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GENERAL 



■^11% ■ I® UtNtKAL 

Roland mrai 



ISLJP'Eri —J V SYNTHESIZER MODULE 

JV-IDBD 



4x EXPANS/ON 



OWNER'S MANUAL 



Before You Begin... 

Thank you, and congratulations on your clwice of the Roland J V-10BD Expandable Synthesizer Module. The JV's high- 
quality sounds and outstanding ease of operation are sure to satisfy every musician, from absolute beginner to accomplished 
pro. And thanks to its ei\hanced multi-timbral sound generating capabilities, creating complex ensemble pieces has never 
been easier! 

To ensure proper operation and years of trouble-free service from your new _IV-10BD, it is important that you take the 
time to read this manual carefully. 



■ Features 

• High-Quality Sounds 

The JV includes a wide variety of preset Patches (sounds) 
and Rhythm Sets, ranging from amazingly realistic 
acoustic sounds to completely synthesized timbres. 

• 64-Voice Polyphony and 16-Part Multi-Timbral 
Capability 

With 16 Parts and 64 voices available at any one time, the 
JV will effortlessly recreate even the most demanding of 
ensemble performances. 

• Complete Effects Selection 

The JV's state-of-the-art DSP (Digital Signal Processor) sec- 
tion creates an amazing array of the most stunning digital 
effects, including shimmering chorus and warm, natural 
reverb. 

• Outstanding Expandability 

In addition to conventional DATA and PCM cards, the 
JV-1DBO can also house up to four Wave Expansion 
cards simultaneously. With the addition of raw wave data, 
the sonic palette of the JV is expanded dramatically. 



• Multiple Outputs 

The -JV-IOBQ has three sets of stereo outputs — MIX 
OUT, OUTPUT 1, and OUTPUT 2. These independent out- 
put jacks let you add different external effects to different 
soimds for sophisticated mixing. 

• Easy Operation 

Each operational mode is directly activated by its own but- 
ton, while Function Select buttons also simplify operation. 

• General MIDI System Supported 

The JV features a General MIDI System mode that makes 
playing music with other MIDI modules, devices and com- 
puters a breeze. 

• The General MIDI System is a recommended standard 
for the functions of MIDI sound modules. It was designed 
for the creation of music data that is not restricted to a par- 
ticular manufacturer or model. Sound modules and song 
data that conform to the General MIDI System carry the 
GM logo ( Mi'gi )- Any song data bearing the GM logo can 
be played on any sound module also bearing the GM logo. 



■ About the Conventions Used 
in Ttiis Manual 

In order to explain the JV's operation as clearly and con- 
cisely as possible, this manual makes use of the following 
symbols and conventions. 

• Words or numbers enclosed in [square brackets] indicate 
panel buttons or controls. For example, [PATCH] refers to 
the "Patch" button, and [ENTER] means the "Enter" but- 
ton. 

• A slash between buttons names — such as [■^]/[^] or 
[INC] /[DEC] — means that either of the two buttons indi- 
cated may be pressed. 

• A plus sign {+) between two button names means that the 
two buttons should be pressed at the same time. For exam- 
ple, [SH1FT]+[ENTER] means "hold down the [SHIFT] 
button and then press [ENTER]." 

• A reference such as ""a* p. **" means refer to the indicated 
page number. 



• Starting in Chapter 3, parameters are expressed as follows. 



Screen 
abbreviation Full name 
i 1 



Permissible values 
i 



<Rat> Chorus Rate to 127 

<Typ> FilterType — OFF/LPF/BPF/HPF/PKG 



This means that the Palette 
Edit screen is displayed. 

I About the Screen Displays 

Please be aware that some of the display screens shown in 
this manual may differ from what you actually see. 
Displays depend upon the unit's configuration (the addi- 
tion of wave cards, etc.) and internal settings. 



© 1994 ROLAND CORPORATION 
All rights reserved. No part of this publication may be reproduced 
In any form without the written permission of Roland Corporation. 



Table of Contents 



Before You Begin 3 

Features 3 

About the Conventions Used in This Manual 3 

About the Screen Displays 3 

Panel Descriptions 6 

Important Notes 8 

Quick Start 

1. Getting Ready to Play 10 

■ Connecting with Audio Equipment 10 

■ Turning On the Power 11 

■ Turning Off the Power 11 

2. Playing the Demo Songs (ROM Play) 12 

3. Auditioning the Sounds 13 

4. Changing Sounds (Patches) 15 

5. Saving Sounds and Settings 18 

Chapter 1 — Overview of the jv-iaBo 

1. Units of Sound 20 

■ The Smallest Units of Sound — Tones 20 

■ Combinations of Tones That Make Soimds — Patdies 20 

■ Play Percussion Instruments Assigned to Each Key — 
Rhythm Sets 21 

■ Assigning Patches and a Rhythm Set Equivalent to 16 
Devices — Performances 21 

■ Using Performances 22 

2. Sound Module and Memory 23 

3. Modes on the JV-inBD 24 

4. About the Effects 25 

5. Concerning Tone Editing 26 

Chapter 2 — Basic Operation 

1. Choosing a Mode 28 

2. Play 29 

■ Choosing a Sound 29 

■ Using Cards and Expansion Boards 31 

■ Choosing the Tones and Parts to Play 31 

■ Changing the Pitch of a Sound — Octave Shift 32 

3. Editing 33 

■ Entering the Edit Mode 33 

■ Choosing the Tones and Parts to Edit 33 

■ Moving the Cursor and Changing Settings 35 

■ Changing Pages 36 

■ Editing a Patch While in the Performance Mode 37 

■ Switching Effects On and Off 38 

■ Confirming Current Settings or MIDI Information — 
The Information Function 38 

Chapter 3 — JVIodes and Parameters 

1. Patch Edit Mode 42 

■ Making Settings for an Entire Patch (COMMON)....42 

■ Selecting Effects Added to the Patch (EFFECTS) 44 

■ Using Controllers to Change How Sounds Are Played 
(CONTROL) 47 

■ Selecting Waveforms (WAVE) 50 

4 



■ Adding Undulations to a Sound (LFO) 51 

■ Changing the Pitch (PITCH) 52 

■ Changing the Sound (TVF) 53 

■ Changing the Volume (TV A) 55 

2. Perfonnance Edit Mode 57 

■ Making Settings for an Entire Performance (COM- 
MON) 57 

■ Selecting Effects Added to the Performance 
(EFFECTS) 57 

■ Setting the MIDI Charaiel for a Part (MIDI) 59 

■ Selecting the Patch Assigned to a Part (PART) 60 

■ Setting the Pitch for a Part (PITCH) 60 

■ Setting the Stereo Position for a Part (PAN) 60 

■ Setting the Volume for a Part (LEVEL) 60 

3. Rhythm Edit Mode 61 

■ Naming a Rhythm Set (COMMON) 61 

■ Selecting Effects Added to the Rhythm Set (EFFECTS) 61 

■ Using Controllers to Change How Sounds Are Played 
(CONTROL) 63 

■ Selecting Waveforms for a Rhythm Tone (WAVE) ..63 

■ Changing the Pitch of a Rhythm Tone (PITCH) 64 

■ Changing the Sound of a Rhytlim Tone (TVF) 64 

■ Changing the Volume of a Rhythm Tone (TV A) 65 

4. System Mode 66 

■ Making Selections for Settings and the Display 
(SETUP) 66 

■ Making Settings for MIDI (MIDI) 66 

■ Adjusting the Tuning (TUNE) 68 

■ Using the JV-1080's Controls to Play Test Sounds 
(PREVIEW) 69 

5. Utility Mode 70 

■ Saving the Data You've Created (WRITE) 70 

■ Copying Data (COPY) 71 

■ hiitiaUzing Data (INITIALIZE) 72 

■ Protecting Data (PROTECT) 72 

■ Using a DATA Card (CARD) 72 

■ Copying a Specific Range of Data (BLOCK COPY) .74 

■ Sending Data to an External MIDI Device (BULK 
DUMP) 74 

■ Returning Settings to Their Factory Defaults (FACTO- 
RY PRESET) 74 

Chapter 4 — Other Functions of the JV- 
10B0 

1. Using the JV-1080 with a DTMS (playing back 
GM scores) 76 

■ Selecting GM mode 76 

■ Initializing GM mode 76 

2. Enhancing Musical Expression in GM mode ...77 

■ Adjusting the Effects 71 

■ Selecting a Patch for each Part (PART) 78 

■ Adjusting the Pitch of each Part (PITCH) 78 

■ Adjusting the pan position of each Part (PAN) 78 

■ Adjusting the volume of each Part (LEVEL) 78 

3. Live Perfonnance Techniques 79 

■ Selecting JV-1080 sounds from an external device ...79 



■ Maximum simultaneous notes and Part priorities ...79 

■ Using MIDI Controllers 80 

4. Using Effects 81 

Chapter 5 ~ Multf-Effector EFX 

1. EFX Effect Types 84 

■ l:STEREO-EQ (Stereo Equalizer) 84 

■ 2:OVERDRIVE 84 

■ 3:DlSTORTION 84 

■ 4:PHASER 85 

■ 5:SPECTRUM 85 

■ 6:ENHANCER 85 

■ 7:AUTO-WAH 86 

■ 8:ROTARY 86 

■ 9;COMPRESSOR 87 

■ 10:LIMITER 87 

■ ll:HEXA-CHORUS 87 

■ 12:TREMOLO-CHORUS 88 

■ 13:SPACE-D 88 

■ 14;STEREO-CHORUS 88 

■ 15:STEREO-FLANGER 89 

■ 16:STEP-FLANGER 89 

■ 17:STEREO-DELAY 90 

■ 18:MODULATION-DELAY 91 

■ 19:TRIPLE-TAP-DELAY 91 

■ 20:QUADRUPLE-TAP-DELAY 92 

■ 21:TlME-CONTROL-DELAY 93 

■ 22:2VOICE-PrrCH-SHlFTER 93 

■ 23:FBK-PlTCH-SHIFreR (Feedback Pitch Shifter) 94 

■ 24:REVERB 94 

■ 25:GATE-REVERB 95 

■ 26:OVERDRrVE -> CHORUS 95 

■ 27;OVERDRrVE -> FLANGER 95 

■ 28:OVERDRIVE -> DELAY 96 

■ 29:DISTORT10N -> CHORUS 96 

■ 30;D1STORTION -> FLANGER 96 

■ 31:D1ST0RT10N -> DELAY 96 

■ 32:ENHANCER -> CHORUS 96 

■ 33;ENHANCER -> FLANGER 97 

■ 34:ENHANCER -> DELAY 97 

■ 35:CHORUS -> DELAY 98 

■ 36:FLANGER -> DELAY 98 

■ 37:CHORUS -> FLANGER 99 

■ 38:C110RUS/DELAY 99 

■ 39:FLANGER/DELAY 99 

■ 40:CHORUS/FLANGER 99 

Chapter 6 — Supplementary Materials 

Troubleshooting 102 

Parameter Lists 105 

Default Settings for the Sound Settings 122 

The Demo Song Names / Composer Profiles 129 

Roland Exclusive Messages 130 

MIDI Implementation 132 

MIDI Implementation Chart 156 

Index 157 

Specifications 164 



How to Use This Manual 
Quick Start 

Ttiis section explains tfie basic operation of 
the JV-IDBD. It covers topics such as 
setup, methods of play, editing sounds, and 
saving your data. Be sure to read this sec- 
tion before using your JV-IDBD. 



Chapter 1 



- Overview of the 

JV-IDBD 



This chapter explains the structure of the 
_JV-lDSD's sound module, as well as 
Patches, Performances, and Rhythm Sets. 
Be sure to read this chapter too! 

Chapter 2 — Basic Operation 

This chapter explains the basic operation of 
the panel controls, including how to choose 
sounds and change parameter settings. Tliis 
chapter is also required reading. 



Chapter 3 — l\4odes and Parameters 

This chapter describes tlie various modes 
and parameters. Refer to it as necessary. 



Chapter 4 — Other Functions of the 

JV-IDBO 

This chapter describes how to use the JV- 
IDBD as a Gereral MIDI compatible 
sound module, how to change its sounds 
remotely, and how to make use of a variety 
of controllers. Again, refer to this chapter as 
necessarv. 



Chapter 5 — Multi-Effector EFX 

This chapter explains the effects processors 
(EFXs) and their parameters. Tliis is another 
chapter that you can refer to when neces- 
sary. 

Chapter 6 — Supplementary 
Materials 

This chapter contains information such as 
an error message list, data lists, MIDI 
Implementation, and an index. This is a ref- 
erence section. 



Panel Descriprions 



Front Panel 




O [VOLUME] Knob 

This kiiob adjusts the overall volume output from the MIX 
OUT and PHONES jacks. The volume from the OUTPUT 1 
and OUTPUT 2 jacks cannot be adjusted. 

O PHONES Jack 

Connect stereo headphones (Roland RH-20/80/120 or sim- 
ilar) to this jack. (Be sure the headphones you use have an 
impedance betvi^een 8 and 15 Ohms.) 

B. 

O Display 

The display indicates a variety of information (selected 
sounds, parameter values etc.) and operational instruc- 
tions. 



O [1-8/9-16] Button 

This button switches you between the Part Groups (1 — 8 or 
9 — 16) that can be selected in the Performance mode or 
GM mode. 

O [PALETTE] Button 

Pressing this button during editing displays a number of 
Tone (or Part) values for a single parameter. 

O [PARAMETER] Button 

Once this button has been pressed, the [FUNCTION 
SELECT] buttons can be used to select the parameter 
group you wish to edit. 

D. 

O [FUNCTION SELECT] Buttons 

When the [PARAMETER] button is dark, these buttons can 
be used to select the Tone or Part to be played (TONE 
SWITCH and PART SWITCH), or to select the Tone or Part 
to be edited (TONE SELECT and PART SELECT). When 
the [PARAMETER] button is lit, these buttons can be used 
to choose a parameter group for editing. 



E. 

O [VALUE] Knob 

This knob is used to change the value of a parameter. 
Rotating the knob while pressing it in causes the parame- 
ter value to change more rapidly. 

O [INC] and [DEC] Buttons 

These buttons are used for 'fine-tuning' the value of a 
parameter. Pressing [INC] increases the selected parameter 
by 1, and each press of [DEC] decreases the value by 1 . 

O PAGE Buttons ([A] and [T]) 

Pressing either of these buttons while "m " or "*" is 
shown on the left side of the display causes the display 
(page) to change. [A] shows the previous page and [T] 
shows the next page. 

O CURSOR Buttons ([<] and [►]) 

These buttons are used to move the cursor (imderline) that 
appears in the display, or to select a command. Press [■<] 
to move to the left or [►] to move to the right. 

F. 

O [PERFORM] Button (GM Button) 

Press this button to select the Performance mode. Pressing 
this button while holding down the [SHIFT] button selects 
the GM mode. 

O [PATCH] Button 

Press tills button to select the Patch mode. Pressing this 
button while holding down the [PERFORM] button calls 
up the Patches assigned to the selected Part. 

O [RHYTHM] Button 

Press this button to select the Rhytlim Set mode. 

O [SYSTEM] Button 

Press this button to set functions that affect the entire _JV- 
IDBD. 

O [UTILITY] Button 

Press this button to write, copy, or perform a bulk dump of 
data. 



Rear Panel 




O [EFFECT ON/OFF] Button 

Pressing this button displays the effect status (EFX, 
Chorus, and Reverb ON/OFF). You can use this screen to 
switch these effects on or off. 

G. 

O [SHIFT] Button 

TTiis button is always pressed in combination with another 
panel button; together they access an additional function. 

O [EXIT] Button 
Press this button to return to the previous screen or to 
'escape' from the Edit mode to the Play mode. 

O [ENTER] Button 

This button is used to confirm or execute a command. 

H. 

O [SOUND GROUP] Buttons 

These buttons are used to select the Tone Memory Group; 
User, Card, Preset, or Expansion. 

I. 

O PCM Card Slot 

This slot is for inserting a PCM card (containing additional 
PCM waveforms). 

O DATA Card Slot 

This slot is for inserting a DATA card (for storing or load- 
mg Patch data). 

J. 

O MIDI Message Indicator 

This indicator lights when MIDI messages are being 
received. 

O [POWER] Switch 

Tliis switch turns the JV on and off. 



K. 

O AC Inlet 

Connect the included power cord to this inlet. 



O MIDI Jacks (IN/OUT/THRU) 

These jacks are used to connect the JV-IDBO to other 
MIDI devices when exchanging MIDI messages. (Special 
MIDI cables are used.) 




* * t 



MIDI IN: Receives messages from external MIDI devices. 
MIDI OUT: Transmits messages from the JV-IDBD to 

external MIDI devices. 
MIDI THRU: Re-transmits the messages received via MIDI 

IN. 

M. 

O OUTPUT 1 and OUTPUT 2 Jacks 

These jacks are for stereo output of sounds; dry sounds 
(without effects) or effect sounds only. 

N. 

O MIX OUT Jacks 

These jacks are for stereo (L/R) output of the JV's audio 
signals to an amp or mixer. For monaural output, connect 
the external device to the L jack. 



Important Notes 



In addition to the items listed under Safety Precautions inside the front cover, please read and observe the following; 



■ Power Supply 

• Before connecting this unit to other devices, turn off the 
power to all units; this will help prevent damage or mal- 
function. 

• Do not use this unit on the same power circuit with any 
device that will generate line noise; an electric motor or 
variable lighting system, for example. 

• Avoid damaging the power cord: do not step on it, place 
heavy objects on it, etc. 

■ Placement 

• Do not subject the unit to temperature extremes (e.g., 
direct sunlight in an enclosed vehicle). Avoid using or stor- 
ing the unit in dusty or humid areas, or areas that are sub- 
ject to high levels of vibration. 

• Using the unit near power amplifiers (or other equipment 
containing large power transformers) may induce hum. 

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

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

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

■ Additional Precautions 

• Protect the unit fi-om strong impact. 

• Do not allow objects or liquids of any kind to penetrate the 
unit. In the event of such an occurrence, discontinue use 
immediately. Contact qualified service personnel as soon 
as possible. 

• Never strike or apply strong pressure to the display. 

• A small amomit of heat wUl radiate from the unit during 
normal operation. 

• Before using the unit in a foreign country, consult with 
qualified service persomiel. 

• Should a malfunction occur, or if you suspect there is a 
problem, discontinue use immediately. Contact qualified 
service personnel as soon as possible. 

• A small amount of noise may be heard from llie display 
during normal operation. 

• To avoid the risk of electric shock, do not open the unit. 



■ Memory Backup 

• This unit contains a battery which powers the unit's mem- 
ory circuits whOe the main (AC) power is off. The expected 
life of this battery is 5 years or more. 

• When the battery becomes weak the following message 
will appear in the display: 

"Internal Battery Low." 

Please change the battery as soon as possible to avoid the 
loss of memory data. 

• Please be aware that the contents of memory may at times 
be lost; when the unit is sent for repairs or when by some 
chance a malfimction has occurred. Important data should 
be stored on a RAM card, in another MIDI device (e.g., a 
sequencer). 

• 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. 

■ Expansion Board 

• Never install any circuit board which has not been manu- 
factured and /or approved by Roland. 

• Always turn the unit off and unplug the power cord before 
attempting any circuit board installation. 

• Do not touch any of tlie printed circuit pathways or con- 
nection terminals. 

• Remove only the specified screws. Carefully handle the 
components as instructed. 

• Never use excessive force when installing a circuit board. 
If it doesn't fit properly on the first attempt, remove the 
board and try again. 

• When circuit board installation is complete, check your 
work. 



Quick Start 



This section explains basic operation so that you can have the JV- 
lOBQ up and running in a very short time. It should take about an 
hour to work through the explanations in this section. 



1 . GeHing Ready to Play 



Connecting with Audio Equipment 

The JV-iasn has no built-in amp or speakers, so in order to produce sound you'll have to use a key- 
board amp or audio system, or at least a pair of headphones. Refer to the following comiection diagram. 

* No connection cables (such as the P]-1M) are included ivith this product. Tliese cables must be acquired 
separately. 

^3^ Before making any connections, make sure that all the devices are turned off. This will help 
prevent damage or malfunction. 

^^ Connect the included AC cord to the inlet on the back of the unit, and plug the other end 
into an electrical outlet. 

^^^ Hook up the audio cables as shown beloW. If you're going to use headphones, plug them 
into the PHONES jack on the front panel. 




JJlJlll 






1^ 




60 


Ijltlfl 1 1 1 



DOO-— 000-— 



Mixer, etc. 



Monitor speal<ers 
(self-powered) 



|i®ii'ai-©§f 



MIX OUT 
purposes here) 





'i' 






1 1 




1 1 


!==1( ) 


1 1 



Power amp 



Stereo set, etc. 



Radio-cassette player 



> About the Output Jacks 

These jacks are for the output of audio signals. You can connect them to monitor speakers, a PA system, or 
other audio equipment (Ordinarily, you can connect with MIX OUT). To get tlie best sound from the JV- 
lOBD, we recommend that you use its output in stereo. But if you want monaural output, connect a 
cable to the L (MONO) jack. 



10 



Turning On the Pov^er 



Press the [POWER] switch. 



O 



O 



ON 
Power On 



In a few seconds the following display will appear: 



li I- 



I 



■..J ::! .^3 



I," 



I ■ I _ , 



Ebi.L 



fcf- : 



4^ Turn on the stereo, amp, or other audio equipment you've got connected. 

* TJie _JV-1DSn contains circuitry protection ivhich momentarily mutes the output stage during power 
up. The unit will function normally in afeiv seconds. 

%^^ Play something on the JV-10BD and adjust the volume of your equipment. You can play a 
test (preview) sound by pressing the [VOLUME] knob. 




Rotate clockwise to increase the volume 
Press to play a test sound 



* You can also change the sound that's played ivhen you press the [VOLUME] knob (w p. 69). 

* Take care when setting volume levels; excessive levels can damage your hearing and equipment. 

■ Turning Off the Power 

^jP Before switching off the power, confirm the following: 

• Are all volume controls set to zero? 

• Has all important Tone or Patch data been saved? 
(For an explanation on how to save data, t®' p. 18.) 

4jS^ Switch off any amps and other external equipment. 

<^ Switch off the JV-IDBD. 



11 



2. Playing the Demo Songs (rom piay) 



The JV-IOBQ contains three demonstration songs in its permanent memory. Playing back these demo 
songs is called "ROM Play." These songs were included to highlight the unit's outstanding sounds and per- 
formance capabilities. 
* For song names and profiles of their composers, see page 129. 



Ho>v to Listen to the Demo Songs 






<^ 




Hold down the [SHIFT] button and press [ENTER] to select the ROM Play screen. 

Rotate the [VALUE] knob or press [INC]/[DEC] to pick the song you wish to hear. 
(You can also select "CHAIN PLAY" to hear all of the songs in sequence.) 

Press [ENTER] to start playback. 
Press [EXIT] to stop playback and return to Com- 
pressing [EXIT] again (while play is stopped) clears the ROM Play screen. 

During playback of the demo songs you can change the volume of each Part, as well as the Pan (sound 
image orientation) settings. 




[L._ 


TIE 








n— ^ 


~ 


SJf, SE 




— 


Trr^:=m 


gk.-.-,...-...-., 






,,„-^™^t 



d 



o 



C5^ Pressing the FUNCTION SELECT [LEVEL] button during playback displays the volume level of 
each Part. 

* TJie eight values on the upper row arc for Parts 1-8, while those on the loiver row correspond to Parts 9-16. 
Press [PAN] to display each Part's stereo (left/right) position. (The pan effect is produced 
only when the JV-IDBD is hooked up for stereo output.) 

C^^ Use [1-8/9-16] or [-<]/[►] to move the cursor to the Part you want to change. You can then use 
the [VALUE] knob or the [INC]/[DEC] buttons to change the parameters. Note, however, that 
you cannot save your changes. 

* Press [1-8/9-16] to toggle the cursor's position between the upper row (Parts 1-8), and lower roiv (Parts 9- 

16). Use [•<]/[►] to move to the desired Part within the row the cursor is in. 

^^^ After you've changed the volume or pan settings for the Parts, press [LEVEL] or [PAN] again 
to return to the ROM Play screen. 

C5> Press [EXIT] to stop playback. 

* None of the panel buttons — except those described here — will work during ROM Play. Note also that no 
demo song data is output from the MIDI OUT port. 

* Ttiese demo songs are protected by applicable copyright laws. None of these songs may be used in any way — 
except for demo purposes! personal enjoyment — without the permission of the song's copyright holder. 



12 



3. Auditioning the Sounds 



One of the best ways to play the -JV-IOSD is to connect a MIDI keyboard. That way you have all the 
JV's great sounds at your finger tips! 
^ MIDI cables are not included ivith this product and must be purchased separately. 



Connecting a MIDI Keyboard 



Switch off the power to all equipment before connecting any MIDI device. 

MIDI keyboard 




Selecting the MIDI Channel for Playing the Keyboard 

In order for the JV-IDBD to receive instructions (MIDI messages) from your MIDI keyboard, the two 
devices must be set to the same MIDI channel. In this example, let's set both the JV and the keyboard to 
MIDI channel 1. 




Set the 'send' channel on the MIDI keyboard to "1." 
* If you don't knoiv how to do this, take a look at the manual for your MIDI keyboard. 

0^^ On the JV-IDBO, press the [PATCH] button (so the indicator lights). 
0^^ Press the [SYSTEM] button on the JV-IOBQ (so its indicator lights too). 
0S^ Press the FUNCTION SELECT [MIDI] button to display the following screen: 



* If this screen doesn't appear right away, press I A] until it does. 

0jj^ Use r-^]/[^-] to move the cursor (the flashing underline) to the number under "Receive 
Channel." Then use the [VALUE] knob or the [INC]/[DEC] buttons to change the value to "1." 

^]Jj^ After you've made the setting, press [EXIT]. 

13 



Playing the Keyboard 

The -JV-iaan has many on-board sounds. Try listening to some of these sounds by changing the 
Tones (Patches) during normal play. 

^^1^ Press [PATCH] (so the indicator lights). 



PERFORM PATCH RHYTHM 




^^5£# Play a key on the MIDI keyboard to hear a sound. 

<^ Rotate the [VALUE] knob or press [INC]/[DEC] to switch to the next sound. 




n n ^ n n 



* The sound groups are: User, Card, Preset (A to D), and EXP (A to D). You can use the SOUND GROUP 
buttons on the leftside of the front panel to select a wide range of sounds («" p. 29). 

Playing a Variety of Percussion Instruments on the Keyboard 

The _JV-lDBa also has a number of Rhythm Sets that contain a wide array of percussion sounds. If 
you set the keyboard's MIDI send channel to "10" while in the Rhythm Set mode, you can use the key- 
board to play percussion instruments and other special sounds! 

^5^ Set the send channel on the MIDI keyboard to "10." 

* If you don't know how to do this, take a look at the matmalfor your MIDI keyboard. 

4^ On the JV-1080, press the [RHYTHM] button (so the indicator lights). 



PERFORM PATCH RHYTHM 




^C^ You can now hear a wide range of percussion sounds when you play the MIDI keyboard! 
(You'll notice that a different sound has been assigned to each key.) 

^5^ Yo" '^a" switch between Rhythm Sets by rotating the [VALUE] knob or pressing [INC]/[DEC]. 

* To find out what sound is assigned to each key in each of the Rhythm Sets, refer to the "Rhythm Set List" 
in the chapter six. 

In addition, you can use the _1 V-1QBD to play Performances made up of a number of Patches. Take a 
look at "2. Play" (ts* p. 29) in Chapter 2 and try out for yourself the many possible sound combinations. 



14 



4. Changing Sounds (Patches) 



A "Patch" is the normal unit of play for the _IV-1DBO. A Patch is made up of a combination of up to 
four "Tones." Quite a few Patches are made up of three or four Tones. To change the various parameters 
that form a Patch (this is called "Patch editing"), you need to consider the Patch in two ways — as a single 
entity, and as sometliing made up of individual Tones. 







For instance, let's say that you're editing the sound of a Patch composed of a single Tone. When you call 
up the Tone and edit it, then in most cases the sound of the Patch changes just as you expect it to. 

But what happens when you edit a Patch composed of a number of Tones? Even when you call up and 
edit one of the Tones xnaking up the Patch, the overall sound may hardly change at all. In cases like tliis, 
you need to call up and edit the remaining Tones one by one, and keep checking the overall sound as 
you're editing to make sure that the Tones all balance with each other. 

Keeping this in mind, let's pick a Patch and try editing it. 

Use the procedure described in "■ Playing the Keyboard" («® p. 14) to call up a Patch. 

Decide on the Tone that you want to edit. 

Make sure that the PARAMETER mdicator is not Ut up. Here's how the FUNCTION SELECT buttons 
work: the four buttons on the left are used to choose the Tones to be played ("TONE SWITCH"), and the 
four on the right choose the Tones to be edited ("TONE SELECT"). 



.TONE SWITCH. 



.TONE SELECT. 
2 3 



Not lit up 

I 
PARAMETER 

n — cT-~n 



These light up to show the 
Tones to be played 



These light up to show the Tones 
that can be edited 



You can press the TONE SWITCH [1] to [4] buttons to toggle the four Tones on and off. Listen to each 
Tone in turn to check out how it sounds. 

In this example we'll edit only Tone 1 as we play it, so press TONE SWITCH [1 ] and TONE SELECT [1] to 
light up each of their mdicators. 





12 3*1234 


II - nil -' III - III - nil - nil - nil - nil ^ ii 



ON 



^^je^ Choose the Parameter Group that you want to edit. 

Press the [PARAMETER] button to light up its indicator. Now you can use the FUNCTION SELECT but- 
tons to choose the Parameter Group you want to edit. 

<5> Try changing the waveform for Tone 1. Press the FUNCTION SELECT [WAVE] button. 



Lit UP [ 



' COMMON EFFECTS CO^r^=iOL WAVE LFO PITCH TVF 

PARAMETER 



15 



Make sure that the screen shown below appears in the display. If you don't see it, press the 

[A] button until it appears. 

This shows that Tone 1 is to be edited. 



=|! ••" 



J. I •[ i 



li) , * I . I . 



I"!>. 



lano j. 



Cursor 

Press [-^l/l^-] to move the cursor to the number underneath "Number." Play the MIDI key- 
board to check the sound as you vary the value with the VALUE knob or the [INC]/[DEC] 
buttons. You will hear sounds with a wide range of waveforms. 

C3^ Now try changing the effect sounds. Press the FUNCTION SELECT [EFFECTS] button. 

li - III - Hi - III - III! - III! - III - Nil - II 



COMMON EFFECTS CONTROL WAVE LFO 



PARAMETER 



Confirm that the next screen has appeared. If it hasn't, press [A] until it does. 



I ' 1 I • > 



III ii ' 
T .J ■ 



t. 



J 



Cursor 

Press [-^l/L^-] to move the cursor to the position shown in the figure, then use the VALUE 
knob or the [INC]/[DEC] buttons to choose either "EFX" or a number from 1 to 127. 
Then press [T]. 



Turn the VALUE knob or press [INC]/IDEC] as you play the MIDI keyboard. This allows 
you to obtain a variety of effects. 

VALUE 



, + 




DEC INC 

n n ^ n w 



* If you don't hear any effects, pick another Patch. Note that you ivon't hear the effect if the master switch 
for the effect is not turned on ("" p. 38). 

In this way, you can pick Tones and use the FUNCTION SELECT and [A]/[T] buttons to call up 
Parameters, then use the VALUE knob or the [INC]/[DEC] buttons to change the value at the cursor. 

^_J^ To escape from the Edit screen, press [EXIT] or [PATCH]. 

* If you want to save the sound that you've made, follow the procedure in "5. Saving Sounds and Settings" 
(■»■ p. 18). 



16 



The JV-1DBD has a wide variety of other editing functions and other handy features. 
Here are some of the basic ones. 



If you want to do this: 


The parameter to change is: 


The page to see is: 


Change the volume of each Tone 


Tone Level 


ps-p. 55 


Change the placement of each Tone in the stereo field Tone Pan 


"S'p. 55 


Change the Pitch of each Tone 


Coarse /Fine Tune 


's-p.52 


Make a soimd harder or softer 


Cutoff Frequency 


ra-p. 54 


Add a stronger "character" to each Tone 


Resonance 


Its- p. 54 


Change the attack time for each Tone 


TVA Envelope Tl 


»p.56 


Change the release time for each Tone 


TVA Envelope T4 


^ p. 56 


Produce an analog syntln sound 


Analog Feel Depth 


|»-p. 56 


Change the name of a Patch 


Patch Name 


"s-p. 42 


Rehirn the settings for the JV-1080 to their factory 


defaults Factory Preset 


ra- p. 74 


Make the screen display easier to see 


LCD Contrast 


"s- p. 66 



► If You Want to Return a Change to Its Original Value... 

If you're not happy with a change you've made with the VALUE knob or the [INC] /[DEC] buttons, you 
can return a setting to the value first indicated by the cursor by quickly pressing the VALUE knob two 
times. Each press of this knob toggles the setting between the values before and after the change. This is 
called the "Undo/Redo" function. 




Each press of the knob 
+ toggles between the values 
before and after change 
Press twice 



* If you xvant to know more about other operations, see the list of operations at the end of this manual, or 
turn to the explanations of the parameters starting in Chapters. 



\7 



5. Saving Sounds and Settings 



Any soimd you've created will be lost if you turn off the power or switcli to a different sound. You can 
save the sounds you've made in the built-in User Memory or on a DATA Card (sold separately). The 
process of saving a sound is called a "write operation." 

Press the [UTILITY] button to light up the indicator. 



^5S^ utility Menu 1 appears in the display. 

Press the FUNCTION SELECT button that is under "WRITE" in tlie display to call up the Write screen. 



i J.'... i I ■' I "I" ' '• t. 



II I ' I > 

! 1 >■■: .1 ! •- 



!• f • I I I 



" III " III! *" III! " III " III " III " III " 



Press the left-hand button under the display 
^jcj Use the VALUE knob or the [INC]/[DEC] buttons to choose the write destination. 



r'Mii.r-i 






■ j- !■ ,• 



T 

Write destination (USR = User Memory, CRD = DATA Card) 
Turning the VALUE knob while pressing it inward causes the value to change more rapidly. 

' If you press [UTILITY] while at step M^^, the following screen appears. 



While this screen is shown, you can play a MIDI keyboard to confirm the sound for the 

write destination. 

Press [UTILITY] again to return to the Write screen. 

5J Press the [ENTER] button to perform the write operation. 
To cancel, press [EXIT]. 

* The message "User Memory Write Protected" may appear when executing a ivrite operation. Tliis message 
means that the write destination is write-protected, and cannot be written to {<^ p. 72). If this happens, 
you can press [UTILITY] to override the write-protect and force the data to be written. 

%^^ When the write operation is finished, the message " L-UMPLETE" appears, and you will 
then see the Play screen for the write destination. 



18 



Chapter 1 



Overview of the JV-IOSa 



Tills chapter will give you a good understanding of tlie orga- 
nization and terminology of tlie JV-lOSa before getting 
into the actual details of parameters. 



1 . Units of Sound 



The -JV-IOSD has a wide array of functions mid a large number of parameters. In order to provide 
more efficient control over the variety of sound types, they are grouped into several units. 

■ The Smallest Units of Sound — Tones 

The smallest unit of sound on the -JV-IDQD is called a "Tone." A single Tone functions much like a 
conventional synthesizer. Hovifever, you can't play individual Tones. The smallest unit of sound that can 
be played on the JV-IQBQ is the Patch, and Tones should be viewed as the "sound ingredients" that 
make up a Patch. 




eierniK}o<; i ■'» 


. 


lemnnes r-f * 




1 ■nrmines how 


the SOU' 1 «■ 


■ 


he soun^ 




I'le sounds 


iHtchchaiii" 


'^'^ 


Hie char 1 




vo'-me dianges 


over Mr c 


'i?" - 


overlim- 




vertime 


^^M^M 


» 









Tlie PCM waveforms (or "waves") stored in internal memory are acted upon in different ways depending 
on the settings for the filters and envelopes. Waves come from a variety of sources — from acoustic instru- 
ments like a piano or saxophone, from vintage synthesizers like the D-50 or JP-8, or from drums and other 
percussion instruments. Some can originate as sawtooth or rectangular waveforms, while others are 
looped sounds or are special effects containing certain components of instrument sounds (such as guitar 
fret noise, piano hammer sounds, and so on). In addition to these, you can install a PCM Card (available 
separately) or Expansion Board (also sold separately) to obtain new waves. 



Combinations of Tones That Make Sounds — Patches 

The unit of sound for normal play on the J V-1DBO is the Patch. 

One Patch is a combination of up to four Tones. This means that editing a Patch involves not just making 

a single sound, but also requires combining a number of sound ingredients to make the sound. 

A Patch can be made up of only a single Tone, but fresher, more complex sounds can be created by using 
a number of Tones. The Preset Patches included when the _JV-1DSD was shipped from the factory 
contain not only fat sounds created by layering several Tones, but also a large number made through 
sophisticated sound creation, including those that play different Tones in different registers, and those 
that play different Tones depending on how hard the keyboard is struck. The Patch Parameters also 
include a full set of "tools" to make the best use of these components, including effects, output panning, 
and many others that control how a sound is played. 



PATC H! TONE D 



.rTQNec 



I TONE B 



TONE A 



LFOl] 




20 



With the JV-10BD , you can also use a parameter called "Structure" to create sounds with pairs of 
Tones. See "1. Patch Edit Mode" in Chapter 3 (ra- p. 43) for details. 

Ploy Percussion Instruments Assigned to Each Key — Rhythm Sets 

Each Rhythm Set has a number of percussion instrument sounds assigned to it. Each of these percussion 
sounds is called a "Rhythm Tone." Because there is no need for a Rhythm Set to control high and low 
pitch, as witli ordinary sounds, a Rhythm Tone is assigned to each key (in other words, each MIDI note 
message). 




a y 



MIDI IN 



When you play keys on the synthesizer or other instrument connected to the JV-1080, you'll hear the same 
sound at different pitches if you're using a Patch, but if you're using a Rhythm Set then each key plays a 
Rhythm Tone with a completely different sound. Rhythm Tones in a Rhythm Set differ from the Tones of 
a Patch in a very important way — you can't combine them to create a single percussion sound. 

■ Assigning Potdies aid a Rhylhm Set Equivalent to 16 De\nces -- Performances 

A Performance is composed of 16 Parts, each of which is in turn assigned a Patch or Rhythm Set. These 16 
Parts can be used in combination for ensemble play. One of these IB-Parts is for the exclusive use of a 
Rhythm Set, and the other 15 are assigned witli Patches. What this means is that you can use the JV- 
lOBO like 16 different sound modules. This kind of synth, one that can function like a number of differ- 
ent sound modules, is called a "multi-timbral sound module." 



MIDI IN 



PERFORMANCE 




-Play 



^ Patches arc assigned to Parts 1 to9 and 11 to 16, and a Rhythm Set is assigned to Part 10. 



21 



Another important role of a Performance is to perform some of the overall functions of sound mixing, 
such as determiiiing how to balance the audio output witli effects from tlie various Patches, and deciding 
wMch jacks to use for output. 

Performers of Patches and a Rhythm Set — Parts 

You can think of a Part as one of 16 boxes in a Performance tliat is used to hold a Patch or Rliythm Set. 
These Parts can be used to turn the J V-IOBD into a multi-timbral soimd module. 

It may help to tliink of the Parts as performers, and the Performance as the entire orchestra. The orchestra 
(Performance) can play different works by having different instruments (Patches and Rhythm Sets) 
assigned to the different performers (Parts). 



Using Performances 



You've been told that the JV-IOBD orchestra has 16 performers. Then who is the conductor of this 
orchestra? 

It's you — the live-stage keyboard player! You can also have a sequencer or computer (DTMS) substitute 
for you. Tliis section explains a typical method of using Performances. 

Using the JV-1080 Live on Stage 

On a live stage, there aren't all that many occasions for ensemble play with multiple Parts. Normally just 
one Part is used, often with changes in the Patches used for playing made during the performance. In 
cases like this, there is no special need to be aware that the _IV-1DBD is a multi-timbral sound module. 

Sometimes, though, you may want to use a keyboard that can control more than one sound module Part. 
For instance, you might want to play the bass line with the loft hand and the piano part with the right. Or 
even if you control just one Part with the keyboard, you might want to have a sequencer control the other 
Parts to make your setup a one-man band. 

If you want to u.se the Performances of the JV-1080 for sophisticated live play, see "Live Performance 
Techniques" {<^.p. 79). 

Using fhe J V-lOBD as a Sound Module Expanding a Desktop Music System (DTMS) 

One big obstacle that probably every DTMS user rims into is an inadequate number of sounds that can be 
played at the same time. Tlie JV-10S0 can play 64 sounds simultaneously, which is double that of 
many previous DTMS sound modules. This ensures ample response for majestic orchestrations and piano 
keyboard runs with the damper pedal depressed. The JV-IDBD also supports the General MIDI 
System, the de- facto standard for DTMS somid modules. This means that you can play back any of the 
rich array of existing music data (GM scores) with even better sound quality. 

If you want to use your unit with DTMS, see "Using the JV-IDBD with a DTMS" («p. 76). 



22 



2. Sound iVIodule and Memory 



The preset memory stores 32 types of Performances, 128 Patches, and two Rhythm Sets (tlie preset C/D 
has only Patches and Rhythm Sets). There are also PCM Cards and Wave Expansion Boards available sep- 
arately that contain data for more Patches and Rhythm Sets. You can't rewrite the contents of these memo- 
ry devices, but you can read the data stored on them and store it in User Memory or on a DATA Card. 



Expansion Boards 




Data callup 



The sound data stored in these memory devices is first read into a temporary area and then played. When 
editing as well, the sound data called into the temporary area is changed. 

■ The data in the temporary area is lost if you change Patches or sivitch off the power. If you want to save 
this data, you need to perform a write operation («» p. 70). 



23 



3. Modes on the JViaBO 



Parameters on the JV-IDBO are grouped into various blocks depending on their function. These are 
called "modes." If you want to change the style or sound of what you play, you need to choose the right 
mode. 

Patch Modes 

Patch Play Mode (<^ p. 30) 

This is the mode for calling up and playing a single Patch. Choose this when you want to play using a sin- 
gle sound. 

Patch Edit Mode (^ p. 42) 

This is the mode for synthesizer sound creation. Choose this mode to set various parameters that deter- 
mine the sound and create your own original Patches. 

Performance Modes 

Perfonnance Play Mode (•«■ p. 30) 

This is the mode for calling up and playing a single Performance. Choose this mode if you want to hook 
up a sequencer for automatic ensemble play, or if you want to play fat sounds with multiple Patches. 

Perfonnance Edit Mode (» p. 57) 

This mode is used to allocate Patches and a Rliythm Set to the 16 Parts. Choose this mode to create thick 
sounds with multiple layered Patches or to make settings for ensemble play- 
Rhythm Set Modes 

Rhythm Play Mode ("w p. 30) 

This mode is for calling up and playing the Rhythm Set assigned to Part 10 of a Performance. Choose tliis 
mode when you want to hook up a MIDI keyboard and play it as a percussion instrument. 

Rhythm Edit Mode (» p. 61) 

This mode is for changing the settings for the Rhytlim Set assigned to Part 10 of a Performance. Choose 
this mode when you want to change tlie sequence or sound of a rhytlim, or to create a new Rhythm Set. 

GM Modes 

GM Play Mode («^ p. 30) 

This mode is for playing that uses GM sounds. Choose this mode if you want to comiect a computer or 
sequencer and play back GM scores (song data for GM sound modules). 

GM Edit Mode (■* p. 77) 

This mode is for changing tlie settings for GM Parts. Choose this mode to determme the sounds assigned 
to each of the 16 Parts and make settings for volume, effects, and so on. 

I System Mode (d^ p. 66) 

This mode is for tuning the JV-1080, adjusting the brightness of the display, manipulating MIDI receive 
switches, and setting common parameters for the Patch, Performance, Rliythm Set, and GM modes. 

I Utility Mode [^ p. 70) 

This mode is for managing the data used in the Patch, Performance, Rliytlun Set, and GM modes. It lets 
you do things like store sounds that have been edited and copy portions of data. 



24 



4. About the Effects 



The effects built into the JV-IDBO are grouped into the following three systems. 

A. EFX (a multi-effector with 40 effect types) 

B. Chorus (an effect that makes sound fatter and broader) 

C. Reverb (an effect that adds lingering reverberations to a sound) 

The EFX provides distortion, delay, and many other effect types, including combinations of single effects. 
The EFX also has effect types named "Chorus" and "Reverb," but these can be applied separately from the 
Chorus (B) and Reverb (C) listed above. 

Here's how to use the effector in the different modes; 

• In the Patch Mode 

You can set EFX, Chorus, and Reverb for each Patch. Also, by changing the level of the signal sent to each 
effect (tlie "send level"), you can vary the amount of effect applied to tlie Tone (see Fig. 1 ). 

FIgura 1- In the Patch Mode 




• In the Performance Mode or GM Mode 

This lets you set EFX, Chorus, and Reverb for each Performance or the GM mode. Tlie amount of effect 
applied is set for each Part (Fig. 2), and you can make the send level of a Tone effective by changing the 
settings (Fig. 3). The effect settings for the Patches assigned to each Part are ignored, but you can take the 
EFX applied to a Patch in a certain Part and apply it to the entire Performance. 



Figure 2 - When Output Assign is set to "EFX" in the Perlormence Figure 3 - When Output Assign is set to "Patch" in the Performance 
mode {the output settings for Tone are ignored) mode (the output settings for Tone ate vaiid) 



j Performance 



p^ig| 




Pwtlgj 




• In the Rhythm Set Mode 

Because the Rliythm Set mode calls Part 10 of the Performance to the screen, the effect settings reference 
the settings for the Performance in the temporary area. 



25 



5. Concerning Tone Editing 



The JV-IOBO provides the tools which allow you to create some excitingly realistic sounds. However, it is impor- 
tant to remember that a complex PCM waveform serves as the foundation for every sound, and if you attempt to edit 
without regard for the characteristics of the original waveform, you may not obtain tl\e results you expect. 

• Types of Waveforms 

The wavefornts m tlie internal memory of the JV-IDBQ can be classified into the following two types. 

One-shot Waveforms: Tlnese waveforms contain sounds dnat have short decays. A one-shot waveform records the 
initial rise and fall of the sound. Some of the JV-lOBD's one-shot waveforms are sounds 
that are complete in themselves, such as percussive instrument sounds. The JV-1080 contains 
many other one-shot waveforms diat are only partial elements of sounds, however. For exam- 
ple, attack components such as the sound of a piano hammer or the fret noise of a guitar. 

Looped Waveforms: These waveforms contain sounds that have long decays. With looped waveforms, the latter 
part of the sound is generated repeatedly over a specified portion of the waveform for as long 
as the note is held. (Looping allows the wave memory to be used more efficiently.) The looped 
waveforms in the JV-IDBO provide the sustain portion (i.e., Oxe main body of the sound) 
for many different instruments. 

The following diagram shows an example of a sound (electric organ) that consists of a one-shot waveform used 

together with a looped waveform. 



TVA ENV for looped Organ 
waveform (sustain portion) 



TVA ENV for one-stiot Key- 

clicl< waveform (attacl< portion) Resulting TVA ENV change 



I 



BBEHHShL. 



Key-off 



Key-off 



• Caution when editing a Tone that uses a one-shot waveform 

An envelope cannot be used to give a one-shot waveform a longer decay than the original waveform, or make it a sus- 
taining sound. Even if you made sudi envelope settings, you would simply be controlling a non-existent portion of 
the sound, so such settings would have no meaning. 

• Caution when editing a Tone that uses a looped waveform 

With many instruments (mcluding piano or sax) the timbre changes dramatically during the first few moments of the 
note. It is tliis iiutial "attack" that defines much of the character of the instrument. The JV-IDBD provides a variety 
of waveforms containing lifelike acoustic instrument attacks. To obtain the maximum realism when using these wave- 
forms, it is best to leave the filter completely open during ti\e attack. That way, all the complex timbral changes can be 
heard. For the sustain and decay portion of the soui^d, you can use the envelope to produce the desired changes. 
Should you use the envelope to modify tlie attack portion as well, the nahiral attack contained in the waveform itself 
will not be heard to full advantage, and you may not achieve the result you expect. 



e change storM with the wave 



Envelope for the TVF HHor 









Resulting tone change 




You also need to keep the timbral character of tlie original waveform in mind when you wish to use the TVF filter to 
brighten just the attack or subdue only the decay. In particular, if you hope to brighten part of die sound to a bright- 
ness greater tlian the original waveform (refer to "FXM" ^ p.50), you will have to create new upper-range partials that 
were not present m the original waveform. If you wish to make die entire sound brighter than tlie original waveform, 
you should start by adjusting the enhancer or equalizer before you edit the TVF parameters. 



26 



Chapter 2 



Basic Operation 

This chapter explains the basic operations you need to use 
the JV-IDBD, 



1 . Choosing a Mode 



The JV-IOBO has several MODE buttons that are used differently depending on what you want to do. 



PF <f H F- 1«-H 



~"^=n 



, % 






■YOT M rrii 



II J I -vi III! ff-rvH-m^TK a 

L ' '' , 1! "J 




[PERFORM] 

[PATCH] 

[RHYTHM] 

[SYSTEM] 

[UTILITY] 

[SHIFT]+[PERFORM] 



Perf onnance mode 
Patch mode 
Rhythm Set mode 
System mode 
Utility mode 
GM mode 



When you press a MODE button and the indicator lights up, the corresponding screen 
appears on the display. 
* See "3. Modes on the J V-IOBO in Chapter 1 ("■ p. 24) for a description of the different modes. 
See the pages listed belou'for explanations of the parameters used by each of the modes. 



Performance mode 


(IS- p. 57) 


Patch mode 


{•^ p. 42) 


Rhythm Set mode 


(la p. 61) 


System mode 


(«s- p. 66) 


Utility mode 


(na- p. 70) 


GM mode 


(ts- p. 77) 



28 



2. Play 



Tills section describes how to work with the sounds built into the _IV-10BD as you play- 

Choosing a Sound 

Here's how to call up a sound. 
^5^ Press the MODE button to select the mode you want. 

PERFORM PATCH RHYTHM 



n 



* If you press IRHYTHM], it selects the Rhythm Set assigned to Part 10 of the Performance currently in the 
temporary area. 

^JS^ Use the SOUND GROUP buttons in combination to choose the sound group. 



SOUND GROUP buttons 



- USER/CARD PRESET EXP 





11 


'TT- 


III! 


a 


llll 




II 














1 








1 








A 




B 




c 




DtGM 


II 




III 




III 




llll 


" II 



Top line 




Bottom line 


[USER/CARD] 


-> 


[USER] 


[PRESET] 


-> 


[A] to [Dl 


[USER/CARD] 


-> 


[DATA] 


[USER/CARD] 


-> 


[PCM] 


[EXP] 


-> 


[A] to [D] 



• User Memory 

• Preset Memory 

• DATA Card (only when installed) 

• PCM Card (only when installed) 

• Expansion Boards (only when installed) 

• When the _J V-IOBO is purchased, the User Memory and Preset contain the same sounds. In addition, 
the sound mapping in Preset D conforms with CM Instruments. 

• Presets C and D do not function in the Performance mode. 

4^^^ Turn the VALUE knob or press [INC]/[DEC] to pick a sound. 

Turning the VALUE knob while pressing it inward causes the value to change more rapidly. 




29 



Patch Play Mode Screen 

Patch number Patch name 



♦ 



Patch group 
• Performance Play Mode Screen 

Performance number Performance name 



Octave shift {<^ p. 32) 



.^alu 



U 



Performance group 

* You can use the [M]/l>-] buttotts to change the Part number. 

• Rhythm Play Mode Screen 

Rhythm Set number Rhythm Set name 



)i'i: :i u 
*Rn i: II 



Rhythm Set group 



Note number Wave name 



Part number 



Part number 



When playing a Rhythm Set, see the Performance "CONTROL" page («■ p. 59) to set the Receive su'itch 
and MIDI channel far Part 10. 



GM Play Mode Screen 

GM Patch number 




GM Patch name 



GM MODE ill "001 F-iano 



■ You can use the [M]ll>-] buttons to change the Part number. 



Part number 



30 



Using Cards and Expansion Boards 



When using a separately available PCM Card (SO-PCMl series) or DATA Card (PN-JV80 series, M-256E, 
or JvI-512E), be sure to insert the card face-up into the appropriately labelled slot. 




PCM card 



* Never pull a DATA Card or PCM Card out of the slot while you are playing. 

important Notes on installing Wave Expansion Boards 

When using a Wave Expansion Board (SR-JV80 series, sold separately), be sure to first turn off the power 
to the _JV-1QSO before taking off the top cover and installing or removing the board. When doing 
tWs, take care to avoid injury when working with the unit while it is opened. 

The installation locations "A" through "D" in the figure correspond to EXP buttons [A] through ID]. 




Front panel 



' Some DATA Cards (such as the PN-JV80 series) may contain patches that use Expansion Board ivaves. To 
use such DATA cards when you have multiple Expansion Boards, be sure to install the board that corre- 
sponds to the card in the location ivith the lowest letter of the alphabet, 

Tlie _l V-IDBD can also read patch and rhythm set data stored on DATA cards by the JV-WOOIJV-90, 
fV-80, JV-8S0. Hoivcver, ivhilc reading in such data the unit also performs a conversion, since there are 
differences in the luay the parameters arc organized. As a result, some of this data may sound slightly dif- 
ferent than the way it did on the earlier JV unit. 



Choosing the Tones and Parts to Play 



To choose the Tones and Parts to be played, first make sure that the indicator for the [PARAMETER] but- 
ton is not lit up, then use the TONE SWITCH and PART SWITCH buttons under the display. 



31 



In the Patch Mode 

When the [PARAMETER] button indicator is dark, you can use the TONE SWITCH [1] to [4] buttons to 
toggle the sound for each Tone on and off. 

This is Itandy when you want to check what Tones the currently selected Patch consists of. 



PART SWITCH 
SELECT__ 



.TONE SWITCH. 
2 3 



Off (not lit) 

PARAMETER 

-t3" 



.TONE SELECT. 

2 3 



J 



Tones played - "On" Tones not played - "Off" 



The indicators for the buttons are illuniLnated when on and dark when off. Each press of a button toggles 
it on or off. 

In the Performance Mode or GM Mode 

When the [PARAMETER] button indicator is not lit up, you can press the PART SWITCH [1/9] to [8/16] 
buttons to select whether each Part receives and plays MIDI information. 





PART S\AffTCH 






'/8 


3/ 10 




3/11 


4/13 s;i3 


O'l 




7/ IS 


e;iB 










■:^, 


1TO-!_ 




tz* 


■E 


^CtCCV^. 




--■U-a->6 








.. '. 






!! = i! 


11 


~ 


ijl ~ 


lii 


•-• 


il " IIH '-' I 


1 ~ 




ill - I 


1 '-' II 






1 


1 




1 


1 1 


1 




i 


1 








1 


1 


1 








1 



MIDI informaUDn is MID) information Is not 

recelvBd- "On" recfrfved- "Off 



► Tfie PART SWITCH buttons work only in the Play mode. 

The indicators for the buttons are illuminated when on and dark when off. Each press of a button toggles 
it on or off. 

If you want to switch Parts 9 to 16 on or off, first illuminate the indicator for the [1-8/9-16] button, then 
use the PART SWITCH buttons. 

' During a write operation, the on/off settings for the TONE SWITCH and PART SWITCH buttons are 
stored respectively as Patch and Petformance settings («" p. 70). 



Changing the Pitch of a Sound — Octave Shift 



In the Patch Play mode, you can easily change the pitch of an entire Patch. Each press of the cursor 
[A]/[V] buttons shifts the sound up or down by one octave. You can vary the settings by three octaves up 
or down. 



I T iim 



Each press shifts the sound up an octave 



Each press shifts the sound down an octave 



Wlten you write a Patch, this parameter is stored as a contmon parameter. 



32 



3. Editing 



This section explains the operations you'll need to know when editing sound data. 



Entering the Edit Mode 



After pressing the [PARAMETER] button and confirming its indicator has lighted, you can use the FUNC- 
TION SELECT buttons to choose a paratneter group for editing. When you press the button to select any 
single parameter group, you enter the Edit mode and the Edit screen for the selected parameter appears. 





II " llll " 1 


^1 " III 


i — ° — nn — ^ — T 


III " II 


1 C3 


III " II 




On (lit up) 
















1 
PARAMETER 


COMMON «Fi=Ecrrs 
COMMON EFFECTS 
- SETUP f 


CONTRQU 
MIDI 
MIDI 


WAVE ' U=0 
PART 


prroi 

PITCH 
TUNE . 


TVF 
PAN 


TVA 

LEVEL 
PREVIEW 


Patch (Rhythm Set) 

— Performance (GM) 


II " II 


— System 



Parameter group to be edited 



Edit Screen 



♦ 



Parameters to set 



Parameter group 



To return to the Play mode from the Edit mode, press [EXIT] or a MODE button. 



Choosing the Tones and Parts to Edit 



To choose a Tone or Part to be edited, first make sure that the [PARAMETER] button indicator is not lit 
up. Then use the TONE SELECT or PART SELECT buttons under the display to make your selection. 

In the Patch Mode 

At the Patch Edit screen, a display sucli as "1—" appears in the upper left part of the screen showing the 
page for setting the parameters for each Tone. This shows the number of the Tone currently called to the 
screen. To change the Tone that is called up, press the [PARAMETER] button to make tlie indicator go 
dark and then use the TONE SELECT [1] to [4] buttons. 



PART SWITCH 





1/9 


2/10 3/11 


4/ 12 


5/13 S/M 7/15 


3/ IB 




XriMP CF1 FHT 




1 


2 3 


4 


1 2 3 


4 


1 


1 — ra ' 1' 


II " llll ^ II 


1 "^ 1 


! - llll - llll - llll 


" II 


Off (not lit) 

1 

PARAMETER 








1 

Tones to be edited- "On" 




II " II 





The indicators for the buttons are illuminated when on and dark when off. 

If you want to edit more than one Tone at a time, then hold down the button for one of the Tones to be 
edited and press the button for another Tone at the same time. When you do this, the number for the first 
Tone selected appears in the upper left part of the screen, and the other tone is indicated by a " ." This 
makes it possible to change more than one Tone at the same time while maintaining the differences in 
their respecHve values. 



33 



in the Performance Mode or GM Mode 

At the Performance or GM Edit screen, a display sucli as "PART 1" appears in the upper left part of the 
screen showing the page for setting tlie parameters for each Part. This shows the number of the Part cur- 
rently called to the screen. To change the Part that is called up, press the (PARAMETER] button to make 
the indicator go dark and then use the PART SELECT [1 /9] to [8/16] buttons. 

* The PART SELECT buttons are active only when the Edit mode is selected. 



= 1-B 
-mi- 9.16 



PART SWITCH 

cci cr-r 


1/9 


2/10 3/11 


4/12 


B/13 


6/14 7/1S 


8/16 1 




TDNF c;\A/!TrH 






TONE SELECT 




1 


2 3 


4 


1 


2 3 


4 


II " 1 


II - nil - 1 


'\ " 1 


1 " II 


1 ^ till " II 


1 " II 



Off (not lit) 



PARAMETER 

n — C3 — n 



Part to be edited 



The indicators for the buttons are illuminated when on and dark when off. 

If you want to edit a Part from 9 to 16, illuminate the indicator for the [1-8/9-16] button, then use the 
PART SELECT buttons. 

* Unlike the case with Patches, you cannot edit more than one Part at a time. 

• In the Rhythm Set Mode 

At the Rhythm Set Edit screen, a display such as "C4" appears in the upper left part of the screen showing 
the page for setting the parameters for each Rhythm Tone. This shows the number of the Rhythm Tone 
currently called to the screen. To change the lUiythm Tone that is called up, use either of the two methods 
described below. 

O Use the keys on a MIDI keyboard connected to the JV-IDBD to make the selection. 



_|||||||||||I||||||||||IP^ 



b 



* If you are using a MIDI keyboard to make your selection, set the System Parameter for Rhythm Edit Key 
to "PANEL&MIDKa- p. 66)." 

O After making the [PARAMETER] button indicator go dark, use the TONE SELECT [1] to [4] 
buttons. 

PART SWITCH 



Off (not lit) 

I 

PARAMETER 



1/9 2/10 3/11 4/12 5/ 13 6/14 7/15 









. TONF SWITCH . 






xnNF f;pi Frr 


12 3 4 


1 2 


3 


4 


. 




Li 




1 " 


Ui 




J 


\l 












\1 



34 



TONE SELECT [1]: 

Each press of the button changes the note currently displayed to a note one octave lower. 

TONE SELECT [2]: 

Each press of the button changes the note currently displayed to a note one half-step lower. 

TONE SELECT [3]: 

Each press of the button changes the note currently displayed to a note one half-step higher. 

TONE SELECT [4]: 

Each press of the button changes the note currently displayed to a note one octave higher. 

» Tlte indicators for the TONE SELECT buttons are alwys dark in the Rhythm Set Mode. 



Moving the Cursor and Changing Settings 




Use the [-^]/[>] buttons to move the cursor to tlie parameter you want to change, then use the VALUE 
knob or [INC] /[DEC] buttons to change the value. 

The VALUE knob... 

Turning the VALUE knob wliile pressing it inward or while holding 
down the [SHIFT] button causes the value to change more rapidly. 

The [INC] button... 

Each press of the button increments the number by one (in other 
words, it takes the number to the next higher value). 

The [DEC] button... 

Each press of the button decrements the number by one (it takes 
the number to the next lower value). 

If you hold down [INC] /[DEC], the number changes continuous- 
ly. The values change by larger steps if you hold down the 
[SHIFT] button and press [INC] /[DEC]. The values can also he 
changed rapidly by holding down one of tliese buttons and press- 
ing the other one. 



+ 



n fi ^ n n 



* If you change a value and then return to the Play mode without executing a write operation, a "*" appears 
next to the sound group name on the screen. 

• The Handy Undo/Redo Function 

If you're not happy with a change you've made, you can return a setting to the value first indicated by the 
cursor by quickly pressing the VALUE knob two times. Each press of this knob toggles the setting 
between the values before the change ("undo") and after ("redo"). 



VALUE 




Each press of the knob 

toggles between the values 

before and after change 

Press twice 



35 



changing Pages 



On tlie JV-IOBQ, each screenful of parameter settings is called a "page." 

On screens that show a "t " or "t " symbol, you can press the 1 A]/[T] buttons to change pages. 



'1 »*.«;"......■ . 

OUTPU" 




it.. 


sl2? 




"US 

. 1 






p:::VTCFi 
EF;k 01 


: ■ '■ 




■■ . ". ■■ 


1127 


.-. 


•i 




'. '. '.' '::. ' 


'■ . ... 

■ ^ii^iio-i 


: 


■ i "i- i ,•,•.,"■ 
! i .i. i'i'r 

i i 80 


1 '-r-^ 

;■ .■.■:'.i-' 


1 Fbfcf 
10 , ! 


..■ip' r';!.::!r.'ii::;- 

'3'mss 



But that's not ail. If you hold down the [SHIFT] button and... 

...Press [A], you move to the top page of the selected parameter group. 

...Press [TJ, you move to the last page of the selected parameter group. 

...Press [■*], you move to the page for the parameter group found one to the left of the FUNCTION 
SELECT buttons. 

...Press [►], you move to the page for the parameter group found one to the right of the FUNCTION 
SELECT buttons. 



There are two types of Edit screens; 
Single Edit Screen 

Multiple parameters are displayed 
for a single Tone (or Part, in the 
case of a Performance) 

This is convenient for in-depth 
editing of a single Tone. 



Palette Edit Screen 



The values for four Tones (or Farts) 
are displayed for a single parameter. 

This is convenient for editing while 
keeping an eye on the balance 
between several Tones. 



When you press [PALETTE] and light up the button's indicator, you move to the Palette Edit screen for 
the parameter currently indicated by the cursor. Each press of the [PALETTE] button toggles between the 
Single Edit and Palette Edit screens. 






Single Edit Screen 



Cursor 



OUTPUT' i ione=: i I NT-fi; 08 1 <fic P i ano - 1 > 






i g'px 



Palette Edit Screen 



* Till' Palette Edit screen docs not shoiv any thing except the parameters for each Tone (or Part) to be edited. 
Additionally, no Palette Edit screen is displayed in the Rln/thm Set mode. 



36 



The Handy Page Changing Function 

Several pages are allocated to the r-UNCTION SELECT buttons under the display. Each press of the 
FUNCTION SELECT button (for which the button indicator is currently lit) will toggle you between two 
of these pages. 

You can take advantage of this to compare the parameters of two pages as you edit; or for often-used 
pages you can press the [A]/[T] buttons to switch pages instantly without having to flip through any 
intervening pages. 

Here's how the pages change when you press the FUNCTION SELECT buttons. 

12 3 

1 . When the power is first turned on, each press of 
the FUNCTION SELECT button toggles you 
between the first page (A) and the last page (E). 

2. If you press [▼] at page A to change to page B, 
then each press of the FUNCTION SELECT but- 
ton toggles you between B and E. 

3. If you press [A] at page E to change to page D, 
tlien each press of the FUNCIION SELECT but- 
ton toggles you between D and B. 



1 


A 


I 


A 


» 


A 












t 
1 


B 


t 


B 


1 


B 




I 


C — 


- i 


C — 


1 


C 




! 


D 


I 


D 


1 


D 




E 


I 


E 






I 


1 


E 



Editing a Patch While in the Performance Mode 



When editing a Performance, it is easy to call up and edit the Patch assigned to a Part. This is handy when 
mo\'ing back and forth between the Performance mode and the Patch mode to edit a Patch. 

^^SP Let's say that you are now editing Part 3 of a Performance. 

If you want to edit the Patch assigned to Part 3, hold down the [PERFORM] button and press [PATCH]. 

The indicators for the [PERF01?MJ and [PATCH] buttons hght up at the same time, and the Play screen 
for the Patch selected for Part 3. 

Part 3 is being edited 

«-ji ; . ^ 



Hil.L 



n 



liSEI 



SOI 



1 

Play screen for the Patch selected for the Part 
"■ You can use the [-^ 1 1 /►,/ buttons to change the Part. 

^"J^ Edit the Patch just as you would during normal Patch editing. 

^^^ Press [EXIT] to return to the Performance screen. 



37 



■ Switching Effects On and Off 



This is the switch wliich determines vvliether the built-in effects (EFX, Chorus, and Reverb) will be used. 
You can turn this switch on or off regardless of what mode you may happen to be in. 

Press [EFFECTS ON/OFF] to illuminate the indicator. 

The on/off status for the three effects is displayed. 




Press the FUNCTION SELECT button corresponding to the location of the effect on the dis- 
play to switch that effect on or off. You can also use the CURSOR [-^M^-] buttons, the 
VALUE knob, or the [INC]/[DEC] buttons for switching. 



-ra — nn — c'" 



EFX Chorus Reverb 

on/oft on/off on/off 

dl^ Press [EXIT] or [EFFECTS ON/OFFl to make the indicator go dark and return to the original 

screen. 

Confimiing Current SeHings or MSH Infomicrtion — The Inforniorion Funcrion 

No matter what mode you're in, you can use tlie Information function to view a wide range of informa- 
tion quickly and easily. 

0!^ Hold down the [SHIFT] button and press [INFO]. 

PERFOPM HATCH rliVHV 



fp 


— TT- 


;■■ '-' 1 '^ .1 


s 


-SM 




! 




1 


—— \j 


I.,,'; ..I- 1 EXIT ENTER 






, . jlil 1 




1 





^3S^ Use the CURSOR [A]/[T] buttons to move to the screen containing the information you 
want to see. 

The following pages are displayed consecutively: 



38 



• INFO CARD (names of any inserted DATA or PCM cards) 






• INFO EXP 1 (names of any A or B expansion boards installed) 



IMPfi 

e:-:pi. 






• INFO EXP 2 (names of any C or D expansion boards installed) 



3 HF'-J 

e: pi 






' BATTERY CHECK (status of JV-1080 and DATA card batteries: LOW or OK) 



EiVrVEPV I i- I--; fi-1 



.if.- L -^t-.j 



SLOi.! 



Also, if you're in the Performance, GM, or Rhythm Set modes, you can check the following MIDI informa- 
tion being received by the Parts. This is useful if you need to check why a sound doesn't change even 
though MIDI messages should be coming in, or for other MIDI troubleshooting. 

• INFO MOD (ModulaHon: to 127) 



1 ' T i ■ 



I I 
I 



I 
i I 



■ I 



t INFO BREATH (Breath: to 127) 



1 INFO FOOT (Foot: to 127) 



' INFO VOLUME (Volume: to 127) 



i !: II : .i^i: 



39 



I INFO BALANCE (Balance: to 127) 



i INFO PANPOT (Panpot: L64 to to 63R) 



I INFO EXPRESS (Expression: to 127) 



I INFO HOLD-1 (Hold-1: OFF/ON) 



U 



INFO AFTER (Aftertouch: to 127) 




• INFO BENDER (Pitch Bender: -64 to to +63) 



Ti'-iF'O 



1 ':;, 



J 



• INFO VOICE (Voice: to 64) 



■' L.- .1. L- 1".. •'' 'cy'"" 4^ kj 



y 



fi ! 



* Any type of MIDI message for xvhicb the RECEIVE MIDI switch (»■ p. 67) is turned off xvill be igiwred. 
Note also that no MIDI messages at all will be received by a Part for ivhich the MIDI Receive sivitch f«- 
p. 59) is turned off. 

^5^ P«ss lEXIT] to go back to where you were before pressing [INFO]. 



40 



Chapter 3 



Modes and Parameters 

This chapter explains the various parameters that you work 
with while editing. 



1 . Patch Edit Mode 



II " III! " III " III 


" II 


1 " 1 


II " III 


" 


III " II 




1 COMMON EFFECTS CONTROt 


WAVE 


LfD 


PITCH 


TVF 


TVA j 


COMMON EFFeCTS MIDI 
SinUP MIDI 


PART 





PITCH 
TUNE 


PAN 


LEVEL 
PREVIEW 



■ Making Settings for an Entire 
Patch (COMMON) 

The following parameters are all related to a single Patch. 

• PATCH NAME 

You can give a Patch a name of up to 12 characters. 
Use the [•^]/[^-J buttons to move the cursor to the proper 
position, and then rotate the [VALUE] knob or press 
[INC] /[DEC] to select the desired character. 

Available characters: 

Space, A to Z, a to z, to 9, +-»/ I =!?<>0[]1| ;;,,"'■#%&$¥ 

Pressing [SHIFT] displays the following in the bottom right 
corner of the screen. 



Hold down ISHIFTI and 
pfess any of these... 

You can execute the following commands by holding down 
the [SHIFT] button and pressing the FUNCTION SELECT 
button that corresponds to the function displayed; 

TOP: 

Press tWs button to successively go to the first character of 
the character groups ("A," "a," "0," or "+"). 

END: 

Press this button to successively go to the final character of 
the character groups ("Z," "z," "9," or "_")■ 

DEL: 

Pressing this button erases the character under the cursor 
and shifts the following text forward. 

INS: 

Pressing this button inserts a space at the cursor location 
and shifts any following text backward. 

CHG: 

Pressing this button switches the character under the cur- 
sor from upper to lower case and vice versa. 

• PATCH COMMON 

<Level> Patch Level — to 127 

This parameter sets the overall volume for the entire Patch. 

<Pan> Patch Pan — L64 to to 63R 

This parameter sets the stereo position of the entire Patch: 

L64 is far left, is center, and 63R is far right. 

* Although a separate Pan setting is made for each of the Tones 

that make up a Patch, the stereo position of these Tones is 

shifted by this overall Pan setting. 

42 



<Analog Feel> Analog Feel Depth — to 127 

This parameter adds a very subtle (yet pleasing) pitch fluctu- 
ation to the basic waveform. This helps create a sound that is 
more natural in nature. (This is also called the "1/f fluctua- 
tion"). 

<Octave> Octave Shift — -3/-2/-l/0/-^l/+2/+3 
This parameter changes the pitch of the Patch in one-octave 
steps. You can raise or lower the pitch by up to three octaves. 
* When Octave Shift is used in the Patch Play screen, this set- 
ting also changes automatically. 

<Stretch> Stretch Tune Depth — OFF/1/2/3 
This parameter changes the pitch using the 'stretch tuning' 
method typically used on acoustic pianos. This makes high- 
range sounds slightly higher in pitch, and low-range sounds 
slightly lower m pitch. 

A diagram that illustrates the actual changes in pitch is called 
a "tuning curve." Changing the tuning curve causes subtle 
alteratiorts in the resonance of harmonics. 

3 
2 



OFFr 





OFF 
(Sotting] 



Bass portion Treble portion 

<Priority> Voice Priority — LAST/LOUDEST 

This setting determines the order or priority of sounds to be 
played when the maximum number of voices (64) is exceeded. 

LAST: 

The voices played last are given priority, with earlier voic- 
es being cut sequentially. 
LOUDEST: 

The voices with the highest volume are given priority, 
with quieter voices being cut sequentially. 

<VeIocity Range> Velocity Range Switch — OFF/ON 

This setting determines whetlier the Velocity Range setting is 
enabled ("ON") or disabled ("OFF"). 

<Default Tempo Default Tempo — 20 to 250 bpm 

This parameter determines the tempo clock setting, which con- 
trols the parameters for Tones and Effects. 
With the JV-IDBD, you can control Delay Time (and otlier 
time-related parameters) with the internal tempo clock or 
with an external device. When no external tempo clock is 
used, the tempo set here is used for such control. 

* When using the internal tempo clock, set the clock source sys- 
tem parameter ("'p. 67) to "INT" 

* The internal tempo clock data is not output through the MIDI 



OUT port. 

» VELOCITY (Velocity Range) 



<Lower> Velocity Range Lower — 1 to 127 |[|B|S|p| 

This parameter determines the maximum range of sound 
when playing softly. Sound is heard only when playing 
velocity exceeds the threshold (value) set here. 
* If you try to make this value higher than the setting for 

Velocity Range Upper, the value for Velocity Range Upper 

changes at the same time. 



<Upper> Velocity Range Upper — 1 to 127 



This parameter determines tiie maximum range of sound 
when playing forcefully. Sovmd is heard only when playing 
velocity does not exceed the value set here. 

* If you try to make this value lower than the setting for 
Velocity Range Lower, the value for Velocity Range Lotoer 
changes at the same time. 

<X-Fade> Velocity Cross Fade Depth — to 127 



This parameter sets the fade 'width' between the upper and 
lower velocity ranges. 

Level 




Velocity 



Upper I 
Fade width 



• KEY RANG (Key Range) 

<Lower> Key Range Lower — C-1 to G9 j 

This parameter sets the key for the lowest playable sound. 

* If you try to make this value higher than the key set for Key 
Range Upper, the value for Key Range Upper changes at the 
same time. 

<Upper> Key Range Upper — C-1 to G9 BSfgi 

This parameter sets the key for the highest playable sound. 

* If you try to make this value lower than the key set for Key 
Range Lower, the value for Key Range Lower changes at the 
same time. 

* STRUCT (Structure) 

This parameter determines the structure of the Tones in the 
Patdi. Differences in structure can make the sound vary greatly. 

* With Structure, two Tones are edited as a set. This means that 
it doesn't matter whether you press TONE SELECT [1] or 12]; 
in either case, "12 — " appears in the left-hand comer of the 
screen. (With TONE SELECT [3] or [4], "—34" appears.) 

* If you switch off one of the Tones in a pair while TYPE 2-10 is 
selected, the other Tone is played as TYPEl. 



<Struct> Structure — 1 to 10 | 

This parameter determines how Tones 1 and 2 or Tones 3 and 
4 are combined. The following combination types are possible. 

* Because of space considerations, the characters on the screen 
are abbreviated. Here's what these abbreviations mean: 

Wl or W2: WG (Wave Generator) 1 or 2 

FlorF2: TVFlor2 

AlorA2: TVAlor2 

B: Booster 

R: Ring Modulator 

Type 1 

With this type. Tones 1 and 2 (or 3 and 4) are independent. 
Use this type when you want to preserve PCM sounds or cre- 
ate and combine sounds for each Tone. 



TONE 1 (3) 



[tone 2 (4) 



-(WF)- 



^) 



Type 2 

This type combines two filters to enhance filter response. 
The TVA for Tone 1 (or 3) controls the volume balance of the 
two Tones. 




Type 3 

This type combines two filters and distorts the waveforms by 
passing them through the booster ("S" p. 44). 
The TVA for Tone 1 (or 3) controls the volume balance of the 
two Tones and adjusts the amount of effect that the booster lias. 




Type 4 

This t)q^e applies a filter to the mixed soimd of Tone 1 (or 3) 
and Tone 2 (or 4), and distorts the waveforms by passing 
them through the booster. 




Type 5 

This type combines two filters and boosts the upper harmon- 
ics by passing tlie sound through the ring modulator (■>*■ p. 
44). 

The TVA for Tone 1 (or 3) controls the volume balance of the 
two Tones and adjusts the depth of the ring modulator. 




Type 6 

This type combines two filters, boosts the harmonics by passing 
the soimd through the ring modulator, and mixes in the sound of 
Tone 2 (or 4). 

Because the soimd h'oni the ring mcxiulator and Tone 2 (or 4) can 
be mixed, tlie TVA for Tone 1 (or 3) can adjust the amount of 
ring soimd. 

43 



TVPE6 



TONE 



1 (3) I fWG>ffvAX 
[tone 2 (4) [WG ] '^ ^ 



TVF 




TVFHTVA 



Type? 

This type sends the filtered sound of Tone 1 (or 3) and the 
sound of Tone 2 (or 4) through the ring modulator to boost 
the harmonics. 




Types 

This type sends the filtered sound of Tone 1 (or 3) and the 
sound of Tone 2 (or 4) through the ring modulator, then 
mixes it with Tone 2 (or 4) and filters the result. 



[tone 1 (3) 



[tone 2 (4) (WG 



■^ V n?Fl-(irvA^ 



Type 9 

This type sends the filtered sounds of the Tones through the 
ring modulator to boost the harmonics. The TVA for Tone 1 
(or 3) controls the volume balance of the two Tones and 
adjusts the depth of the ring modulator. 



"-Sn^^ffj 



[tone 1 (3) (wgHtvf Htva' 



[tone 2 (4) (WGHtVF} 




^) 



Type 10 

This type sends the filtered Tones tlirough the ring modula- 
tor to boost the harmonics, then mixes tiie result with Tone 2 
(or 4). Because the sound from the ring modulator and Tone 2 
(or 4) can be mixed, the TVA for Tone 1 (or 3) can adjust tlie 
amount of ring sound. 



TYPE 10 



(tone 1 (3) 



*s: 



J 



[tone 2 (4) I (WG}-^?) ^ ^ 'dVA)) 



O what is a Booster? 

The booster is a circuit that distorts the input signal. 



In addition to using this for distortion, effects similar to 
PWM (Pulse Width Modulation; where the harmonic struc- 
ture changes continuously) can be obtained by setting the 
waveform for one Tone (WGl) to a subsonic frequency and 
shifting the waveform for the other Tone (WG2) up and 
down. It is also interesting to amplify the waveform with 
Wave Gain («s- p. 50). 




WG2 

— ^^AddsloWGI 

\ / \ Distorted arsa ol the 

/ \ waveform changes 

Shift in waveform by WGl 

O What is a Ring Modulator? 

By combining tine waveforms of the two Tones, a ring modu- 
lator can produce many harmonics (inliarmonic partials) not 
contained in either of the waveforms. (As long as one of the 
waveforms is not a sine wave, virtually no frequency compo- 
nents sound at regular intervals.) Because differences in the 
pitch of the waveform cause the harmonic structure to 
change, a toneless metallic resonation occurs. This works well 
when creating metallic timbres, such as for bells. 



Wk 



\l\A 



8 



«=#*# 



<Booster> Booster Level — /+6 / -(-12 / -i-18 (JSBSigl 

This parameter sets the booster level; a larger value results in 
greater distortion of the sound. 



■ Selecting Effects for a Patch 
(EFFECTS) 



XVTifii editing the parameters for an effect, an "x" may appear 
on the left side of the screen. Tliis indicates that the parame- 
ters for the effect arc being edited u'hile the effect's sivilch («• 
p. 38) is off. Because this makes it impossible to check the 
results of the effect, press the jEFFECTS ON/OFF] button to 
turn the effect on. 



44 



• OUTPUT 

<Output Assign> Output Assign — MIX/EFX/OUT- 

PUT1/OUTPUT2 BSSSM 

Output Level — to 127 BUI 

Output Assign determines the output destination for each 
Tone, and Output Level sets the level of the output signal. 

MIX: 

This parameter sends tlie original sound to MIX OUT. The 
sound is also simultaneously sent to Chorus and Reverb. 

L H 



TONE 




J 




MIXOUT 




r 












Stereo iine 


, / 




To Chorus 


Mono line 


Chorus 
Send Level 






c/ 








Reverb 
Send Level 







EFX: 

This parameter sends the original sound to EFX. The 
sound is also simultaneously sent to Chorus and Reverb. 
The output destination of the sound passing through EFX 
follows the Output Assign setting for PATCH EFX OUT. 



: Stereo line 
: Mono line 



Output Level 



-^ 



Chorus 
Send Level 



Reverb 
Send Level 



OUTPUTl: 

This setting sends the original sound to OUTPUTl . 



L R 
-*- 0UTPUT1 O O 



Output Level 



OUTPUT2: 

This setting sends the original sound to OUTPUT2. 



-*■ OUTPUT2 



Output Level 



When OUTPUTl or OUTPUTl is selected as the output desti- 
nation, all settings for Chorus and Reiwrh are ignored. 
Wlien TYPE 2 to 10 is selected with Structure (»■ p. 43), the 
settings for Tone 1 (or Tone 3) are ignored. 



<Chorus> Chorus Send Level — to 127 OZHBi 

This parameter sets the level of the signal sent to Chorus for 



each Tone. 

<Reverb> Reverb Send Level - 



- to 127 



This parameter sets the level of the signal sent to Reverb for 
each Tone. 

• PATCH IFX TYPE 

<Type> EFX Type 

This parameter determines the type of EFX applied to the 

Patch. 

For a description of the EFX types, check out "Chapter 5 — 

MulK-Effector EFX (■» p. 83)." 

• PATCH EFX PRM (Patch EFX Parameter) 

This setting selects the parameter for the EFX chosen with 
EFX Type. The parameters that can be set vary from one EFX 
to another. 

For a description of EFX parameters, see "Chapter 5 — Multi- 
Effector EFX (<s- p. 83)." 

• PATCH EFX OUT (Patch EFX Output) 

This parameter determines how sound will be output when 
"EFX" is selected with Output Assign for OUTPUT. 
<Output Assign> Output Assign — MIX/OUT- 
FUT1/OUTFUT2 

Output Level — to 127 
Output Assign determines the output destination for the EFX 
sound, and Output Level sets the level of the output signal. 

MIX: 

Tills setting sends the EFX sound to MIX OUT. The sound 
is also simultaneously sent to Chorus and Reverb. 

L R 
MIXOUT 9 



(from TONE) 


EFX 




/ 








r 












/ 




: Mono line 


J3 

Chorus 
Send Level 






c/ 






p 





Reverb 
Send level 



OUTPUTl: 

This setting sends the EFX sound to OUTPUT] . 



{from TONE) 



L R 
-*■ OUTPUT 1 O 9 



Output Level 



OUTPUT2: 

This setting sends the EFX sound to OUTPUT2. 

L R 



(Itom TONE) 



EFX 



■^ 



-^ 0UTPUT2 G 9 



OiitQul Level 



Wlien OUTPUT! or OUTPUT! is selected as the output desti- 
nation, all settings for Chorus and Reverb are ignored. 



45 



<Chorus> Chorus Send Level — to 127 

This parameter sets the signal level sent to Chorus from EFX. 

<Reverb> Reverb Send Level — to 127 

This parameter sets the signal level sent to Reverb from EFX. 

• PATCH EFX CTRL (Patch EFX Control) 

The JV-lDBCl lets you use any one of a number of MIDI 
Controllers to vary EFX parameters in real time. 

* The number and type of EFX parameters that can be changed 
is predetermined according to the EFX type. One or two EFX 
parameters are shown on the top line of the screen, and these 
vary according to the type of EFX that you choose. For details 
on the EFX parameters that can be changed, see "Chapter 5 — 
Multi-Effector EFX (» p. 83)." 

EFX parameter 



r HI I ■. H B ijt 

El ■ LT'"LiMl'"iL'i.i.'i^ '■i M 






J 



EFX control source 1, 2 EFX control depth 1, 2(-63 to +63) 

Use EFX Control Source for each of the EFX parameters (that 
appear on the top line of the screen) to choose a Controller, 
and set the degree of action of the Controller with EFX 
Control Depth. 
You can choose any of the following as the EFX Control Source: 

OFF: 

No Controller is used. 

SYS-CTRLl: 

The Controller set with System Control Source 1, a system 
parameter, is used ("S' p. 68). 

SYS-CTRL2: 

The Controller set with System Control Source 2, a system 
parameter, is used (i^*' p. 68). 

MODULATION: 

Modulation (Control Change # 1) 

BREATH: 

Breath (Control Change # 2) 

FOOT: 

Foot (Control Change # 4) 

VOLUME: 

Volume (Control Change # 7) 

PAN: 

Pan (Control Change # 10) 

EXPRESSION: 

Expression (Control Change #11) 

BENDER: 

Pitch bend 

AFTERTOUCH: 

Aftertouch 

• Choose "SYS-CTRLl" or "SYS-CTRL2" if there is no need to 
use a different Controller for each Patch, or if you want to 
perform control with something other than the control 
changes described here. Use the system's Control Assign 1 
page to set the Controller (»■ p. 68). 

46 



• PATCH CHORUS 

<Rat> Chorus Rate — to 127 

Tfiis parameter sets die speed of the Chorus effect. 

<Dpt> Chorus Depth — to 127 

This parameter sets the depth of the Chorus effect. 

<Dly> Pre delay — to 127 

This parameter determines the time interval between when 
the original sound is heard and when the effect sound is 
heard. Larger values result in longer delays (creating a 
broader sound). 

<Fbk> Chorus Feedback — to 127 

This parameter determines the amount of Chorus sound that 
is returned (fed back) to the Chorus unit. Larger values result 
in more complex Chorus effects. 

<Level> Chorus Level — to 127 

This parameter sets the volume of the Chorus sound. 

<Output> Chorus Output Assign — MIX/ REVERB/ 
MIX+REV 

This setting determines how the Chorus somid is output. 

MIX: 

Tliis setting sends tlie Chorus sound to MIX OUT. 

(IromTONE) 



((ram EFX) 



(Irom EFX) 
((rom TONE) 



n 



L R 



REVERB: 

This setting sends the Chorus sound to Reverb. 



((ram TONE) 
((torn EFX) 



((rom EFX) - 
((ram TONE) - 



L R 
lUIIXQUT O 9 



MIX+REV: 

This setting sends the Chorus sound to botli MIX OUT and 
Reverb. 



((rom TONE) - 
(from EFX) - 

dram EFX) 
((ram TONE) • 



\U^ 



L R 
' MIXOUT O 9 



• PATCH REVERB 

<Type> Reverb Type 

This parameter selects the type of reverberation. 

ROOMl: 

Short, high-density reverb 



ROOM2: 

Short, low-density reverb 

STAGEl: 

Reverb with many late reflections 

STAGE2: 

Reverb with strong initial reflection 

HALLl: 

Sparkling reverb 

HALL2: 

Richly resounding reverb 

DELAY: 

Standard delay 

PAN-DLY: 

A delay that pans (moves) the reflections to left and right. 

<Time> Reverb Time — to 127 

For a tj'pe from "ROOMl" to "HALL2," this parameter sets 
the reverb time (i.e., how long the reverb continues). For 
"DELAY" or "PAN-DLY," this parameter sets the delay time. 
Larger values produce a greater sense of spaciousness. 

Reverb Delay 

^ Delay lime 



Hove* lime Time Original Delay Time 
sound sound 

<Lev> Reverb Level — to 127 

This parameter sets the volume of the reverb sound. 

<Fbk> Delay Feedback — to 127 

When "DELAY" or "PAN-DLY" has been selected as the 
type, this parameter sets the amount of delayed sound that is 
returned (fed back) to the Delay unit. Larger values result in 
longer delay times. 

<HF Damp> High-frequency Damp-200/250/31 5/400 
/500/630/800/1000/1250/1600/2000/2500/3150/4000/5000/6 
300/8000/BYPASS 

This parameter sets the point (frequency) at which the high- 
frequency components of the reverb sound are cut off. 

The HF Damp (high-frequency damp) parameter is used to 
simulate the acoustic properties of different materials. (For 
example, glass reflects more high frequencies than heavy car- 
peting.) 

A lower cutoff frequency results in a "darker" sound, and a 
higher frequency produces a "brighter" sound. When set to 
"BYPASS," no high frequencies are cut. 



■ Using Controllers to Change 
How Sounds are Played (CON- 
TROL) 

This selects the functions of the JV-lOSD's Controllers. 



• KEY MODE & BENDER 

<Assign> Key Assign Mode — POLY/SOLO 

Tills parameter determines whether the Patch is played as a 
polyphonic (POLY) or monophonic (SOLO) sound. 
Harmonies can be played when set to "POLY," and when 
"SOLO" is selected, only one sound at a time can be played. 

<Legato> Solo Legato — ON/OFF 

This parameter determines whether the Legato function is 
used (ON) or not (OFF). However, the Legato function can- 
not be used when the Key Assign Mode is set to "POLY." 

O What is Legato? 

When you hold down one key and play another, the Legato 
function preserves any envelope or LFO, and changes only 
the pitch played. This makes it possible to emulate guitar 
techniques such as hammering-on or pulling-off. 

<Bend Range> Bend Range 48 to (Down)/0 to 12 

(Up) 

Bend Range Down lets you set how far the pitch drops when 
the Bender lever is moved to the left (or when the wheel is 
lowered). You can set a pitch drop of up to four octaves, in 
semitone increments. Bend Range Up lets you set how far the 
pitch rises when the Bender lever is moved to the right (or 
when the wheel is raised). You can set a pitch rise of up to 
one octave (in semitone increments). 

• PORTAMENTO 

Portamento is an effect that causes pitch to change smoothly 
when one played key is followed by anotlner. 

<Sw> Portamento Switch — OFF/ON 

This parameter determines whether the Portamento effect is 
ON or OFF. 

Portamento can be used in the SOLO Key Assign Mode to 
achieve a smooth 'sliding' effect.reminiscent of a violin play- 
ing style. Portamento can al.so be used in the POLY Key 
Assign Mode (when playing chordal accompaniments). 

<Tm> Portamento Time — to 127 

This parameter determines the time required for the pitch to 
change from one note to the next when using the Portamento 
function. 

<Mode> Portamento Mode — NORMAL/LEGATO 

This parameter selects the Portamento mode. Portamento is 
always applied when "NORMAL" is selected, but when set 
to "LEGATO," Portamento is apphed only when you play in 
a legato style (with the notes smoothly connected). 

<Type> Portamento Type — RATE/TIME 

This parameter selects the type of Portamento effect. When set 
to "RATE," the time required to move from the first pitch to the 
second is proportionate to the distance between the two pitch- 
es. When "TIME" is selected, the change takes places over a 
fixed amount of time (regardless of tlie pitch interval). 

<Start> Portamento Start — PITCH/NOTE 

This parameter sets tlie point at which the Portamento effect 
begins. 

This setting controls what happens when a new key is played 
while a change to another pitch is already in progress. 
When set to "PITCH," the new portamento sweep starts at 
the pitch in effect when the new key is played. When set to 
"NOTE," the new portamento sweep starts from the pitch in 
effect when the original pitch change is complete. 

47 



When Portamento Start is set to "PITCH" 
Pitch 



05 



Portamento time 




Time 



1SI0N 2nd ON 3rd ON 
(04) (C5) (D4) 



When Portamento Start is set to "NOTE" 
Pitch 

Portamento time 




*■ Time 



1st ON 2nd ON 3rd ON 
(04) (05) (04) 



• RxSWITCH (Receive Switch) 

<Volume> Volume Control Switch — OFF/ON 



This parameter determines whether voliinie changes (ON) or 
not (OFF) when MIDI volume messages for the Tones are 
received. 

* This setting is ignored when the Volume setting for Receive 
MIDI, a system parameter, is set to "OFF" (^ p. 68). 

<Pan> Pan Control Switch — OFF/CONT/KEY-ON 



This parameter determines how MIDI pan messages are 
received for each of the Tones. 

OFF: 

The stereo position does not change when a pan message 
Is received. 

CONT: 

Pan messages are received and the stereo position changes. 

KEY-ON: 

The stereo position changes when a key is played accord- 
ing to received pan messages. However, even if a new pan 
message is received white a sound is being played, there is 
no change in the pan position until the next time a key is 
played. 
* This settitig is ignored when the Control Change setting for 
Receive MIDI, a system parameter, is set to "OFF" («■/». 68). 



<Bender> Bender Control Switch — OFF/ON | 

This parameter determines whether pitch changes (ON) or 
not (OFF) when MIDI bender messages for each of the Tones 
are received. 

* This setting is ignored ivltcn the Bender setting for Receive 
MIDI, a system parameter, is set to "OFF" (B"p. 68). 

* Ordinarily, volume messages control volume, pan messages 
control the stereo position, and bender messages control the 

48 



pitch being played. With the fV-IOSO, hoivcver, you can use 
these messages to control other Tone parameters and effects 
(■«■ p. 49). If you attempt this kind of use ivhen the Receive 
Switches are set to "ON," then the volume, panning, or pitch 
may change along ivith the parameter you xvant to control. To 
avoid this, be sure to set these sioitches to "OFF." 

* DAMPER 

<Hold-l Switch> Hold 1 Control Switch — OFF/ON 

This parameter determines whetlier a sound is held (ON) or 
not (OFF) when MIDI Hold 1 messages are received for the 
Tones. 

* TItis setting is ignored when the Hold 1 setting for Receive 
MIDI, a system parameter, is set to "OFF" (» p. 68). 

<ReDamper> Re-damper Control Switch — OFF/ON 

This setting determines (for each of the Tones) whether a 
decaying sound (the key has been released) is held (ON) or 
not (OFF) when a Hold 1 message is received. 

* Wlien the Hold 1 Control Switch is set to "OFF," no Re-damper 
effect takes place even if the Re-damper Control Switch is set to 
"ON." This setting is also ignored when the Hold 1 setting for 
Receive MIDI, a system parameter, is set to "OFF" i^p. 68). 

* PEAK & HOLD 

Witli the _IV-iaBD, you can use the hold pedal to sustain 
not only note messages, but also Control messages (such as 
modulation or aftertouch) when a Hold message is received. 

<Ef xCtrl> EFX Control Hold/Peak — OFF/HOLD/PEAK 

This setting determines how the value of an EFX parameter 
(to be changed with the EFX Control Source; «* p. 46) is 
maintained when a Hold message is received. 

OFF: 

Hold messages are not received. 

HOLD: 

The parameter value is maintained when a Hold message 
is received. 

PEAK: 

The parameter value is revised and maintained each time 
it changes to a new maximum value, even after a Hold 
message is received. 

* When you select the HOLD or PEAK settings, you will also 
need to specify what hold pedal information you will be 
using by means of these System parameters: Hold Control 
Source, and Peak Control Source («• p. 67). Also, you will 
need to turn ON the Hold 1 Control switch and Receive 
MIDI switch (System parameter) so you are set for the hold 
pedal you are using ("" p. 68). 

<Ctrll> Control 1 Hold/Peak — OFF/HOLD/PEAK 

TI\is setting determines how the value of a Tone parameter to be 
changed witli the Patch Control Source 1 (Modulation) is main- 
tamed when a Hold message is received. Tlie setting values are 
die same as those for the EFX Control Hold /Peak setting. 

<Ctrl2> Control 2 Hold/Peak — OFF/HOLD/PEAK 

This setting determines how the value of a Tone parameter to 
be changed with the Patch Control Source 2 is maintained 
when a Hold message is received. The setting values are the 
same as tliose for the EFX Control Hold /Peak setting. 



<Ctrl3> Control 3 Hold/Peak — OFF/HOLD/PEAK 

This setting determines how the value of a Tone parameter to 
be changed with the Patch Control Source 3 is maintained 
when a Hold message is received. The setting values are the 
same as those for the EFX Control Hold/Peak setting. 

• CONTROL SOURCE 

The JV-IDBO lets you use a variety of MIDI Controllers 
to change sounds in real time. This setting selects the 
Controller used to change the Tone parameters. 
* Patch Control Source 1 is set to Modulation (Control Change 
1) and cannot be changed. 

<Control2> Patch Control Source 2 
<Control3> Patch Control Source 3 

The Controllers assigned to Patch Controllers 2 and 3 can be 
selected from the following hst. 

OFF: 

No Controller is used. 

SYS-CTRLl: 

The Controller set with System Control Source 1 , a system 
parameter, is used («*• p.68). 

SYS-CTRL2: 

The Controller set with System Control Source 2 , a system 
parameter, is used (««' p.68). 

MODULATION: 

Modulation (Control Change # 1) 

BREATH: 

Breath (Control Change # 2) 

FOOT: 

Foot (Control Change # 4) 

VOLUME: 

Volume (Control Change # 7) 

PAN: 

Pan (Control Change # 10) 

EXPRESSION: 

Expression (Control Change #11) 

BENDER: 

Pitch bend 

AFTERTOUCH: 

Aftertouch 

LFOT: 

The rate for LFOl (The LFOs for Tones 1-4 act with respect 
to parameters within the same Tone.) 

LF02: 

The rate for LF02 (The LFOs for Tones 1-4 act with respect 
to parameters within the same Tone.) 

VELOCITY: 

Velocity 

KEYFOLLOW: 

Keyfollow (the parameter value changes according to the 
position on the keyboard, with C4 as "0") 

PLAY-MATE: 

Playmate (the parameter value changes according to the 
inter\'al between Note On and Note Off) 



• Choose "SYS-CTRLl" or "SYS-CTRL2" if there is no need to 
use a different Controller for each Patch, or if you want to 
have control with something other than the Control Changes 
described here. Use the System's Control Assign 1 page to set 
the Controller ("Wp. eS). 

* When the setting for Receive MIDI, a system parameter, is set 
to "OFF," then there is no effect ivhen any Controller is used. 



• CONTROL 1 to 3 

<Destination> Control Destination 1 to 4 



This parameter lets you simultaneously set up to four para- 
meters for the Tone changed by Patch Conh-ol Sources 1/2/3. 



<Depth> Control Depth 1 to 4 — -63 to +63 WESSM 

Tliis parameter sets the amount of change for any parameters 

set with Control Destination. 

Assignable Tone parameters (and ranges) are as follows: 



Destination (controlled parameter) 


Depth 
(setting range) 


Display 


Meaning 


OFF 


No parameters are controlled 




PCH 


Pitch 




CUT 


Cutoff frequency 




RES 


Resonance 




LEU 


Level (volume) 


-63 — +63(*1) 


PfiN 


Pan (stereo position) 




MIX 


Volume output from MIX OUT 




CHO 


Chorus depth 




REM 


Reverb depth 




PLl 


Depth of LFOl applied to pitch 




PL2 


Depth of LF02 applied to pitch 




FLl 


Depth of LF01 applied to cutoff 




FL2 


Depth of LF02 applied to cutoff 


-63 - +63 ('2) 


PiLl 


Depth of LF01 applied to volume 




fiL2 


Depth of LF02 applied to volume 




pLI 


Depth of LFOl applied to panning 




F-L2 


Depth of LF02 applied to panning 




LIR 

L2R 


LF01 rate 
LF02 rate 


-63 — +63 (*3) 



*1 Change is larger (higher) for positive (+) values and 

smaller (lower) for negative (-) values. 
*2 The LFO phase Is reversed for positive and negative 

values. 

In either case, however, depth increases as the value 

moves farther from (zero). 
*3 The LFO cycle is shorter for positive values and longer 

for negative values. 



49 



Selecting Waveforms (WAVE) 



This function lets you select the waveform that serves as the 
basis for a Tone, apply effects to the Vkfaveform, and control 
its pitch. 

• WAVE 

<Gr oup> Wa ve Group — INT-A or B/CARD/EXP-A 

toD Bgg|3B3 

This parameter determines the memory from which a wave- 
form is selected, 

INT-A or B: 

Selects a waveform stored in the JV-1DBD. 

CARD: 

Selects a waveform stored on a PCM Card. 

EXP-A to D: 

Selects a waveform stored on Expansion Board A, B, C, or D. 
<Nuinber> Wave Number — 1 to 255 HSiJi 

Selects the waveform that forms tlie basis of a Tone. Along with 
the wave number, the wave name appears in the display (in 
parentheses). 

<Gain> Wave Gain — -6/0/+6/+12 BMM 

Tliis parameter changes the gain of a waveform and is effec- 
tive when adjusting the level of a Tone (or using an amplified 
waveform after sending it tlirough the Booster (e«- p. 44). The 
value is displayed in decibels (dB). 

<Switch> Tone Switch — OFF/ON Dggjljli 

Tliis parameter determines whether each Tone is to be played 
(ON) or not (OFF). 

* Wlien TONE SWITCH [1] to [4] is used to switch a Tone on or 
off, this setting also changes automatically. 

* Tlie number of Tones played can be limited by sivitching off 
unused Tones. 

• FXM (Frequency Cross Modulation) 

FXM combines a specified wave with another waveform to 
create a third waveform. This is useful for generating metallic 
timbres or making special effect sounds. 



<Switch> FXM Switch — OFF/ON | 

This parameter determines whether FXM is used (ON) or not 
(OFF). 



<Color> FXM Color — 1 to 4 | 

This parameter determines the ambience of FXM. A larger 
value results in a 'rougher' sound, and a smaller value makes 
the sound more metallic. 



<Depth> FXM Depth — 1 to 16 | 

This parameter sets the depth of FXM application. 

• TONE DELAY 

This parameter sets the delay applied to each Tone. Tone 
Delay is different from the Effector's delay because it can also 
be used to change the tone of the delayed sound and play 
one-key arpeggios while changing the pitch of each Tone. 



The delay time can also be made to synchronize with the 
internal or external MIDI clock. 
<Mode> Tone Delay Mode HEBB 

Any of the following can be selected for Tone Delay. 

NORMAL: 

Tlie Tone is always played according to the delay time. 

HOLD: 

The delay effect is applied only while the note is on. No 
Tone is played if the note switches off before the end of the 
delay time. 

PLAY-MATE: 

if the time interval between the previous Note On and the 
current Note On is less than two seconds, the Tone is 
played with that interval taken as the delay time. 

CLOCK-SYNC: 

The Tone is played using the on-board (or external) tempo 
clock (««■ p. 67) setting. 

TAP-SYNC: 

The Tone is played with the interval set by tapping the foot 
pedal (Tap Control Source ics- p. 67). 

KEY-OFF-NORMAL: 

The Tone is played with the delay time after the note is off. 

KEY-OFF-DECAY: 

The TVA envelope starts from the time the note is on (dur- 
ing which time nothing is played), and the Tone is played 
with the delay time after the note is off. 



Note on Note off 



- No Tone Delay 



InormaTI 
Note on Note off 



HOLD 



Note on Note off 



: Delay time 


\ 



Delay time 



No sound ', 



I pu^ymateI 



■Previous 
Note On 



; Cun'ent Note On 



Delay time All playing 



Delay lime changes in accordance with 
Ihe preceding and following Note On times 



ICLOCK-SYli cl 



Delay time 

II 
Tempo clock 



Delay time 

It 

Rate of foot pedal depression 



50 



I KEY-OFF-NORMAL I 
Note on Note off 



I KEY-OFF-DECAY I 
Note on Note off 



effects such as vibrato, wow, and tremolo. 

The JV-iaSQ has two independent LFOs, called LFOl 

and LFOl. 



No sustain 



Delay time 



: Detey 



<Time> Tone De lay Time — to 127/0 to 880 (Note 
Display) igBgili 

This parameter sets the time interval between a Note On and 
when sound is actually heard (or from a Note Off if KEY- 
OFF-NORJvlAL or KEY-OFF-DECAY has been selected). 
If "PLAYMATE" has been selected, setting this to "64" causes 
the interval between the previous Note On and the current 
Note On to be taken as the delay time. When set to "127," an 
interval approximately twice as long as for "64" is set as the 
delay time. 

* Wtien "CLOCK-SYNC" or "TAP-SYNC" has been selected as 
the mode, the setting value is displayed as a Quarter-note res- 
olution. A note corresponding to this is displayed next to the 
setting value. For instance, if set to 96= J , the delay time 
ivotild be 0.5 seconds at a tempo of 120. 



Note setting value 


(Jiiarter-iuile 
rrsuliition 


K« 


'I'hiUl ni'*>'; 


7hH 


i> 


Pulllll .il'l.il' IiHtl'l 


i~h 


»' 


nruhlc^iiotJ'fnf.rn 


^1? 


U 


■\^ i 1 k MOk . 


^h4 





llu'liJllll' "will 


2h'' 


»|J 


\\1 K- n.i|i' InpU ') 


■"■>( 


O 


1 Idl. 1 Kl . 


1"? 


1 


1 ■•ill U ij 111''' 1 null 1 


144 


J. 


■Hil' no'i tr.|.iUli 


T"« 


J 


iQii.i'* I m-it 1 


Qf, 


J> 


rlJ.)l*(i.iL ghi}i-iii>y 


-2 


■> 


,(„'i'. rtt'i Poll 'iipU'l; 


hi 


^ 


il uhll" iK'b ' 


i" 


• 


I)i>ULj-UlL-C>ri!)i li.'l- 


1r 


.\ 


(F.i^hlh iiiiieti.j'kti 


^2 




'-i.*l unl!' >ii *' 1 


24 




,l)i.<ll'd in 'H-sL- iiiK- 


icil J ■'• 


A 


■i.'l'iui— -ni>ii irip'il 


If 




' il r'» -f ifu. ' ">■>'• 1 


\? 



When any of Type 2 to 10 has been selected with Structure («" 
p. 43), the Tone Delay setting for Tone 2 is used for TONEs 1 & 
2, and Tone Delay setting for Tone 4 is used for TONEs 3 &4 



■ Adding Vibrato to a Sound (LFO) 

An LFO (low-frequency oscillator) cyclically changes the 
pitch, cutoff frequency, and level to produce modulation 



• LFOl 

<Form> LFO Waveform | 

Any of the following LFO waveforms can be .selected. 
TRI SIN SAW SOU 



V 



Delta wave Sine wave Sawtooth Square wave 
wave 



TRP 



S&H 



RND 



CHS 



Trapezoidal Sample and Random Chaotic 
wave hold wave wave wave 




<KeyTrig> Key Trigger — OFF/ON | 

This parameter determines whether the timing with which 
the keyboard is played matches (ON) the LFO cycle or not 
(OFF).^ 



Off-*: 




Phase ctianges 



X- -r- Phase is the same 



C4 Note On E4 Note On G4 Note On 



<Rate> LFO Rate — to 127/0 to 880 (Note Display) 

This parameter sets the speed of the cycle of the LFO. 
When "CLOCK" or "TAP" has been selected with LFO 
External Sync, the setting value is displayed as a Quarter- 
note resolution. A note corresponding to this is displayed 
next to the setting value. 

See the Tone Delay Chart on the left side of 
this page for information on note resolution. 

* Wlicn "CHS" has been selected for LFO Waveform, LFO Rate 
has no effect. 

<ExtSync> LFO External Sync — OFF/CLOCK/TAP 

This parameter determines whether the LFO cycle is synchro- 
nized with the on-board (or external) tempo clock (CLOCK), 
or with the depression rate of the foot pedal (TAP). 
No synchronization takes place when set to "OFF." 

* When set to "CLOCK," use the system parameter Clock 
Source («" p. 67) to choose whether the internal or external 
tempo clock is to be used. 

* Wlien set to "TAP," use the system parameter Tap Control 
Source (w p. 67) to select the foot pedal. 



51 



<Mode> Fade Mode | 

This parameter selects how the LFO is applied. 

ON-IN: 

The LFO is applied gradually after the key is played. 

ON-OUT: 

The LFO is applied after the key is played, then gradually 
fades away. 

OFF-IN: 

The LFO is applied gradually after the key is released. 

OFF-OUT: 

The LFO is applied from the time the key is played until it 
is released, and after the release, it fades away gradually. 



<Delay> Delay Time — to 127 | 

For ON-IN, this parameter sets the interval from the time the 
key is played until the LFO starts to be applied (for ON-OUT, 
the hold time). For OFF-IN, this parameter sets the interval 
from the time the key is released until the LFO starts to be 
applied (for OFF-OUT, the hold time). 



<Fade> Fade Time — ■ to 127 

Tliis parameter sets the interval after the delay time until the 
LFO amplitude reaches its maximum (or minimum) value. 

Io?hn1 



High (maximum) i 



Pitch 
TVF cutolt 
TVA level 



Low (minimum) , r 



Delay 
lime 




Depth 



I0N.OUTI 
High (maximum) k 



Deiay time 



Pilch 
TVF cutoff 
TVA ieuel 



Low (minimum) 




lOFF-INI 
High (maximum) i 



Delay 

time Fade time 



Pitch 
TVF cutoff 
TVA level 



Low (minimum) 




Depth 



lOFF-OUTI 
High (maximum) i 



Pitch 
TVF cutoff 
TVA level 



Low (minimum) 



Delay time Fade time 




<Of fset> Level Offset — -100/-50/0/+50/+100 | 

This parameter shifts the LFO waveform up or down from 
the central values (pitch, cutoff frequency, and level). Positive 
values cause the waveform to shift for imdulations above the 
central values, and negative values cause the waveform to 
shift for undulations below the central values. 



Set to positive value 



Set to negative value 



Wavefonn shifted upward 



/\ 



■ Wavelorm shifted downward 



• LFO 2 Pages 

These make settings for LF02. 

* The parameters that can be set are identical to those for 
LFOl. 

• LFO DEPTH 1:2 (LFO Depth) 

<Filch> Pitch LFO Depth 1 or 2 — -63 to +63 HBH 

This parameter sets the extent of application when LFOl or 
LF02 is applied to the pitch. 



<TVF> Filter LFO Depth 1 or 2 63 to +63 | 

This parameter sets the extent of application when LFOl or 
LF02 is applied to the cutoff frequency. 

<TVA> Amplitude LFO Depth 1 or 2 63 to +63 



This parameter sets the extent of application when LFOl or 
LF02 is applied to the level (volume). 



<PAN> Pan LFO Depth 1 or 2 — -63 to +63 | 

This parameter sets the extent of application when LFOl or 

LF02 is applied to the pan (stereo position). 

* Negative and positive values for depth have opposite effects 
on the changes in pitch and volume. For example, if a positive 
depth value is set for one Tone and a negative value of the 
same magnitude is set for another Tone, the phase of the 
undulations is reversed. Tliis makes it possible to alternately 
sound different Tones and shift panning cyclically. 



m Changing the Pitch (PITCH) 

This function sets parameters related to the pitch of a Tone. 

• PITCH 

<Coarse> Coarse Tune — -48 to +48 BHH 

This parameter raises/lowers the pitch of a Tone by up to 
four octaves (in semitone steps). 



52 



<Fine> Fine Tune 50 to +50 

This parameter raises/lowers the pitch of a Tone in incre- 
ments of one cent (1/lOOth of a semitone). You can fine-tune 
the Tone by up to a quarter-tone in either direction. 



<Random> Random Fitch Depth — to 1200 I 

Tills deliberately causes the pitch of the Tone being played to 
fluctuate irregularly. The value is displayed in hundredths of 
a half-step. 

<KeyFlw> Pitch Key Follow 100/-70/-50/-30/- 

10/0/+10/+20/+30/+40/+50/+70/+100/+120/+150/+200 



This sets how high the pitch rises when the keyboard has 
been shifted up an octave (12 keys). When set to "+100," then 
when shifted upward one octave like an ordinary keyboard 
instrument, the pitch also rises by one octave. When set to 
"+200," however, the pitch rises two octaves, and when set to 
"-100" it drops an octave. When set to "0," every key plays at 
the same pitch. This is normally left set at "+100." 

+200 +150 




C7 
Keyboard position 



iiiiiniiiiiiiiiiniiniiiimiiiiiiif 



This varies the Pitch Envelope Tl according to velocity. 
When the value is positive, a larger velocity value results in 
faster change for Tl. The change is slowed when the value is 
negative. 

<V-T4> Velocity Time 4 Sensitivity 100/-70/-50/- 

40/-30/-20/-10/0/+10/+20/+30/+40/+50/+70/+100 



This varies the Pitch Envelope T4 according to the key off 
velocity. When the value is positive, a larger velocity value 
results in faster change for T4. The change is slowed when 
the value is negative. 

* 17115 effect is not applied when connected to a keyboard that 
cannot send key off velocity. 

<Time Keyfollow> Envelope Time Key Follow — - 

100/-70/-50/-40/-30/-20/-10/0/+10/+20/+30/+40/+50/+70/ 

This varies the Pitch Envelope according to the keyboard 
position. The envelope time of the C4 key is used as the ref- 
erence. When the value is positive, keys farther to the right 
side of the keyboard (the high range) produce shorter times 
up to T2 to T4. Negative values result in longer times. 

• PCH ENVELOPE (Pitch Envelope) 



Pitch 




Time 



• PCH ENV DPT (Pitch Envelope Depth) 

<Envelope Depth> Pitch Envelope Depth 12 to +12 



This sets the extent of the effectiveness of the Pitch Envelope. 
Larger values, either positive or negative, result in a greater 
range of change for the Pitch Envelope. Negative values 
reverse the form of the envelope. 




When Pitch Envelope 
Depth is positive (+) 

When Pitch Envelope 
Depth is negative (-) 



<Velocity Sens> Pitch Envelope Velocity Sensitivity 
— -100 to +150 BSB3B 

This changes tlie level of the Pitch Envelope according to 
velocity. When the value is positive, a larger velocity value 
results in a larger Pitch Envelope level. When negative, a 
larger velocity value results in a smaller Pitch Envelope level. 

• PCH TIME ENV (Pitch Time Envelope) 

<V-T1> Velocity Time 1 Sensitivity — -100/-70/-50/-40/- 
30/-20/-10/0/+10/+20/+30/+40/+50/+70/+100I 



<T1, T2, T3, or T4> Pitch Envelope Time 1, 2, 3, or 4 — 

to 127 iims 

This sets the time Tl, T2, T3, or T4 for the Pitch Envelope. 
Larger values result in longer times until the next pitch is 
reached (for instance, T2 controls the time from LI until L2 is 
reached). 

<L1, L2, L3, or L4> Pitch Envelope Level 1, 2, 3, or 4 — 

to 127 I 



This sets the level LI, L2, L3, or L4 for the Pitch Envelope. It 
determines how much the pitch changes from the reference 
pitch (set with Coarse Tune or Fine Tune) at each point. The 
change is higher than the reference pitch when this value is 
positive and lower than the reference pitch when negative. 



Changing the Sound (TVF) 



You can manipulate Tones with a TVF (Time Variant Filter), 
changing the brightness, thickness, and other aspects of the 
sound. 



53 



• FILTER 

<Typ> Filter Type — OFF/LPF/BPF/HPF/PKG 



This selects the type of filter. A filter is a hinction that cuts 
off a specific frequency band to change a sounds brightness, 
thickness, and other qualifies. If you don't want to use a fil- 
ter, set this to "OFF." 

LPF (Low-pass Filter): 

Components higher than the cutoff frequency are eliminat- 
ed. High-range frequencies are cut off, so the sound is 
rounder. This is the most often-used filter. 

BPF (Bandpass Filter): 

Only components near the cutoff frequency are allowed to 
remain — aU others are eliminated. This is good for mak- 
ing highly distinctive sounds. 

HPF (High-pass Filter): 

Components lower than the cutoff frequency are eliminat- 
ed. This filter is good for making percussion instruments 
with distinctive high ranges. 

PKG (Peaking Filter): 

The components near the cutoff frequency are emphasized. 
This expresses the special sound of a drum, and can even 
be used to create a wow effect. 



riPFl 



fHPFl 



Level 



Level 



Cutoff frequency 

[§pf1 



- Frequency 



Cutoff frequency 



■ Frequency 



Level 



Level 



- Frequency 



_A_ 



Cutoff frequency 



■ Frequency 



Cutoff frequency 

<Cut> Cutoff Frequency — to 127 | 

This specifies the frequency at which the filter effect starts 
(the cutoff frequency) witli respect to the frequency compo- 
nents of a waveform. 

When using LPF, lowering the cutoff frequency reduces high 
harmonics for a "rounder" sound, and a higher cutoff fre- 
quency produces a brighter sound. 

With BPF, the harmonic components that you hear vary 
according to the value for the cutoff frequency. This is good 
for making highly distinctive sounds. 

When using HPF, raising the cutoff frequency reduces the 
low harmonics, so the bright components of the sound are 
emphasized. 

With PKG, the emphasized harmonics that are played vary 
according to the value of the cutoff frequency. 

* The effects of the filters and cutoff frequencies vary greatly 
from one type of waveform to another. 



<Res> Resonance — to 127 I 

This lifts up the components of the sound near the cutoff fre- 
quency, making the sound more distinctive. 
* Setting this value too high may cause vibration and distor- 
tion of the sound. 

54 



Leva! 
High 



Setting 



Fre- 
■ii ^quency 



Cutoff Irequancy 



zl 



A. 



A. 



IK 



<KeyFlw> .Cutoff Key Follow — -100/-70/-50/-30/- 
10/0/+10/+20/+30/+40/+50/+70/+100/+120/+150/+200 



This makes the cutoff frequency change according to the 
position of the key played on the keyboard. 
The cutoff frequency for the C4 key is used as the reference. 
When the value is positive, keys farther to the right side of 
the keyboard (the high range) result in higher cutoff frequen- 
cies, and negative values give lower cutoff frequencies. 





+200 


+<50 ^^„ 


CutofI . 




O^ +100 


frequency ^v 




^ +70 





-10 






ii;;^ -30 






\^ -50 






S^ -70 


-^ — ^-f. — i — , 1 


1 r 


N -'°9 



02 03 



05 06 



07 

Keytraard position 



mi iiiiiiiininiiiiiiiniiiiiiiiiiiin 



<Env Dpt> TVF Envelope Depth— -63 to +63 



This sets the extent of the effectiveness of the TVF Envelope ( 
ra"p.55). Larger values, either positive or negative, result in a 
greater range of change for the TVF Envelope. Negative val- 
ues reverse the form of the envelope. 



Cutoff frequency 



Whan TVF Envelope Depth is positive (+) 



-100 



When TVF Envelope Depth is negative {-) 

• TVF VELOCITY 

<V-Sens> TVF Envelope Velocity Sensitivity 

to +150 UHSUBI 

This changes the level of the TVF Envelope according to 
velocity. 

When the value is positive, a larger velocity value results in a 
larger TVF Envelope level for a brighter sound. When nega- 
tive, a larger velocity value results in a smaller TVF Envelope 
level for a darker sound. 



<V-Curve> TVF Envelope Velocity Curve — 1 to 7 



This chooses the curve used when changing the cutoff fre- 
quency with velocity. The shape of the curve corresponding 
to the curve number (1 to 7) appears on the screen. 

<V-Resonance> Resonance Velocity Sensitivity 

This changes the amount of resonance applied according to 
the velocity. 

When the value is positive, a larger velocity produces greater 
resonance. When negative, resonance is reduced. The effect 
is not applied when the value is zero. 

• TVF TIME ENV (TVF Time Envelope) 

<V-T1> Velocity Time 1 Sensitivity 100/-70/-50/- 

40/-30/-20/-10/0/+10/+20/+30/+40/+50/+70/+100 



This varies the TVF Envelope Tl according to velocity. When 
the value is positive, a larger velocity value results in faster 
change for Tl . The change is slowed when the value is nega- 
tive. 

<V-T4> Velocity Time 4 Sensitivity 100/-70/-50/- 

40/-30/-20/-10/0/+10/+20/+30/+40/-H50/+70/+100 



This varies the TVF Envelope T4 according to the key off 
velocity. When the value is positive, a larger velocity value 
results in faster change for T4. The change is slowed when 
the value is negative. 

* TJiis effect is not applied when connected to a keyboard that 
cannot send key off velocity. 

<Time Keyfollow> Envelope Time Key Follow 

100/-70/-50/-40/-30/-20/-10/0/+10/+20/+30/+40/+50/ 

This varies the TVF Envelope according to the keyboard posi- 
tion. The envelope time of the C4 key is used as the refer- 
ence. When the value is positive, keys farther to the right 
side of the keyboard (the high range) produce shorter times 
up to T2 to T4. Negative values result in longer times. 

• TVF ENVELOPE 



Tl , TZ 73 



— Time 



T ■ When Envelope Depth is negative, the polarity (+/-) of the 
cutoff frequency is reversed. 

<T1, T2, T3, or T4> TVF Envelope Time 1, 2, 3, or 4 — 
to 127 [PALETTE] 

This sets the time Tl, T2, T3, or T4 for the TVF Envelope. 
Larger values result in longer times until the next cutoff fre- 
quency is reached (for instance, T2 controls the time from LI 
until L2 is reached). 

<L1, L2, L3, or L4> TVF Envelope Level 1, 2, 3, or 4 — 

to 127 BSB 

This sets the level LI, L2, L3, or L4 for the TVF Envelope. It 




determines how much the cutoff frequency changes from the 
reference cutoff frequency (set with Cutoff Frequency) at 
each point. The change is higher than the reference cutoff 
frequency when this value is positive and lower than the ref- 
erence cutoff frequency when negative. 



Changing the Volume (TVA) 



You can use a TVA (Time Variant Amplifier) to select the 
change in volume for each of the Tones. 

• TVA 

<Level> Tone Level — to 127 WB3BBM 

This sets the volume of the Tone. It is mainly used to balance 
the volume with other Tones. 

' The volume of an entire Patch is determined by the Patch 
Common Patch Level {«» p. 42). 

<Pan> Tone Fan — L64 to to 63R 

Sets the panning (localizes sound image) for each of the 
Tones. L64 is leftmost, is centered, and 63R is rightmost. 



<V-Sens> TVA Envelope Velocity Sensitivity 100 

to +150 iiMianai 

This changes the level of the TVA Envelope according to 
velocity. 

When the value is positive, a larger velocity value results in a 
larger TVA Envelope level for a louder sound. When nega- 
tive, a larger velocity value results in a smaller TVA 
Envelope level for lower volimie. 

<V-Curve> TVA Envelope Velocity Curve — 1 to 7 



This chooses the curve used when changing the cutoff fre- 
quency with velocity. The shape of the curve corresponding 
to the curve number (1 to 7) appears on the screen. 

• BIAS 

<Bias> Bias Level — -100/-7 0/-50/-40 /-30/-20/- 

10/0/+10/+20/-l-30/+40/+50/-i-70/-i-100mEBl 

When you want to make the volume change according to the 
keyboard position, this sets how much the volume changes 
as you move away from the bias point. When you set a posi- 
tive value, the volume gets louder as you move from the bias 
point. A negative value makes the volume grow softer. 

* Even when set to a positive value, the level will not exceed the 
maximum. 

<Foint> Bias Point — C-1 to G9 |Sffll 

This sets the key used as the reference for varying the volume 
when you want to change the volume according to the key- 
board position. 

<Direction>BiasDireclion— LOWER/UPPER/LOWER 
&UPPER/ALL I 



This sets the level for the direction to be changed — left or 
right — when you want to change the volume according to 
the keyboard position. 

LOWER: 

The volume changes when you move to the left (lower reg- 
ister) from the bias point. 



55 



UPPER: 

The voliune changes when you move to the right (upper 
register) from the bias point. 

LOWER&UPPER: 

The volume changes symmetrically when you move in 
either direction from the bias point. 

ALL: 

The volume changes linearly as you move from the lower 
register to the upper register, with the bias point at the 
center. 





''"'s 


-^ 




level 


+ 








C-1 Bias point G9 C 


■1 ^s'poinl G9 


I! 


III 




m 




11 


1 




E 


ill 



I iqWER&tffl P| H; ' | 




PAN MODULATION 



-100/-70/-50/-30/- 



<KeyFlw> Pan Key Follow — 

10/0/+10/+20/+30/+40/+50/+70/+100I 
This makes the panning change according to the position of 
the key played on the keyboard. The C4 key is used as the 
reference. When the value is positive, keys farther to the 
right side of the keyboard (the high range) result in panning 
to the right, and negative values give parming to the left. 

<Random> Random Pan Depth — to 63 ''^■■■™ 

Farming changes irregularly each time a key is played. The 
value you set for this deternunes the range of change. There 
is no change when set to zero. 

<Altemate> Alternate Pan Depth — L63 to to R63 



<V-T4> Velocity Time 4 Sensitivity 100/-70/-50/- 

40/-30/-20/-10/0/+10/+20/+30/+40/+50/+70/+100 



This varies the TVA Envelope T4 according to the key off 
velocity. When the value is positive, a larger velocity value 
results in faster change for T4. The change is slowed when 
the value is negative. 

• This effect is not applied when connected to a keyboard that 
cannot send key off velocity. 

<Time Keyfollow> Envelope Time Key Follow 

100/-70/-50/-40/-30/-20/-10/0/+10/+20/+30/ +40/+50/ 

This varies the TVA Envelope according to the keyboard 
position. The envelope time of the C4 key is used as the ref- 
erence. When the value is positive, keys farther to the right 
side of the keyboard (the high range) produce shorter times 
up to T2 to T4. Negative values result in longer times. 

• TVA ENVELOPE 



Tl , T2 , T3 



Level 




Time 



<T1, T2, T3, or T4> TVA Envelope Time 1, 2, 3, or 4 — 

This sets the Hme Tl, T2, T3, or T4 for the TVA Envelope. 
Larger values result in longer times until the next volume is 
reached (for instance, T2 controls the time from LI until L2 is 
reached). 

<L1, L2, or L3> TVA Envelope Level 1, 2, or 3 — to 

127BEBIIIii 

This sets the level LI, L2 or L3 for the TVA Envelope. It 
determines how much the volume changes from the refer- 
ence volume (set with Tone Level) at each point. 



The soimd image is panned altematingly to the right and left 
each time a key is played. The changes are made with the 
value set for Tone Pan at the center. There is no change when 
set to zero. If you set two Tones respectively to L and R, the 
stereo position is swapped each time they are played. 

• TVA TIME ENV (TVA Time Envelope) 

<V-T1> Velocity Time 1 Sensitivity 100/-70/-50/- 

40/-30/-20/-10/0/+10/+20/+30/+40/+50/+70/+100 



This varies the TVA Envelope Tl according to velocity. 
When the value is positive, a larger velocity value results in 
faster change for Tl. The change is slowed when the value is 
negative. 



56 



2. Perfor m ance Edit Mode 



3C 



COMMON EFFECTS CONTRO. WAVE 



Range that 
Key R ange set with Perform ance ^ can be played 



j COMMON EFFECTS MIDI PART 



■Making Settings for an Entire 
Performance (COMMON) 



These set parameters and key ranges for an entire 
Performance. 

• PERFORM NAME (Perfonnance Name) 

You can give a Performance a name up to 12 characters in 
length. 

The same procedure that you use to change a Patch name can 
be used to change a Performance name. 

Available characters: 

Space, A to Z, a to z, to 9, +-»/ 1 =?<>()[]|l:;./"-#%&$¥®'^_ 

• PERFORM TEMPO (Performance 
Tempo) 

<Default Tempo Default Tempo — 20 to 250 

This sets the speed of the tempo clock built into the unit, 
which controls the parameters for Tones and Effects. 
The Patch parameters also have a Tempo Clock setting, but in 
the Performance mode the Default Tempo values for the 
Patches in each Part are ignored, and the parameters for the 
Parts are controlled by the Default Tempo you set here. 

• Wlien using the internal tempo clock, pet the Clock Source 

system parameter (t^ p. 66) to "INT." 

• Vie internal tempo clock is not output from MIDI OUT. 

• PERFORM KEY MODE (Performance 
Key Mode) 

<Key Range> Key Range Switch — OFF/ON 

This selects whether the setting for Key Range is enabled 

(ON) or disabled (OFF). 

• KEY RANG (Key Range) 

<Key Lower> Key Range Lower — C-1 to G9 BiEi 

This sets the key of the lowest sound played for the Parts, 
» // you try to make this value higher than the key set for Key 

Range Upper, the value for Key Range Upper changes at the 

same time. 



<Key Upper> Key Range Upper — C-1 to G9 I 

Tliis sets the key of the highest sound played for the Parts. 
* If you try to make this value lower than the key set for Key 

Range Lotver, the value for Key Range Lower changes at the 

same time. 

The relationship with Key Range set with Patch Common is 
as shown below. 






Key Range set with Patch 
Key Range set with Performance No sound 



!llillllllllllllllllllllilll!llil!iHlim 



Key Range set with Patch 

• RESERVE (Voice Reserve) 

<Voice Reserve> Voice Reserve — to 64 ""™™™ 

This setting determines the number of voices set aside for 
each Part during a performance that has more than 64 voices. 
Because each time a Patch is played it uses a nimiber of voic- 
es equal to the number of Tones that make up the Patch, you 
should set this to a number of voices equal to the number of 
Tones multiplied by the nimiber of played soimds that are 
required. However, the total of Voice Reserve settings for 
each Part cannot be higher than 64. The number in parenthe- 
ses indicates the number of voices that are left and are avail- 
able for setting. 

♦ The number of sounds that the _IV-lDBO can play simulta- 
neously varies by the number of Tones in the Patches. Using 

one Tone means using one voice. The JV-IDBD can use up 
to 64 voices. This means that if a Patch uses only one Tone, 
64 sounds can be played at the same time. But if a Patch uses 
two Tones, then only 32 sounds can be played simultaneously. 



m Selecting Effects Added to the 
Performance (EFFECTS) 



MIX/EFX/OUT- 



• OUTPUT 

<Output Assign> Output Assign 
PUT1/OUTPUT2 IS^l 
Output Level — to 127 HBBI 

Output Assign determines the output destination for each 
Part, and Output Level sets the level of the output signal. 

MIX: 

This sends the original sound to EFX. The sound is also 
simultaneously output to Chorus and Reverb. 

EFX: 

This sends the original sovmd to MIX OUT. The sound is 
also simultaneously output to Chorus and Reverb. The 
output destination of the sound passing through EFX fol- 
lows the Output Assign setting for PERFORM EFX OUT. 

OUTPUTl: 

This sends the original sound to OUTPUTl. 

OUTPUT2: 

This sends the original sound to OUTPUT2. 



57 



PATCH: 

This sends the original sound according to the output des- 
tinations of the Output Assign settings made for the 
Patches selected for the Part (<^ p. 45). When this setting is 
made, the Output Level, Chorus Send Level, and Reverb 
Send Level values are added to the corresponding values 
for the Patch. 

* When OUTPUn or OUTPUT2 is selected as the output desti- 
nation, the settings for Chorus and Reverb are ignored. 

* If you want to keep the Output settings for each of the Tones, 
set this to PATCH. If you set it to something else other than 
PATCH, the Output settings for the Tones (Output Assign, 
Output Level, Chorus Setid Level, and Reverb Send Level) are 
disabled, and the Output settings for the Part become effec- 
tive. 



<Chorus> Chorus Send Level — lo 127 | 

This sets the level of the signal sent to Chorus for each Part. 



<Reverb> Reverb Send Level — to 127 | 

This sets the level of the signal sent to Reverb for each Part. 

• PERFORM EFX TYPE (Performance 
EFX Type) 

<Type> EFX Type 

This determines the type of EFX applied to the Performance. 
For a description of the EFX types, check out "Chapter 5 — 

Multi-Effector EFX" («s- p. 83). 

* This is disabled when EFX Source is set to 1-9111-16. 

<Source> EFX Source — PERFORM/1-9/11-16 

This selects whether the EFX set for the Performance is 
applied to the entire Performance (PERFORM), or whether 
one of the EFXs set for the Patches of the Parts is selected and 
applied to the enhre Performance (1-9/11-16). 
» Tlie EFX set for a Patch and the EFX set for the Performance 
cannot be used at the same time. 

' Wlien set to 1-9111-16, the settings for the EFX Type and the 
following Performance EFX Parameter, Performance EFX 
Output and Performance EFX Control are disabled, and the 
settings for the Patch EFX are enabled. 

• PERFORM EFX PRM (Performance 
EFX Parameter) 

This selects the parameter for the EFX chosen with EFX Tyqpe. 
The parameters that can be set vary from one EFX to another. 
For a description of EFX parameters, see "Chapter 5 — Multi- 
Effector EFX" (cf p. 83). 

* Tliis setting is ignored when EFX Source is set to 1-9/11-16. 

• PERFORM EFX OUT (Performance EFX 
Output) 

This sets how sound through EFX will be output when "EFX" 

is selected with Output Assign for OUTPUT. 

* This setting is ignored when EFX Source is set to 1-9111-16. 

<Output Assign> Output Assign — MIX/OUT- 

PUT1/OUTPUT2 

Output Level — to 127 

Output Assign determines the output destination for the EFX 

58 



sound, and Output Level sets the level of the output signal. 

MIX: 

This sends the EFX sound to MIX OUT. The sound is also 
simultaneously output to Chorus and Reverb. 

OUTPUTl: 

This sends the EFX sound to OUTPUTl. 

OUTPUT2: 

This sends the EFX sound to OUTPUT2. 
* When OUTPUTl or OUTPUTl is selected as the output desti- 
nation, all settings for Chorus and Reverb are ignored. 

<Chorus> Chorus Send Level — to 127 

This sets the level of the signal sent to Chorus from EFX. 

<Reverb> Reverb Send Level — to 127 

This sets the level of the signal sent to Reverb from EFX. 

• PERFORM EFX CTRL (Performance 
EFX Control) 

The JV-IDBD lets you use any of a variety of MIDI 
Controllers to vary EFX parameters in real time. 

Just as with Patch EFX Control, you use EFX Control Source 
to choose a Controller, and set the degree of action of the 
Conb-oller with EFX Control Depth (-63 to +63). 

You can choose any of the following as the EFX Control 
Source. 

OFF: 

No Controller is used. 

SYS-CTRLl: 

The Controller set with System Control Source 1 , a system 
parameter, is used («" p. 68). 

SYS-CTRL2: 

The Controller set with System Control Source 2 , a system 
parameter, is used (•* p. 68). 

MODULATION: 

Modulation (Control Change # 1) 

BREATH: 

Breath (Control Change # 2) 

FOOT: 

Foot (Control Change # 4) 

VOLUME: 

Volume (Control Change # 7) 

PAN: 

Pan (Control Change # 10) 

EXPRESSION: 

Expression (Control Change #11) 

BENDER: 

Pitch bend 



AFTERTOUCH: 

Aftertouch 

* Choose "SYS-CTRLl" or "SYS-CTRL2" if there is no need to 
use a different Controller for each Performance, or if you want 
to perform control with something other than the control 
changes described here. Use the system parameter's Control 
Assign 1 page to set the Controller (» p. 68). 

* When the switch for Receive MIDI, a system parameter, is set 
to "OFF," then there is no effect ivhen any Controller is used. 

* Tltis setting is ipiored when EFX Source is set to 1-9111-16. 

• PERFORM CHORUS (Performance 
Chorus) 

<Rat> Chorus Rate — to 127 

This sets the speed for tine uiidulations of tlie Chorus sound. 

<Dpt> Choras Depth — to 127 

This sets the depth of the undulations of the Chonis sound. 

<Dly> Pre delay — to 127 

This sets the time from the playing of the original sound to 
the playing of the Chorus sound. Larger values result in 
broader sounds, 

<Fbk> Chorus Feedback — to 127 

This sets the amount of sound from Chorus that is returned 
(fed back) to Chorus. Larger values result in Chorus effects 
of greater complexity. 

<Level> Chorus Level — to 127 

This sets the volume of the Chorus sound. 

<Output> Chorus Output Assign — MIX/REVERB/ 
MIX+REV 

This setting determines how the Chorus sound is output. 

MIX: 

This outputs the Chorus sound to MIX OUT. 

REVERB: 

This outputs the Chorus sound to Reverb. 

MIX+REV: 

This outputs the Chorus sound to both MIX OUT and 
Reverb. 

• PERFORM REVERB (Performance 
Reverb) 

<Type> Reverb Type 

This parameter selects the type of reverberation. 

ROOMl: 

Short, high-density reverb 
ROOM2: 

Short, low-density reverb 

STAGEl: 

Reverb with many late reflections 

STAGE2: 

Reverb with strong initial reflection 



HALLl: 

Sparkling reverb 

HALL2: 

Richly resoimding reverb 

DELAY: 

Standard delay 

PAN-DLY: 

A delay that pans (moves) tlie reflections to left and right. 

<Time> Reverb Time — to 127 

For a type from "ROOMl" to "HALL2," this sets the reverb 
time (i.e., how long the reverb continues). For "DELAY" or 
"PAN-DLY," this sets the delay time. Larger values produce 
a feeling of gi'eater space. 

<Lev> Reverb Level — to 127 

This sets the volume of the reverb sound. 

<Fbk> Delay Feedback — to 127 

When "DELAY" or "PAN-DLY" has been chosen as the type, 
this sets the amount of delayed sound that is returned (fed 
back) to the delay. Larger values result in a delay sustained 
for a longer time. 

<HF Damp> High-frequency Damp — 200/250/315 
/400/500/630/800/1000/1250/1600/2000/2500/3150/4000/50 
00/6300/8000/BYPASS 

This sets the frequency at wliich the high-frequency compo- 
nents of the reverb sound are cut off. 

A lower cutoff frequency results in a "darker" sound, and a 
higher frequency produces a brighter sound. When set to 
"BYPASS," no high-fi-equency components are cut off. 



■ Setting the MIDI Channel for a 
Part (MIDI) 



These set the MIDI message receive switch and receive chan- 
nel for each of the Parts. 

• CONTROL 



<Channel> MIDI Channel — 1 to 16 | 

This sets the MIDI receive channel for each Part. 

* Be careful when using this setting, because if you set it to the 

same channel as "Control Channel," a system parameter («*' p. 

66), then the Control Channel setting takes ftriority and when 

a program change message is received the Performance will be 

sivitched, too. 



<Rx> MIDI Receive Switch — OFF/ON | 

This determines whether MIDI messages for each Part are 
received (ON) or not received (OFF). 

• The setting you make here changes automatically if you 
stvitch PART SWITCH [119] to [8116] on or off while in the 
Performance Play mode. 



59 



• Rx MIDI (Receive MIDI) 

<Volume> Receive Volume — OFF/ON M 

This determines whether MIDI volume messages for each 
Part are received (ON) or not received (OFF). 
* This setting is ignored when the Volume setting for Receive 
AdIDI, a system parameter, is set to "OFF" (»*• p. 68). 



<Hold-l> Receive Hold 1 — OFF/ON 

This determines whether MIDI hold 1 messages for each Part 
are received (ON) or not received (OFF). 

* This setting is ignored when the Hold 1 setting for Receive 
MIDI, a system parameter, is set to "OFF" («" p. 68). 

<Program Change> Receive Program Change — 

OFF/ON BSB 

This setting determines whether MIDI program change mes- 
sages for each Part are received (ON) or not received (OFF). 

» 77118 setting is igiwred when the Program Receive setting for 
Receive MIDI, a system parameter, is set to "OFF" (^ p. 68). 



■ Selecting the Patch Assigned to 
a Part (PART) 

This assigns a Patch or Rhythm Set to each of the Parts. 

• PATCH 



<Group> Patch Group | 

This selects the group of the Patch (or Rhythm Set, for Part 
10) to assign to each Part. 

USR: 

User Memory Patch 

CRD: 

DATA Card Patch 

PCM: 

PCM Card Patch 

PRA to PRC: 

Patch from Preset Memory A to C 

GM: 

Patch from Preset Memory D (GM sound) 

XPA to XPD: 

Patch from Expansion Board A to D 

<Number> Patch Number — 001 to 255 | 

This selects the number of the Patch to assign to each Part. 
The name of the selected Patch appears on the display in 
parentheses. 

* For USR, PRA to PRC, and GM, you can choose a number 
from 001 to 128. For CRD, PCM, and XPA to XPD, you can 
choose any Patch immher up to the number of Patches stored 
on the device. 

60 



* You can't select a Patch from a DATA Card, PCM Card, or 
Expansion Board unless that device is installed in your JV- 
lOBO. 



■ Setting the Pitch for a Part 
(PITCH) 

This makes settings related to the pitch of each Part. 

• PITCH 

<Pitch Coarse> Pitch Coarse Tune 48 to +48 



This shifts the pitch of a Part by up to four octaves up or 
down, in semitone steps. 

The pitch varies relatively, with the pitch of the Patch taken 
to be zero. 



<Pitch Fine> Pitch Fine Tune — -50 to +50 | 

This shifts the pitch of a Part up or down in increments of 
one cent (1/ 100th of a semitone). 

You can fine-tune the Tone by up to half a half-step (one 
quarter-tone) in either direction. 



■ Setting the Stereo Position for 
a Part (PAN) 

This sets the parming (localizes sound image) for each of the 
Parts. 

• PAN 

<Part Pan> Part Fan — L64 to to 63R lifiBillB 

Sets the parming (localizes sound image) for each of the Parts. 

L64 is leftmost, is centered, and 63R is rightmost. 

* Because panning is also set within each Patch, the stereo 

position of each Patch is shifted from its current position by 

the value you set here. 



■ Setting the Volume for a Part 
(LEVEL) 

Tliis sets the level (volume) for each Part. 

• LEVEL 



<Level> Part Level — to 127 | 

This sets the volume of the Part. It is mainly used to balance 
the voliune with other Parts. 



3. Rhythm Edit Mode 



II - nil " llil - nil 


C3 ""I'll 


1 " 1 


II " nil - I 


:lll " II 






1 L'-o f 






|cOMMCMg EFFECTS CONTnCM. 


WAVE 


HTCH TVF 


TVA j 


COMMON EFFECTS MIDI 


PART 




PITCH PAN 


LEVEL 


SETUP — - MIDI 






TUNE 


PREVIEW 



■ Naming a Rhythm Set (COM- 
MON) 

• RHYTHM NAME (Rhythm Set Name) 

You can give a Rhythm Set a name up to 12 characters in 
length. 

The same procedure that you use to change a Patch name can 
be used to change a Rhythm Set name. 

Available characters: 

Space, A to Z, a to z, to 9, +-*/ I =?<>()[] (|:;./"-#%&$¥@'^_ 



■ Selecting Effects Added to the 
Rhythm Set (EFFECTS) 



* The parameters at the pages for the Effects you set here, except 
for the OUTPUT page, are Performance parameters currently 
called up to the temporary area. This means that if you want 
to save the data for these parameters, you must first change 
over to the Performance mode and save it as Performance 
data. However, if you've called this Rhythm Set from another 
Performance, then its Effect settings belong to that 
Performance. 

• OUTPUT 

<Output Assign> Output Assign — MIX/EFX/OUT- 

PUT1/OUTPUT2 

Output Level — to 127 

Output Assign determines the output destination for each 
Rhythm Tone, and Output Level sets the level of the output 
signal. 

MIX: 

This sends the original sound to MIX OUT. The sound is 
also simultaneously output to Chorus and Reverb. 

EFX: 

This sends the original sound to EFX. The sound is also 
simultaneously output to Chorus and Reverb. Tlie output 
destination of the sound passing through EFX follows the 
Output Assign setting for PERFORM EFX OUT. 

OUTPUTl: 

Tliis sends the original sound to OUTPUTl. 

OUTPUT2: 

This sends the original sound to OUTPUT2. 

' When OUTPUT! or OUTPUT2 is selected as the output desti- 
nation, the settings for Chorus and Reverb are ignored. 

<Chorus> Chorus Send Level — to 127 

This sets the level of the signal sent to Chorus for each 



Rhythm Tone. 

<Reverb> Reverb Send Level — to 127 

This sets the level of the signal sent to Reverb for each 
Rhythm Tone. 

• PERFORM EFX TYPE (Performance 
EFX Type) 

<Type> EFX Type 

This determines the type of EFX applied to the Performance. 

For a description of the EFX types, check out "Chapter 5 — 
Multi-Effector EFX" ("s- p. 83). 

* 77115 IS disabled when EFX Source is set to 1-9111-16. 

<Source> EFX Source — PERFORM/1-9/11-16 

This selects whether the EFX set for the Performance is 
applied to the entire Performance (PERFORM), or whether 
one of the EFXs set for the Patches of the Parts is selected and 
applied to the entire Performance (1-9/11-16). 

* The EFX set for a Patch and the EFX set for the Performance 
cannot be used at the same time. 

* When set to 1-9111-16, the settings for the EFX Type and the 
following Performance EFX Parameter, Performance EFX 
Output and Performance EFX Control are disabled, and the 
settings for the Patch EFX are enabled. 

• PERFORM EFX PRM (Performance 
EFX Parameter) 

This selects the parameter for the EFX chosen with EFX Type. 
The parameters that can be set vary from one EFX to another. 
For a description of EFX parameters, see "Chapter 5 — Multi- 
Effector EFX" (1®- p. 83). 

* This setting is ignored when EFX Source is set to 1-9111-16. 

• PERFORM EFX OUT (Performance EFX 
Output) 

This sets how sound through EFX will be output when "EFX" 
is selected with Output Assign for OUTPUT. 

• ITiis setting is ignored when EFX Source is set to 1-9111-16. 

<Output Assign> Output Assign — MIX/OUT- 

PUT1/OUTPUT2 

Output Level — to 127 

Output Assign determines the output destination for the EFX 
sound, and Output Level sets the level of the output signal. 

MIX: 

This sends the EFX sound to MIX OUT. The sound is also 
simultaneously output to Chorus and Reverb. 

OUTPUTl: 

This sends the EFX sound to OUTPUTl. 

OUTPUT2: 

Tliis sends the EFX sound to OUTPUTl. 

• Wlten OUTPUTl or OUTPUT2 is selected as the output desti- 
nation, all settings for Chorus and Reverb are ignored. 



61 



<Chorus> Chorus Send Level — to 127 

This sets the level of the signal sent to Chorus from EFX. 

<Reverb> Reverb Send Level — to 127 

This sets the level of the signal sent to Reverb from EFX. 

* PERFORM EFX CTRL (Performance 
EFX Control) 

The JV-10B0 lets you use any of a variety of MIDI 
Controllers to vary EFX parameters in real time. 

Just as with Patch EFX Control, you use EFX Control Source 
to choose a Controller, and set the degree of action of the 
Controller with EFX Control Depth (-63 to +63). 

You can choose any of the following as the EFX Control 
Source. 

OFF: 

No Controller is used. 

SYS-CTRLl: 

The Controller set with System Control Source 1 , a system 
parameter, is used ("Sf p. 68). 

SYS-CTRL2: 

The Controller set with System Control Source 2 , a system 
parameter, is used (^ p. 68). 

MODULATION: 

Modulation (Control Change # 1) 

BREATH: 

Breath (Control Change # 2) 

FOOT: 

Foot (Control Change # 4) 

VOLUME: 

Volume (Control Change # 7) 

PAN: 

Pan (Control Change # 10) 

EXPRESSION: 

Expression (Control Change #11) 

BENDER: 

Pitch bend 

AFTERTOUCH: 

Aftertouch 

* Choose "SYS-CTRLl" or "SYS-CTRL2" if there is no need to 
use a different Controller for each Performance, or if you want 

to perform control with something other than the control 
changes described here. Use the system parameter's Control 
Assign page to set the Controller (•^ p. 68). 

' When the switch for Receive MIDI, a system parameter, is set 
to "OFF," then there is no effect when any Controller is used. 

* TTii's setting is ignored when EFX Source is set to 1-9111-16. 

• PERFORM CHORUS (Performance 
Chorus) 



<Rat> Chorus Rate — to 127 

This sets the speed for the undulations of the Chorus sound. 

<Dpt> Chorus Depth — to 127 

This sets the depth of the undulations of the Chorus sound. 

<Dly> Pre delay — to 127 

This sets the time from the playing of the original sound to 
the playing of the Chorus sound. Larger values result in 
broader sounds. 

<Fbk> Chorus Feedback — to 127 

This sets the amoxmt of sound from Chorus that is returned 
(fed back) to Chorus. Larger values result in Chorus effects 
of greater complexity. 

<Level> Chorus Level — to 127 

This sets the volume of the Chorus sound. 

<Output> Chorus Output Assign — MIX/REVERB 
/MIX+REV 

This setting determines how the Chorus soimd is output. 

MIX: 

This outputs the Chorus sound to MIX OUT. 

REVERB: 

This outputs the Chorus sound to Reverb. 

MIX+REV: 

This outputs the Chorus sound to both MIX OUT and 
Reverb. 

• PERFORM REVERB (Performance 
Reverb) 

<Type> Reverb Type 

This parameter selects the type of reverberation. 

ROOMl: 

Short, high-density reverb 

ROOM2: 

Short, low-density reverb 

STAGEl: 

Reverb with many late reflections 

STAGE2: 

Reverb with strong initial reflection 

HALLl: 

Sparkling reverb 

HALL2: 

Richly resounding reverb 

DELAY: 

Standard delay 

PAN-DLY: 

A delay that pans (moves) the reflections to left and right. 

<Time> Reverb Time — to 127 

For a type from "ROOMl" to "HALL2," this sets the reverb 
time (i.e., how long the reverb continues). For "DELAY" or 
"PAN-DLY," this sets the delay time. Larger values produce 
a feeling of greater space. 



62 



<Lev> Reverb Level — to 127 

This sets the volume of the reverb sound. 

<Fbk> Delay Feedback — to 127 

When "DELAY" or "PAN-DLY" has been chosen as the type, 
this sets the amount of delayed sound that is returned (fed 
back) to the delay. Larger values result in a delay sustained 
for a longer time. 

<HF Damp> High-frequency Damp — 200/250/315 
/400/500/630/800/1000/1250/1600/2000/2500/3150/4000/50 
00/6300/800D/BYPASS 

This sets the frequency at which the high-frequency compo- 
nents of the reverb sound are cut off. 

A lower cutoff frequency results in a "darker" sound, and a 
higher frequency produces a brighter sound. When set to 
"BYPASS," no high-frequency components are cut off. 



■ Using Controllers to Change 
How Sounds Are Ployed (CON- 
TROL) 

These make settings for the Controllers and for how Rhythm 
Tones are played. 

• CONTROL 

<Bender> Bender Range — to 12 

This lets you set how far the pitch changes when the Bender 
lever is moved to the right or left (or when the wheel is 
turned). You can set a range up/down to one octave in semi- 
tone increments. 

<EnvMode> Envelope Mode — NO-SUS/SUSTAIN 

This sets whether the time of the sustain level (L3) for the 
Pitch/TVF/TVA Envelope is ignored (NO-SUS) or recog- 
nized (SUSTAIN). With one-shot sounds this is effective 
when set to "NO-SUS." 



tiate by groups so that rhythm sounds with identical num- 
bers are not played simultaneously. Up to 31 groups can be 
set. There is no muting when set to "OFF." 

* RxSWITCH (Receive Switch) 

<Volume> Volume Control Switch — OFF/ON 

This determines whether the volume changes (ON) or 
doesn't change (OFF) when MIDI volume messages are 
received for the Rhythm Tones. 

* This setting is ignored when the Volume setting for Receive 
MIDI, a system parameter, is set to "OFF" («■ p. 68). 

<Pan> Fan Control Switch — OFF/CONT/KEY-ON 

This sets how MIDI pan messages for each of the Rhythm 
Tones are received. 

OFF: 

The stereo position does not change when a pan message 
is received. 

CONT: 

Pan messages are received and the stereo position changes. 

KEY-ON: 

The stereo position changes according to pan messages 
when the key is on, but even if a new pan message is 
received while the sound is played, there is no change in 
the stereo position until the next time the key is on. 

* This setting is ignored when the Control Change setting for 
Receive MIDI, a system parameter, is set to "OFF" («• p. 68). 

<Hold-l Switch> Hold 1 Control Switch — OFF/ON 

This determines whether a sound is held (ON) or not held 
(OFF) when MIDI hold 1 messages are received for the 
Rhythm Tones. 

* TTiis setting is ignored when the Hold 1 setting for Receive 

MIDI, a System parameter, is set to "OFF" (•* p. 68). 



Sound stops 




Time 



Time 



<Mute Group> Mute Group — OFF/1 to 31 

This lets you assign numbers to Rhythm Tones and differen- 



■ Selecting Waveforms for a 
Rhythm Tone (WAVE) 



This lets you select the waveform that serves as the basis for a 
Rhythm Tone, apply effects to the waveform, and control its 
pitch. 

• WAVE 

<Group> Wave Group — INT-A or B/CARD/EXP-A 
toD 

This determines the form of memory from which a waveform 
is to be chosen. 

INT-A or B: 

Selects a waveform stored in the JV-1080. 

CARD: 

Selects a waveform stored on a PCM Card. 

EXF-A to D: 

Selects a waveform stored on Expansion Board A, B, C, or D. 

63 



<Number> Wave Number — 1 to 255 

Selects the waveform that forms the basis of a Rhythm Tone. 
Along with the wave number, the wave name appears on the 
display m parentheses. 

<Gain> Wave Gain 6/0/+6/+12 

This changes the gain of a waveform, and is effective when 
adjusting the level of a Rhythm Tone. The value is displayed 
in decibels (dB). 

<Switch> Tone Switch — OFF/ON 

This determines whether each Rliythm Tone is to be played 
(ON) or not played (OFF). 



■ Changing the Pitch of a 
Rhythm Tone (PITCH) 

This sets parameters related to the pitch of a Rhythm Tone. 

• PITCH 

<Coarse> Source Key — C-1 to G9 

This sets the pitch of the key in wWch the Rhythm Tone is to 
be played. 

<Fine> Fine Tune 50 to +50 

This shifts the pitch of a Rhythm Tone up or down in incre- 
ments of one cent (1/ 100th of a semitone). 
You can fine-tune the Rliythm Tone by up to half a half-step 
(one quarter-tone) in either direction. 

<Random> Random Fitch Depth — to 1200 

This deliberately causes the pitch of the Rhytlim Tone being 
played to fluctuate irregularly. The value is displayed in 
hundredths of a half-step. 

<Env Dpt> Pitch Envelope Depth 12 to +12 

This sets the extent of the effectiveness of the Pitch Envelope, 
Larger values, either positive or negative, result in a greater 
range of change for the Pitch Envelope. Negative values 
reverse the form of the envelope. 

• PCH VELOCITY (Pitch Velocit/} 

<Velocity Sens> Pitch Envelope Velocity Sensitivity 
— -100 to +150 

This changes the level of the Pitch Envelope according to 
velocity. When the value is positive, a larger velocity value 
results in a larger Pitch Envelope level. When negative, a 
larger velocity value results in a smaller Pitch Envelope level. 

<Velocity Time> Velocity Time Sensitivity 100/- 

70/-50/-40/-30/-20/-10/0/+10/+20/+30/+40/+50/+70/+100 
This varies the entire Pitch Envelope time according to veloc- 
ity. 

When the value is positive, a larger velocity value results in 
faster change in the Pitch Envelope time. The change is 
slowed when the value is negative. 

• PCH ENVELOPE (Pitch Envelope) 



Pitch 




Time 



<T1, T2, T3, or T4> Pitch Envelope Time 1, 2, 3, or 4 — 
to 127 

This sets the time Tl, T2, T3, or T4 for the Pitch Envelope. 
Larger values result in longer times until the next pitch is 
reached (for instance, T2 controls the time from LI until L2 is 
reached). 

<L1, L2, L3, or L4> Pitch Envelope Level 1, 2, 3, or 4 — 
to 127 

This sets tlie level LI, L2, L3, or L4 for the Pitch Envelope. It 
determines how much the pitch changes from the reference 
pitch (set with Coarse Tune or Fine Time) at each point The 
change is higher than the reference pitch when this value is 
positive and lower than the reference pitch when negative. 



■ Changing the 
Rhythm Tone (TVF) 



Sound of a 



You can manipulate Rhythm Tones with a TVF (Time Variant 
Filter), changing the brightness, thickness, and other aspects 
of the sound. 

• FILTER 

<Type> Filter Type — OFF/LPF/BPF/HPF/PKG 

This selects the type of filter. If you don't want to use a filter, 
set this to "OFF." 

LPF (Low-pass Filter): 

Components higher than the cutoff frequency are eliminat- 
ed. High-range frequencies are cut off, so the sound is 
rounder. This is the most often-used filter. 

BPF (Bandpass Filter): 

Only components near the cutoff frequency are allowed to 
remain — aD others are eliminated. This is good for mak- 
ing highly distinctive sounds. 

HPF (High-pass Filter): 

Components lower than the cutoff frequency are eliminat- 
ed. This filter is good for making percussion instruments 
with distinctive high ranges. 

PKG (Peaking Filter): 

The components near the cutoff frequency are emphasized. 
This expresses the special soimd of a drum, and can even 
be used to create a wow effect. 

<Cutof£> Cutoff Frequency — to 127 

This specifies the frequency at which the filter effect starts 
(the cutoff frequency) with respect to the frequency compo- 
nents of a waveform. 

* The effects of the filters and cutoff frequencies vary greatly 

from one type of waveform to another. 



64 



<Res> Resonance — to 127 

This lifts up the components of the sound near the cutoff fre- 
quency, making the sound more distinctive. 

<Env Dpt> TVF Envelope Depth— -63 to +63 

This sets the extent of the effectiveness of the TVF Envelope. 
Larger values, either positive or negative, result in a greater 
range of change for the TVF Envelope. Negative values 
invert the shape of the envelope. 

• TVF VELOCITY 

<V-Sens> TVF Envelope Velocity Sensitivity 100 

to +150 

This changes the level of the TVF Envelope according to 
velocity. 

When the value is positive, a larger velocity value results in a 
larger TVF Envelope level for a brighter sound. When nega- 
tive, a larger velocity value results in a smaller TVF Envelope 
level for a darker sound. 

<V-Time> Velocity Time Sensitivity — -100/-70/-50/- 
40/-30/-20/-10/0/+10/+20/+30/+40/+50/+70/+100 
This varies the entire TVF Envelope time according to veloci- 
ty. When the value is positive, a larger velocity value results 
in faster change in the TVF Envelope time. The change is 
slowed when tihe value is negative. 

<V-Resonance> Resonance Velocity Sensitivity — - 

100 to +150 

This changes the amount of resonance applied according to 
the velocity. 

When the value is positive, a larger velocity produces greater 
resonance. When negative, resonance is reduced. The effect 
is not applied when the value is zero. 

• TVF ENVELOPE 




Tifire 

i i 

Key on Key off 

■ When Envelope Depth is negative, Itie polarity (+/-) of the 
cutoff frequency is reversed. 



<T1, T2, T3, or T4> TVF Envelope Time 1, 2, 3, or 4 — 

to 127 

This sets the time Tl, T2, T3, or T4 for the TVF Envelope. 
Larger values result in longer times until the next cutoff fre- 
quency is reached (for instance, T2 controls the time from LI 
until L2 is reached). 

<L1, L2, L3, or L4> TVF Envelope Level 1, 2, 3, or 4 — 

to 127 

This sets the level LI, L2, L3, or L4 for the TVF Envelope. It 
determines how much the cutoff frequency changes from the 
reference cutoff frequency (set with Cutoff Frequency) at 
each point. The change is higher than the reference cutoff 
frequency when this value is positive and lower than the ref- 
erence cutoff frequency when negative. 



■ Changing the Volume of a 
Rhythm Tone (TVA) 



You can use a TVA (Time Variant Amplifier) to select the 
change in volume for each of the Rhythm Tones. 

• TVA 

<Level> Tone Level — to 127 

This sets the volume of the Rhythm Tone. 

<Pan> Tone Fan — L64 to to 63R 

Sets the panning (stereo position) for each of the Rhythm 

Tones. 

L64 is leftmost, is centered, and 63R is rightmost. 

<Random> Random Pan Depth — to 63 

Panning changes irregularly each time a key is played. The 
value you set for this determines the range of change. There 
is no change when set to zero. 

<Alt> Alternate Pan Depth — L63 to to R63 

The soimd image is panned alternatingly to the right and left 
each time a key is played. The changes are made with the 
value set for Tone Pan at the center. There is no change when 
set to zero. If you set two Tones respectively to L and R, the 
stereo position is swapped each time they arc played. 

• TVA VELOCITY 

<Velocity Sens> TVA Envelope Velocity Sensitivity 
— -100 to +150 

This changes the level of the TVA Envelope according to 
velocity. When the value is positive, a larger velocity value 
results in a larger TVA Envelope level for a louder sound. 
When negative, a larger velocity value results in a smaller 
TVA Envelope level for a softer sound. 

<Velocity Time> Velocity Time Sensitivity 100/- 

70/-50/-40/-30/-20/-10/0/+10/+20/+30/+40/+50/+70/+100 
This varies the entire TVA Envelope time according to veloci- 
ty. When the value is positive, a larger velocity value results 
in faster change in the TVA Envelope time. The change is 
slowed when the value is negative. 

• TVA ENVELOPE 



Level 



Time 

A 

Key on Key off 

<T1, T2, T3, or T4> TVA Envelope Time 1, 2, 3, or 4 — 
to 127 

This sets the time Tl, T2 or T3 for tlie TVA Envelope. Larger 
values result in longer times until the next volume is reached 
(for instance, T2 controls the time from LI until L2 is 
reached). 

<L1, L2, or L3> TVA Envelope Level 1, 2, or 3 — to 
127 

This sets the level LI, L2, L3, or L4 for the TVA Envelope. It 
determines how much the volume changes from the refer- 
ence volume (set with Tone Level) at each point. 

65 




4. System iVIode 



Pressing the [SYSTEM] button calls up the parameters for tlie 
System mode, no matter what mode you may be in at the 
time. The parameters you set here affect the entire JV- 
IDBO, so they remain effective even if you switch to the 
Patch mode or Performance mode, etc.(except for some para- 
meters for the GM mode) These settings remain in memory 
even if you end your session without performing a write 
operation. 



Ill " III! " li!l " nil ^ III! ^li 



U 



COMMON FPFFCTS CONTROL 
COMMON EFFECTS MOI 



WAVE 
PART 



PITCH 
PITCH 



TVF 
PAN 



TVA 
LEVEL 



Making Settings for MIDI (MIDI) 



This makes settings for MIDI receive channels and con- 
trollers. 

The screen tliat is displayed depends on the mode you were 
in before you pressed the [SYSTEM] button. 

• PERFORM MIDI (Performance MIDI) 

This screen is displayed when you press [SYSTEM] wliiie in 
the Performance mode. 



■ Making Selections for Settings 
and the Display (SETUP) 



This lets you make various settings for the JV-IOBD, and 
also adjust the brightness of the display. 

• SYSTEM SETUP 

<LCD> LCD Contrast — 1 to 10 

This adjusts the contrast (brightness) for the display. A larg- 
er value results in a brighter screen. 

<PowerUp> Powerup Mode — DEFAULT/LAST 

This selects the screen displayed when you turn on the 
power. 

DEFAULT: 

The Patch "USER: 001" Play screen is displayed. 

LAST: 

The Play screen for the Patch, Performance, or GM mode 
selected before you last switched off the power is dis- 
played. 

<Patch Remain> Patch Remain Switch — OFF/ON 

This selects whether the sounds of a previously played 
Patch or Rhythm Set arc kept (ON) or not kept (OFF) when 
you change the Patch or Rliyfhm Set. 

• RHYTHM EDIT KEY 

<Source> Rhythm Edit Source — PANEL/PANEL 
&MIDI 

TWs sets whether Rliythm Tones to be edited are to be chosen 
by operating the controls on the JV-IDBO (PANEL), or 
whether they can also be chosen with the keys on a MIDI 
keyboard comiected to the unit (PANEL&MIDl). 

PANEL: 

Rhythm Tones can only be selected with the TONE 
SELECT buttons on the _JV-iaBD. 

PANEL&MIDI: 

Rhytlim Tones can be selected with the TONE SELECT buttons 
on die -IV-IDBO, or by pressing tine corresponding key on a 
MIDI keyboard connected to the JV-IQSa («5 p. 34). 



<Control Channel> Control Channel — 1 to 16/OFF 

This sets tlie channel for switching a Performance, which is 
different from the channels for the Parts of the Performance. 
If this channel matches the receive channel for any of the 
Parts, then Performance switching takes priority. Nothing is 
received when set to "OFF." 

* The MIDI receive channels for the Parts arc set with 
Performance parameters. 

<Clock> Clock Source — INT/MIDI 

When controlling Tone or EFX parameters (such as Delay 
Time or LFO Rate) with the tempo clock, this selects whether 
the unit's built-in clock (INT) or the clock for an external 
MIDI device (MIDI) will be used. 

* The internal tempo clock is determined by the Default Tempo 
Performance Common parameter (M-p. 57). However, this 
tempo clock is not output from MIDI OUT. 

<Stack> Stack — OFF/1 of 2/2 of 2/1 of 3/.../8 of 8 

The Stack function lets you combine two or more JV- 
lOBD units and increase the number of sounds that can be 
played simultaneously. You can hook up and use up to eight 
units. 

[Usage with Three Connected Units] 



Keyboard 



MIDI OUT 
MIDI IN 



[THRU 



JV-1080(1 of 3) 



I IN 



THRU 



JV-10eO(2of3) 



IN 



JV-1080(3of3) 



Sequence of sounds played 
1 »• 

4 > 

7 >• 

10 >- 



Setting value 



When set to "OFF," the Stack function is disabled and each 
JV-IDBO plays in sequence all of the note messages that 
are received. 

* T/if Stack function does not ivork ivith Patches or Rhythm 
Tones for which Solo or Portamento has been turned on. 

Rhythm Sets are played on the first JV-1DBD, and Patches 
for which Solo or Portamento has been turned on are played 
on the second JV-IDBQ. 

• PATCH MIDI 

This screen is displayed when you press [SYSTEM] while in 
the Patch mode. 



66 



<Receive Channel> Patch Receive Channel — 1 lo 16 

This sets the MIDI receive channel in the Patch Play mode. 

<Clock> Clock Source — INT/MIDI 

When controlling Tone or EFX parameters (such as Delay 
Time or LFO Rate) with the tempo clock, this selects whether 
the unit's built-in clock (INT) or the clock for an external 
MIDI device (MIDI) will be used. 

* The internal tempo clock is determined by the Default Tempo 
Patch parameter (""p. i2). However, this tempo clock is not 
output from MIDI OUT. 

<Stack> Stack — OFF/1 of 2/2 of 2/1 of SI..M of 8 
The Stack function lets you combine two or more JV- 
inBD units and increase the number of sounds that can be 
played simultaneously. See the description of the 
Performance MIDI Stack function. 

• GM MODE MIDI 

This screen is displayed when you press [SYSTEM] while in 
the GM mode. 

<Clock> Clock Source — MIDI 

Provides for control of EFX parameters (such as Delay Time) 
using the MIDI clock from an external device. In the GM 
mode, this parameter is always fixed to "MIDI". However, if 
no MIDI clock has arrived, the parameters will be controlled 
in accord with a calculation which converts a note's duration 
to what it should be at a tempo of 120 bpm. 

<Stack> Stack — OFF/1 of 2/2 of 2/1 of 3/.../8 of 8 
The Stack function lets you combine two or more _IV- 
lOBO units and increase the number of sounds that can be 
played simultaneously. See the description of the 
Performance MIDI Stack function. 

• SYS-EXC MIDI (System Exclusive 
MIDI) 

MIDI messages such as Performance and Patch data that are 
specific to certain devices are called "exclusive" messages, or 
SysEx messages. This sets how the JV-IQBO exchanges 
SysEx messages with external MIDI devices. 

<Unit #> Unit Number — 17 to 32 

This setting ensures a match with the device ID number of 
the other device when exchanging SysEx messages. 

<Rx.Exc> Receive System Exclusive — OFF/ON 

This setting determines whether SysEx messages from an 
external device are received (ON) or not received (OFF). 

<Tx.Exc> Transmit System Exclusive — OFF/ON 

When a Patch or Rhythm Set parameter has been changed, 
this setting determines whether that information is sent (ON) 
or not sent (OFF) as a SysEx message. 

<Rx.GM> Receive GM Message — OFF/ON 

This setting determines whether GM MIDI messages from an 

external device are received (ON) or not received (OFF). 

* Set Receive GM Message to "ON" when you want to play 
back a GM score, or if you want the _JV-IDBP to switch to 
the GM mode automatically. 



• CONTROL SOURCE 

<Tap> Tap Control Source — OFF/HOLD-1/SOST/ 
SOFT/HOLD-2 

This setting determines what pedal information is used for 
control when the tempo of the MIDI dock is determined by 
how rapidly the pedal is depressed. 

OFF: 

No control 

HOLD-1: 

Hold 1 (Control Change # 64) 

SOST: 

Sostenuto (Control Change # 66) 

SOFT: 

Soft pedal (Control Change # 67) 

HOLD-2: 

Hold 2 (Conh-ol Change # 69) 

When using Tap Control Soiwce, the time intervals are calcu- 
lated as shown below in order to determine what is recog- 
nized as being the duration of quarter notes. The tempo is 
altered to accord with this. 

[A] [B] tC] [D] 



Start 



* : Timing at which pedal is tapped 



First: nothing occurs 

Second: interval of A 

Third: average of B and A intervals 

Fourth: average of C, B, and A intervals 

Fifth: average of D, C, B, and A intervals 

From the fifth tap onwards, the value is always an average 
that includes the values for the four previous taps. 

* Note, however, that if the value for the current interval will 

cause a reduction of more than 10% in the tempo, the unit will 
begin a new record of the averages (as in the second tap 
above). 

<Hold> Hold Control Source — OFF/HOLD-1/SOST/ 
SOFT/HOLD-2 

This setting determines what pedal information is used for 
control when the pedal is used to maintain (hold) sound 
parameters. The settings are the same as for Tap Control 
Source. 

<Feak> Peak Control Source — OFF/HOLD-1/SOST 
/SOFT/HOLD-2 

This setting determines what pedal information is used for 
control when the pedal is used to hold the maximum values 
of sound parameters. The settings are the same as for Tap 
Control Source. 

* When each Control Source has been set to "HOLD-1," you 
should also set Hold 1 for Receive MIDI to "ON." Wlien set 
to "SOST," "SOFT," or "HOLD-2," set Control Change for 
Receive MIDI (■* p. 68) to "ON." 



67 



• RECEIVE MIDI 

<P.C Bnk C.C Vol Hid Bnd Mod Aft> — OFF/ON 

This sets whether MIDI messages of each type are received 
(ON) or not received (OFF). 

P.C: Program Change 

Hid: Hold 1 

Bnk: Bank Select 

Bnd: Bender 

C.C: Control Change 

Mod: Modulation 

Vol: Volume 

Aft: Aftertouch 

• CONTROL ASSIGN 1 

<Control 1> System Control Source 1 — CCOO to 
CC95/BENDER/AFTERTOUCH 

<Control 2> System Control Source 2 — CCOO to 
CC95/BENDER/AFTERTOUCH 

These set two Controllers for making Tone and EFX parame- 
ters change in real time. You can assign a Control Change 
number (0 to 95), Bender, or Aftertouch. 
Patches and Performances also have Controller settings, and 
when "SYS-CTRLl" is selected for them, the Controller set 
with System Control Source 1 is used. In the same way, 
choosing "SYS-CTRL2" causes the Controller set with System 
Control Source 2 to be used. 

* A Controller for which the switch for Receive MIDI, a System 
parameter, is set to "OFF" has no effect even if used. 

* The Tone parameters to be changed are set with the Patch 
Control Destination (■«*■ p. 49). EFX parameters to be changed 
are predetermined according to the EFX type («" p. 83). 

* Control Change messages contain predetermined functions, 
but the JV-IOBO can assign and use functions that are 
different from these. You should be aware, however, that such 
usage does not conform to the operation of Control Change 
messages as prescribed by MIDI standards. 

* CONTROL ASSIGN 2 

<Volume> Volume Control Source — VOLUME 
A/^OL+EXP 

This makes the volume of Patches and Performance Parts 
change according to Control Change messages. 

VOLUME: 

Change is effected only by Volume messages (Control 
Change # 7). 

VOL+EXP: 

Change is effected by the addition of Volume messages 
and Expression messages (Control Change # 11). 

<A£tertouch> Aftertouch Source — CH-AFTER/ 
POLY-AFTER/CH&POLY 

Aftertouch is a function that adds qualities such as vibrato, 
pitch bending, or other sound changes when a key that has 
already been played is then pressed with greater force. This 
setting lets you select the type of aftertouch to be received. 



CH-AFTER: 

Only Channel Aftertouch is received. (With Channel 
Aftertouch, the effect is applied to all the notes on the same 
MIDI channel.) 

POLY-AFTER: 

Only Polyphonic Aftertoucli is received. (With Polyphonic 
Aftertouch, the effect is applied separately for each indi- 
vidual key.) 

CH&POLY: 

Both Channel Aftertouch and Polyphonic Aftertouch are 
received. 



■ Adjusting the Tuning (TUNE) 

These settings let you tune the unit or fine-tune the pitch of a 

scale. 

The screen that is displayed depends on the mode you were 

in before you pressed the [SYSTEM] button. 

• TUNE 

<Master Tune> Master Tune — 427.4 to 452.6 
This sets the overall tuning for the JV-IDBD. The fre- 
quency of the A4 key is displayed as the value. 

<Scale Tune> Scale Tune Switch OFF/ON 

This selects whether the Scale Tune function is to be used 
(ON) or not used (OFF). 

Scale Tune Function 

Scale Tune is a function for fine-tuning each pitch from C to 
B. Tuning the notes of a single octave causes the pitch of all 
octaves to be fine-tuned. By making the settings for Scale 
Time, you can set a variety of pitch timings other than equal 
temperament. 

O Equal Temperament 

With this system, an octave is divided into 12 equal parts. 
This is the tuning system that is most widely used in Western 
music. The JV-IOSa uses equal temperament when Scale 
Tune Switch is set to "OFF." 

O Pure Temperament (C is Tonic) 

The three fundamental chords resound beautifully compared 
with even temperament. However, this effect can be obtained 
in only one key, and transposition makes the chord ambigu- 
ous. Some sample settings for keys that take C as the tonic 
are given here. 

O Arabian Scale 

In this scale, E and B are a quarter-tone lower and C#, F#, 
and G# are a quarter-tone higher than in even temperament. 
The intervals from G to B, C to E, F to G#, A# to C#, and D# 
to F# have a neuhral third (the interval between a major third 
and a minor third). With the JV-iaSO, you can enjoy the 
Arabian scale in three keys — G, C, and F. 



68 



Note Even Temperament Pure Temperament Arabian Scale 







(C is Tonic) 




c 








-6 


c# 





-8 


+45 


D 





+4 


-2 


D# 





+16 


-12 


E 





-14 


-51 


F 





-2 


-8 


F# 





-10 


+43 


G 





+2 


-4 


G# 





+14 


+47 


A 





-16 





A# 





+ 14 


-10 


B 





-12 


-49 



• PART SCALE 

This screen is displayed when you press the [SYSTEM] but- 
ton while in the Performance mode. 

Scale Tune C to B — -63 to +63 iBSiii 

This sets the pitch of each note for the currently selected 
Performance Part. The setting is in increments of one cent 
(1 /100th of a semitone). There are two screens — one for the 
black keys and one for the white keys. 

• PATCH SCALE 

This screen is displayed when you press the [SYSTEM] but- 
ton while in the Patch mode. 



Scale Tune C to B 63 to +63 ! 

This sets the pitch of each note for the currently selected 
Patch. The setting is in increments of one cent (1/lOOth of a 
semitone). There are two screens — one for the black keys 
and one for the white keys. 

* Pressing a key from C to B on the MIDI keyboard causes the 
on-screen cursor to mova^o the selected key. 



m Using the JV-IOBO's Controls 
to Play Test Sounds (PREVIEW) 



Even when no MIDI keyboard is connected to the JV- 
lOBO, you can play test soimds by pressing the VOLUME 
knob. The settings you make here determine how these test 
sounds are played. 

• PREVIEW MODE 

<Mode> Preview Sound Mode — SINGLE/CHORD 

This sets how the test sounds will be played. When set to 
"SINGLE," the sounds are played sequentially, one at a time. 
The sounds are played together when set to "CHORD." The 
sound itself is set with Preview Key described below. 

• PREVIEW KEY 

<Note l-4> Preview Key Set 1 to 4 — C-1 to G9 

This sets the pitches and note numbers for the test sounds. 
You can set up to four sounds. 

• PREVIEW VELOCITY 

<Note l-4> Preview Velocity Set 1 to 4 — 1 to 127 

This sets the volume for the test sounds, with separate set- 
lings for notes 1 to 4. 



69 



5. Utility Mode 



You can enter the Utility mode from any other mode simply 
by pressing tlie [UTILITY] button. The Utility mode lets you 
perform operations such as writing edited data to memory, 
copying data, or sending data to another device. In addition, 
the parameters you set in this mode remain in force even if 
you switch to another mode later. 

Here's how to get around in the Utility mode. 

1. Press [UTILITY] to make the indicator light up and display 
the menu screen. 



Ul ILK 
ilb'lU 1 



gl.lF'l",h 



iLLf- 
j 






i -,-1 TLC" 



OZZD 



fi — n 



L.1TILIT', fCMPD 



fELOLl 
1 CGPV 



I El I'J 



I FPlTuP", 



DATA Card's protect switch is off. After writing the data, 
turn the protect switch back on to prevent data loss. 




OFF- 



When [UTILITY] is pressed while in the Performance 
mode... 

• PERFORM WRITE (Performance 
Write) 

This takes the Performance data in the temporary area and 
writes it to memory. 

Use the VALUE knob, the [INC]/[DEC] buttons, or the 
SOUND GROUP buttons to select the Performance Number 
("Number") for the write destination. 



PEH-LWI iljjnbe [Hti: = £ El!n=>- 



Prms ih« FUNCTION SELECT butlDii ixx tha led sidii under the cflsplay 



2. Press the FUNCTION SELECT button corresponding to 
the position of the display menu items to call up the 
Parameter Setting screen for the selected menu item. 
Another way to get to the Parameter Setting screen is to 
use the [-^]/[^] buttons to move the cursor and make the 
desired menu item blink, then press the [ENTER] button. 

3. Use the [•^]/[^-] buttons to move the cursor to the desired 
parameter, then use the VALUE knob or the [INC] /[DEC] 
buttons to change tlie value. (The details of the settings are 
explained for each item.) 

4. The message "[Press ENTER]" appears in the right-hand 
corner of the Parameter Setting screen. After making the 
setting, press [ENTER] to put it into effect. When the oper- 
ation is finished, the message "COMPLETE" is displayed. 

* If you want to stop an operation that is in progress, press the 
[EXITI button. 

* // you press [UTILITY] while in the GM mode, only one GM 
Setup screen is displayed. For details, see "Chapter 4 — Otlier 
functions of the JV-IOBD ('^ p. 76). 



■ Saving the Data You've Created 
(WRITE) 



This writes edited data to the unit's User Memory, or to a 
DATA Card. The screen that is displayed depends on the 
mode you were in before you pressed the [UTIUTY] button. 

• If you want to write data to the User Memory, first make sure 
that Internal Protect i*^ p. 72) is set to "OFF." If you leave it 
on, then the folloiving screen appears when you try to write 
the data. 



PATCH 
WRITE 



fUser- Mer'iory Write ProtscWd. 
i WPIT&=!:UTILITV3/CPMCELsi:EKIT3 



To cancel, press [EXIT]. Pressing [UTILITY] forces the data 
to be written. 

* If you ivant to write data to a DATA Card, first insert a 
DATA Card into the DATA Card slot, and make sure that the 

70 



' Pertormance Name of the write destination 

Performance Number of the write destination 
(USR = User Memory, CRD = DATA Card) 

The name of the selected Performance appears in parentheses. 
When [UTILITY] is pressed while in the Patch mode... 

• PATCH WRITE 

This takes the Patch data in the temporary area and writes it 
to memory. 



I Patch Name of the write destination 

Patch Number of the write destination 
(USR = User Memory, CRD = DATA Card) 

Use the VALUE knob, the [INC]/[DEC] buttons, or the 
SOUND GROUP buttons to select the Patch Number 
("Number") for the write destination. 

The name of the selected Patch appears in parentheses. 

If you want to check the sound of the write destination 
Patch... 

When you're performing a Patch Write operation, pressing 
[UTILITY] before executing the write operation displays the 
Patch Compare screen. Patch Write is the only operation that 
lets you do this. When you've displayed this screen, you can 
play the MIDI keyboard to check the sound of the write desti- 
natioii Patch. This handy feature can help prevent the over- 
writing of important Patches. 

You can also change Patches while at this screen. To return 
to the Patch Write screen, press [UTILITY]. 



PATCH. ■'■'IMurAier-- - ■ - , ■ {Press UTILITY! 
COMPARE JLSR? SB KCfygj;!^! ^ Uox '> ^ 



I Patch Name of the write destination 

Patch Number ol the write destination 
(USH = User Memory, CRD = DATA Card) 

• Note that from the Compare screen the sound may not ahvays 
sound the same as it does in the Play mode. 



When [UTILITY] is pressed while in the Rhythm Set 
mode... 



PH TH 
III "n? 



■fii'N; '■£- 



£'-i\Z\'1 



I Rhythm Set Name of the write destination 

Rhythm Set Number of the write destination 
(USR = User Memory, CRD = DATA Card) 

• RHYTHM WRITE (Rhythm Set Write) 

This takes the Rhythm Set data in the temporary area and 
writes it to memory. 

Use the VALUE knob, the [INC]/[DEC] buttons, or the 
SOUND GROUP buttons to select the Rhythm Set Number 
("Number") for the write destination. 

The name of the selected Rhythm Set appears in parentheses. 



Use the VALUE knob, [INC]/[DEC] buttons, or SOUND 

Copy source name 



1=^. ''OF I 'iFr:Pi'0''"HIL'gr5 'li ''hi. ■=! i.ijj : 



Copy source number 

USR: User Memory 

CHD: DATA Card 

PRAtoPRC: Preset A to C 

GM: Preset D 
Copy source 
PERFORM: Performance Effect settings 
PATCH: Patch Effect settings 

GROUP buttons to choose the copy source number 
("Nimaber"). 

The name of the selected Performance or Patch appears in 
parentheses. 



Copying Data (COPY) 



This copies Patch Performance, or Rliytiim Set data to the 
temporary area. The screen that appears depends on the 
mode you were in before you pressed Q\e [UTILITY] button. 



When [UTILITY] is pressed while in the Perfonnance 
mode... 

Performance Name 



PETEdfTTlcir^eTFri^ f [Frir£i ENFEi' 



Copy source Part Copy destination Part 

Copy source (temporary area) 

TEMP: Performance in temporary area 
USR; Performance in User Memory 
CRD: Perfomiance on DATA Card 
PRA/PRB: Preset A/B Perfonnance 

• PERFORM PART CPY (Performance 
Part Copy) 

This copies the settings for one Performance Part to some 

other Performance Part in the temporary area. 

Use the VALUE knob, [INC]/[DEC] buttons, or SOUND 

GROUP buttons to select the copy source ("Source"). 

Use the VALUE knob or [INC] /[DEC] buttons to choose the 

Parts ("Part") for the copy source and copy destination. 

The name of the selected Performance appears in parenthe- 
ses. 

• PERFORM FX COPY (Performance 
Effect Copy) 

This takes the settings for an Effect already in memory and 
copies them to a Performance in the temporary area. You can 
also copy Patch Effect settings. 

Use the VALUE knob or [INC]/[DEC] buttons to select the 
copy source ("Source"). 



When [UTILITY] is pressed while in the Patch 
mode... 

• PATCH TONE COPY 

This copies the settings for one Patch Tone to another Patch 
Tone in the temporary area. 

Patch Name 



' V.i; i =>JL'tC 
TOUg CFVJf.Tef1F 



I Copy sou 






I fji-ie * LPt"e = = 



EH1EF3 



f 



Copy destination Tone 
(temporary area) 



Copy source Tone 
Copy source 

TEMP: Patch in temporary area 
USR: Patch in User Memory 
CRD: Patch on DATA Card 
PRA to PRC: Preset A to C Patch 
GM: Patch in Preset D 

Use the VALUE knob, [INC] /[DEC] buttons, or SOUND 
GROUP buttons to select the copy source ("Source"). 
Use the VALUE knob or [INC]/ [DEC] buttons to choose the 
Tones ("Tone") for the copy source and copy destination. 

The name of the selected Patch appears in parentheses. 

• PATCH FX COPY (Patch Effect Copy) 

This takes the settings for an Effect already in memory and 
copies them to a Patch in the temporary area. You can also 
copy Performance Effect settings. 

Copy source name 



Fl-TLH Ir'riU' Cf- i't inL-et 
' ■■ I I'l' f liFI-Tf.i-i ||!'<=^F^i'^'-^i 



i 



it-t'-fSS E|i7£p; 



Copy source numtrer 

USR: User Memory 

CRD: DATA Card 

PRAtoPRC: Preset A to C 

GM: Preset D 
Copy source 

PATCH: Patch Effect settings 
PERFORM: Performance Bfect settings 

Use the VALUE knob or [INC] /[DEC] buttons to select the 
copy source ("Source"). 

71 



Use the VALUE knob, [INC] /[DEC] buttons, or SOUND 

GROUP buttons to choose the copy source number 

("Number"). 

The name of the selected Patch or Performance appears in 

parentheses. 

When [UTILITY] is pressed while in the Rhythm Set 
mode... 

• RHYTHM KEY COPY 

This copies the settings for one Rhythm Key to some other 
Rhythm Key in the temporary area. 

Rhythm set name 



:!• 



I ft-'; 



tPt. 



;s EllTERl 



Copy source Key (B1 to D7) 



Copy destination Key 
(temporaty area) 



Copy source 
TEMP: Rhythm Set In temporary area 
USR: Rhythm Set in User Memory 
CRD: Rhythm Set on DATA Card 
PRA to PRC: Preset A to C Rhythm Set 
GM; Preset D (GM) Rhythm Set 

Use the VALUE knob, [INC] /[DEC] buttons, or SOUND 
GROUP buttons to select the copy source ("Source"). 
Use the VALUE knob, the [INC]/[DEC] buttons, or the keys 
on the keyboard to choose the keys ("Key") for the copy 
source and copy destination. 



■ Initializing Data (INITIALIZE) 

This returns Patch, Performance, and Rhythm Set parameters 
in the temporary area to their standard values and factory 
default data. 

Because only data in the temporary area is initialized, data 
written to memory is not overwritten by the Initialize opera- 
tion. 
There are two methods for Initialize (Mode): 

DEFAULT: 

All parameters in the temporary area are returned to their 
standard values. 

PRESET: 

Only data in tlie temporary area is returned to the values 
of the data in the User Memory in effect when the unit was 
shipped from the factory (i.e., items with the same 
Program Numbers are affected). However, with Patches 
such as those on an expansion board, where the Program 
numbers exceed 128, all of them above number 128 will be 
given the values for USER: 128. 

Use the VALUE knob or the [1NC]/[DEC] buttons to make 
the Mode setting at the respective setting screens. 



When lUTILITY] is pressed while in the Performance 
mode... 

• PERFORM INIT (Performance Initialize) 

This initializes the Performance data called up to tlie tempo- 
rary area. 



When [UTILITY] is pressed while in the Patch mode... 

• PATCH INIT (Patch Initialize) 

This initializes the Patch data called up to the temporary 



When [UTILITY] is pressed while in the Rhythm Set 
mode... 

• RHYTHM KEY INIT (Rhythm Key 
Initialize) 

This initializes the data for the Rhythm Tones in the Rliytiim 
Set called up to the temporary area that are assigned to spe- 
cific keys.. 

» Use the VALUE knob, [INCMDEC] buttons, or the keys on the 
keyboard to choose the keys (BI to D7) to be initialized. 

• RHYTHM SET INIT (Rhythm Set 
Initialize) 

This initializes the Rhythm Set data called up to ihe tempo- 
rary area. 



■ Protecting Data (PROTECT) 

"Protection" means to prohibit writing to the JV-IDBO, 
thereby preventing valuable data from being mistakenly 
overwritten. 

• WRITE PROTECT 

<Intemal> Internal Protect — OFF/ON 

This prevents the contents of User Memory from being acci- 
dentally overwritten. This function is enabled when set to 
"ON" and cancelled when set to "OFF." It is always on when 
the power is turned on. 

* Set this to "OFF" when writing data for Patches or the like 
from a DATA Card or the temporary area to User Memory. 

<Exclusive> Exclusive Protect — OFF/ON 

This prevents the contents of User Memory or a DATA Card 
from being overwritten by an Exclusive (SysEx) message 
from an external MIDI device. This function is enabled when 
set to "ON" and cancelled when set to "OFF." It is always 
OFF when the power is turned on. 

» When Exclusive Protect is set to "OFF," the internal memory 
can be overwritten by SysEx messages even if Internal Protect 
is set to "ON." 



m Using a DATA Card (CARD) 

This lets you perform operations such as copying the data in 
the _IV-iaBO to a DATA Card, or swapping data between 
the JV-1DBD and a DATA Card. 

• CARD FUNCTION 



n^Tu 6ii"iFi,pr IF I: HUME icopv | subp 
' s ' 1 i 



Four menu items for the DATA Card are displayed. 



72 



FORMAT: 

Initializes a DATA Card for use by the JV-IDBO. 

RENAME: 

Qianges the name of a DATA Card. 

COPY: 

Copies data from a DATA Card to User Memory, or from 
User Memory to a DATA Card. 

SWAP: 

Swaps data between a DATA Card and User Memory. 

When you use the FUNCTION SELECT or [-<l/[^] buttons 
to select a menu item and press [ENTER], the display 
changes to the setting screen for the menu item you've cho- 
sen. 

• FORMAT 

This formats (initializes) a new DATA Card or a DATA Card 
that has previously been used with a different model, thereby 
enabling it to be used by the _IV-1QBO. When you format 
a DATA Card, you can give it a name up to 12 characters in 
length. The same procedure that you use to change a Patch 
name can be used to change a DATA Card name. 

Available characters: 

Space, A to Z, a to z, to 9, +-'/ I =?<>()[]||:;.,"'-r/o&$¥®'\_ 

If the DATA Card had a previous name, it appears in paren- 
theses. 

• RENAME 

This overwrites the existing name of a DATA Card. You can 
give the card a new name up to 12 characters in length. The 
procedure is the same as when naming a new DATA Card. 

The previous name of the DATA Card is displayed in paren- 
theses. 

• CARD COPY 

This copies data in User Memory to a DATA Card. You can 

also use it to copy data from a DATA Card to User Memory. 

Type of data 

ALL: All Pertormances, Patches, and Rhythm Sets 
PERFORM: Performance 
PATCH: Patch 
RHYTHM: Rhythm Set 



'.qpL' a Source iQt i-'i-F l^t ess ENTER .1 

:0='i' fPI , r\- HUSF-HBLFJ -'CKFt'iPIFECT 



T~l 



Copy source 
USR: User Memory 
CRD: DATA Card 



Copy destination 

Method of copying 
ADAPT 
DIRECT 



Use the VALUE knob, [INC] /[DEC] buttons, or SOUND 
GROUP buttons to select the type of data ("Source"), copy 
source and destination ("Group"), and method of copying. 

The JV-IDBO can store 128 Patches, 32 Performances, 
and two Rhythm Sets in User Memory. However, the 
amount of data that can be contained in an M-256E DATA 
Card is 64 Patches, 16 Performances, and one Rhythm Set. As 
you can see, the M-256E has only half the storage space of 
User Memory. This means that when you exchange data 
with the M-256E, the data in User Memory is copied as a first 
half (USR-HALFl) and a second half (USR-HALF2). 
When you select "ALL" for Source, the following methods of 
copying are used. 



There are two methods of copying — ADAPT and DIRECT. 
The method of copying the Patches selected for the 
Performance Parts varies according to the setting. 

ADAPT: 

The Patclnes selected for the Parts are stored as "CRD" on 
the DATA Card or as "USR" in User Memory. 

Performance Performance 

USH01 Copied to CRD01 

DATA Card 



2 USR012 



2 I CRD012| 



Copied to 
User Memory 

DIRECT: 

Performances are stored as "CRD" on the DATA Card or 
as "USR" in User Memory, but the Patches selected for the 
Parts are stored under their own names, which remain 
unchanged. 



Performance 

USRD1 



Performance 

CRD01 



t 

2 




USROl 1 1 




USRO12I 







1 1 USROl l| 




2 1 USROIZJ 





Copied to 
DATA Card 



Copied to 
User Memory 



* When "ALL" has been selected for Source, please be aware 
that if a Performance using a Patch in the second half (No. 65 
to 128) IS copied to USR-HALFl, the Patches in the second 
half are not saved on the M-256E DATA Card. Similarly, if a 
Performance using a Patch in the first half (No. 1 to 64) is 
copied to USR-HALF2, the Patches in the first half are not 
saved on the M-256E DATA Card. 

• CARD SWAP 

This takes Patch, Performance, and Rhythm Set data in User 
Memory and swaps it with the corresponding data on a 
DATA Card. 

Type of data 

ALL: All Performances, Patches, and Rhythm Sets 
PERFORM: Perfomiance 
PATCH: Patch 
RHYTHM: Rhythm Set 



■'PC' 



l|l.t.urce (61-oup 



EPrass EMTEP3 



Dstu to be t..*.3"'*sd 
USR: User Memory 
CRD: DATA Card 



Method of swapping 
ADAPT 
DIRECT 



• See CARD COPY for information on how to set each parame- 
ter. 

Important! 

The _IV-1DBD lets you combine User Memory data and 
DATA Card data to create Performances. However, if set the 
Copy (SWAP) method to ADAPT, and you try to copy such 
data from User Memory to the DATA Card or from the 
DATA Card to User Memory, the following may occur. 
Example: 

Let's say that there is a Performance USROl, which specifies a 
Patch using USR012 for Part 1 and CRDOll for Part 2. When 
copying from User Memory to the DATA Card, this 
Performance is stored on the DATA Card as CRDOl. At this 
time the Part 1 Patch is stored as CRD012, and Part 2 is stored 
without change as CRDOll. 

73 



Thereafter, if you copy the data on the DATA Card to User 
Memory, the Performance is stored in User Memory as 
USROl and Part 1 is stored as USR012, but Part 2 is stored as 
USROll. This means that even though the number of the 
Performance is the same as the original data, the Patch num- 
ber specified by Part 2 has changed. 



Performance 

USH01 



Performance 





1 1 USH012 1 




2 1 CHDOIlJ 













CRD01 


Copied to 
DATA Card 




1 1 CRDOI2I 




2 1 CH0011 1 



Copied to 
User Memory 



Performance 

USR01 





1 1 USR012 1 




2 1 USROl 1 1 







Patch number specified by Part 2 changes 

If you want to store data in User Memory just as it is, select 
DIRECT as the copy (or swap) method, or perform a Bulk 
Dump. 



■ Copying a Specific Range of 
Data (BLOCK COPY) 

This defines and copies a range of Performance, Patch, or 

Rhythm Set data. 

Type of data 
PERFORM 
PATCH 
RHYTHfVl 



;^-r:.-_r\i .: 



Copy source range Copy destination range 

USR: User Memory USR: User Memory 

CRD: DATA Card CRD; DATA Card 

PRAIoPRC: Preset A to C 

GM: Preset D (GM Tone Mapping) 

XPA to XPD: Expansion Board A to D 



• BLOCK COPY 

Use the VALUE knob, [INC]/[DEC] buttons, or SOUND 
GROUP buttons to select the type of data ("Mode") and the 
range of data to be copied ("Block"). 
* The folloiving message will appear if you attempt to carry out 

the procedure ivhen the amount of data at the source is larger 

than that at the copy destination. 

Block Copy R.ari9e is CiMerflou 

Should this happen, the JV-1080 will try to send each item of 
data in order until the copy destination reaches its capacity. 

In the example shown above, there are eighteen 
Performances included in the copy source (USER: 11-28), and 
the first number at the copy destination is set as CRD: 12. 
However, since Performances can be stored on an M-256E 
card only up to the CRD: 16 location, the number of 
Performances that can be copied is five (CRD: 12-16). 



■ Sending Data to an External 
MIDI Device (BULK DUMP) 



74 



This takes data in the JV-1DSD or on a card and uses 
MIDI to send it to a sequencer or some other MIDI device. 
When you use this function, make sure that both the sending 
device and the receiving device are set to the same MIDI 
channel and device ID number {'^ p. 67). 

• BULK DUMP 









i2,^ieF, I 



Type of memory used for sending 


Type of data to be sent 


TMP: Temporary area 


ALL 


USER: User Memory 




CARD DATA Card 


PERFORMANCE 




PATCH 




RHYTHM 




SYSTEM 



Use the VALUE knob, [INC] /[DEC] buttons to select the type 
of memory and data for sending ("Source"). 

The following types of data can be sent. 

When TMP is selected: 

PERFORM: Data for Performances or Patches /Rhytltm 
Sets in Parts in the temporary area is sent. 

PATCH: Data for Patches in tlie temporary area is 
sent. 

RHYTHM: Data for Rhythm Sets in the temporary 
area is sent. 

SYSTEM: System data is sent. 

When USER is selected: 



ALL: 
PERFORM: 



PATCH: 
RHYTHM: 



All data in user memory is sent. 

All Performance data in user memory is sent. 

Data for Patches /Rhythm Sets in Parts is not 

sent. 

All Patch data in user memory is sent. 

All Rhythm Set data in user memory is sent. 



When CARD is selected: 



ALL: 
PERFORM: 



PATCH: 
RHYTHM: 



All data on a DATA card is sent. 

All Performance data on a DATA card is sent. 

Data for Patches /Rhythm Sets in Parts is not 

sent. 

All Patch data on a DATA card is sent. 

All Rhythm Set data on a DATA card is sent. 



While sending is in progress, the following message appears 
on the display: 

It" ariSPi i tt i t"i9 *++++* 

When sending data is finished, the following message will 
appear: 

COMPLETE 

If you want to stop sending data, press [EXIT]. 



■ Returning Settings to Their 
Factory Defaults (FAaORY PRESET) 

This returns all settings for the _IV-10SD to the data in 
effect when the unit was shipped from the factory. 

• FACTORY PRESET 

Press [ENTER] to execute and return the data to its factory 
defaults. 



Chapter 4 



Other f uncf ions of the 

JV-lDBa 

This chapter explains various ways to take advantage of the 
JV-lDBD's functionality, such as using GM mode to 
play back performance data, selecting sounds from an 
external device, and using the built-in effects. 



1 . Using the JV-1 080 with a DTMS (playing back GM scores) 



The _IV-1DBD's GM mode allows it to be used as the sound 
source for a DTMS (Desk Top Music System). In GM mode, the 
_IV-iaBD can play back a GM score (performance data created 
for a GM sound generator) You can also modify the settings of 
various parameters as explained later in this section for even 
more musical expressivity. 

The following diagram is an example of connections with a 
Macintosh. 




MiDiaiT MtlHIN 



Selecting GM mode 



The sound source of the JV-IDBD can be set to be compati- 
ble with the GM system standard. In GM mode, the sound 
source is organized in essentially the same way as for perfor- 
mance mode. GM patches are assigned to each Part from 1 — 
16, and a GM rhythm set is assigned to Part 10. 

If you wish to manually select GM mode, press 
[SHIFT] + [PERFORM]. 




As an alternative to the above procedure, the JV-IOBD will 
automatically enter GM mode when it receives a GM System 
On message, for example when a GM score that contains a 
GM System On message at the beginning of the song is 
playeci back by a sequencer. 

GM System On message: 

This is a MIDI message that causes a sound source to put 
itself in GM mode and initialize itself to the settings appro- 
priate for a GM sound source. 

* If the GM score is played back from the middle of the song, the 
playback may not be correct since the JV-IOBO will not have 
switched to GM mode. 

* To correctly play back a GM score, we recommend that you 
select GM mode manually. 

* If the System parameter Receive GM Message (f^p. 67) has been 
set "OFF," GM System On messages will not be received. 

' In GM mode you can make following System parameter settings 
for GM mode that are independent of the PatchlPerformancel 
Rhythm Set modes. System Parameter values that have been set 
for GM mode are preserved even when GM mode is exited, and 
will be restored when GM mode is entered once again. 

Receive MIDI page: 
All of receive siuitch 
CONTROL ASSIGN 1 page: 
System Control Source 1 

CONTROL ASSIGN 2 page: 
Volume ControlSource 

76 



Aftertouch Source 
SCALE TUNE page: 
Scale Tune Switch 

WIten the JV-iaBO enters GM mode, the following System 
parameters will be automatically fixed at the following set- 
tings. It is not possible to change these settings. 

GM MODE MIDI Page: 
Clock Source: MIDI 
SYS-EXC MIDI Page: 
Receive System Exclusive: OFF 

RECEIVE MIDI Page: 

Receive Bank Select: OFF 

When you exit GM mode, these System parameters will be 

restored to their previous settings. 



m Inirializing the GM mode 

In order for a GM score to be played back correctly, the JV- 
laea must be reset to the basic GM settings. This operation is 
called Initialize GM Mode, and will occur at Uie following times. 
O When a GM System On is received from an external MIDI 

device. 
O When a GM System On message has been recorded in the 

performance data being played back. 
O When the JV-IOBO's power is turned on. 
O When you execute the Utility mode command GM Setup. 

When you press [UTILITY] while in GM mode, the utility 
display will be different than at other times. The following 
display wUl appear: 



IhT 



fi 






Press [ENTER], and the currait GM mode settings will be iiutial- 
ized. Press [EXIT], and you will return to the previous display. 

* W/je« you execute Initialize GM Mode, all previous GM mode 
settings will be overwritten. 

* Witefi you initialize CM mode, the following System parame- 
ters will be automatically set to the following values. 
RECEIVE MIDI Page: 

Receive Bank Select: OFF 
Other MIDI receive switches: ON 

CONTROL ASSIGNl Page: 

System Control Source 1: AFTERTOUCH 

CONTROL ASSIGN2 Page: 
Volume Control Source: VOL&EXP 
Aftertouch Source: CH-AFTER 

When you exit GM mode, these System parameters will he 
restored to their previous settings. 

Playing back a GM score 

GM performance data that is intended tur piii>bBi.k un 
a CjM s> iIpiti will earn the- CiM \i'ffl Pcrfurmdna- data 
Larr\m); the GM logo is rcierruJ to as GM SLore data, 
and cdn be plaved baik with the dame naiitcai result 
(in M\\ sound bourci' I hat »..imi«s the GM logii (i e , any 
GM (ompatiblc sound 'uurcel JV-10Bn is a (M- 
ronipatiblc sound >-outic, and Lan plav back GM 
bcorus curreLtl} 

Howcvifi the JV-iaBC3 also has a \piietv of 
enhanced lunLtiims which are nul part of '.he GM &\><- 
'cni delinition I'ertormancc data tn-ated utili/in^; 
thciL function-, mav not plav back forrccth on other 
CAlMysten's 



2. Enhancing Musical Expression in GM Mode 



The JV-insa provides parameters that can be edited for 
each GM part. By adjusting effect and sound parameters you 
can create a more musically -expressive performance. 



COMMON EFFECTS CONTfKX WAVE LFO PITCH TVF TVA 

COMMON JE F FbCISJ MiD! j PAFTT ) | prTCH PAN LEVEL | 

SETUP MO TUNE PREVIEW 

If you execute the Initialize command ail these settings will 
be lost. 



Adjusting the Effects (EFFECTS) 



• OUTPUT 

<Output Assign> Output Assign — 
MIX/EFX/OUTPUT1/OU TPUT2/P ATCH 
Output Level — to 127 BB9B 

The Output Assign parameter specifies the output destina- 
tion of each Part, and the Output Level sets the output level. 

MIX: 

The unprocessed sound will be sent to MIX OUT, and also 
sent to chorus and reverb. 



EFX: 

The unprocessed sound will be sent to EFX, and also sent 
to chorus and reverb. The output destination of the sound 
passing through EFX will depend on the Output Assign 
setting for the GM EFX OUT. 

OUTPUTl: 

The unprocessed sound alone will be sent to OUTPUT 1. 

OUTPUT2: 

The unprocessed sound alone will be sent to OUTPUT 2. 

PATCH: 

Tlie unprocessed sound will be sent to the destination speci- 
fied by the Output Assign («r p. 45) of the Patch selected for 
the Part. The output level, chorus send level, and reverb send 
level of the Part will be multiplied by the values of tlie Patch. 

* If xjou select OUTPUT 1 or 2 as the output destination, the 
chorus and reverb settings will be ignored. 

* If you ivish to use the output settings of each Tone, select 
PATCH. If you select a setting other than PATCH, the output 
settings of each Tone (output assign, output level, 
chorus/reverb send level) will be igfiored, and tlie output set- 
tings of the Part ivill be used instead. 

<Chorus> Chorus Send Level — to 127 HSU 

This parameter sets the level of the signal sent to the chorus 
for each Part. 



<Reverb> Reverb Send Level — to 127 | 

This parameter sets the level of the signal sent to the reverb 
for each Part. 

• GM EFX TYPE 

<Type> EFX Type 

This parameter selects the type of EFX used in GM mode. For 
the available EFX types, refer to "Chapter 5. Multi-Effector 
EFX ("s- p. 83)." 

• GM EFX PRM (GM EFX Parameter) 

Tills is where you make parameter settings for the EFX that 
was selected in EFX Type. 



The available parameters will depend on the EFX type. 
For details on EFX parameters, refer to "Chapter 5. Multi- 
Effector EFX (»s- p. 83)." 

• GM EFX OUT (GM EFX Output) 

This is where you specify the output routing of the sound 
from the EFX when the OUTPUT parameter Output Assign 
has been set to EFX. 

<Output Assign> Output Assign — 
MIX/OUTPUT1/OUTPUT2 

Output Level — to 127 

The Output Assign parameter determines the output destina- 
tion of the EFX sound, and the Output Level parameter sets 
the level of the output signal. 

MIX: 

The EFX sound will be sent to MIX OUT, and also to cho- 
rus and reverb. 

OUTPUTl: 

The EFX sound will be sent to OUTPUTl. 

OUTPUT2: 

The EFX sound will be sent to OUTPUT2. 

* If you select OUTPUT 1 or 2 as the output destination, the 
chorus and reverb settings will be ignored. 

<Chorus> Chorus Send Level — to 127 

This parameter sets the level of the signal sent from EFX to 
the chorus. 

<Reverb> Reverb Send Level — to 127 

This parameter sets the level of the signal sent from EFX to 
the reverb. 

• GM CHORUS 

Chorus adds depth and spaciousness to the sound. 

<Rat> Chorus Rate — to 127 

This parameter sets the modulation speed of the chorus. 

<Dpt> Chorus Depth — to 127 

This parameter sets the modulation depth of the chorus. 

<Dly> Pre Delay —0 to 127 

This parameter sets the time delay from when the original 
sound begins to when the chorus sound begins. Higher val- 
ues result in a more spacious sound. 

<Fbk> Chorus Feedback — to 127 

This parameter sets the amount of sound returned (fed back) 
from the chorus output back into the chorus input. Higher 
values result in a more complex chorus sound. 

<Level> Chorus Level — to 127 

This parameter sets the volume of the chorus sound. 

<Output> Chorus Output Assign — 
MIX/REVERB / MIX+REV 

This parameter sets the output routing of the chonis sotmd. 

MIX: 

The chorus sound will be output from MIX OUT. 

REVERB: 

The chorus sound will be output to the reverb. 

MIX-1-REV: 

Chorus sotmd output to both MIX OUT and reverb. 



77 



• GM REVERB 

Reverb simulates the reverberation of a variety of acoustic 
spaces, adding spatial ambience to the sound. 

<Type> Reverb Type 

This parameter selects the type of reverb. 

ROOMl: 

A short reverb with high density reflections. 

ROOM2: 

A short reverb with low density reflections. 

STAGEl: 

A reverb with strong late reverberation. 

STAGE2: 

A reverb with strong early reflections. 

HALLl: 

A reverb with clear reverberation. 

HALL2: 

A reverb with rich reverberation. 

DELAY: 

A conventional delay. 

PAN-DLY: 

A delay that pans (moves) the reflections to left and right. 

<Time> Reverb Time — to 127 

When the Type is ROOMl— HALL2, this parameter sets the 
time length of the reverberation. When the Type is DELAY or 
PAN-DLY, this parameter sets the delay time. Higher values 
result in a wider-sounding acoustic space. 

<Lev> Reverb Level — to 127 

This parameter sets the volume of the reverberation. 

<Fbk> Delay Feedback — to 127 

When the Type is DELAY or PAN-DLY, this parameter sets 
the amount of delayed sound that is returned (fed back) to 
the delay. Higher values result in more delay repeats. 

<HF Dainp> High-Frequenq' Damp — 

200/250/315/400/500/630/800/100/1250/1600/2000/2500/31 

50/4000/5000/6300/8000/BYPASS 

This parameter sets the frequency at which the high frequen- 
cies will be cut. 

Higher settings will result in a brighter-sounding reverb. When 
BYPASS is selected, the high frequencies wUl not be cut. 

Internal effects in GM sound sourccii 

1 he rplcrcnLC"- jn this manual to "GM chorus" ami 

'CM reverb" mnv have caused you to (.oniludu that 

llifs(> jpL' pai I o{ Iho C iiMiurdl MIDI bpenfiration 

jl i«. Irui- th. I mo it ri'ct-nt GM-rnmpatibIc sound 

bourcci du have ii'ternal effects audi as chorub and 

rcxerb. but Uk> ust> of effect units is not specified in the 

General MllJl Sy-lcin le\L'l 1 (juidclines This means 

thai perfomanLe dat.i cri-citcd tor the GM mode ol liif 

JV-IDBO mav not play back correctlv on other GM 

Miund -.iiunvs 



(PART) 



<Number> Patch Number — 001 to 128 | 

Select a GM patch number for each Part. The name of the 
selected GM patch will be displayed in parentheses ( ). 

* In GM mode, it is not possible to select User, Card, Preset A— 
C or Expansion Board patches. 

rA3|uSni!epfcfio^acl^art 
(PITCH) 

These parameters adjust the pitch of each Part. 

• PITCH 

<Pitch Coarse> Pitch Coarse Tune 48 to +48 



This parameter adjusts the pitch of each Part in semitone 
steps over a range of +/-4 octaves. 

Tills parameter adjusts the pitch relative to a Patch pitch set- 
ting of 0. 

<Pitch Fine> Pitch Fine Tune — -50 to +50 



This parameter is a further fine adjustment to the pitch speci- 
fied by Pitch Coarse Tune, in steps of 1 cent (1/ 100th of a 
semitone) over a range of 1/2 semitone up or down. 



■ Adjusting the pan position of 
each Part (PAN) 

This parameter sets the pan position of each Part. 

• PAN 

<Part Pan> Part Pan — L64 to to 63R 

This parameter sets the pan (stereo location) of each Part. 
A setting of L64 is full left, is center, and 63R is full right. 

* There is also a pan setting inside each Patch, and the Part 
Pan setting of will adjust the Patch pan setting by the speci- 
fied amount. 



■ Adjusting the volume of each 
Part (LEVEL) 

This parameter sets the volume level of each Part. 

• LEVEL 



<Level> Part Level — • to 127 | 

This parameter adjusts the volume level of each Part. You 
will use this parameter mainly to adjust the volume balance 
between Parts. 



78 



3. Live Performance Techniques 



■ Selecting JV-iOBO sounds 
from an external device 



If you wish to select sounds or drum kits from an external 
MIDI device, use the following procedure. 

On the JV-1DBD, Patches, Performances, and Rhythm Sets 
are selected by the values of the BaiJc Select (control changes 
# and # 32) message and Program Change message. When 
you press a sound select button on a MIDI keyboard, these 
MIDI messages will be transmitted automatically. However if 
you wish to select JV-IDBO soimds from a sequencer or 
personal computer, use the following procedure to transmit 
the appropriate MIDI messages. 

^5^ Set the transmitting and receiving devices to 
the same MIDI channel. 

^5^ Transmit a Control Change # (Bank Select 
MSB) message with the desired value. 

Transmit a Control Change # 32 (Bank Select 
LSB) message with the desired value. 

Transmit a Program Change message with the 
desired value. 

Wlien the JV-lOBO receives a Program Change message 
without having received a Bank Select message, it will select 
a sound only from the currently specified memory (Preset A, 
User, etc.). 



• Selecting a Performance 



Selecting a Patch 



Bank Select 


Program Change 


Patch Group 


Patch Number 


MSB 


LSB 








80 


n 


0—127 


User 


#1— #128 


81 





0—127 


Preset A 


#1— #128 


81 


1 


0—127 


Preset B 


#1— #128 


81 


2 


0—127 


Preset C 


#1— #128 


81 


3 


0—127 


Preset D (GM) 


#1— #128 


82 





0—127 


DATA card 


#1— #128 


83 





0-127 


PCM card 


#1— #128 


84 





0—127 


Expansion A 


#1— #128 


84 


1 


0—127 


Expansion A 


#129— #256 


84 


2 


0—127 


Expansion B 


#1— #128 


84 


3 


0—127 


Expansion B 


#129— #256 


84 


4 


0—127 


Expansion C 


#1— #128 


84 


5 


0—127 


Expansion C 


#129— #256 


84 


6 


0—127 


Expansion D 


#1— #128 


84 


7 


0-127 


Expansion D 


#129— #256 



For example if you wanted to select Patch niimber 10 of Preset 
B, you would transmit the following data to the JV-IOBD. 

(Numbers are given in decimal.) 
Control Change # (Bank Select MSB) value: 81 
Control Change # 32 (Bank Select LSB) value: 1 
Program Change value: 9 

» Tlte Program Change number transmitted should be one less 
than the Patch number. 



Bank Select 


Program Change 


Performance 


Performance 


MSB LSB 




Group 


Number 


80 


0—31 


User 


#1— #32 


81 


0—31 


Preset A 


#1— #32 


81 1 


0—31 


Presets 


#1— #32 


82 


0—31 


DATA card 


#1— #32 



If you wish to select a Performance, set the transmitting MIDI 
device to the same channel as the Performance Control 
Channel («■ p. 66). If you wish to select the Patch or Rhythm 
Set of a Part, set the transmit channel to match the receive 
channel of the Part. However if the Control Channel is the 
same as the receive channel of a Part, the Control Chaimel 
will take priority and a Performance (not a Patch) will be 
selected by the incoming program change message. 



• Selecting a 


Rhythm Set 




Bank Select 
MSB LSB 


Program Change 


Rhythm Set 
Group 


Rhythm Set 
Number 


80 





0,1 




User 


#1,#2 


81 





0,1 




Preset A 


#],#2 


81 


1 


0,1 




Preset B 


#1, #2 


81 


2 


0,1 




Preset C 


#1, #2 


81 


3 


0,1 




Preset D (GM) 


#1, #2 


82 





0—127 




DATA card 


#1— #128 


83 





0—127 




PCM card 


#1— #128 


84 





0—127 




Expansion A 


#1— #128 


84 


1 


0—127 




Expansion A 


#129— #256 


84 


2 


0—127 




Expansion B 


#1— #128 


84 


3 


0-127 




Expansion B 


#129— #256 


84 


4 


0—127 




Expansion C 


#1— #128 


84 


5 


0-127 




Expansion C 


#129— #256 


84 


6 


0—127 




Expansion D 


#1— #128 


84 


7 


0—127 




Expansion D 


#129— #256 



If you wish to select a Rhythm Set, set the channel of the 
transmitting MIDI device to match the receive channel of Part 
10 of the Performance. (With the factory settings. Part 10 is 
set to channel 10.) 



■ Maximum simultaneous notes 
and Part priorities 



• About maximum simultaneous notes 

The _IV-1DBD is able to produce up to 64 notes simulta- 
neously. However some Patches consist of two Tones, and 
when such Tones are played, only 32 simultaneous notes are 
possible. The Patch List at the end of this manual gives the 
number of Tones used in each Patch. 

• About Patch note priority 

If the number of currently-requested notes exceeds 64, exist- 
ing notes will be turned off to make room for the newly 
requested notes. The JV-1DBD's Patch note priority func- 
tion will start turning off notes beginning with the lowest- 
priority Part. When you create a song, keep in mind the Part 
note priority order as you decide which Part to use for each 
musical part. 

If there is an important Part in your song that you do not 
want notes to be "stolen" from, you can use the Voice 
Reserve function («5" p. 57) to reserve notes for it. 



79 



Using MIDI Controllers 



• Controllers and destinations 

The -IV-IDBD allows you to use a variety of MIDI con- 
trollers to modify Tone and EFX parameters in real lime. 
Parameters being controlled are referred to as Destinations, 
and you can specify four Destinations in each Tone (up to 16 
Destinations for each Patch). 

Controllers that are used to control Tone parameters are 
referred to as Patch Control Sources. For example if you make 
Patch Control Source and Destination settings as shown in the 
following diagram, moving the bender lever to left or right (or 
up/down if you are using a wheel) will simultaneously con- 
trol four Tone parameters: PCH (pitch), CUT (cutoff frequen- 
cy), LEV (volume) and PAN (stereo position). 

Patch Control Source 



BENDER 



1" II 1 


1 1 1 1 i 


1 PCH 1 j CUT 1 


1 LEV II PAN 1 


Destination I 



Tone 



For this example, make settings as follows. 

Turn on the receive switches for the con- 
trollers you wish to use. 

System parameter / RECEIVE MIDI Page 
Receive Bender («" p. 68): ON 

Select the controller you wish to use. 

Patch parameter / CONTROL SOURCE Page 
Patch Control Source 2 («»■ p. 49): BENDER 

Set the Controller Destination («*■ p. 49) and 
Control Depth (<^ p. 49). 

Patch parameter / CONTROL 2 Page 
Control Destination 1: PCH 
Control Destination 2: CUT 
Control Destination 3: LEV 
Control Destination 4: PAN 
Control Depth 1: other than 
Control Depth 2: other than 
Control Depth 3: other than 
Control Depth 4: other than 

The JV-lDSa has three Patch Control Sources. Patch 
Control Source 1 is fixed at Modulation (control change #01), 
but Patch Control Sources 2 and 3 can be freely assigned. 

• Control EFX parameters 

To control EFX parameters, use an EFX Control Source. Two 
types of controllers can be freely assigned to these EFX 
Control Sources as well. The destination will be determined 
by the t5fpe of EFX that is selected. For example if you select 
Overdrive for EFX, the destinations will be set to DRIVE (the 
degree of distortion) and PAN (stereo location). 



EFX Conlrol 
SouiCB 1 




EFX (Overdrive! 



To make settings for this example, use the following procedure. 

^5^ Turn on the receive switch for the controller 
you wish to use. 

System parameter / RECEIVE MIDI Page 
Receive Bender (» p. 68): ON 
Receive Modulation (» p. 68): ON 

^^^ Select the EFX type. 

Patch parameter / PATCH EFX TYPE Page 
EFX Type («*■ p. 45): 2:OVERDRIVE 

^^^ Select the controllers you wish to use 

Patch parameter / PATCH EFX CTRL Page 

EFX Control Source 1 (^ p. 46): BENDER 

EFX Control Source 2 (»s- p. 46): MODULATION 

^5^ S^t "^^ controller depth. 

Patch parameter / PATCH EFX CTRL Page 
EFX Control Depth 1 ("S" p. 46): other than 
EFX Control Depth 2 (•*• p. 46): other than 

• Using controllers in System mode 

Patch Control Source 2, Patch Control Source 3 and EFX 
Control Sources allow you to select the SYS-CTRLl and SYS- 
CTRL2 settings. When these settings are selected, the Tone or 
EFX will be controlled as specified by the controller selections 
you make in System mode. In System mode, you can select 
any control change number (#00 — # 95), bender or after- 
touch as tlie two controller sources. System Control Source 1 
and System Control Source 2. 



Syslem 
Control Source 1 



System 
Control Source 2 



IMODULATION 



EFX 
Control Source 



Patch 
Conlrol Source 2 



Patch 
Contro! Source 3 



I SYS-CTRLl^ I SYS-CTRL1 I I 



SYS<;TRL2 



DRIVE 



j LEV j 1 PAN I 



It is convenieiit to use System controllers when you do not 
need to specify controllers independently for each Patch, or 
when you want to be free to use any control change niunber 
as the controller. 

* With some exceptions, the function of each MIDI Control 
Change message is predefined. For example the Bank Select 
message (control change # 00, § 32) is used to switch sound 
banks. However the JV-IOBD allows you to assign control 
change messages to a variety of other functions, so that 
sounds can be controlled in realtime. If you do so, however, 
you should be aware that such uses are outside of the con- 
troller operations defined in the MIDI specification. 

• Controllers in Performance mode 

In Performance mode, the control sources specified in the 
Patch used by each Part can apply various effects to each 
Part. However if you use the EFX settings of the 
Performance, the EFX controller settings of the Patch will be 
ignored, and the EFX controller settings of the Performance 
will be used. Also, if you wish to use controllers in 
Performance mode, the MIDI receive switch of each Part 
must be turned on, 



80 



4. Using Effects 



The routing of the _IV-lDBD's effects will depend on the settings of each Tone and on tlie effect output 
assign and level settings. 

For each routing, you may think of a level setting of as being disconnected, and a level setting of 1-127 as 
being connected. Effect routing is determined by the varioixs level settings and output assign settings. The 
following diagrams are example settings in Patch mode which you may use as guidelines for your effect 
settings. The output assign and level settings shown at the left of each diagram will result in the effect rout- 
ing shown in the diagrams at right. Parameter values listed as 1-127 can be set to any desired value. 

* Parameters listed as "—" will be ignored even if you set a value. 

* Only the sound to which the effect has been applied will be output with chorus and reverb, while EFX contains 
the original sound as well. 



#Output the unpro- 
cessed sound from 
MIX OUT 



>Use chorus and 
reverb in series 



►Use only EFX 



►Apply reverb only 
to the chorused 
sound and use in 
parallel with EFX 



•Use EFX, chorus 
and reverb in series 



OUTPUT 

Oulpot Assign 
Output Level 
CtKirus Send Level 
Revert} Send Level 


MIX 

1 — 127 












PATCH EFX OUT 

Output Assign 
Output Level 
CHoms Send Level 
Reverb Send Level 


„ 




TONE 




MIXOUT 








PATCH CHORUS 

Chonjs Level 
Chonts Output Assign 






PATCH REVERB 


„ 









OUTPUT 

Output Assign 
Output Level 
Chonjs Send Level 
Reveiti Send Level 


MIX 
1—127 
1—127 
1—127 
























PATCH EFX OUT 

Output Assign 
Output Level 
Chorus Send Level 
Reverts Send Level 


-- 




TONE 




Cho 


(D 


Rav 


/T\ ■ 






i • 




1 


k 






















PATCH CHORUS 

Chorus Level 
Chorus Output Assign 


1—127 
MIX+REV 








PATCH REVERB 

Revert) Lev^ 


1—127 





















OUTPUT 

Output Assign 
Output Level 
Chorus Send Level 
Reverb Send Level 


EFX 
1—127 














PATCH EFX OUT 

Output Assign 
Output Level 
Chorus Send Level 
Reverb Send Level 


MIX 

1—127 










TONE 




EFX 


















PATCH CHORUS 

Choms Level 
Chorus Output Assign 






PATCH REVERB 

Reverb Level 















OUTPUT 

Output Assign 
Output Level 
Chorus Send Level 
Reverb Send Level 


EFX 
1—127 
1—127 























PATCH EFX OUT 

Output Assign 
Output Level 
Chorus Send Level 
Reverb Send Level 


MIX 

1—127 








TONE 




Oho 




Rov 


,t^ 








^ 


i 


























EFX 




PATCH CHORUS 

Chorus Level 
ChoruB Output Assign 


1—127 
REV 
















PATCH REVERB 

Reverb Level 


1—127 























OUTPUT 

Output Assign 
Otitput Level 
Cl^oruE Send Level 
Revert) Send Level 


EFX 

1—127 






























PATCH EFX OUT 

Output Assign 
Output Level 
Choms Send Level 
Reverb Send Level 


MIX 
1—127 
1—127 
1—127 










TONE 




EFX 




Cho 


rT\ 


Rev 


(P ► MIXOUT 








—i 

i 


i 


























PATCH CHORUS 

Chonjs Level 
Chorus Output Assign 


1—127 
MIX*REV 






1 










PATCH REVERB 

Reverb Level 


1—127 

























81 



•Use chorus and 
reverb in parallel, 
and EFX in series 



>Use EFX, chorus 
and reverb in paral- 
lel 



•Simultaneously use 
both parallel and 
series 



►Output the unpro- 
cessed sound from 
OUTPUT 1/2 



►Use EFX and out- 
put from OUTPUT 

1/2 



OUTPUT 

Output Assign 
Output Level 
CtKjrus Send Levo! 
Reverts Send Level 


EFX 
1 — 127 






















' 


PATCH EFX OUT 

Output Assign 
Output Level 
Chorus Send Level 
Reverb Send Level 


MIX 
1—127 
1—127 
1—127 




















TONE 




EPX 






Cho 


1 










i 


















PATCH CHORUS 

Cttorus Level 
Chorus Output Assign 


1—127 
MIX 






Rev 












PATCH REVERB 

Reverb Level 


1—127 





















OUTPUT 

Ou^ut Assign 
Output Level 
Chorus Sand Level 
Reverb Send Level 


EFX 
1~127 
1— -127 
1—127 




















EFX 










L; [ 


PATCH EFX OUT 

Output Assign 
Ou^ul Level 
Choms Send Level 
Revert) SerKl Level 


MIX 
1—127 














TONE 




Cho 






i 


b 














PATCH CHORUS 

Chorus Level 
Chorus Ou^ut Assign 


1—127 
MIX 






Rev 












PATCH REVERB 

Reverb Level 


1_127 

















OUTPUT 

Output Assign 
Output Level 
Chorus Send Level 
Revert} Send Level 


EFX 
1-127 
1—127 
1—127 








^JT\ 










i 


k 








J 


PATCH EFX OUT 

Output Assign 
Output l-Qvet 
Chorus Send Level 
Reverb Send Level 


MIX 
1—127 
1—127 
1—127 
















T 




t 






TONE 






EFX 




Clio 




Rev 


ft\ ^ ...„».„ 










1 


I 
























PATCH CHORUS 

Chorus Level 
Chorus Output Assiqn 


1—127 
MIX*REV 




s 




VU 




PATCH REVERB 

Reverb Level 


1-127 

































OUTPUT 

Output Assign 
Output Level 
Chorus SerKl Level 
Reverb Send Level 


OUT 1/2 

1—127 








PATCH EFX OUT 

Output Assign 
Output Level 
Chorus Send Level 
Reverb Serrf Level 


-- 






TONE 












PATCH CHORUS 

Chorus Level 
Chorus Oumut Msign 






PATCH REVERB 

Reverb Level 











OUTPUT 

Output Assign 
Output Level 
Choftjs Send Level 
Reverb Send Level 


EFX 
1-127 












PATCH EFX OUT 

Output Assign 
Output Level 
Chorus Send Level 
Reverb Send Level 


OUT1/2 
1-127 




TONE 




EFX 


















PATCH CHORUS 

Chorus Level 
Chorus Output Assign 






PATCH REVERB 

Reverb Level 















The examples here use one Tone from the Patch mode. Since the Output Level, Chorus Send Level, and 
Reverb Send Level can be set independently for each Tone, you can make whatever settings you need 
for each one when using multiple Tones. Individual settings for the Tone level are basically ignored 
when in the Performance mode— the level is controlled by the settings for output made for each Part. 
(It may be helpful to substitute PART for TONE when viewing the illustration.) 

Only when Output Assign is set to "Patch" will the balance for the level of individual Tones set for 
Patches be reflected in the Parts. Note also that if a different EFX type is set for Patches and 
Performances, unexpected effects could be obtained from Parts. To avoid this, you can either set 
Output Assign to MIX, or use only Patches which are specifically set for the way that the Performance 
is to be used. 



82 



Chapter 5 



Multi-Effector EFX 

The EFX is a multi-effects processor offering 40 types of 
effects. Combinations of effects and the sequence of the 
routes taken by their signals are predetermined for each 
effect type. 



Some of the parameters described in this chapter are marked with an asterisk ("*") 
to the left. This asterisk means that the parameter can be controlled by EFX 
Control Source (»«• p. 46). 



1 . EFX Effect Types 



The EFX has the 40 effect types described below. 

Some of the effects types are compounds in which two kinds 

of effects are linked together. 



■ 1: STEREO-EQ (Stereo Equalizer) 

This is the Stereo Equalizer, which adjusts the sound quality 
for bass, midrange, and treble. 



■ 2: OVERDRIVE 



EQ 



EQ 



<LowFreq> Low Frequency — 200 Hz/400 Hz 

This sets the reference frequency for emphasizing bass sound 
quality. 

<LowGain> Low Gain 15 dB to +15 dB 

This sets the bass sound quality. A larger positive value 
results in greater emphasis of the lower band. 

<Hi Freq> High Frequency — 4 kHz/8 kHz 

This sets the reference frequency for emphasizing treble 

sound quality. 

<Hi Gain> High Gain — -15 dB to +15 dB 

This sets the treble sound quality. A larger positive value 
results in greater emphasis of the higher band. 

<P1 Freq> Peaking 1 Frequency — 200/250/315/400/ 
500/630/800/1000/1250/1600/2000/2500/3150/4000/5000/6 
300/8000 (200 Hz to 8 kHz) 

This sets the reference frequency for when emphasizing the 
sound quality of a specific frequency band. 

<P1 Q> Peaking 1 Q — 0.5/1.0/2.0/4.0/9.0 

This determines the bandwidth for the reference frequency 
set with Peaking 1 Frequency. 

A larger value gives a greater width for the band emphasized 
with Peaking 1 Gain. 

<P1 Gain> Peaking 1 Gain — -15 dB to +15 dB 

This sets the sound quality for a specific frequency band. A 
larger positive value results in greater emphasis for the fre- 
quency band set with Peaking 1 Frequency and Peaking 1 Q. 

<P2 Freq> Peaking 2 Frequency — 200/250/315/400/ 
500/630/800/1000/1250/1600/2000/2500/3150/4000/5000/ 
6300/8000 (200 Hz to 8 kHz) 

This sets the reference frequency for when emphasizing the 
sound quality of a specific frequency band. 

<P2 Q> Peaking 2 Q — 0.5/1.0/2.0/4.0/9.0 

This determines the bandwidth for the reference frequency 
set with Peaking 2 Frequency. 

A larger value gives a greater width for the band emphasized 
with Peaking 2 Gain. 

<P2 Gain> Peaking 2 Gain — -15 dB to +15 dB 

This sets the sound quality for a specific frequency band. A 
larger positive value results in greater emphasis for the fre- 
quency band set with Peaking 2 Frequency and Peaking 2 Q. 

»<Level> Output Level — to 127 

This sets the overall level for the effect sound. 

84 



This produces natural distortion like what you can get from a 
vacuum-tube amp. 




Over 
drive 




Amp 
Simulator 




EQ 




*<Drive> Drive — to 127 

This sets the strength of the sound distortion. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 

* Increasing the value for Drive also causes the overall volume 
to rise. It may be helpful to use Output Level to adjust for the 
difference in volume between when Overdrive is applied and 
when it is not applied. 

<LowGain> Low Gain 15 dB to +15 dB 

This sets the bass sound quality. A larger positive value 
results in greater emphasis of the lower band. 

<Hi Gain> High Gain — -15 dB to +15 dB 

This sets the treble sound quality. A larger positive value 
results in greater emphasis of the higher band. 

<Amp Type> Amp Type — SMALL/BUILT-IN/2- 
STACK/3-STACK 

This simulates the characteristics of a guitar amp. 

SMALL: 

This simulates a compact amp. 

BUILT-IN: 

This simulates a buOt-in amp. 

2-STACK: 

This simulates a large two-stack amp. 

3-STACK: 

This simulates a large three-stack amp. 

*<Pan> Output Pan — L64 to to 63R 

This sets the stereo position where the effect sound is output. 
L64 is leftmost, is centered, and 63R is rightmost. 



3: DISTORTION 



This increases odd harmonics to add strong distortion to the 
original sound. 




Distortion 


- 


Amp 
Simulator 




EQ 




*<Drive> Drive — to 127 

Tliis sets the strength of the sound distortion. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 

* Increasing the value for Drive also causes the overall volume 
to rise. It may be helpful to use Output Level to adjust for the 
difference in volume between when Distortion is applied and 
ivhen it is not applied. 



<LowGain> Low Gain 15 dB to +15 dB 

This sets the bass sound quality. A larger positive value 
results in greater emphasis of the lower band. 

<Hi Gain> High Gain — -15 dB to +15 dB 

This sets the treble sound quality. A larger positive value 
results in greater emphasis of the higher band. 

<Amp Typo Amp Type — SMALL/BUILT-IN/2- 
STACK/3-STACK 

This simulates the characteristics of a guitar amp. 

SMALL: 

This simulates a compact amp. 

BUILT-IN: 

This simulates a built-in amp. 

2-STACK: 

This simulates a large two-stack amp. 

3-STACK: 

This simulates a large three-stack amp. 

*<Pan> Output Pan — L64 to to 63R 

This sets the stereo position where the effect sound is output. 
L64 is leftmost, is centered, and 63R is rightmost. 



■ 4: PHASER 



This takes the original sound and adds a phase-shifted sound 
to it to make the tone change over time, producing undula- 
tions in the sound. 





Phaser 



*<Manual> Manual — 100 Hz to 8 kHz 

This selects the frequency band to which undulations are 
added. 



100 to 290 Hz: 
300 to 980 Hz: 
IktoSkHz: 



In 10 Hz steps 
In 20 Hz steps 
In 100 Hz steps 



»<Rate> Phaser Rate — 0.05 Hz to 10.0 Hz 

This selects the cycle for the phaser soimd undulations. 
0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz: In 0.1 Hz steps 

7.0 to 10.0 Hz: In 0.5 Hz steps 

<Depth> Phaser Depth — to 127 

This sets the depth of the undulations. 

<Res> Resonance — to 127 

This sets the amount of Phaser feedback. Larger values pro- 
duce a more distinctive sound. 

<Mix> Mix Level— to 127 

This sets the level of the phase-shifter effect sound with 
respect to the original sound. 

<Pan> Output Pan — L64 to to 63R 

This sets the stereo position where the Phaser sound is out- 
put. L64 is leftmost, is centered, and 63R is rightmost. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



■ 5: SPECTRUM 



This is a type of filter that raises and lowers the level of a spe- 
cific frequency to change the tone. 

Spectrum works like an equalizer, but because the frequency 
for each of the bands is set at an optimal position for adding 
distinctiveness, you can create sounds with more characteris- 
tics than just simple compensation. 
L 




The sounds are set with Bands 1 to 6. 

<Band 1> Band 1 Level — -15 dB to +15 dB 

This sets the frequency at 250 Hz. 

<Band 2> Band 2 Level — -15 dB to +15 dB 

This sets the frequency at 500 Hz. 

<Band 3> Band 3 Level 15 dB to +15 dB 

This sets the frequency at 1000 Hz (1 kHz). 

<Band 4> Band 4 Level 15 dB to +15 dB 

This sets the frequency at 1250 Hz. 

<Band 5> Band 5 Level 15 dB to +15 dB 

This sets the frequency at 2000 Hz. 

<Band 6> Band 6 Level 15 dB to +15 dB 

This sets the frequency at 3150 Hz. 

<Band 7> Band 7 Level — -15 dB to +15 dB 

This sets the frequency at 4000 Hz. 

<Band 8> Band 8 Level — -15 dB to +15 dB 

This sets the frequency at 8000 Hz. 

<Width> Bandwidth — 1 to 5 

This setting, which is common for each Band, sets the width 
of the frequency band which is raised and lowered by the 
Level value. 

*<Pan> Output Pan — L64 to to 63R 

This sets the stereo position where the effect sound is output. 
L64 is leftmost, is centered, and 63R is rightmost. 

»<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



6: ENHANCER 



This controls the freble harmonic components to add modu- 
lation to the sound, thus enhancing it. 



Enhancer 



^. 



EQ 



Enhancer 



T 



rioT-^ 



85 



*<Sens> Sensitivity — to 127 

This sets the depth to which the Enhancer is applied. 

*<Mix> Mix Level — to 127 

Tliis sets the ratio for mixing the original sound with the gen- 
erated harmonics. 

<LowGain> Low Gain 15 dB to +15 dB 

This sets the bass sound quality. A larger positive value 
results in greater emphasis of the lower band. 

<Hi Gain> High Gain 15 dB to +15 dB 

This sets the treble sound quality. A larger positive value 
results in greater emphasis of the liigher band. 

<Level> Output Level — to 127 

This sets the overall level for tlie effect sound. 



7: AUTO-WAH 



This lets you obtain an Auto-Wah effect in which the sound 
in changed cyclically by cyclic movement of tlie fQter. 



This has the greatest effect when used with an organ sound. 
The horn (the treble-range speaker) and the rotor (the bass- 
range speaker) can be combined to re-create these subtle effects, 
L 




<Filter> Filter Type — LPF/BPF 

This selects the type of filter to be used. 

LPF (Low-pass Filter): 

A wah effect is obtained for a wide frequency range. 

BPF (Bandpass Filter): 

A wah effect is obtained for a narrow frequency range. 

<Sens> Sensitivity — to 127 

This sets the depth to wliich the effect is applied. 

*<Manual> Manual — to 127 

This sets the reference frequency for the wah effect. 

<Peak> Peak — to 127 

This sets the extent to which the wah effect is applied near 
the reference frequency. 

Using a smaller value results in a wah effect in a wider range 
near the reference frequency, and using a larger value pro- 
duces the effect for a narrower range. 

*<Rate> LFO Rate — 0.05 Hz to 10.0 Hz 

This sets the cycle for the undulations of the wah effect. 
0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz: In 0.1 Hz steps 

7.0 to 10.0 Hz: h\ 0.5 Hz steps 

<Depth> LFO Depth — to 127 

This sets the depth of the undulations of the wah effect. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



■ 8: ROTARY 



This simulates an old-fashioned rotary speaker, which adds 
undulations to the sound by rotating the speaker as it plays. 




<LowSlow> Low Frequency Slow Rate — 0.05 Hz to 
10.0 Hz 

Tliis sets the speed of rotation for the rotor (the bass-range 
speaker) when the Speed setting is at "SLOW." 

0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz: In 0.1 Hz steps 

7.0 to 10.0 Hz: In 0.5 Hz steps 

<LowFast> Low Frequency Fast Rate — 0.05 Hz to 
10.0 Hz 

This sets the speed of rotation for the rotor (the bass-range 
speaker) when the Speed setting is at "FAST." 

0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz: In 0.1 Hz steps 

7.0 to 10.0 Hz: In 0.5 Hz steps 

<LowAcd> Low Frequency Acceleration — to 15 

This sets the time until the rotation cycle of the rotor (the 
bass-range speaker) reaches a steady state when the Speed 
setting is switched (SLOW <-> FAST). Smaller values result 
in longer times. 

<LowLvl> Low Frequency Level — to 127 

This sets the volume for the rotor (the bass-range speaker). 

<HiSlow> High Frequency Slow Rate — 0.05 Hz to 
10.0 Hz 

This sets the speed of rotation for tlie horn (the treble-range 
speaker) when the Speed setting is at "SLOW." 

0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz: In 0.1 Hz steps 

7.0 to 10.0 Hz: In 0.5 Hz steps 

<HiFasl> High Frequency Fast Rate — 0.05 Hz to 10.0 Hz 

This sets the speed of rotation for the horn (the treble-range 
speaker) when the Speed setting is at "FAST." 

0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz: In 0.1 Hz steps 

7.0 to 10.0 Hz: In 0.5 Hz steps 

<HiAccl> High Frequency Acceleration — to 15 

This sets the time imtil the rotation cycle of the horn (the tre- 
ble-range speaker) reaches a steady state when the Speed set- 
ting Is switched (SLOW <-> FAST). Smaller values result in 
longer times. 

<HiLvl> High Frequency Level — to 127 

This sets the volume for the hom (the treble-range speaker). 

<Separation> Separation — to 127 

This sets how widely the soimd expands. 

»<Speed> Speed — SLOW/FAST 

This toggles the rotation speed for the Rotary effect. 

SLOW: 

When switched from FAST, the speed of rotation slows 
down to a slow steady state (the value for LowSlow/ 
HiSlow). 

FAST: 

When switched from SLOW, the speed of rotation speeds 
up to a fast steady state (the value for LowFast/HiFast). 



86 



* You can toggle between SLOW and FAST with any Controller 
assigned by the Source setting for EFX Control Source f« p. 
46). 

For instance, if Source is set to FOOT, you can toggle betuteen 
SLOW and FAST by sending a foot message (Control Change 
# 4) from an external Controller. 

*<Level> Output Level — to 127 

This sets the overall level for tlie effect sound. 



9: COMPRESSOR 



This stabilizes the overall level by suppressing the high level 
and boosting the low level. 




<Attack> Attack Rate — to 127 

Tliis sets the force of attack when sound is input. 

<Sustain> Sustain Rate — to 127 

This sets the time for boosting a low-level signal to a uniform 
volume. 

<Post Gain> Post Gain — xl/x2/x4/x8 

This sets the input level. 

<LowGain> Low Gain 15 dB to +15 dB 

This sets the bass sound quality. A larger positive value 
results in greater emphasis of the lower band. 

<Hi Gain> High Gain — -15 dB to +15 dB 

This sets the treble sound quality. A larger positive value 
results in greater emphasis of the higher band. 

*<Pan> Output Pan — L64 to to 63R 

This sets the stereo position where the effect sound is output. 
L64 is leftmost, is centered, and 63R is rightmost. 

*<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



10:LIMITER 



Whereas the Compressor acts on both low-level and high- 
level signals, the Limiter compresses only high-level signals 
that exceed a set level. You can eliminate unwanted distor- 
tion by setting this to work only on peak input. 




Limiter 




Input 



<Thresh> Threshold — to 127 

This sets the level at which the Limiter effect appears, 
signals above the set level are compressed. 
<Ratio> Ratio — 1.5:1/2:1/4:1/100:1 

This sets how much the signals are compressed when the 
Limiter is applied. 



<Release> Release Time — to 127 

This sets the interval from the time when the signal drops 
below the threshold level until the time the effect ceases. 

<Gain> Post Gain — xl/x2/x4/x8 
This sets the input level. 

<LowGain> Low Gain 15 dB to +15 dB 

This sets the bass sound quality. A larger positive value 
results in greater emphasis of the lower band. 

<Hi Gain> High Gain — -15 dB to +15 dB 

This sets the treble sound quality. A larger positive value 
results in greater emphasis of the higher band. 

*<Pan> Output Pan — L64 to to 63R 

This sets the stereo position where the effect sound is output. 
L64 is leftmost, is centered, and 63R is rightmost. 

*<Level> Output Level — to 127 

This sets the overall level for die effect sound. 



11:HEXA-CHORUS 



Chorus is an effect that makes a sound thicker and broader. 
This applies a chorus to six sounds with different delay times 
(hexa-chorus). 



Hexa Chorus 




<Pre Dly> Predelay Time — ms to 100 ms 

This sets the inter\'al from the time when the original sound 
is played until the time when the effect sound is played. 

to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms; In 0.5 ms steps 

10 to 49 ms: In 1 ms steps 

50 to 1 00 ms: In 2 ms steps 

*<Rale> Chorus Rate — 0.05 Hz to 10.0 Hz 

This sets the cycle for the chorus sound undulations. 
0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz: In 0.1 Hz steps 

7.0 to 10.0 Hz: In 0.5 Hz steps 

<Depth> Chorus Depth — to 127 

Tliis sets the depth of the undulations of the chorus sound. 

<Dly Dev> Predelay Deviation — to 20 

Predelay is the time interval from when the direct sound is 
played until the chorus sound is played. This parameter 
staggers the predelay for each hexa-chorus sound by the 
value set. A larger value results in a greater shift between 
each hexa-chorus sound. 

<Dpt Dev> Depth Deviation 20 to +20 

This sets the deviated depth for the respective hexa-chorus 

sounds. 

Larger values prcduce wider deviated depth for the chorus 

soimd. 

<Pan Dev> Pan Deviation — to 20 

This sets the spread in stereo position for the respective hexa- 
chorus sounds. Larger values produce wider stereo positions 
for the chorus sound. When set to zero, all chorus sounds are 
centered. At 20, the sounds are spaced at 30-degree intervals, 
starting from the center. 

87 



<6alance> Effect Balance — D100:0E to DO:100E 

This sets the balance for the levels of the original sound and 
the effect sound. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



1 2: TREMOLO-CHORUS 



This is a chorus with a tremolo effect, w^hich adds cyclic 
undulations in volume. 



Tremolo Chorus 



<Pre Dly> Predelay Time — ms to 100 ms 

This sets the interval from the time when the original sound 
is played until the time when the chorus sound is played. 

to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 49 ms: In 1 ms steps 

50 to 100 ms: In 2 ms steps 

<ChoRate> Chorus Rate — 0.05 Hz to 10.0 Hz 

This sets the cycle for the chorus sound undulations. 
0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz: In 0.1 Hz steps 

7.0 to 10.0 Hz: In 0.5 Hz steps 

<Cho Dpt> Chorus Depth — to 127 

This sets the depth of the imdulations of the chorus sound. 

<Phase> Chorus Phase — to 180 

This sets how the chorus sound is spread. 

»<TnnRate> Tremolo Rate — 0.05 Hz to 10.0 Hz 

This sets the cycle for the imdulations of the Tremolo effect. 
Larger values make for a faster cycle. 

0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz: In 0.1 Hz steps 

7.0 to 10.0 Hz: In 0.5 Hz steps 

<Tnn Sep> Tremolo Separation — to 127 

This sets how the Tremolo effect expands. 

*<Balance> Effect Balance — D100:0E to D0:100E 

This sets the balance for the levels of the original sound and 
the effect sound (chorus sound). 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



13:SPACE-D 



This is a multiple chorus which applies two-phase modula- 
tion in stereo. One feature of this effect is that it produces a 
clear chorus effect with no feeling of discordance. 



Space D 



EQ 



EQ 



<Pre Dly> Predelay Time — ms to 100 ms 

This sets the interval from the time when the original sound 
is played until the time when the chorus sound is played. 

to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 49 ms: In 1 ms steps 

50 to 100 ms: In 2 ms steps 



*<Rate> Chorus Rate • 

0.05 to 4.95 Hz: 
5.0 to 6.9 Hz: 
7.0 to 10.0 Hz: 



-0.05 Hz to 10.0 Hz 

In 0.05 Hz steps 
In 0.1 Hz steps 
In 0.5 Hz steps 



<Depth> Chorus Depth — to 127 

This sets the depth of the undulations of the chorus sound. 

<Phase> Phase — to 180 

This sets how the chorus sound is spread. 

<LowGain> Low Gain 15 dB to +15 dB 

This sets ttie bass sound quality for the chorus soimd. A larger 
positive value results in greater emphasis of the lower band. 

<Hi Gain> High Gain — -15 dB to +15 dB 

This sets the treble sound quality for the chorus sound. A latt- 
er positive value results in greater emphasis of the higher band. 

*<Balance> Effect Balance — D100:0E to D0:100E 

This sets the balance for the levels of the original sound and 
the effect sound (chorus sound). 

<Level> Output Level — • to 127 

This sets the overall level for the effect sound. 



14: STEREO-CHORUS 



This is a chorus with full stereo output. It makes the sound 
thicker and broader. 






Chorus 



Chorus 






EQ 



EQ 



<Pre Dly> Predelay Time — ms to 100 ms 

This sets the interval from the time when the original sound 
is played until the time when the chorus sound is played. 



to 4.9 ms: 
5.0 to 9.5 ms: 
10 to 49 ms: 
50 to 100 ms: 



In 0.1 ms steps 

In 0.5 ms steps 

In 1 ms steps 

In 2 ms steps 



»<Rate> Chorus Rate — 0.05 Hz to 10.0 Hz 

This sets the cycle for the chorus sound undulations. 



88 



0.05 to 4.95 Hz: 
5.0 to 6.9 Hz: 
7.0 to 10.0 Hz: 



In 0.05 Hz steps 
In 0.1 Hz steps 
In 0.5 Hz steps 



<Depth> Chorus Depth — to 127 

This sets the depth of the undulations of the chorus sound. 

<Phase> Phase — to 180 

This sets how the chorus sound is spread. 

<Filter Typo Filler Type — OFF/LPF/HPF 

This selects the type of filter applied to the chorus sound. 

LPF (Low-pass Filter): 

The band higher than the value set for the cutoff frequency is 
eliminated. 

HPF (High-pass Filter): 

The hand lower than the value set for the cutoff frequency is 
eliminated. 

<Cutoff> Cutoff Frequency — 200/250/315/400/500/ 
630/800/1000/1250/1600/2000/2500/3150/4000/5000/6300/ 
8000 (200 Hz to 8 kHz) 

This sets the frequency that serves as the reference when a 
specific frequency band is cut off by a filter. 

<LowGain> Low Gain 15 dB to +15 dB 

This sets tlie bass sound quality for the chorus sound. A larger 
positive value results in greater emphasis of the lower band. 

<Hi Gain> High Gain — -15 dB to +15 dB 

This sets the treble sound quality for the chorus sound. A larger 
positive value results in greater emphasis of the higher band. 

»<BaIance> Effect Balance — D100:OE to D0:100E 

This sets the balance for the levels of the original sound and 
the effect sound (chorus sound). 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



15:STEREO-FLANGER 



<Depth> LFO Depth — to 127 

This sets the depth of the flanger undulations. 

*<Fbk> Feedback 98% to +98% 

This sets the percentage of the flanger sound output signal 
that is returned to the input signal. 

When the value is positive, an output that is in phase is 
returned to the input signal. Entering a negative value caus- 
es a signal of inverted phase to be returned to the input sig- 
nal. There is no feedback when the value is zero. 
You can set a value from -98% to +98%, in steps of 2%. 

<Phase> Phase — to 180 

This sets how the flanger sound is spread. 

<Filter> Filter Type — OFF/LPF/HPF 

This selects the type of filter applied to the flanger sound. 

LPF (Low-pass FUter): 

The band higher than the value set for the cutoff frequency 
is eliminated. 

HPF (High-pass Filter): 

The band lower than the value set for the cutoff frequency 
is eliminated. 

<Cutoff> Cutoff Frequency — 200/250/315/400/500/ 
630/800/1000/1250/1600/2000/2500/3150/4000/5000/6300/ 
8000 (200 Hz to 8 kHz) 

This sets the frequency that serves as the reference when a 
specific frequency band is cut off by a filter. 

<LowGain> Low Gain 15 dB to +15 dB 

This sets the bass sound quality. A larger positive value 
results in greater emphasis of the lower band. 

<Hi Gain> High Gain — -15 dB to +15 dB 

This sets the treble sound quality. A larger positive value 
results in greater emphasis of the higher band. 

<Balance> Effect Balance — D100:0E to DO:100E 

This sets the balance for the levels of the original sound and 
the effect sound (flanger sound). 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



This is a Flanger with full stereo output (the left and right 
LFOs are in phase). The depth of the effect can be increased 
to obtain a sound that moves up and dovm, like a jet taking 
off or landing. 



"^ 
xf 



Flanger 



Flanger 






EQ 



EQ 



<Pre Dly> Predelay Time — ms to 100 ms 

This sets the interval from the time when the original sound 
is played until the time when the flanger sound is played. 

to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 49 ms: In 1ms steps 

50 to 100 ms: In 2 ms steps 

»<Rate> LFO Rate — 0.05 Hz to 10.0 Hz 

This sets the cycle for the flanger undulations. 
0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz: In 0.1 Hz steps 

7.0 to 10.0 Hz: In 0.5 Hz steps 



■ 16:STEP-FLANGER 



This is flanger that makes step-wise changes in the pitch of 
the flanging. By setting the step rate to the length of a note, 
you can synchronize the changes in pitch to the MIDI clock of 
the JV-IDBO or an external device. 



^ 
^ 



Flanger 



Ranger 






EQ 



EQ 



<Pre Dly> Predelay Time — ms to 100 ms 

This .sets the interval from the time when the original sound 
is played until the time when the flanger sound is played. 

to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 49 ms: In 1 ms steps 

50 to 100 ms: In 2 ms steps 

<Rate> LFO Rate — 0.05 Hz to 10.0 Hz 

This sets the cycle for the flanger undulations. 



89 



0.05 to 4.95 Hz: 
5.0 to 6.9 Hz: 
7.0 to 10.0 Hz: 



In 0.05 Hz steps 
In 0.1 Hz steps 
In 0.5 Hz steps 



<Depth> LFO Depth — to 127 

This sets the deptli of the flanger undulations. 

*<Fbk> Feedback — -98% to +98% 
This sets the percentage of the flanger sound output signal 
that is retuiTied to the input signal. 

When the value is positive, an output that is in phase is 
returned to the input signal. Entering a negative value caus- 
es a signal of inverted phase to be returned to the input sig- 
nal. There is no feedback when the value is zero. 
You can set a value from -98% to +98%, in steps of 2%. 

<Phase> Phase — to 180 

Tliis sets how the flanger sound is spread. 

*<StepRate> Step Rate — 0.05 Hz to 10.0 Hz/> /J^./J^. 

/.VJ,/>./J/J./j,/J 

This sets the cycle for the changes in pitch. 
0.05 to 4.95 Hz: In 0.05 Hz steps 



5.0 to 6.9 Hz: 
7.0 to 10.0 Hz: 



In 0.1 Hz steps 
In 0.5 Hz steps 



* Wlien set with a note, the Step Rate is synchronized to the 
MIDI clock of the JV-IDBO or an external device. Use 
Clock Source (««• p. 66, p. 67), a system parameter, to select 
whether the MIDI clock of the JV-IOBO or the external 
device is to be used for synchronization. 

* Witen a numerical setting is made, the MIDI clock is ignored. 
If the setting is made ivith a note but no external MIDI clock 
is received, the changes in pitch are synchronized with the 
JV-IPBQ's built-in default tempo («* p. 42, p. 57). 

<LowGain> Low Gain 15 dB to +15 dB 

This sets the bass sound quality for the flanger sound. A larger 
positive value results in greater emphasis of the lower band. 

<Hi Gain> High Gain — -15 dB to +15 dB 

Tliis sets the treble sound quality for the flanger sound. A larg- 
er positive value results in greater emphasis of the higher band. 

<Balance> Effect Balance — D100:0E to D0:100E 

This sets the balance for the levels of the original sound and 
the effect sound (flanger sound). 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



■ 17: STEREO-DELAY 



This is a delay with full stereo specifications. This lets you 
make a thicker sound or achieve special effects by adding a 
delayed sound to the original sound. 



When Feedback Mode Is NORMAL 

^-^v 



-^— I Delay \ —t- 



y\ 



EQ 



-^ 



^ 



Delay 



> 



EQ 



When Feedback Mode is CROSS 




<Delay L> Delay Time Left — ms to 500 ms 

This sets the time until flie left (L) delayed sound is played. 
to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 39 ms: In 1 ms steps 

40 to 290 ms: In 10 ms steps 

300 to 500 ms: In 20 ms steps 

<Delay R> Delay Time Right — ms to 500 ms 

This sets the time until the right (R) delayed sound is played. 

* The setting values are the same as for Delay Time Left. 

*<Fbk> Feedback — 98% to +98% 
This sets the percentage of the delayed sound output signal 
that is rehxmed to the input signal. 

Larger values result in more repetitions of the delayed sound. 
When the value is positive, an output that is in phase is 
returned to the input signal. Entering a negative value caus- 
es a signal of inverted phase to be returned to the input sig- 
nal. There is no feedback when the value is zero. 
You can set a value from -98% to +98%, in steps of 2%. 

<Mode> Feedback Mode — NORMAL/CROSS 

This sets the feedback mode. 

When set to "CROSS," the delayed sound of each chaimel is 
fed back to the other channel, making the delayed sound 
jump back and forth from left to right. 

<Fhase L> Phase Left — NORMAL/INVERT 

This sets the phase of the delayed sound on the left (L) side. 
NORMAL: No change in phase 
INVERT: Phase is inverted 

<Phase R> Phase Right — NORMAL/INVERT 

This sets the phase of the delayed sound on the right (R) side. 
NORMAL: No change in phase 
INVERT: Phase is inverted 

<HF Damp> High-Frequency Damp — 
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3 
150/4000/5000/6300/8000 (200 Hz to 8 kHz), BYPASS 

This sets the frequency at which the high-frequency compo- 
nents of the reverb sound are cut off. 

A reverb sound is composed of an infinite number of reflect- 
ed sounds. 

The degree to which the high-frequency components of a 
reverb sound are attenuated depends on the composition of 
surrounding materials (such as tiie walls and the ceiling). HP 
Damp (high-frequency damp) is a parameter which simulates 
this by attenuating the high-frequency components. 
A lower cutoff frequency results in a sedate sound, while a 
higher frequency produces a brighter sound. When set to 
"BYPASS," no high-frequency components are cut off. 



90 



<LowGain> Low Gain 15 dB to +15 dB 

This sets the bass sound quality for the reverb sound. A larger 
positive value results in greater emphasis of the lower band. 

<Hi Gain> High Gain 15 dB to +15 dB 

This sets the treble sound quality for the reverb sound. A 
larger positive value results in greater emphasis of the higher 
band. 

»<Balance> Effect Balance — D100:OE to D0:100E 

This sets the balance for the levels of the original sound and 
the effect sound (reverb sound). 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



■ 18: MODULATION-DELAY 

This lets you add modulation to a delayed sound to create an 
effect that resembles a flanger. 
When Feedback Mode is NORMAL 



■\: 



Delay 



EQ 



^-1— 1 Delay | — 1 — v 

R ^ ^ 



EQ 



When Feedback Mode is CROSS 

^-A^ 




<Delay L> Delay Time Left — ms to 500 ms 

This sets the time imtil the left (L) delayed sound is played. 
to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 39 ms: In 1 ms steps 

40 to 290 ms: In 10 ms steps 

300 to 500 ms: In 20 ms steps 

<DeIay R> Delay Time Right — ms to 500 ms 

This sets the time until the right (R) delayed sound is played. 

* The setting values are the same as for Delay Time Left. 

<Fbk> Feedback — -98% to +98% 
This sets the percentage of the delayed sound output signal 
that is returned to the input signal. 

Larger values result in more repetitions of the delayed sound. 
When the value is positive, an output that is in phase is 
returned to the input signal. Entering a negative value caus- 
es a signal of inverted phase to be returned to the input sig- 
nal. There is no feedback when the value is zero. 
You can set a value from -98% to +98%, in steps of 2%. 

<Mode> Feedback Mode — NORMAL/CROSS 

This sets the feedback mode. 

When set to "CROSS," the delayed sound of each channel is 
fed back to the other channel, making the delayed sound 
jump back and forth from left to right. 

*<Rate> Modulation Rate — 0.05 Hz to 10.0 Hz 

This sets the speed with which the modulation effect is 
applied. 



0.05 to 4.95 Hz: 
5.0 to 6.9 Hz: 
7.0 to 10.0 Hz: 



In 0.05 Hz steps 
In 0.1 Hz steps 
In 0.5 Hz steps 



<Depth> Modulation Depth — to 127 

This sets the depth of the modulation effect. 

<Phase> Phase — to 180 

This sets how the modulation sound expands. 

<HF Damp> High-Frequency Damp — 
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/ 
3150/4000/5000/6300/8000 (200 Hz to 8 kHz), BYPASS 

This sets the frequency at which the high-frequency compo- 
nents of the reverb sound are cut off. 

The degree to which the high-frequency components of a 
reverb sound are attenuated depends on the composition of 
surrounding walls. HF Damp (high-frequency damp) is a 
parameter which simulates this by attenuating the high-fre- 
quency components. 

A lower cutoff frequency results in a sedate sound, while a 
higher frequency produces a brighter sound. When set to 
"BYPASS," no high-frequency components are cut off. 

<LowGain> Low Gain 15 dB to +15 dB 

This sets the bass sound quality. A larger positive value 
results in greater emphasis of the lower band. 

<Hi Gain> High Gain — -15 dB to +15 dB 

This sets the treble sound quality. A larger positive value 
results in greater emphasis of the higher band. 

*<Balance> Effect Balance — D100:0E to DO:100E 

This sets the balance for the levels of the original sound and 
the effect sound. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



■ 19: TRIPLE-TAP-DELAY 

This delay lets you set different delay times for three direc- 
tions — center (C), left (L), and right (R). 
By setting the delay time to the length of a note, you can syn- 
chronize the delayed sound to the MIDI clock signal from an 
internal or external device. 

This effect is used when you want to apply a delay that is 
synchronized to the performance tempo of a sequencer or 
some other instrument. 



L 






..^ ■ 


^^^^ 




1 Left Tap I < 


r 












1 night Tap 1 






^ 






, C^ 




^ 


>^ 


R 






^. , 



<Delay C> Delay Time Center — 200 ms to 1000 msl^ 

This sets the delay time for the delayed sound that is output 
from the center (C). 

200 to 545 ms: In 5 ms steps 

550 to 1000 ms: In 10 ms steps 

* When set as a note value, the Delay Time can be synchronized 
ivith the module's internal clock or the MIDI clock arriving 
from an external device. You can use the Clock Source system 
parameter ('^ p. 66, p. 67) to select which source you want to 
use, either the internal clock or the MIDI clock. 



91 



* Wlien set as a numeric value, the MIDI clock will be ignored. 
Note also that even if a note value has been set, the module's 
default tempo (ks" p. 42, p. 57) will be used for synchronization 
whenever the MIDI clock has not arrived from an external 
device. 

<Delay L> Delay Time Left 

This sets the delay time for the delayed somid that is output 
from the left (L). 

* The setting values are the same as for Delay Time Center. 

<Delay R> Delay Time Right 

This sets the delay time for the delayed sound that is output 
from the right (R). 

* The setting values are the same as for Delay Time Center. 

*<Fbk> Feedback 98% to +98% 

This sets the amount of feedback for the delayed sound. 
"Feedback" refers to returning a portion of the output signal 
to the input signal. 

This sets the percentage of the in-phasc or inverted-phase output 
signal (positive or negative value) that is returned to the input. 
You can set a value from -98% to +98%, in steps of 2%. No 
feedback is applied when this is set to zero. 

<Level C> Center Level — to 127 

This sets the volume for the center delayed sound. 

<Level L> Left Level — to 127 

This sets the volume for the left delayed sound. 

<Level R> Right Level — to 127 

This sets the volume for the right delayed sound. 

<HF Damp> Hlgh-Frequency Damp — 
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/ 
3150/4000/5000/6300/8000 (200 Hz to 8 kHz), BYPASS 

This sets the frequency at which the high-frequency compo- 
nents of the reverb sound are cut off. 

The degree to which the high-frequency components of a 
reverb sound are attenuated depends on the composition of 
surrounding walls. HF Damp (high-frequency damp) is a 
parameter which simulates tl-ds by attenuating the high-fre- 
quency components. 

A lower cutoff frequency results in a sedate sound, while a 
higher frequency produces a brighter sound. When set to 
"BYPASS," no high-frequency components are cut off. 

<LowGain> Low Gain — -15 dB to +15 dB 

This sets the bass sound quality. A larger positive value 
results in greater emphasis of the lower band. 

<Hi Gain> High Gain — -15 dB to +15 dB 

This sets the treble sound quality. A larger positive value 
results in greater emphasis of the higher band. 

*<Balance> Effect Balance — D100:0E to D0:100E 

Tliis sets the balance for the levels of the original sound and 
the effect sound. 

<Level> Output Level -— to 127 

This sets the overall level for the effect sound. 



20: QUADRUPLE-TAP-DELAY 



This delay lets you set four independent delay times. 
By setting the delay time to the length of a note, you can syn- 
chronize the delayed sound to the MIDI clock signal from an 
internal or external device. 

This effect is used when you want to apply delays tliat are 
synchronized to the performance tempo of a sequencer or 
some other instrument. 




2 3 



* The stereo positions of 
ttie delayed sounds 1 to 
4 are as you see al right. 



<Delayl> Delay Time 1 — 200 ms to 1000 ms/.^/^/.^ 

/yVJ^/i-./J/J./J./J 

This sets the interval from the time when the original sound 
is played until the delayed sound (1) is played. 

200 to 545 ms: In 5 ms steps 

550 to 1000 ms: In 10 ms steps 

• Mien set as a note value, the Delay Time can be synchronized with 
the module's internal clock or the MIDI clock arriving from an exter- 
nal device. For details, refer to "Triple Tap Delay." 

* Vie setting values for Delay Time 1 to Delay time 4 are the same. 

<Delay2> Delay Time 2 — 200 ms to 1000 ms/}^f}j.h 

/>J./A/J/J./J./j 

This sets the interval from the time when the original sound 

is played until the delayed sound (2) is played. 

<Delay3> Delay Time 3 — 200 ms to 1000 ms/J»/A/>. 

/Ji/J./J'./J/J../J./J 

This sets the interval from tine time when the original sound 

is played until the delayed sound (3) is played. 

<Delay4> Delay Time 4 — 200 ms to 1000 ms/ J^I^J} 

This sets the interval from the time when the original sound 
is played until the delayed sound (4) is played. 

<Level 1> Level 1 

This sets the volume for the delayed sound (1). 

<Level 2> Level 2 

This sets the volume for the delayed sound (2). 

<Level 3> Level 3 

Tills sets the volume for the delayed soimd (3). 

<Level 4> Level 4 

This sets the volume for the delayed sound (4). 

*<Fbk> Feedback 98% to +98% 

This sets the amount of feedback for the delayed sound. 
"Feedback" refers to returning a portion of the output signal to 
the input signal. 

This sets the percentage of the in-phase or inverted-phase output 
signal (positive or negative value) that is rehimed to the input. 
You can set a value from -98% to +98%, in steps of 2%. No feed- 
back is applied when this is set to zero. 

<HF Damp> High-Frequency Damp — 
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/ 
3150/4000/5000/6300/8000 (200 Hz to 8 kHz), BYPASS 



92 



This sets the frequency at which the high-frequency compo- 
nents of the reverb sound are cut off. 

The degree to which the high-frequency components of a 
reverb sound are attenuated depends on the composition of 
surrounding walls. HF Damp (high-frequency damp) is a 
parameter which simulates this by attenuating the high-fre- 
quency components. 

A lower cutoff frequency results in a sedate sound, while a 
higher frequency produces a brighter sound. When set to 
"BYPASS," no high-frequency components are cut off. 

*<Balance> Effect Balance — D100:0E to D0:1ME 

This sets the balance for the levels of the original sound and 
the effect sound (delayed sound). 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



21: TIME-CONTROL-DELAY 



This lets you control a delay time in real time. 

L 



EQ 



Delay 



EQ 



When the delay time has been made to change, the delay 
time and pitch of the delayed sound change at the speed set 
for Acceleration. Depending on the settings you use, you can 
achieve some really tricky effects with this. 



When delay time Is long 
Ipnch ialte) 



n 



Level 



When delay lime Is short 
(pitch rises) 



Otiglnat 
sound 



Delayed sound 



Original 
sound 



Delayed sound 



You can use a Controller assigned with EFX Control Source 
(«■ p. 46) to control the delay time. For example, if you set 
Source to "Expression," you can control the delay time with 
the expression pedal as an external controller. 

*<DeIay> Delay Time — 200 ms to 1000 ms 

This sets the interval from the time when the original sound 
is played until the delayed sound is played. 
200 to 595 ms: In 5 ms steps 
600 to 1000 ms: In 10 ms steps 

<Accel> Acceleration — to 15 

This makes the delay interval for the delayed sound 
approach the setting value from zero. 

♦<Fbk> Feedback 98% to +98% 

This sets the amount of feedback for the delayed sound. 

"Feedback" refers to returning a portion of the output signal 

to the input signal. 

This sets the percentage of the in-phase or inverted-phase 

output signal (positive or negative value) that is returned to 

the input. 

You can set a value from -98% to +98%, in steps of 2%. No 

feedback is applied when this is set to zero. 

<Pan> Output Pan — 63R to to L64 

This sets the stereo position where the effect sound is output. 
L64 is leftmost, is centered, and 63R is rightmost. 

<HF Damp> High-Frequency Damp — 
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/ 
3150/4000/5000/6300/8000 (200 Hz to 8 kHz), BYPASS 



This sets the frequency at which the high-frequency compo- 
nents of the reverb sound are cut off. 

The degree to which the high-frequency components of a 
reverb sound are attenuated depends on the composition of 
surrounding walls. HF Damp (high-frequency damp) is a 
parameter which simulates this by attenuating the high-fre- 
quency components. 

A lower cutoff frequency results in a sedate sound, while a 
higher frequency produces a brighter sound. When set to 
"BYPASS," no high-frequency components are cut off. 

<LowGain> Low Gain 15 dB to +15 dB 

This sets the bass sound quality. A larger positive value 
results in greater emphasis of the lower band. 

<Hi Gain> High Gain 15 dB to +15 dB 

This sets the treble sound quality. A larger positive value 
results in greater emphasis of the higher band. 

<Balance> Effect Balance — D100:0E to DOdOOE 

This sets the balance for the levels of the original sound and 
the effect sound. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



■ 22: 2 VOICE-PITCH-SHIFTER 

This changes the pitch of the original sound. You can make 
subtle changes in two different pitches. 




Pitch 1 



Pitch 2 




*<CoarseA> Coarse Pitch A 24 to +12 

This sets the amount of change in pitch for pitch-shifted 
sound A, in half-tone increments. 

You can make a setting up to one octave higher or two 
octaves lower. 

<Fine A> Fine Pitch A 100 to +100 

This sets the amount of change in pitch for pitch-shifted sound 

A, in increments of 2 cents (a cent is 1/lOOth of a half-tone). 

<Pan A> Output Pan A — L64 to to 63R 

This sets the stereo position at which pitch-shifted sound A is 
output. L64 is leftmost, is centered, and 63R is rightmost. 

<PreDlyA> Predelay Time A — ms to 500 ms 

This sets the delay time for pitch-shifted .sound A. 
to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 39 ms: In 1 ms steps 

40 to 290 ms: In 10 ms steps 

300 to 500 ms: In 20 ms steps 

»<CoarseB> Coarse Pitch B 24 to +12 

This sets the amount of change in pitch for pitch-shifted 
sound B, in half-tone increments. 

You can make a setting up to one octave higher or two 
octaves lower. 

<FineB> Fine Pitch B — -100 to +100 

This sets the amount of change in pitch for pitch-shifted sound 

B, in increments of 2 cents (a cent is 1 /100th of a half-tone). 

<Pan B> Output Pan B — L64 to to 63R 

This sets the stereo position at which pitch-shifted sound B is 
output. L64 is leftmost, is centered, and 63R is rightmost. 

93 



<PreDlyB> Predelay Time B — ms to 500 ms 

This sets the delay time for pitch-sliifted sound B. 
to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 39 ms: Iii 1 ms steps 

40 to 290 ms: In 10 ms steps 

300 to 500 ms: In 20 ms steps 

<Mode> Pitch Shift Mode — 1 to 5 

This selects the pitch shift mode. Larger mode numbers result 
in longer response times but less undulations in tlie sound. 

<Lvl Bal> Level Balance — A100:0B to A0:100B 

This sets the volume balance for pitch-shifted sotmds A and B. 

<Balance> Effect Balance — D100:0E to D0:100E 

This sets the balance for the levels of the original sound and 
the effect sound. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



■ 23: FBK-PITCH-SHIFTER 
(Feedback-Pitch-Shifter) 

This is a pitch shifter with a feedback loop. 

L 




EQ 



Pitch 



EQ 



*<Coarse> Coarse Pitch 24 to +12 

This sets tl\e amount of change in pitch for tlie pitch-shifted 
sound, in half-tone increments. You can make a setting up to 
one octave higher or two octaves lower. 

<Fine> Fine Pitch — -100 to +100 

This sets the amount of change in pitch for the pitch-shifted 
sound, in increments of 2 cents (a cent is 1/lOOth of a half-tone). 

<Pan> Output Pan — L64 to to 63R 

This sets the stereo position at which the pitch-shifted sound 
is output. L64 is leftmost, is centered, and 63R is rightmost. 

<PreDly> Predelay Time — ms to 500 ms 

This sets the delay time for the pitch-shifted sound. 
to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 39 ms: In 1 ms steps 

40 to 290 ms: In 10 ms steps 

300 to 500 ms: In 20 ms steps 

<Mode> Pitch Shift Mode — 1 to 5 

This selects the pitch shift mode. Larger mode numbers result 
in longer response times but less undulations in the soimd. 

*<Feedback> Feedback — -98% to +98% 

Tliis sets the amount of feedback for the pitch-shifted sound. 

"Feedback" refers to returning a portion of the output signal 

to the input signal. 

This sets the percentage of the in-phasc or inverted-phase 

output signal (positive or negative value) that is returned to 

the input. 

You can set a value from -98% to +98%, in steps of 2%. No 

feedback is applied when this is set to zero. 

<Low Gain> Low Gain 15 dB to +15 dB 

This sets the bass sound quality. A larger positive value 
results in greater emphasis of the lower band. 



<Hi Gain> High Gain — -15 dB to +15 dB 

This sets the treble sound quality. A larger positive value 
results in greater emphasis of the higher band. 

<Balance> Effect Balance — D100:OE to D0:100E 

This sets the balance for tlie levels of the original soimd and 
the effect soimd. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



■ 24: REVERB 

Tliis adds lingering reverberations to the original sound to 
simulate sounds played in a spacious setting. 



EQ 



Reverb 



EQ 



<Type> Reverb Type — ROOM1/ROOM2/STAGE1/ 
STAGE2/HALL1/HALL2 

This selects the type of reverb. 

ROOMl: 

Short, high-density reverb 

ROOM2: 

Short, low-density reverb 

STAGEl: 

Reverb with many later reverberations 

STAGE2: 

Reverb with strong initial reflection 

HALLl: 

Clear reverb 

HALL2: 

Rich reverb 

<Pre Dly> Predelay Time — ms to 100 ms 

This sets the interval from the time when the original sound 
is played until the time when the REVERB sound is played. 

to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 49 ms: In 1 ms steps 

50 to 100 ms: In 2 ms steps 

*<Time> Reverb Time — to 127 

This sets the time from when the reverb sound starts until it 
fades away. 

<HF Damp> High-Frequency Damp — 

200/250/31 5/400/500/630/800/1 000/1 250/1 600/2000/2500/ 

3150/4000/5000/6300/8000 (200 Hz to 8 kHz), BYPASS 

This sets the frequency at which the high-frequency compo- 
nents of the reverb sound are cut off. 

The degree to which the high-frequency components of a 
reverb sound are attenuated depends on the composition of 
surrounding walls. HP Damp (high-frequency damp) is a 
parameter which simulates this by attenuating the high-fre- 
quency components. 

A lower cutoff frequency results in a sedate sound, while a 
higher frequency produces a brighter sound. When set to 
"BYPASS," no high-frequency components are cut off. 

<LowGain> Low Gain 15 dB to +15 dB 

This sets the bass sound quality. A larger positive value 
results in greater emphasis of the lower band. 



94 



<Hi Gam> High Gain — -15 dB to +15 dB 

This sets the treble sound quality. A larger positive value 
results in greater emphasis of the higher band. 

*<Balance> Effect Balance — D100:OE to D0:100E 

This sets the balance for the levels of the original sound and 
the effect (reverb) sound. 

<LeveI> Output Level — to 127 

Tliis sets the overall level for the effect sound. 



■ 25: GATE-REVERB 

This reverb mutes out the lingering reverberations while they 
are in progress. 



EO 



Gate Revert) 



EQ 



<Type> Reverb Type — NORMAL/REVERSE/ 
SWEEP1/SWEEP2 

This selects the type of reverb. 

NORMAL: 

This is a normal gate reverb. 

REVERSE: 

With this type, the reverb is rotated in reverse. 

SWEEPl: 

The reverb sound moves from right to left. 

SWEEP2: 

The reverb sound moves from left to right. 

<Pre Dly> Predelay Time — ms to 100 ms 

This sets the interval from the time when the original sound 
is played until the time when the REVERB sound is played. 

to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 49 ms: In 1 ms steps 

.50 to 100 ms: In 2 ms steps 

<GateTime> Gate Time — 5 to 500 

This sets the interval from the time the reverb sound starts 
until the time when it is muted. 

<LowGain> Low Gain 15 dB to +15 dB 

This sets the bass sound quality. A larger positive value 
results in greater emphasis of the lower band. 

<m Gain> High Gain — -15 dB to +15 dB 

This sets the treble sound quality. A larger positive value 
results in greater emphasis of the higher band. 

»<Balance> Effect Balance — DlOOrOE to D0:100E 

This sets tlie balance for the levels of the original sound and 
the effect (reverb) sound. 

■'<Level> Output Level — to 127 

Tliis sets the overall level for the effect sound. 



26: OVERDRIVE -> CHORUS 



With this type, the Overdrive is connected in series with the 
Chorus. 




Ouerdrive 



Chonjs 



<Drive> Drive — to 127 

Tills sets the strength of the overdrive sound distortion. 

*<Pan> Overdrive Fan — L64 to to 63R 

This sets the stereo position where the overdrive sound is 
output. L64 is leftmost, is centered, and 63R is rightmost. 

<Pre Dly> Chorus Predelay — ms to 100 ms 

This sets the interval from the time when the original sound 
is played until the time when the chorus sound is played. 

to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 49 ms: In 1 ms steps 

50 to 100 ms: In 2 ms steps 

<Rate> Chorus Rate — 0.05 Hz to 10.0 Hz 

This sets the cycle for the chorus sound undulations. 
0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz: In 0.1 Hz steps 

7.0 to 10.0 Hz: In 0.5 Hz steps 

<Depth> Chorus Depth — to 127 

This sets the depth of the undulations of the chorus sound. 

*<BaIance> Chorus Balance — • D100:0E to D0:100E 

This sets the balance for the levels of the overdrive sound and 
the overdrive + chorus sound. A setting of "D100:0E" out- 
puts only the overdrive sound, and a setting of "D0:100E" 
outputs overdrive + chorus sound. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



■ 27: OVERDRIVE -> FLANGER 

With this type, the Overdrive is cormected in series with the 
Flanger. 

L 




Overdrive 



r — T 

~h H Flanger~] ~ 



<Drive> Drive — to 127 

This sets the strength of the overdrive sound distortion. 

*<Pan> Overdrive Pan — L64 to to 63R 

This sets the stereo position where the overdrive sound is 
output. L64 is leftmost, is centered, and 63R is rightmost. 

<Pre Dly> Flanger Pre delay — ms to 100 ms 

This sets the interval from the time when the original 
sound. is played until the time when the flanger sound is 
played. 

to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 49 ms: In 1ms steps 

50 to 100 ms: In 2 ms steps 



95 



<Rate> Ranger Rate — 0.05 Hz to 10.0 Hz 

This sets the cycle for the flanger undulations. 
0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz; In 0.1 Hz steps 

7.0 to 10.0 Hz: In 0.5 Hz steps 

<Depth> Flanger Depth — to 127 

This sets the depth of the flanger undulations. 

<Fbk> Feedback — -98% to +98% 

This sets the amount of feedback for the flanger sound. 

"Feedback" refers to returning a portion of the output signal 

to the input signal. This sets the percentage of the in-phase 

or inverted-phase output signal (positive or negative value) 

that is returned to the input. 

You can set a value from -98% to +98%, in steps of 2%. No 

feedback is applied when this is set to zero. 

*<Balance> Flanger Balance — D100:0E to D0:100E 

This sets the balance for the levels of the overdrive sound and 
the overdrive + flanger sound. A setting of "D100:0E" out- 
puts only the overdrive sound, and a setting of "D0:100E" 
outputs overdrive + fljmger sound. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



■ 28: OVERDRIVE -> DELAY 

With this type, the Overdrive is connected in series with the 
Delay. 




<Drive> Drive — to 127 

This sets the strength of the overdrive sound distortion. 

»<Pan> Overdrive Fan — L64 to to 63R 

This sets the stereo position where the overdrive sound is 
output. L64 is leftmost, is centered, and 63R is rightmost. 

<Delay> Delay Time — ms to 500 ms 

This sets the interval from the time when the original sound 
is played until the delayed sound is played. 

to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 39 ms: In 1 ms steps 

40 to 290 ms: In 10 ms steps 

300 to 500 ms: In 20 ms steps 

<Fbk> Delay Feedback 98% to +98% 

This sets the amount of feedback for the delayed sound. 
"Feedback" refers to returning a portion of the output signal 
to the input signal. This sets the percentage of the in-phase 
or inverted-phase output signal (positive or negative value) 
that is returned to the input. 

You can set a value from -98% to +98%, in steps of 2%. No 
feedback is applied when this is set to zero. 

<HF Damp> Delay HF Damp — 200/250/315/400/500/ 
630/800/1000/1250/1600/2000/2500/3150/4000/5000/6300/ 
8000 (200 Hz to 8 kHz), BYPASS 

This sets the frequency at which the high-frequency compo- 
nents of the reverb sound are cut off. 

The degree to which the tiigh-frequency components of a 
reverb sound are attenuated depends on the composition of 

96 



surrounding walls. HF Damp (high-frequency damp) is a 
parameter which simulates this by attenuating the high-fre- 
quency components. 

A lower cutoff frequency results in a sedate sound, while a 
higher frequency produces a brighter sound. When set to 
"BYPASS," no high-frequency components are cut off. 

*<Balance> Balance — D100:0E to D0:100E 

This sets the balance for the levels of the overdrive sound and 
the overdrive + delayed sound. A setting of "D100:OE" out- 
puts only the overdrive sound, and a setting of "D0:100E" 
outputs overdrive + delayed sound. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



■ 29: DISTORTION -> CHORUS 

With this type. Distortion is connected in series with the 
Chorus. 

L - 



Distortion \ ~l— \ Choais j Ul 



The parameters that you can set are the same as for "OVER- 
DRIVE -> CHORUS." 



■ 30: DISTORTION -> FLANGER 

With this type. Distortion is connected in series with the 
Flanger. 

L 




The parameters that you can set are the same as for "OVER- 
DRIVE -> FLANGER." 



■ 31: DISTORTION -> DELAY 

With this type. Distortion is connected in series with the 
Delay. 
L 




Distortion 



Delay 



The parameters that you can set are the same as for "OVER- 
DRIVE -> DELAY." 



32: ENHANCER -> CHORUS 



With this type, the Enhancer is connected in series with the 
Chorus. 



Enhancer 



Chorus 



Enhancer 



*<Sens> Sensitivity — to 127 

This sets the depth to which the Enhancer is applied. 

<Mix> Mix Level — to 127 

This sets the ratio for mixing tlie original sound with the gen- 
erated harmonics. 

<Pre Dly> Chorus Pre delay — ms to 100 ms 

This sets the interval from the time when the original soiind 
is played unhl the time when the chorus sound is played. 

to 4.9 ms: 

5.0 to 9.5 ms: 

10 to 49 ms: 

50 to 100 ms: 

<Rate> Chorus Rate - 



In 0.1 ms steps 
In 0.5 ms steps 
In 1 ms steps 
In 2 ms steps 

-0.05 Hz to 10.0 Hz 



This sets the cycle for the chorus sound undulations. 
0.05 to 4.95 Hz: In 0.05 Hz steps 
5.0 to 6.9 Hz: hx 0.1 Hz steps 
7.0 to 10.0 Hz: In 0.5 Hz steps 

<Depth> Chorus Depth — to 127 

This sets the depth of tlie undulations of the chorus sound. 

*<Balance> Chorus Balance — D100:0E to D0:100E 

Tliis sets the balance for the levels of the enhancer sound and 
the enhancer + chorus sound. A setting of "D100:OE" outputs 
only the enhancer sound, and a setting of "D0:100E" outputs 
enhancer + chorus sound. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



33: ENHANCER -> FLANGER 



With this type, the Enhancer is connected in series with the 
Flanger. 



Enhancer 



Hanger 



Enhancer 



*<Sens> Sensitivity — to 127 

This sets the depth to which the Enhancer is applied. 

<Mix> Mix Level — to 127 

This sets the ratio for mixing the original sound with the gen- 
erated harmonics. 

<Pre Dly> Flanger Pre delay — ms to 100 ms 

This sets the Interval from the time when the original sound 
is played until the time when the flanger sound is played. 



to 4.9 ms: 
5.0 to 9.5 ms: 
10 to 49 ms: 
50 to 100 ms: 



In 0.1 ms steps 
In 0.5 ms steps 
In 1 ms steps 
In 2 ms steps 



<Rate> Flanger Rate — 0.05 Hz to 10.0 Hz 



This sets the cycle for the flanger undulations. 
0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz: In 0.1 Hz steps 

7.0 to 10.0 Hz: In 0.5 Hz steps 

<Depth> Flanger Depth — to 127 

This sets the depth of the flanger undulations. 

<Fbk> Flanger Feedback — -98% to +98% 

This sets the amount of feedback for the flanged sound. 

"Feedback" refers to returning a portion of the output signal 

to the input signal. This sets the percentage of the in-phase 

or inverted-phase output signal (positive or negative value) 

that is returned to the input. 

You can set a value from -987o to +98%, in steps of 2%. No 

feedback is applied when this is set to zero. 

*<Balance> Flanger Balance — D100:0E to D0:100E 

This sets the balance for the levels of the enhancer soimd and 
the enlaancer + flanger sound. A setting of "D100:0E" out- 
puts only the enhancer sound, and a setting of "D0:100E" 
outputs enhancer + flanger soxmd. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



■ 34: ENHANCER -> DELAY 



With this type, the Enliancer is connected in series with the 
Delay. 



Enhancer 



Delay 



Enhancer 



*<Sens> Sensitivity — to 127 

This sets the depth to which the Enliancer is applied. 

<Mix> Mix Level — to 127 

This sets the ratio for mixing the original sound with the gen- 
erated harmonics. 

<Delay> Delay Time — ms to 500 ms 

This sets the inten.'al from the time when the original sound 
is played until tlie delayed sound is played. 

to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

1 to 39 ms: In 1 ms steps 

40 to 290 ms: In 10 ms steps 

300 to 500 ms: In 20 ms steps 

<Fbk> Delay Feedback — -98% to +98% 

This sets the amount of feedback for the delayed sound. 

"Feedback" refers to returning a portion of the output signal 

to the input signal. This sets the percentage of the in-phase 

or inverted-phase output signal (positive or negative value) 

that is returned to the input. 

You can set a value from -98% to +98%, in steps of 2%. No 

feedback is applied when this is set to zero. 

<HF Damp> Delay HF Damp — 200/250/315/400/500/ 
630/800/1000/1250/1600/2000/2500/3150/4000/5000/6300/ 
8000 (200 Hz to 8 kHz), BYPASS 

This sets the frequency at which the high-frequency compo- 
nents of the reverb sound are cut off. 

The degree to which the high-frequency components of a 
reverb sound are attenuated depends on tlie composition of 
surrounding walls. HF Damp (high-frequency damp) is a 
parameter which simulates this by attenuating the high-fre- 
quency components. 
A lower aitoff frequency results in a sedate sound, while a 

97 



higher frequency produces a brighter sound. When set to 
"BYPASS," no high-frequency components are cut off. 

*<Balaiice> Delay Balance — D100:0E to D0:10OE 

This sets the balance for the levels of the enhancer sound and 
the enhancer + delayed sound. A setting of "D100:0E" out- 
puts only the enhancer sound, and a setting of "D0:100E" 
outputs enhancer + delayed sound. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



35: CHORUS -> DELAY 



This type connects Chorus and Delay in series. 




<Cho Dly> Chorus Predelay — ms to 100 ms 

This sets the interval from the time w^hen the original sound 
is played until the time when the chorus sound is played. 

to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 49 ms: In 1 ms steps 

50 to 100 ms: hi 2 ms steps 

<ChoRate> Chorus Rate — 0.05 Hz to 10.0 Hz 

This sets the cycle for the chorus sound undulations. 
0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz: In 0.1 Hz steps 

7.0 to 10.0 Hz hi 0.5 Hz steps 

<Cho Dpt> Chorus Depth — to 127 

This sets the depth of the undulations of the chorus sound. 

»<Cho Bal> Chorus Balance — D100:0E to D0:100E 

This sets the balance for the levels of the original sound and 
the chorus sound. A setting of "D100:0E" outputs only the 
original sound, and a setting of "D0:100E" outputs chorus 
sound only. 

<Delay> Delay Time — ms to 500 ms 

This sets the interval from the time when the original sound 
is played until the delayed sound is played. 

to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 39 ms: In 1 ms steps 

40 to 290 ms: In 10 ms steps 

300 to 500 ms: In 20 ms steps 

<Dly Fbk> Delay Feedback 98% to +98% 

This sets the amount of feedback for the delayed sound. 
"Feedback" refers to returning a portion of the output signal 
to the input signal. This sets the percentage of the in-phase 
or inverted-phase output signal (positive or negative value) 
that is returned to the input. 

You can set a value from -98% to +98%, in steps of 2%. No 
feedback is applied when this is set to zero. 

<HF Damp> Delay HF Damp — 200/250/315/400/500/ 
630/800/1000/1250/1600/2000/2500/3150/4000/5000/6300/ 
8000 (200 Hz to 8 kHz), BYPASS 

This sets the frequency at which the high-frequency compo- 
nents of the reverb sound are cut off. 

The degree to which the high-frequency components of a 
reverb sound are attenuated depends on the composition of 
surrounding walls. HF Damp (high-frequency damp) is a 
parameter which simulates this by attenuating the high-fre- 

98 



quency components. 

A lower cutoff frequency results in a sedate soimd, while a 
higher frequency produces a brighter sound. When set to 
"BYPASS," no high-frequency components are cut off. 

»<Delay Balanco Delay Balance — D100:0E to DO:100E 

This sets the balance for the levels of the chorus sound and 
the chorus + delayed sound. A setting of "D100:0E" outputs 
only the chorus sound, and a setting of "DO:100E" outputs 
chorus + delayed sound. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



■ 36: FLANGER -> DELAY 

This type cormects the Flanger and Delay in series. 




<Flg Dly> Flanger Predelay — ms to 100 ms 

This sets the interval from the time when the original sound 
is played until the time when the flanger sound is played. 

to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 49 ms: In 1 ms steps 

50 to 100 ms: In 2 ms steps 

<FIgRate> Flanger Rate — 0.05 Hz to 10.0 Hz 

This sets the cycle for the flanger undulations. 
0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz: In 0.1 Hz steps 

7.0 to 10.0 Hz: In 0.5 Hz steps 

<Flg Dpt> Flanger Depth — to 127 

This sets the depth of the flanger undulations. 

<Flg Fbk> Flanger Feedback — -98% to +98% 

This sets the amount of feedback for the flanger sound. 

"Feedback" refers to returning a portion of the output signal 

to the input signal. This sets the percentage of the in-phase 

or inverted-phase output signal (positive or negative value) 

that is returned to the input. 

You can set a value from -98% to +98%, in steps of 2%. No 

feedback is applied when this is set to zero. 

*<Flg Bal> Flanger Balance — D100:0E to D0:100E 

This sets the balance for the levels of the original sound and 
the flanger sound. A setting of "D100:0E" outputs only the 
original sound, and a setting of "D0:100E" outputs flanger 
sound only. 

<Delay> Delay Time — ms to 500 ms 

This sets the interval from the time when the original sound 
is played until the delayed sound is played. 

to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 39 ms: In 1 ms steps 

40 to 290 ms: In 10 ms steps 

300 to 500 ms: hi 20 ms steps 

<Dly Fbk> Delay Feedback 98% to +98% 

This sets the amount of feedback for the delayed sound. 
"Feedback" refers to returning a portion of the output signal 
to the input signal. This sets the percentage of the in-phase 
or inverted-phase output signal (positive or negative value) 
that is returned to the input. 

You can set a value from -98% to +98%, in steps of 2%. No 
feedback is applied when this is set to zero. 



<HF Damp> Delay HF Damp — 200/250/315/400/500/ 
630/800/1000/1250/1600/2000/2500/3150/4000/5000/6300/ 
8000 (200 Hz to 8 kHz), BYPASS 

This sets tlie frequency at which the Wgh-frequency compo- 
nents of the reverb sound are cut off. 

The degree to which the high-frequency components of a 
reverb sound are attenuated depends on the composition of 
surrounding walls. HF Damp (high-frequency damp) is a 
parameter which simulates this by attenuating the high-fre- 
quency components. 

A lower cutoff frequency results in a sedate sound, and a 
higher frequency produces a brighter sound. When set to 
"BYPASS," no high-frequency components are cut off. 

*<Delay Balanco Delay Balance — D100:OE to D0:10OE 

This sets the balance for the levels of the flanger sound and 
the flanger -i- delayed sound. A setting of "D100:0E" outputs 
only the flanger sound, and a setting of "DO:100E" outputs 
flanger + delayed sound. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



■ 37: CHORUS -> FLANGER 

This type connects the Chorus and Flanger in series. 
L-^ »- 




<Cho Dly> Chorus Predelay — ms to 100 ms 

This sets the interval from the time when the original sound 
is played until the time when the chorus sound is played. 

to 4.9 ms: In 0.1 ms steps 

5.0 to 9.5 ms: In 0.5 ms steps 

10 to 49 ms: In 1 ms steps 

50 to 100 ms: In 2 ms steps 

<ChoRate> Chorus Rate — 0.05 Hz to 10.0 Hz 

This sets the cycle for the chorus sound undulations. 
0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz: In 0.1 Hz steps 

7.0 to 10.0 Hz: In 0.5 Hz steps 

<Cho Dpt> Chorus Depth — to 127 

Tliis sets the depth of the undulations of the chorus sound. 

»<Cho Bal> Chorus Balance — D100:0E to D0:100E 

This sets the balance for the levels of the original sound and 
the chorus sound. A setting of "D100:0E" outputs only the 
original sound, and a setting of "D0:100E" outputs chorus 
sound only. 

<Flg Dly> Flanger Predelay — ms to 100 ms 

Tliis sets die interval from the time when the original sound 
is played until the time when the flanger sound is played. 



to 4.9 ms: 

5.0 to 9.5 ms: 
10 to 49 ms: 
50 to 100 ms: 



In 0.1 ms steps 
In 0.5 ms steps 

In 1 ms steps 

In 2 ms steps 

- 0.05 Hz to 10.0 Hz 



<FlgRate> Flanger Rate 

This sets the cycle for the flanger undulations, 
0.05 to 4.95 Hz: In 0.05 Hz steps 

5.0 to 6.9 Hz: In 0.1 Hz steps 

7.0 to 1 0.0 Hz: In 0.5 Hz steps 

<Flg Dpt> Flanger Depth — to 127 



This sets the depth of the flanger undulations. 

<Flg Fbk> Flanger Feedback — -98% to +98% 

This sets the amount of feedback for the flanger sound. 
"Feedback" refers to returning a portion of the output signal 
to the input signal. This sets the percentage of the in-phase 
or inverted-phase output signal (positive or negative value) 
that is returned to the input. 

You can set a value from -98% to +98%, in steps of 2%. No 
feedback is applied when tliis is set to zero. 

*<Flanger Balance> Flanger Balance — D100:0E to 
D0:100E 

This sets the balance for the levels of the chorus sound and 
the chorus + flanger sound. A setting of "D100:0E" outputs 
only the chorus sound, and a setting of "D0:100E" outputs 
chorus + flanger sound. 

<Level> Output Level — to 127 

This sets the overall level for the effect sound. 



■ 38: CHORUS/DELAY 

This tjqje connects the Chorus and Delay in parallel. 

L- ^ __ 

Chorus 



Delay 



tX 



The parameters that you cart set are the same as for "CHO- 
RUS -> DELAY." However, the Delay Balance setting deter- 
mines the balance level for the original sound and the delayed 
sound. 



39: FLANGER/DELAY 



This type connects the Flanger and Delay in parallel. 

L - 



Flanger 



Delay 



The parameters that you can set are the same as for 
"FLANGER -> DELAY." However, the Delay Balance setting 
determines the balance level for the original sound and the 
delayed sound. 



■ 40: CHORUS/FLANGER 

This type connects the Chorus and Flanger in parallel. 

L 1;;^ 

Chorus 



Flanger 



The parameters that you can set are the same as for "CHO- 
RUS -> FLANGER." Hoivever, the Flanger Balance setting 
determines the balance level for the original sound and the 
flanger sound. 



99 




100 



Chapter 6 



Supplementary 
Materials 



Troubleshooting 



Error Messages 



If you, make a mistake in operating the JV-IDBD, or if 
something doesn't execute correctly, an error message 
appears on the display for a few moments. Check the error 
message and take action appropriately to correct the problem. 

• Message Appearing at Powerup 

Iriter-nal Battery Low 

Cause: The JV-lDSD's backup battery is almost out of 

power. 
Action: Contact your nearest Roland Service Center. 

• Messages Aisout the User Memory 

User Mep'ior-y Write Protect 
Cause: Write Protect («»■ p. 72) is on. 
Action: Turn off Write Protect. 

User Mepiory Read Error 

Cause: The data in the internal memory cannot be read 

correctly. 
Action: Try executing it again. 

• Messages About the DATA Card 

DfllPl Card Hot Ready 

Cause: A DATA Card is not inserted into the DATA Card 

slot, or is inserted incorrectly. 
Action: Make sure that a DATA Card is inserted correcdy. 

Dfllfl Card Battery Low 

Cause: The DATA Card's backup battery is almost out of 

power. 
Action: Check the manual for the DATA Card and replace 

the battery. 

DFlTfi Card Not Properly Formatted 
Cause: A DATA Card that has not been initialized or that 

is for a different model has been inserted into the 

DATA Card slot. 
Action: Initialize the DATA Card (« p. 73), or use a DATA 

Card for the JV-IDBO. 

DfllFl Card Read Err-or 

Cause: The DATA Card may have come out of the DATA 

Card slot during data transmission. 
Action: Reuisert the DATA Card and execute the operation 

again. 

DFlTfi Card Write Protect 

Cause: The DATA Card pi-otect function is on («s- p. 70). 

Action: Switch off the DATA Card protect function. 

102 



C-arriot Re-sd Per'+'of'T'i-arice 

Cause: A DATA Card for a different model has been 

inserted in the DATA Card slot. 
Action: Use a DATA Card for the. JV-IOBO. 

• Messages About the PCM Card 

PCM Card Hot Ready 

Cause: A PCM Card is not inserted in the PCM Card slot, 

or is inserted incorrectly. 
Action: Make sure that a PCM Card is inserted correctly. 

PCM Card Hot Properly Formatted 
Cause: A PCM Card for a different model has been insert- 
ed in the PCM Card slot. 
Action: Use a PCM Card for the JV-IDBD. 

PCM Card Hot Patch 

Cause: A PCM Card which does not contain Patch data 

has been inserted. 
Action: Insert a PCM Card that contains Patch data. 

• Messages About the Expansion Board 

Exp.arisiori Bo.ar'd Hot Re.3dy 

Cause: An Expansion Board is not installed, or is installed 
incorrectly. 

Action: Make sure that an Expansion Board is installed cor- 
rectly. 

E.xparisiori Board Hot Properly Formatted 
Cause: An Expansion Board for a different model has been 

installed. 
Action: Use an Expansion Board for the JV-IDBO. 

Expansiori Board Hot patch 

Cause: An Expansion Board which does not contain Patch 

data has been installed. 
Action: Install an Expansion Board that contains Patch 

data. 

Expansiori Board Hot Rhythm 

Cause: An Expansion Board which does not contain 

Rhythm data has been installed. 
Action: Install an Expansion Board that contains Rhythm 

data. 



Messages About MIDI 



Exclusive Address Error 

Cause: The address of an Exclusive (SysEx) message that 

has been received is incorrect. 
Action: Check the addresses of the data being sent and 

carry out the operation again. 

Check Sum Error 

Cause: A checksum error has occurred for an Exclusive 
(SysEx) message that has been received. 



Action: Check the checksums for the data being sent and 
carry out the operation again. 

MIDI Buffet- Full 

Cause: A large amount of data that the JV-IDBD can- 
not process has been received. 

Action: Reduce the amount of MIDI data sent from the 
transmitting device. 

MIDI Conmunicatiori Error 
Cause: A MIDI cable may have come loose or been severed. 
Action: Make sure that the MIDI cables and connections 
are secure. 

BULK DUMP: Ifiproper Data Card 

Cause: A DATA card not formatted for the JV-IOBD 
has been inserted, and the data received as a bulk 
dump cannot be written into it. 

Action: In Utility mode, format the DATA card (i* p.73), 
and try the operation again. 

BULK DUMp! Piece i Me Data Ert-or- 

Cause: The range of the data received by bulk dump was 

incorrect. 
Action: Modify the data values to an appropriate range. 

BULK DUMP: Data Forfiat Error 

Cause: The check sum value or data length of a bulk dump 

was incorrect. 
Action: Check the check sum value or the data length. 

BULK DUMP: User Meniory Write 
Pr-otected 

Cause: Since Exclusive Write Protect is on, data received 
by bulk dump cannot be written into user memory. 
Action: Turn off Exclusive Write Protect (««" p.72). 

BULK DUMP: Data Card Hot Ready 

CflMSc; Since a DATA card is not inserted, data received by 

bulk dump cannot be written into the card. 
Action: Correctly insert a DATA card into the DATA card 

slot. 

BULK DUMP: Data Card Write Protected 
Cause: Since the protect switch of the DATA card is on, 

data received by bulk dump cannot be written into 

the card. 
Action: Turn off the protect switch of the DATA card («^ 

p.70), and tiy the operation again. 

BULK DUMP: Check Sum Error 

CflKse; The check sum of a bulk dump was incorrect. 

Action: Correct the exclusive data. 

BULK DUMP: MIDI Buffer Full 

Cause: An excessively large amount of data was received 

as a bulk dump. 
Action: Make settings to reduce the amount of exclusive 

data that is transmitted as a single message. 



Troubleshooting 



If you're not getting any sound out, or you tlnink the JV- 
lOBO is acting funny, please check the following. If these 
don't fix the problem, then go ahead and contact the store 
you bought it from, or your nearest Roland Service Station. 

• No Sound 

Is the volume too low? 

<> Check the settings for the VOLUME knob on the JV- 
lOBO and the volume controls for connected mixers 
and amps. 

Are connections correct? 

O If you are using headphones, the cable may be broken, or 
there may be a problem with an amp or a mixer. Check 
the cables and tlie connected equipment. 

Are the MIDI send and receive channels set correctly? 

t^ Make sure that the MIDI send channel for the cormected 
equipment matches the MIDI receive channel set for the 
JV-IOBO (»s p. 59 and p. 67). 

Are the level settings for Tones, Patches, and Parts 
too low? 

O Check the level settings for the Tones (ra* p. 55), the Patch 
level setting (<^ p. 42), and tlie Performance Part level set- 
ting (e» p. 60). 

Are Tones or Parts being muted? 

O Make sure the Tone switches or Part switches are set to 
ON (ra- p. 32). 

Are the Key Range settings correct? 

O Check the Key Range settings for Tones and Parts ("a- p. 
43 and p. 57). 

Is the Part level set too low in volume/exclusive 
(SysEx) messages arriving from an external device? 

<> Check this with the Information screen ("^ p. 38). 

Are the Effect settings correct? 

<> Check the Effect settings ON or OFF (» p. 38), in the 
Effect Balance level ("s^' p. 83). 

Are the settings for the output destination correct? 

<> Check the setting for Output Assign (Patches: «• p. 45, 
Performances: "»■ p. 57). 

• The Pitch Isn't Right 

Is the Master Tune setting correct? 

O Check this setting {<^ p. 68). 

103 



Are the Pitch settings for Tones and Parts correct? 

O Check these settings (Tones: tsr p. 52, Parts: 's p. 60). 

Is the JV-IDBD receiving Pitch Bend messages 
from some external device? 

O Check this with the tiformation screen («»■ p. 40). 

• I Can't Change Patches 

If the Receive switch for Program Change set to OFF? 

O If you're using an external device to change Patches, 
make sure the MIDI channel settings match and set the 
Receive switch for Program Change to ON. 

Are you still at the Edit screen or in the ROM Play 
mode? 

O Press [EXIT] or a Mode button to return to the Play mode. 

• i Can't Apply an Effect 

Are the Effect parameter settings correct? 

O Make sure the Effects are switched on (laf p. 38), and 
check the level setting for each of the Effects. 

Is the Output Assign setting correct? 

O Check the Output Assign settings for Tones and Parts 
(Patches: es" p. 45, Peformances: is' p. 57). 

• Can't receive over MIDI 

Are you sure the settings for the receive channels and 
reception switches are appropriate? 

O Check your settings for the MIDI receive channels 
(Patches: ■»" p. 67; Performances: «* p. 59), and the various 
MIDI reception switches ("^ p. 68). 

Could you have inappropriate settings made for 
exclusive reception? 

c^ Make sure the Exclusive Protect switch (»*■ p. 72) is turned 
OFF. 

Also, check to make sure the Unit Number setting match- 
es that of the transmitting device ('«■ p. 67). 

• Can't use cards 

Is the DATA card (M-256E, M-512E) formatted? 

O DATA cards need to be formatted before they can be used. 
Format the card correctly (^^' p. 73). 

Could you be trying to use a card that the JV-IOBD 
doesn't support? 

O This unit cannot read card data that was produced on any 
device other than those in the JV series (]V- 
1080/1000/90/80/880). Also, you cannot write data onto 
a card unless it has been formatted on the JV-1080. 



• Song data doesn't play back properly 

Are you trying to start playback from midway 
through the song? 

O A "GM System ON" message is included at the top of GM 
score data. If you haven't played the song from the begin- 
ning, this message would not have been conveyed, so the 
data might not be played properly. 

Are you trying to play song data designed for the GS 
Format? 

O Since this unit is designed to support the General MIDI 
System, it may in certain cases not provide faithful play- 
back if you try playing GS Format song data. 



104 



Parameter List 



Patch Parameters 

COMMON 



Page 


Parameter 


Display 


Value 


Reference 


PATCH NAME 


Patch Name 


— 


(12 Character ASCI 1 ) 


42 


PATCH COMMON 


Patch Level 


Level 


— 127 


42 


Patch Pan 


Pan 


L64 — — 63R 


42 


Analog Feel Depth 


Analog Feel 


— 127 


42 


Octave Shift 


Octave 


-3 — — +3 


42 


Stretch Tune Depth 


Stretch 


OFF/1/2/3 


42 


Voice Priority 


Priority 


LAST/LOUDEST 


42 


Velocity Range Switch 


Velocity Range 


OFF/ON 


42 


Default Tempo 


Default Tempo 


20 — 250 


42 


VELOCITY 


Velocity Range Lower 


Lower 


1 — 127 


42 


Velocity Range Upper 


Upper 


1 — 127 


43 


Velocity Cross Fade Depth 


X-Fade 


— 127 


43 


KEY RANGE 


Key Range Lower 


Lower 


C-1— G9 


43 


Key Range Upper 


Upper 


C-1 — G9 


43 


STRUCT 


Structure 


Struct 


1 — 10 


43 


Booster Level 


Booster 


0/+6/+12/+18 


44 



EFFECTS 



Page 


Parameter 


Display 


Value 


Reference 


OUTPUT 


Output Assign 


Output Assign 


MIX/EFX/OUTPUTU 


45 


Output Level 


— 127 


45 


Chorus Send Level 


Chorus 


0—127 


45 


Reverb Send Level 


Reverb 


— 127 


45 


PATCH EFX TYPE 


EFX Type 


Type 


•1 


45 


PATCH EFX PRM 


EFX Parameter 


*1 


45 


PATCH EFX OUT 


Output Assign 


Output Assign 


M1X/0UTPUT1,2 


45 


Output Level 


— 127 


45 


Chorus Send Level 


Chorus 


— 127 


46 


Reverb Send Level 


Reverb 


— 127 


46 


PATCH EFX CTRL 


EFX Control Source L2 


— 


*2 


46 


EFX Control Depthl,2 


— 


-63 — +63 


46 


PATCH CHORUS 


Chorus Rate 


Rat 


— 127 


46 


Chorus Depth 


Dpt 


0—127 


46 


Pre Delay 


Dly 


— 127 


46 


Chorus Feedback 


Fbk 


— 127 


46 


Chorus Level 


Level 


— 127 


46 


Chorus Output Assign 


Output 


MIX/REVERB/MIX+REV 


46 


PATCH REVERB 


Reverb Type 


Type 


ROOMl,2/STAGEl,2/ 

HALL1,2/DELAY/ 

FAN-DELAY 


46 


Reverb Time 


Time 


— 127 


47 


Reverb Level 


Lev 


— 127 


47 


Delay Feedback 


Fbk 


— 127 


47 


High Frequency Damp 


HF damp 


•3 


47 



*1 : Refer to "EFX Parameters" 

*2 : OFF/SYS-CTRLl /SYS-CTRL2/M0DULAT10N/BREATH/F00T/V0LUMF/PAN/EXPRESS10N/BENDER/ AFTERTOUCH 

*3:200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/4000/5000/6300/8000/BYPASS 



105 



CONTROL 



Page 


Parameter 


Display 


Value 


Reference 


KEY MODE 
& BENDER 


Key Assign Mode 


Assign 


POLY/SOLO 


47 


Solo Legato 


Legato 


OFF/ON 


47 


Bender Range Down 


Bend Range 


-48 — 


47 


Bender Range Up 


— +12 


47 


PORTAMENT 


Portament Switch 


Sw 


OFF/ON 


47 


Portament Time 


Tm 


0-127 


47 


Portament Mode 


Mode 


NORMAL/LEGATO 


47 


Portament Type 


Type 


RATE/TIME 


47 


Portament Start 


Start 


PITCH/NOTE 


48 


RxSWITCU 


Volume Control Switch 


Volume 


OFF/ON 


48 


Pan Control Switch 


Pan 


OFF/CONT/KEY-ON 


48 


Bender Control Switch 


Bender 


OFF/ON 


48 


DAMPER 


Hold-1 Control Switch 


Hold-1 Switch 


OFF/ON 


48 


Redamper Control Switch 


Redamper 


OFF/ON 


48 


PEAK&HOLD 


EFX Control Hold/Peak 


EfxCtrl 


OFF/HOLD/PEAK 


48 


Control! Hold/Peak 


Ctrl! 


OFF/HOLD/PEAK 


48 


ControC Hold/Peak 


Ctrl 2 


OFF/HOLD/PEAK 


48 


ControB Hold/Peak 


Ctrl 3 


OFF/HOLD/PEAK 


49 


CONTROL SOURCE 


Patch Control Source 2 


Control 2 


*! 


49 


Patch Control Source 3 


Control 3 


»! 


49 


CONTROL 1 


Control Destination! — 4 


Destination 


*2 


49 


Conhx)l Depth! — 4 


Depth 


-63 — +63 


49 


CONTROL 2 


Control Destination! — 4 


Destination 


-2 


49 


Control Depth! — 4 


Depth 


-63 — +63 


49 


CONTROLS 


Control Destination! — 4 


Destination 


»2 


49 


Control Depth! — 4 


Depth 


-63 — +63 


49 



•1 : OFF/SYS-CTRL! /SYS-CTRL2/MODULATION/BREATH/FOOT/ VOLUME/PAN/EXPRESSION/BENDER/ 

AFTERT0UCH/LF0!/LF02/VEL0CrTY/KEYF0LL0W/PLAY-MATE 
•2:OFF/PCH/CUT/RES/LEV/PAN/MlX/CHO/REV/PLl/PL2/FL!/FU/AL!/AL2/pLl/pL2/L!R/L2R 

WAVE 



Page 


Parameter 


Display 


Value 


Reference 


WAVE 


Wave Group 


Group 


INT-A,B/CARD/ 
EXP-A,B,C,D 


50 


Wave Number 


Number 


1—255 


50 


Wave Gain 


Gain 


-6/0/+6/+12 


50 


Tone Switch 


Switch 


OFF/ON 


50 


FXM 


FXM Switch 


Switch 


OFF/ON 


50 


FXM Color 


Color 


! — 4 


50 


FXM Depth 


Depth 


1 — 16 


50 


TONE DELAY 


Tone Delay Mode 


Mode 


n 


50 


Tone Delay Time 


Time 


— 127/0-880 {"2) 


51 



NORMAL/HOLD/PLAY-MATE/CLOCK-SYNC/TAP-SYNC/KEY-OFF-NORMAL/KEY-OFF-DECAY 

i/J'./^/^/i'i/il/ J'/JV j'./J/J,/i/j/,.3/J./„/„ ,/„./„ 



106 



LFO 



Page 


Parameter 


Display 


Value 


Reference 


LFOl 


LFO Waveform 


Form 


TRI/SIN/SAW/SQR/TRP/ 
S&H/RND/CHS 


51 
51 


Key Triger 


KeyTrig 


OFF/ON 


51 


LFO Rate 


Rate 


— 127/0 — 880 (»1) 


51 


LFO External Sync 


ExtSync 


OFF/CLOCK/TAP 


51 


Fade Mode 


Mode 


ON-IN/ON-OUT/OFF-IN/ 
OFF-OUT 


52 


Delay Time 


Delay 


0—127 


52 


Fade Time 


Fade 


— 127 


52 


Level Offset 


Offset 


-100/-50/0/+50/+1(X) 


52 


LF02 


•Refer to "LFOl" | 


l.FODEPTHl:2 


Pitch LFO Depthl,2 


Pitch 


-63 — +63 


52 


Filter LFO Depthl,2 


TVF 


-63 — +63 


52 


Amplitude LFO Depthl,2 


TVA 


-63 — +63 


52 


Pan LFO Depthl,2 


PAN 


-63 — +63 


52 



n : >/J'i/A/i'/J'i/i»./J'/J../J'./J/J.>/J/J/„vJ./„/„./.../„ 



PITTCH 



Page 


Parameter 


Display 


Value 


Reference 


PITCH 


Coarse Tune 


Coarse 


-48 — +48 


52 


Fine Tune 


Fme 


-50 — +50 


53 


Random Pitch Depth 


Random 


— 1200 


*1 


53 


Pitch Keyfollow 


KeyFlw 


-100 — +200 


»2 


53 


PCHENVDPT 


Pilch Envelope Depth 


Envelope Depth 


-12 — +12 


53 


Pitch Envelope Velocit>' Sensitivity 


Velocity Sens 


-100 — +150 


53 


PCHTIMEENV 


Velocity Tlmel Sensihvity 


V-Tl 


-100 — +100 


*3 


53 


Velocity 'Iime4 Sensitivity 


V-T4 


-100 — +100 


»3 


53 


Time Keyfollow 


Time Keyfollow 


-100 — +100 


*3 


53 


PCH ENVELOPE 


Pitch Envelope Time], 2,3.4 


T1,T2,T3,T4 


— 127 


53 


Pitch Envelope Levell,2,3,4 


L1,L2,U,L4 


-63 — +63 


53 



•1:0/1/2/3/4/5/6/7/8/9/10/20/30/40/50/60/70/80/90/100/200/300/400/500/600/700/800/900/1000/1100/1200 

♦2:-100/-70/-50/-30/-10/0/+10/+20/+30/+40/+50/+70/+100/+120/+150/+200 

*3 : -100/-70/-50/-40/-30/-20/-10/0/+10/+20/+30/+40/+50/+70/+100 

TVF 



Page 


Parameter 


Display 


Value 


Reference 


FILTER 


Filter Type 


Typ 


OFF/LPF/BPF/HPF/PKG 


54 


Cutoff Frequency 


Cut 


— 127 


54 


Resonance 


Res 


— 127 


54 


Cutoff Keyfollow 


KeyFlw 


-100 — +200 •! 


54 


TVF Envelope Depth 


EnvDpt 


-63 — +63 


54 


TVF VELOCrTY 


TVF Envelope Velocity Sensitivitj' 


V-Sens 


-100 — +150 


54 


TVF Envelope Velocity Curve 


V-Curve 


1—7 


55 


Resonance Velocity Sensitivity 


V-Resonance 


-100 — +150 


55 


TVF TIME ENV 


Velocity Timel Sensitivity 


V-Tl 


-100 — +100 *2 


55 


Velocity 110164 Sensitivity 


V-T4 


-100 — +100 *2 


55 


Time Keyfollow 


Time Keyfollow 


-100 — +100 *2 


55 


TVF ENVELOPE 


TVF Envelope Timel,2,3,4 


T1,T2,T3,T4 


— 127 


55 


TVF Envelope Levell,23,4 


L1,L2,L3,L4 


0—127 


55 



»1:-100/-70/-50/-30/-10/0/+10/+20/+30/+40/+50/+70/+100/+120/+150/+200 
»2 : -100/-70/-50/-40/-30/-20/-10/0/+10/+20/+30/+40/+50/+7n/+100 



107 



TVA 



Pase 


Parameter 


Display 


Value 


Reference 


TVA 


Tone Level 


Level 


— 127 


55 


Tone Pan 


Pan 


L64 — — 63R 


55 


TVA Envelope Velocity Sensitivity 


V-Sens 


-100 — +150 


55 


TVA Envelope Velocity Curve 


V-Cur\e 


1—7 


55 


BIAS 


Bias Level 


Bias 


-100 — +100 •! 


55 


Bias Point 


Point 


C-1— G9 


55 


Bias Direction 


Direction 


LOWER/UPPER/ 
LOWER&UPPER/ALL 


55 


PAN MODULATE 


Pan KeyfoUow 


KeyFlw 


-100 — +100 *1 


56 


Random Pan Depth 


Random 


— 63 


56 


Alternate Pan Depth 


Alternate 


L63 — — 63R 


56 


TVA TIME ENV 


Velocity Timel Sensitivity 


V-Tl 


-100 — +100 n 


56 


Velocity Time4 Sensitivity 


V-T4 


-100 — +100 »1 


56 


Time KeyfoUow 


Time KeyfoUow 


-100 — +100 *1 


56 


TVA E>A/ELOPE 


TVA Envelope Timel,2,3,4 


T1,T2,T3,T4 


— 127 


56 


TVA Envelope Levell,2,3 


L1,L2,L3 


— 127 


56 



*1;-100/-70/-50/-40/-30/-20/-10/0/+10/+20/+30/+40/+50/+70/+100 

Performance Parameters 

COMMON 



Page 


Parameter 


Display 


Value 


Reference 


PERFORM NAME 


Perfomance Name 


— 


(12 CHARACTER ASC 1 1 ) 


57 


PERFORM TEMPO 


Default Tempo 


Default Tempo 


20 — 250 


57 


PERFORM KEY MODE 


Key Range Switch 


Key Range 


OFF/ON 


57 


KEY RANG 


Key Range Lower 


Key Lower 


C-1 — G9 


57 


Key Range Upper 


Key Upper 


C-1— G9 


57 


RESERVE 


Voice Reserve 


Voice Rescr\'e 


— 64 


57 



EFFECTS 



Page 


Parameter 


Display 


Value 


Reference 


OUTPUT 


Output Assign 


Output Assign 


MIX/ EFX/OUTPUTl ,2/ 
PATCH 


57 


Output Level 


— 127 


57 


Chorus Send Level 


Choms 


— 127 


58 


Reverb Send Level 


Reverb 


0—127 


58 


PERFORM 
EFXTYPE 


EFX Type 


Type 


•1 


58 


EFX Source 


Source 


PERFORM/1— 9,11 — 16 


58 


PERFORM EFX PRM 


EFX Parameter 


•1 


58 


PERFORM EFX OUT 


Output Assign 


Output Assign 


MlX/OUTPUTl,2 


58 


Output Level 


0—127 


58 


Chorus Send Level 


Chorus 


— 127 


58 


Reverb Send Level 


Reverb 


— 127 


58 


PERFORM 
EFX CTRL 


EFX Control Sourcel,2 


— 


•1 


58 


EFX Control Depthl, 2 


— 


-63 — +63 


58 


PERFORM CHORUS 


Chorus Rate 


Rat 


— 127 


59 


Chorus Depth 


Dpt 


— 127 


59 


Pre Delay 


Dly 


— 127 


59 


Chorus Feedback 


Fbk 


— 127 


59 


Chorus Level 


Level 


— 127 


59 


Chorus Output Assign 


Output 


MIX/REVERB/MIX+REV 


59 


PERFORM REVERB 


Reverb Type 


Type 


ROOMl,2/STAGEl,2/ 

HALL1,2/DELAY/ 

PAN-DELAY 


59 


Re\'erb Time 


Time 


— 127 


59 


Reverb Level 


Lev 


— 127 


59 


Delay Feedback 


Fbk 


— 127 


59 


High Frequency Damp 


HF damp 


•3 


59 



*1 ; Refer to "EFX Parameters" 

•2;OFF/SYS-CTRLl/SYS-CTRL2/MODULAT10N/BREATH/FOOT/VOLUME/PAN/EXPRESS10N/BENDER/AFTERTOUCH 

*3:200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/4000/5000/6300/8000/BYPASS 

108 



MIDI 



Page 


Parameter 


Display 


Value 


Reference 


CONTROL 


MIDI Channel 


Channel 


1 — 16 


59 


MIDI Receive Switch 


Rx 


OFF/ON 


59 


RX MIDI 


Receive Volume 


Volume 


OFF/ON 


60 


Receive Hold-1 


Hold-1 


OFF/ON 


60 


Receive Program Change 


Program Change 


OFF/ON 


60 


PART 


Page 


Parameter 


Display^ 


Value 


Reference 


PATCH 


Patch Group 


Group 


USER/CARD/PCM/ 
PR-A,B,C/GM/XP-A,B,C,D 


60 


Patch Number 


Number 


001 — 255 


60 


PITCH 


Page 


Parameter 


Display 


Value 


Reference 


PITCH 


Pitch Coarse Tune 


Pitch Coarse 


-48 — +48 


60 


Pitch Fijie Tune 


Pitch Fine 


-50 — +50 


60 


PAN 


Page 


Parameter 


Display 


Value 


Reference 


PAN 


Part Pan 


Part Pan 


L64 — — 63R 


60 


LEVEL 


Page 


Parameter 


Display 


Value 


Reference 


LEVEL 


Part Level 


Level 


— 127 


60 



Rhythm Set Parameters 

COMMON 



EFFEaS 



Page 


Parameter 


Display 


Value 


Reference 


RHYTHM NAME 


Rhythm Set Name 


— 


(12 Character ASCI 1) 


61 



Page 


Parameter 


Display 


Value 


Reference 


OUTPUT 


Output Assign 


Output Assign 


MIX/EFX/OUTPUTl,2 


61 


Output Level 


— 127 


61 


Chorus Send Level 


Chorus 


— 127 


61 


Reverb Send Level 


Reverb 


— 127 


61 


PERFORM 
EFXTYPE 


EFX Type 


Type 


»1 


61 


EFX Source 


Source 


PERFORM/1 — 9,11— 16 


61 


PERFORM EFX PRM 


EFX Parameter 


*1 


61 


PERFORM EFX OUT 


Output Assign 


Output Assign 


MlX/OUTPUTl,2 


61 


Output Level 


— 127 


61 


Chorus Send Level 


Chorus 


— 127 


62 


Reverb Send Level 


Reverb 


— 127 


62 


PERFORM 
EFXCIKL 


EFX Control Sourcel,2 


— 


*2 


62 


EFX Control Depthl,2 


— 


-63 — +63 


62 


PERFORM CHORUS 


Chorus Rate 


Rat 


— 127 


62 


Chorus Depth 


Dpt 


— 127 


62 


Pre Delay 


Dly 


— 127 


62 


Chorus Feedback 


Fbk 


— 127 


62 


Chorus Level 


Level 


— 127 


62 


Chorus Output Assign 


Output 


MIX/REVEKB/MIX+REV 


62 


PERFORM REVERB 


Reverb Type 


Type 


ROOML2/STAGEl,2/ 

HALL1,2/DELAY/ 

PAN-DELAY 


62 


Reverb Time 


Time 


— 127 


62 


Reverb Level 


Lev 


— 127 


63 


Delay Feedback 


Fbk 


— 127 


63 


High Frequcncv Damp 


HF damp 


*3 


63 



*1 ; Refer to "EFX Parameters" 

'2:OFF/SYS-CTRLl/SYS-CTRL2/MODULATION/BREATH/FOOT/V0LUME/PAN/EXPRESSlON/BENDER/AFTERTOUCH 

♦3:200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/4000/5000/6300/8000/BYPASS 



109 



CONTROL 



Page 


Parameter 


Display 


Value 


Reference 


CONTROL 


Bender Range 


Bender 


0—12 


63 


Envelope Mode 


EnvMode 


NO-SUS/SUSTAIN 


63 


Mute Group 


Mute Group 


OFF/1 — 31 


63 


RxSWITCH 


Volume Control Switch 


Volume 


OFF/ON 


63 


Pan Control Switch 


Pan 


OFF/CONT/KEY-ON 


63 


Hold-1 Control Switch 


Ho1d-l 


OFF/ON 


63 



WAVE 



Page 


Parameter 


Display 


Value 


Reference 


WAVE 


Wave Group 


Group 


INT-A,B/CARD/ 
EXP-A,B,C,D 


63 


Wave Number 


Number 


1—255 


64 


Wave Gain 


Gain 


-6/0/+6/+12 


64 


Tone Switch 


Switch 


OFF/ON 


64 



PITCH 



Page 


Parameter 


Display 


Value 


Reference 


PITCH 


Source Kev 


Coarse 


C-1— G9 


64 


Fine Tune 


Fine 


-50 — +50 


64 


Random Pitch Depth 


Random 


— 1200 »1 


64 


Pitch Envelope Depth 


Env Dpt 


-12 — +12 


64 


PCH VELOCITY 


Pitch Envelope Velocity Sensitivity 


Velocity Sens 


-100 — +150 


64 


Velocity Time Sensitivity 


Velocity Time 


-100 — +100 *2 


64 


PCH ENVELOPE 


Pitch Envelope rimel,2,3,4 


T1,T2,T3,T4 


— 127 


64 


Pitch Envelope Levell ,2,3,4 


L1,L2,L3,1,4 


-63 — +63 


64 



*1: 0/1/2/3/4/5/6/7/8/9/10/20/30/40/50/60/70/80/90/100/200/300/400/500/600/700/800/900/1000/1100/1200 

*2 : -100/-70/-50/-40/-30/-20/-10/0/+10/+20/+30/+40/+50/+70/+100 

TVF 



Page 


Parameter 


Display 


Value 


Reference 


FILTER 


Filter Type 


Type 


OFF/LPF/BPF/HPF/PKG 


64 


Cutoff Frequency 


Cutoff 


— 127 


64 


Resonance 


Res 


— 127 


65 


TVF Envelope Depth 


Env Dpt 


-63 — +63 


65 


TVF VELOCITY 


TVF Envelope Velocity Sensitivity 


V-Sens 


-100 — +150 


65 


Velocity Hme Sensitivity 


V-Time 


-100 — +100 *1 


65 


Resonance Veh'Kity Sensitivity 


V-Resonance 


-100 — +150 


65 


TVF ENVELOPE 


TVF Envelope Timel,2,3,4 


T1,T2,T3,T4 


— 127 


65 


TVF Envelope Levell,2,3,4 


L1,L2,L3,L4 


— 127 


65 



TVA 



Page 


Parameter 


Display 


Value 


Reference 


TVA 


Tone Level 


Level 


— 127 


65 


Tone Pan 


Pan 


L64 — — 63R 


65 


Random Pan Depth 


Random 


— 63 


65 


Alternate Pan Depth 


Alt 


L63 — — 63R 


65 


TVA VELOCITY 


TVA Envelope Velocity Sensitivity 


Velocity Sens 


-100 — +150 


65 


Velocity Tmie Sensitivity 


Velocity Time 


-100 — +100 *1 


65 


TVA ENVELOPE 


TVA Envelope rimel,2,3,4 


Tl,T2;r3,T4 


— 127 


65 


TVA Envelope Leve!l,2,3 


L1,L2;L3 


— 127 


65 



•1 : -100/-70/-50/-40/-30/-20/-10/0/+10/+20/+30/+40/+50/+70/+100 



110 



General MIDI Mode Parameters 

EFFECTS 



Page 


Parameter 


Display 


Value 


Reference 


OUTPUT 


Output Assign 


Output Assign 


MIX/EFX/OUTPUTl,2/ 
PATCH 


77 


Output Level 


— 127 


77 


Chorus Send Level 


Chonis 


— 127 


77 


Reverb Send Level 


Reverb 


— 127 


77 


GM EFX TYPE 


EFX Type 


Type 


»] 


77 


GM EFX PRM 


EFX Parameter 


*] 


77 


GM EFX OUT 


Output Assign 


Output Assign 


M1X/0UTPUT1,2 


77 


Output Level 


— 127 


77 


Chorus Send Level 


Chorus 


— 127 


77 


Reverb Send Level 


Reverb 


— 127 


77 


GM CHORUS 


Qiorus Rate 


Rat 


— 127 


77 


Chorus Depth 


Dpt 


— 127 


77 


Pre Delay 


Dly 


— 127 


77 


Chorus Feedback 


Fbk 


— 127 


77 


Chorus Level 


Level 


— 127 


77 


Chorus Output Assign 


Output 


MIX/REVERB/MIX+REV 


n 


GM REVERB 


Reverb Type 


Type 


ROOMl,2/STAGEl,2/ 

HALL1,2/DELAY/ 

PAN-DELAY 


78 


Reverb Time 


Time 


— 127 


78 


Reverb Level 


Lev 


— 127 


78 


Delay Feedback 


Fbk 


— 127 


78 


High Frequency Damp 


HF damp 


*3 


78 



•1 1 Refer to "FFX Parameters" 

•2 : OFF/SYS-CTRLl /SYS-CrRL2/MODULATION/BREATH/FOOT/VOLUME/PAN/EXPRESSION/BENDER/AFrERTOUCH 

•3:200/25n/315/40O/5O0/630/8O0/100O/1250/160O/20O0/250O/315O/4aOO/5()OO/6300/8U00/BYrASS 

PART 



Page 



Parameter 



Display 



Value 



Reference 



PATCH 



Patch Number 



Number 



001 — 128 



78 



PITCH 



Page 


Parameter 


Display 


Value 


Reference 


PITCH 


Pitch Coarse Tune 


Pitch Coarse 


-48 — +48 


78 


Pitch Fine Tune 


Pitch Fine 


-50 — +50 


78 



PAN 



^ge 



Parameter 



Display 



Value 



Reference 



PAN 



Part Pan 



Part Pan 



L64- 



-63R 



78 



LEVEL 



Page 


Parameter 


Display 


Value 


Reference 


LEVEL 


Part Level 


Level 


— 127 


78 



System Parameters 

SETUP 



Page 


Parameter 


Display 


Value 


Reference 


LCD 


LCD Contrast 


LCD 


1 — 10 


66 


DEFAULT SETUP 


Power Up Mode 


PowerUp 


DEFAULT/LAST 


66 


Patch Remain Switch 


Patch Remain 


OFT/ON 


66 


RHYTHM EDIT KEY 


Rhythm Edit Source 


Source 


PANEL/PANEL&MIDl 


66 



111 



MIDI 



Page 


Parameter 


Display 


Value 


Reference 


PERFORM MID! 


Control Channnel 


Control Channel 


1— 16/OFF 


66 


Clock Source 


Clock 


INT/MIDI 


66 


Stack 


Stack 


OFF/lof2 — 8of8 


66 


PATCH MIDI 


Patch Receive Channnel 


Receive Channel 


OFF/ON 


67 


Clock Source 


Clock 


INT/ MIDI 


67 


Stack 


Stack 


OFF/lof2 — 8of8 


67 


GM MODE MIDI 


Clock Source 


Clock 


MIDI 


67 


Stack 


Stack 


OFF/1 of 2 — 8of 8 


67 


SYS-EXC MIDI 


Unit Number 


Unit# 


17 — 32 


67 


Receive System Exclusive 


Rx.Exc 


OFF/ON 


67 


Transmit Edit Data 


Tx.Edit 


OFF/ON 


67 


Receive GM Message 


Rx.GM 


OFF/ON 


67 


CONTROL SOURCE 


Tap Control Source 


Tap 


OFF/ HOLD-1 /SOST/ 
SOFT/HOLD-2 


67 


Hold Control Source 


Hold 


*Same as above 


67 


Peak Control Source 


Peak 


*Same as above 


67 


RECEIVE MIDI 


Receive Program Change 


P.C 


OFF/ON 


68 


Receive BarJc Select 


Bnk 


OFF/ON 


68 


Receive Control Change 


C.C 


OFF/ON 


68 


Receive Volume 


Vol 


OFF/ON 


68 


Receive Hold-1 


Hid 


OFF/ON 


68 


Receive Bender 


Bnd 


OFF/ON 


68 


Receive Modulation 


Mod 


OFF/ON 


68 


Receive Aftertouch 


Aft 


OFF/ON 


68 


CONTROL ASSIGNI 


System Control Source 1 


Control 1 


CCOO — CC95/BENDER/ 
AFIERTOUCH 


68 


System Control Source 2 


Control 2 


*Same as above 


68 


CONTROL ASSIGN2 


Volume Control Source 


Volume 


VOLUME/VOL&EXP 


68 


Aftertouch Source 


Aftertouch 


CH-AFTER/POLY-AFTER 
/CH&POLY 


68 



TUNE 



Page 


Parameter 


Display 


Value 


Reference 


TUNE 


Master Tmie 


Master Tune 


427.4 — 452.6 


68 


SCALE TUNE 


Scale Tune Switch 


Scale Tune 


OFF/ON 


68 


PART SCALE 


Scale Tunc C — B 


C — B 


-64 — +63 


69 


PATCH SCALE 


Scale Tune C — B 


C — B 


-64 — +63 


69 



PREVIEW 



Page 


Parameter 


Display 


Value 


Reference 


PREVIEW MODE 


Preview Sound Mode 


Mode 


SINGLE/CHORD 


69 


PREVIEW KEY 


Preview Key Set 1 — 4 


Notel— 4 


C-1— G9 


69 


PREVIEW VELOCITY 


Preview Velocity Setl — 4 


Notel — 4 


0—127 


69 



Utility Parameters 



WRITE 



Page 


Parameter 


Display 


Value 


Reference 


PERFORM WRITE 


Performance Write Number 


Number 


USR:01— 32/CRD:01— .32 


70 


PATCH WRITE 


Patch Write Number 


Number 


USR:001 — 128/ 
CRDiOOl — 128 


70 


PATCH COMPARE 


Patch Compare Number 


Number 


"Same as above 


70 


RHYTHM WRITE 


Rliythm Write Number 


Number 


USR:]— 2/CRD:l— 2 


71 



112 



COPY 



Page 


Parameter 


Display 


Value 


Reference 


PERFORM 
PART COPY 


Copy Source 


Source 


TEMP/USR:01— 32/ 
CRD:01— 32/ 
PRA:01 — PRB:32 


71 


Copy Part 


Part 


PI — P16 


71 


PERFORM 
FXCOPY 


Copy Source 


Source 


PERFORM/PATCH 


71 


Copy Number 


Number 


•1 


71 


PATCH 
TONE COPY 


Copy Source 


Source 


TEMP/USR:001 — 128/ 
CRD:001 — 128/ 
PRA;001 — PRC:128/ 
GM:001 — 128 


71 


Copy tone 


Tone 


Tl— T4 


71 


PATCH 
FXCOPY 


Copv Source 


Source 


PERFORM/PATCH 


71 


Copy Number 


Number 


•1 


71 


liHYHTM 
KEY COPY 


Copy Source 


Source 


TEMP/USR:1 — 2/CRD:l — 2 
/PRA:1— PRC:2/GM:1— 2 


72 


Copy Key 


Key 


Bl — D7 


72 



•l:USR:01-32/CRD:01-32/PRA:01-PRB;32/USR:OUl-128/CRD:001-128/PRA:001-PRD:I28 

INITIAUZE 



Page 


Parameter 


Display 


Value 


Reference 


PERFORM INIT 


Initialize Mode 


Mode 


DEFAULT/PRESET 


72 


PATCH INIT 


Initialize Mode 


Mode 


DEFAULT/PRESET 


72 


RHYTHM KEY INIT 


Initialize Mode 


Mode 


DEFAULT/PRESET 


72 


Initialize Key 


Key 


Bl— D7 


72 


RHYTHM SET INIT 


Initialize Mode 


Mode 


DEFAULT/PRESET 


72 



PROTECT 



Page 


Parameter 


Display 


Value 


Reference 


WRITE PROTECT 


Internal Protect 


Internal 


OFF/ON 


72 


Exclusive Protect 


Exclusive 


OFF/ON 


72 



CARD 



Pase 


Parameter 


Display 


Value 


Reference 


FORMAT 


Card Name 


Name 


(12 Character ASC 1 1 ) 


73 


RENAME 


Card Name 


Name 


(12 Character ASC 1 1 ) 


73 


CARD COPY 


Copy Source 


Source 


ALL/PERFORM/PATCH/ 
RHYTHM 


73 


Copv Group 


Group 


*1 


73 


Copy Mode 


Mode 


ADAPT/ DIRECT 


73 


CARD SWAP 


Swap Source 


Source 


ALL/PEI«^ORM/PATCH/ 
RHYTHM 


73 


Swap Group 


Group 


*2 


73 


Swap Mode 


Mode 


ADAPT/ DIRECT 


73 



"1:USR-HALF1->CARD/USR-HALF2->CARD/CARD->USR-HALF1/CARD->USR-HALF2 
»2: USR-HALFl <>CARD/USR-HALF2<>CARD 

BLOCK COPY 



Page 


Parameter 


Display 


Value 


Reference 


BLOCK COPY 


Copy Mode 


Mode 


PERFORM/PATCH/RHYTHM 


74 


Copy Block 


Block 


*1 


74 



•1 ; (PERFORM) USR:01 -01 — 32-32/CRD:01-01 — 32-32/PRA — B:01 -01 — 32-32; CRDfll — 32 

(PATCH) USR:001-001 — 128-128/CRD:001-001 — 128-128/PRA — C:lini-Oni — 128-128/GM:001-0m — 128-128/XPA — D:(Ml-Oin — * 
(RHYTHM) USR:l-]—2-2/CRD:M — 2-2,PRA — CM — 2-2/GM:l-l — 2-2/XPA — D:l-1 — *-•; CRD;1 — 2 

BULK DUMP 



■128 



P'g g 



BULK DUMP 



Parameter 



Bulk Dump Source 



Display 



Source 



Value 



Reference 



TEMP/USER/CARD: 
ALL/PERFORMANCE/ 
PATCH /IWYTHM/SYSTEM 



74 



FACTORY 



Page 



FACTORY PRESET 



Parameter 



Factory Preset 



Display 



Value 



Reference 



74 



113 



EFX Parameters 

1:STEREO-EQ 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Low Frequency 


Low Freq 


200/400 [Hz] 


84 


Low Gain 


LowGain 


-15 — +15[dB] 


84 


High Frequency 


Hi Freq 


4000/8000 [Hz] 


84 


High Gain 


Hi Gain 


-15 — +15[dB] 


84 


Peakingl Frequency 


PI Freq 


n 


84 


Peakingl Q 


PIQ 


0.5/1.0/2.0/4,0/9.0 


84 


Peakingl Gain 


PI Gain 


-15 — +15[dB] 


84 


Peaking2 Frequency 


P2Freq 


•1 


84 


Peaking2 Q 


P2Q 


0.5/1.0/2.0/4.0/9.0 


84 


Peaking2 Gain 


P2 Gain 


-15 — +15[dB] 


84 


Output Level 


Level 


0—127 


84 



•1: 200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/4000/5000/6000/8000 [I Iz] 

2: OVERDRIVE 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Drive 


Drive 


0—127 


84 


Output Level 


Level 


— 127 


84 


Low Gain 


LowGain 


-15 — +15 [dB] 


84 


High Gain 


Hi Gain 


-15 — +15[dB] 


84 


Amp Type 


AmpType 


SMALL/BU1LT-IN/2STACK 
/3STACK 


84 


Output Pan 


Pan 


L64 — — 63R 


84 



3: DISTORTION 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Drive 


Drive 


0—127 


84 


Output Level 


Level 


— 127 


84 


Low Gain 


LowGain 


-15 — +15 [dB] 


85 


High Gain 


Hi Gain 


-15 — +15[dBl 


85 


Amp Type 


AmpType 


SMALL/BUILT-IN/2STACK 
/3STACK 


85 


Output Pan 


Pan 


L64 — — 63R 


85 



4: PHASER 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Manual 


Manual 


100 — 8000 [Hz] 


85 


Phaser Rate 


Rate 


0.05 — 10.0 [Hz] 


85 


Phaser Depth 


Depth 


— 127 


85 


Resonance 


Res 


— 127 


85 


Mix Level 


Mix 


— 127 


85 


Output Pan 


Pan 


L64 — — 63R 


85 


Output Level 


Level 


— 127 


85 



5: SPECTRUM 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Bandl Level 


Bandl 


-15 — +15[dBl 


85 


Band2 Level 


Band 2 


-15 — +15[dBl 


85 


Bands Level 


Band 3 


-15 — +15[dBl 


85 


Band4 Level 


Band 4 


-15 — +15 [dB] 


85 


Band5 Level 


Band 5 


-15 — +15[dB] 


85 


Band6 Level 


Band 6 


-15 — +15[dB] 


85 


Band? Level 


Band 7 


-15 — +15[dB] 


85 


Bands Level 


Bands 


-15 — +15[dBl 


85 


Band Width 


Width 


1—5 


85 


Output Pan 


Pan 


L64 — — 63R 


85 


Output Level 


Level 


0—127 


85 



114 



6: ENHANCER 



FaRe 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Sensitivity 


Sens 


— 127 


86 


Mix L^vel 


Mix 


0-127 


86 


Low Gain 


Low Gain 


-15— +]5[dB] 


86 


High Gain 


Hi Gain 


-15 — +15[dB] 


86 


Output Level 


Level 


— 127 


86 



7: AUTO-WAH 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Filter Type 


Filter 


LPF/BPF 


86 


Sensitivity 


Sens 


0-127 


86 


Manual 


Manual 


0—127 


86 


Peak 


Peak 


— 127 


86 


LFO Rate 


Rate 


0.05 — 10.0 [Hz] 


86 


LFO Deptli 


Depth 


0—127 


86 


Output Level 


Level 


— 127 


86 



8: ROTALY 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Low Frequency Slow Rale 


LowSlow 


0.05 — 10.0 [Hz] 


86 


Low Frequency Fast Rate 


Low Fast 


0.05 — 10.0 [Hz] 


86 


Low Frequency Acceleration 


LowAccl 


— 15 


86 


Low Frequency Level 


LowLvl 


— 127 


86 


High Frequency Slow Rate 


Hi Slow 


0.05 — 10.0 [Hz] 


86 


High Frequency Fast Rate 


Hi Fast 


0.05 — 10.0 [Hz] 


86 


High Frequency Acceleration 


Hi Accl 


— 15 


86 


High Frequency Level 


HiLvl 


— 127 


86 


Separation 


Separation 


— 127 


86 


Speed 


Speed 


SLOW/FAST 


86 


Output Level 


Level 


— 127 


87 



9: COMPRESSOR 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Atack Rate 


Attack 


0—127 


87 


Sustain Rate 


Sustain 


0—127 


87 


Post Gain 


Post Gain 


xl/x2/x4/x8 


87 


Low Gain 


LowGain 


-15 — +15[dB] 


87 


High Gain 


Hi Gain 


-15 — +15[dB] 


87 


Output Pan 


Pan 


L64 — — 63R 


87 


Output Level 


Level 


— 127 


87 



10:LIMITER 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Threshold 


Thresh 


— 127 


87 


Ratio 


Ratio 


1.5:1/2:1/4:1/100:1 


87 


Release Time 


Release 


— 127 


87 


Post Gain 


Gain 


xl/x2/x4/x8 


87 


Low Gain 


LowGain 


-15 — +15 [dB] 


87 


High Gain 


Hi Gain 


-15 — +15 [dB] 


87 


Output Pan 


Pan 


L64 — — 63R 


87 


Output Level 


Level 


— 127 


87 



11:HEXA-CHORUS 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Pre Delay time 


Pre Dly 


0.0 — 100 [ms] 


87 


Chorus Kate 


Rate 


0.05 — 10.0 |Hz] 


87 


Chorus Depth 


Depth 


— 127 


87 


Pre Delay Deviation 


Dly Div 


— 20 


87 


Depth Deviation 


Dpt Div 


-20 — 20 


87 


Pan Deviation 


Pan Div 


— 20 


88 


Effect Balance 


Balance 


D100:0E — D0:100E 


88 


Output Level 


Level 


0—127 


88 



115 



12: TREMOLO-CHORUS 



Pase 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Pre Delay time 


Pre Dly 


0.0 — 100 [ms] 


88 


Chorus Rate 


ChoRate 


0.05 — 10.0 [Hz] 


88 


Chorus Depth 


Cho Dpt 


0-127 


88 


Chorus Phase 


Phase 


0—180 


88 


Tremolo Rate 


TrmRate 


0.05 — 10.0 [Hz] 


88 


Tremolo Separation 


TrmSep 


— 127 


88 


Effect Balance 


Balance 


DlOOrOE — DOtlOOE 


88 


Output Level 


Level 


— 127 


88 



13:SPACE-D 



Pase 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Pre Delay time 


Pre Dly 


0.0 — 100 [ms] 


88 


Chorus Rate 


Rate 


0.05— 10.0 [Hz] 


88 


Chorus Depth 


Depth 


— 127 


88 


Phase 


Phase 


— 180 


88 


Low Gain 


LowGain 


-15 — +15[dB] 


88 


High Gain 


Hi Gain 


-15 — +15|dB] 


88 


Effect Balance 


Balance 


D100;0E — DOrlOOE 


88 


Output Level 


Level 


— 127 


88 



14: STEREO-CHORUS 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Pre Delay time 


Pre Dly 


0.0 — 100 [ms] 


88 


Chorus Rate 


Rate 


0.05 — 10.0 [Hz] 


88 


Chorus Depth 


Depth 


— 127 


89 


Phase 


Phase 


— 180 


89 


Filter Type 


Filter Type 


OFF/LPF/HPF 


89 


Cutoff Frequency 


Cutoff 


*1 


89 


LowGain 


LowGain 


-15 — +15 [dB] 


89 


High Gain 


Hi Gain 


-15 — +15 [dB] 


89 


Effect Balance 


Balance 


D100:0E — D0:100E 


89 


Output Level 


Level 


— 127 


89 



'I: 200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/4000/5000/6300/8000 [Hz] 

15:STEREO-FLANGER 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Pre Delay time 


Pre Dly 


0.0 — 100 [ms] 


89 


LFORate 


Rate 


0.05 — 10.0 [Hz] 


89 


LFO Depth 


Depth 


— 127 


89 


Feedback 


Fbk 


-98 — +98 [%] 


89 


Phase 


Phase 


— 180 


89 


Filter Type 


Filter 


OFF/LPF/HPF 


89 


Cutoff Frequency 


Cutoff 


»1 


89 


Low Gain 


LowGain 


-15 — +15 [dB] 


89 


High Gain 


Hi Gain 


-15 — +15 [dB] 


89 


Effect Balance 


Balance 


D100:0E — DOaOOE 


89 


Output Level 


Level 


— 127 


89 



■It 200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/4000/5000/6300/8000 [Hzl 



116 



16: STEP-FLANGiR 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Pre Delay time 


Pre Delay 


0.0 — 100 [ms] 


89 


LFO Rate 


Rate 


0.05 — 10.0 [Hz] 


89 


LFO Depth 


Depth 


0—127 


90 


Feedback 


Fbk 


-98 — +98[%J 


90 


Phase 


Phase 


— 180 


90 


Step Rate 


Step Rate 


»1 


90 


Low Gain 


LowGain 


-15 — +15[dB] 


90 


High Gain 


Hi Gain 


-15 — +15[dB] 


90 


Effect Balance 


Balance 


D100:0E — DOilOOE 


90 


Output Level 


Level 


— 127 


90 



•V. 0.05 - 10.0 (Hzl/>/,\,/,VJ>/J,/j'./J/j.,/J. /J 

17: STEREO-DELAY 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Delay Time Left 


Delay L 


0.0 — 500 [ms] 


90 


Delay Time Right 


Delay R 


0.0 — 500 [ms] 


90 


Feedback 


Fbk 


-98 — +98[%] 


90 


Feedback Mode 


Mode 


NORMAL/CROSS 


90 


Phase Left 


Phase L 


NORMAL/nvTVERT 


90 


Phase Right 


Phase R 


NORMAL/INVERT 


90 


High Frequency Damp 


HFDamp 


*1 


90 


Low Gain 


LowGain 


-15 — +15[dB] 


91 


High Gain 


Hi Gain 


-15 — +151dB] 


91 


Effect Balance 


Balance 


D100:0E — D0:100E 


91 


Output Level 


Level 


0—127 


91 



"1 ; 200/l')0/315/400/.'iOO/630,/800/10nn/1250/1600/2000/2500/3150/4000/5000/6300/8000/BYPASS [Hz] 

18: MODULATION-DELAY 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Delay Time Left 


Delay L 


0.0 — 500 [ms] 


91 


Delay Time Right 


Delay R 


0.0 — 500 [ms] 


91 


Feedback 


Fbk 


-98 — +98 [%] 


91 


Feedback Mode 


Mode 


NORMAL/CROSS 


91 


Modulation Rate 


Rate 


0.05 — 10.0 [Hz] 


91 


Modulation Depth 


Depth 


0—127 


91 


Phase 


Phase 


0—180 


91 


High Frequency Damp 


HFDamp 


•1 


91 


Low Gain 


LowGain 


-15 — +15(dB] 


91 


High Gain 


Hi Gain 


-15 — +15[dB] 


91 


Effect Balance 


Balance 


D100:OE — DOilOOE 


91 


Output Level 


Level 


— 127 


91 



•1 : 20O/25O/315/4O0/500/630/800/lOOO/125O/]6OO/200O/2.SOO/315O/400O/5aO0/630O/80OO/BYPASS [Hz] 

19: TRIPLE-TAP-DELAY 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Delay Time Center 


Delay C 


*] 


91 


Delay Time Left 


Delay L 


"1 


92 


Delay Time Right 


Delay R 


»1 


92 


Feedback 


Fbk 


-98 — +98 [%] 


92 


Center Level 


Level C 


— 127 


92 


Left Level 


Level L 


— 127 


92 


Right Level 


Level R 


— 127 


92 


High Frequency Damp 


HF Damp 


'2 


92 


Low Gain 


LowGain 


-15 — +15ldB] 


92 


High Gain 


Hi Gain 


-15 — +15 [dB] 


92 


Effect Balance 


Balance 


D100:OE — DO:100E 


92 


Output Level 


Level 


— 127 


92 



•1 : 200 - 1000 lmsJ/,^/J^../>./,^/J,/.^./J/J../i/j 
•2:200/25O/315/4OO/500/630/8OO/10O0/1250/16O0/2O0O/250O/315O/4OOO/5O00/fflOO/8flOO/BYr.AS.S(Hz! 



117 



20: QUADRUPLE-TAP-DEUY 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Delay Time 1 


Delay 1 


*1 


92 


Delay Time 2 


Delay 2 


»1 


92 


Delay Time 3 


Delay 3 


*1 


92 


Delay Time 4 


Delay 4 


n 


92 


Level 1 


Level 1 


— 127 


92 


Level 2 


Level 2 


— 127 


92 


Level 3 


Levels 


— 127 


92 


Level 4 


Level 4 


— 127 


92 


Feedback 


Rik 


-98 — +98[%) 


92 


High Frequency Damp 


HF Damp 


*2 


92 


Effect Balance 


Balance 


DlOOrOE — DOrlOOE 


93 


Output Level 


Level 


— 127 


93 



•1 ; 200 - 1000 [Hzl/;(/Jlj/J\/Ji/j3/i'./j/j3/i/J 

•2 : 200/25D/315/40O/500/630/80O/10OO/1250/1600/20G0/25O0/3150/4O0O/50O0/630O/80O0/BYPASS [Hz] 

21 : TIME-CONTROL-DELAY 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Delay Time 


Delay 


200 — 1000 [ms] 


93 


Acceleration 


Accel 


— 15 


93 


Feedback 


Fbk 


-98 — +98 [%] 


93 


Output Pan 


Pan 


L64 — — 63R 


93 


High Frequency Damp 


HFDamp 


♦1 


93 


Low Gain 


LowGain 


-15 — +15[dB] 


93 


High Gain 


Hi Gain 


-15 — +15[dB] 


93 


Effect Balance 


Balance 


DlOOrOE — D0:100E 


93 


Output Level 


Level 


— 127 


93 



•1 : 2(X]/250/315/4a)/500/630/ii00/lU0O/1250/l(jO0/2000/250O/3150/4000/50OO/630O/8OOO/BYPASS |Hz) 

22: 2 VOICE-PITCH-SHIFTER 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Coarse Pitch A 


CoarseA 


-24 — 12 


93 


Fine Pitch A 


Fine A 


-100 — 100 


93 


Output Pan A 


Pan A 


L64 — — 63R 


93 


Pre Delay Time A 


PreDlyA 


0.0 — 500 [ms] 


93 


Coarse Pitch B 


CoarseB 


-24 — 12 


L 93 


Fine Pitch B 


Fine B 


-100 — 100 


93 


Output Pan B 


PanB 


L64 — — 63R 


93 


Pre Delay Time B 


PreDlyB 


0.0 — 500 [ms] 


94 


Pitch Shift Mode 


Mode 


1/2/3/4/5 


94 


Level Balance 


Lvl Bal 


AlOOrOB — A0:100B 


94 


Effect Balance 


Balance 


D100:0E — DO:100E 


94 


Output Level 


Level 


— 127 


94 



23: FBK-PITCH-SHIFTER 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Coarse Pitch 


Coarse 


-24 - 12 


94 


Fine Pitch 


Fine 


-100 — 100 


94 


Output Pan 


Pan 


L64 — — 63R 


94 


Pre Delay Time 


Pre Dly 


0.0 — 500 [ms] 


94 


Pitch Sliift Mode 


Mode 


1/2/3/4/5 


94 


Feedback 


Feedback 


_98_+98[%] 


94 


Low Gain 


LowGain 


-15 — +15[dB] 


94 


High Gain 


FliGain 


-15 — +15[dBl 


94 


Effect Balance 


Balance 


D100:0E— DO:100E 


94 


Output Level 


Level 


— 127 


94 



118 



24: REVERB 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Reverb Type 


Type 


ROOMl,2/STAGEl,2/ 
HALL1,2 


94 


Pre Delay Time 


Pre Dlv 


0.0 — 100 [ms] 


94 


Reverb Time 


Time 


— 127 


94 


High Frequency Damp 


HF Damp 


n 


94 


Low Gain 


LowGain 


-15 — +15[dB] 


94 


High Gain 


Hi Gain 


-15 — +15[dBl 


95 


Effect Balance 


Balance 


D100;OE — D0:100E 


95 


Output Level 


Level 


— 127 


95 



•1 : 200/250/315/400/500/630/800/100O/1250/1600/200O/2S00/3150/400O/5000/63O0/800O/BYPASS [Hz] 

25: GATE-REVERB 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Reverb Type 


Type 


NORMAL/REVERSE/ 
SWEEPU 


95 


Pre Delay Time 


PreDly 


0.0 — 100 [ms] 


95 


Gate Time 


Gate Time 


5 — 500 


95 


Low Gain 


LowGain 


-15 — +15tdB] 


95 


High Gain 


Hi Gain 


-15 — +15|dB] 


95 


Effect Balance 


Balance 


D100:OE — DOaOOE 


95 


Output Level 


Level 


— 127 


95 



26: OVERDRIVE-»CHORUS 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Drive 


Drive 


— 127 


95 


Overdrive Pan 


Pan 


L64 — — 63R 


95 


Chorus Pre Delay 


PreDly 


0.0 — 100 [ms] 


95 


Chorus Rate 


Rate 


0.05 — 10.0 [Hz] 


95 


Chorus Depth 


Deptli 


— 127 


95 


Chorus Balance 


Balance 


DlOOiOE — DOrlOOE 


95 


Output Level 


Level 


— 127 


95 



27: OVERDRIVE-»FLANGER 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Drive 


Drive 


— 127 


95 


Overdrive Pan 


Pan 


L64 — — 63R 


95 


Flanger Pre Delay 


PreDly 


0.0— 100 [ms] 


95 


Flanger Rate 


Rate 


0.05 — 10.0 [Hz] 


96 


Flanger Depth 


Depth 


— 127 


96 


Flanger Feedback 


Fbk 


-98 — +98 [%] 


96 


Flanger Balance 


Balance 


D100;0E — D0:100E 


96 


Output Level 


Level 


— 127 


96 



28: OVERDRIVE-»DELAY 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Drive 


Drive 


— 127 


96 


Overdrive Pan 


Pan 


L64 — — 63R ■ 


96 


Delay Time 


Delay 


0.0 — 500 [ms] 


96 


Delay Feedback 


Fbk 


-98 — +98[%] 


96 


Delay HF Damp 


HF Damp 


*1 


96 


Delay Balance 


Balance 


D100:0E — D0:100E 


96 


Output Level 


Level 


0—127 


96 



•! :200/250/315/400/500/S.10/800/1000/1250/1600/2000/2.'iOO/315a/40t)0/50UO/6300/SOO()/BYPASS|Hzl 



119 



29: DISTORTION*CHORUS 

•Refer to "OVERDRIVE-CHORUS" 

30: DISTORTION*FLANGER 

•Refer to "OVERDRIVE-FLANGER" 

31: DISTORTION-*DELAY 

•Refer to "OVERDRIVE-DELAY" 

32: ENHANSER^CHORUS 



Page 


Parameter 


Display 


Value 


Reference 


EFXPARAM 


Sensitivity 


Sens 


— 127 


97 


Mix Level 


Mix 


— 127 


97 


Chorus Pre Delay 


Pre Dly 


0.0 — 100 [ms] 


97 


Chorus Rate 


Rate 


0.05 — 10.0 [Hz] 


97 


Chorus Depth 


Depth 


— 127 


97 


Chorus Balance 


Balance 


DlOOrOE- 1D0:100E 


97 


Output Level 


Level 


— 127 


97 



33: ENHANSER»FLANGER 



Page 


Parameter 


Display 


Value 


Reference 


EFXPARAM 


Sensitivity 


Sens 


— 127 


97 


Mix Level 


Mix 


— 127 


97 


Flanger Pre Delay 


Pre Dly 


0.0 — 100 [ms] 


97 


Flanger Rate 


Rate 


0.05 — 10.0 [Hz] 


97 


Flanger Depth 


Depth 


— 127 


97 


Flanger Feedback 


Fbk 


-98 — +981%] 


97 


Flanger Balance 


Balance 


D100:0E — DO:100E 


97 


Output Level 


Level 


— 127 


97 



34: ENHANSER»DELAY 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Sensitivity 


Sens 


0—127 


97 


Mix Level 


Mix 


— 127 


97 


Delay Time 


Delay 


0.0 — 500 [ms] 


97 


Delay Feedback 


Fbk 


-98 — +98[%] 


97 


Delay HF Damp 


HFDamp 


*1 


97 


Delay Balance 


Balance 


DlOOrOE — D0:100E 


98 


Output Level 


Level 


— 127 


98 



•1 : 200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/4000/5000/6300/8000/BYPASS |Hz) 

35: CHORUS»DELAY 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Chorus Pre Delay 


Cho Dly 


0.0 — 100 [ms] 


98 


Chorus Rate 


ChoRate 


0.05 — 10.0 [Hz] 


98 


Chorus Depth 


ChoDpt 


— 127 


98 


Chorus Balance 


ChoBal 


D100:0E — D0:100E 


98 


Delay Time 


Delay 


0.0 — 500 [ms] 


98 


Delay Feedback 


Dly Fbk 


-98 — +98[%] 


98 


Delay HF Damp 


HFDamp 


•1 


98 


Delay Balance 


Delay Balance 


D100-.0E — D0:100E 


98 


Output Level 


Level 


— 127 


98 



•1 : 200/2SO/315/400/50O/63O/8O0/1O0O/125O/16O0/2000/2S00/315O/4O0O/500O/63O0/80O0/BYPASS [Hz] 



120 



36: FLANGER^DELAY 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Flanger Pre Delay 


FlgDly 


0.0 — 100 [ms] 


98 


Hanger Rate 


FlgRate 


0.05 — 10.0 [Hz] 


98 


Flanger Depth 


FlgDpt 


0—127 


98 


Flanger Feedback 


FlgFbk 


-98 — +98[%] 


98 


Flanger Balance 


Fig Bal 


D100:0E — D0:100E 


98 


Delay Time 


Delay 


0.0 — 500 [ms] 


98 


Delay Feedback 


DlyFbk 


-98 — +98 [%] 


98 


Delay HF Damp 


HF Damp 


»1 


99 


Delay Balance 


Delay Balance 


DlOOiOE — D0:100E 


99 


Output Level 


Level 


— 127 


99 



*1 : 200/25O/315/4O0/5O0/630/8O0/100O/12SO/1600/2000/250O/315O/40O0/5000/6300/800O/BYPASS(Hzl 

37: CHORUS-»FlANGER 



Page 


Parameter 


Display 


Value 


Reference 


EFX PARAM 


Chorus Pre Delay 


Cho Dly 


0.0 — 100 [ms] 


99 


Chorus Rate 


ChoRate 


0.05 — 10.0 [Hz] 


99 


Chorus Depth 


ChoDpt 


— 127 


99 


Chorus Balance 


Cho Bal 


D100:OE — D0:100E 


99 


Flanger Pre Delay 


FlgDly 


0.0 — 100 [ms] 


99 


Flanger Rate 


FlgRate 


0.05 — 10.0 [Hz] 


99 


Flanger Depth 


FlgDpt 


— 127 


99 


Flanger Feedback 


FlgFbk 


-98 — +98[%) 


99 


Flanger Balance 


Flanger Balance 


D100:0E — D0:10OE 


99 


Output Level 


Level 


— 127 


99 



38: CHORUS/DELAY 

•Refer lo "CHORUS-DELAY" 

39: FLANGER/DELAY 

•Refer to "FLANGER-»DELAY" 

40: CHORUS/FLANGER 

'Refer to "CHORUS-DELAY" 



121 



Default Settings for Hie Sound Settings 



Waveform List 

Internal A 



No. 


Wave Name 


Type 


No. 


Wave Name 


Type 


No. 


Wave Name 


Type 


No. 


Wave Name 


Type 


No. 


Wave Name 


Type 


1 


Ac Pianol A 


L 


52 


NylonGtrA 


L 


103 


Svn Gtr B 


L 


154 


MC-202 BsB 


L 


205 


CeUoA 


L 


2 


Ac Pianol B 


L 


53 


Nylon Gtr B 


L 


104 


Syn GtrC 


L 


155 


MC-202 BsC 


L 


206 


Cello B 


L 


3 


Ac Pianol C 


L 


54 


Nylon GtrC 


L 


105 


HarplA 


L 


156 


Flute lA 


L 


207 


CeUoC 


L 


4 


Ac Piano2 pA 


L 


55 


6-StrGtrA 


L 


106 


Harp IB 


L 


157 


Flute IB 


L 


208 


ST.Strings-R 


L 


5 


Ac Pianol pB 


L 


56 


6-StrGtrB 


L 


107 


HarplC 


L 


158 


Flute IC 


L 


209 


ST.Strings-L 


L 


6 


Ac Piano2 pC 


L 


57 


6-StrGtrC 


L 


108 


Banjo A 


L 


159 


Blow Pipe 


L 


210 


MonoStringsA 


L 


7 


Ac Piano2 f A 


O 


58 


Gtr Harm A 


L 


109 


Banjo B 


L 


160 


Bottle 


L 


211 


MonoStringsC 


L 


8 


Ac Piano2 (B 


O 


59 


Gtr Harm B 


L 


110 


Banjo C 


L 


161 


Shakuhachi 


L 


212 


Pizz 


O 


9 


Ac Piano2 fC 


O 


60 


Gtr Harm C 


L 


HI 


Sitar A 


L 


162 


Clarinet A 


L 


213 


JFStringslA 


L 


10 


Piano Thump 


O 


61 


Camp Gtr A 


L 


112 


SitarB 


L 


163 


Clarinet B 


L 


214 


JP StringslB 


L 


11 


Piano Up TH 


O 


62 


Camp Gtr B 


L 


113 


Sitar C 


L 


164 


Clarinet C 


L 


215 


JPStringslC 


L 


12 


MKS-20 P3 A 


L 


63 


Comp Gtr C 


L 


114 


Dulcimer A 


L 


165 


Oboemf A 


L 


216 


JPStrings2A 


L 
L 


13 


MKS-20P3B 


i 


64 


Comp Gtr A+ 


L 


115 


Dulcimer B 


L 


166 


Oboemf B 


L 


217 


JP Strings2B 


14 


MKS-20 P3C 


L 


65 


MuteGtrl 


t 


116 


Dulcimer C 


L 


167 


OboemfC 


L 


218 


JPStrings2C 


L 


15 


SA Vhodes lA 


L 


66 


Mute Gtr 2A 


L 


117 


Shanusen A 


L 


168 


Sop.Sax mf A 


L 


219 


Soft Pad A 


L 


16 


SA Rhodes IB 


L 


67 


Mute Gtr 2B 


L 


118 


ShamisenB 


L 


169 


Sop.Sax mf B 


L 


220 


Soft Pad B 


L 


17 


SA Rhodes IC 


L 


68 


Mule Gtr 2C 


L 


119 


Shamisen C 


L 


170 


Sop.Sax mfC 


L 


221 


Soft Pad C 


L 


18 


SA Rhodes 2A 


L 


69 


Pop Strat A 


L 


120 


Koto A 


L 


171 


Alto Sax lA 


L 


222 


Fantasvnth A 


L 


19 


SA Rhodes 2B 


L 


70 


Pop Strat B 


L 


121 


KotoB 


L 


172 


Alto Sax IB 


L 


223 


Fantasynth B 


L 


20 


SA Rhodes 2C 


L 


71 


Pop Strat C 


L 


122 


KotoC 


L 


173 


Alto Sax IC 


L 


224 


Fantasvnth C 


L 


21 


E.Piano lA 


L 


72 


Jazz Gtr A 


L 


123 


Pick Bass A 


L 


174 


Tenor Sax A 


L 


225 


D-50 HeavenA 


L 


22 


E.Piano IB 


L 


73 


Jazz Gtr B 


L 


124 


Pick Bass B 


L 


175 


Tenor Sax B 


L 


226 


D-50 HeavenB 


L 


23 


E.Piano IC 


L 


74 


Jazz GtrC 


L 


125 


Pick Bass C 


I. 


176 


Tenor Sax C 


L 


227 


D-50 HeavenC 


L 


24 


E.Piano 2A 


L 


75 


JC Strat A 


L 


126 


Fingerd Bs A 


L 


177 


Bari.Saxf A 


L 


228 


Fine Wine 


L 


25 


E.Piano 2B 


L 


76 


JC Strat B 


L 


127 


Fingerd Bs B 


L 


178 


Bari.Sax ! B 


L 


229 


D-50 Brass A 


L 


26 


E.Piano 2C 


L 


77 


JC Strat C 


L 


128 


Fingerd Bs C 


L 


179 


Bari.SaxfC 


L 


230 


D-50 Brass B 


L 


27 


E.Piano 3A 


L 


78 


JC Strat A+ 


L 


129 


E.Bass 


L 


180 


Harmonica A 


L 


231 


D-50 Brass C 


L 


28 


E.Piano 3B 


L 


79 


JC Strat B+ 


L 


130 


Fretless A 


L 


181 


Harmonica B 


L 


232 


D-50 BrassA+ 


L 


29 


E.Piano 3C 


L 


80 


IC Strat C+ 


L 


131 


Fretless B 


L 


182 


Harmonica C 


L 


233 


DualSquare A 


L 


30 


MK-80 EP A 


L 


81 


Clean Gtr A 


L 


132 


Fretless C 


L 


183 


Chanter 


L 


234 


DualSquare C 


L 


31 


MK-BO EP B 


L 


82 


Clean Gtr B 


L 


133 


UprightBs 1 


L 


184 


Tpt Sect. A 


L 


235 


DualSquaicAt 


L 


32 


MK-80 EPC 


L 


83 


Clean GtrC 


L 


134 


UprightBs 2A 


L 


185 


TptSect B 


L 


236 


Pop Voice 


L 


33 


D-50EPA 


L 


84 


Stratus A 


L 


135 


UprightBs 28 


L 


186 


Tpt Sect. C 


L 


237 


Syn Vox 1 


L 


34 


D-50 EP B 


L 


85 


Stratus B 


L 


136 


UprightBs 2C 


L 


187 


Trumpet lA 


L 


238 


Syn Vox 2 


L 


35 


D-50EPC 


L 


86 


Stratus C 


L 


137 


Slap Bass 1 


L 


188 


Trumpet IB 


L 


239 


Voice Aalis A 


L 


36 


Celesta 


L 


87 


ODGtrA 


L 


138 


Slap & Pop 


L 


189 


Trumpet IC 


L 


240 


Voice Aahs B 


L 


37 


Music Box 


L 


88 


OD Gtr B 


L 


139 


Slap Bass 2 


L 


190 


Trumpet 2.A 


L 


241 


Voice Aahs C 


I, 


38 


Clav lA 


L 


89 


ODGtrC 


L 


140 


Slap Bass 3 


L 


191 


Trumpet 2B 


L 


242 


Voice OohslA 


L 


39 


Clav IB 


L 


90 


OD GU' A+ 


L 


141 


Jz.Bs Tiiumh 


L 


192 


Trumpet 2C 


L 


243 


Voice OohslB 


L 


40 


Clav IC 


L 


91 


Heavy Gtr A 


L 


142 


Jz.BsSlapl 


L 


193 


HarmonMutelA 


L 


244 


Voice OohslC 


L 


41 


Organ 1 


L 


92 


Heavy Cti B 


L 


143 


Jz.Bs Slap 2 


L 


194 


HarmonMutelB 


L 


245 


Voice Oohs2A 


L 


42 


Jazz Organ 1 


L 


93 


Heavy GtrC 


L 


144 


Jz.Bs Slap 3 


L 


195 


HarmonMutelC 


L 


246 


Voice Oohs2B 


L 


43 


lazz Organ 2 


L 


94 


Heavy Gtr At 


L 


145 


Jz.Bs Pop 


L 


196 


Trombone 1 


L 


247 


Voice Oohs2C 


L 


44 


Organ 2 


L 


95 


Heavy Gtr Bt 


L 


146 


Syn Bass A 


L 


197 


French 1.^ . 


L 


248 


Voice Breath 


L 


45 


Organ 3 


L 


96 


Heavy Gtr C+ 


t 


147 


Syn Bass C 


L 


198 


French IC 


L 


249 


Male Ooh A 


L 


46 


Organ 4 


L 


97 


PowerChord A 


L 


148 


Mini Bs lA 


L 


199 


F.Horns A 


L 


250 


Male Ooh B 


L 


47 


Rock Organ 


L 


98 


PowerChord B 


L 


149 


Mini Bs IB 


L 


200 


F.Horns B 


L 


251 


Male Ooh C 


L 


48 


Dist. Organ 


L 


99 


PowerChord C 


1. 


150 


Mini Bs IC 


L 


201 


F.Horns C 


L 


252 


Org Vox A 


L 


49 


Rot.Org Slw 


L 


100 


EG Harm 


L 


151 


Mini Bs 2 


L 


202 


Violin A 


L 


253 


Org Vox B 


L 


50 


Rot.Org Fst 


L 


101 


Gt.FretNoise 





152 


Mini Bs 2+ 


L 


203 


Violin B 


L 


254 


Org Vox C 


L 


51 


Pipe Organ 


L 


102 


Syn Gtr A 


L 


153 


MC-202 Bs A 


L 


204 


Violin C 


L 


255 


Vox Noise 


L 



L: Loop Waveform 

O: One-sh(it VVavefonii 



For important information about the difference between loop and one-shot sounds, and how they are edited, see Chapter 1, 
"5. Concerning Tone Editing." (p. 26) 



122 



Internal B 



No. 


Wave Name 


Type 


No. 


Wave Name 


Type 


No. 


Wave Name 


Type 


No. 


Wave Name 


Type 


1 


Kalimba 


L 


52 


Feedbackwave 


L 


103 


Cowbell 1 


O 


154 


REV606HHOp 


o 


2 


Marimba Wave 


L 


53 


Spectnmi 


L 


104 


Wood Block 


O 


155 


REV Ride 


o 


3 


Log Drum 


L 


54 


BreathNoise 


O 


105 


Claves 


O 


156 


REV Cup 


o 


4 


Vibes 


L 


55 


Rattles 


L 


106 


Bongo Hi 


O 


157 


REV Crash 1 


o 


5 


Bottle Hit 


L 


56 


Ice Rain 


L 


107 


Bongo Lo 


O 


158 


REV China 


o 


6 


Glockenspiei 


L 


57 


Tin Wave 


L 


108 


Cga Open Hi 


O 


159 


REV DrySick 


O 


7 


Tubular 


L 


58 


Anklungs 


L 


109 


Cga Open Lo 


O 


160 


REV RealCLP 


O 


8 


Steel Drums 


L 


59 


Wind Chimes 


L 


110 


Cga Mute Hi 


O 


161 


REV FingSnap 


O 


9 


Fanta Bell A 


L 


60 


Orch. Hit 


O 


111 


Cga Mule Lt) 


O 


162 


REV Cowbell 


O 


10 


Fanta Bell B 


L 


61 


Tekno Hit 


O 


112 


Cga Slap 


O 


163 


REV WoodBlck 


O 


11 


Fanta Bell C 


L 


62 


Back Hit 


o 


113 


Timbale 


O 


164 


REV Clve 


O 


12 


FanlaBell A+ 


L 


63 


Philly Hit 


o 


114 


Cabasa Up 





165 


REV Conga 


O 


13 


Org Bell 


L 


64 


Scratch 1 


o 


115 


Cabasa Down 


O 


166 


REVTamb 


o 


14 


Agogo 


L 


65 


Scratch 2 


L 


116 


Cabasa Cut 


O 


167 


REV Maracas 


o 


15 


DIGI Bell 1 


L 


66 


Scratch 3 


o 


117 


Maracas 


O 


168 


REV Guiro 


o 


16 


DIGl Bell 1+ 


L 


67 


Natural SNl 


o 


118 


Long Guiro 


O 


169 


REV Cuica 


o 


17 


DIG! Chime 


L 


68 


NahiralSN2 


O 


119 


Tambourine 


O 


170 


REV Metro 


o 


18 


Wave Scan 


L 


69 


Piccolo SN 


O 


120 


Open Triangl 


L 


171 


Loop 1 


L 


19 


Wire String 


L 


70 


Ballad SN 


O 


121 


Cuica 


O 


172 


Loop 2 


L 


20 


Z2 BeUwave 


L 


71 


SN Roll 


O 


122 


Vibraslap 


L 


173 


Loop 3 


L 


21 


2.2Vibwave 


L 


72 


80BSN 


O 


123 


Timpani 


L 


174 


Loop 4 


L 


22 


Spark VOX 


L 


73 


Brush Slap 


O 


124 


Applause 


L 


175 


ljx)p5 


L 


23 


MMMVOX 


L 


74 


Brush Swish 


O 


125 


REV Orch.Hit 


O 


176 


Loop 6 


L 


24 


Lead Wave 


L 


75 


Brush Roll 


L 


126 


REV TeknoHit 


O 


177 


Loop 7 


L 


25 


Synth Reed 


L 


76 


Dry SHck 


O 


127 


REV Back Hit 





178 


R8 Click 





26 


Synth Saw! 


L 


77 


Side Stick 


O 


128 


REV PhillHit 





179 


Metronome ] 


L 


27 


Synth Saw 2 


L 


78 


Lite Kick 


O 


129 


REV Steel DR 





180 


Metronome 2 


O 


28 


Syn Saw 2inv 


L 


79 


Hybrid Kick] 


O 


130 


REV Tm Wave 





181 


MC500 Beep 1 


O 


29 


Synth Saw 3 


L 


80 


Hybrid Kick2 


O 


131 


REV NatrlSNl 


O 


182 


MC500 Beep 2 


o 


30 


JP-8 Saw A 


L 


81 


Old Kick 


O 


132 


REV NatrlSN2 


O 


183 


Low Saw 


L 


31 


JP-8SawB 


L 


82 


Verb Kick 


O 


133 


REVPiccloSN 


O 


184 


Low Saw inv 


L 


32 


JP-8 Saw C 


L 


83 


Round Kick 


O 


134 


REV BalladSN 


O 


185 


Low P5 Saw 


L 


33 


PSSawA 


L 


84 


808 Kick 


L 


135 


REV Side Stk 


o 


186 


Low Pulse 1 


L 


34 


PSSawB 


L 


85 


Verb Tom Hi 


O 


136 


REVSN Roll 





187 


Low Pulse 2 


L 


35 


PSSawC 


L 


86 


Verb Tom Lo 


O 


137 


REV Brush 1 





188 


Low Square 


L 


36 


D-50SawA 


L 


87 


Dry Tom Hi 


L 


138 


REV Brush 2 





189 


Low Sine 


L 


37 


D-50SawB 


L 


88 


Dry Tom Lo 


L 


139 


REV Brush 3 


o 


190 


Low Triangle 


L 


38 


D-50SawC 


L 


89 


ClHiHatl 


O 


140 


REV LiteKick 


o 


191 


Low White NZ 


L 


39 


Synth Square 


L 


90 


ClHiHat2 


o 


141 


REV HyhridKl 


o 


192 


Low Pink NZ 


L 


40 


JP-8 SquareA 


L 


91 


Op HiHat 


L 


142 


REVHybridK2 


o 


193 


DC 


L 


4! 


JP-8 SquareB 


L 


92 


Pedal HiHat 


o 


143 


REV Old Kick 


o 




42 


JP-8SquareC 


L 


93 


606 HiHat CI 


o 


144 


REV Timpani 


o 




43 


Synth Pulsel 


L 


94 


606 HiHat Op 


L 


145 


REV VerbTomH 







44 


SyntliPul5e2 


L 


95 


808 Claps 


o 


146 


REV VerbTomL 







45 


Triangle 


L 


96 


Hand Claps 


o 


147 


KEVDryTomH 


o 




46 


Sine 


L 


97 


Finger Snaps 


o 


148 


REV IDryTom M 


o 




47 


Org Click 


O 


98 


Ridel 


L 


149 


RE\' ClHiHatl 


o 




48 


White Noise 


L 


99 


Ride 2 


L 


150 


REV ClHiHat2 


o 




49 


Pink Noise 


L 


100 


Ride Bell 1 


1. 


151 


REV Op HiHat 


o 




50 


Metal Wind 


L 


101 


Crash 1 


L 


152 


REV Pedal HH 


o 




51 


Wind Agogo 


L 


102 


China Cym 


L 


153 


REV 606HH CI 


o 





123 



Patch Lists 
USER 



PRESET A 



PRESET B 



No. 


Name 


V 


No. 


Name 


V 


1 


Svniphonique 


4 


65 


Bass Marimba 


4 


n 


Alternative 


2 


66 


Svncrosonix 


3 


3 


Veto Tekno 1 


3 


67 


MandolinTrem 


4 


4 


West Coast 


4 


68 


Poly Saws 


4 


5 


Albion 


2 


69 


Pulse Pad 


4 


6 


Iz Gti Hall 


1 


70 


Nvlon Gtr 


1 


7 


Rocker Spin 


3 


71 


ORBit Pad 


2 


S 


101 Bass 


2 


72 


Majestic Tpt 


1 


9 


Claviduck 


2 


73 


Terminate 


3 


10 


let Pad 2 


2 


74 


SquareLead 1 


3 


11 


RaKRatronic 


4 


75 


House Piano 


2 


12 


Crunch Split 


4 


76 


Fooled Again 


1 


13 


Runnina Pad 


4 


77 


Pick Bass 


1 


14 


Brass Sect 


4 


78 


Wide Tubular 


4 


15 


Flvine Waltz 


4 


79 


Velo-Rez Ch' 


1 


16 


Pure Tibet 


1 


80 


Airplaaane 


4 


17 


4 Hits 4 You 


4 


81 


Delicate EP 


2 


18 


Waterhudes 


T 


82 


Rezoid 


4 


19 


Blade Racer 


4 


83 


E-Motion Pad 


4 


20 


IC Strat 


1 


84 


Phripphuzz 


1 


21 


Dawn 2 Dusk 


3 


85 


Archimede 


3 


22 


Saw Mass 


4 


86 


Intentions 


3 


23 


Steel Awav 


3 


87 


Nvlon Rhodes 


4 


24 


64voicePiano 


1 


88 


Huff N Stuff 


3 


25 


Wave Bells 


4 


89 


Finger Bass 


1 


26 


IP-8HauntinK 


4 


90 


Gospel Spin 


3 


27 


Vanishine 


1 


91 


Harmonicum 


2 


2R 


Harmonica 


2 


92 


Impact 


4 


29 


Film Octaves 


4 


93 


Rotary Gtr 


2 


30 


Edve Boost 


2 


94 


Tp&Sax Sect 


4 


31 


Au^erMentive 


3 


95 


Tubular Vox 


4 


32 


Deep Strings 


■? 


96 


Sawteeth 


3 


33 


Chime Wash 


4 


97 


Ocean Floor 


1 


34 


SA Rliodes 1 


4 


98 


E.Grand 


1 


35 


3D Flanced 


1 


99 


Clarinet mp 


1 


36 


Ac. Upright 


1 


100 


Bass In Face 


2 


37 


I'olv Brass 


3 


101 


BritelowBass 


4 


38 


Dissimilate 


4 


102 


Mellow Bars 


4 


39 


Dulcimer 


? 


103 


LetterFrmPat 


4 


40 


Fantasv Vox 


4 


104 


MGSolo 


4 


41 


DistGtrl 


3 


105 


Air Lead 


2 


42 


Sax Section 


4 


106 


Rava Shaku 


3 


43 


Aurora 


4 


107 


Greek Power 


4 


44 


St.Strings 


1 


108 


Biosphere 


2 


45 


AmbienceVibe 


4 


109 


EP+Mod Pad 


4 


46 


Cascade 


1 


110 


Chambers 


3 


47 


AltoLead Sax 


3 


111 


Nomad Perc 


3 


48 


PWM Slrinas 


3 


112 


Horn Swell 


4 


49 


Childlike 


4 


113 


Hillbillvs 


4 


50 


Velo Tekno 2 


2 


114 


Nightshade 


4 


51 


Tai Mahal 


1 


115 


Nice Piano 


3 


52 


D-50 Stack 


4 


life 


VOX Flute 


4 


53 


ChamberWoods 


3 


117 


Music Bells 


2 


54 


Pulse Kcv 


3 


118 


lUNO Strings 


3 


55 


Mondo Bass 


3 


119 


Bs/Pno+Br,s 


4 


56 


Velii-Wah Gtr 


1 


120 


Dark Vox 


•> 


57 


Si tar 


2 


121 


Bass Pizz 


4 


58 


Purple Spin 


4 


122 


Scq Mallet 


2 


59 


RandomVowcl; 


4 


123 


Variable Run 


4 


60 


Bie BPF 


4 


124 


Cvber Space 


3 


61 


Dunes 


4 


125 


llstr Gtr 1 


7 


62 


Hoirborne 


4 


126 


PianoStrlngs 


4 


63 


PsvchoRhodes 


2 


127 


Sands ofTime 


4 


64 


Tortured 


J... 


128 


Fantasia IV 


..i. 



No. 


Name 


V 


No. 


Name 


V 


1 


64voicePiano 


1 


65 


Dual Profs 


3 


2 


Bright Piano 


1 


66 


Saw Mass 


4 


3 


Classique 


2 


67 


Polv Split 


4 


4 


Nice Piano 


3 


68 


P0I5' Brass 


3 


5 


Piano Thang 


3 


69 


Stackoid 


4 


6 


Power Grand 


3 


70 


Poly Rock 


4 


7 


House Piano 


2 


71 


D-50 Stack 


4 


8 


E.Grand 


1 


72 


Fantasia JV 


4 


9 


MIDIed Grand 


3 


73 


Jimmee Dee 


4 


10 


Piano Blend 


3 


74 


Heavenals 


4 


11 


West Coast 


4 


75 


Mallet Pad 


4 


12 


PianoStrinRS 


4 


76 


Huff N Stuff 


3 


13 


Bs/Pno+Brs 


4 


77 


Puff 1080 


2 


14 


Waterhodes 


2 


78 


BellVox 1080 


4 


15 


S.A.E.P. 


3 


79 


Fantasy Vox 


4 


16 


SA Rhodes 1 


4 


80 


Square Keys 


2 


17 


SA Rhodes 2 


2 


81 


Childlike 


4 


IS 


Stiky Rhodes 


3 


82 


Music Box 


3 


19 


Dig Rhodes 


2 


83 


Toy Box 


2 


20 


Nylon EPiano 


4 


84 


Wave Bells 


4 


21 


Nylon Rhodes 


4 


85 


Tria Bells 


4 


22 


Rhodes Mix 


3 


86 


Beauty Bells 


4 


23 


PsychoRhodes 


2 


87 


Music Bells 


2 


24 


Tremo Rhodes 


4 


88 


Pretty Bells 


2 


25 


MK-80 Rhodes 


1 


89 


Pulse Key 


3 


26 


MK-80 Phaser 


1 


90 


Wide Tubular 


4 


27 


Delicate EP 


2 


91 


AmbienceVibe 


4 


28 


Octa Rhodesl 


4 


92 


Wann Vibes 


2 


29 


Ocla Rhodes2 


4 


93 


Dyna Marimba 


1 


30 


rV Rhodes+ 


4 


94 


Ba.ss Marimba 


4 


31 


EP+Mod Pad 


4 


95 


Nomad Perc 


3 


32 


Mr.Mellow 


4 


96 


Ethno Metals 


4 


33 


Comp Clav 


1 


97 


Islands Mlt 


4 


34 


Klavinet 


4 


98 


Steelin Keys 


3 


35 


Winger Clav 


4 


99 


Steel Drums 


1 


36 


Phaze Clav 1 


2 


100 


Voicey Pizz 


3 


37 


Phaze Clav 2 


1 


101 


Sitar 


2 


38 


Pliuzz Clav 


2 


102 


Drone Split 


4 


39 


Chorus Clav 


1 


103 


Ethnopluck 


4 


40 


Claviduck 


2 


104 


Jamisen 


2 


41 


VcIo-RezClv 


1 


105 


Dulcimer 


2 


42 


Clavicembalo 


4 


106 


East Melody 


2 


43 


.Analog Clavl 


1 


107 


MandolinTrem 


4 


44 


Analog Clav2 


1 


108 


Nvlon Gtr 


1 


45 


Metal Clav 


3 


109 


Gtr Strings 


3 


46 


Full Slops 


2 


110 


Steel Away 


3 


47 


Ballad B 


3 


111 


Heavenly Gtr 


4 


48 


Mellow Bars 


4 


112 


12strGh-l 


2 


49 


AugerMentive 


3 


113 


12strGtr2 


3 


50 


Perky B 


2 


114 


Jz Gtr Hall 


1 


51 


The Big Spin 


3 


115 


LetterFrmPat 


4 


52 


Gospel Spin 


3 


116 


jazz Scat 


3 


53 


Roller Spin 


3 


117 


Lounge Gip 


3 


54 


Rocker Spin 


3 


118 


JC Strat 


I 


55 


Tone Wh.Solo 


3 


119 


Twin Strats 


3 


56 


Purple Spin 


4 


120 


JV Strat 


2 


57 


60s LeadORG 


2 


121 


Syn Strat 


2 


58 


Assalt Organ 


3 


122 


Rotary Gtr 


2 


59 


D-50 Organ 


2 


123 


Muted Gtr 


1 


60 


Cathedral 


4 


124 


SwitchOn.Mute 


2 


61 


Church Pipes 


4 


125 


Power Trip 


2 


62 


Poly Key 


3 


126 


Crunch Split 


4 


63 


Polv Saws 


4 


127 


Rezodrive 


2 


64 


Poly Pulse 


4 


128 


RockYurSocks 


4 



No. 


Name 


V 


No. 


Name 


V 


1 


Disl Gtr 1 


3 


65 


Analog Seq 


2 


2 


Dist Gtr 2 


3 


66 


Impact Vox 


4 


3 


R&R Chunk 


4 


67 


TeknoSoioVox 


2 


4 


Phripphuzz 


1 


68 


X-Mod Man 


2 


5 


Grungeroni 


3 


69 


Paz <==> Zap 


1 


6 


Black Widow 


4 


70 


4 Hits 4 You 


4 


7 


Velo-WahGlr 


1 


71 


Impact 


4 


8 


Mod-WahGtr 


2 


72 


Phase Hit 


3 


9 


Pick Bass 


1 


73 


Tekno Hit 1 


2 


10 


Hip Bass 


2 


74 


Tekno Hit 2 


2 


U 


Perc.Bass 


3 


75 


Tekno Hit 3 


4 


12 


Homey Bass 


2 


76 


Reverse Hit 


3 


13 


Finger Bass 


1 


77 


SquareLead 1 


3 


14 


Nylon Bass 


2 


78 


SquareLead 2 


2 


15 


Ac. Upright 


1 


79 


You and Luck 


2 


16 


WetFretls 


1 


80 


Belly Lead 


4 


17 


FrellsDry 


2 


81 


WhisHinAlom 


2 


18 


Slap Bass 1 


2 


82 


Edye Boost 


2 


19 


Slap Bass 2 


1 


83 


MGSolo 


4 


20 


Slap Bass 3 


1 


84 


FXM Saw Lead 


4 


21 


Slap Bass 4 


2 


85 


Sawteeth 


3 


22 


4 Pole ftiss 


1 


86 


Smoolhe 


2 


23 


Tick Bass 


4 


87 


MGLead 


2 


24 


House Bass 


3 


88 


MG Interval 


4 


25 


Mondo Bass 


3 


89 


Pulse Lead 1 


3 


26 


Clk AnalogBs 


2 


90 


Pulse Lead 2 


4 


27 


Bass In Face 


2 


91 


Little Devil 


4 


28 


101 Bass 


2 


92 


Loud SynLead 


4 


29 


Noiz Bass 


2 


93 


Analog Lead 


2 


30 


Super jup Bs 


2 


94 


5th Lead 


2 


31 


Occitan Bass 


3 


95 


Flute 


2 


32 


Hugo Bass 


4 


96 


Piccolo 


1 


33 


MulH Bass 


2 


97 


VOX Flute 


4 


34 


Moist Bass 


2 


98 


Air Lead 


2 


35 


BritelowBass 


4 


99 


Pan Pipes 


2 


36 


Untamed Bass 


3 


100 


Air]ilaaane 


4 


37 


Rubber Bass 


3 


101 


Taj Mahal 


1 


38 


Stereoww Bs 


3 


102 


Raya Shaku 


3 


39 


Wonder Bass 


3 


103 


Oboemf 


1 


40 


Deep Bass 


2 


104 


Oboe Express 


2 


41 


Super JXBs 


2 


105 


Clarinet mp 


1 


42 


W<RED>-Bass 


4 


106 


ClariExpress 


2 


43 


Hl-Ring Bass 


3 


107 


Mitzva Split 


4 


44 


Euro Bass 


2 


108 


ChamherWinds 


4 


45 


SinusoidRave 


1 


109 


QiamberWoods 


3 


46 


Alternative 


2 


110 


Film Orch 


4 


47 


Acid Line 


1 


111 


Sop.Sax mf 


2 


48 


AutoTB-303 


3 


112 


Alto Sax 


3 


49 


Hihat Tekno 


2 


113 


AltoLead Sax 


3 


50 


Velo Tekno 1 


3 


114 


Tenor Sax 


3 


51 


Raggatronic 


4 


115 


Baritone Sax 


3 


52 


Blade Racer 


4 


116 


Take A Tenor 


4 


53 


S&HPad 


1 


117 


Sax Section 


4 


54 


Syncrosonix 


3 


118 


Bigband Sax 


4 


55 


Fooled Again 


1 


119 


Harmonica 


2 


56 


Alive 


3 


120 


Harmo Blues 


2 


57 


Velo Tekno 2 


2 


121 


Blues Harp 


1 


58 


Rezoid 


4 


122 


Hlllbillys 


4 


59 


Raverborg 


4 


123 


French Bags 


4 


60 


Blow Hit 


4 


124 


Majestic Tpt 


1 


61 


Hammer Bell 


3 


125 


Voluntare 


2 


62 


Seq .Mallet 


2 


126 


2Tnunpets 


2 


63 


Intentions 


3 


127 


Tpt Sect 


4 


64 


Pick It 


3 


128 


Mute Tl' mod 


4 



V: Number of Voices 

'' Most all of the patches are yet up (at their factory settings) so their timbre can be mutiitied as a resuH of nuxiulatioTi, aftt'rtouch, <ind expression {Control Change 
No. i 1). You will want to try this feature out. Also, if you find that certain kinds of music data (GM, etc.) you play does not seem to sound the way it should, try 
switching OFF the afterlouch reception switch. 

* When using a sequencer to plav ensembles, we recommend that you use mainly the preset patches. The preset patches are set up so they support the preferred 
soiuiding ranges of GM instruments (some sounds such as bass and bells extend beyond tlie range of a fil-key keyboard), On the other hand, the user patches (a 
rearranged sckvtion ot pref«;H patches) are all designed to be played from a 61-key keyboard, and hn\'e been tuned so they sound appropriately. 



124 



PRESET C 



PRESET D (General MIDI Patch) 



No. 


Name 


V 


No. 


Name 


V 


1 


Harmon Mute 




65 


Harmonicum 


2 


2 


Tp&Sax Sect 




66 


D-50 Heaven 


2 


3 


Sax+Tp+Tb 




67 


Afro Horns 


3 


4 


Brass Sect 




68 


Pop Pad 


4 


5 


Trombone 




69 


Dreamesque 


4 


6 


Hybrid Bones 




70 


Square Pad 


4 


7 


Noble Horns 




7] 


P-8 Hollow 


4 


8 


Massed Horns 




72 


P-8Haunting^ 


4 


9 


Horn Swell 




73 


Heirbome 


4 


10 


Brass It! 




74 


Hush Pad 


4 


11 


Brass Attack 


3 


75 


Jet Pad 1 


2 


12 


Archimede 


3 


76 


Jet Pad 2 


2 


13 


Rugby Horn 


3 


77 


Phaze Pad 


3 


14 


MKS-80 Brass 


2 


78 


PhazeStr 


4 


15 


True ANALOG 


2 


79 


el Sir Ens 


2 


16 


Dark Vox 


2 


80 


Pivotal Pad 


4 


17 


RandomVowels 


4 


81 


3D Flanged 


1 


18 


Angels Sing 


2 


82 


Fan ta wine 


4 


19 


Pvox Oooze 


3 


83 


Glassy Fad 


3 


20 


Longing... 


3 


84 


Moving Glass 


1 


21 


Arasian Mom 


4 


85 


Glasiswaves 


3 


22 


Beauty Vox 


3 


86 


Shiny Pad 


4 


23 


Mary-ArmeVox 


4 


87 


ShifledGlass 


2 


24 


Belltree Vox 


4 


88 


Chime Pad 


3 


25 


Vox Panner 


2 


89 


Spin Pad 


2 


26 


Spaced Voxx 


4 


90 


Rotary Pad 


4 


27 


Glass Voices 


3 


91 


Dawn 2 Dusk 


3 


28 


Tubular Vox 


4 


92 


Aurora 


4 


29 


Veio Voxx 


2 


93 


Strobe Mode 


4 


30 


Wavox 


3 


94 


Albion 


2 


31 


Doos 


1 


95 


Running Pad 


4 


32 


Synvox Comps 


4 


% 


Stepped Pad 


4 


33 


Vocal Oohz 


3 


97 


Random Pad 


4 


34 


LFOVox 


1 


98 


Soundh-kDANC 


4 


35 


St5trings 


2 


99 


Flying Waltz 


4 


36 


Warm Strings 


4 


100 


Vanishing 


1 


37 


Somber Str 


4 


101 


5th Sweep 


4 


38 


Marcato 


2 


102 


Phazweep 


4 


39 


Bright Str 


2 


103 


BigBPF 


4 


40 


String Ens 


4 


104 


MG Sweep 


4 


41 


TremoloStmg 


2 


105 


CetemonyTimp 


3 


42 


Chambers 


3 


106 


Dyno Toms 


4 


43 


ViolinCello 


4 


107 


Sands ofTime 


4 


44 


Sym^honi^ue 


4 


108 


Inertia 


4 


45 


Film Octaves 


4 


109 


Vektogram 


4 


46 


Film Layers 


4 


110 


Crash Pad 


4 


47 


Bass Pizz 


4 


111 


Feedback VOX 


4 


48 


Real Fizz 


3 


112 


Cascade 


1 


49 


Harp On It 


3 


113 


Shattered 


2 


50 


Harp 


2 


114 


NextFrontier 


2 


51 


JP-8Strl 


2 


115 


Pure Tibet 


1 


52 


JP-8Str2 


3 


116 


Chime Wash 


4 


53 


E-Motion Pad 


4 


117 


Night Shade 


4 


54 


JP-8Str3 


4 


118 


Tortured 


4 


55 


Vintage Orch 


4 


119 


Dissimilate 


4 


56 


JUNO Strings 


3 


120 


Dunes 


4 


57 


Gigantalog 


4 


121 


Ocean Floor 


1 


58 


PWM Strings 


3 


122 


Cyber Space 


3 


59 


Warmth 


2 


123 


Biosphere 


2 


60 


ORBit Pad 


2 


124 


Variable Run 


4 


61 


Deep Strings 


2 


125 


Ice Hall 


2 


62 


Falsify 


4 


126 


ComputerRoon- 


4 


63 


Pulse Pad 


4 


127 


Inverted 


4 


64 


Greek Power 


4 


128 


Terminate 


3 



No. 


Name 


V 


No. 


Name 


V 


1 


Piano 1 


2 


65 


Soprano Sax 


1 


2 


Piano 2 


2 


66 


Alio Sax 


1 


3 


Piano 3 


2 


67 


Tenor Sax 


1 


4 


Honky-tonk 


2 


68 


Baritone Sax 


2 


5 


E.Piano 1 


2 


69 


Oboe 


2 


5 


E.Piano 2 


4 


70 


English Hum 


2 


7 


Harpsichord 


2 


71 


Bassoon 


2 


8 


Clav. 


2 


72 


Clarinet 


1 


9 


Celesta 


1 


73 


Piccolo 


1 


10 


Glockenspiel 


2 


74 


Flute 


1 


11 


Music Box 


1 


75 


Recorder 


2 


12 


Vibraphone 


1 


76 


Pan Flute 


2 


13 


Marimba 


2 


77 


Bottle Blow 


2 


14 


Xylophone 


2 


78 


Shakuhachi 


1 


15 


Tubular-bell 


2 


79 


Whistle 


1 


16 


Santur 


2 


80 


Ocarina 


2 


17 


Organ 1 


1 


81 


Square Wave 


2 


18 


Or^n2 


1 


82 


Saw Wave 


2 


19 


Organs 


2 


S3 


Syn.Calliope 


2 


20 


Church Org.] 


2 


84 


Chiffer Lead 


2 


21 


Reed Organ 


1 


85 


Charang 


3 


22 


Accordion Fr 


2 


86 


Solo Vox 


2 


23 


Harmonica 


1 


87 


5ai Saw Wave 


3 


24 


Bandncon 


2 


88 


Bass & Lead 


2 


25 


Nylon-shr.Gt 


1 


89 


Fantasia 


3 


26 


Steel-str.Gt 


1 


90 


Warm Pad 


2 


27 


Jazz Gt. 


1 


91 


Polysvnth 


2 


28 


Clean Gt 


1 


92 


Space Voice 


2 


29 


Muted Gt. 


1 


93 


Bowed Glass 


3 


30 


Overdrive Gt 


1 


94 


Metal Pad 


2 


31 


DistortionGt 


1 


95 


Halo Pad 


3 


32 


GtHarmonics 


3 


96 


Sweep Pad 


2 


33 


Acoustic Bs. 


3 


97 


Ice Rain 


2 


34 


Fingered Bs. 


1 


98 


Soundtrack 


2 


35 


Picked Bs. 


1 


99 


Crystal 


2 


36 


Fretless Bs. 


1 


100 


Atmosphere 


2 


37 


Slap Bass 1 


1 


101 


Brightness 


3 


38 


Slap Bass 2 


2 


102 


Goblin 


2 


39 


Synth Bass 1 


1 


103 


Echo Drops 


2 


40 


Synth Bass 2 


1 


104 


Star Theme 


2 


41 


VioUn 


1 


105 


Sitar 


1 


42 


Viola 


1 


106 


Banjo 


1 


43 


CeUo 


1 


107 


Shamisen 


2 


44 


Contrabass 


1 


108 


Koto 


1 


45 


Tremolo Str 


1 


109 


Kalimba 


1 


46 


PizzicatoStr j 


1 


110 


Bag Pipe 


3 


47 


Harp 


2 


111 


Fiddle 


1 


48 


Timpani 


1 


112 


Shanai 


1 


49 


Strings 


2 


113 


Tinkle Bell 


4 


50 


Slow Strings 


1 


114 


Agogo 


1 


51 


Syn.Slringsl 


2 


115 


Steel Drums 


1 


52 


Syn.Sh-ings2 


2 


116 


Woodblock 


1 


53 


Choir Aahs 


3 


117 


Taiko 


4 


54 


Voice Oohs 


1 


118 


Melo. Tom 1 


2 


55 


SynVox 


1 


119 


Synth Drum 


2 


.56 


OrchestraHit 


2 


120 


Reverse Cym. 


2 


57 


Trumpet 


2 


121 


Gt.FretNoi.se 


1 


58 


Trombone 


1 


122 


Breath Noise 


2 


59 


Tuba 


2 


123 


Seashore 


3 


60 


MutedTrumpet 


1 


124 


Bird 


4 


61 


French Horn 


1 


125 


Telephone 1 


1 


62 


Brass 1 


2 


126 


Helicopter 


2 


63 


Synth Brassl 


1 


127 


Applau.se 


4 


64 


Synth BrassZ 


2 


128 


Gun Shot 


2 



125 



Rhythm Sets Lists 
USER 



PRESET A 



PRESET B 







No.l 
HouseDrumSet 


No.2 
JazzDrumSell 




Key (Note) 


Wave Name 


Wave Name 




35 


Scratch 1 


Hybrid Kick2 


C2 


36 


808 SN 


Hybrid Kickl 




Dry Stick 


Side Stick 




40 




808 SN 


Ballad SN 




808 Claps 


Brush Slap 




808 SN 


Brush Swish 




41 


808 Kick 


Verb Tom Lo 




606 HiHat CI 


CI HiHat 1 




43 




808 SN 


Verb Tom Lo 




606 HiHat CI 


Pedal HiHat 




45 




808 Kick 


Verb Tom Hi 




606 HiHat Op 


Op HiHat 




47 




808 SN 


Verb Tom Hi 


C3 


48 


808 Kick 


Verb Tom Hi 




Crash 1 


Crash 1 




52 




808 SN 


Verb Tom Hi 




Ride 2 


Ride 2 




REV Crash 1 


China Cym 




53 


Ride Ml 1 


Ride Bell 1 




Tambourine 


Tambourine 




Crash 1 


Crash 1 




Cowbell 1 


Cowbell I 








Crash 1 


Crash 1 




Vibraslap 


Vibraslap 




59 




Ride 2 


Ride 2 


C4 


60 


Bongo Hi 


Bongo Hi 




Bonj^o to 


Bongo Lo 




Cga Mute Hi 


Cga Mute Hi 




Cga Open Hi 


Cga Open Hi 




64 




Cga Open Lo 


Cga Open Lo 




65 


Timbale 


Timba e 




Timbale 


Timbale 




!l_Ziii 




Agogo 


Agogo 




Agogo 


Agogo 




69 




Cabasa Cut 


Cabasa Up 




Maracas 


Maracas 




71 




Soft Pad B 


Soft Pad B 


C5 


72 


Soft Pad A 


Soft Pad A 




Long Guiro 


Long Guiro 




^^» 




Long Guiro 


Long Guiro 




Claves 


Claves 




^r"^ 




Wood Block 


Wood Block 




77 


Wood Block 


Wood Block 




Cuica 


Cuica 




81 

Qjlll 




Cuica 


Cuica 




Open TriangI 


Open Triangi 




Open Triangi 


Open Triangi 




Cabasa Cut 


Cabasa Cut 




83 




Tambourine 


Spectrum 


C6 


84 
86 


Old Kick 


Wind Chimes 




Scratch 1 


Wood Block 




Piccolo SN 


Cga Slap 




Scratch 3 


Dr\- Tom Lo 




88 




White Noise 


Lite Kick 




89 
91 


Synth Saw 1 


Hybrid Kick2 




Synth Pulsel 


Old Kick 




Back Hit 


808 Kick 




Tekno Hit 


Natural SNl 




93 




Orch. Hit 


Natural SN2 




Phillv Hit 


SN Roll 




95 




REV Back Hit 


Natural SN2 


C7 


96 
98 


MC500 Beep 1 


Metronome 2 




R8 Click 


R8 Click 




MCSOO Beep 2 


Metronome 1 



No.l 
FopDrumSetl 


No.2 
PopDrumSeta 


Wave Name 


Wave Name 


Verb Kick 


Hybrid Kickl 


Hybrid Kickl 


Round Kick 


Side Stick 


Dry SKck 


Nahiral SN2 


Piccolo SN 


808 Claps 


Hand Claps 


SN Roll 


Piccolo SN 


Verb Tom Lo 


Verb Tom Lo 


CI HiHat 1 


CI HiHat 1 


Verb Tom Lo 


Verb Tom Lo 


CI HiHat 2 


CI HiHat 2 


Verb Tom Hi 


Verb Tom Hi 


Op HiHat 


Op HiHat 


Verb Tom Hi 


Verb Tom Hi 


Verb Tom Hi 


Verb Tom I-ii 


Crash 1 


Crash 1 


Verb Tom Hi 


Verb Tom Hi 


Ride 2 


Ridel 


China Cym 


ChiiiaCym 


Ride BeU 1 


Ride Bell 1 


Tambourine 


Tambourine 


Crash 1 


Crash 1 


Cowbell 1 


Cowbell 1 


Crash I 


Crash 1 


Cowbell 1 


Cowbell 1 


Ride Bell 1 


RideBeUl 


Cga Mute Hi 


Cga Mute Hi 


Cga Mute Lo 


Cga Mute Lo 


Cga Slap 


Cga Slap 


Cga Open Hi 


Cga Open Hi 


Cga Open Lo 


Cga Open Lo 


Timhale 


Timbale 


Timbale 


Tunbale 


Agogo 


Agogo 


Agogo 


Agogo 


Cabasa Up 


Cabasa Up 


Maracas 


Maracas 


Soft Pad A 


Cabasa Down 


Soft Pad B 


Cabasa Cut 


Long Guiro 


808 Kick 


Long Guiro 


808 SN 


Claves 


DIGI BeU 1 


Wood Block 


808 SN 


Wood Block 


808 Kick 


Cuica 


Spectrum 


Cuica 


808 Kick 


Open Triangi 


Spectrum 


Open Triangi 


808 Kick 


Cabasa Cut 


Spectrum 


Spectrum 


808 Kick 


Wind Cliimes 


808 Kick 


Wood Block 


Fcedbackwave 


Cga Slap 


808 Kick 


Dry Tom Lo 


Feedbackwave 


Lite Kick 


Pop Voice 


Hybrid Kick2 


Pop Voice 


Old Kick 


Wind Agogo 


Pop Voice 


Pop Voice 


Wind Agogo 


Wind Agogo 


Op HiHat 


Op HiHat 


Anklungs 


Anklungs 


Op HiHat 


Op HiHat 


Metronome 2 


Metronome 2 


R8 Click 


R8 Click 


Metronome 1 


Metmnome I 



No.l 
PowerDrumSet 


No.2 
RaveDrumSet 


Wave Name 


Wave Name 


Verb Kick 


808 Kick 


Round Kick 


Round Kick 


Dry Stick 


Side Stick 


Piccolo SN 


808 SN 


808 Claps 


808 Claps 


Nahiral SN2 


808 SN 


Verb Tom Lo 


808 Kick 


CI HiHat 1 


606 HiHat CI 


Verb Tom Lo 


Tekno Hit 


Pedal HiHat 


606 HiHat CI 


Verb Tom Lo 


808 Kick 


Op HiHat 


606 HiHat Op 


Verb Tom Lo 


Tekno Hit 


Verb Tom Hi 


808 Kick 


Crash 1 


Crash 1 


Verb Tom Hi 


Tekno Hit 


Ridel 


Voice Breath 


China Cym 


MCSOO Beep 1 


RideBeUl 


MCSOO Beep 2 


Tambourine 


R8 Click 


Crash 1 


Pizz 


Cowbell 1 


DIGI BeU 1 


Crash 1 


Rattles 


Vibraslap 


RideBeUl 


Ridel 


REVTamb 


Bongo Hi 


2.2 Vibwave 


Bongo Lo 


Low Pink NZ 


Cga Mute Hi 


Kalimba 


Cga Open Hi 


Metal Wind 


Cga Open Lo 


Lead Wave 


Timbale 


Tin Wave 


Timbale 


Agogo 


Agogo 


UteKick 


Agogo 


Agogo 


Cabasa Up 


Lite Kick 


Maracas 


Agogo 


Soft Pad A 


GtrHarm A 


Soft Pad B 


Gtr Harm A 


Long Guiro 


Piano Thump 


Long Guiro 


Natural SNl 


Claves 


Hand Claps 


Wood Block 


Natural SNl 


Wood Block 


808 SN 


Cuica 


PowerChord B 


Cuica 


Hybrid Kick2 


Open Triangi 


PowerChord B 


Open Triangi 


Gt.FretNoise 


Maracas 


Banjo B 


ice Rain 


Slap Bass 1 


Wind Chimes 


Oboemf A 


Claves 


Shakuhachi 


808 SN 


PiZ7 


Verb Tom Hi 


Syn Vox 1 


Piccolo SN 


Voice Aahs A 


Scratch 3 


Voice Oohs2A 


Tin Wave 


Pop Voice 


Spectrum 


Male Ooh A 


REV Steel DK 


Voice Breath 


REV Tin Wave 


Org Vox C 


REV PiccloSN 


Vox Noise 


REV Crash 1 


Vox Noi.se 


Metronome 2 


Applau.se 


RS Click 


R8 Click 


Metronome 1 


Metronome 2 



126 



PRESET C 



PRESET D 







No.l 
JazzDramScll 


No.2 
OrchDrumSet 




Key (Note) 


Wave Name 


Wave Name 




35 


Round Kick 


Old Kick 


C2 


36 


Old Kick 


Round Kick 




SideSKck 


SideSHck 




40 




Baflad SN 


Ballad SN 




Hand Ciaps 


808 Claps 




SN Roll 


SN Roll 




41 

43 


Verb Tom Lo 


Timpani 




C! HiHat 2 


Timpani 




Dry Tom Lo 


Timpani 




Pedal HiHat 


Timpani 




45 




Verb Tom Lo 


Timpani 




Op HiHat 


Timpani 




47 




Dry Tom Lo 


Timpani 


C3 


48 


Verb Tom Hi 


Timpani 




Crash 1 


Timpani 




"S 




Dry Tom Hi 


Timpani 




Ridel 


Timpani 




52 




China Cym 


Timpani 




53 

55 ___ 


Ride Belli 


Timpani 




Tambourine 


Tambourine 




Crash 1 


Crash 1 




Cowbell 1 


Cowbell 1 




57 




Crash 1 


Crash 1 




Vibraslap 


Ridel 




59 




Ride 2 


Ride 2 


C4 


60 

mMmmam 


Bongo Hi 


Bongo Hi 




Bongo Lo 


Bongo Lo 




«z 




Cga Mute Hi 


Cga Mule 1 !i 




Cga Open Hi 


Cga Open Hi 




mSKM 

64 




Cga Open Lo 


Cga Open Lo 




65 


Timbale 


Timbalc 




Timbalc 


Timbale 




67 




Agogo 


Agogo 




Agogo 


Agogo 




69 
71 




Cabasa Up 


Cabasa Up 




Maracas 


Maracas 




Soft Pad A 


Soft Pad A 


C5 


72 
74 


Brush Swish 


Soft Pad B 




Long Guiro 


Long Guiro 




Long Guiro 


Long Guiro 




Claves 


Claves 




76 




Wood Block 


Wood Block 




77 
79 


Metronome 2 


Wood Block 




Cuica 


Cuica 




Cuica 


Cuica 




Open Triangl 


Open Triangl 




SI 




Open Triangl 


Open Triangl 




Cabasa Cut 


Cabasa Cut 




83 




Spectrum 


Spectrum 


C() 


84 

—mm 

86 


Wind Chimes 


Wind Chimes 




Wood Block 


Wood Block 




Cgn Slap 


Cga Slap 




Drv Tom Lo 


Dry Tom Lo 




88 




Lite Kick 


Applause 




89 


Hvbrid Kick2 


Hvbrid Kick2 




Old Kick 


CI HiHat 1 




IsBB 

91 




Natural SN2 


Round Kick 




Natural SNl 


Pedal HiHat 




EBB 

93 




Brush Swish 


Natural SN2 




Brush Roll 


Op HiHat 




95 




Brush Slap 


Brush Slap 


C7 


96 

GBH 


Metronome 2 


Brush Swish 




R8 Click 


Brush Roll 




98 




Metronome I 


SN Roll 



No.l 
GMDrumSet 


No.2 
BnishDrumSet 


Wave Name 


Wave Name 


Verb Kick 


Hybrid Kick2 


Hybrid Kickl 


Hybrid Kickl 


Side Stick 


Side Stick 


Ballad SN 


Brush Swish 


808 Claps 


Brush Slap 


Piccolo SN 


Brush Roll 


Verb Tom Lo 


Elry Tom Lo 


CI HiHat 1 


CI HiHat 1 


Verb Tom Lo 


Dry Tom Lo 


Pedal HiHat 


Pedal HiHat 


Verb Tom Hi 


Dry Tom Hi 


Op HiHat 


Op HiHal 


Verb Tom Hi 


Dry Tom Hi 


Verb Tom Hi 


Dry Tom Hi 


Crash I 


Crash 1 


Verb Tom Hi 


Dry Tom Hi 


Ride 2 


Ride 2 


China Cym 


China Cvm 


Ride Bell 1 


Ride Bell 1 


Tambourine 


Tambourine 


Crash 1 


Crash 1 


Cowbell 1 


Cowbell 1 


Crash 1 


Crash 1 


Vibraslap 


Vibraslap 


Ride 2 


Ride 2 


Bongo Hi 


Cga Mute Hi 


Bongo Lo 


Cga Mute Lo 


Cga Mute Hi 


Cga Slap 


Cga Open Hi 


Cga Open Hi 


Cga Open Lo 


Cga Open Lo 


Timbale 


Timbale 


Timbale 


Timbale 


Agogo 


Agogo 


Agogo 


Agogo 


Cabasa Up 


Cabasa Up 


Maracas 


Maracas 


Soft Pad A 


Soft Pad A 


Soft Pad B 


Soft Pad B 


Long Guiro 


Long Guiro 


Long Guiro 


Long Guiro 


Claves 


Claves 


Wood Block 


Wood Block 


Wood Block 


Wood Block 


Cuica 


Cuica 


Cuica 


Cuica 


Open Triangl 


Open Triangl 


Open Triangl 


Open Triangl 


Cabasa Cut 


Cabasa Cut 


Spectrum 


Spectrum 


Wind Chimes 


Wind Chimes 


Wood Block 


Wood Block 


Cga Slap 


Cga Slap 


i>y Tom Lo 


Dr\' Tom Lo 


Lite Kick 


Lite Kick 


Hybrid Kick2 


Hvbrid Kick2 


Old Kick 


Old Kick 


808 Kick 


808 Kick 


Natural SNl 


Natural SNl 


Natural SN2 


Natural SN2 


808 SN 


SN Roll 


Brush Slap 


Brush Slap 


Brush Swish 


Metronome 2 


Brush Roll 


R8 Click 


SN Roll 


Metronome 1 



127 



Performance Lists 
USER 



PRESET A 



PRESET B 



No. 


Name 


1 


Tekno Loop 1 


2 


Opening Orch 


3 


Feedback EP 


4 


Cosmic Dawn 


5 


Tekno Loop 2 


6 


S&H / Pad 


7 


Fr.Hom Sect 


8 


White Hole 


9 


Nebular Vox 


10 


Flying Jazz 


11 


Terminator 


12 


Orchestral 


13 


Rave SpUt 


14 


Multi Sax 


15 


Bass / Lead 


16 


AcFiano+Pad 


17 


Kicks Attack 


18 


Humming Vox 


19 


Step Brass 


20 


Drone / Pipe 


21 


Sweeper 


22 


Chime Dreams 


23 


Big Band 


24 


Labyrinth 


25 


SpaceCarrier 


26 


EastemSpIit 


27 


Cyber Sweep 


28 


Tekno Asia 


29 


1080 Fantasy 


30 


Pop Ballad 


31 


Rlnythmatic 


32 


Power JV 



No. 


Name 


1 


House Set 


2 


Analectro 


3 


Anatronic 


4 


Tekno Pop 1 


5 


Tekno Pop 2 


6 


Hard Core 


7 


Hi Energy 


8 


Pop Dance 


9 


Acid Set 


10 


Ambient Set 


11 


Electro Pop 


12 


Pop Set 1 


13 


Pop Set 2 


14 


Pop Set 3 


15 


Pop Set 4 


16 


L.A. Ballad 


17 


Hip Hop Set 


18 


Funk Rock 


19 


Funk Fusion 


20 


Heavy Metal 


21 


Heavy Kids 


22 


Latin Set 


23 


BrazilianSet 


24 


New Age 1 


25 


New Age 2 


26 


Orchestra 


27 


Concerto 


28 


Film Score 1 


29 


Film Score 2 


30 


Symphonic 


31 


Chamber Set 


32 


Baroque Set 



No. 


Name 


1 


Africa 


2 


World Ethnic 


3 


Asian Ethi\ic 


4 


Asian Band 


5 


60's Set 


6 


Blues Band 


7 


Country Band 


8 


Folk Set 


9 


Reggae Band 


10 


FunkWah Band 


11 


Funkin'Phaze 


12 


Zydeco Band 


13 


New Orleans 


14 


Dixieland 


15 


Big Band Set 


16 


ConLJazz 1 


17 


Cont.Jazz 2 


18 


Ac. Jazz Set 


19 


Gospel Set 


20 


All Strings 


21 


All Brass 


22 


AU Piano 1 


23 


AU Piano 2 


24 


All Keyboard 


25 


All Organ 


26 


All Winds 


27 


AU Bells 


28 


Mlt & Perc 


29 


AllSeq 


30 


All Bass 


31 


All Pad 


32 


AllFX 



128 



The Demo Song Names/Composer Profiles 



Following Demo Songs and whose composer's profiles contained in the JV-1080: 

RISE 

Musk by David Goldblatt Copyright ©1994, David Goldblatl Music 

David Goldblatt is a Los Angeles based composer /keybordist who has performed and recorded with a 
broad spectrum of artists such as Tribal Tech with Gary Willis and Scott Henderson, Stanley Clarke, 
Dizzy Gillespie, Wayne Shoter, Joe Sample, etc.. David's compositions were featured on two Tribal Tech 
CDs and Brandon Fields latest CD. He is heard on many TV shows and movies, such as Jodie Foster's 
"Little Man Tate," as a session artist. He has written and arranged for TV shows, jingles, and various 
productions in all sectors of the music industry, including musical director for various TV shows and a 
1989 world tour with Diana Ross, as musical director, keyboardist, and arranger, which included a live 
CD and a concert video for HBO. 

1 080 Rave 

Music by Ryeland Allison Copyright © 1994, Ryeland Allison 

Ryeland arranges simultaneous manifold particle vibrations to proclaim "Resonance." Resonance is to 
some extent qualified to contented apportion within disassociative continuance, proceding space. When 
converged in a synchronous locus, he at once regenerates toward fluidic empathy. 

He is honored to introduce this to you. 

StormWarning 

Music by Mitsuru Sakaue Copyright © 1994, Roland Corporation 

Mitsuru Sakaue began composing and doing arrengements for commercials and videos while still in 
school, hi particular, his studio work earned for him a solid reputation. Currently, he produces commer- 
cial musics and jingles for FM stations. 



■■ These demo songs are intended for personal enjoyment/demonstration use only. Any other use (public performance, 
broadcast, sampling, duplication, transcription, etc.) is strictly prohibited and loorld constitute a violation of 
applicable copyright laws. 



129 



Roland Exclusive messages 



1 . Data Format for Exclusive Messages 

Roland's MIDI implementation uses the following data iomiat for all Exclusive 
messages (type IV): 



Byte 


Description 


FOH 


Exclusive Status 


<11H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


CMD 


Command ID 


IBODY] 


Main dala 


F7H 


End o! exclusive 



•MIDI Status: FOH, F7H 

An Exclusive message must tie tianked by a pair ot status codes, starting with 
a Manufacturer ID immediately after FOH (MIDI version 1 .0). 

•Manufacturer ID: 41 H 

The Manuiarturer ID itlv'tilifies the manufacturer of a MIDI instrument that 
sends an Exclusive message. Value 41 H represents Roland's Manufacturer ID. 

• Device ID: DEV 

The Device ID contains a unique value that identifies individual devices in the 
implementation of several MtDt instruments. Il is usually set to OOH-OHH, a 
value smaller by one tfian thai of a basic channel, but value OOH-IFH may be 
used for a device with t^everal basic channels. 

•ModeilD: MDL 

The Model ID contains a value that irJentifies one mode! trom iinother. 
Different models, however, may share an identical Model ID if they handle 
similar data. 

The Mode! ID format may contain OOH in one or more places to provide an 
extended data field. The foNowing are exarnijles iif valid Model IDs. each 
representing a unique model: 

OIH 

02H 

0.1H 

OOH, OIH 

OOH, 02H 

OOH, OOH, OIH 

•Command ID: CMD 

The Command ID indicates the function or an exclusive messaj^e. The 
Command ID format may contain OOH in one or more places to provide jn 
extended data fiehf. The fonowinjj are examples of valid Command IDs, eacit 
representing a unique function: 

OtH 

02H 

03H 

OOH, OIH 

OOH, 02H 

OOH, OOH, OIH 

•Main data: BODY 

This field contains a message to be exchanged across an interface. The exact 
data size and content will vary with the Mtxiei ID and Command ID. 

2. Address-mapped Data Transfer 

Address mapping is a technique for transferring messages roniorming to the 
dala formal given in Setlinn 1. II assigns ,i stories oi meiTiorv-residenl 
records — waveform and tone data, switch status, and parameters, for example, 
to specific locations in a machine-de|X-ndenl address space, thereby allowing 
access to data residing al the adriress a message specifier;. 

Address- mapped data transfer is therefore independeni ui models and dala 
categories. This technique allows use of two difierem transfer procedures: one 
-way iransfer and handshake transfer. 

130 



•One-way transfer procedure (See Section 3 for 
details.) 

This procedure ts suited to the transfer of a smalt amount of data. It sends ou! 
an Exclusive message completely independent of the receiving device's status. 

Connection Diagram 



Device A 




Device B 


MIDI OUT 
MIDI IN 




MIDI IN 
MIDI OUT 


,....?. 





f onniHiion at point 2 is essential for "Request dala" pioceduies. iSet' Sectiurt ^.) 

• Handshake-transfer procedure (This device does not 
use this procedure) 

This procedure initiates a predetermined transfer sequence (handshaking) 
across the interface before data transfer takes place. Handshaking ensures thai 
reliability and transfer speed are high enough to handle a large amount of data. 

Connection Diagram 



Device A 


1 , 


Device B 


MIDI OUT 
MIDI IN 


MIDI IN 
MIDI OUT 


, 2 





Connection at jxjints 1 and 2 is essential. 

Notes on the above procedures 

' "Hiere are separate Command IDs for different transfer procedures. 

* Devices A and B cannot exchange data unless they use the same transfer 
procedure, Mtare identical Device ID and Model ID, and are ready for 
communicatinn. 

3. One-way Transfer Procedure 

This procedure sends out dala until it has all been sent and is used when the 
messages are so short that answerbacks need not be checked. 

For longer messages, however, the receiving device must acquire each 
message in time with the transfer sequence, which inserts 20 milliseconds 

intervals. 

Types of Messages 



Message 


Command ID 


Request data i 
Data set 1 


RQl (11H) 
DTI {12H) 



•Request data #1: RQl (11 H) 

This message is sent out when there is a need io acquire data from a device at 
the other end of the interface. Il contains data for the address and size that 
specify designation and lenglh, respectively, of data requiatd. 

On receiving an RQl message, the remote device checks its memory for the 
data address and size that satisfy the request. 

If il finds them and is ready for communication, the device will transmit a 
"Data set 1 (DTI)" message, which contains the requested dala. Otherwise, 
the device won't send out anything. 



Byte 


Description 


FOH 


Exclusive Status 


41H 


Monulacturer ID (Roland! 


DEV 


Device ID 


MDL 


Mode! tD 


11H 


Command ID 


aaH 

! 


Address MSB 
! 


! 


t 
LSB 


ssH 

1 


Sire MSB 
1 


1 


i 
LSB 


sum 


Check sum 


F7H 


End ol exclusive 



* The size of the requested data does not indicate the number of byl^ that 
will make up a DTI message, but represents the address fields where the 
requested data resides. 

* Some models are subject to limitations in data fonnat used for a single 
transaction. Requeued data, for example, may have a limit In length or 
must be divided into predetermined address fields before It is exchanged 
across the interface. 

* The same numt»r of bytes comprises address and size data, which, however, 
vary with the Mode! ID. 

' The error-checking pracf^s use a checksum that provides a bit pattern 
where the last 7 bits are zero when values for an address, size, and thai 
checksum are summed. 

•Data sell: DTI (12H) 

This message corresponds to Ihe actual data transfer process. 

Because every byte in the data is assigned a unique address, a DTI message 
can convey the starting address of one or more bits of data as well as a series of 
data fomiafled in an address-dependent order. 

The MID! standards inhibit non real-time messages from interrupting an 
Exclusive one. This fact is inconvenient for devices that support a "soft-thm" 
function. To maintain compatibility with such devices, Roland has limited the 
DTI to 256 bytes so that an excessively long message is sent out in separate 
'segments'. 



Byte 


Description 


FOH 


Exclusive Status 


41H 


Manufacturer ID (Roiand) 


DEV 


Device ID 


MDL 


Model ID 


I2H 


Command ID 


aaH 
1 


Address MSB 
1 


1 


1 
LSB 


ddH 

i 


Data MSB 
1 


1 


1 
LSB 


sum 


Checksum 


F7H 


End ot exclusive 



* A DTI message is capaUe of providing only the valid data among those 
specified by an RQ1 message. 

" Some models are subject to limitations in data fom»t used for a single 
transaction. Ret^ested data, for example, may have a limit in length or 
must be divided into predetermined address fields before it is exchanged 
across the interface. 

' The number of bytes comprising address data varies from one Model ID to 
another. 

' Hie error-checking process uses a diecksum that provides a bit pattern 
where the last 7 bits are zero when values for an address, size, and that 
checksum are summed. 



• Example of Message Transactions 

•Device A sending data to Device B 

Transfer of a DTI message is all that takes place. 
I Dgy tcB A^ I I Device B~ 



{Data set 1] ^ 

* More Itian Wm sec time interval. 
[Data set 1 ] *• 



(Data set 1] 



•Device B requesting data from Device A 

Device B sends an RQl message lo Device A, 

Checking the message, Device A sends a DTI message back to Device B. 



tPevicB A I 



I EiteviceB I 
[Request data] 



{Data set i] > 

* Mora than 20m sec time interval. 

[Data set 1] 



[Data set 1] 



131 



[ MULTI TIMBRAL SYNTHESIZER MODULE ] 

Model JV-1080 MIDI Implementation 



Date: JULY, 9, 1994 
Version; 1.00 



i How Lti ledd Lhe tables ) 



This shows the results which you can get by setting each parameticr, 



ILevei of tone (Tone parameters can be 
!will be changedlcontroied in real-time 



lEfEect parameters can be 
icontroled in real-tirae 



ipdidmfctteis to be set 



( setitingl 



I SYSTEM PARAKETSR i 

I Systeii! Control Source 1/2 j -- 

i Receive CotiLiuI Change ION 

! Volume Control Source iVOL&EXP 



iCCll:!IXPREESIONf 



iCCll : EXPRESSION 



I PATCH COMMON PARAMETER 

i EFX Control Source 1/2 

! EFX Control Depth 1/2 

i Pdtoh Control Source 1/2/3 



I EXPRESSION ISYS-CTRLl/2 
!Othc-r than I Other Chan 



iEXPRESSIOK 



iSYS-CTRLl/2 



j PATCH TOHE PARAMETER 
1 Volume Control Switch 
i Ctil 1/2/3 Desc. 1/2/3/4 
i Ctrl 1/2/3 Depthl/2/3/4 



iOther than OFF lother than OFF I-- 
lOther than iOther than |-~ 



Values of the parameterE 



i I - :Heed not be set 

This shows there are two different ways of setting to get the same result. 



1. RECEIVE DATA 

■ Channel Voice Message 

• Note off 

status Second Third 



BnH 
9nH 



kkH 
kkK 



vvH 
OOH 

OH - FH (n - IS) ^ Ch-1 15 
(lOH - 7FH f - 127 I 
OOH - 7FH ( - 127 ] 



n - MIDI channel number 
kk = Note number 
\fv = Velocity 

' /n ^ performance mode, receives ffi/s message wher) the MIDI Receive Switch of each part parameter is ON. 
' Rhythm part (pan 10} receives tfi/s message whm the envelt^ mode of a rhythm tone parameter is SUSTAIN. 



• Note on 

status Second 

9nH kkH 

n - HIOI channel number 
kk = Note number 
vv = Velocity 



Third 

■/vll 

OH - FH ( - 
OOH - 7FH { 
OIH - 7FH i 1 



ch. 1 Jb ~ ch.ib 



' In the p&iormantx mode, receives this message when the MIDI Recetve Switch of each part parameter is ON. 
• Poi^honic key pressure 



Status 
AnH 



Second 
kkH 



= MIDI channe 1 numbe r 
k = Mote number 
V r Pressure value 



OH - FH ( ' 
UOH - 7FH ! 
OOH - 7FH ( 



1 . Patch Mod 


e 










i 


to be set 


1 Tone parame 
■ccintroled i. 


ers can be 
1 real-time 


i Effect parameters 
1 rnnt. foleri in rc-'a 1 


can be i 
-tine ^ 


i Parameters 


Settingl 


! Setti.ng2 


! SerHngl 1 


Seating? i 



I SYSTEM PARAMETER 

! System Control Source 

! Receive Attercouch 



I AFTEHTOOCH 



I AFTEBTOUCK 



I Attertouch Source 




:CH&POLy or 
: POLY-AFTER 




ICHSPOLY or 
IFOLY- AFTER 


1 CHS; POLY or 
! POLY -AFTER 


ICH&POLY or '■ 
IPOLV-AF-TER ; 


! r-ATCH COf-lMOH PARAMETER 
1 EFX Control Source 1/ 
i EFX Control Depth 1/2 
! Patch Control Source 


/2/3 


I AFTERTOUCH 




lSYS-CTRLl/2 


j 

! AFTERTOUCH 

IOther than 


1 1 
ISYS-CTRL 1'2 1 
iOther than i 


! PATCH TONE PARAMETER 
1 Ctrl 1/2/3 Dest. 1/2/3 
! Ctrl 1/2/3 DGpchl/2/3 


4 
1 


: Other than 


OFF 


iOther than OF 


i 


i -- 1 



:Need not be 



132 



2. Performance Mode 



i 


ITone 
icont.1 


pardimeters can be 
oled 


Effect parame 


ters can be con 


roled 


in real-ti 


ne i 


j Parameters Co be set 


S yet !: i ng 




! serting;^ 


SRtr ingl 


! Serting2 


1 


Setting^ 


1 SettJng4 ( 


1 SVSTtlM PARAHETKK 

1 System Control Source 1/2 

1 Receive Attertouch 

! ACtertouch Source 

! 


!0N 

ICH&PULY or 
1 POLY-AFTER 




1 
lAri'ERTOUCH 

lorj 

ICH&POLV or 
IPGLY- AFTER 


QM 

CHS. POLY or 

POLY -AFTER 


i 

!-- 

ION 

i CHS POLY or 

i POLY-AFTER 


! AFTERTOnPH 
!0N 

ICHA.POLY or 
1 POLY-AFTER 


1 ( 
! AFTERTOUCH ! 
iON 1 
(CH&POLY or 1 
ITOLY-APTER 1 


i PERFORKAI'ICE COt-tMOH PARAt^^ETER 

1 EFX Source 

1 EFX Control Source 1/2 

1 EFX Control Depth 1/2 








i 
1" 

i -- 

! -- 


1-16 


1 

! PERFORM 

1 AFTERTOUCH 

IOther than U 


I 1 - 
1 -- 


16 


1 1 
i PERFORM 1 
ISYS-CTRLl/2 i 
IOther than f 


1 PERFORKAHCE PART PARAMETER 
1 MIDI Receive Switch 


iON 






1 1 
! ON I CM 


1 
10!J 


i 
ION 




1 1 

!0N ! 


i PATCH COI-IHON PARAMETER 

I EFX Control Source 1/2 

1 EFX Control Depth 1/2 

1 Patch Control Source 1/2/3 


1 AFTERTOUCH 




i 

\'- 
I-- 
ISYS-CTRLl/2 


AFTERTOUCH 
Other than 


! 
1- 

1 -- 


ISYS 
lOth 
1 -- 


-CTRLl/2 
er than 


1 ! 
I-- 1 
1 ~- i 


1 PATCH T0I3E PARAMETER 

! Ctrl 1/3/3 Dest.l/2/3/.5 

1 Ctrl 1/2/3 DeDthi/2/5/^ 


1 Other 
! Other 


than 
than 


OFF 



1 

1 Other than OFF 

iOther than 


_- 


1 

i-- 
!-- 


! 
1 ., 

i — 




i i 
I-- i 
I-- 1 



■.Heed not be set 



► Control Change 



O Bank selecl (MSB/LSB) 

status Second Third 



BnH 
BnH 



mmH 
UH 



n -^ MIDI channel number 

mm = Upper bytes of bank number 

11 = Lower bytes of bank number 

1 . Patch Mode 



OH - FH ( - :5 ) 
BOH - 54H ( 80 - 84 
OOH - 07H ( - 7 ) 



^ ch.l 35 = ch.16 



! IChangcs Banks i Tone pariimocerB 1 Effect i 
1 !upon receiving lean be Iparairetcrs can 1 
1 [program change I rontroled in Ibe controled in 1 
1 Parameters to be set 1 i real-time 1 real-time 1 

IGYSTEH PAPJKHETER ) 1 1 1 
1 System Control Source 1/2 i-~ iCCO : BAKK-SEL ICCO :BANK-SEL 1 
1 Receive Bank Select (ON lOM ION 1 

1 PATCH COMMON PARAMETER til) 
1 EFX Control Source 1/2 !-- 1-- iSYS-CTRLl/2 1 
1 EFX Control Depth 1/2 !-- i-- IOther than [ 
1 Patch Control Source 1/2/3 I-- ISYE~CTPLl/2 ! 1 


i PATCH TONE PARAMETER 1 1 ! i 
i Ctrl 1/2/3 Dest. 1/2/3/4 i -- lOCher than OFF I-- i 
i Ctrl 1/2/3 Depthl/2/3/4 1-- IOther than I-- i 



* Bank sefect and corresponding media are as follows: 



:Heed not be set 



Bank 


Select 


Program Change 


Media 


(Patch Number} 


MSB 


i L.SB 










80 


1 


- 


127 


User 


(«1 - 11128) 


81 


i 


- 


127 


Preset A 


(«1 - »12ei 


81 


1 1 


D - 


127 


Preset B 


(11 - lUS) 


31 


1 2 


n - 


127 


Preset C 


111 ■■ 1128) 


81 


1 3 


- 


127 


Preset D (General 


MIDI Instrument) (SI ~ (tl28) 


82 


1 


- 


127 


Data Card 


(•1 - 1128) 


83 


! 


D - 


127 


PCM Card 


(«1 - «12e) 


84 


! 


- 


127 


Expansion A 


in - •128) 


84 


i 1 


' 


127 


Expansion A 


(•129-I256) 


84 


i 2 


- 


127 


Expansion B 


(«1 - 11281 


84 


1 3 


- 


127 


Expansion B 


l«129-»256) 


84 


1 4 


- 


127 


Expansion C 


(»1 - 11128) 


84 


1 5 


- 


127 


Fjtpansion C 


(I129-l!2561 


84 


i 6 


- 


127 


Expansion D 


(»1 - 11128) 


84 


1 7 


- 


127 


Expansion D 


(«129-»2S6) 


Bank 


Select 


Program Ch 


ange 


Media 


(Rhythm Set Humber) 


MSB 


! LSB 










80 


i 


- 


, 


User 


(«1 - 12) 


81 


1 


- 


1 


Preset A 


(HI - 12) 


81 


1 1 


- 


I 


Preset B 


(81 - •21 


81 


i 2 


- 


1 


Preset C 


(SI - ^2) 


81 


! 3 


- 


1 


Preset D( General 


MIDI Instrument) (81 - «2! 


82 


1 


- 


1 


Data Card 


(#1 - 'I2i 


83 


1 


- 


127 


PCM Card 


(HI - 111281 


84 


1 


■■ 


127 


ExpanGion A 


(»1 - •1281 


84 


i 1 


- 


127 


Expansion A 


(•12S-S2561 


84 


! 2 


' 


127 


Expansion B 


(«1 11281 


84 


i 3 


- 


127 


Expansion B 


(#129-8256] 


84 


1 4 


- 


127 


Expansion C 


(•1 - S1281 


84 


■ 5 


- 


127 


Expansion C 


(#125-«256) 


84 


! 6 


- 


127 


Expansion D 


(11 - »1281 


84 


[ 7 


- 


127 


Ejtpansion D 


(»129-«2561 



133 



2. Performance Mode 





Changes Banks 
upon receivinq 
the next 
progtaiii change 


!Tone parameter 
I can be 
Icontroled in 
Ireal-time 


i Effect paramct 
icontroled in r 


ere can be 
eal-cime 


Parameters to be set 


! Setcingl 


1 Secting2 


SVyi'EM PARAMETER 
System Conrrol Source 1/2 
Receive Bank Select; 


ON 






1 1 

1 ceo : DANK SELECT 1 CCO : BANK SELFC 

i ON 1 OH 


riCCO:BANK. SELECT 
ION 


PERFORMANCE COMMON PARAKETSR 
EFX Source 

EFX Control Souirce i/2 
EFX Control Depth 1/2 

PERFORMAHCE PAP.T PARAMETER 
MIDI Receive Switch 


ON 






1 .- 

1 .... 
1 ■■■ 

) 
ION 


11 - lb 
iON 


t PERFORM 
ISYS-CTRLl/2 
[Other than 

ION 


PATCH COMMON PARAMETER 
EFX Control Souice 1/2 
EFX CunLiol Depth 1/2 
Patch Control Source 1/2/3 


:: 






[ 

t -- 

i 

ISYG CTRL!/ 2 


lsyS-CTRLi/2 
1 Other than 


-- 


PATCH TONE PARAMETER 
Ctrl 1/2/3 Dest. 1/2/3/^ 
CtrJ i/2/3 Depthl/2/3/4 


- 






1 

IOC her than OFF 

! Other than 




1-^^ 



' Bank select and cxtnesponding media am as shown below. 



Bank Select 
MSB ! LSB 



Progrant Change i Media 



81 
81 
82 



I 
I 



User 
Preset A 
Preset D 
31 i Data Card 



31 



--:Need not be set. 
(Performance Number) 



1«1 


»32l 


(•i 


132) 


(HI 


• 32) 


(HI 


(132) 



O Modulation 



Second 
OIH 



n = MIDI channel number : OH - 
w = Modulation depth ; OOH 



FH { - 15 ) 
■ 7FH ( C ' 12 



ch.i 15 = ch. 



1 ■ Patch Mode 



I Tone parameters can be 
Icontroled in real-time 



i Effect parameters can be 
Icontroled in reial-time 



I Partimeters to be set 

I SYSTEM PARAMETER 

I System Contrnl Source 1/2 

I Receive Hodula!:lon 



Settings 



ICCltMODULATION 



tCCl: MODULATION 



I PATCH COMMON PARAMKTRR 
I EFX contrnl Source 1/2 
j EFX Control Deptl-i ]/?. 
I Patch concrol Source i/? 



1 MODULATION 
! Other than C 



I MODULATION 



tSV3-CTRLl/2 



ISVS-eTRLi/2 
lOcher than 
I -- 



! PATCH TOME PARAMETER 

I Ctrl 1/2/3 Uest .1/2/.1/4 

! Ctrl 1/2/3 Depth!/2/T/4 



lOther than OFF 
lOther than 



! Other 
I Other 



.han OFF 
.ban 



2. Performance Mode 



; Need not be 



iTone parameters can be 
Icontroled in real-time 



iParametei^s to be set 

j SyS'i'FM PARAMETER 

! System Control Source 1/? 

: Receive Modulation 

I PERFORMAt'lCE COMMON PARAJIETEP 

i EFX Source 

\ EFX Control Source 1/2 

; EFX Control Depth 1/2 

'PERFORMANCE PART PAR.A!-1ETHR 
; MIDI Receive Switch 

1 PATCH COMMON PARAMETER 
i EFX Control Source 1/2 
! EFX Control Depth l/'2 
I Patch Control Source 1/2/3 

I PATCH TONE PAP-AMETER 

! Cr.r! 1/2/3 Dest. 1/2/3/4 

I Ctrl i/2'3 Depthl/2/3/4 



• Breath 
O Breath 

Status Second Th.ird 

BnH 0:;H vvH 

n = MIDI channel nurni:)cr: OH - 
vv = Breath : OOH - 



!CCl:MODULAriON 



I SYS-CTRLl/ 



lOther than OFF lOther thfln j.:ff 
iOther than u lothe!" than 



Effect pjiirameters can be controled in real-time ! 

i 

Settingl I Setting2 i Setting3 I aetting4 ! 

i I i i 

!-- ICCl: MODULATION ICCl :M0DULAT10N ! 



jON 



! 



tON 



I 



i PERFORl-3 11-16 

IHODULUATION !-- 

iOthet than 1 ~- 



I PERFOPJ.'. 
!SYS-CTRLl/2 
j Other than 



M(U)in,ATI!.lN 
other rh^n 



I SYS-CTRLl /2 
i Other than 

I -- 



--:Heed not be 



134 



1 . Patch Mode 



iTone parameters can be 
Icontroled in real-r.ime 



I Effect parameters can be 
icontroled in real-cinie 



PatdmeLeis Lc be set 


i Setlingl 


t Setting? 


1 Settingl 


1 Setting2 


SYSTEM PARAMETER 
System Cont-iul Source 1/2 
Receive Control Change 


1 
1 .. 

ION 


( 

ICC2: BREATH 

ION 


! 
ION 


1 

ICC2:BRKATH 

(ON 



PATCH COMMON PARAMETER 
EFX Control Source 1/2 
EFX Control Depth 1/2 
Patch Control Source 1/2/3 



I BREATH 

I Other Chan 



iSYS-CTRL]/2 

lother Chan 



ISYS-CTRLl/2 



PATCH TONE PAPJiMETER 
Ctrl 1/2/3 Dest. 1/2/3/4 
Ctrl 1/2/3 nepchl/2/3/4 



lother than OFF lOther than OFF 
lother than lother than 



2. Per1onnanc» Mode 



:Need not be set 





ITone parameters can be 
Icontroled in real-time 




Effect 


par 


ameters can be 


controled 


m 


real-t 


me 


Parameters to be set 


f Settingl 


i Setting^ 


Sett 


ing 




1 Setti 


ng2 


1 


Sett 


ing3 


1 Setting4 


SYSTEM PARAMETER 
System Control Source 1/2 
Receive Control Change 


!0M 




!CC2:BR 
iOM 


EATH 


ON 






ION 




iCC2 
ION 


: BREATH 


1 

1CC2: BREATH 

ION 


PERFORMANCE COMMON PARAMETER 
EFX Source 

EFX Control Source 1/2 
EFX Control Depth 1/2 


i" 








1 ' 16 






1 PERFORM 
1 BREATH 
lother th 


an 


il ~ 


16 




1 

i PERFORM 

!SyS-CTRLl/2 

1 Other than 


PERFORMANCE PART PARAMETER 
MIDI Receive Switch 


ION 




!0N 




ON 






ION 




ION 






1 
ION 


PATCH COMMON PARAMETER 
EFX Control Source 1/2 
EFX Control Depth 1/2 
Patch Control Source 1/2/3 


1 BREATH 




iSYS-CT 


RLl/2 


BREATH 

Other r 


han 





\~~ 




iSYS-CTRLl/2 
iOCher than 


i 

I-- 
1-- 


PATCH TONE PARAMETER 
Ctr] 1/2/3 Dest. 1/2/3/'; 
Ctrl 1/2/3 Depth! /2/3/il 


lot her 
lother 


than OFF 
than 


1 Other 
! Other 


than OFF 
than 


" 






-- 










1 



--:Need not be set 



O Foot type 

statue Second Third 

BnH 04H wH 

n = MIDI channel number: OH - 
\-v = Foot control : OOH 

1 . Patch Mode 



FH { - 15 ) 
■ 7FH [ ^ 127 



i 


ITone paramete 
Icontroled in 


rs can be 
real-time 


(Effect parame 
Icontroled in 


ters can be 
reai-time 


j parameters to be set 


1 Settingl 


i Getting? 


J Se 


ting 




1 Setting? 


1 SYSTEM PARAMETER 

! System Control Source 1/2 

! Receive Control Change 

! PATCH COMMON FAJiAKETER 

1 EFX Control Source 1/2 

i EFX Control Depth 1/2 

1 Patch Control Source l''2/3 


1 
1 .. . 

tON 

1 

1 - - 
i-- 
iFOOT 




ICC4: FOOT-TYPE 
ION 

I5YS--CTRL1/2 


\ 

ION 

[ 

iFOOT 
i Other 


Chan 





ICC4: FOOT -TYPE 
ION 

ISYS CTRLl/2 
(Other than 


1 PATCH TOKE PARAMETER 

i Ctrl 1/2/3 Dest. 1/2/3/4 

I Ctrl 1/2/3 Depthl/2/3/') 


t 

! Other 
1 Other 


than OF 
than 


F lother than OFF 
lother than . 


I -- 









2. Performance Mode 



--:Heed not be set 



i 




ITone parameters can be 
Icontroled in real-time 


! Effect parameters can be cant 


-oled in re 


il-tim'= 




IParaineters to be set 


i Setting I 1 Setting? 


! Settingl 1 Setting? 


i Setti 


"33 


1 Settinq4 


1 SYSTEM PARAMETER 

! System Control Souice 

i Receive Control change 


1/2 


1 i 

!-- !CC4:F0OT*TYPE 

! ON 1 OH 


! 1 
i ON ! ON 


1 

tec 4: FOOT 

ION 


-TYPE 


( 

tCC4:F00T-TYPE 

ION 



t PERFORMANCE COMMON PARAMETER 

1 EFX Source 

i EFX Control Source 1/2 

1 EFX Control Depth 1/2 

i PERFORMANCE PART PARAMETER 
I MIDI Receive Switch 

I PATCH COMMON PARAMETER 

! EFX Contiui Source 1/2 

i EFX Cuntiul Depth 1/2 

! Patch Cuntrol Sotuce 1/2/3 

I PATCH TONE PARAMETER 

! Ctil 1/2/3 Dest. 1/2/3/4 

I Cli i 1/2/3 Depthi/2/3/4 



1 PERFORM 

IFOOT 

(Other than 



I PERFORM 
ISYS-CTRLl/2 
i Other than 



! F'D01- 
lOLhei 



ISYS-CTRLl/ 
J Other than 



ISVS-CTRLl 



lother than OF 
lOtiiej than 



lot he 
lOtlie 



lh=tn OFF 
than 



:Need not be set 



135 



O Portamento time 

status Second 
BnH 05H 



Third 
vvH 



n 



= MIDI channel number: OH - 
= Portamento time : ODH 



7FH 



15 ) = ch.l 
- 127 ) 



IS = ch.l6 



1 . Patch Mode 



i parameters to be set 

I SYSTEM PARAMETER 

! System Control Source 1/2 

f Receive Control Change 



I portamento timelTone parameters iEEtecc 
lot patch common I can be ! parameters can 
I parameter will Icontroled in the controled in 
ibe changed ireal-time treai-time 



! 



S 

I CCS; PORT-TIME 

ION 



IOCS: PORT-TIME 
I OK 



1 PATCH COKMOH PARAMETER 
i EFK Control Source 1/2 
I EFX Control Depth 1/2 
I Patch Control Source 1/2/3 



J — 
iSYS-CTRLl/2 



ISYS-CTRLl/2 
[Other than 



I PATCH TOME PARAMETER 

I Ctrl 1/2/3 Dest. 1/2/3/4 

I Ctrl 1/2/3 Depthl/2/3/4 



I Other than OFF 
I Other than 



2. Perfomiance Mode 



--:Meed not be set 



Paiaiiieters to be set 



^Portamento tinelTone parameters lEf feet parameters can be 

lot patch ccHiimonlcan be icontroled in real-time 

I parameter of icontroled in i 

I the part on thel real-time i 

I receiving I I 

1 channel will be I * -^ 

(changed i I Settingl I Setting2 



SYSTEM PARAMETER 
System Conttal Source 1/2 
Receive Control Change 


ION 


! 

iCC5:P0RT-TI 

SON 


ME 


1 CCS: PORT-TIME 
ION 


CC5 : PORT-TIME 
ON 


PERFORMANCE COMMON PARAMETER 

EFX Source 

EFX Control Source 1/2 

EFX Control Depth 1/2 


I-- 


i 
1-- 

1 -- 


11 - 16 


PERFORM 
3YS-CTRLI/2 
Other than 


PERFORMANCE PART PARAMETER 
MIDI Receive Switch 


lON 


1 
iON 




ION 


OK 


PATCH COMMON PARAMETER 
EFX Control Source 1/2 
EFX control Depth 1/2 
Patch Control Source 1/2/3 


1'- 


1 

I-- 

I-- 

iSYS-CTRLl/; 




ISYS-CTRLl/2 
iOther than 


-■■ 
-- 
-- 


PATCH TONE PARAMETER. 
Ctrl i/2/3 [Jest .1/2/3/4 
Ctrl 1/2/3 Depl:hl/2/3/4 


1- 


1 

(OLhei Liian 

lOther than 


OFF 



1- 


-- 



--:Need not be set 



O Volume 

Status Second 

BnH 07H 

n = MlUi channel mimher: 
vv = Volurnp : 

1. Patch Mode 



Third 
VVH 



7FH ( - 15 ) 
- 7FH ( - 127 



= ch.l 15 = ch.l6 



I Level 
I win 



of tone I Tone parameters can be 
be changedlcontroled in real-time 



I Effect parameters can be 
Icontroled in real -time 



1 Parameters to be set 



Settingl 



1 SYSTEM PARAMETER 

1 System Control Source 1/2 

1 Receive Volume 


i 

I-- 

iOH 


ION 






i 

jCC7: VOLUME 

!ON 


iON 




ICC7: VOLUME 
I OH 


i PATCH COMMON PARAMETER 
i EFX Control Source 1/2 
; EFX Control Depth 1/2 
! Patch Control Source 1/2/3 


1 
j — 


1 VOLUME 






1 

I-- 

I-- 

ISYS-CTHbi /2 


1 VOLUME 
IOther 


than 


iSyS-CTRLl/2 
iOther than 


1 PATCH TONE PARAMETER 
1 Volume Control Switch 
1 Ctrl 1/2/3 Dest. 1/2/3/4 
1 Ctrl 1.-2/3 Depthl/2/3/4 


1 

ION 
1 -- 


(Other 
SOCher 


than 
Than 


OFF 



I 
!-- 

IOther Chan OFF 
lOther than 






'-- 



- :Heed nut be 



136 



2. Perlormance Mode 



1 


[Tone level o 
Ipart on the 
1 receiving 
1 channel will 
i changed 


r (Tone parameters can be 
Icontrcled in real-time 
1 




EEEect 


parame 


ers can be 


cont roled 


in real-time 


'. Parameters to tie set 


1 Setting 


1 




Setting: 




Set 


ingl 


i Setti 


ng2 


1 


Settings 


1 Setting^ 


1 SYSTEM PARAMETEi^ 

! System Control Source 1/2 

! Receive Volune 


ION 




iON 




ION 


: VOLUME 




ON 




lOH 




1 

iCC"? 
ION 


: VOLUME 


1 

ICC7: VOLUME 

ION 


i TERFORM/iNCE COHHON PARAMETER 

i EFX Source 

1 EFH Control Source 1/2 

1 EPX Control Depth 1/2 










1- 






1 - 16 




1 PERFORM 

1 VOLUME 

lot her than 


! 

11 - 
1 — 
!-- 


U 


1 

i PERFORM 

!SYS-CTRL3/2 

lOther than 


!PERrORHAKCE PART PARAMETER 
! MIDI Receive Switch 
i Receive Volune 


ION 
ION 




fON 
iON 




ION 
iON 






ON 
ON 




ION 
ION 




1 

(ON 

ION 




1 

ION 

ION 


! PATCH COI-IHON PARAMETER 

! EFX Cuntiol Source 1,'2 

i EFK Control Depth 1/2 

1 PdLch Contio] Source 1/2/3 






! VOLUME 




\SYS 


-CrRLI/2 




VOLUME 
Otiiet t 


lidn 


1- 




( 
iSYS 

tOLh 
I-- 


-CTRLl/2 
er til an 


1 
|,_ 

!-- 
1-- 


1 PATCH TONE FAPJ^METER 
1 VoluEne Control Switch 
1 Ctrl 1/2/3 DBSt. 1/2/3/4 
i Ctrl l/2,'3 Depthl/2/3/4 


ION 




(Other than 
fOther than 


OFF 



i Other than 
j Other Chan 


OFF 







I-- 




1 

I-- 

!-- 




1 

!-- 
I-- 
1" 



— :Need not be set 



OPan 

status Second Third 



MIDI channel number: OH ~ 
= Pan : nOH - 



15 ) f) = ch.l IS = ch.16 
- 127 1 



1 ■ Patch Mode 



i 




[Directional 


\ Tone 


parameters can be 


lEFX 


parametprs 


ran be 




f 




i local 


2a t J on a 


; i cone ro led 


n real-time 


icontroled in 


real-time 




f 




Itone ran be 


i 


















1 




1 cont roled In 


i 


















! 




1128 s 


eps with 


1 


















1 




10 the 


leftmoBt 


1 


















! 




16^ at 


the 


1 








































1 Pa ran 


eters to be set 


irightn 


ost 


t Se 


1 1 i ngl 


1 Settinn2 




^ettingl 




1 Set t i ng2 




(SYSTEM PARAMETER 


1 










1 








1 




i Sys' 


em Control Source 1/2 


i-- 




1 -- 






ICClCiPANPOT 


1 -- 






!CC10:PANPOT 




! Receive Control Change 


IDN 




ION 






ION 


ION 






If IN 




1 PATCH COMMON PARAMETER 


i 










1 








1 




! EFX 


Control Source 1/2 


I -- 










I-- 


iPAN 






ISYS"CTHLl/2 




1 EFX 


Control Depth 1/2 


1 _.. 










1 -- 


loth 


?r than 




lOther than 




i Patu 


h Control Source 1/2/i 


I-- 




(PAN 






ISVS-CTRLl/2 


I-- 






(-- 




1 PATCH TONE PARAMETER 


t 










i 








i 




1 Pan 


Control Switch 


tCONT, 


KEY -ON 


1 -_ 






i __ 








1 -- 




1 Ctr 


3/2/3 Dept. 1/2/3/4 


(--. 




lot her 


than 


OFF 


lot her than OFF 








j _, 




i Ctr 


1/2/3 Depthl/2/J/4 


I-- 




lot her 


than 





1 Other than U 













2. Performance Mode 



--:Need not be set 



1 


1 Directional 




ITone 


parametei 


s can be 


Effect 


parameters can 


be c 


ontr 


□led in real-time 






1 localization 


O! 


Icontroled 


m I 


eal-t ime 


















1 


Itone ot the 






























Ipart on 




























! 


1 receiving 




























1 


i channel can 


tie 


























! 


!controIed in 




























i 


i3 2S steps wi 


th 


























1 


10 the leEtmo 


St, 


























I 


164 at the 






























Icenter, 127 
1 rightmost 


the 


























1 Parameters to be set 


1 Setting 




t Settings 


Set 


.ing 




i Setting 


2 


1 Settings 


1 Setting^ 1 


: SYSTEM PARAMETER 


1 










i 


















i System Control Source 1/2 


I-- 




1 -- 






!CC10:PA[JPOT 














iCClOiPATJPOT 


|CC10:PANPOT 1 


1 Receive Control Change 


lON 




ION 






iON 


OH 






ION 






ION 


ION i 


i PERFORMANCE COMMON PARAMETER 


i 










( 


















] EFX Sourco 


t^. 










1 -_ 


1-15 






1 PERFORM 




!1 - is 


1 PERFORM t 


; EFX Control Source 1''2 


!-- 




1 -- 






1 .. 








IPAN 






1 — 


ISYS-CTRLl/2 ! 


i EFX Control Depth 1/2 


1 ... 




I-- 






! — 


'- 






lOther 


than 





i~- 


lOther than 1 


1 PERFOPJ<AHCE PART PARAMETER 












! 


















i MIDI Receive Switch 


!0H 




iON 






iOM 


OH 






1 Oil 






lON 


ION i 


1 PATCH COtWOM PARAMETER 


1 










1 


















1 EFX Control Source 1/2 














PAN' 






1-. 






!SyS-CTRLl/2 


I-,- 1 


i EFX Control Depth 1/2 


].. 










f-- 


Other 


h.m 











lOther than D 


1 -- ! 


1 Patch Control Source 1/^/3 


1 ~- 




1 PAN 






iSYS-CTRLl/2 


- 






'- 








I-- ! 


1 PATCH TONE PARAMETER 


1 










1 
















1 1 


i Pan Control Switch 


! KEY -ON. com 










! __ 


-_ 














i -- 1 


1 Ctrl 1/2/3 Der.t .I'2/3'-'. 


! ~- 




lOther 


than 


OFF 


i Other than OFF 


.. 












1 -_ 




1 Ctrl ).'2/3 Depthi/2/3/4 


J-~ 




IOC her 


than 





i Other than 














































sNeed not be set 



137 



O Expression 



srar.lis 
BnH 



Second 
OBH 



n = MIDI channel number: 
w = Expression : 

1 . Patch Mode 



FH i D - 15 ) 
- 7FH { 1 - 127 ) 



I Parameters to be set 



I Level of tone ITone parameters can be 
Iwill be changedlcontroled in real-time 



} SetLingl 



I Effect parameters can b 
tcontroled in real-time 



i Settingl 



ISYSTKM PARAMETER 
I System control Source I 
I Receive Control Change 
! Volume Control Source 



iCCil:EXPRE3SIONl 



! ON 1 ON 

fVOL&EXP 1-- 



ICClliEXPRESSIOHi 
ION 



I PATCH COMMON PARAMETER 
1 EFX Control Source 1/2 
j EFX Control Depth i/2 
t Patch Control Source 1/2/3 



[EXPRESSION 
i Other than 



lEXPRESSIOH 



ISYS-CTRLl/2 



iSYG-CTRLl/?. 
iOther than 
I-- 



I PATCH TONE PARAMETER 
i Volume Control Switch 
t Ctrl 1/2/3 Desc. 1/2/3/4 
! Ctrl 1/2/3 Depthl/2/3/4 



1-- (-- 

IOther than OFF IOther than OFF 

IOther than IOther than 



--:[Jeed not be set 



2. Performance Mode 



! 
1 
! 


! Level at tone 
lof the pare on 
ithe receiving 
I channel will 
ibe changed 


Tone parameters 
controled in re 


can be 




Effect 


parameters can be controled in real-t 


^me 


i 

1 Parameters to be set 


Setrringj 




! Settings 




Settingl 


I 3etting2 1 Getting3 


1 Setting4 


! SYSTEM PARAMETER 
1 System Control Source 1/2 
1 Receive Control Change 
1 Volume Control Source 


! 

I~- 

ION 

1 VOLfcEXP 


C'!N 






ICCll: EXPRESS 
ION 


ON 


OH 




I 
iON 


CCI1:EXPREGS 
ON 


1 
ION 1 CCl 1 : EXPRESSION 
ION 
1 -- 


1 PERFORMANCE COMMON PARAMETER 

i EFX Source 

S EFX Control Source 1/2 

! EFX Control Cepch 1/2 


1 

[-- 
i-- 
1 _. 


.- 






■•■■- 




1 - 16 




1 PERFORM 
1 EXPRESSION 
iOther than 


1 - it 


t PERFORt-I 
ISYS-CIRLl/2 
IOther than 


i PERFORMANCE PART PARA^*ETER 
1 MIDI RGceivo Switch 


1 
lOH 


ON 






ION 




ON 




ION 


ON 


! 
ION 


1 PATCH COMMON PARAMETER 
1 EFX Control Source 1/2 
1 EFX Control Depth 1/2 
I Patch Control Source 1/2/3 


1 

j _- 


-- 
-- 
EXPRESSION 




ISYS-CTRLl/2 




EX FREE 
Other 


SION 
than 


i" 


SYS-CTRLl/2 
Othei than 


! 

1-- 
1 •- 
I-- 


i PATCH TONE PARAMETER 
1 Volume Contrci Switch 
1 Ctrl i/2/3 Dest. 1/2/3/4 
1 Ctrl 1/2/3 Depthl/2,'3/4 


1 
ION 


-- 

Othe- 

Qthe 


than 
than 


OFF 



IOther than OFF 
IOther than 


-- 




I-- 


- 


1 

!-- 
I-- 
!-- 



O Hold 1 

status Second Third 



--jNeed not be set 



= MIDI channel number: OH - 
V - Control value : COH 



1. Patch Mode 



! RiTcfiiKters Lu be set - 

I SYSTEM PAPAHEim 

i Si^tan Caitroi Source i/2 

i Receive Huld-1 

i TAP Cintioi ajuice 

I fiJld Ccaiurii Source 

i Paik ConU"Di Source 

I micH aoftui pPiiPi^Eim 

i EFX Cuit-iol Sooroe 1/2 
i E?X CaitiTDl D^Dth 1/2 
1 mttii Control Source 1/2/ 
I E?X Control Ftold/Paik 
I antral 1/2/3 ttjld/ftMk 

ItWTCH -ICtiE P^-fHEISl 
I Hald-l Ccntini aritdi 
I arl 1/2/3 Lest. 1/2/3/4 
f arl 1/2/3 r>^hl,'2/3/4 
t LM.ll .'2 fxrerrvil S/nc 



FH ( - 15 I = ch.i IS = ch.ie 
- 7FH f - 127 ) - 63 = OFF 64 



IVtien itXD-l is Ittne pardnetci 



lO-J, note is 



I-- 
I- 



can be 
o::«troi£?d in 
real-time 



a\EltexX ihFD PaCG is 

Ipai-cHictcrs can Ichdngad to 
Ibe ccntL-oloa inlXUD-l CM 
I roil - 1 inE r interval 



iCC&4 :!aJ>l 



iSYE CrRLl/2 
SOtlKr than 



lOtifcii Lltiii O-T (- 



Ilfcre delay timetWfien lIXD-l is 
lis ciranged to ION. Effect 
ithe HXD-l aJ iccntroller is 
; Interval Iheid 

I 1 



Wen HXIKl is 
\Cti. Effect 
ccntroller is 
held at its 
peak level 



Wte^ Htiy-\ is 
laj, Itm 
Iccntmlier is 
I held 



Htei HXD-l is i 
aj, TtDB 
controller Ie 
held rit its 
p^jf levpl 



138 



2. Performance Mode 



1 

1 


IVJhen HXD-l is litre paranetei 
ICN, ixte ot tteican fce 
Ipart m the lanCxaled in 
Ireoeivire IrEal-tiire 

Idamel is heldl 


-slEEfect parameters can fce 

IcHTttrDlaS in nsl-tine 
1 


ILKJRate is 
IdBnged to th 
IHllJ-l CH 


Iltne VisXa/ tinelMiGn K1I>-! is 
e lis diargai to ICH, EEfact 
JtNi HXI>-1 m Icxntraller is 
iintorval IfieM 
1 1 


\*en HiD-i is 
CK, Effect 
oaitroller is 
held at its 
psak lejGl 


Wki ICtD- 

(IJ, 'Itre 
oaicroUPT 


is lv*Kn ttXD-1 is i 

laJ. Itre 1 

is lantnslla" is 1 

Iheid at its 1 


lEarBPEtSErs to be set 


1 Sattingl 


! SettircC 




Ipek level i 


tSySIEH F?WiWEIEF 

1 Systan Cdntrol amce 1/2 

i TRP QatJiDl axBCe 
! HdMCOXIdI ScuiDe 
! Peek CtrtTol Sbmce 


iOI 


ICCG4:HCID-1 
ICN 


1 

ICC&1:IIXD-1 

ICH 

I-- 

! — 

! — 

1 

11 - 16 


lCC64:fCll>-l 
ICH 


ICN 
iHCU>l 


ICN 
ISCLD-1 


IOJ 


OJ 

HX&-1 


CN 

- 

h:u>-i 

— 


IOJ 1 
IHQIt-l I 


i EFX Q3t:roi Saurce 1/2 
1 FFX Ortiol tfeptii 1/2 


1-- 


1- 


lEEHFCFM 

isffi-<rmu/2 
ICther than 


lO-J 


1" 




" 


— 


!-- 1 


1 HIDI Benei'ue SUitdi 


ICN 


tOH 


1 
ICN 


lOI 


ICK 


laj 


CM 


CN 


l(N 1 


IFWRH CIWCN IWWEraR 
1 ERC Oitzal auice 1/2 
! H-X OntoDl DEpcli 1/2 
! EQcdi QitTol Sajra» 1/2/3 
1 Era CEncrol Hold/Etek 
1 ctntTDl 1/2/3 Hsld'Feak 


1~ 


ISiS-CIRU/2 


i 

lSiS-CIRLl/2 

ICt.^^ than 

1 — 

1— 

! — 


|:: 


tTPP 




\}UD 


H3W 


— 

_ 
KID 


iresK 1 


lEWiai IOC BWWhIHi 
i H3ld-1 Qxtml Switch 
1 Ctrl i/2/3 Dest. 1/2/3/4 
1 Ctrl i/2/3 i:Mpthl/2/3/4 
1 IH51/2 Bctaial i^nc 
1 'itre Dala/ Jttfe 


iOJ 


lochar than OT 1-- 
tOther tiBH 1-- 


J_ 


ITRF^iJWr 


1-^ 


" 


- 


11 1 


O Portamento 

status Second 
BnH 41H 


Third 
vvH 


















Need not be set 



n = MIDI channel number: OH - FH I - 15 I = ch.I 15 = ch.ie 
vv ^ control val^.ie : OOH - 7FH ( - 127 } - 63 = OFF 64 - 

1 . Patch Mode 



! jPortamento tToiie parameters i Effect 1 
i 1 switch of Patch lean be i parameters can 1 
f ICommon Icoutroled in ibe controled in! 
1 iparameter is I real-t-iine lieal-time ! 
1 ! changed its 1 1 ■ 
IParameters to be set Isetcing \ 1 


1 SYSTEM PARAMETER 1 : 1 i 
1 System Control Source 1/2 I-- ICC65 : PORTAHENTOiCC65:PaRT.:y^ENTO 1 
1 Receive Control Change ION ION ION 1 


1 PATCH COMMON PARAMETER 1 ! ^ 1 
1 EFX Control Source 1/2 I- i -- l£YS-CTRLl/2 1 
1 EFX Control Depth 1/2 i- i-- lorher than i 
1 Patch Control Source 1/2/3 !-- iSYS-CTRLl/2 1— i 


i PATCH TONE PARAMETER I ! i ' 
1 Ctrl 1/2/3 Dest. 1/2/3/4 !-- lOther than OFF i-- i 
j Ctrl 1/2/3 Depthl/2/3/-l I-- lother Chan I-- i 



- ;Need not be . 



2. Performance Mode 



IParameterB to be set 



I Portamento 

Iswitch of Patchlcan be 

iCorrjnon I controled in 

I paraneCer of Ireal-time 

i the part on the! 

i receiving I 

i channel is i 

I changed its 1 

(setting I 



I rone parameters ! Effect paraineters can be 



!contro2ed in real-tin.e 



I SYSTEM PARAMETER 

I System Control Source 1/2 

! Receive Controi Change 



iON 



111! 
! CC65 : PORTAHEHTOI CC65 : P05?TAMF.NTO t CC65 : PORTAMENTO I 
ION ION iON I 



I PERFORMANCE COMMON PARAMETER I 

I EFX Source I -- 

I EFX Control Source 1/2 I-- 

I EFX Control Depth 1/2 I — 

iPERFORKANCE PART PARAi-IETER I 

1 MIDI Receive Switch ION 

I PATCH COMMON PARAMETER i 

I EFK Control Source 1/2 I-- 

I EFX Control Depth 1/2 i-- 

t Patch Control Saurce 1/2/3 I-- 

1 PATCH TONE PARAMETER I 

I Ctrl 1/2/3 noEt. 1/2/3/1 I-- 

I Ctrl 1/2/3 Depthl/2/3/4 I--- 



i PERFORM 
ISYS'CTRJ,] /2 
I Other than 



ISYE-CTRh-j -^2 
I Other th.nn 



iSYS-CTRL.1/2 



i Other than OFF 
I Other than 



:Need not be sec 



O Sostenuto 

status Second 

BnH 4211 

ri ^ MIDI channel number 
vv - Control value 



OH - FH ( - IS 
OOH - 7FH (0-1 



^ ch.l 

1 - 63 



139 



1. Patch Mode 



tlr*isn SOSIB-JLTID i'lbrie paranetersiEttecc iUD Rate is iltcjc Oels^ cine 

lis aJ, ICDl-cn Icaii be Ipaiiansters can ichar^ed tc ttis i in ciianQtxi Co 

iiiDt-.e is held ailccntiolod m !be cxnLraled in I tXSIirUID CK Ith? 3:TaTEWJro 

I I tsil-Liine Insal-t-inK iiiitei-val iCt-! intei-val 



j Vaxcireieis to be sec 



IS'^STEI-1 FARAMETEF. 

I Sysceni Oxitrai Soiii-ce i; 

I ReiJ:iive CtiiLiol Ci"fci;i7e 

i Ptidk CuiUal St-iutce 



ia:6i3:3:U!t:E/fC lCC66;3a?IHJaiD !■■ 



i PATTH cavai fafakeier 

I EK^ Ccnct^l CBptli 1/2 

j Ftatcii QjiUxjI Sjurce 1/2, 

1 EFX Caatral HDld/Fteak 

i Ciaiuol 1/2/3 BDld'Peak 



3'i'3-Cmu/2 
■Odier dian 



I PA2CH -KJE PARMCm^ 
I Curl 1/2/3 Dasc. 1/2/3/4 
I curl 1/2/3 Eeptiil/2/3/4 
I lICl/2 SNteiTul Sync 
I 'jxaie Delay ^tede 



lOCiie- Chan CfPl' 
lather cfen G 



is ai, EEfect us aJ, Effect lis ai. 'Itne lis OJ, Itane 

coitroller is iccntraller is icontioller is Icoxroller is 

field !heid at Ice Ihald ilield at its 

lp^ak level ! Ip^k level 



1 



f 



2. Periormance Mode 



-- :Need not be set 





IHisn STfTFNnn lim* r"T7t?pflpmlPff'=rr rnT7*n=f.^n5 ran bp 


! U=D Vale is 


ntre DsiXa/ tir.ElMien aXJimM) il*en ECElHlflD 


Wen acEnouro 


IW-jer. aaSIHJUID 1 




lis CM 


Mffil-on 


lean be 


i-mrmlsii in '-PHl-riirp 


idairied to t±K 


lis chan^ to 


lisQJ, 


Effecx 


tisO- 


Effect 


isCK, Ttne 


lis CM, Ttne I 






!':i,iirrn1)=i-i in 






laosrainciCH 


lthe33em4JID 


IcoiLroller is 


icmtiollei- is 


o3Ttioller is 


Iccntroller is 1 


! 




ji Uk 


Im^l-rirrt* 






lintei-val 


!CH iiiCer-\«l 


I^Eld 




iVfild 


at its 


hEld 


Iteld at its ( 




ireieiving 


1 














ipaak 


.e«l 




ipeak iewel 1 


























1 feTTTieters lD b= set 


\o.i 




1 


j SetLiiLjl 


t 3Ht.tLiy2 






1 




i 








isvsEtw mm^iw 


~*. 




1 


] 


I 






1 




1 








i Si-stan CatirDi 3aiire 1/2 


!__ 




iaT^6:.s.'Kmimj 


\cc66:<i:smim. 


lLr66;3DErmJLnD 


l„ 


l~ 


l__ 




i — 




~ 


j— 1 


1 tereiw- Cbntinl anrQe- 


!(K 




KW 


'.QJ 


lOJ 


laj 


iai 


IQJ 




iQJ 




CtJ 


lOJ 1 


1 -CiP 'antral aajrce 






1 — 


i-_ 




i3:smwiD 


IBJb'lUUlU 


j — 




1 — 




— 


1 — 1 


! toldctnti-ol Si are 


i — 




i" 


j.._ 


1_- 






lajb'itMJio 


1- 




SiltMIlO 


1— 1 


i FBok Ca±rol 33un:« 






l-_ 










i„ 




ISZEIHtriC 




tsiinrauiD 1 


iraFR-RWJ:^; ajH.n miM^:im 






1 










1 




1 








! EFX Siirce 






1-- 


;l - i-fc 


iE=EHH-KM 






1 — 




I-- 




~ 


1— 1 


i EFX a:ntml Snirn? 1/2 






i-- 


1^- 


ISiS-CIRa/2 






i — 




1— • 




~ 


i~ 1 


i H^Xanrnl t.-K^Ji 1/:^ 






i-~ 




ifj::ne tian 


i — 




! — 




I — 




"•" 


I— 1 


IPHirCRWCE PWr PWiAM-HtH 






1 










1 




1 








1 HTDI Receivt? fwirrti 


!LK 




nn 


ia.i 


iQJ 


!CN 


\a-i 


ICK 




IQJ 




ilJ 


laj 1 


liWlOl CTM-UJ IWWSIfKR 






1 


1 




1 




1 












i EfX Cdrflunl daitoe 1/2 






!" 


!.sVS-<J!Hi.l// 




i — 




1 — 




l_ 




~ 


1— i 


! EFX i^ntrol D^pch 1/2 






i — 


inclEr tlwEi 


i— 


1 — 


)— 


1 — 




l_. 






!— 1 


1 Patch control axirce 1/2/3 


1 — 




\bys<iv.u /?. 






i — 


i_- 


I-- 




i — 




_ 


1— 1 


i EFX CCntrol HDid/tfeak 






\ — 


!-- 


j~ 


l„ 


t — 


1K1.B 




iE^v\K 




— 


1— 1 


! CintTOl l/2'i Itold'Ffeik 






1 — 


•■-- 




l„ 


! — 










HXD 


II^SK 1 


iPAICH TCIE E%R?J-EIEP 






1 










1 












i Ctrl 1/2/3 Qest. 1/2/3/4 






I'JtfET tiwi U-V 




!~ 


! — 


|_. 


1- 




i — 






i— t 


1 Ctrl 1/2/3 C^rJil/2/3/4 






lOCiier tten 


j... 


j-_ 


1 — 




\ — 




! — 




— 


i— i 


! LFDi/2 ExtajBl 9/n: 






! — 






\T^ 


j_- 


i — 




; — 






t— t 


t Ibrie DeLay rtnfe 












i — 


|'1!«=-svh: 


1 -- 




> — 




~ 


1— 1 



--:Need not be set 



O Soft Pedal 






status Second Thi rci 






SnH 4jH vvH 






n -■ MIDI channel nuiTiier: OH - 
vv - Control ValMG : ODH - 


vH { 
7FH ( 


IS ) 



15 ^ ch . ! 6 
- OFF 6.', - 



1 . Patch Mode 









1 Tone 


pdrajnecei 


s \ Ef feet 


|Lr"0 Rate 


is 


1 Ton 


3 Etelay 


tinielWhen SOFT 


PEDAL i'.-i^ien 


SOFT PEDAL 'IVhen SOFT PEDAL 


VJhen SOFT PEIM.I 








lean 


;■£■ 


Iparajfieters can 


■ changed 


o 


the 


liB 


clianged 


to 


lis m. 


Et 


Eecc 


lis a 


, Effect 


as ON, Tone 


is aJ, Tone 1 








1 cont 


-Died m 


Ibe controled i 


liSOPr PEDAL 


ON 


ithe 


SOFT PEDAL 


iccntro 


ie 




fcontroUer is 


■controller is 


controller is 1 








i ra-ii 


-Cime 


Ireai-tin-fi 


imtervai 






la-i 


mter'-'a 




! held 






;heia 


at Its 


as held 


held at its 1 


Paraine 


ei 


s to be- sec 








1 






1 






f 






ipeak 


level 




peak level \ 


-TC 




f lETEF 








j 






j 






■ 












1 


S a 




n 2 


I CC67 


SOFT 


ICC67:£OPr 








I -- 


















( 


y 




->{ haige 


iOM 




l»l 


ION 






IOM 






IOM 






\m 




iC*I 


Cfl 1 






■-C c 








isorr 






ISOFT 




I-- 










; -_ 


i 


i 




S -r 

a. 














!:: 






i SC-FT 






1 50PT 




iSOFT 


1 
SOFT t 










; 






i 
































e 






\S-^S-CVPLl/2 


; ■ 


























EF 




D^ 


i^y^ 


■-mA/i 


lOtncf char 


• 






,.. 






i'_ 












i 


n 




d 


1 Dt-tie 

j Othe 


thdTi OFF 
■ rlian 










i - ■ 






ii«:.D 






i £=&v: 




iHOlD 


PEAK ! 


~ 












"""' 






1 TAf" 


s--n4c 
















i 



:HeeG riDl: be Hct 



140 



2. Performance Mode 



1 lltne paraneterslEffect par^ietears can be \lFO Rate is I1\.iie DeXey LlieiiSliesi BJTT PeTfiiLMkat aCFT nSDM-lVliai 33T PETftLIWhai a3T FEIftLI 
1 lean te IccnCroled in real-cime jchai^ed to Che lis chai^ied to iis a-I. Effect iis a-J, Effert iis CH, Ttiie lis ON", Ttne 1 
1 Iccntroled in 1 ISCST PECftL CH !the SOT raiai, icoitroller is IccnCroller tccntioller is lontroUer is I 
! !real-ti3ie 1 ll'iteivai iCN tnterval iheld i is held at its Umld ilield dL its 1 
1 ! i ill \peak level 1 ipeak level t 


! mrstptprs rn he K«=t 1 ( Settingl 1 settinci2 i i 1 1 1 1 ! 


iSfsivM mm^rm i i i i i i i i i i 

1 EVsten control Sairo' 1/2 |cr67:H.Fr Kr67:SCFr !CC67:SCFr- 1— 1— 1— I— 1" i" ! 
! teceive Ccntrol Uiarrje ICH \ai lOJ ICN ICH lai lOJ lai ICW 1 
■ TTJ- Omtrol Soiirre I-- !-- !-- \3Jrr ISCFT t— 1— 1— I-- 1 
! Hold C5:ntn;>l Source I-- 1— I-- 1— I-- I93FT I-- IS^T" 1— 1 
^ Etek Oaitiol Source 1- 1- I-- 1- 1- i" ISST 1 iSST 1 


j PERFCBMWCE CCMOI PARWETER 1 1 1 I 1 1 t I 1 1 
! EFX Source '<— 11 - 16 IFEPRIFW I— !-- - 1— 1— '•— \— 1 
1 EFX Control source 1/2 f— l~ |SyS-CrRLl/2 I-- f— 1— I-- 1— i— 1 
! ETX Ccntrol Depth 1/2 1~ I-- ICther than 1-- i— 1— !— 1-- 1— 1 

IP5RRJ3-IMCE EftFfT EARW-ETER i 1 1 1 1 1 1 ! ! i 
1 MIDI Recei^-e Swicdn iOI lOJ ICK lOJ ICN ICW lO) f04 ICH I 


! FSWCH cn*tK PARAMEJIH? ] | I 1 1 1 1 1 ! i 
1 Ely CCTitrDl Source 1/2 1— |S'/5-Cm:A/2 1— l~ 1— 1— \— 1— I" f 
1 EFX ccntrrjl Eepth 1/2 1— i Other than I— 1— 1— 1— 1— I— I— * 
! E^tdi Ccntrol Source 1/2/3 |SYS-Cirai/2 1— i— 1— 1— 1— 1— 1— t"- i 
! En< Ctntrol Itold/'Feak i— !— !-- 1— I-- IHXC traAK l~ i— i 
1 Coitiol 1/2/3 Hold/Peak 1- i- ■ !-- t- 1- i 1 1«1J3 lIEftK 1 


i PATCH ICm PKm^ETEP. 1 1 | 1 1 1 ' 1 1 ! 
! Ctrl 1/2/3 Dest. 1/2/3/4 1 Other than CfF 1— 1— I— t— 1— I— 1" 1" ' 
! arl 1/2/3 Depthl/2/3/4 1 Other tlwi I— I-- 1— t-- 1— 1— 1" (— i 

1 l>3ie Etel^ Mads i- 1- i- i- fTftP-SVIi: 1- 1- 1- 1- i 



--:Need not be set 



O Hold 2 

Status 



n .-■ MIDI channel number 
vv - Control Value 



FH ( - 15 ) 
■ 7FH I - 127 ) 



5 = ch.16 
OFF 6<5 - 127 



1. Patch Mode 



, 


Tone parameter- 


HlFff 


sct 


LPO Rate is 


Tone delay 


timeiWlien 


HOLD-2 is 


IWhen HOLD-2 is 


When HaLD-2 is 


When H0LD~2 is 




can be 




imetors can 


charged to the 


is changed 


to 


ICM, ECEect 


\CZi, Effect 


OK, Tone 


ON. Tcyne 






Ihe 


-ontroled in 


HCa.D-2 03 


the HOLD-2 OJ 


Iconcrollar is 


IcontroUer is 


controller is 


controller is 








1-t.ine 


interval 


interval 




Iheld 




Iheld at its 


held 


held at its 


1 Parameters to be set 


















ipeak level 




peak level 


[SYSTEM PARAMFTER 
























i System Contro3 Source 1/2 


CC69:HOLJ3'2 


ICC69:HOU:)-2 


— 






I-- 




I-- 




— 


1 Receive Control Change 


<M 


ION 




ON 


CM 




laj 




lON 






] TAP Ccntrol Source 


... 


I-- 




HOLD-2 


HOLD-2 




1 " 






— 


— 


1 Hold Control Source 




I-- 




-_ 


,- 




1 HOLD 


2 




HOLD-2 


— 


1 Peak Control Source 


- 






- 










1 HOLD- 2 


" 


HOLD-2 


1 PATCH COMMCSJ PAPJU^HTTER 
























i EFX Control Source 1/2 




ISYS 


-CTRLl/2 


... 






! — 






-- 


" 


i EFX Control Depjth 1/2 


~ 


1 Other than Q 


-- 










I-- 


— 


-- 


t Patch Control Sajrce 1/2/3 


SYS-CTTtLl/2 
















\-- 


— 


— 


1 EFX Control Hold/Peak 


_. 


1 — 










! HOLD 




iPEAi: 


-- 


— 


i Dantrol 1/2/3 Hold/Peak 


- 






-- 










i-- 


HOLD 


PEAK 


1 PATCH Wl'Jt PARAI-fETER 
























( Ctrl 1/2/3 Dest.l/2/3/'3 


Other than OFF 


I-- 




_- 


-- 










-- 


-- 


1 Ctrl 1/2/3 Depthl/2/3/4 


Other than 








-.-. 








I-- 


-- 


._ 


1 I.FOl/2 Extenidl Sync 


-- 






TAP 


— 










— 


.- 


i Tone Delay Mode 


-- 


I-- 




— 


TAP- SYNC 










"" 


*" 



--sKeed not be set 



g. Performance Mode 





Tliie ;:ar-:-srES:ersi Effect Fm-ameters car. be 


ILFD Ftots is 


iTtne Delay 


tim 


elVSien HXD-2 is 


IVhai «3J>2 is 


When mj>2 LG 


Mien rou>2 is 1 




can he 


Icontroled m 


reaX-tine 


tchanciBri to the lis cJanged 


to 


lOJ, Effect 


\a-i. Effect 


ICN, Ttane 


OJ. 'Jtfie 1 












IHXD-2 CM 


Ithe 3ni>-2 CH 


Icontrollei- is 


1 control ler in 


[controller is 


coitroller is 1 




retd-t.uie 










1 interval 

1 




Iheld 








! Rii'dinstei-s Lc be set 




Settir^l 


\ Setting2 






[peak level 




pe^ level I 


tSiSrm PARflHEIE? 












1 












! 9/staii CoiLrol Source 1/2 


CC69:Hai>2 


iCC69:HXD-2 


ICCt9:H:iD-2 


) — 


! — 








' — 


f 


1 R«:eiw Oxitrol CJiange 


aj 


lai 




laj 


la-i 


la-i 




iO"! 


ICH 


lO-J 




i TAP Ctntrol aj-jrce 








i — 


IHDlD-2 


:tco>2 










1 










1 — 


i — 






!IIXI>2 






j 


! F«ak Ccntrol Source 


-- 


1- 














l!Cy>2 






(FERFCfi«AMX Omitl PAfW^Em? 












\ 












! EK< Source 




11 


16 


SPERKH-! 


! — 














\ EK'l Contral Stwrce ] /2 


— 






lS-ra-CIFI.1/2 


1^- 


i-. 








l~ 


1 


1 Era Contiol Dsptii 1/2 




I-- 




iOtliei- U-an 




i~ 












! FERFOfWfil'rE PART PARAHEniJ? 










1 


i 








1 MIDI Rfcs.:eive Sir/itcii 


OJ 


laj 




laj 


la-j 


la-i 




laj 


iO-l 






i PATCH CJ^a^J PARWETEK 










i 


1 










1 EFX Qailiu] a^atx^ 1/2 




fST. 


-cnu-1/2 




1 — 


1- - 




!-- 




■.-- 


1 


1 EFX Omtiul DdtTLli 1/2 




! Other thin 


l~ 


1" 


I-- 










! 


1 F^Ldi CcnttDl SCurce 1/2/3 


Si^-CIHLl/2 


;-- . 






!-- 


I-- 










1 


1 Ei^. Ont-rol Hjld/f\»k 




! — 




!-- . 


I-- 


I-. 




(Hxr- 


[IBU: 


\ — 


! 


i Ccntrol 1/2/3 Hold/feik 




t — 




!_ 
















(FWai TOC PAR^-S^IFK 










i 














1 arl 1/2/3 L^st. 1/2/3/4 


Ochei tltiT! GFT 


j_„ 




[,, 


1 — 












j 


i Ctrl 1/2/3 tGpthl/2,0/'5 


aluy, Llun 


! — 




I-- 


1 — 












1 


■ LFOl/2 External Sync 


— 








STAT 


I-- 












i TtJK relai- Kxie 


~ 








i~ 












! 



:Heed not be ce 



141 



O Portamento Control 

status Second Third 

BnH 54H kkH 

n = MIDI channel number: OH - FH i - 15 i 
kk = More Number : OQH -■ 7FH ( - 127 



ch.l 16= ch.l6 



1. Patch Mode 



1 IThe on-nore !Tone paramer.ers ! Effect 

I Iglides Co the lean be [parameters can 

1 Ipitch o£ the Icontroled in 1 be controled in 

1 Inote turned on ireal-cime Ireal-cime 

i Parameters ro be set 1 next t 1 


! SYSTEM PARAMETER i 1 i 

! System conr.ro! source 1/2 i-- ICC84; fCC84: 

! Receive Control Change ION lOM ION 


1 PATCH COMMON PARAMETER 1 ( [ 
1 KFX Control Source 1/2 1-- ! -- iSYS-CTRLl/2 
! KFX Control Depth 1/2 I-- i -- lother than 
t Patch control Source 1/2/3 I-- ;SVS-CTRLI/2 I-- 


! PATCH TONt: PARAMETER i ( 1 
1 Ctrl, 1/2/3 Des5t .1/2/3/4 (-- [Other then OFF 1 ~- 
i Ctrl 1/2/3 Depthl/2/3/4 f-- lother than l-~ 



2. Performance Mode 



: Need not be set 



i 
1 
1 

! 
1 
1 


This applies tci 
the part on the 
receiving ch. 
The on~note 
glides to the 
pitch of the 
none turned on 
next 


iTone p^ramecers 
i can be 
iconcroled in 
i real-time 

1 

1 
1 


Effect parameters ran be 
controled in real-tinie 


IParanieters to be set 


Settingl 


1 Setting2 


1 SYSTEM PARAMETER 

! System Control Source l/'J 

i Receive Control Change 


OH 






1 

1 CCS 4 

ION 






CC84: 
ON 


|CCfi4: 
ION 


1 PERFORMANCE COHMOH PARAMETER 

1 EFX Source 

1 EFX Control Source 1/2 

1 EFX Control Depth i/2 


- 






1 






1-16 


1 PERFORM 

1 SYS -CTRLl/ 2 

i Other than 


iPERFORMAMCE PART PARAMETER 
! MIDI Receive Switch 


OH 






1 
ION 






ON 


ION 


! PATCH COMMON PARAMETER 

! EFX Control Source 1/2 

i EFX Control Depth 1/2 

1 Patch Control Source 1/2/3 


-- 






1 

1 ._ 
1 -- 
iSYS- 


CTRLl/ 


2 


SVS-CTRLl/2 
Other than 


1- 


! PATCH TONE PARAMETER 

1 Ctrl i/2/3 Dest. 1/2/3/4 

1 Ctrl 1/2/3 Depthl/2/3/4 


-- 






i Othe 
iOthe 


r than 
r than 


OFF 



- 





O General Purpose Effect 1 (Reverb) 

status Second Third 
BnH 5BH vvH 



MIDI channel number : OH ■ 
= Control value : OOH 



1. Patch Mode 



FH ( - 15 1 
- 7FH (0-127 



- ch.l 15 ^ ch. 



' TJjis message, when received in patch mode, will not affect the revert send level. 



I Tone parameters I Effect 
lean be I parameters can 
Icontroled in I be controled ir 
J real-time i real-time 



I Parameters to be set 



I SYSTEM PARAMETER 

I Syctein Control Source 1/2 

I Receive Control Change 

I PATCH COMMON PARAMETER 

1 EFX Control Source 1/2 

I EFX Control Depth 1/2 

I Patch Concroi Source 1/2/3 

i PATCH TONE PARAMETER 

I Ctrl 1/2/3 Dest. 1/2/3/4 

i Ctrl i/2/3 Depthl/2/3/4 



I CC91: REVERB 
!0H 



5YS-CTRLi/2 



ICC91:REVERB 
ION 



iGYG-CTRL3 ;2 
i Other than 



iOther than OFF i -- 
tOther than ! -- 



-~:Nccd not be sot 



- - :Need not be 



142 



2. Pertormancs Mode 



1 

i 


! Reve 
11 eve 
Ipart 
1 rece 
Iwill 


-b 

o 
on 

be 


send ITone parameters 
f the 1 can be 

Che icontroled in 
ng ch. i real-time 

changed 1 


1 Effect parame 
icontroled in 


ters r.an be 
real -t ime 


1 


j Parameters to be set: 


1 Setting! 


1 SRtting^ 




! SYSTEM PARAMETER 

! System Control Source 1/2 

i Receive Control Change 


iOH 






ICCyi :REVERB 
IDN 


iCC91 : REVERB 
iON 


ICC91 :REVESB 
jON 




IPEPFORMANCE COMMON PARAMETER 

i EFX Source 

1 EFX Control Source 1/2 

! EFX Control Depth 1/2 








P 




11 - 16 


1 PERFOKM 
iSyS-CTPI.1/2 
U)ther than 




'PERFORMANCE PART f'AP.AMETER 
i MIDI Receive Switch 


!0M 






ION 




iON 


1 Qt'i 




! PATCH COMMON PARAMETER 

! EFX Control Source 1/3 

i EFX Control Depth 1/2 

1 Patch Control Source l/2''3 


1- 






1 SYE-CT 


RLl/2 


l3yS-CTRLi/2 
1 Other than 


j:: 




i PATCH TONE PARAMETER 

J Ctrl 1/2/3 Dest. 1/3/3/4 

! Ctrl 1/2/3 Depthl/2/3/4 


- 






! Other 
(Other 


than OFF 
than 


i:; 


i" 





General Purpose Effect 3 (Chorus) 

status Second Third 

DnH 5DIi vvH 

n ^ HIDI channel number: OH - FH f - 15 ) ^ ch.I IS = ch.l6 
v/ ^ Control value : OOn 7FH ( - 127 I 

1 ■ Patch Mode 

' This message, when received in Patch mode, wilt not affect the chorus send tevel. 



-- :Need not be set 



! Parameters to be 



ITone parameters! Effect i 
lean be iparameters can ! 
Icontroled in i be controled ini 
I real-time i real -time ! 



(SYSTEM PAR.-"\HETER 

! System Control Source 1/3 

( Receive Control Change 



I CC93: CHORUS 



(CC93 : CHORUS 



! PATCH COMMON PARAMETER 
i EFX Control Source 1/2 
i EFX Control Depth i/2 
1 Patch Control Source 1! 



ISYS-CTRLl/2 



13YS-CTRL1/2 
1 Other than C! 
1-, 



1 PATCH TONE PARAMETER 

i Ctrl 1/2/3 DeKt . 1/2/3/*^ 

! Ctrl 1/2/3 Depthl/2/3/'] 



lOther than OFF 
lOther than 



2. Performance Mode 



--:Need not be set 



I Parameters to be set 



IChorus send !Tone parameters iEf feet parameters can be 
ilevel ot the i can be icon':roied in real-time 
Ipart on the Icontroled in ! 

Ireceiving ch. Ireal-time * * 

Iwill be changedl I Sett;ngl I Setci: 



1 SYSTEM PARAMETER 

i System Control Source 1/2 

\ Receive Control Change 

i PERFORMANCE COMMON PARAMETER 

I EFX Source 

1 EFX Control Source 1/2 

! EFX Control Depth 1/2 



1CC93: CHORUS 
ION 



;CC53:C?iORUS 



!CC93:CHORUS 
ION 



t PERFORM 
iSyS-CTSLl/2 
iOther than 



I PERFORMANCE PART PARAMETER 
I HIDI Receive Switch 

[PATCH COiWON PARAMETER 
I EFX Control Source 1/2 
I EFX Control Depth 1/2 
i Patch Control Source l.'2/3 

1 PATCH TONE PARAMETER 

I Ctrl l/2."3 Dest .i /2/3/-1 

! Ctrl 1/2/3 Depth! /2/3/') 



t — 


iSYS-CTRLI/2 


i-- 


iOther than 


!SYS~CTRL3.-'2 


!-- 



iOther than OFF 
lOther than 



O RPN LSB 

status Second Th i rd 

BnH 64H UH 

n = HiDI channel number: OH - FN { G IS t -= ch.I 15 
11 = Lower byte of the parameter number specified by PPN. 



143 



O RPN MSB 



Status 
BnH 



Second 
6SH 



Third 
mmli 



MIDI channel number: OH - FH ( D - 15 j = ch.l 
-- Upper byCG of the pariameter number specified by i- 



The fol lowing 

1 . Patch Mode 



commonly applied to both RPN MSB and LSB. 



I Parameters to be sec 



(The parameter I 



!bv RPN will be I 
[changed i 



1 SYSTEM PARAMETER 

I Receive Control Change 



2. Performance Mode 



IParometers to be set 



I Parameter No. 
I specified by 
\RPU, of the 
iparc on the 
i receiving 
Ichannel will 
I bo changed 



[SYSTEM PARAMETER 

[ Receive Control Change 



I PERFORMANCE PART PARAMETER 
[ MIDI Receive Switch 



O Data Entry LSB 



statu 
BnH 



Second 
26H 



Third 
UH 



n = MIDI channel number: OH - FH I - IS ) 
11 = Value Cor the parameter specified by RPN 

1 . Patcti Mode 



1 ILSD of the data [Tone parameters [ Effect i 
i 1 for the lean be Iparamecers can 1 
1 [parameter icontroled in [be controled inj 
[ (specified by ireal-time [reai-cime i 
[ IRPN LSB/MSE ! 1 1 
[Parameters to be set (will be changed! ! ' 

(SYSTEM PARAi-SETER 1 1 1 i 
1 System Control Source 1/2 I -- iCCiS: (CC3e: 1 
[ Receive Cuutiol Change ION lOH \OK 1 


[ PATCH COMMON PARAMETER (lit 
[ EFX Control Source i/2 1 -- !-- (SY3-CTRL1/2 ( 
[ EFX Control Depth 1/2 I-- I-- [Other than [ 
1 Patch Control Source 1/2/3 1 -- 1 SVS-CTRLii/2 1 -- 1 

1 PATCH TONE PARAMETER [ 1 ! i 
1 Ctrl 1/2/3 Dest. 1/2/3/4 [ -- lOthei than OFF I-- ! 
i Ctrl 1/2/3 Depthl/2/3/.l [-- [Other than I-- 1 



2. Perfoimance Mode 



- :Need not be set 



[parameters to be Bet 

[SYSTEM PARAMETER 

[ System Control Source 1/2 

[ Receive Control Change 

[ PFHFtlRMANCF. Cnt-IMON FARAMRTRH 

I EFX Source 

[ FFX rontrol Source 1/2 

[ EFX roncml Depth 1/;^ 

I PEHFi.lRKANCt PART PARAMF'|-FR 
I Mini Receive Switch 

[ PATCH COMMON PARAMETER 
[ EFX Control Source 1/2 
I EFX Control Depth 3/2 
I Patch Control Source 1/2/"^ 

I PATCH TOKF PARAMS I'ER 

! Ctrl 1/2/3 Dest. 1/2/3/4 

I Ctrl 1/2/3 De^prhi /2/3/4 



of the data I Tone parai 



[ tor parameter, 
[ sepecif led by 
\PBil LSB/MSe, 
[of the part on 
I the receving 
[channel will be 
I changed 



:an be 
conttoled ii 
real-time 



terslEffect parameters can . 
Icontroled in real-t luie 



1CC3S: 
tow 



iSyS-CTRLi/2 
10rhf=r than 



i Of her rhar OF 



I PERFOP^l 
!SyS-CTRi,I/2 
[Other than 



144 



O Data Entry MSB 



i-! =^ MIDI channel nuinber: Oii ■ FH < G ■ iS ) = ch . 
miTL : Value for l".he pararaecei. speci f led by RPM 

1 . Patch Mode 



aranieteiK ca be se. 



iMSB of the datd:TDiie parameters i Effect '■ 

■for the car: be jparameters can ; 

'■ paranieLer cor.t I'oled i n 1 bt cont rojed in I 

; speci f led by real - ime 1 r<ral t ime ! 

iRPK LSB,'KSI? I : 

;will be changed. I ! 



I Syscerr. Control Source 1/2 
1 Receive Control Change 

i PATCH COMMON PARAMETER 
! EFX Control Source 1/2 
i EFX Cont-roi Depth 1/2 
i Fatch Control Source 1/2/ 



I 



: CC6 ; DATA- Ehn"RY I CCk : DATA - EJJTF Y 



\SYS'CVlihl/2 
I Other than 



iSYS-CTP.Ll/2 



I PATCH TOME PARAI-iETER 

I CCil ,i/2n Dest . l/2/3,M 

i Ctrl 1/2/3 Depthl/2/3/4 



[Other than OFF i- 
(Other than I - 



2. Performance Mode 



:tJeed not be set 



to be set 



IMSB 


of 


the data 


Tone parame 


Uoi: 


par 


a mete I', 


can 


be 




Isepeci f 


led by 


con 


i.a 


ed i 


IPRM 


LSB 


/MSB, 


rea 




iTte 


lof the 


part on 








ithe 


rec 


eving 








tcha 


inel 


will be 








Icha 


iged 











lEfffrct parameters can b' 
i con t r o i ed in r ea 1 - 1 ime 



I SYSTEM PARAMETER 

I Sv'SLeiii Control Source 1/ 

! Receive Control Change 



I CC6 ; DATA - ENTRY 1006: DATA - ENTRY I CCS : DATA- EMT 



I PERFORMANCE COHMOU PARAI^ETEF. 



! EFX Source 

i EFX CoiiLiol Source 1/2 

i EFX Conlrul DepLli 1/2 


1" 


i^: 






1 1 ■ 


16 


1 PERFORM 
(5YS-CTR 1,1/2 
i Other than 


1 PERFORMANCE PART PARAMETER 
! MlDt Receive Switch 


iOH 


! OW 






iON 




1 OK 


I PATCH COMMON PARAMETER 

1 EFX Control Source 1/2 

i EFX Control Depth 1/2 

1 Piitch Control Source 1/2/5 




isYS- 


CTRLl . 


2 


iOth 


-CTRLI/2 
=r than D 


I-- 


t PATCH TOME PARAMETER 

( Ctrl 1/2/3 Dest. 1/2/3/4 




lOthe 


r thar 


OFF 


1 .. . 







I Other than 



:Nt;ed not be set 



** Description of RPN ** 

RPlJs (Registered Parameter Mumbers) are functions defined by MIDI standard. 

Each PRN may be used to change parameteis of equipmeiit to vary chaiacter istics of tone, performance, etc. 

The JV-1080 can recognize the four RPNs: Pitch Bend Sensitivity (PPNitOl. Fine Tuiiing fRPNHl), 

coarse Tuning fRFNS2) and RPN Reset (RPN*«16383 1 . 

To effect RPK, first designate the paianietei to by cunLiolled usirig RPN MSB and RPN LSB. and then specify the 

in 

the data entry. 

BnH 05H KXH EnH ;!6H yyH 

( Data Entry HSS ) ( Data EJ-^try LSB ) 



of designated parameter 



BnH 6=,H 


mmH 




BnH 


S4H 


( 


RPM M?B 


) 




( RPM 


LSB 


n 


- K!i)! 


-hanne 


n 


imher ; 


OH 




KPN 




Da 


.a Ent 


T 


M 


"B LSB 




MSB LSB 




[R. 


11 




XX 


yy 





Pitch bend sensitivity 

irun : nOH - fiCH {0 - 12 in unit of semitones) 

11:1 gnor ed 

Up to I octave in unit of Eei-iitones . 

• common to HENDER-RANnF. i}-' and BHN;-1F.R-RAMGE DOWN 

* Rhythm part (part iO) ignores this funrrinn. 



Fi 



ing 



OOH 



19^ cent 



mrr,, 11 : ?.m. ODH - .IOH, OOH - 
( -S19.-> * 50 / 8192 - - +8193 

• ),n parrh mode, RetR master tune. 

' In performanre mode, set k fine tune of d parf . 

* When received on the control channel, sets the mast 



Coarse Tuning 

mm : 104 - 4!iH - /OH I -4B - - , 

n : ignored 

' ignorf^d in patch mode 

* in perfnrm.F^nco mnde, iJers coarKP 

KPr-; Heser 

Cancels the set t ings made by PRM If 
internal !=err i ngs remain unchanged 
mm, 1 1 : lanored 



4B in uni t of .semitones ! 
tun<= of fi part . 



• RPN is received either MSB first or LSB first 

' Data entry data must be sent MSB first to correctly received. 

(LSB is deared to when MSB is received,) 



145 



t Program Change 



CnH 



Second 



n = HIDI channel number: OH - FH ( - 
pp -^ Program nsimber : OOH 7FH [ 



1 . Patch Mode 



i Parameters to be sec 



! Changes patchen 
1 (patch number 
I is the program 
i nuir<ber plus 1 ! 



1 SYSTEM TARAMETER 

( Receive Program Change 



■ tKeed not. be 



2. Performance Mode 

' Changes performance when received on the control channet. 



JParamecers to be set 



i Pacch of the I 

iparc on the ! 

1 receiving I 

I channel will be I 

! changed. (The ! 

:pf3t;ch number is I 

1 the program \ 
I number plus 1 } ' 



! SYSTEM PAKANETER 

I Receive Program Change 



I 



! PERFORMANCE PART PARAMETER 
i HIDI Receive Switch 
i Receive Program Change 



• Channel Pressure 

Status Second 

DnH v^H 

n = MIDI channel numbe 
_vv - Pressure vslue 

1. Patch Mode 





tTone paramece 


-s can be 


iEf 


"ect 


DaramotcrG can bo 1 


i 


icontfoled in 


■eal ■ time 


ICO 


It re 


.cd in 


real-time 1 


(Parameters to be set 


1 Setcingl 


; Setting^ 




Set 


tingl 


; Setting2 i 


! SYSTEM PARAMETER 












! ! 


1 System Control Source l.'"2 




iAFTEnTOUCH 








(AFTERTOUCH 1 


1 Receive Aftercotich 


!OM 


; OK 


ION 






tON 1 


1 Aftertouch Source 


ICii-AFTER or 


iCIi- AFTER or 


!CH 


AFT 


EP. or 


iCH -AFTER or 1 




iCil&POLY 


ICK&POLY 


(CHiPQL 




ICH&POLY 1 


[PATCH COMMON PARAMETER 














1 EFX Control Source 1/2 


1 .._ 




1 AFTERTOUCH 


ISYS-CTRLl/2 1 


[ EFX Control Eteoth 1/2 


! -„ 




:oc 


ler 


than 


jOther than 1 


1 Patch Control Source 1/2/3 


i AFTERTOUCH 


i2VS-CTRLl/2 










t PATCH TOKE PARAMETER 












1 ! 


1 Ctrl 1/2/3 Dest.i/2/3/4 


1 Other than OFF ^ Other than OFF 










1 Ctrl 1/2/3 Depthi/2/3/4 


1 Other than 


iOthex than 








1 -- 1 



2. Perforamance Mode 



:M'=ed not be set 



! Tcine pa ranet era can be 
Icontroled in real-time 



patameteri; 



be conttoled 



i Parameters to be set 


! Se 


t ,i ng 1 


i Se 


.ting2 


Set 


tingl 




SeLr i 


ng2 


1 Settin{j3 


1 SyLLiny4 


1 SYSTFi-l PARAMETER 

1 System Control Source l-l 

1 Receive Aftertourn 

1 Aftertouch source 


!0N 

iCH-AF' 
! CHU PO 


'ER or 


i AFTERTOi;C 
lOM 

iCH-AFTER 
\ CHk POLY 


or 


lOM 

:CH-AFT 

iCH&POL 


EP. or 


iOH 

ICH-AFTER 

ICHSPOLV 


or 


1 AFTERTOUCH 
iON 

ICH-AFTER or 
1 CHS POLY 


1 AFTERTOUCH 
iOM 

ICH-AFTER ur 
ICHtPOLV 


1 PFRFOHMANCF C0Mt-!ON PARAJ-IETER 

1 EFX Source 

! EFX Control Source 1/2 

1 EFX Control iJeprh \ :? 


;"- 




! - - 






1 ' Ifc 




ipE 
lAF 
lot 


RFORM 
rEHTOUCH 
ler than 


11 - 16 


1 FERFOPi^ 
ISiS-CTRl,I..'2 
1 Other than 


IPEHFOHHANCR PART PARAMETER 
1 MIDI Receive swUch 


\oH 




lON 






;oN 




IOH 






(ON 


ION 


1 PATCH CORMOK PARAJ-iETER 
1 EFX Control Source i/2 
1 EFX Control Depth 1/2 
I Patch Control Source 1/2/3 


1 AFTER" 


"OUCH 


JSVS-CTRLI 


, 


1 AFTERTOUCH 
'Other fhsn 


j- 






!SYS-CTRL1 /2 
1 Other than 


1- 


1 PATCH TOHE PARAMETER 

1 Ctrl 1/2/3 DGSt .1/2/3 ■■■•1 

1 Ctrl 1/2/3 Depthl/2/3/-l 


i Other 
tether 


than OFF 
than 


1 

! Other 

iothr 


tha 
har 


-. OFF 




i..^ 










1- 


!- 



--:IJeed not be set 



146 



• Pitch Bend Change 

status Second 

EnH UH 



Third 
mjiiH 



n = MIDI channel number 
mm, 11 = Pitch bend change 

1. Patch Mode 



OH - FH I - 15 ) . oh.l 15b= Ch.l6 
0011, OOK - 40H, OOH - 7FH, VFH 
( -6192 - - *8192 I 



i ichanges pitch ITone parameters can be 1 Effect parameters can be 
1 tof note icontroled in real-time icontroled in real-time 


'parameters to be set 1 1 Eettingl 1 SettingJ 1 Setting! 1 Setting2 


* - ^ • *" ""'t " ! 1 

ISVSTEM PARAMETER 1 1 B™nc.c 

1 System Control Source 1/2 1- 1- BENDER -- ™ 

1 Receive Bender ION ION ION _ION ION 


1 PATCH COMKON PARAMETER 1 1 [ l„™nPB iqvS-rTHLl/2 

liSSroUeSriJ^^ I:: I:: :- _,^^ Sr^^han o pj?^o 

1 patch Control Source 1/2/3 I-- IBENDER ISYS-CTRLJ/2 I-- | _ 

1 PATCH TONE PARAMETER 1 1 1 ] 

1 Sendei Control Switch ION t-- 1"" l~" 

1 send Range Upper/Lower lother than )-- I-- -- -" 

1 pan Control Switch 1 — !- '" 

1 Ctrl 1/2/3 Deat. 1/2/3/4 I-- lother than OFF lOther than OFF !-- I-- 

1 Ctrl 1/2/3 DepLhl/2/3/4 I-- lother than lother than I-- i-- 



— -:Need not be sec 



2. Performance Mode 



! 

i 


t Changes note 
(pitch oC the 
(part on the 
(receiving 
1 channel 


ITone parameters can be 
Icontroled in real-time 
1 


EfEect 


paramet 


ers can be co 


ntroled in real-time 




i 

1 Parameters to be ser. 


j Settingl 


i Setcing2 


Settingl 


1 Setting2 


t Settings t Setting^ 


1 SYSTEM PARAMETER 

1 System Concrol Source 1/2 

1 Receive Bender 


i 

( — 
ION 




ION 


I BENDER 
(ON 


ON 




ION 


IBEHDER 
ION 


BENDER 
OH 


1 PERFORMANCE COMMON PARAMETER 

1 EFX Source 

1 EFX Control Source 1/2 

f EFX Control Dept.h 1/2 


[ 

t-- 
I-- 
1-- 




1- 


I-- 


1 ' IG 




1 PERFORM 

IBENDER 
lother than 


11 - 16 

I-- 


PERFORM 
SYS-CTRLl/2 
Other than 


1 PERFORMANCE FART PARAMETER 
1 MIDI Receive SwiCch 


lON 




!0N 


lON 


OK 




ION 


lON 


ON 


1 PATCH CCMMOM PARAMETER 

] EFX Control Source 1/2 

! EFX Control Depth 1/2 

1 Patch control Source 1/2/3 


! 

I-- 
I-- 
I-- 




f BENDER 


iSYS-CTRLl/2 


BENDER 
Other 


than 


1" 


fSYS-CTRLi/2 
{Other than Q 


-- 


1 PATCH TONE PARAMETER 
1 Bender Control Switch 
1 Bend Range Upper/Lower 
1 Ctrl 1/2/3 Dest. 1/2/3/4 
1 Ctrl 1/2/3 Depthl/2/3/4 


I 

ION 

1 Other t 

I-- 


han 


iOther than OFF 
lother than 


tother than OFF 
lother than 


-- 




I-- 


'r 


-- 


^ 


*"■* 




* 


■* 








-. 


Need not be set 



I Channel Mode Message 



• AH Sounds Off 

Status Second Third 

BnH 7 8H OOH 

n = MIDI channel number: OH - FH ( - 15 1 = ch.l 15 = ch.16 

• Turns off all MIDI-on notes on the MIDI channel. 
However, the state of channel messages does r«tf change. 



t Reset All Controllers 



status 



Second 



Tliicd 



BnH 79H OOH 

n = MIDI channel number: OH - FH 1 - 15 ) - ch.l 15 = ch.16 

• Upon receiving this message. theJV-lOW dianges ^ttings of ffie contmBer as hdtows: 

controller Settings 



Modulation 

Breath 

Foot 

Volume 

Pan 

Expression 

Hold 1 

Sostenuto 

Soft Pedal 

Hold 2 

Channel Pressure 

Polyhonic Pressure 

Pitch Bend Change 

RPN 



(min) 

(mint 

(mini 

127 (max I 

64 (center! 

(mini (volume is set at max.) 

toff! 

(off! 

(off) 

(off) 

(man) 

(min) 

±0 (center) 
Undefined: does not affect the internal data 



General purpose systoni controller I (min) 
General purpose system controller 2 (min) 



147 



• All Notes OH 

status Second Third 

BnH 7BH OOH 

n - MIDI channel number: OH - FH { 



15 1 = ch.l 15 = Ch.l6 



■ Turns oltan MIDI-an notes on tfis MIDI channel. 
However, soimd continues tyhen Hold 1 and/or SOSTENUTO is ON. 



• OMNI OFF 

status Second Third 

BnH 7CH OOH 

n = MIDI channel number; OH - 

* Serves as AK Notes Off. 



- 15 ) = ch.l 15 = Ch.l6 



• OMNI ON 

status Second Third 

BnH 7DH OOH 

n - MIDI channel number: OH - FH ( - 15 

• Serves as Al Notes on and not OMNI ON. 



> = ch.l 15 = ch.l6 



• MONO 

status Second 

BnH 7EH 



Third 
mmH 



n = MIDI channel number: OH - FH ( - 15 ) = ch.l 15 = ch.16 
mm = Number oE MONOs . : OOH - OFH ( - 15 ) 

' 77?e key assign mode of tiv patch common parameter Is changed to SOLO. 
'Sena as AU Notes 0« and Part to Mode 4 (m=1). 

• POLY 

status Second Third 

BnH 7FH OOH 

n = MIDI channel number: OH - FH ( - 15 ) = ch.l 15 = ch.16 

'The key aasi^ modern the patch common parameter is Omngsd to POLY. 
' Sen/es as All Notes OH and Part to Mode 3. 



■ System Real Time Messages 

• Active Sensing 

status 
FEH 

' When JV-10S0 receives Actve Sensing, it measures lime Inlarvais between incoming massages. II tie subsequent message wtt not come within 400 msaflerlheprevkXJS one, JV-10ao 
turns oKall MIDI-on notes, operates as Hit receives Reset Alt Controller message, and stops measuring message intervals. 

• Timing Clock 



F8H 

1. Patch Mode 



1 
1 

1 

i Parameters co be set 


changes LFO 
Rate 


(Changes tone 
i del ay time 
1 
t 


Changes delay 
time of eflect 


[Changes the 
[step rate of 
)e£fect 
i (Flanger) 


[SYSTEM PARAMETER 
! r3ork Source 


MIDI 


IMIDI 




MIDI 


1 

IMIDI 


i PATCH COmOti PAHAMKTER 
i EFX Type 

1 
1 
t 


-- 


1 
I-- 

I 
1 
i 




19. TRIPLE-TAP- 
DELAY or 

2 0. QUADRUPLE - 
TAP- DELAY 


1 
iie.STEP-FLANGER 

i 
1 
1 


t PATCH TONE PARAMETER 
1 LF01,/2 Excernal Sync 
1 Tone Delay Mode 


CLOCK 


i CLOCK- 


SYNC 


- 


i 



:Need not be set 



148 



2. Performance Mode 



i ichanges LFO [Changes Tone ichanges delay time of effect jchanges step late of effect 
1 IRate Idelay time ! 1 (Flanger) 


1 Parameters to be set i i 1 Setringl 1 SetCing2 1 Settingl 1 SettinQ2 


! SYSTEM PARAMETER i ! 1 1 1 1 

1 Clock Source IMIDI IHIDI i Mini iMIDI IMIDI IMIDI 


! PERFORMANCE COMMON PARAMETER 1 ! 1 1 1 1 

i EFX Type i-- )-* 1 -- 13 9 .TKi PLE-TAP- I-- 1 16.STEP-FLAM3ER 

1 1 i 1 1 DELAY or t 1 

1 1 ! 1 UO. QUADRUPLE- i 1 

I 1 1 I 1 TAF-DELAY 1 i 

! EFX Source I-- I— 11-16 1 PERFORM 11-16 1 PERFORM 


1 PATCH COMKOM PARAMETER 1 1 i 1 ! 1 
! EFX Type i-- 1— U9 .TRIPLE-TAP- l~- 1 16 .STEP-FLAHGERl -- 
1 II! DELAY or t S 1 
1 1 1 S20. QUADRUPLE- ! ! ! 
! Ill TAP-DELAY 1 ! ! 


1 PATCH TONE PARAMETER 1 1 i i 1 ' 
i LFOl/2 External Eync ICLOCK I-- 1 -- i-- i-" 1 ~- 
i Tone Delay Mode I-- ICLOCK-SYNC !-- I-- t-- !-- 



— :NGed not be set 



\ System Exclusive Message 



FOH 
F7H 



Data Byte 
iiH ddH . . 



Manufacturer ID 
.ee = Data 



System Exclasiue 
41H ( 65 ) 

UOH - 7FH ( - 121 ) 
EOX (End Of Exclusive) 



' The JV- 10B0 recx^zed Ovs message when the receive swi/crfi in system parameter is set to ON. 
For detail, please refer to section 3: t^oland exdusive message. 



2. TRANSMIT DATA 

■ System Exclusive Message 



Status 


Data Byte 


FOH 


iin ddit 


eeH 


F7H 






FOH 




System Exclusive 


i i = Manut 


acturer ID 


41H ( G5 J 


dd . . . ee = 


Data 


OOIf - 7FH f - 127 ) 


F7H 




SOX (End Of Exclusive) 



F^or detail, please mter to section 3: Roland exdusive message. 

3. Exclusive communications 

The JV~1080 can send and receive patch parameter, etc using the system exclusive message. 

The model ID code ot the JV-1080 is 6AH. The device ID code is to be determined by unit number setteing of MIDI function. 

The JV-1080 ignores GE exclusive messages other than scale tune parameter. The model ID of the GS is 42H. 

■ One way communication 

• Request data 1 RQ1 (1 1 H) 



Byte 


Description 


FOH 


Exclusive status 


41H 


Manufacture ID (Roland) 


Dev 


Device ID (Dev=UNIT#-l ) 


6 AH 


Model ID (JV~10801 


UH 


Command ID (RQl? 


aaH 


Address MSB 


bfaH 


Address 


cc'H 


Address 


ddK 


Address LSD 


ssH 


Si^e MSB 


LtH 


Sixe 


uuH 


Size 


vvH 


Size LSB 


sum 


Check sum 


F7H 


EOX (End of exclusive) 



'Receive oniy: the JV-10B0 does not send thie message. 



149 



• Data set 1 DTI (12H) 

1 .JV-1080 (MODEL ID = 6AH) 

Byte Description 



FOH Exclusive status 

41H Manufacturer ID (Roland) 

Dev Device ID (Dev=UNIT»-l) 

6AH Model ID IJV-iOaOl 

12H Command ID IDTl) 

aaH Address MSB 

bbH Address 

ccH Address 

ddH Address LSB 

eeH Data 

££H CMta 

suin Check sum 

F7H EOX (End of excluslvel 



2.GS (MODEL ID = 42H) 



Deacripcion 



FOH Exclusive status 

41H Manufacturer ID (Rolandl 

Dev Device ID (Dev^UNIT#-l) 

6 AH Model ID (GS) 

X2H CMnmand ID (DTI) 

aaH Address MSB 

bbH Address 

ccH Address LSB 

eeH Data 

£fH Data 

sum Check sum 

F7H SOX (End of exclusive) 

'VWwn thB device ID to 7FH, JV-10^ can receive the GS exclusive mess^e wen if the unit 
number is anyiNng. 

4.Paranieter address map (MODEL ID = 6AH) 

Address and size are configured in 7 bits, and expressed in hexadec- 
imal. 

Address MSB LSB 

Binary Qaaa aaaa Obbb bbbb Occc cccc Oddd dddd 
7-bit hex AA BB CC DD 



Binary Osss ssss Ottt tttt Ouuu uuuu Ovw vwv 
7-bit hex SS TT UU W 



I Parameter base address 



All deta sent in exclusive message are given particular addresses to 
identify parameters. These address are the sum of the base address 
and offset address. Some parameters are defined using multiple off- 
sets. The address included in the message oE a data set or a data 
request must be within the value shown in the table below. 

Note: A pair at two adcfress precec^d by the symbol # raprBsents a Ovideii-t^'two 
data.e.g.the data ABH (fw() is devkted into OAH and (BH and sent in that ofc^. 

I Example of exclusive data / 

To set the reverb type of the temporary performance common to 
-DELAY", send the following data to the JV-lOeO. 

FOii 41H lOH 6AH 12H OIH OOH OOH 2aH 06H 51H F7H 



Comments : 

1. Exclusive status. 

2. Manufacturer ID: Roland=41H 

3. Device ID: the unit number of the system common parameter minus 1. 
In this example, the unit number is 17: 17 - I = 16 which is 
expressed as lOt! in hexadecimal notation. 

4. Model ID of the JV-iOBO is 6An. 

5. Command ID: data set 1=12H. 

6. Addresses: by refering to Table 1, the start address of the tern- 
poraiY performance=01H OOH OOH OOH; from Table 1-2, offset 
address of performance coramon-OOH OOH; from Table 1-2-1, offset 
address of reverb type=OGH 28H. These address are added together: 

OIH OOH OOH OOH 

OOH OOH 

+) OOH 28H 

OIH OOH OOH 28H = target address 

7. The number of 'DELAY' is 6: 06H in hexadecimal. 

8 . Check auin 

The error checking process uses a checksum and provides a pattern 
where the last significant 7 bits are zero when values for an 
address, data (or size) and the checksum are sunaned. If the 
address is 'aa bb ccH" and the data ior the sizel is "dd ee ffH" 

aatbb+cci-dd*ee+f f=5um 
sum+128-quocient" "remainder 

12B-remainder=checksum 



In case of this example, 

FOH 41H lOH 6AH 12H OIH OOH OOH 28H 06H ??H F7H 



address data checksum 
Using the above formura, checksum is below. 

01H+OOH + OOH-»28H+06H=l + + + 40+6-»=47(suml 
47 (sum) +12BS0 {quotient) ••-47 (remainder) 
checksum=128-47 (remainder) =8I=51H 

IF you caicuratG using only hexadecimal, 

aa+bb+cc+dd+ee+f f =sum(xxH) 

sum (xxH)+80H=quotient'« "remainder 

80H - rema i nder =chec ksum 

ChecksLim is below, 

01H + 00H + 00H+28H+06H==2FH(suml 
2FH+a0H=00H (quotient) ■••2FH (remainder) 
checksum=80H-2FH (remainder )=51H 



9.F7H is the mark of the end of exclusive. 



1 JV-10^ 



< MODEL ID = 6 AH > 



I Start 

I address 



00 00 00 00 



I 02 
I 02 



I 02 
i 03 



00 00 00 

00 00 00 

01 00 00 

08 00 00 

09 OO 00 
OA 00 00 

OF 00 00 
00 00 00 



I 10 
! 10 



00 00 00 

01 00 00 

IF 00 00 

40 00 00 

41 00 00 

00 00 00 

01 00 00 



1 11 7F 00 00 



t 20 00 00 00 

I 20 01 00 OO 

I : 

I 20 IF 00 00 

I 20 40 00 00 

1 20 41 00 00 

i 21 00 00 00 

I 21 01 00 00 

I : 

I 21 7F 00 00 



Description 



Temporary performance 

Performance mode temporary patchtpart 1) 

Performance mode temporary patch(part 2) 

PerfotraancG mode temporary patchtpart 9) 

Temporary rhytlvn setup 

Performance mode temporary patchtpart 11) 

Performance mode temporary patchtpart 16) 
Patch mode temporarj' patch 



User performance USER: 01 
User performance USER502 

User performance USER: 32 
User rhythm setup USER;1 
User rhythm setup USER:2 
User patch USEHtOOl 
User patch USER:Q02 

User patch USES:128 



Data 

Data 

Data 
Data 

Data 
Data 
Data 



card 
card 

card 
card 
card 
card 
card 



performance CARD:01 
performance CARD;02 

performance CARD:32 
rhythm set CARD: I 
rhythm set CARD: 2 
patch CARDiOOi 
patch CARD:002 



Data card patch CARD: 128 



Offset 

address 



00 00 

10 00 

11 00 

ir 00 
20 00 



System common 
Part 1 scale tune 
Pare 2 scale tune 

Part 16 scale tune 
Patch mode scale tune 



System comir.on 



Offset t 

addiess ! 



Descriptio 



•1-2 
•1-3 



'1-4 
'1-3 



•1-3 
•1-2 



*l-4 
'1-3 



•1-4 

■1-3 



*i-i-i 

'11-2 



OC 00 I 0000 OOaa 

I 
00 01 I Oaaa aaaa 

i 

I 
00 02 I 0000 OOaa 

I 
00 03 I Oaaa aaaa 
00 04 1 0000 aaaa 

I 0000 bbbb 
00 06 1 Oaaa aaaa 

I 
00 07 I 0000 000a 

I 
00 08 t 0000 000a 

I 
00 09 I 0000 000a 

I 
00 OA i 0000 000a 

00 OB i 0000 000a 

i 
00 OC ! 0000 000a 

! 
00 OD I 0000 Oaaa 



Panel ma3e 0-2 

{ PERPCSt'SWCE, PAICH , CM) 
Perfonnarce riiiiiber - 127 

(USER:01 - USER:32,CMtD:0i - CARD:32. 
I^-A:01 - PR-A:32,PR-B:01 - ro-B:32) 
Patch nude jjatcli grojp 0-2 





(USER, KM. SXPJ 


Patch node patch group ID 


- 127 


Patch node patch nuntfcii 


- 254 




{001 - 2S5) 


Master tune 


- 126 




1427.4 - 452.5) 


Scale tune switch 


- I 




(OFT, ON) 


ESTi swiLdi 


- I 




tCST^.CN) 


aiorus switch 


- 1 




(OFT.QN) 


Revei"b switch 


- 1 




(OFF,aj) 


Patdi remain 


- I 




(OFF.CN) 


Clock source 


- ]. 




(INT. MIDI) 


Tap control source 


- 1 



{OFF.HOli)- 1 , seTKMTiO, STT, i-ni,D-2 1 



150 



00 OE 


0000 Oaaa 


Hold control source 


- 4 






(CFF, KX1>-1 , SDffraJinU. SOi-T. JR3U>2 ) 


00 OF 


0000 Oaaa 


Peak control sajrce 


0-4 






(OFF, HXD-1 , SCOTElWro, SOFT. HXD-Z ] 


OD 10 


0000 000a 


Volume control sojrce 


- 1 
fVOiWE.VOUEXPJ 


00 11 


0000 OOaa 


Aftertouch source 


0-2 






ICH-AFTEE.KJLV-MTES.CMSPOLyi 


00 12 


Oaaa aaaa 


System octroi soiree 1 


- 97 






(croo 


- CCgS.BEMEER.AFTERTOUCHI 


00 13 


Oaaa aaaa 


System ccaitroi source 2 


- 97 






icroo 


- args.BHOEE.AFnarrotoi) 


00 14 


0000 OOOa 


Receive program change 


0-1 
(tFF.CMI 


00 15 


0000 OOOa 


Receive tank select 


0-1 
(OFF.CH) 


00 16 


0000 OOOa 


Receive control change 


- 1 
(OFF.CH) 


00 n 


0000 OOOa 


Receive jrodulation 


- 1 
lOFF.OJ) 


00 18 


0000 OOOa 


Receive volume 


- 1 
lOFF.CM) 


00 19 


0000 OOOa 


Receive hold-1 


- 1 
(OFF, CM) 


00 lA 


0000 OOOa 


Receive bender 


- 1 
lOFF.ai) 


00 IB 


0000 OOOa 


Receive aftertouch 


- 1 
(OFF.ai) 


00 IC 


OOOa aaaa 


Control channel 


0-16 

11 - 16.0FF) 


00 ID 


0000 aaaa 


Patch receive channel 


- 15 
(1 - 161 


00 IE 


0000 OOOa 


Rhythm edit Source 


0-1 
IPMEL.PAMELiMlDI) 


00 IF I 0000 000a 


Preview sound mode 


0-1 








(SINGLE, CHORD) 


00 20 


Oaaa aaaa 


Preview key set 


- 127 
(C-1 - G9) 


00 21 


Oaaa aaaa 


Preview velocity set 1 


- 127 
{C^,l - 127) 


00 22 


Oaaa aaaa 


Preview key set 2 


- 127 
(C-1 - G9) 


00 23 


Oaaa aaaa 


Preview velocity set 2 


- 127 
(OFF.l - 127] 


00 24 


Oaaa aaaa 


Preview k^ set 3 


- 127 
(C-1 - G9) 


00 25 


Oaaa aaaa 


Preview velocity set 3 


- 127 
(OFF.l - 127) 


00 26 


Oaaa aaaa 


Preview key set 4 


- 127 
(C-1 - G9I 


00 27 


Oaaa aaaa 


Preview velocity set 4 


- 127 
(OfF.i - 127) 



iTotal siae ! 00 00 00 28 



Scale tune 



Offset 

addiess 



00 00 
DO 01 
00 02 
00 03 
00 04 
00 05 
on 06 

00 07 
00 08 
00 09 
OD OA 
OO OB 



Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 



Description 
Scale tune for C 
Scale tune for CH 
Scale tune for D 
Scale lune for Dt( 
Scale Luiie for E 
Scale Lune for F 
Scale tune for F# 
Scale tune for G 
Scale tune for G# 
Scale tune foi A 
Scale tune for AB 
Scale tune for B 



D - 127 
(-64 - +63) 
- 127 
{-64 - *63j 
- 127 
(-64 - ■*63) 
- 127 
{-64 - t63) 
- 127 
(-64 - -^63) 
- 127 
(-64 - +63) 
- 127 
(-64 - +63) 
- 127 
(-64 - +63) 
- 127 
(-64 - +63) 
- 127 
(-64 - +63) 
- 127 
(-64 - +63) 
- 127 
[-64 - +63) 



Total size t 00 00 00 OC 



Example UKing RQl / 
'o get the all data of the system common, send the followinq message 

r.he JV-]08n. 
FOH 41K lOH 6AH IIH OOH OOH OOH OOH OOH OOH OOH 2BH 58H F7H 

Exainple using DTI / 
To set the Control Channel of the system common to 1. send the fol- 
owing message to the JV-IOBO. 
FOH 41H lOH 6A?I 12H OOH OOH OOH ICH OOH 64H F7H 



Performance 



Offset 1 
address } 



00 00 i Performance common 

10 00 I Performance part 1 

11 00 1 Performance part 2 
: i 

IF 00 ! Performance part 16 



*l-2-l 
•1-2-2 



offset 










address 




Description 




00 


00 


Oaaa aaaa 


Performance name 1 


32 - 127 1 


00 


01 


Oaaa aaaa 


Performance name 2 


32 - 127 1 


00 


02 


Oaaa aaaa 


Performance name 3 


32 - 127 1 


00 


03 


Oaaa aaaa 


Perfonnance name 4 


32 - 127 1 


00 


04 


Oaaa aaaa 


Performance name 5 


32 - 127 1 


00 


05 


Oaaa aaaa 


Perfonnance nane 6 


32 - 127 1 


00 


06 


Oaaa aaaa 


Performance name 7 


32 - 127 ! 


00 


07 


Oaaa aaaa 


Performance name B 


32 - 127 1 


00 


08 


Oaaa aaaa 


Performance name 9 


32 - 127 1 


00 


09 


Oaaa aaaa 


Performance name 10 


32 - 127 1 


00 


OA 


Oaaa aaaa 


Perfomance name 11 


32 - 127 1 


00 


OB 


Oaaa aaaa 


Performance name 12 


32 - 127 1 


00 


OC 


OOaa aaaa 


EFX: Source 


0-15 1 
(PERFORM.l - 9.1] - 16) 1 


00 


OD 


OOaa aaaa 


EFXiiype 


0-39 1 


00 


OE 


Oaaa aaaa 


EFX: Parameter 1 


32 - 127 1 


00 


OF 


Oaaa aaaa 


EFX: Parameter 2 


0-127 1 


00 


10 


Oaaa aaaa 


EFX: Parameter 3 


0-127 ! 


00 


11 


Oaaa aaaa 


EFX: Parameter 4 


0-127 1 


00 


12 


oaaa aaaa 


EFX: Parameter 5 


0-127 1 


00 


13 


Oaaa aaaa 


EFX: Parameter 6 


0-127 1 


00 


14 


Oaaa aaaa 


EFX: Parameter 7 


0-127 1 


00 


15 


Oaaa aaaa 


EFX: Parameter 8 


0-127 1 


00 


16 


Oaaa aaaa 


EFX: Parameter 9 


0-127 1 


00 


17 


Oaaa aaaa 


EFX: Parameter 10 


0-127 i 


00 


IS 


Oaaa aaaa 


EFX: Parameter 11 


0-127 1 


00 


19 


Oaaa aaaa 


EFX: Parameter 12 


0-127 1 


00 


lA 


0000 OOaa 


EFX:Output assign 


0-2 1 

(Mix,arrRm.arrPOT2) i 


00 


IB 


Oaaa aaaa 


EFX:Output level 


0-127 1 


00 


IC 


Oaaa aaaa 


EFX:{ZliDniS send level 


0-127 i 


00 


ID 


Oaaa aaaa 


EFX: Reverb send level 


0-127 1 


00 


IE 


0000 aaaa 


EFX:Control source 1 


0-10 ) 








{OFF. SYS-CTRL1,SYS-CTRL2, MODULATION, BREATH. FaTT, 1 








VOLUME. PAN, EXPRESSION. BENDER, AFT1531TOUCH) t 


00 


IF 


Oaaa aaaa 


SFX;Control depth 1 


0-126 1 
(-63 - -.63) 1 


00 


20 


0000 aaaa 


EFX:Control source 2 


0-10 1 








(OFF, SyS-CTRLl,SVS-CTRL2,M0DULATI0N.BREATH. FOOT. 1 








VOLUME.PAH.EXPRESS10N,BENDER,AFTERTaUCH) 1 


00 


21 


Oaaa aaaa 


EFX:Control depth 2 


0-126 1 
(-63 - +63) 1 


00 


22 


Oaaa aaaa 


Chorus: Level 


0-127 1 


00 


23 


Oaaa aaaa 


ClToniB:Rate 


0-127 1 


00 


24 


Oaaa aaaa 


Chorus : Depth 


0-127 1 


00 


25 


Oaaa aaaa 


chorus; Pre delay 


0-327 1 


00 


26 


Oaaa aaaa 


Chorus : Feedback 


0-127 1 


00 


27 


0000 OOaa 


Chorus:Output assign 


0-2 1 
(MIX, REVERB. MIX+REV) 1 


00 


28 


0000 Oaaa 


Reverb: type 


0-7 1 








{BDCM1.ROOM2.STSGE1.STAGE2. t 








HRLL1,HALL2,DELRY,PAN-1I,Y) 1 


00 


29 


Oaaa aaaa 


Reverb: Level 


0-127 1 


00 


2A 


Oaaa aaaa 


Reverb: Time 


0-127 1 


00 


2B 


OOOa aaaa 


Reverb: HF danp 

(200.250,315.400,500 


0-17 1 
,630,800.1000.1250.1600. 1 








2000, 2500, 3150. 4000, 5000, 6300, 8000, BYPASS) 1 


00 


2C 


Oaaa aaaa 


Reverb : Feedback 


0-127 1 


« 00 


2D 


0000 aaaa 
0000 Ijbbb 


Default tenpo 


20 - 250 1 


00 


2F 


0000 OOOa 


Key range switch 


0-1 1 
(OFF.ON) 1 


00 


30 


Oaaa aaaa 


Part 1 voice reserve 


0-64 1 


00 


31 


Oaaa aaaa 


Part 2 voice reserve 


0-64 1 


00 


32 


Oaaa aaaa 


Part 3 voice reserve 


0-64 I 


00 


33 


Oaaa aaaa 


Part 4 voice reserve 


0-64 1 


00 


34 


Oaaa aaaa 


Part 5 voice reserve 


0-64 i 


00 


35 


Oaaa aaaa 


Part 6 voice reserve 


0-64 1 


00 


36 


Oaaa aaaa 


Part 7 voice reserve 


0.-64 1 


00 


37 


Oaaa aaaa 


Part 8 voice reserve 


0-64 1 


00 


38 


Oaaa aaaa 


Part 9 voice reserve 


0-64 1 


00 


39 


Oaaa aaaa 


Part 10 voice reserve 


0-64 1 


00 


3A 


Oaaa aaaa 


Part 11 voice reserve 


0-64 1 


00 


3B 


Oaaa aaaa 


Part 12 voice reserve 


0-64 1 


00 


3C 


Oaaa aaaa 


Part 13 voice reserve 


0-64 1 


OO 


3D 


Oaaa aaaa 


Part 14 voice reserve 


0-64 1 


00 


3E 


Oaaa aaaa 


Part 15 voice reserve 


0-64 1 


00 


3F 


Oaaa aaaa 


Part 16 voice reserve 


0-64 i 


Total size 


00 00 00 4 


a 





Note: The performance name data returned in response to this request 
are expressed in ASCII characters of hexadecimal. 

Note: The sum of voice receives must be less than or equal 64. 

/ Example usin RQl / 

To get the performance name data of performance USERtOl, send the 

following message to the JV-1080. 

FOH 41H lOH 6AH IIH lOH OOH OOH OOH OOH OOH OOH OCH 64H F7H 

/ Example using DTI / 

To set the reverb type of performance USER:08 to ■HALL2", send the 

following message to the JV-IOSO. 

FOH 41H lOH fiAH 12H lOH 07H OOH 2BH 05H 3CH F7H 



151 



Performance pare 



0000 Oaaa i Reverb; type 



Offset 












address 






Descriptiion 




00 


00 


0000 


000a 


MIDI receive switch 


Q - 1 
(OFF, ONI 


00 


01 


0000 


aaaa 


MIDI channel 


0-15 
(1 - 16) 


00 


02 


0000 


OOaa 


Patch group 


- 2 

(USER, PCH, EXP) 


00 


03 


Oaaa 


aaaa 


Patch group ID 


- 127 


N 00 


04 


0000 


aaaa 


Patch number 


- 254 






0000 


bbbb 




(001 - 255) 


00 


Ofi 


Oaaa 


aaaa 


Part level 


- 127 


00 


07 


Oaaa 


aaaa 


Part pan 


- 127 
{L61 - 63E) 


00 


08 


Oaaa 


aaaa 


Pitch coarse tune 


0-96 
1-48 - t48) 


00 


09 


Oaaa 


aaaa 


Pitch fine tune 


- 100 
1-50 - *50) 


00 


Ofi 


0000 


Oaaa 


Output assign 


- 4 










(MIX, EFX.OUTPUTl, OUTPUTS, PATCH) 


00 


OD 


Oaaa 


aaaa 


Output level 


- 127 


00 


or 


Oaaa 


aaaa 


Chorus send level 


- 127 


00 


on 


Oaaa 


aaaa 


Reverb send level 


- 127 


00 


OE 


0000 


000a 


Receive prograin change 


- 1 
(OFF, ON) 


00 


OF 


0000 


000a 


Receive volume 


- 1 
(OFF, OH) 


00 


10 


0000 


000a 


Receive hold-1 


0-1 
(OFF, ON) 


00 


11 


Oaaa 


aaaa 


Key range lower 


- 127 
(C-i - G9) 


00 


12 


Oaaa 


aaaa 


Key range upper 


- 127 
(C-1 - G9) 



IToLai size ! 00 00 00 13 



/ Example using P.Q1 I 

To get the all data of the performance USER; 03 parameters of part 3 

serid the following message to the JV-lOflO. 

FOH 41H lOH 6AH IIH lOH 02H 12H OOH OOH OQH OOH 13H 49H F7H 

/ Example using DTI / 

To mute (MIDI receive switch = off) the part 1 of the ceraporarv per 

forroance, send the Eoliowiny messaue to the JV-IOBO. 

FOH 41H lOH 6AH 12H OIH OOH lOH OOH OOH 6FH F7K 



Offset I 
address I 



Description 



00 


QQ 


Patch 


common 


10 


00 


Patch 


tone 1 


12 


00 


Patch 


tone 2 


14 


00 


Patch 


tone 3 


16 


00 


Patch 


tone 4 



•1-3-] 

•i-a-,? 



Patch common 



Offset 
















address 






Description 






00 


00 


Oaaa 


aaaa 


Patch name 1 






32 - 127 


00 


01 


Oaaa 


aaaa 


Patch name 2 






32 - 127 


00 


m 


Oaaa 


aaaa 


Patch name 3 






32 - 127 


00 


03 


Oaaa 


aaaa 


Patch name 4 






32 - 127 


00 


04 


Oaaa 


aaaa 


Patch name 5 






32 - 127 


00 


O'l 


Oaaa 


aaaa 


Patch name 6 






32 - 127 


00 


06 


Oaaa 


aaaa 


Patch name 7 






32 - 127 


00 


07 


Oaaa 


aaaa 


Patch name 8 






32 - 127 


00 


08 


Oaaa 


aaaa 


Patch name 9 






32 - 127 


00 


09 


Oaaa 


aaaa 


Patch name 10 






32 - 127 


00 


OA 


Oaaa 


aaaa 


Patch name 11 






32 - 127 


00 


OB 


Oaaa 


aaaa 


Patch name 12 






32 - 127 


00 


oc 


OOaa 


aaaa 


EFX:Type 






- 39 


00 


OD 


Oaaa 


aaaa 


EFX: Parameter 


1 




- 127 


DO 


OE 


Oaaa 


aaaa 


EFX: Parameter 


2 




- 127 


00 


OF 


Oaaa 


aaaa 


EFK: Parameter 


■i 




- 127 


00 


10 


Oaaa 


aaaa 


EFX: Parameter 


4 




- 127 


00 


11 


Oaaa 


aaaa 


EFX : rarametei' 


b 




- 127 


00 


\2 


Oaaa 


aaaa 


EFX:ParamQtGr 


6 




- 127 


00 


13 


Oaaa 


aaaa 


EFX: Parameter 


7 




- 127 


00 


14 


Oaaa 


aaaa 


EFX: Parameter 


« 




- 127 


00 


15 


Oaaa 


aaaa 


EFX: Parameter 


9 




- 127 


DO 


16 


Oaaa 


aaaa 


EFX; Parameter 


10 




- 127 


00 


17 


Oaaa 


aaaa 


EFX: Parameter 


11 




-- 127 


00 


IR 


Oaaa 


aaaa 


EFXiParanetec 


12 




- 127 


00 


19 


OOOO 


DOaa 


EFX:Output assign 




■■ 2 
















(MIX , Om-P'JTl , 0UTPUT2 ) 


00 


\K 


Oaaa 


aaaa 


EFX:Output le\ 


el 




- 127 


00 


ID 


Oaaa 


aaaa 


EFX: Chorus send le 


vel 


- 127 


00 


IC 


Oaaa 


aaaa 


EFX: Reverb send level 


- 127 


00 


ID 


0000 


aaaa 


EFX: Control source 


1 


- 10 










(OFF, SYS -CTRL 


,SYS 


-CTRL2,M3D'JLATIOH,BP-EATO,F0ar, 










VOLUME 


vm. 


SXPRESSIOJ , BENDER , APTEPTOUCH ) 


00 


IE 


Oaaa 


aaaa 


EFX: Control depth 


1 


- 126 
















{-63 - +63) 


00 


IF 


0000 


aaaa 


EFX: Control source 


2 


- 10 










(0FF,SV2-CTRL 


,GYS 


-ei'RL2,H0DUU\T10N. BREATH, PaTT, 










TOLUME 


PAJJ. 


£:<PRESS TON . DEl-JDER , AFTER'raua i ) 


00 


?.o 


Oaaa 


aaaa 


EPX:Control depth 


2 


- 126 
















(-63 - .531 


00 


7.\ 


Oaaa 


aaaa 


Chorus: Level 






- 127 


00 


7.2 


Oaaa 


aaaa 


Choi-us:Rate 






- 127 


00 


7.^ 


Oaaa 


aaaa 


Chorus : Depth 






- 127 


00 


24 


Oaaa 


aaaa 


Chonja:Pre delay 




- 127 


00 


2r, 


Oaaa 


aaaa 


Chorus ; Feedba^ 


k 




- 127 


00 


26 


0000 


OOaa 


Chorus :Oatput 


assi 


QTl 


- 2 



{MlX,Ht,Vb:RB,MIXtREVi 
- 7 
( ROOM! , KXK2 , STMSEl , STACE2 , 
HALLI , HALL2 , DELAY , PAN- DLY ) 
- 127 
- 127 
-- 17 
{200,250,315,400,500,630,800,1000,1250,1600. 
i i 2000,2500,3150,4000, MOO. 6300, 8000, BYPASS) 

00 2B I Oaaa aaaa 1 Reverb:Feedback ~ 127 



00 28 ! 
00 29 ! 
00 2A i 



Oaaa aaaa 
Oaaa aaaa 

OOOa aaaa 



Reverb: Level 
Reverb: Time 
Reverb :HF datap 



« 


00 


2C 


1 0000 
1 0000 


aaaa 
bbbb 


Default teirpo 


20 - 250 




00 


2E 


i Oaaa 


aaaa 


Patch level 


- 127 




00 


2F 


i Oaaa 


aaaa 


Patch pan 


- 127 
[L64 - 63Ki 




00 


10 


1 Oaaa 


aaaa 


Analog lieel depth 


- 127 




00 


31 


! 0000 


aaaa 


Bender range up 


0-12 




00 


32 


! OOaa 


aaaa 


Bender range down 


0-48 
(0 - -48) 




00 


33 


1 0000 


OOOa 


Key assign mode 


0-1 
(POLY, SOLO) 




00 


34 


t 0000 


OOOa 


Solo legato 


- 1 
(OFF, ON) 




00 


35 


^ 0000 


OOOa 


Portamento switch 


0-1 
(OFF,ON) 




oo 


3b 


i 0000 


OOOa 


Portamento mode 


- 1 

(NORMAL, LB3AT0) 




00 


37 


1 0000 


OOOa 


Portamento t^-pe 


- 1 
(RATE, TIME) 




00 


39 


: 0000 


OOOa 


t^rtamcnto start 


0-1 
(PITCH, NOTE) 




00 


39 


1 Oaaa 


aaaa 


portairrf2nto tune 


- 127 




00 


3 A 


; 0000 


aaaa 


Patch control source 2 


- 15 












(OFF, SVS-CTRLl , SYS-CTRL2 , HOiXJIJlTlOH, SREMV:. FOOT, 












VOLUME, P»J, EXPRESSION, BENDER , AFTERTOUCH , 












LFOl , LF02 , VELOC ITY , KEVF0LU3W , PLAVMATE ) 




00 


3B 


{ 0000 


aaaa 


Patch control source 3 


- 15 












(OFF, SyS-CTHLl , SYS-CmL2 , MODULATION, aREATH, FOOT, 












VOLUME, PAN, EXPRESSIOfJ, BENDER , AFTERTOUCH , 












LRli, LF02, VELOCITY, KEYFOLLOW, PLAYMATE) 




00 


3C 


1 0000 


OOaa 


EFX control liold/pcalt 


- 2 

(OFF, HOLD, PEAK) 




00 


3D 


I 0000 


OOaa 


Control 1 tiold/pea)< 


0-2 

(OFF, HOLD. PEAK) 




00 


3E 


1 0000 


OOaa 


Co.ntrcl 2 hold/pGa!< 


0-2 
(OFF,HOLD,PEAK) 




00 


3F 


! 0000 


OOaa 


Control 3 hold/pealc 


- 2 

(OFF, HOLD, PEAK) 




00 


40 


i 0000 


OOOa 


Velocity range switch 


- 1 
(OFF, ON) 




00 


41 


i 0000 


Oaaa 


Octave shift 


- 6 
(-3 - -.3) 




00 


42 


i 0000 


OOaa 


Stretch Cujie depth 


- 3 
(OFF, 1 - 3f 




00 


4 3 


i 0000 

i 


OOOa 


Voice priority 


- 1 

(LAST, LOUDEST) 



00 44 1 
1 

00 4'iy \ 
I 

00 46 ! 
I 

00 47 ! 



0000 aaaa 
0000 OOaa 
0000 aaaa 
0000 OOaa 



: Structure type 1&2 

! Booster level 1&2 

1 Structure type 3&4 

i Booster level 3i4 



{0. ^6, *12.-' IB) 



Total size 



00 00 00 48 



,' Example using RQl / 

To get the value of rhe porr.araenro rimp of the patch temporary, send 

the following message ro the JV-iOflO. 

FOH 41H lOH bAH 11H~03H OQH OOH 39H OOH OOH OOH OIH 43H F7H 

/ Example using dti / 

To set the structure l(i2 of the patch USER:48 to -TYPE 3", send the 

following message to the JV-J.080. 

FOH 41H lOH em 12H IIH 2FH OOH 44H 02H 7AH F7H 



Patch tone 



Offset 














address 






Description 




00 


00 


0000 


OOOa 


Tone switch 




- 1 
(OFF. CM) 


00 


01 


0000 


OOaa 


IVa-itr group 




- 2 

(a-rr.p^M.EXPi 


00 


02 


Oaaa 


aiiriri 


wave group ID 




- 127 


H 00 


03 


0000 


aaaa 


l-iave Hunter 




- 254 






OOOn iirth 






(i - 255) 


00 


OS 


0000 


OOaa 


Vlavc gain 




- 3 

(-6,0, -.6, .12! 


00 


06 


0000 


OOOa 


FXM i^-itcJ-\ 




- 1 
{OFF, OH) 


00 


07 


0000 


OOaa 


FXM color 




- 3 
(1 - A) 


00 


08 


0000 


aaaa 


FXH depth 




■ 15 

(1 ■■ 16) 


00 


09 


OOOO 


Oaaa 


Tl^ie delay m^de 




- S 










(^)Cl^MAI.,HOLD.^xY 


II.TERVAL,CLCa<-SYtaC,TAP-SY!*:, 












KEY 


OFF- ^raM=lL, KETi'-OfT-rXCAY) 


00 


OA 


Oaaa 


aaaa 


l^Dne delay Lime 




- 127 


00 


OB 


Oaaa 


aaaa 


Velocity cross tade depth 


- 127 


00 


OC 


Oaaa 


aaaa 


Velocity range Icwer 




I - 127 


00 


OD 


Oaaa 


oaaa 


Velocity ranae upper 




I 127 


00 


OE 


Oaaa 


aaaa 


Key range IcMer 




- I2'7 
(C-1 - G9i 


00 


OF 


Oaaa 


aaaa 


Key range upptsr 




- 127 
IC-i - G9) 


00 


10 


OOOO 


OOOa 


Riedanper control swit 


7h 


- 1 
(OF!^,aJ) 


00 


11 


OOOO 


OOOa 


Voiicne control switcr. 




- 1 



152 



00 12 

00 13 
00 11 
00 15 

00 16 
00 17 

00 18 
00 19 

00 lA 
00 IB 

00 IC 
00 ID I 

00 IE I 
00 IF 

00 20 
00 21 

00 22 
00 23 

00 24 
00 25 

00 26 

00 27 

00 28 
00 29 

00 2A 
on 2B 



0000 000a 
0000 000a 
0000 OOaa 
000a aaaa 

Oaaa aaaa 
000a aaaa 



Oaaa aaaa 
000a aaaa 

Oaaa aaaa 
000a aaaa 

Oaaa ftnaa 
000a aaaa 

Oaaa ^^aa 
000a aaaa 

Oaaa ^^^^^ 
000a aaaa 

Oaaa aaaa 
000a aaaA 

Oaaa aaaa 
000a aaaa 

Oaaa aaaa 
000a aaaa 

Oaaa aaaa 
000a aaaa 



00 2D 1 
no 2E 



00 2F 
no 30 



00 31 
00 32 



00 33 
00 34 



00 35 
00 36 



00 37 
00 38 



00 39 

DO 3A 1 



00 3B I 

00 3C 1 



OOOO Oaaa 
OOOO 000a 



Oaaa aaaa 
OOOO Oaaa 



Oaaa aaaa 
OOOO OOaa 



OOOO OOaa 

OOOO Oaaa 

OOOO OOOa 

Oaaa aaaa 
OOOO Oaaa 

Oaaa aaaa 
OOOO OOaa 

Oaaa aaaa 
OOOO OOaa 



00 3D 
00 3E 
00 3F 

00 40 

00 41 
00 42 

00 43 

00 44 



Oaaa aaaa 
Oaaa aaaa 
OOOa aaaa 

OOOO aaaa 

OOOa aaaa 
Oaaa aaaa 
OOOO aaaa 

OOOO aaaa 



Hold-1 control switch 

Bender ccntrol switch 

Pan control switch 

Controller 1 destinaticn 1 
(OFF, ECH.COT. 
PU,PL2,FL1,FL2, 
Controller 1 depth 1 

Controller 1 destination 2 
ICFF.PCH.COT, 
EU,PL2,FU,FL2, 
Controller 1 dejJth 2 

Controller 1 destination 3 
(OFT, ECH.COT, 
PU,PL2,nJ,FL2, 
Controller 1 d^h 3 

Coitroller 1 destinaticn 4 
(OFF, ECH.CUr, 
PL1,PI2,FI,1.F12, 
Controller 1 depth 4 

Controller 2 destination 1 
(OFF, KH, COT, 
PU,P12,FL1,FI2, 
Controller 2 depth 1 

Controller 2 destinaticn 2 
(csT,pcH,a;r, 

PL1,PL2,FU.,F1^, 
Controller 2 depth 2 

Controller 2 destinaticn 3 
(CTF.PCH.IlTr, 
PL1,PL2,FU,FL2, 
Controller 2 depth 3 

OOTtroller 2 destinaticn 4 
(CTF, pcH,an', 

PL1,PL2,FU,F12, 
Controller 2 depth 4 

Controller 3 destinaticn 1 
(OFF.PCH.COT, 
PU,PL2,FL1.FI2, 
controller 3 depth 1 

controller 3 destination 2 
(OFF,PCH,CUr, 
Pl,l,FL2,FLl,FL^, 
Controller 3 depth 2 

Controller 3 destination 3 
(OFF,PCH,COT, 
PU,PU,F1,1,FL2, 
Controller 3 depth 3 

controller- 3 destination 4 
(OFF.fai,COT, 
PL1,PL2,FL1,FL2, 
Controller 3 depth 4 



(OFT.CKl 
0-1 
(CfP.CHl 
0-1 

0-2 

(OFF,CCKnNUOOS,KEy-CM! 

0-18 
FiES,I£V,PSN,MIX,CHO,REV, 
M.l,AI,2,pLl,pL2,IJR.L2Rl 

- 126 

(-63 - t631 

0-18 
BES.LEV, PSN.MEi.CHO, FB/, 
AU,Al2,pLl,pL2,UR,L2E) 

- 126 

(-63 - +63) 

0-18 
KES,LEV,PAN.MIX,CHD,REV, 
AH,M2,pU,pL2,LlR,L2R] 

- 126 

(-63 - .631 

0-18 
REE.LEV, PSN.MDCCHO, BEV, 
AU,h;2.PU,pL2,UR,L2R| 

- 126 

(-63 - -(63) 

0-18 
RES,ia',PAN,HIX,l30,REV, 
SU,AU,pU,Ji2,LlR,L2R) 

0-126 

(-63 - ♦63) 

0-18 
RES,LEV,PSN.Mrx,CHD,REV, 
«,l,Ali,pLl,pI2,LlR,L2R) 

- 126 

1-63 - +63) 

- IB 
RES, LEV, P«J,HIX,aO, REV, 
flU,AL2,Jil,[M,LlR,L2R) 

0-126 

(-63 - +63) 

0-18 
RES,1£V, PSH,HIX,CHD, REV, 
AU ,M,2 , pU ,pl,2 , LIR, L2R) 

- 126 

(-63 - +631 

0-18 
RES, LEV, PAN, MIX. CHO, REV, 
AU.AL2,pLl.pL2,LlR,L2R) 

- 126 

(-63 - +631 

0-18 
RES,LEV,PAN,MIX.CHD,REV, 
RLl.AI2,pLl,pL2,LlR,L2Rl 

- 126 

(-63 - +63) 

0-18 
RES,LEV.PSN,HIX,CHD.REV, 
ALl,AL2,pLl.pL2,LlE.L2Rl 

- 126 

(-63 - .63) 

0-18 
RES,LEV,PAN.MIX,aCREV, 
ALl,AL2.pLl,pL2.LlR,L2R) 

- 126 

(-63 - +63) 



LPD 1 waveform 
IJO 1 l(ey trigger 



LFD 1 
LFTJ 1 



USQ 1 
LPO 1 



LfD 1 
LPD 1 



LTO 2 I 
LH.1 2 



rate 

level offset 



delay time 
fade mode 



fade time 
external sync 



LTO 2 
LfO 2 



LH3 2 
U-U 2 



liX) 2 
LTO 2 



rate 

level offset 



delay time 
fade mode 



fade time 
external sync 



I, SIN, SM^, SQR,'IRP,S&H,RND,CHS1 

- ] 

(CJT.CM) 

- 127 

0-4 

(-100,-50,0,*50.+100) 

- 127 

0-3 
(CH-IN,CK-Otn',OFF-IN,OFF-Oin') 

- 127 

- 2 

(OFF,(n£lCK,TAP) 

0-7 
;i,SIN,SAW.SQR,'lRP,SSH,KNn,OiS) 

- 1 

(OKF,iJi) 

- 127 

0-4 

(-100, -50,0, +50, +1001 

- 127 

- 3 
(l3N-IN,0:-a/r, OFF- IfJ, OFF -OTT) 

- 127 

0-2 
(C«T,CLiJCK.TAP) 



Ccarse tune - 96 

(-48 - +481 
Fine tune - 100 

(-50 - +501 
Random pitch d^Dth 0-30 

(0,1,2,3,4,5,6,7,8,9,10,20,30,40,50, 
60,70,80,90,100,200,300,400,500, 
600.700,800,900,1000,1100,1200) 
Pitch keyfoUow 0-15 

(-100, -70, -50, -30, -10.0. +10, +20, -30, 
+40, +50, +70, +100. +120, +150, +2001 
P-EMV depth 0-24 

(-12 - +12) 
P-EIJV velocity sensitivity - 125 

(-50 - +2001 
P-ENV velocity time 1 sensitivity 0-14 

(-100, -70, -50.-40. -30. -20. -10, 0. 
+10. +20.+30. +40.+50. +70, .100) 
P-EMV velocity time 4 sensitivity 0-14 

(-100, -70, -50,-40, -30,-20,-10,0, 
+10, +20, .30, .40, +50, .70, .100) 



1 00 


45 


OOOO 


aaaa 


P~EtTJ tiine keyfollcw 


- 14 
100, -70, -50. -40, -30. -20, -10, 0, 
4lO,+20,+30.+40,450,+70.+100) 


1 00 


46 


Oaaa 


aaaa 


P-EKV time 1 


- 127 


1 00 


47 


Oaaa 


aaaa 


P-EKV time 2 


- 127 


1 00 


48 


Oaaa 


aaaa 


P-ENV tijne 3 


- 127 


1 00 


48 


Oaaa 


aaaa 


P-ENV tiite 1 


- 127 


1 00 


4A 


Oaaa 


aaaa 


P-EWy ieuel 1 


- 126 
(-63 - +63) 


1 oo 


4B 


Oaaa 


aaaa 


P-EWU level 2 


- 126 
(-63 - +63) 


1 00 


4C 


Oaaa 


aaaa 


P-EW level 3 


- 126 
(-63 - +63) 


1 00 


4D 


Oaaa 


aaaa 


P-ENV level A 


- X26 
(-63 - +63) 


1 00 


4E 


Oaaa 


aaaa 


Pitch LK> 1 depth 


- 126 
(-63 ~ +63) 


1 00 


4F 


Oaaa 


aaaa 


Pitc*! IK) 2 ctepth 


- 126 
(-63 - +63) 


1 00 


50 


OOOO 


Oaaa 


Filter type 


- 4 
(OFP.LPF.BPF.HFF.FKG) 


1 00 


51 


Oaaa 


aaaa 


Cutoff frequency 


- 127 


1 00 


52 


OOOO 


aaaa 


cutoff keyfollow 

i-lOO 


- 15 
-70.-50,-30,-ID,0,+10,+20,+30, 










t40.*50, i70, +100. U20, +150.^200) 


1 00 


53 


Oaaa 


aaaa 


Rescnance 


- 127 


1 00 


54 


Oaaa 


aaaa 














(-50 - +200) 


1 00 


55 


Oaaa 


aaaa 


F~EHV depth 


- 126 
(-63 - +63) 


t 00 


56 


OOOO 


Oaaa 


F-EKV velocity curve 


- 6 
(1 - 7) 


1 00 


57 


Oaaa 


aaaa 


F-ENV velocity senait 


ivity - 125 

1-50 - +200) 


1 00 


58 


OOOO 


aaaa 


F-EHV velocity time 1 
(- 


sensitivity D - 14 
100,-70, -50, -40,-30,-20, -10,0, 
+10, +20. +30, +40. +50, +70, +100) 


1 00 


59 


OOOO 


aaaa 


F-ENV wlocity time 4 saisxtivity 0-14 










{- 


100,-70,-50, -40,-30,-20, -10, 0, 
+10,+20,+30,+40.+50,+70,+100) 


1 00 


5A 


OOOO 


aaaa 


F-EMV tine keyfollow 


- 14 
100,-70,-50, -40, -30, -20, 10,0, 
+10, +20, +30, +40, +50, +70, +100) 


1 00 


5B 


Oaaa 


aaaa 


F-HJJV tine 1 


- 127 


1 00 


5C 


Oaaa 


aaaa 


F-ENV time 2 


- 127 


1 00 


5D 


Oaaa 


aaata 


F-EWV time 3 


- 127 


1 00 


5E 


Oaaa 


aaaa 


F~ENV time 4 


- 127 


1 00 


5F 


Oaaa 


aaaa 


F-ENV level 1 


- 127 


1 00 


60 


Oaaa 


aaaa 


F-ENV level 2 


- 127 


1 00 


61 


Oaaa 


aaaa 


F-HNV level 3 


- 127 


1 00 


62 


Oaaa 


aaaa 


F-EW level 4 


- 127 


1 00 


63 


Oaaa 


aaaa 


Filter LPO 1 depth 


- 126 
(-63 - +53) 


t 00 


64 


Oaaa 


aaaa 


Filter LFO 2 depth 


- 126 
{-63 - +63) 


1 00 


65 


Oaaa 


aaaa 


Ttne level 


- 127 


1 00 


66 


OOOO 


OOaa 


Bias direct i CHI 


- 3 

( LOWER, UPPES , L&U , ALL) 


1 00 


67 


Oaaa 


aaaa 


Bias paint 


- 127 
[C-1 - G9) 


1 00 


68 


OOOO 


aaaa 


Bias level 

(- 


0-14 
100,-70,-50,-40,-30,-20,-10,0, 

+10.+20,+3O,+40.+50,*7O,+10D) 


1 00 


69 


OOOO 


Oaaa 


A-H'JV velocity curve 


- 6 
(1 - 7) 


1 00 


6A 


Oaaa 


aaaa 


A-ENV velocity sensitivity - 125 












(-50 - +200) 


1 00 6B 


OOOO 


aaaa 


A-ETA' velocity time 1 


sensitivity 0-14 










(- 


100. -70, -50, -40, -30, -20, -IG, 0, 

+10,+20.+30,+40,+50,+70,+100) 


) 00 


6C 


OOOO 


aaaa 


A-ENV velocity time 4 sensitivity 0-14 










(- 


100,-70,-50,-40,-30,-20.-10,0, 

+i0,+20,+30,+40,+50,+70,+100) 


1 00 


6D 


OOOO 


aaaa 


A-ENV time keyfolicM 
1- 


- 14 
100, -70. -50,-40. -30, -20. -IG , 0, 
+10,+20,*30,+40,+50.+70.+100) 


1 00 


6E 


Oaaa 


aaaa 


A-H-JV time 1 


~ 127 


1 00 


6F 


Oaaa 


aaaa 


A-ENV time 2 


- 127 


1 00 


70 


Oaaa 


aaaa 


A-ENV time 3 


- 127 


1 00 71 


Oaaa 


aaaa 


A-EIW time 4 


- 127 


1 00 


72 


Oaaa 


aaaa 


A-ENV level 1 


- 127 


1 00 


73 


Oaaa 


aaaa 


A-ENV level 2 


- 127 


1 00 


74 


Oaaa 


aaaa 


A-ENV level 3 


- 127 


1 00 


75 


Oaaa 


Baaa 


AnpHrude LFO 1 depth - 126 












(-63 - +63) 


j 00 


76 


Oaaa 


aaaa 


.t«rplitixte UFD 2 dept-h - 126 












(-63 - +63) 


1 on 


77 


Oaaa 


aaaa 


ivrte pan 


- 127 
(L64 - 63R) 


1 00 


78 


OOOO 


aaaa 


Pan keyfollow 


- 14 

100,-70,-50,-40.-30,-20.-10,0. 
^10,*2O,+'i0,+4O,+5O,+70, + lG0J 


1 00 


79 


OOaa 


aaaa 


Rancisr. pan depth 


0-63 


j nn 


7A 


Oaaa 


aaaa 


.Altemace pan depth 


1 - 127 
(Lfi.i - 63R) 


1 00 


7B 


Oaaa 


aaaa 


Pm [JO 1 depth 


- 125 
(L63 - 63R) 


1 no 


7C 


Oaaa 


aaaa 


Han IPC; 2 df^.h 


- 126 
(U3 - fi^R) 


1 no 


7n 


OOOO 


OOaa 


aitfHit assign 


0-3 

(MIX, KFx,arrRfri .arrR.n-2) 


t 00 


7E 


Oaaa 


aaaa 


Qutpjt level 


- 127 


t 00 


7F 


Oaaa 


aaaa 


Oionjs send lei^l 


- 127 


1 01 


00 


Oaaa 


aaaa 


Reverb said level 


- 127 


I'rotai size 


OU 00 01 







Note; I£ the value of the wave n'jmber surpasses the number of 

contained in the corresponding wave group, this message will be 
ignored. 

Note; It the value of the velocity range lower is greater than that 
of the velocity range upper, this message will be ignored. 



153 



/ Example of RQl / 

To get the tone 2 data of the patch USER:02. send Che following mes- 
sage to the JV-1080. 
FOli 41H lOH 6AH IIH IIH OIH 12H OQH OOH OOH OIH OIH 5AH F7H 

i Exapmle of DTI / 

To set the cutoff frequency of the temporary patch tone 3 to 100, 

send the following message to the JV-IOSO. 

FOH 41H lOH 6AH 12H 03H OOH 14H 51H 64H 34H F7H 



Rhythm setup 



Offset 

address 



00 00 

23 00 

24 00 



Descriprion 



Rhythm common 

Rhythm note for icey# 35 (Bl) 

Rhythm note for key* 36 (C2) 

Rhythm note for key# 98 (E7) 



n-4-1 

■1-4-2 



Rhythm common 



Offset I 
address ! 



Description 



nn 


00 


Oaaa 


aaaa 


Rhythm 


name 


1 


on 


01 


Oaaa 


aaaa 


Rhythm 


name 


1 


00 


02 


Oaaa 


aaaa 


Rhythm 


name 


3 


no 


03 


Oaaa 


aaaa 


Rhythm 


name 


4 


on 


04 


Oaaa 


aaaa 


Rhythm 


name 


b 


on 


05 


Oaaa 


aaaa 


Rhythm 


name 


6 


00 


06 


Oaaa 


aaaa 


Rhythm 


name 


I 


on 


07 


Oaaa 


aaaa 


Rhythm 


name 


e 


on 


OR 


Oaaa 


aaaa 


Rhythm 


name 


9 


on 


n9 


Oaaa 


aaaa 


Rhythm 


name 


10 


00 


OA 


Oaaa 


aaaa 


Rhythm 


name 


11 


00 


OB 


Oaaa 


aaaa 


Rhythm 


name 


VI 



12 


127 


.12 


127 


32 


127 


.12 


127 


12 


127 


32 


127 


32 


127 


12 


127 


32 


127 


32 


127 


32 


127 


32 


- 127 



ITotal size I 00 00 00 OC 



•1-4-2 Rhy 


thm note 










1 Otfset 1 














1 adi-ess 1 






Ctescripcion 




1 00 00 1 


0000 000a 


Tone switch 






0-1 1 


1 1 












(OFF, CHI 1 


1 00 01 1 

1 1 


0000 


OOaa 


Wave gxoup 






0-2 1 
lUJT.ECM.EXP) 1 


1 00 02 


Onaa 


aaaa 


Vfeive group ID 






0-127 ( 


H 00 03 


OOOO 


oaaa 


wave number 






0-254 1 


1 


0000 bttfc 








(1 - 2551 1 


1 OO 05 


0000 OOaa 


Wave gaiji 






0-3 1 


1 












{-5,0,i6,+12) 1 


1 00 06 


0000 


aaaa 


Bender range 






0-12 1 


1 00 07 

1 


OOOa 


aaaa 


mte gtCRip 






0-31 1 
(OFF.l - 311 1 


1 00 08 

1 


0000 


OOOa 


Envelope node 






0-1 1 
(M>SUffrAIN, SUSTAIN) 1 


1 00 09 


0000 OOOa 


Voliflne control 


switch 


0-1 1 


1 












(OFF, cm) 1 


1 00 OA 


0000 OOOa 


Hold-1 control 


switch 


0-1 1 


1 












(CTF.CM) 1 


1 00 OB 


0000 OOaa 


Pan control switch 




0-2 1 


1 












(iofF,aKriNUOus,KEr;-am i 


i 00 OC 

1 


Oaaa 


aaaa 


Souire k^ 






0-127 t 
(C-1 - G91 1 


1 00 OD 
1 


Oaaa 


aaaa 


Fine tune 






0-100 1 
(-50 - *50) i 


1 00 OE 


OOOa 


aaaa 


Randan pitch depth 




0-30 1 


1 
1 
1 








10,1 


2,3,4,5 

50,70,00 
600, 700 


,6,7,8,9,10,20,30,40,50. 1 
,90,100,200,300,400,500, 1 
,800,900,1000,1100,12001 1 


1 00 OF 


OOOa 


aaaa 


P-aw depth 






0-24 1 
(-12 - +121 1 


1 00 10 


Oaaa 


aaaa 


P-ETJV velocity 


sensitivity 


0-125 1 


! 












(-50 - 42001 1 


1 00 11 


0000 


s;»Afl 


P-EIJV velocity time sensitivity 0-14 1 


! 










-100,-70.-50,-40,-30.-20.-10,0, 1 


1 










*10,-. 


20,430,440, .50,»7O,»100l 1 


1 00 12 


Oaaa 


aaaa 


P-EW time 1 






0-127 1 


1 00 13 


Oaaa 


aaaa 


P-EHV time 2 






0-127 1 


1 00 14 


Oaaa 


aaaa 


P-EHV time 3 






0-127 1 


1 00 15 


Oaaa 


siia& 


P-EHV time 4 






0-127 1 


1 00 16 


Oaaa 


aaaa 


P-EMV level 1 






0-126 1 
(-63 - 4631 1 


1 00 17 


Oaaa 


aaaa 


P-BJV level 2 






0-126 1 
(-63 - 4631 1 


1 DO IB 


Oaaa aaaa 


P-EMV level 3 






0-126 1 














(-63 - 4631 1 


) no 19 


Oaaa 


aaaa 


P-ENV level 4 






0-126 1 
(-63 - 4631 1 


1 00 lA 


0000 


Oaaa 


Filter type 






0-4 1 
(0FF,LPF,BPF,HPF.PKG1 1 


1 00 IB 


Oaaa 


aaaa 


cutoff frecfjency 




0-127 i 


i 00 IC 


Oaaa 


aaaa 


Resonance 






0-127 1 


1 00 ID 


Oaaa 


aaaa 


Resonance velocity sensitivity 0-125 1 














(-50 - 42001 1 


1 00 IE 


Oaaa 


aaaa 


} F-liHV (1ept.h 
1 






0-126 1 
(-63 - 463) 1 


1 00 IF 


Oaaa 


aaaa 


F-FJJ'/ velocity soTsitivity 


0-125 1 














(-50 - 4200) 1 


1 00 20 


1 0000 

1 

t 


aaaa 


1 F-3J'.' velocity 

1 

1 


rijTie 


sensitivity 0-14 1 

(-100.-70,-50.-40,-30,-20,-10,0, 1 

.10,t20.*30,*40,t50.t70.*100l 1 


1 00 21 


1 Oaaa 


aaaa 


I F-aJV cirte 1 






0-127 1 


1 00 22 


Oaaa 


aaaa 


1 F-EW/ tine 2 






- 127 1 


i 00 23 


! Oaaa 


aaaa 


1 F-ENV tine 3 






0-127 1 


1 00 24 


Oaaa 


aaaa 


1 F-aJV time 4 






0-127 1 


1 00 25 


1 Oaaa 


aaaa 


1 F-aw level 1 






0-127 1 



154 



00 26 I Oaaa aaaa ) F-EMV level 2 
00 27 I Oaaa .^^^^^ j F-EMV level 3 
00 28 ! Oaaa aaaa I F-ENV level 4 



- 127 
- 127 
- 127 



OO 29 I Oaaa aaaa I TDne level - 127 

00 2A I Oaaa aaaa 1 A-EKV velocity sensitivity - 125 

I I (-50 - 4200) 

00 2B I 0000 aaaa I A-HW velocity time sensitivity - 14 

I I (-100.-70.-50.-40,-30,-20,-10,0. 

I I 4lO,420,430,440,f50,)7C,tlOOI 

- 127 
- 127 



00 2C 


Oaaa aaaa 


A-EKV time 1 


00 2D 


Ortfli^ rlrinfl 


A-EKV time 2 


00 2E 


Oflan fwfia 


A-EtW time 3 


00 2F 


Oafifi anfifl 


A-ENV time 4 


00 30 


Oixnei ntyna 


A-a.V level 1 


00 31 


(\!if,p »aafl 


A-aW lev-el 2 


00 32 


Oaaa aaaa 


h-BN level 3 


00 33 


Oaaa aaaa 


Ttxie pan 


00 34 


OOaa aaaa 


BandCBt pan d^th 


00 35 


Oaaa aaaa 


Alternate pan d^th 



00 36 I 0000 OOaa I Output assign 

I f 

00 37 I Oaaa aaaa I CXitput level 

00 38 t Oaaa aaaa I Onarus send le-zei 

00 39 i Oaaa aaaa i Reveiti send level 






127 


• 


127 


- 


127 


- 


127 


- 


127 


- 


127 


(L64 - 63RI 





63 


1 


127 


(L63 - 63R1 


n 


3 


(MIX 


EM, CUTPOTI , om'Firr2 


(1 


127 





127 





127 



TiDtal size — i 00 OD 00 3A 



Note: If Che value oC the wave number surpasses the number of waves 
contained in the corresponding wave group, this message will be 
ignored. 

/ Example using RQl / 

To gee the C2 note data of Che cemporari' rhythm setup, send the Ecl- 

lowing message to the JV-1080. 

FOH 41H lOH 6AH IIH 02K 09H 24H OOH OOH OOH OOH 3AH 17H F7H 

/ Example using DTI / 

To turn att (Tone switch = off) the key note D2 of the rhythm setup 

(part 10) of the temporary selected performance, send the following 

message to the JV-IOBO. 

FOH 41H lOH 6AH 12H 02H 09H 25H OOH OOH 4FH F7H 



Address Block 
00 00 00 00 + 



Address Map 

Sob block 



t Systan conmon 
I Scale tune 



I Part 1 ! 



Reference 

'l X~l-1 [ 

1 1-1-2 I 



I Part 16 I 



I Patch I 



01 00 00 OD . 



1 Ten?)orary 
I performance 



t Ccmmon I 



Part 1 1 



I 1-2-1 I 
*! 1-2-2 I 



! Part Iti I 



02 00 00 00 ■ 



I Performance mode I 
i tarporary patch I 



Part i i i conmon I I 1-^-1 ! 

: I . *- — +..+ >■ 

+ . i Itine 1 i I 1-3-2 i 



i Part 9 ! 



. I : 

. ! Tone 4 



I 



02 09 00 00 



I Ten?)Orary I I Comnon I 
I rhythm setup I ^ +. 



Note* 35 



I 1-4-1 I 
I 1-4-2 ! 



! 



02 OA 00 00 



I Performance mode i 
I teufxarary patch 1 



. i Notes 98 I 
1 Part 11 i 



I 



I Part 16 i 



I Common ! I 1-3-1 I 
f Tone 1 ( I 1-3-2 1 



i 



Tone 1 I 



03 00 00 00 



Patch mode I I Conmon I 

temporaiy patch I * *■ 

+_ ^ ■ .- + . 

: , I Tone 1 I 



10 00 00 00 



! User 

I performance 



10 40 00 00 



Oananon 1 i 1-2-1 i 
Parr. 1 i" t 1-2-2 I 



I User 1 

! rhythm so'up I 



11 00 00 00 



20 00 00 00 




USER: 001 I 



i USER:12B 



Data card 
i perfomance 



I Coracn 1 



20 40 00 DO 




I Data card I 
I rhythm setup ! 



21 00 00 00 




! Data card I I CARD; 00.1 ! 
t patch I ■* *. 



, I CARD:12B I 



1 camron 1 


1 1-?."1 i 




1 Tone 1 i 


! 1-3-: 1 



T^r'ne 4 I 



2GS 

< MODEL ID = 42H 



i SCclit 




i 






1 address 1 


Description 




1 40 


10 


00 1 Scale 


Tune Part 10 


2-1 


! 40 


11 


00 1 


Parcl 




! 40 


12 


00 1 


Pflrt2 




! 40 


.]."5 


00 I 


Part 3 




1 40 


14 


00 1 


Part 4 




1 40 


15 


00 ! 


Parts 




i 40 


16 


00 ! 


Part 6 




1 40 


17 


00 1 


Part7 




1 40 


IR 


00 1 


Parts 




1 40 


19 


00 ! 


PdiC9 




1 40 


lA 


00 1 


Part 11 




1 40 


IB 


00 1 


Parti 2 




1 40 


IC 


OO 1 


ParH3 




1 40 


ID 


00 1 


Part 14 




1 40 


IF 


00 1 


Partl5 




! 4 


IF 


00 1 


Partis 





-1 Scale Tune 



i Offset 

I addres,'^ 



40 1 Oaaa aaaa I Scale Tune C 



44 I 

45 ! 

46 ) 



4B i 
Total Si^e i 00 00 00 OC 



/ (rlxamplp iiKing HTi / 

To set the scale tune iC-B) of rhp performance part 1 Aiabid. send 

fhp data as follows: 

FOH 41H 10H 42H 12H 40H UH ^OH 3AH 5DH 3EH ,?4H ODH 3SH 6eH 3CH 6rH 

40H -SH OFH 76H F7H 



•Table A-1::Decimai to Hexadecimal 

The HIDI iressages are expressed in hexadecimal configured in 
This table is usefuli when you read or v.'ri:e MIDI messages. 

(Dlr.deci:nal 

(HI -hexadecimal 



; (D) 


(Hi 


! 1 


ID) 


(HI 1 


IDl 


IHl 


1 j 


IDl 


(H) 1 


1 C 


OOH 




1/. 


2 OH 1 


64 


4 OH 




96 


60H 1 


1 1 


OIH 




1> 


21H 1 


65 


41K 




37 


61H 1 


! Z 


02H 




14 


22H 1 


66 


42H 




9B 


62H 1 


! 3 


0311 




3^ 


2311 1 


67 


43H 




99 


63H 1 


; i 


04H 




3S 


24H 1 


68 


44H 




•00 


64H I 


i '; 


03H 




37 


2311 ! 


69 


4 5H 




101 


65H 1 


! !■■ 


06n 




33 


26H 1 


70 


4 6H 




102 


66H 1 


1 7 


07H 




39 


2711 1 


71 


47H 




103 


67H 1 


1 C 


OEH 




40 


28H 1 


72 


4 8H 




104 


6eH 1 


i ? 


09H 




41 


29H 1 


73 


49H 




105 


69H 1 


1 10 


OAH 




42 


2 AH i 


74 


4Ail 




106 


6AH 1 


1 11 


ODli 




43 


2BH i 


7 5 


4BH 


1 t 


107 


6BH 1 


1 12 


OCH 




44 


2CH ; 


76 


4CH 




108 


6CH 1 


1 13 


ODH 




4 3 


2DH 1 


77 


4DH 




109 


6DH 1 


1 14 


OEH 




46 


2 EH : 


7B 


4 EH 




IIG 


6 EH 1 


1 1^1 


OFH 




47 


2FH : 


79 


4FH 




111 


6FH 1 


i 16 


lOH 




48 


3 OK 


80 


50H 




112 


70H 1 


! 17 


IIH 




4') 


31H . 


81 


5111 




113 


71H 1 


i 18 


12H 




30 


32H ^ 


82 


52H 




114 


721! 1 


i i; 


13K 




31 


33K i 


83 


53 H 




115 


73H 1 


: 20 


14H 




S2 


34K ; 


84 


54H 




116 


74H ) 


i 21 


15H 




33 


35H 1 


85 


55H 




li- 


7 5H 1 


1 72 


16H 




34 


36H 1 


86 


56H 




ne 


76H 1 


1 23 


i7H 




53 


37H 1 


87 


57H 




119 


77H 1 


24 


18H 




36 


38K 1 


88 


58H 




120 


78H 1 


25 


!9H 




37 


39H i 


89 


59H 




121 


79H 1 


1 26 


lAH 




3R 


3SH 1 


90 


5AH 




122 


7AB 1 


27 


IBH 




69 


3BH 1 


91 


5BH 




123 


7BH 1 


28 


ICH 




60 


3CH i 


92 


5CH 




124 


7CH t 


1 29 


IDH 




61 


3DH I 


93 


5DH 




125 


7DH t 


! 30 


I EH 




62 


3 EH 1 


94 


5EH 




126 


7EK ! 


1 31 


IFH 




63 


3FH 1 


95 


5FH 




12, 


7FH I 



•The deciinal vdi.it ui! MIDI channel, bank select, prograir, chr-inge, etc 
IK the dycinial nj!r,ber in the table plus 1. 

*In tht; hexddecimfll nQtation m configured 7 bits, the maximiw, data 
of 1 byte is 128. If the data is more than 12B, used plural bytes. 
*The signed value- is OOH - -64, 40K ±0, 7FH = *63. In decimal nota- 
tion, 

the value is decimal n'.i;iiber in the table mintis C4 . The signed value 
of dual bytes is 00 OOH .= -8192, 40 OOH --^ ±0, "F 7FH -^ -B191. For 
example, converted aaH bbH (hex! to decinial to the following: aa bbii 
- 40 OD H ^ aa X 128 * bb - 64 x 128. 



•TABLE A-2; ASCII code 



patch Name 
code in tr 



and Performance Nanie of MIDI da 
■J table below. 



descrited the ASC ( 



(C) ^Character 
(Hi=hexadecim 



i (Ci 


(H) M 


(c; 


(H) i 


(C) 


(H) i 


1 SP 


2 OH 1 t 








1 


i A 


41H 1 ! 


a 


fclH 1 


1 


31H J 


1 B 


42H 11 


b 


62H i 


2 


22 H i 


1 C 


4 3H ! i 


c 


6 3H ■ 




33H 1 


1 D 


44H ! t 


a 


64 H ^ 




34H ! 


1 E 


4 5H It 


e 


65H - 




35H i 


1 F 


4fiH 1 i 


L 


66H : 




35H i 


! G 


47H i 1 




t7H I 




37 K \ 


1 H 


4 8K M 


h 


tBH ■ 




33H i 




4«!i ! ! 


1 


€9H i 




39H i 




4AH 1 I 


■5 


6 AH 1 




3 OH ! 


! K 


4BH i 1 


k 


6BH 1 




2BH i 


1 L 


4CH 1 ! 


1 


6CH 1 




2DH 1 


1 H 


4UH 1 i 


:x\ 


6DH \ 




2AH 1 


1 H 


4 EH 1 t 


n 


6EH 1 




2FH 1 


1 


"IFH ! f 


o 


srH 1 




2 3H ! 


1 P 


^OH i t 




7 OH 1 




21H i 


1 Q 


51H : ! 


q 


71 H i 




2CH 1 


1 R 


b2H i ! 


r 


7 2H ; 




2FH ! 



1 ^L'H ' ! 


I 54H i ! 


! bbH \ ! 


! S6H 1 \ 


I yiH i i 


I bHi'. ' ■■ 


I 5m 1 1 


t I Mi 1 1 



155 



MULTI TIMBRAL SYNTHESIZER MODULE 

Model jv-1080 MIDI Implementation Chait 



Date: July. 18, 1994 
Version : 1 .00 







Transmitted 


Recognized 


Remarks 


Function... 








Basic 


Default 


X 


1 - 16, OFF 




Channel 


Changed 


X 


1 - 16, OFF 


Memorized 




Default 


X 


Mode 3 




Mode 


Messages 
Altered 


X 

**************** 


Mode3,4(M=l) 




Note 




X 


0-127 




Number : 


True Voice 


**************** 


0-127 






Note ON 


X 







Velocity 


Note OFF 


X 


O 




After 


Key's 


X 


o*i 




Touch 


Ch's 


X 


o*i 




Pitch Bend 


X 


O*] 


Resolution : 9 bits 




0-95 


X 


O *2 






0,32 


X 


*I 


Bank select 




1 


X 


*1 


Modulation 




2 


X 


*1 


Breath 




4 


X 


O * I 


Foot type 




5 


X 


* 1 


Portamento time 




6,38 


X 


O *1 


Data entry 


Control 


7 
8 


X 

X 


O *1 
*1 


Volume 
Balance 


Change 


10 


X 


*1 


Panpot 




11 


X 


* 1 


Expression 




64 


X 


*1 


Hold! 




65 


X 


*1 


Portamento 




66 


X 


O * 1 


Sostenuto 




67 


X 


O *1 


Soft pedal 
Holrf2 




69 


X 


O *1 




84 


X 


O * 1 


Portamento control 




91 
93 


X 
X 


* 1 
O *1 


GaiadpuipaseeiEcts 1 (SeveA)) 
Genecd piDpose ^cts 3 (Chonis) 
RPN 1 .SfCm.SR 




100, 101 


X 


O *1 


Prog 




X 


O * 1 




Change 


: True# 


**************** 


0-127 


Program Number 1 — 128 


System Exclusive 





O *1 




System 
Common 


: Song Pos 
: Song Sel 


X 
X 


X 
X 






:Tune 


X 


X 




System 


: Clock 


X 


O * 1 




Real Time 


: Commands 


X 


X 






All Sound OFF 


X 


o 




Aux 


Reset All Conliollers 


X 


o 




Local ON/OFF 


X 


X 




Message 


All Notes OFF 


X 


0(123-127) 






Active Sense 


X 


o 






Reset 


X 


X 




Notes 




* 1 Can be set to or X m 

* 2 Can be changed manua 


anually and memorized. 
lly and memorized. 





Mode 1 : OMNI ON, POLY 
Mode 3 : OMNI OFF, POLY 

156 



Mode 2 : OMNI ON, MONO 
Mode 4 : OMNI OFF, MONO 



0:Yes 
X:No 



Index 



How-to Index 



• I Want to Change tlie Volume 

O Changing the volume for a Part P.60 (Performance) 

P.78(GM) 

O Changing the volume for a Patch P.42 

O Changing the volume for a Tone P.55 (Patch) 

P.65 (Rhythm Set) 

O Changing tlie TVA envelope P.56 (Patch) 

P.65 (Rhythm Set) 

O Amplifying a wave P.50 (Patch) 

P.64 (Rliythm Set) 

O Changing the volume according to the keyboard posi- 
tion P.55 

O Changing the volume with key velocity P.55 (Patch) 

P.65 (Rhythm Set) 

• I Want to Change the Pitch 

O Changing the overall pitch P.68 

O Changing the basic pitch for a Part P.60(Performance) 

P.78(GM) 

O Changing the basic pitch for a Tone P.52 

O Changing the pitch envelope P.53 (Patch) 

P. 64 (Rhythm Set) 

• I Want to Change the Pan settings 

O Changing the pan settings for Patches P.42 

O Changing the pan settings for Tones P.55 (Patch) 

P.65 (Rhythm Set) 

O Making Pan Change according to tl\e keyboard 

position P.55 (Patch) 

O Changing the sound image randomly with each key 

.stroke P.56 (Patch) 

P. 65 (Rhythm Set) 

• I Want to Make Sounds Thicker and Fatter 

O Selecting waves with a fat sound P.50 (Patch) 

P.63 (Rhythm Set) 

O Making copies of the same Tone overlap with tihe pitch 
shifted P.52 (Patch) 

O Making a number of different Tones overlap P.32 

O Changing the stereo position for each 

of the Tones P.55 (Patch) 

P.65 (Rhythm Set) 

O Setting different Patches to the same receive channel and 
making Patches overlap P.59 

O Using Chorus P.46 (Patch) 

P.59 (Performance) 

P.62 (Rhythm Set) 

P.87— 89(EFX) 

O Using Reverb P.46 (Patch) 

P.59 (Performance) 

P.62 (Rhythm Set) 

P.94— 95(EFX) 



• I Want to Make a Sound Harder or Softer 

O Selecting waves with a hard or .soft sound ....P.50 (Patch) 
P.63 (Rhythm Set) 

O Using HPF or LPF as the filter P.54 (Patch) 

P.64 (Rhythm Set) 

O Adjusting the cutoff frequency P.54(Patch) 

P.64 (Rhythm Set) 

O Changing the cutoff frequency according to the key- 
board position P.54 

O Changing the cutoff frequency with 

key velocity P.54 (Patch) 

P.65(Rhythm Set) 

O Changing the TVF envelope P.55 (Patch) 

P.65 (Rhythm Set) 

O Using the equalizer P.84 

• I Want to Add Undulations to a Sound 

O Using Analog Feel P.42 

O Using the LFO P.51 

O Applying modulation effects P87 — 90 

• I Want to Make a Sound Stand Out 

O Using the Booster P.44 

O Using FXM P.50 

O Applying distortion effects P.84, P.85 

• I Want to Play a Single Sound 

O Setting the Solo switch to ON P.47 

O Using Portamento P.47 

• I Want to Make the Sound Change According to the 
Keyboard Position 

O Setting Key Range P.43 (Patch) 

P.57 (Performance) 

• 1 Want to Control Parameters with an External MIDI 
Device 

O Settij-ig the MIDI chamiels P.67 (Patch) 

P.59, P.66 (Performance) 

O Setting the MIDI Receive switch to ON P.68 

P.59 (Performance) 

O Choosing a Controller to use P.46 (Patch) 

P.59 (Performance) 

P.62 (Rhythm Set) 

O Choosing the parameters to control P.49 

• I Want to Change the Output Jack for the Sound 

O Qianging the output destinations for Tones P.45 (Patch) 

P.61 (Rhythm Set) 

O Changing the output destinations 

for Parts P.57 (Performance) 

P.61(GM) 

O Changing the output destination for an Effect ..P.45 (Patch) 

P.58 (Performance) 

P.61 (Rhythm Set) 

P.77(GM) 

• I Want to Send and Receive Exclusive (SysEx) Data 

O Setting the Unit Numbers P.67 



157 



O Switching off Protect P.72 

• I want to change sounds 

O Selecting sounds using the module's panel P.29 

O Using an external device to select sounds P.79 

• I want to apply effect 

O Turning on/off effects switches P.38 

O Outputting the original sound 

with the effect P.47 (Patch) 

P.57 (Performance) 

P.61 (Rhythm Set) 

P.77(GM) 

O Setting the parameters for effects P.45 — 47 (Patch) 

P.57— 59 (Performance) 

P.61— 63 (Rhythm Set) 

P.77— 78(GM) 

P.84— 99(EFX) 

• I want to use cards or expansion boards 

O Inserting the card into the slot P.31 

O Initializing DATA cards P.73 

O Saving onto a DATA card P.70— 74 

O Reading from a DATA card P.71— 74 

O Swapping the module's internal contents with that of a 
DATA card ......P.73 



> I want to play back GM music data 
O Switching to the GM mode 



,.P.77 



Index 



[A] 



[B] 



AC Inlet....P.7 

AcceIeration....P.93 

Aftertouch Source....P.17,P.35 

Aftertouch....P.40,P.46,P49,P.58,P62,P68 

Alternate Pan Depth....P.56,P.65 

Amp Type....P.84-85 

Amplitude LFO Depth 1,2....P.52 

Analog Feel Depth....P.42 

AUTO-WAH....P.86 



Balance....P.39 

Band 1-8 Level....P.85 

Band Width....P.85 

Bank Select....P.68,P.80 

Bender....P.68 

Bender Control Switch.... P.48 

Bender Range Down.. ..P.47 

Bender Range Up....P.47 

Bender Range....P.63 

Bias....P.55 

Bias Direction.. ..P.55 

Bias LeveL...P.55 

Bias Point....P.55 



[C] 



[D] 



[E] 



Block Copy....P.73 

Booster....P.44 

Booster Level. ..P.44 

BPF (Band Pass Filter)....P.54,P.64 

Breath....P.39,P.46,P.49,P.58,P.62 

Bulk Dump....P.74 

Card....P.23,P.31,P.72 

Card Copy....P.73 

Card Swap....P.73 

Center Level....P.92 

Chorus....P.25,P.46,P.59,P.62,P.77 

CHORUS/FLANGER....P.99 

Chorus Balance....P.95,P.97-98 

Chorus Depth....P.46,P.59,P.62,P.77,P.87-89,P.98-99 

Chorus Feedback....P.46,P.59,P.62,P.77 

Chorus Level....P.46,P.59,P.62,P.77 

Chorus Output Assign....P.46,P.59,P.62,P.77 

Chorus Pre Delay....P.95,P.97-98 

Chorus Rate....P.46,P.59,P.62,P.77,P.87-88,P.95,P.98-99 

Chorus Send Level....P.45,P.58,P.61-62,P.77 

CHORUS->DELAY....P.98 

CHORUS->FLANGER....P.99 

CHORUS/DELAY....P.99 

Clock Source....P.66-67 

Coarse Pitch....P.93-94 

Coarse Tune....P.52 

Compare....P.18,P.70 

Compressor....P.87 

Control 1-3 Hold/Peak....P.49 

Control Change....P.68 

Control Channel....P.66 

Control Depth 1-4....P.48,P.80 

Control Destination 1-4....P.49,P.80 

Copy....P.71 

Cursor Button....P.6,P.35 

Cutoff Frequency....P.54,P.64,P.89 

Cutoff Keyfollow....P.54 

DATA Card....P.23,P.29,P.39,P.72 

DATA Card Slot....P.31 

Default Tempo....P.42,P.57 

Delay Balance....P.96,P.98-99 

Delay Feedback....P.47,P.59,P.63,P.78,P.96-98 

Delay HF Damp....P.96-98 

Delay Time....P.90-93,P.97-98 

Depth Deviation....P.87 

DISTORTION....P.84 

DISTORTION->CHORUS....P.96 

DISTORTION->DELAY....P.96 

DISTORTION->FLANGER....P.96 

Drive....P.84 



Effect Balance....P.88-95 



158 



[F] 



[G] 



[HI 



[K] 



[LI 



Effect ON/OFF....P.38 

EFX....P.25,P.81,P.83 

EFX Control Depth 1,2....P.46,P.58,P.62,P.80 

EFX Control Hold/Peak....P.48 

EFX Control Source 1,2....P.46,P.58,P.62,P.80 

EFXParameter,...P.45,P.58,P.61,P.77,P.83 

EFXSource....P.58,P.61 

EFX Type....P.45,P.58,P.61,P.77 

ENHANCER....P.86 

ENHANCER->CHORUS....P.97 [II 

EMHANCER->DELAY...P.97 

ENHANCER->FLANGER....P.97 

Enter Button....P.7 

Envelope Mode....P.63 

Error Message.... P.102 

Exclusive Protect...P.72 

Exit Button....P.7 

Expansion Board....P.23,P.31,P.39 

Expression....P.40,P.46,P.49,P.58,P.62 

Factory Preset... .P.74 

FadeMode....P.52 

Fade Time....P.52 

Feedback....P.89-94 

Feedback Mode....P.90-91 

FBK-PrrCH-SHIFTER....P.94 

Filter LFO Depth 1,2....P.52 

Filter Type....P.54,P.64,P.86,P.89 

Fine Pitch....P.93-94 

FineTune....P.53,P.64 

Flanger Balance....P.96-99 

Hanger Depth....P.96-99 

Flanger Feedback....P.96-99 

Flanger Pre DeIay....P.95,P.97-99 

Flanger Rate....P.99 

FLANGER->DELAY....P.98 

FLANGER/DELAY....P.99 

Foot....P.39,P.46,P.49,P.58,P.62 

Format....P.73 

Function Select Button....P.6 

FXM Color....P.50 

FXM Depth....P.50 

FXMSwitch....P.50 [M] 

Gate Tiine....P.95 

GATE-REVERB....P.95 

GMMode....P.24,P.77 

GM Score....P.77 

GM System On Message....P.77 

HEXA-CHORUS....P.87 

High Frequency Damp....P.47,P.59,P.62,P.78,P.90-94 

High Frequency Acceleration.... P.86 

High Frequency Fast Rate.. ..P.86 



High Frequency Level....P.86 

High Frequency Slow Rate....P.86 

High Frequency ....P.84 

High Gain....P.84-95 

Hold Control Source....P.67 

Hold-l....P.40,P.68 

Hold-1 Control Switch....P.48,P.63 

HPF (High Pass Filter)....P.54,P.64 

INC/DEC Button....P.6,P.35 
Information Function....P.38 
Initialize....P.72 
Internal Protect....P.72 

Key Assign Mode....P.47 
Key Range....P.43,P.57 
Key Range Lower....P.43,P.57 
Key Range Switch....P.57 
Key Range Upper....P.43,P.57 
Key Trigger... .P.51 

LCD Contrast....P.66 

Left Level....P.92 

Level 1,2,3,4....P.92 

Level Balance....P.94 

Level Offset....P.52 

LF01/2....P.49,P.51-52 

LFODepth....P.51 

LFO External Sync....P.51 

LFORate....P.51 

LFOWaveform....P.51 

LIMnTER....P.87 

Low Frequency Acceleration. ...P.86 

Low Frequency Fast Rate....P.86 

Low Frequency Level....P.86 

Low Frequency Slow Rate... .P.86 

Low Frequency....P.84 

LowGain....P.84-95 

LPF (Low Pass Filter)....P.54,P.64,P.86,P.89 

LSB....P.79 



Manual....P.85-86 

Master Tune....P.68 

M1DI....P.59,P.66 

MIDIChannel....P.59 

MIDI Clock....P.66-67 

MIDI Connector....P.7 

MIDI Implementation Chart....P.157 

MIDI Message Indicator....?.? 

MIDI Receive Switch....P.59 

Mix Level....P.85-86,P.97 

MIXOUTJack....P.6 

Mode Button....P.28 

Modulation....P.39,P.46,P.49,P.58,P.62,P.68 



159 



[N] 



[O] 



[P] 



Modulation Depth....P.91 

Modukaon Rate....P.91 

MODULATION-DELAY....P.91 

MSB....P.79 

Multi-Timbral....P.21-22 

MuteGroup....P.63 

Note Number....P.30 



Octave Sl\ift....P.32,42 

Output Assign....P.45,P.57-58,P.61,P.77 

OUTPUT Jack....P.7 

Output Level....P.45,P.57-58,P.61,P.77 

Output Pan....P.84,P.85,P.87,P.93-94 

OVERDRIVE....P.84 

Overdrive Pan....P.95-96 

OVERDRlVE->CHORUS....P.95 

OVERDRlVE->DELAY....P.96 

OVERDRIVE->FLANGER....P.95 



Page....P.36 

PALETTE Button....P.6,P.36 

Palette Edit Screen....P.36 

Pan....P.40,P.46,P.49,P.58,P.62 

Pan Control Switch....P.48,P.63 

Pan Diviation....P.88 

Pan Keyfollow....P.56 

Pan LFO Depth 1,2....P.52 

PARAMETER Button....P.6 

Part....P.22 

Part Bdit....P.37 

Part Level....P.60 

Part Pan....P.60 

Part SeIect....P.34 

Part Switch....P.32 

Patch....P.15,P.20 

Patch Button....P.6,P.28 

Patch Control Source 2,3....P.49,P.80 

Patch Edit Mode....P.24,P.42 

Patch Group....P.30,P.60 

Patch Level....P.42 

Patch Mode....P.24 

Patch Name....P.30,P.42 

Patch Number....P.30,P.60,P.78 

Patch Pan....P.42 

Patch Play Mode....P.24,P.30 

Patch Receive Channel.. ..P.67 

Patdi Remain Switch.. ..P.66 

PCM Card Slot....P.31 

PCM Card....P,23,P.29,P.39 

Peak....P.86 

Peak Control Source.. ..P.67 

Peaking 1,2 Frequency.... P.84 

Peaking 1,2 Gain....P.84 



[Q] 



[R] 



Peaking 1,2 Q....P.84 

Performance.. ..P.21 

Performance Button (GM Button)....P.6,P.28 

Performance Edit Mode....P.24,P.57 

Performance Mode....P.24 

Performance Name....P.30,P.57 

Performance Play Mode....P.24,P.30 

Phase....P.88-91 

PHASER... .P.85 

Phaser Depth....P.85 

Phaser Rate....P.85 

Pitch....P.52,P.60,P.64 

Pitch Bender....P.40,P.46,P.49,P.58,P.62 

Pitch Coarse Tune....P.60 

Pitch Envelope....P.53,P.64 

Pitch Envelope Depth....P.53,P.64 

Pitch Envelope Level 1,2,3,4....P.53,P.64 

Pitch Envelope Time 1,2,3,4....P.53,P.64 

Pitch Envelope Velocity Sensitivity.. ..P.53,P.64 

Pitch Fine Tune....P.60 

Pitch Keyfollovk'....P.53 

Pitch LFO Depth 1,2....P.52 

Pitch Shifter Mode....P.94 

PKG (Peaking Filter)....P.54,P.64 

Polyphony....P.47,P.57,P.79 

Portamento Mode....P.47 

Portamento Start....P.48 

Portamento Switch... .P.47 

Portamento Time.. ..P.47 

Portamento Type.. ..P.47 

Post Gain....P.87 

Power Up Mode.. ..P.66 

Pre Delay Diviation....P.87 

Pre Delay Time....P.87-89,P.93-95 

Preset....P.23,P.29 

Preview....P.69 

Preview Key Set....P.69 

Preview Sound Mode....P.69 

Preview Velocity Set....P.69 

Program Change.. ..P.68 

QUADRUPLE-TAP-DELAY.,..P.92 

Random Pan Depth....P.56,P.65 
Random Pitch Deptli....P.53,P.64 
RaHo....P.87 

Receive GM Message.. ..P.67 
Receive Hold-l....P.60 
Receive Program Change.. ..P.60 
Receive System Exclusive.. ..P.67 
Receive Volume.. ..P.60 
Redamper Control Source.. ..P.48 
Redo Function....P.17,P.35 
Release Timc....P.87 
Rename....P.73 



160 



[S] 



[T] 



Resonance....P.54J'.65 

Resonance Velocity Sensitivity....P.55,P.65 

Reverb....P.25,P.46,P.59,P.62,P.77,P.94 

Reverb LeveI....P.47,P.59,P.63,P.78 

Reverb Send Level....P.45,P.58,P.61-62,P.77 

Reverb Type....P.46,P.59,P.62,P.78,P.94-95 

Rhythm Edit Mode....P.24,P.51 

Rhythm Edit Source....P.66 

Rhythm Play Mode....P.24,P.30 

Rhythm Set....P.21 

Rhythm Set Mode....P.24 

Rhythm Set Name....P.30,P.61 

Right Level....P.92 

Ring ModulatDr....P.44 

ROMPlay....P.12 

ROTARY....P.86 



Scale Tune C-B....P.69 

Scale Tune Switch....P.68 

Sensitivity....P.86,P.97 

Separation....P.86 

Shift Button....P.7 

Solo Legato....P.47 

Sound Group Button....P.7,P.29 

Source Key....P.64 

SPACE-D....P.88 

SPECTRUM....P.85 

Speed....P.86 

Stack....P.66-67 

Step Rate....P.90 

STEP-FLANGER....P.89 

STEREO-CHORUS....P.88 

STEREO-DELAY....P.90 

STEREO-EQ....P.84 

STEREO-FLANGER....P.89 

Stretch Tune Depth....P.42 

Structure....P.43 

Sustain Level....P.87 

System Button....P.6,P.28 

System Control Source 1,2....P.68 

System Mode....P.24,P.28,P.66 

Tap Control Source....P.67 

Temporary Area....P.23 

Threshold....P.87 

TIME-CONTROL-DELAY....P.93 

Tone....P.15,P.20 

Tone Delay Mode....P.50 

Tone Delay Time....P.51 

Tone Level...P.55,P.65 

Tone Pan....P.55,P.65 

Tone Select....P.15,P.32 

Tone Switch....P.15,P.33,P.34 

Transmit Edit Data....P.67 

Tremolo Phase....P.88 



[U] 



IV] 



Tremolo Rale....P.88 

Tremolo Separaaon....P.88 

TREMOLO-CHORUS....P.88 

TRIPLE-TAP-DELAY....P.91 

Troubleshooting...P.103 

TVA....P.20,P.55,P.64 

TVA Envelope Level 1Z3....P.56,P.65 

TVA Envelope Time U3,4....P.56,P.65 

TVA Envelope Velocity Curve....P.55 

TVA Envelope Velocity Sensitivity....P.55,P.65 

TVAEnvelope....P.56,P.65 

TVF....P.20,P.53,P.64 

TVF Envelope Depth....P.54,P.65 

TVF Envelope Level 1,2,3,4-.P-55,P.65 

TVF Envelope Time 1,23,4....P.55,P.65 

TVF Envelope Velocity Curve....P.55 

TVF Envelope Velocity Sensitivity...P.54J'.55 

TVF Envelope....P.55,P.65 

Undo Function....P.17,P.35 
UnitNumber....P.67 
User Memory....P.23,P.29 
UtiUty Mode....P.24,P.70 

VALUE Knob....P.6,P.35 
Velocity Cross Fade Depth....P.43 
Velocity Range Lower....P.43 
Velocity Range Switch....P.42 
Velocity Range Upper....P.43 
Velocity Range....P.42 
Velocity Time 1 Sensitivity....P.53,P.55-56 
Velocity Time 4 Sensitivity....P.53,P.55-56 
Velocity Time Sensitivity....P.64-65 
Voice Reserve....P.57 
Volume....P.39,P.46,P.49,P.58,P.62,P.68 
Volume Control Source....P.68 
Volume Control Switch....P.48,P.63 
VOLUME Knob....P.6,P.ll 

Wave....P.20,P.26,P.50,P.63 
WaveGain....P.50,P.64 
Wave Group....P.50,P.63 
Wave Name....P.30J'.50,P63 
Wave Number....P.50,P.63 
WG....P.20,P.43 
Write Protect....P.72 
Write....P.18,P.70 



[Others] 

1-8/9-16 Button....P.6 
2Voice-Pitch-Shifter....P.93 



[W] 



161 



Information 

When you need repair service, call your local Roland Service Station or the authorized Roland distributor in your country as 



shown below. 

U. S. A. 

Roland Corporation US 

7200 Dominion Circle 
Los Angeles, CA. 90040- 
3696, U. S. A. 
TEL (213) 685 5141 

CANADA 

Roland Canada Music 

Ltd. 

(Head Office) 

5480 Parkwood Way 

Richmond B. C, V6V 2M4 

CANADA 

TEL: (604) 270 6626 

Roland Canada Music 

Ltd. 

(Montreal Office) 

9425 Transcanadienne 
Service Rd. N., St Laurent, 
Quebec H4S 1V3, CANADA 
TEL: (514) 335 2009 

Roland Canada Music 

Ltd. 

(Toronto Office) 

346 Watline Avenue, 
Mississauga, Ontario L42 
1X2, CANADA 
TEL: (416) 890 6488 

AUSTRALIA 
Roland Corporation 
Australia Pty. Ltd. 

38 Campbell Avenue 

Dee Why West. NSW 2099 

AUSTRALIA 

TEL: (02) 982 8266 

NEWZEAtAND 
Roland Corporation (NZ) 
Ltd. 

97 Ml. Eden Road, Ml. Eden, 
Auckland 3, NEW ZEALAND 
TEL: (09) 3098 715 

UNITED KINGDOM 
Roland (U.K.) Ltd. 

Rye Close Ancells Business 
Park Fleet, Hampshire GUI 3 
BUY, UNITED KINGDOM 
TEL: (0252) 816181 

Roland (U.K.) Ltd., 
Swansea Office 

Atlantic Close, Swansea 
Enterprise Park, Swansea, 
West Glamorgan SA79F), 
UNITED KINGDOM 
TEL: (0792) 700 139 

IRELAND 
The Dublin Service 
Centre Audio 
Maintenance Limited 

1 1 Brunswick Place Dublin 2 
Republic of Ireland 
TEL: (01) 677322 

ITALY 

Roland Italy S. p. A. 

Viale delle Industrie 8 20020 
ARE5E MILANO ITALY 
TEL: (02) 93581311 



SPAIN 

Roland Electronics de 

Espaiia, S. A. 

Calle Bolivia 239 08020 
Barcelona, SPAIN 
TEL: (93) 308 1000 

GERMANY 
Roland Elektronische 
Musikinstrumente 
Handelsgesellschaft mbH. 

Oststrasse 96, 22844 
Norderstedt, GERMANY 
TEL: (040) 52 60090 

FRANCE 
Cuillard Musiques 
Roland 

ZAC de Rosarge Les Echets 

01700 

MIRIBEL FRANCE 

TEL: (72) 26 5060 

Cuillard Musiques 
Roland (Paris Office) 

1923 rue L^on Geoffroy 

94400 VITRY-SUR-SEINE 

FRANCE 

TEL: (1)4680 86 62 

BELGIUM/HOLLAND/ 
LUXEMBOURG 
Roland Benelux N. V. 

Houlstraat I B-2260 Oevel- 
Westerlo BELGIUM 
TEL: (014) 575811 

DENMARK 

Roland Scandinavia A/S 

Langebrogade 6 Box 1937 
DK-1 023 Copenhagen K. 
DENMARK 
TEL: 31 95 31 11 

SWEDEN 

Roland Scandinavia A/S 

Danvik Center 28 A, 2 tr. 
5-131 30 Nacka SWEDEN 
TEL: (08) 702 0020 

NORWAY 

Roland Scandinavia Avd. 

Kontor Norge 

Lilleakerveien 2 Postboks95 

UlleakerN-0216Oslo2 

NORWAY 

TEL: (02) 73 0074 

FINLAND 
Fazer Musik Inc. 

Lansituulentie POB 169, 
SF-02101 Espoo FINLAND 
TEL; (00) 43 501 1 

SWITZERLAND 
Roland (Switzerland) AG 
Musitronic AG 

Gerberstrasse 5, CH-4410 
Liestal, SWITZERLAND 
TEL: (061) 921 1615 

AUSTRIA 

E. Dematte &Co. 

Neu-Rum Siemens-Slrasse 4 

A-5040 Innsbruck P.O.Box 

83 

AU.STRIA 

TEL: (0512) 26 44 260 



GREECE 

V. Dimitriadis & Co. Ltd. 

20, Alexandras Avn., GR 
10682 Athens, GREECE 
TEL: (01) 8232415 

PORTUGAL 

Casa Caius Instrumentos 

Musicals Lda. 

Rua de Santa Catarina 1 3 1 
4000 Porto, PORTUGAL 
TEL: (02) 38 4456 

HUNGARY 
Intermusica Ltd. 

Warehouse Area 'DEPO' 
Torokbalint, Budapest 
HUNGARY 
TEL:(1) 1868905 

ISRAEL 

D.J.A. International Ltd. 

Twin Towers, 33 labntinsy SL 

Room 211, Ramat Can 52511 

ISRAEL 

TEL: (03) 751 8585 

CYPRUS 

Radex Sound Equipment 

Ltd. 

1 7 Diagorou St., P.O.Box 
2046, Nicosia CYPRUS 
TEL: (2) 453 426 
(2) 466 423 

U.A.E 

Zak Electronics & 

Musical Instruments Co. 

P.O. Box 8050 
DUBAI, U.A.E 
TEL: 36071 5 

KUWAIT 

Easa Husain Al-Yousifi 

P.O. Box 1 26 Safal 1 3002 

KUWAIT 

TEL: 5719499 

LEBANON 

A. Chahine & Fils 

P.O. Box 16-5857 
Beirut, LEBANON 
TEL: (01 1335799 

TURKEY 

Barkat Sanayi ve Ticaret 

Siraselviler Cad. 86/6 Taksim 
Istanbul, TURKEY 
TEL: (0212) 2499324 

EGYPT 

Al Fanny Trading Office 

9, Ebn Hagar Ai Askalany 
Street, Ard El Golf, 
Heliopolis, Cairo, 1 1 341 
EGYPT 

TEL: (02) 917 803 
(04) 171 828 

QATAR 

Badie Studio & Stores 

P.O.Box 62, 
DOHA Qatar 
TEL: 423554 



BAHRAIN 
Moon Stores 

Bad Al Bahrain Road, 
P.O.Box 20077 
State of Bahrain 
TEL: 211 005 

BRAZIL 

Roland Brasii Ltda. 

R. Coronel Octaviano da 
Silveira 203 05522-010 
Sao Paulo BRAZIL 
TEL: (11) 843 9377 

MEXICO 

Casa Veerkamp, s.a. de 

c.v. 

Mesones No. 21 Col. Centro 
MEXICO D.F. 06080 
TEL: (905) 709 3716 

La Casa Wagner de 
Guadalajara s.a. de c.v. 

Av. Cort)na No. 202 S.I. 
C.P.44 100 Guadalajara, 
lalisco MEXICO 
TEL; (36) 13 1414 

VENEZUELA 
Musicland Digital CA. 

Av. Francisco De Miranda, 
Centro Parque de Cristal, 
Nivel C2 Local 20 Caracas 
VENEZUELA 
TEL: (2) 285 921 8 

PANAMA 
Productos Superiores, 
S.A. 

Apartado 655 - Panama 1 
REP. DE PANAMA 
TEL: 26 3322 

ARGENTINA 
Instrumentos Musicaies 
S.A. 

Florida 638 
11005) Buenos Aires 
ARGENTINA 
TEL: (1)394 4029 

HONG KONG 

Tom Lee Music Co., Ltd. 

Service Division 

22-32 Pun Shan Street, Tsuen 
Wan, New Territories, 
HONG KONG 
TEL: 41 5 0911 

KOREA 

Cosmos Corporation 
Service Station 

261 2nd Floor Nafc-Won 

Arcade )ong-Ro ku, Seoul, 

KOREA 

TEL: (02) 742 8844 

SINGAPORE 
Swee Lee Company 

BLOCK 231, 
Bain Street #03-23 
Bras Basah Complex, 
Singapore 0718 
TEL; 3.367886 



PHILIPPINES 

G.A. Yupangco & Co. 

Inc. 

339 Gil I. Puyat Avenue 

MakatI, Metro Manila 1200, 

PHILIPPINES 

TEL; 102) 817 0013 

THAILAND 

Theera Music Co., Ltd. 

330 Verng Nakorn Kasem, 

Soi 2, Bangkok 10100, 

THAILAND 

TEL: (02) 2248821 

MALAYSIA 

Bentley Music SDN BHD 

No.142, lalan Bukit Bintang 

55100 Kuala Lumpur, 

MALAYSIA 

TEL; (03) 2443333 

INDONESIA 
PT CITRARAMA 
BELANTIKA 

Kompleks Perkanloran Quia 

Merlin Blok E Nq.6— 7 

II. Gajah Mada No.3— 5, 

Jakarta 10130, 

INDONESIA 

TEL: (021) 3850073 

TAIWAN 
Siruba Enterprise 
(Taiwan) Co., LTD. 

Room. 5, 9fl. No. 112 Chung 
Shan N.Road Sec.2 Taipei, 
TAIWAN, R.O.C. 
TEL; (02) 571 5850 

SOUTH AFRICA 
That OtIier Music Shop 
(PTY) Ltd. 

1 1 Melle Street (Cnr Melle 
and luta Street) 
Braamfontein 2001 
Republic of South Africa 
TEL: (Oil) 403 4105 

Paul Bothner (PTY) Ltd. 

1 7 Werdmuller Centre 
Claremont 7700 
Republic of South Africa 
TEL: (021) 64 4030 



As of July. 15. 1994 



Apparatus containing Litliium batteries 



-For Nordic Countries- 



ADVARSEL! 

Lithiumbatteri - Eksplosionsfare ved 

fejiagtig hindtering. 

Udskiftning ma kun ske med batteri af 

samme fabrikat og type. 

Lever det brugte batteri tilbage til 

leverandoren. 



VARNING! 

Explosionsfara vid felaktigt batteribyte, 
Anvand samma batterltyp eller en 
ekvlvaient typ som rekommenderas av 
apparattiliverkaren. 
Kassera anvant batteri enligt 
fabrikantens instruktion. 



ADVARSEL! 

Litliiumbatteri - Eksplosjonsfare. 
Ved utskifting benytles kun batteri som 
anbefalt av apparatfabrikanten. 
Brukt batteri returneres 
apparatleverandoren. 



VAROITUS! 

Paristo voi rajatitaa, jos se on 
viriieellisesti asennettu. 
Vaiinda paristo ainoastaan 
laitevalmistajan suositlelemaan 
tyyppiin. Havita kaytetty paristo 
vaimistajan ohjeiden mukaisesti. 



Bescheinigung des Herstellers/lmporteurs 



-For Germany - 



Hiermit wird bescheinigt, daB der/die/das 

SYNTHESIZER MODULE JV-1080 

(Gerat, Typ, Bezeiclinung) 

in Ubereinstimmung mit den Bestimmungen der BIVIPT- 
AmtsblVfg 243/1991 funk-entstort ist. Der vorsctiriftsmaBige 
Betrieb mancher Gerate (z. B. l\/1eBsender) kann alierdings 
gewissen Einscinrankungen unterliegen. Beacliten Sie 
desliaib die Hinweise in der Bedienungsanleitung. 



Dem Zentraiamt fur Zulassungen im Fernmeidewesen 
wurde das Inverkehrbringen dieses Gerates angezeigt und 
die Bereciitigung zur Oberprijfung der Serie auf die 
Eintialtung der Bestimmungen eingeraumt. 

Roland Corporation 

4-16 Dojimahama l-Chome Kita-ku Osaka 530 Japan 

(Name und Ansctirift des Herstellers/lmporteurs) 



-For the USA- 



FEDERAL COMMUNICATIONS COMMISSION 
RADIO FREQUENCY INTERFERENCE STATEMENT 

Tlnis 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 thi; 
This equipment requires shielded interface cables in order to meet FCC class B Limit. 



equipment. 



■ For Canada- 



CLASS B 



NOTICE 



This digital apparatus does not exceed the Class B limits for radio noise emissions set out in the Radio Interference 
Regulations of the Canadian Department of Communications. 



CLASS B 



AVIS 



Cet appareil numerique ne depasse pas les limites de la classe B au niveau des emissions de bruits radioelectnques 
fixes dans le Reglement des signaux parasites par le ministere canadien des Communications. 



SPECIFICATIONS 

J\'-1080 ; Multi-timbral Synthesizer module 
(Conforms to General MIDI System ) 



I 
I 



• Parts 

Part Ito 16 

•Maximum Polyphony 

64 Voices 



•Effects 




EFX: 40 types (refer to the "Remarks" in the : 


right side column) 


Chorus: 1 type 




Reyerb: 1 type 




•Memory 




Internal 




System: 


1 


Patch 




User; 


128 


Preset A: 


128 


Preset B: 


128 


Preset C; 


128 


Preset D (General MIDI Sound Set): 


128 


Performance 




User: 


32 


Preset A: 


32 


Preset B: 


32 


Rhythm Set 




User: 


2 


Preset A: 


, 2 


Preset B: 


2 


Preset C: 


2 


Preset D (General MIDI Percussion Map): 


2 



•Display 

40 characters, 2 lines (hacklit LCD) 

•Connectors 

MIX OUT Jack (L,R) 

OUTPUT 1 Jack (L, R) 

OUTPUT 2 Jack (L, R) 

Headphone Jack (Stereo) 

MIDI Connectors (IN, OUT, THRU) 

Wave Expansion Board Slot (4 in total) 

Card Slot (PCM, DATA) 

•Power Supply 

AC 120V, AC 220 V or AC 240 V 

•Power Consumption 

16 VV (AC120V), 17W (AC220V, AC240V) 

•Dimensions 

482(W).x 281(D) X 88(H) mm 

18-15/16" (W) X 11-1/16" (D) X 3-1/2" (H) inches 

(EIA -2U rack mount type) 

•Weight 

5.0 kg/ Ulbsl oz 



•Options 

DATA Card (PN-JV80 series, M-256E / 512E) 
PCM Card (SO-PCM 1 series) 
Expansion Board (SR-JV-80 series) 

<Remarks> 
•EFX types: 

1: Stereo Equalizer 

2: Overdrive 

3: Distortion 

4: Phaser 

5: Spectrum 

6: Enhancer 

7: Auto-Wah 

8: Rotary 

9: Compressor 

10: Limiter 

11: HEX A Chorus 

12: Tremolo Chorus 

13: Space D 

14: Stereo Chorus 

15: Stereo Flanger 

16: Step Flanger 

17: Stereo Delay 

18; Modulation Delay 

19: Triple Tap Delay 

20: Quadruple Tap Delay 

21: Time Control Delay 

22: 2 Voice Pitch Shifter 

23: Feedback Pitch Shifter 

24: Reverb 

25: Gate Reverb 

26: Overdrive -> Chorus 

27: Overdrive -> Flanger 

28: Overdrive -> Delay 

29; Distortion -> Chorus 

30; Distortion -> Flanger 

31: Distortion -> Delay 

32: Enhancer -> Chorus 

33: Enhancer -> Flanger 

34; Enhancer -> Delay 

35; Chorus -> Delay 

36; Flanger -> Delay 

37: Chorus -> Flanger 

38; Chorus / Delay 

39; Flanger / Chorus 

40: Chorus / Flanger 

-> : serial connection / ; parallel connection 



In the interest of product development, the specifications for tins 
product are subject to change U'ithout prior notice. 



•Accessories 

0\yner's Manual 
AC Cord 



I^Roland' 
71451145 



UPC 71461146 



Roland