Roland JX-305 User Manual

Owner's Manual

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

SAFELY” and “IMPORTANT NOTES” (Owner’s Manual p. 2, 3, 9). These

sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Quick Start and Owner’s Manual should be read in its entirety. The manuals should be saved and kept on hand as a convenient reference.

This owner's manual consists of the following 14 chapters and supplementary information. Before you read this manual, you should read through the Quick Start manual so you're familiar with the basic operation of the unit.

Chapter 1 An Overview of the JX-305

This chapter explains how the JX-305's sound generator and sequencer are organized, and explains the basic operation. By reading this chapter, you can gain an overall understanding of the JX-305.

Chapter 2 Playing the Keyboard

This chapter explains the Key Mode function, the pitch bend lever, the pedals, etc., and how to use the arpeggiator. Be sure to read this chapter.

Chapter 3 Playing Patterns

This chapter explains how to play patterns, and how to use functions such as Real-Time Transpose, Mute, Part Mixer, and Play Quantize. Be sure to read this chapter.

Chapter 4 One-Touch Phrase Playback (RPS)

This chapter explains the various effect types and how to use them. Read this chapter when you wish to use effects.

Chapter 5 Creating Original Sounds (Patch Edit)

This chapter explains the parameters that modify the sound. Read this chapter so you better understand how to use the knobs to control the sound when creating your own sounds.

Chapter 6 Creating an Original Rhythm Set (Rhythm Edit)

This chapter explains the rhythm set parameters. Read this chapter when you wish to create an original rhythm set.

Chapter 7 Applying Effects to the Sound (Effects)

This chapter explains the various effect types and how to use them. Read this chapter when you wish to use effects.

Chapter 8 Recording Patterns

This chapter explains how to record patterns. Read this chapter when you wish to record patterns.

Chapter 9 Editing Patterns

This chapter explains how to edit patterns, and how to modify music data after it's been recorded. Read this chapter as necessary.

Chapter 10 Collecting Frequently Used Patterns in a Set (Pattern Set)

This chapter explains how to use Pattern Sets and how to store patterns in a set. Read this chapter when you wish to use a pattern set.

Chapter 11 Connecting Patterns in Playback Order to Create a Song

This chapter explains how to play back, record, and edit songs. Be sure to read this chapter if you wish to use songs.

Chapter 12 Using Memory Cards

Here you can learn how to use memory cards to back up your data, and how to make copies of a card. Be sure to read this chapter before using memory cards.

Chapter 13 Setting the Operating Environment of the JX-305 (System)

This chapter explains settings that determine the overall configuration for your JX-305, such as its tuning and synchronization preferences. Read this chapter as necessary.

Chapter 14 Advanced Applications

This chapter explains how the JX-305 can be used with external MIDI equipment, and gives tips for creating sounds and performing. Read this chapter as necessary.

Supplementary Information

Consult this chapter when the JX-305 does not function as you expect, or if an error message is displayed. This chapter also contains information such as parameter lists and the MIDI implementation.

• SmartMedia is a trademark of Toshiba corporation.

• All product names mentioned in this document are trademarks or registered trademarks of their respective owners.

Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.

* Material damage refers to damage or

other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.

Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.

The ● symbol alerts the user to things that must be

carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.

The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.

For the USA

FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

– Reorient or relocate the receiving antenna. – Increase the separation between the equipment and receiver. – Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. – Consult the dealer or an experienced radio/TV technician for help.

Unauthorized changes or modification to this system can void the users authority to operate this equipment. This equipment requires shielded interface cables in order to meet FCC class B Limit.

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

BLUE: BROWN:

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.

NEUTRAL LIVE

For the U.K.

This product complies with the requirements of European Directive 89/336/EEC.

For EU Countries

For Canada

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.

NOTICE

AVIS

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

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• Do not open (or modify in any way) the unit or its AC adaptor.

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• Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the "Information" page.

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

• Subject to temperature extremes (e.g., direct sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are

• Damp (e.g., baths, washrooms, on wet floors); or are

• Humid; or are

• Dusty; or are

• Subject to high levels of vibration.

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• This unit should be used only with a rack or stand that is recommended by Roland.

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

• Be sure to use only the AC adaptor supplied with the unit. Also, make sure the line voltage at the installation matches the input voltage specified on the AC adaptor's body. Other AC adaptors may use a different polarity, or be designed for a different voltage, so their use could result in damage, malfunction, or electric shock.

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• Avoid damaging the power cord. Do not bend it excessively, step on it, place heavy objects on it, etc. A damaged cord can easily become a shock or fire hazard. Never use a power cord after it has been damaged.

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• This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist.

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• Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

• Immediately turn the power off, remove the AC adaptor from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the "Information" page when:

• The AC adaptor or the power-supply cord has been damaged; or

• Objects have fallen into, or liquid has been spilled onto the unit; or

• The unit has been exposed to rain (or otherwise has become wet); or

• The unit does not appear to operate normally or exhibits a marked change in performance.

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• In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit.

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

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• Do not force the unit's power-supply cord to share

an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord's outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.

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• Before using the unit in a foreign country, consult

with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the "Information" page.

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

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

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• Whenever the unit is to remain unused for an extended period of time, disconnect the AC adaptor.

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• Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children.

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

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

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

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• Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet (Quick Start, p. 5).

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

Features of the JX-305.......................................................................................8

Important Notes.................................................................................................9

Front and Rear Panels......................................................................................10

Contents

Chapter 1. an Overview of the JX-305 ...........................................13

How the JX-305 Is Organized ........................................13

How the Sound Generator Is Organized ....................13

How the Sequencer Is Organized.................................14

About Memory.................................................................15

Basic Operation................................................................16

Chapter 2. Playing the Keyboard ...................................................18

Selecting a Patch ..............................................................18

Playing Two Patches from the Keyboard

(Key Mode) .......................................................................18

Playing One Patch Over the Entire Keyboard (Single)....18

Layering Two Patches (Dual)..............................................19

Playing Different Patches with the Left and Right Hands

(Split).......................................................................................19

Changing the Split Point......................................................20

Selecting the Upper Part/Lower Part ................................20

Modifying the Key Mode Settings in the Editing Pages 20

Smoothly Changing the Pitch of the Sound

(Portamento) .....................................................................21

Portamento On/Off..............................................................21

Changing the Time Over Which the Pitch Changes

(Portamento Time)................................................................21

Playing Notes Which Lie Outside the Range of the

Keyboard (Octave Shift).................................................21

Changing the Pitch (Pitch Bend Lever) .......................22

Applying Modulation to the Sound ............................22

Using the Modulation Lever ...............................................22

Using Aftertouch...................................................................22

Changing the Keyboard Dynamics

(Keyboard Velocity) ........................................................22

Sustaining the Notes You Play (Hold Pedal) .............23

Using a Pedal to Modify the Sound

(Control Pedal) .................................................................23

Control Pedal Settings..........................................................23

Pressing Chords to Produce Arpeggios

(Arpeggiator) ....................................................................24

Playing Arpeggios.................................................................24

Creating an Arpeggio Pattern .............................................24

Changing the Way in Which the Arpeggio Will Play

(Arpeggio Style) ....................................................................25

Adding Expression to the Arpeggio (Accent Rate)..........25

Changing the Pitch Range of the Arpeggio

(Octave Range) ......................................................................26

Selecting the Part in Dual Mode Which

Will Play the Arpeggio (Arpeggio Destination)...............26

Making More Detailed Settings ..........................................26

Saving Arpeggio Settings (Arpeggio Write) .....................28

Playing a Rhythm Set .....................................................28

Listening to Sound Processed by the Effects

(Audition)..........................................................................29

Chapter 3. Playing Patterns............................................................30

Playing Patterns ...............................................................30

Adjusting the Tempo......................................................31

Viewing the Number of Measures in a Pattern.........31

Muting a Specific Part (Part Mute/Rhythm Mute)....32

Transposing During Playback

(Real-Time Transpose) ...................................................32

Using the VALUE Dial or [INC] [DEC].............................32

Using the Keyboard..............................................................33

Changing the Settings of Each Part..............................33

Using the Part Mixer Page to Make Changes ...................33

Using the Editing Pages to Make Changes .......................34

Saving Patterns You’ve Modified (Pattern Write) ....36

Copying and Initializing Settings.......................................37

Using the Knobs to Modify the Sound During

Playback (Real-Time Modify).......................................38

Modifying the Sound for an Individual Rhythm Group.39

Returning a Pattern to Its Original State During Playback

(Pattern Reset)........................................................................39

Ensuring Correct Playback from the Middle of a Pattern ..

(MIDI Update) .......................................................................40

Changing the Groove of a Pattern (Play Quantize) ..40

Selecting Parts to Use with Play Quantize ........................41

Correcting Inaccuracies in the Rhythm (Grid Quantize) 41

Giving Swing to the Rhythm (Shuffle Quantize) .............42

Giving a Groove to the Rhythm (Groove Quantize)........43

Using Pedal for Control (Switch Pedal) ......................46

Specifying the Function of the Switch Pedal.....................46

Using the Pedal to Change the Tempo ..............................46

Simultaneously Changing the Tempo and Pitch

(Turntable) ........................................................................47

Chapter 4. One-Touch Phrase Playback (RPS)..................................48

Pressing Notes to Play Back Phrases ...........................48

Causing a Phrase to Continue Playing (RPS Hold)..........49

Assigning Phrases to the Keyboard .............................49

Making Settings for Each Phrase .................................50

Using the Part Mixer to Modify Settings...........................50

Changing the Patch of Each RPS Part ................................51

Saving the Phrases You Assigned (RPS Set Write)...52

Chapter 5. Creating Original Sounds (Patch Edit).............................53

The Basis for the Sound of a Patch (Tones)................53

What a Tone Consists of.......................................................53

Sound-Editing Procedure...............................................53

Changing the Basic Waveform of the Sound

(Wave/FXM) ......................................................................56

Pitch-Related Settings ....................................................57

Modifying the Pitch (Pitch)..................................................57

Making the Pitch Change Over Time (Pitch Envelope) ..58

Making More Detailed Settings ..........................................59

Brightness-Related Settings (Filter).............................61

Modifying the Brightness of the Sound (Filter)................61

Making the Brightness Change Over Time

(Filter Envelope)....................................................................63

Making More Detailed Settings ..........................................65

Settings Related to Volume and Pan (Amplifier) .....67

Adjusting the Volume and Pan...........................................67

Creating Time-Variable Change in Volume

(Amplifier Envelope)............................................................68

Making More Detailed Settings ..........................................68

Applying Cyclic Changes to the Sound (LFO) ..........71

Selecting the Waveform That Will Modulate the Sound

(LFO1 Waveform) .................................................................72

Adjusting the Speed of Modulation (LFO1 Rate).............72

Adjusting the Depth of Modulation (LFO1 Depth) .........73

Making More Detailed Settings ..........................................74

Specifying the Parameters That Will Be Modified

by Each Controller (Control) .........................................76

Adjusting the Range of Pitch Bend (Bend Range)............76

Control 1/2/3/4 (Control Destination 1/2/3/4).............77

Ctrl 1/2/3/4 Depth (Control 1/2/3/4 Depth).................77

Settings Common to the Entire Patch (Common) .....77

Smoothly Changing the Pitch (Portamento) .....................77

Making More Detailed Settings ..........................................78

Saving Patches You’ve Created (Patch Write)............82

Copying and Initializing Settings.......................................83

Chapter 6. Creating an Original Rhythm Set (Rhythm Edit) ..............85

How a Rhythm Tone Is Organized ..............................85

Creating the Sounds........................................................85

Specifying the Basic Waveform of the Sound

(Wave) ................................................................................86

Pitch-Related Settings ....................................................87

Changing the Pitch of the Sound (Pitch) ...........................87

Making the Pitch Change Over Time (Pitch Envelope) ..87

Making More Detailed Settings ..........................................89

Brightness-Related Settings (Filter).............................90

Modifying the Brightness of the Sound (Filter)................90

Making the Brightness Change Over Time

(Filter Envelope)....................................................................91

Making More Detailed Settings ..........................................92

Settings Related to Volume and Pan (Amplifier) .....94

Adjusting the Volume and Pan (Amplifier)......................94

Creating Time-Varying Change in Volume

(Amplifier Envelope)............................................................95

Making More Detailed Settings ..........................................96

Adjusting the Range of Pitch Bend (Bend Range)....97

Adjusting the Effects for Each Rhythm Tone (Rhythm

Tone) ..................................................................................97

Saving Rhythm Sets You’ve Created

(Rhythm Set Write) .........................................................98

Copying and Initializing Settings.......................................99

Chapter 7. Applying Effects to the Sound (Effects) .........................101

Turning Effects On/Off ................................................101

Adding Reverberation to the Sound (Reverb).........102

Adjusting the Overall Reverb Volume (Reverb Level)..102 Adjusting the Reverb Volume for Each Part

(Part Reverb Level) .............................................................102

Making More Detailed Settings ........................................103

Adding an Echo to the Sound (Delay).......................103

Adjusting the Overall Delay Volume (Delay Level)......104

Adjusting the Delay Volume for Each Part

(Part Delay Level) ...............................................................104

Making More Detailed Settings ........................................105

Applying Various Effects to the Sound (Multi-Effects) 106

Selecting the Type (Multi-Effects Type)...........................106

Adjusting the Overall Multi-Effects Volume

(Multi-Effects Output Level) .............................................106

Making Multi-Effects Settings...........................................107

Specifying the Part(s) to Which Multi-Effects Will Be

Applied (Part Multi-Effects Switch).................................124

Chapter 8. Recording Patterns ......................................................125

Recording Your Playing As You Perform

(Real-Time Recording) .................................................125

Recording Procedure..........................................................125

Auditioning Phrases During Recording

(Rehearsal Function)...........................................................127

Recording an Arpeggio Performance...............................127

Recording Knob Movements (Modify Data)...................128

Recording Smoothly Across Pattern Boundaries ...........128

Recording Part Mixer Operations.....................................128

Recording the Mute Settings .............................................129

Recording Changes in Tempo...........................................129

Erasing Unwanted Data While You Record

(Real-Time Erase) ................................................................130

Recording Notes One at a Time (Step Recording) ..131

Recording Procedure..........................................................131

Recording Notes One by One (Step Recording 1)..........132

Various Ways to Input Notes............................................133

Recording Individual Notes to Grid Locations

(Step Recording 2)...............................................................134

Inputting Complex Rhythms.............................................136

Checking the Remaining Amount of Memory

(Memory Information)..................................................137

Temp (Temporary)..............................................................137

User (User Memory)...........................................................137

Card (Card Memory)..........................................................137

Chapter 9. Editing Patterns ...........................................................138

Editing the Musical Data of a Specified Part

(Pattern Edit)...................................................................138

Copying a Portion of a Pattern (Copy) ............................138

Deleting Unwanted Measures (Delete Measure) ...........140

Inserting Blank Measures (Insert Measure) ....................140

Erasing Unwanted Data (Erase)........................................141

Transposing the Pitch (Transpose)...................................142

Modifying the Strength of Notes (Change Velocity) .....142

Modifying the Note Length (Change Gate Time) ..........143

Shifting the Timing Slightly (Shift Clock) .......................144

Thinning Out Unneeded Data (Data Thin) .....................145

Converting the Note Timing of a Pattern (Reclock).......145

Using Play Quantize Settings to Modify a Pattern

(Edit Quantize) ....................................................................146

Individually Editing Musical Data

(Microscope Edit)...........................................................146

View the Musical Data That You Input ...........................147

Musical Data Handled in Microscope Mode ..................147

Modifying the Value of Musical Data (Change Event) .148

Deleting Musical Data (Delete Event)..............................150

Inserting Musical Data (Insert Event) ..............................150

Moving Musical Data (Move Event) ................................151

Hiding Unwanted Musical Data (View Filter) ...............151

Chapter 10. Collecting Frequently Used Patterns in a Set (Pattern Set)

152

Using a Pattern Set to Recall Patterns .......................152

Assigning a Pattern to be Recalled ............................152

Saving a Pattern Set That Was Modified

(Pattern Set Write) .........................................................153

Chapter 11. Connecting Patterns in Playback Order to Create a Song.154

Playing Back a Song......................................................154

Recording a Song...........................................................155

Editing Songs (Song Edit)............................................155

Copying a Song (Song Copy) ............................................156

Deleting Unwanted Patterns from a Song

(Delete Pattern)....................................................................156

Inserting a Pattern (Insert Pattern) ...................................157

Saving a Song That You Recorded (Song Write).....157

Initializing Settings (Song Initialize) ................................158

Chapter 12. Using Memory Cards.................................................159

Cautions When Using a Memory Card .....................159

Before Using a New Card (Format) ............................159

Saving All Internal Settings to a Card

(User Backup) .................................................................160

Restoring the Saved Settings Back to Internal Memory

(Backup Load) ................................................................161

Deleting the Backup File from the Card

(Backup Delete)..............................................................161

Copying an Entire Card (Card Duplicate) ................161

Chapter 13. Setting the Operating Environment of the JX-305 (System).163

Controller-Related Settings.........................................163

Changing the Loudness of Notes Played on the Keyboard

(Keyboard Velocity)............................................................163

Setting Aftertouch Sensitivity (Aftertouch Sens) ...........163

Specifying How the Pedal Will Function ........................163

MIDI-Related Settings .................................................164

Disconnecting the Keyboard from the Internal Sound

Generator (Local Switch) ...................................................165

Using an External MIDI Keyboard in Place of the

Keyboard of the JX-305 (Remote Keyboard Switch)......165

Differentiating Between Units of the Identical Model

(Device ID Number) ...........................................................165

Re-Transmitting Messages Received at MIDI IN from

MIDI OUT (Thru Function) ...............................................165

Specifying the Reception Status for Each Part

(Rx Switch) ...........................................................................165

Specifying How Knob Data Is Transmitted

(Edit Transmit/Receive Mode) .........................................165

Reception Settings for Each Type of Message ................166

Transmission Settings for Each Type of Message ..........166

Sequencer-Related Settings.........................................166

Synchronization Settings (Sync Mode) ............................167

Transmitting Synchronization Messages (Sync Out).....167

Making Songs Play Continuously (Loop Mode)............167

Setting the Metronome (Metronome Mode) ...................167

Adjusting the Metronome Volume

(Metronome Level) .............................................................167

Specifying the Timing for RPS Playback

(RPS Trigger Quantize) ......................................................167

Synchronizing Arpeggios to the Pattern

(Arpeggio Sync)...................................................................168

Calculating a Checksum Automatically

(Auto Checksum) ................................................................168

Specifying the Resolution of the Tap Tempo

(Tap Resolution)..................................................................168

Tuning and Sound Generator Related Settings ......168

Adjusting the Display Contrast (LCD Contrast) ............168

Adjusting the Overall Tuning (Master Tune) .................168

Tuning Each Note (Scale Tune).........................................168

Specifying How Patches Will Be Switched

(Patch Remain) ....................................................................169

Specifying the Number of Notes for Each Part

(Voice Reserve)....................................................................169

Specifying the Variable Range of Resonance

(Resonance Limiter)............................................................169

Specifying the Pattern at Power-On (Default Pattern) ..169 Specifying the Arpeggio Style at Power-On

(Default Arpeggio Style) ....................................................170

Restoring the Factory Settings (Factory Preset) .......170

Chapter 14. Advanced Applications..............................................171

Taking Advantage of MIDI.........................................171

What Is MIDI?......................................................................171

Controlling the JX-305 from an External MIDI Device..172 Controlling an External MIDI Device from the JX-305..174

Synchronizing an External Sequencer..............................175

Synchronizing to an External Sequencer.........................175

Saving Pattern and Patch Data on an External Sequencer

(Bulk Dump) ........................................................................176

Example of Real-Time Modify....................................178

Example of Multi-Effects Settings .............................180

Troubleshooting .............................................................................................183

Error Meggage List.........................................................................................185

Waveform List................................................................................................187

Preset Patch List .............................................................................................190

Preset Rhythm Set List ....................................................................................195

Effects Template List .......................................................................................203

Preset Pattern List ..........................................................................................204

RPS Pattern List..............................................................................................210

RPS Set List ....................................................................................................219

Parameter List................................................................................................223

Transmit/Receive Setting List..........................................................................235

MIDI Implementation......................................................................................236

Main Specifications ........................................................................................256

Index.............................................................................................................257

High-performance synthesis engine

The all-important sound generator is a high-performance synthesizer offering 64-note polyphony. A rich array of parameters, including sharp filters and ADSR envelopes can be modified using the knobs on the panel to create your own sounds. The sound generator can also be used as a multitimbral sound module, providing up to eight parts.

Cutting-edge patterns that lead the scene

The JX-305 contains 274 high-quality preset patterns for immediate use and 494 RPS patterns. Since the patterns cover a wide range, from techno to reggae, this instrument provides everything you need for most situations.

Sounds that match today’s trends

The diverse assortment of carefully selected sounds and rhythm sets ranges from those from the TB-303, JUNO, JUPITER and TR-808/909—indispensable for the dance scene—to realistic acoustic sounds. From the day you take the JX-305 home, you can enjoy today’s leading-edge sounds. You can also create your own original sounds and store them in memory for immediate recall at any time.

Three sophisticated digital effect units

High-performance DSP (digital signal processing) technology provides you with a wide range of effects. Three effect units are provided: Reverb adds reverberation, Delay adds echo-like effects, and general-purpose ffect unit provides 24 types of effect that have been optimized for dance music.

Three key modes

The JX-305 provides three key modes: single, dual, and split. It’s easy to divide the keyboard into left and right zones, which can play different sounds simultaneously, or you can layer two sounds for every note.

A sequencer to help your ideas take shape

You can construct a song in real time as you play, simply by switching the playback patterns. During recording, you can switch the recording part to record non-stop. The JX-305’s internal memory by itself can contain approximately 75,000 notes (up to 200 patterns). By using a memory card (SmartMedia), the capacity can be boosted to a maximum of approximately 480,000 notes (up to 200 patterns).

Use the arpeggiator to create phrases

You can play arpeggios simply by pressing the keyboard. Your musical imagination and taste are all you need to create completely new phrases.

RPS (Real-Time Phrase Sequence) function

You can play back phrases simply by pressing a single key. This has a wide variety of uses, such as adding accents during a song, or playing an entire song using just RPS.

Play quantize changes the groove in real time

The JX-305 provides three types of play quantize: Grid, Shuffle and Groove. Simply by rotating a knob, you can produce your own “groove” in real time.

Controls for live performance

The JX-305 is designed for live performance, with features such as a mute button that lets you instantly silence the playback of a specific part or rhythm instrument, and a Real-Time Transpose function that lets you transpose during pattern playback. Of course, you can also move knobs during pattern playback to modify the sound in real time.

Features of the JX-305

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

Power Supply

• Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system).

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

• Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.

Placement

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

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

• Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit.

Maintenance

• For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.

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

Repairs and Data

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

Additional Precautions

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

• Unfortunately, it may be impossible to restore the contents of data that was stored in the unit’s memory, a memory card or another MIDI device (e.g., a sequencer) once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

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

• Never strike or apply strong pressure to the display.

• When connecting/disconnecting all cables, grasp the connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable’s internal elements.

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

• When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.

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

●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●

The sounds, phrases and patterns contained in this product are sound recordings protected by copyright. Roland hereby grants to purchasers of this product the permission to utilize the sound recordings contained in this product for the creation and recording of original musical works; provided however, the sound recordings contained in this product may not be sampled, downloaded or otherwise re-recorded, in whole or in part, for any other purpose, including but not limited to the transmission of all or any part of the sound recordings via the internet or other digital or analog means of transmission, and/or the manufacture, for sale or otherwise, of any collection of sampled sounds, phrases or patterns, on CD-ROM or equivalent means.

The sound recordings contained in this product are the original works of Roland Corporation. Roland is not responsible for the use of the sound recordings contained in this product, and assumes no liability for any infringement of any copyright of any third party arising out of use of the sounds, phrases and patterns in this product.

Important

Please observe the following points when using the JX-305. Various types of data required for the JX-305's operation are held in internal flash memory. If the power is turned off while data is being written to flash memory, writing will not be completed correctly, and subsequent operation can be affected. While the following display appears, never turn off the power or remove the memory card.

Important Notes

Front Panel

1 VOLUME Knob

Controls the overall volume of the JX-305.

2 REALTIME MODIFY Section

Here you can make settings for sound parameters (p. 54) and effects (p. 101). Also, in the Part Mixer page you can make various settings for each part (p. 33).

3 QUANTIZE Section

Modifies the groove of the pattern (p. 40).

4 ARPEGGIATOR/RPS Section

Here you can make arpeggiator (p. 24)/RPS settings (p. 48).

5 KEYBOARD Section

Here you can make settings which affect the notes played on the keyboard, such as Key Mode (p. 18), Octave Shift (p. 21), and Portamento (p. 21).

6 TRANSPOSE Button

Press this button when you wish to transpose (p. 32).

7 SEQUENCER Section

Here are the buttons related to sequencer playback (p. 30) and recording (p. 125).

8 DISPLAY Section

The parameter you wish to modify using [INC] [DEC] or the [VALUE] dial appears in the display.

9 INC/DEC (Increment/Decrement) Buttons

VALUE Dial

Use these to modify the value of a parameter (p. 16).

Front and Rear Panels

MODULATION

BENDER

PATTERN SONG

CUTOFF

LEVEL

PORTA TIME

RESONANCE

PANPOT

FINE TUNE

ENVELOPE

LFO1

MAX

MIN

EFFECTS

STOP/ PL AY

REC

BWD

/TIE

FWD

/REST MODE

OCTAVE RANGE

RATE

ACCENT

OCTAVEDUALSPLIT

PORTAMENTO

ARP RPSHOLD

RATE

REVERB LEVEL

FADE TIME

DELAY LEVEL

PITCH DEPTH MULTI CTRL1

FILTER DEPTH MULTI CTRL2

AMP DEPTH MULTI CTRL3

GRID SHUFFLE GROOVE

TIMING VELOCITY

1234567

RPS

RPS STOP

PATC

AUDITIO

M.SCOPE

PHONES L(MONO)R HOLD

CONTROL SWITCH

IN OUT

MIDI

MEMORY CARD

THRU

OUTPUT

POWER

PEDAL

QUANTIZEREALTIME MODIFY

KEYBOARD

TRANSPOSE

SEQUENCERARPEGGIATOR/RPS

VOLUME

ATTACK DECAY SUSTAIN RELEASE DEPTH FILTER

AMP

PITCH

DC IN

(9V)

4 5 6 7

2 3

10 PAGE</PAGE> Buttons

Use these buttons to switch between levels of the various setting displays. In pages where you are assigning a name, these buttons move the cursor.

11 SHIFT Button

This button is used in conjunction with other buttons.

12 UNDO/REDO Button

Press this button to cancel the previous operation (p. 17).

13 ENTER/EXIT Buttons

Use these buttons to execute/cancel an operation, or to exit from a setting page.

14 GROUP Section

Here you can select the group for sounds or patterns (p. 18, 30).

15 PART Section

Press these buttons when you wish to use buttons 1– 8 to select or mute parts (p. 18, 32).

16 EDIT/UTILITY Section

Press these buttons when you wish to edit a sound or pattern, or to store or initialize settings.

17 1–8 Buttons

Use these buttons to select the bank and number of a patch or pattern (p. 18), to select parts or rhythm groups, or to switch muting on/off (p. 32). When editing, these buttons are used to select parameters.

18 Pitch Bend Lever/Modulation Lever

This lever lets you modify the pitch or apply vibrato. Depending on the settings, this can also be used to control specific parameters (p. 22, 47).

12345678

SELECT

PART

MUTE

PART

CTRL

MUTE

NUMBER

PREV NEXT

PRESET USER CARD

UTILITY

BANK

1234567R

9 10111213141516

TN /

MEASURE

TEMPO&

SET

RPS

BEAT

MIXER

RHYTHM

PART

BD SD HH CLP CYM

TOM/PERC

HIT OTHERS

WRITE

FX ON/OFF

QTZ SELECT

EDIT/ UTILITY

GROUP PART

TONE SELECT

12341234

TONE SWITCH

EDIT

PTN/SONG

PATCH

TRANSPOSE CHG EVENT QUANTIZE

VIEW FILTER

ERASEINSERTDELETECOPY

AMPLIFIER LFO CONTROL RHY TONEFILTERPITCHWAVECOMMON

ARPEGGIO

CONTROLLER

PART MIDI SEQUENCER SETUP

KEYBOARD

EFFECTSSETUP SYSTEM

PATTERN

DEMO

PAGE

DEC INC ENTEREXIT

UNDO /REDO

LOWER UPPER

SHIFT

ERASE

VALUE

14 15 16

11 12

Rear panel

1 MEMORY CARD Slot

An optional memory card (SmartMedia) can be inserted here (p. 159).

2 MIDI IN/OUT/THRU Connectors

External MIDI devices can be connected here (p. 171). Use MIDI cables (sold separately) to make connections.

3 SWITCH PEDAL Jack

A separately sold pedal switch or foot switch can be connected here. The pedal can be operated to apply various effects (p. 46).

4 CONTROL PEDAL Jack

The expression pedal (EV-5; sold separately) can be connected here. The pedal can be operated to adjust the volume or to make the sound change in various ways (p. 23).

5 HOLD PEDAL Jack

A separately sold pedal switch can be connected here. The pedal can be used to sustain notes (p. 23).

6 OUTPUT Jacks (L (MONO), R)

An amp or mixer can be connected to these jacks. If outputting in mono, make connections to the L jack (Quick Start, p. 3).

7 PHONES Jack

Accepts connection of headphones. Audio signals will still be output from the output jacks even if headphones are connected (Quick Start, p. 3).

8 DC IN Jack

Connect the included AC adapter here (Quick Start, p. 3).

9 POWER Switch

This switch turns the power on/off (Quick Start, p. 5).

MEMORY CARD

S2M-5/S4M-5

THRU

OUT IN

HOLDCONTROL

SWITCH

OUTPUT

L(MONO)PHONES

USE ROLAND

ACI,ACB

ADAPTOR ONLY

MIDI PEDAL

450mA

DC IN 9V

POWER

2 3 4 5 6 7

A brief explanation of the JX-305’s internal organization was provided in the Quick Start manual, but this chapter contains a more detailed explanation of the basic sections: the controller section, sound generating section, and the sequencer section.

How the JX-305 Is Organized

fig.1-1TEXT (#MC fig.1-3)

Playing and Operation—Controller

Controllers refer collectively to the keyboard, the panel knobs, the pitch bend lever, and the pedal connected to the rear panel etc. By operating these controllers you can play sounds or modify them.

Recording Your Performance— Sequencer

The sequencer can record your playing and controller operations (knob movements) as MIDI messages, and can play back the MIDI messages that were recorded. MIDI messages that have been recorded on the sequencer can also be transmitted from the MIDI OUT connector, and used to control external MIDI devices.

Producing the Sound—Sound Generator

This is the section that produces the sound. The sound generator produces sound in response to data it receives from the JX-305’s controllers and its sequencer. It can also be played by MIDI messages that arrive from an external MIDI device.

How the Sound Generator Is Organized

The Smallest Unit of Sound— Tones

Tones are the smallest unit of sound used by the JX-

305. Although it is possible to create a sound using only one Tone, the sounds you will normally play on the JX-305 are “Patches,” which consist of one or more Tones.

Sounds That You Play—Patches

Patches are the unit of sound that you normally play. Each Patch consists of up to four Tones. Tones and Patches are organized as follows.

fig.1-2TEXT (=MC fig.1-4)

* The way in which the four tones are combined will deter-

mine how they will sound. This is determined by the Structure Type parameter.

☞ “Settings Common to the Entire Patch

(Common)” (p. 77)

Controller section (keyboard, knobs, etc.)

Sound generator

section

Sequencer

section

Playback

Recording

Performance

CUTOFF

LEVEL

PORTA TIME

RESONANCE

PANPOT

FINE TUNE

ENVELOPE

LFO1

EFFECTS

RATE

REVERB LEVEL

FADE TIME

DELAY LEVEL

PITCH DEPTH

MULTI CTRL1

FILTER DEPTH MULTI CTRL2

AMP DEPTH

MULTI CTRL3

REALTIME MODIFY

ATTACK DECAY SUSTAIN RELEASE DEPTH FILTER

AMP

PITCH

TONE 4

LFO 1

LFO 2

TONE 3

LFO 1

LFO 2

TONE 2

LFO 1

LFO 2

FILTER

AMPLIFIER

TONE 1

PITCH

LFO 1

LFO 2

PITCH ENV

FILTER ENV

AMPLIFIER ENV

WAVE

Cyclically modify the sound

Select the basic waveform

Modify the

brightness of

the sound

Modify the volume

Modify the pitch

over time

Modify the brightness

over time

Modify the volume

over time

COMMON

Make common settings

P A TCH

Modify the pitch of the sound

Chapter 1. an Overview of the JX-305

Playing Percussion Instruments— Rhythm Sets

A collection of various percussion instruments (rhythm tones) is referred to as a Rhythm Set. A different rhythm tone can be assigned to each key (note number), allowing you to use a large number of rhythm tones at once.

fig.1-3 (=MC fig.1-5)

Assigning Instruments to the Ensemble—Parts

You can think of “Parts” as slots into which Patches are placed. They can be thought of as being a little like musicians. You can select a patch (instrument) for each part (musician), and play multiple parts at once. The JX-305 has eight parts for pattern playback, and you can adjust the volume and pan etc. for each part.

fig.1-4TEXT (#MC fig.1-6)

Parts 1–7

For each of these parts, you can select a patch and play melodic, bass or chordal instruments. Since it is also possible to select an individual rhythm tone, you can also use one of these parts as an auxiliary rhythm part.

Rhythm part

For this part, you can select a rhythm set and play percussion instrument sounds.

About simultaneous polyphony

The JX-305 is able to play up to 64 notes simultaneously. If the incoming musical data requests more than 64 notes simultaneously, some notes will drop out. When using patches with a long release time or when using RPS, be careful not to exceed the maximum simultaneous polyphony. The number of notes that can be sounded will actually depend not only on the number of notes being played, but also on the number of tones that are used by each patch. For example, if you are playing a patch that uses four tones, that patch will take up four times the number of notes that are played.

If you would like to know about the polyphony settings...

● The Voice Priority parameter can be set for

each patch to specify how notes will be turned off when the maximum polyphony is exceeded.

☞ “Settings Common to the Entire Patch

(Common)” (p. 77)

● The Voice Reserve parameter can be set to

specify a minimum number of notes that will be reserved for each part.

☞ “Specifying the Number of Notes for Each

Part (Voice Reserve)” (p. 169)

How the Sequencer Is Organized

The sequencer records your performance and controller operations as musical data. Playing back the sequencer will cause this recorded musical data to be sent to the sound generator, making it produce sound. In other words, the sequencer plays the instrument instead of the musician. In the sense that it records and plays back a performance, a sequencer is similar to a tape recorder. However, it has unique advantages: the tempo can be modified without affecting the pitch, there is no decrease in sound quality no matter how many times you play something back, and extremely detailed edits can be made at will.

Musical Data Played Back by the Sequencer—Patterns

Patterns are musical data of various genres for the sequencer to play back, and can be selected even while they play back. The data within each pattern is divided into parts, and you can record or play back each part separately, or modify the musical data inside each part. For each pattern, you can also specify things such as the patch, volume and effect settings that will be used by each part.

RHYTHM TONE (B5)

RHYTHM TONE (D5)

RHYTHM TONE (C4)

FILTER

AMPLIFIER

RHYTHM TONE (B1)

PITCH

WAVE

PITCH

ENV

FILTER

ENV

AMPLIFIER

ENV

RHYTHM SET

Patch Patch

Patch

Patch Patch

Patch

Rhythm Set

Part 1

R Part

Part 2

Part 3

Part 4 Part 5

Part 6

Part 7

Setup parameters Setup parameters

Setup parameters

Setup parameters Setup parameters

Setup parameters

Sound generator section

Chapter 1. an Overview of the JX-305

You can save the data in the condition that will be most appropriate, and change the settings as a whole simply by changing the pattern. These settings can also be used when you play the keyboard directly.

fig.1-5TEXT (#MC fig.1-7)

There are two types of patterns: “Preset Patterns” which are already built into the JX-305, and “User Patterns” which can contain patterns that you create.

Collecting Frequently Used Patterns—Pattern Sets

A Pattern Set lets you collect frequently used patterns so that they can be recalled instantly. Sixteen patterns can be registered in each pattern set.

fig.1-6TEXT

Arranging Patterns in Playback Order—Songs

A sequential arrangement of two or more patterns is called a “song.” When you play back a song, the patterns in the song will play back in succession. A song can contain up to 50 patterns.

fig.1-7TEXT (#MC fig.1-8)

About Memory

“Memory” refers to the place where patch settings and musical data for patterns and other things are kept. The memory of the JX-305 is divided into three areas: System Memory, User Memory, and Preset Memory. There is also a “temporary area” within memory, into which data is placed when you select a patch or pattern, and the data in the temporary area is what you are actually playing and editing.

Memory for Settings That Affect the Entire JX-305—System Memory

System Memory contains settings for the system parameters that configure the JX-305. These include parameters that determine the overall operation of the sound generator or sequencer, and MIDI-related settings.

Rewritable Memory—User Memory

The contents of User Memory can be overwritten, and are used to store settings or musical data that you create. User Memory stores 256 patches, 200 patterns, 50 songs, 60 RPS sets, and 30 pattern sets.

* At the factory settings, the User Patches and the User

Patterns have the same contents as Preset Memory.

Non-Rewritable Memory—Preset Memory

The contents of Preset Memory cannot be rewritten. Preset Memory contains 640 patches and 768 patterns.

PTN P:A11

PTN P:A13

Part 2

Part 1

Part 3

Part 4

Part 5

Part 6

Part 7

R Part

Part 2 data

Part 1 data

Part 3 data

Part 4 data

Part 5 data

Part 6 data

Part 7 data

R Part data

Part 2 data

Part 1 data

Part 3 data

Part 4 data

Part 5 data

Part 6 data

Part 7 data

R Part data

Sound source section

Parts for pattern playback

Currently playing Pattern

playback

Switch patterns

Parts settings (Patch selection and setup parameters)

Sequencer section

P:A11 U:A11 C:A11

Preset

Registered

pattern

Pattern set example

User Card

12345678

NUMBER

BANK

1234567R

RHYTHM

PART

BD SD HH CLP CYM

TOM/PERC

HIT OTHERS

P:B14 U:A26 C:A12 U:A12 P:A55 P:A56 C:A14P:A23

U:A14 U:A15 U:A15 P:A85 P:B81 P:B73 U:A11 P:A12

....

1234 50

P:A11

P:A14 U:A17 P:A24 C:A13 P:A35

U:A11 C:A11

PRESET USER CARD

Chapter 1. an Overview of the JX-305

Temporary Memory—The Temporary Area (Temporary Pattern)

When you play a sound or select a patch for editing, the selected patch is called into a location known as the “temporary area.” When you edit or record a pattern, the contents of the pattern are automatically copied to TMP (temporary pattern), and your operations will affect this data.

Memory Card

An optional memory card can be used to store 512 User Patches and 200 User Patterns, just as in the user memory of the JX-305.

fig.1-8TEXT (#MC fig.1-9)

* The data in memory will be preserved even if the power is

turned off, and can be recalled at any time. However, the data in the temporary area will be lost when the power is turned off. When you modify the settings of a patch or the contents of a pattern, you are actually modifying the data that was called into the temporary area or the temporary pattern. (In other words, you are not directly modifying the data in memory.) If you wish to keep the changes that you have made to the patch or pattern, you must save the data as a user patch or user pattern.

☞ “Saving Patches You’ve Created (Patch

Write)” (p. 82)

☞ “Saving Patterns You’ve Modified (Pattern

Write)” (p. 36)

Basic Operation

Modifying a Value

To select a patch or pattern, or to modify a parameter value, use the VALUE dial or the INC/DEC buttons.

fig.1-9

INC button/DEC button

To increase a value press [INC]. To decrease a value press [DEC]. If you continue pressing the button, the value will continue to change. If you press one button while holding down the other button, the value will change rapidly. If you hold down [SHIFT] and press a button, the value will change in larger steps.

VALUE dial

To increase a value, rotate the [VALUE] dial clockwise. To decrease a value, rotate the [VALUE] dial counterclockwise. If you hold down [SHIFT] as you rotate the [VALUE] dial, the value will change in larger steps.

768

640

200

256

200

512

JX-305

MEMORY CARD

PATCH

PTN

PATCH

PTN

SONG

RPS SET

PATCH

PTN

SYSTEM

PRESET USER CARD

TEMPORARY AREA

PTN SET

DEMO

PAGE

DEC INC ENTEREXIT

UNDO

/REDO

LOWER UPPER

SHIFT

ERASE

VALUE

Chapter 1. an Overview of the JX-305

Canceling the Previous Operation (Undo/Redo)

The function which lets a modified parameter value or edited musical data to be restored to its previous state is called Undo. The function which returns the parameter value or musical data from its “Undone” state back to the edited state is called Redo. The JX-305 lets you use undo/redo for the following operations. This is convenient when you wish to cancel a change, or to compare your edits with the original data.

Pattern Edit ☞ “Editing the Musical Data of a

Specified Part (Pattern Edit)” (p. 138)

Song Edit ☞ “Editing Songs (Song Edit)” (p.

155)

Pattern Recording ☞ “Recording Patterns” (p.

125)

Song Recording ☞ “Recording a Song” (p. 155)

1. Make sure that the pattern or song select page is displayed.

2. Press [UNDO/REDO].

The following display will appear.

fig.1-10 (#MC fig.1-11)

3. Press [ENTER], and your changes will be “undone,” restoring the value to its unmodified state.

4. Press [UNDO/REDO] once again.

The following display will appear.

fig.1-11 (#MC fig.1-12)

Press [ENTER], and your changes will be “redone,” returning the value to its edited state.

* Undo/Redo operations must be done immediately after

you modify the data. Once you save the modified pattern, the undo/redo operation will no longer be available. Also, if you use a different operation to make a further change to the data, it will no longer be possible to undo/redo to the change that was made first.

When you execute an operation that modifies a large amount of data, such as during pattern editing, the Undo operation may not be available.

UNDO

/REDO

ERASE

Chapter 1. an Overview of the JX-305

Selecting a Patch

The JX-305 contains a total of 640 different patches. By specifying the group, bank, and number, you can select the desired patch and play it on the keyboard.

1. Press [PART SELECT].

The indicator lights.

2. Use PART [1]–[R] to select the part that you wish to play on the keyboard.

fig.2-1

The currently selected part is referred to as the “current part.” If the current part is a part 1–7 you can select patches. If the current part is the rhythm part, you can select rhythm sets.

☞ “Playing a Rhythm Set” (p. 28)

3. In the DISPLAY section, press [PATCH].

The indicator lights, and the display will show the group, bank, number and name of the currently selected patch (rhythm set).

fig.2-2E

4. In the GROUP section, press [PRESET/USER/ CARD] to select the group.

Patch groups are organized as follows.

PRESET-> P: A–J (Preset Group) USER-> U: A–D (User Group) CARD-> C: A–H (Card Group)

fig.2-3

* The card group cannot be selected unless a separately sold

memory card is inserted.

☞ “Using Memory Cards” (p. 159)

5. In the GROUP section, use [< PREV] [NEXT >] to select the group (A–J, A–D, A–H).

6. Press [PART SELECT] once again.

The [PART SELECT] indicator goes out, and you can now use BANK and NUMBER [1]–[8] to select a patch.

7. Use BANK [1]–[8] to select a bank.

8. Use NUMBER [1]–[8] to select a number.

Play the keyboard, and you will hear the selected patch.

* If the [PART SELECT] or [PART MUTE] indicators in

the PART section are lit, steps 7 and 8 will not be possible. In this case, press [PART SELECT] or [PART MUTE] to make the indicators go dark.

ou can also select patches by using [INC] [DEC] or the

[VALUE] dial instead of specifying the group/bank/number.

To view a list of the available patches...

☞ “Preset Patch List” (p. 190)

Playing Two Patches from the Keyboard (Key Mode)

The JX-305 lets you layer two patches, or play different patches with the right and left hands. This function is called the Key Mode. The Key Mode setting can be stored as part of each pattern.

☞ “Saving Patterns You’ve Modified (Pattern

Write)” (p. 36)

Playing One Patch Over the Entire Keyboard (Single)

This is the state in which you will normally play the keyboard.

1. In the KEYBOARD section, make sure that the [DUAL] and [SPLIT] indicators are dark.

If either indicator is lit, press the button and get the indicator to go out.

fig.2-4

12345678

SELECT

PART

MUTE

PART

CTRL

MUTE

PREV NEXT

PRESET USER CARD

UTILITY

BANK

1234567R

PART

WRITE

FX ON/ OFF

QTZ SELECT

EDIT/ UTILITY

GROUP PART

EDIT

PATCH

Bank

NumberGroup

Name

Current part

PRESET USER CARD

GROUP

DUALSPLIT

Chapter 2. Playing the Keyboard

Layering Two Patches (Dual)

1. In the DISPLAY section, press [PATCH].

The indicator lights.

2. In the KEYBOARD section, press [DUAL].

The indicator lights.

fig.2-5

When you select Dual, the following screen will appear. The part shown in the right of the upper row is called the “upper part,” and the part shown in the left of the upper row is called the “lower part.”

fig.2-6

When you play the keyboard, the patches of the lower part and the upper part will sound simultaneously. Next, try changing the patch of each part.

3. Press [LOWER].

The indicator lights. The group, bank and number of the patch for the lower part will be displayed in bold characters. The lower line of the display will show the name of the patch that is currently selected for the lower part.

fig.2-7

4. Select a patch.

The patch of the lower part changes.

5. Press [UPPER].

The indicator lights. The group, bank and number of the patch for the upper part will be displayed in bold characters. The lower line of the display will show the name of the patch that is currently selected for the upper part.

fig.2-8

6. Select a patch.

The patch of the upper part changes.

7. To return to normal playing condition (Single), press [DUAL] once again to make the indicator go dark.

Playing Different Patches with the Left and Right Hands (Split)

1. In the DISPLAY section, press [PATCH].

The indicator lights.

2. In the KEYBOARD section, press [SPLIT].

The indicator lights.

fig.2-9

When you select Split, the following screen will appear. The part that is shown in the right of the upper row is called the “upper part,” and the part that is shown in the left of the lower row is called the “lower part.”

fig.2-6

In Split mode, the keyboard is divided into two areas. Playing the left area will sound the patch of the lower part, and playing the right area will sound the patch of the upper part. The note at which the keyboard is devided into left and right is called the Split Point. For example if the split point is C4, the keyboard will be divided as shown below. The split point is included in the Upper part.

fig.2-10TEXT

Here’s how to change the patch of each part:

3. Press [LOWER].

fig.2-7

4. Select a patch.

The patch of the lower part will change.

DUALSPLIT

Patch name

Upper partLower part

PAGE

LOWER UPPER

PAGE

LOWER UPPER

DUALSPLIT

Patch name

Upper partLower part

Lower part Upper part

Split point

C4 C5 C6 C7

PAGE

LOWER UPPER

Chapter 2. Playing the Keyboard

5. Press [UPPER].

fig.2-8

6. Select a patch.

The patch of the upper part will change.

7. To return to normal play mode (Single), press [SPLIT] once again to make the indicator go dark.

Changing the Split Point

The split point can be changed freely.

1. Hold down [SPLIT] and press the key that you wish to set as the split point.

fig.2-14

Selecting the Upper Part/Lower Part

Key modes other than Single use two parts (the Upper part and Lower part). You can select which of the eight parts will be used as the Upper part, and which will be used as the Lower part.

* When the Key Mode is Single, the upper part will be

played by the keyboard.

1. Press [PART SELECT].

The indicator lights.

fig.2-15

2. Press [UPPER].

The indicator on the PART button for the part currently selected as the upper part will light.

fig.2-16

3. Press PART [1]–[R] to select the part you

want to assign to the upper part.

fig.2-16-1

4. Press [LOWER].

The indicator on the PART button for the part currently selected as the lower part will light.

fig.2-17

5. Press PART [1]–[R] to select the part you want to assign to the lower part.

fig.2-17-1

* If you assign the same part to both the upper part and

lower part, it will not be possible to select patches independently.

Modifying the Key Mode Settings in the Editing Pages

fig.2-13-0

1. Press [EDIT].

The indicator lights, and the Edit page appears.

2. Press BANK [1] (KEYBOARD).

The display will show the Split Point setting page.

fig.2-13

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

Range: C-1–G9

* The Split Point settings is not affected by Octave Shift.

For example, middle C will be "C4" regardless of the Octave Shift setting.

PAGE

LOWER UPPER

SPLIT

SELECT

PART

QTZ SELECT

PAGE

LOWER UPPER

12345678

BANK

1234567R

PART

TONE SELECT

12341234

TONE SWITCH

ARPEGGIO

CONTROLLER

PART MIDI SEQUENCER SETUP

KEYBOARD

EFFECTSSETUP SYSTEM

PAGE

LOWER UPPER

12345678

BANK

1234567R

PART

TONE SELECT

12341234

TONE SWITCH

ARPEGGIO

CONTROLLER

PART MIDI SEQUENCER SETUP

KEYBOARD

EFFECTSSETUP SYSTEM

FX ON / OFF

EDIT

KEYBOARD

PAGE

LOWER UPPER

Chapter 2. Playing the Keyboard

4. Press PAGE [>] to select the upper part setting page.

fig.2-13-1

5. Use [INC] [DEC] or the [VALUE] dial to select the upper part.

Range: PART 1–7, PART R

6. Once again press PAGE [>] to select the lower part setting page.

fig.2-13-2

7. Use [INC] [DEC] or the [VALUE] dial to select the lower part.

Range: PART 1–7, PART R

8. Press [EXIT] to return to the normal display.

Smoothly Changing the Pitch of the Sound (Portamento)

Portamento is a function which smoothly changes the pitch from one note to the next. It is effective when playing single-note lines.

Portamento On/Off

1. In the KEYBOARD section, press [PORTAMENTO].

The indicator lights, and portamento will be turned on.

fig.2-18

2. Each time you press [PORTAMENTO], the function will be switched on or off.

Changing the Time Over Which the Pitch Changes (Portamento Time)

You can change the speed at which the pitch will change when portamento is used.

1. In the REALTIME MODIFY section, press [FILTER/AMP/PITCH] several times, until the PITCH indicator lights.

fig.2-19

2. Rotate the [PORTA TIME] knob to adjust the portamento time value.

Range: 0–127

Rotating the knob clockwise will lengthen the time over which the pitch changes to that of the next note. Rotating the knob counterclockwise will shorten the time.

fig.2-20

Portamento settings can be stored as part of the patch.

☞ “Saving Patches You’ve Created (Patch

Write)” (p. 82)

Playing Notes Which Lie Outside the Range of the Keyboard (Octave Shift)

Octave Shift is a function which shifts the range of the keyboard in one-octave steps (maximum +/- 3 octaves). For example, bass notes can be easily played with the right hand if you first use Octave Shift to lower the range by one or two octaves.

1. In the KEYBOARD section, press OCTAVE [-] [+].

The range will be shifted in the -/+ direction, and the button indicator lights.

fig.2-21

PORTAMENT O

FILTER

AMP

PITCH

CUTOFF

LEVEL

PORTA TIME

FILTER

AMP

PITCH

OCTAVE OCTAVE

Chapter 2. Playing the Keyboard

Each time you press OCTAVE [+], the range will be raised one octave.

Each time you press OCTAVE [-], the range will be lowered one octave. While an OCTAVE button is pressed, the display will indicate the current setting.

Changing the Pitch (Pitch Bend Lever)

By moving the pitch bend lever (located at the left of the keyboard) to left or right, you can change the pitch of the sound.

fig.2-22

If you wish to modify the range of pitch

change...

☞ “Adjusting the Range of Pitch Bend (Bend

Range)” (p. 76)

Parts affected by the Pitch Bend lever

The part(s) affected by the pitch bend lever will depend on the Key Mode.

Single : The effect will be applied to the current part. Split: The effect will be applied to the upper part

when the [UPPER] indicator is lit, and to the lower part when the [LOWER] indicator is lit.

Dual: Regardless of the [UPPER]-[LOWER] selec-

tion, the effect will be applied to both parts.

Applying Modulation to the Sound

Using the Modulation Lever

You can use the Modulation lever to apply changes to the sound.

fig.2-26

Since the sound will change only when the modulation lever is tilted away from you, this can be used to add accents to your playing.

If you wish to specify the parameter affected by the modulation lever...

☞ “Specifying the Parameters That Will Be

Modified by Each Controller (Control)” (p. 76)

Using Aftertouch

Pressure which is applied to the keyboard after playing a note is referred to as "aftertouch." Aftertouch can be used to apply change to the sound.

To specify the parameter that will be affected when aftertouch is applied...

☞ “Specifying the Parameters That Will Be

Modified by Each Controller (Control)” (p. 76)

Parts that will be affected

The part(s) affected by the modulation lever or aftertouch will depend on the Key Mode.

Single: The effect will be applied to the current part. Split: The effect will be applied to the upper part

when the [UPPER] indicator is lit, and to the lower part when the [LOWER] indicator is lit.

Dual: Regardless of the [UPPER]-[LOWER] selec-

tion, the effect will be applied to both parts.

Changing the Keyboard Dynamics (Keyboard Velocity)

The force with which you play the keyboard is called “velocity.” Velocity can be used to affect the volume or the way in which each note sounds.

1. Press [EDIT].

The indicator lights, and the edit page will appear in the display.

2. Press BANK [5] (CONTROLLER).

The Velocity setting page will appear.

fig.2-41

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

Range: REAL:

The velocity value will correspond to the strength with which you actually play the note.

1–127: A fixed velocity value will be produced,

regardless of how strongly you play.

BENDER

Chapter 2. Playing the Keyboard

Press [EXIT] when finished making the setting.

The original display will reappear. The keyboard velocity setting has now been made.

Sustaining the Notes You Play (Hold Pedal)

When a pedal switch is connected to the Hold Pedal jack, notes can be sustained while you continue pressing the pedal. Newly played notes will be layered onto the currently sounding notes. This is the same function as the damper pedal of a piano.

Parts that will be held

The part(s) that will be held will depend on the Key Mode.

Single: The current part will be held. Split: The upper part will be held when the

[UPPER] indicator is lit, and the lower part will be held when the [LOWER] indicator is lit.

Dual: Both parts will be held, regardless of the

[UPPER]-[LOWER] selection.

If you wish to know about the Hold Pedal setting...

☞ “Specifying How the Pedal Will Function”

(p. 163)

Using a Pedal to Modify the Sound (Control Pedal)

If you connect an expression pedal to the control pedal jack, you can use the pedal to modify the volume and tonal character of the sound.

Parts that will be controlled

The part(s) that will be controlled by the Control pedal will depend on the Key Mode. Single: The sound of the current part will be con-

trolled.

Split: The upper part will be controlled when the

[UPPER] indicator is lit, and the lower part when the [LOWER] indicator is lit.

Dual: Regardless of the [UPPER]-[LOWER] selec-

tion, the effect will be applied to both parts.

Control Pedal Settings

1. Press [EDIT].

The indicator lights, and the editing page will appear.

2. Press BANK [5] (CONTROLLER).

The CONTROLLER setting page will appear.

3. Press PAGE [<] [>] several times to select the Control Pedal Assign page.

fig.2-38

4. Use [INC] [DEC] or the [VALUE] dial to specify the MIDI message that will be transmitted when the pedal is pressed.

Range: CC 01–95: Controller numbers 1–95

(except for 6, 32, 38)

PITCH BEND UP: Pitch Bend Up PITCH BEND DOWN: Pitch Bend Down AFTERTOUCH: Aftertouch

5. Once again press PAGE [>] to select the Control Pedal Polarity page.

fig.2-40

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

Range: STANDARD, REVERSE

If you are using a pedal whose polarity is inverted (i.e., when the pedal operation is opposite that of what you expect), select “REVERSE.”

7. Press [EXIT] to complete the setting.

The original display will reappear.

Chapter 2. Playing the Keyboard

Pressing Chords to Produce Arpeggios (Arpeggiator)

By using the arpeggiator, you can produce an arpeggio (broken chord) simply by holding down the chord. For example, if you hold down a C major chord as fol-

lows, an arpeggio of C3, E3, G3, E3, C3, E3, G3.... will

be played. In the case of Arpeggio Style: 1/4 Octave Range: 0

fig.2-42(=MC fig.5-1)

Playing Arpeggios

1. Use [PART SELECT] and PART [1]–[R] to select the part to be used to play arpeggios.

2. In the ARPEGGIATOR/RPS section, press [ARP].

The indicator lights, and the arpeggiator will be turned on.

fig.2-43

3. When you play the keyboard, any chord you play will be sounded as an arpeggio.

* The tempo of the arpeggio will be synchronized to the

tempo of the pattern. If you wish to change the speed of the arpeggio, change the tempo of the pattern.

☞ “Adjusting the Tempo” (p. 31)

Parts that can be used for arpeggios

The part(s) that will sound the arpeggio will depend on the Key Mode.

Single: Arpeggios can be played on the current part. Split: Regardless of the [UPPER]-[LOWER] selec-

tion, arpeggios can be played only on the lower part.

Dual: Arpeggios can be played on either the upper

or the lower, or on both the upper and lower. For details refer to “Selecting the Part in Dual Mode Which Will Play the Arpeggio (Arpeggio Destination)” (p. 26)

Arpeggio Hold

If you hold down [HOLD] and press [ARP], and get the indicator to start blinking, the arpeggio will continue sounding even after you take your fingers off the keyboard. If you play a different chord or notes while the arpeggio is being held, the arpeggio will change accordingly. To cancel Arpeggio Hold, hold down [HOLD] and press [ARP] simultaneously once again.

fig.2-44

Also, if you connect a pedal switch (sold separately) to the Hold Pedal jack, you can hold the arpeggio as long as the pedal switch is pressed.

Creating an Arpeggio Pattern

When you wish to make arpeggiator settings, you will first select an Arpeggio Style. When you select a style, optimal values will be set for the four parameters “Accent Rate,” “Motif,” “Beat Pattern,” and “Shuffle Rate.” You can adjust parameters such as Accent Rate and Octave Range to modify the pattern to your taste. If this is not enough, you can also make more detailed settings.

☞ “Making More Detailed Settings” (p. 26)

The arpeggiator settings you modify can be stored as a User Style.

☞ “Saving Arpeggio Settings (Arpeggio Write)”

(p. 28)

E3 E3G3

C3 E3 G3

ARP

ARP HOLD

Chapter 2. Playing the Keyboard

Changing the Way in Which the Arpeggio Will Play (Arpeggio Style)

Specifies the basic way in which the arpeggio will be played. Select one of the following 53 types.

1. Hold down [ARP] in the ARPEGGIATOR/RPS section, and use [INC] [DEC] or the [VALUE] dial to select the style.

While you hold down the button, the display will indicate the currently-selected style.

fig.2-45(#MC fig.5-4)

Available Settings: 1/4: The rhythm will be divided in quarter notes. 1/6: The rhythm will be divided in quarter note

triplets.

1/8: The rhythm will be divided in eighth notes. 1/12: The rhythm will be divided in eighth note

triplets.

1/16: The rhythm will be divided in 16th notes. 1/32: The rhythm will be divided in 32nd notes. PORTAMENTO A, B: A style using the portamento

effect.

GLISSANDO: A glissando style. SEQUENCE A–D: Styles for sequenced patterns. ECHO: An echo-like style. SYNTH BASS, HEAVY SLAP, LIGHT SLAP, WALK BASS: Styles appropriate for bass playing. RHYTHM GTR 1–5: Styles for guitar cutting. Styles

2–5 are effective when 3–4 notes are held.

3 FINGER: Three-finger guitar style. STRUMMING GTR: A style simulating a guitar

chord strummed upward (downward). Effective when 5–6 notes are held. PIANO BACKING, CLAVI CHORD: Styles for keyboard instrument backing.

WALTZ, SWING WALTZ: Styles in triple meter. REGGAE: A reggae-type style. Effective when 3 notes

are held. PERCUSSION: A style suitable for percussive instrument sounds.

HARP: The playing style of a harp. SHAMISEN: The playing style of a Shamisen. BOUND BALL: A style suggestive of a bouncing ball. RANDOM: A style in which the notes sound in ran-

dom order. BOSSANOVA: A style with bossanova guitar cutting. Hold 3–4 notes for best results. You can increase the BPM and use this as a Samba. SALSA:Typical salsa style. Hold 3–4 notes for best results. MAMBO: Typical mambo style. Hold 3–4 notes for

best results. LATIN PERCUSION: A rhythm style with Latin percussion instruments such as Clave, Cowbell, Clap, Bongo, Conga, Agogo etc. SAMBA: Typical samba style. Use for rhythm patterns or bass lines. TANGO: Typical tango rhythm style. Hold the root, 3rd and 5th of a triad etc. for best results. HOUSE: A style for house piano backing. Hold 3–4 notes for best results. LIMITLESS: The settings of all parameters can be freely combined without restriction. USER STYLE 1–10: Arpeggio settings can be modified and saved in one of these user styles.

Adding Expression to the Arpeggio (Accent Rate)

By modifying the accent strength and note length, you can change the sense of groove of the arpeggio.

1. Press [ACCENT RATE/OCTAVE RANGE] to make the indicator go dark.

2. Rotate the [ACCENT RATE] knob to set the accent rate.

fig.2-46

Rotating the knob clockwise will strengthen the sense of groove. Rotating the knob counterclockwise will decrease the amount of expression.

OCTAVE RANGE

RATE

ACCENT

Chapter 2. Playing the Keyboard

Changing the Pitch Range of the Arpeggio (Octave Range)

You can specify the pitch range in which the arpeggio will be developed, in steps of one octave.

1. Press [ACCENT RATE/OCTAVE RANGE] to make the button indicator light.

2. Rotate the [OCTAVE RANGE] knob to set the Octave Range.

fig.2-47

Rotating the knob clockwise will cause the pitch range to be extended upward from the notes which you play. Rotating the knob counterclockwise will extend the pitch range downward.

Selecting the Part in Dual Mode Which Will Play the Arpeggio (Arpeggio Destination)

When the Key Mode is set to Dual, this setting specifies whether the upper and/or lower part will play arpeggios.

1. Make sure that the [ARP] indicator is lit.

2. Hold down [DUAL] and use [LOWER] [UPPER] to select the destination part.

If you press [LOWER] [UPPER] simultaneously, the destination part will be "LOWER&UPPER."

fig.2-48-0

Range: LOWER&UPPER: The patches of the upper and

lower parts will be layered to sound the arpeggio.

LOWER: Arpeggios will be played only on

the lower part. For example, this lets you play chords in the upper part and arpeggios in the lower part.

UPPER: Arpeggios will be played only on

the upper part.

Making More Detailed Settings

Normally you will create the arpeggio pattern by adjusting the three parameters “Arpeggio Style,” “Accent Rate,” and “Octave Range.” However by modifying the settings of additional parameters, you can create arpeggio patterns that are even richer in variation.

1. Press [EDIT].

The indicator lights, and the edit page appears.

2. Press BANK [4] (ARPEGGIO).

The ARPEGGIO setting page will appear.

fig.2-48(#MC fig.5-7)

3. Use PAGE [<] [>] to select the parameter page, and set the parameters.

To leave the setting page, press [EXIT].

OCTAVE RANGE

RATE

ACCENT

DUAL

PAGE

LOWER UPPER

FX ON / OFF

EDIT

ARPEGGIO

PAGE

LOWER UPPER

Chapter 2. Playing the Keyboard

Style (Arpeggio Style)

This is the setting page for “Changing the Way in Which the Arpeggio Will Play (Arpeggio Style)” (p.

25).

Motif

Specifies the order in which the notes of the chord will be sounded.

Available Settings: SINGLE UP: Notes you press will be sounded indi-

vidually, beginning from low to high. SINGLE DOWN: Notes you press will be sounded individually, from high to low. SINGLE UP&DOWN: Notes you press will be sounded individually, from low to high, and then back down from high to low. SINGLE RANDOM: Notes you press will be sounded individually, in random order. DUAL UP: Notes you press will be sounded two at a time, beginning from low to high. DUAL DOWN: Notes you press will be sounded two at a time, beginning from high to low. DUAL UP&DOWN: Notes you press will be sounded two at a time, from low to high, and then back down from high to low. DUAL RANDOM: Notes you press will be sounded two at a time, in random order. TRIPLE UP: Notes you press will sound three at a time, from low to high. TRIPLE DOWN: Notes you press will sound three at a time, from high to low. TRIPLE UP&DOWN: Notes you press will sound three at a time, from low to high and then back down from high to low. TRIPLE RANDOM: Notes you press will sound three at a time, in random order. NOTE ORDER: Notes you press will be sounded in the order in which you pressed them. By pressing the notes in the appropriate order you can produce melody lines. Up to 128 notes will be remembered. GLISSANDO: Each chromatic step between the highest and lowest notes you press will sound in succession, repeating upward and downward. Press only the lowest and the highest notes. CHORD: All notes you press will sound simultaneously. BASS+CHORD 1–5: The lowest of the notes you play will sound, and the remaining notes will sound as a chord. BASS+UP 1–8: The lowest of the notes you play will sound, and the remaining notes will be arpeggiated. BASS+RND 1–3: The lowest of the notes you play will sound, and the remaining notes will sound in random order.

TOP+UP 1–6: The highest of the notes you play will sound, and the remaining notes will be arpeggiated. BASS+UP+TOP: The highest and the lowest of the notes you play will sound, and the remaining notes will be arpeggiated.

* The parameters which can be set will depend on the cur-

rently-selected Arpeggio Style.

Beat Pattern

This allows you to select the Beat Pattern. It will affect the accent location and note length, causing the beat (rhythm) to change.

Range : 1/4, 1/6, 1/8, 1/12, 1/16 1–3, 1/32 1–3, PORTA-A

1–11, PORTA-B 1–15, SEQ-A 1–7, SEQ-B 1–5, SEQ-C 1, 2, SEQ-D 1–8, ECHO 1–3, MUTE 1–16, STRUM 1–8, REGGAE 1, 2, REF 1, 2, PERC 1–4, WALKBS, HARP, BOUND, RANDOM, BOSSA NOVA, SALSA 1–4, MAMBO 1–2, CLAVE, REV CLA, GUILO, AGOGO, SAMBA, TANGO 1–4, HOUSE 1, 2

If “PORTA-A 1–11, PORTA-B 1–15” is selected as the Beat Pattern, the Patch parameter Portamento Time (p.

78) will control the speed of portamento. Adjust the portamento time as appropriate for the playback tempo. (It is not necessary to turn portamento on.)

* The parameters which can be set will depend on the cur-

rently-selected Arpeggio Style.

Shuffle Rate

This setting lets you modify the note timing to create shuffle rhythms.

Range: 50–90 (%)

With a setting of 50%, the notes will sound at equal spacing. As this value is increased, the notes will become more “bouncy,” as if they were dotted notes.

fig.2-49(=MC fig.5-8)

* If the Beat Pattern setting is “1/4,” shuffle will not be

applied even if you increase the Shuffle Rate setting.

Accent Rate

This is the setting page for “Adding Expression to the Arpeggio (Accent Rate)” (p. 25).

Range: 0–100

90 10 90 10

50 50 50 50

Shuffle Rate = 50%

Shuffle Rate =90%

Chapter 2. Playing the Keyboard

Octave Range

This is the setting page for “Changing the Pitch Range of the Arpeggio (Octave Range)” (p. 26).

Range: -3–+3

Velocity

Specify the loudness of the notes that you play.

Range: REAL, 1–127

If you want the velocity value to change according to how strongly you played each note, set this to REAL. If you want to produce a constant velocity value regardless of how strongly each note was played, specify the desired value.

Destination

This is the setting page for “Selecting the Part in Dual Mode Which Will Play the Arpeggio (Arpeggio Destination)” (p. 26).

Saving Arpeggio Settings (Arpeggio Write)

When you have created a playback pattern that you like, save the settings as a User Style. The JX-305 has ten user styles, USER STYLE 1–10, and user styles that you save can be recalled at any time.

* Velocity and Destination Part cannot be saved.

1. Create an arpeggio playback pattern.

2. Make sure that the ARPEGGIO setting page is shown in the display.

If it is not displayed, press [EDIT] and then press BANK [4] to access the setting page.

3. Hold down [SHIFT] and press [WRITE].

The indicator will blink, and the following display will appear.

fig.2-50

4. Use [INC] [DEC] or the [VALUE] dial to specify the writing destination user style.

Range: USER STYLE 1–10

5. Press [ENTER].

The execute page will appear in the display.

fig.2-51

6. Press [ENTER] once again.

The Arpeggio Write operation will be executed, and the normal display will reappear. To cancel the operation without executing, press [EXIT].

Playing a Rhythm Set

The JX-305 contains various rhythm sets, each of which have a different percussion instrument sound or sound effect assigned to each key. These rhythm sets can be selected by specifying the group, bank and number, and are played from the keyboard.

1. Use [PART SELECT] and PART [R] to select the rhythm part.

fig.2-52

2. In the DISPLAY section, press [PATCH].

The indicator lights, and the display will show the group, bank, number and name of the currently selected rhythm set.

fig.2-53E

3. In the GROUP section, press [PRESET/USER/ CARD] to select the group.

Rhythm set groups are organized as follows:

PRESET

→ P: A, B (Preset group)

USER → U: (User group) CARD → C: (Card group)

fig.2-3

* The Card group can be selected only when an optional

memory card is inserted.

SHIFT

UTILITY

WRITE

12345678

SELECT

PART

MUTE

PART

CTRL

MUTE

PREV NEXT

PRESET

USER CARD

UTILITY

BANK

1234567R

PART

WRITE

FX ON/ OFF

QTZ SELECT

EDIT/ UTILITY

GROUP PART

EDIT

PATCH

Bank

NumberGroup

Name

PRESET USER CARD

GROUP

Chapter 2. Playing the Keyboard

☞ “Using Memory Cards” (p. 159)

4. Press [PART SELECT] once again.

The [PART SELECT] indicator goes out, and you can now use BANK and NUMBER [1]–[8] to select a rhythm set.

5. Press BANK [1]–[4] to select the bank.

6. Press NUMBER [1]–[8] to select the number.

Play the keyboard, and the selected rhythm set will be heard. Each key will play a different percussion instrument sound.

* If the [PART SELECT] or [PART MUTE] indicators in

the PART section are lit, steps 5 and 6 cannot be performed. In this case, press [PART SELECT] or [PART MUTE] to make the indicator go dark.

* Instead of specifying the group/bank/number, you can

also use [INC] [DEC] or the [VALUE] dial to select a patch.

* Depending on the group and bank, it may not be possible

to select all numbers [1]–[8].

To view a list of available rhythm sets...

☞ “Preset Rhythm Set List” (p. 195)

Listening to Sound Processed by the Effects (Audition)

The JX-305 contains three effects units. Thirty-two different settings for these three effects units, together with a patch/rhythm set are provided as Effect Templates (16 for patches, 16 for rhythm sets). The Audition function lets you use these effects templates to listen to the sound of a patch as it is processed by the effects units. Effect templates are assigned to the sixteen BANK and NUMBER [1]–[8] buttons.

fig.2-3-1Åi8-8BUTTONÅj

1. Use [PART SELECT] and PART [1]–[R] to specify whether you will use an effects template for a patch or for a rhythm set.

For parts 1–7, use one of the patch effects templates. For part R, use one of the rhythm set effects templates.

2. Hold down [SHIFT] and press [AUDITION].

The indicator will begin blinking, and the display will show the effect type and patch name for the currently selected effects template.

fig.2-3-2ÅiBUTTON&LCDÅj

* It is not possible to enter the audition function while a

pattern is playing back.

3. Use BANK and NUMBER [1]–[8] to select an effects template.

To see the effects templates that are available...

☞ “Effects Template List” (p. 203)

4. You can use [INC] [DEC] or the [VALUE] dial to change only the patch without changing the effects settings.

If you wish to modify the effects settings, use the procedure given in “Applying Effects to the Sound (Effects)” (p. 101).

5. To exit the Audition function, press [EXIT].

* When you select a effects template, the setup parameters

of the temporary pattern will change to the settings of the template.

* It is not possible to select the effects template while a pat-

tern is playing back.

* If you wish to keep the modified effects settings, it is not

possible to rewrite the template, but you can save the data to a pattern.

☞ “Saving Patterns You’ve Modified (Pattern

Write)” (p. 36)

* A noise-like sound may be heard when the NUMBER [5]

template for rhythm sets is selected, but this is not a malfunction.

12345678

NUMBER

BANK

1234567R

RHYTHM

PART

BD SD HH CLP CYM

TOM/PERC

HIT OTHERS

St.Ac.Piano

ROOM1 SHORT REVERB

PATCH

REVERB DELAY M-FX

Ac.Piano 1

ROOM1 LONG

PATCH

REVERB DELAY M-FX

SHIFT

PATCH

AUDITION

Chapter 2. Playing the Keyboard

Playing Patterns

1. Make sure that the SEQUENCER section [MODE] button indicator is dark.

If it is not dark, press [MODE] to make it go dark (Pattern mode).

fig.3-1 (#MC fig.2-1)

2. Press [PTN/SONG] in the DISPLAY section.

The indicator will light. The display will indicate the group, bank, number and name of the currently selected pattern.

fig.3-2E

3. Press [PRESET/USER/CARD] in the GROUP section to select the group.

Pattern groups are organized as follows.

PRESET → P:A–L (Preset group) USER → U:A–D (User group) CARD → C:A–D (Card group)

fig.3-3 (#MC fig.2-3)

* The card group can be selected only if an optional memory

card is inserted.

☞ “Using Memory Cards” (p. 159)

* When all three indicators of the GROUP section are dark,

TMP (the temporary pattern) is selected.

4. Press [<PREV] [NEXT>] in the GROUP section to select group A–L.

5. Use [INC] [DEC] or the [VALUE] dial to select the bank and number.

Range: P:A11–P:L88, U:A11–U:D18, C:A11–C:D18

The bank, number and name in the display will change.

A pattern has now been selected.

* P:E33–P:L88 are RPS patterns. Each pattern contains

one phrase.

Instead of using [INC] [DEC] or the [VALUE] dial, you can also select patterns using BANK and NUMBER [1]–[8]. If you wish to use BANK and NUMBER [1]–[8] to select patterns, make the [PART SELECT] and [PART MUTE] indicators go dark.

6. Press [STOP/PLAY] and the pattern will play back.

fig.3-4

The pattern that is currently playing back is referred to as the “current pattern,” and the pattern that is scheduled to play next is called the “next pattern.” Immediately after a pattern is played back, the current pattern and the next pattern will be the same pattern, and that pattern will play back repeatedly.

7. Use steps 3–5 to select the next pattern.

The display will indicate the group, bank, number and name of the next pattern. When you select the next pattern, the “ ” at the left of the pattern group will change to “ .”

fig.3-4-1E

8. When the current pattern plays to the end, the next pattern will automatically be selected.

9. Press [STOP/PLAY] and the pattern will stop playing.

fig.3-5

* Immediately before the pattern changes or repeats, the fol-

lowing display will appear, notifying you that the pattern is about to change. During this time it is not possible to select the next pattern.

fig.3-6E

PATTERN SONG

MODE

SONG

PTN /

Bank

NumberGroup

NameCurrent part

PREV NEXT

PRESET USER CARD

GROUP

STOP/PLA Y

Next pattern

STOP/PLA Y

Chapter 3. Playing Patterns

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