Parameter Guide
© 2020 Roland Corporation
06
Contents
Scene Parameter
:SCENE COMMON
:SCENE PART
:SCENE ZONE
:SCENE PART MFX
:SCENE EFFECT: Cho
Chorus Parameters
:SCENE EFFECT: Dly
Delay Parameters
:SCENE EFFECT: Rev
Reverb Parameters
:SCENE EFFECT: OD
:ARP COMMON
:ARP PART
.................................... 13
Tone Parameters
:TONE COMMON Parameters
:TONE Parameters
.............................. 3
.............................. 3
.................................. 4
.................................. 6
.............................. 7
(Chorus)
............................... 7
(Delay)
................................ 9
(Reverb)
............................... 10
(Overdrive)
................................ 11
.............................. 16
.............................. 19
...................... 7
....................... 9
....................... 10
..................... 11
..................... 16
System Parameters
:SYSTEM EFFECT: Cho
:SYSTEM EFFECT: Dly
:SYSTEM EFFECT: Rev
: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-
:Lo-
:Combination
:Note
..................................... 40
........................................ 41
....................................... 45
...................................... 47
...................................... 48
........................................ 57
...................................... 62
......................................... 62
......................................... 63
........................................ 75
............................. 38
............................... 39
.............................. 40
................................... 50
.................................. 52
................................ 56
................................. 64
............................ 34
........................... 37
........................... 37
........................... 37
............................ 38
....................... 41
2
Part1
Part2
Part3
Part4
expression 127
expression 0
Value
0
127
Part1
Part3
Part4
expression 127
expression 0
Value
0
127
Part1
Part4
expression 127
expression 0
Value0
127
Part1
Part2
Part3
Part4
expression 127
expression 0
Value
0
127
Part1
Part3
Part4
expression 127
expression 0
Value
0
127
Part1
Part4
expression 127
expression 0
Value
0
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
SL1, SL2 function assignments
OFF No function is assigned.
CC01–CC95 Controller number 1–95
AFT Aftertouch
BEND DOWN
BEND UP
CHO LEVEL Chorus level is assigned.
REV LEVEL Reverb level is assigned.
DLY LEVEL Delay level is assigned.
ARP SHUFFLE I-ARP’s G-Shue parameter is assigned.
ARP DURATION I-ARP’s G-Duration parameter is assigned.
PART FADE1
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 Mono/poly switch is assigned.
SCENE DOWN (
SCENE UP (
TONE DOWN (
TONE UP (
PANEL DEC (
PANEL INC
CHO SW Chorus on/o is assigned.
REV SW Reverb on/o is assigned.
DLY SW Delay on/o is assigned.
)
ARP SW (
ARP HOLD (
DETECT KEYS (
Species the tempo of the scene (including the
arpeggio).
* Hold down the [SHIFT] button while operating the
controller to edit the value in 0.01 increments.
Applies the same eect as when the pitch bend
wheel is moved downward.
Applies the same eect as when the pitch bend
wheel is moved upward.
Continuously
control the level of parts 1–4.
Continuously control the level of parts 1–4.
) 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.
Applies the same eect as when the panel’s [DEC]
)
button is pressed.
Applies the same eect as when the panel’s [INC]
button is pressed.
Applies the same eect as when the panel’s
I-ARPEGGIO [ON/OFF] button is pressed.
Applies the same eect as when the panel’s
)
I-ARPEGGIO [HOLD] button is pressed.
Applies the same eect as when the panel’s
)
I-ARPEGGIO [KEYS] button is pressed.
Parameter Value Explanation
DETECT BEAT (
Applies the same eect 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 (
The tuning will be corrected in a few seconds,
but will subsequently return to the pitch
S1–S3 Func
TAP TEMPO (
START/STOP (
discrepancies specied by the tone parameters.
) Sets the tap tempo function.
Starts/stops the step editor.
)
* On version 1.30 or later, as the functions for S1–S3 in
step edit are xed, START/STOP cannot be assigned.
DRV SW Overdrive on/o is assigned.
When the Vocoder tone is selec ted, this selects
VOC/MIC
whether to use the vocoder sound or the mic input
sound.
Species 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 eective 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 Mono/poly 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
PANEL INC
Applies the same eect as when the panel’s [DEC]
button is pressed.
Applies the same eect as when the panel’s [INC]
button is pressed.
CHO SW Chorus on/o is assigned.
REV SW Reverb on/o is assigned.
DLY SW Delay on/o is assigned.
Hold
ARP SW
ARP HOLD
DETECT KEYS
DETECT BEAT
Applies the same eect as when the panel’s
I-ARPEGGIO [ON/OFF] button is pressed.
Applies the same eect as when the panel’s
I-ARPEGGIO [HOLD] button is pressed.
Applies the same eect as when the panel’s
I-ARPEGGIO [KEYS] button is pressed.
Applies the same eect 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
The tuning will be corrected in a few seconds,
but will subsequently return to the pitch
discrepancies specied 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 selec ted, this selects
VOC/MIC
whether to use the vocoder sound or the mic input
sound.
Species the polarity of the pedal connected to the HOLD jack.
Hold Pole
STANDARD Species standard polarity.
REVERSE Species reverse polarity.
3
Scene Parameter
Part1
Part2
Part3
Part4
expression 127
expression 0
Value
0
127
Part1
Part3
Part4
expression 127
expression 0
Value
0
127
Part1
Part4
expression 127
expression 0
Value0
127
Part1
Part2
Part3
Part4
expression 127
expression 0
Value
0
127
Part1
Part3
Part4
expression 127
expression 0
Value
0
127
Part1
Part4
expression 127
expression 0
Value0
127
Part1
Part2
Part3
Part4
expression 127
expression 0
Value
0
127
Part1
Part3
Part4
expression 127
expression 0
Value
0
127
Part1
Part4
expression 127
expression 0
Value
0
127
Part1
Part2
Part3
Part4
expression 127
expression 0
Value
0
127
Part1
Part3
Part4
expression 127
expression 0
Value
0
127
Part1
Part4
expression 127
expression 0
Value
0
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 eect as when the pitch bend
wheel is moved downward.
Applies the same eect 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-Shue 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
Parameter Value Explanation
Continuously control the level of parts 1–4.
PART FADE1
Wheel2
Continuously control the level of parts 1–4.
JUPITER-X only
PART FADE2
LEVEL P1–P5 Each part’s volume is assigned.
AGE The SYSTEM > AGE parameter is assigned.
CTRL SOURCE
OFF,
CC01–CC31,
CtrlSrc1–4
CC33–CC95,
BEND,
Specify the MIDI messages used for tone control.
AFT
VOICE RSRV
Part1–R
0–10
Species the number of voices reserved for
each part when the performance exceeds the
maximum polyphony.
Part XFade Pos
Wheel1
JUPITER-X only
Wheel2
JUPITER-X only
4
LEVEL P-1–P-R Each part’s volume is assigned.
AGE The SYSTEM > AGE parameter is assigned.
0–127
This parameter stores the current value of PART
FADE as a scene setting.
Wheel1 function assignments
OFF No function is assigned.
CC01–CC95 Controller number 1–95
AFT Aftertouch
BEND Pitch bend is assigned.
Wheel2 function assignments
OFF No function is assigned.
CC01–CC95 Controller number 1–95
AFT Aftertouch
BEND DOWN
BEND UP
Applies the same eect as when the pitch bend
wheel is moved downward.
Applies the same eect 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-Shue parameter is assigned.
ARP DURATION I-ARP’s G-Duration parameter is assigned.
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
0–127 Species the volume of each part.
L64–63R
Species the pan of each part’s sound when
outputting in stereo.
0–127 Species the send level to reverb.
0–127 Species the send level to chorus.
0–127 Species the send level to delay.
THRU,
DRIVE
OFF, ON
Species whether the output of each part goes
through the OVER DRIVE eect (DRIVE) or does
not go through it (THRU).
Species whether the part is enabled (ON) or
disabled (OFF).
OFF, MUTE Species 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.
Species the range of pitch change controlled by
0–24, TONE
pitch bend, in semitone units. To use the setting
of the tone, choose TONE.
Species the behavior when the pitch bend controller is operated.
NORMAL The conventional pitch bend eect occurs.
The pitch bend eect 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.
Scene Parameter
21 3 4
Parameter Value Explanation
(*1)
Pit Attack
Part 1–4 only
(*1)
Pit Decay
Part 1–4 only
Pit Sustain
Part 1–4 only
Pit Release
Part 1–4 only
Pit Env Depth
Part 1–4 only
-64– +63 Species the attack time of the pitch envelope.
-64– +63 Species the decay time of the pitch envelope.
(*1)
-64– +63 Species the sustain level of the pitch envelope.
(*1)
-64– +63 Species the release time of the pitch envelope.
(*1)
-64– +63 Species the depth of the pitch envelope.
FILTER
Part 1–4 only
(*1)
Flt Attack
(*1)
Flt Decay
Flt Sustain
Flt Release
Flt Env Depth
-64– +63 Species the attack time of the lter envelope.
-64– +63 Species the decay time of the lter envelope.
(*1)
-64– +63 Species the sustain level of the lter envelope.
(*1)
-64– +63 Species the release time of the lter envelope.
(*1)
-64– +63 Species the depth of the lter envelope.
Species the amount by which the keyboard pitch
Flt KeyFllw
(*1)
-64– +63
aects the cuto frequency (key follow). With
lower settings of this value, the cuto frequency
becomes lower as you play higher notes on the
keyboard.
AMP
Part 1–4 only
Amp Attack
Amp Decay
Amp Sustain
Amp Release
(*1)
-64– +63 Species the attack time of the amp envelope.
(*1)
-64– +63 Species the decay time of the amp envelope.
(*1)
-64– +63 Species the sustain level of the amp envelope.
(*1)
-64– +63 Species the release time of the amp envelope.
LFO
Part 1–4 only
Pit LFO Dep
Flt LFO Dep
Amp LFO Dep
(*1)
(*1)
(*1)
-64– +63
-64– +63
-64– +63
Species the amount by which the LFO aects the
pitch.
Species the amount by which the LFO aects the
cuto frequency.
Species the amount by which the LFO aects the
volume.
MODIFY
Cuto
Resonance
Attack
Decay
Release
Vib Rate
Part 1–4 only
Vib Depth
Part 1–4 only
(*1)
-64–+63
-64–+63
-64–+63
-64–+63
-64–+63
-64–+63
-64–+63
*1 There are valid when the model of tone assigned to part 1–4 is other than JUPITER-8,
JUNO-106, JX-8P, SH-101, RD-PIANO, or VOCODER.
Adjusts how far the lter is open.
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
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
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.
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.
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).
The pitch will be modulated more rapidly for
higher settings, and more slowly with lower
settings.
Adjusts the depth of the vibrato eect (the depth
at which the pitch is modulated).
The pitch will be modulated more greatly for
higher settings, and less with lower settings.
Parameter Value Explanation
Adjusts the time until vibrato (pitch modulation)
Vib Delay
Part 1–4 only
-64–+63
starts to apply.
Higher settings will produce a longer delay
time before vibrato begins, while lower settings
produce a shorter time.
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
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 eect 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
specied by the tone.
Species 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
specied by the tone.
When portamento is used, this species 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
specied 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
specied 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.
Layers notes of the same key so that they sound
together.
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.
Species 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).
Species 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.”
5
Scene Parameter
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
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
1–16
Species whether program change is received
(ON) or not received (OFF).
Species whether bank select is received (ON) or
not received (OFF).
Species whether pitch bend is received (ON) or
not received (OFF).
Species whether polyphonic aftertouch is
received (ON) or not received (OFF).
Species whether channel aftertouch is received
(ON) or not received (OFF).
Species whether modulation is received (ON) or
not received (OFF).
Species whether volume is received (ON) or not
received (OFF).
Species whether pan is received (ON) or not
received (OFF).
Species whether expression is received (ON) or
not received (OFF).
Species whether hold 1 is received (ON) or not
received (OFF).
Species 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 dierent. You can get the
same eect 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 modication 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.
EQ
Switch
In Gain
Low Gain
Low Freq
Mid Gain
Mid Freq
Mid Q
OFF, ON Turns the equalizer (EQ) on/o.
-24–+24 [dB]
-24–+24 [dB]
20–16000 [Hz]
-24–+24 [dB]
20–16000 [Hz]
0.5–16.0
Species the amount of boost/cut for the input
sound.
Species the amount of boost/cut for the
low-frequency region.
Species the frequency of the low-frequency
region.
Species the amount of boost/cut for the
mid-frequency region.
Species the frequency of the mid-frequency
region.
Species the width of the mid-frequency region.
Higher values produce a narrower width.
Parameter Value Explanation
High Gain
High Freq
-24–+24 [dB]
20–16000 [Hz]
Species the amount of boost/cut for the
high-frequency region.
Species 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
Rx Wheel1
JUPITER-X only
Rx Wheel2
JUPITER-X only
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
C-–G9
0–127
0–127
1–127
1–127
0–127
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
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
ON,
OFF,
MKB
1–16
OFF, 0–127
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 dierent key
ranges to play dierent tones.
Specify the lower limit (Key Rng Low) and upper
limit (Key Rng Upp) of the key range.
Species 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.”
Species 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 dierent
tones to sound depending on keyboard playing
dynamics.
Species 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.”
Species 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.”
Species whether [S1]–[S3] button operations are
received (ON) or not received (OFF).
Species whether [SL1], [SL2] slider operations are
received (ON) or not received (OFF).
Species whether hold pedal operations are
received (ON) or not received (OFF).
Species whether Ctrl pedal operations are
received (ON) or not received (OFF).
Species whether [WHEEL 1] wheel operation is
received (ON) or not received (OFF).
Species whether [WHEEL 2] wheel operation is
received (ON) or not received (OFF).
Species whether MIDI messages are transmitted
(ON) or not transmitted (OFF).
If you’re using this unit as a master keyboard,
choose “MKB.”
Species 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.
6
Scene Parameter
SCENE PART MFX
Parameter Value Explanation
FllwToneMFX
Type
Switch
Cho Send
Rev Send
MFX Parameters
Src1–4
Sens1–4
Asgn1–4
* These parameters are not shown if the model assigned to the part is RD-PIANO.
OFF, ON If this is OFF, the following parameters are shown.
“MFX List” (p. 40)
&
OFF, ON Switches the MFX on/o.
0–127
0–127
“MFX List” (p. 40)
&
Species 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
“MFX List” (p. 40)
&
Adjusts the amount of chorus.
If you don’t want to add the chorus eect, set it
to 0.
Adjusts the amount of reverb.
If you don’t want to add the reverb eect, set it to 0.
Use the controller that is assigned by the System
Control Source 1–4.
Species 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 EFFECT: Cho (Chorus)
If the “SYSTEM EFFECT: Cho” (p. 37) 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
Chorus Parameters
00
01
This is a stereo chorus.
Parameter Value Explanation
Rate
Depth
Feedback
OFF, ON Switches chorus on/o.
“Chorus Parameters” (p. 7)
&
0–127
0–127 Species the send level to reverb.
Edit the parameters of the selected chorus. The available parameters
dier depending on the type of chorus you selected in ChoType.
“Chorus Parameters” (p. 7)
&
Species the output level of the sound with
chorus applied.
OFF
Chorus
0–127 Frequency of modulation
0–127 Depth of modulation
0–127
Level at which chorus sound is returned to the
input
(Chorus)
CE-1
02
This models the classic BOSS CE-1 chorus eect unit. It provides a chorus
sound with a distinctively analog warmth.
Parameter Value Explanation
Intensity
03
0–127 Chorus depth
SDD-320
(Dimension D)
This models Roland’s DIMENSION D (SDD-320). It provides a clear chorus
sound.
Parameter Value Explanation
Mode
04
1, 2, 3, 4, 1+4, 2+4,
3+4
Delay
Switches the mode.
This is a stereo delay.
Parameter Value Explanation
Dly Sync
Dly Msec
Dly Note
Feedback
HF Damp
OFF, ON If this is ON, the delay synchronizes with the tempo.
1–1300
Note
-98–+98 [%]
200–8000 [Hz],
BYPASS (*1)
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 eect. Negative (-) settings will
invert the phase.
Adjusts the frequency above which the delay
sound fed back to the eect is ltered out (BYPASS:
no cut).
7
Scene Parameter
05
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
06
OFF, ON If this is ON, the delay synchronizes with the tempo.
1–1300
Note
0–15
-98–+98 [%]
200–8000 [Hz],
BYPASS (*1)
Delay 0 Trem
Adjusts the delay time from the direct sound until
the delay sound is heard.
When you change the delay time, this species the
time over which the current delay time changes to
the specied delay time. This aects the speed of
pitch change as well as the delay time.
Adjusts the proportion of the delay sound that is
fed back into the eect. Negative (-) settings will
invert the phase.
Adjusts the proportion of the delay sound that is
fed back into the eect. Negative (-) settings will
invert the phase.
(Delay
0
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
07
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
-98–+98 [%]
200–8000 [Hz],
BYPASS (*1)
OFF, ON Switches the tremolo eect 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
0–127 Adjusts the tremolo depth.
2Tap PanDly
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 eect. 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)
08
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
09
OFF, ON If this is ON, the delay synchronizes with the tempo.
1–2600
Note
-98–+98 [%]
200–8000 [Hz],
BYPASS (*1)
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
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 eect. Negative (-) settings will
invert the phase.
Adjusts the frequency above which the delay
sound fed back to the eect is ltered out (BYPASS:
no cut).
(JUNO-106 Chorus)
This models the chorus eects of the Roland JUNO-106.
Parameter Value Explanation
Mode
Noise Level
10
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
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
0–127 Adjusts the depth of modulation.
0–180 [deg] Adjusts the depth of the chorus sound.
0–127
Type of Chorus
I+II: The state when two buttons are pressed
simultaneously.
Adjusts the center frequency used when the lter
cuts a specic 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 If this is ON, the delay synchronizes with the tempo.
1–1300
Note
-98–+98 [%]
200–8000 [Hz],
BYPASS (*1)
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 eect. Negative (-) settings will
invert the phase.
Adjusts the frequency above which the delay
sound fed back to the eect is ltered out (BYPASS:
no cut).
8
NOTE
Note 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
(*1) 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000,
6300, 8000 [Hz], BYPASS
Scene Parameter
SCENE EFFECT: Dly (Delay)
If the “SYSTEM EFFECT: Dly” (p. 37) 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
00
01
This is a stereo delay.
Parameter Value Explanation
Dly Sync
Dly Msec
Dly Note
Feedback
HF Damp
02
OFF, ON Switches the delay on/o.
“Delay Parameters” (p. 9)
&
0–127
0–127 Species the send level to reverb.
Edit the parameters of the selected delay. The available parameters
dier depending on the type of chorus you selected in DlyType.
“Delay Parameters” (p. 9)
&
Species 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
-98–+98 [%]
200–8000 [Hz],
BYPASS (*1)
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 eect. Negative (-) settings will invert
the phase.
Adjusts the frequency above which the delay sound
fed back to the eect 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
04
-98–+98 [%]
200–8000 [Hz],
BYPASS (*1)
OFF, ON Switches the tremolo eect 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
0–127 Tremolo depth
Adjusts the proportion of the delay sound that is fed
back into the eect. 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
-98–+98 [%]
200–8000 [Hz],
BYPASS (*1)
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 eect. Negative (-) settings will invert
the phase.
Adjusts the frequency above which the delay sound
fed back to the eect 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
03
OFF, ON If this is ON, the delay synchronizes with the tempo.
1–1300
Note
0–15
-98–+98 [%]
200–8000 [Hz],
BYPASS (*1)
Delay 0 Trem
Adjusts the delay time from the direct sound until
the delay sound is heard.
When you change the delay time, this species the
time over which the current delay time changes to
the specied delay time. This aects the speed of
pitch change as well as the delay time.
Adjusts the proportion of the delay sound that is fed
back into the eect. Negative (-) settings will invert
the phase.
Adjusts the proportion of the delay sound that is fed
back into the eect. Negative (-) settings will invert
the phase.
(Delay
0
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
Adjusts the delay time from the direct sound until
the delay sound is heard.
05
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
Note 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
(*1) 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
-98–+98 [%]
200–8000 [Hz],
BYPASS (*1)
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 eect. Negative (-) settings will invert
the phase.
Adjusts the frequency above which the delay sound
fed back to the eect is ltered out (BYPASS: no cut).
9
Scene Parameter
SCENE EFFECT: Rev (Reverb)
If the “SYSTEM EFFECT: Rev” (p. 37) 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
Reverb Parameters
00
01
Parameter Value Explanation
Char
PreDelay
Time
Density
Diusion
LF Damp
HF Damp
Spread
Tone
02
Parameter Value Explanation
PreDelay
Time
Pre LPF
Pre HPF
PreLpLPF
Diusion
HF Damp F
HF Damp R
OFF, ON Switches the reverb on/o.
“Reverb Parameters” (p. 10)
&
0–127
Edit the parameters of the selected reverb type. The available
parameters dier depending on the type of reverb you selected in
ReveType.
“Reverb Parameters” (p. 10)
&
Species the output level of the sound with reverb
applied.
OFF
INTEGRA7Rev
ROOM1,
ROOM2,
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 Adjust the tonal character of the reverb.
(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 eect of this setting is most pronounced
with long reverb times.)
Warm Hall
0.0–100.0
0.3–30.0 [sec] Adjusts the decay length of the reverb sound.
16–15000 [Hz],
BYPASS (*1)
16–15000 [Hz],
BYPASS, (*2)
16–15000 [Hz],
BYPASS (*1)
0–127
1000–8000 [Hz] (*3)
0.1–1.0
Adjusts the delay time from the direct sound
until the reverb sound is heard.
Frequency above which to cut the
high-frequency portion of the sound entering
the reverb
Frequency below which to cut the
low-frequency portion of the sound entering
the reverb
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.
Hall
03
Parameter Value Explanation
PreDelay
Time
Size
High Cut
Density
Diusion
LF Damp F
LF Damp G
HF DampF
HF Damp G
04
Parameter Value Explanation
Char
Pre LPF
Time
Feedback
05
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 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] LF damp attenuation amount (0: no eect)
4000–12500 [Hz]
(*6)
-36–0 [dB] HF damp attenuation amount (0: no eect)
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 reections.
0–9 Adjusts the time of the early reections.
0–9 Adjusts the density of the early reections.
0–99 Adjusts the volume of the early reections.
0.04–1.00 [kHz] Frequency of the low range.
-24–+12 [dB] Gain of the low range.
0.25–9.99 [kHz] Frequency of the middle range.
-24–+12 [dB] Gain of the middle range.
0.2–9.0
0.80–9.99 [kHz] Frequency of the high range.
-24–+12 [dB] 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 eect is especially noticeable with long
reverb times.)
Adjusts the frequency below which the
low-frequency portion of the reverb sound is cut.
Adjusts the frequency above which the
high-frequency portion of the reverb sound is cut.
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 oered by the Roland
SRV-2000 digital reverb.
Adjusts the delay time from the direct sound until
the reverb sound is heard.
Width of the middle range.
Set a higher value to narrow the range to be
aected.
Species the width of the high-frequency range.
Set a higher value to narrow the range to be
aected.
10
Scene Parameter
SRV-2000NL
06
Parameter Value Explanation
PreDelay
ReverbTime
GateTime
Low Freq
Low Gain
Mid Freq
Mid Gain
Mid Q
HighFreq
HighGain
Hi Q
07
Parameter Value Explanation
Char
Time
08
Parameter Value Explanation
Type
Pre Delay
Gate Time
0–120
-0.9–+99.0 [sec] Adjusts the decay length of the reverb sound.
10–450
0.04–1.00 [kHz] Frequency of the low range.
-24–+12 [dB] Gain of the low range.
0.25–9.99 [kHz] Frequency of the middle range.
-24–+12 [dB] Gain of the middle range.
0.2–9.0
0.80–9.99 [kHz] 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.
Gate Reverb
NORMAL This is a standard gate reverb.
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.
(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.
Width of the middle range.
Set a higher value to narrow the range to be
aected.
Species the width of the high-frequency range.
Set a higher value to narrow the range to be
aected.
Selects the type of reverb.
Adjusts the delay time from when the direct sound
plays until the reverb sound is heard.
NOTE
(*1) 16, 20, 25, 32, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800, 1000, 1250,
1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500, 15000 [Hz], BYPASS
(*2) BYPASS, 16, 20, 25, 32, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800,
1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500, 15000 [Hz]
(*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,
6400, 8000, 10000, 12500 [Hz], BYPASS
(*5) 50, 64, 80, 100, 125, 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600, 2000,
2500, 3200, 4000 [Hz]
(*6) 4000, 5000, 6400, 8000, 10000, 12500 [Hz]
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.
0–127
0–127
0–127
Adjusts the amount of chorus.
If you don’t want to add the chorus eect, set it
to 0.
Adjusts the amount of reverb.
If you don’t want to add the reverb eect, set it
to 0.
Adjusts the amount of delay.
If you don’t want to add the delay eect, set it to 0.
ARP COMMON
Parameter Value Explanation
Species 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).
Species 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).
Species a global duration value that applies a
relative adjustment to the duration values of each
part.
Species the global shue value that applies a
relative adjustment to the shue 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.
Species 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.
Species the range of keys detected for arpeggio
performance.
Pressing a key outside the specied range will not
aect the arpeggio function.
Type
Rytm
G-Duration
G-Shue
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
OFF, ON
OFF, ON
OFF, ON
1–10
C- –G9
11
Scene Parameter
Type/Rhythm list
Type Rytm
00
01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
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
60
61
62
63
64
65
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
12
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)
(*4)
Grid
Grid Length (*5
Grid Note
Grid Oset
Grid Sync
)
(*1)
(*1)
Probability
Style
* Refer to “Style List”
(p. 14)
Amount Auto
Amount
Amount Dir
Velo Amount
Grid Oset
Setting
Key Sw Sync
Hold Sw
Transpose
(*)
Velocity
Oset Velo
Shue Rate
( ( (
( ( (
(
- - 000–111
-
(
-
(
-
(
- -
( (
( (
( ( (
(
-
( ( (
(
(
- - -63–+64 Species 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 Species 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.
(
Species the order in which the notes of the chord you play are sounded as an arpeggio.
UP
DOWN
UP&DOWN
RANDOM
NOTE ORDER
RHYTHM
PHRASE
AUTO
- -3–+3
0–100 [%]
2–64 Species the grid length for the arpeggio pattern.
(
Species 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 specied 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
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 specied by the arpeggio pattern, regardless of the pitches that you play on the keyboard. This
is useful when playing a rhythm pattern.
The pitches specied 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 eective for a bass part.
Species 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.
Species 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 briey 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 species whether the arpeggio performance of each part is
held when you release the keyboard (ON) or stops when you release the keyboard (OFF).
Species 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 shue rhythm.
A setting of “50%” sounds the notes at equal timing, and increasing this value produces more of a dotted shue feel.
Scene Parameter
13
Scene Parameter
Parameter I-ARP ARP STEP Value Explanation
Species the note resolution that is the reference for the shue setting.
Shue Reso
Timing
(*5)
Note O
Poly Remain
K-Range Lo
K-Range Oct
(*1)
Reset Oct
Duck Part
Duck Note
Duck Rate
(*4)
( ( (
( ( (
(
-
( (
( ( (
( ( (
(
- - OFF, ON
( ( (
( ( (
( ( (
16TH Sixteen note
8TH Eighth note
Species 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.
Species when previously-sounded notes are turned o if the arpeggio pattern changes.
NORMAL Sound the note length specied 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 dierent 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 specied number of notes.
Even if you do not play legato, the individual notes that you play up to the specied number are remembered, and
reected by the arpeggio performance.
This produces a result that feels more like keyboard playing than a conventional arpeggio performance.
Species 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.
Species 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 specic note of a specic 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 eect 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 eect applies. For example, to specify the rhythm part, set this to “PART R.” If
Duck Note: Species the note of the Duck Part sound that is the target. For example, if you want to target the kick
Duck Rate: Species 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 eect, so that with a setting of “100” there will be no sound at that timing (maximum
velocity duck eect). 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
14
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
15
1
2
3
OFF
2
1
OFF
3
High note range
Pitch dierence from
equal temperament
Parameter
value
Low note range
Tone Parameters
There are no displayed parameters.
There are no displayed parameters.
16
TONE COMMON Parameters
* You can set whether control change messages (CC) are transmitted/received us-
ing the “Tone CC Map” system parameter.
TONE COMMON
JUPITER-8, JUNO-106, JX-8P, SH-101
Parameter Value Explanation
Catg
TONE COMMON
VOCODER
TONE COMMON
PR-A DRUM, CMN DRUM
TONE COMMON
RD-PIANO, XV-5080, PR-A, PR-B, PD-C, PR-D, COMMON, PR-X
Parameter Value Explanation CC#
Catg
Level
Pan
Priority
Coarse Tune
Fine Tune
Octave
CATEGORY Selects the tone’s category.
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.
Species 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 dierence
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 eect
Stretch
Analog Feel
Mono Poly
Unison Sw
Unison Size
Unison Detn
Legato Sw
Retrig Intvl
(Legato
Retrigger
Interval)
OFF,
1–3
0–127
Species 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
2–8
0–100
OFF, ON
0–12, OFF
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 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.
5If the OSC Type is PCM, this is limited to mono
playing.
5If the Legato Sw is on, the Delay Time is
ignored while playing legato.
5Even if Retrig Intvl (Legato Retrigger Interval)
is specied, it operates as OFF.
If unison is on, this species 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
eect. As you increase this value, each note is
detuned more greatly, producing a thicker sound.
This is eective 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 species whether retriggering occurs
(0–12) or does not occur (OFF).
If this is o, 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 dierence during legato
performance exceeds the specied value.
For example, if this is set to 4, and 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 dierence.
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.
115
119
116
Tone Parameters
C5
D4
C4
press D4 key
Pitch
Time
press C4 key
press C5 key
C5
D4
C4
press D4 key
Pitch
Time
press C4 key
press C5 key
Parameter Value Explanation CC#
Species whether the portamento eect will be
applied (ON) or not applied (OFF).
* Portamento is an eect which smoothly changes the
Porta Sw
OFF, ON
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.
Species the performance conditions for which portamento will be
applied.
Porta Mode
NORMAL Portamento will always be applied.
Applies portamento only when you play legato
LEGATO
(i.e., when you press the next key before releasing
the previous key).
Species the type of portamento eect.
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 species the
pitch at which the change will begin.
Starts a new portamento when another key is
pressed while the pitch is changing.
Pitch
Parameter Value Explanation CC#
Species the amount of volume change that
Soft Lv Sens
0–100
occurs when you operate the soft pedal (CC#67).
This is eective when specied for piano sounds.
Porta Start
Portamento will begin from the pitch where the
current change would end.
NOTE
When portamento is used, this species the time
Porta Time
0–1023
over which the pitch will change. Higher settings
will cause the pitch change to the next note to
5
take more time.
Species 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).
Species 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
41
octaves.
Species 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
49
four octaves.
BendRngFine
Up
BendRngFine
Dw
BendMode
0–100
0–100
NORMAL The pitch bend wheel produces the usual eect.
CATCH+LAST
Species a ne adjustment in one-cent units
to the amount of change when the pitch bend
wheel is turned upward.
Species a ne adjustment in one-cent units
to the amount of change when the pitch bend
wheel is turned downward.
The pitch bend eect applies only to the
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.
17
Tone Parameters
Parameter Value Explanation CC#
Keyboard
Species how partials are played according to
your keyboard playing dynamics (velocity).
If this is “ON,” dierent partials are sounded
according to the playing velocity and the Velo
Rng Low/Upp and Velo FadeLow/Upp settings.
5If this is “RANDOM” or “CYCLE,” each partial is
sounded randomly or cyclically.
5In 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
pair, either randomly or in alternation.
5In the case of “RANDOM” or “CYCLE,” velocity
has no eect, but you’ll need to make settings
for each partial so that the Velocity Range does
not conict.
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.
Vel Ctrl
Level Crv
OFF,
ON,
RANDOM,
CYCLE
EXP
LINEAR
Parameter Value Explanation CC#
Structure
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 eective 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 eective 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.”
Eective when Structure1-2 is RING.
Sets the partial 1 OSC level.
Eective when Structure1-2 is RING.
Sets the partial 2 OSC level.
Eective when Structure3-4 is RING.
Sets the partial 3 OSC level.
Eective when Structure3-4 is RING.
Sets the partial 4 OSC level.
Cross Modulation Depth when Structure1-2 is
XMOD.
Cross Modulation Depth when Structure3-4 is
XMOD.
Cross Modulation Depth when Structure1-2 is
XMOD2.
Cross Modulation Depth when Structure3-4 is
XMOD2.
Eective when Structure1-2 is XMOD/XMOD2.
Sets the partial 1 OSC level.
Eective when Structure1-2 is XMOD/XMOD2.
Sets the partial 2 OSC level.
Eective when Structure3-4 is XMOD/XMOD2.
Sets the partial 3 OSC level.
Eective when Structure3-4 is XMOD/XMOD2.
Sets the partial 4 OSC level.
This is available if OSC Type is “VA”; it locks the
waveform phase between partials. It is eective
to use this with XMOD2.
Struct12
Struct34
Ring12 Level
Ring34 Level
Ring OSC1 Lv
Ring OSC2 Lv
Ring OSC3 Lv
Ring OSC4 Lv
XMd12 Dpth
XMd34 Dpth
XMd2 12
Dpth
XMd2 34
Dpth
XMd OSC1 Lv
XMd OSC2 Lv
XMd OSC3 Lv
XMd OSC4 Lv
Ptl Phs Lock
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
0–127
0–127
0–127
0–10800
0–10800
0–127
0–127
0–127
0–127
0–127
0–127
OFF, ON
18
Tone Parameters
TONE Parameters
TONE
JUPITER-8
Parameter Value Explanation CC#
LFO RATE
LFO DELAY TIME
LFO WAVEFORM
LFO MOD
PIT ENV DEPTH
DEST SELECT
PULSE WIDTH
MOD
PW MODE
CROSS MOD
OSC1 RANGE
OSC1 WAVEFORM
SYNC SWITCH
OSC2 MODE
LOW FREQ
OSC2 RANGE
OSC2 FINE TUNE
OSC2 WAVEFORM
OSC1 LEVEL
OSC2 LEVEL
HPF
VINTAGE FLT T YPE
CUTOFF
RESONANCE
FILTER SLOPE
0–1023 Species the rate of the LFO cycle. 29
0–1023
SINE,
SAW-DW,
SQR,
S&H
0–100
-100–+100
OSC1,
BOTH,
OSC2
0–127
Species the pulse width mode.
LFO The pulse width is changed by the LFO.
MANUAL
ENV The pulse width is changed by the ENV1.
0–10800
16’, 8’, 4’, 2’ Species the octave of OSC1. 47
TRI,
SAW,
PW,
SQR
OFF, ON
NORMAL,
LOW FREQ
0–127
-12–+24 Species the octave of OSC2. 62
-50–+50
SINE,
SAW,
PW,
NOISE
0–255 Adjusts the volume balance of OSC1. 16
0–255 Adjusts the volume balance of OSC2. 17
0–1023
JP, M, S
0–1023
0–1023
-12dB, -24dB Selects the type of slope for the low-pass lter.
Adjusts the time from when the key is pressed
until the LFO starts to apply modulation.
Selects the waveform of the LFO.
Adjusts the depth at which the LFO modulates
the OSC.
Adjusts the depth at which the LFO modulates
the ENV1.
Selects the OSC that is modulated by LFO
MOD.
PW MODE = MANUAL: Adjusts the pulse width.
PW MODE = LFO/ENV: Adjusts the modulation
depth.
The pulse width is changed by PULSE WIDTH
MOD.
Uses the OSC2 waveform to change the
frequency of OSC1. Higher values cause the
sound of OSC1 to be more complex, allowing
you to create metallic sounds or sound eects.
Selects the waveform that is the basis of the
OSC1 sound.
This is oscillator sync. It produces a complex
waveform by forcibly resetting OSC1 to the
beginning of its cycle in synchronization with
the cycle of OSC2.
Selects whether OSC2 operates as NORMAL (in
the audible frequency range) or as LFO (in the
low frequency range).
Species the octave when OSC2 MODE is set
to LOW FREQ.
Species a ne adjustment to the pitch of
OSC2.
Selects the waveform that is the basis of the
OSC2 sound.
Adjusts the cuto frequency of the high-pass
lter.
Selects one of three response curves, each
modeling the LPF of an analog synthesizer of
the past.
Species 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.
27
26
22
50
111
56
79
108
3
9
Parameter Value Explanation CC#
FLT ENV DEPTH
FLT ENV MODE
FILTER MOD
FLT KEY FOLLOW
AMP LEVEL
AMP MOD-STEP
ENV1 ATTACK
ENV1 DECAY
ENV1 SUSTAIN
ENV1 RELEASE
ENV1 KEY FLW SW
ENV2 ATTACK
ENV2 DECAY
ENV2 SUSTAIN
ENV2 RELEASE
ENV2 KEY FLW SW
BEND PITCH
BEND FILTER
MODULATION LFO
PORTA MODE
PORTA TIME
PORTA CRV
KEY MODE
AFT LFO
AFT FREQ
AFT LEVEL
PITCH DRIFT
PARAM
EXPANSION
CONDITION
-1023–+1023
ENV1, ENV2
0–100
0–200
0–127 Adjusts the volume of the tone. 110
0–3
0–1023 Species the ENV1 Attack time. 83
0–1023 Species the ENV1 Decay time. 80
0–1023 Species the ENV1 Sustain level. 85
0–1023 Species the ENV1 Release time. 86
OFF, ON, INV
0–1023 Species the ENV2 Attack time. 89
0–1023 Species the ENV2 Decay time. 90
0–1023 Species the ENV2 Sustain level. 102
0–1023 Species the ENV2 Release time. 103
OFF, ON
0–1200
-63–+63
-63–+63
OFF, ON
0–1023
Species the pitch change curve for portamento.
ORIGINAL
LINEAR Change in a linear cur ve.
EXP1 Change in a non-linear cur ve (gentle slope).
EXP2 Change in a non-linear cur ve (steep slope).
Species how notes are sounded. 119
POLY Polyphonic
SOLO Monophonic
UNISON Unison
SL-UNISON Monophonic unison
-63–+63
-63–+63
-63–+63
0–255
OFF, ON
0–100
Adjusts the amount by which the cuto
frequency is controlled by the envelope.
Selects the envelope that is used to control
the cuto frequency.
Adjusts the amount by which the LFO
modulates the cuto frequency.
Adjusts the amount by which the keyboard
pitch aects the cuto frequency (key follow).
With smaller values, the cuto frequency
becomes lower as you play higher notes.
Uses the LFO to vary the AMP volume (tremolo
eect). Higher values produce a greater eect.
Species the ENV1 key follow. If key follow is
on, ADR times become longer for lower notes
and shorter for higher notes.
With the INV setting, lower notes produce
shorter ADR times, and higher notes produce
longer ADR times.
Species the ENV2 key follow. If key follow is
on, ADR times become longer for lower notes
and shorter for higher notes.
Species the range of pitch change produced
by pitch bend.
Species the range of lter change produced
by pitch bend.
Species 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.
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.
If this is ON, the range of change for LFO RATE,
CUTOFF, RESONANCE, and FILTER ENV DEPTH
is wider than on the original model.
Simulates the changes that occur as a unit
ages.
81
28
82
30
41
14
118
5
19
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 Species the speed of the LFO cycle. 29
0–1023
16’, 8’, 4’ Species 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
0–1023
-1023–+1023
0 - 100
0 - 200
ENV F&A,
G-AMP
0–127 Adjusts the volume of the tone. 110
0–1023 Species the ENV Attack time. 89
0–1023 Species the ENV Decay time. 90
0–1023 Species the ENV Sustain level. 102
0–1023 Species the ENV Release time. 103
0–1200
0–63
0–63
OFF, ON
0–1023
Species the pitch change curve for portamento.
ORIGINAL
LINEAR Change in a linear cur ve.
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: Adjusts the modulation
depth.
PM MODE = MANUAL: Adjusts the pulse width.
Selects whether the pulse width is modulated
by the LFO (LFO) or kept at the xed value
specied 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.
Species 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 aects the cuto frequency (key follow).
With smaller values, the cuto frequency
becomes lower as you play higher notes.
Species whether the volume is controlled
by the ENV (ENV F&A) or by the gate signal
(G-AMP).
Species the range of pitch change produced
by pitch bend.
Species the range of lter change produced
by pitch bend.
Species 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.
27
50
108
3
9
81
28
82
41
14
118
5
Parameter Value Explanation CC#
Species 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
-63–+63
-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.
If this is ON, the range of change for LFO RATE,
CUTOFF, RESONANCE, and FILTER ENV DEPTH is
wider than on the original model.
Simulates the changes that occur as a unit
ages.
TONE
JX-8P
Parameter Value Explanation CC#
OSC1 RANGE
OSC1 WAVEFORM
OSC1 TUNE
OSC1 LFO MOD
OSC1 PIT ENV
OSC2 RANGE
OSC2 WAVEFORM
OSC2 MOD MODE
OSC2 TUNE
OSC2 FINE TUNE
OSC2 LFO MOD
OSC2 PIT ENV
PITCH DYNAMICS
OSC ENV MODE
OSC1 LEVEL
OSC2 LEVEL
MIXER ENV DEPTH
MIXER DYNAMICS
MIXER ENV MODE
HPF-STEP
16’, 8’, 4’, 2’ Species the octave of OSC1. 47
SAW,
PULSE,
SQR,
NOISE
-12–+12 Adjusts the OSC1 pitch. 20
0–100
-100–+100
16’, 8’, 4’, 2’ Species the OSC2 octave. 62
SAW,
PULSE,
SQR,
NOISE
OFF,
SYNC,
X-MOD
-12–+12 Adjusts the OSC2 pitch. 87
-50–+50 Finely adjusts the OSC2 pitch. 56
0–100
-100–+100
0–3
ENV1,
ENV2
0–255 Adjusts the OSC1 volume balance. 16
0–255 Adjusts the OSC2 volume balance. 17
0–63
0–3
ENV1,
ENV2
0–3
Species the waveform that is the basis of the
OSC1 sound.
Adjusts the depth to which LFO modulates
OSC1.
Adjusts the depth to which the ENV specied
by OSC ENV MODE aects the OSC1 pitch
envelope.
Selects the waveform that is the basis of the
OSC2 sound.
Selects the MOD MODE type (OFF, SYNC,
X-MOD).
Adjusts the depth to which the LFO
modulates OSC2.
Adjusts the depth to which the ENV specied
by OSC ENV MODE aects the OSC2 pitch
envelope.
Adjusts the sensitivity at which the velocity
controls the depth of the pitch envelope.
Selects the envelope that is used to control
the OSC.
Adjusts the depth to which the envelope
specied by MIXER ENV MODE controls the
OSC2 level.
Adjusts the sensitivity at which the velocity
controls the depth of MIXER ENV.
Selects the envelope that is used as MIXER
ENV.
Sets the cuto frequency of the high-pass
lter in four steps.
26
22
20
Tone Parameters
Parameter Value Explanation CC#
VINTAGE FLT T YPE
CUTOFF
RESONANCE
FILTER MOD
FLT ENV DEPTH
FLT KEY FOLLOW
FILTER DYNAMICS
FLT ENV MODE
AMP LEVEL
AMP ENV SEL
AMP DYNAMICS
LFO WAVEFORM
LFO RATE
LFO DELAY TIME
ENV1 ATTACK
ENV1 DECAY
ENV1 SUSTAIN
ENV1 RELEASE
ENV1 KEY
FOLLOW-S
ENV2 ATTACK
ENV2 DECAY
ENV2 SUSTAIN
ENV2 RELEASE
ENV2 KEY
FOLLOW-S
BEND PITCH-STEP
MODULATION LFO
PORTA MODE
PORTA TIME
PORTA CRV
KEY MODE
R, M, S
0–1023
0–1023
0–100
-1023–+1023
0–200
0–3
ENV1,
ENV2
0–127 Adjusts the volume of the tone. 110
ENV2,
G-ENV2
0–3
SINE,
SQR,
S&H
0–1023 Species the rate of the LFO cycle. 29
0–1023
0–1023 Species the ENV1 Attack time. 83
0–1023 Species the ENV1 Decay time. 80
0–1023 Species the ENV1 Sustain level. 85
0–1023 Species the ENV1 Release time. 86
0–3
0–1023 Species the ENV2 Attack time. 89
0–1023 Species the ENV2 Decay time. 90
0–1023 Species the ENV2 Sustain level. 102
0–1023 Species the ENV2 Release time. 103
0–3
2, 3, 4, 7
-63–+63 Adjusts the depth of modulation.
OFF, ON
0–1023
Species the pitch change curve for portamento.
ORIGINAL
LINEAR Change in a linear cur ve.
EXP1 Change in a non-linear cur ve (gentle slope).
EXP2 Change in a non-linear cur ve (steep slope).
Species how notes are sounded. 119
POLY Polyphonic
SOLO Monophonic
UNISON Unison
SL-UNISON Monophonic unison
Selects one of three response curves, each
modeling the LPF of an analog synthesizer of
the past.
Species 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 LFO
modulates the cuto frequency.
Adjusts the amount by which the envelope
selected by FLT ENV MODE controls the cuto
frequency.
Adjusts the amount by which the keyboard
pitch aects the cuto frequency (key follow).
With smaller values, the cuto frequency
becomes lower as you play higher notes.
Adjusts the sensitivity at which velocity
controls the depth of FILT ENV DEPTH.
Selects the envelope that is used to control
FILTER.
Selects whether the volume is controlled by
ENV2 (ENV2) or stays at a xed volume as long
as the key is held down (G-ENV2).
Adjusts the sensitivity at which velocity
controls the AMP ENV depth.
Species the LFO waveform.
Adjusts the time from when a key is pressed
until LFO modulation starts being applied.
Species the ENV1 key follow in four levels.
With higher values, ADR times become longer
as you play lower on the keyboard, and
shorter as you play higher.
Species the ENV1 key follow in four levels.
With higher values, ADR times become longer
as you play lower on the keyboard, and
shorter as you play higher.
Species the range of pitch change produced
by pitch bend in four levels: 2, 3, 4, or 7
semitones.
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.
108
3
9
28
81
82
27
49
118
5
Parameter Value Explanation CC#
AFT LFO
AFT FREQ
AFT LEVEL
PITCH DRIFT
PARAM
EXPANSION
CONDITION
-63–+63
-63–+63
-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.
If this is ON, the range of change for LFO
RATE, CUTOFF, RESONANCE, and FILTER ENV
DEPTH is wider than on the original model.
Simulates the changes that occur as a unit
ages.
TONE
SH-101
Parameter Value Explanation CC#
LFO RATE
LFO WAVEFORM
OSC LFO MOD
OSC RANGE
PULSE WIDTH
MOD
PW MODE
PW LEVEL
SAW LEVEL
SUB OSC LEVEL
SUB OSC
NOISE LEVEL
VINTAGE FLT T YPE
CUTOFF
RESONANCE
FLT ENV DEPTH
FILTER MOD
FLT KEY FOLLOW
AMP ENV SEL
AMP LEVEL
0–1023 Species the speed of the LFO cycle. 29
TRI,
SQR,
S&H
0–100
16’, 8’, 4’, 2’ Species the oscillator’s octave. 47
0–127
Species the pulse width mode.
LFO The pulse width is aected by the LFO.
MANUAL
ENV The pulse width is aected by ENV.
0–255 Adjusts the volume of the pulse wave. 16
0–255 Adjusts the volume of the sawtooth wave. 17
0–255 Adjusts the volume of the sub oscillator. 18
Species the SUB OSC type.
1OCT DN One octave lower
2OCT DN1 Two octaves lower
2OCT DN2 Two octaves lower (small pulse width)
0–255 Adjusts the noise volume. 19
R, M, S
0–1023
0–1023
-1023–+1023
0–100
0–200
ENV F&A,
G-AMP
0–127 Adjusts the volume of the tone. 110
Species the LFO waveform.
Adjusts the depth at which the LFO modulates
the OSC.
PW MODE = MANUAL: Adjusts the pulse width
value.
PW MODE = LFO/ENV: Adjusts the depth of
modulation.
The pulse width is aected by PULSE WIDTH
MOD.
Selects one of three response curves, each
modeling the LPF of an analog synthesizer of
the past.
Species 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.
Varies the lter’s cuto frequency according to
the note played on the keyboard.
Species whether the volume is controlled by
the ENV (ENV F&A) or stays at a xed volume as
long as the key is held down (G-AMP).
26
50
108
3
9
81
28
82
21
Tone Parameters
Parameter Value Explanation CC#
Species what causes the envelope to attack.
GATE+TRIG Attack each time a key is pressed.
ENV MODE
ENV ATTACK
ENV DECAY
ENV SUSTAIN
ENV RELEASE
BEND PITCH
BEND FILTER
MODULATION LFO
PORTA MODE
GATE
LFO
0–1023 Species the ENV Attack time. 89
0–1023 Species the ENV Decay time. 90
0–1023 Species the ENV Sustain level. 102
0–1023 Species the ENV Release time. 103
0–1500
0–63
0–63
Turns portamento on/o. If this is on, the pitch will change
smoothly from one note to the next-played note.
OFF
ON Portamento is always applied.
Attack when a key is pressed anew. No attack
when playing legato.
Attack repeatedly at each cycle of the LFO as
long as the key is held.
Species the range of pitch change produced
by pitch bend.
Species the range of lter change produced by
pitch bend.
Species the amount of LFO applied by
modulation.
Regardless of the portamento time setting,
portamento is not applied.
14
Portamento is applied only when you play
legato (pressing the next key before completely
AUTO
releasing the previously-played key). This lets
you use your playing technique to control
portamento on/o.
PORTA TIME
0–1023
Adjusts the time over which the portamento
pitch change occurs.
5
Species 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).
Species how notes are sounded. 119
POLY Polyphonic
KEY MODE
SOLO Monophonic
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 Simulates the changes that occur as a unit ages.
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,
CUTOFF, RESONANCE, and FILTER ENV DEPTH is
wider than on the original model.
TONE
JUPITER-X
Parameter Value Explanation CC#
Species how notes are sounded.
POLY Polyphonic
KEY MODE
SOLO Monophonic
UNISON Unison
SL-UNISON Plyphonic unison
119
Parameter Value Explanation CC#
Detunes each of the notes, producing a
UNISON DETUNE
0–100
detuned eect. As you increase this value,
each note is detuned more greatly, producing
a thicker sound.
Species the performance conditions for which portamento
will be applied.
OFF O
PORTA MODE
NORMAL Portamento will always be applied.
118
Applies portamento only when you play
LEGATO
legato (i.e., when you press the next key
before releasing the previous key).
When portamento is used, this species the
PORTA TIME
0–1023
time over which the pitch will change. Higher
settings will cause the pitch change to the
5
next note to take more time.
Species the pitch change curve for portamento.
PORTA CURVE
LIN Change on a linear curve.
EXP Change on a non-linear curve.
Species the amount of change in semitone
units when the pitch bend wheel is turned all
BEND RANGE UP
0–24
the way upward.
For example, if this is “24,” turning the pitch
41
bend wheel all the way upward raises the
pitch by two octaves.
Species the amount of change in semitone
units when the pitch bend wheel is turned all
BEND RANGE
DOWN
0–24
the way downward.
For example, if this is “24,” turning the pitch
bend wheel all the way downward lowers the
pitch by two octaves.
BEND FREQ SENS
MOD LFO SENS
MOD LFO RATE
-63–+63
-63–+63
-63–+63
Species the range of lter change produced
by pitch bend.
Species the amount of LFO applied by
modulation(depth).
Species the amount of LFO applied by
modulation(rate).
Sets how much aftertouch changes the LFO
AFT MOD SENS
-63–+63
intensity (this is only enabled for products
with aftertouch).
Sets how much aftertouch changes the
AFT FREQ SENS
-63–+63
low-pass lter intensity (this is only enabled
for keyboards with aftertouch).
Sets how much aftertouch changes the tone
AFT LEVEL SENS
-63–+63
volume (this is only enabled for keyboards
with aftertouch).
Sets how much aftertouch changes the
AFT PITCH SENS
PITCH DRIFT
CONDITION
OSC1 WAVE
OSC2 WAVE
OSC3 WAVE
OSC4 WAVE
OSC1 COARSE
OSC2 COARSE
OSC3 COARSE
-63–+63
0–255
0–100
SAW, SQR, TRI,
SIN, JUNO,
SuperSAW,
NOISE
-24–+24
pitch (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.
Selects the waveform that is the basis of the
OSC1–4 sound.
Adjusts the pitch of the sound up or down in
semitone steps (+/-2 octaves).
46
61
20
OSC4 COARSE
OSC1 FINE TUNE
OSC2 FINE TUNE
OSC3 FINE TUNE
-50–+50
Adjusts the pitch of the sound up or down in
1-cent steps (+/-50 cents).
21
56
OSC4 FINE TUNE
OSC1 LEVEL
OSC2 LEVEL
OSC3 LEVEL
OSC4 LEVEL
OSC1 PW
OSC2 PW
OSC3 PW
OSC4 PW
0–255 Adjusts the OSC1–4 volume balance.
PW MOD = MANUAL
0–127
Adjusts the width of modulation.
PW MOD = LFO2, P-ENV, F-ENV
Adjusts the depth of modulation.
16
17
18
19
50
55
(*1)
(*2)
(*1)
(*1)
(*2)
(*1)
(*2)
(*3)
(*4)
(*1)
(*2)
22
Tone Parameters
Parameter Value Explanation CC#
Species the pulse width mode.
OSC1–4 WAVE=SQR
The pulse width is aected by the PULSE
WIDTH MOD.
OSC1–4 WAVE=SAW, TRI, SIN, JUNO
The wave is aected by the PULSE WIDTH
MOD.
OSC1–4 WAVE=SuperSAW
The detune is aected by the PULSE WIDTH
MOD.
OSC1–4 WAVE=NOISE
This has no eect.
OSC1–4 WAVE=SQR
The pulse width is aected by the LFO2.
OSC1–4 WAVE=SAW, TRI, SIN, JUNO
The wave is aected by the LFO2.
OSC1–4 WAVE=SuperSAW
The detune is aected by the LFO2.
OSC1–4 WAVE=NOISE
This has no eect.
OSC1–4 WAVE=SQR
The pulse width is aected by the ENV.
OSC1–4 WAVE=SAW, TRI, SIN, JUNO
The wave is aected by the ENV.
OSC1–4 WAVE=SuperSAW
The detune is aected by the ENV.
OSC1–4 WAVE=NOISE
This has no eect.
Delays the timing at which OSC1–4 sound,
according to the time you set (OSC delay). This
is enabled when OSC1–4 DLY SYNC is “OFF.”
Set this ON if you want the OSC delay time to
synchronize with the tempo.
This is available when OSC1–4 Time Sync is
ON. It species the delay time in terms of a
note value.
Species the pan of the OSC1–4. “L64” is far
left, “0” is center, and “63R” is far right.
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 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.
Eective when OSC1-2 MODE is XMOD. Sets
the Cross Modulation Depth.
Eective when OSC3-4 MODE is XMOD. Sets
the Cross Modulation Depth.
Implements the oscillator sync function that is
provided by an analog synthesizer.
The OSC1 oscillator is reset at intervals of
OSC2’s pitch cycle.
Implements the ring modulator function that
is provided by an analog synthesizer.
The output sound of OSC2 is multiplied with
OSC1.
Implements the cross modulation function
that is provided by an analog synthesizer.
The output sound of OSC2 is applied as the
pitch of OSC1.
52
111
OSC1 PW MOD
OSC2 PW MOD
OSC3 PW MOD
OSC4 PW MOD
OSC1 DLY TIME
OSC2 DLY TIME
OSC3 DLY TIME
OSC4 DLY TIME
OSC1 DLY SYNC
OSC2 DLY SYNC
OSC3 DLY SYNC
OSC4 DLY SYNC
OSC1 DLY NOTE
OSC2 DLY NOTE
OSC3 DLY NOTE
OSC4 DLY NOTE
OSC1 PAN
OSC2 PAN
OSC3 PAN
OSC4 PAN
OSC1 ALT PAN
OSC2 ALT PAN
OSC3 ALT PAN
OSC4 ALT PAN
OSC1-2 XMOD
OSC3-4 XMOD
OSC1-2 MODE
MANUAL
LFO2
P-ENV,
F-ENV
0–1023
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
L64–63R
L64–63R
0–10800
0–10800
The sound of OSC1 is modulated by OSC2.
OFF O
SYNC
RING
X-MOD
Parameter Value Explanation CC#
The sound of OSC3 is modulated by OSC4.
OFF O
Implements the oscillator sync function that
is provided by an analog synthesizer.
The OSC3 oscillator is reset at intervals of
OSC4´s pitch cycle.
Implements the ring modulator function that
is provided by an analog synthesizer.
The output sound of OSC4 is multiplied with
OSC3.
Implements the cross modulation function
that is provided by an analog synthesizer.
The output sound of OSC4 is applied as the
pitch of OSC3.
Sets whether the Pitch Envelopes 1 and 2 are
linked or independent.
Adjusts the eect of the Pitch Envelope1, 2.
Higher settings will cause the Pitch Envelope1,
2 to produce greater change. Negative (-)
value will invert the shape of the envelope.
Keyboard playing dynamics can be used to
control the depth of the Pitch Envelope1,
2. If you want the pitch envelope to have
more eect for strongly played notes, set this
parameter to a positive (+) value. If you want
the pitch envelope to have less eect for
strongly played notes, set this to a negative (-)
value.
Select the OSC to which you want to apply
Pitch Envelope1.
Sets the key follow intensity for pitch
envelopes 1 and 2. When this is set to a
positive value, lower notes produce longer
ADR times, and higher notes produce shorter
times. When this is set to a negative value,
lower notes produce shorter ADR times, and
higher notes produce longer times.
Species 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.
Species the cuto frequency of the high-pass
lter.
Selects one of three response curves, each
modeling the LPF of an analog synthesizer of
the past.
Adjusts the amount by which the keyboard
pitch aects the cuto frequency (key follow).
With smaller values, the cuto frequency
becomes lower as you play higher notes.
Use this parameter when changing the cuto
frequency to be applied as a result of changes
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.
Sets whether the Filter Envelopes 1 and 2 are
linked or independent.
22
3
79
108
82
53
OSC3-4 MODE
PENV1&2 LINK
SW
PENV1 ATTACK
PENV2 ATTACK
PENV1 DECAY
PENV2 DECAY
PENV1 SUSTAIN
PENV2 SUSTAIN
PENV1 RELEASE
PENV2 RELEASE
PENV1 DEPTH
PENV2 DEPTH
PENV1 VEL SENS
PENV2 VEL SENS
PENV1 DEST SEL
PENV2 DEST SEL
PENV1 KEY FLW
PENV2 KEY FLW
FILTER FREQ
FILTER RESO
HPF CUTOFF
FILTER SLOPE
FILTER TYPE
FILTER KEY FLW
FILTER VSENS
FENV1&2 LINK SW
FENV1 ATTACK
FENV2 ATTACK
FENV1 DECAY
FENV2 DECAY
FENV1 SUSTAIN
FENV2 SUSTAIN
SYNC
RING
X-MOD
OFF, ON
0–1023 Species the PITCH ENV1, 2 Attack time. 23
0–1023 Species the PITCH ENV1, 2 Decay time. 24
0–1023 Species the PITCH ENV1, 2 Sustain level.
0–1023 Species the PITCH ENV1, 2 Release time.
-100–+100
-100–+100
OSC1,
BOTH,
OSC2
-100–+100
0–1023
0–1023
0–1023
-12, -18, -24 Selects the type of slope for the low-pass lter.
R, M, S
0–200
-100–+100
OFF, ON
0–1023 Species the Filter Envelope1, 2 Attack time. 83
0–1023 Species the Filter Envelope1, 2 Decay time. 84
0–1023 Species the Filter Envelope1, 2 Sustain level.
(*5)
(*5)
(*5)
(*6)
(*6)
23
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