Roland VIMA JM-8, Owner'S Manual

Page: 166 / 176

MFX types and parameters
166
r
VIMA JM-8
●
Delay Left Time [msec] (0~2600ms)—Adjust the time from the
direct sound until when the left delay sound is heard.
●
Delay Left Time [note] (musical notes)—Delay times can be set
as a note-value of a tempo, if you set the “Sync” parameter
above to “Note”. Specify the value of the desired note.
● Delay Right Time [sync] (msec, Note)—Use this parameter to
specify whether (“Note”) or not (“msec”) the right delay time
should be synchronized to the Arranger or Recorder tempo.
Depending on your choice, the setting range of the following
parameter refers to a time or a note value.
●
Delay Right Time [msec] (0~2600ms)—Adjust the time from the
direct sound until when the right delay sound is heard.
●
Delay Right Time [note] (musical notes)—Delay times can be set
as a note-value of a tempo, if you set the “Sync” parameter
above to “Note”. Specify the value of the desired note.
●
Delay Center Time [sync] (msec, Note)—Use this parameter to
specify whether (“Note”) or not (“msec”) the center delay time
should be synchronized to the Arranger or Recorder tempo.
Depending on your choice, the setting range of the following
parameter refers to a time or a note value.
●
Delay Center Time (msec) 0~2600 [ms]—Adjust the time delay
from the direct sound until when the center delay sound is
heard.
●
Delay Center Time [note] (musical notes)—Delay times can be
set as a note-value of a tempo, if you set the “Sync” parameter
above to “Note”. Specify the value of the desired note.
●
Center Feedback (–98%~0~+98%)—Adjusts the amount of the
delay sound that’s fed back into the effect. Negative (–) settings
invert the phase.
● Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency
above which sound fed back to the effect is filtered out. If you
don’t want to filter out any high frequencies, set this parameter
to BYPASS.
● Left Level (0~127)
●
Right Level (0~127)
●
Center Level (0~127)—Output level of the delay sound.
●
Output Mode (Speaker, Phones)—Adjusts the method that will
be used to hear the sound that is output to the OUTPUT jacks.
The optimal 3D effect will be achieved if you select SPEAKER
when using speakers or PHONES when using headphones.
●
EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency
range.
●
EQ High Gain (–15dB~0~15dB)—Gain of the high frequency
range.
●
Balance (D100:0W, D50:50W, D0:100W)—Volume balance
between the direct (D) and the effect sound (W).
●
Level (0~127)—Output level.
74. Long Time DLY
A delay in which the delay time can be varied smoothly and
allowing an extended delay to be produced.
● Delay Time [sync] (msec, Note)—Use this parameter to specify
whether (“Note”) or not (“msec”) the delay time should be syn-
chronized to the Arranger or Recorder tempo. Depending on
your choice, the setting range of the following parameter refers
to a time or a note value.
●
Delay Time [msec] (0~2600ms)—Adjusts the time until the delay
is heard.
●
Delay Time [note] (Musical Notes)—Delay times can be set as a
note-value of a tempo, if you set the “Sync” parameter above to
“Note”. Specify the value of the desired note.
●
Delay Acceleration (0~15)—Adjusts the time over which the
Delay Time changes from the current setting to a specified new
setting. The rate of change for the Delay Time directly affects
the rate of pitch change.
●
Feedback (–98%~0~+98%)—Adjusts the amount of the delay
sound that’s fed back into the effect. Negative (–) settings invert
the phase.
●
Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency
above which sound fed back to the effect is filtered out. If you
don’t want to filter out any high frequencies, set this parameter
to BYPASS.
●
Panpot (L64~0~63R)—Stereo location of the output sound. This
is a mono effect that combines incoming signals. You can, how-
ever, place the processed signal anywhere between the left and
right channels.
●
EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency
range.
●
EQ High Gain (–15dB~0~15dB)—Gain of the high frequency
range.
●
Balance (D100:0W, D50:50W, D0:100W)—Volume balance
between the direct (D) and the effect sound (W).
●
Level (0~127)—Output level.
75. Tape Echo
A virtual tape echo that produces a realistic tape delay sound.
This simulates the tape echo section of a Roland RE-201 Space
Echo.
● Mode (S, M, L, S+M, S+L, M+L, S+M+L)—Combination of play-
back heads to use. Select from three different heads with differ-
ent delay times. S: short, M: middle, L: long.
●
Repeat Rate (0~127)—Tape speed. Increasing this value will
shorten the spacing of the delayed sounds.
●
Intensity (0~127)—Amount of delay repeats.
●
Bass (–15dB~0~15dB)—Boost/cut for the lower range of the
echo sound.
● Treble (–15dB~0~15dB)—Boost/cut for the upper range of the
echo sound.
●
Head S Pan (L64~0~63R)
●
Head M Pan (L64~0~63R)
● Head L Pan (L64~0~63R)—Independent panning for the short,
middle and long playback heads.
●
Tape Distortion (0~5)—Amount of tape-dependent distortion to
be added. This simulates the slight tonal changes that can be
detected by signal-analysis equipment. Increasing this value will
increase the distortion.
●
Wow/Flutter Rate (0~127)—Speed of wow/flutter (complex vari-
ation in pitch caused by tape wear and rotational irregularity).
● Wow/Flutter Depth (0~127)—Depth of wow/flutter.
●
Echo Level (0~127)—Volume of the echo sound.
●
Direct Level (0~127)—Volume of the original sound.
●
Level (0~127)—Output level.
76. LoFi Noise
In addition to a lo-fi effect, this adds various types of noise
such as white noise and disc noise.
●
LoFi Type (1, 2, 3, 4, 5, 6, 7, 8, 9)—Degrades the sound quality.
The sound quality grows poorer as this value is increased.
●
Post Filter Type (OFF, LPF, HPF)—Type of filter. OFF: no filter is
used. LPF: cuts the frequency range above the Cutoff value. HPF:
cuts the frequency range below the Cutoff value.
●
Post Filter Cutoff (200~8000, Bypass)—Center frequency of the
filter.
●
W/P Noise Type (White, Pink)—Switch between white noise and
pink noise.
●
W/P Noise LPF (200~8000, Bypass)—Center frequency of the low
pass filter applied to the white/pink noise (BYPASS: no cut).
●
W/P Noise Level (0~127)—Volume of the white/pink noise.
●
Disc Noise Type (LP, EP, SP, RND)—Type of record noise. The fre-
quency at which the noise is heard depends on the selected
type.
●
Disc Noise LPF (200~8000Hz, Bypass)—Adjusts the cutoff fre-
quency of the low pass filter applied to the record noise. If you
don’t want to filter out any high frequencies, set this parameter
to BYPASS.
●
Disc Noise Level (0~127)—Volume of the record noise.
●
Hum Noise Type (50Hz, 60Hz)—Frequency of the hum noise.
●
Hum Noise LPF (200~8000Hz, Bypass)—Center frequency of the
low pass filter applied to the hum noise (BYPASS: no cut).
●
Hum Noise Level (0~127)—Volume of the hum noise.
●
EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency
range.
●
EQ High Gain (–15dB~0~15dB)—Gain of the high frequency
range.
●
Balance (D100:0W, D50:50W, D0:100W)—Volume balance
between the direct (D) and the effect sound (W).
●
Level (0~127)—Output level.
JM-8_OM_GB.book Page 166 Wednesday, July 29, 2009 4:43 PM