Roland JUNO-X Parameter Guide

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Page 1

Parameter Guide

Page 2

Contents

Scene Parameter

ÄSCENE COMMON

ÄSCENE PART

ÄSCENE ZONE

ÄSCENE PART MFX

ÄSCENE EFFECT: Dly

Delay Parameters

ÄSCENE EFFECT: Rev

Reverb Parameters

ÄSCENE EFFECT: Cho

Chorus Parameters

ÄSCENE EFFECT: OD

ÄARP COMMON

ÄARP PART

.................................... 13

Tone Parameters

ÄTONE COMMON Parameters

ÄTONE Parameters

ÄTONE RD SYMPATHETIC RESO Parameter

.............................. 3

.................................. 4

.................................. 6

.............................. 6

(Delay)

....................... 7

................................ 7

(Reverb)

....................... 8

............................... 8

(Chorus)

...................... 9

............................... 9

(Overdrive)

..................... 11

................................ 11

.............................. 16

..................... 16

.............................. 18

........... 30

MFX Parameters

ÄMFX List

ÄMFX Common Parameters

ÄFilter

ÄPhaser

ÄFlanger

ÄChorus

ÄModulation

ÄDrive / Amp

ÄComp / Limiter

ÄDelay

ÄLooper

ÄLo-Fi

ÄPitch

ÄCombination

ÄNote

..................................... 36

........................................ 37

....................................... 41

...................................... 43

...................................... 44

........................................ 54

...................................... 58

........................................ 59

........................................ 72

.............................. 36

................................... 46

.................................. 49

................................ 52

................................. 60

....................... 37

System Parameters

ÄSystem Parameters

ÄSYSTEM EFFECT: Dly

ÄSYSTEM EFFECT: Rev

ÄSYSTEM EFFECT: Cho

ÄSYSTEM EQ/COMP

ÄSYSTEM COLOR SET

ÄMODEL ASSIGN

............................... 35

............................ 31

........................... 34

............................. 34

............................ 35

Page 3

Part1

Part2

Part3

Part4

expression 127

expression 0

Value

127

Part1

Part3

Part4

expression 127

expression 0

Value

127

Part1

Part4

expression 127

expression 0

Value0

127

Part1

Part2

Part3

Part4

expression 127

expression 0

Value

127

Part1

Part3

Part4

expression 127

expression 0

Value

127

Part1

Part4

expression 127

expression 0

Value

127

Scene Parameter

SCENE COMMON

Parameter Value Explanation

Scene Level

Tempo

ASSIGN

SL1–SL2

S1–S3 Func

0–127 Adjusts the overall volume of the scene.

20.00–300.00

Species the tempo of the scene (including the arpeggio).

SL1, SL2 function assignments

OFF No function is assigned.

CC01–CC95 Controller number 1–95

AFT Aftertouch

BEND DOWN

BEND UP

Applies the same eect as when the pitch bend wheel is moved downward.

Applies the same eect as when the pitch bend wheel is moved upward.

CHO LEVEL Chorus level is assigned.

REV LEVEL Reverb level is assigned.

DLY LEVEL Delay level is assigned.

ARP SHUFFLE I-ARP’s G-Shue parameter is assigned.

ARP DURATION I-ARP’s G-Duration parameter is assigned.

Continuously control the level of parts 1–4.

PART FADE1

Continuously control the level of parts 1–4.

PART FADE2

LEVEL P-1–P-R Each part’s volume is assigned.

AGE The SYSTEM > AGE parameter is assigned.

S1-S3 function assignments

OFF No function is assigned.

CC01–CC95 Controller number 1–95

AFT Aftertouch

MONO/POLY Monophonic/polyphonic switch is assigned.

SCENE DOWN (

SCENE UP (

TONE DOWN (

TONE UP (

PANEL DEC (

) Switch the scene to the previous number.

) Switch the scene to the next number.

) Switch the tone to the previous number.

) Switch the tone to the next number.

) Decreases the parameter’s value.

PANEL INC Increases the parameter’s value.

CHO SW Chorus on/o is assigned.

REV SW Reverb on/o is assigned.

DLY SW Delay on/o is assigned.

Applies the same eect as when the panel’s

)

ARP SW (

ARP HOLD (

DETECT KEYS (

I-ARPEGGIO [ON] button is pressed.

Applies the same eect as when the panel’s

)

I-ARPEGGIO [HOLD] button is pressed.

Applies the same eect as when the panel’s

)

I-ARPEGGIO [KEYS] button is pressed.

Parameter Value Explanation

DETECT BEAT (

Applies the same eect as when the panel’s

)

I-ARPEGGIO [BEAT] button is pressed.

UNISON SW Unison on/o is assigned.

BEND MODE Switches the bend mode.

Executes tuning for the voice slot of a model that simulates an analog synthesizer.

)

AUTO TUNING (

S1–S3 Func

TAP TEMPO (

START/STOP (

The tuning will be corrected in a few seconds, but will subsequently return to the pitch discrepancies specied by the tone parameters.

) Sets the tap tempo function.

) Starts/stops the step editor.

DRV SW Overdrive on/o is assigned.

When the Vocoder tone is selected, this selects

VOC/MIC

whether to use the vocoder sound or the mic input sound.

Species the operation of the button.

* Buttons to which a function marked with “ ” is assigned will operate in LATCH

mode regardless of this setting.

S1–S3 Mode

LATCH

MOMENTARY

The assigned function is switched each time you press the button.

The assigned function is eective only while you hold down the button.

Hold pedal function assignments

OFF No function is assigned.

CC01–CC95 Controller number 1–95

AFT Aftertouch

MONO/POLY Monophonic/polyphonic switch is assigned.

SCENE DOWN Switch the scene to the previous number.

SCENE UP Switch the scene to the next number.

TONE DOWN Switch the tone to the previous number.

TONE UP Switch the tone to the next number.

PANEL DEC Decreases the parameter’s value.

PANEL INC Increases the parameter’s value.

CHO SW Chorus on/o is assigned.

REV SW Reverb on/o is assigned.

DLY SW Delay on/o is assigned.

Applies the same eect as when the panel’s I-ARPEGGIO [ON] button is pressed.

Applies the same eect as when the panel’s I-ARPEGGIO [HOLD] button is pressed.

Applies the same eect as when the panel’s I-ARPEGGIO [KEYS] button is pressed.

Applies the same eect as when the panel’s I-ARPEGGIO [BEAT] button is pressed.

Hold

ARP SW

ARP HOLD

DETECT KEYS

DETECT BEAT

UNISON SW Unison on/o is assigned.

BEND MODE Switches the bend mode.

Executes tuning for the voice slot of a model that simulates an analog synthesizer.

AUTO TUNING

The tuning will be corrected in a few seconds, but will subsequently return to the pitch discrepancies specied by the tone parameters.

TAP TEMPO Sets the tap tempo function.

START/STOP Starts/stops the step editor.

DRV SW Overdrive on/o is assigned.

When the Vocoder tone is selected, this selects

VOC/MIC

whether to use the vocoder sound or the mic input sound.

Species the polarity of the pedal connected to the HOLD jack.

Hold Pole

STANDARD Species standard polarity.

REVERSE Species reverse polarity.

Page 4

Scene Parameter

Part1

Part2

Part3

Part4

expression 127

expression 0

Value

127

Part1

Part3 Part4

expression 127

expression 0

Value

127

Part1

Part4

expression 127

expression 0

Value0

127

Part1

Part2

Part3

Part4

expression 127

expression 0

Value

127

Part1

Part3 Part4

expression 127

expression 0

Value

127

Part1

Part4

expression 127

expression 0

Value0

127

Parameter Value Explanation

Ctrl pedal function assignments

OFF No function is assigned.

CC01–CC95 Controller number 1–95

AFT Aftertouch

BEND DOWN

BEND UP

Applies the same eect as when the pitch bend wheel is moved downward.

Applies the same eect as when the pitch bend wheel is moved upward.

CHO LEVEL Chorus level is assigned.

REV LEVEL Reverb level is assigned.

DLY LEVEL Delay level is assigned.

ARP SHUFFLE I-ARP’s G-Shue parameter is assigned.

ARP DURATION I-ARP’s G-Duration parameter is assigned.

Continuously control the level of parts 1–4.

Ctrl

PART FADE1

Continuously control the level of parts 1–4.

PART FADE2

LEVEL P-1–P-R Each part’s volume is assigned.

AGE The SYSTEM > AGE parameter is assigned.

Part XFade Pos

0–127

This parameter stores the current value of PART FADE as a scene setting.

CTRL SOURCE

OFF, CC01–CC31,

CtrlSrc1–4

CC33–CC95, BEND,

Specify the MIDI messages used for tone control.

AFT

VOICE RSRV

Part1–5

0–10

Species the number of voices reserved for each part when the performance exceeds the maximum polyphony.

SCENE PART

Parameter Value Explanation

Part Level

Pan

Rev Send

Cho Send

Delay Send

Output

Part Sw

Mute Sw

PITCH

Coarse Tune

Fine Tune

Oct Shift

Bend Range

Part 1–4 only

Bend Mode

Part 1–4 only

MODIFY

Cuto

Resonance

Attack

Decay

Release

Vib Rate

Part 1–4 only

Vib Depth

Part 1–4 only

Vib Delay

Part 1–4 only

0–127 Species the volume of each part.

L64–63R

Species the pan of each part’s sound when outputting in stereo.

0–127 Species the send level to reverb.

0–127 Species the send level to chorus.

0–127 Species the send level to delay.

THRU, DRIVE

OFF, ON

Species whether the output of each part goes through the OVER DRIVE eect (DRIVE) or does not go through it (THRU).

Species whether the part is enabled (ON) or disabled (OFF).

OFF, MUTE Species the part mute setting.

-48–+48 Shifts the pitch in units of a semitone.

-50–+50 Finely adjusts the pitch in units of one cent.

-3–+3

Shifts the pitch of the keyboard in units of one octave.

Species the range of pitch change controlled by

0–24, TONE

pitch bend, in semitone units. To use the setting of the tone, choose TONE.

Species the behavior when the pitch bend controller is operated.

NORMAL The conventional pitch bend eect occurs.

The pitch bend eect applies only to the

last-played note. If a note-on occurs while pitch C+L (CATCH + LAST)

bend is already applied, the new note sounds at

the center pitch. The pitch starts changing only

after the controller passes through the center

position.

TONE The tone’s settings are used.

Adjusts how far the lter is open.

-64–+63

Increasing this value makes the sound brighter,

and decreasing it makes the sound darker.

Emphasizes the portion of the sound in the region

of the cuto frequency, adding character to the

-64–+63

sound. Excessively high settings can produce

oscillation, causing the sound to distort.

Increasing this value strengthens the character,

and decreasing it weakens the character.

Adjusts the time over which the sound reaches its

-64–+63

maximum volume after you press the key.

Higher values produce a milder attack; lower

values produce a sharper attack.

Adjusts the time over which the volume decreases

from its maximum value.

-64–+63

Larger settings of this value make the decay

longer, and smaller settings make the decay

shorter.

The time it takes after the key is released for a

sound to become inaudible.

-64–+63

Larger settings of this value make the sound

linger, and smaller settings make the sound end

more sharply.

Adjusts the vibrato speed (the rate at which the

pitch is modulated).

-64–+63

The pitch will be modulated more rapidly for

higher settings, and more slowly with lower

settings.

Adjusts the depth of the vibrato eect (the depth

-64–+63

at which the pitch is modulated).

The pitch will be modulated more greatly for

higher settings, and less with lower settings.

Adjusts the time until vibrato (pitch modulation)

starts to apply.

-64–+63

Higher settings will produce a longer delay

time before vibrato begins, while lower settings

produce a shorter time.

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Scene Parameter

21 3 4

Parameter Value Explanation

CTRL

Mono/Poly

Part 1–4 only

Legato Sw

Part 1–4 only

Porta Sw

Part 1–4 only

Porta Time

Part 1–4 only

Unison Sw

Part 1–4 only

Velo Sens

Voice Assign

KBD Velo

KBD Fixed Velo

Velo Curve

MONO, POLY, TONE

OFF, ON, TONE

0–127, TONE

OFF, ON, TONE

-63–+63

Sets the way sounds are played when the same key is pressed a number of times.

SINGLE

LIMIT

FULL

REAL, FIXED

1–127

OFF, 1–4

Choose “MONO” if you want the tone assigned to the part to play monophonically, or “POLY” if you want to play it polyphonically. To use the setting of the tone, choose “ TONE.”

Legato can be applied when playing monophonically. “Legato” is a playing technique that smooths the transition between notes, minimizing the sense of a gap between them. The eect is similar to the guitar performance techniques of hammering-on and pulling-o. Choose “ON” to apply legato, or “OFF” if not. Choose “TONE” if you want to use the setting specied by the tone.

Species whether portamento is applied. Select “ON” to apply portamento, or “OFF” if you don’t want to apply portamento. Choose “TONE” if you want to use the setting specied by the tone.

When portamento is used, this species the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time. Choose “TONE” if you want to use the setting specied by the tone.

This layers a single sound. Choose “ON” if you want to play using unison, or “OFF” if not. Choose “TONE” if you want to use the setting specied by the tone.

Adjusts the velocity sensitivity. Larger settings raise the sensitivity.

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.

Layer the sound of the same keys. If long-sustaining notes are played consecutively, the previous notes are turned o after a certain number of notes accumulate.

Layer the sound of the same keys. Even with continuous sounds where the sound plays for an extended time without previously played sounds being eliminated.

Species whether the velocity value changes according to the actual strength of your playing (REAL) or is always a xed velocity value regardless of how you play (FIXED).

Species the velocity value when KBD Velo is “FIXED.”

For each part, select one of the following four velocity curves as appropriate for the playing touch of your MIDI keyboard. If you want to use the velocity curve of this unit’s keyboard, choose “OFF.”

Parameter Value Explanation

MIDI

Rx PC

Rx Bank

Rx Bend

Rx Poly Pres

Rx Ch Pres

Rx Mod

Rx Volume

Rx Pan

Rx Exp

Rx Hold-1

Rx Ch

OFF, ON

1–16

Species whether program change is received

(ON) or not received (OFF).

Species whether bank select is received (ON) or

not received (OFF).

Species whether pitch bend is received (ON) or

not received (OFF).

Species whether polyphonic aftertouch is

received (ON) or not received (OFF).

Species whether channel aftertouch is received

(ON) or not received (OFF).

Species whether modulation is received (ON) or

not received (OFF).

Species whether volume is received (ON) or not

received (OFF).

Species whether pan is received (ON) or not

received (OFF).

Species whether expression is received (ON) or

not received (OFF).

Species whether hold 1 is received (ON) or not

received (OFF).

Species the MIDI receive channel of each part.

* If Tx Mode is ON, this is also used as the MIDI transmit

channel setting.

SCALE

Part 1–4 only

CUSTOM Custom: This lets you create a custom scale.

Equal Temperament: This tuning divides an

octave into 12 equal parts.

Every interval produces about the same amount

of slight dissonance.

Just (Major): This scale eliminates dissonance in

fths and thirds. It is unsuited to playing melodies

and cannot be transposed, but is capable of

beautiful sonorities.

Just (Minor): The scales of the major and minor

just intonations are dierent. You can get the

same eect with the minor scale as with the

major scale.

Pythagorean: This scale, devised by the

philosopher Pythagoras, eliminates dissonance in

fourths and fths.

Dissonance is produced in thirds, but melodies

are euphonious.

Kirnberger: This scale is a modication of the

meantone and just intonations that permits

greater freedom in transposition to other keys.

Performances are possible in all keys (III).

Meantone: This scale makes some compromises

in just intonation, enabling transposition to other

keys.

Werckmeister: This is a combination of the

Meantone and Pythagorean scales.

Performances are possible in all keys (rst

technique, III).

Sets the keynote.

Type

Key

C–B

EQUAL

JUST-MAJ

JUST-MIN

PYTHAGORE

KIRNBERGE

MEANTONE

WERCKMEIS

ARABIC Arabic Scale: This scale is suitable for Arabic music.

C, C#, D, D#, E, F, F#, G, G#, A, A#, B

-64–+63 Finely adjusts the pitch.

Switch

In Gain

Low Gain

Low Freq

Mid Gain

Mid Freq

Mid Q

OFF, ON Turns the equalizer (EQ) on/o.

-24–+24 [dB]

20–16000 [Hz]

-24–+24 [dB]

20–16000 [Hz]

0.5–16.0

Species the amount of boost/cut for the input

sound.

Species the amount of boost/cut for the

low-frequency region.

Species the frequency of the low-frequency

region.

Species the amount of boost/cut for the

mid-frequency region.

Species the frequency of the mid-frequency

region.

Species the width of the mid-frequency region.

Higher values produce a narrower width.

Page 6

Scene Parameter

Parameter Value Explanation

High Gain

High Freq

-24–+24 [dB]

20–16000 [Hz]

Species the amount of boost/cut for the high-frequency region.

Species the frequency of the high-frequency region.

SCENE ZONE

Parameter Value Explanation

Keyboard Sw

Key Rng Low

Key Rng Upp

Key Fade Low

Key Fade Upp

Velo Rng Low

Velo Rng Upp

Velo FadeLow

Velo FadeUpp

Ctrl Rx

Rx S1 -S3

Rx SL1 -SL2

Rx HoldPdl

Rx CtrlPdl

Master Kbd

Tx Mode

Mkb Ch

Mkb MSB

Mkb LSB

Mkb PC

Mkb Volume

OFF, ON Turns on/o the part played by the keyboard.

C-–G9

0–127

1–127

0–127

* If a function that is not in units of an individual part is assigned to a controller,

the operation is received regardless of the setting.

OFF, ON

ON, OFF, MKB

1–16

OFF, 0–127

OFF, 1–128

OFF, 0–127 Adjusts the volume of an external MIDI device.

Set the keyboard range in which each part will sound. Make these settings when you want dierent key ranges to play dierent tones. Specify the lower limit (Key Rng Low) and upper limit (Key Rng Upp) of the key range.

Species the degree to which the part is sounded by notes played below the Key Rng Low. If you don’t want the tone to sound at all, set this parameter to “0.”

Species the degree to which the part is sounded by notes played above the Key Rng Upp. If you don’t want the tone to sound at all, set this parameter to “0.”

Specify the lower limit (Velo Rng Low) and upper limit (Velo Rng Upp) of the velocities that will sound the tone. Make these settings when you want dierent tones to sound depending on keyboard playing dynamics.

Species the degree to which the part is sounded by notes played more softly than Velo Rng Low. If you don’t want the tone to sound at all, set this parameter to “0.”

Species the degree to which the part is sounded by notes played more strongly than Velo Rng Upp. If you don’t want the tone to sound at all, set this parameter to “0.”

Species whether [S1]–[S3] button operations are received (ON) or not received (OFF).

Species whether [SL1], [SL2] slider operations are received (ON) or not received (OFF).

Species whether hold pedal operations are received (ON) or not received (OFF).

Species whether Ctrl pedal operations are received (ON) or not received (OFF).

Species whether MIDI messages are transmitted (ON) or not transmitted (OFF). If you’re using this unit as a master keyboard, choose “MKB.”

Species the transmit channel for MIDI messages of the keyboard part.

Here you can enter numerical values for program number and bank select MSB/LSB to switch sounds on an external MIDI device.

SCENE PART MFX

Parameter Value Explanation

FllwToneMFX

Categ

Type

Switch

MFX Parameters

Cho Send

Rev Send

Src1–4

Sens1–4

Asgn1–4

OFF, ON

Ø“MFX List” (p. 36)

OFF, ON Switches the MFX on/o.

Ø“MFX List” (p. 36)

0–127

Species the MIDI message that will control the corresponding MFX CONTROL parameter.

OFF MFX CONTROL will not be used.

CC01–31 Controller number 1–31

CC33–95 Controller number 33–95

BEND Pitch bend

AFT Aftertouch

SYS-CTRL1–4

-63–+63

Ø“MFX List” (p. 36)

* These parameters are not shown if the model assigned to the part is RD-PIANO.

If this is “OFF,” the following parameters are

shown.

Adjusts the amount of chorus.

If you don’t want to add the chorus eect, set it

to “0.”

Adjusts the amount of reverb.

If you don’t want to add the reverb eect, set it to

“0.”

Use the controller that is assigned by the System

Control Source 1–4.

Species the depth of MFX CONTROL.

Specify a positive (+) value if you want to change

the value of the assigned destination in a positive

direction (larger, toward the right, faster, etc.), or

specify a negative (-) value if you want to change

the value in a negative direction (smaller, toward

the left, slower, etc.). Larger values will allow a

greater amount of control.

Page 7

Scene Parameter

SCENE EFFECT: Dly (Delay)

If the “SYSTEM EFFECT: Dly” (p. 34) Source parameter is set to “SCENE,” the following parameters are shown, allowing you to edit the delay type and other parameters.

If the parameter is set to “SYS,” the screen indicates “Source is System.,” and the following parameters are not shown.

Parameter Value Explanation

Switch

DlyType

Level

Rev Send

Delay parameters

Delay Parameters

This is a stereo delay.

Parameter Value Explanation

Dly Sync

Dly Msec

Dly Note

Feedback

HF Damp

OFF, ON Switches the delay on/o.

Ø“Delay Parameters” (p. 7)

0–127

0–127 Species the send level to reverb.

Edit the parameters of the selected delay. The available parameters dier depending on the type of chorus you selected in DlyType.

Ø“Delay Parameters” (p. 7)

Species the output level of the sound with delay applied.

OFF

Delay

OFF, ON If this is “ON,” the delay synchronizes with the tempo.

1–1300

Note (*1)

-98–+98 [%]

200–8000 [Hz], BYPASS (*2)

T-Ctrl Dly

(Time Control Delay)

Adjusts the delay time from the direct sound until the delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the delay sound fed back to the eect is ltered out (BYPASS: no cut).

Parameter Value Explanation

Feedback

HF Damp

Trm Switch

Trm ModWave

Trm Sync

Trm Hz

Trm Note

Trm Depth

2Tap PanDly

-98–+98 [%]

200–8000 [Hz], BYPASS (*2)

OFF, ON Switches the tremolo eect on/o

Modulation Wave

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1

SAW2

TRP Trapezoidal wave

OFF, ON

0.05–10.00 [Hz]

Note (*1)

0–127 Adjusts the tremolo depth.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the ltered out (BYPASS: no cut).

Sawtooth wave

If this is “ON,” the tremolo synchronizes with the tempo.

Adjusts the tremolo rate.

(2 Tap Pan Delay)

Delayed sound is heard from the two locations you specify.

Parameter Value Explanation

Dly Sync

Dly Msec

Dly Note

Feedback

HF Damp

Dly1 Pan

Dly2 Pan

Dly1 Level

Dly2 Level

OFF, ON If this is “ON,” the delay synchronizes with the tempo.

1–1300

Note (*1)

-98–+98 [%]

200–8000 [Hz], BYPASS (*2)

L64–63R Adjusts the stereo location of delay 1.

L64–63R Adjusts the stereo location of delay 2.

0–127 Adjusts the volume of delay 1.

0–127 Adjusts the volume of delay 2.

Adjusts the delay time from the direct sound until the second delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the delay sound fed back to the eect is ltered out (BYPASS: no cut).

A stereo delay in which the delay time can be varied smoothly.

Parameter Value Explanation

Dly Sync

Dly Msec

Dly Note

Acceleration

Feedback

HF Damp

OFF, ON If this is “ON,” the delay synchronizes with the tempo.

1–1300

Note (*1)

0–15

-98–+98 [%]

200–8000 [Hz], BYPASS (*2)

Delay Ó Trem (D

Adjusts the delay time from the direct sound until the delay sound is heard.

When you change the delay time, this species the time over which the current delay time changes to the specied delay time. This aects the speed of pitch change as well as the delay time.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the proportion of the delay sound that is fed back into the eect (BYPASS: no cut).

elay Ó Tremolo)

Tremolo is applied to the delay sound.

Parameter Value Explanation

Input

Dly Sync

Dly Msec

Dly Note

MONAURAL The input is mono-mixed.

STEREO The sound is input in stereo.

OFF, ON If this is “ON,” the delay synchronizes with the tempo.

1–1300

Note (*1)

Adjusts the delay time from the direct sound until the delay sound is heard.

3Tap PanDly

(3 Tap Pan Delay)

Delayed sound is heard from the three locations you specify.

Parameter Value Explanation

Dly Sync

Dly Msec

Dly Note

Feedback

HF Damp

Dly1 Pan

Dly2 Pan

Dly3 Pan

Dly1 Level

Dly2 Level

Dly3 Level

NOTE

(*1) 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4.,

1/2, 1T, 1/2., 1, 2T, 1., 2

(*2) 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000,

6300, 8000 [Hz], BYPASS

OFF, ON If this is “ON,” the delay synchronizes with the tempo.

1–2600

Note (*1)

-98–+98 [%]

200–8000 [Hz], BYPASS (*2)

L64–63R Adjusts the stereo location of delay 1.

L64–63R Adjusts the stereo location of delay 2.

L64–63R Adjusts the stereo location of delay 3.

0–127 Adjusts the volume of delay 1.

0–127 Adjusts the volume of delay 2.

0–127 Adjusts the volume of delay 3.

Adjusts the delay time from the direct sound until the third delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the delay sound fed back to the eect is ltered out (BYPASS: no cut).

Page 8

Scene Parameter

SCENE EFFECT: Rev (Reverb)

Hall

If the “SYSTEM EFFECT: Rev” (p. 34) Source parameter is set to “SCENE,” the following parameters are shown, allowing you to edit the reverb type and other parameters.

If the parameter is set to “SYS,” the screen indicates “Source is System.,” and the following parameters are not shown.

Parameter Value Explanation

Switch

RevType

Level

Reverb Parameters

OFF, ON Switches the reverb on/o.

Ø“Reverb Parameters” (p. 8)

0–127

Edit the parameters of the selected reverb type. The available parameters dier depending on the type of reverb you selected in ReveType.

Ø“Reverb Parameters” (p. 8)

Species the output level of the sound with reverb applied.

Reverb Parameters

OFF

INTEGRA7Rev

Parameter Value Explanation

ROOM1, ROOM2,

Char

PreDelay

Time

Density

Diusion

LF Damp

HF Damp

Spread

Tone

Parameter Value Explanation

PreDelay

Time

Pre LPF

Pre HPF

PreLpLPF

Diusion

HF Damp F

HF Damp R

HALL1, HALL2, PLATE

0–100

0.1–10.0 [sec] Adjusts the decay length of the reverb sound.

0–127 Adjusts the density of the reverb sound.

0–127

0–100 Adjusts the low-frequency portion of the reverb.

0–100 Adjusts the high-frequency portion of the reverb.

0–127 Adjusts the reverb spread.

0–127 Adjusts the tonal character of the reverb.

Warm Hall

0.0–100.0

0.3–30.0 [sec] Adjusts the decay length of the reverb sound.

20–15000 [Hz], BYPASS (*1)

BYPASS, 16–15000 [Hz] (*2)

20–15000 [Hz], BYPASS (*1)

0–127

1000–8000 [Hz] (*3)

0.1–1.0

(INTEGRA 7 Reverb)

Selects the type of reverb.

Adjusts the delay time from the direct sound until the reverb sound is heard.

Adjusts the change in the density of the reverb over time. The higher the value, the more the density increases with time. The eect of this setting is most pronounced with long reverb times.

Adjusts the delay time from the direct sound until the reverb sound is heard.

Adjusts the frequency above which to cut the high-frequency portion of the sound entering the reverb.

Adjusts the frequency below which to cut the low-frequency portion of the sound entering the reverb.

Adjusts the frequency above which to cut the high-frequency portion of the extended reverberation.

Adjusts the change in the density of the reverb over time.

Adjusts the frequency above which to cut the high-frequency portion of the reverb.

Adjusts the amount by which to attenuate the high-frequency portion of the reverb.

Parameter Value Explanation

PreDelay

Time

Size

High Cut

Density

Diusion

LF Damp F

LF Damp G

HF DampF

HF Damp G

Parameter Value Explanation

Char

Pre LPF

Time

Feedback

Parameter Value Explanation

Selection

PreDelay

Time

HF Damp

Density

Attack Gain

Attack Time

ER Density

ER Level

Low Freq

Low Gain

Mid Freq

Mid Gain

Mid Q

HighFreq

HighGain

High Q

0.0–100.0

0–127 Adjusts the decay length of the reverb sound.

1–8 Adjusts the size of room/hall.

160–12500 [Hz], BYPASS (*4)

0–127 Adjusts the density of the reverb sound.

0–127

50–4000 [Hz] (*5)

-36–0 [dB]

4000–12500 [Hz] (*6)

-36–0 [dB]

GS Reverb

ROOM1, ROOM2, ROOM3, HALL1, HALL2, PLATE, DELAY, PAN-DELAY

0–7

0–127 Adjusts the decay length of the reverb sound.

0–127

SRV-2000

R0.3, R1.0, R7.0, R15, R22, R26, R32, R37, H15, H22, H26, H32, H37, P-B, P-A

0–160

0.1–99.0 [sec] Adjusts the decay length of the reverb sound.

0.05–1.00 Adjusts the high-frequency portion of the reverb.

0–9 Adjusts the density of the late reverberation.

0–9 Adjusts the gain of the early reections.

0–9 Adjusts the time of the early reections.

0–9 Adjusts the density of the early reections.

0–99 Adjusts the volume of the early reections.

0.04–1.00 [kHz] Species the frequency of the low range.

-24–+12 [dB] Adjusts the gain of the low range.

0.25–9.99 [kHz] Species the frequency of the middle range.

-24–+12 [dB] Adjusts the gain of the middle range.

0.2–9.0

0.80–9.99 [kHz] Species the frequency of the high range.

-24–+12 [dB] Adjusts the gain of the high range.

0.2–9.0

Adjusts the delay time from the direct sound until

the reverb sound is heard.

Adjusts the frequency above which the

high-frequency portion of the nal output sound

is cut (BYPASS: no cut)

Adjusts how reverb density increases over time.

This eect is especially noticeable with long

reverb times.

Adjusts the frequency below which the

low-frequency portion of the reverb sound is cut.

Adjusts the LF damp attenuation amount (0: no

eect).

Adjusts the frequency above which the

high-frequency portion of the reverb sound is cut.

Adjusts the HF damp attenuation amount (0: no

eect).

Selects the type of reverb.

Adjusts the amount of high-frequency

attenuation for the sound being input to the

reverb.

Adjusts the level at which the reverb sound is

returned to the input.

Selects the type of reverb oered by the Roland

SRV-2000 digital reverb.

Adjusts the delay time from the direct sound until

the reverb sound is heard.

Adjusts the width of the middle range.

Set a higher value to narrow the range to be

aected.

Species the width of the high-frequency range.

Set a higher value to narrow the range to be

aected.

Page 9

Scene Parameter

SRV-2000NL

Parameter Value Explanation

PreDelay

ReverbTime

GateTime

Low Freq

Low Gain

Mid Freq

Mid Gain

Mid Q

HighFreq

HighGain

Hi Q

Parameter Value Explanation

Char

Time

0–120

-0.9–+99.0 [sec] Adjusts the decay length of the reverb sound.

10–450

0.04–1.00 [kHz] Species the frequency of the low range.

-24–+12 [dB] Adjusts the gain of the low range.

0.25–9.99 [kHz] Species the frequency of the middle range.

-24–+12 [dB] Adjusts the gain of the middle range.

0.2–9.0

0.80–9.99 [kHz] Species the frequency of the high range.

-24–+12 [dB] Gain of the high range.

0.2–9.0

GM2 Reverb

SMALL ROOM, MEDIUM ROOM, LARGE ROOM, MEDIUM HALL, LARGE HALL, PLATE

0–127 Adjusts the decay length of the reverb sound.

GatedReverb

(NON-LINEAR)

Adjusts the delay time from the direct sound until the reverb sound is heard.

Adjusts the time from when the reverb starts being heard until the reverb sound is cut o.

Species the width of the middle range. Set a higher value to narrow the range to be aected.

Species the width of the high-frequency range. Set a higher value to narrow the range to be aected.

Selects the type of reverb.

SCENE EFFECT: Cho (Chorus)

If the “SYSTEM EFFECT: Cho” (p. 34) Source parameter is set to “SCENE,” the following parameters are shown, allowing you to edit the chorus type and other parameters.

If the parameter is set to “SYS,” the screen indicates “Source is System.,” and the following parameters are not shown.

Parameter Value Explanation

Switch

ChoType

Level

Rev Send

Chorus Parameters

This is a stereo chorus.

Parameter Value Explanation

Rate

Depth

Feedback

OFF, ON Switches chorus on/o.

Ø“Chorus Parameters” (p. 9)

0–127

0–127 Species the send level to reverb.

Edit the parameters of the selected chorus. The available parameters dier depending on the type of chorus you selected in ChoType.

Ø“Chorus Parameters” (p. 9)

Species the output level of the sound with

chorus applied.

OFF

Chorus

0–127 Adjusts the frequency of modulation.

0–127 Adjusts the depth of modulation.

0–127

Adjusts the level at which chorus sound is

returned to the input.

Parameter Value Explanation

NORMAL This is a standard gate reverb.

Type

Pre Delay

Gate Time

NOTE

(*1) 16, 20, 25, 32, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800, 1000, 1250,

(*2) BYPASS, 16, 20, 25, 32, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800,

(*3) 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

(*4) 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600, 2000, 2500, 3200, 4000, 5000,

(*5) 50, 64, 80, 100, 125, 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600, 2000,

(*6) 4000, 5000, 6400, 8000, 10000, 12500 [Hz]

REVERSE This is a reverb for which the sound ramps up in volume.

SWEEP1 The reverb sound moves from right to left.

SWEEP2 The reverb sound moves from left to right.

0.0–100.0 [ms]

5–500 [ms] Adjusts the decay length of the reverb sound.

1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500, 15000 [Hz], BYPASS

1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500, 15000 [Hz]

6400, 8000, 10000, 12500 [Hz], BYPASS

2500, 3200, 4000 [Hz]

Adjusts the delay time from when the direct sound plays until the reverb sound is heard.

(Chorus)

CE-1

This models the classic BOSS CE-1 chorus eect unit. It provides a chorus sound with a distinctively analog warmth.

Parameter Value Explanation

Intensity

0–127 Adjusts the chorus depth.

SDD-320

(Dimension D)

This models Roland’s DIMENSION D (SDD-320). It provides a clear chorus sound.

Parameter Value Explanation

Mode

1, 2, 3, 4, 1+4, 2+4, 3+4

Delay

Switches the mode.

This is a stereo delay.

Parameter Value Explanation

If this is

ON,” the delay synchronizes with the

Dly Sync

Dly Msec

Dly Note

Feedback

HF Damp

OFF, ON

1–1300

Note (*1)

-98–+98 [%]

200–8000 [Hz], BYPASS (*2)

“

tempo.

Adjusts the delay time from the direct sound until

the delay sound is heard.

Adjusts the proportion of the delay sound that is

fed back into the eect. Negative (-) settings will

invert the phase.

Adjusts the frequency above which the delay

sound fed back to the eect is ltered out (BYPASS:

no cut).

Page 10

Scene Parameter

T-Ctrl Dly

(Time Control Delay)

A stereo delay in which the delay time can be varied smoothly.

Parameter Value Explanation

Dly Sync

Dly Msec

Dly Note

Acceleration

Feedback

HF Damp

OFF, ON

1–1300

Note (*1)

0–15

-98–+98 [%]

200–8000 [Hz], BYPASS (*2)

Delay Ó Trem (D

If this is “ON,” the delay synchronizes with the tempo.

Adjusts the delay time from the direct sound until the delay sound is heard.

When you change the delay time, this species the time over which the current delay time changes to the specied delay time. This aects the speed of pitch change as well as the delay time.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the proportion of the delay sound that is fed back into the eect (BYPASS: no cut).

elay Ó Tremolo)

Tremolo is applied to the delay sound.

Parameter Value Explanation

Input

Dly Sync

Dly Msec

Dly Note

Feedback

HF Damp

Trm Switch

Trm ModWave

Trm Sync

Trm Hz

Trm Note

Trm Depth

MONAURAL The input is mono-mixed.

STEREO The sound is input in stereo.

OFF, ON

1–1300

Note (*1)

-98–+98 [%]

200–8000 [Hz], BYPASS (*2)

OFF, ON Switches the tremolo eect on/o

Modulation Wave of panning

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1

SAW2

TRP Trapezoidal wave

OFF, ON

0.05–10.00 [Hz]

Note (*1)

0–127 Tremolo depth

2Tap PanDly

If this is “ON,” the delay synchronizes with the tempo.

Adjusts the delay time from the direct sound until the delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the ltered out (BYPASS: no cut).

Sawtooth wave

If this is “ON,” the tremolo synchronizes with the tempo.

Tremolo rate

(2 Tap Pan Delay)

3Tap PanDly

(3 Tap Pan Delay)

Delayed sound is heard from the three locations you specify.

Parameter Value Explanation

Dly Sync

Dly Msec

Dly Note

Feedback

HF Damp

Dly1 Pan

Dly2 Pan

Dly3 Pan

Dly1 Level

Dly2 Level

Dly3 Level

OFF, ON

1–2600

Note (*1)

-98–+98 [%]

200–8000 [Hz], BYPASS (*2)

L64–63R Adjusts the stereo location of Delay 1.

L64–63R Adjusts the stereo location of Delay 2.

L64–63R Adjusts the stereo location of Delay 3.

0–127 Adjusts the volume of delay 1.

0–127 Adjusts the volume of delay 2.

0–127 Adjusts the volume of delay 3.

JUNO Chorus

If this is “ON,” the delay synchronizes with the

tempo.

Adjusts the delay time from the direct sound until

the third delay sound is heard.

Adjusts the proportion of the delay sound that is

fed back into the eect. Negative (-) settings will

invert the phase.

Adjusts the frequency above which the delay

sound fed back to the eect is ltered out (BYPASS:

no cut).

(JUNO-106 Chorus)

This models the chorus eects of the Roland JUNO-106.

Parameter Value Explanation

Mode

Noise Level

Parameter Value Explanation

Filter Type

Cuto Freq

Pre Delay

Rate Sync

Rate Hz

Rate Note

Depth

Phase

Feedback

I, II, I+II, JX I, JX II, III, I+III, II+III, I+II+III

0–127 Amount of noise produced by the chorus

JV Chorus

OFF The lter is not used.

LPF This lter cuts o the high frequencies.

HPF This lter cuts o the low frequencies.

200–8000 [Hz]

0.0–100.0 [ms]

OFF, ON

0.05–10.00 [Hz]

Note (*1)

0–127 Adjusts the depth of modulation.

0–180 [deg] Adjusts the depth of the chorus sound.

0–127

Selects the type of Chorus.

I+II, I+III, II+III, I+II+III: The state in which

multiple buttons are pressed at the same time.

Adjusts the center frequency used when the lter

cuts a specic frequency region.

Adjusts the delay time from when the direct

sound plays until the reverb sound is heard.

When this is ON, the delay synchronizes with the

tempo.

Adjusts the frequency of modulation.

Adjusts how much of the sound that is fed into

the chorus is returned to the input.

Delayed sound is heard from the two locations you specify.

Parameter Value Explanation

Dly Sync

Dly Msec

Dly Note

Feedback

HF Damp

Dly1 Pan

Dly2 Pan

Dly1 Level

Dly2 Level

OFF, ON

1–1300

Note (*1)

-98–+98 [%]

200–8000 [Hz], BYPASS (*2)

L64–63R Stereo location of Delay 1

L64–63R Stereo location of Delay 2

0–127 Volume of delay 1

0–127 Volume of delay 2

If this is “ON,” the delay synchronizes with the tempo.

Adjusts the delay time from the direct sound until the second delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the delay sound fed back to the eect is ltered out (BYPASS: no cut).

NOTE

(*1) 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4.,

1/2, 1T, 1/2., 1, 2T, 1., 2

(*2) 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000,

6300, 8000 [Hz], BYPASS

Page 11

Scene Parameter

SCENE EFFECT: OD (Overdrive)

Parameter Value Explanation

Drive Sw

Drive

Cho Send Lev

Rev Send Lev

Dly Send Lev

OFF, ON Turns overdrive on/o.

0–127 Adjusts the degree of distortion.

Adjusts the amount of chorus.

0–127

If you don’t want to add the chorus eect, set it to “0.”

Adjusts the amount of reverb.

0–127

If you don’t want to add the reverb eect, set it to “0.”

Adjusts the amount of delay.

0–127

If you don’t want to add the delay eect, set it to “0.”

ARP COMMON

Parameter Value Explanation

Species the arpeggio type.

What is changed by TYPE

(1) Arpeggio pattern and part arpeggio parameters of

parts 1–4

(2) Sound (tone) and part level of parts 1–4

* For a part whose SCENE ZONE EDIT > Keyboard Sw

is ON, the current sound (tone) and part level are maintained even if you change the TYPE.

* You can use the SYSTEM > ARPEGGIO > Set Tone

setting to turn on/o the function of (2).

Species the arpeggio’s rhythm type.

What is changed by RHYTHM

(1) Arpeggio pattern and part arpeggio parameters of

part R

(2) Sound (drum kit) and part level of part R

* If the SCENE ZONE EDIT > Keyboard Sw is ON, the

current sound (tone) and part level are maintained even if you change the RHYTHM.

* You can use the SYSTEM > ARPEGGIO > Set Drum Kit

setting to specify whether this changes (ON) or does not change (OFF).

(3) Tempo (SCENE or SYSTEM)

* You can use SYSTEM > ARPEGGIO > Set Tempo to specify

whether this changes (ON) or does not change (OFF).

Species a global duration value that applies a

relative adjustment to the duration values of each

part.

Species the global shue value that applies a

relative adjustment to the shue values of each

part.

Arpeggio switch. This is linked with the panel

button.

Arpeggio hold switch. This is linked with the panel

button.

KEYS switch for the arpeggio PLAY DETECTOR. If

this is “ON,” the arpeggio pitch changes according

to the key you play. This is linked with the panel

button.

BEAT switch for the arpeggio PLAY DETEC TOR.

If this is “ON,” the arpeggio pattern changes

according to the timing of your keyboard

performance. This is linked with the panel button.

Species the BEAT sensitivity of the arpeggio

PLAY DETECTOR. Higher values make the pattern

change more sensitively. If you’re unable to

reproduce the same pattern even when you’re

trying to play the keyboard in the same rhythm,

lowering this value might help.

Species the range of keys detected for arpeggio

performance.

Pressing a key outside the specied range will not

aect the arpeggio function.

Type

Rytm

G-Duration

G-Shue

Switch

Hold Sw

Keys Sw

Beat Sw

Detect Sens

In Range Low In Range Up

00–65

* Refer to “Type/

Rhythm list” (p.

12)

00–65

* Refer to “Type/

Rhythm list” (p.

12)

-50–50

0–100

OFF, ON

1–10

C- –G9

Page 12

Scene Parameter

Type/Rhythm list

Type Rytm

OFF OFF

UP 16th KICK

DOWN 16S KICK+HH

UP&DOWN TRI KICK+CLAP

RANDOM 8th LOOP

POLY SYNCP LOOP-S

I-UP 8-16 I-BEAT[2]

I-NO 4-8-16 I-BEAT[3]-1

I-P 4-8-16R I-BEAT[3]-2

I-NO SYNCP I-BEAT[0+3]

I-NO FREE I-BEAT[3]-3

I-ENS P3-1 I-CR78 120

I-ENS P3-2 I-CR78 116

I-ENS P3-3S I-CR78 112S

I-ENS P34-1 I-90’s 70

I-ENS P34-2 I-T808 120

I-ENS P34-3 I-T909 120

I-ENS P34-4 I-T808 120

I-ENS P34-5 I-T909 135

I-ENS P34-6 I-POP 80

I-ENS P34-7 I-T808 80

I-ENS P34-8 I-T808 131

I-ENS P34-9 I-CR78 112S

I-ENSP34-10 I-T707 124

I-ENSP34-11 I-ANA 122

I-ENSP34-12 I-CR78 109

I-ENSP34-13 I-T909 135S

I-ENSP34-14 I-CR78 118

I-ENSP34-15 I-ANA 118

I-ENSP34-16 I-T606 112

I-ENSP34-17 I-T808 149

I-ENSP34-18 I-CR78 124

I-ENSP34-19 I-T909 126

I-ENSP34-20 I-CR78 98S

I-ENSP34-21 I-STD 116S

I-ENSP34-22 I-T808 130

I-ENSP34-23 I-T606 135

I-ENSP34-24 I-CR78 160

I-ENSP34-25 I-ANA 130

I-ENSP34-26 I-CR78 152

I-ENSP34-27 I-T808 138

I-ENSP234-1 I-T808 108

I-ENSP234-2 I-CR78 98

I-ENSP234-3 I-T808 114S

I-ENSP234-4 I-T606 126S

I-ENSP34-28 I-HOUSE 120

I-ENSP34-29 I-HIPHOP109

I-ENSP234-5 I-T808 105

I-ENSP234-6 I-JAZZ 110

I-ENSP234-7 I-POWER 112

I-ENSP34-30 I-T909 125

I-DLY SYNTH I-HIPHOP142

I-DLY PIANO I-T707 123

I-DLY PLUCK I-T808 120

I-BASS AUTO I-T909 118

I-BASS DOWN I-D&B 140

I-ENSP34-31 I-T626 98

I-ENSP34-32 I-80’S 95

I-ENSP34-33 I-T909 110

I-ENSP34-34 I-T808 172

Type Rytm

I-ENSP34-35 I-T7&7 175

I-ENSP34-36 I-EDM 95

I-ENSP34-37 I-CR78 88

I-ENSP34-38 I-T7&7 96

I-ENSP34-39 I-T909 108

I-ENSP34-40 I-T626 105

Page 13

ARP PART

Parameter I-ARP ARP STEP Value Explanation

Switch

Arp Mode

(*1)

I-ARP Style

* Refer to “Style List”

(p. 14)

(*2)

ARP Style

* Refer to “Style List”

(p. 14)

(*2)

Variation

Arp Step Sw

Step Key Shift

Motif

Oct Range

Duration

(*2)

(*3)

(*4)

Grid

Grid Length (*5

Grid Note

(*1)

Grid Oset

(*1)

Grid Sync

Probability

Style

* Refer to “Style List”

(p. 14)

Amount Auto

Amount

Amount Dir

Velo Amount

Grid Oset

Setting

Key Sw Sync

Hold Sw

Transpose

(*)

Velocity

Oset Velo

Shue Rate

µ µ µ

- -

µ µ

µ µ µ

)

µ µ µ

µ µ

µ µ µ

- - 000–111

- - -63–+64 Species the grid position at which the arpeggio pattern starts as an amount of shift from the rst grid position.

- - OFF, ON Turn this ON if you want the arpeggio sounded for each part to be synchronized with the grid.

OFF, ON Species whether each part’s arpeggio is “ON” or “OFF” when the panel arpeggio switch is ON.

Sets how the arpeggio operates for each part.

I-ARP, ARP, STEP

- 1–128 Sets the arpeggio style.

- 1–11 Sets the arpeggio style variation. The number of available variations depends on the style.

- OFF, ON Plays the arpeggio using the pattern data you created with Step Edit.

OFF, ON The pattern data created in Step Edit is played, transposed according to the notes played on the keyboard.

Species the order in which the notes of the chord you play are sounded as an arpeggio.

DOWN

UP&DOWN

RANDOM

NOTE ORDER

RHYTHM

PHRASE

AUTO

- -3–+3

0–100 [%]

2–64 Species the grid length for the arpeggio pattern.

Species the note value represented by one grid of the arpeggio.

4th

8th

8th_3

16th

16th_3

32nd

OFF, 1–64 Sets an arpeggio pattern with a specied probability of playing back note messages.

OFF, ON

0–100% Sets the degree of playback probability.

Standard, Reverse Reverses the degree of change for the Probability Amount.

0–100%

-63–+64 Sets the start position of the pattern that’s set in Probability Style, by using the shift amount from the start grid.

OFF, ON

-36–+36 Shifts the arpeggio notes in semitone steps.

REAL,

1–127

-127–+127 Shifts the velocity values. Use this if the velocity values are not an appropriate match with other parts.

0–100 [%]

I-ARP: Analyzes your keyboard performance and plays the arpeggio pattern that best matches it. ARP: Plays a simple arpeggio pattern. STEP: Plays the pattern data you created using the STEP EDIT function. Use this setting when you want to play

original arpeggio phrases.

Sets the style for the I-ARPEGGIO. You can select the ARP COMMON type for each part.

Sounded consecutively starting at the lowest key you press.

Sounded consecutively starting at the highest key you press.

Sounded consecutively from the lowest to the highest key, and then back down to the lowest.

The keys you press are sounded in random order.

Sounded in the order in which you press the keys.

Notes are sounded as specied by the arpeggio pattern, regardless of the pitches that you play on the keyboard. This is useful when playing a rhythm pattern.

The pitches specied by the arpeggio pattern are played, but shifted according to the pitches that you play. This is useful when you want to transpose the melody while the arpeggio plays.

When you play a chord, priority is given to starting with the lowest pitch. This is eective for a bass part.

Species the range of octaves in which the arpeggio is sounded. You can specify whether the arpeggio is sounded in the octave(s) above (+) or below (-) the notes you play.

Species the duration that the notes of the arpeggio pattern are sounded, as a proportion of the note length. You can set this to make the arpeggiated notes sound briey for a staccato feel, or at their full duration for a tenuto feel.

quarter note (1 grid = 1 beat)

eighth note (2 grids = 1 beat)

eighth note triplet (3 grids = 1 beat)

sixteenth note (4 grids = 1 beat)

sixteenth note triplets (6 grids = 1 beat)

thirty-second note (8 grids = 1 beat)

When this is set to “ON,” your keyboard performance is analyzed and the degree of playback probability is changed automatically.

Sets the volume of notes that play back based on the Probability Style. Smaller values produce lower playback volumes, and the maximum value produces the normal volume.

When this is “ON,” you can turn the arpeggio for the relevant parts on/o in part select mode by using the panel button [9]–[13] keyboard switches.

When the panel’s arpeggio hold switch is ON, this setting species whether the arpeggio performance of each part is held when you release the keyboard (ON) or stops when you release the keyboard (OFF).

Species the velocity of the arpeggiated notes. If you want the velocity to vary according to the strength at which you actually press the key, choose (REAL). If you want the velocity to be a xed value regardless of your actual playing dynamics, specify that value (1–127).

Varies the timing of even-numbered beats, creating a shue rhythm. A setting of “50%” sounds the notes at equal timing, and increasing this value produces more of a dotted shue feel.

Scene Parameter

Page 14

Scene Parameter

Parameter I-ARP ARP STEP Value Explanation

Species the note resolution that is the reference for the shue setting.

Shue Reso

Timing

(*5)

Note O

Poly Remain

K-Range Lo

K-Range Oct

(*1)

Reset Oct

Duck Part

Duck Note

Duck Rate

(*4)

µ µ µ

µ µ

µ µ µ

- - OFF, ON

µ µ µ

16TH Sixteen note

8TH Eighth note

Species the timing at which the arpeggio pattern changes when the PLAY DETECTOR setting BEAT is ON.

IMMEDIATE Change immediately.

BEAT Change at the beginning of the beat.

MEAS Change at the beginning of the measure.

END Change at the beginning of the arpeggio pattern cycle.

Species when previously-sounded notes are turned o if the arpeggio pattern changes.

NORMAL Sound the note length specied by the arpeggio pattern, and then turn the note o.

IMMEDIATE Turn o immediately.

If this is other than “OFF,” the following two behaviors will be dierent than normal.

OFF, 1–127

C -–G 9

OFF, 0–12

OFF, PART 1–PART 4, PART R

Any, C -–G 9

0–100

Even if the arpeggio pattern is mono, chords played on the keyboard are limited to the specied number of notes. Even if you do not play legato, the individual notes that you play up to the specied number are remembered, and reected by the arpeggio performance. This produces a result that feels more like keyboard playing than a conventional arpeggio performance.

Species the lower pitch limit that is sounded by the arpeggio. If the arpeggio attempts to play a note that is lower than this, the octave is raised.

Species the number of higher octaves in which the arpeggio is sounded, relative to K-Range Lo. If the arpeggio attempts to play a note that is higher than this range, the octave is lowered.

If this is “ON,” when the arpeggio returns to the start grid, it plays from the octave that you pressed, regardless of the Oct Range setting.

Velocity duck This temporarily lowers the velocity of a specic note of a specic part when an arpeggio note coincides at the same timing. You can use this to prevent the volume from being excessive when notes overlap, or in a way similar to how a side-chain compressor eect can lower the volume of other instruments at the timing of the kick drum, so that a sense of musical groove is created.

Duck Part: Enter the part to which the eect applies. For example, to specify the rhythm part, set this to “PART R.” If

Duck Note: Species the note of the Duck Part sound that is the target. For example, if you want to target the kick

Duck Rate: Species the proportion by which Velocity Duck lowers the velocity value. Higher values produce a

this is “OFF,” velocity duck does not occur.

drum, specify “C2.” If you specify “Any,” all notes of that part are the target.

greater ducking eect, so that with a setting of “100” there will be no sound at that timing (maximum velocity duck eect). With a setting of “0” there will be no velocity ducking.

(*1)

This is shown only if Arp Mode is set to “I-ARP.”

(*2)

This is shown only if Arp Mode is set to “ARP.”

(*3)

This is shown only if Arp Mode is set to “STEP.”

(*4)

This is shown only if Arp Mode is set to “I-ARP” and “ARP.”

(*5)

This is shown only if Arp Mode is set to “I-ARP” and “STEP.”

Style List

I-ARP Style ARP Style Probability Style

000

001

002

003

004

005

006

007

008

009

010

011

012

013

014

015

016

017

018

019

020

021

022

CURRENT TYPE - -

TYPE1 PART1 SIMPLE EIGHT1

TYPE5 PART1 1/8BASIC1 EIGHT2

TYPE6 PART1 1/8BASIC2 QUARTER1

TYPE7 PART1 1/8BASIC3 QUARTER2

TYPE8 PART1 1/8BASIC4 HALF1

TYPE9 PART1 1/8BASIC5 HALF2

TYPE10 PART1 1/8SYNC11 HALF3

TYPE11 PART3 1/8SYNC12 HALF4

TYPE11 PART4 1/8SYNC13 HALF5

TYPE12 PART3 1/8SYNC14 SHORT1

TYPE12 PART4 1/8SYNC15 SHORT2

TYPE13 PART3 1/8SYNC21 SHORT3

TYPE13 PART4 1/8SYNC22 DOUBLE

TYPE14 PART3 1/8SYNC23 1MEAS1

TYPE14 PART4 1/8SYNC24 1MEAS2

TYPE15 PART3 1/8SYNC25 1MEAS3

TYPE15 PART4 1/8DRIVE1 1MEAS4

TYPE16 PART3 1/8DRIVE2 1MEAS5

TYPE16 PART4 1/8DRIVE3 1MEAS6

TYPE17 PART3 1/8DRIVE4 1MEAS7

TYPE17 PART4 1/8DRIVE5 1MEAS8

TYPE18 PART3 1/8VARI1 1MEAS9

023

024

025

026

027

028

029

030

031

032

033

034

035

036

037

038

039

040

041

042

043

044

045

I-ARP Style ARP Style Probability Style

TYPE18 PART4 1/8VARI2 1MEAS10

TYPE19 PART3 1/8VARI3 1MEAS11

TYPE19 PART4 1/8VARI4 1MEAS12

TYPE20 PART3 1/8VARI5 1MEAS13

TYPE20 PART4 1/16BASC1 1MEAS14

TYPE21 PART3 1/16BASC2 1MEAS15

TYPE22 PART3 1/16BASC3 1MEAS16

TYPE22 PART4 1/16BASC4 1MEAS17

TYPE23 PART3 1/16BASC5 1MEAS18

TYPE23 PART4 1/16SYN11 1MEAS19

TYPE24 PART3 1/16SYN12 1MEAS20

TYPE24 PART4 1/16SYN13 2MEAS1

TYPE25 PART3 1/16SYN14 2MEAS2

TYPE25 PART4 1/16SYN15 2MEAS3

TYPE26 PART3 1/16SYN21 2MEAS4

TYPE26 PART4 1/16SYN22 2MEAS5

TYPE27 PART3 1/16SYN23 2MEAS6

TYPE27 PART4 1/16SYN24 2MEAS7

TYPE28 PART3 1/16SYN25 2MEAS8

TYPE28 PART4 1/16DRVE1 2MEAS9

TYPE29 PART3 1/16DRVE2 2MEAS10

TYPE29 PART4 1/16DRVE3 2MEAS11

TYPE30 PART3 1/16DRVE4 2MEAS12

Page 15

Scene Parameter

046

047

048

049

050

051

052

053

054

055

056

057

058

059

060

061

062

063

064

065

066

067

068

069

070

071

072

073

074

075

076

077

078

079

080

081

082

083

084

085

086

087

088

089

090

091

092

093

094

095

096

097

098

099

100

101

102

103

104

105

106

107

I-ARP Style ARP Style Probability Style

TYPE30 PART4 1/16DRVE5 2MEAS13

TYPE31 PART3 RHYTHM X1 2MEAS14

TYPE31 PART4 RHYTHM X2 2MEAS15

TYPE32 PART3 RHYTHM X3 2MEAS16

TYPE32 PART4 RHYTHM X4 2MEAS17

TYPE33 PART3 RHYTHM X5 2MEAS18

TYPE33 PART4 RHYTHM X6 2MEAS19

TYPE34 PART3 RHYTHM X7 FEW1

TYPE34 PART4 RHYTHM X8 FEW2

TYPE35 PART3 CYCLES3RD FE W3

TYPE35 PART4 CYCLES4TH FEW4

TYPE36 PART3 CYCLES5TH FEW5

TYPE36 PART4 CYCLESMAJ FEW6

TYPE37 PART3 CYCLESMIN VARI1

TYPE37 PART4 CYCMAJ/MN VARI2

TYPE38 PART3 AG PROGR1 VARI3

TYPE38 PART4 AG PROGR2 VARI4

TYPE39 PART3 AG CUTTIN VARI5

TYPE39 PART4 AG 3FINGR VARI6

TYPE40 PART3 AG ARPEGG

TYPE40 PART4 AG SPANS1

TYPE41 PART2 AG SPANS2

TYPE41 PART3 AG RIFFS

TYPE41 PART4 EG CUTTIN

TYPE42 PART2 EG RIFFS

TYPE42 PART3 EG ODRIF1

TYPE42 PART4 EG ODRIF2

TYPE43 PART2 EG ARPEGG

TYPE43 PART3 BLUES GTR

TYPE43 PART4 GTR TRILL

TYPE44 PART4 BASS PHR

TYPE45 PART3 BS SHUFFL

TYPE45 PART4 FRETLESBS

TYPE46 PART3 WALKINGBS

TYPE46 PART4 BALLADBAS

TYPE47 PART2 EP PROGR1

TYPE47 PART3 EP PROGR2

TYPE47 PART4 LTN PIANO

TYPE48 PART2 FUNKCLAV1

TYPE48 PART3 FUNKCLAV2

TYPE48 PART4 SYNTHLEAD

TYPE49 PART2 DANCE SYN

TYPE49 PART3 HARP  

TYPE49 PART4 SYN BASS1

TYPE50 PART3 SYN BASS2

TYPE50 PART4 SYN BASS3

TYPE56 PART3 SYN LINE1

TYPE56 PART4 SYN LINE2

TYPE57 PART3 SYN LINE3

TYPE57 PART4 LEADLINE1

TYPE58 PART3 LEADLINE2

TYPE58 PART4 LEADLINE3

TYPE59 PART3 SEQUENCE1

TYPE59 PART4 SEQUENCE2

TYPE60 PART3 SEQUENCE3

TYPE60 PART4 CHORDS 1

TYPE61 PART3 CHORDS 2

TYPE61 PART4 CHORDS 3

TYPE62 PART3 SHORTIES1

TYPE62 PART4 SHORTIES2

TYPE63 PART3 SHORTIES3

TYPE63 PART4 FATTIES 1

108

109

110

111

112

113

114

115

116

117

118

119

120

121

122

123

124

125

126

127

128

I-ARP Style ARP Style Probability Style

TYPE64 PART3 FATTIES 2

TYPE64 PART4 FATTIES 3

TYPE65 PART3 SHRT&FAT1

TYPE65 PART4 SHRT&FAT2

FAT&SHRT1

FAT&SHRT2

MIXTURE 1

MIXTURE 2

MIXTURE 3

COMBINAT1

COMBINAT2

COMBINAT3

COMBINAT4

COMBINAT5

COMBINAT6

COMBINAT7

COMBINAT8

PLEXI 1 

PLEXI 2 

PLEXI 3 

PLEXI 4 

Page 16

OFF

High note range

Pitch dierence from

equal temperament

Parameter

value

Low note range

Tone Parameters

There are no displayed parameters.

TONE COMMON Parameters

* You can set whether control change messages (CC) are transmitted/received

using the “Tone CC Map” system parameter (p. 32).

TONE COMMON

JUNO-X, JUNO-106, JUNO-106

Parameter Value Explanation

(name)

Catg

TONE COMMON

VOCODER

TONE COMMON

PR-A DRUM, CMN DRUM

TONE COMMON

XV-5080, RD-PIANO, PR-A, PR-B, PD-C, PR-D, COMMON, PR-X

Parameter Value Explanation CC#

(name)

Catg

Level

Pan

Priority

Coarse Tune

Fine Tune

Octave

Tone name

CATEGORY Selects the tone’s category.

Tone name

CATEGORY Selects the tone’s categor y.

0–127

L64–63R

This determines how notes will be managed when the maximum polyphony is exceeded.

LAST

LOUDEST

-48–+48

-50–+50

-3–+3

Adjusts the overall volume of the tone.

Species the pan of the tone. “L64” is far left, “0” is center, and “63R” is far right.

The last-played voices will be given priority, and currently sounding notes will be turned o in order, beginning with the rst-played note.

The voices with the loudest volume will be given priority, and currently sounding notes will be turned o, beginning with the lowest-volume voice.

Adjusts the pitch of the sound up or down in semitone steps (+/-4 octaves).

Adjusts the pitch of the sound up or down in 1-cent steps (+/-50 cents).

Adjusts the pitch of the tone’s sound up or down in units of an octave (+/-3 octaves).

110

Parameter Value Explanation CC#

This setting allows you to apply “stretched tuning” to the tone. (Stretched tuning is a system by which acoustic pianos are normally tuned, causing the lower range to be lower and the higher range to be higher than the mathematical tuning ratios would otherwise dictate.) With a setting of “OFF,” the tone’s tuning will be equal temperament. A setting of “3” will produce the greatest dierence in the pitch of the low and high ranges. The diagram shows the pitch change relative to equal temperament that will occur in the low and high ranges. This setting will have a subtle eect on the way in which chords resonate.

Applies time-varying change to the pitch and volume of the tone that is producing sound, adding a sense of variability. As you increase this value toward the maximum, the variability becomes greater, producing instability.

This is eective when MONO/POLY is set to MONO and Legato Switch is turned “ON.” When you press the next key while still holding down the previous key (legato performance), the pitch changes smoothly. The way in which the change occurs depends on the Legato Retrigger Interval.

When Legato Switch is enabled and you play legato, this species whether retriggering occurs (0–12) or does not occur (OFF). If this is “OFF,” only the pitch of the currentlysounding tones changes according to the pitch of the key. If this is set to 1–12, retriggering occurs smoothly when the pitch dierence during legato performance exceeds the specied value.

If this is set to “4”

Using C4 as the reference pitch, playing notes Db4–E4 legato will change only the pitch without retriggering, but playing the F4 note (which is ve semitones away from C4) legato will retrigger F4. When F4 is retriggered at this time, F4 now becomes the reference pitch.

If this is set to “0”

Each note is retriggered every time regardless of the pitch dierence. For acoustic-type sounds in particular, an unnatural impression can occur if only the pitch is changed, so you’ll need to adjust the Legato Retrigger Interval.

Species whether the portamento eect will be applied (ON) or not applied (OFF).

* Portamento is an eect which smoothly changes the

pitch from the rst-played key to the next-played key. By applying portamento when the MONO/ POLY parameter is “MONO,” you can simulate slide performance techniques on a violin or similar instrument.

Applies portamento only when you play legato (i.e., when you press the next key before releasing the previous key).

115

116

Stretch

Analog Feel

Mono Poly

Legato Sw

Retrig Intvl

(Legato Retrigger Interval)

Porta Sw

Porta Mode

OFF, 1–3

0–127

Species whether the tone will play polyphonically (POLY) or monophonically (MONO).

MONO Sound only the last-played key one at a time.

POLY Two or more notes can be played simultaneously.

OFF, ON

0–12, OFF

OFF, ON

Species the performance conditions for which portamento will be applied.

NORMAL Portamento will always be applied.

LEGATO

Page 17

Tone Parameters

press D4 key

Pitch

Time

press C4 key

press C5 key

press D4 key

Pitch

Time

press C4 key

press C5 key

Parameter Value Explanation CC#

Species the type of portamento eect.

Porta Type

RAT E

The time it takes will depend on the distance between the two pitches.

TIME The time it takes will be constant.

When another key is pressed during a pitch change produced by portamento, a new pitch change will begin. This setting species the pitch at which the change will begin.

Starts a new portamento when another key is pressed while the pitch is changing.

PITCH

Porta Start

Portamento will begin from the pitch where the current change would end.

NOTE

When portamento is used, this species the time

Porta Time

0–1023

over which the pitch will change. Higher settings will cause the pitch change to the next note to

take more time.

Species the pitch change curve for portamento.

Porta Crv

LIN Change on a linear curve.

EXP-L Change on a non-linear curve (gentle slope).

EXP-H Change on a non-linear curve (steep slope).

Species the amount of change in semitone units when the pitch bend wheel is turned all the way

BendRange Up

0–48

upward. For example, if this is “48,” turning the pitch bend wheel all the way upward raises the pitch by four

octaves.

Species the amount of change in semitone units when the pitch bend wheel is turned all the way

BendRange Dw

0–48

downward. For example, if this is “48,” turning the pitch bend wheel all the way downward lowers the pitch by

four octaves.

NORMAL The pitch bend wheel produces the usual eect.

The pitch bend eect applies only to the

BendMode

CATCH+LAST

last-played note. If a note-on occurs while pitch bend is already applied, the new note sounds at the center pitch. The pitch starts changing only after the controller passes through the center position.

Species the amount of volume change that

Soft Lv Sens

0–100

occurs when you operate the soft pedal (CC#67). This is eective when specied for piano sounds.

Parameter Value Explanation CC#

Tone PMT

Species how partials are played according to your keyboard playing dynamics (velocity). If this is “ON,” dierent partials are sounded according to the playing velocity and the Velo Rng Low/Upp and Velo FadeLow/Upp settings.

¹If this is “RANDOM” or “CYCLE,” each partial is

sounded randomly or cyclically.

¹In the case of “RANDOM” or “CYCLE” when

Structure 1-2 (3-4) has a setting other than OFF, partials 1 and 2 (3 and 4) are sounded as a

Vel Ctrl

OFF, ON, RANDOM, CYCLE

pair, either randomly or in alternation.

¹In the case of “RANDOM” or “CYCLE,” velocity

has no eect, but you’ll need to make settings for each partial so that the Velocity Range does not conict.

EXP

Level Crv

LINEAR

When using Vel Ctrl to switch between partials, the crossfade level changes in a non-linear curve.

When using Vel Ctrl to switch between partials, the crossfade level changes in a linear curve.

Synth

This layers a single sound. If the Unison Switch is on, the number of notes layered on one key will change according to the number of keys you play.

Unison Sw

Unison Size

Unison Detn

BendRngFine Up

BendRngFine Dw

OFF, ON

2–8

0–100

¹If the OSC Type is PCM, this is limited to mono

playing.

¹If the Legato Sw is on, the Delay Time is

ignored while playing legato.

¹Even if Retrig Intvl (Legato Retrigger Interval)

is specied, it operates as OFF.

If unison is on, this species the number of notes that are assigned to each key that is pressed. Increasing the Unison Size increases the polyphony, making it more likely that notes will be cut o.

Detunes each of the notes that are allocated by the Unison Size number, producing a detuned eect. As you increase this value, each note is detuned more greatly, producing a thicker sound.

Species a ne adjustment in one-cent units to the amount of change when the pitch bend wheel is turned upward.

Species a ne adjustment in one-cent units to the amount of change when the pitch bend wheel is turned downward.

119

Page 18

Tone Parameters

Parameter Value Explanation CC#

Synth PMT

The sound of partial 1 is modulated by partial 2.

OFF OFF

Implements the oscillator sync function that is provided by an analog synthesizer. The partial 1 oscillator is reset at intervals of partial 2’s pitch cycle.

* This is eective only if OSC Type is “ VA” or “PCM-Sync.”

Implements the ring modulator function that is provided by an analog synthesizer. The output sound of partial 2 is multiplied with partial 1.

Implements the cross modulation function that is provided by an analog synthesizer. The output sound of partial 2 is applied as the pitch of partial 1.

* XMOD2 is available only when Partial 1 and 3 are OSC

Type “VA.”

Implements the oscillator sync function that is provided by an analog synthesizer. The partial 3 oscillator is reset at intervals of partial 4’s pitch cycle.

* This is eective only if OSC Type is “ VA” or “PCM-Sync.”

Implements the ring modulator function that is provided by an analog synthesizer. The output sound of partial 4 is multiplied with partial 3.

Implements the cross modulation function that is provided by an analog synthesizer. The output sound of partial 4 is applied as the pitch of partial 3.

* XMOD2 is available only when Partial 1 and 3 are OSC

Type “VA.”

Sets the partial 1 OSC level.

* It is eective when Structure1-2 is RING.

Sets the partial 2 OSC level.

* It is eective when Structure1-2 is RING.

Sets the partial 3 OSC level.

* It is eective when Structure3-4 is RING.

Sets the partial 4 OSC level.

* It is eective when Structure3-4 is RING.

Cross Modulation Depth when Structure1-2 is XMOD.

Cross Modulation Depth when Structure3-4 is XMOD.

Sets the partial 1 OSC level.

* It is eective when Structure1-2 is XMOD/XMOD2.

Sets the partial 2 OSC level.

* It is eective when Structure1-2 is XMOD/XMOD2.

Sets the partial 3 OSC level.

* It is eective when Structure3-4 is XMOD/XMOD2.

Sets the partial 4 OSC level.

* It is eective when Structure3-4 is XMOD/XMOD2.

This is available if OSC Type is “VA”; it locks the waveform phase between partials.

* It is eective to use this with XMOD2.

Cross Modulation Depth when Structure1-2 is XMOD2.

Cross Modulation Depth when Structure3-4 is XMOD2.

Struct12

Struct34

Ring12 Level

Ring34 Level

Ring OSC1 Lv

Ring OSC2 Lv

Ring OSC3 Lv

Ring OSC4 Lv

XMd12 Dpth

XMd34 Dpth

XMd OSC1 Lv

XMd OSC2 Lv

XMd OSC3 Lv

XMd OSC4 Lv

Ptl Phs Lock

XMd2 12 Dpth

XMd2 34 Dpth

SYNC

RING

XMOD, XMOD2

The sound of partial 3 is modulated by partial 4.

OFF OFF

SYNC

RING

XMOD, XMOD2

0–127 RING level when Structure1-2 is RING.

0–127 RING level when Structure3-4 is RING.

0–127

0–10800

0–127

OFF, ON

0–127

TONE Parameters

TONE

JUNO-X

Parameter Value Explanation CC#

LFO WAVEFORM

LFO NOTE

LFO RATE

LFO DELAY TIME

LFO SYNC

OSC LFO MOD

FILTER MOD

AMP MOD

SUPER SAW

PW MODE

PULSE WIDTH MOD / SSAW DETUNE

SUB OSC PSHIFT

OSC PITCH

SIN, SAW-DW, SQR, S&H

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2, 4

0–1023 Species the rate of the LFO cycle. 29

0–1023

OFF, ON

0–100 Uses the LFO to vary the pitch (vibrato). 26

0–100

OFF, ON

Species the pulse width mode.

If SUPER SAW = OFF:

LFO The pulse width is aected by the LFO.

MANUAL

ENV The pulse width is aected by ENV.

If SUPER SAW = ON:

LFO

MANUAL

ENV

0–127

OFF, ON

-12–+12

Selects the waveform of the LFO. 35

Sets the LFO RATE as a note length, when LFO SYNC is “ON.”

Adjusts the time from when a key is pressed until LFO modulation starts being applied.

Turn this ON to sync the speed of the LFO cycle with the tempo.

Adjusts the amount by which the LFO modulates the cuto frequency.

Sets how much the LFO changes the AMP volume.

Set this to “ON” to use the Super SAW wave instead of the pulse wave.

The pulse width is aected by PULSE WIDTH MOD.

Changes the Super SAW Detune depth based on the LFO.

Sets the Super SAW Detune depth based on PULSE WIDTH MOD.

Sets the Super SAW Detune depth based on the ENV.

If SUPER SAW = OFF:

PW MODE = LFO:

PW MODE = MANUAL:

PW MODE = ENV:

If SUPER SAW = ON:

PW MODE = LFO:

PW MODE = MANUAL:

PW MODE = ENV:

Sets whether to use the settings of the JUNO-106 (OFF) or the JUNO-60 (ON) for the phase setting between the sub-oscillator pulse wave and sawtooth wave.

Adjusts the pitch of the oscillator in semitones.

Adjusts the degree of pulse width change based on the LFO.

Adjusts the pulse width value.

Adjusts the degree of pulse width change based on the ENV.

Adjusts the degree of Super SAW Detune change based on the LFO.

Adjusts the Super SAW Detune depth.

Adjusts the degree of Super SAW Detune change based on the ENV.

117

Page 19

Tone Parameters

Parameter Value Explanation CC#

Shifts the tuning of the sawtooth wave and sub-oscillator to create a detuned eect. Larger values detune the oscillators more, making the sound thicker.

OSC DETUNE

OSC PAN SPLIT

PW LEVEL / SSAW LEVEL

SAW LEVEL

SUB LEVEL

NOISE LEVEL

HPF-STEP

VINTAGE FLT T YPE

CUTOFF

RESONANCE

FLT ENV DEPTH

FLT KEY FOLLOW

FLT VSENS

AMP LEVEL

AMP ENV SEL

AMP VSENS

PENV ATTACK

PENV DECAY

PENV SUSTAIN

PENV RELEASE

PENV VSENS

PENV DEPTH

ENV ATTACK

ENV DECAY

ENV SUSTAIN

ENV RELEASE

BEND FILTER

BEND PITCH

MODULATION LFO

PORTA MODE

PORTA TIME

-50–+50

0–255 Adjusts the pulse wave/Super SAW volume. 16

0–255 Adjusts the volume of the sawtooth wave. 17

0–255 Adjusts the volume of the sub oscillator. 18

0–255 Adjusts the noise volume. 19

0–3

R, M, S

0–1023

-1023–+1023

-200–200

-100–+100

0–127 Adjusts the volume of the tone. 110

ENV F&A, G-AMP

-100–+100

0–1023

-100–+100

0–1023 Species the ENV Attack time. 89

0–1023 Species the ENV Decay time. 90

0–1023 Species the ENV Sustain level. 102

0–1023 Species the ENV Release time. 103

-63–+63

0–1200

-63–+63

OFF, ON

0–1023

Setting this to a positive value raises the pitch of the sawtooth wave while lowering the pitch of the sub-oscillator. Setting this to a negative value lowers the pitch of the sawtooth wave while raising the pitch of the sub-oscillator.

Sets the degree of separation for the panning of the pulse wave/Super SAW, sawtooth wave, sub-oscillator and noise.

Sets the high-pass lter’s cuto frequency in four steps.

Selects one of three response curves, each modeling the LPF of an analog synthesizer of the past.

Species the cuto frequency of the low-pass lter. The frequency region above the cuto frequency is cut, producing a more mellow tonal character.

Boosts the region of the lter’s cuto frequency. Higher values produce a stronger result, giving the sound a distinctively synthesizer-like character.

Adjusts the amount by which the cuto frequency is controlled by the envelope.

Adjusts the amount by which the keyboard pitch aects the cuto frequency (key follow). With smaller values, the cuto frequency becomes lower as you play higher notes.

Adjusts how much the cuto frequency changes according to how hard you play the keys.

Species whether the volume is controlled by the ENV (ENV F&A) or by the gate signal (G-AMP).

Adjusts how much the AMP volume changes according to how hard you play the keys.

Species the attack time of the pitch envelope.

Species the decay time of the pitch envelope.

Species the sustain level of the pitch envelope.

Species the release time of the pitch envelope.

Adjusts the pitch envelope depth according to how hard you play the keys.

Species the depth of the pitch envelope.

Species the range of lter change produced by pitch bend.

Species the range of pitch change produced by pitch bend.

Species the amount of LFO applied by modulation.

Turns portamento on/o. If this is “ON,” the pitch will change smoothly from one note to the next-played note.

Adjusts the time over which the portamento pitch change occurs.

108

122

118

Parameter Value Explanation CC#

Species the pitch change curve for portamento.

Change according to the original curve of the model.

Sets how much aftertouch changes the LFO intensity.

* This is only enabled for products with

aftertouch.

Sets how much aftertouch changes the low-pass lter intensity.

* This is only enabled for keyboards with

aftertouch.

Sets how much aftertouch changes the tone volume.

* This is only enabled for keyboards with

aftertouch.

Adjusts the slight pitch drift that occurs when notes are played on an analog synthesizer.

Simulates the changes that occur as a unit ages.

When this is set to “ON,” the LFO RATE, CUTOFF and RESONANCE produce greater change.

119

PORTA CRV

KEY MODE

AFT LFO

AFT FREQ

AFT LEVEL

PITCH DRIFT

CONDITION

PARAM EXPANSION

ORIGINAL

LINEAR Change in a linear curve.

EXP1 Change in a non-linear curve (gentle slope).

EXP2 Change in a non-linear curve (steep slope).

Species how notes are sounded.

POLY Polyphonic

SOLO Monophonic

UNISON Unison

SL-UNISON Monophonic unison

-63–+63

0–255

0–100

OFF, ON

Page 20

Tone Parameters

TONE

JUNO-106

Parameter Value Explanation CC#

LFO RATE

LFO DELAY TIME

OSC RANGE

OSC LFO MOD

PULSE WIDTH MOD

PW MODE

PW SWITCH

SAW SWITCH

SUB LEVEL

NOISE LEVEL

HPF-STEP

VINTAGE FLT T YPE

CUTOFF

RESONANCE

FLT ENV DEPTH

FILTER MOD

FLT KEY FOLLOW

AMP ENV SEL

AMP LEVEL

ENV ATTACK

ENV DECAY

ENV SUSTAIN

ENV RELEASE

BEND PITCH

BEND FILTER

MODULATION LFO

PORTA MODE

PORTA TIME

PORTA CRV

0–1023 Species the speed of the LFO cycle. 29

0–1023

16’, 8’, 4’ Species the octave of the oscillator.

0–100 Uses the LFO to vary the pitch (vibrato). 26

0–127

LFO, MANUAL

OFF, ON Turns the pulse wave on/o.

OFF, ON Turns the sawtooth wave on/o.

0–255 Adjusts the volume of the sub oscillator. 18

0–255 Adjusts the volume of the noise. 19

0–3

R, M, S

0–1023

-1023–+1023

0 - 100

0 - 200

ENV F&A, G-AMP

0–127 Adjusts the volume of the tone. 110

0–1023 Species the ENV Attack time. 89

0–1023 Species the ENV Decay time. 90

0–1023 Species the ENV Sustain level. 102

0–1023 Species the ENV Release time. 103

0–1200

0–63

OFF, ON

0–1023

Species the pitch change curve for portamento.

ORIGINAL

LINEAR Change in a linear curve.

EXP1 Change in a non-linear cur ve (gentle slope).

EXP2 Change in a non-linear cur ve (steep slope).

Adjusts the time from when the key is pressed until LFO modulation starts to apply.

PM MODE = LFO:

PM MODE = MANUAL:

Selects whether the pulse width is modulated by the LFO (LFO) or kept at the xed value specied by PULSE WIDTH MOD (MANUAL).

Sets the high-pass lter’s cuto frequency in four steps.

Selects one of three response curves, each modeling the LPF of an analog synthesizer of the past.

Species the cuto frequency of the low-pass lter. The frequency region above the cuto frequency is cut, producing a more mellow tonal character.

Boosts the region of the lter’s cuto frequency. Higher values produce a stronger result, giving the sound a distinctively synthesizer-like character.

Adjusts the amount by which the cuto frequency is controlled by the envelope.

Adjusts the amount by which the LFO modulates the cuto frequency.

Adjusts the amount by which the keyboard pitch aects the cuto frequency (key follow). With smaller values, the cuto frequency becomes lower as you play higher notes.

Species whether the volume is controlled by the ENV (ENV F&A) or by the gate signal (G-AMP).

Species the range of pitch change produced by pitch bend.

Species the range of lter change produced by pitch bend.

Species the amount of LFO applied by modulation.

Turns portamento on/o. If this is “ON,” the pitch will change smoothly from one note to the next-played note.

Adjusts the time over which the portamento pitch change occurs.

Change according to the original curve of the model.

Adjusts the modulation depth.

Adjusts the pulse width.

108

118

Parameter Value Explanation CC#

Species how notes are sounded. 119

POLY Polyphonic

KEY MODE

AFT LFO

AFT FREQ

AFT LEVEL

PITCH DRIFT

PARAM EXPANSION

CONDITION

SOLO Monophonic

UNISON Unison

SL-UNISON Monophonic unison

-63–+63

0–255

OFF, ON

0–100

Sets how much aftertouch changes the LFO intensity.

* This is only enabled for products with aftertouch.

Sets how much aftertouch changes the low-pass lter intensity.

* This is only enabled for keyboards with aftertouch.

Sets how much aftertouch changes the tone volume.

* This is only enabled for keyboards with aftertouch.

Adjusts the slight pitch drift that occurs when notes are played on an analog synthesizer.

When this is set to “ON,” the LFO RATE, CUTOFF and RESONANCE produce greater change.

Simulates the changes that occur as a unit ages.

TONE

JUNO-60

Parameter Value Explanation CC #

LFO RATE

LFO DELAY TIME

OCTAVE

OSC LFO MOD

PULSE WIDTH MOD

PW MODE

PW SWITCH

SAW SWITCH

SUB LEVEL

NOISE LEVEL

HPF-STEP

VINTAGE FLT T YPE

CUTOFF

RESONANCE

FLT ENV DEPTH

FILTER MOD

0–1023 Species the speed of the LFO cycle.

0–1023

DOWN, NORMAL, UP

0–100 Uses the LFO to vary the pitch (vibrato).

0–127

Species the pulse width mode.

LFO The pulse width is aected by the LFO.

MANUAL

ENV The pulse width is aected by ENV.

OFF, ON Turns the pulse wave on/o.

OFF, ON Turns the sawtooth wave on/o.

0–255 Adjusts the volume of the sub oscillator. 18

0–255 Adjusts the volume of the noise. 19

0–3

R, M, S

0–1023

-1023–+1023

0–100

Adjusts the time from when the key is pressed until LFO modulation starts to apply.

Species the octave of the oscillator.

PM MODE = LFO:

PM MODE = MANUAL:

PM MODE = ENV:

The pulse width is aected by PULSE WIDTH MOD.

Sets the high-pass lter’s cuto frequency in four steps.

Selects one of three response curves, each modeling the LPF of an analog synthesizer of the past.

Species the cuto frequency of the low-pass lter. The frequency region above the cuto frequency is cut, producing a more mellow tonal character.

Boosts the region of the lter’s cuto frequency. Higher values produce a stronger result, giving the sound a distinctively synthesizer-like character.

Adjusts the amount by which the cuto frequency is controlled by the envelope.

Adjusts the amount by which the LFO modulates the cuto frequency.

Adjusts the degree of pulse width change based on the LFO.

Adjusts the pulse width value.

Adjusts the degree of pulse width change based on the ENV.

108

Page 21

Tone Parameters

Pan

Parameter Value Explanation CC #

Adjusts the amount by which the keyboard pitch aects the cuto frequency (key

FLT KEY FOLLOW

0–200

follow). With smaller values, the cuto frequency becomes lower as you play higher

notes.

AMP ENV SEL

AMP LEVEL

ENV ATTACK

ENV DECAY

ENV SUSTAIN

ENV RELEASE

BEND PITCH

BEND FILTER

MODULATION LFO

ENV F&A, G-AMP

0–127 Adjusts the volume of the tone. 110

0–1023 Species the ENV Attack time. 89

0–1023 Species the ENV Decay time. 90

0–1023 Species the ENV Sustain level. 102

0–1023 Species the ENV Release time. 103

0–700

-63–+63

Species whether the volume is controlled by the ENV (ENV F&A) or by the gate signal (G-AMP).

Species the range of pitch change produced by pitch bend.

Species the range of lter change produced by pitch bend.

Species the amount of LFO applied by modulation.

Turns portamento on/o. If this is “ON,” the

PORTA MODE

PORTA TIME

OFF, ON

0–1023

pitch will change smoothly from one note to the next-played note.

Adjusts the time over which the portamento pitch change occurs.

118

Species the pitch change curve for portamento.

Change according to the original curve of the model.

PORTA CRV

ORIGINAL

LINEAR Change in a linear curve.

EXP1 Change in a non-linear curve (gentle slope).

EXP2 Change in a non-linear curve (steep slope).

Species how notes are sounded.

POLY Polyphonic

KEY MODE

SOLO Monophonic

119

UNISON Unison

SL-UNISON Monophonic unison

Sets how much aftertouch changes the LFO

AFT LFO

-63–+63

intensity.

* This is only enabled for products with

aftertouch.

Sets how much aftertouch changes the

AFT FREQ

-63–+63

low-pass lter intensity.

* This is only enabled for keyboards with

aftertouch.

Sets how much aftertouch changes the tone

AFT LEVEL

PITCH DRIFT

PARAM EXPANSION

CONDITION

-63–+63

0–255

OFF, ON

0–100

volume.

* This is only enabled for keyboards with

aftertouch.

Adjusts the slight pitch drift that occurs when notes are played on an analog synthesizer.

If this is “ON,” the range of change for LFO RATE is wider than on the original model.

Simulates the changes that occur as a unit ages.

TONE

VOCODER, PR-A DRUM, CMN DRUM

There are no displayed parameters.

TONE

XV-5080, RD-PIANO, PR-A, PR-B, PD-C, PR-D, COMMON, PR-X

* The CCs that are supported dier with each partial. (p. 30)

Parameter Value Explanation

Tone PMT

Ptl Sw

Key Rng Low

Key Rng Upp

Key Fade Low

Key Fade Upp

Velo Rng Low

Velo Rng Upp

Velo FadeLow

Velo FadeUpp

Tone PTL

Level

Coarse Tune

Fine Tune

Pit Rnd

Pan

Pan Keyf

OFF, ON

C-–G9

0–127

1–127

0–127

-48–+48

-50–+50

0–1200

L64–63R

-100–+100

Use these switch to turn the partials on/o.

Specify the key range for each partial. Make these settings when you want dierent key ranges to play dierent tones. Specify the lower limit (Low) and upper limit (Upp) of the key range.

Species the degree to which the partial is sounded by notes played below the Key Rng Low. If you don’t want the tone to sound at all, set this parameter to “0.”

Species the degree to which the partial is sounded by notes played above the Key Rng Upp. If you don’t want the tone to sound at all, set this parameter to “0.”

Specify the lower limit (Low) and upper limit (Upp) of the velocities that will sound the partial. Make these settings when you want dierent partials to sound depending on keyboard playing dynamics.

Species the degree to which the partial is sounded by notes played more softly than Velo Rng Low. If you don’t want the tone to sound at all, set this parameter to “0.”

Species the degree to which the partial is sounded by notes played more strongly than Velo Rng Upp. If you don’t want the tone to sound at all, set this parameter to “0.”

Sets the volume of the partial. This setting is useful primarily for adjusting the volume balance between partials.

Adjusts the pitch of the sound up or down in semitone steps (+/-4 octaves).

Adjusts the pitch of the sound up or down in 1-cent steps (+/-50 cents).

This species the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to “0.”

* These values are in units of cents (1/100th of a

semitone).

Sets the pan of the partial. “L64” is far lef t, “0” is center, and “63R” is far right.

Use this parameter if you want key position to aect panning. Positive (+) value will cause notes higher than C4 key (center C) to be panned increasingly further toward the right, and negative (-) value will cause notes higher than C4 key (center C) to be panned toward the left. Higher values will produce greater change.

C4C3C2C1 C5 C6 C7

+100

+50

-50

-100 Key

Use this parameter when you want the stereo location to change randomly each time you press

Pan Rnd

0–63

a key. Higher values will produce a greater amount of change.

Page 22

Tone Parameters

T1 T2 T3 T4

Note o

Level

Time

Note on

T: Time L: Level

Note o

Note on

Note o

Delay time

Note on

No sound played

Note o

Delay time

Note on

Note o

Delay time

Note on

Parameter Value Explanation

This setting causes panning to be alternated between left and right each time a key is pressed. Higher values will produce a greater amount of change. “L” or “R” settings will reverse the order

Pan Alt

L64–63R

in which the pan will alternate between left and right. For example if two partials are set to “L” and “R” respectively, the panning of the two tones will alternate each time they are played.

If this is set to SUSTAIN, the Envelope Level 3 is held from when the envelope Time 3 has elapsed until note-o. When note-o occurs, the envelope transitions from the current value to the Time 4 segment (release segment). If this is set to NO-SUS, the envelope transitions to the release segment after passing Time 3 regardless of

Env Mode

NO-SUS, SUSTAIN

the note-o timing, operating according to the times specied by the envelope.

Partial Delay

This produces a time delay between the moment a key is pressed (or released), and the moment the partial actually begins to sound. You can also make settings that shift the timing at which each partial is sounded. This diers from the Delay in the internal eects, in that by changing the sound qualities of the delayed partials and changing the pitch

DlyMod

for each partial, you can also perform arpeggio-like passages just by pressing one key. You can also synchronize the partial delay time to the tempo of the external MIDI sequencer. If Retrig Intvl (Legato Retrigger Interval) is other than OFF, legato operation occurs only when Delay Mode is NORMAL. Also in this case, Retrig Intvl (Legato Retrigger Interval) operates as “0” (retriggers at each Delay Time).

The partial begins to play after the time specied in the Partial Delay Time parameter has elapsed.

NORMAL

Delay time

Although the partial begins to play after the time specied in the Partial Delay Time parameter has elapsed, if the key is released before the time specied in the Partial Delay Time parameter has elapsed, the partial is not played.

HOLD

DlyMod

Rather than being played while the key is pressed, the partial begins to play once the period of time specied in the Partial Delay Time parameter has elapsed after release of the key. This is eective in situations such as when simulating noises from guitars and other

KEYOFF-NORMAL

instruments.

No Partial Delay

Parameter Value Explanation

Rather than being played while the key is pressed, the partial begins to play once the period of time specied in the Partial Delay Time parameter has elapsed after release of the key. Here, however, changes in the TVA Envelope begin while the

DlyMod

KEYOFF DECAY

key is pressed, which in many cases means that only the sound from the release portion of the envelope is heard.

Dly Time Sync

OFF, ON

Set this ON if you want the partial delay time to synchronize with the tempo.

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32.,

Dly Time Note

1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,

This is available when Dly Time Sync is “ON.” It

species the delay time in terms of a note value. 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2

This is available when Dly Time Sync is OFF. It

Dly Time

Cho Send

Rev Send

0–1023

0–127

species the delay time without regard to the

tempo.

Species the level of the signal sent to the chorus

for each partial.

Species the level of the signal sent to the reverb

for each partial.

Species for each partial whether MIDI pitch

Rx Bend

Rx Expr

Rx Hold

OFF, ON

bend messages are received (ON) or not received

(OFF).

Species for each partial whether MIDI expression

messages are received (ON) or not received (OFF).

Species for each partial whether MIDI hold 1

messages are received (ON) or not received (OFF).

If Redamp Sw is ON, you can perform the Half

Damper operations used for piano sounds.

However, the following conditions must be

Redamp Sw

OFF, ON

satised in order to use this operation.

¹Env Mode is NO-SUS ¹Amp Env’s Level 1 and 2 are 1 or greater ¹Amp Env’s Times are Time 3 > Time4

Out Assign

Wav Gr Type

DRY, MFX

INT, EXT

Species how the sound of each partial will be

output.

Species the type of wave group.

* If an expansion is installed, “EXT” is shown.

Sets the wave group ID within the specied wave

Wav Gr ID

Wav L No. [Wave Name]

Wav R No. [Wave Name]

Wav Gain

A - E

(Wave number)

(Wave name)

(Wave number)

(Wave name)

-18, -12, -6, 0, +6, +12 [dB]

group type.

* This is enabled when Wav Gr Type is “INT.” * If an expansion is installed, the expansion name

“EXZ***” is shown.

Species the Wave within the wave group ID. For

mono use, specify only the left side (L).

For stereo use, specify the right side (R) as well.

If the sound will be played in mono, specify only

Wav L No., and leave Wav R No. set as “0” (OFF).

Sound is not produced if you specify only Wav R

No.

Species the gain (amplitude) of the waveform.

The value will change in 6 dB (decibel) steps.

Each 6 dB increase doubles the gain.

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

(OFF).

FXM Sw

OFF, ON

* FXM (Frequency Cross Modulation) uses a specied

waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound eects.

Species how FXM will perform frequency

FXM Color

1–4

modulation. Higher settings result in a grainier

sound, while lower settings result in a more

metallic sound.

FXM Depth

0–16

Species the depth of the modulation produced

by FXM.

Page 23

Tone Parameters

C4C3C2C1 C5 C6 C7

+50

+100

+200

-50

-100-200

Key

Pitch

-200

C4C3C2C1 C5 C6 C7

+50

+100

-100

-1

-2

Cuto frequency (Octave)

Key

+200

-50

-200

1 2 3 4 5 6 7

LPF BPF HPF PKG

Level

Frequency

Cuto Frequency

High

Low

parameter value

1 2 3 4 5 6 7

Parameter Value Explanation

Pit Keyf

Soft EQ Sens

TVF Type

Cuto

This species the amount of pitch change that will occur when you play a key one octave higher (i.e., 12 keys upward on the keyboard). 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.” Conversely, set this to a negative (-) value if you want the pitch to fall. With a setting of “0,” all keys will produce the

-200–+200

same pitch.

Increases the proportion by which the EQ’s

0–100

HighGain is lowered by the amount of pedal. With a setting of “0,” this has no eect.

Selects the type of TVF lter.

* If Filter Type is set to VCF, this will be LPF.

OFF No lter is used.

Low Pass Filter. This cuts the frequencies in the region above the cuto frequency.

LPF

high-frequency region, the sound becomes more mellow. This is the most common lter used in synthesizers

Band Pass Filter. This leaves only the frequencies

BPF

in the region of the cuto frequency, and cuts the rest. This can be useful when creating distinctive sounds.

High Pass Filter. This cuts the frequencies in the

HPF

region below the cuto frequency. This is suitable for creating percussive sounds emphasizing their higher tones.

Peaking Filter. This emphasizes the frequencies

PKG

in the region of the cuto frequency. You can use this to create wah-wah eects by employing an LFO to change the cuto frequency cyclically.

Low Pass Filter 2. Although frequency components above the cuto frequency are cut, the sensitivity of this lter is half that of the LPF.

LPF2

This makes it a comparatively warmer low pass lter. This lter is good for use with simulated instrument sounds such as the acoustic piano.

* If you set “LPF2,” the setting for the Resonance

parameter will be ignored (p. 23).

Low Pass Filter 3. Although frequency components above the cuto frequency are cut, the sensitivity of this lter changes according to the cuto frequency. While this lter is also

LPF3

good for use with simulated acoustic instrument sounds, the nuance it exhibits diers from that of the LPF2, even with the same TVF Envelope settings.

* If you set “LPF3,” the setting for the Resonance

parameter will be ignored (p. 23).

Selects the frequency at which the lter begins to have an eect on the waveform’s frequency components.

If “LPF/LPF2/LPF3” is selected for the TVF Type

Lower cuto frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.

If “BPF” is selected for the TVF Type

0–1023

Harmonic components will change depending on the TVF cuto frequency setting. This can be useful when creating distinctive sounds.

If “HPF” is selected for the TVF Type

Higher cuto frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

If “PKG” is selected for the TVF Type

The harmonics to be emphasized will vary depending on cuto frequency setting.

Parameter Value Explanation

Use this parameter if you want the cuto

frequency to change according to the key that is

pressed. Relative to the cuto frequency at the

key specied by Cuto Keyf BP (Cuto Keyfollow

Base Point), positive “+” values cause the cuto

frequency to become higher as you play above

the reference key, and negative “-” values cause

the cuto frequency to become lower.

Higher values will produce greater change.

Cuto Keyf

-200–+200

Selects one of the following seven curves that

determine how keyboard playing dynamics

(velocity) inuence the cuto frequency. Set this

to “FIXED” if you don’t want the cuto frequency

to be aected by the keyboard velocity.

Use this parameter when changing the cuto

Since this cuts the

Cuto VCrv

FIXED, 1–7

frequency to be applied as a result of changes

Cuto VSens

-100–+100

in playing velocity. Specify a positive “+” value if

you want the cuto frequency to raise when you

play strongly, or a negative “-” value if you want it

to lower.

Emphasizes the portion of the sound in the

region of the cuto frequency, adding character

to the sound. Excessively high settings can

produce oscillation, causing the sound to distort.

Resonance

0–1023

Use this parameter when changing the

resonance to be applied as a result of changes

Reso VSens

-100–+100

in playing velocity. Specify a positive “+” value if

you want resonance to increase when you play

strongly, or a negative “-” value if you want it to

decrease.

Adjusts the angle of the volume change that will

occur in the selected Bias Direction.

Bias Lv

-100–+100

Higher values will produce greater change.

Negative (-) values will invert the change

direction.

Species the key relative to which the volume

Bias Pos

0–127

will be modied. A setting of 64 is the C4 key

(middle C).

Selects the direction in which change will occur starting from the Bias Position.

The volume will be modied for the keyboard

area below the Bias Point.

The volume will be modied for the keyboard

area above the Bias Point.

The volume will be modied symmetrically

toward the left and right of the Bias Point.

The volume changes linearly with the bias point

at the center.

Bias Dir

LOWER

UPPER

LOWER&UPPER

ALL

Selects one of the following seven curves that

determine how keyboard dynamics will aect

the volume of the partial. Set this to “FIXED” if

you don’t want the volume of the partial to be

aected by the keyboard velocity.

Level VCrv

FIXED, 1–7

Page 24

Tone Parameters

C4C3C2C1 C5 C6 C7

-50

-100

+50

+100

Key

Time

C4C3C2C1 C5 C6 C7

-50

-100

+50

+100

Key

Time

Parameter Value Explanation

Set this when you want the volume of the partial to change depending on the force with which you press the keys.

Level VSens

-100–+100

Set this to a positive (+) value to have the changes in partial volume increase the more forcefully the keys are played; to make the partial play more softly as you play harder, set this to a negative (-) value.

Use this setting if you want the pitch envelope times (Time 2–Time 4) to be aected by the keyboard location. Based on the pitch envelope times for the C4 key, positive (+) value will cause notes higher than C4 to have increasingly shorter times, and negative (-) value will cause them to have increasingly longer times.

PEnv TKeyf

-100–+100

Higher values will produce greater change.

Specify this if you want the lter envelope times (Time 2–Time 4) to vary depending on the keyboard position you play. Relative to the lter envelope times at the C4 key (middle C), positive “+” values shorten the times for notes played in the region above C4, and negative “-” values lengthen the times. Higher values will produce greater change.

FEnv TKeyf

-100–+100

Parameter Value Explanation

Sets the MIDI message used to change the partial parameter with the Matrix Control.

OFF Matrix control will not be used.

CC01–CC31, CC33–CC95

Controller number 1–31, 33–95

BEND Pitch bend

AFT Aftertouch

SYS-CTRL1–4

MIDI messages assigned by the SYSTEM

parameters, MIDI: SysCtrlSrc1–4

VELOCITY Velocity (pressure you press a key with)

KEYFOLLOW Keyfollow (keyboard position with C4 as 0)

TEMPO, Tempo specied by the tempo assign source

LFO1, LFO2

LFO 1

LFO 2

PIT-ENV Pitch envelope

Mctl1 Src Mctl2 Src Mctl3 Src Mctl4 Src

TVF-ENV Filter envelope

TVA-ENV Amp envelope

* Velocity and Keyfollow correspond to Note messages. * Although there are no MIDI messages for LFO 1 through AMP Envelope, they

can be used as Matrix Control. In this case, you can change the partial settings in realtime by playing tones.

* If you want to use common controllers for the entire JUNO-X, select

“SYS-CTRL1”–”SYS-CTRL4.” MIDI messages used as System Control 1–4 are set with the SyCtrlSrc1-4. For details, refer to “System Parameters” (p. 31).

NOTE

¹There are parameters that determine whether or not Pitch Bend,

Controller Number 11 (Expression) and Controller Number 64 (Hold

1) are received (p. 22). 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.”

¹There are parameters that let you specify whether specic MIDI

messages will be received for each zone in a scene (p. 5). When a tone with Matrix Control settings is assigned to a zone, conrm that any MIDI messages used for the Matrix Control will be received. If the JUNO-X is set up such that reception of MIDI messages is disabled, then the Matrix Control will not function.

Selects the partial parameter that is to be controlled when using the Matrix Control. When not controlling parameters with the Matrix Control, set this to “OFF.” Up to four parameters can be specied for each Matrix Control, and controlled simultaneously.

OFF Matrix control will not be used.

PCH Changes the pitch.

CUT Changes the cuto frequency.

RES

Emphasizes the overtones in the region of the

cuto frequency, adding character to the sound.

LEV Changes the volume level.

PAN Changes the pan.

CHO Changes the amount of chorus.

REV Changes the amount of reverb.

PIT-LFO1, PIT-LFO2 Changes the vibrato depth.

TVF-LFO1, TVF-LFO2

TVA-LFO1, TVA-LFO2

PAN-LFO1, PAN-LFO2

LFO1-RATE LFO2-RATE

Changes the wah depth.

Changes the tremolo depth.

Changes the eect that the LFO will have on pan.

Changes the speed of the LFO cycles. The speed

will not change if LFO Rate is set to “note.”

AEnv Tkeyf

Vib Pit Sens

Vib Cut Sens

Vib Amp Sens

-100–+100

Specify this if you want keyboard position to aect the AMP envelope’s times (Time 2–Time 4). Relative to the AMP envelope times at the C4 key (middle C), positive (+) values cause the times to shorten as you play higher on the keyboard, and negative (-) values cause the times to lengthen. Higher values will produce greater change.

-100

-50

+50

+100

C4C3C2C1 C5 C6 C7

Key

Species the amount by which the Pitch Depth of LFO1 is changed by the SCENE PART, MODIFY: Vib Depth.

Species how the TVF Depth of LFO1 is aected by the SCENE PART, MODIFY: Vib Depth.

Species how the SCENE PART, MODIFY: Vib Depth aects the Amp Depth of LFO1.

Mctl1 Dst1–4 Mctl2 Dst1–4 Mctl3 Dst1–4 Mctl4 Dst1–4

PIT-ATK Changes the Time 1 of the pitch envelope.

PIT-DCY

Changes the Time 2 and Env Time 3 of the pitch

envelope.

PIT-REL Changes the Time 4 of the pitch envelope.

TVF-ATK Changes the Time 1 of the FLT envelope.

TVF-DCY

Changes the Time 2 and Env Time 3 of the FLT

envelope.

TVF-REL Changes the Time 4 of the FLT envelope.

T VA-AT K Changes the Time 1 of the AMP envelope.

TVA-DCY

Changes the Time 2 and Env Time 3 of the AMP

envelope.

TVA-REL Changes the Time 4 of the AMP envelope.

Page 25

Tone Parameters

T1 T2 T3 T4

Pitch

Note on

：

Time　　L：Level

Note o

Time

1 2 3 4 5 6 7

Parameter Value Explanation

PMT

FXM

MFX-CTL1–4

PW Applies change to PW.

PWM Applies change to PWM.

FAT Applies change to FAT.

XMOD

Mctl1 Dst1–4 Mctl2 Dst1–4

LFO1-STP LFO2-STP

Mctl3 Dst1–4 Mctl4 Dst1–4

SSAW-DTN

PIT-DPTH Changes the depth of the Pitch envelope.

TVF-DPTH Changes the depth of the Filter envelope.

TVA-DPTH Changes the depth of the AMP envelope.

XMOD2

AT T Changes the OSC level.

R-OSC1-LV

R-OSC2-LV

X-OSC1-LV

X-OSC2-LV

Mctl1 Sns1–4 Mctl2 Sns1–4 Mctl3 Sns1–4

-63–+63

Mctl4 Sns1–4

Damp Free

Stereo Width

Stereo Detn

DF Dcy Oset

Tempo Sync

OFF, 1–127

0–100

-50–+50

-100–+100

OFF, ON

If the Matrix Control is used to split partials, set the PMT Velocity Control (p. 17) to “OFF.”

¹If the Matrix Control is used to split partials,

we recommend setting the Mctl Sns (p. 25) to “+63.” Selecting a lower value may prevent switching of the partials. Furthermore, if you want to reverse the eect, set the value to “-63.”

¹If you want to use matrix control to switch

smoothly between partials, use the Velocity Fade Lower and Velocity Fade Upper (p. 21). The higher the values set, the smoother the switch is between the partials.

Changing the depth of frequency modulation produced by FXM

Applies a change to MFX Src1-4. If this is specied for more than one partial, the result will be the summed values.

This setting is valid only for the carrier partial (Partial 1 or 3), and applies change to the XMd12 Dpth or XMd34 Dpth.

This is valid if the LFO1/LFO2 Waveform is STEP; it species the step position. In this case, the Sns value is ignored.

This is eective if OSC Type is SuperSAW; it applies change to Super-SAW Detune.

This is eective when Structure 1-2 (3-4) is XMOD2; it applies change to XMd2 12 (34) Dpth.

This is valid only for Partial 1 and 3; when Structure 12 (or Structure 34 in the case of Partial

3) is RING, this changes the OSC level of Partial 1 (or 3 in the case of Partial 3).

This is valid only for Partial 1 and 3; when Structure 12 (or Structure 34 in the case of Partial

3) is RING, this changes the OSC level of Partial 2 (or 4 in the case of Partial 3).

This is valid only for Partial 1 and 3; when Structure 12 (or Structure 34 in the case of Partial

3) is XMOD/XMOD2, this changes the OSC level of Partial 1 (or 3 in the case of Partial 3).

This is valid only for Partial 1 and 3; when Structure 12 (or Structure 34 in the case of Partial

3) is XMOD/XMOD2, this changes the OSC level of Partial 2 (or 4 in the case of Partial 3).

Specify the eective depth of the matrix controls. To make an increase in the currently selected value (to get higher values, move to the right, increase rates, and so on), select a positive (+) value; to make a decrease in the currently selected value (to get lower values, move to the left, decrease rates, and so on), select a negative (-) value. For either positive or negative value, greater absolute values will allow greater amounts of change. Set this to “0” if you don’t want to apply the eect.

For notes above the specied note number, the Env Mode operates as NO-SUS. Use this to simulate the undamped region of a piano sound.

Adjusts the amount of width when outputting in stereo. This has no eect when outputting in mono.

Species the detune between LÕR when outputting in stereo.

Species a ne adjustment to the time over which the sound decays when the Damper Free eect is applied.

Set this ON if you want the LFO rate to synchronize with the tempo.

Parameter Value Explanation

Pitch Env

Adjusts the eect of the Pitch Envelope. Higher

settings will cause the pitch envelope to produce

Pit Depth

-100–+100

greater change. Negative (-) value will invert the

shape of the envelope.

If OSC Type is other than VA, this is limited to

±63.

Keyboard playing dynamics can be used to

control the depth of the pitch envelope. If you

want the pitch envelope to have more eect for

Pit VSens

-100–+100

strongly played notes, set this parameter to a

positive (+) value. If you want the pitch envelope

to have less eect for strongly played notes, set

this to a negative (-) value.

This allows keyboard dynamics to aect the Time

1 of the Pitch envelope.

Pit T1 VSens

-100–+100

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.

Use this parameter when you want key release

speed to aect the Time 4 value of the pitch

envelope.

Pit T4 VSens

-100–+100

If you want Time 4 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.

Specify the pitch envelope times (Time 1–Time 4).

Higher settings will result in a longer time until

the next pitch is reached. (For example, Time 2

is the time over which the pitch changes from

Level 1 to Level 2.)

Pit Time1 Pit Time2 Pit Time3

0–1023

* If ADSR Envelope Switch is ON, the Time 2 has no

eect.

Pit Time4

Specify the pitch envelope levels (Level 0–Level

4).

It determines how much the pitch changes from

Pit Lv0 Pit Lv1 Pit Lv2 Pit Lv3 Pit Lv4

-511–+511

the reference pitch (the value set with Coarse

Tune or Fine Tune on the Pitch screen) at each

point.

Positive (+) value will cause the pitch to be

higher than the standard pitch, and negative (-)

value will cause it to be lower.

* If ADSR Envelope Switch is ON, only Level 3 (Sustain)

has an eect. Also in this case, settings with a negative value are ignored.

Selects one of the following 7 curves that will

determine how keyboard playing dynamics will

aect the pitch envelope.

Set this to “FIXED” if you don’t want the pitch

envelope be aected by the keyboard velocity.

Pit VCrv

FIXED, 1–7

Filter Env

Species the depth of the Filter envelope. Higher

Filtr Depth

Filtr VCrv

Filtr VSens

-63–+63

FIXED, 1–7

-100–+100

settings increase the change produced by the

Filter envelope.

Negative (-) value will invert the shape of the

envelope.

Selects one of the following seven types of curve

by which keyboard playing dynamics aect the

depth of the lter envelope.

If you don’t want keyboard playing dynamics to

aect the lter envelope depth, specify “FIXED.”

Specify this if you want keyboard playing

dynamics to aect the lter envelope depth.

Specify a positive “+” value if you want the lter

envelope to apply more deeply as you play more

strongly, or a negative “-” value if you want it to

apply less deeply.

Page 26

Tone Parameters

T1 T2 T3 T4

Note o

Cuto

Frequency

Time

Note on

T: Time L: Level

L3L0L2L1 L4

T1 T2 T3 T4

Note o

Level

Time

Note on

T: Time L: Level

C4C3C2C1 C5 C6 C7

Key

Time

-50

-100

+50

+100

Parameter Value Explanation

Specify this if you want keyboard playing dynamics to aect Time 1 of the lter envelope.

Filtr T1 VSens

-100–+100

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.

Specify this if you want key release velocity to aect Time 4 of the lter envelope. If you want

Filtr T4 VSens

-100–+100

Time 4 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.

Specify the lter envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next cuto frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

Filtr Time1 Filtr Time2 Filtr Time3

0–1023

* If ADSR Envelope Switch is ON, the Time 2 has no

eect.

Filtr Time4

Filtr Lv0 Filtr Lv1 Filtr Lv2 Filtr Lv3 Filtr Lv4

0–1023

Specify the lter envelope levels (Level 0–Level 4). Specify the amount of cuto frequency change at each point relative to the reference cuto frequency (the cuto frequency value specied in the Filter screen).

* If ADSR Envelope Switch is ON, only Level 3 (Sustain)

has an eect.

Amp Env

Specify this if you want keyboard dynamics to aect the AMP envelope’s Time 1. If you want

Amp T1 VSens

Amp T4 VSens

Amp Time1 Amp Time2 Amp Time3 Amp Time4

Amp Lv1 Amp Lv2 Amp Lv3

-100–+100

0–1023

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.

Specify this if you want key release velocity to aect the AMP envelope’s Time 4. If you want Time 4 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.

Specify the AMP envelope times (Time 1–Time 4). Higher settings lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level

2.)

* If ADSR Envelope Switch is ON, the Time 2 has no

eect.

Specify the AMP envelope levels (Level 1–Level 3). These specify the amount of change at each point relative to the reference volume (the partial level value specied in the Amp screen).

* If ADSR Envelope Switch is ON, only Level 3 (Sustain)

has an eect.

Parameter Value Explanation

LFO1

Selects the waveform of the LFO.

SIN Sine wave

TRI Triangle wave

SAW-UP Sawtooth wave

SAW-DW Sawtooth wave (negative polarity)

SQR Square wave

RND Random wave

L1 Waveform

L1 Rate Sync

L1 Rate Note

L1 Step Len

L1 Rate

L1 Oset

L1 Rate Detn

L1 Dly Time

L1 Dly Keyf

TRP Trapezoidal wave

S&H

Sample & Hold wave (one time per cycle, LFO

value is changed)

CHS Chaos wave

VSIN

Modied sine wave. The amplitude of a sine

wave is randomly varied once each cycle.

A waveform generated by the data specied by STEP

LFO Step 1–16. This produces stepped change

with a xed pattern similar to a step modulator.

OFF, ON

Set this ON if you want the LFO rate to

synchronize with the tempo.

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,

Species the LFO rate in terms of a note value.

* This is eective if Rate Sync is “ON.”

1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2, 4

1–16

Species the step size that is looped.

* This is eective if Waveform is STEP.

Species the LFO rate without regard to the

0–1023

tempo. Higher values produce a faster LFO rate (a

shorter cycle).

* This is eective if Rate Sync is OFF.

Raises or lowers the LFO waveform relative to

the central value (pitch or cuto frequency).

Positive (+) value will move the waveform so

-100–+100

that modulation will occur from the central

value upward. Negative (-) value will move the

waveform so that modulation will occur from the

central value downward.

Subtly changes the LFO cycle speed (Rate

parameter) each time you press a key. Higher 0–127

values produce greater change.

This parameter is invalid when Rate is set to

“note.”

Species the time elapsed before the LFO eect

0–1023

is applied (the eect continues) after the key is

pressed (or released).

* After referring to “How to Apply the LFO” (p. 29),

change the setting until the desired eect is achieved.

Adjusts the value for the Delay Time parameter

depending on the key position, relative to the C4

key (center C). To decrease the time that elapses

before the LFO eect is applied (the eect is

continuous) with each higher key that is pressed

in the upper registers, select a positive (+) value;

to increase the elapsed time, select a negative (-)

value. Higher values will produce greater change.

If you do not want the elapsed time before the

LFO eect is applied (the eect is continuous) to

-100–+100

change according to the key pressed, set this to

“0.”

L1 Fade Mod

ON-IN, ON-OUT, OFF-IN, OFF-OUT

Species how the LFO will be applied.

* After referring to “How to Apply the LFO” (p. 29),

change the setting until the desired eect is achieved.

Species the time over which the LFO amplitude

L1 Fade Time

0–1023

will reach the maximum (minimum).

* After referring to “How to Apply the LFO” (p. 29),

change the setting until the desired eect is achieved.

Page 27

Tone Parameters

C4C3C2C1 C5 C6 C7

Key

Time

-50

-100

+50

+100

Parameter Value Explanation

Species whether the LFO cycle will be

L1 Key Trig

L1 Pit Depth

L1 Flt Depth

L1 Amp Depth

OFF, ON

-100–+100

synchronized to begin when the key is pressed (ON) or not (OFF).

Species how deeply the LFO will aect pitch.

* If OSC Type is other than VA, the range is limited to

-63–+63.

Species how deeply the LFO will aect the cuto frequency.

Species how deeply the LFO will aect the volume.

Species how deeply the LFO will aect the pan.

MEMO

Positive (+) and negative (-) value for the Depth parameter result in diering kinds of change in pitch and volume. For example, if you set

L1 Pan Depth

-63–+63

the Depth parameter to a positive (+) value for one partial, and set another partial to the same numerical value, but make it negative (-), the modulation phase for the two partials will be the reverse of each other. This allows you to shift back and forth between two dierent partials, or combine it with the Pan setting to cyclically change the location of the sound image.

Species the LFO’s starting phase value when Key Trigger is “ON.”

* This has no eect if Waveform is RND, S&H, or CHS.

0 1 cycle

L1 Phase Pos

1 1/4 cycle

2 1/2 cycle

3 3/4 cycle

Parameter Value Explanation

This is eective if Rate Sync is OFF.

L2 Rate

0–1023

Species the LFO rate without regard to the

tempo. Higher values produce a faster LFO rate (a

shorter cycle).

Raises or lowers the LFO waveform relative to

the central value (pitch or cuto frequency).

Positive (+) value will move the waveform so

L2 Oset

-100–+100

that modulation will occur from the central

value upward. Negative (-) value will move the

waveform so that modulation will occur from the

central value downward.

Subtly changes the LFO cycle speed (Rate

L2 Rate Detn

0–127

parameter) each time you press a key. Higher

values produce greater change.

This parameter is invalid when Rate is set to “note.”

Species the time elapsed before the LFO eect

L2 Dly Time

0–1023

is applied (the eect continues) after the key is

pressed (or released).

* After referring to “How to Apply the LFO” (p. 29),

change the setting until the desired eect is achieved.

Adjusts the value for the Delay Time parameter

depending on the key position, relative to the C4

key (center C). To decrease the time that elapses

before the LFO eect is applied (the eect is

continuous) with each higher key that is pressed

in the upper registers, select a positive (+) value;

to increase the elapsed time, select a negative (-)

value. Higher values will produce greater change.

If you do not want the elapsed time before the

LFO eect is applied (the eect is continuous) to

L2 Dly Keyf

-100–+100

change according to the key pressed, set this to

“0.”

This is eective if Waveform is STEP. Specify the Depth value of each step. If you want to specify this in pitch scale degrees (100 cents), the settings are as follows.

Pitch Depth: 51, Step: multiples of 6 …

L1 Stp1–16 Depth

L1 Stp1–16 Curve

-72–+72

0–36

LFO2

Selects the waveform of the LFO.

SIN Sine wave

TRI Triangle wave

SAW-UP Sawtooth wave

SAW-DW Sawtooth wave (negative polarity)

SQR Square wave

RND Random wave

L2 Waveform

L2 Rate Sync

L2 Rate Note

L2 Step Length

TRP Trapezoidal wave

S&H

CHS Chaos wave

VSIN

STEP

OFF, ON

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2, 4

1–16

up to one octave of change

Pitch Depth: 74, Step: multiples of 3 …

up to two octaves of change

Pitch Depth: 89, Step: multiples of 2 …

up to three octaves of change

* If OSC Type is not VA, the Pitch Depth setting range is

limited to -63–+63, so only “1” above is possible.

Species the type of curve at each step.

Ø“Step curve types” (p. 29)

Sample & Hold wave (one time per cycle, LFO value is changed)

Modied sine wave. The amplitude of a sine wave is randomly varied once each cycle.

A waveform generated by the data specied by LFO Step 1–16. This produces stepped change with a xed pattern similar to a step modulator.

Set this ON if you want the LFO rate to synchronize with the tempo.

This is eective if Rate Sync is “ON.” Species the LFO rate in terms of a note value.

This is eective if Waveform is STEP. Species the step size that is looped.

L2 Fade Mod

L2 Fade Time

L2 Key Trig

L2 Pit Depth

L2 Flt Depth

L2 Amp Depth

L2 Pan Depth

L2 Phase Pos

ON-IN, ON-OUT, OFF-IN, OFF-OUT

Species how the LFO will be applied.

* After referring to “How to Apply the LFO” (p. 29),

change the setting until the desired eect is achieved.

Species the time over which the LFO amplitude

0–1023

will reach the maximum (minimum).

* After referring to “How to Apply the LFO” (p. 29),

change the setting until the desired eect is achieved.

Species whether the LFO cycle will be OFF, ON

synchronized to begin when the key is pressed

(ON) or not (OFF).

-100–+100

Species how deeply the LFO will aect pitch.

* If OSC Type is other than VA, the range is limited to

-63–+63.

Species how deeply the LFO will aect the cuto

frequency.

Species how deeply the LFO will aect the

volume.

Species how deeply the LFO will aect the pan.

MEMO

Positive (+) and negative (-) value for the Depth

parameter result in diering kinds of change

in pitch and volume. For example, if you set

-63–+63

the Depth parameter to a positive (+) value for

one partial, and set another partial to the same

numerical value, but make it negative (-), the

modulation phase for the two partials will be

the reverse of each other. This allows you to shift

back and forth between two dierent partials,

or combine it with the Pan setting to cyclically

change the location of the sound image.

Species the LFO’s starting phase value when Key Trigger is “ON.”

* This has no eect if Waveform is RND, S&H, or CHS.

0 1 cycle

1 1/4 cycle

2 1/2 cycle

3 3/4 cycle

Page 28

Tone Parameters

Parameter Value Explanation

This is eective if Waveform is STEP. Specify the Depth value of each step. If you want to specify this in pitch scale degrees (100 cents), the settings are as follows.

Pitch Depth: 51, Step: multiples of 6 …

L2 Stp1–16 Depth

L2 Stp1–16 Curve

-72–+72

0–36

up to one octave of change

Pitch Depth: 74, Step: multiples of 3 …

up to two octaves of change

Pitch Depth: 89, Step: multiples of 2 …

up to three octaves of change

* If OSC Type is not VA, the Pitch Depth setting range is

limited to -63–+63, so only “1” above is possible.

Species the type of curve at each step.

Ø“Step curve types” (p. 29)

Gain L

Gain M

Gain H

Freq L

Freq M

Freq H

Mid Q

EQ Sw

-24.0–+24.0 [dB] Gain of the low range.

-24.0–+24.0 [dB] Gain of the middle range.

-24.0–+24.0 [dB] Gain of the high range

20–16000 [Hz] Frequency of the low range.

20–16000 [Hz] Frequency of the middle range.

20–16000 [Hz] Frequency of the high range.

Width of the middle range.

0.5–16.0

Set a higher value to narrow the range to be aected.

OFF, ON Turns the equalizer on/o for each partial.

Synth PTL

Species the oscillator type.

PCM is used. The wave of the number specied by the Wav Gr ID and Wav L/R No. is used.

A numerically calculated analog-modeled wave is generated. The wave of the number specied by Waveform is used.

The wave of the number specied by Sync Wav No. is used.

When “PCM-Sync” is selected for the OSC Type, set the wave to use here. PCM-Sync is an eective oscillator type when “SYNC” is selected for the structure, when partial 1 is set for Structure 1–2 and when partial 3 is set for Structure 3–4.

This eect is produced when the waveform is deformed by varying the duty cycle of the pulse width. It is eective when OSC Type is VA, and is also eective with waveforms other than SQR (square wave).

* If the value is 64, the pulse width has a 50%:50% duty

cycle.

Species the amount (depth) of LFO applied to PW (Pulse Width). PW is modulated according to the LFO2 setting.

Adjusts the Detune depth for SuperSAW. Higher values produce a deeper Detune eect.

* This is eective only when SuperSAW is selected as

the OSC Type.

OSC Type

Wav Form

Sync Wav No.

Pulse Width

PWM Depth

SSaw Detune

PCM

PCM-Sync

SuperSAW SuperSAW is used.

Noise White noise is used.

Species the wave that is used when OSC Type is VA.

SAW Sawtooth wave

SQR Square wave

TRI Triangle wave

SIN sine wave

RAMP Ramp wave

JUNO Modulated sawtooth wave

TRI2 Triangle wave variation

TRI3 Triangle wave variation

SIN2 Sine wave variation

(Wave number)

(Wave name)

0–127

-63–+63

0–127

Parameter Value Explanation

Changes the sense of attack by varying the

position at which the sound starts.

This is available if OSC Type is VA. However, HARD

is eective only when Waveform is TRI, TRI2, SIN,

or SIN2.

Species the cuto frequency of the -6 dB

high-pass lter.

* This parameter is eective when Filter Type is VCF.

Selects the type of lter.

* TVF stands for Time Variant Filter, a lter that lets you

specify in detail how the frequency components of the sound change over time.

* If you select VCF, the polyphony will be lower than if

you select TVF.

Click Type

HPF Cuto

Filter Type

SOFT, HARD, NATURAL, OFF

0–1023

TVF, VCF

This button selects the slope (steepness) of the

lter.

For VCF, you can choose -12, -18, or -24.

For TVF, only -12 or -24 can be selected.

Flt Slope

-12,

-18,

-24 [dB/Oct]

If Filter Type is TVF, the following limitations

apply.

¹You can specify only -12 dB or -24 dB. If you

specify -18 dB, the sound generator operates internally with the -12 dB setting.

¹If you specify -24 dB, the polyphony will be

lower than if you specify -12 dB.

This imitates the operation of the ADSR envelope

that is provided on an analog synthesizer.

ADSR Env Sw

OFF, ON

If ADSR Env Sw is ON, the “Time 2” parameters

of Pitch/Filter/Amp Env Time respectively are

ignored, and only the “Level 3” parameters of

Pitch/Filter/Amp Env Level are valid.

Fat

0–127

Boosts the low-frequency region.

This is eective if OSC Type is VA.

This parameter is eective when Filter Type is

VCF Type

VCF1, J P, MG, P5

VCF.

Each setting simulates the operation of an

analog synthesizer’s LPF. In par ticular, MG, JP, and

P5 are types that are suitable for reproducing

synthesizer sounds of the past.

Species the OSC level.

OSC Attenuator

0–255

255 is the reference value. If you want only the

self-oscillation of the lter to be heard, set this to

“0.”

Species the reference key when using Keyfollow

Cuto Keyf BP

VA Invert Sw

FEnv Fine Depth

PEnvLFOTrig Sw

FEnvLFOTrig Sw

AEnvLFOTrig Sw

0–127

OFF, ON

-63–+63 Finely adjusts the depth of the lter envelope.

OFF, ON

to modify the cuto frequency. If this is 60, the

C4 key (middle C) is the reference key.

If this is “ON,” the phase of the VA waveform is

inverted.

If this is “ON,” the pitch envelope is cyclically

retriggered by LFO1.

* This is eective when Env Mode is SUSTAIN.

If this is “ON,” the lter envelope is cyclically

triggered by LFO1.

* This is eective when Env Mode is SUSTAIN.

If this is “ON,” the amp envelope is cyclically

triggered by LFO1.

* This is eective when Env Mode is SUSTAIN.

Page 29

Tone Parameters

1 2

5 6

3 4

7 8 9 10

12 13 14

16 17 18 19

20 21 22 23

24 25 26 27

28 29 30 31

32 33 34 35

Note on

high (more)

low (less)

Pitch

Cuto Frequency

Level

Pan

Delay

Time

Fade Time

Depth

high (more)

low (less)

Pitch

Cuto Frequency

Level

Pan

Note on

Delay Time

Fade Time

Depth

high (more)

low (less)

Delay

Time

Fade Time

Depth

Note

o

Note

Pitch

Cuto Frequency

Level

Pan

Step curve types

Step Curve 0

Step Curve 1–6

Step Curve 7–10

(variations of square wave)

(variations of ascending saw)

Step Curve 28–31

(variations of descending charging curve)

Step Curve 32–36 (other variations)

How to Apply the LFO

Apply the LFO gradually after the key is pressed

Fade Mod (Fade Mode): ON-IN

Step Curve 11–15

Step Curve 16–19

Step Curve 20–23

(variations of descending saw)

Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the eect

Fade Mod (Fade Mode): ON-OUT

(variations of ascending exponential)

Apply the LFO gradually after the key is released

Fade Mod (Fade Mode): OFF-IN

(variations of descending exponential)

Step Curve 24–27

(variations of ascending charging curve)

Page 30

Tone Parameters

Note on

high (more)

low (less)

Delay

Time

Fade Time

Depth

Note o

Pitch

Cuto Frequency

Level

Pan

Apply the LFO from when the key is pressed until it is released, and gradually begin to decrease the eect when the key is released

Fade Mod (Fade Mode): OFF-OUT

List of supported CCs

Parameter PARTIAL 1 PARTIAL 2 PARTIAL 3 PARTIAL 4

Tone PTL

Level

Fine Tune

Cuto

Resonance

Filter Env

Filtr Depth

Filtr Time1

Filtr Time4

Amp Env

Amp Time1

Amp Time4

LFO1

L1 Rate

L1 Pit Depth

L1 Amp Depth

L1 Flt Depth

LFO2

L2 Rate

L2 Pit Depth

16 17 18 19

21 31 35 46

3 54 55 56

9 57 58 59

81 63 79 80

83 82 85 87

86 102 103 104

89 108 109 111

90 112 114 117

29 20 22 23

26 47 48 50

30 105 106 107

28 60 61 62

14 24 25 27

15 51 52 53

TONE RD SYMPATHETIC RESO Parameter

These parameters adjust the resonance (sympathetic resonance) that occurs when you hold down the damper pedal. On an acoustic piano, holding down the damper pedal allows strings other than those that you play to resonate sympathetically with the played strings, creating a richly expansive resonance. This eect simulates that behavior.

* MODEL RD can be selected for any of the parts. However, when the RD models

are selected only for part 1, the MFX uses the sympathetic resonance effect. The normal MFX is applied when parts 2–4 are selected.

Parameter Value Explanation

SYMPATHETIC RESO

SymReso Switch

SymReso Depth

Cabinet Reso

OFF, ON With the ON setting, the eect is applied.

0–127 Eect depth

0–127

Depth of the resonance when the damper pedal is not pressed.

Page 31

System Parameters

Parameter Value Explanation

AGING

Species whether the character of the sound (pitch variance) change s according to the varying internal temperature of this unit. This has an eect only on analog synthesizer models. The internal temperature value is shown in the upper right of the top screen of the scene.

The character of the sound is not aected by the temperature. Nor is there a temperature indication in the SCENE screen.

The internal temperature starts at the value specied by Aging Init Temp, and changes to the actual temperature (REAL). Although it depends on the temperature dierence, the REAL temperature is reached in approximately ten minutes. After reaching the REAL temperature, the setting follows the actual temperature change.

The internal temperature starts at the value specied

by Aging Init Temp, and then quickly (in approximately ten seconds) changes to the actual temperature (REAL) when you play the keyboard. After reaching the REAL temperature, the setting follows the actual temperature change.

The internal temperature is xed at the value specied by Aging Init Temp, and the character of the sound is maintained at that point.

The internal temperature that is actually measured will be the initial temperature.

Virtually species the initial internal temperature (Centigrade/Fahrenheit).

Simulates the aging of an analog synthesizer’s internal components. Increasing this value changes the sound as it would be on a unit that is a corresponding number of years old. This is valid only for sounds of an analog synthesizer model.

Adjusts the overall tuning. The displayed value is the frequency of the A4 key (middle A).

Species whether the scene’s SCALE TUNE setting is enabled (ON) or disabled (OFF).

Adjusts the audio input level of the USB COMPUTER port.

Adjusts the audio output level to the USB COMPUTER port.

Adjusts the input level of the AUX IN jack and Bluetooth input.

Species whether the audio input of the USB COMPUTER port is mixed into the audio output of the USB COMPUTER port. If you don’t want to output this audio, turn this “OFF.”

* If you turn this “ON,” make settings on the connected

equipment so that the audio does not loop back.

Species whether the input of the AUX IN jack is mixed into the audio output of the USB COMPUTER port. If you don’t want to output this audio, turn this “OFF.”

Species whether sound is output from the speakers. The AUTO setting operates as “OFF” when headphones are connected and as “ON” when headphones are not connected.

Species whether the unit will turn o automatically after a certain time has elapsed. If you don’t want the unit to turn o automatically, choose “OFF” setting.

When the JUNO-X is operating, you can make the LEDs remain dimly lit when o instead of going completely dark. This setting adjusts the LED brightness when dimly lit.

Warm-Up

Init Temp

Age

GENERAL

MasterTune

MasKeyShift

ScaleTuneSw

USB In Lev

USB Out Lev

AuxIn/BT InLev

USB Audio Thru

AUXIN USB Thru

LineOut Gain

Speaker Sw

SPOut Gain

Auto O

LED On Bright

LED OBright

OFF

FAST

FIXED

Species the initial internal temperature for Warm-Up.

REAL

0–60 [°C]/ 32–140 [°F]

OFF, 1–100 [years]

415.3–466.2

-24–+24 Shifts the overall pitch range in semitone steps.

OFF, ON

0–127

OFF, ON

-12–+12 [dB] Adjusts the output gain of OUTPUT/PHONES.

OFF, ON, AUTO

-12–0 [dB] Adjusts the output gain of the speakers.

OFF, 30, 240 (min)

0–31 Adjusts the brightness when the LEDs are lit.

0–30

Parameter Value Explanation

LCD Contrast

Scene Lock

Startup Scene

1–10 Adjusts the contrast of the display.

Species whether a conrmation screen appears when you recall a scene.

OFF The scene is recalled immediately.

01-01–16-16

Before the scene is recalled, a conrmation screen appears. To recall the scene, use the [Í][Ë] buttons to select “Yes,” and then press the [ENTER] (INIT)button.

Species the scene that is recalled when the unit starts up.

ARPEGGIO

Set Tone

Set DrumKit

Set Tempo

Arp Sync

OFF, ON

Species the synchronization setting for arpeggio performance when connected to an external device and playing in synchronization.

* This is only enabled when Sync Mode is set to “MIDI,” “USB COM” or “USB MEM.”

OFF

BEAT

MEASURE

Species whether the current sound settings are kept while only the phrase is switched (OFF) or both the phrase and the sound settings are switched (ON).

Species whether the current sound settings are kept while only the rhythm is switched (OFF) or both the rhythm and the sound settings are switched (ON).

Species whether the current tempo setting is kept while only the rhythm is switched (OFF) or both the rhythm and the tempo settings are switched (ON).

Does not synchronize to measures or beats. Arpeggio performance starts at the moment that MIDI messages are received.

Synchronizes to beats. Arpeggio performance starts at the next beat after MIDI messages are received.

Synchronizes to measures. Arpeggio performance starts at the rst beat of the next measure after MIDI messages are received.

TEMPO/SYNC

Tempo

Tempo Src

Sync Mode

Sync Out

20.00–300.00

SCENE, SYS

AUTO, INT, MIDI, USB COM, USB MEM

OFF, MIDI, USB COM, MIDI/USBCM, USB MEM, ALL

Species the system tempo. Hold down the [SHIFT] button and turn the [- VALUE + ] knob to change the value in steps of 0.01.

When you switch scenes, this setting species whether to use the system tempo (SYS) or the tempo stored in the scene (SCENE).

Species the synchronization signal according to which the JUNO-X operates.

Species the connector from which MIDI clock messages etc. are output.

Bluetooth

Bluetooth Sw

Pairing

Bluetooth ID

OFF, ON

- Executing pairing for Bluetooth audio.

OFF, 1–9

Enables (ON) or disables (OFF) Bluetooth communication.

Species the number added to the end of this unit’s device name shown in a Bluetooth-connected app.

MIDI

Species the MIDI receive channel on which MIDI messages (program change and bank select) from

Ctrl Ch

Ctrl Src Sel

SysCtrlSrc1–4

Soft Thru

USB-MIDIThru

USB Driver

1–16, OFF

SYS SysCtrlSrc1–4 are used for tone control.

SCENE

OFF, CC01– CC31, CC33– CC95, BEND, AFT

OFF, ON

GENERIC, VENDOR

an external MIDI device can be received to switch programs. If you don’t want programs to be switched from a connected MIDI device, turn this “OFF.”

The scene’s CtrlSrc1–4 settings are used for tone control.

Specify the MIDI messages that will be used as system controls.

If this is “ON,” MIDI messages that are input from the MIDI IN connector are re-transmitted without change from the MIDI OUT connector.

Species whether MIDI messages received at the USB COMPUTER port/MIDI IN connector are retransmitted without change from the MIDI OUT connector/USB COMPUTER port (ON) or are not retransmitted (OFF).

Species the USB driver setting.

Page 32

System Parameters

Parameter Value Explanation

Sets which connector is used for input when you use an external MIDI keyboard instead of the keyboard of the JUNO-X. In this case, the MIDI transmit channel of the external MIDI keyboard does not matter. Normally you will leave this “OFF.”

Turns on/o the connection between the controllers section (keyboard, panel buttons and sliders, pedals, etc.) and the internal sound engine.

When transmitting and receiving system exclusive messages, the device ID numbers of both devices must match.

Sets whether control change messages (CC) for the tone parameters are transmitted/received (ON) or not (OFF).

Remote Kbd

Local Sw

Device ID

Tone CC Map

OFF, MIDI IN, USB COM, USB MEM

OFF, ON

17–32

OFF, ON

MIDI Tx

Tx PC

Tx Bank

Tx Edit

OFF, ON

Species whether program change messages will be transmitted (ON) or not be transmitted (OFF).

Species whether bank select messages will be transmitted (ON) or not be transmitted (OFF).

Specify whether changes you make in the settings of a program will be transmitted as system exclusive messages (ON), or will not be transmitted (OFF).

MIDI Rx

Rx PC

Rx Bank

Rx Exclusive

OFF, ON

Species whether program change messages will be received (ON) or not be received (OFF).

Species whether bank select messages will be received (ON) or not be received (OFF).

Species whether system exclusive messages will be received (ON) or not be received (OFF).

MIC IN

Mic In Gain

Mic Power

NS Switch

NS Threshold

NS Release

CompSwitch

CompAttack

CompRelease

CompThreshold

CompRatio

CompKnee

CompOutGain

Dly Send Lev

Rev Send Lev

Cho Send Lev

Mic Thru

-24.0–+24.0 [dB] Adjusts the input level of the MIC IN connector.

OFF, ON

-96–0 [dB]

0–127

OFF, ON

0.1–100 [ms]

10–1000 [ms]

-60–0 [dB]

1: 1, 2: 1, 3: 1, 4: 1, 8: 1, 16: 1, 32: 1, INF: 1

0–30 [dB]

-24.0–+24.0 [dB] Species the output volume of the mic compressor.

0–127

OFF, ON

If this is “ON,” plug-in power (5 V) is supplied to the MIC IN connector.

Switches the noise suppressor on/o. The noise suppressor is a function that suppresses noise during periods of silence.

Adjusts the volume at which noise suppression starts to be applied.

Adjusts the time from when noise suppression starts until the volume reaches “0.”

Species whether the mic compressor (a compressor applied to the mic input) is used (ON) or not used (OFF).

Species the time from when the input to the mic compressor exceeds the CompThreshold level until the volume is compressed.

Species the time from when the input to the mic compressor falls below the CompThreshold level until compression is no longer applied.

Species the level at which the mic compressor starts applying compression.

Species the compression ratio for the mic compressor.

Smooths the transition until the mic compressor starts to be applied. Higher values produce a smoother transition.

Species the amount of delay that is applied to the mic input.

Species the amount of reverb that is applied to the mic input.

Species the amount of chorus that is applied to the mic input.

If you want the mic to be cut when the vocoder is o, turn this “OFF.”

Parameter Value Explanation

CONTROLLER

Velocity

Velo Crv

Velo Oset

Knob Mode

Aft Sens

REAL, 1–127

LIGHT, MEDIUM, HEAVY

-10–+9 Adjusts the keyboard velocity curve.

DIRECT, CATCH

0–100 Species the sensitivity of aftertouch.

Species the velocity value that is transmitted when you play the keyboard.

Species the keyboard touch.

Species whether the parameter value corresponding to a controller is immediately updated when you operate that controller (DIRECT) or only after the controller reaches the same position as the parameter’s current value (CATCH).

BUTTON Func

Source

S1 Func

S1 Mode

S2 Func

S2 Mode

S3 Func

S3 Mode

SCENE, SYS

For the values, refer to assignable list (p. 33).

LATCH, MOMENTARY

For the values, refer to assignable list (p. 33).

LATCH, MOMENTARY

For the values, refer to assignable list (p. 33).

LATCH, MOMENTARY

Species whether the functions assigned to these buttons follows the settings of the currently selected scene (SCENE) or the system settings (SYS).

Species the function assigned to the S1 button.

Species how the button operates.

Species the function assigned to the S2 button.

Species how the button operates.

Species the function assigned to the S3 button.

Species how the button operates.

SLIDER Func

SL1 Source

SL1

SL2 Source

SL2

SCENE, SYS

For the values, refer to assignable list (p. 33).

SCENE, SYS

For the values, refer to assignable list (p. 33).

Species whether the function assigned to the SL1 slider follows the setting of the currently selected scene (SCENE) or the system setting (SYS).

Species the function assigned to the SL1 slider.

Species whether the function assigned to the SL2 slider follows the setting of the currently selected scene (SCENE) or the system setting (SYS).

Species the function assigned to the SL2 slider.

PEDAL Func

Species whether the function assigned to the pedal

Hold Source

Hold

Hold Pole

Ctrl Source

Ctrl

SCENE, SYS

For the values, refer to assignable list (p. 33).

STANDARD, REVERSE

SCENE, SYS

For the values, refer to assignable list (p. 33).

connected to the HOLD jack follows the setting of the currently selected scene (SCENE) or the system setting (SYS).

Species the function assigned to the pedal connected to the HOLD jack.

Species the polarity of the pedal connected to the HOLD jack.

Species whether the function assigned to the pedal connected to the CTRL jack follows the setting of the currently selected scene (SCENE) or the system setting (SYS).

Species the function assigned to the pedal connected to the CTRL jack.

Page 33

System Parameters

Parameter Value Explanation

PART Btn Asgn

Assign the functions of the [4]–[8], [9]–[13] buttons and their functions when pressed while holding down the [SHIFT] button.

No Assign No assignment.

Species the current part operated from the panel and in the screen. The part played from the keyboard does not change.

Simultaneously operates the current part and the Keyboard SW, so that the selected part can be played from the keyboard. By pressing multiple parts simultaneously, you can turn Keyboard SW on for multiple parts.

Functions as the keyboard switch to change the part played from the keyboard.

Turns on/o the sound of each part. This is useful for DJ-like performances in which you turn each part’s sound on/o while you perform.

From the left button, turns MFX, DRIVE, DLY, REV, and CHO respectively on/o for all parameters simultaneously.

4-8 4-8+(S) 9-13 9-13+(S)

PartSel

Part+KeySw

KeySw

PartSw

ArpSw Switches whether each part is played by the arpeggio.

EfxSw

List of functions that can be assigned to the controllers

Function

OFF

CC01–31, 32 (OFF), 33–95

AFTERTOUCH

MONO/POLY

SCENE DOWN

SCENE UP

TONE DOWN

TONE UP

PANEL DEC

PANEL INC

CHO SW

REV SW

DLY SW

ARP SW

ARP HOLD

DETECT KEYS

DETECT BEAT

UNISON SW

BEND MODE

AUTO TUNING

TAP TEMPO

START/STOP

DRV SW

VOC/MIC

BEND DOWN

BEND UP

CHO LEVEL

REV LEVEL

DLY LEVEL

ARP SHUFFLE

ARP DURATION

PART FADE1

PART FADE2

LEVEL P-1

LEVEL P-2

LEVEL P-3

LEVEL P-4

LEVEL P-R

AGE

S1 Func S2 Func S3 Func

SL1 SL2

HOLD Ctrl

µ µ µ µ

µ µ

Page 34

System Parameters

SYSTEM EFFECT: Dly

Parameter Value Explanation

Choose “SCENE” if you want to use the delay settings that are assigned to the scene.

“SCENE EFFECT: Dly (Delay)” (p. 7)

Choose “SYS” if you want to use the delay settings that are assigned to the system. If this is set to “SYS,” you can edit the delay type and the various parameters.

Species the output level of the sound with delay applied.

Source

Switch

DlyType

Level

Rev Send

Delay Parameters

SCENE

SYS

OFF, ON Switches delay on/o.

“Delay Parameters” (p. 7)

0–127

0–127 Species the send level to reverb.

Edit the parameters of the selected delay. The available parameters dier depending on the type of chorus you selected in DlyType.

“Delay Parameters” (p. 7)

SYSTEM EFFECT: Rev

Parameter Value Explanation

Choose “SCENE” if you want to use the Reverb settings that are assigned to the scene.

“SCENE EFFECT: Rev (Reverb)” (p. 8)

Choose “SYS” if you want to use the Reverb settings that are assigned to the system. If this is set to “SYS,” you can edit the Reverb type and the various parameters.

Species the output level of the sound with reverb applied.

Source

Switch

RevType

Level

Reverb Parameters

SCENE

SYS

OFF, ON Switches the reverb on/o.

“Reverb Parameters” (p. 8)

0–127

Edit the parameters of the selected reverb type. The available parameters dier depending on the type of reverb you selected in RevType.

“Reverb Parameters” (p. 8)

SYSTEM EFFECT: Cho

Parameter Value Explanation

Choose “SCENE” if you want to use the chorus settings that are assigned to the scene.

Ø“SCENE EFFECT: Cho (Chorus)” (p. 9)

Choose “SYS” if you want to use the chorus settings that are assigned to the system. If this is set to “SYS,” you can edit the chorus type and the various parameters.

Species the output level of the sound with chorus applied.

Source

Switch

ChoType

Level

Rev Send

Chorus Parameters

SCENE

SYS

OFF, ON Switches chorus on/o.

“Chorus Parameters” (p. 9)

0–127

0–127 Species the send level to reverb.

Edit the parameters of the selected chorus. The available parameters dier depending on the type of chorus you selected in ChoType.

“Chorus Parameters” (p. 9)

SYSTEM EQ/COMP

Parameter Value Explanation

MASTER EQ

Switch

In Gain

Low Gain

Low Freq

Mid1 Gain

Mid1 Freq

Mid1 Q

Mid2 Gain

Mid2 Freq

Mid2 Q

Mid3 Gain

Mid3 Freq

Mid3 Q

High Gain

High Freq

MASTER COMP

Switch

Low Attack

Low Rels

Low Thres

Low Ratio

Low Knee

Low Gain

Mid Attack

Mid Rels

Mid Thres

Mid Ratio

Mid Knee

Mid Gain

High Attack

OFF, ON

-24–+24 [dB]

-24–+24 [dB] Gain of the low range.

20–16000 [Hz] Frequency of the low range.

-24–+24 [dB] Gain of the middle frequency range 1.

20–16000 [Hz] Frequency of the middle range 1.

0.5, 1.0, 2.0, 4.0, 8.0,

16.0

-24–+24 [dB] Gain of the middle frequency range 2.

20–16000 [Hz] Frequency of the middle range 2.

0.5, 1.0, 2.0, 4.0, 8.0,

16.0

-24–+24 [dB] Gain of the middle frequency range 3.

20–16000 [Hz] Frequency of the middle range 3.

0.5, 1.0, 2.0, 4.0, 8.0,

16.0

-24–+24 [dB] Gain of the high range.

20–16000 [Hz] Frequency of the high range.

OFF, ON

0.1–100 [ms]

10–1000 [ms]

-60–0 [dB]

1: 1, 2: 1, 3: 1, 4: 1, 8: 1, 16: 1, 32: 1, INF: 1

0–30 [dB]

-24–+24 [dB]

0.1–100 [ms]

10–1000 [ms]

-60–0 [dB]

1: 1, 2: 1, 3: 1, 4: 1, 8: 1, 16: 1, 32: 1, INF: 1

0–30 [dB]

-24–+24 [dB]

0.1–100 [ms]

Species whether the mastering EQ (an equalizer applied to the entire sound generator of the JUNO-X) is used (ON) or not used (OFF).

Adjusts the amount of boost/cut for the input to the EQ.

Width of the middle frequency range 1. Set a higher value to narrow the range to be aected.

Width of the middle frequency range 2. Set a higher value to narrow the range to be aected.

Width of the middle frequency range 3. Set a higher value to narrow the range to be aected.

Species whether the mastering COMP (a compressor applied to the entire sound generator of the JUNO-X) is used (ON) or not used (OFF).

Species the time from when the input exceeds Low Thres until compression is applied to the volume of the low-frequency band.

In a state when compression is already being applied, this species the time from when the input decreases below Low Thres until the low-frequency band stops being compressed.

Species the volume level at which compression starts for the low-frequency band.

Species the compression ratio for the low-frequency band.

This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than Low Thres. Higher values produce a smoother transition.

Species the output volume of the low-frequency band.

Species the time from when the input exceeds Mid Thres until compression is applied to the volume of the mid-frequency band.

In a state when compression is already being applied, this species the time from when the input decreases below Mid Thres until the mid-frequency band stops being compressed.

Species the volume level at which compression starts for the mid-frequency band.

Species the compression ratio for the mid-frequency band.

This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than Mid Thres. Higher values produce a smoother transition.

Species the output volume of the mid-frequency band.

Species the time from when the input exceeds High Thres until compression is applied to the volume of the high-frequency band.

Page 35

System Parameters

Parameter Value Explanation

In a state when compression is already being

High Rels

High Thres

High Ratio

High Knee

High Gain

Splt Low

Splt High

10–1000 [ms]

-60–0 [dB]

1: 1, 2: 1, 3: 1, 4: 1, 8: 1, 16: 1, 32: 1, INF: 1

0–30 [dB]

-24–+24 [dB]

16–16000 [Hz]

applied, this species the time from when the input decreases below High Thres until the high-frequency band stops being compressed.

Species the volume level at which compression starts for the high-frequency band.

Species the compression ratio for the high-frequency band.

This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than High Thres. Higher values produce a smoother transition.

Species the output volume of the high-frequency band.

Species the frequency at which the low-frequency band (Low) and mid-frequency band (Mid) are divided.

Species the frequency at which the high-frequency band (High) and mid-frequency band (Mid) are divided.

SYSTEM COLOR SET

Parameter Value Explanation

Color Set

OFF COLOR

Arp O Scene O Part/Func O ModelBank O Sc1-8 O Sc9-16 O KeyCtrl O StepEditO Model O Categ O User O Part O Part+KeySw O KeySw O PartSw O ArpSw O EfxSw O No Assign St1-4 O St5-8 O St9-12 O St13-16 O

Arp On Scene On Part/Func On ModelBank On Sc1-8 On Sc9-16 On KeyCtrl On StepEdit On Model On Categ On User On Part On Part+KeySw On KeySw On PartSw On ArpSw On EfxSw On St1-4 On St5-8 On St9-12 On St13-16 On

1–10

O, O, O(b), Y, Y(b), W, W(b), G, G(b), B, B(b), R, R(b), V, V(b), B2, B2(b)

Saves and switches color settings for each set number.

Specify the illumination color of the button for <parameter name> O (when the corresponding button is o), <parameter name> On (when the corresponding button is on).

O: Unlit O: Orange, Y: Yellow, W: White, G: Green, B: Blue, R: Red, V: Violet, B2: Bright blue

(b) indicates blinking.

MODEL ASSIGN

Hold down the [MODEL BANK] button and press a button from [1]–[16] to display the settings screen.

Parameter Value Explanation

Species the assignment attributes.

MODEL Select models by the Mdl 1–8 parameters.

Attr

Mdl1–8

Catg1–8

(*1) OFF, Z-Core, COMMON, PR-A, PR-B, PR-C, PR-D, XV-5080, JUNO-X, JUNO-106, JUNO-60,

VOCODER, RD-PIANO, PR-X

* If an expansion is installed, “EXZ***” is shown at the end.

(*2) OFF, No Assign, Ac.Piano, Pop Piano, E.Grand Piano, E.Piano1, E.Piano2, E.Organ, Pipe

Organ, Reed Organ, Harpsichord, Clav, Celesta, Accordion, Harmonica, Bell, Mallet, Ac.Guitar, E.Guitar, Dist.Guitar, Ac.Bass, E.Bass, Synth Bass, Plucked/Stroke, Solo Strings, Ensemble Strs, Orchestral, Solo Brass, Ensemble Brass, Wind, Flute, Sax, Recorder, Vox/ Choir, Scat, Synth Lead, Synth Brass, Synth Pad/Str, Synth Bellpad, Synth PolyKey, Synth FX, Synth Seq/Pop, Phrase, Pulsating, Beat&Groove, Hit, Sound FX, Drums, Percussion, Stack, Zone, Vocoder

CATEGORY Select categories by the Catg 1–8 parameters.

No assignments are possible.

USER

model (*1)

category (*2)

* If an expansion is installed, “EXZ***” is shown after

“USER.” In this case, the expansion name is shown in 1–8.

This is shown only when Attr = MODEL. Specify the model that you want to assign.

This is shown only when Attr = CATEGORY. Specify the category name that you want to assign.

* If an expansion is installed, “EXZ On” is shown after “User On.”

Page 36

MFX Parameters

MFX List

Thru

Filter

Equalizer

Mid-Side EQ

Spectrum

Isolator

Low Boost

SuperFilter

MM Filter

Step Filter

Enhancer

Exciter

Auto Wah

Humanizer

Phaser

Small Phaser

Script 90

Script 100

Step Phaser

M StagePhsr

Inf Phaser

Flanger

SBF-325

StepFlanger

Chorus

Hexa-Chorus

Trem Chorus

Space-D

(Chorus)

CE-1

SDD-320

JUNO Chorus

Modulation

Ring Mod

Tremolo

Auto Pan

Slicer

Rotary

VK Rotary

Drive / Amp

Overdrive

Distortion

T-Scream

Fuzz

Fattener

HMS Distort

Saturator

W Saturator

Gt Amp Sim

EP Amp Sim

Speaker Sim

(Mid-Side Equalizer)

(Multi-mode Filter)

(Multi Stage Phaser)

(Innite Phaser)

(Flanger)

(Tremolo Chorus)

(DIMENSION D)

(JUNO-106 Chorus)

(Ring modulator)

(Tone Fattener)

(HMS Distortion)

(Worm Saturator)

(Guitar Amp Simulator)

(RD EP Amp Simulator)

(Speaker Simulater)

Comp / Limiter

page

Compressor

M/S Comp

Limiter

Sustainer

Transient

Gate

Delay

Mod Delay

2Tap PanDly

3Tap PanDly

4Tap PanDly

MultiTapDly

Reverse Dly

TimeCtrlDly

Tape Echo

M/S Delay

Looper

DJFX Looper

BPM Looper

Lo-

LOFI Comp

Bit Crusher

Phonograph

Pitch

PitchShiftr

2V PShifter

Combination

OD Ó Chorus

OD Ó Flanger

OD Ó Delay

DS Ó Chorus

DS Ó Flanger

DS Ó Delay

OD/DS Ó T. Wah

OD/DS Ó A. Wah

Gt Ó Chorus

Gt Ó Flanger

Gt Ó Phaser

Gt Ó Delay

EP Ó Tremolo

EP Ó Chorus

EP Ó Flanger

EP Ó Phaser

EP Ó Delay

Enhncr Ó Cho

Enhncr Ó Fl

Enhncr Ó Dly

Chorus Ó Dly

Flanger Ó Dly

Chorus Ó Fl

JD Multi

(Mid-Side Compressor)

(Modulation Delay)

(2 Tap Pan Delay)

(3 Tap Pan Delay)

(4 Tap Pan Delay)

(Multi Tap Delay)

(Reverse Delay)

(Time Control Delay)

(Mid-Side Delay)

(Lo-Fi Compressor)

(Pitch Shifter)

(2 Voice Pitch Shifter)

(Overdrive Ó Chorus)

(Overdrive Ó Flanger)

(Overdrive Ó Delay)

(Distortion Ó Chorus)

(Distortion Ó Flanger)

(Distortion Ó Delay)

(Guitar Amp Simulator Ó Chorus)

(Guitar Amp Simulator Ó Flanger)

(Guitar Amp Simulator Ó Phaser)

(Guitar Amp Simulator Ó Delay)

(EP Amp Simulator Ó Tremolo)

(EP Amp Simulator Ó Chorus)

(EP Amp Simulator Ó Flanger)

(EP Amp Simulator Ó Phaser)

(EP Amp Simulator Ó Delay)

(Enhancer Ó Chorus)

(Enhancer Ó Flanger)

(Enhancer Ó Delay)

(Chorus Ó Delay)

(Flanger Ó Delay)

(Chorus Ó Flanger)

(Overdrive/Distortion Ó Touch Wah)

(Overdrive/Distortion Ó Auto Wah)

page

Page 37

MFX Parameters

4-Band EQ4-Band EQ

5-Band EQ5-Band EQ

MFX Common Parameters

Parameter Value Explanation

Type

Switch

Cho Send

Rev Send

MFX parameter

Src1–4

Sens1–4

Asgn1–4

Selects the MFX type.

OFF, ON Switches the MFX on/o.

0–127

Diers depending on the MFX type.

OFF, CC01–CC31, CC33–CC95, BEND, AFT, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3, SYS-CTRL4

-63–+63

Diers depending on the MFX type.

Adjusts the amount of chorus. If you don’t want to add the chorus eect, set it to “0.”

Adjusts the amount of reverb. If you don’t want to add the reverb eect, set it to “0.”

ØFor details, refer to the parameters for each MFX.

Species the MIDI message that will control the corresponding MFX CONTROL parameter.

Species the depth of MFX CONTROL. Specify a positive “+” value if you want to change the value of the assigned destination in a positive direction (larger, toward the right, faster, etc.), or specify a negative value “-” if you want to change the value in a negative direction (smaller, toward the left, slower, etc.). Larger values will allow a greater amount of control.

Species the parameters that are assigned to assign 1–4.

00 Thru

Filter

01 Equalizer

This is a four-band stereo equalizer (low, mid x 2, high).

L in L out

R outR in

Parameter Value Explanation

20, 25, 31, 40, 50, 63,

Low Freq

Low Gain

Mid1 Freq

Mid1 Gain

Mid1 Q

Mid2 Freq

Mid2 Gain

80, 100, 125, 160, 200, 250, 315, 400 [Hz]

-15–+15 [dB]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

-15–+15 [dB] Gain of the middle range 1

0.5, 1.0, 2.0, 4.0, 8.0

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

-15–+15 [dB] Gain of the middle range 2

Frequency of the low range

Amount of boost/cut for the low-frequency range

Frequency of the middle range 1

Width of the middle range 1 Set a higher value for Q to narrow the range to be aected.

Frequency of the middle range 2

Parameter Value Explanation

Mid2 Q

HighFreq

High Gain

Level

Asgn1–4

0.5, 1.0, 2.0, 4.0, 8.0

2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500, 16000 [Hz]

-15–+15 [dB]

0–127 Output Level

OFF, Low Gain, High Gain, Level

02 Mid-Side EQ

Width of the middle range 2 Set a higher value for Q to narrow the range to be aected.

Frequency of the high range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to MFX CONTROL assign 1–4.

(Mid-Side Equalizer)

This eect allows the left/right signals that have similar phase to be tonally adjusted in a dierent way than the left/right signals that have dierent phase.

L in L out

Mid

Side

Parameter Value Explanation

M EQ Switch

M In G

M Low F

M Low G

M Mid1 F

M Mid1G

M Mid1 Q

M Mid2 F

M Mid2G

M Mid2 Q

M Mid3 F

M Mid3G

M Mid3 Q

M High F

M HighG

OFF, ON

-12.00–+12.00 [dB]

20, 25, 31, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400 [Hz]

-12.00–+12.00 [dB]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

-12.00–+12.00 [dB] Gain of the middle range 1

0.5, 1.0, 2.0, 4.0, 8.0

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

-12.00–+12.00 [dB] Gain of the middle range 2

0.5, 1.0, 2.0, 4.0, 8.0

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

-12.00–+12.00 [dB] Gain of the middle range 3

0.5, 1.0, 2.0, 4.0, 8.0

2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500, 16000 [Hz]

-12.00–+12.00 [dB]

Switches whether to apply tonal adjustment to left/right input signals whose phase is similar (in phase).

Volume of left/right input signals whose phase is similar (in phase)

Frequency of the low range

Amount of boost/cut for the low-frequency range

Frequency of the middle range 1

Width of the middle range 1 Set a higher value for Q to narrow the range to be aected.

Frequency of the middle range 2

Width of the middle range 2 Set a higher value for Q to narrow the range to be aected.

Frequency of the middle range 3

Width of the middle range 3 Set a higher value for Q to narrow the range to be aected.

Frequency of the high range

Amount of boost/cut for the high-frequency range

R outR in

Page 38

MFX Parameters

SpectrumSpectrum

IsolatorIsolator

Low BoostLow Boost

IsolatorIsolator

Low BoostLow Boost

Parameter Value Explanation

S EQ Switch

S In G

S Low F

S Low G

S Mid1 F

S Mid1G

S Mid1 Q

S Mid2 F

S Mid2G

S Mid2 Q

S Mid3 F

S Mid3G

S Mid3 Q

S High F

S HighG

Level

Asgn1–4

OFF, ON

-12.00–+12.00 [dB]

20, 25, 31, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400 [Hz]

-12.00–+12.00 [dB]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

-12.00–+12.00 [dB] Gain of the middle range 1

0.5, 1.0, 2.0, 4.0, 8.0

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

-12.00–+12.00 [dB] Gain of the middle range 2

0.5, 1.0, 2.0, 4.0, 8.0

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

-12.00–+12.00 [dB] Gain of the middle range 3

0.5, 1.0, 2.0, 4.0, 8.0

2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500, 16000 [Hz]

-12.00–+12.00 [dB]

0–127 Output Level

OFF, M Low Gain, M Mid1 Gain, M Mid2 Gain, M Mid3 Gain, M High Gain, S Low Gain, S Mid1 Gain, S Mid2 Gain, S Mid3 Gain, S High Gain

Switches whether to apply tonal adjustment to left/right input signals whose phase is distant (opposite phase).

Volume of left/right signals whose phase is distant (opposite phase)

Frequency of the low range

Amount of boost/cut for the low-frequency range

Frequency of the middle range 1

Width of the middle range 1 Set a higher value for Q to narrow the range to be aected.

Frequency of the middle range 2

Width of the middle range 2 Set a higher value for Q to narrow the range to be aected.

Frequency of the middle range 3

Width of the middle range 3 Set a higher value for Q to narrow the range to be aected.

Frequency of the high range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to assign 1–4.

03 Spectrum

This is a stereo spectrum. Spectrum is a type of lter which modies the timbre by boosting or cutting the level at specic frequencies.

L in L out

R outR in

Parameter Value Explanation

Band1

Band2

Band3

Band4

Band5

Band6

Band7

Band8

Level

Asgn1–4

-15–+15 [dB] Gain of each frequency band

0.5, 1.0, 2.0, 4.0, 8.0

0–127 Output Level

OFF, Level

Simultaneously adjusts the width of the adjusted ranges for all the frequency bands.

Species the parameters that are assigned to assign 1–4.

04 Isolator

This is an equalizer which cuts the volume greatly, allowing you to add a special eect to the sound by cutting the volume in varying ranges.

L in L out

R outR in

Parameter Value Explanation

Low Level

Mid Level

High Level

Low AP Sw

Low AP Lv

Mid AP Sw

Mid AP Lv

Boost Sw

Boost Lv

Level

Asgn1–4

-60–+4 [dB] These boost and cut each of the High, Middle,

-60–+4 [dB]

OFF, ON

0–127

OFF, ON

0–127

OFF, ON

0–127

0–127 Output Level

OFF, Low Level, Mid Level, High Level

and Low frequency ranges. At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input level of the sound.

Turns the Anti-Phase function on and o for the Low frequency ranges. When turned on, the counter-channel of stereo sound is inverted and added to the signal.

Adjusts the level settings for the Low frequency ranges. Adjusting this level for certain frequencies allows you to lend emphasis to specic parts (This is eective only for stereo source.).

Settings of the Anti-Phase function for the Middle frequency ranges. The parameters are the same as for the Low frequency ranges.

Turns Low Booster on/o. This emphasizes the bottom to create a heavy bass sound.

Increasing this value gives you a heavier low end. Depending on the Isolator and lter settings this eect may be hard to distinguish.

Species the parameters that are assigned to assign 1–4.

Page 39

MFX Parameters

Low BoostLow Boost

2-Band EQ2-Band EQ

Low BoostLow Boost

2-Band EQ2-Band EQ

Super FilterSuper Filter

Multimode

Filter

Multimode

Filter

Multimode

Filter

Multimode

Filter

Step FilterStep Filter

05 Low Boost

Boosts the volume of the lower range, creating powerful lows.

L in L out

R outR in

Parameter Value Explanation

Boost Freq

Boost Gain

Boost Wid

Low Gain

High Gain

Level

Asgn1–4

50, 56, 63, 71, 80, 90, 100, 112, 125 [Hz]

0–+12 [dB]

WIDE, MID, NARROW Width of the lower range that will be boosted

-15–+15 [dB]

0–127 Output Level

OFF, Boost Freq, Boost Gain

Center frequency at which the lower range will be boosted

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to assign 1–4.

06 SuperFilter

This is a lter with an extremely sharp slope. The cuto frequency can be varied cyclically.

L in L out

R outR in

Parameter Value Explanation

Filter type Frequency range that will pass through each lter

Type

Slope

Cuto

Resonance

Gain

Mod Sw

Mod Wave

Rate Sync

Rate

Rate Note

LPF, BPF, HPF, NOTCH

-12, -24, -36 [dB]

0–127

0–100

0–+12 [dB] Amount of boost for the lter output

OFF, ON On/o switch for cyclic change

TRI, SQR, SIN, SAW1, SAW2

SAW1 SAW2

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

LPF: Frequencies below the cuto BPF: Frequencies in the region of the cuto HPF: Frequencies above the cuto

NOTCH: Frequencies other than the region of the cuto

Amount of attenuation per octave

-12 dB: Gentle

-24 dB: Steep

-36 dB: Extremely steep

Cuto frequency of the lter Increasing this value will raise the cuto frequency.

Filter resonance level Increasing this value will emphasize the region near the cuto frequency.

How the cuto frequency will be modulated

TRI: Triangle wave SQR: Square wave SIN: Sine wave SAW1: Sawtooth wave (upward) SAW2: Sawtooth wave (downward)

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Parameter Value Explanation

Depth

Attack

Level

Asgn1–4

07 MM Filter

0–127 Depth of modulation

0–127

0–127 Output Level

OFF, Cuto, Resonance, Rate, Attack

Speed at which the cuto frequency will change This is eective if Mod Wave is SQR, SAW1, or SAW2.

Species the parameters that are assigned to assign 1–4.

(Multi-mode Filter)

This is a lter that is adjusted for eective use in a DJ performance.

L in L out

R outR in

Parameter Value Explanation

Type of lter

LPF/HPF: The lter type is automatically

switched according to the Filter Tone parameter value.

Filter resonance level Higher values more strongly emphasize the region of the operating frequency.

Amount of attenuation per octave

-12 dB: gentle

-24 dB: steep

-36 dB: extremely steep

Species the parameters that are assigned to assign 1–4.

Type

Tone

Color

Slope

Gain

Level

Asgn1–4

LPF/HPF, LPF, HPF, BPF

0–255 Frequency at which the lter operates

0–255

-12, -24, -36 [dB]

0–+12 [dB] Amount of boost for the lter output

0–127 Output Level

OFF, Filter Type, Filter Tone, Filter Color, Filter Slope

08 Step Filter

This is a lter whose cuto frequency can be modulated in steps. You can specify the pattern by which the cuto frequency will change.

L in L out

R outR in

Parameter Value Explanation

Step 1–16

Rate Sync

Rate

Rate Note

Attack

Type

0–127 Cuto frequency at each step

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127

LPF, BPF, HPF, NOTCH

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Speed at which the cuto frequency changes between steps

Filter type Frequency range that will pass through each lter

LPF: Frequencies below the cuto BPF: Frequencies in the region of the cuto HPF: Frequencies above the cuto NOTCH: Frequencies other than the region of

the cuto

Page 40

MFX Parameters

EnhancerEnhancer

2-Band EQ2-Band EQ

EnhancerEnhancer

Auto WahAuto Wah

2-Band EQ2-Band EQ

Auto WahAuto Wah

2-Band EQ2-Band EQ

FormantFormant

OverdriveOverdrive

2-Band EQ2-Band EQ

Parameter Value Explanation

Amount of attenuation per octave

Slope

Reso

Gain

Level

Asgn1–4

-12, -24, -36 [dB]

0–127

0–+12 [dB] Amount of boost for the lter output

0–127 Output Level

OFF, Rate, Attack, Resonance

-12 dB: Gentle

-24 dB: Steep

-36 dB: Extremely steep

Filter resonance level Increasing this value will emphasize the region near the cuto frequency.

Species the parameters that are assigned to assign 1–4.

09 Enhancer

Controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

L in L out

Mix

R outR in

Mix

Parameter Value Explanation

Sens

Mix

Low Gain

High Gain

Level

Asgn1–4

0–127 Sensitivity of the enhancer

0–127

-15–+15 [dB]

0–127 Output Level

OFF, Sens, Mix

Level of the overtones generated by the enhancer

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to assign 1–4.

10 Exciter

This adds dynamics to the sound, by dynamically bringing up the high end using a split-band compressor.

L in

Channel Divider

Low

Mid

High

Compressor

L out

Parameter Value Explanation

Split2 Freq

Level

Asgn1–4

3000–10000 (Hz)

0–127 Output Level

OFF, Band2 Thrs, Band2 Gain, Band3 Thrs, Band3 Gain

Frequency at which the midrange and high-end frequencies are split

Species the parameters that are assigned to assign 1–4.

11 Auto Wah

Cyclically controls a lter to create cyclic change in timbre.

L in L out

R outR in

Parameter Value Explanation

Filter type

Mode

Manual

Peak

Sens

Polarity

Rate Sync

Rate

Rate Note

Depth

Phase

Low Gain

High Gain

Level

Asgn1–4

LPF, BPF

0–127

0–127 Sensitivity with which the lter is modied

UP, DOWN

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth at which the wah eect is modulated

0–180 [deg]

-15–+15 [dB]

0–127 Output Level

OFF, Manual, Sens, Rate (Hz), Depth, Phase

LPF: The wah eect will be applied over a wide

frequency range.

BPF: The wah eect will be applied over a

narrow frequency range.

Center frequency at which the wah eect is applied

Width of the frequency region at which the wah eect is applied Increasing this value will make the frequency region narrower.

Direction in which the lter will move

UP: The lter will change toward a higher

frequency.

DOWN: The lter will change toward a lower

frequency.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation of wah eect

Adjusts the degree of phase shift of the left and right sounds when the wah eect is applied.

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to assign 1–4.

R in

Channel Divider

Parameter Value Explanation

Band2 Threshold

Band2 Gain

Band3 Threshold

Band3 Gain

Split1 Freq

-80.0–0.0 (dB)

0–+24 (dB)

-80.0–0.0 (dB)

0–+24 (dB)

2000–5000 (Hz)

Low

Mid

High

Compressor

Raises the midrange frequency levels when they fall below the specied amount.

Sets how much to raise the levels when the midrange volume is low.

Raises the high-end frequency levels when they fall below the specied amount.

Sets how much to raise the levels when the high-end frequency volume is low.

Frequency at which the low and midrange frequencies are split

R out

12 Humanizer

Adds a vowel character to the sound, making it similar to a human voice.

L in

R in

Parameter Value Explanation

Drive Sw

Drive

OFF, ON Overdrive on/o

0–127

Degree of distortion Also changes the volume.

L out

Pan L

Pan R

R out

Page 41

MFX Parameters

2-Band EQ2-Band EQ

PhaserPhaser

2-Band EQ2-Band EQ

PhaserPhaser

2-Band EQ2-Band EQ

PhaserPhaser

2-Band EQ2-Band EQ

PhaserPhaser

2-Band EQ2-Band EQ

PhaserPhaser

2-Band EQ2-Band EQ

Parameter Value Explanation

Vowel1

Vowel2

Rate Sync

Rate

Rate Note

Depth

In Sync Sw

InSyncThres

Manual

Low Gain

High Gain

Pan

Level

Asgn1–4

a, e, i, o, u

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Eect depth

OFF, ON

0–127 Volume level at which reset is applied

0–100

-15–+15 [dB]

L64–63R Stereo location of the output sound

0–127 Output Level

OFF, Drive, Rate (Hz), Depth, Manual, Pan

Selects the vowel.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency at which the two vowels switch

LFO reset on/o Determines whether the LFO for switching the vowels is reset by the input signal (ON) or not (OFF).

Point at which Vowel 1/2 switch

0–49: Vowel 1 will have a longer duration. 50: Vowel 1 and 2 will be of equal duration. 51–100: Vowel 2 will have a longer duration.

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to assign 1–4.

Phaser

Parameter Value Explanation

Feedback

Mix

Low Gain

High Gain

Level

Asgn1–4

-98–+98 [%]

0–127 Level of the phase-shifted sound

-15–+15 [dB] Amount of boost/cut for the low-frequency range

-15–+15 [dB] Amount of boost/cut for the high-frequency range

0–127 Output Level

OFF, Manual, Rate (Hz), Resonance

Adjusts the proportion of the phaser sound that is fed back into the eect. Negative (-) settings will invert the phase.

Species the parameters that are assigned to assign 1–4.

14 Small Phaser

This simulates an analog phaser of the past.

It is particularly suitable for electric piano.

L in L out

Parameter Value Explanation

Rate

Color

Low Gain

High Gain

Level

Asgn1–4

0–100 Frequency of modulation

1, 2 Modulation character

-15–+15 [dB] Amount of boost/cut for the low-frequency range

-15–+15 [dB] Amount of boost/cut for the high-frequency range

0–127 Output Level

OFF, Rate

Species the parameters that are assigned to assign 1–4.

R outR in

13 Phaser

This is a stereo phaser. A phase-shifted sound is added to the original sound and modulated.

L in L out

Parameter Value Explanation

Mode

Manual

Rate Sync

Rate

Rate Note

Depth

Polarity

Resonance

4-STAGE, 8-STAGE, 12-STAGE

0–127

OFF, ON

0.05–10.00 [Hz]

Note

Ø “Note” (p. 72)

0–127 Depth of modulation

INVERSE, SYNCHRO

0–127 Amount of feedback

Mix

R outR in

Mix

Number of stages in the phaser

Adjusts the basic frequency from which the sound will be modulated.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE: The left and right phase will be

opposite. When using a mono source, this spreads the sound.

SYNCHRO: The left and right phase will be the

same. Select this when inputting a stereo source.

15 Script 90

This simulates a dierent analog phaser than Small Phaser.

It is particularly suitable for electric piano.

L in L out

R outR in

Parameter Value Explanation

Speed

Depth

Low Gain

High Gain

Level

Asgn1–4

0–100 Speed of modulation

0–127 Depth of modulation

-15–+15 [dB] Amount of boost/cut for the low-frequency range

-15–+15 [dB] Amount of boost/cut for the high-frequency range

0–127 Output Level

OFF, Speed

Species the parameters that are assigned to assign 1–4.

Page 42

MFX Parameters

PhaserPhaser

2-Band EQ2-Band EQ

Step PhaserStep Phaser

2-Band EQ2-Band EQ

Multi Stage

Phaser

Multi Stage

Phaser

2-Band EQ2-Band EQ

16 Script 100

This simulates an analog phaser of the past.

L in L out

R outR in

Parameter Value Explanation

Rate Sync

Rate

Rate Note

Duty

Min

Max

Manual Sw

Manual

Resonance

Mix

Level

Asgn1–4

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

-50–50

0–100 Lower limit reached by modulation

0–100 Upper limit reached by modulation

OFF, ON

0–100

0–66 Amount of feedback

0–127 Level of the phase-shifted sound

0–127 Output Level

OFF, Rate (Hz), Min, Max, Manual, Resonance, Mix

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Adjusts the ratio of speeds at which the modulation rises or falls.

Applies modulation according to the value of the Manual parameter, rather than modulating automatically.

Adjusts the basic frequency from which the sound will be modulated.

Species the parameters that are assigned to assign 1–4.

17 Step Phaser

This is a stereo phaser. The phaser eect will be varied gradually.

L in L out

Parameter Value Explanation

Mode

Manual

Rate Sync

Rate

Rate Note

Depth

Polarity

Resonance

Feedback

4-STAGE, 8-STAGE, 12-STAGE

0–127

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of modulation

INVERSE, SYNCHRO

0–127 Amount of feedback

-98–+98 [%]

Mix

Number of stages in the phaser

Adjusts the basic frequency from which the sound will be modulated.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE: The left and right phase will be

opposite. When using a mono source, this spreads the sound.

SYNCHRO: The left and right phase will be the

same. Select this when inputting a stereo source.

Adjusts the proportion of the phaser sound that is fed back into the eect. Negative (-) settings will invert the phase.

Parameter Value Explanation

S Rate Sync

S. Rate

S. Rate Nt

Mix

Low Gain

High Gain

Level

Asgn1–4

OFF, ON

0.10–20.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Level of the phase-shifted sound

-15–+15 [dB]

0–127 Output Level

OFF, Manual, Rate, Resonance, S. Rate, Mix

18 M StagePhsr

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Rate of the step-wise change in the phaser eect

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to assign 1–4.

(Multi Stage Phaser)

Extremely high settings of the phase dierence produce a deep phaser eect.

L in

R in

Mix

Parameter Value Explanation

4-STAGE, 8-STAGE,

Mode

Manual

Rate Sync

Rate

Rate Note

Depth

R outR in

Resonance

Mix

Pan

Low Gain

High Gain

Level

Asgn1–4

12-STAGE, 16-STAGE, 20-STAGE, 24-STAGE

0–127

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of modulation

0–127 Amount of feedback

0–127 Level of the phase-shifted sound

L64–63R Stereo location of the output sound

-15–+15 [dB]

0–127 Output Level

OFF, Manual, Rate (Hz), Resonance, Mix, Pan

Number of stages in the phaser

Adjusts the basic frequency from which the sound will be modulated.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to assign 1–4.

L out

Pan L

Pan R

R out

Page 43

MFX Parameters

Innite

Phaser

Innite

Phaser

2-Band EQ2-Band EQ

FlangerFlanger

19 Inf Phaser

(Innite Phaser)

A phaser that continues raising/lowering the frequency at which the sound is modulated.

L in

R in

Parameter Value Explanation

Mode

Speed

Resonance

Mix

Pan

Low Gain

High Gain

Level

Asgn1–4

1–4

-100–+100

0–127 Amount of feedback

0–127 Level of the phase-shifted sound

L64–63R Stereo location of the output sound

-15–+15 [dB]

0–127 Output Level

OFF, Speed, Resonance, Mix, Pan

Higher values will produce a deeper phaser eect.

Speed at which to raise or lower the frequency at which the sound is modulated (+: upward / -: downward)

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to assign 1–4.

L out

Pan L

Pan R

R out

Flanger

20 Flanger

This is a stereo anger (The LFO has the same phase for left and right.).

It produces a metallic resonance that rises and falls like a jet airplane taking o or landing.

A lter is provided so that you can adjust the timbre of the anged sound.

Balance D

L in

Feedback

R in

Balance D

Parameter Value Explanation

Filter type

OFF: No lter is used

Type

Cuto

Pre Delay

Rate Sync

Rate

Rate Note

Depth

Phase

Feedback

Low Gain

High Gain

Balance

Level

Asgn1–4

OFF, LPF, HPF

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

0.0–100 [ms]

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of modulation

0–180 [deg] Spatial spread of the sound

-98–+98 [%]

-15–+15 [dB]

D100: 0W–D0: 100W

0–127 Output Level

OFF, Rate (Hz), Feedback, Balance

LPF: Cuts the frequency range above the Cuto

Freq

HPF: Cuts the frequency range below the

Cuto Freq

Basic frequency of the lter

Adjusts the delay time from the direct sound until the anger sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Volume balance between the direct sound (D) and the anger sound (W)

Species the parameters that are assigned to assign 1–4.

Balance W

L out

R out

Page 44

MFX Parameters

SBF-325SBF-325

2-Band EQ2-Band EQ

Step FlangerStep Flanger

2-Band EQ2-Band EQ

ChorusChorus

21 SBF-325

(Flanger)

This eect reproduces Roland’s SBF-325 analog anger.

It provides three types of anging eect (which adds a metallic resonance to the original sound) and a chorus-type eect.

L in L out

R outR in

Parameter Value Explanation

Types of anging eect

FL1 A typical mono anger

Mode

Rate Sync

Rate

Rate Note

Depth

Manual

Feedback

RMod Phase

L Phase

R Phase

Level

Asgn1–4

FL2

FL3

CHO A chorus eect

OFF, ON

0.02–5.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Modulation depth of the anger eect

0–127

NORM, INV

0–127 Output Level

OFF, Rate (Hz), Depth, Manual

A stereo anger that preserves the stereo positioning of the original sound

A cross-mix anger that produces a more intense eect

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Modulation frequency of the anger eect

Center frequency at which the anger eect is applied

Amount by which the anging eect is boosted If Mode is CHO, this setting is ignored.

Phase of the right channel modulation: Normally, you will leave this at Normal (NORM). If you specify Inverted (INV), the modulation (upward/downward movement) of the right channel is inverted.

Phase when mixing the anging sound with the original sound

NORM: normal phase INV: inverse phase

Species the parameters that are assigned to assign 1–4.

Parameter Value Explanation

200, 250, 315, 400, 500, 630, 800, 1000,

Cuto

Pre Delay

Rate Sync

Rate

Rate Note

Depth

Phase

Feedback

S. Rate Sync

S. Rate

S. Rate Nt

Low Gain

High Gain

Balance

Level

Asgn1–4

1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

0.0–100 [ms]

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of modulation

0–180 [deg] Spatial spread of the sound

-98–+98 [%]

OFF, ON

0.10–20.00 [Hz]

Note

Ø“Note” (p. 72)

-15–+15 [dB]

D100: 0W–D0: 100W

0–127 Output Level

OFF, Rate, Feedback, S. Rate, Balance

Basic frequency of the lter

Adjusts the delay time from the direct sound until the anger sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Rate (period) of pitch change

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Volume balance between the direct sound (D) and the anger sound (W)

Species the parameters that are assigned to assign 1–4.

Chorus

22 StepFlanger

This is a anger in which the anger pitch changes in steps.

The speed at which the pitch changes can also be specied in terms of a note-value of a specied tempo.

Balance D

L in

Feedback

R in

Balance D

Parameter Value Explanation

Filter type

OFF: No lter is used

Type

OFF, LPF, HPF

LPF: Cuts the frequency range above the Cuto

Freq

HPF: Cuts the frequency range below the Cuto

Freq

Balance W

L out

R out

23 Chorus

This is a stereo chorus. A lter is provided so that you can adjust the timbre of the chorus sound.

Balance D

L in

Balance W

R in

Balance D

Parameter Value Explanation

Filter type

OFF: No lter is used

Type

Cuto

Pre Delay

OFF, LPF, HPF

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

0.0–100 [ms]

LPF: Cuts the frequency range above the Cuto

Freq

HPF: Cuts the frequency range below the Cuto

Freq

Basic frequency of the lter

Adjusts the delay time from the direct sound until the chorus sound is heard.

L out

R out

Page 45

MFX Parameters

Hexa ChorusHexa Chorus

Tremolo

Chorus

Tremolo

Chorus

2-Band EQ2-Band EQ

Space DSpace D

Parameter Value Explanation

Rate Sync

Rate

Rate Note

Depth

Phase

Low Gain

High Gain

Balance

Level

Asgn1–4

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of modulation

0–180 [deg] Spatial spread of the sound

-15–+15 [dB]

D100: 0W–D0: 100W

0–127 Output Level

OFF, Rate (Hz), Balance

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Volume balance between the direct sound (D) and the chorus sound (W)

Species the parameters that are assigned to assign 1–4.

24 Hexa-Chorus

Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.

Balance D

L in

R in

Balance D

Parameter Value Explanation

Pre Delay 0.0–100 [ms]

Rate Sync OFF, ON

Rate 0.05–10.00 [Hz]

Rate Note

Depth 0–127 Depth of modulation

PreDly Dev 0–20

Depth Dev -20–+20

Pan Dev 0–20

Balance D100: 0W–D0: 100W

Level 0–127 Output Level

Asgn1–4

Note

Ø“Note” (p. 72)

OFF, Rate (Hz), Balance

Adjusts the delay time from the direct sound until the chorus sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Adjusts the dierences in Pre Delay between each chorus sound.

Adjusts the dierence in modulation depth between each chorus sound.

Adjusts the dierence in stereo location between each chorus sound.

0: All chorus sounds will be in the center. 20: Each chorus sound will be spaced at 60

degree intervals relative to the center.

Volume balance between the direct sound (D) and the chorus sound (W)

Species the parameters that are assigned to assign 1–4.

L out

Balance W

R out

25 Trem Chorus

(Tremolo Chorus)

This is a chorus eect with added Tremolo (cyclic modulation of volume).

Balance D

L in

R in

Balance D

Parameter Value Explanation

Pre Delay

Cho Sync

C. Rate

C. Rate Nt

Cho Depth

Trm Sync

T. Rate

T. Rate Nt

Trm Separate

Trm Phase

Balance

Level

Asgn1–4

0.0–100 [ms]

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Modulation depth of the chorus eect

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of the tremolo eect

0–180 [deg] Spread of the tremolo eect

D100: 0W–D0: 100W

0–127 Output Level

OFF, C. Rate, T. Rate, Balance

Adjusts the delay time from the direct sound until the chorus sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Modulation frequency of the chorus eect

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Modulation frequency of the tremolo eect

Volume balance between the direct sound (D) and the tremolo chorus sound (W)

Species the parameters that are assigned to assign 1–4.

L out

Balance W

R out

26 Space-D

This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus eect.

Balance D

L in

Balance W

R in

Balance D

Parameter Value Explanation

Pre Delay

Rate Sync

Rate

Rate Note

Depth

Phase

Low Gain

High Gain

Balance

0.0–100 [ms]

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of modulation

0–180 [deg] Spatial spread of the sound

-15–+15 [dB]

D100: 0W–D0: 100W

Adjusts the delay time from the direct sound until the chorus sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Volume balance between the direct sound (D) and the chorus sound (W)

L out

R out

Page 46

MFX Parameters

CE-1CE-1

2-Band EQ2-Band EQ

SDD-320SDD-320

2-Band EQ2-Band EQ

ChorusChorus

Noise Gener-

ator

Noise Gener-

ator

Ring ModRing Mod

2-Band EQ2-Band EQ

Ring ModRing Mod

2-Band EQ2-Band EQ

Parameter Value Explanation

Level

Asgn1–4

27 CE-1

0–127 Output Level

OFF, Rate (Hz), Balance

Species the parameters that are assigned to assign 1–4.

(Chorus)

This models the classic BOSS CE-1 chorus eect unit.

It provides a chorus sound with a distinctively analog warmth.

L in L out

R outR in

Parameter Value Explanation

Intensity

Low Gain

High Gain

Level

Asgn1–4

0–127 Chorus depth

-15–+15 [dB]

0–127 Output Level

OFF, Intensity

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to assign 1–4.

29 JUNO Chorus

(JUNO-106 Chorus)

This models the chorus eects of the Roland JUNO-106.

Balance D

L in

R in

Balance D

Parameter Value Explanation

Mode

Noise Lv

Balance

Level

Asgn1–4

I, II, I+II, JX I, JX II, III, I+III, II+III, I+II+III

0–127 Volume of the noise produced by chorus

D100: 0W–D0: 100W

0–127 Output Level

OFF, Noise Level, Balance

Type of Chorus

I+II, I+III, II+III, I+II+III: The state in which

multiple buttons are pressed at the same time.

Volume balance between the dry sound (D) and eect sound (W)

Species the parameters that are assigned to assign 1–4.

L out

Balance W

R out

28 SDD-320

(DIMENSION D)

This models Roland’s DIMENSION D (SDD-320). It provides a clear chorus sound.

L in L out

R outR in

Parameter Value Explanation

Mode

Low Gain

High Gain

Level

Asgn1–4

1, 2, 3, 4, 1+4, 2+4, 3+4

-15–+15 [dB]

0–127 Output Level

OFF, Mode

Switches the mode.

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to assign 1–4.

Modulation

30 Ring Mod

This is an eect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency in response to changes in the volume of the sound sent into the eect.

L in L out

Parameter Value Explanation

Frequency

Sens

Polarity

Low Gain

High Gain

Balance

Level

Asgn1–4

0–127

UP, DOWN

-15–+15 [dB]

D100: 0W–D0: 100W

0–127 Output Level

OFF, Frequency, Sens, Balance

(Ring modulator)

R outR in

Adjusts the frequency at which modulation is applied.

Adjusts the amount of frequency modulation applied.

Determines whether the frequency modulation moves towards higher frequencies or lower frequencies.

UP: The lter will change toward a higher

frequency.

DOWN: The lter will change toward a lower

frequency.

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Volume balance between the direct sound (D) and the eect sound (W)

Species the parameters that are assigned to assign 1–4.

Page 47

MFX Parameters

TremoloTremolo

2-Band EQ2-Band EQ

TremoloTremolo

2-Band EQ2-Band EQ

Auto PanAuto Pan

2-Band EQ2-Band EQ

Auto PanAuto Pan

2-Band EQ2-Band EQ

SlicerSlicer

31 Tremolo

Cyclically changes the volume.

L in L out

Parameter Value Explanation

Modulation Wave

TRI: Triangle wave SQR: Square wave SIN: Sine wave SAW1/2: Sawtooth wave TRP: Trapezoidal wave

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of the change

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to assign 1–4.

Mod Wave

Rate Sync

Rate

Rate Note

Depth

Low Gain

High Gain

Level

Asgn1–4

TRI, SQR, SIN, SAW1, SAW2, TRP

SAW1 SAW2

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth to which the eect is applied

-15–+15 [dB]

0–127 Output Level

OFF, Rate (Hz), Depth

32 Auto Pan

Cyclically modulates the stereo location of the sound.

L in L out

R outR in

Parameter Value Explanation

Modulation Wave

TRI: Triangle wave SQR: Square wave SIN: Sine wave SAW1/2: Sawtooth wave TRP: Trapezoidal wave

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of the change

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to assign 1–4.

Mod Wave

Rate Sync

Rate

Rate Note

Depth

Low Gain

High Gain

Level

Asgn1–4

TRI, SQR, SIN, SAW1, SAW2, TRP

SAW1 SAW2

R R

L L

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth to which the eect is applied

-15–+15 [dB]

0–127 Output Level

OFF, Rate (Hz), Depth

R outR in

33 Slicer

By applying successive cuts to the sound, this eect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially eective when applied to sustain-type sounds.

L in L out

R outR in

Parameter Value Explanation

Step 1–16

Rate Sync

Rate

Rate Note

Attack

In Sync Sw

InSyncThres

0–127 Level at each step

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127

OFF, ON

0–127 Volume at which an input note will be detected

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Rate at which the 16-step sequence will cycle

Speed at which the level changes between steps

Species whether an input note will cause the sequence to resume from the rst step of the sequence (ON) or not (OFF)

Page 48

MFX Parameters

RotaryRotary

2-Band EQ2-Band EQ

Parameter Value Explanation

Sets the manner in which the volume changes as one step progresses to the next.

LEGATO: The change in volume from one

step’s level to the next remains unaltered. If the

Mode

Shue

Level

Asgn1–4

LEGATO, SLASH

0–127

0–127 Output Level

OFF, Rate (Hz), Attack, Shue

level of a following step is the same as the one preceding it, there is no change in volume.

SLASH: The level is momentarily set to 0 before

progressing to the level of the next step. This change in volume occurs even if the level of the following step is the same as the preceding step.

Timing of volume changes in levels for even-numbered steps (step 2, step 4, step 6...). The higher the value, the later the beat progresses.

Species the parameters that are assigned to assign 1–4.

34 Rotary

This simulates a classic rotary speaker of the past.

Since the operation of the high-frequency and low-frequency rotors can be specied independently, the distinctive modulation can be reproduced realistically. This is most eective on organ patches.

L in

R in

Parameter Value Explanation

Simultaneously switch the rotational speed of the low frequency rotor and high frequency

Speed

Wf Slow

Wf Fast

Wf Accel

Wf Level

Tw Slow

Tw Fast

Tw Accel

Tw Level

Separation

Level

Asgn1–4

SLOW, FAST

0.05–10.00 [Hz] Slow speed (SLOW) of the low frequency rotor

0.05–10.00 [Hz] Fast speed (FAST) of the low frequency rotor

0–15

0–127 Volume of the low frequency rotor

0.05–10.00 [Hz]

0–15

0–127

0–127 Spatial dispersion of the sound

0–127 Output Level

OFF, Speed, Level

rotor.

SLOW : Slows down the rotation to the Slow

Rate.

FAST: Speeds up the rotation to the Fast Rate.

Adjusts the time it takes the low frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed. Lower values will require longer times.

Settings of the high frequency rotor The parameters are the same as for the low frequency rotor

Species the parameters that are assigned to assign 1–4.

L out

R out

35 VK Rotary

This type provides modied response for the rotary speaker, with the low end boosted further.

This eect features the same specications as the VK-7’s built-in rotary speaker.

L in

R in

Parameter Value Explanation

Speed

Brake

Wf Slow

Wf Fast

Wf Trs Up

Wf Trs Dw

Wf Level

Tw Slow

Tw Fast

Tw Trs Up

Tw Trs Dw

Tw Level

Spread

Low Gain

High Gain

Level

OD Switch

OD Gain

OD Drive

OD Level

Asgn1–4

SLOW, FAST

OFF, ON

0.05–10.00 [Hz] Low-speed rotation speed of the woofer

0.05–10.00 [Hz] High-speed rotation speed of the woofer

0–127

0–127 Volume of the woofer

0.05–10.00 [Hz]

0–127

0–10

-15–+15 [dB]

0–127 Output Level

OFF, ON Overdrive on/o

0–127

0–127 Degree of distortion

0–127 Volume of the overdrive

OFF, Speed, Brake, OD Gain, OD Drive, OD Level

Rotational speed of the rotating speaker

SLOW: Slow FAST: Fast

Switches the rotation of the rotary speaker. When this is turned on, the rotation will gradually stop. When it is turned o, the rotation will gradually resume.

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Slow to Fast.

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Fast to Slow.

Settings of the tweeter The parameters are the same as for the woofer.

Sets the rotary speaker stereo image. The higher the value set, the wider the sound is spread out.

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Overdrive input level Higher values will increase the distortion.

Species the parameters that are assigned to assign 1–4.

L out

R out

Page 49

MFX Parameters

Amp Simula-

tor

Amp Simula-

tor

OverdriveOverdrive

2-Band EQ2-Band EQ

Amp Simula-

tor

Amp Simula-

tor

DistortionDistortion

2-Band EQ2-Band EQ

DistortionDistortion

ToneTone

DistortionDistortion

ToneTone

Pre FilterPre Filter

Tone

Control

Tone

Control

Tone

Control

Tone

Control

OverdriveOverdrive

Post FilterPost Filter

Odd

Overtone

Generator

Odd

Overtone

Generator

Even

Overtone

Generator

Even

Overtone

Generator

Odd

Overtone

Generator

Odd

Overtone

Generator

Even

Overtone

Generator

Even

Overtone

Generator

Drive / Amp

36 Overdrive

This is an overdrive that provides heavy distortion.

L in

R in

Parameter Value Explanation

Drive

Tone

Amp Switch

AmpType

Low Gain

High Gain

Pan

Level

Asgn1–4

0–127

0–127 Sound quality of the Overdrive eect

OFF, ON Turns the Amp Simulator on/o.

SMALL, BUILT-IN, 2-STACK, 3-STACK

-15–+15 [dB]

L64–63R Stereo location of the output sound

0–127 Output Level

OFF, Drive, Tone, Pan

Degree of distortion Also changes the volume.

Type of guitar amp

SMALL: Small amp BUILT-IN: Single-unit type amp 2-STACK: Large double stack amp 3-STACK: Large triple stack amp

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to assign 1–4.

37 Distortion

Produces a more intense distortion than Overdrive.

L in

R in

Pan L

Pan R

L out

R out

Pan L

Pan R

L out

R out

38 T-Scream

This models a classic analog overdrive. It is distinctive in adding an appropriate amount of overtones without muddying the sound.

L in L out

R outR in

Parameter Value Explanation

Distortion

Tone

Level

Asgn1–4

0–127

0–127 Tonal character of the overdrive

0–127 Output Level

OFF, Distortion, Tone

Degree of distortion Also changes the volume.

Species the parameters that are assigned to assign 1–4.

39 Fuzz

Adds overtones and intensely distorts the sound.

L in L out

R outR in

Parameter Value Explanation

Drive

Tone

Level

Asgn1–4

0–127

0–100 Sound quality of the Overdrive eect

0–127 Output Level

OFF, Drive, Tone

40 Fattener

(Tone Fattener)

Adjusts the depth of distortion. This also changes the volume.

Species the parameters that are assigned to assign 1–4.

Parameter Value Explanation

Drive

Tone

Amp Switch

AmpType

Low Gain

High Gain

Pan

Level

Asgn1–4

0–127

0–127 Sound quality of the Overdrive eect

OFF, ON Turns the Amp Simulator on/o.

SMALL, BUILT-IN, 2-STACK, 3-STACK

-15–+15 [dB]

L64–63R Stereo location of the output sound

0–127 Output Level

OFF, Drive, Tone, Pan

Degree of distortion Also changes the volume.

Type of guitar amp

SMALL: Small amp BUILT-IN: Single-unit type amp 2-STACK: Large double stack amp 3-STACK: Large triple stack amp

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to assign 1–4.

This eect applies distinctive distortion, adding overtones to give more depth to the sound.

L outL in

R inR in

Parameter Value Explanation

Odd Level

Even Level

Level

Asgn1–4

0–400 [%] Raising the value adds odd-order overtones.

0–400 [%] Raising the value adds even-order overtones.

0–127 Output Level

OFF, Odd Level, Even Level

Species the parameters that are assigned to assign 1–4.

Page 50

MFX Parameters

Tube Model

Distortion

Tube Model

Distortion

Pre FilterPre Filter

OverdriveOverdrive

Post Filter1-3Post Filter1-3

Pre FilterPre Filter

OverdriveOverdrive

Post Filter1-3Post Filter1-3

Pre FilterPre Filter

OverdriveOverdrive

Post

Filter1-3

Post

Filter1-3

Pre FilterPre Filter

Low/HighLow/High

OverdriveOverdrive

Post

Filter1-3

Post

Filter1-3

41 HMS Distort

(HMS Distortion)

This is a distortion-type eect that models the vacuum tube amp section of a rotary speaker of the past.

L in

R in

Parameter Value Explanation

Dist

Level

Asgn1–4

0–127 Strength of distortion

0–127 Output Level

OFF, Distortion

Species the parameters that are assigned to assign 1–4.

L out

R out

42 Saturator

This eect combines overdrive and lter.

Balance D

L in L out

Balance W

R outR in

Balance D

Parameter Value Explanation

Type of lter that precedes the distortion processing

THRU: No lter is applied LPF: A lter that passes the sound below the

Pre Type

Pre Freq

Pre Gain

Drive

Post1 Type

Post1Frq

Post1Gain

Post2 Type

Post2Frq

Post2Gain

Post3 Type

Post3Frq

Post3Gain

THRU, LPF, HPF, LSV, HSV

20–16000 [Hz]

-24.0–+24.0 [dB] For the LSV/HSV types, the amount of boost/cut

0.0–48.0 [dB] Strength of distortion

THRU, LPF, HPF, LSV, HSV

20–16000 [Hz]

-24.0–+24.0 [dB] For the LSV/HSV types, the amount of boost/cut

THRU, LPF, HPF, LSV, HSV

20–16000 [Hz]

-24.0–+24.0 [dB] For the LSV/HSV types, the amount of boost/cut

THRU, LPF, HPF, BPF, PKG

20–16000 [Hz]

-24.0–+24.0 [dB] For the PKG type, the amount of boost/cut

specied frequency

HPF: A lter that passes the sound above the

specied frequency

LSV: A lter that boosts/cuts the sound below

the specied frequency

HSV: A lter that boosts/cuts the sound above

the specied frequency

Frequency at which the pre-distortion lter operates

Type of lter 1 which follows the distortion processing

Frequency at which post-distortion lter 1 operates

Type of lter 2 which follows the distortion processing

Frequency at which post-distortion lter 2 operates

Type of lter 3 which follows the distortion processing

THRU: No lter is applied LPF: A lter that passes the sound below the

specied frequency

HPF: A lter that passes the sound above the

specied frequency

BPF: A lter that passes only the specied

frequency

PKG: A lter that boosts/cuts the specied

frequency

Frequency at which post-distortion lter 3 operates

Parameter Value Explanation

Post3 Q

Sense

PostGain

Balance

Level

Asgn1–4

0.5–16.0

-60.0–0.0 [dB]

-48.0 +12.0 [dB] Gain following distortion processing

D100: 0W–D0: 100W

0–127 Output Level

OFF, Drive, Drive Balance, Level

43 W Saturator

Width of the frequency range aected by the lter

Adjust this value so that the sound is not made louder when distortion is applied.

Volume balance between the dry sound (D) and eect sound (W)

Species the parameters that are assigned to assign 1–4.

(Worm Saturator)

This is a variety of saturator, and is distinctive for its warmer sound.

Balance D

L in L out

Balance W

Balance D

Parameter Value Explanation

LowFreq

LowGain

Hi Slope

Hi Freq

Pre1 Type

Pre1Freq

Pre1Gain

Drive

Post1 Type

Post1Frq

Post1Gain

Post2 Type

Post2Frq

Post2Gain

20–16000 [Hz]

-24.0–+24.0 [dB]

THRU, -12dB, -24dB

20–16000 [Hz]

THRU, LPF, HPF, LSV, HSV

20–16000 [Hz]

-24.0–+24.0 [dB]

0.0–48.0 [dB] Strength of distortion

THRU, LPF, HPF, LSV, HSV

20–16000 [Hz]

-24.0–+24.0 [dB]

THRU, LPF, HPF, LSV, HSV

20–16000 [Hz]

-24.0–+24.0 [dB]

Input lter (low range) Boosts/cuts the sound below the specied frequency.

Input lter (low range) Amount of boost/cut

Amount of attenuation per octave

THRU: No attenuation

-12 dB: Gentle

-24 dB: Steep

Input lter (high range) Boosts/cuts the sound above the specied frequency.

Types of lter that precedes the distortion processing

THRU: No lter is applied LPF: A lter that passes the sound below the

specied frequency

HPF: A lter that passes the sound above the

specied frequency

LSV: A lter that boosts/cuts the sound below

the specied frequency

HSV: A lter that boosts/cuts the sound above

the specied frequency

Frequency at which the pre-distortion lter operates

For the LSV/HSV types, the amount of boost/ cut

Type of lter 1 which follows the distortion processing

Frequency at which post-distortion lter 1 operates

For the LSV/HSV types, the amount of boost/ cut

Type of lter 2 which follows the distortion processing

Frequency at which post-distortion lter 2 operates

For the LSV/HSV types, the amount of boost/ cut

R outR in

Page 51

MFX Parameters

SpeakerSpeaker

Pre AmpPre Amp

SpeakerSpeaker

Bass/Tre-

ble

Bass/Tre-

ble

OverdriveOverdrive

TremoloTremolo

Parameter Value Explanation

Type of lter 3 which follows the distortion processing

THRU: No lter is applied LPF: A lter that passes the sound below the

Post3 Type

Post3Frq

Post3Gain

Post3 Q

Sense

PostGain

Balance

Level

Asgn1–4

THRU, LPF, HPF, BPF, PKG

20–16000 [Hz]

-24.0–+24.0 [dB] For the PKG type, the amount of boost/cut

0.5–16.0

-60.0–0.0 [dB]

-48.0–+12.0 [dB] Gain following distortion processing

D100: 0W–D0: 100W

0–127 Output Level

OFF, LowGain, Hi Freq, Drive, Balance, Level

44 Gt Amp Sim

specied frequency

HPF: A lter that passes the sound above the

specied frequency

BPF: A lter that passes only the specied

frequency

PKG: A lter that boosts/cuts the specied

frequency

Frequency at which post-distortion lter 3 operates

Width of the frequency range aected by the lter

Adjust this value so that the sound is not made louder when distortion is applied.

Volume balance between the dry sound (D) and eect sound (W)

Species the parameters that are assigned to assign 1–4.

(Guitar Amp Simulator)

This is an eect that simulates the sound of a guitar amplier.

L in

R in

Parameter Value Explanation

Pre Amp Sw

ATy p

Drive

Master Lv

Gain

OFF, ON Turns the amp switch on/o.

Type of guitar amp

JC-120 This models the sound of the Roland JC-120.

CLEAN TWIN This models a Fender Twin Reverb.

This models the sound input to left input on a

MATCH DRIVE

BG LEAD

MS1959I

MS1959II

MS1959I+II

SLDN LEAD

METAL 5150 This models the lead channel of a Peavey EVH 5150.

METAL LEAD

OD-1

OD-2 TURBO This is the high-gain overdrive sound of the BOSS OD-2.

DISTORTION This gives a basic, traditional distortion sound.

FUZZ A fuzz sound with rich harmonic content.

0–127 Volume and amount of distortion of the amp

0–127 Volume of the entire pre-amp

LOW, MIDDLE, HIGH

Matchless D/C-30. A simulation of the latest tube amp widely used in styles from blues rock and fusion.

This models the lead sound of the MESA/ Boogie combo amp. The sound of a tube amp typical of the late ’70s to ’80s.

This models the sound input to Input I on a Marshall

1959. This is a trebly sound suited to hard rock.

This models the sound input to Input II on a Marshall

1959.

The sound of connecting inputs I and II of the guitar amp in parallel, creating a sound with a stronger low end than I.

This models a Soldano SLO-100. This is the typical sound of the eighties.

This is distortion sound that is ideal for performances of heavy ris.

This models the sound of the BOSS OD-1. This produces sweet, mild distortion.

Amount of pre-amp distortion

Pan L

Pan R

L out

R out

Parameter Value Explanation

Bass

Middle

Treble

Presence

Bright

Speaker Sw

STyp

Mic Setting

Mic Level

Direct Level

Pan

Level

Asgn1–4

45 EP Amp Sim

0–127

0–127 Tone for the ultra-high frequency range

OFF, ON

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN 1

BUILT-IN 2

BUILT-IN 3

BUILT-IN 4

BUILT-IN 5

BG STACK 1

BG STACK 2

MS STACK 1

MS STACK 2

METAL STACK

2-STACK

3-STACK

1–3

0–127 Volume of the microphone

0–127 Volume of the direct sound

L64–63R Stereo location of the output sound

0–127 Output Level

OFF, Volume, Master Lv, Pan, Level

Tone of the bass/mid/treble frequency range

Turning this “On” produces a sharper and brighter sound.

* This parameter applies to the “JC-120,” “CLEAN TWIN,”

“MATCH DRIVE,” and “BG LEAD” Pre Amp Types.

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Cabinet

small open-back

enclosure

small open-back

enclosure

open back enclosure 12 x 1 dynamic

open back enclosure 12 x 2 dynamic

open back enclosure 12 x 2 condenser

sealed enclosure 12 x 2 condenser

large sealed enclosure 12 x 2 condenser

large sealed enclosure 12 x 4 condenser

large double stack 12 x 4 condenser

large triple stack 12 x 4 condenser

Adjusts the location of the microphone that is recording the sound of the speaker. This can be adjusted in three steps, with the microphone becoming more distant in the order of 1, 2, and 3.

Species the parameters that are assigned to assign 1–4.

Diameter (in

inches) and number

of the speaker

10 dynamic

(RD EP Amp Simulator)

Microphone

This is an eect that was developed for the RD series SuperNatural E.Piano.

L in

R in

Parameter Value Explanation

Bass

Treble

Tremolo Sw

Type

-50–+50 Amount of low-frequency boost/cut

-50–+50 Amount of high-frequency boost/cut

OFF, ON Tremolo on/o

Type of tremolo eect

OLDCASE MO

OLDCASE ST

NEWCASE

DYNO A classic modied electric piano

WURLY A classic electric piano of the ’60s

A standard electric piano sound of the early ’70s (mono)

A standard electric piano sound of the early ’70s (stereo)

A standard electric piano sound of the late ’70s and early ’80s

L out

R out

Page 52

MFX Parameters

SpeakerSpeaker

CompressorCompressor

2-Band EQ2-Band EQ

CompressorCompressor

2-Band EQ2-Band EQ

CompressorCompressor

Parameter Value Explanation

Speed Sync

Speed

Speed Nt

Depth

Shape

AMP

Speaker

Drive

Level

Asgn1–4

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of the tremolo eect

0–20 Adjusts the waveform of the tremolo.

OFF, ON Turns the speaker and distortion on/o

LINE, OLD, NEW, WURLY, T WIN

0–127

0–127 Output Level

OFF, Bass, Treble, Tremolo Sw, Speed, Depth

46 Speaker Sim

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Rate of the tremolo eect

Type of speaker If LINE is selected, the sound will not be sent through the speaker simulation.

Degree of distortion Also changes the volume.

Species the parameters that are assigned to assign 1–4.

(Speaker Simulater)

Simulates the speaker type and mic settings used to record the speaker sound.

L in L out

R outR in

Parameter Value Explanation

Diameter (in inches) and

number of the

speaker

Microphone

Type

Mic Setting

Mic Level

Direct Lv

Level

Asgn1–4

Cabinet

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN 1

BUILT-IN 2

BUILT-IN 3

BUILT-IN 4

BUILT-IN 5

BG STACK 1

BG STACK 2

MS STACK 1

MS STACK 2

METAL STACK

2-STACK

3-STACK

1–3

0–127 Volume of the microphone

0–127 Volume of the direct sound

0–127 Output Level

OFF, Mic Level, Direct Level, Level

small open-back enclosure 10 dynamic

open back enclosure 12 x 1 dynamic

open back enclosure 12 x 2 dynamic

open back enclosure 12 x 2 condenser

sealed enclosure 12 x 2 condenser

large sealed enclosure 12 x 2 condenser

large sealed enclosure 12 x 4 condenser

large double stack 12 x 4 condenser

large triple stack 12 x 4 condenser

Adjusts the location of the microphone that is recording the sound of the speaker. This can be adjusted in three steps, with the microphone becoming more distant in the order of 1, 2, and 3.

Species the parameters that are assigned to assign 1–4.

Comp / Limiter

47 Compressor

Flattens out high levels and boosts low levels, smoothing out uctuations in volume.

L in L out

R outR in

Parameter Value Explanation

Attack

Release

Threshold

Knee

Ratio

Post Gain

Level

Asgn1–4

48 M/S Comp

This eect allows the left/right signals that have similar phase to be adjusted to a dierent sense of volume than the left/right signals that have dierent phase.

L in L out

Parameter Value Explanation

M Comp Sw

M Attack

M Release

M Thres

M Knee

M Ratio

M Gain

S Comp Sw

S Attack

S Release

S Thres

0–124 Sets the speed at which compression starts.

0–124

-60–0 [dB]

0–30 [dB]

1: 1, 1.5: 1, 2: 1, 4: 1, 16: 1, INF: 1

0–+18 [dB] Level of the output sound

0–127 Output Level

OFF, Attack, Threshold, Level

Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied.

Adjusts the volume at which compression begins.

This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than Threshold. Higher values produce a smoother transition.

Compression ratio

Species the parameters that are assigned to assign 1–4.

(Mid-Side Compressor)

Mid

Side

OFF, ON

0–124 Sets the speed at which compression starts

0–124

-60–0 [dB]

0–30 [dB]

1: 1, 1.5: 1, 2: 1, 4: 1, 16: 1, INF: 1

0–+18 [dB] Level of the output sound

OFF, ON

0–124 Sets the speed at which compression starts

0–124

-60–0 [dB]

Switches whether to adjust the sense of volume for left/right input signals whose phase is similar (in phase).

Adjusts the time after the signal volume falls below the M Thres Level until compression is no longer applied.

Adjusts the volume at which compression begins.

This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than M Thres. Higher values produce a smoother transition.

Compression ratio

Switches whether to adjust the sense of volume for left/right input signals whose phase is distant (opposite phase).

Adjusts the time after the signal volume falls below the S Thres Level until compression is no longer applied.

Adjusts the volume at which compression begins.

R outR in

Page 53

MFX Parameters

LimiterLimiter

2-Band EQ2-Band EQ

LimiterLimiter

2-Band EQ2-Band EQ

SustainerSustainer

2-Band EQ2-Band EQ

SustainerSustainer

2-Band EQ2-Band EQ

Envelope

Controller

Envelope

Controller

GateGate

Parameter Value Explanation

This is a function that smooths the onset of

S Knee

S Ratio

S Gain

Level

Asgn1–4

0–30 [dB]

1: 1, 1.5: 1, 2: 1, 4: 1, 16: 1, INF: 1

0–+18 [dB] Level of the output sound

0–127 Output Level

OFF, M Attack, M Release, M Threshold, M Post Gain, S Attack, S Release, S Threshold, S Post Gain

compression from the uncompressed state; it gradually applies compression starting earlier than S Thres. Higher values produce a smoother transition.

Compression ratio

Species the parameters that are assigned to assign 1–4.

49 Limiter

Compresses signals that exceed a specied volume level, preventing distortion from occurring.

L in L out

R outR in

Parameter Value Explanation

Release

Threshold

Ratio

Post Gain

Low Gain

High Gain

Level

Asgn1–4

0–127

1.5: 1, 2: 1, 4: 1, 100: 1 Compression ratio

0–+18 [dB] Level of the output sound

-15–+15 [dB]

0–127 Output Level

OFF, Release, Threshold, Level

Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied.

Adjusts the volume at which compression begins.

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to assign 1–4.

50 Sustainer

By compressing loud input and boosting low input, this eect keeps the volume consistent to produce a sustain eect without distortion.

L in L out

R outR in

Parameter Value Explanation

Sustain

Attack

Release

Post Gain

Low Gain

High Gain

Level

0–127

0–127 Time until the volume is compressed

0–127 Time until compression is removed

-15–+15 [dB] Level of the output sound

-15–+15 [dB]

0–127 Output Level

Adjusts the range in which a low input signal is boosted to a consistent volume. Higher values produce longer sustain.

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Parameter Value Explanation

Asgn1–4

OFF, Sustain, Attack, Release

Species the parameters that are assigned to assign 1–4.

51 Transient

This eect lets you control the way in which the sound attacks and decays.

L outL in

R in

Parameter Value Explanation

Attack

Release

Out Gain

Sens

Level

Asgn1–4

-50–+50

-24–+12 [dB] Output gain

LOW, MID, HIGH Quickness with which the attack is detected

0–127 Output Level

OFF, Attack, Release

R out

Character of the attack. Higher values make the attack more aggressive; lower values make the attack milder.

Character of the decay. Higher values make the sound linger; lower values make the sound cuto quickly.

Species the parameters that are assigned to assign 1–4.

52 Gate

Cuts the reverb’s delay according to the volume of the sound sent into the eect. Use this when you want to create an articial-sounding decrease in the reverb’s decay.

L in L out

R outR in

Parameter Value Explanation

Threshold

Mode

Attack

Hold

Release

Balance

Level

Asgn1–4

0–127 Volume level at which the gate begins to close

Type of gate

GATE: The gate will close when the volume

GATE, DUCK

0–127

D100: 0W–D0: 100W

0–127 Output Level

OFF, Threshold, Balance

of the original sound decreases, cutting the original sound.

DUCK (Duking): The gate will close when the

volume of the original sound increases, cutting the original sound.

Adjusts the time it takes for the gate to fully open after being triggered.

Adjusts the time it takes for the gate to start closing after the source sound falls beneath the Threshold.

Adjusts the time it takes the gate to fully close after the hold time.

Volume balance between the direct sound (D) and the eect sound (W)

Species the parameters that are assigned to assign 1–4.

Page 54

MFX Parameters

2-Band EQ2-Band EQ

DelayDelay

2-Band EQ2-Band EQ

DelayDelay

2-Band EQ2-Band EQ

DelayDelay

ModulationModulation

DelayDelay

ModulationModulation

2-Band EQ2-Band EQ

DelayDelay

ModulationModulation

DelayDelay

ModulationModulation

Delay

53 Delay

This is a stereo delay.

When Feedback Mode is NORMAL:

Balance D

L in

Feedback

R in

Balance D

When Feedback Mode is CROSS:

Balance D

L in

Feedback

R in

Balance D

Parameter Value Explanation

Dly L Sync

DL. Time

DLTime Nt

Dly R Sync

DR. Time

DRTime Nt

Phase L

Phase R

Fbk Mode

Feedback

HF Damp

Low Gain

High Gain

Balance

Level

Asgn1–4

OFF, ON

1–1300

Note

Ø“Note” (p. 72)

OFF, ON

1–1300

Note

Ø“Note” (p. 72)

NORMAL, INVERSE Phase of left and right delay sound

NORMAL, INVERSE

NORMAL, CROSS

-98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

-15–+15 [dB]

D100: 0W–D0: 100W

0–127 Output Level

OFF, Feedback, Balance

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Adjusts the time until the left delay sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Adjusts the time until the right delay sound is heard.

NORMAL: Non-inverted INVERT: Inverted

Selects the way in which delay sound is fed back into the eect. (See the gures above.)

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out (BYPASS: no cut).

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Volume balance between the direct sound (D) and the delay sound (W)

Species the parameters that are assigned to assign 1–4.

Balance W

L out

R out

L out

R out

54 Mod Delay

(Modulation Delay)

Adds modulation to the delayed sound.

When Feedback Mode is NORMAL:

Balance D

L in

Feedback

R in

Balance D

When Feedback Mode is CROSS:

Balance D

L in

Feedback

R in

Balance D

Parameter Value Explanation

Dly L Sync

DL. Time

DLTime Nt

Dly R Sync

DR. Time

DRTime Nt

Fbk Mode

Feedback

HF Damp

Rate Sync

Rate

Rate Note

Depth

Phase

Low Gain

High Gain

Balance

Level

Asgn1–4

OFF, ON

1–1300

Note

Ø“Note” (p. 72)

OFF, ON

1–1300

Note

Ø“Note” (p. 72)

NORMAL, CROSS

-98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of modulation

0–180 [deg] Spatial spread of the sound

-15–+15 [dB]

D100: 0W–D0: 100W

0–127 Output Level

OFF, Feedback, Rate (Hz), Balance

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Adjusts the time until the left delay sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Adjusts the time until the right delay sound is heard.

Selects the way in which delay sound is fed back into the eect. (See the gures above.)

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out (BYPASS: no cut).

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Volume balance between the direct sound (D) and the delay sound (W)

Species the parameters that are assigned to assign 1–4.

L out

Balance W

R out

L out

Balance W

R out

Page 55

MFX Parameters

Double Tap

Delay

Double Tap

Delay

2-Band EQ2-Band EQ

Triple Tap

Delay

Triple Tap

Delay

Quadruple

Tap Delay

Quadruple

Tap Delay

55 2Tap PanDly

(2 Tap Pan Delay)

L in

Delay 1

Feedback

Delay 2

R in

Parameter Value Explanation

Delay Sync

D. Time (ms)

D. Time (Nt)

Delay Fbk

Dly HF

Dly1 Pan

Dly2 Pan

Dly1 Lv

Dly2 Lv

Low Gain

High Gain

Balance

Level

Asgn1–4

OFF, ON

1–2600

Note

Ø“Note” (p. 72)

-98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

L64–63R Stereo location of Delay 1

L64–63R Stereo location of Delay 2

0–127 Volume of delay 1

0–127 Volume of delay 2

-15–+15 [dB]

D100: 0W–D0: 100W

0–127 Output Level

OFF, D. Time (ms), Delay Fbk, Balance

56 3Tap PanDly

If this is “ON,” the delay synchronizes with the tempo.

Adjusts the time until the second delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out (BYPASS: no cut).

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

Species the parameters that are assigned to assign 1–4.

(3 Tap Pan Delay)

Produces three delay sounds; center, left and right.

Balance D

L in

Left Tap

Balance D

Balance W

L out

R out

L out

Parameter Value Explanation

Dly R Sync

DR. Time

DRTime Nt

Dly C Sync

DC. Time

DCTime Nt

C Feedback

HF Damp

Left Lv

Right Lv

Center Lv

Low Gain

High Gain

Balance

Level

Asgn1–4

OFF, ON

1–2600

Note

Ø“Note” (p. 72)

OFF, ON

1–2600

Note

Ø“Note” (p. 72)

-98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

0–127

-15–+15 [dB]

D100: 0W–D0: 100W

0–127 Output Level

OFF, C Feedback, Balance

57 4Tap PanDly

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Adjusts the time until the right delay sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Adjusts the time until the center delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out (BYPASS: no cut).

Volume of each delay sound

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Volume balance between the direct sound (D) and the delay sound (W)

Species the parameters that are assigned to assign 1–4.

(4 Tap Pan Delay)

This eect has four delays.

L in

Feedback

Delay 1

Delay 2

Delay 3

Delay 4

R in

2 3

Balance D

L out

Balance W

R out

Balance D

Center Tap

Feedback

Right Tap

R in

Balance D

Parameter Value Explanation

If this is “ON,” the rate synchronizes with the

Dly L Sync

DL. Time

DLTime Nt

OFF, ON

1–2600

Note

Ø“Note” (p. 72)

tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Adjusts the time until the left delay sound is heard.

Balance W

R out

Parameter Value Explanation

Dly1 Sync

D1. Time

D1Time Nt

Dly2 Sync

D2. Time

D2Time Nt

OFF, ON

1–2600

Note

Ø“Note” (p. 72)

OFF, ON

1–2600

Note

Ø“Note” (p. 72)

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Adjusts the time from the original sound until delay 1 sounds is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Adjusts the time from the original sound until delay 2 sounds is heard.

Page 56

MFX Parameters

Multi Tap

Delay

Multi Tap

Delay

2-Band EQ2-Band EQ

Rev. DelayRev. Delay

DelayDelay

2-Band EQ2-Band EQ

Parameter Value Explanation

Dly3 Sync

D3. Time

D3Time Nt

Dly4 Sync

D4. Time

D4Time Nt

Dly1 Fbk

HF Damp

Dly1 Lv

Dly2 Lv

Dly3 Lv

Dly4 Lv

Low Gain

High Gain

Balance

Level

Asgn1–4

OFF, ON

1–2600

Note

Ø“Note” (p. 72)

OFF, ON

1–2600

Note

Ø“Note” (p. 72)

-98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

0–127

-15–+15 [dB]

D100: 0W–D0: 100W

0–127 Output Level

OFF, Dly1 Fbk, Balance

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Adjusts the time from the original sound until delay 3 sounds is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Adjusts the time from the original sound until delay 4 sounds is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out (BYPASS: no cut).

Volume of each delay

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Volume balance between the direct sound (D) and the delay sound (W)

Species the parameters that are assigned to assign 1–4.

Parameter Value Explanation

D3. Time

D3Time Nt

Dly4 Sync

D4. Time

D4Time Nt

Dly1 Fbk

HF Damp

Dly1 Pan

Dly2 Pan

Dly3 Pan

Dly4 Pan

Dly1 Lv

Dly2 Lv

Dly3 Lv

Dly4 Lv

Low Gain

High Gain

Balance

Level

Asgn1–4

1–2600

Note

Ø“Note” (p. 72)

OFF, ON

1–2600

Note

Ø“Note” (p. 72)

-98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

L64–63R

0–127

-15–+15 [dB]

D100: 0W–D0: 100W

0–127 Output Level

OFF, Dly1 Fbk, Balance

Adjusts the time from the original sound until delay 3 sounds is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Adjusts the time from the original sound until delay 4 sounds is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out (BYPASS: no cut).

Stereo location of Delays 1–4

Volume of each delay

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Volume balance between the direct sound (D) and the eect sound (W)

Species the parameters that are assigned to assign 1–4.

58 MultiTapDly

(Multi Tap Delay)

This eect has four delays. Each of the Delay Time parameters can be set to a note length based on the selected tempo. You can also set the panning and level of each delay sound.

Balance D

L in

Feedback

Delay 1

Delay 2

Delay 3

Delay 4

Balance W

R in

Balance D

Parameter Value Explanation

Dly1 Sync

D1. Time

D1Time Nt

Dly2 Sync

D2. Time

D2Time Nt

Dly3 Sync

OFF, ON

1–2600

Note

Ø“Note” (p. 72)

OFF, ON

1–2600

Note

Ø“Note” (p. 72)

OFF, ON

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Adjusts the time from the original sound until delay 1 sounds is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Adjusts the time from the original sound until delay 2 sounds is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

L out

R out

59 Reverse Dly

(Reverse Delay)

This is a reverse delay that adds a reversed and delayed sound to the input sound. A tap delay is connected immediately after the reverse delay.

L outL in

Rev

Feedback

R in

Parameter Value Explanation

Threshold

RDly Sync

RD. Time

RD. Time Nt

RDly Fbk

RDly HF

RDly Pan

RDly Level

0–127

OFF, ON

1–1300

Note

Ø“Note” (p. 72)

-98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

L64–63R Panning of the reverse delay sound

0–127 Volume of the reverse delay sound

D2D3

R out

Volume at which the reverse delay will begin to be applied

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Delay time from when sound is input into the reverse delay until the delay sound is heard

Proportion of the delay sound that is to be returned to the input of the reverse delay (negative (-) values invert the phase)

Frequency at which the high-frequency content of the reverse-delayed sound will be cut (BYPASS: no cut)

Page 57

MFX Parameters

2-Band EQ2-Band EQ

Time Ctrl

Delay

Time Ctrl

Delay

Time Ctrl

Delay

Time Ctrl

Delay

Tape EchoTape Echo

Parameter Value Explanation

Dly1 Sync

D1. Time

D1Time Nt

Dly2 Sync

D2. Time

D2Time Nt

Dly3 Sync

D3. Time

D3Time Nt

Dly3 Fbk

Dly HF

Dly1 Pan

Dly2 Pan

Dly1 Lv

Dly2 Lv

Low Gain

High Gain

Balance

Level

Asgn1–4

OFF, ON

1–1300

Note

Ø“Note” (p. 72)

OFF, ON

1–1300

Note

Ø“Note” (p. 72)

OFF, ON

1–1300

Note

Ø“Note” (p. 72)

-98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

L64–63R

0–127

-15–+15 [dB]

D100: 0W–D0: 100W

0–127 Output Level

OFF, RDly Fbk, Dly3 Fbk, Balance

60 TimeCtrlDly

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Delay time from when sound is input into the tap delay until the delay sound is heard

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Delay time from when sound is input into the tap delay until the delay sound is heard

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Delay time from when sound is input into the tap delay until the delay sound is heard

Proportion of the delay sound that is to be returned to the input of the tap delay (negative (-) values invert the phase)

Frequency at which the hi-frequency content of the tap delay sound will be cut (BYPASS: no cut).

Panning of the tap delay sounds

Volume of the tap delay sounds

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Volume balance between the direct sound (D) and the delay sound (W)

Species the parameters that are assigned to assign 1–4.

(Time Control Delay)

A stereo delay in which the delay time can be varied smoothly.

Balance D

L in

Balance W

Feedback

Balance W

R in

Balance D

Parameter Value Explanation

Delay Sync

D. Time

D. Time Nt

Acceleration

Feedback

OFF, ON

1–1300

Note

Ø“Note” (p. 72)

0–15

-98–+98 [%]

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Delay time from when the original sound is heard to when the delay sound is heard

Adjusts the speed which the Delay Time changes from the current setting to a specied new setting. The rate of change for the Delay Time directly aects the rate of pitch change.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

L out

R out

Parameter Value Explanation

200, 250, 315, 400,

HF Damp

Low Gain

High Gain

Balance

Level

Asgn1–4

500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

-15–+15 [dB]

D100: 0W–D0: 100W

0–127 Output Level

OFF, D. Time, Feedback, Balance

Adjusts the frequency above which sound fed back to the eect is ltered out (BYPASS: no cut).

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Volume balance between the direct sound (D) and the delay sound (W)

Species the parameters that are assigned to assign 1–4.

61 Tape Echo

A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo.

Direct Level

L in

R in

Direct Level

Parameter Value Explanation

Combination of playback heads to use Select from three dierent heads with dierent delay times.

S: short M: middle L: long

Tape speed Increasing this value will shorten the spacing of the delayed sounds.

Boost/cut for the upper range of the echo sound

Independent panning for the short, middle, and long playback heads

Amount of tape-dependent distortion to be added This simulates the slight tonal changes that can be detected by signal-analysis equipment. Increasing this value will increase the distortion.

Speed of wow/utter (complex variation in pitch caused by tape wear and rotational irregularity)

Species the parameters that are assigned to assign 1–4.

Mode

Repeat Rate

Intensity

Bass

Treble

Head S Pan

Head M Pan

Head L Pan

Distortion

Wf Rate

Wf Depth

Echo Level

Direct Lv

Level

Asgn1–4

S, M, L, S+M, S+L, M+L, S+M+L

0–127

0–127 Amount of delay repeats

-15–+15 [dB] Boost/cut for the lower range of the echo sound

-15–+15 [dB]

L64–63R

0–5

0–127

0–127 Depth of wow/utter

0–127 Volume of the echo sound

0–127 Volume of the original sound

0–127 Output Level

OFF, Mode, Repeat Rate, Intensity

L out

Echo Level

R out

Page 58

MFX Parameters

Multi-Tap

Delay

Multi-Tap

Delay

Multi-Tap

Delay

Multi-Tap

Delay

Speed Con-

trol

Speed Con-

trol

Speed Con-

trol

Speed Con-

trol

DelayDelay

Loop Sw

Control

Loop Sw

Control

DelayDelay

62 M/S Delay

(Mid-Side Delay)

This eect applies dierent amounts of delay to left/right signals of similar phase and diering phase.

L in L out

Parameter Value Explanation

MD Level

MD Mode

MD Tm Sync

MD. Time

MDTime Nt

MD Feedback

MD HFDamp

MD1 Pan

MD2 Pan

MD3 Pan

MD4 Pan

SD Level

SD Mode

SD Tm Sync

SD Time

SDTime Nt

SD Feedback

SD HFDamp

SD1 Pan

SD2 Pan

SD3 Pan

SD4 Pan

Level

Asgn1–4

0–127

2TAP, 3TAP, 4TAP

OFF, ON

1–1300

Note

Ø“Note” (p. 72)

-98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

L64–63R Panning of the rst delay sound

L64–63R Panning of the second delay sound

L64–63R Panning of the third delay sound

L64–63R Panning of the fourth delay sound

0–127

2TAP, 3TAP, 4TAP

OFF, ON

1–1300

Note

Ø“Note” (p. 72)

-98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

L64–63R Panning of the rst delay sound

L64–63R Panning of the second delay sound

L64–63R Panning of the third delay sound

L64–63R Panning of the fourth delay sound

0–127 Output Level

OFF, MD Level, MD Feedback, SD Level, SD Feedback

Mid

Side

Delay volume of left/right input signals whose phase is similar (in phase)

Delay divisions for the input signals whose left/ right phase is similar (identical phase)

If this is “ON,” the delay synchronizes with the tempo.

Adjusts the time from the original sound until the delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out (BYPASS: no cut).

Delay volume of left/right input signals whose phase is distant (opposite phase)

Delay divisions for the input signals whose left/ right phase is distant (reverse phase)

If this is “ON,” the delay synchronizes with the tempo.

Adjusts the time from the original sound until the delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out (BYPASS: no cut).

Species the parameters that are assigned to assign 1–4.

R outR in

Looper

63 DJFX Looper

Loops a short portion of the input sound. You can vary the playback direction and playback speed of the input sound to add turntable-type eects.

L in

R in

Parameter Value Explanation

Length

Speed

Loop Sw

Level

Asgn1–4

230–23 (not straight) Species the length of the loop.

Species the playback direction and playback speed.

-1.00–+1.00

OFF, ON

0–127 Output Level

OFF, Length, Speed, Loop Sw

- direction: Reverse playback + direction: Normal playback 0: Stop playback

As the value moves away from 0, the playback speed becomes faster.

If you turn this on while the sound is heard, the sound at that point will be looped. Turn this o to cancel the loop.

* If the eect is recalled with this ON, this parameter

must be turned OFF and then turned ON again in order to make the loop operate.

Species the parameters that are assigned to assign 1–4.

Speed

Control

Speed

Control

L out

R out

64 BPM Looper

Loops a short portion of the input sound. This can automatically turn the loop on/o in synchronization with the rhythm.

L in

R in

Parameter Value Explanation

Length

Rate Sync

Rate

Rate Note

Timing

Lenth

230–23 (not straight) Species the length of the loop.

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

1–8

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Cycle at which the loop automatically turns on/ o

Species the timing within the cycle at which the loop automatically starts (which step of the eight timing divisions at which the sound is heard)

Species the length at which the loop automatically ends within the cycle (the number of times that the 1/8-length of sound is heard)

L out

R out

Page 59

MFX Parameters

CompressorCompressor

Lo-FiLo-Fi

2-Band EQ2-Band EQ

CompressorCompressor

Lo-FiLo-Fi

2-Band EQ2-Band EQ

Bit CrusherBit Crusher

2-Band EQ2-Band EQ

Bit CrusherBit Crusher

2-Band EQ2-Band EQ

PhonographPhonograph

2-Band EQ2-Band EQ

Pitch ShifterPitch Shifter

Parameter Value Explanation

If this is AUTO, the loop automatically turns on/

Loop Mode

Level

Asgn1–4

OFF, AUTO, ON

0–127 Output Level

OFF, Length, Rate (Hz)

o in synchronization with the rhythm.

* If the eect is recalled with this ON, this parameter

must rst be set to something other than ON in order to make the loop operate.

Species the parameters that are assigned to assign 1–4.

Lo-Fi

65 LOFI Comp

Degrades the sound quality.

L in L out

Parameter Value Explanation

Pre Filter

LoFi Type

Post Filter

Cuto

Low Gain

High Gain

Balance

Level

Asgn1–4

1–6

1–9

OFF, LPF, HPF

200–8000 [Hz] Basic frequency of the Post Filter

-15–+15 [dB]

D100: 0W–D0: 100W

0–127 Output Level

OFF, Balance, Level

(Lo-Fi Compressor)

Selects the type of lter applied to the sound before it passes through the Lo-Fi eect.

1: Compressor o 2–6: Compressor on

Degrades the sound quality. The sound quality grows poorer as this value is increased.

Type of lter

OFF: No lter is used LPF: Cuts the frequency range above the Cuto

Freq

HPF: Cuts the frequency range below the Cuto

Freq

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Volume balance between the direct sound (D) and the eect sound (W)

Species the parameters that are assigned to assign 1–4.

Parameter Value Explanation

Asgn1–4

OFF, Sample Rate, Filter

Species the parameters that are assigned to assign 1–4.

67 Phonograph

Recreates the sound of an analog record being played on a record player. This lets you simulate the unique noises produced when a record is played, as well as the variations that occur when the record spins.

Balance D

L in

Balance W

R in

Balance D

Parameter Value Explanation

Signal Dist

Frequency

R outR in

Range

Disc Type

Scratch NZ Lev

Dust NZ Lev

Hiss NZ Lev

Total NZ Lev

Wow

Flutter

Random

Total W/F

Balance

Level

0–127 Sets the amount of distortion.

0–127

LP, EP, SP

0–127 Sets the volume of noise created by scratches in the record.

0–127 Sets the volume of noise created by dust on the record.

0–127 Sets the volume of continuous hiss noise.

0–127 Sets the volume of noise overall.

0–127 Sets the amount of variation in record spin (long cycle).

0–127 Sets the amount of variation in record spin (short cycle).

0–127 Sets the amount of non-cyclical variation in record spin.

0–127 Sets the volume of variation in record spin overall.

D100: 0W

-D0: 100W

0–127 Sets the output volume.

Sets the frequency characteristics of the playback system. Smaller values create the feeling of an older system with narrow frequency bands.

Sets the turntable rotation speed. This has an eect on the scratch noise cycle.

Sets the volume balance between the original sound (D) and the eect sound (W).

L out

R out

Pitch

68 PitchShiftr

(Pitch Shifter)

66 Bit Crusher

Produces an extreme lo- eect.

L in L out

Parameter Value Explanation

Sample Rate

Bit Down

Filter

Low Gain

High Gain

Level

0–127 Adjusts the sample rate.

0–20 Adjusts the bit depth.

0–127 Adjusts the lter depth.

-15–+15 [dB]

0–127 Output Level

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

A stereo pitch shifter.

L in

R outR in

R in

Parameter Value Explanation

Coarse

Fine

Delay Sync

-24–+12 [sem]

-100–+100

OFF, ON

Adjusts the pitch of the pitch shifted sound in semitone steps.

Adjusts the pitch of the pitch shifted sound in 2-cent steps.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

L out

R out

Page 60

MFX Parameters

2 Voice Pitch

Shifter

2 Voice Pitch

Shifter

2-Band EQ2-Band EQ

OverdriveOverdrive

ChorusChorus

FlangerFlanger

OverdriveOverdrive

Parameter Value Explanation

D. Time

D. Time Nt

Feedback

Low Gain

High Gain

Balance

Level

Asgn1–4

69 2V PShifter

1–1300

Note

Ø“Note” (p. 72)

-98–+98 [%]

-15–+15 [dB]

D100: 0W–D0: 100W

0–127 Output Level

OFF, Coarse, Fine, Feedback, Balance

Adjusts the delay time from the direct sound until the pitch shifted sound is heard.

Adjusts the proportion of the pitch shifted sound that is fed back into the eect. Negative (-) settings will invert the phase.

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Volume balance between the direct sound (D) and the pitch shifted sound (W)

Species the parameters that are assigned to assign 1–4.

(2 Voice Pitch Shifter)

Shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the original sound.

Balance D

L in

Level 1

Level 2

Pan 1 L

Pan 1 R

Pan 2 L

Pan 2 R

R in

Balance D

Parameter Value Explanation

P1Coarse

P1 Fine

P1 Dly Sync

P1D.Time

P1DRate Nt

P1 Feedback

P1 Pan

P1 Level

P2Coarse

P2 Fine

P2 Dly Sync

P2D.Time

P2DRate Nt

P2 Feedback

P2 Pan

P2 Level

Low Gain

High Gain

Balance

Level

-24–+12 [sem]

-100–+100

OFF, ON

1–1300

Note

Ø“Note” (p. 72)

-98–+98 [%]

L64–63R Stereo location of the Pitch Shift 1 sound

0–127 Volume of the Pitch Shift 1 sound

-24–+12 [sem]

-100–+100

OFF, ON

1–1300

Note

-98–+98 [%]

L64–63R

0–127

-15–+15 [dB]

D100: 0W–D0: 100W

0–127 Output Level

Adjusts the pitch of Pitch Shift 1 in semitone steps.

Adjusts the pitch of Pitch Shift Pitch 1 in 2-cent steps.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Adjusts the delay time from the direct sound until the Pitch Shift 1 sound is heard.

Adjusts the proportion of the pitch shifted sound that is fed back into the eect. Negative (-) settings will invert the phase.

Settings of the Pitch Shift 2 sound. The parameters are the same as for the Pitch Shift 1 sound.

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Volume balance between the direct sound (D) and the pitch shifted sound (W)

Balance W

L out

R out

Parameter Value Explanation

OFF, P1Coarse, P1

Asgn1–4

Fine, P1 Feedback, P1 Pan, P2Coarse, P2 Fine, P2 Feedback, P2 Pan, Balance

Species the parameters that are assigned to assign 1–4.

Combination

70 OD Ó Chorus

L in

R in

Parameter Value Explanation

OD Drive

OD Pan

Cho PreDly

Cho Sync

C. Rate

C. Rate Nt

Cho Depth

Cho Bal

Level

Asgn1–4

0–127

L64–63R Stereo location of the overdrive sound

0.0–100 [ms]

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of modulation

D100: 0W–D0: 100W

0–127 Output Level

OFF, OD Drive, OD Pan, C. Rate, Cho Bal

71 OD Ó Flanger

L in

R in

Parameter Value Explanation

OD Drive

OD Pan

Flg PreDly

Flg Sync

F. Rate

F. Rate Nt

0–127

L64–63R Stereo location of the overdrive sound

0.0–100 [ms]

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

(Overdrive Ó Chorus)

Degree of distortion Also changes the volume.

Adjusts the delay time from the direct sound until the chorus sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).

Species the parameters that are assigned to assign 1–4.

(Overdrive Ó Flanger)

Feedback

Degree of distortion Also changes the volume.

Adjusts the delay time from the direct sound until the anger sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Balance D

L out

Balance W

R out

Balance D

L out

Balance W

R out

Balance D

Page 61

MFX Parameters

DelayDelay

OverdriveOverdrive

DistortionDistortion

ChorusChorus

FlangerFlanger

DistortionDistortion

DelayDelay

DistortionDistortion

Parameter Value Explanation

Flg Depth

Flg Fbk

Flg Bal

Level

Asgn1–4

72 OD Ó Delay

0–127 Depth of modulation

-98–+98 [%]

D100: 0W–D0: 100W

0–127 Output Level

OFF, OD Drive, OD Pan, F. Rate, Flg Fbk, Flg Bal

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

Species the parameters that are assigned to assign 1–4.

(Overdrive Ó Delay)

Balance D

L in

Balance W

Feedback

Balance W

R in

Balance D

Parameter Value Explanation

OD Drive 0–127

OD Pan L64–63R Stereo location of the overdrive sound

Delay Sync OFF, ON

D. Time 1–2600

D. Time Nt

Delay Fbk -98–+98 [%]

Dly HF

Dly Bal D100: 0W–D0: 100W

Level 0–127 Output Level

Asgn1–4

Note

Ø“Note” (p. 72)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

OFF, OD Drive, OD Pan, Delay Fbk, Dly Bal

Degree of distortion Also changes the volume.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Delay time from when the original sound is heard to when the delay sound is heard

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect will be cut (BYPASS: no cut).

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

Species the parameters that are assigned to assign 1–4.

L out

R out

Parameter Value Explanation

Cho Sync OFF, ON

C. Rate 0.05–10.00 [Hz]

C. Rate Nt

Cho Depth 0–127 Depth of modulation

Cho Bal D100: 0W–D0: 100W

Level 0–127 Output Level

Asgn1–4

Note

Ø“Note” (p. 72)

OFF, Dist Drive, Dist Pan, C. Rate, Cho Bal

74 DS Ó Flanger

L in

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).

Species the parameters that are assigned to assign 1–4.

(Distortion Ó Flanger)

Feedback

R in

Parameter Value Explanation

Dist Drive

Dist Pan

Flg PreDly

Flg Sync

F. Rate

F. Rate Nt

Flg Depth

Flg Fbk

Flg Bal

Level

Asgn1–4

0–127

L64–63R Stereo location of the overdrive sound

0.0–100 [ms]

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of modulation

-98–+98 [%]

D100: 0W–D0: 100W

0–127 Output Level

OFF, Dist Drive, Dist Pan, F. Rate, Flg Fbk, Flg Bal

Degree of distortion Also changes the volume.

Adjusts the delay time from the direct sound until the anger sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

Species the parameters that are assigned to assign 1–4.

Balance D

L out

Balance W

R out

Balance D

73 DS Ó Chorus

L in

R in

Parameter Value Explanation

Dist Drive 0–127

Dist Pan L64–63R Stereo location of the overdrive sound

Cho PreDly 0.0–100 [ms]

(Distortion Ó Chorus)

Balance D

L out

Balance W

R out

Balance D

Degree of distortion Also changes the volume.

Adjusts the delay time from the direct sound until the chorus sound is heard.

75 DS Ó Delay

(Distortion Ó Delay)

L in

R in

Parameter Value Explanation

Dist Drive

Dist Pan

0–127

L64–63R Stereo location of the overdrive sound

Degree of distortion Also changes the volume.

Feedback

Balance D

L out

Balance W

R out

Balance D

Page 62

MFX Parameters

Touch WahTouch Wah

Over-

drive/Dis-

tortion

Over-

drive/Dis-

tortion

Amp

Simulator

Amp

Simulator

2-Band EQ2-Band EQ

Auto WahAuto Wah

Over-

drive/Dis-

tortion

Over-

drive/Dis-

tortion

Amp

Simulator

Amp

Simulator

2-Band EQ2-Band EQ

Parameter Value Explanation

Delay Sync

D. Time

D. Time Nt

Delay Fbk

Dly HF

Dly Bal

Level

Asgn1–4

OFF, ON

1–2600

Note

-98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

D100: 0W–D0: 100W

0–127 Output Level

OFF, Dist Drive, Dist Pan, Delay Fbk, Dly Bal

76 OD/DS

Ø“Note” (p. 72)

T. Wah

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Delay time from when the original sound is heard to when the delay sound is heard

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect will be cut (BYPASS: no cut).

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

Species the parameters that are assigned to assign 1–4.

(Overdrive/Distortion Ó Touch Wah)

L in

R in

Parameter Value Explanation

Drive Switch

D. Type

Drive

Tone

Amp Switch

AmpType

TWah Switch

TWah Mode

TWah Polar

TWah Sens

TWah Manual

TWah Peak

TWah Bal

Low Gain

High Gain

OFF, ON Turns overdrive/distortion on/o

OVERDRIVE, DISTORTION

0–127

0–127 Sound quality of the Overdrive eect

OFF, ON Turns the Amp Simulator on/o.

SMALL, BUILT-IN, 2-STACK, 3-STACK

OFF, ON Wah on/o

LPF, BPF

DOWN, UP

0–127 Sensitivity with which the lter is modied

0–127

D100: 0W–D0: 100W

-15–+15 [dB]

Type of distortion

Degree of distortion Also changes the volume.

Type of guitar amp

SMALL: Small amp BUILT-IN: Single-unit type amp 2-STACK: Large double stack amp 3-STACK: Large triple stack amp

Filter type

LPF: The wah eect will be applied over a wide

frequency range.

BPF: The wah eect will be applied over a

narrow frequency range.

Direction in which the lter will move

DOWN: The lter will change toward a lower

frequency.

UP: The lter will change toward a higher

frequency.

Center frequency at which the wah eect is applied

Width of the frequency region at which the wah eect is applied Increasing this value will make the frequency region narrower.

Adjusts the volume balance between the sound that is sent through the wah (W) and the sound that is not sent through the wah (D).

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Pan L

Pan R

L out

R out

Parameter Value Explanation

Level

Asgn1–4

77 OD/DS

0–127 Output Level

OFF, Drive, Tone, TWah Sens, TWah Manual, TWah Peak, TWah Balance

A. Wah

Species the parameters that are assigned to assign 1–4.

(Overdrive/Distortion Ó Auto Wah)

L in

R in

Parameter Value Explanation

Drive Switch

D. Type

Drive

Tone

Amp Switch

AmpType

AWah Switch

AWah Mode

AWah Manual

AWah Peak

AWah Sync

AWRate

AWRate Nt

AWah Depth

AWah Bal

Low Gain

High Gain

Level

Asgn1–4

OFF, ON Turns overdrive/distortion on/o

OVERDRIVE, DISTORTION

0–127

0–127 Sound quality of the Overdrive eect

OFF, ON Turns the Amp Simulator on/o.

SMALL, BUILT-IN, 2-STACK, 3-STACK

OFF, ON Wah on/o

LPF, BPF

0–127

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth at which the wah eect is modulated

D100: 0W–D0: 100W

-15–+15 [dB]

0–127 Output Level

OFF, Drive, Tone, AWah Manual, AWah Peak, AWRate, AWah Depth, AWah Bal

Type of distortion

Degree of distortion Also changes the volume.

Type of guitar amp

SMALL: Small amp BUILT-IN: Single-unit type amp 2-STACK: Large double stack amp 3-STACK: Large triple stack amp

Filter type

LPF: The wah eect will be applied over a wide

frequency range.

BPF: The wah eect will be applied over a

narrow frequency range.

Center frequency at which the wah eect is applied

Width of the frequency region at which the wah eect is applied Increasing this value will make the frequency region narrower.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Adjusts the volume balance between the sound that is sent through the wah (W) and the sound that is not sent through the wah (D).

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Species the parameters that are assigned to assign 1–4.

L out

Pan L

Pan R

R out

Page 63

MFX Parameters

SpeakerSpeaker

Pre AmpPre Amp

ChorusChorus

78 Gt Ó Chorus

(Guitar Amp Simulator Ó Chorus)

R in

Parameter Value Explanation

Pre Amp Sw

ATy p

Drive

Master Lv

Gain

Bass

Middle

Treble

Speaker Sw

OFF, ON Turns the amp switch on/o.

Type of guitar amp

JC-120 This models the sound of the Roland JC-120.

CLEAN TWIN This models a Fender Twin Reverb.

This models the sound input to left input on a

MATCH DRIVE

BG LEAD

MS1959I

MS1959II

MS1959I+II

SLDN LEAD

METAL 5150 This models the lead channel of a Peavey EVH 5150.

METAL LEAD

OD-1

OD-2 TURBO This is the high-gain overdrive sound of the BOSS OD-2.

DISTORTION This gives a basic, traditional distortion sound.

FUZZ A fuzz sound with rich harmonic content.

0–127 Volume and amount of distortion of the amp

0–127 Volume of the entire pre-amp

LOW, MIDDLE, HIGH

0–127

OFF, ON

Matchless D/C-30. A simulation of the latest tube amp widely used in styles from blues and rock.

This models the lead sound of the MESA/ Boogie combo amp. The sound of a tube amp typical of the late ’70s to ’80s.

This models the sound input to Input I on a Marshall

1959. This is a trebly sound suited to hard rock.

This models the sound input to Input II on a Marshall

1959.

The sound of connecting inputs I and II of the guitar amp in parallel, creating a sound with a stronger low end than I.

This models a Soldano SLO-100. This is the typical sound of the eighties.

This is distortion sound that is ideal for performances of heavy ris.

This models the sound of the BOSS OD-1. This produces sweet, mild distortion.

Amount of pre-amp distortion

Tone of the bass/mid/treble frequency range

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF).

Balance D

Balance W

L outL in

R out

Parameter Value Explanation

Cabinet

small open-back

enclosure

small open-back

enclosure

open back enclosure 12 x 1 dynamic

open back enclosure 12 x 2 dynamic

open back enclosure 12 x 2 condenser

sealed enclosure 12 x 2 condenser

large sealed enclosure 12 x 2 condenser

large sealed enclosure 12 x 4 condenser

large double stack 12 x 4 condenser

large triple stack 12 x 4 condenser

Adjusts the delay time from the direct sound until the chorus sound is heard.

Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).

Species the parameters that are assigned to assign 1–4.

STyp

Chorus Sw

Cho PreDly

C. Rate

Cho Depth

Cho Bal

Level

Asgn1–4

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN 1

BUILT-IN 2

BUILT-IN 3

BUILT-IN 4

BUILT-IN 5

BG STACK 1

BG STACK 2

MS STACK 1

MS STACK 2

METAL STACK

2-STACK

3-STACK

OFF, ON Chorus on/o

0.0–100 [ms]

0.05–10.00 [Hz] Frequency of modulation

0–127 Depth of modulation

D100: 0W– D0: 100W

0–127 Output Level

OFF, Volume, Master Lv, Chorus Sw, C. Rate, Cho Depth, Cho Bal

Diameter (in inches)

and number of

the speaker

10 dynamic

Microphone

Page 64

MFX Parameters

FlangerFlanger

Pre AmpPre Amp

SpeakerSpeaker

79 Gt Ó Flanger

(Guitar Amp Simulator Ó Flanger)

L in

R in

Parameter Value Explanation

Pre Amp Sw

ATy p

Drive

Master Lv

Gain

Bass

Middle

Treble

Speaker Sw

OFF, ON Turns the amp switch on/o.

Type of guitar amp

JC-120 This models the sound of the Roland JC-120.

CLEAN TWIN This models a Fender Twin Reverb.

This models the sound input to left input on a

MATCH DRIVE

BG LEAD

MS1959I

MS1959II

MS1959I+II

SLDN LEAD

METAL 5150 This models the lead channel of a Peavey EVH 5150.

METAL LEAD

OD-1

OD-2 TURBO This is the high-gain overdrive sound of the BOSS OD-2.

DISTORTION This gives a basic, traditional distortion sound.

FUZZ A fuzz sound with rich harmonic content.

0–127 Volume and amount of distortion of the amp

0–127 Volume of the entire pre-amp

LOW, MIDDLE, HIGH

0–127

OFF, ON

Matchless D/C-30. A simulation of the latest tube amp widely used in styles from blues and rock.

This models the lead sound of the MESA/ Boogie combo amp. The sound of a tube amp typical of the late ’70s to ’80s.

This models the sound input to Input I on a Marshall

1959. This is a trebly sound suited to hard rock.

This models the sound input to Input II on a Marshall

1959.

The sound of connecting inputs I and II of the guitar amp in parallel, creating a sound with a stronger low end than I.

This models a Soldano SLO-100. This is the typical sound of the eighties.

This is distortion sound that is ideal for performances of heavy ris.

This models the sound of the BOSS OD-1. This produces sweet, mild distortion.

Amount of pre-amp distortion

Tone of the bass/mid/treble frequency range

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Feedback

Balance D

L out

Balance W

R out

Parameter Value Explanation

Cabinet

small open-back

enclosure

small open-back

enclosure

open back enclosure 12 x 1 dynamic

open back enclosure 12 x 2 dynamic

open back enclosure 12 x 2 condenser

sealed enclosure 12 x 2 condenser

large sealed enclosure 12 x 2 condenser

large sealed enclosure 12 x 4 condenser

large double stack 12 x 4 condenser

large triple stack 12 x 4 condenser

Adjusts the delay time from the direct sound until the anger sound is heard.

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

Species the parameters that are assigned to assign 1–4.

STyp

Flg Switch

Flg PreDly

F. Rate

Flg Depth

Flg Fbk

Flg Bal

Level

Asgn1–4

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN 1

BUILT-IN 2

BUILT-IN 3

BUILT-IN 4

BUILT-IN 5

BG STACK 1

BG STACK 2

MS STACK 1

MS STACK 2

METAL STACK

2-STACK

3-STACK

OFF, ON Flanger on/o

0.0–100 [ms]

0.05–10.00 [Hz] Frequency of modulation

0–127 Depth of modulation

-98–+98 [%]

D100: 0W– D0: 100W

0–127 Output Level

OFF, Volume, Master Lv, Flg Switch, F. Rate, Flg Depth, Flg Fbk, Flg Bal

Diameter (in inches)

and number of the

speaker

10 dynamic

Microphone

Page 65

MFX Parameters

PhaserPhaser

Pre AmpPre Amp

SpeakerSpeaker

80 Gt Ó Phaser

(Guitar Amp Simulator Ó Phaser)

L in

R in

Parameter Value Explanation

Pre Amp Sw

ATy p

Drive

Master Lv

Gain

Bass

Middle

Treble

Speaker Sw

OFF, ON Turns the amp switch on/o.

Type of guitar amp

JC-120 This models the sound of the Roland JC-120.

CLEAN TWIN This models a Fender Twin Reverb.

This models the sound input to left input on a

MATCH DRIVE

BG LEAD

MS1959I

MS1959II

MS1959I+II

SLDN LEAD

METAL 5150 This models the lead channel of a Peavey EVH 5150.

METAL LEAD

OD-1

OD-2 TURBO This is the high-gain overdrive sound of the BOSS OD-2.

DISTORTION This gives a basic, traditional distortion sound.

FUZZ A fuzz sound with rich harmonic content.

0–127 Volume and amount of distortion of the amp

0–127 Volume of the entire pre-amp

LOW, MIDDLE, HIGH

0–127

OFF, ON

Matchless D/C-30. A simulation of the latest tube amp widely used in styles from blues and rock.

This models the lead sound of the MESA/ Boogie combo amp. The sound of a tube amp typical of the late ’70s to ’80s.

This models the sound input to Input I on a Marshall

1959. This is a trebly sound suited to hard rock.

This models the sound input to Input II on a Marshall

1959.

The sound of connecting inputs I and II of the guitar amp in parallel, creating a sound with a stronger low end than I.

This models a Soldano SLO-100. This is the typical sound of the eighties.

This is distortion sound that is ideal for performances of heavy ris.

This models the sound of the BOSS OD-1. This produces sweet, mild distortion.

Amount of pre-amp distortion

Tone of the bass/mid/treble frequency range

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF).

Resonance

Mix

L out

R out

Parameter Value Explanation

Cabinet

small open-back

enclosure

small open-back

enclosure

open back enclosure 12 x 1 dynamic

open back enclosure 12 x 2 dynamic

open back enclosure 12 x 2 condenser

sealed enclosure 12 x 2 condenser

large sealed enclosure 12 x 2 condenser

large sealed enclosure 12 x 4 condenser

large double stack 12 x 4 condenser

large triple stack 12 x 4 condenser

Adjusts the basic frequency from which the sound will be modulated.

Species the parameters that are assigned to assign 1–4.

STyp

Phaser Sw

P. Rate

Phs Manual

Phs Depth

Phs Reso

Phs Mix

Level

Asgn1–4

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN 1

BUILT-IN 2

BUILT-IN 3

BUILT-IN 4

BUILT-IN 5

BG STACK 1

BG STACK 2

MS STACK 1

MS STACK 2

METAL STACK

2-STACK

3-STACK

OFF, ON Phaser on/o

0.05–10.00 [Hz] Frequency of modulation

0–127

0–127 Depth of modulation

0–127 Amount of feedback

0–127 Level of the phase-shifted sound

0–127 Output Level

OFF, Volume, Master Lv, Phaser Sw, P. Rate, Phs Manual, Phs Depth, Phs Reso, Phs Mix

Diameter (in inches)

and number of the

speaker

10 dynamic

Microphone

Page 66

MFX Parameters

DelayDelay

Pre AmpPre Amp

SpeakerSpeaker

81 Gt Ó Delay

(Guitar Amp Simulator Ó Delay)

L in

R in

Parameter Value Explanation

Pre Amp Sw

ATy p

Drive

Master Lv

Gain

Bass

Middle

Treble

Speaker Sw

OFF, ON Turns the amp switch on/o.

Type of guitar amp

JC-120 This models the sound of the Roland JC-120.

CLEAN TWIN This models a Fender Twin Reverb.

This models the sound input to left input on a

MATCH DRIVE

BG LEAD

MS1959I

MS1959II

MS1959I+II

SLDN LEAD

METAL 5150 This models the lead channel of a Peavey EVH 5150.

METAL LEAD

OD-1

OD-2 TURBO This is the high-gain overdrive sound of the BOSS OD-2.

DISTORTION This gives a basic, traditional distortion sound.

FUZZ A fuzz sound with rich harmonic content.

0–127 Volume and amount of distortion of the amp

0–127 Volume of the entire pre-amp

LOW, MIDDLE, HIGH

0–127

OFF, ON

Matchless D/C-30. A simulation of the latest tube amp widely used in styles from blues and rock.

This models the lead sound of the MESA/ Boogie combo amp. The sound of a tube amp typical of the late ’70s to ’80s.

This models the sound input to Input I on a Marshall

1959. This is a trebly sound suited to hard rock.

This models the sound input to Input II on a Marshall

1959.

The sound of connecting inputs I and II of the guitar amp in parallel, creating a sound with a stronger low end than I.

This models a Soldano SLO-100. This is the typical sound of the eighties.

This is distortion sound that is ideal for performances of heavy ris.

This models the sound of the BOSS OD-1. This produces sweet, mild distortion.

Amount of pre-amp distortion

Tone of the bass/mid/treble frequency range

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF).

Feedback

Balance D

L out

Balance W

R out

Parameter Value Explanation

Cabinet

small open-back

enclosure

small open-back

enclosure

open back enclosure 12 x 1 dynamic

open back enclosure 12 x 2 dynamic

open back enclosure 12 x 2 condenser

sealed enclosure 12 x 2 condenser

large sealed enclosure 12 x 2 condenser

large sealed enclosure 12 x 4 condenser

large double stack 12 x 4 condenser

large triple stack 12 x 4 condenser

Delay time from when the original sound is heard to when the delay sound is heard

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Frequency at which the high-frequency portion of the delay sound will be cut (BYPASS: no cut)

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

Species the parameters that are assigned to assign 1–4.

STyp

Delay Sw

Dly Time

Delay Fbk

Dly HF

Dly Bal

Level

Asgn1–4

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN 1

BUILT-IN 2

BUILT-IN 3

BUILT-IN 4

BUILT-IN 5

BG STACK 1

BG STACK 2

MS STACK 1

MS STACK 2

METAL STACK

2-STACK

3-STACK

OFF, ON Delay on/o

1–1300

-98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

D100: 0W– D0: 100W

0–127 Output Level

OFF, Volume, Master Lv, Delay Sw, Dly Time, Delay Fbk, Dly Bal

Diameter (in inches)

and number of the

speaker

10 dynamic

Microphone

Page 67

MFX Parameters

SpeakerSpeaker

EP AmpEP Amp

TremoloTremolo

SpeakerSpeaker

EP AmpEP Amp

ChorusChorus

FlangerFlanger

EP AmpEP Amp

SpeakerSpeaker

82 EP Ó Tremolo

(EP Amp Simulator Ó Tremolo)

L in

R in

Parameter Value Explanation

Type of amp

OLDCASE A standard electric piano sound of the early ’70s

Type

Bass

Treble

Tremolo Sw

Tremolo Sync

T. Speed

T. Spd Nt

Trm Depth

Trm Duty

Sp Type

OD Switch

OD Gain

OD Drive

Level

Asgn1–4

NEWCASE

WURLY A standard electric piano sound of the ’60s

-50–+50 Amount of low-frequency boost/cut

-50–+50 Amount of high-frequency boost/cut

OFF, ON Tremolo on/o

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of the tremolo eect

-10–+10

LINE, OLD, NEW, WURLY, T WIN

OFF, ON Overdrive on/o

0–127 Overdrive input level

0–127

0–127 Output Level

OFF, Bass, Treble, Tremolo Sw, T. Speed, Trm Depth

83 EP Ó Chorus

A standard electric piano sound of the late ’70s and early ’80s

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Rate of the tremolo eect

Adjusts the duty cycle of the LFO waveform used to apply tremolo.

Type of speaker If LINE is selected, the sound will not be sent through the speaker simulation.

Degree of distortion Also changes the volume.

Species the parameters that are assigned to assign 1–4.

(EP Amp Simulator Ó Chorus)

R in

Parameter Value Explanation

Type of amp

Type

Bass

Treble

Cho Switch

Cho PreDly

Cho Sync

C. Rate

C. Rate Nt

Cho Depth

OLDCASE

NEWCASE

-50–+50 Amount of low-frequency boost/cut

-50–+50 Amount of high-frequency boost/cut

OFF, ON Chorus on/o

0.0–100 [ms]

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of modulation

A standard electric piano sound of the early ’70s

A standard electric piano sound of the late ’70s and early ’80s

Adjusts the delay time from the direct sound until the chorus sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Balance D

L out

R out

Balance W

L outL in

R out

Parameter Value Explanation

Adjusts the volume balance between the

Cho Bal

Sp Type

OD Switch

OD Gain

OD Drive

Level

Asgn1–4

D100: 0W–D0: 100W

LINE, OLD, NEW, WURLY, T WIN

OFF, ON Overdrive on/o

0–127 Overdrive input level

0–127

0–127 Output Level

OFF, Bass, Treble, Cho Switch, C. Rate, Cho Depth, Cho Bal

84 EP Ó Flanger

sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).

Type of speaker If LINE is selected, the sound will not be sent through the speaker simulation.

Degree of distortion Also changes the volume.

Species the parameters that are assigned to assign 1–4.

(EP Amp Simulator Ó Flanger)

L in

R in

Parameter Value Explanation

Type of amp

Type

Bass

Treble

Flg Switch

Flg PreDly

Flg Sync

F. Rate

F. Rate Nt

Flg Depth

Flg Fbk

Flg Bal

Sp Type

OD Switch

OD Gain

OD Drive

Level

Asgn1–4

OLDCASE

NEWCASE

-50–+50 Amount of low-frequency boost/cut

-50–+50 Amount of high-frequency boost/cut

OFF, ON Flanger on/o

0.0–100 [ms]

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of modulation

-98–+98 [%]

D100: 0W–D0: 100W

LINE, OLD, NEW, WURLY, T WIN

OFF, ON Overdrive on/o

0–127 Overdrive input level

0–127

0–127 Output Level

OFF, Bass, Treble, Flg Switch, F. Rate, Flg Depth, Flg Fbk, Flg Bal

A standard electric piano sound of the early ’70s

A standard electric piano sound of the late ’70s and early ’80s

Adjusts the delay time from the direct sound until the anger sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

Type of speaker If LINE is selected, the sound will not be sent through the speaker simulation.

Degree of distortion Also changes the volume.

Species the parameters that are assigned to assign 1–4.

Feedback

Balance D

L out

Balance W

R out

Balance D

Page 68

MFX Parameters

PhaserPhaser

EP AmpEP Amp

SpeakerSpeaker

Time Ctrl

Delay

Time Ctrl

Delay

EP AmpEP Amp

SpeakerSpeaker

ChorusChorus

EnhancerEnhancer

85 EP Ó Phaser

(EP Amp Simulator Ó Phaser)

L in

R in

Resonance

Parameter Value Explanation

Type of amp

Type

Bass

Treble

Phs Switch

Phs Sync

P. Rate

P. Rate Nt

Phs Manual

Phs Depth

Phs Reso

Phs Mix

Sp Type

OD Switch

OD Gain

OD Drive

Level

Asgn1–4

86 EP Ó Delay

OLDCASE A standard electric piano sound of the early ’70s

NEWCASE

-50–+50 Amount of low-frequency boost/cut

-50–+50 Amount of high-frequency boost/cut

OFF, ON Phaser on/o

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127

0–127 Depth of modulation

0–127 Amount of feedback

0–127 Level of the phase-shifted sound

LINE, OLD, NEW, WURLY, T WIN

OFF, ON Overdrive on/o

0–127 Overdrive input level

0–127

0–127 Output Level

OFF, Bass, Treble, Phs Switch, P. Rate, Phs Manual, Phs Depth, Phs Reso, Phs Mix

A standard electric piano sound of the late ’70s and early ’80s

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Adjusts the basic frequency from which the sound will be modulated.

Type of speaker If LINE is selected, the sound will not be sent through the speaker simulation.

Degree of distortion Also changes the volume.

Species the parameters that are assigned to assign 1–4.

(EP Amp Simulator Ó Delay)

L in

R in

Parameter Value Explanation

Type of amp

Type

Bass

Treble

Dly Switch

Delay Sync

D. Time

D. Time Nt

OLDCASE A standard electric piano sound of the early 70s

NEWCASE

-50–+50 Amount of low-frequency boost/cut

-50–+50 Amount of high-frequency boost/cut

OFF, ON Delay on/o

OFF, ON

1–1300

Note

Ø“Note” (p. 72)

A standard electric piano sound of the late 70s and early 80s

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Delay time from when the original sound is heard to when the delay sound is heard

Feedback

Mix

Balance D

L out

R out

L out

Balance W

R out

Parameter Value Explanation

Speed at which the current delay time changes

Dly Accel

Delay Fbk

Dly HF

Dly Bal

Sp Type

OD Switch

OD Gain

OD Drive

Level

Asgn1–4

0–15

-98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

D100: 0W–D0: 100W

LINE, OLD, NEW, WURLY, T WIN

OFF, ON Overdrive on/o

0–127 Overdrive input level

0–127

0–127 Output Level

OFF, Bass, Treble, Dly Switch, D. Time, Delay Fbk

87 Enhncr Ó Cho

to the specied delay time when you change the delay time. The speed of the pitch change will change simultaneously with the delay time.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Frequency at which the high-frequency portion of the delay sound will be cut (BYPASS: no cut)

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

Type of speaker If LINE is selected, the sound will not be sent through the speaker simulation.

Degree of distortion Also changes the volume.

Species the parameters that are assigned to assign 1–4.

(Enhancer Ó Chorus)

L in

Mix

R in

Parameter Value Explanation

Enh Sens

Enh Mix

Cho PreDly

Cho Sync

C. Rate

C. Rate Nt

Cho Depth

Cho Bal

Level

Asgn1–4

0–127 Sensitivity of the enhancer

0–127

0.0–100 [ms]

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of modulation

D100: 0W–D0: 100W

0–127 Output Level

OFF, Enh Sens, Enh Mix, C. Rate, Cho Bal

Level of the overtones generated by the enhancer

Adjusts the delay time from the direct sound until the chorus sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).

Species the parameters that are assigned to assign 1–4.

Balance D

L out

Balance W

R out

Balance DMix

Page 69

MFX Parameters

FlangerFlanger

EnhancerEnhancer

DelayDelay

EnhancerEnhancer

DelayDelay

ChorusChorus

88 Enhncr Ó Fl

(Enhancer Ó Flanger)

L in

Mix

R in

Mix

Parameter Value Explanation

Enh Sens

Enh Mix

Flg PreDly

Flg Sync

F. Rate

F. Rate Nt

Flg Depth

Flg Fbk

Flg Bal

Level

Asgn1–4

89 Enhncr Ó Dly

0–127 Sensitivity of the enhancer

0–127

0.0–100 [ms]

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of modulation

-98–+98 [%]

D100: 0W–D0: 100W

0–127 Output Level

OFF, Enh Sens, Enh Mix, F. Rate, Flg Fbk, Flg Bal

Level of the overtones generated by the enhancer

Adjusts the delay time from the direct sound until the anger sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

Species the parameters that are assigned to assign 1–4.

(Enhancer Ó Delay)

L in

Mix

R in

Mix

Parameter Value Explanation

Enh Sens

Enh Mix

Delay Sync

D. Time

D. Time Nt

Delay Fbk

Dly HF

Dly Bal

Level

0–127 Sensitivity of the enhancer

0–127

OFF, ON

1–2600

Note

Ø“Note” (p. 72)

-98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

D100: 0W–D0: 100W

0–127 Output Level

Level of the overtones generated by the enhancer

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Delay time from when the original sound is heard to when the delay sound is heard

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect will be cut (BYPASS: no cut).

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

Balance D

Feedback

Balance D

Feedback

Balance D

L out

Balance W

R out

L out

Balance W

R out

Parameter Value Explanation

OFF, Enh Sens, Enh

Asgn1–4

Mix, D. Time, Delay Fbk, Dly Bal

90 Chorus Ó Dly

Balance D

Species the parameters that are assigned to assign 1–4.

(Chorus Ó Delay)

L in

Balance W

R in

Balance D

Parameter Value Explanation

Cho PreDly

Cho Sync

C. Rate

C. Rate Nt

Cho Depth

Cho Bal

Delay Sync

D. Time

D. Time Nt

Delay Fbk

Dly HF

Dly Bal

Level

Asgn1–4

0.0–100 [ms]

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of modulation

D100: 0W–D0: 100W

OFF, ON

1–2600

Note

Ø“Note” (p. 72)

-98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

D100: 0W–D0: 100W

0–127 Output Level

OFF, C. Rate, Cho Bal, Delay Fbk, Dly Bal

Adjusts the delay time from the direct sound until the chorus sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Volume balance between the direct sound (D) and the chorus sound (W)

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Delay time from when the original sound is heard to when the delay sound is heard

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect will be cut (BYPASS: no cut).

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

Species the parameters that are assigned to assign 1–4.

Balance D

Feedback

Balance D

L out

Balance W

R out

Page 70

MFX Parameters

DelayDelay

FlangerFlanger

ChorusChorus

91 Flanger Ó Dly

Balance D

(Flanger Ó Delay)

L in

Feedback

Balance W

R in

Balance D

Parameter Value Explanation

Flg PreDly

Flg Sync

F. Rate

F. Rate Nt

Flg Depth

Flg Fbk

Flg Bal

Delay Sync

D. Time

D. Time Nt

Delay Fbk

Dly HF

Dly Bal

Level

Asgn1–4

0.0–100 [ms]

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Depth of modulation

-98–+98 [%]

D100: 0W–D0: 100W

OFF, ON

1–2600

Note

Ø“Note” (p. 72)

-98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

D100: 0W–D0: 100W

0–127 Output Level

OFF, F. Rate, Flg Fbk, Flg Bal, Delay Fbk, Dly Bal

Adjusts the delay time from the direct sound until the anger sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Frequency of modulation

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Volume balance between the direct sound (D) and the anger sound (W)

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Delay time from when the original sound is heard to when the delay sound is heard

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect will be cut (BYPASS: no cut).

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

Species the parameters that are assigned to assign 1–4.

Balance D

Feedback

Balance D

L out

Balance W

R out

92 Chorus Ó Fl

Balance D

(Chorus Ó Flanger)

L in

Balance W

R in

Balance D

Parameter Value Explanation

Cho PreDly

Cho Sync

C. Rate

C. Rate Nt

Cho Depth

Cho Bal

Flg PreDly

Flg Sync

F. Rate

F. Rate Nt

Flg Depth

Flg Fbk

Flg Bal

Level

Asgn1–4

0.0–100 [ms]

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Modulation depth of the chorus eect

D100: 0W–D0: 100W

0.0–100 [ms]

OFF, ON

0.05–10.00 [Hz]

Note

Ø“Note” (p. 72)

0–127 Modulation depth of the anger eect

-98–+98 [%]

D100: 0W–D0: 100W

0–127 Output Level

OFF, C. Rate, Cho Bal, F. Rate, Flg Fbk, Flg Bal

Adjusts the delay time from the direct sound until the chorus sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Modulation frequency of the chorus eect

Volume balance between the direct sound (D) and the chorus sound (W)

Adjusts the delay time from the direct sound until the anger sound is heard.

If this is “ON,” the rate synchronizes with the tempo of the rhythm.

Ø“Tempo” (p. 3, p. 31)

Modulation frequency of the anger eect

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

Species the parameters that are assigned to assign 1–4.

Balance D

Feedback

Balance D

L out

Balance W

R out

Page 71

MFX Parameters

SpectrumSpectrum

DistortionDistortion

PhaserPhaser

EnhancerEnhancer

93 JD Multi

Recreates the eects included in group A of the JD-800.

L in

R in

Parameter Value Explanation

DS - PH - SP - EN

DS - PH - EN - SP

DS - SP - PH - EN

DS - SP - EN - PH

DS - EN - PH - SP

DS - EN - SP - PH

PH - DS - SP - EN

PH - DS - EN - SP

PH - SP - DS - EN

Seq

DS Switch

DS Type

DS Drive

DS Level

PH Switch

PH Manual

PH Rate

PH Depth

PH Resonance

PH Mix

SP Switch

SP Band Ctrl1

SP Band Ctrl2

SP Band Ctrl3

PH - SP - EN - DS

PH - EN - DS - SP

PH - EN - SP - DS

SP - DS - PH - EN

SP - DS - EN - PH

SP - PH - DS - EN

SP - PH - EN - DS

SP - EN - DS - PH

SP - EN - PH - DS

EN - DS - PH - SP

EN - DS - SP - PH

EN - PH - DS - SP

EN - PH - SP - DS

EN - SP - DS - PH

EN - SP - PH - DS

OFF, ON Turns the distortion on/o.

Sets the type of distortion.

MELLOW DRV Softer distortion with a slightly darker sound.

OVERDRIVE

CRY DRV Distortion that emphasizes the high end.

MELLOW DST

LIGHT DST Strong distortion with a bright sound.

FAT DIST

FUZZ DIST

0–100 Sets the amount of distortion.

0–100 Sets the distortion output level.

OFF, ON ØTurns the phaser on/o.

50 [Hz]–

15.0 [kHz]

0.1–10.0 [Hz] Sets the cycle of the phaser modulation.

0–100 Sets the depth of the phaser modulation.

0–100

0–100 Sets the level of the phase-shifted sound.

OFF, ON Turns the spectrum on/o.

-15–+15 [dB]

Selects the connection order of the eects.

DS: Distortion PH: Phaser SP: Spectrum EN: Enhancer

Distortion that resembles a vacuum tube amp being driven.

Gives the feeling of distortion playing through a large amp.

Thick distortion that emphasizes the low and high ends.

Distortion that’s even more powerful that FAT DIST.

Sets the basic frequency from which the sound is modulated with the phaser eect.

Sets the amount of feedback for the phaser. Increasing the value creates a more unusual sound.

Sets the gain (amount of boost/cut) in the 250 Hz range.

Sets the gain (amount of boost/cut) in the 500 Hz range.

Sets the gain (amount of boost/cut) in the 1000 Hz range.

L out

R out

Parameter Value Explanation

SP Band Ctrl4

SP Band Ctrl5

SP Band Ctrl6

SP Width

EH Switch

EH Sens

EH Mix

Pan

Level

Asgn1–4

-15–+15 [dB]

1–5

ØOFF, ON Turns the enhancer on/o.

0–100 Sets how easily the enhancer eect is applied.

0–100

L64–63R Changes the pan.

0–127 Sets the output volume.

OFF, Band2 Thrs, Band2 Gain, Band3 Thrs, Band3 Gain

Sets the gain (amount of boost/cut) in the 2000 Hz range.

Sets the gain (amount of boost/cut) in the 4000 Hz range.

Sets the gain (amount of boost/cut) in the 8000 Hz range.

Sets the bandwidth for changing the levels, common to all bands.

Sets the ratio at which the harmonics generated by the enhancer are mixed with the original sound.

Species the parameters that are assigned to assign 1–4.

Page 72

MFX Parameters

Note

1/64T

1/32

1/16

1/8

1/4

1/2

Sixty-fourth-note triplet

Thirty-second note

Sixteenth note

Eighth note

Quarter note

Half note

Whole note

Double note

1/64

1/16T

1/8T

1/4T

1/2T

Sixty-fourth note

Sixteenth-note triplet

Eighth-note triplet

Quarter-note triplet

Half-note triplet

Whole-note triplet

Double-note triplet

1/32T

1/32.

1/16.

1/8.

1/4.

1/2.

Thirty-secondnote triplet

Dotted thirtysecond note

Dotted sixteenth note

Dotted eighth note

Dotted quarter note

Dotted half note

Dotted whole note

Roland JUNO-X Parameter Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Scene Parameter

SCENE COMMON

SCENE PART

SCENE ZONE

SCENE PART MFX

SCENE EFFECT: Dly (Delay)

Delay parameters

SCENE EFFECT: Rev (Reverb)

Reverb Parameters

SCENE EFFECT: Cho (Chorus)

Chorus Parameters

SCENE EFFECT: OD (Overdrive)

ARP COMMON

ARP PART

Tone Parameters

TONE COMMON Parameters

Tone Parameters

TONE RD SYMPATHETIC RESO Parameter

System Parameters

System Parameters

SYSTEM EFFECT: Dly

SYSTEM EFFECT: Rev

SYSTEM EFFECT: Cho

SYSTEM EQ/COMP

SYSTEM COLOR SET

MODEL ASSIGN

MFX Parameters

MFX List

MFX Common Parameters

Filter

Phaser

Flanger

Chorus

Modulation

Drive / Amp

Comp / Limiter

Delay

Looper

Lo-Fi

Pitch

Combination

Note