Roland Electronic Keyboard JUNO Gi User Guide
Contents  
Features.                                                                                        2  
Synthesizer 2 (Performance Functions)  
27  
Changing.the.Keyboard.Settings.                                        27  
Overview  
7
Changing the Pitch in One-octave Steps  
(OCTAVE [DOWN] [UP] Button)                                                                     27  
Overview.of.the.JUNO-Gi.                                                        8  
About the Synthesizer                                                                                        8  
Live Sets and Tones                                                                                  8  
About the Digital Recorder                                                                               9  
Tracks and V-tracks                                                                                   9  
Rhythm Pattern                                                                                         9  
Insert Effects                                                                                               9  
About the Recorder Tempo                                                                   9  
About the USB Memory Song Player                                                             9  
SD Cards and USB Memory                                                                               9  
Transposing the Pitch in Semitone Steps ([TRANSPOSE] Button)        27  
Adjusting the Keyboard Touch                                                                      27  
Changing the Temperament to an Arabian or Other Scale  
(Scale Tune)                                                                                                          27  
Controlling.Your.Performance.                                              28  
D Beam Controller                                                                                             28  
D Beam Controller Settings                                                                28  
[S1] [S2] buttons                                                                                                28  
Pitch Bend/Modulation Lever                                                                       29  
[SOUND MODIFY] Knob                                                                                  29  
Modifying the Tonal Character  
Panel.Descriptions .                                                                  10  
Front Panel                                                                                                           10  
Rear Panel Connections                                                                                  12  
([CUTOFF]/[RESONANCE] Knobs)                                                     29  
Adding Reverberation ([REVERB] Knob)                                        29  
Adjusting the Level of the Low, Middle and High Frequency  
Ranges (EQ [LOW]/[MID]/[HIGH] Knobs)                                       29  
Using Pedals                                                                                                        30  
Holding Notes (HOLD Pedal)                                                            30  
Adding Expression to Your Performance (CONTROL Pedal)  30  
CONTROL Pedal Settings                                                                    30  
Performing with a Microphone (Vocoder)                                                30  
Using the Vocoder                                                                                 30  
Changing the Vocoder Settings                                                        30  
About.Batteries .                                                                        14  
Installing Batteries                                                                                            14  
When to Replace the Batteries (BATTERY Indicator)                  14  
Removing Batteries                                                                               14  
About.SD.Cards .                                                                        15  
Removing an SD card                                                                           15  
Turning.the.Power.On .                                                            16  
Using.the.Chord.Memory.Function.                                    31  
About the Chord Memory Function                                                            31  
Performing with the Chord Memory Function                                        31  
Chord Memory Settings                                                                                  31  
About.the.Display.                                                                    17  
Adjusting the Display Contrast ([LCD CONTRAST] Knob)                    17  
Turning the Display Backlight On/Off                                                        17  
Playing.Arpeggios.(ARPEGGIO)..                                          32  
About Arpeggio                                                                                                 32  
Playing by Using Arpeggios                                                                           32  
Turning Arpeggio On and Off                                                            32  
Holding an Arpeggio                                                                            32  
Determining the Tempo for Arpeggio Performances               32  
Arpeggio Settings                                                                                             32  
Saving Arpeggio Settings (WRITE)                                                  33  
Importing SMF on Your Computer to an Arpeggio Style                    33  
Basic.Operation.of.the.JUNO-Gi.                                          18  
About the Function Buttons                                                                          18  
The [SHIFT] Button Functions                                                                        18  
Editing a Value                                                                                                    18  
Moving the Cursor                                                                                18  
Changing a Value                                                                                   18  
Entering a Value ([NUMERIC] Button)                                                        19  
The [MENU] Button Function                                                                        19  
Assigning a Name                                                                                              19  
Listening.to.the.Demo.Song .                                                20  
Synthesizer 3 (Editing/Effects)  
34  
Editing.a.Live.Set.(LIVE.SET.EDIT).                                        34  
Basic Operations in the LIVE SET EDIT Screen                                          34  
Initializing a Live Set                                                                             35  
Copying/Exchanging Layers                                                              35  
Synthesizer 1 (Selecting Sounds)  
22  
Selecting.Live.Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22  
About the LIVE SET PLAY Screen                                                      22  
Selecting Live Sets from the List                                                                  22  
Using the VALUE Dial to Select a Live Set                                                  23  
Selecting Live Sets by Number ([NUMERIC] Button)                            23  
Selecting Special Live Sets ([SPECIAL LIVE SET] Button)                      23  
Auditioning a Live Set ([PREVIEW] Button)                                              23  
Saving.a.Live.Set.(WRITE)..                                                      35  
LIVE.SET.EDIT.Parameter.                                                        36  
LIVE SET EDIT 1 Screen                                                                                    36  
[1] (TONE)                                                                                                36  
[2] (LV&PAN)                                                                                            36  
[3] (PITCH)                                                                                                36  
[4] (OUTPUT)                                                                                          36  
[5] (KEYBORD)                                                                                        36  
LIVE SET EDIT 2 Screen                                                                                    37  
[1] (OFFSET)                                                                                            37  
[2] (VIBRATO)                                                                                          37  
[3] (VELOCITY)                                                                                        37  
[4] (KEY MOD)                                                                                        37  
[5] (RX FLTR)                                                                                            37  
LIVE SET EDIT 3 Screen                                                                                    38  
[1] (COMMON)                                                                                        38  
[2] (CONTROL)                                                                                        38  
Registering.and.Calling.Up.Favorite.Live.Sets..  
(FAVORITE).                                                                                  24  
Registering a Favorite Live Set                                                                      24  
Calling Up a Favorite Sound                                                                          24  
Registering, Calling Up, or Editing Favorites in a List                            24  
Selecting.Tones.(LAYER/SPLIT) .                                            25  
Selecting Tones or Rhythm Sets                                                                   25  
Dividing.the.Keyboard.into.Two.Areas.to.Play.Separate.  
Tones.(SPLIT).                                                                              26  
Changing the Tone or Volume in the LAYER/SPLIT Screen                  26  
Changing the Split Point                                                                                 26  
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Digital Recorder 1 (Recording/Playing/Editing) 86  
igital Recorder 2 (Effects)  
105  
Displaying.the.Digital.Recorder.Screen.                            86  
Displaying the RECORDER Screen                                                                86  
About the RECORDER Screen                                                            86  
Effects.in.the.Recorder.Section.                                          105  
Insert Effect Banks and Patches                                                                 105  
Using.Insert.Effects.                                                                106  
Displaying the Recorder’s Effects Screen                                               106  
Turning each Effect On/Off (SWITCH)                                          106  
Selecting an Insert Effect                                                                             106  
Turning the Insert Effect Algorithms On/Off                             106  
Editing the Insert Effects Settings (EDIT)                                               107  
Saving Insert Effects Settings (WRITE)                                         107  
Changing the Location of the Insert Effects (LOCATION)                 108  
Playing.a.Song.                                                                          87  
Selecting and Playing a Song (Song Select)                                            87  
Changing the Current Position                                                                     87  
Muting Tracks                                                                                                      88  
Adjusting the Volume of the Tracks                                                            88  
Adjusting the Pan, Reverb, and EQ (TRACK SETTING)                          89  
Switching V-tracks (V-Track)                                                               89  
Controlling the Parameters of Two Tracks Simultaneously  
(Stereo Link)                                                                                            89  
Playing Back Repeatedly (REPEAT)                                                              90  
Insert.Effects.Parameters .                                                    109  
Algorithm                                                                                                          109  
GUITAR Bank                                                                                         109  
MIC Bank                                                                                                109  
LINE Bank                                                                                               109  
AMP                                                                                                                     110  
EQUALIZER                                                                                                        111  
NOISE SUPPRESSOR                                                                                       111  
FX                                                                                                                         112  
OD/DS                                                                                                     112  
WAH                                                                                                         113  
COMPRESSOR                                                                                       113  
LIMITER                                                                                                   113  
OCTAVE                                                                                                   113  
AC PRO                                                                                                   113  
PHASER                                                                                                   114  
FLANGER                                                                                                114  
TREMOLO                                                                                               114  
ROTARY                                                                                                   114  
UNI-V                                                                                                       114  
PAN                                                                                                          114  
DELAY                                                                                                                 115  
CHORUS                                                                                                             115  
REVERB                                                                                                               115  
COMPRESSOR                                                                                                   116  
ENHANCER                                                                                                        116  
LIMITER                                                                                                               116  
Specifying the A–B Region                                                                 90  
Using the A–B SETTING Screen To Specify the Repeat  
Region                                                                                                        90  
Recording.                                                                                    91  
Song Production Flow                                                                                     91  
Creating a New Song (Create New Song)                                                91  
Connecting the Equipment to Record and Adjusting the Input  
Level                                                                                                                       92  
Selecting an Instrument to Record (REC SOURCE SELECT)                93  
Selecting the Sound of the Synthesizer (KEYBOARD)               93  
Selecting the Sound of the External Audio Input  
(AUDIO INPUT)                                                                                        93  
Recording                                                                                                             94  
Re-Recording Over a Mistake (Punch-In/Out)                                         95  
Manual Punch-In/Out                                                                          95  
Auto Punch-In/Out                                                                                95  
Repeatedly Recording the Same Region (Loop Recording)    96  
Canceling a Recording/Editing (Undo/Redo)                                          96  
Reverting to the Previous State (Undo)                                          96  
Canceling the Undo (Redo)                                                                96  
Putting.Multiple.Tracks.Together.(BOUNCE.Mode).        97  
Bounce-Recording                                                                                            97  
Listening the Result of the Bounce-Recording                                        97  
Editing.                                                                                          98  
Selecting the RECORDER MENU                                                                   98  
SONG EDIT Menu                                                                                   98  
TRACK EDIT Menu                                                                                  98  
TRACK EDIT Menu (Editing a Track)                                                            98  
Track Copy (Copying Data)                                                                98  
Track Move (Moving Data)                                                                  99  
Track Erase (Erasing Data)                                                                100  
Track Exchange (Exchanging Data)                                              100  
Track Import (Importing an Audio File)                                       101  
Track Export (Exporting Track Data to an Audio File)             102  
SONG EDIT Menu                                                                                            103  
Song Select                                                                                           103  
Create New Song                                                                                103  
Information                                                                                           103  
Song Name Edit                                                                                   103  
Song Remove                                                                                       103  
Song Copy                                                                                             103  
Song Protect                                                                                         104  
Song Optimize (Saving space on the SD card)                         104  
Saving the Current Settings to the Song (Song Write)                      104  
Using.Reverb.Effect.                                                                117  
Selecting the Reverb Effect                                                                         117  
Adjusting the Reverb Depth for the Tracks, Rhythm, and  
External Input                                                                                                  117  
Reverb Parameters                                                                                         117  
Mastering.(MASTERING.Mode).                                          118  
Mastering Procedure                                                                                     118  
Editing the Mastering Tool Kit Settings (EDIT)                                     119  
Saving the Mastering Tool Kit Settings (WRITE)                       119  
Mastering.Tool.Kit.Parameters.                                            120  
Algorithm                                                                                                          120  
INPUT                                                                                                      120  
3BAND COMP                                                                                       120  
MIXER                                                                                                      120  
LIMITER                                                                                                   120  
OUTPUT                                                                                                 120  
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Digital Recorder 3 (Rhythm Pattern)  
121  
Appendix  
131  
Playing.a.Rhythm.Pattern. . . . . . . . . . . . . . . . . . . . . . . . . . .121  
About Patterns and Arrangements . . . . . . . . . . . . . . . . . . . . . . . 121  
Turning the Rhythm Pattern On/Off. . . . . . . . . . . . . . . . . . . . . . . . . . . . 121  
Editing the Pan, Reverb, and EQ of the Rhythm Pattern . . . 121  
Displaying the RHYTHM PATTERN screen. . . . . . . . . . . . . . . . . . . . . . . 122  
About the RHYTHM PATTERN screen . . . . . . . . . . . . . . . . . . . . . 122  
Setting the Recorder Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122  
Switching between Pattern Mode and Arrangement Mode122  
Selecting a Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122  
Selecting Drum Sounds (Rhythm Set) . . . . . . . . . . . . . . . . . . . . 122  
Connecting.to.Your.Computer.via.USB. . . . . . . . . . . . . . .132  
Connecting the JUNO-Gi to Your Computer . . . . . . . . . . . . . . 132  
Connecting.an.External.MIDI.Device. . . . . . . . . . . . . . . . .133  
About MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133  
About MIDI Connectors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133  
Using the JUNO-Gi as a Master Keyboard (MIDI Controller Mode)133  
Specifying the Transmit Channel . . . . . . . . . . . . . . . . . . . . . . . . . 133  
Detailed Settings in MIDI Controller Mode. . . . . . . . . . . . . . . . 133  
Playing the JUNO-Gi from an External MIDI Device . . . . . . . . . . . . . 134  
Setting the Receive Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134  
Setting the Program Change Receive Switch . . . . . . . . . . . . . 134  
Synchronizing with an External MIDI Device. . . . . . . . . . . . . . . . . . . . 134  
Transmitting Synchronization Data . . . . . . . . . . . . . . . . . . . . . . 134  
Placing.Patterns.to.Create.an.Arrangement.  
(ARRANGE.EDIT). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123  
Displaying the ARRANGE EDIT screen . . . . . . . . . . . . . . . . . . . . . . . . . . 123  
About the ARRANGE EDIT screen . . . . . . . . . . . . . . . . . . . . . . . . 123  
Switching Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123  
CLEAR ALL (Clear All Steps) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123  
DELETE STEP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123  
INSERT STEP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123  
WRITE (Saving the Arrangement) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123  
Using.the.Keyboard.to.Control.Images.(V-LINK). . . . . .135  
What is V-LINK?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135  
Turning the V-LINK ON/OFF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135  
V-LINK Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135  
Chord.Memory.List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136  
Error.Message.List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138  
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140  
Specifi.cations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143  
MIDI.Implementation.Chart. . . . . . . . . . . . . . . . . . . . . . . . .144  
Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145  
USING.THE.UNIT.SAFELY. . . . . . . . . . . . . . . . . . . . . . . . . . . .147  
IMPORTANT.NOTES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148  
Editing.a.Pattern.(PATTERN.EDIT).. . . . . . . . . . . . . . . . . . .124  
Displaying the PATTERN EDIT screen . . . . . . . . . . . . . . . . . . . . . . . . . . . 124  
About the PATTERN EDIT screen . . . . . . . . . . . . . . . . . . . . . . . . . 124  
INIT (Initializing a Pattern) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124  
SETUP (Specify the Time Signature and Length) . . . . . . . . . . 124  
SCALE (Specify the Scale of the Grid) . . . . . . . . . . . . . . . . . . . . 124  
NOTE SETUP  
(Specify The Note’s Type, Duration, and Velocity). . . . . . . . . . 124  
Entering Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125  
Deleting a Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125  
WRITE (Saving a Pattern) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125  
Importing.SMF.on.Your.Computer.to.a.Rhythm.  
Pattern.(IMPORT). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126  
USB Memory Song Player  
127  
Playing.Song.Files.from.USB.Memory. . . . . . . . . . . . . . . .128  
Copying Song Files from Your Computer to Usb Memory . . . . . . . 128  
Song files that can be played . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128  
Insert the USB Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128  
Playing Along with an Song File from USB Memory. . . . . . . . . . . . . 128  
Adjusting the Volume of the Song Player. . . . . . . . . . . . . . . . . 129  
Center Cancel/Minus-One . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129  
Detailed Settings for Center Cancel . . . . . . . . . . . . . . . . . . . . . . 129  
Detailed Settings for Minus-One . . . . . . . . . . . . . . . . . . . . . . . . . 129  
Using.the.Included.USB.Memory.Protector. . . . . . . . . . .130  
Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY”(p. 147) and “IMPORTANT NOTES”(p. 148). These sections provide important information  
concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s  
Manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.  
Copyright © 2010 ROLAND CORPORATION  
All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.  
Roland and JUNO are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries.  
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Overview  
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Overview of the JUNO-Gi  
Broadly speaking, the JUNO-Gi consists of three sections: “Synthesizer,”“Digital Recorder,”and “USB Memory Song Player.”  
The explanations in this manual are also organized according to these sections. You can use the index tabs at the right edge of each page to jump to  
the section you want to read.  
USB.Memory  
Song.Player  
Synthesizer  
Digital.Recorder  
What is a Split?  
About the Synthesizer  
A “Split”is a setting in which you can play different tones with your left  
and right hands.  
The synthesizer section lets you select sounds and play them from the  
keyboard.  
When you turn Split on, your left hand will play the tones of the lower  
layer, and your right hand will play the tones of the upper layer.  
Live Sets and Tones  
What’s a Live Set?  
Lower.2  
Tone  
Lower.1  
Tone  
Upper.2  
Tone  
Upper.1  
Tone  
On the JUNO-Gi, “Live Sets”are the units of sound that you select and  
use.  
Live.Set  
Saving a Live Set  
If you’ve created a live set, and then select a different live set without  
saving the one you created, your changes will be lost. After creating a  
live set, you must save it as a “User Live Set”so that it can be used again  
later.  
For details on saving, refer to “Saving a Live Set (WRITE)”(p. 35).  
What are Layers and Tones?  
What is a Special Live Set?  
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  
sound; you can’t play a tone by itself.  
A “Special Live Set”is a particularly rich-sounding live set that uses  
layers to take full advantage of the JUNO-Gi’s functionality.  
Live.Set  
Layer: Upper 1  
Layer: Upper 2  
Layer: Lower 1  
Layer: Lower 2  
Tone  
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About the Recorder Tempo  
About the Digital Recorder  
The JUNO-Gi uses two types of tempo: the “keyboard tempo”and the  
“recorder tempo.”The keyboard tempo is used for the synthesizer’s  
arpeggio playback etc , and the recorder tempo is the tempo of the  
digital recorder (p. 32).  
The JUNO-Gi’s digital recorder lets you record the JUNO-Gi’s  
performance and the sound of a connected guitar or microphone on  
separate tracks. You can also save your completed song as an audio file  
on an SD card, and then use your computer to create a CD from it or  
distribute it via the Internet.  
About the USB Memory Song Player  
Tracks and V-tracks  
The USB Memory Song Player plays back audio files  
(WAV, MP3, AIFF) or Standard MIDI Files (SMF) that  
you’ve copied from your computer to USB memory.  
The digital recorder provides eight tracks. Each track consists of eight  
virtual tracks (V-tracks), and you can select one of these V-tracks for  
playback and recording. In other words, you can use 8 x 8 = 64 tracks  
to record your performance, and choose eight of these for playback.  
Copy.to.USB.drive  
MP3, WAV, AIFF, SMF (.MID)  
V-Track 8  
V-Track 7  
V-Track 6  
Insert.USB.Memory  
V-Track 5  
V-Track 4  
V-Track 3  
V-Track 2  
V-Track 1  
1 2 3 4 5 6 7 8  
Rhythm Pattern  
SD Cards and USB Memory  
The digital recorder has eight tracks, and can also play rhythm patterns  
like a rhythm machine.  
SD cards  
In addition to playing a single rhythm pattern as a guide while you  
record, you can also arrange different rhythm patterns as suitable for  
the structure of your song.  
SD cards store the following data.  
• Data recorded by the Digital Recorder  
• Backup data for the JUNO-Gi  
Rhythm.Pattern  
By using a commercially available high-capacity SD/SDHC card, you’ll  
be able to record for extended lengths of time.  
USB memory  
USB memory is used as playback media for the USB  
Memory Song Player. Data recorded by the Digital  
Recorder and backup data of the JUNO-Gi can’t be  
saved to USB memory.  
1 2 3 4 5 6 7 8  
Insert Effects  
The digital recorder provides effects (i.e., separately from the  
synthesizer’s effects) that are powerful enough to rival a standalone  
effects processor, and you can apply these effects to your guitar or  
other source while you record.  
What is an Effect Patch?  
The insert effects provide numerous effects, such as amp modeling  
and overdrive. An “Effect Patch”is a combination of these effects  
together with their settings.  
Eff.e
AMP  
EQ  
Over Drive  
Reverb  
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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, MP3, AIFF) or Standard MIDI Files (SMF) that you’ve copied from your computer  
to USB memory.  
USB.MEMORY.SONG.PLAYER.area  
USB.MEMORY.slot  
[SONG.LIST].button  
[PLAY/STOP].button  
Connect your USB memory (sold separately) here.  
p. 128  
p. 128  
p. 128  
1
Opens the song list (a list of the audio/MIDI files on USB memory).  
Starts/stops playback for the USB Memory Song Player.  
D.BEAM  
Move your hand above the D Beam to apply various effects to the sound.  
p. 28  
p. 16  
2
3
[VOLUME].knob  
KEYBOARD.area  
[MIDI.CTRL].button  
Adjusts the volume of the entire JUNO-Gi.  
Here you can make keyboard-related settings.  
Puts the JUNO-Gi in MIDI Controller mode.  
p. 133  
[SPLIT].button  
Selects “Split”mode, in which the keyboard is divided into left and right zones that each play different Tones.  
Turns the Arpeggio function on/off.  
p. 26  
p. 32  
p. 32  
p. 31  
p. 135  
p. 27  
p. 27  
p. 19  
p. 23  
p. 19  
p. 24  
p. 24  
p. 17  
[ARPEGGIO].button  
[TEMPO].button  
4
Opens the Tempo window.  
[CHORD.MEMORY].button  
[V-LINK].button  
Turns the Chord Memory function on/off.  
Turns the V-LINK function on/off. When you press the button to turn this on, a setting screen will appear.  
Hold down the [TRANSPOSE] button and use the [–] [+] buttons to shift the pitch range in semitone steps.  
Change the pitch range in one-octave steps.  
[TRANSPOSE].button  
OCTAVE.[DOWN/–].[UP/+].button  
[MENU].button  
Access a menu.  
[PREVIEW].button  
[NUMERIC].button  
FAVORITE.[ON/OFF].button  
FAVORITE.[BANK].button  
Display  
Hold down this button to audition the currently selected Live Set (or Tone).  
While this button is on, the [0]–[9] buttons can be used to enter numeric values.  
Turns the Favorite function on/off.  
5
6
While this button is on, the [0]–[9] buttons will select Favorite banks.  
Information about the current operation is shown here.  
Category.Group.  
[RHYTHM/0]–[FX/OTHERS/9].buttons  
Select the Live Set category group.  
p. 22  
p. 18  
The six buttons located below the display are also used to execute the function indicated at the bottom of the  
screen.  
Function.buttons.[1]–[6].  
[SPECIAL.LIVE.SET].button  
BATTERY indicator  
Selects special Live Sets.  
p. 23  
p. 14  
Indicates the amount of battery power remaining.  
10  
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Number Name  
[DEC].[INC].buttons  
Explanation  
Page  
Edit the value. The value will change more quickly if you press one button while holding down the other  
button. The value will change in larger steps if you press one of these buttons while holding down the [SHIFT]  
button.  
p. 18  
[
].[ ].[ ].[  
]
Move the cursor position up/down/left/right.  
p. 18  
(Cursor.buttons).  
VALUE.dial  
7
Edits the value. The value will change more quickly if you turn the VALUE dial while holding down [SHIFT].  
By pressing this in combination with another button, you can access the corresponding setting screen.  
p. 18  
p. 18  
[SHIFT].button  
Returns you to the previous screen, or closes the open window. In some screens, this halts the function that’s  
being executed.  
[EXIT].button  
––  
[ENTER].(LIST).button  
DIGITAL.RECORDER.area  
[RECORDER.VIEW].button  
[UNDO/REDO].button  
Confirms a value or executes an operation. This button is also used to display a list of Live Sets or Tones.  
Here you can make settings for the Digital Recorder.  
p. 22  
Accesses the Digital Recorder screen.  
p. 86  
p. 96  
Cancels (Undo) or re-executes (Redo) an operation of the Digital Recorder.  
REC.SOURCE.SELECT..  
[KEYBOARD]/[AUDIO.INPUT].button  
Selects the source for recording. Press the [KEYBOARD] button to record the JUNO-Gi’s keyboard sound, or  
press the [AUDIO INPUT] button to record the sound of the external input.  
p. 93  
p. 92  
Indicates the level of the input to the AUDIO INPUT jacks (LINE, GUITAR/MIC) on the rear panel. Adjust the  
[LEVEL] knob on the rear panel so that this lights in orange when the loudest volume occurs. If this lights red,  
the maximum level has been exceeded.  
PEAK.indicator  
Returns you to the beginning of the song.  
p. 87  
p. 87  
p. 87  
[
[
[
].(SONG.TOP).button  
].(REWIND).button  
Rewinds the song while you continue holding down the button.  
Fast-forwards the song while you continue holding down the button.  
].(FAST-FORWARD).button  
8
This button is used for Repeat Playback/Recording and for Auto Punch-In.  
p. 90  
[REPEAT].(A.  
[n].(STOP).button  
].(PLAY).button  
.
.B).button  
Stops song playback/recording.  
p. 87  
p. 87  
p. 94  
p. 88  
p. 88  
p. 121  
p. 88  
Plays the song.  
[
[l].(REC).button  
Enters recording-standby mode. Recording will start when you then press the [ ] button.  
Adjust the volume of each track.  
[TRACK.MIXER].sliders  
[MASTER].slider  
Adjusts the volume of the entire digital recorder.  
Turns the Rhythm Pattern on/off.  
[RHYTHM.PATTERN].button  
[1/5]–[4/8].buttons  
Mute each track or select the recording track.  
Switches the set of tracks controlled by the TRACK MIXER buttons and sliders.  
When unlit: Tracks 1–4 are controlled. When lit: Tracks 5–8 are controlled.  
[TRACK.1–4.5–8].button  
p. 88  
SOUND.MODIFY.area  
[REVERB].knob  
Use these knobs to adjust the sound.  
Adjusts the amount of reverb for the Synthesizer section.  
9
Adjust the three-band equalizer. This applies to both the Synthesizer section and the Digital Recorder. To turn  
off the equalizer, press the [ON/OFF] button so its indicator goes out.  
[EQ].knobs  
p. 29  
[CUTOFF].[RESONANCE].knobs  
[S1].[S2].buttons  
Use these to make realtime changes to the sound of the Synthesizer section.  
You can assign various parameters or functions to these buttons.  
Modifies the pitch or applies vibrato.  
p. 28  
p. 29  
10  
Pitch.Bend/Modulation.Lever  
11  
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Rear Panel Connections  
The JUNO-Gi does not contain an amp or speakers. In order to produce sound, 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”), or use headphones.  
p. 133  
p. 30  
p. 92  
MIDI connectors  
PEDAL jacks  
HOLD jack  
AUDIO INPUT jacks  
For connecting MIDI device.  
Connect the equipment that you’ll be recording on the  
Digital Recorder.  
Use the LINE jacks to connect your audio player or audio  
device.  
Here you can connect a pedal switch  
(such as one from the DP series; sold  
separately) and use it as a Hold pedal.  
Connect your microphone or guitar to the GUITAR/MIC jack  
as shown in the illustration.  
CONTROL jack  
Here you can connect an expression  
pedal (EV-5; sold separately) and use  
it to control various paramet
functions.  
To adjust the level, use the [LEVEL]  
knob located at the left of the jacks.  
Adjust the knob so that the front  
panel PEAK indicator lights orange  
during the loudest passages. If this  
indicator lights red, input overload  
has occurred.  
*
Use.only.the.specifi.ed.expres
separately) .By.connecting.an
risk.causing.malfunction.and
If you connect a guitar or bass, set this to  
“GUITAR.”  
Output jack of your digital  
audio player  
If you’re using a condenser microphone,  
connect it to the balanced (XLR) jack and  
choose the “PHANTOM ON” setting.  
(Phantom power is not supplied to the phone  
jack.)  
If you’re using a dynamic microphone, choose  
the “PHANTOM OFF” setting.  
LINE OUT jacks  
of your stereo  
system  
*
Always.turn.the.phantom.power.off..when.connecting.  
any.device.other.than.condenser.microphones.that.  
require.phantom.power .You.risk.causing.damage.if.  
you.mistakenly.supply.phantom.power.to.dynamic.  
microphones,.audio.playback.devices,.or.other.devices.  
that.don’t.require.such.power .Be.sure.to.check.the.  
specifi.cations.of.any.microphone.you.intend.to.use.by.  
referring.to.the.manual.that.came.with.it  
OUTPUT jacks of your keyboard  
This instrument is equipped with balanced (XLR/TRS) type  
jacks. Wiring diagrams for these jacks are shown below. Make  
connections after first checking the wiring diagrams of other  
equipment you intend to connect.  
NOTE  
• To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before  
making any connections.  
• When connection cables with resistors are used, the volume level of equipment connected to the inputs (AUDIO INPUT jacks) may be low. If this  
happens, use connection cables that do not contain resistors.  
• Howling could be produced depending on the location of microphones relative to speakers. This can be remedied by:  
1. Changing the orientation of the microphone(s). 2. Relocating microphone(s) at a greater distance from speakers. 3. Lowering volume levels.  
12  
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DC IN jack  
OUTPUT jacks  
SD card slot  
Connect the included AC adaptor here.  
Connect your speakers here. To employ  
monaural output, connect to the L/MONO  
jack.  
p. 15  
Insert an SD card here. When  
the JUNO-Gi is shipped from  
the factory, the included SD  
card is inserted and the SD  
card protector is fastened  
with screws. If you want to  
replace the card, remove the  
screws as described in “About  
SD Cards”(p. 15).  
Place the AC adaptor so the side with the indicator (see  
illustration) faces upwards and the side with textual  
information faces downwards. The indicator will light  
when you plug the AC adaptor into an AC outlet.  
To prevent the inadvertent disruption of power to your  
unit (should the plug be pulled out accidentally), and to  
avoid applying undue stress to the DC IN jack, anchor  
the power cord using the cord hook, as shown in the  
illustration.  
p. 16  
p. 132  
p. 17  
[POWER] switch  
B COMPUTER connector  
[LCD CONTRAST] knob  
This turns the power on/off.  
a USB cable, you can connect  
UNO-Gi to your computer.  
This knob adjusts the contrast of the display.  
p. 83  
PHONES jack  
SONG/CLICK OUT jack  
You can connect a set of headphones  
(sold separately) here.  
This jack will output one of the following audio signals.  
USB Memory Song Player  
•
• USB Memory Song Player’s click tone  
•
Digital Recorder  
About Functional Ground Terminal  
Depending on the circumstances of a particular setup, you may experience a discomforting sensation, or perceive that the surface feels  
gritty to the touch when you touch this device, microphones connected to it, or the metal portions of other objects, such as guitars. This  
is due to an infinitesimal electrical charge, which is absolutely harmless. However, if you are concerned about this, connect the ground  
terminal (see figure) with an external ground. When the unit is grounded, a slight hum may occur, depending on the particulars of your  
installation. If you are unsure of the connection method, contact the nearest Roland Service Center, or an authorized Roland distributor,  
as listed on the “Information”page.  
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  
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About Batteries  
If you’re operating the JUNO-Gi on batteries, you’ll need  
eight rechargeable Ni-MH batteries (AA, HR6). The battery  
life will depend on the specifications of the battery and  
on the conditions of use, but for continuous use, will be  
approximately 3 hours (approximately 2 hours if USB  
memory is connected).  
When to Replace the Batteries (BATTERY  
Indicator)  
The BATTERY indicator shows the state of the  
batteries.  
About rechargeable batteries  
When using rechargeable batteries, the battery lifespan  
will normally become shorter with each recharge cycle.  
If the batteries run down soon after being recharged, it’s  
time to replace them.  
Indication  
Unlit  
Explanation  
Batteries are not installed.  
Operating on batteries, with sufficient battery power  
remaining.  
Green  
Red  
Installing Batteries  
Batteries have run low. We recommend that you replace the  
batteries.  
1. Switch.off..the.JUNO-Gi’s.power.(p .16)  
Batteries are nearly depleted. Stop use, and recharge the  
batteries. If you continue using the JUNO-Gi when the  
indicator is blinking red, the indication “Battery Low!”will  
appear, and further operation will not be possible.  
2. Remove.the.cover.of.the.battery.compartment.located.on.  
Blinking.red  
the.JUNO-Gi’s.bottom.panel  
While pressing the tabs of the cover, lift the cover up and remove it.  
* The.remaining.battery.indication.is.an.approximation  
MEMO  
• In order to reduce battery consumption, you can turn off the  
display backlight when it’s not required. Refer to “Turning the  
Display Backlight On/Off”(p. 17).  
• The System setting“Power Save Mode”(p. 80) lets you choose to turn  
off the backlight when no operation has been performed for a  
certain length of time. (With the factory settings, the backlight will  
dim after five minutes.)  
3. Insert.the.batteries.into.the.battery.compartment  
Make sure to observe the correct polarity (+/– orientation) for each  
battery when inserting it.  
• The System setting“Auto Power Off”(p. 80) lets you choose to turn off  
the power automatically when no operation has been performed  
for a certain length of time. (With the factory settings, the power  
will turn off after 240 minutes.)  
Removing Batteries  
4. Replace.the.battery.compartment.cover  
To remove the batteries, switch off the JUNO-Gi’s power, remove the  
battery case cover, and remove the batteries as described in “Installing  
Batteries.”  
* When.turning.the.unit.upside-down,.get.a.bunch.of.newspapers.or.  
magazines,.and.place.them.under.the.four.corners.or.at.both.ends.to.prevent.  
damage.to.the.buttons.and.controls .Also,.you.should.try.to.orient.the.unit.so.  
no.buttons.or.controls.get.damaged  
* When.turning.the.unit.upside-down,.handle.with.care.to.avoid.dropping.it,.or.  
allowing.it.to.fall.or.tip.over  
Note the following when using batteries  
•
•
Do not use alkaline batteries or carbon-zinc batteries.  
The use of an AC adaptor is recommended as the unit’s power consumption is relatively high. Should you prefer to use batteries, please use the  
rechargeable Ni-MH type.  
•
•
When installing or replacing batteries, always turn off the power on this unit and disconnect any other devices you may have connected. This way,  
you can prevent malfunction and/or damage to speakers or other devices.  
We recommend that you keep batteries installed in the unit even though you’ll be powering it with the AC adaptor. That way, you’ll be able to  
continue a performance even if the cord of the AC adaptor gets accidently disconnected from the unit.  
•
•
Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.  
If used improperly, batteries may explode or leak and cause damage or injury. In the interest of safety, please read and observe the following  
precautions.  
• Carefully follow the installation instructions for batteries, and make sure you observe the correct polarity.  
• Avoid using new batteries together with used ones. In addition, avoid mixing different types of batteries.  
• Remove the batteries whenever the unit is to remain unused for an extended period of time.  
• If a battery has leaked, use a soft piece of cloth or paper towel to wipe all remnants of the discharge from the battery compartment. Then  
install new batteries. To avoid inflammation of the skin, make sure that none of the battery discharge gets onto your hands or skin. Exercise  
the utmost caution so that none of the discharge gets near your eyes. Immediately rinse the affected area with running water if any of the  
discharge has entered the eyes.  
• Never keep batteries together with metallic objects such as ballpoint pens, necklaces, hairpins, etc.  
14  
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About SD Cards  
An SD card containing a demo song is inserted 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.  
SD cards usable with the JUNO-Gi  
The JUNO-Gi supports SDHC/SD cards up  
to a capacity of 32 GB.  
When using a commercially available SD/SDHC card, insert it as  
follows.  
1. Remove.the.SD.card.protector.screws  
Preparing an SD card for use  
When the JUNO-Gi is shipped from the factory, the SD card protector  
is attached by screws at the locations shown in the illustration. To  
remove the card protector, use a Phillips screwdriver to remove these  
screws.  
When using a commercially available SD card with the JUNO-Gi,  
you must first format it as described in “Formatting SD Card  
(SD Card Format)”(p. 79). However, don’t format the SD card  
that’s included with the JUNO-Gi. If you format the included  
SD card, you’ll lose all of the demo song data that was on the  
card.  
Once you format an SD card, 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”  
(p. 79).  
In order to record, you’ll need to unlock the SD card.  
If the SD card is locked, the JUNO-Gi  
won’t be able to perform recording or  
backup operations. Make sure to unlock  
the SD card before inserting it.  
NOTE  
• Keep the removed screws and SD card protector out of the reach of  
small children so that they won’t be swallowed accidentally.  
Card must be  
unlocked!  
• Never insert or remove a SD card while this unit’s power is on.  
Doing so may corrupt the unit’s data or the data on the SD card.  
2. Remove.the.included.SD.card,.insert.your.SD.card.into.the.  
slot,.and.then.reattach.the..SD.card.protector  
Removing an SD card  
1. Press.the.SD.card.inward  
2. Grasp.the.card.and.pull.it.out.toward.yourself  
Carefully insert the SD card  
all the way in-until it is  
firmly in place.  
SD card capacity and recording time  
The following table shows the total amount of recording time that is available with one SD/SDHC card (when only one track is used).  
If you use a high-capacity SD/SDHC card, you’ll be able to save a larger number of samples.  
The JUNO-Gi supports SDHC/SD cards up to a capacity of 32 GB.  
Card.  
Capacity  
Card.  
Capacity  
Recording.Times  
Recording.Times  
1.GB  
2.GB  
4.GB  
Approx. 6 hours  
Approx. 12 hours  
Approx. 24 hours  
8.GB  
Approx. 48 hours  
Approx. 96 hours  
Approx. 192 hours  
16.GB  
32.GB  
NOTE  
• The maximum recording time (storage used) for one song is approximately 12 hours (2 GB).  
• The above recording times are approximate.  
• The above recording times are for when only one track is used. For example, if you record using all eight tracks, the available time for each track  
will be one eighth of the time listed.  
• Since the 2 GB SD card included with the JUNO-Gi contains a demo song, the available recording time will be shorter than listed above.  
• With the Track Export function, 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.  
15  
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Turning the Power On  
* Once.the.connections.have.been.completed.(p .12),.turn.on.power.to.  
your.various.devices.in.the.order.specifi.ed .By.turning.on.devices.  
in.the.wrong.order,.you.risk.causing.malfunction.and/or.damage.to.  
speakers.and.other.devices  
Turning the Power Off  
1. Minimize.the.volume.of.the.JUNO-Gi.and.your.speakers  
2. Turn.off..the.power.of.your.speakers  
1. Minimize.the.volume.of.the.JUNO-Gi.and.your.speakers  
3. Turn.the.JUNO-Gi’s.[POWER].switch.OFF  
2. On.the.JUNO-Gi’s.rear.panel,.turn.the..[POWER].switch.ON  
* Always.make.sure.to.have.the.volume.level.turned.down.before.  
switching.on.power .Even.with.the.volume.all.the.way.down,.you.  
may.still.hear.some.sound.when.the.power.is.switched.on,.but.this.is.  
normal,.and.does.not.indicate.a.malfunction  
3. Turn.on.the.power.of.your.speakers  
4. Use.the..[VOLUME].knob.to.adjust.the.volume.appropriately  
If you don’t want the power to turn off automatically, 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. (With the factory settings, the power  
will turn off after 240 minutes.)  
NOTE  
When the power turns off, any unsaved modifications that you’ve made in the settings will be lost. If you want to keep the setting changes  
you’ve made, make sure to save them beforehand.  
If you want to leave the power on at all times, turn off the “Auto Power Off”setting as described below.  
1. Press.the.[MENU].button  
2. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.“4 .System,”.and.then.press.the.[ENTER].button  
3. Press.the.[1].(GENERAL).button  
4. Use.the.cursor.buttons.to.select.“Auto.Power.Off. ”  
5. Use.the.VALUE.dial.to.change.the.setting.to.the.“OFF”.setting  
6. Press.the.[6].(WRITE).button.to.save.the.setting  
16  
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About the Display  
Adjusting the Display Contrast  
([LCD CONTRAST] Knob)  
Turning the Display Backlight On/Off  
To reduce battery consumption, you can turn off the display backlight  
when it’s not required.  
The characters in the display may be difficult to read immediately after  
the power is turned on, or after you have been using the JUNO-Gi for  
an extended time, or due to the conditions in which it’s being used.  
If this occurs, turn the rear panel [LCD CONTRAST] knob to make the  
display legible.  
1. Hold.down.the.[SHIFT].button.and.press.the.[EXIT].button  
The display backlight will turn off.  
Turning the display backlight on  
1. Hold.down.the.[SHIFT].button.and.press.the.[ENTER].button  
The display backlight will turn on.  
MEMO  
The System setting“Power Save Mode”(p. 80) lets you choose to turn  
off the backlight when no operation has been performed for a  
certain length of time. (With the factory settings, the backlight will  
dim after five minutes.)  
Screens shown in this manual  
Various screens are shown in this manual for explanatory purposes, but please be aware that the screen shots in  
this manual may not necessarily match the factory settings (e.g., the names of sounds).  
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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), and their operation will differ depending  
on the screen. The functions are shown in the bottom of the screen,  
and the corresponding function buttons will light.  
Moving the Cursor  
A single screen or window displays multiple parameters or items  
for selection. To edit the setting of a parameter, move the cursor to  
the value of that parameter. To select an item, move the cursor to  
that item. When selected with the cursor, a parameter value or other  
selection is highlighted.  
* When.indications.such.as.[6].(EXIT).appear.in.this.manual,.the.  
numeral.indicates.the.button.name,.and.the.text.in.parentheses.  
indicates.the.function.name.displayed.in.the.screen  
Move the cursor with [ ] [ ] [ ] [ ] (cursor buttons).  
If you hold down one cursor button while you also press the cursor  
button for the opposite direction, the cursor will move more rapidly in  
the direction of the first-pressed cursor button.  
The [SHIFT] Button Functions  
Changing a Value  
To change the value, use the VALUE dial or the [DEC] [INC] buttons.  
By holding down the [SHIFT] button and pressing another button,  
you can access the screen for making settings related to that button.  
(In other words, the [SHIFT] button provides a shortcut to the  
corresponding screen.)  
For example, if you hold down the [SHIFT] button and press the [SOLO  
SYNTH] button, the Solo Synth setting screen will appear.  
For details, refer to the page where a particular function is explained.  
VALUE dial  
In some screens, pressing the [SHIFT] button will change the operation  
of the function buttons. In this case, pressing the [SHIFT] button will  
change the name of the functions displayed at the bottom of the  
screen. To execute a function, hold down the [SHIFT] button and press  
the corresponding function button.  
Turning the VALUE dial clockwise increases the value, counterclockwise  
decreases the value.  
The value will change in larger steps if you hold down the [SHIFT]  
button while turning the VALUE dial.  
[DEC] and [INC] buttons  
Pressing the [INC] button increases the value, and the [DEC] button  
decreases it.  
• Keep the button pressed for continuous adjustment.  
• For faster value increases, keep the [INC] button pressed down and  
press the [DEC] button. For decreasing value faster, keep the [DEC]  
button pressed down and press the [INC] button.  
• The value will change in larger steps if you hold down the [SHIFT]  
button while you press the [INC] or [DEC] button.  
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Entering a Value ([NUMERIC] Button) Assigning a Name  
If you turn the [NUMERIC] button on, you’ll be able to use the [0]–[9]  
buttons to enter numeric values.  
On the JUNO-Gi, you can assign names to each live set, song. The  
procedure is the same for any type of data.  
1. Press.the.[ ].[ ].buttons.to.move.the.cursor.to.the.location.  
where.you.wish.to.input.a.character  
2. Turn.the.VALUE.dial,.or.press.the.[DEC].[INC].buttons.to.  
You can use this method to numerically specify live set numbers or  
tone numbers.  
specify.the.character  
Button  
Explanation  
1. Use.the.cursor.buttons.to.move.the.cursor.to.the.number.  
Selects the type of character. Each time you press  
this, you will alternately select the first character  
of a character set: uppercase (A), lowercase (a), or  
numerals and symbols (0).  
that.you.want.to.change  
[2].(TYPE).  
2. Press.the.[NUMERIC].button.so.it’s.lit  
The [0]–[9] buttons will light.  
[3].(DELETE).  
[4].(INSERT).  
[5].(CANCEL).  
Deletes the character at the cursor location.  
Inserts a space at the cursor location.  
3. Use.the.[0]–[9].buttons.to.enter.a.numerical.value,.and.then.  
press.the.[ENTER].button  
Cancels the input and exits the naming screen.  
Your input will be finalized, and the illumination of the [0]–[9] buttons  
will return to their previous state.  
[6].(NEXT)  
or  
Saves the changes you’ve made.  
[6].(EXEC).  
If you press the [NUMERIC] button once again without pressing the  
[ENTER] button, the [0]–[9] buttons will return to their previous state  
without the number being changed.  
Move the cursor.  
[
[
].[  
].[  
]
Switch between uppercase and lowercase letters.  
]
MEMO  
When you’ve turned the [NUMERIC] button on and are entering a  
number, pressing the [EXIT] button will cancel the value.  
MEMO  
In a screen that allows you to assign a name, you can press the  
[MENU] button and perform the following operations.  
The [MENU] Button Function  
Menu  
Explanation  
1 .Undo  
Return an edited name to its original state.  
When you press the [MENU] button, a menu will appear in the display.  
Change the character at the cursor location to  
uppercase.  
2 .To.Upper  
Change the character at the cursor location to  
lowercase.  
3 .To.Lower  
4 .Delete.All  
1. Press.the..[MENU].button  
Clear all of the currently entered characters.  
2. Use.the.VALUE.dial.or.cursor.buttons.to.select.menu.and.  
then.press.the.[ENTER].button  
NOTE  
Menu  
Explanation  
Page  
p. 34  
p. 44  
p. 25  
p. 80  
p. 78  
You can’t enter lowercase characters for a file name (track export).  
1 .Live.Set.Edit  
2 .Eff.ect.Edit  
3 .Layer/Split  
4 .System  
Edit a Live Set  
Edit effects  
Settings for each layer  
Overall settings for the entire JUNO-Gi  
Back up data, format a card, etc.  
5 .Utility  
If you press the [MENU] button while in the RECORDER screen, a  
recorder-related menu will appear.  
Menu  
Explanation  
Page  
p. 98  
p. 98  
p. 78  
1 .Song.Edit  
2 .Track.Edit  
3 .Utility  
Song function menu  
Track editing function menu  
Back up data, format a card, etc.  
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Listening to the Demo Song  
The SD card included with the JUNO-Gi contains demo songs for the  
Digital Recorder. The first time that you turn on the power, the demo  
song in song data format will be loaded automatically.  
Demo song list  
Song.Name  
Composer  
Copyright  
1. Press.the.[ ].(PLAY).button  
1
2
3
Gonna.Want.It Scott Tibbs  
©2010 Roland Corporation  
©2010 Roland Corporation  
©2010 Roland Corporation  
The demo song will begin playing.  
FARAWAY  
Late.Nite  
Mitsuru Sakaue  
Scott Tibbs  
You can move the current location within the song in any of the  
following ways.  
Operation  
Explanation  
The song will fast-forward while you hold down the  
Fast-forward  
[
] button.  
The song will rewind while you hold down the  
] button.  
Rewind  
[
Move.to.the.begin-  
ning.of.the.song  
Press the [  
] button.  
2. Press.the.[n].(STOP).button.to.stop  
MEMO  
The SD card contains three demo songs. For details on how to  
select songs, refer to ”Selecting and Playing a Song (Song Select)”  
(p. 87).  
NOTE  
• Use of the demo song supplied with this product for any purpose other than private, personal enjoyment without the permission of the  
copyright holder is prohibited by law.  
• No data for the music that is played will be output from MIDI OUT connector.  
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Synthesizer  
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Synthesizer 1 (Selecting Sounds)  
Selecting Live Sets  
On the JUNO-Gi, “Live Sets”are the units of sound that you select and  
use.  
Selecting Live Sets from the List  
The JUNO-Gi’s Live Sets are divided into the following groups.  
You can view a live set list and select a live set from that list.  
Live Set Group  
1. Press.one.of.the.[RHYTHM]–[FX/OTHERS].(.category.group).  
Group  
Explanation  
Edit  
Write  
buttons.to.select.the.desired.category.group  
These live sets cannot be  
rewritten. You can edit one of  
these and save the edited result  
in the User group.  
PRESET  
3
These are high-quality live sets  
that were carefully created  
specifically for the JUNO-Gi. You  
can edit one of these and save  
the edited result in the User  
group.  
SPECIAL  
USER  
3
3
A live set you edit can be saved  
in this group.  
Category.Group  
RHYTHM  
3
PIANO  
KEYBOARD/ORGAN  
BASS  
About the LIVE SET PLAY Screen  
GUITAR/PLUCKED  
STRINGS/ORCHESTRA  
BRASS/WIND  
VOCAL/CHOIR  
SYNTH/PAD  
When you power up the JUNO-Gi, the LIVE SET PLAY screen will  
appear.  
Live Set Group  
FX/OTHERS  
2. Press.the.[ENTER].(LIST).button  
The LIVE SET LIST screen will appear.  
Category Category Group  
Liv
ategory Lock  
tegory  
Number/Name  
Function buttons  
By holding down the [SHIFT] button and pressing a function button,  
you can turn each layer on/off or access an edit screen.  
3. Use.the.[ ].[ ].buttons.to.select.the.desired.category  
Select a category within the currently selected category group.  
You can also use the category group buttons or the [SHIFT]+[ ] [  
buttons to select the category group.  
]
4. Use.the.VALUE.dial,.the.[ ].[ ].buttons.or.the.[DEC].[INC].  
buttons.to.select.the.desired.live.set,.and.press.the.[ENTER].  
button  
Button  
Explanation  
Page  
If you press the [EXIT] button instead of pressing the [ENTER] button,  
you’ll return to the previous screen without the live set number being  
changed.  
[SHIFT]+[1].(U1)  
[SHIFT]+[2].(U2)  
[SHIFT]+[3].(L1)  
[SHIFT]+[4].(L2)  
Upper 1 Layer On/Off  
Upper 2 Layer On/Off  
Lower 1 Layer On/Off  
Lower 2 Layer On/Off  
p. 25  
[SHIFT]+[5].(LIVE.SET) Access the LIVE SET EDIT screen  
[SHIFT]+[6].(EFFECT) Access the EFFECT ROUTING screen  
p. 34  
p. 44  
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Using the VALUE Dial to Select a Live Selecting Special Live Sets  
Set  
([SPECIAL LIVE SET] Button)  
To select a live set, use the cursor buttons and the VALUE dial to  
1. Press.the.[SPECIAL.LIVE.SET].button  
change the value in the LIVE SET PLAY screen.  
2. Use.the.cursor.buttons.to.move.the.cursor.to.the.live.set.  
number  
1. In.the.LIVE.SET.PLAY.screen,.use.the.cursor.buttons.to.move.  
3. Press.the.[ENTER].(LIST).button  
the.cursor.to.the.live.set.group.(PRESET,.SPECIAL.or.USER)  
The SPECIAL LIVE SET LIST screen will appear.  
2. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.  
desired.live.set.group.(PRESET,.SPECIAL.or.USER)  
4. Use.the.VALUE.dial,.the.[ ].[ ].buttons.or.the.[DEC].[INC].  
buttons.to.select.the.desired.special.live.set,.and.press.the.  
[ENTER].button  
3. Use.the.cursor.buttons.to.move.the.cursor.to.the.live.set.  
number  
If you press the [EXIT] button instead of pressing the [ENTER] button,  
you’ll return to the previous screen without the live set number being  
changed.  
4. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.  
desired.live.set  
MEMO  
Selecting live sets by category (category lock)  
You can select a special live set as described in “Selecting Live  
Sets from the List,”“Using the VALUE dial to Select a Live Set,”or  
“Selecting Live Sets by Number,”or by selecting the “SPECIAL”live  
set group.  
The lock icon ( ) shown in the LIVE SET PLAY screen specifies  
whether you’ll be selecting live sets within the selected  
category or across categories.  
If you move the cursor to the lock icon and use the VALUE dial  
or [DEC] [INC] buttons to select the “ ”position, you’ll be able  
to select live set numbers across categories. If you select the  
Auditioning a Live Set  
([PREVIEW] Button)  
“
LOCK”position, you’ll be able to change the live set number  
within the currently selected category.  
If you hold down the [PREVIEW] button, the selected live set will be  
played using an appropriate phrase.  
1. Press.and.hold.the.[PREVIEW].button  
Selecting Live Sets by Number  
([NUMERIC] Button)  
A phrase will play using the live set that’s selected in the screen.  
2. The.phrase.will.stop.playing.when.you.release.the.[PREVIEW].  
button  
1. Follow.steps.1.through.3.of.“Using.the.VALUE.dial.to.Select.a.  
MEMO  
Live.Set ”  
• If you want to change how the phrase plays when you press the  
[PREVIEW] button, refer to the system setting “Preview”(p. 80), the  
live set setting “Preview Type”(p. 38) and “Preview Phrase”(p. 38).  
2. Press.the.[NUMERIC].button.so.it’s.lit  
The [0]–[9] buttons will light.  
• If you hold down the [SHIFT] button while you press the [PREVIEW]  
button, the phrase will continue playing even after you remove  
your finger from the [PREVIEW] button, which will remain lighted.  
Press the [PREVIEW] button once again to turn off its light, and  
playback of the phrase will stop.  
3. Use.the.[0]–[9].buttons.to.enter.the.desired.live.set.number,.  
and.press.the.[ENTER].button  
When you finalize the input, the [0]–[9] buttons will return to their  
previous state of illumination.  
If you press the [NUMERIC] button without pressing the [ENTER]  
button, the [0]–[9] buttons will return to their previous state without  
changing the live set number.  
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Registering and Calling Up Favorite Live Sets (FAVORITE)  
If you register frequently used live sets as “favorites,”you’ll later be able  
to call them up instantly.  
Registering, Calling Up, or Editing  
Each bank of favorites lets you register a total of ten live sets. You can  
create ten of these banks.  
Favorites in a List  
For example, if the sounds you use in your performance are registered  
in their order of appearance, it will be easy for you to select each sound  
as necessary.  
Regardless of whether FAVORITE [ON/OFF] button is on or off, you  
can view a list of the favorites you’ve registered, and add or call up  
registrations. You can also remove a previously registered favorite, or  
change the number to which it’s registered.  
1. Hold.down.the.[SHIFT].button.and.press.the.FAVORITE.[ON/  
Registering a Favorite Live Set  
OFF].button  
Here’s how to register a live set in Favorites. You can register a sound in  
Favorites regardless of the FAVORITE [ON/OFF] button status.  
The FAVORITE LIST screen will appear.  
Bank Number  
1. Select.the.live.set.that.you.want.to.register  
2. If.you.want.to.switch.Favorite.banks,.hold.down.the.  
FAVORITE..[BANK].button,.and.press.the.button.of.the.bank.  
([0]–[9]).in.which.you.want.to.register.the.sound  
When you press the FAVORITE [BANK] button, the button of the  
currently selected bank will blink.  
Pressing one of the [0]–[9] buttons will select the Favorite bank in  
which the sound will be registered.  
Fave Number  
MEMO  
2. Use.the.[ ].[ ].buttons.to.select.the.desired.bank  
You can also change the Favorites bank even if the FAVORITE [ON/  
OFF] button is off.  
3. Use.the.VALUE.dial,.the.[ ].[ ].buttons,.or.the.[DEC].[INC].  
buttons.to.select.the.desired.favorite  
3. Hold.down.the..FAVORITE.[ON/OFF].button.and.press.the.  
button.([0]–[9]).to.which.you.want.to.register.the.currently.  
selected.sound  
Button  
Explanation  
[ENTER].button.or.  
[6].(SELECT).button  
Calls up the selected favorite.  
The screen will indicate “Live set registered to Bank:*-*.”(* will be the  
number in which you registered the live set), and the live set will be  
registered in the selected favorite number.  
[1].(REMOVE).  
button  
Removes the selected favorite.  
Registers the currently selected live set at  
the selected favorite number. If a favorite has  
already been registered at the selected number,  
the registration will be overwritten.  
It’s a good idea to register your favorites in the order in which they’ll  
be used in your song or live set.  
[2].(REGIST).button  
Changes the registration number. If a favorite  
has already been registered at the move-  
destination number, the selected favorite will  
be inserted at the move destination.  
Calling Up a Favorite Sound  
Hold.down.[SHIFT].  
button.and.press  
If you leave the FAVORITE [ON/OFF] button turned on, you’ll be able to  
switch between favorites simply by pressing the [0]–[9] buttons.  
[
].[ ].button  
* It.can.take.several.seconds.for.the.move.to.  
be.carried.out .  
1. Press.the.FAVORITE.[ON/OFF].button.so.it’s.lit  
Now you can use the [0]–[9] buttons to select favorites.  
2. If.you.want.to.switch.Favorites.banks,.hold.down.the.  
FAVORITE.[BANK].button.and.press.the.button.([0]–[9]).for.  
the.desired.Favorites.bank  
When you press the FAVORITE [BANK] button, the button  
corresponding to the currently selected bank will blink.  
When you press one of the [0]–[9] buttons, the corresponding  
Favorites bank will be selected.  
MEMO  
You can also change the Favorites bank even if the FAVORITE [ON/  
OFF] button is off.  
3. Use.the.[0]–[9].buttons.to.select.a.Favorites.number  
MEMO  
The screen’s function buttons are not available if the FAVORITE [ON/  
OFF] button is on. If you want to use the [0]–[9] buttons as function  
buttons, turn off the FAVORITE [ON/OFF] button.  
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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  
sound; you can’t play a tone by itself.  
Layer On/Off  
Each layer’s on/off setting is indicated as shown below.  
✔ means on  
Live.Set  
Layer: Upper 1  
Layer: Upper 2  
Layer: Lower 1  
Layer: Lower 2  
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  
You can turn each layer on/off by holding down the [SHIFT] button  
and pressing the [1]–[4] buttons.  
.Tone.Type.  
These are instruments such as piano or strings. All  
keys will play the sound of the same instrument.  
TONE.  
Button  
Layer  
RHYTHM.  
(.Rhythm.Set).  
These are instruments such as drum sets. Each key  
will play the sound of a different instrument.  
[SHIFT]+[1]  
[SHIFT]+[2]  
[SHIFT]+[3]  
[SHIFT]+[4]  
Upper 1 On/Off  
Upper 2 On/Off  
Lower 1 On/Off  
Lower 2 On/Off  
Tones and rhythm sets have the following groups.  
.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  
standard for MIDI devices across manufacturers  
and models.  
Selecting Tones  
GM.(GM2).  
4. Use.the.cursor.buttons.to.move.the.cursor.to.the.tone.  
number.fi.eld.of.the.tone.that.you.want.to.change,.and.  
use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.  
desired.tone.number  
It’s not possible to edit or rewrite tones themselves on the JUNO-Gi.  
However, you can select the tones that will be played by a live set, and  
make relative adjustments (offsets) to the values of each tone. You can  
save the edited result in a user live set.  
You can select the tone group or tone type in the same way.  
Parameter  
Value  
Tone.Number  
Tone.Group  
Tone.Type  
001–  
Selecting Tones or Rhythm Sets  
PRST (PRESET), GM  
Tone, Rhy (Rhythm)  
1. Press.the.[MENU].button  
2. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.  
“3 .Layer/Split”,.and.press.the.[ENTER].button  
Selecting Tones from the List  
The LAYER/SPLIT screen will appears.  
When you move the cursor to the tone number field and press the  
[ENTER] (LIST) button, the tone list will appear. Use the VALUE dial to  
select a tone, and then press the [ENTER] button to confirm.  
Auditioning a Tone ([PREVIEW] Button)  
In the tone list screen, you can hold down the [PREVIEW] button  
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).  
Layer  
Switch  
Tone  
Number  
Tone  
Group  
Tone  
Type  
Level  
Setting the Octave for Each Layer  
In the LAYER/SPLIT screen, you can press the OCTAVE [DOWN]  
button or [UP] button to raise or lower by an octave the key  
range of the layer at the position of the cursor.  
MEMO  
You can also access the LAYER/SPLIT screen by holding down the  
[SHIFT] button and pressing the [SPLIT] button.  
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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  
at which the keyboard is divided is called the “split point.”  
Changing the Tone or Volume in the  
LAYER/SPLIT Screen  
Lower.2  
Tone  
Lower.1  
Tone  
Upper.2  
Tone  
Upper.1  
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  
.Switch  
Value  
Explanation  
1. Press.the.[SPLIT].button.so.it’s.lit  
Split keyboard mode will be selected.  
The LAYER/SPLIT screen will appear.  
OFF, ON (✔)  
Split on/off  
Split.Point  
OFF, C#-–G9  
Specifies the Split Point.  
Split Point  
Split Switch (✔ means on)  
Layer  
Switch  
Tone  
Number  
Tone  
Group  
Tone  
Type  
Level  
The right-hand keyboard area will play the upper tone, and the  
left-hand keyboard area will play the lower tone.  
Parameter  
Layer.Switch  
Number  
Type  
Value  
Explanation  
Split Point (C4)  
OFF, ON (✔)  
001–  
Layer on/off  
Tone Number  
Tone Type  
Tone, Rhy (Rhythm)  
PRST (PRESET), GM  
Group  
Tone Group  
Volume of each layer. This  
LOWER  
UPPER  
setting’s main purpose is to adjust  
the volume balance between  
layers.  
Level  
0–127  
MEMO  
By holding down the [SHIFT] button and pressing the [SPLIT]  
button, you can access the LAYER/SPLIT screen without turning the  
Split function on/off.  
MEMO  
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.  
Changing the Split Point  
MEMO  
• If you want to close the LAYER/SPLIT screen while leaving Split on,  
press the [EXIT] button.  
In Split keyboard mode, here’s how to change the split point (the  
location at which the keyboard is divided).  
• When you turn on the [SPLIT] button, the setting of the Layer  
switch will turn “ON”for UPPER 1 and LOWER 1.  
1. Hold.down.the.[SPLIT].button.and.press.the.key.that.you.  
want.to.specify.as.the.split.point  
• When you turn off the [SPLIT] button, the setting of the Layer  
switch will return to the value it had in the live set.  
The key you pressed will become the new split point.  
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.  
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Synthesizer 2 (Performance Functions)  
Changing the Keyboard Settings  
Changing the Pitch in One-octave Steps Adjusting the Keyboard Touch  
You can set the instrument so all notes sound at a fixed volume  
(OCTAVE [DOWN] [UP] Button)  
regardless of the strength (velocity) at which you play the keys, or  
adjust the way in which the keyboard responds to your playing touch.  
Octave Shift is a function that changes the pitch of the keyboard in  
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  
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.  
2. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.  
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.  
desired.value  
• Pressing the [DOWN] button will lower the pitch by one octave, and  
pressing the [UP] button will raise the pitch by one octave.  
For details on the parameters and values that you can assign, refer to  
“[1] (KBD)”(p. 81).  
• You can change the pitch as much as three octaves down (-3) or three  
octaves up (+3).  
7. If.you.want.to.keep.your.settings,.press.the.[6].(WRITE).  
button  
• A setting window will open when you press one of these buttons, and  
will close shortly after you release the button.  
8. Press.the.[EXIT].button.a.number.of.times.to.return.to.the.  
previous.screen  
• When set to any value other than “0,”either OCTAVE [DOWN] or [UP]  
will light.  
Changing the Temperament to an  
• By pressing OCTAVE [DOWN] and [UP] simultaneously you can reset  
the value to “0.”  
Arabian or Other Scale (Scale Tune)  
• There is a single Octave Shift setting for the entire JUNO-Gi.  
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  
power up the JUNO-Gi.  
today, including Western music. However, the JUNO-Gi lets you  
recreate other temperaments by individually altering the pitches of  
the notes. Using this feature, you change the temperament of the  
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.”  
• If you want to change the octave setting for each layer of a live set,  
specify the “Octave”(p. 36) and then save the live set.  
• In the LAYER/SPLIT screen, you can press the OCTAVE [DOWN] button  
or [UP] button to raise or lower by an octave the key range of the layer  
at the position of the cursor.  
Scale tuning allows you to modify the pitch of each note in one-cent  
steps (1/100th of a semitone) relative to the equal-tempered pitch.  
1. Press.the.[MENU].button  
2. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.  
Transposing the Pitch in Semitone Steps  
([TRANSPOSE] Button)  
“4 .System,”.and.press.the.[ENTER].button  
The System Menu window will appear.  
3. Press.the.[1].(GENERAL).button  
4. Press.the.[2].(SOUND).button  
Transpose is a function that changes the pitch of the keyboard in  
semitone steps.  
You can use this to play transposing instruments such as trumpet or  
clarinet at the pitches written in the score.  
5. Use.the.cursor.[ ].[ ].buttons.to.move.the.cursor.to.“Scale.  
Tune.Switch”.or.“Patch.Scale.Tune.for.C–B ”  
1. Hold.down.the.[TRANSPOSE].button.and.press.the.[–].or.[+].  
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  
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  
semitones).  
previous.screen  
• 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.  
• 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  
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Controlling Your Performance  
D Beam Controller  
[S1] [S2] buttons  
The D Beam controller can be used simply  
by waving your hand over it. It can be used  
to apply various effects, depending on  
the function that is assigned to it. On the  
JUNO-Gi, the D Beam controller can be used  
not only to modify the sounds, but also to  
control the pitch of a monophonic (solo)  
synthesizer sound.  
You can assign various performance-related functions to the [S1] and  
[S2] buttons. When you turn the [S1] or [S2] button on/off, the assigned  
function will be switched or turned on/off.  
1. Press.either.the.D.BEAM.[SOLO.  
SYNTH],.[EXPRESSION],.[ASSIGNABLE].  
button.to.turn.on.the.D.Beam.  
controller  
1. Hold.down.the.[SHIFT].button.and.press.the.[S1].or.[S2].  
Button  
Explanation  
button  
You can play a monophonic synthesizer  
by moving your hand above the D Beam  
controller.  
2. Use.the.cursor.[ ].[ ].buttons.to.select.a.parameter  
.[SOLO.SYNTH].button  
“Switch 1”is the setting for the [S1] button, and “Switch 2”is the setting  
for the [S2] button.  
.[EXPRESSION].button  
.[ASSIGNABLE].button  
Lets you add expression.  
3. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.  
Operates the function assigned to the D Beam  
controller.  
desired.value  
Parameter  
Value  
Explanation  
2. While.you.play.the.keyboard.to.produce.sound,.place.your.  
hand.above.the.D.Beam.controller.and.move.it.slowly.up.  
and.down  
The function assigned to the [S1], [S2] buttons  
Shift the pitch of the keyboard  
upward in semitone steps (a  
maximum of six semitones).  
TRANSPOSE UP  
To turn off the D Beam controller, once again press the button you  
pressed in step 1; it will go out.  
Shift the pitch of the keyboard  
downward in semitone steps (a  
maximum of five semitones).  
TRANSPOSE  
DOWN  
MEMO  
When you turn on the power, the D Beam controller will be off.  
Used to set the keyboard tempo to  
the interval at which you press the  
button.  
TAP TEMPO  
The usable range of the D Beam controller  
Specify whether the tone will play  
polyphonically (POLY) or monopho-  
nically (MONO).  
The following diagram shows the usable range of  
the D Beam controller. Waving your hand outside  
this range will produce no effect.  
MONO/POLY  
Assign  
PORTAMENTO  
HOLD  
Turn the Portamento on/off.  
Turn the Hold on/off.  
NOTE  
The usable range of the D Beam controller  
will become extremely small when used  
under strong direct sunlight. If it does not  
function as you expect, adjust the sensitivity as  
appropriate for the brightness of your location.  
➝“D Beam Sens”(p. 83)  
MFX1–2 SW  
CHORUS SW  
REVERB SW  
Switch the multi-effects 1–2 on/off.  
Switch the chorus on/off.  
Switch the reverb on/off.  
Transmit the MIDI message specified  
by the System setting “Sys Ctrl 1–4  
Source.”  
SYS CTRL 1–4 SRC  
LAYER 1–4 SW  
Turns the Layer Switch On/Off for the  
specified layer  
D Beam Controller Settings  
1. Hold.down.the.[SHIFT].button,.and.press.the.D.BEAM.button.  
([SOLO.SYNTH],.[EXPRESSION],.[ASSIGNABLE]).that.you.want.  
to.assign  
The way in which the [S1], [S2] buttons will operate when  
pressed.  
* Depending.on.the.Assign.setting,.this.may.not.be.  
available  
Type  
2. Use.the.cursor.[ ].[ ].buttons.to.select.a.parameter  
The on/off status will alternate each  
time you press the button.  
LATCH  
3. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.  
The assigned function will turn on  
while you press the button, and will  
turn off when you release it.  
desired.value  
MOMENTARY  
For details on the parameters and values that you can assign, refer to  
“System Menu [5] (D BEAM)”(p. 83).  
4. Press.the.[EXIT].button.to.return.to.the.previous.screen  
4. If.you.want.to.keep.your.settings,.press.the.[6].(WRITE).  
The [S1] [S2] settings are saved as live set settings. If you want to keep  
these settings, press the [WRITE] button to save them in the live set  
(p. 35).  
button  
Setting for the D Beam controller are saved for system settings.  
MEMO  
You can use the function buttons shown below the screen to move  
to other setting screens of the D Beam controller.  
5. Press.the.[EXIT].button.a.number.of.times.to.return.to.the.  
previous.screen  
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Knob  
Parameter Value Explanation  
Boosts the sound in the vicinity  
Pitch Bend/Modulation Lever  
of the cutoff frequency, adding a  
distinctive character to the sound.  
While holding down a key, moving the lever to the left will lower the  
pitch, and moving it to the right will raise the pitch. This is called “pitch  
bend.”  
.[RESONANCE]  
knob  
Resonance. -64–  
Off.set +63  
Turning the knob toward the right  
will strengthen this character, and  
turning the knob toward the left  
will weaken it.  
MEMO  
The Cutoff and Resonance effects apply only to the Synthesizer.  
They do not affect the sound of the Digital Recorder or the USB  
Memory Song Player.  
Pushing the lever away from yourself will apply vibrato. This is called  
“modulation.”  
Adding Reverberation ([REVERB] Knob)  
You can add reverb (reverberation) to the sounds that you play from  
the synthesizer.  
By adding reverb, you can recreate the pleasant acoustics that are  
typical of a performance in a concert hall or similar space.  
Pushing the lever away from yourself while moving it to the left or  
right will apply both effects simultaneously.  
Knob  
Parameter  
Value  
Explanation  
Adjusts the amount of reverb.  
Turning the knob toward the  
right will deepen the reverb, and  
turning it toward the left will  
decrease the reverb.  
MEMO  
.[REVERB].  
knob  
Reverb.Level  
0–127  
The pitch bend range can be specified separately for each layer.  
Refer to “Bend”(p. 36).  
MEMO  
[SOUND MODIFY] Knob  
The Reverb effects apply only to the Synthesizer. They do not affect  
the sound of the Digital Recorder or the USB Memory Song Player.  
You can use the SOUND MODIFY knobs to modify the sound in real  
time.  
Adjusting the Level of the Low, Middle and High  
Frequency Ranges (EQ [LOW]/[MID]/[HIGH] Knobs)  
Use the knobs to adjust the equalizer (EQ) that applies to the overall  
sound.  
Knob  
Parameter  
Value  
Explanation  
Adjusts the low range sound.  
Turning the knob toward the  
right will boost the low range  
sound, while turning it toward the  
left will attenuate the low range  
sound.  
.[LOW].  
knob  
-15–0–+15  
dB  
Low.Gain  
MEMO  
Adjusts the middle range sound.  
By holding down the [SHIFT] button and moving a knob, you can  
check the current value without modifying the setting.  
Turning the knob toward the  
right will boost the middle range  
sound, while turning it toward  
the left will attenuate the middle  
range sound.  
.[MID].  
knob  
-15–0–+15  
dB  
Mid.Gain  
NOTE  
Depending on the settings of the live set, turning a knob might not  
affect the sound in some cases.  
Adjusts the high range sound.  
Turning the knob toward the  
right will boost the high range  
sound, while turning it toward the  
left will attenuate the high range  
sound.  
.[HIGH].  
knob  
-15–0–+15  
dB  
Modifying the Tonal Character  
([CUTOFF]/[RESONANCE] Knobs)  
High.Gain  
You can use these knobs to adjust the filter that cuts or boosts specific  
frequency regions of the sound.  
MEMO  
• The equalizer applies not only to the Synthesizer but also to the  
sound of the Digital Recorder and the USB Memory Song Player.  
These affect the following parameters of the currently selected live set.  
Knob  
Parameter Value Explanation  
Adjusts the frequency (cutoff  
• You can use the System setting “[3] (MST EQ)”(p. 81) to make more  
detailed equalizer settings.  
frequency) at which the filter begins  
to be applied.  
.[CUTOFF]  
knob  
Cutoff..  
Off.set  
-64–  
+63  
Turning the equalizer on/off (EQ [ON/OFF] button)  
Turning the knob toward the right  
will brighten the sound, and turning  
it toward the left will darken the  
sound.  
You can use the EQ [ON/OFF] button to turn the equalizer on/off.  
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Using Pedals  
Performing with a Microphone  
(Vocoder)  
You can connect a hold pedal (sold separately: DP series) and an  
expression pedal (sold separately: EV-5) to the JUNO-Gi.  
If an optional hold pedal (DP series) is connected to the rear panel  
PEDAL HOLD jack, you can press the hold pedal to cause notes to  
sustain or “hold”even after their keys have been released.  
Connecting a microphone, and adjusting the  
Input level  
If an optional expression pedal or pedal switch (EV-5, DP series.) is  
connected to the rear panel PEDAL CONTROL jack (1, 2), you can use  
the pedal to control the volume or various functions.  
Connect your microphone and adjust the input level as described in  
“Connecting the Equipment to Record and Adjusting the Input Level”  
(p. 92).  
Holding Notes (HOLD Pedal)  
Using the Vocoder  
While playing the keyboard, press the hold pedal.  
The notes will be held while you are pressing the hold pedal.  
The JUNO-Gi uses MFX to simulate a vocoder.  
1. Select.“PRESET.621.VOCODER.Ens”.as.the.live.set  
For details on how to select a live set, refer to“Selecting Live Sets”(p. 22).  
2. While.you.play.the.keyboard,.vocalize.into.the.microphone  
NOTE  
The vocoder is applied to the sound from the microphone. There  
will be no sound if you only play the keyboard without vocalizing  
into the microphone.  
Adding Expression to Your Performance  
(CONTROL Pedal)  
MEMO  
While playing the keyboard, raise and lower the expression pedal.  
Even for live sets other than the one listed above, you can apply the  
vocoder effect by selecting “79: VOCODER”as the effect.  
Changing the Vocoder Settings  
1. Select.“PRESET.621.VOCODER.Ens”.as.the.live.set  
2. Press.the.[MENU].button  
3. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.  
“2 .Eff.ect.Edit,”.and.press.the.[ENTER].button  
CONTROL Pedal Settings  
4. Press.the.[2].(MFX).button  
You can assign various performance-related functions to a pedal that is  
connected to the rear panel PEDAL CONTROL jack.  
The MFX screen will appear. In this case, “79: VOCODER”will be  
selected for MFX.  
1. Press.the.[MENU].button  
5. Use.the.cursor.buttons.to.select.the.parameter.you.want.to.  
2. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.  
edit  
“4 .System,”.and.press.the.[ENTER].button  
6. Use.the.VALUE.dial.or.[DEC].[INC].to.edit.the.value  
The System Menu window will appear.  
3. Press.the.[2].(KBD/CTRL).button  
4. Press.the.[2].(PEDAL).button  
Parameter  
Mic.Sens  
Value  
0–127  
0–127  
Explanation  
Adjusts the input sensitivity of the microphone.  
Adjusts the input level of the instrument.  
Synth.Level  
5. Use.the.cursor.[ ].[ ].buttons.to.select.the.“Control.Pedal.  
Adjusts the amount of sound from the  
microphone added to the vocoder’s output.  
Mic.Mix  
Level  
0–127  
0–127  
Assign ”  
Adjusts the volume level of the sound that has  
passed through the vocoder.  
6. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.  
desired.value  
For details on the values that you can assign, refer to “Control Pedal  
Assign”(p. 81).  
If you want to keep the edited settings, save the live set as a user live  
set. For details, refer to “Saving a Live Set (WRITE)”(p. 35).  
7. If.you.want.to.keep.your.settings,.press.the.[6].(WRITE).  
button  
8. Press.the.[EXIT].button.a.number.of.times.to.return.to.the.  
previous.screen  
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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  
pre-programmed Chord Forms, just by pressing a single key on the  
keyboard.  
1. Press.the.[CHORD.MEMORY].button.so.it’s.lit .Alternatively,.  
hold.down.the.[SHIFT].button.and.press.the.[CHORD.  
MEMORY].button  
MEMO  
Performing with the Chord Memory  
By holding down the [SHIFT] button and pressing the [CHORD  
MEMORY] button, you can access the “CHORD MEMORY”screen  
without turning the Chord Memory function on/off.  
Function  
2. Use.the.cursor.buttons.to.move.the.cursor.to.the.item.that.  
1. Press.the..[CHORD.MEMORY].button.to.turn.it.on  
you.want.to.edit  
3. Use.the.VALUE.dial.or.[DEC].[INC].to.edit.the.value  
Item  
Value  
01–17  
C–B  
Explanation  
Selects the type of chord set assigned to the  
C–B keys.  
Chord.Form  
For details on the chord form, refer to “Chord  
Memory List”(p. 136).  
The button will light. The CHORD MEMORY screen will appear, allowing  
you to make chord memory settings.  
Chord.Key  
Changes the key of the chord.  
Rolled.Chord  
The notes in the chord will be sounded  
sequentially rather than simultaneously. The  
speed at which the notes are sounded will  
depend on the force with which you strike  
the keys; this lets you realistically simulate  
guitar-like playing methods simply by using  
the keyboard.  
ON  
Switch  
2. Play.the.keyboard  
OFF  
UP  
The notes will be sounded as a chord.  
A chord will sound according to the currently selected chord form.  
For details on the chord form, refer to “Chord Memory List”(p. 136).  
Notes will be sounded in order from bottom  
to top.  
Notes will be sounded in order from top to  
bottom.  
Type  
DOWN  
3. To.fi.nish.the.chord.Memory.Function,.press.the.[CHORD.  
MEMORY].button.again.to.turn.it.off.  
The order in which the notes are sounded will  
change each time you play the keyboard.  
ALTERNATE  
Destination  
Specifies the layer played by the chord memory.  
The Upper and Lower layers will be played by  
the chord memory.  
BOTH  
* If.Split.is.on,.the.Upper.layer.will.be.  
played.by.the.chord.memory  
Destination  
The Lower layer will be played by the chord  
memory.  
LOWER  
UPPER  
The Upper layer will be played by the chord  
memory.  
The chord memory settings (including ON/OFF setting) are saved as  
live set settings. If you want to keep these settings, press the [WRITE]  
button to save them in the live set (p. 35).  
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Playing Arpeggios (ARPEGGIO)  
Determining the Tempo for Arpeggio Performances  
About Arpeggio  
This sets the arpeggio tempo.  
1. Press.the..[TEMPO].button  
The TEMPO window will open.  
The JUNO-Gi’s Arpeggio function lets you produce arpeggios  
automatically; simply hold down some keys, and a corresponding  
arpeggio will be played automatically  
Playing by Using Arpeggios  
Turning Arpeggio On and Off  
1. Press.the..[ARPEGGIO].button.so.it’s.lit  
2. Use.either.of.the.following.methods.to.set.the.tempo  
• 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).  
• Use the VALUE dial or the [DEC] [INC] buttons to change the desired  
value.  
About tempo  
The Arpeggio function will turn on.  
The ARPEGGIO STYLE screen will appear.  
The JUNO-Gi uses two kinds of tempo: the “keyboard tempo”  
and the “recorder tempo.”The keyboard tempo is used for the  
synthesizer’s arpeggio etc, and the recorder tempo is the tempo  
of the digital recorder.  
MEMO  
• Use the cursor [ ] [ ] buttons to select the tempo that  
you want to change (Keyboard Tempo, Recorder Tempo).  
• If you press the [5] (LINK) button to assign a check mark (✔),  
the keyboard tempo will match the recorder tempo. This is  
convenient when you want to play arpeggios in time with  
the tempo of the recorder’s song.  
To exit the ARPEGGIO STYLE screen, press the [EXIT] button.  
2. Play.a.chord.on.the.keyboard  
The JUNO-Gi will play an arpeggio, according to the notes forming the  
chord you have just voiced.  
• If you use the USB memory song player to play back MIDI  
data (SMF) when the [5] (LINK) button is off, the keyboard  
tempo will be set to the tempo of the SMF data.  
3. To.fi.nish.playing.arpeggios,.press.the.[ARPEGGIO].button.  
again.so.it’s.distinguished  
• You can save the current keyboard tempo by pressing the  
[WRITE] button while the TEMPO window is displayed.  
Holding an Arpeggio  
* If.the.[5].(LINK).button.(Tempo.Link).is.on,.the.JUNO-Gi.  
cannot.synchronize.to.an.external.MIDI.device.(p .134)  
By using the following procedure, you can produce arpeggios even  
without continuing to press the keyboard.  
1. Press.the.[ARPEGGIO].button.so.it’s.lit  
The ARPEGGIO STYLE screen will appear.  
3. To.close.the.TEMPO.window,.press.the.[6].(CLOSE).button.or.  
2. Press.the.[1].(HOLD).button.to.add.a.check.mark.(✔)  
3. Play.a.chord.on.the.keyboard  
the.[EXIT].button  
4. If.you.play.a.diff.erent.chord.or.notes.while.the.arpeggio.is.  
Arpeggio Settings  
being.held,.the.arpeggio.will.change.accordingly  
1. Press.the.[ARPEGGIO].button.so.it’s.lit .Alternatively,.hold.  
5. To.cancel.Arpeggio.Hold,.press.the.[1].(HOLD).button.once.  
down.the.[SHIFT].button.and.press.the.[ARPEGGIO].button  
again  
The ARPEGGIO STYLE screen will appear.  
MEMO  
When Using a Hold Pedal  
By holding down the [SHIFT] button and pressing the [ARPEGGIO]  
button, you can access the ARPEGGIO STYLE screen without turning  
the arpeggio function on/off.  
If you play an arpeggio while pressing the hold pedal (p. 30), the  
arpeggio will continue to be played even if you release the chord.  
1. Connect.an.optional.pedal.switch.(DP.series.etc ).to.the.  
2. Use.the.cursor.[ ].[ ].buttons.to.select.a.parameter  
PEDAL.HOLD.jack  
3. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.  
2. Press.the.[ARPEGGIO].button.to.turn.on.the.arpeggio  
desired.value  
3. Play.a.chord.while.pressing.the.hold.pedal  
4. If.you.play.a.diff.erent.chord.or.notes.while.the.arpeggio.is.  
being.held,.the.arpeggio.will.change.accordingly  
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Parameter  
Style  
Value  
Explanation  
Parameter  
Value  
Specifies the layer played by the arpeggio.  
The Upper and Lower layers will be played by  
Explanation  
Specifies the basic way in which the arpeggio  
will be played.  
the arpeggio.  
MEMO  
BOTH  
P001–P128,  
U001–U064  
You can create your own original Arpeggio  
Style by importing SMF or phrase data into  
an arpeggio user style. For details, refer to  
“Importing SMF on Your Computer to an  
Arpeggio Style”(p. 33).  
Destination  
* If.Split.is.on,.the.Upper.layer.will.be.  
played.by.the.arpeggio  
LOWER  
UPPER  
The Lower layer will be played by the arpeggio.  
The Upper layer will be played by the arpeggio.  
The arpeggiator provides several variations  
(performance patterns) for each arpeggio style.  
This parameter selects the variation number.  
The number of variations will differ according  
to the arpeggio style.  
Variation  
1–  
Saving Arpeggio Settings (WRITE)  
The arpeggio settings (including ON/OFF setting) are saved as live set  
settings. If you want to keep these settings, press the [WRITE] button  
to save them in the live set  
Sets the order in which notes of the chord will sound.  
Notes you press will be sounded, beginning  
from low to high.  
UP  
(p. 35).  
Notes you press will be sounded, from high  
DOWN  
to low.  
Importing SMF on Your Computer to  
an Arpeggio Style  
Notes you press will be sounded, from low to  
UP&DOWN  
high, and then back down from high to low.  
Notes you press will be sounded, in random  
RANDOM  
order.  
You can create your own original Arpeggio Style (USER 01–64) by  
importing SMF on your computer.  
Notes you press will be sounded in the order  
in which you pressed them. By pressing  
NOTE_ORDER  
GLISSANDO  
the notes in the appropriate order you can  
produce melody lines. Up to 128 notes will be  
remembered.  
MEMO  
You’ll need a commercially available SD card reader in order to  
perform this procedure.  
Motif  
Each chromatic step between the highest and  
lowest notes you press will sound in succession,  
repeating upward and downward. Press only  
the lowest and the highest notes.  
1. Using.your.computer.and.a.commercially.available.SD.card.  
reader,.copy.your.Standard.MIDI.File.( MID).into.the.SD.card’s.  
“/ROLAND/IMPORT”.folder  
CHORD  
AUTO1  
All notes you press will sound simultaneously.  
2. Insert.the.SD.card.into.the.JUNO-Gi,.and.switch.on.the.  
The timing at which keys will sound will be  
assigned automatically, giving priority to the  
lowest key that was pressed.  
JUNO-Gi’s.power  
3. Press.the.[ARPEGGIO].button.so.it’s.lit  
The ARPEGGIO STYLE screen will appear.  
4. Press.the.[2].(IMPORT).button  
The timing at which keys will sound will be  
assigned automatically, giving priority to the  
highest key that was pressed.  
AUTO2  
Pressing a single key will sound the phrase  
based on the pitch of that key. If multiple keys  
are pressed, the last-pressed key will be valid.  
5. Turn.the.VALUE.dial.to.select.the.SMF.or.phrase.that.you.  
PHRASE  
want.to.import  
Specifies the loudness of the notes that you  
play. If you want the velocity value of each  
note to depend on how strongly you play the  
keyboard, set this parameter to “REAL.”If you  
want each note to have a fixed velocity regard-  
less of how strongly you play the keyboard, set  
this parameter to the desired value (1–127).  
MEMO  
• By pressing the [5] (PREVIEW) button you can audition the selected  
SMF or phrase.  
Velocity  
REAL, 1–127  
• If you decide not to import, press the [EXIT] button.  
6. Press.the.[6].(NEXT).button  
Sets the key range in octaves over which  
arpeggio will take place. If you want the  
arpeggio to sound using only the notes that  
you actually play, set this parameter to “0.”  
To have the arpeggio sound using the notes  
you play and notes 1 octave higher, set this  
parameter to “+1.”A setting of “-1”will make the  
arpeggio sound using the notes you play and  
notes 1 octave lower.  
7. Assign.a.name.to.the.Arpeggio.Style.that.you.want.to.  
import .After.you’ve.assigned.a.name,.press.the.[6].(NEXT).  
button  
Oct.Range  
-3–+3  
For details on how to enter a name, refer to ”Assigning a Name”(p. 19).  
8. Select.the.desired.STYLE.IMPORT.DESTINATION .Turn.the.  
VALUE.dial.to.make.your.choice  
Modifies the strength of accents and the length  
of the notes to adjust the “groove”feel of the  
arpeggio. A setting of “100%”will produce the  
most pronounced groove feel.  
9. Press.the.[6].(EXEC).button  
Accent  
0–100%  
0–100%  
A confirmation message will appear.  
10. Press.the.[5].(EXEC).button.to.execute  
To cancel, press the [6] (CANCEL) button.  
This setting lets you modify the note timing to  
create shuffle rhythms. With a setting of “50%”  
the notes will be spaced evenly. As the value is  
increased, the note timing will have more of a  
“dotted”(shuffle) feel.  
Shuffl..e.Rate  
The SMF or phrase will be imported into the arpeggio user style.  
MEMO  
This setting lets you modify the note timing to  
create shuffle rhythms. With a setting of “50%”  
the notes will be spaced evenly. As the value is  
increased, the note timing will have more of a  
“dotted”(shuffle) feel.  
Please note the following points regarding importing an arpeggio.  
Shuffl..e.  
Resolution  
• Only SMF Format 0 is supported. If the data is incorrect, the screen  
will indicate “Incorrect File!”  
16,  
8
• Only the note data will be imported from the original data into the  
arpeggio.  
• Up to 500 notes (note on/off) can be imported. If there are more  
than 500 notes, the screen will indicate “Too Much Data!”  
• A maximum of 64 files can be imported.  
33  
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Synthesizer 3 (Editing/Effects)  
Editing a Live Set (LIVE SET EDIT)  
If you want to create an original sound on the JUNO-Gi, you can edit a  
live set.  
For details on each screen, refer to the following pages.  
Screen  
Explanation  
Page  
p. 36  
p. 37  
p. 38  
On the JUNO-Gi, it’s not possible to edit or rewrite the tones  
themselves. However, you can select the tones that are played by a live  
set, and make relative adjustments (offsets) to the values of each tone.  
LIVE.SET.EDIT.1  
LIVE.SET.EDIT.2  
LIVE.SET.EDIT.3  
Layer settings 1  
Layer settings 2  
Settings for the entire live set  
The simplest way to create your own sound is to choose a live set that’s  
close to what you have in mind, and then try exchanging different  
tones to combine the sounds in different ways.  
Detailed settings for each tone assigned  
to the layers  
PRO.EDIT  
p. 39  
You can save the edited result in a user live set.  
Layer On/Off  
Basic Operations in the LIVE SET EDIT  
Screen  
Each layer’s on/off setting is indicated as shown below.  
ayer (highlighted means on)  
Displaying the LIVE SET EDIT screen  
1. Select.the.live.set.that.you.want.to.edit.(p .22)  
MEMO  
If you want to create a live set from scratch, initialize the live set as  
described in “Initializing a Live Set”(p. 35).  
5. You.can.turn.each.layer.on/off..by.holding.down.the.[SHIFT].  
2. Press.the.[MENU].button  
button.and.pressing.the.[1]–[4].buttons  
3. Use.the.VALUE.dial.or.cursor.buttons.to.select.“1 .Live.Set.  
Button  
Layer  
Edit,”.and.then.press.the.[ENTER].button  
[SHIFT]+[1]  
[SHIFT]+[2]  
[SHIFT]+[3]  
[SHIFT]+[4]  
U1 (Upper 1) On/Off  
U2 (Upper 2) On/Off  
L1 (Lower 1) On/Off  
L2 (Lower 2) On/Off  
The LIVE SET EDIT screen will appear.  
ayer (U indicates Upper, L indicates Lower)  
Entering a value  
6. Use.the.cursor.buttons.to.move.the.cursor.to.the.parameter.  
that.you.want.to.edit,.and.use.the.VALUE.dial.or.the.[DEC].  
[INC].buttons.to.change.the.value  
MEMO  
Use the cursor [ ] [ ] buttons to scroll the LIVE SET EDIT screen to  
left or right. If the screen shown in the illustration does not appear,  
continue pressing the cursor [ ] button until the screen appears.  
When you’ve finished editing  
7. When.you’ve.fi.nished.editing,.press.the.[EXIT].button  
Moving within the LIVE SET EDIT screen  
You will return to the LIVE SET PLAY screen.  
4. Use.the.following.buttons.to.move.within.the.LIVE.SET.EDIT.  
Saving  
screen  
Button  
Explanation  
If you return to the LIVE SET PLAY screen without saving your changes,  
an “*”is shown at the left side of the live set group.  
Move the cursor left/right. When the cursor reaches  
the edge of the screen, the screen will scroll to the  
left or right.  
Cursor.[ ].[  
[SHIFT]+[ ].[  
]
If you turn off the power or switch to a different live set while this “*”is  
displayed, the changes you made will be discarded. If you want to keep  
your changes, you must save the live set.  
Scroll the screen left/right.  
]
8. Press.the.[WRITE].button.and.proceed.as.described.in.  
Function.Buttons  
[1]–[5]  
Jump to the screen indicated by the button.  
“Saving.a.Live.Set.(WRITE)”.(p .35)  
Moves between pages in the order shown below.  
LIVE SET EDIT 1.g 2.g 3.g 1.g …  
[6].(PAGE.g).  
[5].(PRO.EDIT).  
Moves to the PRO EDIT screen.  
(LIVE.SET.EDIT.3.  
screen.only).  
LIVE.SET
PRO.EDIT  
34  
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Initializing a Live Set  
Copying/Exchanging Layers  
Here’s how to return (initialize) the settings of the currently selected  
live set to their default values.  
Here’s how to exchange the Upper and Lower layers, or to copy the  
Upper layer settings to the Lower layer.  
1. Select.the.live.set.that.you.want.to.edit  
NOTE  
Initialization will affect only the currently selected live set. If you want  
to return all settings to their factory-set state, execute the Factory  
Reset operation (p. 78).  
2. Press.the.[MENU].button  
3. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.“1 .Live.Set.  
Edit,”.and.then.press.the.[ENTER].button  
1. Select.the.user.live.set.that.you.want.to.initialize  
The LIVE SET EDIT screen will appear.  
2. Press.the.[MENU].button  
4. Hold.down.the.[SHIFT].button.and.press.the.[5].(COPY).  
3. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.  
button  
“1 .Live.Set.Edit,”.and.press.the.[ENTER].button  
5. Use.the.cursor.buttons.to.move.the.cursor,.and.use.the.  
VALUE.dial.or.the.[DEC].[INC].buttons.to.specify.the.copy-  
source.and.copy-destination.layers  
The LIVE SET EDIT screen will appear.  
4. Hold.down.the.[SHIFT].button.and.press.the.[6].(INIT).  
button  
Display  
Explanation  
A confirmation message will appear.  
Source.Layer  
Destination.Layer  
Copy-source layer  
Copy-destination layer  
5. Press.the.[5].(EXEC).button.to.initialize.the.live.set  
To cancel, press the [6] (CANCEL) button.  
If you press the [4] (EXCHG) button to add a check mark (3), the layers  
you specified as the source and destination layers will be exchanged.  
6. Press.the.[6].(EXEC).button  
A confirmation message will appear.  
7. Press.the.[5].(EXEC).button.to.exchange.the.layers  
To cancel, press the [6] (CANCEL) button.  
Saving a Live Set (WRITE)  
Changes you make are temporary, and will be lost when you turn off  
the power or select another live set. If you want to keep the live set you  
modified, you must save it to internal user memory.  
5. Press.the.[6].(WRITE).button  
A confirmation message will appear.  
6. Press.the.[5].(EXEC).button.to.save.the.live.set  
To cancel, press the [6] (CANCEL) button.  
When you edit the settings of a live set in Live set mode, an “*”will be  
shown in the LIVE SET PLAY screen.  
NOTE  
NOTE  
When you save, the data that previously occupied the save  
destination will be overwritten.  
Never turn off the power while data is being saved.  
1. Press.the..[WRITE].button  
The LIVE SET NAME screen will appear.  
2. Assign.a.name.to.the.live.set  
For details on how to enter a name, refer to ”Assigning a Name”(p. 19).  
3. When.you’ve.fi.nished.assigning.a.name,.press.the.[6].(NEXT).  
button  
A screen allowing you to select the save destination will appear.  
What the saved Live Set data contains  
• LIVE SET EDIT parameters (p. 36)  
• Chord Memory settings (p. 31)  
• Arpeggio settings (p. 32)  
4. Use.the.VALUE.dial,.the.[DEC].[INC].buttons,.or.the.cursor.  
[
] [ ].buttons.to.select.the.save.destination.live.set.  
number  
If you press the [4] (COMPR) button to apply a check mark (✔), you’ll be  
able to play the save-destination live set (Compare function).  
35  
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LIVE SET EDIT Parameter  
For details on how to edit in each screen, refer to “Basic Operations in  
the LIVE SET EDIT Screen”(p. 34).  
[4] (OUTPUT)  
Parameter  
Value  
Explanation  
LIVE SET EDIT 1 Screen  
Specifies for each layer how the direct sound will be output.  
• Chorus and reverb are output in mono at all times.  
• The output destination of the signal after passing through the  
chorus is set with the “Chorus Output”(p. 45) parameter.  
[1] (TONE)  
Output in stereo through multi-effects. You can  
Parameter  
Value  
Explanation  
Asgn  
MFX  
1–2  
also apply chorus or reverb to the sound that  
passes through multi-effects. Specify which  
multi-effects (1–2) will be used.  
(Output.Assign).  
Tone type of each layer  
(Output.MFX.  
Select).  
These are instruments such as piano or strings. All  
keys will play the sound of the same instrument.  
Type  
Tone  
Output in stereo to the OUTPUT jacks without  
passing through the multi-effect  
L+R  
L
(Tone.Type).  
These are instruments such as drum sets. Each key  
will play the sound of a different instrument.  
Rhythm  
Output in mono to the OUTPUT L jack without  
passing through the multi-effect  
Tone group of each layer  
Output in mono to the OUTPUT R jack without  
passing through the multi-effect  
R
PRST  
These are the tones unique to the JUNO-Gi.  
Group  
These are tones compatible with the GM2  
specification which was created as a common  
standard for MIDI devices across manufacturers  
and models.  
Output  
Level of the signal that is sent to the output  
destination specified by Asgn  
(Tone.Group).  
0–127  
0–127  
GM  
(Output.Level).  
Chorus  
Level of the signal sent to chorus for each layer  
Level of the signal sent to reverb for each layer  
(Chorus.Send.  
Level).  
Number  
001–  
Tone number of each layer  
(Tone.Number).  
Reverb  
0–127  
(Reverb.Send.  
Level).  
[2] (LV&PAN)  
Parameter  
Value  
Explanation  
[5] (KEYBORD)  
Volume of each layer. This setting’s main purpose  
is to adjust the volume balance between layer.  
Level  
0–127  
Level  
The layer sounded in the  
lower range  
The layer sounded in the  
upper range  
Pan  
L64–0–63R Left/right position of each layer  
Sw  
OFF,  
Layer on/off setting  
ON (✔)  
(Layer.Switch).  
Pitch  
This setting specifies the number of voices that  
will be reserved for each layer when more than  
128 voices are played simultaneously.  
* It.is.not.possible.for.the.settings.of.all.layers.  
to.total.an.amount.greater.than.64 .The.  
remaining.number.of.available.voices.will.  
be.displayed.at.(rest=) .Pay.attention.to.this.  
readout.as.you.make.Voice.Reserve.settings  
Voice  
Key Fade Upper  
Key Range Upper  
Key Fade Lower  
Key Range Lower  
0–63, FULL  
(Voice.Reserve).  
* The.JUNO-Gi.is.able.to.play.up.to.128.notes.  
simultaneously .The.polyphony,.or.the.  
number.of.voices.(sounds).does.not.refer.  
only.to.the.number.of.live.sets.actually.being.  
played,.but.changes.according.to.the.number.  
of.tones.used.in.the.live.sets,.and.the.number.  
of.waves.used.in.the.tones  
Parameter  
K L  
Value  
Explanation  
Specifies the lowest note that the layer will sound  
for each layer.  
C-–(Upper)  
(Key.Range.  
Lower).  
K U  
(Lower)–  
G9  
Specifies the highest note that the layer will sound  
for each layer.  
(Key.Range.  
Upper).  
[3] (PITCH)  
Determines what will happen to the layer’s level  
when a note that’s lower than Key Range Lower is  
played. If you don’t want the layer to sound at all,  
set this parameter to "0."  
F L  
Parameter  
Value  
Explanation  
0–127  
0–127  
(Key.Fade.  
Lower).  
Pitch of the layer’s sound (in 1-octave units)  
* Note.that.when.a.rhythm.set.is.assigned.  
to.a.layer,.you.cannot.modify.this.  
parameter  
Octave  
-3–+3  
Determines what will happen to the layer’s level  
when a note that’s higher than Key Range Upper is  
played. If you don’t want the layer to sound at all,  
set this parameter to "0."  
F U  
(Octave.Shift).  
(Key.Fade.  
Upper).  
Coarse  
Pitch of the layer’s sound  
(in semitones, +/-4 octaves)  
-48–+48  
-50–+50  
(Coarse.Tune).  
Fine  
Pitch of the layer’s sound  
(in 1-cent steps; one cent is 1/100th of a semitone)  
(Fine.Tune).  
Amount of pitch change in semitones (2 octaves)  
that will occur when the Pitch Bend Lever is  
moved. The amount of change when the lever  
is tilted is set to the same value for both left and  
right sides.  
0–24  
Bend  
(Pitch.Bend.  
Range).  
The bend range setting specified by the tone will  
be used.  
TONE  
36  
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Parameter  
F U  
Value  
Explanation  
LIVE SET EDIT 2 Screen  
Determines what will happen to the tone’s  
level when the tone is played at a velocity  
greater than Velo Range Upper. If you  
don’t want the tone to sound at all, set this  
parameter to "0."  
0–127  
(Velocity.Fade.  
Upper).  
[1] (OFFSET)  
The values set here are applied to the parameters of the tones of the  
various layers, and are used in correcting the tone.  
[4] (KEY MOD)  
Parameter  
Value  
Explanation  
Cutoff  
-64–  
+63  
Cutoff frequency  
Parameter  
Value  
Explanation  
(Cutoff.Offset).  
The tone assigned to the layer will sound only  
one note at a time.  
Reso  
-64–  
+63  
Resonance  
MONO  
(Resonance.Offset).  
* Unavailable.for.a.layer.to.which.a.rhythm.  
set.is.assigned  
Attack  
-64–  
+63  
TVA/TVF Envelope Attack Time  
TVA/TVF Envelope Release Time  
TVA/TVF Envelope Decay Time  
Mono/Poly  
(Attack.Time.Offset).  
Chords can be played on the tone assigned to  
the layer.  
POLY  
TONE  
Releas  
-64–  
+63  
The mono/poly setting of the tone assigned to  
the layer will be used.  
(Release.Time.Offset).  
Decay  
-64–  
+63  
Legato refers to playing smoothly without a perceptible  
break between notes. This produces an effect similar to the  
hammering-on/pulling-off technique of a guitarist.  
(Decay.Time.Offset).  
* Unavailable.for.a.layer.to.which.a.rhythm.set.is.assigned  
Legato  
[2] (VIBRATO)  
OFF  
Legato will not be applied to the layer.  
(Legato.Switch).  
Legato will be applied to the layer when you  
play single notes.  
ON  
Parameter  
Value  
Explanation  
Vib.Rate  
-64–  
+63  
The legato setting of the tone assigned to the  
layer will be used.  
For each layer, adjust the vibrato speed  
TONE  
(Vibrato.Rate).  
Depth  
OFF  
ON  
Portamento will not be applied.  
Portamento will be applied.  
-64–  
+63  
For each layer, this adjusts the depth of the  
vibrato effect  
Portamento  
(Vibrato.Depth).  
(Portamento.  
Switch).  
Delay  
-64–  
+63  
For each layer, this adjusts the time delay until  
the vibrato  
The portamento switch setting of the tone  
assigned to the layer will be used.  
TONE  
0–127  
TONE  
(Vibrato.Delay).  
Time over which the pitch change will occur  
when using portamento  
Time  
[3] (VELOCITY)  
(Portamento.Time).  
The portamento time setting of the tone  
assigned to the layer will be used.  
The layer sounded when you play  
The layer sounded when you play  
strongly  
Level  
softly  
[5] (RX FLTR)  
Velocity  
Here you can specify whether specific MIDI messages will (On) or will  
not (Off) be received by each layer.  
Velocity Fade Upper  
Velocity Range Upper  
Velocity Fade Lower  
Parameter  
Value  
Explanation  
Velocity Range Lower  
Bd.(Receive.Bender).  
PA.(Receive.Poly.Key.Press).  
CA.(Receive.Channel.Press).  
Md.(Receive.Modulation:.CC01).  
Ex.(Receive.Expression:.CC11).  
Hd.(Receive.Hold-1:.CC64).  
Parameter  
Sns  
Value  
Explanation  
Adjusts the velocity sensitivity. The higher the  
value, the greater the sensitivity.  
-63–+63  
(Velocity.Sens.  
Offset).  
Turn reception  
on/off for  
specific MIDI  
messages on  
each MIDI  
Velocity curve for each layer  
Selects for each layer one of the four following  
Velocity Curve types that best matches the  
touch of the keyboard. Set this to “OFF”if you  
are using the keyboard’s own velocity curve.  
OFF, ON (✔)  
Br.(Receive.Breath.Type:.CC02).  
Ft.(Receive.Foot.Type:.CC04).  
Po.(Receive.Portamento:.CC05,.CC65).  
Fl.(Receive.Filter.Offset:.CC71,.CC74).  
Ev.(Receive.Envelope.Offset:.CC72,.CC73,.CC75)  
Ef.(Receive.Effect.Send:.CC91,.CC93)  
Crv  
channel  
OFF,  
1–4  
(Velocity.Curve.  
Type).  
1
2
3
4
V L  
Specifies the lowest velocity at which the layer  
will sound.  
1–(Upper)  
(Velocity.Range.  
Lower).  
V U  
(Lower)  
–127  
Specifies the highest velocity at which the layer  
will sound.  
(Velocity.Range.  
Upper).  
Determines what will happen to the tone’s  
level when the tone is played at a velocity  
lower than Velo Range Lower. If you don’t want  
the tone to sound at all, set this parameter  
to "0."  
F L  
0–127  
(Velocity.Fade.  
Lower).  
37  
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Parameter  
Value  
Explanation  
LIVE SET EDIT 3 Screen  
Assignable.Switch  
The function assigned to the [S1], [S2] buttons  
Shift the pitch of the keyboard upward  
[1] (COMMON)  
TRANSPOSE UP  
in semitone steps (a maximum of six  
semitones).  
Parameter  
Value  
Explanation  
Shift the pitch of the keyboard down-  
ward in semitone steps (a maximum of  
five semitones).  
LiveSet.Category  
LiveSet.Tempo  
Common.Level  
Type (category) of the live set  
TRANSPOSE  
DOWN  
20–250  
0–127  
Tempo of the live set  
Adjusts the volume of the entire live set.  
Used to set the keyboard tempo to the  
interval at which you press the button.  
TAP TEMPO  
Adjusts the cutoff frequency of the entire live  
set.  
Specify whether the tone will play  
polyphonically (POLY) or monophoni-  
cally (MONO).  
Common.Cutoff.  
offset  
-64–+63  
-64–+63  
MONO/POLY  
You can use the SOUND MODIFY [CUTOFF] knob  
to control this (p. 29).  
Switch.1/Switch.2.  
Assign  
PORTAMENTO  
HOLD  
Turn the Portamento on/off.  
Turn the Hold on/off.  
Adjusts the resonance of the entire live set.  
Common.  
Resonance.offset  
You can use the SOUND MODIFY [CUTOFF] knob  
to control this (p. 29).  
MFX1, 2 SW  
CHORUS SW  
REVERB SW  
Switch the multi-effects 1–2 on/off.  
Switch the chorus on/off.  
Switch the reverb on/off.  
Set to “ON”when you want to suppress  
discrepancies in timing of parts played on the  
same MIDI channel.  
* When.this.parameter.is.set.to.“ON,”.  
parts.on.the.same.MIDI.channel.are.  
put.in.a.condition.in.which.their.  
timing.is.matched,.enabling.them.  
to.be.played.at.the.same.time .  
Accordingly,.a.certain.amount.of.time.  
may.elapse.between.reception.of.the.  
Note.messages.and.playing.of.the.  
sounds .Turn.this.setting.to.“ON”.only.  
as.needed  
Transmit the MIDI message specified by  
the System setting “Sys Ctrl 1–4 Source.”  
SYS CTRL 1–4 SRC  
LAYER 1 SW (U1)  
LAYER 2 SW (U2)  
LAYER 3 SW (L1)  
LAYER 4 SW (L2)  
Phase.Lock  
OFF, ON  
Turns the Layer Switch On/Off for the  
specified layer  
The way in which the [S1], [S2] buttons will operate when  
pressed.  
* Depending.on.the.Assign.setting,.this.may.not.be.  
available  
Type of phrase played back when you press the [PREVIEW]  
button  
Switch.1/Switch.  
2.Type  
The on/off status will alternate each time  
you press the button.  
LATCH  
* Valid.only.if.the.System.setting.“Preview.Mode”.(p .  
80).is.set.to.“PHRASE ”  
The assigned function will turn on while  
you press the button, and will turn off  
when you release it.  
Preview.Type  
MOMENTARY  
SINGLE  
RHYTHM  
MULTI  
A single phrase for Upper and Lower  
A phrase for a rhythm set  
Different phrases for Upper and Lower  
Phrase that is played back when you press the [PREVIEW]  
button  
Preview.Phrase  
Preview.Octave  
-3–+3  
Pitch of the preview phrase (in octave steps)  
[2] (CONTROL)  
Parameter  
Split.Setting  
Split.Switch  
Split.Point  
Value  
Explanation  
OFF, ON  
Specifies the Split setting (p. 26).  
Specifies the Split Point (p. 26).  
OFF, C#-–G9  
Specifies the layer played by the arpeggio.  
The Upper layer will be played by the  
arpeggio.  
UPPER  
LOWER  
Arpeggio.  
Destination  
The Lower layer will be played by the  
arpeggio.  
The Upper and Lower layers will be  
played by the arpeggio.  
BOTH  
* If.Split.is.on,.the.Upper.layer.  
will.be.played.by.the.arpeggio  
Tone.Control.Source  
Selects the MIDI message used as the tone Control.  
OFF  
The tone control will not be used.  
Controller numbers 1–31, 33–95  
Tone.Ctrl.1–4.  
Source  
CC01–31, 33–95  
PITCH BEND  
Pitch Bend  
Aftertouch  
AFTERTOUCH  
38  
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Parameter  
Value  
Explanation  
PRO EDIT Screen  
The tone begins to play after the time specified  
in the Tone Delay Time parameter has elapsed.  
NORM  
Although the tone begins to play after the time  
specified in the Tone Delay Time parameter has  
elapsed, if the key is released before the time  
specified in the Tone Delay Time parameter has  
elapsed, the tone is not played.  
Basic operations in the Pro Edit screen  
HOLD  
Basic operations in the Pro Edit screen are the same as described in “Basic Operations in  
the LIVE SET EDIT Screen”(p. 34), but the function buttons operate as follows.  
Rather than being played while the key is  
pressed, the tone begins to play once the  
period of time specified in the Tone Delay  
Time parameter has elapsed after release of  
the key. This is effective in situations such as  
when simulating noises from guitars and other  
instruments.  
OFFN  
* If.you.have.selected.a.waveform.that.is.  
a.decay-type.sound.(i e ,.a.sound.that.  
fades.away.naturally.even.if.the.key.  
is.not.released),.selecting.“OFFN”.may.  
result.in.no.sound.being.heard  
Button  
Explanation  
.Delay.Mode  
Lists the edit groups. Use the VALUE dial or the  
cursor [ ] [ ] buttons to select a group, and  
press the [ENTER] button to confirm.  
[1].(GRP.LIST).  
Rather than being played while the key is  
pressed, the tone begins to play once the  
period of time specified in the Tone Delay Time  
parameter has elapsed after release of the key.  
Here, however, changes in the TVA Envelope  
begin while the key is pressed, which in many  
cases means that only the sound from the  
release portion of the envelope is heard.  
[2].(GRP.).  
[3].(GRP.).  
[6].(EXIT).  
Moves to the preceding edit group.  
Moves to the next edit group.  
Moves to the LIVE SET EDIT 3 screen.  
MEMO  
OFFD  
By holding down the [SHIFT] button and pressing the cursor [ ] button, you can  
select the same parameter for multiple layers and set them simultaneously.  
* If.you.have.selected.a.waveform.that.is.  
a.decay-type.sound.(i e ,.a.sound.that.  
fades.away.naturally.even.if.the.key.is.  
not.released),.selecting.“OFFD”.may.  
result.in.no.sound.being.heard  
1. GENERAL  
Parameter  
Value  
Explanation  
The setting of the tone assigned to the layer will  
be used.  
TONE  
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  
Delay Mode parameter is set to “OFFN”or “OFFD,”  
the time from when the key is released) until  
when the tone will sound  
0–1200  
If you do not want the pitch to change randomly,  
set this to “0.”  
0–127  
.Rand.Pitch.Depth  
The setting of the tone assigned to the layer will  
be used.  
TONE  
OFF  
.Delay.Time  
Specify this as a note value if you want to  
synchronize the delay to the tempo of the  
JUNO-Gi.  
Note  
When one key is held down and another key is  
then pressed, only the pitch changes, without  
the attack of the latter key being played. Set  
this to “OFF”when performing wind and string  
phrases or when using modulation with the  
mono synth keyboard sound.  
The setting of the tone assigned to the layer will  
be used.  
TONE  
Portamento Start: PITCH  
Portamento Start: NOTE  
Pitch  
Pitch  
.Legato.Retrigger  
Normally you will leave this parameter “ON.”  
C5  
C5  
* Legato.Retrigger.is.valid.when.the.  
Mono/Poly.is.set.to.“MONO”.and.the.  
Legato.Switch.is.set.to.“ON ”  
ON  
D4  
C4  
D4  
C4  
The setting of the tone assigned to the layer will  
be used.  
TONE  
NORM  
LEGT  
Time  
Time  
press D4 key  
press C5 key  
press C4 key  
press D4 key  
press C5 key  
press C4 key  
Portamento will always be applied.  
Portamento will be applied only when you play  
legato.  
.Portamento.  
Mode  
The setting of the tone assigned to the layer will  
be used.  
TONE  
RATE  
Speed of pitch change is uniform (the time  
required for the pitch change will correspond to  
the distance of the pitch change)  
2. PITCH ENV  
Parameter  
Value  
Explanation  
.Portamento.Type  
.Portamento.Start  
The time it takes will be constant, regardless of  
how far apart in pitch the notes are.  
TIME  
Keyboard playing dynamics can be used to  
control the depth of the pitch envelope.  
The setting of the tone assigned to the layer will  
be used.  
TONE  
.P-Env.V-Sens  
-64–+63  
If you want the pitch envelope to have more ef-  
fect for strongly played notes, set this parameter  
to a positive (+) value.  
Starts a new portamento when another key is  
pressed while the pitch is changing.  
PICH  
This allows keyboard dynamics to affect the T1 of  
the Pitch envelope.  
Portamento will begin anew from the pitch  
where the current change would end.  
NOTE  
TONE  
.P-Env.T1.V-Sens  
-64–+63  
If you want T1 to be speeded up for strongly  
played notes, set this parameter to a positive  
(+) value.  
The setting of the tone assigned to the layer will  
be used.  
39  
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Parameter  
Value  
Explanation  
3. TVF PARAMETER  
Use this parameter when you want key release  
speed to affect the T4 value of the Pitch  
envelope.  
Parameter  
Value  
Explanation  
P-Env.T4.V-Sens  
-64–+63  
OFF  
No filter is used.  
If you want T4 to be speeded up for quickly  
released notes, set this parameter to a positive  
(+) value.  
Low Pass Filter.  
This reduces the volume of all frequencies above  
the Cutoff Frequency in order to round off, or  
un-brighten the sound.  
LPF  
BPF  
Use this setting if you want the pitch envelope  
times (T2–T4) to be affected by the keyboard  
location.  
P-Env.Time.KF  
(Time.Keyfollow).  
Band Pass Filter.  
-64–+63  
This leaves only the frequencies in the region of  
the Cutoff Frequency, and cuts the rest. This can  
be useful when creating distinctive sounds.  
Based on the pitch envelope times for the C4  
key, positive (+) settings will cause notes higher  
than C4 to have increasingly shorter times.  
High Pass Filter.  
Depth of the Pitch envelope  
This cuts the frequencies in the region below  
the Cutoff Frequency. This is suitable for creating  
percussive sounds emphasizing their higher  
tones.  
Higher settings will cause the pitch envelope to  
produce greater change. Negative (-) settings  
will invert the shape of the envelope.  
P-Env.Depth  
-12–+12  
-64–+63  
HPF  
PKG  
P-Env.Time1.[A]  
P-Env.Time2  
Peaking Filter.  
Pitch envelope times (T1–T4)  
This emphasizes the frequencies in the region of  
the Cutoff Frequency. You can use this to create  
wah-wah effects by employing an LFO to change  
the Cutoff Frequency cyclically.  
Higher settings will result in a longer time until  
the next pitch is reached.  
P-Env.Time3.[D]  
P-Env.Time4.[R]  
P-Env.Level0  
P-Env.Level1  
P-Env.Level2  
P-Env.Level3.[S]  
P-Env.Level4  
Filter.Type  
Low Pass Filter 2.  
Although frequency components above the  
Cutoff Frequency are cut, the sensitivity of this  
filter is half that of the LPF. This filter is good for  
use with simulated instrument sounds such as  
the acoustic piano.  
Pitch envelope levels (L0–L4)  
Specify how the pitch will change at each point,  
relative to the pitch set with Coarse Tune or Fine  
Tune.  
-64–+63  
LPF2  
* If.you.set.“LPF2”.the.setting.for.the.  
Resonance.parameter.will.be.ignored  
Time Keyfollow  
Time  
Low Pass Filter 3.  
Although frequency components above the  
Cutoff Frequency are cut, the sensitivity of  
this filter changes according to the Cutoff  
Frequency. While this filter is also good for use  
with simulated acoustic instrument sounds, the  
nuance it exhibits differs from that of the LPF2,  
even with the same TVF Envelope settings.  
-100  
-50  
LPF3  
0
* If.you.set.“LPF3,”.the.setting.for.the.  
Resonance.parameter.will.be.ignored  
+50  
The setting of the tone assigned to the layer will  
be used.  
TONE  
+100  
Frequency at which the filter begins to have an  
effect on the waveform’s frequency components  
Key  
Cutoff.Frequency -63–+63  
C1  
C2  
C3  
C4  
C5  
C6  
C7  
Emphasizes the portion of the sound in the  
region of the cutoff frequency, adding character  
to the sound  
Resonance  
-64–+63  
Pitch Envelope  
Excessively high settings can produce oscillation,  
causing the sound to distort.  
T1  
T2  
T3  
T4  
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), positive (+) settings will cause the  
cutoff frequency to rise for notes higher than C4.  
Larger settings will produce greater change.  
Pitch  
L0  
Time  
L1  
L3  
Curve that determines how keyboard  
playing dynamics (velocity) will affect the cutoff  
frequency  
Note on  
Note off  
L2  
L4  
Set this to “FIX”if you don’t want the Cutoff  
frequency to be affected by the keyboard  
velocity.  
FIX,  
1–7, TONE  
Cutoff.V-Curve  
1
2
3
4
5
6
7
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Parameter  
Value  
Explanation  
4. TVF ENVELOPE  
Use this parameter when changing the cutoff  
frequency to be applied as a result of changes in  
playing velocity.  
Parameter  
Value  
Explanation  
Cutoff.V-Sens  
-64–+63  
Depth of the TVF envelope  
If you want strongly played notes to raise the  
cutoff frequency, set this parameter to positive  
(+) settings.  
Higher settings will cause the TVF envelope to  
produce greater change. Negative (-) settings  
will invert the shape of the envelope.  
F-Env.Depth  
-63–+63  
This allows keyboard velocity to modify the  
amount of Resonance.  
Use this setting if you want the TVF envelope  
times (T2–T4) to be affected by the keyboard  
location.  
Resonance.  
V-Sens  
-64–+63  
If you want strongly played notes to have a  
greater Resonance effect, set this parameter to  
positive (+) settings.  
F-Env.Time.KF  
(Time.Keyfollow).  
-100–+100  
Based on the TVF envelope times for the C4 key  
(center C), positive (+) settings will cause notes  
higher than C4 to have increasingly shorter  
times.  
Curve that determines how keyboard playing  
dynamics (velocity) will affect the TVF envelope  
Set this to “FIX”if you don’t want the TVF  
Envelope to be affected by the keyboard  
velocity.  
F-Env.Time1.[A]  
F-Env.Time2  
TVF envelope times (T1–T4)  
-64–+63  
-64–+63  
Higher settings will lengthen the time until the  
next cutoff frequency level is reached.  
F-Env.Time3.[D]  
F-Env.Time4.[R]  
F-Env.Level0  
FIX,  
1–7, TONE  
F-Env.V-Curve  
1
2
3
4
TVF envelope levels (L0–L4)  
F-Env.Level1  
Specify how the cutoff frequency will change  
at each point, relative to the Cutoff Frequency  
value.  
F-Env.Level2  
F-Env.Level3.[S]  
F-Env.Level4  
5
6
7
Specifies how keyboard playing dynamics will  
affect the depth of the TVF envelope.  
F-Env.V-Sens  
-63–+63  
-63–+63  
Time Keyfollow  
Time  
Positive (+) settings will cause the TVF envelope  
to have a greater effect for strongly played notes.  
-100  
-50  
This allows keyboard dynamics to affect the T1 of  
the TVF envelope.  
F-Env.T1.V-Sens  
If you want T1 to be speeded up for strongly  
played notes, set this parameter to a positive  
(+) value.  
0
Use this parameter when you want key release  
speed to affect the T4 value of the TVF envelope.  
+50  
F-Env.T4.V-Sens  
-63–+63  
If you want T4 to be speeded up for quickly  
released notes, set this parameter to a positive  
(+) value.  
+100  
Key  
C1  
C2  
C3  
C4  
C5  
C6  
C7  
Resonance  
LPF  
BPF  
HPF  
PKG  
Level  
High  
TVF.Envelope  
Frequency  
Cutoff frequency  
T1  
T2  
T3  
T4  
Cutoff  
Frequency  
L0  
Time  
L2  
L3  
L4  
L1  
Note on  
Note off  
Low  
Cutoꢀ Keyfollow  
Cutoff frequency  
(Octave)  
+200  
+100  
+50  
0
+2  
+1  
o
-1  
-2  
-50  
-200  
C6  
-100  
C7  
Key  
C1  
C2  
C3  
C4  
C5  
41  
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5. TVA PARAMETER  
6. TVA ENVELOPE  
Parameter  
Value  
Explanation  
Parameter  
Value  
Explanation  
Curve that determines how keyboard playing  
dynamics (velocity) will affect the volume  
This allows keyboard dynamics to affect the T1  
of the TVA envelope.  
A-Env.T1.V-Sens  
-63–+63  
Set this to “FIX”if you don’t want the volume of  
the tone to be affected by the keyboard velocity.  
If you want Time 1 to be speeded up for strongly  
played notes, set this parameter to a positive  
(+) value.  
Use this parameter when you want key release  
speed to affect the T4 value of the TVA envelope.  
FIX,  
1–7, TONE  
Level.V-Curve  
A-Env.T4.V-Sens  
-63–+63  
If you want T4 to be speeded up for quickly  
released notes, set this parameter to a positive  
(+) value.  
1
2
3
4
Use this setting if you want the TVA envelope  
times (T2–T4) to be affected by the keyboard  
location.  
5
6
7
A-Env.Time.KF  
(Time.Keyfollow).  
Based on the TVA envelope times for the C4 key  
(center C), positive (+) settings will cause notes  
higher than C4 to have increasingly shorter  
times. Larger settings will produce greater  
change.  
Set this when you want the volume of the tone  
to change depending on keyboard playing  
dynamics  
-100–+100  
Set this to a positive (+) value to have the  
changes in tone volume increase the more  
forcefully the keys are played; to make the tone  
play more softly as you play harder, set this to a  
negative (-) value.  
Level.V-Sens  
Bias  
-63–+63  
A-Env.Time1.[A]  
A-Env.Time2  
TVA envelope times (T1–T4)  
-64–+63  
-64–+63  
Higher settings will lengthen the time until the  
next volume level is reached.  
A-Env.Time3.[D]  
A-Env.Time4.[R]  
A-Env.Level1  
Bias causes the volume to be affected by the keyboard position. This is useful  
for changing volume through keyboard position (pitch) when playing acoustic  
instruments.  
TVA envelope levels (L1–L3)  
A-Env.Level2  
Specify how the volume will change at each  
point, relative to the Tone Level value.  
Angle of the volume change that will occur in  
the selected Bias Direction  
A-Env.Level3.[S]  
-100–  
+100,  
TONE  
Bias.Level  
Larger settings will produce greater change.  
Negative (-) values will invert the change  
direction.  
Time Keyfollow  
Time  
-100  
-50  
C-–G9,  
TONE  
Key relative to which the volume will be  
modified  
Bias.Position  
Direction in which change will occur starting  
from the Bias Position  
The volume will be modified for the keyboard  
area below the Bias Point.  
LWR  
UPR  
L&U  
ALL  
0
The volume will be modified for the keyboard  
area above the Bias Point.  
+50  
Bias.Direction  
The volume will be modified symmetrically  
toward the left and right of the Bias Point.  
+100  
Key  
C1  
C2  
C3  
C4  
C5  
C6  
C7  
The volume changes linearly with the bias point  
at the center.  
The setting of the tone assigned to the layer will  
be used.  
TONE  
TVA.Envelope  
T1 T2  
T3  
T4  
LWR  
Level  
UPR  
Level  
+
+
0
–
0
–
Key  
Key  
C-1  
G9  
C-1  
G9  
Bias Position  
Bias Position  
Level  
Time  
L3  
L2  
L1  
Note on  
Note off  
L&U  
Level  
ALL  
Level  
–
0
+
+
0
–
+
0
–
0
–
+
Key  
Key  
C-1  
G9  
C-1  
G9  
Bias Position  
Bias Position  
42  
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7. LFO1/8. LFO2  
Parameter  
Value  
Explanation  
0–127  
Modulation speed of the LFO  
If you want the LFO rate to be synchronized  
with the tempo, this should be set in terms of a  
note value.  
Note  
Rate  
The setting of the tone assigned to the layer will  
be used.  
TONE  
OFF, ON  
TONE  
Specifies whether the LFO cycle will be  
synchronized to begin when the key is pressed  
(ON) or not (OFF).  
Key.Trigger  
The setting of the tone assigned to the layer will  
be used.  
How deeply the LFO will affect pitch  
OFF,  
-63–+63  
Pitch.Depth  
TVF.Depth  
If you choose the OFF setting, the tone’s value  
will be set to 0.  
How deeply the LFO will affect the cutoff  
frequency  
OFF,  
-63–+63  
If you choose the OFF setting, the tone’s value  
will be set to 0.  
How deeply the LFO will affect the volume  
OFF,  
-63–+63  
TVA.Depth  
Pan.Depth  
If you choose the OFF setting, the tone’s value  
will be set to 0.  
How deeply the LFO will affect the pan  
OFF,  
-63–+63  
If you choose the OFF setting, the tone’s value  
will be set to 0.  
43  
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Applying Effects (EFFECT EDIT)  
You can apply two multi-effects (MFX1, MFX2), one chorus, and one  
reverb to each live set. The two multi-effects can not only be used  
individually but also as a combination of multi-effects.  
Making Effect Settings  
1. Select.the.live.set.to.which.you.want.to.apply.eff.ects  
2. Press.the.[MENU].button  
Turning Effects On/Off (Effect Switch)  
3. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.  
The JUNO-Gi’s onboard effects can be switched on/off as a whole.  
Turn these OFF when you want to listen to the unprocessed sound as  
you create a sound, or if you want to use an external effects processor  
instead of the built-in effects.  
“2 .Eff.ect.Edit,”.and.press.the.[ENTER].button  
The EFFECT ROUTING screen will appear.  
MEMO  
You can turn each layer on/off by holding down the [SHIFT] button  
and pressing the [1]–[4] buttons.  
NOTE  
The effect on/off settings cannot be saved.  
4. Press.the.[2].(MFX)–[4].(REVERB).button.to.select.the.eff.ect.  
1. Press.the.[MENU].button  
for.which.you.want.to.make.settings  
2. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.  
Button  
Explanation  
Page  
“2 .Eff.ect.Edit,”.and.press.the.[ENTER].button  
Overall effect-related settings, such as  
the output destination and level of each p. 45  
signal.  
The EFFECT ROUTING screen will appear.  
3. Press.the.[6].(SWITCH).button  
The EFFECT SWITCH window will appear.  
[1].(ROUTING).  
[2].(MFX).  
Multi-effect settings  
Chorus settings  
p. 48  
p. 76  
[3].(CHORUS).  
[4].(REVERB).  
Reverb settings  
p. 77  
5. With.the.cursor.located.at.the.top.line.of.the.screen,.use.the.  
VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.desired.  
eff.ect.type  
4. Press.the.[1].(MFX.1).Button–[4].(REVERB).buttons.to.turn.  
(Example of MFX1 screen)  
each.eff.ect.on/off.  
The effect will turn on/off each time you press the button.  
5. To.close.the.setting.window,.press.the.[6].(CLOSE).button.or.  
the.[EXIT].button  
You will return to the EFFECT ROUTING screen.  
6. Use.the.cursor.buttons.to.move.the.cursor.to.the.parameter.  
that.you.want.to.edit  
7. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.edit.the.  
value  
8. When.you’ve.fi.nished.editing,.press.the.[EXIT].button.a.  
number.of.times.to.return.to.the.LIVE.SET.PLAY.screen  
Saving your effect settings  
Changes you make to the live set’s effect settings will be lost when  
you select another live set. If you want to keep the changes, press the  
[WRITE] button to save your live set settings as a User Live Set (p. 35).  
44  
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Num-  
ber  
Parameter  
Value  
Explanation  
Signal Flow and Parameters  
(EFFECT ROUTING)  
Type of reverb  
0 (OFF)  
Reverb will not be used  
Basic reverb  
Here you can make overall settings for effects, such as the output  
destination and level of the various signals.  
1 (REVERB)  
Reverb that simulates the reverbera-  
tion of a room  
2 (SRV ROOM)  
3 (SRV HALL)  
13  
Reverb.Type.  
7
9
4
1
2
Reverb that simulates the reverbera-  
tion of a hall  
12  
13  
10  
11  
5
14  
15  
Simulation of a plate echo (a reverb  
device that uses a metal plate)  
4 (SRV PLATE)  
5 (GM2 REV)  
3
8
6
GM2 reverb  
Output destination of the sound that has been  
processed by the chorus  
The parameters listed below in 7, 9–11 can be edited for each of the  
three multi-effects (MFX1–MFX2).  
MAIN  
REV  
Output in stereo to the OUTPUT jacks  
Output in mono to reverb  
.Chorus.Output  
14  
15  
Num-  
ber  
Parameter  
Value  
Explanation  
Output in stereo to the OUTPUT jacks  
and in mono to the reverb  
M+R  
UPPER 1,  
UPPER 2,  
LOWER 1,  
LOWER 2  
Volume of the sound that has been  
processed by the chorus  
Chorus.Level  
Reverb.Level  
0–127  
0–127  
1
Layer.Select  
The layer for which to make settings  
Volume of the sound that has been  
processed by the reverb  
Specifies how the unprocessed sound of each layer will  
be output  
Output in stereo via the multi-effect.  
Chorus and reverb can also be applied  
after the multi-effect.  
MFX  
L+R  
L
Output in stereo from the OUTPUT  
jacks without passing through the  
multi-effect  
Layer.Output.  
Assign  
2
Output in mono from the OUTPUT  
L jack without passing through the  
multi-effect  
Output in mono from the OUTPUT  
R jack without passing through the  
multi-effect  
R
Multi-effect used by the layer (choose  
one of MFX 1, 2)  
3
MFX.Select  
1–2  
Layer.Output.  
Level  
Level of signal sent to the destination  
specified by Layer Output Assign  
4
5
6
0–127  
0–127  
0–127  
Layer.Chorus.  
Send.Level  
Level of signal sent from each layer to  
the chorus  
Layer.Reverb.  
Send.Level  
Level of signal sent from each layer to  
the reverb  
Type of multi-effect to use (choose  
one of 79 types)  
7
MFX.Type  
0–79  
For details on each multi-effect, refer  
to “Multi-Effects Parameters (MFX1,  
2)”(p. 48).  
8
9
MFX.Structure  
1–3  
How MFX 1, 2 will be combined (p. 46)  
MFX.Output.  
Level  
Volume of the sound that has been  
processed by the multi-effect  
0–127  
Amount of chorus applied to the  
sound that has been processed by the  
multi-effect  
MFX.Chorus.  
Send.Level  
10  
11  
0–127  
0–127  
Amount of reverb applied to the  
sound that has been processed by the  
multi-effect  
MFX.Reverb.  
Send.Level  
Type of chorus  
0 (OFF)  
Chorus/delay will not be used  
12  
Chorus.Type  
1 (CHORUS)  
2 (DELAY)  
Chorus  
Delay  
3 (GM2 CHO)  
GM2 chorus  
45  
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Parameter  
Value  
Explanation  
Multi-Effect Settings (MFX1, 2)  
Specifies the MIDI message that will control the corresponding  
MFX control parameter.  
From the EFFECT ROUTING screen (p. 45), press the [2] (MFX) button to  
access the MFX screen.  
OFF  
MFX will not be used.  
Controller number 1–31  
Controller number 33–95  
Pitch bend  
Source  
(1–4).  
CC01–31  
CC33–95  
PITCH BEND  
AFTERTOUCH  
(Control.  
Source).  
Aftertouch  
Use the controller that is assigned by the  
System setting Sys Ctrl 1–4 Source (p. 82).  
SYS CTRL1–4  
Selects the multi-effect parameter that will  
be controlled by control source 1–4.  
Use the cursor buttons to move the cursor to the parameter that you  
want to edit, and use the VALUE dial or the [DEC] [INC] buttons to  
choose the desired value.  
Destination.  
(1–4)  
Refer to  
“Multi-  
Effects Parameters  
(MFX1, 2)”(p. 48)  
The type of parameters that can be selected  
will depend on the type of multi-effect  
you’ve selected in MFX Type.  
(Control.  
Destination).  
Parameter  
Value  
Explanation  
Specifies the depth of multi-effect control.  
Specify a positive (+) value if you want to  
change the value of the assigned destina-  
tion in a positive direction (larger, toward  
the right, faster, etc.), or specify a negative  
value (-) if you want to change the value in  
a negative direction (smaller, toward the  
left, slower, etc.). Larger values will allow a  
greater amount of control.  
Selects the type of multi-effect used  
by MFX.  
00: THRU–  
79: VOCODER  
.(MFX.Type).  
Sens  
(1–4).  
Choose “00: THRU”if you don’t want to  
apply a multi-effect.  
-63–+63  
(Control.  
Sensitivity).  
Parameters.for.  
each.MFX.type  
Edit the parameters of the MFX type you’ve selected. Refer to  
“Multi-Effects Parameters (MFX1, 2)”(p. 48).  
Controlling a Multi-Effect via MIDI  
(MFX1, 2 CTRL)  
Specifying How Multi-Effects are Combined  
(MFX STRUCTURE)  
In the MFX screen, press the [4] (CTRL 1) button or the [5] (CTRL 2)  
button, the MFX CTRL screen will appear.  
Here you can specify how MFX 1, 2 will be combined.  
In the MFX screen or MFX CTRL screen, press the [3] (STRUCT) button  
to access the MFX STRUCTURE screen.  
Use the cursor buttons to move the cursor to the parameter you want  
to edit, and use the VALUE dial or the [DEC] [INC] buttons to specify the  
value.  
Use the cursor buttons to move the cursor to the parameter that you  
want to edit, and use the VALUE dial or the [DEC] [INC] buttons to set  
the value.  
Multi-Effect Control  
In order to control the multi-effect’s volume or delay time from an  
external MIDI device, you would normally need to transmit system  
exclusive messages (MIDI messages that are specific to the JUNO-Gi).  
However, system exclusive messages are more complex to set up, and  
require a larger amount of data to be transmitted.  
Parameter  
Value  
Explanation  
Specifies how MFX 1, 2 will be  
combined  
MFX.Structure  
TYPE01–TYPE03  
00: THRU–  
79: VOCODER  
Specifies the multi-effect type for each  
MFX 1, 2  
MFX1,.2  
For this reason, the JUNO-Gi allows you to use control changes  
and other common MIDI messages to control the most important  
multi-effect parameters.  
For example, you might use the pitch bend lever to control the degree  
of distortion, or use keyboard touch to change the delay time. The  
parameters that can be controlled in this way are predetermined for  
each type of multi-effect; such parameters are indicated by a “#”in the  
parameter lists in “Multi-Effects Parameters (MFX1, 2)”(p. 48). “Multi-  
effect control”is the capability of using MIDI messages in this way to  
control multi-effect parameters in real time. You can specify up to four  
multi-effect control assignments for each MFX 1, 2.  
In order to use multi-effect control, you’ll need to specify which MIDI  
message (Source) will control which parameter (Destination) by what  
amount (Sens).  
46  
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Chorus Settings (CHORUS)  
Reverb Settings (REVERB)  
From the EFFECT ROUTING screen (p. 45), press the [3] (CHORUS) button  
to access the CHORUS screen.  
From the EFFECT ROUTING screen (p. 45), press the [4] (REVERB) button  
to access the REVERB screen.  
Use the cursor buttons to move the cursor to the parameter that you  
want to edit, and use the VALUE dial or the [DEC] [INC] buttons to set  
the value.  
Use the cursor buttons to move the cursor to the parameter that you  
want to edit, and use the VALUE dial or the [DEC] [INC] buttons to set  
the value.  
Parameter  
Value  
Explanation  
Parameter  
Value  
Explanation  
Selects the type of chorus.  
Selects the type of reverb.  
00: OFF–  
03: GM2 CHORUS  
00: OFF–  
05: GM2 REVERB  
(Chorus.Type).  
(Reverb.Type).  
Choose “00: OFF”if you don’t want  
to apply chorus.  
Choose “00: OFF”if you don’t  
want to apply reverb.  
Set the parameters of the selected chorus type.  
Refer to “Chorus Parameters”(p. 76).  
Set the parameters of the selected reverb type.  
Refer to “Reverb Parameters”(p. 77).  
Parameters.for.  
each.chorus.type  
Parameters.for.  
each.reverb.type  
47  
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Effects Parameters  
46  
47  
48  
49  
50  
51  
52  
53  
54  
55  
MODULATION DELAY  
3TAP PAN DELAY  
4TAP PAN DELAY  
MULTI TAP DELAY  
REVERSE DELAY  
SHUFFLE DELAY  
3D DELAY  
p. 64  
p. 65  
p. 65  
p. 65  
p. 66  
p. 66  
p. 66  
p. 67  
p. 67  
p. 68  
Multi-Effects Parameters (MFX1, 2)  
The multi-effects feature 79 different kinds of effects. Some of the  
effects consist of two or more different effects connected in series.  
Parameters marked with a sharp “#”can be controlled using a Multi-  
Effects Control (p. 46) (Two setting items will change simultaneously for  
“#1”and “#2”).  
FILTER.(10.types)  
TIME CTRL DELAY  
LONG TIME CTRL DELAY  
TAPE ECHO  
01  
02  
03  
04  
05  
06  
07  
08  
09  
10  
EQUALIZER  
p. 50  
p. 50  
p. 50  
p. 50  
p. 51  
p. 51  
p. 51  
p. 52  
p. 52  
p. 52  
SPECTRUM  
ISOLATOR  
LO-FI.(5.types)  
LOW BOOST  
SUPER FILTER  
STEP FILTER  
ENHANCER  
56  
57  
58  
59  
60  
LOFI NOISE  
p. 68  
p. 69  
p. 69  
p. 69  
p. 69  
LOFI COMPRESS  
LOFI RADIO  
TELEPHONE  
AUTO WAH  
PHONOGRAPH  
HUMANIZER  
SPEAKER SIMULATOR  
PITCH.(3.types)  
61  
62  
63  
PITCH SHIFTER  
p. 69  
p. 70  
p. 70  
MODULATION.(12.types)  
2VOICE PITCH SHIFTER  
STEP PITCH SHIFTER  
11  
12  
13  
14  
15  
16  
17  
18  
19  
20  
21  
22  
PHASER  
p. 53  
p. 53  
p. 53  
p. 54  
p. 54  
p. 54  
p. 54  
p. 55  
p. 55  
p. 55  
p. 56  
p. 56  
STEP PHASER  
MULTI STAGE PHASER  
INFINITE PHASER  
RING MODULATOR  
STEP RING MODULATOR  
TREMOLO  
REVERB.(2.types)  
64  
65  
REVERB  
p. 71  
p. 71  
GATED REVERB  
COMBINATION.(12.types)  
66  
67  
68  
69  
70  
71  
72  
73  
74  
75  
76  
77  
OVERDRIVE g CHORUS  
OVERDRIVE g FLANGER  
OVERDRIVE g DELAY  
DISTORTION g CHORUS  
DISTORTION g FLANGER  
DISTORTION g DELAY  
ENHANCER g CHORUS  
ENHANCER g FLANGER  
ENHANCER g DELAY  
CHORUS g DELAY  
p. 71  
p. 72  
p. 72  
p. 72  
p. 72  
p. 72  
p. 73  
p. 73  
p. 73  
p. 73  
p. 74  
p. 74  
AUTO PAN  
STEP PAN  
SLICER  
ROTARY  
VK ROTARY  
CHORUS.(12.types)  
23  
24  
25  
26  
27  
28  
29  
30  
31  
32  
33  
34  
CHORUS  
p. 56  
p. 57  
p. 57  
p. 58  
p. 58  
p. 58  
p. 59  
p. 59  
p. 59  
p. 60  
p. 60  
p. 60  
FLANGER  
STEP FLANGER  
HEXA-CHORUS  
TREMOLO CHORUS  
SPACE-D  
FLANGER g DELAY  
CHORUS g FLANGER  
PIANO.(1.type)  
78  
SYMPATHETIC RESONANCE  
p. 75  
p. 75  
3D CHORUS  
VOCODER.(1.type).  
3D FLANGER  
79  
VOCODER  
3D STEP FLANGER  
2BAND CHORUS  
2BAND FLANGER  
2BAND STEP FLANGER  
DYNAMICS.(8.types)  
35  
36  
37  
38  
39  
40  
41  
42  
OVERDRIVE  
p. 61  
p. 61  
p. 61  
p. 61  
p. 62  
p. 62  
p. 63  
p. 63  
DISTORTION  
VS OVERDRIVE  
VS DISTORTION  
GUITAR AMP SIMULATOR  
COMPRESSOR  
LIMITER  
GATE  
DELAY.(13.types)  
43  
44  
45  
DELAY  
p. 63  
p. 64  
p. 64  
LONG DELAY  
SERIAL DELAY  
48  
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About Note  
When Using 3D Effects  
Some effect parameters (such as Rate or Delay Time) can be set in  
terms of a note value. Such parameters have a num/note switch that  
lets you specify whether you will set the value as a numerical value  
or as a note value. If you want to set Rate (Delay Time) as a numerical  
value, set the num/ note switch to “Hz”(“msec”). If you want to set it as  
a note value, set the num/note switch to “NOTE.”  
The following 3D effects utilize RSS (Roland Sound Space) technology  
to create a spaciousness that cannot be produced by delay, reverb,  
chorus, etc.  
52: 3D DELAY  
29: 3D CHORUS  
30: 3D FLANGER  
31: 3D STEP FLANGER  
num/note switch  
When using these effects, we recommend that you place your speakers  
as follows. Also, make sure that the speakers are at a sufficient distance  
from the walls on either side.  
* If.the.Rate.is.specifi.ed.as.a.note.value,.the.modulation.will.be.  
synchronized.with.the.keyboard.tempo  
30˚ 30˚  
note:  
Sixty-fourth-note  
triplet  
Sixty-fourth  
note  
Thirty-second-  
note triplet  
Thirty-second  
note  
Sixteenth-note  
triplet  
Dotted thirty-  
second note  
Sixteenth note  
Eighth-note  
triplet  
Dotted sixteenth  
note  
Quarter note  
Eighth note  
Quarter-note  
triplet  
Dotted quarter  
note  
Dotted eighth  
note  
Half note  
If the left and right speakers are too far alayer, or if there is too much  
reverberation, the full 3D effect may not appear. Each of these effects  
has an “Output Mode”parameter. If the sound from the OUTPUT jacks  
is to be heard through speakers, set this parameter to “SPEAKER.”If the  
sound is to be heard through headphones, set it to “PHONES.”This will  
ensure that the optimal 3D effect will be heard. If this parameter is not  
set correctly, the full 3D effect may not appear.  
Half-note triplet  
Dotted half note  
Whole-note  
triplet  
Whole note  
Double-note  
triplet  
Dotted whole  
note  
Double note  
NOTE  
• If a parameter whose num/note switch is set to “NOTE”is specified  
as a destination for multi-effect control, you will not be able to use  
multi-effect control to control that parameter.  
About the STEP RESET function  
06: STEP FILTER  
• If you specify the delay time as a note value, slowing down the  
tempo will not change the delay time beyond a certain length. This  
is because there is an upper limit for the delay time; if the delay  
time is specified as a note value and you slow down the tempo  
until this upper limit is reached, the delay time cannot change any  
further. This upper limit is the maximum value that can be specified  
when setting the delay time as a numerical value.  
16: STEP RING MODULATOR  
19: STEP PAN  
20: SLICER  
63: STEP PITCH SHIFTER  
The above five types contain a sixteen-step sequencer. For these types,  
you can use a multi-effect control (p. 46) to reset the sequence to play  
from the first step. To do this, set the multi-effect control Destination to  
“Step Reset.”  
For example if you are using the modulation lever to control the effect,  
you would make the following settings.  
Parameter  
Source  
Value  
CC01: MODULATION  
Step Reset  
+63  
Destination  
Sens  
With these settings, the sequence will play back from the first step  
whenever you operate the modulation lever.  
49  
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01: EQUALIZER  
03: ISOLATOR  
This is a four-band stereo equalizer (low, mid x 2, high).  
This is an equalizer which cuts the volume greatly, allowing you to add a special effect  
to the sound by cutting the volume in varying ranges.  
L in  
L out  
R out  
4-Band EQ  
L in  
L out  
Isolator  
Isolator  
Low Boost  
R in  
4-Band EQ  
R in  
R out  
Low Boost  
Parameter  
Value  
Explanation  
Parameter  
Value  
Explanation  
Low.Freq  
200, 400 Hz  
-15–+15 dB  
200–8000 Hz  
-15–+15 dB  
Frequency of the low range  
Gain of the low range  
These boost and cut each of the  
High, Middle, and Low frequency  
ranges.  
Boost/Cut.Low.#  
Boost/Cut.Mid.#  
Boost/Cut.High.#  
Low.Gain.#  
Mid1.Freq  
Mid1.Gain  
Frequency of the middle range 1  
Gain of the middle range 1  
Width of the middle range 1  
-60–+4 dB  
OFF, ON  
At -60 dB, the sound becomes  
inaudible. 0 dB is equivalent to  
the input level of the sound.  
Mid1.Q  
0.5, 1.0, 2.0, 4.0, 8.0  
Set a higher value for Q to  
narrow the range to be affected.  
Turns the Anti-Phase function  
on and off for the Low frequency  
ranges.  
Mid2.Freq  
Mid2.Gain  
200–8000 Hz  
-15–+15 dB  
Frequency of the middle range 2  
Gain of the middle range 2  
Width of the middle range 2  
Anti.Phase.Low.Sw  
When turned on, the counter-  
channel of stereo sound is  
inverted and added to the signal.  
Mid2.Q  
0.5, 1.0, 2.0, 4.0, 8.0  
Set a higher value for Q to  
narrow the range to be affected.  
Adjusts the level settings for the  
Low frequency ranges.  
High.Freq  
High.Gain.#  
Level.#  
2000, 4000, 8000 Hz  
-15–+15 dB  
0–127  
Frequency of the high range  
Gain of the high range  
Output Level  
Adjusting this level for certain  
frequencies allows you to lend  
emphasis to specific parts.  
(This is effective only for stereo  
source.)  
Anti.Phase.Low.Level 0–127  
Settings of the Anti-Phase func-  
tion for the Middle frequency  
ranges The parameters are the  
same as for the Low frequency  
ranges.  
Anti.Phase.Mid.Sw  
OFF, ON  
0–127  
02: SPECTRUM  
This is a stereo spectrum. Spectrum is a type of filter which modifies the timbre by  
boosting or cutting the level at specific frequencies.  
Anti.Phase.Mid.Level  
Turns Low Booster on/off.  
L in  
L out  
Spectrum  
Low.Boost.Sw  
OFF, ON  
This emphasizes the bottom to  
create a heavy bass sound.  
Increasing this value gives you a  
heavier low end.  
R in  
R out  
Spectrum  
Low.Boost.Level  
Level  
0–127  
0–127  
* Depending.on.the.Isolator.  
and.filter.settings.this.effect.  
may.be.hard.to.distinguish  
Parameter  
Value  
Explanation  
Band1.(250.Hz).  
Band2.(500.Hz).  
Band3.(1000.Hz).  
Band4.(1250.Hz).  
Band5.(2000.Hz).  
Band6.(3150.Hz).  
Band7.(4000.Hz).  
Band8.(8000.Hz).  
Output Level  
04: LOW BOOST  
-15–+15 dB  
Gain of each frequency band  
Boosts the volume of the lower range, creating powerful lows.  
L in  
L out  
Low Boost  
Low Boost  
2-Band EQ  
2-Band EQ  
R in  
R out  
Simultaneously adjusts the width  
of the adjusted ranges for all the  
frequency bands.  
Q
0.5, 1.0, 2.0, 4.0, 8.0  
0–127  
Parameter  
Value  
Explanation  
Level.#  
Output Level  
Boost..  
Frequency.#  
Center frequency at which the  
lower range will be boosted  
50–125 Hz  
Amount by which the lower  
range will be boosted  
Boost.Gain.#  
Boost.Width  
0–+12 dB  
Width of the lower range that will  
be boosted  
WIDE, MID, NARROW  
Low.Gain  
High.Gain  
Level  
-15–+15 dB  
-15–+15 dB  
0–127  
Gain of the low frequency range  
Gain of the high frequency range  
Output level  
50  
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05: SUPER FILTER  
06: STEP FILTER  
This is a filter with an extremely sharp slope. The cutoff frequency can be varied  
cyclically.  
This is a filter whose cutoff frequency can be modulated in steps. You can specify the  
pattern by which the cutoff frequency will change.  
L in  
L out  
R out  
L in  
L out  
R out  
Super Filter  
Super Filter  
Step Filter  
Step Filter  
R in  
R in  
Parameter  
Value  
Explanation  
Parameter  
Value  
Explanation  
Filter type  
Step.01-16  
Rate.#  
0–127  
Cutoff frequency at each step  
Rate of modulation  
Frequency range that will pass through each filter  
0.05–10.00 Hz, note  
LPF  
Frequencies below the cutoff  
Speed at which the cutoff  
frequency changes between  
steps  
Attack.#  
0–127  
Frequencies in the region of the  
cutoff  
Filter.Type  
BPF  
Filter type  
HPF  
Frequencies above the cutoff  
Frequency range that will pass through each filter  
Frequencies other than the  
region of the cutoff  
NOTCH  
LPF  
Frequencies below the cutoff  
Amount of attenuation per octave  
Frequencies in the region of the  
cutoff  
Filter.Type  
BPF  
-12 dB  
-24 dB  
-36 dB  
Gentle  
Filter.Slope  
HPF  
Frequencies above the cutoff  
Steep  
Frequencies other than the  
region of the cutoff  
Extremely steep  
Cutoff frequency of the filter  
NOTCH  
Amount of attenuation per octave  
Filter.Cutoff.#  
0–127  
0–127  
Increasing this value will raise the  
cutoff frequency.  
-12 dB  
-24 dB  
-36 dB  
Gentle  
Filter.Slope  
Steep  
Filter resonance level  
Filter..  
Resonance.#  
Extremely steep  
Filter resonance level  
Increasing this value will  
emphasize the region near the  
cutoff frequency.  
Filter..  
Resonance.#  
Increasing this value will  
emphasize the region near the  
cutoff frequency.  
0–127  
Amount of boost for the filter  
output  
Filter.Gain  
0–+12 dB  
OFF, ON  
Modulation.Sw  
On/off switch for cyclic change  
Amount of boost for the filter  
output  
Filter.Gain  
Level  
0–+12 dB  
0–127  
How the cutoff frequency will be modulated  
Output level  
TRI  
Triangle wave  
SQR  
SIN  
Square wave  
MEMO  
Sine wave  
You can use multi-effect control to make the step sequence play again from  
the beginning (p. 46).  
SAW1  
SAW2  
Sawtooth wave (upward)  
Sawtooth wave (downward)  
Modulation.Wave  
07: ENHANCER  
SAW1  
SAW2  
Controls the overtone structure of the high frequencies, adding sparkle and tightness  
to the sound.  
2-Band  
Rate.#  
Depth  
0.05–10.00 Hz, note  
0–127  
Rate of modulation  
Depth of modulation  
L in  
L out  
R out  
Enhancer  
Enhancer  
EQ  
Mix  
Mix  
Speed at which the cutoff  
frequency will change  
2-Band  
EQ  
R in  
Attack.#  
Level  
0–127  
0–127  
This is effective if Modulation  
Wave is SQR, SAW1, or SAW2.  
Parameter  
Value  
Explanation  
Output level  
Sens.#  
Mix.#  
0–127  
0–127  
Sensitivity of the enhancer  
Level of the overtones generated  
by the enhancer  
Low.Gain  
High.Gain  
Level  
-15–+15 dB  
-15–+15 dB  
0–127  
Gain of the low range  
Gain of the high range  
Output Level  
51  
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Parameter  
Manual.#  
Value  
Explanation  
08: AUTO WAH  
Point at which Vowel 1/2 switch  
Cyclically controls a filter to create cyclic change in timbre.  
Vowel 1 will have a longer  
duration.  
0–49  
50  
L in  
L out  
Auto Wah  
2-Band EQ  
Vowel 1 and 2 will be of equal  
duration.  
Vowel 2 will have a longer  
duration.  
51–100  
R in  
R out  
Auto Wah  
2-Band EQ  
Low.Gain  
High.Gain  
Pan.#  
-15–+15 dB  
-15–+15 dB  
L64–63R  
0–127  
Gain of the low frequency range  
Gain of the high frequency range  
Stereo location of the output  
Output level  
Parameter  
Value  
Explanation  
Type of filter  
The wah effect will be applied  
over a wide frequency range.  
LPF  
Level  
Filter.Type  
The wah effect will be applied  
over a narrow frequency range.  
BPF  
10: SPEAKER SIMULATOR  
Adjusts the center frequency at  
which the effect is applied.  
Manual.#  
Peak  
0–127  
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  
of the center frequency.  
L in  
L out  
Speaker  
0–127  
Set a higher value for Q to  
narrow the range to be affected.  
R in  
R out  
Speaker  
Adjusts the sensitivity with which  
the filter is controlled.  
Sens.#  
0–127  
Parameter  
Value  
Explanation  
Sets the direction in which the frequency will change  
when the auto-wah filter is modulated.  
Speaker.Type  
(See the table right.)  
Type of speaker  
The filter will change toward a  
higher frequency.  
Adjusts the location of the  
microphone that is recording the  
sound of the speaker.  
Polarity  
UP  
The filter will change toward a  
lower frequency.  
DOWN  
Mic.Setting  
1, 2, 3  
This can be adjusted in three  
steps, with the microphone  
becoming more distant in the  
order of 1, 2, and 3.  
Rate.#  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
Depth.#  
Mic.Level.#  
Direct.Level.#  
Level.#  
0–127  
0–127  
0–127  
Volume of the microphone  
Volume of the direct sound  
Output Level  
Adjusts the degree of phase shift  
of the left and right sounds when  
the wah effect is applied.  
Phase.#  
0–180 deg  
Low.Gain  
High.Gain  
Level  
-15–+15 dB  
-15–+15 dB  
0–127  
Gain of the low range  
Gain of the high range  
Output Level  
Specifications of each Speaker Type  
The speaker column indicates the diameter of each speaker unit (in inches) and the  
number of units.  
Type  
Cabinet  
Speaker  
10  
Microphone  
Dynamic  
09: HUMANIZER  
SMALL.1  
Small open-back enclosure  
Small open-back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Sealed enclosure  
Adds a vowel character to the sound, making it similar to a human voice.  
SMALL.2  
10  
Dynamic  
L in  
L out  
MIDDLE  
12 x 1  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 4  
12 x 4  
12 x 4  
12 x 4  
12 x 4  
Dynamic  
Pan L  
2-Band  
EQ  
Overdrive  
Formant  
JC-120  
Dynamic  
Pan R  
BUILT-IN.1  
BUILT-IN.2  
BUILT-IN.3  
BUILT-IN.4  
BUILT-IN.5  
BG.STACK.1  
BG.STACK.2  
MS.STACK.1  
MS.STACK.2  
METAL.STACK  
2-STACK  
Dynamic  
R in  
R out  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Parameter  
Value  
Explanation  
Drive.Sw  
OFF, ON  
Turns Drive on/off.  
Degree of distortion  
Drive.#  
0–127  
Also changes the volume.  
Vowel1  
Vowel2  
a, e, i, o, u  
a, e, i, o, u  
Large sealed enclosure  
Large sealed enclosure  
Large sealed enclosure  
Large double stack  
Large double stack  
Large triple stack  
Selects the vowel.  
Frequency at which the two  
vowels switch  
Rate.#  
0.05–10.00 Hz, note  
0–127  
Depth.#  
Effect depth  
LFO reset on/off  
3-STACK  
Determines whether the LFO  
for switching the vowels is reset  
by the input signal (ON) or not  
(OFF).  
Input.Sync.Sw  
OFF, ON  
Volume level at which reset is  
applied  
Input.Sync.Threshold 0–127  
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Parameter  
Polarity  
Value  
Explanation  
11: PHASER  
Selects whether the left and right phase of the modulation  
will be the same or the opposite.  
This is a stereo phaser. A phase-shifted sound is added to the original sound and  
modulated.  
The left and right phase will be  
opposite. When using a mono  
source, this spreads the sound.  
INVERSE  
2-Band  
L in  
L out  
R out  
Phaser  
The left and right phase will  
be the same. Select this when  
inputting a stereo source.  
EQ  
Mix  
Mix  
SYNCHRO  
0–127  
Resonance.#  
Amount of feedback  
2-Band  
EQ  
Phaser  
R in  
Adjusts the proportion of the  
phaser sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
Cross..  
Feedback  
-98–+98%  
Parameter  
Value  
Explanation  
Rate of the step-wise change in  
the phaser effect  
Step.Rate.#  
0.10–20.00 Hz, note  
4-STAGE,  
8-STAGE,  
12-STAGE  
Mode  
Number of stages in the phaser  
Mix.#  
0–127  
Level of the phase-shifted sound  
Gain of the low range  
Gain of the high range  
Output Level  
Low.Gain  
High.Gain  
Level  
-15–+15 dB  
-15–+15 dB  
0–127  
Adjusts the basic frequency  
from which the sound will be  
modulated.  
Manual.#  
0–127  
Rate.#  
Depth  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
Selects whether the left and right phase of the modulation  
will be the same or the opposite.  
13: MULTI STAGE PHASER  
Extremely high settings of the phase difference produce a deep phaser effect.  
The left and right phase will be  
INVERSE  
opposite. When using a mono  
source, this spreads the sound.  
L in  
Polarity  
L out  
Pan L  
Multi Stage  
Phaser  
2-Band  
EQ  
The left and right phase will  
be the same. Select this when  
inputting a stereo source.  
SYNCHRO  
0–127  
Mix  
Pan R  
R in  
R out  
Resonance  
Resonance.#  
Amount of feedback  
Adjusts the proportion of the  
phaser sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
Parameter  
Value  
Explanation  
Cross..  
Feedback  
-98–+98%  
4-STAGE, 8-STAGE,  
12-STAGE, 16-STAGE,  
20-STAGE, 24-STAGE  
Mode  
Number of phaser stages  
Mix.#  
0–127  
Level of the phase-shifted sound  
Gain of the low range  
Gain of the high range  
Output Level  
Adjusts the basic frequency  
from which the sound will be  
modulated.  
Low.Gain  
High.Gain  
Level  
-15–+15 dB  
-15–+15 dB  
0–127  
Manual.#  
0–127  
Rate.#  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
Depth  
Resonance.#  
Mix.#  
0–127  
Amount of feedback  
12: STEP PHASER  
0–127  
Level of the phase-shifted sound  
This is a stereo phaser. The phaser effect will be varied gradually.  
Stereo location of the output  
sound  
Pan.#  
L64–63R  
Low.Gain  
High.Gain  
Level  
-15–+15 dB  
-15–+15 dB  
0–127  
Gain of the low range  
Gain of the high range  
Output Level  
2-Band  
L in  
L out  
R out  
Step Phaser  
EQ  
Mix  
Mix  
2-Band  
EQ  
Step Phaser  
R in  
Parameter  
Value  
Explanation  
4-STAGE,  
8-STAGE,  
12-STAGE  
Mode  
Number of stages in the phaser  
Adjusts the basic frequency  
from which the sound will be  
modulated.  
Manual.#  
0–127  
Rate.#  
Depth  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
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14: INFINITE PHASER  
16: STEP RING MODULATOR  
A phaser that continues raising/lowering the frequency at which the sound is  
modulated.  
This is a ring modulator that uses a 16-step sequence to vary the frequency at which  
modulation is applied.  
L in  
L out  
Pan L  
L in  
L out  
Step Ring Mod  
Step Ring Mod  
2-Band EQ  
2-Band EQ  
Infinite Phaser  
2-Band EQ  
Pan R  
R out  
R in  
R in  
R out  
Parameter  
Value  
Explanation  
Parameter  
Value  
Explanation  
Higher values will produce a  
deeper phaser effect.  
Frequency of ring modulation at  
each step  
Mode  
1, 2, 3, 4  
Step.01-16  
Rate.#  
0–127  
Speed at which to raise or  
lower the frequency at which the  
sound is modulated (+: upward /  
-: downward)  
Rate at which the 16-step  
sequence will cycle  
0.05–10.00 Hz, note  
0–127  
Speed.#  
-100–+100  
Speed at which the modulation  
frequency changes between  
steps  
Attack.#  
Resonance.#  
Mix.#  
0–127  
Amount of feedback  
Volume of the phase-shifted  
sound  
Amount of boost/cut for the  
low-frequency range  
0–127  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Pan.#  
L64–63R  
-15–+15 dB  
Panning of the output sound  
Amount of boost/cut for the  
high-frequency range  
Amount of boost/cut for the  
low-frequency range  
Low.Gain  
Volume balance of the original  
sound (D) and effect sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Amount of boost/cut for the  
high-frequency range  
High.Gain  
Level  
-15–+15 dB  
0–127  
Output volume  
Output volume  
MEMO  
You can use multi-effect control to make the step sequence play again from  
the beginning (p. 46).  
15: RING MODULATOR  
This is an effect that applies amplitude modulation (AM) to the input signal, producing  
bell-like sounds. You can also change the modulation frequency in response to  
changes in the volume of the sound sent into the effect.  
17: TREMOLO  
Cyclically modulates the volume to add tremolo effect to the sound.  
L in  
L out  
Ring Mod  
Ring Mod  
2-Band EQ  
2-Band EQ  
L in  
L out  
R out  
Tremolo  
Tremolo  
2-Band EQ  
2-Band EQ  
R in  
R in  
R out  
Parameter  
Value  
Explanation  
Parameter  
Value  
Explanation  
Modulation Wave  
Adjusts the frequency at which  
modulation is applied.  
Frequency.#  
Sens.#  
0–127  
TRI  
Triangle wave  
Square wave  
Sine wave  
Adjusts the amount of frequency  
modulation applied.  
SQR  
0–127  
SIN  
Determines whether the frequency modulation moves  
towards higher frequencies or lower frequencies.  
Mod.Wave  
SAW1/2  
Sawtooth wave  
Polarity  
UP  
Higher frequencies  
SAW1  
SAW2  
DOWN  
Lower frequencies  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Gain of the low frequency range  
Gain of the high frequency range  
Rate.#  
0.05–10.00 Hz, note  
0–127  
Frequency of the change  
Volume balance between the  
direct sound (D) and the effect  
sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Depth to which the effect is  
applied  
Depth.#  
Output level  
Low.Gain  
High.Gain  
Level  
-15–+15 dB  
-15–+15 dB  
0–127  
Gain of the low range  
Gain of the high range  
Output Level  
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18: AUTO PAN  
20: SLICER  
Cyclically modulates the stereo location of the sound.  
By applying successive cuts to the sound, this effect turns a conventional sound into a  
sound that appears to be played as a backing phrase. This is especially effective when  
applied to sustain-type sounds.  
L in  
L out  
R out  
Auto Pan  
Auto Pan  
2-Band EQ  
2-Band EQ  
L in  
L out  
Slicer  
R in  
Parameter  
Value  
Explanation  
R in  
R out  
Slicer  
Modulation Wave  
TRI  
Triangle wave  
Square wave  
Sine wave  
Parameter  
Step.01-16  
Value  
Explanation  
SQR  
0–127  
Level at each step  
SIN  
Rate at which the 16-step  
sequence will cycle  
Rate.#  
0.05–10.00 Hz, note  
SAW1/2  
Sawtooth wave  
Mod.Wave  
Speed at which the level changes  
between steps  
Attack.#  
0–127  
SAW1  
R
SAW2  
R
Specifies whether an input  
note will cause the sequence to  
resume from the first step of the  
sequence (ON) or not (OFF)  
Input.Sync.Sw  
OFF, ON  
L
L
Volume at which an input note  
will be detected  
Input.Sync.Threshold 0–127  
Rate.#  
0.05–10.00 Hz, note  
Frequency of the change  
Sets the manner in which the volume changes as one step  
progresses to the next.  
Depth to which the effect is  
applied  
Depth.#  
0–127  
The change in volume from  
one step’s level to the next  
remains unaltered. If the level of  
a following step is the same as  
the one preceding it, there is no  
change in volume.  
Low.Gain  
High.Gain  
Level  
-15–+15 dB  
-15–+15 dB  
0–127  
Gain of the low range  
Gain of the high range  
Output Level  
LEGATO  
Mode  
The level is momentarily set to 0  
before progressing to the level  
of the next step. This change in  
19: STEP PAN  
This uses a 16-step sequence to vary the panning of the sound.  
SLASH  
volume occurs even if the level of  
the following step is the same as  
the preceding step.  
L in  
L out  
Step Pan  
Timing of volume changes in  
levels for even-numbered steps  
(step 2, step 4, step 6...).  
R in  
R out  
Shuffle.#  
Level  
0–127  
Step Pan  
The higher the value, the later  
the beat progresses.  
Parameter  
Value  
Explanation  
0–127  
Output level  
Step.01-16  
Rate.#  
L64–63R  
Pan at each step  
Rate at which the 16-step  
sequence will cycle  
MEMO  
0.05–10.00 Hz, note  
0–127  
You can use multi-effect control to make the step sequence play again from  
the beginning (p. 46).  
Speed at which the pan changes  
between steps  
Attack.#  
Specifies whether an input  
note will cause the sequence to  
resume from the first step of the  
sequence (ON) or not (OFF)  
Input.Sync.Sw  
OFF, ON  
Volume at which an input note  
will be detected  
Input.Sync.Threshold 0–127  
Level 0–127  
Output volume  
MEMO  
You can use multi-effect control to make the step sequence play again from  
the beginning (p. 46).  
55  
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Parameter  
Value  
Explanation  
21: ROTARY  
Adjusts the rate at which the  
woofer rotation speeds up when  
the rotation is switched from  
FAST to SLOW.  
The Rotary effect simulates the sound of the rotary speakers often used with the  
electric organs of the past. Since the movement of the high range and low range  
rotors can be set independently, the unique type of modulation characteristic of these  
speakers can be simulated quite closely. This effect is most suitable for electric organ  
Tones.  
Woofer.Trans.Down  
0–127  
Woofer.Level  
0–127  
Volume of the woofer  
Tweeter.Slow.Speed  
Tweeter.Fast.Speed  
Tweeter.Trans.Up  
Tweeter.Trans.Down  
Tweeter.Level  
0.05–10.00 Hz  
0.05–10.00 Hz  
0–127  
L in  
L out  
Settings of the tweeter The  
parameters are the same as for  
the woofer.  
Rotary  
0–127  
R in  
R out  
0–127  
Sets the rotary speaker stereo  
image. The higher the value set,  
the wider the sound is spread  
out.  
Parameter  
Value  
Explanation  
Spread  
0–10  
Simultaneously switch the rotational speed of the low  
frequency rotor and high frequency rotor.  
Slows down the rotation to the  
Slow Rate.  
Low.Gain  
High.Gain  
Level.#  
-15–+15 dB  
-15–+15 dB  
0–127  
Gain of the low range  
Gain of the high range  
Output Level  
Speed.#  
SLOW  
Speeds up the rotation to the  
Fast Rate.  
FAST  
Slow speed (SLOW) of the low  
frequency rotor  
Woofer.Slow.Speed  
Woofer.Fast.Speed  
0.05–10.00 Hz  
23: CHORUS  
Fast speed (FAST) of the low  
frequency rotor  
0.05–10.00 Hz  
This is a stereo chorus. A filter is provided so that you can adjust the timbre of the  
chorus sound.  
Adjusts the time it takes the  
low frequency rotor to reach  
Balance D  
2-Band  
the newly selected speed when  
switching from fast to slow (or  
slow to fast) speed. Lower values  
will require longer times.  
Woofer.Acceleration  
0–15  
L in  
L out  
EQ  
Balance W  
Chorus  
Chorus  
Volume of the low frequency  
Woofer.Level  
0–127  
rotor  
Balance W  
2-Band  
Tweeter.Slow.Speed  
Tweeter.Fast.Speed  
0.05–10.00 Hz  
R in  
R out  
Settings of the high frequency  
rotor  
EQ  
Balance D  
0.05–10.00 Hz  
The parameters are the same as  
for the low frequency rotor  
Tweeter.Acceleration 0–15  
Parameter  
Value  
Explanation  
Tweeter.Level  
Separation  
Level.#  
0–127  
0–127  
0–127  
Type of filter  
OFF  
Spatial dispersion of the sound  
Output Level  
No filter is used  
Cuts the frequency range above  
the Cutoff Freq  
Filter.Type  
LPF  
Cuts the frequency range below  
the Cutoff Freq  
HPF  
22: VK ROTARY  
Center frequency when using the  
filter to cut a specific frequency  
range  
This type provides modified response for the rotary speaker, with the low end boosted  
further.  
Cutoff.Freq  
Pre.Delay  
200–8000 Hz  
0.0–100 msec  
This effect features the same specifications as the VK-7’s built-in rotary speaker.  
Adjusts the delay time from the  
direct sound until the chorus  
sound is heard.  
L in  
2-Band EQ  
L out  
R out  
Rotary  
Rate.#  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
Depth  
R in  
2-Band EQ  
Phase  
0–180 deg  
Spatial spread of the sound  
Gain of the low range  
Gain of the high range  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Parameter  
Value  
Explanation  
Rotational speed of the rotating speaker  
Volume balance between the  
direct sound (D) and the chorus  
sound (W)  
Speed.#  
Brake.#  
SLOW  
FAST  
Slow  
Fast  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Switches the rotation of the  
rotary speaker.  
Output Level  
When this is turned on, the  
rotation will gradually stop. When  
it is turned off, the rotation will  
gradually resume.  
OFF, ON  
Low-speed rotation speed of the  
woofer  
Woofer.Slow.Speed  
Woofer.Fast.Speed  
0.05–10.00 Hz  
0.05–10.00 Hz  
High-speed rotation speed of  
the woofer  
Adjusts the rate at which the  
woofer rotation speeds up when  
the rotation is switched from  
SLOW to FAST.  
Woofer.Trans.Up  
0–127  
56  
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24: FLANGER  
25: STEP FLANGER  
This is a stereo flanger. (The LFO has the same phase for left and right.)  
This is a flanger in which the flanger pitch changes in steps. The speed at which the  
pitch changes can also be specified in terms of a note-value of a specified tempo.  
It produces a metallic resonance that rises and falls like a jet airplane taking off or  
landing. A filter is provided so that you can adjust the timbre of the flanged sound.  
Balance D  
2-Band  
Balance D  
2-Band  
L in  
L out  
EQ  
Balance W  
L in  
L out  
EQ  
Step Flanger  
Flanger  
Balance W  
Feedback  
Feedback  
Feedback  
Feedback  
Balance W  
Step Flanger  
Balance W  
Flanger  
2-Band  
R in  
R out  
2-Band  
EQ  
R in  
R out  
Balance D  
EQ  
Balance D  
Parameter  
Value  
Explanation  
Parameter  
Value  
Explanation  
Type of filter  
OFF  
Type of filter  
OFF  
No filter is used  
No filter is used  
Cuts the frequency range above  
the Cutoff Freq  
Filter.Type  
LPF  
Cuts the frequency range above  
the Cutoff Freq  
Filter.Type  
LPF  
Cuts the frequency range below  
the Cutoff Freq  
HPF  
Cuts the frequency range below  
the Cutoff Freq  
HPF  
Center frequency when using the  
filter to cut a specific frequency  
range  
Center frequency when using the  
filter to cut a specific frequency  
range  
Cutoff.Freq  
Pre.Delay  
200–8000 Hz  
0.0–100 msec  
Cutoff.Freq  
Pre.Delay  
200–8000 Hz  
0.0–100 msec  
Adjusts the delay time from  
when the direct sound begins  
until the flanger sound is heard.  
Adjusts the delay time from  
when the direct sound begins  
until the flanger sound is heard.  
Rate.#  
Depth  
Phase  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
Rate.#  
Depth  
Phase  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
0–180 deg  
Spatial spread of the sound  
0–180 deg  
Spatial spread of the sound  
Adjusts the proportion of the  
flanger sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
Adjusts the proportion of the  
flanger sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
Feedback.#  
-98–+98%  
Feedback.#  
-98–+98%  
Step.Rate.#  
Low.Gain  
High.Gain  
0.10–20.00 Hz, note  
-15–+15 dB  
Rate (period) of pitch change  
Gain of the low range  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
-15–+15 dB  
Gain of the high range  
Volume balance between the  
direct sound (D) and the flanger  
sound (W)  
Volume balance between the  
direct sound (D) and the flanger  
sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Output Level  
Output Level  
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26: HEXA-CHORUS  
28: SPACE-D  
Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial  
spread to the sound.  
This is a multiple chorus that applies two-phase modulation in stereo. It gives no  
impression of modulation, but produces a transparent chorus effect.  
Balance D  
2-Band  
L in  
L out  
Balance W  
L in  
L out  
Balance D  
Hexa Chorus  
EQ  
Balance W  
Space D  
Space D  
Balance W  
R out  
Balance W  
R in  
2-Band  
R in  
R out  
Balance D  
EQ  
Balance D  
Parameter  
Value  
Explanation  
Parameter  
Value  
Explanation  
Adjusts the delay time from the  
direct sound until the chorus  
sound is heard.  
Pre.Delay  
0.0–100 msec  
Adjusts the delay time from the  
direct sound until the chorus  
sound is heard.  
Pre.Delay  
0.0–100 msec  
Rate.#  
Depth  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
Rate.#  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
Depth  
Adjusts the differences in Pre  
Delay between each chorus  
sound.  
Pre.Delay.Deviation  
Depth.Deviation  
0–20  
Phase  
0–180 deg  
Spatial spread of the sound  
Gain of the low range  
Gain of the high range  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Adjusts the difference in  
modulation depth between each  
chorus sound.  
-20–+20  
Volume balance between the  
direct sound (D) and the chorus  
sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Adjusts the difference in stereo  
location between each chorus  
sound.  
0–20  
0
Output Level  
All chorus sounds will be in the  
center.  
Pan.Deviation  
Each chorus sound will be  
spaced at 60 degree intervals  
relative to the center.  
20  
Volume balance between the  
direct sound (D) and the chorus  
sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Output Level  
27: TREMOLO CHORUS  
This is a chorus effect with added Tremolo (cyclic modulation of volume).  
L in  
L out  
Balance W  
Balance D  
Tremolo Chorus  
Balance W  
R in  
R out  
Balance D  
Parameter  
Value  
Explanation  
Adjusts the delay time from the  
direct sound until the chorus  
sound is heard.  
Pre.Delay  
0.0–100 msec  
Modulation frequency of the  
chorus effect  
Chorus.Rate.#  
Chorus.Depth  
Tremolo.Rate.#  
0.05–10.00 Hz, note  
Modulation depth of the chorus  
effect  
0–127  
Modulation frequency of the  
tremolo effect  
0.05–10.00 Hz, note  
Tremolo.Separation  
Tremolo.Phase  
0–127  
Spread of the tremolo effect  
Spread of the tremolo effect  
0–180 deg  
Volume balance between the  
direct sound (D) and the tremolo  
chorus sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Output Level  
58  
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Parameter  
Feedback.#  
Value  
Explanation  
29: 3D CHORUS  
Adjusts the proportion of the  
flanger sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
This applies a 3D effect to the chorus sound. The chorus sound will be positioned 90  
degrees left and 90 degrees right.  
-98–+98%  
2-Band  
EQ  
L
L out  
R out  
The optimal 3D effect will be achieved.  
Output.Mode  
SPEAKER  
When using speakers  
3D Chorus  
PHONES  
When using headphones  
Gain of the low range  
Gain of the high range  
2-Band  
EQ  
R
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Parameter  
Value  
Explanation  
Volume balance between the  
direct sound (D) and the flanger  
sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Type of filter  
OFF  
LPF  
No filter is used  
Output Level  
Cuts the frequency range above  
the Cutoff Freq  
Filter.Type  
Cuts the frequency range below  
the Cutoff Freq  
HPF  
31: 3D STEP FLANGER  
Center frequency when using the  
filter to cut a specific frequency  
range  
This applies a 3D effect to the step flanger sound. The flanger sound will be positioned  
90 degrees left and 90 degrees right.  
Cutoff.Freq  
Pre.Delay  
200–8000 Hz  
2-Band  
EQ  
L
L out  
R out  
Adjusts the delay time from the  
direct sound until the chorus  
sound is heard.  
0.0–100 msec  
3D Step Flanger  
Rate.#  
Depth  
Phase  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
2-Band  
EQ  
R
Modulation depth of the chorus  
effect  
Parameter  
Value  
Explanation  
0–180 deg  
Spatial spread of the sound  
Type of filter  
OFF  
The optimal 3D effect will be achieved.  
No filter is used  
Output.Mode  
SPEAKER  
When using speakers  
Cuts the frequency range above  
the Cutoff Freq  
PHONES  
When using headphones  
Gain of the low range  
Gain of the high range  
Filter.Type  
LPF  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Cuts the frequency range below  
the Cutoff Freq  
HPF  
Volume balance between the  
direct sound (D) and the chorus  
sound (W)  
Center frequency when using the  
filter to cut a specific frequency  
range  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Cutoff.Freq  
Pre.Delay  
200–8000 Hz  
0.0–100 msec  
Output Level  
Adjusts the delay time from  
when the direct sound begins  
until the flanger sound is heard.  
30: 3D FLANGER  
Rate.#  
Depth  
Phase  
0.05–10.00 Hz, note  
Frequency of modulation  
Depth of modulation  
0–127  
This applies a 3D effect to the flanger sound. The flanger sound will be positioned 90  
degrees left and 90 degrees right.  
0–180 deg  
Spatial spread of the sound  
Adjusts the proportion of the  
flanger sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
2-Band  
EQ  
L
L out  
R out  
Feedback.#  
Step.Rate.#  
Output.Mode  
-98–+98%  
3D Flanger  
0.10–20.00 Hz, note  
Rate (period) of pitch change  
2-Band  
EQ  
R
The optimal 3D effect will be achieved.  
SPEAKER  
When using speakers  
Parameter  
Value  
Explanation  
PHONES  
When using headphones  
Gain of the low range  
Gain of the high range  
Type of filter  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
OFF  
LPF  
No filter is used  
Cuts the frequency range above  
the Cutoff Freq  
Filter.Type  
Volume balance between the  
direct sound (D) and the flanger  
sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Cuts the frequency range below  
the Cutoff Freq  
HPF  
Output Level  
Center frequency when using the  
filter to cut a specific frequency  
range  
Cutoff.Freq  
Pre.Delay  
200–8000 Hz  
Adjusts the delay time from  
when the direct sound begins  
until the flanger sound is heard.  
0.0–100 msec  
Rate.#  
Depth  
Phase  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
0–180 deg  
Spatial spread of the sound  
59  
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Parameter  
Low.Rate.#  
Value  
Explanation  
32: 2 BAND CHORUS  
Rate at which the low-range  
flanger sound is modulated  
0.05–10.00 Hz, note  
A chorus effect that lets you apply an effect independently to the low-frequency and  
high-frequency ranges.  
Modulation depth for the  
low-range flanger sound  
Low.Depth  
Low.Phase  
0–127  
L in  
L out  
Spaciousness of the low-range  
flanger sound  
0–180 deg  
Proportion of the low-range  
flanger sound that is to be  
returned to the input (negative  
values invert the phase)  
Low.Feedback.#  
High.Pre.Delay  
-98–+98%  
Delay time from when the  
original sound is heard to when  
the high-range flanger sound  
is heard  
R in  
R out  
0.0–100 msec  
Parameter  
Value  
Explanation  
Rate at which the high-range  
flanger sound is modulated  
High.Rate.#  
High.Depth  
High.Phase  
0.05–10.00 Hz, note  
0–127  
Frequency at which the low and  
high ranges will be divided  
Split.Freq  
200–8000 Hz  
Modulation depth for the  
high-range flanger sound  
Delay time from when the  
original sound is heard to when  
the low-range chorus sound is  
heard  
Low.Pre.Delay  
0.0–100 msec  
Spaciousness of the high-range  
flanger sound  
0–180 deg  
Proportion of the high-range  
flanger sound that is to be  
returned to the input (negative  
values invert the phase)  
Rate at which the low-range  
chorus sound is modulated  
Low.Rate.#  
Low.Depth  
Low.Phase  
0.05–10.00 Hz, note  
0–127  
High.Feedback.#  
-98–+98%  
Modulation depth for the  
low-range chorus sound  
Volume balance of the original  
sound (D) and flanger sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Spaciousness of the low-range  
chorus sound  
0–180 deg  
Output Level  
Delay time from when the  
original sound is heard to when  
the high-range chorus sound is  
heard  
High.Pre.Delay  
0.0–100 msec  
34: 2 BAND STEP FLANGER  
Rate at which the low-range  
chorus sound is modulated  
High.Rate.#  
High.Depth  
High.Phase  
0.05–10.00 Hz, note  
0–127  
A step flanger that lets you apply an effect independently to the low-frequency and  
high-frequency ranges.  
Modulation depth for the  
high-range chorus sound  
L in  
L out  
High Band Step Flanger  
Spaciousness of the high-range  
chorus sound  
0–180 deg  
Split  
Split  
High Band Feedback  
Volume balance of the original  
sound (D) and chorus sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Low Band Step Flanger  
Output Level  
Low Band Feedback  
High Band Feedback  
33: 2 BAND FLANGER  
High Band Step Flanger  
Low Band Feedback  
A flanger that lets you apply an effect independently to the low-frequency and  
high-frequency ranges.  
Low Band Step Flanger  
L in  
L out  
R in  
R out  
High Band Flanger  
Parameter  
Split.Freq  
Value  
Explanation  
Split  
Split  
High Band Feedback  
Low Band Flanger  
Frequency at which the low and  
high ranges will be divided  
200–8000 Hz  
Delay time from when the  
original sound is heard to when  
the low-range flanger sound is  
heard  
Low Band Feedback  
High Band Feedback  
Low.Pre.Delay  
0.0–100 msec  
High Band Flanger  
Low Band Feedback  
Rate at which the low-range  
flanger sound is modulated  
Low.Rate.#  
Low.Depth  
Low.Phase  
0.05–10.00 Hz, note  
0–127  
Modulation depth for the  
low-range flanger sound  
Low Band Flanger  
R in  
R out  
Spaciousness of the low-range  
flanger sound  
0–180 deg  
Parameter  
Value  
Explanation  
Proportion of the low-range  
flanger sound that is to be  
returned to the input (negative  
values invert the phase)  
Frequency at which the low and  
high ranges will be divided  
Split.Freq  
200–8000 Hz  
Low.Feedback.#  
Low.Step.Rate.#  
-98–+98%  
Delay time from when the  
original sound is heard to when  
the low-range flanger sound is  
heard  
Rate at which the steps will cycle  
for the low-range flanger sound  
Low.Pre.Delay  
0.0–100 msec  
0.10–20.00 Hz, note  
60  
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Parameter  
Value  
Explanation  
37: VS OVERDRIVE  
Delay time from when the  
original sound is heard to when  
the high-range flanger sound  
is heard  
This is an overdrive that provides heavy distortion.  
High.Pre.Delay  
0.0–100 msec  
L in  
L out  
Pan L  
Amp  
2-Band  
EQ  
Rate at which the high-range  
flanger sound is modulated  
Overdrive  
High.Rate.#  
High.Depth  
High.Phase  
0.05–10.00 Hz, note  
0–127  
Simulator  
Pan R  
R in  
Modulation depth for the  
high-range flanger sound  
R out  
Parameter  
Value  
Explanation  
Spaciousness of the high-range  
flanger sound  
0–180 deg  
Degree of distortion  
Also changes the volume.  
Drive.#  
0–127  
0–127  
Proportion of the high-range  
flanger sound that is to be  
returned to the input (negative  
values invert the phase)  
High.Feedback.#  
High.Step.Rate.#  
-98–+98%  
Sound quality of the Overdrive  
effect  
Tone.#  
Amp.Sw  
OFF, ON  
Turns the Amp Simulator on/off.  
Rate at which the steps will cycle  
for the high-range flanger sound  
0.10–20.00 Hz, note  
Type of guitar amp  
SMALL  
Volume balance of the original  
sound (D) and flanger sound (W)  
Small amp  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Amp.Type  
BUILT-IN  
Single-unit type amp  
Large double stack amp  
Large triple stack amp  
Gain of the low range  
Gain of the high range  
Output Level  
2-STACK  
3-STACK  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
35: OVERDRIVE  
Creates a soft distortion similar to that produced by vacuum tube amplifiers.  
Stereo location of the output  
sound  
Pan.#  
Level  
L64–63R  
0–127  
L in  
L out  
Pan L  
Output Level  
Over  
drive  
Amp  
2-Band  
EQ  
Simulator  
Pan R  
R in  
R out  
38: VS DISTORTION  
Parameter  
Value  
Explanation  
Degree of distortion  
This is a distortion effect that provides heavy distortion. The parameters are the same  
as for “37: VS OVERDRIVE.”  
Drive.#  
0–127  
Also changes the volume.  
L in  
L out  
Type of guitar amp  
SMALL  
Pan L  
Amp  
2-Band  
EQ  
Distortion  
Small amp  
Simulator  
Pan R  
Amp.Type  
BUILT-IN  
Single-unit type amp  
Large double stack amp  
Large triple stack amp  
Gain of the low range  
Gain of the high range  
R in  
R out  
2-STACK  
3-STACK  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Stereo location of the output  
sound  
Pan.#  
Level  
L64–63R  
0–127  
Output Level  
36: DISTORTION  
Produces a more intense distortion than Overdrive. The parameters are the same as for  
“35: OVERDRIVE.”  
L in  
L out  
Pan L  
Amp  
2-Band  
EQ  
Distortion  
Simulator  
Pan R  
R in  
R out  
61  
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Specifications for each Speaker Type  
39: GUITAR AMP SIMULATOR  
The speaker column indicates the diameter of each speaker unit (in inches) and the  
number of units.  
This is an effect that simulates the sound of a guitar amplifier.  
Type  
Cabinet  
Speaker  
10  
Microphone  
Dynamic  
L in  
L out  
Pan L  
SMALL.1  
Small open-back enclosure  
Small open-back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Sealed enclosure  
Pre Amp  
Speaker  
SMALL.2  
10  
Dynamic  
Pan R  
R in  
R out  
MIDDLE  
12 x 1  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 4  
12 x 4  
12 x 4  
12 x 4  
12 x 4  
Dynamic  
JC-120  
Dynamic  
Parameter  
Value  
Explanation  
Turns the amp switch on/off.  
BUILT-IN.1  
BUILT-IN.2  
BUILT-IN.3  
BUILT-IN.4  
BUILT-IN.5  
BG.STACK.1  
BG.STACK.2  
MS.STACK.1  
MS.STACK.2  
METAL.STACK  
2-STACK  
Dynamic  
Pre.Amp.Sw  
OFF, ON  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
JC-120,  
CLEAN TWIN,  
MATCH DRIVE,  
BG LEAD,  
MS1959I,  
MS1959II,  
MS1959I+II,  
SLDN LEAD,  
METAL 5150,  
METAL LEAD,  
OD-1,  
OD-2 TURBO,  
DISTORTION,  
FUZZ  
Pre.Amp.Type  
Type of guitar amp  
Large sealed enclosure  
Large sealed enclosure  
Large sealed enclosure  
Large double stack  
Large double stack  
Large triple stack  
3-STACK  
Volume and amount of distortion  
of the amp  
Pre.Amp.Volume.#  
0–127  
Pre.Amp.Master.#  
Pre.Amp.Gain  
0–127  
Volume of the entire pre-amp  
Amount of pre-amp distortion  
40: COMPRESSOR  
LOW, MIDDLE, HIGH  
Tone of the bass/mid/treble  
frequency range  
Flattens out high levels and boosts low levels, smoothing out fluctuations in volume.  
Pre.Amp.Bass  
0–127  
Middle cannot be set if “MATCH  
DRIVE”is selected as the Pre Amp  
Type.  
Pre.Amp.Middle  
Pre.Amp.Treble  
L in  
L out  
Compressor  
2-Band EQ  
Tone for the ultra-high frequency  
range  
Pre.Amp.Presence  
0–127  
R in  
R out  
Compressor  
2-Band EQ  
Turning this “On”produces a  
sharper and brighter sound.  
This parameter applies to the  
“JC-120,”“CLEAN TWIN,”and “BG  
LEAD”Pre Amp Types.  
Parameter  
Value  
Explanation  
Pre.Amp.Bright  
OFF, ON  
Sets the time from when the  
input exceeds the Threshold  
until the volume starts being  
compressed  
Attack.#  
0–127  
Determines whether the signal  
passes through the speaker (ON),  
or not (OFF).  
Speaker.Sw  
OFF, ON  
Adjusts the volume at which  
compression begins  
Threshold.#  
0–127  
Speaker.Type  
(See the table below.)  
Type of speaker  
Post.Gain  
Low.Gain  
High.Gain  
Level.#  
0–+18 dB  
-15–+15 dB  
-15–+15 dB  
0–127  
Adjusts the output gain.  
Gain of the low range  
Gain of the high range  
Output Level  
Adjusts the location of the  
microphone that’s capturing the  
sound of the speaker.  
This can be adjusted in three  
steps, from 1 to 3, with the  
microphone becoming more  
distant as the value increases.  
Mic.Setting  
1, 2, 3  
Mic.Level  
0–127  
0–127  
Volume of the microphone  
Volume of the direct sound  
Direct.Level  
Stereo location of the output  
sound  
Pan.#  
L64–63R  
0–127  
Level.#  
Output Level  
62  
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41: LIMITER  
43: DELAY  
Compresses signals that exceed a specified volume level, preventing distortion from  
occurring.  
This is a stereo delay.  
When Feedback Mode is NORMAL:  
Balance D  
L in  
L out  
Limiter  
Limiter  
2-Band EQ  
2-Band  
EQ  
Balance W  
L in  
L out  
Delay  
R in  
R out  
2-Band EQ  
Feedback  
Feedback  
Parameter  
Value  
Explanation  
Balance W  
Adjusts the time after the signal  
volume falls below the Threshold  
Level until compression is no  
longer applied.  
Delay  
Release.#  
0–127  
2-Band  
R in  
R out  
EQ  
Balance D  
Adjusts the volume at which  
compression begins  
When Feedback Mode is CROSS:  
Threshold.#  
0–127  
Balance D  
Ratio  
1.5:1, 2:1, 4:1, 100:1  
0–+18 dB  
Compression ratio  
2-Band  
EQ  
Balance W  
L in  
L out  
Post.Gain  
Adjusts the output gain.  
Delay  
Low.Gain  
-15–+15 dB  
Gain of the low range  
High.Gain  
Level.#  
-15–+15 dB  
0–127  
Gain of the high range  
Output Level  
Feedback  
Feedback  
Balance W  
Delay  
2-Band  
R in  
42: GATE  
R out  
EQ  
Balance D  
Cuts the reverb’s delay according to the volume of the sound sent into the effect. Use  
this when you want to create an artificial-sounding decrease in the reverb’s decay.  
Parameter  
Value  
Explanation  
Delay.Left  
L in  
L out  
Gate  
Adjusts the time until the delay  
sound is heard.  
0–1300 msec, note  
Delay.Right  
Phase of the left delay sound  
R in  
R out  
Gate  
Phase.Left  
NORMAL  
INVERT  
Non-inverted  
Inverted  
Parameter  
Value  
Explanation  
Phase of the right delay sound  
Volume level at which the gate  
begins to close  
Phase.Right  
Feedback.Mode  
Feedback.#  
NORMAL  
INVERT  
Non-inverted  
Threshold.#  
0–127  
Inverted  
Type of gate  
Selects the way in which delay  
sound is fed back into the effect.  
(See the figures above.)  
The gate will close when the  
volume of the original sound  
decreases, cutting the original  
sound.  
NORMAL, CROSS  
-98–+98%  
GATE  
Adjusts the amount of the delay  
sound that’s fed back into the  
effect. Negative (-) settings invert  
the phase.  
Mode  
The gate will close when the  
volume of the original sound  
increases, cutting the original  
sound.  
DUCK (Ducking)  
0–127  
Adjusts the frequency above  
which sound fed back to the  
effect is filtered out. If you don’t  
want to filter out any high  
frequencies, set this parameter  
to BYPASS.  
Adjusts the time it takes for the  
gate to fully open after being  
triggered.  
HF.Damp  
200–8000 Hz, BYPASS  
Attack  
Adjusts the time it takes for the  
gate to start closing after the  
source sound falls beneath the  
Threshold.  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
Hold  
0–127  
0–127  
Volume balance between the  
direct sound (D) and the delay  
sound (W)  
Adjusts the time it takes the gate  
to fully close after the hold time.  
Release  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Volume balance between the  
direct sound (D) and the effect  
sound (W)  
Output Level  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Output Level  
63  
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Parameter  
Pan.#  
Value  
Explanation  
44: LONG DELAY  
L64–63R  
-15–+15 dB  
-15–+15 dB  
Panning of the delay sound  
Gain of the low range  
Gain of the high range  
A delay that provides a long delay time.  
Low.Gain  
High.Gain  
2-Band  
EQ  
L in  
L out  
R out  
Volume balance of the original  
sound (D) and delay sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Pan L  
Long Delay  
Output Level  
Pan R  
Feedback  
R in  
2-Band  
EQ  
46: MODULATION DELAY  
Parameter  
Delay.Time  
Value  
Explanation  
Adds modulation to the delayed sound.  
When Feedback Mode is NORMAL:  
Delay time from when the  
original sound is heard to when  
the delay sound is heard  
0–2600 msec, note  
Balance D  
2-Band  
L out  
EQ  
L in  
Phase of the delay (NORMAL:  
non-inverted, INVERT: inverted)  
Phase  
NORMAL, INVERSE  
-98–+98%  
Balance W  
Delay  
Modulation  
Proportion of the delay sound  
that is to be returned to the  
input (negative values invert the  
phase)  
Feedback  
Feedback  
Feedback.#  
Balance W  
Delay  
Modulation  
Balance D  
Frequency at which the high-  
frequency content of the delayed  
sound will be cut  
2-Band  
EQ  
HF.Damp  
200–8000 Hz, BYPASS  
R in  
R out  
(BYPASS: no cut)  
Pan.#  
L64–63R  
Panning of the delay sound  
Gain of the low range  
When Feedback Mode is CROSS:  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Balance D  
2-Band  
EQ  
Gain of the high range  
L in  
L out  
Volume balance of the original  
sound (D) and delay sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Delay  
Modulation  
Balance W  
Output Level  
Feedback  
Feedback  
Delay  
Modulation  
Balance W  
45: SERIAL DELAY  
2-Band  
EQ  
R in  
R out  
This delay connects two delay units in series. Feedback can be applied independently  
to each delay unit, allowing you to produce complex delay sounds.  
Balance D  
L in  
L out  
Parameter  
Value  
Explanation  
Pan L  
Delay.Left  
Adjusts the time until the delay  
sound is heard.  
0–1300 msec, note  
NORMAL, CROSS  
-98–+98%  
Delay 1  
Delay 2  
Delay.Right  
Pan R  
Selects the way in which delay  
sound is fed back into the effect  
(See the figures above.)  
Feedback 1  
Feedback 2  
Feedback.Mode  
Feedback.#  
R in  
R out  
Adjusts the amount of the delay  
sound that’s fed back into the  
effect. Negative (-) settings invert  
the phase.  
Parameter  
Delay.1.Time  
Value  
Explanation  
Delay time from when sound is  
input to delay 1 until the delay  
sound is heard  
0–1300 msec, note  
-98–+98%  
Adjusts the frequency above  
which sound fed back to the  
effect is filtered out. If you don’t  
want to filter out any high  
frequencies, set this parameter  
to BYPASS.  
Proportion of the delay sound  
that is to be returned to the input  
of delay 1 (negative values invert  
the phase)  
HF.Damp  
200–8000 Hz, BYPASS  
Delay.1.Feedback.#  
Delay.1.HF.Damp  
Delay.2.Time  
Frequency at which the  
Rate.#  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
high-frequency content of the  
delayed sound of delay 1 will be  
cut (BYPASS: no cut)  
200–8000 Hz, BYPASS  
0–1300 msec, note  
-98–+98%  
Depth  
Phase  
0–180 deg  
Spatial spread of the sound  
Gain of the low range  
Gain of the high range  
Proportion of the delay sound  
that is to be returned to the input  
of delay 2 (negative values invert  
the phase)  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Volume balance between the  
direct sound (D) and the delay  
sound (W)  
Proportion of the delay sound  
that is to be returned to the input  
of delay 2 (negative values invert  
the phase)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Delay.2.Feedback.#  
Delay.2.HF.Damp  
Output Level  
Frequency at which the  
high-frequency content of the  
delayed sound of delay 2 will be  
cut (BYPASS: no cut)  
200–8000 Hz, BYPASS  
64  
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Parameter  
HF.Damp  
Value  
Explanation  
47: 3TAP PAN DELAY  
Adjusts the frequency above  
which sound fed back to the  
effect is filtered out. If you do  
not want to filter out any high  
frequencies, set this parameter  
to BYPASS.  
Produces three delay sounds; center, left and right.  
200–8000 Hz, BYPASS  
Balance D  
2-Band  
EQ  
L in  
L out  
R out  
Balance W  
Left Tap  
Delay.1-4.Level  
Low.Gain  
0–127  
Volume of each delay  
Gain of the low range  
Gain of the high range  
-15–+15 dB  
-15–+15 dB  
Triple Tap Delay  
Feedback  
Center Tap  
High.Gain  
Balance W  
Right Tap  
Balance D  
Volume balance between the  
direct sound (D) and the delay  
sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
2-Band  
R in  
EQ  
Output Level  
Parameter  
Value  
Explanation  
Adjusts the time from the  
original sound until the left,  
right, and center delayed sounds  
are heard  
49: MULTI TAP DELAY  
Delay.Left/Right/  
Center  
0–2600 msec, note  
This effect provides four delays. Each of the Delay Time parameters can be set to a note  
length based on the selected tempo. You can also set the panning and level of each  
delay sound.  
Adjusts the amount of the delay  
sound that’s fed back into the  
effect. Negative (-) settings invert  
the phase.  
Center.Feedback.#  
HF.Damp  
-98–+98%  
Balance D  
2-Band  
L in  
L out  
EQ  
Feed  
back  
Delay 1  
Delay 3  
Adjusts the frequency above  
which sound fed back to the  
effect is filtered out. If you do  
not want to filter out any high  
frequencies, set this parameter  
to BYPASS.  
Balance W  
200–8000 Hz, BYPASS  
0–127  
Multi Tap Delay  
Delay 4  
Balance W  
Delay 2  
Left/Right/Center.  
Level  
Volume of each delay  
2-Band  
EQ  
R in  
R out  
Balance D  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
Parameter  
Value  
Explanation  
Volume balance between the  
direct sound (D) and the delay  
sound (W)  
Adjusts the time until Delays 1–4  
are heard.  
Delay.1-4.Time  
0–2600 msec, note  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Adjusts the amount of the delay  
sound that’s fed back into the  
effect. Negative (-) settings invert  
the phase.  
Output Level  
Delay.1.Feedback.#  
-98–+98%  
48: 4TAP PAN DELAY  
Adjusts the frequency above  
which sound fed back to the  
effect is filtered out. If you don’t  
want to filter out any the high  
frequencies, set this parameter  
to BYPASS.  
This effect has four delays.  
HF.Damp  
200–8000 Hz, BYPASS  
Balance D  
L out  
L in  
Delay 1  
Balance W  
Delay.1-4.Pan  
Delay.1-4.Level  
Low.Gain  
L64–63R  
0–127  
Stereo location of Delays 1–4  
Output level of Delays 1–4  
Gain of the low range  
Feedback  
Delay 2  
Quadruple Tap Delay  
Delay 3  
-15–+15 dB  
-15–+15 dB  
High.Gain  
Gain of the high range  
Balance W  
Delay 4  
Volume balance between the  
direct sound (D) and the effect  
sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
R in  
R out  
Balance D  
Output Level  
Stereo location of each delay  
2
3
4
1
R
L
Parameter  
Value  
Explanation  
Adjusts the time from the  
original sound until delay sounds  
1–4 are heard  
Delay.1-4.Time  
0–2600 msec, note  
Adjusts the amount of the delay  
sound that’s fed back into the  
effect. Negative (-) settings invert  
the phase.  
Delay.1.Feedback.#  
-98–+98%  
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50: REVERSE DELAY  
51: SHUFFLE DELAY  
This is a reverse delay that adds a reversed and delayed sound to the input sound. A  
tap delay is connected immediately after the reverse delay.  
Adds a shuffle to the delay sound, giving the sound a bouncy delay effect with a swing  
feel.  
2-Band  
2-Band  
L out  
L out  
L in  
L in  
EQ  
EQ  
Feedback  
Feedback  
Delay  
Rev  
Delay A  
Delay B  
A
B
D1  
Rev. Delay  
Delay  
D2  
D3  
2-Band  
EQ  
2-Band  
EQ  
R in  
R out  
R in  
R out  
Parameter  
Value  
0–127  
Explanation  
Parameter  
Delay.Time.#  
Value  
Explanation  
Volume at which the reverse  
delay will begin to be applied  
Adjusts the time until the delay  
sound is heard.  
Threshold  
0–2600 msec, note  
Delay time from when sound is  
input into the reverse delay until  
the delay sound is heard  
Adjusts the ratio (as a percent-  
age) of the time that elapses  
before Delay B sounds relative to  
the time that elapses before the  
Delay A sounds.  
When set to 100, the delay times  
are the same.  
Rev.Delay.Time  
0–1300 msec, note  
-98–+98%  
Shuffle.Rate.#  
0–100  
Proportion of the delay sound  
that is to be returned to the input  
of the reverse delay (negative  
values invert the phase)  
Rev.Delay.Feedback.  
#
Adjusts the speed which the  
Delay Time changes from the  
current setting to its specified  
new setting.  
Frequency at which the  
high-frequency content of the  
reverse-delayed sound will be  
cut (BYPASS: no cut)  
Acceleration  
Feedback.#  
0–15  
Rev.Delay.HF.Damp  
200–8000 Hz, BYPASS  
Adjusts the amount of the delay  
that’s feedback into the effect.  
Negative (-) settings invert the  
phase.  
Panning of the reverse delay  
sound  
Rev.Delay.Pan  
L64–63R  
0–127  
-98–+98%  
Volume of the reverse delay  
sound  
Rev.Delay.Level  
Adjusts the frequency above  
which sound fed back to the  
effect is filtered out. If you don’t  
want to filter out any high  
frequencies, set this parameter  
to BYPASS.  
Delay time from when sound is  
input into the tap delay until the  
delay sound is heard  
Delay.1.-.3.Time  
0–1300 msec, note  
-98–+98%  
HF.Damp  
200–8000 Hz, BYPASS  
Proportion of the delay sound  
that is to be returned to the input  
of the tap delay (negative values  
invert the phase)  
Delay.3.Feedback.#  
Pan.A/B  
L64–63R  
0–127  
Stereo location of Delay A/B  
Volume of delay A/B  
Level.A/B  
Low.Gain  
High.Gain  
Frequency at which the  
hi-frequency content of the tap  
delay sound will be cut (BYPASS:  
no cut)  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
Delay.HF.Damp  
200–8000 Hz, BYPASS  
Volume balance between the  
direct sound (D) and the effect  
sound (W)  
Delay.1.Pan,..  
Delay.2.Pan  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
L64–63R  
0–127  
Panning of the tap delay sounds  
Volume of the tap delay sounds  
Delay.1.Level,..  
Delay.2.Level  
Output Level  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
52: 3D DELAY  
Volume balance of the original  
sound (D) and delay sound (W)  
This applies a 3D effect to the delay sound. The delay sound will be positioned 90  
degrees left and 90 degrees right.  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Output Level  
2-Band  
L out  
L
EQ  
Level  
3D Delay L  
3D Delay C  
Feedback  
3D Delay R  
2-Band  
EQ  
R
R out  
Parameter  
Value  
Explanation  
Delay.Left  
Adjusts the delay time from  
the direct sound until the delay  
sound is heard.  
Delay.Right  
Delay.Center  
0–2600 msec, note  
-98–+98%  
Adjusts the proportion of the  
delay sound that is fed back into  
the effect. Negative (-) settings  
will invert the phase.  
Center.Feedback.#  
66  
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Parameter  
HF.Damp  
Value  
Explanation  
54: LONG TIME CTRL DELAY  
Adjusts the frequency above  
which sound fed back to the  
effect will be cut. If you do not  
want to cut the high frequencies,  
set this parameter to BYPASS.  
A delay in which the delay time can be varied smoothly, and allowing an extended  
delay to be produced.  
200–8000 Hz, BYPASS  
2-Band  
L in  
L out  
EQ  
Balance D  
Left.Level  
Balance W  
Right.Level  
Center.Level  
0–127  
Output level of the delay sound  
Time Control Delay  
Balance W  
Feedback  
2-Band  
The optimal 3D effect will be achieved.  
R in  
R out  
EQ  
Balance D  
Output.Mode  
SPEAKER  
When using speakers  
PHONES  
When using headphones  
Gain of the low range  
Gain of the high range  
Parameter  
Value  
Explanation  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Adjusts the time until the delay  
is heard.  
Delay.Time.#  
Acceleration  
0–2600 msec, note  
0–15  
Volume balance between the  
direct sound (D) and the effect  
sound (W)  
Adjusts the speed which the  
Delay Time changes from the  
current setting to a specified new  
setting.  
The rate of change for the Delay  
Time directly affects the rate of  
pitch change.  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Output Level  
53: TIME CTRL DELAY  
Adjusts the amount of the delay  
that’s fed back into the effect.  
Negative (-) settings invert the  
phase.  
Feedback.#  
HF.Damp  
-98–+98%  
A stereo delay in which the delay time can be varied smoothly.  
L in  
2-Band EQ  
L out  
R out  
Adjusts the frequency above  
which sound fed back to the  
effect is filtered out. If you do  
not want to filter out any high  
frequencies, set this parameter  
to BYPASS.  
Pan L  
Pan R  
Time Ctrl Delay  
200–8000 Hz, BYPASS  
Feedback  
Feedback  
Pan.#  
L64–63R  
Stereo location of the delay  
Gain of the low range  
Time Ctrl Delay  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
R in  
2-Band EQ  
Gain of the high range  
Volume balance between the  
direct sound (D) and the delay  
sound (W)  
Parameter  
Value  
Explanation  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Adjusts the time until the delay  
is heard.  
Delay.Time.#  
Acceleration  
0–1300 msec, note  
Output Level  
Adjusts the speed which the  
Delay Time changes from the  
current setting to a specified new  
setting. The rate of change for  
the Delay Time directly affects  
the rate of pitch change.  
0–15  
Adjusts the amount of the delay  
that’s fed back into the effect.  
Negative (-) settings invert the  
phase.  
Feedback.#  
HF.Damp  
-98–+98%  
Adjusts the frequency above  
which sound fed back to the  
effect is filtered out. If you do  
not want to filter out any high  
frequencies, set this parameter  
to BYPASS.  
200–8000 Hz, BYPASS  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
Volume balance between the  
direct sound (D) and the delay  
sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Output Level  
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55: TAPE ECHO  
56: LOFI NOISE  
A virtual tape echo that produces a realistic tape delay sound. This simulates the tape  
echo section of a Roland RE-201 Space Echo.  
In addition to a lo-fi effect, this adds various types of noise such as white noise and disc  
noise.  
L in  
L out  
Echo Level  
2-Band  
L in  
L out  
Direct Level  
EQ  
Lo-Fi  
Tape Echo  
Echo Level  
R out  
Noise Gen.  
Lo-Fi  
R in  
Direct Level  
Parameter  
Value  
Explanation  
2-Band  
EQ  
R in  
R out  
Combination of playback heads  
to use Select from three different  
heads with different delay times.  
S: short  
M: middle  
L: long  
S, M, L, S+M, S+L,  
M+L, S+M+L  
Parameter  
Value  
Explanation  
Mode  
Degrades the sound quality. The  
sound quality grows poorer as  
this value is increased.  
LoFi.Type  
1–9  
Tape speed  
Type of filter that follows the LoFi effect  
Increasing this value will shorten  
the spacing of the delayed  
sounds.  
Repeat.Rate.#  
0–127  
OFF  
LPF  
No filter is used  
Cuts the frequency range above  
the Cutoff.  
Post.Filter.Type  
Intensity.#  
Bass  
0–127  
Amount of delay repeats  
Boost/cut for the lower range of  
the echo sound  
Cuts the frequency range below  
the Cutoff.  
-15–+15 dB  
HPF  
Boost/cut for the upper range of  
the echo sound  
Post.Filter.Cutoff  
W/P.Noise.Type  
200–8000 Hz  
WHITE, PINK  
Center frequency of the filter  
Treble  
-15–+15 dB  
L64–63R  
Switch between white noise and  
pink noise.  
Head.S.Pan  
Head.M.Pan  
Head.L.Pan  
Independent panning for the  
short, middle, and long playback  
heads  
Center frequency of the low pass  
filter applied to the white/pink  
noise (BYPASS: no cut)  
W/P.Noise.LPF  
200–8000 Hz, BYPASS  
0–127  
Amount of tape-dependent  
distortion to be added  
W/P.Noise.Level.#  
Volume of the white/pink noise  
This simulates the slight tonal  
changes that can be detected  
by signal-analysis equipment.  
Increasing this value will increase  
the distortion.  
Type of record noise  
Tape.Distortion  
0–5  
The frequency at which the noise  
is heard depends on the selected  
type.  
Disc.Noise.Type  
LP, EP, SP, RND  
Adjusts the cutoff frequency of  
the low pass filter applied to the  
record noise. If you don’t want to  
filter out any high frequencies,  
set this parameter to BYPASS.  
Speed of wow/flutter (complex  
variation in pitch caused by tape  
wear and rotational irregularity)  
Wow/Flutter.Rate  
0–127  
Disc.Noise.LPF  
200–8000 Hz, BYPASS  
Wow/Flutter.Depth  
Echo.Level.#  
Direct.Level.#  
Level  
0–127  
0–127  
0–127  
0–127  
Depth of wow/flutter  
Volume of the echo sound  
Volume of the original sound  
Output Level  
Disc.Noise.Level.#  
Hum.Noise.Type  
0–127  
Volume of the record noise  
Frequency of the hum noise  
50 Hz, 60 Hz  
Center frequency of the low pass  
filter applied to the hum noise  
(BYPASS: no cut)  
Hum.Noise.LPF  
200–8000 Hz, BYPASS  
Hum.Noise.Level.#  
Low.Gain  
0–127  
Volume of the hum noise  
Gain of the low range  
Gain of the high range  
-15–+15 dB  
-15–+15 dB  
High.Gain  
Volume balance between the  
direct sound (D) and the effect  
sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Output Level  
68  
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Parameter  
Level  
Value  
Explanation  
57: LOFI COMPRESS  
0–127  
Output Level  
This is an effect that intentionally degrades the sound quality for creative purposes.  
2-Band  
L in  
L out  
R out  
Compressor  
Compressor  
Lo-Fi  
Lo-Fi  
59: TELEPHONE  
EQ  
This effect produces a muffled sound, like that heard through a telephone.  
2-Band  
EQ  
R in  
L in  
L out  
R out  
Telephone  
Telephone  
Parameter  
Value  
Explanation  
R in  
Selects the type of filter applied to the sound before it  
passes through the Lo-Fi effect.  
Parameter  
Value  
Explanation  
Pre.Filter.Type  
LoFi.Type  
1
Compressor off  
Compressor on  
Audio quality of the telephone  
voice  
Voice.Quality.#  
Treble  
0–15  
2–6  
Bandwidth of the telephone  
voice  
Degrades the sound quality. The  
sound quality grows poorer as  
this value is increased.  
-15–+15 dB  
1–9  
Volume balance between the  
direct sound (D) and the effect  
sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Type of filter  
OFF  
No filter is used  
Output Level  
Cuts the frequency range above  
the Cutoff  
Post.Filter.Type  
LPF  
Cuts the frequency range below  
the Cutoff  
HPF  
60: PHONOGRAPH  
Post.Filter.Cutoff  
Low.Gain  
200–8000 Hz  
-15–+15 dB  
-15–+15 dB  
Basic frequency of the Post Filter  
Gain of the low range  
Simulates a sound recorded on an analog record and played back on a record player.  
This effect also simulates the various types of noise that are typical of a record, and  
even the rotational irregularities of an old turntable.  
High.Gain  
Gain of the high range  
Balance D  
Volume balance between the  
direct sound (D) and the effect  
sound (W)  
L in  
L out  
Balance.#  
Level.#  
D100:0W–D0:100W  
0–127  
Balance W  
Balance W  
Phonograph  
Phonograph  
Output Level  
R in  
R out  
58: LOFI RADIO  
Balance D  
In addition to a Lo-Fi effect, this effect also generates radio noise.  
Parameter  
Value  
Explanation  
2-Band  
Signal.Distortion  
0–127  
Depth of distortion  
L in  
L out  
R out  
EQ  
Frequency response of the  
playback system  
Decreasing this value will  
produce the impression of an old  
system with a poor frequency  
response.  
Lo-Fi  
Frequency.Range  
0–127  
Radio  
Lo-Fi  
Rotational speed of the turntable  
This will affect the frequency of  
the scratch noise.  
Disc.Type  
LP, EP, SP  
2-Band  
R in  
EQ  
Amount of noise due to scratches  
on the record  
Scratch.Noise.Level  
Dust.Noise.Level  
0–127  
0–127  
Parameter  
LoFi.Type  
Value  
Explanation  
Volume of noise due to dust on  
the record  
Degrades the sound quality. The  
sound quality grows poorer as  
this value is increased.  
1–9  
Hiss.Noise.Level  
0–127  
0–127  
Volume of continuous “hiss”  
Volume of overall noise  
Type of filter  
OFF  
Total.Noise.Level.#  
No filter is used  
Depth of long-cycle rotational  
irregularity  
Wow  
0–127  
0–127  
0–127  
0–127  
Cuts the frequency range above  
the Cutoff.  
Post.Filter.Type  
LPF  
Depth of short-cycle rotational  
irregularity  
Flutter  
Cuts the frequency range below  
the Cutoff.  
HPF  
Depth of indefinite-cycle  
rotational irregularity  
Random  
Post.Filter.Cutoff  
Radio.Detune.#  
200–8000 Hz  
Basic frequency of the Post Filter  
Depth of overall rotational  
irregularity  
Simulates the tuning noise of a  
radio. As this value is raised, the  
tuning drifts further.  
Total.Wow/Flutter.#  
0–127  
Volume balance between the  
direct sound (D) and the effect  
sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Radio.Noise.Level.#  
Low.Gain  
0–127  
Volume of the radio noise  
Gain of the low range  
Gain of the high range  
-15–+15 dB  
-15–+15 dB  
Output Level  
High.Gain  
Volume balance between the  
direct sound (D) and the effect  
sound (W)  
Balance.#  
D100:0W–D0:100W  
69  
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Parameter  
Low.Gain  
High.Gain  
Value  
Explanation  
61: PITCH SHIFTER  
A stereo pitch shifter.  
L in  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
Volume balance between the  
direct sound (D) and the pitch  
shifted sound (W)  
2-Band EQ  
L out  
R out  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Pitch Shifter  
Output Level  
Pitch Shifter  
R in  
2-Band EQ  
63: STEP PITCH SHIFTER  
Parameter  
Coarse.#1  
Value  
Explanation  
A pitch shifter in which the amount of pitch shift is varied by a 16-step sequence.  
Adjusts the pitch of the pitch  
shifted sound in semitone steps.  
-24–+12 semi  
2-Band  
L in  
L out  
EQ  
Adjusts the pitch of the pitch  
shifted sound in 2-cent steps.  
Fine.#1  
-100–+100 cent  
Step Pitch Shifter  
Step Pitch Shifter  
Adjusts the delay time from  
the direct sound until the pitch  
shifted sound is heard.  
Delay.Time  
0–1300 msec, note  
2-Band  
EQ  
R in  
R out  
Adjusts the proportion of the  
pitch shifted sound that is fed  
back into the effect. Negative (-)  
settings will invert the phase.  
Feedback.#  
-98–+98%  
Parameter  
Value  
Explanation  
Amount of pitch shift at each  
step (semitone units)  
Step.01-16  
Rate.#  
-24–+12 semi  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
Rate at which the 16-step  
sequence will cycle  
0.05–10.0 Hz, note  
Volume balance between the  
direct sound (D) and the pitch  
shifted sound (W)  
Speed at which the amount of  
pitch shift changes between  
steps  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Attack.#  
0–127  
Output Level  
Duration of the pitch shifted  
sound at each step  
Gate.Time.#  
Fine  
0–127  
Pitch shift adjustment for all  
steps (2-cent units)  
62: 2VOICE PITCH SHIFTER  
-100–+100 cent  
Shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters,  
and can add two pitch shifted sounds to the original sound.  
Delay time from the original  
sound until the pitch-shifted  
sound is heard  
Delay.Time  
Feedback.#  
0–1300 msec, note  
-98–+98%  
Balance D  
Proportion of the pitch-shifted  
sound that is to be returned to  
the input (negative values invert  
the phase)  
L in  
L out  
Balance W  
Level 1  
Pan 1 L  
Pan 1 R  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
2Voice Pitch Shifter  
Level 1  
Pan 2 L  
Balance W  
R out  
Pan 2 R  
Volume balance of the original  
sound (D) and pitch-shifted  
sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
R in  
Balance D  
Explanation  
Output Level  
Parameter  
Value  
MEMO  
Adjusts the pitch of Pitch Shift 1  
in semitone steps.  
Pitch1.Coarse.#1  
Pitch1.Fine.#1  
-24–+12 semi  
You can use multi-effect control to make the step sequence play again from  
the beginning (p. 46).  
Adjusts the pitch of Pitch Shift  
Pitch 1 in 2-cent steps.  
-100–+100 cent  
Adjusts the delay time from the  
direct sound until the Pitch Shift  
1 sound is heard.  
Pitch1.Delay  
0–1300 msec, note  
Adjusts the proportion of the  
pitch shifted sound that is fed  
back into the effect. Negative (-)  
settings will invert the phase.  
Pitch1.Feedback.#  
Pitch1.Pan.#  
-98–+98%  
L64–63R  
Stereo location of the Pitch Shift  
1 sound  
Pitch1.Level  
0–127  
Volume of the Pitch Shift1 sound  
Pitch2.Coarse.#2  
Pitch2.Fine.#2  
Pitch2.Delay  
-24–+12 semi  
-100–+100 cent  
0–1300 msec, note  
-98–+98%  
Settings of the Pitch Shift 2  
sound.  
The parameters are the same as  
for the Pitch Shift 1 sound.  
Pitch2.Feedback.#  
Pitch2.Pan.#  
L64–63R  
Pitch2.Level  
0–127  
70  
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Parameter  
Gate.Time  
Value  
Explanation  
64: REVERB  
Adjusts the time from when  
the reverb is heard until it  
disappears.  
Adds reverberation to the sound, simulating an acoustic space.  
5–500 msec  
2-Band  
EQ  
L in  
L out  
R out  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
Balance D  
Reverb  
Balance W  
Volume balance between the  
direct sound (D) and the reverb  
sound (W)  
Balance.#  
Level.#  
D100:0W–D0:100W  
0–127  
Balance W  
2-Band  
R in  
Output Level  
EQ  
Balance D  
Parameter  
Value  
Explanation  
66: OVERDRIVE g CHORUS  
Type of reverb  
ROOM1  
ROOM2  
Dense reverb with short decay  
Sparse reverb with short decay  
L out  
L in  
Balance D  
Chorus  
Balance W  
Reverb with greater late  
reverberation  
STAGE1  
STAGE2  
Type  
Overdrive  
Balance W  
R out  
Reverb with strong early  
reflections  
R in  
Parameter  
Balance D  
HALL1  
HALL2  
Reverb with clear reverberance  
Reverb with rich reverberance  
Value  
Explanation  
Adjusts the delay time from the  
direct sound until the reverb  
sound is heard.  
Degree of distortion  
Also changes the volume.  
Pre.Delay  
Time.#  
0.0–100 msec  
0–127  
Overdrive.Drive.#  
Overdrive.Pan.#  
0–127  
Stereo location of the overdrive  
sound  
Time length of reverberation  
L64–63R  
Adjusts the frequency above  
which the reverberant sound  
will be cut.  
As the frequency is set lower,  
more of the high frequencies  
will be cut, resulting in a softer  
and more muted reverberance. If  
you do not want to cut the high  
frequencies, set this parameter  
to BYPASS.  
Adjusts the delay time from the  
direct sound until the chorus  
sound is heard.  
Chorus.Pre.Delay  
0.0–100 msec  
Chorus.Rate.#  
Chorus.Depth  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
HF.Damp  
200–8000 Hz, BYPASS  
Adjusts the volume balance  
between the sound that is sent  
through the chorus (W) and the  
sound that is not sent through  
the chorus (D).  
Chorus.Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Low.Gain  
High.Gain  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
Output Level  
Volume balance between the  
direct sound (D) and the reverb  
sound (W)  
Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Output Level  
65: GATED REVERB  
This is a special type of reverb in which the reverberant sound is cut off before its  
natural length.  
2-Band  
L in  
L out  
EQ  
Balance D  
Reverb  
Balance W  
Balance W  
2-Band  
EQ  
R in  
R out  
Balance D  
Parameter  
Value  
Explanation  
Type of reverb  
NORMAL  
REVERSE  
Conventional gated reverb  
Backwards reverb  
Type  
The reverberant sound moves  
from right to left  
SWEEP1  
SWEEP2  
The reverberant sound moves  
from left to right  
Adjusts the delay time from the  
direct sound until the reverb  
sound is heard.  
Pre.Delay  
0.0–100 msec  
71  
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67: OVERDRIVEgFLANGER  
69: DISTORTION g CHORUS  
The parameters are essentially the same as in “66: OVERDRIVE g CHORUS,”with the  
Balance D  
exception of the following two.  
L out  
L in  
Overdrive Drive g Distortion Drive,  
Feedback  
Flanger  
Balance W  
Overdrive Pan g Distortion Pan  
Overdrive  
L out  
L in  
Balance W  
R out  
Balance D  
Chorus  
Balance W  
R in  
Distortion  
Balance D  
Balance W  
R out  
Parameter  
Value  
Explanation  
R in  
Balance D  
Degree of distortion  
Also changes the volume.  
Overdrive.Drive.#  
Overdrive.Pan.#  
0–127  
Stereo location of the overdrive  
sound  
L64–63R  
70: DISTORTION g FLANGER  
Adjusts the delay time from  
when the direct sound begins  
until the flanger sound is heard.  
The parameters are essentially the same as in “67: OVERDRIVE g FLANGER,”with the  
Flanger.Pre.Delay  
0.0–100 msec  
exception of the following two.  
Overdrive Drive g Distortion Drive,  
Flanger.Rate.#  
Flanger.Depth  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
Overdrive Pan g Distortion Pan  
Balance D  
Adjusts the proportion of the  
flanger sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
L out  
L in  
Feedback  
Flanger  
Flanger.Feedback.#  
-98–+98%  
Balance W  
Distortion  
Adjusts the volume balance  
between the sound that is sent  
through the flanger (W) and the  
sound that is not sent through  
the flanger (D).  
Balance W  
R out  
Flanger.Balance.#  
Level  
D100:0W–D0:100W  
0–127  
R in  
Balance D  
Output Level  
71: DISTORTION g DELAY  
The parameters are essentially the same as in “68: OVERDRIVE g DELAY,”with the  
68: OVERDRIVE g DELAY  
exception of the following two.  
Overdrive Drive g Distortion Drive,  
L out  
L in  
Overdrive Pan g Distortion Pan  
Balance D  
Balance W  
L out  
L in  
Overdrive  
Delay  
Balance D  
Delay  
Balance W  
Balance W  
R out  
Feedback  
Distortion  
R in  
Parameter  
Balance W  
R out  
Balance D  
Feedback  
Balance D  
R in  
Value  
Explanation  
Degree of distortion  
Also changes the volume.  
Overdrive.Drive.#  
Overdrive.Pan.#  
0–127  
Stereo location of the overdrive  
sound  
L64–63R  
Adjusts the delay time from  
the direct sound until the delay  
sound is heard.  
Delay.Time  
0–2600 msec, note  
-98–+98%  
Adjusts the proportion of the  
delay sound that is fed back into  
the effect. Negative (-) settings  
will invert the phase.  
Delay.Feedback.#  
Adjusts the frequency above  
which sound fed back to the  
effect will be cut. If you do not  
want to cut the high frequencies,  
set this parameter to BYPASS.  
Delay.HF.Damp  
200–8000 Hz, BYPASS  
Adjusts the volume balance  
between the sound that is sent  
through the delay (W) and the  
sound that is not sent through  
the delay (D).  
Delay.Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Output Level  
72  
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72: ENHANCER g CHORUS  
74: ENHANCER g DELAY  
L in  
L out  
L in  
L out  
Enhancer  
Enhancer  
Balance D  
Chorus  
Balance D  
Mix  
Mix  
Balance W  
Balance W  
Delay  
Feedback  
Balance D  
Balance W  
R out  
Balance W  
R out  
R in  
R in  
Enhancer  
Enhancer  
Balance D  
Mix  
Mix  
Parameter  
Value  
Explanation  
Parameter  
Value  
Explanation  
Enhancer.Sens.#  
Enhancer.Mix.#  
0–127  
Sensitivity of the enhancer  
Enhancer.Sens.#  
Enhancer.Mix.#  
0–127  
Sensitivity of the enhancer  
Level of the overtones generated  
by the enhancer  
Level of the overtones generated  
by the enhancer  
0–127  
0–127  
Adjusts the delay time from the  
direct sound until the chorus  
sound is heard.  
Adjusts the delay time from  
the direct sound until the delay  
sound is heard.  
Chorus.Pre.Delay  
0.0–100 msec  
Delay.Time  
0–2600 msec, note  
Chorus.Rate.#  
Chorus.Depth  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
Adjusts the proportion of the  
delay sound that is fed back into  
the effect. Negative (-) settings  
will invert the phase.  
Delay.Feedback.#  
-98–+98%  
Adjusts the volume balance  
between the sound that is sent  
through the chorus (W) and the  
sound that is not sent through  
the chorus (D).  
Adjusts the frequency above  
which sound fed back to the  
effect will be cut. If you do not  
want to cut the high frequencies,  
set this parameter to BYPASS.  
Chorus.Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Delay.HF.Damp  
200–8000 Hz, BYPASS  
Output Level  
Adjusts the volume balance  
between the sound that is sent  
through the delay (W) and the  
sound that is not sent through  
the delay (D).  
Delay.Balance.#  
Level  
D100:0W–D0:100W  
0–127  
73: ENHANCER g FLANGER  
Balance D  
Output Level  
L in  
L out  
Enhancer  
Mix  
Feedback  
Flanger  
Balance W  
75: CHORUS g DELAY  
Balance W  
R out  
Balance D  
R in  
Enhancer  
L in  
L out  
Balance D  
Mix  
Balance D  
Balance W  
Balance W  
Parameter  
Value  
Explanation  
Chorus  
Delay  
Feedback  
Balance D  
Enhancer.Sens.#  
Enhancer.Mix.#  
0–127  
Sensitivity of the enhancer  
Balance W  
R out  
Balance W  
Level of the overtones generated  
by the enhancer  
0–127  
R in  
Parameter  
Balance D  
Adjusts the delay time from  
when the direct sound begins  
until the flanger sound is heard.  
Flanger.Pre.Delay  
0.0–100 msec  
Value  
Explanation  
Adjusts the delay time from the  
direct sound until the chorus  
sound is heard.  
Flanger.Rate.#  
Flanger.Depth  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
Chorus.Pre.Delay  
0.0–100 msec  
Chorus.Rate.#  
Chorus.Depth  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
Adjusts the proportion of the  
flanger sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
Flanger.Feedback.#  
-98–+98%  
Volume balance between the  
direct sound (D) and the chorus  
sound (W)  
Chorus.Balance.#  
Delay.Time  
D100:0W–D0:100W  
0–2600 msec, note  
Adjusts the volume balance  
between the sound that is sent  
through the flanger (W) and the  
sound that is not sent through  
the flanger (D).  
Adjusts the delay time from  
the direct sound until the delay  
sound is heard.  
Flanger.Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Adjusts the proportion of the  
delay sound that is fed back into  
the effect. Negative (-) settings  
will invert the phase.  
Output Level  
Delay.Feedback.#  
Delay.HF.Damp  
-98–+98%  
Adjusts the frequency above  
which sound fed back to the  
effect will be cut. If you do not  
want to cut the high frequencies,  
set this parameter to BYPASS.  
200–8000 Hz, BYPASS  
Adjusts the volume balance  
between the sound that is sent  
through the delay (W) and the  
sound that is not sent through  
the delay (D).  
Delay.Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Output Level  
73  
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76: FLANGER g DELAY  
77: CHORUS g FLANGER  
Balance D  
Balance D  
Balance D  
L in  
L out  
L in  
L out  
Balance D  
Feedback  
Flanger  
Feedback  
Flanger  
Balance W  
Balance W  
Balance W  
Balance W  
Balance W  
Chorus  
Delay  
Feedback  
Balance D  
Balance W  
R out  
Balance W  
R out  
Balance W  
R in  
R in  
Parameter  
Balance D  
Balance D  
Balance D  
Parameter  
Value  
Explanation  
Value  
Explanation  
Adjusts the delay time from the  
direct sound until the chorus  
sound is heard.  
Adjusts the delay time from  
when the direct sound begins  
until the flanger sound is heard.  
Chorus.Pre.Delay  
0.0–100 msec  
Flanger.Pre.Delay  
0.0–100 msec  
Modulation frequency of the  
chorus effect  
Flanger.Rate.#  
Flanger.Depth  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
Chorus.Rate.#  
Chorus.Depth  
0.05–10.00 Hz, note  
0–127  
Modulation depth of the chorus  
effect  
Adjusts the proportion of the  
flanger sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
Flanger.Feedback.#  
-98–+98%  
Volume balance between the  
direct sound (D) and the chorus  
sound (W)  
Chorus.Balance.#  
Flanger.Pre.Delay  
D100:0W–D0:100W  
0.0–100 msec  
Volume balance between the  
direct sound (D) and the flanger  
sound (W)  
Adjusts the delay time from  
when the direct sound begins  
until the flanger sound is heard.  
Flanger.Balance.#  
Delay.Time  
D100:0W–D0:100W  
0–2600 msec, note  
Adjusts the delay time from  
the direct sound until the delay  
sound is heard.  
Modulation frequency of the  
flanger effect  
Flanger.Rate.#  
Flanger.Depth  
0.05–10.00 Hz, note  
0–127  
Modulation depth of the flanger  
effect  
Adjusts the proportion of the  
delay sound that is fed back into  
the effect. Negative (-) settings  
will invert the phase.  
Delay.Feedback.#  
Delay.HF.Damp  
-98–+98%  
Adjusts the proportion of the  
flanger sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
Flanger.Feedback.#  
-98–+98%  
Adjusts the frequency above  
which sound fed back to the  
effect will be cut. If you do not  
want to cut the high frequencies,  
set this parameter to BYPASS.  
200–8000 Hz, BYPASS  
Adjusts the volume balance  
between the sound that is sent  
through the flanger (W) and the  
sound that is not sent through  
the flanger (D).  
Flanger.Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Adjusts the volume balance  
between the sound that is sent  
through the delay (W) and the  
sound that is not sent through  
the delay (D).  
Delay.Balance.#  
Level  
D100:0W–D0:100W  
0–127  
Output Level  
Output Level  
74  
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78: SYMPATHETIC RESONANCE  
79: VOCODER  
On an acoustic piano, holding down the damper pedal allows other strings to resonate  
in sympathy with the notes you play, creating rich and spacious resonances. This effect  
simulates these sympathetic resonances.  
Mic Mix  
L out  
R out  
MIC  
Mic Sens  
INPUT  
Vocoder  
3-Band  
L in  
L out  
Level  
EQ  
L in  
Synth Level  
R in  
Sym. Resonance  
Parameter  
Mic.Sens.#  
Synth.Level.#  
Value  
Explanation  
3-Band  
EQ  
R in  
R out  
Input sensitivity of the  
microphone  
0–127  
0–127  
Parameter  
Value  
Explanation  
Input level of the instrument  
Depth.#  
0–127  
Depth of the effect  
Amount of microphone audio  
added to the output of the  
vocoder  
Mic.Mix.#  
Level  
0–127  
0–127  
Depth to which the damper  
pedal is pressed (controls the  
resonant sound)  
Damper.#  
0–127  
Volume level after passing  
through the vocoder  
Frequency of the filter that cuts  
the high-frequency content of  
the input sound (BYPASS: no cut)  
Pre.LPF  
16–15000 Hz, BYPASS  
Frequency of the filter that cuts  
the low-frequency content of the  
input sound (BYPASS: no cut)  
Pre.HPF  
BYPASS, 16–15000 Hz  
200–8000 Hz  
Frequency of the filter that  
boosts/ cuts a specific frequency  
region of the input sound  
Peaking.Freq  
Amount of boost/cut produced  
by the filter at the specified  
frequency region of the input  
sound  
Peaking.Gain  
Peaking.Q  
HF.Damp  
LF.Damp  
Lid  
-15–+15 dB  
Width of the frequency region  
boosted/cut by the ’Peaking  
Gain’parameter (larger values  
make the region narrower)  
0.5, 1.0, 2.0, 4.0, 8.0  
16–15000 Hz, BYPASS  
BYPASS, 16–15000 Hz  
1–6  
Frequency at which the  
high-frequency content of the  
resonant sound will be cut  
(BYPASS: no cut)  
Frequency at which the  
low-frequency content of the  
resonant sound will be cut  
(BYPASS: no cut)  
This simulates the actual changes  
in sound that occur when the  
lid of a grand piano is set at  
different heights.  
EQ.Low.Freq  
EQ.Low.Gain  
EQ.Mid.Freq  
EQ.Mid.Gain  
200, 400 Hz  
-15–+15 dB  
200–8000 Hz  
-15–+15 dB  
Frequency of the low-range EQ  
Amount of low-range boost/cut  
Frequency of the midrange EQ  
Amount of midrange boost/cut  
Width of midrange (larger values  
make the region narrower)  
EQ.Mid.Q  
0.5, 1.0, 2.0, 4.0, 8.0  
EQ.High.Freq  
EQ.High.Gain  
Level  
2000, 4000, 8000 Hz  
-15–+15 dB  
0–127  
Frequency of the high-range EQ  
Amount of high-range boost/cut  
Output Level  
75  
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NOTE  
Chorus Parameters  
If you specify the delay time as a note value, slowing down the tempo will  
not change the delay time beyond a certain length. This is because there is  
an upper limit for the delay time; if the delay time is specified as a note value  
and you slow down the tempo until this upper limit is reached, the delay time  
cannot change any further. This upper limit is the maximum value that can be  
specified when setting the delay time as a numerical value.  
The JUNO-Gi’s Chorus effect unit can also be used as a stereo delay unit.  
These settings allow you to select chorus or delay, and the characteristics of the  
selected effect type.  
Parameter  
Value  
Explanation  
Selects either Chorus or Delay.  
note:  
00: OFF  
Neither Chorus or Delay is used.  
Sixty-fourth-note  
triplet  
Sixteenth-note  
triplet  
Sixty-fourth  
note  
Dotted thirty-  
second note  
Thirty-second-  
note triplet  
Sixteenth note  
Thirty-second  
note  
Eighth-note  
triplet  
Chorus.Type  
01: CHORUS  
02: DELAY  
03: GM2 CHORUS  
0–127  
Chorus is used.  
Delay is used.  
GM2 Chorus is used.  
Volume of the chorus sound  
Dotted sixteenth  
note  
Quarter note  
Eighth note  
Quarter-note  
triplet  
Dotted quarter  
note  
Dotted eighth  
note  
Half note  
Chorus.Level  
01:.CHORUS  
Half-note triplet  
Dotted half note  
Whole-note  
triplet  
Whole note  
Double-note  
triplet  
Type of filter  
OFF  
No filter is used.  
Dotted whole  
note  
Double note  
Cuts the frequency range above  
the Cutoff Freq  
Filter.Type  
LPF  
Cuts the frequency range below  
the Cutoff Freq  
HPF  
Cutoff.Freq  
Pre.Delay  
200–8000 Hz  
Basic frequency of the filter  
Adjusts the delay time from the  
direct sound until the chorus  
sound is heard.  
0.0–100 msec  
Rate  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
Depth  
Phase  
0–180 deg  
Spatial spread of the sound  
Adjusts the amount of the chorus  
sound that is fed back into the  
effect.  
Feedback  
0–127  
02:.DELAY  
Delay.Left  
Adjusts the delay time from  
the direct sound until the delay  
sound is heard.  
Delay.Right  
Delay.Center  
0–1000 msec, note  
-98–+98%  
Adjusts the proportion of the  
delay sound that is fed back into  
the effect. Negative (-) settings  
will invert the phase.  
Center.Feedback  
Adjusts the frequency above  
which sound fed back to the  
effect will be cut. If you do not  
want to cut the high frequencies,  
set this parameter to BYPASS.  
HF.Damp  
200–8000 Hz, BYPASS  
0–127  
Left.Level  
Right.Level.  
Center.Level  
03:.GM2.CHORUS  
Volume of each delay sound  
Cuts the high frequency range  
of the sound coming into the  
chorus.  
Pre-LPF  
0–7  
Higher values will cut more of  
the high frequencies.  
Level  
0–127  
0–127  
Volume of the chorus sound  
Adjusts the amount of the chorus  
sound that is fed back into the  
effect.  
Feedback  
Adjusts the delay time from the  
direct sound until the chorus  
sound is heard.  
Delay  
0–127  
Rate  
0–127  
0–127  
Frequency of modulation  
Depth of modulation  
Depth  
Adjusts the amount of chorus  
sound that will be sent to the  
reverb.  
Send.Level.to.Reverb 0–127  
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Parameter  
Value  
Explanation  
Reverb Parameters  
Adjusts the frequency below  
which the low-frequency content  
of the reverb sound will be  
reduced, or “damped.”  
These settings allow you to select the desired type of reverb, and its characteristics.  
LF.Damp.Freq  
50–4000 Hz  
Parameter  
Value  
Explanation  
Type of reverb  
00: OFF  
Adjusts the amount of damping  
applied to the frequency range  
selected with LF Damp. With  
a setting of “0,”there will be  
no reduction of the reverb’s  
low-frequency content.  
Reverb will not be used  
Basic reverb  
LF.Damp.Gain  
HF.Damp.Freq  
HF.Damp.Gain  
-36–0 dB  
01: REVERB  
Reverb that simulates the  
reverberation of a room  
02: SRV ROOM  
03: SRV HALL  
Reverb.Type  
Adjusts the frequency above  
which the high-frequency  
content of the reverb sound will  
be reduced, or “damped.”  
Reverb that simulates the  
reverberation of a hall  
4000–12500 Hz  
-36–0 dB  
Simulation of a plate echo (a  
reverb device that uses a metal  
plate)  
04: SRV PLATE  
Adjusts the amount of damping  
applied to the frequency range  
selected with HF Damp. With  
a setting of “0,”there will be  
no reduction of the reverb’s  
high-frequency content.  
05: GM2 REVERB  
0–127  
GM2 reverb  
Reverb.Level  
01:.REVERB  
Volume of the reverb sound  
Type of reverb/delay  
ROOM1  
05:.GM2.REVERB  
Character  
Short reverb with high density  
Short reverb with low density  
Type of reverb  
ROOM2  
0–5  
6, 7  
Reverb  
Delay  
Reverb with greater late  
reverberation  
STAGE1  
STAGE2  
Cuts the high frequency range  
of the sound coming into the  
reverb.  
Reverb with strong early  
reflections  
Type  
Pre-LPF  
0–7  
Higher values will cut more of  
the high frequencies.  
HALL1  
HALL2  
DELAY  
Very clear-sounding reverb  
Rich reverb  
Level  
Time  
0–127  
0–127  
Output level of reverberation  
Time length of reverberation  
Conventional delay effect  
Delay effect with echoes that pan  
left and right  
PAN-DELAY  
Adjusts the amount of the delay  
sound that is fed back into the  
effect when the Character setting  
is 6 or 7.  
Delay.Feedback  
0–127  
Time length of reverberation  
(Type: ROOM1–HALL2)  
Delay time  
Time  
0–127  
(Type: DELAY, PAN-DELAY)  
Adjusts the frequency above  
which the high-frequency  
content of the reverb sound will  
be cut, or “damped.”If you do not  
want to cut the high frequencies,  
set this parameter to BYPASS.  
HF.Damp  
200–8000 Hz, BYPASS  
Adjusts the amount of delay  
feedback when the Type setting  
is DELAY or PAN-DELAY. Amount  
of delay sound returned to the  
input (this setting is valid only if  
Type is DELAY or PAN-DELAY)  
Delay.Feedback  
0–127  
02:.SRV.ROOM.  
03:.SRV.HALL.  
04:.SRV.PLATE  
Adjusts the delay time from the  
direct sound until the reverb  
sound is heard.  
Pre.Delay  
0.0–100 msec  
Time  
Size  
0–127  
1–8  
Time length of reverberation  
Size of the simulated room or hall  
Adjusts the frequency above  
which the high-frequency  
content of the reverb will be  
reduced. If you do not want to  
reduce the high frequencies, set  
this parameter to BYPASS.  
160–12500 Hz,  
BYPASS  
High.Cut  
Density  
0–127  
0–127  
Density of reverb  
Adjusts the change in the  
density of the reverb over time.  
The higher the value, the more  
the density increases with time.  
(The effect of this setting is most  
pronounced with long reverb  
times.)  
Diffusion  
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Synthesizer 4 (Other Settings)  
Utility (UTILITY)  
The Utility menu lets you back up your data and format a card.  
Restoring JUNO-Gi Settings from SD  
Card (User Restore)  
Displaying the UTILITY MENU  
1. Press.the.[MENU].button  
Here’s how to restore backed-up user data from SD card into the  
JUNO-Gi.  
2. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.  
“5 .Utility,”.and.press.the.[ENTER].button  
All user data will be rewritten when you execute the User Restore  
operation. If the JUNO-Gi contains important data that you want to  
keep, you must save it to a separate SD card device before you execute  
User Restore.  
The UTILITY MENU screen will appear.  
1. In.the.UTILITY.MENU.screen,.use.the.cursor.buttons.to.select.  
“User.Restore,”.and.press.the.[ENTER].button  
The following screen will appear.  
Item  
Explanation  
User.Backup  
Backs up user data to an SD card.  
Returns backed-up data from an SD card into  
the JUNO-Gi (Restore).  
User.Restore  
Factory.Reset  
Returns all of the JUNO-Gi’s settings to their  
factory-set state.  
2. Press.the.[5].(EXEC).button  
To cancel, press the [6] (CANCEL) button.  
USB.Mem.Format  
SD.Card.Format  
Formats (initializes) the USB memory.  
Formats (initializes) the SD card.  
When the restore operation has been completed, the following screen  
will appear.  
3. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.the.item,.  
and.press.the.[ENTER].button  
Backing Up JUNO-Gi Settings to SD  
Card (User Backup)  
3. Turn.the.power.of.the.JUNO-Gi.off.,.then.on.again  
Here’s how to back up user data to SD card.  
1. In.the.UTILITY.MENU.screen,.use.the.cursor.buttons.to.select.  
“User.Backup,”.and.press.the.[ENTER].button  
Returning to the Factory Settings  
(Factory Reset)  
The following screen will appear.  
You can return all of the JUNO-Gi’s settings to the state they were in  
when the instrument was shipped from the factory. This operation is  
called “Factory Reset.”  
NOTE  
If the JUNO-Gi’s internal memory contains important data that  
you’ve created, be aware that all of this user data will be lost when  
you execute the factory reset operation. If you want to keep this  
data, save it to SD card before you continue.  
2. Press.the.[5].(EXEC).button  
To cancel, press the [6] (CANCEL) button.  
When the backup has been completed, you will return to the UTILITY  
MENU screen.  
1. In.the.UTILITY.MENU.screen,.use.the.cursor.buttons.to.select.  
“Factory.Reset,”.and.press.the.[ENTER].button  
A confirmation message will appear.  
Types of Data that can be backed up  
2. To.execute.the.factory.reset,.press.the.[5].(EXEC).button  
To cancel, press the [6] (CANCEL) button.  
When you back up settings from the JUNO-Gi to SD card, the  
following settings are backed up.  
When the factory reset has been completed, the following screen will  
appear.  
•
•
•
•
•
User live sets  
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. Turn.the.power.of.the.JUNO-Gi.off.,.then.on.again  
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Backing Up SD Card Data to Your  
Computer  
Formatting USB Memory  
(USB Memory Format)  
Here’s how to back up SD card data to your computer.  
You can initialize (format) USB memory.  
If the USB memory contains important data that you’ve created, be  
aware that all of this data will be lost when you execute this operation.  
NOTE  
In order to perform this procedure, you’ll need a computer  
and a commercially available SD card reader.  
1. In.the.UTILITY.MENU.screen,.use.the.cursor.buttons.to.select.  
“USB.Mem.Format,”.and.press.the.[ENTER].button  
1. Switch.off..the.JUNO-Gi’s.power  
A confirmation message will appear.  
2. Remove.the.SD.card.from.the.JUNO-Gi,.and.use.a.  
commercially.available.SD.card.reader.to.open.the.SD.  
card.on.your.computer  
MEMO  
The JUNO-Gi’s SD card slot is covered by an SD card  
protector, which is fastened by screws. To remove the card,  
remove the screws as described in “About SD Cards”(p. 15).  
3. Copy.(drag.and.drop).the.entire.“ROLAND”.folder.from.  
2. To.execute.the.format.operation,.press.the.[5].(EXEC).button  
the.SD.card.onto.your.computer  
To cancel, press the [6] (CANCEL) button.  
NOTE  
You must copy the entire “ROLAND”folder. Copying just part  
of the files of the “ROLAND”folder will not create a correct  
backup.  
Formatting SD Card  
(SD Card Format)  
4. When.copying.is.completed,.unmount.(disconnect).the.  
SD.card.from.the.computer,.and.then.remove.the.SD.  
card.from.the.SD.card.reader  
You can initialize (format) SD card.  
Windows 7/Vista/XP users:  
NOTE  
In My Computer (or Computer), right-click the “removable  
disk”icon, and choose “Eject.”  
• Do not format the SD card that is included with the JUNO-Gi  
Formatting the SD card included with the JUNO-Gi will erase all  
of the demo song data on the card.  
Mac OSX users:  
• Back up to your computer before you format  
Drag the SD card icon to the Trash.  
Formatting will erase all of the data. If the SD card contains  
important data, you should first back it up as described in  
“Backing up SD card data to your computer.”  
Restoring Backed Up Data to an SD Card  
1. Use.a.commercially.available.SD.card.reader.to.open.the.  
SD.card.on.your.computer  
1. In.the.UTILITY.MENU.screen,.use.the.cursor.buttons.to.select.  
2. Copy.(drag.and.drop).the.entire.backed.up.“ROLAND”.  
“SD.Card.Format,”.and.press.the.[ENTER].button  
folder.from.your.computer.to.the.SD.card  
A confirmation message will appear.  
NOTE  
• When you copy the backed up data to the SD card, all data  
that was previously on the SD card will be lost.  
• You must copy the entire “ROLAND”folder. The system will  
not operate correctly if you copy only some of the files in the  
“ROLAND”folder.  
3. Remove.the.SD.card.from.the.SD.card.reader.as.  
described.in.step.4.of.“Backing.up.SD.card.data.to.your.  
computer ”  
2. To.execute.the.format.operation,.press.the.[5].(EXEC).button  
To cancel, press the [6] (CANCEL) button.  
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System Settings (SYSTEM)  
Here you can make “System settings”that affect the operation of the  
entire JUNO-Gi, such as the tuning and how MIDI messages will be  
received.  
Parameter  
Value  
Explanation  
USB.Audio  
Volume of the USB audio from the computer  
connected to the USB COMPUTER connector  
USB.Audio.Level  
0–127  
Making System Settings  
Selects the USB audio that will be sent to the computer when  
connected via USB  
1. Press.the.[MENU].button  
MIX  
The output of the JUNO-Gi’s OUTPUT jacks  
The sound selected by AUDIO INPUT (p. 93)  
2. Use.the.VALUE.dial.or.the.cursor.buttons.to.select..  
INPUT  
USB.Audio.To.  
Computer  
“4 .System,”.and.press.the.[ENTER].button  
The sound selected by AUDIO INPUT (p. 93),  
processed by the insert effect  
The System Menu screen will appear.  
INPUT FX  
* The.effect.will.not.be.applied.  
unless.the.insert.effect’s.LOCATION.  
(p .108).is.set.to.INPUT  
3. Press.one.of.the.function.buttons.to.select.the.setting.that.  
you.want.to.edit  
Button  
Explanation  
Page  
p. 80  
p. 81  
p. 82  
p. 83  
p. 83  
p. 84  
Center.Cancel  
OFF, ON  
MID-HI  
Switch of the Center Cancel (p. 129)  
[1].(GENERAL).  
[2].(KBD/CTRL).  
[3].(MIDI/SYNC).  
Settings for the entire JUNO-Gi  
Keyboard and pedal settings  
MIDI and synchronization settings  
Mid-frequency and high-frequency sounds  
localized in the center will be eliminated.  
Center.Cancel.  
Type  
Low-frequency sounds localized in the  
center will be eliminated.  
LOW  
ALL  
[4].(CLICK/PLAYER). USB Memory Song Player and click settings  
[5].(D.BEAM). D Beam controller settings  
[6].(INFORMATION). Version information  
All sounds localized in the center will be  
eliminated.  
[2] (SOUND)  
If necessary, press a function button again to access the desired setting  
screen.  
Parameter  
Value  
Explanation  
4. Use.the.cursor.buttons.to.select.to.the.parameter.that.you.  
Sound.Generator  
want.to.set  
415.3–  
466.2Hz  
Overall tuning of the JUNO-Gi (the frequency  
of the A4 note).  
Master.Tune  
5. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.set.the.  
value  
Shifts the overall pitch of the JUNO-Gi in  
semitone steps.  
Master.Key.Shift  
Keyboard.Level  
-24–+24  
0–127  
Volume of the entire live set.  
Saving the System Settings (WRITE)  
Output gain from the live set’s Output. When,  
for example, there are relatively few voices  
being sounded, boosting the output gain can  
let you attain the most suitable output level  
for recording and other purposes.  
Changes you’ve made to the system settings will return to their  
original state when you turn off the power. If you want to keep the  
changes you’ve made, you must save them as follows.  
Keyboard.Output.  
Gain  
-12–+12dB  
1. Access.a.system.function.setting.screen  
Preview  
2. Press.the.[6].(WRITE).button  
The notes specified by Preview 1–4 Note  
Number will sound successively one by one.  
SINGLE  
CHORD  
“System Write Completed!”massage will appear, and the settings will  
be saved.  
The notes specified by Preview 1–4 Note  
Number will sound simultaneously.  
Preview.Mode  
When the settings have been saved, you will return to the previous  
screen.  
The phrase specified by the Live Set’s  
“Preview Type”(p. 38) and “Preview Phrase”(p.  
38) will sound.  
PHRASE  
System Parameters  
Specify the pitch of the four notes that will  
sound when the Preview Mode is set to  
“SINGLE”or “CHORD.”  
This section explains what the different System parameters do, and  
also how these parameters are organized.  
Preview.1–4.Note.  
Number  
C-–G9  
* If.“PHRASE”.is.selected.for.the.Preview.  
Mode.parameter,.these.settings.will.have.  
no.effect  
System Menu [1] (GENERAL)  
[1] (COMMON)  
Specify the velocity of the four notes that  
will sound when the Preview Mode is set to  
“SINGLE”or “CHORD.”  
Preview.1–4.  
Velocity  
OFF,  
1–127  
* If.“PHRASE”.is.selected.for.the.Preview.  
Mode.parameter,.these.settings.will.have.  
no.effect  
Parameter  
Value  
Explanation  
Specifies the time after which the power will  
automatically turn off if no operation has  
been performed.  
Scale.Tune  
OFF,  
5–240min  
Turn this on when you wish to use a tuning  
scale other than equal temperament.  
*
When.the.power.turns.off,.any.unsaved.  
modifications.that.you’ve.made.in.the.settings.  
will.be.lost .If.you.want.to.keep.the.setting.  
changes.you’ve.made,.make.sure.to.save.them.  
beforehand  
Auto.Power.Off  
Scale.Tune.Switch  
OFF, ON  
These templates make the settings for Scale Tune C–B in one  
operation.  
USER  
User setting  
Specifies the time after which the backlight  
will be turned off to save power if no  
operation has been performed.  
OFF,  
1–60min  
Scale.Tune.Type  
Power.Save.Mode  
EQUAL  
JUST  
Equal temperament template  
Just intonation template  
Arabian scale template  
The Live Set group first loaded when the power is turned on  
ARABIC  
USER  
User live set  
Power.Up.Group  
Master.Level  
Specifies the scale tonic when Scale Tune  
Type is JUST or ARABIC.  
Scale.Tune.Key  
C–B  
PRESET  
SPECIAL  
0–127  
Preset Live Set  
Special Live Set  
Specifies the pitch adjustment for each note  
of the scale.  
Scale.Tune.for.C–B -64–+63  
Volume of the entire JUNO-Gi  
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Parameter  
Value  
Explanation  
This sets the keyboard to a light touch. You  
can achieve fortissimo (ff) play with a less  
forceful touch than MEDIUM setting, so the  
keyboard feels lighter. This setting makes it  
easier for children, whose hands have less  
strength.  
Equal temperament  
This divides the octave into twelve equal intervals, and is the  
most widely used type of tuning, particular in Western music.  
LIGHT  
Just intonation (tonic of C)  
.Keyboard.Velocity.  
Curve  
MEDIUM  
HEAVY  
This sets the keyboard to the standard touch.  
Compared to equal temperament, the principal triads have a  
more pure sound in just intonation. However, this is the case  
only in one key, and triads will sound ambiguous if you play in  
a different key.  
This sets the keyboard to a heavy touch. You  
have to play the keyboard more force-  
fully than MEDIUM setting in order to play  
fortissimo (ff), so the keyboard touch feels  
heavier. This setting allows you to add more  
expression when playing dynamically.  
Arabian scale  
Compared to equal temperament, this scale pitches the E and  
B notes a quarter-tone lower, and the C#, F#, and G# notes  
a quarter-tone higher. There is a natural third (an interval  
between a major third and a minor third) between G and B, C  
and E, F and G#, Bb and C#, and Eb and F#.  
Makes fine adjustments to the keyboard  
sensitivity following the “Velo Curve”  
selection. Higher settings for this value will  
increase the velocity value that is transmitted  
according to your playing strength.  
.Keyboard.Velocity.  
Sens  
-63–+63  
Example: Tonic of C  
[2] (PEDAL)  
If you want to use Just intonation with a tonic of C, or an  
Arabian scale, set the “Scale Tune Switch”to “ON,”and set “Patch  
Scale Tune for C–B”as shown in the table.  
Parameter  
Value  
Explanation  
Pedal  
Function of the pedal connected to the PEDAL CONTROL jack  
Equal.  
Just.  
Note.name  
Arabian.scale  
CC01–31, 33–95  
Controller numbers 1–31, 33–95  
temperament intonation  
The pitch will rise in semitone steps  
(maximum 4 octaves) each time you press  
the pedal.  
C
C#  
D
Eb  
E
F
F#  
G
G#  
A
Bb  
B
0
0
0
0
0
0
0
0
0
0
0
0
0
-8  
-6  
+45  
-2  
-12  
-51  
-8  
+43  
-4  
+47  
0
-10  
-49  
BEND UP  
+4  
+16  
-14  
-2  
-10  
+2  
+14  
-16  
+14  
-12  
The pitch will fall in semitone steps  
(maximum 4 octaves) each time you press  
the pedal.  
BEND DOWN  
AFTERTOUCH  
OCT UP  
Aftertouch  
Each pedal press raises the key range in  
octave steps (up to 3 octaves higher).  
Each pedal press lowers the key range in  
octave steps (up to 3 octaves lower).  
OCT DOWN  
USB SONG START The USB memory song player will start/stop.  
RECORDER START The digital recorder will start/stop.  
RECORDER  
REC  
The same operation as the Digital Recorder’s  
[l] (REC) button.  
[3] (MST EQ)  
.Control.Pedal.  
Assign  
Tap tempo (a keyboard tempo specified by  
the interval at which you press the pedal).  
Parameter  
Value  
Explanation  
TAP TEMPO  
.On/Off.  
OFF, ON  
Switch of the master equalizer (EQ)  
PROGRAM UP  
Select the next-numbered live set  
Low  
PROGRAM DOWN Select the previous-numbered live set  
.Low.Gain  
.Low.Freq  
Mid  
-15–+15dB  
Gain of the low range  
The favorite of the next number or bank will  
FAVORITE UP  
be selected.  
40Hz–1.6kHz  
Frequency of the low range  
The favorite of the previous number or bank  
FAVORITE DOWN  
will be selected.  
.Mid.Gain  
.Mid.Freq  
-15–+15dB  
Gain of the middle range  
ARP SW  
Arpeggio/Rhythm Pattern function on/off  
Chord memory function on/off  
20Hz–10kHz  
Frequency of the middle range  
CHORD SW  
Width of the middle range  
Set a higher value for Q to narrow the  
range to be affected.  
.Mid.Q  
0.5–16  
Controlsthevolumeoftheinserteffect(p.106).  
WhenWAH (p. 113) is selected and Mode is set  
to “MANUAL,”the pedal will control the wah.  
High  
INSERT FX CTRL  
WhenROTARY(p.114)isselected,thepedalwill  
switch the speaker’s rotation speed (Speed  
Select).  
.High.Gain  
.High.Freq  
-15–+15dB  
Gain of the high range  
400Hz–16kHz  
Frequency of the high range  
.Control.Pedal.  
Polarity  
Selects the polarity of the pedal connected  
to the PEDAL CONTROL jack or to the PEDAL  
HOLD jack.  
System Menu [2] (KBD/CTRL)  
[1] (KBD)  
On some pedals, the electrical signal output  
by the pedal when it is pressed or released  
is the opposite of other pedals. If your pedal  
has an effect opposite of what you expect,  
set this parameter to “REVERSE.”If you are  
using a Roland pedal (that has no polarity  
switch), set this parameter to “STANDARD.”  
STANDARD,  
REVERSE  
.Hold.Pedal.  
Polarity  
Parameter  
Value  
Explanation  
Keyboard  
Velocity value that will be transmitted when you play the  
keyboard  
.Velocity  
REAL  
Actual keyboard velocity will be transmitted.  
A fixed velocity value will be transmitted  
regardless of how you play.  
1–127  
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Parameter  
Value  
Explanation  
Determines whether the HOLD PEDAL jack  
will provide support for half-pedaling (ON),  
or not (OFF). When this is set to support  
use of half-pedaling techniques, you can  
then connect an optional expression pedal  
(DP-10, etc.), and employ pedal work to  
achieve even finer control in performances  
in which piano tones are used.  
Using the Local Switch  
When you’re using the JUNO-Gi with external sequencer software, leave the  
Local Switch turned off. Read the following for details.  
.Continuous.  
Hold  
OFF, ON  
Typically, things are hooked up so the data travels as follows: the JUNO-Gi’s  
keyboard g your external sequencer software g the JUNO-Gi’s sound  
generator. Normally, the JUNO-Gi’s keyboard section is internally connected to  
its sound generator section; this internal connection is controlled by the Local  
Switch. If you turn the Local Switch off, the JUNO-Gi’s keyboard and sound  
generator sections will be independent, allowing you to use the connection  
described with your external sequencer software.  
[3] (CTRL)  
Parameter  
Value  
Explanation  
Connecting the JUNO-Gi to an external sequencer  
Selects the MIDI message used as the System Control.  
Local Off  
JUNO-Gi  
Sound Generator  
JUNO-Gi Keyboard  
OFF  
The system control knob will not be used.  
Controller numbers 1–95  
Pitch Bend  
.Sys.Ctrl.1–4.  
Source  
CC01–31, 33–95  
PITCH BEND  
AFTERTOUCH  
Aftertouch  
(External) Sequencer  
“Sys Ctrl 1–4 Source”settings will be used  
for tone control.  
SYSTEM  
LIVE SET  
.Source.Select  
“Tone Ctrl 1–4 Source”(p. 38) settings of each  
Live Set will be used for tone control.  
[2] (TX)  
System Menu [3] (MIDI/SYNC)  
[1] (GENERL)  
Parameter  
Value  
Explanation  
.Transmit.  
Program.Change  
Specifies whether Program Change messages  
will be transmitted (ON) or not (OFF).  
OFF, ON  
.Transmit.Bank.  
Select  
Specifies whether Bank Select messages will  
be transmitted (ON) or not (OFF).  
OFF, ON  
OFF, ON  
Parameter  
Value  
Explanation  
.Transmit.Active.  
Sensing  
Specifies whether Active Sensing messages  
will be transmitted (ON) or not (OFF).  
Determines whether the internal sound generator  
is disconnected (OFF) from the controller section  
(keyboard, pitch bend/modulation lever, knobs,  
buttons, D Beam controller, pedal, and so on); or not  
disconnected (ON).  
Specify whether changes you make in the  
settings of a patch, performance will be  
transmitted as system exclusive messages  
(ON), or will not be transmitted (OFF).  
.Transmit.Edit.  
Data  
.Local.Switch  
OFF, ON  
OFF, ON  
OFF, ON  
Normally this is left “ON,”but if you wish to use the  
JUNO-Gi’s keyboard and controllers to control only  
external sound modules, set it to “OFF.”  
Thru function re-transmits all messages  
received at the MIDI IN connector to the MIDI  
OUT connector without modifying them in  
any way.  
.Soft.Through  
When you want to transmit or receive System  
Exclusive messages, set this parameter to match the  
Device ID number of the other MIDI device.  
.Device.ID  
17–32  
Set this parameter “ON”when you want to use an  
external MIDI keyboard instead of the JUNO-Gi’s  
keyboard. In this case, the MIDI transmit channel  
of the external MIDI keyboard can be set to any  
channel. Normally you will leave this parameter  
“OFF.”  
[3] (RX)  
.Remote.  
Keyboard.  
Switch  
Parameter  
Value  
Explanation  
OFF, ON  
.Receive.Program.  
Change  
Specifies whether Program Change messages  
will be received (ON) or not (OFF).  
OFF, ON  
* Turn.this.“ON”.when.you.want.to.control.the.  
JUNO-Gi.from.an.external.MIDI.device.when.  
performing.with.the.Arpeggio.function  
.Receive.Bank.  
Select  
Specifies whether Bank Select messages will  
be received (ON) or not (OFF).  
OFF, ON  
MIDI receive channel for playing the JUNO-Gi from  
an external MIDI device.  
Specifies whether System Exclusive messages  
will be received (ON) or not (OFF).  
.Main.Channel 1–16  
.Receive.Exclusive OFF, ON  
MIDI receive channel on which an external MIDI  
device can play the JUNO-Gi’s Lower layer when the  
[SPLIT] button is on.  
.Receive.GM.  
OFF, ON  
Specifies whether General MIDI System On  
messages will be received (ON) or not (OFF).  
.Sub.Channel  
.USB.MIDI  
1–16  
System.On  
.Receive.GM2.  
OFF, ON  
Specifies whether General MIDI 2 System On  
messages will be received (ON) or not (OFF).  
System.On  
If this is “ON,”incoming MIDI messages will be  
re-transmitted without change from the MIDI OUT  
connector.  
Specifies whether GS Reset messages will be  
received (ON) or not (OFF).  
.USB-MIDI.  
Thru  
.Receive.GS.Reset  
OFF, ON  
OFF, ON  
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[4] (SYNC)  
Parameter  
[2] (PLAYER)  
Value  
Explanation  
Parameter  
Value  
Explanation  
Specifies the synchronization signals that the JUNO-Gi’s USB  
memory song player will follow.  
Song.Player.Level  
Sets the volume at which audio files will be  
played by the USB memory song player.  
Audio.Level  
SMF.Level  
0–127  
0–127  
The JUNO-Gi’s USB memory song player will  
be the master. Choose this setting if you’re  
operating the JUNO-Gi by itself, without  
MASTER  
Sets the volume at which SMF will be played by  
the USB memory song player.  
synchronizing it to any other device.  
The JUNO-Gi’s USB memory song player will  
be the slave. Choose this setting if you want  
the JUNO-Gi to operate according to MIDI  
Clock messages received from an external  
device.  
USB.Song.Sync.  
Mode  
System Menu [5] (D BEAM)  
[1] (GENERL)  
SLAVE  
The JUNO-Gi’s USB memory song player will  
obey MIDI Start, Continue, and Stop messages  
from an external device, but will use its own  
keyboard tempo.  
REMOTE  
OFF, ON  
Parameter  
Value  
Explanation  
Sensitivity  
If this is ON, the JUNO-Gi will transmit MIDI  
clock to an external MIDI device.  
MIDI.Clock.  
Output  
This sets the D Beam controller’s sensitivity.  
* This.cannot.be.set.if.USB.Song.Sync.Mode.  
is.“SLAVE ”  
D.Beam.Sens  
0–127  
Increasing this value will make the D Beam  
controller more responsive.  
If this is ON, switching live sets will make  
the keyboard tempo change to the “LiveSet  
Tempo”(p. 38) specified for that live set.  
LiveSet.Tempo.  
Switch  
OFF, ON  
OFF, ON  
[2] (SYNTH)  
If this is ON, the keyboard tempo will match  
the recorder tempo. This is convenient when  
you want to play arpeggios in time with the  
tempo of the recorder’s song (p. 32).  
Parameter  
Level.&.Range.  
Level  
Value  
Explanation  
Tempo.Link  
0–127  
0–127  
Volume Level of the Solo Synth  
Level of the signal sent to chorus  
* The.JUNO-Gi’s.Digital.Recorder.cannot.synchronize.to.an.external.  
Chorus.Send.  
Level  
MIDI.device  
* If.the.Tempo.Link.is.on,.the.JUNO-Gi.cannot.synchronize.to.an.  
external.MIDI.device.(p .134)  
Reverb.Send.  
Level  
0–127  
Level of the signal sent to reverb  
2OCT, 4OCT, Range in which the pitch of the solo synth will  
Range  
Osc1  
8OCT  
vary  
System Menu [4] (CLICK/PLAYER)  
[1] (CLICKOUT)  
Waveform  
Osc.1.Waveform SAW  
Sawtooth wave  
Square wave  
SQR  
Parameter  
Value  
Explanation  
Pulse width of the waveform  
By cyclically modifying the pulse width you can  
create subtle changes in the tone.  
Osc.1.Pulse.  
Width  
0–127  
Click.Setting  
Output from the SONG/CLICK OUT jack  
When the USB Memory Song Player is playing  
Osc.1.Coarse.  
Tune  
Pitch of the tone’s sound (in semitones, +/-4  
octaves)  
-48–+48  
-50–+50  
back, a click tone at the tempo of the USB  
memory song will be output from the SONG/  
CLICK OUT jack (it will not be output from the  
OUTPUT L/R jacks.)  
Osc.1.Fine.Tune  
Osc2.&.Sync  
Pitch of the tone’s sound (in 1-cent steps)  
CLICK  
Osc.2.Waveform  
Song/Click  
The sound from the Digital Recorder will be  
output from the SONG/CLICK OUT jack (it will not  
be output from the OUTPUT L/R jacks).  
Osc.2.Pulse.  
Width  
RECORDER  
(same as Osc 1)  
0–127  
Osc.2.Coarse.  
Tune  
The sound from the USB Song Player and USB  
audio of your computer will be output from the  
SONG/CLICK OUT jack (it will not be output from  
the OUTPUT L/R jacks).  
USB SONG  
0–10  
Osc.2.Fine.Tune  
Osc.2.Level  
Level of the OSC2  
Click.Level  
Click.Sound  
Level  
Volume of the click  
Turning this switch on produces a complex  
sound with many harmonics. This is effective  
when the OSC1 pitch is higher than the OSC2  
pitch.  
Sound type of the click  
Osc.Sync.Switch OFF, ON  
A conventional click sound (A bell will sound on  
the first beat.)  
TYPE 1  
TYPE 2  
TYPE 3  
TYPE 4  
Clicks  
Beeps  
Cowbell  
Song/Click.  
Output.Level  
Volume of the output from the SONG/CLICK  
OUT jack  
0–127  
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Parameter  
.Filter  
Value  
Explanation  
[4] (ASSIGN)  
Parameter  
Value  
Explanation  
Type of filter  
OFF  
User.Assignable  
No filter is used.  
Function controlled by the D Beam controller  
LPF  
This reduces the volume of all frequencies  
above the cutoff frequency (Cutoff).  
CC01–31, 33–95  
BEND UP  
Controller numbers 1–31, 33–95  
Controls the pitch.  
(Low Pass  
Filter)  
BPF  
BEND DOWN  
USB SONG START  
Controls the pitch.  
This leaves only the frequencies in the region of  
the cutoff frequency, and cuts the rest.  
(Band Pass  
Filter)  
.Filter.Type  
The USB memory song player will start/stop.  
.Type  
RECORDER START The digital recorder will start/stop.  
Tap tempo (a keyboard tempo specified by  
HPF  
This cuts the frequencies in the region below  
the cutoff frequency.  
(High Pass  
Filter)  
TAP TEMPO  
the interval at which you move your hand  
over the D Beam controller).  
PKG  
AFTERTOUCH  
Produce the same effect as aftertouch.  
This emphasizes the frequencies in the region of  
the cutoff frequency.  
(Peaking  
Filter)  
Lower limit of the range of the D Beam  
controller. The effect will be applied when  
the position of your hand above the D Beam  
controller is lower than this value.  
.Range.Min  
.Range.Max  
0–127  
0–127  
Frequency at which the filter begins to have an  
effect on the waveform’s frequency components  
.Cutoff.  
0–127  
0–127  
Emphasizes the portion of the sound in the  
region of the cutoff frequency, adding character  
to the sound.  
Upper limit of the range of the D Beam  
controller. The effect will be applied when  
the position of your hand above the D Beam  
controller is above this value.  
.Resonance  
.LFO  
* By.setting.Range.Max.below.Range.Min.  
you.can.invert.the.range.of.change  
.LFO.Rate  
0–127  
Modulation speed of the LFO  
.LFO.Osc.1.Pitch.  
Depth  
Depth to which the LFO will modulate the Osc  
1 pitch  
-63–+63  
.LFO.Osc.2.Pitch.  
Depth  
Depth to which the LFO will modulate the Osc  
2 pitch  
-63–+63  
-63–+63  
System Menu [6] (INFORMATION)  
Here you can view the JUNO-Gi’s software version.  
Depth to which the LFO will modulate the pulse  
width of the Osc 1 waveform  
.LFO.Osc.1.Pulse.  
Width.Depth  
* The.Pulse.Width.is.activated.when.“SQR”.is.  
selected.with.Osc.1.waveform  
Depth to which the LFO will modulate the pulse  
width of the Osc 2 waveform  
.LFO.Osc.2.Pulse.  
Width.Depth  
-63–+63  
* The.Pulse.Width.is.activated.when.“SQR”.is.  
selected.with.Osc.2.waveform  
[3] (EXP)  
Parameter  
Value  
Explanation  
Expression  
Lower limit of the range of the Active  
Expression.  
.Range.Min  
0–127  
The effect will be applied when the position of  
your hand above the D Beam controller is lower  
than this value.  
Upper limit of the range of the Active  
Expression.  
The effect will be applied when the position of  
your hand above the D Beam controller is above  
this value.  
* By.setting.Range.Max.below.Range.Min.you.  
can.invert.the.range.of.change  
0
.Range.Max  
0–127  
Range Min  
Range Max  
127  
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Digital Recorder  
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Digital Recorder 1 (Recording/Playing/Editing)  
Displaying the Digital Recorder Screen  
Num-  
ber  
Name  
Explanation  
Displaying the RECORDER Screen  
Indicator  
1. Press.the..[RECORDER.VIEW].button.so.it’s.lit  
This is displayed when Repeat is enabled.  
This is displayed when you use the [REPEAT]  
(A  
B) button to specify the A–B region used  
by Repeat or Auto Punch In. It will blink when you  
specify the start time (A), and will display when you  
specify the end time (B).  
A
B
7
RECORDER screen will appear.  
This is displayed when Auto Punch In/Out has been  
specified.  
To return to Synthesizer screen (LIVE SET PLAY), press the [RECORDER  
VIEW] button to turn off its illumination, or press the [EXIT] button.  
A.PUNCH  
PROTECT  
EFFECTS  
Displayed when a song is protected.  
Synthesizer.screen  
(LIVE.SET.PLAY).  
Digital.Recorder.screen  
(RECORDER).  
This is displayed when the insert effect (p. 106) is on.  
Function buttons  
Button  
Explanation  
Page  
p. 94  
p. 98  
p. 89  
p. 122  
p. 106  
About the RECORDER Screen  
[1].(MODE).  
[3].(MENU).  
Changes the mode  
1
2
3
4
5
Opens the Recorder menu  
[4].(TRK.SET).  
[5].(RHYTHM).  
[6].(EFFECT).  
Opens the track settings screen  
Opens the Rhythm Pattern screen  
Opens the recorder effect screen  
Num-  
ber  
Name  
Explanation  
Indicates the current location within the song.  
From the left, the numbers indicate measure-beat-  
clock.  
1
Measure  
* When.there.are.more.than.999.measures,.an.  
“*”.is.shown.for.the.hundreds.place  
2
3
Song name  
Indicates the name of the song.  
The current location within the song is shown as  
“hours: minutes: seconds–frames–sub-frames.”  
Current time  
•
•
One frame is 1/30th of a second.  
A sub-frame is 1/10th of a frame.  
Indicates the tempo of the digital recorder.  
Recorder  
tempo  
4
5
g“Setting the Recorder Tempo”(p. 122)  
Mode indication (use the [1] (MODE) button to switch)  
(unlit)  
This means you’re in Normal Recording mode.  
This means you’re in Bounce mode (p. 97).  
This means you’re in Mastering mode (p. 118).  
BOUNCE  
MASTERING  
Level meter  
The input from the input jack (LINE IN, GUITAR/MIC  
IN) or keyboard is shown in the level meter.  
INPUT  
RHYTHM  
1–8  
The output level of the Rhythm Pattern is shown in  
the level meter.  
6
The output level from each track is shown in the  
level meters.  
The level of the entire Digital Recorder is shown. In  
bounce mode or mastering mode, the individual  
recording levels (bounce level/mastering level) will  
be shown.  
L/R  
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Playing a Song  
Selecting and Playing a Song  
(Song Select)  
Changing the Current Position  
You can use any of the following methods to change the current  
position within the song.  
When the JUNO-Gi is shipped from the factory, an SD card containing  
demo songs are installed. Here’s how to play these demo songs.  
1. In.the.RECORDER.screen,.press.the.[3].(MENU).button  
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.  
3. Use.the.cursor.[ ].[ ].buttons.to.select.“Song.Select,”.and.  
press.the.[ENTER].button  
The SONG SELECT screen will appear.  
4. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.the.song  
5. Press.the.[6].(SELECT).button  
6. Press.the.[5].(EXEC).button  
Operation  
Explanation  
The song will fast-forward while you hold down  
.Fast-forward  
the [  
The song will rewind while you hold down the  
] button.  
] button.  
7. Press.the.[ ].(PLAY).button  
The song will begin playing.  
.Rewind  
[
.Move.to.the.beginning.  
of.the.song  
Press the [  
] button.  
.Move.to.the.end.of.the.  
song  
Hold down the [n] button and press the  
[
] button.  
Use the cursor buttons to move the cursor to the  
“hours/minutes/seconds/frames/sub-frames”  
indication, and use the VALUE dial or the [DEC]  
[INC] buttons to change the time.  
.Move.in.steps.of.hours/  
minutes/seconds/  
frames/sub-frames  
Use the cursor buttons to move the cursor to  
the measure/beat indication, and use the VALUE  
dial or the [DEC] [INC] buttons to change the  
measure/beat.  
.Move.in.steps.of.  
measures/beats  
MEMO  
• Playback will not stop automatically even if you play back to the  
end of the song.  
• Use of the demo song supplied with this product for any purpose  
other than private, personal enjoyment without the permission of  
the copyright holder is prohibited by law. Additionally, this data  
must not be copied, nor used in a secondary copyrighted work  
without the permission of the copyright holder.  
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Muting Tracks  
Adjusting the Volume of the Tracks  
Track button operations  
Adjusting the volume of tracks 1–8  
Button  
Status  
Explanation  
1. Use.the..TRACK.MIXER[1/5]–[4/8].sliders.to.adjust.the.volume  
Unlit  
Controlling tracks 1–4  
.[TRACK.1–4.5–8]  
If the [TRACK 1–4 5–8] button is lit, you’ll be controlling tracks 5–8.  
Lit red  
Unlit  
Controlling tracks 5–8  
Rhythm Pattern function is off  
Rhythm Pattern function is on  
Track contains no recorded data  
Track contains recorded data  
MEMO  
.[RHYTHM.  
PATTERN]  
• By holding down the [SHIFT] button and moving a slider, you can  
check the current value without modifying the setting.  
Lit green  
Unlit  
• If a slider is lowered all the way, the sound of that track will not be  
heard.  
Lit green  
Blinking  
green  
Muted  
• For tracks for which Stereo Link (p. 89) is enabled, moving one slider  
will simultaneously change the volume of the two stereo-linked  
tracks.  
Lit red  
Recording track (p. 94)  
[1/5]–[4/8]  
Selecting the track to record  
MEMO  
Adjusting the Rhythm Pattern volume  
1. Use.the.[RHYTHM.PATTERN].slider.to.adjust.the.volume  
Blinking red  
You can select the track to record by  
holding down the [SHIFT] button and  
pressing a TRACK [1/5]–[4/8] button.  
Adjusting the Digital Recorder’s overall volume  
1. Use.the..[MASTER].slider.to.adjust.the.volume  
Muting tracks 1–8  
1. Use.the..TRACK.[1/5]–[4/8].buttons.to.mute.or.unmute.the.  
tracks  
If the [TRACK 1–4 5–8] button is lit, you’ll be controlling tracks 5–8.  
Turning the Rhythm Pattern on/off  
1. Press.the.[RHYTHM.PATTERN].button.to.turn.the.Rhythm.  
Pattern.on/off.  
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Parameter  
High  
Value  
Explanation  
Adjusting the Pan, Reverb, and EQ  
(TRACK SETTING)  
.High.Gain  
.High.Freq  
-12–+12 dB  
Gain of the high range  
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  
provides eight tracks. Each  
track consists of eight  
virtual tracks (V-tracks), and  
you can select one of these  
Track.Number  
Explanation  
Rhythm Pattern  
Track 1–8  
V-Track 8  
V-Track 7  
V-Track 6  
V-Track 5  
R
1–8  
V-tracks for playback and  
recording.  
V-Track 4  
V-Track 3  
V-Track 2  
V-Track 1  
In other words, you can use  
8 x 8 = 64 tracks to record  
your performance, and  
choose eight of these for  
playback.  
1 2 3 4 5 6 7 8  
1. In.the.TRACK.SETTING.screen,.change.the.value.for.“.V-Track ”  
Function.Buttons  
[1].(EQ.SET).  
Explanation  
The status of the V-track is shown in the screen (n indicates that data  
exists).  
Accesses the equalizer setting screen (EQ SETTING).  
Enables Stereo Link.  
[2].(ST.LINK).  
2. Use.the.cursor.buttons.to.select.to.the.parameter.that.you.  
Controlling the Parameters of Two Tracks  
Simultaneously (Stereo Link)  
want.to.set  
3. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.set.the.  
value  
In some cases you may wish to adjust the parameters of two tracks  
simultaneously, such as when you’re using two tracks to record or play  
Parameter  
.Level  
Value  
Explanation  
0–127  
Volume of each track  
back a stereo source. You can do this using the Stereo Link function.  
L64–  
0–63R  
1. In.the.TRACK.SETTING.screen,.move.the.cursor.to.the.  
parameter.for.which.you.want.to.enable.(or.disable).stereo.  
link  
.Pan  
Pan (left/right position) of each track  
Reverb  
0–127  
Level of signal sent from each track to reverb  
Equalizer (EQ) switch for each track  
OFF,  
ON  
2. Press.the.[2].(ST.LINK).button  
.EQ  
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  
value of a track parameter that is stereo-linked, the two values will  
change together.  
The status of the V-track is shown in the screen  
(n indicates that data exists).  
.V-Track  
1–8  
* The.Rhythm.Pattern.does.not.have.  
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  
Link on. When you select stereo tracks for recording (two REC  
indications are shown) and then finish recording, Stereo Link will  
automatically be enabled for those tracks.  
Equalizer setting screen (EQ SETTING)  
Here you can make equalizer (EQ) settings for each track.  
• The pan parameter changes as shown below when Stereo Link is  
on.  
MEMO  
To switch the track that appears in the EQ SETTING screen, hold  
down the [SHIFT] button and use the cursor [ ] [ ] buttons.  
[-]  
[+]  
VALUE  
Parameter  
.On/Off.  
Value  
Explanation  
Equalizer (EQ) switch for each  
track  
OFF, ON  
L64  
L64  
L5604  
RR5603  
R 63  
R 63  
(Default)  
Low  
.Low.Gain  
.Low.Freq  
Mid  
-12–+12 dB  
Gain of the low range  
40 Hz–1.6 kHz  
Frequency of the low range  
.Mid.Gain  
.Mid.Freq  
-12–+12 dB  
Gain of the middle range  
20 Hz–10 kHz  
Frequency of the middle range  
Width of the middle range  
Set a higher value for Q to narrow  
the range to be affected.  
.Mid.Q  
0.5–16  
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Using the A–B SETTING Screen To Specify the  
Repeat Region  
Playing Back Repeatedly (REPEAT)  
The “repeat”function lets you play back a specified region repeatedly.  
This function is useful when you want to check the mix balance  
repeatedly, or can be used in conjunction with punch-in/out to  
perform Loop Recording (p. 96).  
3. Hold.down.the.[SHIFT].button.and.press.the.[REPEAT].(A. .  
.
B).button  
A–B SETTING screen will appear.  
Current Time  
Specifying the A–B Region  
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  
region has been assigned.  
B”indication will light, indicating that the A–B  
Location of point A  
Location of point B  
• 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  
Button  
Function  
Page  
• There must be at least one second between the repeat start point (A)  
and end point (B). You can’t specify an end point that’s less than one  
second away from the start point.  
The region you specified (A–B) will be  
assigned as the repeat region.  
[1].(REPEAT).  
––  
The region you specified (A–B) will be  
assigned as the auto punch-in/out region.  
MEMO  
[2].(AUTO).  
[3].(R&A1).  
p. 95  
p. 96  
You can also set the A-B region by pressing the [REPEAT] (A  
button while the song is playing.  
B)  
The region you specified (A–B) will be  
assigned as the auto punch-in/out region.  
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.  
One measure before and after the A–B  
region will be assigned as the repeat  
region.  
[4].(R&A2).  
p. 96  
The location data at the cursor will be  
cleared.  
[5].(CLEAR).  
[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  
button once again. The repeat settings will be cancelled, and the  
“A B”will be unlit.  
B)  
• If you want to preserve the repeat region you specified, press the  
[WRITE] button to save the song.  
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Recording  
Song Production Flow  
Creating a New Song  
(Create New Song)  
A general outline of the song production workflow is shown below.  
This manual explains each function in detail, but when you’re creating  
a song for the first time, please read the “Quick Guide”(separate  
document), which provides the explanations in the order of the song  
production workflow.  
On the Digital Recorder, each of your compositions is managed as a  
“song.”You’ll need to create a song before you begin recording a new  
composition.  
1. In.the.RECORDER.screen,.press.the.[3].(MENU).button  
2. Use.the.VALUE.dial.or.the.cursor.buttons.to.select..  
1. Create.a.new.song.(p .91)  
“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. Record.your.performances.(p .94)  
3. Use.the.cursor.[ ].[ ].buttons.to.select.“Create.New.Song,”.  
and.press.the.[ENTER].button  
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)  
5. Master.your.song.to.create.the.final.version.(p .118)  
6. Use.a.computer.to.burn.the.completed.song(s).to.a.CD  
MEMO  
You can create up to a maximum of 99 songs with one SD card.  
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Connecting the Equipment to Record and Adjusting the Input Level  
To the rear panel AUDIO INPUT jacks, connect the equipment that you want to record in the Digital Recorder.  
Connect your digital audio player or other audio device to the LINE jacks.  
Connect your microphone or guitar to the GUITAR/MIC jack as shown in the illustration.  
To adjust the level, use the [LEVEL]  
knob located at the left of the jacks.  
Adjust the knob so that the front  
panel PEAK indicator lights orange  
during the loudest passages. If this  
indicator lights red, input overload  
has occurred.  
If you connect a guitar or bass, set this to  
“GUITAR.”  
Output jack of your digital  
audio player  
If you’re using a condenser microphone,  
connect it to the balanced (XLR) jack and  
choose the “PHANTOM ON” setting.  
(Phantom power is not supplied to the phone  
jack.)  
If you’re using a dynamic microphone, choose  
the “PHANTOM OFF” setting.  
LINE OUT  
jacks of your  
stereo system  
*
Always.turn.the.phantom.power.off..when.connecting.  
any.device.other.than.condenser.microphones.that.  
require.phantom.power .You.risk.causing.damage.if.  
you.mistakenly.supply.phantom.power.to.dynamic.  
microphones,.audio.playback.devices,.or.other.devices.  
that.don’t.require.such.power .Be.sure.to.check.the.  
specifi.cations.of.any.microphone.you.intend.to.use.by.  
OUTPUT jacks of your keyboard  
This instrument is equipped with balanced (XLR/TRS) type  
jacks. Wiring diagrams for these jacks are shown below. Make  
connections after first checking the wiring diagrams of other  
equipment you intend to connect.  
NOTE  
• To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before  
making any connections.  
• When connection cables with resistors are used, the volume level of equipment connected to the inputs (AUDIO INPUT jacks) may be low. If this  
happens, use connection cables that do not contain resistors.  
• Howling could be produced depending on the location of microphones relative to speakers. This can be remedied by:  
1. Changing the orientation of the microphone(s). 2. Relocating microphone(s) at a greater distance from speakers. 3. Lowering volume levels.  
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Selecting the Sound of the External Audio  
Input (AUDIO INPUT)  
Selecting an Instrument to Record  
(REC SOURCE SELECT)  
If you want to record the sound from a guitar, microphone, line input,  
or USB audio, select the desired sound as follows.  
Here’s how to select the instrument you’ll be recording.  
1. Press.the..[AUDIO.INPUT].button  
The AUDIO INPUT SELECT window will appear.  
Input Level Mater  
Selecting the Sound of the Synthesizer  
(KEYBOARD)  
2. Press.the.[1].(GUITAR)–[5].(USB.AUDIO).button.to.select.the.  
input.source  
1. If.you.want.to.record.your.Synthesizer.performance,.press.  
Button  
Explanation  
the..[KEYBOARD].button.so.it’s.lit  
Sound of a guitar or bass connected to the GUITAR/  
MIC jack.  
[1].(GUITAR).  
The KEYBOARD INPUT window will appear.  
Sound of a microphone connected to the GUITAR/MIC  
jack.  
[2].(MIC).  
[3].(LINE).  
Sound of the device connected to the LINE IN jack.  
Sound of the USB Memory Song Player.  
[4].(USB.SONG).  
Sound of the USB audio from the computer connected  
to the USB COMPUTER connector.  
[5].(USB.AUDIO).  
Input LeeMter  
• When you press a button, the input corresponding to the button you  
pressed will be switched on.  
2. Press.[2].(KEYBOARD).to.record.just.the.synthesizer.  
performance,.or.press.[4].(KEYBOARD+INS.FX).to.record.the.  
synthesizer.performance.with.the.insert.eff.ect.applied.to.it .  
• When you press the same button again, its input will be switched off.  
• Multiple buttons cannot be on at the same time.  
• If you’re not recording anything, turn off all of the inputs in order to  
minimize the noise from the input jacks.  
Button  
Explanation  
[2].(KEYBOARD).  
Synthesizer performance recorded  
3. Set.the.input.level.and.reverb .Use.the.cursor.buttons.to.  
select.a.parameter,.and.use.the.VALUE.dial.or.the.[DEC].[INC].  
buttons.to.set.the.value  
[4].  
Synthesizer performance and insert effect recorded  
(KEYBOARD+INS.FX).  
• When you press a button, the input corresponding to the button you  
pressed will be switched on.  
Parameter  
Value  
Explanation  
Adjusts the internal digital input level.  
• When you press the same button again, its input will be switched off.  
For example, if you apply an insert effect to  
the input sound, this may increase the internal  
digital level. In such cases, play the input sound  
and adjust the Input Level value so that the  
level meter in the screen does not reach the  
maximum position (“CLIP”is shown when the  
level meter reaches the maximum position).  
• Multiple buttons cannot be on at the same time.  
.Input.Level  
0–127  
3. Set.the.input.level.and.reverb .Use.the.cursor.buttons.to.  
select.a.parameter,.and.use.the.VALUE.dial.or.the.[DEC].[INC].  
buttons.to.set.the.value  
Parameter  
Value  
Explanation  
Level of signal sent from the input sound to  
reverb  
.Reverb  
0–127  
Adjusts the internal digital input level.  
For example, if you apply an insert effect to  
the sound of the synthesizer, this may increase  
the internal digital level. In such cases, play  
the keyboard and adjust the Input Level value  
so that the level meter in the screen does not  
reach the maximum position (“CLIP”is shown  
when the level meter reaches the maximum  
position).  
4. Press.the.[6].(CLOSE).button.to.close.the.AUDIO.INPUT.  
SELECT.window  
Input.Level  
0–127  
MEMO  
By holding down the [SHIFT] button and pressing the [KEYBOARD]/  
[AUDIO INPUT] button, you can access the KEYBOARD INPUT/  
AUDIO INPUT SELECT window without turning the audio input on/  
off.  
Level of signal sent from the sound of the  
synthesizer to reverb  
Reverb  
0–127  
* Valid.only.when.the.[4].(KEYBOARD+INS.FX).  
button.is.on  
4. Press.the.[6].(CLOSE).button.to.close.the.KEYBOARD.INPUT.  
window  
If you decide not to record your synthesizer performance, press the  
[KEYBOARD] button to turn off its illumination.  
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Recording  
Selecting stereo tracks for recording  
Entering normal mode  
1. In.the.RECORDER.screen,.press.the.[1].(.MODE).button.a.  
If INPUT is set to “KEYBOARD”, “LINE” or “USB”  
Since the input is stereo, this will normally be stereo recording  
using two tracks. If you press the TRACK [1] or [2] button,  
recording will take place in stereo on tracks 1 and 2. Similarly  
if you press the [3] or [4] button, recording will take place in  
stereo on tracks 3 and 4.  
number.of.times.to.select.Normal.mode  
Make sure that the display does not indicate “BOUNCE”or  
“MASTERING.”  
However if you want to mix the sound from the L-channel and  
R-channel of the input and record it on track 1, press the TRACK  
[1] button once again from the state in which tracks 1 and 2 are  
selected. Track 1 will be selected as the recording destination.  
You can use the same operation to specify a different track as  
the recording destination.  
Mode.indication.(use.the.[1].(MODE).button.to.switch)  
If INPUT is set to “GUITAR” or “MIC”  
(unlit)  
This means you’re in Normal Recording mode.  
This means you’re in Bounce mode (p. 97).  
This means you’re in Mastering mode (p. 118).  
If you want to record in stereo so that the insert effects will  
sound better, you can simultaneously press the TRACK [1] and  
[2] buttons or [3] and [4] buttons to specify stereo recording  
using two tracks.  
.BOUNCE  
.MASTERING  
Stereo link (p. 89) will be enabled (or disabled) for the pair of  
tracks you pressed simultaneously.  
Selecting the track to record  
MEMO  
If you want to switch V-tracks, select the desired V-track now as  
described in“SwitchingV-tracks (V-Track)”(p. 89) before you proceed.  
Recording  
2. Press.the.[l].(REC).button  
The [l] (REC) button will blink, and the digital recorder will be in  
recording standby condition.  
4. Press.the.[ ].(PLAY).button  
The [l] (REC) and [ ] (PLAY) buttons will light, and recording will  
begin. The button of the track being recorded will light red.  
In recording-standby mode, one of the TRACK [1/5]–[4/8] buttons (the  
track to record) will blink red.  
5. To.stop.recording,.press.the.[n].(STOP).button  
3. Press.the[1/5]–[4/8].button.of.the.track.you.want.to.record  
The [l] (REC) and [ ] (PLAY) buttons will go dark.  
Button  
Explanation  
* You.can’t.play.back.audio.whose.recording.time.was.shorter.than.  
one.second  
When.[TRACK.1–4.5–8].is.unlit  
[1/5]–[4/8]  
Select tracks 1–4.  
* The.following.operations.cannot.be.performed.(or.will.be.invalid).  
while.the.recorder.is.operating.(i e ,.during.recording.or.playback)  
When.[TRACK.1–4.5–8].is.lit  
[1/5]–[4/8]  
Select tracks 5–8.  
• Recorder Menu  
• Undo/Redo  
MEMO  
• Switching a mode ([1] (MODE) button)  
• Arrange editing, etc...  
Even when you’re not in recording-standby mode, you can select  
the track to record by holding down the [SHIFT] button and  
pressing a TRACK [1/5]–[4/8] button.  
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Auto Punch-In/Out  
Re-Recording Over a Mistake (Punch-  
In/Out)  
“Auto punch-in/out”is the method in which punch-in/  
out begins automatically at the time locations you specify  
beforehand.  
During recording, you may sometimes play a wrong note or be  
unsatisfied with your performance. In such cases, you can punch-in/  
out to re-record just a specific region of your performance.  
This is convenient when you want to punch-in/out at precise  
points, or if you want to punch-in/out automatically so that  
you can concentrate on your playing.  
“Punch-in”is the action of switching from playback to recording while  
you play back a track. “Punch-out”is the action of switching from  
recording back to playback while the track continues to play.  
* When.using.auto.punch-in/out,.you.must.set.the.punchin.and.  
punch-out.points.at.least.1 0.seconds.apart  
In other words, you punch-in at the point where you want to start  
re-recording, and punch-out when you’re finished recording.  
1. Specify.the.punch-in.and.punch-out.locations.(the.A–B.  
region).as.described.in.steps.1–2.of.“Specifying.the.A–B.  
Region”.(p .90)  
Playback  
Recording  
Playback  
Time  
2. Hold.down.the.[SHIFT].button,.and.press.the.[REPEAT].(A. .  
.B).button  
Start  
Punch-In  
Punch-Out  
Stop  
The A–B SETTING screen will appear.  
On the JUNO-Gi, you can choose from two methods of doing this;  
manual punch-in/out and auto punch-in/out.  
3. Press.the.[2].(AUTO).button  
The region you specified will be the auto punch-in/out region.  
4. Press.[EXIT].button.to.close.the.A–B.SETTING.screen  
MEMO  
•
You can use the Undo function (p. 96) to return to the state prior  
to re-recording.  
5. Move.to.a.location.slightly.earlier.than.the.point.at.which.  
you.want.to.begin.rerecording  
•
The data prior to punching-in/out will remain on the SD card  
without being erased. If you no longer need this data, you  
should execute Song Optimize (p. 104) to erase the unneeded  
data from the SD card so that its storage capacity can be used  
effectively.  
6. Select.the.track.that.you.want.to.punch.into,.as.described.in.  
steps.2–3.of.“Selecting.the.track.to.record”.(p .94)  
7. Press.the.[ ].(PLAY).button  
At the location you specified for punch-in, the [l] (REC) button will  
automatically turn red and recording will begin. When you reach the  
punch-out point, you will automatically return to playback.  
8. When.you’ve.fi.nished.recording,.press.the.[n].(STOP).button  
Manual Punch-In/Out  
In this method, you punch-in/out by operating the [l] (REC) button.  
* When.using.manual.punch-in/out,.you.must.ensure.that.there.is.at.  
least.a.1 0.second.interval.between.punch-in.and.punch-out  
1. Select.the.track.that.you.want.to.punch.into,.as.described.in.  
steps.2–3.of.“Selecting.the.track.to.record”.(p .94)  
2. Press.the.[l].(REC).button.to.turn.off..its.illumination,.thus.  
exiting.recording-standby.mode  
3. Move.to.a.location.slightly.earlier.than.the.point.at.which.  
you.want.to.begin.rerecording,.and.press.the.[ ].(PLAY).  
button.to.play.back.the.song  
4. At.the.point.where.you.want.to.begin.rerecording,.press.the.  
[l].(REC).button  
Punch-in will begin, and you’ll be in record mode.  
5. When.you’re.ready.to.punch-out,.press.the.[l].(REC).button.  
(or.press.the.[ ].(PLAY).button)  
Each time you press the [l] (REC) button, you’ll alternately punch-in  
and punch-out, so simply perform the same procedure at any other  
location that you want to re-record.  
6. When.you’re.fi.nished.recording,.press.the.[n].(STOP).button  
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Repeatedly Recording the Same Region  
(Loop Recording)  
Canceling a Recording/Editing  
(Undo/Redo)  
“Loop recording”is when you use the Repeat function and the Auto  
Punch-In/Out function together to record repeatedly.  
Occasionally when the recording you make doesn’t turn out as you  
wish, or the settings you make for an editing operation are incorrect,  
and you want to reverse what you have done. At these times, you can  
use the “Undo function.”  
If you record on the A–B region during the first pass of the loop, that  
recorded content will play back on the second and subsequent passes  
of the loop, allowing you to check the content that was recorded.  
Undo will cancel the result of the operation and revert the data to its  
previous state. If desired, you can then use “Redo”to cancel the Undo.  
Repeat  
For example, let’s suppose that you’re performing punch-in recording,  
and have recorded twice over the same region. You could then execute  
Undo to cancel the second recording and revert to the first recording.  
Recorded in first pass, played back in subsequent passes  
After you’ve executed Undo, you could execute Redo if you wanted  
to cancel the Undo and revert to the state following your second  
recording.  
Time  
A
B
If you’re not satisfied with the recorded content, you can press the [l]  
(REC) button and re-record from the beginning (A) of the next pass.  
NOTE  
• After executing Undo, you’ll only be able to execute Redo.  
MEMO  
• If, after executing Undo, you then record or execute a track editing  
operation, you will no longer be able to execute Redo.  
While the loop plays back after it has been recorded, you can  
select a different track (hold down the [SHIFT] button and press a  
TRACK button) while loop playback continues; this lets you record  
smoothly on other tracks without having to stop the song.  
• Undo applies only to the audio data recorded on the tracks.  
• Parameters such as track settings, rhythm settings, and effect  
settings cannot be restored to their original state.  
1. Specify.the.locations.(A–B.region).at.which.you.want.to.  
auto.punch-in/out.and.loop,.as.described.in.steps.1–2.of.  
“Specifying.the.A–B.Region”.(p .90)  
• IfyouexecuteSongOptimize(p.104),theoperatinghistoryforalldata  
will be cleared. This means that you won’t be able to execute Undo  
immediately after executing Song Optimize.  
2. Hold.down.the.[SHIFT].button,.and.press.the.  
[REPEAT].(A. . .B).button  
The A–B SETTING screen will appear.  
Reverting to the Previous State (Undo)  
1. Press.the.[UNDO/REDO].button  
3. Press.the.[3].(R&A1).or.[4].(R&A2).button  
Button  
Explanation  
2. If.you.want.to.execute.Undo,.press.the.[6].(EXEC).button  
If you decide not to execute Undo, press the [EXIT] button.  
The region you specified (A–B) will be assigned as the auto  
punch-in/out region.  
The A–B region will be assigned as the repeat region.  
When you execute Undo, the display will indicate “Undo Completed!”  
and the most recently executed recording or editing operation will be  
cancelled.  
[3].(R&A1).  
Recording  
A
B
Canceling the Undo (Redo)  
The region you specified (A–B) will be assigned as the auto  
punch-in/out region.  
One measure before and after the A–B region will be assigned  
as the repeat region.  
You can execute Redo if you decide to cancel the Undo operation you  
just executed.  
1. Press.the.[UNDO/REDO].button  
[4].(R&A2).  
2. If.you.want.to.execute.Redo,.press.the.[6].(EXEC).button  
If you decide not to execute Redo, press the [EXIT] button.  
Playback  
Recording  
Playback  
When you execute Redo, the display will indicate “Redo Completed!”  
and the Undo operation you just executed will be cancelled.  
A
B
4. Press.[EXIT].button.to.close.the.A–B.SETTING.screen  
5. Move.to.a.location.slightly.earlier.than.the.point.at.which.  
you.want.to.begin.rerecording  
6. Select.the.track.that.you.want.to.punch.into,.as.described.in.  
steps.2–3.of.“Selecting.the.track.to.record”.(p .94)  
7. Press.the.[ ].(PLAY).button  
When you press the [ ] (PLAY) button, you’ll be able to record the  
region between punch-in and punch-out. Re-record your performance.  
After the repeat, playback will begin from the punch-in location. Listen  
to the re-recorded result. If you’re not satisfied with the recording,  
press the [l] (REC) button and re-record from the beginning (A) of the  
next pass.  
8. When.you’re.fi.nished.recording,.press.the.[n].(STOP).button  
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Putting Multiple Tracks Together (BOUNCE Mode)  
Although the JUNO-Gi allows the simultaneous playback of eight  
tracks, when you run out of tracks, the JUNO-Gi also lets you copy  
the recordings of multiple tracks together onto one track (V-Track).  
This is called “bounce”(also known as bounce recording or ping-pong  
recording). By combining multiple tracks in this way, you can free up  
other tracks in order to record additional performances.  
3. Play.back.the.song,.and.use.the.[MASTER].slider.to.adjust.the.  
master.level  
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  
distortion would occur).  
In Bounce mode, you can play back eight tracks simultaneously and  
record them all to a single, separate V-Track.  
When the [KEYBOARD] or [AUDIO INPUT] buttons are on, you  
can have those sounds recorded together. Furthermore, you can  
include the sounds from the Rhythm Pattern (p. 121) in the recording.  
4. Press.the.[  
].(Song.Top).button.to.move.to.the.  
beginning.of.the.song  
KEYBOARD  
AUDIO.INPUT  
Rhythm.Pattern  
Track.1–8  
Track.8-V1  
Track.7-V1  
5. Press.the.[l].(REC).button.and.then.the.[ ].(PLAY).button;.  
bounce-recording.will.begin  
Track.6-V1  
Track.5-V1  
6. When.you’ve.fi.nished.recording,.press.the.[n].(STOP).button  
Track.4-V1  
Track.3-V1  
Rhythm.Pattern  
MEMO  
ack.2-V1  
ck.1-V1  
You can apply reverb (p. 117) or the insert effects (p. 106) during  
bounce-recording. If you want to use the insert effects on a  
specific track, refer to “Changing the Location of the Insert Effects  
(LOCATION)”(p. 108).  
Track.2-V2  
Track.1-V2  
Listening the Result of the Bounce-  
Recording  
1. Press.the.[1].(MODE).button.a.number.of.times.to.select.  
Normal.mode  
Bounce-Recording  
Make sure that the display does not indicate “BOUNCE”or  
“MASTERING.”  
1. In.the.RECORDER.screen,.press.the.[1].(MODE).button.a.  
2. Press.the.[4].(TRK.SET).button  
number.of.times.until.“BOUNCE”.appears.in.the.display  
The TRACK SETTING screen will appear.  
3. Move.the.cursor.to.the.“V-Track”.fi.eld.of.the.track.that.you.  
bounce-recorded,.and.use.the.VALUE.dial.to.specify.the.  
number.of.the.V-track.you.bounce-recorded  
(Example: If you bounce-recorded to V-track 2 of tracks 1 and 2, set the  
V-Track field to “2”for tracks 1 or 2.)  
2. Use.the.cursor.buttons.to.move.the.cursor.to.the.“Target.  
Track”.fi.eld,.and.use.the.VALUE.dial.or.the.[DEC].[INC].  
buttons.to.specify.the.bounce-destination.track.and.V-track  
4. Set.the.“Level”.fi.eld.values.to.0.for.all.tracks.other.than.the.  
bounced.tracks,.and.set.“Reverb”.fi.eld.values.to.0.for.all.  
tracks  
Alternatively, you can use the track buttons to mute all tracks other  
than the bounced tracks (see “Muting Tracks,”p. 88).  
If the Target Track is stereo, set the pan of the bounce-destination  
tracks (1 and 2) to far left and far right, respectively.  
5. Press.the.[EXIT].button  
(Example: If you want to bounce-record to V-track 2 of tracks 1 and 2,  
you would specify “Target Track: 1/2”and “V-Track: 2”)  
6. Press.the.[  
].(Song.Top).button.to.move.to.the.  
beginning.of.the.song  
• To bounce in stereo, choose Target Track: 1/2–7/8.  
7. Press.the.[ ].(PLAY).button.to.hear.the.bounce-recorded.  
• To bounce in monaural, choose Target Track: 1–8.  
sound  
• If the V-track contains data, a n symbol is shown beside the V-track  
column.  
8. If.you.want.to.save.the.settings.to.the.currently.selected.  
song,.press.the.[WRITE].button  
97  
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Editing  
Selecting the RECORDER MENU  
TRACK EDIT Menu (Editing a Track)  
These operations let you change the structure of your song by copying  
track data or moving it to another location.  
1. In.the.RECORDER.screen,.press.the.[3].(MENU).button  
The Recorder Menu screen will appear.  
MEMO  
Track Copy (Copying Data)  
You can also access the Recorder Menu screen from the RECORDER  
screen by pressing the [MENU] button.  
This operation copies data from the specified region of a track (or the  
entire track) to another location. You can copy the track data just once,  
or copy the specified region of data several times in succession to the  
specified destination.  
2. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.the.menu,.  
and.press.the.[ENTER].button  
Menu  
Explanation  
Page  
p. 98  
p. 98  
p. 78  
If you want to use a phrase that’s already been recorded on a track, or  
if you want to use the same phrase repeatedly, you can use the Copy  
operation to assemble your song efficiently.  
1 .Song.Edit  
2 .Track.Edit  
3 .Utility  
Song function menu  
Track editing function menu  
Back up data, format a card, etc.  
Example 1: Copying twice to the same track  
3. Use.the.VALUE.dial.or.the.cursor.buttons.to.select.the.item,.  
and.press.the.[ENTER].button  
For details on the items in each menu, refer to the page references  
below.  
START  
TO  
Time  
END  
SONG EDIT Menu  
Menu  
Explanation  
Page  
p. 87  
p. 91  
p. 103  
Example 2: Copying twice to a different track  
Song.Select  
Create.New.Song  
Information  
Selects a song.  
Creates a new song.  
Displays information about the song.  
Song.Name.Edit  
Song.Remove.  
Song.Copy  
Edits the name of the song.  
Deletes the selected song.  
Copies the song.  
p. 103  
p. 103  
p. 103  
p. 104  
START  
TO  
Time  
Song.Protect.  
Turns the song’s Protect setting on/off.  
END  
Deletes unneeded data to conserve  
space on the SD card.  
Song.Optimize.  
p. 104  
NOTE  
• If the copy destination contains data, that data will be overwritten.  
• The copy region you specify must be longer than 1.0 seconds. If the  
region is shorter than 1.0 seconds, the sound won’t be heard even if  
the data was copied.  
TRACK EDIT Menu  
Menu  
Explanation  
Page  
p. 98  
Track.Copy  
Track.Move  
Track.Erase  
Track.Exchange  
Copies track data.  
Moves track data.  
Erases track data.  
Exchanges track data.  
p. 99  
p. 100  
p. 100  
Imports audio files (WAV or AIFF) from  
the SD card into a track.  
Track.Import  
Track.Export  
p. 101  
p. 102  
Exports a track’s data to an SD card as an  
audio file.  
98  
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1. Choose.Recorder.Menu.g.2 .Track.Edit.g.Track.Copy.  
Track Move (Moving Data)  
(p .98)  
The TRACK COPY screen will appear.  
This operation moves the data of the specified region (or the entire  
track) to another location.  
2. Specify.the.Source.Track,.Source.V-Track,.Start.and.End.for.  
* Following.this.operation,.the.original.location.of.the.moved.data.  
will.be.empty.(containing.no.data)  
the.Copy.operation,.and.press.the.[6].(NEXT).button  
Example 1: Moving within the same track  
Function.  
Edit.Region  
Button  
START  
TO  
Time  
[1].(ALL).  
The edit region will be the entire track you specified.  
The edit region will be the region between the points A  
and B you specified.  
END  
[2].(AB).  
If you want to copy/move/erase the A–B region, you must  
set point A and point B beforehand (p. 90).  
Example 2: Moving to a different track  
3. Specify.the.destination.Target.Track,.Target.V-Track,.To.and.  
Repeat.(the.number.of.times.to.copy.the.data).for.the.Copy.  
operation,.and.press.the.[6].(EXEC).button  
The display will ask “Copy OK?”  
4. If.you’re.sure.you.want.to.execute,.press.the.[5].(EXEC).  
button .If.you.decide.to.cancel,.press.the.[6].(CANCEL).  
button  
START  
TO  
Time  
END  
1. Choose.Recorder.Menu.g.2 .Track.Edit.g.Track.Copy.  
(p .98)  
The TRACK MOVE screen will appear.  
2. Specify.the.Source.Track,.Source.V-Track,.Start.and.End.for.  
the.Move.operation,.and.press.the.[6].(NEXT).button  
Function.  
Edit.Region  
Button  
[1].(ALL).  
The edit region will be the entire track you specified.  
The edit region will be the region between the points A  
and B you specified.  
[2].(AB).  
If you want to copy/move/erase the A–B region, you must  
set point A and point B beforehand (p. 90).  
3. Specify.the.destination.Target.Track,.Target.V-Track.and.To.  
for.the.Move.operation,.and.press.the.[6].(EXEC).button  
To  
The move-destination time location or measure  
The display will ask “Move OK?”  
4. If.you’re.sure.you.want.to.execute,.press.the.[5].(EXEC).  
button .If.you.decide.to.cancel,.press.the.[6].(CANCEL).  
button  
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Track Erase (Erasing Data)  
Track Exchange (Exchanging Data)  
This operation erases data from the specified region. If you use this  
operation to erase data, any data located later than the erased data will  
not be moved forward. In other words, this operation is comparable to  
recording silence over an unwanted portion of recording tape.  
This operation exchanges data between two tracks.  
Example: Exchanging the entire contents of tracks 1 and 2  
Track 1  
* Don’t.leave.sounds.shorter.than.1 0.seconds.before.or.after.the.  
erased.region .Any.remaining.sound.that.is.shorter.than.1 0.seconds.  
cannot.be.played  
Track 2  
Track 1  
Track 2  
START  
END  
Time  
Time  
1. Choose.Recorder.Menu.g.2 .Track.Edit.g.Track.Erase.  
(p .98) .  
1. Choose.Recorder.Menu.g.2 .Track.Edit.g.Track.Exchange.(p .  
98)  
The TRACK ERASE screen will appear.  
The TRACK EXCHANGE screen will appear.  
2. Specify.the.erasing.Source.Track,.Source.V-Track,.Start.and.  
2. Specify.the.Source.Track,.Source.V-Track,.Target.Track,.Target.  
End.for.the.Erase.operation,.and.Press.the.[6].(EXEC).button  
V-Track.that.you.want.to.exchange  
Function.  
Edit.Region  
Button  
3. Press.the.[6].(EXEC).button  
[1].(ALL).  
The edit region will be the entire track you specified.  
The display will ask “Exchange OK?”  
The edit region will be the region between the points A  
and B you specified.  
4. If.you’re.sure.you.want.to.execute,.press.the.[5].(EXEC).  
button .If.you.decide.to.cancel,.press.the.[6].(CANCEL).  
button  
[2].(AB).  
If you want to copy/move/erase the A–B region, you must  
set point A and point B beforehand (p. 90).  
The display will ask “Erase OK?”  
3. If.you’re.sure.you.want.to.execute,.press.the.[5].(EXEC).  
button .If.you.decide.to.cancel,.press.the.[6].(CANCEL).  
button  
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Track Import (Importing an Audio File)  
Audio files that can be imported  
• Wave data in the following formats can be imported.  
• WAV/AIFF format  
This operation lets you convert an audio file (WAV or AIFF format) from  
your computer into track data.  
MEMO  
• Linear format  
You’ll need a commercially available SD card reader in order to  
perform this operation.  
• File extension: WAV file “.WAV”,  
AIFF file “.AIF”or “.AIFF”  
1. Using.your.computer.and.a.commercially.available.SD.card.  
reader,.copy.the.audio.fi.le.(WAV.or.AIFF.format).from.the.SD.  
card’s.“/ROLAND/IMPORT”.folder  
• Extremely short waveform data (less than approximately 1 sec)  
cannot be loaded.  
2. Insert.the.SD.card.into.the.JUNO-Gi,.and.switch.on.the.  
Caution when importing  
JUNO-Gi’s.power  
• Use an SD card that was formatted by the JUNO-Gi. However, if  
you’re using the SD card that was included with the JUNO-Gi,  
don’t format it.  
3. Choose.Recorder.Menu.g.2 .Track.Edit.g.Track.Import.  
(p .98)  
4. Turn.the.VALUE.dial.to.select.the.audio.fi.le.you.want.to.  
If the display indicates “EMPTY”  
import  
• If there are no audio files in the SD card’s “/ROLAND/IMPORT”  
folder, the display will indicate “EMPTY”, and the import will not  
be possible.  
MEMO  
• By pressing the [5] (PREVIEW) button, you can audition the selected  
audio.  
• Files whose name begins with a “.”(period) cannot be used.  
There are also certain characters (\ / : , ; * ? “ < > | ) that cannot  
be used anywhere in a file name.  
• You can also select audio files that are in the SD card’s “/ROLAND/  
EXPORT”folder. These are shown in the list as “EXPORT/file name.”  
• If you decide not to import, press the [EXIT] button.  
If the display indicates “Incorrect File!”  
5. Press.the.[6].(NEXT).button  
• If you attempt to import a WAV/AIFF file in a format that is  
not supported by the JUNO-Gi, the error message “Incorrect  
File!”will be shown in the display, and the import will not be  
possible.  
6. Use.the.cursor.buttons.to.move.the.cursor,.and.use.the.  
VALUE.dial.or.the.[DEC].[INC].buttons.to.specify.the.import-  
destination.Target.Track.and.Target.V-Track  
• You cannot import compressed audio files.  
Choose the track on which the audio data will be recorded.  
MEMO  
If you select Track 1–8, the data will be imported in monaural, and  
if you select Track 1/2–7/8, the data will be imported in stereo. For  
example, if you select Track 1/2, the left channel of the audio file  
is imported into Track 1, and the right channel of the audio file is  
imported into Track 2. If you want to listen to these Tracks in stereo  
after it has been imported, set the pan for Track 1 to “L64,”and set  
the pan for Track 2 to “R63.”(p. 89)  
7. Use.the.cursor.buttons.to.move.the.cursor,.and.use.the.  
VALUE.dial.or.the.[DEC].[INC].buttons.to.specify.the.time.  
or.measure.(To).at.which.you.want.to.import.the.data,.and.  
press.the.[6].(EXEC).button  
The display will ask “Import OK?”  
8. If.you’re.sure.you.want.to.import,.press.the.[5].(EXEC).button .  
If.you.decide.to.cancel,.press.the.[6].(CANCEL).button  
The audio file will be imported into the track.  
MEMO  
A maximum of 99 files can be imported.  
101  
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Track Export  
About the file name  
(Exporting Track Data to an Audio File)  
Files created using the Track Export procedure are named as  
follows.  
Here’s how track data recorded on a track can be converted to an audio  
file (WAV formats).  
(Ex.)  
T1_V1_01.WAV  
T34V8_99.WAV  
MEMO  
If you want to combine all tracks and export the result as a single  
audio file, execute the Mastering procedure as described in  
“Mastering (MASTERING Mode)”(p. 118).  
The file name will be the source track and V-track number plus a  
sequential number and the extension .WAV.  
If an identically named file already exists, the display will ask  
“Overwrite?”  
Exported audio files  
The data in the following formats can be exported.  
• WAV format  
MEMO  
• Sampling Frequency: 44.1 kHz  
• 16-bit  
• You can audition an exported WAV file in the TRACK IMPORT screen  
(p. 101) by pressing the [5] (PREVIEW) button.  
• With the Track Export function, 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.  
1. Choose.Recorder.Menu.g.2 .Track.Edit.g.Track.Export.  
(p .98)  
2. Use.the.cursor.buttons.to.move.the.cursor,.and.use.the.  
VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.Source.  
Track.and.Source.V-Track.you.want.to.export.to.audio.fi.le  
MEMO  
If you select Track 1–8, the data will be created to a monaural audio  
file, and if you select Track 1/2–7/8, the data will be created to a  
stereo audio file. For example, if you select Track 1/2, Track 1 will  
be exported to the left channel, and Track 2 will be exported to the  
right channel of a stereo audio file.  
3. Press.the.[6].(NEXT).button  
4. Assign.a.name.to.the.audio.fi.le  
For details on how to enter a name, refer to ”Assigning a Name”(p. 19).  
5. After.assigning.a.name,.press.the.[6].(EXEC).button  
The display will ask “Export OK?”  
6. If.you’re.sure.you.want.to.export,.press.the.[5].(EXEC).button .  
If.you.decide.to.cancel,.press.the.[6].(CANCEL).button  
The track data will be exported to the audio file. The exported audio  
file will be saved in the “/ROLAND/EXPORT/”folder on the SD card.  
102  
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Song Remove  
SONG EDIT Menu  
This operation removes a song from the SD card.  
This is a menu of song-related operations.  
1. Choose.Recorder.Menu.g.1 .Song.Edit.g.Song.Remove.  
(p .98)  
Song Select  
The SONG REMOVE screen will appear.  
Refer to “Selecting and Playing a Song (Song Select)”(p. 87).  
2. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.  
song.that.you.want.to.remove  
Create New Song  
The display will ask “Song Remove OK?”  
Refer to “Creating a New Song (Create New Song)”(p. 91).  
3. If.you.are.sure.you.want.to.remove.the.song,.press.the.[5].  
(EXEC).button .If.you.decide.not.to.remove.the.song,.press.  
the.[6].(CANCEL).button  
Information  
MEMO  
This displays detailed information about the song.  
If you remove the song that you’re currently using, another song on  
the SD card will be selected automatically. If no other song exists, a  
new song will be created.  
1. Choose.Recorder.Menu.g.1 .Song.Edit.g.Information.  
(p .98)  
The screen will show the Song Name, Song Folder Name on the SD  
card, Song Size, and Free Size on the SD card.  
Song Copy  
This allows you to make a copy of the currently selected song and save  
it under a new name on the SD card.  
This comes in handy when, for example, you want to preserve a song  
in its current form; simply make a copy of it before you carry out  
editing or record additional material.  
1. Choose.Recorder.Menu.g.1 .Song.Edit.g.Song.Copy.  
Song Name Edit  
(p .98)  
When you create a new song, it will automatically be given a name  
such as “SONG0001.”When you’ve finished your song, we recommend  
that you give it a descriptive name so that you’ll be able to manage  
your songs more easily.  
The display will ask “Copy to New Song?”  
2. If.you.are.sure.you.want.to.copy.the.song,.press.the.[5].  
(EXEC).button .If.you.decide.not.to.copy.the.song,.press.the.  
[6].(CANCEL).button  
1. Choose.Recorder.Menu.g.1 .Song.Edit.g.Song.Name.Edit.  
The Copy operation will be executed. Once the copy has been  
completed, “Completed!”appears in the display.  
(p .98)  
2. Assign.a.name.to.the.song .When.you’ve.fi.nished.assigning.a.  
name,.press.the.[6].(EXEC).button  
If the message “SD Card Full!” appears  
For details on how to enter a name, refer to ”Assigning a Name”(p. 19).  
If this message appears before you copy data, either the  
number of songs has exceeded 99, or the SD card has  
insufficient free space. Use either of the following methods to  
increase the free space on the SD card.  
3. Press.the.[5].(EXEC).button  
• Execute “Song Optimize”(p. 104).  
• Execute “Song Remove”(p. 103).  
103  
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Song Protect  
Saving the Current Settings to the  
Song (Song Write)  
Even after you’ve finished the work of creating a song, you could lose  
your song by accidentally recording over it or erasing it. To prevent  
such accidents, the Song Protect setting lets you protect a song so that  
it cannot be erased or modified.  
The following content is saved as song data.  
• Mixer status (pan, etc.)  
If you’ve protected a song, the RECORDER screen will indicate  
“PROTECT,”and the following operations will not be possible.  
• Insert effects patch number  
• Mastering Tool Kit patch number  
• Rhythm pattern number  
• Rhythm arrangement  
• Recording  
• Track editing  
• Changing the song name  
• Removing the song  
• Reverb  
These settings are automatically saved following a recording  
operation. However, simply editing one of these settings will not save  
it, so proceed as follows if you want to save the change.  
• Song optimize  
• Writing a song  
• Writing or editing a rhythm arrangement  
• Writing an effect song patch  
• Writing a song rhythm pattern  
1. In.the.RECORDER.screen.(p .86),.press.the.[WRITE].button  
A confirmation message will appear.  
2. Press.the.[5].(EXEC).button.to.execute  
To cancel, press the [6] (CANCEL) button.  
1. Choose.Recorder.Menu.g.1 .Song.Edit.g.Song.Protect.  
(p .98)  
MEMO  
The display will ask “Protect Song?”  
When you edit the settings of a song, an “*”will be shown in the  
RECORDER screen.  
2. Press.the.[5].(EXEC).button  
If a song is protected, the song protect symbol “PROTECT”is shown in  
the RECORDER screen.  
To turn off the protect setting, perform the same procedure once  
again.  
Song Optimize (Saving space on the SD card)  
If you turn off the power or switch to a different song while this “*”  
is displayed, the changes you made will be discarded. If you want to  
keep your changes, you must save the song.  
When you perform track editing or punch-in/ out, the previous data  
will remain on the SD card without being erased. In some cases,  
this unneeded data may occupy significant space on the SD card,  
unnecessarily using up the card’s capacity. This will reduce the  
available recording time.  
By executing the “Song Optimize”operation you can erase unneeded  
data from the SD card and increase the amount of space that’s  
available.  
1. Choose.Recorder.Menu.g.1 .Song.Edit.g.Song.Optimize.  
(p .98)  
The display will ask “Optimize Song?”  
2. If.you.are.sure.you.want.to.execute.the.song.optimize.  
operation,.press.the.[5].(EXEC).button .If.you.decide.not.to.  
execute.this.operation,.press.the.[6].(CANCEL).button  
The Song Optimize operation will be executed. When optimization is  
completed, the display will indicate “Song Optimize Completed!”  
MEMO  
The Song Optimize operation erases the unneeded and unplayable  
audio data from all V-tracks.  
NOTE  
• In some cases, it may take an appreciable amount of time for  
optimization to be completed. This is not a malfunction. Don’t turn  
off the power before optimization has ended.  
• If you’ve executed the optimize operation, you won’t be able to  
return to the state prior to optimization by executing Undo.  
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Digital Recorder 2 (Effects)  
Effects in the Recorder Section  
The Digital Recorder section includes three effects: Insert Effects,  
Reverb, and Mastering Tool Kit.  
Insert Effect Banks and Patches  
Insert Effects  
What is a Effect Patch?  
An effect added directly to a specific signal (on the JUNO-Gi, the sound  
of the synthesizer, guitar or mic you’re recording) is called an “insert  
effect.”The effect pedals that a guitarist connects between his guitar  
and amp are a type of the insert effects. You can use the insert effects  
not only while recording, but also apply it to the sound when mixing  
the tracks.  
The Insert effects provides numerous effects, and two or more of these  
effects can be used simultaneously. Such a combination of effects  
(i.e., the types of the effects used and the order in which they are  
connected) is called an “algorithm.”  
Each effect in an algorithm offers a certain number of parameters,  
which allow the sound to be altered (similar to tweaking the knobs on  
a stomp pedal). The algorithm and its parameter settings are bundled  
into units called “effect patches.”  
Insert effects provide various types of effects driven by COSM  
technology.  
Reverb  
Separately from the insert effects, the Digital Recorder section also  
provides a Reverb effect that can be applied to each of the song’s  
tracks and to the INPUT jack. You can apply the insert effects and  
reverb simultaneously, and make settings for each as appropriate for  
your situation.  
What is a Bank?  
The effect patches are organized into the following banks. Choose the  
bank that’s appropriate for the device you’re recording.  
Bank  
GUITAR  
MIC  
Explanation  
Mastering Tool Kit  
Effects for guitar  
When creating an audio CD from your recorded songs the overall  
volume needs to be restrained, so that even the loudest portions of  
the songs are handled appropriately on the CD. However, this often  
results in an overall lowering of the volume, resulting in a CD that lacks  
excitement and impact. With the “Mastering Tool Kit,”however, you can  
smooth out the differences in volume that occur over the course of a  
song, while also correcting the balance.  
Effects for microphone  
Effects for line input, keyboard, or USB audio  
LINE  
What is a Group?  
Effect patch settings you’ve edited can be saved in the “USER”or  
“SONG”groups.  
MEMO  
Group  
Explanation  
Edit  
Write  
What is the COSM?  
PRESET  
Patches that cannot be rewritten  
3
Technology that simulates existing physical structures, materials,  
and the like using different, virtual means is called “modeling  
technology.”  
Patches that can be saved in  
internal memory  
USER  
3
3
3
3
Patches that can be saved in  
each song  
SONG  
COSM (Composite Object Sound Modeling) is a technical  
innovation from Roland that combines a number of such sound-  
modeling technologies to create new and unique sounds.  
NOTE  
The Insert Effects and the Mastering Tool Kit cannot be used  
simultaneously.  
105  
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Using Insert Effects  
Displaying the Recorder’s Effects  
Screen  
Selecting an Insert Effect  
1. In.the.recorder’s.eff.ects.screen,.press.the.[1].(INS.FX).button  
The INSERT FX screen will appear.  
1. In.the.RECORDER.screen,.[6].(EFFECT).button  
The recorder’s effects screen will appear.  
2. Use.the.cursor.buttons.to.move.the.cursor,.and.use.the.  
VALUE.dial.or.the.[DEC].[INC].buttons.to.change.the.bank,.  
group.and.patch  
Function Buttons  
Turning the Insert Effect Algorithms On/Off  
1. Use.the.cursor.buttons.to.move.the.cursor.to.each.algorithm.  
Button  
Explanation  
Page  
[1].(INS.FX).  
Opens the INSERT FX screen.  
p. 106  
of.the.patch  
(only in Mastering mode)  
[1].(MASTER).  
[2].(REVERB).  
p. 118  
p. 117  
Opens the Mastering Tool Kit.  
2. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.turn.the.  
Opens the Reverb screen.  
selected.algorithm.on/off.  
(only when an insert effect is selected)  
Changes the insert effect connection  
location.  
For details on each algorithm, refer to“Insert Effects Parameters”(p. 109).  
[4].(LOC).  
p. 108  
(only when an insert/mastering effect is  
selected)  
Edits the effect.  
[5].(EDIT).  
p. 107  
p. 106  
[6].(SWITCH).  
Turns each effect on/off.  
On  
Off.  
Uppercase indication in solid frame  
Lowercase indication in dashed frame  
2. Use.the.[1].(INS.FX)–[2].(REVERB).buttons.to.switch.to.the.  
eff.ect.screen.that.you.want.to.see  
Turning each Effect On/Off (SWITCH)  
1. In.the.recorder’s.eff.ects.screen,.press.the.[6].(SWITCH).  
button  
2. Press.the.[1].(INS.FX)–[2].(REVERB).buttons.to.turn.each.  
eff.ect.on/off.  
Button  
Eff.ects  
[1].(INS.FX).  
Insert Effects  
(Mastering mode only)  
Mastering Tool Kit  
[1].(MASTER).  
[2].(REVERB).  
Reverb  
3. To.close.the.setting.window,.press.the.[6].(CLOSE).button.or.  
the.[EXIT].button  
106  
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Saving Insert Effects Settings (WRITE)  
Editing the Insert Effects Settings  
(EDIT)  
Here’s how to assign a name (patch name) to the effect settings you’ve  
edited, and save them as a new effect patch.  
If you want to create a new effect sound, start by selecting an existing  
patch that’s close to the sound you want, then modify (edit) the patch  
settings. If you want to save the effect settings you’ve edited, save the  
patch as a user patch or song patch.  
1. In.the.INSERT.FX.EDIT.screen,.press.the.[6].(WRITE).button  
The INSERT FX PATCH NAME screen will appear.  
2. Assign.a.name  
1. In.the.recorder’s.effects.screen,.press.the.[1].(INS.FX).button  
For details on how to enter a name, refer to ”Assigning a Name”(p. 19).  
The INSERT FX screen will appear.  
3. When.you’ve.finished.assigning.a.name,.press.the.[6].(NEXT).  
button  
2. Use.the.cursor.buttons.to.move.the.cursor.to.each.algorithm.  
of.the.patch  
A screen will appear, allowing you to select the save destination.  
3. Press.the.[5].(EDIT).button  
4. Press.the.[1].(USER).or.[2].(SONG).button.to.select.the.  
save-destination.group  
The INSERT FX EDIT screen will appear.  
Group  
USER  
Explanation  
MEMO  
Patches saved in internal memory  
Patches saved for each song  
You can switch between algorithms in the edit screen by holding  
down the [SHIFT] button and using the cursor [ ] [ ] buttons.  
SONG  
5. Use.the.cursor.buttons.to.move.the.cursor,.and.use.the.  
VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.bank.  
and.patch.number.into.which.you.want.to.write.your.edited.  
patch  
Entering a value  
4. Use.the.cursor.buttons.to.move.the.cursor.to.the.parameter.  
that.you.want.to.edit,.and.use.the.VALUE.dial.or.the.[DEC].  
[INC].buttons.to.edit.the.value  
6. Press.the.[6].(WRITE).button  
For details on each parameter, refer to“Insert Effects Parameters”(p. 109).  
A confirmation message will appear.  
5. If.you.want.to.save.the.current.effect.settings,.press.the.[6].  
7. Press.the.[5].(EXEC).button.to.write.to.the.patch  
To cancel, press the [6] (CANCEL) button.  
(WRITE).button  
For the save procedure, refer to “Saving Insert Effects Settings (WRITE)”  
(p. 107).  
NOTE  
• Never turn off the power while saving is in progress.  
• You can’t save effect patches while recording or playing a song.  
When you’ve finished editing  
6. When.you’ve.finished.editing,.press.the.[EXIT].button  
107  
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Value  
Explanation  
Changing the Location of the Insert  
Effects (LOCATION)  
Use this setting if you want to apply the effect to the  
overall sound, such as when using the effect to modify  
the sound during bounce-recording, or using the effect  
to achieve a special sound.  
By default, the insert effects are connected (inserted) directly after  
the input source. This means that you’ll be able to hear and record the  
sound processed by the effect.  
However, in some cases, you may wish to change this method of  
connection. The JUNO-Gi lets you change the location where the insert  
effects are connected, thus allowing you to use the effect in a variety  
of ways.  
MASTER  
TRACK 1  
(PLAY)  
1. In.the.recorder’s.effects.screen,.press.the.[1].(INS.FX).button  
The INSERT FX screen will appear.  
TRACK 8  
(PLAY)  
RHYTHM  
2. Press.the.[4].(LOC).button  
The INSERT FX LOCATION screen will appear.  
4. When.you’ve.finished.making.settings,.press.the.[EXIT].  
3. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.specify.the.  
button  
location.where.the.insert.effects.are.to.be.connected  
Value  
Explanation  
This lets you monitor and record the sound that is  
processed through the insert effects. Normally, you  
should use this setting.  
INPUT.  
<NORMAL>  
TRACK 1  
(REC)  
This lets you monitor the sound that is processed  
through the insert effects, but record the sound before  
it has passed through the insert effects (i.e., record the  
“dry”sound). Use this setting if you want to try out  
various effect settings after recording.  
ꢀg.03  
INPUT.  
<REC.DRY>  
TRACK 1  
(REC)  
This lets you apply the insert effects to the track  
playback audio. Use this setting if you want to try out  
effects after recording the dry sound, or if you want to  
apply the effect only to a specific track.  
TRACK..  
1–8,..  
ꢀg.03  
1/2–7/8  
TRACK 1  
(PLAY)  
This lets you apply the insert effects to the rhythm  
sound.  
ꢀg.03  
RHYTHM  
RHYTHM  
108  
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Insert Effects Parameters  
* The.trademarks.listed.in.this.document.are.trademarks.of.their.  
respective.owners,.which.are.separate.companies.from.Roland .  
Those.companies.are.not.affiliated.with.Roland.and.have.not.  
licensed.or.authorized.Roland’s.JUNO-Gi .  
MIC Bank  
This is a multi-effect designed for vocals. It provides the basic effects  
needed for vocals.  
* Their.marks.are.used.solely.to.identify.the.equipment.whose.sound.  
is.simulated  
-[CMP]-[ENH]-[EQ]-[NS]-[DLY]=  
Algorithm  
Explanation  
Page  
Algorithm  
This compresses the overall output signal when  
the input volume level exceeds a set value.  
COMPRESSOR.  
p. 116  
The algorithms (the available effects and their connection order) that  
can be used as the insert effects are shown below. The algorithms that  
can be selected will differ for each bank.  
By adding sounds which are out-of-phase with the  
direct sound, this effect enhances the definition of p. 116  
the sound, and pushes it to the forefront.  
ENHANCER.  
EQUALIZER  
Adjusts the volume levels for different frequencies  
in the low-frequency to high-frequency ranges.  
MEMO  
The line or lines connecting the algorithm indicate whether the  
effect features mono output (single line) or stereo output (two  
lines).  
p. 111  
Low and high midrange settings feature  
parametric equalization.  
NOISE..  
SUPPRESSOR.  
This effect reduces the noise and hum.  
p. 111  
p. 115  
Mono/Stereo  
Output:.Mono  
Output:.Stereo  
Ex  
A delayed sound is added to the normal guitar  
sound, producing a thicker tone with a distinctive  
ambience.  
–[AMP]–[EQ]–  
=[LIM]=[OUT]=  
DELAY.  
GUITAR Bank  
LINE Bank  
This is a multi-effect designed for electric guitar. This provides an amp  
sound using a preamp and speaker simulator.  
These effects are for stereo line input. The LINE/EXT bank uses the  
same effects as the mastering tool kit.  
-[AMP]-[EQ]-[NS]-[FX]-[DLY]=[CHO]=[REV]=  
=[IN]=[CMP]=[MIX]=[LIM]=[OUT]=  
* The.order.may.differ.depending.on.the.patch  
Algorithm  
Explanation  
Page  
This divides the original sound into three  
frequency ranges: low, mid, and high.  
Algorithm  
Explanation  
Page  
INPUT  
p. 120  
Models sounds passed through guitar and bass  
amps.  
3BANDCOMP.  
(Compressor).  
This compresses the overall output signal when  
the input volume level exceeds a set value.  
p. 120  
p. 120  
p. 120  
p. 120  
AMP.  
(Amp.Modeling).  
COSM modeling simulates not just preamp and  
speaker characteristics, but even miking as well.  
p. 110  
MIXER  
Adjusts the volume of each frequency band.  
You can select from a large number of different  
amp types.  
This suppresses high-level signals to prevent  
distortion.  
LIMITER  
OUTPUT  
Adjusts the volume levels for different frequencies  
in the low-frequency to high-frequency ranges.  
This makes settings that affect the overall output.  
EQUALIZER  
p. 111  
p. 111  
Mid and high midrange settings feature  
parametric equalization.  
This effect suppresses noise and hum from the  
guitar’s pickups.  
Since the noise reduction follows the guitar  
sound’s envelope (the change in volume over  
time), it has practically no influence on the guitar  
sound itself, thus producing a highly natural  
effect.  
NOISE..  
SUPPRESSOR  
Provides a wide variety of effects to choose from,  
including compressor, distortion, wah, and many  
others.  
FX.  
(Effects).  
p. 112  
p. 115  
A delayed sound is added to the normal guitar  
sound, producing a thicker tone with a distinctive  
ambience.  
DELAY.  
This effect adds a subtle frequency modulation,  
producing a beautiful sound with greater breadth p. 115  
and body.  
CHORUS  
This effect adds reverberation and other spatial  
effects.  
REVERB  
p. 115  
Set the REVERB TYPE to choose from a variety of  
different types of reverb sound.  
109  
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Value  
Explanation  
Type  
AMP  
This is a drive sound producing awesome  
distortion.  
BOSS DRIVE  
Parameter  
Value  
Explanation  
This models a Soldano SLO-100, a very popular  
tube amp in the 1980s.  
On/Off  
OFF, ON  
Turns the AMP OFF/ON.  
SLDN  
LEAD STACK  
HEAVY LEAD  
BOSS METAL  
5150 DRIVE  
This is a lead sound with high gain.  
Value  
Explanation  
Type  
A powerful lead sound featuring extreme  
distortion.  
BOSS CLEAN  
JC-120  
This is a clean sound that is smooth and warm.  
This is the sound of the Roland JC-120.  
This is a sound suited to jazz.  
This is a metal sound suited to heavy riffs.  
JAZZ COMBO  
This models the lead channel of a Peavey EVH  
5150.  
This is a sound with flat response.  
Good for acoustic guitar.  
FULL RANGE  
METAL LEAD  
EDGE LEAD  
This is a lead sound suited to metal.  
CLEAN TWIN  
PRO CRUNCH  
TWEED  
This models a Fender Twin Reverb.  
This models a Fender Pro Reverb.  
This is a sharp sound suited for lead play.  
Clean sound that is great for use with bass  
guitars.  
BASS CLEAN  
BASS CRUNCH  
BASS HIGAIN  
This models a Fender Bassman 4 x 10”Combo.  
This models a Fender Deluxe Reverb.  
DELUXE CRUNCH  
Crunch sound with natural distortion that sounds  
great with bass guitars.  
This is a crunch sound that faithfully reproduces  
picking nuances.  
BOSS CRUNCH  
A high-gain sound suitable for use with bass  
guitars.  
BLUES  
This is a sound suited to blues.  
WILD CRUNCH  
STACK CRUNCH  
This is a crunch sound with wild distortion.  
This is a crunch sound with high gain.  
Parameter  
Gain  
Value  
0–120  
0–100  
Explanation  
Adjusts the distortion of the amp.  
Adjusts the tone for the low frequency range.  
This models the drive sound of a VOX AC-30TB.  
This is a sound that it suited to sixties-style British  
rock.  
Bass  
VO DRIVE  
Adjusts the tone for the middle frequency  
range.  
Middle  
Treble  
0–100  
0–100  
VO LEAD  
This models the lead sound of the VOX AC-30TB.  
This models the clean sound of the VOX AC-30TB.  
Adjusts the tone for the high frequency range.  
VO CLEAN  
Adjusts the tone for the ultra high frequency  
range.  
This models the sound produced using the left  
input on a Matchless D/C-30, a modern tube amp  
widely used in styles from blues to rock.  
MATCH DRIVE  
When you set the TYPE parameter to VO DRIVE,  
VO LEAD, VO CLEAN, MATCH DRIVE, FAT MATCH,  
or MATCH LEAD, the PRESENCE parameter  
functions as the high cut filter found in the  
original amps.  
Presence  
Level  
0–100  
This models the sound of a Matchless modified  
for high gain.  
FAT MATCH  
This models the sound produced using the right  
input on a Matchless D/C-30  
MATCH LEAD  
Adjusts the volume of the entire preamp. Be  
careful not to raise the LEVEL setting too high.  
0–100  
This models the lead sound of the MESA/Boogie  
combo amp, a tube amp that was very popular in  
the late ’70s and ’80s.  
BG LEAD  
Turns the bright setting OFF/ON.  
The Bright parameter setting is only partially available with some  
JC CLEAN, TW CLEAN, CRUNCH, or BG LEAD settings in TYPE.  
This models a MESA/Boogie with TREBLE SHIFT  
SW on.  
BG DRIVE  
Bright  
OFF  
ON  
Bright is not used.  
This models the rhythm channel of a MESA/  
Boogie combo amp.  
BG RHYTHM  
Bright is switched on to create a lighter and  
crisper tone.  
This models the sound produced using Input I on  
a Marshall 1959 Super Lead amp. This is a trebly  
sound suited to hard rock.  
Provides for selection from three levels of  
distortion. Distortion will successively increase  
for settings of LOW, MIDDLE and HIGH.  
MS1959 I  
LOW, MIDDLE,  
HIGH  
Gain.Sw  
The sound of connecting Inputs I and II of the  
Marshall 1959 amp in parallel, creating a sound  
with a stronger low end than I.  
Set SOLO SW to ON to add a boost in volume  
that’s suitable for solos.  
MS1959 I+II  
Solo.Sw  
OFF, ON  
0–100  
Adjusts the volume level when the SOLO SW  
is ON.  
Solo.Level  
This models the sound of a Marshall modified  
with a midrange boost.  
MS HIGAIN  
MS SCOOP  
Select the speaker type.  
This is a Marshall sound that’s been tweaked for  
a metal sound.  
OFF  
This turns off the speaker simulator.  
This is the built-in speaker of the amp you  
selected with AMP TYPE.  
Models the sound of the Channel 2 VINTAGE  
Mode on the MESA/Boogie DUAL Rectifier.  
ORIGINAL  
R-FIER VINTAGE  
R-FIER MODERN  
R-FIER CLEAN  
This is a open-back speaker cabinet with one  
8-inch speaker.  
Models the sound of the Channel 2 MODERN  
Mode on the MESA/Boogie DUAL Rectifier.  
1x8”  
This is a open-back speaker cabinet with one  
10-inch speaker.  
Models the sound of the Channel 1 CLEAN Mode  
on the MESA/Boogie DUAL Rectifier.  
1x10”  
1x12”  
2x12”  
4x10”  
4x12”  
8x12”  
This is a open-back speaker cabinet with one  
12-inch speaker.  
SP.Type  
T-AMP LEAD  
The models AMP3 on a Hughes & Kettner TriAmp.  
The models AMP2 on a Hughes & Kettner TriAmp.  
The models AMP1 on a Hughes & Kettner TriAmp.  
T-AMP CRUNCH  
T-AMP CLEAN  
This is a open-back speaker cabinet with two  
12-inch speakers.  
This is a closed-back speaker cabinet with four  
10-inch speakers.  
This is a closed-back speaker cabinet with four  
12-inch speakers.  
This is a double stack of two closed-back  
cabinets, each with four 12-inch speakers.  
110  
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Parameter  
Value  
Explanation  
EQUALIZER  
This setting selects the simulated microphone type.  
Low Gain  
Lo-Mid Gain  
Hi-Mid Gain  
High Gain  
This is the sound of the SHURE SM-57, a  
general-use dynamic microphone used for  
DYN57  
instruments and vocals. Optimal for use in  
miking guitar amps.  
This is the sound of the SENNHEISER MD-421, a  
DYN421  
Frequency  
dynamic microphone with extended low end.  
Mic.Type  
This is the sound of the AKG C451, a small-  
CND451  
diaphragm condenser microphone for use with  
instruments.  
Lo-Mid Freq  
Value  
Hi-Mid Freq  
This is the sound of the NEUMANN U87, a  
large-diaphragm condenser microphone with  
flat response.  
CND87  
FLAT  
Parameter  
Explanation  
Simulates a microphone with perfectly flat  
response.  
On/Off  
OFF, ON  
Turns the EQ OFF/ON.  
This sets the frequency at which the low cut  
filter begins to take effect. When “FLAT”is  
selected, the low cut filter will have no effect.  
FLAT, 55–800  
(Hz)  
Simulates the distance between the microphone and speaker.  
Low.Cut  
This setting points the microphone away from  
OFF MIC  
Mic.Distance  
the speaker.  
Low.Gain  
-20–+20 (dB)  
Adjusts the low frequency range tone.  
Provides conditions whereby the microphone is  
directed more towards the speaker.  
20.0–10.0k  
(Hz)  
Specifies the center of the frequency range that  
will be adjusted by the Lo-Mid Gain.  
ON MIC  
Lo-Mid.Freq  
This simulates the microphone position.  
Adjusts the width of the area affected by the EQ  
centered at the “Lo-Mid Freq.”Higher values will  
narrow the area.  
Lo-Mid.Q  
0.5–16  
Simulates the condition that the microphone is  
CENTER  
set in the middle of the speaker cone.  
Mic.Position  
Mic.Level  
Lo-Mid.Gain  
Hi-Mid.Freq  
-20–+20 (dB)  
Adjusts the low-middle frequency range tone.  
Simulates the condition that the microphone  
is moved away from the center of the speaker  
cone.  
1–10  
20.0–10.0k  
(Hz)  
Specifies the center of the frequency range that  
will be adjusted by the Hi-Mid Gain.  
0–100  
Adjusts the volume of the microphone.  
Adjusts the width of the area affected by the EQ  
centered at the “Hi-Mid Freq.”Higher values will  
narrow the area.  
Hi-Mid.Q  
0.5–16  
Hi-Mid.Gain  
High.Gain  
-20–+20 (dB) Adjusts the high-middle frequency range tone.  
-20–+20 (dB) Adjusts the high frequency range tone.  
This sets the frequency at which the high cut  
700–11.0k,  
High.Cut  
Level  
filter begins to take effect. When “FLAT”is  
FLAT (Hz)  
selected, the high cut filter will have no effect.  
-20–+20 (dB) Adjusts the volume before the equalizer.  
NOISE SUPPRESSOR  
Parameter  
Value  
Explanation  
On/Off  
OFF, ON  
Turns the NOISE SUPPRESSOR OFF/ON.  
This adjusts the effect in response to the level  
of noise. A value of 0 switches off the noise  
suppressor.  
Threshold  
Release  
0–100  
0–100  
Setting this higher than necessary may cause  
no sound to be produced when the guitar is  
played at low volume.  
Adjusts the time from when the noise  
suppressor begins to function until the noise  
level reaches “0.”  
111  
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BLUES  
FX  
This is the crunch sound of the BOSS BD-2. This produces  
distortion that faithfully reproduces the nuances of picking.  
BLUES.OD  
CRUNCH  
Parameter  
Value  
Explanation  
A crunch sound with an added element of amp distortion.  
On/Off  
OFF, ON  
Turns FX OFF/ON.  
This provides the natural sounding distortion of a slightly  
overdriven amp.  
NATURAL.OD  
FX  
Explanation  
This effect distorts the sound to create long sustain.  
OD  
OD/DS  
Select the type of distortion with TYPE, then use DRIVE to  
adjust the amount of distortion.  
The sound of the BOSS OD-1.  
OD-1  
This produces sweet, mild distortion.  
If you set “Control Pedal Assign”(p. 81) to “INSERT FX CTRL,”  
you can use an expression pedal connected to the PEDAL  
CONTROL jack to control wah.  
WAH  
T-SCREAM  
TURBO.OD  
WARM.OD  
This models an Ibanez TS-808.  
This is the high-gain overdrive sound of the BOSS OD-2.  
This is a warm overdrive.  
This is an effect that produces a long sustain by evening out  
the volume level of the input signal.  
COMPRESSOR  
Use the Sustain parameter to adjust the length of the effect  
and Attack to adjust the strength of the picking attack (p. 113).  
DIST  
DISTORTION  
MILD.DS  
MID.DS  
This gives a basic, traditional distortion sound.  
This produces a mild distortion sound.  
The limiter attenuates loud input levels to prevent distortion.  
Adjust Threshold to match the guitar input signal.  
LIMITER  
OCTAVE  
This distortion sound features a boosted midrange.  
This adds a note one octave lower, creating a richer sound.  
Play a single tone while completely muting the other strings.  
CLASSIC  
RAT  
This processor allows you to change the sound produced by  
the pickup on an acoustic electric guitar, creating a richer  
sound similar to that obtained with a microphone placed  
close to the guitar.  
This models a Pro Co RAT.  
AC PROCESSOR  
(AC PRO).  
GUV.DS  
DST+  
This models a Marshall GUV’NOR.  
This models an MXR DISTORTION+.  
You can select the acoustic guitar type.  
By adding varied-phase portions to the direct sound, the  
phaser effect gives a whooshing, swirling character to the  
sound.  
MODERN  
MODERN.DS  
SOLID.DS  
STACK  
PHASER  
This is the deep distortion sound of a large stack-type amp.  
This is a distortion sound featuring an edge effect.  
You can select the phaser configuration.  
A fat sound with an added element of a stack amp’s distortion.  
The flanging effect gives a twisting, jet-airplane-like character  
to the sound.  
FLANGER  
TREMOLO  
METAL  
LOUD  
Tremolo is an effect that creates a cyclic change in volume.  
This produces an effect like the sound of a rotary speaker.  
This distortion sound is ideal for performing heavy riffs.  
This is the sound of the BOSS MT-2.  
If you set “Control Pedal Assign”(p. 81) to “INSERT FX CTRL,”  
you can use an expression pedal or a foot switch to change  
SLOW/FAST of the speaker’s rotating speed.  
ROTARY  
METAL.ZONE  
LEAD  
It produces a wide range of metal sounds, from old style to slash  
metal.  
This models a Uni-Vibe. Although this resembles a phaser  
effect, it also provides a unique modulation that you can’t get  
with a regular phaser.  
Produces a distortion sound with the smoothness of an  
overdrive along with a deep distortion.  
UNI-V  
PAN  
Alternately changes the volume level of the left and right  
channels. When monitoring the sound in stereo, this effect  
makes the guitar sound “fly”back and forth between the  
speakers.  
FUZZ  
60s.FUZZ  
OCT.FUZZ  
MUFF.FUZZ  
This models a FUZZFACE. It produces a fat fuzz sound.  
This models an ACETONE FUZZ.  
This models an Electro-Harmonix Big Muff π.  
Parameter  
Drive  
Value  
Explanation  
OD/DS  
BOOSTER  
0–120  
-50–+50  
0–100  
Adjusts the depth of distortion.  
Adjusts the tone.  
Tone  
Effect.Level  
Adjusts the volume of the OD/DS sound.  
This is a booster with unique characteristics in the midrange.  
This produces a great sound for solos.  
MID.BOOST  
This not only functions as a booster, but also produces a clean  
tone that has punch even when used alone.  
CLEAN.BOOST  
TREBLE.BOOST  
This is a booster that has bright sound characteristics.  
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WAH  
Parameter  
COMPRESSOR  
Value  
Selects the wah mode.  
If you set “Control Pedal Assign”(p. 81) to  
Explanation  
Parameter  
Sustain  
Attack  
Value  
0–100  
0–100  
0–100  
Explanation  
This sets the sustain for the sound.  
This sets the attack (onset) of the sound.  
This sets the volume level of the effect.  
“INSERT FX CTRL,”you can use an expression  
pedal connected to the PEDAL CONTROL  
jack to control wah.  
MANUAL  
Level  
Mode  
T.UP  
This produces a wah effect matched to the  
intensity of picking.  
LIMITER  
Parameter  
T.DOWN  
Selects the type of wah.  
Value  
Explanation  
This models the sound of the CRY BABY wah  
pedal popular in the ’70s.  
When the input signal level exceeds the level  
set here, limiting will be applied.  
CRY WAH  
Threshold  
0–100  
VO WAH  
FAT WAH  
This models the sound of the VOX V846.  
This is a wah sound featuring a bold tone.  
Adjusts the amount of time that the limiting  
effect is applied after the signal exceeds the  
threshold level.  
Release  
Level  
0–100  
0–100  
This wah has a refined sound with no  
unusual characteristics.  
Type.(*1).  
LIGHT WAH  
This sets the volume level of the effect.  
This expanded wah features a variable range  
compatible with seven-string and baritone  
guitars.  
7STRING WAH  
OCTAVE  
Parameter  
This completely original effect offers  
enhancements on the characteristic  
resonances produced by analog synth filters.  
Value  
0–100  
0–100  
Explanation  
RESO WAH  
0–100  
Octave.Level  
Direct.Level  
This sets the volume level of the effect sound.  
This sets the volume level of the direct sound.  
Adjusts the position of the wah pedal.  
Pedal.Position.  
(*1).  
This parameter will change when you  
operate the expression pedal.  
This sets the sensitivity of response to the  
input sound.  
AC.PRO  
Parameter  
Sens.(*2).  
0–100  
0–100  
0–100  
Value  
Explanation  
Adjusts the center frequency of the Wah  
effect.  
Frequency.(*2).  
Peak.(*2).  
Selects the modeling type.  
This is the sound of a small-bodied acoustic  
guitar.  
SMALL  
This sets the intensity of the wah sound.  
Type  
This is a standard, unadorned acoustic guitar  
sound.  
MEDIUM  
(*1) Setting available with MODE set to MANUAL.  
(*2) Setting available with MODE set to T.UP or T.DOWN.  
BRIGHT  
POWER  
-50–+50  
-50–+50  
-50–+50  
This is a bright acoustic guitar sound.  
This is a powerful acoustic guitar sound.  
Adjusts the low-end volume.  
Bass  
Middle  
Treble  
Adjusts the midrange volume.  
Adjusts the high-end volume.  
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PHASER  
Parameter  
ROTARY  
Parameter  
Value  
Explanation  
Value  
Explanation  
Selects the number of stages that the phaser effect uses.  
This parameter adjusts the SPEED SELECT of  
rotation when set to “SLOW.”  
Rate.Slow  
0–100, BPM  
This is a four-phase effect. A light  
4 STAGE  
phaser effect is obtained.  
This parameter adjusts the SPEED SELECT of  
rotation when set to “FAST.”  
Rate.Fast  
Depth  
0–100, BPM  
0–100  
This is an eight-phase effect. This is the  
8 STAGE  
Type  
most common phaser effect.  
This sets the richness of the effect.  
This is a twelve-phase effect. A deep  
12 STAGE  
This parameter changes the simulated speaker’s  
rotating speed.  
phase effect is obtained.  
If you set“Control Pedal Assign”(p. 81) to“INSERT  
FX CTRL,”you can use an expression pedal or  
a foot switch to change SLOW/FAST of the  
speaker’s rotating speed.  
This is the phaser with two phase shift  
BI-PHASE  
Speed.Select  
SLOW, FAST  
circuits connected in series.  
Rate  
0–100, BPM  
0–100  
This sets the speed of the effect.  
This sets the richness of the effect.  
This sets the intensity of the effect.  
Depth  
Resonance  
0–100  
UNI-V  
Parameter  
Value  
Explanation  
FLANGER  
Parameter  
Rate  
0–100, BPM  
0–100  
This sets the speed of the effect.  
This sets the richness of the effect.  
This sets the volume level of the effect.  
Value  
Explanation  
Depth  
Level  
Rate  
0–100, BPM  
0–100  
This sets the speed of the effect.  
This sets the richness of the effect.  
0–100  
Depth  
Adjusts the modulation frequency of the  
flanger effect.  
Manual  
0–100  
0–100  
PAN  
Resonance  
This sets the intensity of the effect.  
Parameter  
Value  
Explanation  
Rate  
0–100, BPM  
0–100  
This sets the speed of the effect.  
This sets the richness of the effect.  
TREMOLO  
Parameter  
Depth  
Adjusts the sound character of the volume level  
changes imparted with the pan effect.  
Wave.Shape  
0–100  
Value  
Explanation  
Rate  
0–100, BPM  
0–100  
This sets the speed of the effect.  
This sets the richness of the effect.  
Depth  
When set to BPM  
Adjusts changes in volume level. A higher value  
will steepen wave’s shape.  
Wave.Shape  
0–100  
When set to BPM, the value of the RATE parameter is set according to the value  
of the “Recorder Tempo”(p. 122). This makes it easier to achieve effect sound  
settings that match the tempo of the song.  
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DELAY  
REVERB  
Parameter  
Value  
Explanation  
Parameter  
Value  
Explanation  
On/Off  
OFF, ON  
Turns the DELAY OFF/ON.  
On/Off  
OFF, ON  
Turns the REVERB OFF/ON.  
Use this to choose the type of delay.  
Use this to choose the type of reverb.  
Simulates an ambience microphone (off-mic,  
SINGLE  
This is a simple monaural delay.  
placed at a distance from the sound source) used  
in recording and other applications. Rather than  
emphasizing the reverberation, this reverb is  
used to produce a sense of openness and depth.  
This delay is specifically for stereo output.  
This provides a tap delay effect that divides  
the delay time between the left and right  
channels.  
AMBIENCE  
PAN  
Simulates the reverberation in a small room.  
Provides warm reverberations.  
The direct sound is output from the left  
channel, and the effect sound is output from  
the right channel.  
ROOM  
HALL 1  
HALL 2  
STEREO  
Type  
Simulates the reverberation in a concert hall.  
Provides clear and spacious reverberations.  
Type  
This produces the effect of playback in  
reverse.  
REVERSE  
ANALOG  
TAPE  
Simulates the reverberation in a concert hall.  
Provides mild reverberations.  
This produces a mild analog delay sound.  
Simulates plate reverberation (a studio effect  
unit that uses the vibration of a large metal plate  
to produce reverberation). Provides a metallic  
sound with a distinct upper range.  
This setting provides the characteristic  
wavering sound of a tape echo.  
PLATE  
This is a delay with a pleasant chorus-type  
effect added to the delay repeats.  
MODULATE  
HICUT  
Reverb.Time  
High.Cut  
0.1–10.0 (s)  
Adjusts the length (time) of reverberation.  
This features a more suppressed high end  
than the Single delay.  
700Hz–  
11.0kHz,  
FLAT  
The high cut filter adjusts the amount of high  
frequencies in the reverb sound. When “FLAT”is  
selected, the high cut filter will have no effect.  
This sets the delay time.  
When set to BPM, the value of the DELAY  
TIME parameter is set according to the value  
of the“Recorder Tempo”(p. 122). This makes it  
easier to achieve effect sound settings that  
match the tempo of the song.  
Effect.Level  
0–100  
This sets the volume level of the effect.  
1–3400 [msec],  
BPM  
Delay.Time  
This sets the number of repetitions for the  
delay.  
Feedback  
0–100  
0–120  
This sets the volume level of the effect.  
Effect.Level  
When Type is set to REVERSE, this adjusts the  
balance of direct and effect sound.  
CHORUS  
Parameter  
Value  
Explanation  
On/Off  
OFF, ON  
Turns the CHORUS OFF/ON.  
Use this to choose the type of chorus.  
This chorus effect outputs the same sound  
from the left and right channels.  
MONO  
This is a stereo chorus effect that adds  
different chorus sounds to L channel and R  
channel.  
STEREO 1  
This stereo chorus uses spatial synthesis,  
with the direct sound output in the left  
channel and the effect sound output in the  
right channel.  
Type  
STEREO 2  
This features a more suppressed high end  
than MONO.  
MONO MILD  
STEREO 1  
MILD  
This features a more suppressed high end  
than ST 1.  
STEREO 2  
MILD  
This features a more suppressed high end  
than ST 2.  
This sets the speed of the effect.  
When set to BPM, the value of the RATE  
parameter is set according to the value of  
the “Recorder Tempo”(p. 122). This makes it  
easier to achieve effect sound settings that  
match the tempo of the song.  
Rate  
0–100, BPM  
Depth  
0–100  
0–100  
This sets the richness of the effect.  
Effect.Level  
This sets the volume level of the effect.  
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COMPRESSOR  
ENHANCER  
Parameter  
Value  
Explanation  
Parameter  
Value  
Explanation  
This parameter turns the compressor effect  
on/off.  
This parameter turns the enhancer effect  
on/off.  
On/Off  
OFF, ON  
On/Off  
OFF, ON  
Sustain  
Attack  
Level  
0–100  
0–100  
0–100  
This sets the sustain for the sound.  
This sets the attack (onset) of the sound.  
This sets the volume level of the effect.  
Adjusts the manner in which the enhancer  
will be applied relative to the input signals.  
Sens  
Freq  
0–100  
Adjusts the frequency at which the  
enhancer effect will begin to be applied.  
The effect will be made apparent in the  
frequencies above the frequency set here.  
1.0–10.0 (kHz)  
Adjusts the amount of phase-shifted sound  
of the range set by “Frequency”that is to  
be mixed with the input.  
Mix.Level  
0–100  
Adjusts the amount of phase-shifted sound  
of the lower range that is to be mixed with  
the input. The frequency range in which  
the effect is applied is fixed.  
Low.Mix.Level  
Level  
0–100  
0–100  
Adjusts the volume of the enhanced  
sound.  
LIMITER  
Parameter  
Value  
Explanation  
On/Off  
OFF, ON  
Sets the limiter to ON or OFF.  
Adjust this parameter to match the signal.  
Limiting will be applied to input levels in  
excess of this level.  
Threshold  
Attack  
-24–0dB  
This sets the time it takes for the limiter to  
go into effect once the input level exceeds  
the threshold level.  
0–100ms  
50–5000ms  
Adjusts the time until when the limiter will  
turn off after the input level falls below the  
threshold level.  
Release  
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Using Reverb Effect  
Here we will explain how to edit the reverb settings (parameters).  
Reverb Parameters  
Reverberation (or reverb) is the effect caused by sound waves decaying  
in an acoustic space, or a digital simulation thereof. This decay occurs  
because sound waves bounce off many walls, ceilings, objects, etc.  
in a very complex way. These reflections, coupled with absorption by  
various objects, dissipate the acoustic energy over a certain period of  
time (called the decay time). The ear perceives this phenomenon as a  
continuous wash of sound.  
Selecting the Reverb Effect  
1. In.the.RECORDER.screen,.press.the.[6].(EFFECT).button  
The recorder’s effects screen will appear.  
2. Press.the.[2].(REVERB).button  
The REVERB screen will appear.  
Parameter  
Value  
Use this to choose the type of reverb.  
Simulates an ambience microphone  
Explanation  
(off-mic, placed at a distance from  
the sound source) used in recording  
and other applications. Rather than  
emphasizing the reverberation, this  
reverb is used to produce a sense of  
openness and depth.  
AMBIENCE  
Choosing the reverb type  
Simulates the reverberation in  
a small room. Provides warm  
reverberations.  
3. Use.the.cursor.buttons.to.move.the.cursor.to.the.Type.fi.eld,.  
and.use.the.VALUE.dial.or.[DEC].[INC].buttons.to.choose.the.  
type  
ROOM  
HALL 1  
HALL 2  
Type  
Simulates the reverberation in a  
concert hall. Provides clear and  
spacious reverberations.  
Editing the reverb settings  
4. Use.the.cursor.buttons.to.move.the.cursor.to.the.parameter.  
that.you.want.to.edit,.and.use.the.VALUE.dial.or.the.[DEC].  
[INC].buttons.to.edit.the.value  
Simulates the reverberation in a  
concert hall. Provides mild reverbera-  
tions.  
Simulates plate reverberation (a  
studio effect unit that uses the  
vibration of a large metal plate to  
produce reverberation). Provides a  
metallic sound with a distinct upper  
range.  
For details on the reverb parameters refer to“Reverb Parameters”(p. 117).  
PLATE  
When you’re finished editing  
5. When.you’re.fi.nished.editing,.press.the.[EXIT].button  
Adjusts the length (time) of  
reverberation.  
Time  
0.1–10.0 (s)  
The high cut filter adjusts the  
amount of high frequencies in  
the reverb sound. When “FLAT”is  
selected, the high cut filter will have  
no effect.  
700Hz–11.0kHz,  
FLAT  
Saving the reverb settings  
High.Cut  
Eff.ect.Level  
Reverb does not have patches. The reverb settings are saved as part of  
the song data. If you want to save the settings to the currently selected  
song, press the [WRITE] button in the RECORDER screen.  
This sets the volume level of the  
effect.  
0–100  
Adjusting the Reverb Depth for the  
Tracks, Rhythm, and External Input  
You can vary the reverb depth by adjusting the amount of sound (send  
level) that is sent from each track, the rhythm, and the external input  
to the reverb.  
For the procedure, refer to the following pages.  
Track 1–8, Rhythm Pattern  
“Adjusting the Pan, Reverb, and EQ (TRACK SETTING)”(p. 89)  
External Input  
“Selecting an Instrument to Record (REC SOURCE SELECT)”(p. 93)  
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Mastering (MASTERING Mode)  
You can apply the “Mastering Tool Kit”to those two tracks (or stereo)  
to optimize the level (volume) of your completed song. And you can  
convert mastering data into an audio file.  
4. Use.the.cursor.buttons.and.the.VALUE.dial.or.the.[DEC].[INC].  
buttons.to.select.the.desired.patch.for.the.Mastering.Tool.  
Kit  
What is Mastering Tool Kit?  
When creating an audio CD from your recorded songs the overall  
volume needs to be restrained, so that even the loudest portions of  
the songs are handled appropriately on the CD. However, this often  
results in an overall lowering of the volume, resulting in a CD that lacks  
excitement and impact. With the “Mastering Tool Kit,”however, you can  
smooth out the differences in volume that occur over the course of a  
song, while also correcting the balance.  
Choose one of the patch numbers from the preset, song, or user  
groups.  
5. Press.the.[EXIT].button.to.return.to.the.RECORDER.screen  
6. Play.back.the.song,.and.use.the.[MASTER].slider.to.adjust.the.  
We recommend mastering with the Mastering Tool Kit in the final  
stage of creating songs.  
master.level  
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  
distortion would occur).  
The patches of the Mastering Tool Kit are organized into the following  
three groups.  
Group  
Explanation  
Edit  
Write  
PRESET  
Patches that cannot be rewritten  
3
Patches that can be saved in  
internal memory  
USER  
3
3
3
3
Patches that can be saved in  
each song  
SONG  
7. Press.the.[  
].(Song.Top).button.to.move.to.the.  
beginning.of.the.song  
Mastering Procedure  
8. Press.the.[l].(REC).button.and.then.the.[ ].(PLAY).button.to.  
start.mastering .  
1. In.the.RECORDER.screen,.Press.the.[1].(MODE).button.several.  
times.to.make.the.display.indicate.“MASTERING ”  
9. When.you.fi.nished.mastering,.press.the.[n].(STOP).button  
The mastering data was stored in the V-track that you had specified in  
step 2.  
“Export?”message will appear.  
10. If.you.want.to.convert.to.the.audio.fi.le,.press.the.[6].(EXEC).  
button .If.you.want.to.cancel.this.operation,.press.the.[EXIT].  
button  
2. Use.the.cursor.buttons.to.move.the.cursor.to.the.“Target.  
Track”.fi.eld,.and.use.the.VALUE.dial.or.the.[DEC].[INC].  
buttons.to.specify.the.mastering-destination.track.and.  
V-track  
Press the [6] (EXEC) button, the file type setting screen appears.  
Press the [EXIT] button, the mastering operation will cancel, and return  
to the mastering screen.  
11. Assign.a.name.to.the.audio.fi.le  
For details on how to enter a name, refer to ”Assigning a Name”(p. 19).  
12. When.you’ve.fi.nished.assigning.a.name,.press.the.[6].(EXEC).  
button  
The display will ask “Export OK?”  
(Example: If you want to use V-track 2 of tracks 1 and 2, you would  
specify “Target Track: 1/2”and “V-Track: 2.”  
13. If.you.want.to.execute,.press.the.[5].(EXEC).button .If.you.  
want.to.cancel.this.operation,.press.the.[6].(CANCEL).button  
If the V-track contains data, a n symbol is shown beside the V-track  
field.  
The mastering data will be exported to the audio file. The exported  
audio file will be saved in the “/ROLAND/EXPORT/”folder on the SD  
card.  
3. In.the.RECORDER.screen,.press.the.[6].(EFFECT).button  
The mastering tool kit selection screen will appear.  
Exported audio files  
Exported audio files will be in the following format.  
• WAV format  
• 44.1 kHz sampling frequency  
• 16-bit  
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MEMO  
Saving the Mastering Tool Kit Settings  
(WRITE)  
• You can audition an exported WAV file in the TRACK IMPORT screen  
(p. 101) by pressing the [5] (PREVIEW) button.  
• With the Export function, 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.  
Here’s how you can assign a name (patch name) to the kit settings  
you’ve edited, and save them as a new patch.  
1. In.the.MASTERING.EDIT.screen,.press.the.[6].(WRITE).button  
The MASTERING PATCH NAME screen will appear.  
Editing the Mastering Tool Kit  
Settings (EDIT)  
2. Assign.a.name  
For details on how to enter a name, refer to ”Assigning a Name”(p. 19).  
If you want to create new settings, select the existing patch that’s  
closest to what you have in mind, then modify (edit) those settings.  
If you want to save your edited settings, you can save them as a user  
patch or a song patch.  
3. When.you’ve.fi.nished.assigning.a.name,.press.the.[6].(NEXT).  
button  
A screen allowing you to select the save destination will appear.  
1. In.the.RECORDER.screen,.press.the.[6].(EFFECT).button  
4. Press.the.[1].(USER).or.[2].(SONG).button.to.select.the.  
save-destination.group  
2. In.the.recorder’s.eff.ects.screen,.press.the.[1].(MASTER).  
button  
Group  
USER  
Explanation  
The MASTERING screen will appear.  
3. Press.the.[5].(EDIT).button  
The MASTERING EDIT screen will appear.  
Patches saved in internal memory  
Patches saved for each song  
SONG  
5. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.  
patch.number.into.which.you.want.to.write.your.edited.  
patch  
Entering values  
4. Use.the.cursor.buttons.to.move.the.cursor.to.the.parameter.  
that.you.want.to.edit,.use.the.VALUE.dial.or.the.[DEC].[INC].  
buttons.to.edit.the.value  
6. Press.the.[6].(WRITE).button  
A confirmation message will appear.  
7. Press.the.[5].(EXEC).button.to.write.to.the.patch  
To cancel, press the [6] (CANCEL) button.  
For details on each parameter, refer to “Mastering Tool Kit Parameters”  
(p. 120).  
NOTE  
5. If.you.want.to.save.the.edited.result,.press.the.[6].(WRITE).  
• Never turn off the power while saving is in progress.  
button  
• You can’t save effect patches while recording or playing a song.  
For the save procedure, refer to “Saving the Mastering Tool Kit Settings  
(WRITE)”(p. 119).  
When you’re finished editing  
6. When.you’re.fi.nished.editing,.press.the.[EXIT].button  
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Mastering Tool Kit Parameters  
Parameter  
Value  
Explanation  
Algorithm  
This sets the time it takes for the upper-  
range compressor effect to stop once the  
input level falls below the Hi threshold  
level.  
The Mastering Tool Kit’s algorithms are composed from the following effects.  
Hi.Release  
50–5000ms  
Algorithm  
Input  
Explanation  
This divides the original sound into three frequency ranges:  
low, mid, and high.  
MEMO  
3BANDCOMP.  
(Compressor).  
This compresses the overall output signal when the input  
volume level exceeds a set value.  
With the compressor, the level is automatically adjusted to the optimum  
setting according to the Threshold and Ratio settings. In addition, since  
lengthening the Attack setting may result in distortion, a margin of -6 dB is  
provided. Adjust the Mixer level as needed.  
Mixer  
Adjusts the volume of each frequency band.  
Limiter  
Output  
This suppresses high-level signals to prevent distortion.  
This makes settings that affect the overall output.  
MIXER  
Parameter  
INPUT  
Parameter  
Value  
Explanation  
Value  
Explanation  
Sets the volume level of the lower range  
after the signal passes through the  
compressor.  
Sets the overall volume level before the  
signal passes through the compressor.  
Gain  
-24–+12dB  
0–10ms  
Lo.Level  
-80–+6dB  
This sets the amount of time by which the  
source input sound is delayed.  
Delay.Time  
SplitL  
Sets the volume level of the midrange after  
the signal passes through the compressor.  
Mid.Level  
Hi.Level  
-80–+6dB  
-80–+6dB  
This sets the frequency (in the lower range)  
at which the source sound is split into  
three separate ranges.  
Sets the volume level of the upper range  
after the signal passes through the  
compressor.  
20–800 Hz  
This sets the frequency (in the upper  
range) at which the source sound is split  
into three separate ranges.  
SplitH  
1.6–16.0 kHz  
LIMITER  
Parameter  
Value  
Explanation  
3BAND COMP  
On/Off.  
OFF, ON  
Sets the limiter to ON or OFF.  
Parameter  
Value  
Explanation  
Adjust this parameter to match the signal.  
Limiting will be applied to input levels in  
excess of this level.  
Threshold  
Attack  
-24–0dB  
This parameter turns the compressor effect  
on/off.  
On/Off.  
OFF, ON  
This sets the time it takes for the limiter to  
go into effect once the input level exceeds  
the threshold level.  
This sets the volume level at which the  
lower-range compressor goes into effect.  
Lo.Threshold  
Lo.Ratio  
-24–0dB  
0–100ms  
50–5000ms  
This sets the ratio of suppression of the  
Adjusts the time until when the limiter will  
turn off after the input level falls below the  
threshold level.  
1:1.00–1:16.0, 1:INF lower-range output when the input level  
exceeds the Lo threshold level.  
Release  
This sets the time it takes for the lower-  
range compressor to go into effect once  
the input level exceeds the Lo threshold  
Lo.Attack  
0–100ms  
level.  
OUTPUT  
Parameter  
This sets the time it takes for the lower-  
range compressor effect to stop once the  
input level falls below the Lo threshold  
Value  
Explanation  
Lo.Release  
50–5000ms  
Sets the volume level of the overall sound  
after the signal passes through the limiter.  
level.  
Level  
-80–+6dB  
This sets the volume level at which the  
Mid.Threshold -24–0dB  
midrange compressor goes into effect.  
This sets the ratio of suppression of the  
1:1.00–1:16.0, 1:INF midrange output when the input level  
exceeds the Middle threshold level.  
Mid.Ratio  
This sets the time it takes for the midrange  
compressor to go into effect once the input  
level exceeds the Middle threshold level.  
Mid.Attack  
0–100ms  
This sets the time it takes for the midrange  
compressor effect to stop once the input  
level falls below the Middle threshold level.  
Mid.Release  
Hi.Threshold  
Hi.Ratio  
50–5000ms  
-24–0dB  
This sets the volume level at which the  
upper-range compressor goes into effect.  
This sets the ratio of suppression of the  
1:1.00–1:16.0, 1:INF upper-range output when the input level  
exceeds the Hi threshold level.  
This sets the time it takes for the upper-  
range compressor to go into effect once  
the input level exceeds the Hi threshold  
Hi.Attack  
0–100ms  
level.  
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Digital Recorder 3 (Rhythm Pattern)  
Playing a Rhythm Pattern  
The JUNO-Gi provides a dedicated rhythm track in addition to its audio  
tracks 1–8.  
What is an arrangement?  
You can play rhythms as a guide during recording, or place internal  
rhythms in the order of your song structure to create your own original  
rhythm.  
You could let a certain pattern repeat endlessly and practice along  
with it, just as though you were playing along with a metronome.  
However, using just a single pattern from the beginning of the song to  
its end would make the rhythm rather boring!  
Rhythm.Pattern  
To give your song greater musical variety, you’ll probably want to  
arrange patterns in order, such as: intro g chorus g break g ending.  
A sequence of patterns that are placed in a performance order such as  
this is called an “arrangement.”  
Each song can store one arrangement.  
Intro  
Verse  
Fill  
• • •  
1 2 3 4 5 6 7 8  
What is an rhythm set?  
A “rhythm set”is the set of drum sounds that are played by the pattern/  
arrangement.  
About Patterns and Arrangements  
For each song, one Rhythm Set number is remembered.  
Broadly speaking, the JUNO-Gi’s rhythms consist of performance data  
called “patterns”and “arrangements.”  
Turning the Rhythm Pattern On/Off  
What is a pattern?  
If you’re a drummer playing in a band, you will normally repeat fixed  
patterns that are one or two measures in length. These are the basic  
units of repetition, and are called “patterns”on the JUNO-Gi.  
You can also edit a pattern to create your own original rhythm pattern.  
The JUNO-Gi contains various patterns created for use in the  
introduction, verse, fill, and ending. The pattern type is indicated by  
the letters at the end of the pattern name.  
Pattern  
Explanation  
A performance pattern for use during an  
introduction.  
IN.(Intro).  
These are the main performance patterns. 1 is the  
basic pattern, and 2 is a more advanced variation  
of 1.  
V.(Verse).1,.2  
1. Press.the..[RHYTHM.PATTERN].button.to.turn.the.Rhythm.  
These are performance patterns typically inserted  
at transitions between phrases. Choose either 1 or 2  
depending on the pattern that will follow the fill.  
Pattern.on/off.  
F.(Fill).1,.2  
E.(Ending).  
Button  
State  
Explanation  
A performance pattern used at the end of the song.  
Unlit  
Rhythm Pattern function is off  
Rhythm Pattern function is on  
[RHYTHM.  
PATTERN]  
Lit green  
Ex.  
• ROCK1-IN (Intro)  
• ROCK1-V1 (Verse 1)  
• ROCK1-F1 (Fill 1)  
• ROCK1-V2 (Verse 2)  
• ROCK1-F2 (Fill 2)  
• ROCK1-E (Ending)  
Adjusting the volume of the Rhythm Pattern  
1. Use.the..[RHYTHM.PATTERN].slider.to.adjust.the.volume  
Editing the Pan, Reverb, and EQ of the  
Rhythm Pattern  
The patterns are organized into the following groups.  
Refer to “Adjusting the Pan, Reverb, and EQ (TRACK SETTING)”(p. 89).  
Pattern.Group  
These are preset patterns that cannot be rewritten.  
However, you are free to edit the currently selected pattern,  
and then save it as a User or Song pattern.  
PRESET  
These patterns are saved in the JUNO-Gi’s internal memory.  
These patterns can be used by multiple songs.  
USER  
These patterns are saved as part of the song.  
These patterns cannot be used in other songs.  
SONG.  
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1. In.the.RHYTHM.PATTERN.screen,.use.the.cursor.buttons.to.  
Displaying the RHYTHM PATTERN  
screen  
move.the.cursor.to.the.“ =”.(Recorder.Tempo).fi.eld  
2. Use.the.VALUE.dial.or.the.[DEC].[INC].button.to.set.the.  
recorder.tempo  
1. In.the.RECORDER.screen,.press.the.[5].(RHYTHM).button  
MEMO  
The RHYTHM PATTERN screen will appear.  
You can also set the recorder tempo in the TEMPO window that  
appears when you press the [TEMPO] button (p. 32).  
MEMO  
You can also access the RHYTHM PATTERN screen by holding down  
the [SHIFT] button and pressing the [RHYTHM PATTERN] button.  
About the RHYTHM PATTERN screen  
If you press the [5] (LINK) button to assign a check mark (✔), the  
keyboard tempo will match the recorder tempo. This is convenient  
when you want to play arpeggios in time with the tempo of the  
recorder’s song.  
1
2
3
Switching between Pattern Mode and  
Arrangement Mode  
1. In.the.RHYTHM.PATTERN.screen,.use.the.cursor.buttons.to.  
move.the.cursor.to.the.“Pattern/Arrange”.fi.eld  
Num-  
ber  
Name  
Explanation  
2. Use.the.VALUE.dial.or.the.[DEC].[INC].button.to.select.the.  
mode  
Pattern/  
Arrange  
“Pattern”shown for Pattern mode, “Arrange”  
indicates Arrangement mode.  
1
2
Mode  
Explanation  
Indicates the pattern group, pattern number, and  
pattern name. In Arrangement mode this will be  
blank.  
Pattern Mode  
Pattern  
Number  
This mode is used to play patterns individually. The pattern  
you select will continue playing from the beginning to the end  
of the song. You can’t make the pattern switch automatically  
during the song.  
Pattern  
Recorder  
Tempo  
3
4
Indicates the tempo of the Digital Recorder.  
Arrange Mode  
Indicates the Rhythm Set group, Rhythm Set  
number and Rhythm Set name.  
Rhythm Set  
This mode is used to play an arrangement. As the song  
progresses, the patterns will switch according to how they  
have been placed in the arrangement.  
Arrange  
Function buttons  
Selecting a Pattern  
Button  
Explanation  
Page  
[1].(ARG.EDIT).  
[2].(PTN.EDIT).  
Opens a screen for editing the arrangement  
p. 123  
p. 124  
1. In.the.RHYTHM.PATTERN.screen,.specify.Pattern.mode  
Opens a screen for editing the pattern  
2. Use.the.cursor.buttons.to.move.the.cursor,.and.use.the.  
VALUE.dial.or.the.[DEC].[INC].buttons.to.specify.the.pattern.  
group.and.pattern.number  
Imports a Standard MIDI File (SMF) from  
your computer into the pattern  
[3].(IMPORT).  
p. 126  
Selecting Drum Sounds (Rhythm Set)  
1. In.the.RHYTHM.PATTERN.screen,.use.the.cursor.buttons.to.  
move.the.cursor,.and.use.the.VALUE.dial.or.the.[DEC].[INC].  
buttons.to.specify.the.Rhythm.Set.group.and.Rhythm.Set.  
number  
Setting the Recorder Tempo  
About the tempo  
The JUNO-Gi has two types of tempo: “keyboard tempo”and  
“recorder tempo.”Keyboard tempo is used for the Synthesizer’s  
arpeggio performance etc, and recorder tempo is the tempo of  
the Digital Recorder.  
Caution when changing the recorder tempo  
Changing the recorder tempo will change the playback tempo  
of the rhythm pattern, but will not change the playback tempo  
of the audio data recorded in the Digital Recorder. This means  
that if you change the tempo after recording, the sound of the  
tracks and the sound of the rhythm pattern will play back out of  
time with each other.  
To avoid such problems, you should decide on the recorder  
tempo before you start recording tracks, and avoid  
changing it later.  
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Placing Patterns to Create an Arrangement (ARRANGE EDIT)  
Here’s how to create an arrangement by placing patterns in the desired  
order from the intro through the ending. The arrangement you create  
is saved in the song.  
CLEAR ALL (Clear All Steps)  
This operation clears all of the steps that you input, returning them to  
the blank condition. Use this when you want to create an arrangement  
from scratch.  
Displaying the ARRANGE EDIT screen  
1. Press.the.[1].(CLR.ALL).button  
1. In.the.RHYTHM.PATTERN.screen,.press.the.[1].(ARG.EDIT).  
A confirmation message will appear.  
button  
2. Press.the.[5].(EXEC).button  
The ARRANGE EDIT screen will appear.  
To cancel, press the [6] (CANCEL) button.  
About the ARRANGE EDIT screen  
DELETE STEP  
1
2
3
4
This operation deletes an unwanted step, and joins the two sections.  
1
2
3
4
5
6
1
2
3
4
5
Num-  
ber  
Name  
Explanation  
1. Use.the.cursor.[ ].[ ].buttons.to.select.the.step.that.you.  
want.to.delete  
This step number indicates the order of each pattern  
within the arrangement.  
1
2
3
Step  
2. Press.the.[2].(DELETE).button  
Rhythm  
Pattern  
The selected step will be deleted.  
This indicates the rhythm pattern placed at each step.  
This indicates the number of measures in the rhythm  
pattern.  
Meas  
INSERT STEP  
Current  
Meas  
This indicates the number of measures at the cursor  
location.  
This operation inserts a step, and moves subsequent steps backward  
by one.  
4
Function buttons  
1
1
2
2
3
32  
4
4
5
5
Button  
Explanation  
This operation clears all of the steps that you input,  
returning them to the blank condition.  
[1].(CLR.ALL).  
6
This operation deletes an unwanted step, and joins the  
two sections.  
[2].(DELETE).  
This operation inserts a step, and moves subsequent  
steps backward by one.  
[3].(INSERT).  
[4].(GROUP).  
[5].(PREVIEW).  
[6].(WRITE).  
1. Use.the.cursor.[ ].[ ].buttons.to.select.the.step.at.which.  
you.want.to.insert.a.pattern  
This operation switches the pattern group.  
In the example shown above, select step 2.  
This operation auditions the currently selected  
pattern.  
2. Press.the.[3].(INSERT).button  
This operation saves the arrangement.  
A step containing the same pattern as the step you selected in step 1  
will be inserted, and the subsequent steps will be moved backward by  
one.  
Switching Patterns  
The upper limit for the step value is 99.  
1. Use.the.cursor.[ ].[ ].buttons.to.select.the.step.whose.  
WRITE (Saving the Arrangement)  
pattern.you.want.to.change  
2. Use.the.[4].(GROUP).button.to.select.the.pattern.group  
The edited arrangement will be saved when you save the song. If  
you want to save the arrangement immediately, press the [6] (WRITE)  
button in the ARRANGE EDIT screen.  
Group  
Explanation  
Preset Pattern  
User Pattern  
Song Pattern  
P
U
S
3. Use.the.VALUE.dial.or.[DEC].[INC].button.to.select.the.  
desired.pattern  
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Editing a Pattern (PATTERN EDIT)  
In addition to using the patterns that are provided, you are also free to  
create your own patterns. Your edited content can be saved either as a  
user pattern or a song pattern.  
SETUP (Specify the Time Signature and  
Length)  
Here’s how to specify the time signature and length of the pattern.  
Displaying the PATTERN EDIT screen  
1. In.the.PATTERN.EDIT.screen,.press.the.[1].(SETUP).button  
1. In.the.RHYTHM.PATTERN.screen,.press.the.[2].(PTN.EDIT).  
2. Use.the.cursor.buttons.to.move.the.cursor.to.the.item.that.  
you.want.to.edit,.and.use.the.VALUE.dial.or.[DEC].[INC].to.  
edit.the.value  
button  
The PATTERN EDIT screen will appear.  
Parameter  
Value  
Explanation  
About the PATTERN EDIT screen  
Pattern time signature  
2/4–7/4, 5/8–7/8, 9/8,  
12/8, 9/16, 11/16, 13/16,  
15/16, 17/16, 19/16  
.Pattern.Beat  
This can be set only for an  
empty pattern.  
1–32  
Pattern length  
Measure.Length  
* You.can’t.set.this.shorter.than.the.number.of.  
measures.that.contain.data  
3. To.close.the.setting.window,.press.the.[6].(CLOSE).button.or.  
the.[EXIT].button  
Function buttons  
SCALE (Specify the Scale of the Grid)  
Button  
Explanation  
This specifies the scale of the grid.  
Specifies the time signature and length of the  
pattern.  
[1].(SETUP).  
[2].(NOTE.SET).  
[3].(CLR.STEP).  
1. In.the.PATTERN.EDIT.screen,.press.the.[5].(SCALE).button  
The grid’s scale will change each time you press the button.  
Specifies the type, duration, and volume of the note.  
Clears all notes from the vertical axis of the cursor  
position.  
Parameter  
Scale  
Value  
Explanation  
Clears all notes from the horizontal axis of the cursor  
position.  
16th notes, 32nd notes,  
8th note triplets, 16th note triplets  
[4].(CLR.NOTE).  
Grid scale  
[5].(SCALE).  
[6].(WRITE).  
Specifies the scale grid.  
Saves the pattern.  
NOTE SETUP (Specify The Note’s Type,  
Duration, and Velocity)  
[SHIFT]+  
[6].(INIT).  
Initializes the pattern.  
Here’s how to specify the type, duration, and velocity of the notes  
you’ll be entering.  
Other controllers  
1. In.the.PATTERN.EDIT.screen,.press.the.[2].(NOTE.SET).button  
Controller  
Explanation  
Cursor.buttons  
Select the position at which to enter a note  
2. Use.the.cursor.buttons.to.move.the.cursor.to.the.item.that.  
you.want.to.edit,.and.use.the.VALUE.dial.or.[DEC].[INC].to.  
edit.the.value  
Specify the scale  
(equivalent to the cursor [ ] [ ] buttons)  
Keyboard  
[ENTER]  
Parameter  
Note.Type  
Value  
Explanation  
Enters/deletes a note  
[DEC].[INC]  
Refer to “note:”  
(p. 49)  
Selects the type of note to enter.  
Plays the pattern  
[
].(PLAY).  
Selects the gate time (duration) of the  
note message to enter, as a proportion  
of the note value you selected in Note  
Type.  
[n].(STOP).  
Stops the pattern  
Gate.Time  
Velocity  
5–200%  
1–127  
Moves the editing location to the beginning  
Moves the editing location toward the beginning  
Moves the editing location toward the end  
[
[
[
]
]
Selects the velocity (volume) of the  
note message to enter.  
]
If this is On, you’ll be able to enter  
notes using the keyboard.  
• The sixteen white keys from the  
right are used to enter notes  
(the black keys are ignored).  
INIT (Initializing a Pattern)  
Input.by.  
Keyboard  
OFF, ON  
If you want to create a pattern from scratch rather than by modifying  
an existing one, you can initialize the pattern.  
• The velocity you use when  
pressing a key will be entered  
as the note-on velocity.  
1. In.the.PATTERN.EDIT.screen,.hold.down.the.[SHIFT].button.  
and.press.the.[6].(INIT).button  
A confirmation message will appear.  
2. Press.the.[5].(EXEC).button  
To cancel, press the [6] (CANCEL) button.  
3. To.close.the.setting.window,.press.the.[6].(CLOSE).button.or.  
the.[EXIT].button  
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Entering Notes  
WRITE (Saving a Pattern)  
A pattern you create is temporary, and will be lost if you turn off the  
power or select another pattern.  
1. Use.the.cursor.buttons.to.move.the.cursor.to.the.location.at.  
which.you.want.to.enter.a.note  
If you want to keep a pattern you’ve created, you must save it in  
internal user memory or song memory.  
You can also specify the pitch by playing a key on the keyboard  
(same result as cursor [ ] [ ] buttons).  
NOTE  
2. Press.the.[INC].or.[ENTER].button.to.enter.the.note  
When you save a pattern, the data that previously occupied the  
destination for the save will be overwritten.  
• If you press the [ENTER] button once again at a location that already  
contains a note, that note will be deleted.  
1. In.the.PATTERN.EDIT.screen,.press.the.[6].(WRITE).button  
The PATTERN NAME screen will appear.  
• The note will be entered with the settings you specified in NOTE  
SET.  
2. Assign.a.name.to.the.pattern  
For details on how to enter a name, refer to ”Assigning a Name”(p. 19).  
Deleting a Note  
3. When.you’ve.finished.assigning.a.name,.press.the.[6].(NEXT).  
1. Use.the.cursor.buttons.to.move.the.cursor.to.the.location.at.  
button  
which.you.want.to.delete.a.note  
A screen allowing you to select the save destination will appear.  
2. Press.one.of.the.following.buttons.to.delete.the.note(s)  
4. Press.the.[1].(USER).or.[2].(SONG).button.to.select.the.  
• To delete the note at the cursor location, press the [DEC] or [ENTER]  
button.  
save-destination.group  
Group  
Explanation  
• To delete all notes in the vertical axis of the cursor location, press  
the [3] (CLR STEP) button.  
These are patterns saved within the JUNO-Gi’s  
internal memory. These patterns can be used in  
any song.  
USER.  
• To delete all notes in the horizontal axis of the cursor location, press  
the [4] (CLR NOTE) button.  
These are patterns saved within a song. These  
patterns cannot be used in another song.  
SONG  
5. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.  
pattern.number.into.which.you.want.to.write.your.edited.  
pattern  
6. Press.the.[6].(WRITE).button  
A confirmation message will appear.  
7. Press.the.[5].(EXEC).button.to.write.to.the.patch  
To cancel, press the [6] (CANCEL) button.  
NOTE  
Never turn off the power while saving is in progress.  
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Importing SMF on Your Computer to a Rhythm Pattern (IMPORT)  
You can create your own original Rhythm Pattern by importing SMF on  
your computer.  
MEMO  
You’ll need a commercially available SD card reader in order to  
perform this procedure.  
1. Using.your.computer.and.a.commercially.available.SD.card.  
reader,.copy.your.Standard.MIDI.File.( MID).into.the.SD.card’s.  
“/ROLAND/IMPORT”.folder  
2. Insert.the.SD.card.into.the.JUNO-Gi,.and.switch.on.the.  
JUNO-Gi’s.power  
3. Press.the.[RECORDER.VIEW].button  
4. Press.the.[5].(RHYTHM).button  
The RHYTHM PATTERN screen will appear.  
5. Press.the.[3].(IMPORT).button  
6. Turn.the.VALUE.dial.to.select.the.SMF.or.phrase.that.you.  
want.to.import  
MEMO  
If you decide not to import, press the [EXIT] button.  
7. Press.the.[6].(NEXT).button  
8. Assign.a.name.to.the.Rhythm.Pattern.that.you.want.to.  
import .After.you’ve.assigned.a.name,.press.the.[6].(NEXT).  
button  
For details on how to enter a name, refer to ”Assigning a Name”(p. 19).  
9. Press.the.[1].(USER).or.[2].(SONG).button.to.select.the.  
import-destination.group  
Group  
Explanation  
These are patterns saved within the JUNO-Gi’s  
internal memory. These patterns can be used in  
any song.  
USER.  
These are patterns saved within a song. These  
patterns cannot be used in another song.  
SONG  
10. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.select.the.  
desired.Rhythm.Pattern.Destination  
11. Press.the.[6].(EXEC).button  
A confirmation message will appear.  
12. Press.the.[5].(EXEC).button.to.execute  
To cancel, press the [6] (CANCEL) button.  
The SMF or phrase will be imported into the Rhythm Pattern.  
MEMO  
Please note the following point regarding the Import operation.  
• Ensure that the SMF’s rhythm part uses MIDI channel 10.  
• A maximum of 4000 events can be imported. If you exceed 4000  
events, the display will indicate “Too Much Data!”  
• Ensure that the SMF to be imported is no longer than 32 measures.  
• A maximum of 99 files can be imported.  
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USB Memory Song Player  
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Playing Song Files from USB Memory  
The USB Memory Song Player is able to play audio  
files (WAV, MP3, AIFF) or Standard MIDI Files (SMF)  
that you’ve copied from your computer to USB  
memory.  
Insert the USB Memory  
1. Insert.your..USB.memory.into.the.USB.MEMORY.slot.as.  
shown.in.the.illustration.below  
Copying Song Files from Your  
Computer to Usb Memory  
Insert.USB.Memory  
You’ll need to copy the audio files from your computer to the root level  
of your USB memory.  
Copy.to.a.USB.drive  
NOTE  
• Never insert or remove a USB memory while this unit’s power is  
on. Doing so may corrupt the unit’s data or the data on the USB  
memory.  
MP3, WAV, AIFF, SMF (.MID)  
• Carefully insert the USB memory all the way in-until it is firmly in  
place.  
MEMO  
• If the USB memory contains numerous song files, it may take some  
time for loading to be completed.  
• Use USB memory sold by Roland. We cannot guarantee operation if  
other products are used.  
• A maximum of 99 song files can be handled.  
Playing Along with an Song File from  
Song files that can be played  
USB Memory  
1. Press.the.[SONG.LIST].button  
.SMF  
0 or 1  
* For.an.SMF.format.1.song.that.has.more.than.  
16.tracks,.all.of.the.tracks.might.not.play.back.  
correctly.in.some.cases  
Format  
Maximum of approximately 240 KB  
(this will change somewhat depending on the  
content of the SMF)  
File.Size  
System.Exclusive  
Packet size must be 512 or less  
When you press the [SONG LIST] button, the display will list the song  
files in USB memory.  
.MP3  
MEMO  
Format  
MPEG-1 audio layer 3  
The songs will be ordered by their file name (in the order of  
numerals, uppercase letters, and lowercase letters).  
Sampling.Frequency 44.1 kHz  
32/40/48/56/64/80/96/112/128/160/192/224/256/320  
kbps, VBR (Variable Bit Rate)  
Bit.Rate  
.WAV,..AIFF  
Sampling.Frequency 44.1 kHz  
Bit.Rate 8/16/24 -bit  
GM  
GM (General MIDI) is a set of recommendations that allows the  
Function buttons  
MIDI capabilities of sound modules to be standardized across  
manufacturers. Sound modules or music data that meet the GM  
standard carry the GM logo ( ). Music data with the GM logo  
can be played back on any sound module carrying the GM logo,  
and will produce essentially the same musical performance.  
Button  
Explanation  
[1].(<<.BWD).  
[2].(FWD.>>).  
[3].(LEVEL).  
Plays the song while rewinding  
Plays the song while fast-forwarding  
Adjusts the volume of the song player  
GM2  
[4].(C .CAN/MINUS). Enables center cancel or minus-one playback  
GM2 (  
) is a set of recommendations that is upwardly  
[5].(SETUP).  
[6].(WRITE).  
Makes center cancel or minus-one settings.  
Saves the Song Player settings  
compatible with the original GM recommendations, and  
allows a higher level of musical expression and compatibility.  
It covers issues that were not covered by the original GM  
recommendations, such as ways in which sounds can be edited  
and how effects should be handled. It also expands the sounds  
that are available. Sound modules that are compatible with  
GM2 will correctly play back music data that carries either the  
GM or GM2 logo. The original GM, which does not include the  
GM2 enhancements, is sometimes called “GM1”in order to  
distinguish it from the newer set of recommendations.  
2. Select.a.song  
Use the VALUE dial or the cursor [ ] [ ] buttons to select a song in  
the list.  
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3. Press.the..[PLAY/STOP].button.to.play/stop.the.song  
Detailed Settings for Center Cancel  
You can choose from types of the center cancel function.  
1. In.the.SONG.LIST.screen,.press.the.[5].(SETUP).button  
2. Use.the.cursor.buttons.to.move.the.cursor.to.the.“Center.  
Cancel.Type”.fi.eld  
3. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.set.the.  
• When you press the [PLAY/STOP] button, selected song file will play.  
Center.Cancel.Type  
• If you press the [PLAY/STOP] button during playback, it will stop.  
Parameter  
Value  
Explanation  
• If you press the [PLAY/STOP] button once again, playback will resume  
from where it was stopped.  
Mid-frequency and high-frequency sounds  
localized in the center will be eliminated.  
MID-HI  
Center.Cancel.  
Type  
Low-frequency sounds localized in the center  
will be eliminated.  
LOW  
ALL  
Adjusting the Volume of the Song Player  
1. Press.the.[3].(LEVEL).button  
All sounds localized in the center will be  
eliminated.  
2. Use.the.cursor.buttons.to.move.the.cursor.to.the.“Audio.  
Level”.or.“SMF.Level”.fi.eld,.and.use.the.VALUE.dial.or.the.  
[DEC].[INC].buttons.to.adjust.the.volume  
MEMO  
• If you want to save the changes you made to system settings, press  
the [6] (WRITE) button. If you want to exit without saving, press the  
[EXIT] or [5] (EXIT) button.  
Parameter  
Value  
Explanation  
• Center Cancel can not only be applied effectively to songs played  
using the USB Song Player, but can also be used with respect to the  
sound when using USB Audio (p. 132).  
Volume at which the USB Memory Song  
Player will play audio files  
Audio.Level  
0–127  
Volume at which the USB Memory Song  
Player will play SMF data  
SMF.Level  
0–127  
Detailed Settings for Minus-One  
3. Press.the.[6].(CLOSE).button.to.close.the.setting.window  
Here you can specify the parts that will be muted by Minus One when  
playing back an SMF song.  
Center Cancel/Minus-One  
Parts for which this setting is ON will be muted.  
If you use “Center Cancel/Minus-One”when playing back an SMF song,  
the specified part will be muted (silenced); if you use it when playing  
back an audio file, the sounds located in the center will be minimized.  
This allows you to mute a specific part of a song and play it yourself,  
or to minimize the vocal of a song while you perform that part.  
Depending on the file type of the song, you’ll be able to perform the  
following operations.  
1. In.the.SONG.LIST.screen,.press.the.[5].(SETUP).button  
2. Use.the.cursor.buttons.to.select.to.the.part.(1–16).that.you.  
want.to.change  
3. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.turn.the.  
setting.on.or.off.  
You can also use the following function buttons to turn the mute  
setting on/off.  
File.Type  
SMF  
Function  
Explanation  
Mutes the specified part. For details on  
• Pressing the [1] (1 ON) button will turn on the mute setting for part  
1.  
Minus-One specifying the part to be muted, refer to  
“Detailed Settings for Minus-One”(p. 129).  
• Pressing the [2] (3–4 ON) button will turn on the mute settings for  
parts 3 and 4.  
Diminishes the volume of sounds that are  
located in the center (such as the vocal or the  
melody instrument).  
Center  
Cancel  
Audio.fi.les  
• Pressing the [3] (ALL OFF) button will turn off the mute settings for  
all parts.  
* For.some.songs,.the.vocal.might.not.be.  
minimized.successfully  
MEMO  
1. In.the.SONG.LIST.screen,.press.the.[4].(C .CAN/MINUS).  
If you want to save the changes you made to system settings, press  
the [6] (WRITE) button. If you want to exit without saving, press the  
[EXIT] or [5] (EXIT) button.  
button.to.turn.on  
When you play back the song, the specified part will be muted if the  
song is an SMF. If the song is an audio file, the sounds that are located  
in the center will be diminished in volume.  
2. To.turn.off..Minus-One.or.Center.Cancel,.press.the.[4].(C .  
CAN/MINUS).button.so.it’s.extinguished  
129  
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Using the Included USB Memory Protector  
You can use the included USB memory protector to prevent theft of  
the USB memory connected to the JUNO-Gi.  
NOTE  
• You must use the included screws.  
• You must use the included Allen wrench to tighten or remove  
the screws. Using a tool that does not match the screw heads will  
damage them.  
• Be careful not to over-tighten the screws. Doing so may damage  
the screw’s head, causing the wrench to rotate uselessly.  
• To tighten the screws, turn the Allen wrench clockwise. To loosen  
the screws, turn the Allen wrench counter-clockwise.  
loosen  
tighten  
• Keep the removed screws out of the reach of small children to  
ensure they are not swallowed accidentally.  
• Never allow foreign objects (e.g., coins, wires) to enter the USB  
memory box.  
130  
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Appendix  
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Connecting to Your Computer via USB  
If you use a commercially available USB cable to connect the JUNO-Gi’s  
rear panel USB COMPUTER connector to a USB connector on your  
computer, you’ll be able to do the following things.  
What is the USB driver?  
The USB driver is software that transfers data between the JUNO-Gi  
• Use the JUNO-Gi to hear audio or SMF files played back by MIDI  
software (DAW).  
and the application (e.g., DAW software) on your computer when the  
JUNO-Gi is connected via USB to your computer.  
The USB driver sends data from your application to the JUNO-Gi, and  
data from the JUNO-Gi to your application.  
Computer’s USB connector  
Supports USB 2.0 Hi-Speed)  
USB audio  
Settings for JUNO-Gi g computer  
If you connect the JUNO-Gi to your computer via a USB cable, the  
sound of the JUNO-Gi and of the equipment connected to the  
JUNO-Gi’s INPUT jacks can be played through your computer. Sounds  
played by your computer will follow the System settings “USB Audio To  
Computer”(p. 80).  
USB cable  
(Supports USB 2.0 Hi-Speed)  
USB COMPUTER  
connector  
Settings for computer g JUNO-Gi  
Sounds from the computer can be heard via an amp/speaker system  
connected to the JUNO-Gi’s OUTPUT jacks, or recorded on the JUNO-  
Gi’s Digital Recorder. If you want to record these sounds on the Digital  
Recorder, choose “USB AUDIO”in “Selecting an Instrument to Record  
(REC SOURCE SELECT)”(p. 93).  
NOTE  
Whenever the USB Song Player is playing something, USB Audio  
(the sound from a computer connected to the JUNO-Gi’s USB  
COMPUTER connector) will not be produced.  
For details on operating requirements, refer to the Roland website.  
http://www.roland.com/  
USB MIDI  
NOTE  
If the JUNO-Gi is connected via USB to your computer, your DAW  
software can record the JUNO-Gi’s performance data (MIDI data), and  
performance data (MIDI data) played back by your DAW software can  
play the JUNO-Gi’s sound generator section.  
• For some models of computer, the system might not operate  
correctly. Refer to the Roland website for the operating systems  
that are supported.  
• Before you make connections to other equipment, turn down the  
volume and turn off the power off on all equipment in order to  
prevent malfunction and/or speaker damage.  
Connecting the JUNO-Gi to Your Computer  
• A USB cable is not included. To purchase one, please contact the  
dealer where you purchased the JUNO-Gi.  
1. Install.the.USB.driver.on.your.computer  
The USB driver is on the included CD-ROM “JUNO-Gi DRIVER CD-ROM.”  
• Use a USB cable that supports USB 2.0 Hi-Speed.  
The driver installation procedure will depend on your system, so be  
sure to carefully read the “Readme”file on the CD-ROM.  
• Use a computer with a USB connector that supports USB 2.0  
Hi-Speed.  
2. Use.a.USB.cable.(sold.separately).to.connect.the.JUNO-Gi.to.  
• Switch on the JUNO-Gi’s power before you start up the DAW  
software on your computer. Do not switch the JUNO-Gi on/off while  
your DAW software is running.  
your.computer  
132  
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Connecting an External MIDI Device  
Specifying the Transmit Channel  
About MIDI  
Set the JUNO-Gi’s transmit channel so it matches the channel your  
external MIDI device is using for reception.  
MIDI (Musical Instrument Digital Interface) is a standard specification  
that allows musical data to be transferred between electronic musical  
instruments and computers. If a MIDI cable is connected between  
devices equipped with MIDI connectors, you’ll be able to play  
multiple devices from a single MIDI keyboard, perform ensembles  
using multiple MIDI instruments, program the settings to change  
automatically as the song progresses, and more.  
1. In.the.MIDI.CONTROLLER.screen,.use.the.cursor.buttons.to.  
move.the.cursor.to.the.“MIDI.Ch”.value  
2. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.set.the.  
value  
Value  
1–16  
About MIDI Connectors  
MEMO  
The JUNO-Gi is equipped with the following two  
types of MIDI connectors, each of which has the  
For details on how to set the receive channel of your external MIDI  
device, refer to its owner’s manual.  
following role.  
Detailed Settings in MIDI Controller Mode  
MIDI IN connector  
1. In.the.MIDI.CONTROLLER.screen,.use.the.cursor.buttons.to.  
This connector receives MIDI messages that are sent from an external  
MIDI device. When the JUNO-Gi receives MIDI messages, it can respond  
by playing notes, switching sounds, etc.  
select.the.parameter.that.you.want.to.edit  
2. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.set.the.  
value  
MIDI OUT connector  
Parameter  
Local.Sw  
Value  
Explanation  
Specifies whether MIDI messages  
will be sent to the JUNO-Gi’s own  
internal sound generator when  
you operate the JUNO-Gi.  
This connector transmits MIDI messages to an external MIDI device.  
Use it when you want to control an external MIDI device.  
OFF, ON  
When Local Sw is ON, the volume  
will be the value specified by “SMF  
Level”(p. 83).  
Using the JUNO-Gi as a Master Keyboard  
(MIDI Controller Mode)  
Specifies the channel on which  
MIDI messages will be transmitted.  
MIDI.Ch  
Button  
PC  
1–16  
0–9  
You can connect external MIDI devices to the JUNO-Gi’s MIDI OUT  
connector, and use the JUNO-Gi to control the connected MIDI  
devices.  
Selects the number of the button  
for which you’ll assign an MSB,  
LSB, and PC.  
Program Change number that is  
transmitted  
1–128  
Connection example  
MSB that is transmitted  
MIDI.sound.module  
MSB  
LSB  
0–127, OFF  
0–127, OFF  
(If this is “OFF,”LSB will also be  
turned OFF.)  
MIDI IN connector  
LSB that is transmitted  
(“OFF”will be automatically  
selected if MSB is “OFF.”)  
RHYTHM SLIDER,  
TRACK 1–4 SLIDER,  
MASTER SLIDER,  
SONG TOP SWITCH,  
BWD SWITCH,  
MIDI OUT connector  
JUNO-Gi  
FWD SWITCH,  
STOP SWITCH,  
PLAY SWITCH,  
Selects the controller for which  
the setting is to be changed.  
Controller  
REC SWITCH,  
RHYTHM SWITCH,  
TRACK 1–4 SWITCH,  
1-4 5-8 SWITCH,  
KNOB 1–6  
1. Press.the..[MIDI.CTRL].button.so.it’s.lit  
The MIDI CONTROLLER screen will appear, and the JUNO-Gi will be in  
MIDI Controller mode.  
CC01–31,  
CC33–127, PITCH  
BEND, AFTER-  
TOUCH  
Specifies the MIDI message  
assignment for the controller.  
MIDI.Message  
When you press one of the [0]–[9] buttons, the program change  
message assigned to that button will be transmitted.  
You can use the knobs, sliders or buttons to transmit control change  
messages (refer to “Detailed Settings in MIDI Controller Mode”).  
3. To.save.your.settings,.press.the.[WRITE].button  
2. To.exit.MIDI.controller.mode,.press.the.[MIDI.CTRL].button.to.  
turn.off..the.button’s.illumination  
NOTE  
The Digital Recorder, D Beam controller, [S1] [S2] buttons, Arpeggio  
and Chord Memory will not operate when you’re in MIDI controller  
mode.  
133  
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Playing the JUNO-Gi from an External Synchronizing with an External MIDI  
MIDI Device  
Device  
Connection example  
Connection example  
MIDI.keyboard  
MIDI.device  
MIDI OUT connector  
MIDI OUT connector  
JUNO-Gi  
MIDI IN connector  
MIDI IN connector  
MIDI OUT connector  
JUNO-Gi  
Setting the Receive Channel  
You’ll need to match your external MIDI device’s transmit channel with  
the JUNO-Gi’s receive channel.  
MIDI IN connector  
Here’s how to synchronize the JUNO-Gi’s USB Memory Song Player  
with an external MIDI device.  
1. Press.the.[MENU].button  
2. Use.the.VALUE.dial.or.the.cursor.button.to.select.“4 .System”.  
* The.JUNO-Gi’s.Digital.Recorder.cannot.synchronize.with.an.external.  
MIDI.device  
and.press.the.[ENTER].button  
3. Press.the.[3].(MIDI/SYNC).button  
* If.the.Tempo.Link.(p .83).is.on,.the.JUNO-Gi.cannot.synchronize.to.an.  
external.MIDI.device  
4. Press.the.[1].(GENERL).button  
1. Press.the.[MENU].button  
5. Use.the.[ ].[ ].buttons.to.select.“Main.Channel ”  
2. Use.the.VALUE.dial.or.the.cursor.button.to.select.“4 .System”.  
6. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.set.the.  
and.press.the.[ENTER].button  
value  
3. Press.the.[3].(MIDI/SYNC).button  
Value  
1–16  
4. Press.the.[4].(SYNC).button  
MEMO  
5. Use.the.cursor.buttons.to.select.the.parameter.you.want.to.  
If the [SPLIT] button is on, the Lower layer’s MIDI receive channel  
can be specified by its own “Sub Channel”(p. 82) setting that is  
independent of the Main Channel.  
edit  
6. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.edit.the.  
value  
For details on these settings, refer to “[4] (SYNC)”(p. 83).  
Setting the Program Change Receive Switch  
7. To.save.the.settings,.press.the.[WRITE].button  
Here’s how to turn on the receive switch for program change and bank  
select messages. With the factory settings, both are turned “ON.”  
Transmitting Synchronization Data  
1. Press.the.[MENU].button  
2. Use.the.VALUE.dial.or.the.cursor.button.to.select.“4 .System”.  
If you want an external MIDI device to synchronize to the operation of  
the JUNO-Gi’s USB Memory Song Player, make the following settings.  
and.press.the.[ENTER].button  
3. Press.the.[3].(MIDI/SYNC).button  
Parameter  
Value  
MASTER  
ON  
USB.Song.Sync.Mode  
MIDI.Clock.Output  
4. Press.the.[3].(RX).button  
5. Use.the.cursor.buttons.to.select.“Receive.Program.Change”.  
or.“Receive.Bank.Select ”  
6. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.turn.each.of.  
these.“ON ”  
7. To.save.your.settings,.press.the.[WRITE].button  
Behavior upon reception of GM System On or GS Reset  
If you decide not to save the changes you made, press the [EXIT]  
button to return to the previous screen.  
When the JUNO-Gi receives a GM System On or GS Reset message  
via MIDI, it will switch to“MIDI controller mode”(p. 133). At this time,  
the volume will be set to the value specified by“SMF Level”(p. 83).  
MEMO  
When the JUNO-Gi receives a GM System Off message, it will exit  
MIDI controller mode.  
• For details on these settings, refer to “[3] (RX)”(p. 82).  
• For details on how to set the transmit channel of your external MIDI  
device, refer to its owner’s manual.  
134  
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Using the Keyboard to Control Images (V-LINK)  
What is V-LINK?  
V-LINK Settings  
V-LINK (  
) is a function that allows music and images to  
1. Press.the.[V-LINK].button.to.access.the.V-LINK.screen  
be performed together. By using MIDI to connect two or more V-LINK  
compatible devices, you can easily enjoy performing a wide range  
of visual effects that are linked to the expressive elements of a music  
performance.  
The V-LINK screen will appear.  
2. Use.the.cursor.buttons.to.move.the.cursor.to.the.parameter.  
you.want.to.edit  
For example if you use the JUNO-Gi in conjunction with EDIROL P-10,  
you’ll be able to do the following things.  
3. Use.the.VALUE.dial.or.the.[DEC].[INC].buttons.to.set.the.  
value  
• Use the JUNO-Gi’s keyboard (the far-left octave) to switch images.  
Parameter  
Value  
Explanation  
• Use the JUNO-Gi’s pitch bend lever to control the image playback  
speed.  
MIDI channel that will  
control the V-LINK device.  
Tx.Channel  
1–16  
• You can use the JUNO-Gi’s knobs to control the brightness and hue  
of the image.  
0-1-2, 0.5-1-2,  
0-1-4, 0.5-1-4,  
0-1-8, 0.5-1-8,  
0-1-16, 0.5-1-16,  
0-1-32, 0.5-1-32,  
0-2-4, 0-4-8,  
0-8-16, 0-16-32,  
(-1) -0-1, (-2) -1-4, (-6) -1-8  
Range of video playback  
speed The three values  
are the playback speeds  
(multiples of normal speed)  
at the left, center, and right  
positions of the pitch bend.  
NOTE  
When V-LINK is ON, the keys in the leftmost octave of the keyboard  
cannot be used to produce sound.  
Speed.Ctrl  
Connection example  
As an example, we will use a setup in which the JUNO-Gi is connected  
to the EDIROL P-10.  
4. To.save.the.settings,.press.the.[6].(WRITE).button  
Use a MIDI cable to connect the JUNO-Gi’s MIDI OUT connector to the  
MIDI IN connector of the EDIROL P-10.  
JUNO-Gi  
MIDI OUT connector  
EDIROL.P-10  
MIDI IN connector  
* You.can’t.perform.V-LINK.communication.via.USB  
Turning the V-LINK ON/OFF  
1. Press.the.[V-LINK].button.so.it’s.lit  
The V-LINK screen will appear, and the V-LINK setting will be on.  
Operations on the JUNO-Gi  
By operating the JUNO-Gi’s keyboard and knobs, you can control the  
image along with your performance on the JUNO-Gi.  
Keyboard/Knob/Lever  
Keys.(leftmost.octave)  
[CUTOFF].knob  
Explanation  
Switch images.  
Controls the hue and brightness.  
Controls the saturation.  
Controls the image switching time.  
Controls the playback speed.  
[RESONANCE].knob  
[REVERB].knob  
Pitch.Bend.lever  
2. With.the.V-LINK.screen.shown,.press.the.[V-LINK].button.  
again  
The [V-LINK] button will go dark, and the V-LINK setting will be off.  
135  
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Chord Memory List  
01: Pop 1  
06: Blues  
Assign Key  
C
Chord Name  
Cadd9  
Constituent Notes of Chord Forms  
C3, G3, D4, E4  
Assign Key  
C
Chord Name  
C7(9)  
Constituent Notes of Chord Forms  
C3, A#3, D4, E4  
C#  
D
C#maj9  
D-7  
C#3, C4, D#4, F4  
D3, F4, A3, C4  
C#  
D
C#7(9)  
D7(9)  
C#3, F3, B3, D#4  
D3, F#3, C4, E4  
D#  
E
F
D#maj7  
Cadd9 (on E)  
Fmaj9  
D#3, A#3, D4, G4  
E3, C4, D4, G4  
F2, A3, E4, G4  
D#  
E
F
D#7(9)  
E7(#9)  
F7(9)  
D#3, G3, C#4, F4  
E3, G#3, D4, G4  
F2, A3, D#4, G4  
F#  
G
G#  
A
A#  
B
Dadd9 (on F#)  
Cadd9 (on G)  
F-6 (on Ab)  
F (on A)  
G- (on Bb)  
G (on B)  
F#2, A3, D4, E4  
G2, D4, E4, G4  
G#2, C4, D4, F4  
A2, A3, C4, F4  
A#2, A#3, D4, G4  
B2, B3, D4, G4  
F#  
G
G#  
A
A#  
B
F#dim7  
G7(13)  
G#dim7  
A7(b13)  
Bb7(13)  
B-7(b5)  
F#2, A3, C4, D#4  
G2, F3, B3, E4  
G#2, B3, D4, F4  
A2, G3, C#4, F4  
A#2, G#3, D4, G4  
B2, A3, D4, F4  
02: Pop 2  
07: Trad Maj  
Assign Key  
C
Chord Name  
Cmaj9  
Constituent Notes of Chord Forms  
C3, E3, B3, D4  
Assign Key  
C
Chord Name  
C
Constituent Notes of Chord Forms  
C3, E4, G4, C5  
C#  
D
C#dim7  
D-9  
C#3, G3, A#3, E4  
D3, F3, C4, E4  
C#  
D
C#dim7  
D-  
C#3, E4, G4, A#4  
D3, D4, F4, A4  
D#  
E
D#dim7  
E-7  
D#3, A3, C4, F#4  
E3, B3, D4, G4  
D#  
E
D#dim7  
E-  
D#3, F#4, A4, C5  
E3, E4, G4, B4  
F
Fmaj9  
F3, A3, E4, G4  
F
F
F3, F4, A4, C5  
F#  
G
G#  
A
F#-7 (b5)  
G7sus4 (9 13)  
G#dim7  
A-9  
F#3, A3, C4, E4  
G2, A3, C4, F4  
G#2, B3, D4, F4  
A2, B3, C4, G4  
F#  
G
G#  
A
F#-7(b5)  
G
G#dim7  
A-  
F#3, E4, A4, C5  
G3, D4, G4, B4  
G#3, D4, F4, B4  
A2, E4, A4, C5  
A#  
B
C7(on Bb)  
B-7(b5)  
A#2, G3, C4, E4  
B2, A3, D4, F4  
A#  
B
Bb  
Bdim  
A#2, D4, F4, A#4  
B2, D4, F4, B4  
03: Jazz 1  
08: Trad Min 1  
Assign Key  
C
Chord Name  
C6 9  
Constituent Notes of Chord Forms  
C3, E3, A3, D4  
Assign Key  
C
Chord Name  
C-  
Constituent Notes of Chord Forms  
C3, D#4, G4, C5  
C#  
D
D#  
E
C#7(#9)  
D-9  
D#7(#9)  
E#7(#9)  
Fmaj9  
C#3, F3, B3, E4  
D3, F3, C4, E4  
D#3, G3, C#4, F#4  
E3, G#3, D4, G4  
F3, A3, E4, G4  
C#  
D
D#  
E
Db  
Ddim  
Eb  
Edim7  
F-  
C#3, C#4, F4, G#4  
D3, D4, F4, G#4  
D#3, D#4, G4, A#4  
E3, C#4, G4, A#4  
F2, C4, F4, G#4  
F
F
F#  
G
G#  
A
A#  
B
F#7(#9)  
G7(13)  
G#7(13)  
A-7(11)  
Bb9  
F#3, A#3, E4, A4  
G2, F3, B3, E4  
G#2, F#3, C4, F4  
A2, G3, C4, D4  
A#2, G#3, C4, D4  
B2, A3, D4, E4  
F#  
G
G#  
A
A#  
B
Gbdim7  
G-  
Ab  
A-7(b5)  
Bb  
Bdim7  
F#2, C4, D#4, A4  
G2, A#3, D4, G4  
G#2, C4, D#4, G#4  
A2, C4, D#4, G4  
A#2, D4, F4, A#4  
B2, D4, F4, G#4  
B-7(11)  
04: Jazz 2  
09: Trad Min 2  
Assign Key  
C
Chord Name  
C6 9  
Constituent Notes of Chord Forms  
C3, E3, A3, D4  
Assign Key  
C
Chord Name  
C-  
Constituent Notes of Chord Forms  
C3, D#4, G4, C5  
C#  
D
D#  
E
C#9  
D-9  
D#9  
E-9  
C#3, F3, B3, D#4  
D3, F3, C4, E4  
D#3, G3, C#4, F4  
E3, G3, D4, F#4  
C#  
D
D#  
E
Db  
C#3, C#4, F4, G#4  
D3, D4, F4, G#4  
D#3, D#4, G4, B4  
E3, E4, G4, B4  
Ddim  
Eaug  
E-  
F
F#  
G
G#  
A
A#  
B
F-9  
F2, G#3, D#4, G4  
F#2, A3, C4, E4  
G2, F3, B3, D#4  
G#2, F#3, C4, F4  
A2, G3, C#4, F4  
A#2, G#3, D4, G4  
B2, A3, D4, E4  
F
F#  
G
G#  
A
A#  
B
F-  
F2, C4, F4, G#4  
F#2, C4, D#4, A4  
G2, B3, D4, G4  
G#2, G#4, D#4, C4  
A2, C4, D#4, G4  
A#2, D4, F4, A#4  
B2, D4, F4, B4  
F#-7(b5)  
G7(b13)  
G#7(13)  
A7(b13)  
Bb7(13)  
B-7(11)  
Gbdim7  
G
Ab  
A-7(b5)  
Bb  
Bdim  
05: Jazz 3  
10: Pop Min 1  
Assign Key  
C
C#  
D
D#  
E
F
F#  
G
Chord Name  
Cmaj9  
Dbmaj7  
Dmaj9  
Ebmaj9  
Emaj9  
Fmaj9  
Constituent Notes of Chord Forms  
C3, E3, G3, B3, D4  
Assign Key  
C
C#  
D
D#  
E
F
F#  
G
Chord Name  
C-add9  
Dbmaj7  
D-7(b5)  
Ebmaj7  
Edim7  
F-7(9)  
Gbdim7  
G-7  
Constituent Notes of Chord Forms  
C3, D4, D#4, G4  
C#3, G#3, C4, F4  
D3, C4, F4, G#4  
D#3, A#3, D4, G4  
E3, A#3, C#4, G4  
F2, G#3, D#4, G4  
F#2, A3, C4, D#4  
G2, A#3, D4, F4  
C#3, F3, G#3, C4, D#4  
D3, F#3, A3, C#4, E4  
D#3, G3, A#3, D4, F4  
E3, G#3, B3, D#4, F#4  
F3, A3, C4, E4, G4  
Gbmaj9  
Gmaj9  
F#3, A#3, C#4, F4, G#4  
G3, B3, D4, F#4, A4  
G#  
A
A#  
B
Abmaj9  
Amaj9  
Bbmaj9  
Bmaj9  
G#3, C4, D#4, G4, A#4  
A3, C#4, E4, G#4, B4  
A#3, D4, F4, A4, C5  
G#  
A
A#  
B
Abmaj7  
A-7(b5)  
Bb7sus4(9 13)  
Bdim7  
G#2, C4, D#4, G4  
A2, C4, D#4, G4  
A#2, G#3, C4, D#4  
B2, G#3, D4, F4  
B3, D#4, F#4, A#4, C#5  
136  
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11: Pop Min 2  
16: 5th Stack  
Assign Key  
C
C#  
D
D#  
E
F
F#  
G
G#  
A
A#  
B
Chord Name  
C-add9  
Eb7(on Db)  
D-7(b5)  
Ebmaj7  
Emaj7(9)  
F-7(9)  
Gbdim7  
G7(b13)  
Abmaj7  
A-7(b5)  
C-7(on Bb)  
C-maj7(B)  
Constituent Notes of Chord Forms  
C3, D4, D#4, G4  
C#3, A#3, D#4, G4  
D3, G#3, C4, F4  
D#3, A#3, D4, G4  
E3, G#3, D#4, F#4  
F2, G#3, D#4, G4  
F#2, A3, C4, D#4  
G2, F3, B3, D#4  
G#2, C4, D#4, G4  
A2, C4, D#4, G4  
A#2, C4, D#4, G4  
B2, D4, D#4, G4  
Assign Key  
C
C#  
D
D#  
E
F
F#  
G
G#  
A
A#  
B
Chord Name  
Constituent Notes of Chord Forms  
C4, G4  
C#4, G#4  
D4, A4  
D#4, A#4  
E4, B4  
---  
---  
---  
---  
---  
---  
---  
---  
---  
---  
---  
---  
F4, C5  
F#4, C#5  
G4, D5  
G#4, D#5  
A4, E5  
A#4, F5  
B4, F#5  
12: Jazz Min 1  
17: Scale Set  
Assign Key  
C
C#  
D
D#  
E
F
F#  
G
G#  
A
A#  
B
Chord Name  
C-7(11)  
Db7(#9)  
D-7(b5)  
Ebaug maj7  
E7(9)  
F7(9)  
Gbdim7  
G7(#9)  
Constituent Notes of Chord Forms  
C3, A#3, D#4, F4  
C#3, F3, B3, E4  
D3, C4, F4, G#4  
D#3, B3, D4, G4  
E2, G#3, D4, F#4  
F2, A3, D#4, G4  
F#2, A3, C4, D#4  
G2, B3, F4, A#4  
G#2, C4, D4, G4  
A2, C4, D#4, G4  
Assign Key  
C
C#  
D
D#  
E
F
F#  
G
G#  
A
A#  
B
Chord Name  
Major Scale  
Major Pentatonic Scale  
Minor Scale  
Harmonic Minor Scale  
Melodic Minor Scale  
Whole Tone Scale  
Blue note Scale  
Japanese Minor  
Ryukyu Scale  
Constituent Notes of Chord Forms  
C4, D4, E4, F4, G4, A4, B4  
C4, D4, E4, G4, A4  
C4, D4, D#4, F4, G4, G#4, A#4  
C4, D4, D#4, F4, G4, G#4, B4  
C4, D4, D#4, F4, G4, A4, B4  
C4, D4, E4, F#4, G#4, A#4  
C4, D#4, F4, F#4, G4, A#4  
C4, C#4, F4, G4, A#4  
C4, E4, F4, G4, B4  
C4, C#4, D#4, G4, G#4  
C4, C#4, E4, F4, G4, G#4, A#4  
C4, C#4, E4, F4, G4, G#4, B4  
Abmaj7(#11)  
A-7(b5)  
Bb-7  
Bari Scale  
Spanish Scale  
Gypsy Scale  
A#2, G#3, C#4, F4  
B2, G#3, D4, F4  
Bdim7  
13: Jazz Min 2  
*
To change the key of a chord set, change the value for “KEY” in the  
“CHORD MEMORY” screen.  
Assign Key  
C
Chord Name  
C-7(9)  
Constituent Notes of Chord Forms  
C3, D#3, A#3, D4  
C#3, F3, B3, D#4  
D3, F3, C4, E4  
The illustration below shows how to determine the key of the song  
from the key signature (the number of and symbols).  
C#  
D
Db7(9)  
D-7(9)  
fig.KEY.eps  
D#  
E
F
F#  
G
G#  
A
Eb7(9)  
Emaj7(9)  
F-7(9)  
Gbdim7  
G7(13)  
Ab-6  
A-7(b5)  
Bb-7  
D#3, G3, C#4, F4  
E2, G#3, D#4, F#4  
F2, G#3, D#4, G4  
F#2, A3, C4, D#4  
G2, F3, B3, E4  
G#2, B3, D#4, F4  
A2, C4, D#4, G4  
A#2, G#3, C#4, F4  
B2, A3, D4, F4  
A#  
B
B-7(b5)  
14: Oct Stack  
Assign Key  
Chord Name  
Constituent Notes of Chord Forms  
C
C#  
D
D#  
E
F
F#  
G
G#  
A
A#  
B
---  
---  
---  
---  
---  
---  
---  
---  
---  
---  
---  
---  
C4, C5  
C#4, C#5  
D4, D5  
D#4, D#5  
E4, E5  
F4, F5  
F#4, F#5  
G4, G5  
G#4, G#5  
A4, A5  
A#4, A#5  
B4, B5  
15: 4th Stack  
Assign Key  
Chord Name  
Constituent Notes of Chord Forms  
C
C#  
D
D#  
E
F
F#  
G
G#  
A
A#  
B
---  
---  
---  
---  
---  
---  
---  
---  
---  
---  
---  
---  
C4, F4  
C#4, F#4  
D4, G4  
D#4, G#4  
E4, A4  
F4, A#4  
F#4, B4  
G4, C5  
G#4, C#5  
A4, D5  
A#4, D#5  
B4, E5  
137  
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Error Message List  
If an incorrect operation is performed, or if processing could not be performed as you specified, an error message will appear.  
Refer to the explanation for the error message that appears, and take the appropriate action.  
Message  
Meaning  
Action  
Battery.Low!  
Cannot.Erase!  
Cannot.Insert!  
The battery has run down.  
Recharge the batteries, or use an AC adaptor.  
No further steps can be erase.  
No further steps can be insert.  
If only step 1 remains, no further steps can be erased.  
You can arrange sequences of up to 99 steps.  
You have tried to operate the undo function though  
there was no history of edit operations.  
Cannot.Undo!  
Event.Full!  
Cannot use the undo function.  
The JUNO-Gi has used up all the events that can be  
handled by one song.  
Perform the Song Optimize operation (p. 104).  
What.is.an.event?  
The smallest unit of memory used by the JUNO-Gi to store recorded results on a memory card is the event. A newly created  
song provides approximately 2,000 events per song. For each track, one recording pass uses two events. Operations such as  
punch-in/out or track copy also use up events. The number of events that are used up will fluctuate in a complex way. Even if  
there is capacity remaining on the memory card, further recording or track editing will not be possible if all of the events are  
used up. In such cases, an error message such as “Event Full”will appear.  
The file was not found in SD card/USB memory.  
Make sure that the file exists on the SD card or in USB memory.  
EMPTY  
or  
If when importing an audio file, the audio file was not  
found in the SD card’s “/ROLAND/IMPORT”folder.  
File.Not.Found!  
Place the audio file in the “/ROLAND/IMPORT”folder (p. 101).  
Do not use this file.  
This is a file that the JUNO-Gi is unable to play.  
If when importing an audio file, you attempted to  
import a WAV/AIFF file of a format that is not supported  
by the JUNO-Gi, the error message “Incorrect File!”will  
appear, and the import cannot be performed.  
Use a WAV/AIFF file that complies with the guidelines on p. 101.  
Incorrect.File!  
The format of an SMF you intend to import to an  
arpeggio style or rhythm pattern must be Format 0.  
Make sure that the SMF you’re importing is in Format 0.  
SMF data that contains a time signature other than the time signature  
specified in the “Pattern Beat”(p. 124) setting cannot be loaded by the  
JUNO-Gi. You need to change the time signature data of the SMF.  
The SMF you attempted to import cannot be loaded  
into the JUNO-Gi.  
An unusually large amount of MIDI data was received,  
and could not be processed.  
MIDI.Buff.er.Full!  
Reduce the amount of MIDI messages that are being transmitted.  
Check that there is no problem with the MIDI cable connected to the  
JUNO-Gi’s MIDI IN, and that the MIDI cable was not disconnected.  
MIDI.Offl..ine!  
No.Data!  
The MIDI IN connection was broken.  
The track data you are trying to export was not found.  
There are no songs on the SD card.  
Select the track where track data exists.  
Create a new song (p. 91).  
No.Song!  
Incorrect data is in the song folder, or the necessary data Restore the data backed up on the computer to the JUNO-Gi. In this  
is not present.  
case, restore each “ROLAND”folder to the JUNO-Gi (p. 79).  
Either stop playback, or wait until playback has ended.  
Either stop record, or wait until record has ended.  
Now.Playing!  
The Song Player/Digital Recorder is currently playing.  
The Digital Recorder is currently recording.  
Now.Recording!  
The rhythm pattern cannot be recorded any further  
because you have exceeded the maximum number of  
notes recordable in a single rhythm pattern.  
Pattern.Full!  
Delete unneeded data from the rhythm pattern you’re recording.  
Since the data on the SD card is stored in a fragmented  
state, it is taking too long to read/write the data.  
Alternatively, you’re using an SD card whose processing  
speed is too slow.  
Reduce the number of tracks being played back simultaneously. You can  
use bouncing to combine tracks, erase and then delete data of tracks  
you’re not playing back, and then play back.  
SD.Card.Busy!  
This is more likely to occur if you’ve been using  
operations such as track editing and punch-in/out  
recording to connect phrases (recorded data) several  
seconds in length.  
Reduce the number of tracks being recorded simultaneously.  
Use an SD card that has sufficient free space.  
Delete unneeded songs (p. 103).  
There is insufficient free space on the SD card.  
The number of songs has exceeded 99.  
Increase the free space on the SD card by executing the Song Optimize  
command to delete unneeded data from the card (p. 104).  
SD.Card.Full!  
A maximum of 99 songs can be saved on an SD card. Delete unneeded  
songs (p. 103).  
138  
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Message  
Meaning  
Action  
Writing or erasure are not possible because the SD card  
is locked.  
SD.Card.Locked!  
Turn off the power, remove the SD card, and unlock it.  
The SD card or USB memory is not inserted, or is  
inserted incompletely.  
SD.Card.Not.Ready!  
Turn off the power, firmly insert the SD card or USB memory, and then  
turn on the power once again.  
USB.Memory.Not.Ready!  
The SD card or USB memory was removed after you  
selected data that was on the SD card or USB memory.  
Failed to load data from SD card/USB memory.  
It may be that the file is damaged.  
Make sure that SD card/USB memory is correctly connected.  
Do not use this file.  
SD.Card.Read.Error!  
USB.Memory.Read.Error!  
This file cannot be loaded since its format is incorrect.  
Failed to write data to SD card.  
Do not use this file.  
Make sure that SD card is correctly connected.  
Make sure that the file or the SD card is not write protected.  
SD.Card.Write.Error!  
Song.Protected!  
The file or the SD card itself is write protected.  
You are attempting to write data to a song that has  
protection switched on.  
To write data to the song, switch Protect to OFF (p. 104).  
Please execute a Factory Reset.  
It is possible that the contents of system memory have  
been damaged.  
Sys.Memory.Damaged!  
Too.Much.Data!  
If this does not resolve the problem, contact your dealer or a nearby  
Roland service center.  
The SMF you’re importing to an arpeggio style or  
rhythm pattern contains too much data.  
Keep the SMF data within 500 notes (note-on/off) for an arpeggio style,  
and within 4,000 events for a rhythm pattern.  
The number of steps in the arrangement exceeds 99.  
Keep the number of steps in the arrangement within 99.  
Use the JUNO-Gi to format the SD card (p. 79).  
The JUNO-Gi cannot recognize or use the format of the  
inserted SD card.  
Unsupported.Format!  
User.Memory.Full!  
There is insufficient free space in the JUNO-Gi’s storage  
area.  
Delete unneeded data.  
139  
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Troubleshooting  
Problem  
Items.to.check  
Action  
Overall.problems  
Check the system setting “Auto Power Off”(p. 80). The  
JUNO-Gi’s power will automatically be switched off if no  
operation has been performed for a certain length of time  
(with the factory setting, the power will turn off after 240  
minutes).  
Power.turns.off.by.  
itself  
If you want the power to remain on constantly, set the system setting “Auto Power Off”  
(p. 80) to “OFF.”  
Check the system setting “Power Save Mode”(p. 80). The  
JUNO-Gi will automatically turn off the display backlight  
if no operation is performed for a certain length of time  
(with the factory settings, the backlight will turn off after  
five minutes).  
Display.backlight.  
turns.off.by.itself  
If you want the backlight to remain on constantly, set the system setting “Power Save  
Mode”(p. 80) to “OFF.”  
Are the included AC adaptor and power cord correctly  
connected to an outlet and to the JUNO-Gi?  
Do not use any AC adaptor or power cord other than the supplied items.  
Doing so will cause malfunctions.  
Power.won’t.turn.on  
Could the batteries have run low?  
Check the remaining battery power (p. 14).  
Open the battery case and make sure that the batteries are installed in the correct  
polarity.  
Are the batteries installed in the correct polarity?  
Have the connected amp or speakers been powered up?  
Turn on the power of the connected amp or speakers.  
Adjust the volume of the connected equipment.  
Adjust the [VOLUME] knob.  
Could the volume of a connected device have been  
lowered?  
Could the [VOLUME] knob be set to the minimum level?  
Are your amp, speakers, headphones, etc., connected  
correctly?  
Correctly connect your amp, speakers, and headphones (p. 12).  
No.sound  
If you hear sound through your headphones, it may be that there is a broken con-  
nection cable, or that your amp or mixer have malfunctioned. Check your connection  
cables and equipment once again.  
Can you connect headphones and hear sound through  
them?  
Could you be using a connection cable that contains a  
resistor?  
Use a connection cable that does not contain a resistor.  
Problems.with.the.Synthesizer.sound  
If pressing the keyboard does not produce sound, could  
Turn the Local Switch setting on (p. 82).  
the Local switch be turned off?  
Could the Layer level setting be too low?  
Are the effect settings correct?  
Check the Layer level settings (p. 36).  
Check the effect on/off settings (p. 44). Also check settings such as the effect levels.  
Could the volume have been lowered by a pedal  
operation, a D Beam controller operation, or a MIDI  
message (volume or expression) received from an external  
MIDI device?  
No.sound  
Step on the pedal, move your hand above the D Beam controller, and check settings of  
the other controllers.  
If the [KEYBOARD] button is on, you won’t hear any synthesizer sound if the recorder’s  
[MASTER] slider is at the lowest position (MASTER LEVEL at 0). Turn the [KEYBOARD]  
button off.  
Could the REC SOURCE SELECT [KEYBOARD] button be  
turned on?  
Could the Layer level be set too low?  
Check the Layer level settings (p. 36).  
Turn on the Layer Switch (p. 36).  
A.specific.Layer.is.not.  
heard  
Could the Layer Switch (p. 36) be turned off?  
No.sound.from.a.  
specific.range.of.keys  
If there’s no sound from a specific range of keys, check the key range settings of the  
Layers in the Live Set (p. 36).  
Could key range settings have been specified?  
Could you be applying an effect that intentionally distorts  
the sound?  
If the sound of a specific Live Set or Layer is distorted, lower the volume of that Live  
Set or Layer.  
Sound.is.distorted  
Could the [VOLUME] knob be set too high?  
Could the Output Gain be raised excessively?  
Could the JUNO-Gi’s tuning be incorrect?  
If the overall sound is distorted, lower the [VOLUME] knob.  
Check the system setting “SOUND”(p. 80).  
Check the system setting “Master Tune”(p. 80).  
Could the pitch have been changed by a pedal operation  
or by a pitch bend message received from an external MIDI  
device?  
Check the pedal and the pitch bender.  
Pitch.is.wrong  
Have you edited the coarse tune or fine tune settings of a  
specific Layer?  
Check the settings of the Coarse and Fine parameters.  
Notes will be broken off if the number of voices used  
simultaneously exceeds 128.  
Reduce the number of Tones you’re using. Increase the voice reserve setting for layers  
on which you don’t want to allow broken-off notes.  
Notes.are.broken.off  
Notes.remain.  
sounding.when.you.  
play.the.keyboard  
Could the polarity of the hold pedal be reversed?  
Check the system setting “Hold Pedal Polarity”(p. 81).  
The JUNO-Gi provides multi-effects that let you apply a wide variety of different ef-  
fects, and when you switch live sets, the multi-effect type used by the live set will also  
be switched. The mismatch between the currently heard notes and the multi-effect  
type would cause unwanted sound to occur when this change happens, and this is  
why the notes are turned off when you switch live sets.  
Sound.stops.when.  
you.switch.Live.Sets  
When you switch sounds (Live Sets), notes you played  
using the previous sound will stop.  
140  
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Problem  
Items.to.check  
Action  
Sound.is.still.heard.  
from.the.opposite.  
side.as.well.even.  
when.panned.all.the.  
way.to.one.side  
Since the JUNO-Gi’s internal effects are stereo, applying an insert effect will allow  
effect sound to be heard from the opposite side even if the source sound is panned all  
the way to one side.  
Could effects be applied?  
When you play high notes on the JUNO-Gi, you might hear  
notes that fail to sound, whose pitch fails to rise, or a noise  
that changes depending on the note you play (a warbling,  
chirping, rustling, beeping, etc.)  
Notes.played.in.a.  
high.register.sound.  
funny  
This is usually because you have exceeded the highest note that the JUNO-Gi is able  
to produce, and won’t occur with the notes you would normally use. This does not  
indicate a malfunction.  
If “USB Song Sync Mode”is set to “SLAVE,”the JUNO-Gi must be receiving MIDI clock  
from an external device.  
Set “USB Song Sync Mode”to “MASTER”unless you’re synchronizing the JUNO-Gi with  
an external device.  
Could the system setting“USB Song Sync Mode”(p. 83) have  
been set to “SLAVE”?  
Can’t.play.arpeggios  
Problems.with.the.Synthesizer.effects  
Could the effect switch be off?  
Check the on/off setting of each effect (p. 44).  
With the factory settings, the Output Assign of some are not set to “MFX.”Set the  
Output Assign to “MFX.”  
Is each layer’s Output Assign set to “MFX”?  
Check the send level to each effect.  
Effect.not.applied  
The effect won’t be obtained if the send level to that effect is set at 0. Even if the send  
levels to the effect is set above 0, the effect won’t be applied if the multi-effect output  
level, chorus level, or reverb level are set to 0. Check each of these settings.  
You.specified.a.  
delay.time.value.(for.  
example.for.multi-  
effect.43:.DELAY).  
as.a.note.value,.but.  
there’s.a.limit.beyond.  
which.the.delay.time.  
will.not.change  
Since the delay time has an upper limit, specifying the delay time as a note value and  
then slowing down the tempo may reach this upper limit. The maximum delay time is  
the highest value that can be specified numerically (i.e., other than in terms of a note  
value).  
Settings such as the delay time have an upper limit.  
Problems.with.the.USB.Memory.Song.Player  
Check the format of your USB memory. The JUNO-Gi  
can use USB memory that is formatted as FAT. (Normally,  
when you purchase USB memory, it will be formatted  
as FAT, so you can start using it immediately.) However,  
USB memory that was formatted by a computer or other  
device as something other than FAT (e.g., NTFS) will not be  
recognized by the JUNO-Gi.  
USB.memory.is.not.  
detected./.Song.files.  
are.not.displayed  
Format the USB memory on the JUNO-Gi (p. 79).  
Song.files.are.not.  
shown  
Are the songs located in the USB memory’s root directory?  
Songs placed within a folder will not be displayed on the JUNO-Gi.  
The audio file’s file type might not be a file type that can  
be played on the JUNO-Gi.  
Use an audio file of the types listed in “Song files that can be played”(p. 128).  
Check the audio file.  
Audio.files.on.USB.  
memory.won’t.play  
The audio file may be damaged.  
Not.all.the.tracks.of.  
an.SMF.format.1.file.  
are.played  
Could there be too many tracks? In the case of SMF Format  
1, some tracks may not play correctly if there are more  
than 16 tracks.  
Reduce the number of tracks.  
[VOLUME] knob setting  
Can’t.hear.playback  
Check the following points  
Minus-One setting (p. 129)  
Problem.with.USB.audio  
Sound.from.USB.  
Audio.is.strange  
Center Cancel works not only with respect to songs played using the USB Song Player,  
but also affects the sound when using USB Audio. Switch off Center Cancel.  
Could Center Cancel (p. 129) be ON?  
Problems.with.external.MIDI.devices  
No.sound.from.an.  
external.MIDI.device  
Does the JUNO-Gi’s MIDI transmit channel match the  
connected device’s MIDI receive channel?  
Match the JUNO-Gi’s transmit channel and your connected device’s receive channel  
(p. 133).  
Exclusive.messages.  
are.not.received  
Does the transmitting unit’s Device ID number match the  
JUNO-Gi’s Device ID number?  
Set the device ID numbers (p. 82).  
When.using.  
If you’re using this type of sequencer software, and you want to record system  
exclusive messages, turn off the following parameter.  
sequencer.software,.  
operating.knobs.or.  
other.controls.does.  
not.affect.the.sound  
Some sequencer software does not “soft thru”system  
exclusive messages.  
Local Switch (p. 82)  
141  
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Problem  
Items.to.check  
Action  
Problems.with.a.microphone.or.external.device.you’re.recording  
Is the microphone cable connected correctly?  
Check the connection.  
Is a condenser microphone connected?  
Set the phantom power supply appropriately (p. 92).  
Check the rear panel MIC IN [LEVEL] knob.  
No.sound.or.insuf-  
ficient.sound.from.  
the.microphone  
Could the mic level be lowered?  
Could the AUDIO INPUT SELECT setting have been turned  
off? (p. 92)  
Turn on the AUDIO INPUT SELECT setting.  
Could you be using a connection cable that contains a  
resistor?  
Insufficient.  
Use a connection cable that does not contain a resistor.  
volume.from.a.device.  
connected.to.the.  
JUNO-Gi  
Is the volume of the external device adjusted correctly?  
Is the INPUT [LEVEL] knob adjusted correctly? (p. 92)  
Adjust the volume of your external device to an appropriate level.  
Adjust the INPUT [LEVEL] knob.  
Problems.with.the.Digital.Recorder  
Could the track’s volume level (Track Level parameter)  
Raise the volume level (Track Level parameter).  
Select a V-track that contains data.  
have be lowered? (p. 89)  
No.sound.from.a.  
specific.track  
Could the V-track setting have selected the wrong V-track?  
(p. 89)  
Is the INPUT [LEVEL] knob set appropriately? (p. 92)  
Adjust the INPUT [LEVEL] knob.  
Adjust the Level value.  
Can’t.hear.the.input.  
source  
Could the INPUT screen’s Level be set to a low value? (p. 93)  
Could the AUDIO INPUT SELECT setting have been turned  
off? (p. 93)  
Turn on the AUDIO INPUT SELECT setting.  
Could the song be protected? (p. 104)  
Is the SD inserted?  
Remove protection from the song.  
Check the SD card.  
Could the SD card be locked?  
Check the SD card.  
Use an SD card that has enough free space remaining.  
Delete unneeded songs (p. 103).  
Can’t.record  
Is there insufficient free space on the SD card?  
Increase the amount of free space on the SD card by executing the Song Optimize  
function, which deletes unneeded data from the SD card (p. 104).  
Is the mode (Normal mode, Bounce mode, Mastering  
mode) selected correctly? (p. 94)  
Check the mode.  
Was the input sensitivity appropriate?  
Adjust the level until it is as high as you can get it without causing the PEAK indicator  
to light red.  
If the input sensitivity is too high, the recorded sound will  
be distorted; if the input sensitivity is too low, the recorded  
sound will be buried in noise.  
Noise.and.distortion.  
is.heard.in.the.  
recorded.sound  
Is the track output level appropriate?  
If you hear noise or distortion after bouncing, the track output levels were too high.  
Problems.with.the.SD.card  
If data on the SD card is damaged, the following reasons  
are possible.  
Could you have turned off the power while the recorder  
was operating?  
Could a strong physical shock have been applied to the  
SD card?  
Re-format the SD card (p. 79).  
Data.on.the.SD.card.  
was.damaged  
Could the power have been turned off while accessing the  
SD card?  
Do not format the SD card that is included with this product; doing so will erase the  
demo data.  
While using the system on batteries, could it have been  
subject to a physical shock such as being dropped?  
A strong physical shock may break the contact between  
batteries, causing the power to turn off.  
Could you have formatted the card on a computer or  
digital camera?  
Could the SD card be write protected?  
Disable write protection.  
Is there sufficient free space on the SD card?  
Use an SD card that has sufficient free space.  
Format the SD card on the JUNO-Gi (p. 79).  
Can’t.back.up.to.SD.  
card  
Check the format of the SD card. The JUNO-Gi can use SD  
cards that are formatted in FAT format.  
Do not format the SD card that is included with this product; doing so will erase the  
demo data.  
142  
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Specifications  
JUNO-Gi: Synthesizer Keyboard (Conforms to General MIDI 2 System)  
Keyboard  
61 keys (with velocity)  
Others  
Sound.Generator.Section  
Preset: 371  
Rhythm.Pattern User: 99  
Song (Digital Recorder): 99  
Maximum.  
Polyphony  
Parts  
128 voices  
Live Set (4 layers) +16 parts  
Preset: 128  
User: 64  
Arpeggiator  
Wave.Memory  
128 M bytes (16-bit linear equivalent)  
Chord.Memory  
Preset: 17  
Live Set: 1,379  
Preset.Memory  
User.Memory  
Effects  
Tone: 788 + 256 (GM2)  
Rhythm Set: 14 + 9 (GM2)  
Pitch Bend/Modulation Lever  
D Beam Controller  
Controllers  
S1/S2 Buttons  
Live Set: 256  
Favorite: 100  
Sound Modify Knob x 6  
Display  
240 x 64 dots graphic LCD (with backlit)  
SD/SDHC Card  
Multi-Effects: 2 systems, 79 types  
Chorus: 3 types  
External.  
Memory  
Reverb: 5 types  
OUTPUT Jacks (L/MONO, R) (1/4 inch phone type)  
PHONES Jack (stereo 1/4 inch phone type)  
SONG/CLICK OUT Jack (stereo 1/4 inch phone type)  
LINE INPUT Jacks (L, R) (1/4 inch phone type)  
GUITAR/MIC INPUT Jack:  
Digital.Recorder.Section  
Track: 8  
V-Track: 64 (8 V-Tracks per each Track)  
Tracks  
* Up.to.2.tracks.can.be.recorded.simultaneously,.and.up.to.8.  
tracks.can.be.played.back.simultaneously  
MIC: 1/4 inch phone type or XLR type (phantom power),  
GUITAR: 1/4 inch phone type (Hi-Z)  
Maximum.  
Number.Of.  
Songs  
99  
Connectors  
CONTROL PEDAL Jack  
Memory.  
Capacity  
HOLD PEDAL Jack  
SD memory card: supports SDHC cards to a maximum of 32 GB  
44.1 kHz  
MIDI Connectors (IN, OUT)  
Sample.Rate  
USB COMPUTER Connectors (USB Hi-Speed Audio/MIDI)  
(Use a USB cable and a computer with a USB connector that  
support USB 2.0 Hi-Speed.)  
Card.  
Capacity  
Card.  
Capacity  
Recording.Times  
Recording.Times  
DC IN Jack  
1.GB  
2.GB  
Approx. 6 hours  
Approx. 12 hours  
8.GB  
Approx. 48 hours  
Approx. 96 hours  
DC 9 V  
16.GB  
(AC Adaptor or Rechargeable Ni-MH Battery (AA, HR6; sold  
separately) x 8)  
Power.Supply  
Current.draw  
4.GB  
Approx. 24 hours  
32.GB  
Approx. 192 hours  
* Carbon-zinc.batteries.or.alkaline.batteries.cannot.be.used  
•
The maximum recording time (storage used) for one song is  
approximately 12 hours (2 GB).  
750 mA  
Recording.Time.  
(conversion.in.  
one.track)  
•
•
The above recording times are approximate.  
Rechargeable Ni-MH batteries (AA, HR6): Approximately 3 hours  
(approximately 2 hours if USB memory is connected)  
Battery.Life.for.  
Continuous.Use  
The above recording times are for when only one track is  
used. For example, if you record using all eight tracks, the  
available time for each track will be one eighth of the time  
listed.  
Since the 2 GB SD card included with the JUNO-Gi contains a  
demo song, the available recording time will be shorter than  
listed above.  
(This figure will vary depending on the actual conditions of use.)  
1008 (W) x 300 (D) x 105 (H) mm  
39-11/16 (W) x 11-13/16 (D) x 4-3/16 (H) inches  
Dimensions  
Weight  
•
•
5.7 kg  
12 lbs 10 oz  
(Excluding AC Adaptor)  
With the Track Export function, 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.  
Owner’s Manual  
Quick Guide  
LINE INPUT jacks: -10 dBu  
GUITAR/MIC INPUT jack:  
GUITAR: -20 dBu  
CD-ROM (USB Driver)  
DVD-ROM (Cakewalk PPP)  
Nominal.Input.  
Level  
SD Card (2 GB, installed in the JUNO-Gi when shipped from the  
factory)  
MIC: -40 dBu  
Accessories  
Insert Effects: 3 banks (Guitar, Mic, Line)  
Mastering Tool Kit  
Reverb  
SD Card Protector (installed in the JUNO-Gi when shipped from  
the factory)  
Effects  
USB Memory Protector  
AC Adaptor  
USB.Memory.Song.Player.Section  
Audio File: WAV, AIFF, MP3  
Power Cord  
File.Format  
Standard MIDI File: format-0/1  
99 Songs  
Keyboard Stand: KS-18Z  
(Use a stand that causes the height of the unit to be one meter  
or lower.)  
Number.Of.  
Songs  
Pedal Switch: DP Series  
Expression Pedal: EV-5  
USB Memory  
External.  
Memory  
USB MEMORY (supports USB 2.0 Hi-Speed Flash Memory: Sold  
Separately)  
Options  
* Use.USB.memory.sold.by.Roland .We.cannot.guarantee.  
operation.if.other.products.are.used  
* In.the.interest.of.product.improvement,.the.specifications.and/or.appearance.of.  
this.unit.are.subject.to.change.without.prior.notice  
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MIDI Implementation Chart  
Date : June 1, 2010  
Version : 1.00  
Model JUNO-Gi  
Function...  
Transmitted  
Recognized  
Remarks  
Basic  
Channel  
Default  
Changed  
1–16  
1–16  
1–16  
1–16  
Default  
Messages  
Altered  
Mode 3  
Mono, Poly  
**************  
Mode 3  
Mode 3, 4 (M = 1)  
* 2  
Mode  
Note  
Number :  
0–127  
**************  
0–127  
0–127  
True Voice  
Note On  
Note O€  
O
O
O
O
Velocity  
After  
Touch  
Key’s  
Channel’s  
X
O
O
O
*1  
*1  
Pitch Bend  
O
O
*1  
0, 32  
1
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
X
O
*1  
*1  
*1  
*1  
*1  
Bank select  
O
Modulation  
2
O
Breath type  
4
5
6, 38  
7
O
Foot type  
O
Portamento time  
Data entry  
O
O
Volume  
10  
11  
16  
17  
18  
19  
64  
65  
66  
67  
68  
71  
72  
73  
74  
75  
76  
77  
78  
80  
81  
82  
83  
84  
91  
93  
O
Panpot  
O
*1  
Expression  
O (Tone Modify 1)  
General purpose controller 1  
General purpose controller 2  
General purpose controller 3  
General purpose controller 4  
Hold 1  
O (Tone Modify 2)  
O (Tone Modify 3)  
O (Tone Modify 4)  
Control  
Change  
O
*1  
*1  
O
Portamento  
O
Sostenuto  
O
Soft  
O
Legato foot switch  
Resonance  
O
*1  
*1  
*1  
*1  
*1  
O
Release time  
O
Attack time  
O
Cuto€  
O
Decay time  
O
Vibrato rate  
O
Vibrato depth  
O
Vibrato delay  
O (Tone Modify 5)  
General purpose controller 5  
General purpose controller 6  
General purpose controller 7  
General purpose controller 8  
Portamento control  
General purpose e€ects 1  
General purpose e€ects 3  
Pedal, Knob, D Beam  
NRPN LSB, MSB  
RPN LSB, MSB  
O (Tone Modify 6)  
O (Tone Modify 7)  
O (Tone Modify 8)  
O
O (Reverb)  
*1  
*1  
O (Chorus)  
1–31, 33–95  
98, 99  
−
X
O
−
100, 101  
X
1–31, 33–127  
O
MIDI controller  
Program  
Change  
O
*1  
*3  
O
0–127  
*1  
*1  
**************  
: True Number  
Program No. 1–128  
System Exclusive  
O
O
: Song Position  
: Song Select  
: Tune Request  
X
X
X
X
X
X
System  
Common  
System  
Real Time : Commands  
: Clock  
X
X
O
X
O
O
X
O
: All Sound O€  
O
: ResetAllControllers  
Aux  
Messages  
X
: Local On/O€  
O
O
X
O (123–127)  
: All Notes O€  
O
X
: Active Sensing  
: System Reset  
* 1 O X is selectable.  
Notes  
* 2 Recognized as M=1 even if M1.  
* 3 Transmitted only when “Transmitted Edit Data” is ON or RQ1 is received.  
Mode 1 : OMNI ON, POLY  
Mode 3 : OMNI OFF, POLY  
Mode 2 : OMNI ON, MONO  
Mode 4 : OMNI OFF, MONO  
O : Yes  
X : No  
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Index  
CTRL . . . . . . . . . . . . . . . . . . . . . . . . . . . 82  
current position. . . . . . . . . . . . . . . . . 87  
cursor buttons . . . . . . . . . . . . . . . . . . 18  
Cutoff . . . . . . . . . . . . . . . . . . . . . . . . . . 84  
Cutoff Frequency . . . . . . . . . . . . . . . 40  
Cutoff Keyfollow . . . . . . . . . . . . . . . . 40  
[CUTOFF] knob. . . . . . . . . . . . . . . . . . 29  
Cutoff Offset . . . . . . . . . . . . . . . . . . . . 37  
Cutoff V-Curve . . . . . . . . . . . . . . . . . . 40  
Cutoff V-Sens . . . . . . . . . . . . . . . . . . . 41  
MASTERING. . . . . . . . . . . . . . . . . . . . . 94  
MASTERING mode . . . . . . . . . . . . .118  
mastering tool kit . . . . . . . . .105, 118  
mastering tool kit parameters . .120  
Master Key Shift. . . . . . . . . . . . . . . . . 80  
Master Level . . . . . . . . . . . . . . . . . . . . 80  
[MASTER] slider . . . . . . . . . . . . . . . . . 88  
Master Tune . . . . . . . . . . . . . . . . . . . . 80  
[MENU] button. . . . . . . . . . . . . . . . . . 19  
MFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46  
MFX1, 2. . . . . . . . . . . . . . . . . . . . . . . . . 48  
MFX1, 2 CTRL . . . . . . . . . . . . . . . . . . . 46  
MFX STRUCTURE. . . . . . . . . . . . . . . . 46  
microphone . . . . . . . . . . . . . . . . . . . . 92  
Mid Freq. . . . . . . . . . . . . . . . . . . . 81, 89  
Mid Gain. . . . . . . . . . . . . . . . . . . . 81, 89  
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . .133  
MIDI Clock Output . . . . . . . . . . . . . . 83  
MIDI connectors . . . . . . . . . . . . . . .133  
MIDI controller mode . . . . . . . . . .133  
[MIDI CTRL] button. . . . . . . . . . . . .133  
MIDI implementation chart. . . . .144  
MIDI/SYNC. . . . . . . . . . . . . . . . . . . . . . 82  
[MID] knob . . . . . . . . . . . . . . . . . . . . . 29  
Mid Q. . . . . . . . . . . . . . . . . . . . . . . 81, 89  
minus-one. . . . . . . . . . . . . . . . . . . . .129  
MIXER . . . . . . . . . . . . . . . . . . . . . . . . .120  
MODE . . . . . . . . . . . . . . . . . . . . . . . . . . 94  
modulation lever. . . . . . . . . . . . . . . . 29  
Mono/Poly. . . . . . . . . . . . . . . . . . . . . . 37  
move in steps of hours/minutes/  
seconds/frames/sub-frames . . . . . 87  
move in steps of measures/beats 87  
move to the beginning of  
A
H
A–B region. . . . . . . . . . . . . . . . . . . . . . 90  
AC adaptor . . . . . . . . . . . . . . . . . . . . . 13  
AC.PRO . . . . . . . . . . . . . . . . . . . . . . . .113  
A-Env Level1. . . . . . . . . . . . . . . . . . . . 42  
A-Env Level2. . . . . . . . . . . . . . . . . . . . 42  
A-Env Level3 [S]. . . . . . . . . . . . . . . . . 42  
A-Env T1 V-Sens. . . . . . . . . . . . . . . . . 42  
A-Env T4 V-Sens. . . . . . . . . . . . . . . . . 42  
A-Env Time1 [A] . . . . . . . . . . . . . . . . . 42  
A-Env Time2 . . . . . . . . . . . . . . . . . . . . 42  
A-Env Time3 [D]. . . . . . . . . . . . . . . . . 42  
A-Env Time4 [R] . . . . . . . . . . . . . . . . . 42  
agorithm . . . . . . . . . . . . . . . . . . . . . .109  
AIFF . . . . . . . . . . . . . . . . . . . . . . . . . . .128  
AMP . . . . . . . . . . . . . . . . . . . . . . . . . . .110  
arpeggio. . . . . . . . . . . . . . . . . . . . . . . . 32  
[ARPEGGIO] button . . . . . . . . . . . . . 32  
Arpeggio Destination . . . . . . . . . . . 38  
ARRANGE EDIT screen. . . . . . . . . .123  
arrangement. . . . . . . . . . . . . .121, 123  
ASSIGN . . . . . . . . . . . . . . . . . . . . . . . . . 84  
[ASSIGNABLE] button . . . . . . . . . . . 28  
Assignable Switch. . . . . . . . . . . . . . . 38  
Attack Time Offset . . . . . . . . . . . . . . 37  
[AUDIO INPUT] button . . . . . . . . . . 93  
AUDIO INPUT jacks. . . . . . . . . . . . . . 92  
AUDIO INPUT SELECT window. . . 93  
Audio Level . . . . . . . . . . . . . . . . . . . . . 83  
Auto Power Off . . . . . . . . . . . . . 16, 80  
High Freq. . . . . . . . . . . . . . . . . . . 81, 89  
High Gain. . . . . . . . . . . . . . . . . . . 81, 89  
[HIGH] knob . . . . . . . . . . . . . . . . . . . . 29  
HOLD pedal . . . . . . . . . . . . . . . . . . . . 30  
Hold Pedal Polarity. . . . . . . . . . . . . . 81  
I
[INC] button . . . . . . . . . . . . . . . . . . . . 18  
Information. . . . . . . . . . . . . . . . . . . .103  
INFORMATION . . . . . . . . . . . . . . . . . . 84  
initializing a live set . . . . . . . . . . . . . 35  
INPUT . . . . . . . . . . . . . . . . . . . . . . . . .120  
input level . . . . . . . . . . . . . . . . . . . . . . 92  
Input Level . . . . . . . . . . . . . . . . . . . . . 93  
insert effects. . . . . . . . . . . . . .105, 106  
insert effects parameters . . . . . . .109  
INSERT FX EDIT screen . . . . . . . . .107  
INSERT FX screen. . . . . . . . . . . . . . .106  
INSERT STEP . . . . . . . . . . . . . . . . . . .123  
D
D BEAM. . . . . . . . . . . . . . . . . . . . . . . . . 83  
D Beam controller. . . . . . . . . . . . . . . 28  
D Beam Sens. . . . . . . . . . . . . . . . . . . . 83  
DC IN jack . . . . . . . . . . . . . . . . . . . . . . 13  
Decay Time Offset. . . . . . . . . . . . . . . 37  
[DEC] [INC] buttons. . . . . . . . . . . . . 18  
DELAY . . . . . . . . . . . . . . . . . . . . . . . . .115  
Delay Mode. . . . . . . . . . . . . . . . . . . . . 39  
Delay Time. . . . . . . . . . . . . . . . . . . . . . 39  
DELETE STEP. . . . . . . . . . . . . . . . . . .123  
demo song . . . . . . . . . . . . . . . . . . . . . 87  
Device ID . . . . . . . . . . . . . . . . . . . . . . . 82  
digital recorder . . . . . . . . . . . . . . . . . 86  
display. . . . . . . . . . . . . . . . . . . . . . . . . . 17  
K
KBD . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81  
KBD/CTRL . . . . . . . . . . . . . . . . . . . . . . 81  
[KEYBOARD] button. . . . . . . . . . . . . 93  
Keyboard Level . . . . . . . . . . . . . . . . . 80  
Keyboard Output Gain . . . . . . . . . . 80  
keyboard tempo . . . . . . . . . . . . . . . . 32  
keyboard touch . . . . . . . . . . . . . . . . . 27  
Keyboard Velocity Curve . . . . . . . . 81  
Keyboard Velocity Sens. . . . . . . . . . 81  
KEYBORD . . . . . . . . . . . . . . . . . . . . . . . 36  
Key Fade Lower . . . . . . . . . . . . . . . . . 36  
Key Fade Upper . . . . . . . . . . . . . . . . . 36  
KEY MOD . . . . . . . . . . . . . . . . . . . . . . . 37  
Key Range Lower . . . . . . . . . . . . . . . 36  
Key Range Upper . . . . . . . . . . . . . . . 36  
Key Trigger . . . . . . . . . . . . . . . . . . . . . 43  
E
EFFECT EDIT . . . . . . . . . . . . . . . . . . . . 44  
effect patch. . . . . . . . . . . . . . . . . . . .105  
EFFECT ROUTING . . . . . . . . . . . . . . . 45  
effects . . . . . . . . . . . . . . . . . . . . . . . . . . 44  
EFFECT SWITCH window . . . . . . . . 44  
ENHANCER . . . . . . . . . . . . . . . . . . . .116  
EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89  
EQ [ON/OFF] button . . . . . . . . . . . . 29  
EQ SETTING. . . . . . . . . . . . . . . . . . . . . 89  
equalizer . . . . . . . . . . . . . . . . . . . . . . . 89  
EQUALIZER . . . . . . . . . . . . . . . . . . . .111  
error message list . . . . . . . . . . . . . .138  
EXP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84  
[EXPRESSION] button . . . . . . . . . . . 28  
B
backlight . . . . . . . . . . . . . . . . . . . . . . . 17  
back up. . . . . . . . . . . . . . . . . . . . . 78, 79  
[BANK] button . . . . . . . . . . . . . . . . . . 24  
batteries. . . . . . . . . . . . . . . . . . . . . . . . 14  
BATTERY indicator . . . . . . . . . . . . . . 14  
bias. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42  
Bias Direction . . . . . . . . . . . . . . . . . . . 42  
Bias Level . . . . . . . . . . . . . . . . . . . . . . . 42  
Bias Position . . . . . . . . . . . . . . . . . . . . 42  
BOUNCE . . . . . . . . . . . . . . . . . . . . . . . . 94  
BOUNCE mode. . . . . . . . . . . . . . . . . . 97  
bounce-recording. . . . . . . . . . . . . . . 97  
the song. . . . . . . . . . . . . . . . . . . . . . . . 87  
move to the end of the song . . . . 87  
MP3 . . . . . . . . . . . . . . . . . . . . . . . . . . .128  
MST EQ . . . . . . . . . . . . . . . . . . . . . . . . . 81  
multi-effect . . . . . . . . . . . . . . . . . . . . . 46  
multi-effect control . . . . . . . . . . . . . 46  
multi-effects parameters . . . . . . . . 48  
muting tracks . . . . . . . . . . . . . . . . . . . 88  
L
layer. . . . . . . . . . . . . . . . . . . . . . . . . . . . 25  
LAYER/SPLIT screen . . . . . . . . . . . . . 25  
Layer Switch . . . . . . . . . . . . . . . . . . . . 36  
[LCD CONTRAST] knob . . . . . . . . . . 17  
Legato Retrigger . . . . . . . . . . . . . . . . 39  
Legato Switch. . . . . . . . . . . . . . . . . . . 37  
Level . . . . . . . . . . . . . . . . . . . .36, 83, 89  
[LEVEL] knob. . . . . . . . . . . . . . . . . . . . 92  
Level & Range. . . . . . . . . . . . . . . . . . . 83  
Level V-Curve . . . . . . . . . . . . . . . . . . . 42  
Level V-Sens . . . . . . . . . . . . . . . . . . . . 42  
LFO. . . . . . . . . . . . . . . . . . . . . . . . . 43, 84  
LFO Osc 1 Pitch Depth . . . . . . . . . . 84  
LFO Osc 1 Pulse Width Depth. . . . 84  
LFO Osc 2 Pitch Depth . . . . . . . . . . 84  
LFO Osc 2 Pulse Width Depth. . . . 84  
LFO Rate. . . . . . . . . . . . . . . . . . . . . . . . 84  
LIMITER. . . . . . . . . . . . . .113, 116, 120  
LINE jacks. . . . . . . . . . . . . . . . . . . . . . . 92  
live set. . . . . . . . . . . . . . . . . . . . 8, 22, 34  
LiveSet Category. . . . . . . . . . . . . . . . 38  
LIVE SET EDIT 1 screen . . . . . . . . . . 36  
LIVE SET EDIT 2 screen . . . . . . . . . . 37  
LIVE SET EDIT 3 Screen . . . . . . . . . . 38  
LIVE SET EDIT screen . . . . . . . . . . . . 34  
live set group . . . . . . . . . . . . . . . . . . . 22  
LIVE SET PLAY screen. . . . . . . . . . . . 22  
LiveSet Tempo . . . . . . . . . . . . . . . . . . 38  
LiveSet Tempo Switch . . . . . . . . . . . 83  
Local Switch . . . . . . . . . . . . . . . . . . . . 82  
LOCATION . . . . . . . . . . . . . . . . . . . . .108  
loop recording . . . . . . . . . . . . . . . . . . 96  
Low Freq . . . . . . . . . . . . . . . . . . . 81, 89  
Low Gain . . . . . . . . . . . . . . . . . . . 81, 89  
[LOW] knob. . . . . . . . . . . . . . . . . . . . . 29  
LV&PAN. . . . . . . . . . . . . . . . . . . . . . . . . 36  
F
N
Factory Reset . . . . . . . . . . . . . . . . . . . 78  
fast-forward . . . . . . . . . . . . . . . . . . . . 87  
favorite . . . . . . . . . . . . . . . . . . . . . . . . . 24  
FAVORITE LIST screen . . . . . . . . . . . 24  
FAVORITE [ON/OFF] button. . . . . . 24  
F-Env Depth . . . . . . . . . . . . . . . . . . . . 41  
F-Env Level0 . . . . . . . . . . . . . . . . . . . . 41  
F-Env Level1 . . . . . . . . . . . . . . . . . . . . 41  
F-Env Level2 . . . . . . . . . . . . . . . . . . . . 41  
F-Env Level3 [S] . . . . . . . . . . . . . . . . . 41  
F-Env Level4 . . . . . . . . . . . . . . . . . . . . 41  
F-Env T1 V-Sens . . . . . . . . . . . . . . . . . 41  
F-Env T4 V-Sens . . . . . . . . . . . . . . . . . 41  
F-Env Time1 [A] . . . . . . . . . . . . . . . . . 41  
F-Env Time2 . . . . . . . . . . . . . . . . . . . . 41  
F-Env Time3 [D] . . . . . . . . . . . . . . . . . 41  
F-Env Time4 [R] . . . . . . . . . . . . . . . . . 41  
F-Env V-Curve. . . . . . . . . . . . . . . . . . . 41  
F-Env V-Sens . . . . . . . . . . . . . . . . . . . . 41  
Filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . 84  
Filter Type . . . . . . . . . . . . . . . . . . 40, 84  
Fine Tune . . . . . . . . . . . . . . . . . . . . . . . 36  
FLANGER . . . . . . . . . . . . . . . . . . . . . .114  
format . . . . . . . . . . . . . . . . . . . . . . . . . . 79  
functional ground terminal. . . . . . 13  
function buttons. . . . . . . . . . . . . . . . 18  
FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112  
name . . . . . . . . . . . . . . . . . . . . . . . . . . . 19  
NOISE SUPPRESSOR . . . . . . . . . . . .111  
note . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49  
NOTE SET . . . . . . . . . . . . . . . . . . . . . .124  
[NUMERIC] button . . . . . . . . . . 19, 23  
C
category group . . . . . . . . . . . . . . . . . 22  
category group buttons . . . . . . . . . 22  
category lock . . . . . . . . . . . . . . . . . . . 23  
center cancel . . . . . . . . . . . . . . . . . .129  
Center Cancel. . . . . . . . . . . . . . . . . . . 80  
Center Cancel Type. . . . . . . . . . . . . . 80  
[CHORD MEMORY] button. . . . . . . 31  
chord memory function . . . . . . . . . 31  
chord memory list . . . . . . . . . . . . .136  
chorus. . . . . . . . . . . . . . . . . . . . . . . . . . 47  
CHORUS . . . . . . . . . . . . . . . . . . . . . . .115  
chorus parameters . . . . . . . . . . . . . . 76  
Chorus Send Level . . . . . . . . . . 36, 83  
Chorus Type . . . . . . . . . . . . . . . . . . . . 76  
CLEAR ALL . . . . . . . . . . . . . . . . . . . . .123  
Click Level . . . . . . . . . . . . . . . . . . . . . . 83  
CLICKOUT . . . . . . . . . . . . . . . . . . . . . . 83  
CLICK/PLAYER. . . . . . . . . . . . . . . . . . . 83  
Click Sound . . . . . . . . . . . . . . . . . . . . . 83  
Coarse Tune . . . . . . . . . . . . . . . . . . . . 36  
COMMON . . . . . . . . . . . . . . . . . . 38, 80  
Common Cutoff offset . . . . . . . . . . 38  
Common Level. . . . . . . . . . . . . . . . . . 38  
Common Resonance offset. . . . . . 38  
COMP . . . . . . . . . . . . . . . . . . . . . . . . .113  
computer. . . . . . . . . . . . . . . . . . 79, 132  
Continuous Hold. . . . . . . . . . . . . . . . 82  
CONTROL. . . . . . . . . . . . . . . . . . . . . . . 38  
CONTROL pedal. . . . . . . . . . . . . . . . . 30  
Control Pedal Assign . . . . . . . . . . . . 81  
Control Pedal Polarity . . . . . . . . . . . 81  
copying/exchanging layers. . . . . . 35  
Create New Song . . . . . . . . . . . . . . . 91  
O
octave . . . . . . . . . . . . . . . . . . . . . . . . . . 27  
OCTAVE. . . . . . . . . . . . . . . . . . . . . . . .113  
OCTAVE [DOWN] [UP] button . . . . 27  
Octave Shift . . . . . . . . . . . . . . . . . . . . 36  
OFFSET . . . . . . . . . . . . . . . . . . . . . . . . . 37  
On/Off. . . . . . . . . . . . . . . . . . . . . . 81, 89  
Osc1. . . . . . . . . . . . . . . . . . . . . . . . . . . . 83  
Osc 1 Coarse Tune. . . . . . . . . . . . . . . 83  
Osc 1 Fine Tune . . . . . . . . . . . . . . . . . 83  
Osc 1 Pulse Width . . . . . . . . . . . . . . . 83  
Osc 1 Waveform. . . . . . . . . . . . . . . . . 83  
Osc 2 Coarse Tune. . . . . . . . . . . . . . . 83  
Osc 2 Fine Tune . . . . . . . . . . . . . . . . . 83  
Osc 2 Level . . . . . . . . . . . . . . . . . . . . . 83  
Osc 2 Pulse Width . . . . . . . . . . . . . . . 83  
Osc2 & Sync. . . . . . . . . . . . . . . . . . . . . 83  
Osc 2 Waveform. . . . . . . . . . . . . . . . . 83  
Osc Sync Switch. . . . . . . . . . . . . . . . . 83  
OUTPUT . . . . . . . . . . . . . . . . . . . 36, 120  
Output Assign . . . . . . . . . . . . . . . . . . 36  
OUTPUT jacks. . . . . . . . . . . . . . . . . . . 13  
Output Level. . . . . . . . . . . . . . . . . . . . 36  
Output MFX Select. . . . . . . . . . . . . . 36  
G
GENERAL . . . . . . . . . . . . . . . . . . . 39, 80  
GENERL. . . . . . . . . . . . . . . . . . . . . 82, 83  
GM . . . . . . . . . . . . . . . . . . . . . . . . . . . .128  
GM2 . . . . . . . . . . . . . . . . . . . . . . . . . . .128  
GUITAR . . . . . . . . . . . . . . . . . . . . . . . . . 92  
GUITAR/MIC jack . . . . . . . . . . . . . . . . 92  
P
Pan . . . . . . . . . . . . . . . . . . . . . . . . . 36, 89  
PAN . . . . . . . . . . . . . . . . . . . . . . . . . . .114  
Pan Depth . . . . . . . . . . . . . . . . . . . . . . 43  
pattern . . . . . . . . . . . . . . . . . . .121, 124  
M
Main Channel. . . . . . . . . . . . . . . . . . . 82  
145  
Download from Www.Somanuals.com. All Manuals Search And Download.  
PATTERN EDIT screen. . . . . . . . . . .124  
PEAK indicator . . . . . . . . . . . . . . . . . . 92  
pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . 30  
PEDAL . . . . . . . . . . . . . . . . . . . . . . . . . . 81  
P-Env Depth . . . . . . . . . . . . . . . . . . . . 40  
P-Env Level0 . . . . . . . . . . . . . . . . . . . . 40  
P-Env Level1 . . . . . . . . . . . . . . . . . . . . 40  
P-Env Level2 . . . . . . . . . . . . . . . . . . . . 40  
P-Env Level3 [S] . . . . . . . . . . . . . . . . . 40  
P-Env Level4 . . . . . . . . . . . . . . . . . . . . 40  
P-Env T1 V-Sens . . . . . . . . . . . . . . . . . 39  
P-Env T4 V-Sens . . . . . . . . . . . . . . . . . 40  
P-Env Time1 [A] . . . . . . . . . . . . . . . . . 40  
P-Env Time2 . . . . . . . . . . . . . . . . . . . . 40  
P-Env Time3 [D] . . . . . . . . . . . . . . . . . 40  
P-Env Time4 [R] . . . . . . . . . . . . . . . . . 40  
P-Env V-Sens . . . . . . . . . . . . . . . . . . . . 39  
PHANTOM . . . . . . . . . . . . . . . . . . . . . . 92  
phantom power . . . . . . . . . . . . . . . . 92  
Phase Lock. . . . . . . . . . . . . . . . . . . . . . 38  
PHASER. . . . . . . . . . . . . . . . . . . . . . . .114  
PHONES jack. . . . . . . . . . . . . . . . . . . . 13  
PITCH. . . . . . . . . . . . . . . . . . . . . . . . . . . 36  
pitch bend. . . . . . . . . . . . . . . . . . . . . . 29  
Pitch Bend Range . . . . . . . . . . . . . . . 36  
Pitch Depth. . . . . . . . . . . . . . . . . . . . . 43  
PITCH ENV . . . . . . . . . . . . . . . . . . . . . . 39  
PLAYER . . . . . . . . . . . . . . . . . . . . . . . . . 83  
[PLAY/STOP] button. . . . . . . . . . . .129  
Portamento Mode . . . . . . . . . . . . . . 39  
Portamento Start . . . . . . . . . . . . . . . 39  
Portamento Switch . . . . . . . . . . . . . 37  
Portamento Time . . . . . . . . . . . . . . . 37  
Portamento Type . . . . . . . . . . . . . . . 39  
power . . . . . . . . . . . . . . . . . . . . . . . . . . 16  
Power Save Mode . . . . . . . . . . . . . . . 80  
[POWER] switch . . . . . . . . . . . . . . . . . 16  
Power Up Group . . . . . . . . . . . . . . . . 80  
Preview. . . . . . . . . . . . . . . . . . . . . . . . . 80  
Preview 1–4 Note Number . . . . . . 80  
Preview 1–4 Velocity . . . . . . . . . . . . 80  
[PREVIEW] button. . . . . . . . . . . . . . . 25  
[PREVIEW] button. . . . . . . . . . . . . . . 23  
Preview Mode . . . . . . . . . . . . . . . . . . 80  
Preview Octave . . . . . . . . . . . . . . . . . 38  
Preview Phrase. . . . . . . . . . . . . . . . . . 38  
Preview Type. . . . . . . . . . . . . . . . . . . . 38  
PRO EDIT screen . . . . . . . . . . . . . . . . 39  
punch-in/out . . . . . . . . . . . . . . . . . . . 95  
Release Time Offset . . . . . . . . . . . . . 37  
Remote Keyboard Switch. . . . . . . . 82  
REPEAT . . . . . . . . . . . . . . . . . . . . . . . . . 90  
Resonance. . . . . . . . . . . . . . . . . . 40, 84  
[RESONANCE] knob . . . . . . . . . . . . . 29  
Resonance Offset . . . . . . . . . . . . . . . 37  
Resonance V-Sens. . . . . . . . . . . . . . . 41  
reverb . . . . . . . . . . . . 47, 89, 105, 117  
Reverb. . . . . . . . . . . . . . . . . . . . . . . . . . 93  
REVERB . . . . . . . . . . . . . . . . . . . . . . . .115  
[REVERB] knob . . . . . . . . . . . . . . . . . . 29  
reverb parameters . . . . . . . . . . . . . . 77  
Reverb Send Level . . . . . . . . . . 36, 83  
Reverb Type . . . . . . . . . . . . . . . . . . . . 77  
rewind. . . . . . . . . . . . . . . . . . . . . . . . . . 87  
rhythm pattern . . . . . . . . . . . . . . . .121  
[RHYTHM PATTERN] button. 88, 121  
RHYTHM PATTERN screen . . . . . .122  
[RHYTHM PATTERN] slider . . . . . .121  
rhythm set. . . . . . . . . . . . . . . . . 25, 121  
ROTARY. . . . . . . . . . . . . . . . . . . . . . . .114  
RX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82  
RX FLTR. . . . . . . . . . . . . . . . . . . . . . . . . 37  
system parameters. . . . . . . . . . . . . . 80  
Vibrato Rate . . . . . . . . . . . . . . . . . . . . 37  
V-LINK . . . . . . . . . . . . . . . . . . . . . . . . .135  
vocoder . . . . . . . . . . . . . . . . . . . . . . . . 30  
Voice Reserve . . . . . . . . . . . . . . . . . . . 36  
[VOLUME] knob. . . . . . . . . . . . . . . . . 16  
volume of the tracks . . . . . . . . . . . . 88  
V-Track . . . . . . . . . . . . . . . . . . . . . . . . . 89  
system settings . . . . . . . . . . . . . . . . . 80  
T
temperament. . . . . . . . . . . . . . . . . . . 27  
tempo . . . . . . . . . . . . . . . . . . . . . 32, 122  
[TEMPO] button. . . . . . . . . . . . . . . . . 32  
Tempo Link . . . . . . . . . . . . . . . . . . . . . 83  
The LAYER/SPLIT screen . . . . . . . . . 26  
Time Keyfollow . . . . . . . . . .40, 41, 42  
Tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . 25  
TONE . . . . . . . . . . . . . . . . . . . . . . . . . . . 36  
Tone Control Source . . . . . . . . . . . . 38  
Tone Ctrl 1–4 Source . . . . . . . . . . . . 38  
Tone Group . . . . . . . . . . . . . . . . . 25, 36  
Tone Number . . . . . . . . . . . . . . . . . . . 36  
Tone Type. . . . . . . . . . . . . . . . . . . 25, 36  
[TRACK 1-4 5-8] . . . . . . . . . . . . . . . . . 88  
TRACK [1/5]–[4/8] buttons. . . . . . . 88  
Track Copy. . . . . . . . . . . . . . . . . . . . . . 98  
TRACK EDIT menu. . . . . . . . . . . . . . . 98  
Track Erase. . . . . . . . . . . . . . . . . . . . .100  
Track Exchange . . . . . . . . . . . . . . . .100  
Track Export . . . . . . . . . . . . . . . . . . .102  
Track Import . . . . . . . . . . . . . . . . . . .101  
TRACK MIXER[1/5]–[4/8] sliders . . 88  
Track Move . . . . . . . . . . . . . . . . . . . . . 99  
TRACK SETTING . . . . . . . . . . . . . . . . . 89  
track to record . . . . . . . . . . . . . . . . . . 94  
Transmit Active Sensing . . . . . . . . . 82  
Transmit Bank Select . . . . . . . . . . . . 82  
Transmit Edit Data . . . . . . . . . . . . . . 82  
Transmit Program Change. . . . . . . 82  
transpose. . . . . . . . . . . . . . . . . . . . . . . 27  
[TRANSPOSE] button. . . . . . . . . . . . 27  
TREMOLO. . . . . . . . . . . . . . . . . . . . . .114  
troubleshooting . . . . . . . . . . . . . . .140  
TVA Depth. . . . . . . . . . . . . . . . . . . . . . 43  
TVA ENVELOPE. . . . . . . . . . . . . . . . . . 42  
TVA PARAMETER . . . . . . . . . . . . . . . . 42  
TVF Depth . . . . . . . . . . . . . . . . . . . . . . 43  
TVF ENVELOPE . . . . . . . . . . . . . . . . . . 41  
TVF PARAMETER . . . . . . . . . . . . . . . . 40  
TX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82  
Type. . . . . . . . . . . . . . . . . . . . . . . . . . . . 84  
W
WAH. . . . . . . . . . . . . . . . . . . . . . . . . . .113  
WAV . . . . . . . . . . . . . . . . . . . . . . . . . . .128  
[WRITE] button . . . . . . . . . . . . . . . . . 35  
S
[S1] [S2] buttons . . . . . . . . . . . . . . . . 28  
saving a live set . . . . . . . . . . . . . . . . . 35  
SCALE . . . . . . . . . . . . . . . . . . . . . . . . .124  
scale tune . . . . . . . . . . . . . . . . . . . . . . 27  
Scale Tune . . . . . . . . . . . . . . . . . . . . . . 80  
Scale Tune for C–B . . . . . . . . . . . . . . 80  
Scale Tune Key . . . . . . . . . . . . . . . . . . 80  
Scale Tune Switch . . . . . . . . . . . . . . . 80  
Scale Tune Type . . . . . . . . . . . . . . . . . 80  
SD card . . . . . . . . . . . . . . . 9, 15, 78, 79  
SD Card Format . . . . . . . . . . . . . . . . . 79  
SD card protector . . . . . . . . . . . . . . . 15  
Sensitivity . . . . . . . . . . . . . . . . . . . . . . 83  
SETUP . . . . . . . . . . . . . . . . . . . . . . . . .124  
[SHIFT] button . . . . . . . . . . . . . . . . . . 18  
SMF . . . . . . . . . . . . . . . . . . 33, 126, 128  
SMF Level. . . . . . . . . . . . . . . . . . . . . . . 83  
Soft Through. . . . . . . . . . . . . . . . . . . . 82  
[SOLO SYNTH] button . . . . . . . . . . . 28  
song. . . . . . . . . . . . . . . . . . . . . . . . 87, 91  
Song/Click . . . . . . . . . . . . . . . . . . . . . . 83  
SONG/CLICK OUT jack. . . . . . . 13, 83  
Song/Click Output Level . . . . . . . . 83  
Song Copy. . . . . . . . . . . . . . . . . . . . .103  
SONG EDIT menu . . . . . . . . . . . . . .103  
Song Name Edit. . . . . . . . . . . . . . . .103  
Song Optimize. . . . . . . . . . . . . . . . .104  
Song Player Level . . . . . . . . . . . . . . . 83  
Song Protect. . . . . . . . . . . . . . . . . . .104  
Song Remove. . . . . . . . . . . . . . . . . .103  
Song Select. . . . . . . . . . . . . . . . . . . . . 87  
Song Write. . . . . . . . . . . . . . . . . . . . .104  
SOUND . . . . . . . . . . . . . . . . . . . . . . . . . 80  
Sound Generator . . . . . . . . . . . . . . . 80  
[SOUND MODIFY] knob . . . . . . . . . 29  
Source Select . . . . . . . . . . . . . . . . . . . 82  
special live set . . . . . . . . . . . . . . . . . . . 8  
[SPECIAL LIVE SET] button. . . . . . . 23  
split . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26  
split point . . . . . . . . . . . . . . . . . . . . . . 26  
Split Point . . . . . . . . . . . . . . . . . . . . . . 38  
Split Setting . . . . . . . . . . . . . . . . . . . . 38  
Split Switch . . . . . . . . . . . . . . . . . . . . . 38  
STEP RESET function . . . . . . . . . . . . 49  
stereo link . . . . . . . . . . . . . . . . . . . . . . 89  
stereo tracks . . . . . . . . . . . . . . . . . . . . 94  
Sub Channel . . . . . . . . . . . . . . . . . . . . 82  
Switch 1/Switch 2 Assign . . . . . . . . 38  
Switch 1/Switch 2 Type. . . . . . . . . . 38  
SYNC . . . . . . . . . . . . . . . . . . . . . . . . . . . 83  
Synchronizing with  
U
undo/redo. . . . . . . . . . . . . . . . . . . . . . 96  
UNI-V. . . . . . . . . . . . . . . . . . . . . . . . . .114  
USB. . . . . . . . . . . . . . . . . . . . . . . . . . . .132  
USB audio . . . . . . . . . . . . . . . . . . . . .132  
USB Audio Level . . . . . . . . . . . . . . . . 80  
USB Audio To Computer. . . . . . . . . 80  
USB COMPUTER connector . . . . .132  
USB driver . . . . . . . . . . . . . . . . . . . . .132  
USB memory. . . . . . . . . . . . .9, 79, 128  
USB Memory Format . . . . . . . . . . . . 79  
USB memory protector. . . . . . . . .130  
USB memory song player. . . . . . .127  
USB MIDI . . . . . . . . . . . . . . . . . . 82, 132  
USB-MIDI Thru . . . . . . . . . . . . . . . . . . 82  
USB Song Sync Mode . . . . . . . . . . . 83  
User Backup . . . . . . . . . . . . . . . . . . . . 78  
User Restore . . . . . . . . . . . . . . . . . . . . 78  
utility. . . . . . . . . . . . . . . . . . . . . . . . . . . 78  
UTILITY MENU window. . . . . . . . . . 78  
R
Rand Pitch Depth . . . . . . . . . . . . . . . 39  
Range . . . . . . . . . . . . . . . . . . . . . . . . . . 83  
Range Max. . . . . . . . . . . . . . . . . . . . . . 84  
Range Min . . . . . . . . . . . . . . . . . . . . . . 84  
Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43  
Receive Bank Select . . . . . . . . . . . . . 82  
Receive Bender . . . . . . . . . . . . . . . . . 37  
Receive Breath Type. . . . . . . . . . . . . 37  
Receive Channel Press. . . . . . . . . . . 37  
Receive Effect Send . . . . . . . . . . . . . 37  
Receive Envelope Offset. . . . . . . . . 37  
Receive Exclusive . . . . . . . . . . . . . . . 82  
Receive Expression. . . . . . . . . . . . . . 37  
Receive Filter Offset . . . . . . . . . . . . . 37  
Receive Foot Type. . . . . . . . . . . . . . . 37  
Receive GM2 System On. . . . . . . . . 82  
Receive GM System On. . . . . . . . . . 82  
Receive GS Reset. . . . . . . . . . . . . . . . 82  
Receive Hold-1. . . . . . . . . . . . . . . . . . 37  
Receive Modulation. . . . . . . . . . . . . 37  
Receive Poly Key Press . . . . . . . . . . 37  
Receive Portamento. . . . . . . . . . . . . 37  
Receive Program Change. . . . . . . . 82  
Recorder Menu screen . . . . . . . . . . 98  
RECORDER Screen. . . . . . . . . . . . . . . 86  
recorder tempo . . . . . . . . . . . . 32, 122  
[RECORDER VIEW] button . . . . . . . 86  
recording . . . . . . . . . . . . . . . . . . . . . . . 94  
REC SOURCE SELECT . . . . . . . . . . . . 93  
V
VALUE dial . . . . . . . . . . . . . . . . . . . . . . 18  
Velocity. . . . . . . . . . . . . . . . . . . . . . . . . 81  
VELOCITY . . . . . . . . . . . . . . . . . . . . . . . 37  
Velocity Curve Type . . . . . . . . . . . . . 37  
Velocity Fade Lower. . . . . . . . . . . . . 37  
Velocity Fade Upper. . . . . . . . . . . . . 37  
Velocity Range Lower . . . . . . . . . . . 37  
Velocity Range Upper . . . . . . . . . . . 37  
Velocity Sens Offset . . . . . . . . . . . . . 37  
VIBRATO . . . . . . . . . . . . . . . . . . . . . . . . 37  
Vibrato Delay . . . . . . . . . . . . . . . . . . . 37  
Vibrato Depth. . . . . . . . . . . . . . . . . . . 37  
a MIDI Device . . . . . . . . . . . . . . . . . .134  
SYNTH. . . . . . . . . . . . . . . . . . . . . . . . . . 83  
Sys Ctrl 1–4 Source. . . . . . . . . . . . . . 82  
System Menu screen . . . . . . . . . . . . 80  
146  
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USING THE UNIT SAFELY  
The  
symbol alerts the user to important instructions or  
Used for instructions intended to alert the  
user to the risk of death or severe injury  
should the unit be used improperly.  
warnings.The specic meaning of the symbol is  
determined by the design contained within the triangle. In  
the case of the symbol at left, it is used for general  
cautions, warnings, or alerts to danger.  
Used for instructions intended to alert the  
user to the risk of injury or material damage  
should the unit be used improperly.  
The  
symbol alerts the user to items that must never be  
carried out (are forbidden). The specic thing that must  
not be done is indicated by the design contained within  
the circle. In the case of the symbol at left, it means that  
the unit must never be disassembled.  
*
Material damage refers to damage or  
other adverse eꢀects caused with respect  
to the home and all its furnishings, as well  
to domestic animals or pets.  
The symbol alerts the user to things that must be carried  
out. The specic thing that must be done is indicated by  
the design contained within the circle. In the case of the  
symbol at left, it means that the power-cord plug must be  
unplugged from the outlet.  
WARNING  
WARNING  
CAUTION  
Immediately turn the power off, remove the AC  
adaptor from the outlet, and request servicing by  
your retailer, the nearest Roland Service Center, or  
an authorized Roland distributor, as listed on the  
“Information”page when:  
At regular intervals, you should unplug the AC  
adaptor and clean it by using a dry cloth to wipe all  
dust and other accumulations away from its prongs.  
Also, disconnect the power plug from the power  
outlet whenever the unit is to remain unused for an  
extended period of time. Any accumulation of dust  
between the power plug and the power outlet can  
result in poor insulation and lead to fire.  
Do not open (or modify in any way) the unit or its AC  
adaptor.  
Do not attempt to repair the unit, or replace parts  
within it (except when this manual provides specific  
instructions directing you to do so). Refer all servicing  
to your retailer, the nearest Roland Service Center,  
or an authorized Roland distributor, as listed on the  
“Information”page.  
•
The AC adaptor, the power-supply cord, or the  
plug has been damaged; or  
•
•
If smoke or unusual odor occurs  
Try to prevent cords and cables from becoming  
entangled. Also, all cords and cables should be placed  
so they are out of the reach of children.  
Objects have fallen into, or liquid has been  
spilled onto the unit; or  
Never install the unit in any of the following locations.  
•
Subject to temperature extremes (e.g., direct  
sunlight in an enclosed vehicle, near a heating  
duct, on top of heat-generating equipment);  
or are  
•
•
The unit has been exposed to rain (or otherwise  
has become wet); or  
Never climb on top of, nor place heavy objects on  
the unit.  
The unit does not appear to operate normally or  
exhibits a marked change in performance.  
Never handle the AC adaptor or its plugs with wet  
hands when plugging into, or unplugging from, an  
outlet or this unit.  
•
Damp (e.g., baths, washrooms, on wet floors);  
or are  
In households with small children, an adult should  
provide supervision until the child is capable of  
following all the rules essential for the safe operation  
of the unit.  
•
•
•
•
•
•
Exposed to steam or smoke; or are  
Subject to salt exposure; or are  
Humid; or are  
Before moving the unit, disconnect the AC adaptor  
and all cords coming from external devices.  
Before cleaning the unit, turn off the power and  
unplug the AC adaptor from the outlet (p. 16).  
Protect the unit from strong impact.  
(Do not drop it!)  
Exposed to rain; or are  
Whenever you suspect the possibility of lightning in  
your area, disconnect the AC adaptor from the outlet.  
Dusty or sandy; or are  
Do not force the unit’s power-supply cord to share an  
outlet with an unreasonable number of other devices.  
Be especially careful when using extension cords–the  
total power used by all devices you have connected  
to the extension cord’s outlet must never exceed the  
power rating (watts/amperes) for the extension cord.  
Excessive loads can cause the insulation on the cord to  
heat up and eventually melt through.  
Subject to high levels of vibration and  
shakiness.  
If used improperly, batteries may explode or leak  
and cause damage or injury. In the interest of safety,  
please read and observe the following precautions  
(p. 14).  
This unit should be used only with a rack or stand that  
is recommended by Roland.  
When using the unit with a rack or stand  
•
Carefully follow the installation instructions for  
batteries, and make sure you observe the correct  
polarity.  
recommended by Roland, the rack or stand must be  
carefully placed so it is level and sure to remain stable.  
If not using a rack or stand, you still need to make  
sure that any location you choose for placing the unit  
provides a level surface that will properly support the  
unit, and keep it from wobbling.  
Before using the unit in a foreign country, consult  
with your retailer, the nearest Roland Service Center,  
or an authorized Roland distributor, as listed on the  
“Information”page.  
•
Avoid using new batteries together with used  
ones. In addition, avoid mixing different types of  
batteries.  
•
•
Remove the batteries whenever the unit is to  
remain unused for an extended period of time.  
Be sure to use only the AC adaptor supplied with the  
unit. Also, make sure the line voltage at the installation  
matches the input voltage specified on the AC  
adaptor’s body. Other AC adaptors may use a different  
polarity, or be designed for a different voltage, so their  
use could result in damage, malfunction, or electric  
shock.  
Batteries must never be recharged, heated, taken  
apart, or thrown into fire or water.  
If a battery has leaked, use a soft piece of cloth or  
paper towel to wipe all remnants of the discharge  
from the battery compartment. Then install new  
batteries. To avoid inflammation of the skin, make  
sure that none of the battery discharge gets onto  
your hands or skin.  
Exercise the utmost caution so that none of the  
discharge gets near your eyes. Immediately rinse  
the affected area with running water if any of the  
discharge has entered the eyes.  
DO NOT play a CD-ROM disc on a conventional audio  
CD player. The resulting sound may be of a level that  
could cause permanent hearing loss. Damage to  
speakers or other system components may result.  
Use only the attached power-supply cord. Also, the  
supplied power cord must not be used with any other  
device.  
Never expose Battery to excessive heat such as  
sunshine, fire or the like.  
Do not excessively twist or bend the power cord, nor  
place heavy objects on it. Doing so can damage the  
cord, producing severed elements and short circuits.  
Damaged cords are fire and shock hazards!  
•
Never keep batteries together with metallic objects  
such as ballpoint pens, necklaces, hairpins, etc.  
CAUTION  
Used batteries must be disposed of in compliance  
with whatever regulations for their safe disposal that  
may be observed in the region in which you live.  
This unit, either alone or in combination with an  
amplifier and headphones or speakers, may be  
capable of producing sound levels that could cause  
permanent hearing loss. Do not operate for a long  
period of time at a high volume level, or at a level that  
is uncomfortable. If you experience any hearing loss or  
ringing in the ears, you should immediately stop using  
the unit, and consult an audiologist.  
The unit and the AC adaptor should be located so  
their location or position does not interfere with their  
proper ventilation.  
Keep any screws, the SD card or the SD card protector  
you may remove and the included USB memory  
protector in a safe place out of children’s reach,  
so there is no chance of them being swallowed  
accidentally.  
This (JUNO-Gi) for use only with Roland stand KS-18Z.  
Use with other stands (or carts) is capable of resulting  
in instability causing possible injury.  
Even if you observe the cautions given in the owner’s  
manual, certain types of handling may allow this  
product to fall from the stand, or cause the stand to  
overturn. Please be mindful of any safety issues before  
using this product.  
Always turn the phantom power off when connecting  
any device other than condenser microphones that  
require phantom power. You risk causing damage if  
you mistakenly supply phantom power to dynamic  
microphones, audio playback devices, or other  
devices that don’t require such power. Be sure to  
check the specifications of any microphone you  
intend to use by referring to the manual that came  
with it.  
Do not place containers containing liquid (e.g., flower  
vases) on this product. Never allow foreign objects  
(e.g., flammable objects, coins, wires) or liquids  
(e.g., water or juice) to enter this product. Doing so  
may cause short circuits, faulty operation, or other  
malfunctions.  
Always grasp only the plug on the AC adaptor cord  
when plugging into, or unplugging from, an outlet  
or this unit.  
(This instrument’s phantom power: 48 V DC, 10 mA  
Max)  
147  
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IMPORTANT NOTES  
Power Supply  
Using SD cards/USB memories  
Additional Precautions  
•
Do not connect this unit to same electrical outlet that is  
being used by an electrical appliance that is controlled  
by an inverter (such as a refrigerator, washing machine,  
microwave oven, or air conditioner), or that contains a  
motor. Depending on the way in which the electrical  
appliance is used, power supply noise may cause this  
unit to malfunction or may produce audible noise. If it is  
not practical to use a separate electrical outlet, connect  
a power supply noise filter between this unit and the  
electrical outlet.  
•
•
•
Carefully insert the SD cards or USB memories all the way  
in–until it is firmly in place.  
•
Please be aware that the contents of memory can be  
irretrievably lost as a result of a malfunction, or the  
improper operation of the unit. To protect yourself against  
the risk of loosing important data, we recommend that  
you periodically save a backup copy of important data you  
have stored in the SD card.  
Never touch the terminals of the SD cards or USB  
memories. Also, avoid getting the terminals dirty.  
The SD cards or USB memories are constructed using  
precision components; handle the cards carefully, paying  
particular note to the following.  
•
•
Unfortunately, it may be impossible to restore the contents  
of data that was stored internal memory, SD card and  
USB memory once it has been lost. Roland Corporation  
assumes no liability concerning such loss of data.  
•
To prevent damage to the cards from static electricity,  
be sure to discharge any static electricity from your own  
body before handling the cards.  
•
•
•
The AC adaptor will begin to generate heat after long  
hours of consecutive use. This is normal, and is not a cause  
for concern.  
Use a reasonable amount of care when using the unit’s  
buttons, sliders, or other controls; and when using its jacks  
and connectors. Rough handling can lead to malfunctions.  
•
•
•
Do not touch or allow metal to come into contact with  
the contact portion of the cards.  
The use of an AC adaptor is recommended as the unit’s  
power consumption is relatively high. Should you prefer to  
use batteries, please use the nickel hydrogen type.  
Do not bend, drop, or subject cards to strong shock or  
vibration.  
•
•
Never strike or apply strong pressure to the display.  
When connecting / disconnecting all cables, grasp the  
connector itself–never pull on the cable. This way you will  
avoid causing shorts, or damage to the cable’s internal  
elements.  
Do not keep cards in direct sunlight, in closed vehicles,  
or other such locations.  
When installing or replacing batteries, always turn off  
the power on this unit and disconnect any other devices  
you may have connected. This way, you can prevent  
malfunction and/or damage to speakers or other devices.  
•
•
Do not allow cards to become wet.  
•
To avoid disturbing your neighbors, try to keep the  
unit’s volume at reasonable levels. You may prefer to use  
headphones, so you do not need to be concerned about  
those around you.  
Do not disassemble or modify the cards.  
•
•
The JUNO-Gi supports SDHC memory cards.  
•
Before connecting this unit to other devices, turn off the  
power to all units. This will help prevent malfunctions and/  
or damage to speakers or other devices.  
Some memory card types or memory cards from some  
manufacturers may not record or playback properly on  
the JUNO-Gi.  
•
•
•
When you need to transport the unit, package it in the box  
(including padding) that it came in, if possible. Otherwise,  
you will need to use equivalent packaging materials.  
• The memory card write protect feature (LOCK)  
Placement  
The contents of the memory card  
Use only the specified expression pedal (EV-5; sold  
separately). By connecting any other expression pedals,  
you risk causing malfunction and/or damage to the unit.  
Write protect  
switch  
•
Using the unit near power amplifiers (or other equipment  
containing large power transformers) may induce hum. To  
alleviate the problem, change the orientation of this unit;  
or move it farther away from the source of interference.  
can be protected by write protecting  
it. To write protect a card, slide the  
write protect switch on the side of the  
memory card to the “LOCK”position.  
Unlock write protect to delete data  
on the card.  
Some connection cables contain resistors. Do not use  
cables that incorporate resistors for connecting to this unit.  
The use of such cables can cause the sound level to be  
extremely low, or impossible to hear. For information on  
cable specifications, contact the manufacturer of the cable.  
•
•
This device may interfere with radio and television  
reception. Do not use this device in the vicinity of such  
receivers.  
Noise may be produced if wireless communications  
devices, such as cell phones, are operated in the vicinity  
of this unit. Such noise could occur when receiving or  
initiating a call, or while conversing. Should you experience  
such problems, you should relocate such wireless devices  
so they are at a greater distance from this unit, or switch  
them off.  
Handling CD-ROMs  
•
•
The sensitivity of the D Beam controller will change  
depending on the amount of light in the vicinity of the  
unit. If it does not function as you expect, adjust the  
sensitivity as appropriate for the brightness of your  
location.  
•
Avoid touching or scratching the shiny underside  
(encoded surface) of the disc. Damaged or dirty CD  
discs may not be read properly. Keep your discs clean  
using a commercially available CD cleaner.  
The explanations in this manual include illustrations that  
depict what should typically be shown by the display.  
Note, however, that your unit may incorporate a newer,  
enhanced version of the system (e.g., includes newer  
sounds), so what you actually see in the display may not  
always match what appears in the manual.  
•
•
Do not expose the unit to direct sunlight, place it near  
devices that radiate heat, leave it inside an enclosed  
vehicle, or otherwise subject it to temperature extremes.  
Excessive heat can deform or discolor the unit.  
Copyright  
•
Recording, duplication, distribution, sale, lease,  
performance, or broadcast of copyrighted material  
(musical works, visual works, broadcasts, live  
performances, etc.) belonging to a third party in part  
or in whole without the permission of the copyright  
owner is forbidden by law.  
When moved from one location to another where the  
temperature and/or humidity is very different, water  
droplets (condensation) may form inside the unit. Damage  
or malfunction may result if you attempt to use the unit in  
this condition. Therefore, before using the unit, you must  
allow it to stand for several hours, until the condensation  
has completely evaporated.  
•
This product can be used to record or duplicate audio  
or visual material without being limited by certain  
technological copy-protection measures. This is due to  
the fact that this product is intended to be used for the  
purpose of producing original music or video material,  
and is therefore designed so that material that does not  
infringe copyrights belonging to others (for example,  
your own original works) can be recorded or duplicated  
freely.  
•
•
Do not allow objects to remain on top of the keyboard.  
This can be the cause of malfunction, such as keys ceasing  
to produce sound.  
Depending on the material and temperature of the surface  
on which you place the unit, its rubber feet may discolor or  
mar the surface.  
•
Microsoft, Windows and Windows Vista are either  
registered trademarks or trademarks of Microsoft  
Corporation in the United States and/or other countries.  
•
•
Do not use this unit for purposes that could infringe  
on a copyright held by a third party. We assume  
no responsibility whatsoever with regard to any  
infringements of third-party copyrights arising through  
your use of this unit.  
You can place a piece of felt or cloth under the rubber feet  
to prevent this from happening. If you do so, please make  
sure that the unit will not slip or move accidentally.  
•
•
•
Windows® is known officially as: “Microsoft® Windows®  
operating system.”  
Use of the demo song supplied with this product for  
any purpose other than private, personal enjoyment  
without the permission of the copyright holder is  
prohibited by law. Additionally, this data must not be  
copied, nor used in a secondary copyrighted work  
without the permission of the copyright holder.  
Maintenance  
Apple, Macintosh and Mac OS are trademarks of Apple Inc.,  
registered in U.S. and other countries.  
•
For everyday cleaning wipe the unit with a soft, dry cloth  
or one that has been slightly dampened with water. To  
remove stubborn dirt, use a cloth impregnated with a mild,  
non-abrasive detergent. Afterwards, be sure to wipe the  
unit thoroughly with a soft, dry cloth.  
MMP (Moore Microprocessor Portfolio) refers to a patent  
portfolio concerned with microprocessor architecture,  
which was developed by Technology Properties Limited  
(TPL). Roland has licensed this technology from the TPL  
Group.  
•
Never use benzine, thinners, alcohol or solvents of any  
kind, to avoid the possibility of discoloration and/or  
deformation.  
•
MPEG Layer-3 audio compression technology is  
licensed from Fraunhofer IIS Corporation and THOMSON  
Multimedia Corporation.  
•
•
The SD logo (  
of SD-3C, LLC.  
) and SDHC logo (  
) are trademarks  
Repairs and Data  
•
Please be aware that all data contained in the unit’s  
memory may be lost when the unit is sent for repairs.  
Important data should always be backed up on an SD card,  
or written down on paper (when possible). During repairs,  
due care is taken to avoid the loss of data. However, in  
certain cases (such as when circuitry related to memory  
itself is out of order), we regret that it may not be possible  
to restore the data, and Roland assumes no liability  
concerning such loss of data.  
MatrixQuest™ 2010 TEPCO  
UQUEST, LTD. All rights  
reserved.  
The JUNO-Gi’s USB functionality uses MatrixQuest  
middleware technology from TEPCO UQUEST, LTD.  
•
All product names mentioned in this document are  
trademarks or registered trademarks of their respective  
owners.  
148  
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For China  
For EU Countries  
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For the USA  
DECLARATION OF CONFORMITY  
Compliance Information Statement  
Model Name :  
Type of Equipment :  
Responsible Party :  
JUNO-Gi  
Synthesizer Keyboard  
Roland Corporation U.S.  
Address : 5100 S. Eastern Avenue, Los Angeles, CA 90040-2938  
Telephone : (323) 890-3700  
For EU Countries  
For the USA  
This product complies with the requirements of EMC Directive 2004/108/EC.  
FEDERAL COMMUNICATIONS COMMISSION  
RADIO FREQUENCY INTERFERENCE STATEMENT  
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the  
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential  
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in  
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee  
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or  
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the  
interference by one or more of the following measures:  
– Reorient or relocate the receiving antenna.  
– Increase the separation between the equipment and receiver.  
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.  
– Consult the dealer or an experienced radio/TV technician for help.  
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:  
(1) this device may not cause harmful interference, and  
(2) this device must accept any interference received, including interference that may cause undesired operation.  
Unauthorized changes or modification to this system can void the users authority to operate this equipment.  
This equipment requires shielded interface cables in order to meet FCC class B Limit.  
For Canada  
NOTICE  
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.  
AVIS  
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.  
(
)
For C.A. US Proposition 65  
WARNING  
This product contains chemicals known to cause cancer, birth defects and other reproductive harm, including lead.  
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