Roland®

-'V-lOBO

OWNER'S MANUAL

GENERAL

mlLlI

4x EXPANSION

Before You Begin ...

Thank you, and congratulations on your choice of the Roland ...IV-lOBO Expandable Synthesizer Module. The IV's highquality sounds and outstanding ease of operation are sure to satisfy every musician, from absolute beginner to accomplished pro. And thanks to its enhanced rnulti-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-lOBO, it is important that you take the time to read this manual carefully.

• Features

• High-Quality Sounds

The IV 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-Trmbral Capability

With 16 Parts and 64 voices available at anyone time, the )V will effortlessly recreate even the most demanding of ensemble performances.

• Complete Effects Selection

The JV's state-of-the-art DSP (Digital Signal Processor) section 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 ...IV-lOBO 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 ...IV-lOBO has three sets of stereo outputs - MIX OUT, OUTPUT 1, and OUTPUT 2. These independent output jacks let you add different external effects to different sounds for sophisticated mixing .

• Easy Operation

Each operational mode is directly activated by its own button, 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 computers 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 particular manufacturer or model. Sound modules and song data that conform to the General MIDI System carry the

GM logo (iiiiDi). Any song data bearing the GM logo can be played on any sound module also bearing the GM logo.

• About the Conventions Used

in This Manual

In order to explain the JV's operation as dearly and concisely 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" button.

• A slash between buttons names - such as [~)/[~) or [INC]/[DECj - means that either of the two buttons indicated may be pressed.

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

• A reference such as "I!i'i' p. **" means refer to the indicated page number.

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

Screen

abbreviation Full name

J. J.

Permissible values

J.

<Rat> Chorus Rate -- 0 to 127

-cTyp> FilterType - OFF/LPF/BPFfHPFIPKG 'W,."

i

This means that the Palette Edit screen is displayed.

• 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 addition 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.

3

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 ll

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-1CJBCJ

1. Units of Sound 20

• The Smallest Units of Sound -Tones 20

• Combinations of Tones That Make Sounds - Patches 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-1CBC 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 - Modes 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 (VY A VE) .50

4

• Adding Undulations to a Sound (LFO) .51

• Changing the Pitch (PITCH) 52

• Changing the Sound (TVF) .53

• Changing the Vol urne (TVA) .55

2. Performance Edit Mode 57

• Making Settings for an Entire Performance (COM-

MON) .57

• Selecting Effects Added to the Performance

(EFFECTS) .57

• Setting the MIDI Channel for a Part (MIDI) .59

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

• Setting the Pitch for a Part (PlTCH) 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 Rhythm Tone (TVF) 64

• Changing the Volume of a Rhythm Tone (TVA) 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

• Initializing 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 ..JVlOBO

1. Using the JV-I0BO 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 77

• Selecting a Patch for each Part (P ART) 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 Performance 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 - Multi-Effector EFX

1. EFX Effect Types 84

• l:STEREO-EQ (Stereo EquaIizer) 84

• 2:0VERDRlVE 84

• 3:DISTORTION 84

• 4:PHASER 85

• 5:SPECTRUM 85

• 6:ENHANCER 85

• 7:AUTO-WAH 86

• 8:ROT ARY 86

• 9:COMPRESSOR 87

• 10:LIMITER 87

• 11: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-DELA Y 92

• 21:TIME-CONTROL-DELA Y 93

• 22:2VOICE-PITCH-SHIFfER. 93

• 23:FBK-PITCH-SHIFfER (Feedback Pitch Shifter) 94

• 24:REVERB 94

• 25:GATE-REVERB 95

• 26:0VERDRlVE -> CHORUS 95

• 27:0VERDRlVE -> FLANGER 95

• 28:0VERDRlVE -> DELAY 96

• 29:DISTORTION -> CHORUS 96

• 30:DISTORTION -c- FLANGER 96

• 31 :DISTORTION -> 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:CHORUS/DELA Y 99

• 39:FLANGER/DELA Y 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

MIDIlmplementation 132

MIDI Implementation Chart 156

Index 157

Specifications 164

• How to Use This Manual·

Chapter 4 - Other Functions of the

-lV-lOBO

This chapter describes how to use the JVlOBO as a Gereral MIDI compatible soimd module, how to change its sounds remotely, and how to make use of Ii variety of controllers. Again, refer to this Chapter as necessary.

Chapter 5 - Multi-Effector EFX

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

Chapter 6 - Supplementary

Materials

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

5

Panel Descriptions

Front Panel

A.

o [VOLUME] Knob

This knob 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 similar) to this jack. (Be sure the headphones you use have an impedance between 8 and 15 Ohms.)

B.

o Display

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

c.

0[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 GMmode.

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.

6

E.

o [VALUE] Knob

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

o [INC] and [DEC] Buttons

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

o PAGE Buttons ([A.] and [ .... n

Pressing either of these buttons while nt rr or n'" tr is shown on the left side of the display causes the display (page) to change. [A] shows the previous page and ["'] shows the next page.

o CURSOR Buttons ([ .... ] and e-n

These buttons are used to move the cursor (underline) 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 theGMmode.

o [PATCH] Button

Press this 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 Rhythm Set mode.

o [SYSTEM] Button

Press this button to set functions that affect the entire .JVlOBO.

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

This 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 loading Patch data).

J.

o MIDI Message Indicator

This indicator lights when MIDI messages are being received.

o [POWER] Switch

This switch turns the JV on and off.

K.

o ACIniet

Connect the Included power cord to this inlet.

L.

o MIDI Jacks (IN/OUTITHRU)

These jacks are used to connect the JV-l0BO to other MIDI devices when exchanging MIDI messages. (Special MIDI cables are used.)

I

---- MIDI ----

OUT

THRU

IN

t

Receives messages from external MIDI devices. Transmits messages from the JV-l0BO to external MIDI devices.

MIDI THRU: Re-transmits the messages received via MIDI IN.

MIDI IN:

MIDI OUT:

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.

7

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 malfunction.

• 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 storing the unit in dusty or humid areas, or areas that are subject 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 reception. 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 from 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 amount of heat will radiate from the unit during normal operation.

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

• 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 the display during normal operation.

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

8

• Memory Backup

• This unit contains a battery which powers the unit's memory circuits while 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 malfunction 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 manufactured 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 the printed circuit pathways or connection 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.

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

1. Getting Ready to Play

• Connecting with Audio Equipment

The JV-10BO has no built-in amp or speakers, so in order to produce sound you'll have to use a keyboard amp or audio system, or at least a pair of headphones. Refer to the following connection diagram.

• No connection cables (such as the PI-1M) are included with this product, These cables mllst be acquired separately.

(D 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.

c.» 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.

""""00", 0

(RH-BO/120, etc.)' "(

O~~ .. ~ ...••

8

Monitor speakers (self-powered)

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 P A system, or other audio equipment (Ordinarily, you can connect with MIX OUT). To get the best sound from the JVlOBO, 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 Power

(D Press the [POWER] switch.

o

PoworOn

---ON

Power On

---

o

OFF

In a few seconds the following display will appear:

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

* The JV-l0BO contains circuitrq protection which momentarily mutes the output stage during power up. The unit will funciion normallu in a few seconds.

~ Play something on the JV-10BO and adjust the volume of your equipment. You can playa test (preview) sound by pressing the [VOLUME] knob.

(VOLUME

•• I,' # • • .. .

.. -

. .

- ..

. ..

.. ... ..

MIN X

PREVI SH)

Rotate clockwise to increase the volume

Press to playa test sound

* You call also change the sound that's played when you press the [VOLUME1 kllob (1& p. 69).

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

• Turning OH the Power

(D 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, c,,' p. 18.)

~ Switch off any amps and other external equipment. ~ Switch off the .JV-1ClBCl.

11

2. Playing the Demo Songs (ROM Play)

The .JV-10BO 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 performance capabilities.

" For sOllg names and profiles of their composers, see page 129 .

• How to Listen to the Demo Songs

o

o

..

o

o

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 ~.

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.

o Roland SU;-I!!AJV~~.....-rtl ..... JV·1OFi!IC ...

o

IIIIIlI

o

o

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

* Tile eigllt values 011 tile upper row arc for Parts 1-8, while those 011 tile lower 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-10BO is hooked up for stereo output.)

~ 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 [1-819-161 to toggle tile cursor's position between the upper row (Parts 1-8), and lower row (Parts 9- 16). Use ["]I[~1 to l1Iove to tile desired Part uiithin tile rolV tire cursor is ill.

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

~ Press (EXIT] to stop playback.

" NOlie of tile panel buttons - except those described here - will work during ROM Play. Note also that 110 demo song data is output from the MIDI OUT port.

" These demo sOllgs are protected by applicable cOl'yrigltt laws. NOlie of these sOllgs may be used ill allY way - except for demo purposes/personal enjoyment - uiithout tile permission of tile song's copY"iglzt holder.

12

3. Auditioning the Sounds

One of the best ways to play the JV-10BO is to connect a MIDI keyboard. That way you have all the JV's great sounds at your finger tips!

* MIDI cables are 1I0t included with this product ami IIIIISt be purchased separately .

• Connecting a MIDI Keyboard

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

MIDI keyboard

o

@

'@II~}

o

o

o

• Selecting the MIDI Channel for Playing the Keyboard

In order for the JV-10BO 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.

o

o

o

o

tD Set the 'send' channel on the MIDI keyboard to "1."

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

t» On the .JV-1CJBCJ, press the [PATCH] button (so the indicator lights). t» Press the [SYSTEM] button on the .JV-1CJBCJ (so its indicator lights too). «'D Press the FUNCTION SELECT [MIDI] button to display the following screen:

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

~ Use r~]/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 "I."

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

13

• Playing the Keyboard

The .JV-l0BO has many on-board sounds. Try listening to some of these sounds by changing the Tones (Patches) during normal play.

~ Press [PATCH] (so the indicator lights).

PERFORM PATCH RHYTHM

11011115011

~ Playa key on the MIDI keyboard to hear a sound.

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

VALUE

o

.

.

, ,

+

DEC INC

~ b rr::::Jl

* The sound groups are: User, Card, Preset (A to D), and EXP (A to D). You call use tile SOUND GROUP buttons 011 the left side of the front panel to select a wille range of sounds ( .. p. 29) .

• Playing a Variety of Percussion Instruments on the Keyboard

The .JV-l0BO 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 keyboard to play percussion instruments and other special sounds!

~ Set the send channel on the MIDI keyboard to "10."

* If you don't knoui how to do th is, take a look at the manual for YOllr MlDI keyboard.

~ On the JV-10BO, press the [RHYTHM] button (so the indicator lights).

PERFORM PATCH RHYTHM

1101111011110

~ 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.)

~ You can switch between Rhythm Sets by rotating the [VALUE] knob or pressing [INC]/[DEC].

* To find out uihat sound is assigned to eacli key ill each of the Rhytllm Sets, refer to the "Rhythm Set List" ill tile chapter six.

In addition, you can use the .JV-l0BO to play Performances made up of a number of Patches. Take a look at "2. Play" (o:E p. 29) in Chapter 2 and tryout for yourself the many possible sound combinations.

14

4. Changing Sounds (Patches)

A "Patch" is the normal unit of play for the _IV-lOBO. 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 something 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 making up the Patch, the overall sound may hardly change at all. In cases like this, 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 indicator is not lit 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").

II - IIII - IIII - II!I D IIII - IIII D IIII D IIII D II

NOllil up I PARAMETER

~

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 [I] to light up each of their indicators.

TONE SWITCH TONE SELECT
1 2 3 4 1 2 3 4
Ii - 1111 ! 1 IIII D IIII D IIII - IIII D IIII D IIII D II
ON ON ~ 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 buttons to choose the Parameter Group you want to edit.

~ Try changing the waveform for Tone 1. Press the FUNCTION SELECT [WAVE] button.

Lit Up II D IIII D 1111 D IIII - IIII D

I

1111 D IIi!

D IIII W II

COMMON EFFECTS CONTROL

PITCH

TVF TVA

PARAMETER

15

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

This shows that Tone 1 is to be edited.

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

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

II Willi - IIII LJ IIII Willi Willi Willi Willi D II

PARAMETER

WAVE

LFO

PITCH

TVF

TVA

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

Cursor

Press [~]/[~] 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].

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

VALUE

o

.

- +

. ,

DEC INC

~b~

* If you dOll't hear any effects, pick another Patch. Note that you won't hear the effect if tile master switch for the effect is not turned 011 (Q' p, 38).

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

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

* If you uiant to save the sound that you've made, follow tile procedure ill "5. Saving Sounds lind Settings" (w p.l8).

16

The ..JV-10BO 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

J$' p. 55

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

J$' p. 55

Change the Pitch of each Tone Coarse/Fine Tune

wp.52

Make a sound harder or softer Cutoff Frequency

wp.54

Add a stronger "character" to each Tone Resonance

wp.54

Change the attack time for each Tone TV A Envelope T1

J$' p. 56

Change the release time for each Tone TV A Envelope T4

.... p.56

Produce an analog synth sound Analog Feel Depth

J$' p. 56

Change the name of a Patch Patch Name

J$' p. 42

Return the settings for the ]V-lOBO to their factory defaults Factory Preset

lI'.w"p.74

Make the screen display easier to see

LCD Contrast

u..- 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 [INCj/[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.

VALUE

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

• If you want to know more about other operations, see the list of operations at tile end of this manual, or turn to the explanations of the parameters starting ill Chapter 3.

17

5. Saving Sounds and Settings

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

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

EFFECTS

SYSTEM UTILITY ON/OFF

"~'1I'51~"

~ Utility Menu 1 appears in the display.

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

, 1
;
;
! I
lill ,
, lill
E5 0 0 1111 E5 IIII E5 IIII 0 0 IIII 0 b Press the left-hand button under the display

~ Use the VALUE knob or the [INC]/[DEC] buttons to choose the 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 ~, the following screen appears.

While this screen is shown, you can playa MIDI keyboard to confirm the sound for the write destination.

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

~ Press the [ENTER] button to perform the write operation.

To cancel, press [EXITJ.

• TIle message "User Memory Write Protected" may appear uihen executing a torite operation. This message means that the write destination is write-protected, and cannot be written to ( .... p. 72), If tit is happens, you can press [UTILITY] to override the write-protect and force tile data to be written.

~ When the write operation is finished, the message fI COt'1PLETE" appears, and you will then see the Play screen for the write destination.

18

Overview of lIIe _IV-lOBO

This chapter will give you a good understanding of the organization and terminology of the -'V-lOBO before getting into the actual details of parameters.

1. Units of Sound

The JV-10BO has a wide array of functions and a large number of parameters. In order to provide more efficient control over the variety of sound types, they arc grouped into several units .

• The Smallest Units of Sound - Tones

The smallest unit of sound on the JV-10BO is called a "Tone." A single Tone functions much like a conventional synthesizer. However, you can't play individual Tones. The smallest unit of sound that can be played on the JV-10BO is the Patch, and Tones should be viewed as the "sound ingredients" that make up a Patch.

TI1e 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 instruments 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 JV-10BO 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-10BO 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.

P I a y

20

With the JV-l080 , you can also use a parameter called "Structure" to create sounds with pairs of Tones. See "1. Patch Edit Mode" in Chapter 3 (Il;r p. 43) for details .

• Play 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 with ordinary sounds, a Rhythm Tone is assigned to each key (in other words, each MIDI note message).

I a y

When you play keys on the synthesizer or other instrument connected to the ]V-lOBO, 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 Patches and a Rhythm Set Equivalent 10 16 Devices - Perfonnances

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 16·Parts is for the exclusive use of a Rhythm Set, and the other 15 are assigned with Patches. What this means is that you can use the JV- 1080 like 16 different sound modules. This kind of synth, one that can function like a number of different sound modules, is called a "rnulti-timbral sound module."

I a y

* Patches are assigned to Parts 1 to 9 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 determining how to balance the audio output with effects from the various Patches, and deciding which 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 that is used to hold a Patch or Rhythm Set. These Parts can be used to turn the -'V-lOBO into a rnulti-tirnbral sound module.

It may help to think 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 -'V-lOBO 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. This section explains a typical method of using Performances.

• Using the JV-l 080 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 -'V-lOBO is a multi-tirnbral 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 left 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 use the Performances of the JV-1080 for sophisticated live play, see "Live Performance Techniques" ( ..... p. 79).

• Using the ..lV-lOBO as a Sound Module Expanding a Desktop Music System (DTMS)

One big obstacle that probably every DTMS user !'lIDS into is an inadequate number of sounds that can be played at the same time. The -'V-lOBO 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 -'V-lOBO also supports the General MIDI System, the de- facto standard for DTMS sound 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 -'V-lOBO with a DTMS" (''''p. 76).

22

2. Sound Module and Memory

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

, .

Expansion Boards

Internal Memory

*: Varl ••• ..,o,dlng to board type.

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.

* TIle data ill the temporary area is lost if you change Patches or stoitch off the power. If you uiant to save this data, yotl need to perform a write operation (Ill" p. 70).

23

3. Modes on the _JV-10BO

Parameters on the ...JV-10BO 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 (ItS p. 30)

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

Patch Edit Mode (- p. 42)

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

• Performance Modes

Performance Play Mode (IF 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.

Performance Edit Mode (ItS p. 57)

This mode is used to allocate Patches and a Rhythm 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 (ItS p. 30)

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

Rhythm Edit Mode (lIE p. 61)

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

.GMModes

GM Play Mode ( .. ~ p. 30)

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

GM Edit Mode (ItS p. 77)

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

• System Mode (I@i" 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, Rhythm Set, and GM modes.

• Utility Mode (I@i" p. 70)

This mode is for managing the data used in the Patch, Performance, Rhythm 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 ...lV-lOBO 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 (the "send level"), you can vary the amount of effect applied to the Tone (see Fig. 1).

Figure 1-10 the Patch Mode

EFX

ChoruB

Reverb

• In the Performance Mode or GM Mode

This lets you set EFX, Chorus, and Reverb for each Performance or the GM mode. The 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 Asaign Is set to "EFX" In the Performance mode (the output senlngs for Tone are ignored)

Flgure 3 - When Output Assign is set to ~Patch" In the Performance mode (the output settings for Tone are valid)

--------~choru·1

E~ __ I I.___L.:::: _=:_== _== _====___j=:::r-' ... _ .... __ I

• In the Rhythm Set Mode

Because the Rhythm 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

s. Concerning Tone Editing

The ...JV-1080 provides the tools which allow you to create some excitingly realistic sounds. However, it is important to remember that a complex reM 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 the results you expect.

• Types of Waveforms

The waveforms in the internal memory of the ...JV-1080 can be classified into the following two types.

One-shot Waveforms: These waveforms contain sounds that have short decays. A one-shot waveform records the initial rise and fall of the sound. Some of the ...JV-1080'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 that are only partial elements of sounds, however. For example, 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 ...IV-1080 provide the sustain portion (i.e., the 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 one-shot Key-

click waveform (attack portion) Resulting TVA ENV change

+

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 sustaining sound. Even if you made such 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 (including piano or sax) the timbre changes dramatically during the first few moments of the note. It is this initial "attack" that defines much of the character of the instrument. The ...IV-1080 provides a variety of waveforms containing lifelike acoustic instrument attacks. To obtain the maximum realism when using these waveforms, it is best to leave the filter completely open during the attack. That way, all the complex timbral changes can be heard. For tile sustain and decay portion of the sound, you can use the envelope to produce tile desired changes. Should you use the envelope to modify the attack portion as well, the natural attack contained in the waveform itself will not be heard to full advantage, and you may not achieve the result you expect.

lone change slor&ci with the wave

Envelope lor the TVF filter

Resulting (one change

You also need to keep the timbral character of the 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 the sound to a brightness greater than the original waveform (refer to "FXM" oF p.50), you will have to create new upper-range partials that were not present in the original waveform. If you wish to make the entire sound brighter than the original waveform, you should start by adjusting the enhancer or equalizer before you edit the TVF parameters.

26

Basic Operation

This chapter explains the basic operations YOll need to use the _JV-1CJBCJ.

1. Choosing a Mode

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

[PERFORM] [PATCH]

[RHYTHM] [SYSTEM]

[UTILITY] [SHIFT]+[PERFORM]

Performance mode Patch mode Rhythm Set mode System mode Utility mode GMmode

~ When you press a MODE button and the indicator lights up, the corresponding screen appears on the display.

* See "3. Modes on tile ...IV-lOBO in Chapter 1 (- p. 24)for a description of the different modes.

See tire f,ages listed below for explanations of the parameters used by each of the modes.

Performance mode Patch mode Rhythm Set mode System mode Utility mode GMmode

28

(~p. 57) (~ p.42) (1!31' p. 61) (~p. 66) (1!31' p. 70) (~p. 77)

2. Play

This section describes how to work with the sounds built into the ..lV-lOBO as you play .

• Choosing a Sound

Here's how to call up a sound.

(D Press the MODE button to select the mode you want.

PERFORM PATCH RHYTHM

il - IIII 0 IIII 0 II

o

* If YOII press /RHYTHMJ, it selects the Rhythm Set assigned to Part 10 of the Performance currentlsj in the temporary area.

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

SOUND GROUP buttons

USER/CARD PRESET EXP

II w Iill Willi W II

i i~

A e c

b IGM Patch)

LJ II

PCM CARD

• User Memory

• Preset Memory

• OAT A Card (only when installed)

• PCM Card (only when installed)

• Expansion Boards (only when installed)

Top line [USER/CARD] [PRESET] [USER/CARD] [USER/CARD] [EXP]

->

->

->

->

->

Bottom line [USER]

[A] to [0] [DATA] [PCM]

[A] to [0]

* Wllell the ..lV-lOBO is purchased, the User Memory and Preset contain the same sounds. In addition, the sound mapping ill Preset D conforms with GM Instruments.

* Presets C ami D do IIOt function ill the Performance mode.

t.» Tum the VALUE knob or press [INC]/[OEC] to pick a sound.

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

DEC

rr:::Il

INC

rr:::Il

29

• Patch Play Mode Screen

Patch group

• Performance Play Mode Screen

Octave shift (lIE p. 32)

Performance number

Performance name

Performance group

• You call use the [~J/~ ] buttons to change the Part nUlIlber.

Part number

• Rhythm Play Mode Screen

Note number

Wave name

• When playing a Rhythm Set, see the Performance "CONTROL" page (w p. 59) to set the Receive switch 111111 MIDI channel for Part 10.

• GM Play Mode Screen

GM

number

GM Patch

Part number

• You can lise tire [~J/~ ] buttons to change the 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 M-512E), be sure to insert the card face-up into the appropriately labelled slot.

PCM card

DATA card

• Never pull a DATA Card or PCM Card alit of the slot while YOIl are playing .

• Important Notes on Installing Wave Expansion Boards

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

The installation locations" AU through "D" in the figure correspond to EXP buttons [A] through [0].

Expansion Board

V

Front panel

* Some DATI-\. Cards (suclt as the PN-IV80 series) may contain patches that lise Expansion Board waves. To lise suclt DATA cards when YOIl have multiple Expansion Boards, be sure to install the board that corresponds to the card ill the location with the lowest letter of the alphabet.

* The ..JV-1CJBCJ call also read patch and rhythm set data stored 011 DATA cards by the IV-I000fIV-90, TV-80, IV-S80. However, while reading in such data the unit also performs a conversion, since there are differences in the way the parameters are organized. As a result, some of this data lIIay sound slightly dif[erent than the wily it did Ol! the earlier TV 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] button is not lit up, then use the TONE SWITCH and r ART 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 handy when you want to check what Tones the currently selected Patch consists of.

PARTSW/TCH

__ ~~ __ ~~ __ ~~ ~SELECT~ __ ~~~ __ ~~ __ ~~ __

1/9 2/10 3/1'1 41'12 5/13 6/14 71"15 8/16

Off (not lit) I PARAMETER

II D II

TONE SWITCH __ -:- __ I TONE SELECT

_ I1II .:. 1111 ! II1I 6 I I .:. 1I11 ~ 1111 :; 1I11 6 II

Tones played - "On"

I

Tones not played - "Off"

The indicators for the buttons are illuminated 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 SWITCH SELECT

411' 5113

9i16 I

_ '!'8 _,_n~r,,;t: S\·.1T~I-! __ . , _T~;Nt:.E;[;"E;"' __

li"'-":""'II II HI - IHI D 1!l1 - 1111- llil - 1111 - !III " II

I'AF1AMFTFR ! I I I I _ __j_ -''"~" .-.l

(~ltl- r:r:::::n MIDlinformaHon Is MlDllnfOr~8t10n Is not

received- ~On" received- "OW

* TIle PART SWITCH buttons work only in tile 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 Patcb and Performance settings (Hi' 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 ["')/["-) buttons shifts the sound up or down by one octave. You can vary the settings by three octaves up or down.

,
~ I III Each press shifts the sound up an octave

..... ~
,

III III Each press shifts the sound down an octave
* l-V7,ell YOIl write a Patch, this para meta is stored as a comlllOIl parameter.

32

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 FUNCTION SELECT buttons to choose a parameter 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 Willi Willi Willi Willi Willi Willi Willi W II

On (lit up)

I

PARAMETER

II - II

Patch (Rhythm Sel) Performance (GM) System

Parameter group to be edited

Edit Screen

t

Parameters to set

Parameter group

Settings

~ 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 such 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 the indicator go dark and then use the TONE SELECT [1] to [4] buttons.

PART SWITCH --~I'~'9--~2~!~10~--3~f~'I~I--~4/~'1~ELEC~~!1~3--~6~1"I~4--~7~!1~5--~3~;1~6--

_-:- __ T~NE SWIT~H ~_I __ ~ __ T~NE SELEiT __ ::--_1

II Willi Willi W IIII ~ III .:. IIII Willi W IIII ~ II

Off (not lit) I PARAMETER

II W II

I

Tones 10 be edlled- "On"

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 respective values.

33

• In the Performance Mode or GM Mode

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

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

PART SWITCH --~1~/9----~2/~1~O--~3~/1~1--~4~/l~ELECr~/1~3--~~--~~--~~~

6/14 7/15 B/16
TONE SELECT
2 3
0 1111 0 1111 0 II .~. ~:~6 T~NE SW1T~H __ ..,..._ -~--

11'''0 III II 0 1111 - 1111 0 1111 0 1111 0 1111

PARAMETER

Off(ootllt) _III 0 II

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 [1-8/9-16J 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 Rhythm Tone that is called up, use either of the two methods described below.

o Use the keys on a MIDI keyboard connected to the _IV-lOBO to make the selection.

11= 1 !! I !HI "I"'I'!I !!!I!! I !!! I !rumlll b

J

* 1/ you are using a MIDI keuboard to make your selection, set the System Parameter for Rhythm Edit Key to "PANEL&MIDI(- p. 66)."

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

li9

2/10

3/11

PART SWITCH
SELECT
4/12 5113 6/14 7/'15 8116
III TONE SELECT III
4 2 3 4
0 0 1111 0 IIII 0 IIII 0 _~ __ TONE SWITCH __ -:-_

2 3

Off (not lit) I PARAMETER

II 0 II

II 0 IIII 0 IIII 0 IIII

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.

"The indicators for the TONE SELECT buttons are alwys dark in the Rhythm Set Mode .

• Moving the Cursor and Changing Settings

Use the ["']1["'] buttons to move the cursor to the parameter you want to change, then use the VALUE knob or [INC]/[DEC] buttons to change the value.

VALUE

DEC INC

u:=JJ b u:=JJ

The VALUE knob ...

Turning the VALUE knob while pressing it inward or while holding down the [SHIFf] 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 continuously. The values change by larger steps if you hold down the [SHIFT] button and press [INCl/[DEC1. The values can also be changed rapidly by holding down one of these buttons and pressing the other one.

* 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 tile 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 the _IV-lOBO, each screenful of parameter settings is called a "page."

On screens that show a "t" or "! fI symbol, you can press the [A]I["] buttons to change pages.

1

!

i I Ii

,

II Ii

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

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

... Press ["l, 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:

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

PALETTE

f 1

PAI.FTTE

.~

Palette Edit Screen

• TIll' Palette Edit screen docs not show anything except the purameters for each TOile (or Part) to be edited.

Additionallv, 110 Palette Edit screen is displayed ill the Rhythm Set mode.

36

• The Handy Page Changing Function

Several pages are allocated to the FUNCTION 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 [ .... l/! ..... ] 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.

1 2 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 [ ..... l at page A to change to page B, then each press of the FUNCTION SELECT button toggles you between Band E.

3. If you press [A] at page E to change to page D,

E then each press of the FUNCTION SELECT but-

'------' ton toggles you between D and B .

• 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 moving back and forth between the Performance mode and the Patch mode to edit a Patch .

.. » Let's say that YOll 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 [PERFORM] and [PATCH] buttons light up at the same time, and the Play screen for the Patch selected for Part 3.

Part 3 is heing edited

for the Patch selected for the Part

* You can usc the [ .... ] f /"1 buttons to change the Part.

~ Edit the Patch just as you would during normal Patch editing. "'I) Press [EXIT] to return to the Performance screen.

37

• Switching Effects On and Off

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

(D 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 display to switch that effect on or off. You can also use the CURSOR [ .... ]/[~] buttons, the V ALUE knob, or the [INC]/[DEC] buttons for switching.

o 1111 0 1111 0

o II

EFX Chorus Reverb

on/off on/off on/off

~ Press [EXIT] or [EFFECTS ON/OFF] to make the indicator go dark and return to the original screen .

• Confinning Cunent Settings or MlDllnfonnation -1he Information Function

No matter what mode you're in, you can use the Information function to view a wide range of information quickly and easily.

(D Hold down the [SHIFf] button and press [INFO].

~ Use the CURSOR ["']/[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)

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

• BATTERY CHECK (status of lV-lOBO and DATA card batteries: LOW or OK)

Also, if you're in the Performance, GM, or Rhythm Set modes, you can check the following MIDI information 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 (Modulation: 0 to 127)

• INFO BREATH (Breath: 0 to 127)

• INFO FOOT (Foot: 0 to 127)

• INFO VOLUME (Volume: 0 to 127)

39

• INFO BALANCE (Balance: 0 to 127)

• INFO P ANPOT (Panpot; L64 to 0 to 63R)

• INFO EXPRESS (Expression: 0 to 127)

• INFO HOLD-1 (Hold-1: OFFtON)

• INFO AFTER (Aftertouch: 0 to 127)

• INFO BENDER (Pitch Bender: -64 to 0 to +63)

• INFO VOICE (Voice: 0 to 64)

• Any type of MIDI message for which the RECEIVE MIDI switch (w p. 67) is tumed off will be ignored.

Note also that no MIDI messages at all will be received by a Part for uihich the MIDI Receive switch (go p. 59) is turned off.

«» Press [EXIT] to go back to where you were before pressing [INFO].

40

Modes and Parameters

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

1. Patch Edit Mode

II Willi Willi Willi CJ 1111 CJ 1111 CJ 1111 CJ 1111 W II

I COMMON EFFECTS CONTROL WAVE LFO

PITCH TVF TVA I

COMMON EFFECTS MIDI PART

SETUP MIDI

PITCH PAN LEVEL

rUNE PREVIEW

• Making SeHings 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 [INCj/[DEC] to select the desired character.

Available characters:

Space, A to Z, a to z; 0 to 9, +-* II =!?<>O[lIl :; . , " " # % & $ ¥ e-,

Pressing [SHIFf) displays the following in the bottom right corner of the screen.

i 11'11
II ill I ilil Iii I lill c lill '" lill il Hold down [SHIFT[ and press 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 this 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 cursor from upper to lower case and vice versa.

• PATCH COMMON

<Level> Patch Level- 0 to 127

This parameter sets the overall volume for the entire Patch.

<Pan> Patch Pan - L64 to 0 to 63R

This parameter sets the stereo position of the entire Patch:

L64 is far left, 0 is center, and 63R is far right.

• Although a separate Pan setting is made for each of the Tones th.at make tip a Patch, the stereo position of these Tones is shifted by this overall Pan setting.

42

<Analog Feel> Analog Feel Depth - 0 to 127

This parameter adds a very subtle (yet pleasing) pitch fluctuation to the basic waveform. This helps create a sound that is more natural in nature. (This is also called the "l/f fluctuation").

<Octave> Octave Shift - -3/-2/-1/0/+11+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.

* Wlte" Octave Shift is IIsed i" the Patch Play screen, this set-

ting also changes automatically.

<Stretch> Stretch Tune Depth - OFFIl/2/3

This parameter changes the pitch using the 'stretch tuning' method typically used on acoustic pianos. This makes highrange sounds slightly higher in pitch, and low-range sounds slightly lower in pitch.

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

3

3 .

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 voices being cut sequentially.

LOUDEST:

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

<Velocity Range> Velocity Range Switch - OFF/ON This setting determines whether 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 controls the parameters for Tones and Effects.

With the ..JV-l0BO, you can control Delay Time (and other 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 tire internal tempo clock, set the clock source system 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-l to 1271"4'.'" 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 vallie higher th an the setting for Velocity Range Upper, the value for Velocity Range Upper changes at the same time.

<Upper> Velocity Range Upper-l to 127 ._""

This parameter determines the maximum range of sound

when playing forcefully. Sound 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 ualue for Velocity Range Lower changes at the same time.

«X-Pade» Velocity Cross Fade Depth - 0 to 127 gMt •• ,.

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

Level

.. '

Velocity

Fade width

Fade width

• KEY RANG (Key Range)

<Lower> Key Range Lower-C-l to G9 "11 ..... This parameter sets the key for the lowest playable sound.

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

<Upper> Key Range Upper - C-l to G9 .W.I This parameter sets the key for the highest playable sound.

• It 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 Patch. Differences in structure can make the sound vary greatly.

• With Structure, hoo Tones are edited as a set. This mea tiS that it doesn't matter whether you press TONE SELECT (1] or [21; in either case, "12-" appears in the left-hand comer of the screen. (With TONE SELECT [3J or [4J, "-34" appears.)

* It you switclr off one of the TOiles ill a pair while 1YPE 2-10 is

selected, the other Tone is played as 1YPE1.

-cStrucb- Structure - 1 to 10 u •• "

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, tire characters all the screen.

are abbreviated. Here's what these abbreviations mean:

WI or W2: WG (Wave Generator) 1 or 2 FI or F2: TVF I or 2

Al or A2:

B:

R:

TVA I or2 Booster

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 reM sounds or create and combine sounds for each Tone.

(TONE 1 (3) I ~-@---(!§)) (TONE 2 (4) I ~-@---(!§))

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 (Q' p. 44).

The TV A for Tone 1 (or 3) controls the volume balance of the two Tones and adjusts the amount of effect that the booster has.

Type 4

This type applies a filter to the mixed sound 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 harmonics by passing the 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 sound through the ring modulator, and mixes in the sound of Tone 2 (or 4).

Because the sound from the ring modulator and Tone 2 (or 4) can be mixed, the TVA for Tone I (or 3) can adjust the amount of ring sound,

43

Type 7

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.

Type 8

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.

Type 9

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

Type 10

This type sends the filtered Tones through the ring modulator to boost the harmonics, then mixes the 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 I (or 3) can adjust the amount of ring sound.

o What is a Booster?

The booster is a circuit that distorts the input Signal.

Booster level

44

In addition to using this for distortion, effects similar to PWM (Pulse Width Modulation; where the harmonic structure changes continuously) can be obtained by setting the waveform for one Tone (WGI) 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 (.:If p. 50).

Adjusts WGI output

/

WG2 /~-s

_L_··-··"__:.,,----,-AddS to WG;··· .. ·· .. ·V ..

-, "-

',-" ~ /\ Distorted area of the

/ \ waveform changes

.L ...... , ...... ,.

.......... V/ ..

Shifl in waveform by WG 1

o What is a Ring Modulator?

By combining the waveforms of the two Tones, a ring modulator can produce many harmonics (inharrnonic partials) not contained in either of the waveforms. (As long as one of the waveforms is not a sine wave, virtually no frequency components 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.

<Booster> Booster Level- 0 1+6/ +121 +181'.""" This parameter sets the booster level; a larger value results in greater distortion of the sound.

• Selecting Effects for a Patch (EFFECTS)

* l'V1wl1 editing the parameters for all effect, all "XU may appear all the left side of tile screen. This i1ldicates thut the parameters for the effect tire being edited while the effect's switch (oF p. 38) is off. Because this makes it impossible to check the results of the effect, press the {EFFECTS ON/OFF} bllttOIl to turn the effect Oil.

• OUTPUT

<Output Assign> Output Assign - MIX/EFX/OUTPUT1/0UTPUT2119t"""1

Output Level- 0 to 127 "*,,, .• ,1 Output Assign determines the output destination for each Tone, and Output Level sets the level of the output signal.

MIX:

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

L R MIXOUT ••

: Stereo line

To Reverb

~--/--

To Chorus

: Mono line

Chorus Send Level

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.

ToEFX

: Stereo line

To Reverb

-/----, To Chorus

: Mono line

Chorus Send Level

Reverb Send Level

OUTPUT1:

This setting sends the original sound to OUTPUT1.

~OUTPUTl Output level

L R

••

- : Stereo line

OUTPUT2:

This setting sends the original sound to OUTPUT2.

~OUTPUT2 Output Level

L R

••

Stereo line

* Wilen OUTPUTl or OUTPllT2 is selected as tile output destination, all settings for Chams and Reverb are ignored.

• Whell TYPE 2 to 10 is selected with Structure (W p, 43), the settings fa I' TOile .1 (01' TOlle.3) are ignored.

<Chorus> Chorus Send Level - 0 to 127 111M .... '!

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

<Reverb> Reverb Send Level - 0 to 127 1111"'II!

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

• PATCH EFX 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 -

Multi-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 ( ... , 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/OUTPUTl/OUTPUT2

Output Level - 0 to 127

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

MIX:

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

L R

MIXOUT ••

: Stereo line

To Reverb

To Chorus

. Mono line

Chorus Send Level

Reverb

Send level

OUTPUTl:

This setting sends the EFX sound to OUTPUT1.

(Ir~ ~OUTPUTl Output level

L A

••

OUTPUT2:

This setting sends the EFX sound to OUTrUn.

(Ir~ LR

~.-~ OUTPUT2 ••

Ouloul Level

* Wllen OllTPUTl or OlITPUT2 is selected tiS tile output destination, all settings for Chorus and Reverb are ignored.

45

<Chorus> Chorus Send Level - 0 to 127

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

<Reverb> Reverb Send Level- 0 to 127

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

• PATCH EFX CTRL (Patch EFX Control)

The _JV-10BO lets you lise anyone of a number of MIDI Controllers to vary EFX parameters in real time.

• The lIumber 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 parumeters that call be changed, see "Chapter 5 - Multi-Effector EFX (w p. 83)."

EFX parameter

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-CTRL1:

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

SYS-CTRL2:

The Controller set with System Control Source 2, a system parameter, is used r= 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 lise a different Controller for each Patch, or if you want to perform control with something other titan the control ch anges described here. Use the system's Control Assign 1 page to set the Controller (m p. 68).

46

• PATCH CHORUS

<Rat> Chorus Rate - 0 to 127

This parameter sets the speed of the Chorus effect. <Opt> Chorus Depth - 0 to 127

This parameter sets the depth of the Chorus effect.

<DIy> Pre delay - 0 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 - 0 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- 0 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 sound is output.

MIX:

This setting sends the Chorus sound to MIX OUT.

(from TONE)

(from EFX)

(from EFX)

(from TONE)

L R MIXOUT ••

(from TONE) (Irom EFX)

REVERB:

This setting sends the Chorus sound to Reverb.

L R MIXOUT ••

(from EFX) -------<J) (from TONE) -------'

MIX+REV:

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

(fromTONE)~

,,-"" ~'~ w,,~~;

(Irom EFX) ====_-. (from TONE) -------'

• PATCH REVERB

<Type> Reverb Type

This parameter selects the type of reverberation.

ROOM1:

Short, high-density reverb

ROOM2:

Short, low-density reverb

STAGE1:

Reverb with many late reflections

STAGE2:

Reverb with strong initial reflection

HALL1:

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 - 0 to 127

For a type from "ROOM}" to "HALL2," this parameter sets the reverb time (i.e., how long the reverb continues). For "DELA Y" or "PAN-DLY," this parameter sets the delay time. Larger values produce a greater sense of spaciousness.

Reverb

Delay

Level

f",,, level H Delay time

_~ IJtl~

!RoverbiiiTie.-j TIme Original Delay lime

sound sound

<Lev> Reverb Level - 0 to 127

This parameter sets the volume of the reverb sound.

<Fbk> Delay Feedback - 0 to 127

When "DELAY" or "P AN-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-200/250/315/400 /500/630/800/1000/1250/1600/2000/2500/3150/4000/5000/6 300/8000/BYP ASS

This parameter sets the point (frequency) at which the highfrequency 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 carpeting.)

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 (CONTROL)

This selects the functions of the JV-1CJ8CJ's Controllers.

• KEY MODE & BENDER

<Assign> Key Assign Mode - POLY/SOLO

This 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 cannot 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 0 (Down)/O to 12 (Up)

Bend Range Down lets YOll 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 semi tone increments).

• PORTAMENTO

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

<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 playing style. Portamento can also be used in the POLY Key Assign Mode (when playing chordal accompaniments).

<Trn> Portamento Time - 0 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 applied only when you play in a legato style (with the notes smoothly connected).

<Type> Portamento Type - RATEITIME

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 pitches. When "TIME" is selected, the change takes places over a fixed amount of time (regardless of the pitch interval).

<Start> Portamento Start - PITCH/NOTE

This parameter sets the 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

C5

04· C4·~----~--~---------

Time

1 st ON 2nd ON 3rd ON

(C4) (C5) (04)

When Portamento Start is set to "NOTE" Pitch

1 sIaN 2nd ON 3rd ON

(C4) (C5) (04)

• RxSWITCH (Receive Switch) <Volume> Volume Control Switch - OFF/ON

"1""'"

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

* This setting is ignored uihen tile Volllme setting for Receive MIDI, a system parameter, is set to "OFF" (Ill" p. 68).

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

0,4"""

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 according to received pan messages. However, even if a new pan message is received while a sound is being played, there is no change in the pan position until the next time a key is played.

• This setting is ignored wlleu tile Control Change setting for

Receive MIDI, a systcm parameter, is set to "OFF" (Ill" p. 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 wire" tile Bender setting for Receive MIDI, a system parameter, is set to "OFF" (Ill" 1'.68).

• Ordinarilu, volu11fe messages control volume, pall messages control the stereo position, alld l'ellder messages control tire

48

pitch being played. Witlr the IV-HISO, IlOweve.·, YOIl call lise these messages to control othCl" TOile parameters and effects (Ill" p. 49). If YOII attempt this kind of lise whell the Receive Switches are set to "ON," then the volume, palllling, or pitch may change along with tile parameter YOII want to control. To avoid this, be slIre to set these swite/les to "OFF."

• DAMPER

<Hold-I Switch> Hold 1 Control Switch - OFF/ON

"24'1""

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

* This setting is ignored when the Hold 1 setting for Receive

MIDI, a system parameter, is set to "OFF" (Ill" p. 68).

<ReDamper> Re-damper Control Switch - OFF/ON U""j,l

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.

* Wilen tile Hold 1 Control Switch is set to "OFF,".lO Re-damper effect takes place even if the Re-damper COlltrol Switch is set to "ON." This setting is also ignored tohen the Hold 1 setting for Receive MIDI, a system parameter, is set to "OFF" (Ill" p. 68).

• PEAK & HOLD

With the ..JV-10SO, 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.

<EfxCtrl> EFX Control HoldIPeak - OFFIHOLDIPEAK 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 (Ill" 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 (d" p. 68).

-cCtrl'l» Controll Hold/Peak - OFF/HOLD/PEAK This setting determines how the value of a Tone parameter to be changed with the Patch Control Source 1 (Modulation) is maintained when a Hold message is received. The setting values are the same as those for the EFX Control Hold/Peak setting.

-cCtrlz» 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 those 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-10SO 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) alld cannot be changed.

-cControlz» Patch Control Source 2 <Controls> Patch Control Source 3

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

OFF:

No Controller is used.

SYS-CTRL1:

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

SYS-CTRL2:

The Controller set with System Control Source 2 r a system parameter, is used (''ii' 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:

A ftertouch

LFOl:

The rate for LFOI (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 interval between Note On and Note Off)

* Choose "SYS-CTRL1" or "SYS-CTRL2" if there is no need to use a different Controller for each Patch, or if you waut to have control with something other than the Control Changes described here. Use the System's Control Assign 1 page to set the COil troller (w p. 68).

• Wlten tlte setting for Receive MIDI, a system parameter, is set to "OFF," then there is 110 effect whell tiny Controller is used.

• CONTROL 1 to 3

<Destination> Control Destination 1 to 4 •• ".,1 This parameter lets you simultaneously set up to four parameters for the Tone changed by Patch Control Sources 1/2/3.

<Depth> Control Depth 1 to 4 - -63 to +63 IIiM .... " This 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
Display Meaning (setting range)
OFF No parameters are controlled -
PCH Pitch
CUT Cutoff frequency
RES Resonance
LEI.) Level (volume) -63 - +63 ('1)
PR~1 Pan (stereo position)
nrx Volume output from MIX OUT
CHO Chorus depth
RE1.) Reverb depth
PU Depth of LF01 applied to pitch
PL2 Depth of LF02 applied to pitch
FL1 Depth of LF01 applied to cutoff
FL2 Depth of LF02 applied to cutoH -63 - +63 ('2)
RU Depth of LF01 applied to volume
RL2 Depth of LF02 applied to volume
F'U Depth of LF01 applied to panning
F'L2 Depth of LF02 applied to panning
UFo: LF01 rate
L2F.: 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 0 (zero).

'3 The LFO cycle is shorter for positive values and longer lor 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 waveform, and control its pitch.

• WAVE

<Group> Wave Group - INT-A or B/CARD/EXP-A to D "WII'"

This parameter determines the memory from which a waveform is selected.

INT-A orB:

Selects a waveform stored in the ..JV-l0aO.

CARD:

Selects a waveform stored on a PCM Card.

EXP-A to 0:

Selects a waveform stored on Expansion Board A, B, C, or D. <Number> Wave Number -1 to 255 8 ..... '

Selects the waveform that forms the 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 '.M""

This parameter changes the gain of a waveform and is effective when adjusting the level of a Tone (or using an amplified waveform after sending it through the Booster ( .... p. 44). The value is displayed in decibels (dB).

<Switch> Tone Switch - OFF/ON " ..... ,

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

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

• The nllmber of TOiles played can be limited by switching 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).

«Colors- FXM Color - 1 to 4 H""'j

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.

50

The delay time can also be made to synchronize with the internal or external MIDI clock.

<Mode> Tone Delay Mode pe.,

Any of the following can be selected for Tone Delay.

NORMAL:

TIle 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 (K~ p. 67) setting.

TAP-SYNC:

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

KEY-OFF-NORMAL:

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

KEY-OFF-DECAY:

The TV A envelope starts from the time the note is on (during which time nothing is played), and the Tone is played with the delay time after the note is off.

Nole on Nole off

'M" .:

i i

~ ;

! :

- No Tone Delay

!NORMAll

Nole on Note oft

IHOLO!

Nots on Note off

','N'" •

, ,

~ :

'Lf-h','

,

iDelay time ! 0

--~

t)q.

: Delay time:

No sound, played

I Current Note On h

~y time An playing

Delay time changes in accordance with

the preceding and following Note On limes

: Previous 'Note On

! CLOCK·SYNC I

! TAP-SYNC I

h h

.~~h h

Delay time Delay time

II !J

Tempo clock Rate of foot pedal depression

I KEY-OFF·NORMAL I

I KEY·OFF·DECAY I Note on Note off

Note on Note off

.... , f~o sustain

Delay time

: : \ j

V ~

. Delay

lime

<Time> Tone Delay Time - 0 to 127/0 to 880 (Note Display) "24 .... "

This parameter sets the time interval between a Note On and when sound is actually heard (or from a Note Off if KEYOFF-NORMAL or KEY-OFF-DECAY has been selected).

If "PLA YMA TEn 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 delav time. When set to "127," an interval approximately twice as long as for "64" is set as the delay time.

* Wlrell "CLOCK-SYNC" or "TAP-SYNC" has beell selected as the mode, the setting ualue is displayed as a Quarter-note reselution. A note corresponding to this is displayed next to the setting ualue. For instance, if set to 96= j, tIre delay time would be 0.5 seconds at a tempo of 120.

* WlJeIl allY of Type 2 to 10 litis beel! selected uiith Structure (Ell" p. 43), tire TOile Delay setting for TOile 2 is usedfor TONEs 1 & 2, and TOile 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

effects such as vibrato, wow, and tremolo.

The _IV-lOBO has two independent LFOs, called LFOl and LF02 .

• LFOl

<Form> LFO Waveform 0."'8.'

Any of the following LFO waveforms can be selected.

TRI SIN SAW SOU

M -r. M JlJl

Delta wave Sine wave Sawtooth Square wave

wave

TRP S&H RND CHS

[\J\_ ~ f\JVW' •

Trapezbidal Sample and Random

wave hold wave wave

Chaotic wave

<KeyTrig> Key Trigger - OFF/ON 0.'.'

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

Phase changes

C4 Note On

.

E4 Note On

.

G4 Note On

<Rate> LFO Rate - 0 to 127/0 to 880 (Note Display) This parameter sets the speed of the cycle of the LFO.

When "CLOCK" or NT AP" has been selected with LFO External Sync, the setting value is displayed as a Quarternote resolution. A note corresponding to this is displayed next to the setting value.

See the Tone Delay Chart on the left side of tltis page for infonnation on note resolution.

• Wl,en "CHS" has been selected for LFO Waveform, LFO Rate has no effect.

<ExtSync> LFO External Sync - OFF/CLOCKff AP This parameter determines whether the LFO cycle is synchronized 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."

• WI,ell set to "CLOCK:' lise the system parameter Clock Source (Ell" p. 67) to choose whether tire internal or external tempo clock is to be used.

* when set tv "TAP," use the system parameter Tap Control Source (Ell" 1'.67) to select tile 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 - 0 to 127 ',.,M'

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 - 0 to 127 1'''''''''1

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

ION·INI

High (maximum

Deplh

Delay time

Pitch
TVFcutoff
TVA level ...
Key on
Low (minimum)
!ON.Qur!
High (maximum
Pilch
TVF cutoff
TVA level
Low (minimum)
!OFF.IN!
High (maximum Delay
time
Pitch
TVF cutoff
TVA level ... ...
Key on Key off
Low (minimum)
JOFF·ourl
High (maximum
Pitch
TVF cUloff
TVA level
Low (minimum)
52 Deplh

Depth

Depth

<Offset> Level Offset - -100/-50/0/+50/+100 1'.""1 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 undulations above the central values, and negative values cause the waveform to shift for undulations below the central values.

Set toO

/)' /"-.... / 7 V V

Set to negative value

. <~7~ .; Wavelonn shifted downward

./. . .... /

/ . V

• LFO 2 Pages

These make settings for LF02.

* The parameters that can be set are identical to those for LF01.

• LFO DEPTH 1:2 (LFO Depth)

<Pitch> Pitch LFO Depth 1 or 2 - -63 to +63 p •.• This parameter sets the extent of application when LFOI 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 LFO} or LF02 is applied to the cutoff frequency.

<TV A> Amplitude LFO Depth 1 or 2 - -63 to +63 e""""

This parameter sets the extent of application when LFOI 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 LF01 or LF02 is applied to thepan (stereo position).

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

• Changing the Pitch (PITCH)

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

• PITCH

<Coarse> Coarse Tune - -48 to +48 811'"''

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

<Fine> Fine Tune - -50 to +50 ..... ,!

This parameter raises/lowers the pitch of a Tone in increments of one cent (l/looth of a sernitone), You can fine-tune the Tone by up to a quarter-tone in either direction.

<Random> Random Pitch Depth - 0 to 1200 '.". This 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/ + 1 00/+ 120/+ 150/ + 200 pela,

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

+120 +100 +70 +50

:38

+20 +10 o -10

-30

-50

-70

-100

Pitch (octave)

CI C2 C3 C4 C5 C6 C7

Keyboard position

.. ·1111111""""'1""11 11! 1"'"""'1 If! !II II! Imll··

• 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 Pttch Envelope Depth is positive (+)

When Pilch Envelope Deplh is negalive (.)

<Velocity Sens> Pitch Envelope Velocity Sensitivity - -100 to +150 W"'"

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.

• PCH TIME ENV (Pitch Time Envelope) <V-Tl> Velocity Time 1 Sensitivity- -100/-70/-50/-40/- 30/-20/-10/0/+10/+20/+30/+40/+50/+70/+100 .....

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

nW,,'W,

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.

* This effect is 1I0t applied uihen 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/ +100-",

This varies the Pitch Envelope according to the keyboard position. The envelope time of 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) produce shorter times up to T2 to T4. Negative values result in longer times.

• PCH ENVELOPE (Pitch Envelope)

Tl T2

T3

T4

+

-cTl, T2, T3, or T4> Pitch Envelope Time 1, 2, 3, or 4 - o to 127 IIW",

This sets the time T1, 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 Ll until L2 is reached).

<Lt, L2, L3, or L4> Pitch Envelope Levell, 2, 3, or 4.Olo127-'U'

This sets the level Ll, U, 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/LPFIBPF/HPF/PKG

liM""

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

LPF (Low-pass Filter):

Components higher than the cutoff frequency are eliminated. 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 - all others are eliminated. This is good for making highly distinctive sounds.

HPF (High-pass Filter):

Components lower than the cutoff frequency are eliminated. 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.

ILPFI Level

1 ==I\ .. Frequency Cutoff frequency

IBPFI

IHPFI Level

C= .. Frequency Cutoff frequency

IPKGI

Level Level

ffi . Frequency t -r--. Frequency

Cutoff frequency Cutoff frequency

<Cut> Cutoff Frequency - 0 to 127 !' .. -

This specifies the frequency at which the filter effect starts (the cutoff frequency) with respect to the frequency components of a waveform.

When using LPF, lowering the cutoff frequency reduces high harmonics for a "rounder" sound, and a higher cutoff frequency 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.

• Tile effects of tile filters and cutoff frequencies vary greatly

from one type of waveform to another.

<Res> Resonance - 0 to 127 M'''.I

This lifts up the components of the sound near the cutoff frequency, making the sound more distinctive.

• Setting this ualue too higll may calise vibration a"d distortion of tile sound.

54

PKG

<Keyf'lw> .Cutoff Key Follow - -100/-70/-50/-30/- 10/0/+10/+20/+30/+40/+50/+70/+100/+120/+150/+200 1M".

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 frequencies, and negative values give lower cutoff frequencies.

Cutoff frequency

+200 +ISO

+120

+100

+70 +50

j8

!¥8

o -10

-30

-SO

-70

-100

ct C2 C3 C4 C5 C6 C7

Keyboard position

.. -llimlnlnlmlnlmll'lmIUlmlnlmlnlmll··

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

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

Cutoff frequency

When TVF Envelope Depth is positive (+)

• TVF VELOCITY

<V-Sens> TVF Envelope Velocity Sensitivity - -100 to+150Ue·iM

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 negative, 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 frequency with velocity. The shape of the curve corresponding to the curve number (1 to 7) appears on the screen.

<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 TIME ENV (TVF Time Envelope) <V-Tl> Velocity Time 1 Sensitivity - -100/-70/-50/- 40/-30/-20/-10/0/ + 10/ +20/ +30/ +40/ +50/ +70/ + 100

'1M"

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 negative.

<V-T4> Velocity Time 4 Sensitivity - -100/-70/-50/- 40/-30/-20/-10/0/ + 10/ +20/ +30/ +40/ +50/ +70/ + 1 00

M."

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.

* This effect is not applied tohen 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/+100 WI

This varies the TVF Envelope according to the keyboard position. The envelope time of 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) produce shorter times up to T2 to T4. Negative values result in longer times.

• TVF ENVELOPE

+

Cutoff

frequency I-"----'--~ __ _'__ _:_-

Key on

Key off

• When Envetope Depth is negative. the polarity (+/.) of the cutoff frequency Is reversed.

-cT'l, T2, T3, or T4> TVF Envelope Time 1, 2, 3, or 4 - o to 127 [PALETTE]

This sets the time TI, T2, T3, or T4 for the TVF Envelope. Larger values result in longer times until the next cutoff frequency is reached (for instance, T2 controls the time from Ll until L2 is reached).

-cL'l, L2, L3, or L4> TVF Envelope Level I, 2, 3, or 4 - Oto127-''''

This sets the level Ll , L2, 1..3, 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 reference 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- 0 to 127 '.".

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

• Tile uolume of an entire Patch is determined by tile Patch.

Common Patcll Level (d" p. 42).

<Pan> Tone Pan - L64 to 0 to 63R

Sets the panning (localizes sound image) for each of the Tones. L64 is leftmost, 0 is centered, and 63R is rightmost.

<V-Sens> TVA Envelope Velocity Sensitivity - -100 to+150·'-

This changes the level of the TV A Envelope according to velocity.

When the value is positive, a larger velocity value results in a larger TV A Envelope level for a louder sound. When negative, a larger velocity value results in a smaller TVA Envelope level for lower volume.

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

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

• BIAS

<Bias> Bias Level - -100/-70/-50/-40/-30/-20/- 10/0/+10/+20/+30/+40/+50/+70/+100 e-'"

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 positive value, the volume gets louder as you move from the bias point. A negative value makes the volume grow softer.

• Even tohen set to a positive value, the level toill not exceed the maximum.

<Point> Bias Point - C-l to G9 e_'

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

<Direction>BiasDirection-LOWERlUPPERlLOWER &UPPERI ALL H'4".

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 register) from the bias point.

55

UPPER:

The volume 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 paint at the center.

Level ~_>--"":-/:_ L.v~1 i<~

L... ----+1---- Key '-. ----+i---- Key

C-1 Bias :poInt G9 C·1 Blas'point G9

IIIlml

IIIlm11

11111111

IIII!IIII

C&l

L_, ~?>j<C~ L.V~I :»iC~

• I Key . i Key

C-l Bias'point G9 C-l BIas'poInt G9

II! 11m . I II "" II I.J..U.I!! I Iu..u...11 I _.._. --LJJ..I.I ""w.um I

I LOWEA&UPPEA I

• PAN MODULATION

<KeyFlw> Pan Key Follow - -100/-70/-50/-30/- 10/0/+ 10/+20/+30/+40/+50/+70/+ 100 ••••

This makes the parming 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 panning to the left.

<Random> Random Pan Depth - 0 to 63 .... Parming 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.

<Alternate> Alternate Pan Depth - L63 to 0 to R63 UE;';'

The sound 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 Land 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

IWW'

This varies the TV A Envelope Tl according to velocity. When the value is positive, a larger velocity value results in faster change for T1. The change is slowed when the value is negative.

56

<V-T4> Velocity Time 4 Sensitivity - -100/-70/-50/- 40/-30/-20/-10/0/ + 10/ +20/ +30/ +40/ +50/ +70/+ 100

UWMe,

This varies the TV A 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

carmot send key off velocity.

<Time Keyfollow> Envelope Time Key Follow - - 100/-70/-50/-40/-30/-20/-10/0/+10/+20/+30/ +40/+50/ +70/+100 .M,!

This varies the TV A Envelope according to the keyboard position. The envelope time of 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) produce shorter times up to T2 to T4. Negative values result in longer times.

• TVA ENVELOPE

• Time

Key on

Key 0"

<T1, T2, T3, or T4> TV A Envelope Time 1, 2, 3, or 4 - o to 127'.'."

This sets the time TI, 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 L1 until L2 is reached).

<L1, L2, or L3> TV A Envelope Level t, 2, or 3 - 0 to 127.· ..

This sets the level Ll , L2 or L3 for the TV A Envelope. It determines how much the volume changes from the reference volume (set with Tone Level) at each point.

2. nee Edit Mode

Ii Willi Willi Willi w Iill Willi u 1111 Willi W II

COMMON EFFECTS CONTROL WAVE LFO

PfTCH TVF TVA

I COMMON EFFECTS MIDI PART

prrCH PAN LEVEL I

SEllJP MIDI

TUNE PREVIEW

.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, 0 to 9, +-*1 I =?<>O[]{}:;.,""#%&$¥@"_

• 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.

* WIlen using tile internal tempo clock, ~et tile Clock Source system parameter (e- p. 66) to "INT."

• TI,e internal tempo clock is 1I0t output from MIDI OUT.

• PERFORM KEY MODE (Performance Key Mode)

<Key Range> Key Range Switch - OFF ION

This selects whether the setting for Key Range is enabled (ON) or disabled (OFF).

• KEY RANG (Key Range)

<Key Lower> Key Range Lower - C-l to G9 ••••• This sets the key of the lowest sound played for the Parts.

• If you try to make til is value higher thun. the ketj set for Key Range Upper, the value for Key Range Upper change» at tile sallie time.

<Key Upper> Key Range Upper - C-l to G9 ."."' This sets the key of the highest sound played for the Parts.

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

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

Range thaI KeYRlan~ canbeplayed

U!llillil !I '" I HI "

Key Range set with Patch

Key Range set with Performance

No sound

II "'I "1"'1"1"'1"1"'1"1"'1 "I '" 1"1'1

Key Range set with Patch

• RESERVE (Voice Reserve)

<Voice Reserve> Voice Reserve - 0 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 number of voices 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 number of played sounds that are required. However, the total of Voice Reserve settings for each Part cannot be higher than 64. The number in parentheses indicates the number of voices that are left and are available for setting.

* TI,e number of sounds that tile JV -lOBO can play simultaneously varies by the nllmber of TOiles in the Patches. Using one Tone means using one voice. The JV-10BO can lise up to 64 voices. This means that if a Patch uses only one Tone, 64 sounds can be played at tile same time. But if a Patch uses two Tones, then only 32 sounds can be played simultaneously.

• Selecting EHects Added to the Performance (EFFECTS)

• OUTPUT

<Output Assign> Output Assign - MIXlEFXlOUTPUT1/0UTPUT2 , •••

Output Level- 0 to 127 •••

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

OUTPUT1:

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 destinations of the Output Assign settings made for the Patches selected for the Part (R' 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.

• WI,en OUTPUTI or OUTPUT2 is selected as tile output destination, the settings for Clloms 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 TOIles (Output Assign, Output Level, Chorus Send Level, and Re!lerb Send Level) are disabled, and the Output settings for the Part become effective.

<Chorus> Chorus Send Level - 0 to 127 pt.'I" This sets the level of the signal sent to Chorus for each Part.

<Reverb> Reverb Send Level - 0 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 - PERFORMll-9/U-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).

• 111e 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 tile 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 - MultiEffector EFX" (IF p. 83).

• This setting is ignored uihcn 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.

• This setting is ignored tohen EFX Source is set to 1-9111-16. <Output Assign> Output Assign - MIX/OUTPUT1/0UTPUT2

Output Level- 0 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.

OUTPUT1:

This sends the EFX sound to OUTPUn.

OUTPUT2:

This sends the EFX sound to OUTPUT2.

* Whell OUTPUTI or OUTPun is selected tIS the output destination, all settings for Chorus and Rever!1 are ignored.

<Chorus> Chorus Send Level- 0 to 127

This set" the level of the signal sent to Chorus from EFX.

<Reverb> Reverb Send Level- 0 to 127

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

• PERFORM EFX CTRL (Performance EFX Control)

The ...IV-lOBO 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-CTRL1:

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

SYS-CTRL2:

The Controller set with System Control Source 2 r a system parameter, is used (B' 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 "Sl'S-CTRL1" or "Sl'S-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 clulllgcs described here. Use tile system parameter's Control Assign 1 page to set the Controller (~ ... p, 68).

• WIIell the switch for Receive MIDI, a system parameter, is set to "OFF," then there is ItO effect whet! alty Controller is used.

* This setting is ignored whet! EFX Source is set to 1-9/11-16.

• PERFORM CHORUS (Performance Chorus)

<Rat> Chorus Rate - 0 to 127

This sets the speed for the undulations of the Chorus sound.

-cDpt> Chorus Depth - 0 to 127

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

<DIy> Pre delay - 0 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.

-cFbkc- Chorus Feedback - 0 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 - 0 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.

ROOM1:

Short, high-density reverb ROOM2:

Short, low-density reverb

STAGE1:

Reverb with many late reflections

STAGE2:

Reverb with strong initial reflection

HALL1:

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 - 0 to 127

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

<Lev> Reverb Level- 0 to 127

This sets the volume of the reverb sound.

-cFbk» Delay Feedback - 0 to 127

When "DELAY" or "P AN-DL Y" 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/B00/1000/1250/1600/2000/2500/3150/4000/50 00/6300/BOOOIBYP ASS

This sets the frequency at which the high-frequency components 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.

• SeHing the MIDI Channel for a Part (MIDI)

These set the MIDI message receive switch and receive channel for each of the Parts.

• CONTROL

<Channel> MIDI Channel-1 to 16 ,114.'" This sets the MIDI receive channel for each Part.

* Be careful uihen using this setting, because if you set it to the same channel as "Control Channel," a system parameter ("f p, 66), tlten the Control Channel setting takes prioritu and when a program change message is received ti,e Performance will be switched, too.

<Rx> MIDI Receive Switch - OFF/ON U ..... "

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

* The setting you make here changes automatically if YOII switch PART SWITCH [1/9J to [8/16J on or off tohile ill the Performance Play mode.

59

• Rx MIDI (Receive MIDI)

<Volume> Receive Volume - OFF/ON 11 ...... '

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

• This setting is ignored wlren tire Volume setting for Receive MIDI, .1 system parameter, is set to "OFF" ( .... p. 68).

<Hold-I> Receive Hold 1- OFF/ON U"'.'

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 ,,_ .. ,

This setting determines whether MIDI program change messages for each Part are received (ON) ornot received (OFF).

• This setting is ignored uihen tire Program Receive setting for Receive MIDI, a system parameter, is set to "OFF" (<if 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

PRAtoPRC:

Patch from Preset Memory A to C

GM:

Patch from Preset Memory D (GM sound)

XPAto 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 IIumber from 001 to 128. For CRD, PCM, and XPA to XPD, you call choose any Patch IIII11r/Jer up to the nllmber of Patches stored on the det'iee.

60

• You can't select a Patch from a DATA Card, PCM Card, or Expansion Board unless that device is installed ill your .JV- 1080.

• 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.

• SeHing the Stereo Position for a Part (PAN)

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

• PAN

<Part Pan> Part Pan - L64 to 0 to 63R ....

Sets the panning (localizes sound image) for each of the Parts. L64 is leftmost, 0 is centered, and 63R is rightmost.

• Because panning is also set uiithin each Patch, the stereo position of eacll Patch is shifted from its Cllrrent position by the value you set here.

• SeHing the Volume for a Part (LEVEL)

This sets the level (volume) for each Part.

• LEVEL

<Level> Part Level- 0 to 127 'W •• ,"

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

3. Rhythm Edit Mode

II a IIII W IIi I W Iill a 1111 Willi a 1111 a 1111 a II

I COMMON EFFECTS CONTROL WAVE I LFO I PITCH 1VF' TVA I

COMMON EFFECTS MIDI PART

SETUP MIDI

PITCH PAN LEVEL

TUNE PREVIEW

• Naming a Rhythm Set (COMMON)

• 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, 0 to 9, +-* / I =?<>O[]II:;.,""#%&$¥@I\_

• Selecting EHects Added to the Rhythm Set (EFFECTS)

• TIle parameters at tire pages for tire Effects you set here, except for tire OUTPUT page, are Performance parameters currently called up to the temporary area. This means that if you want to save tile data for these parameters, YOJ/ must first change over to tire 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 - MIXlEFXlOUTPUT1/0UTPUT2

Output Level- 0 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. The output destination of the sound passing through EFX follows the Output Assign setting for PERFORM EFX OUT.

OUTPUT1:

This sends the original sound to OUTPUTl.

OUTPUT2:

This sends the original sound to OUTPUT2.

* Wlten OUTPUTl or OUTPUT2 is selected as the output destination, tile settings for Chorus and Reuerb are ignored.

<Chorus> Chorus Send Level- 0 to 127

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

Rhythm Tone.

<Reverb> Reverb Send Level- 0 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" ( .... p. 83).

• This is disabled wllell EFX Source is set to 1-9fl1-16.

<Source> EFX Source - PERFORMIl-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).

• TIle EFX set for a Patch and the EFX set for tile Performance cannot be used at tlte same time.

• Wlten set to 1-9111-16, the settings for the EFX Type and the [ollouiing 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" (II? p. 83) .

• This setting is ignored uihen EFX Source is set to 1-9f11-16.

• 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 1-9/11-16. <Output Assign> Output Assign - MIX/OUTPUT1/0UTPUT2

Output Level - 0 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.

OUTPUT1:

This sends the EFX sound to OUTPUTl.

OUTPUT2:

111is sends the EFX sound to OUTPUT2.

* Wilen OUTPUTl or OUTPUT2 is selected as the output destination, all settings for Chants and Reverb are ignored.

61

<Chorus> Chorus Send Level- 0 to 127

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

<Reverb> Reverb Send Level - 0 to 127

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

• PERFORM EFX CTRL (Performance EFX Control)

The ..JV-1CBC 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-CTRL1:

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

SYS-CTRL2:

The Controller set with System Control Source 2, a system parameter, is used (w 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-CTRU" 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 (w 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.

• This setting is ignored uihen EFX Source is set to 1-9111-16.

• PERFORM CHORUS (Performance Chorus)

62

<Rat> Chorus Rate - 0 to 127

This sets the speed for the undulations of the Chorus sound.

-cDpb- Chorus Depth - 0 to 127

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

<DIy> Pre delay - 0 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.

-cFbk» Chorus Feedback - 0 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 - 0 to 127 This sets the volume of the Chorus sound.

<Output> Chorus Output Assign - MIX/REVERB IMIX+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.

ROOM1:

Short, high-density reverb

ROOM2:

Short, low-density reverb

STAGE1:

Reverb with many late reflections

STAGE2:

Reverb with strong initial reflection

HALL1:

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 - 0 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.

<Lev> Reverb Level - 0 to 127

This sets the volume of the reverb sound.

<Fbk> Delay Feedback - 0 to 127

When "DELAY" or "PAN-DL Y" 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/BYP ASS

This sets the frequency at which the high-frequency components 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 Played (CONTROL)

These make settings for the Controllers and for how Rhythm Tones are played.

• CONTROL

<Bender> Bender Range - 0 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 tip/down to one octave in semitone increments.

<EnvMode> Envelope Mode - NO-SUS/SUSTAIN This sets whether the time of the sustain level (13) for the Pitch/TVF/TVA Envelope is ignored (NO-SUS) or recognized (SUSTAIN). With one-shot sounds this is effective when set to "NO-SUS."

ISUSTAINI

Volume

Sound stops

~~~~=+~--------~==~~~Ttme

i T1 i T2: T3 1 T4

Key on Key, off

I NO-SUS I

Volume

Sound stops :

<Mute Group> Mute Group - OFF/l to 31

This lets you assign numbers to Rhythm Tones and differen-

tiate by groups so that rhythm sounds with identical numbers are not played simultaneously. Up to 31 groups can be set. There is no muting when set to "OFF."

• RxSWITCH (Receive Swikh)

<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" (n- p. 68).

<Pan> Pan Control Switch - OFF/CONTIKEY-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).

-eHold-I 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.

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

• 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-Aor B:

Selects a waveform stored in the JV-lOBO.

CARD:

Selects a waveform stored on a PCM Card.

EXP-Ato D:

Selects a waveform stored on Expansion Board A, B, C, or D.

63

<Number> Wave Number-l 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 in 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 Rhythm 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-l to G9

This sets the pitch of the key in which 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 increments of one cent (1/100th of a semitone).

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

<Random> Random Pitch Depth - 0 to 1200

This deliberately causes the pitch of the Rhythm 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 Velocity)

<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 velocity.

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)

64

T1 T2

T3

T4

+

11

L3

Pitch

l2

,

Key off

L4

-cTl, T2, T3, or T4> Pitch Envelope Time 1, 2, 3, or 4 - o to 127

This sets the time TI, 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 Ll until L2 is reached).

-cLt, L2, L3, or L4> Pitch Envelope Levell, 2, 3, or 4 - o to 127

This sets the level Ll, 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 of a Rhythm Tone (TVF)

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/BPFIHPFIPKG

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 eliminated. 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 - all others are eliminated. This is good for making highly distinctive sounds.

HPF (High-pass Filter):

Components lower than the cutoff frequency are eliminated. 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.

<Cutoff> Cutoff Frequency - 0 to 127

This specifies the frequency at which the filter effect starts (the cutoff frequency) with respect to the frequency components of a waveform.

• The effects of the filters and cutoff frequencies vary greatly from one ttJpe afwaveform to another.

<Res> Resonance - 0 to 127

This lifts up the components of the sound near the cutoff frequency, 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 negative, 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 velocity. When the value is positive, a larger velocity value results in faster change in the TVF Envelope time. The change is slowed when the 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

T1

+

Cutoff frequency r--"---'-~---'-------:---~-Time

i i

Key on Key off

• 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 - o to 127

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

<L1, L2, L3, or L4> TVF Envelope Levell, 2, 3, or 4 - o 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 reference 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 - 0 to 127

This sets the volume of the Rhythm Tone.

<Pan> Tone Pan - L64 to 0 to 63R

Sets the panning (stereo position) for each of the Rhythm Tones.

L64 is leftmost, 0 is centered, and 63R is rightmost.

<Random> Random Pan Depth - 0 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.

<AIt> Alternate Pan Depth - L63 to 0 to R63

The sound 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 Land 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 TV A Envelope according to velocity. When the value is positive, a larger velocity value results in a larger TV A Envelope level for a louder sound. When negative, a larger velocity value results in a smaller TV A 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 TV A Envelope time according to velocity. When the value is positive, a larger velocity value results in faster change in the TV A Envelope time. The change is slowed when the value is negative.

• TVA ENVELOPE

• Time

•

Key on

•

Key off

<TI, T2, T3, or T4> TV A Envelope Time 1, 2, 3, or 4 - o to 127

This sets the time TI, T2 or T3 for the TVA Envelope. Larger values result in longer times until the next volume is reached (for instance, T2 controls the time from L1 until L2 is reached).

-cLl, L2, or L3> TV A Envelope Levell, 2, or 3 - 0 to 127

This sets the level LI, L2, L3, or L4 for the TV A Envelope. It determines how much the volume changes from the reference volume (set with Tone Level) at each point.

65

4. System Mode

Pressing the [SYSTEM] button calls up the parameters for the System mode, no matter what mode you may be in at the time. The parameters you set here affect the entire JV- 10BCI, so they remain effective even if you switch to the Patch mode or Performance mode, etc.(except for some parameters for the GM mode) These settings remain in memory even if you end your session without performing a write operation.

II u 1111 "' IIII U 1111 U lill IIII 0 Ilij W iill W II

COMMON EFFECTS CONTROL WAVE lFO PITCH TVF TVA

COMMON EFFECTS MDt PART PITCH PAN LEVEL

SETUP MIDI TUNE PREVIEW I

• Making Selections for Settings and the Display (SETUP)

This lets you make various settings for the JV-1ClBO, 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 larger 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 displayed.

<Patch Remain> Patch Remain Switch - OFF/ON This selects whether the sounds of a previously played Patch or Rhythm Sct arc kept (ON) or not kept (OFF) when you change the Patch or Rhythm Set.

• RHYTHM EDIT KEY

<Source> Rhythm Edit Source - PANEL/PANEL &MIDI

This sets whether Rhythm Tones to be edited are to be chosen by operating the controls on the ..JV-1C1BCI (PANEL), or whether they can also be chosen with the keys on a MIDI keyboard connected to the unit (P ANEL&MIDl).

PANEL:

Rhythm Tones can only be selected with the TONE SELECT buttons on the ..JV-1C1BCI.

PANEL&MIDI:

Rhythm Tones can be selected with the TONE SELECT buttons on the JV-1ClBO, or by pressing the corresponding key on a MIDI keyboard connected to the JV-10BO ('.'p. 34).

66

• Making Settings for MIDI (MIDI)

This makes settings for MIDI receive channels and controllers.

The screen that 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] while in the Performance mode.

<Control Channel> Control Channel- 1 to 16/0FF This sets the 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 are set uiitl:

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 Comlllon parameter (""'p. 57). However, litis tempo clock is IIOt output from MIDI OUT.

<Stack> Stack - OFF/l of 2/2 of 211 of 3/ .. ./8 of 8

The Stack function lets you combine two or more JVlOBO 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]

Sequence of sounds played

1 2

Setting value 3

4

5

7 ____,. B ----;0. 9

10 •••.••••••••••••••••••

When set to "OFF," the Stack function is disabled and each ..JV-10SO plays in sequence all of the note messages that are received.

• Tlte Stack function does not work uiith Patches or Rhythm

Tones for Wlliclt Solo or Portamento liaS beell tumed all.

Rhythm Sets are played on the first ..JV-10SO, and Patches for which Solo or Portamento has been turned on are played on the second ..JV-10SO.

• PATCH MIDI

This screen is displayed when YOll press [SYSTEM I while in the Patch mode.

<Receive Channel> Patch Receive Channel- 1 to 16 This sets the MIDI receive channel in the Patch Play mode.

<Clock> Clock Source - INTIMIDI

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.

• TI,e internal tempo clock is determined by the Default Tempo Patch parameter (d'p. 42). However, this tempo clock is not output from MIDI OUT.

<Stack> Stack - OFFIl of 212 of 211 of 3/ •• J8 of 8

The Stack function lets you combine two or more .JVlOBO 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 theGMmode.

<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/I of 212 of 211 of 3/ •. J8 of 8

The Stack function lets you combine two or more .JVlOBO 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-10BO 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.

-cRx.Exc» Receive System Exclusive - OFF/ON

This setting determines whether SysEx messages from an external device are received (ON) or not received (OFF).

-cTx.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 YOIl want to play back a GM score, or if you Wallt the .JV-10BO to switch to the GM mode automatically.

• CONTROL SOURCE

<Tap> Tap Control Source - OFF/HOLD-l/S0STI SOFTIHOLD-2

This setting determines what pedal information is used for control when the tempo of the MIDI clock is determined by how rapidly the pedal is depressed.

OFF:

No control

HOLD-I:

Hold 1 (Control Change # 64)

SOST:

Sostenuto (Control Change # 66)

SOFT:

Soft pedal (Control Change # 67)

HOLD-2:

Hold 2 (Control Change # 69)

When using Tap Control Source, the time intervals are calculated as shown below in order to determine what is recognized as being the duration of quarter notes. The tempo is altered to accord with this.

[A] [8] [e) [0]

i

•

I

i

i

i

1

A Start

2

5

3

4

First:

Second:

Third:

Fourth:

Fifth:

.: Timing at which pedal is tapped nothing occurs

interval of A

average of B and A intervals average of C, B, and A intervals 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 lIIore than 10% in the tempo, the unit will begin a "ew record of the averages (as in the second tap above).

<Hold> Hold Control Source - OFFIHOLD-lIS0STI SOFTIHOLD-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.

<Peak> Peak Control Source - OFF/HOLD-I/S0ST ISOFTIHOLD-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 bee" set to "HOLD-I," you should also set Hold 1 for Receive MIDI to "ON." WI,ell set to "SOST," "SOIT," or "HOLD-2," set Control Change for Receive MIDI (IE 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/BENDERI AFTERTOUCH

<Control 2> System Control Source 2 - CCOO to CC95/BENDERIAFTERTOUCH

These set two Controllers for making Tone and EFX parameters 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 "SY5-CTRL2" causes the Controller set with System Control Source 2 to be used.

• A COli troller for which the switch for Receive MIDI, a System parameter, is set to "OFF" has 110 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 (or p. 83).

• Control Change messages contain predetermined functions, but the JV-l0BO call assign and use functions that are differellt from these. You should be aware, Il0wever, 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 NOL+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).

<Aftertouch> Aftertouch Source - CH-AFTERI POLY -AFTERlCH&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.

68

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 Aftertouch is received. (With Polyphonic Aftertouch, the effect is applied separately for each individual key.)

CH&POLY:

Both Channel Aftertouch and Polyphonic Aftertouch are received.

• Adiusting 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-l0BO. The frequency 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 Tune, you can set a variety of pitch tunings 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-10BO 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 ambiguous. 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 neutral third (the interval between a major third and a minor third). With the JV-10BO, you can enjoy the Arabian scale in three keys G, C, and F.

Note Even Temperament Pure Temperament Arabian Scale
(C is Tonic)
C 0 0 -6
C# 0 -8 +45
D 0 +4 -2
D# 0 +16 -12
E 0 -14 -51
F 0 -2 -8
F# 0 -10 +43
G 0 +2 -4
G# 0 +14 +47
A 0 -16 0
A# 0 +14 -10
B 0 -12 -49 • PART SCALE

This screen is displayed when you press the [SYSTEM) button while in the Performance mode.

Scale Tune C to B - -63 to +63 Ii •••

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] button while in the Patch mode.

Scale Tune C to B - -63 to +63 MM.

This sets the pitch of each note for the currently selected Patch. The setting is in increments of one cent (l/lOOth of a semi tone). 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 1II0VeJ:O the selected key.

• Using the ,JV-l0BO's Controls to Play Test Sounds (PREVIEW)

Even when no MIDI keyboard is connected to the .JVlOBO, you can play test sounds 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 1-4> 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 1-4> Preview Velocity Set 1 to 4 -1 to 127

This sets the volume for the test sounds, with separate settings for notes 1 to 4.

69

5. Utility Mode

You can enter the Utility mode from any other mode simply by pressing the [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.

II W III! !f!! U !i!!

!I'I W !II! W Iii! W !!II

PrftS ItJe FUNCTION SELECT button on tho lelt side cnoer the dlspiaV

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 [~11["] buttons to move the cursor and make the desired menu item blink, then press the [ENTER] button.

3. Use the [~]I["] buttons to move the cursor to the desired parameter, then use the VALUE knob or the [INC)/[DEC] buttons to change the 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 operation is finished, the message "COMPLETE" is displayed.

" If you want to stop an operation that is in progress, press the [EXIT] buttotl.

• If you press [UTILIIT] while in the GM mode, only one GM Setup screen is displayed. For details, see "Chapter 4 - Other functions of the ...JV-10SO ( .... 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 [UTILITY) button.

" If YOIl want to write data to tire User Memory, first make sure that Internal Protect ( .... p. 72) is set to "OFF." If you leave it on, then tire following screen appears wire" YOIl try to write tire data.

To cancel, press [EXIT]. Pressing [UTILITY) forces the data to be written.

• If YOIl want to write data to a DATA Card, first insert a DATA Card ill to the DATA Card slot, and make sure that tire

70

DATA Card's protect switch is off. After writing tire data, turn the protect switclr back 011 to prevent data loss.

OFF--ON

..............................................................

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 [INCjI [DEC] buttons, or the SOUND GROUP buttons to select the Performance Number ("Number") for 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.

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 destination Patch. This handy feature can help prevent the overwriting of important Patches.

You can also change Patches while at this screen. To return to the Patch Write screen, press [UTILITY).

Patch Number of the write destination (USR = User Memory, CRD = DATA Card)

• Note that fro II! tire Compare screen the sound may not always sound tire same as it does ill tire Play mode.

When [UTILITY] is pressed while in the Rhythm Set mode ...

Ahythm Set Number of the write destination (USA = User Memory. CAD = 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.

• Copying Data (COPY)

This copies Patch Performance, or Rhythm Set data to the temporary area. The screen that appears depends on the mode you were in before you pressed the [UTILITY] button.

When [UTILITY] is pressed while in the Performance mode ...

Performance Name

Copy destination Part

Copy source (temporary area)

TEMP: Performance in temporary area

USA: Performance in User Memory

CAD: Performance on DATA Card

PAAlPAB: Preset AlB Performance

• 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] I [DEC] buttons to choose the Parts ("Part") for the copy source and copy destination.

The name of the selected Performance appears in parentheses.

• 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").

Use the VALUE knob, [INC]/[DEC] buttons, or SOUND

Copy source name

Copy source number USA: User Memory CRD: DATA Card

PRA to PRC: Preset A to C GM: Preset D

Copy source

PEA FORM: Performance Effect settings PATCH: Patch Effect settings

GROUP buttons to choose the copy source number ("Number").

The name of the selected Performance or Patch appears in parentheses.

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.

Copy TEMP: Patch In temporary area USR: Patch in User Memory

CAD: Patch on DATA Card

PRA to PRC: Preset A to C Patch GM: Patch in Preset D

Use the VALUE knob, [INC] I [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

Copy source number USR: User Memory CAD: DATA Card

PRA to PRC: Preset A to C GM: PreselD

Copy source

PATCH: Patch Effect sellings PERFOAM: Performance Effect settings

Use the VALUE knob or [INC] I [DEC] buttons to select the copy source ("Source").

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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.

Copy source Key (81 to D7) Copy destination Key (temporary 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 operation.

There are two methods for Initialize (Mode):

DEFAULT:

All parameters in the temporary area are returned to their standard values.

PRESET:

Only data in the 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 [INC] I [DEC] buttons to make the Mode setting at the respective setting screens.

When [UTILITY] is pressed while in the Performance mode ...

• PERFORM INIT (Performance Initialize)

This initializes the Performance data called up to the temporary area.

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When [UTILITY] is pressed while in the Patch mode ...

• PATCH INIT (Patch Initialize)

This initializes the Patch data called up to the temporary area.

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 Rhythm Set called up to the temporary area that are assigned to specific keys ..

* Use the VALUE knob, [INC}/[DEC] buttons, or the keys on the keyboard to choose the keys (B1 to D7) to be initialized.

• RHYTHM SET INIT (Rhythm Set Initialize)

This initializes the Rhythm Set data called up to the temporary area.

• Protecting Data (PROTECT)

"Protection" means to prohibit writing to the -'V-lOBO, thereby preventing valuable data from being mistakenly overwritten.

• WRITE PROTECT

<Internal> Internal Protect - OFF/ON

This prevents the contents of User Memory from being accidentally 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 uniting 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 intemal memoru can be overwritten by SysEx messages et.en if Internal Protect is set to "ON."

• Using a DATA Card (CARD)

This lets you perform operations such as copying the data in the JV-10BO to a DATA Card, or swapping data between the JV-10BO and a DATA Card.

• CARD FUNCTION

Four menu items for the DATA Card are displayed.

FORMAT:

Initializes a DATA Card for use by the -IV-lOBO.

RENAME:

Changes 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 [ ..... J1[~l buttons to select a menu item and press [ENTER], the display changes to the setting screen for the menu item you've chosen.

• 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 JV-10BO. 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, 0 to 9, +-* /1 =?<>O[lIl:;.,""#%&$¥@I\_

If the DATA Card had a previous name, it appears in parentheses.

• 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 parentheses.

• 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.

01 data

ALL: All Pertormances, Patches, and Rhythm Sets PERFORM: Pertormance

PATCH: Patch

RHYTHM: Rhythm Set

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-10SO 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 Patches selected for the Parts are stored as "CRD" on the DATA Card or as "USR" in User Memory.

Performance Performance
USROI Copied to CROOI
1 I USROll! DATA Card 1 I CRoo11!

2 I USR0121 Copied to 2! CRoo12 I
User Memory DIRECT:

Performances are stored as "CRD" on the OAT A Card or as "USR" in User Memory, but the Patches selected for the Parts are stored under their own names, which remain unchanged.

Performance USRDI

Performance CRoo1

Copied to DATA Card

1 IUSR011! 2~

1 I USR011! 2~

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-HALF1, 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.

01 data

ALL: All Pertormances, Patches, and Rhythm Sets PERFORM: Pertormence

PATCH: Patch

RHYTHM: Rhythm Set

Data to be swapped USR: User Memory CRD: DATA Card

Method of swapping ADAPT

DIRECT

* See CARD COPY for information on how to set each parameter,

Important!

The JV-10SCJ 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 OAT A 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 CRD011.

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Thereafter, if you copy the data on the DATA Card to User Memory, the Performance is stored in User Memory as USR01 and Part 1 is stored as USR012, but Part 2 is stored as USROl1. This means that even though the number of the Performance is the same as the original data, the Patch number specified by Part 2 has changed.

Performance Performance Performance
USR01 CRoo1 USROI
1 1 USA0121 Copied to I 1 CRDml Copied to 1 1 USR0121
DATA Card User Memory
- -
21 CRDOI,j 21 CROO11 1 21 USROll1 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.

Copy source range Copy destination range

USR: User Memory USR: User Memory

CRD: DATA Card CRD: DATA Card

PRA to PRC: Preset A to C

GM: Preset 0 (GM Tone Mapping) XPA to XPD: Expansion Board A to 0

• 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 following message will appear if you attempt to carry out the procedure when the amount of data at the source is larger than that at the copy destination.

Block Copw Range is Overflow

Should this happen, the TV-lOBO will try to send each item of data in order ulltil tile 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-1CJBCJ 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 (OE p. 67).

• BULK DUMP

Type of memory for sending

TMP: Temporary area

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/Rhythm Sets in Parts in the temporary area is sent.

PATCH: Data for Patches in the 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: All data in user memory is sent.

PERFORM: All Performance data in user memory is sent.

Data for Patches/Rhythm Sets in Parts is not sent.

PATCH: All Patch data in user memory is sent.

RHYTHM: All Rhythm Set data in user memory is sent.

When CARD is selected:

ALL: All data on a OAT A card is sent.

PERFORM: All Performance data on a DATA card is sent.

Data for Patches/Rhythm Sets in Parts is not sent.

PATCH: All Patch data on a DATA card is sent.

RHYTHM: All Rhythm Set data on a DATA card is sent.

While sending is in progress, the following message appears on the display:

TranSMitting ******

When sending data is finished, the following message will appear:

COt'1F'LETE

If you want to stop sending data, press [EXIT).

• Returning Settings to Their Factory Defaults (FACTORY PRESET)

This returns all settings for the ...JV-1CJBCJ 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.

Other functions of the .JV-l0BO

This chapter explains various ways to take advantage of the .JV-10BO'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 JY·1 080 with a DTMS (playing back GM scores)

The JV-l0BO's GM mode allows it to be used as the sound source for a DTMS (Desk Top Music System). In GM mode, the JV-10BO 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.

• Selecting GM mode

The sound source of the JV-l0BO can be set to be compatible with the GM system standard. In GM mode, the sound source is organized in essentially the same way as for performance mode. GM patches are assigned to each Part from 1- 16, and a GM rhythm set is assigned to Part 10.

~ U you wish to manually select GM mode, press [SHIFf] + [PERFORM].

As an alternative to the above procedure, the JV-l0BO 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 played 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 appropriate 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-10BO will not have suiitched 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 (g 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 Patch/Performance! Rhythm Set modes. System Parameter values that have been set for GM mode are preserved even wi,en GM mode is exited, and will be restored when GM mode is entered alice again.

Receive MIDI page:

All of receive switch

CONTROL ASSIGN 1 page:

System Control Source 1

CONTROL ASSIGN 2 page:

Volume Controlsource

76

Aftertouch Source SCALE TUNE page:

Scale Tune Switch

* Wi,en the J\I-10BO enters GM mode, the following System parameters will be automatically fixed at the following settings. 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 Balik Select: OFF

When you exit GM mode, these System parameters will be restored to their previous settings .

• Initializing the GM mode

In order for a GM score to be played back correctly, the JVlOBO must be reset to the basic GM settings. This operation is called Initialize GM Mode, and will occur at the 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-10BO'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 will appear:

Press [ENTER], and the current GM mode settings will be initialized. Press [EXIT], and you will return to the previous display.

* When you execute Initialize GM Mode, all pretiious GM mode settings will be oueruiritten.

* WI.et. you initialize GM mode, tire following Systetn parameters will be automatically set to tire following ualues.

RECEIVE MIDI Page:

Receive Bank Select: OFF

Other MIDI receive switciJes: ON

CONTROL ASSIGNI Page:

System Control Source 1: AFTERTOUCH

CONTROL ASSIGN2 Page:

Volume Control Source: VOL&EXP Aftertouch Source: CH-AFTER

Wlrell YOIl exit GM mode, these System parameters will be restored to their previous settings.

2. Enhancing Musical Expression in GM Mode

The .JV-10BO provides parameters that can be edited for each GM part. By adjusting effect and sound parameters you can create a more musically-expressive performance.

II 0 1111 u 1111 LJ lid LJ IIII U 1111 LJ IIII LJ 1111 LJ II

COMMON EFFECTS CONTROL WAVE LFO PITCH TVF TVA

COMMON IEFFECTSI MIDI I PART I - I PrTCH PAN LEVEL I

SETUP MIDI TUNE PREVIEW

• If you execute the Initialize command all these settings will be lost.

• Adiusting the EHects (EFFECTS)

• OUTPUT

<output Assign> Output Assign - MIXlEFXlOUTPUTllOUTPUT2fPATCH '., ... , Output Level- 0 to 127 UI1."

The Output Assign parameter specifies the output destination 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.

OUTPUT1:

The unprocessed sound alone will be sent to OUTPUT 1.

OUTPUT2:

The unprocessed sound alone will be sent to OUTPUT 2.

PATCH:

The unprocessed sound will be sent to the destination specified by the Output Assign ( .... 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 the Patch.

• If you select OUTPUT 1 or 2 as tile output destination, the chorus and reverb settings will be ignored.

• If you wish to use the output settings of eacn TOile, select PATCH. If you select a setting other than PATCH, the output set tings of each TOile (output assign, output level, chorus/reverb send level) will be ignored, and the output settings of the Part will be used instead.

<Chorus> Chorus Send Level - 0 to 127 U ....

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

<Reverb> Reverb Send Level - 0 to 127 U •• "

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 (!Iii" p. 83)."

• GM EFX PRM (GM EFX Parameter)

This 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. MultiEffector EFX (u;;r 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 - MIXIOUTPUT1/0UTPUT2

Output Level- 0 to 127

The Output Assign parameter determines the output destination 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 chorus and reverb.

OUTPUT1:

The EFX sound will be sent to OUTPUT!.

OUTPUT2:

The EFX sound will be sent to OUTPUT2.

• If YOIl select OUTPUT 1 or 2 as tile output destination, the

chorus and reverb settings will be ignored.

<Chorus> Chorus Send Level- 0 to 127

This parameter sets the level of the signal sent from EFX to the chorus.

<Reverb> Reverb Send Level- 0 to 127

This parameter sets the level of the signal sent from EFX to the reverb.

.GMCHORUS

Chorus adds depth and spaciousness to the sound. <Rat> Chorus Rate - 0 to 127

This parameter sets the modulation speed of the chorus.

<Opt> Chorus Depth - 0 to 127

This parameter sets the modulation depth of the chorus.

<DIy> Pre Delay -0 to 127

This parameter sets the time delay from when the original sound begins to when the chorus sound begins. Higher values result in a more spacious sound.

-cFbk» Chorus Feedback - 0 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- 0 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 chorus sound.

MIX:

The chorus sound will be output from MIX OUT.

REVERB:

The chorus sound will be output to the reverb.

MIX+REV:

Chorus sound 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.

ROOM1:

A short reverb with high density reflections.

ROOM2:

A short reverb with low density reflections.

STAGE1:

A reverb with strong late reverberation.

STAGE2:

A reverb with strong early reflections.

HALL1:

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 - 0 to 127

When the Type is ROOMI-HALLZ, this parameter sets the time length of the reverberation. When the Type is DELAY or PAN-DL Y, this parameter sets the delay time. Higher values result in a wider-sounding acoustic space.

<Lev> Reverb Level- 0 to 127

This parameter sets the volume of the reverberation.

-cFbk> Delay Feedback - 0 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 Damp> High-Frequency Damp - 200/250/315/400/500/630/800/100/1250/1600/2000/2500/31 50/4000/5000/6300/8000/BYP ASS

This parameter sets the frequency at which the high frequencies will be cut.

Higher settings will result in a brighter-sounding reverb. When BYPASS is selected, the high frequencies will not be cut.

78

• selecting a Patch for each Part (PART)

<Number> Patch Number - 001 to 128 811"'"

Select a GM patch number for each Part. The name of the selected GM patch will be displayed in parentheses ( ).

* III GM mode, it is 1I0t possible to select User, Card, Preset AC or Expansion Board patches.

• Adjust the pitch of each Part (PITCH)

These parameters adjust the pitch of each Part.

• PITCH

<Pitch Coarse> Pitch Coarse Tune - -48 to +48

"W"'"

This parameter adjusts the pitch of each Part in semitone steps over a range of + / -4 octaves.

This parameter adjusts the pitch relative to a Patch pitch setting of O.

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

."""

This parameter is a further fine adjustment to the pitch specified by Pitch Coarse Tune, in steps of 1 cent (l/lOOth of a semi tone) over a range of 1/2 semitone up or down.

• Adiusting the pan position of each Part (PAN)

This parameter sets the pan position of each Part.

• PAN

<Part Pan> Part Pan - L64 to 0 to 63R

This parameter sets the pan (stereo location) of each Part. A setting of L64 is full left, 0 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 specified amount,

• Adiusting the volume of each Part (LEVEL)

This parameter sets the volume level of each Part.

• LEVEL

<Level> Part Level- 0 to 127 "94"'"

This parameter adjusts the volume level of each Part. You will use this parameter mainly to adjust the volume balance between Parts.

3. Live Performance Techniques

• Selecting a Performance
• Selecting -'V-lOBO sounds Bank Select Program Change Performance Performance
MSB LSB Groul! Number
from an external device 80 0 0-31 User #1-#32
81 0 0-31 Preset A #1-#32
81 1 0-31 Preset B #1-#32
82 0 0-31 DATA card #1-#32 If you wish to select sounds or drum kits from an external MIDI device, use the following procedure.

On the -'V-lOBO, Patches, Performances, and Rhythm Sets are selected by the values of the Bank Select (control changes # 0 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 -'V-lOBO sounds from a sequencer or personal computer, use the following procedure to transmit the appropriate MIDI messages.

~ Set the transmitting and receiving devices to the same MIDI channel.

~ Transmit a Control Change # 0 (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.

.. When the -'V-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 Patch

Bank Select Program Change Patch Group Patch Number
MSB LSB
80 0 0-127 User 1tl-#128
81 0 0-127 Preset A #1-#128
81 1 0-127 PresetB #1-#128
81 2 0-127 Preset C #1-#128
81 3 0-127 Preset D (GM) #1-#128
82 0 0-127 DATA card #1-#128
83 0 0-127 PCMcard #1-#128
84 0 0-127 Expansion A #1-#128
84 1 0-127 Expansion A #129-#256
84 2 0-127 Expansion B 111-11128
84 3 0-127 Expansion B #129-#256
84 4 0-127 ExpansionC #1-#128
84 5 0-127 Expansion C #129-#256
84 6 0-127 Expansion D #1-#128
84 7 0-127 Expansion D #129-4#256 For example if you wanted to select Patch number 10 of Preset B, you would transmit the following data to the -'V-lOBO.

(Numbers are given in decimal.)

Control Change # 0 (Bank Select MSB) value: 81 Control Change # 32 (Bank Select LSB) value: 1 Program Change value: 9

.. TI,e Program Change number transmitted should be one less titan the Patch number.

If you wish to select a Performance, set the transmitting MIDI device to the same channel as the Performance Control Channel (0- 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 Channel will take priority and a Performance (not a Patch) will be selected by the incoming program change message.

• Selecting a Rhythm Set

Bank Select Program Change RhJ;.!hm Set ~mSet
MSB LSB roup umber
80 0 0,1 User #1, #2
81 0 0,1 Preset A #1, #2
81 1 0,1 PresetB #1, #2
Bl 2 0,1 PresetC #1. #2
81 3 0,1 Preset D (GM) #1, #2
82 0 0-127 DATA card #1-#128
83 0 0-127 PCMcard #1-#128
84 0 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 ExpansionC #1-#128
84 5 0-127 ExpansionC #129-#256
84 6 0-127 Expansion D #1-#128
84 7 0-127 Expansion 0 #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 .JV-l0BO is able to produce up to 64 notes simultaneously. 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, existing notes will be turned off to make room for the newly requested notes. The .JV-10BO's Patch note priority function will start turning off notes beginning with the lowestpriority 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 (r.w p. 57) to reserve notes for it.

79

• Using MIDI Controllers

• Controllers and destinations

The JV-1ClBCl allows you to use a variety of MIDI controllers to modify Tone and EFX parameters in real time. 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 control four Tone parameters: PCH (pitch), CUT (cutoff frequency), LEV (volume) and PAN (stereo position).

For this example, make settings as follows.

(D Turn on the receive switches for the controllers you wish to use.

System parameter / RECEIVE MIDI Page Receive Bender (Iir 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 (w p. 49) and Control Depth (1lOI' 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 0

Control Depth 2: other than 0

Control Depth 3: other than 0

Control Depth 4: other than 0

The JV-1ClBCl 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 type 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 Control

EFXConlrol

80

To make settings for this example, use the following procedure . (D Turn on the receive switch for the controller you wish to use.

System parameter / RECEIVE MIDI Page Receive Bender (w p. 68): ON

Receive Modulation (IW p. 68): ON

~ Select the EFX type.

Patch parameter / PATCH EFX TYPE Page EFX Type ("" p. 45): 2:0VERDRIVE

~ Select the controllers you wish to use Patch parameter / PATCH EFX CTRL Page EFX Control Source 1 (IE p. 46): BENDER

EFX Control Source 2 (IW p. 46): MODULATION

«D Set the controller depth.

Patch parameter / PATCH EFX CTRL Page EFX Control Depth 1 (IE p. 46): other than 0 EFX Control Depth 2 (d' p. 46): other than 0

• 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 SYSCTRL2 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 aftertouch as the two controller sources, System Control Source 1 and System Control Source 2.

System Control Source 1

IMODULATION I

System Control Source 2

BENDER

" '. -, \
<,
EFX Patch Patch
Control Source Control Source 2 Control Source 3
I SYS-CTRL1 I SYS-CTRL1 I SYS-CTRL2 I
I
IDRIVEI B El
Destination Destination Destination It is convenient 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 number 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-1ClBCl allows you to assign control change messages to a variety of other functions, so th at sounds can be controlled in realtime. If YOIl do so, 1I0wever, you should be aware that such uses are outside of tile COIItroller operations de filled ill tile 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.

4. Using Effects

The routing of the JV-l060's effects will depend on the settings of each Tone and on the effect output assign and level settings.

For each routing, you may think of a level setting of 0 as being disconnected, and a level setting of 1-127 as being connected. Effect routing is determined by the various 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 routing shown in the diagrams at right. Parameter values listed as 1-127 can be set to any desired value.

• Parameters listed as " __ rr will be ignored even if you set a value.

• Only tile sound to uihiclt the effect lias been applied will be output with chorus and reverb, while EFX contains the original sound as well .

OUTPUT
Output Assign MIX
Output Level 1-127
Chorus Send Level 0
Reverb Send Level 0
PATCH EFX OUT B
Output Assign .. • MIXOUT
Output Level ..
Chorus Send Level -
Reverb Send Level -
PATCH CHORUS
Chorus Level ..
Chorus Output Assign ..
PATCH REVERB
Reverb Level ..
OUTPUT
Output Assign MIX
Output Level 1-127
ChONS Sand Level 1-127
Reverb Send Level 1-127
PATCH EFX OUT B-r§r c:J
Output Assign .. I 1 • MIXOUT
Output Level -
Chorus Send Level ..
Reverb Send Level ..
PATCH CHORUS
Chorus Lavel 1-127
Chorus Output Assign MtX+REV
PATCH REVERB
Reverb Levaf t 127 • Output the unprocessed sound from MIX OUT

.Use chorus and reverb in series

.Use only EFX OUTPUT
Output Assign EFX
Output Level 1-127
Chorus Send Level 0
Reverb Send Level 0
PATCH EFX OUT
Output Assign MtX
Output Level 1-127 MIXOUT
Chorus Send Level 0
Reverb Send level 0
PATCH CHORUS
Chorus level
Chorus Ou ut Assi n
PATCH REVERB
Reverb Level
.Apply reverb only OUTPUT
Output Assign EFX
to the chorused Output level 1-127
Chorus Send Level 1-127
sound and use in Reverb Send Level 0
parallel with EFX PATCH EFX OUT
Output ASSign MIX MtXOUT
Output Level 1-127
Chorus Send Level 0
Reverb Send Level 0
PATCH CHORUS
1-127
REV
Reverb Level 1-127
.Use EFX, chorus OUTPUT
Output Assign EFX
and reverb in series Output level 1-127
Chorus Send Level 0
Reverb Send Level 0
PATCH EFX OUT
Output ASSign MIX
Outpul Level 1-121 MllCOUT
Chorus Send level 1-127
Reverb Send Level 1-127
PATCH CHORUS
Chorus Level 1-127
Chorus Ou ul Assi n MIX+REV
PATCH REVERB
Reverb level 1-127
81 .Use chorus and OUTPUT
reverb in parallel, Output Assign EFX
Output Level 1-127
and EFX in series Chorus Send Level 0
Reverb Send Level 0
PATCH EFX OUT
Output Assign MIX
Output Level 1-127 MIXOUT
Chorus Send Level 1-127
Reverb Send Level 1-127
PATCH CHORUS
Chorus level 1-127
Chorus Out ut Ani n MIX
PATCH REVERB
Reverb Level 1-127
.Use EFX, chorus OUTPUT
and reverb in paral- Oulpul Assign EFX
Output Level 1-127
leI ChOrus Send Level 1-127
Reverb Send Level 1-127
PATCH EFX OUT
Output Assign MIX
Output Level 1-127 MIXOUT
Chorus Send Level 0
Reverb Send Level 0
PATCH CHORUS
1-127
MIX
Reverb Level 1-127
.Simultaneously use OUTPUT
output Assign EFX
both parallel and Oulput Level 1-127
series Chorus Send level 1-127
Reverb Send Level 1-127
PATCH EFX OUT
Output Assign MIX
Oulput Level 1-127 MIXOUT
Chorus Send Level 1-127
Reverb Send Level 1-127
PATCH CHORUS
Chorus Level 1-127
Chorus OUI ut Assl n MIX+REV
PATCH REVERB
Reverb Level 1-127 .Output the unprocessed sound from OUTPUT 112

• Use EFX and output from OUTPUT 112

82

OUTPUT
output Assign OUTtl2
Output Level 1-127
Chorus Send Level ..
Reverb Send Level -
PATCH EFX OUT
Output Assign .. E]----+
Output Level .. OUTPUTtI2
Chorus Send Level ..
Reverb Send Level -
PATCH CHORUS
Chorus Level ..
Chorus Output Assign ..
PATCH REVERB
Reverb Level ..
OUTPUT
Output Assign EFX
Output Level 1-127
Chorus Send Level ..
Reverb Send Level ..
PATCH EFX OUT
Output Assign OUT112 TONE EFX OUTPUTtI2
Output Level 1-127
Chorus Send Level .-
Reverb Send Level -
PATCH CHORUS
Chorus Level ..
Chorus CUtout Asslan -
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.

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 Effec. 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.

L

EQ

R

EQ

<LowFreq> Low Frequency - 200 Hzl400 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 kHzl8 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.

<PI 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 frequency 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 frequency band set with Peaking 2 Frequency and Peaking 2 Q.

"'<Level> Output Level- 0 to 127

This sets the overall level for the effect sound.

84

• 2: OVERDRIVE

This produces natural distortion like what you can get from a vacuum-tube amp. L

R "<Drive> Drive - 0 to 127

This sets the strength of the sound distortion.

<Level> Output Level - 0 to 127

This sets the overall level for the effect sound.

.. Increasing the tralue for Drive also causes the overall volume to rise. It may be help fill to lise Output Level to adjllst for the difference it! uolume between uihen Overdrive is applied and tohen 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 - SMALLIBUILT-IN/2- STACKl3-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 0 to 63R

This sets the stereo position where the effect sound is output. L64 is leftmost, 0 is centered, and 63R is rightmost.

• 3: DISTORTION

This increases odd harmonics to add strong distortion to the original sound.

L

Pan

R "<Drive> Drive - 0 to 127

This sets the strength of the sound distortion.

<Level> Output Level- 0 to 127

This sets the overall level for the effect sound,

• Increasing the »alue for Drive also causes the overall volume to rise. It may be helpful to lise Output Level to adjust for tire difference ill volume between when Distortion is applied and wlrell it is II0t 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 - SMALLIBUILT-IN/2- STACKl3-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 0 to 63R

This sets the stereo position where the effect sound is output. L64 is leftmost, 0 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 undulations in the sound.

:~

"<Manual> Manual- 100 Hz to 8 kHz

This selects the frequency band to which undulations are added.

100 to 290 Hz: In 10 Hz steps

300 to 980 Hz: In 20 Hz steps

1 k to 8 kHz: In 100 Hz steps

.. <Rate> Phaser Rate - 0.05 Hz to 10.0 Hz

This selects the cycle for the phaser 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> Phaser Depth - 0 to 127 This sets the depth of the undulations.

<Res> Resonance - 0 to 127

This sets the amount of Phaser feedback. Larger values produce a more distinctive sound.

<Mix> Mix Level- 0 to 127

This sets the level of the phase-shifter effect sound with respect to the original sound.

<Pan> Output Pan - L64 to 0 to 63R

This sets the stereo position where the Phaser sound is output. L64 is leftmost, 0 is centered, and 63R is rightmost.

<Level> Output Level- 0 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 specific 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 characteristics than just simple compensation.

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 0 to 63R

This sets the stereo position where the effect sound is output. L64 is leftmost, 0 is centered, and 63R is rightmost.

"<Level> Output Level - 0 to 127

This sets the overall level for the effect sound.

• 6: ENHANCER

This controls the treble harmonic components to add modulation to the sound, thus enhancing it.

L

Enhancer

R

Enhancer

85

*<Sens> Sensitivity - 0 to 127

This sets the depth to which the Enhancer is applied.

* <Mix> Mix Level - 0 to 127

This sets the ratio for mixing the original sound with the generated 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 higher band.

<Level> Output Level - 0 to 127

This sets the overall level for the effect sound.

• 7: AUTO-WAH

This lets you obtain an Auto-Wah effect in which the sound in changed cyclically by cyclic movement of the filter.

L

R

<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.

-eSens» Sensitivity - 0 to 127

This sets the depth to which the effect is applied.

"<Manual> Manual- 0 to 127

This sets the reference frequency for the wah effect.

<Peak> Peak - 0 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 produces 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: In 0.5 Hz steps

<Depth> LFO Depth - 0 to 127

This sets the depth of the undulations of the wah effect.

<Level> Output Level - 0 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.

86

This has the greatest effect when used with an organ sound. The horn (the treble-range speaker) and the rotor (the bassrange speaker) can be combined to re-create these subtle effects.

<LowSlow> Low Frequency Slow 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 "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

<Low Accb- Low Frequency Acceleration - 0 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.

<Lowl.vl> Low Frequency Level- 0 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 the 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

<HiFast> 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

-cHi Accl» High Frequency Acceleration - 0 to 15

This sets the time until the rotation cycle of the horn (the treble-range speaker) reaches a steady state when the Speed setting is switched (SLOW <-> FAST). Smaller values result in longer times.

-cHil.vl» High Frequency Level - 0 to 127

This sets the volume for the hom (the treble-range speaker).

<Separation> Separation - 0 to 127

This sets how widely the sound 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 steadv state (the value for LowSlow I

HiSlow). .

FAST:

When switched from SLOW, the speed of rotation speeds up to a fast steady state (the value for LowFast/HiFast).

• You call toggle betuieen SLOW alld FAST with allY Controller assigned by the Source setting for EFX Control Source (.i1<' p. 46).

For instance, if Source is set to FOOT, you call toggle betweell SLOW and FAST by sending a foot message (Control Change # 4) from an external Controller.

"<Level> Output Level - 0 to 127

This sets the overall level for the effect sound.

• 9: COMPRESSOR

This stabilizes the overall level by suppressing the high level and boosting the low level.

L

Pan

R-- __

<Attack> Attack Rate - 0 to 127

This sets the force of attack when sound is input.

<Sustain> Sustain Rate - 0 to 127

This sets the time for boosting a low-level signal to a uniform volume.

<Post Gain> Post Gain - xl/x2lx41x8 This sets the input level.

<LowOaia> 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 0 to 63R

This sets the stereo position where the effect sound is output. L64 is leftmost, 0 is centered, and 63R is rightmost.

"<Level> Output Level - 0 to 127

This sets the overall level for the effect sound.

• 10: LIMITER

Whereas the Compressor acts on both low-level and highlevel signals, the Limiter compresses only high-level signals that exceed a set level. You can eliminate unwanted distortion by setting this to work only on peak input.

L

R

<Thresh> Threshold - 0 to 127

This sets the level at which the Limiter effect appears. Input 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 - 0 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/x2lx41x8

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 0 to 63R

This sets the stereo position where the effect sound is output. L64 is leftmost, 0 is centered, and 63R is rightmost.

"<Level> Output Level - 0 to 127

This sets the overall level for the 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).

: ~B -Hexachorus~K :

<Pre DIy> Predelay Time - 0 ms to 100 ms

This sets the interval from the time when the original sound is played until the time when the effect sound is played.

o to 4.9 ms: In 0.1 ms steps

5.0 to 9.5 ms: In 0.5 ms steps

10 to 49 rns: 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 - 0 to 127

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

<DIy Dev> Predelay Deviation - 0 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.

-cDpt 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 sound.

<Pan Dev> Pan Deviation - 0 to 20

This sets the spread in stereo position for the respective hexachorus 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 3D-degree intervals, starting from the center.

87

<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- 0 to 127

This sets the overall level for the effect sound.

• 12: TREMOLO-CHORUS

This is a chorus with a tremolo effect, which adds cyclic undulations in volume.

: -B---Tre-mOlo-choru-+~i:

<Pre DIy> Predelay Time - 0 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.

o 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

-cCho Dpt> Chorus Depth - 0 to 127

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

<Phase> Chorus Phase - 0 to 180 This sets how the chorus sound is spread .

.. <TrmRate> Tremolo Rate - 0.05 Hz to 10.0 Hz

This sets the cycle for the undulations 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

<Trm Sep> Tremolo Separation - 0 to 127 This sets how the Tremolo effect expands.

"<Balance> Effect Balance - D1oo:0E to DO:1ooE

This sets the balance for the levels of the original sound and the effect sound (chorus sound).

<Level> Output LeveI- 0 to 127

This sets the overall level for the effect sound.

• 13: SPACE-D

This is a multiple chorus which applies two-phase modulation in stereo. One feature of this effect is that it produces a clear chorus effect with no feeling of discordance.

88

<Pre Diy> Predelay Time - 0 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 .

o 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

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 - 0 to 127

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

<Phase> Phase - 0 to 180

This sets how the chorus sound is spread.

<LowGain> Low Gain - -15 dB to +15 dB

This sets the 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.

"<Balance> Effect Balance - D100:0E to DO:100E

This sets the balance for the levels of the original sound and the effect sound (chorus sound).

<Level> Output Level- 0 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.

<Pre Diy> Predelay Time - 0 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.

o 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 - 0 to 127

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

<Phase> Phase - 0 to 180

This sets how the chorus sound is spread.

<Filter Type> Filter Type - OFFILPFIHPF

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 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 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.

*<Balance> Effect Balance - D100:0E to DO:100E

This sets the balance for the levels of the original sound and the effect sound (chorus sound).

<Level> Output Level- 0 to 127

This sets the overall level for the effect sound.

• 15: STEREO-FLANGER

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 down, like a jet taking off or landing.

L-,;:::::::::::====~~

Flanger

Flanger

R--~~======~~

<Pre Diy> Predelay Time - 0 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.

o 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.

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> LFO Depth - 0 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 causes a signal of inverted phase to be returned to the input signal. There is no feedback when the value is zero.

You can set a value from -98% to +98%, in steps of 2%.

<Phase> Phase - 0 to 180

This sets how the flanger sound is spread.

<Filter> Filter Type - OFFILPF/HPF

This selects the type of filter applied to the flanger sound.

LPF (Low-pass Filter):

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:l00E

This sets the balance for the levels of the original sound and the effect sound (flanger sound).

<Level> Output Level- 0 to 127

This sets the overall level for the effect sound .

• 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 -lOBO or an external device.

L-,;::::======::::;---;~

Flanger

<Pre DIy> Predelay Time - 0 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.

o 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: 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> LFO Depth - 0 to 127

This sets the depth of the flanger undulations.

*<Fhk> 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 causes a signal of inverted phase to be returned to the input signal. There is no feedback when the value is zero.

You can set a value from -98% to +98%, in steps of 2%.

<Phase> Phase - 0 to 180

This sets how the flanger sound is spread.

*<StepRate> Step Rate - 0.05 Hz to 10.0 Hz/),/)!./)i. /NU)!. WJ./j.lJ

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: In 0.1 Hz steps

7.0 to 10.0 Hz: In 0.5 Hz steps

• When set with a note, the Step Rate is sync1lronized to tile MIDI clock of the ..JV-10BO or an external device. Use Clock Source (Ill' p, 66, p. 67), a system parameter, to select whether the MIDI clock of tile ..JV-l0BO or the external device is to be used for syncllrollization.

• Wi,en a numerical setting is made, tile MIDI clock is ignored.

If tile setting is made with a note but no external MIDI clock is received, the changes in pitch are ssmchronizcd witll the ..JV-10BCJ's built-ill default tempo (Ill' 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

This sets the treble sound quality for the flanger sound. 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 - 0 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.

90

When Feedback Mode is NORMAL

When Feedback Mode is CROSS

<Delay L> Delay Time Left - 0 ms to 500 ms

This sets the time until the left (L) delayed sound is played.

o to 4.9 rns: 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 rns steps

300 to 500 rns: In 20 ms steps

<Delay R> Delay Time Right - 0 ms to 500 ms

This sets the time until the rigli.t (R) delayed sound is played.

• The setting values are the same as for Delay Time Left. *<Fhk> 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 causes a signal of inverted phase to be returned to the input signal. 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 - NORMAUCROSS 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.

<Phase L> Phase Left - NORMALflNVERT

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 - NORMAUINVERT

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 components of the reverb sound are cut off.

A reverb sound is composed of an infinite number of reflected sounds.

The degree to which the high-frequency components of a reverb sound are attenuated depends on the composition of surrounding materials (such as the walls and the ceiling). HF 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.

<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 - Dl00:0E to DO:I00E

This sets the balance for the levels of the original sound and the effect sound (reverb sound).

<Level> Output Level - 0 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

When Feedback Mode is CROSS

<Delay L> Delay Time Left - 0 ms to 500 ms

This sets the time until the left (L) delayed sound is played.

o 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 - 0 ms to 500 ms

This sets the time until the rigfit (R) delayed sound is played.

• The setting values are tire same as for Delay Time Left. -cPbk> 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 causes a signal of inverted phase to be returned to the input signal. 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 - NORMAUCROSS 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 - 0 to 127 This sets the depth of the modulation effect.

<Phase> Phase - 0 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 components 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-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.

<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 - Dl00:0E to DO:I00E

This sets the balance for the levels of the original sound and the effect sound.

<Level> Output Level- 0 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 directions - center (C), left (L), and right (R).

By setting the delay time to the length of a note, you can synchronize 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

R--+-------------------------~~__.

<Delay C> Delay Time Center - 200 ms to 1000 ms/}I

/ j>./ }lJN J,J j>. /JIJ./ i»

This sets the delay time for the delayed sound that is output from the center (C).

200 to 545 ms: 550 to 1000 ms:

In 5 mssteps In 10 ms steps

.. When set as a note ualue, tire Delay Time can be sync11ronized uiith tire module's internal clock or tire MIDI clock arriving from all external device. YOIl catlllse tile Clock Source system parameter ( .... p, 66, p. 67) to select wlzicll source YOIl waitt to lise, either tile internal clock or tire MIDI clock.

91

* When set as a numeric ualue, the MIDI clock will be ignored.

Note also that even if a note value has been set, the module's default tempo ( •• , p. 42, p. 57) will be used for ssmchronization tohenetrer the MIDI clock has not arrived from all external device.

<Delay L> Delay Time Left

This sets the delay time for the delayed sound 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 tialues 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-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.

<Level C> Center Level - 0 to 127

This sets the volume for the center delayed sound.

<Level L> Left Level - 0 to 127

This sets the volume for the left delayed sound.

<Level R> Right Level- 0 to 127

This sets the volume for the right delayed sound.

<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 components 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-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.

<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:I00E

This sets the balance for the levels of the original sound and the effect sound.

<Level> Output Level- 0 to 127

This sets the overall level for the effect sound.

92

• 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 synchronize the delayed sound to the MIDI clock signal from an internal or external device.

This effect is used when you want to apply delays that are synchronized to the performance tempo of a sequencer or some other instrument.

• The stereo poslnons of the delayed sounds 1 10 4 are as you see at right.

<Delayl> Delay Time 1- 200 ms to 1000 ms/,,~/}lJ/~~ /Nj3/fi.WJ3/j.lJ

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 rns steps

550 to 1000 ms: In 10 ms steps

• WI,ell set as a note vallIe, the Delay Time can be synchronized with the IIIodule's internal clock or the MIDI clock arriving from an external deuice. For details, refer to "Triple Tap Delay."

• The setting values for Delay Time 2 to Delay tillle 4 are the same,

<Delay2> Delay Time 2 - 200 ms to 1000 ms/);!}l./J INj.tJlj/JlJ/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}lJ/)I. /NJ.tJlj/j3/J./J

This sets the interval from the time when the original sound is played until the delayed sound (3) is played.

<Delay4> Delay Time 4 - 200 ms to 1000 msl ).J}l3/)I INJ,/}ltJIdJ/JIj

This sets the interval from the time when the original sound is played until the delayed sound (4) is played.

<Levell> 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

This sets the volume for the delayed sound (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 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> High-Frequency Damp - 200/250/315/400/5001630/800/10001125011600/2000/2500/ 3150/4000/5000/6300/8000 (200 Hz to 8 kHz), BYPASS

This sets the frequency at which the high-frequency components 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-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.

"<Balance> Effect Balance - DlOO:0E to DO:lOOE

This sets the balance for the levels of the original sound and the effect sound (delayed sound).

<Level> Output Level - 0 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.

: b ~, ~:::=

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.

Level When dalay time Is long (pitch tails)

When delay ume is short (pitch rIseS)

Lavel

Time =1 Delayed sound Time

You can use a Controller assigned with EFX Control Source (w 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.

"<Delay> 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

eAcceb- Acceleration - 0 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 0 to L64

This sets the stereo position where the effect sound is output. L64 is leftmost, 0 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 components 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-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.

<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 - DI00:0E to DO:I00E

This sets the balance for the levels of the original sound and the effect sound.

<Level> Output Level- 0 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.

:==k====~= =~::=:::::=::==~:~::==:

.. <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.

<FineA> 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 l/lOOth of a half-tone).

<Pan A> Output Pan A - L64 to 0 to 63R

This sets the stereo position at which pitch-shifted sound A is output. L64 is leftmost, 0 is centered, and 63R is rightmost.

<PreDlyA> Predelay Time A - 0 ms to 500 ms

This sets the delay time for pitch-shifted sound A.

o 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 /looth of a half-tone).

<Pan B> Output Pan B - L64 to 0 to 63R

This sets the stereo position at which pitch-shifted sound B is output. L64 is leftmost, 0 is centered, and 63R is rightmost.

93

<PreDlyB> Predelay Time B - 0 ms to 500 ms This sets the delay time for pitch-shifted sound B.

o 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 SOO 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 sound.

-cLvl Bal> Level Balance - Al00:0B to AO:l00B

This sets the volume balance for pitch-shifted sounds A and B.

<Balance> Effect Balance - Dl00:0E to DO:l00E

This sets the balance for the levels of the original sound and the effect sound.

<Level> Output Level- 0 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.

:&~",i{:=

"'<Coarse> Coarse Pitch - -24 to +12

This sets the amount of change in pitch for the 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 l/l00th of a half-tone).

<Pan> Output Pan - L64 to 0 to 63R

This sets the stereo position at which the pitch-shifted sound is output. L64 is leftmost, 0 is centered, and 63R is rightmost.

<PreDly> Predelay Time - 0 ms to 500 ms

This sets the delay time for the pitch-shifted sound.

o 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 sound.

"<Feedback> Feedback - -98% to +98%

This 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-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.

<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.

94

<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 - Dl00:0E to DO:l00E

This sets the balance for the levels of the original sound and the effect sound.

<Level> Output LeveI- 0 to 127

This sets the overall level for the effect sound.

.24: REVERB

This adds lingering reverberations to the original sound to simulate sounds played in a spacious setting.

:~F~ReVerb ~~ :=

<Type> Reverb Type - ROOM1/ROOM2/ST AGEl/ ST AGE2IHALLlIHALL2

This selects the type of reverb.

ROOM1:

Short, high-density reverb

ROOM2:

Short, low-density reverb

STAGE1:

Reverb with many later reverberations

STAGE2:

Reverb with strong initial reflection

HALL1:

Clear reverb

HALL2:

Rich reverb

<Pre DIy> Predelay Time - 0 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.

o to 4.9 ms: In 0.1 rns steps

5.0 to 9.5 ms: In 0.5 rns steps

10 to 49 ms: In 1 ms steps

50 to 100 ms: In 2 ms steps

"<Time> Reverb Time - 0 to 127

This sets the time from when the reverb sound starts until it fades away.

<HF Damp> High-Frequency Damp - 200/250/315/400/500/630/800/1 000/125011600/2000/2500/ 3150/4000/5000/6300/8000 (200 Hz to 8 kHz), BYPASS This sets the frequency at which the high-frequency components 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-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.

<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 - DI00:0E to DO:I00E

This sets the balance for the levels of the original sound and the effect (reverb) sound.

<Level> Output LeveI- 0 to 127

This sets the overall level for the effect sound.

• 25: GATE-REVERB

This reverb mutes out the lingering reverberations while they are in progress.

L -'---~:EEQQ

~ Gate Reverb .

R ---L---------+---1

<Type> Reverb Type - NORMAL/REVERSEI SWEEPI/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» Pre delay Time - 0 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.

o to 4.9 ms: In III ms steps

5.0 to 9.5 ms: In 0.5 ms steps

10 to 49 ms: In l 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.

<Lowflain> 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 - DI00:0E to DO:I00E

This sets the balance for the levels of the original sound and the effect (reverb) sound.

"<Level> Output Level- 0 to 127

This sets the overall level for the effect sound.

• 26: OVERDRIVE -> CHORUS

With this type, the Overdrive is connected in series with the Chorus.

>

<Drive> Drive - 0 to 127

This sets the strength of the overdrive sound distortion.

*<Pan> Overdrive Pan - L64 to 0 to 63R

This sets the stereo position where the overdrive sound is output. L64 is leftmost, 0 is centered, and 63R is rightmost.

<Pre DIy> Chorus Predelay - 0 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.

o 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 - 0 to 127

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

"<Balance» Chorus Balance - DI00:0E to DO:100E This sets the balance for the levels of the overdrive sound and the overdrive + chorus sound. A setting of "D100:0E" outputs only the overdrive sound, and a setting of "DO:lOOE" outputs overdrive + chorus sound.

<Level> Output Level- 0 to 127

This sets the overall level for the effect sound.

• 27: OVERDRIVE -> FLANGER

With this type, the Overdrive is connected in series with the Flanger.

<Drive> Drive - 0 to 127

This sets the strength of the overdrive sound distortion.

*<Pan> Overdrive Pan - L64 to 0 to 63R

This sets the stereo position where the overdrive sound is output. L64 is leftmost, 0 is centered, and 63R is rightmost.

<Pre DIy> Flanger Pre delay - 0 ms to 100 ms

This sets the interval from the time when the original sound.is played until the time when the f1anger sound is played.

o 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

95

<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 - 0 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 DO:100E This sets the balance for the levels of the overdrive sound and the overdrive + flanger sound. A setting of "DI00:0E" outputs only the overdrive sound, and a setting of "DO:I00E" outputs overdrive + flanger sound.

<Level> Output Level- 0 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 - 0 to 127

This sets the strength of the overdrive sound distortion.

"<Pan> Overdrive Pan - L64 to 0 to 63R

This sets the stereo position where the overdrive sound is output. L64 is leftmost, 0 is centered, and 63R is rightmost.

<Delay> Delay Time - 0 ms to 500 ms

This sets the interval from the time when the original sound is played until the delayed sound is played.

o to 4.9 ms: In 0.1 ms steps

5.0 to 9.5 ms: In 0.5 rns steps

10 to 39 rns: 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 components 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

96

surrounding walls. HF 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.

"<Balance> Balance - D100:0E to DO:100E

This sets the balance for the levels of the overdrive sound and the overdrive + delayed sound. A setting of "DlOO:OE" outputs only the overdrive sound, and a setting of "DO:I00E" outputs overdrive + delayed sound.

<Level> Output Level- 0 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.

• The parameters that you can set are the same as tor "OVERDRIVE -> CHORUS."

.30: DISTORTION -> FLANGER

With this type, Distortion is connected in series with the Flanger.

:}~o,_ ~A""~ :

• The parameters that you can set are tire same as tor "OVERDRlVE -> FLANGER."

• 31: DISTORTION -> DELAY

With this type, Distortion is connected in series with the Delay.

l-~

Distortion

R-

• The parameters that you can set are tire same as tor "OVERDRIVE -> DELAY."

• 32: ENHANCER -> CHORUS

With this type, the Enhancer is connected in series with the Chorus.

L

Enhancer

R Enhancer

"<Sense- Sensitivity - 0 to 127

This sets the depth to which the Enhancer is applied.

<Mix> Mix Level - 0 to 127

This sets the ratio for mixing the original sound with the genera ted ha rmonics.

<Pre DIy> Chorus Pre delay - 0 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.

o 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 - 0 to 127

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

"<Balance> Chorus Balance - DI00:0E to DO:I00E This sets the balance for the levels of the enhancer sound and the enhancer + chorus sound. A setting of "0100:0E" outputs only the enhancer sound, and a setting of "00:100E" outputs enhancer + chorus sound.

<Level> Output Level- 0 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.

L Enhancer

R Enhancer

"<Sens> Sensitivity - 0 to 127

This sets the depth to which the Enhancer is applied.

<Mix> Mix Level- 0 to 127

This sets the ratio for mixing the original sound with the generated harmonics.

<Pre DIy> Flanger Pre delay - 0 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.

o 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> 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 - 0 to 127

This sets the depth of the flanger undulations.

-cFbk» 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 -98% to +98%, in steps of 2%. No feedback is applied when this is set to zero.

*<Balance> Flanger Balance - DI00:0E to DO:100E This sets the balance for the levels of the enhancer sound and the enhancer + Hanger sound. A setting of "0100:0E" outputs only the enhancer sound, and a setting of "DO:100E" outputs enhancer + flanger sound.

<Level> Output Level- 0 to 127

This sets the overall level for the effect sound.

• 34: ENHANCER -> DELAY

With this type, the Enhancer is connected in series with the Delay.

L

Enhancer

R

Enhancer

*<Sens> Sensitivity - 0 to 127

This sets the depth to which the Enhancer is applied.

<Mix> Mix Level - 0 to 127

This sets the ratio for mixing the original sound with the generated harmonics .

<Delay> Delay Time - 0 ms to 500 ms

This sets the interval from the time when the original sound is played until the delayed sound is played.

o 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

-cFbk» Delay Feedback - -98% to +98%

This sets the amount of feedback for the delaved 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 components 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-frequency components.

A lower cutoff 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.

*<Balance> Delay Balance - D10.0.:o.E to Do.:Io.o.E

This sets the balance for the levels of the enhancer sound and the enhancer + delayed sound. A setting of "010.D:o.E" outputs only the enhancer sound, and a setting of "OD:1DDE" outputs enhancer + delayed sound.

<Level> Output Level- 0. to 127

This sets the overall level for the effect sound.

• 35: CHORUS -> DELAY

This type connects Chorus and Delay in series.

: F COOru, {F ~~ ~(~

<Cho DIy> Chorus Predelay - 0. ms to 10.0. ms

This sets the interval from the time when the original sound is played until the time when the chorus sound is played.

0. 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..0.5 Hz to 10..0. Hz This sets the cycle for the chorus sound undulations.

0..0.5 to 4.95 Hz: In 0..0.5 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 Opt> Chorus Depth - 0. to 127

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

*<Cho Bal> Chorus Balance - D10.0.:o.E to Do.:Io.o.E This sets the balance for the levels of the original sound and the chorus sound. A setting of "D1DD:DE" outputs only the original sound, and a setting of "DD:1DDE" outputs chorus sound only.

<Delay> Delay Time - 0. ms to 50.0. ms

This sets the interval from the time when the original sound is played until the delayed sound is played.

0. 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

30.0 to 500 ms: In 20. ms steps

<DIy 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 - 20.0./250./315/40.0./50.0./ 630./80.0./10.0.0./1250./160.0./20.0.0./250.0.13150./40.0.0./50.0.0./630.0./ 8000. (20.0. Hz to 8 kHz), BYPASS

This sets the frequency at which the high-frequency components 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 sound, While a higher frequency produces a brighter sound. When set to "BYPASS," no high-frequency components are cut off.

... <Delay Balance> Delay Balance - Dl00:OE to oo:l00E This sets the balance for the levels of the chorus sound and the chorus + delayed sound. A setting of "01DD:DE" outputs only the chorus sound, and a setting of "oo:lDDE" outputs chorus + delayed sound.

<Level> Output Level- 0. to 127

This sets the overall level for the effect sound .

.36: FLANGER -> DELAY

This type connects the Flanger and Delay in series.

:F~"'{F~~{~

<FIg DIy> Flanger Predelay - 0. ms to 10.0. ms

This sets the interval from the time when the original sound is played until the time when the flanger sound is played.

0. 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 10.0. ms: In 2 ms steps

<FlgRate> Flanger Rate - 0..0.5 Hz to 10..0. Hz This sets the cycle for the flanger undulations.

0..0.5 to 4.95 Hz: In 0..0.5 Hz steps

5.0. to 6.9 Hz: In 0..1 Hz steps

7.0. to 10..0. Hz: In 0..5 Hz steps

<Fig Opt> Flanger Depth - 0. to 127

This sets the depth of the flanger undulations.

<FIg 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 - DI00.:o.E to DO:Io.o.E This sets the balance for the levels of the original sound and the flanger sound. A setting of "OlDD:DE" outputs only the original sound, and a setting of "OD:lODE" outputs f1anger sound only.

<Delay> Delay Time - 0. ms to 50.0. ms

This sets the interval from the time when the original sound is played until the delayed sound is played.

0. 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

30.0. to SOD ms: In 20. ms steps

<DIy 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 components 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-frequency 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 Balance> Delay Balance - D100:0E to DO:100E This sets the balance for the levels of the flanger sound and the flanger + delayed sound. A setting of "D100:0E" outputs only the flanger sound, and a setting of "DO:IOOE" outputs flanger + delayed sound.

<Level> Output Level- 0 to 127

This sets the overall level for the effect sound.

.37: CHORUS -> FLANGER

This type connects the Chorus and Flanger in series.

~ F Choru, ~ F F""~' ~

-cCho DIy> Chorus Predelay - 0 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.

o 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 - 0 to 127

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

"<Cho Bab- Chorus Balance - D100:0E to DO:100E This sets the balance for the levels of the original sound and the chorus sound. A setting of "DI00:0E" outputs only the original sound, and a setting of "DO:lOOE" outputs chorus sound only.

<Fig DIy> FIanger Predelay - 0 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.

o to 4.9 ms: In 0.1 ms steps

5.0 to 9.5 InS: In 0.5 rns steps

10 to 49 ms: In 1 InS steps

50 to 100 ms: In 2 InS steps

<Flglcate> FIanger 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

<FIg Dpt> FIanger Depth - 0 to 127

This sets the depth of the £langer undulations.

<Fig Fbk» FJanger 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°A" in steps of 2%. No feedback is applied when this is set to zero.

"<Flanger Balance> Flanger Balance - D100:0E to DO:100E

This sets the balance for the levels of the chorus sound and the chorus + f1anger sound. A setting of "Dl00:0E" outputs only the chorus sound, and a setting of "DO:100E" outputs chorus + f1anger sound.

<Level> Output Level - 0 to 127

This sets the overall level for the effect sound.

• 38: CHORUS/DELAY

This type connects the Chorus and Delay in parallel.

L q Chorus

~

R __ ~L-~I==D=e=la~y===~ __ ~~ __ -.

• The parameters that YOII can set are the same as for ''CHORUS -> DELA Y," However, the Delay Balance setting determines the balance level for the original sound and the delayed so lind.

• 39: FLANGER/DELAY

This type connects the Flanger and Delay in parallel.

L -\y:-- ~= == ==F~la~ng~e~r ~~~:-/(!1---~

R __ Lr=j __ ===D=ela=y===~ __ ~ +

• The p ar am et ers that YOIl call set are the same n s 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 ~\Y--;~~Ch~o~ru=s====~~;--;7I)---~

R __ CL_,:=F=la=n=ge=r==:_I~_~ _

• Tile pam meter, that YOIl call set are the sallie as for ''CHORUS -> FLANGER." However, till.' Flanger Balance setting determines the balance level for the original sound and the flanger sound.

99

100