Manuel d'utilisation / d'entretien du produit JUNO-G du fabricant Roland
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As of December 10, 2005 (ROLAND) Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.
2 USING THE UNIT SAFELY 001 • Before using this unit, make sure to read the instruc- tions below, and the Owner’s Manual. .......................................................................................................... 002d • Do not open or perform any internal modifications on the unit or its AC adaptor.
3 011 • Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit. When you install the Wave Expansion Board (SRX series) or memory (DIMM), please be careful particularly.
4 IMPORTANT NOTES 291a In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following: Power Supply 301 • Do not connect this unit to same ele.
5 IMPORTANT NOTES Before Using Cards Using Memory Cards (p. 178) 704 • Carefully insert the memory card all the way in—until it is firmly in place. 705 • Never touch the terminals of the memory card. Also, avoid getting the terminals dirty. 707 • This unit’s PC card slot accepts CompactFlash memory cards.
6 Contents USING THE UNIT SAFELY ...................................................................... 2 IMPORTANT NOTES ............................................................................... 4 Main Features .................................
7 Displaying PART MIXER Screen ........................................................................................................... 58 Functions in the PERFORMANCE PLAY/MIXER Screen ..............................................................
8 Editing a Song (MIDI Track) ................................................................. 94 Loading the Song You Want to Edit ...................................................................................................... 94 Editing Sequencer Data Over the Specified Range (Track Edit) .
9 Connecting to Your Computer via USB ............................................167 About USB Functions ............................................................................................................................. 167 Selecting the USB Operating Mode .
10 Main Features The JUNO-G is a high-quality synthesizer with professional sounds and playability. It features the latest sound generator, a variety of effects, and a song recorder with audio tracks, all combined into an easy-to-use instrument.
11 Panel Descriptions fig.Front D BEAM Switches D Beam function on/off. You can apply a variety of effects to sounds simply by moving your hand (p. 69). [SOLO SYNTH] Play the JUNO-G as a monophonic synthesizer (p. 70). [ACTIVE EXPRESS] Play the JUNO-G as a active expression (p.
12 Panel Descriptions [RHYTHM PATTERN] This button accesses the Rhythm Pattern playback screen (p. 79). [PART SELECT/TONE SW/SEL] When you press this button so it’s lit, the category group buttons will operate as part select, tone switch, or tone select buttons.
13 Panel Descriptions fig.Rear LCD CONTRAST Knob This knob adjusts the contrast of the top panel display. USB Connector This connector lets you use a USB cable to connect your computer to the JUNO-G (p. 167, p. 170). PC CARD Slot A memory card can be inserted here (p.
14 Getting Ready Since JUNO-G contains no amplifier or speakers, you’ll need to connect it to audio equipment such as a keyboard amplifier, monitor speaker system or home stereo, or use headphones to hear its sound. In order to fully experience the JUNO-G’s sound, we recommend using a stereo amp/speaker system.
15 Getting Ready 941 * Once the connections have been completed (p. 14), turn on power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices. 1.
16 Various Performance Features Velocity The velocity—the force with which you play the keyboard—can affect the volume or timbre of a sound. Pitch Bend/Modulation Lever While playing the keyboard, move the lever to the left to lower the pitch of the currently selected patch, or to the right to raise its pitch ( pitch bend ).
17 Overview of the JUNO-G Broadly speaking, the JUNO-G consists of a controller section, a sound generator section, and a song recorder section. fig.BasicStruct.e Controller Section This section consists of the keyboard, pitch bend/modulation lever, panel knobs and buttons, and D Beam controller.
18 Overview of the JUNO-G effect is produced. * LFO is not included in the rhythm tones (percussion instrument sounds). Patches Patches are the basic sound configurations that you play during a performance. Each patch can be configured by combining up to four tones.
19 Overview of the JUNO-G The JUNO-G can play a maximum of 128 sounds simultaneously. The following paragraphs discuss what this means, and what will happen when more than 128 simultaneous voices are requested from the JUNO-G. Calculating the Number of Voices Being Used The JUNO-G is able to play up to 128 notes simultaneously.
20 Overview of the JUNO-G System Memory System memory stores system parameter settings that determine how the JUNO-G functions. User Memory User memory is the internal memory area that holds patches, performances, samples, and performance data.
21 Overview of the JUNO-G The song recorder records performance data from the keyboard and controllers and performance data for the samples created by audio track recording, and manages this data as a “song.
22 Overview of the JUNO-G Temporary Area The song recorder has an area called Temporary Area that can temporarily store one song. So we call this temporary song . The song in Temporary Area is volatile and will be lost when the power is turned off. To keep a song, you must save it to user memory or memory card.
23 Basic Operation of the JUNO-G The JUNO-G has two sound generating modes: Patch mode, Performance mode. You can select the sound generating mode (state) that is most appropriate for how you are playing the JUNO-G. Use the following procedure to switch between these modes.
24 Basic Operation of the JUNO-G 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.
25 Playing in Patch Mode Patch mode lets you play a single sound (patch/rhythm set) from the keyboard. Press MODE [PATCH]. You will enter Patch mode, and the PATCH PLAY screen appears. fig.PatchPlay fig.PatchFunc 1. Indicates the current sound generating mode.
26 Playing in Patch Mode 1. Press MODE [PATCH] to access the PATCH PLAY screen. 2. To switch patches or rhythm sets, move the cursor to the location shown below and use the VALUE dial or [INC] [DEC] to make your selection.
27 Playing in Patch Mode 4. Use the VALUE dial, [INC] [DEC], or [ ] [ ] to select a patch/rhythm set. 5. Press [ENTER] to confirm your selection. You can display a list of patches and select a patch from that list. 1. Press MODE [PATCH] to access the PATCH PLAY screen.
28 Playing in Patch Mode In the patch mode, you can bring together your favorite and most frequently used patches (or rhythm sets) in one place by registering them in the favorite patch. By using this function, you can rapidly select favorite patches from Preset/User/Card area or a Wave Expansion Board.
29 Playing in Patch Mode Transpose changes keyboard pitch in units of semitones. This function is useful when you play transposed instruments such as trumpet or clarinet following a printed score. 1. In the PATCH PLAY screen, hold down [TRANSPOSE] and press [-] or [+] to specify the amount of transposition (G– F#: -5–+6 semitones).
30 Creating a Patch With the JUNO-G, you have total control over a wide variety of settings. Each item that can be set is known as a parameter . When you change the values of parameters, you are doing what is referred to as Editing . This chapter explains the procedures used in creating patches, and the functions of the patch parameters.
31 Creating a Patch 10. Press the SOUND MODIFY select button to make LFO light. 11. Turn the ATTACK, DECAY, SUSTAIN, and RELEASE knobs. RATE: LFO RATE: Speed of LFO 1 PIT: LFO Pitch Depth: Depth by wh.
32 Creating a Patch If a number is displayed for the parameter name (1, 2, 3, 4), you can use the SOUND MODIFY knobs 1–4 to set the value. * Press the SOUND MODIFY select button so all of the indicators are off. If any indicator is lit, the knob functions will change.
33 Creating a Patch 6. Use the VALUE dial, [INC] [DEC], or [ ] [ ] and [F1 (USER)] [F2 (CARD)] to select the write destination and patch number. * By pressing [F4 (COMPR)] to add a check mark ( ✔ ), you can check the write-destination patch (Compare function).
34 Creating a Patch GENERAL Parameter marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control, p. 44) Stretched Tuning fig.06-011.e Functions of Patch Parameters Settings Common to the Entire Patch Parameter Value Description Patch Category Refer to p.
35 Creating a Patch Changing How a Tone Is Sounded (Structure) * When TYPE 2–10 is selected and one tone of a pair is turned off, the other tone will be sounded as TYPE 1 regardless of the displayed setting. * If you limit the keyboard area in which a tone will sound (Keyboard Range, p.
36 Creating a Patch MODIFY These values are added to the parameter values of each tone. Parameter Value Explanation Booster 1&2, 3&4 (Booster Gain) 0, +6, +12, +18 When a Structure Type of TYPE 3 or TYPE 4 is selected, you can adjust the depth of the booster.
37 Creating a Patch PORTAMENTO Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key. fig.PortaStart.e CONTROL KEY RANGE You can use the note number to control the way each Tone is played. fig.TMT-K.
38 Creating a Patch VELOCITY RANGE You can use the force with which keys are played to control the way each Tone is played. fig.TMT-V.e When using the Matrix Control to have different tones played, set the lowest value (Lower) and highest value (Upper) of the value of the MIDI message used.
39 Creating a Patch Parameter marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control, p. 44) WAVE PITCH Parameter marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control, p. 44) Parameter Value Explanation FXM Switch OFF, ON This sets whether FXM will be used (ON) or not (OFF).
40 Creating a Patch WAVE PITCH ENV Parameter marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control, p. 44) A filter cuts or boosts a specific frequency region to change a sound’s brightness, thickness, or other qualities.
41 Creating a Patch TVF ENVELOPE Parameter marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control, p. 44) Parameter Value Explanation Cutoff V-Curve FIX, 1–7 Curve.
42 Creating a Patch TVA PARAMETER Parameter marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control, p. 44) Adjusting the Volume (TVA/TVA Envelope) Parameter Value Explanation Tone Level ★ 0–127 Volume of the tone.
43 Creating a Patch TVA ENVELOPE Parameter marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control, p. 44) Parameter Value Explanation Random Pan Depth 0–63 Use this parameter when you want the stereo location to change randomly each time you press a key.
44 Creating a Patch MATRIX CTRL1–4 The function which allows you use MIDI messages to make changes in realtime to the tone parameters is called the Matrix Control .
45 Creating a Patch MISC Tone Delay This produces a time delay between the moment a key is pressed (or released), and the moment the tone actually begins to sound.
46 Creating a Patch An LFO (Low Frequency Oscillator) causes change over a cycle in a sound. Each tone has two LFOs (LFO1/LFO2), and these can be used to cyclically change the pitch, cutoff frequency and volume to create modulation-type effects such as vibrato, wah and tremolo.
47 Creating a Patch How to Apply the LFO STEP Pan Depth ★ -63– +63 How deeply the LFO will affect the pan Positive (+) and negative (-) settings for the Depth parameter result in differing kinds of change in pitch and volume.
48 Creating a Patch OUTPUT For details regarding effect settings, refer to the pages shown below. • Making Effect Settings (p. 125) • Making Multi-Effects Settings (MFX1–3) (p. 129) • Making Chorus Settings (p. 154) • Making Reverb Settings (p.
49 Creating a Rhythm Set With the JUNO-G, you have total control over a wide variety of settings. Each item that can be set is known as a parameter . When you change the values of parameters, you are doing what is referred to as Editing .
50 Creating a Rhythm Set 7. Use the VALUE dial or [INC] [DEC] to change the value. Parameters with an indication of 1–4 can also be edited using the corresponding SOUND MODIFY knob 1–4. 8. Repeat steps 4 – 6 to set each parameter. 9. Press [WRITE] to save the changes you’ve made (p.
51 Creating a Rhythm Set 5. Press [F6 (EXEC)] to execute the copy operation. * To cancel, press [F5 (CANCEL)]. Changes you make to sound settings are temporary, and will be lost if you turn off the power or select another sound.
52 Creating a Rhythm Set Tips for Using an Acoustic Instrument’s Waveform With many acoustic instruments such as piano and sax, extreme timbral changes occur during the first few moments of each note. This initial attack is what defines much of the instrument’s character.
53 Creating a Rhythm Set WAVE PARAMETER WAVE PITCH Tone Receive Pan Mode CONTINUOUS, KEY-ON For each rhythm tone, specify how pan messages will be received. CONTINUOUS: Whenever Pan messages are received, the stereo position of the tone will be changed.
54 Creating a Rhythm Set WAVE PITCH ENV WAVE MIX LV/PN WAVE MIX TUNE VELOCITY RANGE You can use the force with which keys are played to control the way each waveform is played. fig.TMT-V.e Parameter Value Explanation P-Env Depth -12– +12 Depth of the Pitch Envelope Higher settings will cause the pitch envelope to produce greater change.
55 Creating a Rhythm Set A filter cuts or boosts a specific frequency region to change a sound’s brightness, thickness, or other qualities. TVF PARAMETER TVF ENVELOPE Velo Fade Upper 0–127 Determines what will happen to the waveform’s level when the rhythm tone is played at a velocity greater than Velo Range Upper.
56 Creating a Rhythm Set TVA PARAMETER TVA ENVELOPE F-Env V-Curve FIX, 1–7 Curve that determines how keyboard playing dynamics (velocity) will affect the TVF envelope Set this to “FIX” if you don’t want the TVF Envelope to be affected by the keyboard velocity.
57 Creating a Rhythm Set For details regarding effect settings, refer to the pages shown below. • Making Effect Settings (p. 125) • Making Multi-Effects Settings (MFX1–3) (p. 129) • Making Chorus Settings (p. 154) • Making Reverb Settings (p.
58 Playing in Performance Mode A performance contains settings that apply to each individual part, such as the patch (rhythm set) assigned to each part, and its volume and pan. Broadly speaking, Performance mode consists of two screens: PLAY screen and MIXER screen.
59 Playing in Performance Mode The JUNO-G has three performance groups, including the User group, Preset groups and Memory Card groups. USER This is the group inside the JUNO-G which can be rewritten. Performances you yourself create can be stored in this group.
60 Playing in Performance Mode The currently selected part is called the “ current part .” 1. From the PERFORM PLAY screen, use [] [] to select the part. You can also select the part by pressing [PART SELECT] to make it light and pressing PART SELECT [1]–[8].
61 Playing in Performance Mode In Performance mode you can divide the keyboard and play a different patch in each area (this is called “split”). As the note range that plays each part can be specified individually, you can split the keyboard into a maximum of 16 sections.
62 Playing in Performance Mode In the PART MIXER screen you can set the following parameters for each part. 1. Press MODE [PART MIXER] to access the PART MIXER screen. 2. Press [F1 (LVL&PAN)]–[F4 (KEY/OUT)] to select the function. 3. Use [ ] [ ] [ ] [ ] to select the parameter and part that you want to edit.
63 Creating a Performance With the JUNO-G, you have total control over a wide variety of settings. Each item that can be set is known as a parameter . When you change the values of parameters, you are doing what is referred to as Editing .
64 Creating a Performance The WRITE MENU screen appears. 3. Press [F1 (PERF)]. * Alternatively, you can use [ ] [ ] to select “Performance,” and then press [ENTER]. The PERFORMANCE NAME screen appears. 4. Assign a name to the performance. For details on assigning names, refer to Assigning a Name (p.
65 Creating a Performance [F3 (PITCH)] [F4 (OUTPUT)] [F5 (FX SRC)] [PAGE ↓ ] - [F1 (OFFSET)] [PAGE ↓ ] - [F2 (VIBRATO)] Parameter Value Explanation Octave -3– +3 Pitch of the part’s sound (in 1-octave units) * Note that when a rhythm set is assigned to a part, you cannot modify this parameter.
66 Creating a Performance [PAGE ↓ ] - [F3 (KEYBORD)] [PAGE ↓ ] - [F4 (KEY MOD)] [PAGE ↓ ] - [F5 (S.TUNE)] Parameter Value Explanation Kbd OFF, ON ( ✔ ) Specifies, for each part, whether or not the keyboard controller section will be connected to the internal sound generator.
67 Creating a Performance 1. Access the PERFORM PLAY screen, and select the Performance whose settings you wish to modify (p. 59). 2. Press [F6 (MIDI)]. The MIDI FILTER screen appears. MIDI Settings Parameter Value Explanation Rx OFF, ON ( ✔ ) For each part, specify whether MIDI messages will be received (ON), or not (OFF).
68 Creating a Performance The JUNO-G lets you assign the parameters that will be affected when you operate the D Beam. 1. Access the PERFORM PLAY screen, and select the Performance whose settings you wish to modify (p. 59). 2. Press [F3 (CONTROL)]. The CTRL SETTING screen appears.
69 Modifying the Sound in Real Time You can use the D Beam controller or a control pedal to modify the sound while you perform. Here we will explain the procedures and settings for using these functions in Patch mode. The operations are the same in Performance mode.
70 Modifying the Sound in Real Time On the JUNO-G you can play a monophonic synthesizer whose pitch is controlled by the D Beam. 1. Hold down [SHIFT] and press D BEAM [SOLO SYNTH]. A screen like the following appears. 2. Press [ ] [ ] to select the parameter.
71 Modifying the Sound in Real Time You can use the D Beam to apply the ideal type of expression for each sound. * The way in which expression is applied will differ for each sound. For some sounds, the effect may be difficult to notice. 1. Hold down [SHIFT] and press D BEAM [ACTIVE EXPRESS].
72 Modifying the Sound in Real Time You can modify the sound by pressing a pedal that is connected to the rear panel HOLD PEDAL jack or CONTROL PEDAL jack.
73 Playing Arpeggios The JUNO-G’s Arpeggio function lets you produce arpeggios automatically; simply hold down some keys, and a corresponding arpeggio will be played automatically.
74 Playing Arpeggios 1. Press [ARPEGGIO] so it’s lit. Alternatively, hold down [SHIFT] and press [ARPEGGIO]. The ARPEGGIO STYLE screen appears. * When you hold down [SHIFT] and press [ARPEGGIO], the ARPEGGIO STYLE screen will appear regardless of whether the arpeggio function is on or off.
75 Playing Arpeggios This selects the method used to play sounds (motif) when you have a greater number of notes than programmed for the Arpeggio Style. * When the number of keys played is less than the number of notes in the Style, the highest-pitched of the pressed keys is played by default.
76 Playing Arpeggios A maximum of sixteen note numbers (pitches) can be used in a single style. 10. When you have finished, press [F5 (EXIT)]. In this method, you’ll use the cursor to specify the step or pitch that you want to input, and use the dial or [INC] [DEC] to input values.
77 Using the Chord Memory Function 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. The JUNO-G can store 64 preset chord forms and 64 user chord forms. If you wish, you can overwrite any of the 64 user (factory set) chord forms.
78 Using the Chord Memory Function Not only can you use the prepared internal Chord Forms, which determine the constituent notes of chords played using the Chord Memory function, but you can also freely create and rewrite them as well. 1. Press [CHORD MEMORY] so it’s lit.
79 Playing Rhythms The JUNO-G contains 256 preset rhythm patterns. You can play a variety of rhythm patterns simply by pressing the function buttons ([F1]–[F6]).
80 Playing Rhythms 1. Press [RHYTHM PATTERN]. 2. Hold down [SHIFT] and press [F2 (RHY PTN)]. The RHYTHM PATTERN screen appears. 3. Press [ ] [ ] to select the parameter. 4. Use the VALUE dial or [INC] [DEC] to make the setting. * You can audition the rhythm pattern by pressing [F4 (PREVU)] to add a check mark ( ✔ ).
81 Playing Rhythms In addition to using the built-in Rhythm Patterns, you are free to create your own. After creating an original Rhythm Pattern, you can store it in the internal user memory. Broadly speaking, there are two ways to create a Rhythm Pattern.
82 Playing Rhythms 1. Create a rhythm pattern. 2. Press [F6 (WRITE)]. The RHYTHM PATTERN NAME screen appears. 3. Assign a name to the Rhythm Pattern. For details on assigning names, refer to p. 24. 4. When you have finished inputting the name, press [F6 (WRITE)].
83 Creating a List of Frequently Used Patches, Performances, or Songs (Live Setting) You can create a list of frequently used sounds, and recall them instantly. Since you can register Patches, Rhythm Sets, Performances, or Songs any type of sound you need can be recalled instantly regardless of the mode.
84 Playing Back a Song This chapter explains how you can use the JUNO-G’s song recorder to play back a song. When you play back a song, we recommend that you use the sound generator in Performance mode .
85 Playing Back a Song Fast-forward, rewind, and jump can be performed during playback, as well as while stopped. Use the following procedures for each operation. Fast-forward: Press [FWD]. Continuous fast-forward: Press and hold [FWD]. Rapid fast-forward: Hold down [FWD] and press [BWD].
86 Playing Back a Song The tempo at which a song will play back is recorded on its tempo track, but the tempo of the entire song can be adjusted during playback. The tempo at which the song actually plays is called the playback tempo . * The playback tempo is a temporary setting.
87 Recording a Song (MIDI Track) This chapter explains the procedure for using the JUNO-G’s song recorder to record a song. Before you begin this procedure, put the sound generator in Performance mode . Normally, when recording or playing back a song, you will put the sound generator in Performance mode.
88 Recording a Song (MIDI Track) Before you record a new song, you must specify the time signature. However, a time signature of 4/4 is automatically specified when you perform the Song Initialize operation or when the power is turned on, so you will need to make this setting only if you want to record a new song in a different time signature.
89 Recording a Song (MIDI Track) In the MIDI Rec Standby (Real Time) window you can perform the following operations. • Specifying the punch-in/out points • Specifying the loop points • Quantize (p. 90) • Selecting the sequencer data that will be recorded (p.
90 Recording a Song (MIDI Track) Using Auto Punch-In Recording You must pre-specify the area (punch points) in which recording is to take place. This is convenient when you want to re-record over a mistake. The song will play back when you begin recording.
91 Recording a Song (MIDI Track) Rate: When you use realtime recording, all of your sequencer data will normally be recorded. If you want to avoid recording a specific type of data, you can turn its Recording Select setting “OFF.” 1. Press [REC]. 2.
92 Recording a Song (MIDI Track) The Rehearsal function lets you temporarily suspend recording during realtime recording. This is convenient when you want to audition the sound that you will use next, or to practice the phrase that you will record next.
93 Recording a Song (MIDI Track) 5. Specify the note that you want to input. Use [ ] [ ] to select the desired parameter. 6. Use the VALUE dial or [INC] [DEC] to make the setting. 7. Press [F5] or [F6] to move to the desired input location, and press a note on the keyboard.
94 Editing a Song (MIDI Track) This chapter explains the procedure for editing a song (MIDI track). When you’re going to edit a song, you have to first load it into the Temporary Area. The Temporary Song will be lost if you turn power off or load another song into Temporary Area.
95 Editing a Song (MIDI Track) When using Loop Play or Loop Recording, you can use the loop points you specify here to specify the repeated area, as an alternative to repeating the specified number of measures. 1. Press EDIT [SONG] to access the MIDI TRACK screen.
96 Editing a Song (MIDI Track) 5. Press [F6 (EXEC)]. A message will ask you for confirmation. 6. Press [F6 (EXEC)]. * To cancel, press [F5 (CANCEL)]. If you are not satisfied with the results of executing the function, you can press [F1 (UNDO)] in the MIDI TRACK screen to revert to the state prior to recording (Undo).
97 Editing a Song (MIDI Track) * The templates are designed for a 4/4 time signature. Applying them to a performance of a different time signature may not produce the desired result. * The style names shown here are only for your convenience; they are not intended to imply that the templates are usable only for the named style.
98 Editing a Song (MIDI Track) This function copies a specified area of sequencer data. It is convenient for repeating the same phrase several times. For details on the settings, refer to Basic Operation for Track Editing (p.
99 Editing a Song (MIDI Track) This function inserts blank measures into a specified song position. As you can set the time signature of the blank measures, this is convenient when inserting a phrase having a different time signature in the middle of a song.
100 Editing a Song (MIDI Track) 3. Press [F5 (CH/PART)]. The Ch/Part Select window appears. 4. Select the track whose performance data you want to view or edit.
101 Editing a Song (MIDI Track) Control Change This MIDI message applies various effects such as modulation or expression. The controller number (CC#) selects the function, and Value specifies the depth of the effect. Pitch Bend This MIDI message changes the pitch.
102 Editing a Song (MIDI Track) If desired, you can erase just an individual event of sequencer data. You can also use the same operation to erase individual items of data from the tempo track or beat track.
103 Editing a Song (MIDI Track) 7. Press [F6 (EXEC)] to insert the tempo change data. 8. A default value is specified for the tempo change that is inserted, so press [ ] and use the VALUE dial or [INC] [DEC] to change the value as desired.
104 Recording a Song (Audio Track) The JUNO-G lets you sample audio sources, such as an audio device, mic, or CD. Before you record audio from a CD player, mic, or other external audio source connected to the AUDIO INPUT jacks, please follow the procedure described below.
105 Recording a Song (Audio Track) * You can also use the SOUND MODIFY knobs 1–4 to edit the value of the corresponding parameters. • 01: EQUALIZER Adjusts the tone of the low-frequency and high-frequency ranges. • 02: ENHANCER Modifies the harmonic content of the high-frequency range to add sparkle to the sound.
106 Recording a Song (Audio Track) 5. Use the Audio Rec Channel (audio recording channel) field to select whether you will record in stereo or in monaural. Use [] [] to move the cursor to Audio Rec Channel, and turn the VALUE dial or use [INC][DEC] to choose the desired setting.
107 Recording a Song (Audio Track) 8. When you’ve finished recording, press [STOP]. The [REC] indicator will go dark. 9. The Audio Rec Sample Assign window will open.
108 Editing a Song (Audio Track) You will use the following two screens to edit audio tracks. • AUDIO TRACK screen Here you can edit each audio track. • AUDIO MIXER screen (p. 111) In this screen you can adjust the mixing of the audio tracks, such as their level and pan.
109 Editing a Song (Audio Track) • [INC] [DEC] Move the current location in steps of one tick. • [BWD] [FWD] Move the current location in steps of one measure. • VALUE dial Moves the current location in steps of 120 ticks. 3. Press [F1 (INSERT)].
110 Editing a Song (Audio Track) • 2 Clear Track The selected audio track will be erased. (The track name and setup data will also revert to its default settings.) 3. Press [F6 (SELECT)]. A message will ask you for confirmation. 4. Press [F6 (EXEC)].
111 Editing a Song (Audio Track) 1. With the AUDIO TRACK screen displayed, press [F6 (MIXER)]. The AUDIO MIXER screen will appear. * Press [F6 (EDIT)] to switch the AUDIO TRACK screen.
112 Editing a Song (Audio Track) Refer to p. 109. You can move the SONG RECORDER TRACK A1–A4 sliders to adjust the volume (track level) of each audio track.
113 Saving/Loading a Song (Save/Load) Songs you record are initially held in Temporary Area. A song in Temporary Area will be lost when you turn off the power or when you load a different song. If you want to keep the song, you must save it to user memory or a memory card.
114 Saving/Loading a Song (Save/Load) Here’s how to save the Temporary Song with the current sound generator settings. 1. From the SAVE/LOAD MENU screen, press [F2 (2)]. The SONG FILE NAME screen appears. 2. Assign a file name to the song (up to 8 characters).
115 Saving/Loading a Song (Save/Load) 6. Press either [F3 (FMT 0)] or [F4 (FMT 1)] to select the format for saving. • FMT 0 (Format 0): Convert the song to a Format 0 Standard MIDI File (all performance data is saved in one phrase track) and save it to disk.
116 Saving/Loading a Song (Save/Load) 3. Press [F6 (LOAD)]. A message will ask you for confirmation. 4. Press [F6 (EXEC)] to execute. * To cancel, press [F5 (CANCEL)]. Here’s how you can load a song into Temporary Area. 1. From the SAVE/LOAD MENU screen, press [F5 (5)].
117 Editing a Audio Phrase (Sample) Audio phrases you record or import are saved and managed as editable samples. Editing is performed in sample memory—a memory area dedicated to samples (p. 22). Select a sample from the list. 1. Press EDIT [AUDIO].
118 Editing a Audio Phrase (Sample) Here’s how you can unload a sample from sample memory. The saved sample file itself will not be deleted. 1. With the SAMPLE LIST screen shown, press [ ] [ ] to select the group that contains the sample you want to erase.
119 Editing a Audio Phrase (Sample) 1. Press EDIT [AUDIO]. The SAMPLE EDIT screen appears. fig.SampleEdit * If you’re in the SAMPLE LIST screen, press [F4 (EDIT)]. You can also alternate between the SAMPLE LIST screen and the SAMPLE EDIT screen by pressing [AUDIO].
120 Editing a Audio Phrase (Sample) Automatically calculating a sample’s tempo 1. Move the cursor to “Tempo” and press [F1(CALC)]. The BPM Calculator window appears. * You will always be able to select [F1 (CALC)] if the cursor is located somewhere other than Start, Loop Start, or End.
121 Editing a Audio Phrase (Sample) 5. Press [F6 (EXEC)]. A message will ask you for confirmation. 6. To execute, press [F6 (EXEC)]. * To cancel, press [F5 (CANCEL)]. In some cases, the audio quality will be improved if you boost the high-frequency range of an imported sample.
122 Editing a Audio Phrase (Sample) This operation stretches or shrinks the sample to modify the length or tempo. You can stretch or shrink the sample by a factor of one half to double the original length. * You cannot execute this with more than one sample selected.
123 Editing a Audio Phrase (Sample) You can specify up to 15 dividing points; i.e., the sample will be divided into a maximum of 16 pieces. Automatically Dividing a Sample (Auto Chop) Here’s how you can automatically specify the points at which the sample is to be divided, and then divide the sample.
124 Editing a Audio Phrase (Sample) A edited sample, as well as any changes you’ve made in the settings for a sample will be lost as soon as you turn off the power. If you want to keep such data, you must save it as follows. 1. Access the SAMPLE LIST screen.
125 Adding Effects This section explains the procedures and settings for applying effects in each mode. For details of the JUNO-G’s onboard effects, refer to About the Onboard Effects (p. 20). The JUNO-G’s onboard effects can be turned on/off as a whole.
126 Adding Effects In Patch mode you can use one multi-effect (MFX), one chorus, and one reverb. Here you can make overall settings for effects, and the output destination and level of each signal. fig.Routing For details on these settings, refer to Making Effect Settings (p.
127 Adding Effects In Performance mode you can use three multi-effects (MFX1, MFX2, MFX3), one chorus, and one reverb. For each of the three multi-effects, the chorus, and the reverb, you can specify .
128 Adding Effects MFX Source PRF, P1–P16 Multi-effects parameter settings used by the performance PRF: Performance settings P1–P16: Settings of the patch/rhythm set assigned to one of the parts (Select the part number.) MFX Type 0–78 Selects from among the 78 available multi-effects.
129 Adding Effects fig.MFXSetting For details on these settings, refer to Making Effect Settings (p. 125). * In this setting screen, you can edit the parameters of the multi-effects that is selected by the Multi-effects Type setting. For details on the parameters that can be edited, refer to Multi-Effects Parameters (p.
130 Adding Effects Here’s how to specify how MFX 1–3 will be connected. * This parameter is not found in Patch mode. fig.MFXStruct For details on these settings, refer to Making Effect Settings (p.
131 Adding Effects The multi-effects feature 78 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 specified controller (Two setting items will change simultaneously for “#1” and “#2”).
132 Adding Effects 01: EQUALIZER This is a four-band stereo equalizer (low, mid x 2, high). fig.MFX-01 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.
133 Adding Effects 06: STEP FILTER This is a filter whose cutoff frequency can be modulated in steps. You can specify the pattern by which the cutoff frequency will change. fig.MFX-06 07: ENHANCER Controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.
134 Adding Effects 09: HUMANIZER Adds a vowel character to the sound, making it similar to a human voice. fig.MFX-09 10: SPEAKER SIMULATOR Simulates the speaker type and mic settings used to record the speaker sound.
135 Adding Effects 13: MULTI STAGE PHASER Extremely high settings of the phase difference produce a deep phaser effect. fig.MFX-13 14: INFINITE PHASER A phaser that continues raising/lowering the frequency at which the sound is modulated.
136 Adding Effects 17: TREMOLO Cyclically modulates the volume to add tremolo effect to the sound. fig.MFX-17a 18: AUTO PAN Cyclically modulates the stereo location of the sound. fig.MFX-18a 19: STEP PAN This uses a 16-step sequence to vary the panning of the sound.
137 Adding Effects 21: ROTARY 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.
138 Adding Effects 24: FLANGER This is a stereo flanger. (The LFO has the same phase for left and right.) 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.
139 Adding Effects 27: TREMOLO CHORUS This is a chorus effect with added Tremolo (cyclic modulation of volume). fig.MFX-27 28: SPACE-D This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus effect.
140 Adding Effects 31: 3D STEP FLANGER This applies a 3D effect to the step flanger sound. The flanger sound will be positioned 90 degrees left and 90 degrees right. fig.MFX-31 32: 2BAND CHORUS A chorus effect that lets you apply an effect independently to the low-frequency and high-frequency ranges.
141 Adding Effects 34: 2BAND STEP FLANGER A step flanger that lets you apply an effect independently to the low- frequency and high-frequency ranges. fig.MFX-34 35: OVERDRIVE Creates a soft distortion similar to that produced by vacuum tube amplifiers.
142 Adding Effects 39: GUITAR AMP SIMULATOR This is an effect that simulates the sound of a guitar amplifier. fig.MFX-39 Specifications for each Speaker Type The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.
143 Adding Effects 43: DELAY This is a stereo delay. When Feedback Mode is NORMAL: fig.MFX-43a When Feedback Mode is CROSS: fig.MFX-43b 44: LONG DELAY A delay that provides a long delay time. fig.MFX-44 45: SERIAL DELAY This delay connects two delay units in series.
144 Adding Effects 46: MODULATION DELAY Adds modulation to the delayed sound. When Feedback Mode is NORMAL: fig.MFX-46a When Feedback Mode is CROSS: fig.MFX-46b 47: 3TAP PAN DELAY Produces three delay sounds; center, left and right. fig.MFX-47 48: 4TAP PAN DELAY This effect has four delays.
145 Adding Effects 49: MULTI TAP DELAY 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. fig.MFX-49 50: REVERSE DELAY This is a reverse delay that adds a reversed and delayed sound to the input sound.
146 Adding Effects 52: 3D DELAY This applies a 3D effect to the delay sound. The delay sound will be positioned 90 degrees left and 90 degrees right. fig.
147 Adding Effects 56: LOFI NOISE In addition to a Lo-Fi effect, this adds various types of noise such as white noise and disc noise. fig.MFX-56 57: LOFI COMPRESS This is an effect that intentionally degrades the sound quality for creative purposes. fig.
148 Adding Effects 59: TELEPHONE fig.MFX-59 60: PHONOGRAPH 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.
149 Adding Effects 63: STEP PITCH SHIFTER A pitch shifter in which the amount of pitch shift is varied by a 16- step sequence. fig.MFX-63 64: REVERB Adds reverberation to the sound, simulating an acoustic space. fig.MFX-64 65: GATED REVERB This is a special type of reverb in which the reverberant sound is cut off before its natural length.
150 Adding Effects 66: OVERDRIVE → CHORUS fig.MFX-66 67: OVERDRIVE → FLANGER fig.MFX-67 68: OVERDRIVE → DELAY fig.MFX-68 69: DISTORTION → CHORUS The parameters are essentially the same as in “66: OVERDRIVE → CHORUS,” with the exception of the following two.
151 Adding Effects 72: ENHANCER → CHORUS fig.MFX-72 73: ENHANCER → FLANGER fig.MFX-73 74: ENHANCER → DELAY fig.MFX-74 75: CHORUS → DELAY fig.MFX-75 Parameter Value Explanation Enhancer Sens # 0–127 Sensitivity of the enhancer Enhancer Mix # 0–127 Level of the overtones generat- ed by the enhancer Chorus Pre Delay 0.
152 Adding Effects 76: FLANGER → DELAY fig.MFX-76 77: CHORUS → FLANGER fig.MFX-77 78: SYMPATHETIC RESONANCE 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.
153 Adding Effects note: fig.MFX-note2.e_88 (Double note) (Dotted whole note), (Dotted half note), (Dotted thirty-second note), (Whole note), (Double-note triplet), (Sixteenth-note triplet), (Thirty-s.
154 Adding Effects * The JUNO-G’s Chorus effect unit can also be used as a stereo delay unit. fig.Chorus For details on these settings, refer to Making Effect Settings (p. 125). note: fig.MFX-note2.e Making Chorus Settings Parameter Value Explanation (Chorus Type) 00 (OFF)–03 Selects either chorus or delay.
155 Adding Effects fig.Reverb For details on these settings, refer to Making Effect Settings (p. 125). Making Reverb Settings Parameter Value Explanation (Reverb Type) 00 (OFF)–05 Type of Reverb Rev.
156 Adding Effects This is a stereo compressor (limiter) that is applied to the final output of the JUNO-G. It has independent high, mid, and low ranges. Independently for the high-frequency, mid-frequency, and low-frequency regions, this compresses any sounds that exceed the specified level, making the volume more consistent.
157 Settings Common to All Modes ( System Function) Settings that affect the entire operating environment of the JUNO-G, such as tuning and MIDI message reception, are referred to as system functions . This section explains how to make settings for the System functions and describes the functions of the different System parameters.
158 Settings Common to All Modes (System Function) This section explains what the different System parameters do, and also how these parameters are organized.
159 Settings Common to All Modes (System Function) [F4 (USB)] You must switch the USB Mode before you connect the JUNO-G to your computer via the USB cable. If you change this setting while the JUNO-G is connected, the computer may fail to recognize it correctly.
160 Settings Common to All Modes (System Function) [F3 (CTRL)] [F1 (GENERL)] Parameter Value Explanation Sys Ctrl 1–4 Source OFF, CC01–95, PITCH BEND, AFTERTOUCH Selects the MIDI message used as the System Control. OFF: The system control knob will not be used.
161 Settings Common to All Modes (System Function) [F2 (TX)] [F3 (RX)] [F4 (MMC MTC)] Parameter Value Explanation Transmit Program Change OFF, ON Specifies whether Program Change messages will be transmitted (ON) or not (OFF). Transmit Bank Select OFF, ON Specifies whether Bank Select messages will be transmitted (ON) or not (OFF).
162 Settings Common to All Modes (System Function) [F1 (METRO)] [F2 (SYNC)] [F1 (GENERL)] System Menu [F4 (METRO/SYNC)] Parameter Value Explanation Metronome Mode OFF, PLAY-ONLY, REC-ONLY, PLAY&REC, ALWAYS Specifies when you want the metronome to sound.
163 Settings Common to All Modes (System Function) [F2 (ASSIGN)] [F3 (ATV EXP)] [F4 (SYNTH)] Parameter Value Explanation Type CC01–31, 33–95, BEND UP, BEND DOWN, START/STOP, TAP TEMPO, ARP GRID, A.
164 Data Management Functions/ Reset to Factory Settings (Factory Reset) UTILITY MENU screen fig.UtilityMenu Here’s how all user data in the user area can be saved on a memory card. The following user data will be saved. * In order to execute User Backup, the memory card must have approximately 16MB or more free area.
165 File-Related Functions (File Utility) Here you can perform a variety of operations related to the files stored in the JUNO-G’s user memory, and on memory cards. You can copy, delete, or move files, as well as format memory cards. The folder structure of the user area and memory card is as follows.
166 File-Related Functions (File Utility) Here’s how you can copy a file to a different folder. 1. As described in the basic procedure, select the file that you want to copy. [F1 (USER)] [F2 (CARD)]: Select the memory [ ] [ ]: Select the folder [ ] [ ]: Move between folder levels 2.
167 Connecting to Your Computer via USB The JUNO-G has two modes of USB functionality: storage mode for transferring files, and MIDI mode for sending and receiving MIDI messages. You must switch between these two modes on the JUNO- G; they cannot be used simultaneously.
168 Connecting to Your Computer via USB You must observe the following points when the JUNO-G is connected to your computer via USB. • Don’t use your computer to move or delete folders within the JUNO-G. • Don’t use your computer to format or optimize the JUNO-G’s user memory or memory card, or execute operations such as Scan Disk.
169 Connecting to Your Computer via USB Driver Installation and Settings In order to use the JUNO-G as a USB MIDI device from your computer, you must first install the USB MIDI driver. The USB MIDI driver is on the included “JUNO-G Editor CD” CD-ROM.
170 Using JUNO-G Editor/Librarian To help you take even greater advantage of its functionality, the JUNO-G comes with JUNO-G Editor/Librarian software. JUNO-G Editor assigns parameters to sliders and knobs in the computer screen, allowing you to work efficiently in a graphical editing environment.
171 Using JUNO-G Editor/Librarian • Operating System Mac OS X 10.2 or later • CPU/Clock PowerPC G4 867 MHz or higher • Memory (RAM) 384 MB or more • Hard Disk 110 M bytes or more • Display/Colors 800 x 600 or higher/32,000 colors or more 207 * Apple and Macintosh are registered trademarks of Apple Computer, Inc.
172 About V-LINK V-LINK is a function that allows music and images to 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.
173 About V-LINK 1. Press [V-LINK] to access the V-LINK screen. 2. Press [F6 (SETUP)]. The V-LINK SETUP screen appears. fig.V-LINK-SETUP 3. Use [ ] [ ] to move the cursor to the parameter you want to edit. 4. Use the VALUE dial or [INC] [DEC] to set the value.
174 Installing the Wave Expansion Board An optional Wave Expansion Board (SRX series; sold separately) can be installed in the JUNO-G. Wave Expansion Boards store Wave data, patches, and rhythm sets, and by equipping the JUNO-G with these boards, you can greatly expand your sound palette.
175 Installing the Wave Expansion Board 4. Use the Installation Tool supplied with the Wave Expansion Board to turn the holders in the LOCK direction, so the board will be fastened in place. fig.Exp4.e 5. Use the screws that you removed in step 2 to fasten the cover back in place.
176 Expanding the Memory The JUNO-G comes with 4 MB of memory into which audio samples can be loaded. However, in some cases, 4 MB of memory will be insufficient for loading large amounts of data. In such a case, you will have to add separately sold memory (DIMM).
177 Expanding the Memory 4. Paying attention to the location of the notch on the memory module and the orientation, insert it vertically within the guides at either side of the socket. fig.DIMM2 If you have difficulty inserting the memory module, try tilting it a bit and inserting one end at a time.
178 Using a Memory Card The JUNO-G features a PC card slot, allowing you to use CompactFlash or SmartMedia via the appropriate PC card adaptor. Make sure that the correct side of the card is facing upward, and insert it into the JUNO-G’s PC card slot.
179 Troubleshooting If the JUNO-G does not function in the way you expect, first check the following points. If this does not resolve the problem, consult your dealer or a nearby Roland Service Station. * If any sort of message is being displayed on the screen during an operation, refer to Error Messages (p.
180 Troubleshooting The sound cuts off when I switch Patches in Patch mode. Although you can apply a wide variety of multi-effects with the JUNO-G’s multi-effects, switching the Patch also switches the type of multi-effects used.
181 Troubleshooting the Patches sounding different than intended. Raising the chorus or reverb send level for each part of a performance still does not cause the effect to be applied sufficiently.
182 Troubleshooting Can I record an audio source such as guitar or vocals at the same time that I record a MIDI performance from the JUNO-G’s keyboard? It’s not possible to record on an audio track at the same time that you record MIDI from the JUNO-G’s keyboard.
183 Troubleshooting contain large amounts of data, thus placing a heavy burden on song recorders and sound modules. Try repositioning data and changing System Exclusive messages to Control Changes for any data for which Control Changes can be substituted.
184 Troubleshooting No Sound from connected MIDI device. Check the following points. • Is the instrument set to transmit MIDI messages? • In Patch Mode Kbd Patch Rx/Tx Channel parameter (p. 160) • In Performance Mode KBD switch (p. 60). Exclusive messages are not received.
185 Troubleshooting Recorded sound contains excessive noise or distortion. Check the following points. • Is the input level appropriate? If the input level is too high, the recorded sound will be distorted.
186 Error Messages 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 Cannot Edit Preset Sample! This is a preset sample, and therefore cannot be edited.
187 Performance List USER (User Group) PRST (Preset Group) No. Name No. Name 001 Grand Orch 033 Rotary Multi 002 Clone Zone 034 Dist Gt Mult 003 Burning Lead 035 FreeFall Pad 004 1:00AM 036 Delay Sant.
188 Patch List USER (User Group) No. Name Voices Category 001 Juno-G Grand 2 AC.PIANO 002 Autotrance 4 BEAT&GROOVE 003 Magestic Str 8 STRINGS 004 Rubber Bass 3 SYNTH BASS 005 106 String 1 2 BRIGHT PAD 006 Searing COSM 2 DIST.GUITAR 007 Dreaming Box 4 BELL 008 Brass & Sax 5 AC.
189 Patch List PR-A (Preset A Group) No. Name Voices Category 001 Juno-G Grand 2 AC.PIANO 002 Bright Grand 2 AC.PIANO 003 Soft Grand 2 AC.PIANO 004 A’live Piano 2 AC.PIANO 005 SoundCheck 2 AC.PIANO 006 JD-800 Piano 1 AC.PIANO 007 E-Grand 4 AC.PIANO 008 Blend Piano 5 AC.
190 Patch List PR-C (Preset C Group) No. Name Voices Category 001 Wind & Str 2 5 ORCHESTRA 002 Farewell 6 ORCHESTRA 003 Orch & Horns 5 ORCHESTRA 004 Soft Orch 1 4 ORCHESTRA 005 Soft Orch 2 7 O.
191 Patch List PR-E (Preset E Group) No. Name Voices Category 001 Regenerator 2 PULSATING 002 Ionizer 4 PULSATING 003 Newcomers 4 PULSATING 004 Tumblerz 2 PULSATING 005 FX World 2 PULSATING 006 Mr.
192 Patch List GM (GM2 Group) Voice: number of voice LSB: Bank Select LSB (CC#32), MSB (CC#0) is all 121 PC: Program Change Number No. Name Voices LSB PC 001 Piano 1 4 0 1 002 Piano 1w 4 1 1 003 European Pf 4 2 1 004 Piano 2 4 0 2 005 Piano 2w 4 1 2 006 Piano 3 2 0 3 007 Piano 3w 2 1 3 008 Honky-tonk 2 0 4 009 Honky-tonk 2 2 1 4 010 E.
193 Rhythm Set List PRST (Preset Group) USER (User Group) GM (GM2 Group) No. Name 001 StandardKit1 002 StandardKit2 003 StandardKit3 004 Rock Kit 1 005 Rock Kit 2 006 Brush Jz Kit 007 Orch Kit 008 909.
194 Rhythm Set List 100 101 103 102 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 96 89 91 93 95 90 92 94 C7 98 97 Prst: User: Note No.
195 Rhythm Set List 100 101 103 102 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 96 89 91 93 95 90 92 94 C7 98 97 Prst: User: Note No.
196 Rhythm Set List 100 101 103 102 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 96 89 91 93 95 90 92 94 C7 98 97 Prst: User: Note No.
197 Rhythm Set List 100 101 103 102 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 96 89 91 93 95 90 92 94 C7 98 97 Prst: User: Note No.
198 Rhythm Set List 100 101 103 102 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 96 89 91 93 95 90 92 94 C7 98 97 Prst: User: Note No.
199 Rhythm Set List 100 101 103 102 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 96 89 91 93 95 90 92 94 C7 98 97 Prst: User: Note No.
200 Rhythm Set List 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 Note No. 27 GM (GM2 Group) 001 (PC: 1) GM2 STANDARD High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.
201 Rhythm Set List 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 Note No. 27 GM (GM2 Group) 007 (PC: 41) GM2 BRUSH High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.
202 Waveform List No. Wave Name 0001 Juno Saw HD 0002 TB303 Saw HD 0003 Custm Saw HD 0004 Real MG Saw 0005 MG Saw HD 0006 700 Saw A 0007 700 Saw B 0008 700 Saw C 0009 OB2 Saw HD 0010 DigitalSawHD 0011 Calc.
203 Waveform List 0481 Flugel C 0482 Trumpet A 0483 Trumpet B 0484 Trumpet C 0485 Wide Tp A 0486 Wide Tp B 0487 Wide Tp C 0488 Mute Tp A 0489 Mute Tp B 0490 Mute Tp C 0491 Trombone A 0492 Trombone B 0493 Trombone C 0494 Tbn mf A 0495 Tbn mf B 0496 Tbn mf C 0497 Tuba A 0498 Tuba B 0499 Tuba C 0500 Sft F.
204 Waveform List 0961 Keen Snr 2 0962 Boys Snr 1 0963 Slap Snr 3 0964 Neck Snr 0965 Artful Snr 0966 Pin Snr 0967 Chemical Snr 0968 Sizzle Snr 0969 Tiny Snare 0970 R&B Snare 1 0971 R&B Snare 2.
205 Arpeggio Style List Recommended number of notes to press (1) – (6): One to six notes (1-3): One bass note + three-note chord (A): As desired (P): One note, with Motif (p. 75) set to “Phrase” PRST (Preset Group) USER (User Group) * Arpeggio Styles are common between Preset Group and User Group.
206 Rhythm Group List PRST (Preset Group) USER (User Group) * Rhythm Groups are common between Preset Group and User Group. No. Name Recommended Rhythm Set 001 Pop 1 PRST:001 Standard Kit1 002 Pop 2 P.
207 Rhythm Pattern List PRST (Preset Group) USER (User Group) * Rhythm Patterns are common between Preset Group and User Group. * Recommended tempo is shown in parentheses ( ) No.
208 Rhythm Pattern List 169 Trance 2-A (143) PRST:018 Kit-Euro:POP 170 Trance 2-B (142) 171 Trance 2-C (135) 172 Trance 2-D (140) 173 Trance 2-E (130) 174 Trance 2-F (154) 175 Trance 2-G (140) 176 Tra.
209 About MIDI MIDI (Musical Instruments Digital Interface) is a standard specification that allows musical data to be exchanged between electronic musical instruments and computers.
210 MIDI Implementation 1. Data Reception (Sound Generator Section) ■ Channel Voice Messages * Not received in Performance mode when the Receive Switch parameter (PERFORM/ MIDI) is OFF. ● Note off Status 2nd byte 3rd byte 8nH kkH vvH 9nH kkH 00H n = MIDI channel number: 0H - FH (ch.
211 MIDI Implementation ❍ Hold 1 (Controller number 64) Status 2nd byte 3rd byte BnH 40H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON * Not received when Tone Receive Hold-1 parameter (PATCH/CONTROL or RHYTHM/ COMMON) is OFF.
212 MIDI Implementation ❍ Portamento control (Controller number 84) Status 2nd byte 3rd byte BnH 54H kkH n = MIDI channel number: 0H - FH (ch.1 - 16) kk = source note number: 00H - 7FH (0 - 127) * A Note-on received immediately after a Portamento Control message will change continuously in pitch, starting from the pitch of the Source Note Number.
213 MIDI Implementation ■ Channel Mode Messages * Not received in Performance mode when the Receive Switch parameter (PERFORM/ MIDI) is OFF. ● All Sounds Off (Controller number 120) Status 2nd byte 3rd byte BnH 78H 00H n = MIDI channel number: 0H - FH (ch.
214 MIDI Implementation ❍ GM System Off Status Data byte Status F0H 7EH, 7F, 09H, 02H F7H Byte Explanation F0H Exclusive status 7EH ID number (Universal Non-realtime Message) 7FH Device ID (Broadcas.
215 MIDI Implementation ❍ Channel Pressure Status Data byte Status F0H 7FH, 7FH, 09H, 01H, 0nH, ppH, rrH F7H Byte Explanation F0H Exclusive status 7FH ID number (universal realtime message) 7FH Devi.
216 MIDI Implementation ● Data Transmission This instrument can use exclusive messages to exchange many varieties of internal settings with other devices. The model ID of the exclusive messages used by this instrument is 00H 00H 15H. ❍ Data Request 1 (RQ1) This message requests the other device to transmit data.
217 MIDI Implementation 2. Data Transmission (Sound Generator Section) ■ Channel Voice Messages ● Note off Status 2nd byte 3rd byte 8nH kkH vvH n = MIDI channel number: 0H - FH (ch.
218 MIDI Implementation ❍ General Purpose Controller 7 (Controller number 82) Status 2nd byte 3rd byte BnH 52H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Control value: 00H - 7FH (0 - 127) ❍ General Purpose Controller 8 (Controller number 83) Status 2nd byte 3rd byte BnH 53H vvH n = MIDI channel number: 0H - FH (ch.
219 MIDI Implementation 3. Data Reception (Sequencer Section) 3.1 Messages recorded during recording ■ Channel Voice Messages ● Note Off Status 2nd byte 3rd byte 8nH kkH vvH 9nH kkH 00H n=MIDI channel number: 0H - FH (ch.
220 MIDI Implementation 3.2 Messages not recorded during recording ■ Channel mode messages ● Local On/Off (Controller number 122) Status 2nd byte 3rd byte BnH 7AH vvH n=MIDI channel number: 0H - FH (ch.
221 MIDI Implementation ■ System Exclusive Message ● MIDI Machine Control (MMC) * Received when the MMC Mode parameter (SYSTEM/MIDI/MMC MTC) is SLAVE.
222 MIDI Implementation ■ System Exclusive Message ● MIDI Time code ❍ Full Message Full Messages are used, which encode the complete time into a single message.
223 MIDI Implementation ❍ Chord +———————————————————————————————————————————————————————.
224 MIDI Implementation | | | 23, 24 [dB] | | 00 10 | 0000 0aaa | Split Freq Low (0 - 6) | | | | 200, 250, 315, 400, 500, | | | | 630, 800 [Hz] | | 00 11 | 0000 0aaa | Split Freq High (0 - 6) | | | | .
225 MIDI Implementation | | | PERFORM, 1 - 16 | | 00 34 | 00aa aaaa | Reverb Source (0 - 16) | | | | PERFORM, 1 - 16 | |-------------+-----------+----------------------------------------------------| .
226 MIDI Implementation |# 00 24 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 9 (12768 - 52768) | | | | -20000 - +20000 | |# 00 28 | 0000 aaaa | | | | 0000 bbbb.
227 MIDI Implementation | 00 1F | 0000 aaaa | Part Output Assign (0 - 13) | | | | MFX, A, B, ---, ---, | | | | 1, 2, 3, 4, ---, ---, ---, ---, | | | | PATCH | | 00 20 | 0000 00aa | Part Output MFX Sel.
228 MIDI Implementation | | 0000 bbbb | Step18 Data (0 - 128) | |# 00 26 | 0000 aaaa | | | | 0000 bbbb | Step19 Data (0 - 128) | |# 00 28 | 0000 aaaa | | | | 0000 bbbb | Step20 Data (0 - 128) | |# 00 .
229 MIDI Implementation | | | OFF, ON | | 00 76 | 0000 000a | Chord Note119 (0 - 1) | | | | OFF, ON | | 00 77 | 0000 000a | Chord Note120 (0 - 1) | | | | OFF, ON | | 00 78 | 0000 000a | Chord Note121 .
230 MIDI Implementation | | | -63 - +63 | | 00 30 | 00aa aaaa | Matrix Control 1 Destination 3 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO.
231 MIDI Implementation | | 0000 dddd | MFX Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 29 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 7 (12768 - .
232 MIDI Implementation | | | -20000 - +20000 | |# 00 0B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0F | 000.
233 MIDI Implementation |# 00 30 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Wave Number R (0 - 16384) | | | | OFF, 1 - 16384 | | 00 34 | 0000 00aa | Wave Gain (0 - 3) | | | | .
234 MIDI Implementation | | | OFF, 1 - 16 | | 00 10 | 000a aaaa | MFX Control Assign 4 (0 - 16) | | | | OFF, 1 - 16 | |# 00 11 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX P.
235 MIDI Implementation |# 00 50 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 20 (12768 - 52768) | | | | -20000 - +20000 | |-------------+----------------------.
236 MIDI Implementation | | | -50 - +50 | | 00 53 | 0aaa aaaa | WMT2 Wave Pan (0 - 127) | | | | L64 - 63R | | 00 54 | 0000 000a | WMT2 Wave Random Pan Switch (0 - 1) | | | | OFF, ON | | 00 55 | 0000 0.
237 MIDI Implementation 5.2 GS (Model ID = 42H) ❍ System Parameter +———————————————————————————————————————————.
238 MIDI Implementation |—————————————+———————————+—————————————————————————————————.
239 MIDI Implementation ■ Examples of Actual MIDI Messages <Example1> 92 3E 5F 9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and 5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4), and velocity 95.
240 MIDI Implementation ■ The Scale Tune Feature (address: 40 1x 40) The scale tune feature allows you to finely adjust the individual pitch of the notes from C through B. Though the settings are made while working with one octave, the fine adjustments will affect all octaves.
241 MIDI Implementation Chart MIDI Implementation Chart Function... Basic Channel Mode Note Number : Velocity After Touch Pitch Bend Control Change Program Change System Exclusive System Common System.
242 MIDI Implementation Chart Function... Basic Channel Mode Note Number : Velocity After Touch Pitch Bend Control Change Program Change System Exclusive System Common System Real Time Aux Messages No.
243 Specifications JUNO-G: Synthesizer Keyboard (Conforms to General MIDI 2 System) Keyboard: 61 keys (with velocity) Sound Generator Section Maximum Polyphony 128 voices (shared with audio track sect.
244 Index Symbols .MID ......................................................................................................................... 22 .SVA ..................................................................................................
245 CTRL 1–4 Destination 1–4 .................................................................................... 44 CTRL 1–4 Sens 1–4 ................................................................................................ 44 CTRL 1–4 Source .
246 J JUNO-G Editor/Librarian .................................................................................. 170 Just Temperament ................................................................................................. 67 K K.L ..........
247 VK ROTARY ................................................................................................ 137 VS DISTORTION ......................................................................................... 141 VS OVERDRIVE ...............
248 PITCH SHIFTER .................................................................................................. 148 Place Event ........................................................................................................... 102 Polyphony .
249 Recording (Audio Track) ........................................................................... 104 Recording (MIDI Track) ............................................................................... 87 Save ................................
250 USER ................................................................................................................. 25 , 59 User Backup ......................................................................................................... 164 User Memory .
This product complies with the requirements of European Directive 89/336/EEC. For EU Countries For Canada This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
As of December 10, 2005 (ROLAND) Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.
Un point important après l'achat de l'appareil (ou même avant l'achat) est de lire le manuel d'utilisation. Nous devons le faire pour quelques raisons simples:
Si vous n'avez pas encore acheté Roland JUNO-G c'est un bon moment pour vous familiariser avec les données de base sur le produit. Consulter d'abord les pages initiales du manuel d'utilisation, que vous trouverez ci-dessus. Vous devriez y trouver les données techniques les plus importants du Roland JUNO-G - de cette manière, vous pouvez vérifier si l'équipement répond à vos besoins. Explorant les pages suivantes du manuel d'utilisation Roland JUNO-G, vous apprendrez toutes les caractéristiques du produit et des informations sur son fonctionnement. Les informations sur le Roland JUNO-G va certainement vous aider à prendre une décision concernant l'achat.
Dans une situation où vous avez déjà le Roland JUNO-G, mais vous avez pas encore lu le manuel d'utilisation, vous devez le faire pour les raisons décrites ci-dessus,. Vous saurez alors si vous avez correctement utilisé les fonctions disponibles, et si vous avez commis des erreurs qui peuvent réduire la durée de vie du Roland JUNO-G.
Cependant, l'un des rôles les plus importants pour l'utilisateur joués par les manuels d'utilisateur est d'aider à résoudre les problèmes concernant le Roland JUNO-G. Presque toujours, vous y trouverez Troubleshooting, soit les pannes et les défaillances les plus fréquentes de l'apparei Roland JUNO-G ainsi que les instructions sur la façon de les résoudre. Même si vous ne parvenez pas à résoudre le problème, le manuel d‘utilisation va vous montrer le chemin d'une nouvelle procédure – le contact avec le centre de service à la clientèle ou le service le plus proche.
