Roland JUNO-Di Editor Owner's Manual page 26

Detailed Editing for a Patch (PATCH Parameters)
WG
Parameter
WAVE NUMBER
L (Mono)/R
GAIN
TEMPO SYNC
FXM ON
FXM COLOR
FXM DEPTH ★
TUNE COARSE ★
TUNE FINE ★
PITCH ENV DEPTH
(Pitch Envelope Depth)
PITCH ENV A
(Pitch Envelope Attack)
PITCH ENV D
(Pitch Envelope Decay)
PITCH ENV S
(Pitch Envelope Sustain)
PITCH ENV R
(Pitch Envelope Release)
TVF
Parameter Value 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
OFF,
be useful when creating distinctive sounds.
LPF,
HPF: High Pass Filter. This cuts the frequencies in the region below the Cutoff Frequency. This is suitable for creating
BPF,
percussive sounds emphasizing their higher tones.
TYPE HPF,
PKG: Peaking Filter. This emphasizes the frequencies in the region of the Cutoff Frequency. You can use this to create
PKG,
wah-wah effects by employing an LFO to change the Cutoff Frequency cyclically.
LPF2,
LPF2: Low Pass Filter 2. Although frequency components above the Cutoff Frequency are cut, the sensitivity of this filter
LPF3
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 Resonance parameter will be ignored.
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Value Explanation
Basic waveform for a tone
When in monaural mode, only the left side (L) is specified. When in stereo, the right side
Off, 1– (R) is also specified.
To select a left/right pair of waveforms, first select the left (L) wave number, then double-
click the wave number of the right (R) wave to select it.
Gain (amplification) of the waveform
The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform's
gain.
-6, 0, +6, +12
* If you intend to use the Booster to distort the waveform's sound, set this parameter to its
maximum value (p. 31).
When you wish to synchronize a Phrase Loop to the clock (tempo), set this to "ON."
OFF, ON
* When this parameter is set to "ON," set the TONE DELAY TIME parameter (p. 33) to "0."
OFF, ON This sets whether FXM will be used (ON) or not (OFF).
How FXM will perform frequency modulation
1–4
Higher settings result in a grainier sound, while lower settings result in a more metallic
sound.
0–16 Depth of the modulation produced by FXM
-48–+48 Pitch of the tone's sound (in semitones, +/-4 octaves)
-50–+50 Pitch of the tone's sound (in 1-cent steps; one cent is 1/100th of a semitone)
Depth of the Pitch envelope
-12–+12
Higher settings will cause the pitch envelope to produce greater change. Negative (-)
settings will invert the shape of the envelope.
Pitch envelope times
0–127 Higher settings will result in a longer time until the next pitch is reached.
This will modify ENV T1 (p. 34).
Pitch envelope times
0–127
This will modify ENV T3 (p. 34).
Pitch envelope levels
Specify how the pitch will change at each point, relative to the pitch set with COARSE
-63–+63
TUNE or FINE TUNE.
This will modify ENV L3 (p. 34).
Pitch envelope times
0–127
This will modify ENV T4 (p. 34).
Parameter marked with a "★" can be controlled using specified MIDI messages.
Parameter marked with a "★" can be controlled using specified MIDI messages.
(Matrix Control, p. 42)
(Matrix Control, p. 42)