JV-1080 Software Synthesizer Owner's Manual

JV-1080 Software Synthesizer
Owner’s Manual
Copyright © 2017 ROLAND CORPORATION 01

Introduction
For details on the settings for the DAW software that you’re using, refer
to the DAW’s help or manuals.
About Trademarks
• VST is a trademark and software of Steinberg Media Technologies GmbH.
• Roland is a registered trademark or trademark of Roland Corporation in the United States and/or other
countries.
• Company names and product names appearing in this document are registered trademarks or
trademarks of their respective owners.

2
Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 EFFECTS Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Screen Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Effect Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Using JV-1080 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Signal Flow and Parameters (ROUTING) . . . . . . . . . . . . . . . . . 34
How to Edit Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Multi-Effect Settings (MFX) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Initializing a value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Chorus and Reverb Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
About the KEYBOARD button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Effects List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Overview of the JV-1080 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Multi-Effects Parameters (MFX) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
How the JV-1080 is Organized. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 About RATE and DELAY TIME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
How a Patch is Structured . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 When Using 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
How a Rhythm Set is Structured. . . . . . . . . . . . . . . . . . . . . . . . 6 About the STEP RESET function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Calculating the Number of Voices Being Used . . . . . . . . . . . 6 Chorus Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
About the Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Reverb Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Memory and Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

What is a Memory? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Changing to Other Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Exporting the Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Importing a Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Creating/Deleting a Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Renaming a Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Loading a Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Saving the Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Renaming the Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Changing the Order of the Memories . . . . . . . . . . . . . . . . . . . 9
Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Detailed Editing for a Patch (PATCH Parameters) . . . . . . . . . . . 11

How to Edit a Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Copying/Pasting Patch Parameters . . . . . . . . . . . . . . . . . . . . . 11
TONE SWITCH/SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Stereo Wave Settings (Set Stereo Function) . . . . . . . . . . . . . . 12
PATCH Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
COMMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
STRUCTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
WG + PITCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
TVF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
TVA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
VELOCITY & KEY RANGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
MATRIX CONTROL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
CONTROL SW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Detailed Editing for a Rhythm Set (RHYTHM Parameters). . . 28

How to Edit a Rhythm Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Copying/Pasting Rhythm Parameters . . . . . . . . . . . . . . . . . . . 28
WG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Stereo Wave Settings (Set Stereo Function) . . . . . . . . . . . . . . 28
RHYTHM Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
COMMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
WG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
PITCH + TVF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
TVA + VELOCITY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
3
Screen Structure
Main window [MASTER LEVEL] knob
Here you can select sounds, turn Adjusts the overall volume.
effects on/off, and access windows.
[H] [I] buttons
Select the next or previous memory.
[EDIT] button
Accesses the edit screen.
[UTILITY] button
[NAME] button [KEYBOARD] button [MESSAGE] indicator
Allows you to copy or paste groups of
Renames a memory. parameters (such as tone or MFX). Shows/hides the keyboard window. Lights when performance data is
received.
Patch Memory name [OPTION] button
This area shows the name of the Allows you to make various settings [ABOUT] button
selected memory. and authorizations. Here you can view information about
the JV-1080.
[HELP] button
Displays help. Level meter
Displays output levels of the JV-1080.
LIST [PORTAMENTO] button TONE SWITCH EFFECTS

Displays a list of sounds. You can select Turns portamento on/off. Press these buttons to turn on/off the
a sound from the list. [1 ] [2] [3] [4] buttons MFX, chorus, or reverb effects.
[LEGATO] button Select the tone(s) that will be heard.
[BANK] button This setting specifies whether the [REVERB] button
Displays a list organized by bank. Legato Switch will be used (ON) or Turns reverb on/off.
not (OFF).
[CATEGORY] button With the LEGATO SW “ON,” pressing [CHORUS] button
Displays a list organized by category. a key while continuing to press a
previous key causes the note to Turns chorus on/off.
change pitch to the pitch of the most
recently pressed key, sounding all
[MFX] button
the while. Turns multi-effect on/off.
[MONO/POLY] button
When the button is lit, the instrument
plays monophonically (mono).
When the button is unlit, the
instrument plays polyphonically (poly).
4
Using JV-1080
Main window
Edit window
Keyboard window
Navigation window Parameter window
5 In the navigation window, you can click various buttons to choose the parameters that are shown in the parameter window.
5 The parameter window shows an editing screen for the parameters that you chose in the navigation window.
5 The edit window includes both the parameter window and the navigation window.
How to Edit Values

You can edit values by clicking (and dragging) the buttons, sliders, or knobs.
5 If you feel that the sliders and knobs in the panel are too small, and find it difficult to make detailed settings, try clicking (and holding) a
knob or slider and then dragging the mouse farther away. This lets you set the value at any position as long as you continue holding down
the mouse button. When doing so, you will be able to make precise adjustments to the value whenever the mouse cursor is away from the
center of the knob or slider.
5 When a value is shown, you can use the cursor keys (up/down/left/right) or mouse wheel to edit the value.
Initializing a value
Windows 7/8.1/10 Users
You can initialize the value of a parameter by holding down the Ctrl key of the computer and clicking the slider or knob of that parameter.
Macintosh Users
You can initialize the value of a parameter by holding down the command key of the computer and clicking the slider or knob of that parameter.
About the KEYBOARD button

When you click the [KEYBOARD] button located in the top line of the main window, the Keyboard window will appear, allowing you to transmit note
messages by clicking the mouse.
If you drag the Velocity slider located at the left edge of the keyboard window all the way down, the value changes to "VARIABLE." With this setting, the
velocity changes according to the position of the keyboard that you click.
Clicking the top edge of the keyboard produces minimum velocity, and clicking the bottom edge produces maximum velocity.
5
Overview of the JV-1080
LFO (Low Frequency Oscillator)
How the JV-1080 is Organized Use the LFO to create cyclic changes (modulation) in a sound. The
JV-1080 has two LFOs. Either one or both can be applied to effect the
How a Patch is Structured WG (pitch), TVF (filter) and/or TVA (volume). When an LFO is applied
to the WG pitch, a vibrato effect is produced. When an LFO is applied
Patches are the basic sound configurations that you play during a to the TVF cutoff frequency, a wah effect is produced. When an LFO is
performance. Each patch can be configured by combining up to four tones. applied to the TVA volume, a tremolo effect is produced.
Each tone can be turned on/off individually, allowing you to select the
tones that will produce sound.
How a Rhythm Set is Structured
Rhythm sets are groups of a number of different percussion instrument
Patch
sounds.
Tone Tone Tone Tone
1 2 3 4
Since percussion instruments generally do not play melodies, there is
no need for a percussion instrument sound to be able to play a scale on
the keyboard. It is, however, more important that as many percussion
instruments as possible be available to you at the same time.
Example 1: A Patch consisting of only one Tone (Tones
2–4 are turned off ). Therefore, each key (note number) of a rhythm set will produce a
different percussion instrument.
Patch
Rhythm Set
Tone Tone Tone Tone
1 2 3 4
Note number 98 (D7)
Note number 97 (C#7)
Example 2: A Patch consisting of four Tones.

Note number 36 (C2)
Note number 35 (B1)
Tone Rhythm key (Percussion instrument sound)
On the JV-1080, the tones are the smallest unit of sound. However, it
is not possible to play a tone by itself. The patch is the unit of sound
which can be played, and the tones are the basic building blocks which
make up the patch.
Tone LFO 1 LFO 2 * There are four wave generators for each rhythm key (percussion
instrument sounds).
* LFO is not included in the rhythm keys (percussion instrument
sounds).
WG TVF TVA Calculating the Number of Voices Being Used

The JV-1080 is able to play up to 128 notes simultaneously.
The polyphony, or the number of voices (sounds) does not refer only to
Pitch TVF TVA
the number of patches actually being played, but changes according
Envelope Envelope Envelope
to the number of tones used in the patches, and the number of waves
used in the tones. The following method is used to calculate the
audio signal control signal number of sounds used for one patch being played.
(Number of patches being played) x (Number of tones used by patches
WG (Wave Generator) being played) x (Number of waves used in the tones)
Specifies the PCM waveform (wave) that is the basis of the sound, and For example, a patch that combines four tones, each of which use two
determines how the pitch of the sound will change. waves, will use eight notes of polyphony at once. Also, when playing in
Performance mode, the number of sounds for each part is counted to
TVF (Time Variant Filter) obtain the total number of sounds for all parts.
Specifies how the frequency components of the sound will change.
How a Patch Sounds
TVA (Time Variant Amplifier) When the JV-1080 is requested to play more than 128 voices
Specifies the volume changes and the sound’s position in a stereo simultaneously, currently sounding notes will be turned off to make
soundfield. room for newly requested notes. The note with the lowest priority will
be turned off first. The order of priority is determined by the Patch
Envelope
Priority setting (PRIORITY; p. 13).
You use Envelope to initiate changes to occur to a sound over time.
There are separate envelopes for Pitch, TVF (filter), and TVA (volume).
6
JV-1080 Software Synthesizer Owner’s Manual Overview of the JV-1080
Patch Priority can be set either to “LAST” or “LOUDEST.”

When “LAST” is selected, a newly requested note that exceeds the 128
voice limit will cause the first-played of the currently sounding notes to
be turned off.
When “LOUDEST” is selected, the quietest of the currently sounding
notes will be turned off. Usually, “LAST” is selected.
About the Effects

The JV-1080 has built-in effect units, and you can independently edit each
unit’s settings.
Multi-Effects
The multi-effects are multi-purpose effects that completely change the
sound type by changing the sound itself.
Contained are 78 different effects types; select and use the type that
suits your aims.
In addition to effects types composed of simple effects such as
Distortion, Flanger, and other such effects, you can also set up a wide
variety of other effects, even connecting effects in series or in parallel.
Furthermore, while chorus and reverb can be found among the
multi-effect types, the following chorus and reverb are handled with a
different system.
Chorus
Chorus adds depth and spaciousness to the sound.
You can select whether to use this as a chorus effect or a delay effect.
Reverb
Reverb adds the reverberation characteristics of halls or auditoriums.
Five different types are offered, so you can select and use the type that
suits your purpose.
How effects are handled

The multi-effects, chorus and reverb effects can be set up individually for
each patch/rhythm set.
Adjusting the signal level to be sent to each effects unit (Send Level)
provides control over the effect intensity that’s applied to each tone.
Patch
Multi
Tone
Effects
Chorus
Reverb
Rhythm Set
Rhythm Multi
Key Effects
Chorus
Reverb
7
Memory and Bank
What is a Memory? Changing to Other Bank
Each of the JV-1080’s sounds is called a “memory.” A memory can be 1. Click the Bank field.
either a “patch” or a “rhythm set.” The bank list window opens.
2. Click the bank that you want to recall.

Bank By pressing the [H] [I] buttons located at the right of the bank field,
you can switch to the next or previous bank.
1. Click the [BANK] button.
The Memory Select screen (BANK) appears. Exporting the Bank
[NEW] button [DELETE] button Here’s how to export a bank as a file.
Creates a new empty bank. Deletes the selected bank.
1. Click the [SAVE] button.
The file name input window opens.
[LOAD] button [SAVE] button 2. Enter a file name and save.
Loads a bank from a file. Exports a bank as a file. The file is exported.
Importing a Bank
1. Click the [LOAD] button.
The selected memory is
shown in blue.
The file selection window opens.
2. Select a file and load it.

The bank is loaded.
Creating/Deleting a Bank
[WRITE] button [RENAME] button [READ] button
Saves an edited sound as Renames the selected Loads a memory from
a memory in the bank. memory. a bank. Creating a bank
Click the [NEW] button to create a new empty bank.
Deleting a bank
Here’s how to delete the selected bank.
1. Select a bank as described in “Changing to Other

A set of 128 memories is called a “bank.” Bank Bank” (p. 8).
By switching banks you can access a
Memory 01 2. Click the [DELETE] button.
large number of memories.
Memory 02 A confirmation screen appears.
A bank of memories can be saved as a
file. Memory 03 3. Click [OK] to delete the bank.
Memory 128 Renaming a Bank

1. Select a bank as described in “Changing to Other
Bank” (p. 8).
Rhythm Sets have a small symbol at their upper left. 2. Click J located at the left of the bank field.
3. Edit the name and press the [Return (Enter)] key.
8
JV-1080 Software Synthesizer Owner’s Manual Memory and Bank
Category Keyboard shortcuts

Keyboard shortcuts for the Patch Select window.
1. Click the [CATEGORY] button.
Key Function
Memory Select screen (CATEGORY) appears.
Command (Ctrl) + B Changes bank
Command (Ctrl) + I Imports bank
Command (Ctrl) + E Exports bank
Command (Ctrl) + N New memory

The selected category is Loads memory
Command (Ctrl) + O
shown in blue.
Command (Ctrl) + S Saves memory
Up/Down/Left/Right Selects memory
Space Renames memory
Command (Ctrl) + C Copies memory

The memory belonging to the
selected category is shown Command (Ctrl) + V Pastes memory
in the list. Delete *1
The selected memory is delete *2 Deletes memory
shown in blue.
fn + delete *2
Return (Enter) Loads memory
[READ] button Command (Ctrl) + Z Undo
Loads a memory from a Command (Ctrl) + Shift + Z Redo

category.
Switches the memory number indication
55 001–128
Command (Ctrl) + J
55 01-1–01-8, 02-1–...–16-8
55 A-1–A-8, B-1–...–P-8
Esc Closes window
*1 Windows / *2 Mac
Memory
The JV-1080 manages 128 memories as one bank.
Loading a Memory
Here’s how to load a memory from a bank. When you load a memory, its
settings appear in the edit area and can be edited.
1. Click the number of the memory that you want to load.

2. Click the [READ] button. Or press the [Return (Enter)]
key.
The memory is loaded.
* You can also load a memory by double-clicking a memory
number.
Saving the Memory

Here’s how to save an edited sound as a memory in the bank.
1. Click the number of the memory in which you want to

save the sound.
2. Click the [WRITE] button.
The memory is saved in the bank.
Renaming the Memory

1. Click the number of the memory that you want to
rename.
2. Click the [RENAME] button.
3. Change the memory name. (Up to 16 letters)
Changing the Order of the Memories

Drag the memory number to change the order of memories.
9
Settings
Option
1. Click the [OPTION] button.
2. Select items.
A ( is shown for the selected item.
Item Explanation
Zoom 75%
Zoom 100%
Zoom 125%
Changes the size of the main window.
Zoom 150%
Zoom 175%
Zoom 200%
Flip Scroll Direction Inverts the direction of rotation when using the mouse
(Only on Mac) wheel to edit a value.
Roland Cloud... Displays the Roland Cloud site.

Authentication... Performs user authentication for the JV-1080.
10
Detailed Editing for a Patch (PATCH Parameters)
“Editing” is the process of modifying the values of the JV-1080’s various
settings (parameters). This chapter explains the procedure for patch
TONE SWITCH/SELECT
editing, and how the patch parameters work. Use TONE SWITCH (SW) 1–4 to turn each of the four tones on/off.
Use TONE SELECT 1–4 to select the tone that you want to edit.
[LFO] editing screen
How to Edit a Patch

You can create a new patch by editing an existing patch. 5 The parameter window will show the settings of the first
A patch consists of up to four “tones.” Before editing a patch, you selected of the currently selected tones (the button is lit red.).
should listen to each tone individually to familiarize yourself with the 5 You can select multiple tones by clicking a TONE SELECT button
role it plays in creating the overall sound of the patch. while holding down the computer’s Shift key.
5 You can select all tones by clicking a TONE SELECT button while
Copying/Pasting Patch Parameters holding down the computer's Command (Ctrl) key.
You can select and copy a portion of the patch parameters (such as a patch 5 When you edit the settings of a tone, the settings of the
tone or MFX), and then paste those parameters to another patch tone or currently selected tones will change simultaneously.
another patch. You can also initialize the settings of a patch or rhythm set.
1. In the main window, click the [UTILITY] button.

A popup appears.
Item Explanation
Initializes the settings of the patch or rhythm set.
Initialize This is convenient when you want to create data from
scratch.
Copies the selected parameters from the currently selected
Copy patch or rhythm set to the clipboard.
Pastes the selected parameter from the clipboard to the
Paste current patch or rhythm set.
2. Select “Initialize”, “Copy” or “Paste.”

A list of the items that can be initialized or copied, or a list of the
destinations to which data can be written, appears.
3. In the list, click to select the desired item.
Four tips when creating patches

77Choose a patch that’s close to what you have in mind
If you’re trying to create a new patch, it will be difficult to make progress if you simply select any old patch and start making changes blindly.
It’s important to start by selecting a patch that’s close to what you have in mind.
77Decide which tones you’ll use
When creating a patch, it’s very important to decide which tones you’re going to use. In the edit screen, use the TONE SWITCH 1–4 settings to specify whether each tone will be heard
(on) or silent (off ). Turning off unneeded tones is also an important way to conserve polyphony.
77Check the structure setting (p. 15)
The STRUCTURE parameter is a very important one; it specifies how the four tones will be combined. Before you begin actually editing the tones, you must understand the
relationship between the tones.
77Turn the effects off (p. 34)
The JV-1080 contains a diverse array of effects, allowing you to process the sound in sophisticated ways. Effects have a major impact on the sound, and simply turning off the effects
may produce an entirely different impression. Turning off the effects will allow you to hear the sound of the patch itself, which makes it easier to hear the result of the changes you
make. In some cases, editing the effect settings may be enough to create the sound you want.
11
JV-1080 Software Synthesizer Owner’s Manual Detailed Editing for a Patch (PATCH Parameters)
[WG+PITCH], [TVF], [TVA], [CONTROL SW] editing screens

Note when selecting a waveform
The JV-1080 uses complex PCM waveforms as the basis for its
sounds. For this reason, you should be aware that if you specify
a waveform that is very different than the original waveform, the
result may not be what you expect.
The JV-1080’s internal waveforms can be categorized into the

following two types.
One-shot:
These are sounds with a short decay time. One-shot waveforms contain
the entire duration of the sound from the attack until it decays to silence.
Some of these waveforms capture a complete sound such as a percussion
instrument, but there are also many attack component sounds such as the
hammer strike of a piano or the fret noise of a guitar.
Loop:
These are sounds with a long decay, or sustaining sounds.
5 You can select multiple tones by clicking a TONE SELECT button Looped waveforms will repeatedly play a portion of a sound once it has
reached a relatively stable state. These sounds also include numerous
while holding down the computer’s Shift key. component sounds, such as a vibrating piano string or a resonating pipe.
5 When you edit the settings of a tone, the settings of the The following illustration shows an example of a sound created
currently selected tones will change simultaneously. by combining a one-shot waveform with a loop waveform. (This
5 Unselected tones can be edited independently. example is of an electric organ.)
Stereo Wave Settings (Set Stereo Function) TVA ENV for looped Organ TVA ENV for one-shot Key -click
waveform (sustain portion) waveform (attack portion)
Resulting TVA ENV
change
Level
Some of the waves that make up a tone key are stereo.
With stereo waves, the name of a left-channel wave ends in “L”, while
the name of a right-channel wave ends in “R.”
The left and right waves are numbered consecutively; the right-channel
Note off Time Note off
wave number is one greater than the left-channel wave number.
You can use the following procedure to first select either the left or
right wave, and then select the other wave. Note when selecting a one-shot waveform
It’s not possible to use the envelope settings to give a one-shot waveform
1. Select a patch. a longer decay than the original waveform contains, or to make it a
sustaining sound. Even if you made this type of envelope setting, you
2. Make sure that “WG+PITCH” is selected in the “PATCH” would be trying to bring out something that doesn’t exist in the original
waveform.
area of the navigation window.
3. Use WAVE NUMBER L to select the left-channel wave of Note when selecting a looped waveform
Many acoustic instruments such as piano or sax are marked by a sudden
the stereo wave. change in timbre at the very beginning of the sound, and this rapid
change is what gives the instrument its distinctive character. When
4. While holding down the Command (Ctrl) key, click on using these waveforms, it’s best to use the complex tonal changes in the
attack portion of the sound without attempting to modify them; use the
WAVE NUMBER R. envelope only to modify the decay portion of the sound as desired. If you
The corresponding right-channel wave will be selected. use the envelope to modify the attack as well, the envelope settings will
be affected by the attack of the waveform itself, and you may not get the
MEMO result you intend.
After selecting the right-channel wave in WAVE NUMBER R, you Level

Looped portion
can also hold down the Command (Ctrl) key and click on WAVE Tone change
NUMBER L to select the left-channel wave. stored with
the wave
If the wave is not a stereo wave, the selection won't change.
Time
Envelope for the

TVF filter
Resulting tone
change
12
PATCH Parameters Parameter Range/Explanation
Stretched Tuning
Pitch difference from
COMMON equal temperament
Parameter value
PATCH COMMON 3
OFF OFF
2
Parameter Range/Explanation 3
PATCH NAME Patch name High note range
Low note range
CATEGORY Type (category) of the patch
0–48
0–127 Amount of pitch change (in semitones) that occurs
UP
Volume before passing through MFX/Reverb/ when the pitch bend controller is at the maximum
Chorus PITCH BEND position
LEVEL For distortion-type effects, the tonal character RANGE -48–0
changes depending on the volume that is input.
Amount of pitch change (in semitones) that occurs
As appropriate for your purpose, adjust this in DOWN
when the pitch bend controller is at the minimum
conjunction with the [MASTER LEVEL] knob.
position
L64–0–63R
PAN 415.3–466.2 Hz
Left/right position of the patch
Overall tuning of the JV-1080
MASTER TUNE
Specifies how the direct sound of each patch will The display shows the frequency of the A4 note
be output. (center A).
MFX: Output in stereo through multi-effects. You
-24–+24
can also apply chorus or reverb to the sound that
passes through multi-effects. MASTER KEY SHIFT Shifts the overall pitch of the JV-1080 in semitone
steps.
L+R: Output in stereo to the OUTPUT without
OUTPUT ASSIGN passing through the multi-effect -63–+63
CUTOFF
L: Output in mono to the OUTPUT L without CUTOFF (p. 19)
passing through the multi-effect
-63–+63
R: Output in mono to the OUTPUT R without RES
passing through the multi-effect RES (p. 19)
TONE: Outputs according to the settings for each -63–+63
tone. ATTACK
TVF Envelope Time 1, TVA Envelope Time 1 (p. 20,
OFFSET TIME
-3–3 p. 22)
OCTAVE SHIFT
Pitch of the patch’s sound (in units of an octave) -63–+63
RELEASE
-48–48 TVF Envelope Time 4, TVA Envelope Time 4 (p. 20,
TIME
p. 22)
COARSE Pitch of the patch’s sound (in semitones, +/- 4
octaves) VELOCITY -63–+63
TUNE SENS Cutoff Velocity Sens, TVA Velocity Sens (p. 20, p. 21)
-50–50
FINE Pitch of the patch’s sound (in 1-cent steps; one cent How notes will be managed when the maximum
is 1/100th of a semitone) polyphony is exceeded (128 voices)
Stretched tuning (a system by which acoustic LAST: The last-played voices will be given priority
pianos are normally tuned, causing the lower range (Notes will be turned off in order, beginning with
PRIORITY the first-played note.)
to be lower and the higher range to be higher than
the mathematical tuning ratios would otherwise LOUDEST: The loudest voices will be given priority
STRETCH TUNE DEPTH dictate) (Notes will be turned off, beginning with the
OFF: Equal temperament lowest-volume voice.)
1–3: Higher settings will produce the greater MONO: Only the last-played note will sound. This
difference in the pitch of the low and high ranges. setting is effective when playing a solo instrument
MONO/POLY patch such as sax or flute.
POLY: Two or more notes can be played
simultaneously.
13
Parameter Range/Explanation Parameter Range/Explanation

This setting specifies whether the Legato Switch
Portamento Start: PITCH
will be used (ON) or not (OFF).
LEGATO SW is valid when the Mono/Poly parameter
Pitch
is set to “MONO.”
With the LEGATO SW “ON,” pressing a key while
continuing to press a previous key causes the note
SW
to change pitch to the pitch of the most recently C5
pressed key, sounding all the while.
This creates a smooth transition between notes,
which is effective when you wish to simulate the
hammering-on and pulling-off techniques used by
a guitarist.
D4
LEGATO The setting determines whether sounds are C4
(*1) replayed (ON) or not (OFF) when performing
legato. Normally you will leave this parameter
“ON.” Time
The LEGATO RETRIGGER is valid when the Mono/ press D4 key
Poly is set to “MONO” and the LEGATO SW is set press C5 key
to “ON.”
RETRIGGER press C4 key
When “OFF,” 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.
Portamento Start: NOTE
Set this to “OFF” when performing wind and string
phrases or when using modulation with the mono Pitch
synth keyboard sound.
0–127
Depth of 1/f modulation (a pleasant and naturally- C5
occurring ratio of modulation that occurs in a
ANALOG FEEL babbling brook or rustling wind)
* You can simulate the natural instability
characteristic of an analog synthesizer by adding
this “1/f modulation.”
D4
Specifies whether the portamento effect will be
applied (ON) or not (OFF). C4
SW Portamento is an effect which smoothly changes
the pitch from the first-played key to the next-
Time
played key.
press D4 key
NORMAL: Portamento will always be applied.
press C5 key
MODE LEGATO: Portamento will be applied only when
you play legato. press C4 key
RATE: Speed of pitch change is uniform (the time

required for the pitch change will correspond to
PORTAMENTO the distance of the pitch change) *1 Let’s say you have the LEGATO SW set to “ON,” and the LEGATO
TYPE
TIME: The time it takes will be constant, regardless RETRIGGER set to “OFF.” When you try to sound a legato (by
of how far apart in pitch the notes are.
pressing a higher key while a lower key is held down), the pitch
PITCH: Start a new portamento from present pitch
may sometimes not be able to rise all the way to the intended
when another key is pressed while the pitch is
START changing. pitch (stopping instead at an intermediate pitch). This can occur
NOTE: Portamento will begin anew from the pitch because the limit of pitch rise, as determined on each wave form.
where the current change would end.
Additionally, if differing upper pitch limits are used for the waves of
0–127
TIME a Patch that uses multiple tones, it may not being heard as MONO.
Specifies the time over which the pitch will change.
When making large pitch changes, set the LEGATO RETRIGGER to
“ON.”
PATCH SCALE TUNE
The JV-1080 allows you to play the keyboard using temperaments

other than equal temperament. The pitch is specified in one-cent units
relative to the equal tempered pitch. One-cent is 1/100th of a semitone.
Parameter Range/Explanation
OFF, ON
SCALE TUNE
Turn this on when you wish to use a tuning scale
SWITCH other than equal temperament.
14
STRUCTURE
-64–+63
C–B
Make scale tune settings for Patch mode.
PATCH STRUCTURE
Structure changes how a tone is sounded.
Equal Temperament
This tuning divides the octave into 12 equal parts, and is the
most widely used method of temperament used in Western
music. The JV-1080 employs equal temperament when the Scale
Tune Switch is set to “OFF.”
Just Intonation (Tonic of C)

Compared with equal temperament, the principle triads sound Parameter Range/Explanation
pure in this tuning. However, this effect is achieved only in one
1–10
key, and the triads will become ambiguous if you transpose. Determines how tone 1 and 2, or tone 3 and 4 are
TONE 1 & 2, 3 & 4 TYPE connected.
Arabian Scale The following 10 different Types of combination
In this scale, E and B are a quarter note lower and C#, F# and are available.
G# are a quarter-note higher compared to equal temperament.

The intervals between G and B, C and E, F and G#, Bb and C#,
Type 01
and Eb and F# have a neutral third-the interval between a major
third and a minor third. On the JV-1080, you can use Arabian
TONE 1 (3) WG TVF TVA
temperament in the three keys of G, C and F.
Equal Just intonation TONE 2 (4) WG
Note name Arabian scale TVF TVA
temperament (tonic C)
C 0 0 -6
C# 0 -8 +45 With this type, tones 1 and 2 (or 3 and 4) are independent. Use this type
D 0 +4 -2 when you want to preserve PCM sounds or create and combine sounds
Eb 0 +16 -12 for each tone.
E 0 -14 -51
Type 02
F 0 -2 -8
F# 0 -10 +43 TONE 1 (3) WG TVA TVF

G 0 +2 -4
G# 0 +14 +47 TONE 2 (4) WG TVF TVA
A 0 -16 0
Bb 0 +14 -10
This type stacks the two filters together to intensify the characteristics
B 0 -12 -49
of the filters. The TVA for tone 1 (or 3) controls the volume balance
between the two tones.
Type 03
TONE 1 (3) WG TVA TVF

B
This type mixes the sound of tone 1 (3) and tone 2 (4), applies a filter,
and then applies a booster to distort the waveform.
Type 04

B
This type applies a booster to distort the waveform, and then combines
the two filters. The TVA for tone 1 (or 3) controls the volume balance
between the two tones and adjusts booster level.
15
* When TYPE 02–10 is selected and one tone of a pair is turned

Type 05
off, the other tone will be sounded as TYPE 01 regardless of the
TONE 1 (3) WG TVA TVF displayed setting.
R * If you limit the keyboard area in which a tone will sound (KEY
TONE 2 (4) WG TVF TVA RANGE, p. 25) or limit the range of velocities for which it will
sound (VELOCITY RANGE, p. 25), the result in areas or ranges
where the tone does not sound is just as if the tone had been
This type uses a ring modulator to create new overtones, and combines turned off. This means that if TYPE 02–10 is selected and you
the two filters. The tone 1 (3) TVA will control the volume balance of the create a keyboard area or velocity range in which one tone of
two tones, adjusting the depth of ring modulator. a pair does not sound, notes played in that area or range will
Type 06 be sounded by the other tone as TYPE 01 regardless of the
displayed setting.
R
0, +6, +12, +18
TONE 2 (4) WG TVF TVA Specifies the amount of boost that is applied (when
the Structure Type is 03 or 04)
TONE 1 & 2, 3 & 4
The booster distorts the sound by boosting the
BOOSTER
input signal, producing the distortion effect that is
This type uses a ring modulator to create new overtones, and in often used with an electric guitar. Increasing this
addition mixes in the sound of tone 2 (4) and stacks the two filters. value will produce stronger distortion.
Since the ring-modulated sound can be mixed with tone 2 (4), tone 1
(3) TVA can adjust the amount of the ring-modulated sound.
Type 07 Booster
The Booster is used to distort the incoming signal.
Booster level
R
This type applies a filter to tone 1 (3) and ring-modulates it with tone 2
(4) to create new overtones.
Type 08
In addition to using this other than to create distortion, you can
TONE 1 (3) WG
use the waveform (WG1) of one of the tones as an LFO which
TVF TVA
shifts the other waveform (WG2) upward or downward to create
R
modulation similar to PWM (pulse width modulation).
This parameter works best when you use it in conjunction with
the WAVE GAIN parameter (p. 18).
This type sends the filtered tone 1 (3) and tone 2 (4) through a ring Uses WG1 as LFO Adjusts WG1 output
modulator, and then mixes in the sound of tone 2 (4) and applies a filter
to the result.
Type 09
WG1 TVA
TONE 1 (3) WG TVF TVA Booster

R
WG2
This type passes the filtered sound of each tone through a ring WG2
modulator to create new overtones. The tone 1 (3) TVA will control
Adds to WG1
the volume balance of the two tones, adjusting the depth of ring
Distorted area of the
modulator. Waveform changes
Type 10

Shift in waveform by WG1
R
This type passes the filtered sound of each tone through a ring
modulator to create new overtones, and also mixes in the sound of
tone 2 (4). Since the ring-modulated sound can be mixed with tone 2
(4), tone 1 (3) TVA can adjust the amount of the ring-modulated sound.
16
Ring Modulator Type of tone delay

NORMAL: The tone begins to play after the time
specified in the TONE DELAY TIME parameter has
elapsed.
HOLD: 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.
KEY-OFF-NORMAL: Rather than being played
while the key is pressed, the tone begins to play
once the period of time specified in the TONE
A ring modulator multiplies the waveforms of two tones with each DELAY TIME parameter has elapsed after release
other, generating many new overtones (inharmonic partials) which TONE DELAY MODE of the key. This is effective in situations such as
(*1) when simulating noises from guitars and other
were not present in either waveform (Unless one of the waveforms instruments.
is a sine wave, evenly-spaced frequency components will not usually KEY-OFF-DECAY: Rather than being played while
the key is pressed, the tone begins to play once
be generated.). the period of time specified in the TONE DELAY
TIME parameter has elapsed after release of the
As the pitch difference between the two waveforms changes the key. Here, however, changes in the TVA Envelope
harmonic structure, the result will be an unpitched metallic sound. begin while the key is pressed, which in many
cases means that only the sound from the release
This function is suitable for creating metallic sounds such as bells. portion of the envelope is heard.
* 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 “KEY-OFF-
NORMAL” or “KEY-OFF-DECAY” may result in no
WG + PITCH sound being heard.
0–127, Note
Time from when the key is pressed (or if the
PATCH WG TONE DELAY TIME
Tone Delay Mode parameter is set to “KEY-OFF-
NORMAL” or “KEY-OFF-DECAY,” the time from
(*1)
when the key is released) until when the tone will
This modifies Waveforms/Pitch Envelope. sound Specify this as a note value if you want to
synchronize the delay to the tempo of the JV-1080.
*1 This produces a time delay between the moment a key is pressed

(or released), and the moment the tone actually begins to sound.
You can also make settings that shift the timing at which each tone
is sounded. This differs from the Delay in the internal effects, in that
by changing the sound character of the delayed tones and changing
the pitch for each tone, you can also perform arpeggio-like passages
just by pressing one key.
You can also synchronize the tone delay time to the tempo of the
JV-1080.
5 If you are not going to use Tone Delay, set the TONE DELAY
MODE parameter to “NORMAL” and DELAY TIME parameter to
“0.”
5 If STRUCTURE (p. 15) is set to TYPE 02–10, the settings for tone
Parameter marked with a “2" can be controlled using specified MIDI
1 (3) will follow the settings of tone 2 (4). (This is because the
messages (Matrix Control, p. 26).
outputs of tones 1 and 2 are combined into tone 2, and the
Parameter Range/Explanation outputs of tones 3 and 4 are combined into tone 4.)
Off, 1– * The following illustration shows the operation of “TVA Env.”
Basic waveform for a tone Tone Delay Mode: NORMAL
When in monaural mode, only the left side (L) is
specified. When in stereo, the right side
WAVE NUMBER (R) is also specified. No Tone Delay
L (Mono) /R “Set Stereo function”
To select a left/right pair of waveforms, select
the left (L) WAVE No., and then hold down the
Command (Ctrl) key and click the right (R) WAVE
No. to recall the right (R) WAVE.
Delay Time
Note on Note off
17
Tone Delay Mode: HOLD PITCH ENV (WAVE PITCH ENVELOPE)

messages. (Matrix Control, p. 26).
-12–+12
No sound
played Depth of the Pitch envelope
Delay Time DEPTH Higher settings will cause the pitch envelope to
produce greater change. Negative (-) settings will
invert the shape of the envelope.
Note on Note off -100–+100
Use this setting if you want the pitch envelope
Tone Delay Mode: KEY-OFF-NORMAL times (T2–T4) to be affected by the keyboard
TIME KF
location.
(Time Keyfollow)
Based on the pitch envelope times for the C4 key,
positive (+) settings will cause notes higher than C4
to have increasingly shorter times.
Delay Time -63–+63
Keyboard playing dynamics can be used to control
VEL SENS the depth of the pitch envelope.
(Velocity Sens) If you want the pitch envelope to have more effect
Note on Note off
for strongly played notes, set this parameter to a
positive (+) value.
Tone Delay Mode: KEY-OFF-DECAY
-63–+63
Delay Time This allows keyboard dynamics to affect the T1 of
T1 SENS
the Pitch envelope.
(T1 Velocity Sens)
If you want T1 to be speeded up for strongly played
notes, set this parameter to a positive (+) value.
Note on Note off -63–+63
Use this parameter when you want key release
Parameter Range/Explanation T4 SENS speed to affect the T4 value of the Pitch envelope.
(T4 Velocity Sens) If you want T4 to be speeded up for quickly
-6, 0, +6, +12 released notes, set this parameter to a positive (+)
Gain (amplification) of the waveform value.
The value changes in 6 dB (decibel) steps—an
GAIN 0–127
increase of 6 dB doubles the waveform’s gain.
* If you intend to use the Booster to distort the T1–4 2 Pitch envelope times (T1–T4)
waveform’s sound, set this parameter to its (Time 1–4) Higher settings will result in a longer time until the
maximum value (p. 16). next pitch is reached.
Turn this “ON” if you want the Phrase Loop to -63–+63
match the tempo of the DAW. Pitch envelope levels (L0–L4)
TEMPO SYNC L0–4
* When this parameter is set to “ON,” set the TONE Specify how the pitch will change at each point,
DELAY TIME parameter (p. 17) to “0.” (Level 0–4)
relative to the pitch set with COARSE TUNE or FINE
This sets whether FXM will be used (ON) or not TUNE.
ON (OFF).
1–4
FXM How FXM will perform frequency modulation
COLOR
(*2) Higher settings result in a grainier sound, while
lower settings result in a more metallic sound.
0–16
DEPTH 2
Depth of the modulation produced by FXM
-48–+48
COARSE 2 Pitch of the tone’s sound (in semitones, +/-4
octaves)
TUNE
-50–+50
FINE 2 Pitch of the tone’s sound (in 1-cent steps; one cent
is 1/100th of a semitone)
0–1200
Width of random pitch deviation that will occur
RANDOM PITCH each time a key is pressed (in 1-cent steps)
If you do not want the pitch to change randomly,
set this to “0.”
-200–+200
Amount of pitch change that will occur when you
play a key one octave higher
PITCH KF
If you want the pitch to rise one octave as on a
(Pitch Keyfollow)
conventional keyboard, set this to “+100.” If you
want the pitch to rise two octaves, set this to
“+200.”
*2 FXM (Frequency Cross Modulation) uses a specified waveform to

apply frequency modulation to the currently selected waveform,
creating complex overtones. This is useful for creating dramatic
sounds or sound effects.
18
Pitch Pitch Keyfollow TVF

+200
+100
PATCH TVF
+50
A filter cuts or boosts a specific frequency region to change a sound’s
brightness, thickness, or other qualities.
0
-50
-200 -100
Key
C1 C2 C3 C4 C5 C6 C7
Pitch Envelope
T1 T2 T3 T4
Pitch L0 Parameter marked with a “2" can be controlled using specified MIDI
Time
L1 L3 messages (Matrix Control,p. 26).
Note on Note off
L2 L4 Parameter Range/Explanation
Type of filter
OFF: No filter is used.
LPF: Low Pass Filter. This reduces the volume of all
frequencies above the Cutoff Frequency in order to
round off, or un-brighten the sound.
BPF: Band Pass Filter. This leaves only the
frequencies in the region of the Cutoff Frequency,
and cuts the rest. This can be useful when creating
distinctive sounds.
HPF: High Pass Filter. This cuts the frequencies
in the region below the Cutoff Frequency.
This is suitable for creating percussive sounds
emphasizing their higher tones.
PKG: Peaking Filter. This emphasizes the
frequencies in the region of the Cutoff Frequency.
FILTER TYPE You can use this to create wah-wah effects by
employing an LFO to change the Cutoff Frequency
cyclically.
LPF2: 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.
LPF3: 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.
* If you set “LPF2” or “LPF3,” the setting for the RES
parameter will be ignored.
0–127
CUTOFF 2
Frequency at which the filter begins to have an
(Cutoff Frequency)
effect on the waveform’s frequency components
0–127
Emphasizes the portion of the sound in the region
RES 2 of the cutoff frequency, adding character to the
(Resonance) sound
* Excessively high settings can produce oscillation,
causing the sound to distort.
-63–+63
This allows keyboard velocity to modify the
RES VEL SENS amount of Resonance.
(Resonance Velocity Sens) If you want strongly played notes to have a greater
Resonance effect, set this parameter to positive
(+) settings.
19
Parameter Range/Explanation FILTER ENV (TVF ENVELOPE)

-200–+200 Parameter marked with a “2" can be controlled using specified MIDI
Use this parameter if you want the cutoff frequency messages (Matrix Control, p. 26).
to change according to the key that is pressed
CUTOFF KF Relative to the cutoff frequency at the C4 key
(center C), positive (+) settings will cause the cutoff Parameter Range/Explanation
(Cutoff Keyfollow)
frequency to rise for notes higher than C4, and
-63–+63
negative (-) settings will cause the cutoff frequency
to fall for notes higher than C4. Larger settings will Depth of the TVF envelope
produce greater change. DEPTH Higher settings will cause the TVF envelope to
Resonance -100–+100
Use this setting if you want the TVF envelope times
LPF BPF HPF PKG TIME KF (T2–T4) to be affected by the keyboard location.
Level (Time Keyfollow) Based on the TVF envelope times for the C4 key
High (center C), positive (+) settings will cause notes
higher than C4 to have increasingly shorter times.
Frequency
FIX, 1–7
Cutoff frequency
Curve that determines how keyboard playing
dynamics (velocity) will affect the TVF envelope Set
Parameter Value
this to “FIX” if you don’t want the TVF Envelope to

be affected by the keyboard velocity.
VEL CURVE
(Velocity Curve)
FIX 1 2 3 4 5
Low FIX 1 2 3 4 5 6 7
-63–+63
Cutoﬀ Keyfollow Specifies how keyboard playing dynamics will
Cutoff frequency VEL SENS affect the depth of the TVF envelope.
(Octave)
(Velocity Sens) Positive (+) settings will cause the TVF envelope to
+200 have a greater effect for strongly played notes, and
+100
negative (-) settings will cause the effect to be less.
+2 -63–+63
+50 This allows keyboard dynamics to affect the T1 of
+1 T1 SENS the TVF envelope.
o 0 notes, set this parameter to a positive (+) value.
-63–+63
-1
-50
speed to affect the T4 value of the TVF envelope.
-2 T4 SENS
If you want T4 to be speeded up for quickly
-200 -100
released notes, set this parameter to a positive (+)
C1 C2 C3 C4 C5 C6 C7 value.
Key
0–127
T1–4 2 TVF envelope times (T1–T4)
(Time 1–4) Higher settings will lengthen the time until the
next cutoff frequency level is reached.
Parameter Range/Explanation 0–127
FIX, 1–7 L0–4 TVF envelope levels (L0–L4)
Curve that determines how keyboard playing (Level 0–4) Specify how the cutoff frequency will change at
dynamics (velocity) will affect the cutoff frequency each point, relative to the Cutoff Frequency value.
Set this to “FIX” if you don’t want the Cutoff
frequency to be affected by the keyboard velocity.
VEL CURVE TVF Envelope

(Cutoff Velocity Curve) T1 T2 T3 T4
FIX 1 2 3 4 5 6 7
FIX 1 2 3 4 5 6 7
Cutoff
-63–+63 frequency
L0
Time
Use this parameter when changing the cutoff L1 L2 L3 L4
frequency to be applied as a result of changes in
VEL SENS Note on Note off
playing velocity.
(Cutoff Velocity Sens)
If you want strongly played notes to raise the
cutoff frequency, set this parameter to positive (+)
settings.
20
Time Delay Time Keyfollow Parameter Range/Explanation
-100 -100–+100
Angle of the volume change that will occur in the
LEVEL selected Bias Direction
Larger settings will produce greater change.
-50
Negative (-) values will invert the change direction.
C-1–G9
POSITION
0 Key relative to which the volume will be modified
BIAS Direction in which change will occur starting from
(*1) the Bias Position
+50
LOWER: The volume will be modified for the
keyboard area below the Bias Position.
+100 UPPER: The volume will be modified for the
DIRECTION keyboard area above the Bias Position.
C1 C2 C3 C4 C5 C6 C7 Key
LO&UP: The volume will be modified symmetrically
toward the left and right of the Bias Position.
ALL: The volume changes linearly with the Bias
Position at the center.
TVA *1 Bias causes the volume to be affected by the keyboard position. This
is useful for changing volume through keyboard position (pitch)
PATCH TVA when playing acoustic instruments.
TVA adjusts the volume.

Level Level
Key Key
Level Level
Key Key
Parameter marked with a “2" can be controlled using specified MIDI Parameter Range/Explanation
messages (Matrix Control, p. 26). L64–0–63R
PAN 2
Left/right position of the tone
-100–+100
0–127 Use this parameter if you want key position to
Volume of the tone affect panning.
LEVEL 2 Positive (+) settings will cause notes higher than
This setting is useful primarily for adjusting the PAN KF
volume balance between tones. C4 key (center C) to be panned increasingly
(Pan Keyfollow)
further toward the right, and negative (-) settings
FIX, 1–7 will cause notes higher than C4 key (center C) to
Curve that determines how keyboard playing be panned toward the left. Larger settings will
dynamics (velocity) will affect the volume produce greater change.
Set this to “FIX” if you don’t want the volume of
0–63
the tone to be affected by the keyboard velocity.
Use this parameter when you want the stereo
location to change randomly each time you press
VEL CURVE RANDOM PAN DEPTH a key.
(Velocity Curve)
Higher settings will produce a greater amount of
change.
FIX 1 2 3 4 5 6 7
FIX 1 2 3 4 5 6 7
-63–+63
Set this when you want the volume of the tone to
change depending on keyboard playing dynamics
VEL SENS
Set this to a positive (+) value to have the changes
(Velocity Sens)
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.
21

L63–0–63R 0–127
L1–3
This setting causes panning to be alternated TVA envelope levels (L1–L3)
between left and right each time a key is pressed. (Level 1–3)
Specifies the volume at each point.
ALT. PAN DEPTH Higher settings will produce a greater amount of
change. “L” or “R” settings will reverse the order
(Alternate Pan Depth)
in which the pan will alternate between left and
right. For example if two tones are set to “L” and TVA Envelope
“R” respectively, the panning of the two tones will T1 T2 T3 T4
alternate each time they are played.
Pan Pan Keyfollow

Level
R +100
Time
L1 L2 L3
+50
Note on Note off
o 0
Time Delay Time Keyfollow
-100
-50
-100 -50
L Key
C1 C2 C3 C4 C5 C6 C7
+50
* When a TYPE 02–10 has been selected for STRUCTURE (p. 15),
the settings for PAN KF, RANDOM PAN DEPTH, and ALT. PAN
+100
DEPTH for tone 1 (3) will be in concord with the settings for C1 C2 C3 C4 C5 C6 C7 Key
tone 2 (4). (This is because the outputs of tones 1 and 2 are
consolidated in tone 2, and the outputs of tones 3 and 4 are
consolidated in tone 4.)
AMP ENV (TVA ENVELOPE) OUTPUT
Parameter marked with a “2" can be controlled using specified MIDI Parameter Range/Explanation
messages (Matrix Control, p. 26). 0–127
SEND LEVEL OUT
Level of the signal that is sent to the output
(Output Level)
Parameter Range/Explanation destination specified by OUTPUT ASSIGN
-100–+100 SEND LEVEL (OUTPUT ASSIGN = MFX)

Use this setting if you want the TVA envelope times 0–127
(T2–T4) to be affected by the keyboard location. CHO
Level of the signal sent to chorus for each tone if
Based on the TVA envelope times for the C4 key (Chorus Send)
TIME KF the tone is sent through MFX
(center C), positive (+) settings will cause notes
(TIME Keyfollow) 0–127
higher than C4 to have increasingly shorter times, REV
and negative (-) settings will cause them to have Level of the signal sent to reverb for each tone if
(Reverb Send)
increasingly longer times. Larger settings will the tone is sent through MFX
produce greater change.
SEND LEVEL (OUTPUT ASSIGN = non MFX)
-63–+63
0–127
This allows keyboard dynamics to affect the T1 of CHO
Level of the signal sent to chorus for each tone if
the TVA envelope. (Chorus Send)
the tone is not sent through MFX
T1 SENS If you want Time 1 to be speeded up for strongly
played notes, set this parameter to a positive (+) 0–127
REV
value. If you want it to be slowed down, set this to a Level of the signal sent to reverb for each tone if
negative (-) value. (Reverb Send)
the tone is not sent through MFX
-63–+63
speed to affect the T4 value of the TVA envelope.
T4 SENS If you want T4 to be speeded up for quickly
value. If you want it to be slowed down, set this to a
negative (-) value.
0–127
T1–4 2 TVA envelope times (T1–T4)
next volume level is reached.
22
Parameter Range/Explanation PATCH LFO

Specifies how the direct sound of each tone will
be output.
MFX: Output in stereo through multi-effects. You LFO 1/LFO 2
passes through multi-effects.
L+R: Output in stereo to the OUTPUT without messages (Matrix Control, p. 26).
L: Output in mono to the OUTPUT L without Parameter Range/Explanation
R: Output in mono to the OUTPUT R without Waveform of the LFO
passing through the multi-effect SIN: Sine wave
OUTPUT ASSIGN
* If the PATCH OUTPUT ASSIGN is set to anything TRI: Triangle wave
other than “TONE,” these settings will be ignored. SAW-UP: Sawtooth wave
* If “STRUCTURE” (p. 15) is set to TYPE 02–10, the SAW-DW: Sawtooth wave (negative polarity)
settings for tone 1 (3) will follow the settings of tone
2 (4). (This is because the outputs of tones 1 and 2 SQR: Square wave
are combined into tone 2, and the outputs of tones RND: Random wave
3 and 4 are combined into tone 4.) BEND-UP: Once the attack of the waveform output
* Sounds are output to chorus and reverb in mono by the LFO is allowed to develop in standard
at all times.
fashion, the waveform then continues without
* The output destination of the signal after passing further change.
through the chorus is set with the CHORUS OUTPUT
SELECT (p. 34). BEND-DW: Once the decay of the waveform
output by the LFO is allowed to develop in
WAVEFORM standard fashion, the waveform then continues
without further change.
TRP: Trapezoidal wave
LFO S&H: Sample & Hold wave (holds a random value
during each cycle)
An LFO (Low Frequency Oscillator) causes change over a cycle in a sound. CHS: Chaos wave
Each tone has two LFOs (LFO1/LFO2), and these can be used to cyclically VSIN: Modified sine wave. The amplitude of a sine
wave is randomly varied once each cycle.
change the pitch, cutoff frequency and volume to create modulation- STEP: A waveform generated by the data specified
type effects such as vibrato, wah and tremolo. Both LFOs have the same by LFO Step 1–16. This produces stepped change
with a fixed pattern similar to a step modulator.
parameters so only one explanation is needed.
* If you set this to “BEND-UP” or “BEND-DW,” you
must turn the KEY TRIGGER parameter (p. 24) to
“ON.” If this is “OFF,” it will have no effect.
-100–+100
Raises or lowers the LFO waveform relative to the
central value (pitch or cutoff frequency).
OFFSET Positive (+) settings will move the waveform
so that modulation will occur from the central
value upward. Negative (-) settings will move the
waveform so that modulation will occur from the
central value downward.
0–127, Note
Modulation speed of the LFO
If you want the LFO rate to be synchronized with
RATE VALUE 2 the tempo, this should be set in terms of a note
value.
* This setting will be ignored if the Waveform
parameter is set to “CHS.”
0–127
Makes subtle changes in the LFO cycle rate (Rate
parameter) each time a key is pressed.
RATE DETUNE
Higher settings will cause greater change.
* This parameter is invalid when RATE VALUE is set
to “note.”
0–127
Time elapsed before the LFO effect is applied
(the effect continues) after the key is pressed (or
released)
When using violin, wind, or certain other
DELAY TIME instrument sounds in a performance, rather than
having vibrato added immediately after the sounds
are played, it can be effective to add the vibrato
after the note is drawn out somewhat.
* Set this according to your purpose as described in
“How to Apply the LFO” (p. 24).
23
Parameter Range/Explanation How to Apply the LFO

-100–+100
Adjusts the value for the DELAY TIME parameter
Apply the LFO gradually after the key is pressed
depending on the key position, relative to the C4 Delay Time Fade Time
DELAY KEYFOLLOW
key (center C). high (more)
(Delay Time Keyfollow)
If this is set to a positive “+” value, the DELAY TIME
will become shorter as you play notes higher than Pitch
the C4 key (middle C). Depth
Cutoff frequency
Level
PAN Note on
Time Delay Time Keyfollow
low (less)
-100
FADE MODE: ON-IN

-50 DELAY TIME: Time from when the keyboard is played until the
LFO begins to be applied
0 FADE TIME: Time over which the LFO amplitude will reach the
maximum after the DELAY TIME has elapsed
+50 Apply the LFO immediately when the key is pressed, and then
gradually begin to decrease the effect
+100
high (more) Delay Time Fade Time
C1 C2 C3 C4 C5 C6 C7 Key
Pitch
Depth
Cutoff frequency
Level
Parameter marked with a “2" can be controlled using specified MIDI PAN
messages (Matrix Control, p. 26). low (less)
FADE MODE: ON-OUT
ON-IN, ON-OUT, OFF-IN, OFF-OUT
How the LFO will be applied DELAY TIME: Time that the LFO will continue after the keyboard
FADE MODE
* Set this according to your purpose as described in is played
FADE TIME: Time over which the LFO amplitude will reach the
0–127
minimum after the DELAY TIME has elapsed
Time over which the LFO amplitude will reach the
FADE TIME maximum (minimum)
* Set this according to your purpose as described in Apply the LFO gradually after the key is released
Delay Time Fade Time
OFF, ON high (more)
Specifies whether the LFO cycle will be
KEY TRIGGER Pitch
synchronized to begin when the key is pressed
Depth
(ON) or not (OFF). Cutoff frequency
-63–+63 Level
DEPTH PITCH 2 PAN Note Note
How deeply the LFO will affect pitch
on off
-63–+63 low (less)
DEPTH TVF 2
How deeply the LFO will affect the cutoff frequency
-63–+63 FADE MODE: OFF-IN
DEPTH TVA 2
How deeply the LFO will affect the volume DELAY TIME: Time from when the keyboard is released until the
-63–+63 LFO begins to be applied
DEPTH PAN 2
How deeply the LFO will affect the pan
maximum after the DELAY TIME has elapsed
Positive (+) and negative (-) settings for the DEPTH parameters result
Apply the LFO from when the key is pressed until it is released,
in differing kinds of change in pitch and volume. For example, if you
and gradually begin to decrease the effect when the key is
set the DEPTH parameter to a positive (+) value for one tone, and set
another tone to the same numerical value, but make it negative (-), the
released
modulation phase for the two tones will be the reverse of each other. Delay Time Fade Time
high (more)
This allows you to shift back and forth between two different tones, or
combine it with the Pan setting to cyclically change the location of the Pitch
Depth
sound image. Cutoff frequency
Level
* If “STRUCTURE” (p. 15) is set to TYPE 02–10, the settings for
PAN
tone 1 (3) will follow the settings of tone 2 (4). (This is because
low (less) Note Note
the outputs of tones 1 and 2 are combined into tone 2, and the on off
outputs of tones 3 and 4 are combined into tone 4.)
FADE MODE: OFF-OUT
DELAY TIME: Time that the LFO will continue after the keyboard
is released
minimum after the DELAY TIME has elapsed
24
STEP LFO MEMO

Parameter Range/Explanation When using the Matrix Control to have different tones played,
When generating an LFO waveform from the data set the lowest value (LOWER) and highest value (UPPER) of the
specified in LFO Step 1–16, specify whether the value of the MIDI message used.
level will change abruptly at each step or will be
STEP TYPE connected linearly.
NOTE
TYPE1: stair-step change
TYPE2: linear change Instead of using Velocity, you can also have tones substituted
-36–+36 using the Matrix Control. However, the keyboard velocity and
Specifies the data for the Step LFO. the Matrix Control cannot be used simultaneously to make
STEP 1–16
If the LFO PITCH DEPTH is +63, each +1 unit of the
step data corresponds to a pitch of +50 cents. different tones to sound. When using the Matrix Control to
switch tones, set the VELOCITY CONTROL parameter to “OFF.”
PATCH KEY RANGE

VELOCITY & KEY RANGE
You can use the note number to control the way each Tone is played.
PATCH VELOCITY RANGE
You can use the force with which keys are played to control the way each
Tone is played.
Level The tone sounded in The tone sounded in

the lower range the upper range
Pitch
The tone sounded when The tone sounded when

Level
you play softly you play strongly
Key Fade Lower Key Fade Upper

Key Range Lower Key Range Upper
Velocity
Velo Fade Lower Velo Fade Upper Parameter Range/Explanation

Velo Range Lower Velo Range Upper 0–127
Determines what will happen to the tone’s level
when a note that’s lower than Key Range Lower
Parameter Range/Explanation FADE LOWER is played.
OFF, ON, RANDOM, CYCLE If you don’t want the tone to sound at all, set this
Determines whether a different tone is played (ON) parameter to “0.”
or not (OFF) depending on the force with which
C-1– (UPPER)
the key is played (velocity).
VELOCITY CONTROL LOWER Specifies the lowest note that the tone will sound
RANDOM: The patch’s constituent tones will sound
for each tone.
randomly, regardless of any Velocity.
CYCLE: The patch’s constituent tones will sound (LOWER) –G9
consecutively, regardless of any Velocity. UPPER Specifies the highest note that the tone will sound
for each tone.
OFF, ON
TMT CONTROL SW Use the Matrix Control (p. 26) to enable (ON), or 0–127
disable (OFF) sounding of different tones. Determines what will happen to the tone’s level
when a note that’s higher than Key Range Upper
0–127 FADE UPPER is played.
If you don’t want the tone to sound at all, set this
when the tone is played at a velocity lower than
FADE LOWER parameter to “0.”
Velocity Range Lower.
parameter to “0.”
1– (UPPER)
LOWER Specifies the lowest velocity at which the tone will
sound.
(LOWER) –127
UPPER Specifies the highest velocity at which the tone
will sound.
0–127
when the tone is played at a velocity greater than
FADE UPPER Velocity Range Upper.
parameter to “0.”
25
MATRIX CONTROL Parameter Range/Explanation

OFF, PITCH, CUTOFF,
The function which allows you use MIDI messages to make changes in RESONANCE, LEVEL,
PAN, OUTPUT LEVEL,
realtime to the tone parameters is called the Matrix Control. Up to four
CHORUS SEND,
Matrix Controls can be used in a single patch. REVERB SEND,
LFO1/2 PCH DEPTH,
To use the Matrix Control, specify which MIDI message (SOURCE) will be LFO1/2 TVF DEPTH,
used to control which parameter (DESTINATION), and how greatly (SENS), LFO1/2 TVA DEPTH,
and the tone to which the effect is applied (TONE). LFO1/2 PAN DEPTH,
LFO1/2 RATE,
PCH ENV A-TIME,
PCH ENV D-TIME,
PCH ENV R-TIME,
DESTINATION 1–4 TVF ENV A-TIME,
TVF ENV D-TIME,
TVF ENV R-TIME,
TVA ENV A-TIME,
TVA ENV D-TIME,
TVA ENV R-TIME,
TMT, FXM DEPTH,
MFX-CTRL1–4
Tone parameters that are to be controlled when
using the Matrix Control Up to four parameters can
be specified for each Matrix Control, and controlled
simultaneously.
* In this manual, parameters that can be controlled
using the Matrix Control are marked with a “2.”
-63–+63
Amount of the Matrix Control’s effect that is
MIDI message used to change the tone parameter applied
with the Matrix Control If you wish to modify the selected parameter in a
OFF: Matrix control will not be used. positive (+) direction—i.e., a higher value, toward
CC01–31, 33–95: Controller numbers 1–31, 33–95 the right, or faster etc.—from its current setting,
PITCH BEND: Pitch Bend select a positive (+) value.
SENS 1–4 If you wish to modify the selected parameter in a
AFTERTOUCH: Aftertouch
negative (-) direction—i.e., a lower value, toward
VELOCITY: Pressure you press a key with
SOURCE 1–4 the left, or slower etc.—from its current setting,
KEYFOLLOW: Keyboard position with C4 as 0 select a negative (-) value.
TEMPO: The tempo of the DAW For either positive or negative settings, greater
LFO1: LFO 1 absolute values will allow greater amounts of
LFO2: LFO 2 change. Set this to “0” if you don’t want to apply
PITCH ENV: Pitch envelope the effect.
TVF ENV: TVF envelope Tone to which the effect is applied when using the
TVA ENV: TVA envelope Matrix Control
TONE 1–4 OFF: The effect will not be applied.
(Tone Switch 1–4)
ON: The effect will be applied.
REV: The effect will be applied in reverse.
MEMO
5 VELOCITY and KEYFOLLOW correspond to Note messages.
5 Although there are no MIDI messages for LFO 1 through TVA
Envelope, they can be used as Matrix Control. In this case, you
CONTROL SW
can change the tone settings in realtime by playing patches.
NOTE
If RCV BENDER, RCV EXP, or RCV HOLD-1 (p. 26–p. 27) are “ON,”
incoming MIDI messages of these types will affect the Pitch
Bend, Expression, or Hold 1 settings at the same time that they
affect the target parameter (DESTINATION). If you want these
incoming messages to affect only the target parameter, turn
these settings “OFF.”
OFF, ON
RCV BENDER
For each tone, specify whether MIDI Pitch Bend
(Receive Bender)
messages will be received (ON), or not (OFF).
OFF, ON
RCV EXP
For each tone, specify whether MIDI Expression
(Receive Expression)
26
OFF, ON
For each tone, specify whether MIDI Hold-1
RCV HOLD-1
(Receive Hold-1)
* If “NO-SUS” is selected for ENV MODE parameter,
this setting will have no effect.
OFF, ON
You can specify, on an individual tone basis,
whether or not the sound will be held when a Hold
1 message is received after a key is released, but
REDAMPER before the sound has decayed to silence.
If you want to sustain the sound, set this “ON.” This
function is effective for piano sounds.
* In order to use this function, you must also set RCV
HOLD-1 to “ON.”
CONTINUOUS, KEY-ON
For each tone, specify how pan messages will be
received.
CONTINUOUS: Whenever Pan messages are
received, the stereo position of the tone will be
RCV PAN MODE changed.
(Receive Pan Mode) KEY-ON: The pan of the tone will be changed only
when the next note is played. If a pan message is
received while a note is sounding, the panning will
not change until the next key is pressed.
* The channels cannot be set so as not to receive Pan
messages.
NO-SUS, SUSTAIN
When a loop waveform (p. 12) is selected, the
sound will normally continue as long as the key is
ENV MODE pressed. If you want the sound to decay naturally
(Envelope Mode) even if the key remains pressed, set this to “NO-
SUS.”
* If a one-shot type wave (p. 12) is selected, it will not
sustain even if this parameter is set to “SUSTAIN.”
27
Detailed Editing for a Rhythm Set (RHYTHM Parameters)
How to Edit a Rhythm Set Stereo Wave Settings (Set Stereo Function)
You can create a new rhythm set by editing an existing rhythm set. Some of the waves that make up a rhythm set key are stereo. With stereo
A rhythm set is a collection of rhythm keys (percussion instrument waves, the name of a left-channel wave ends in “L”, while the name of a
sounds). To edit a rhythm set, you need to edit the settings of the right-channel wave ends in “R.”
rhythm key assigned to each key.
The left and right waves are numbered consecutively; the right-channel
The rhythm key assigned to each key consists of up to four waves. wave number is one greater than the left-channel wave number.
The relationship between rhythm keys and waves is the same as the
relationship between patches and tones. You can use the following procedure to first select either the left or right
wave, and then select the other wave.
Copying/Pasting Rhythm Parameters
1. Select a rhythm set.
You can select and copy a portion of the rhythm parameters (such as a
rhythm key or MFX), and then paste those parameters to another rhythm
2. In the navigation window, make sure that [WG] is
key or another patch. selected.
3. In WAVE NUMBER L, select the wave that is the left side
1. In the main window, click the [UTILITY] button.
of the stereo wave.
A popup appears.
Item Explanation
4. While holding down the Command (Ctrl) key, click on
Initializes the settings of the patch or rhythm set.
WAVE NUMBER R.
Initialize This is convenient when you want to create data from The corresponding right-channel wave will be selected.
scratch.
Copies the selected parameter from the currently selected
MEMO
Copy patch or rhythm set to the clipboard.
After selecting the right-channel wave in WAVE NUMBER R, you
Pastes the selected parameter from the clipboard to the can also hold down the Command (Ctrl) key and click on WAVE
Paste current patch or rhythm set.
NUMBER L to select the left-channel wave.
If the wave is not a stereo wave, the selection won't change.
2. Select “Initialize”, “Copy” or “Paste.”
A list of the items that can be initialized or copied, or a list of the
destinations to which data can be written, appears.
3. In the list, click to select the desired item.
WG
Use TONE SWITCH (SW) 1–4 to turn each of the four waves on/off.
Use TONE SELECT 1–4 to select the wave that you want to edit.
5 You can select multiple waves by clicking a TONE SWITCH

button while holding down the computer’s Shift key.
5 You can select all waves by holding down the computer's
Command (Ctrl) key and clicking a TONE SWITCH button.
5 When you edit the settings of a wave, the settings of the
currently selected waves will change simultaneously.
5 Unselected waves can be edited independently.
28
JV-1080 Software Synthesizer Owner’s Manual Detailed Editing for a Rhythm Set (RHYTHM Parameters)
RHYTHM Parameters Parameter Range/Explanation

Sets the way sounds are played when the same key
is pressed a number of times.
SINGLE: Only one sound can be played at a time
COMMON when the same key is pressed. With continuous
sounds where the sound plays for an extended
time, the previous sound is stopped when the
RHYTHM KEY NAME ASSIGN TYPE following sound is played.
MULTI: Layer the sound of the same keys. Even
with continuous sounds where the sound plays
for an extended time, such as with crash cymbals,
the sounds are layered, without previously played
sounds being eliminated.
NO-SUS, SUSTAIN
When a loop waveform (p. 12) is selected, the
KEY NAME Name of the rhythm key assigned to each key sound will normally continue as long as the key is
pressed. If you want the sound to decay naturally
ENV MODE
even if the key remains pressed, set this to “NO-
SUS.”
RHYTHM COMMON * If a one-shot type wave (p. 12) is selected, it will not
sustain even if this parameter is set to “SUSTAIN.”
OFF, ON
ON: The sound will play back until the end of the
ONESHOT MODE
waveform (or the end of the envelope, whichever
comes first) even key is released.
OFF, ON
RCV EXP. For each rhythm key, specify whether MIDI
(Receive Expression) Expression messages will be received (ON), or not
Parameter Range/Explanation (OFF).
RHYTHM NAME Rhythm set name OFF, ON
0–127 For each rhythm key, specify whether MIDI Hold-1
RCV HOLD-1
LEVEL messages will be received (ON), or not (OFF).
Volume of the rhythm set (Receive Hold-1)
* If “NO-SUS” is selected for ENV MODE parameter,
Specifies how the unprocessed sound of the patch this setting will have no effect.
(rhythm set) will be output
For each rhythm key, specify how pan messages
MFX: Output in stereo via the multi-effect. Chorus will be received.
and reverb can also be applied after the multi-
CONTINUOUS: Whenever Pan messages are
effect.
received, the stereo position of the tone will be
L+R: Output in stereo from the OUTPUT without changed.
OUTPUT ASSIGN passing through the multi-effect RCV PAN MODE
KEY-ON: The pan of the tone will be changed only
L: Output in mono from the OUTPUT L without (Receive Pan Mode)
when the next note is played. If a pan message is
passing through the multi-effect received while a note is sounding, the panning will
R: Output in mono from the OUTPUT R without not change until the next key is pressed.
passing through the multi-effect * The channels cannot be set so as not to receive Pan
TONE: Output according to the settings of each messages.
tone
415.3–466.2 Hz
MASTER TUNE
Overall tuning of the JV-1080 WG
The display shows the frequency of the A4 note
(center A).
RHYTHM KEY WG
RHYTHM KEY CONTROL
RHYTHM KEY NAME Name of the rhythm key assigned to each key
0–48
Amount of pitch change that occurs when the
PITCH BEND RANGE pitch bend controller is at the maximum/minimum
position
(semitone units, maximum of four octaves)
OFF, 1–31
The Mute Group function allows you to designate Waves comprising the rhythm key
two or more rhythm keys that are not allowed to When in monaural mode, only the left side (L) is
sound simultaneously. specified. When in stereo, the right side (R) is also
On an actual acoustic drum set, an open hi-hat specified.
MUTE GROUP
and a closed hi-hat sound can never occur WAVE NUMBER L / R “Set Stereo function”
simultaneously. To reproduce the reality of this To select a left/right pair of waveforms, select
situation, you can set up a Mute Group. Up to 31 the left (L) WAVE No., and then hold down the
Mute Groups can be used. rhythm keys that are not Command (Ctrl) key and click the right (R) WAVE
belong to any such group should be set to “OFF.” No. to recall the right (R) WAVE.
OFF, ON
TEMPO SYNC Turn this “ON” if you want the Phrase Loop to
match the tempo of the DAW.
29
Parameter Range/Explanation PITCH ENV (RHYTHM KEY PITCH ENVELOPE)

-6, 0, +6, +12
Gain (amplification) of the waveform
GAIN -12–+12
The value changes in 6 dB (decibel) steps—an
increase of 6 dB doubles the waveform’s gain. Depth of the Pitch Envelope
DEPTH Higher settings will cause the pitch envelope to
0–127
LEVEL produce greater change. Negative (-) settings will
Volume of the waveform invert the shape of the envelope.
L64–0–63R -63–+63
PAN
Left/right position of the waveform Keyboard playing dynamics can be used to control
OFF, ON VEL SENS the depth of the pitch envelope.
Use this setting to cause the waveform’s panning to (Velocity Sens) If you want the pitch envelope to have more effect
change randomly each time a key is pressed (ON) for strongly played notes, set this parameter to a
RANDOM PAN or not (OFF). positive (+) value.
The range of the panning change is set by the -63–+63
RANDOM PAN DEPTH parameter (p. 32). This allows keyboard dynamics to affect the T1 of
T1 SENS
OFF, ON, REV the Pitch envelope.
(T1 Velocity Sens)
This setting causes panning of the waveform to be If you want T1 to be speeded up for strongly played
alternated between left and right each time a key notes, set this parameter to a positive (+) value.
ALT. PAN
is pressed. -63–+63
(Alternate Pan)
Set this to “ON” to pan the wave according to the Use this parameter when you want key release
ALT. PAN DEPTH parameter (p. 32) settings, or to T4 SENS speed to affect the T4 value of the Pitch envelope.
“REV” when you want the panning reversed. (T4 Velocity Sens) If you want T4 to be speeded up for quickly
-48–+48 released notes, set this parameter to a positive (+)
COARSE Pitch of the waveform’s sound (in semitones, +/-4 value.
octaves) 0–127
TUNE
-50–+50 T1–4 Pitch envelope times (T1–T4)
FINE Pitch of the waveform’s sound (in 1-cent steps; one (Time 1–4) Higher settings will result in a longer time until the
cent is 1/100th of a semitone) next pitch is reached.
OFF, ON -63–+63
ON This sets whether FXM will be used (ON) or not Pitch envelope levels (L0–L4)
L0–4
(OFF). Specify how the pitch will change at each point,
(Level 0–4)
relative to the pitch set with COARSE TUNE or FINE
1–4
FXM TUNE.
How FXM will perform frequency modulation
(*1) COLOR
Higher settings result in a grainier sound, while
lower settings result in a more metallic sound.
Pitch Envelope
0–16
DEPTH T1 T2 T3 T4
Depth of the modulation produced by FXM
*1 FXM (Frequency Cross Modulation) uses a specified waveform to

apply frequency modulation to the currently selected waveform,
creating complex overtones. This is useful for creating dramatic Pitch L0
Time
sounds or sound effects. L1 L3
Note on Note off
PITCH + TVF L2 L4
RHYTHM KEY PITCH
C-1–G9
Pitch at which a rhythm key sounds
COARSE Set the coarse tuning for Waves comprising the
rhythm keys with the RHYTHM KEY WG TUNE
COASE parameter (p. 30).
TUNE -50–+50
Pitch of the rhythm key’s sound (in 1-cent steps;
one cent is 1/100th of a semitone)
FINE
Set the fine tuning for Waves comprising the
rhythm keys with the RHYTHM KEY WG TUNE FINE
parameter (p. 30).
0–1200
Width of random pitch deviation that will occur
RANDOM PITCH each time a key is pressed (in 1-cent steps)
If you do not want the pitch to change randomly,
set this to “0.”
30
RHYTHM KEY TVF Parameter Range/Explanation

-63–+63
A filter cuts or boosts a specific frequency region to change a sound’s This allows keyboard velocity to modify the
RES VEL SENS amount of Resonance.
brightness, thickness, or other qualities.
(Resonance Velocity Sens) If you want strongly played notes to have a greater
Resonance effect, set this parameter to positive
(+) settings.
Resonance
LPF BPF HPF PKG

Level
High
Frequency
Type of filter
Cutoff frequency
OFF: No filter is used.
LPF: Low Pass Filter. This reduces the volume of all
Parameter Value
frequencies above the cutoff frequency in order to
round off, or un-brighten the sound.
BPF: Band Pass Filter. This leaves only the
frequencies in the region of the cutoff frequency,
and cuts the rest. This can be useful when creating
distinctive sounds.
HPF: High Pass Filter. This cuts the frequencies
in the region below the cutoff frequency.
This is suitable for creating percussive sounds
emphasizing their higher tones. Low
PKG: Peaking Filter. This emphasizes the
frequencies in the region of the cutoff frequency.
TYPE You can use this to create wah-wah effects by Parameter Range/Explanation
employing an LFO to change the cutoff frequency
cyclically. FIX, 1–7
LPF2: Low Pass Filter 2. Although frequency Curve that determines how keyboard playing
components above the cutoff frequency are cut, dynamics (velocity) will affect the cutoff frequency
the sensitivity of this filter is half that of the LPF. Set this to “FIX” if you don’t want the cutoff
This filter is good for use with simulated instrument frequency to be affected by the keyboard velocity.
sounds such as the acoustic piano.
VEL CURVE
LPF3: Low Pass Filter 3. Although frequency (Cutoff Velocity Curve)
components above the cutoff frequency are cut,
the sensitivity of this filter changes according to FIX 1 2 3 4 5
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. FIX 1 2 3 4 5 6 7
* If you set “LPF2” or “LPF3,” the setting for the RES
parameter will be ignored. -63–+63
Use this parameter when changing the cutoff
0–127
CUTOFF frequency to be applied as a result of changes in
Frequency at which the filter begins to have an VEL SENS
(Cutoff Frequency) playing velocity.
effect on the waveform’s frequency components (Cutoff Velocity Sens)
If you want strongly played notes to raise the
0–127 cutoff frequency, set this parameter to positive (+)
Emphasizes the portion of the sound in the region settings.
RES of the cutoff frequency, adding character to the
(Resonance) sound.
* Excessively high settings can produce oscillation,
causing the sound to distort. FILTER ENV (TVF ENVELOPE)
-63–+63
Depth of the TVF envelope
DEPTH Higher settings will cause the TVF envelope to
FIX, 1–7
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.
VEL CURVE
(Velocity Curve)
FIX 1 2 3 4 5
FIX 1 2 3 4 5 6 7
-63–+63
Specifies how keyboard playing dynamics will
VEL SENS affect the depth of the TVF envelope.
(Velocity Sens) Positive (+) settings will cause the TVF envelope to
have a greater effect for strongly played notes, and
negative (-) settings will cause the effect to be less.
31

-63–+63 L64–0–63R
PAN
This allows keyboard dynamics to affect the T1 of Left/right position of the rhythm key
T1 SENS the TVF envelope.
0–63
notes, set this parameter to a positive (+) value. Use this parameter when you want the stereo
location to change randomly each time you press
-63–+63 RANDOM PAN DEPTH a key.
Use this parameter when you want key release Higher settings will produce a greater amount of
speed to affect the T4 value of the TVF envelope. change.
T4 SENS
If you want T4 to be speeded up for quickly
L63–0–63R
value. This setting causes panning to be alternated
between left and right each time a key is pressed.
0–127 Higher settings will produce a greater amount of
ALT. PAN DEPTH
T1–4 TVF envelope times (T1–T4) change. “L” or “R” settings will reverse the order in
(Alternate Pan Depth)
(Time 1–4) Higher settings will lengthen the time until the which the pan will alternate between left and right.
next cutoff frequency level is reached. For example if two rhythm keys are set to “L” and
“R” respectively, the panning of the two rhythm
0–127 keys will alternate each time they are played.
L0–4 TVF envelope levels (L0–L4)
(Level 0–4) Specify how the cutoff frequency will change at
each point, relative to the Cutoff Frequency value.
AMP ENV (TVA ENVELOPE)
TVF Envelope
-63–+63
T1 T2 T3 T4
This allows keyboard dynamics to affect the T1 of
the TVA envelope.
T1 SENS If you want Time 1 to be speeded up for strongly
played notes, set this parameter to a positive (+)
Cutoff negative (-) value.
frequency -63–+63
L0
Time
L1 L2 L3 L4 Use this parameter when you want key release
speed to affect the T4 value of the TVA envelope.
Note on Note off
T4 SENS If you want T4 to be speeded up for quickly
negative (-) value.
TVA + VELOCITY 0–127

T1–4 TVA envelope times (T1–T4)
RHYTHM KEY TVA next volume level is reached.
0–127
This adjusts the volume. L1–3 TVA envelope levels (L1–L3)
(Level 1–3) Specify how the volume will change at each point,
relative to the LEVEL value.
TVA Envelope
T1 T2 T3 T4
0–127 Level
Volume of the rhythm key
LEVEL
This setting is useful primarily for adjusting the
volume balance between rhythm ones. Time
L1 L2 L3
FIX, 1–7 Note on Note off
dynamics (velocity) will affect the volume of the
rhythm key OUTPUT
Set this to “FIX” if you don’t want the volume of
the tone to be affected by the keyboard velocity. Parameter Range/Explanation
VEL CURVE
0–127
(Velocity Curve) SEND LEVEL OUT
Level of the signal that is sent to the output
(Output Level)
FIX 1 2 3 4 5 6 7 destination specified by OUTPUT ASSIGN
SEND LEVEL (OUTPUT ASSIGN = MFX)
0–127
CHO
FIX 1 2 3 4 5 6 7 Level of the signal sent to chorus for each rhythm
(Chorus Send)
key if the rhythm key is sent through MFX
-63–+63
0–127
Set this when you want the volume of the rhythm REV
key to change depending on keyboard playing Level of the signal sent to reverb for each rhythm
(Reverb Send)
VEL SENS dynamics. key if the rhythm key is sent through MFX
(Velocity Sens) Set this to a positive (+) value to have the changes SEND LEVEL (OUTPUT ASSIGN = non MFX)
in tone volume increase the more forcefully the
keys are played; to make the tone play more softly 0–127
CHO
as you play harder, set this to a negative (-) value. Level of the signal sent to chorus for each rhythm
(Chorus Send)
key if the rhythm key is not sent through MFX
32
0–127
REV
Level of the signal sent to reverb for each rhythm
(Reverb Send)
key if the rhythm key is not sent through MFX
Specifies how the direct sound of each rhythm key
will be output.
MFX: Output in stereo through multi-effects. You
passes through multi-effects.
L+R: Output in stereo to the OUTPUT without
L: Output in mono to the OUTPUT L without
OUTPUT ASSIGN
R: Output in mono to the OUTPUT R without
* If the OUTPUT ASSIGN in “RHYTHM COMMON” is
set to anything other than “TONE,” these settings
will be ignored.
* Sounds are output to chorus and reverb in mono
at all times.
* The output destination of the signal after passing
through the chorus is set with the CHORUS OUTPUT
SELECT parameters (p. 34).
RHYTHM KEY VELOCITY RANGE

You can use the force with which keys are played to control the way each
waveform is played.
The waveform sounded The waveform sounded

Level when you play softly when you play strongly
Velocity
Velo Fade Lower Velo Fade Upper

Velo Range Lower Velo Range Upper
OFF, ON, RANDOM
Determines whether a different waveform is played
(ON) or not (OFF) depending on the force with
VELOCITY CONTROL which the key is played (velocity).
RANDOM: The rhythm key’s constituent
waveforms will sound randomly, regardless of any
Velocity messages.
0–127
Determines what will happen to the waveform’s
level when the rhythm key is played at a velocity
FADE LOWER lower than Velocity Range Lower.
If you don’t want the waveform to sound at all, set
this parameter to “0.”
1– (UPPER)
LOWER Specifies the lowest velocity at which the
waveform will sound.
(LOWER) –127
UPPER Specifies the highest velocity at which the
waveform will sound.
0–127
Determines what will happen to the waveform’s
level when the rhythm key is played at a velocity
FADE UPPER greater than Velocity Range Upper.
If you don’t want the waveform to sound at all, set
this parameter to “0.”
33
EFFECTS Parameters
Applying Effects Parameter Range/Explanation
Specifies how the unprocessed sound of the patch
(rhythm set) will be output
You can apply multi-effects (MFX), chorus, and reverb to each patch or
If you’ve selected a rhythm set, this will be RHYTHM
rhythm set; the same effect will be applied to each tone. OUTPUT ASSIGN.
MFX: Output in stereo via the multi-effect. Chorus
By adjusting the amount of signal that is sent from each tone to each and reverb can also be applied after the multi-
effect.
effect, you can control the depth of the effect for each tone. PATCH OUTPUT ASSIGN / L+R: Output in stereo from the OUTPUT without
RHYTHM OUTPUT ASSIGN passing through the multi-effect
Effect Settings L: Output in mono from the OUTPUT L without
R: Output in mono from the OUTPUT R without
When you click the following buttons in the Navigation block, the content passing through the multi-effect
shown in the Main block will change, allowing you to edit the effect TONE: Output according to the settings of each
settings. tone
Specifies how the unprocessed sound of each tone
will be output
Signal Flow and Parameters (ROUTING) MFX: Output in stereo via the multi-effect. Chorus
and reverb can also be applied after the multi-
effect.
Here you can make overall settings for effects, such as the output L+R: Output in stereo from the OUTPUT without
destination and level of the various signals. passing through the multi-effect
L: Output in mono from the OUTPUT L without
TONE OUTPUT ASSIGN passing through the multi-effect
PATCH EFFECTS ROUTING screen R: Output in mono from the OUTPUT R without
* The setting you specify here is valid only if PATCH
OUTPUT ASSIGN is set to “TONE.”
* If STRUCTURE (p. 15) is set to TYPE 02–10, the
settings for tone 1 (3) will follow the settings of tone
2 (4). (This is because the outputs of tones 1 and 2
are combined into tone 2, and the outputs of tones
3 and 4 are combined into tone 4.)
0–127
TONE OUTPUT LEVEL Level of signal sent from each tone to the
destination specified by OUTPUT ASSIGN
0–127
TONE CHORUS SEND LEVEL
Level of signal sent from each tone to the chorus
0–127
TONE REVERB SEND LEVEL
Level of signal sent from each tone to the reverb
0–78
Type of multi-effect to use (choose one of 78 types)
MFX
For details on each multi-effect, refer to “Multi-
RHYTHM EFFECTS ROUTING screen Effects Parameters (MFX)” (p. 37).
0–127
MFX OUTPUT LEVEL Volume of the sound that has been processed by
the multi-effect
0–127
MFX CHORUS SEND LEVEL Amount of chorus applied to the sound that has
been processed by the multi-effect
0–127
MFX REVERB SEND LEVEL Amount of reverb applied to the sound that has
Type of chorus
OFF: Chorus/delay will not be used
CHORUS CHORUS: Chorus
DELAY: Delay
GM2 CHORUS: GM2 chorus
0–127
CHORUS LEVEL Volume of the sound that has been processed by
Parameter Range/Explanation the chorus
1–4 (A0–C8) Output destination of the sound that has been
The tone (rhythm key) to edit processed by the chorus
If you’ve selected a rhythm set, this will be KEY MAIN: Output in stereo to the OUTPUT
CHORUS OUTPUT SELECT
NAME. MAIN+REV: Output in stereo to the OUTPUT and in
TONE SELECT / KEY NAME * You can select multiple tones by clicking a TONE mono to the reverb
SELECT button while holding down the computer’s REV: Output in mono to reverb
Shift key.
* You can select all tones by holding down the Type of reverb
computer's Command (Ctrl) key and clicking a OFF: Reverb will not be used
TONE SELECT button. REVERB: Basic reverb
SRV ROOM: Reverb that simulates the
reverberation of a room in greater detail
REVERB
SRV HALL: Reverb that simulates the reverberation
of a hall in greater detail
SRV PLATE: Simulation of a plate echo (a reverb
device that uses a metal plate)
GM2 REVERB: GM2 reverb
34
JV-1080 Software Synthesizer Owner’s Manual EFFECTS Parameters

0–127 Specifies the MIDI message that will control the
REVERB LEVEL Volume of the sound that has been processed by corresponding MFX control parameter.
the reverb OFF: MFX Control will not be used.
CONTROL SOURCE CC01–31: Controller number 1–31
(1–4)
CC33–95: Controller number 33–95
PITCH BEND: Pitch bend
Multi-Effect Settings (MFX) AFTERTOUCH: Aftertouch
Selects the multi-effect parameter that will be
controlled by CONTROL SOURCE.
DESTINATION The type of parameters that can be selected will
(1–4) depend on the type of multi-effect you’ve selected
in MFX Type.
Refer to “Multi-Effects Parameters (MFX)” (p. 37).
-63–+63
Specifies the depth of multi-effect control.
Specify a positive (+) value if you want to change
the value of the assigned destination in a positive
SENS direction (larger, toward the right, faster, etc.), or
Parameter Range/Explanation (1–4) specify a negative value (-) if you want to change
the value in a negative direction (smaller, toward
OFF, ON
ON/OFF the left, slower, etc.).
Turns the multi-effect on/off
Larger values will allow a greater amount of
00: THROUGH–78: SYMPATHETIC RESONANCE control.
Selects the type of multi-effect.
TYPE
Choose “00: THROUGH” if you don’t want to apply
a multi-effect. A patch or rhythm set contains parameters that specify whether pitch
0–127 bend, controller number 11 (expression), and controller number 64
OUT Volume of the sound that has been processed by (hold 1) will be received for each tone or rhythm key (p. 26, p. 29). If
the multi-effect
these settings are “ON,” receiving that MIDI message will not only
0–127 change the setting of the assigned destination parameter, but will also
SEND LEVEL CHO Amount of chorus applied to the sound that has
been processed by the multi-effect apply the corresponding pitch bend, expression, or hold 1 effect. Leave
them “OFF” if you only want to control the multi-effect parameter.
0–127
REV Amount of reverb applied to the sound that has
Edit the parameters of the MFX type you’ve
Parameters of each MFX type selected. Refer to “Multi-Effects Parameters
(MFX)” (p. 37).
Controlling a Multi-Effect via MIDI

(CONTROL SOURCE/DESTINATION/SENS)
Multi-Effect Control
The JV-1080 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 (MFX)” (p. 37).
“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 the MFX.
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).
5 As a substitute for multi-effect control, you can also use
“MATRIX CONTROL” (p. 26) to control important multi-effect
parameters in real time.
35
JV-1080 Software Synthesizer Owner’s Manual EFFECTS Parameters
Chorus and Reverb Settings
Chorus Settings
ON/OFF Turns the chorus on/off

Type of chorus
OFF: Chorus/delay will not be used
TYPE CHORUS: Chorus
DELAY: Delay
GM2 CHORUS: GM2 chorus
Volume of the sound that has been processed by
LEVEL the chorus
Output destination of the sound that has been
processed by the chorus
MAIN: Output in stereo to the OUTPUT
OUTPUT SELECT
MAIN+REV: Output in stereo to the OUTPUT and in
mono to the reverb
REV: Output in mono to reverb
Parameters for each chorus Set the parameters of the selected chorus type.
type Refer to “Chorus Parameters” (p. 69).
Reverb Settings
Turns the reverb on/off
ON/OFF
* The reverb on/off setting cannot be saved.
Type of reverb
OFF: Reverb will not be used
REVERB: Basic reverb/delay
SRV ROOM: Reverb that simulates the
reverberation of a room
TYPE
SRV HALL: Reverb that simulates the reverberation
of a hall
SRV PLATE: Simulation of a plate echo (a reverb
device that uses a metal plate)
GM2 REVERB: GM2 reverb
Volume of the sound that has been processed by
LEVEL the reverb
Parameters for each reverb Set the parameters of the selected reverb type.
type Refer to”Reverb Parameters” (p. 69).
36
Effects List
Multi-Effects Parameters (MFX) 46 MODULATION DELAY p. 56
47 3TAP PAN DELAY p. 56

The multi-effects feature 78 different kinds of effects. Some of the effects 48 4TAP PAN DELAY p. 57
consist of two or more different effects connected in series. 49 MULTI TAP DELAY p. 57
50 REVERSE DELAY p. 58
Parameters marked with a sharp “#” can be controlled using a Multi-Effects
Control (p. 35) or Matrix Control (p. 26). (Two setting items will change 51 SHUFFLE DELAY p. 58
simultaneously for “#1” and “#2.”) 52 3D DELAY p. 59
53 TIME CTRL DELAY p. 59

FILTER (10 types) 54 LONG TIME CTRL DELAY p. 60
01 EQUALIZER p. 39 55 TAPE ECHO p. 60
02 SPECTRUM p. 39 LO-FI (5 types)
03 ISOLATOR p. 39 56 LOFI NOISE p. 61
04 LOW BOOST p. 39 57 LOFI COMPRESS p. 61
05 SUPER FILTER p. 40 58 LOFI RADIO p. 62
06 STEP FILTER p. 40 59 TELEPHONE p. 62
07 ENHANCER p. 40 60 PHONOGRAPH p. 62
08 AUTO WAH p. 41 PITCH (3 types)
09 HUMANIZER p. 41 61 PITCH SHIFTER p. 63
10 SPEAKER SIMULATOR p. 42 62 2VOICE PITCH SHIFTER p. 63
MODULATION (12 types) 63 STEP PITCH SHIFTER p. 64
11 PHASER p. 42 REVERB (2 types)
12 STEP PHASER p. 43 64 REVERB p. 64
13 MULTI STAGE PHASER p. 43 65 GATED REVERB p. 65
14 INFINITE PHASER p. 43 COMBINATION (12 types)
15 RING MODULATOR p. 44 66 OVERDRIVE0CHORUS p. 65
16 STEP RING MODULATOR p. 44 67 OVERDRIVE0FLANGER p. 65
17 TREMOLO p. 44 OVERDRIVE0DELAY p. 65
68
18 AUTO PAN p. 45 DISTORTION0CHORUS p. 66
69
19 STEP PAN p. 45 DISTORTION0FLANGER p. 66
70
20 SLICER p. 45
71 DISTORTION0DELAY p. 66
21 ROTARY p. 46
72 ENHANCER0CHORUS p. 66
22 VK ROTARY p. 46
73 ENHANCER0FLANGER p. 66
CHORUS (12 types)
74 ENHANCER0DELAY p. 67
23 CHORUS p. 47
75 CHORUS0DELAY p. 67
24 FLANGER p. 47
76 FLANGER0DELAY p. 67
25 STEP FLANGER p. 48
77 CHORUS0FLANGER p. 68
26 HEXA-CHORUS p. 48
PIANO (1 type)
27 TREMOLO CHORUS p. 48
78 SYMPATHETIC RESONANCE p. 68
28 SPACE-D p. 49
29 3D CHORUS p. 49
30 3D FLANGER p. 50
31 3D STEP FLANGER p. 50
32 2BAND CHORUS p. 51
33 2BAND FLANGER p. 51
34 2BAND STEP FLANGER p. 52

DYNAMICS (8 types)
35 OVERDRIVE p. 52
36 DISTORTION p. 52
37 VS OVERDRIVE p. 52
38 VS DISTORTION p. 53
39 GUITAR AMP SIMULATOR p. 53
40 COMPRESSOR p. 53
41 LIMITER p. 54
42 GATE p. 54
DELAY (13 types)
43 DELAY p. 54
44 LONG DELAY p. 55
45 SERIAL DELAY p. 55
37
JV-1080 Software Synthesizer Owner’s Manual Effects List
About RATE and DELAY TIME When Using 3D Effects

Some of the effect parameters can be set in terms of a note value (these The following 3D effects utilize RSS (Roland Sound Space) technology to
are parameters that specify a cycle, such as RATE or DELAY TIME). These create a spaciousness that cannot be produced by delay, reverb, chorus,
parameters have a SYNC switch that lets you choose whether to set them etc.
as a numerical frequency or time, or as a note value.
52: 3D DELAY
If you want to set RATE (DELAY TIME) as a numerical value, set the 29: 3D CHORUS
SYNC switch to “OFF.” If you want to set it as a note value, set the SYNC 30: 3D FLANGER
switch to “ON.”
31: 3D STEP FLANGER
* If RATE is specified as a note value, the modulation is When using these effects, we recommend that you place the speakers
synchronized to the tempo of the DAW. as follows. Also, make sure that the speakers are at a sufficient distance
Sixty-fourth- Sixty-fourth Thirty-second- Thirty-second from the walls on either side.
note triplet note note triplet note
Sixteenth-note Dotted thirty- Eighth-note
Sixteenth note
triplet second note triplet
Dotted Quarter-note Dotted eighth
Eighth note
sixteenth note triplet note
Half-note Dotted quarter
Quarter note Half note
triplet note
Whole-note Dotted half Double-note
Whole note
triplet note triplet
Dotted whole
Double note
note
NOTE
5 If a parameter whose SYNC switch is set to “ON” is specified If the left and right speakers are too far apart, or if there is too much
as a destination for multi-effect control, you will not be able to reverberation, the full 3D effect may not appear.
use multi-effect control to control that parameter. Each of these effects has an “OUTPUT MODE” parameter. If the sound
5 If you specify the delay time as a note value, slowing down the from the OUTPUT is to be heard through speakers, set this parameter to
tempo will not change the delay time beyond a certain length. “SPEAKER.” If the sound is to be heard through headphones, set it to
This is because there is an upper limit for the delay time; if the “PHONES.” This will ensure that the optimal 3D effect will be heard. If
delay time is specified as a note value and you slow down the this parameter is not set correctly, the full 3D effect may not appear.
tempo until this upper limit is reached, the delay time cannot
change any further. This upper limit is the maximum value that About the STEP RESET function
can be specified when setting the delay time as a numerical
value. 06: STEP FILTER
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. 35) 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.
SOURCE: CC01: MODULATION
DESTINATION: STEP RESET
SENS: 63
With these settings, the sequence will play back from the first step
whenever you operate the modulation lever.
38
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 4-Band EQ L out
L in Isolator Low Boost L out
R in 4-Band EQ R out
R in Isolator Low Boost R out
Parameter Value Explanation
LOW FREQ 200, 400 Hz Frequency of the low range Parameter Value Explanation
Amount of boost/cut for the low- BOOST/CUT LOW # These boost and cut each of the
LOW GAIN # -15–+15 dB
frequency range High, Middle, and Low frequency
ranges.
MID1 FREQ 200–8000 Hz Frequency of the middle range 1 BOOST/CUT MID # -60–+4 dB
At -60 dB, the sound becomes
Width of the middle range 1 inaudible. 0 dB is equivalent to the
MID1 Q 0.5, 1.0, 2.0, 4.0, 8.0 Set a higher value for Q to narrow the BOOST/CUT HIGH # input level of the sound.
range to be affected.
Turns the Anti-Phase function
MID1 GAIN -15–+15 dB Gain of the middle range 1 on and off for the Low frequency
ranges.
MID2 FREQ 200–8000 Hz Frequency of the middle range 2 ANTI PHASE LOW SW OFF, ON
When turned on, the counter-channel
Width of the middle range 2 of stereo sound is inverted and added
MID2 Q 0.5, 1.0, 2.0, 4.0, 8.0 Set a higher value for Q to narrow the to the signal.
range to be affected.
Adjusts the Anti-Phase Level settings
MID2 GAIN -15–+15 dB Gain of the middle range 2 for the Low frequency ranges.
ANTI PHASE LOW 0–127 Adjusting this level for certain
HIGH FREQ 2000, 4000, 8000 Hz Frequency of the high range LEVEL frequencies allows you to lend
emphasis to specific parts. (This is
Amount of boost/cut for the high- effective only for stereo source.)
HIGH GAIN # -15–+15 dB
frequency range
ANTI PHASE MID SW OFF, ON Settings of the Anti-Phase function
OUTPUT LEVEL # 0–127 Output Level for the Middle frequency ranges
ANTI PHASE MID 0–127 The parameters are the same as for
LEVEL the Low frequency ranges.
Turns Low Booster on/off.

02: SPECTRUM LOW BOOST SW OFF, ON This emphasizes the bottom to create
a heavy bass sound.
This is a stereo spectrum. Spectrum is a type of filter which modifies the Increasing this value gives you a
timbre by boosting or cutting the level at specific frequencies. heavier low end.
LOW BOOST LEVEL 0–127 * Depending on the Isolator and filter
settings this effect may be hard to
distinguish.
L in Spectrum L out
OUTPUT LEVEL 0–127 Output Level
R in Spectrum R out
04: LOW BOOST
Boosts the volume of the lower range, creating powerful lows.
250Hz
500Hz
L in Low Boost 2-Band EQ L out
1000Hz
1250Hz
-15–+15 dB Gain of each frequency band R in R out
2000Hz Low Boost 2-Band EQ
3150Hz
4000Hz Parameter Value Explanation
8000Hz
Center frequency at which the lower
Simultaneously adjusts the width BOOST FREQUENCY # 50–125 Hz
range will be boosted
BAND WIDTH 0.5, 1.0, 2.0, 4.0, 8.0 of the adjusted ranges for all the
frequency bands. Amount by which the lower range
BOOST GAIN # 0–+12 dB
will be boosted
OUTPUT LEVEL # 0–127 Output Level
Width of the lower range that will
BOOST WIDTH WIDE, MID, NARROW
be boosted
EQ GAIN LOW -15–+15 dB Gain of the low frequency range
EQ GAIN HIGH -15–+15 dB Gain of the high frequency range
OUTPUT LEVEL 0–127 Output level
39
05: SUPER FILTER 06: STEP FILTER

This is a filter with an extremely sharp slope. The cutoff frequency can be This is a filter whose cutoff frequency can be modulated in steps. You can
varied cyclically. specify the pattern by which the cutoff frequency will change.
L in Super Filter L out L in Step Filter L out
R in Super Filter R out R in Step Filter R out
Parameter Value Explanation Parameter Value Explanation

Filter type RATE # 0.05–10.00 Hz, note Rate of modulation
Frequency range that will pass
through each filter Speed at which the cutoff frequency
ATTACK # 0–127
LPF: frequencies below the cutoff
changes between steps
FILTER TYPE LPF, BPF, HPF, NOTCH BPF: frequencies in the region of Filter type
the cutoff Frequency range that will pass
HPF: frequencies above the cutoff through each filter
NOTCH: frequencies other than the LPF: frequencies below the cutoff
region of the cutoff FILTER TYPE LPF, BPF, HPF, NOTCH BPF: frequencies in the region of
Amount of attenuation per octave the cutoff
-36 dB: extremely steep HPF: frequencies above the cutoff
FILTER SLOPE -12, -24, -36 dB NOTCH: frequencies other than the
-24 dB: steep
region of the cutoff
-12 dB: gentle
Amount of attenuation per octave
Cutoff frequency of the filter
-12 dB: gentle
FILTER CUTOFF # 0–127 Increasing this value will raise the FILTER SLOPE -12, -24, -36 dB
cutoff frequency. -24 dB: steep
-36 dB: extremely steep
Filter resonance level
FILTER RESONANCE # 0–127 Increasing this value will emphasize Filter resonance level
the region near the cutoff frequency. FILTER RESONANCE # 0–127 Increasing this value will emphasize
the region near the cutoff frequency.
FILTER GAIN 0–+12 dB Amount of boost for the filter output
FILTER GAIN 0–+12 dB Amount of boost for the filter output
Turns on/off cyclic change of the
MODULATION SW OFF, ON OUTPUT LEVEL 0–127- Output level
cutoff frequency
How the cutoff frequency will be STEP 1–16 0–127 Cutoff frequency at each step
modulated
TRI: triangle wave
TRI, SQR, SIN, SAW1,
SQR: square wave
SAW2
SIN: sine wave
MEMO
SAW1: sawtooth wave (upward)
MODULATION WAVE
You can use multi-effect control to make the step sequence
SAW2: sawtooth wave (downward)
play again from the beginning (p. 38).
SAW1 SAW2
07: ENHANCER
Controls the overtone structure of the high frequencies, adding sparkle
RATE # 0.05–10.00 Hz, note Rate of modulation and tightness to the sound.
DEPTH 0–127 Depth of modulation
Speed at which the cutoff frequency
L in Enhancer 2-Band L out
will change
ATTACK # 0–127
This is effective if Modulation Wave is Mix EQ
SQR, SAW1, or SAW2.
OUTPUT LEVEL 0–127 Output Level R in 2-Band R out

Enhancer
Mix EQ
SENS # 0–127 Sensitivity of the enhancer

Level of the overtones generated by
MIX # 0–127
the enhancer
Amount of boost/cut for the low-
EQ GAIN LOW -15–+15 dB
frequency range
Amount of boost/cut for the high-
EQ GAIN HIGH -15–+15 dB
frequency range
40
08: AUTO WAH 09: HUMANIZER

Cyclically controls a filter to create cyclic change in timbre. Adds a vowel character to the sound, making it similar to a human voice.
L in Auto Wah 2-Band EQ L out L in L out

Pan L
Overdrive 2-Band
Formant
EQ
Pan R
R in Auto Wah 2-Band EQ R out R in R out

OVERDRIVE SW OFF, ON Turns Drive on/off.
Type of filter
Degree of distortion
LPF: The wah effect will be applied DRIVE # 0–127
FILTER TYPE LPF, BPF over a wide frequency range. Also changes the volume.
BPF: The wah effect will be applied VOWEL1 a, e, i, o, u
over a narrow frequency range. Selects the vowel.
VOWEL2 a, e, i, o, u
Adjusts the sensitivity with which
SENS # 0–127
the filter is controlled. Frequency at which the two vowels
RATE # 0.05–10.00 Hz, note
switch
Adjusts the center frequency at
MANUAL # 0–127
which the effect is applied. DEPTH # 0–127 Effect depth
Adjusts the amount of the wah Point at which Vowel 1/2 switch
effect that will occur in the range of 49 or less: Vowel 1 will have a longer
PEAK 0–127 the center frequency. duration.
Set a higher value for Q to narrow the MANUAL # 0–100 50: Vowel 1 and 2 will be of equal
range to be affected. duration.
51 or more: Vowel 2 will have a longer
RATE # 0.05–10.00 Hz, note Frequency of modulation duration.
If this is on, the RATE setting will be a LFO reset on/off
SYNC OFF, ON
note value.
OFF, ON Determines whether the LFO for
INPUT SYNC SW
DEPTH # 0–127 Depth of modulation switching the vowels is reset by the
input signal (ON) or not (OFF).
Sets the direction in which the
frequency will change when the INPUT SYNC Volume level at which reset is
0–127
auto-wah filter is modulated. THRESHOLD applied
POLARITY UP, DOWN UP: The filter will change toward a EQ GAIN LOW -15–+15 dB Gain of the low frequency range
higher frequency.
DOWN: The filter will change toward a EQ GAIN HIGH -15–+15 dB Gain of the high frequency range
lower frequency.
Adjusts the degree of phase shift of
OUTPUT PAN # L64–63R Stereo location of the output sound
PHASE # 0–180 deg the left and right sounds when the
wah effect is applied.
frequency range
frequency range
41
10: SPEAKER SIMULATOR 11: PHASER

Simulates the speaker type and microphone settings used to record the A phase-shifted sound is added to the original sound and modulated.
speaker sound.
L in Speaker L out L in 2-Band L out

Phaser
EQ
Mix
R in Speaker R out Mix

R in Phaser 2-Band R out
EQ
SPEAKER TYPE (See the table right.) Type of speaker

Adjusts the location of the
microphone that is recording the 4-STAGE, 8-STAGE,
MODE Number of stages in the phaser
sound of the speaker. 12-STAGE
MIC SETTING 1, 2, 3
This can be adjusted in three steps,
with the microphone becoming more Selects whether the left and right
distant in the order of 1, 2, and 3. phase of the modulation will be the
same or the opposite.
MIC LEVEL # 0–127 Volume of the microphone INVERSE: The left and right phase
POLARITY INVERSE, SYNCHRO will be opposite. When using a mono
DIRECT LEVEL # 0–127 Volume of the direct sound
source, this spreads the sound.
OUTPUT LEVEL # 0–127 Output Level SYNCHRO: The left and right phase
will be the same. Select this when
inputting a stereo source.
Adjusts the basic frequency from

Specifications of each Speaker Type MANUAL # 0–127
which the sound will be modulated.
The speaker column indicates the diameter of each speaker unit (in RATE # 0.05–10.00 Hz, note Frequency of modulation
inches) and the number of units. DEPTH 0–127 Depth of modulation
Type Cabinet Speaker Microphone RESONANCE # 0–127 Amount of feedback
SMALL 1 small open-back enclosure 10 dynamic Adjusts the proportion of the

phaser sound that is fed back into
SMALL 2 small open-back enclosure 10 dynamic X-FEEDBACK -98–+98 %
the effect. Negative (-) settings will
open back enclosure 12 x 1 dynamic invert the phase.
MIDDLE
open back enclosure 12 x 2 dynamic MIX LEVEL # 0–127 Level of the phase-shifted sound
JC-120
open back enclosure 12 x 2 dynamic Amount of boost/cut for the low-
BUILT-IN 1 EQ GAIN LOW -15–+15 dB
frequency range
BUILT-IN 2 open back enclosure 12 x 2 condenser
BUILT-IN 3 open back enclosure 12 x 2 condenser frequency range
BUILT-IN 4 open back enclosure 12 x 2 condenser OUTPUT LEVEL 0–127 Output Level
BG STACK 1 sealed enclosure 12 x 2 condenser
BG STACK 2 large sealed enclosure 12 x 2 condenser
MS STACK 1 large sealed enclosure 12 x 4 condenser
METAL STACK large double stack 12 x 4 condenser
2-STACK large double stack 12 x 4 condenser
3-STACK large triple stack 12 x 4 condenser
42
12: STEP PHASER 13: MULTI STAGE PHASER

The phaser effect will be varied step by step. Extremely high settings of the phase difference produce a deep phaser
effect.
2-Band L in L out
L in Step Phaser L out
EQ Pan L
Mix Multi Stage 2-Band
Phaser Mix EQ
Pan R
Mix R in R out
R in Step Phaser 2-Band R out Resonance
EQ
4-STAGE, 8-STAGE,
Parameter Value Explanation MODE 12-STAGE, 16-STAGE, Number of stages in the phaser
20-STAGE, 24-STAGE
4-STAGE, 8-STAGE,
MODE Number of stages in the phaser
12-STAGE Adjusts the basic frequency from
MANUAL # 0–127
which the sound will be modulated.
Selects whether the left and right
phase of the modulation will be the RATE # 0.05–10.00 Hz, note Frequency of modulation
same or the opposite.
INVERSE: The left and right phase DEPTH 0–127 Depth of modulation
POLARITY INVERSE, SYNCHRO will be opposite. When using a mono
RESONANCE # 0–127 Amount of feedback
source, this spreads the sound.
SYNCHRO: The left and right phase MIX LEVEL # 0–127 Level of the phase-shifted sound
will be the same. Select this when
inputting a stereo source. Amount of boost/cut for the low-
frequency range
Adjusts the basic frequency from
MANUAL # 0–127
which the sound will be modulated. Amount of boost/cut for the high-
frequency range
RATE # 0.05–10.00 Hz, note Frequency of modulation
Adjusts the proportion of the
phaser sound that is fed back into
X-FEEDBACK -98–+98 %
invert the phase. 14: INFINITE PHASER
Rate of the step-wise change in the
STEP RATE # 0.10–20.00 Hz, note A phaser that continues raising/lowering the frequency at which the sound
phaser effect
is modulated.
MIX LEVEL # 0–127 Level of the phase-shifted sound
Amount of boost/cut for the low- L in
EQ GAIN LOW -15–+15 dB L out
frequency range
Pan L
-15–+15 dB
Amount of boost/cut for the high- Infinite Phaser 2-Band EQ
EQ GAIN HIGH frequency range Pan R
OUTPUT LEVEL 0–127 Output Level R in R out

Higher values will produce a deeper
MODE 1, 2, 3, 4
phaser effect.
Speed at which to raise or lower
the frequency at which the sound
SPEED # -100–+100
is modulated (+: upward / -:
downward)
MIX LEVEL # 0–127 Level of the phase-shifted sound

frequency range
frequency range
43
15: RING MODULATOR 17: TREMOLO

This is an effect that applies amplitude modulation (AM) to the input Cyclically modulates the volume to add tremolo effect to the sound.
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 L in Tremolo 2-Band EQ L out
effect.
R in Tremolo 2-Band EQ R out
L in Ring Mod 2-Band EQ L out
R in Ring Mod 2-Band EQ R out Modulation Wave

TRI: Triangle wave
TRI, SQR, SIN,
SQR: Square wave
SAW1, SAW2
SIN: Sine wave
Parameter Value Explanation SAW1/2: Sawtooth wave
Adjusts the frequency at which MOD WAVE
FREQUENCY # 0–127 SAW1 SAW2
modulation is applied.
Adjusts the amount of frequency
SENS # 0–127
modulation applied.
Direction in which the frequency
is moved RATE # 0.05–10.00 Hz, note Frequency of the change
POLARITY UP, DOWN
UP: Toward a higher frequency
DEPTH # 0–127 Depth to which the effect is applied
DOWN: Toward a lower frequency
Amount of boost/cut for the low- EQ GAIN LOW -15–+15 dB
EQ GAIN LOW -15–+15 dB frequency range
frequency range
Amount of boost/cut for the high- EQ GAIN HIGH -15–+15 dB
EQ GAIN HIGH -15–+15 dB frequency range
frequency range
Volume balance between the direct
BALANCE # D100:0W–D0:100W
sound (D) and the effect sound (W)
18: AUTO PAN

16: STEP RING MODULATOR Cyclically modulates the stereo location of the sound.
This is a ring modulator that uses a 16-step sequence to vary the frequency L in Auto Pan 2-Band EQ L out
at which modulation is applied.
R in Auto Pan 2-Band EQ R out
L in Step Ring Mod 2-Band EQ L out

Modulation Wave
R in Step Ring Mod 2-Band EQ R out
TRI: Triangle wave
TRI, SQR, SIN, SAW1,
SQR: Square wave
SAW2
SIN: Sine wave
Parameter Value Explanation SAW1/2: Sawtooth wave
Rate at which the 16-step sequence
RATE # 0.05–10.00 Hz, note MOD WAVE SAW1 SAW2
will cycle
R R
Speed at which the modulation
ATTACK # 0–127
frequency changes between steps
EQ GAIN LOW -15–+15 dB L L
frequency range
Amount of boost/cut for the high- RATE # 0.05–10.00 Hz, note Frequency of the change
frequency range
DEPTH # 0–127 Depth to which the effect is applied
Volume balance of the original
BALANCE # D100:0W–D0:100W Amount of boost/cut for the low-
sound (D) and effect sound (W) EQ GAIN LOW -15–+15 dB
frequency range
Frequency of ring modulation at EQ GAIN HIGH -15–+15 dB
0–127 frequency range
STEP 1–16 each step
MEMO
44
19: STEP PAN 20: SLICER

This uses a 16-step sequence to vary the panning 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
L in Step Pan L out especially effective when applied to sustain-type sounds.
L in Slicer L out
R in Step Pan R out
R in Slicer R out
Rate at which the 16-step sequence
RATE # 0.05–10.00 Hz, note
will cycle Parameter Value Explanation
Speed at which the pan changes Rate at which the 16-step sequence
ATTACK # 0–127 RATE # 0.05–10.00 Hz, note
between steps will cycle
Specifies whether an input note will Speed at which the level changes
cause the sequence to resume from ATTACK # 0–127
INPUT SYNC SW OFF, ON between steps
the first step of the sequence (ON)
or not (OFF) Sets the manner in which the
volume changes as one step
INPUT SYNC Volume at which an input note will progresses to the next.
0–127
THRESHOLD be detected LEGATO: The change in volume from
one step’s level to the next remains
unaltered. If the level of a following
LEGATO, step is the same as the one preceding
STEP 1–16 L64–63R Pan at each step MODE
SLASH it, there is no change in volume.
SLASH: The level is momentarily
set to 0 before progressing to the
level of the next step. This change
MEMO in volume occurs even if the level of
the following step is the same as the
You can use multi-effect control to make the step sequence preceding step.
play again from the beginning (p. 38). Timing when to shift to even-
numbered steps (step 2, step 4,
SHUFFLE # 0–127 step 6...).
The higher the value, the later the
beat progresses.
Specifies whether an input note will

cause the sequence to resume from
INPUT SYNC SW OFF, ON
the first step of the sequence (ON)
or not (OFF)
INPUT SYNC Volume at which an input note will

0–127
THRESHOLD be detected
STEP 1–16 0–127 Level at each step
MEMO
45
21: ROTARY 22: VK ROTARY

This simulates a classic rotary speaker of the past. This type provides modified response for the rotary speaker, with the low
end boosted further.
Since the operation of the high-frequency and low-frequency rotors
can be specified independently, the distinctive modulation can be This effect features the same specifications as the VK-7’s built-in rotary
reproduced realistically. This is most effective on organ patches. speaker.
L in L out L in 2-Band EQ L out
Rotary Rotary
R in R out R in 2-Band EQ R out

Simultaneously switch the rotational
speed of the low frequency rotor Rotational speed of the rotating
and high frequency rotor. speaker
SPEED # SLOW, FAST SLOW: Slows down the rotation to the SLOW: Slows down the rotation to the
Slow Rate. SPEED # SLOW, FAST
Slow Rate.
FAST: Speeds up the rotation to the FAST: Speeds up the rotation to the
Fast Rate. Fast Rate.
Slow speed (SLOW) of the low Switches the rotation of the rotary
WOOFER SLOW 0.05–10.00 Hz
frequency rotor speaker.
BRAKE # OFF, ON When this is turned on, the rotation
Fast speed (FAST) of the low
WOOFER FAST 0.05–10.00 Hz will gradually stop. When it is turned
frequency rotor off, the rotation will gradually resume.
Adjusts the time it takes the low Low-speed rotation speed of the
frequency rotor to reach the newly WOOFER SLOW 0.05–10.00 Hz
woofer
WOOFER ACCEL 0–15 selected speed when switching from
fast to slow (or slow to fast) speed. High-speed rotation speed of the
WOOFER FAST 0.05–10.00 Hz
Lower values will require longer times. woofer
WOOFER LEVEL 0–127 Volume of the low frequency rotor Adjusts the rate at which the woofer
rotation speeds up when the
TWEETER SLOW 0.05–10.00 Hz WOOFER TRANS UP 0–127 rotation is switched from Slow to
TWEETER FAST 0.05–10.00 Hz Settings of the high frequency rotor Fast.
The parameters are the same as for
TWEETER ACCEL 0–15 the low frequency rotor Adjusts the rate at which the
WOOFER TRANS woofer rotation speeds up when
TWEETER LEVEL 0–127 0–127
DOWN the rotation is switched from Fast
SEPARATION 0–127 Spatial dispersion of the sound to Slow.
OUTPUT LEVEL # 0–127 Output Level WOOFER LEVEL 0–127 Volume of the woofer
TWEETER SLOW 0.05–10.00 Hz
TWEETER FAST 0.05–10.00 Hz

Settings of the tweeter
TWEETER TRANS UP 0–127 The parameters are the same as for
the woofer.
TWEETER TRANS 0–127
DOWN
TWEETER LEVEL 0–127
Sets the rotary speaker stereo

image.
SPREAD 0–10
The higher the value set, the wider the
sound is spread out.

frequency range
frequency range
46
23: CHORUS 24: FLANGER

This is a stereo chorus. A filter is provided so that you can adjust the timbre This is a stereo flanger. (The LFO has the same phase for left and right.) It
of the chorus sound. 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
Balance D flanged sound.
L in 2-Band L out
EQ
Balance D
Chorus Balance W 2-Band
L in L out
EQ
Chorus Balance W
Flanger Balance W
R in 2-Band R out
Balance D EQ Feedback
Feedback

Flanger Balance W
CHORUS RATE # 0.05–10.00 Hz, note Frequency of modulation
R in 2-Band R out
CHORUS DEPTH 0–127 Depth of modulation
Balance D EQ
CHORUS PHASE 0–180 deg Spatial spread of the sound
Adjusts the delay time from the
CHORUS PRE DELAY 0.0–100 msec direct sound until the chorus sound
is heard. FLANGER RATE # 0.05–10.00 Hz, note Frequency of modulation
Type of filter FLANGER DEPTH 0–127 Depth of modulation
OFF: no filter is used
OFF, LPF, HPF LPF: cuts the frequency range above
FILTER TYPE flanger sound that is fed back into
the Cutoff Freq FLANGER FEEDBACK # -98–+98 %
HPF: cuts the frequency range below
the Cutoff Freq invert the phase.
Center frequency when using the FLANGER PHASE 0–180 deg Spatial spread of the sound
FILTER CUTOFF 200–8000 Hz filter to cut a specific frequency Adjusts the delay time from when
range FLANGER PRE DELAY 0.0–100 msec the direct sound begins until the
Amount of boost/cut for the low- flanger sound is heard.
frequency range Type of filter
Amount of boost/cut for the high- OFF: no filter is used
EQ GAIN HIGH -15–+15 dB LPF: cuts the frequency range above
frequency range FILTER TYPE OFF, LPF, HPF
the Cutoff Freq
Volume balance between the direct HPF: cuts the frequency range below
sound (D) and the chorus sound (W) the Cutoff Freq
OUTPUT LEVEL 0–127 Output Level Center frequency when using the
FILTER CUTOFF 200–8000 Hz filter to cut a specific frequency
range
frequency range
frequency range
sound (D) and the flanger sound (W)
47
25: STEP FLANGER 26: HEXA-CHORUS

This is a flanger in which the flanger pitch changes in steps. The speed at Uses a six-phase chorus (six layers of chorused sound) to give richness and
which the pitch changes can also be specified in terms of a note-value of a spatial spread to the sound.
specified tempo.
L in L out
Balance D Balance D
L in 2-Band L out Balance W
EQ Hexa Chorus
Step Flanger Balance W Balance W
Feedback R in R out
Balance D
Feedback
Step Flanger Balance W Parameter Value Explanation
R in 2-Band R out RATE # 0.05–10.00 Hz, note Frequency of modulation

Balance D EQ
Adjusts the difference in modulation
DEPTH DEVIATION -20–+20
Parameter Value Explanation depth between each chorus sound.
FLANGER RATE # 0.05–10.00 Hz, note Frequency of modulation Adjusts the delay time from the
PRE DELAY 0.0–100 msec direct sound until the chorus sound
FLANGER DEPTH 0–127 Depth of modulation is heard.
Adjusts the proportion of the Adjusts the differences in Pre Delay
flanger sound that is fed back into DELAY DEVIATION 0–20
between each chorus sound.
FLANGER FEEDBACK # -98–+98 % the effect. Negative (-) settings will
invert the phase. Adjusts the difference in stereo
location between each chorus
FLANGER PHASE 0–180 deg Spatial spread of the sound sound.
0–20 0: All chorus sounds will be in the
Adjusts the delay time from when PAN DEVIATION
center.
FLANGER PRE DELAY 0.0–100 msec the direct sound begins until the
20: Each chorus sound will be spaced
flanger sound is heard.
at 60 degree intervals relative to the
Type of filter center.
OFF: no filter is used Volume balance between the direct
LPF: cuts the frequency range above BALANCE # D100:0W–D0:100W
FILTER TYPE OFF, LPF, HPF sound (D) and the chorus sound (W)
the Cutoff Freq
HPF: cuts the frequency range below OUTPUT LEVEL 0–127 Output Level
the Cutoff Freq
Center frequency when using the

FILTER CUTOFF 200–8000 Hz filter to cut a specific frequency
range 27: TREMOLO CHORUS
STEP RATE # 0.10–20.00 Hz, note Rate (period) of pitch change
This is a chorus effect with added Tremolo (cyclic modulation of volume).
frequency range
Amount of boost/cut for the high- L in L out
EQ GAIN HIGH -15–+15 dB Balance D
frequency range
Balance W
Volume balance between the direct Tremolo Chorus
Balance W
R in R out
Balance D

Modulation frequency of the chorus
CHORUS RATE # 0.05–10.00 Hz, note
effect
Modulation depth of the chorus
CHORUS DEPTH 0–127
effect
is heard.
Adjusts the modulation speed of the
TREMOLO RATE # 0.05–10.00 Hz, note
tremolo effect.
Adjusts the width of the tremolo
TREMOLO PHASE 0–180 deg
sound.
TREMOLO Adjusts the spatial spread of the

0–127
SEPARATION tremolo effect.
BALANCE # D100:0W–D0:100W sound (D) and the tremolo chorus
sound (W)
48
28: SPACE-D 29: 3D CHORUS

This is a multiple chorus that applies two-phase modulation in stereo. It This applies a 3D effect to the chorus sound. The chorus sound will be
gives no impression of modulation, but produces a transparent chorus positioned 90 degrees left and 90 degrees right.
effect.
L 2-Band L out
Balance D EQ
L in 2-Band L out
EQ 3D Chorus
Space D Balance W 2-Band
R R out
EQ
Space D Balance W
R in 2-Band R out Parameter Value Explanation

Balance D EQ
Modulation frequency of the chorus
RATE # 0.05–10.00 Hz, note
effect
Parameter Value Explanation Modulation depth of the chorus
DEPTH 0–127
0.05–10.00 Hz, note Frequency of modulation effect
RATE #
0–127 Depth of modulation PHASE 0–180 deg Spatial spread of the sound
DEPTH
0–180 deg Spatial spread of the sound Adjusts the delay time from the
PHASE
Adjusts the delay time from the is heard.
is heard. Type of filter
Amount of boost/cut for the low- LPF: cuts the frequency range above
EQ GAIN LOW -15–+15 dB FILTER TYPE OFF, LPF, HPF
frequency range the Cutoff Freq
Amount of boost/cut for the high- the Cutoff Freq
frequency range
Center frequency when using the
Volume balance between the direct 200–8000 Hz filter to cut a specific frequency
BALANCE # D100:0W–D0:100W CUTOFF
sound (D) and the chorus sound (W) range
OUTPUT LEVEL 0–127 Output Level Amount of boost/cut for the low-
frequency range
frequency range
sound (D) and the chorus sound (W)
Adjusts the method that will be used
to hear the sound that is output
to the OUTPUT. The optimal 3D
OUTPUT MODE SPEAKER, PHONES
effect will be achieved if you select
SPEAKER when using speakers, or
PHONES when using headphones.
49
30: 3D FLANGER 31: 3D STEP FLANGER

This applies a 3D effect to the flanger sound. The flanger sound will be This applies a 3D effect to the step flanger sound. The flanger sound will be
positioned 90 degrees left and 90 degrees right. positioned 90 degrees left and 90 degrees right.
L 2-Band L out L 2-Band L out

EQ EQ
3D Flanger 3D Step Flanger
R 2-Band R 2-Band
R out R out
EQ EQ

Modulation frequency of the flanger Modulation frequency of the flanger
RATE # 0.05–10.00 Hz, note RATE # 0.05–10.00 Hz, note
effect effect
Modulation depth of the flanger Modulation depth of the flanger
DEPTH 0–127 DEPTH 0–127
effect effect
Adjusts the proportion of the Adjusts the proportion of the
flanger sound that is fed back into flanger sound that is fed back into
FEEDBACK # -98–+98 % FEEDBACK # -98–+98 %
the effect. Negative (-) settings will the effect. Negative (-) settings will
invert the phase. invert the phase.
PHASE 0–180 deg Spatial spread of the sound PHASE 0–180 deg Spatial spread of the sound
Adjusts the delay time from when Adjusts the delay time from when
PRE DELAY 0.0–100 msec the direct sound begins until the PRE DELAY 0.0–100 msec the direct sound begins until the
flanger sound is heard. flanger sound is heard.
Type of filter Type of filter
OFF: no filter is used OFF: no filter is used
OFF, LPF, HPF LPF: cuts the frequency range above OFF, LPF, HPF LPF: cuts the frequency range above
FILTER TYPE FILTER TYPE
the Cutoff Freq the Cutoff Freq
HPF: cuts the frequency range below HPF: cuts the frequency range below
the Cutoff Freq the Cutoff Freq
Center frequency when using the Center frequency when using the
CUTOFF 200–8000 Hz filter to cut a specific frequency CUTOFF 200–8000 Hz filter to cut a specific frequency
range range
Amount of boost/cut for the low- STEP RATE # 0.10–20.00 Hz, note Rate (period) of pitch change
frequency range
Amount of boost/cut for the high- to hear the sound that is output
frequency range to the OUTPUT. The optimal 3D
Volume balance between the direct SPEAKER when using speakers, or
sound (D) and the flanger sound (W) PHONES when using headphones.
Adjusts the method that will be used Amount of boost/cut for the low-
to hear the sound that is output EQ GAIN LOW -15–+15 dB
frequency range
effect will be achieved if you select Amount of boost/cut for the high-
SPEAKER when using speakers, or frequency range
OUTPUT LEVEL 0–127 Output Level sound (D) and the flanger sound (W)
50
32: 2 BAND CHORUS 33: 2 BAND FLANGER

A chorus effect that lets you apply an effect independently to the low- A flanger that lets you apply an effect independently to the low-frequency
frequency and high-frequency ranges. and high-frequency ranges.
L in L out L in L out
High Band Chorus High Band Flanger
Split
Split High Band Feedback
Low Band Chorus
Low Band Flanger
High Band Chorus
Split Low Band Feedback
Low Band Chorus High Band Feedback
R in R out
High Band Flanger
Parameter Value Explanation Split Low Band Feedback
Rate at which the low-range chorus
LOW RATE # 0.05–10.00 Hz, note
sound is modulated Low Band Flanger
R in R out
Modulation depth for the low-range
LOW DEPTH 0–127
chorus sound
Spaciousness of the low-range Parameter Value Explanation
LOW PHASE 0–180 deg
chorus sound
Rate at which the low-range flanger
Delay time from when the original sound is modulated
LOW PRE DELAY 0.0–100 msec sound is heard to when the low-
range chorus sound is heard Modulation depth for the low-range
LOW DEPTH 0–127
flanger sound
Rate at which the high-range chorus
HIGH RATE # 0.05–10.00 Hz, note Proportion of the low-range flanger
sound is modulated
sound that is to be returned to the
LOW FEEDBACK # 98–+98 %
Modulation depth for the high- input (negative values invert the
HIGH DEPTH 0–127
range chorus sound phase)
Spaciousness of the high-range Spaciousness of the low-range
HIGH PHASE 0–180 deg LOW PHASE 0–180 deg
chorus sound flanger sound
Delay time from when the original Delay time from when the original
HIGH PRE DELAY 0.0–100 msec sound is heard to when the high- LOW PRE DELAY 0.0–100 msec sound is heard to when the low-
range chorus sound is heard range flanger sound is heard
Frequency at which the low and Rate at which the high-range flanger
SPLIT FREQUENCY 200–8000 Hz HIGH RATE # 0.05–10.00 Hz, note
high ranges will be divided sound is modulated
Volume balance of the original Modulation depth for the high-
BALANCE # D100:0W–D0:100W HIGH DEPTH 0–127
sound (D) and chorus sound (W) range flanger sound
OUTPUT LEVEL 0–127 Output Level Proportion of the high-range flanger

HIGH FEEDBACK # -98–+98 %
input (negative values invert the
phase)
Spaciousness of the high-range
HIGH PHASE 0–180 deg
flanger sound
Delay time from when the original
HIGH PRE DELAY 0.0–100 msec sound is heard to when the high-
range flanger sound is heard
Frequency at which the low and
SPLIT FREQUENCY 200–8000 Hz
high ranges will be divided
sound (D) and flanger sound (W)
51
34: 2 BAND STEP FLANGER 35: OVERDRIVE

A step flanger that lets you apply an effect independently to the low- Creates a soft distortion similar to that produced by vacuum tube
frequency and high-frequency ranges. amplifiers.
High Band Step Flanger Pan L
Over Amp 2-Band
drive Simulator EQ
Split High Band Feedback Pan R
R in R out
Low Band Step Flanger
Low Band Feedback Parameter Value Explanation

High Band Feedback Degree of distortion
DRIVE # 0–127
Also changes the volume.
High Band Step Flanger
SMALL, Type of guitar amp
Split Low Band Feedback BUILT-IN,
SMALL: small amp
AMP SIMULATOR BUILT-IN: single-unit type amp
TYPE 2-STACK,
Low Band Step Flanger 2-STACK: large double stack amp
3-STACK 3-STACK: large triple stack amp
R in R out
frequency range
Parameter Value Explanation Amount of boost/cut for the high-
Rate at which the low-range flanger frequency range
sound is modulated L64–63R Stereo location of the output sound
OUTPUT PAN #
Modulation depth for the low-range 0–127 Output Level
LOW DEPTH 0–127 OUTPUT LEVEL
flanger sound
Proportion of the low-range flanger
LOW FEEDBACK # -98–+98 %
phase) 36: DISTORTION
Spaciousness of the low-range
LOW PHASE 0–180 deg
flanger sound
Produces a more intense distortion than Overdrive. The parameters are the
same as for “35: OVERDRIVE.”
LOW PRE DELAY 0.0–100 msec sound is heard to when the low-
range flanger sound is heard L in L out
Rate at which the high-range flanger Amp 2-Band Pan L
HIGH RATE # 0.05–10.00 Hz, note
sound is modulated
Distortion
Simulator EQ
Pan R
Modulation depth for the high- R in
HIGH DEPTH 0–127 R out
range flanger sound
Proportion of the high-range flanger
HIGH FEEDBACK # -98–+98 %
input (negative values invert the 37: VS OVERDRIVE
phase)
Spaciousness of the high-range This is an overdrive that provides heavy distortion.
HIGH PHASE 0–180 deg
flanger sound
Delay time from when the original L in L out
HIGH PRE DELAY 0.0–100 msec sound is heard to when the high- Pan L
range flanger sound is heard Overdrive Amp 2-Band
Simulator EQ
Rate at which the steps will cycle for Pan R
LOW STEP RATE # 0.10–20.00 Hz, note R in R out
the low-range flanger sound
Rate at which the steps will cycle for
HIGH STEP RATE # 0.10–20.00 Hz, note
the high-range flanger sound
Frequency at which the low and
SPLIT FREQUENCY 200–8000 Hz Degree of distortion
high ranges will be divided DRIVE # 0–127
BALANCE # D100:0W–D0:100W Sound quality of the Overdrive
sound (D) and flanger sound (W) TONE # 0–127
effect
AMP SIMULATOR SW OFF, ON Turns the Amp Simulator on/off.
SMALL, Type of guitar amp

SMALL: small amp
AMP SIMULATOR BUILT-IN,
BUILT-IN: single-unit type amp
TYPE 2-STACK,
2-STACK: large double stack amp
3-STACK 3-STACK: large triple stack amp

frequency range
frequency range
52
Specifications of each Speaker Type

38: VS DISTORTION
The speaker column indicates the diameter of each speaker unit (in inches)
This is a distortion effect that provides heavy distortion. The parameters and the number of units.
are the same as for “37: VS OVERDRIVE.”
Type Cabinet Speaker Microphone
L in L out
SMALL 1 small open-back enclosure 10 dynamic
Amp 2-Band Pan L
Distortion SMALL 2 small open-back enclosure 10 dynamic
Simulator EQ
Pan R MIDDLE open back enclosure 12 x 1 dynamic
R in R out
JC-120 open back enclosure 12 x 2 dynamic
BUILT-IN 1 open back enclosure 12 x 2 dynamic
39: GUITAR AMP SIMULATOR BUILT-IN 2 open back enclosure 12 x 2 condenser

This is an effect that simulates the sound of a guitar amplifier.
L in L out BUILT-IN 5 open back enclosure 12 x 2 condenser
Pan L BG STACK 1 sealed enclosure 12 x 2 condenser
Pre Amp Speaker
Pan R BG STACK 2 large sealed enclosure 12 x 2 condenser
R in R out MS STACK 1 large sealed enclosure 12 x 4 condenser

METAL STACK large double stack 12 x 4 condenser
AMP SW OFF, ON Turns the amp switch on/off.
2-STACK large double stack 12 x 4 condenser
JC-120,
3-STACK large triple stack 12 x 4 condenser
CLEAN TWIN,
MATCH DRIVE,
BG LEAD,
MS1959I,
MS1959II, 40: COMPRESSOR
AMP SIMULATOR MS1959I+II,
Type of guitar amp Flattens out high levels and boosts low levels, smoothing out fluctuations
TYPE SLDN LEAD,
METAL 5150, in volume.
METAL LEAD,
OD-1,
L in Compressor 2-Band EQ L out
OD-2 TURBO,
DISTORTION,
FUZZ
Volume and amount of distortion R in Compressor 2-Band EQ R out
AMP VOLUME # 0–127
of the amp
AMP MASTER # 0–127 Volume of the entire pre-amp

LOW, MIDDLE,
AMP GAIN Amount of pre-amp distortion Sets the speed at which
HIGH ATTACK # 0–127
compression starts
Tone for the ultra-high frequency
AMP PRESENCE 0–127 Adjusts the volume at which
range THRESHOLD # 0–127
compression begins
Turning this “On” produces a
POST GAIN 0–+18 dB Adjusts the output gain.
sharper and brighter sound.
AMP BRIGHT OFF, ON * This parameter applies to the Amount of boost/cut for the low-
“JC-120,” “CLEAN TWIN,” and “BG EQ GAIN LOW -15–+15 dB
frequency range
LEAD” Pre Amp Types.
AMP BASS Tone of the bass/mid/treble EQ GAIN HIGH -15–+15 dB
frequency range
frequency range
AMP MIDDLE 0–127 * Middle cannot be set if “MATCH OUTPUT LEVEL # 0–127 Output Level
DRIVE” is selected as the Pre Amp
AMP TREBLE Type.
Selects whether the sound will be

SPEAKER SW OFF, ON sent through the speaker simulation
(ON) or not (OFF)
SPEAKER TYPE (See the table below.) Type of speaker

Adjusts the location of the
microphone that is recording the
sound of the speaker.
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.
MIC LEVEL 0–127 Volume of the microphone
MIC DIRECT 0–127 Volume of the direct sound
53
41: LIMITER 43: DELAY

Compresses signals that exceed a specified volume level, preventing This is a stereo delay.
distortion from occurring.
When Feedback Mode is NORMAL:
L in Limiter 2-Band EQ L out Balance D
L in 2-Band
L out
EQ
Delay Balance W
R in Limiter 2-Band EQ R out
Feedback
Feedback
Adjusts the volume at which Delay Balance W
THRESHOLD # 0–127
compression begins
R in 2-Band
R out
RATIO 1.5:1, 2:1, 4:1, 100:1 Compression ratio
Balance D EQ
Adjusts the time after the signal
volume falls below the Threshold
RELEASE # 0–127
Level until compression is no longer When Feedback Mode is CROSS:
applied.
Balance D
POST GAIN 0–+18 dB Adjusts the output gain. 2-Band
L in L out
Amount of boost/cut for the low- EQ
frequency range Delay Balance W
frequency range Feedback
Feedback
Delay Balance W
R in 2-Band R out
42: GATE Balance D EQ
Cuts the reverb’s decay 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. DELAY TIME LEFT Adjusts the time until the delay
0–1300 msec, note
DELAY TIME RIGHT sound is heard.
Adjusts the amount of the delay

L in Gate L out sound that’s fed back into the
FEEDBACK # -98–+98 %
effect. Negative (-) settings invert
the phase.
R in Gate R out Selects the way in which delay

MODE NORMAL, CROSS sound is fed back into the effect.
(See the figures above.)
Parameter Value Explanation Adjusts the frequency above which

sound fed back to the effect is
Type of gate HF DAMP 200–8000 Hz, BYPASS filtered out. If you don’t want to filter
GATE: The gate will close when out any high frequencies, set this
the volume of the original sound parameter to BYPASS.
decreases, cutting the original sound.
MODE GATE, DUCK
DUCK (Ducking): The gate will close PHASE LEFT Phase of the delay sound
when the volume of the original NORMAL, INVERSE NORMAL: non-inverted
sound increases, cutting the original
PHASE RIGHT INVERT: inverted
sound.
Adjusts the time it takes for the gate Amount of boost/cut for the low-
ATTACK 0–127 EQ GAIN LOW -15–+15 dB
to fully open after being triggered. frequency range
Adjusts the time it takes for the Amount of boost/cut for the high-
HOLD 0–127 gate to start closing after the source frequency range
sound falls beneath the Threshold.
Adjusts the time it takes the gate to sound (D) and the delay sound (W)
RELEASE 0–127
fully close after the hold time.
Volume level at which the gate
THRESHOLD # 0–127
begins to close
54
44: LONG DELAY 45: SERIAL DELAY

A delay that provides a long delay time. This delay connects two delay units in series. Feedback can be applied
independently to each delay unit, allowing you to produce complex delay
2-Band sounds.
L in L out
EQ
Pan L L in L out
Long Delay
Pan R Pan L
Feedback
R in 2-Band R out Delay 1 Delay 2
EQ
Feedback 1 Feedback 2 Pan R
Parameter Value Explanation R in R out

TIME 0–2600 msec, note sound is heard to when the delay
sound is heard Parameter Value Explanation
Proportion of the delay sound that is Delay time from when sound is
FEEDBACK # -98–+98 % to be returned to the input (negative DELAY 1 TIME 0–1300 msec, note input to delay 1 until the delay
values invert the phase) sound is heard
Phase of the delay Proportion of the delay sound that is
PHASE NORMAL, INVERSE NORMAL: non-inverted DELAY 1 FEEDBACK # -98–+98 % to be returned to the input of delay
INVERT: inverted 1 (negative values invert the phase)
Frequency at which the high- Frequency at which the high-
HF DAMP 200–8000 Hz, BYPASS frequency content of the delayed frequency content of the delayed
DELAY 1 HF DAMP 200–8000 Hz, BYPASS
sound will be cut (BYPASS: no cut) sound of delay 1 will be cut (BYPASS:
no cut)
PAN # L64–63R Panning of the delay sound
Delay time from when sound is
Amount of boost/cut for the low- 0–1300 msec, note input to delay 2 until the delay
EQ GAIN LOW -15–+15 dB DELAY 2 TIME
frequency range sound is heard
Amount of boost/cut for the high- Proportion of the delay sound that is
frequency range -98–+98 % to be returned to the input of delay
DELAY 2 FEEDBACK #
Volume balance of the original 2 (negative values invert the phase)
sound (D) and delay sound (W) Frequency at which the high-
OUTPUT LEVEL 0–127 Output Level frequency content of the delayed
DELAY 2 HF DAMP 200–8000 Hz, BYPASS
sound of delay 2 will be cut (BYPASS:
no cut)
PAN # L64–63R Panning of the delay sound

frequency range
frequency range
sound (D) and delay sound (W)
55
46: MODULATION DELAY 47: 3TAP PAN DELAY

Adds modulation to the delayed sound. Produces three delay sounds; center, left and right.
Balance D
When Feedback Mode is NORMAL: 2-Band
L in EQ L out
Balance D
L in 2-Band L out Left Tap Balance W
EQ
Delay Modulation Balance W
Triple Tap Delay Center Tap
Feedback
Feedback Right Tap Balance W
Feedback
R in 2-Band R out
Delay Modulation Balance W
Balance D EQ
R in 2-Band R out
Balance D EQ
Adjusts the time from the original
TIME LEFT/CENTER/ 0–2600 msec, note sound until the left, center, and right
When Feedback Mode is CROSS: RIGHT delayed sounds are heard
Balance D Adjusts the amount of the delay
L in 2-Band
L out CENTER sound that’s fed back into the
EQ -98–+98 %
FEEDBACK #
Delay Modulation Balance W the phase.
Adjusts the frequency above which
Feedback sound fed back to the effect is
Feedback HF DAMP 200–8000 Hz, BYPASS filtered out. If you do not want to
filter out any high frequencies, set
Delay Modulation Balance W this parameter to BYPASS.
LEVEL LEFT/CENTER/
R in 2-Band 0–127 Volume of each delay sound
R out RIGHT
Balance D EQ
frequency range
Parameter Value Explanation Amount of boost/cut for the high-

frequency range
TIME LEFT Adjusts the time until the delay
0–1300 msec, note Volume balance between the direct
sound is heard. BALANCE # D100:0W–D0:100W
TIME RIGHT sound (D) and the delay sound (W)
Adjusts the amount of the delay OUTPUT LEVEL 0–127 Output Level
sound that’s fed back into the
the phase.
Selects the way in which delay
MODE NORMAL, CROSS sound is fed back into the effect.
(See the figures above.)
HF DAMP 200–8000 Hz, BYPASS filtered out. If you don’t want to filter
out any high frequencies, set this
parameter to BYPASS.
RATE # 0.05–10.00 Hz, note Frequency of modulation
PHASE 0–180 deg Spatial spread of the sound

frequency range
frequency range
sound (D) and the delay sound (W)
56
48: 4TAP PAN DELAY 49: MULTI TAP DELAY

This effect has four delays. 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
Balance D panning and level of each delay sound.
L in L out
Delay 1
Balance W Balance D
Feedback 2-Band
Delay 2 L in L out
Feed Delay 1 EQ
Quadruple Tap Delay back
Delay 3 Balance W
Delay 3
Balance W Multi Tap Delay
Delay 4
Delay 4 Balance W
R in R out
Balance D
Delay 2
2-Band
R in R out
Balance D EQ
2 3
1 4
L R Stereo location of each delay Adjusts the time until Delays 1–4
TIME 1-4 0–2600 msec, note
are heard.
LEVEL 1–4 0–127 Output level of Delays 1–4

Adjusts the time from the original
sound that’s fed back into the
TIME 1–4 0–2600 msec, note sound until delay sounds 1–4 are DELAY 1 FEEDBACK # -98–+98 %
heard
the phase.
LEVEL 1–4 0–127 Volume of each delay
Adjusts the amount of the delay sound fed back to the effect is
sound that’s fed back into the DELAY 1 HF DAMP 200–8000 Hz, BYPASS filtered out. If you don’t want to filter
DELAY 1 FEEDBACK # -98–+98 % out any the high frequencies, set
the phase. this parameter to BYPASS.
Adjusts the frequency above which PAN 1–4 L64–63R Stereo location of Delays 1–4
200–8000 Hz, BYPASS filtered out. If you do not want to Amount of boost/cut for the low-
DELAY 1 HF DAMP EQ GAIN LOW -15–+15 dB
filter out any high frequencies, set frequency range
this parameter to BYPASS. Amount of boost/cut for the high-
Amount of boost/cut for the low- frequency range
frequency range Volume balance between the direct
Amount of boost/cut for the high- sound (D) and the effect sound (W)
frequency range OUTPUT LEVEL 0–127 Output Level
57
50: REVERSE DELAY 51: SHUFFLE DELAY

This is a reverse delay that adds a reversed and delayed sound to the input Adds a shuffle to the delay sound, giving the sound a bouncy delay effect
sound. A tap delay is connected immediately after the reverse delay. with a swing feel.
L in 2-Band L out L in 2-Band L out

Feedback EQ Feedback EQ
Rev
D1
Delay A A
Rev. Delay Delay Delay
D2
D3 Delay B B
2-Band 2-Band
R in R out R in R out
EQ EQ

Delay time from when sound is Adjusts the delay time from the
REV DELAY TIME 0–1300 msec, note input into the reverse delay until the TIME # 0–2600 msec, note direct sound until the delay sound
delay sound is heard is heard.
Proportion of the delay sound that Adjusts the ratio (as a percentage) of
REV DELAY FEEDBACK -98–+98 % is to be returned to the input of the the time that elapses before Delay
# reverse delay (negative values invert B sounds relative to the time that
the phase) SHUFFLE RATE # 0–100 elapses before the Delay A sounds.
When set to 100, the delay times are
Frequency at which the high-
the same.
frequency content of the reverse-
REV DELAY HF DAMP 200–8000 Hz, BYPASS delayed sound will be cut Adjusts the speed which the Delay
(BYPASS: no cut) ACCELERATION 0–15 Time changes from the current
setting to its specified new setting.
REV DELAY Volume at which the reverse delay
0–127
THRESHOLD will begin to be applied Adjusts the amount of the delay
that’s fed back into the effect.
REV DELAY LEVEL 0–127 Volume of the reverse delay sound FEEDBACK # -98–+98 %
Negative (-) settings invert the
REV DELAY PAN L64–63R Panning of the reverse delay sound phase.
Delay time from when sound is Adjusts the frequency above which
TAP DELAY TIME 1–3 0–1300 msec, note input into the tap delay until the sound fed back to the effect is
delay sound is heard HF DAMP 200–8000 Hz, BYPASS filtered out. If you don’t want to filter
Proportion of the delay sound that parameter to BYPASS.
DELAY 3 is to be returned to the input of the
-98–+98 % PAN A/B L64–63R Stereo location of Delay A/B
FEEDBACK # tap delay (negative values invert
the phase) 0–127 Volume of delay A/B
LEVEL A/B
Frequency at which the high- Amount of boost/cut for the low-
TAP DELAY HF DAMP 200–8000 Hz, BYPASS frequency content of the tap delay EQ GAIN LOW -15–+15 dB
frequency range
sound will be cut (BYPASS: no cut)
TAP DELAY PAN 1–2 L64–63R Panning of the tap delay sounds EQ GAIN HIGH -15–+15 dB
frequency range
TAP DELAY LEVEL 1–2 0–127 Volume of the tap delay sounds Volume balance between the direct
Amount of boost/cut for the low- sound (D) and the effect sound (W)
frequency range 0–127 Output Level
OUTPUT LEVEL
frequency range
sound (D) and delay sound (W)
58
52: 3D DELAY 53: TIME CTRL DELAY

This applies a 3D effect to the delay sound. The delay sound will be A stereo delay in which the delay time can be varied smoothly.
positioned 90 degrees left and 90 degrees right.
2-Band L out
L EQ Time Ctrl Delay Pan L
Level
3D Delay L
Feedback
Feedback
3D Delay C
Feedback Time Ctrl Delay Pan R

3D Delay R
R in 2-Band EQ R out
R 2-Band R out
EQ
Parameter Value Explanation Adjusts the delay time from the
TIME LEFT TIME # 0–1300 msec, note direct sound until the delay sound
Adjusts the delay time from the is heard.
TIME CENTER 0–2600 msec, note direct sound until the delay sound
is heard. Adjusts the speed which the Delay
TIME RIGHT Time changes from the current
Adjusts the proportion of the delay setting to a specified new setting.
ACCELERATION 0–15
sound that is fed back into the The rate of change for the Delay
CENTER FEEDBACK # -98–+98 %
effect. Negative (-) settings will Time directly affects the rate of pitch
invert the phase. change.
Adjusts the frequency above which Adjusts the amount of the delay
sound fed back to the effect will be that’s fed back into the effect.
200–8000 Hz, BYPASS cut. If you do not want to cut the FEEDBACK # -98–+98 %
HF DAMP Negative (-) settings invert the
high frequencies, set this parameter phase.
to BYPASS.
LEVEL LEFT sound fed back to the effect is
LEVEL CENTER 0–127 Output level of the delay sound HF DAMP 200–8000 Hz, BYPASS filtered out. If you do not want to
filter out any high frequencies, set
LEVEL RIGHT this parameter to BYPASS.
EQ GAIN LOW -15–+15 dB Amount of boost/cut for the low-
frequency range EQ GAIN LOW -15–+15 dB
frequency range
EQ GAIN HIGH -15–+15 dB Amount of boost/cut for the high-
frequency range EQ GAIN HIGH -15–+15 dB
frequency range
BALANCE # D100:0W–D0:100W Volume balance between the direct
sound (D) and the effect sound (W) BALANCE # D100:0W–D0:100W
to hear the sound that is output
SPEAKER when using speakers, or
59
54: LONG TIME CTRL DELAY 55: TAPE ECHO

A delay in which the delay time can be varied smoothly, and allowing an A virtual tape echo that produces a realistic tape delay sound. This
extended delay to be produced. simulates the tape echo section of a Roland RE-201 Space Echo.
2-Band L in L out
L in L out Direct Level
Balance D EQ
Echo Level
Balance W
Time Control Delay Tape Echo
Echo Level
Balance W
Feedback R in R out
R in 2-Band R out
EQ Direct Level
Balance D

Combination of playback heads
to use
TIME # 0–2600 msec, note direct sound until the delay sound
Select from three different heads with
is heard. S, M, L, S+M, S+L,
MODE different delay times.
M+L, S+M+L
Adjusts the speed which the Delay S: short
Time changes from the current M: middle
setting to a specified new setting. L: long
ACCELERATION 0–15
The rate of change for the Delay
Tape speed
Time directly affects the rate of pitch
REPEAT RATE # 0–127 Increasing this value will shorten the
change.
spacing of the delayed sounds.
INTENSITY # 0–127 Amount of delay repeats
that’s fed back into the effect.
Negative (-) settings invert the Boost/cut for the lower range of the
BASS -15–+15 dB
phase. echo sound
Adjusts the frequency above which Boost/cut for the upper range of the
TREBLE -15–+15 dB
sound fed back to the effect is echo sound
HF DAMP 200–8000 Hz, BYPASS filtered out. If you do not want to
filter out any high frequencies, set HEAD PAN S
Independent panning for the short,
this parameter to BYPASS. HEAD PAN M L64–63R
middle, and long playback heads
PAN # L64–63R Stereo location of the delay HEAD PAN L
Amount of boost/cut for the low- Amount of tape-dependent

EQ GAIN LOW -15–+15 dB distortion to be added
frequency range
This simulates the slight tonal
Amount of boost/cut for the high- DISTORTION 0–5 changes that can be detected
frequency range by signal-analysis equipment.
Volume balance between the direct Increasing this value will increase
BALANCE # D100:0W–D0:100W the distortion.
OUTPUT LEVEL 0–127 Output Level Speed of wow/flutter (complex

WOW/FLUTTER RATE 0–127 variation in pitch caused by tape
wear and rotational irregularity)
WOW/FLUTTER 0–127 Depth of wow/flutter
DEPTH
ECHO LEVEL # 0–127 Volume of the echo sound
DIRECT LEVEL # 0–127 Volume of the original sound
OUTPUT LEVEL 0–127 Output level
60
56: LOFI NOISE 57: LOFI COMPRESS

In addition to a lo-fi effect, this adds various types of noise such as white This is an effect that intentionally degrades the sound quality for creative
noise and disc noise. purposes.
2-Band L in 2-Band L out

L in L out Compressor Lo-Fi
EQ EQ
Lo-Fi
R in 2-Band R out
Compressor Lo-Fi
Noise Gen. EQ
Lo-Fi Parameter Value Explanation
2-Band Degrades the sound quality. The

R in R out LOFI TYPE 1–9 sound quality grows poorer as this
EQ value is increased.
Selects the type of filter applied to
Parameter Value Explanation the sound before it passes through
PRE FILTER TYPE 1–6 the Lo-Fi effect.
Degrades the sound quality. The 1: Compressor off
LOFI TYPE 1–9 sound quality grows poorer as this
2–6: Compressor on
value is increased.
Type of filter
Type of filter that follows the LoFi
effect
OFF, LPF, HPF LPF: cuts the frequency range above
OFF: no filter is used POST FILTER TYPE
the Cutoff
POST FILTER TYPE OFF, LPF, HPF LPF: cuts the frequency range above
the Cutoff
the Cutoff
the Cutoff POST FILTER CUTOFF 200–8000 Hz Basic frequency of the Post Filter
POST FILTER CUTOFF 200–8000 Hz Center frequency of the filter Amount of boost/cut for the low-
frequency range
Switch between white noise and
W/P NOISE TYPE WHITE, PINK
pink noise. Amount of boost/cut for the high-
frequency range
Center frequency of the low pass
W/P NOISE LPF 200–8000 Hz, BYPASS filter applied to the white/pink noise Volume balance between the direct
(BYPASS: no cut) sound (D) and the effect sound (W)
W/P NOISE LEVEL # 0–127 Volume of the white/pink noise OUTPUT LEVEL # 0–127 Output Level
Type of record noise
DISC NOISE TYPE LP, EP, SP, RND The frequency at which the noise is
heard depends on the selected type.
Adjusts the cutoff frequency of the
low pass filter applied to the record
DISC NOISE LPF 200–8000 Hz, BYPASS noise. If you don’t want to filter
parameter to BYPASS.
DISC NOISE LEVEL # 0–127 Volume of the record noise
HUM TYPE 50Hz, 60Hz Frequency of the hum noise

Center frequency of the low pass
HUM LPF 200–8000 Hz, BYPASS filter applied to the hum noise
(BYPASS: no cut)
HUM LEVEL # 0–127 Volume of the hum noise

frequency range
frequency range
61
58: LOFI RADIO 60: PHONOGRAPH

In addition to a Lo-Fi effect, this effect also generates radio noise. 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
L in 2-Band L out typical of a record, and even the rotational irregularities of an old turntable.
EQ
Lo-Fi Balance D
L in L out
Radio Balance W
Phonograph
Phonograph Balance W
Lo-Fi
R in 2-Band R out R in R out

EQ Balance D
Degrades the sound quality. The SIGNAL DISTORTION 0–127 Degree of distortion
LOFI TYPE 1–9 sound quality grows poorer as this
Frequency response of the playback
value is increased.
system
Type of filter FREQUENCY RANGE 0–127 Decreasing this value will produce
OFF: no filter is used the impression of an old system with
OFF, LPF, HPF LPF: cuts the frequency range above a poor frequency response.
POST FILTER TYPE
the Cutoff
HPF: cuts the frequency range below Rotational speed of the turntable
the Cutoff DISC TYPE LP, EP, SP This will affect the cycle of the
scratch noise.
POST FILTER CUTOFF 200–8000 Hz Basic frequency of the Post Filter
NOISE LEVEL Amount of noise due to scratches on
Simulates the tuning noise of a 0–127
RADIO NOISE DETUNE 0–127 SCRATCH the record
radio. As this value is raised, the
# tuning drifts further. Volume of noise due to dust on the
NOISE LEVEL DUST 0–127
record
RADIO NOISE LEVEL # 0–127 Volume of the radio noise
NOISE LEVEL HISS 0–127 Volume of continuous hiss
EQ GAIN LOW -15–+15 dB 0–127 Volume of overall noise
frequency range NOISE LEVEL TOTAL
Amount of boost/cut for the high- Depth of long-cycle rotational
EQ GAIN HIGH -15–+15 dB WOW 0–127
frequency range irregularity
Volume balance between the direct Depth of short-cycle rotational

BALANCE # D100:0W–D0:100W FLUTTER 0–127
sound (D) and the effect sound (W) irregularity
OUTPUT LEVEL 0–127 Output Level WOW/FLUTTER Depth of indefinite-cycle rotational

0–127
RANDOM irregularity
WOW/FLUTTER Depth of overall rotational

0–127
TOTAL # irregularity
59: TELEPHONE BALANCE # D100:0W–D0:100W
This effect produces a muffled sound, like that heard through a telephone.
L in Telephone L out
R in Telephone R out
VOICE QUALITY # 0–15 Audio quality of the telephone voice

Amount of boost/cut for the high
TREBLE -15–+15 dB
frequency range
62
61: PITCH SHIFTER 62: 2VOICE PITCH SHIFTER

A stereo pitch shifter. 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.
Balance D
Pitch Shifter L in L out
Level 1
Pan 1 L Balance W
Pitch Shifter
R in 2-Band EQ R out Pan 1 R
2Voice Pitch Shifter
Pan 2 L
Parameter Value Explanation Pan 2 R Balance W

Level 1
COARSE #1 -24–+12 semi

Adjusts the pitch of the pitch shifted R in R out
sound in semitone steps. Balance D
Adjusts the pitch of the pitch shifted
FINE #1 -100–+100 cent
sound in 2-cent steps.
Adjusts the pitch of Pitch Shift 1 in
DELAY TIME 0–1300 msec, note direct sound until the pitch shifted PITCH1 COARSE #1 -24–+12 semi
semitone steps.
sound is heard.
Adjusts the pitch of Pitch Shift Pitch
Adjusts the proportion of the pitch PITCH1 FINE #1 -100–+100 cent
1 in 2-cent steps.
shifted sound that is fed back into
the effect. Negative (-) settings will Adjusts the delay time from the
invert the phase. PITCH1 DELAY 0–1300 msec, note direct sound until the Pitch Shift 1
sound is heard.
frequency range Adjusts the proportion of the pitch
shifted sound that is fed back into
Amount of boost/cut for the high- PITCH1 FEEDBACK # -98–+98 %
EQ GAIN HIGH -15–+15 dB the effect. Negative (-) settings will
frequency range
invert the phase.
PITCH1 LEVEL 0–127 Volume of the Pitch Shift 1 sound
BALANCE # D100:0W–D0:100W sound (D) and the pitch shifted
sound (W) Stereo location of the Pitch Shift
PITCH1 PAN # L64–63R
1 sound
PITCH2 COARSE #2 24–+12 semi
PITCH2 FINE #2 -100–+100 cent
PITCH2 DELAY 0–1300 msec, note Settings of the Pitch Shift 2 sound.
The parameters are the same as for
PITCH2 FEEDBACK # -98–+98 % the Pitch Shift 1 sound.
PITCH2 LEVEL 0–127
PITCH2 PAN # L64–63R

frequency range
frequency range
BALANCE # D100:0W–D0:100W sound (D) and the pitch shifted
sound (W)
63
63: STEP PITCH SHIFTER 64: REVERB

A pitch shifter in which the amount of pitch shift is varied by a 16-step Adds reverberation to the sound, simulating an acoustic space.
sequence.
2-Band
L in L out
2-Band Balance D EQ
L in L out Balance W
EQ
Reverb
Step Pitch Shifter
Balance W
Step Pitch Shifter R in 2-Band R out
2-Band Balance D EQ
R in R out
EQ
Parameter Value Explanation Type of reverb

ROOM1: dense reverb with short
Rate at which the 16-step sequence decay
RATE # 0.05–10.0 Hz, note
will cycle ROOM2: sparse reverb with short
ROOM1, ROOM2, decay
Speed at which the amount of pitch
ATTACK # 0–127 TYPE STAGE1, STAGE2, STAGE1: reverb with greater late
shift changes between steps
HALL1, HALL2 reverberation
Duration of the pitch shifted sound STAGE2: reverb with strong early
GATE TIME # 0–127 reflections
at each step
HALL1: reverb with clear reverberance
Pitch shift adjustment for all steps HALL2: reverb with rich reverberance
FINE -100–+100 cent
(2-cent units)
Adjusts the delay time from the PRE DELAY 0.0–100 msec direct sound until the reverb sound
DELAY TIME 0–1300 msec, note direct sound until the pitch shifted is heard.
sound is heard.
TIME # 0–127 Time length of reverberation
Proportion of the pitch-shifted
sound that is to be returned to the Adjusts the frequency above which
FEEDBACK # -98–+98 % the reverberant sound will be cut.
phase) As the frequency is set lower, more
of the high frequencies will be cut,
Amount of pitch shift at each step HF DAMP 200–8000 Hz, BYPASS resulting in a softer and more muted
STEP 1–16 -24–+12 semi
(semitone units) reverberance.
If you do not want to cut the high
Amount of boost/cut for the low- frequencies, set this parameter to
frequency range BYPASS.
Amount of boost/cut for the high- Amount of boost/cut for the low-
EQ GAIN HIGH -15–+15 dB EQ GAIN LOW -15–+15 dB
frequency range frequency range
Volume balance of the original Amount of boost/cut for the high-
D100:0W–D0:100W sound (D) and pitch-shifted sound EQ GAIN HIGH -15–+15 dB
BALANCE # frequency range
(W)
0–127 Output Level BALANCE # D100:0W–D0:100W
OUTPUT LEVEL sound (D) and the reverb sound (W)
MEMO
64
65: GATED REVERB 67: OVERDRIVE 0 FLANGER

This is a special type of reverb in which the reverberant sound is cut off Balance D
before its natural length. L in L out
Feedback
Balance W
2-Band
L in L out Overdrive Flanger
Balance D EQ
Balance W Balance W
Gated Reverb
R in R out
Balance W Balance D
R in 2-Band R out
Balance D EQ
Degree of distortion
Parameter Value Explanation OVERDRIVE DRIVE # 0–127
Type of reverb
Stereo location of the overdrive
NORMAL: conventional gated reverb OVERDRIVE PAN # L64–63R
sound
REVERSE: backwards reverb
NORMAL, REVERSE,
TYPE SWEEP1, SWEEP2 SWEEP1: the reverberant sound FLANGER RATE # 0.05–10.00 Hz, note Frequency of modulation
moves from right to left
SWEEP2: the reverberant sound FLANGER DEPTH 0–127 Depth of modulation
moves from left to right Adjusts the proportion of the
Adjusts the delay time from the flanger sound that is fed back into
FLANGER FEEDBACK # -98–+98 % the effect. Negative (-) settings will
PRE DELAY 0.0–100 msec direct sound until the reverb sound
is heard. invert the phase.
GATE TIME 5–500 msec Time length of reverberation Adjusts the delay time from when
Amount of boost/cut for the low- flanger sound is heard.
frequency range
Adjusts the volume balance
Amount of boost/cut for the high- between the sound that is sent
frequency range FLANGER BALANCE # D100:0W–D0:100W through the flanger (W) and the
sound that is not sent through the
BALANCE # D100:0W–D0:100W flanger (D).
sound (D) and the reverb sound (W)
66: OVERDRIVE 0 CHORUS 68: OVERDRIVE 0 DELAY

Balance D Balance D
Balance W Balance W
Overdrive Chorus Overdrive Delay

Balance W Balance W
Feedback
R in R out R in R out
Balance D Balance D

Degree of distortion Degree of distortion
OVERDRIVE DRIVE # 0–127 0–127
Also changes the volume. OVERDRIVE DRIVE #
Stereo location of the overdrive Stereo location of the overdrive
OVERDRIVE PAN # L64–63R L64–63R
sound OVERDRIVE PAN # sound
CHORUS RATE # 0.05–10.00 Hz, note Frequency of modulation Adjusts the delay time from the
CHORUS DEPTH 0–127 Depth of modulation DELAY TIME 0–2600 msec, note direct sound until the delay sound
is heard.
CHORUS PRE DELAY 0.0–100 msec direct sound until the chorus sound Adjusts the proportion of the delay
is heard. sound that is fed back into the
DELAY FEEDBACK # 98–+98 %
effect. Negative (-) settings will
Adjusts the volume balance invert the phase.
between the sound that is sent
CHORUS BALANCE # D100:0W–D0:100W through the chorus (W) and the Adjusts the frequency above which
sound that is not sent through the sound fed back to the effect will be
chorus (D). DELAY HF DAMP 200–8000 Hz, BYPASS cut. If you do not want to cut the
high frequencies, set this parameter
OUTPUT LEVEL 0–127 Output Level to BYPASS.
DELAY BALANCE # D100:0W–D0:100W through the delay (W) and the
delay (D).
65
69: DISTORTION 0 CHORUS 72: ENHANCER 0 CHORUS

The parameters are essentially the same as in “66: OVERDRIVE 0 L in L out
Enhancer
CHORUS,” with the exception of the following two. Mix Balance D
Balance W
Overdrive Drive 0 Distortion Drive, Chorus
Balance W
Overdrive Pan 0 Distortion Pan
L out R in Enhancer R out

L in Mix Balance D
Balance D
Balance W
Distortion Chorus Parameter Value Explanation
Balance W
ENHANCER SENS # 0–127 Sensitivity of the enhancer
R in R out Level of the overtones generated by
Balance D ENHANCER MIX # 0–127
the enhancer
70: DISTORTION 0 FLANGER CHORUS DEPTH 0–127 Depth of modulation

The parameters are essentially the same as in “67: OVERDRIVE 0 CHORUS PRE DELAY 0.0–100 msec direct sound until the chorus sound
is heard.
FLANGER,” with the exception of the following two.
Overdrive Drive 0 Distortion Drive,
CHORUS BALANCE # D100:0W–D0:100W through the chorus (W) and the
Overdrive Pan 0 Distortion Pan sound that is not sent through the
chorus (D).
Balance D
L in L out
Feedback
Balance W
Distortion Flanger
Balance W 73: ENHANCER 0 FLANGER
R in R out Balance D
Balance D L in Enhancer L out
Mix Feedback
Balance W
71: DISTORTION 0 DELAY

Flanger
Balance W
The parameters are essentially the same as in “68: OVERDRIVE 0 R in Enhancer R out
Mix Balance D
DELAY,” with the exception of the following two.
Overdrive Drive 0 Distortion Drive, Parameter Value Explanation

Overdrive Pan 0 Distortion Pan ENHANCER SENS # 0–127 Sensitivity of the enhancer
L in L out 0–127
ENHANCER MIX #
Balance D the enhancer
Balance W
FLANGER RATE # 0.05–10.00 Hz, note Frequency of modulation
Distortion Delay
FLANGER DEPTH 0–127 Depth of modulation
Balance W
Feedback Adjusts the proportion of the
flanger sound that is fed back into
R in R out FLANGER FEEDBACK # -98–+98 % the effect. Negative (-) settings will
Balance D
invert the phase.
Adjusts the delay time from when
FLANGER BALANCE # D100:0W–D0:100W through the flanger (W) and the
flanger (D).
66
74: ENHANCER 0 DELAY 76: FLANGER 0 DELAY

Balance D
L in Enhancer L out
Mix Balance D L in L out
Balance W Feedback Balance D
Delay Balance W Balance W
Balance W Flanger Delay
Feedback Balance W Balance W
R in Enhancer R out Feedback
Mix Balance D R in R out
Balance D Balance D

ENHANCER SENS # 0–127 Sensitivity of the enhancer
FLANGER RATE # 0.05–10.00 Hz, note Frequency of modulation
ENHANCER MIX # 0–127 FLANGER DEPTH 0–127 Depth of modulation
the enhancer
flanger sound that is fed back into
DELAY TIME 0–2600 msec, note direct sound until the delay sound FLANGER FEEDBACK # -98–+98 % the effect. Negative (-) settings will
is heard.
invert the phase.
Adjusts the proportion of the delay
Adjusts the delay time from when
sound that is fed back into the
DELAY FEEDBACK # -98–+98 % FLANGER PRE DELAY 0.0–100 msec the direct sound begins until the
invert the phase.
Adjusts the frequency above which FLANGER BALANCE # D100:0W–D0:100W
sound fed back to the effect will be
DELAY HF DAMP 200–8000 Hz, BYPASS cut. If you do not want to cut the Adjusts the delay time from the
high frequencies, set this parameter DELAY TIME 0–2600 msec, note direct sound until the delay sound
to BYPASS. is heard.
Adjusts the volume balance Adjusts the proportion of the delay
between the sound that is sent sound that is fed back into the
DELAY FEEDBACK # -98–+98 %
DELAY BALANCE # D100:0W–D0:100W through the delay (W) and the effect. Negative (-) settings will
sound that is not sent through the invert the phase.
delay (D).
OUTPUT LEVEL 0–127 Output Level sound fed back to the effect will be
DELAY HF DAMP 200–8000 Hz, BYPASS cut. If you do not want to cut the
to BYPASS.
75: CHORUS 0 DELAY Adjusts the volume balance

Balance D sound that is not sent through the
L in L out delay (D).
Balance D
Balance W Balance W OUTPUT LEVEL 0–127 Output Level
Chorus Delay
Balance W Balance W
Feedback
R in R out
Balance D Balance D
CHORUS DEPTH 0–127 Depth of modulation

is heard.
CHORUS BALANCE # D100:0W–D0:100W
sound (D) and the chorus sound (W)
DELAY TIME 0–2600 msec, note direct sound until the delay sound
is heard.
sound that is fed back into the
DELAY FEEDBACK # -98–+98 %
invert the phase.
sound fed back to the effect will be
DELAY HF DAMP 200–8000 Hz, BYPASS cut. If you do not want to cut the
to BYPASS.
delay (D).
67
77: CHORUS 0 FLANGER 78: SYMPATHETIC RESONANCE

Balance D Balance D On an acoustic piano, holding down the damper pedal allows other strings
L in L out to resonate in sympathy with the notes you play, creating rich and spacious
Feedback resonances. This effect simulates these sympathetic resonances.
Balance W Balance W
Chorus Flanger
Balance W Balance W 3-Band
L in L out
EQ
R in R out
Balance D Balance D
Sym. Resonance
Parameter Value Explanation 3-Band

R in R out
Modulation frequency of the chorus EQ
CHORUS RATE # 0.05–10.00 Hz, note
effect
Modulation depth of the chorus Parameter Value Explanation
CHORUS DEPTH 0–127
effect
RESONANCE DEPTH # 0–127 Depth of the effect
CHORUS PRE DELAY 0.0–100 msec direct sound until the chorus sound Depth to which the damper pedal
RESONANCE DAMPER 0–127 is pressed (controls the resonant
is heard.
# sound)
CHORUS BALANCE # D100:0W–D0:100W
sound (D) and the chorus sound (W) Frequency of the filter that cuts the
RESONANCE PRE LPF 16–15000 Hz, BYPASS high-frequency content of the input
Modulation frequency of the flanger sound (BYPASS: no cut)
FLANGER RATE # 0.05–10.00 Hz, note
effect
Frequency of the filter that cuts the
Modulation depth of the flanger BYPASS, 16–15000 Hz low-frequency content of the input
FLANGER DEPTH 0–127 RESONANCE PRE HPF
effect sound (BYPASS: no cut)
Adjusts the proportion of the Frequency of the filter that boosts/
flanger sound that is fed back into RESONANCE PEAKING 200–8000 Hz cuts a specific frequency region of
FLANGER FEEDBACK # -98–+98 % the effect. Negative (-) settings will FREQ the input sound
invert the phase.
Width of the frequency region
Adjusts the delay time from when boosted/cut by the ‘Peaking Gain’
RESONANCE PEAKING 0.5, 1.0, 2.0, 4.0, 8.0
FLANGER PRE DELAY 0.0–100 msec the direct sound begins until the parameter (larger values make the
Q
flanger sound is heard. region narrower)
Adjusts the volume balance Amount of boost/cut produced by
between the sound that is sent RESONANCE PEAKING -15–+15 dB the filter at the specified frequency
FLANGER BALANCE # D100:0W–D0:100W through the flanger (W) and the GAIN region of the input sound
flanger (D). Frequency at which the high-
RESONANCE HF 16–15000 Hz, BYPASS frequency content of the resonant
OUTPUT LEVEL 0–127 Output Level DAMP sound will be cut (BYPASS: no cut)
Frequency at which the low-
RESONANCE LF DAMP BYPASS, 16–15000 Hz frequency content of the resonant
sound will be cut (BYPASS: no cut)
This simulates the actual changes
in sound that occur when the lid
RESONANCE LID 1–6
of a grand piano is set at different
heights.
Frequency of the low-range of
LOW FREQ 200, 400 Hz
the EQ
LOW GAIN -15–+15 dB
range of the EQ
Frequency of the mid-range of
MID FREQ 200–8000 Hz
the EQ
Amount of mid-range of the EQ
MID GAIN -15–+15 dB
boost/cut
Width of mid-range of the EQ (larger

MID Q 0.5, 1.0, 2.0, 4.0, 8.0
values make the region narrower)
Frequency of the high-range of

HIGH FREQ 2000, 4000, 8000 Hz
the EQ
HIGH GAIN -15–+15 dB
range of the EQ
68
Chorus Parameters Reverb Parameters

The JV-1080’s Chorus effect unit can also be used as a stereo delay unit. These settings allow you to select the desired type of reverb, and its
These settings allow you to select chorus or delay, and the characteristics characteristics.
of the selected effect type.
Parameter Value Explanation REVERB
CHORUS Type of reverb/delay
Modulation frequency of the chorus ROOM1: short reverb with high
RATE 0.05–10.00 Hz, note
effect density
ROOM1 ROOM2: short reverb with low
Modulation depth of the chorus
DEPTH 0–127 ROOM2 density
effect
STAGE1 STAGE1: reverb with greater late
Adjusts the delay time from the STAGE2 reverberation
PRE DELAY 0.0–100 msec direct sound until the chorus sound TYPE STAGE2: reverb with strong early
HALL 1
is heard. reflections
HALL 2
Adjusts the amount of the chorus DELAY HALL1: very clear-sounding reverb
FEEDBACK 0–127 sound that is fed back into the PAN-DELAY HALL2: rich reverb
effect. DELAY: conventional delay effect
Type of filter PAN-DELAY: delay effect with
OFF: no filter is used echoes that pan left and right
OFF, LPF, HPF LPF: cuts the frequency range above Time length of reverberation
FILTER TYPE
the Cutoff Freq
(Type: ROOM1–HALL2)
HPF: cuts the frequency range below TIME 0–127
the Cutoff Freq Delay time
(Type: DELAY, PAN-DELAY)
CUTOFF 200–8000 Hz Basic frequency of the filter
PHASE 0–180 deg Spatial spread of the sound the high-frequency content of
DELAY the reverb sound will be cut. If
HF DAMP 200–8000 Hz, BYPASS
you do not want to cut the high
DELAY TIME LEFT Adjusts the delay time from the frequencies, set this parameter to
DELAY TIME CENTER 0–1000 msec, note direct sound until the delay sound BYPASS.
is heard.
DELAY TIME RIGHT Adjusts the amount of delay
feedback when the Type setting is
DELAY or PAN-DELAY.
sound that is fed back into the FEEDBACK 0–127
CENTER effect. Amount of delay sound returned to
-98–+98 %
FEEDBACK the input (this setting is valid only if
Negative (-) settings will invert the
Type is DELAY or PAN-DELAY)
phase.
SRV ROOM
sound fed back to the effect will SRV HALL
be cut. SRV PLATE
HF DAMP 200–8000 Hz, BYPASS
If you do not want to cut the high Adjusts the delay time from the
frequencies, set this parameter to PRE DELAY 0.0–100 msec direct sound until the reverb sound
BYPASS. is heard.
DELAY LEVEL LEFT TIME 0–127 Time length of reverberation
DELAY LEVEL CENTER 0–127 Volume of each delay sound SIZE 1–8 Size of the simulated room or hall
DELAY LEVEL RIGHT
the high-frequency content of the
160–12500 Hz,
GM2 CHORUS HIGH CUT reverb will be reduced. If you do not
BYPASS
want to reduce the high frequencies,
LEVEL 0–127 Volume of the chorus sound set this parameter to BYPASS.
Adjusts the amount of the chorus DENSITY 0–127 Density of reverb
FEEDBACK 0–127 sound that is fed back into the
effect. Adjusts the change in the density
of the reverb over time. The higher
Cuts the high frequency range of the value, the more the density
the sound coming into the chorus. DIFFUSION 0–127
0–7 increases with time. (The effect of
PRE LPF Higher values will cut more of the this setting is most pronounced with
high frequencies. long reverb times.)
Adjusts the delay time from the Adjusts the frequency below which
DELAY 0–127 direct sound until the chorus sound LF DAMP 50–4000 Hz the low-frequency content of the
is heard. reverb sound will be reduced.
RATE 0–127 Frequency of modulation Adjusts the amount of damping

applied to the frequency range
DEPTH 0–127 Depth of modulation selected with LF Damp. With
LF DAMP GAIN -36–0 dB
a setting of 0, there will be no
SEND LEVEL TO Adjusts the amount of chorus sound
0–127 reduction of the reverb’s low-
REVERB that will be sent to the reverb.
frequency content.
HF DAMP 4000–12500 Hz the high-frequency content of the
reverb sound will be reduced.
Adjusts the amount of damping
applied to the frequency range
selected with HF Damp. With
HF DAMP GAIN -36–0 dB
a setting of 0, there will be no
reduction of the reverb’s high-
frequency content.
69
GM2 REVERB
LEVEL 0–127 Output level of reverberation

Type of reverb
CHARACTER 0–7 0–5: reverb
6, 7: delay
Cuts the high frequency range of the
sound coming into the reverb.
PRE-LPF 0–7
Higher values will cut more of the
high frequencies.
TIME 0–127 Time length of reverberation

DELAY FEEDBACK 0–127 sound that is fed back into the effect
when the Character setting is 6 or 7.
70

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JV-1080 Software Synthesizer

Copyright © 2017 ROLAND CORPORATION 01

Memory and Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Detailed Editing for a Patch (PATCH Parameters) . . . . . . . . . . . 11

Detailed Editing for a Rhythm Set (RHYTHM Parameters). . . 28

LIST [PORTAMENTO] button TONE SWITCH EFFECTS

Navigation window Parameter window

How to Edit Values

About the KEYBOARD button

Example 2: A Patch consisting of four Tones.

Tone Rhythm key (Percussion instrument sound)

WG TVF TVA Calculating the Number of Voices Being Used

Patch Priority can be set either to “LAST” or “LOUDEST.”

About the Effects

How effects are handled

2. Click the bank that you want to recall.

2. Select a file and load it.

1. Select a bank as described in “Changing to Other

Memory 128 Renaming a Bank

Category Keyboard shortcuts

Command (Ctrl) + I Imports bank

Command (Ctrl) + E Exports bank

Command (Ctrl) + N New memory

Up/Down/Left/Right Selects memory

Space Renames memory

Command (Ctrl) + C Copies memory

[READ] button Command (Ctrl) + Z Undo

Loads a memory from a Command (Ctrl) + Shift + Z Redo

Esc Closes window

1. Click the number of the memory that you want to load.

Saving the Memory

1. Click the number of the memory in which you want to

Renaming the Memory

Changing the Order of the Memories

Roland Cloud... Displays the Roland Cloud site.

[LFO] editing screen

How to Edit a Patch

1. In the main window, click the [UTILITY] button.

2. Select “Initialize”, “Copy” or “Paste.”

3. In the list, click to select the desired item.

Four tips when creating patches

[WG+PITCH], [TVF], [TVA], [CONTROL SW] editing screens

The JV-1080’s internal waveforms can be categorized into the

After selecting the right-channel wave in WAVE NUMBER R, you Level

Envelope for the

PATCH Parameters Parameter Range/Explanation

Parameter Range/Explanation Parameter Range/Explanation

RATE: Speed of pitch change is uniform (the time

PATCH SCALE TUNE

The JV-1080 allows you to play the keyboard using temperaments

Just Intonation (Tonic of C)

G# are a quarter-note higher compared to equal temperament.

F# 0 -10 +43 TONE 1 (3) WG TVA TVF

G# 0 +14 +47 TONE 2 (4) WG TVF TVA

TONE 1 (3) WG TVA TVF

TONE 1 (3) WG TVA TVF

* When TYPE 02–10 is selected and one tone of a pair is turned

TONE 1 (3) WG TVF TVA Booster

TONE 1 (3) WG TVF TVA

*1 This produces a time delay between the moment a key is pressed

*2 FXM (Frequency Cross Modulation) uses a specified waveform to

*1 FXM (Frequency Cross Modulation) uses a specified waveform to