Roland MULTI TIMBRAL SYNTHESIZER JIV-80 OWNER’S MANUAL ji) =) se ceessee" = Saae SEQSSS55 BESSSSS SOG SHOTISSSTn “Tookyhting fash wih arewesdaymbl wihinancqutrl poeta fang. emondd tose th wor fo th prosone of un inooated "corgeevs voge” win he products oncosurs Teanur oe coe cornet tm Nn that may bo of euficint magitods fo consti rik of ATTENTION: pice ataticar CAUTION: TO REDUCE THE FISK OF ELECTRIC SHOCK, ‘The exclamation pint wininan equtstora angele tended D0 NoT REMOVE COVER (OF BACK. to abt the usr fo to provence of inpocart operating and [NO USER-SERVICEABLE PARTS INSIDE. mantanance(eanerg)inewesone ihe erate accor REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. panying he product INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS. IMPORTANT SAFETY INSTRUCTIONS WARNING — When using electric products, basic precautions should always be folowed, including the folowing: 1. Read al the instuctors belore using the product 8. The power supply cord fhe produt shouldbe urlugged 2. Do not woo he product near water fer example, near a __‘fomthe out when ettunuood fr along period ame. Datu, wachoon chan sic in awot basement of neat 10, Do not Yeas on he powersuppy cad 9 Loner mina 110270 DUDS cid thle ps wen uae. s produc should be used ony witha cartorstardthatis 42. When se acrsans tecencoa recommendes by the manufactur. Satu olan atoranco witnructon morta 4. Tis produce lone orin combination wah an ampiiier 39, Care spoud be taken so tat cbjects dono al and gus and headphones 0: speakers, may be capabe of reducing "> Sr nat peg ao te enosre tough opening Sound lavels that could cause permanent hearing loss. Do eee eee ae Pane ata tgvvckene ive, 1 The product should be serviced by qualified sence per nel when: oF ata level that is uncomfortable. It you experionce any ah Foatng tus or ging in te ears yoo shold coneuk on ‘A. The power-supply cord or the plug has been damaged audiologist or i pe pe ands nasa at fe 8. jects nave fat, or gud nas been sed to he does not interfere with ts proper ventilation. (arpa faa aan xpnnec to rer 6. Theproductshould belocatedaway fom heat sources such 2s 1D. The product does not appear to operale normaly or radiators, heal registers, or ether products that produce heat. exhibits a marked change in performance: oF The product has been dropped, or the enclosure dam- 7. Avoid using the product where it may be affected by dust. ages. ‘8, The product should be connected to @ power supply only of 15. Do notaternpt to service the product beyond that described the type dosorbed in the operating instuctions or as marked in the usermalntenance insiructons. Al other servicing ‘on the product. ‘should be referred to qualifed service personnel, SAVE THESE INSTRUCTIONS For the UK, WARNING: THIS APPARATUS MUST BE EARTHED. IMPORTANT: THE WIRES INTHIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. GREEN-ANO-YELLOW: EARTH, BLUE: NEUTRAL, BROWN: LIVE Aste clcurs othe wires inthe mans lead of Pi apparatus may not coespend wih the coloured markings identying the terminals in your pug proceed as follows: “Ihe whe whichis coloured GREEN -AND-YELLOW must be connec the terminal inthe plug whichis makod by the letter E or by the safety earth symbct@ or coloured GREEN or GREEN-AND-YELLOW. “The wre wns cooured BLUE mustbe Comeciedto ha torminel which s marked wih heleter or coloured BLACK. Thevte which iscoloured BRON mustbe connected the erarawhicns arked wit nto Lot cured RED. “The product which is equipped with a THREE WIRE GROUNDING TYPE AC PLUG must be grounded.SnitHesizen IV-BO0 Owner's Manual Introduction Thank you for purchasing the Roland JV-80 Multi Timbral Synthesizer. To take full advantage of the JV-80's functions, and to enjoy long and trouble-free use, please read this owner's manual carefully. Copyright © 1991 by ROLAND CORPORATION ‘All rights resérved. No part of thie pubfeation may be reproduced in any form without the permission of ROLAND CORPORATION.HOW TO USE THIS MANUAL This manual consists of the following sections describing the: respective modes of the JV-80. Though we recommend that, you taka time to read through this entire manual once, those Who have a general knowiedge about synthesizers can read the desired sections as needed when using the instrument. Section 1 : Setting Up and Playing the JV-80 ‘This section covers preparation before play, ROM Play eperations, connection to external devices, and tying out the various sounds of the JV-80. Section 2: General Overview This section covers the structure ofthe sound sources of the 4IV-80, and Patches and Performances, which are the units ‘of sound, Section 3: Play “This section covers the operations for using the JV-80 in the Play mode (Patch Play/Performance Play) and describes the functions of the parameters related to this mode. Section 4: Edit This section covers the operations of the modes (Patch EdivPerformance EdivRhythm Edit) which are used to edit sound program data (Patch/Performance/Rnythm Tone), ‘and describes the functions of parameters related to these modes, Section 5: Command Tale section covers the operations and functions of the Write mode, which include the storing of edited data and organization of the data, Section 6 : Reference ‘This section includes a list of error messages, a sound program data list and MIDI imiplementation. Also, an index. ‘of operations and the main index will help you in using this manual. By using the index of operations, you can quickly find the pages that contain information about the operations, and functions you want to know about. ‘@The explanations contained in the pages you refer to have ‘been made as comprehensive as possible. Since many functions and operations throughout the JV-80 are quite ‘similar, you may find repetition of the same or similar Information in several sections. @in the Piay section and the Edit section, concrete application examples are given before explanation of the parameters of @ function and the method for operating ‘and setting them. (An asterisk +k indicates the examples.) ‘The resulting sound applications in using the parameters: (and the effective ways of setting them) are given at the beginning of each section of Patch/Performance in the Play section and at the beginning of each item of PatchvPerformance in the Edit section. Following these ‘explanations, the basic functions of each parameter are ‘explained. Panel Indications The buttons and switches used in operation are referred to in this manual just as their names appear on the panel, printed above (or below) each button, [Example] Chorus button -+[GHORUS] Tone switch -+[TONE SWITCH] Cursor butions E(B] ‘The parameter names ate expressed as (IEEE or Since they are usually given as abbreviatons, the ful names are written next to them: for exemple, “key mode" and “chorus rate." Then the edkable range of the parameter is given: for example, 0— 127 for a continuous ‘one, or ~ 100/ — 50/0/50/100 for specified (step) ones. Display The various functions of the instrument ere accessed through the display. Please keep in mind that there may be slight diferences between the data (ike in sound program names) in factory settings and the displays shown in the manuel $e 4CONTENTS MIMAIN FEATURES OF THE JV-80 ------- 7 IIINPORTANT NOTES . 8 NIPANEL CONTROLS AND TERMINALS. 9 SECTION1 SETTING UP AND PLAYING THE JV-60 1. CONNECTING THE JV-80 TO EXTERNAL EQUIPMENT - 42 2. TURN THE POWER ON «--+----+- {Wi Adjusting the Contrast of the LCD Sac 14 3. LISTENING TO THE ROM PLAY FEATURE: --- 15, 4. PLAYING THE JV-80 ----++-+ Trying Out the Realtime Performance Functions --- 18 Switches peel 43 UTOFF. a 2a . +46 The pararetrs called up by the [ATTAGKY [RELEASE] buttons -o-------eeee-soos 47 2. PLAYING A PERFORMANCE, What is the Performance Play mode? Parameters Avallable for Realtime Control Operation © Selecting the Performance Play Mode «+--+ 56 @ Changing Performances ss 56 @ Selecting and Adjusting the Performance Parameters with the Assign Buttons --- 57 @ How to use the [PART SWITCH] ------------ 58 Explanations of the Parametere : @ Part Parameters COARSE TUNE! (FINE TUNE]-..- ‘SECTION2 GENERAL OVERVIEW OF THE JV-80 @ Transmit Zone Parameters. 1. MODES 2. TWO TYPES OF SOUND UNITS (PATCHES AND PERFORMANCES) «29 Patches and Tones Performances and Patches -- 3. SOUND SOURCE AND CONTROLLERS ---.-.- 25, 4, ORGANIZATION OF THE SOUND SOURCE -.- 27 internal Sound Source «+ sees a7 SECTIONS PLAY 1, PLAYING PATCHES ©» +--+ --+-+-» imWhat isthe Paton Play mode? «--.101 Parameters Avalable for Realtime Control Operation (© Selewing ine Patch Pay Node © changing Patches - a @ Selecting and Adjusting the Patch Parameters with he Assign Buttons sss -ssssseses 38 © How to use the [TONE SWITCH) 235 Explanations ofthe Parameters s+ : [PAR] soo COARSE TUNE) oat TX VOLUME] - sere 62 et 62 TX TRANS, cee @ Internal Zone Parameters - INT TRANS . Other Play Operations Operation . Explanations of the Parameters sree 68) EFFECT] oo eesee--- +69 ‘PROGRAM CHANGE] ------- 70 © Panic function 4, System Common Parameters Operation « : WM Explanetions of he Parameters «+++ SECTION4 EDIT 1. Patch Edit - teteeeee: ‘What is the Patch Edit mode?. . How to Edit in the Patch Edit Operations - - © Using [TONE SELEET] «+ 6 Setcing Perametrs wih elec nna tHE gy iS a ~ S Pe‘CONTENTS Explanations ofthe parameters »---++++++-+00+ Parameters Selected by [COMMON] - Parameters Selected by [EFFECT] Parameters Selected by [CONTROL] - Parameters Selected by [WAVEILFO] Parameters Selected by [PITCH] Parameters Selected by [TVF] Parametors Selocted by [TVA] - Performance Edit - cee Imatis the Performance Eet mode? How to edit a Performance we © cing [PART SWITCH] im splanatons ofthe parameters . Paramtere Selected by [COMMON} Parameters Selected by [EFFECT] -~ . Parameters Selected by [TXZONE] 124 Pee Parameter Selocted by INT ZONE] Ea. Parameters Selected by| 190 18 3, Rhythm Edit Mode - . What are rhythm sound programs’ +139 nythm Tone Ealting =~» Explanations of the parameters -~ o14t Parametore Selosiod by [EFFECT] oat Parameters Selected by [CONTROL] +143 Parameters Selected by [WAVETLFO) ------+- 144 Parameters Selected by [PITCH] 145 Parameters Selected by [TWF] - “147 Parameters Selected by [TVA] - +150 SECTIONS COMMAND Write Modo foe 2164 MOperation s+ sesssssseees +164 +185 +187 +160 +161 @ Buk (Buk Dump) 164 @ Protect +166 SECTIONG REFERENCE 1. Error Messages: soreeeeresees 168, 2.Troubleshooting --++++-+- see seeseeeee +170 ‘B.Waveform List---.--.2-----+-+ cerceeemntt | A4nitialize Data -- sreeeseeeeseeeeeee 175 S.Factory Setting ---++--++-++-- +180 6.Biank Chart- see 184 ‘7.Operation Examples of the JV-80 -- + 188 Roland Exclusive Messages -- MIDI imptementation . sess 199 MIDI Implementation Chart «--<:0-1-++-+2+-++-++ 207 Multi Sound Source for Desktop Music and Home Studio Applications --------- 209 Main Specifications - : 210 Index of Functions and Operations:--------- 219MAIN FEATURES OF THE JV-80 ‘The JV-80 is an advanced synthesizer with builtin sound sources that give you a wide range of sound shaping features, ‘These allow you to use flexible fiter (TVF) and amplifier (TVA) controls to process the various high-quality sound elements. Because of the rich builtin sound sources and the comprehensive MIDI control functions which let you make changes to the sounds and various parameters in realtime, the JV-80 Is Ideal for both live performance situations and desktop music applications. @ Various Modes for Powerful Performance Potential ‘The JV-80 features two operating modes: the Patch Play mode, which enables you to use the full expressive capabilities of the JV-80 by playing a single sound in realtime, and the Performance Pay mode, which allows you to play eight different Parts (internal sound sources) over eight diferent MIDI channels. in the Key mode, there is @ Solo mode that lets you make special Key assignments, along with portamento for playing expressive melody lines in legato. @ Wide Range of Sound Waveforms Naturally, the JV-80 provides basic synthesizer waveforms, sch as the sawtooth wave, square wave and pulse wave. It aso features built-in waveforms that have various frequency elements or short actual’ sounds. Since wavetorms can be processed by FXM (Frequency Cross-Modulation), the JV-80 is capable of satistying the most demanding sound programming applications, trom recreatng realist sounds 1 producing unusual, otherworldly effets. New waveforms can also be added by inetaling the optional PCM card or expansion board @ Built-in Digital Effects Chorus and reverb effects are built into the JV-80, Rich stereo effects that add spaciousness and depth to the sound, ‘can be gained by using chorus and reverb. @ Flexible Realtime Parameter Control Controt over individual paramoters can be assigned to the sliders or footswitches/pedals. The expressive potential is enormous, since a wide range of parameters can be selected for independent and simultaneous contro. @ Touch-sensitive Keyboard ‘The keyboard of the JV-80 features velocity and attertouch sensitvity. This allows you to change the tonal quality and volume of the sound by how strongly you hit the keys or how strongly you press down on them after hiting them. @ Ease of Operation In order to simply play and edit operations, the JV-80 has a large LOD display (40 characters by 2 lines) with corresponding soft keys which are used to directly select the. assigned parameters in the display. @ Convenient Performance Functions Even during performance, the sound programs and their parameters can be adjusted in realtime (and over MIDI) with the use of the Parameter Sliders. This makes it easy to adjust the sound to match the performance situation or the character of the song. @ Multi-timbral Operation The JV-80 features multitimbral capacity with seven Independent synthesizer Parts and one rhythm Part, This allows you to create the sound of an ensemble or group with, Just the JV-80, controling the sound sources over MIDI. @ Memory Card y using an optional DATA card (M-256E), the internal settings ean be stored. Sound program data which is stored con the DATA card can be called up for use while playing @ Convenient Panic Function ‘The JV-80 has @ panic function that lets you quickly cut off ‘stuck’ notes when using the unit to control other MIDI sound, sources.IMPORTANT NO In addition to the items listed under Safety Precautions on ‘page 2, please read and adhere to the following: [Power Supply] {© When making eny connections with other devices, always turn off the power to all equipment first; 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, such as a motor or variable lighting system. [Placement] ‘© This unit may interfere with radio and television reception. Do not use this unit in the vicinity of such receivers. [Maintenance] (© For everyday cleaning wipe the unit with @ soft, dry cloth (or one that has been slightly dampened with wate:). To remove studboin dir, use a mild neutral 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 risk of ciscoloraton and/or deformation. [Additionai Precautions] {© Protect the unt from strong impact. (© Never strike or apply strong pressure to the display. @ A smail amount of heat will radiate from the unit, and thus should be considered normal @ Before using the unit in a foreign country, consult with Qualified service personnel. [Memory Backup] @ The unit contains a battery which maintains the contents of memory while the main power Is off, The expected lite of this battery is § years or more, However, to avold the unexpected loss of memory data, itis strongly recom- mended that you change the battery every § years, Please be aware that the actual life of the battery wil depend on the physical environment (especially temperature) in which the unit is used, When itis time to change the battery, consult with qualified service personnel, © The units battery functions during normal operation as wall a5 maintaining the contents of memory when the main power supply is tuned off. When the battery becomes weak, there is a rsk of losing the contents of the memory. To avoid the unexpected loss of memory data, replace the battery betore becomes weak. @ 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 maifunction has occurred. important data should be stored on a DATA card, or written down on paper. 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 ragrot ‘that it may be impossible to restore the data. [Expansion Board] (When using the optional expansion board, refer to the ‘expansion board manual for the instructions on installation ‘and use ofthe board.STVNINYFL ONY STOULNOD T3NVdoy—Ol K 1 Oi | & ok }Roza Cea SETTING UP AND PLAYING THE JV-80 41. CONNECTING THE JV-80 TO EXTERNAL EQUIPMENT ‘Since neither an amplifier or speakers is built into the JV-80, you should have some kind of arnplification/speaker system in order to hear the instrument. When using 2 set of headphones, insert the headphone plug into the PHONES jack on the JV-80 ‘When using an amp/speaker setup, be sure the volume of the amplifier is at minimum before tuming the system on. This will help prevent damage fo your speaker systems. ‘When using the optional PJ-IM cable, the instrument can be directly connected to the jacks of a stereo ‘set by removing the phone plug adaptors and using the RCA pin connectors. trament to take full advantage of the functions of, We suggest that you use the stereo outputs oft the JV-80, However, if you require a mono output, use only the L (MONO) jack. ‘Soaneated eco! jacket Connection cable Optional : PIM etc.) ‘Stereo headphones Pedal switch (Roland RH20, RH-80, RH-120, etc.) (FS4, DP2, otc) Expression pedal (EV5, EV-10, etc.) 1 To the AUK LINE IN terials =| O “I stereo sat, radio cassette player, etc.2. TURN THE POWER ON After making the proper connections, turn on the power according to the procedure given below. (1) Before you turn on the power, check the following points: + Are all connections made correct? + Are the volume contols ofthe ampliar and other equipment turned down? + ls the volume contol ofthe JV-80 turned down? [2] Tum on the power switch on the rear panel of the JV-80. The following display appears. “The JV-80 as a protection cireuit that mutes the ovtput for afew seconds after the power is tumed on. {Example of the display] PERFORM TET 3K Upon power up, the JV-80 recall the lst selected Performance ot Patch, [3] Turn on the power of the connected devices, such as the amplifier, and adjust the volume. [4] Adjust the sound volume with the master volume control of the JV-80. Maximum volume” 3% Adjust the sound at the TVA level (P.36), Resonance (P.46) or ‘the Part level (P.59) if the sound is stil distoned even atter ‘agjusting the overall level with the master volume slider. Minimum volume [5] When turning off the power, first turn off the external devices, then turn off the Jv-80. ‘Be careful net to set the ouput level too high when conaecting the JV-80 directly to an audio system, “The speakers may be damaged by an excessive volume level B2.TURN THE POWER ON i Adjusting the a) [2] Contrast of the LCD Occasionally, the characters in the display may be difficult to read, depending on existing lighting conditions and the placement ofthe JV-80 If this is the case, adjust the contrast of the LCD according, to the steps given below. Press either [PERFORMANCE PLAY Jor [PATCH PLAY]. the incicator of the button will Hah) Press [TUNE]. (tho indicator wil ight) SR Tae somo. uC © cS JS i — Adjust the contrast by using Parameter Slider 3, . 2 3 wien TUNE & 8 Tune! Trans! LOB FUNCTIONH 448,01 BI Sle [4] Press [TUNE] once you finish adjusting the contrast. (The indicator goes out) 3 You can also retum to individual modes by pressing the mode select buteons,HE ROM PLAY FEATURE ‘The JV-60 contains several demo songs that showcase the various sophisticated functions of the instrument, such as the mult-timbral capabilities and the Solo mode, The ROM Play function automatically plays these songs. We suggest that you connect a stereo amplifier or listen through a set of stereo headphones in order to get the full benefit ofthe JV-80's advanced capebilities, a) [2] (3] While holding down the Fs") button, press the (=) button. This selects the ROM Play mode. come som ne fae om PLAy [Press ENTER/EXITI Press [ENTER |to start playback from the frst song. Adjust the volume of playback by using the MASTER VOLUME slider, Press [EXIT 10 stop playback. 1 Introduction Songs 1 through § are parts that play 2 | House Sounds back as a medley, and together form one 3 | Cosmo Space whole song, 4| Acoustics 8 | Finalett Music by Bric Persing ‘¢ | Perseverance Copyright © 1981, Eric Persing Music : ‘Music by Adrian Scott ifilBestdhness Copyright © 1991, Adrian Scott Press [EXIT] after playback has stopped. This returns the instrument to the standard operating mode, FSS5e Teo I ‘Stops playback» ends ROM Play function. ] J] stots otavbeck 3 Keys or butions other than those described above will not function, since all ther functions ofthe JV-80, ‘are temporarily suspended during ROM Play. 3% The notes and other musical data of the ROM Play are not transmitted trom the MIDI OUT terminalS.LISTENING TO THE ROM PLAY FEATURE @ Profiles of the composers - Pee EEE ee Eric Persing Eric Persing is one ofthe most in-demand session players and programmers inthe Los Angeles area. Eric began working for Roland as a product specialist, fist doing cles and suppor, then gradually ‘became more involved in product and sound design. Eric has worked with such artats as Michaet Jackson, Chaka Khan, Lary Garton, Marcus Miler, and Bon Jovi, His music and sounds can also be heard on many TV shows and commercials. Actively Involved in film music, ho has worked with top ‘composers including Michel Columbier, Denny Ellman, and Bill Cont Adrian Scott ‘Adrian was the keyboardist and vocal for the work/-famous hitaaking Austraon pop group Alt Supply. Alter pureving a golo career, ho captured tho evr prize atthe World Song Festival Tokyo "Bt in 1984. Asa sossion musician, he has backed up many famous Australian antsts, including John Farnham and Kylis Minogue. He currently resides in Melboume and is active as a producer of ‘commercial music and fim music. 3 Warning : Ail rights reserved, Unauthorized use ofthis materials a violation of applicable laws, The chart below lists the Patches used in each of the demo songs. 7 | introduction Att APiano 4 ‘Abie _Storeoww Gs BIB Orch Stings ALi: APiano1 ‘A76:_ House Base ‘A8G_Aubber Bs 1 s Ay Neuse sounes [A82:_Thumpin Base B86: Big n Booty Bas_JP_ OPad Bit; GlassVoices Cosmo S| 7 eee 1B86; Analog Seq ‘Bat: Slow Sirings [AS6:_Velo Hatrmnix ASS: 12 stings ATi: SiFroess ft cea B21: Slow Stings 3_| Finaloit B21:_Siow Stings Orch Stings Var Sings [aa Pick Bass Funk Gtr Pox Oooze [aBs: Yowza Base Dig Rhodes 2 FlevCymBend 6 | Perseverance [A6s:Ciean Start Beauty Vox Dig Rhodes + [AsT:_Wave Bale Stereoww BS B56: AtoLead Sax B6t: “Air Lead Stab Brass RevCymBend [ASI:_Nyion Gir ATS:_Analog Bs 1 B25:_Orch Stab 1 [AIS:_Pop Piano 2 BBs: Pufh ‘Ada: Pop Strat ens [Ba6: Brass Sect Tdi Hatmon Muted BST: Alo Sax B23:_BrightStings Rythm Set: 1—8= preset 8 7=preset A4. PLAYING THE JV-80 When the JV-80 is shipped, it contains settings (Patches) of preset sounds. This section will explain the various sounds and how to select them, First tum on the power, then press [PATCH PLAY]. You can now play the instrument from the keyboard. Try playing the instrument and listening to various sounds by changing Patches. “The mumbers I —8 printed in orange on the [BANK] [NUMBER butions atthe righ side ofthe pane indicate the banc and numberof the Patch, Patches numbered 11 —88 can be selected osing boi the [BANK ]and [NUMBER Joutons. The numbers (Patch number) and the eters (Patch nam) in the LCD change according tothe buttons that are pressed, You can also select addtional Patches. By combining [USERPRESET ano the following can be selected User memory, Internal and Proset are described in | USer memory = Internal 11 —88 detail in the next section of Card 11 —88 (when an optional DATA card is used) Preset A 11-88, B 11-88 this manual, "ORGANIZA- TION OF THE SOUND SOURCE," P.27. ‘Try playing the diferent sounds, switching between Paiches by pressing these buttons. Switching betwuon User ct ume mm ade Gem TOMNPO == = == = Mm & a = Switching betwscon internal Sas Me Sar WE aaa — seucting Banks 1-8 J seucting numbers 1 ‘Internal Patches (User memory) ‘+ Card Patches (User memory) ”4.PLAYING THE JV-80 li Trying Out the Realtime Performance Functions @ ‘The JV-80 has various controls for altering the sound a8 you pliy. Try out some of these functions “while playing the keyboard. The application of effects can also be determined for individual sound programs by using the same controllers. Listen to some of the differences by selecting other Patches. ‘dynamics (velocity), or how hard you strike the keys. The action of pressing a key down after playing itis called “aftertouch.” Pitch, tone and volume can aso be changed using aftertouch, Pay softly Pray 2 Press down nider Modulation Lever 20 TES ae While playing a note, you can move the Bendex?Modulation Lever othe lft 0 lower the pitch, or to the ight ors the pitch, This is called the pitch bend effec. You can azo push the lever forward to auddexpresive modulation effecs, suchas vibrato or tremolo, while you ply po STEM BS ae ~~ BENDER - oC Rae ‘The volume and tone of the sound can be changed by moving this sider up and down while playing the keyboard, The functions of the slider difer depending on the setings. ‘This is used to change the tonal quality of the sound; it adjusts the brightness and clarity. The higher the lever is moved the more pronounced the effect becomes. Further expressive conti is evalablo witha podal svitch (FS-1 or DP-2) or expression pedel (EV-5 or EV-10), By connecting a pedal switch tothe HOLD jack on the rear panel, you can have the sound susiain even aftr you rolease the keys. By connecting an expression pedel to one ofthe pedal jacks, ‘You can use the poda to change the volume or the tone of he sound. you can also change varlous aspects of the sound in realtime by using the eight parameter sliders, see the Play Section (P.34, 67) for more details. 84.PLAYING THE JV.20 M Switches CHORUS REVERB [TRANSPOSE By using the buttons on the top left side of the front panel, you can convenieatly tum on and off the intemal stereo effects (chorus and reverb) andthe intemal transpose function. 4 c= {_—~ ‘This button tums the chorus effect on and off, ‘This button tums the reverb effect on and off. ‘This button is sed to tur the transpose function, set inthe transpose parameter (P.73) of the system ‘common parameters, on and off. There is no pitch transposition When the system common teanspose. parameter is set 100. 19Oe GENERAL OVERVIEWMODES ‘The sound programs of the JV-80 Performance Synthesizer can be called up and played in two different ways, One is by using a Patch, ‘Which is the basic sound program of the instrument, and the other is by using a Performance, which isa comt ‘and one Rhythm Set. Different modes are available depending on which sound program (Patch or Performance) is selected, ton of seven Patches Patch Play mode +++ (P.30) This mode plays sounds by calling up one Patch at a time. By using the eight sliders ‘or an optional foot pedal, you can make various realtime changes in the sound and volume and even change sound programs as you play. This mode lets you operate the JV-80 as you would a conventional synthesizer. Performance Play mode -- feeteeeereeeees (PSM) Since a Performance can combine up to eight different Patches, much thicker and richly textured sound programs can be created. Performances can also be used to create ensemble sounds by using different Patches to play different parts. This ‘mode also lets you add dynamic changes and movement to your music by changing the volume and pan settings for each Patch as they are played. Patch Edit mode ------- see (P.78) This mode Is used to access the synthesizer sound creation features of the instrument. In this mode, you can change the various elements which determine the character of the sound programs and create new Patches. Performance Edit mode ------ (P.115) By combining seven Patches and one Rhythm Set as component parts of a sound, this mode lets you set the overall sound or effect that you wish to create. In this ‘mode, the JV-60 can adapt to a wide range of applications. It can be used as a keyboard for live performance, in which you can make dynamic changes to the sound as you play by key velocity or by using connected pedals. It can also be set up as an all-purpose muttiple sound source for desktop music and home studio applications. Rhythm Edit mode <+++s+eeseesesestseeeeseeneeeeeeee + (P.139) This mode changes the settings of the Rhythm Set that is assigned to a Performance. A Rhythm Set is a group of individual Rhythm Tones, which are assigned to each key of the Keyboard, This mode also allows you to set various parameters that control and change the sound of each Rhythm Tone. 3 In addition to the modes mentioned above, there is a Write Mode (P.154) which allows you to store and organize your original sound program data,2. TWO TYPES OF SOUND UNIT: (PATCHES AND PERFORMANCES) Patches and Tones "ek ae 'A Patch is the individual sound program unit of the JV-80. Patches themselves are made vp of Tones. is possible to create a Patch by using only a single Tone; however, sounds of remarkable ‘complexity and clarity can be created by using up to four Tones in a Patch. Doing this, however, limits the maximum aumber of voices (notes) that can sound simultaneously, since several voices are used to create a single Patch. The Tone processes the basic waveforms and forms a part of the Patch. ‘The structure ofthe Tone is shown below. ‘Sound Outout @ WG (Wave Generator) ---+-+++ ‘This calls up the waveforms stored in intemat memory, optional PCM cards or expansion boards, and generates the waveform to be used as the basic sonic building block. It also controls the pitch of the wavefoam atthe same time. Since itis the basic sound unit, itis erucal in determining the fundamental characteristics of the final sound, @ IVF (Time Variant Filter) ----eeevooss see sesso hiss used to shape the tonal uae ofthe sound by procesing the orginal waveform generated by the Wave Generator. It determines the timbre of the sound by cutting or boosting the frequency element tht male up the original waveform. @ TVA (Time Variant Amplifier) «+ ‘This controls the volume af the sound. @ ENV (Envelope Generator) . This applies changes in pith, Fegueney or volume when vsed withthe WO, TVF and TVA, respectively @LFO...-.-- - Tas epi a pid an eulccunein pc, fee orYlome wen wed with he WG, TVE and TVA, respectively It és expression to the sound through various vibrato-like effects, 38 Patch parameters include the following: the parameters which set the effects for use while Patches are played, the parameters, such as bend range, commonly applied to the Tone contained in the Patch, and the parameters that set the operations of ‘each aspect of the Tone and determine the character of the Tone. ———— 2B2TWO TYPES OF SOUND UNITS (PATCHES AND PERFORMANCES) i Performances and Patches? By using upto seven Patches (the individual sound programs of the JV-80), andthe sound progrem set for percussion (Rhythm Set), an ensemble of sounds can be created. The group containing these Ptches and the Rhythm Set is called a Performance, Bach Performance is divided into separate sections, called Parts, and Patches are assigned to Parts 1—7, with the Rhythm Set assigned to Part 8. By changing the volume balance andthe relative pitch among the pars, the total sound of the Performance can be adjusted ‘The JV-80 has what ae calle “internal zones" and “transmit Zones" between the Patches and the internal device (the controllers ofthe JV-80). The internal zone processes the play data from the intemal device and sends them to the Patch. The transmit zone proccesses the play data ftom the intemal device and sends them through the MIDI OUT terminal. In this way, the eight Pers end instruments controlled over the MIDI channels can be played independently. Performan Internal Zone Transmit Zone Play date ‘Sounding MIDI OUT. Internal Zone Fyn Set Transmit Zone 3 The parameters for setting the Parts of the Performance and determining how the sound source responds to the controllers of the JV-60, are called the Performance parameters.3. SOUND SOURCE AND CO! ‘The JV-80 has « built-in sound source that provides the sonic “building blocks” forthe sound. The keyboard and other various controllers (such as the sliders and pedals), are used 10 control the sound source, resulting in the final sound output. The sound source and the controllers of the JV-80 are shown in the illustration below. = = as Bendor/ Modulation lever jov-s0 Pedal ewitch fees Other MIDI devices (sound sources) 1 slider ti yo Parameter sliders i i i i i i i i i i i i | expression ped ! i i i i i i i i i i i i i i @ Keyboard 6 z EEE “This i used to pay the sounds. It also lets you comtinuovsly change the varius elements ofthe sound according te how haré you ske a Key (velocity) and how strongly you press down on a key after it has been pressed (aftetouch, Effects such as vibrato and pitch bend canbe obtained depending onthe sestings @ Bender/ Modulation Lever * > es eae ‘ ‘The pitch alone can he changed by moving the lever laterally (tothe right and left) Presting the lever forward lets you continuously change various aspects of the sound. Generally, this is used to apply effects such as vibra3.SOUND SOURCE AND CONTROLLERS ‘Volume, modulation and other parameters can be assigned to pedal control, via the PEDAL 1 and 2 jacks, The JV-80 also has a special jak for controlling the hold (sustain) function. 3 Either exprossion pedals (Oplionat: EV-S, EV-10) or pedal ewitches (Optional: FS-1, DP-2) can be connected o pedal jacks 1 and 2. This slider ean be used to control the came functions as the foot pedal, and can change the tonal uatity ofthe sound. ‘These are used to adjust various elements of the sound in realtime, You can determine or assign beforehand the parameters you wish to control dusing performance. The parameters which are controlled by the Parameter Sliders differ from those controlled by the foot pedals and the C1 slider. ‘The Parameter Sliders can also be used to set the parameters when creating of programming sounds. [ec BIeT Sa oe ian ORT RNERES ‘These ate used fo tum parameters on and off while playing, or to change the sound programs or ‘odes. cE By connecting the JV-80 to other snsia!jneruments that ae MIDI-omeatibe, you cn play and conl thse instrument fom the JV-80, or use a connected MIDI device play and contol the sound source of the JV-80, The contol dua ofthe keyboard, benderimoduisitn ever and fot pedals canbe tansnited through MIDI4. ORGANIZATION OF THE SOUND SOURCE This section describes the organization of the sound source, so that you can best understand how to use the sound creation and performance functions of the JV-80. Mi Internal Sound Source » ‘The intemal sound source of the JV-80 consists of three sections: memory, in which sound program ‘ata is stored, a section of preset sounds, and the effects. The sound program that is selected (either from the pane! or remotely by MIDI program change) can be heard when performance (play) data is ‘received from the JV-80 itself or another device connected tothe MIDI IN terminal. The sound signals ‘are output through the output terminals or headphone jack after chorus/everb effects are applied in the effects section —+—-—-—Internal Sound Source... _. fi | mee i cme i ees e 1 | (perenne Peromenee | | | i 16 16 ' Patches ! | ee : Pane Paces : i e ce 1 | [mes 1 | [re Tovim Se] | | i i | Le I eee } ae | ‘hon Performance 28 wees sound ea ay)” Date Oa ot patemaee_| et 6 eae L evonoy i teh and Bryn Eee [ 18A.ORGANIZATION OF THE SOUND SOURCE the following memory types. User Memory “The intemal memory and DATA card (optional) are memory areas that can be used to store eriginal sound programa data, Bach ofthe memory areas can store 16 Performances, 64 Patches and | Rhythm Set Preset AB Each of the preset areas A and B contain 16 Perfonmances, 64 Patches and 1 Rhythm Set, The Performance data and the Patch data stored in Preset A/B canaot be overwritten; however, you ean use these sound programs as basic material for editing and then store the newly created sounds in User memory ‘@ Temporary Area ‘This area is used to temporely store the sound program deta. Performance data and Patch data are read in from User memory of Preset A/B by panel button operations or MIDI messages. (You can think of the temporary area as place where a copy of the data is kept The intemal sound source sounds according to the data inthe temporary area. Since any adjusiments and editing ofthe dat is Let canter Right The display selected by [A] (3 pages) --++++0+00+ PINEEE Ory Level Range: 0—127 ‘This determines the level of the unprocessed (dry) sound (the signal to which no effect has been applied), PATCH Til FRRMEMSEM Chorus Send Level Range: 0—127 ‘This determines the level of the signal 1 be sent to the chorus processor. PATCH JY Strings: Chorus Send Tit # 161 a5 isa 18a) uy bs GEMGOESued Reverb Send Leve! Range: 0—127 ‘This determines the level of the signal to be sent tothe reverb processor. 4 Reverb Send 1ea! et a Pca) see ee Reverb onus sed Sv Chorus J 3K When using the chorus or reverb efecs, press [CHORUS Jor [EVER Jon the panel betorehand inorder to turn on the appropriate etfet ‘Output 3940 L.PLAYING PATCHES ‘The display selected by [W](1 page) --- Pan Key Follow Maancggalag Settings : - 100/ -70/ ~50/ - 40/ ~30/ ~20/ — 10/0/+10/420/+30/+40/+501470/+100 ‘This determines changes in the stereo image position ofthe sound according to the key range played. With the C4 key a8 a standard of reference, when the value is positive (+), higher keys played sound to the right of center. When the value is negative (— ), lower keys played sound to the right of center. The farther the value is set from 0, the further the sound is placed toward the extreme pan positions. PATCH fJU Strings Pan Kew Follow 1 o Gl +iea! “~1s0i 4 Lett : Key numberCOARSE TUNE] 85° Coarse Tune Ran ‘PLAYING PATCHES [COARSE TUNE, WOCHOS: ‘This determines the pitch of the sound in semitone units. The greater the value, the higher the pitch The display selected by a (3 pages) --- MEMO Pitch Envelope Depth Range: ~ 12—+12 This determines the overall depth of the pitch envelope. \when the value is positive (4), the greater the depth of the envelope and the higher the pitch. When the value is negative (~ ), the greater the depth of the envelope and the lower the pitch. The farther the vale is set from 0, the {greater the pitch change becomes for both positive and negative values Pitch Envelorg! al sizt = UMMM Pitch LFOT Depth Range: - 63—+63 ERENT Pitch LFO2 Depth Range: - 63—+63 In these 1wo pages, these parameters de the depth of LFOs 1 and 2 that are applied to the piteh of each Tone. ‘The greater the value, the greater the variation in pitch. Seting the parameter to either postive or negative values reverses the direction of the pitch change. PATCH @JU Strings ii a Br PATCH @JU Strings Tit a or a‘LPLAYING PATCHES: (COARSE TUNE The display selected by [¥](1 page) ------ EE Pitch Key Follow ‘Settings: — 100 ~70/ ~50/ ~ 30/ - 10/0/+10/+20/430/+40/+50/+70/+1 0/+120/+180/+200 ‘This determines how the pitch of each Tone changes in response to the key range played. With the CA key as a standard of reference, when the value is postive (+), the higher the key played, the higher th pitch, When the value is negative (— ), the lower the key played, the higher the pitch. The farther the value is set from O, the greater the change (increase or decrease) becomes for both postive and negative values. 92 Pitch Key Follo. i tigate) "OH BE key" number 2PLAYING PATCHES FINE TUNE Fine Tune Range: - 50— +50 ‘This determines the fine pitch setting of each Tone, adjustable in units of 1/100 of a semitone. When this is se to a positive value (+), the greater the value, the higher the pitch. When negative (— ), the greater the value, the lower the piteh Fi I CH ap i The display selected by Random Pitch Setngs: 05/0720/901415070/o07200/s00400!800/601800200 This detemins the ange over which he pitch of eich Tne is anol shied up note on (ve ine he is piyed) The ineemens se 1/100 ofa semitone. AI eng of 100 te pc is shied endo ap oF down) within a senor ng. PATCH (JU Strings ¢ Random Pitch Tid 4 e 5 fc 38 re 7 Random . pitch . ha pitch set fom the Coarse Tune” Fire Tune parameters The pitch shits randomly for sach nove on, within the specified citch range 4“PLAYING PATCHES. CUTOFF The disp CME VF Cutoff Range: 0—127 ‘This determines the cutoff frequency of the TVF of each Tone. The greater the value, the higher the cutoff frequency. PATCH fJU Strings: Cutete Til + t ie Eo 166] lay selected by [A](4 pages) -+++++seseeeeeeseeseeeeeeseeeteeeeeeeeee ERTS TVF Envelope Depth Range: ~ 63—+63 ‘This determines the overall depth of the TVF envelope of each Tone. When the value is positive (4), the greater the depth ofthe envelope, the higher the cutoff frequency. ‘When the vale is negative (— , the greater the depth of the envelope, the lower the cutoff frequency. The farther the value is st from 0, the greater the effect becomes for bth postive and negative values CH #JU Strings + TUF _Envelore| + 4541 at #iel =56 EATEN ACEI TVF Velocity Envelope Level Sensitivity Range: - 63—+63 ‘This determines how the TVF envelope of each Tone responds overall to Key velocity. When the valve is positive (GH, the stronger the velocity, the higher the cutoff frequency. When the value is negative ( ~ ), the stronger the velocity, the lower the cutoff frequency. ‘The farther the value is set from 0, the grater the effect becomes for both positive and negative values. PATCH #5 Strings ¢TUF-Enu Uelo Sense] it a at a1 i at cf1 PLAYING PATCHES TVF LFOt Depth Range: - 63—+63 TVF LFO2 Depth Range: - 63—+63 In these two pages, these parameters determine the depth of LFOs 1 and 2 that are applied fo the TVF evtoft frequency. The greater the valu, the greater the variation in the cuff Frequency. Setting the parameter to either positive o negative values reverses the direction of the cutoff frequency change “JU Strin : TUF LEG 1 Berth # ay el St - PATCH [JY Strings ¢ TUF LEQ 2 Deeth vad 4 al BI ae31 més The display selected by [¥](2 pages) Filter Type. Settings: OFF/LPF/IMPF ‘his determines the type of TVF for each Tone. The LPF (low pas filter) setng allows the low elements of the frequency to pass untiered, The HPF (high pas fier setng allows the high elements ofthe frequency 0 pass unfiltered, The filter doe nat funetion when sto OFF PATCH TL LPF ay HPF ry Ccurott freausney Cutott treauoncy Cutoff Key Follow Settings : ~ 100/ -70/ —50) ~ 30/ ~ 10/0/+10/+20/+30/+40/+50/+70/+100/+120/+150/+200 “his detemines how the TVF cutof frequency of each Tone changes in response tothe key range played. With the (C4 key asa standard of reference, when the value is postive (4), the bigher he Key played, the higher the cutoff frequency. When the value is negative (~ the lower the Key played, the higher the cutoff frequency. The fanher the value is set from 0, the greater the change (inerease or decrease) of the cutoff frequency becomes for both positive and negative values 4s46 {.PLAYING PATCHES [RESONANCE RESONANCE TVF Resonance Range:0—127 ‘This deteaines the strength of the resonance effect applied to the TVF of each Tone. The grester the value, the stronger the resonance effect. PATCH BJU Strin’ Resonance Ti # al at rail a The display selected by [¥](1 page) «+--+ GEERMEMET EY Fesonance Mode Settings: HARD/SOFT ‘This switches between strong and moderate resonance. The resonance effect becomes stronger when set to HARD, and becomes less pronounced when set to SOFT. : Resonance Mode! SOFTI HARDT "SOFTPLAYING PATCHES. (TAG (RELEASE) The parameters called up by the [ATTACK ]/[RELEASE |buttons 2600". By using these two buttons, the parameters related to the envelopes of both the TVF and TVA of each Tone are called up. The parameters are the same, but the first page and the order of the pages differs between the TVF parameters and TVA parameters (see illustration below). TVF = Env Key Follow TVF ~ Env Key Follow TVF Envelope T4 TVF Envelope T1 TVF Envelope L3 TVF Envelope T2 TVF Envelope T2 TVF Envelope L3 Tl] sve envelope Tt GI] tye Envelope Ta [ATTACK] ——> TVA Envelope T1 IRELEASE|— TVA Envelope T4 py| TVA Envetone 72 Fe | TWA Ervsione £3 TVA Envelope L3 TVA Envelope T2 TVA Envelope T4 TVA Envelope Ti TVA~Env Key Follow TVA~ Env Key Follow In the following five display pages, the change of the cutoff frequency over time (TVF envelope) can be controlled. Cutott frequency la f L i Time Key 00 key ett BETES ERAN TVF Envelope Ti Range: 0—127 ‘This determines T1 of the TVF envelope. The greater the valu, the longer the time of TL, allowing you to make the sound gradually become brighter as it decays CH @3U Strings + Tit & ir a1.PLAYING PATCHES. ERTMEMO EME TVF Envelope T2 Range: 0—127 ‘This determines T2 of the TVF envelope. The greater the value, the longer the time of T2, allowing you to make the timbce ofthe sound gradually become softer as it decays PATCH JU Strings ¢ TUF Enyelore T2| Tid # S51 201 351 | ERTS ME TVF Envelope L3 Range: 0—127 ‘This determines L3 of the TVF envelope, The greater the value, the brighter the sustained portion ofthe sound, PATCH JU Strinas : TUF Enyelore L: Tit Bar 3 etait 41 5 ERTSNECMEN 7VF Envelope T4 Range: 0—127 ‘This determines T4 of the TVF envelope, The greater the value, the longer the time of T4, allowing you to make the ‘imbee of the sound change gradually after the key is released, PATCH #30 Strings + TUF Enyelore Ta! Tit * 181 251 251 30 TVE Envelope Time Key Follow ‘Settings: ~ 100/ ~70/ ~50/ —40/ ~30/ ~ 20/ ~ 10/0/+104+20/+30/+40/+50/+70/+100 This determines how the TVF envelope changes in response to the key range played. With the C4 Key asa standard of refemee, when the value is postive (4), the higher the key played, the shorter the overall time of the envelope, and the less time it takes to reach successive level values within the envelope. When the value is negative (— ) the lower the key played, the shorter the overall time ofthe envelope, andthe less time it takes to reach successive level values within the envelope. PATCH BJU Strings :TUF-Env Key Follow ii ¥ +58 4261 BT “25 81.PLAYING PATCHES: (ATTACK) ELEN] In the following five display pages, the change of the sound level over time (TVA envelope) can be controlled. ERZNEMOMRN 7VA Envelope T1 Range: 0—127 ‘This determines TH of the TVA envelope, The greater the value, the longer the time of TI, allowing you to make the sound star slowly. CH #TU Strings = | TUA Envelore TL a SI 51 261 6a ERZNEMIEREA TVA Envelope T2 Range: 0—127 the sound slower. TCH @3U Steings ¢ TUA Envelope 72] Ti + 181 201 451 10 BAUME ONE TVA Envelope 13 Range: 0—127 “This determines L3 of the TVA envelope. The greater the value, the higher the level of sound, PATCH #3 Strings ¢ TUM Envelore L3| Ti # 18a 8s as 6) ‘This determines T2 of the TVA envelope. The greater the value, the longer the time of T2, which makes the decay of the sustained portion of the ERZNEMEUT ORES TVA Envelope T4 Range: 0—127 sounds linger on afte the key is released PAT Tih cH @JU Strings 7_ TUR Envelore T4 2 151 sal sor 6a This determines T4 of the TVA envelope. The greater the value, the longer the time of T4, allowing you to have 0PLAYING PATCHES (AUTACK]) [RELEASE] Sa AZM Aa TVA Envelope Time Key Follow ‘Settings : ~100/ ~70) ~80/ — 40/ —-30/ ~20y — 10/0/+10/+20/+30/+40/+50/+70/+100 ‘This determines how the TVA envelope changes in response tothe key range played. When the value is positive (4), the higher the key played, the shorter the overall time of the envelope, and the less time it takes to reach successive level values within the envelope. When the value is negative (~ ), the lower the key played, the shorter the overall time of the envelope, andthe fess time it takes to each successive level values within the envetope. PATCH #JU Strings Til i +581 -Eny Kew Follou| i ‘ai -24)2. PLAYING A PERFORMANCE Wi What is the Performance Play mode? ;2)/* ‘When you play the JV-80 in the Performance Play mode, the performance deta controls the Patches through the intemal zone, and extemal MIDI data is controlled through the transmit zone. ‘The intemal device (the controllers of the JV-80), such as the Keyboard, controls the Patches assigned to each Part {or the intemal sound soutee, and also serves as 2 master keyboard which controls play data over eight MIDI channels through the transmit zone for the external device (MIDI). You cen also change the sound of Patches assigned to the Parts according fo how you play. Do this by setting the parameters of the Pats and intemaltransmit zones, matching tothe song and performance condition. Since data which is called up tothe temporary memory ares is used when a Performance ie selected, the original Performance in the intemal memory or DATA card will be retained, The data being used in the ‘emporaty area can be stored as a new Performance in the user memory. (See Command Section, Write Mode.) Preset A Preset Bhar Pessing sho dite of inena fe, Operation DATA card Wiring he oto phew fe france Effects ecu reves Play data + 14¢ ourrur > Mio OUT pheseertonl-» fren 2o poate SI2PLAYING A PERFORMANCE, li Parameters Available for Realtime Control The parameters which can be controlled while you are playing in the Performance Play mode are roughly divided into three categories. ‘These are parameters which are related tothe overall sound, suck as the volume and the fixed stereo positon of the Pat. They are not parameters ofthe Patch itself, but are parameters of e Part that apply relative changes to settings such as level, pan and pitch, which are already set forthe Patch, By controlling the Volume for each Pat, you can ax the sounds just as you would with an eighchannel mixer. It is possible to adjust the dynamic balance of the sounds by increasing the level ofthe Pact which plays the melody or shyt, for example. You can also finely adjust the relative levels ofall the Parts to create a well-balanced ensemble sound. The function can also be used for fading Parts in and out or for muting them. ‘The sound image moves left and right when the Pan function is operated, This is particularly effective for lead lines, ‘or in creating a sense of space by sweeping effect sounds to the left and right. ‘Assign the placement Ae @ NO level and tho pan e OR ‘There are two pilteh-related functions. One changes the pitch in units of a semitone (Coarse Tune) and the other changes the tuning or to adjust the pitch of the selected Patch relative tothe other Pans. They can be also used 10 create a chorus in nits of 1/100 of a semitone (Fine Tune). These can be used to temporarily change ihe effect by changing the pitch continuously, or to make special effect sounds. You can even use this instead of the pitch bender, by adjusting the Fine Tune control as you play. Roturing Patches to Koop them all at the Making one Patch sound at different pitches X 7 Se \We suggest that you use the above mathed to change the pitch ofthe sound, instead of ueing the transpose function hich will be explained lat In situations whon you have to change the overall ich ofthe JV.80 to match the tuning of other instruments, st te Tune parameter of the system common parameters. 32