay (0.0~100.0ms)—Adjusts the delay between the incoming direct signal and the moment when the chorus starts working.

●

Chorus Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Chorus Depth (0~127)—Modulation intensity.

●

Chorus Balance (D100:0W, D50:50W, D0:100W)—Volume balance between the direct sound (D) and the chorus sound (W).

●

Level (0~127)—Output level.

34. EH‰ Flanger

This effect connects an enhancer and a ﬂanger in series.

●

Enhancer Sens (0~127)—Sensitivity of the enhancer.

●

Enhancer Mix Level (0~127)—Level of the overtones generated by the enhancer.

●

Flanger Pre Delay (0.0~100.0ms)—Adjusts the delay time from when the direct sound begins until the ﬂanger sound is heard.

●

Flanger Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Flanger Depth (0~127)—Modulation intensity.

●

Flanger Feedback (–98%~0~98%)—Adjusts the proportion of the ﬂanger sound that is fed back into the effect. Negative (–) settings will invert the phase.

●

Flanger Balance (D100:0W, D50:50W, D0:100W)—Volume balance between the direct sound (D) and the ﬂanger sound (W).

●

Level (0~127)—Output level.

35. EH‰ Delay

This effect connects an enhancer and a delay in series.

●

Enhancer Sens (0~127)—Sensitivity of the enhancer.

●

Enhancer Mix Level (0~127)—Level of the overtones generated by the enhancer.

●

Delay Time (0.0~500.0ms)—Adjusts the time until the delay is heard.

●

Delay Feedback (–98%~0~98%)—Adjusts the amount of the delay sound that’s fed back into the effect. Negative (–) settings invert the phase.

●

Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency above which sound fed back to the effect is ﬁltered out. If you don’t want to ﬁlter out any high frequencies, set this parameter to BYPASS.

●

Delay Balance (D100:0W, D50:50W, D0:100W)—Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

●

Level (0~127)—Output level.

97

VIMA JM-5

MFX types and parameters

36. Chorus‰ DLY

This effect connects a chorus and a delay in series.

●

Chorus Pre Delay (0.0~100.0ms)—Adjusts the delay between the

incoming direct signal and the moment when the chorus starts working.

●

Chorus Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Chorus Depth (0~127)—Modulation intensity.

●

Chorus Balance (D100:0W, D50:50W, D0:100W)—Volume bal-

ance between the direct sound (D) and the chorus sound (W).

●

Delay Time (0.0~500.0ms)—Adjusts the time until the delay is

heard.

●

Delay Feedback (–98%~0~98%)—Adjusts the amount of the

delay sound that’s fed back into the effect. Negative (–) settings invert the phase.

●

Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency

above which sound fed back to the effect is ﬁltered out. If you don’t want to ﬁlter out any high frequencies, set this parameter to BYPASS.

●

Delay Balance (D100:0W, D50:50W, D0:100W)—Adjusts the vol-

ume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

●

Level (0~127)—Output level.

37. Flanger‰ DLY

This effect connects a ﬂanger and a delay in series.

●

Flanger Pre Delay (0.0~100.0ms)—Adjusts the delay time from

when the direct sound begins until the ﬂanger sound is heard.

●

Flanger Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Flanger Depth (0~127)—Modulation intensity.

●

Flanger Feedback (–98%~0~98%)—Adjusts the proportion of

the ﬂanger sound that is fed back into the effect. Negative (–) settings will invert the phase.

●

Flanger Balance (D100:0W, D50:50W, D0:100W)—Volume bal-

ance between the direct sound (D) and the ﬂanger sound (W).

●

Delay Time (0.0~500.0ms)—Adjusts the time until the delay is

heard.

●

Delay Feedback (–98%~0~98%)—Adjusts the amount of the

delay sound that’s fed back into the effect. Negative (–) settings invert the phase.

●

Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency

above which sound fed back to the effect is ﬁltered out. If you don’t want to ﬁlter out any high frequencies, set this parameter to BYPASS.

●

Delay Balance (D100:0W, D50:50W, D0:100W)—Adjusts the vol-

ume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

●

Level (0~127)—Output level.

38. CHO‰ Flanger

This effect connects a chorus and a ﬂanger in series.

●

Chorus Pre Delay (0.0~100.0ms)—Adjusts the delay between the

incoming direct signal and the moment when the chorus starts working.

●

Chorus Rate (0.05~10.0Hz)—Modulation frequency of the cho-

rus effect.

●

Chorus Depth (0~127)—Modulation intensity of the chorus

effect.

●

Chorus Balance (D100:0W, D50:50W, D0:100W)—Volume bal-

ance between the direct sound (D) and the chorus sound (W).

●

Flanger Pre Delay (0.0~100.0ms)—Adjusts the delay time from

when the direct sound begins until the ﬂanger sound is heard.

●

Flanger Rate (0.05~10.0Hz)—Modulation frequency of the

ﬂanger effect.

●

Flanger Depth (0~127)—Modulation intensity of the ﬂanger

effect.

●

Flanger Feedback (–98%~0~98%)—Adjusts the proportion of

the ﬂanger sound that is fed back into the effect. Negative (–) settings will invert the phase.

●

Flanger Balance (D100:0W, D50:50W, D0:100W)—Volume bal-

ance between the direct sound (D) and the ﬂanger sound (W).

●

Level (0~127)—Output level.

39. CHO/DLY

This effect connects a chorus and a delay in parallel. (“Parallel” means that the input signal is processed by two effects that do not interact.)

●

Chorus Pre Delay (0.0~100.0ms)—Adjusts the delay between the

incoming direct signal and the moment when the chorus starts working.

●

Chorus Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Chorus Depth (0~127)—Modulation intensity.

●

Chorus Balance (D100:0W, D50:50W, D0:100W)—Volume bal-

ance between the direct sound (D) and the chorus sound (W).

●

Delay Time (0.0~500.0ms)—Adjusts the time until the delay is

heard.

●

Delay Feedback (–98%~0~98%)—Adjusts the amount of the

delay sound that’s fed back into the effect. Negative (–) settings invert the phase.

●

Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency

above which sound fed back to the effect is ﬁltered out. If you don’t want to ﬁlter out any high frequencies, set this parameter to BYPASS.

●

Delay Balance (D100:0W, D50:50W, D0:100W)—Adjusts the vol-

ume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

●

Level (0~127)—Output level.

40. Flanger/DLY

This effect connects a ﬂanger and a delay in parallel.

●

Flanger Pre Delay (0.0~100.0ms)—Adjusts the delay time from

when the direct sound begins until the ﬂanger sound is heard.

●

Flanger Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.

●

Flanger Depth (0~127)—Modulation intensity.

●

Flanger Feedback (–98%~0~98%)—Adjusts the proportion of

the ﬂanger sound that is fed back into the effect. Negative (–) settings will invert the phase.

●

Flanger Balance (D100:0W, D50:50W, D0:100W)—Volume bal-

ance between the direct sound (D) and the ﬂanger sound (W).

●

Delay Time (0.0~500.0ms)—Adjusts the time until the delay is

heard.

●

Delay Feedback (–98%~0~98%)—Adjusts the amount of the

delay sound that’s fed back into the effect. Negative (–) settings invert the phase.

●

Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency

above which sound fed back to the effect is ﬁltered out. If you don’t want to ﬁlter out any high frequencies, set this parameter to BYPASS.

●

Delay Balance (D100:0W, D50:50W, D0:100W)—Adjusts the vol-

ume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

●

Level (0~127)—Output level.

41. CHO/Flanger

This effect connects a chorus and a ﬂanger in parallel.

●

Chorus Pre Delay (0.0~100.0ms)—Adjusts the delay between the

incoming direct signal and the moment when the chorus starts working.

●

Chorus Rate (0.05~10.0Hz)—Modulation frequency of the cho-

rus effect.

●

Chorus Depth (0~127)—Modulation intensity of the chorus

effect.

●

Chorus Balance (D100:0W, D50:50W, D0:100W)—Volume bal-

ance between the direct sound (D) and the chorus sound (W).

●

Flanger Pre Delay (0.0~100.0ms)—Adjusts the delay time from

when the direct sound begins until the ﬂanger sound is heard.

●

Flanger Rate (0.05~10.0Hz)—Modulation frequency of the

ﬂanger effect.

●

Flanger Depth (0~127)—Modulation intensity of the ﬂanger

effect.

●

Flanger Feedback (–98%~0~98%)—Adjusts the proportion of

the ﬂanger sound that is fed back into the effect. Negative (–) settings will invert the phase.

●

Flanger Balance (D100:0W, D50:50W, D0:100W)—Volume bal-

ance between the direct sound (D) and the ﬂanger sound (W).

●

Level (0~127)—Output level.

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98

42. Isolator

This is an equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying ranges.

●

Boost/Cut Low/Mid/High Level (–60~0~4 [dB])—These boost

and cut each of the High, Middle and Low frequency ranges. At –60dB, the sound becomes inaudible. 0dB is equivalent to the input level of the sound.

●

Anti Phase Low Sw (Off, On)—Turns the Anti-Phase function on

and off for the Low frequency ranges. When turned on, the counter-channel of stereo sound is inverted and added to the signal.

●

Anti Phase Low Level (0~127)—Adjusts the level settings for the

Low frequency ranges. Adjusting this level for certain frequencies allows you to lend emphasis to speciﬁc parts. (This is effective only for stereo source.)

●

Anti Phase Mid Sw (Off, On)—Turns the Anti-Phase function on

and off for the Middle frequency ranges. When turned on, the counter-channel of stereo sound is inverted and added to the signal.

●

Anti Phase Mid Level (0~127)—Adjusts the level settings for the

Middle frequency ranges. Adjusting this level for certain frequencies allows you to lend emphasis to speciﬁc parts. (This is effective only for stereo source.)

●

Low Boost Sw (Off, On)—Turns Low Booster on/off.

This emphasizes the bottom to create a heavy bass sound.

●

Low Boost Level (0~127)—Increasing this value gives you a

heavier low end. Depending on the Isolator and ﬁlter settings this effect may be hard to distinguish.

●

Level (0~127)—Output level.

43. Low Boost

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

●

Boost Frequency (50~125 [Hz])—Center frequency at which the

lower range will be boosted.

●

Boost Gain (0~12 [dB])—Amount by which the lower range will

be boosted.

●

Boost Width (Wide, Mid, Narrow)—Width of the lower range

that will be boosted.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency

range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high frequency

range.

●

Level (0~127)—Output level.

44. Super Filter

This is a ﬁlter with an extremely sharp slope. The cutoff frequency can be varied cyclically.

●

Filter Type (LPF, BPF, HPF, NOTCH)—Filter type. Frequency range

that will pass through each ﬁlter. LPF: frequencies below the cutoff. BPF: frequencies in the region of the cutoff. HPF: frequencies above the cutoff. NOTCH: frequencies other than the region of the cutoff.

●

Filter Slope (–12, –24, –36 [dB])—Amount of attenuation per

octave: –36dB: extremely steep, –24dB: steep, –12dB: gentle.

●

Filter Cutoff (0~127)—Cutoff frequency of the ﬁlter. Increasing

this value will raise the cutoff frequency.

●

Filter Resonance (0~127)—Filter resonance level. Increasing this

value will emphasize the region near the cutoff frequency.

●

Filter Gain (0~12 [dB])—Amount of boost for the ﬁlter output.

●

Modulation Sw (Off, On)—On/off switch for cyclic change.

●

Modulation Wave (TRI, SQR, SIN, SAW1, SAW2)—How the cut-

off frequency will be modulated: TRI: triangle wave, SQR: square wave, SIN: sine wave, SAW1: sawtooth wave (upward), SWA2: sawtooth wave (downward)

●

Rate [sync] (Hz, Note)—Use this parameter to specify whether

(“Note”) or not (“Hz”) the modulation rate should be synchronized to the Arranger or Recorder tempo. Depending on your choice, the setting range of the following parameter refers to a speed (Hz) or a note value.

●

Rate [Hz] (0.05~10.00Hz)—Rate of modulation.

●

Rate [note] (musical notes)—Rate parameters can be set as a

note-value of a tempo if you set the “Sync” parameter above to “Note”. Specify the value of the desired note.

VIMA JM-5

●

Depth (0~127)—Depth of modulation.

●

Attack (0~127)—Speed at which the cutoff frequency will change. This is effective if Modulation Wave is SQR, SAW1 or SAW2.

●

Level (0~127)—Output level.

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45. Step Filter

This is a ﬁlter whose cutoff frequency can be modulated in steps. You can specify the pattern by which the cutoff frequency will change.

●

Step 1~16 (0~127)—Cutoff frequency at each step

●

Rate [sync] (Hz, Note)—Use this parameter to specify whether (“Note”) or not (“Hz”) the rate should be synchronized to the Arranger or Recorder tempo. Depending on your choice, the setting range of the following parameter refers to a speed (Hz) or a note value.

●

Rate [Hz] (0.05~10.00Hz)—Rate of modulation.

●

Rate [note] (musical notes)—Rate parameters can be set as a note-value of a tempo if you set the “Sync” parameter above to “Note”. Specify the value of the desired note.

●

Attack (0~127)—Speed at which the cutoff frequency changes between steps.

●

Filter Type (LPF, BPF, HPF, NOTCH)—Filter type. Frequency range that will pass through each ﬁlter. LPF: frequencies below the cutoff. BPF: frequencies in the region of the cutoff. HPF: frequencies above the cutoff. NOTCH: frequencies other than the region of the cutoff.

●

Filter Slope (–12, –24, –36 [dB])—Amount of attenuation per octave: –36dB: extremely steep, –24dB: steep, –12dB: gentle.

●

Filter Resonance (0~127)—Filter resonance level. Increasing this value will emphasize the region near the cutoff frequency.

●

Filter Gain (0~12 [dB])—Amount of boost for the ﬁlter output.

●

Level (0~127)—Output level.

46. Humanizer

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

●

Drive Sw (OFF,ON)—Turns Drive on/off.

●

Drive (0~127)—Degree of distortion. Also changes the volume.

●

Vowel 1 (a, e, i, o, u)

●

Vowel 2 (a, e, i, o, u)—Selects the vowel.

●

Rate [sync] (Hz, Note)—Use this parameter to specify whether (“Note”) or not (“Hz”) the rate should be synchronized to the Arranger or Recorder tempo. Depending on your choice, the setting range of the following parameter refers to a speed (Hz) or a note value.

●

Rate [Hz] (0.05~10.00Hz)—Frequency at which the two vowels switch.

●

Rate [note] (musical notes)—Rate parameters can be set as a note-value of a tempo if you set the “Sync” parameter above to “Note”. Specify the value of the desired note.

●

Depth (0~127)—Effect depth.

●

Input Sync Sw (Off, On)—Determines whether the LFO for switching the vowels is reset by the input signal (ON) or not (OFF).

●

Input Sync Threshold (0~127)—Volume level at which reset is applied.

●

Manual (0~100)—Point at which Vowel 1/2 switch. 49 or less: Vowel 1 will have a longer duration. 50: Vowel 1 and 2 will be of equal duration. 50 or more: Vowel 2 will have a longer duration.

●

EQ EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency range.

●

EQ EQ High Gain (–15dB~0~15dB)—Gain of the high frequency range.

●

Panpot (L64~0~63R)—Stereo location of the output sound. This is a mono effect that combines incoming signals. You can, however, place the processed signal anywhere between the left and right channels.

●

Level (0~127)—Output level.

99

VIMA JM-5

MFX types and parameters

47. Speaker Sim

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

●

Speaker Type—Select the type of speaker. The speciﬁcations of

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

Type Cabinet Speaker Microphone

Small 1 small open-back enclosure 10 dynamic mic Small 2 small open-back enclosure 10 dynamic mic Middle open back enclosure 12 x 1 dynamic mic JC-120 open back enclosure 12 x 2 dynamic mic Built In 1 open back enclosure 12 x 2 dynamic mic Built In 2 open back enclosure 12 x 2 condenser mic Built In 3 open back enclosure 12 x 2 condenser mic Built In 4 open back enclosure 12 x 2 condenser mic Built In 5 open back enclosure 12 x 2 condenser mic BG Stack 1 sealed enclosure 12 x 4 condenser mic BG Stack 2 large sealed enclosure 12 x 4 condenser mic MS Stack 1 large sealed enclosure 12 x 4 condenser mic MS Stack 2 large sealed enclosure 12 x 4 condenser mic Metal Stk large double stack 12 x 4 condenser mic 2-STACK large sealed enclosure 12 x 4 condenser mic 3-STACK large sealed enclosure 12 x 4 condenser mic

●

Mic Setting (1, 2, 3)—Adjusts the location of the mic that is

recording the sound of the speaker. This can be adjusted in three steps, with the mic becoming more distant in the order of 1, 2 and 3.

●

Mic Level (0~127)—Volume of the microphone.

●

Direct Level (0~127)—Volume of the direct sound.

●

Level (0~127)—Output level.

48. Step Phaser

The phaser effect will be varied gradually.

●

Phaser Mode (4-Stage, 8-Stage, 12-Stage)—Number of stages in

the phaser.

●

Phaser Manual (0~127)—Adjusts the basic frequency from which

the sound will be modulated.

●

Step Rate [sync] (Hz, Note)—Use this parameter to specify

whether (“Note”) or not (“Hz”) the modulation rate should be synchronized to the Arranger or Recorder tempo. Depending on your choice, the setting range of the following parameter refers to a speed (Hz) or a note value.

●

Step Rate [Hz] (0.05~10.00Hz)—Frequency, i.e. modulation

speed.

●

Step Rate [note] (musical notes)—Rate parameters can be set as

a note-value of a tempo if you set the “Sync” parameter above to “Note”. Specify the value of the desired note.

●

Depth (0~127)—Depth of modulation.

●

Polarity (Inverse, Synchro)—Selects whether the left and right

phase of the modulation will be the same or the opposite. INVERSE: The left and right phase will be opposite. When using a mono source, this spreads the sound. SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source

●

Resonance (0~127)—Amount of feedback.

●

Cross Feedback (–98%~0~+98%)—Adjusts the proportion of the

phaser sound that is fed back into the effect. Negative (–) settings will invert the phase.

●

Step Rate [sync] (Hz, Note)—Use this parameter to specify

whether (“Note”) or not (“Hz”) the step rate should be synchronized to the Arranger or Recorder tempo. Depending on your choice, the setting range of the following parameter refers to a speed (Hz) or a note value.

●

Step Rate [Hz] (0.10~20.00Hz)—Rate of the step-wise change in

the phaser effect.

●

Step Rate [note] (Musical Notes)—Rate parameters can be set as

a note-value of a tempo if you set the “Sync” parameter above to “Note”. Specify the value of the desired note.

●

Mix Level (0~127)—Level of the phase-shifted sound.

r

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency

range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high frequency

range.

●

Level (0~127)—Output level.

49. MLT Phaser

Extremely high settings of the phase difference produce a deep phaser effect.

●

Phaser Mode (4-stage, 8-stage, 12-stage, 16-stage, 20-stage, 24-

stage)—Number of stages in the phaser.

●

Phaser Manual (0~127)—Adjusts the basic frequency from which

the sound will be modulated.

●

Rate [sync] (Hz, Note)—Use this parameter to specify whether

(“Note”) or not (“Hz”) the modulation rate should be synchronized to the Arranger or Recorder tempo. Depending on your choice, the setting range of the following parameter refers to a speed (Hz) or a note value.

●

Rate [Hz] (0.05~10.00Hz)—Frequency, i.e. modulation speed.

●

Rate [note] (musical notes)—Rate parameters can be set as a

note-value of a tempo if you set the “Sync” parameter above to “Note”. Specify the value of the desired note.

●

Depth (0~127)—Depth of modulation.

●

Resonance (0~127)—Amount of feedback.

●

Mix Level (0~127)—Level of the phase-shifted sound.

●

Panpot (L64~0~63R)—Stereo location of the output sound. This

is a mono effect that combines incoming signals. You can, however, place the processed signal anywhere between the left and right channels.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency

range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high frequency

range.

●

Level (0~127)—Output level.

50. INF Phaser

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

●

Mode (1, 2, 3, 4)—Higher values will produce a deeper phaser

effect.

●

Speed (–100~100)—Speed at which to raise or lower the fre-

quency at which the sound is modulated (+: upward/–: downward).

●

Resonance (0~127)—Amount of feedback.

●

Mix Level (0~127)—Level of the phase-shifted sound.

●

Panpot (L64~0~63R)—Stereo location of the output sound. This

is a mono effect that combines incoming signals. You can, however, place the processed signal anywhere between the left and right channels.

●

EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency

range.

●

EQ High Gain (–15dB~0~15dB)—Gain of the high frequency

range.

●

Level (0~127)—Output level.

51. Ring Modul

Ring Modulator is an effect which applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency according to the volume of the sound input to the effects device.

●

Frequency (0~127)—Sets the frequency at which modulation

will be applied.

●

Sens (0~127)—Sets the amount of frequency modulation

applied.

●

Polarity (Up, Down)—Determines whether the frequency modu-

lation moves towards higher frequencies (UP) or lower frequencies (DOWN).

●

EQ Low Gain—Adjust the low frequency gain (amount of boost

or cut). Positive (+) settings will emphasize (boost) the low frequency range.

●

EQ High Gain—Adjust the high frequency gain (amount of

boost or cut). Positive (+) settings emphasize (boost) the high frequency range.

100

Roland JM-5 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Important notes

Features

Contents

Front Panel

Panel description

Rear panel

Connecting the AC adaptor

Connecting a microphone

Connecting a television set

Connecting an external audio device

Listening through headphones

Turning the power on/off

Turning the power on

Turning the power off

About the display and cursor operation

Main page

Moving between windows

Playing back songs

Playing back songs on a USB storage device

Supported song files

If you can’t see the song (or folder) you need

Singing and playing along to a song

Connection and basic settings

Adding effects to the microphone signals

Adding echo to your vocal performance

Harmony and vocal effects

Talk

Changing your voice/adding harmonies

Setting the microphone equalizers and phantom power

Using ‘Melody Mute’ and ‘Center Cancel’

Selecting the track(s) to mute for SMF songs

Other important functions

Singing or playing in a different key (Key)

Changing the tempo (playback speed) of a song

Recording your performance as audio data

Recording

Listening to your recording

Saving your recording as an audio file

Adding pictures to the music

Displaying photos automatically

Enjoying a VIMA TUNES slide show

Enjoying a slide show of your own pictures

Using one of your own pictures as background

Functions related to song playback

Using the Finder to locate songs or pictures

Using ‘Next’ to create transitions

Using playlists

Loading a playlist and playing back a song

Renaming a playlist

Deleting a playlist

Specifying the playlist behavior

Creating new playlists and adding songs

Quickly finding songs for your playlists

Deleting playlist steps

Moving existing steps to a different position

Transposing songs in the ‘Playlist’ environment

Saving an edited playlist

Playback functions for SMF songs

SMF Cover: changing the orchestration

Saving your modified SMF song

Using the SMF compressor and SMF equalizer

SMF Compressor

SMF Equalizer

Song (SMF) Makeup Tools

Using the SMF Makeup Tools

Mute (T)/Drum Mute (D)

Solo

Perc Mute (D)

Volume

Families (T)

Tone (T)/Drum (D)

Reverb

Chorus

Panpot

Octave (T)

Velocity