Page 1 Read this chapter as necessary. Supplementary Information Consult this chapter when the JX-305 does not function as you expect, or if an error message is displayed. This chapter also contains information such as parameter lists and the MIDI implementation.
Page 2 ......................• When using the unit with a rack or stand recom- mended by Roland, the rack or stand must be careful- ly placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that...
Page 3 • Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet. • Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the "Information" page......................
Page 4: Table Of Contents
Contents Features of the JX-305 ..................8 Important Notes....................9 Front and Rear Panels ..................10 Chapter 1. an Overview of the JX-305 ...........13 How the JX-305 Is Organized ........13 About Memory ..............15 How the Sound Generator Is Organized ....13 Basic Operation..............16 How the Sequencer Is Organized.........14 Chapter 2.
Page 5 Chapter 4. One-Touch Phrase Playback (RPS)........48 Pressing Notes to Play Back Phrases ......48 Making Settings for Each Phrase .........50 Causing a Phrase to Continue Playing (RPS Hold)..49 Using the Part Mixer to Modify Settings ......50 Assigning Phrases to the Keyboard ......49 Changing the Patch of Each RPS Part ........51 Saving the Phrases You Assigned (RPS Set Write)...52 Chapter 5.
Page 6 Chapter 8. Recording Patterns ............125 Recording Your Playing As You Perform Recording Notes One at a Time (Step Recording) ..131 Recording Procedure ............131 (Real-Time Recording) ..........125 Recording Notes One by One (Step Recording 1) ..132 Recording Procedure ............125 Various Ways to Input Notes ..........133 Auditioning Phrases During Recording Recording Individual Notes to Grid Locations (Rehearsal Function) ............127...
Page 7 Chapter 13. Setting the Operating Environment of the JX-305 (System).163 Adjusting the Metronome Volume Controller-Related Settings .........163 (Metronome Level) .............167 Changing the Loudness of Notes Played on the Keyboard Specifying the Timing for RPS Playback (Keyboard Velocity)............163 (RPS Trigger Quantize) ............167 Setting Aftertouch Sensitivity (Aftertouch Sens) ...163...
Page 8: Features Of The Jx-305
This has a wide variety of uses, such as adding the dance scene—to realistic acoustic sounds. From the accents during a song, or playing an entire song using day you take the JX-305 home, you can enjoy today’s just RPS. leading-edge sounds.
Page 9: Important Notes
Please observe the following points when using the JX-305. restore the data, and Roland assumes no liability concern- Various types of data required for the JX-305's operation are ing such loss of data. held in internal flash memory. If the power is turned off...
Page 10: Front And Rear Panels
BENDER Front Panel 1 VOLUME Knob Controls the overall volume of the JX-305. 2 REALTIME MODIFY Section Here you can make settings for sound parameters (p. 54) and effects (p. 101). Also, in the Part Mixer page you can make various settings for each part (p. 33).
Page 11 GROUP PART EDIT/UTILITY VALUE PRESET PART PART MUTE EDIT PAGE PREV NEXT SELECT MUTE CTRL UTILITY USER CARD LOWER UPPER QTZ SELECT FX ON /OFF WRITE UNDO SHIFT / REDO BANK PART ERASE S E T U P KEYBOARD EFFECTS PART ARPEGGIO CONTROLLER...
Page 12: Rear Panel
PEDAL OUTPUT THRU SWITCH CONTROL HOLD L(MONO) PHONES USE ROLAND ACI,ACB ADAPTOR ONLY S2M-5/S4M-5 Rear panel 1 MEMORY CARD Slot An optional memory card (SmartMedia) can be inserted here (p. 159). 2 MIDI IN/OUT/THRU Connectors External MIDI devices can be connected here (p. 171). Use MIDI cables (sold separately) to make connections.
Page 13: Chapter 1. An Overview Of The Jx-305
Tones are the smallest unit of sound used by the JX- 305. Although it is possible to create a sound using fig.1-1TEXT (#MC fig.1-3) only one Tone, the sounds you will normally play on the JX-305 are “Patches,” which consist of one or more Tones. Sequencer Sound generator Sounds That You Play—Patches...
Page 14: How The Sequencer Is Organized
About simultaneous polyphony ent rhythm tone can be assigned to each key (note The JX-305 is able to play up to 64 notes simultaneous- number), allowing you to use a large number of ly. If the incoming musical data requests more than 64 rhythm tones at once.
Page 15: About Memory
Parts for pattern Currently playing The memory of the JX-305 is divided into three areas: playback Pattern Parts settings (Patch selection and System Memory, User Memory, and Preset Memory.
Page 16: Basic Operation
Chapter 1. an Overview of the JX-305 Temporary Memory—The Temporary Basic Operation Area (Temporary Pattern) Modifying a Value When you play a sound or select a patch for editing, the selected patch is called into a location known as To select a patch or pattern, or to modify a parameter the “temporary area.”...
Page 17 “Undone” state back to the edited state is called Redo. The JX-305 lets you use undo/redo for the following operations. This is convenient when you wish to can- cel a change, or to compare your edits with the origi- nal data.
Page 18: Chapter 2. Playing The Keyboard
3. In the DISPLAY section, press [PATCH]. The indicator lights, and the display will show the The JX-305 lets you layer two patches, or play different group, bank, number and name of the currently select- patches with the right and left hands. This function is ed patch (rhythm set).
Page 19: Layering Two Patches (Dual)
Chapter 2. Playing the Keyboard Layering Two Patches (Dual) Playing Different Patches with the Left and Right Hands (Split) 1. In the DISPLAY section, press [PATCH]. The indicator lights. 1. In the DISPLAY section, press [PATCH]. 2. In the KEYBOARD section, press [DUAL]. The indicator lights.
Page 20: Changing The Split Point
Chapter 2. Playing the Keyboard 5. Press [UPPER]. want to assign to the upper part. fig.2-16-1 The indicator lights. The group, bank and number of BANK PART the patch for the upper part will be displayed in bold S E T U P KEYBOARD EFFECTS PART...
Page 21: Smoothly Changing The Pitch Of The Sound
Chapter 2. Playing the Keyboard 4. Press PAGE [>] to select the upper part set- ting page. fig.2-13-1 FILTER PITCH 2. Rotate the [PORTA TIME] knob to adjust the 5. Use [INC] [DEC] or the [VALUE] dial to select portamento time value. the upper part.
Page 22: Playing Two Patches From The Keyboard
Chapter 2. Playing the Keyboard Each time you press OCTAVE [+], the range will be If you wish to specify the parameter affected by raised one octave. the modulation lever... Each time you press OCTAVE [-], the range will be “Specifying the Parameters That Will Be lowered one octave.
Page 23: Sustaining The Notes You Play (Hold Pedal)
Chapter 2. Playing the Keyboard 4. Press [EXIT] when finished making the setting. Control Pedal Settings The original display will reappear. 1. Press [EDIT]. The keyboard velocity setting has now been made. The indicator lights, and the editing page will appear. Sustaining the Notes You 2.
Page 24: Pressing Chords To Produce Arpeggios (Arpeggiator)
Chapter 2. Playing the Keyboard Pressing Chords to Produce Dual: Arpeggios can be played on either the upper or the lower, or on both the upper and lower. Arpeggios (Arpeggiator) For details refer to “Selecting the Part in Dual Mode Which Will Play the Arpeggio By using the arpeggiator, you can produce an arpeg- (Arpeggio Destination)”...
Page 25: (Arpeggio Style)
Chapter 2. Playing the Keyboard Changing the Way in Which the best results. LATIN PERCUSION: A rhythm style with Latin per- Arpeggio Will Play (Arpeggio Style) cussion instruments such as Clave, Cowbell, Clap, Specifies the basic way in which the arpeggio will be Bongo, Conga, Agogo etc.
Page 26: Changing The Pitch Range Of The Arpeggio
Chapter 2. Playing the Keyboard Changing the Pitch Range of the Making More Detailed Settings Arpeggio (Octave Range) Normally you will create the arpeggio pattern by adjusting the three parameters “Arpeggio Style,” You can specify the pitch range in which the arpeggio “Accent Rate,”...
Page 27 Chapter 2. Playing the Keyboard Style (Arpeggio Style) TOP+UP 1–6: The highest of the notes you play will sound, and the remaining notes will be arpeggiated. This is the setting page for “Changing the Way in BASS+UP+TOP: The highest and the lowest of the Which the Arpeggio Will Play (Arpeggio Style)”...
Page 28: Saving Arpeggio Settings (Arpeggio Write)
BANK PART When you have created a playback pattern that you like, save the settings as a User Style. The JX-305 has 2. In the DISPLAY section, press [PATCH]. ten user styles, USER STYLE 1–10, and user styles that The indicator lights, and the display will show the you save can be recalled at any time.
Page 29: Listening To Sound Processed By The Effects (Audition)
Effects (Audition) 4. You can use [INC] [DEC] or the [VALUE] dial to change only the patch without changing The JX-305 contains three effects units. Thirty-two dif- the effects settings. ferent settings for these three effects units, together...
Page 30: Chapter 3. Playing Patterns
Chapter 3. Playing Patterns Playing Patterns A pattern has now been selected. * P:E33–P:L88 are RPS patterns. Each pattern contains one phrase. 1. Make sure that the SEQUENCER section [MODE] button indicator is dark. If it is not dark, press [MODE] to make it go dark Instead of using [INC] [DEC] or the [VALUE] dial, (Pattern mode).
Page 31: Adjusting The Tempo
Chapter 3. Playing Patterns Adjusting the Tempo The tempo can be adjusted freely even while a pattern is playing back. Current pattern Next pattern 1. In the DISPLAY section, press [TEMPO& MEASURE]. Indicator will light, and the upper line of the display * If you press [STOP/PLAY] to stop playback after select- will show the current tempo value.
Page 32: Muting A Specific Part (Part Mute/Rhythm Mute)
Chapter 3. Playing Patterns Muting a Specific Part (Part Other type of muting Mute/Rhythm Mute) In addition to Part Mute and Rhythm Mute, a variety of other muting operations are available. Use them as During pattern playback, you can mute the playback appropriate for your needs.
Page 33: Using The Keyboard
Chapter 3. Playing Patterns Using the Keyboard 1. Hold down [SHIFT] and press [MIXER]. The indicator will light and the display will show the 1. Hold down [TRANSPOSE] and press a key Part Mixer page. to set the transpose value. 2.
Page 34: Using The Editing Pages To Make Changes
Chapter 3. Playing Patterns When this setting is at “0,” the setting of the patch Adjusting the delay volume for each itself will be unaffected. part (Part Delay Level) * Pan is specified independently for each tone of a patch (or You can adjust the volume of the delay sound for each each rhythm tone of a rhythm set).
Page 35 Chapter 3. Playing Patterns EDIT PAGE LOWER UPPER FX ON/OFF PART Range: L64–63R When this setting is at “0,” the setting of the patch itself will be unaffected. Adjusting the pitch of each part (Part Key Shift) You can adjust the pitch of the sound of each part. fig.3-28 Range: -48–+48 semitones When the value is “0,”...
Page 36: Saving Patterns You've Modified (Pattern Write)
“Disconnecting the Keyboard from the data of each part. For example, if you wish to use the Internal Sound Generator (Local Switch)” (p. JX-305 together with a sampler such as the SP-202, you 165) can set Sequencer Output Assign to “EXT” for one or more of the parts.
Page 37: Copying And Initializing Settings
The pattern has now been saved. fy the copy source pattern, the copy source part, and the copy destination part. On the JX-305, the following parameters are memo- You can move the cursor by pressing PAGE [<] [>]. rized for each pattern.
Page 38: Playback (Real-Time Modify)
Chapter 3. Playing Patterns Using the Knobs to Modify the Sound During Playback (Real-Time Modify) 7. Press [ENTER] once again. You can freely modify the sound of a patch by moving fig.0-5 the sound parameter knobs while a pattern is playing. This capability is referred to as Real-Time Modify, and is especially effective when used during a live perfor- mance.
Page 39: (Pattern Reset)
Chapter 3. Playing Patterns When the same pattern plays back repeatedly in You can switch the current part during playback to Pattern mode, the modified parameter settings will change the part that you are modifying. remain as they are even if you return to the beginning of the pattern.
Page 40: Changing The Groove Of A Pattern (Play Quantize)
Modify Data that was canceled will once again be contents of the data itself. transmitted to the sound generator when the pattern The JX-305 provides three types of quantization, returns to its beginning, or when you select a different which you can use as appropriate for your situation.
Page 41: Selecting Parts To Use With Play Quantize
Chapter 3. Playing Patterns Selecting Parts to Use with Play Quantize GRID Play Quantize can be applied to the playback of a spe- SHUFFLE cific part. Before you apply Play Quantize, you must GROOVE specify the part(s) to which it will apply. 1.
Page 42: Giving Swing To The Rhythm (Shuffle Quantize)
Chapter 3. Playing Patterns 3. Press [EDIT]. The indicator will light and the display will show the Edit page . 4. Press NUMBER [7] (QUANTIZE). The Shuffle Quantize setting page will appear. 100% fig.3-60 (#MC =fig.7-9) EDIT TIMING VELOCITY PAGE LOWER UPPER FX ON/OFF...
Page 43: Giving A Groove To The Rhythm (Groove Quantize)
05 : Dance-Hv-L.Ac dragging/low dynamics The JX-305 contains 71 different types of quantization 06 : Dance-Hv-H.Ac dragging/high dynamics templates, each of which contains a different set of 07 : Dance-Hv-L.Sw dragging/light swing playback timing and velocity (dynamics) data.
Page 44 Chapter 3. Playing Patterns 16 Beat Reggae type Others 25 : Regge-Nm-L.Ac exact/low dynamics 61 : Samba 1 samba (pandero) 26 : Regge-Nm-H.Ac exact/high dynamics 62 : Samba 2 samba (surdo and timba) 27 : Regge-Nm-L.Sw exact/light swing 63 : Axe 1 axe (caixa) 28 : Regge-Nm-H.Sw exact/strong swing...
Page 45 Chapter 3. Playing Patterns * The templates are for use with 4/4 time signatures. Applying them to other time signatures may not produce the desired result. 100% 50% 0% * For samba, axe, salsa and tuplet, it is not possible to select 100% 50% 0% groove or variation.
Page 46: Using Pedal For Control (Switch Pedal)
“REVERSE.” A pedal switch connected to the SWITCH PEDAL jack 7. Press [EXIT] to complete the setting. can be used to control the JX-305’s sequencer. The original display will reappear. Specifying the Function of the Switch pedal settings have now been made.
Page 47: (Turntable)
Chapter 3. Playing Patterns Simultaneously Changing the Tempo and Pitch (Turntable) Turntable is a function which lets you use the pitch bend lever and modulation lever to affect the playback of a pattern. When you move the modulation lever, all parts will be instantly muted.
Page 48: Chapter 4. One-Touch Phrase Playback (Rps)
Group Number (RPS Trigger Quantize)” (p. 167) Maximum simultaneous RPS playback Even while a pattern is playing back, the JX-305 can Name play back up to 8 phrases simultaneously. However, if phrases with large amounts of data are played back 2.
Page 49: Causing A Phrase To Continue Playing (Rps Hold)
Chapter 4. One Touch Phrase Playback (RPS) Causing a Phrase to Continue fig.4-5-1 Playing (RPS Hold) Normally, the phrase will stop playing when you take your finger off the note. However when the RPS Hold function is used, the phrase will continue playing even after you release the note.
Page 50: Making Settings For Each Phrase
Chapter 4. One Touch Phrase Playback (RPS) 5. Hold down [RPS], and press the key to * If a rhythm part phrase is assigned, the Rhythm Mute set- which you wish to assign the phrase. tings will be ignored during RPS playback. fig.4-7 (#MC fig.6-5) * Each phrase is played back by a special RPS part 1–16 which corresponds to each key, but phrases assigned from...
Page 51: Changing The Patch Of Each Rps Part
Chapter 4. One Touch Phrase Playback (RPS) The indicator will light, and the display will graphical- RPS PART ly show the current setting of each RPS part. (10) (11) (12) (13) (14) (15) (16) 3. Press PAGE [<] [>] several times to select the parameter that you wish to modify.
Page 52: Saving The Phrases You Assigned (Rps Set Write)
Chapter 4. One Touch Phrase Playback (RPS) Saving the Phrases You 6. Assign a name to the RPS set. Use [INC] [DEC] or the [VALUE] dial to specify the Assigned (RPS Set Write) characters. The following characters can be selected. When you have assigned phrases to create an RPS set space, A–Z, a–z, 0–9, ! “...
Page 53: Chapter 5. Creating Original Sounds (Patch Edit)
What a Tone Consists of duced, and when it is applied to the amplifier volume a tremolo effect is produced. On the JX-305, the Tone is the smallest unit of sound. However it is not possible to play tones. Patches are Sound-Editing Procedure the unit that you normally play, and tones are the building blocks which make up these patches.
Page 54 Chapter 5. Creating Original Sounds (Patch Edit) Using knobs or buttons to select an When the “ENVELOPE” indicator and “AMP” indi- cator are lit editing page fig.5-5-3TEXT By operating a front panel knob or button, you can [ENVELOPE] lit [AMP] lit directly access the screen page for that parameter, and edit it.
Page 55 Chapter 5. Creating Original Sounds (Patch Edit) When the “EFFECTS” indicator is lit Turning each tone on/off (Tone Switch) fig.5-5-6TEXT Of the tones which make up a patch, tones whose but- [EFFECTS] lit ton indicator is lit are turned ON. You can press the button to switch each tone on/off.
Page 56: Changing The Basic Waveform Of The Sound (Wave/Fxm)
Chapter 5. Creating Original Sounds (Patch Edit) Changing the Basic Waveform of the Sound (Wave/FXM) Number Waveform name If you would like to learn what waveforms are Using the WAVE/FXM parameters, you can make set- available... tings related to the waveform that is the basis for a “Waveform List”...
Page 57: Pitch-Related Settings
Chapter 5. Creating Original Sounds (Patch Edit) If you would like to learn more about booster Pitch-Related Settings gain settings... “Settings Common to the Entire Patch Using the PITCH parameters you can make settings (Common)” (p. 77) that affect the pitch. Modifying the Pitch (Pitch) FXM (Frequency Cross Modulation) FXM (Frequency Cross Modulation) uses a specific...
Page 58: Making The Pitch Change Over Time (Pitch Envelope)
Chapter 5. Creating Original Sounds (Patch Edit) Range: -48–+48 semitones REALTIME MODIFY The pitch will rise as this value is increased. The pitch will fall as this value is decreased. By holding down [SHIFT] as you make the setting, ENVELOPE ATTACK DECAY SUSTAIN...
Page 59: Making More Detailed Settings
Chapter 5. Creating Original Sounds (Patch Edit) Specifying the envelope depth (Pitch Making More Detailed Settings Envelope Depth) 1. Press NUMBER [3] (PITCH). Here’s how you can adjust the depth of the Pitch The display will show the PITCH setting page. Envelope.
Page 60: Fine Tune
Range: -100–+200 commonly-used parameters of the pitch envelope, but With positive (+) settings, the pitch will rise as you the JX-305 also allows you to make more detailed pitch play higher notes (i.e., notes toward the right of the envelope settings.
Page 61: Brightness-Related Settings (Filter)
Chapter 5. Creating Original Sounds (Patch Edit) Level1–4 (Pitch Envelope Level 1–4) With positive (+) settings, times will become shorter as you play higher notes. With negative (-) settings, times Specifies the pitch difference relative to the normal will become longer as you play higher notes. pitch (as specified by Coarse Tune and Fine Tune).
Page 62 Chapter 5. Creating Original Sounds (Patch Edit) HPF (High Pass Filter): Level This filter allows frequencies above the cutoff frequen- cy to pass. It is used to make the sound brighter and sharper. Frequency PKG (Peaking Filter): This filter boosts the overtones in the region of the cut- off frequency.
Page 63: Making The Brightness Change Over Time
Chapter 5. Creating Original Sounds (Patch Edit) Adding a distinctive character to the “Specifying the Variable Range of Resonance (Resonance Limiter)” (p. 169) sound (Resonance) This setting emphasizes the overtones in the region of If you have increased the Resonance Limiter setting, the cutoff frequency, adding character to the sound.
Page 64 Chapter 5. Creating Original Sounds (Patch Edit) Specifying the depth of the envelope REALTIME MODIFY (Filter Envelope Depth) This setting adjusts the depth of the filter envelope. ENVELOPE ATTACK DECAY SUSTAIN RELEASE DEPTH FILTER LFO 1 RATE FADE TIME PITCH DEPTH FILTER DEPTH AMP DEPTH EFFECTS...
Page 65: Making More Detailed Settings
Chapter 5. Creating Original Sounds (Patch Edit) Making More Detailed Settings Type (Filter Type) This is the setting page for “Selecting the type of filter (Filter Type)” (p. 61). 1. Press NUMBER [4] (FILTER). The display will show the FILTER setting page. Cutoff (Cutoff Frequency) This is the setting page for “Brightening the sound 2.
Page 66 [SUSTAIN] / [RELEASE] can be used to set the most (-) settings, Time4 will become slower as you release commonly-used parameters of the filter envelope, but the keyboard more quickly. the JX-305 also allows you to make more detailed filter envelope settings. fig.5-38TEXT (=MC fig.3-37)
Page 67: Settings Related To Volume And Pan (Amplifier)
Chapter 5. Creating Original Sounds (Patch Edit) Time KF (Filter Envelope Time Key As the knob is rotated further clockwise, the volume will increase. As it is rotated counterclockwise, the Follow) volume will decrease. This setting causes the filter envelope times (Time * The overall volume of the entire patch can be modified and 2/3/4) to be affected by the location of the key that memorized for each pattern as the Setup parameter Part...
Page 68: Making More Detailed Settings
Chapter 5. Creating Original Sounds (Patch Edit) fig.5-41 (#MC fig.3-40) fig.5-48TEXT (#MC fig.3-48) REALTIME MODIFY ENVELOPE ATTACK DECAY SUSTAIN RELEASE DEPTH FILTER LFO 1 RATE FADE TIME PITCH DEPTH FILTER DEPTH AMP DEPTH EFFECTS REVERB LEVEL DELAY LEVEL MULTI CTRL1 MULTI CTRL 2 MULTI CTRL 3 PITCH...
Page 69 Chapter 5. Creating Original Sounds (Patch Edit) fig.5-42 (#MC fig.3-41) Bias EDIT PAGE The Bias parameters specify how the key position will LOWER UPPER affect the Tone Level. This can be used to simulate the FX ON/OFF AMPLIFIER way in which the volume of an acoustic instrument changes according to the location (pitch) of the note.
Page 70 Chapter 5. Creating Original Sounds (Patch Edit) Alt Pan Dpth (Alternate Pan Depth) If you use two tones and set a Bias Direction of “UPR” This parameter causes the stereo location of the sound for one and “LWR” for the other, the two tones will to alternate between left and right each time a note is fade smoothly into each other as you play across the played.
Page 71: Applying Cyclic Changes To The Sound (Lfo)
Chapter 5. Creating Original Sounds (Patch Edit) but the JX-305 also allows you to make more detailed Velo Time4 (Amplifier Envelope amplifier envelope settings. Velocity Time 4 Sensitivity) fig.5-51TEXT (=MC fig.3-51) Specifies how Time 4 will be affected by the speed at Level which you release the keyboard.
Page 72: Adjusting The Speed Of Modulation (Lfo1 Rate)
Chapter 5. Creating Original Sounds (Patch Edit) Selecting the Waveform That Will Modulate the Sound (LFO1 Waveform) Select the output waveform for LFO1. The sound will S&H be modulated in the same shape as the selected wave- form. 1. In the REALTIME MODIFY section, press [ENVELOPE/LFO1/EFFECTS] several times to Adjusting the Speed of make the LFO1 indicator light.
Page 73: Adjusting The Depth Of Modulation (Lfo1 Depth)
Chapter 5. Creating Original Sounds (Patch Edit) * LFO Rate settings are common to PITCH (pitch), FIL- Adjusting the depth of cutoff frequen- TER (brightness) and AMP (volume). The rate cannot be cy modulation (LFO1 Filter Depth) set independently for these three. By cyclically modulating the cutoff frequency you can create a wah effect.
Page 74: Making More Detailed Settings
Chapter 5. Creating Original Sounds (Patch Edit) Changing the time over which the EDIT TOM/PERC PAGE maximum (minimum) modulation is LOWER UPPER FX ON/OFF reached (LFO1 Fade Time) Specifies the time over which the LFO amplitude will reach the maximum (minimum) after the LFO1 Delay Time has elapsed.
Page 75 Chapter 5. Creating Original Sounds (Patch Edit) Key Sync (LFO1/LFO2 Key Sync) Delay Time (LFO1/LFO2 Delay Time) This parameter synchronizes the LFO cycle to the tim- Depending on the Fade Mode setting, specify the time ing at which the keyboard is played. over which the LFO will be applied or the time over Available settings: which it will continue, etc.
Page 76: By Each Controller (Control)
Adjusting the Range of Pitch These settings determine how the controllers (pitch Bend (Bend Range) bend lever, modulation lever, aftertouch) will control the patch parameters etc. of the JX-305. Bend Up/Down These settings are divided into three groups, depend- ing on the controller involved.
Page 77: Control 1/2/3/4 (Control Destination 1/2/3/4)
Chapter 5. Creating Original Sounds (Patch Edit) Control 1/2/3/4 Using the modulation lever to change the cutoff fre- quency (Control Destination 1/2/3/4) fig.5-68 (#MC fig.3-85) Select the parameters that will be controlled when each controller is operated. For each controller, you can assign up to four parameters for each tone Set the cutoff frequency of each tone to approximately (Control 1 through Control 4).
Page 78: Making More Detailed Settings
Chapter 5. Creating Original Sounds (Patch Edit) Adjusting the time over which the EDIT PAGE pitch will change (Portamento Time) LOWER UPPER FX ON/OFF COMMON You can adjust the time over which the pitch will change when portamento is used. 1.
Page 79: Portamento Mode
Chapter 5. Creating Original Sounds (Patch Edit) Solo Legato (Solo Legato Switch) Pitch PITCH NOTE Solo Legato is a function that can be applied when the Solo Switch is on. When Solo Legato is on, playing a note while the previous note is still held will cause only the pitch to change, without generating a new Time attack.
Page 80 Chapter 5. Creating Original Sounds (Patch Edit) fig.5-72 (=MC fig.3-68) TYPE 1: This is the most basic type. Tones 1 and 2 (3 TONE 3 FILTER and 4) are independent. Select this when TONE 1 FILTER you wish to utilize the waveform of each TYPE1 TONE 2 tone without change, or when you wish to...
Page 81 Chapter 5. Creating Original Sounds (Patch Edit) Booster 1&2/3&4 (Booster Gain) Stretch Tune (Stretch Tuning Depth) When a Structure Type of “TYPE3” or “TYPE4” is Select the stretch tuning curve. The selected curve will selected, you can adjust the depth of the booster. affect the way that chords will sound.
Page 82: Saving Patches You've Created (Patch Write)
Chapter 5. Creating Original Sounds (Patch Edit) Velo Range (Velocity Range Switch) By using Velocity Crossfade, you can use playing Specifies whether or not the Velocity Range settings dynamics on the keyboard to smoothly connect two will be enabled. By using velocity range settings, you tones.
Page 83: Copying And Initializing Settings
Chapter 5. Creating Original Sounds (Patch Edit) 5. Use [INC] [DEC] or the [VALUE] dial to select Copying and Initializing Settings the save destination bank and number. You can also use the BANK and NUMBER [1]–[8] but- Patch Tone Copy tons to select the save destination bank and number.
Page 84: Patch Initialize
Chapter 5. Creating Original Sounds (Patch Edit) Patch Initialize This operation initializes a patch. 1. Press [PATCH] to access the patch select page. 2. Select the patch that you wish to initialize. 3. Press [UTILITY]. The indicator will light. 4. Press PAGE [<] [>] several times to select “INITIALIZE,”...
Page 85: Chapter 6. Creating An Original Rhythm Set (Rhythm Edit)
The JX-305 contains 636 types (A001–A254, B001–B251, C001–C131) of waveform. Each of the JX-305’s rhythm quency setting page, and you can view the settings for tones is based on these waveforms, and a rhythm tone each rhythm tone as you modify them.
Page 86: Specifying The Basic Waveform Of The Sound (Wave)
Chapter 6. Creating an Original Rhythm Set (Rhythm Edit) 7. To exit from an editing page, press [EDIT] Tone SW (Rhythm Tone Switch) or [EXIT]. Turn this “ON” if you want the rhythm tone to sound, or “OFF” if you do not want it to sound. In order to make the best use of the available polypho- An asterisk “*”...
Page 87: Pitch-Related Settings
Chapter 6. Creating an Original Rhythm Set (Rhythm Edit) Pitch-Related Settings The PITCH parameters contain settings that affect the pitch. Changing the Pitch of the Sound (Pitch) FILTER Fine pitch adjustments (Fine Tune) For each rhythm tone, you can make fine adjustments PITCH to the pitch in 1-cent steps (1/100th of a semitone).
Page 88 Chapter 6. Creating an Original Rhythm Set (Rhythm Edit) Specifying the envelope depth (Pitch REALTIME MODIFY Envelope Depth) Here’s how you can adjust the depth of the Pitch ENVELOPE ATTACK DECAY SUSTAIN RELEASE DEPTH FILTER Envelope. LFO 1 RATE FADE TIME PITCH DEPTH FILTER DEPTH AMP DEPTH...
Page 89: Making More Detailed Settings
The four front panel knobs [ATTACK] / [DECAY] / [SUSTAIN] / [RELEASE] can be used to set the most commonly-used parameters of the pitch envelope, but the JX-305 also allows you to make more detailed pitch envelope settings. Coarse Tune fig.5-21TEXT (=MC fig.3-21)
Page 90: Brightness-Related Settings (Filter)
Chapter 6. Creating an Original Rhythm Set (Rhythm Edit) Time1–4 (Pitch Envelope Time 1–4) Avairable settings: OFF: Specifies the time until the next pitch level is reached. The filter will not be used. You can set the four parameters Time1–4. LPF (Low Pass Filter): Range: 0–127 This is the most common type of filter, and allows fre-...
Page 91: (Filter Envelope)
Chapter 6. Creating an Original Rhythm Set (Rhythm Edit) LPF (Low Pass Filter) Depending on the cutoff frequency setting, raising the Rotating the knob clockwise will cause the sound to resonance excessively may cause the sound to distort become brighter, approaching the original waveform. suddenly.
Page 92: Making More Detailed Settings
Chapter 6. Creating an Original Rhythm Set (Rhythm Edit) Specifying the depth of the envelope REALTIME MODIFY (Filter Envelope Depth) This setting adjusts the depth of the filter envelope. ENVELOPE ATTACK DECAY SUSTAIN RELEASE DEPTH FILTER LFO 1 RATE FADE TIME PITCH DEPTH FILTER DEPTH AMP DEPTH...
Page 93 Type (Filter Type) commonly-used parameters of the filter envelope, but This is the setting page for “Selecting the type of filter the JX-305 also allows you to make more detailed filter (Filter Type)” (p. 90). envelope settings. fig.5-38TEXT (=MC fig.3-117)
Page 94: Settings Related To Volume And Pan (Amplifier)
Chapter 6. Creating an Original Rhythm Set (Rhythm Edit) Time1–4 (Filter Envelope Time 1–4) As the knob is rotated further clockwise, the volume will increase. As it is rotated counterclockwise, the Specifies the time until the next cutoff frequency is volume will decrease.
Page 95: Creating Time-Varying Change In Volume
Chapter 6. Creating an Original Rhythm Set (Rhythm Edit) Causing pan to change randomly With both the AMP and ENVELOPE indicators lit, (Random Pan Switch) hold down [ENVELOPE/LFO1/EFFECTS], and use This setting causes the stereo location to change ran- [INC] [DEC] or the [VALUE] dial to set the Amplifier domly each time a note is played.
Page 96: Making More Detailed Settings
[SUSTAIN] / [RELEASE] can be used to set the most each rhythm tone (Rhythm Tone Level)” (p. 94). commonly used parameters of the amplifier envelope, but the JX-305 also allows you to make more detailed Tone Pan (Rhythm Tone Pan) amplifier envelope settings.
Page 97: Adjusting The Range Of Pitch Bend (Bend Range)
Chapter 6. Creating an Original Rhythm Set (Rhythm Edit) Time1–4 (Amplifier Envelope Time 1–4) Adjusting the Effects for Each Specifies the time until the next level point is reached. Rhythm Tone (Rhythm Tone) This can be set for each of the four parameters Time 1–4.
Page 98: Saving Rhythm Sets You've Created (Rhythm Set Write)
Chapter 6. Creating an Original Rhythm Set (Rhythm Edit) R.TONE Dly Level (Rhythm Tone Delay Level) Saving Rhythm Sets You’ve Specifies the amount of delay for each rhythm tone. Created (Rhythm Set Write) Range: 0–127 Higher settings will increase the delay volume. When you have created a rhythm set that you like, you * The Rhythm Tone Delay Level setting is valid only when can save it as a User Rhythm Set.
Page 99: Copying And Initializing Settings
Chapter 6. Creating an Original Rhythm Set (Rhythm Edit) Copying and Initializing Settings At this time, you can press [UNDO/REDO] to check the name and sound of the rhythm set that is currently Rhythm Key Copy in the save destination number. After you have found a rhythm set that you do not mind overwriting, press You can copy rhythm tone settings from another [UNDO/REDO] once again to return to the previous...
Page 100 Chapter 6. Creating an Original Rhythm Set (Rhythm Edit) Rhythm Tone Initialize This operation initializes a specific rhythm tone. 1. Press [PATCH] to access the rhythm set select page. 2. Select the rhythm set. 3. Press [UTILITY]. The indicator will light. 4.
Page 101: Chapter 7. Applying Effects To The Sound (Effects)
Turning Effects On/Off PART MIXER The effect units (reverb, delay, multi-effects) built into the JX-305 can be switched on/off as a group. Turn PART REVERB LEVEL PART DELAY LEVEL PART M-FX SWITCH this setting off when you wish to listen to the original sound as you edit, or when you wish to use external effect units instead of the built-in effects.
Page 102: Adding Reverberation To The Sound (Reverb)
Chapter 7. Applying Effects to the Sound (Effects) Adding Reverberation to the 3. Use the eight knobs of the REALTIME MODI- FY section and the QUANTIZE section to set Sound (Reverb) the Part Reverb Level for each part. Range: 0–127 Reverb is an effect which adds reverberation and fig.3-17 ambiance to the sound, creating an impression of spa-...
Page 103: Making More Detailed Settings
Chapter 7. Applying Effects to the Sound (Effects) When the Part Multi Effects Switch setting of the HF Damp rhythm part is “ON” or “OFF,” raising the Part Reverb Specifies the frequency at which the high frequency Level will apply reverb to all rhythm tones equally. portions of the reverberation will be cut.
Page 104: Adjusting The Overall Delay Volume (Delay Level)
Chapter 7. Applying Effects to the Sound (Effects) Adjusting the Overall Delay PART Volume (Delay Level) 1 2 3 4 5 This adjusts the volume of the delay sound for all eight parts (parts 1–7 and the rhythm part). REALTIME MODIFY QUANTIZE 1.
Page 105: Making More Detailed Settings
2. Press BANK [2]. The EFFECTS setting page will appear. * On the JX-305, it is not possible to set a delay time longer than 1000 ms (1 second). When the delay time is synchro- 3. Use PAGE [<] [>] to select parameters, and...
Page 106: Selecting The Type (Multi-Effects Type)
Chapter 7. Applying Effects to the Sound (Effects) * This will not affect parts for which the Part Multi-Effects PHONOGRAPH: Phonograph (simulate an old Switch is "OFF." record) (p. 112) COMPRESSOR: Compressor (make the volume level “Specifying the Part(s) to Which Multi-Effects more consistent) (p.
Page 107: Making Multi-Effects Settings
Chapter 7. Applying Effects to the Sound (Effects) Rotating the knob toward the right will increase the 4 Band EQ (Modify the Tone) volume of the multi-effects sound. Rotating the knob This is a 4 band (high, midrange x 2, low) stereo equal- toward the left will decrease the volume of the multi- izer.
Page 108 Chapter 7. Applying Effects to the Sound (Effects) Peak1 Q (Peaking 1Q) Spectrum (Add Character to the Specifies the width of the frequency range affected by Sound) midrange 1. This is a type of filter, which modifies the tonal charac- Range: 0.5–8.0 ter by boosting or cutting specific frequencies.
Page 109 Chapter 7. Applying Effects to the Sound (Effects) Enhancer (Add Sparkle to the Sound) Overdrive (Distort the Sound Mildly) By controlling the overtones of the high frequency This simulates the soft distortion that occurs when you range, this effect adds sparkle to the sound, giving it raise the gain of a vacuum tube amp.
Page 110 Chapter 7. Applying Effects to the Sound (Effects) Distortion (Distort the Sound Severely) Lo-Fi (Simulate a “Lo-Fidelity” Sound) This effect produces a more severe distortion than the This effect intentionally degrades the audio quality to Overdrive effect. It also contains an amp simulator, simulate a Lo-Fi sound.
Page 111 Chapter 7. Applying Effects to the Sound (Effects) Output Output Pan Specifies how the sound will be output. Specifies the stereo location of the sound output from Range: MONO, STEREO the Noise Generator. With a setting of “MONO,” the output sound will be Range: L64–63R monaural.
Page 112 Chapter 7. Applying Effects to the Sound (Effects) Radio Tuning (Simulate a Radio Phonograph (Simulates an Old Being Tuned) Record) This effect simulates the sound of a radio being tuned. This effect mutes the tone and adds disc noise to simu- fig.7-27 (#MC fig.4-36) late the sound of music played on an old record play- RADIO-TUNG...
Page 113 Chapter 7. Applying Effects to the Sound (Effects) Compressor (Make the Volume Limiter (Smooth Out Level More Consistent) Irregularities in Volume) This effect suppresses loud volume levels and boosts This effect compresses the sound when it exceeds a soft volume levels, making the volume more consis- specified volume level, thus preventing distortion.
Page 114: The Sound
Chapter 7. Applying Effects to the Sound (Effects) Slicer (Apply Successive Cuts to fig.7-32 (#MC fig.4-40) the Sound) By applying successive cuts to the sound, this effect turns a conventional sound into a sound that appears to be played as a backing phrase.This is especially effective when applied to sustain-type sounds.
Page 115 Chapter 7. Applying Effects to the Sound (Effects) Tremolo (Cyclic Changes in Phaser (Modulate the Sound) Volume) By adding a phase-shifted sound to the original sound, this effect modulates the sound to add depth and a This effect cyclically modulates the volume to create sense of rotation.
Page 116: Filter Type
Chapter 7. Applying Effects to the Sound (Effects) Output Pan Depth [MULTI CTRL 1] Specifies the stereo location of the output from the Specifies the depth of modulation. Phaser effect. Range: 0–127 Range: L64–63R Phase Output Level [MULTI CTRL 3] Adjusts the spaciousness of the sound.
Page 117 Chapter 7. Applying Effects to the Sound (Effects) Space-D (Add Transparent Depth) Low Gain Adjusts the boost or cut of the low frequency range. This is a type of chorus, but unlike a conventional cho- Range: -15–+15 rus, it does not create a sense of modulation. It pro- duces a chorus effect with an impression of trans- High Gain parency.
Page 118 Chapter 7. Applying Effects to the Sound (Effects) Rate Flanger (Add Metallic Resonance [MULTI CTRL 2] Specifies the rate of modulation. to the Sound) Range: 0.1–10.0 This creates a sharper and more mechanical sound than the phaser. It can add a metallic resonance to the 2MES 3MES 4MES 8MES 16MES sound, or produce an effect that sounds like an jet air- If a note value or measure is selected as the value of...
Page 119 Chapter 7. Applying Effects to the Sound (Effects) Feedback (Feedback Level) Step Flanger (Add Metallic Specifies the proportion of the flanger sound that is Resonance to the Sound While fed back into the input. Changing the Pitch in Steps) Range: 0–+98 (%) This is a flanger that changes the pitch of the sound in Phase steps.
Page 120 Chapter 7. Applying Effects to the Sound (Effects) Phase Short Delay (Add Echoes to the Sound) Adjusts the spread of the sound. This is a short delay which allows you to set the left Range: 0–180 and right delay times independently. You can also As this value is increased, the left/right spread of the move the panning of the delay sound in synchroniza- sound will increase.
Page 121: Auto Pan
Chapter 7. Applying Effects to the Sound (Effects) Feedback (Feedback Level) LFO Type Adjusts the number of delay repeats. Determines the waveform that will be used to pan the Range: 0–+98 (%) sound to left and right. Range: TRI, TRP, SIN, SAW1, SAW2, SQR Auto Pan This setting causes the panning of the delay sound to Rate...
Page 122 Chapter 7. Applying Effects to the Sound (Effects) Feedback Pitch Shifter (Skew the Pitch) Mode (Pitch Shifter Mode) Specifies how the pitch will be shifted. This effect shifts the pitch of the original sound and Range: 1–5 layers it with the original sound. It can be used to play As this setting is increased, the response will be slow- unison lines at an interval of an octave or fifth, or to er, but the sound will be more stable.
Page 123 Chapter 7. Applying Effects to the Sound (Effects) Reverb (Add Reverberation) Output Level [MULTI CTRL 3] Specifies the output volume from the reverb effect. This effect adds reverberation and ambiance to the Range: 0–127 sound, creating spatial depth. fig.7-52 (#MC fig.4-63) Gated Reverb (Sharply Cut the REVERB Reverberation)
Page 124: Specifying The Part(S) To Which Multi-Effects Will Be
Chapter 7. Applying Effects to the Sound (Effects) Specifying the Part(s) to Which 4. Press [EXIT] to exit the Part Mixer page. Multi-Effects Will Be Applied “Adjusting the Overall Multi-Effects (Part Multi-Effects Switch) Volume (Multi-Effects Output Level)” (p. 106) fig.7-56TEXT (#MC fig.4-66) Multi-effects can be switched on/off for each part.
Page 125: Chapter 8. Recording Patterns
The indicator will blink, and the Recording Standby on the keyboard and your controller operations are page will appear. recorded just as they occur. The JX-305 uses two types of real-time recording, and different types of data are recorded using different methods.
Page 126 Chapter 8. Recording Patterns fig.8-4 (#MC fig.10-4) Range: OFF, ON For details on using Loop Rest... PAGE “Recording Smoothly Across Pattern LOWER UPPER Boundaries” (p. 128) Input QTZ Resolution (Input Quantize Resolution) By using Input Quantize you can correct the timing of the notes you play as they are recorded.
Page 127: (Rehearsal Function)
Chapter 8. Recording Patterns 4. When preparations are complete, you can Auditioning Phrases During start recording with the selected recording Recording (Rehearsal Function) method. Recording can be started in one of When you use the Rehearsal function, your playing on the following two ways.
Page 128: Recording Knob Movements (Modify Data)
Chapter 8. Recording Patterns When the Count In setting is “WAIT NOTE” Arpeggio performance and recording will begin at the Cutoff frequency moment that you play a chord on the keyboard. fig.8-11TEXT (=MC fig.10-13) Cutoff frequency Recording begins Resonance When recording begins, the [REC] indicator will light. Recording Smoothly Across 4.
Page 129: Recording The Mute Settings
Chapter 8. Recording Patterns 3. Hold down [SHIFT] and press [MIXER] to MUTE CTRL enter the Part Mixer page (p. 33). When you use the part mixer to set a value during recording, the part mixer operation will be recorded from that point.
Page 130: (Real-Time Erase)
Chapter 8. Recording Patterns Erasing Unwanted Data While The following knobs settings can be selected. •Pitch (p. 57, p. 87) You Record (Real-Time Erase) [FINE TUNE] Real-Time Erase is a function that lets you erase only •Pitch Envelope (p. 58, p. 87) the unwanted data that you specify a certain key or [ATTACK] [DECAY] [SUSTAIN] [RELEASE] range of keys during real-time recording.
Page 131: Recording Notes One At A Time (Step Recording)
“Clock” is a unit of timing that indicates the location wish to place that note. When used for the rhythm of a note. On the JX-305, one clock is 1/96th of a quar- part, this method is suitable for drum recording, since ter note.
Page 132: Recording Notes One By One (Step Recording 1)
Chapter 8. Recording Patterns If you are using step recording method 1 to Velocity record Specifies the strength of the note. Proceed to “Recording Notes One by One (Step Range: REAL, 1–127 Recording 1).” If you wish to input the velocity at which the note was actually played, select “REAL.”...
Page 133: Various Ways To Input Notes
Chapter 8. Recording Patterns “Saving Patterns You’ve Modified (Pattern Applying a slide effect Write)” (p. 36) By setting the Gate Time Ratio to 100% or more (for example, to 105% for a 16th note phrase) and inputting steps, you can input legato phrases. An easy way to Step Time and Gate Time apply a slide effect is to use legato input in conjunc- In general, Step Time is the length from one note to the...
Page 134: Recording Individual Notes To Grid Locations
Chapter 8. Recording Patterns Recording Individual Notes to : Sixteenth note triplets can be input, with the white keys F3–C5 corresponding to two beats of record- Grid Locations (Step Recording 2) ing input area. fig.8-39-1 5. Press [STOP/PLAY] to begin recording. The [STOP/PLAY] and [REC] indicators will light.
Page 135 Chapter 8. Recording Patterns Velocity To cancel your input, press the key at the location that Specifies the strength of the note. you wish to cancel. The “ ” will disappear from the Range: REAL, 1–127 display. If you wish to input the velocity at which the note was fig.8-44 actually played, select “REAL.”...
Page 136: Inputting Complex Rhythms
Chapter 8. Recording Patterns Inputting complex rhythms SHIFT By changing the scale while you record, you can input rhythms that use complex note values. fig.8-48 (#MC fig.10-54) SHIFT To move the recording input area, use [FWD] and [BWD]. Pressing [FWD] will advance the recording input area * Ties cannot be input.
Page 137: Checking The Remaining Amount Of Memory
“MEMORY INFO,” and press [ENTER]. a single pattern. The JX-305 is not able to record or edit The Memory Information page will appear. a pattern that is larger than this.
Page 138: Chapter 9. Editing Patterns
Chapter 9. Editing Patterns Editing the Musical Data of a Copying a Portion of a Pattern Specified Part (Pattern Edit) (Copy) A specific portion of a pattern can be copied to another The process of editing the musical data in a pattern is pattern.
Page 139 Chapter 9. Editing Patterns For example, if you wish to copy from measure 4 to the end of measure 6, make settings as follows. fig.9-4 (#MC fig.11-3) Range: ALL: All musical data NOTE: Note Program change 8. Press [ENTER]. Control change The display will indicate the group, bank and number BEND: Pitch bend...
Page 140: Deleting Unwanted Measures (Delete Measure)
Chapter 9. Editing Patterns Deleting Unwanted Measures 8. Press [ENTER]. The confirmation screen will appear in the display. (Delete Measure) fig.9-20 (#MC fig.11-18) This operation deletes unwanted measures from a pat- tern, and moves any subsequent measures toward the beginning to close the gap. If there is data later than the area that was deleted, the musical data of that part will become shorter.
Page 141: Erasing Unwanted Data (Erase)
Chapter 9. Editing Patterns * If you specify “END,” the blank measures will be added to 4. Select the part from which you wish to the end of the musical data. erase data. * You can select more than one part. 6.
Page 142: Transposing The Pitch (Transpose)
Chapter 9. Editing Patterns 10. Press [ENTER]. If you wish to transpose only a specific range of notes, The confirmation screen will appear in the display. press the keyboard to specify the desired range. If you fig.9-16 (#MC fig.11-14) do not specify the note range, all notes will be trans- posed.
Page 143: Modifying The Note Length (Change Gate Time)
Chapter 9. Editing Patterns EDIT TOM/PERC 40 40 40 Shorten the gate time Lengthen the gate time by 5 clocks by 5 clocks FX ON/OFF CHG EVENT 35 35 35 45 45 45 1. Select the pattern in which you wish to modify the gate time.
Page 144: Shifting The Timing Slightly (Shift Clock)
Chapter 9. Editing Patterns Shifting the Timing Slightly (Shift Clock) 7. Select the type of musical data that you wish to shift. Using this operation, the timing of the musical data in fig.9-40 (#MC fig.11-34) a pattern can be shifted forward or backward in time, in units of a single clock.
Page 145: Thinning Out Unneeded Data (Data Thin)
Chapter 9. Editing Patterns Thinning Out Unneeded Data (Data Thin) Range: ALL: All of the following musical data Since messages such as pitch bend or control change Control change use continuously changing values, they can occupy an BEND: Pitch bend unexpectedly large amount of memory.
Page 146: (Edit Quantize)
Chapter 9. Editing Patterns 4. Select the part whose timing values you 5. Press NUMBER [7] (QUANTIZE), and then wish to convert. press PAGE [>] several times to select the “EDIT QTZ” setting page. * You may select more than one part. fig.9-47 (#MC fig.11-40) 5.
Page 147: View The Musical Data That You Input
Chapter 9. Editing Patterns * When you enter Microscope mode, the Key Mode will be “Saving Patterns You’ve Modified (Pattern set to Single. Write)” (p. 36) Musical Data Handled in During step recording, you can press [REC] to access Microscope Mode the Microscope page, and the display will indicate the The Microscope lets you view and edit the following 9 current input location (measure, beat, clock).
Page 148 Pitch Bend Sys Exclusive (System Exclusive) These MIDI messages change the pitch. These are MIDI messages unique to the JX-305. If the entire message cannot be shown on one line, a “ →” fig.9-59 (#MC fig.10-63) will appear at the right edge of the display.
Page 149 3. Press PAGE [<] [>] or [ENTER] to move the cur- F7. Since the JX-305 will calculate the checksum auto- sor to the location that you wish to modify. matically, there is no need for you to modify the checksum value.
Page 150: Deleting Musical Data (Delete Event)
Chapter 9. Editing Patterns Deleting Musical Data (Delete Event) fig.9-74 (#MC fig.10-75) 1. In the Microscope display, rotate the [VALUE] dial to select the musical data that you wish to delete. 5. Press PAGE [<] [>] to move the cursor to the 2.
Page 151: Moving Musical Data (Move Event)
Chapter 9. Editing Patterns Moving Musical Data (Move Event) fig.9-77 (#MC fig.10-79) OTHERS PAGE 1. In the Microscope page, rotate the [VALUE] LOWER UPPER dial to access the musical data that you VIEW FILTER wish to move. 2. Hold down [SHIFT] and [REC], and rotate the [VALUE] dial to move the data.
Page 152: Chapter 10. Collecting Frequently Used Patterns In A Set (Pattern Set)
Chapter 10. Collecting Frequently Used Patterns in a Set (Pattern Set) A Pattern Set is a collection of patterns; sixteen pat- Assigning a Pattern to be terns can be registered in a pattern set. The patterns Recalled that have been registered can be recalled by pressing the sixteen BANK and NUMBER [1]–[8] buttons.
Page 153: (Pattern Set Write)
Chapter 10. Collecting Frequently Used Patterns in a Set (Pattern Set) fig.10-5E If you do not wish to change the number or name, you can skip steps 4–7. GROUP PART EDIT/UTILITY PRESET PART PART MUTE If you decide not to save the pattern, press [EXIT]. EDIT PREV NEXT...
Page 154: Chapter 11. Connecting Patterns In Playback Order To Create A Song
Chapter 11. Connecting Patterns in Playback Order to Create a Song A set of patterns that are connected in the order of fig.11-3 (#MC fig.12-3) playback is called a “song.” STOP/PLAY When you play back a song, the patterns will change automatically in sequence, so it will not be necessary for you to select patterns yourself.
Page 155: Recording A Song
While the pattern is being auditioned, the name of the pattern being auditioned will be shown in the display. fig. 11-6-1 On the JX-305, you can record a song by inputting the order in which patterns will be played back. 1. Select the song that you wish to record.
Page 156: (Delete Pattern)
Chapter 11. Connecting Patterns in Playback Order to Create a Song Copying a Song (Song Copy) * It is not possible to specify a Copy operation that would result in a song containing more than 50 patterns. This operation copies a song to a specified location in a different song.
Page 157: Inserting A Pattern (Insert Pattern)
Chapter 11. Connecting Patterns in Playback Order to Create a Song 5. Press [ENTER]. 6. Select the pattern that will be inserted. The confirmation screen will appear in the display. Range: P:A11–P:L88, U:A11–U:D18, C:A11–C:D18 fig.11-13 (#MC fig.13-7) * You can press [PRESET/USER/CARD] and [<PREV] [NEXT>] to switch groups.
Page 158: Initializing Settings (Song Initialize)
Chapter 11. Connecting Patterns in Playback Order to Create a Song 5. Press PAGE [>]. 6. Select “SONG,” and press [ENTER]. The cursor will move to the beginning of the second The following display will appear. fig.11-21 line of the display. fig.11-19 7.
Page 159: Chapter 12. Using Memory Cards
Chapter 12. Using Memory Cards The rear panel of the JX-305 has a memory card slot Inserting and Removing a Card that allows you to use memory cards (SmartMedia : Except when performing the Card Duplicate opera- optional). Memory cards can be used in the following tion, be sure that the power is turned off when you ways.
Page 160: Saving All Internal Settings To A Card
Chapter 12. Using Memory Cards 3. Press PAGE[<] [>] several times to select If from the beginning you wish to reserve memory for “CARD,” and press [ENTER]. creating a backup file, you can perform the User 4. Press PAGE [<] [>] several times to select Backup operation to create a backup file immediately “FORMAT,”...
Page 161: (Backup Load)
Chapter 12. Using Memory Cards Restoring the Saved Settings Back 3. Press PAGE [<] [>] several times to select “CARD,” and press [ENTER]. to Internal Memory (Backup Load) 4. Press PAGE [<] [>] several times to select “BACKUP DELETE,” and press [ENTER]. This operation loads the contents of a backup file that was saved on a card back into internal memory.
Page 162 MC-505. Conversely, patch, rhythm set and pattern data that was written by the JX-305 to a memory card can also be read by the MC-505. 5. After a time, the following display will * Data which uses waves (C:001–C:131) or patches...
Page 163: Chapter 13. Setting The Operating Environment Of The Jx-305 (System)
Chapter 13. Setting the Operating Environment of the JX-305 (System) Here you can make settings that affect the operation of Changing the Loudness of Notes the entire JX-305, such as tuning and the synchroniza- Played on the Keyboard tion method. The settings of the various System para-...
Page 164: Midi-Related Settings
Chapter 13. Setting the Operating Environment of the JX-305 (System) S-Pdl Assgn (Switch Pedal Assign) MIDI-Related Settings This specifies the function of a pedal (switch pedal) connected to the SWITCH PEDAL jack. 1. Press [EDIT]. Range: The indicator will light and the display will show the...
Page 165: Disconnecting The Keyboard From The Internal Sound
Be aware that MODE2 is a non-standard use of or more JX-305 units. MIDI. Range: 17–32 With the factory settings the Device ID Number is set at “17.” If you are using only one JX-305, there is no need to change this setting.
Page 166: Reception Settings For Each Type Of Message
“Transmit/Receive Setting List” (p. 235) part is changed. Range: OFF, ON * If you want the JX-305 to receive MIDI messages that When this setting is “OFF,” bank select messages will were transmitted from the knobs to an external device not be transmitted.
Page 167: (Rps Trigger Quantize)
Chapter 13. Setting the Operating Environment of the JX-305 (System) Synchronization Settings (Sync Mode) Setting the Metronome (Metronome Mode) This specifies how the internal sequencer will operate and how MIDI Clock messages will be transmitted Here you can specify how the metronome will sound.
Page 168: (Arpeggio Sync)
Chapter 13. Setting the Operating Environment of the JX-305 (System) * If the pattern is stopped, the phrase will play back imme- EDIT PAGE diately, regardless of this setting. LOWER UPPER FX ON/OFF SETUP Synchronizing Arpeggios to the Pattern (Arpeggio Sync) You can specify whether or not arpeggios will be syn- chronized to the pattern playback.
Page 169: Specifying How Patches Will Be Switched
Chapter 13. Setting the Operating Environment of the JX-305 (System) Scale Tune (Scale Tune) Specifying How Patches Will Be Adjusts the pitch of each note. The pitch is specified in Switched (Patch Remain) 1-cent units relative to the equal tempered pitch.
Page 170: Specifying The Arpeggio Style At Power-On
Chapter 13. Setting the Operating Environment of the JX-305 (System) Specifying the Arpeggio Style at 4. Press [ENTER]. The execute page will appear in the display. Power-On If you wish to cancel the operation, press [EXIT]. (Default Arpeggio Style) fig.0-004 Specify the arpeggio style which will be selected when the power is turned on.
Page 171: Chapter 14. Advanced Applications
5 MIDI, it would not be possible to use an external key- Part 6: ch. 6 board to play theJX-305, or to use the JX-305 to record Part 7: ch. 7 and play back a performance played on an external Rhythm part: ch.
Page 172: Controlling The Jx-305 From An External Midi Device
By transmitting control change Bank Select messages (CC#0, CC#32) and Program Change messages (PC) from an external MIDI device to the JX-305, you can Playing the JX-305 from an External change the patch (rhythm set) of each part. At this...
Page 173 Remote Kbd = OFF Local Sw = EXT Thru = OFF * If you wish to connect a computer and play the JX-305 from a MIDI sequencer program etc., you will need to use a MIDI interface appropriate for your computer.
Page 174: Controlling An External Midi Device From The
Even after switching patterns, you can still con- trol the SP-202 from part 1. MIDI Ch = 1 * The notes C2–G4 of the JX-305 can be used to play the SP-202. Playing notes outside this range will not make the SP-202 sound.
Page 175: Synchronizing To An External Sequencer
MIDI Clock messages from the external MIDI sequencer (so the tempo will be controlled by If you are using the JX-305 in conjunction with a JP- the JX-305 itself), set the Sync Mode to “REMOTE.” 8000 synthesizer (optional), you can synchronize the...
Page 176: (Bulk Dump)
External Sequencer (Bulk Dump) Two JX-305 units can be connected to each other, and The JX-305 is able to transmit or receive data for the used to play different patterns in synchronization. currently selected pattern or patch. This is referred to fig.14-9(#MC fig.16-12)
Page 177 JX-305, use the following procedure to send the bulk dump into the temporary pattern. Use a MIDI cable to connect the JX-305’s MIDI IN to the MIDI OUT of the external sequencer. 1. Select the temporary pattern (TMP).
Page 178: Example Of Real-Time Modify
Chapter 14. Advanced Applications Example of Real-Time Modify In this section we will explain how the sound will change when you move the various Realtime Modify knobs, using a suitable preset patch. ATTACK Filter Envelope Amplifier Envelope The filter envelope is used to modify the way in which The amplifier envelope is used to create time-varying the brightness changes over time (p.
Page 179: Pitch Envelope
Chapter 14. Advanced Applications Pitch Envelope The LFO1 parameters of patch P:G72 are set as fol- lows. The pitch envelope is used to create time-varying fig.14-18-1 change in pitch (p. 58). REALTIME MODIFY 1. Press [FILTER/AMP/PITCH] several times to make the PITCH indicator light. ENVELOPE ATTACK DECAY...
Page 180: Example Of Multi-Effects Settings
Chapter 14. Advanced Applications Example of Multi-Effects Settings Hardening the Overall Character Use an Enhancer to sharpen the definition of the sound, bringing it to the front. This is effective when Producing a Muffled Tonal Character applied to brass-type sounds or piano-type sounds. By severely cutting the mid-range and boosting the Apply to parts: all parts low range, you can simulate a muffled sound, as if it...
Page 181 Chapter 14. Advanced Applications Low-resolution Sampler Sound Modifying the Groove of a Pattern Here’s a simulation of the sound of an early sampler Use the Slicer to modify the groove of the entire pat- with a low sampling rate. This is effective when tern.
Page 182 Chapter 14. Advanced Applications Auto Panning Delay Sound Auto Panning Drums Since this uses the Auto Pan of short delay, the loca- This will pan the rhythm tone to left and right during tion of the delay sound will move at one-measure playback.
Page 183: Troubleshooting
Set it to “INT” or “BOTH” (p. 36). No Sound • The Keyboard Velocity setting is too low. • The power of the JX-305 or connected devices is Raise the Keyboard Velocity setting (p. 163). not turned on. • The Bank Select and Program Change messages Turn on the power (Quick Start;...
Page 184 • If you create a pattern that contains an extremely large amount of data, or if you input an excessive • The tuning of the JX-305 or of the external MIDI amount of knob data, notes may be delayed or sound generator is incorrect.
Page 185: Error Meggage List
Either initialize an unneeded pattern, or save the data to a memory card. • More MIDI messages were received at once than the JX-305 was able to process. fig.15-8 Reduce the amount of MIDI messages that are being transmitted to the JX-305.
Page 186 • The card manufacturer/model is not specified for use with the JX-305. Use a specified card (p. 159). • The card has not been formatted for the JX-305. • A card other than the copy destination was insert- Format the card (p. 159).
Page 187: Waveform List
Waveform List Group A Name Name Name Name Name TB Dst Saw Ac Bass Trumpet Dist Hit TR808 Tom TB Dst Sqr 1 Voco Bass Mute Trumpet Thin Beef TR606 Tom TB Dst Sqr 2 Fingered Bs Soprano Sax Tekno Hit TR606 CmpTom TB Reso Sqr1 Pick Bass...
Page 188 Group B Name Name Name Name Name SHKR+MENU R8 Brush CHH TR707 Clap Rap Snare ElectroSnr 2 808 Maracas Jungle Hat Cheap Clap Jungle Snr 1 Synth Snare Maracas PHH MENU Funk Clap Antigua Snr Roll Snare Cabasa Up TR909 PHH 1 Little Clap Real Snare KICK MENU 1...
Page 189 Group C No Name No Name No Name Violin A Gtr Harm A Taiko Violin B Gtr Harm B Tang Gu Mute Violin C Gtr Harm C Tang Gu Open Cello A Pop Strat A Dholak Hi Op Cello B Pop Strat B Dholak Hi Mt Cello C...
Page 190: Preset Patch List
Preset Patch List Preset A&B (CC#0=81, CC#32=0) No. (PC#) Name No. (PC#) Name No. (PC#) Name No. (PC#) Name A11 (001) Lead TB 1 A51 (033) Lucky B11 (065) Dist Lead 3 B51 (097) Def Bass 2 A12 (002) Dist TB 1 A52 (034) Synth Lead 1 B12 (066) Mosquito B52 (098) Sine Bass 1...
Page 191 Preset C&D (CC#0=81, CC#32=1) No. (PC#) Name No. (PC#) Name No. (PC#) Name No. (PC#) Name C11 (001) Strong Brass C51 (033) Str/Brs Pad D11 (065) NU-NRG Str D51 (097) Trek Storm C12 (002) You Can Fly C52 (034) Syn Brs Pad D12 (066) Violin D52 (098) Abduction C13 (003) Syn stack 2...
Page 192 Preset E&F (CC#0=81, CC#32=2) No. (PC#) Name No. (PC#) Name No. (PC#) Name No. (PC#) Name E11 (001) X-Org/Nz E51 (033) Harpsichord F11 (065) Timpani F51 (097) Bright Brass E12 (002) X-Pizz/Rng E52 (034) Clavi F12 (066) Steel Drum F52 (098) Hush Brass E13 (003) White Noise E53 (035) Digi Clavi F13 (067) Digi Bell...
Page 193 Preset G&H (CC#0=81, CC#32=3) No. (PC#) Name No. (PC#) Name No. (PC#) Name No. (PC#) Name G11 (001) Kalimba G51 (033) Noisy Drill H11 (065) MutePandeiro H51 (097) Jungle Snr 2 G12 (002) Bagpipes G52 (034) Thump Bounce H12 (066) Open Surdo H52 (098) TR808 Kick G13 (003) PnoBendM7-m7 G53 (035) Tape Rewind...
Page 194 Preset I&J (CC#0=82, CC#32=0) No. (PC#) Name No. (PC#) Name No. (PC#) Name No. (PC#) Name I11 (001) Ac.Piano 3 I51 (033) Nylon Gtr 1 J11 (065) LoFi Strings J51 (097) Horn Pad 1 I12 (002) Ac.Piano 4 I52 (034) Nylon Gtr 2 J12 (066) Strings&Chor J52 (098) Horn Pad 2 I13 (003) St.Ac.Piano...
Page 195: Preset Rhythm Set List
Preset Rhythm Set List * The Rhythm Group column shows the button that can be pressed to mute that rhythm tone. Rhythm Group P:A11 (001) P:A12 (002) P:A13 (003) P:A14 (004) TR-909 TR-808 TR-606 CR78&Cheaps Note No. Plastic BD 4 TR808 Kick 5 TR808 Kick 3 Toy Kick...
Page 196 Rhythm Group P:A15 (005) P:A16 (006) P:A17 (007) P:A18 (008) Techno 1 Techno 2 Techno 3 Hardcore Note No. Plastic BD 3 TR808 Kick 5 Plastic BD 3 TR909 Kick 5 Plastic BD 2 TR707 Kick 1 Plastic BD 4 Gabba Kick TOM/PERC TR707 Rim...
Page 197 Rhythm Group P:A21 (009) P:A22 (010) P:A23 (011) P:A24 (012) Ambient House 1 House 2 Jungle Note No. TR909 Kick 5 TR808 Kick 5 Wet Kick TR909 Kick 3 Wet Kick TR909 Kick 2 Plastic BD 2 Lo-Fi Kick 2 TOM/PERC Ragga Rim 1 TR808 Rim...
Page 198 Rhythm Group P:A25 (013) P:A26 (014) P:A27 (015) P:A28 (016) Drum’n’Bass1 Drum’n’Bass2 Hip-Hop 1 Hip-Hop 2 Note No. Roll Kick TR909 Kick 3 Lo-Fi Kick 1 TR707 Kick 1 Analog Kick Lo-Fi Kick 2 TR808 Kick 3 Optic Kick TOM/PERC RaggaTightSD SideStiker Solid Snare...
Page 199 Rhythm Group P:A31 (017) P:A32 (018) P:A33 (019) P:A34 (020) Funk Electro Jazz Brush Note No. TR707 Kick 2 TR808 Kick 1 Lo-Fi Kick 1 Video Kick West Kick TR808 Kick 5 Hip Kick West Kick TOM/PERC Lo-Fi Rim TR808 RimLng SideStiker Natural Rim Deep Snare...
Page 200 Rhythm Group P:A35 (021) P:A36 (022) P:A37 (023) P:A38 (024) Disco Ragga Rock Industrial Note No. TR707 Kick 2 Analog Kick Optic Kick TR909 Dst BD TR808 Kick 3 TR707 Kick 2 TR909 Kick 4 Lo-Fi Kick 2 TOM/PERC TR707 Rim Gate Rim TR808 RimLng Drill Hit...
Page 201 Rhythm Group P:A41 (025) P:A42 (026) P:B11 (001) P:B12 (002) Ethnic Reverse Standard 1 Standard 2 Note No. Open Surdo Ele Kick TR707 Kick 2 TR909 Kick 3 Mute Surdo Turbo Kick Hybrid Kick Optic Kick TOM/PERC Jungle Snap TR909 Rim Gate Rim Natural Rim Natural Rim...
Page 202 Rhythm Group P:B13 (003) P:B14 (004) P:B15 (005) P:B16 (006) Power 1 Power 2 Brush 2 Indasia Note No. TR707 Kick 2 Hip Kick Hip Kick Dholak Lo Op Turbo Kick Plastic BD 3 West Kick Dholak Lo Mt TOM/PERC Gate Rim SideStiker Brush Swish...
Page 203: Effects Template List
Effects Template List For Patches Button Patch name Multi-Effects type BANK [1] P:I13 St.Ac.Piano REVERB BANK [2] P:E28 Ac.Piano 1 COMPRESSOR BANK [3] P:I21 Rhodes AUTO-PAN BANK [4] P:I23 Tremolo EP PHASER BANK [5] P:I28 Tria Bells TETRA-CHRS BANK [6] P:I35 E.Organ 1 Lo-Fi...
Page 204: Preset Pattern List
CD-ROM or equivalent means. The sound recordings contained in this product are the original works of Roland Corporation. Roland is not responsible for the use of the sound recordings contained in this product, and assumes no liability for any infringe- ment of any copyright of any third party arising out of use of the sounds, phrases and patterns in this product.
Page 205 3, 4 YOJI BIOMEHANIKA P:A87 HappyHardcore 4 3, 7 YOJI BIOMEHANIKA P:A88 HappyHardcore 5 3, 7 YOJI BIOMEHANIKA P:B11 Rave 1 Roland Corporation P:B12 Rave 2 Roland Corporation P:B13 Rave 3 Ryeland Alison P:B14 Rave 4 Ryeland Alison P:B15 Rave 5...
Page 206 Drum’n’Bass Name Measures Mute Programmer P:B53 Artcore 1 DJ khuv P:B54 Artcore 2 Roland Corporation P:B55 Artcore 3 DJ khuv P:B56 Artcore 4 DJ khuv P:B57 Artcore 5 DJ Q'HEY P:B58 Drum'n'Bass 1 DJ khuv P:B61 Drum'n'Bass 2 5, 6, 7...
Page 207 Name Measures Mute Programmer P:C38 Abstract 1 DJ KENT P:C41 Abstract 2 4, 6 A • L • M • A P:C42 Abstract 3 DJ KENT P:C43 Abstract 4 Vince LaDuca P:C44 Abstract 5 Vince LaDuca P:C45 Abstract 6 4, 5 Vince LaDuca P:C46 Abstract 7...
Page 208 SOULMATES MUSICA P:D28 Happy Handbag 4 SOULMATES MUSICA P:D31 Happy Handbag 5 SOULMATES MUSICA P:D32 Euro Beat 1 5, 7, TP Roland Corporation P:D33 Euro Beat 2 Roland Corporation P:D34 Latin House 1 Roland Corporation P:D35 Latin House 2 Roland Corporation...
Page 209 JX-305 Collection Name Measures Mute Programmer P:D81 Grunge 3, 6, TP Scott Tibbs P:D82 Blues 1 Scott Tibbs P:D83 Blues 2 3, 6, TP Scott Tibbs P:D84 Slick Groove 5, 7 Scott Tibbs P:D85 A.O.R. Idecs P:D86 Motown 1 4, 6...
Page 210: Rps Pattern List
RPS Pattern List RPS Drum Pattern (Used Rhythm Part) Name Measures RPS Set Keyboard Pad P:E33 Techno Drums 1 Trance 1 P:E34 Techno Drums 2 Trance 1 P:E35 Techno Drums 3 Trance 2 P:E36 Techno Drums 4 Trance 2 P:E37 Techno Drums 5 NU-NRG P:E38...
Page 211 RPS Bass Pattern (Used Part1) Name Measures RPS Set Keyboard Pad P:F27 Techno Bass 1 Trance 1 P:F28 Techno Bass 2 Trance 1 P:F31 Techno Bass 3 Trance 2 P:F32 Techno Bass 4 Trance 2 P:F33 Techno Bass 5 NU-NRG P:F34 Techno Bass 6 NU-NRG...
Page 212 RPS Rhythm Fill in (Used Part1) Name Measures RPS Set Keyboard Pad P:G23 BD Fill 1 NU-NRG P:G24 BD Fill 2 Minimal Techno P:G25 BD Fill 3 Hardcore P:G26 BD Fill 4 Industrial P:G27 BD Fill 5 Ambient Techno P:G28 BD Fill 6 Drum'n' Bass 2 P:G31...
Page 213 Name Measures RPS Set Keyboard Pad P:H21 Snare Fill 29 HipHop Abstruct 1 P:H22 Snare Fill 30 House P:H23 Snare Fill 31 House P:H24 Snare Fill 32 House P:H25 Snare Fill 33 Garage House P:H26 Snare Fill 34 Hard House P:H27 Snare Fill 35 Happy Handbag...
Page 214 RPS Accompaniment (Used Part1) Name Measures RPS Set Keyboard Pad P:I16 Brass 1 Jazz Funk 1 P:I17 Brass 2 Jazz Funk 2 P:I18 Brass 3 Reggae 2 P:I21 Brass 4 Salsa P:I22 Brass 5 Salsa P:I23 E.Piano Lead 1 HipHop Abstruct 1 P:I24 E.Piano Lead 2 HipHop Early...
Page 215 Name Measures RPS Set Keyboard Pad P:J14 Organ Chord 6 Jazz Funk 2 P:J15 Organ Chord 7 Reggae 1 P:J16 Organ Chord 8 Reggae 1 P:J17 Organ Chord 9 Reggae 2 P:J18 Organ Chord 10 Reggae 2 P:J21 Organ Lead 1 Jungle P:J22 Organ Lead 2...
Page 216 Name Measures RPS Set Keyboard Pad P:K12 Synth Riff 9 NU-NRG P:K13 Synth Riff 10 Minimal Techno P:K14 Synth Riff 11 Hardcore P:K15 Synth Riff 12 Hardcore P:K16 Synth Riff 13 Hardcore P:K17 Synth Riff 14 Hardcore P:K18 Synth Riff 15 Rave P:K21 Synth Riff 16...
Page 217 RPS Hit (Used Part1) Name Measures RPS Set Keyboard Pad P:K81 Bird Ambient Techno P:K82 Brass Fall 1 Jungle P:K83 Brass Fall 2 Salsa P:K84 Brass Hit Reggae 1 P:K85 Blip Hit 1 Trance 1 P:K86 Blip Hit 2 Reggae 1 P:K87 Crash Cymbal NU-NRG...
Page 218 RPS JX-305 Collection (Used Part1) Name Measures P:L55 E.PianoChord 9 P:L56 E.PianoChord 10 P:L57 Piano Chord 17 P:L58 Piano Chord 18 P:L61 E.PianoChord 11 P:L62 Piano Chord 19 P:L63 Organ Chord 11 P:L64 Organ Chord 12 P:L65 Clavi Riff 1...
Page 219: Rps Set List
RPS Set List * U:47–U:84 have the same contents as U:11–U:46. * The number at the right of each RPS set is the recommended tempo when using that set. U:11 Trance1 (BPM=135) U:14 Minimal Techno (BPM=136) U:17 Rave (BPM=130) Techno Drums 1 P:E33 Techno Drums 7 P:E41...
Page 220 U:22 Ambient Techno (BPM=125) U:25 Drum’n’ Bass 3 (BPM=170) U:28 HipHop West (BPM=95) Techno Drums 19 P:E55 D-Bass Drums 5 P:E63 HipHop Drums 3 P:E71 Techno Drums 20 P:E56 D-Bass Drums 6 P:E64 HipHop Drums 4 P:E72 Techno Bass 19 P:F51 D-Bass Bass 5 P:F57...
Page 221 U:33 HipHop Early (BPM=95) U:36 Garage House (BPM=120) U:41 Jazz Funk 1 (BPM=125) HipHop Drums 9 P:E77 House Drums 3 P:E85 Jazz Drums 1 P:F13 HipHop Drums 10 P:E78 House Drums 4 P:E86 Jazz Drums 2 P:F14 HipHop Bass 9 P:F73 House Bass 3 P:F81...
Page 222 U:44 Reggae 2 (BPM=155) Reggae Drums 3 P:F21 Reggae Drums 4 P:F22 Reggae Bass 3 P:G15 Reggae Bass 4 P:G16 Tom Fill 9 P:H58 Snare Fill 45 P:H41 Snare Fill 46 P:H42 CHH Fill 4 P:G38 Piano Chord 13 P:J38 Organ Chord 9 P:J17 Organ Chord 10...
Page 223: Parameter List
Parameter List Patch Parameters #: Parameters which can also be operated from the front-panel knobs or buttons. COMMON parameters [EDIT] -> NUMBER [1] (COMMON) (p. 77) SOLO: Solo SW * Solo Switch OFF, ON SOLO: Solo Legato * Solo Legato Switch OFF, ON PORTAMENTO: SW #* Portamanto Switch...
Page 224 FILTER parameters [EDIT] -> NUMBER [4] (FILTER) (p. 61) FILTER: Type # Filter Type OFF, LPF, BPF, HPF, PKG FILTER: Cutoff # Cutoff Frequency 0–127 FILTER: Cutoff KF Cutoff Key Follow FILTER: Resonance # Resonance 0–127 FILTER: Reso Velo Resonance Velocity Sens -100–+150 F-ENV: Env Depth # Envelope Depth...
Page 225 LFO parameters [EDIT] -> NUMBER [6] (LFO) (p. 71) LFO1: Waveform # Waveform TRI, SIN, SAW, SQR, TRP, S&H, RND, CHS LFO1: Rate # Rate 0–127, 1* LFO1: Tempo Sync Tempo Sync OFF, ON LFO1: Key Sync Key Sync OFF, ON LFO1: Fade Mode Fade Mode OnI, OnO, OfI, OfO...
Page 226: Rhythm Set Parameters
Rhythm Set Parameters #: Parameters which can also be operated from the front-panel knobs or buttons. WAVE parameters [EDIT] -> NUMBER [2] (WAVE) (p. 86) WAVE: Tone SW Rhythm Tone Switch OFF, ON WAVE: Wave Select Wave Select A001–C131 WAVE: Wave Gain Wave Gain -6, 0, +6, +12 KEY: Env Mode...
Page 227 AMPLIFIER parameters [EDIT] -> NUMBER [5] (AMPLIFIER) (p. 94) LEVEL: Tone Level # Rhythm Tone Level 0–127 PAN: Tone Pan # Rhythm Tone Pan L64–63R PAN: Rnd Pan SW # Ramdom Pan Switch OFF, ON PAN: Alt Pan Dpth Altenate Pan Depth L63–63R A-ENV: Velo Sens Velocity Sens...
Page 228 Type= 4-BAND-EQ # Low Freq Low Frequency 200, 400 Low Gain # Low Gain -15–+15 High Freq High Frequency 4000, 8000 High Gain # High Gain -15–+15 Peak1 Freq Peaking1 Frequency Peak1 Q Peaking1 Q 0.5, 1.0, 2.0, 4.0, 8.0 Peak1 Gain Peaking1 Gain -15–+15...
Page 229 Type= NOISE # Noise Type Noise Type 1–18 Noise Level # Noise Level 0–127 N Filter Noise Filter Lo-Fi Level # Lo-Fi Level 0–127 Output Pan Output Pan L64–63R Output Level # Output Level 0–127 1*: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS Type= RADIO-TUNG # Radio Detune # Radio Detune...
Page 230 Type= PHASER # Manual Manual 100–8000 Rate # Rate 0.1–10.0, 1* Depth # Depth 0–127 Resonance Resonance 0–127 Mix Level 0–127 Output Pan Output Pan L64–63R Output Level # Output Level 0–127 1*: 1/16, 1/12, 3/32, 1/8, 1/6, 3/16, 1/4, 1/3, 3/8, 1/2, 2/3, 3/4, 1/1, 2MES, 3MES, 4MES, 8MES, 16MES Type= CHORUS # Pre Delay Pre Delay Time...
Page 231 Type= FLANGER # Pre Delay Pre Delay Time 0.0–100 Rate # Rate 0.1–10.0, 1* Depth # Depth 0–127 Feedback Feedback Level 0–+98 Phase Phase 0–180 Filter Type Filter Type OFF, LPF, HPF Cutoff Cutoff Frequency Balance Effect Balance D100:0E–D0:100E Output Level # Output Level 0–127 1*: 1/16, 1/12, 3/32, 1/8, 1/6, 3/16, 1/4, 1/3, 3/8, 1/2, 2/3, 3/4, 1/1, 2MES, 3MES, 4MES, 8MES, 16MES...
Page 232 Type= FB-P-SHIFT # Coarse # Coarse Pitch -24–+12 Fine # Fine Pitch -100–+100 Output Pan Output Pan L64–63R Pre Delay Pre Delay Time 0.0–100 Mode Pitch Shift Mode 1–5 Feedback Feedback Level 0–+98 Low Gain Low Gain -15–+15 High Gain High Gain -15–+15 Balance...
Page 233: Arpeggiator Parameters
Arpeggiator Parameters #: Parameters which can also be operated from the front-panel knobs or buttons. ARPEGGIO parameters [EDIT] -> BANK [4] (ARPEGGIO) (p. 26) ARP: Style # Arpeggio Style ARP: Motif Motif ARP: Beat Pattern Beat Pattern ARP: Shuffle Rate Shuffle Rate 50–90 % ARP: Accent Rate...
Page 234 SEQUENCER parameters [EDIT] -> BANK [7] (SEQUENCER) (p. 166) SEQ: Sync Mode Sync Mode INT, REMOTE, SLAVE SEQ: Sync Out Sync Out OFF, ON SEQ: Loop Mode Loop Mode OFF, LOOP1, LOOP2 SEQ: Metro Mode Metronome Mode OFF, REC ONLY, REC&PLAY, ALWAYS SEQ: Metro Level Metronome Level 0–127...
Page 235: Transmit/Receive Setting List
Transmit/Receive Setting List Parameter MODE1 (Factory setting) MODE2 Value FILTER FILTER TYPE EXCLUSIVE CC#34 0–4 *1 CUTOFF CC#74 CC#74 0–127 *1 RESONANCE CC#71 CC#71 0–127 *1 F-ENVELOPE DEPTH CC#81 CC#81 1–127 (Center=64) *1 CC#82 CC#82 0–127 *1 CC#83 CC#83 0–127 *1 EXCLUSIVE CC#28 0–127 *1...
Page 236: Midi Implementation
RPN mm=MSB, ll=LSB * If the Remote Keyboard Switch is ON, the message will have the same effect as when a note is released on the JX-305’s keyboard. This means that you can control the arpeg- Volume (Controller number 7) giator and RPS from an external MIDI keyboard.
Page 237: Program Change
* If the Remote Keyboard Switch is ON, operation will be the same as when the switch * The speed of the pitch change caused by Portamento is determined by the Portamento pedal of the JX-305 is operated. Time parameter.
Page 238: System Exclusive Messages
This is the ID number (manufacturer ID) that specifies the manufac- Unset. Previously set data will not change. turer whose exclusive message this is. Roland’s manufacturer ID is 41H.ID numbers 7EH and 7FH are defined in an expansion of the...
Page 239: Control Change
Control Change * By selecting a controller number that corresponds to the setting of the Control Pedal The only GS exclusive messages received by the JX-305 are Scale Tune settings (p. 253). Assign parameter, you can transmit any desired control change.
Page 240 ID number (universal non-realtime message) Portamento (Controller number 65) Device ID (dev:10H(17)-1FH(32)) status 2nd byte 3rd byte Sub ID#1 (General Information) Sub ID#2 (Inquiry Reply) ID number (Roland) Sostenuto (Controller number 66) 0BH 01H Device family code status 2nd byte 3rd byte 01H 00H...
Page 241 This is the ID number (manufacturer ID) that specifies the manufac- status 2nd byte 3rd byte turer whose exclusive message this is. Roland’s manufacturer ID is 41H.ID numbers 7EH and 7FH are defined in an expansion of the vv=Note On velocity: 01H - 7FH (1 - 127) MIDI standard as Universal Non-realtime messages (7EH) and Universal Realtime Messages (7FH).
Page 242 3.2 Messages not recorded during record- 4. Data transmission (Sequencer section) 4.1 Recorded messages are transmitted during playback. Channel Mode messages 4.2 If the Through parameter is ON, messages Local On/Off (Controller number 122) status 2nd byte 3rd byte received (except for System Common messages and System Realtime messages) will be transmit- vv=value: 00H,7FH (Local off, Local on)
Page 243 * For addresses marked by #, the data is transmitted in two parts. For example, the hexadecimal data ABH would be divided into 0AH and 0BH, and transmitted in this order. * Addresses for which the Description field is listed as “Reserved” have no meaning for the JX-305. They will be ignored.
Page 244 1-2-1.Part Info Common +——————————————————————————————————————————————————————————————————————————————+ | Offset Address | Size | Description Data (Value) |—————————————+———————————+————————————————————————————————————————————————————| | 00 00-00 0C | 0aaa aaaa | Reserved —- |—————————————+———————————+————————————————————————————————————————————————————| 00 0D | 00aa aaaa | M-FX Type 0 - 23 00 0E | 0aaa aaaa | M-FX Parameter 1 0 - 127 00 0F | 0aaa aaaa | M-FX Parameter 2 0 - 127...
Page 245 ———————————————————————————————————————————————————————————————————————————————— Type 6: NOISE prm1 Noise Type 0 - 17 1 - 18 prm2 Noise Level 0 - 127 prm3 N Filter 0 - 17 *1,BYPASS prm4 Lo-Fi Level 0 - 127 prm5 Output Pan 0 - 127 L64 - R63 prm6 Output Level 0 - 127...
Page 246 prm2 Time R 0 - 103 0.1 - 190 prm3 HF Damp 0 - 17 *1,BYPASS prm4 Feedback 0 - 98 0 - +98 prm5 Auto Pan 0 - 18 OFF,(rate) prm6 Low Gain 0 - 30 -15 - +15 prm7 High Gain 0 - 30...
Page 247 00 32 | 00aa aaaa | Bend Range Down 0 - 48 (0 - -48) 00 33 | 0000 000a | Solo Switch 0 - 1 (OFF,ON) 00 34 | 0000 000a | Solo Legato Switch 0 - 1 (OFF,ON) 00 35 | 0000 000a | Portamento Switch 0 - 1 (OFF,ON)
Page 248 00 4E | 0aaa aaaa | Pitch LFO1 Depth 0 - 126 (-63 - +63)| 00 4F | 0aaa aaaa | Pitch LFO2 Depth 0 - 126 (-63 - +63)| |—————————————+———————————+————————————————————————————————————————————————————| 00 50 | 0000 0aaa | Filter Type 0 - 4 00 51 | 0aaa aaaa | Cutoff Frequency 0 - 127 00 52 | 0000 aaaa | Cutoff Keyfollow...
Page 249 1-4-2.Rhythm Note +——————————————————————————————————————————————————————————————————————————————+ | Offset Address | Size | Description Data (Value) |—————————————+————————————————————————————————————————————————————————————————| 00 00 | 0000 000a | Tone Switch 0 - 1 (OFF,ON) 00 01 | 0000 0000 | Wave Group Type 00 02 | 0000 00aa | Wave Group ID 0 - 3 00 03 | 0000 aaaa | Wave Number 0 - 254...
Page 250 | 00 00 0C +——————————————————————————————————————————————————————————————————————————————+ Note) In order for GS exclusive messages to be received correctly by the JX-305, the starting address of the message must be the starting address of each part (the address of Scale Tune C; i.e., offset 40).
Page 251 *2: OFF, LPF, BPF, HPF, PKG *3: OFF, ON, <Reserved, Reserved>, RHY Note) In order for quick exclusive messages to be received correctly by the JX-305, the starting address of the message must be the starting address of each part. 3-3. Quick SysEx Sequencer +——————————————————————————————————————————————————————————————————————————————+...
Page 252 6. Supplementary material ASCII code table +——————+——————+——————++——————+——————+——————++——————+——————+——————+ Decimal/Hexadecimal table | Char || | Char || | Char | +——————+——————+——————++——————+——————+——————++——————+——————+——————+ 32 | 20H | 64 | 40H | 96 | 60H | 33 | 21H | 65 | 41H | 97 | 61H | MIDI uses 7-bit hexadecimal values to indicate data values and the address and size of 34 |...
Page 253 Equal temperament Roland exclusive messages (RQ1, DT1) are transmitted with a checksum at the end of the This temperament divides the octave into 12 equal steps, and is the temperament most fre- data (before F7) to check that the data was received correctly. The value of the checksum quently used today, especially in western music.
Page 254: Midi Implementation Chart
Groovesynth Date : Mar. 6, 1998 Model JX-305 MIDI Implementation Chart Version : 1.00 Sound Generator section Transmitted Recognized Remarks Function… Basic Default 1–7, 10 Channel Changed 1–7, 10 Default Mode 3 Mode 3, 4 (M=1) Mode Messages Altered **************** 0–127...
Page 255: Sequencer Section
Groovesynth Date : Mar. 6, 1998 Model JX-305 MIDI Implementation Chart Version : 1.00 Sequencer section Transmitted Recognized Remarks Function… There is no basic channel. Basic Default 1–7, 10 1–7, 10 Changed Channel Default Mode 3 Mode Messages OMNI OFF, POLY...
Page 256: Main Specifications
Main Specifications JX-305: GROOVESYNTH Display LCD: 16 characters, 2 lines Beat LED Keyboard 61 keys (with velocity and channel aftertouch) Connectors Output Jacks (L (MONO), R) Parts: 24 (8 + 16 (RPS)) Phones Jack MIDI Connectors (IN, OUT, THRU) Maximum Polyphony: 64 voices...
Page 257: Index
Index “Q” represents the Quick Start. category ...............209 category jump............Q11 4 Band EQ..............107 change event ...............148 change gate time............143 change velocity ............142 accent rate..............25 channel aftertouch............148 aftertouch ..............22, 76 checksum..............149 aftertouch sensitivity ..........163 chord ................133 all mute ................32 chorus................116 alternate pan depth..........70, 96 coarse tune ..............57, 87 amplifier ..............67, 94 common .................77...
Page 258 key range upper ............81 keyboard velocity..........22, 163 factory preset ............Q6, 170 fast-forward ............31, 154 feedback level .............105 LCD contrast ...............168 feedback pitch shifter ..........122 LFO.................71 filter ................61, 90 LFO1..............Q25, 179 filter envelope ..........63, 91, 178 LFO1 amplifier depth ..........73 filter envelope depth..........64, 92 LFO1 depth ..............73 filter envelope level 1-4 .........66, 94 LFO1 fade time .............74...
Page 259: Preset
multi-effects output level..........106 pitch envelope ..........58, 87, 179 multi-effects type ............106 pitch envelope depth ..........59, 88 multi-effects->delay level .........105 pitch envelope level 1-4.........61, 90 multi-effects->reverb level........103 pitch envelope time 1-4 .........60, 90 mute ...............32, 129, 148 pitch envelope time key follow........61 MUTE CTRL ...............129 pitch envelope velocity sensitivity ......60, 89 mute exchange..............32...
Page 260: Tempo
rhythm key copy ............99 spectrum..............108 rhythm mute ..............32 split................Q41, 19 rhythm set ............Q20, 14, 28 split point ..............19 rhythm set write ............98 square wave ..............56 rhythm tone ............85, 97 staccato ................132 rhythm tone delay level ..........98 standard tempo ............31 rhythm tone initialize ..........100 step flanger..............119 rhythm tone level ............94 step recording .............131...
Page 261 user memory ............15, 137 utility......37, 83, 99, 158, 160, 161, 170, 176 velocity ..........22, 28, 132, 135, 163 velocity crossfade............82 velocity range lower ............82 velocity range switch...........82 velocity range upper............82 velocity strength............45 view filter ..............151 voice priority..............81 voice reserve ...............169 wave .................56, 86 wave gain ..............56, 86 wave select ..............56, 86...
Page 262 Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. ARGENTINA INDIA LEBANON AUSTRIA PORTUGAL Rivera Traders Pvt. Ltd. A. Chahine & Fils E. Dematte &Co. Caius - Tecnologias Audio e Instrumentos Musicales S.A.
Page 263 For the U.K. IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. BLUE: NEUTRAL BROWN: LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
Page 264: Pattern Set
Easy Operation List Whole Patch Edit Modify value by larger steps [SHIFT] + [VALUE] (p. 16) Confirm Current Settings [SHIFT] + knob (p. 55) LCD Contrast [EDIT] -> BANK [8] (p. 168) Set Envelope Depth [ENVELOPE/LFO1/EFFECTS] + [VALUE] Tuning [EDIT] -> BANK [8] -> PAGE [>] (p. 168) when the “ENVELOPE”...

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How the JX-305 Is Organized

How the Sound Generator Is Organized

How the Sequencer Is Organized

About Memory

Basic Operation

Chapter 2. Playing the Keyboard

Selecting a Patch

(Key Mode)

Smoothly Changing the Pitch of the Sound

Portamento

Playing Notes Which Lie Outside the Range of the Keyboard (Octave Shift)

Playing Two Patches from the Keyboard

Changing the Pitch (Pitch Bend Lever)

Applying Modulation to the Sound

Sustaining the Notes You Play (Hold Pedal)

Using a Pedal to Modify the Sound (Control Pedal)

Pressing Chords to Produce Arpeggios (Arpeggiator)

Playing a Rhythm Set

Listening to Sound Processed by the Effects (Audition)

Chapter 3. Playing Patterns

Playing Patterns

Adjusting the Tempo

Viewing the Number of Measures in a Pattern

Muting a Specific Part (Part Mute/Rhythm Mute)

Transposing During Playback

(Real-Time Transpose)

Changing the Settings of each Part

Saving Patterns You've Modified (Pattern Write)

Playback (Real-Time Modify)

Changing the Groove of a Pattern (Play Quantize)

Using Pedal for Control (Switch Pedal)

(Turntable)

Chapter 4. One-Touch Phrase Playback (RPS)

Pressing Notes to Play Back Phrases

Assigning Phrases to the Keyboard

Making Settings for each Phrase

Saving the Phrases You Assigned (RPS Set Write)

Chapter 5. Creating Original Sounds (Patch Edit)

The Basis for the Sound of a Patch (Tones)

Sound-Editing Procedure

Changing the Basic Waveform of the Sound (Wave/Fxm)

Pitch-Related Settings

Making the Pitch Change over Time (Pitch Envelope)

Brightness-Related Settings (Filter)

Settings Related to Volume and Pan (Amplifier)

Applying Cyclic Changes to the Sound (LFO)

By each Controller (Control)

Settings Common to the Entire Patch (Common)

Saving Patches You've Created (Patch Write)

Chapter 6. Creating an Original Rhythm Set (Rhythm Edit)

How a Rhythm Tone Is Organized

Creating the Sounds

Specifying the Basic Waveform of the Sound (Wave)

Pitch-Related Settings

Brightness-Related Settings (Filter)

Settings Related to Volume and Pan (Amplifier)

Adjusting the Range of Pitch Bend (Bend Range)

Adjusting the Effects for each Rhythm Tone

Tone

Saving Rhythm Sets You've Created (Rhythm Set Write)

Chapter 7. Applying Effects to the Sound (Effects)

Turning Effects On/Off

Adding Reverberation to the Sound (Reverb)

Adding an Echo to the Sound (Delay)

Chapter 8. Recording Patterns

Recording Your Playing as You Perform

(Real-Time Recording)

Recording Notes One at a Time (Step Recording)

Checking the Remaining Amount of Memory

(Memory Information)

Chapter 9. Editing Patterns

Editing the Musical Data of a Specified Part (Pattern Edit)

Individually Editing Musical Data (Microscope Edit)

Chapter 10. Collecting Frequently Used Patterns in a Set (Pattern Set)

Using a Pattern Set to Recall Patterns