Contents

Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Synthesizer 2 (Performance Functions) 27

Changing the Keyboard Settings. . . . . . . . . . . . . . . . . . . . . 27
Overview 7 Changing the Pitch in One-octave Steps

Overview
(OCTAVE [DOWN] [UP] Button). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Overview of the JUNO-Gi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Transposing the Pitch in Semitone Steps ([TRANSPOSE] Button) . . . . 27
About the Synthesizer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Adjusting the Keyboard Touch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Live Sets and Tones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Changing the Temperament to an Arabian or Other Scale
About the Digital Recorder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 (Scale Tune). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Tracks and V-tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Selecting Sounds
Rhythm Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Controlling Your Performance. . . . . . . . . . . . . . . . . . . . . . . . 28
Insert Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 D Beam Controller. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
About the Recorder Tempo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 D Beam Controller Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
About the USB Memory Song Player. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 [S1] [S2] buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
SD Cards and USB Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Pitch Bend/Modulation Lever. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
[SOUND MODIFY] Knob. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Panel Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Modifying the Tonal Character

Perform. Functions
Front Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 ([CUTOFF]/[RESONANCE] Knobs). . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Rear Panel Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Adding Reverberation ([REVERB] Knob) . . . . . . . . . . . . . . . . . . . . 29
Adjusting the Level of the Low, Middle and High Frequency
About Batteries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Ranges (EQ [LOW]/[MID]/[HIGH] Knobs). . . . . . . . . . . . . . . . . . . . 29

Synthesizer
Installing Batteries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Using Pedals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
When to Replace the Batteries (BATTERY Indicator). . . . . . . . . 14 Holding Notes (HOLD Pedal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Removing Batteries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Adding Expression to Your Performance (CONTROL Pedal) . 30

Editing/Effects
CONTROL Pedal Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
About SD Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Performing with a Microphone (Vocoder) . . . . . . . . . . . . . . . . . . . . . . . . 30
Removing an SD card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Using the Vocoder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Changing the Vocoder Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Turning the Power On . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Using the Chord Memory Function. . . . . . . . . . . . . . . . . . . 31
About the Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 About the Chord Memory Function. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Other Settings
Adjusting the Display Contrast ([LCD CONTRAST] Knob). . . . . . . . . . 17 Performing with the Chord Memory Function. . . . . . . . . . . . . . . . . . . . 31
Turning the Display Backlight On/Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Chord Memory Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Basic Operation of the JUNO-Gi. . . . . . . . . . . . . . . . . . . . . . 18 Playing Arpeggios (ARPEGGIO) . . . . . . . . . . . . . . . . . . . . . . 32
About the Function Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 About Arpeggio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
The [SHIFT] Button Functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Playing by Using Arpeggios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Editing a Value. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Turning Arpeggio On and Off. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Rec/Play/Edit
Moving the Cursor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Holding an Arpeggio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Changing a Value. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Determining the Tempo for Arpeggio Performances. . . . . . . . 32
Entering a Value ([NUMERIC] Button) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Arpeggio Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
The [MENU] Button Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Saving Arpeggio Settings (WRITE) . . . . . . . . . . . . . . . . . . . . . . . . . 33
Assigning a Name. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Importing SMF on Your Computer to an Arpeggio Style . . . . . . . . . . 33

Listening to the Demo Song . . . . . . . . . . . . . . . . . . . . . . . . .

Digital Recorder
20
Synthesizer 3 (Editing/Effects) 34

Effects
Synthesizer 1 (Selecting Sounds) 22
Editing a Live Set (LIVE SET EDIT). . . . . . . . . . . . . . . . . . . . . 34
Basic Operations in the LIVE SET EDIT Screen. . . . . . . . . . . . . . . . . . . . . 34
Selecting Live Sets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Initializing a Live Set. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
About the LIVE SET PLAY Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Copying/Exchanging Layers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Rhythm Pattern

Selecting Live Sets from the List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Using the VALUE Dial to Select a Live Set. . . . . . . . . . . . . . . . . . . . . . . . . 23 Saving a Live Set (WRITE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Selecting Live Sets by Number ([NUMERIC] Button) . . . . . . . . . . . . . . 23
Selecting Special Live Sets ([SPECIAL LIVE SET] Button) . . . . . . . . . . . 23 LIVE SET EDIT Parameter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Auditioning a Live Set ([PREVIEW] Button) . . . . . . . . . . . . . . . . . . . . . . . 23 LIVE SET EDIT 1 Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
[1] (TONE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Registering and Calling Up Favorite Live Sets . [2] (LV&PAN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
(FAVORITE). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 [3] (PITCH) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
USB Memory
Song Player

Registering a Favorite Live Set. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 [4] (OUTPUT) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Calling Up a Favorite Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 [5] (KEYBORD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Registering, Calling Up, or Editing Favorites in a List. . . . . . . . . . . . . . 24 LIVE SET EDIT 2 Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
[1] (OFFSET) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Selecting Tones (LAYER/SPLIT) . . . . . . . . . . . . . . . . . . . . . . . 25 [2] (VIBRATO) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Selecting Tones or Rhythm Sets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 [3] (VELOCITY) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
[4] (KEY MOD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Appendix

Dividing the Keyboard into Two Areas to Play Separate [5] (RX FLTR) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Tones (SPLIT). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 LIVE SET EDIT 3 Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Changing the Tone or Volume in the LAYER/SPLIT Screen. . . . . . . . . 26 [1] (COMMON) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Changing the Split Point. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 [2] (CONTROL) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

3

PRO EDIT Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 49: MULTI TAP DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
1. GENERAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 50: REVERSE DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
2. PITCH ENV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 51: SHUFFLE DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
3. TVF PARAMETER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 52: 3D DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
4. TVF ENVELOPE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 53: TIME CTRL DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
5. TVA PARAMETER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 54: LONG TIME CTRL DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
6. TVA ENVELOPE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 55: TAPE ECHO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
7. LFO1/8. LFO2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 56: LOFI NOISE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
57: LOFI COMPRESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Applying Effects (EFFECT EDIT). . . . . . . . . . . . . . . . . . . . . . . 44 58: LOFI RADIO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Turning Effects On/Off (Effect Switch). . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 59: TELEPHONE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Making Effect Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 60: PHONOGRAPH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Signal Flow and Parameters (EFFECT ROUTING) . . . . . . . . . . . . . . . . . . 45 61: PITCH SHIFTER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Multi-Effect Settings (MFX1, 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 62: 2VOICE PITCH SHIFTER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Controlling a Multi-Effect via MIDI (MFX1, 2 CTRL) . . . . . . . . . . 46 63: STEP PITCH SHIFTER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Specifying How Multi-Effects are Combined 64: REVERB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
(MFX STRUCTURE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
65: GATED REVERB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Chorus Settings (CHORUS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
66: OVERDRIVE g CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Reverb Settings (REVERB) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
67: OVERDRIVE g FLANGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
68: OVERDRIVE g DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Effects Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
69: DISTORTION g CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Multi-Effects Parameters (MFX1, 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
70: DISTORTION g FLANGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
01: EQUALIZER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
71: DISTORTION g DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
02: SPECTRUM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
72: ENHANCER g CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
03: ISOLATOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
73: ENHANCER g FLANGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
04: LOW BOOST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
74: ENHANCER g DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
05: SUPER FILTER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
75: CHORUS g DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
06: STEP FILTER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
76: FLANGER g DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
07: ENHANCER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
77: CHORUS g FLANGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
08: AUTO WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
78: SYMPATHETIC RESONANCE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
09: HUMANIZER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
79: VOCODER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
10: SPEAKER SIMULATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Chorus Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
11: PHASER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Reverb Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
12: STEP PHASER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
13: MULTI STAGE PHASER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
14: INFINITE PHASER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Synthesizer 4 (Other Settings) 78
15: RING MODULATOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
16: STEP RING MODULATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Utility (UTILITY) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
17: TREMOLO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Displaying the UTILITY MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
18: AUTO PAN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Backing Up JUNO-Gi Settings to SD Card (User Backup). . . . . . . . . . . 78
19: STEP PAN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Restoring JUNO-Gi Settings from SD Card (User Restore). . . . . . . . . . 78
20: SLICER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Returning to the Factory Settings (Factory Reset) . . . . . . . . . . . . . . . . 78
21: ROTARY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Formatting USB Memory (USB Memory Format) . . . . . . . . . . . . . . . . . 79
22: VK ROTARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Formatting SD Card (SD Card Format) . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
23: CHORUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Backing Up SD Card Data to Your Computer. . . . . . . . . . . . . . . . . . . . . . 79
24: FLANGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Restoring Backed Up Data to an SD Card. . . . . . . . . . . . . . . . . . . 79
25: STEP FLANGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
26: HEXA-CHORUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
System Settings (SYSTEM) . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Making System Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
27: TREMOLO CHORUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Saving the System Settings (WRITE). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
28: SPACE-D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
System Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
29: 3D CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
System Menu [1] (GENERAL) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
30: 3D FLANGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
System Menu [2] (KBD/CTRL) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
31: 3D STEP FLANGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
System Menu [3] (MIDI/SYNC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
32: 2 BAND CHORUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
System Menu [4] (CLICK/PLAYER) . . . . . . . . . . . . . . . . . . . . . . . . . . 83
33: 2 BAND FLANGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
System Menu [5] (D BEAM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
34: 2 BAND STEP FLANGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
System Menu [6] (INFORMATION) . . . . . . . . . . . . . . . . . . . . . . . . . . 84
35: OVERDRIVE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
36: DISTORTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
37: VS OVERDRIVE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
38: VS DISTORTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
39: GUITAR AMP SIMULATOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
40: COMPRESSOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
41: LIMITER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
42: GATE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
43: DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
44: LONG DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
45: SERIAL DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
46: MODULATION DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
47: 3TAP PAN DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
48: 4TAP PAN DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

4

Digital Recorder 1 (Recording/Playing/Editing) 8 6 igital Recorder 2 (Effects) 105

Displaying the Digital Recorder Screen. . . . . . . . . . . . . . . 86 Effects in the Recorder Section. . . . . . . . . . . . . . . . . . . . . . 105
Displaying the RECORDER Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Insert Effect Banks and Patches. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Overview
About the RECORDER Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Using Insert Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Playing a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Displaying the Recorder’s Effects Screen . . . . . . . . . . . . . . . . . . . . . . . . 106
Selecting and Playing a Song (Song Select) . . . . . . . . . . . . . . . . . . . . . . 87 Turning each Effect On/Off (SWITCH). . . . . . . . . . . . . . . . . . . . . . 106
Changing the Current Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Selecting an Insert Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Muting Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Turning the Insert Effect Algorithms On/Off. . . . . . . . . . . . . . . 106

Selecting Sounds
Adjusting the Volume of the Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Editing the Insert Effects Settings (EDIT) . . . . . . . . . . . . . . . . . . . . . . . . 107
Adjusting the Pan, Reverb, and EQ (TRACK SETTING) . . . . . . . . . . . . . 89 Saving Insert Effects Settings (WRITE). . . . . . . . . . . . . . . . . . . . . 107
Switching V-tracks (V-Track). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Changing the Location of the Insert Effects (LOCATION) . . . . . . . . . 108
Controlling the Parameters of Two Tracks Simultaneously
(Stereo Link) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Insert Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Playing Back Repeatedly (REPEAT). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Algorithm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Perform. Functions
Specifying the A–B Region. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 GUITAR Bank. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Using the A–B SETTING Screen To Specify the Repeat MIC Bank. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Region. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 LINE Bank. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
AMP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 EQUALIZER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Synthesizer
Song Production Flow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 NOISE SUPPRESSOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Creating a New Song (Create New Song) . . . . . . . . . . . . . . . . . . . . . . . . 91 FX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Connecting the Equipment to Record and Adjusting the Input OD/DS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Editing/Effects
Level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
WAH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Selecting an Instrument to Record (REC SOURCE SELECT) . . . . . . . . 93
COMPRESSOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Selecting the Sound of the Synthesizer (KEYBOARD). . . . . . . . 93
LIMITER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Selecting the Sound of the External Audio Input
(AUDIO INPUT). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 OCTAVE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 AC.PRO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Re-Recording Over a Mistake (Punch-In/Out). . . . . . . . . . . . . . . . . . . . . 95 PHASER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Other Settings
Manual Punch-In/Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 FLANGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Auto Punch-In/Out. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 TREMOLO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Repeatedly Recording the Same Region (Loop Recording). . 96 ROTARY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Canceling a Recording/Editing (Undo/Redo) . . . . . . . . . . . . . . . . . . . . . 96 UNI-V. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Reverting to the Previous State (Undo). . . . . . . . . . . . . . . . . . . . . 96 PAN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Canceling the Undo (Redo). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
CHORUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Rec/Play/Edit
Putting Multiple Tracks Together (BOUNCE Mode). . . . . 97 REVERB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Bounce-Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 COMPRESSOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Listening the Result of the Bounce-Recording. . . . . . . . . . . . . . . . . . . . 97 ENHANCER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
LIMITER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Selecting the RECORDER MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Using Reverb Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
SONG EDIT Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Selecting the Reverb Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Digital Recorder
Adjusting the Reverb Depth for the Tracks, Rhythm, and
TRACK EDIT Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Effects
External Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
TRACK EDIT Menu (Editing a Track) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Reverb Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Track Copy (Copying Data) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Track Move (Moving Data). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Mastering (MASTERING Mode). . . . . . . . . . . . . . . . . . . . . . 118
Track Erase (Erasing Data). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Mastering Procedure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Track Exchange (Exchanging Data). . . . . . . . . . . . . . . . . . . . . . . . 100 Editing the Mastering Tool Kit Settings (EDIT) . . . . . . . . . . . . . . . . . . . 119
Rhythm Pattern

Track Import (Importing an Audio File). . . . . . . . . . . . . . . . . . . . 101 Saving the Mastering Tool Kit Settings (WRITE). . . . . . . . . . . . 119
Track Export (Exporting Track Data to an Audio File). . . . . . . 102
SONG EDIT Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Mastering Tool Kit Parameters. . . . . . . . . . . . . . . . . . . . . . . 120
Song Select. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Algorithm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Create New Song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 INPUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 3BAND COMP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Song Name Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 MIXER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
USB Memory
Song Player

Song Remove. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 LIMITER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Song Copy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 OUTPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Song Protect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Song Optimize (Saving space on the SD card) . . . . . . . . . . . . . 104
Saving the Current Settings to the Song (Song Write). . . . . . . . . . . . 104
Appendix

5

. . .. . .. .. .. .. . . . . .. . .. . . . . . .. . .. . . . . .. . . . . .Implementation.to. . . 123 What is V-LINK? . . .. .. . . . . . . . . . . . .... . .. .a.. . . . . . . . . . . . . . . . . . . . .a. . .. . .EDIT). .. . . .. . . . . . .. . . . . .. .Keyboard. . . . . . . 122 Using the JUNO-Gi as a Master Keyboard (MIDI Controller Mode) 133 Switching between Pattern Mode and Arrangement Mode 122 Specifying the Transmit Channel . . . . . . . . . . . . . . . . .. . . . . 135 DELETE STEP ..Message. . . . . . . . . . .. . . .. . . . . . . . ... . . . ... . ... . .. . . . 123 Switching Patterns . 148) .. . . .. . . . . . . 128 Song files that can be played . .. . .. .. 128 Playing Along with an Song File from USB Memory . .. . . . . .via. .... . . .. ... . . . in order to feel assured that you have gained a good grasp of every feature provided by your new unit.an. .. . . Pattern.. . . . . . .. . . . . 133 Displaying the RHYTHM PATTERN screen . .. .. . . .. .Pattern. . . . . . . .. .. . . .. . . . . .. ... . . . 128 Adjusting the Volume of the Song Player .. . . . . . Additionally. 124 Error.SMF. . . . . 123 Turning the V-LINK ON/OFF . .... . . . . . . . . 147) and “IMPORTANT NOTES” (p . . . . . . . . . . . .. .. . . . . 144 Entering Notes . . . . . . . . . . . . . . . . . . .. .. . . . . . . . . . . .. . . . .. . . . . . . . 134 Setting the Receive Channel . . .. . . . . .. and EQ of the Rhythm Pattern . . . . . . . . . .Your. . 122 Detailed Settings in MIDI Controller Mode . . 129 Detailed Settings for Minus-One . 130 Before using this unit. . . . . . .. .. .the. . . . 123 V-LINK Settings . . . . .. . . . . . . . .. . . . .. . . . .Create. . .. . . . ... . . .. . . . .. . .. . . 128 Copying Song Files from Your Computer to Usb Memory .. . . .. ... . . . . .. . . . ... . . . .. . . 123 Using. . . . .. 134 Displaying the ARRANGE EDIT screen .. ... . . .. . .the. . ... . . . . . .. . .. . . . . . . .. ....MIDI. .. . ... . .. ... . . . . . .. . . . .. . . . . .EDIT). . . . . . . .. 124 Specifi.. . . . 122 About MIDI Connectors . ... . .. . 125 Deleting a Note . . . . .Pattern. . .USB.. .. . . . . .. . . . . ... .. . . . . .. . . .. 133 Selecting Drum Sounds (Rhythm Set) .. . . . . . . . . . . . .Your.. . . .. . .. .. . .. .. . . . .. . . . . . ... . 133 Selecting a Pattern . . . . ..Included. 124 Displaying the PATTERN EDIT screen . ..... . . . . . . . ... 129 Detailed Settings for Center Cancel . . . . . . . .. .. .. . ... . .. . . . . . . . . .. . .. . . . ..(PATTERN. 132 About Patterns and Arrangements . . . .. . . . . 121 Connecting. .. 133 Setting the Recorder Tempo . . . . . . ... . . .. . . . . . . .. ..... . ... . . . . . . . Setting the Program Change Receive Switch . . . . . . ...USB.. . . . . .. carefully read the sections entitled: “USING THE UNIT SAFELY” (p .. . . ...to.. . . . .. .. ... . . . .. . . . . . . . .. .. . . . . . .. and Velocity) . . . . .. . . . . . . . .Memory. .. . . . .. .Patterns. . . . . . .... . . . . . . . .. . . . . .... . . . 134 (ARRANGE. .. . . . . . .. . . .. . . . . . .. . . .. . . . . . . . .. . . . . . . . . . . . . . . .. .. . . . . . . . .. . . .. .Computer. .. . . . . . . . . . . . .USB. . 122 About MIDI . 124 Troubleshooting . . . .... . . . . . . . . . .. . .. . . . . . . . .. .... .. These sections provide important information concerning the proper operation of the unit . . . . .. . . . . . . . . . . . . . .. . . . .. . . . . .. . . . . . Roland and JUNO are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries . . .. ... . .. . . ... . . 124 MIDI. . 124 SCALE (Specify the Scale of the Grid) . . .. . . . . ..Memory. . . . . . . . . 121 Editing the Pan. . . .. . . 143 NOTE SETUP (Specify The Note’s Type.. . . .. . . . . . . .. . .. . . . . . . . . . . . . . . 136 Editing. . . . . . 125 USING. . .. .. .. . . . . . ... . ... . . . . . . . . .. .(V-LINK).. . . . .. .NOTES. . . . . . . . . . . . . . .... . . . . ... . . . . . . . . . .. . . .. . . . . . . . ... 134 About the ARRANGE EDIT screen . . . . . . . . . .. . . . . . . . . .. . . .. . . . . . . . . .. . . . .. . . 125 Index. ... . 6 . . . . . . ... .. . . . . . . .. . . . . .. . The manual should be saved and kept on hand as a convenient reference . . . .. .. . . .. . .. . . .. . ... . . . . .. . ..a. ... . . . .. . .List.Rhythm.. .. . . . . .. .. .. . . . .. . . . . . ..Song. . .. . . . . . . ... . . . . . . ... . . . . . . 145 WRITE (Saving a Pattern) . . . . . . ... . . . . . ... . . . . . . . .. . .. . . . .. .. .. .. . . . . . .. . . . . . .. . .THE. . .. .. . . .. .to. . . . . . .. . . . .. . .. . . . 121 Connecting the JUNO-Gi to Your Computer . . 133 About the RHYTHM PATTERN screen ... . . . . ... . .. . . . . . . . . . . . . . . . . .. . . . . . . . .. . . . .. . . .. . . . . 123 Synchronizing with an External MIDI Device . . . . . . .. . . 124 INIT (Initializing a Pattern) ...Control. . . . . . . . . 129 Center Cancel/Minus-One . . .. . . .. . No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION . .. . . . .. . . .Chart.. ... ... . . . .Computer. . . . 122 Playing the JUNO-Gi from an External MIDI Device . . ... . ... ... . . ... . .. . . .... .Device. . .. . . . . . . . . . . . . . . . . . .. .. . . . . .. . 147 Importing. .. . . . . . . . . . . . . . . .. . . . . . ... . .. . . . . . .. . . . . .UNIT. . 129 Using. . . . . ..Images... . . . . . . . . . 134 Placing. . . . .. . . . . . ... .. .. .. .. 140 SETUP (Specify the Time Signature and Length) . . .. Owner’s Manual should be read in its entirety .. . . . .. . . . ... .. . .. ...an. .. . . . . . 123 Transmitting Synchronization Data . . . Duration.on. .. . . . . . .. . .. .External. . .. . . . . .. . . . ... . . . . 135 CLEAR ALL (Clear All Steps) . . . . .. . . . 138 About the PATTERN EDIT screen . . . . . . 148 USB Memory Song Player 127 Playing. . . . . . . . . . . .. . . ... . .. . . . . ..Rhythm. . . . . .. . . .. . .. . .. . 135 WRITE (Saving the Arrangement) . . . . . . . . . . . . . . 126 IMPORTANT. . . . . . . . . .. . .. . .. . . . . . . . Copyright © 2010 ROLAND CORPORATION All rights reserved . . . . . . . . . . . . . . . .. . .. . . ... . ... . . .. . . .. .. . . .Protector. ... . . . . 121 Connecting. . .. . .. . . . . .. ..Arrangement.. . . . .to. . . . . . .. . .. .. . . . . .. . . . . . . . .. .Memory. . . . . .(IMPORT)... . .. . . ... .. . . . . . . .Digital Recorder 3 (Rhythm Pattern) 121 Appendix 131 Playing.. .. . . . . . . . . . . . . .List. . . .. . .. . . . . ..... . .cations. . . .. . . . . . . . . . . .. . . . . .. . . .. .. . . . . . .Files. . . .. . . . . . . . . . . . . . . . . .. . .. . . . . .. .. . . . 132 Turning the Rhythm Pattern On/Off . . . .. .. . . .. . .. . . . 128 Insert the USB Memory . .. . . .. . .. 135 INSERT STEP . . . . . . . . . . . 123 Chord. .. .from. . . .SAFELY.. . . Reverb. . . . ... .

Overview Selecting Sounds Perform. Functions Editing/Effects Other Settings Rec/Play/Edit Effects Rhythm Pattern USB Memory Appendix Synthesizer Digital Recorder Song Player Overview .

For details on saving.1 What’s a Live Set? Tone Tone Tone Tone On the JUNO-Gi.1 Upper. 35) . you must save it as a “User Live Set” so that it can be used again later . When you turn Split on. Lower.Recorder About the Synthesizer What is a Split? The synthesizer section lets you select sounds and play them from the A “Split” is a setting in which you can play different tones with your left keyboard . and right hands . refer to “Saving a Live Set (WRITE)” (p . What are Layers and Tones? Each Live Set has four “Layers” (Upper 1. and a “Tone” What is a Special Live Set? is assigned to each of these Layers . Live. Lower 1. Overview of the JUNO-Gi Broadly speaking.” “Digital Recorder. and then select a different live set without saving the one you created. A tone is the lowest-level unit of A “Special Live Set” is a particularly rich-sounding live set that uses sound.Memory Song. After creating a live set.” and “USB Memory Song Player .” The explanations in this manual are also organized according to these sections .Set Layer: Upper 1 Layer: Upper 2 Layer: Lower 1 Layer: Lower 2 Tone 8 . You can use the index tabs at the right edge of each page to jump to the section you want to read . the JUNO-Gi consists of three sections: “Synthesizer. and your right hand will play the tones of the upper layer .2 Upper. you can’t play a tone by itself . “Live Sets” are the units of sound that you select and use . layers to take full advantage of the JUNO-Gi’s functionality . Live.Set Saving a Live Set If you’ve created a live set. USB.Player Synthesizer Digital.2 Lower. 2. your left hand will play the tones of the lower Live Sets and Tones layer. 2). your changes will be lost .

Appendix Eff. In other words. In addition to playing a single rhythm pattern as a guide while you SD cards Rec/Play/Edit record. You can also save your completed song as an audio file arpeggio playback etc .About the Digital Recorder About the Recorder Tempo The JUNO-Gi’s digital recorder lets you record the JUNO-Gi’s The JUNO-Gi uses two types of tempo: the “keyboard tempo” and the performance and the sound of a connected guitar or microphone on “recorder tempo . Functions MP3.Patch AMP EQ Over Drive Reverb 9 . Each track consists of eight (WAV. SMF ( . Tracks and V-tracks About the USB Memory Song Player Selecting Sounds The USB Memory Song Player plays back audio files The digital recorder provides eight tracks . separately from the synthesizer’s effects) that are powerful enough to rival a standalone effects processor. AIFF. playback and recording .Pattern • Backup data for the JUNO-Gi By using a commercially available high-capacity SD/SDHC card. the structure of your song . • Data recorded by the Digital Recorder Rhythm. and the recorder tempo is the tempo of the on an SD card. 32) . An “Effect Patch” is a combination of these effects together with their settings .Memory V-Track 5 Editing/Effects V-Track 4 V-Track 3 V-Track 2 V-Track 1 1 2 3 4 5 6 7 8 Other Settings Rhythm Pattern SD Cards and USB Memory The digital recorder has eight tracks. you can use 8 x 8 = 64 tracks to record your performance. and then use your computer to create a CD from it or digital recorder (p . such as amp modeling and overdrive . Song Player What is an Effect Patch? The insert effects provide numerous effects. and choose eight of these for playback .USB.e .MID) V-Track 8 Synthesizer V-Track 7 y V-Track 6 Insert. MP3. and you can apply these effects to your guitar or USB Memory other source while you record . Data recorded by the Digital Recorder and backup data of the JUNO-Gi can’t be 1 2 3 4 5 6 7 8 saved to USB memory .to. WAV. and can also play rhythm patterns like a rhythm machine . and you can select one of these V-tracks for you’ve copied from your computer to USB memory .” The keyboard tempo is used for the synthesizer’s Overview separate tracks . you can also arrange different rhythm patterns as suitable for SD cards store the following data .ect. Rhythm Pattern Insert Effects The digital recorder provides effects (i . AIFF) or Standard MIDI Files (SMF) that virtual tracks (V-tracks). distribute it via the Internet . you’ll be able to record for extended lengths of time .USB.drive Perform. Digital Recorder USB memory Effects USB memory is used as playback media for the USB Memory Song Player . Copy..

MEMORY. 128 2 D. 135 [TRANSPOSE].button Turns the Favorite function on/off .Group.LIST]. the [0]–[9] buttons will select Favorite banks .SONG. 19 FAVORITE. in which the keyboard is divided into left and right zones that each play different Tones . p . 133 [SPLIT]. p .PLAYER. 18 screen . 24 Display Information about the current operation is shown here . When you press the button to turn this on. p .button Turns the Chord Memory function on/off .button While this button is on. p . p . 19 [PREVIEW].button Puts the JUNO-Gi in MIDI Controller mode . p . 32 [CHORD. p . p .button Change the pitch range in one-octave steps . 26 [ARPEGGIO]. [SPECIAL. [MIDI.button Access a menu . p .buttons.slot Connect your USB memory (sold separately) here . 14 10 . p .MEMORY.button Selects “Split” mode. 22 [RHYTHM/0]–[FX/OTHERS/9]. 32 4 [TEMPO]. 23 BATTERY indicator Indicates the amount of battery power remaining . p . 16 KEYBOARD.area Here you can make keyboard-related settings . The six buttons located below the display are also used to execute the function indicated at the bottom of the p . p . p .button Opens the Tempo window . Panel Descriptions Front Panel 1 2 3 4 5 6 7 8 9 10 Number Name Explanation Page Here you can play back audio files (WAV.[UP/+]. AIFF) or Standard MIDI Files (SMF) that you’ve copied from your computer USB. 17 Category. 128 [PLAY/STOP]. a setting screen will appear .[1]–[6].MEMORY]. 27 [MENU].button Opens the song list (a list of the audio/MIDI files on USB memory) . 128 [SONG.button Turns the V-LINK function on/off .button Hold down this button to audition the currently selected Live Set (or Tone) . 27 OCTAVE. p . Select the Live Set category group . p . 24 FAVORITE. 23 5 [NUMERIC]. p .button Starts/stops playback for the USB Memory Song Player . 31 [V-LINK]. p . p . p .CTRL]. 1 USB.SET].area to USB memory .[BANK]. p .button Hold down the [TRANSPOSE] button and use the [–] [+] buttons to shift the pitch range in semitone steps .[ON/OFF].button Turns the Arpeggio function on/off . MP3. the [0]–[9] buttons can be used to enter numeric values . p .[DOWN/–].LIVE.button Selects special Live Sets .buttons 6 Function.knob Adjusts the volume of the entire JUNO-Gi .button While this button is on. 28 3 [VOLUME]. p .BEAM Move your hand above the D Beam to apply various effects to the sound .

88 [MASTER] slider Adjusts the volume of the entire digital recorder. If this lights red. p. Effects [S1] [S2] buttons You can assign various parameters or functions to these buttons. 18 button. [ENTER] (LIST) button Confirms a value or executes an operation. you can access the corresponding setting screen. 18 (Cursor buttons) 7 VALUE dial Edits the value. p. This applies to both the Synthesizer section and the Digital Recorder. [RECORDER VIEW] button Accesses the Digital Recorder screen. p. 88 When unlit: Tracks 1–4 are controlled. p. 28 10 Pitch Bend/Modulation Lever Modifies the pitch or applies vibrato. 29 USB Memory Rhythm Pattern Song Player Appendix 11 . Overview [ ][ ][ ][ ] Move the cursor position up/down/left/right. Functions REC SOURCE SELECT .Number Name Explanation Page Edit the value. When lit: Tracks 5–8 are controlled. 87 Other Settings [l] (REC) button Enters recording-standby mode. p. 94 [TRACK MIXER] sliders Adjust the volume of each track. The value will change more quickly if you turn the VALUE dial while holding down [SHIFT]. In some screens. 92 the maximum level has been exceeded. [REVERB] knob Adjusts the amount of reverb for the Synthesizer section. Indicates the level of the input to the AUDIO INPUT jacks (LINE. 22 DIGITAL RECORDER area Here you can make settings for the Digital Recorder. 93 [KEYBOARD]/[AUDIO INPUT] button press the [AUDIO INPUT] button to record the sound of the external input. 96 Perform. press the [ON/OFF] button so its indicator goes out. p. p. p. 121 [1/5]–[4/8] buttons Mute each track or select the recording track. [ ] (SONG TOP) button Returns you to the beginning of the song. 87 [REPEAT] (A B) button This button is used for Repeat Playback/Recording and for Auto Punch-In. p. To turn [EQ] knobs p. p. 18 Selecting Sounds Returns you to the previous screen. p. this halts the function that’s [EXIT] button –– being executed. 87 [ ] (PLAY) button Plays the song. Selects the source for recording. 90 [n] (STOP) button Stops song playback/recording. p. p. or closes the open window. [TRACK 1–4 5–8] button p. 88 [RHYTHM PATTERN] button Turns the Rhythm Pattern on/off. p. Digital Recorder [CUTOFF] [RESONANCE] knobs Use these to make realtime changes to the sound of the Synthesizer section. SOUND MODIFY area Use these knobs to adjust the sound. Press the [KEYBOARD] button to record the JUNO-Gi’s keyboard sound. 87 8 [ ] (FAST-FORWARD) button Fast-forwards the song while you continue holding down the button. 87 Editing/Effects [ ] (REWIND) button Rewinds the song while you continue holding down the button. GUITAR/MIC) on the rear panel. p. The value will change more quickly if you press one button while holding down the other [DEC] [INC] buttons button. 88 Rec/Play/Edit Switches the set of tracks controlled by the TRACK MIXER buttons and sliders. p. 9 Adjust the three-band equalizer. p. Adjust the Synthesizer PEAK indicator [LEVEL] knob on the rear panel so that this lights in orange when the loudest volume occurs. 29 off the equalizer. p. 18 [SHIFT] button By pressing this in combination with another button. This button is also used to display a list of Live Sets or Tones. p. or p. The value will change in larger steps if you press one of these buttons while holding down the [SHIFT] p. p. 86 [UNDO/REDO] button Cancels (Undo) or re-executes (Redo) an operation of the Digital Recorder. Recording will start when you then press the [ ] button.

it to control various parameters or Adjust the knob so that the front functions . indicator lights red.damage.and/or. choose LINE OUT jacks the “PHANTOM OFF” setting . sold separately) and use knob located at the left of the jacks .devices..came. sold Connect your microphone or guitar to the GUITAR/MIC jack separately) and use it as a Hold pedal . (Phantom power is not supplied to the phone jack . 3.that.mistakenly.Rear Panel Connections The JUNO-Gi does not contain an amp or speakers . 30 Connect the equipment that you’ll be recording on the For connecting MIDI device ..turn. any. specifi. or use headphones .other.dynamic. NOTE • To prevent malfunction and/or damage to speakers or other devices.don’t.DC. • Howling could be produced depending on the location of microphones relative to speakers .such.connecting.causing.specifi.to.sold. CONTROL jack Here you can connect an expression To adjust the level.supply..only.to.power . HOLD jack Use the LINE jacks to connect your audio player or audio Here you can connect a pedal switch device .the.” Output jack of your digital audio player If you’re using a condenser microphone.cations.device. Wiring diagrams for these jacks are shown below ..instrument’s. Make connections after first checking the wiring diagrams of other equipment you intend to connect .48. as shown in the illustration . use connection cables that do not contain resistors . and turn off the power on all devices before making any connections . This can be remedied by: 1.damage. Relocating microphone(s) at a greater distance from speakers .when.playback.the. referring.phantom. If this happens.power.) If you’re using a dynamic microphone.it .or. 133 PEDAL jacks p.use.V.to. 2.sure.you.manual.risk.to. AUDIO INPUT jacks p. always turn down the volume.condenser.microphones.microphone..By.that. If you connect a guitar or bass.10.phantom.unit ..pedals.ed.the. connect it to the balanced (XLR) jack and choose the “PHANTOM ON” setting . input overload risk. (This. Changing the orientation of the microphone(s) . OUTPUT jacks of your keyboard that. set this to “GUITAR.phantom.check. 12 .you.expression.the.if.connecting. require..Be. you.audio. Lowering volume levels . has occurred .devices.(EV-5. use the [LEVEL] pedal (EV-5. Digital Recorder . (such as one from the DP series.. the volume level of equipment connected to the inputs (AUDIO INPUT jacks) may be low . 92 MIDI connectors p. • When connection cables with resistors are used.other..You.power:.than.by.Max) This instrument is equipped with balanced (XLR/TRS) type jacks . microphones. In order to produce sound.malfunction. If this separately) .expression. panel PEAK indicator lights orange * Use.pedal. of your stereo system * Always.any.power . you’ll need to connect the rear panel OUTPUT jacks to an audio device such as an amplified speaker system (subsequently referred to as “speakers”).of.phantom.with. during the loudest passages .require.mA.other.off.the.to.any.causing.intend.power.

With a USB cable. If you are unsure of the connection method. When the unit is grounded. such as guitars . contact the nearest Roland Service Center. which is absolutely harmless . or perceive that the surface feels gritty to the touch when you touch this device. remove the To prevent the inadvertent disruption of power to your screws as described in “About unit (should the plug be pulled out accidentally). Appendix Unsuitable places for connection • Water pipes (may result in shock or electrocution) • Gas pipes (may result in fire or explosion) • Telephone-line ground or lightning rod (may be dangerous in the event of lightning) 13 . • USB Memory Song Player • USB Memory Song Player’s click tone • Digital Recorder USB Memory Song S Player About Functional Ground Terminal Depending on the circumstances of a particular setup. The indicator will light card is inserted and the SD when you plug the AC adaptor into an AC outlet . If you want to replace the card. When Place the AC adaptor so the side with the indicator (see Selecting Sounds the JUNO-Gi is shipped from illustration) faces upwards and the side with textual the factory. (sold separately) here . as shown in the illustration . This is due to an infinitesimal electrical charge. microphones connected to it. 16 Digital Recorder This knob adjusts the contrast of the display . Functions the power cord using the cord hook. or the metal portions of other objects. Overview OUTPUT jacks SD card slot DC IN jack Connect your speakers here . 15) . if you are concerned about this. the included SD information faces downwards . anchor Perform. 83 Rhythm Pattern You can connect a set of headphones This jack will output one of the following audio signals . 17 USB COMPUTER connector p. avoid applying undue stress to the DC IN jack. the JUNO-Gi to your computer . Synthesizer y Editing/Effects Other Settings Rec/Play/Edit [LCD CONTRAST] knob p. connect the ground terminal (see figure) with an external ground . connect to the L/MONO jack . Insert an SD card here . as listed on the “Information” page . Effects Re PHONES jack SONG/CLICK OUT jack p. 15 Connect the included AC adaptor here . or an authorized Roland distributor. you can connect This turns the power on/off . you may experience a discomforting sensation. However. 132 [POWER] switch p. depending on the particulars of your installation . and to SD Cards” (p . card protector is fastened with screws . a slight hum may occur. To employ p. monaural output.

and further operation will not be possible . Exercise the utmost caution so that none of the discharge gets near your eyes . Note the following when using batteries • Do not use alkaline batteries or carbon-zinc batteries . 14 . you’ll be able to continue a performance even if the cord of the AC adaptor gets accidently disconnected from the unit .upside-down. indicator is blinking red.at. • We recommend that you keep batteries installed in the unit even though you’ll be powering it with the AC adaptor .controls .compartment.get.into.of. (With the factory settings. 80) lets you choose to turn off the power automatically when no operation has been performed for a certain length of time .bunch.off.to.to. (With the factory settings.orient.the.cover . • If a battery has leaked. If the batteries run down soon after being recharged. will be Indicator) approximately 3 hours (approximately 2 hours if USB memory is connected) . magazines.or.handle.corners.the.” no. please use the rechargeable Ni-MH type .approximation .you. Switch. Remove.over . • Never keep batteries together with metallic objects such as ballpoint pens.JUNO-Gi’s.controls.prevent. In addition.compartment. avoid mixing different types of batteries .remaining. • The System setting “Power Save Mode” (p .try. • Remove the batteries whenever the unit is to remain unused for an extended period of time .unit.the.compartment . and recharge the 2. • The System setting “Auto Power Off ” (p . always turn off the power on this unit and disconnect any other devices you may have connected . hairpins. etc . • Avoid using new batteries together with used ones .or.place. lift the cover up and remove it . About Batteries If you’re operating the JUNO-Gi on batteries.and. Should you prefer to use batteries..and.both.should.to. MEMO • In order to reduce battery consumption..battery. you can turn off the display backlight when it’s not required .newspapers. make sure that none of the battery discharge gets onto your hands or skin .or.damaged . Immediately rinse the affected area with running water if any of the discharge has entered the eyes . you’ll need eight rechargeable Ni-MH batteries (AA.is.unit.turning. soft drinks.four.JUNO-Gi’s. and remove the batteries as described in “Installing damage. • The use of an AC adaptor is recommended as the unit’s power consumption is relatively high .them.16) ...(p .the.cover.the. coins. 17) . batteries . it’s Indication Explanation time to replace them . use a soft piece of cloth or paper towel to wipe all remnants of the discharge from the battery compartment . Insert.red the.to.an..Also.panel .it.the. the battery lifespan will normally become shorter with each recharge cycle . and make sure you observe the correct polarity . We recommend that you replace the Red batteries .the.the. but for continuous use. etc . Then install new batteries .so. About rechargeable batteries When using rechargeable batteries. To avoid inflammation of the skin.of. Batteries . That way. * When.get.the. allowing. the backlight will Make sure to observe the correct polarity (+/– orientation) for each dim after five minutes .on. pins). switch off the JUNO-Gi’s power.the.located. The BATTERY indicator shows the state of the batteries .unit.bottom.batteries. If you continue using the JUNO-Gi when the Blinking. with sufficient battery power Installing Batteries Green remaining . necklaces. Replace.or. please read and observe the following precautions .) Removing Batteries 4.care.a. off the backlight when no operation has been performed for a certain length of time .ends.buttons. 80) lets you choose to turn 3.battery.under.turning.power.dropping. or liquids of any kind (water.fall. 1..battery.) to penetrate the unit . This way. flammable material. remove the * When.g .tip. • Do not allow any objects (e . To remove the batteries.battery. Stop use.it..upside-down.buttons.with. Batteries have run low .. • If used improperly. • When installing or replacing batteries.. Refer to “Turning the Display Backlight On/Off ” (p . Unlit Batteries are not installed . Operating on batteries. In the interest of safety. The battery When to Replace the Batteries (BATTERY life will depend on the specifications of the battery and on the conditions of use.avoid. Batteries are nearly depleted .to. battery case cover. the indication “Battery Low!” will appear.or. While pressing the tabs of the cover. • Carefully follow the installation instructions for batteries. the power will turn off after 240 minutes .indication. batteries may explode or leak and cause damage or injury .the. HR6) .) battery when inserting it . you can prevent malfunction and/or damage to speakers or other devices . * The.

your.SD. small children so that they won’t be swallowed accidentally .card. to a capacity of 32 GB . If you format the included SD card.inward . Recording. Functions (p .toward. slot. 12 hours 16. Editing/Effects Card must be • Never insert or remove a SD card while this unit’s power is on .the..yourself .card. 2. the JUNO-Gi Synthesizer won’t be able to perform recording or NOTE backup operations . 96 hours USB Memory Song Player 4.protector .GB Approx . Appendix • The above recording times are for when only one track is used .Times Recording..SD. However.SD. 15 .card. • With the Track Export function.the. 1. the data that used to be on it cannot be recovered . We recommend that you back up the data as described in “Backing Up SD Card Data to Your Computer” Perform.card.GB Approx . you’ll lose all of the demo song data that was on the card .screws . Card. Rec/Play/Edit Digital Recorder Effects SD card capacity and recording time ecorder The following table shows the total amount of recording time that is available with one SD/SDHC card (when only one track is used) . insert it as The JUNO-Gi supports SDHC/SD cards up Overview follows .GB Approx . To you must first format it as described in “Formatting SD Card remove the card protector.Times Capacity Capacity 1.reattach. Make sure to unlock • Keep the removed screws and SD card protector out of the reach of the SD card before inserting it .and. that’s included with the JUNO-Gi . 24 hours 32. SD cards usable with the JUNO-Gi When using a commercially available SD/SDHC card. Remove. Press. About SD Cards An SD card containing a demo song is inserted when the JUNO-Gi is shipped from the factory . Remove.included. 79) . The JUNO-Gi supports SDHC/SD cards up to a capacity of 32 GB .the. 192 hours NOTE • The maximum recording time (storage used) for one song is approximately 12 hours (2 GB) .insert.SD.into. Card. the SD card protector When using a commercially available SD card with the JUNO-Gi. 2. Once you format an SD card. Removing an SD card Other Settings 1. is attached by screws at the locations shown in the illustration . use a Phillips screwdriver to remove these (SD Card Format)” (p . 48 hours 2. the available time for each track will be one eighth of the time listed .pull.card.then.it. unlocked! Doing so may corrupt the unit’s data or the data on the SD card . Grasp. If the SD card is locked.GB Approx . 79) . don’t format the SD card Selecting Sounds screws . In order to record. Carefully insert the SD card all the way in-until it is firmly in place . the available recording time will be shorter than listed above . Preparing an SD card for use When the JUNO-Gi is shipped from the factory.. You’ll be able to record for longer lengths of time if you use a commercially available high-capacity SD/SDHC card . For example. a maximum of approximately 6 hours and 40 minutes worth of monaural data (approximately 3 hours and 20 minutes worth of stereo data) can be output .the.protector.card. you’ll need to unlock the SD card. you’ll be able to save a larger number of samples . • Since the 2 GB SD card included with the JUNO-Gi contains a demo song.SD.GB Approx .out.and. if you record using all eight tracks.the. • The above recording times are approximate .the. 6 hours 8. Rhythm Pattern If you use a high-capacity SD/SDHC card.GB Approx .

the.ON .all. Use.to.JUNO-Gi. 3.to.on.the.and.and/or. Turning the Power On * Once. 4.and.button.power.on. 2. 2. Turn.of.the.the.various.System.connections.way.specifi. Use. make sure to save them beforehand .order.devices.the.the..the.some.the.“OFF”.on.change. 16 .the.the.[MENU].speakers .knob.the. speakers.turn.but.to. Minimize.By. 6...button ...[6].order.dial.volume. normal.JUNO-Gi’s.the. switching. If you don’t want the power to turn off automatically.of.” 5..down.make.appropriately . Press.on.rear.the. 3. Use.your. (With the factory settings.switch.have.the.hear. * Always. turn off the “Auto Power Off ” setting as described below .to. turn off the “Auto Power Off ” setting The JUNO-Gi will automatically turn off when no operation has been performed for a certain length of time .select.cursor.to. 2..ed .in.the.other.not.off. If you want to keep the setting changes you’ve made.the. Turning the Power Off in..have.VALUE.the.12).button .button .your. . the power will turn off after 240 minutes .when. your.the. Use.Off.(WRITE).[1].indicate.and.Even. any unsaved modifications that you’ve made in the settings will be lost .the.completed.(GENERAL).setting.power.damage.setting . If you want to leave the power on at all times.. Minimize.the.power. Press.the.and..turning.Power.switch.your.the.still..on.the.before.switched.a.malfunction .risk.been.VALUE.of.save. Turn.your. 3..to.JUNO-Gi’s.the. Turn.“Auto.of.the.panel.does.press.volume.[POWER].cursor.(p .speakers .JUNO-Gi.[ENTER]. 1. 1.[ VOLUME]. On.down.turn.you. 4.select.to.turned.sound.power.then.. 1.setting .to.with.devices. may.power .dial.volume.is.you.”.the.“4 .volume.the.causing.buttons.speakers .the.and.OFF .wrong.buttons.malfunction.devices .this.speakers .sure.level.) NOTE When the power turns off.[POWER]. Press.volume.the.adjust.is.to.or.

the. Overview The characters in the display may be difficult to read immediately after 1. The display backlight will turn on . you can turn off the display backlight when it’s not required . Functions off the backlight when no operation has been performed for a certain length of time . (With the factory settings. or due to the conditions in which it’s being used .down.the.[EXIT]. The display backlight will turn off . the backlight will dim after five minutes .[ENTER]. Other Settings Rec/Play/Edit Digital Recorder USB Memory Effects Rhythm Pattern Song Player Appendix 17 . If this occurs.and.button. Turning the display backlight on Selecting Sounds 1. 80) lets you choose to turn Perform. Hold.the.press. Hold. turn the rear panel [LCD CONTRAST] knob to make the display legible .press. the names of sounds) ..button.) Synthesizer Editing/Effects Screens shown in this manual Various screens are shown in this manual for explanatory purposes. MEMO The System setting “Power Save Mode” (p .[SHIFT].the.button . or after you have been using the JUNO-Gi for an extended time.g.[SHIFT]. About the Display Adjusting the Display Contrast Turning the Display Backlight On/Off ([LCD CONTRAST] Knob) To reduce battery consumption.and.down. but please be aware that the screen shots in this manual may not necessarily match the factory settings (e.button . the power is turned on.

) For example. hold down the [SHIFT] button and press The value will change in larger steps if you hold down the [SHIFT] the corresponding function button . To execute a function.. When selected with the cursor. • Keep the button pressed for continuous adjustment . The [SHIFT] Button Functions If you hold down one cursor button while you also press the cursor button for the opposite direction. [DEC] and [INC] buttons Pressing the [INC] button increases the value. that item .and.name. For decreasing value faster. In this case. 18 . the [SHIFT] button provides a shortcut to the corresponding screen . By holding down the [SHIFT] button and pressing another button. move the cursor to numeral.manual.in. for selection . A single screen or window displays multiple parameters or items * When. a parameter value or other selection is highlighted . button while turning the VALUE dial .(EXIT).the.such. • The value will change in larger steps if you hold down the [SHIFT] button while you press the [INC] or [DEC] button . if you hold down the [SHIFT] button and press the [SOLO SYNTH] button.text.. refer to the page where a particular function is explained .screen .the.appear. keep the [INC] button pressed down and press the [DEC] button . and their operation will differ depending on the screen .displayed.as.button. For details. counterclockwise of the function buttons .parentheses. the value of that parameter .the. and the [DEC] button decreases it . Moving the Cursor and the corresponding function buttons will light . the cursor will move more rapidly in the direction of the first-pressed cursor button . Changing a Value To change the value. you can access the screen for making settings related to that button . change the name of the functions displayed at the bottom of the screen . pressing the [SHIFT] button will change the operation Turning the VALUE dial clockwise increases the value. use the VALUE dial or the [DEC] [INC] buttons .this. Basic Operation of the JUNO-Gi About the Function Buttons Editing a Value The [1]–[6] buttons located below the display execute various functions (function buttons).in. To edit the setting of a parameter.name.function.indicates. The functions are shown in the bottom of the screen. move the cursor to indicates.[6]. Move the cursor with [ ][ ] [ ] [ ] (cursor buttons) .in.the. VALUE dial In some screens. To select an item. pressing the [SHIFT] button will decreases the value .the. • For faster value increases. (In other words. the Solo Synth setting screen will appear .indications. keep the [DEC] button pressed down and press the [INC] button .

(CANCEL). Change the character at the cursor location to 3 .Song. [ENTER] button.. Functions Button Explanation 1. The buttons to enter numeric values . Entering a Value ([NUMERIC] Button) Assigning a Name If you turn the [NUMERIC] button on.[INC].(EXEC). 3.the.numerical.. Use.want.or.Utility Back up data. the [0]–[9] buttons will return to their previous state Move the cursor .(INSERT).location.button . The [MENU] Button Function Menu Explanation When you press the [MENU] button. of a character set: uppercase (A).. Deletes the character at the cursor location .move.[ ]. [ ]. 34 2 .buttons..[ENTER].[0]–[9].Lower 1. Editing/Effects [5]. you’ll be able to use the [0]–[9] On the JUNO-Gi. 2.menu. that. Use.to. 25 Rhythm Pattern 4 . 80 5 ..VALUE. Press..(DELETE).and.press.input. Turn. p .cursor.Delete. format a card.you..button . a menu will appear in the display ..buttons.System Overall settings for the entire JUNO-Gi p .the.to..a.Utility Back up data.. If you press the [NUMERIC] button once again without pressing the [6].Live. or numerals and symbols (0) . Perform.the.character .the.(NEXT) will return to their previous state . pressing the [EXIT] button will cancel the value .Upper uppercase . where. tone numbers . Rec/Play/Edit Change the character at the cursor location to 2 . Menu Explanation Page 1 .the.Set. etc . Overview Selecting Sounds 1.. you will alternately select the first character [2].dial. Press. 78 Appendix 19 .[ENTER].the..the.Undo Return an edited name to its original state .dial.ect. and the illumination of the [0]–[9] buttons [6].[ ]. lowercase (a).you.the.the.then.Edit Edit a Live Set p . Press.cursor.move. or Saves the changes you’ve made . [3]. you can press the [MENU] button and perform the following operations .[ ] Switch between uppercase and lowercase letters . you can assign names to each live set.the. 44 3 .enter.the.so. lowercase . Cancels the input and exits the naming screen .To. 98 USB Memory Song Player 2 . format a card. Each time you press this.[DEC].Edit Song function menu p .select.buttons.VALUE. 1 .cursor.a. [4].character . 4 . p .to..Eff. Use.[NUMERIC].To. 78 If you press the [MENU] button while in the RECORDER screen. Other Settings MEMO When you’ve turned the [NUMERIC] button on and are entering a number.to.Track.button . Digital Recorder NOTE Effects Menu Explanation Page You can’t enter lowercase characters for a file name (track export) .the.to.and. a recorder-related menu will appear .to.or. 98 3 ..it’s. 2.[ ] without the number being changed .the. 2.cursor.[MENU].change . procedure is the same for any type of data .All Clear all of the currently entered characters .wish. etc . then.buttons. You can use this method to numerically specify live set numbers or specify.press.to. Selects the type of character .value.to.the.lit .number.buttons. song . Your input will be finalized.the.(TYPE).Edit Edit effects p . 1 ..to. Inserts a space at the cursor location .Layer/Split Settings for each layer p . Synthesizer The [0]–[9] buttons will light .Edit Track editing function menu p . [ ]. press. MEMO In a screen that allows you to assign a name.button.

the demo Demo song list song in song data format will be loaded automatically . 1 Gonna.(STOP).the.(PLAY).button.the. The song will rewind while you hold down the Rewind [ ] button .button . 2 FARAWAY Mitsuru Sakaue ©2010 Roland Corporation 3 Late. refer to ”Selecting and Playing a Song (Song Select)” (p . Listening to the Demo Song The SD card included with the JUNO-Gi contains demo songs for the Digital Recorder .Want.It Scott Tibbs ©2010 Roland Corporation The demo song will begin playing .[ ]. NOTE • Use of the demo song supplied with this product for any purpose other than private.Name Composer Copyright 1. Press.of.to. Operation Explanation The song will fast-forward while you hold down the Fast-forward [ ] button . Press. 87) . For details on how to select songs. • No data for the music that is played will be output from MIDI OUT connector . Song. MEMO The SD card contains three demo songs .Nite Scott Tibbs ©2010 Roland Corporation You can move the current location within the song in any of the following ways . 2. 20 . personal enjoyment without the permission of the copyright holder is prohibited by law .stop . The first time that you turn on the power.begin- ning.to.the.the.song Press the [ ] button .[n]. Move.

Overview Selecting Sounds Perform. Functions Editing/Effects Other Settings Rec/Play/Edit Effects Rhythm Pattern USB Memory Appendix Synthesizer Digital Recorder Song Player Synthesizer .

c. “Live Sets” are the units of sound that you select and use . The LIVE SET LIST screen will appear .Synthesizer 1 (Selecting Sounds) Selecting Live Sets On the JUNO-Gi.Group USER 3 3 in this group .group).VALUE.[ ].category .(L1) Lower 1 Layer On/Off [SHIFT]+[4]. Select a category within the currently selected category group . the LIVE SET PLAY screen will STRINGS/ORCHESTRA appear .(LIVE.[DEC].of.. button . A live set you edit can be saved Category. Group Explanation Edit Write buttons.[INC].the.(LIST).desired. You SPECIAL 3 can edit one of these and save the edited result in the User group . 3.the. BRASS/WIND Live Set Group VOCAL/CHOIR SYNTH/PAD FX/OTHERS 2.[ ].set.[RHYTHM]–[FX/OTHERS].or. you can turn each layer on/off or access an edit screen .(U2) Upper 2 Layer On/Off changed .the. Use. ategory. 34 [SHIFT]+[6].select.SET) Access the LIVE SET EDIT screen p . 25 [SHIFT]+[3]. You can edit one of PRESET 3 these and save the edited result in the User group .[ ].to. Press. buttons.the.(EFFECT) Access the EFFECT ROUTING screen p .desired.the. Category Category Group Live Set Category Lock Category Number/Name Function buttons By holding down the [SHIFT] button and pressing a function button.the.[ ]. Button Explanation Page If you press the [EXIT] button instead of pressing the [ENTER] button. [SHIFT]+[1]..buttons.to.group .live. 4.the.(.the. p .desired. 44 22 .dial. RHYTHM PIANO KEYBOARD/ORGAN About the LIVE SET PLAY Screen BASS GUITAR/PLUCKED When you power up the JUNO-Gi.one.[ENTER]. These are high-quality live sets that were carefully created specifically for the JUNO-Gi .select.the.(L2) Lower 2 Layer On/Off [SHIFT]+[5]. You can also use the category group buttons or the [SHIFT]+[ ] [ ] buttons to select the category group .category.buttons.(U1) Upper 1 Layer On/Off you’ll return to the previous screen without the live set number being [SHIFT]+[2].[ENTER]. Selecting Live Sets from the List The JUNO-Gi’s Live Sets are divided into the following groups . Press.and.button .the. Use. Live Set Group 1. These live sets cannot be rewritten . You can view a live set list and select a live set from that list .to.press.select.

the.dial.VALUE.the. [ENTER].[DEC].stop.buttons.VALUE.VALUE. change the value in the LIVE SET PLAY screen .set..group. the selected live set will be played using an appropriate phrase . Rhythm Pattern • If you hold down the [SHIFT] button while you press the [PREVIEW] button.buttons.steps.the.use.cursor. use the cursor buttons and the VALUE dial to 1.special.the.PLAY.to.through.or.to.dial.to.the.[ ].cursor.live.Set . The SPECIAL LIVE SET LIST screen will appear . ([PREVIEW] Button) Rec/Play/Edit If you hold down the [PREVIEW] button.select.. and.the.set.to..live. set group .[PREVIEW].[NUMERIC].the.set.[SPECIAL.buttons.move. MEMO Selecting live sets by category (category lock) You can select a special live set as described in “Selecting Live The lock icon ( ) shown in the LIVE SET PLAY screen specifies Sets from the List.or.live. Functions number .Select.enter.the.the. 38) and “Preview Phrase” (p .to. Use. the [0]–[9] buttons will return to their previous state without changing the live set number . USB Memory Song Player 3. 2.live.the.[ ].cursor.or.or. you’ll be able to change the live set number within the currently selected category . which will remain lighted .the. Press.select.button .the.to.the. number .” or by selecting the “SPECIAL” live category or across categories . the.“Using. Use. the phrase will continue playing even after you remove your finger from the [PREVIEW] button. the [0]–[9] buttons will return to their previous state of illumination .the. refer to the system setting “Preview” (p . Press. Use.to.(LIST).to.live. 23 .live.(PRESET.the.select. If you press the [EXIT] button instead of pressing the [ENTER] button.[0]–[9].button .dial. 3. button .3. live set setting “Preview Type” (p .a. 3. buttons. In.the.to.desired. Synthesizer desired.button .the.cursor. A phrase will play using the live set that’s selected in the screen .SET.the.[DEC].button . Use.the.set .the.1.[INC].so.the.” “Using the VALUE dial to Select a Live Set.(PRESET. you’ll return to the previous screen without the live set number being desired.[PREVIEW]. If you move the cursor to the lock icon and use the VALUE dial or [DEC] [INC] buttons to select the “ ” position.move.hold.buttons.set. Live. you’ll be able to select live set numbers across categories .will.live.the.of.it’s.group.[ENTER].SPECIAL. changed .LIVE.. Selecting Live Sets by Number 1.SPECIAL.USER) .USER) .SET].[DEC].. Selecting Sounds 2.the.button.you.to.the.the.press.phrase.[INC].the.set.cursor.[INC]. Follow.the. 80). and playback of the phrase will stop .playing.and.and.the.” or Other Settings whether you’ll be selecting live sets within the selected “Selecting Live Sets by Number. 4.or. Press. ([NUMERIC] Button) Digital Recorder 2. Use. the The [0]–[9] buttons will light . Press the [PREVIEW] button once again to turn off its light.buttons. Perform. Using the VALUE Dial to Select a Live Selecting Special Live Sets Set ([SPECIAL LIVE SET] Button) Overview To select a live set.dial. 38) . Use.set. 1.to..button .release.press.desired.LIVE.” MEMO • If you want to change how the phrase plays when you press the 2. The.buttons. Effects 1. Editing/Effects 4. If you press the [NUMERIC] button without pressing the [ENTER] Appendix button. When you finalize the input. Press.number. [PREVIEW] button.lit .[ENTER]. If you select the Auditioning a Live Set “ LOCK” position.screen.move.when.buttons.VALUE.cursor.the.

button * It. Use. When you press one of the [0]–[9] buttons. 3.to.the.[BANK].to.button.button.and.desired. buttons.the. 2.to.banks.press.want.press.sound ..button. [ ]. If a favorite has be used in your song or live set . You can also remove a previously registered favorite. MEMO The screen’s function buttons are not available if the FAVORITE [ON/ OFF] button is on .[ ].want.of.live.move.register.the. Hold.[ ].[ON/ OFF].or. button It’s a good idea to register your favorites in the order in which they’ll Registers the currently selected live set at the selected favorite number ..([0]–[9]).you. or change the number to which it’s registered .select.and. it will be easy for you to select each sound can view a list of the favorites you’ve registered.want. Favorites in a List For example. Here’s how to register a live set in Favorites .down.([0]–[9]).register. 2.buttons. the button of the currently selected bank will blink .buttons.select.Favorites.hold. Select. registrations .select.dial.button .(REGIST)..the.to.bank .out .(REMOVE).take. MEMO You can also change the Favorites bank even if the FAVORITE [ON/ OFF] button is off .down.press be inserted at the move destination .switch.sound . 24 .the.” (* will be the number in which you registered the live set).Favorites. When you press the FAVORITE [BANK] button. FAVORITE. You can also change the Favorites bank even if the FAVORITE [ON/ OFF] button is off .set.and.you.to. Pressing one of the [0]–[9] buttons will select the Favorite bank in which the sound will be registered .in.you. Hold.press. turn off the FAVORITE [ON/OFF] button .press. the.buttons.number . Removes the selected favorite . Button Explanation selected.[ON/OFF].[SHIFT]. FAVORITE.register .button.FAVORITE. destination number..you.the.button The screen will indicate “Live set registered to Bank:*-* .[SHIFT].and.which. Now you can use the [0]–[9] buttons to select favorites . you’ll be able to button.desired.the. ([0]–[9]). Registering and Calling Up Favorite Live Sets (FAVORITE) If you register frequently used live sets as “favorites.the.which.the. [2]. If a favorite has already been registered at the move- Hold..bank.the.for.the. and add or call up as necessary .favorite .[ ].[INC]. the corresponding Favorites bank will be selected . Press.the.carried.for. Calls up the selected favorite .that.Favorite..[DEC].seconds. Calling Up a Favorite Sound Changes the registration number . be. switch between favorites simply by pressing the [0]–[9] buttons . the registration will be overwritten .FAVORITE. button.[0]–[9].want.you.[ ].button.currently.the. If.Favorites.to.so.[BANK].it’s. Registering a Favorite Live Set 1. you in their order of appearance.switch.lit . or Editing Each bank of favorites lets you register a total of ten live sets .the.the. the button corresponding to the currently selected bank will blink .the.and. and the live set will be [1].several.(SELECT).a. 3.to. You can register a sound in The FAVORITE LIST screen will appear .want. [6].down.. Bank Number 1.button. registered in the selected favorite number .VALUE. [ENTER]. 1.to.to.the.can. If.[ ].” you’ll later be able to call them up instantly . Registering. 3.or. Calling Up..the. Favorite Number MEMO 2.desired. Favorites regardless of the FAVORITE [ON/OFF] button status .hold. When you press the FAVORITE [BANK] button.banks.button. Use. You can create ten of these banks .to.[ON/OFF]. if the sounds you use in your performance are registered Regardless of whether FAVORITE [ON/OFF] button is on or off. Use.bank .the.down.FAVORITE.button already been registered at the selected number.the.down. If you want to use the [0]–[9] buttons as function buttons.button.the. the selected favorite will If you leave the FAVORITE [ON/OFF] button turned on.

Selecting Tones (LAYER/SPLIT)
Each Live Set has four “Layers” (Upper 1, 2, Lower 1, 2), and a “ Tone”
is assigned to each of these Layers . A tone is the lowest-level unit of Layer On/Off
sound; you can’t play a tone by itself .
Each layer’s on/off setting is indicated as shown below .

Overview
Live.Set ✔ means on
Layer: Upper 1
Layer: Upper 2
Layer: Lower 1
Layer: Lower 2

Selecting Sounds
Tone

3. Use.the.cursor.buttons.to.move.the.cursor,.and.use.the.
VALUE.dial.or.the.[DEC].[INC].buttons.to.turn.layer.on/off. .
The JUNO-Gi has the following types of tones .
MEMO

Perform. Functions
.Tone.Type. You can turn each layer on/off by holding down the [SHIFT] button
and pressing the [1]–[4] buttons .
These are instruments such as piano or strings . All
TONE.
keys will play the sound of the same instrument .
Button Layer
RHYTHM. These are instruments such as drum sets . Each key

Synthesizer
[SHIFT]+[1] Upper 1 On/Off
(.Rhythm.Set). will play the sound of a different instrument .
[SHIFT]+[2] Upper 2 On/Off

Tones and rhythm sets have the following groups . [SHIFT]+[3] Lower 1 On/Off

Editing/Effects
[SHIFT]+[4] Lower 2 On/Off
.Tone.Group.
PRESET These are the tones unique to the JUNO-Gi .
These are tones compatible with the GM2
specification which was created as a common
Selecting Tones
GM.(GM2).
standard for MIDI devices across manufacturers
and models .
4. Use.the.cursor.buttons.to.move.the.cursor.to.the.tone.

Other Settings
number.fi.eld.of.the.tone.that.you.want.to.change,.and.
It’s not possible to edit or rewrite tones themselves on the JUNO-Gi . use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.
However, you can select the tones that will be played by a live set, and desired.tone.number .
make relative adjustments (offsets) to the values of each tone . You can You can select the tone group or tone type in the same way .
save the edited result in a user live set .
Parameter Value

Selecting Tones or Rhythm Sets Tone.Number 001–

Rec/Play/Edit
Tone.Group PRST (PRESET), GM
1. Press.the.[MENU].button . Tone.Type Tone, Rhy (Rhythm)

2. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.
“3 ..Layer/Split”,.and.press.the.[ENTER].button .
The LAYER/SPLIT screen will appears .
Selecting Tones from the List

Digital Recorder
When you move the cursor to the tone number field and press the

Effects
[ENTER] (LIST) button, the tone list will appear . Use the VALUE dial to
select a tone, and then press the [ENTER] button to confirm .
rder
Auditioning a Tone ([PREVIEW] Button)
In the tone list screen, you can hold down the [PREVIEW] button
Rhythm Pattern

to audition the tone .

5. Press.the.[EXIT].button.to.return.to.the.previous.screen .
If you want to save these settings, save the live set .
For details, refer to “Saving a Live Set (WRITE)” (p . 35) .
USB Memory
Song Player

Layer Tone Tone Tone Level
Switch Number Group Type Setting the Octave for Each Layer
In the LAYER/SPLIT screen, you can press the OCTAVE [DOWN]
MEMO button or [UP] button to raise or lower by an octave the key
range of the layer at the position of the cursor .
You can also access the LAYER/SPLIT screen by holding down the
[SHIFT] button and pressing the [SPLIT] button .
Appendix

25

Dividing the Keyboard into Two Areas to Play Separate Tones (SPLIT)

“Split” refers to a setup in which the keyboard is divided into left-hand
and right-hand areas with a different tone played by each area . The key Changing the Tone or Volume in the
at which the keyboard is divided is called the “split point .”

Lower.2 Lower.1 Upper.2 Upper.1
LAYER/SPLIT Screen
Tone Tone Tone Tone In the LAYER/SPLIT screen, you can use the cursor buttons to move the
cursor, and use the VALUE dial or the [DEC] [INC] buttons to change the
following values .
Split Point Split Switch ((✔ means on)

When you turn Split on, the right-hand area of the keyboard will play
the upper tone, and the left-hand area will play the lower tone . The
split point key is included in the upper tone .
Parameter Value Explanation
1. Press.the.[SPLIT].button.so.it’s.lit .
.Switch OFF, ON (✔) Split on/off
Split keyboard mode will be selected .
Split.Point OFF, C#-–G9 Specifies the Split Point .
The LAYER/SPLIT screen will appear .
Split Point Split Switch ((✔ means on)

Layer Tone Tone Tone Level
Switch Number Group Type
The right-hand keyboard area will play the upper tone, and the
left-hand keyboard area will play the lower tone . Parameter Value Explanation
Split Point (C4) Layer.Switch OFF, ON (✔) Layer on/off
Number 001– Tone Number
Type Tone, Rhy (Rhythm) Tone Type
Group PRST (PRESET), GM Tone Group
Volume of each layer . This
LOWER UPPER setting’s main purpose is to adjust
Level 0–127
the volume balance between
layers .
MEMO
By holding down the [SHIFT] button and pressing the [SPLIT]
button, you can access the LAYER/SPLIT screen without turning the MEMO
Split function on/off . If you want to exchange the Upper and Lower tones, refer to
“Copying/Exchanging Layers” (p . 35) .
2. To.cancel.Split.keyboard.mode,.press.the.[SPLIT].button.so.
its.illumination.is.turned.off. .
MEMO
Changing the Split Point
• If you want to close the LAYER/SPLIT screen while leaving Split on, In Split keyboard mode, here’s how to change the split point (the
press the [EXIT] button . location at which the keyboard is divided) .
• When you turn on the [SPLIT] button, the setting of the Layer 1. Hold.down.the.[SPLIT].button.and.press.the.key.that.you.
switch will turn “ON” for UPPER 1 and LOWER 1 .
want.to.specify.as.the.split.point .
• When you turn off the [SPLIT] button, the setting of the Layer
The key you pressed will become the new split point .
switch will return to the value it had in the live set .
The split point key is included in the Upper area .
2. To.close.the.setting.window,.press.the.[EXIT].button .

MIDI receive channel when in Split mode
If you want to play the JUNO-Gi from an external MIDI-
connected device, use the MIDI channel that’s specified by the
System setting “Main Channel” (p . 82) .
If the [SPLIT] button is on, the MIDI receive channel for the
Lower layer can be specified by the “Sub Channel” (p . 82) setting
separately from the Main Channel .

26

Synthesizer 2 (Performance Functions)
Changing the Keyboard Settings

Changing the Pitch in One-octave Steps Adjusting the Keyboard Touch
(OCTAVE [DOWN] [UP] Button) You can set the instrument so all notes sound at a fixed volume
regardless of the strength (velocity) at which you play the keys, or

Overview
Octave Shift is a function that changes the pitch of the keyboard in adjust the way in which the keyboard responds to your playing touch .
steps of an octave . 1. Press.the.[MENU].button .
If you’re using your right hand to play a low-pitched part, such as a 2. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.
bass line, you’ll find it easier to play if you shift the keyboard down one
“4 ..System,”.and.press.the.[ENTER].button .
or two octaves .

Selecting Sounds
The System Menu window will appear .
1. Press.the.OCTAVE.[DOWN].or.[UP].button .
3. Press.the.[2].(KBD/CTRL).button .
4. Press.the.[1].(KBD).button .
5. Use.the.cursor.[ ].[ ].buttons.to.select.a.parameter .
6. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.

Perform. Functions
desired.value .
• Pressing the [DOWN] button will lower the pitch by one octave, and For details on the parameters and values that you can assign, refer to
pressing the [UP] button will raise the pitch by one octave . “[1] (KBD)” (p . 81) .
• You can change the pitch as much as three octaves down (-3) or three

Synthesizer
7. If.you.want.to.keep.your.settings,.press.the.[6].(WRITE).
octaves up (+3) .
button .
• A setting window will open when you press one of these buttons, and
8. Press.the.[EXIT].button.a.number.of.times.to.return.to.the.

Editing/Effects
will close shortly after you release the button .
previous.screen .
• When set to any value other than “0,” either OCTAVE [DOWN] or [UP]
will light .
• By pressing OCTAVE [DOWN] and [UP] simultaneously you can reset Changing the Temperament to an
the value to “0 .”
• There is a single Octave Shift setting for the entire JUNO-Gi . Arabian or Other Scale (Scale Tune)

Other Settings
The changed setting will be remembered even if you switch live sets .
Equal temperament is the method of tuning used by most music
• This setting cannot be saved . The value will be reset to “0” when you today, including Western music . However, the JUNO-Gi lets you
power up the JUNO-Gi . recreate other temperaments by individually altering the pitches of
• If you want to change the octave setting for each layer of a live set, the notes . Using this feature, you change the temperament of the
specify the “Octave” (p . 36) and then save the live set . instrument to that used for Baroque or other classical music, or set it
for tuning used in Arabian music . This feature is called “Scale Tuning .”
• In the LAYER/SPLIT screen, you can press the OCTAVE [DOWN] button

Rec/Play/Edit
or [UP] button to raise or lower by an octave the key range of the layer Scale tuning allows you to modify the pitch of each note in one-cent
at the position of the cursor . steps (1/100th of a semitone) relative to the equal-tempered pitch .
1. Press.the.[MENU].button .
Transposing the Pitch in Semitone Steps 2. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.
“4 ..System,”.and.press.the.[ENTER].button .
([TRANSPOSE] Button)

Digital Recorder
The System Menu window will appear .

Effects
Transpose is a function that changes the pitch of the keyboard in 3. Press.the.[1].(GENERAL).button .
semitone steps . 4. Press.the.[2].(SOUND).button .
You can use this to play transposing instruments such as trumpet or
5. Use.the.cursor.[ ].[ ].buttons.to.move.the.cursor.to.“Scale.
clarinet at the pitches written in the score .
Tune.Switch”.or.“Patch.Scale.Tune.for.C–B .”
1. Hold.down.the.[TRANSPOSE].button.and.press.the.[–].or.[+].
Rhythm Pattern

6. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.
button .
desired.value .
For details on the parameters and values that you can assign, refer to
“Scale Tune” (p . 80) .
7. If.you.want.to.keep.your.settings,.press.the.[6].(WRITE).
button .
USB Memory
Song Player

8. Press.the.[EXIT].button.a.number.of.times.to.return.to.the.
• Specify the amount of transposition in semitone steps (G–F#: -5–+6
previous.screen .
semitones) .
• A setting window will open when you press one of these buttons, and
will close shortly after you release the button .
• When any value other than “C” is set, the [TRANSPOSE] button will
light .
Appendix

• By holding down the [TRANSPOSE] button and pressing the [–] and [+]
buttons simultaneously you can reset the value to “C .”
• There is a single Transpose setting for the entire JUNO-Gi . The changed
setting will be remembered even if you switch live sets .
• This setting cannot be saved . The value will be reset to “C” when you
power up the JUNO-Gi .
27

the.VALUE.not.the. pressed in step 1. SYNTH].SYNTH]. 83) .your.button controller .value . desired. 35) .of.move.D.the.the. depending on function will be switched or turned on/off .a.either. Shift the pitch of the keyboard TRANSPOSE MEMO DOWN downward in semitone steps (a maximum of five semitones) .produce.[SHIFT]. [S2] buttons and.keep. MOMENTARY while you press the button. When you turn on the power.to.to.above.it.[SOLO.BEAM.to. Type The on/off status will alternate each LATCH time you press the button .down .[INC].press.select. Hold.parameter .screen .[DEC]. “System Menu [5] (D BEAM)” (p .. [S2] buttons will operate when 1.you. it will go out ...D. will become extremely small when used CHORUS SW Switch the chorus on/off . The assigned function will turn on desired.to.on.. Operates the function assigned to the D Beam 3.this. 2. If. If you want to keep these settings.and. It can be used [S2] buttons .you. the D Beam controller will be off .. 1.times.your. to.slowly. once again press the button you maximum of six semitones) . 4.the.press.[ASSIGNABLE]).. controller . NOTE HOLD Turn the Hold on/off .want.select.and.the. On the JUNO-Gi.the.[SHIFT].[DEC].cursor. the assigned to apply various effects. 4.setting.buttons. and “Switch 2” is the setting . button .the. Waving your hand outside Assign nically (MONO) . Specify whether the tone will play The following diagram shows the usable range of MONO/POLY polyphonically (POLY) or monopho- the D Beam controller .BEAM.the. If it does not function as you expect.or. Transmit the MIDI message specified ➝ “D Beam Sens” (p . Parameter Value Explanation hand.dial.to.[S2].[ASSIGNABLE].. The [S1] [S2] settings are saved as live set settings . 2.down.press. 83) SYS CTRL 1–4 SRC by the System setting “Sys Ctrl 1–4 Source .the.parameter .D. available . You can play a monophonic synthesizer 2. Press.want.Beam.[EXPRESSION].select. Use.return.the.[ ].sound.[ ].settings.” D Beam Controller Settings LAYER 1–4 SW Turns the Layer Switch On/Off for the specified layer The way in which the [S1]. adjust the sensitivity as REVERB SW Switch the reverb on/off . the function that is assigned to it .be. for the [S2] button .[S1]. . under strong direct sunlight .buttons.controller. * Depending. PORTAMENTO Turn the Portamento on/off .and. button.previous.may.or. Press.D.to.value . Hold.down.return.on. Controlling Your Performance D Beam Controller [S1] [S2] buttons The D Beam controller can be used simply You can assign various performance-related functions to the [S1] and by waving your hand over it ..dial. 28 .[EXIT].[ASSIGNABLE].the.[INC].the. The function assigned to the [S1].button by moving your hand above the D Beam controller .number.to.[EXPRESSION]. 1. . the D Beam controller can be used not only to modify the sounds.[ ].cursor.buttons.Assign.the. The usable range of the D Beam controller MFX1–2 SW Switch the multi-effects 1–2 on/off .VALUE.keyboard.the.you.the.[SOLO. pressed .SYNTH].[EXIT].select. Use.the. Used to set the keyboard tempo to The usable range of the D Beam controller TAP TEMPO the interval at which you press the button . refer to turn off when you release it . and will For details on the parameters and values that you can assign.button. 3.or. While.button. ([SOLO.[6].button Lets you add expression . appropriate for the brightness of your location .Beam.assign . 5.the.play.to. Use.buttons.to. press the [WRITE] button to save them in the live set Setting for the D Beam controller are saved for system settings .a.a.the.to.button. previous.[EXPRESSION].button. When you turn the [S1] or [S2] button on/off.up.screen .to. Shift the pitch of the keyboard TRANSPOSE UP upward in semitone steps (a To turn off the D Beam controller.(WRITE).the.turn. “Switch 1” is the setting for the [S1] button. Press.button.the. Button Explanation button .the. MEMO You can use the function buttons shown below the screen to move to other setting screens of the D Beam controller . this range will produce no effect .that. but also to control the pitch of a monophonic (solo) synthesizer sound .[ ]. Use. (p .place.

while turning it toward the left will attenuate the middle Rhythm Pattern Depending on the settings of the live set. Adjusting the Level of the Low.Gain -15–0–+15 dB Turning the knob toward the right will boost the high range sound. Adjusts the high range sound . you can recreate the pleasant acoustics that are typical of a performance in a concert hall or similar space . LOW]. [SOUND MODIFY] Knob MEMO The Reverb effects apply only to the Synthesizer . CUTOFF] Cutoff. Turning the equalizer on/off (EQ [ON/OFF] button) Appendix [.Level 0–127 right will deepen the reverb. turning a knob might not range sound . Turning the knob toward the Reverb. MEMO Selecting Sounds The Cutoff and Resonance effects apply only to the Synthesizer . HIGH]. REVERB]. They do not affect Other Settings You can use the SOUND MODIFY knobs to modify the sound in real the sound of the Digital Recorder or the USB Memory Song Player .” Adding Reverberation ([REVERB] Knob) Perform. 81) to make more Adjusts the frequency (cutoff detailed equalizer settings . By holding down the [SHIFT] button and moving a knob. 29 . MEMO Adjusts the middle range sound . and turning it toward the left will darken the You can use the EQ [ON/OFF] button to turn the equalizer on/off . Knob Parameter Value Explanation • You can use the System setting “[3] (MST EQ)” (p .Gain NOTE knob dB sound. MEMO These affect the following parameters of the currently selected live set . Adjusts the amount of reverb . Knob Parameter Value Explanation Adjusts the low range sound . RESONANCE] Resonance. This is called “modulation . knob turning it toward the left will Refer to “Bend” (p . and turning the knob toward the left will weaken it . affect the sound in some cases . adding a pitch.Pitch Bend/Modulation Lever Knob Parameter Value Explanation Boosts the sound in the vicinity While holding down a key. Modifying the Tonal Character [.set +63 Turning the knob toward the right will strengthen this character. Middle and High Frequency Ranges (EQ [LOW]/[MID]/[HIGH] Knobs) Use the knobs to adjust the equalizer (EQ) that applies to the overall Rec/Play/Edit sound .. -15–0–+15 right will boost the middle range Mid. Turning the knob toward the [.set +63 Turning the knob toward the right will brighten the sound. you can check the current value without modifying the setting .Gain knob dB sound. -64– bend . -15–0–+15 right will boost the low range Low. while turning it toward the Digital Recorder left will attenuate the low range Effects sound . By adding reverb. frequency) at which the filter begins to be applied . You can use these knobs to adjust the filter that cuts or boosts specific USB Memory Song Player frequency regions of the sound . Synthesizer Pushing the lever away from yourself while moving it to the left or Knob Parameter Value Explanation right will apply both effects simultaneously . Pushing the lever away from yourself will apply vibrato . sound . MID]. 36) . Functions You can add reverb (reverberation) to the sounds that you play from the synthesizer . Turning the knob toward the [. They do not affect the sound of the Digital Recorder or the USB Memory Song Player . moving the lever to the left will lower the of the cutoff frequency. and The pitch bend range can be specified separately for each layer . while turning it toward the ([CUTOFF]/[RESONANCE] Knobs) left will attenuate the high range sound . Editing/Effects MEMO [.” knob Off. Overview [. and moving it to the right will raise the pitch . This is called “pitch distinctive character to the sound . time . -64– knob Off. decrease the reverb . knob High. • The equalizer applies not only to the Synthesizer but also to the sound of the Digital Recorder and the USB Memory Song Player .

[ ].press. Changing the Vocoder Settings 1. Using Pedals Performing with a Microphone You can connect a hold pedal (sold separately: DP series) and an expression pedal (sold separately: EV-5) to the JUNO-Gi .the.(MFX). set . For details on how to select a live set. save the live set as a user live Assign” (p .[INC].times. Mic. Use.Ens”. Press. Adjusts the amount of sound from the Mic.button .the.dial.parameter. refer to “Selecting Live Sets” (p . Press. 2.select.Ens”. DP series . NOTE Adding Expression to Your Performance The vocoder is applied to the sound from the microphone .to. 2).[DEC].cursor.. button .the.select.buttons.keyboard.[DEC]. refer to “Control Pedal If you want to keep the edited settings. Press. Select. previous.select.) is Input level connected to the rear panel PEDAL CONTROL jack (1.”.you.the.VOCODER.621.the.set .the.press.button .as.. Use. press the hold pedal .the.or. you can press the hold pedal to cause notes to sustain or “hold” even after their keys have been released .the.the.to.the.“Control. Select.[EXIT]. you can apply the vocoder effect by selecting “79: VOCODER” as the effect .the. you can use the pedal to control the volume or various functions .buttons.you.vocalize. Use.” microphone added to the vocoder’s output .to. “79: VOCODER” will be connected to the rear panel PEDAL CONTROL jack .or.(KBD/CTRL).to.the. Even for live sets other than the one listed above.keep.live.you.cursor.[ENTER].the. 1.VALUE. There will be no sound if you only play the keyboard without vocalizing (CONTROL Pedal) into the microphone .button . Parameter Value Explanation 3. CONTROL Pedal Settings “2 .“PRESET. Synth.your. raise and lower the expression pedal . The JUNO-Gi uses MFX to simulate a vocoder .edit.as.select.VALUE.[MENU]. 7.the. and adjusting the If an optional expression pedal or pedal switch (EV-5.or. 8.621. Use.ect. Press.the.to. In this case. 92) . 4.dial.button .and.or.dial.button . selected for MFX .button.play. 22) .Level 0–127 Adjusts the input level of the instrument .set .the.want. edit . For details on the values that you can assign. (Vocoder) If an optional hold pedal (DP series) is connected to the rear panel PEDAL HOLD jack.Pedal.into.want.a.VOCODER. Connect your microphone and adjust the input level as described in “Connecting the Equipment to Record and Adjusting the Input Level” (p .buttons.screen .[INC].(PEDAL). Use.settings. Adjusts the volume level of the sound that has 6.the. 5. Holding Notes (HOLD Pedal) While playing the keyboard. Press.the.. You can assign various performance-related functions to a pedal that is The MFX screen will appear .the.(WRITE).the.dial.value . Connecting a microphone.System.button .[MENU].[2].cursor. Press. While. 4. 6.live. “4 .Mix 0–127 Assign .of. 1.cursor.Eff.to..the.[6].the.[2].to.return. Use.the.[ENTER]. 35) .the.“PRESET. 2.[ ]. MEMO While playing the keyboard. 2. 81) .number.”. The System Menu window will appear . 30 . Level 0–127 passed through the vocoder .the. 5.to.the. For details.value .to. refer to “Saving a Live Set (WRITE)” (p .Sens 0–127 Adjusts the input sensitivity of the microphone . Using the Vocoder The notes will be held while you are pressing the hold pedal .VALUE.press.VALUE. If.microphone .[2].to.select.buttons.buttons.Edit.the.button .and. desired. 3.

want. 136) . Press.to.the.button.Form 01–17 For details on the chord form. BOTH * If.keyboard .to. refer to “Chord Memory List” (p . press the [WRITE] Rhythm Pattern button to save them in the live set (p . Using the Chord Memory Function About the Chord Memory Function Chord Memory Settings Chord Memory is a function that allows you to play chords based on 1.turn.VALUE.and.Chord The notes in the chord will be sounded Editing/Effects sequentially rather than simultaneously . Chord.Key C–B Changes the key of the chord .button.to. allowing Memory List” (p .chord.button.[CHORD. keyboard .. Use. 2. OFF The notes will be sounded as a chord .turn.to.the.press.the.. MEMORY]. The Upper and Lower layers will be played by the chord memory .[CHORD. Destination Rec/Play/Edit Specifies the layer played by the chord memory .[INC].layer. refer to “Chord The button will light .so.memory .lit .buttons. Play.button.[SHIFT].the. MEMORY].off. Functions Selects the type of chord set assigned to the C–B keys .edit. Item Value Explanation Perform.Upper.on.it’s.by. To.fi. Press.the. 3.cursor.the. Use. Notes will be sounded in order from top to 3. The order in which the notes are sounded will ALTERNATE change each time you play the keyboard . The Lower layer will be played by the chord Digital Recorder LOWER memory . Destination played.move. The CHORD MEMORY screen will appear. 2.edit .cursor. Type DOWN bottom ..it.MEMORY]. this lets you realistically simulate guitar-like playing methods simply by using the keyboard .the.[DEC]..the.the. For details on the chord form. Chord. The chord memory settings (including ON/OFF setting) are saved as live set settings .Alternatively.button .to.the.be. you can access the “CHORD MEMORY” screen Selecting Sounds without turning the Chord Memory function on/off .value . Other Settings A chord will sound according to the currently selected chord form .that.it.chord. If you want to keep these settings.[CHORD.MEMORY]. Effects The Upper layer will be played by the chord UPPER memory . 136) . 35) .down.to.will. The speed at which the notes are sounded will ON depend on the force with which you strike Switch the keys.. you. pre-programmed Chord Forms.Function.the. 1.dial. Notes will be sounded in order from bottom UP to top .again.the.Memory.on . Performing with the Chord Memory MEMO By holding down the [SHIFT] button and pressing the [CHORD Function MEMORY] button.or.[CHORD.the. just by pressing a single key on the Overview hold. .is.press.Split.item.nish. Synthesizer you to make chord memory settings . Rolled.the. USB Memory Song Player Appendix 31 .

play.the.the. This is 2. Use.JUNO-Gi.so.and.the. 2..held.change. and the recorder tempo is the tempo of the digital recorder . press the [EXIT] button .. Press. To exit the ARPEGGIO STYLE screen.it’s.(✔) .fi.hold.the. automatically.is. desired.button.the.so.the. Press.cursor. 3.button.button.[ TEMPO].the.buttons.following. 2.button.held. 4.button .it’s. Playing by Using Arpeggios Turning Arpeggio On and Off 1.so.[ARPEGGIO].you.arpeggio .an.[ ].arpeggio. according to the notes forming the the tempo of the recorder’s song .or.device.value . • If you use the USB memory song player to play back MIDI data (SMF) when the [5] (LINK) button is off.Link). 30).the.(LINK).(HOLD).chord. you can produce arpeggios even without continuing to press the keyboard .accordingly . 32 . the button.[ARPEGGIO].arpeggios.the. If. 1.chord. MEMO • Use the cursor [ ] [ ] buttons to select the tempo that you want to change (Keyboard Tempo.button.switch.turn.[5]. chord you have just voiced .Hold. If.on.a.a. To.Alternatively.on. • Use the VALUE dial or the [DEC] [INC] buttons to change the desired value .(CLOSE).you.[ARPEGGIO].check. 5.either.a.the..synchronize. Play.press. Arpeggio Settings being.it’s.to. Play.the.to.press.on. 2.[INC].lit . 3.etc .the.[1].TEMPO.HOLD. Recorder Tempo) . Playing Arpeggios (ARPEGGIO) About Arpeggio Determining the Tempo for Arpeggio Performances The JUNO-Gi’s Arpeggio function lets you produce arpeggios This sets the arpeggio tempo .(HOLD).[DEC].jack .chord.[ARPEGGIO].MIDI.once. 1.to.while. Use. tempo will be set to the tempo of the SMF data ..the.the.series.a.to. down.button.the.the. When Using a Hold Pedal MEMO By holding down the [SHIFT] button and pressing the [ARPEGGIO] If you play an arpeggio while pressing the hold pedal (p .. By using the following procedure.134) .add.the. the arpeggio function on/off .dial. arpeggio will be played automatically The TEMPO window will open . The Arpeggio function will turn on .cancel..chord.to.to.lit .distinguished .select.VALUE.button . The JUNO-Gi uses two kinds of tempo: the “keyboard tempo” and the “recorder tempo .(Tempo. Press. the.the.playing. Press.pressing. 1. the keyboard 3.so.while. About tempo The ARPEGGIO STYLE screen will appear .accordingly .arpeggio. Connect.hold. PEDAL. again.select.the. Use.the.external.(p .[EXIT].the. you can access the ARPEGGIO STYLE screen without turning arpeggio will continue to be played even if you release the chord .to. and a corresponding 1.[ARPEGGIO]..button.while.a.notes.the.nish.the.will.(DP. 2.tempo ..pedal. Play.keyboard .[1].[ ].arpeggio.pedal .diff.is. The ARPEGGIO STYLE screen will appear . 3.diff. The ARPEGGIO STYLE screen will appear .will.notes.button.play. 3. Press. • Press the [4] (TAP) button three or more times at the desired tempo (The tempo will be set to the interval at which you pressed the button) .arpeggio. Holding an Arpeggio * If.the.erent.press. cannot.[SHIFT].keyboard .methods.. • If you press the [5] (LINK) button to assign a check mark (✔).Arpeggio.change.it’s.set.button ..button. simply hold down some keys.erent.an.parameter . To.the.or.” The keyboard tempo is used for the synthesizer’s arpeggio etc.button. the keyboard tempo will match the recorder tempo .mark.lit .[6].the.close.the.window. To. convenient when you want to play arpeggios in time with The JUNO-Gi will play an arpeggio.buttons.of.on.a. again . • You can save the current keyboard tempo by pressing the [WRITE] button while the TEMPO window is displayed .or.chord.the.).or. 4.a.is. being.the. Press.optional.[ARPEGGIO].press..

If you want the 7. 35) . from low to UP&DOWN an Arpeggio Style high.the.that.Parameter Value Explanation Parameter Value Explanation Specifies the basic way in which the arpeggio Specifies the layer played by the arpeggio .power .will.select.import . Insert. Modifies the strength of accents and the length 9. beginning to save them in the live set UP from low to high .it’s.the.into.STYLE. As the value is Resolution increased.. If there are more than 500 notes.(EXEC).by. Importing SMF on Your Computer to Perform.your. you actually play.switch.and. refer to ”Assigning a Name” (p .the.Standard.a.card. Other Settings The timing at which keys will sound will be AUTO1 assigned automatically.phrase. With a setting of “50%” To cancel.you.button .lit . With a setting of “50%” Shuffl . 2. MEMO This setting lets you modify the note timing to Please note the following points regarding importing an arpeggio .into.desired. CHORD All notes you press will sound simultaneously . Style by importing SMF or phrase data into played.. Appendix • Only the note data will be imported from the original data into the arpeggio . 1.be. If you want the velocity value of each MEMO note to depend on how strongly you play the • By pressing the [5] (PREVIEW) button you can audition the selected Velocity REAL.on. 3.” A setting of “-1” will make the arpeggio sound using the notes you play and 8. A setting of “100%” will produce the A confirmation message will appear .the. USB Memory Song Player Shuffl .. Press.to. You can create your own original Arpeggio Style (USER 01–64) by Synthesizer Notes you press will be sounded in the order importing SMF on your computer . set this parameter to “0 .the. If the data is incorrect.press. Digital Recorder this parameter to the desired value (1–127) . Up to 128 notes will be remembered .[5].After. in random RANDOM order . of the notes to adjust the “groove” feel of the Accent 0–100% arpeggio .name. Pressing a single key will sound the phrase PHRASE based on the pitch of that key . Rec/Play/Edit are pressed.” If you SMF or phrase .[6].the. most pronounced groove feel .to.that.(NEXT). Using. arpeggio to sound using only the notes that import .a. 10. “/ROLAND/IMPORT”. press the [6] (CANCEL) button .available. • Only SMF Format 0 is supported .Style. For details.the.[ARPEGGIO]. repeating upward and downward .the.” button . press the [EXIT] button .your.(NEXT)..the. 4. 6.folder .execute . UPPER The Upper layer will be played by the arpeggio .e.(IMPORT). Variation 1– This parameter selects the variation number .the. 33 . the note timing will have more of a will indicate “Incorrect File!” “dotted” (shuffle) feel .VALUE. Notes you press will be sounded.button . Notes you press will be sounded. from high DOWN to low . giving priority to the JUNO-Gi’s. The arpeggiator provides several variations (performance patterns) for each arpeggio style .button .layer.commercially. The number of variations will differ according Saving Arpeggio Settings (WRITE) Selecting Sounds to the arpeggio style .MIDI. press the [WRITE] button Notes you press will be sounded.Range -3–+3 To have the arpeggio sound using the notes you play and notes 1 octave higher.File. want..arpeggio . create shuffle rhythms . If multiple keys 5.the. You’ll need a commercially available SD card reader in order to Motif perform this procedure . (p . in which you pressed them .MID).[6]. settings . refer to “Importing SMF on Your Computer to an LOWER The Lower layer will be played by the arpeggio . Select.name.you’ve.the. the screen will indicate “Too Much Data!” • A maximum of 64 files can be imported . The arpeggio settings (including ON/OFF setting) are saved as live set Sets the order in which notes of the chord will sound .e. Turn.. VALUE. Press only reader. By pressing NOTE_ORDER the notes in the appropriate order you can MEMO Editing/Effects produce melody lines . Each chromatic step between the highest and GLISSANDO lowest notes you press will sound in succession.to. If you want to keep these settings. • Up to 500 notes (note on/off ) can be imported . As the value is The SMF or phrase will be imported into the arpeggio user style .assigned.you.(EXEC). P001–P128. 19) . 8 the notes will be spaced evenly ..JUNO-Gi. Press. giving priority to the The ARPEGGIO STYLE screen will appear . This setting lets you modify the note timing to create shuffle rhythms .. Functions Notes you press will be sounded.to.SD. BOTH Style U001–U064 You can create your own original Arpeggio Destination * If. increased. want each note to have a fixed velocity regard- less of how strongly you play the keyboard.to. the last-pressed key will be valid .copy.Turn.Split.card. Press. highest key that was pressed .button. Oct. Press.SMF.the. the lowest and the highest notes .make.to.and. 1–127 keyboard.is. Overview an arpeggio user style . will be played .choice . The timing at which keys will sound will be AUTO2 assigned automatically. Press.computer. the note timing will have more of a “dotted” (shuffle) feel .SD.Arpeggio.Upper. and then back down from high to low .DESTINATION .Rate 0–100% the notes will be spaced evenly .[6].so. set this parameter to “REAL .card’s.IMPORT. Assign.or.( . lowest key that was pressed .your. Effects Sets the key range in octaves over which arpeggio will take place .the. Arpeggio Style” (p . The Upper and Lower layers will be played by MEMO the arpeggio .the.SD.the.want.[2]. Rhythm Pattern parameter to “+1 . the screen 16. 33) . set this For details on how to enter a name.on.a.button. notes 1 octave lower .dial.dial. Specifies the loudness of the notes that you play . set • If you decide not to import.the.

the. screen. refer to the following pages ..to.dial.[1]–[4]..and.press.within.holding.[ ] Scroll the screen left/right . and make relative adjustments (offsets) to the values of each tone .3 Settings for the entire live set p .cursor.VALUE.SET.dial. you can select the tones that are played by a live LIVE. and then try exchanging different Detailed settings for each tone assigned tones to combine the sounds in different ways . 38 close to what you have in mind.and. Function.3 PRO. 4.1 LIVE. Use. 37 The simplest way to create your own sound is to choose a live set that’s LIVE.. live set . However.EDIT). Button Layer Edit.EDIT.Set.proceed.SET. [SHIFT]+[1] U1 (Upper 1) On/Off The LIVE SET EDIT screen will appear . If you want to keep [SHIFT]+[ ].edit.the.in. Jump to the screen indicated by the button .buttons.button .EDIT 34 . Moves between pages in the order shown below .then.the.to.[ENTER].you.use.on/off. When the cursor reaches an “*” is shown at the left side of the live set group .you. you can edit a For details on each screen.editing.fi. 36 set.the.SET. Layer (highlighted means on) Displaying the LIVE SET EDIT screen 1.Live.buttons .[DEC].SET.EDIT.Live. 3.[EXIT]. Screen Explanation Page On the JUNO-Gi.or.g … [5].the.. (LIVE.only).SET.the. the changes you made will be discarded .2 LIVE.described.3. Use the cursor [ ] [ ] buttons to scroll the LIVE SET EDIT screen to left or right .Set.the. PRO.EDIT.value .press. Press.”.the.as.SET. When.pressing.button .move.. You. Moving within the LIVE SET EDIT screen You will return to the LIVE SET PLAY screen . [6].(p . Saving Button Explanation If you return to the LIVE SET PLAY screen without saving your changes. displayed.EDIT.want.buttons. your changes.[ ] the edge of the screen.the.g 3. If the screen shown in the illustration does not appear. L indicates Lower) [SHIFT]+[3] L1 (Lower 1) On/Off [SHIFT]+[4] L2 (Lower 2) On/Off Entering a value 6.cursor.select.SET.(WRITE)”..the. it’s not possible to edit or rewrite the tones themselves .Buttons 8.to.“1 .set. Cursor.the. When you’ve finished editing 7. Moves to the PRO EDIT screen .g 1.that.the.LIVE. LIVE SET EDIT 1. initialize the live set as described in “Initializing a Live Set” (p . that.2 Layer settings 2 p .nished.[ ]. [SHIFT]+[2] U2 (Upper 2) On/Off Layer (U indicates Upper.22) .[WRITE].to. Select.Synthesizer 3 (Editing/Effects) Editing a Live Set (LIVE SET EDIT) If you want to create an original sound on the JUNO-Gi.following.want. LIVE. MEMO [INC]. LIVE.EDIT. you must save the live set .EDIT p .to. 39 to the layers You can save the edited result in a user live set .down.35) .button .cursor. [1]–[5] “Saving. MEMO If you want to create a live set from scratch.each.by.EDIT.[SHIFT]. 35) . continue pressing the cursor [ ] button until the screen appears .and.SET.the. 2.g 2.parameter. Use.VALUE.edit.to.the. screen .(p . button.[MENU].turn. the screen will scroll to the If you turn off the power or switch to a different live set while this “*” is left or right . Basic Operations in the LIVE SET EDIT Layer On/Off Screen Each layer’s on/off setting is indicated as shown below .g).buttons.and.a.(PRO.buttons.or. Press.EDIT.live. 5.move.EDIT.to.you’ve.the.the.(PAGE. Move the cursor left/right .can. Use.change.layer.1 Layer settings 1 p .button.

copy-destination. USB Memory Song Player 2.Live.“1 .(INIT).a. refer to ”Assigning a Name” (p .button .the.or.assigning.[ WRITE]. source.copy- Perform.live.(WRITE).dial.to. A screen allowing you to select the save destination will appear .the.cursor. 19) .button.and.set. or to copy the live set to their default values . destination will be overwritten . When.initialize .live.to.the. 3.[5].the. the power or select another live set . “1 .layers .Live. Hold. press the [6] (CANCEL) button .down.buttons. 1.the. 78) .or.layers .[SHIFT]. Other Settings Rec/Play/Edit Saving a Live Set (WRITE) Digital Recorder Effects Changes you make are temporary. the data that previously occupied the save Never turn off the power while data is being saved .dial.the. • LIVE SET EDIT parameters (p .[6]. Display Explanation A confirmation message will appear . • Arpeggio settings (p .destination. 4.button .the. • Chord Memory settings (p .set.specify.press.want. 3. Use.save. Press.[DEC].that.or. Press.press. Rhythm Pattern shown in the LIVE SET PLAY screen ..set. you’ll be able to play the save-destination live set (Compare function) .to. button .and. Press. For details on how to enter a name.[6].to.the.the.select.cursor.the.to.[5].then.set .buttons. If you press the [4] (EXCHG) button to add a check mark (3). 31) number . Source. The LIVE SET NAME screen will appear .[MENU].[INC]. Use.cursor. A confirmation message will appear .use.select.move. Initialization will affect only the currently selected live set . Press.set .Set.fi.and.press.set . 32) If you press the [4] (COMPR) button to apply a check mark (✔).the.the.live.to.and.VALUE.buttons. an “*” will be 6.buttons.the. 7. press the [6] (CANCEL) button .”. 35 .want.the. button .name.Edit.button .to. Use.cursor.buttons.Layer Copy-source layer 5.select.you.[DEC]. 36) [ ] [ ].the.the.the. If you want to keep the live set you A confirmation message will appear . Synthesizer Destination.[6].nished.(COPY).exchange.the. Select.the.down.(EXEC).the..the.(EXEC). If you want 2.Set.button .to.[SHIFT]. To cancel.edit .”.(EXEC).name..button .the. press the [6] (CANCEL) button . modified.[6].that.VALUE.button. Selecting Sounds 1.the. What the saved Live Set data contains Appendix 4. 3.initialize.live.the.the. Use.or.and. 5.button.save.user.the.the. Press. Initializing a Live Set Copying/Exchanging Layers Here’s how to return (initialize) the settings of the currently selected Here’s how to exchange the Upper and Lower layers.live. When you edit the settings of a live set in Live set mode.Layer Copy-destination layer To cancel.[MENU].(NEXT).the.you’ve..button . Edit. 2. To cancel. Upper layer settings to the Lower layer . Assign.[5]. Press.buttons. execute the Factory Reset operation (p .the.live.[5].to. Press.button .VALUE. the layers Editing/Effects you specified as the source and destination layers will be exchanged .to. Press.the.the.[INC].you. Functions 4. and will be lost when you turn off 5.(EXEC). 6.[ENTER]. Hold. VALUE.and. to return all settings to their factory-set state.to.press. The LIVE SET EDIT screen will appear . Select.[ENTER].the..button..the. button .dial. Overview NOTE 1. you must save it to internal user memory ..button.the.dial. The LIVE SET EDIT screen will appear . NOTE NOTE When you save.press.cursor.a.

+/-4 octaves) Fine Pitch of the layer’s sound -50–+50 (Fine Tune) (in 1-cent steps. Lower) K. Range) The bend range setting specified by the tone will TONE be used. You can Parameter Value Explanation Asgn MFX also apply chorus or reverb to the sound that Tone type of each layer (Output Assign) 1–2 passes through multi-effects. L+R (Tone Type) passing through the multi-effect These are instruments such as drum sets. F. Pitch of the layer’s sound (in 1-octave units) Lower) set this parameter to "0.U when a note that’s higher than Key Range Upper is parameter. R passing through the multi-effect Group These are tones compatible with the GM2 Output Level of the signal that is sent to the output (Tone Group) specification which was created as a common 0–127 GM (Output Level) destination specified by Asgn standard for MIDI devices across manufacturers and models. of waves used in the tones. LIVE SET EDIT Parameter For details on how to edit in each screen. FULL readout as you make Voice Reserve settings." Octave * Note that when a rhythm set is assigned -3–+3 Determines what will happen to the layer’s level (Octave Shift) to a layer. Chorus Number (Chorus Send 0–127 Level of the signal sent to chorus for each layer 001– Tone number of each layer Level) (Tone Number) Reverb (Reverb Send 0–127 Level of the signal sent to reverb for each layer [2] (LV&PAN) Level) Parameter Level Value 0–127 Explanation Volume of each layer. These are instruments such as piano or strings.L played. If you don’t want the layer to sound at all.U (Lower)– Specifies the highest note that the layer will sound (Key Range [3] (PITCH) Upper) G9 for each layer. Pay attention to this Voice Key Fade Upper 0–63. [1] (TONE) • The output destination of the signal after passing through the chorus is set with the “Chorus Output” (p. 34). 36 . but changes according to the number Specifies the lowest note that the layer will sound of tones used in the live sets. Each key Rhythm Output in mono to the OUTPUT L jack without will play the sound of a different instrument. Specify which multi-effects (1–2) will be used. Level The layer sounded in the The layer sounded in the Pan L64–0–63R Left/right position of each layer lower range upper range Sw OFF. • Chorus and reverb are output in mono at all times. * It is not possible for the settings of all layers to total an amount greater than 64. and the number (Key Range C-–(Upper) for each layer. [4] (OUTPUT) LIVE SET EDIT 1 Screen Parameter Value Explanation Specifies for each layer how the direct sound will be output. This setting’s main purpose [5] (KEYBORD) is to adjust the volume balance between layer. 45) parameter. or the number of voices (sounds) does not refer Parameter Value Explanation only to the number of live sets actually being K. L passing through the multi-effect Tone group of each layer Output in mono to the OUTPUT R jack without PRST These are the tones unique to the JUNO-Gi. (Key Fade 0–127 played.L Determines what will happen to the layer’s level Parameter Value Explanation when a note that’s lower than Key Range Lower is (Key Fade 0–127 played. If you don’t want the layer to sound at all. one cent is 1/100th of a semitone) Amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is Bend 0–24 moved. you cannot modify this F. Coarse Upper) set this parameter to "0. The remaining number of available voices will be displayed at (rest=). All (Output MFX Type Tone Select) Output in stereo to the OUTPUT jacks without keys will play the sound of the same instrument. The polyphony. refer to “Basic Operations in the LIVE SET EDIT Screen” (p. Output in stereo through multi-effects. The amount of change when the lever is tilted is set to the same value for both left and (Pitch Bend right sides." Pitch of the layer’s sound -48–+48 (Coarse Tune) (in semitones. Layer on/off setting (Layer Switch) ON (✔) Pitch This setting specifies the number of voices that will be reserved for each layer when more than 128 voices are played simultaneously. Key Fade Lower (Voice Reserve) Key Range Lower Key Range Upper * The JUNO-Gi is able to play up to 128 notes simultaneously.

and are used in correcting the tone. Offset) Rhythm Pattern Ex (Receive Expression: CC11) Turn reception Velocity curve for each layer on/off for Hd (Receive Hold-1: CC64) specific MIDI Selects for each layer one of the four following OFF. Depth -64– For each layer.U (Lower) Specifies the highest velocity at which the layer (Velocity Range –127 will sound. LIVE SET EDIT 2 Screen Parameter Value Explanation Determines what will happen to the tone’s F. Vib Rate -64– For each layer. +63 vibrato effect Portamento Other Settings (Vibrato Depth) ON Portamento will be applied. the greater the sensitivity. [2] (VIBRATO) * Unavailable for a layer to which a rhythm set is assigned Editing/Effects Legato OFF Legato will not be applied to the layer. ON (✔) Velocity Curve types that best matches the Br (Receive Breath Type: CC02) messages on touch of the keyboard.L level when the tone is played at a velocity (Velocity Fade 0–127 lower than Velo Range Lower. set this parameter to "0. Lower) V. Parameter Value Explanation [4] (KEY MOD) Selecting Sounds Cutoff -64– Cutoff frequency Parameter Value Explanation (Cutoff Offset) +63 The tone assigned to the layer will sound only Reso -64– Resonance one note at a time.L Specifies the lowest velocity at which the layer (Velocity Range 1–(Upper) will sound. Digital Recorder Velocity Fade Lower Velocity Fade Upper Velocity Range Lower Velocity Range Upper Parameter Value Explanation Effects Bd (Receive Bender) Parameter Value Explanation PA (Receive Poly Key Press) Sns CA (Receive Channel Press) Adjusts the velocity sensitivity. this adjusts the depth of the OFF Portamento will not be applied. (Resonance Offset) +63 MONO * Unavailable for a layer to which a rhythm Attack -64– set is assigned TVA/TVF Envelope Attack Time Mono/Poly (Attack Time Offset) +63 Chords can be played on the tone assigned to Perform.U level when the tone is played at a velocity [1] (OFFSET) (Velocity Fade 0–127 greater than Velo Range Upper. (Portamento Delay -64– For each layer. CC74) USB Memory Song Player Ev (Receive Envelope Offset: CC72. adjust the vibrato speed The legato setting of the tone assigned to the (Vibrato Rate) +63 TONE layer will be used. set this parameter to "0." The values set here are applied to the parameters of the tones of the various layers. CC65) Type) Fl (Receive Filter Offset: CC71. this adjusts the time delay until The portamento switch setting of the tone Switch) TONE (Vibrato Delay) +63 the vibrato assigned to the layer will be used. (Velocity Curve 1–4 Po (Receive Portamento: CC05." 37 . CC73. (Legato Switch) Legato will be applied to the layer when you Parameter Value Explanation ON play single notes. If you don’t want Lower) the tone to sound at all. This produces an effect similar to the hammering-on/pulling-off technique of a guitarist. Set this to “OFF” if you each MIDI Crv Ft (Receive Foot Type: CC04) channel OFF. Time over which the pitch change will occur 0–127 Time when using portamento [3] (VELOCITY) (Portamento Time) TONE The portamento time setting of the tone assigned to the layer will be used. Rec/Play/Edit Level The layer sounded when you play The layer sounded when you play softly strongly [5] (RX FLTR) Velocity Here you can specify whether specific MIDI messages will (On) or will not (Off ) be received by each layer. are using the keyboard’s own velocity curve. Appendix Upper) Determines what will happen to the tone’s F. If you Overview Upper) don’t want the tone to sound at all. CC93) V. Functions POLY Releas the layer. -64– TVA/TVF Envelope Release Time (Release Time Offset) +63 The mono/poly setting of the tone assigned to TONE the layer will be used. The higher the (Velocity Sens -63–+63 Md (Receive Modulation: CC01) value. CC75) 1 2 3 4 Ef (Receive Effect Send: CC91. Decay -64– TVA/TVF Envelope Decay Time Legato refers to playing smoothly without a perceptible (Decay Time Offset) +63 Synthesizer break between notes.

26).” put in a condition in which their Phase Lock OFF. same MIDI channel. 29). and will turn off SINGLE A single phrase for Upper and Lower when you release it. Resonance offset to control this (p. LiveSet Category Type (category) of the live set Shift the pitch of the keyboard down- TRANSPOSE ward in semitone steps (a maximum of LiveSet Tempo 20–250 Tempo of the live set DOWN five semitones). the Upper layer will be played by the arpeggio. LAYER 2 SW (U2) Turns the Layer Switch On/Off for the LAYER 3 SW (L1) specified layer Accordingly.” Transmit the MIDI message specified by parts on the same MIDI channel are SYS CTRL 1–4 SRC the System setting “Sys Ctrl 1–4 Source. [S2] buttons [1] (COMMON) Shift the pitch of the keyboard upward TRANSPOSE UP in semitone steps (a maximum of six Parameter Value Explanation semitones). 29). Arpeggio The Lower layer will be played by the LOWER Destination arpeggio. Type of phrase played back when you press the [PREVIEW] Switch 1/Switch button 2 Type The on/off status will alternate each time LATCH you press the button. REVERB SW Switch the reverb on/off. Tone Control Source Selects the MIDI message used as the tone Control. enabling them LAYER 1 SW (U1) to be played at the same time. RHYTHM A phrase for a rhythm set MULTI Different phrases for Upper and Lower Phrase that is played back when you press the [PREVIEW] Preview Phrase button Preview Octave -3–+3 Pitch of the preview phrase (in octave steps) [2] (CONTROL) Parameter Value Explanation Split Setting Split Switch OFF. BOTH * If Split is on. ON Specifies the Split setting (p. a certain amount of time LAYER 4 SW (L2) may elapse between reception of the Note messages and playing of the The way in which the [S1]. The Upper layer will be played by the UPPER arpeggio. OFF The tone control will not be used. Specify whether the tone will play -64–+63 offset You can use the SOUND MODIFY [CUTOFF] knob MONO/POLY polyphonically (POLY) or monophoni- to control this (p.LIVE SET EDIT 3 Screen Parameter Assignable Switch Value Explanation The function assigned to the [S1]. Assign PORTAMENTO Turn the Portamento on/off. [S2] buttons will operate when pressed. 80) is set to “PHRASE. 26). this may not be available. * When this parameter is set to “ON. The Upper and Lower layers will be played by the arpeggio. * Valid only if the System setting “Preview Mode” (p. Used to set the keyboard tempo to the TAP TEMPO Adjusts the cutoff frequency of the entire live interval at which you press the button. Turn this setting to “ON” only as needed. Common -64–+63 You can use the SOUND MODIFY [CUTOFF] knob HOLD Turn the Hold on/off.” The assigned function will turn on while Preview Type MOMENTARY you press the button. Common Level 0–127 Adjusts the volume of the entire live set. sounds. * Depending on the Assign setting. 33–95 Source PITCH BEND Pitch Bend AFTERTOUCH Aftertouch 38 . 33–95 Controller numbers 1–31. C#-–G9 Specifies the Split Point (p. Specifies the layer played by the arpeggio. Switch 1/Switch 2 Adjusts the resonance of the entire live set. 2 SW Switch the multi-effects 1–2 on/off. Split Point OFF. ON timing is matched. Set to “ON” when you want to suppress discrepancies in timing of parts played on the CHORUS SW Switch the chorus on/off. cally (MONO). Common Cutoff set. Tone Ctrl 1–4 CC01–31. MFX1.

Rand. only the pitch changes.(i .if. Moves to the preceding edit group .heard . but the function buttons operate as follows ..being.” D4 D4 The setting of the tone assigned to the layer will C4 C4 TONE be used . Perform. played notes.set.naturally. Rather than being played while the key is pressed.in.released). Time Time Rhythm Pattern NORM Portamento will always be applied .“MONO”.. regardless of TIME Keyboard playing dynamics can be used to how far apart in pitch the notes are . a. Rather than being played while the key is [2].the.away.V-Sens -64–+63 If you want T1 to be speeded up for strongly where the current change would end .(i .T1. PRO EDIT Screen Parameter Value Explanation The tone begins to play after the time specified NORM in the Tone Delay Time parameter has elapsed .Portamento.a.P-Env.sound.sound..that. 0–127 . fades. press the [ENTER] button to confirm .the. fect for strongly played notes.being.have.Pitch.sound.” If you do not want the pitch to change randomly. * If.. period of time specified in the Tone Delay Time parameter has elapsed after release of the key . C5 C5 Mono/Poly.and. this to “OFF” when performing wind and string phrases or when using modulation with the mono synth keyboard sound .a. Lists the edit groups .Retrigger Pitch Pitch Normally you will leave this parameter “ON .to.Switch. you can select the same parameter for multiple layers and set them simultaneously . Portamento Start: PITCH Portamento Start: NOTE Digital Recorder .selecting. By holding down the [SHIFT] button and pressing the cursor [ ] button.no. Other Settings Parameter Value Explanation The setting of the tone assigned to the layer will TONE be used .Start Portamento will begin anew from the pitch NOTE .Mode is.decay-type.naturally. pressed.” Effects ON * Legato.is.selected.e . * If.sound. Basic operations in the Pro Edit screen Overview Although the tone begins to play after the time specified in the Tone Delay Time parameter has Basic operations in the Pro Edit screen are the same as described in “Basic Operations in HOLD elapsed. Moves to the next edit group .). specified in the Tone Delay Time parameter has elapsed.released). Width of random pitch deviation that will occur each time a key is pressed (in 1-cent steps) Time from when the key is pressed (or if the Tone 0–1200 Delay Mode parameter is set to “OFFN” or “OFFD.sound.even.Time Specify this as a note value if you want to Rec/Play/Edit be used .waveform.e .“ON .is. Mode The setting of the tone assigned to the layer will TONE be used . The setting of the tone assigned to the layer will TONE . cursor [ ] [ ] buttons to select a group.“OFFN”.heard . 39 .V-Sens -64–+63 If you want the pitch envelope to have more ef- be used .is.(EXIT).key.you.decay-type.when.away. which in many MEMO OFFD cases means that only the sound from the release portion of the envelope is heard . PITCH ENV USB Memory Song Player the distance of the pitch change) Parameter Value Explanation .sound.to. Use the VALUE dial or the .even. and result. 34). press D4 key press D4 key press C5 key press C5 key Portamento will be applied only when you play press C4 key press C4 key . Set TONE OFF be used .the.selecting.that.in. RATE Speed of pitch change is uniform (the time required for the pitch change will correspond to 2. control the depth of the pitch envelope .if.(GRP.the.waveform.selected.P-Env.Type The time it takes will be constant.set.may. . set this parameter Starts a new portamento when another key is to a positive (+) value . [1]. TONE be used .(GRP. the tone is not played .is. GENERAL not.Portamento. PICH pressed while the pitch is changing . the tone begins to play once the Selecting Sounds period of time specified in the Tone Delay Time parameter has elapsed after release of the key .is.not. Button Explanation a. if the key is released before the time the LIVE SET EDIT Screen” (p .a. P LEGT legato .have. the tone begins to play once the Synthesizer [3].Delay.may.Depth set this to “0 .“OFFD”.Retrigger. changes in the TVA Envelope Editing/Effects begin while the key is pressed. Legato. Here. Moves to the LIVE SET EDIT 3 screen .key. This allows keyboard dynamics to affect the T1 of Appendix the Pitch envelope . 1.” the time from when the key is released) until when the tone will sound The setting of the tone assigned to the layer will TONE . [6]. however.is.a.no. ortamento. set this parameter to a positive The setting of the tone assigned to the layer will (+) value . This is effective in situations such as when simulating noises from guitars and other OFFN instruments ..Legato. result.Delay. Note synchronize the delay to the tempo of the When one key is held down and another key is JUNO-Gi .you. without The setting of the tone assigned to the layer will the attack of the latter key being played . then pressed..valid.LIST). Functions fades.).that.(GRP.that.

TVF PARAMETER speed to affect the T4 value of the Pitch Parameter Value Explanation envelope. Although frequency components above the P-Env Level1 Pitch envelope levels (L0–L4) Cutoff Frequency are cut. filter is half that of the LPF. While this filter is also good for use -50 LPF3 with simulated acoustic instrument sounds. Depth of the Pitch envelope High Pass Filter. (+) value. L1 L3 Note on Note off Curve that determines how keyboard L2 L4 playing dynamics (velocity) will affect the cutoff frequency Set this to “FIX” if you don’t want the Cutoff frequency to be affected by the keyboard velocity. wah-wah effects by employing an LFO to change P-Env Time4 [R] the Cutoff Frequency cyclically. even with the same TVF Envelope settings. P-Env Time1 [A] Peaking Filter. adding character Resonance -64–+63 to the sound Pitch Envelope Excessively high settings can produce oscillation. or times (T2–T4) to be affected by the keyboard un-brighten the sound. Time Time Keyfollow Low Pass Filter 3. Cutoff V-Curve 1–7. Band Pass Filter. be useful when creating distinctive sounds. tones. Use this parameter if you want the cutoff frequency to change according to the key that is pressed Cutoff Keyfollow -200–+200 Relative to the cutoff frequency at the C4 key (center C). 0 * If you set “LPF3. P-Env Time2 Pitch envelope times (T1–T4) This emphasizes the frequencies in the region of -64–+63 Higher settings will result in a longer time until PKG the Cutoff Frequency. the acoustic piano. P-Env Time KF location. P-Env Level0 Filter Type Low Pass Filter 2. T1 T2 T3 T4 causing the sound to distort. Negative (-) settings percussive sounds emphasizing their higher will invert the shape of the envelope. and cuts the rest. You can use this to create P-Env Time3 [D] the next pitch is reached. -100 Although frequency components above the Cutoff Frequency are cut. +100 Key Frequency at which the filter begins to have an C1 C2 C3 C4 C5 C6 C7 Cutoff Frequency -63–+63 effect on the waveform’s frequency components Emphasizes the portion of the sound in the region of the cutoff frequency. the sensitivity of this filter changes according to the Cutoff Frequency. Parameter Value Explanation Use this parameter when you want key release 3. +50 The setting of the tone assigned to the layer will TONE be used. This filter is good for relative to the pitch set with Coarse Tune or Fine LPF2 use with simulated instrument sounds such as P-Env Level3 [S] Tune. This cuts the frequencies in the region below P-Env Depth -12–+12 Higher settings will cause the pitch envelope to HPF the Cutoff Frequency. set this parameter to a positive Low Pass Filter. This reduces the volume of all frequencies above LPF Use this setting if you want the pitch envelope the Cutoff Frequency in order to round off. P-Env Level4 * If you set “LPF2” the setting for the Resonance parameter will be ignored. FIX.” the setting for the Resonance parameter will be ignored. P-Env T4 V-Sens -64–+63 OFF No filter is used. positive (+) settings will cause notes higher the Cutoff Frequency. TONE 1 2 3 4 5 6 7 1 2 3 4 5 6 7 40 . This is suitable for creating produce greater change. positive (+) settings will cause the Pitch L0 cutoff frequency to rise for notes higher than C4. Time Larger settings will produce greater change. the nuance it exhibits differs from that of the LPF2. the sensitivity of this P-Env Level2 -64–+63 Specify how the pitch will change at each point. This can than C4 to have increasingly shorter times. If you want T4 to be speeded up for quickly released notes. -64–+63 (Time Keyfollow) Based on the pitch envelope times for the C4 This leaves only the frequencies in the region of BPF key.

Set this to “FIX” if you don’t want the TVF Envelope to be affected by the keyboard F-Env Time1 [A] TVF envelope times (T1–T4) Perform. -100–+100 Based on the TVF envelope times for the C4 key (Time Keyfollow) (center C). relative to the Cutoff Frequency Editing/Effects F-Env Level3 [S] value. F-Env V-Curve F-Env Time4 [R] 1–7. 0 Use this parameter when you want key release speed to affect the T4 value of the TVF envelope. Use this setting if you want the TVF envelope Resonance times (T2–T4) to be affected by the keyboard -64–+63 Selecting Sounds V-Sens If you want strongly played notes to have a greater Resonance effect. +100 Key C1 C2 C3 C4 C5 C6 C7 Resonance LPF BPF HPF PKG Level High TVF Envelope Frequency Digital Recorder Cutoff frequency T1 T2 T3 T4 Effects Parameter Value Cutoff Rhythm Pattern Frequency L0 Time L1 L2 L3 L4 Note on Note off Low Cutoff Keyfollow Cutoff frequency (Octave) +200 +100 USB Memory Song Player +2 +50 +1 o 0 -1 -50 -2 Appendix -200 -100 Key C1 C2 C3 C4 C5 C6 C7 41 . TVF ENVELOPE frequency to be applied as a result of changes in Parameter Value Explanation playing velocity. -50 F-Env T1 V-Sens -63–+63 If you want T1 to be speeded up for strongly played notes. Parameter Value Explanation Use this parameter when changing the cutoff 4. TONE 1 2 3 4 5 F-Env Level0 6 7 Synthesizer F-Env Level1 TVF envelope levels (L0–L4) F-Env Level2 -64–+63 Specify how the cutoff frequency will change at each point. produce greater change. Overview Cutoff V-Sens -64–+63 Depth of the TVF envelope If you want strongly played notes to raise the cutoff frequency. -100 This allows keyboard dynamics to affect the T1 of Other Settings the TVF envelope. set this parameter to positive F-Env Depth -63–+63 Higher settings will cause the TVF envelope to (+) settings. positive (+) settings will cause notes Curve that determines how keyboard playing higher than C4 to have increasingly shorter dynamics (velocity) will affect the TVF envelope times. 1 2 3 4 5 6 7 F-Env Level4 Specifies how keyboard playing dynamics will affect the depth of the TVF envelope. F-Env T4 V-Sens -63–+63 +50 If you want T4 to be speeded up for quickly Rec/Play/Edit released notes. set this parameter to location. F-Env V-Sens -63–+63 Time Time Keyfollow Positive (+) settings will cause the TVF envelope to have a greater effect for strongly played notes. FIX. set this parameter to a positive (+) value. This allows keyboard velocity to modify the amount of Resonance. Functions velocity. F-Env Time2 -64–+63 Higher settings will lengthen the time until the F-Env Time3 [D] next cutoff frequency level is reached. Negative (-) settings will invert the shape of the envelope. F-Env Time KF positive (+) settings. set this parameter to a positive (+) value.

set this parameter to a positive (+) value. Set this when you want the volume of the tone A-Env Time KF Based on the TVA envelope times for the C4 key -100–+100 to change depending on keyboard playing (Time Keyfollow) (center C). Larger settings will produce greater change. Bias causes the volume to be affected by the keyboard position. TVA ENVELOPE Parameter Value Explanation Parameter Value Explanation Curve that determines how keyboard playing This allows keyboard dynamics to affect the T1 dynamics (velocity) will affect the volume of the TVA envelope. played notes. TONE 1 2 3 4 5 A-Env T4 6V-Sens 7 -63–+63 If you want T4 to be speeded up for quickly released notes. 1–7. set this to a TVA envelope times (T1–T4) negative (-) value. TVA Envelope LWR UPR T1 T2 T3 T4 Level + Level + 0 0 – Key – Key C-1 Bias Position G9 C-1 Bias Position G9 Level Time L1 L2 L3 Note on Note off L&U ALL Level + + Level – + 0 0 0 0 – – Key + – Key C-1 Bias Position G9 C-1 Bias Position G9 42 . This is useful A-Env Time4 [R] for changing volume through keyboard position (pitch) when playing acoustic A-Env Level1 instruments. Use this parameter when you want key release FIX. -100 C-–G9. TONE Negative (-) values will invert the change Time Time Keyfollow direction. TVA envelope levels (L1–L3) A-Env Level2 -64–+63 Specify how the volume will change at each Angle of the volume change that will occur in A-Env Level3 [S] point. +100 Key The volume changes linearly with the bias point C1 C2 C3 C4 C5 C6 C7 ALL at the center. Larger settings will produce greater Level V-Sens -63–+63 change. changes in tone volume increase the more forcefully the keys are played. Key relative to which the volume will be Bias Position TONE modified Direction in which change will occur starting -50 from the Bias Position The volume will be modified for the keyboard LWR 0 area below the Bias Point. Set this to “FIX” if you don’t want the volume of A-Env T1 V-Sens -63–+63 If you want Time 1 to be speeded up for strongly the tone to be affected by the keyboard velocity. A-Env Time2 -64–+63 Higher settings will lengthen the time until the Bias A-Env Time3 [D] next volume level is reached. to make the tone A-Env Time1 [A] play more softly as you play harder. +50 Bias Direction The volume will be modified symmetrically L&U toward the left and right of the Bias Point. The volume will be modified for the keyboard UPR area above the Bias Point. The setting of the tone assigned to the layer will TONE be used. -100– the selected Bias Direction Bias Level +100. relative to the Tone Level value. Use this setting if you want the TVA envelope times (T2–T4) to be affected by the keyboard 1 2 3 4 5 6 7 location. positive (+) settings will cause notes dynamics higher than C4 to have increasingly shorter Set this to a positive (+) value to have the times. 5. Level V-Curve speed to affect the T4 value of the TVA envelope. set this parameter to a positive (+) value. TVA PARAMETER 6.

LFO1/8. Editing/Effects TVA Depth If you choose the OFF setting. Pan Depth If you choose the OFF setting. the tone’s value -63–+63 will be set to 0. ON synchronized to begin when the key is pressed Key Trigger (ON) or not (OFF). Selecting Sounds Specifies whether the LFO cycle will be OFF. frequency TVF Depth -63–+63 Synthesizer If you choose the OFF setting. How deeply the LFO will affect pitch Perform. this should be set in terms of a Rate note value. How deeply the LFO will affect the volume OFF. Pitch Depth If you choose the OFF setting. How deeply the LFO will affect the cutoff OFF. The setting of the tone assigned to the layer will TONE be used. Other Settings Rec/Play/Edit Digital Recorder USB Memory Effects Rhythm Pattern Song Player Appendix 43 .7. Functions OFF. the tone’s value -63–+63 will be set to 0. LFO2 Parameter Value Explanation Overview 0–127 Modulation speed of the LFO If you want the LFO rate to be synchronized Note with the tempo. How deeply the LFO will affect the pan OFF. the tone’s value will be set to 0. The setting of the tone assigned to the layer will TONE be used. the tone’s value -63–+63 will be set to 0.

and.(ROUTING). “2 .(CHORUS).the.buttons.buttons.press. 4.the.you.the.buttons.press.you’ve.buttons.to.setting.to. If you want to keep the changes.a.dial.or.(SWITCH).to.want.nished.(REVERB).or.to.VALUE.button .close.[EXIT]. Button Explanation Page The EFFECT ROUTING screen will appear . .the.dial.. 77 5. or if you want to use an external effects processor The EFFECT ROUTING screen will appear .you. that.select.the. The two multi-effects can not only be used Making Effect Settings individually but also as a combination of multi-effects .or.set. 4.button.or. You will return to the EFFECT ROUTING screen .to.turn.the.(REVERB). Press.[6]. 5.parameter.Eff.press.eff. Use. Press.cursor.the.screen.of.on/off.the.to.the.SET.move.[MENU].button .ect.to.to.the..select. press the [WRITE] button to save your live set settings as a User Live Set (p . The EFFECT SWITCH window will appear .type .button .you.[MENU].want.VALUE. The JUNO-Gi’s onboard effects can be switched on/off as a whole .select.return.the. Use.live. VALUE. 45 3.which.(MFX.Edit. Select.the.line.to. value . Saving your effect settings Changes you make to the live set’s effect settings will be lost when you select another live set .the. Reverb settings p . and pressing the [1]–[4] buttons . Turning Effects On/Off (Effect Switch) 2.apply.PLAY. Chorus settings p . Multi-effect settings p .”.located.the.to.times.screen .ect. Turn these OFF when you want to listen to the unprocessed sound as you create a sound.(CLOSE).want. 2. 6.cursor.LIVE.the.and.editing. Press. such as [1]. “2 .[INC]. Use.the.select.button .VALUE..the. Applying Effects (EFFECT EDIT) You can apply two multi-effects (MFX1.make.cursor.window.of. When.ect. The effect will turn on/off each time you press the button . eff. (Example of MFX1 screen) each.[ENTER].settings . signal .button .(MFX)–[4].the.fi.[6].button.[ENTER].the.eff. MEMO NOTE You can turn each layer on/off by holding down the [SHIFT] button The effect on/off settings cannot be saved .the.ects .Button–[4]. 3. MFX2)..dial.Edit.the. 1.to.to. 44 .eff.edit.Eff. Overall effect-related settings.[2].to.at. number.edit .”.the.cursor.1).cursor.buttons.[EXIT]. [2].(MFX). 7.the. Press.which.[1]. and one reverb to each live set .dial.buttons. one chorus.desired.top.the.or.the.button.ect. Press..[INC].use. instead of the built-in effects .[DEC]. Use. for. the output destination and level of each p .the. 48 [3].button .the. To. 1. 8.the.ect. 76 [4].to. the. With.press.the. 35) .(REVERB).[DEC].

Functions three multi-effects (MFX1–MFX2) .Reverb. Synthesizer UPPER 2.Select The layer for which to make settings Chorus.Output.Chorus. 2) Layer.Type.Reverb. 9–11 can be edited for each of the Perform.Level the reverb Type of multi-effect to use (choose one of 79 types) 7 MFX. MAIN Output in stereo to the OUTPUT jacks . Reverb that simulates the reverbera- 2 (SRV ROOM) tion of a room 4 7 9 13 Reverb.Output REV Output in mono to reverb Num. Output in stereo from the OUTPUT Layer.Output. refer Rhythm Pattern to “Multi-Effects Parameters (MFX1.Chorus. 1 Reverb that simulates the reverbera- 3 (SRV HALL) tion of a hall Selecting Sounds 2 10 12 5 14 Simulation of a plate echo (a reverb 4 (SRV PLATE) 13 device that uses a metal plate) 3 8 11 15 6 5 (GM2 REV) GM2 reverb Output destination of the sound that has been processed by the chorus The parameters listed below in 7.Chorus. Volume of the sound that has been 1 Layer.Signal Flow and Parameters Num- ber Parameter Value Explanation (EFFECT ROUTING) Type of reverb Overview 0 (OFF) Reverb will not be used Here you can make overall settings for effects. Level of signal sent from each layer to 6 0–127 Send. 48) . 2)” (p .Level 0–127 Editing/Effects Specifies how the unprocessed sound of each layer will processed by the reverb be output Output in stereo via the multi-effect . MFX Chorus and reverb can also be applied after the multi-effect .Level 0–127 LOWER 1. 11 0–127 sound that has been processed by the Send. 14 Parameter Value Explanation Output in stereo to the OUTPUT jacks ber M+R and in mono to the reverb UPPER 1. Level of signal sent to the destination 4 0–127 Level specified by Layer Output Assign Layer. processed by the chorus LOWER 2 Volume of the sound that has been 15 Reverb. 46) MFX.Level the chorus Effects Layer. Level of signal sent from each layer to Digital Recorder 5 0–127 Send.Type 0–79 For details on each multi-effect.Type 1 (CHORUS) Chorus Appendix 2 (DELAY) Delay 3 (GM2 CHO) GM2 chorus 45 . 2 will be combined (p .Output. L+R jacks without passing through the 2 Other Settings Assign multi-effect Output in mono from the OUTPUT L L jack without passing through the multi-effect Output in mono from the OUTPUT R R jack without passing through the multi-effect Rec/Play/Edit Multi-effect used by the layer (choose 3 MFX.Select 1–2 one of MFX 1. 10 0–127 sound that has been processed by the Send. Volume of the sound that has been 9 0–127 Level processed by the multi-effect Amount of chorus applied to the MFX.Structure 1–3 How MFX 1.Level multi-effect USB Memory Song Player Amount of reverb applied to the MFX. 8 MFX.Level multi-effect Type of chorus 0 (OFF) Chorus/delay will not be used 12 Chorus. such as the output 1 (REVERB) Basic reverb destination and level of the various signals .

or use keyboard touch to change the delay time . 45). Larger values will allow a greater amount of control . For example.type “Multi-Effects Parameters (MFX1. you’ll need to specify which MIDI message (Source) will control which parameter (Destination) by what amount (Sens) . Specify a positive (+) value if you want to . and use the VALUE dial or the [DEC] [INC] buttons to set the value . press the [2] (MFX) button to MFX control parameter . Refer to want to edit. system exclusive messages are more complex to set up. 2)” (p . you might use the pitch bend lever to control the degree of distortion. such parameters are indicated by a “#” in the parameter lists in “Multi-Effects Parameters (MFX1. Here you can specify how MFX 1. Controlling a Multi-Effect via MIDI (MFX1. 2)” (p . 48) . Use the cursor buttons to move the cursor to the parameter you want to edit. Sensitivity). access the MFX screen . the MFX CTRL screen will appear . PITCH BEND Pitch bend AFTERTOUCH Aftertouch Use the controller that is assigned by the SYS CTRL1–4 System setting Sys Ctrl 1–4 Source (p . tion in a positive direction (larger. or specify a negative Parameters.Multi-Effect Settings (MFX1. 2 For this reason. faster. The parameters that can be controlled in this way are predetermined for each type of multi-effect. and use the VALUE dial or the [DEC] [INC] buttons to be controlled by control source 1–4 .MFX.) . OFF MFX will not be used . Specifies how MFX 1. In order to use multi-effect control. etc . toward the left. the JUNO-Gi allows you to use control changes and other common MIDI messages to control the most important multi-effect parameters . (1–4) “Multi- choose the desired value . Selects the type of multi-effect used Specifies the depth of multi-effect control . 2 . In order to control the multi-effect’s volume or delay time from an Parameter Value Explanation external MIDI device.2 79: VOCODER MFX 1. change the value of the assigned destina- 79: VOCODER Choose “00: THRU” if you don’t want to Sens (1–4). you would normally need to transmit system exclusive messages (MIDI messages that are specific to the JUNO-Gi) . “Multi- effect control” is the capability of using MIDI messages in this way to control multi-effect parameters in real time . slower. 82) . 2) Parameter Value Explanation Specifies the MIDI message that will control the corresponding From the EFFECT ROUTING screen (p .. 2 will be combined . Source CC01–31 Controller number 1–31 (1–4).(MFX. 48) will depend on the type of multi-effect Destination). 2 CTRL) Specifying How Multi-Effects are Combined In the MFX screen.). In the MFX screen or MFX CTRL screen. 2)” (p . -63–+63 the right.Structure TYPE01–TYPE03 combined However. Refer to (Control. etc . 00: THRU– Specifies the multi-effect type for each MFX1. You can specify up to four multi-effect control assignments for each MFX 1. toward apply a multi-effect . 46 . 48) . Source). 00: THRU– by MFX . press the [3] (STRUCT) button to access the MFX STRUCTURE screen . (MFX1. Parameter Value Explanation you’ve selected in MFX Type . value (-) if you want to change the value in each. Effects Parameters The type of parameters that can be selected (Control. Edit the parameters of the MFX type you’ve selected . Use the cursor buttons to move the cursor to the parameter that you Multi-Effect Control want to edit. Use the cursor buttons to move the cursor to the parameter that you Selects the multi-effect parameter that will Destination. press the [4] (CTRL 1) button or the [5] (CTRL 2) (MFX STRUCTURE) button. 2 will be MFX. and require a larger amount of data to be transmitted . CC33–95 Controller number 33–95 (Control. a negative direction (smaller.Type).for. and use the VALUE dial or the [DEC] [INC] buttons to specify the value .

want to apply reverb . press the [3] (CHORUS) button From the EFFECT ROUTING screen (p . and use the VALUE dial or the [DEC] [INC] buttons to set the value . 45).for.type Refer to “Chorus Parameters” (p .for. 77) . Selects the type of reverb . each.Type).reverb. Choose “00: OFF” if you don’t want (Reverb. Set the parameters of the selected chorus type . 45). Parameters. 00: OFF– 00: OFF– (Chorus.chorus.Chorus Settings (CHORUS) Reverb Settings (REVERB) From the EFFECT ROUTING screen (p .Type). Editing/Effects Other Settings Rec/Play/Edit Digital Recorder USB Memory Effects Rhythm Pattern Song Player Appendix 47 .type Refer to “Reverb Parameters” (p . Overview Selecting Sounds Use the cursor buttons to move the cursor to the parameter that you Use the cursor buttons to move the cursor to the parameter that you want to edit. Choose “00: OFF” if you don’t 03: GM2 CHORUS 05: GM2 REVERB to apply chorus . Synthesizer Parameters. to access the REVERB screen . press the [4] (REVERB) button to access the CHORUS screen . Set the parameters of the selected reverb type . and use the VALUE dial or the [DEC] [INC] buttons to set want to edit. 76) . Perform. each. Functions Parameter Value Explanation Parameter Value Explanation Selects the type of chorus . the value .

57 76 FLANGER g DELAY p. 73 CHORUS (12 types) 73 ENHANCER g FLANGER p. Effects Parameters Multi-Effects Parameters (MFX1. 64 48 . 52 PITCH (3 types) 10 SPEAKER SIMULATOR p. 67 01 EQUALIZER p. 65 The multi-effects feature 79 different kinds of effects. 59 32 2BAND CHORUS p. 72 19 STEP PAN p. 54 66 OVERDRIVE g CHORUS p. 61 38 VS DISTORTION p. 55 70 DISTORTION g FLANGER p. 54 COMBINATION (12 types) 16 STEP RING MODULATOR p. 50 56 LOFI NOISE p. 59 79 VOCODER p. 51 57 LOFI COMPRESS p. 51 58 LOFI RADIO p. 68 03 ISOLATOR p. 60 33 2BAND FLANGER p. 74 27 TREMOLO CHORUS p. 70 11 PHASER p. 50 55 TAPE ECHO p. 62 41 LIMITER p. 60 34 2BAND STEP FLANGER p. 56 74 ENHANCER g DELAY p. 63 DELAY (13 types) 43 DELAY p. 64 p. 57 75 CHORUS g DELAY p. 75 29 3D CHORUS p. 53 63 STEP PITCH SHIFTER p. 53 64 REVERB p. 55 69 DISTORTION g CHORUS p. 65 Parameters marked with a sharp “#” can be controlled using a Multi. 58 77 CHORUS g FLANGER p. 50 LO-FI (5 types) 04 LOW BOOST p. 59 VOCODER (1 type) 30 3D FLANGER p. 61 37 VS OVERDRIVE p. 70 12 STEP PHASER p. 69 08 AUTO WAH p. 49 MULTI TAP DELAY p. 74 26 HEXA-CHORUS p. 51 SHUFFLE DELAY p. Some of the 48 4TAP PAN DELAY p. 63 44 LONG DELAY p. 72 21 ROTARY p. 60 DYNAMICS (8 types) 35 OVERDRIVE p. 52 61 PITCH SHIFTER p. 62 40 COMPRESSOR p. 75 31 3D STEP FLANGER p. 69 09 HUMANIZER p. 69 06 STEP FILTER p. 50 54 LONG TIME CTRL DELAY p. 72 18 AUTO PAN p. 2) 46 47 MODULATION DELAY 3TAP PAN DELAY p. 53 REVERB (2 types) 13 MULTI STAGE PHASER p. 71 15 RING MODULATOR p. 71 17 TREMOLO p. 58 PIANO (1 type) 28 SPACE-D p. 69 MODULATION (12 types) 62 2VOICE PITCH SHIFTER p. 54 67 OVERDRIVE g FLANGER p. 64 45 SERIAL DELAY p. 73 25 STEP FLANGER p. 58 78 SYMPATHETIC RESONANCE p. 65 effects consist of two or more different effects connected in series. 56 72 ENHANCER g CHORUS p. 66 FILTER (10 types) 53 TIME CTRL DELAY p. 68 05 SUPER FILTER p. 55 68 OVERDRIVE g DELAY p. 61 39 GUITAR AMP SIMULATOR p. 72 20 SLICER p. 46) (Two setting items will change simultaneously for “#1” and “#2”). 71 14 INFINITE PHASER p. 50 REVERSE DELAY p. 54 65 GATED REVERB p. 51 59 TELEPHONE p. 52 60 PHONOGRAPH p. 67 02 SPECTRUM p. 66 52 3D DELAY p. 69 07 ENHANCER p. 61 36 DISTORTION p. 73 24 FLANGER p. 66 Effects Control (p. 72 22 VK ROTARY p. 63 42 GATE p. 73 23 CHORUS p. 56 71 DISTORTION g DELAY p.

” If the triplet triplet Other Settings sound is to be heard through headphones.be. if the delay 19: STEP PAN time is specified as a note value and you slow down the tempo until this upper limit is reached. For these types.ed.the.” 29: 3D CHORUS num/note switch 30: 3D FLANGER Selecting Sounds 31: 3D STEP FLANGER When using these effects. Overview lets you specify whether you will set the value as a numerical value chorus.Rate.modulation. Perform. 46) to reset the sequence to play from the first step . The above five types contain a sixteen-step sequencer . If the sound from the OUTPUT jacks Whole-note Dotted half note Whole note Double-note is to be heard through speakers.note. Such parameters have a num/note switch that to create a spaciousness that cannot be produced by delay. set this parameter to “SPEAKER . This 16: STEP RING MODULATOR is because there is an upper limit for the delay time.with.as.a.” This will Dotted whole Double note ensure that the optimal 3D effect will be heard . If this parameter is not note set correctly. Appendix 49 . set the num/ note switch to “Hz” (“msec”) . the full 3D effect may not appear ..About Note When Using 3D Effects Some effect parameters (such as Rate or Delay Time) can be set in The following 3D effects utilize RSS (Roland Sound Space) technology terms of a note value . set the num/note switch to “NOTE . synchronized.tempo 30˚ 30˚ note: Synthesizer Sixty-fourth-note Sixty-fourth Thirty-second. To do this. the sequence will play back from the first step USB Memory Song Player whenever you operate the modulation lever . Sixteenth note Eighth-note triplet second note triplet Dotted sixteenth Eighth note Quarter-note Dotted eighth note triplet note If the left and right speakers are too far alayer. Effects you can use a multi-effect control (p . you would make the following settings . etc .will.is.keyboard. reverb. slowing down the 06: STEP FILTER tempo will not change the delay time beyond a certain length . make sure that the speakers are at a sufficient distance from the walls on either side .the. you will not be able to use multi-effect control to control that parameter .” For example if you are using the modulation lever to control the effect.value. we recommend that you place your speakers as follows . Rhythm Pattern Parameter Value Source CC01: MODULATION Destination Step Reset Sens +63 With these settings.specifi. Thirty-second Editing/Effects triplet note note triplet note Sixteenth-note Dotted thirty. the delay time cannot change any 20: SLICER further . NOTE • If a parameter whose num/note switch is set to “NOTE” is specified as a destination for multi-effect control. If you want to set Rate (Delay Time) as a numerical 52: 3D DELAY value. If you want to set it as a note value. Each of these effects note has an “Output Mode” parameter . or as a note value . set it to “PHONES . the full 3D effect may not appear . This upper limit is the maximum value that can be specified 63: STEP PITCH SHIFTER Digital Recorder when setting the delay time as a numerical value . or if there is too much Quarter note Half-note triplet Dotted quarter Half note reverberation. About the STEP RESET function Rec/Play/Edit • If you specify the delay time as a note value. Also.the. set the multi-effect control Destination to “Step Reset . Functions * If.

4000.0 of the adjusted ranges for all the frequency bands.0. Band1 (250 Hz) Level 0–127 Output Level Band2 (500 Hz) Band3 (1000 Hz) Band4 (1250 Hz) -15–+15 dB Gain of each frequency band 04: LOW BOOST Band5 (2000 Hz) Boosts the volume of the lower range. 400 Hz Frequency of the low range Low Gain # -15–+15 dB Gain of the low range Boost/Cut Low # These boost and cut each of the High.0. Parameter Value Explanation Level # 0–127 Output Level Boost . 01: EQUALIZER 03: ISOLATOR This is a four-band stereo equalizer (low.0. the counter- channel of stereo sound is Width of the middle range 2 inverted and added to the signal.0. 8000 Hz Frequency of the high range Adjusting this level for certain High Gain # -15–+15 dB Gain of the high range Anti Phase Low Level 0–127 frequencies allows you to lend emphasis to specific parts. ON Settings of the Anti-Phase func- tion for the Middle frequency ranges The parameters are the This is a stereo spectrum.) 02: SPECTRUM Anti Phase Mid Sw OFF. 1. ON Mid2 Gain -15–+15 dB Gain of the middle range 2 When turned on. Boost/Cut Mid # -60–+4 dB Mid1 Gain -15–+15 dB Gain of the middle range 1 At -60 dB. 8. 4. 1.5. Mid1 Q 0. 8.5.0. 4.0 Set a higher value for Q to narrow the range to be affected.0. 4. and Low frequency Mid1 Freq 200–8000 Hz Frequency of the middle range 1 ranges. Turns the Anti-Phase function on and off for the Low frequency Mid2 Freq 200–8000 Hz Frequency of the middle range 2 ranges. Low Boost Level 0–127 * Depending on the Isolator Parameter Value Explanation and filter settings this effect may be hard to distinguish. 1. L in 4-Band EQ L out L in Isolator Low Boost L out R in 4-Band EQ R out R in Isolator Low Boost R out Parameter Value Explanation Parameter Value Explanation Low Freq 200. Center frequency at which the 50–125 Hz Frequency # lower range will be boosted Amount by which the lower Boost Gain # 0–+12 dB range will be boosted Width of the lower range that will Boost Width WIDE. Level # 0–127 Output Level (This is effective only for stereo source. Increasing this value gives you a R in Spectrum R out heavier low end. Spectrum is a type of filter which modifies the timbre by same as for the Low frequency Anti Phase Mid Level 0–127 boosting or cutting the level at specific frequencies.5. creating powerful lows. allowing you to add a special effect to the sound by cutting the volume in varying ranges. L in Spectrum L out Low Boost Sw OFF. 2. 8.0 Set a higher value for Q to narrow the range to be affected. high). Adjusts the level settings for the Low frequency ranges.0. 0 dB is equivalent to Width of the middle range 1 Boost/Cut High # the input level of the sound. NARROW be boosted Low Gain -15–+15 dB Gain of the low frequency range High Gain -15–+15 dB Gain of the high frequency range Level 0–127 Output level 50 . the sound becomes inaudible. 2. Mid2 Q 0. High Freq 2000. ranges.0.0. ON This emphasizes the bottom to create a heavy bass sound. MID. Band6 (3150 Hz) Band7 (4000 Hz) L in Low Boost 2-Band EQ L out Band8 (8000 Hz) Simultaneously adjusts the width R in Low Boost 2-Band EQ R out Q 0. Middle. Turns Low Booster on/off. 2. This is an equalizer which cuts the volume greatly. mid x 2. Anti Phase Low Sw OFF.

05: SUPER FILTER 06: STEP FILTER This is a filter with an extremely sharp slope. -12 dB Gentle Filter Slope Filter resonance level -24 dB Steep Filter . Modulation Wave SAW2 Sawtooth wave (downward) SAW1 SAW2 07: ENHANCER Digital Recorder Controls the overtone structure of the high frequencies. note Rate of modulation L in Enhancer 2-Band L out Mix EQ Depth 0–127 Depth of modulation Rhythm Pattern Speed at which the cutoff 2-Band frequency will change R in Enhancer R out Attack # 0–127 Mix EQ This is effective if Modulation Wave is SQR. note Rate of modulation LPF Frequencies below the cutoff Speed at which the cutoff Frequencies in the region of the Attack # 0–127 frequency changes between Filter Type BPF steps cutoff Perform. adding sparkle and tightness Effects to the sound. Level 0–127 Output level Parameter Value Explanation Sens # 0–127 Sensitivity of the enhancer Level of the overtones generated Mix # 0–127 by the enhancer USB Memory Song Player Low Gain -15–+15 dB Gain of the low range High Gain -15–+15 dB Gain of the high range Level 0–127 Output Level Appendix 51 . Modulation Sw OFF. Rate # 0. Increasing this value will 0–127 Amount of boost for the filter Resonance # emphasize the region near the Filter Gain 0–+12 dB output cutoff frequency. Overview L in Super Filter L out L in Step Filter L out R in Super Filter R out R in Step Filter R out Selecting Sounds Parameter Value Explanation Parameter Value Explanation Filter type Step 01-16 0–127 Cutoff frequency at each step Frequency range that will pass through each filter Rate # 0. ON On/off switch for cyclic change Amount of boost for the filter Filter Gain 0–+12 dB How the cutoff frequency will be modulated output TRI Triangle wave Level 0–127 Output level Rec/Play/Edit SQR Square wave MEMO SIN Sine wave You can use multi-effect control to make the step sequence play again from SAW1 Sawtooth wave (upward) the beginning (p. or SAW2. Filter . You can specify the cyclically.05–10. Functions HPF Frequencies above the cutoff Filter type Frequency range that will pass through each filter Frequencies other than the NOTCH region of the cutoff LPF Frequencies below the cutoff Amount of attenuation per octave Filter Type Frequencies in the region of the BPF Synthesizer cutoff -12 dB Gentle Filter Slope HPF Frequencies above the cutoff -24 dB Steep Frequencies other than the Editing/Effects -36 dB Extremely steep NOTCH region of the cutoff Cutoff frequency of the filter Amount of attenuation per octave Filter Cutoff # 0–127 Increasing this value will raise the cutoff frequency. pattern by which the cutoff frequency will change.05–10. 46). SAW1.00 Hz. The cutoff frequency can be varied This is a filter whose cutoff frequency can be modulated in steps. Increasing this value will -36 dB Extremely steep 0–127 Resonance # emphasize the region near the Other Settings Filter resonance level cutoff frequency.00 Hz.

) Type of speaker The filter will change toward a Adjusts the location of the Polarity UP higher frequency. ON for switching the vowels is reset by the input signal (ON) or not (OFF). 09: HUMANIZER Type Cabinet Speaker Microphone SMALL 1 Small open-back enclosure 10 Dynamic Adds a vowel character to the sound. Adjusts the degree of phase shift Mic Level # 0–127 Volume of the microphone Phase # 0–180 deg of the left and right sounds when Direct Level # 0–127 Volume of the direct sound the wah effect is applied. Set a higher value for Q to narrow the range to be affected. o. The filter will change toward a DOWN Mic Setting 1. with the microphone Rate # 0. Low Gain -15–+15 dB Gain of the low frequency range Parameter Value Explanation High Gain -15–+15 dB Gain of the high frequency range Type of filter Pan # L64–63R Stereo location of the output The wah effect will be applied LPF Level 0–127 Output level Filter Type over a wide frequency range. Vowel 2 will have a longer R in Auto Wah 2-Band EQ R out 51–100 duration. Vowel 1 will have a longer 0–49 duration. SMALL 2 Small open-back enclosure 10 Dynamic L in L out Pan L MIDDLE Open back enclosure 12 x 1 Dynamic Overdrive Formant 2-Band EQ JC-120 Open back enclosure 12 x 2 Dynamic Pan R R in BUILT-IN 1 Open back enclosure 12 x 2 Dynamic R out BUILT-IN 2 Open back enclosure 12 x 2 Condenser Parameter Value Explanation BUILT-IN 3 Open back enclosure 12 x 2 Condenser Drive Sw OFF. i. and 3.05–10. Vowel2 a. The wah effect will be applied BPF over a narrow frequency range. Level # 0–127 Output Level Low Gain -15–+15 dB Gain of the low range High Gain -15–+15 dB Gain of the high range Level 0–127 Output Level Specifications of each Speaker Type The speaker column indicates the diameter of each speaker unit (in inches) and the number of units. Volume level at which reset is Input Sync Threshold 0–127 applied 52 . L in Auto Wah 2-Band EQ L out Manual # Vowel 1 and 2 will be of equal 50 duration.00 Hz. Simulates the speaker type and microphone settings used to record the speaker sound. Adjusts the amount of the wah effect that will occur in the range L in Speaker L out Peak 0–127 of the center frequency. making it similar to a human voice. R in Speaker R out Adjusts the sensitivity with which Sens # 0–127 the filter is controlled. note vowels switch METAL STACK Large double stack 12 x 4 Condenser Depth # 0–127 Effect depth 2-STACK Large double stack 12 x 4 Condenser LFO reset on/off 3-STACK Large triple stack 12 x 4 Condenser Determines whether the LFO Input Sync Sw OFF. microphone that is recording the sound of the speaker. u MS STACK 1 Large sealed enclosure 12 x 4 Condenser Frequency at which the two MS STACK 2 Large sealed enclosure 12 x 4 Condenser Rate # 0. Parameter Value Explanation Sets the direction in which the frequency will change when the auto-wah filter is modulated. i. 08: AUTO WAH Parameter Value Explanation Point at which Vowel 1/2 switch Cyclically controls a filter to create cyclic change in timbre. steps.05–10. u BG STACK 2 Large sealed enclosure 12 x 2 Condenser Selects the vowel. Speaker Type (See the table right. e. BUILT-IN 4 Open back enclosure 12 x 2 Condenser Degree of distortion BUILT-IN 5 Open back enclosure 12 x 2 Condenser Drive # 0–127 Also changes the volume. ON Turns Drive on/off. 3 This can be adjusted in three lower frequency. 2. 2. Adjusts the center frequency at 10: SPEAKER SIMULATOR Manual # 0–127 which the effect is applied. o.00 Hz. note Frequency of modulation becoming more distant in the Depth # 0–127 Depth of modulation order of 1. e. BG STACK 1 Sealed enclosure 12 x 2 Condenser Vowel1 a.

When using a mono Polarity source. phaser sound that is fed back -98–+98% Feedback into the effect. Select this when Pan R R in Other Settings inputting a stereo source. A phase-shifted sound is added to the original sound and will be the same or the opposite. 8-STAGE. Select this when inputting a stereo source. 11: PHASER Parameter Value Explanation Selects whether the left and right phase of the modulation This is a stereo phaser. phaser sound that is fed back -98–+98% 4-STAGE. 16-STAGE. Parameter Value Explanation Rate of the step-wise change in 4-STAGE. Feedback into the effect. Mode 8-STAGE. Overview The left and right phase will be INVERSE opposite. Stereo location of the output Pan # L64–63R sound Low Gain -15–+15 dB Gain of the low range L in 2-Band L out Step Phaser EQ High Gain -15–+15 dB Gain of the high range Mix Level 0–127 Output Level Rhythm Pattern Mix R in Step Phaser 2-Band R out EQ Parameter Value Explanation 4-STAGE. L in 2-Band L out Phaser EQ The left and right phase will Mix SYNCHRO be the same.10–20. Functions Mode 8-STAGE. Level 0–127 Output Level Rate # 0. modulated. this spreads the sound. note Frequency of modulation Depth 0–127 Depth of modulation 12: STEP PHASER Resonance # 0–127 Amount of feedback Digital Recorder Mix # 0–127 Level of the phase-shifted sound Effects This is a stereo phaser. Pan L The left and right phase will Multi Stage 2-Band Phaser Mix EQ SYNCHRO be the same. Number of phaser stages 20-STAGE. Number of stages in the phaser 12-STAGE Mix # 0–127 Level of the phase-shifted sound Adjusts the basic frequency Low Gain -15–+15 dB Gain of the low range Manual # 0–127 from which the sound will be High Gain -15–+15 dB Gain of the high range modulated. Negative (-) settings will invert the phase. this spreads the sound. 24-STAGE Mix # 0–127 Level of the phase-shifted sound Rec/Play/Edit Adjusts the basic frequency Low Gain -15–+15 dB Gain of the low range Manual # 0–127 from which the sound will be High Gain -15–+15 dB Gain of the high range modulated. Negative (-) settings will invert the phase.00 Hz.00 Hz.00 Hz. note the phaser effect Perform. The left and right phase will be Extremely high settings of the phase difference produce a deep phaser effect.05–10. The phaser effect will be varied gradually. Synthesizer Level 0–127 Output Level Rate # 0.00 Hz. When using a mono L in Polarity L out source.05–10. note Frequency of modulation Depth 0–127 Depth of modulation Appendix 53 . Step Rate # 0. Mix Selecting Sounds Resonance # 0–127 Amount of feedback R in Phaser 2-Band R out EQ Adjusts the proportion of the Cross . INVERSE opposite. R out Resonance Resonance # 0–127 Amount of feedback Adjusts the proportion of the Parameter Value Explanation Cross . Number of stages in the phaser USB Memory Song Player 12-STAGE Adjusts the basic frequency Manual # 0–127 from which the sound will be modulated. Mode 12-STAGE. Rate # 0.05–10. note Frequency of modulation Depth 0–127 Depth of modulation 13: MULTI STAGE PHASER Editing/Effects Selects whether the left and right phase of the modulation will be the same or the opposite.

05–10. 14: INFINITE PHASER 16: STEP RING MODULATOR A phaser that continues raising/lowering the frequency at which the sound is This is a ring modulator that uses a 16-step sequence to vary the frequency at which modulated. L in L out L in Step Ring Mod 2-Band EQ L out Pan L Infinite Phaser 2-Band EQ Pan R R in R out R in Step Ring Mod 2-Band EQ R out Parameter Value Explanation Parameter Value Explanation Higher values will produce a Mode 1. 4 Frequency of ring modulation at deeper phaser effect. note Frequency of the change Balance # D100:0W–D0:100W direct sound (D) and the effect Depth to which the effect is sound (W) Depth # 0–127 applied Level 0–127 Output level Low Gain -15–+15 dB Gain of the low range High Gain -15–+15 dB Gain of the high range Level 0–127 Output Level 54 . This is an effect that applies amplitude modulation (AM) to the input signal. note Speed # -100–+100 sequence will cycle sound is modulated (+: upward / -: downward) Speed at which the modulation Attack # 0–127 frequency changes between Resonance # 0–127 Amount of feedback steps Volume of the phase-shifted Mix # 0–127 Amount of boost/cut for the sound Low Gain -15–+15 dB low-frequency range Pan # L64–63R Panning of the output sound Amount of boost/cut for the High Gain -15–+15 dB Amount of boost/cut for the high-frequency range Low Gain -15–+15 dB low-frequency range Volume balance of the original Balance # D100:0W–D0:100W Amount of boost/cut for the sound (D) and effect sound (W) High Gain -15–+15 dB high-frequency range Level 0–127 Output volume Level 0–127 Output volume MEMO 15: RING MODULATOR You can use multi-effect control to make the step sequence play again from the beginning (p. SIN Sine wave Determines whether the frequency modulation moves towards higher frequencies or lower frequencies.05–10.00 Hz. You can also change the modulation frequency in response to changes in the volume of the sound sent into the effect. 2. producing bell-like sounds. L in Ring Mod 2-Band EQ L out L in Tremolo 2-Band EQ L out R in Ring Mod 2-Band EQ R out R in Tremolo 2-Band EQ R out Parameter Value Explanation Parameter Value Explanation Adjusts the frequency at which Modulation Wave Frequency # 0–127 modulation is applied. Step 01-16 0–127 each step Speed at which to raise or Rate at which the 16-step lower the frequency at which the Rate # 0. Mod Wave SAW1/2 Sawtooth wave Polarity UP Higher frequencies SAW1 SAW2 DOWN Lower frequencies Low Gain -15–+15 dB Gain of the low frequency range High Gain -15–+15 dB Gain of the high frequency range Volume balance between the Rate # 0. 46).00 Hz. modulation is applied. 17: TREMOLO Cyclically modulates the volume to add tremolo effect to the sound. 3. TRI Triangle wave Adjusts the amount of frequency Sens # 0–127 SQR Square wave modulation applied.

ON resume from the first step of the Rhythm Pattern sequence (ON) or not (OFF) Volume at which an input note Input Sync Threshold 0–127 will be detected Level 0–127 Output volume MEMO You can use multi-effect control to make the step sequence play again from the beginning (p.05–10. ON resume from the first step of the Synthesizer sequence (ON) or not (OFF) L L Volume at which an input note Input Sync Threshold 0–127 Rate # 0.). 46). the later the beat progresses. note sequence will cycle SAW1/2 Sawtooth wave Perform. Attack # 0–127 between steps Specifies whether an input note will cause the sequence to Input Sync Sw OFF. SLASH volume occurs even if the level of the following step is the same as L in Step Pan L out the preceding step. The higher the value. 18: AUTO PAN 20: SLICER Cyclically modulates the stereo location of the sound. USB Memory Song Player Appendix 55 .05–10. L in Slicer L out R in Auto Pan 2-Band EQ R out Parameter Value Explanation R in Slicer R out Selecting Sounds Modulation Wave TRI Triangle wave Parameter Value Explanation SQR Square wave Step 01-16 0–127 Level at each step SIN Sine wave Rate at which the 16-step Rate # 0. This change in This uses a 16-step sequence to vary the panning of the sound. step 4.. 46). step 6. there is no Mode Other Settings change in volume. this effect turns a conventional sound into a sound that appears to be played as a backing phrase. applied Low Gain -15–+15 dB Gain of the low range The change in volume from one step’s level to the next High Gain -15–+15 dB Gain of the high range remains unaltered. Functions Mod Wave Speed at which the level changes SAW1 SAW2 Attack # 0–127 between steps R R Specifies whether an input note will cause the sequence to Input Sync Sw OFF. If the level of LEGATO Level 0–127 Output Level a following step is the same as the one preceding it.00 Hz.. Parameter Value Explanation Level 0–127 Output level Step 01-16 L64–63R Pan at each step Rate at which the 16-step Digital Recorder Rate # 0.00 Hz. note MEMO sequence will cycle You can use multi-effect control to make the step sequence play again from Effects Speed at which the pan changes the beginning (p. By applying successive cuts to the sound. 19: STEP PAN The level is momentarily set to 0 before progressing to the level of the next step. This is especially effective when Overview L in Auto Pan 2-Band EQ L out applied to sustain-type sounds. Timing of volume changes in Rec/Play/Edit levels for even-numbered steps R in Step Pan R out Shuffle # 0–127 (step 2. note Frequency of the change will be detected Editing/Effects Depth to which the effect is Sets the manner in which the volume changes as one step Depth # 0–127 progresses to the next.00 Hz.05–10.

Lower values EQ will require longer times.00 Hz woofer High-speed rotation speed of Woofer Fast Speed 0. R in Tweeter Trans Down 0–127 R out Tweeter Level 0–127 Parameter Value Explanation Sets the rotary speaker stereo image. This effect is most suitable for electric organ Woofer Level 0–127 Volume of the woofer Tones. Slows down the rotation to the Speed # SLOW Low Gain -15–+15 dB Gain of the low range Slow Rate.00 Hz Fast speed (FAST) of the low 23: CHORUS frequency rotor This is a stereo chorus. Tweeter Slow Speed 0. the unique type of modulation characteristic of these FAST to SLOW. out. ON When this is turned on. Level # 0–127 Output Level Slow speed (SLOW) of the low Woofer Slow Speed 0. High Gain -15–+15 dB Gain of the high range Speeds up the rotation to the FAST Fast Rate.0–100 msec direct sound until the chorus sound is heard.00 Hz R in 2-Band R out Settings of the high frequency Balance D EQ Tweeter Fast Speed 0. note Frequency of modulation Depth 0–127 Depth of modulation R in 2-Band EQ R out Phase 0–180 deg Spatial spread of the sound Parameter Value Explanation Low Gain -15–+15 dB Gain of the low range Rotational speed of the rotating speaker High Gain -15–+15 dB Gain of the high range Speed # SLOW Slow Volume balance between the Balance # D100:0W–D0:100W direct sound (D) and the chorus FAST Fast sound (W) Switches the rotation of the Level 0–127 Output Level rotary speaker. Brake # OFF. 21: ROTARY Parameter Value Explanation Adjusts the rate at which the The Rotary effect simulates the sound of the rotary speakers often used with the woofer rotation speeds up when Woofer Trans Down 0–127 electric organs of the past.00 Hz frequency rotor Woofer Fast Speed 0.05–10. Adjusts the delay time from the L in 2-Band EQ L out Pre Delay 0.00 Hz L in L out Tweeter Fast Speed 0. the rotation will gradually stop.05–10. Since the movement of the high range and low range the rotation is switched from rotors can be set independently.05–10.00 Hz rotor Tweeter Acceleration 0–15 The parameters are the same as for the low frequency rotor Parameter Value Explanation Tweeter Level 0–127 Type of filter Separation 0–127 Spatial dispersion of the sound OFF No filter is used Level # 0–127 Output Level Filter Type Cuts the frequency range above LPF the Cutoff Freq 22: VK ROTARY HPF Cuts the frequency range below the Cutoff Freq This type provides modified response for the rotary speaker.00 Hz. A filter is provided so that you can adjust the timbre of the Adjusts the time it takes the chorus sound.05–10. Low-speed rotation speed of the Woofer Slow Speed 0.05–10. The higher the value set. Chorus Balance W Volume of the low frequency Woofer Level 0–127 Chorus Balance W rotor Tweeter Slow Speed 0. with the low end boosted Center frequency when using the further. low frequency rotor to reach the newly selected speed when Balance D Woofer Acceleration 0–15 switching from fast to slow (or L in 2-Band L out slow to fast) speed. Rotary Rate # 0.05–10.05–10.05–10. speakers can be simulated quite closely. When it is turned off.00 Hz the woofer Adjusts the rate at which the woofer rotation speeds up when Woofer Trans Up 0–127 the rotation is switched from SLOW to FAST. the rotation will gradually resume.05–10. 56 . Cutoff Freq 200–8000 Hz filter to cut a specific frequency range This effect features the same specifications as the VK-7’s built-in rotary speaker.00 Hz Settings of the tweeter The Rotary Tweeter Trans Up 0–127 parameters are the same as for the woofer. Simultaneously switch the rotational speed of the low Spread 0–10 the wider the sound is spread frequency rotor and high frequency rotor.

Rate # 0.00 Hz. A filter is provided so that you can adjust the timbre of the flanged sound. Negative (-) settings will invert the phase. Overview landing.00 Hz. note Rate (period) of pitch change Low Gain -15–+15 dB Gain of the low range Low Gain -15–+15 dB Gain of the low range High Gain -15–+15 dB Gain of the high range High Gain -15–+15 dB Gain of the high range Volume balance between the Volume balance between the Balance # D100:0W–D0:100W direct sound (D) and the flanger Balance # D100:0W–D0:100W direct sound (D) and the flanger sound (W) sound (W) Digital Recorder Level 0–127 Output Level Level 0–127 Output Level USB Memory Effects Rhythm Pattern Song Player Appendix 57 .) This is a flanger in which the flanger pitch changes in steps. The speed at which the It produces a metallic resonance that rises and falls like a jet airplane taking off or pitch changes can also be specified in terms of a note-value of a specified tempo. note Frequency of modulation Other Settings Rate # 0. until the flanger sound is heard.0–100 msec when the direct sound begins until the flanger sound is heard. Negative (-) Feedback # -98–+98% into the effect. 24: FLANGER 25: STEP FLANGER This is a stereo flanger.10–20. settings will invert the phase. Balance D Balance D L in 2-Band L out L in 2-Band L out EQ EQ Step Flanger Balance W Flanger Balance W Feedback Selecting Sounds Feedback Feedback Feedback Step Flanger Balance W Flanger Balance W R in 2-Band R out R in 2-Band R out Balance D EQ Balance D EQ Perform.0–100 msec when the direct sound begins Pre Delay 0.05–10. Functions Parameter Value Explanation Parameter Value Explanation Type of filter Type of filter OFF No filter is used OFF No filter is used Filter Type Cuts the frequency range above Synthesizer LPF Filter Type Cuts the frequency range above the Cutoff Freq LPF the Cutoff Freq Cuts the frequency range below HPF Cuts the frequency range below the Cutoff Freq Editing/Effects HPF the Cutoff Freq Center frequency when using the Center frequency when using the Cutoff Freq 200–8000 Hz filter to cut a specific frequency Cutoff Freq 200–8000 Hz filter to cut a specific frequency range range Adjusts the delay time from Adjusts the delay time from Pre Delay 0. note Frequency of modulation Depth 0–127 Depth of modulation Depth 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound Phase 0–180 deg Spatial spread of the sound Adjusts the proportion of the Adjusts the proportion of the flanger sound that is fed back Feedback # -98–+98% flanger sound that is fed back into the effect.00 Hz. Rec/Play/Edit Step Rate # 0.05–10. (The LFO has the same phase for left and right.

L in L out Balance D Balance W Tremolo Chorus Balance W R in R out Balance D Parameter Value Explanation Adjusts the delay time from the Pre Delay 0.0–100 msec direct sound until the chorus sound is heard.00 Hz. Rate # 0.05–10. note Frequency of modulation Depth 0–127 Depth of modulation Depth 0–127 Depth of modulation Adjusts the differences in Pre Pre Delay Deviation 0–20 Delay between each chorus Phase 0–180 deg Spatial spread of the sound sound. Pre Delay 0. note Frequency of modulation Rate # 0.0–100 msec direct sound until the chorus Adjusts the delay time from the sound is heard. L in L out Balance D L in 2-Band L out Balance D Balance W EQ Hexa Chorus Space D Balance W Balance W Space D Balance W R in R out Balance D R in 2-Band R out Balance D EQ Parameter Value Explanation Parameter Value Explanation Adjusts the delay time from the Pre Delay 0. note chorus effect Modulation depth of the chorus Chorus Depth 0–127 effect Modulation frequency of the Tremolo Rate # 0. but produces a transparent chorus effect.00 Hz.05–10.00 Hz. Volume balance between the Balance # D100:0W–D0:100W direct sound (D) and the chorus Adjusts the difference in stereo sound (W) 0–20 location between each chorus sound. Volume balance between the Balance # D100:0W–D0:100W direct sound (D) and the chorus sound (W) Level 0–127 Output Level 27: TREMOLO CHORUS This is a chorus effect with added Tremolo (cyclic modulation of volume). note tremolo effect Tremolo Separation 0–127 Spread of the tremolo effect Tremolo Phase 0–180 deg Spread of the tremolo effect Volume balance between the Balance # D100:0W–D0:100W direct sound (D) and the tremolo chorus sound (W) Level 0–127 Output Level 58 . Low Gain -15–+15 dB Gain of the low range Adjusts the difference in High Gain -15–+15 dB Gain of the high range Depth Deviation -20–+20 modulation depth between each chorus sound. Modulation frequency of the Chorus Rate # 0. Level 0–127 Output Level All chorus sounds will be in the Pan Deviation 0 center.05–10. Each chorus sound will be 20 spaced at 60 degree intervals relative to the center. It gives no spread to the sound.0–100 msec direct sound until the chorus sound is heard.05–10.00 Hz. impression of modulation. 26: HEXA-CHORUS 28: SPACE-D Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial This is a multiple chorus that applies two-phase modulation in stereo.

3D Step Flanger Rate # 0.00 Hz.0–100 msec direct sound until the chorus EQ Editing/Effects sound is heard.05–10. into the effect. The flanger sound will be positioned Cutoff Freq 200–8000 Hz filter to cut a specific frequency 90 degrees left and 90 degrees right.0–100 msec when the direct sound begins Appendix until the flanger sound is heard. L 2-Band L out The optimal 3D effect will be achieved.05–10. note Frequency of modulation 2-Band R R out Modulation depth of the chorus EQ Depth 0–127 effect Phase 0–180 deg Spatial spread of the sound Parameter Value Explanation The optimal 3D effect will be achieved. Phase 0–180 deg Spatial spread of the sound Effects Adjusts the proportion of the L 2-Band L out flanger sound that is fed back EQ Feedback # -98–+98% into the effect.10–20. note Frequency of modulation Depth 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound 59 .0–100 msec when the direct sound begins until the flanger sound is heard. Output Mode SPEAKER When using speakers Parameter Value Explanation PHONES When using headphones Type of filter Low Gain -15–+15 dB Gain of the low range OFF No filter is used High Gain -15–+15 dB Gain of the high range Filter Type Cuts the frequency range above LPF Volume balance between the the Cutoff Freq USB Memory Song Player Balance # D100:0W–D0:100W direct sound (D) and the flanger Cuts the frequency range below sound (W) HPF the Cutoff Freq Level 0–127 Output Level Center frequency when using the Cutoff Freq 200–8000 Hz filter to cut a specific frequency range Adjusts the delay time from Pre Delay 0. The chorus sound will be positioned 90 flanger sound that is fed back Feedback # -98–+98% degrees left and 90 degrees right. note Frequency of modulation Depth 0–127 Depth of modulation Digital Recorder This applies a 3D effect to the flanger sound. The flanger sound will be positioned 90 degrees left and 90 degrees right. Negative (-) 3D Flanger settings will invert the phase. Negative (-) Overview settings will invert the phase. Synthesizer range Adjusts the delay time from the L 2-Band L out Pre Delay 0. note Rate (period) of pitch change R R out Rhythm Pattern EQ The optimal 3D effect will be achieved. EQ Output Mode SPEAKER When using speakers 3D Chorus PHONES When using headphones R 2-Band R out Low Gain -15–+15 dB Gain of the low range EQ Selecting Sounds High Gain -15–+15 dB Gain of the high range Parameter Value Explanation Volume balance between the Type of filter Balance # D100:0W–D0:100W direct sound (D) and the flanger sound (W) OFF No filter is used Level 0–127 Output Level Filter Type Cuts the frequency range above LPF Perform.00 Hz. 2-Band Step Rate # 0.00 Hz. 29: 3D CHORUS Parameter Value Explanation Adjusts the proportion of the This applies a 3D effect to the chorus sound. 30: 3D FLANGER Rate # 0. Rate # 0. Functions the Cutoff Freq HPF Cuts the frequency range below the Cutoff Freq 31: 3D STEP FLANGER Center frequency when using the This applies a 3D effect to the step flanger sound.05–10. Type of filter Other Settings Output Mode SPEAKER When using speakers OFF No filter is used PHONES When using headphones Filter Type Cuts the frequency range above LPF the Cutoff Freq Low Gain -15–+15 dB Gain of the low range Cuts the frequency range below High Gain -15–+15 dB Gain of the high range HPF the Cutoff Freq Volume balance between the Center frequency when using the Balance # D100:0W–D0:100W direct sound (D) and the chorus Rec/Play/Edit Cutoff Freq 200–8000 Hz filter to cut a specific frequency sound (W) range Level 0–127 Output Level Adjusts the delay time from Pre Delay 0.00 Hz.

10–20. note flanger sound that is to be chorus sound is modulated High Feedback # -98–+98% returned to the input (negative Modulation depth for the values invert the phase) Low Depth 0–127 low-range chorus sound Volume balance of the original Spaciousness of the low-range Balance # D100:0W–D0:100W Low Phase 0–180 deg sound (D) and flanger sound (W) chorus sound Level 0–127 Output Level Delay time from when the original sound is heard to when High Pre Delay 0.00 Hz.0–100 msec original sound is heard to when the high-range flanger sound is heard Parameter Value Explanation Rate at which the high-range Frequency at which the low and High Rate # 0.00 Hz. note A step flanger that lets you apply an effect independently to the low-frequency and chorus sound is modulated high-frequency ranges.05–10.05–10. Modulation depth for the High Depth 0–127 high-range chorus sound L in L out Spaciousness of the high-range High Band Step Flanger High Phase 0–180 deg chorus sound Split High Band Feedback Volume balance of the original Balance # D100:0W–D0:100W sound (D) and chorus sound (W) Low Band Step Flanger Level 0–127 Output Level Low Band Feedback High Band Feedback 33: 2 BAND FLANGER High Band Step Flanger A flanger that lets you apply an effect independently to the low-frequency and Split Low Band Feedback high-frequency ranges.05–10.0–100 msec Spaciousness of the high-range the low-range chorus sound is High Phase 0–180 deg heard flanger sound Rate at which the low-range Proportion of the high-range Low Rate # 0. note Split Freq 200–8000 Hz flanger sound is modulated high ranges will be divided Modulation depth for the Delay time from when the High Depth 0–127 high-range flanger sound original sound is heard to when Low Pre Delay 0.0–100 msec Low Step Rate # 0. Modulation depth for the Low Depth 0–127 L in L out low-range flanger sound Spaciousness of the low-range Low Phase 0–180 deg flanger sound Proportion of the low-range flanger sound that is to be Low Feedback # -98–+98% returned to the input (negative values invert the phase) Delay time from when the R in R out High Pre Delay 0.0–100 msec the high-range chorus sound is heard 34: 2 BAND STEP FLANGER Rate at which the low-range High Rate # 0. note Split flanger sound is modulated Modulation depth for the Low Band Flanger Low Depth 0–127 low-range flanger sound R in R out Spaciousness of the low-range Low Phase 0–180 deg flanger sound Parameter Value Explanation Proportion of the low-range Frequency at which the low and flanger sound that is to be Split Freq 200–8000 Hz Low Feedback # -98–+98% high ranges will be divided returned to the input (negative Delay time from when the values invert the phase) original sound is heard to when Rate at which the steps will cycle Low Pre Delay 0.00 Hz.00 Hz.0–100 msec the low-range flanger sound is heard High Band Flanger Rate at which the low-range Low Band Feedback Low Rate # 0.00 Hz.05–10. note A chorus effect that lets you apply an effect independently to the low-frequency and flanger sound is modulated high-frequency ranges. note the low-range flanger sound is for the low-range flanger sound heard 60 . Low Band Step Flanger L in L out R in R out High Band Flanger Split High Band Feedback Parameter Value Explanation Frequency at which the low and Low Band Flanger Split Freq 200–8000 Hz high ranges will be divided Low Band Feedback Delay time from when the High Band Feedback original sound is heard to when Low Pre Delay 0.05–10. 32: 2 BAND CHORUS Parameter Value Explanation Rate at which the low-range Low Rate # 0.00 Hz.

05–10. flanger sound that is to be High Feedback # -98–+98% Sound quality of the Overdrive returned to the input (negative Tone # 0–127 effect values invert the phase) Amp Sw OFF.” L in L out Amp 2-Band Pan L Distortion Simulator EQ Pan R R in R out USB Memory Song Player Appendix 61 . Rate at which the steps will cycle Perform. High Pre Delay 0. Stereo location of the output Pan # L64–63R L in L out sound Pan L Over Amp 2-Band Level 0–127 Output Level drive Simulator EQ Pan R R in R out 38: VS DISTORTION Other Settings Parameter Value Explanation This is a distortion effect that provides heavy distortion. The parameters are the same Degree of distortion as for “37: VS OVERDRIVE. ON Turns the Amp Simulator on/off.0–100 msec the high-range flanger sound Overview is heard L in L out Amp 2-Band Pan L High Rate # 0. note for the high-range flanger sound Type of guitar amp Volume balance of the original SMALL Small amp Balance # D100:0W–D0:100W sound (D) and flanger sound (W) Amp Type BUILT-IN Single-unit type amp Level 0–127 Output Level 2-STACK Large double stack amp Synthesizer 3-STACK Large triple stack amp 35: OVERDRIVE Low Gain -15–+15 dB Gain of the low range Editing/Effects High Gain -15–+15 dB Gain of the high range Creates a soft distortion similar to that produced by vacuum tube amplifiers.00 Hz.10–20. The parameters are the same as for “35: OVERDRIVE. note Rate at which the high-range Overdrive flanger sound is modulated Simulator EQ Pan R Modulation depth for the R in R out High Depth 0–127 high-range flanger sound Selecting Sounds Spaciousness of the high-range Parameter Value Explanation High Phase 0–180 deg flanger sound Degree of distortion Drive # 0–127 Proportion of the high-range Also changes the volume. Functions High Step Rate # 0.” Drive # 0–127 Also changes the volume. L in L out Type of guitar amp Pan L Distortion Amp 2-Band SMALL Small amp Simulator EQ Pan R Rec/Play/Edit Amp Type BUILT-IN Single-unit type amp R in R out 2-STACK Large double stack amp 3-STACK Large triple stack amp Low Gain -15–+15 dB Gain of the low range High Gain -15–+15 dB Gain of the high range Stereo location of the output Digital Recorder Pan # L64–63R sound Effects Level 0–127 Output Level 36: DISTORTION Rhythm Pattern Produces a more intense distortion than Overdrive. Parameter Value Explanation Delay time from when the 37: VS OVERDRIVE original sound is heard to when This is an overdrive that provides heavy distortion.00 Hz.

CLEAN TWIN. or not (OFF). Adjusts the volume at which Threshold # 0–127 compression begins Speaker Type (See the table below. number of units. smoothing out fluctuations in volume. MIDDLE. MS1959I. Parameter Value Explanation Pre Amp Bright OFF. HIGH Amount of pre-amp distortion Pre Amp Bass Tone of the bass/mid/treble Flattens out high levels and boosts low levels. Adjusts the location of the microphone that’s capturing the Low Gain -15–+15 dB Gain of the low range sound of the speaker. ON passes through the speaker (ON). High Gain -15–+15 dB Gain of the high range Mic Setting 1. BUILT-IN 5 Open back enclosure 12 x 2 Condenser MS1959II. BUILT-IN 3 Open back enclosure 12 x 2 Condenser MATCH DRIVE.” and “BG Sets the time from when the LEAD” Pre Amp Types. FUZZ 2-STACK Large double stack 12 x 4 Condenser Volume and amount of distortion 3-STACK Large triple stack 12 x 4 Condenser Pre Amp Volume # 0–127 of the amp 40: COMPRESSOR Pre Amp Master # 0–127 Volume of the entire pre-amp Pre Amp Gain LOW. Tone for the ultra-high frequency Pre Amp Presence 0–127 range R in Compressor 2-Band EQ R out Turning this “On” produces a sharper and brighter sound. METAL 5150. METAL STACK Large double stack 12 x 4 Condenser DISTORTION. BUILT-IN 4 Open back enclosure 12 x 2 Condenser BG LEAD. input exceeds the Threshold Attack # 0–127 until the volume starts being Determines whether the signal compressed Speaker Sw OFF. frequency range Pre Amp Middle 0–127 Middle cannot be set if “MATCH L in Compressor 2-Band EQ L out DRIVE” is selected as the Pre Amp Pre Amp Treble Type. L in L out Type Cabinet Speaker Microphone Pan L SMALL 1 Small open-back enclosure 10 Dynamic Pre Amp Speaker Pan R SMALL 2 Small open-back enclosure 10 Dynamic R in R out MIDDLE Open back enclosure 12 x 1 Dynamic JC-120 Open back enclosure 12 x 2 Dynamic Parameter Value Explanation BUILT-IN 1 Open back enclosure 12 x 2 Dynamic Pre Amp Sw OFF. BUILT-IN 2 Open back enclosure 12 x 2 Condenser JC-120. BG STACK 1 Sealed enclosure 12 x 2 Condenser MS1959I+II. with the Level # 0–127 Output Level microphone becoming more distant as the value increases. 2.” “CLEAN TWIN. MS STACK 2 Large sealed enclosure 12 x 4 Condenser OD-2 TURBO. OD-1. ON This parameter applies to the “JC-120. Mic Level 0–127 Volume of the microphone Direct Level 0–127 Volume of the direct sound Stereo location of the output Pan # L64–63R sound Level # 0–127 Output Level 62 . from 1 to 3.) Type of speaker Post Gain 0–+18 dB Adjusts the output gain. 3 This can be adjusted in three steps. 39: GUITAR AMP SIMULATOR Specifications for each Speaker Type The speaker column indicates the diameter of each speaker unit (in inches) and the This is an effect that simulates the sound of a guitar amplifier. Pre Amp Type Type of guitar amp BG STACK 2 Large sealed enclosure 12 x 2 Condenser SLDN LEAD. MS STACK 1 Large sealed enclosure 12 x 4 Condenser METAL LEAD. ON Turns the amp switch on/off.

DUCK (Ducking) increases. When Feedback Mode is NORMAL: Overview L in Limiter 2-Band EQ L out Balance D L in 2-Band L out EQ Delay Balance W R in Limiter 2-Band EQ R out Feedback Selecting Sounds Feedback Parameter Value Explanation Adjusts the time after the signal Delay Balance W volume falls below the Threshold Release # 0–127 R in 2-Band Level until compression is no R out longer applied. Rhythm Pattern frequencies. CROSS sound is fed back into the effect. Adjusts the frequency above which sound fed back to the Adjusts the time it takes for the effect is filtered out. Parameter Value Explanation Other Settings L in Gate L out Delay Left Adjusts the time until the delay 0–1300 msec. High Gain -15–+15 dB Gain of the high range Adjusts the time it takes the gate Volume balance between the Release 0–127 to fully close after the hold time. 2:1. Adjusts the amount of the delay Digital Recorder sound that’s fed back into the The gate will close when the Feedback # -98–+98% effect. 100:1 Compression ratio L in 2-Band L out Post Gain 0–+18 dB Adjusts the output gain. If you don’t Attack 0–127 gate to fully open after being HF Damp 200–8000 Hz. occurring. EQ Delay Balance W Synthesizer Low Gain -15–+15 dB Gain of the low range High Gain -15–+15 dB Gain of the high range Feedback Level # 0–127 Output Level Feedback Editing/Effects Delay Balance W 42: GATE R in Balance D 2-Band EQ R out Cuts the reverb’s delay according to the volume of the sound sent into the effect. Functions Adjusts the volume at which Threshold # 0–127 When Feedback Mode is CROSS: compression begins Balance D Ratio 1. set this parameter Adjusts the time it takes for the to BYPASS. 41: LIMITER 43: DELAY Compresses signals that exceed a specified volume level. Balance # D100:0W–D0:100W direct sound (D) and the delay sound (W) Volume balance between the USB Memory Level Song Player Balance # D100:0W–D0:100W direct sound (D) and the effect 0–127 Output Level sound (W) Level 0–127 Output Level Appendix 63 . Use this when you want to create an artificial-sounding decrease in the reverb’s decay. note Delay Right sound is heard. cutting the original sound. Balance D EQ Perform. gate to start closing after the Low Gain -15–+15 dB Gain of the low range Hold 0–127 source sound falls beneath the Threshold. BYPASS want to filter out any high triggered. cutting the original Mode sound. 4:1. volume of the original sound (See the figures above.5:1. preventing distortion from This is a stereo delay. Negative (-) settings invert Effects volume of the original sound the phase. Phase of the left delay sound R in Gate R out Phase Left NORMAL Non-inverted INVERT Inverted Parameter Value Explanation Phase of the right delay sound Rec/Play/Edit Volume level at which the gate Phase Right NORMAL Non-inverted Threshold # 0–127 begins to close INVERT Inverted Type of gate Selects the way in which delay The gate will close when the Feedback Mode NORMAL.) GATE decreases.

INVERSE Phase of the delay (NORMAL: EQ non-inverted. note Frequency of modulation Delay 1 HF Damp 200–8000 Hz.05–10. Delay time from when the When Feedback Mode is NORMAL: Delay Time 0–2600 msec. Low Gain -15–+15 dB Gain of the low range 2-Band High Gain -15–+15 dB Gain of the high range L in L out EQ Volume balance of the original Pan L Balance # D100:0W–D0:100W sound (D) and delay sound (W) Long Delay Level 0–127 Output Level Pan R Feedback R in 2-Band R out EQ 46: MODULATION DELAY Parameter Value Explanation Adds modulation to the delayed sound. set this parameter to BYPASS. sound is heard Adjusts the frequency above Proportion of the delay sound which sound fed back to the that is to be returned to the input effect is filtered out. BYPASS delayed sound of delay 2 will be cut (BYPASS: no cut) 64 . INVERT: inverted) Delay Modulation Balance W Proportion of the delay sound Feedback # -98–+98% that is to be returned to the Feedback input (negative values invert the Feedback phase) Frequency at which the high. Negative (-) settings invert Delay 1 Time 0–1300 msec. BYPASS delayed sound of delay 1 will be Depth 0–127 Depth of modulation cut (BYPASS: no cut) Phase 0–180 deg Spatial spread of the sound Proportion of the delay sound that is to be returned to the input Low Gain -15–+15 dB Gain of the low range Delay 2 Time 0–1300 msec. allowing you to produce complex delay sounds. 44: LONG DELAY Parameter Pan # Value L64–63R Explanation Panning of the delay sound A delay that provides a long delay time. BYPASS of delay 1 (negative values invert want to filter out any high the phase) frequencies. L in L out Parameter Value Explanation Pan L Delay Left Adjusts the time until the delay 0–1300 msec. note Delay 1 Delay 2 sound is heard. BYPASS R in 2-Band R out sound will be cut (BYPASS: no cut) Balance D EQ Pan # L64–63R Panning of the delay sound When Feedback Mode is CROSS: Low Gain -15–+15 dB Gain of the low range Balance D L in 2-Band High Gain -15–+15 dB Gain of the high range L out EQ Volume balance of the original Balance # D100:0W–D0:100W sound (D) and delay sound (W) Delay Modulation Balance W Level 0–127 Output Level Feedback Feedback 45: SERIAL DELAY Delay Modulation Balance W R in 2-Band This delay connects two delay units in series. note of delay 2 (negative values invert High Gain -15–+15 dB Gain of the high range the phase) Volume balance between the Proportion of the delay sound Balance # D100:0W–D0:100W direct sound (D) and the delay that is to be returned to the input sound (W) Delay 2 Feedback # -98–+98% of delay 2 (negative values invert the phase) Level 0–127 Output Level Frequency at which the high-frequency content of the Delay 2 HF Damp 200–8000 Hz. note original sound is heard to when the delay sound is heard Balance D L in 2-Band L out Phase NORMAL.) Adjusts the amount of the delay Parameter Value Explanation sound that’s fed back into the Feedback # -98–+98% Delay time from when sound is effect. Frequency at which the high-frequency content of the Rate # 0. Delay Modulation Balance W frequency content of the delayed HF Damp 200–8000 Hz.00 Hz. note input to delay 1 until the delay the phase. Feedback can be applied independently R out Balance D EQ to each delay unit. CROSS sound is fed back into the effect R in R out (See the figures above. If you don’t Delay 1 Feedback # -98–+98% HF Damp 200–8000 Hz. Delay Right Feedback 1 Feedback 2 Pan R Selects the way in which delay Feedback Mode NORMAL.

48: 4TAP PAN DELAY Adjusts the frequency above which sound fed back to the This effect has four delays. note Adjusts the time from the original sound until the left. 49: MULTI TAP DELAY Center right. which sound fed back to the effect is filtered out. sound (W) Adjusts the amount of the delay Level 0–127 Output Level sound that’s fed back into the Rec/Play/Edit Delay 1 Feedback # -98–+98% effect. Delay 1 Effects Feedback Balance W Delay 1-4 Pan L64–63R Stereo location of Delays 1–4 Delay 2 Delay 1-4 Level 0–127 Output level of Delays 1–4 Quadruple Tap Delay Low Gain -15–+15 dB Gain of the low range Delay 3 High Gain -15–+15 dB Gain of the high range Balance W Delay 4 Rhythm Pattern Volume balance between the R in R out Balance # D100:0W–D0:100W direct sound (D) and the effect Balance D sound (W) Level 0–127 Output Level Stereo location of each delay 2 3 1 4 L R USB Memory Song Player Parameter Value Explanation Adjusts the time from the Delay 1-4 Time 0–2600 msec. Synthesizer sound that’s fed back into the Center Feedback # -98–+98% effect. If you do HF Damp 200–8000 Hz. left and right. and center delayed sounds are heard This effect provides four delays. effect is filtered out. Each of the Delay Time parameters can be set to a note length based on the selected tempo. note are heard. L in 2-Band L out EQ Editing/Effects Adjusts the frequency above Feed Delay 1 back which sound fed back to the Delay 3 Balance W effect is filtered out. You can also set the panning and level of each Adjusts the amount of the delay delay sound. Left Tap Balance W Delay 1-4 Level 0–127 Volume of each delay Triple Tap Delay Center Tap Low Gain -15–+15 dB Gain of the low range Selecting Sounds High Gain -15–+15 dB Gain of the high range Feedback Right Tap Balance W Volume balance between the R in 2-Band R out Balance # D100:0W–D0:100W direct sound (D) and the delay EQ sound (W) Balance D Level 0–127 Output Level Parameter Value Explanation Perform. Functions Delay Left/Right/ 0–2600 msec. 47: 3TAP PAN DELAY Parameter Value Explanation Adjusts the frequency above Produces three delay sounds. If you do Overview Balance D HF Damp 200–8000 Hz. Negative (-) settings invert the phase. BYPASS 2-Band not want to filter out any high L in EQ L out frequencies. Negative (-) settings invert the phase. set this parameter L in L out Digital Recorder to BYPASS. 65 . If you don’t HF Damp 200–8000 Hz. BYPASS not want to filter out any high Multi Tap Delay frequencies. set this parameter Delay 4 Balance W to BYPASS. note original sound until delay sounds 1–4 are heard Adjusts the amount of the delay sound that’s fed back into the Delay 1 Feedback # -98–+98% Appendix effect. center. BYPASS want to filter out any the high Balance D frequencies. Negative (-) settings invert Balance D the phase. Left/Right/Center Delay 2 0–127 Volume of each delay 2-Band Level R in R out Other Settings Balance D EQ Low Gain -15–+15 dB Gain of the low range High Gain -15–+15 dB Gain of the high range Parameter Value Explanation Volume balance between the Adjusts the time until Delays 1–4 Balance # D100:0W–D0:100W direct sound (D) and the delay Delay 1-4 Time 0–2600 msec. set this parameter to BYPASS.

BYPASS current setting to its specified reverse-delayed sound will be new setting. If you don’t HF Damp 200–8000 Hz. feel. set this parameter Proportion of the delay sound to BYPASS. the delay times # of the reverse delay (negative are the same. sound Feedback # -98–+98% Negative (-) settings invert the Volume of the reverse delay phase. Level 0–127 Output Level 0–127 Volume of the tap delay sounds Delay 2 Level Low Gain -15–+15 dB Gain of the low range High Gain -15–+15 dB Gain of the high range 52: 3D DELAY Volume balance of the original This applies a 3D effect to the delay sound. that is to be returned to the input Delay 3 Feedback # -98–+98% of the tap delay (negative values Pan A/B L64–63R Stereo location of Delay A/B invert the phase) Level A/B 0–127 Volume of delay A/B Frequency at which the Low Gain -15–+15 dB Gain of the low range hi-frequency content of the tap Delay HF Damp 200–8000 Hz. 66 . note input into the reverse delay until age) of the time that elapses the delay sound is heard before Delay B sounds relative to Shuffle Rate # 0–100 the time that elapses before the Proportion of the delay sound Delay A sounds. Delay Center Adjusts the proportion of the delay sound that is fed back into Center Feedback # -98–+98% the effect. Balance # D100:0W–D0:100W direct sound (D) and the effect L64–63R Panning of the tap delay sounds Delay 2 Pan sound (W) Delay 1 Level. values invert the phase) Adjusts the speed which the Frequency at which the Delay Time changes from the high-frequency content of the Acceleration 0–15 Rev Delay HF Damp 200–8000 Hz. Rev Delay Level 0–127 sound Adjusts the frequency above Delay time from when sound is which sound fed back to the Delay 1 . Level 0–127 Output Level 2-Band L out L EQ Level 3D Delay L 3D Delay C Feedback 3D Delay R R 2-Band R out EQ Parameter Value Explanation Delay Left Adjusts the delay time from Delay Right 0–2600 msec. note the direct sound until the delay sound is heard. note delay will begin to be applied sound is heard. BYPASS delay sound will be cut (BYPASS: High Gain -15–+15 dB Gain of the high range no cut) Volume balance between the Delay 1 Pan. Delay time from when sound is Adjusts the ratio (as a percent- Rev Delay Time 0–1300 msec. L in 2-Band L out L in 2-Band L out Feedback EQ Feedback EQ Rev D1 Delay A A Rev. cut (BYPASS: no cut) Adjusts the amount of the delay Panning of the reverse delay Rev Delay Pan L64–63R that’s feedback into the effect. 50: REVERSE DELAY 51: SHUFFLE DELAY This is a reverse delay that adds a reversed and delayed sound to the input sound. note input into the tap delay until the effect is filtered out. . Delay Delay Delay D2 D3 Delay B B 2-Band 2-Band R in R out R in R out EQ EQ Parameter Value Explanation Parameter Value Explanation Volume at which the reverse Adjusts the time until the delay Threshold 0–127 Delay Time # 0–2600 msec. The delay sound will be positioned 90 Balance # D100:0W–D0:100W sound (D) and delay sound (W) degrees left and 90 degrees right. giving the sound a bouncy delay effect with a swing tap delay is connected immediately after the reverse delay. Rev Delay Feedback that is to be returned to the input -98–+98% When set to 100. BYPASS delay sound is heard want to filter out any high frequencies. .3 Time 0–1300 msec. Negative (-) settings will invert the phase. A Adds a shuffle to the delay sound.

A stereo delay in which the delay time can be varied smoothly. BYPASS not want to filter out any high Feedback frequencies. L in 2-Band EQ L out Adjusts the frequency above Time Ctrl Delay Pan L which sound fed back to the effect is filtered out. set this parameter to BYPASS. Feedback # -98–+98% Negative (-) settings invert the phase. Time Ctrl Delay Pan R Pan # L64–63R Stereo location of the delay Low Gain -15–+15 dB Gain of the low range R in 2-Band EQ R out High Gain -15–+15 dB Gain of the high range Volume balance between the Parameter Value Explanation Balance # D100:0W–D0:100W direct sound (D) and the delay Rec/Play/Edit Adjusts the time until the delay sound (W) Delay Time # 0–1300 msec. Perform. note is heard. Level 0–127 Output Level Adjusts the speed which the Delay Time changes from the current setting to a specified new Acceleration 0–15 setting. R in 2-Band R out Output Mode SPEAKER When using speakers Balance D EQ PHONES When using headphones Parameter Value Explanation Low Gain -15–+15 dB Gain of the low range Adjusts the time until the delay High Gain -15–+15 dB Gain of the high range Delay Time # 0–2600 msec. and allowing an extended HF Damp 200–8000 Hz. Low Gain -15–+15 dB Gain of the low range High Gain -15–+15 dB Gain of the high range Volume balance between the Balance # D100:0W–D0:100W direct sound (D) and the delay USB Memory Song Player sound (W) Level 0–127 Output Level Appendix 67 . Digital Recorder Adjusts the amount of the delay Effects that’s fed back into the effect. The rate of change for the Delay Time directly affects the rate of pitch change. 2-Band L in L out Balance D EQ Left Level Balance W Right Level 0–127 Output level of the delay sound Time Control Delay Center Level Balance W Selecting Sounds Feedback The optimal 3D effect will be achieved. BYPASS effect will be cut. If you do HF Damp 200–8000 Hz. 53: TIME CTRL DELAY Adjusts the amount of the delay Editing/Effects that’s fed back into the effect. Parameter Value Explanation Adjusts the frequency above 54: LONG TIME CTRL DELAY which sound fed back to the A delay in which the delay time can be varied smoothly. Overview want to cut the high frequencies. If you do Rhythm Pattern HF Damp 200–8000 Hz. If you do not delay to be produced. The rate of change for the Delay Synthesizer Time directly affects the rate of pitch change. Adjusts the frequency above which sound fed back to the effect is filtered out. set this parameter to BYPASS. set this parameter Feedback Other Settings to BYPASS. Feedback # -98–+98% Negative (-) settings invert the phase. Functions Volume balance between the Adjusts the speed which the Balance # D100:0W–D0:100W direct sound (D) and the effect Delay Time changes from the sound (W) current setting to a specified new Level 0–127 Output Level Acceleration 0–15 setting. note is heard. BYPASS not want to filter out any high frequencies.

S+L. BYPASS filter applied to the hum noise (BYPASS: no cut) Hum Noise Level # 0–127 Volume of the hum noise Low Gain -15–+15 dB Gain of the low range High Gain -15–+15 dB Gain of the high range Volume balance between the Balance # D100:0W–D0:100W direct sound (D) and the effect sound (W) Level 0–127 Output Level 68 . 55: TAPE ECHO 56: LOFI NOISE A virtual tape echo that produces a realistic tape delay sound. BYPASS filter applied to the white/pink Head L Pan noise (BYPASS: no cut) Amount of tape-dependent distortion to be added W/P Noise Level # 0–127 Volume of the white/pink noise This simulates the slight tonal Type of record noise Tape Distortion 0–5 changes that can be detected The frequency at which the noise by signal-analysis equipment. Echo Level # 0–127 Volume of the echo sound Disc Noise Level # 0–127 Volume of the record noise Direct Level # 0–127 Volume of the original sound Hum Noise Type 50 Hz. 60 Hz Frequency of the hum noise Level 0–127 Output Level Center frequency of the low pass Hum Noise LPF 200–8000 Hz. RND is heard depends on the selected Increasing this value will increase type. S+M+L S: short M: middle Degrades the sound quality. Wow/Flutter Depth 0–127 Depth of wow/flutter set this parameter to BYPASS. The L: long LoFi Type 1–9 sound quality grows poorer as this value is increased. Post Filter Type Cuts the frequency range above Intensity # 0–127 Amount of delay repeats LPF the Cutoff. heads with different delay times. Head M Pan L64–63R short. If you don’t want to wear and rotational irregularity) filter out any high frequencies. Parameter Value Explanation Mode M+L. R in R out Direct Level Lo-Fi Parameter Value Explanation R in 2-Band R out Combination of playback heads EQ to use Select from three different S. S+M. L in L out L in 2-Band Direct Level L out EQ Echo Level Lo-Fi Tape Echo Echo Level Noise Gen. the distortion. noise. Adjusts the cutoff frequency of Speed of wow/flutter (complex the low pass filter applied to the Wow/Flutter Rate 0–127 variation in pitch caused by tape Disc Noise LPF 200–8000 Hz. EP. PINK Independent panning for the pink noise. SP. BYPASS record noise. M. and long playback Center frequency of the low pass heads W/P Noise LPF 200–8000 Hz. this adds various types of noise such as white noise and disc echo section of a Roland RE-201 Space Echo. Boost/cut for the lower range of Cuts the frequency range below Bass -15–+15 dB HPF the echo sound the Cutoff. L. Boost/cut for the upper range of Post Filter Cutoff 200–8000 Hz Center frequency of the filter Treble -15–+15 dB the echo sound Switch between white noise and Head S Pan W/P Noise Type WHITE. middle. Disc Noise Type LP. Tape speed Increasing this value will shorten Type of filter that follows the LoFi effect Repeat Rate # 0–127 the spacing of the delayed OFF No filter is used sounds. This simulates the tape In addition to a lo-fi effect.

High Gain -15–+15 dB Gain of the high range Balance D Volume balance between the L in L out Other Settings Balance # D100:0W–D0:100W direct sound (D) and the effect sound (W) Phonograph Balance W Level # 0–127 Output Level Phonograph Balance W 58: LOFI RADIO R in Balance D R out Rec/Play/Edit In addition to a Lo-Fi effect. Low Gain -15–+15 dB Gain of the low range This effect also simulates the various types of noise that are typical of a record. Effects Lo-Fi Rotational speed of the turntable R in 2-Band R out Disc Type LP. Parameter Value Explanation Pre Filter Type 1 Compressor off Audio quality of the telephone Voice Quality # 0–15 2–6 Compressor on voice Perform. The Volume of noise due to dust on Dust Noise Level 0–127 LoFi Type 1–9 sound quality grows poorer as the record this value is increased. Overview L in Compressor Lo-Fi 2-Band EQ L out 59: TELEPHONE This effect produces a muffled sound. Volume balance between the Type of filter Balance # D100:0W–D0:100W direct sound (D) and the effect sound (W) Synthesizer OFF No filter is used Level 0–127 Output Level Post Filter Type Cuts the frequency range above LPF the Cutoff Editing/Effects HPF Cuts the frequency range below the Cutoff 60: PHONOGRAPH Post Filter Cutoff 200–8000 Hz Basic frequency of the Post Filter Simulates a sound recorded on an analog record and played back on a record player. Depth of short-cycle rotational USB Memory Song Player Flutter 0–127 Cuts the frequency range below irregularity HPF the Cutoff. like that heard through a telephone. SP This will affect the frequency of EQ the scratch noise. The Bandwidth of the telephone Treble -15–+15 dB LoFi Type 1–9 sound quality grows poorer as voice this value is increased. R in 2-Band R out Compressor Lo-Fi L in L out EQ Telephone Selecting Sounds Parameter Value Explanation R in Telephone R out Selects the type of filter applied to the sound before it passes through the Lo-Fi effect. and even the rotational irregularities of an old turntable. Parameter Value Explanation L in 2-Band L out Signal Distortion 0–127 Depth of distortion EQ Frequency response of the Lo-Fi playback system Decreasing this value will Frequency Range 0–127 Radio produce the impression of an old Digital Recorder system with a poor frequency response. As this value is raised. 57: LOFI COMPRESS Parameter Level Value 0–127 Explanation Output Level This is an effect that intentionally degrades the sound quality for creative purposes. this effect also generates radio noise. the irregularity tuning drifts further. Functions Degrades the sound quality. Amount of noise due to scratches Scratch Noise Level 0–127 Parameter Value Explanation on the record Rhythm Pattern Degrades the sound quality. Volume balance between the Radio Noise Level # 0–127 Volume of the radio noise Balance # D100:0W–D0:100W direct sound (D) and the effect Appendix sound (W) Low Gain -15–+15 dB Gain of the low range Level 0–127 Output Level High Gain -15–+15 dB Gain of the high range Volume balance between the Balance # D100:0W–D0:100W direct sound (D) and the effect sound (W) 69 . Depth of indefinite-cycle Random 0–127 Post Filter Cutoff 200–8000 Hz Basic frequency of the Post Filter rotational irregularity Simulates the tuning noise of a Depth of overall rotational Total Wow/Flutter # 0–127 Radio Detune # 0–127 radio. EP. Hiss Noise Level 0–127 Volume of continuous “hiss” Type of filter Total Noise Level # 0–127 Volume of overall noise OFF No filter is used Depth of long-cycle rotational Wow 0–127 Cuts the frequency range above irregularity Post Filter Type LPF the Cutoff.

note sequence will cycle Volume balance between the Balance # D100:0W–D0:100W direct sound (D) and the pitch Speed at which the amount of shifted sound (W) Attack # 0–127 pitch shift changes between steps Level 0–127 Output Level Duration of the pitch shifted Gate Time # 0–127 sound at each step 62: 2VOICE PITCH SHIFTER Fine -100–+100 cent Pitch shift adjustment for all steps (2-cent units) Shifts the pitch of the original sound. note direct sound until the Pitch Shift 1 sound is heard. Adjusts the proportion of the pitch shifted sound that is fed Pitch1 Feedback # -98–+98% back into the effect. 61: PITCH SHIFTER Parameter Low Gain Value -15–+15 dB Explanation Gain of the low range A stereo pitch shifter. Pitch2 Pan # L64–63R Pitch2 Level 0–127 70 . L in L out EQ Adjusts the pitch of the pitch Fine #1 -100–+100 cent shifted sound in 2-cent steps. the beginning (p. High Gain -15–+15 dB Gain of the high range L in 2-Band EQ L out Volume balance between the Balance # D100:0W–D0:100W direct sound (D) and the pitch Pitch Shifter shifted sound (W) Level 0–127 Output Level Pitch Shifter R in 2-Band EQ R out 63: STEP PITCH SHIFTER Parameter Value Explanation A pitch shifter in which the amount of pitch shift is varied by a 16-step sequence. Delay time from the original and can add two pitch shifted sounds to the original sound. note sound. Step Pitch Shifter Adjusts the delay time from Step Pitch Shifter Delay Time 0–1300 msec. Delay Time 0–1300 msec. note the direct sound until the pitch shifted sound is heard. Negative (-) settings will invert the phase.05–10. Negative (-) settings will invert the phase. R in 2-Band R out EQ Adjusts the proportion of the pitch shifted sound that is fed Feedback # -98–+98% Parameter Value Explanation back into the effect. Amount of pitch shift at each Step 01-16 -24–+12 semi Low Gain -15–+15 dB Gain of the low range step (semitone units) High Gain -15–+15 dB Gain of the high range Rate at which the 16-step Rate # 0. Stereo location of the Pitch Shift Pitch1 Pan # L64–63R 1 sound Pitch1 Level 0–127 Volume of the Pitch Shift1 sound Pitch2 Coarse #2 -24–+12 semi Pitch2 Fine #2 -100–+100 cent Settings of the Pitch Shift 2 Pitch2 Delay 0–1300 msec. Adjusts the delay time from the Pitch1 Delay 0–1300 msec. Adjusts the pitch of the pitch Coarse #1 -24–+12 semi 2-Band shifted sound in semitone steps. Adjusts the pitch of Pitch Shift Pitch1 Fine #1 -100–+100 cent Pitch 1 in 2-cent steps. note sound until the pitch-shifted sound is heard Balance D L in L out Proportion of the pitch-shifted Level 1 sound that is to be returned to Pan 1 L Feedback # -98–+98% Balance W the input (negative values invert the phase) Pan 1 R 2Voice Pitch Shifter Low Gain -15–+15 dB Gain of the low range Pan 2 L High Gain -15–+15 dB Gain of the high range Pan 2 R Balance W Volume balance of the original Level 1 Balance # D100:0W–D0:100W sound (D) and pitch-shifted R in R out sound (W) Balance D Level 0–127 Output Level Parameter Value Explanation Adjusts the pitch of Pitch Shift 1 MEMO Pitch1 Coarse #1 -24–+12 semi You can use multi-effect control to make the step sequence play again from in semitone steps.0 Hz. 46). Pitch2 Feedback # -98–+98% The parameters are the same as for the Pitch Shift 1 sound. This 2-voice pitch shifter has two pitch shifters.

Overview 2-Band L in L out Low Gain -15–+15 dB Gain of the low range Balance D EQ Balance W High Gain -15–+15 dB Gain of the high range Reverb Volume balance between the Balance W Balance # D100:0W–D0:100W direct sound (D) and the reverb sound (W) 2-Band Selecting Sounds R in R out Balance D EQ Level # 0–127 Output Level Parameter Value Explanation Type of reverb 66: OVERDRIVE g CHORUS ROOM1 Dense reverb with short decay L in L out Perform. note Frequency of modulation HF Damp 200–8000 Hz. sound is heard. Chorus Balance # D100:0W–D0:100W through the chorus (W) and the Low Gain -15–+15 dB Gain of the low range sound that is not sent through Rec/Play/Edit the chorus (D).0–100 msec direct sound until the reverb sound is heard. Gate Time 5–500 msec the reverb is heard until it disappears. Chorus Pre Delay 0. set this parameter between the sound that is sent to BYPASS.05–10. If Chorus Depth 0–127 Depth of modulation you do not want to cut the high Adjusts the volume balance frequencies.00 Hz.0–100 msec direct sound until the chorus Other Settings As the frequency is set lower. Also changes the volume. High Gain -15–+15 dB Gain of the high range Level 0–127 Output Level Volume balance between the Balance # D100:0W–D0:100W direct sound (D) and the reverb sound (W) Level 0–127 Output Level Digital Recorder 65: GATED REVERB Effects This is a special type of reverb in which the reverberant sound is cut off before its natural length. BYPASS will be cut. simulating an acoustic space.0–100 msec direct sound until the reverb Degree of distortion Overdrive Drive # 0–127 sound is heard. 71 . more of the high frequencies Chorus Rate # 0. Functions ROOM2 Sparse reverb with short decay Balance D Reverb with greater late Balance W STAGE1 Type reverberation Overdrive Chorus Balance W Reverb with strong early STAGE2 reflections R in R out Synthesizer HALL1 Reverb with clear reverberance Balance D HALL2 Reverb with rich reverberance Parameter Value Explanation Editing/Effects Adjusts the delay time from the Pre Delay 0. Time # 0–127 Time length of reverberation Stereo location of the overdrive Overdrive Pan # L64–63R sound Adjusts the frequency above which the reverberant sound Adjusts the delay time from the will be cut. resulting in a softer and more muted reverberance. 64: REVERB Parameter Value Explanation Adjusts the time from when Adds reverberation to the sound. 2-Band L in L out EQ Rhythm Pattern Balance D Balance W Reverb Balance W R in 2-Band R out Balance D EQ Parameter Value Explanation USB Memory Song Player Type of reverb NORMAL Conventional gated reverb REVERSE Backwards reverb Type The reverberant sound moves SWEEP1 from right to left The reverberant sound moves Appendix SWEEP2 from left to right Adjusts the delay time from the Pre Delay 0.

Negative (-) settings will invert the phase.” with the Flanger Pre Delay 0.” with the L out exception of the following two. If you do not want to cut the high frequencies. set this parameter to BYPASS. Overdrive Pan # L64–63R Stereo location of the overdrive sound 70: DISTORTION g FLANGER Adjusts the delay time from The parameters are essentially the same as in “67: OVERDRIVE g FLANGER. note Frequency of modulation Overdrive Pan g Distortion Pan Flanger Depth 0–127 Depth of modulation Balance D Adjusts the proportion of the L in L out flanger sound that is fed back Feedback Flanger Feedback # -98–+98% into the effect. 67: OVERDRIVE g FLANGER 69: DISTORTION g CHORUS Balance D The parameters are essentially the same as in “66: OVERDRIVE g CHORUS. BYPASS effect will be cut. Overdrive Drive g Distortion Drive. note the direct sound until the delay sound is heard.0–100 msec when the direct sound begins exception of the following two. Adjusts the frequency above which sound fed back to the Delay HF Damp 200–8000 Hz.” with the exception of the following two.00 Hz. until the flanger sound is heard. Balance W Overdrive Pan g Distortion Pan Overdrive Flanger Balance W L in L out Balance D Balance W R in R out Balance D Distortion Chorus Balance W Parameter Value Explanation R in R out Balance D Degree of distortion Overdrive Drive # 0–127 Also changes the volume. Adjusts the volume balance between the sound that is sent Delay Balance # D100:0W–D0:100W through the delay (W) and the sound that is not sent through the delay (D). Level 0–127 Output Level 72 . Stereo location of the overdrive Overdrive Pan # L64–63R sound Adjusts the delay time from Delay Time 0–2600 msec. Overdrive Drive g Distortion Drive. Level 0–127 Output Level 71: DISTORTION g DELAY 68: OVERDRIVE g DELAY The parameters are essentially the same as in “68: OVERDRIVE g DELAY. Distortion Flanger Adjusts the volume balance Balance W between the sound that is sent Flanger Balance # D100:0W–D0:100W through the flanger (W) and the R in R out sound that is not sent through Balance D the flanger (D). Adjusts the proportion of the delay sound that is fed back into Delay Feedback # -98–+98% the effect. Negative (-) Balance W settings will invert the phase. Flanger Rate # 0. L in L out Balance D Overdrive Pan g Distortion Pan Balance W L in L out Overdrive Delay Balance D Balance W Balance W Feedback Distortion Delay R in R out Balance W Balance D Feedback R in R out Parameter Value Explanation Balance D Degree of distortion Overdrive Drive # 0–127 Also changes the volume.05–10. L in Feedback Overdrive Drive g Distortion Drive.

set this parameter to BYPASS.00 Hz. Adjusts the volume balance between the sound that is sent 73: ENHANCER g FLANGER Delay Balance # D100:0W–D0:100W through the delay (W) and the sound that is not sent through the delay (D).0–100 msec direct sound until the chorus Delay Time 0–2600 msec. Volume balance between the Chorus Balance # D100:0W–D0:100W direct sound (D) and the chorus Adjusts the volume balance sound (W) between the sound that is sent Flanger Balance # D100:0W–D0:100W through the flanger (W) and the Adjusts the delay time from sound that is not sent through Delay Time 0–2600 msec. Level 0–127 Output Level 73 . BYPASS effect will be cut. Adjusts the frequency above which sound fed back to the Delay HF Damp 200–8000 Hz. Adjusts the delay time from the Flanger Rate # 0. Other Settings Balance D L in L out Level 0–127 Output Level Enhancer Mix Feedback Balance W Flanger Balance W 75: CHORUS g DELAY R in Enhancer R out Balance D L in L out Rec/Play/Edit Mix Balance D Balance D Balance W Balance W Parameter Value Explanation Chorus Delay Enhancer Sens # 0–127 Sensitivity of the enhancer Balance W Balance W Feedback Level of the overtones generated Enhancer Mix # 0–127 by the enhancer R in R out Balance D Balance D Digital Recorder Adjusts the delay time from Flanger Pre Delay 0.05–10. 72: ENHANCER g CHORUS 74: ENHANCER g DELAY L in Enhancer L out L in Enhancer L out Balance D Balance D Overview Mix Mix Balance W Balance W Chorus Delay Balance W Balance W Feedback R in Enhancer R out R in Enhancer R out Mix Balance D Mix Balance D Selecting Sounds Parameter Value Explanation Parameter Value Explanation Enhancer Sens # 0–127 Sensitivity of the enhancer Enhancer Sens # 0–127 Sensitivity of the enhancer Level of the overtones generated Level of the overtones generated Enhancer Mix # 0–127 Enhancer Mix # 0–127 by the enhancer by the enhancer Adjusts the delay time from the Adjusts the delay time from Perform. between the sound that is sent Adjusts the frequency above Chorus Balance # D100:0W–D0:100W through the chorus (W) and the which sound fed back to the Editing/Effects sound that is not sent through Delay HF Damp 200–8000 Hz. note the direct sound until the delay sound is heard. note the direct sound until the delay the flanger (D). Negative (-) settings Synthesizer Adjusts the volume balance will invert the phase.00 Hz.05–10. sound is heard. Chorus Rate # 0. Functions Chorus Pre Delay 0. Adjusts the proportion of the Chorus Rate # 0. Level 0–127 Output Level Adjusts the proportion of the USB Memory Song Player delay sound that is fed back into Delay Feedback # -98–+98% the effect. Negative (-) settings will invert the phase. note Frequency of modulation Adjusts the proportion of the delay sound that is fed back into Chorus Depth 0–127 Depth of modulation Delay Feedback # -98–+98% the effect. want to cut the high frequencies. BYPASS effect will be cut.0–100 msec direct sound until the chorus Flanger Depth 0–127 Depth of modulation sound is heard.00 Hz. Appendix Adjusts the volume balance between the sound that is sent Delay Balance # D100:0W–D0:100W through the delay (W) and the sound that is not sent through the delay (D).0–100 msec when the direct sound begins Effects Parameter Value Explanation until the flanger sound is heard. note Frequency of modulation flanger sound that is fed back Rhythm Pattern Flanger Feedback # -98–+98% Chorus Depth 0–127 Depth of modulation into the effect. Level 0–127 Output Level set this parameter to BYPASS. sound is heard. If you do not want to cut the high frequencies. note Frequency of modulation Chorus Pre Delay 0. Negative (-) settings will invert the phase. If you do not the chorus (D).05–10.

05–10. sound is heard. note Frequency of modulation Modulation frequency of the Chorus Rate # 0. flanger sound that is fed back Flanger Feedback # -98–+98% Adjusts the frequency above into the effect. Flanger Balance # D100:0W–D0:100W through the flanger (W) and the Adjusts the volume balance sound that is not sent through between the sound that is sent the flanger (D). Adjusts the delay time from Delay Time 0–2600 msec. note the direct sound until the delay Modulation frequency of the Flanger Rate # 0.00 Hz. Chorus Balance # D100:0W–D0:100W direct sound (D) and the chorus sound (W) Volume balance between the Flanger Balance # D100:0W–D0:100W direct sound (D) and the flanger Adjusts the delay time from sound (W) Flanger Pre Delay 0.05–10. Flanger Rate # 0. Negative (-) Volume balance between the settings will invert the phase. note sound is heard. between the sound that is sent set this parameter to BYPASS.00 Hz. Negative (-) which sound fed back to the settings will invert the phase. Delay Balance # D100:0W–D0:100W through the delay (W) and the Level 0–127 Output Level sound that is not sent through the delay (D). If you do not Adjusts the volume balance want to cut the high frequencies. BYPASS effect will be cut. Negative (-) settings Adjusts the proportion of the will invert the phase.0–100 msec direct sound until the chorus until the flanger sound is heard. 76: FLANGER g DELAY 77: CHORUS g FLANGER Balance D Balance D Balance D L in L out L in L out Feedback Balance D Feedback Balance W Balance W Balance W Balance W Flanger Delay Chorus Flanger Balance W Balance W Balance W Balance W Feedback R in R out R in R out Balance D Balance D Balance D Balance D Parameter Value Explanation Parameter Value Explanation Adjusts the delay time from Adjusts the delay time from the Flanger Pre Delay 0. flanger effect Adjusts the proportion of the Modulation depth of the flanger Flanger Depth 0–127 delay sound that is fed back into effect Delay Feedback # -98–+98% the effect. note chorus effect Flanger Depth 0–127 Depth of modulation Modulation depth of the chorus Adjusts the proportion of the Chorus Depth 0–127 effect flanger sound that is fed back Flanger Feedback # -98–+98% into the effect. Delay HF Damp 200–8000 Hz.0–100 msec when the direct sound begins until the flanger sound is heard.0–100 msec when the direct sound begins Chorus Pre Delay 0.00 Hz. Level 0–127 Output Level 74 .05–10.

78: SYMPATHETIC RESONANCE 79: VOCODER On an acoustic piano.0. creating rich and spacious resonances. 4.5. 4.5. Functions Depth to which the damper Mic Mix # 0–127 added to the output of the Damper # 0–127 pedal is pressed (controls the vocoder resonant sound) Volume level after passing Level 0–127 Frequency of the filter that cuts through the vocoder Pre LPF 16–15000 Hz. 2.0 make the region narrower) EQ High Freq 2000. 8. 8.0. 16–15000 Hz resonant sound will be cut (BYPASS: no cut) This simulates the actual changes in sound that occur when the Digital Recorder Lid 1–6 lid of a grand piano is set at Effects different heights. 1.0. 2. holding down the damper pedal allows other strings to resonate Mic Mix in sympathy with the notes you play.0. Resonance R in Synth Level Selecting Sounds 3-Band Parameter Value Explanation R in R out EQ Input sensitivity of the Mic Sens # 0–127 microphone Parameter Value Explanation Synth Level # 0–127 Input level of the instrument Depth # 0–127 Depth of the effect Amount of microphone audio Perform. 16–15000 Hz the low-frequency content of the Editing/Effects input sound (BYPASS: no cut) Frequency of the filter that Peaking Freq 200–8000 Hz boosts/ cuts a specific frequency region of the input sound Amount of boost/cut produced by the filter at the specified Peaking Gain -15–+15 dB frequency region of the input Other Settings sound Width of the frequency region boosted/cut by the ’Peaking Peaking Q 0.0. 4000.0 Gain’ parameter (larger values make the region narrower) Frequency at which the high-frequency content of the HF Damp 16–15000 Hz. This effect L out Overview simulates these sympathetic resonances. 400 Hz Frequency of the low-range EQ EQ Low Gain -15–+15 dB Amount of low-range boost/cut EQ Mid Freq 200–8000 Hz Frequency of the midrange EQ Rhythm Pattern EQ Mid Gain -15–+15 dB Amount of midrange boost/cut Width of midrange (larger values EQ Mid Q 0. EQ Low Freq 200. BYPASS the high-frequency content of Synthesizer the input sound (BYPASS: no cut) Frequency of the filter that cuts Pre HPF BYPASS. 8000 Hz Frequency of the high-range EQ EQ High Gain -15–+15 dB Amount of high-range boost/cut Level 0–127 Output Level USB Memory Song Player Appendix 75 . BYPASS resonant sound will be cut Rec/Play/Edit (BYPASS: no cut) Frequency at which the low-frequency content of the LF Damp BYPASS. MIC Mic Sens INPUT 3-Band Vocoder L in L out Level EQ L in R out Sym.0. 1.

00 Hz. an upper limit for the delay time. Sixteenth note Eighth-note triplet second note triplet 03: GM2 CHORUS GM2 Chorus is used. note: 00: OFF Neither Chorus or Delay is used. Dotted whole Double note Cuts the frequency range above note Filter Type LPF the Cutoff Freq Cuts the frequency range below HPF the Cutoff Freq Cutoff Freq 200–8000 Hz Basic frequency of the filter Adjusts the delay time from the Pre Delay 0. Sixty-fourth-note Sixty-fourth Thirty-second. Left Level Right Level 0–127 Volume of each delay sound Center Level 03: GM2 CHORUS Cuts the high frequency range of the sound coming into the Pre-LPF 0–7 chorus. Higher values will cut more of the high frequencies. if the delay time is specified as a note value These settings allow you to select chorus or delay. 02: DELAY Delay Left Adjusts the delay time from Delay Right 0–1000 msec. Level 0–127 Volume of the chorus sound Adjusts the amount of the chorus Feedback 0–127 sound that is fed back into the effect. and the characteristics of the and you slow down the tempo until this upper limit is reached. set this parameter to BYPASS. the delay time selected effect type. Delay Center Adjusts the proportion of the delay sound that is fed back into Center Feedback -98–+98% the effect. Adjusts the delay time from the Delay 0–127 direct sound until the chorus sound is heard. This is because there is The JUNO-Gi’s Chorus effect unit can also be used as a stereo delay unit. This upper limit is the maximum value that can be specified when setting the delay time as a numerical value. Sixteenth-note Dotted thirty. note the direct sound until the delay sound is heard. note Frequency of modulation Depth 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound Adjusts the amount of the chorus Feedback 0–127 sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the frequency above which sound fed back to the HF Damp 200–8000 Hz.0–100 msec direct sound until the chorus sound is heard. Parameter Value Explanation Selects either Chorus or Delay. triplet note note triplet note 02: DELAY Delay is used.05–10. Rate 0. Chorus Parameters NOTE If you specify the delay time as a note value. Thirty-second Chorus Type 01: CHORUS Chorus is used. cannot change any further. Rate 0–127 Frequency of modulation Depth 0–127 Depth of modulation Adjusts the amount of chorus Send Level to Reverb 0–127 sound that will be sent to the reverb. If you do not want to cut the high frequencies. Dotted sixteenth Eighth note Quarter-note Dotted eighth Chorus Level 0–127 Volume of the chorus sound note triplet note Quarter note Half-note triplet Dotted quarter Half note 01: CHORUS note Type of filter Whole-note Dotted half note Whole note Double-note triplet triplet OFF No filter is used. 76 . BYPASS effect will be cut. slowing down the tempo will not change the delay time beyond a certain length.

Functions 05: GM2 REVERB GM2 reverb selected with HF Damp.” there will be Reverb Level 0–127 Volume of the reverb sound no reduction of the reverb’s 01: REVERB high-frequency content. the more Appendix Diffusion 0–127 the density increases with time. and its characteristics. BYPASS be cut. Type of reverb/delay 05: GM2 REVERB Synthesizer ROOM1 Short reverb with high density Type of reverb ROOM2 Short reverb with low density Character 0–5 Reverb Editing/Effects Reverb with greater late 6. set this parameter to BYPASS. or “damped.) 77 . content of the reverb will be High Cut BYPASS reduced. Higher values will cut more of HALL1 Very clear-sounding reverb the high frequencies. (The effect of this setting is most pronounced with long reverb times. Amount Delay Feedback 0–127 Effects of delay sound returned to the input (this setting is valid only if Type is DELAY or PAN-DELAY) 02: SRV ROOM. Time 0–127 Delay time (Type: DELAY.” 04: SRV PLATE reverb device that uses a metal Adjusts the amount of damping plate) applied to the frequency range Perform.0–100 msec direct sound until the reverb sound is heard. set this parameter to BYPASS.” there will be no reduction of the reverb’s Reverb that simulates the Selecting Sounds 02: SRV ROOM low-frequency content. Reverb Parameters Parameter Value Explanation Adjusts the frequency below These settings allow you to select the desired type of reverb. With LF Damp Gain -36–0 dB 01: REVERB Basic reverb a setting of “0. 7 Delay STAGE1 reverberation Cuts the high frequency range Reverb with strong early of the sound coming into the Type STAGE2 reflections Pre-LPF 0–7 reverb. If you do not want to reduce the high frequencies. PAN-DELAY) Rec/Play/Edit Adjusts the frequency above which the high-frequency content of the reverb sound will HF Damp 200–8000 Hz. which the low-frequency content LF Damp Freq 50–4000 Hz of the reverb sound will be Overview Parameter Value Explanation reduced. Adjusts the amount of delay Digital Recorder feedback when the Type setting is DELAY or PAN-DELAY. HALL2 Rich reverb Level 0–127 Output level of reverberation Other Settings DELAY Conventional delay effect Time 0–127 Time length of reverberation Delay effect with echoes that pan PAN-DELAY Adjusts the amount of the delay left and right sound that is fed back into the Delay Feedback 0–127 Time length of reverberation effect when the Character setting (Type: ROOM1–HALL2) is 6 or 7. Time 0–127 Time length of reverberation Size 1–8 Size of the simulated room or hall Adjusts the frequency above which the high-frequency USB Memory Song Player 160–12500 Hz. The higher the value.” Type of reverb Adjusts the amount of damping applied to the frequency range 00: OFF Reverb will not be used selected with LF Damp. or “damped. 04: SRV PLATE Rhythm Pattern Adjusts the delay time from the Pre Delay 0. or “damped. 03: SRV HALL.” If you do not want to cut the high frequencies. reverberation of a room Reverb Type Adjusts the frequency above Reverb that simulates the 03: SRV HALL which the high-frequency reverberation of a hall HF Damp Freq 4000–12500 Hz content of the reverb sound will Simulation of a plate echo (a be reduced. Density 0–127 Density of reverb Adjusts the change in the density of the reverb over time. With HF Damp Gain -36–0 dB a setting of “0.

JUNO-Gi . In. data. “Factory. the To cancel. All user data will be rewritten when you execute the User Restore operation .. and.cursor.of.the.the. Turn. Here’s how to restore backed-up user data from SD card into the 2.[5].cursor.off.the.”.cursor. This operation is called “Factory Reset . Item Explanation User.the.execute.”.the.”. “User.buttons. you must save it to a separate SD card device before you execute User Restore .[ENTER].to.[5]. Turn. Use. SD. When the restore operation has been completed.factory.use.Card. In.the.Reset.. the following screen will • User live sets appear .and.again . Returning to the Factory Settings The following screen will appear .select. • Favorites • User arpeggios • MIDI controller mode settings • System settings • Following digital recorder settings • Insert effects user patches • Mastering tool kit user patches • User rhythm patterns 3..the. If the JUNO-Gi contains important data that you want to The UTILITY MENU screen will appear .dial.the..Backup Backs up user data to an SD card .screen.[ENTER].the.JUNO-Gi.the.(EXEC).and.Reset 2..to. Press. USB.the.to.screen. Types of Data that can be backed up 2.button .of.Restore the JUNO-Gi (Restore) .on. The following screen will appear .[ENTER]. keep. the following screen will appear . Returns all of the JUNO-Gi’s settings to their Factory.the.Synthesizer 4 (Other Settings) Utility (UTILITY) The Utility menu lets you back up your data and format a card . When the factory reset has been completed.the. 1.press. 3.use.UTILITY.MENU.cursor. To cancel. MENU screen .buttons. In.”.UTILITY. A confirmation message will appear ..cursor.screen.(EXEC).the.to.press. press the [6] (CANCEL) button . factory-set state .reset.the. Use.buttons.UTILITY.[5]..Restore.Format Formats (initializes) the SD card . 1..select. “User.select.[ENTER].the.and.button .dial.[ENTER]..VALUE.item.press. (Factory Reset) You can return all of the JUNO-Gi’s settings to the state they were in when the instrument was shipped from the factory . Press.again . Restoring JUNO-Gi Settings from SD Displaying the UTILITY MENU Card (User Restore) 1. press the [6] (CANCEL) button . be aware that all of this user data will be lost when 2.[MENU].then. following settings are backed up .on. Backing Up JUNO-Gi Settings to SD Card (User Backup) Here’s how to back up user data to SD card .power.the.button . you will return to the UTILITY 1.or.the.VALUE. 78 .MENU.” NOTE If the JUNO-Gi’s internal memory contains important data that you’ve created.button .Format Formats (initializes) the USB memory . Returns backed-up data from an SD card into User.press.select.or. 3.press.power.then.and.the. “5 . press the [6] (CANCEL) button .JUNO-Gi.press. When the backup has been completed. you execute the factory reset operation .button .the..button .button .Backup. To.the.button .the. If you want to keep this To cancel. Press.(EXEC).buttons.to.the.select.off.Mem.the.use.the. When you back up settings from the JUNO-Gi to SD card.Utility.button . save it to SD card before you continue .MENU.buttons.

Copy.to.the.reader.and.the.press.then. To remove the card.the.use..use.JUNO-Gi.your.button .the.up. In.step.select.computer.button .the.card.operation. card.and.on.SD.SD.format.available.Format..the.card.a.card.card.the. NOTE Formatting SD Card You must copy the entire “ROLAND” folder . In order to perform this procedure. 2.reader .the.card..SD.buttons.to.and.SD. right-click the “removable disk” icon.folder. Mac OSX users: • Back up to your computer before you format Drag the SD card icon to the Trash . Selecting Sounds “USB.backed.. computer .[ENTER].Mem.”. press the [6] (CANCEL) button . 2.SD.“ROLAND”. In.the. Here’s how to back up SD card data to your computer .to.as.operation. 1.is.the. Functions The JUNO-Gi’s SD card slot is covered by an SD card protector.the.to.MENU.card..press..and.open.your.up.SD. and a commercially available SD card reader ..and.SD. folder.commercially.card.a.buttons. described.completed.your. You can initialize (format) SD card .“Backing. To.[ENTER].computer. Use.Format.screen.to. Formatting will erase all of the data .the.the.(drag.reader. MEMO Perform.unmount. • You must copy the entire “ROLAND” folder .select. SD.format. If the SD card contains Restoring Backed Up Data to an SD Card Rec/Play/Edit important data.from.SD.available.the.screen.” To cancel. Remove.“ROLAND”.use.”. Formatting USB Memory Backing Up SD Card Data to Your (USB Memory Format) Computer Overview You can initialize (format) USB memory .cursor.the.copying.SD. Switch.button .(EXEC).the.UTILITY.the.drop).from. 3. “SD. SD. When.computer .UTILITY.button .the.and.execute.from.(EXEC). and choose “Eject . 3.from.computer . Remove.press.4. 15) . Digital Recorder A confirmation message will appear .. 1.SD. To.the.the.MENU.onto.in.(drag.(disconnect). all data that was previously on the SD card will be lost . which is fastened by screws .on. If the USB memory contains important data that you’ve created.your.the. you should first back it up as described in “Backing up SD card data to your computer .the. 2. USB Memory Song Player Appendix 79 .to. commercially.card .press. 4.card.[5].the.drop).remove. Windows 7/Vista/XP users: Other Settings NOTE • Do not format the SD card that is included with the JUNO-Gi In My Computer (or Computer). A confirmation message will appear . remove the screws as described in “About SD Cards” (p . be NOTE aware that all of this data will be lost when you execute this operation .execute. Copying just part Editing/Effects of the files of the “ROLAND” folder will not create a correct (SD Card Format) backup .Card.reader. Copy. To cancel.entire.cursor.JUNO-Gi’s. Synthesizer the. card.the.power . you’ll need a computer 1.your.” 1.open.card.entire.computer . 2. press the [6] (CANCEL) button .” Formatting the SD card included with the JUNO-Gi will erase all of the demo song data on the card . The system will not operate correctly if you copy only some of the files in the Rhythm Pattern “ROLAND” folder .of.off. NOTE Effects • When you copy the backed up data to the SD card.SD.from.from.data.[5].card.

INPUT The sound selected by AUDIO INPUT (p. 129) [1] (GENERAL) Settings for the entire JUNO-Gi p. [4] (CLICK/PLAYER) USB Memory Song Player and click settings p. these settings will have System Menu [1] (GENERAL) no effect. Changes you’ve made to the system settings will return to their for example. If you want to keep the Keyboard Output -12–+12dB being sounded. you will return to the previous screen. ON Switch of the Center Cancel (p. [6] (INFORMATION) Version information p. JUST Just intonation template The Live Set group first loaded when the power is turned on ARABIC Arabian scale template USER User live set Power Up Group Specifies the scale tonic when Scale Tune PRESET Preset Live Set Scale Tune Key C–B Type is JUST or ARABIC. ON 5–240min modifications that you’ve made in the settings scale other than equal temperament. 80 . processed by the insert effect 3. Use the VALUE dial or the [DEC] [INC] buttons to set the Master Tune 466.” also how these parameters are organized. 93) “4. these settings will have Specifies the time after which the power will no effect. press a function button again to access the desired setting [2] (SOUND) screen. Use the cursor buttons to select to the parameter that you want to set. and the settings will Number will sound successively one by one. System Settings (SYSTEM) Here you can make “System settings” that affect the operation of the Parameter Value Explanation entire JUNO-Gi. be saved. will sound when the Preview Mode is set to “SINGLE” or “CHORD. System. 81 localized in the center will be eliminated. Saving the System Settings (WRITE) Keyboard Level 0–127 Volume of the entire live set.” and press the [ENTER] button. value.2Hz of the A4 note). let you attain the most suitable output level for recording and other purposes. System Parameters 38) will sound. OFF. When the settings have been saved. any unsaved Turn this on when you wish to use a tuning Auto Power Off Scale Tune Switch OFF. [3] (MIDI/SYNC) MIDI and synchronization settings p. (p. Button Explanation Page Center Cancel OFF. The notes specified by Preview 1–4 Note CHORD Preview Mode Number will sound simultaneously. Sound Generator 415. Access a system function setting screen. 93). 83 All sounds localized in the center will be [5] (D BEAM) D Beam controller settings p. Specifies the time after which the backlight USER User setting OFF. Scale Tune Type Power Save Mode will be turned off to save power if no EQUAL Equal temperament template 1–60min operation has been performed. If you want to keep the setting changes you’ve made. Press the [MENU] button. automatically turn off if no operation has Scale Tune been performed. boosting the output gain can Gain changes you’ve made. and Preview 1–4 Note “SINGLE” or “CHORD. Specify the velocity of the four notes that [1] (COMMON) Preview 1–4 OFF. When. 80 Mid-frequency and high-frequency sounds MID-HI [2] (KBD/CTRL) Keyboard and pedal settings p. 84 If necessary. Press the [6] (WRITE) button. Press one of the function buttons to select the setting that INPUT FX * The effect will not be applied unless the insert effect’s LOCATION you want to edit. Use the VALUE dial or the cursor buttons to select . make sure to save them These templates make the settings for Scale Tune C–B in one beforehand. operation. Preview 2. The notes specified by Preview 1–4 Note SINGLE “System Write Completed!” massage will appear. The phrase specified by the Live Set’s PHRASE “Preview Type” (p. there are relatively few voices original state when you turn off the power. 82 Center Cancel Low-frequency sounds localized in the LOW Type center will be eliminated. The System Menu screen will appear.3– Overall tuning of the JUNO-Gi (the frequency 5. USB Audio Volume of the USB audio from the computer USB Audio Level Making System Settings 0–127 connected to the USB COMPUTER connector Selects the USB audio that will be sent to the computer when connected via USB 1. Output gain from the live set’s Output. MIX The output of the JUNO-Gi’s OUTPUT jacks 2. USB Audio To Computer The sound selected by AUDIO INPUT (p. Shifts the overall pitch of the JUNO-Gi in Master Key Shift -24–+24 semitone steps. * When the power turns off.” Velocity 1–127 * If “PHRASE” is selected for the Preview Parameter Value Explanation Mode parameter. C-–G9 Number * If “PHRASE” is selected for the Preview Mode parameter. will be lost. you must save them as follows. such as the tuning and how MIDI messages will be received. 38) and “Preview Phrase” (p. SPECIAL Special Live Set Specifies the pitch adjustment for each note Scale Tune for C–B -64–+63 Master Level 0–127 Volume of the entire JUNO-Gi of the scale. 83 ALL eliminated. 1. 108) is set to INPUT. Specify the pitch of the four notes that will sound when the Preview Mode is set to This section explains what the different System parameters do. Parameter Value Explanation 4.

so the keyboard touch feels Selecting Sounds heavier . INSERT FX CTRL When ROTARY (p . set this parameter to “REVERSE . Higher settings for this value will Sens increase the velocity value that is transmitted between a major third and a minor third) between G and B. eyboard.Freq 40Hz–1 .Velocity REAL Actual keyboard velocity will be transmitted . USB SONG START The USB memory song player will start/stop . set the “Scale Tune Switch” to “ON. You only in one key. ON Switch of the master equalizer (EQ) PROGRAM UP Select the next-numbered live set Low Digital Recorder PROGRAM DOWN Select the previous-numbered live set . You can achieve fortissimo (ff ) play with a less This divides the octave into twelve equal intervals. 81 . and E. . Other Settings F# 0 -10 +43 AFTERTOUCH Aftertouch G 0 +2 -4 Each pedal press raises the key range in G# 0 +14 +47 OCT UP octave steps (up to 3 octaves higher) . C according to your playing strength .” If you are using a Roland pedal (that has no polarity Appendix Parameter Value Explanation switch). Functions Example: Tonic of C [2] (PEDAL) If you want to use Just intonation with a tonic of C. USB Memory Song Player . 113) is selected and Mode is set High to “MANUAL. Rec/Play/Edit RECORDER START The digital recorder will start/stop .Pedal. If your pedal has an effect opposite of what you expect. so the most widely used type of tuning. the electrical signal output STANDARD. OFF. fully than MEDIUM setting in order to play HEAVY fortissimo (ff ). LIGHT keyboard feels lighter .Mid.” and set “Patch Scale Tune for C–B” as shown in the table .On/Off. or an Parameter Value Explanation Synthesizer Arabian scale. 33–95 Controller numbers 1–31. Parameter Value Explanation Equal temperament This sets the keyboard to a light touch .Freq 20Hz–10kHz Frequency of the middle range ARP SW Arpeggio/Rhythm Pattern function on/off Rhythm Pattern CHORD SW Chord memory function on/off Width of the middle range .5–16 Set a higher value for Q to narrow the Controls the volume of the insert effect (p .Mid. particular in Western music .Low. K a quarter-tone higher . 33–95 temperament intonation C 0 0 -6 The pitch will rise in semitone steps C# 0 -8 +45 BEND UP (maximum 4 octaves) each time you press D 0 +4 -2 the pedal . K MEDIUM This sets the keyboard to the standard touch . Mid The favorite of the previous number or bank FAVORITE DOWN . the pedal will . and Eb and F# . A 0 -16 0 Bb 0 +14 -10 Each pedal press lowers the key range in OCT DOWN B 0 -12 -49 octave steps (up to 3 octaves lower) .6kHz Frequency of the low range FAVORITE UP be selected . Polarity REVERSE is the opposite of other pedals .Gain -15–+15dB Gain of the middle range will be selected . range to be affected . this is the case This sets the keyboard to a heavy touch . whose hands have less Just intonation (tonic of C) strength . [3] (MST EQ) . This setting allows you to add more Arabian scale expression when playing dynamically . Editing/Effects Note.Mid.Gain -15–+15dB Gain of the high range switch the speaker’s rotation speed (Speed .High.Velocity.Gain -15–+15dB Gain of the low range Effects The favorite of the next number or bank will . Pedal Function of the pedal connected to the PEDAL CONTROL jack Equal. RECORDER REC The same operation as the Digital Recorder’s [l] (REC) button .name Arabian. There is a natural third (an interval -63–+63 selection .Hold. eyboard. F#. Just. F and G#. Eb 0 +16 -12 The pitch will fall in semitone steps E 0 -14 -51 BEND DOWN (maximum 4 octaves) each time you press F 0 -2 -8 the pedal . Assign Parameter Value Explanation Tap tempo (a keyboard tempo specified by TAP TEMPO the interval at which you press the pedal) . set this parameter to “STANDARD . This setting makes it easier for children. Overview .Freq 400Hz–16kHz Frequency of the high range Select) . and triads will sound ambiguous if you play in have to play the keyboard more force- a different key . Perform.Pedal. Compared to equal temperament. 114) is selected. and is the forceful touch than MEDIUM setting. However. by the pedal when it is pressed or released [1] (KBD) . On some pedals. this scale pitches the E and Makes fine adjustments to the keyboard B notes a quarter-tone lower. A fixed velocity value will be transmitted 1–127 regardless of how you play .Control. the principal triads have a Curve more pure sound in just intonation . Compared to equal temperament.scale CC01–31.” Keyboard Velocity value that will be transmitted when you play the keyboard .Control. and G# notes sensitivity following the “Velo Curve” . 106) .” the pedal will control the wah .Velocity. and the C#.Q 0 . Bb and C#. Selects the polarity of the pedal connected Polarity to the PEDAL CONTROL jack or to the PEDAL System Menu [2] (KBD/CTRL) HOLD jack .Low. When WAH (p .Pedal.High. .

ON an external MIDI device . 82 . If you turn the Local Switch off.Change OFF. When this is set to support When you’re using the JUNO-Gi with external sequencer software. U . ON Switch “OFF . set this parameter to match the any way . ON is disconnected (OFF) from the controller section Sensing will be transmitted (ON) or not (OFF) . OFF.Through OFF. If this is “ON. ON Parameter Value Explanation Select be transmitted (ON) or not (OFF) . or will not be transmitted (OFF) . (keyboard. 38) settings of each LIVE SET Live Set will be used for tone control . you can OFF. ransmit. R Specifies whether Bank Select messages will OFF.this.when. .with.Edit. MIDI receive channel on which an external MIDI . [3] (RX) Set this parameter “ON” when you want to use an external MIDI keyboard instead of the JUNO-Gi’s keyboard . . set it to “OFF . JUNO-Gi’s keyboard and controllers to control only Thru function re-transmits all messages external sound modules. Normally. things are hooked up so the data travels as follows: the JUNO-Gi’s achieve even finer control in performances keyboard g your external sequencer software g the JUNO-Gi’s sound in which piano tones are used . pitch bend/modulation lever. ON OFF.Exclusive OFF. Normally you will leave this parameter Parameter Value Explanation Keyboard. [SPLIT] button is on .” incoming MIDI messages will be Specifies whether GS Reset messages will be . Select be received (ON) or not (OFF) . ON .Source.” received at the MIDI IN connector to the MIDI . the JUNO-Gi’s keyboard section is internally connected to its sound generator section. emote. [2] (TX) System Menu [3] (MIDI/SYNC) Parameter Value Explanation . generator . .Reset OFF. R Specifies whether General MIDI System On OFF.Sys. and so on).GM2. pedal. 33–95 Controller numbers 1–95 Source PITCH BEND Pitch Bend AFTERTOUCH Aftertouch (External) Sequencer “Sys Ctrl 1–4 Source” settings will be used SYSTEM for tone control .from.“ON”. eceive. eceive. In this case.GM.Receive. ON performing. ON will be transmitted (ON) or not (OFF) . T settings of a patch.Local. MIDI receive channel for playing the JUNO-Gi from Specifies whether System Exclusive messages .MIDI System. CC01–31. OFF.Device. or not .Channel 1–16 device can play the JUNO-Gi’s Lower layer when the System. SB-MIDI.Arpeggio. the MIDI transmit channel . knobs.the. and employ pedal work to Typically. this internal connection is controlled by the Local Switch .external.Switch OFF. D Beam controller. ON re-transmitted without change from the MIDI OUT received (ON) or not (OFF) . ON * Turn.Sub. Using the Local Switch or not (OFF) . Local Off JUNO-Gi OFF The system control knob will not be used .” .MIDI.1–4.GS.you.Active. will be received (ON) or not (OFF) .Select “Tone Ctrl 1–4 Source” (p . ransmit.Soft.want.Receive. Read the following for details . T Specifies whether Active Sensing messages OFF. allowing you to use the connection described with your external sequencer software . Change will be received (ON) or not (OFF) . .Bank. Device ID number of the other MIDI device . T Specifies whether Program Change messages [1] (GENERL) Program. the JUNO-Gi’s keyboard and sound [3] (CTRL) generator sections will be independent.USB.an. ransmit. Thru connector .control. R of the external MIDI keyboard can be set to any channel .device.function . JUNO-Gi.Channel 1–16 .Main. ontinuous. R Specifies whether Program Change messages OFF. Determines whether the internal sound generator . ON Data transmitted as system exclusive messages Normally this is left “ON.Ctrl. Hold then connect an optional expression pedal (DP-10. eceive. R Specifies whether General MIDI 2 System On OFF. JUNO-Gi Keyboard Sound Generator . T Specifies whether Bank Select messages will OFF.” but if you wish to use the (ON). ransmit. ON disconnected (ON) . Specify whether changes you make in the buttons. Parameter Value Explanation Connecting the JUNO-Gi to an external sequencer Selects the MIDI message used as the System Control .Parameter Value Explanation Determines whether the HOLD PEDAL jack will provide support for half-pedaling (ON).On messages will be received (ON) or not (OFF) . ON Local Switch turned off .when.On messages will be received (ON) or not (OFF) .). leave the . eceive.the. ON . ON When you want to transmit or receive System OUT connector without modifying them in . performance will be . C use of half-pedaling techniques.to. etc .Program.Bank.ID 17–32 Exclusive messages.

Osc 2 Level 0–127 Level of the OSC2 Click Level 0–10 Volume of the click Turning this switch on produces a complex Sound type of the click sound with many harmonics. Width (same as Osc 1) The sound from the USB Song Player and USB Osc 2 Coarse audio of your computer will be output from the Tune USB SONG SONG/CLICK OUT jack (it will not be output from Osc 2 Fine Tune the OUTPUT L/R jacks). Choose this setting if you want the JUNO-Gi to operate according to MIDI System Menu [5] (D BEAM) Clock messages received from an external device. This sets the D Beam controller’s sensitivity. and Stop messages [1] (GENERL) REMOTE Perform. but will use its own Parameter Value Explanation keyboard tempo. 134). Level 2OCT. switching live sets will make LiveSet Tempo OFF. If this is ON. Continue. Selecting Sounds USB Song Sync The JUNO-Gi’s USB memory song player will Mode SLAVE be the slave. ON you want to play arpeggios in time with the tempo of the recorder’s song (p. 4OCT. Click Sound TYPE 2 Clicks TYPE 3 Beeps TYPE 4 Cowbell Level Appendix Song/Click Volume of the output from the SONG/CLICK 0–127 Output Level OUT jack 83 . ON the keyboard tempo change to the “LiveSet Editing/Effects Switch Tempo” (p. a click tone at the tempo of the USB CLICK memory song will be output from the SONG/ Osc 1 Fine Tune -50–+50 Pitch of the tone’s sound (in 1-cent steps) CLICK OUT jack (it will not be output from the Osc2 & Sync OUTPUT L/R jacks. If this is ON. ON A conventional click sound (A bell will sound on when the OSC1 pitch is higher than the OSC2 TYPE 1 the first beat. The JUNO-Gi’s USB memory song player will obey MIDI Start. 32). Range in which the pitch of the solo synth will Range System Menu [4] (CLICK/PLAYER) Osc1 8OCT vary Rec/Play/Edit Waveform [1] (CLICKOUT) Osc 1 Waveform SAW Sawtooth wave SQR Square wave Parameter Value Explanation Pulse width of the waveform Osc 1 Pulse Click Setting 0–127 By cyclically modifying the pulse width you can Width create subtle changes in the tone. Output from the SONG/CLICK OUT jack Digital Recorder Osc 1 Coarse Pitch of the tone’s sound (in semitones. Functions from an external device. +/-4 When the USB Memory Song Player is playing -48–+48 Effects Tune octaves) back. synchronizing it to any other device. This is convenient when Parameter Value Explanation Tempo Link OFF. Level & Range Level 0–127 Volume Level of the Solo Synth * The JUNO-Gi’s Digital Recorder cannot synchronize to an external Chorus Send Other Settings MIDI device. 38) specified for that live set. the JUNO-Gi will transmit MIDI Sensitivity MIDI Clock clock to an external MIDI device. be the master. ON Output * This cannot be set if USB Song Sync Mode D Beam Sens 0–127 Increasing this value will make the D Beam Synthesizer is “SLAVE. without SMF Level 0–127 the USB memory song player. Choose this setting if you’re MASTER Sets the volume at which SMF will be played by operating the JUNO-Gi by itself. the keyboard tempo will match [2] (SYNTH) the recorder tempo. the JUNO-Gi cannot synchronize to an Reverb Send 0–127 Level of the signal sent to reverb external MIDI device (p. If this is ON. Sets the volume at which audio files will be Audio Level 0–127 The JUNO-Gi’s USB memory song player will played by the USB memory song player. OFF.” controller more responsive. 0–127 Level of the signal sent to chorus Level * If the Tempo Link is on.[4] (SYNC) [2] (PLAYER) Parameter Value Explanation Parameter Value Explanation Overview Specifies the synchronization signals that the JUNO-Gi’s USB Song Player Level memory song player will follow.) Song/Click Osc 2 Waveform The sound from the Digital Recorder will be RECORDER output from the SONG/CLICK OUT jack (it will not Osc 2 Pulse Rhythm Pattern be output from the OUTPUT L/R jacks). This is effective USB Memory Song Player Osc Sync Switch OFF.) pitch.

Osc.Rate 0–127 Modulation speed of the LFO * By.with.invert.Type (Band Pass the cutoff frequency. FO.the. Filter) Lower limit of the range of the D Beam controller .is.setting. This leaves only the frequencies in the region of . L.1.is.Pitch.Osc. The effect will be applied when Frequency at which the filter begins to have an . Depth to which the LFO will modulate the pulse L.can.2. .waveform .Type RECORDER START The digital recorder will start/stop . L.range. FO. FO.Osc.Depth * The.below. * By. the position of your hand above the D Beam .change . .Resonance 0–127 region of the cutoff frequency.you.Pulse.Osc. USB SONG START The USB memory song player will start/stop .change . BPF BEND DOWN Controls the pitch .Pulse.Range.Osc.Assignable OFF No filter is used .below.2.setting.Range.Range.when. HPF This cuts the frequencies in the region below Tap tempo (a keyboard tempo specified by (High Pass the cutoff frequency .Filter Parameter Value Explanation Type of filter User.Max 0–127 controller is above this value .of.1.Depth * The.Pulse. (Peaking the cutoff frequency . you. Depth -63–+63 Depth to which the LFO will modulate the Osc 2 pitch System Menu [6] (INFORMATION) Depth to which the LFO will modulate the pulse Here you can view the JUNO-Gi’s software version . TAP TEMPO the interval at which you move your hand Filter) over the D Beam controller) . adding character controller .“SQR”.Osc. 0 . 33–95 Controller numbers 1–31.2. Filter) . Upper limit of the range of the Active Expression .waveform . PKG This emphasizes the frequencies in the region of AFTERTOUCH Produce the same effect as aftertouch . width of the Osc 1 waveform -63–+63 Width.Pulse.is.activated.activated.Min.Cutoff.of. Filter) BEND UP Controls the pitch .Max.1.Max. selected.Max 0–127 Range Min Range Max 127 84 .“SQR”.Min.is. 33–95 (Low Pass above the cutoff frequency (Cutoff ) .Range.LFO.Width.range.when. can. Function controlled by the D Beam controller LPF This reduces the volume of all frequencies CC01–31.Parameter Value Explanation [4] (ASSIGN) . Emphasizes the portion of the sound in the Upper limit of the range of the D Beam .with. The effect will be applied when to the sound .Range. width of the Osc 2 waveform -63–+63 Width.Range. and cuts the rest .Min 0–127 The effect will be applied when the position of your hand above the D Beam controller is lower than this value .Min 0–127 .Filter. [3] (EXP) Parameter Value Explanation Expression Lower limit of the range of the Active Expression .Range. selected.the. The effect will be applied when the position of your hand above the D Beam controller is above this value .LFO . 0–127 the position of your hand above the D Beam effect on the waveform’s frequency components controller is lower than this value . FO. Depth to which the LFO will modulate the Osc -63–+63 Depth 1 pitch L.Width.Range.Pitch.invert.

Functions Editing/Effects Other Settings Rec/Play/Edit Effects Rhythm Pattern USB Memory Appendix Synthesizer Digital Recorder Song Player Digital Recorder .Overview Selecting Sounds Perform.

98 [4].(EFFECT).PUNCH VIEW] button to turn off its illumination.more. The level of the entire Digital Recorder is shown . The current location within the song is shown as “hours: minutes: seconds–frames–sub-frames .Recorder.place . Opens the recorder effect screen p .the. “*”. specify the end time (B) .it’s. Press.999. 4 tempo g “Setting the Recorder Tempo” (p . 2 Song name Indicates the name of the song . In bounce mode or mastering mode. 106) is on . * When.lit . • A sub-frame is 1/10th of a frame .shown. This is displayed when you use the [REPEAT] (A B) button to specify the A–B region used A B by Repeat or Auto Punch In . Synthesizer. 118) . 106 5 6 7 Num- Name Explanation ber Indicates the current location within the song . Explanation Changes the mode Page p . 89 [5]. 97) .(TRK.screen (LIVE.screen Digital. To return to Synthesizer screen (LIVE SET PLAY).button.for.PLAY). The output level of the Rhythm Pattern is shown in RHYTHM the level meter . or press the [EXIT] button . Function buttons About the RECORDER Screen Button [1].the. Opens the track settings screen p . the individual L/R recording levels (bounce level/mastering level) will be shown .hundreds. Indicator This is displayed when Repeat is enabled .[RECORDER. the numbers indicate measure-beat- 1 Measure clock .VIEW]. 86 .(MENU). Opens the Rhythm Pattern screen p . and will display when you RECORDER screen will appear . Recorder Indicates the tempo of the digital recorder . EFFECTS This is displayed when the insert effect (p . 122) Mode indication (use the [1] (MODE) button to switch) (unlit) This means you’re in Normal Recording mode .. 5 BOUNCE This means you’re in Bounce mode (p . specified .than.are.” 3 Current time • One frame is 1/30th of a second . 94 1 2 3 4 5 [3].there. Level meter The input from the input jack (LINE IN. MASTERING This means you’re in Mastering mode (p . (RECORDER). GUITAR/MIC INPUT IN) or keyboard is shown in the level meter .measures.(MODE).SET).SET. 122 [6]. PROTECT Displayed when a song is protected .(RHYTHM). From the left..so.an. press the [RECORDER This is displayed when Auto Punch In/Out has been A . 6 The output level from each track is shown in the 1–8 level meters . Opens the Recorder menu p .Digital Recorder 1 (Recording/Playing/Editing) Displaying the Digital Recorder Screen Displaying the RECORDER Screen Num- ber Name Explanation 1. It will blink when you 7 specify the start time (A).is.

3.cursor. the [ ] button . The SONG SELECT screen will appear . Use.select.(PLAY).button .(SELECT). ove. Editing/Effects .[ ]. • Use of the demo song supplied with this product for any purpose other than private. Selecting Sounds “1 . Operation Explanation 6.press.of. M Hold down the [n] button and press the song [ ] button . an SD card containing demo songs are installed .end.in. The SONG EDIT MENU will appear .the.the. 1. Functions 4.the.[ENTER].[3]. Press.song .RECORDER. ove.Song. nor used in a secondary copyrighted work without the permission of the copyright holder .buttons. of.to.the.the.of.cursor.the.button .button .VALUE.select.”.button .”.button .steps.or. ove. Additionally.in. M the measure/beat indication.VALUE. Use the cursor buttons to move the cursor to .dial.[ ].(MENU).of.the. Playing a Song Selecting and Playing a Song Changing the Current Position (Song Select) You can use any of the following methods to change the current position within the song . Use. Rec/Play/Edit MEMO • Playback will not stop automatically even if you play back to the end of the song .the.. 5.Rewind [ ] button . and use the VALUE measures/beats dial or the [DEC] [INC] buttons to change the measure/beat .buttons.song .the.the. In. this data Digital Recorder must not be copied.press.and.the. The song will begin playing .Fast-forward 7.and.to.the. Here’s how to play these demo songs . The song will fast-forward while you hold down Synthesizer . M Press the [ ] button .[ENTER].[6].dial. The song will rewind while you hold down the .[5].button .buttons.cursor.[ ].(EXEC). Press.the. Overview When the JUNO-Gi is shipped from the factory. ove.the.to. personal enjoyment without the permission of the copyright holder is prohibited by law .steps.the.Edit.select.or.to.hours/ M “hours/minutes/seconds/frames/sub-frames” minutes/seconds/ Other Settings indication. Use.. and use the VALUE dial or the [DEC] frames/sub-frames [INC] buttons to change the time .the. Press.Select. Perform. USB Memory Effects Rhythm Pattern Song Player Appendix 87 . 2.“Song. press.the. Use the cursor buttons to move the cursor to the .screen.to.beginning.

slider.TRACK. Selecting the track to record Blinking red MEMO You can select the track to record by Adjusting the Rhythm Pattern volume holding down the [SHIFT] button and pressing a TRACK [1/5]–[4/8] button .adjust.adjust.5–8] If the [TRACK 1–4 5–8] button is lit.volume .to.MIXER[1/5]–[4/8]. 94) [1/5]–[4/8] tracks .the. moving one slider green will simultaneously change the volume of the two stereo-linked Lit red Recording track (p .to.Rhythm..turn. Muting Tracks Adjusting the Volume of the Tracks Track button operations Adjusting the volume of tracks 1–8 Button Status Explanation 1. Unlit Controlling tracks 1–4 . 89) is enabled.to.[RHYTHM.mute. RHYTHM. If the [TRACK 1–4 5–8] button is lit.the.to. 88 .the. Adjusting the Digital Recorder’s overall volume Muting tracks 1–8 1.unmute.adjust.buttons. Unlit Track contains no recorded data Lit green Track contains recorded data • If a slider is lowered all the way.PATTERN].slider.button.PATTERN]. Use..the. 1. tracks .[RHYTHM. you’ll be controlling tracks 5–8 .sliders. Use. Use.the.or.TRACK. you’ll be controlling tracks 5–8 . Pattern.[ TRACK. Press. you can check the current value without modifying the setting .volume .the.the. Turning the Rhythm Pattern on/off 1. .[1/5]–[4/8].the. Lit red Controlling tracks 5–8 [. the sound of that track will not be heard .on/off.the. Use.[MASTER]. Blinking Muted • For tracks for which Stereo Link (p .. Unlit Rhythm Pattern function is off MEMO PATTERN] Lit green Rhythm Pattern function is on • By holding down the [SHIFT] button and moving a slider.to. 1.1–4.the.volume .

Adjusting the Pan, Reverb, and EQ Parameter
High
Value Explanation

(TRACK SETTING) .High.Gain -12–+12 dB Gain of the high range

Overview
.High.Freq 400 Hz–16 kHz Frequency of the high range
In the TRACK SETTING screen you can adjust the pan and reverb of
tracks 1–8 and the Rhythm Pattern .
1. In.the.RECORDER.screen,.press.the.[4].(TRK.SET).button . Switching V-tracks (V-Track)
The TRACK SETTING screen will appear .
The digital recorder

Selecting Sounds
Track.Number Explanation provides eight tracks . Each
track consists of eight V-Track 8
R Rhythm Pattern
virtual tracks (V-tracks), and V-Track 7
1–8 Track 1–8 V-Track 6
you can select one of these V-Track 5
V-tracks for playback and V-Track 4
V-Track 3
recording . V-Track 2

Perform. Functions
V-Track 1
In other words, you can use 1 2 3 4 5 6 7 8
8 x 8 = 64 tracks to record
your performance, and
choose eight of these for
playback .

Synthesizer
1. In.the.TRACK.SETTING.screen,.change.the.value.for.“.V-Track .”
Function.Buttons Explanation The status of the V-track is shown in the screen (n indicates that data

Editing/Effects
[1].(EQ.SET). Accesses the equalizer setting screen (EQ SETTING) . exists) .
[2].(ST.LINK). Enables Stereo Link .

2. Use.the.cursor.buttons.to.select.to.the.parameter.that.you.
want.to.set .
Controlling the Parameters of Two Tracks
3. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.set.the. Simultaneously (Stereo Link)

Other Settings
value .
In some cases you may wish to adjust the parameters of two tracks
Parameter Value Explanation simultaneously, such as when you’re using two tracks to record or play
.Level 0–127 Volume of each track back a stereo source . You can do this using the Stereo Link function .
L64– 1. In.the.TRACK.SETTING.screen,.move.the.cursor.to.the.
.Pan Pan (left/right position) of each track
0–63R
parameter.for.which.you.want.to.enable.(or.disable).stereo.

Rec/Play/Edit
Reverb 0–127 Level of signal sent from each track to reverb
link .
Equalizer (EQ) switch for each track
.EQ
OFF, 2. Press.the.[2].(ST.LINK).button .
ON Press the [1] (EQ SET) button to open the
equalizer setting screen for each track . • The indication “=” is shown for parameters that are stereo-linked .
V-Track number • When you use the VALUE dial or the [DEC] [INC] buttons to modify the
The status of the V-track is shown in the screen value of a track parameter that is stereo-linked, the two values will

Digital Recorder
.V-Track 1–8 (n indicates that data exists) . change together .
* The.Rhythm.Pattern.does.not.have.

Effects
V-tracks . MEMO
• The value will not change immediately when you enable stereo
link . Stereo-linked operation begins when you modify the value .
4. Press.the.[EXIT].button.to.return.to.the.RECORDER.screen .
• Simply selecting stereo tracks for recording does not turn Stereo

Equalizer setting screen (EQ SETTING) Link on . When you select stereo tracks for recording (two REC
Rhythm Pattern

indications are shown) and then finish recording, Stereo Link will
automatically be enabled for those tracks .
Here you can make equalizer (EQ) settings for each track .
• The pan parameter changes as shown below when Stereo Link is
MEMO on .
To switch the track that appears in the EQ SETTING screen, hold
down the [SHIFT] button and use the cursor [ ] [ ] buttons . [-] VALUE [+ ]

Parameter Value Explanation
USB Memory
Song Player

Equalizer (EQ) switch for each
.On/Off. OFF, ON L 64 L 64 L50
L 64 R50
R 63 R 63 R 63
track (Default)
Low
.Low.Gain -12–+12 dB Gain of the low range
.Low.Freq 40 Hz–1 .6 kHz Frequency of the low range
Mid
Appendix

.Mid.Gain -12–+12 dB Gain of the middle range
.Mid.Freq 20 Hz–10 kHz Frequency of the middle range
Width of the middle range
.Mid.Q 0 .5–16 Set a higher value for Q to narrow
the range to be affected .

89

Playing Back Repeatedly (REPEAT) Using the A–B SETTING Screen To Specify the
The “repeat” function lets you play back a specified region repeatedly . Repeat Region
This function is useful when you want to check the mix balance
repeatedly, or can be used in conjunction with punch-in/out to 3. Hold.down.the.[SHIFT].button.and.press.the.[REPEAT].(A. . .
perform Loop Recording (p . 96) . B).button .
A–B SETTING screen will appear .
Specifying the A–B Region Current Time

1. Move.to.the.point.where.you.want.to.begin.repeating.(point.
A),.and.press.the.[REPEAT].(A. . .B).button .
The “A B” indication will blink in the display, and that location will
be registered as the starting point (A) of the repeated region .
2. Move.to.the.point.where.you.want.to.stop.repeating.(point.
B),.and.press..the.[REPEAT].(A. . .B).button .
At this time, the “A B” indication will light, indicating that the A–B Location of point A Location of point B
region has been assigned .
• When specifying the repeat end point (B), pressing the [REPEAT] (A
B) button at a point that is earlier than the repeat start point (A) will
cause that point to be reassigned as the repeat start point (A) .
Function button
• There must be at least one second between the repeat start point (A) Button Function Page
and end point (B) . You can’t specify an end point that’s less than one The region you specified (A–B) will be
[1].(REPEAT). ––
second away from the start point . assigned as the repeat region .
The region you specified (A–B) will be
MEMO [2].(AUTO). p . 95
assigned as the auto punch-in/out region .
You can also set the A-B region by pressing the [REPEAT] (A B)
button while the song is playing . The region you specified (A–B) will be
assigned as the auto punch-in/out region .
[3].(R&A1). p . 96
The A–B region will be assigned as the
repeat region .
The region you specified (A–B) will be
assigned as the auto punch-in/out region .
[4].(R&A2). One measure before and after the A–B p . 96
region will be assigned as the repeat
region .
The location data at the cursor will be
[5].(CLEAR). ––
cleared .
[6].(EDIT). The track edit menu will open . p . 98

4. Press.the.[1].(REPEAT).button .
The region you specified will be assigned as the repeat region .

Repeat

Playback

Time
A B

5. Press.[EXIT].button.to.close.the.A–B.SETTING.screen .
In the RECORDER screen, “ ” and “A B” will be displayed .

MEMO
• If you want to cancel the repeat, press the [REPEAT] (A B)
button once again . The repeat settings will be cancelled, and the
“A B” will be unlit .
• If you want to preserve the repeat region you specified, press the
[WRITE] button to save the song .

90

Recording

Song Production Flow Creating a New Song
A general outline of the song production workflow is shown below. (Create New Song)

Overview
This manual explains each function in detail, but when you’re creating
a song for the first time, please read the “Quick Guide” (separate On the Digital Recorder, each of your compositions is managed as a
document), which provides the explanations in the order of the song “song.” You’ll need to create a song before you begin recording a new
production workflow. composition.
1. In the RECORDER screen, press the [3] (MENU) button.

Selecting Sounds
1. Create a new song (p. 91) 2. Use the VALUE dial or the cursor buttons to select .
“1. Song Edit,” and press the [ENTER] button.
The SONG EDIT MENU will appear.
2. Specify the tempo, and select a Rhythm Pattern to play (p. 121) 3. Use the cursor [ ] [ ] buttons to select “Create New Song,”
and press the [ENTER] button.

Perform. Functions
3. Record your performances (p. 94) 4. Press the [5] (EXEC) button.
A new song will be created, and you will return to the RECORDER
screen.
4. Adjust the volume balance and effects for each track (p. 89) MEMO

Synthesizer
You can create up to a maximum of 99 songs with one SD card.

5. Master your song to create the final version (p. 118)

Editing/Effects
6. Use a computer to burn the completed song(s) to a CD

Other Settings
Rec/Play/Edit
Digital Recorder
USB Memory Effects
Rhythm Pattern
Song Player
Appendix

91

You. audio player connect it to the balanced (XLR) jack and choose the “ PHANTOM ON” setting . specifi.mistakenly.the.intend.” Output jack of your digital If you’re using a condenser microphone.. referring. microphones. choose LINE OUT the “PHANTOM OFF” setting . • When connection cables with resistors are used.48. (This.turn.it .the.to. Adjust the knob so that the front panel PEAK indicator lights orange during the loudest passages .if.. use the [LEVEL] knob located at the left of the jacks . If this indicator lights red.supply. jacks of your * Always.microphones.sure..that.. (Phantom power is not supplied to the phone jack .the.power .connecting.risk. connect the equipment that you want to record in the Digital Recorder .Max) This instrument is equipped with balanced (XLR/TRS) type jacks .or.to.condenser.power:. Make connections after first checking the wiring diagrams of other equipment you intend to connect .damage. Connect your microphone or guitar to the GUITAR/MIC jack as shown in the illustration ..than.microphone.dynamic.DC. set this to “ GUITAR. OUTPUT jacks of your keyboard that. the volume level of equipment connected to the inputs (AUDIO INPUT jacks) may be low . use connection cables that do not contain resistors .10.other. 92 .Connecting the Equipment to Record and Adjusting the Input Level To the rear panel AUDIO INPUT jacks. and turn off the power on all devices before making any connections . stereo system any. NOTE • To prevent malfunction and/or damage to speakers or other devices.by.when. always turn down the volume.that.phantom.instrument’s.to. 3.you.with.phantom.devices. input overload has occurred .mA.playback.power .) If you’re using a dynamic microphone.phantom. Changing the orientation of the microphone(s) . 2.off.cations.instrument’s. Connect your digital audio player or other audio device to the LINE jacks . To adjust the level.other.such.DC.device.devices.to... If this happens.V.don’t. Wiring diagrams for these jacks are shown below .48. If you connect a guitar or bass.power.causing.power:. require.Be.use. Relocating microphone(s) at a greater distance from speakers .phantom.power. • Howling could be produced depending on the location of microphones relative to speakers .any.manual.phantom.check.audio.mA. you.came.V. This can be remedied by: 1.require.Max) (This..10. Lowering volume levels .of.

source . Press.to.level. or USB audio. MIC jack . Press. select the desired sound as follows .Synthesizer.FX)..the. Sound of the USB Memory Song Player .or.INPUT]. If. 93 . Input.[6].Use.lit .value .and. Synthesizer performance and insert effect recorded select.(MIC).use..window .a.input. the internal digital level . Press. this may increase the internal .eff.to. Selecting an Instrument to Record Selecting the Sound of the External Audio (REC SOURCE SELECT) Input (AUDIO INPUT) Overview Here’s how to select the instrument you’ll be recording . [2].button. Press.the.so.want. Button Explanation the.the. turn off all of the inputs in order to Rec/Play/Edit Button Explanation minimize the noise from the input jacks .the..button.(GUITAR)–[5]. Editing/Effects The KEYBOARD INPUT window will appear .. • Multiple buttons cannot be on at the same time .or.AUDIO. if you apply an insert effect to the sound of the synthesizer.button.(KEYBOARD+INS. if you apply an insert effect to • Multiple buttons cannot be on at the same time . the input corresponding to the button you Parameter Value Explanation Digital Recorder pressed will be switched on . (KEYBOARD+INS.it .Use. the input corresponding to the button you pressed will be switched on .the. synthesizer to reverb Reverb 0–127 * Valid. Sound of the device connected to the LINE IN jack .press. For example.[DEC]. • When you press a button.to. performance. its input will be switched off .Level 0–127 digital level .INPUT.you.only. [3]. Sound of a microphone connected to the GUITAR/MIC [2].button .record.(USB.Reverb 0–127 reverb Adjusts the internal digital input level .(USB.dial.the.VALUE.buttons.to.cursor.reverb .FX).cursor.(CLOSE). Rhythm Pattern level meter reaches the maximum position) . input.the.set.[4]. • If you’re not recording anything.when. this may increase 4. Adjusts the internal digital input level .select.performance.the.parameter. line input.FX). Effects • When you press the same button again. and adjust the Input Level value so that the select. to the USB COMPUTER connector .applied.[2].VALUE. microphone.SONG).use.the.parameter. Parameter Value Explanation Level of signal sent from the input sound to . AUDIO INPUT SELECT window without turning the audio input on/ Level of signal sent from the sound of the off .the.[INC]. button.value .to.(CLOSE). Set.and.to. If you want to record the sound from a guitar.[1]. Appendix 4..the.to.on .record.to.to.set.the.reverb . its input will be switched off .(USB.and. Selecting Sounds Perform. jack . buttons.. synthesizer.or. 2.it’s.and.close. Press.(LINE).INPUT.the. 1. window .(KEYBOARD+INS.with.. you can access the KEYBOARD INPUT/ position) .synthesizer.the. play SELECT.the. In such cases.level.[INC].the.[4].your. Synthesizer 1.to. In such cases.record.button. Sound of a guitar or bass connected to the GUITAR/ [1].input.(GUITAR).the.AUDIO).insert.Level 0–127 the keyboard and adjust the Input Level value so that the level meter in the screen does not MEMO USB Memory Song Player reach the maximum position (“CLIP” is shown By holding down the [SHIFT] button and pressing the [KEYBOARD]/ when the level meter reaches the maximum [AUDIO INPUT] button.[AUDIO.the.[KEYBOARD].the.a. If you decide not to record your synthesizer performance.(KEYBOARD). The AUDIO INPUT SELECT window will appear . press the [KEYBOARD] button to turn off its illumination .the. • When you press the same button again. For example. Other Settings Input Level Mater • When you press a button. Functions Selecting the Sound of the Synthesizer Input Level Mater (KEYBOARD) 2.Input.press. Set..ect.just. Synthesizer performance recorded 3.[DEC]. [4]. [4]..the.buttons. Sound of the USB audio from the computer connected [5]. the input sound.close. level meter in the screen does not reach the maximum position (“CLIP” is shown when the buttons.dial.to.[6].AUDIO). play the input sound 3.KEYBOARD.(KEYBOARD).is.performance.

When.the. Track 1 will be selected as the recording destination .than. using two tracks . To. If you want to record in stereo so that the insert effects will sound better.playback) . Recording Selecting stereo tracks for recording Entering normal mode If INPUT is set to “KEYBOARD”.performed. 118) .the.audio. 5. 2.is.RECORDER.press. 89) will be enabled (or disabled) for the pair of tracks you pressed simultaneously . [1/5]–[4/8] Select tracks 5–8 .is. track to record) will blink red .is.MODE). Selecting the track to record Stereo link (p .5–8]. If INPUT is set to “GUITAR” or “MIC” . Mode.(MODE). MEMO If you want to switch V-tracks.. 94 .to. select the desired V-track now as described in “Switching V-tracks (V-Track)” (p . If you press the TRACK [1] or [2] button.play. and recording will In recording-standby mode.the. However if you want to mix the sound from the L-channel and R-channel of the input and record it on track 1.[ ].want.or.button. one of the TRACK [1/5]–[4/8] buttons (the begin .recording.will. [1/5]–[4/8] Select tracks 1–4 .track.the[1/5]–[4/8].the. • Recorder Menu • Undo/Redo MEMO Even when you’re not in recording-standby mode. Make sure that the display does not indicate “BOUNCE” or recording will take place in stereo on tracks 1 and 2 .button .press. The button of the track being recorded will light red .the.(use.you.Normal.recording.second .shorter. The [l] (REC) and [ ] (PLAY) buttons will go dark .record . Similarly “MASTERING .times. Button Explanation * You..cannot..operating. . Press. You can use the same operation to specify a different track as the recording destination .screen.(PLAY).e .time. this will normally be stereo recording number.a. When. recording standby condition .mode .1–4.the.recorder.be. pressing a TRACK [1/5]–[4/8] button . 3.of.button.to.(REC).BOUNCE This means you’re in Bounce mode (p .select. and the digital recorder will be in 4.be.[n].of..invalid).stop. Recording The [l] (REC) button will blink.(STOP).during. “LINE” or “USB” 1. 97) .[l]. etc . Press. Since the input is stereo.1–4.was. [2] buttons or [3] and [4] buttons to specify stereo recording using two tracks .(. 89) before you proceed .[1].button .[TRACK.operations.(or. you can simultaneously press the TRACK [1] and .the.button .to.can’t. you can select • Switching a mode ([1] (MODE) button) the track to record by holding down the [SHIFT] button and • Arrange editing. * The.indication.MASTERING This means you’re in Mastering mode (p .whose.back. press the TRACK [1] button once again from the state in which tracks 1 and 2 are selected .unlit one.switch) (unlit) This means you’re in Normal Recording mode .5–8].recording. recording will take place in stereo on tracks 3 and 4 .(i .[1].lit while.” if you press the [3] or [4] button.[TRACK. The [l] (REC) and [ ] (PLAY) buttons will light.the. . In.following. Press.button.

to. In other words.of.to.94) . On the JUNO-Gi.2–3.punch-in.(the.A–B.the.of.than.the.1–2.. region).you’re.the.punch-out. Synthesizer manual punch-in/out and auto punch-in/out . • The data prior to punching-in/out will remain on the SD card without being erased .[n]. 104) to erase the unneeded steps. Each time you press the [l] (REC) button.the.nished.location.must. Select. punch-out.seconds.where.[l]. Effects 3.recording. Move.than.[2].punch.press.described.in.point.fi. When.its.location.to. Press.ensure.rerecording.want.the.turn.to. Hold.as.the.want.(PLAY).press.the. least. When.SETTING.using.button.[ ].track.want.press.2–3.(p .. and punch-out when you’re finished recording . Digital Recorder exiting.song .punch-in/out.at.you.you’re.rerecording .the.at.(PLAY). Editing/Effects • You can use the Undo function (p .button) .slightly. 2. MEMO 4. “Punch-out” is the action of switching from Selecting Sounds recording back to playback while the track continues to play .punch.the. you punch-in/out by operating the [l] (REC) button .[SHIFT].close. you can punch-in/ out to re-record just a specific region of your performance . 5..fi. USB Memory Song Player 6. [l].[REPEAT].begin.interval.which.to. Rec/Play/Edit * When. to re-recording .(REC). you punch-in at the point where you want to start re-recording. you’ll alternately punch-in and punch-out.to. should execute Song Optimize (p .“Selecting.[ ].that. (or.(p .press.set.punch-out .the.a.the.and. Press. you. the [l] (REC) button will automatically turn red and recording will begin ..the.button. you.(PLAY). . Other Settings At the location you specified for punch-in.1 . or if you want to punch-in/out automatically so that “Punch-in” is the action of switching from playback to recording while you can concentrate on your playing .0. Rhythm Pattern Punch-in will begin.. In such cases.track.(REC).record”.to.second.to.(STOP).down.button . effectively .and. Playback Recording Playback Region”.earlier.record”.the.as.as. you 6.to.the. Auto Punch-In/Out In/Out) “Auto punch-in/out” is the method in which punch-in/ out begins automatically at the time locations you specify Overview During recording. Press.at. When you reach the punch-out point.screen .least.button . * When.begin.to.you. Time Perform. 4.press. Specify.in. If you no longer need this data.. The region you specified will be the auto punch-in/out region .punch-in.A–B. 1.off.recording-standby. 1. you will automatically return to playback .locations.mode .you.the.auto.(A.(STOP).you.0.manual.point.. Re-Recording Over a Mistake (Punch.to. you play back a track .button. Move.described. unsatisfied with your performance .back.button ..the.[ ].to.and. you may sometimes play a wrong note or be beforehand .A–B. In this method.the.steps.illumination.the..of.[l].want. This is convenient when you want to punch-in/out at precise points. Manual Punch-In/Out 8.thus.the. and you’ll be in record mode .1 ..track.which.track.must.play. .button .slightly.the.“Specifying.and.point. Appendix 95 .into.punchin.button.at.using.press.that.you’ve. you can choose from two methods of doing this. 96) to return to the state prior 5. Select.rerecording.ready.the.earlier. data from the SD card so that its storage capacity can be used 7.a.in. At.points.90) .94) .a..want.B).punch-in/out.apart .described.[n]. Functions 2.begin.there.you. Start Punch-In Punch-Out Stop The A–B SETTING screen will appear . When.press.. Press.(REC). so simply perform the same procedure at any other location that you want to re-record ..recording.into.is.button .to.nished..[EXIT].button . 3.(AUTO).the..punch-out.“Selecting.(p . button.between. steps.and.the.that.

The region you specified (A–B) will be assigned as the auto punch-in/out region . Hold.and.[3]. you can recorded content will play back on the second and subsequent passes use the “Undo function .at. Recording A B Canceling the Undo (Redo) The region you specified (A–B) will be assigned as the auto punch-in/out region . The A–B SETTING screen will appear .(STOP).(R&A1).the.the. auto.track.(p .A–B. immediately after executing Song Optimize .track. played back in subsequent passes Undo to cancel the second recording and revert to the first recording . press the [EXIT] button . [4]. smoothly on other tracks without having to stop the song . 4. If. At these times.the.punch. You can execute Redo if you decide to cancel the Undo operation you One measure before and after the A–B region will be assigned just executed .to.. . after executing Undo. press the [EXIT] button .locations. 8.point.button . you can press the [l] (REC) button and re-record from the beginning (A) of the next pass . Select.press. the display will indicate “Undo Completed!” [3].described. and effect 1.to. .button . If desired. The A–B region will be assigned as the repeat region .as. you’ll only be able to execute Redo .begin. Listen to the re-recorded result .[UNDO/REDO].. Undo will cancel the result of the operation and revert the data to its Repeat previous state .to.slightly.SETTING.nished.close.(A–B. TRACK button) while loop playback continues. When you execute Undo.into. you can • If. Playback Recording Playback 2.the. 1.the.press. If you’re not satisfied with the recorded content. • Parameters such as track settings.the.Redo. and the most recently executed recording or editing operation will be cancelled .record”.the. press the [l] (REC) button and re-record from the beginning (A) of the next pass .(EXEC).” of the loop.the.in. this lets you record • Undo applies only to the audio data recorded on the tracks . When you execute Redo. the display will indicate “Redo Completed!” A B and the Undo operation you just executed will be cancelled .in.a. Re-record your performance . If you decide not to execute Redo. Press. After you’ve executed Undo.button .button .94) .loop.. as the repeat region .recording. rhythm settings.[ ].1–2.screen . [REPEAT].rerecording . • If you execute Song Optimize (p . 1.the. you will no longer be able to execute Redo .button . 7.you.button . For example.button. Press.want.the.want.(EXEC). While the loop plays back after it has been recorded.and.(R&A2).want. If. After the repeat.the. If you decide not to execute Undo. wish. 96 . and have recorded twice over the same region .press. Button Explanation 2. playback will begin from the punch-in location . or the settings you make for an editing operation are incorrect.described.A–B.down.(PLAY).to.which. Press. Move.the.(A.(R&A2).button .you.press.B).execute. will be cleared .or.(p .fi. steps.. When. allowing you to check the content that was recorded .of.which. you’ll be able to record the region between punch-in and punch-out . 6.Region”.to.you’re.punch-in/out.Undo.[n]. the operating history for all data “Specifying.want. If you’re not satisfied with the recording. Reverting to the Previous State (Undo) 3.to.as.execute.you.(R&A1).[6].want. Repeatedly Recording the Same Region Canceling a Recording/Editing (Loop Recording) (Undo/Redo) “Loop recording” is when you use the Repeat function and the Auto Occasionally when the recording you make doesn’t turn out as you Punch-In/Out function together to record repeatedly .[SHIFT]. Press. You could then execute Recorded in first pass. that and you want to reverse what you have done .button .the.to..at.“Selecting.location. Specify.you.the.[EXIT].90) . you could execute Redo if you wanted A B Time to cancel the Undo and revert to the state following your second recording .steps. Press.that.to.[6]. you. you then record or execute a track editing select a different track (hold down the [SHIFT] button and press a operation.2–3. 5..[4].the. you can then use “Redo” to cancel the Undo .of. let’s suppose that you’re performing punch-in recording. settings cannot be restored to their original state . If you record on the A–B region during the first pass of the loop. NOTE MEMO • After executing Undo.. When you press the [ ] (PLAY) button.than.earlier..button. 104). This means that you won’t be able to execute Undo 2.region).[UNDO/REDO].

and.the. Press. 7. Alternatively.of.begin .2-V1 MEMO Track. you can have those sounds recorded together . • If the V-track contains data.to. you can use the track buttons to mute all tracks other than the bounced tracks (see “Muting Tracks.song .other. song.buttons.button. set the pan of the bounce-destination tracks (1 and 2) to far left and far right.a.fi. Appendix 97 . Track.or.then.. Track.[INC]. 8.7-V1 bounce-recording.[1].the.back. (Example: If you want to bounce-record to V-track 2 of tracks 1 and 2.the.for.5-V1 Track.INPUT Track. choose Target Track: 1/2–7/8 .the.and.the.press.button.the. set the V-Track field to “2” for tracks 1 or 2 .the.) 2.(PLAY).move.0.settings. • To bounce in monaural.(MODE).values.tracks.the. Track.SET). • To bounce in stereo.to.bounce-recorded .the.button ..to.“Target.will.” 1. the recordings of multiple tracks together onto one track (V-Track) . Putting Multiple Tracks Together (BOUNCE Mode) Although the JUNO-Gi allows the simultaneous playback of eight 3.(MODE).press.and. 2.the. In Bounce mode. Press. Digital Recorder buttons.“V-Track”.to. Selecting Sounds When the [KEYBOARD] or [AUDIO INPUT] buttons are on.and.use.fi.VALUE.you’ve.in. Press. the JUNO-Gi also lets you copy master.6-V1 Track.1-V1 You can apply reverb (p .cursor. you can free up other tracks in order to record additional performances .[MASTER]. a n symbol is shown beside the V-track USB Memory Song Player column .use. Press. choose Target Track: 1–8 .bounce-destination. The TRACK SETTING screen will appear . KEYBOARD AUDIO.song.the.to. 4.” p . 108) .the. When.specify. 121) in the recording . Perform.of.to. separate V-Track .adjust. Use.mode .fi.to. (Example: If you bounce-recorded to V-track 2 of tracks 1 and 2.V-track.button.dial. 106) during Synthesizer bounce-recording .(PLAY). number.[ ]. If.0.Top).times. distortion would occur) .currently.bounce-recorded..Pattern beginning.set.times.button. tracks.you. Press.the.button . you can play back eight tracks simultaneously and record them all to a single.button .track.of.to.eld.of.select.eld.appears.fi.(Song.Pattern Track.cursor.the. Set.V-track .the.the.screen.you.to. Rec/Play/Edit 3.2-V2 Track.to.(STOP)..“Reverb”.you.the.the.Top). Effects tracks .eld.a.(Song.the.the.until.fi.than.the.specify.[EXIT].[DEC].cursor. If the Target Track is stereo.button.values.for. when you run out of tracks..“Level”. In.the.the.want. If you want to use the insert effects on a specific track.1–8 Rhythm.button.(REC).the. By combining multiple tracks in this way.hear. you can include the sounds from the Rhythm Pattern (p . sound .button . beginning.level .the.[WRITE].4-V1 6.and.. Track”.of.to.1-V2 Recording 1.to.[1].number.track.to.all.3-V1 Rhythm.tracks. bounced.that.slider. Press.move.of.8-V1 5.the.recording.. respectively . This is called “bounce” (also known as bounce recording or ping-pong Raise the volume level until it is as high as you can get it without causing the level meter to reach the maximum (the point at which Overview recording) .save. Make sure that the display does not indicate “BOUNCE” or “MASTERING .the. refer to “Changing the Location of the Insert Effects (LOCATION)” (p .the.the.all. bounce-recorded.the.button.move. Rhythm Pattern 5.the.VALUE.[l].selected.RECORDER.[n]. Press.[4].to.use.“BOUNCE”.the. 4.display .[ ]. Move.to.the. Other Settings Bounce-Recording Normal. you would specify “Target Track: 1/2” and “V-Track: 2”) 6.eld. 88) .the.nished. Functions Track.the. Editing/Effects Listening the Result of the Bounce- Track.. Furthermore.to. 117) or the insert effects (p . number.and.[ ].dial.song .the.[ ]. Play.(TRK.the.press.

101 the SD card into a track. 98 if you want to use the same phrase repeatedly. Use the VALUE dial or the cursor buttons to select the item.0 seconds. 91 Information Displays information about the song. 87 Create New Song Creates a new song. These operations let you change the structure of your song by copying track data or moving it to another location. 98 Track Move Moves track data. 102 audio file. 3. Editing Selecting the RECORDER MENU TRACK EDIT Menu (Editing a Track) 1. p. 98 . 100 Imports audio files (WAV or AIFF) from Track Import p. p. Use the VALUE dial or the cursor buttons to select the menu. or copy the specified region of data several times in succession to the specified destination. or 1.0 seconds. 100 Track Exchange Exchanges track data. Menu Explanation Page If you want to use a phrase that’s already been recorded on a track. MEMO You can also access the Recorder Menu screen from the RECORDER Track Copy (Copying Data) screen by pressing the [MENU] button. 98 operation to assemble your song efficiently. Menu Explanation Page Track Copy Copies track data. 103 Song Name Edit Edits the name of the song. p. p. p. This operation copies data from the specified region of a track (or the 2. p. and press the [ENTER] button. 99 Track Erase Erases track data. 103 START TO Time Song Protect Turns the song’s Protect setting on/off. 104 NOTE space on the SD card. p. press the [3] (MENU) button. Utility Back up data. the sound won’t be heard even if the data was copied. START TO Time SONG EDIT Menu END Menu Explanation Page Example 2: Copying twice to a different track Song Select Selects a song. In the RECORDER screen. Track Edit Track editing function menu p. For details on the items in each menu. • If the copy destination contains data. p. that data will be overwritten. etc. p. entire track) to another location. • The copy region you specify must be longer than 1. you can use the Copy 2. refer to the page references below. format a card. You can copy the track data just once. p. p. 103 Song Copy Copies the song. If the TRACK EDIT Menu region is shorter than 1. 78 Example 1: Copying twice to the same track 3. Exports a track’s data to an SD card as an Track Export p. 103 Song Remove Deletes the selected song. and press the [ENTER] button. p. The Recorder Menu screen will appear. 104 END Deletes unneeded data to conserve Song Optimize p. Song Edit Song function menu p.

To..and.for. Example 1: Moving within the same track Selecting Sounds Function..to. Functions END and B you specified .(the.the.original..you.Track.this.press.decide. Edit.press. 90) .operation.[6].the.to. button .[6].the.the. USB Memory Song Player button .and.[5].Region Button [1].Recorder. If you want to copy/move/erase the A–B region. END 1.(ALL)..If...press.Track. Choose.cancel..Region Button Digital Recorder [1].Copy. Specify.button . START TO Time button .[6].and.V-Track.execute.press.To..the.button ..operation.moved..the..want.button . will.V-Track.no.. If.[6]. operation.press.(AB).g.g.operation..Track.number..destination.of.want.. button . Example 2: Moving to a different track 3.(CANCEL). Specify. Appendix 99 . If.empty.[6]..press.the. (p . Track Move (Moving Data) The TRACK COPY screen will appear .sure.data).and.the.(EXEC).you’re.Source.the.decide.V-Track. you must set point A and point B beforehand (p .you.Track.Track.and.copy.operation. Rec/Play/Edit Function. 3.End.button .the.to.Track.[6]. [2].Source. The edit region will be the entire track you specified . Synthesizer Repeat.Recorder.for. Edit.and.Menu.Move.the.press.Source.(EXEC).Track.g.and.Target.the.(AB).sure. [2].98) . START TO Time The edit region will be the region between the points A Perform..the.[5]. To The move-destination time location or measure The display will ask “Move OK?” 4.the. * Following.1..(ALL).data.Source.(EXEC). The TRACK MOVE screen will appear .Edit..the.location.Start. you must set point A and point B beforehand (p . Rhythm Pattern for.Copy.of. If you want to copy/move/erase the A–B region.(NEXT). Effects The edit region will be the region between the points A and B you specified .Copy.you. 2.(EXEC).data) . Specify.g.(CANCEL).you.and.press. Specify.Target. Other Settings (p . 90) .2 .for.V-Track.be.Target.Start.. Editing/Effects The display will ask “Copy OK?” 4. Overview 2. The edit region will be the entire track you specified .Track.cancel. This operation moves the data of the specified region (or the entire track) to another location .the.to.destination.Target.the. Choose..execute.Edit.Menu. the.Copy.to.End..Move. the.(NEXT).98) .you’re.(containing.times.2 .If.

98) .the.Source.2 . Track 2 Track 1 Track 2 START END Time Time 1.to.want. Choose.the.leave.sound.and.If. Track Erase (Erasing Data) Track Exchange (Exchanging Data) This operation erases data from the specified region .press. If. Press.Source..Track.Source.(EXEC). Function...shorter.sure. If you use this This operation exchanges data between two tracks . 90) . The TRACK EXCHANGE screen will appear .(CANCEL).[5].the.(p .1 .want.and.to.or.Edit.the.Any.that.shorter. 100 .Track.2 . Specify.[6].(CANCEL).seconds. cannot.the.Target. In other words. The edit region will be the entire track you specified .Start.98) .to..Exchange. If you want to copy/move/erase the A–B region.you.(AB). button .the. Example: Exchanging the entire contents of tracks 1 and 2 Track 1 * Don’t..(ALL).after. button .that.sounds. button .. 1.than..button .the.Source. Button [1].g.erasing. If.you’re.remaining.If.cancel.operation.exchange .[5].Track.cancel.the. you must set point A and point B beforehand (p .(EXEC).is...0.1 . erased.[6].Recorder.(EXEC).. any data located later than the erased data will not be moved forward ...g.Menu. The display will ask “Erase OK?” 3.Track. 2.you’re.V-Track.played .[6].Track.you.Track..than.Recorder..decide.Target. The display will ask “Exchange OK?” The edit region will be the region between the points A 4.Press.you. 2.the. this operation is comparable to recording silence over an unwanted portion of recording tape . Specify.decide. Edit.seconds. operation to erase data.for.Erase..want.sure.press.press.g. The TRACK ERASE screen will appear .V-Track. End..you.you.to. and B you specified .Edit.press. button .button .Erase.Track.the.to.Region 3. Choose.region . (p ..Menu.execute.before.execute.(EXEC).g.[6]..0.be. [2]. V-Track.

cursor.move.move.at.le.[6].power ..cursor. and the import will not Synthesizer • By pressing the [5] (PREVIEW) button.audio.to. you’re using the SD card that was included with the JUNO-Gi.Menu.the.to.cursor.the. the error message “Incorrect VALUE. if you select Track 1/2.SD.[INC].the..AIF” or “ . If the display indicates “Incorrect File!” • If you attempt to import a WAV/AIFF file in a format that is 6. the display will indicate “EMPTY”. and if you select Track 1/2–7/8.measure.Target.fi. Caution when importing JUNO-Gi’s.copy.AIFF” 1.you.” (p . Selecting Sounds reader.use.and.data.and. However.Target.specify.on.dial..the.(To).and.you’re.Edit.WAV”. * ? “ < > | ) that cannot EXPORT” folder . Insert.want.button . audio . .(EXEC). • If you decide not to import.import.or.format)..press.buttons.to.le..(NEXT).which.your. • Use an SD card that was formatted by the JUNO-Gi .buttons.the.g.buttons. Overview • WAV/AIFF format MEMO • Linear format You’ll need a commercially available SD card reader in order to perform this operation .dial.the.the.you. if 3.folder .the.cursor. • You cannot import compressed audio files .to. cannot be loaded .commercially.(CANCEL).the. MEMO If you select Track 1–8.the..[6]. These are shown in the list as “EXPORT/file name . Perform.(WAV. VALUE.the.card. • File extension: WAV file “ . Use.press.the. MEMO A maximum of 99 files can be imported .from. The display will ask “Import OK?” 8. Editing/Effects • You can also select audio files that are in the SD card’s “/ROLAND/ There are also certain characters (\ / : .the.and.SD.to.” be used anywhere in a file name . (p .2 .V-Track . the data will be imported in monaural. 5.select. import .(EXEC).dial.the.sure. press the [EXIT] button . Using.specify. set the pan for Track 1 to “L64...available.Track.switch.” and set the pan for Track 2 to “R63 .the.to.you.to. and the right channel of the audio file is imported into Track 2 ..decide.SD. Rhythm Pattern The audio file will be imported into the track . Functions 4.time.[DEC]. If. File!” will be shown in the display.[DEC]. possible . Use. USB Memory Song Player Appendix 101 .and. Track Import (Importing an Audio File) Audio files that can be imported This operation lets you convert an audio file (WAV or AIFF format) from • Wave data in the following formats can be imported .g.the.into.fi. Digital Recorder or.the.[6]. Choose the track on which the audio data will be recorded .or.buttons. you can audition the selected be possible .card. your computer into track data .import.and.JUNO-Gi.import.” (period) cannot be used .audio. the left channel of the audio file Rec/Play/Edit is imported into Track 1. AIFF file “ . For example.the. don’t format it .the.Track.the. not supported by the JUNO-Gi.“/ROLAND/IMPORT”. Press. If you want to listen to these Tracks in stereo after it has been imported. Choose.to.Track.to.Recorder.want.VALUE.Import. If. If the display indicates “EMPTY” • If there are no audio files in the SD card’s “/ROLAND/IMPORT” MEMO folder. 2.you.a. the data will be imported in stereo .button . Turn. 89) 7.[INC].button .cancel.the.computer.the.use..AIFF. Effects press. • Extremely short waveform data (less than approximately 1 sec) card’s.98) .button .want.[5]. • Files whose name begins with a “ . and the import will not be Other Settings destination.or.

sequential number and the extension .the.[6].audio. Press.Source.to.98) .name.the. • WAV format • Sampling Frequency: 44 .to. 4.the. (Ex .2 .V-Track.buttons.g.fi. 102 .and.fi.Track. If.press.to. VALUE. The exported audio file will be saved in the “/ROLAND/EXPORT/” folder on the SD card .1 kHz MEMO • You can audition an exported WAV file in the TRACK IMPORT screen • 16-bit (p . • With the Track Export function.Edit. If..you.the. and if you select Track 1/2–7/8..to. and Track 2 will be exported to the right channel of a stereo audio file .use.(EXEC).[6]. (p ..and.. the data will be created to a stereo audio file .select.the. MEMO If you select Track 1–8.(NEXT).[INC]. If an identically named file already exists.WAV . Choose. 118) .decide.sure. Track Export About the file name (Exporting Track Data to an Audio File) Files created using the Track Export procedure are named as follows .press. 2.cursor.move. Assign.Menu.export. 3.audio. Track 1 will be exported to the left channel.you.Source.button . execute the Mastering procedure as described in The file name will be the source track and V-track number plus a “Mastering (MASTERING Mode)” (p .[6]. the display will ask Exported audio files “Overwrite?” The data in the following formats can be exported .dial. For details on how to enter a name.Recorder.(CANCEL)..you.want.to. 5.(EXEC).press.) MEMO T1_V1_01.to.the. refer to ”Assigning a Name” (p . The track data will be exported to the audio file .or.you’re.buttons.le .WAV If you want to combine all tracks and export the result as a single T34V8_99. The display will ask “Export OK?” 6.g..button .Track.le . Use. the data will be created to a monaural audio file.cancel.cursor. Track..name.[DEC]. For example. a maximum of approximately 6 hours and 40 minutes worth of monaural data (approximately 3 1.a.the.want.the.button . 19) .button .a.[5].the. hours and 20 minutes worth of stereo data) can be output .the.WAV audio file.assigning. if you select Track 1/2. 101) by pressing the [5] (PREVIEW) button . Here’s how track data recorded on a track can be converted to an audio file (WAV formats) .Export. After.export.to.

104) .Recorder.button . a (p .decide.the.select. Effects • Execute “Song Optimize” (p .the. Choose. (EXEC).[5]..remove.name.the. Overview 1.the.button .(CANCEL).Menu. The screen will show the Song Name.[DEC].to.Menu.” When you’ve finished your song. If you remove the song that you’re currently using. This allows you to make a copy of the currently selected song and save Editing/Effects it under a new name on the SD card ..Copy.the. Song Size. and Free Size on the SD card . 91) . Choose.Recorder. it will automatically be given a name The display will ask “Copy to New Song?” such as “SONG0001 . simply make a copy of it before you carry out editing or record additional material . If the message “SD Card Full!” appears If this message appears before you copy data.Recorder. Once the copy has been completed.g. refer to ”Assigning a Name” (p . name. If. [6]. For details on how to enter a name.you..button .the.(EXEC). or the SD card has insufficient free space .Song.dial.Edit. Information the. This comes in handy when. “Completed!” appears in the display .that. Assign. 103) .. for example..press.you. we recommend that you give it a descriptive name so that you’ll be able to manage 2.to.want.press..to.Song. 87) .Song..Edit. number of songs has exceeded 99.1 . Song Folder Name on the SD Song Copy Synthesizer card.song.to.remove. another song on 1.If.the.the.Song.[INC].. new song will be created .Remove. Choose.If.want.song.g. 3.you.the. your songs more easily .g.1 .. If. Refer to “Selecting and Playing a Song (Song Select)” (p .to.g.g.g.you.Edit. (p .Menu. Rec/Play/Edit 2.song .the.decide.Edit. USB Memory Rhythm Pattern Song Player Appendix 103 . (EXEC).you. either the 3.not. Other Settings When you create a new song.to.a.Song.98) .[6]. • Execute “Song Remove” (p .nished. Use either of the following methods to Digital Recorder increase the free space on the SD card .press. 19) .song..assigning..VALUE.When. SONG EDIT Menu Song Remove This is a menu of song-related operations ...button .fi. Press.copy. (p .buttons.the.button . Create New Song Selecting Sounds The display will ask “Song Remove OK?” Refer to “Creating a New Song (Create New Song)” (p .Name.98) .a.the.1 .g. MEMO Perform.not..you’ve.98) .Menu. 2.sure.(EXEC). Song Select (p .sure.are.you.[6].Edit.or. Functions This displays detailed information about the song .Song.remove .press.98) . the SD card will be selected automatically .Information.are.Song.g.button . This operation removes a song from the SD card .[5].the. The Copy operation will be executed . Choose. 1.you.. song.to.song.[5].copy. Song Name Edit 1. The SONG REMOVE screen will appear .(CANCEL).want.Recorder.press. If no other song exists. you want to preserve a song in its current form.1 . Use..

[5].1 .(EXEC). simply editing one of these settings will not save • Writing a song it.press. 1.(p .Optimize..g. When optimization is completed.execute . the RECORDER screen will indicate “PROTECT. To turn off the protect setting.[6]. If a song is protected. RECORDER screen . • Insert effects patch number • Recording • Mastering Tool Kit patch number • Track editing • Rhythm pattern number • Changing the song name • Rhythm arrangement • Removing the song • Reverb • Song optimize These settings are automatically saved following a recording operation . the display will indicate “Song Optimize Completed!” MEMO The Song Optimize operation erases the unneeded and unplayable audio data from all V-tracks . Song Protect Saving the Current Settings to the Even after you’ve finished the work of creating a song.you.. The display will ask “Optimize Song?” 2.. press the [6] (CANCEL) button . it cannot be erased or modified . The Song Optimize operation will be executed .press.song.Menu. 1. In. • Writing a song rhythm pattern 2.you. NOTE • In some cases.98) .[WRITE]. the changes you made will be discarded . (p .button .Recorder.If.the. • If you’ve executed the optimize operation. (p . unnecessarily using up the card’s capacity .g.1 .) If you’ve protected a song.to. execute.Song. Press. you could lose your song by accidentally recording over it or erasing it .” and the following operations will not be possible . In some cases..decide.Song.the. This will reduce the available recording time .execute.optimize.are. • Mixer status (pan.Song.to. keep your changes.button.the. Don’t turn off the power before optimization has ended .Protect. To prevent Song (Song Write) such accidents. Press. is displayed.button . 104 .the.Song. perform the same procedure once again . If.98) .(EXEC). you must save the song .[5].screen.(EXEC).want.Edit. the previous data If you turn off the power or switch to a different song while this “*” will remain on the SD card without being erased ..not. However. etc . To cancel. the Song Protect setting lets you protect a song so that The following content is saved as song data .Menu. Choose.to.Recorder. If you want to this unneeded data may occupy significant space on the SD card. you won’t be able to return to the state prior to optimization by executing Undo .button . operation.. Choose..(CANCEL).the. an “*” will be shown in the 2. The display will ask “Protect Song?” MEMO When you edit the settings of a song.press. the song protect symbol “PROTECT” is shown in the RECORDER screen .. so proceed as follows if you want to save the change . it may take an appreciable amount of time for optimization to be completed .button .sure. Song Optimize (Saving space on the SD card) When you perform track editing or punch-in/ out.you.operation.RECORDER. • Writing an effect song patch A confirmation message will appear .86).g..the.[5]. This is not a malfunction .the.this. By executing the “Song Optimize” operation you can erase unneeded data from the SD card and increase the amount of space that’s available . • Writing or editing a rhythm arrangement 1.g.Edit.

Digital Recorder 2 (Effects) Effects in the Recorder Section The Digital Recorder section includes three effects: Insert Effects. this often results in an overall lowering of the volume. resulting in a CD that lacks excitement and impact. the sound of the synthesizer. You can use the insert effects (i. or USB audio the songs are handled appropriately on the CD.. a stomp pedal). Digital Recorder USB Memory Effects Rhythm Pattern Song Player Appendix 105 .” The effect pedals that a guitarist connects between his guitar effects can be used simultaneously.” however.” the tracks. guitar or mic you’re recording) is called an “insert The Insert effects provides numerous effects. your situation. the Digital Recorder section also What is a Bank? Perform. With the “Mastering Tool Kit. Choose the reverb simultaneously.e. However. materials. keyboard. but also apply it to the sound when mixing connected) is called an “algorithm. so that even the loudest portions of Editing/Effects LINE Effects for line input. and two or more of these effect. Effect patch settings you’ve edited can be saved in the “USER” or “SONG” groups. you can smooth out the differences in volume that occur over the course of a What is a Group? song. while also correcting the balance. virtual means is called “modeling USER 3 3 internal memory technology. Functions provides a Reverb effect that can be applied to each of the song’s tracks and to the INPUT jack. Patches that can be saved in and the like using different. Reverb. Other Settings MEMO Group Explanation Edit Write What is the COSM? PRESET Patches that cannot be rewritten 3 Technology that simulates existing physical structures. the types of the effects used and the order in which they are not only while recording. You can apply the insert effects and The effect patches are organized into the following banks.” Patches that can be saved in COSM (Composite Object Sound Modeling) is a technical SONG 3 3 each song Rec/Play/Edit innovation from Roland that combines a number of such sound- modeling technologies to create new and unique sounds. The algorithm and its parameter settings are bundled into units called “effect patches. and make settings for each as appropriate for bank that’s appropriate for the device you’re recording. Insert effects provide various types of effects driven by COSM which allow the sound to be altered (similar to tweaking the knobs on technology. Insert Effect Banks and Patches Insert Effects What is a Effect Patch? Overview An effect added directly to a specific signal (on the JUNO-Gi. Selecting Sounds Each effect in an algorithm offers a certain number of parameters. Bank Explanation Synthesizer Mastering Tool Kit GUITAR Effects for guitar When creating an audio CD from your recorded songs the overall MIC Effects for microphone volume needs to be restrained. Such a combination of effects and amp are a type of the insert effects.” Reverb Separately from the insert effects. NOTE The Insert Effects and the Mastering Tool Kit cannot be used simultaneously. and Mastering Tool Kit.

p . Function Buttons Button Explanation Page Turning the Insert Effect Algorithms On/Off [1].the.(INS. eff.the.recorder’s.(SWITCH).(INS. Changes the insert effect connection p . (only when an insert effect is selected) For details on each algorithm.the. (only in Mastering mode) of. 117 selected.the. In.each. VALUE. Opens the INSERT FX screen .press.or.[INC]. 106 On Uppercase indication in solid frame 2.(SWITCH).button .bank.(INS. button .buttons. 107 Edits the effect ..or.on/off.or. Opens the Reverb screen . The INSERT FX screen will appear .turn. In.change.eff..to. 106 1.see .the.cursor.(INS. refer to “Insert Effects Parameters” (p .ect.and.[1]. [2].the. Turning each Effect On/Off (SWITCH) 1. . Insert Effects (Mastering mode only) [1]. To.the.(REVERB).(REVERB).press.ects.the. Turns each effect on/off .cursor.button. 108 location . [1]..RECORDER.close.ects [1].button . group.. (only when an insert/mastering effect is [5].turn.FX)–[2].screen.the.to. The recorder’s effects screen will appear .(CLOSE).(REVERB). Reverb 3.FX). [4]. Use.the.ect.to.the.screen.move.[6]. Using Insert Effects Displaying the Recorder’s Effects Selecting an Insert Effect Screen 1. 2.screen. [6].buttons. p . Use. In. Use.[EXIT].the.press.dial.[6]. Lowercase indication in dashed frame eff..cursor.the.each. the. 118 Opens the Mastering Tool Kit .algorithm.[DEC].buttons.to. Press.the. 2. Button Eff.the.eff.patch .to.[6].[INC].to.[1].the.(EFFECT).ects. 106 .the.recorder’s.switch.want. Use.VALUE.[DEC]. Mastering Tool Kit [2].buttons.to.FX). .the. p . selected) p .algorithm.FX).to.(LOC).that.the.to.(MASTER).FX)–[2].(MASTER).window.buttons.dial.(INS. p .the.button . 1.(REVERB)..you.cursor. 2.screen. Off.and.patch .move.on/off.[1].use.(EDIT).setting.the. 109) .buttons.

NOTE • Never turn off the power while saving is in progress. press the [1] (INS FX) button. then modify (edit) the patch The INSERT FX PATCH NAME screen will appear. Press the [6] (WRITE) button. Selecting Sounds The INSERT FX screen will appear. 2. Use the cursor buttons to move the cursor. MEMO Group Explanation You can switch between algorithms in the edit screen by holding USER Patches saved in internal memory down the [SHIFT] button and using the cursor [ ] [ ] buttons. Overview If you want to create a new effect sound. refer to “Saving Insert Effects Settings (WRITE)” (p. press the [EXIT] button. When you’ve finished editing. refer to ”Assigning a Name” (p. Rec/Play/Edit Digital Recorder USB Memory Effects Rhythm Pattern Song Player Appendix 107 . When you’ve finished assigning a name. When you’ve finished editing • You can’t save effect patches while recording or playing a song. and save them as a new effect patch. Press the [5] (EXEC) button to write to the patch. Use the cursor buttons to move the cursor to each algorithm button. Press the [5] (EDIT) button. 5. For details on each parameter. settings. save the patch as a user patch or song patch. A screen will appear. In the recorder’s effects screen. Editing the Insert Effects Settings Saving Insert Effects Settings (WRITE) (EDIT) Here’s how to assign a name (patch name) to the effect settings you’ve edited. 19). In the INSERT FX EDIT screen. (WRITE) button. 109). press the [6] (WRITE) button. For the save procedure. 3. 107). Other Settings To cancel. For details on how to enter a name. and use the VALUE dial or the [DEC] [INC] buttons to select the bank Editing/Effects 4. 4. SONG Patches saved for each song Synthesizer Entering a value 5. of the patch. [INC] buttons to edit the value. Press the [1] (USER) or [2] (SONG) button to select the save-destination group. 6. allowing you to select the save destination. Functions The INSERT FX EDIT screen will appear. 3. If you want to save the current effect settings. press the [6] (NEXT) 2. and use the VALUE dial or the [DEC] patch. Assign a name. press the [6] (CANCEL) button. A confirmation message will appear. If you want to save the effect settings you’ve edited. start by selecting an existing 1. Use the cursor buttons to move the cursor to the parameter and patch number into which you want to write your edited that you want to edit. Perform. patch that’s close to the sound you want. 6. press the [6] 7. 1. refer to “Insert Effects Parameters” (p.

Use the VALUE dial or the [DEC] [INC] buttons to specify the 4. such as when using the effect to modify the sound during bounce-recording. you should use this setting.. <REC DRY> TRACK 1 (REC) This lets you apply the insert effects to the track playback audio. 1–8. The JUNO-Gi lets you change the location where the insert effects are connected. but record the sound before it has passed through the insert effects (i. thus allowing you to use the effect in a variety TRACK 1 of ways. fig. This means that you’ll be able to hear and record the sound processed by the effect. record the “dry” sound). When you’ve finished making settings. Value Explanation This lets you monitor and record the sound that is processed through the insert effects. (PLAY) 1. RHYTHM 2. INPUT. or using the effect to achieve a special sound. By default. or if you want to apply the effect only to a specific track. fig. . 3. Changing the Location of the Insert Value Explanation Use this setting if you want to apply the effect to the Effects (LOCATION) overall sound.03 INPUT.03 1/2–7/8 TRACK 1 (PLAY) This lets you apply the insert effects to the rhythm sound. However. the insert effects are connected (inserted) directly after the input source. Use this setting if you want to try out various effect settings after recording.e. The INSERT FX LOCATION screen will appear. In the recorder’s effects screen. TRACK 8 (PLAY) The INSERT FX screen will appear. button. you may wish to change this method of MASTER connection. fig. press the [EXIT] location where the insert effects are to be connected. Press the [4] (LOC) button.03 RHYTHM RHYTHM 108 . press the [1] (INS FX) button. <NORMAL> TRACK 1 (REC) This lets you monitor the sound that is processed through the insert effects. TRACK . in some cases. Normally. Use this setting if you want to try out effects after recording the dry sound.

NOISE . This effect adds a subtle frequency modulation. distortion. MIC Bank Those companies are not affiliated with Roland and have not licensed or authorized Roland’s JUNO-Gi. 115 Set the REVERB TYPE to choose from a variety of different types of reverb sound. 120 frequency ranges: low. 3BANDCOMP This compresses the overall output signal when p. 111 SUPPRESSOR time). p. same effects as the mastering tool kit. The LINE/EXT bank uses the sound using a preamp and speaker simulator. Overview * Their marks are used solely to identify the equipment whose sound is simulated. mid. This is a multi-effect designed for vocals. p. Effects NOISE . REVERB p. Rhythm Pattern FX. 116 can be selected will differ for each bank. Models sounds passed through guitar and bass amps. MEMO Adjusts the volume levels for different frequencies in the low-frequency to high-frequency ranges. this effect enhances the definition of p. Editing/Effects GUITAR Bank LINE Bank This is a multi-effect designed for electric guitar. 120 distortion. but even miking as well. 110 (Amp Modeling) speaker characteristics. The algorithms that ENHANCER direct sound. p. wah. and high. 120 Rec/Play/Edit You can select from a large number of different This suppresses high-level signals to prevent amp types. LIMITER p. Provides a wide variety of effects to choose from. thus producing a highly natural effect. which are separate companies from Roland. Functions parametric equalization. Adjusts the volume levels for different frequencies OUTPUT This makes settings that affect the overall output. A delayed sound is added to the normal guitar DELAY sound. 115 and body. 112 (Effects) others. lines). producing a thicker tone with a distinctive p. The line or lines connecting the algorithm indicate whether the EQUALIZER p. This provides an amp These effects are for stereo line input. EQUALIZER p. 116 Selecting Sounds the input volume level exceeds a set value. 111 effect features mono output (single line) or stereo output (two Low and high midrange settings feature Perform. 115 ambience. -[AMP]-[EQ]-[NS]-[FX]-[DLY]=[CHO]=[REV]= =[IN]=[CMP]=[MIX]=[LIM]=[OUT]= Other Settings * The order may differ depending on the patch. it has practically no influence on the guitar sound itself. 111 Mid and high midrange settings feature parametric equalization. Appendix 109 . producing a thicker tone with a distinctive p. 115 Output: Stereo =[LIM]=[OUT]= ambience. and many p. The algorithms (the available effects and their connection order) that By adding sounds which are out-of-phase with the can be used as the insert effects are shown below. and pushes it to the forefront. Since the noise reduction follows the guitar sound’s envelope (the change in volume over p. It provides the basic effects needed for vocals. -[CMP]-[ENH]-[EQ]-[NS]-[DLY]= Algorithm Algorithm Explanation Page This compresses the overall output signal when COMPRESSOR p. This effect suppresses noise and hum from the Digital Recorder guitar’s pickups. SUPPRESSOR Output: Mono –[AMP]–[EQ]– A delayed sound is added to the normal guitar Synthesizer DELAY sound. Insert Effects Parameters * The trademarks listed in this document are trademarks of their respective owners. Algorithm Explanation Page Algorithm Explanation Page This divides the original sound into three INPUT p. This effect reduces the noise and hum. CHORUS producing a beautiful sound with greater breadth p. AMP. MIXER Adjusts the volume of each frequency band. 120 (Compressor) the input volume level exceeds a set value. USB Memory Song Player This effect adds reverberation and other spatial effects. 111 Mono/Stereo Ex. including compressor. the sound. COSM modeling simulates not just preamp and p. 120 in the low-frequency to high-frequency ranges.

This models a Soldano SLO-100. JAZZ COMBO This is a sound suited to jazz. DELUXE CRUNCH This models a Fender Deluxe Reverb. WILD CRUNCH This is a crunch sound with wild distortion. This is a Marshall sound that’s been tweaked for MS SCOOP OFF This turns off the speaker simulator. This models the sound produced using Input I on Provides for selection from three levels of MS1959 I a Marshall 1959 Super Lead amp. A powerful lead sound featuring extreme HEAVY LEAD distortion. Mode on the MESA/Boogie DUAL Rectifier. MIDDLE and HIGH. MATCH DRIVE input on a Matchless D/C-30. MS CLASSIC Gain Sw distortion. SLDN tube amp in the 1980s. 12-inch speakers. VO LEAD This models the lead sound of the VOX AC-30TB. Distortion will successively increase sound suited to hard rock. Clean sound that is great for use with bass TWEED This models a Fender Bassman 4 x 10” Combo. This is a closed-back speaker cabinet with four 4x12” 12-inch speakers. This is a double stack of two closed-back 8x12” cabinets.AMP Type Value Explanation This is a drive sound producing awesome BOSS DRIVE Parameter Value Explanation distortion. Adjusts the volume level when the SOLO SW This models the sound of a Marshall modified Solo Level 0–100 MS MODERN MS HIGAIN is ON. BG LEAD The Bright parameter setting is only partially available with some This models a MESA/Boogie with TREBLE SHIFT JC CLEAN. TW CLEAN. with a midrange boost. BOSS CLEAN This is a clean sound that is smooth and warm. T-AMP T-AMP CRUNCH The models AMP2 on a Hughes & Kettner TriAmp. ON crisper tone. This is a closed-back speaker cabinet with four 4x10” 10-inch speakers. Mode on the MESA/Boogie DUAL Rectifier. Gain 0–120 Adjusts the distortion of the amp. BG LEAD combo amp. CRUNCH. OFF Bright is not used. CLEAN TWIN This models a Fender Twin Reverb. The sound of connecting Inputs I and II of the Set SOLO SW to ON to add a boost in volume MS1959 I+II Marshall 1959 amp in parallel. This is a open-back speaker cabinet with one Models the sound of the Channel 1 CLEAN Mode 1x10” R-FIER CLEAN 10-inch speaker. each with four 12-inch speakers. This is a open-back speaker cabinet with one R-FIER Models the sound of the Channel 2 MODERN 1x8” R-FIER MODERN 8-inch speaker. on the MESA/Boogie DUAL Rectifier. functions as the high cut filter found in the This models the sound produced using the right original amps. VO CLEAN This models the clean sound of the VOX AC-30TB. 5150 DRIVE FULL RANGE 5150. This models the rhythm channel of a MESA/ BG RHYTHM Bright is switched on to create a lighter and Boogie combo amp. or BG LEAD settings in TYPE. BOSS CRUNCH picking nuances. When you set the TYPE parameter to VO DRIVE. ON that’s suitable for solos. Parameter Value Explanation STACK CRUNCH This is a crunch sound with high gain. 110 . METAL LEAD This is a lead sound suited to metal. This is a open-back speaker cabinet with two 2x12” T-AMP CLEAN The models AMP1 on a Hughes & Kettner TriAmp. TW CLEAN PRO CRUNCH This models a Fender Pro Reverb. the late ’70s and ’80s. This models the drive sound of a VOX AC-30TB. MATCH LEAD input on a Matchless D/C-30 Adjusts the volume of the entire preamp. MIDDLE. This models the lead channel of a Peavey EVH METAL This is a sound with flat response. a tube amp that was very popular in Turns the bright setting OFF/ON. BASS CLEAN guitars. a very popular HI-GAIN On/Off OFF. a modern tube amp widely used in styles from blues to rock. guitars. VO DRIVE This is a sound that it suited to sixties-style British COMBO rock. This is a trebly LOW. VO CLEAN. Presence 0–100 MATCH VO LEAD. Adjusts the tone for the ultra high frequency This models the sound produced using the left range. This is the built-in speaker of the amp you Models the sound of the Channel 2 VINTAGE ORIGINAL R-FIER VINTAGE selected with AMP TYPE. Crunch sound with natural distortion that sounds BASS BASS CRUNCH This is a crunch sound that faithfully reproduces great with bass guitars. creating a sound Solo Sw OFF. 1x12” 12-inch speaker. a metal sound. BOSS METAL This is a metal sound suited to heavy riffs. This models the sound of a Matchless modified or MATCH LEAD. HIGH for settings of LOW. Adjusts the tone for the middle frequency Middle 0–100 range. FAT MATCH. Good for acoustic guitar. ON Turns the AMP OFF/ON. Bass 0–100 Adjusts the tone for the low frequency range. JC CLEAN JC-120 This is the sound of the Roland JC-120. Type Value Explanation LEAD STACK This is a lead sound with high gain. the PRESENCE parameter FAT MATCH for high gain. A high-gain sound suitable for use with bass BASS HIGAIN CRUNCH BLUES This is a sound suited to blues. MATCH DRIVE. Select the speaker type. SP Type This is a open-back speaker cabinet with one T-AMP LEAD The models AMP3 on a Hughes & Kettner TriAmp. BG DRIVE Bright SW on. EDGE LEAD This is a sharp sound suited for lead play. with a stronger low end than I. Be Level 0–100 This models the lead sound of the MESA/Boogie careful not to raise the LEVEL setting too high. Treble 0–100 Adjusts the tone for the high frequency range.

ON Turns the NOISE SUPPRESSOR OFF/ON. a small- Selecting Sounds CND451 diaphragm condenser microphone for use with instruments. When “FLAT” is FLAT (Hz) selected. ON Turns the EQ OFF/ON.0k Specifies the center of the frequency range that Synthesizer ON MIC directed more towards the speaker.5–16 centered at the “Hi-Mid Freq.” USB Memory Song Player Appendix 111 . 1–10 is moved away from the center of the speaker 20.5–16 centered at the “Lo-Mid Freq.Parameter Value Explanation This setting selects the simulated microphone type. Low Gain -20–+20 (dB) Adjusts the low frequency range tone. This adjusts the effect in response to the level Effects of noise. the low cut filter will have no effect. This is the sound of the NEUMANN U87. Rhythm Pattern Adjusts the time from when the noise Release 0–100 suppressor begins to function until the noise level reaches “0. Hi-Mid Freq (Hz) will be adjusted by the Hi-Mid Gain. When “FLAT” is (Hz) This setting points the microphone away from selected. narrow the area. Hi-Mid Gain -20–+20 (dB) Adjusts the high-middle frequency range tone. This sets the frequency at which the high cut 700–11. Mic Level 0–100 Adjusts the volume of the microphone. Level -20–+20 (dB) Adjusts the volume before the equalizer. Perform. Rec/Play/Edit NOISE SUPPRESSOR Parameter Value Explanation Digital Recorder On/Off OFF. OFF MIC Mic Distance the speaker. the high cut filter will have no effect. a DYN421 Frequency dynamic microphone with extended low end. EQUALIZER This is the sound of the SHURE SM-57. Functions This sets the frequency at which the low cut Simulates the distance between the microphone and speaker. Mic Position Simulates the condition that the microphone Lo-Mid Gain -20–+20 (dB) Adjusts the low-middle frequency range tone. This simulates the microphone position. A value of 0 switches off the noise suppressor. 55–800 Low Cut filter begins to take effect. a Lo-Mid Freq Hi-Mid Freq CND87 large-diaphragm condenser microphone with flat response. Parameter Value Explanation Simulates a microphone with perfectly flat FLAT On/Off OFF. High Cut filter begins to take effect.” Higher values will Editing/Effects Simulates the condition that the microphone is CENTER set in the middle of the speaker cone.0–10. Adjusts the width of the area affected by the EQ Lo-Mid Q 0. response.0k. Threshold 0–100 Setting this higher than necessary may cause no sound to be produced when the guitar is played at low volume. This is the sound of the SENNHEISER MD-421.0k Specifies the center of the frequency range that cone. FLAT. Provides conditions whereby the microphone is 20. Mic Type This is the sound of the AKG C451.” Higher values will Other Settings narrow the area. Optimal for use in miking guitar amps. High Gain -20–+20 (dB) Adjusts the high frequency range tone. Adjusts the width of the area affected by the EQ Hi-Mid Q 0. a Low Gain Lo-Mid Gain Hi-Mid Gain High Gain Overview general-use dynamic microphone used for DYN57