Roland JUNO-G User Manual

Download

201a

Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY”

and “IMPORTANT NOTES” (p. 2; p. 4). These sections provide important information

concerning the proper operation of the unit. Additionally, in order to feel assured that

you have gained a good grasp of every feature provided by your new unit, Owner’s

manual should be read in its entirety. The manual should be saved and kept on hand as

a convenient reference.

Conventions Used in This Manual

Operating buttons are enclosed by square brackets [ ]; e.g., [REC].

Reference pages are indicated by (p. **).

The following symbols are used.

This indicates an important note; be sure to read it.

This indicates a memo regarding the setting or function; read it as desired.

This indicates a useful hint for operation; read it as necessary.

This indicates information for your reference; read it as necessary.

This indicates an explanation of a term; read it as necessary.

Owner’s Manual

Thank you, and congratulations on your choice of the Roland JUNO-G.

985

* 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., includes newer sounds), so what you actually see in the display may not always match what appears in the manual.

202

written permission of ROLAND CORPORATION.

For the U.K.

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

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.

USING THE UNIT SAFELY

BLUE: BROWN:

NEUTRAL LIVE

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.

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.

001

• Before using this unit, make sure to read the instructions below, and the Owner’s Manual.

..........................................................................................................

002d

• Do not open or perform any internal modifications on the unit or its AC adaptor. (The only exception would be where this manual provides specific instructions which should be followed in order to put in place userinstallable options; see p. 174, p. 176.)

..........................................................................................................

003

• 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.

..........................................................................................................

004

• Never use or store the unit in places that are:

• 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

• Humid; or are

• Exposed to rain; or are

• Dusty; or are

• Subject to high levels of vibration.

..........................................................................................................

005

• This unit should be used only with a stand (KS-12) that is recommended by Roland.

006

• When using the unit with a stand (KS-12) recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.

..........................................................................................................

008c

• 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.

..........................................................................................................

008e

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

..........................................................................................................

009

• 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!

..........................................................................................................

010

• This unit, either alone or 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.

011

• Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit. When you install the Wave Expansion Board (SRX series) or memory (DIMM), please be careful particularly.

..........................................................................................................

012b

• 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.

..........................................................................................................

013

• 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.

..........................................................................................................

014

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

..........................................................................................................

015

• 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.

..........................................................................................................

016

• 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.

..........................................................................................................

022b

• Always turn the unit off and unplug the AC adaptor before attempting installation of the circuit board (SRX series; p. 174, DIMM; p. 176).

..........................................................................................................

023

• DO NOT play a CD-ROM disc on a conventional audio CD player. The resulting sound may be of a level that could cause permanent hearing loss. Damage to speakers or other system components may result.

101b

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

..........................................................................................................

101c

• This (JUNO-G) for use only with Roland stand (KS-12). Use with other stands is capable of resulting in instability causing possible injury.

..........................................................................................................

102c

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

..........................................................................................................

103b

• 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.

..........................................................................................................

104

• 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.

..........................................................................................................

106

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

..........................................................................................................

107c

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

..........................................................................................................

108b

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

..........................................................................................................

109b

• Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet (p. 15).

..........................................................................................................

110b

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

..........................................................................................................

115a

• Install only the specified circuit board(s) (SRX series, DIMM). Remove only the specified screws (p. 174, p.

176).

..........................................................................................................

118a

• Should you remove the ground terminal screw or screws that fasten the bottom cover or the PC card protector, keep them in a safe place out of children’s reach, so there is no chance of them being swallowed accidentally.

IMPORTANT NOTES

291a

In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:

Power Supply

301

• 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.

302

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

307

• 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

351

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

352a

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

352b

• 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.

354a

• 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.

355b

• When moved from one location to another where the temperature and/or humidity is very different, water droplets (condensation) may form inside the unit. 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.

358

• Do not allow objects to remain on top of the keyboard. This can be the cause of malfunction, such as keys ceasing to produce sound.

360

• 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.

Maintenance

401a

• 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, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.

402

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

Repairs and Data

452

• Please be aware that all data contained in the unit’s memory may be lost when the unit is sent for repairs. Important data should always be backed up on a memory card, or written down on paper (when possible). During repairs, due care is taken to avoid the loss of data. However, in certain cases (such as when circuitry related to memory itself is out of order), we regret that it may not be possible to restore the data, and Roland assumes no liability concerning such loss of data.

Additional Precautions

551

• Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory on a memory card.

552

• Unfortunately, it may be impossible to restore the contents of data that was stored on a memory card or unit’s memory once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

553

• Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.

554

• Never strike or apply strong pressure to the display.

556

• When connecting / disconnecting all 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.

558a

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

559a

• 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.

561

• Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

562

• Use a cable from Roland to make the connection. If using some other make of connection cable, please note the following precautions.

• 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.

566b

• The sensitivity of the D Beam controller will change depending on the amount of light in the vicinity of the unit. If it does not function as you expect, adjust the sensitivity as appropriate for the brightness of your location.

IMPORTANT NOTES

Before Using Cards

Using Memory Cards (p. 178)

704

• Carefully insert the memory card all the way in—until it is firmly in place.

705

• Never touch the terminals of the memory card. Also, avoid getting the terminals dirty.

707

• This unit’s PC card slot accepts CompactFlash memory cards. Microdrive storage media are not compatible.

708

• CompactFlash and SmartMedia (3.3 V) are constructed using precision components; handle the cards carefully, paying particular note to the following.

• To prevent damage to the cards from static electricity, be sure to discharge any static electricity from your own body before handling the cards.

• Do not touch or allow metal to come into contact with the contact portion of the cards.

• Do not bend, drop, or subject cards to strong shock or vibration.

• Do not keep cards in direct sunlight, in closed vehicles, or other such locations (storage temperature: -25 to 85˚ C).

• Do not allow cards to become wet.

• Do not disassemble or modify the cards.

220

* All product names mentioned in this document are trade-

marks or registered trademarks of their respective owners.

230

* SmartMedia is a trademark of Toshiba Corp.

234

* CompactFlash and are trademarks of SanDisk

Corporation and licensed by CompactFlash association.

235

* Roland Corporation is an authorized licensee of the

CompactFlash™ and CF logo ( ) trademarks.

Handling CD-ROMs

801

• Avoid touching or scratching the shiny underside (encoded surface) of the disc. Damaged or dirty CD-ROM discs may not be read properly. Keep your discs clean using a commercially available CD cleaner.

851

• Unauthorized recording, distribution, sale, lending, public performance, broadcasting, or the like, in whole or in part, of a work (musical composition, video, broadcast, public performance, or the like) whose copyright is held by a third party is prohibited by law.

853

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

USING THE UNIT SAFELY......................................................................2

IMPORTANT NOTES ...............................................................................4

Main Features........................................................................................10

Panel Descriptions................................................................................11

Front Panel................................................................................................................................................. 11

Rear Panel.................................................................................................................................................. 13

Getting Ready........................................................................................14

Connections............................................................................................................................................... 14

Turning On/Off the Power..................................................................................................................... 15

Adjusting the Display Contrast (LCD Contrast).................................................................................. 15

Listening to the Demo Songs .................................................................................................................. 15

Various Performance Features............................................................16

Overview of the JUNO-G ......................................................................17

How the JUNO-G Is Organized ............................................................................................................. 17

About Memory.......................................................................................................................................... 19

About the Onboard Effects ..................................................................................................................... 20

About the Song Recorder ........................................................................................................................21

About Audio Track Recording ............................................................................................................... 22

Basic Operation of the JUNO-G...........................................................23

Switching the Sound Generator Mode .................................................................................................. 23

About the Function Buttons.................................................................................................................... 23

Moving the Cursor ................................................................................................................................... 24

Changing a Value ..................................................................................................................................... 24

Assigning a Name ....................................................................................................................................24

Playing in Patch Mode..........................................................................25

About the PATCH PLAY Screen............................................................................................................ 25

Selecting Patches in the Main Screen..................................................................................................... 26

Using the Category Group Buttons to Select Patches ......................................................................... 26

Selecting Patches from the List............................................................................................................... 27

Auditioning a Patch or Rhythm Set (Phrase Preview)........................................................................ 28

Transposing the Keyboard in Octave Units (Octave Shift) ................................................................ 28

Transposing the Keyboard in Semitone Steps (Transpose)................................................................ 29

Selecting the Tones That Will Sound (Tone On/Off).......................................................................... 29

Playing Percussion Instruments............................................................................................................. 29

Adjusting the Volume Balance between the Keyboard Performance and the Rhythm Pattern ... 29

Creating a Patch....................................................................................30

How to Make Patch Settings................................................................................................................... 30

Saving Patches You’ve Created (Write) ................................................................................................32

Functions of Patch Parameters ...............................................................................................................34

Creating a Rhythm Set .........................................................................49

How to Make Rhythm Set Settings........................................................................................................ 49

Saving Rhythm Sets You’ve Created (Write) .......................................................................................51

Functions of Rhythm Set Parameters .................................................................................................... 52

Playing in Performance Mode..............................................................58

Displaying PERFORM PLAY Screen..................................................................................................... 58

Displaying PART MIXER Screen ...........................................................................................................58

Functions in the PERFORMANCE PLAY/MIXER Screen................................................................. 58

Selecting a Performance........................................................................................................................... 59

Using the PLAY Screen............................................................................................................................ 60

Combining and Playing Sounds Together (Layer).............................................................................. 60

Playing Different Sounds in Different Areas of the Keyboard (Split) ..............................................61

Using the MIXER Screen .........................................................................................................................61

Creating a Performance .......................................................................63

Adjusting the Parameters of Each Part ................................................................................................. 63

Changing the Settings of the Patch Assigned to a Part....................................................................... 63

Saving a Performance You’ve Created (Write) .................................................................................... 63

Functions of Parameters of Each Part (Performance Parameters)..................................................... 64

MIDI Settings ............................................................................................................................................67

Settings for the D Beam and the Controller.......................................................................................... 68

Modifying the Sound in Real Time ......................................................69

D Beam Controller.................................................................................................................................... 69

Control Pedal ............................................................................................................................................ 72

Playing Arpeggios ................................................................................73

About Arpeggio........................................................................................................................................ 73

Playing Arpeggios.................................................................................................................................... 73

Arpeggio Settings ..................................................................................................................................... 74

Creating an Arpeggio Style (Arpeggio Style Edit) ..............................................................................75

Saving the Styles You Have Created (Write)........................................................................................ 76

Using the Chord Memory Function .....................................................77

About the Chord Memory Function...................................................................................................... 77

Performing with the Chord Memory Function.................................................................................... 77

Creating Your Own Chord Forms .........................................................................................................78

Saving the Chord Forms You Have Created (Write) ..........................................................................78

Playing Rhythms...................................................................................79

About Rhythm Patterns........................................................................................................................... 79

Using Rhythm Groups............................................................................................................................. 79

Playing Rhythm ........................................................................................................................................ 79

Rhythm Pattern Settings.......................................................................................................................... 80

Creating a Rhythm Pattern (Rhythm Pattern Edit) ............................................................................. 81

Saving the Rhythm Pattern You Have Created (Write)...................................................................... 81

Creating a Rhythm Group (Rhythm Group Edit)................................................................................ 82

Saving the Rhythm Group You Have Created (Write)....................................................................... 82

Creating a List of Frequently Used Patches, Performances, or Songs

(Live Setting) .........................................................................................83

Recalling Sounds ...................................................................................................................................... 83

Registering a Sound .................................................................................................................................83

Registering a Song.................................................................................................................................... 83

Removing a Registration ......................................................................................................................... 83

Removing all Registrations from a Bank............................................................................................... 83

Playing Back a Song.............................................................................84

Loading and Playing a Song (Load Play).............................................................................................. 84

Playing MIDI Tracks Immediately (Quick Play) ................................................................................. 84

Various Playback Methods .....................................................................................................................85

Recording a Song (MIDI Track)............................................................87

Before You Record a New MIDI Track.................................................................................................. 87

Recording Your Performance as You Play It (Realtime Recording) .................................................88

Inputting Data One Step at a Time (Step Recording).......................................................................... 92

Editing a Song (MIDI Track) .................................................................94

Loading the Song You Want to Edit ...................................................................................................... 94

Editing Sequencer Data Over the Specified Range (Track Edit) ....................................................... 97

Editing Individual Items of Sequencer Data (Micro Edit).................................................................. 99

Assigning a Name to a Song (Song Name)......................................................................................... 103

Recording a Song (Audio Track) .......................................................104

Before You Record Audio via the AUDIO INPUT Jacks.................................................................. 104

Recording an Audio Track (SOLO/RE-SAMPLING) ....................................................................... 105

Combining Multiple Audio Tracks into One Track (AUDIO MERGE) ......................................... 106

Editing a Song (Audio Track).............................................................108

Items in the AUDIO TRACK Screen.................................................................................................... 108

Editing Audio Tracks (AUDIO TRACK Screen)................................................................................ 108

Items in the AUDIO MIXER Screen..................................................................................................... 111

Controlling the Audio Tracks (AUDIO MIXER screen) ...................................................................111

Saving/Loading a Song (Save/Load).................................................113

Saving a Song (Save) .............................................................................................................................. 113

Saving a Song as an SMF File (Save as SMF)...................................................................................... 114

Loading a Song (Load)........................................................................................................................... 115

Editing a Audio Phrase (Sample) ......................................................117

Sample List .............................................................................................................................................. 117

Sample Edit ............................................................................................................................................. 119

Saving a Sample (Write) ........................................................................................................................ 124

Adding Effects.....................................................................................125

Turning Effects On and Off................................................................................................................... 125

Making Effect Settings ........................................................................................................................... 125

Applying Effects in Patch Mode .......................................................................................................... 126

Applying Effects in Performance Mode.............................................................................................. 127

Making Multi-Effects Settings (MFX1–3)............................................................................................ 129

Making Multi-Effects Settings (MFX Control) ...................................................................................129

Specifying the Multi-Effects Structure (MFX Structure)................................................................... 130

Multi-Effects Parameters ....................................................................................................................... 131

Making Chorus Settings ........................................................................................................................ 154

Making Reverb Settings......................................................................................................................... 155

Mastering Effect...................................................................................................................................... 156

Settings Common to All Modes (System Function) ........................157

How to Make System Function Settings ............................................................................................. 157

Saving the System Settings (System Write) ........................................................................................ 157

System Information................................................................................................................................ 157

Functions of System Parameters ..........................................................................................................158

Data Management Functions/

Reset to Factory Settings (Factory Reset) .......................................164

Backing Up User Data (User Backup) .................................................................................................164

Restoring User Data that You Backed Up (User Restore) ................................................................ 164

Factory Reset ........................................................................................................................................... 164

Initializing a Memory Card (Card Format) ........................................................................................ 164

File-Related Functions (File Utility)...................................................165

Basic Procedure....................................................................................................................................... 165

Copying a File (Copy)............................................................................................................................ 166

Deleting a File (Delete) .......................................................................................................................... 166

Moving a File (Move)............................................................................................................................. 166

Initializing a Memory Card (Card Format) ........................................................................................ 166

Connecting to Your Computer via USB ............................................167

About USB Functions............................................................................................................................. 167

Selecting the USB Operating Mode ..................................................................................................... 167

Transferring Files to or from Your Computer (Storage Mode) ....................................................... 167

Exchanging MIDI Messages with Your Computer (MIDI Mode)................................................... 169

Using JUNO-G Editor/Librarian .........................................................170

Installing JUNO-G Editor/Librarian into Your Computer.............................................................. 170

Making Connections .............................................................................................................................. 170

About PC Mode ...................................................................................................................................... 170

JUNO-G Editor/Librarian System Requirements ............................................................................. 170

About V-LINK.......................................................................................172

What is V-LINK? .................................................................................................................................... 172

Connection Example .............................................................................................................................. 172

Turning the V-LINK ON/OFF ............................................................................................................. 172

V-LINK Settings (V-LINK SETUP) ......................................................................................................173

Installing the Wave Expansion Board...............................................174

Cautions When Installing a Wave Expansion Board ........................................................................174

How to Install a Wave Expansion Board ............................................................................................ 174

Checking the Installed Wave Expansion Board................................................................................. 175

Expanding the Memory ......................................................................176

Precautions for Expanding Memory ................................................................................................... 176

How to Expand the Memory ................................................................................................................ 176

Checking that memory is installed correctly...................................................................................... 177

Using a Memory Card .........................................................................178

Before Using the Memory Card ........................................................................................................... 178

Writing data to the card......................................................................................................................... 178

Installing the PC Card Protector ..........................................................................................................178

Troubleshooting..................................................................................179

Error Messages ...................................................................................186

Performance List.................................................................................187

Patch List.............................................................................................188

Rhythm Set List...................................................................................193

Waveform List .....................................................................................202

Arpeggio Style List .............................................................................205

Rhythm Group List .............................................................................206

Rhythm Pattern List............................................................................207

About MIDI ...........................................................................................209

MIDI Implementation...........................................................................210

MIDI Implementation Chart ................................................................241

Specifications......................................................................................243

Index.....................................................................................................244

Main Features

The JUNO-G is a high-quality synthesizer with professional sounds and playability. It features the latest sound generator, a variety of effects, and a song recorder with audio tracks, all combined into an easy-to-use instrument. The features listed below make the JUNO-G a great choice for any style of music, in applications ranging from stage performance to composition and arranging.

The latest sound engine with 128voice polyphony

The JUNO-G provides 128 voices of polyphony—the standard for the new era. You can layer complex sounds and enjoy multitrack recording using the song recorder.

Support for wave expansion boards

To supplement the numerous patches that use the carefully selected high quality waves built into the JUNO-G, you can install one wave expansion board to add more waveform data. Depending on your needs and your favorite musical styles, you can choose one board from the wide variety of professionally acclaimed Roland SRX series boards now available.

Song recorder with audio tracks

The built-in song recorder provides four dedicated audio tracks (stereo) in addition to the MIDI tracks (16 parts). This lets you create songs that contain audio acquired from a performing vocalist or guitarist in combination with the music produced by the internal sound generator.

The MIDI track section provides a high-resolution 16-part (MIDI) sequencer that’s designed with features like loop recording so that you can record non-stop without interrupting your musical imagination.

The audio track section contains 4 MB of memory as standard (corresponding to approximately 23.5 seconds of stereo recording). You can add DIMM memory (up to 512 MB) to expand the recording capacity to a maximum of 51 minutes (stereo). In addition to audio phrases you record on the JUNO-G, you can also import audio files (in WAV or AIFF format) from your PC and use them as audio track phrases.

Versatile sound control functionality

In addition to a D Beam controller, the JUNO-G provides a wide range of controllers, such as the sound modify knobs and a hold pedal jack that can detect half-damper operations. The JUNO-G gives you complete control over your on-stage sound.

Plenty of external interfacing

The rear panel USB connector supports both file transfer and USBMIDI, and can be switched as desired. There’s also a PC card slot that can accommodate SmartMedia or CompactFlash via a commercially available adaptor. You can use a card to store as much as 1 GB of data (when using CompactFlash).

JUNO-G Editor/Librarian is included

Dedicated editor/librarian software is included, letting you edit and manage JUNO-G sounds from the large screen of your computer.

V-LINK functionality

V-LINK allows you to synchronize music and video, opening up completely new performance possibilities.

If you use the JUNO-G in conjunction with a V-LINK compatible video device (such as the Edirol motion dive .tokyo Performance Package, DV-7PR, PR-50, or V-4), you’ll be able to control the images using the same operations as when playing music on the JUNO-G.

General MIDI/GM2 compatibility

The JUNO-G is compatible with General MIDI/GM2, and is able to play back music data that complies with the General MIDI/GM2 standard (General MIDI scores).

Live Setting function

The Live Setting function allows you to memorize settings and recall them as your live set progresses, guaranteeing that your performance will go smoothly.

Sample Patch function

This function lets you recall audio phrases from the audio tracks and play them on the keyboard just like patches or rhythm sets.

Powerful effects including mastering functionality

The JUNO-G provides three multi-effects processors (78 types), plus independent chorus and reverb processors. There’s a mastering effect, indispensable for adding the final touch to your production, bringing your sound CD-master level impact and audio quality.

Panel Descriptions

Front Panel

fig.Front

3 4

5 6 7

D BEAM

Switches D Beam function on/off. You can apply a variety of effects to sounds simply by moving your hand (p. 69).

[SOLO SYNTH]

Play the JUNO-G as a monophonic synthesizer (p. 70).

[ACTIVE EXPRESS]

Play the JUNO-G as a active expression (p. 71).

[ASSIGNABLE]

You can assign a variety of parameters and functions to D Beam to modify the sound in realtime (p. 71).

* Hold down [SHIFT] and press one of the corresponding buttons to

access the D BEAM setting screen.

VOLUME Knob

Adjusts the overall volume that is output from the rear panel OUTPUT A (MIX) jacks and PHONES jack (p. 15).

[V-LINK]

Switches the V-LINK function on/off (p. 172). Press this button to access the V-LINK setting screen.

MODE

[PATCH]

Enter Patch mode (p. 25).

[PERFORM]

View the Performance mode’s Play screen (p. 58).

[LIVE SETTING]

View the LIVE SETTING screen (p. 83).

[USB]

Accesses the USB function select screen (p. 167).

[PART MIXER]

View the Performance mode’s Mixer screen (p. 58).

[AUDITION]

Hold down this button to audition the currently selected sound (p. 28).

[TRANSPOSE]

By holding down [TRANSPOSE] and pressing [+] [-], you can raise

8 9

or lower the keyboard range in steps of a semitone (p. 29).

OCTAVE [UP] [DOWN]

Transposes the pitch of the keyboard in 1 octave units (p. 28).

EDIT

[PATCH]

Make patch-related settings (p. 30).

[EFFECTS]

Make effect-related settings (p. 125).

[MENU]

Opens the MENU. The contents of the menu will depend on the current mode.

[SONG]

Press this button to edit the entire song or to edit MIDI tracks. Also, this button is pressed to toggle between the Song Edit screen and the Song List screen (p. 84, p. 87, p. 94).

[AUDIO]

This button accesses the Sample Edit screen. Also, this button is pressed to toggle between the Sample Edit screen and the Sample List screen (p. 117).

[WRITE]

Save edited settings into internal memory or a memory card (p. 32, p. 51, p. 63, p. 76, p. 78, p. 124).

[ARPEGGIO]

Switches the ARPEGGIO on/off. The arpeggio setting screen will appear when you turn this on (p. 73).

[CHORD MEMORY]

Switches the CHORD MEMORY on/off. The chord memory setting screen will appear when you turn this on (p. 77).

Display

This displays information regarding the operation you are performing.

Panel Descriptions

[RHYTHM PATTERN]

This button accesses the Rhythm Pattern playback screen (p. 79).

[PART SELECT/TONE SW/SEL]

When you press this button so it’s lit, the category group buttons will operate as part select, tone switch, or tone select buttons.

[RHYTHM]–[BASS]

These are the category group buttons (only in Patch mode).

Function Buttons ([F1 (KBD/ORG)]–[F6 (VOCAL/PAD)])

The row of six buttons below the display are used to carry out various functions during editing and other tasks. The functions of these buttons will depend on the screen that you’ve selected (p. 23).

VALUE Dial

This is used to modify values. If you hold down [SHIFT] as you turn the VALUE dial, the value will change in greater increments (p. 24).

[DEC], [INC]

This is used to modify values. If you keep on holding down one button while pressing the other, the value change accelerates. If you press one of these buttons while holding down [SHIFT], the value will change in bigger increments (p. 24).

[ ], [ ], [ ], [ ]

Moves the cursor location up/down/left/right (p. 24).

[SHIFT]

This button is used in conjunction with other buttons to execute various functions.

[EXIT]

Return to the previous screen, or close the currently open window. In some screens, this causes the currently executing function to be aborted.

[ENTER]

Use this button to execute an operation.

[STOP]

Controls song recorder stop.

[PLAY]

Controls song recorder play.

* While stopped, you can hold down [SHIFT] and Press [

perform MIDI Update (p. 86).

PLAY

] to

[REC]

The display changes to the Recording Standby window (p. 88, p. 92, p. 105). If you press this button while recording a MIDI track, the Rehearsal function will be activated (p. 92).

SOUND MODIFY

Turn these knobs to adjust the sound in real time or to edit parameter values.

Pressing the button located at the left of knobs 1–4 will change the illumination status of the indicators located above the button, and will change the function of knobs 1–4 (p. 30).

* In the performance mode, this button doesn’t function.

The CUTOFF knob and RESONANCE knob are dedicated to controlling Cutoff Frequency and Resonance (p. 30).

Pitch Bend/Modulation Lever

This allows you to control pitch bend or apply vibrato (p. 16).

SONG RECORDER

[AUDIO TRACK]

This button accesses the Audio Track screen (p. 104, p. 108).

[TEMPO]

Sets the tempo (BPM) (p. 73, p. 79, p. 85, p. 88).

[LOOP]

Turns Loop Play on/off. The loop setting screen will appear when you turn this on (p. 86, p. 95).

AUDIO IN Slider

This adjusts the AUDIO INPUT level. If you hold down [SHIFT] while operating this slider, the Input Setting screen will appear (p.

104).

TRACK A1–A4 Sliders

These sliders adjust the volume of each audio track (stereo).

[BWD], [FWD]

Moves the song position to the first beat of the previous or next measure (p. 85).

* While playback is stopped, you can hold down [STOP] and press

[BWD] to return the song position to the beginning of the song. If you press this during playback, you will return to the beginning of the song and stop.

Rear Panel

fig.Rear

Panel Descriptions

1 2 3 4 5

LCD CONTRAST Knob

This knob adjusts the contrast of the top panel display.

USB Connector

This connector lets you use a USB cable to connect your computer to the JUNO-G (p. 167, p. 170).

PC CARD Slot

A memory card can be inserted here (p. 178).

930

* Never insert or remove a memory card while this unit’s power is on.

Doing so may corrupt the unit’s data or the data on the memory card.

931

* Carefully insert the memory card all the way in—until it is firmly in

place.

MIDI Connectors (OUT, IN)

These connectors can be connected to other MIDI devices to receive and transmit MIDI messages.

CONTROL PEDAL Jack

You can connect optional expression pedals (EV-5, etc.) to these jacks. By assigning a desired function to a pedal, you can use it to select or modify sound or perform various other control. You can also connect optional pedal switches (DP series etc.) to sustain sound (p. 16).

925

* Use only the specified expression pedal (EV-5; sold separately). By

connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

HOLD PEDAL Jack

An optional pedal switch (DP series etc.) can be connected to this jack for use as a hold pedal (p. 16).

This can also be set so it supports the use of half-pedaling techniques. So, after connecting an optional expression pedal (DP-8/

10), you can employ pedal work to achieve even finer control in

performances in which piano tones are used.

AUDIO INPUT LEVEL Knob

This knob adjusts the volume of the input to the AUDIO INPUT. Use this knob to make adjustments if the sound is still distorted even after you lower the top panel AUDIO IN slider, or conversely if the volume is insufficient even after setting the slider to the maximum position (p. 104).

AUDIO INPUT Jacks (L (MONO)/MIC, R)

Accept input of audio signals in stereo (L/R) from external devices. If you want to use mono input, connect to the L jack. When recording from a mic, connect it to the L jack

926a

* When connection cables with resistors are used, the volume level of

equipment connected to the AUDIO INPUT jacks may be low. If this happens, use connection cables that do not contain resistors, such as those from the Roland PCS series.

OUTPUT A (MIX) Jacks (L (MONO)/1, R/2)

These jacks output the audio signal to the connected mixer/amplifier system in stereo. For mono output, use the L jack (p. 14).

* You can also use these to output each part independently.

OUTPUT B Jacks (L/3, R/4)

These jacks output the audio signal to the connected mixer/amplifier system in stereo.

* You can also use these to output each part independently.

PHONES Jack

This is the jack for connecting headphones (sold separately) (p. 14).

Cord Hook

Anchor the cord of the AC adaptor (p. 14).

DC IN Jack

Connect the AC adaptor here (p. 14). Be sure to use only the supplied AC adaptor.

POWER ON Switch

Press to turn the power on/off (p. 15).

Ground Terminal

927

Depending on the circumstances of a particular setup, you may experience a discomforting sensation, or perceive that the surface feels gritty to the touch when you touch this device, microphones connected to it, or the metal portions of other objects, such as guitars. This is due to an infinitesimal electrical charge, which is absolutely harmless. However, if you are concerned about this, connect the ground terminal (see figure) with an external ground. When the unit is grounded, a slight hum may occur, depending on the particulars of your installation. If you are unsure of the connection method, contact the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

Unsuitable places for connection

• Water pipes (may result in shock or electrocution)

• Gas pipes (may result in fire or explosion)

• Telephone-line ground or lightning rod (may be dangerous in

the event of lightning)

Getting Ready

to the Power Outlet

AC adaptor

Stereo headphones

Mixer etc.

Power amp

Monitor speakers

(powered)

Connections

Since JUNO-G contains no amplifier or speakers, you’ll need to connect it to audio equipment such as a keyboard amplifier, monitor speaker system or home stereo, or use headphones to hear its sound.

In order to fully experience the JUNO-G’s sound, we recommend using a stereo amp/speaker system. If you’re using a mono system, however, make your connections to the JUNO-G’s OUTPUT A (MIX) jack L (MONO).

* Audio cables are not included with the JUNO-G. You’ll need to provide them.

921

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.

fig.Connect.e

924

To prevent the inadvertent disruption of power to your unit (should the plug be pulled out accidentally), and to avoid applying undue stress to the AC adaptor jack, anchor the power cord using the cord hook, as shown in the illustration.

Getting Ready

Turning On/Off the Power

941

* Once the connections have been completed (p. 14), turn on 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.

Before turning on the JUNO-G’s power, consider these two questions:

• Are all devices connected properly?

• Have the volume controls of the JUNO-G and all connected audio devices been turned to their lowest settings?

Turn on the POWER ON switch located on the rear panel of the JUNO-G.

942

* 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.

* To ensure proper operation of the pitch bend lever, make sure not to

touch the lever when turning the JUNO-G’s power on.

Do not touch!

Adjusting the Display Contrast (LCD Contrast)

The characters in the display may be difficult to view immediately after turning on the JUNO-G’s power or after extended use. If this occurs, turn the rear panel LCD CONTRAST knob to make the display legible.

Listening to the Demo Songs

The internal demo songs will feature the JUNO-G’s exceptional sounds and effects.

Press EDIT [MENU] to open the Top Menu Window.

fig.TopMenu

Press [ ] [ ] to select “7. Demo Play.”

fig.DemoPlay

Turn on the power for any connected audio devices.

While playing the keyboard, gradually raise the volume of the JUNO-G and connected devices.

fig.Volume

Turning Off the Power

Before turning off the power, consider these two questions:

• Have the volume controls of the JUNO-G and all connected audio devices been turned to their lowest settings?

• Have you saved your JUNO-G sounds or other data you’ve created?

Turn off the power for all connected audio devices.

Press [ENTER].

The DEMO MENU screen appears.

Turn the VALUE dial or use [INC] [DEC] to select a song.

Press [ENTER] to start playback.

Playback will stop automatically when the song ends.

If you press [F6 (PLAY ALL)], the songs will playback successively, beginning from the first.

* Press [EXIT] or [

Press [EXIT] to return to the previous screen.

For the names and copyright information of these demo songs,

refer to the JUNO-G’s display.

981a

other than private, personal enjoyment is a violation of applicable laws.

982

* No data for the music that is played will be output from MIDI OUT.

STOP

] to stop the demo song.

Turn off the POWER ON switch of the JUNO-G.

When you perform demo playback, any patch or performance you may have been editing will be lost.

Various Performance Features

Roland

Velocity

The velocity—the force with which you play the keyboard—can affect the volume or timbre of a sound.

Pitch Bend/Modulation Lever

While playing the keyboard, move the lever to the left to lower the pitch of the currently selected patch, or to the right to raise its pitch (

pitch bend

away from you (

If you push the lever away from you and at the same time move it to the right or left, you can apply both effects at once.

fig.Bender.e

). You can also apply vibrato by gently pushing the lever

modulation

ModulationPitch Bend

Octave Shift

You can shift the pitch of the keyboard in one-octave units over a range of +/-3 octaves.

• In the MODE section, use OCTAVE [DOWN] [UP] to adjust the octave shift.

• To return to the original pitch, press both buttons simultaneously.

Hold Pedal

If an optional pedal switch (DP series) is connected to the rear panel PEDAL HOLD jack, you can press the pedal to cause notes to sustain or “hold” even after their keys have been released.

fig.HolPdl

Control Pedal

If an optional expression pedal or pedal switch (EV-5, DP series) is connected to the rear panel PEDAL CONTROL jack, you can use the pedal to control the volume or various function.

fig.CtrlPdl

Transpose

You can transpose the pitch of the keyboard in semitone steps, over a range of G–F# (-5– +6 semitones).

• Hold down MODE [TRANSPOSE] and use [-] [+] to change the transposition.

• To return to the original pitch, hold down [TRANSPOSE] and press both buttons simultaneously.

The Octave Shift and Transpose settings are remembered even

if you change patches or performances.

For details on pedal settings, refer to (p. 72).

925

Use only the specified expression pedal or pedal switch (EV-5, DP series; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

Control Pedal Settings

Overview of the JUNO-G

Pitch

Envelope

TVF

Envelope

TVA

Envelope

TVA

LFO 1 LFO 2

control signal

Tone

audio signal

How the JUNO-G Is Organized

Basic Structure

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

fig.BasicStruct.e

Audio Input

Sample Event

Song Recorder Section

Audio Track

MIDI Track

Recording

Controller Section (controllers such as keyboard, pitch bend lever, etc.)

Playback

Controller Section

This section consists of the keyboard, pitch bend/modulation lever, panel knobs and buttons, and D Beam controller. It also includes any pedals that may be connected to the rear panel. The performance information generated when you do things such as press/release a key, or depress the hold pedal is converted into MIDI messages and sent to the sound generator section, song recorder section, and/or an external MIDI device.

Sound Generator Section

The sound generator section produces the sound. It receives MIDI messages from the controller section and song recorder section and/ or from an external MIDI device, generates musical sound according to the MIDI messages that were received, and outputs the sound from the output jacks or headphones jack.

Song Recorder Section

This consists of MIDI tracks, which record keyboard and controller operations as MIDI messages, and audio tracks, which record the performance data (sample events) used to trigger audio phrases (samples). The recorded data is sent to the sound generator section, reproducing the performance. MIDI messages recorded on MIDI tracks can also be transmitted from the MIDI OUT connector to control external MIDI devices.

Audio Track Recording

Audio track recording lets you capture sound from a CD player or microphone connected to the audio input jacks into the sound generator section as a sample. Performance data for that sample is recorded on the song recorder’s audio track as a sample event.

The captured sample can be used in an audio track, or used in the same way as a sound generator waveform. You can also record the performance of the internal sound generator as a sample.

The JUNO-G can load WAV or AIFF format wave files as samples via a USB connection.

Audio Track

Recording

Sound Generator

Sample

Section

Play

Resampling

Classification of JUNO-G Sound Types

When using the JUNO-G, you will notice that a variety of different categories come into play when working with sounds. What follows is a simple explanation of each sound category.

Tones

On the JUNO-G, 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.

fig.Tone.e

Tones consist of the following five components.

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.

The JUNO-G has 1267 different waveforms. All patches built into the JUNO-G consist of combinations of tones which are created based on these waveforms.

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

instrument sounds).

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). For example if you wish to modify the way in which the sound attacks or decays over time, you would adjust the TVA envelope.

LFO (Low Frequency Oscillator)

Use the LFO to create cyclic changes (modulation) in a sound. The JUNO-G has two LFOs. You can use the LFO to apply an effect to either the WG (pitch), the TVF (filter), or the 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

Overview of the JUNO-G

Patch

Tone 4

Tone 3

Tone 2

Tone 1

Pitch

Envelope

TVF

Envelope

TVA

Envelope

TVA

LFO 1 LFO 2

Performance

Part 16

Part 1

Patch/

Rhythm Set

LAYER/SPLIT MIXER

effect is produced.

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

sounds).

Patches

Patches are the basic sound configurations that you play during a performance. Each patch can be configured by combining up to four tones. How the four tones are combined is determined by the Structure Type parameter (p. 35).

fig.Patch.e

Performances

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

The JUNO-G’s performances are controlled via two screens; a Play screen and a Part Mixer screen (p. 58).

Use the PLAY screen if you want to play two or more patches together (Layer) or play different patches in separate areas of the keyboard (Split).

Use the MIXER screen if you want to “mix” by individually adjusting the pan and level settings for each of the sixteen parts.

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

fig.Performance.e

Rhythm Sets

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.

fig.RhythmSet.e

Rhythm Set

Note Number 98 (D7)

Note Number 97 (C#7)

Note Number 36 (C2)

Note Number 35 (B1)

Each percussion instrument consists of the following four elements. (For details, refer to the explanations for “Tones.”)

• WG (Wave Generator): 1–4

• TVF (Time Variant Filter)

• TVA (Time Variant Amplifier)

• Envelope

Rhythm Tone (Percussion instrument sound)

Pitch

Envelope

TVF

Envelope

TVA

Envelope

Part

On the JUNO-G, a “part” is something to which you assign a patch or rhythm set. In Patch mode you can assign a patch or rhythm set to the keyboard. In Performance mode, each performance has sixteen parts, and you can assign a patch or rhythm set to each part.

Overview of the JUNO-G

Temporary Area

Rhythm Set

Patch

256

Select

JUNO-G

GM (GM2)

* 1 The selected Patches/Rhythm Sets cannot be changed.

Performance

User (USER)

System

WriteSelect

SelectWrite

Wave Expansion Board

Memory Card

Patch

256

Rhythm Set

Performance

Rhythm Set

Patch

EXP Slot

CARD Slot

Select Select

* 1

Patch

256

Rhythm Set

Performance

Rhythm Set

Patch

128

Preset B (PR-B)

Preset A (PR-A)

Preset C (PR-C)

Preset D (PR-D)

Preset F (PR-F)

Preset E (PR-E)

Preset (PRST)

About Simultaneous Polyphony

The JUNO-G can play a maximum of 128 sounds simultaneously. The following paragraphs discuss what this means, and what will happen when more than 128 simultaneous voices are requested from the JUNO-G.

Calculating the Number of Voices Being Used

The JUNO-G 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-G 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 (p. 34).

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 (p.

66). 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 (p.

34).

Voice Reserve

The JUNO-G 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 (p. 66).

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

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.

fig.04-006.e

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

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

Overview of the JUNO-G

TONE

Patch

Chorus

Reverb

Multi-Effects

Chorus

Reverb

Multi-Effects

Performance/Multitimbre

Part16

TONE

Patch

Part 1

Rewritable Memory

System Memory

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

User Memory

User memory is the internal memory area that holds patches, performances, samples, and performance data.

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.

Mastering Effect

This is a stereo compressor (limiter) that is applied to the final output of the JUNO-G. It has independent high, mid, and low ranges. Independently for the high-frequency, mid-frequency, and low-frequency regions, this compresses any sounds that exceed the specified level, making the volume more consistent.

Memory Card

You can use a memory card to store patches, performances, samples, and performance data just as you can in User memory.

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 (except GM2).

Wave Expansion Board (SRX Series)

The JUNO-G can be equipped with a Wave Expansion Board (SRX series; sold separately). Wave Expansion Boards contain Wave data, as well as patches and rhythm sets that use this Wave data, which can be called directly into the temporary area and played.

About the Onboard Effects

Effect Types

The JUNO-G 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 78 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 multi-effects types, the following chorus and reverb are handled with a different system. In Performance mode, three types of multieffect can be used simultaneously; these are referred to as MFX1, MFX2, and MFX3. In Patch mode you can use MFX1 and MFX2.

Chorus

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

How Effects Units Work in Different Modes

In Patch Mode

Multi-effects can be used individually by each patch and rhythm set. Chorus and reverb are each shared by patches and rhythm sets; the same effect applies to each tone. 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.

fig.FXinPatch

* To each part you can assign either a Patch or a Rhythm Set.

In the Performance Mode

The multi-effects, chorus and reverb 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. In addition, when using the multi-effects settings of a performance, you can use three different multi-effects simultaneously, depending on the effect type.

fig.FXinPfm.e

Overview of the JUNO-G

USER

Sample

CARD

MIDI Tracks (.SVQ)

C7000

C0002

U2000

U0002

U0001

C0001

AUDIO Tracks (.SVA)

sample event

Setup Mixer

Track settings are stored at the beginning of the song.

Up to 256 events can be placed in a track.

Referenced

Song

Tempo Track

Beat Track

About the Song Recorder

The song recorder records performance data from the keyboard and controllers and performance data for the samples created by audio track recording, and manages this data as a “song.” When you play back the song recorder, this performance data is sent to the sound generator, causing it to generate sound and reproduce the recorded performance.

What Is a Song?

For the JUNO-G, musical performance data for one song or composition is referred to as a performance data recorded on the MIDI tracks (MIDI channels 1–16), the tempo track, the beat track, and audio tracks 1–4.

fig.Song.e_71

song

. This consists of the

What Is a Track?

Each section of a song which stores musical performance data is called a

track

MIDI Tracks 1–16

MIDI tracks record your keyboard playing and controller operations as MIDI messages. When you play back a song, the MIDI tracks send these recorded MIDI messages to the sound generator, causing it to produce sound. MIDI tracks actually plays instruments instead of the musician, and since it can record a musical performance, it is a tape recorder as well.

But in reality MIDI tracks doesn’t record sound, but actually the steps that cause the sound generator to produce sound, so it offers several advantages. Sound quality is always excellent, the equivalent of first-generation tape, no matter how many times the data plays back; tempo changes have no effect on pitch; detailed editing is possible, etc.

The MIDI tracks can record performance data for sixteen MIDI channels. In Performance mode, the sound generator’s sixteen parts correspond to the sixteen MIDI channels. In Patch mode, the keyboard performance is recorded on MIDI channel 1 and the rhythm pattern performance is recorded on MIDI channel 10 (with the default settings).

Audio Tracks 1–4

Audio tracks handle the samples you’ve captured by audio track recording, as well as imported samples.

Even if you change the tempo during the song, audio tracks will be time-stretched so that they will continue playing in synchronization with the song. You can also play back from the middle of a sample.

Audio tracks do not record the sample itself; they only contain information that tells the sound generator to “play USER (or CARD) sample number ‘x’ at this point.” (This information is called a “sample event.”) This means that even if you delete a sample event from the audio track, the sample data itself will remain.

Up to 256 sample events can be placed on each audio track.

* Each audio track can play back only one sample at a time. If there are

overlapping sample events on an audio track, the sample event located later will be given priority.

Tempo Track

The Tempo track records tempo changes of a song over time. It can be used for tempo changes during a song. If a song has the same tempo from beginning to end, the Tempo track can be ignored.

When a song is first recorded on the JUNO-G, a tempo setting at the time of recording will be stored at the beginning of the Tempo track. Therefore when song playback starts from the beginning, the song will always play back at this initial tempo.

Thus playback tempo is determined by the Tempo track setting. If you modify the tempo during playback, the overall tempo of the song will be controlled by the setting you make.

Beat Track

The Beat track records the time signature of each measure of a song. Set the Beat track when recording a new song, or when you want to change time signature during a song.

Overview of the JUNO-G

Sample

Audio

Recording

Drum

Sample List

0001 0002

2000

User Sample

Wave

(Sample)

Added

automatically

Positions for Storing a Song

Temporary Area

The song recorder has an area called temporarily store one song. So we call this

The song in Temporary Area is volatile and will be lost when the power is turned off. To keep a song, you must save it to user memory or memory card.

Memory Card/User Memory

If you want to keep the song in Temporary Area that you recorded or edited, you must save it as a song file onto a memory card or into user memory. Either method lets you save up to 256 songs.

A card and user memory can contain two file types. The three-letter symbol shown in parentheses ( ) is a file name extension that distinguishes the different file types.

Song File (.SVQ, .SVA)

Each song you create on the JUNO-G is saved as two files; a file with a name consisting of the song name and an extension of “ SVQ file), and a file with an extension of “ SVQ file contains mainly the data of the MIDI tracks. The SVA file contains mainly the audio track data (sample events).

Standard MIDI File (.MID)

Standard MIDI File

data to be exchanged between most musical applications. JUNO-G files can be saved as Standard MIDI Files. This also allows you to play back commercially available music data (GM scores) that is compatible with the GM/GM2 system.

fig.SongFile.e

is a standard file format that allows sequencer

Temporary Area

temporary song

.SVA

” (the SVA file). The

that can

.SVQ

” (the

About Audio Track Recording

Audio track recording lets you record external input sources such as an audio device or microphone as digital audio data. A sound you record can be played as a patch (sample patch), or used as the waveform for a patch or drum set. You can also import WAV/AIFF format files and use them in the same way.

Samples

A “

sample

” is a waveform (a piece of sound) obtained by recording an audio track on the JUNO-G. In addition to the actual waveform data itself, a sample also contains parameters such as start point, loop start, and loop end. The JUNO-G can hold 9,000 samples (User: 2000, Card: 7000).

fig.Sample.e

Where Samples are Stored

Samples that you record or import are stored in sample memory. This sample memory is temporary, and its data will be lost when you turn off the power. If you want to keep these samples, you must save them to user memory or a memory card.

* You cannot save data to the preset memory.

fig.SampleMemory.e

Temporary Memory

Temporary Area

Memory Card

Song file

Standard MIDI file

User Memory

Standard MIDI file

Song file

JUNO-G

Write

Load/Write

Sample Memory

Preset Bank

User Bank

Card Bank

Memory Card

Load

Write

Load Write

Write

Preset Memory

User Memory

Audio Recording

JUNO-G

Basic Operation of the JUNO-G

fig.PatchPlay

Switching the Sound Generator Mode

The JUNO-G has two sound generating modes: Patch mode,

Performance mode. You can select the sound generating mode

(state) that is most appropriate for how you are playing the JUNO-G.

Use the following procedure to switch between these modes.

Patch Mode

This is the mode you’ll use to play a single sound (patch/rhythm set)

from the keyboard.

The keyboard and sound generator are connected by a single MIDI

channel.

The PERFORM PLAY screen and PART MIXER screen provide

different views of the same performance. For example, you’ll

want to use the PERFORM PLAY screen when you’re setting up

a keyboard split, or use the PART MIXER screen when you’re

adjusting the effect settings or volume balance of the patches for

each part.

About the Function Buttons

To select Patch mode

Press MODE [PATCH].

fig.PatchPlay

Performance Mode

This mode allows you to combine multiple sounds (patches or

rhythm sets).

PERFORM PLAY screen

Use this screen when you want to play two or more sounds

(patches/rhythm sets) together.

You can play patches together (Layer) or divide the keyboard into

two regions and play different patches in each region (Split).

Press MODE [PERFORM].

fig.PatchPlay

The six [KBD/ORG]–[VOCAL/PAD] buttons located below the

display execute various functions (function buttons), and their

operation will differ depending on the screen. Functions will be

listed in the bottom of the screen.

fig.FButtons

Window

The somewhat smaller screens that appear temporarily on top of the normal screens are called windows. Various types of windows appears according to the situation. Some display lists, others allow you to make settings, and still others ask you to confirm an operation.

fig.Tempo

Press [EXIT] to close the window. Some windows will close automatically when an operation is performed.

MIXER screen

Use this screen when you want to mix the sounds by adjusting the

level and pan for each of the 16 parts.

Press MODE [PART MIXER].

Basic Operation of the JUNO-G

Moving the Cursor

A single screen or window displays multiple parameters or items for

selection. To edit the setting of a parameter, move the cursor to the

value of that parameter. To select an item, move the cursor to that

item. When selected with the cursor, a parameter value or other

selection is highlighted.

fig.CursorScreen

and press [INC].

• If you press [INC] or [DEC] while holding down [SHIFT], the

value increments will get bigger.

When the cursor is located at a parameter value, press [ENTER]

to display a window where you can set the value. Use [ ] [ ]

to select a value, and then press [ENTER] to finalize the setting.

Cursor

Move the cursor with the [ ], [ ], [ ] and [ ] (cursor buttons).

[ ]: moves the cursor up.

[ ]: moves the cursor down.

[ ]: moves the cursor to the left.

[ ]: moves the cursor to the right.

• If you hold down one cursor button while you also press the

cursor button for the opposite direction, the cursor will move

more rapidly in the direction of the first-pressed cursor button.

• When you press [ENTER], the value of the parameter selected

by the cursor may appear in a list. This is convenient when you

want to see what your choices are.

Changing a Value

To change the value, use the VALUE dial or the [INC] [DEC]

buttons.

fig.VALUE

Assigning a Name

On the JUNO-G, you can assign names to each patch, rhythm set,

performance, Song and Sample. The procedure is the same for any

type of data.

fig.PatchName

Press [ ] [ ] to move the cursor to the location where you wish to input a character.

Turn the VALUE dial, or press [INC] [DEC] to specify the

character.

• [F2 (TYPE)]: Selects the type of character. Each time you

press this, you will alternately select the first

character of a character set: uppercase (A),

lowercase (a), or numerals and symbols (0).

• [F3 (DELETE)]: Deletes the character at the cursor location.

• [F4 (INSERT)]: Inserts a space at the cursor location.

• [ ] or [ ]: Move the cursor.

• [ ], [ ]: Switch between uppercase and lowercase

letters.

* If you decide to discard your input, press [F5 (CANCEL)].

In each screen of the JUNO-G, you can use the cursor buttons to

move the area displayed as highlighted, and modify its value.

VALUE Dial

Turning the VALUE dial clockwise increases the value,

counterclockwise decreases the value.

• Holding down [SHIFT] as you move the VALUE dial increases

value increments so you can make large value changes faster.

[INC] and [DEC]

Pressing [INC] increases the value, and [DEC] decreases it.

• Keep the button pressed for continuous adjustment.

• For faster value increases, keep [INC] pressed down and press

[DEC]. For decreasing value faster, keep [DEC] pressed down

Available Characters/Symbols

space, A–Z, a–z, 0–9, ! “ # $ % & ` ( ) * + , - . / : ; < = > ? @ [ \ ] ^

_ ` { | }

From a naming screen you can press [MENU] and select “1.

Undo” to return the name to what it was before you changed it.

From [MENU] you can select “2. To Upper” or press [ ] to

change the character at the cursor to uppercase. From [MENU]

you can select “3. To Lower” or press [ ] to change the

character at the cursor to lowercase. From [MENU] you can

select “4. Delete All” to clear all the characters you were

inputting.

Song file names may not contain lowercase characters or certain

symbols (“ * + , . / : ; < = > ? [ \ ] |).

Playing in Patch Mode

Patch mode lets you play a single sound (patch/rhythm set) from

the keyboard.

About the PATCH PLAY Screen

Press MODE [PATCH]. You will enter Patch mode, and the PATCH

PLAY screen appears.

fig.PatchPlay

Functions in the PATCH PLAY Screen

fig.PatchFunc

Indicates the current sound generating mode.

Indicates multi-effects (MFX), chorus (CHO), reverb (REV), and

mastering (MASTER) on and off.

Indicates the name of the currently selected song, the measure location.

Indicates the time signature, and the tempo.

Indicates/selects the group, number, and name of the selected patch.

Indicates the octave and transposition values.

Indicates the patch category group.

Positions of the five SONG RECORDER sliders

SOUND MODIFY settings

Patch/Rhythm Set Group

The JUNO-G has several patch groups, including the User group and

Preset groups A–F and GM, with each group storing 128 patches

(256 in GM, USER). What’s more, you can further expand your

options by installing an optional Wave Expansion Board (SRX series;

sold separately), enabling you to select from a huge assortment of

available patches. There are also sample patches (USAM, CSAM)

that can use samples as patches.

USER

This is the group inside the JUNO-G which can be rewritten. Patches

you yourself create can be stored in this group. The JUNO-G

includes 256 preset patches and 32 rhythm sets.

PR-A–F (Preset A–F), PRST (Preset)

This is the group inside the JUNO-G which cannot be rewritten.

However you may modify the settings of the currently selected

patch, and then store the modified patch in User memory. Groups

A–F already contain 128 prepared patches each, for a total of 768

patches.

GM (General MIDI 2)

This is an internal group of patches compatible with General MIDI 2,

a system of MIDI function specifications designed to transcend

differences between makers and types of devices; these patches

cannot be overwritten. Furthermore, settings of currently selected

patches from this group cannot be changed. The JUNO-G includes

256 preset patches.

CARD (Memory Card)

This group lets you use patches stored on a memory card inserted in

the rear panel card slot. Since the data in this group can be rewritten,

you can use this group to store patches that you create.

USAM (User Sample)

You can use a sample from user memory as a patch (the Sample

Patch function), and play the sample in a pitched fashion just as a

conventional patch.

* If there are no samples in memory, this will indicate “Empty.”

* Since a stereo sample uses two adjacent sample numbers, you should

choose the L-channel sample number (the lower number). It will play

as a stereo patch. (If you choose the sample number for the R channel,

“---” will be indicated for it, and it will not be playable.

CSAM (Card Sample)

You can use a sample from card memory as a patch (the Sample

Patch function), and play the sample in a pitched fashion just as a

conventional patch.

* If there are no samples in memory, this will indicate “Empty.”

* Since a stereo sample uses two adjacent sample numbers, you should

choose the L-channel sample number (the lower number). It will play

as a stereo patch. (If you choose the sample number for the R channel,

“---” will be indicated for it, and it will not be playable.

EXP (Wave Expansion Board installed in EXP Slot)

These are groups used when using patches from Wave Expansion

Board installed in the EXP slot, and cannot be rewritten. However

you may modify the settings of the currently selected patch, and

then store the modified patch in User memory and Memory card.

The number of onboard patches depends on the specific Wave

Expansion Board installed.

* EXP patches can be selected only if a Wave Expansion Board (SRX

series; sold separately) is installed in the slot.

Playing in Patch Mode

Selecting Patches in the Main Screen

Press MODE [PATCH] to access the PATCH PLAY screen.

To switch patches or rhythm sets, move the cursor to the

location shown below and use the VALUE dial or [INC] [DEC] to make your selection.

fig.PatchPlay

To select a patch (rhythm set) group, move the cursor to the

location shown below and use the VALUE dial or [INC] [DEC] to make your selection.

fig.PatchPlay

Press [ ] [ ] to move the cursor to the patch number.

Use the VALUE dial or [INC] [DEC] to select a patch (or a

rhythm set).

Selecting Patches by Category

The JUNO-G allows you to specify a type (category) of patch so that

you can quickly find the desired patch. There are a total of 38

categories.

The following categories can be selected.

Using the Category Group Buttons to Select Patches

You can use the category group buttons to quickly find the patch

you want. The 38 categories and rhythm sets are organized into ten

category groups that are assigned to these buttons.

Press MODE [PATCH] to access the PATCH PLAY screen.

With [TONE SW/SEL] unlit, press one of the [RHYTHM]– [BASS] (category group buttons) to select the category group for the desired patch.

fig.PatchPlay

Use [ ] [ ] to select the category.

Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select a

patch/rhythm set.

Press [ENTER] to confirm your selection.

Category Group

PIANO

ORG/KBD KEY Keyboards

GUITAR AGT AC.Guitar

BASS BS Bass

ORCH STR Strings

BRASS WND Wind

SYNTH HLD Hard Lead

VOCAL/PAD BPD Bright Pad

WORLD PLK Plucked

RHYTHM RHYTHM SET

Selecting Patches from the List

You can display a list of patches and select a patch from that list.

Press MODE [PATCH] to access the PATCH PLAY screen.

Press [ENTER].

The PATCH LIST screen appears.

fig.PatchPlay

To select a patch, press [F5 (PATCH)].

To select a rhythm set, press [F6 (RHYTHM)].

If you press [F6 (RHYTHM)], the RHYTHM LIST screen

appears.

Press [F1 (UP)] [F2 (DOWN)] to select a group.

Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select a

patch/rhythm set.

Press [ENTER] to confirm your selection.

Selecting Patches by Category

Press MODE [PATCH] to access the PATCH PLAY screen.

Press [ENTER].

The PATCH LIST screen appears.

Press [F4 (CATEG)].

The CATEGORY screen appears.

Press [F1 (UP)] [F2 (DOWN)] to select a category.

Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select a patch.

Press [ENTER] to confirm your selection.

Playing in Patch Mode

Selecting Favorite Patches/Rhythm Sets (Favorite Patch)

In the patch mode, you can bring together your favorite and most

frequently used patches (or rhythm sets) in one place by registering

them in the favorite patch. By using this function, you can rapidly

select favorite patches from Preset/User/Card area or a Wave

Expansion Board. You can register a total of 64 sounds (8 sounds x 8

banks) as favorite patches.

Registering a Favorite Patch/Rhythm Set

In the PATCH PLAY screen, select the patch (or rhythm set)

that you wish to register.

Press [ENTER] to access the PATCH LIST screen.

Press [F3 (FAVORIT)].

The FAVORITE PATCH screen appears.

Press [ ] [ ] to select the Bank.

Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select a

favorite number.

Press [F2 (REGIST)] to execute the registration.

Press [F3 (LIST)] to return to the PATCH LIST screen.

You can hold down MODE [AUDITION] or [F5 (PREVIEW)] to

audition the patch or rhythm set.

Canceling a patch registration

By pressing [F1 (REMOVE)] you can cancel the patch (or rhythm set)

registration that is selected in the FAVORITE PATCH screen.

Auditioning a Patch or Rhythm Set (Phrase Preview)

This function lets you audition a patch using a suitable phrase that’s

provided for each type (category) of patch.

In the PATCH PLAY screen, PATCH LIST screen, RHYTHM LIST screen, FAVORITE PATCH screen, or CATEGORY screen, hold down MODE [AUDITION].

The patch (rhythm set) selected in the screen will play.

The audition playback will stop when you take your finger off the [AUDITION] button.

You can use the Preview Mode parameter to change the way in

which Phrase Preview plays the sound. (p. 158)

Transposing the Keyboard in Octave Units (Octave Shift)

The Octave Shift function transposes the pitch of the keyboard in 1

octave units (-3– +3 octaves).

For playing a bass part more easily using your right hand, transpose

the keyboard down by 1 or 2 octaves.

* Octave Shift applies only to the keyboard part.

In the PATCH PLAY screen, press OCTAVE [-] or [+] to set the amount of transposition (-3– +3).

The button will light if this is set.

• Each time you press OCTAVE [+], the amount of transposition

will change in the order of +1, +2, and +3. Each time you press

OCTAVE [-], the amount of transposition will change in the

order of -1, -2, and -3.

• [UP] will light if the setting is +1, +2, or +3; [DOWN] will light if

the setting is -1, -2, or -3.

• Press both buttons simultaneously to return the setting to 0.

Choosing the Favorite Patch/Rhythm Set

Press MODE [PATCH] to access the PATCH PLAY screen.

Press [ENTER] to access the PATCH LIST screen.

Press [F1 (FAVORIT)].

The FAVORITE PATCH screen appears.

To change the Bank, use the VALUE dial or [ ] [ ].

Press [INC] [DEC] or [ ] [ ] to select the patch.

Press [F6 (SELECT)] or [ENTER] to confirm your selection.

There is a single Octave Shift setting (Setup parameter) for the

entire JUNO-G. The changed setting will be remembered even if

you switch patches or performances.

Playing in Patch Mode

Transposing the Keyboard in Semitone Steps (Transpose)

Transpose changes keyboard pitch in units of semitones.

This function is useful when you play transposed instruments such

as trumpet or clarinet following a printed score.

In the PATCH PLAY screen, hold down [TRANSPOSE] and press [-] or [+] to specify the amount of transposition (G– F#: -5–+6 semitones).

• [TRANSPOSE] will light if the setting is anything other than C.

• Hold down [TRANSPOSE] and press both buttons

simultaneously to return the setting to C.

There is a single Transpose setting (Setup parameter) for the

entire JUNO-G. The changed setting will be remembered even if

you switch patches or performances.

Selecting the Tones That Will Sound (Tone On/Off)

Since a patch is a combination of up to four tones, you can switch

unwanted (tones out of the four) off and get just the sound of a

specific tone.

Adjusting the Volume Balance between the Keyboard Performance and the Rhythm Pattern

In the PATCH PLAY screen, hold down [SHIFT] and press

[F4 (LEVEL)].

The PART LEVEL window appears.

Press [F4 (KBD)] (keyboard) or [F5 (PTN)] (rhythm pattern)

to select a part.

Use the VALUE dial or [INC] [DEC] to adjust the volume.

Press [F6 (CLOSE)] to close the window.

In the PATCH PLAY screen, press [TONE SW/SEL] so the button is lit.

Use SWITCH [1]–[4] to turn each tone on/off.

Making the button light turns the tone on.

If you want just one or two tones to sound in a patch, turn the

others off and store that setting on a patch. This cuts

nonessential use of the JUNO-G’s simultaneous voices.

Press [TONE SW/SEL] once again so its illumination is

turned off.

Playing Percussion Instruments

In Patch mode, you can play percussion instruments from the

keyboard by selecting a rhythm set. As the rhythm tone assigned to

each key varies by the rhythm set selected, you can play a wide

range of percussion instruments.

Creating a Patch

Four Tips for Editing Patches

Select a patch that is similar to the sound you wish to create

With the JUNO-G, you have total control over a wide variety of

settings. Each item that can be set is known as a

you change the values of parameters, you are doing what is referred

to as

Editing

. This chapter explains the procedures used in creating

patches, and the functions of the patch parameters.

(p. 26)

It’s hard to create a new sound that’s exactly what you want if you just select a patch and modify its parameters at random. It makes sense to start with a patch whose sound is related to what you have in mind.

Decide which tones will sound (p. 29)

Since a patch is a combination of up to any four tones, you should listen to how the individual tones sound before you edit. Then decide which tones you are going to use. It is important to turn off unused tones to avoid wasting voices, unnecessarily reducing the number of simultaneous notes you can play.

Check the Structure setting (p. 35)

The important Structure parameter determines how the four tones combine. Before you select new tones, make sure you understand how the currently selected tones are affecting each other.

Turn Effects off (p. 125)

Since you will hear the original sound of the patch itself when the effects are turned off, the results of your modifications will be easier to hear. Actually, sometimes just changing effects settings can give you the sound you want.

parameter

. When

How to Make Patch Settings

Using the Knobs to Edit the Sound

You can use the six SOUND MODIFY knobs to edit the sound in real time.

Press MODE [PATCH] to access the PATCH PLAY screen.

Select the patch whose settings you want to edit (p. 26).

Changing the brightness of the sound and adding special qualities (CUTOFF/RESONANCE)

The sound generator section of the JUNO-G contains a filter that can

cut or boost specific frequency regions of the sound. The CUTOFF

knob specifies the frequency (cutoff frequency) at which the filter

will begin to modify the sound, and the RESONANCE knob boosts

the region near the cutoff frequency to add a distinctive character to

the sound.

Turn the CUTOFF or RESONANCE knobs.

Turning a knob toward the right increases the value.

FREQ:

Frequency at which the filter begins to have an effect on

the waveform’s frequency components

RESO:

Emphasizes the portion of the sound in the region of the

cutoff frequency, adding character to the sound

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

distort.

Editing the way that the volume will change

The volume continues to change from the time a key is pressed to

when it is released.

Press the SOUND MODIFY select button to make AMP ENV light.

Turn the ATTACK, DECAY, SUSTAIN, and RELEASE knobs.

Turning a knob toward the right increases the value.

Attack Time: The time from when the keyboard is pressed

until the maximum tonal change is reached.

Delay Time: The time from when the maximum tonal change

is reached until the Sustain Level is reached.

Sustain level: Volume that is sustained while you hold down

the key

Release Time: The time from when the keyboard is released

until the sound disappears.

* If you press the SOUND MODIFY select button so all of the

indicators are off, turning these knobs will not produce any change.

You cannot edit the patches in the GM2 group.

Selecting the tone to edit

In the PATCH PLAY screen, press [TONE SW/SEL] so the button is lit.

Press SELECT[1]–[4] to select the tone(s) you want to edit.

In the SOUND MODIFY 1–4 area at the bottom of the screen, a

check mark (✔) will be added to the tone number(s) you select.

fig.PatchPlay

* You can press multiple buttons simultaneously to select multiple tones.

* By turning TONE SWITCH on/off you can edit the sound while

hearing only the desired tone.

Editing the way that tone (brightness) will change

The tone undergoes changes between the moment you press a key

until you release it.

Press the SOUND MODIFY select button to make FILTER

ENV light.

Turn the ATTACK, DECAY, SUSTAIN, and RELEASE knobs.

Turning a knob toward the right increases the value.

* If you press the SOUND MODIFY select button so all of the

indicators are off, turning these knobs will not produce any change.

Applying vibrato, wah, or tremolo (LFO)

The LFO, short for “low frequency oscillator,” makes changes to the

sound in periodic fashion. Vibrato is the effect produced by using

the LFO to vary the pitch. Wah is the effect produced by using the

LFO to vary the cutoff frequency. Tremolo is the effect produced by

using the LFO to vary the volume.

Creating a Patch

Press the SOUND MODIFY select button to make LFO light.

10.

11.

Turn the ATTACK, DECAY, SUSTAIN, and RELEASE knobs.

RATE:

LFO RATE: Speed of LFO 1

PIT:

LFO Pitch Depth: Depth by which LFO 1 changes the WG

pitch

FLT:

LFO TVF Depth: Depth by which LFO 1 changes the TVF

cutoff frequency

AMP:

LFO TVA Depth: Depth by which LFO 1 changes the

volume

For details on these parameters, refer to

Output

(p. 46).

* If you press the SOUND MODIFY select button so all of the

indicators are off, turning these knobs will not produce any change.

Modulating Sounds/

Editing in a Graphic Display (Zoom Edit)

The important parameters most commonly used to edit the sound

are available in eight screens for graphic editing.

Parameter page Parameter page

PITCH ENVELOPE p. 40 PATCH EDIT p. 35

TVF PARAMETER p. 40 LFO 1/2 p. 46

TVF ENVELOPE p. 41 STEP LFO p. 47

TVA ENVELOPE p. 43

Graphic display

Move the cursor and use the VALUE dial or [INC] [DEC]

Corresponds to SOUND MODIFY knobs 1--4.

Press [WRITE] to save the changes you’ve made (p. 32).

If you do not wish to save changes, press [EXIT] to return to the PATCH PLAY screen.

If you return to the PATCH PLAY screen without saving, an “*”

will be displayed at the left of the rhythm set group.

If you turn off the power or select a different sound while the

display indicates “*,” your edited rhythm set will be lost.

Viewing and editing all parameters (PRO EDIT)

For details on the parameters, refer to p. 34 and follows.

Press MODE [PATCH] to access the PATCH PLAY screen.

Select the patch whose settings you want to edit (p. 26).

You cannot edit the patches in the GM2 group.

Press EDIT [PATCH] so it’s lit.

Press [F6 (PRO EDIT)].

Use [F2 (GRP ↑)] [F3 (GRP ↓)] to switch the parameter group.

* Pressing [F1 (GRP LIST)] will display the Patch Pro Edit Menu

window. Use the VALUE dial or [INC] [DEC] [ ] [ ] to select a

parameter group, and press [ENTER].

Use [ ] [ ] to select a parameter.

* A check mark (✔) will be added to the tone number in the upper right

of the screen.

Press MODE [PATCH] to access the PATCH PLAY screen.

Select the patch whose settings you want to edit (p. 26).

You cannot edit the patches in the GM2 group.

Press EDIT [PATCH] so it’s lit.

Use [F1]–[F4] to select the parameter screen.

* Pressing [F5 (PAGE)] will switch the [F1]–[F4] screens.

Use [ ] [ ] [ ] [ ] to select a parameter.

* Some parameters can be edited independently for each tone. To select

the tone to edit, press [TONE SW/SEL] so it’s lit, and press one of the

SELECT [1]–[4] buttons.

Use the VALUE dial or [INC] [DEC] to change the value.

Parameters with an indication of 1–4 can also be edited using

the corresponding SOUND MODIFY knob 1–4.

Repeat steps 4–6 to set each parameter.

Use the VALUE dial or [INC] [DEC] to change the value.

Parameters with an indication of 1–4 can also be edited using

the corresponding SOUND MODIFY knob 1–4.

Repeat steps 5–7 to set each parameter.

Press [WRITE] to save the changes you’ve made (p. 32). If you do not wish to save changes, press [EXIT] to return to the PATCH PLAY screen.

If you return to the PATCH PLAY screen without saving, an “*”

will be displayed at the left of the rhythm set group.

If you turn off the power or select a different sound while the

display indicates “*,” your edited rhythm set will be lost.

Creating a Patch

Using the SOUND MODIFY Knobs to Change the Value

If a number is displayed for the parameter name (1, 2, 3, 4), you can

use the SOUND MODIFY knobs 1–4 to set the value.

* Press the SOUND MODIFY select button so all of the indicators are

off. If any indicator is lit, the knob functions will change.

For example, in the TVF ENVELOPE ZOOM screen, the knobs

correspond to parameters as follows.

Knob 1

Knob 2 D (Time 3)

Knob 3 S (Level 3)

Knob 4 R (Time 4)

A (Time 1)

Press [F6 (EXEC)] to execute the copy operation.

* To cancel, press [F5 (CANCEL)].

The Compare Function

For the Patch Tone Copy and Patch Save operations, you can use the Compare function.

If you want to play the copy-source or write-destination patch, press [F4 (COMPR)] to add a check mark (✔). Now you can play the copy-source or write-destination patch from the keyboard.

* The patch auditioned using the Compare function may sound

slightly different than when it is played normally.

Saving Patches You’ve

Initializing Patch Settings

“Initialize” means to return the settings of the currently selected

sound to a standard set of values.

* The Initialize operation will affect only the currently selected sound;

the sounds that are stored in user memory will not be affected. If you

wish to restore all of the JUNO-G’s settings to their factory values,

perform a Factory Reset (p. 164).

With EDIT [PATCH] lit, hold down [SHIFT] and press [F5 (INIT)].

A message will ask you for confirmation.

Press [F6 (EXEC)].

The initialization will be carried out.

* To cancel, press [F5 (CANCEL)].

Copying Patch (Tone) Settings

This operation copies the settings of any desired patch to the

currently selected patch.

With EDIT [PATCH] lit, hold down [SHIFT] and press [F6

(TONE COPY)].

The Patch Tone Copy window appears.

Created (Write)

Changes you make to sound settings are temporary, and will be lost

if you turn off the power or select another sound. If you want to keep

the modified sound, you must save it in the internal USER group

(user memory) or CARD group (memory card).

When you edit the patch settings, an “*” will appear in the PATCH

PLAY screen.

When you perform the save procedure, the data that previously

occupied the save destination will be lost.

Edit the patch.

Press EDIT [WRITE].

The WRITE MENU screen appears.

Press [F2 (PAT/RHY)].

* Alternatively, you can use [ ] [ ] to select “Patch/Rhythm,” and

then press [ENTER].

The PATCH NAME screen appears.

Press [ ] [ ] [ ] [ ] to move the cursor, and use the

VALUE dial or [INC] [DEC] to select the “Source (copysource)” group and number, and the tone.

* By pressing [F4 (COMPR)] to add a check mark (✔), you can check

the copy-source patch (Compare function).

Press [ ] [ ] [ ] [ ] to move the cursor, and select the

“Destination (copy-destination)” tone.

Press [F6 (EXEC)].

A message will ask you for confirmation.

Assign a name to the patch.

For details on assigning names, refer to p. 24.

When you have finished inputting the name, press [F6 (WRITE)].

A screen will appear, allowing you to select the write-

destination patch.

Use the VALUE dial, [INC] [DEC], or [ ] [ ] and [F1 (USER)] [F2 (CARD)] to select the write destination and patch number.

* By pressing [F4 (COMPR)] to add a check mark (✔), you can check

the write-destination patch (Compare function).

Press [F6 (WRITE)].

A message will ask you for confirmation.

Press [F6 (EXEC)] to execute the save operation.

* To cancel, press [F5 (CANCEL)].

Never switch off the JUNO-G while data is being saved.

Creating a Patch

Tips for Using an Acoustic Instrument’s Waveform

With many acoustic instruments such as piano and sax, extreme

timbral changes occur during the first few moments of each note.

This initial attack is what defines much of the instrument’s character.

For such waveforms, it is best to use the complex tonal changes of

the attack portion of the waveform just as they are, and to use the

envelope only to modify the decay portion.

fig.06-006.e

Level

Looped portion

Tone change stored

with the wave

One-shot Waveform and Loop Waveform

The internal waveforms of the JUNO-G fall into the following two

groups.

One-shot:

These waveforms contain sounds that have short decays. A one-shot

waveform records the initial rise and fall of the sound.

The JUNO-G also contains many other one-shot waveforms that are

elements of other sounds. These include attack components such as

piano-hammer sounds and guitar fret noises.

* It is not possible to use the envelope to modify a one-shot waveform to

create a decay that is longer than the original waveform, or to turn it

into a sustaining sound.

Loop:

These waveforms include sounds with long decays as well as

sustained sounds. Loop waveforms repeatedly play back (loop) the

portion of the waveform after the sound has reached a relatively

steady state.

The JUNO-G’s looped waveforms also include components of other

sounds, such as piano-string resonant vibrations and the hollow

sounds of brass instruments.

The following diagram shows an example of sound (electric organ)

that combines one-shot and looped waveforms.

fig.06-005.e

TVA ENV for looped Organ waveform (sustain portion)

Level

TVA ENV for one-shot Key

-click waveform (attack portion)

Resulting TVA ENV change

Time

Envelope

for the TVF filter

Resulting

tone change

Note off

Time

Note off

Creating a Patch

OFF

High note range

Pitch difference from equal temperament

Parameter value

Low note range

Functions of Patch Parameters

Settings Common to the Entire Patch

GENERAL

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

(Matrix Control, p. 44)

Parameter Value Description

Patch Category Refer to p. 26. Type (category) of the patch

Patch Level 0–127 Volume of the patch

Patch Pan L64–0–63R Left/right position of the patch

Patch Priority LAST, LOUDEST How notes will be managed when the maximum polyphony is exceeded (128 voices)

Octave Shift -3– +3 Pitch of the patch’s sound (in units of an octave)

Patch Coarse Tune

Patch Fine Tune -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 Stretched tuning (a system by which acoustic pianos are normally tuned, causing the lower range to be lower and the

Analog Feel 0–127 Depth of 1/f modulation (a pleasant and naturally-occurring ratio of modulation that occurs in a babbling brook or

Stretched Tuning

fig.06-011.e

★

-48– +48

LAST:

The last-played voices will be given priority (Notes will be turned off in order, beginning with the first-

played note.)

LOUDEST:

voice.)

Pitch of the patch’s sound (in semitones, +/- 4 octaves)

higher range to be higher than the mathematical tuning ratios would otherwise dictate)

OFF: 1–3:

rustling wind)

* You can simulate the natural instability characteristic of an analog synthesizer by adding this “1/f modulation.”

The loudest voices will be given priority (Notes will be turned off, beginning with the lowest-volume

Equal temperament

Higher settings will produce the greater difference in the pitch of the low and high ranges.

Changing How a Tone Is Sounded (Structure)

TONE 1 (3)

TONE 2 (4)

TVA TVF

TVF TVA

TYPE 5

TONE 1 (3)

TONE 2 (4)

TVA TVF

TVF TVA

TYPE 6

Parameter

Struct 1 & 2, 3 & 4 (Structure Type)

Value Explanation

TYPE 01–TYPE 10 Determines how tone 1 and 2, or tone 3 and 4 are connected.

Creating a Patch

The following 10 different Types of combination are available.

TYPE 1

TONE 1 (3)

TONE 2 (4)

With this type, tones 1 and 2 (or 3 and 4) are independent. Use this type when you want to preserve PCM sounds or create and combine sounds for each tone.

TYPE 3

TONE 1 (3)

TONE 2 (4)

This type mixes the sound of tone 1 (3) and tone 2 (4), applies a filter, and then applies a booster to distort the waveform.

This type uses a ring modulator to create new overtones, and combines the two filters. The tone 1 (3) TVA will control the volume balance of the two tones, adjusting the depth of ring modulator.

TVATVF

TVF TVA

TVA TVF

TVF TVA

TYPE 2

TONE 1 (3)

TONE 2 (4)

This type stacks the two filters together to intensify the characteristics of the filters. The TVA for tone 1 (or 3) controls the volume balance between the two tones.

TYPE 4

TONE 1 (3)

TONE 2 (4)

This type applies a booster to distort the waveform, and then combines the two filters. The TVA for tone 1 (or 3) controls the volume balance between the two tones and adjusts booster level.

This type uses a ring modulator to create new overtones, and in addition mixes in the sound of tone 2 (4) and stacks the two filters. Since the ring-modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of the ring-modulated sound.

TVA

TVA TVF

TVF

TVF TVA

TYPE 7

TONE 1 (3)

TONE 2 (4)

This type applies a filter to tone 1 (3) and ring-modulates it with tone 2 (4) to create new overtones.

TYPE 9

TONE 1 (3)

TONE 2 (4)

This type passes the filtered sound of each tone through a ring modulator to create new overtones. The tone 1 (3) TVA will control the volume balance of the two tones, adjusting the depth of ring modulator.

TVATVF

TVF TVA

TYPE 8

TONE 1 (3)

TONE 2 (4)

This type sends the filtered tone 1 (3) and tone 2 (4) through a ring modulator, and then mixes in the sound of tone 2 (4) and applies a filter to the result.

TYPE 10

TONE 1 (3)

TONE 2 (4)

This type passes the filtered sound of each tone through a ring modulator to create new overtones, and also mixes in the sound of tone 2 (4). Since the ring-modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of the ring-modulated sound.

TVATVF

TVF TVA

* When TYPE 2–10 is selected and one tone of a pair is turned off, the other tone will be sounded as TYPE 1 regardless of the displayed setting.

* If you limit the keyboard area in which a tone will sound (Keyboard Range, p. 37) or limit the range of velocities for which it will sound (Velocity Range, p.

38), the result in areas or ranges where the tone does not sound is just as if the tone had been turned off. This means that if TYPE 2–10 is selected and you create a keyboard area or velocity range in which one tone of a pair does not sound, notes played in that area or range will be sounded by the other tone as TYPE 1 regardless of the displayed setting.

Creating a Patch

Booster

fig.Boost1.e

The Booster is used to distort the incoming signal.

Booster level

TVA

WG1

WG2

Booster

Adds to WG1

Shift in waveform by WG1

Distorted area of the

Waveform changes

WG2

Uses WG1 as LFO

Adjusts WG1 output

Parameter

Booster 1&2, 3&4 (Booster Gain)

fig.Boost2.e

In addition to using this to create distortion, you can use the waveform

Value Explanation

0, +6, +12, +18 When a Structure Type of TYPE 3 or TYPE 4 is selected, you can adjust the depth of the booster. The booster increases the

input signal in order to distort the sound. This creates the distortion effect frequently used with electric guitars. Higher settings will produce more distortion.

(WG1) of one of the tones as an LFO which shifts the other waveform

(WG2) upward or downward to create modulation similar to PWM (pulse

width modulation). This parameter works best when you use it in

conjunction with the Wave Gain parameter (p. 38).

Ring Modulator

fig.RingMod

A ring modulator multiplies the waveforms of two tones with each other,

generating many new overtones (in harmonic partials) which were not

present in either waveform. (Unless one of the waveforms is a sine wave,

evenly-spaced frequency components will not usually be generated.)

As the pitch difference between the two waveforms changes the harmonic

structure, the result will be an unpitched metallic sound. This function is

suitable for creating metallic sounds such as bells.

MODIFY

These values are added to the parameter values of each tone.

Parameter

Cutoff Offset

Resonance Offset -63– +63 Resonance (p. 40)

Attack Time Offset -63– +63 F-Env Time 1, A-Env Time 1 (p. 41, p. 43)

Release Time Offset -63– +63 F-Env Time 4, A-Env Time 4 (p. 41, p. 43)

Velocity Sens Offset -63– +63 Cutoff V-Sens, Level V-Sens (p. 41, p. 42)

Value Description

-63– +63 Cutoff Frequency (p. 40)

PORTAMENTO

Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key.

Parameter

Portamento Switch

Portamento Mode NORMAL, LEGATO

Portamento Type RATE, TIME

Portamento Start PITCH, NOTE

Portamento Time 0–127 Specifies the time over which the pitch will change.

fig.PortaStart.e

Pitch

Value Explanation

OFF, ON Specifies whether the portamento effect will be applied (ON) or not (OFF).

NORMAL: LEGATO:

RATE: TIME:

PITCH: NOTE:

Portamento will always be applied.

Portamento will be applied only when you play legato.

The time it takes will depend on the distance between the two pitches.

The time it takes will be constant, regardless of how far apart in pitch the notes are.

Starts a new portamento when another key is pressed while the pitch is changing.

Portamento will begin anew from the pitch where the current change would end.

Portamento Start: NOTEPortamento Start: PITCH

Pitch

Creating a Patch

D4 C4

press D4 key

press C5 key

press C4 key

D4 C4

Time

press D4 key

press C5 key

press C4 key

CONTROL

Parameter

Mono/Poly

Legato Switch OFF, ON

Legato Retrigger

Pitch Bend Range Up 0– +48 Degree of pitch change in semitones when the Pitch Bend lever is all the way right

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

Value Explanation

MONO, POLY

OFF, ON

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.

ON:

Pressing a key while continuing to press a previous key causes the note to change pitch to the pitch of the most recently pressed key, sounding all the while. This is effective when you wish to simulate the hammeringon and pulling-off techniques used by a guitarist.

* Legato Switch is valid when the Mono/Poly parameter is set to “MONO.”

OFF:

When one key is held down and another key is then pressed, only the pitch changes, without the attack of the latter key being played. Set this to “OFF” when performing wind and string phrases or when using modulation with the mono synth keyboard sound.

ON:

Normally you will leave this parameter “ON.”

* Legato Retrigger is valid when the Mono/Poly is set to “MONO” and the Legato Switch is set to “ON.”

Time

KEY RANGE

You can use the note number to control the way each Tone is played.

fig.TMT-K.e

Level

Key Fade Lower

Key Range Lower

Parameter

Key Fade Lower

Key Range Lower C - –(Upper) Specifies the lowest note that the tone will sound for each tone.

Key Range Upper (Lower)–G9 Specifies the highest note that the tone will sound for each tone.

Key Fade Upper 0–127 Determines what will happen to the tone’s level when a note that’s higher than Key Range Upper is played.

The tone sounded in the lower range

Key Range Upper

Value Explanation

0–127 Determines what will happen to the tone’s level when a note that’s lower than Key Range Lower is played.

If you don’t want the tone to sound at all, set this parameter to “0.”

The tone sounded in the upper range

Key Fade Upper

Pitch

Creating a Patch

VELOCITY RANGE

You can use the force with which keys are played to control the way each Tone is played.

fig.TMT-V.e

Level

The tone sounded when you play softly

The tone sounded when you play strongly

Velocity

Velo Fade Lower

Velo Range Lower

Parameter

Tone Mix Velo Control

Control Switch OFF, ON Use the Matrix Control (p. 44) to enable (ON), or disable (OFF) sounding of different tones.

Velo Fade Lower 0–127 Determines what will happen to the tone’s level when the tone is played at a velocity lower than Velo Range Lower.

Velo Range Lower 1–(Upper) Specifies the lowest velocity at which the tone will sound.

Velo Range Upper (Lower)–127 Specifies the highest velocity at which the tone will sound.

Velo Fade Upper 0–127 Determines what will happen to the tone’s level when the tone is played at a velocity greater than Velo Range Upper.

Value Explanation

OFF, ON, RANDOM, CYCLE

Determines whether a different tone is played (ON) or not (OFF) depending on the force with which the key is played (velocity).

Velo Fade Upper

Velo Range Upper

RANDOM: CYCLE:

If you don’t want the tone to sound at all, set this parameter to “0.”

The patch’s constituent tones will sound randomly, regardless of any Velocity messages.

The patch’s constituent tones will sound consecutively, regardless of any Velocity messages.

When using the Matrix Control to have different tones played, set the lowest value (Lower) and highest value (Upper) of the value of the

MIDI message used.

Instead of using Velocity, you can also have tones substituted using the Matrix Control. However, the keyboard velocity and the Matrix

Control cannot be used simultaneously to make different tones to sound. When using the Matrix Control to switch tones, set the Tone Mix

Velo Control parameter to “OFF.”

Modifying Waveforms/Pitch/Pitch Envelope

WAVE PARAMETER

Parameter

Wave Group

Wave Bank PRST, USER,

Wave No. L (Mono) Wave No. R

Wave Gain -6, 0, +6, +12 Gain (amplification) of the waveform

Wave Tempo Sync

Value Explanation

INT, EXP, SAMP

CARD

----, 1–1267 Basic waveform for a tone (The upper limit will depend on the wave group.)

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

Group for the waveform that is to be the basis of the tone

INT:

Waveforms stored in internal

EXP:

Waveform stored in a Wave Expansion Board (SRX series) installed in EXP slots

SAMP:

Sample waveforms

When the Wave Group is SAMP: PRST, USER, CARD When the Wave Group is MSAM: USER, CARD

When in monaural mode, only the left side (L) is specified. When in stereo, the right side (R) is also specified. If you want to select a left/right pair of Waves, select the left (L) Wave number, and then hold down [SHIFT] and press [F4 (STEREO)] to add a check mark (✔); the right (R) (Wave) will be recalled.

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. 36).

* This is valid only when a separately sold wave expansion board is installed, and a waveform that indicates a tempo (BPM) is

selected as the sample for a tone.

If a waveform from a wave expansion board is selected for the tone, turning the Wave Tempo Sync parameter “ON” will cause pitch-related settings and FXM-related settings to be ignored.

• If a sample is selected for a tone, you must first set the BPM (tempo) parameter of the sample.

• If a sample is selected for a tone, Wave Tempo Sync will require twice the normal number of voices.

• When this parameter is set to “ON,” set the Tone Delay Time parameter (p. 45) to “0.”

Creating a Patch

Phrase Loop

Phrase loop refers to the repeated playback of a phrase that’s

been pulled out of a song (e.g., by using a sampler). One

technique involving the use of Phrase Loops is the excerpting of

Realtime Time Stretch

If the wave group is “SAMP” or “MSAM,” and the Wave

Tempo Sync parameter is turned “ON,” you can vary the

playback speed of the waveform without affecting the pitch.

a Phrase from a pre-existing song in a certain genre, for example

dance music, and then creating a new song with that Phrase

used as the basic motif. This is referred to as “Break Beats.”

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

Parameter

FXM Switch

FXM Color 1–4 How FXM will perform frequency modulation

FXM Depth

★

Value Explanation

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

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

0–16

Depth of the modulation produced by FXM

FXM

FXM (Frequency Cross Modulation) uses a specified waveform

to apply frequency modulation to the currently selected

waveform, creating complex overtones. This is useful for

creating dramatic sounds or sound effects.

(Matrix Control, p. 44)

WAVE PITCH

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

Parameter

Tone Coarse Tune

Tone Fine Tune

Rand Pitch Depth 0–1200 Width of random pitch deviation that will occur each time a key is pressed (in 1-cent steps)

Pitch Keyfollow -200– +200 Amount of pitch change that will occur when you play a key one octave higher

P-Env V-Sens -63– +63 Keyboard playing dynamics can be used to control the depth of the pitch envelope.

P-Env T1 V-Sens -63– +63 This allows keyboard dynamics to affect the T1 of the Pitch envelope.

P-Env T4 V-Sens -63– +63 Use this parameter when you want key release speed to affect the T4 value of the Pitch envelope.

P-Env Time KF (Time Keyfollow)

Pitch

★

Value Explanation

★

-48– +48

-50– +50

-100– +100 Use this setting if you want the pitch envelope times (T2–T4) to be affected by the keyboard location.

Pitch Keyfollow

Pitch of the tone’s sound (in semitones, +/-4 octaves)

Pitch of the tone’s sound (in 1-cent steps; one cent is 1/100th of a semitone)

If you do not want the pitch to change randomly, set this to “0.”

If you want the pitch to rise one octave as on a conventional keyboard, set this to “+100.” If you want the pitch to rise two octaves, set this to “+200.”

If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a positive (+) value.

If you want T1 to be speeded up for strongly played notes, set this parameter to a positive (+) value.

If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value.

Based on the pitch envelope times for the C4 key, positive (+) settings will cause notes higher than C4 to have increasingly shorter times.

+200

Time

+100

+50

Time Keyfollow

(Matrix Control, p. 44)

-100

-50

C4C3C2C1 C5 C6 C7

-50

-100-200

Key

C4C3C2C1 C5 C6 C7

+50

+100

Key

Creating a Patch

WAVE PITCH ENV

Parameter

P-Env Depth

P-Env Time 1–4

P-Env Level 0–4 -63– +63 Pitch envelope levels (L0–L4)

★

Pitch Envelope

Pitch

Note on

Value Explanation

-12– +12 Depth of the Pitch envelope

0–127

T1 T2 T3 T4

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

Pitch envelope times (T1–T4)

Higher settings will result in a longer time until the next pitch is reached.

Specify how the pitch will change at each point, relative to the pitch set with Coarse Tune or Fine Tune.

Note off

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

(Matrix Control, p. 44)

Time

Modifying the Brightness of a Sound with a Filter (TVF/TVF Envelope)

A filter cuts or boosts a specific frequency region to change a sound’s brightness, thickness, or other qualities.

TVF PARAMETER

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

(Matrix Control, p. 44)

Parameter

Filter Type

Cutoff Frequency

Resonance

Cutoff Keyfollow

★

Value Explanation

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

★

0–127

-200– +200 Use this parameter if you want the cutoff frequency to change according to the key that is pressed.

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.

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 sound

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

Relative to the cutoff frequency at the C4 key (center C), positive (+) settings will cause the cutoff frequency to rise for notes higher than C4, and negative (-) settings will cause the cutoff frequency to fall for notes higher than C4. Larger settings will produce greater change.

Creating a Patch

1234567

Level

High

Cutoff frequency

parameter value

Low

Parameter

Cutoff V-Curve

LPF BPF

Frequency

Value Explanation

FIX, 1–7 Curve that determines how keyboard playing dynamics (velocity) will affect the cutoff frequency

Resonance

HPF PKG

Set this to “FIX” if you don’t want the Cutoff frequency to be affected by the keyboard velocity.

Cutoff frequency (Octave)

-1

-2

Cutoff Keyfollow

C4C3C2C1 C5 C6 C7

+200

+100

+50

-50

-100-200

Key

1234567

Cutoff V-Sens -63– +63 Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. If you want

Resonance V-Sens -63– +63 This allows keyboard velocity to modify the amount of Resonance.

F-Env V-Curve FIX, 1–7 Curve that determines how keyboard playing dynamics (velocity) will affect the TVF envelope

strongly played notes to raise the cutoff frequency, set this parameter to positive (+) settings.

If you want strongly played notes to have a greater Resonance effect, set this parameter to positive (+) settings.

Set this to “FIX” if you don’t want the TVF Envelope to be affected by the keyboard velocity.

F-Env V-Sens -63– +63 Specifies how keyboard playing dynamics will affect the depth of the TVF envelope.

F-Env T1 V-Sens -63– +63 This allows keyboard dynamics to affect the T1 of the TVF envelope.

F-Env T4 V-Sens -63– +63 Use this parameter when you want key release speed to affect the T4 value of the TVF envelope.

Positive (+) settings will cause the TVF envelope to have a greater effect for strongly played notes, and negative (-) settings will cause the effect to be less.

If you want T1 to be speeded up for strongly played notes, set this parameter to a positive (+) value.

If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value.

TVF ENVELOPE

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

Parameter Value Explanation

F-Env Depth -63– +63 Depth of the TVF envelope

F-Env Time KF (Time Keyfollow)

F-Env Time 1–4

F-Env Level 0–4 0–127 TVF envelope levels (L0–L4)

★

-100– +100 Use this setting if you want the TVF envelope times (T2–T4) to be affected by the keyboard location.

0–127

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

Based on the TVF envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times.

TVF envelope times (T1–T4)

Higher settings will lengthen the time until the next cutoff frequency level is reached.

Specify how the cutoff frequency will change at each point, relative to the Cutoff Frequency value.

(Matrix Control, p. 44)

Creating a Patch

1234567

Cutoff

Frequency

TVF Envelope

T1 T2 T3 T4

Note on

L2 L4

Time

Note off

Time Time Keyfollow

C4C3C2C1 C5 C6 C7

Adjusting the Volume (TVA/TVA Envelope)

TVA PARAMETER

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

Parameter Value Explanation

Tone Level

Level V-Curve FIX, 1–7 Curve that determines how keyboard playing dynamics (velocity) will affect the volume

★

0–127 Volume of the tone.

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

Set this to “FIX” if you don’t want the volume of the tone to be affected by the keyboard velocity.

-100

-50

+50

+100

Key

(Matrix Control, p. 44)

Level V-Sens -63– +63 Set this when you want the volume of the tone to change depending on keyboard playing dynamics.

Bias

Bias Level -100– +100 Angle of the volume change that will occur in the selected Bias Direction

Bias Position C - –G9 Key relative to which the volume will be modified

Bias Direction LWR, UPR,

Bias causes the volume to be affected by the keyboard position. This is useful for changing volume through keyboard position (pitch) when playing acoustic instruments.

L&U, ALL

LWR

Level

Parameter Value Explanation

Tone Pan

Pan Keyfollow -100– +100 Use this parameter if you want key position to affect panning.

–

C-1 G9

Bias Position

★

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

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

Larger settings will produce greater change. Negative (-) values will invert the change direction.

Direction in which change will occur starting from the Bias Position

LWR:

The volume will be modified for the keyboard area below the Bias Point.

UPR:

The volume will be modified for the keyboard area above the Bias Point.

L&U:

The volume will be modified symmetrically toward the left and right of the Bias Point.

ALL:

The volume changes linearly with the bias point at the center.

UPR

Level

Key

C-1 G9

Bias Position

Positive (+) settings will cause notes higher than C4 key (center C) to be panned increasingly further toward the right, and negative (-) settings will cause notes higher than C4 key (center C) to be panned toward the left. Larger settings will produce greater change.

L&U

Level

–

Key

–

C-1 G9

Bias Position

ALL

Level

–

Key

–

C-1 G9

Bias Position

–

Key

Pan Pan Keyfollow

Creating a Patch

+100

+50

Parameter Value Explanation

Random Pan Depth 0–63 Use this parameter when you want the stereo location to change randomly each time you press a key.

Alter Pan Depth L63–0–63R This setting causes panning to be alternated between left and right each time a key is pressed.

C4C3C2C1 C5 C6 C7

Higher settings will produce a greater amount of change.

Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right. For example if two tones are set to “L” and “R” respectively, the panning of the two tones will alternate each time they are played.

* When any value from Type “2”–”10” is selected for the Structure parameter in the Pan KF, Rnd Pan Depth, Alter Pan Depth

parameter settings, the output of tones 1 and 2 are joined in tone 2, and the output of tones 3 and 4 are joined in tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 35).

-50

-100

Key

TVA ENVELOPE

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

(Matrix Control, p. 44)

Parameter

A-Env T1 V-Sens

A-Env T4 V-Sens -63– +63 Use this parameter when you want key release speed to affect the T4 value of the TVA envelope.

A-Env Time KF (Time Keyfollow)

A-Env Time 1–4

A-Env Level 1–3 0–127 TVA envelope levels (L1–L3)

★

Value Explanation

-63– +63 This allows keyboard dynamics to affect the T1 of the TVA envelope.

-100– +100 Use this setting if you want the TVA envelope times (T2–T4) to be affected by the keyboard location. Based on

0–127

If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

the TVA envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have

increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger set-

tings will produce greater change.

TVA envelope times (T1–T4)

Higher settings will lengthen the time until the next volume level is reached.

Specify how the volume will change at each point, relative to the Tone Level value.

TVA Envelope

Level

Note on

T1 T2 T3 T4

Note off

Time

Time Keyfollow

C4C3C2C1 C5 C6 C7

-100

-50

+50

+100

Key

Creating a Patch

Matrix Control Settings/Miscellaneous Settings

MATRIX CTRL1–4

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

Matrix Controls can be used in a single patch.

To use the Matrix Control, specify which MIDI message (CTRL Source parameter) will be used to control which parameter (CTRL Destination

parameter), and how greatly (CTRL Sens parameter), and the tone to which the effect is applied (CTRL Switch parameter).

Parameter

CTRL 1–4 Source

Value Explanation

OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH, SYS CTRL1–4, VELOCITY, KEY FOLLOW, TEMPO, LFO1, LFO2, PITCH ENV, TVF ENV, TVA ENV

MIDI message used to change the tone parameter with the Matrix Control

OFF:

Matrix control will not be used.

CC01–31, 33–95: PITCH BEND: SYS CTRL1–4: VELOCITY: TEMPO: LFO1:

LFO 1

PITCH ENV:

Controller numbers 1–31, 33–95

Pitch Bend

MIDI messages used as common matrix controls

Pressure you press a key with

The specified tempo (song recorder tempo) or the tempo of an external MIDI sequencer.

LFO2:

Pitch envelope

AFTERTOUCH:

LFO 2

TVF ENV:

Aftertouch

KEY FOLLOW:

TVF envelope

Keyboard position with C4 as 0

TVA ENV:

Velocity and Key follow correspond to Note messages.

Matrix Control

TVA envelope

. Up to four

Although there are no MIDI messages for LFO 1 through TVA Envelope, they can be used as Matrix Control. In this case, you can change the

tone settings in realtime by playing patches.

• If you want to use common controllers for the entire JUNO-G, select “SYS CTRL1”–”SYS CTRL4.” MIDI messages used as System Control 1–

4 are set with the System Ctrl 1–4 Source parameters (p. 160).

There are parameters that determine whether or not Pitch Bend, Controller Number 11 (Expression) and Controller Number 64 (Hold 1) are

received (p. 45). When these settings are “ON,” and the MIDI messages are received, then when any change is made in the settings of the

desired parameter, the Pitch Bend, Expression, and Hold 1 settings also change simultaneously. If you want to change the targeted

parameters only, then set these to “OFF.”

• There are parameters that let you specify whether specific MIDI messages will be received for each channel in a performance (p. 67). When a

patch with Matrix Control settings is assigned to a part, confirm that any MIDI messages used for the Matrix Control will be received. If the

JUNO-G is set up such that reception of MIDI messages is disabled, then the Matrix Control will not function.

Parameter Value Explanation

CTRL 1–4 Destination 1– 4

OFF, PITCH, CUTOFF, RESONANCE, LEVEL, PAN, OUTPUT LEVEL, CHORUS SEND, REVERB SEND, LFO1/2 PITCH DEPTH, LFO1/2 TVF DEPTH, LFO1/2 TVA DEPTH, LFO1/2 PAN DEPTH, LFO1/2 RATE, PCH ENV A-TIME, PCH ENV D-TIME, PCH ENV R-TIME, TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, TMT, FXM DEPTH, MFX CTRL1– 4, TIME

Tone parameter that is to be controlled when using the Matrix Control

Up to four parameters can be specified for each Matrix Control, and controlled simultaneously.

* In this manual, Parameters that can be controlled using the Matrix Control are marked with a “★.”

Parameter

CTRL 1–4 Sens 1–4

CTRL 1–4 Switch 1–4 OFF, ON,

Value Explanation

-63– +63 Amount of the Matrix Control’s effect that is applied

REVS

If you wish to modify the selected parameter in a positive (+) direction—i.e., a higher value, toward the right, or faster etc.—from its current setting, select a positive (+) value. If you wish to modify the selected parameter in a negative (-) direction—i.e., a lower value, toward the left, or slower etc.—from its current setting, select a negative (-) value. For either positive or negative settings, greater absolute values will allow greater amounts of change. Set this to “0” if you don’t want to apply the effect.

Tone to which the effect is applied when using the Matrix Control

OFF:

The effect will not be applied.

ON:

The effect will be applied.

REVS:

The effect will be applied in reverse.

Creating a Patch

Note off

Delay time

Note on

Tone Delay Mode: NORM

No Tone Delay

Note off

Delay time

Note on

Tone Delay Mode: HOLD

No sound played

Note off

Delay time

Note on

Tone Delay Mode: OFFN

Note off

Delay time

Note on

Tone Delay Mode: OFFD

MISC

Tone Delay

This produces a time delay between the moment a key is pressed (or released), and the moment the tone actually begins to sound. You can also

make settings that shift the timing at which each tone is sounded. This differs from the Delay in the internal effects, in that by changing the sound

qualities of the delayed tones and changing the pitch for each tone, you can also perform arpeggio-like passages just by pressing one key.

You can also synchronize the tone delay time to the tempo of the song recorder.

* If you are not going to use Tone Delay, set the Delay Mode parameter to “NORM” and Delay Time parameter to “0.”

• If the Structure parameters set in the range of “2”–”10,” the output of tones 1 and 2 will be combined into tone 2, and the output of tones 3

and 4 will be combined into tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 35).

Parameter

Tone Delay Mode

Tone Delay Time

fig.ToneDly1.e

Value Explanation

NORM, HOLD, OFFN, OFFD

0-127, Note

Type of tone delay

NORM: HOLD:

Although the tone begins to play after the time specified in the Delay Time parameter has elapsed, if the key is re-

leased before the time specified in the Delay Time parameter has elapsed, the tone is not played.

OFFN:

Rather than being played while the key is pressed, the tone begins to play once the period of time specified in the Delay Time parameter has elapsed after release of the key. This is effective in situations such as when simulating noises from guitars and other instruments.

OFFD:

Rather than being played while the key is pressed, the tone begins to play once the period of time specified in the Delay Time parameter has elapsed after release of the key. Here, however, changes in the TVA Envelope begin while the key is pressed, which in many cases means that only the sound from the release portion of the envelope is heard.

* If you have selected a waveform that is a decay-type sound (i.e., a sound that fades away naturally even if the key is not released), select-

ing “OFFN” or “OFFD” may result in no sound being heard.

Time from when the key is pressed (or if the Delay Mode parameter is set to “OFFN” or “OFFD,” the time from when the key is released) until when the tone will sound

Tone Delay Time specifies the beat length for the synchronized tempo when the tempo that specifies the elapsed time until the tone is sounded (Patch Tempo) is synchronized with the tempo set in a song recorder.

The tone begins to play after the time specified in the Delay Time parameter has elapsed.

Parameter

Tone Env Mode

Rx Bender

Rx Expression OFF, ON For each tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).

Rx Hold-1 OFF, ON For each tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).

Rx Pan Mode

Redamper Sw

Value Explanation

NSUS, SUST

OFF, ON For each tone, specify whether MIDI Pitch Bend messages will be received (ON), or not (OFF).

CONT, K-ONFor each tone, specify how pan messages will be received.

OFF, ON You can specify, on an individual tone basis, whether or not the sound will be held when a Hold 1 message is received after

When a loop waveform (p. 33) is selected, the sound will normally continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to “NSUS.”

* If a one-shot type wave (p. 33) is selected, it will not sustain even if this parameter is set to “SUST.”

* If “NSUS” is selected for Env Mode parameter, this setting will have no effect.

CONT:

Whenever Pan messages are received, the stereo position of the tone will be changed.

K-ON:

The pan of the tone will be changed only when the next note is played. If a pan message is received while a note

is sounding, the panning will not change until the next key is pressed.

* The channels cannot be set so as not to receive Pan messages.

a key is released, but before the sound has decayed to silence.

If you want to sustain the sound, set this “ON.” When using this function, also set the Rx Hold-1 parameter “ON.” This function is effective for piano sounds.

Creating a Patch

Modulating Sounds/Output

An LFO (Low Frequency Oscillator) causes change over a cycle in a sound. Each tone has two LFOs (LFO1/LFO2), and these can be used to

cyclically change the pitch, cutoff frequency and volume to create modulation-type effects such as vibrato, wah and tremolo. Both LFOs have the

same parameters so only one explanation is needed.

LFO 1–2

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

(Matrix Control, p. 44)

Parameter

Wave Form

Rate

★

Rate Detune

Offset -100– +100 Raises or lowers the LFO waveform relative to the central value (pitch or cutoff frequency).

Delay Time 0–127 Time elapsed before the LFO effect is applied (the effect continues) after the key is pressed (or released)

Delay Time KF (Time Keyfollow)

fig.T-KF.e

Time

Value Explanation

SIN, TRI, SAWU, SAWD, SQR, RND, BDU, BD-D, TRP, S&H, CHS, VSIN, STEP

0–127, Note

0–127 Makes subtle changes in the LFO cycle rate (Rate parameter) each time a key is pressed.

-100– +100 Adjusts the value for the Delay Time parameter depending on the key position, relative to the C4 key (center C).

Waveform of the LFO

SIN:

Sine wave

TRI:

Triangle wave

SAWU:

Sawtooth wave

SAWD:

Sawtooth wave (negative polarity)

SQR:

Square wave

RND:

Random wave

BD-U:

Once the attack of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then con-

tinues without further change.

BD-D:

Once the decay of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then con-

tinues 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 sim-

ilar to a step modulator.

* If you set this to “BD-U” or “BD-D,” you must turn the Key Trigger parameter to “ON.” If this is “OFF,” it will have no effect.

Modulation speed of the LFO

LFO Rate sets the beat length for the synchronized tempo is synchronized with the tempo set in a sequencer.

* This setting will be ignored if the Waveform parameter is set to “CHAOS.”

Higher settings will cause greater change. This parameter is invalid when Rate is set to “note.”

Positive (+) settings will move the waveform so that modulation will occur from the central value upward. Negative (-) settings will move the waveform so that modulation will occur from the central value downward.

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.

To decrease the time with each higher key that is pressed in the upper registers, select a positive value; to increase the elapsed time, select a negative value. Larger settings will produce greater change. If you do not want the elapsed time to change according to the key pressed, set this to “0.”

Time Keyfollow

-100

-50

+50

+100

C4C3C2C1 C5 C6 C7

Key

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

(Matrix Control, p. 44)

Parameter

Fade Mode

Fade Time 0–127 Time over which the LFO amplitude will reach the maximum (minimum)

Key Trigger OFF, ON Specifies whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).

Pitch Depth

TVF Depth

TVA Depth

★

Value Explanation

ON <, ON >, OFF <, OFF >

-63– +63

★

-63– +63

★

How the LFO will be applied

How deeply the LFO will affect pitch

How deeply the LFO will affect the cutoff frequency

How deeply the LFO will affect the volume

Creating a Patch

high (more)

low (less)

Delay Time

Fade Time

Depth

Note

off

Note

Pitch

Cutoff Frequency

Level

Pan

Parameter

Pan Depth

★

Value Explanation

-63– +63

Positive (+) and negative (-) settings for the Depth parameter result in differing kinds of change in pitch and volume. For example, if you set the Depth parameter to a positive (+) value for one tone, and set another tone to the same numerical value, but make it negative (-), the modulation phase for the two tones will be the reverse of each other. This allows you to shift back and forth between two different tones, or combine it with the Pan setting to cyclically change the location of the sound image.

* When the Structure parameter is set to any value from “2” through “10,” the output of tones 1 and 2 will be combined into tone 2, and the output of tones

3 and 4 will be combined into tone 4. This applies to the Pan Depth parameter settings. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 35).

How deeply the LFO will affect the pan

How to Apply the LFO

●

Apply the LFO gradually after the key is pressed

high (more)

Cutoff Frequency

●

Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the effect

Cutoff Frequency

●

Apply the LFO gradually after the key is released

Pitch

Level

Pan

low (less)

high (more)

Pitch

Level

Pan

low (less)

Delay Time

Note on

Fade Time

Delay Time

Fade Time

Depth

Fade Mode: Delay Time: Fade Time:

Time has elapsed

Fade Mode: Delay Time: Fade Time:

Time has elapsed

ON < Time from when the keyboard is played until the LFO begins to be applied

Time over which the LFO amplitude will reach the maximum after the Delay

ON > Time that the LFO will continue after the keyboard is played

Time over which the LFO amplitude will reach the minimum after the Delay

Fade Mode: Delay Time: Fade Time:

Time has elapsed

●

Apply the LFO from when the key is pressed until it is released, and gradually begin to decrease the

OFF < Time from when the keyboard is released until the LFO begins to be applied

Time over which the LFO amplitude will reach the maximum after the Delay

effect when the key is released

Note off

Delay Time

Fade Time

Depth

Fade Mode: Delay Time: Fade Time:

Time has elapsed

OFF > Time that the LFO will continue after the keyboard is released

Time over which the LFO amplitude will reach the minimum after the Delay

high (more)

Pitch

Cutoff Frequency

Level

Pan

low (less)

Note on

STEP

Parameter

Step Type

Step 1–16 -36– +36 Specifies the data for the Step LFO.

Value Explanation

TYP1, TYP2 When generating an LFO waveform from the data specified in LFO Step 1–16, specify whether the level will change abruptly

at each step or will be connected linearly.

TYP1:

stair-step change

TYP2:

linear change

If the LFO Pitch Depth is +63, each +1 unit of the step data corresponds to a pitch of +50 cents.

Creating a Patch

OUTPUT

Parameter

Patch Out Assign

Tone Out Assign

Tone Out Level

Send Level (Output = MFX)

Tone Chorus Send

Tone Reverb Send 0–127 Level of the signal sent to reverb for each tone if the tone is sent through MFX

Send Level (Output = non MFX)

Tone Chorus Send

Tone Reverb Send 0–127 Level of the signal sent to reverb for each tone if the tone is not sent through MFX

Value Explanation

MFX, A, B, 1– 4, TONE

MFX, A, B, 1– 4

0–127 Level of the signal that is sent to the output destination specified by Tone Output Assign

0–127 Level of the signal sent to chorus for each tone if the tone is sent through MFX

0–127 Level of the signal sent to chorus for each tone if the tone is not sent through MFX

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-ef-

fects.

A, B:

Output to the OUTPUT A (MIX) jacks or OUTPUT B jacks in stereo without passing through multi-effects.

1–4:

Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.

TONE:

Outputs according to the settings for each tone.

* If you’ve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually

inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the INDIVIDUAL 1 jack.

* If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158).

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

MFX:

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

fects.

A, B:

Output to the OUTPUT A (MIX) jacks or OUTPUT B jacks in stereo without passing through multi-effects.

1–4:

Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.

* If the Patch Out Assign is set to anything other than “TONE,” these settings will be ignored. * When the Structure Type parameter has a setting of Type “2”–”10,” the outputs of tones 1 and 2 will be combined with tone 2, and the

outputs of tones 3 and 4 will be combined with tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 35).

* If you’ve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually

inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the IN-

DIVIDUAL 1 jack. * If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). * If you’ve set Tone Out Assign to “MFX,” set the MFX Output Assign parameter (p. 127) to specify the output destination of the sound

that has passed through the multi-effects. * Sounds are output to chorus and reverb in mono at all times. * The output destination of the signal after passing through the chorus is set with the Chorus Output Select and Chorus Output Assign pa-

rameters (p. 127). * The output destination of the signal after passing through the reverb is set with the Reverb Output Assign parameter (p. 127).

Setting Effects for a Patch (Effects/MFX/MFX Control/Chorus/Reverb)

For details regarding effect settings, refer to the pages shown below.

•

Making Effect Settings

•

Making Multi-Effects Settings (MFX1–3)

•

Making Chorus Settings

•

Making Reverb Settings

(p. 125)

(p. 129)

(p. 154)

(p. 155)

Creating a Rhythm Set

With the JUNO-G, you have total control over a wide variety of

settings. Each item that can be set is known as a

you change the values of parameters, you are doing what is referred

to as

Editing

. This chapter explains the procedures used in creating

rhythm sets, and the functions of the rhythm set parameters.

parameter

. When

How to Make Rhythm Set Settings

Using the Knobs to Edit the Sound

You can use the six SOUND MODIFY knobs to edit the sound in real

time.

In the case of a sound that has only a brief duration, it may be

difficult to hear the effect of turning a knob.

Press MODE [PATCH] to access the PATCH PLAY screen.

Select the rhythm set whose settings you want to edit (p. 26).

You cannot edit the patches in the GM2 group.

Press keys to specify the key (A0–C8) that is to be

controlled by the SOUND MODIFY knobs.

Selecting the tone to edit

In the PATCH PLAY screen, press [TONE SW/SEL] so the

button is lit.

Editing the way that the volume will change

The volume continues to change from the time a key is pressed to

when it is released.

Press the SOUND MODIFY select button to make AMP ENV light.

Turn the ATTACK, DECAY, SUSTAIN, and RELEASE knobs.

Turning a knob toward the right increases the value.

Attack Time: The time from when the keyboard is pressed

until the maximum tonal change is reached.

Delay Time: The time from when the maximum tonal change

is reached until the Sustain Level is reached.

Sustain level: Volume that is sustained while you hold down

the key

Release Time: The time from when the keyboard is released

until the sound disappears.

* If you press the SOUND MODIFY select button so all of the

indicators are off, turning these knobs will not produce any change.

Editing the way that tone (brightness) will change

The tone undergoes changes between the moment you press a key

until you release it.

Press the SOUND MODIFY select button to make FILTER ENV light.

10.

Turn the ATTACK, DECAY, SUSTAIN, and RELEASE knobs.

Turning a knob toward the right increases the value.

* If you press the SOUND MODIFY select button so all of the

indicators are off, turning these knobs will not produce any change.

Press SELECT[1]–[4] to select the tone(s) you want to edit.

In the SOUND MODIFY 1–4 area at the bottom of the screen, a

check mark (✔) will be added to the tone number(s) you select.

* You can press multiple buttons simultaneously to select multiple

tones.

* By turning TONE SWITCH on/off you can edit the sound while

hearing only the desired tone.

Changing the brightness of the sound and adding special qualities (CUTOFF/RESONANCE)

The sound generator section of the JUNO-G contains a filter that can

cut or boost specific frequency regions of the sound. The CUTOFF

knob specifies the frequency (cutoff frequency) at which the filter

will begin to modify the sound, and the RESONANCE knob boosts

the region near the cutoff frequency to add a distinctive character to

the sound.

Turn the CUTOFF or RESONANCE knobs.

Turning a knob toward the right increases the value.

FREQ:

Frequency at which the filter begins to have an effect on

the waveform’s frequency components

RESO:

Emphasizes the portion of the sound in the region of the

cutoff frequency, adding character to the sound

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

distort.

Editing in a Graphic Display (Zoom Edit)

The important parameters most commonly used to edit the sound

are available in five screens for graphic editing.

Parameter

PITCH ENVELOPE ZOOM

TVF PARAMETER ZOOM p. 55

TVF ENVELOPE ZOOM p. 55

TVA ENVELOPE ZOOM p. 56

Press MODE [PATCH] to access the PATCH PLAY screen.

Select the rhythm set whose settings you want to edit (p. 26).

You cannot edit the patches in the GM2 group.

Press EDIT [PATCH] so it’s lit.

Press keys to specify the key (A0–C8) that is to be edited.

Use [F1]–[F4] to select the parameter screen.

Use [ ] [ ] [ ] [ ] to select a parameter.

* Some parameters can be edited independently for each tone. To select

the tone to edit, press [TONE SW/SEL] so it’s lit, and press one of the SELECT [1]–[4] buttons.

page

p. 54

Creating a Rhythm Set

Use the VALUE dial or [INC] [DEC] to change the value.

Parameters with an indication of 1–4 can also be edited using

the corresponding SOUND MODIFY knob 1–4.

Repeat steps 4–6 to set each parameter.

Press [WRITE] to save the changes you’ve made (p. 51). If you do not wish to save changes, press [EXIT] to return to the PATCH PLAY screen.

If you return to the PATCH PLAY screen without saving, an “*”

will be displayed at the left of the rhythm set group.

If you turn off the power or select a different sound while the

display indicates “*,” your edited rhythm set will be lost.

Viewing and editing all parameters (PRO EDIT)

For details on the parameters, refer to p. 52 and follows.

Press MODE [PATCH] to access the PATCH PLAY screen.

Select the rhythm set whose settings you want to edit (p. 26).

Using the SOUND MODIFY Knobs to Change the Value

If a number is displayed for the parameter name (1, 2, 3, 4), you can

use the SOUND MODIFY knobs 1–4 to set the value.

* Press the SOUND MODIFY select button so all of the indicators are

off. If any indicator is lit, the knob functions will change.

For example, in the TVF ENVELOPE ZOOM screen, the knobs

correspond to parameters as follows.

Knob 1

Knob 2 D (Time 3)

Knob 3 S (Level 3)

Knob 4 R (Time 4)

A (Time 1)

Initializing Rhythm Set Settings

“Initialize” means to return the settings of the currently selected

sound to a standard set of values.

* The Initialize operation will affect only the currently selected sound;

the sounds that are stored in user memory will not be affected. If you

wish to restore all of the JUNO-G’s settings to their factory values,

perform a Factory Reset (p. 164).

You cannot edit the patches in the GM2 group.

Press EDIT [PATCH] so it’s lit.

Press [F6 (PRO EDIT)].

Press keys to specify the key (A0–C8) that is to be edited.

Use [F2 (GRP ↑)][F3 (GRP ↓)] to switch the parameter

group.

* Pressing [F1 (GRP LIST)] will display the Patch Pro Edit Menu

window. Use the VALUE dial or [INC] [DEC] [ ] [ ] to select a

parameter group, and press [ENTER].

Use [ ] [ ] to select a parameter.

* A check mark (✔) will be added to the tone number in the upper right

of the screen.

Use the VALUE dial or [INC] [DEC] to change the value.

Parameters with an indication of 1–4 can also be edited using

the corresponding SOUND MODIFY knob 1–4.

Repeat steps 5–7 to set each parameter.

10.

Press [WRITE] to save the changes you’ve made (p. 51). If you do not wish to save changes, press [EXIT] to return to the PATCH PLAY screen.

If you return to the PATCH PLAY screen without saving, an “*”

will be displayed at the left of the rhythm set group.

If you turn off the power or select a different sound while the

display indicates “*,” your edited rhythm set will be lost.

With EDIT [PATCH] lit, hold down [SHIFT] and press [F5 (INIT)].

A message will ask you for confirmation.

Press [F6 (EXEC)].

The initialization will be carried out.

* To cancel, press [F5 (CANCEL)].

Copying Rhythm Tone Settings

This operation copies the settings of any desired rhythm set to the

currently selected rhythm set.

With EDIT [PATCH] lit, hold down [SHIFT] and press [F6

(TONE COPY)].

The Rhythm Tone Copy window appears.

Press [ ] [ ] [ ] [ ] to move the cursor, and use the

VALUE dial or [INC] [DEC] to select the “Source (copysource)” group and number, and the tone.

* By pressing [F4 (COMPR)] to add a check mark (✔), you can check

the copy-source patch (Compare function).

Press [ ] [ ] [ ] [ ] to move the cursor, and select the

“Destination (copy-destination)” tone.

Press [F6 (EXEC)].

A message will ask you for confirmation.

Creating a Rhythm Set

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

Press [F6 (EXEC)] to execute the copy operation.

* To cancel, press [F5 (CANCEL)].

The Compare Function

For the Rhythm Tone Copy and Rhythm Set Save operations, you can use the Compare function.

If you want to play the copy-source or write-destination rhythm set, press [F4 (COMPR)] to add a check mark (✔). Now you can play the copy-source or write-destination rhythm set from the keyboard.

* The rhythm set auditioned using the Compare function may

sound slightly different than when it is played normally.

Saving Rhythm Sets You’ve Created (Write)

Changes you make to sound settings are temporary, and will be lost

if you turn off the power or select another sound. If you want to keep

the modified sound, you must save it in the internal USER group

(user memory) or CARD group (memory card).

When you edit the patch settings, an “*” will appear in the PATCH

PLAY screen.

When you perform the save procedure, the data that previously

occupied the save destination will be lost.

Edit the rhythm set.

Press EDIT [WRITE].

The WRITE MENU screen appears.

Press [F2 (PAT/RHY)].

* Alternatively, you can use [ ] [ ] to select “Patch/Rhythm,” and

then press [ENTER].

The RHYTHM SET NAME screen appears.

Press [F6 (WRITE)].

A message will ask you for confirmation.

Press [F6 (EXEC)] to execute the save operation.

* To cancel, press [F5 (CANCEL)].

Never switch off the JUNO-G while data is being saved.

One-shot Waveform and Loop Waveform

The internal waveforms of the JUNO-G fall into the following two

groups.

One-shot:

These waveforms contain sounds that have short decays. A one-shot

waveform records the initial rise and fall of the sound.

The JUNO-G also contains many other one-shot waveforms that are

elements of other sounds. These include attack components such as

piano-hammer sounds and guitar fret noises.

* It is not possible to use the envelope to modify a one-shot waveform to

create a decay that is longer than the original waveform, or to turn it

into a sustaining sound.

Loop:

These waveforms include sounds with long decays as well as

sustained sounds. Loop waveforms repeatedly play back (loop) the

portion of the waveform after the sound has reached a relatively

steady state.

The JUNO-G’s looped waveforms also include components of other

sounds, such as piano-string resonant vibrations and the hollow

sounds of brass instruments.

The following diagram shows an example of sound (electric organ)

that combines one-shot and looped waveforms.

fig.Waveform1.e

Assign a name to the rhythm set.

For details on assigning names, refer to p. 24.

When you have finished inputting the name, press [F6

(WRITE)].

A screen will appear, allowing you to select the write-

destination patch.

Use the VALUE dial, [INC] [DEC], or [ ] [ ] and [F1 (USER)] [F2 (CARD)] to select the write destination and patch number.

* By pressing [F4 (COMPR)] to add a check mark (✔), you can check

the write-destination patch (Compare function).

Creating a Rhythm Set

Tips for Using an Acoustic Instrument’s Waveform

With many acoustic instruments such as piano and sax, extreme timbral changes occur during the first few moments of each note. This initial

attack is what defines much of the instrument’s character. For such waveforms, it is best to use the complex tonal changes of the attack portion of

the waveform just as they are, and to use the envelope only to modify the decay portion.

fig.waveform2.e

Level

Tone change stored

with the wave

Envelope

for the TVF filter

Resulting

tone change

Looped portion

Time

Functions of Rhythm Set Parameters

Settings Common to the Entire Rhythm Set

GENERAL

Parameter Value Description

Rhythm Level

Rhythm Tone Name

CONTROL

Parameter Value Explanation

Assign Type MULTI, SIN-

Mute Group OFF, 1–31 On an actual acoustic drum set, an open hi-hat and a closed hi-hat sound can never occur simultaneously. To reproduce

Tone Env Mode NO-SUS, SUS-

Tone Pitch Bend Range

One Shot Mode OFF, ON

Aftertouch Time Ctrl Sens

0–127 Volume of the rhythm set

You can assign a name of up to 12 characters to the rhythm tone.

to move the cursor, and use the VALUE dial or [INC] [DEC] to select characters.

[] []

Press

Sets the way sounds are played when the same key is pressed a number of times.

MULTI:

GLE

the reality of this situation, you can set up a Mute Group.

TAIN

0–48 Amount of pitch change in semitones (4 octaves) that will occur when the Pitch Bend Lever is moved

-63– +63 If Wave Group is set to SAMP and Wave Tempo Sync is ON, aftertouch will control the amount of time stretching/shrink-

When a loop waveform (p. 51) is selected, the sound will normally continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to “NO-SUS.”

* If a one-shot type wave (p. 51) is selected, it will not sustain even if this parameter is set to “SUSTAIN.”

ON:

ing caused by Time Stretch.

Layer the sound of the same keys. Even with continuous sounds where the sound plays for an extended time,

such as with crash cymbals, the sounds are layered, without previously played sounds being eliminated.

SINGLE:

Only one sound can be played at a time when the same key is pressed. With continuous sounds where the

sound plays for an extended time, the previous sound is stopped when the following sound is played.

The Mute Group function allows you to designate two or more rhythm tones that are not allowed to sound simultaneously. Up to 31 Mute Groups can be used. rhythm tones that are not belong to any such group should be set to “OFF.”

The amount of change when the lever is tilted is set to the same value for both left and right sides.

The sound will play back until the end of the waveform (or the end of the envelope, whichever comes first).

If you have set Wave Group (p. 53) to SAMP, the loop setting will be forced to ONE SHOT.

If Time Stretch is not being applied, nothing will happen. If set to “+” the stretch/shrink time will become shorter, and if set to “-” the time will become longer.

RECEIVE

Parameter

Tone Receive Expression

Tone Receive Hold-1

Value Explanation

OFF, ON For each rhythm tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).

OFF, ON For each rhythm tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).

* If “NO-SUS” is selected for Env Mode parameter, this setting will have no effect.

Creating a Rhythm Set

Phrase Loop

Phrase loop refers to the repeated playback of a phrase that’s

been pulled out of a song (e.g., by using a sampler). One

technique involving the use of Phrase Loops is the excerpting of

a Phrase from a pre-existing song in a certain genre, for example

dance music, and then creating a new song with that Phrase

used as the basic motif. This is referred to as “Break Beats.”

Realtime Time Stretch

Parameter

Tone Receive Pan Mode

Value Explanation

CONTINUOUS, KEY-ON

For each rhythm tone, specify how pan messages will be received.

CONTINUOUS: KEY-ON:

note is sounding, the panning will not change until the next key is pressed.

* The channels cannot be set so as not to receive Pan messages.

Whenever Pan messages are received, the stereo position of the tone will be changed.

The pan of the tone will be changed only when the next note is played. If a pan message is received while a

Modifying Waveforms/Pitch/Pitch Envelope

WAVE PARAMETER

Parameter

Wave Group

Wave Bank PRST, USER,

Wave No. L (Mono) Wave No. R

Wave Gain -6, 0, +6, +12 Gain (amplification) of the waveform

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

Value Explanation

INT, EXP, SAMP

CARD

----, 1–1267 Waves comprising the rhythm tone (The upper limit will depend on the wave group.)

Group containing the waveforms comprising the rhythm tone

INT:

Waveforms stored in internal

EXP:

Waveform stored in a Wave Expansion Board (SRX series) installed in EXP slots

SAMP:

Sample waveforms

When the Wave Group is SAMP: PRST, USER, CARD When the Wave Group is MSAM: USER, CARD

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

* This is valid only when a separately sold wave expansion board is installed, and a waveform that indicates a tempo (BPM) is

selected as the sample for a tone.

If a waveform from a wave expansion board is selected for the tone, turning the Wave Tempo Sync parameter “ON” will cause pitch-related settings and FXM-related settings to be ignored.

• If a sample is selected for a tone, you must first set the BPM (tempo) parameter of the sample.

• If a sample is selected for a tone, Wave Tempo Sync will require twice the normal number of voices.

Parameter

FXM Switch

FXM Color 1–4 How FXM will perform frequency modulation

Value Explanation

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

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

FXM Depth

0–16 Depth of the modulation produced by FXM

FXM

FXM (Frequency Cross Modulation) uses a specified waveform

to apply frequency modulation to the currently selected

waveform, creating complex overtones. This is useful for

creating dramatic sounds or sound effects.

WAVE PITCH

Parameter

Tone Coarse Tune

Tone Fine Tune -50– +50 Pitch of the rhythm tone’s sound (in 1-cent steps; one cent is 1/100th of a semitone)

Tone Random Pitch Depth

Value Explanation

0 (C -)– 127 (G9)

0–1200 Width of random pitch deviation that will occur each time a key is pressed (in 1-cent steps)

Pitch at which a rhythm tone sounds

Set the coarse tuning for Waves comprising the rhythm tones with the Wave Coarse Tune parameter (p. 54).

Set the fine tuning for Waves comprising the rhythm tones with the Wave Fine Tune parameter (p. 54).

If you do not want the pitch to change randomly, set this to “0.”

If the wave group is “SAMP” or “MSAM,” and the Wave

Tempo Sync parameter is turned “ON,” you can vary the

playback speed of the waveform without affecting the pitch.

Creating a Rhythm Set

WAVE PITCH ENV

Parameter

P-Env Depth

P-Env V-Sens -63– +63 Keyboard playing dynamics can be used to control the depth of the pitch envelope.

P-Env T1 V-Sens -63– +63 This allows keyboard dynamics to affect the T1 of the Pitch envelope.

P-Env T4 V-Sens -63– +63 Use this parameter when you want key release speed to affect the T4 value of the Pitch envelope.

P-Env Time 1–4 0–127 Pitch envelope times (T1–T4)

P-Env Level 0–4 -63– +63 Pitch envelope levels (L0–L4)

Pitch

Value Explanation

-12– +12 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.

If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a positive (+) value.

If you want T1 to be speeded up for strongly played notes, set this parameter to a positive (+) value.

If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value.

Higher settings will result in a longer time until the next pitch is reached.

Specify how the pitch will change at each point, relative to the pitch set with Coarse Tune or Fine Tune.

Pitch Envelope

T1 T2 T3 T4

Note on

Time

Note off

WAVE MIX Parameters

WAVE MIX LV/PN

Parameter

Wave Level

Wave Pan L64–0–63R Left/right position of the waveform

Wave Rnd Pan Sw OFF, ON Use this setting to cause the waveform’s panning to change randomly each time a key is pressed (ON) or not (OFF).

Wave Alter Pan Sw

WAVE MIX TUNE

Parameter

Wave Coarse Tune

Wave Fine Tune -50– +50 Pitch of the waveform’s sound (in 1-cent steps; one cent is 1/100th of a semitone)

VELOCITY RANGE

You can use the force with which keys are played to control the way each waveform is played.

fig.TMT-V.e

Level

Velo Fade Lower

Velo Range Lower

Value Description

0–127 Volume of the waveform

* The range of the panning change is set by the Random Pan Depth parameter (p. 56).

OFF, ON, REVS This setting causes panning of the waveform to be alternated between left and right each time a key is pressed.

Value Explanation

-48– +48 Pitch of the waveform’s sound (in semitones, +/-4 octaves)

The waveform sounded when you play softly

Set this to “ON” to pan the wave according to the Alternate Pan Depth parameter (p. 56) settings, or to “REVS” when you want the panning reversed.

The waveform sounded when you play strongly

Velocity

Velo Fade Upper

Velo Range Upper

Parameter

Velocity Control

Velo Fade Lower 0–127 Determines what will happen to the waveform’s level when the rhythm tone is played at a velocity lower than Velo

Velo Range Lower 1–UPPER Specifies the lowest velocity at which the waveform will sound.

Velo Range Upper LOWER–127 Specifies the highest velocity at which the waveform will sound.

Value Explanation

OFF, ON, RAN Determines whether a different waveform is played (ON) or not (OFF) depending on the force with which the key

is played (velocity).

RAN:

The rhythm tone’s constituent waveforms will sound randomly, regardless of any Velocity messages.

Range Lower.

If you don’t want the waveform to sound at all, set this parameter to “0.”

Creating a Rhythm Set

LPF BPF

Resonance

HPF PKG

parameter value

Level

Cutoff frequency

Frequency

High

Low

Parameter

Velo Fade Upper

Value Explanation

0–127 Determines what will happen to the waveform’s level when the rhythm tone is played at a velocity greater than Velo

Range Upper.

If you don’t want the waveform to sound at all, set this parameter to “0.”

Modifying the Brightness of a Sound with a Filter (TVF/TVF Envelope)

A filter cuts or boosts a specific frequency region to change a sound’s brightness, thickness, or other qualities.

TVF PARAMETER

Parameter

Filter Type

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

Resonance 0–127 Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound.

Value Explanation

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

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:

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

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

Parameter

Cutoff V-Curve

Value Explanation

FIX, 1–7 Curve that determines how keyboard playing dynamics (velocity) will affect the cutoff frequency

Set this to “FIX” if you don’t want the Cutoff frequency to be affected by the keyboard velocity.

1234567

Cutoff V-Sens -63– +63 Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. If you want

Resonance V-Sens -63– +63 This allows keyboard velocity to modify the amount of Resonance.

TVF ENVELOPE

Parameter

F-Env Depth

Value Explanation

-63– +63 Depth of the TVF envelope

strongly played notes to raise the cutoff frequency, set this parameter to positive (+) settings.

If you want strongly played notes to have a greater Resonance effect, set this parameter to positive (+) settings.

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

Creating a Rhythm Set

Parameter

F-Env V-Curve

Value Explanation

FIX, 1–7 Curve that determines how keyboard playing dynamics (velocity) will affect the TVF envelope

Set this to “FIX” if you don’t want the TVF Envelope to be affected by the keyboard velocity.

1234567

F-Env V-Sens -63– +63 Specifies how keyboard playing dynamics will affect the depth of the TVF envelope.

F-Env T1 V-Sens -63– +63 This allows keyboard dynamics to affect the T1 of the TVF envelope.

F-Env T4 V-Sens -63– +63 Use this parameter when you want key release speed to affect the T4 value of the TVF envelope.

F-Env Time 1–4 0–127 TVF envelope times (T1–T4)

F-Env Level 0–4 0–127 TVF envelope levels (L0–L4)

TVF Envelope

T1 T2 T3 T4

Cutoff

Frequency

Note on

Positive (+) settings will cause the TVF envelope to have a greater effect for strongly played notes, and negative (-) settings will cause the effect to be less.

If you want T1 to be speeded up for strongly played notes, set this parameter to a positive (+) value.

If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value.

Higher settings will lengthen the time until the next cutoff frequency level is reached.

Specify how the cutoff frequency will change at each point, relative to the Cutoff Frequency value.

L2 L4

Note off

Time

Adjusting the Volume (TVA/TVA Envelope)

TVA PARAMETER

Parameter

Tone Level

Level V-Curve FIX, 1–7 Curve that determines how keyboard playing dynamics (velocity) will affect the volume

Level V-Sens -63– +63 Set this when you want the volume of the tone to change depending on keyboard playing dynamics.

Tone Pan L64–0–63R Left/right position of the tone

Random Pan Depth 0–63 Use this parameter when you want the stereo location to change randomly each time you press a key.

Alternate Pan Depth L63–0–63R This setting causes panning to be alternated between left and right each time a key is pressed.

TVA ENVELOPE

Parameter

A-Env T1 V-Sens

A-Env T4 V-Sens -63– +63 Use this parameter when you want key release speed to affect the T4 value of the TVA envelope.

A-Env Time 1–4 0–127 TVA envelope times (T1–T4)

A-Env Level 1–3 0–127 TVA envelope levels (L1–L3)

Value Explanation

0–127 Volume of the tone

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

Set this to “FIX” if you don’t want the volume of the tone to be affected by the keyboard velocity.

1234567

Higher settings will produce a greater amount of change.

Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right. For example if two rhythm tones are set to “L” and “R” respectively, the panning of the two rhythm tones will alternate each time they are played.

Value Explanation

-63– +63 This allows keyboard dynamics to affect the T1 of the TVA envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Higher settings will lengthen the time until the next volume level is reached.

Specify how the volume will change at each point, relative to the Tone Level value.

TVA Envelope

T1 T2 T3 T4

Creating a Rhythm Set

Level

Note on

Note off

Time

Output Settings (OUTPUT)

Parameter

Rhythm Out Assign

Tone Out Assign

Tone Out Level

Send Level (Output = MFX)

Tone Chorus Send

Tone Reverb Send 0–127 Level of the signal sent to reverb for each rhythm tone if the tone is sent through MFX

Send Level (Output = non MFX)

Tone Chorus Send

Tone Reverb Send 0–127 Level of the signal sent to reverb for each rhythm tone if the tone is not sent through MFX

Value Explanation

MFX, A, B, 1– 4, TONE

MFX, A, B, 1– 4

0–127 Level of the signal that is sent to the output destination specified by Tone Output Assign

0–127 Level of the signal sent to chorus for each rhythm tone if the tone is sent through MFX

0–127 Level of the signal sent to chorus for each rhythm tone if the tone is not sent through MFX

Specifies for each rhythm set how the direct sound 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.

A, B:

Output to the OUTPUT A (MIX) jacks or OUTPUT B jacks in stereo without passing through multi-effects.

1–4:

Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.

TONE:

* If you’ve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually

* If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158).

Specifies how the direct sound of each rhythm tone will be output.

* If the Rhythm Out Assign is set to anything other than “TONE,” these settings will be ignored. * If you’ve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually

* If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). * If you’ve set Tone Out Assign to “MFX,” set the MFX Output Assign parameter (p. 127) to specify the output destination of the sound

* Sounds are output to chorus and reverb in mono at all times. * The output destination of the signal after passing through the chorus is set with the Chorus Output Select and Chorus Output Assign

* The output destination of the signal after passing through the reverb is set with the Reverb Output Assign parameter (p. 127).

Outputs according to the settings for each rhythm tone.

inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the INDIVIDUAL 1 jack.

MFX:

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

effects.

A, B:

Output to the OUTPUT A (MIX) jacks or OUTPUT B jacks in stereo without passing through multi-effects.

1–4:

Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.

inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the INDIVIDUAL 1 jack.

that has passed through the multi-effects.

parameters (p. 127).

Setting Effects for a Patch (Effects/MFX/MFX Control/Chorus/Reverb)

For details regarding effect settings, refer to the pages shown below.

•

Making Effect Settings

•

Making Multi-Effects Settings (MFX1–3)

•

Making Chorus Settings

•

Making Reverb Settings

(p. 125)

(p. 129)

(p. 154)

(p. 155)

Playing in Performance Mode

A performance contains settings that apply to each individual part,

such as the patch (rhythm set) assigned to each part, and its volume

and pan.

Broadly speaking, Performance mode consists of two screens: PLAY

screen and MIXER screen.

Use the PLAY screen when you want to combine multiple sounds

(patches or rhythm sets) to create complex sounds. This lets you play

patches together (“layer”) or play different patches in separate areas

of the keyboard (“split”).

Use the MIXER screen when you want to mix the sounds by

adjusting the level and pan for each of 16 parts.

When you play the keyboard, you will hear the current part and the

parts whose keyboard switch is set to “ON.”

In addition to the settings of each part, the following settings can

also be stored for each performance.

• Controller settings such as the D Beam

• Arpeggio and chord memory settings

• Rhythm group number

Changes you make to sound settings are temporary, and will be

lost if you turn off the power or select another sound. If you want

to keep the modified sound, you must save it in the internal

USER group (user memory) or CARD group (memory card).

When you edit the settings of a Performance, an “*” will appear

in the PERFORM PLAY screen.

Functions in the PERFORMANCE PLAY/MIXER Screen

PLAY screen

Indicates the current sound generating mode.

Indicates the current part (use [ ] [ ] to change).

Indicates multi-effects (MFX1, 2, 3), chorus (CHO), reverb (REV),

and mastering (MASTER) on and off.

Indicates the name of the currently selected song, the measure location.

Indicates the time signature, and the tempo.

Group, number, and name of the selected performance

Octave and transposition values, arpeggio, arpeggio hold, chord

memory on/off, rhythm play/stop

Positions of the five SONG RECORDER sliders

Range in which you can play the keyboard, or range in which you

can play the rhythm set

10.

Jump to the editing screen for the displayed function

Displaying PERFORM PLAY Screen

Press MODE [PERFORM].

You will enter Performance mode, and the PERFORM PLAY

screen appears.

Displaying PART MIXER Screen

Press MODE [PART MIXER].

You will enter Performance mode, and the PART MIXER screen

appears.

MIXER screen

Indicates the current sound generating mode.

Indicates the current part.

Indicates multi-effects (MFX1, 2, 3), chorus (CHO), reverb (REV),

and mastering (MASTER) on and off.

Indicates the name of the currently selected song, the measure location.

Indicates the time signature, and the tempo.

The patch or rhythm pattern

Group, number, and name of the patch or rhythm pattern

Each part’s volume (LEVEL), stereo position (PAN), reverb

(REVERB), chorus (CHORUS), resonance (RESO), cutoff frequency

(FREQ), Pitch Coarse (KEY), keyboard switch (KBD), rhythm pattern

playback part (RHY), arpeggio playback part (ARP), and output

destination (OUT) setting

* Use the function buttons to switch screens.

Jump to the editing screen for the displayed function

Playing in Performance Mode

Performance number

Performance group

Selecting a Performance

The JUNO-G has three performance groups, including the User group, Preset groups and Memory Card groups.

USER

This is the group inside the JUNO-G which can be rewritten. Performances you yourself create can be stored in this group. The JUNO-G contains 64 preset performances.

PRST (Preset)

This is the group inside the JUNO-G which cannot be rewritten. However you may modify the settings of the currently selected performance, and then store the modified performance in User memory. The JUNO-G contains 64 preset performances.

CARD (Memory Card)

This group lets you use patches stored on a memory card inserted in the rear panel PC card slot. Since the data in this group can be rewritten, you can use this group to store patches that you create.

Press [PERFORM].

Press [ ] [ ] to move the cursor to the performance group.

fig.PfmSelect.e

Use the VALUE dial, [INC] [DEC], or

performance.

Press [F6 (SELECT)] or [ENTER] to finalize your choice.

[] []

to select the

Selecting Favorite Performances

You can bring together your favorite and most frequently used

performances in one place by registering them in the Favorite

Performance. By using this function you can quickly select your

favorite performances.

Press MODE [PERFORM] to access the PERFORM PLAY screen.

Move the cursor to the performance group or performance

number.

Press [ENTER] and then press [F1 (FAVORIT)].

The FAVORITE PERFORMANCE screen appears.

Use the VALUE dial, or [INC] [DEC] to select a performance group.

Press [ ] [ ] to move the cursor to the performance number.

Use the VALUE dial or [INC] [DEC] to select the

performance number.

Selecting Performances from the List

You can display a list of performances and select a performance from

that list.

Press MODE [PERFORM] to access the PERFORM PLAY screen.

Move the cursor to the performance group or performance number.

Press [ENTER].

The PERFORMANCE LIST screen appears.

Use the VALUE dial, [INC] [DEC], or

performance number.

To switch banks, press [ ] [ ].

Press [F6 (SELECT)] or [ENTER] to finalize your choice.

[] []

to select a

Registering a Favorite Performance

You can register a total of 64 Performances (8 sounds x 8 banks) as

favorite Performance.

Select the Performance that you wish to register.

Access the FAVORITE PERFORMANCE screen.

Press [ ] [ ] to select the bank in which you wish to register the Performance.

Use the VALUE dial, [INC] [DEC], or

number to which you wish to register.

Press [F3 (REGIST)] to execute the registration.

* To cancel, press [EXIT].

By pressing [F2 (REMOVE)] you can cancel the Performance

registration that is selected in the FAVORITE PERFORM screen.

[] []

to select the

To switch the performance group, press [ ] [ ].

Playing in Performance Mode

Using the PLAY Screen

Selecting a Part

The currently selected part is called the “

From the PERFORM PLAY screen, use

You can also select the part by pressing [PART SELECT] to

make it light and pressing PART SELECT [1]–[8].

* To select parts 9–16, press [9-16] to make it light, and then press

PART SELECT [9]–[16].

Selecting the Sound for a Part

It’s easy to switch the patch assigned to a part.

Select the part whose sound you want to switch.

Press [F1 (PAT LIST)].

The PATCH LIST screen appears.

• If you press [F3 (FAVORIT)], the FAVORITE PATCH screen (p. 28)

appears.

• If you press [F4 (CATEG)], you can select patches by category (p. 27).

• If you press [F5 (PATCH)], the PATCH LIST screen (p. 27) appears.

• If you press [F6 (RHYTHM)], the RHYTHM LIST screen appears.

Use [F1 (UP)] [F2 (DOWN)] to select a category or bank.

current part

[] []

.”

to select the part.

Combining and Playing Sounds Together (Layer)

In Performance mode you can play the sounds of all parts whose

Keyboard Switch is on, and all connected parts. Combining the parts

will produce, thicker, fatter sounds.

fig.Layer.e

Part 1

(Rx ch.1)

Rx ch.: Receive Channel Tx ch.: Transmit Channel

Press MODE [PERFORM] to access the PERFORM PLAY screen.

Press [F2 (KBD SW)].

The Keyboard Switch window appears.

Part 2

(Rx ch.2)

Keyboard Switch: On

1 (Tx ch.1)

2 (Tx ch.2)

15 (Tx ch.15)

16(Tx ch.16)

Part 15

(Rx ch.15)

Part 16

(Rx ch.16)

Use the VALUE dial, [INC] [DEC], or

Press [ENTER] to select the patch.

[] []

to select a patch.

Press [ ] [ ] to select the part you want to sound.

Use the VALUE dial, [INC] [DEC], or

When you play the keyboard, you will hear the current part and

the parts whose keyboard switch is set to “ON.”

Press [PART SELECT] so it’s lit, then press PART SELECT [1]–

[8] to turn on/off the selected part.

* To turn parts 9–16 on/off, press [9-16] so it’s lit, then press PART

SELECT [9]–[16].

Repeat steps 3–4 to turn the Keyboard Switch on for all parts that are connected to the parts you want to play.

Press [F6 (CLOSE)] to return to the PERFORM PLAY screen.

[] []

to select “ON.”

About the keyboard switch

Use the keyboard switch when you want to play multiple sounds layered together (Layer) or assign different sounds to different regions of the keyboard (Split). Conversely, you can turn off all keyboard switches when you are creating data, etc.

Playing in Performance Mode

Playing Different Sounds in Different Areas of the Keyboard (Split)

In Performance mode you can divide the keyboard and play a

different patch in each area (this is called “split”). As the note range

that plays each part can be specified individually, you can split the

keyboard into a maximum of 16 sections.

For instance, you can play strings in the lower range, piano in the

upper range, and both sounds in the middle range.

fig.Split.e

Part 1: Strings

A split performance is one application of a layer. Changing the

key range of each part in the layer results in a split.

Press MODE [PERFORM] to access the PERFORM PLAY screen.

Press [F4 (KEYRANG)].

The Key Range window appears.

Part 1 + Part 2:

(Strings + Piano)

Part 2: Piano

Using the MIXER Screen

Selecting a Part

The currently selected part is called the “

In the PART MIXER screen, press

the Part number.

Use the VALUE dial or [INC] [DEC] to select the part.

You can also select the part by pressing [PART SELECT] to

make it light and pressing PART SELECT [1]–[8].

* To select parts 9–16, press [9-16] to make it light, and then press

PART SELECT [9]–[16].

Selecting the Sound for a Part

You can switch the patch that is assigned to a part.

current part

[]

to move the cursor to

.”

Press

[] []

Press [F3 (KBDSW)]–[F5 (UPPER)] or [ ] [ ] to select the

parameter.

Use the VALUE dial or [INC] [DEC] to change the setting.

Parameter

KbdSW

Lower C - –Upper Lower limit of the range

Upper Lower–G9 Upper limit of the range

The bar shown above the keyboard indicates the range of keys

that will sound.

When you are finished, press [F6 (CLOSE)] to return to the PERFORM PLAY screen, and begin playing.

By specifying sections for different parts so that they overlap

each other, you can combine two or more parts only in a specific

section.

to select the part you want to play.

Value Explanation

OFF, ON Specifies whether or not the part will sound.

Select the part whose sound you want to switch.

Press [ ] [ ] [ ] [ ] to move the cursor to the patch number or patch group.

Use the VALUE dial or [INC] [DEC] to select a patch.

Selecting the Rhythm Set

Select a part.

Press [ ] [ ] [ ] [ ] to move the cursor to the following location.

Use the VALUE dial or [INC] [DEC] to select “RHY.”

The rhythm set will be selected.

Playing in Performance Mode

Editing the Part Settings

In the PART MIXER screen you can set the following parameters for

each part.

Press MODE [PART MIXER] to access the PART MIXER screen.

Press [F1 (LVL&PAN)]–[F4 (KEY/OUT)] to select the function.

Use [ ] [ ] [ ] [ ] to select the parameter and part that you want to edit.

Use the VALUE dial or [INC] [DEC] to change the setting.

Parameter (Function Button)

[F1 (LVL&PAN)]

[F2 (CHO&REV)] The amount of signal sent from each part to

[F3 (FILTER)]

[F4 (KEY/OUT)] KEY The part’s pitch (semitone units, +/-4

Explanation

The part’s volume (Level, p. 64) and panning (left/right position) (Pan, p. 64)

chorus (Chorus, p. 65) and to reverb (Reverb, p. 65)

The part’s CUTOFF and RESONANCE values

octaves) (Coarse, p. 65)

KBD Keyboard Switch (p. 60)

RHY Rhythm Part

ARP Arpeggio Part (p. 74)

OUT Output Assign (Asgn, p. 65)

Silencing the Playback of a Specific Part (Mute)

When playing along with a song, you can turn off (i.e., mute) parts

you don’t want to hear. This allows you to turn off the melody part

for karaoke applications or for practicing the muted part.

Press MODE [PART MIXER] to access the PART MIXER screen.

Press [F6 (MUTE)].

The Part Mute window appears.

Press [ ] [ ] to select the part you want to mute.

Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select “ON.”

Parts whose mute setting is “ON” will not be heard.

Press [PART SELECT] so it’s lit, then press PART SELECT [1]–

[8] to turn on/off the selected part.

* To turn parts 9–16 on/off, press [9-16] so it’s lit, then press PART

SELECT [9]–[16].

Press [F6 (CLOSE)] to return to the previous screen.

This setting can be saved as a performance setting.

* Part Mute does not turn off the MIDI receive switch; rather, it sets the

volume to the minimum setting to silence the sound. Therefore, MIDI

messages are still received.

Creating a Performance

With the JUNO-G, you have total control over a wide variety of

settings. Each item that can be set is known as a

you change the values of parameters, you are doing what is referred

to as

Editing

. This chapter explains the procedures used in creating

Performances, and the functions of the Performance parameters.

parameter

. When

Adjusting the Parameters of Each Part

In Performance mode you can view the part settings as a list. This is

called the “

that shows settings for eight parts at once, such as the patch assigned

to each part, and its volume and pan settings. You can also edit these

settings here, and make detailed settings that cannot be made in the

PERFORM PLAY screen, or PART MIXER screen.

PART VIEW

Access the PERFORM PLAY screen or the PART MIXER screen.

Press [F5 (PARTVIEW)].

The PART VIEW screen will appear.

Press [ ] [ ] to select the part.

Press [F1]–[F6], and/or [ ] [ ] to select the parameter.

The name of the parameter at the cursor location is displayed in

the top line of the PART VIEW screen.

Use the VALUE dial or [INC] [DEC] to change the value.

When you’ve finished making settings, press [EXIT] to return to the previous screen.

If you return to the previous screen without saving, an “*” will

be displayed at the left of the performance group.

” screen. In this screen you can view a list

Hold down [SHIFT] and press [F6 (INIT)].

The Performance Initialize window appears.

Press [ ] [ ] to select the initialization type.

Default:

Sound Control:

Press [F6 (SELECT)].

A message will ask you for confirmation.

Press [F6 (EXEC)].

The initialization will be carried out.

* To cancel, press [F5 (CANCEL)].

Resets the currently selected performance in the Temporary memory to the standard values. Use this setting when you wish to create a sound from scratch.

Initializes the values of the following part parameters. Cutoff Offset, Resonance Offset, Attack Time Offset, Release Time Offset, Decay Time Offset, Vibrato Rate, Vibrato Depth, Vibrato Delay

Changing the Settings of the Patch Assigned to a Part

When using patches (or rhythm sets) in Performance mode, some

settings such as effects settings will be affected by Performance

settings. If you wish to edit a patch (rhythm set) while hearing how it

will sound in the Performance, use this procedure:

Make sure that MODE [PERFORM] is lit.

Press EDIT [PATCH].

The patch (rhythm set) assigned to the current part is displayed

in the PATCH EDIT screen.

The rest of the procedure is the same as when making changes in Patch mode (p. 30, p. 49).

When you’ve edited a patch, press EDIT [WRITE] to save the

patch.

If you turn off the power or select a different sound while the

display indicates “*,” your edited rhythm set will be lost.

Initializing Performance Settings

“Initialize” means to return the settings of the currently selected

sound to a standard set of values.

* The Initialize operation will affect only the currently selected sound;

the sounds that are stored in user memory will not be affected. If you

wish to restore all of the JUNO-G’s settings to their factory values,

perform a Factory Reset (p. 164).

Press MODE [PERFORM] to access the PERFORM PLAY

screen.

Select the Performance that you want to initialize (p. 59).

Saving a Performance You’ve Created (Write)

Changes you make to sound settings are temporary, and will be lost

if you turn off the power or select another sound. If you want to keep

the modified sound, you must save it in the internal USER group

(user memory) or CARD group (memory card).

When you edit the settings of a Performance, an “*” will appear in

the PERFORM PLAY screen.

When you perform the save procedure, the data that previously

occupied the save destination will be lost.

Edit the performance.

Press [WRITE].

Creating a Performance

The WRITE MENU screen appears.

Functions of Parameters of Each Part (Performance Parameters)

Press [F1 (PERF)].

* Alternatively, you can use [ ] [ ] to select “Performance,” and

then press [ENTER].

The PERFORMANCE NAME screen appears.

Assign a name to the performance.

For details on assigning names, refer to

When you have finished inputting the name, press [F6 (WRITE)].

Assigning a Name

(p. 24).

A screen will appear, allowing you to select the write-

destination performance.

Use the VALUE dial, [INC] [DEC], or [ ] [ ] and [F1 (USER)] [F2 (CARD)] to select the write destination and rhythm set number.

Press [F6 (WRITE)].

A message will ask you for confirmation.

Press [F6 (EXEC)] to execute the save operation.

* To cancel, press [F5 (CANCEL)].

Never switch off the JUNO-G while data is being saved.

When Changing the Settings for the Patch or Rhythm Set Assigned to a Part in a Performance

If you’ve edited a patch or rhythm set assigned to a part in a

performance and then try to save the performance without first

saving the edited patch or rhythm set, the following message

appears.

[F5 (PART VIEW)]

[F1 (PATCH)]

Parameter

Type

Group USER,

Number 001–**** Selects the desired patch or rhythm set by its

* When the cursor is at a Type, Group, or Number, you can press

[ENTER] to open the PATCH LIST screen and choose a patch from

the list (p. 27).

[F2 (LVL PAN)]

Parameter

Level

Pan L64–0–63R Left/right position of each part

Kbd OFF, ON

Solo OFF, ON

Mute OFF, ON

Value Explanation

Patch, Rhythm

PR-A–F, GM, CARD, USAM, CSAM, EXP

USER, PRST, GM, CARD, EXP

Value Explanation

0–127 Volume of each part

(✔)

Sets the assignment of a patch (Patch) or rhythm set (Rhythm) to each of the parts.

Selects the group to which the desired patch belongs. (* If Type is Patch)

USER:

User

PR-A–F:

Preset A–F

GM:

General MIDI (GM2)

CARD:

Card

USAM:

User Sample

CSAM:

Card Sample

EXP:

Wave Expansion Board

Selects the group to which the desired rhythm set belongs. (* If Type is Rhythm)

USER:

User

PRST:

Preset

GM:

General MIDI (GM2)

CARD:

Card

EXP:

Wave Expansion Board

number.

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

Specifies, for each part, whether or not the keyboard controller section will be connected to the internal sound generator.

Check “✔” this setting if you want to hear the part by itself; this is called “soloing” the part.

Mutes (✔) or un-mutes (OFF) each part.

Use this setting when, for example, you want to use the instrument for karaoke by muting the part playing the melody, or when you want to play something using a separate sound module.

* The Mute Switch parameter does not turn

the part off, but sets the volume to minimum so that no sound is heard. Therefore, MIDI messages are still received.

In such cases, first save the patches and rhythm sets, and then save

the performance.

Creating a Performance

[F3 (PITCH)]

Parameter

Octave

Coarse

Fine -50– +50 Pitch of the part’s sound (in 1-cent steps; one cent is 1/100th of a semitone)

Bend 0–24, PAT Amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is moved.

Coarse Tune and Octave Shift

The Coarse Tune and Fine Tune parameters, along with the Octave Shift parameter, can all be seen as doing the same thing to the sound, i.e., changing the pitch of the sound. For example, if C4 (Middle C) is played with the Coarse Tune parameter set to “+12,” the note produced is C5 (one octave above C4). For example, if C4 (Middle C) is played with the Octave Shift parameter set to “+1,” the note produced is C5 (one octave above C4).

[F4 (OUTPUT)]

Parameter

Asgn

Output 0–127 Level of the signal that is sent to the output destination specified by Part Output Assign

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

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

Value Explanation

-3– +3 Pitch of the part’s sound (in 1-octave units)

-48– +48 Pitch of the part’s sound (in semitones, +/-4 octaves)

Value Explanation

MFX 1–3, A, B, 1–4, PAT 1–3

* Note that when a rhythm set is assigned to a part, you cannot modify this parameter.

The amount of change when the lever is tilted is set to the same value for both left and right sides. If you want to use the Pitch Bend Range setting of the patch assigned to the part (p. 37), set this to “PAT.”

Specifies for each part how the direct sound will be output.

MFX 1–3:

effects. Specify which multi-effects (1–3) will be used.

A, B: 1–4: PAT 1–3:

which multi-effects (1–3) will be used.

* If you’ve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually

inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the IN-

DIVIDUAL 1 jack. * If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). * If you’ve set Tone Out Assign to “MFX,” set the MFX Output Assign parameter to specify the output destination of the sound that has

passed through the multi-effects.

• Chorus and reverb are output in mono at all times.

• The output destination of the signal after passing through the chorus is set with the Chorus Output Select and Chorus Output

Assign parameters (p. 127).

• The output destination of the signal after passing through the reverb is set with the Reverb Output Assign parameter (p. 127).

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

Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects.

Output to the INDIVIDUAL 1-4 jacks in mono without passing through multi-effects.

The part’s output destination is determined by the settings of the patch or rhythm set assigned to the part. Specify

However, internally these function very differently. When the Coarse Tune parameter is set to “+12,” the pitch itself is raised one octave. On the other hand, when the Octave Shift parameter is set to “+1,” it is the same as pressing the keys one octave up. In other words, use the Coarse Tune parameter when changing the pitch, and the Octave Shift parameter when you want to shift the entire keyboard, for example, when the number of keys is insufficient.

[F5 (FX SRC)]

Parameter

MFX1–3

Chorus

Reverb

Value Explanation

OFF, ON (✔) The settings of a specific patch can be used as the settings for MFX1–MFX3, chorus, and reverb. This setting specifies the part

to which this patch has been assigned.

If no part is selected, the settings of the Performance will be used.

[PAGE ↓] - [F1 (OFFSET)]

Parameter Value Explanation

Cutoff -64– +63 Adjusts the cutoff frequency for the patch or rhythm set assigned to a part.

Reso -64– +63 Adjusts the Resonance for the patch or rhythm set assigned to a part.

Attack -64– +63 Adjusts the TVA/TVF Envelope Attack Time for the patch or rhythm set assigned to a part.

Releas -64– +63 Adjusts the TVA/TVF Envelope Release Time for the patch or rhythm set assigned to a part.

Decay -64– +63 Adjusts the TVA/TVF Envelope Decay Time for the patch or rhythm set assigned to a part.

[PAGE ↓] - [F2 (VIBRATO)]

Parameter

Vib Rate

Depth -64– +63 For each part, this adjusts the depth of the vibrato effect.

Delay -64– +63 For each part, this adjusts the time delay until the vibrato.

Phase OFF, ON Set to “ON” when you want to suppress discrepancies in timing of parts played on the same MIDI channel.

Value Explanation

-64– +63 For each part, adjust the vibrato speed.

* When this parameter is set to “ON,” parts on the same MIDI channel are put in a condition in which their timing is matched, enabling

them to be played at the same time. Accordingly, a certain amount of time may elapse between reception of the Note messages and playing of the sounds. Turn this setting to “ON” only as needed.

Creating a Performance

Calculating the Number of Voices Being Used

The JUNO-G 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 sounds 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 Sounds Being Played) x (Number of Tones Used by Patches Being Played) x (Number of Waves Used in the Tones)

Realtime Stretch requires twice the normal polyphony.

[PAGE ↓] - [F3 (KEYBORD)]

Parameter

Kbd

K.L C - –(Upper) Lowest note that the tone will sound for each part.

K.U (Lower)–G9 Highest note that the tone will sound for each part

Velo -63– +63 Changes the volume and cutoff frequency for each part according to the velocity with which the keys are pressed.

Curve OFF, 1–4 Selects for each MIDI channel one of the four following Velocity Curve types that best matches the touch of the connected MIDI

Value Explanation

OFF, ON (✔) Specifies, for each part, whether or not the keyboard controller section will be connected to the internal sound generator.

When the Key Range (p. 37) is set for each individual tone in a patch, sounds are produced in the range where the Key Range of each tone and the Key Range for the part overlap.

Key range specified for Performance

Key range specified for Patch

The range in which notes will play

If you want strongly played notes to raise the volume/cutoff frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the volume/cutoff frequency, use negative (-) settings. Set Velocity Sensitivity to “0” when you want sounds played at a fixed volume and cutoff frequency, regardless of the force with which the keys are played.

keyboard.

Set this to “OFF” if you are using the MIDI keyboard’s own velocity curve.

2134

Voice 0–63, FUL This setting specifies the number of voices that will be reserved for each part when more than 128 voices are played simulta-

1–16 MIDI receive channel for each part

neously.

* It is not possible for the settings of all parts to total an amount greater than 64. The remaining number of available voices will be displayed

at (rest=). Pay attention to this readout as you make Voice Reserve settings.

[PAGE ↓] - [F4 (KEY MOD)]

Parameter

Mono/Poly

Legato

Portament

Time 0–127, PAT When portamento is used, this specifies the time over which the pitch will change.

Value Explanation

MONO, POLY, PAT

OFF, ON, PAT You can add legato when performing monophonically. The term “legato” refers to a playing style in which notes are smoothly

OFF, ON, PAT Specify whether portamento will be applied.

Set this parameter to “MONO” when the patch assigned to the part is to be played monophonically, or to “POLY” when the

patch is to be played polyphonically. If you want to use the Mono/Poly setting of the patch assigned to the part (p. 37), set this

to “PAT.”

* This setting is ignored for parts to which a rhythm set is assigned.

connected to create a flowing feel. This creates a smooth transition between notes, which is effective when you wish to simulate

the hammering-on and pulling-off techniques used by a guitarist.

Turn this parameter “ON” when you want to use the Legato feature and “OFF” when you don’t. If you want to use the Legato Switch setting of the patch assigned to the part (p. 37), set this to “PAT.”

* This setting is ignored for parts to which a rhythm set is assigned.

Turn this parameter “ON” when you want to apply Portamento and “OFF” when you don’t. If you want to use the Portamento Switch setting of the patch assigned to the part (p. 37), set this to “PAT.”

Higher settings will cause the pitch change to the next note to take more time. If you want to use the Portamento Time setting of the patch assigned to the part (p. 37), set this to “PAT.”

[PAGE ↓] - [F5 (S.TUNE)]

Parameter

Part Scale Tune for C–B

Value Explanation

-64– +63 Make scale tune settings for each part. Scale Tune is switched on/off by means of the Scale Tune Switch parameter (p. 159).

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-G employs equal temperament when the Scale Tune Switch

is set to “OFF.”

Just Temperament (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.

Note name Equal temperament Just Temperament (tonic C) Arabian Scale

C 0 0 -6

C# 0 -8 +45

D 0 +4 -2

Eb 0 +16 -12

E 0 -14 -51

F 0 -2 -8

F# 0 -10 +43

G 0 +2 -4

G# 0 +14 +47

A 0 -16 0

Bb 0 +14 -10

B 0 -12 -49

Creating a Performance

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-G, you can use Arabian temperament

in the three keys of G, C and F.

MIDI Settings

Access the PERFORM PLAY screen, and select the Performance whose settings you wish to modify (p. 59).

Press [F6 (MIDI)].

The MIDI FILTER screen appears.

Parameter

PC (Program Change) OFF, ON (✔) For each MIDI channel, specify whether MIDI messages will be received (ON), or not (OFF).

BS (Bank Select)

PB (Pitch Bend)

PA (Polyphonic Key Pressure)

CA (Channel Pressure)

Md (Modulation)

Vo (Volume)

Pn (Pan)

Ex (Expression)

Hd (Hold-1)

Value Explanation

OFF, ON (✔) For each part, specify whether MIDI messages will be received (ON), or not (OFF).

If this is “OFF,” the part will not respond. Normally, you should leave this “ON,” but you can turn it “OFF” when you do not want a specific part to be playing during song playback.

Creating a Performance

Settings for the D Beam and the Controller

The JUNO-G lets you assign the parameters that will be affected when you operate the D Beam.

Access the PERFORM PLAY screen, and select the

Performance whose settings you wish to modify (p. 59).

Press [F3 (CONTROL)].

The CTRL SETTING screen appears.

Press [F2]–[F5] and/or [ ] [ ] to select the parameter.

Use the VALUE dial or [INC] [DEC] to change the value.

Repeat steps 3–5 to set each parameter you want to edit.

Press [WRITE] to save the changes you’ve made. If you do not wish to save changes, press [EXIT] to return to the PERFORM PLAY screen.

* Settings for the Active Expression and Solo Synth are saved for

system settings. Press [F6 (WRITE)] to execute the write operation.

If you return to the PERFORM PLAY screen without saving, an “*” will be displayed at the left of the Performance group.

If you turn off the power or select a different sound while the display indicates “*,” your edited Performance will be lost.

[F2 (TEMPO)]

Recommended Tempo

If you want the song recorder tempo to change when you switch Performances, specify the tempo that will follow this change. This setting is valid when the Seq Tempo Override parameter is “ON.” In order to enable this setting, turn on the Tempo Override parameter.

VALUE:

20–250

* This value is specified independently for each performance. This means

that when you switch performances, the tempo setting of the JUNO-G will change.

* The song recorder tempo will be overwritten to the new tempo when

you switch performances.

[F3 (DB ASGN)]

For details, refer to

[F4 (DB EXP)]

For details, refer to

[F5 (DB SYN)]

For details, refer to

ASSIGNABLE

(p. 71).

ACTIVE EXPRESSION

SOLO SYNTH

(p. 70).

(p. 71).

Control Switch Settings [F1 (CTRL SW)]

You can change controller switch on/off settings for each patch in

the performance.

In the CONTROL SETTING(PERF) screen, press [F1 (CTRL SW)].

The CONTROL SW(PERF) screen appears.

Use [ ] [ ] [ ] [ ] to select the parameter.

Use the VALUE dial or [INC] [DEC] to change the setting.

Repeat steps 2–3 to set each parameter you want to edit.

Press [F6 (EXIT)] to return to the previous screen.

[F1 (CTRLSW)]

Parameter Value Explanation

P.B OFF,

Mod For each part, specify whether MIDI Modulation

Hold For each part, you can specify whether control

Ctrl For each part, you can specify whether control

D Beam Specifies whether each part will be controlled by

Knob C/R On/off setting for allowing the SOUND MODI-

ON (✔)

[F2 (EXT)]

Parameter

Bank Sel (MSB)

Bank Sel (LSB)

Prog

Level

Pan

Value Explanation

0–127, OFF

0–127 If you want a Bank Select number LSB (controller

1–128, OFF

0–127, OFF

L64– 0–63R, OFF

For each part, specify whether MIDI Pitch Bend messages will be transmitted.

messages will be transmitted.

messages from a pedal connected to the HOLD PEDAL jacks will be transmitted.

messages from a pedal connected to the CONTROL PEDAL jacks will be transmitted.

the D Beam.

FY section’s CUTOFF/RESONANCE knob to control each part.

If you want a Bank Select number MSB (controller number 0) to also be transmitted when you switch Performances, specify the value that you want to transmit (0–127) for each part.

If you do not want this message to be transmitted, set this to “OFF.”

* The data of the part for which the Keyboard Switch

is turned off will not be transmitted.

number 32) to also be transmitted when you switch Performances, specify the value that you want to transmit (0–127) for each part.

* The data of the part for which the Keyboard Switch

is turned off will not be transmitted.

If you want a Program Change number to also be transmitted when you switch Performances, specify the value that you want to transmit (0–128) for each part.

If you do not want this message to be transmitted, set this to “OFF.”

* The data of the part for which the Keyboard Switch

is turned off will not be transmitted.

If you want Volume messages to also be transmitted when you select a Performance, specify the desired value (0–127) for the part.

If you do not want this message to be transmitted, set this to “OFF.”

* The data of the part for which the Keyboard Switch

is turned off will not be transmitted.

If you want Pan messages to also be transmitted when you select a Performance, specify the desired value (L64–0–63R) for the part. If you do not want this message to be transmitted, set this to “OFF.”

* These messages will not be transmitted by parts

whose Keyboard Switch is turned off.

Modifying the Sound in Real Time

You can use the D Beam controller or a control pedal to modify the

sound while you perform.

Here we will explain the procedures and settings for using these

functions in Patch mode. The operations are the same in

Performance mode.

D Beam Controller

The

D Beam controller

over it. It can be used to apply various effects, depending on the

function that is assigned to it. You can also create effects in which the

sound changes instantaneously, in a way that would not be possible

by operating a knob or the bender lever. On the JUNO-G, the D

Beam controller can be used not only to modify the sounds, but also

to control the pitch of a monophonic (solo) synthesizer sound.

Press either the D BEAM [SOLO SYNTH], [ACTIVE EXPRESS], or [ASSIGNABLE] button to turn on the D Beam controller.

[SOLO SYNTH]:

[ACTIVE EXPRESS]:

[ASSIGNABLE]:

While you play the keyboard to produce sound, place your hand above the D Beam controller and move it slowly up and down.

An effect will be applied to the sound, depending on the

function that is assigned to the D Beam controller.

can be used simply by waving your hand

Lets you use the D Beam as a

monophonic synthesizer.

The D Beam will add the ideal type of

expression for each sound.

Operates the function assigned to the D

Beam controller.

The usable range of the D Beam controller

The following diagram shows the usable range of the D Beam

controller. Waving your hand outside this range will produce

no effect.

fig.DBeamRange

The usable range of the D Beam controller will become

extremely small when used under strong direct sunlight.

Please be aware of this when using the D Beam controller

outside.

The sensitivity of the D Beam controller will change depending

on the amount of light in the vicinity of the unit. If it does not

function as you expect, adjust the D Beam Sens parameter as

appropriate for the brightness of your location. Increase this

value will raise the sensitivity (p. 162).

To turn off the D Beam controller, once again press the

button you pressed in step 1 so the indicator goes out.

If Performance mode is selected, the D Beam controller on/off

setting is saved for each performance as part of the performance

settings.

Modifying the Sound in Real Time

SOLO SYNTH

On the JUNO-G you can play a monophonic synthesizer whose pitch

Press [ ] [ ] to select the parameter.

is controlled by the D Beam.

Use the VALUE dial or [INC] [DEC] to make the setting.

Hold down [SHIFT] and press D BEAM [SOLO SYNTH].

A screen like the following appears.

If you want to save the settings, press [F6 (WRITE)].

Press [F3 (DB ASGN)] to access the D Beam assignment screen,

or [F4 (DB EXP)] to access the D Beam active expression screen.

Press [EXIT] to return to the previous screen.

Setting for the Solo Synth are saved for system settings.

Parameter

Level & Range

Level

Chorus Send Level 0–127 Level of the signal sent to chorus

Reverb Send Level 0–127 Level of the signal sent to reverb

Range 2OCT,

Osc1

Osc 1 Waveform

Osc 1 Pulse Width 0–127 Pulse width of the waveform

Osc 1 Coarse Tune

Osc 1 Fine Tune -50– +50 Pitch of the tone’s sound (in 1-cent steps)

Osc2 & Sync

Osc 2 Waveform

Osc 2 Pulse Width

Osc 2 Coarse Tune

Osc 2 Fine Tune

Osc 2 Level 0–127 Adjust the level.

Osc Sync Switch OFF, ON Turning this switch on produces a complex sound with many harmonics.

Filter

Filter Type

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

Resonance 0–127 Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound.

LFO

LFO Rate

LFO Osc 1 Pitch Depth -63– +63 Depth to which the LFO will modulate the Osc 1 pitch

LFO Osc 2 Pitch Depth -63– +63 Depth to which the LFO will modulate the Osc 2 pitch

LFO Osc 1 Pulse Width Depth

LFO Osc 2 Pulse Width Depth

Value Explanation

0–127 Sets the volume.

4OCT, 8OCT

SAW, SQR

-48– +48 Pitch of the tone’s sound (in semitones, +/-4 octaves)

(same as Osc 1)

OFF, LPF, BPF, HPF, PKG

0–127 Modulation speed of the LFO

-63– +63 Depth to which the LFO will modulate the pulse width of the Osc 1 waveform

-63– +63 Depth to which the LFO will modulate the pulse width of the Osc 2 waveform

Range in which the pitch of the solo synth will vary

Waveform

SAW:

Sawtooth wave

SQR:

Square wave

By cyclically modifying the pulse width you can create subtle changes in the tone.

* The Pulse Width is activated when “SQR” is selected with OSC1/2 waveform.

This is effective when the OSC1 pitch is higher than the OSC2 pitch.

Type of filter

OFF:

No filter is used.

LPF:

Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency (Cutoff) 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.

HPF:

High Pass Filter. This cuts the frequencies in the region below the cutoff frequency.

PKG:

Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency.

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

* The Pulse Width is activated when “SQR” is selected with Osc 1 waveform.

* The Pulse Width is activated when “SQR” is selected with Osc 2 waveform.

ACTIVE EXPRESSION

Modifying the Sound in Real Time

You can use the D Beam to apply the ideal type of expression for

Press [ ] [ ] to select the parameter.

each sound.

* The way in which expression is applied will differ for each sound. For

Use the VALUE dial or [INC] [DEC] to make the setting.

some sounds, the effect may be difficult to notice.

Press [F3 (DB ASGN)] to access the D Beam assignment screen,

Hold down [SHIFT] and press D BEAM [ACTIVE EXPRESS].

or [F5 (DB SYN)] to access the D Beam solo synth screen.

A screen like the following appears.

Press [EXIT] to return to the previous screen.

Setting for the Active Expression are saved for system settings.

Parameter

Range Min

Range Max 0–127 Upper limit of the range of the D Beam controller

Value Explanation

0–127 Lower limit of the range of the D Beam controller

By setting Range Max below Range Min you can invert the range of change.

ASSIGNABLE

You can assign various functions to the D Beam controller and apply

a wide range of effects to the sound in real time.

Hold down [SHIFT] and press D BEAM [ASSIGNABLE].

A screen like the following appears.

Press [F4 (DB EXP)] to access the D Beam active expression

screen, or [F5 (DB SYN)] to access the D Beam solo synth screen.

Press [EXIT] to return to the previous screen.

Press [ ] [ ] to select the parameter.

Use the VALUE dial or [INC] [DEC] to make the setting.

Parameter Value Explanation

Type CC01–31, 33–95,

Range Min 0–127 Lower limit of the range of the D Beam controller

Range Max 0–127 Upper limit of the range of the D Beam controller

BEND UP, BEND DOWN, START/STOP, TAP TEMPO, ARP GRID, ARP DURATION, ARP MOTIF, ARP OCTAVE UP, ARP OCTAVE DOWN, ARP STEP, AFTERTOUCH

Function controlled by the D Beam controller

CC01–31, 33–95: BEND UP: BEND DOWN: START/STOP: TAP TEMPO:

troller).

ARP GRID: ARP DURATION: ARP MOTIF: ARP OCTAVE UP:

taves).

ARP OCTAVE DOWN:

octaves).

ARP STEP: AFTERTOUCH:

By setting Range Max below Range Min you can invert the range of change.

Controller numbers 1–31, 33–95

Controls the pitch as specified by the “Pitch Bend Range Up” setting (p. 37).

Controls the pitch as specified by the “Pitch Bend Range Down” setting (p. 37).

Starts/Stops the song recorder.

Tap tempo (a tempo specified by the interval at which you move your hand over the D Beam con-

Arpeggio Grid

Duration of each arpeggiated note

Arpeggio Motif

The range in which the arpeggio is sounded will rise in steps of an octave (maximum 3 oc-

The range in which the arpeggio is sounded will lower in steps of an octave (maximum 3

Controls the playback position of the arpeggio pattern.

Aftertouch

The settings for the ASSIGNABLE are saved independently for

each performance as part of the performance settings. This lets

you create performances that make effective use of controller

settings.

If Patch mode is selected, this is saved as part of the system

settings. If you want to save the settings, press [F6 (WRITE)].

Modifying the Sound in Real Time

Control Pedal

You can modify the sound by pressing a pedal that is connected to

the rear panel HOLD PEDAL jack or CONTROL PEDAL jack.

Pedal such as expression pedals (EV-5; available separately), pedal

switches (DP series; available separately), or foot switches (BOSS FS-

5U; available separately) can be connected to the JUNO-G.

Control Pedal Settings

Press EDIT [MENU].

Press [ ] [ ] to select “2. System,” and then press [ENTER].

The System Menu window appears.

Parameter

Control Pedal Assign

Control Pedal Polarity

Hold Pedal Polarity

Continuous Hold Pedal

Value Explanation

CC01–31, 33–95, BEND UP, BEND DOWN, AFTERTOUCH, OCT UP, OCT DOWN, START/STOP, PUNCH IN/OUT, TAP TEMPO, PROG UP, PROG DOWN, FAVORITE UP, FAVORITE DOWN, ARP SW, RHY START/STOP, CHORD SW, LIVE SET UP, LIVE SET DOWN, LOOP

STANDARD, REVERSE

OFF, ON Determines whether the HOLD PEDAL jack will provide support for half-pedaling (ON), or not (OFF).

Function of the pedal connected to the CONTROL PEDAL jack

CC01–31, 33–95: BEND UP: BEND DOWN: AFTERTOUCH: OCT UP: OCT DOWN: START/STOP: PUNCH IN/OUT: TAP TEMPO: PROG UP: PROG DOWN: FAVORITE UP: FAVORITE DOWN: ARP SW: RHY START/STOP: CHORD SW: LIVE SET UP: LIVE SET DOWN: LOOP:

Loop Playback on/off

Polarity of the pedal

On some pedals, the electrical signal output by the pedal when it is pressed or released is the opposite of other pedals. If your pedal has an effect opposite of what you expect, set this parameter to “REVERSE.” If you are using a Roland pedal (that has no polarity switch), set this parameter to “STANDARD.”

When this is set to “ON,” you can then connect an optional damper pedal (DP-10, etc.), and employ pedal work to achieve even finer control in performances in which piano tones are used.

Controller numbers 1–31, 33–95

Controls the pitch as specified by the “Pitch Bend Range Up” setting (p. 37).

Controls the pitch as specified by the “Pitch Bend Range Down” setting (p. 37).

Aftertouch

Pedal press raises the key range in octave steps (up to 3 octaves higher).

Pedal press lowers the key range in octave steps (up to 3 octaves lower).

The song recorder will start/stop.

Manual punch-in/out recording will start/stop.

Tap tempo (a tempo specified by the interval at which you press the pedal).

The next sound number will be selected.

The previous sound number will be selected.

The favorite patch/performance of the next number or bank will be selected.

Arpeggio/Rhythm function on/off

The favorite patch/performance of the previous number or bank will be selected.

Rhythm pattern playback on/off

Switches the Chord Memory function on/off.

Switches to the next step within a Live Setting list.

Switches to the previous step within a Live Setting list.

Access the Patch Play screen (p. 25).

While playing the keyboard to produce sound, operate a pedal.

The sound will change according to the function that is assigned

to the control pedal.

Press [F2 (KBD/CTRL)], and then press [F2 (PDL BND)].

A screen like the following appears.

Press [ ] [ ] to select the parameter.

Use the VALUE dial or [INC] [DEC] to make the setting.

If you want to save the settings, press [F6 (WRITE)].

Press [EXIT] to return to the previous screen.

Playing Arpeggios

About Arpeggio

The JUNO-G’s Arpeggio function lets you produce arpeggios

automatically; simply hold down some keys, and a corresponding

arpeggio will be played automatically.

Not only can you use the factory-set

determine the way the arpeggio is played, but you can also freely

rewrite Styles and enjoy performing your own original arpeggios.

An Arpeggio Style is not part of any Patch or Performance, but

rather independent data; you can store up to 128 Arpeggio Styles.

Therefore you can use a single Arpeggio Style in different Patches

and Performances. Arpeggio settings can be saved independently for

each performance. However, they cannot be saved as part of a patch.

What’s more, you can perform in ensemble using these arpeggios

and rhythm patterns (p. 79).

Playing Arpeggios

Turning Arpeggio On and Off

Arpeggio Styles

, which

Use the VALUE dial or [INC] [DEC] to set the tempo value (5–300), or set the value by tapping [F4 (TAP)] a number of times with the same rhythm (Tap Tempo).

* If you press [F5 (CLICK)] to add a check mark (✔), the click will

sound.

When you have made the setting, press [F6 (CLOSE)].

Holding an Arpeggio

By using the following procedure, you can produce arpeggios even

without continuing to press the keyboard.

Press [ARPEGGIO] to turn on the arpeggio.

The ARPEGGIO STYLE screen appears.

Press [ARPEGGIO] to turn it on.

The button will light.

* You can make arpeggio settings in this screen.

* Press [EXIT] to return to the previous screen.

Play a chord on the keyboard.

The JUNO-G will play an arpeggio, according to the notes

forming the chord you have just voiced.

To finish playing arpeggios, press [ARPEGGIO] again to turn it off.

In arpeggio settings, the

particularly important. The playback pattern of the arpeggio is

determined mainly by this selection.

Style (Arpeggio Style)

(p. 74) is

Using in Combination with the Chord Memory Function

When performing with the Arpeggio, you can also use it along

with the Chord Memory function (p. 77). After first storing

complex Chord Forms in memory, you can then call them up

when Arpeggio function is on, and you can easily play complex

arpeggio sounds just by pressing a single key.

Determining the Tempo for Arpeggio Performances

This sets the arpeggio tempo.

Press [F1 (HOLD)] to add a check mark (✔).

Play a chord on the keyboard.

If you play a different chord or notes while the arpeggio is

being held, the arpeggio will change accordingly.

To cancel Arpeggio Hold, press [F1 (HOLD)] once again.

When Using a Hold Pedal

If you play an arpeggio while pressing the hold pedal, the arpeggio

will continue to be played even if you release the chord.

Connect an optional pedal switch (DP series etc.) to the

HOLD PEDAL jack.

Press [ARPEGGIO] to turn on the arpeggio.

Play a chord while pressing the hold pedal.

If you play a different chord or notes while the arpeggio is

being held, the arpeggio will change accordingly.

Playing Arpeggios Along with the Song Recorder

When using arpeggios while the song recorder is playing, or when

you want to record arpeggios into the song recorder in real time, you

can synchronize the arpeggio with the start/stop timing of the song

recorder.

For details, refer to

Arp/Rhythm Sync Switch

(p. 162).

Press SONG RECORDER [TEMPO].

The current tempo value appears in the display.

Playing Arpeggios

STEP

HIGH

4 5

....

Note 01

Note 03 Note 02

Note 04

Note 16

Note 05

Note 06

Arpeggio Settings

Press [ARPEGGIO] so it’s lit. Alternatively, hold down [SHIFT] and press [ARPEGGIO].

The ARPEGGIO STYLE screen appears.

* When you hold down [SHIFT] and press [ARPEGGIO], the ARPEGGIO STYLE screen will appear regardless of whether the arpeggio function is on or off.

Press [ ] [ ] to select the parameter.

Use the VALUE dial or [INC] [DEC] to make the setting.

Parameter

(Arpeggio Style)

Grid 1/4, 1/8, 1/8L,

Duration

Motif (See p. 75.) Refer to

Velocity REAL, 1–127 Specifies the loudness of the notes that you play.

OctRange -3– +3 This adds an effect that shifts arpeggios one cycle at a time in octave units (octave range).

Accent 0–100 When you play arpeggios, the velocity of each arpeggiated note is determined by the velocity of the notes programmed

Part (Displayed in Performance mode)

Value Explanation

U001–128 (User), P001–128 (Preset)

1/8H, 1/12, 1/16, 1/16L, 1/16H, 1/24

30–120%, Full This determines whether the sounds are played staccato (short and clipped), or tenuto (fully drawn out).

Part1–16 Here’s how to specify the part that will use the arpeggio in Performance mode. You can specify only one part for playing

This selects the arpeggio’s basic performance Style.

The arpeggio styles are kept in preset memory and user memory.

This sets the particular note division and resolution in a “single grid” used in creating the arpeggio in an Arpeggio Style, and how much of a “shuffle” syncopation is to be to applied (none/weak/strong) to it (grid type).

1/4:

Quarter note (one grid section = one beat)

1/8:

Eighth note (two grid sections = one beat)

1/8L:

Eighth note shuffle Light (two grid sections = one beat, with a light shuffle)

1/8H:

Eighth note shuffle Heavy (two grid sections = one beat, with a heavy shuffle)

1/12:

Eighth note triplet (three grid sections = one beat)

1/16:

Sixteenth note (four grid sections = one beat)

1/16L:

Sixteenth note shuffle Light (four grid sections = one beat, with a light shuffle)

1/16H:

Sixteenth note shuffle Heavy (four grid sections = one beat, with a heavy shuffle)

1/24:

Sixteenth note triplet (six grid sections = one beat)

* Grid settings are shared with the rhythm pattern.

30–120:

For example, when set to “30,” the length of the note in a grid (or when a series of grids is connected with ties,

the final grid) is 30% of the full length of the note set in the grid type.

Full:

Even if the linked grid is not connected with a tie, the same note continues to sound until the point at which the

next new sound is specified.

* Duration settings are shared with the rhythm pattern.

Selecting Ascending/Descending Variations (Motif)

REAL:

If you want the velocity value of each note to depend on how strongly you play the keyboard, set this parameter

to REAL.

1–127:

If you want each note to have a fixed velocity regardless of how strongly you play the keyboard, set this param-

eter to the desired value.

You can set the shift range upwards or downwards (up to three octaves up or down).

within the arpeggio style. You can adjust the amount (“spread”) of this dynamic variation.

With a setting of “100,” the arpeggiated notes will have the velocities that are programmed by the arpeggio style. With a setting of “0,” all arpeggiated notes will be sounded at a fixed velocity.

arpeggios.

If a rhythm set is assigned to a part in Performance mode, you can play a rhythm pattern along with the arpeggios.

* The part you select here functions for both the arpeggio and the chord memory functions.

(p. 75).

When you have made the setting, press [EXIT].

About Arpeggio Styles

An Arpeggio Style is a series of data for basic arpeggio patterns and chord styles recorded in the form of a grid consisting of a maximum of 32 steps x 16 pitches.

Each grid contains one of the following kinds of data.

• ON: Note On (with Velocity data)

• TIE: Tie (hold of the previous note)

• REST: Rest (no sound played)

The keys that are pressed along with the sequence in which they are pressed is referenced to the “lowest-pitched key during input.” Thus, you can use a single Arpeggio Style in different Patches and Performances at the same time.

A Arpeggio Style is not part of any patch or Performance, but rather independent data.

Playing Arpeggios

Selecting Ascending/Descending Variations (Motif)

This selects the method used to play sounds (motif) when you have a

greater number of notes than programmed for the Arpeggio Style.

* When the number of keys played is less than the number of notes in the

Style, the highest-pitched of the pressed keys is played by default.

Value:

Up (L):

Up (L&H):

Up (_):

Down (L):

Down (L&H):

Down (_):

U/D (L):

U/D (L&H):

U/D (_):

Rand (L):

Rand (_):

Phrase:

Action of a Style starting from the lowest note, “1-2-3-2” when the

keys “C-D-E-F-G” are played

• When “UP (L)” is selected as the motif:

-D-E-D -> C-E-F-E -> C-F-G-F (-> repeated)

• When “UP (_)” is selected as the motif:

C-D-E-D -> D-E-F-E -> E-F-G-F (-> repeated)

• When “UP&DOWN (L&H)” is selected as the motif:

-D-

Only the lowest of the keys pressed is sounded each

time, and the notes play in order from the lowest of

the pressed keys.

Notes from both the lowest and highest pressed keys

are sounded each time, and the notes play in order

from the lowest of the pressed keys.

The notes play in order from the lowest of the

pressed keys. No one note is played every time.

Only the lowest of the keys pressed is sounded each

time, and the notes play in order from the highest of

the pressed keys.

Notes from both the lowest and highest pressed keys

are sounded each time, and the notes play in order

from the highest of the pressed keys.

The notes play in order from the highest of the

pressed keys. No note is played every time.

Notes will be sounded from the lowest to the highest

key you press and then back down to the lowest key,

with only the lowest key sounded each time.

Notes from both the lowest and highest pressed keys

are sounded each time, and the notes play in order

from the lowest of the pressed keys and then back

again in the reverse order.

The notes play in order from the lowest of the

pressed keys, and then back again in the reverse

order. No note is played every time.

Notes will be sounded randomly for the keys you

press, with only the lowest key sounded each time.

Only the lowest of the keys pressed is sounded each

time, the notes you press will be sounded randomly.

No note will sound each time.

Pressing just one key will play a phrase based on the

pitch of that key. If you press more than one key, the

key you press last will be used.

-D -> C-E-G-E -> C-F-G-F -> C-E-G-E (-> repeated)

Creating an Arpeggio Style (Arpeggio Style Edit)

In addition to using the built-in arpeggio styles, you are free to create

your own. After creating an original arpeggio style, you can store it

in the internal user memory.

Broadly speaking, there are two ways to create an arpeggio style.

Step-recording

In this method, you use the keyboard to step-record your arpeggio.

Each time you input a note, you will advance to the next step. This

method is convenient when you want to create an arpeggio from

scratch using a Style that contains no data.

If you want to create “from scratch,” you’ll need to initialize the

Style. In the ARPEGGIO STYLE EDIT screen, hold down

[SHIFT] and press [F4 (INIT)]. A message will ask whether you

want to initialize; press [F6 (EXEC)] to execute initialization.

Press [ARPEGGIO] so it’s lit. Alternatively, hold down [SHIFT] and press [ARPEGGIO].

* When you hold down [SHIFT] and press [ARPEGGIO], the

ARPEGGIO STYLE screen will appear regardless of whether the

arpeggio function is on or off.

Press [F5 (EDIT)].

The ARPEGGIO STYLE EDIT screen appears.

Press [F1 (SETUP)].

The Arpeggio Setup window appears.

Press [ ] to move the cursor to “End Step.”

Use the VALUE dial or [INC] [DEC] to specify the number of steps for the arpeggio style.

Press [ ] to move the cursor to “Input Velocity.”

Use the VALUE dial or [INC] [DEC] to specify the velocity setting for the data you will input.

Press [F6 (CLOSE)] to close the Arpeggio Setup window.

Press [F6 (STP REC)] to add a check mark (✔).

Now you’re ready to step-record.

• To move to the desired input location, press [ ] [ ] [ ] [ ].

• To input notes, play the keyboard.

• To input a tie, press [F2 (TIE)].

• To input a rest, press [F3 (REST)].

• To erase the note, hold down [SHIFT] and press [F6 (CLR NOTE)].

• To erase all notes at the current step, hold down [SHIFT] and

press [F5 (CLR STEP)].

• By pressing [F4 (PREVU)] to add a check mark (✔) you can

listen to the style that you’re entering.

Playing Arpeggios

A maximum of sixteen note numbers (pitches) can be used in a

single style.

10.

When you have finished, press [F5 (EXIT)].

Using the VALUE Dial or [INC] [DEC] to Input Values

In this method, you’ll use the cursor to specify the step or pitch that

you want to input, and use the dial or [INC] [DEC] to input values.

This method is convenient when you want to edit or modify

previously input data.

Press [ARPEGGIO] so it’s lit. Alternatively, hold down [SHIFT] and press [ARPEGGIO].

* When you hold down [SHIFT] and press [ARPEGGIO], the

ARPEGGIO STYLE screen will appear regardless of whether the

arpeggio function is on or off.

Press [F5 (EDIT)].

The ARPEGGIO STYLE EDIT screen appears.

Press [F1 (SETUP)].

The Arpeggio Setup window appears.

Saving the Styles You Have Created (Write)

The Styles you create are temporary; they are deleted as soon as you

turn off the power or select some other Style. You can store 128

arpeggio styles in the User memory.

Arpeggio style settings are saved as independent data, not

as part of the data for each patch. The settings in Patch mode,

it is not possible to save arpeggio parameters (e.g., Arpeggio

Style, Grid, Motif, Duration).

It can be saved to individual in Performance mode. If you

want to save your settings, press [WRITE] and save the

performance.

Create an arpeggio style.

Press [F6 (WRITE)].

The ARPEGGIO STYLE NAME screen appears.

Assign a name to the Style.

Press [ ] to move the cursor to “End Step.”

Use the VALUE dial or [INC] [DEC] to specify the number of steps for the arpeggio style.

Press [F6 (CLOSE)] to close the Arpeggio Setup window.

Press [ ] [ ] [ ] [ ] to specify the step or pitch you want to input.

* When using this method of input, you can use the keyboard to specify

the pitch of the note. (Unlike when step-recording, pressing the

keyboard will not actually input the note.)

Input the velocity value, using either the VALUE dial or [INC] [DEC]. You can input a tie by turning VALUE all the way to the right (or using [INC] to raise the value all the way).

• You can also input a tie by pressing [F2 (TIE)].

• To input a rest, press [F3 (REST)].

• By pressing [F4 (PREVU)] to add a check mark (✔) you can

listen to the style that you’re entering.

A maximum of sixteen note numbers (pitches) can be used in a

single style.

When you have finished, press [F5 (EXIT)].

For details on assigning names, refer to p. 24.

When you have finished inputting the name, press [F6 (WRITE)].

A screen will appear, allowing you to select the write-

destination Style.

Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select the

write destination.

Press [F6 (WRITE)].

A message will ask you for confirmation.

To save the Style, press [F6 (EXEC)].

* To cancel, press [F5 (CANCEL)].

Never switch off the JUNO-G while data is being saved.

Using the Chord Memory Function

Using in Combination with the Arpeggio Function

When performing with the Chord Form function, you can also

use it along with the Arpeggio function (p. 73). After first

storing complex Chord Forms in memory, you can then call

them up when Arpeggio is on, and you can easily create

complex arpeggio sounds just by pressing a single key.

About the Chord Memory Function

Chord Memory is a function that allows you to play chords based on

pre-programmed

keyboard. The JUNO-G can store 64 preset chord forms and 64 user

chord forms. If you wish, you can overwrite any of the 64 user

(factory set) chord forms.

The chord memory function operates on the arpeggio part in

Performance mode. If a rhythm set is selected for that part, you can

also use this to play rhythms.

When you use the Chord Memory function with a tone for

which the Mono/Poly Parameters (p. 37) is Mono, only one

sound in the chord is played. When using the Chord Memory

function to turn Poly the Mono/Poly Parameters.

Chord Forms

, just by pressing a single key on the

Selecting Chord Forms

Changing the chord form will change the notes in the chord.

Press [CHORD MEMORY] so it’s lit. Alternatively, hold down [SHIFT] and press [CHORD MEMORY].

The CHORD MEMORY screen appears.

* When you hold down [SHIFT] and press [CHORD MEMORY], the

CHORD MEMORY screen will appear regardless of whether the

arpeggio function is on or off.

Use the VALUE dial or [INC] [DEC] to select a Chord Form

number.

U01–64:

P01–64:

The notes of the chord will be displayed.

When you have finished selecting a Chord Form, press [EXIT].

User

Preset

Sounding a chord in the order of its notes (Rolled Chord)

This causes the notes within a chord to be sounded consecutively,

rather than simultaneously. Since the playback speed will change

according to the force with which you play the keyboard, you can

vary your playing dynamics to create a realistic simulation of

playing a guitar.

Performing with the Chord Memory Function

Turning Chord Memory Function On and Off

Press [CHORD MEMORY] to turn it on.

The button will light. The CHORD MEMORY screen appears.

* In this screen you can select a chord form and make settings for the

Rolled Chord function.

* Press [EXIT] to return to the previous screen.

Play the keyboard.

A chord will sound according to the currently selected chord

form.

When you press the C4 key (Middle C), the chord is played

using the exact chord structure recorded in the Chord Form.

This is referenced to the C4 key; parallel chords are played by

pressing other keys.

To finish playing chords, press [CHORD MEMORY] again to turn it off.

Press [CHORD MEMORY] so it’s lit. Alternatively, hold down [SHIFT] and press [CHORD MEMORY].

The CHORD MEMORY screen appears.

* When you hold down [SHIFT] and press [CHORD MEMORY], the

CHORD MEMORY screen will appear regardless of whether the

arpeggio function is on or off.

Press [F1 (ROLL)] to add a check mark (✔).

With this setting, the notes of the chord will be sounded

consecutively when you play the keyboard.

Changing the order in which notes are sounded

You can change the order in which the notes of a chord are sounded.

In the CHORD MEMORY screen, use [ ] [ ] to move the cursor to “Rolled Chord Type.”

Use the VALUE dial or [INC] [DEC] to change a value.

UP:

Notes will be sounded in order from bottom

to top.

DOWN:

Notes will be sounded in order from top to

bottom.

ALTERNATE:

The order in which the notes are sounded will

change each time you play the keyboard.

Using the Chord Memory Function

Creating Your Own Chord Forms

Not only can you use the prepared internal Chord Forms, which

determine the constituent notes of chords played using the Chord

Memory function, but you can also freely create and rewrite them as well.

Press [CHORD MEMORY] so it’s lit. Alternatively, hold down [SHIFT] and press [CHORD MEMORY].

The CHORD MEMORY screen appears.

* When you hold down [SHIFT] and press [CHORD MEMORY], the

CHORD MEMORY screen will appear regardless of whether the

arpeggio function is on or off.

Use the VALUE dial or [INC] [DEC] to select a chord form.

Press [F5 (EDIT)].

A screen like the following appears.

Saving the Chord Forms You Have Created (Write)

The Chord Forms you create are temporary; they are deleted as soon

as you turn off the power or select some other Chord Form. If you

want to keep a Chord Form you have made, save it to the JUNO-G’s

user memory.

A chord form is not part of any patch or performance, but

rather independent data. Therefore you can use a single chord

form in different Patches and Performances.

In Performance mode you can save these settings

individually for each performance. These settings cannot be

saved in a patch. If you want to save your settings, press

[WRITE] and save the performance.

Create a chord form.

Press [F6 (WRITE)].

The CHORD NAME screen appears.

Assign a name to the Chord Form.

Use the keyboard to input the chord that you want to play.

When you press a key, the note will be added in the screen.

• If you input a note by mistake, press [F3 (DELETE)]. You can

also erase a note you input by pressing the same key.

• If you want to erase all notes, press [F2 (ALL DEL)].

• You can press [F4 (PREVIEW)] to hear the chord that you are

inputting.

When you have finished, press [F5 (EXIT)].

For details on assigning names, refer to p. 24.

When you have finished inputting the name, press [F6 (WRITE)].

A screen will appear, allowing you to select the write-

destination Chord Form.

Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select the write destination.

Press [F6 (WRITE)].

A message will ask you for confirmation.

To save the Chord Form, press [F6 (EXEC].

* To cancel, press [F5 (CANCEL)].

Never switch off the JUNO-G while data is being saved.

Playing Rhythms

Rhythm group data is not part of a rhythm set or performance; the 32 rhythm groups are stored as independent data. This means that any one rhythm group can be shared by various patches or performances. In addition to using the built-in rhythm groups, you can also create your own.

Rhythm Group settings can be saved independently for each performance. However, they cannot be saved as part of a patch.

About Rhythm Patterns

The JUNO-G contains 256 preset rhythm patterns. You can play a

variety of rhythm patterns simply by pressing the function buttons

([F1]–[F6]). In addition to using these built-in rhythm patterns, you

can also create your own.

The 256 rhythm patterns are maintained as independent data; they are not part of a performance’s data.

rhythm pattern can be shared by various rhythm sets or performances.

Performance mode, a number by which a rhythm pattern is recalled can be stored as one of the performance parameters.

This number cannot be stored in Patch mode.

Using Rhythm Groups

A “group” consists of settings for each of the six buttons, specifying

the pattern that each function button will play. The rhythm set used

by that group is also stored as part of the settings.

* You are free to change how rhythm pattern numbers and rhythm

sounds are assigned.

This means that any one

Press [EXIT] to close the RHYTHM GROUP screen.

You can also press [EXIT] to close the RHYTHM GROUP screen

while a rhythm pattern is playing. In this case, you can press

[RHYTHM PATTERN] once again to open the RHYTHM

GROUP screen and press the blinking function button to stop

the pattern playback.

* You can also stop the pattern playback by pressing SONG

RECORDER [STOP].

Determining the Tempo for Rhythm Pattern Performances

This sets the Rhythm Pattern tempo.

Press SONG RECORDER [TEMPO].

The current tempo value appears in the display.

Playing Rhythm

Using the Rhythm Function

Press [RHYTHM PATTERN].

The RHYTHM GROUP screen appears.

Play a function button ([F1 (PAD 1)]–[F6 (PAD 6)]).

According to the button you pressed, the assigned rhythm pattern

will begin playing. The currently playing button will blink.

The pattern or rhythm tone that is sounded by each button can

be specified in Rhythm Group Edit (p. 82).

If you press a blinking button, the pattern will stop playing.

Use the VALUE dial or [INC] [DEC] to set the tempo value

(5–300), or set the value by tapping [F4 (TAP)] a number of times with the same rhythm (Tap Tempo).

* If you press [F5 (CLICK)] to add a check mark (✔), the click will sound.

When you have made the setting, press [F6 (CLOSE)].

Select the Rhythm Group

Press [RHYTHM PATTERN].

The RHYTHM GROUP screen appears.

Use the VALUE dial or [INC] [DEC] to select a Rhythm group

number.

This selects the Rhythm group’s basic performance Style.

U01–32:

P01–32:

* When you select the Rhythm group, the most suitable rhythm set is

assigned to the Rhythm part. (In the screen, this is indicated by

“RECOMMENDED RHY PATTERN.”

When you have finished selecting a Rhythm group, press [EXIT].

Recording the Rhythm Pattern Playback to Song Recorder

In the RHYTHM GROUP screen, record the rhythm pattern to Song Recorder.

In recording standby mode, when you press [PLAY] (or [F6 (START)]) the current rhythm pattern will start playback at the same time, and you can record the rhythm pattern.

User

Preset

If you want to record the rhythm pattern at the same time that it starts playback, set the Count In to Off in the recording standby window.

Playing Rhythms

Rhythm Pattern Settings

Press [RHYTHM PATTERN].

Hold down [SHIFT] and press [F2 (RHY PTN)].

The RHYTHM PATTERN screen appears.

Press [ ] [ ] to select the parameter.

Use the VALUE dial or [INC] [DEC] to make the setting.

* You can audition the rhythm pattern by pressing [F4 (PREVU)] to add a check mark (✔).

Parameter

(Rhythm Pattern)

Grid 1/4, 1/8, 1/8L, 1/

Duration

Velocity

Accent 0–100 When you play rhythm patterns, the velocity of each note is determined by the velocity of the notes programmed with-

Value Explanation

U001–256 (User), P001–256 (Preset)

8H, 1/12, 1/16, 1/16L, 1/16H, 1/24

30–120%, Full This determines whether the sounds are played staccato (short and clipped), or tenuto (fully drawn out).

1–127 Specifies the loudness of the rhythm pattern.

This selects the rhythm’s basic performance Style.

This sets the particular note division and resolution in a “single grid” used in creating the pattern in an Rhythm Pattern, and how much of a “shuffle” syncopation is to be to applied (none/weak/strong) to it (grid type).

1/4:

Quarter note (one grid section = one beat)

1/8:

Eighth note (two grid sections = one beat)

1/8L:

Eighth note shuffle Light (two grid sections = one beat, with a light shuffle)

1/8H:

Eighth note shuffle Heavy (two grid sections = one beat, with a heavy shuffle)

1/12:

Eighth note triplet (three grid sections = one beat)

1/16:

Sixteenth note (four grid sections = one beat)

1/16L:

Sixteenth note shuffle Light (four grid sections = one beat, with a light shuffle)

1/16H:

Sixteenth note shuffle Heavy (four grid sections = one beat, with a heavy shuffle)

1/24:

Sixteenth note triplet (six grid sections = one beat)

* Grid settings are shared with the arpeggio.

30–120:

For example, when set to “30,” the length of the note in a grid (or when a series of grids is connected with

ties, the final grid) is 30% of the full length of the note set in the grid type.

Full:

Even if the linked grid is not connected with a tie, the same note continues to sound until the point at which

the next new sound is specified.

* Duration settings are shared with the arpeggio. * This has no effect if the Tone Env Mode parameter (p. 52) is set to “NO-SUS.”

in the rhythm pattern. You can adjust the amount (“spread”) of this dynamic variation.

With a setting of “100,” the notes will have the velocities that are programmed by the rhythm pattern. With a setting of “0,” all notes will be sounded at a fixed velocity.

Playing Rhythms

Creating a Rhythm Pattern (Rhythm Pattern Edit)

In addition to using the built-in Rhythm Patterns, you are free to create your own. After creating an original Rhythm Pattern, you can store it in the internal user memory.

Broadly speaking, there are two ways to create a Rhythm Pattern.

Step-recording

In this method, you use the keyboard to step-record your Rhythm Pattern. Each time you input a note, you will advance to the next step. This method is convenient when you want to create a Rhythm Pattern from scratch using a Pattern that contains no data.

If you want to create “from scratch,” you’ll need to initialize the Pattern. In the RHYTHM PATTERN EDIT screen, hold down [SHIFT] and press [F4 (INIT)]. A message will ask whether you want to initialize; press [F6 (EXEC)] to execute initialization.

Press [RHYTHM PATTERN].

Hold down [SHIFT] and press [F2 (RHY PTN)].

Press [F5 (PTN EDIT)].

The RHYTHM PATTERN EDIT screen appears.

Press [F1 (SETUP)].

The Rhythm Setup window appears.

Using the VALUE Dial or [INC] [DEC] to Input Values

In this method, you’ll use the cursor to specify the step or pitch that

you want to input, and use the dial or [INC] [DEC] to input values.

This method is convenient when you want to edit or modify

previously input data.

Press [RHYTHM PATTERN].

Hold down [SHIFT] and press [F2 (RHY PTN)].

Press [F5 (PTN EDIT)].

The RHYTHM PATTERN EDIT screen appears.

Press [F1 (SETUP)].

The Rhythm Setup window appears.

Press [ ] to move the cursor to “End Step.”

Use the VALUE dial or [INC] [DEC] to specify the number of steps for the Rhythm Pattern.

Press [F6 (CLOSE)] to close the Rhythm Setup window.

Press [ ] [ ] [ ] [ ] to specify the step or pitch you want to input.

* When using this method of input, you can use the keyboard to specify

the pitch of the note. (Unlike when step-recording, pressing the

keyboard will not actually input the note.)

Press [ ] to move the cursor to “End Step.”

Use the VALUE dial or [INC] [DEC] to specify the number of steps for the Rhythm Pattern.

Press [ ] to move the cursor to “Input Velocity.”

Use the VALUE dial or [INC] [DEC] to specify the velocity setting for the data you will input.

The data will be input with the specified velocity.

Press [F6 (CLOSE)] to close the Rhythm Setup window.

10.

Press [F6 (STP REC)] to add a check mark (✔).

Now you’re ready to step-record.

• To move to the desired input location, press [ ] [ ] [ ] [ ].

• To input notes, play the keyboard.

• To input a tie, press [F2 (TIE)].

• To input a rest, press [F3 (REST)].

• To erase the note, hold down [SHIFT] and press [F6 (CLR NOTE)].

• To erase all notes at the current step, hold down [SHIFT] and

press [F5 (CLR STEP)].

• By pressing [F4 (PREVU)] to add a check mark (✔) you can

listen to the pattern you’ve input.

A maximum of sixteen note numbers (pitches) can be used in a single pattern.

11.

When you have finished, press [F5 (EXIT)].

Input the velocity value, using either the VALUE dial or [INC] [DEC]. You can input a tie by turning VALUE all the way to the right (or using [INC] to raise the value all the way).

• You can also input a tie by pressing [F2 (TIE)].

• To input a rest, press [F3 (REST)].

• By pressing [F4 (PREVU)] to add a check mark (✔) you can

listen to the pattern you’ve input.

A maximum of sixteen note numbers (pitches) can be used in a single pattern.

10.

When you have finished, press [F5 (EXIT)].

Saving the Rhythm Pattern You Have Created (Write)

The Rhythm Patterns you create are temporary; they are deleted as

soon as you turn off the power or select some other Pattern. You can

store 32 Rhythm Groups in the User memory.

Rhythm pattern settings are saved as independent data, not as part of the data for each patch. The settings in Patch

mode, it is not possible to save rhythm pattern parameters (e.g., Rhythm Pattern, Grid, Duration).

It can be saved to individual in Performance mode. If you want to save your settings, press [WRITE] and save the performance.

Playing Rhythms

Create a rhythm pattern.

Press [F6 (WRITE)].

The RHYTHM PATTERN NAME screen appears.

Assign a name to the Rhythm Pattern.

For details on assigning names, refer to p. 24.

When you have finished inputting the name, press [F6 (WRITE)].

A screen will appear, allowing you to select the write-

destination pattern.

Parameter

Rhy

When you have finished, press [F5 (EXIT)].

Value Explanation

USER: 001–032 PRST: 001–036 GM: 001–009 CARD: 001–032 EXP: 001–

Specifies which rhythm set will be used.

Saving the Rhythm Group You Have Created (Write)

The Rhythm Groups you create are temporary; they are deleted as

soon as you turn off the power or select some other Group. You can

store 32 Rhythm Groups in the User memory.

Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select the write destination.

Press [F6 (WRITE)].

A message will ask you for confirmation.

To save the Rhythm Pattern, press [F6 (EXEC)].

* To cancel, press [F5 (CANCEL)].

Never switch off the JUNO-G while data is being saved.

Creating a Rhythm Group (Rhythm Group Edit)

Not only can you use the prepared internal Rhythm Groups that

determine how rhythm are played, but you can also create them as well.

This way, you can enjoy performing your own original rhythm group.

Press [RHYTHM PATTERN].

The RHYTHM GROUP screen appears.

Use the VALUE dial or [INC] [DEC] to select a rhythm group you want to edit.

Rhythm group settings are saved as independent data, not as part of the data for each patch. The settings in Patch mode,

it is not possible to save rhythm group settings. It can be saved to individual in Performance mode. If you

want to save your settings, press [WRITE] and save the performance.

Create a rhythm group.

Press [F6 (WRITE)].

The RHYTHM GROUP NAME screen appears.

Assign a name to the Rhythm Group.

For details on assigning names, refer to p. 24.

When you have finished inputting the name, press [F6 (WRITE)].

A screen will appear, allowing you to select the write-

destination group.

Hold down [SHIFT] and press [F5 (GRP EDIT)].

The RHY GRP EDIT screen appears.

Press [ ] [ ] to select the parameter.

Use the VALUE dial or [INC] [DEC] to set the value.

Parameter

Current Pad Number

Ptn U001–256,

Value Explanation

1–6 Select the function button for which you want

P001–256

to make settings.

You can also choose the button that you want to set by pressing that button.

Specifies the pattern number that will sound when you press the function button.

Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select the

write destination.

Press [F6 (WRITE)].

A message will ask you for confirmation.

To save the Rhythm Group, press [F6 (EXEC)].

* To cancel, press [F5 (CANCEL)].

Never switch off the JUNO-G while data is being saved.

Creating a List of Frequently Used Patches, Performances, or Songs (Live Setting)

You can create a list of frequently used sounds, and recall them

instantly. Since you can register Patches, Rhythm Sets, Performances,

or Songs any type of sound you need can be recalled instantly

regardless of the mode.

Each list (bank) can store a total of twelve patches, rhythm sets,

performances, and songs. You can create twenty of these banks.

For example, you might use bank 1 to list up to twelve sounds that

you use in the first song of your live set.

Recalling Sounds

Press MODE [LIVE SETTING].

The LIVE SETTING screen appears.

Use [ ] [ ] to switch banks (1–20).

Press [F1 (1)]–[F6 (6)] to select the number that you want to recall.

To select 7–12, hold down [SHIFT] and press [F1 (7)]–[F6 (12)].

* The sound name or the song file name will be the function display for

the numbers you register.

You can also use [INC] [DEC] to successively recall the next

number in the bank.

or live performance.

Press [F6 (REGIST)] to register the sound.

For example, if you register the sound in Bank 1, number 02, the

display will indicate “Regist to 1-02.”

* Press [EXIT] if you decide to cancel.

Registering a Song

Hold down [SHIFT] and press MODE [LIVE SETTING].

The LIVE SET EDIT screen appears.

* You can also access this screen by pressing EDIT [MENU] and

choosing “5. Live Setting Edit” in the Top Menu window.

Use [F1 (BANK UP)] [F2 (BANK DOWN)] ([ ] [ ]) to select the bank in which you want to register the song.

Use [ ] [ ] to select the number in which to register the song.

You can register the song in any of the twelve numbers.

or live performance.

Press [F3 (SET SONG)].

Press [F1 (USER)] (user memory) or [F2 (CARD)] (memory card) to select the registration destination.

Use the VALUE dial or [INC] [DEC] to move the cursor to the song you want to register, and press [F6 (SELECT)].

* Press [EXIT] if you decide to cancel.

You can also use [ ] [ ] to select numbers within the bank. In

this case, the sound will not change until you press [ENTER].

Registering a Sound

Access the screen of the patch, rhythm set, or performance that you want to register.

Hold down [SHIFT] and press MODE [LIVE SETTING].

The LIVE SET EDIT screen appears.

* You can also access this screen by pressing EDIT [MENU] and

choosing “5. Live Setting Edit” in the Top Menu window.

Use [F1 (BANK UP)] [F2 (BANK DOWN)] ([ ] [ ]) to select the bank in which you want to register the sound.

Use [ ] [ ] to select the number in which to register the sound.

You can register the sound in any of the twelve numbers.

Removing a Registration

In the LIVE SET EDIT screen, use [ ] [ ] to move the cursor to the number that you want to remove.

Press [F4 (REMOVE NUMBER)].

For example, if you remove the registration for Bank 1, number

02, the display will indicate “Remove 1-02,” and that number

becomes empty.

Removing all Registrations from a Bank

In the LIVE SET EDIT screen, use [F1 (BANK UP)] [F2 (BANK DOWN)] ([ ] [ ]) to move the cursor to the bank for which you want to clear the registrations.

Press [F5 (REMOVE BANK)].

If you clear the entire contents of Bank 1, the display will

indicate “Remove Bank 1,” and that bank is made empty.

Playing Back a Song

This chapter explains how you can use the JUNO-G’s song recorder to play back a song.

When you play back a song, we recommend that you use the sound generator in up to sixteen different sounds can be played separately by the sixteen parts, making this mode ideal for playing songs that are multi-instrument ensembles of drums, bass, piano, etc.

With the factory settings, demo song data will automatically be loaded into Temporary Area when the JUNO-G is powered up. Here’s how to change this setting so that this automatic load does not occur (i.e., the song memory will remain empty).

Performance mode

. In Performance mode,

1. Press [MENU].

2. Press [ ] [ ] to select “2. System,” and then press

[ENTER].

3. Press [F1 (GENERAL)], and then press [F2 (AUTO LD)]

to select “Startup.”

4. Press [ ] [ ] to select “Load Demo Song at Startup.”

5. Use the VALUE dial or [INC] [DEC] to set it to “OFF.”

6. Press [F6 (WRITE)] to save the setting.

Loading and Playing a Song (Load Play)

The JUNO-G can load a song from user memory or a memory card

into the temporary area, and play it.

The Temporary Song will be lost if you turn power off or load another song into Temporary Area. If Temporary Area contains a song you wish to keep, you must save that song to user memory or memory card (p. 113).

Press EDIT [SONG] to access the SONG LIST screen.

* Pressing [SONG] toggles you between the SONG LIST screen and

MIDI TRACK screen.

Press [F6 (EXEC)].

When the song has finished loading, the performance data of

the loaded song will be displayed in the MIDI TRACK screen.

* You can also load a song by holding down [SHIFT] and pressing

[WRITE] (p. 115).

Press SONG RECORDER [PLAY] to start playback.

When the song finishes playing, it will stop automatically. If you

want to stop playback midway through the song, press [STOP].

If you play back the song while the MIDI TRACK screen is

displayed, the screen will scroll in keeping with the song

playback location.

There will be no sound if samples have not been loaded for the

patches used in the song. You must load the necessary samples

beforehand (p. 115).

Playing MIDI Tracks Immediately (Quick Play)

The JUNO-G can immediately play the MIDI tracks of SMF data

without loading the song into the temporary area (

This lets you verify the contents of a song before loading it into the

temporary area.

Quick Play does not play back the audio tracks. If you want to

play the audio tracks, you must load the song into the

temporary area.

Press EDIT [SONG] to access the SONG LIST screen.

* This button is pressed to toggle between the SONG LIST screen and

the MIDI TRACK screen.

* By pressing [ ] [ ] in the above screen, you can specify the type of

songs that will be displayed. If various types of songs are saved together, it will be easier to find the desired song if you restrict the displayed file types in this way.

ALL:

SVQ:

SMF:

all songs will be displayed

Only the SVQ song files are displayed

only Standard MIDI Files will be displayed

Quick Play

* By pressing [ ] [ ] in the above screen, you can specify the type of

songs that will be displayed. If various types of songs are saved together, it will be easier to find the desired song if you restrict the displayed file types in this way.

ALL:

SVQ:

SMF:

Use the VALUE dial or [INC] [DEC] to select the song.

•

[F1 (USER)]:

•

[F2 (CARD)]:

Press [F6 (LOAD)].

A Message will ask you for confirmation.

all songs will be displayed

Only the SVQ song files are displayed

only Standard MIDI Files will be displayed

Songs in user memory

Songs on a memory card

Use the VALUE dial or [INC] [DEC] to select the song.

•

[F1 (USER)]:

•

[F2 (CARD)]:

Press SONG RECORDER [PLAY] to start playback.

When the song finishes playing, it will stop automatically. If you

want to stop playback midway through the song, press [STOP].

* If you want to return to the song in the temporary area, press EDIT

[SONG] to access the MIDI TRACK screen, and then press [F5 (TMP SONG)].

There will be no sound if samples have not been loaded for the patches used in the song. You must load the necessary samples beforehand (p. 115).

Songs in user memory

Songs on a memory card

Various Playback Methods

Playing Back a Song

* To mute a MIDI track part 9–16, press [9-16] so it’s lit, then press

PART SELECT [9]–[16].

Fast-Forward and Rewind During Playback

Fast-forward, rewind, and jump can be performed during playback,

as well as while stopped. Use the following procedures for each

operation.

Fast-forward:

Continuous fast-forward:

Rapid fast-forward:

Rewind:

Continuous rewind:

Rapid rewind:

Jump to the preceding marker location:

Jump to the following marker location:

Jump to the beginning of the song:

* Song playback will be interrupted if you jump to the beginning or end

of the song while the song is playing.

* A certain amount of time may be required for fast-forward, rewind, or

jump during Quick Play.

* You can’t jump to a marker location when using Quick Play.

Press [FWD].

Press and hold [FWD].

Hold down [FWD] and press [BWD].

Press [BWD].

Press and hold [BWD].

Hold down [BWD] and press [FWD].

Hold down [SHIFT] and press [BWD].

Hold down [SHIFT] and press [FWD].

Hold down [STOP] and press [BWD].

Playing Back with a Specific Instrument Muted (MIDI Track Mute)

If a MIDI track is muted when you save the song in Standard

MIDI File format, the data of that track will not be saved in the

file. If you save the song as a song file (SVQ file, SVA file), the

muted status of each track will be preserved in the file.

If you clear the check mark (✔) for system exclusive messages

(SysEx), system exclusive messages will be ignored.

If you clear the tempo track (Tempo) check mark (✔), the tempo

track will be muted. You can mute the tempo track if you want

a song containing recorded tempo changes to play back at a

fixed tempo.

When you have finished making settings, press [EXIT].

Playing Back with an Audio Track Muted (Audio Track Mute)

If you want to play back a song with a specific audio track muted,

you can mute the audio track that plays that audio data.

Press SONG RECORDER [AUDIO TRACK] to access the AUDIO TRACK screen.

Press [F4 (MUTE)].

Press [F1 (TRACK 1)]–[F4 (TRACK 4)].

The corresponding audio track will be muted, and the function

display color will be inverted. The function display for

unmuted tracks will remain black.

If you want to silence the playback of a specific instrument, you can

mute the part that contains the sequencer data for that instrument.

Press EDIT [SONG] to access the MIDI TRACK screen.

Press [F4 (MUTE)].

Use [ ] [ ] [ ] [ ] to move the cursor to the part (MIDI

track) whose performance you want to mute.

Use the VALUE dial or [DEC] to clear the check mark (✔).

• You can press [F5 (ALL MUTE)] to mute all of the MIDI track

parts.

• You can press [F6 (ALL PLAY)] to clear muting for all of the

MIDI track parts.

You can press [PART SELECT] so it’s lit, and then press PART

SELECT [1]–[8] to mute the part for the selected MIDI track.

When you have finished making settings, press [EXIT].

Playing a Song Back at a Fixed Tempo (Muting the Tempo Track)

If the tempo changes while a song is being played back, this is

because those tempo changes have been recorded in the Tempo

track. If you want to override these tempo changes and play back at

a fixed tempo, you can mute the Tempo track.

For details on operations, refer to “Playing Back with a Specific

Instrument Muted (MIDI Track Mute).”

Playing Back a Song

Changing the Playback Tempo of a Song

The tempo at which a song will play back is recorded on its tempo

track, but the tempo of the entire song can be adjusted during

playback. The tempo at which the song actually plays is called the

playback tempo

* The playback tempo is a temporary setting. It will be lost if you switch

to another song or turn off the power. If you want the song to always

play back at this tempo, you must re-save the song (p. 113).

When you change the tempo, audio tracks will be time-

stretched (the sample length and tempo will change) so that

they remain in synchronization with the MIDI tracks.

Press SONG RECORDER [TEMPO].

The Tempo window appears.

Use the VALUE dial or [INC] [DEC] to set the playback tempo.

• If you press [F5 (CLICK)] to add a check mark (✔), a click will

sound at the specified tempo.

• By pressing [F4 (TAP)] you can set the tempo to the timing at

which you press the button (Tap Tempo). Press the button three

or more times at quarter-note intervals of the desired tempo.

Using the D Beam Controller to Start/Stop Song Playback

You can start/stop song playback by passing your hand over the D

Beam controller.

Select the song that you want to play back.

Hold down [SHIFT] and press D BEAM [ASSIGNABLE].

A screen like the following appears.

Use [ ] [ ] to move the cursor to “Type.”

Use the VALUE dial or [INC] [DEC] to set this to “START/

STOP.”

Press [EXIT] to return to the previous screen.

Press D BEAM [ASSIGNABLE] to turn on the D Beam controller.

When you have finished making settings, press [F6 (CLOSE)].

The audio quality may be degraded if the audio tracks have been

time-stretched because of a change in tempo. If so, we recommend

that you limit the tempo change to an appropriate range.

Playing Back a Song Repeatedly (Loop Play)

Use the Loop function when you want to repeatedly play back an

entire song or just a specified portion of a song.

Press SONG RECORDER [LOOP] to make it light.

The Loop Play window appears. Now playback will loop

according to the region and the number of times specified in the

Loop Play window.

* To defeat the Loop function, press [LOOP] once again.

For details on making settings in the Loop window, refer to

Specifying the Area of a Song that will Repeat (Loop

Points)

(p. 95).

When you have finished making settings, press [F6 (CLOSE)].

When you pass your hand across the D Beam controller,

song playback will start. When you pass your hand across it once again, playback will stop.

* You can also start/stop song playback by using a pedal connected to

the PEDAL CONTROL jack (p. 72).

D Beam controller settings are stored in the song. If you want to

save your settings, save the song.

Playing Back Correctly from the Middle of the Song (MIDI Update)

When you play back from the middle of a song, for example after

fast-forward or rewind, the correct patch may not be selected, or the

pitch may be incorrect. This is because the MIDI messages in the area

that you skipped have not been transmitted to the sound generator.

In such cases, you can use the

perform MIDI Update, the MIDI messages (other than Note

messages) from the beginning of the song until the location to which

you moved will be transmitted to the sound generator, ensuring that

the sound generator will be in the correct state for the resumption of

playback.

Make sure that song playback is stopped.

* It is not possible to perform MIDI Update while the song is playing.

MIDI Update

function. When you

Hold down [SHIFT] and press SONG RECORDER [PLAY].

The display will indicate “MIDI Update...” while processing

takes place, and when finished, will indicate “MIDI Update

Completed!”

Recording a Song (MIDI Track)

This chapter explains the procedure for using the JUNO-G’s song

recorder to record a song.

Before you begin this procedure, put the sound generator in

Performance mode

back a song, you will put the sound generator in Performance

mode. The reason for this is that in this mode, only the sound of

the specified MIDI channel will be heard when you record

while playing the keyboard of the JUNO-G, and that when the

song is played back, the parts can independently play up to 16

different sounds. Thus, Performance mode is suitable for

recording and playing back a song that uses an ensemble of

multiple instruments, such as drums, bass, and piano. In

Performance mode, we recommend that you leave the keyboard

switches (p. 60) turned off (unchecked). If any keyboard

switches are on (checked), parts other than the current part will

also sound when you play the keyboard; you probably don’t

want this to occur while you’re creating a song.

. Normally, when recording or playing

Two Recording Methods

You can use one of two methods of recording:

step recording

. Select the method that is appropriate for your situation.

realtime recording

Realtime Recording (p. 88)

Realtime recording is the recording method in which your keyboard

playing and controller operations are recorded just as you perform them.

Step Recording (p. 92)

Step recording is the recording method in which you can input notes

and rests one by one. This method is suitable for inputting drums or

bass with precise timing.

Before You Record a New MIDI Track

Overview of the Recording Process

The work flow for recording a new song (MIDI tracks) is as follows.

Select the sound to be used for recording

Clear the Temporary Song

Specify the time signature of the song (p. 88)

Set the tempo (p. 88)

Use realtime recording (p. 88) or step recording (p. 92) to record

Use track edit (p. 97) or micro edit (p. 99) to edit the song

Save the song to user memory or memory card (p. 113)

1. Press MODE [PERFORM] to access the PERFORM

PLAY screen.

2. Press [MENU].

3. Press [ ] [ ] to select “2. System,” and then press

[ENTER].

4. Press [F1 (GENERAL)], and then press [F2 (AUTO LD)]

to select “Startup.”

5. Press [ ] [ ] to select “Load Demo Song at Startup.”

6. Use the VALUE dial or [INC] [DEC] to set it to “OFF.”

Select the Sound to be Used for Recording

Before you record a song (MIDI tracks), select the sound that you

want to use for recording. Select the recording method that is

appropriate for your situation.

Performance

Select a Performance when you want to record an ensemble

performance using multiple instruments. When recording a song, we

recommend that you normally select a Performance.

Patch/Rhythm set

Select a patch or rhythm set if you want to use a single patch or

rhythm set to record your playing.

Erasing the Song from Temporary Song (Song Clear)

When you record a song (MIDI tracks), the sequencer data is

temporarily recorded in Temporary Area. If you want to record a

new song, you must erase any existing sequencer data from

Temporary Song.

If Temporary Song contains an important song that you want to

keep, you should first save that song to user memory/memory

card (p. 113).

Press EDIT [SONG] to access the MIDI TRACK screen.

Hold down [SHIFT] and press [F6 (UTILITY)].

The Song Utility Menu appears.

Press [F2 (SONG CLEAR)].

A message will ask you for confirmation.

Press [F6 (EXEC)] to execute the operation.

* To cancel, press [F5 (CANCEL)].

When the operation has been completed, the display will briefly

indicate “Completed!”

Recording a Song (MIDI Track)

Specifying the Time Signature

Before you record a new song, you must specify the time signature.

However, a time signature of 4/4 is automatically specified when

you perform the Song Initialize operation or when the power is

turned on, so you will need to make this setting only if you want to

record a new song in a different time signature.

Press EDIT [SONG] to access the MIDI TRACK screen.

Press [F3 (MICRO)].

The MICROSCOPE screen appears.

Press [F5 (CH/PART)].

The Ch/Part Select window appears.

Press [F5 (BEAT)] (beat track).

Press [F6 (CLOSE)].

The MICROSCOPE screen for the BEAT track appears.

Press [ ] [ ] to move the cursor to “Beat Change Numerator” or “Beat Change Denominator.”

Use the VALUE dial or [INC] [DEC] to specify the time

signature.

If you want to change time signatures midway through the

song, refer to

the Song

Changing the Time Signature Midway Through

(p. 103).

Recording Your Performance as You Play It (Realtime Recording)

Realtime Recording is the recording method in which your keyboard

playing and controller operations are recorded just as you perform

them. Use this recording method when you want to capture the

nuances of your own performance.

Basic Operation for Realtime Recording

Make sure that the preparations for recording have been completed as described in “Before You Record a New MIDI Track” (p. 87).

If you want to record into an existing song, load the desired

song into Temporary Song (p. 115). Then press SONG

RECORDER [BWD] or [FWD] to specify the measure at which

you want to begin recording. The measure at which recording

will begin is indicated by the “M=” in the upper right of each

PLAY screen.

Press SONG RECORDER [REC].

The [REC] indicator will blink, and the MIDI Rec Standby (Real

Time) window appears.

Press [EXIT] to return to the previous screen.

Setting the Tempo

Set the tempo at which the song is to be recorded.

Press [TEMPO].

The Tempo window appears.

Use the VALUE dial or [INC] [DEC] to set the playback tempo.

• If you press [F5 (CLICK)] to add a check mark (✔), a click will

sound at the specified tempo. This will switch on/off each time

you press the button.

• By pressing [F4 (TAP)] you can set the tempo to the timing at

which you press the button (Tap Tempo). Press the button three

or more times at quarter-note intervals of the desired tempo.

When you have finished making settings, press [F6 (CLOSE)].

If you want to change tempo midway through the song, refer to

Changing the Tempo Midway Through the Song

(p. 102).

As basic settings, specify the following two parameters.

Use [ ] [ ] [ ] [ ] to move the cursor to each parameter, and use the VALUE dial or [INC] [DEC] to make the setting.

Parameter

Rec Mode

Explanation

Select how recording is to take place.

MIX:

Mix-recording will be carried out. Normally, you will record using this method. If a performance has already been recorded on the recording-destination track, your newly recorded performance will be added to the existing performance without erasing it. By using this in conjunction with Loop-recording, you can record repeatedly over a specified area without erasing the previously recorded performance. For example, this is a convenient way to record a drum performance one instrument at a time; bass drum -> snare drum -> hi-hat, etc.

REPLACE:

Replace-recording will be carried out. If a performance has already been recorded on the recording-destination track, it will be erased as you record your new performance. Use this when you want to re-record.

* Since system exclusive messages are not erased, you’ll need

to erase this data beforehand (p. 100).

Recording a Song (MIDI Track)

Parameter

Count In

Explanation

Select how recording is to begin.

OFF:

Recording will begin immediately when you press [PLAY].

1 MEAS:

When you press [PLAY], a count (playback) will begin one measure before the recording-start location, and recording will begin when you reach the recording-start location.

2 MEAS:

When you press [PLAY], a count (playback) will begin two measures before the recording-start location, and recording will begin when you reach the recording-start location.

WAIT NOTE:

Recording will begin when you press [PLAY], or play a note or press the pedal.

In the MIDI Rec Standby (Real Time) window you can perform

the following operations.

• Specifying the punch-in/out points

• Specifying the loop points

• Quantize (p. 90)

• Selecting the sequencer data that will be recorded (p. 91)

For details on these operations, refer to the appropriate page.

When you are finished making settings in the MIDI Rec

Standby (Real Time) window, press [PLAY] or [F6 (START)].

The MIDI Rec Standby (Real Time) window will close, the

[REC] indicator will change from blinking to lit, and recording

will begin.

When recording begins, the Realtime Rec Control window will

appear.

Recording the Rhythm Pattern Playback to MIDI Track

In the RHYTHM GROUP screen, record the rhythm pattern to MIDI track.

In recording standby mode, when you press [PLAY] (or [F6 (START)]) the current rhythm pattern will start playback at the same time, and you can record the rhythm pattern.

If you want to record the rhythm pattern at the same time that it starts playback, set the Count In to Off in the recording standby window.

Recording Tempo Changes in a Song (Tempo Recording)

If you want the tempo to change during the song, you can record those tempo changes in the Tempo track. If tempo changes have already been recorded in the tempo track, they will be rewritten.

Set the following recording parameters in addition to the basic

settings described in step

Recording

Parameter

Tempo Rec Sw

(p. 88).

Value Explanation

OFF, ON Specify whether tempo changes will be

Basic Operation for Realtime

recorded (ON), or not (OFF).

In the Realtime Rec Control window you can perform the

following operations.

• Specifying the punch-in/out points

• Realtime Erase (p. 91)

• Rehearsal Function (p. 92)

For details on these operations, refer to the appropriate page.

* To close the Realtime Rec Control window, press [F6 (CLOSE)] or

[PLAY]. To open it once again, press [PLAY].

When you are finished recording, press [STOP].

The [REC] indicator will go dark.

If you’re not satisfied with the recording you just made, you can press [F1 (UNDO)] in the MIDI TRACK screen to revert to the state prior to recording (Undo). After executing Undo, you can use Redo to revert to the previous state. After executing Undo, you can execute Redo by performing the above procedure once again.

Loop Recording and Punch-In Recording

You can record repeatedly over a specified area (Loop recording), or re-record just that area (Punch-in recording).

Set the following recording parameters in addition to the basic settings described in step 3 of

Recording

Parameter

Loop/Punch

Start Point Measure and beat at which loop recording or auto punch-

(p. 88).

Explanation

Specify how loop recording or punch-in recording is to take place.

OFF:

Loop recording or punch-in recording will not occur.

LOOP (POINT):

Recording takes place repeatedly, according to the loop point settings.

LOOP (1–16 MEAS):

The 1–16 measure area starting at the record-start measure will be recorded repeatedly.

LOOP SONG ALL:

The entire song from beginning to end will be recorded repeatedly.

AUTO PUNCH:

Auto punch-in recording will be performed.

MANUAL PUNCH:

Manual punch-in recording will be performed.

in recording is to begin

* It is not possible to specify the Tick.

End Point

Measure and beat at which loop recording or auto punchin recording is to Stop.

* It is not possible to specify the Tick.

* The minimum loop length is four quarter notes.

* After loop recording, the loop points (p. 95) will automatically be set

to the recorded region.

* You can also make loop settings by pressing SONG RECORDER

[LOOP].

Basic Operation for Realtime

Recording a Song (MIDI Track)

Using Auto Punch-In Recording

You must pre-specify the area (punch points) in which recording is

to take place. This is convenient when you want to re-record over a

mistake. The song will play back when you begin recording. When

you reach the punch-in point, playback will switch to record mode.

Correct the Timing of Your Playing as You Record (Recording Quantize)

In the MIDI Rec Standby (Real Time) window, set the Loop/

Punch parameter to “AUTO PUNCH.”

Set the Start Point/End Point parameters to the desired punch points.

Move to a measure earlier than the specified Start Point,

and press [PLAY] or [F6 (START)].

The song will begin playing. Recording will begin at the

location specified by the Start Point parameter. Playback will

resume at the location specified by the End Point parameter.

Press [STOP] to stop playback.

Using Manual Punch-In Recording

Recording takes place (erasing the existing data) in the area that you

specify by pressing a pedal or button. This is convenient when you

want to re-record more than one location in which you made a

mistake. The song will play back when you begin recording. When

you press a pedal or button, playback will switch to record mode,

and will switch back to play mode when you press the pedal or

button once again. By pressing the pedal or button, you can toggle

between record and play modes.

If you want to use a pedal connected to the PEDAL CONTROL

jack to specify the area for recording, you must first set the

Control Pedal Assign parameter to “PUNCH IN/OUT” (p. 72).

In the MIDI Rec Standby (Real Time) window, set the Loop/ Punch parameter to “MANUAL PUNCH.”

Press [PLAY] or [F6 (START)].

Song playback will begin, and the Realtime Rec Control window will appear.

At the point where you want to begin recording, press [F3 (PUNCH IN)] or step on the pedal.

Playback will switch to record mode.

At the point where you want to stop recording, once again press [F3 (PUNCH OUT)] or step on the pedal.

You will return to playback mode.

Press [STOP] to stop playback.

The Quantize function automatically corrects inaccuracies in the

timing of your keyboard performance, aligning the notes to accurate

timing intervals. During realtime recording, you can quantize while

you record.

Set the following recording parameters in addition to the basic

settings described in step 3 of

Recording

Parameter

Input Quantize

When “Input Quantize” is “

Grid Resolution

Grid Quantize Strength

When “Input Quantize” is “

Shuffle Resolution

Shuffle Quantize

(p. 88).

Value Explanation

OFF, GRID, SHUFFLE

, , , , , ,

0–100% Degree to which notes will be adjusted

0–100% Degree to which the backbeat will be

Basic Operation for Realtime

OFF:

Quantize will not be applied

while recording.

GRID:

Grid Quantize will be applied while recording. Use this when you want the timing to be accurate, such as when recording drums or bass.

SHUFFLE:

applied while recording. Use this when you want to give the rhythm a “shuffle” or “swing” character.

GRID

”

Quantization time interval

toward the timing intervals specified by Grid Resolution

SHUFFLE

Quantization time interval

separated from the downbeat specified by Shuffle Resolution

Shuffle Quantize will be

Select the shortest note value that will occur in the range to which Grid Quantize will be applied.

With a setting of “100%,” the notes will be corrected precisely to the timing of the Grid Resolution parameter. With a setting of “0%,” the timing will not be adjusted at all.

”

With a setting of “50%,” the backbeat will be exactly between adjacent downbeats. With a setting of “0%,” the backbeat will be moved to the same timing as the preceding downbeat. With a setting of “100%,” the backbeat will be moved to the same timing as the following downbeat.

When Quantize Type is “GRID”

Grid quantize with Resolution = 

When Quantize Type is “SHUFFLE”

Shuffle quantize with Rate = 75%

Rate:

Original performance data

Rate= 25%

Recording a Song (MIDI Track)

Erasing Unwanted Data While You Record (Realtime Erase)

Rate= 50%

Rate= 75%

Rate=100%

Up beatUpbeatUpbeatUpbeat

Selecting the Sequencer Data that will Be Recorded (Recording Select)

When you use realtime recording, all of your sequencer data will

normally be recorded. If you want to avoid recording a specific type

of data, you can turn its Recording Select setting “OFF.”

Press [REC].

Press [F5 (REC SELECT)].

The Recording Select window appears.

Realtime Erase is a function that erases unwanted data during

realtime recording. This is particularly convenient during loop

recording, since it lets you erase data without stopping recording.

* Realtime Erase can be executed only if the Recording Mode is set to “MIX.”

Begin realtime recording (p. 88).

The Realtime Rec Control window appears.

Press [F4 (ERASE)].

The Realtime Erase window appears.

Erase unwanted data.

• To erase all data, press [F5 (ALL NOTE)]. Data will be erased

for as long as you hold down the button.

• To erase notes of a specific key, hold down that key. Data for

that note will be erased for as long as you hold down that key.

• To erase notes of a specific key range, hold down the top and

bottom keys of that range. Data for that range will be erased for

as long as you hold down those keys.

Press [ ] [ ] [ ] [ ] to select the sequencer data (MIDI messages) that will be recorded.

MIDI Message Explanation

Note Represent notes.

Control Change

Program Change

System Ex Used to make settings unique to the JUNO-G, such as

Channel After Apply aftertouch to an entire MIDI channel.

Poly After Apply aftertouch to individual keys.

Pitch Bend Change the pitch.

Use the VALUE dial or [INC] [DEC] to add a check mark (✔).

The message will be recorded if you assign a check mark (✔),

and will not be recorded if you remove the check mark.

• [F4 (ALL ON)]: All of the sequencer data will be recorded.

• [F5 (ALL OFF)]: No sequencer data will be recorded.

Press [F6 (CLOSE)] to close the Recording Select window.

Apply various effects such as modulation or expression.

Select sounds.

sound parameters.

Press [F6 (CLOSE)] to close the Realtime Erase window.

You will return to the normal recording state.

Recording Arpeggios Aligned to the Measures of the Song Recorder

When recording arpeggios in real time, you can synchronize the

arpeggio with the song recorder start/stop timing.

For details, refer to

Arp/Rhythm Sync Switch

(p. 162).

Recording a Song (MIDI Track)

Auditioning Sounds or Phrases While Recording (Rehearsal Function)

The Rehearsal function lets you temporarily suspend recording

during realtime recording. This is convenient when you want to

audition the sound that you will use next, or to practice the phrase

that you will record next.

Begin realtime recording (p. 88).

The Realtime Rec Control window appears.

Press [F5 (REHEARSAL)] or [REC].

The [REC] indicator will blink, indicating that you are in

rehearsal mode. In this state, nothing will be recorded when

you play the keyboard.

To return to record mode, press [F5 (REHEARSAL)] or [REC] once again.

Inputting Data One Step at a Time (Step Recording)

Step Recording is the method of inputting notes and rests

individually, as if you were writing them onto a musical staff.

Inputting Notes and Rests

Make sure that the preparations for recording have been performed as described in “Before You Record a New MIDI Track” (p. 87).

If you want to record into an existing song, load the desired song

into Temporary Song (p. 115). Then press SONG RECORDER

[BWD] or [FWD] to specify the measure at which you want to

begin recording. The measure at which recording will begin is

indicated by the “M=” in the upper right of each PLAY screen.

Press [REC] twice, or hold down [SHIFT] and press [REC].

The [REC] indicator blinks, and the MIDI Rec Standby (Step

Rec) window appears.

Make settings for step recording. Use [ ] [ ] [ ] [ ] to move the cursor to the desired parameter, and use the VALUE dial or [INC] [DEC] to set it.

Parameter

Rec Mode

Start Point Specify the location (measure-beat-tick) at which recording

Press [F6 (NOTE)] or [PLAY].

The [REC] indicator lights, and the STEP REC screen appears.

Explanation

Select how recording is to take place.

MIX:

Mix-recording will be carried out. If a performance has already been recorded on the recording-destination track, your newly recorded performance will be added to the existing performance without erasing it. Normally, you will record using this method.

REPLACE:

will begin.

Specify the note that you want to input. Use [ ] [ ] to select

The Relation between Note Value Length and Gate Time

The relation between the length of the note value and the gate

time is shown below. Since the JUNO-G’s song recorder uses a

TPQN (Ticks Per Quarter Note; i.e., resolution) of 480, a quarter

note gate time is 480 ticks.

the desired parameter.

Parameter

Note Type

Gate Time 1–

Input Velo REAL,

Use the VALUE dial or [INC] [DEC] to make the setting.

Press [F5] or [F6] to move to the desired input location, and

Value Explanation

Note (p. 93)

100%

1–127

Specify the length of the notes that you want to input, in terms of a note value.

The length of the note value indicates the length from one note-on to the next note-on.

Specify the proportion of the gate time relative to the Note Type.

The gate time is the length between note-on and note-off. Specify a lower value if you want the notes to be played staccato, or a higher value if you want the notes to be played tenuto, or as a slur. Normally, you will set this to about “80%.”

Specify the strength with which the note will be played.

If you want this to be the strength with which you actually pressed the key, select “REAL.” Otherwise, use settings of p (piano)=60, mf (mezzo forte)=90, or f (forte)=120 as general guidelines.

press a note on the keyboard.

When you press a key, the input position will advance by the

value of the Note Type you specified. The velocities are

displayed as a bar graph.

You can use the function buttons to perform the following operations.

Button

F1 (BAK DEL)

F2 (TIE) Extend the length of the previously input note by

F3 (UNTIE) Cancel the previously input TIE.

F4 (REST) Inputs a rest. First set the Note Type parameter to

[SHIFT] + [F6 (VIEW)] Switches the type of display in the STEP REC

Repeat the above steps to continue inputting.

Explanation

Cancel the previously input note.

the current setting.

a length that is the same as the rest you want to input, and then press [F4 (REST)].

screen (Piano Roll ↔ Event List)

The previous value of each parameter is remembered. This

means that if you want to use the same settings as the

previously input note, there is no need to change the settings.

Once you have set the Gate Time parameter and Input Velocity

parameter, it is not normally necessary to change them, so all

you have to do is set the Step Time parameter and specify the

pitch (note) of each note.

Recording a Song (MIDI Track)

Inputting a Chord

Press the chord. The cursor will move to the next step when you

release all keys.

Moving the input location

Pressing [F6 ( )] will move the input location forward by the current

Note Type value.

Pressing [F5 ( )] will move the input location backward by the

current Note Type value.

Moving the display region

Pressing

or downward.

[] []

will move the displayed region of notes upward

Note Gate time

120

160

180

240

320

360

480

640

720

960

1920

3840

The note will not be finalized as long as you hold down the key.

This means that you will be able to modify the various

parameters of the note (Note Type, Gate Time, Input Velo).

When you are finished step recording, press [STOP].

The [REC] indicator will go dark.

The gate time that is recorded in step recording will be the

original gate time value multiplied by the value of the Gate

Time parameter. For example, if the Gate Time parameter

is set to “80%,” inputting a quarter note will mean that the

gate time is 480 x 0.8=384.

Editing a Song (MIDI Track)

Status of each track

Measures containing no sequencer data

Measure number

Part number

Measures containing sequencer data

Indicates the name of the currently selected song.

Indicates the song’s playback tempo.

This chapter explains the procedure for editing a song (MIDI track).

Loading the Song You Want to Edit

When you’re going to edit a song, you have to first load it into the

Temporary Area.

The Temporary Song will be lost if you turn power off or load

another song into Temporary Area. If Temporary Area contains a

song you wish to keep, you must save that song to user memory or

memory card.

For details on how to load the song you want to edit, refer to

Loading and Playing a Song (Load Play)

MIDI TRACK Screen

The JUNO-G is able to record data of multiple MIDI channels.

This screen graphically shows the note data of each channel. The

height of the bar indicates the note pitch, and the length of the bar

indicates the duration.

(p. 84).

Press [F3 (SET)] to add a marker to the beginning of the

current measure.

You can assign a marker location in this way even while

listening to the song play back.

* While the song is stopped, you can use SONG RECORDER [BWD]

[FWD] to move a measure at a time.

Press [F6 (CLOSE)] to close the window.

Moving to marker locations

Use the following procedure to change the song location to a marker

location.

In the MIDI TRACK screen, press [F5 (MARKER)].

The Edit Marker List window appears.

Use the VALUE dial or [INC] [DEC] [ ] [ ] to select the

marker to which you want to move.

You will move to the location of the specified marker.

You can hold down [SHIFT] and press [BWD] or [FWD] to jump

to the preceding or following marker location.

Press [F6 (CLOSE)] to close the window.

Playing Back with a Specific Instrument Muted (MIDI Track Mute)

For details on how to load the song you want to edit, refer to

Playing Back with a Specific Instrument Muted (MIDI Track

Mute)

(p. 85).

Assigning Markers in a Song

You can add markers to desired measures within a song. This is a

convenient way to visually keep track of sections within a song, and

can also assist you in editing a song since you can easily and quickly

jump to the marker location you specify.

Assigning a marker

Up to sixteen marker locations can be assigned in each song.

Press EDIT [SONG] to access the MIDI TRACK screen.

Press [F5 (MARKER)].

The Edit Marker List window appears.

Deleting a marker

Here’s how to delete a marker.

In the MIDI TRACK screen, press [F5 (MARKER)].

The Edit Marker List window appears.

Use the VALUE dial or [INC] [DEC] [ ] [ ] to select the marker to which you want to delete.

Press [F4 (CLEAR)].

The specified marker will be deleted.

Press [F6 (CLOSE)] to close the window.

Naming a marker

Here’s how to name a marker.

In the MIDI TRACK screen, press [F5 (MARKER)].

The Edit Marker List window appears.

Use the VALUE dial or [INC] [DEC] [ ] [ ] to select the marker that you want to rename.

Press [F5 (NAME)] or [ ].

The cursor will move to the right.

Use the VALUE dial or [INC] [DEC] to select a name.

* Choose from the list of names supplied.

Press [F5 (NAME)], [EXIT] or [ ] to finish assigning the name.

Press [F6 (CLOSE)] to close the window.

Editing a Song (MIDI Track)

Preview Function

The Preview function allows you to hear how quantizing will work while you are still setting Quantize parameters (before you execute operation). If you modify parameter values during preview playback, the next preview playback will include those latest value changes. Try various parameter settings to find the one that works best.

Specifying the Area of a Song that will Repeat (Loop Points)

When using Loop Play or Loop Recording, you can use the loop

points you specify here to specify the repeated area, as an alternative

to repeating the specified number of measures.

Press EDIT [SONG] to access the MIDI TRACK screen.

Hold down [SHIFT] and press SONG RECORDER [LOOP].

The Loop Play window will open, with the Loop function still off.

* If you press [LOOP] without holding down [SHIFT], the Loop

function will turn on and the Loop Play window will open.

Move the cursor to the desired parameter, and use the

VALUE dial or [INC] [DEC] to make the setting.

Parameter

Repeat Times

Start Point (S) Location at which repetition is to begin

End Point (E) Location at which repetition will end

If you press [LOOP] to make it light, or press [F5 (LOOP)] to

add a check mark (✔); looping will be turned on.

Press [F6 (CLOSE)] to close the window.

Explanation

Number of repeats

Value:

INF, 1–99 If you want repetition to continue until you press [STOP], set this to “INF.”

If you press [F3 (START)], the current location of the song will be set as the starting location.

If you press [F4 (END)], the current location of the song will be set as the ending location.

* The location you specify here will not be included

in the repeated area.

Aligning a Song’s Timing (Quantize)

In the chapter

explained

realtime recording. Alternatively, it is also possible to quantize a

song that has already been recorded.

The JUNO-G has a

results of a Quantize operation while you are still setting parameters

(before actual execution). This helps to make optimal Quantize settings.

* You can’t preview the playback of a MIDI track that’s muted.

* You can’t change the Quantize Type while using the Preview

Pressing [PLAY] when the Quantize window is displayed selects Preview mode. The two measures from the current location of the song will play back repeatedly. The preview start location can also be specified by pressing [FWD] or [BWD]. To exit Preview mode, press [STOP].

The Quantize operation will correct only the timing at which

notes were pressed (note-on) and released (note-off), and will

not correct any other sequencer data. This means that if you

record MIDI messages such as bend range or modulation along

with notes, quantization can cause the notes to go out of sync

with the MIDI messages, skewing timing. To avoid such

problems it is better to record non-keyboard data afterward,

using mix recording, etc.

Access the SONG LIST screen, and then load the song you

want to edit (p. 84).

“Recording a Song (MIDI Track)”

Recording Quantize

Preview function

function.

, which lets you quantize during

(p. 87), we

that allows playing back the

Press EDIT [SONG] to access the MIDI TRACK screen.

Press [F2 (QUANTIZE)].

The Quantize window appears.

Use [F3 ( )] [F4 ( )] or [ ] [ ] to select a parameter, and use the VALUE dial or [INC] [DEC] to set the value.

Parameter

Ch/Part

Value Explanation

ALL, Ch 1–16

MIDI channel(s) of the notes to be quantized

ALL:

Quantizes all notes.

Ch 1–16

specific MIDI channel.

Quantizes only the notes of a

Editing a Song (MIDI Track)

Parameter

Measure

For 1–ALL

Quantize Type

When “Quantize Type” is “

Since the notes will be adjusted to the timing of the specified note value, you can use this when you want drums or bass (for example) to play in an accurate rhythm.

Resolution

Strength 0–100% Percentage of how note timing will be cor-

When “Quantize Type” is “

Use this when you want to produce a “shuffle” or “swing” rhythmic feel.

Resolution

Rate 0–100% How far apart you want a down-beat spec-

When “Quantize Type” is “

The JUNO-G provides 71 quantize templates. These templates contain various quantize settings for applying rhythmic `feels’ of many different musical categories. Select the template you want for quantization.

If your sequencer data notes are too far off from accurate time,

Value Explanation

0001– Range of measures to be quantized

GRID, SHUFFLE, TEMPLATE

, , , , , ,

With a setting of “100%,” the note will move all the way to the nearest timing interval of the Resolution setting. A setting of “0%” will not change note timing at all.

By shifting the timing of an up-beat, you can create a “swing” feel. A setting of “50%” will place the timing of the up-beat note at the exact mid point between the down-beat and the next down-beat. A setting of “0%” will move the upbeat note to the same timing as the previous down-beat. A setting of “100%” will move it to the same timing as the following down-beat.

If you set “For” to “ALL,” all measures will be specified.

(See below.)

GRID

”

Quantization time interval

Choose a Resolution that matches the smallest note in the area you’re quantizing.

rected toward the timing interval specified by Resolution

SHUFFLE

TEMPLATE

”

Quantization time interval

ified by Resolution to be from the up-beat that immediately follows

”

Template Quantize may not work that efficiently so you won’t achieve the desired results. If this is the case, apply Grid Quantize to your sequencer data first to lose timing mistakes.

Template

Timing 0–100% How much a note will move toward the

Range Min 0 (C -)–

Range Max

Press [F6 (EXEC)].

001–071 Template you wish to use

timing interval of the template At a setting of 100%, the note will be perfectly timed with the template. At a setting of 0%, the note will not move at all.

127 (G9)

Range of note numbers to be quantized

You can also specify the key range by pressing keys on the keyboard.

A message will ask you for confirmation.

Press [F6 (EXEC)].

* To cancel, press [F5 (CANCEL)].

If you are not satisfied with the results of executing the

function,

to revert to the state prior to recording (Undo).

you can press [F1 (UNDO)] in the MIDI TRACK screen

After executing

Undo, you can use Redo to revert to the previous state. After

executing Undo, you can execute Redo by performing the above

procedure once again.

When Quantize Type is “GRID”

Grid quantize with Resolution = 

When Quantize Type is “SHUFFLE”

Shuffle quantize with Rate = 75%

Rate:

Original performance data

Rate= 25%

Rate= 50%

Rate= 75%

Rate=100%

Up beatUpbeatUpbeatUpbeat

When Quantize Type is “TEMPLATE”

Here is a list of quantize templates.

No.

001

002 Dance (large dynamics)

003 Dance (light swing)

004 Dance (heavy swing)

005 Dance (dragging beats, small dynamics)

006 Dance (dragging beats, large dynamics)

007 Dance (dragging beats, light swing)

008 Dance (dragging beats, heavy swing)

009 Dance (pushing beats, small dynamics)

010 Dance (pushing beats, large dynamics)

011 Dance (pushing beats, light swing)

012 Dance (pushing beats, heavy swing)

013 Fusion (small dynamics)

014 Fusion (large dynamics)

015 Fusion (light swing)

016 Fusion (heavy swing)

017 Fusion (dragging beats, small dynamics)

018 Fusion (dragging beats, large dynamics)

019 Fusion (dragging beats, light swing)

020 Fusion (dragging beats, heavy swing)

021 Fusion (pushing beats, small dynamics)

022 Fusion (pushing beats, large dynamics)

023 Fusion (pushing beats, light swing)

024 Fusion (pushing beats, heavy swing)

025 Reggae (small dynamics)

026 Reggae (large dynamics)

027 Reggae (light swing)

028 Reggae (heavy swing)

029 Reggae (dragging beats, small dynamics)

030 Reggae (dragging beats, large dynamics)

031 Reggae (dragging beats, light swing)

032 Reggae (dragging beats, heavy swing)

033 Reggae (pushing beats, small dynamics)

Explanation

Dance (small dynamics)

Editing a Song (MIDI Track)

No.

034

035 Reggae (pushing beats, light swing)

036 Reggae (pushing beats, heavy swing)

037 Pops (small dynamics)

038 Pops (large dynamics)

039 Pops (light swing)

040 Pops (heavy swing)

041 Pops (dragging beats, small dynamics)

042 Pops (dragging beats, large dynamics)

043 Pops (dragging beats, light swing)

044 Pops (dragging beats, heavy swing)

045 Pops (pushing beats, small dynamics)

046 Pops (pushing beats, large dynamics)

047 Pops (pushing beats, light swing)

048 Pops (pushing beats, heavy swing)

049 Rhumba (small dynamics)

050 Rhumba (large dynamics)

051 Rhumba (light swing)

052 Rhumba (heavy swing)

053 Rhumba (dragging beats, small dynamics)

054 Rhumba (dragging beats, large dynamics)

055 Rhumba (dragging beats, light swing)

056 Rhumba (dragging beats, heavy swing)

057 Rhumba (pushing beats, small dynamics)

058 Rhumba (pushing beats, large dynamics)

059 Rhumba (pushing beats, light swing)

060 Rhumba (pushing beats, heavy swing)

061 Samba (for Pandeiro, etc.)

062 Samba (for Surdo, Timbale)

063 Axe (for Caixa)

064 Axe (for Surdo)

065 Salsa (for Cascala)

066 Salsa (for Conga)

067 Triplets

068 Quintuplets

069 Sextuplets

070 Septuplets over two beats

071 Lagging triplets

* The templates are designed for a 4/4 time signature. Applying them to

a performance of a different time signature may not produce the

desired result.

* The style names shown here are only for your convenience; they are

not intended to imply that the templates are usable only for the named

style. You can certainly try them with other styles of music.

Explanation

Reggae (pushing beats, large dynamics)

Editing Sequencer Data Over the Specified Range (Track Edit)

Track Edit lets you edit areas of sequencer data that you specify.

Basic Operation for Track Editing

Access the SONG LIST screen, and then load the song you

want to edit (p. 94).

Press EDIT [SONG] to access the MIDI TRACK screen.

Press [F6 (EDIT)].

The Track Edit window appears.

Press [F3 ( )] [F4 ( )] or [ ] [ ] to select the desired

function, and then press [F6 (SELECT)].

Copy

Insert (p. 99) Transpose (p. 99)

For details on the setting windows of each track editing

function, refer to the following explanations of each function.

Set the parameters for each function. Press [ ] [ ] [ ] [ ]

to move the cursor to the desired parameter, and use the VALUE dial or [INC] [DEC] to set the value. First check the region that is to be affected by the editing operation, and then make corrections if you want to change it.

Press [F6 (EXEC)].

A message will ask you for confirmation.

Press [F6 (EXEC)].

When the operation is completed, the display will briefly

indicate “Completed!”

* To cancel, press [F5 (CANCEL)].

Erase (p. 98) Delete (p. 98)

If you are not satisfied with the results of executing the

function,

to revert to the state prior to recording (Undo).

Undo, you can use Redo to revert to the previous state. After

executing Undo, you can execute Redo by performing the above

procedure once again.

you can press [F1 (UNDO)] in the MIDI TRACK screen

After executing

Editing a Song (MIDI Track)

Copying Phrases (Copy)

This function copies a specified area of sequencer data. It is

convenient for repeating the same phrase several times.

For details on the settings, refer to

Editing

(p. 97).

Parameter

Src Ch/Part

Src Measure

For 1–ALL

Dst Ch/Part ALL, Ch 1–16 MIDI channel of the copy-

Dst Measure 0001–END Copy-destination measure

Copy Mode

Copy Times 1–999 Number of times that the

Status

When “Status” is “Note” or “Poly Aftertouch”

Range Min

Range Max

When “Status” is “Control Change”

Range Min

Range Max

When “Status” is “Program Change”

Range Min

Range Max

Value Explanation

ALL, Ch 1–16 MIDI channel of the perfor-

ALL:

Copies all the sequencer data.

Ch 1–16:

Copies only the sequencer data of a specific

MIDI channel.

* You can’t specify this if Status is set to “System Exclusive.”

0001– Range of copy-source mea-

ALL:

Copy performance data to all MIDI channels.

Ch 1–16:

Copy performance data to the specified MIDI

channel.

* You can’t specify this if Status is set to “System Exclusive.”

MIX, REPLACE Specifies whether you want

MIX:

Combines the data from the copy source with the

existing data in the copy destination.

REPLACE:

be erased (i.e., overwritten) when the copy takes place. Only the sequencer data of the MIDI channels specified by the Channel parameter will be overwritten, and data of other MIDI channels will remain.

ALL, Note, Poly Aftertouch, Control Change, Program Change, Channel Aftertouch, Pitch Bend, System Exclusive

0 (C -)–127 (G9) Range of note numbers to be

0–127 Range of controller numbers

1–128 Range of program numbers

Musical data in the copy destination will

* If you selected “ALL” for “Src Ch/Part” and “Dst Ch/Part,” the tempo

track, beat track, and audio tracks will also be copied at the same time.

Basic Operation for Track

mance data to be copied

sures

If you set “For” to “ALL,” all measures will be specified.

destination performance data

* If you want the copy destina-

tion to be right after the last measure of a song, set this parameter to “END.”

to preserve the existing data in the copy destination when copying.

data will be copied to the copy destination

Type of data to be copied

copied

You can also specify the key range by pressing keys on the keyboard.

to be copied

Erasing Unwanted Performance Data (Erase)

This function erases all the sequencer data inside the specified area. As

the erased data is replaced by rests, the original measures will remain.

For details on the settings, refer to

Editing

(p. 97).

Parameter

Ch/Part

Measure

For 1–ALL

Status

When “Status” is “Note” or “Poly Aftertouch”

Range Min

Range Max

When “Status” is “Control Change”

Range Min

Range Max

When “Status” is “Program Change”

Range Min

Range Max

Value Explanation

ALL, Ch 1–16 MIDI channel of the data to

ALL:

Erases all sequencer data.

Ch 1–16:

Erases sequencer data of one specific MIDI

channel only.

* You can’t specify this if Status is set to “System Exclusive.”

0001– Range of measures to be

ALL, Note, Poly Aftertouch, Control Change, Program Change, Channel Aftertouch, Pitch Bend, System Exclusive

0 (C -)–127 (G9) Range of note numbers to be

0–127 Range of controller numbers

1–128 Range of program numbers

Basic Operation for Track

be erased

erased

If you set “For” to “ALL,” all measures will be specified.

Type of data to be erased

erased

You can also specify the key range by pressing keys on the keyboard.

to be erased

* If you selected “ALL” for “Ch/Part,” the tempo track and beat track

will also be erased at the same time.

Deleting Unwanted Measures (Delete)

This function deletes a specified area of sequencer data, and moves

the subsequent data to fill the gap. As a result, the measure length

will be shortened by the number of deleted measures.

For details on the settings, refer to

Editing

(p. 97).

Parameter Value Explanation

Measure 0001– Range of measures to be deleted

For 1–

ALL

If you set “For” to “ALL,” all measures will be specified.

* The tempo track, beat track, and audio tracks will also be deleted at the

same time.

Basic Operation for Track

Editing a Song (MIDI Track)

Inserting a Blank Measure (Insert)

This function inserts blank measures into a specified song position.

As you can set the time signature of the blank measures, this is

convenient when inserting a phrase having a different time signature

in the middle of a song.

For details on the settings, refer to

Editing

(p. 97).

Parameter Value Explanation

Measure 0001–END Measure location at which the blank

For 1– Number of blank measures to be insert-

Beat Numerator: 1–32

* Blank measures will also be inserted into the tempo track, beat track,

and audio tracks at the same time.

Denominator: 2, 4, 8, 16

Basic Operation for Track

measures are to be inserted

In general, the time signature of the measure immediately before insertion will be used for the blank measures. To change the time signature of the blank measures to be inserted, use this parameter.

* Beat can be specified only when you have

set “Track” to “TRK ALL.”

Transpose the Key (Transpose)

If You Want to Lower the Bass Sound One Octave...

If your bass is played one octave higher than the staff notation, use the Transpose function to lower it one octave.

To lower the bass sound one octave, set the Range parameter to “Lowest-Highest” for the bass part, and set the Bias parameter to “-12.”

When You Want to Change Percussion Sounds...

You can also use the Transpose function to change percussion sounds.

Suppose you want to change conga to tom. If the conga sound is assigned to the D4 key, and the tom sound is assigned to the C3 key, set the Range parameter to “D4–D4” and the Bias parameter to “-14.”

Editing Individual Items of Sequencer Data (Micro Edit)

Micro Edit lets you edit individual items of sequencer data recorded in a song, such as MIDI messages and tempo data.

* When you’re going to edit a song, you have to first load it into the

Temporary Area (p. 94).

This transposes the pitch of notes within a specified area, over a +/-

127 semitone range. Use this function to modulate from one key to

another in a song, or to transpose the entire song.

For details on the settings, refer to

Editing

(p. 97).

Parameter

Ch/Part

Measure 0001– Range of measures to be transposed

For 1–ALL

Range Min 0 (C -)–127 (G9) Range of note numbers to be transposed

Range Max

Bias -127– +127 Transpose amount in semitone steps

Value Explanation

ALL, Ch 1–16 MIDI channel(s) of the notes to be trans-

ALL:

Transposes all notes.

Ch 1–16:

Transposes only the notes of a specific MIDI

channel.

Basic Operation for Track

posed

If you set “For” to “ALL,” all measures will be specified.

You can also specify the key range by pressing keys on the keyboard.

Set a “+” (positive) value to raise the pitch, or a “-” (negative) value to lower the pitch.

Editing Sequencer Data (Basic Procedure in the Microscope)

Access the Microscope screen when you want to view the sequencer data recorded in a song. Each line indicates the location (measurebeat-tick) at which the sequencer data is recorded, and the data recorded at that location.

Load the song that contains the sequencer data you want to view/edit (p. 115).

Press [F3 (MICRO)].

The MICROSCOPE screen appears.

Press [ ] [ ] to view sequencer data.

Displays the parameter data at the cursor location

MIDI channel

Location of the sequencer data (measure-beat-tick)

* Each time you press [F6 (VIEW)] you will switch between the two

screens. (Piano Roll ↔ Event List)

Sequencer data

Editing a Song (MIDI Track)

Press [F5 (CH/PART)].

The Ch/Part Select window appears.

Select the track whose performance data you want to view or edit.

• [F3 (MIDI)]: MIDI track

Use the VALUE dial or [INC] [DEC] to make your selection.

ALL:

Tracks of all MIDI channels

Ch1–Ch16:

• [F4 (TEMPO)]:

• [F5 (BEAT)]:

For an explanation of each type of sequencer data, refer to “Sequencer Data Handled by a MIDI Track,” below.

Press [F6 (CLOSE)] to close the window.

Use [ ] [ ] or the VALUE dial to select the performance

data that you want to edit.

Press [ ] [ ] to select the parameter that you want to edit.

Use the VALUE dial or [INC] [DEC] to set the value.

When editing the Note Number of note or polyphonic

aftertouch data, or the On Velocity or Off Velocity of a note, you

can also specify the value by playing a key on the keyboard.

• When you press [ENTER], the sequencer data currently shown

at the “ ” will be transmitted from the MIDI OUT connector. In

the case of a note message, the note will sound when you press

[ENTER].

If you want to edit a system exclusive message, refer to “Editing

a System Exclusive Message,” below.

To close the MICROSCOPE screen, press [EXIT].

The track of the specified MIDI channel

Tempo track

Beat track

Editing a System Exclusive Message

Use [ ] [ ] or the VALUE dial to select the system exclusive message that you want to edit.

Press [ ].

The System Exclusive Edit screen appears.

Press [ ] [ ] [ ] [ ] to move the cursor to the data you want to edit.

Use the VALUE dial or [INC] [DEC] to edit the value.

• If you want to add data between “F0” and “F7,” move the

cursor to that location and press [F3 (INS)]. A value of “00” will

be inserted. Change this to the desired value.

• To delete data, move the cursor to the relevant location and

press [F2 (DEL)].

When you are finished editing, press [F6 (EXEC)] to finalize the values of the system exclusive message.

* To cancel, press [F5 (CANCEL)].

If you decide to discard the changes you made to the system

exclusive message and return to the MICROSCOPE screen,

press [EXIT].

• In the case of a Roland type IV system exclusive message, the

checksum can be calculated automatically when you finalize the

values. If you do not want to calculate the checksum

automatically, press [F1 (AT SUM)] to remove the check mark (✔).

• When you press [F4 (TEST)], the system exclusive message you

are editing will be transmitted from the MIDI OUT connector.

Sequencer Data Handled by a MIDI Track

MIDI tracks can record the following seven types of sequencer data.

The recorded location (measure-beat-tick) is displayed at the far left

of each data item, and the MIDI channel number is displayed beside

it.

Note (  )

These MIDI messages represent notes. From the left, the parameters

are Note Number, which indicates the name of the note; On Velocity,

which specifies the force with which the key is pressed; Duration,

which specifies the duration of the note; and Off Velocity, which

determines the speed with which the key is released.

100

Program Change

This MIDI message switches sounds. The program number (PC#)

selects the sound.

Roland JUNO-G User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

USING THE UNIT SAFELY

IMPORTANT NOTES

Contents

Main Features

Panel Descriptions

Front Panel

Rear Panel

Getting Ready

Connections

Turning On/Off the Power

Adjusting the Display Contrast (LCD Contrast)

Listening to the Demo Songs

Turning Off the Power

Various Performance Features

Overview of the JUNO-G

How the JUNO-G Is Organized

Basic Structure

Classification of JUNO-G Sound Types

About Simultaneous Polyphony

About Memory

Temporary Memory

Rewritable Memory

Non-Rewritable Memory

About the Onboard Effects

Effect Types

How Effects Units Work in Different Modes

About the Song Recorder

What Is a Song?

What Is a Track?

Positions for Storing a Song

About Audio Track Recording

Where Samples are Stored

Basic Operation of the JUNO-G

Switching the Sound Generator Mode

Patch Mode

About the Function Buttons

Performance Mode

Moving the Cursor

Changing a Value

Assigning a Name

VALUE Dial

[INC] and [DEC]

Playing in Patch Mode

About the PATCH PLAY Screen

Functions in the PATCH PLAY Screen

Patch/Rhythm Set Group

Selecting Patches in the Main Screen

Selecting Patches by Category

Using the Category Group Buttons to Select Patches

Selecting Patches from the List

Selecting Patches by Category

Selecting Favorite Patches/Rhythm Sets (Favorite Patch)

Auditioning a Patch or Rhythm Set (Phrase Preview)

Transposing the Keyboard in Octave Units (Octave Shift)

Transposing the Keyboard in Semitone Steps (Transpose)

Selecting the Tones That Will Sound (Tone On/Off)

Adjusting the Volume Balance between the Keyboard Performance and the Rhythm Pattern

Playing Percussion Instruments

Creating a Patch

How to Make Patch Settings

Using the Knobs to Edit the Sound

Editing in a Graphic Display (Zoom Edit)

Viewing and editing all parameters (PRO EDIT)

Using the SOUND MODIFY Knobs to Change the Value

Initializing Patch Settings

Copying Patch (Tone) Settings

Functions of Patch Parameters

Settings Common to the Entire Patch

Modifying Waveforms/Pitch/Pitch Envelope

Modifying the Brightness of a Sound with a Filter (TVF/TVF Envelope)

Adjusting the Volume (TVA/TVA Envelope)

Matrix Control Settings/Miscellaneous Settings

Modulating Sounds/Output

Setting Effects for a Patch (Effects/MFX/MFX Control/Chorus/Reverb)

Creating a Rhythm Set

How to Make Rhythm Set Settings