Roland JUNO-X Parameter Guide

Parameter Guide

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

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.

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.

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.

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.

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).

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.

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).

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

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

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

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

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

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 

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

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

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

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

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

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.

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.

+ 50 hidden pages

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