Roland JUNO-Di Editor Owner's Manual

JUNO-Di Editor

Owner’s Manual

Copyright © 2009 ROLAND CORPORATION

All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.

Contents

Using the JUNO-Di Editor...................3

1. Introduction......................................................3

2. Connections and Settings ..................................3

2-1. Connecting via USB cable.................................. 3

2-2. Connecting via MIDI cables................................ 3

3. About the Menus ..............................................4

3-1. FILE ................................................................. 4

3-2. EDIT ................................................................ 4

3-3. SETUP.............................................................. 4

4. Using the JUNO-Di Editor ..................................5

4-1. Reading/writing/synchronize settings ................. 5

4-2. How to edit values ............................................ 6

4-3. Initializing a value............................................. 6

4-4. About the KEYBOARD button.............................. 6

5. Notes Concerning Use of JUNO-Di Editor Together

with JUNO-Di Librarian .....................................7

6. If the Preset Name Display Becomes Incorrect ......7

If the Display Indicates “Unable to read/write data.” ..8

7.

Overview ..........................................9

How the JUNO-Di is Organized .............................9

Basic Structure......................................................... 9

Patch Mode and Performance Mode.......................... 9

About the Effects.................................................... 12

About Memory ...................................................... 13

SYSTEM Parameters......................... 14

COMMON........................................................... 14

SCALE TUNE for Patch Mode.................................. 15

PATCH Parameters ............................................. 25

SUMMARY............................................................25

COMMON ...........................................................28

STRUCTURE...........................................................30

WG......................................................................32

TVF.......................................................................35

TVA......................................................................37

LFO ......................................................................39

VELOCITY RANGE .................................................41

KEY RANGE..........................................................42

MATRIX CONTROL.................................................42

CONTROL SW ......................................................43

Detailed Editing for a Rhythm Set

(RHYTHM Parameters)...................... 44

Editing a Rhythm Set...........................................44

Initializing a Rhythm Set..........................................44

Copying/Pasting Rhythm Set Settings........................44

WMT SWITCH/SELECT ..........................................44

Stereo Wave Settings .............................................45

Saving a Rhythm Set........................................... 45

RHYTHM Parameters ..........................................46

SUMMARY............................................................46

COMMON (RHYTHM COMMON) ..........................50

CONTROL (RHYTHM KEY CONTROL) ......................50

WMT (RHYTHM KEY WMT).....................................51

PITCH (RHYTHM KEY PITCH) ...................................52

TVF (RHYTHM KEY TVF) ..........................................53

TVA (RHYTHM KEY TVA).........................................55

VELOCITY (RHYTHM KEY VELOCITY RANGE)............56

EFFECTS Parameters.........................16

Applying Effects .................................................16

How Effects are Handled in Each Mode ................... 16

Applying Effects .................................................16

PATCH EFFECTS.................................................17

Signal Flow and Parameters (ROUTING) .................. 17

PERFORM EFFECTS.............................................19

Signal Flow and Parameters (ROUTING) .................. 19

Multi-Effect Settings (MFX, MFX 1–3).....................21

Controlling a Multi-Effect via MIDI

(CONTROL SOURCE/DESTINATION/SENS)............ 21

Chorus Settings (CHORUS) ..................................22

Reverb Settings (REVERB).....................................22

Detailed Editing for a Patch

(PATCH Parameters).........................23

Editing a Patch...................................................23

Initializing a Patch ................................................. 23

Copying/Pasting Patch Settings............................... 23

TONE SWITCH/SELECT......................................... 23

Stereo Wave Settings............................................. 24

Saving a Patch...................................................24

Detailed Editing for a Performance

(PERFORM Parameters) .................... 57

How to Edit a Performance.................................. 57

Editing a Patch in Performance Mode .......................57

Editing a Performance......................................... 57

Initializing a Performance........................................57

Copying/Pasting Performance Settings .....................57

Saving a Performance......................................... 57

PERFORM Parameters .........................................58

MIXER...................................................................58

ALL PARAMETERS (ALL PARAMS) .............................60

MIDI (PERFORM MIDI SETTING)...............................62

KEYBOARD RANGE ...............................................63

SCALE TUNE (PART SCALE TUNE)............................63

Effects List ....................................... 64

2

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4.

Using the JUNO-Di Editor

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206e

206j

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209

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* Microsoft and Windows are registered trademarks of Microsoft Corporation.
* The screen shots in this document are used in compliance with the guidelines of the Microsoft Corporation.
* Windows® is known officially as: “Microsoft® Windows® operating system.”
* Apple and Macintosh are registered trademarks of Apple Inc.
* Mac OS is a trademark of Apple Inc.
* Pentium is a registered trademark of Intel Corporation.
* All product names mentioned in this document are trademarks or registered trademarks of their respective owners.

1. Introduction

JUNO-Di Editor is an application that lets you use your computer to make settings for the JUNO-Di parameters.

2. Connections and Settings

Connect the JUNO-Di and your computer as described in the JUNO-Di owner’s manual. JUNO-Di Editor may not
operate correctly if these connections are not made correctly.

* The first time you use JUNO-Di Editor, it may take as long as one minute or more for the program to start up. This is

because the software needs to obtain all the preset names from the JUNO-Di, then save them as a file on your
computer’s hard disk. This is normal, and should not be a cause for concern.

2-1. Connecting via USB cable

If the JUNO-Di is connected to your computer by a USB cable, you must power up the JUNO-Di before you start up
JUNO-Di Editor.

Do not disconnect the USB cable connected to the JUNO-Di while JUNO-Di Editor is running.

When using the software for the first time, you must set up MIDI devices using the procedure below.

Select [VENDER] as the USB driver on the JUNO-Di.

Install the USB driver from the included “JUNO-Di Editor” CD-ROM into your computer.

Start up JUNO-Di Editor.

Choose the menu command [SETUP] - “Set Up MIDI Devices” to open the dialog box, and for JUNO-Di Input/
Output, choose “JUNO.”

For details on switching the USB driver, refer to the JUNO-Di owner’s manual.

2-2. Connecting via MIDI cables

A separate MIDI interface is required in order to connect the JUNO-Di with your computer using MIDI cables. Connect
both the MIDI IN and MIDI OUT connectors on the MIDI interface connected to your computer to the MIDI connectors
on the JUNO-Di.

When using the software for the first time, you must choose the menu command [SETUP] - ”Set Up MIDI Devices” to open
the dialog box, and for JUNO-Di Input/Output, choose the port to which JUNO-Di is connected.

3

Using the JUNO-Di Editor

3. About the Menus

3-1. FILE

“Open” loads a file saved by JUNO-Di Editor containing the state of JUNO-Di Editor.

* The “Open” command of the toolbar does the same thing in Windows.

The “Save” and “Save As” commands will save a file that preserves the current state of JUNO-Di Editor.

* The “Save” command of the toolbar does the same thing in Windows.

“Export SMF” will save one of the following items in the form of SMF data.

The currently selected:

• Performance

• Performance and the Patches/Rhythm Sets used in that performance

• Patch/Rhythm Set

Use “Import SMF” to load these settings.

3-2. EDIT

The “Initialize” command initializes the settings of the currently selected Performance/Patch/Rhythm Set.

This command is useful when you want to create data from scratch.

The “Copy” command copies the settings to the clipboard.

The “Paste” command pastes the settings from the clipboard to the copy destination you select.

The “Copy MIDI Message to Clipboard” command copies the MIDI message (character string) displayed at “MIDI
MESSAGE” to the clipboard.

3-3. SETUP

Set the JUNO-Di Input/Output to the port to which the JUNO-Di is connected in “Set Up MIDI Devices.”

Through provides a thru-connection from the MIDI OUT of any desired MIDI device to the MIDI IN of any other MIDI
device.

4

4. Using the JUNO-Di Editor

Using the JUNO-Di Editor

Navigation block Main block

• By clicking the buttons in the Navigation block you can select the parameters that will be shown in the Main block.

• The Main block is the editing area for the parameters you selected in the Navigation block.

4-1. Reading/writing/synchronize settings

The [READ]/[WRITE]/[SYNC] buttons are located in the top line of the main window.

Loading the settings

To load the JUNO-Di’s settings into JUNO-Di Editor, click the [READ] button.
The settings of the patch currently selected on the JUNO-Di will be loaded.

Writing the settings

To write the edited data to the JUNO-Di, click the [WRITE] button.
The data that will be written (patch or rhythm set/performance/system) will depend on the parameter that is currently
selected.

Synchronizing the settings

To synchronize the JUNO-Di with the Editor, click the [SYNC] button.
This is a command that you will need to use only if using JUNO-Di Editor together with JUNO-Di Librarian.
For details, refer to

5. Notes Concerning Use of JUNO-Di Editor Together with JUNO-Di Librarian

(p. 7).

5

Using the JUNO-Di Editor

4-2. How to edit values

You can edit values by clicking (and dragging) the buttons, sliders, or knobs.

• If you feel that the sliders and knobs in the panel are too small, and find it difficult to make detailed settings, try
clicking (and holding) a knob or slider and then dragging the mouse farther away. This lets you set the value at
any position as long as you continue holding down the mouse button. When doing so, you will be able to make
precise adjustments to the value whenever the mouse cursor is away from the center of the knob or slider.

• When a value is displayed, you can also press the cursor keys (up/down) to modify it.

4-3. Initializing a value

Windows XP/Vista Users

You can initialize the value of a parameter by holding down the Ctrl key of your computer and clicking the slider or
knob of that parameter.

Macintosh Users

You can initialize the value of a parameter by holding down the command key of your computer and clicking the slider
or knob of that parameter.

4-4. About the KEYBOARD button

When you click the [KEYBOARD] button located in the top line of the main window, the Keyboard window will appear,
allowing you to transmit note messages by clicking your mouse.

Use the sliders to set the transmit channel and velocity. Clicking the [OCT] button will shift the octave. The note number
transmitted when you press the third “C” from the left, which is indicated by the Å¢ symbol, is shown below the [OCT]
button.

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2.

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2.

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3.

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Using the JUNO-Di Editor

5. Notes Concerning Use of JUNO-Di Editor Together with JUNO-Di Librarian

You may experience some of the problems below if JUNO-Di Librarian and JUNO-Di Editor are used at the same time.

• When you click the Preview Start button in JUNO-Di Librarian, the correspondence between the values in JUNO-Di
Editor and the data in the JUNO-Di’s Temporary Area may be lost.

• After you’ve issued the “Write All Data” or “Write Selected Data” commands in JUNO-Di Librarian, the names of
items and their sequence in JUNO-Di Editor may no longer match the data in the JUNO-Di’s User Area.

If you have performed one of the above operations in JUNO-Di Librarian and then move to JUNO-Di Editor, you must
be sure to click the [SYNC] button located in the top line of JUNO-Di Editor’s main window before you begin editing.

This executes the following actions, allowing the JUNO-Di Editor and JUNO-Di settings to be synchronized.

• The values of settings in JUNO-Di Editor are written to the JUNO-Di’s Temporary Area.

• The name lists of Performance/Patch/Rhythm Set in the JUNO-Di’s User Area are read into JUNO-Di Editor.

6. If the Preset Name Display Becomes Incorrect

If the preset names are no longer displayed correctly, perform the following steps.

Windows XP

Delete the file Documents and Settings\(user account name)\Local Settings\Application Data\Roland\JUNO-Di
Editor\PresetName.txt.

Restart JUNO-Di Editor.

Windows Vista

Delete the file User\(user account name)\AppData\Local\Roland\JUNO-Di Editor\PresetName.txt.

Restart JUNO-Di Editor.

When you perform the above steps, the preset names will be read from the JUNO-Di (in the same way as they were
when you started up the first time) and will be saved as a file on your computer’s hard disk.

If the folder is not displayed, take the following steps so that all files and folders are displayed.

Start up Windows Explorer.

From the menu bar, choose “Tools” - ”Folder Options” to access the folder options dialog box.

Click the “View” tab, and in “Advanced settings”, choose the setting that allows you to see all files and folders.
Then click [OK].

Macintosh Users

Delete the file (home directory):Library:Application Support:Roland:JUNO-Di Editor:PresetName.txt.

Restart JUNO-Di Editor.

When you perform the above steps, the preset names will be read from the JUNO-Di (in the same way as they were when
you started up the first time) and will be saved as a file on your computer’s hard disk.

7

Using the JUNO-Di Editor

7. If the Display Indicates “Unable to read/write data.”

In cases such as the following, the display may indicate “Unable to read/write data.”

• When the JUNO-Di and the computer are not connected properly

• When a large number of notes are being sounded

• When playbacking with the player

• When JUNO-Di Editor and JUNO-Di Librarian simultaneously attempt to read (or write) data

8

Overview

Performance

Part 16

Part 1

Patch/

Rhythm Set

How the JUNO-Di is Organized

When using the JUNO-Di as a MIDI sound module, you can use it in
either Performance mode or in Patch mode.

Basic Structure

Broadly speaking, the JUNO-Di consists of a controller section, a
sound generator section, and a song player section.

fig.BasicStruct-e

Song Player Section

Song Player

Rhythm Pattern

(controllers such as keyboard, pitch bend/modulation lever, etc.)

Playback

Controller Section

Sound Generator

Section

Play

Controller Section

This section consists of a keyboard, pitch bend/modulation lever, the
panel buttons and knobs, D Beam controller, and pedals connected to
the rear panel. The performance information generated when you
press/release a key or press a hold pedal are transmitted as MIDI
messages to the sound generator section and/or an external MIDI
device.

Patch Mode and Performance Mode

Patch Mode

In Patch mode you can use a connected keyboard or other device to
play a single Patch on the JUNO-Di. Since Patch mode lets you use a
variety of effects on a single patch, you can play very rich textures.

In Patch mode it’s also easy to edit the selected sound, so this is the
mode to use when editing or creating your own sounds.

Performance Mode

In Performance mode you can use multiple patches or rhythm sets
simultaneously.

A performance contains sixteen “Parts.” You can assign a patch or
rhythm set to each part, and use them as an ensemble, or layer sounds
to create rich textures.

With the factory settings, Patch mode is selected.

How a Performance is Structured

A performance has a patch or rhythm set assigned to each of the 16
parts, and can simultaneously handle 16 sounds.

Because the JUNO-Di sound generator can control multiple sounds
(instruments) it is called a Multi-timbral sound generator.

Sound Generator Section

This section produces the sound. It receives MIDI messages from the
controller section, song player section, or an external MIDI device,
generates musical sound according to the MIDI messages that were
received, and outputs the sound from the output jacks and headphone
jack.

Song Player Section

The Song Player is used to play back audio files or SMF data saved in
USB memory.

It can also play rhythm patterns in a variety of styles.
You can play along on the keyboard accompanied by the song or

rhythm pattern played by the Song Player.

When using the JUNO-Di’s Song Player to play songs, you can create
a “playlist” to specify the order in which songs will play. To create
playlists, you need to use the included “Playlist Editor.” For details,
refer to the JUNO-Di Owner’s Manual.

Part

A “part” is something to which you assign a patch or rhythm set. In
Performance mode, each performance has sixteen parts, and you can
assign a patch or rhythm set to each part.

9

Overview

The JUNO-Di will enter Performance mode if you turn on Split, Dual,
or Super Layer. Of the sixteen parts of the performance, Split or Dual
use parts 1 and 2, and Super Layer uses parts 1 through 5.

When you turn on each of these functions, the settings of the JUNO-Di
will be as follows.

When you turn Split on

Split refers to settings for the key ranges of parts 1 and 2 that result in
them being separated into upper and lower zones. The lowest key of
the upper zone is called the split point.

Parts 1 and 2 will be assigned as follows. The indication shown on the
display screen of the instrument itself is given in parentheses ( ).

Part name

Part 1: UPPER (U)

Part 2: LOWER (L)

Key range

From the split point key to G9
From C-1 to one key to the left of the split

point

When you turn Dual on

Dual refers to settings in which the key ranges of parts 1 and 2
overlap. The indication shown on the display screen of the instrument
itself is given in parentheses ( ).

Part name

Part 1: PART 1 (1)
Part 2: PART 2 (2)

Key range

C-1--G9
C-1--G9

How a Patch is Structured

Patches are the basic sound configurations that you play during a
performance. Each patch can be configured by combining up to four
tones. Each tone can be turned on/off individually, allowing you to
select the tones that will produce sound.

Patch

Tone1Tone2Tone3Tone

4

Example 1: A Patch consisting of only one Tone
(Tones 2–4 are turned off).

Patch

Tone1Tone2Tone3Tone

4

Example 2: A Patch consisting of four Tones.

Tones

On the JUNO-Di, the tones are the smallest unit of sound. However, it
is not possible to play a tone by itself. The patch is the unit of sound
which can be played, and the tones are the basic building blocks
which make up the patch.

Tone

LFO 1 LFO 2

When you turn Super Layer on

The sound of part 1 will be assigned to parts 1--5, and the following
settings will be made.

Parameter

Layer

Detune

Value Explanation

2--5 The number of parts used.

Detune (FINE TUNE) will be applied to
parts 2--5.

Part 2: 0--30
Part 3: This will be the inverse of the

part 2 value. For example, if

0--30

part 2 is set to “+2,” part 3
will be set to “-2.”

Part 4: This will be 1.5 times the

value of part 2.

Part 5: This will be 1.5 times the

value of part 3.

WG

Pitch

Envelope

audio signal

WG (Wave Generator)

Specifies the PCM waveform (wave) that is the basis of the sound, and
determines how the pitch of the sound will change.

TVF (Time Variant Filter)

Specifies how the frequency components of the sound will change.

TVA (Time Variant Amplifier)

Specifies the volume changes and the sound’s position in a stereo
soundfield.

Envelope

You use Envelope to initiate changes to occur to a sound over time.
There are separate envelopes for Pitch, TVF (filter), and TVA (volume).

TVF

TVF

Envelope

TVA

TVA

Envelope

control signal

10

Overview

LFO (Low Frequency Oscillator)

Use the LFO to create cyclic changes (modulation) in a sound. The
JUNO-Di has two LFOs. Either one or both can be applied to effect the
WG (pitch), TVF (filter) and/or TVA (volume). When an LFO is applied
to the WG pitch, a vibrato effect is produced. When an LFO is
applied to the TVF cutoff frequency, a wah effect is produced. When
an LFO is applied to the TVA volume, a tremolo effect is produced.

How a Rhythm Set is Structured

Rhythm sets are groups of a number of different percussion instrument
sounds.

Since percussion instruments generally do not play melodies, there is
no need for a percussion instrument sound to be able to play a scale
on the keyboard. It is, however, more important that as many
percussion instruments as possible be available to you at the same
time.

Therefore, each key (note number) of a rhythm set will produce a
different percussion instrument.

Rhythm Set

Note number 98 (D7)

Note number 97 (C#7)

Note number 36 (C2)

Note number 35 (B1)

Rhythm Tone (Percussion instrument sound)

WG

Pitch

Envelope

* There are four wave generators for each rhythm tone (percussion

instrument sounds).

* LFO is not included in the rhythm tones (percussion instrument

sounds).

TVF

TVF

Envelope

TVA

TVA

Envelope

Calculating the Number of Voices Being Used

The JUNO-Di is able to play up to 128 notes simultaneously.
The polyphony, or the number of voices (sounds) does not refer only to

the number of patches actually being played, but changes according
to the number of tones used in the patches, and the number of waves
used in the tones. The following method is used to calculate the
number of sounds used for one patch being played.

(Number of patches being played) x (Number of tones used by patches
being played) x (Number of waves used in the tones)

For example, a patch that combines four tones, each of which use two
waves, will use eight notes of polyphony at once. Also, when playing
in Performance mode, the number of sounds for each part is counted
to obtain the total number of sounds for all parts.

How a Patch Sounds

When the JUNO-Di is requested to play more than 128 voices
simultaneously, currently sounding notes will be turned off to make
room for newly requested notes. The note with the lowest priority will
be turned off first. The order of priority is determined by the Patch
Priority setting (PRIORITY; p. 29).

Patch Priority can be set either to “LAST” or “LOUDEST.”
When “LAST” is selected, a newly requested note that exceeds the

128 voice limit will cause the first-played of the currently sounding
notes to be turned off.

When “LOUDEST” is selected, the quietest of the currently sounding
notes will be turned off. Usually, “LAST” is selected.

Note priority in Performance Mode

Since Performance mode is usually used to play an ensemble
consisting of several patches, it is important to decide which parts take
priority. Priority is specified by the Voice Reserve settings (VOICE
RESERVE; p. 60). When a note within a patch needs to be turned off
to make room for a new note, the Patch Priority setting of the patch
will apply (PRIORITY; p. 29).

Voice Reserve

The JUNO-Di has a Voice Reserve function that lets you reserve a
minimum number of notes that will always be available for each part.
For example if Voice Reserve is set to “10” for part 16, part 16 will
always have 10 notes of sound-producing capacity available to it
even if a total of more than 128 notes (total for all parts) are being
requested.

When you make Voice Reserve settings, you need to take into account
the number of notes you want to play on each part as well as the
number of tones used by the selected patch (VOICE RESERVE; p. 60).

It is not possible to make Voice Reserve settings that would cause the
total of all parts to be greater than 64 voices.

11

Overview

About the Effects

The JUNO-Di has built-in effect units, and you can independently edit
each unit’s settings.

Multi-Effects

The multi-effects are multi-purpose effects that completely change the
sound type by changing the sound itself.

Contained are 79 different effects types; select and use the type that
suits your aims.

In addition to effects types composed of simple effects such as
Distortion, Flanger, and other such effects, you can also set up a wide
variety of other effects, even connecting effects in series or in parallel.
Furthermore, while chorus and reverb can be found among the multi­effects types, the following chorus and reverb are handled with a
different system. In Performance mode, three types of multi-effect can
be used simultaneously; these are referred to as MFX1, MFX2, and
MFX3.

In Patch mode, you can use one multi-effect.

Chorus

Chorus adds depth and spaciousness to the sound.
You can select whether to use this as a chorus effect or a delay effect.

Effects in Patch Mode

The multi-effects, chorus and reverb effects can be set up individually
for each patch/rhythm set.

Adjusting the signal level to be sent to each effects unit (Send Level)
provides control over the effect intensity that’s applied to each tone.

Patch

Tone

Rhythm Set

A0

Rhythm

C8

Tone

Multi-Effects

Chorus
Reverb

Multi-Effects

Chorus
Reverb

Reverb

Reverb adds the reverberation characteristics of halls or auditoriums.
Five different types are offered, so you can select and use the type that

suits your purpose.

Effects in Performance Mode

The multi-effects, chorus and reverb effects can be set individually for
each performance.

The intensity of each effect will be set for each part.
When you apply effects in Performance mode, the effect settings of the

patch or rhythm set assigned to each part will be ignored, and the
effect settings of the performance will be used. Thus, the effects for the
same patch or rhythm set may differ when played in Patch mode and
in Performance mode.

However, depending on the settings, you can have effect settings for a
patch or rhythm set assigned to a part applied to the entire performance.

Performance

Part 1

Part 16

Patch

Tone

Multi-Effects

Chorus
Reverb

12

Overview

About Memory

Patch and performance settings are stored in what is referred to as
memory. There are three kind of memory: temporary, rewritable, and
non-rewritable.

USB Memory

Song

SMF

Audio File

System

Patch

Rhythm Set

Performance

BackupRestore

JUNO-Di

System

User

Patch

Rhythm Set

Performance

Performance

Rhythm Set

Preset

Patch

GM (GM2)

Patch

Rhythm Set

Rewritable Memory

User Memory

User memory is where you normally store the data you need.
To store a performance, execute Performance Write (p. 57). To store a

patch, execute Patch Write (p. 24). To store a Rhythm Set, execute
Rhythm Set Write (p. 45).

System Memory

System memory stores system parameter settings that determine how
the JUNO-Di functions.

To store system parameters, execute System Write (p. 5).

USB Memory

The following settings can be backed up together to USB memory.

• User patches (rhythm sets)

• User performances

• System settings

Non-Rewritable Memory

Preset Memory

Data in Preset memory cannot be rewritten. However, you can call up
settings from preset memory into the temporary area, modify them and
then store the modified data in rewritable memory.

Select SelectSelect Select Write

Temporary Area

Temporary Memory

Temporary Area

This is the area that holds the data for the patch or performance that
you’ve selected using the panel buttons.

When you play the JUNO-Di, sound is produced based on data in the
temporary area. When you edit a patch or performance, you do not
directly modify the data in memory; rather, you call up the data into
the temporary area, and edit it there.

Settings in the temporary area will be lost when the power is turned
off or when you select another patch/performance. To keep the
settings you have modified, you must write them into user memory.

13

SYSTEM Parameters

COMMON

]

Parameter Value Explanation

MASTER LEVEL 0–127 Volume of the entire JUNO-Di
MASTER TUNE 415.3–466.2 Hz

PATCH REMAIN OFF, ON

MASTER KEY SHIFT -24–+24 Shifts the overall pitch of the JUNO-Di in semitone steps.

PERFORM CTRL CH
(Performance Control
Channel)

PATCH RX/TX CH
(Patch Rx/Tx Channel)

RCV PC
(Receive Program Channel)

RCV BS
(Receive Bank Select)

SYSTEM CTRL SRC 1–4
(System Control Source 1–4)

1–16, OFF

1–16 Channel used to transmit and receive MIDI messages for the Keyboard part in Patch mode

OFF, ON Specifies whether Program Change messages will be received (ON) or not (OFF).

OFF, ON Specifies whether Bank Select messages will be received (ON) or not (OFF).

OFF, CC01–95,
PITCH BEND,
AFTERTOUCH

Overall tuning of the JUNO-Di

The display shows the frequency of the A4 note (center A).

Specifies whether currently sounding notes will continue sounding when another patch or
rhythm set is selected (ON), or not (OFF).

When this is “ON,” changes produced by incoming MIDI messages such as Volume or
Pan (CC 5, 7, 10, 65, 68, 71–74, RPN 0, 1, 2, MONO ON, POLY ON), as well as
tonal quality and volume changes produced by the various controllers will be inherited.

* Effects settings change as soon as you switch to a new patch or rhythm set, without being

influenced by the Patch Remain setting. Because of this, certain effects settings can cause
notes that were until then sounding to no longer be heard, even though Patch Remain has
been set to “ON.”

Selects the MIDI receive channel used during switching of performances when MIDI
messages (Program Change/Bank Select) are sent from an external MIDI device.

Set this to “OFF” if performances are not to be switched from an external MIDI device.

* If only a program change is received, and if this parameter setting coincides with the

MIDI receive channel of a part, priority will be given to switching the performance.

Selects the MIDI message used as the System Control.

OFF: The system control knob will not be used.
CC01–95: Controller numbers 1–95
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch

System Control

This function, which departs from previously used methods, and instead allows you to use MIDI messages to change tone settings in realtime, is
called the Matrix Control (p. 42). Similarly, the function allowing you to use MIDI messages to change multi-effects settings in realtime is called
the Multi-effects Control (p. 21).

Normally, the Matrix Control is used for making patch settings, and the Multi-effects Control for making settings to patches, rhythm sets, and
performances.

System Control applies to the entire JUNO-Di.
For example, if you want the same MIDI message to always be used for matrix control for other patches as well, select that MIDI message as

SYSTEM CTRL SRC 1, and select “SYS-CTRL 1” as the CONTROL SOURCE for the other patches. With these settings, even if you need to change
the MIDI message used for matrix control, all you need to do is simply choose a different MIDI message as the SYSTEM CTRL SRC 1. In other
words, you could call the System Controls global Matrix Control/Multi-effects Control for the entire JUNO-Di.

You can use up to four System Controls.

14

SYSTEM Parameters

SCALE TUNE for Patch Mode

Parameter Value Explanation

PATCH SCALE TUNE

The JUNO-Di allows you to play the keyboard using temperaments other than equal temperament. The pitch is specified in one-cent units relative to
the equal tempered pitch. One-cent is 1/100th of a semitone.

One set of Scale Tune settings can be created in Patch mode. In Performance mode, this can be set for each part of the performance (p. 63).

* The selected scale applies to MIDI messages received from an external MIDI device.

SCALE TUNE SWITCH OFF, ON Turn this on when you wish to use a tuning scale other than equal temperament.
C–B -64–+63 Make scale tune settings for Patch mode.

Equal Temperament

This tuning divides the octave into 12 equal parts, and is the most
widely used method of temperament used in Western music. The
JUNO-Di employs equal temperament when the Scale Tune Switch
is set to “OFF.”

Just Intonation (Tonic of C)

Compared with equal temperament, the principle triads sound pure
in this tuning. However, this effect is achieved only in one key, and
the triads will become ambiguous if you transpose.

Arabian Scale

In this scale, E and B are a quarter note lower and C#, F# and G#
are a quarter-note higher compared to equal temperament. The
intervals between G and B, C and E, F and G#, Bb and C#, and Eb
and F# have a natural third-the interval between a major third and
a minor third. On the JUNO-Di, you can use Arabian temperament
in the three keys of G, C and F.

<Example>

Note name

C 0 0 -6

C
D 0 +4 -2

E
E 0 -14 -51
F 0 -2 -8

F
G 0 +2 -4

G
A 0 -16 0

B
B 0 -12 -49

Equal

temperament

0 -8 +45

0 +16 -12

0 -10 +43

0 +14 +47

0 +14 -10

Just

intonation

Arabian

scale

15

EFFECTS Parameters

Applying Effects

How Effects are Handled in Each Mode

Patch mode (p. 23)

In Patch mode, you can apply multi-effects (MFX), chorus, and reverb
to each patch or rhythm set; the same effect will be applied to each
tone.

By adjusting the amount of signal that is sent from each tone to each
effect, you can control the depth of the effect for each tone.

The patch or rhythm set’s effect settings that you edit will be lost when
you select a different patch or rhythm set. If you want to keep your
edited settings, press [WRITE] to save the patch or rhythm set settings
as a user patch (p. 24, p. 45).

Performance mode (p. 57)

In Performance mode, you can apply three multi-effects (MFX1, MFX2,
MFX3), one chorus, and one reverb to each performance.

The three multi-effects, chorus, and reverb can each operate according
to the effect settings of the performance, or according to the effect
settings of the patch or rhythm set assigned to the part you specify.

In addition, the three multi-effects can not only be used individually but
also as a combination of multi-effects.

The effect settings of a performance you edit will be lost when you
select a different performance. If you want to keep your edited
settings, press [WRITE] to save the performance settings as a user
performance (p. 57).

“About the Effects” (p. 12) in “Overview.”

Applying Effects

When you click the following buttons in the Navigation block, the
content shown in the Main block will change, allowing you to edit the
effect settings.

• Performance mode:
The buttons shown below [PERFORM EFFECTS]

• Patch mode:
The buttons shown below [PATCH EFFECTS]

16

PATCH EFFECTS

In Patch mode you can use one multi-effect (MFX), one chorus, and one reverb.

Signal Flow and Parameters (ROUTING)

Here you can make overall settings for effects, such as the output destination and level of the various signals.

Parameter Range Explanation

TONE SELECT
(KEY NAME)

PATCH OUTPUT
ASSIGN
(RHYTHM OUTPUT
ASSIGN)

TONE OUTPUT
ASSIGN

TONE OUTPUT
LEVEL

TONE CHORUS
SEND LEVEL

TONE REVERB
SEND LEVEL

MFX (Type) 0–79

MFX OUTPUT LEVEL 0–127 Volume of the sound that has been processed by the multi-effect

MFX CHORUS SEND
LEVEL

MFX REVERB SEND
LEVEL

CHORUS (Type)

CHORUS LEVEL 0–127 Volume of the sound that has been processed by the chorus

CHORUS OUTPUT
SELECT

1–4
(A0–C8)

MFX,
L+R,
L,
R,
TONE

MFX,
L+R,
L,
R

0–127 Level of signal sent from each tone to the destination specified by OUTPUT ASSIGN

0–127 Level of signal sent from each tone to the chorus

0–127 Level of signal sent from each tone to the reverb

0–127 Amount of chorus applied to the sound that has been processed by the multi-effect

0–127 Amount of reverb applied to the sound that has been processed by the multi-effect

OFF,
CHORUS, DELAY,
GM2 CHORUS

MAIN,
MAIN+REV, REV

The tone (rhythm tone) to edit

If you’ve selected a rhythm set, this will be KEY NAME.

Specifies how the unprocessed sound of the patch (rhythm set) will be output

If you’ve selected a rhythm set, this will be RHYTHM OUTPUT ASSIGN.
MFX: Output in stereo via the multi-effect. Chorus and reverb can also be applied after the multi-

effect.

L+R: Output in stereo from the OUTPUT jacks without passing through the multi-effect
L: Output in mono from the OUTPUT L jack without passing through the multi-effect
R: Output in mono from the OUTPUT R jack without passing through the multi-effect
TONE: Output according to the settings of each tone

Specifies how the unprocessed sound of each tone will be output

MFX: Output in stereo via the multi-effect. Chorus and reverb can also be applied after the multi­effect.

L+R: Output in stereo from the OUTPUT jacks without passing through the multi-effect
L: Output in mono from the OUTPUT L jack without passing through the multi-effect
R: Output in mono from the OUTPUT R jack without passing through the multi-effect

* The setting you specify here is valid only if PATCH OUTPUT ASSIGN is set to “TONE.”
* If STRUCTURE (p. 30) is set to TYPE 02–10, the settings for tone 1 (3) will follow the settings of

tone 2 (4). (This is because the outputs of tones 1 and 2 are combined into tone 2, and the outputs
of tones 3 and 4 are combined into tone 4.)

Type of multi-effect to use (choose one of 79 types)

For details on each multi-effect, refer to “Multi-Effects Parameters (MFX1–3, MFX)” (p. 64).

Type of chorus

OFF: Chorus/delay will not be used
CHORUS: Chorus
DELAY: Delay
GM2 CHORUS: GM2 chorus

Output destination of the sound that has been processed by the chorus

MAIN: Output in stereo to the OUTPUT jacks
MAIN+REV: Output in stereo to the OUTPUT jacks and in mono to the reverb
REV: Output in mono to reverb

EFFECTS Parameters

17

EFFECTS Parameters

Parameter Range Explanation

OFF,
REVERB,

REVERB (Type)

REVERB LEVEL 0–127 Volume of the sound that has been processed by the reverb

SRV ROOM,
SRV HALL,
SRV PLATE,
GM2 REVERB

Type of reverb

OFF: Reverb will not be used
REVERB: Basic reverb
SRV ROOM: Reverb that simulates the reverberation of a room in greater detail
SRV HALL: Reverb that simulates the reverberation of a hall in greater detail
SRV PLATE: Simulation of a plate echo (a reverb device that uses a metal plate)
GM2 REVERB: GM2 reverb

18

EFFECTS Parameters

PERFORM EFFECTS

In Performance mode you can use three multi-effects (MFX1, MFX2, MFX3), one chorus, and one reverb. The three multi-effects, chorus, and reverb
can each use the effect settings of the performance, or the effect settings of the patch or rhythm set assigned to the specified part.

In addition, the three multi-effects can not only be used individually but also as a combination of multi-effects.

Signal Flow and Parameters (ROUTING)

Here you can make overall settings for effects, such as the output destination and level of the various signals.

* The parameters listed below in MFX1–3 (Type), MFX OUTPUT LEVEL, MFX CHORUS SEND LEVEL, MFX REVERB SEND LEVEL and MFX1–3

SOURCE can be edited for each of the three multi-effects (MFX1–MFX3).

Parameter Range Explanation

PART 1–16 The part for which to make settings

Specifies how the unprocessed sound of each part will be output

MFX,

PART OUTPUT
ASSIGN

PART OUTPUT LEVEL 0–127 Level of signal sent to the destination specified by PART OUTPUT ASSIGN

PART CHORUS
SEND LEVEL

PART REVERB
SEND LEVEL

PART OUTPUT MFX
SELECT

MFX1–3 (Type) 0–79

MFX OUTPUT LEVEL 0–127 Volume of the sound that has been processed by the multi-effect

MFX CHORUS SEND
LEVEL

MFX REVERB SEND
LEVEL

CHORUS (Type)

CHORUS LEVEL 0–127 Volume of the sound that has been processed by the chorus

CHORUS OUTPUT
SELECT

REVERB (Type)

REVERB LEVEL 0–127 Volume of the sound that has been processed by the reverb
MFX STRUCTURE 1–16 How MFX 1–3 will be combined

L+R,
L,
R,
PAT

0–127 Level of signal sent from each part to the chorus

0–127 Level of signal sent from each part to the reverb

MFX1–3 Multi-effect used by the part (choose one of MFX 1–3)

0–127 Amount of chorus applied to the sound that has been processed by the multi-effect

0–127 Amount of reverb applied to the sound that has been processed by the multi-effect

OFF,
CHORUS,
DELAY,
GM2 CHORUS

MAIN,
MAIN+REV, REV

OFF,
REVERB,
SRV ROOM,
SRV HALL,
SRV PLATE,
GM2 REVERB

MFX: Output in stereo via the multi-effect. Chorus and reverb can also be applied after the multi­effect.

L+R: Output in stereo from the OUTPUT jacks without passing through the multi-effect
L: Output in mono from the OUTPUT L jack without passing through the multi-effect
R: Output in mono from the OUTPUT R jack without passing through the multi-effect
PAT: Output according to the settings of the patch or rhythm set that’s assigned to the part

Type of multi-effect to use (choose one of 79 types)

For details on each multi-effect, refer to “Multi-Effects Parameters (MFX1–3, MFX)” (p. 64).

Type of chorus

OFF: Chorus/delay will not be used
CHORUS: Chorus
DELAY: Delay
GM2 CHORUS: GM2 chorus

Output destination of the sound that has been processed by the chorus

MAIN: Output in stereo to the OUTPUT jacks
MAIN+REV: Output in stereo to the OUTPUT jacks and in mono to the reverb
REV: Output in mono to reverb

Type of reverb

OFF: Reverb will not be used
REVERB: Basic reverb
SRV ROOM: Reverb that simulates the reverberation of a room in greater detail
SRV HALL: Reverb that simulates the reverberation of a hall in greater detail
SRV PLATE: Simulation of a plate echo (a reverb device that uses a metal plate)
GM2 REVERB: GM2 reverb

19

EFFECTS Parameters

Parameter Range Explanation

MFX1–3 SOURCE

CHORUS SOURCE

REVERB SOURCE

PERFORM,
1–16

PERFORM,
1–16

PERFORM,
1–16

If you’ve specified a part number as the MFX SOURCE, CHORUS SOURCE, or REVERB SOURCE

If you specify a part number as a Source so that the settings of the patch or rhythm set will be used, those settings will be shown in the effect
setting screen of the performance, and can be edited.

If you want to keep the changes you made, save the settings of the patch or rhythm set (p. 24, p. 45). Then you must also save the settings of the
performance (p. 57).

Multi-effect parameter settings used by the performance

PERFORM: Use the multi-effect settings of the performance
1–16: Use the multi-effect settings of the patch or rhythm set assigned to the specified part

Chorus parameter settings used by the performance

PERFORM: Use the chorus settings of the performance
1–16: Use the chorus settings of the patch or rhythm set assigned to the specified part

Reverb parameter settings used by the performance

PERFORM: Use the reverb settings of the performance
1–16: Use the reverb settings of the patch or rhythm set assigned to the specified part

20

EFFECTS Parameters

Multi-Effect Settings (MFX, MFX 1–3)

Parameter Range Explanation

ON/OFF OFF, ON

TYPE

OUT 0–127 Volume of the sound that has been processed by the multi-effect

SEND LEVEL

Parameters for each MFX
type

CHO 0–127 Amount of chorus applied to the sound that has been processed by the multi-effect
REV 0–127 Amount of reverb applied to the sound that has been processed by the multi-effect

00: THROUGH–
79: VOCODER

Edit the parameters of the MFX type you’ve selected. Refer to “Multi-Effects Parameters (MFX1–3, MFX)” (p. 64).

Controlling a Multi-Effect via MIDI (CONTROL SOURCE/DESTINATION/SENS)

Multi-Effect Control

In order to control the multi-effect’s volume or delay time from an external MIDI device, you would normally need to transmit system exclusive
messages (MIDI messages that are specific to the JUNO-Di). However, system exclusive messages are more complex to set up, and require a larger
amount of data to be transmitted.

For this reason, the JUNO-Di allows you to use control changes and other common MIDI messages to control the most important multi-effect
parameters.

For example, you might use the pitch bend lever to control the degree of distortion, or use keyboard touch to change the delay time. The parameters
that can be controlled in this way are predetermined for each type of multi-effect; such parameters are indicated by a “#” in the parameter lists in
“Multi-Effects Parameters (MFX1–3, MFX)” (p. 64).

“Multi-effect control” is the capability of using MIDI messages in this way to control multi-effect parameters in real time. You can specify up to four
multi-effect control assignments for each MFX 1–3.

In order to use multi-effect control, you’ll need to specify which MIDI message (SOURCE) will control which parameter (DESTINATION) by what
amount (SENS).

Turns the multi-effect on/off

* The effect on/off settings cannot be saved.

Selects the type of multi-effect used by MFX.

Choose “00: THROUGH” if you don’t want to apply a multi-effect.

As a substitute for multi-effect control, you can also use matrix control (p. 42) to control important multi-effect parameters in real time.

Parameter Range Explanation

Specifies the MIDI message that will control the corresponding MFX control parameter.

OFF,
CC01–31,

CONTROL SOURCE
(1–4)

DESTINATION
(1–4)

SENS (1–4) -63–+63

A patch or rhythm set contains parameters that specify whether pitch bend, controller number 11 (expression), and controller number 64 (hold

1) will be received for each tone or rhythm tone (p. 43, p. 50). If these settings are “ON,” receiving that MIDI message will not only change the
setting of the assigned destination parameter, but will also apply the corresponding pitch bend, expression, or hold 1 effect. Leave them “OFF”
if you only want to control the multi-effect parameter.

CC33–95,
PITCH BEND,
AFTERTOUCH,
SYS CTRL 1–4

Refer to “Multi-Effects
Parameters (MFX1–3,
MFX)” (p. 64)

OFF: MFX will not be used.
CC01–31: Controller number 1–31
CC33–95: Controller number 33–95
PITCH BEND: Pitch bend
AFTERTOUCH: Aftertouch
SYS-CTRL 1–4: Use the controller that is assigned by the System setting SYSTEM CTRL SRC

1–4 (p. 14).

Selects the multi-effect parameter that will be controlled by CONTROL SOURCE.
The type of parameters that can be selected will depend on the type of multi-effect you’ve se-

lected in MFX Type.
Specifies the depth of multi-effect control.

Specify a positive (+) value if you want to change the value of the assigned destination in a
positive direction (larger, toward the right, faster, etc.), or specify a negative value (-) if you
want to change the value in a negative direction (smaller, toward the left, slower, etc.).

Larger values will allow a greater amount of control.

21

EFFECTS Parameters

A performance contains parameters that specify whether specific MIDI messages will be received for each MIDI channel (p. 62). If you want to
use multi-effect control, make sure that reception is enabled for the corresponding MIDI message. If MIDI messages cannot be received, multi­effect control will not work.

Chorus Settings (CHORUS)

Parameter Range Explanation

ON/OFF OFF, ON

OFF,

TYPE

LEVEL 0–127 Volume of the sound that has been processed by the chorus

OUTPUT SELECT

Parameters for each
chorus type

CHORUS,
DELAY,
GM2
CHORUS

MAIN,
MAIN+REV,
REV

Set the parameters of the selected chorus type.
Refer to “Chorus Parameters” (p. 91).

Turns the chorus on/off

* The chorus on/off setting cannot be saved.

Type of chorus

OFF: Chorus/delay will not be used
CHORUS: Chorus
DELAY: Delay
GM2 CHORUS: GM2 chorus

Output destination of the sound that has been processed by the chorus

MAIN: Output in stereo to the OUTPUT jacks
MAIN+REV: Output in stereo to the OUTPUT jacks and in mono to the reverb
REV: Output in mono to reverb

Reverb Settings (REVERB)

Parameter Range Explanation

ON/OFF OFF, ON

OFF,
REVERB,

TYPE

LEVEL 0–127 Volume of the sound that has been processed by the reverb

Parameters for each
reverb type

SRV ROOM,
SRV HALL,
SRV PLATE,
GM2 REVERB

Set the parameters of the selected reverb type.
Refer to “Reverb Parameters” (p. 92).

Turns the reverb on/off

* The reverb on/off setting cannot be saved.

Type of reverb

OFF: Reverb will not be used
REVERB: Basic reverb
SRV ROOM: Reverb that simulates the reverberation of a room in greater detail
SRV HALL: Reverb that simulates the reverberation of a hall in greater detail
SRV PLATE: Simulation of a plate echo (a reverb device that uses a metal plate)
GM2 REVERB: GM2 reverb

22

Detailed Editing for a Patch (PATCH Parameters)

“Editing” is the process of modifying the values of the JUNO-Di’s
various settings (parameters). This chapter explains the procedure for
patch editing, and how the patch parameters work.

The JUNO-Di’s patches are organized into two groups: User and
Preset.

PRST (Preset)

These are the sounds that are built into the JUNO-Di.
This group contains 256 GM2-compatible patches.
You can modify the currently selected sound and WRITE (save) it at

number 501 and following.

USER

These are sound numbers 501 and following in the JUNO-Di.
When you WRITE (save) the currently selected sound, it will be saved

at number 501 or following.

How to Edit a Patch

You can create a new patch by editing an existing patch.
A patch consists of up to four “tones.” Before editing a patch, you

should listen to each tone individually to familiarize yourself with the
role it plays in creating the overall sound of the patch.

Editing a Patch

Select from the “EDIT” menu.

Initializing a Patch

The “Initialize” command initializes the settings of the currently
selected patch.

The Initialize command will initialize only the currently selected
patch. If you want to return all settings to their factory-set values,
execute a Factory Reset on the JUNO-Di itself.

Copying/Pasting Patch Settings

The “Copy” command copies the settings to the clipboard.
The “Paste” command pastes the settings from the clipboard to the

copy destination you select.

TONE SWITCH/SELECT

Use TONE SWITCH (SW) 1--4 to turn each of the four tones on/off.
Use TONE SELECT 1--4 to select the tone that you want to edit.

Four tips when creating patches

● Choose a patch that’s close to what you have in mind

If you’re trying to create a new patch, it will be difficult to
make progress if you simply select any old patch and start
making changes blindly. It’s important to start by selecting a
patch that’s close to what you have in mind.

● Decide which tones you’ll use

When creating a patch, it’s very important to decide which
tones you’re going to use. In the edit screen, use the TONE
SWITCH 1–4 settings to specify whether each tone will be
heard (on) or silent (off). Turning off unneeded tones is also an
important way to conserve polyphony.

● Check the structure setting (p. 30)

The STRUCTURE parameter is a very important one; it
specifies how the four tones will be combined. Before you
begin actually editing the tones, you must understand the
relationship between the tones.

● Turn the effects off (p. 16)

The JUNO-Di contains a diverse array of effects, allowing you
to process the sound in sophisticated ways. Effects have a
major impact on the sound, and simply turning off the effects
may produce an entirely different impression. Turning off the
effects will allow you to hear the sound of the patch itself,
which makes it easier to hear the result of the changes you
make. In some cases, editing the effect settings may be
enough to create the sound you want.

[SUMMARY] and [LFO] editing screens

• The main window will show the settings of the first selected of the
currently selected tones (its button will be lit more brightly than
the others).

• You can select multiple tones by clicking a TONE SELECT button
while holding down your computer’s Shift key.

• When you edit the settings of a tone, the settings of the currently
selected tones will change simultaneously.

[WG], [TVF], [TVA], and [CONTROL SW] editing screens

• You can select multiple tones by clicking a TONE SELECT button
while holding down your computer’s Shift key.

• When you edit the settings of a tone, the settings of the currently
selected tones will change simultaneously.

• Unselected tones can be edited independently.

23

Detailed Editing for a Patch (PATCH Parameters)

TVA ENV for looped Organ
waveform (sustain portion)

Note off

Time

Level

Resulting TVA ENV
change

TVA ENV for one-shot Key

-click waveform (attack portion)

Note off

+=

Tone change stored

with the wave

Envelope

for the TVF filter

Resulting

tone change

Looped portion

Time

Level

Stereo Wave Settings

Some of the waves that make up a tone key are stereo.
With stereo waves, the name of a left-channel wave ends in “L”, while

the name of a right-channel wave ends in “R.”
The left and right waves are numbered consecutively; the right-channel

wave number is one greater than the left-channel wave number.
You can use the following procedure to first select either the left or

right wave, and then select the other wave.

1. Select a patch.

2. Make sure that [SUMMARY] or [WG] is selected in the Navigation

block.

3. Use WAVE NUMBER L to select the left-channel wave of the stereo
wave.

4. Double-click WAVE NUMBER R.

The corresponding right-channel wave will be selected.

You can also use WAVE NUMBER R to select the right-channel
wave and then double-click WAVE NUMBER L to select the left­channel wave.

Saving a Patch

Note when selecting a waveform

The JUNO-Di uses complex PCM waveforms as the basis for its
sounds. For this reason, you should be aware that if you specify a
waveform that is very different than the original waveform, the result
may not be what you expect.

The JUNO-Di’s internal waveforms can be categorized into the
following two types.

One-shot:

These are sounds with a short decay time. One-shot waveforms
contain the entire duration of the sound from the attack until it
decays to silence. Some of these waveforms capture a complete
sound such as a percussion instrument, but there are also many
attack component sounds such as the hammer strike of a piano
or the fret noise of a guitar.

Loop:

These are sounds with a long decay, or sustaining sounds.
Looped waveforms will repeatedly play a portion of a sound
once it has reached a relatively stable state. These sounds also
include numerous component sounds, such as a vibrating piano
string or a resonating pipe.

The following illustration shows an example of a sound created by
combining a one-shot waveform with a loop waveform. (This example
is of an electric organ.)

fig.Waveform1-e.eps

Changes you make are temporary, and will be discarded when you
turn off the power or select another patch. If you want to keep a patch
you’ve modified, save it at number 501 or following in the internal
memory.

When you click the [WRITE] button located in the top line of the main
window, the data will be written to the JUNO-Di.

If you’ve edited a patch in Performance mode, you should also save
the performance after saving the patch (p. 57).

When you save, the data that previously occupied the save
destination will be overwritten.

Never turn off the power while data is being saved.

Note when selecting a one-shot waveform

It’s not possible to use the envelope settings to give a one-shot
waveform a longer decay than the original waveform contains,
or to make it a sustaining sound. Even if you made this type of
envelope setting, you would be trying to bring out something
that doesn’t exist in the original waveform.

Note when selecting a looped waveform

Many acoustic instruments such as piano or sax are marked by
a sudden change in timbre at the very beginning of the sound,
and this rapid change is what gives the instrument its distinctive
character. When using these waveforms, it’s best to use the
complex tonal changes in the attack portion of the sound without
attempting to modify them; use the envelope only to modify the
decay portion of the sound as desired. If you use the envelope to
modify the attack as well, the envelope settings will be affected
by the attack of the waveform itself, and you may not get the
result you intend.

fig.Waveform2-e.eps

24

Detailed Editing for a Patch (PATCH Parameters)

PATCH Parameters

SUMMARY

SYSTEM COMMON

Parameter Value Explanation

MASTER LEVEL 0–127 Volume of the entire JUNO-Di

PATCH RX/TX CH
(Patch Rx/Tx Channel)

PATCH COMMON

Parameter Value Explanation

LEVEL 0–127 Volume of the patch

MONO/POLY MONO, POLY

PORTAMENT ON OFF, ON Specifies whether the portamento effect will be applied (ON) or not (OFF).
PORTAMENT TIME 0–127 Specifies the time over which the pitch will change.

1–16 Channel used to transmit and receive MIDI messages for the Keyboard part in Patch mode

MONO: Only the last-played note will sound. This setting is effective when playing a solo
instrument patch such as sax or flute.

POLY: Two or more notes can be played simultaneously.

LFO1

Parameter marked with a “★” can be controlled using specified MIDI messages.

Parameter Value Explanation

Waveform of the LFO

SIN: Sine wave
TRI: Triangle wave
SAW-UP: Sawtooth wave
SAW-DW: Sawtooth wave (negative polarity)

SIN, TRI,
SAW-UP,
SAW-DW,

WAVEFORM

RATE ★ 0–127, Note

DELAY 0–127

DEPTH PITCH ★ -63–+63 How deeply the LFO will affect pitch
DEPTH TVF ★ -63–+63 How deeply the LFO will affect the cutoff frequency
DEPTH TVA ★ -63–+63 How deeply the LFO will affect the volume
DEPTH PAN ★ -63–+63 How deeply the LFO will affect the pan

SQR, RND,
BEND-UP,
BEND-DW,
TRP, S&H, CHS,
VSIN, STEP

SQR: Square wave
RND: Random wave
BEND-UP: Once the attack of the waveform output by the LFO is allowed to develop in standard

fashion, the waveform then continues without further change.
BEND-DW: Once the decay of the waveform output by the LFO is allowed to develop in standard
fashion, the waveform then continues without further change.

TRP: Trapezoidal wave
S&H: Sample & Hold wave (one time per cycle, LFO value is changed)
CHS: Chaos wave
VSIN: Modified sine wave. The amplitude of a sine wave is randomly varied once each cycle.
STEP: A waveform generated by the data specified by LFO Step 1–16. This produces stepped

change with a fixed pattern similar to a step modulator.

* If you set this to “BEND-UP” or “BEND-DW,” you must turn the KEY TRIGGER parameter (p. 40) to

“ON.” If this is “OFF,” it will have no effect.

Modulation speed of the LFO

If you want the LFO rate to be synchronized with the tempo, this should be set in terms of a note value.

* This setting will be ignored if the WAVEFORM parameter is set to “CHS.”

Time elapsed before the LFO effect is applied (the effect continues) after the key is pressed (or released)

When using violin, wind, or certain other instrument sounds in a performance, rather than having
vibrato added immediately after the sounds are played, it can be effective to add the vibrato after
the note is drawn out somewhat.

* Set this according to your purpose as described in “How to Apply the LFO” (p. 40).

(Matrix Control, p. 42)

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Detailed Editing for a Patch (PATCH Parameters)

WG

Parameter marked with a “★” can be controlled using specified MIDI messages.

Parameter Value Explanation

Basic waveform for a tone

WAVE NUMBER
L (Mono)/R

GAIN -6, 0, +6, +12

TEMPO SYNC OFF, ON

FXM ON OFF, ON This sets whether FXM will be used (ON) or not (OFF).

FXM COLOR 1–4

FXM DEPTH ★ 0–16 Depth of the modulation produced by FXM
TUNE COARSE ★ -48–+48 Pitch of the tone’s sound (in semitones, +/-4 octaves)
TUNE FINE ★ -50–+50 Pitch of the tone’s sound (in 1-cent steps; one cent is 1/100th of a semitone)

PITCH ENV DEPTH
(Pitch Envelope Depth)

PITCH ENV A
(Pitch Envelope Attack)

PITCH ENV D
(Pitch Envelope Decay)

PITCH ENV S
(Pitch Envelope Sustain)

PITCH ENV R
(Pitch Envelope Release)

Off, 1–

-12–+12

0–127

0–127

-63–+63

0–127

When in monaural mode, only the left side (L) is specified. When in stereo, the right side
(R) is also specified.

To select a left/right pair of waveforms, first select the left (L) wave number, then double­click the wave number of the right (R) wave to select it.

Gain (amplification) of the waveform

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

* If you intend to use the Booster to distort the waveform’s sound, set this parameter to its

maximum value (p. 31).

When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”

* When this parameter is set to “ON,” set the TONE DELAY TIME parameter (p. 33) to “0.”

How FXM will perform frequency modulation

Higher settings result in a grainier sound, while lower settings result in a more metallic
sound.

Depth of the Pitch envelope

Higher settings will cause the pitch envelope to produce greater change. Negative (-)
settings will invert the shape of the envelope.

Pitch envelope times

Higher settings will result in a longer time until the next pitch is reached.
This will modify ENV T1 (p. 34).

Pitch envelope times

This will modify ENV T3 (p. 34).

Pitch envelope levels

Specify how the pitch will change at each point, relative to the pitch set with COARSE
TUNE or FINE TUNE.

This will modify ENV L3 (p. 34).

Pitch envelope times

This will modify ENV T4 (p. 34).

(Matrix Control, p. 42)

TVF

Parameter

TYPE

26

Value

OFF,
LPF,
BPF,
HPF,
PKG,
LPF2,
LPF3

Parameter marked with a “★” can be controlled using specified MIDI messages.

(Matrix Control, p. 42)

Explanation

Type of filter

OFF: No filter is used.
LPF: Low Pass Filter. This reduces the volume of all frequencies above the Cutoff Frequency in order to round off, or un-

brighten the sound.
BPF: Band Pass Filter. This leaves only the frequencies in the region of the Cutoff Frequency, and cuts the rest. This can
be useful when creating distinctive sounds.
HPF: High Pass Filter. This cuts the frequencies in the region below the Cutoff Frequency. This is suitable for creating
percussive sounds emphasizing their higher tones.
PKG: Peaking Filter. This emphasizes the frequencies in the region of the Cutoff Frequency. You can use this to create
wah-wah effects by employing an LFO to change the Cutoff Frequency cyclically.
LPF2: Low Pass Filter 2. Although frequency components above the Cutoff Frequency are cut, the sensitivity of this filter
is half that of the LPF. This filter is good for use with simulated instrument sounds such as the acoustic piano.
LPF3: Low Pass Filter 3. Although frequency components above the Cutoff Frequency are cut, the sensitivity of this filter
changes according to the Cutoff Frequency. While this filter is also good for use with simulated acoustic instrument
sounds, the nuance it exhibits differs from that of the LPF2, even with the same TVF Envelope settings.

* If you set “LPF2” or “LPF3,” the setting for the Resonance parameter will be ignored.

Parameter Value Explanation

CUTOFF ★
(Cutoff Frequency)

RES ★
(Resonance)

FILTER ENV DEPTH
(Filter Envelope Depth)

FILTER ENV A
(Filter Envelope Attack)

FILTER ENV D
(Filter Envelope Decay)

FILTER ENV S
(Filter Envelope Sustain)

FILTER ENV R
(Filter Envelope Release)

0–127 Frequency at which the filter begins to have an effect on the waveform’s frequency components

Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the

0–127

-63–+63

0–127

0–127

0–127

0–127

sound

* Excessively high settings can produce oscillation, causing the sound to distort.

Depth of the TVF envelope

Higher settings will cause the TVF envelope to produce greater change. Negative (-) settings will
invert the shape of the envelope.

TVF envelope times

Higher settings will lengthen the time until the next cutoff frequency level is reached.
This will modify ENV T1 (p. 36).

TVF envelope times

This will modify ENV T3 (p. 36).

TVF envelope levels

Specify how the cutoff frequency will change at each point, relative to the Cutoff Frequency value.
This will modify ENV L3 (p. 36).

TVF envelope times

This will modify ENV T4 (p. 36).

Detailed Editing for a Patch (PATCH Parameters)

TVA

Parameter Value Explanation

LEVEL ★ 0–127

PAN ★ L64–0–63R Left/right position of the tone

AMP ENV A
(Amp Envelope Attack)

AMP ENV D
(Amp Envelope Decay)

AMP ENV S
(Amp Envelope Sustain)

AMP ENV R
(Amp Envelope Release)

SEND LEVEL OUT
(Output Level)

SEND LEVEL (OUTPUT ASSIGN = MFX)
CHO (Chorus Send) 0–127 Level of the signal sent to chorus for each tone if the tone is sent through MFX
REV (Reverb Send) 0–127 Level of the signal sent to reverb for each tone if the tone is sent through MFX

SEND LEVEL (OUTPUT ASSIGN = non MFX)
CHO (Chorus Send) 0–127 Level of the signal sent to chorus for each tone if the tone is not sent through MFX
REV (Reverb Send) 0–127 Level of the signal sent to reverb for each tone if the tone is not sent through MFX

0–127

0–127

0–127

0–127

0–127 Level of the signal that is sent to the output destination specified by OUTPUT ASSIGN (p. 38)

Volume of the tone

This setting is useful primarily for adjusting the volume balance between tones.

TVA envelope times

Higher settings will lengthen the time until the next volume level is reached.
This will modify ENV T1 (p. 38).

TVA envelope times

This will modify ENV T3 (p. 38).

TVA envelope levels

Specify how the volume will change at each point, relative to the LEVEL value.
This will modify ENV L3 (p. 38).

TVA envelope times

This will modify ENV T4 (p. 38).

27

Detailed Editing for a Patch (PATCH Parameters)

COMMON

Parameter marked with a “★” can be controlled using specified MIDI messages.

(Matrix Control, p. 42)

Parameter Value Explanation

PATCH NAME — Patch name

Type (category) of the patch

CATEGORY —

LEVEL 0–127 Volume of the patch
PAN L64–0–63R Left/right position of the patch

MFX,
L+R,

OUTPUT ASSIGN

L,
R,
TONE

OCTAVE SHIFT -3–+3 Pitch of the patch’s sound (in units of an octave)
TUNE COARSE ★ -48–+48 Pitch of the patch’s sound (in semitones, +/- 4 octaves)
TUNE FINE -50–+50 Pitch of the patch’s sound (in 1-cent steps; one cent is 1/100th of a semitone)

STRETCH TUNE DEPTH OFF, 1–3

PITCH BEND RANGE UP 0–+48 Degree of pitch change in semitones when the Pitch Bend lever is all the way right (in semitones)

PITCH BEND RANGE
DOWN

-48–0 Degree of pitch change in semitones when the Pitch Bend lever is all the way left (in semitones)

* If you select “NO ASSIGN” as the category, it won’t be possible to select the patch on the JUNO-

Di itself.

Specifies how the direct sound of each patch will be output.

MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that
passes through multi-effects.

L+R: Output in stereo to the OUTPUT jacks without passing through the multi-effect
L: Output in mono to the OUTPUT L jack without passing through the multi-effect
R: Output in mono to the OUTPUT R jack without passing through the multi-effect
TONE: Outputs according to the settings for each tone.

Stretched tuning (a system by which acoustic pianos are normally tuned, causing the lower range to
be lower and the higher range to be higher than the mathematical tuning ratios would otherwise
dictate)

OFF: Equal temperament
1–3: Higher settings will produce the greater difference in the pitch of the low and high ranges.

Stretched Tuning

fig.06-011.e

Pitch difference from
equal temperament

OFF

1

2

3

Low note range

Parameter value

3

2

1

OFF

High note range

Parameter Value Description

CUTOFF -63–+63 CUTOFF (p. 27)
RES (Resonance) -63–+63 RES (p. 27)

OFFSET (Modify)

ATTACK TIME -63–+63 TVF Envelope Time 1, TVA Envelope Time 1 (p. 36, p. 38)
RELEASE TIME -63–+63 TVF Envelope Time 4, TVA Envelope Time 4 (p. 36, p. 38)
VELOCITY SENS -63–+63 Cutoff Velocity Sens, Velocity Sens (p. 36, p. 37)

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