Roland JUNO-Di Editor Owner'S Manual Download Page 30 | Manualshive

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Detailed Editing for a Patch (PATCH Parameters)

Structure changes how a tone is sounded.

* When TYPE 02–10 is selected and one tone of a pair is turned off, the other tone will be sounded as TYPE 01 regardless of the displayed setting.
* If you limit the keyboard area in which a tone will sound (KEY RANGE, p. 42) or limit the range of velocities for which it will sound (VELOCITY

RANGE, p. 41), the result in areas or ranges where the tone does not sound is just as if the tone had been turned off. This means that if TYPE
02–10 is selected and you create a keyboard area or velocity range in which one tone of a pair does not sound, notes played in that area or
range will be sounded by the other tone as TYPE 01 regardless of the displayed setting.

STRUCTURE

Parameter

Value

Explanation

TONE 1 & 2, 3 & 4 TYPE

1–10

Determines how tone 1 and 2, or tone 3 and 4 are connected.

The following 10 different Types of combination are available.

With this type, tones 1 and 2 (or 3 and 4) are independent. Use this type
when you want to preserve PCM sounds or create and combine sounds
for each tone.

This type stacks the two filters together to intensify the characteristics of
the filters. The TVA for tone 1 (or 3) controls the volume balance between
the two tones.

This type mixes the sound of tone 1 (3) and tone 2 (4), applies a filter,
and then applies a booster to distort the waveform.

This type applies a booster to distort the waveform, and then combines
the two filters. The TVA for tone 1 (or 3) controls the volume balance
between the two tones and adjusts booster level.

This type uses a ring modulator to create new overtones, and combines
the two filters. The tone 1 (3) TVA will control the volume balance of the
two tones, adjusting the depth of ring modulator.

This type uses a ring modulator to create new overtones, and in addition
mixes in the sound of tone 2 (4) and stacks the two filters. Since the ring-
modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can
adjust the amount of the ring-modulated sound.

This type applies a filter to tone 1 (3) and ring-modulates it with tone 2
(4) to create new overtones.

This type sends the filtered tone 1 (3) and tone 2 (4) through a ring
modulator, and then mixes in the sound of tone 2 (4) and applies a filter
to the result.

This type passes the filtered sound of each tone through a ring modulator
to create new overtones. The tone 1 (3) TVA will control the volume
balance of the two tones, adjusting the depth of ring modulator.

This type passes the filtered sound of each tone through a ring modulator
to create new overtones, and also mixes in the sound of tone 2 (4). Since
the ring-modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA
can adjust the amount of the ring-modulated sound.

TONE 1 (3)

TONE 2 (4)

TVA

TVF

WG

WG

TVF

TVA

Type 01

TONE 1 (3)

TONE 2 (4)

TVA

TVF

WG

WG

TVF

TVA

Type 02

TONE 1 (3)

TONE 2 (4)

TVA

TVF

WG

WG

TVF

TVA

B

Type 03

TONE 1 (3)

TONE 2 (4)

TVA

TVF

WG

WG

TVF

TVA

B

Type 04

TONE 1 (3)

TONE 2 (4)

R

Type 05

TVA

TVF

WG

WG

TVF

TVA

TONE 1 (3)

TONE 2 (4)

R

Type 06

TVA

TVF

WG

WG

TVF

TVA

TONE 1 (3)

TONE 2 (4)

TVA

TVF

WG

WG

TVF

TVA

R

Type 07

TONE 1 (3)

TONE 2 (4)

R

Type 08

TVA

TVF

WG

WG

TVF

TVA

TONE 1 (3)

TONE 2 (4)

TVA

TVF

WG

WG

TVF

TVA

R

Type 09

TONE 1 (3)

TONE 2 (4)

TVA

TVF

WG

WG

TVF

TVA

R

Type 10

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Summary of Contents for JUNO-Di Editor

Page 1: ...JUNO Di Editor Owner s Manual Copyright 2009 ROLAND CORPORATION All rights reserved No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION...

Page 2: ...STINATION SENS 21 Chorus Settings CHORUS 22 Reverb Settings REVERB 22 Detailed Editing for a Patch PATCH Parameters 23 Editing a Patch 23 Initializing a Patch 23 Copying Pasting Patch Settings 23 TONE...

Page 3: ...s hard disk This is normal and should not be a cause for concern If the JUNO Di is connected to your computer by a USB cable you must power up the JUNO Di before you start up JUNO Di Editor Do not di...

Page 4: ...SMF to load these settings The Initialize command initializes the settings of the currently selected Performance Patch Rhythm Set This command is useful when you want to create data from scratch The C...

Page 5: ...selected on the JUNO Di will be loaded Writing the settings To write the edited data to the JUNO Di click the WRITE button The data that will be written patch or rhythm set performance system will dep...

Page 6: ...dify it Windows XP Vista Users You can initialize the value of a parameter by holding down the Ctrl key of your computer and clicking the slider or knob of that parameter Macintosh Users You can initi...

Page 7: ...wing steps Windows XP 1 Delete the file Documents and Settings user account name Local Settings Application Data Roland JUNO Di Editor PresetName txt 2 Restart JUNO Di Editor Windows Vista 1 Delete th...

Page 8: ...ad write data When the JUNO Di and the computer are not connected properly When a large number of notes are being sounded When playbacking with the player When JUNO Di Editor and JUNO Di Librarian sim...

Page 9: ...Manual When using the JUNO Di as a MIDI sound module you can use it in either Performance mode or in Patch mode Patch Mode In Patch mode you can use a connected keyboard or other device to play a sin...

Page 10: ...nd However it is not possible to play a tone by itself The patch is the unit of sound which can be played and the tones are the basic building blocks which make up the patch WG Wave Generator Specifie...

Page 11: ...for each part is counted to obtain the total number of sounds for all parts How a Patch Sounds When the JUNO Di is requested to play more than 128 voices simultaneously currently sounding notes will...

Page 12: ...ation characteristics of halls or auditoriums Five different types are offered so you can select and use the type that suits your purpose Effects in Performance Mode The multi effects chorus and rever...

Page 13: ...memory is where you normally store the data you need To store a performance execute Performance Write p 57 To store a patch execute Patch Write p 24 To store a Rhythm Set execute Rhythm Set Write p 4...

Page 14: ...nnel 1 16 Channel used to transmit and receive MIDI messages for the Keyboard part in Patch mode RCV PC Receive Program Channel OFF ON Specifies whether Program Change messages will be received ON or...

Page 15: ...ave into 12 equal parts and is the most widely used method of temperament used in Western music The JUNO Di employs equal temperament when the Scale Tune Switch is set to OFF Just Intonation Tonic of...

Page 16: ...ee multi effects chorus and reverb can each operate according to the effect settings of the performance or according to the effect settings of the patch or rhythm set assigned to the part you specify...

Page 17: ...in mono from the OUTPUT R jack without passing through the multi effect The setting you specify here is valid only if PATCH OUTPUT ASSIGN is set to TONE If STRUCTURE p 30 is set to TYPE 02 10 the sett...

Page 18: ...OOM Reverb that simulates the reverberation of a room in greater detail SRV HALL Reverb that simulates the reverberation of a hall in greater detail SRV PLATE Simulation of a plate echo a reverb devic...

Page 19: ...CHORUS SEND LEVEL 0 127 Level of signal sent from each part to the chorus PART REVERB SEND LEVEL 0 127 Level of signal sent from each part to the reverb PART OUTPUT MFX SELECT MFX1 3 Multi effect used...

Page 20: ...B SOURCE PERFORM 1 16 Reverb parameter settings used by the performance PERFORM Use the reverb settings of the performance 1 16 Use the reverb settings of the patch or rhythm set assigned to the speci...

Page 21: ...ssion or hold 1 effect Leave them OFF if you only want to control the multi effect parameter Multi Effect Settings MFX MFX 1 3 Parameter Range Explanation ON OFF OFF ON Turns the multi effect on off T...

Page 22: ...the chorus MAIN Output in stereo to the OUTPUT jacks MAIN REV Output in stereo to the OUTPUT jacks and in mono to the reverb REV Output in mono to reverb Parameters for each chorus type Set the parame...

Page 23: ...icking a TONE SELECT button while holding down your computer s Shift key When you edit the settings of a tone the settings of the currently selected tones will change simultaneously WG TVF TVA and CON...

Page 24: ...ort decay time One shot waveforms contain the entire duration of the sound from the attack until it decays to silence Some of these waveforms capture a complete sound such as a percussion instrument b...

Page 25: ...the waveform output by the LFO is allowed to develop in standard fashion the waveform then continues without further change TRP Trapezoidal wave S H Sample Hold wave one time per cycle LFO value is ch...

Page 26: ...r settings will result in a longer time until the next pitch is reached This will modify ENV T1 p 34 PITCH ENV D Pitch Envelope Decay 0 127 Pitch envelope times This will modify ENV T3 p 34 PITCH ENV...

Page 27: ...imes This will modify ENV T4 p 36 Parameter Value Explanation LEVEL 0 127 Volume of the tone This setting is useful primarily for adjusting the volume balance between tones PAN L64 0 63R Left right po...

Page 28: ...tch s sound in units of an octave TUNE COARSE 48 48 Pitch of the patch s sound in semitones 4 octaves TUNE FINE 50 50 Pitch of the patch s sound in 1 cent steps one cent is 1 100th of a semitone STRET...

Page 29: ...ON RETRIGGER OFF ON The setting determines whether sounds are replayed ON or not OFF when performing legato The LEGATO RETRIGGER is valid when the Mono Poly is set to MONO and the LEGATO SW is set to...

Page 30: ...een the two tones and adjusts booster level This type uses a ring modulator to create new overtones and combines the two filters The tone 1 3 TVA will control the volume balance of the two tones adjus...

Page 31: ...rd to create modulation similar to PWM pulse width modulation This parameter works best when you use it in conjunction with the WAVE GAIN parameter p 32 fig Boost2 e Booster level TVA WG1 WG2 Booster...

Page 32: ...wer settings result in a more metallic sound FXM DEPTH 0 16 Depth of the modulation produced by FXM Parameter Value Explanation TUNE COARSE 48 48 Pitch of the tone s sound in semitones 4 octaves TUNE...

Page 33: ...ecified in the TONE DELAY TIME parameter has elapsed the tone is not played KEY OFF NOR Rather than being played while the key is pressed the tone begins to play once the period of time specified in t...

Page 34: ...e more effect for strongly played notes set this parameter to a positive value T1 SENS T1 Velocity Sens 63 63 This allows keyboard dynamics to affect the T1 of the Pitch envelope If you want T1 to be...

Page 35: ...omponents above the Cutoff Frequency are cut the sensitivity of this filter changes according to the Cutoff Frequency While this filter is also good for use with simulated acoustic instrument sounds t...

Page 36: ...shorter times VEL CURVE Velocity Curve FIX 1 7 Curve that determines how keyboard playing dynamics velocity will affect the TVF envelope Set this to FIX if you don t want the TVF Envelope to be affect...

Page 37: ...ey relative to which the volume will be modified BIAS DIRECTION LOWER UPPER LO UP ALL Direction in which change will occur starting from the Bias Position LOWER The volume will be modified for the key...

Page 38: ...nal that is sent to the output destination specified by OUTPUT ASSIGN SEND LEVEL OUTPUT ASSIGN MFX CHO Chorus Send 0 127 Level of the signal sent to chorus for each tone if the tone is sent through MF...

Page 39: ...ND DW you must turn the KEY TRIGGER parameter p 40 to ON If this is OFF it will have no effect OFFSET 100 100 Raises or lowers the LFO waveform relative to the central value pitch or cutoff frequency...

Page 40: ...l affect the cutoff frequency DEPTH TVA 63 63 How deeply the LFO will affect the volume DEPTH PAN 63 63 How deeply the LFO will affect the pan Apply the LFO gradually after the key is pressed FADE MOD...

Page 41: ...ITY RANGE Parameter Value Explanation VELOCITY CONTROL OFF ON RANDOM CYCLE Determines whether a different tone is played ON or not OFF depending on the force with which the key is played velocity RAND...

Page 42: ...firm that any MIDI messages used for the Matrix Control will be received If the JUNO Di is set up such that reception of MIDI messages is disabled then the Matrix Control will not function KEY RANGE P...

Page 43: ...d in reverse CONTROL SW Parameter Value Explanation RCV BENDER Receive Bender OFF ON For each tone specify whether MIDI Pitch Bend messages will be received ON or not OFF RCV EXP Receive Expression OF...

Page 44: ...key rhythm tone of the currently selected rhythm set Initialization will affect only the currently selected rhythm set If you want to return all settings to their factory set values execute a Factory...

Page 45: ...These are sounds with a short decay time One shot waveforms contain the entire duration of the sound from the attack until it decays to silence Some of these waveforms capture a complete sound such as...

Page 46: ...at and a closed hi hat sound can never occur simultaneously To reproduce the reality of this situation you can set up a Mute Group Up to 31 Mute Groups can be used rhythm tones that are not belong to...

Page 47: ...anation TUNE COARSE C 1 G9 Pitch at which a rhythm tone sounds Set the coarse tuning for Waves comprising the rhythm tones with the WAVE COARSE TUNE parameter p 51 TUNE FINE 50 50 Pitch of the rhythm...

Page 48: ...er changes according to the cutoff frequency While this filter is also good for use with simulated acoustic instrument sounds the nuance it exhibits differs from that of the LPF2 even with the same TV...

Page 49: ...each rhythm tone if the tone is sent through MFX REV Reverb Send 0 127 Level of the signal sent to reverb for each rhythm tone if the tone is sent through MFX SEND LEVEL OUTPUT ASSIGN non MFX CHO Cho...

Page 50: ...vel is set to 127 the volume cannot be raised any farther ASSIGN TYPE SINGLE MULTI Sets the way sounds are played when the same key is pressed a number of times SINGLE Only one sound can be played at...

Page 51: ...the waveform to be alternated between left and right each time a key is pressed Set this to ON to pan the wave according to the ALT PAN DEPTH parameter p 55 settings or to REV when you want the pannin...

Page 52: ...vert the shape of the envelope VEL SENS Velocity Sens 63 63 Keyboard playing dynamics can be used to control the depth of the pitch envelope If you want the pitch envelope to have more effect for stro...

Page 53: ...the sensitivity of this filter changes according to the cutoff frequency While this filter is also good for use with simulated acoustic instrument sounds the nuance it exhibits differs from that of t...

Page 54: ...greater effect for strongly played notes and negative settings will cause the effect to be less T1 SENS 63 63 This allows keyboard dynamics to affect the T1 of the TVF envelope If you want T1 to be s...

Page 55: ...pth L63 0 63R This setting causes panning to be alternated between left and right each time a key is pressed Higher settings will produce a greater amount of change L or R settings will reverse the or...

Page 56: ...e OUTPUT R jack without passing through the multi effect If the OUTPUT ASSIGN in RHYTHM COMMON is set to anything other than TONE these settings will be ignored Sounds are output to chorus and reverb...

Page 57: ...ameters p 23 Select from the EDIT menu The Initialize command initializes the settings of the currently selected performance Initialization will affect only the currently selected performance If you w...

Page 58: ...F ON Turns the multi effect on off MFX 1 3 TYPE 0 79 Type of multi effect to use choose one of 79 types For details on each multi effect refer to Multi Effects Parameters MFX1 3 MFX p 64 CHORUS ON OFF...

Page 59: ...t passes through multi effects L R Output in stereo to the OUTPUT jacks without passing through the multi effect L Output in mono to the OUTPUT L jack without passing through the multi effect R Output...

Page 60: ...e the Pitch Bend Range setting of the patch assigned to the part p 28 set this to PAT MONO POLY MONO POLY PAT Set this parameter to MONO when the patch assigned to the part is to be played monophonica...

Page 61: ...r the patch or rhythm set assigned to a part OFFSET ATK Attack 64 63 Adjusts the TVA TVF Envelope Attack Time for the patch or rhythm set assigned to a part OFFSET DCY Decay 64 63 Adjusts the TVA TVF...

Page 62: ...channel RCV BS Receive Bank Select RCV PB Receive Pitch Bend RCV CH PRESS Receive Channel Pressure RCV POLY PRESS Receive Polyphonic Key Pressure RCV MOD Receive Modulation RCV VOLUME Receive Volume...

Page 63: ...or Performance Key range specified for Patch The range in which notes will play Equal Temperament This tuning divides the octave into 12 equal parts and is the most widely used method of temperament u...

Page 64: ...FLANGER P 75 32 2BAND CHORUS P 75 33 2BAND FLANGER P 76 34 2BAND STEP FLANGER P 76 DYNAMICS 8 types 35 OVERDRIVE P 77 36 DISTORTION P 77 37 VS OVERDRIVE P 77 38 VS DISTORTION P 77 39 GUITAR AMP SIMUL...

Page 65: ...s follows Also make sure that the speakers are at a sufficient distance from the walls on either side fig 33 002 If the left and right speakers are too far apart or if there is too much reverberation...

Page 66: ...4 Band EQ L in R in L out R out Spectrum Spectrum 03 ISOLATOR Parameter Value Explanation Boost Cut Low 60 4 dB These boost and cut each of the High Middle and Low frequency ranges At 60 dB the sound...

Page 67: ...riangle wave SQR square wave SIN sine wave SAW1 sawtooth wave upward SAW2 sawtooth wave downward Rate 0 05 10 00Hz note Rate of modulation Depth 0 127 Depth of modulation Attack 0 127 Speed at which t...

Page 68: ...w OFF ON LFO reset on off Determines whether the LFO for switching the vowels is reset by the input signal ON or not OFF Input Sync Threshold 0 127 Volume level at which reset is applied L in R in L o...

Page 69: ...Frequency of modulation Depth 0 127 Depth of modulation R in R out L in L out Phaser Mix 2 Band EQ Phaser 2 Band EQ Mix R in R out L in L out Step Phaser Mix 2 Band EQ Step Phaser 2 Band EQ Mix Polar...

Page 70: ...requency modulation applied Polarity UP DOWN Determines whether the frequency modulation moves towards higher frequencies UP or lower frequencies DOWN Low Gain 15 15 dB Gain of the low frequency range...

Page 71: ...use the sequence to resume from the first step of the sequence ON or not OFF Input Sync Threshold 0 127 Volume at which an input note will be detected Level 0 127 Output volume L in R in L out R out A...

Page 72: ...eaker When this is turned on the rotation will gradually stop When it is turned off the rotation will gradually resume Woofer Slow Speed 0 05 10 00 Hz Low speed rotation speed of the woofer Woofer Fas...

Page 73: ...Balance W Balance D Balance W Balance D 2 Band EQ 2 Band EQ Step Flanger Step Flanger Parameter Value Explanation Filter Type OFF LPF HPF Type of filter OFF no filter is used LPF cuts the frequency ra...

Page 74: ...l spread of the sound Low Gain 15 15 dB Gain of the low range High Gain 15 15 dB Gain of the high range Balance D100 0W D0 100W Volume balance between the direct sound D and the chorus sound W Level 0...

Page 75: ...quency range L R 3D Flanger 2 Band EQ 2 Band EQ R out L out L R 3D Step Flanger 2 Band EQ 2 Band EQ R out L out Pre Delay 0 0 100 msec Adjusts the delay time from when the direct sound begins until th...

Page 76: ...and Flanger Low Band Flanger Split Low Band Feedback High Band Feedback High Band Feedback Low Band Feedback 34 2 BAND STEP FLANGER Parameter Value Explanation Split Freq 200 8000 Hz Frequency at whic...

Page 77: ...Simulator 2 Band EQ L in R in Over drive L out R out Pan R Pan L L in R in L out R out Pan R Pan L Amp Simulator 2 Band EQ Distortion L in R in L out R out Pan R Pan L Amp Simulator 2 Band EQ Overdri...

Page 78: ...d until the volume starts being compressed Threshold 0 127 Adjusts the volume at which compression begins Post Gain 0 18 dB Adjusts the output gain Low Gain 15 15 dB Gain of the low frequency range Hi...

Page 79: ...nce between the direct sound D and the delay sound W Level 0 127 Output level R in R out L in L out Feedback Feedback Balance W Balance D Balance W Balance D 2 Band EQ 2 Band EQ Delay Delay R in R out...

Page 80: ...Gain 15 15 dB Amount of boost cut for the high frequency range Balance D100 0W D0 100W Volume balance of the original sound D and delay sound W Level 0 127 Output volume R in R out L in L out Feedbac...

Page 81: ...0 8000 Hz BYPASS Adjusts the frequency above which sound fed back to the effect is filtered out If you do not want to filter out any high frequencies set this parameter to BYPASS Delay 1 4 Level 0 127...

Page 82: ...ng of the tap delay sounds Delay 1 Level Delay 2 Level 0 127 Volume of the tap delay sounds Low Gain 15 15 dB Amount of boost cut for the low frequency range High Gain 15 15 dB Amount of boost cut for...

Page 83: ...elay Time directly affects the rate of pitch change L R 3D Delay L 3D Delay R 3D Delay C Level Feedback 2 Band EQ 2 Band EQ L out R out R in R out L in L out Feedback Feedback Pan L Pan R Time Ctrl De...

Page 84: ...Level L in R in L out R out Tape Echo Direct Level Direct Level 56 LOFI NOISE Parameter Value Explanation LoFi Type 1 9 Degrades the sound quality The sound quality grows poorer as this value is incre...

Page 85: ...127 Simulates the tuning noise of a radio As this value is raised the tuning drifts further Radio Noise Level 0 127 Volume of the radio noise Low Gain 15 15 dB Gain of the low range High Gain 15 15 dB...

Page 86: ...tch1 Pan L64 63R Stereo location of the Pitch Shift 1 sound Pitch1 Level 0 127 Volume of the Pitch Shift1 sound L in R in Pitch Shifter Pitch Shifter L out R out 2 Band EQ 2 Band EQ L in R in L out R...

Page 87: ...Gain of the low range L in R in L out R out Reverb 2 Band EQ Balance W Balance W Balance D Balance D 2 Band EQ L in R in L out R out Gated Reverb 2 Band EQ Balance W Balance W Balance D Balance D 2 B...

Page 88: ...o not want to cut the high frequencies set this parameter to BYPASS Delay Balance D100 0W D0 100W Adjusts the volume balance between the sound that is sent through the delay W and the sound that is no...

Page 89: ...ut Mix Mix Enhancer Enhancer Balance W Balance W Balance D Balance D 75 CHORUS DELAY Parameter Value Explanation Chorus Pre Delay 0 0 100 msec Adjusts the delay time from the direct sound until the ch...

Page 90: ...ce W Balance W Balance D Balance D Chorus Balance W Balance W Balance D Balance D L in R in L out R out Sym Resonance 3 Band EQ 3 Band EQ Parameter Value Explanation Depth 0 127 Depth of the effect Da...

Page 91: ...al spread of the sound Feedback 0 127 Adjusts the amount of the chorus sound that is fed back into the effect DELAY Delay Left 0 1000 msec note Adjusts the delay time from the direct sound until the d...

Page 92: ...HALL SRV PLATE Pre Delay 0 0 100 msec Adjusts the delay time from the direct sound until the reverb sound is heard Time 0 127 Time length of reverberation Size 1 8 Size of the simulated room or hall H...

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