Roland MULTI TIMBRAL SYNTHESIZER JIV-80 OWNER’S MANUAL ji) =) se ceessee" = Saae SEQSSS55 BESSSSS SOG SHOTISSSTn “Tookyhting fash wih arewesdaymbl wihinancqutrl poeta fang. emondd tose th wor fo th prosone of un inooated "corgeevs voge” win he products oncosurs Teanur oe coe cornet tm Nn that may bo of euficint magitods fo consti rik of ATTENTION: pice ataticar CAUTION: TO REDUCE THE FISK OF ELECTRIC SHOCK, ‘The exclamation pint wininan equtstora angele tended D0 NoT REMOVE COVER (OF BACK. to abt the usr fo to provence of inpocart operating and [NO USER-SERVICEABLE PARTS INSIDE. mantanance(eanerg)inewesone ihe erate accor REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. panying he product INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS. IMPORTANT SAFETY INSTRUCTIONS WARNING — When using electric products, basic precautions should always be folowed, including the folowing: 1. Read al the instuctors belore using the product 8. The power supply cord fhe produt shouldbe urlugged 2. Do not woo he product near water fer example, near a __‘fomthe out when ettunuood fr along period ame. Datu, wachoon chan sic in awot basement of neat 10, Do not Yeas on he powersuppy cad 9 Loner mina 110270 DUDS cid thle ps wen uae. s produc should be used ony witha cartorstardthatis 42. When se acrsans tecencoa recommendes by the manufactur. Satu olan atoranco witnructon morta 4. Tis produce lone orin combination wah an ampiiier 39, Care spoud be taken so tat cbjects dono al and gus and headphones 0: speakers, may be capabe of reducing "> Sr nat peg ao te enosre tough opening Sound lavels that could cause permanent hearing loss. Do eee eee ae Pane ata tgvvckene ive, 1 The product should be serviced by qualified sence per nel when: oF ata level that is uncomfortable. It you experionce any ah Foatng tus or ging in te ears yoo shold coneuk on ‘A. The power-supply cord or the plug has been damaged audiologist or i pe pe ands nasa at fe 8. jects nave fat, or gud nas been sed to he does not interfere with ts proper ventilation. (arpa faa aan xpnnec to rer 6. Theproductshould belocatedaway fom heat sources such 2s 1D. The product does not appear to operale normaly or radiators, heal registers, or ether products that produce heat. exhibits a marked change in performance: oF The product has been dropped, or the enclosure dam- 7. Avoid using the product where it may be affected by dust. ages. ‘8, The product should be connected to @ power supply only of 15. Do notaternpt to service the product beyond that described the type dosorbed in the operating instuctions or as marked in the usermalntenance insiructons. Al other servicing ‘on the product. ‘should be referred to qualifed service personnel, SAVE THESE INSTRUCTIONS For the UK, WARNING: THIS APPARATUS MUST BE EARTHED. IMPORTANT: THE WIRES INTHIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. GREEN-ANO-YELLOW: EARTH, BLUE: NEUTRAL, BROWN: LIVE Aste clcurs othe wires inthe mans lead of Pi apparatus may not coespend wih the coloured markings identying the terminals in your pug proceed as follows: “Ihe whe whichis coloured GREEN -AND-YELLOW must be connec the terminal inthe plug whichis makod by the letter E or by the safety earth symbct@ or coloured GREEN or GREEN-AND-YELLOW. “The wre wns cooured BLUE mustbe Comeciedto ha torminel which s marked wih heleter or coloured BLACK. Thevte which iscoloured BRON mustbe connected the erarawhicns arked wit nto Lot cured RED. “The product which is equipped with a THREE WIRE GROUNDING TYPE AC PLUG must be grounded.SnitHesizen IV-BO0 Owner's Manual Introduction Thank you for purchasing the Roland JV-80 Multi Timbral Synthesizer. To take full advantage of the JV-80's functions, and to enjoy long and trouble-free use, please read this owner's manual carefully. Copyright © 1991 by ROLAND CORPORATION ‘All rights resérved. No part of thie pubfeation may be reproduced in any form without the permission of ROLAND CORPORATION.HOW TO USE THIS MANUAL This manual consists of the following sections describing the: respective modes of the JV-80. Though we recommend that, you taka time to read through this entire manual once, those Who have a general knowiedge about synthesizers can read the desired sections as needed when using the instrument. Section 1 : Setting Up and Playing the JV-80 ‘This section covers preparation before play, ROM Play eperations, connection to external devices, and tying out the various sounds of the JV-80. Section 2: General Overview This section covers the structure ofthe sound sources of the 4IV-80, and Patches and Performances, which are the units ‘of sound, Section 3: Play “This section covers the operations for using the JV-80 in the Play mode (Patch Play/Performance Play) and describes the functions of the parameters related to this mode. Section 4: Edit This section covers the operations of the modes (Patch EdivPerformance EdivRhythm Edit) which are used to edit sound program data (Patch/Performance/Rnythm Tone), ‘and describes the functions of parameters related to these modes, Section 5: Command Tale section covers the operations and functions of the Write mode, which include the storing of edited data and organization of the data, Section 6 : Reference ‘This section includes a list of error messages, a sound program data list and MIDI imiplementation. Also, an index. ‘of operations and the main index will help you in using this manual. By using the index of operations, you can quickly find the pages that contain information about the operations, and functions you want to know about. ‘@The explanations contained in the pages you refer to have ‘been made as comprehensive as possible. Since many functions and operations throughout the JV-80 are quite ‘similar, you may find repetition of the same or similar Information in several sections. @in the Piay section and the Edit section, concrete application examples are given before explanation of the parameters of @ function and the method for operating ‘and setting them. (An asterisk +k indicates the examples.) ‘The resulting sound applications in using the parameters: (and the effective ways of setting them) are given at the beginning of each section of Patch/Performance in the Play section and at the beginning of each item of PatchvPerformance in the Edit section. Following these ‘explanations, the basic functions of each parameter are ‘explained. Panel Indications The buttons and switches used in operation are referred to in this manual just as their names appear on the panel, printed above (or below) each button, [Example] Chorus button -+[GHORUS] Tone switch -+[TONE SWITCH] Cursor butions E(B] ‘The parameter names ate expressed as (IEEE or Since they are usually given as abbreviatons, the ful names are written next to them: for exemple, “key mode" and “chorus rate." Then the edkable range of the parameter is given: for example, 0— 127 for a continuous ‘one, or ~ 100/ — 50/0/50/100 for specified (step) ones. Display The various functions of the instrument ere accessed through the display. Please keep in mind that there may be slight diferences between the data (ike in sound program names) in factory settings and the displays shown in the manuel $e 4CONTENTS MIMAIN FEATURES OF THE JV-80 ------- 7 IIINPORTANT NOTES . 8 NIPANEL CONTROLS AND TERMINALS. 9 SECTION1 SETTING UP AND PLAYING THE JV-60 1. CONNECTING THE JV-80 TO EXTERNAL EQUIPMENT - 42 2. TURN THE POWER ON «--+----+- {Wi Adjusting the Contrast of the LCD Sac 14 3. LISTENING TO THE ROM PLAY FEATURE: --- 15, 4. PLAYING THE JV-80 ----++-+ Trying Out the Realtime Performance Functions --- 18 Switches peel 43 UTOFF. a 2a . +46 The pararetrs called up by the [ATTAGKY [RELEASE] buttons -o-------eeee-soos 47 2. PLAYING A PERFORMANCE, What is the Performance Play mode? Parameters Avallable for Realtime Control Operation © Selecting the Performance Play Mode «+--+ 56 @ Changing Performances ss 56 @ Selecting and Adjusting the Performance Parameters with the Assign Buttons --- 57 @ How to use the [PART SWITCH] ------------ 58 Explanations of the Parametere : @ Part Parameters COARSE TUNE! (FINE TUNE]-..- ‘SECTION2 GENERAL OVERVIEW OF THE JV-80 @ Transmit Zone Parameters. 1. MODES 2. TWO TYPES OF SOUND UNITS (PATCHES AND PERFORMANCES) «29 Patches and Tones Performances and Patches -- 3. SOUND SOURCE AND CONTROLLERS ---.-.- 25, 4, ORGANIZATION OF THE SOUND SOURCE -.- 27 internal Sound Source «+ sees a7 SECTIONS PLAY 1, PLAYING PATCHES ©» +--+ --+-+-» imWhat isthe Paton Play mode? «--.101 Parameters Avalable for Realtime Control Operation (© Selewing ine Patch Pay Node © changing Patches - a @ Selecting and Adjusting the Patch Parameters with he Assign Buttons sss -ssssseses 38 © How to use the [TONE SWITCH) 235 Explanations ofthe Parameters s+ : [PAR] soo COARSE TUNE) oat TX VOLUME] - sere 62 et 62 TX TRANS, cee @ Internal Zone Parameters - INT TRANS . Other Play Operations Operation . Explanations of the Parameters sree 68) EFFECT] oo eesee--- +69 ‘PROGRAM CHANGE] ------- 70 © Panic function 4, System Common Parameters Operation « : WM Explanetions of he Parameters «+++ SECTION4 EDIT 1. Patch Edit - teteeeee: ‘What is the Patch Edit mode?. . How to Edit in the Patch Edit Operations - - © Using [TONE SELEET] «+ 6 Setcing Perametrs wih elec nna tHE gy iS a ~ S Pe‘CONTENTS Explanations ofthe parameters »---++++++-+00+ Parameters Selected by [COMMON] - Parameters Selected by [EFFECT] Parameters Selected by [CONTROL] - Parameters Selected by [WAVEILFO] Parameters Selected by [PITCH] Parameters Selected by [TVF] Parametors Selocted by [TVA] - Performance Edit - cee Imatis the Performance Eet mode? How to edit a Performance we © cing [PART SWITCH] im splanatons ofthe parameters . Paramtere Selected by [COMMON} Parameters Selected by [EFFECT] -~ . Parameters Selected by [TXZONE] 124 Pee Parameter Selocted by INT ZONE] Ea. Parameters Selected by| 190 18 3, Rhythm Edit Mode - . What are rhythm sound programs’ +139 nythm Tone Ealting =~» Explanations of the parameters -~ o14t Parametore Selosiod by [EFFECT] oat Parameters Selected by [CONTROL] +143 Parameters Selected by [WAVETLFO) ------+- 144 Parameters Selected by [PITCH] 145 Parameters Selected by [TWF] - “147 Parameters Selected by [TVA] - +150 SECTIONS COMMAND Write Modo foe 2164 MOperation s+ sesssssseees +164 +185 +187 +160 +161 @ Buk (Buk Dump) 164 @ Protect +166 SECTIONG REFERENCE 1. Error Messages: soreeeeresees 168, 2.Troubleshooting --++++-+- see seeseeeee +170 ‘B.Waveform List---.--.2-----+-+ cerceeemntt | A4nitialize Data -- sreeeseeeeseeeeeee 175 S.Factory Setting ---++--++-++-- +180 6.Biank Chart- see 184 ‘7.Operation Examples of the JV-80 -- + 188 Roland Exclusive Messages -- MIDI imptementation . sess 199 MIDI Implementation Chart «--<:0-1-++-+2+-++-++ 207 Multi Sound Source for Desktop Music and Home Studio Applications --------- 209 Main Specifications - : 210 Index of Functions and Operations:--------- 219MAIN FEATURES OF THE JV-80 ‘The JV-80 is an advanced synthesizer with builtin sound sources that give you a wide range of sound shaping features, ‘These allow you to use flexible fiter (TVF) and amplifier (TVA) controls to process the various high-quality sound elements. Because of the rich builtin sound sources and the comprehensive MIDI control functions which let you make changes to the sounds and various parameters in realtime, the JV-80 Is Ideal for both live performance situations and desktop music applications. @ Various Modes for Powerful Performance Potential ‘The JV-80 features two operating modes: the Patch Play mode, which enables you to use the full expressive capabilities of the JV-80 by playing a single sound in realtime, and the Performance Pay mode, which allows you to play eight different Parts (internal sound sources) over eight diferent MIDI channels. in the Key mode, there is @ Solo mode that lets you make special Key assignments, along with portamento for playing expressive melody lines in legato. @ Wide Range of Sound Waveforms Naturally, the JV-80 provides basic synthesizer waveforms, sch as the sawtooth wave, square wave and pulse wave. It aso features built-in waveforms that have various frequency elements or short actual’ sounds. Since wavetorms can be processed by FXM (Frequency Cross-Modulation), the JV-80 is capable of satistying the most demanding sound programming applications, trom recreatng realist sounds 1 producing unusual, otherworldly effets. New waveforms can also be added by inetaling the optional PCM card or expansion board @ Built-in Digital Effects Chorus and reverb effects are built into the JV-80, Rich stereo effects that add spaciousness and depth to the sound, ‘can be gained by using chorus and reverb. @ Flexible Realtime Parameter Control Controt over individual paramoters can be assigned to the sliders or footswitches/pedals. The expressive potential is enormous, since a wide range of parameters can be selected for independent and simultaneous contro. @ Touch-sensitive Keyboard ‘The keyboard of the JV-80 features velocity and attertouch sensitvity. This allows you to change the tonal quality and volume of the sound by how strongly you hit the keys or how strongly you press down on them after hiting them. @ Ease of Operation In order to simply play and edit operations, the JV-80 has a large LOD display (40 characters by 2 lines) with corresponding soft keys which are used to directly select the. assigned parameters in the display. @ Convenient Performance Functions Even during performance, the sound programs and their parameters can be adjusted in realtime (and over MIDI) with the use of the Parameter Sliders. This makes it easy to adjust the sound to match the performance situation or the character of the song. @ Multi-timbral Operation The JV-80 features multitimbral capacity with seven Independent synthesizer Parts and one rhythm Part, This allows you to create the sound of an ensemble or group with, Just the JV-80, controling the sound sources over MIDI. @ Memory Card y using an optional DATA card (M-256E), the internal settings ean be stored. Sound program data which is stored con the DATA card can be called up for use while playing @ Convenient Panic Function ‘The JV-80 has @ panic function that lets you quickly cut off ‘stuck’ notes when using the unit to control other MIDI sound, sources.IMPORTANT NO In addition to the items listed under Safety Precautions on ‘page 2, please read and adhere to the following: [Power Supply] {© When making eny connections with other devices, always turn off the power to all equipment first; this will help prevent damage or malfunction, © Do not use this unit on the same power circuit with any device that will generate line noise, such as a motor or variable lighting system. [Placement] ‘© This unit may interfere with radio and television reception. Do not use this unit in the vicinity of such receivers. [Maintenance] (© For everyday cleaning wipe the unit with @ soft, dry cloth (or one that has been slightly dampened with wate:). To remove studboin dir, use a mild neutral detergent. ‘Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth, (@ Never use benzene, thinners, alcohol or solvents of any kind, to avoid the risk of ciscoloraton and/or deformation. [Additionai Precautions] {© Protect the unt from strong impact. (© Never strike or apply strong pressure to the display. @ A smail amount of heat will radiate from the unit, and thus should be considered normal @ Before using the unit in a foreign country, consult with Qualified service personnel. [Memory Backup] @ The unit contains a battery which maintains the contents of memory while the main power Is off, The expected lite of this battery is § years or more, However, to avold the unexpected loss of memory data, itis strongly recom- mended that you change the battery every § years, Please be aware that the actual life of the battery wil depend on the physical environment (especially temperature) in which the unit is used, When itis time to change the battery, consult with qualified service personnel, © The units battery functions during normal operation as wall a5 maintaining the contents of memory when the main power supply is tuned off. When the battery becomes weak, there is a rsk of losing the contents of the memory. To avoid the unexpected loss of memory data, replace the battery betore becomes weak. @ When the battery becomes weak, the following message will appear in the display: “Internal Battery Low", Please change the battery as soon as possible to avoid the loss of memory data. @ Please be aware that the contents of memory may at times be lost; when the unit is sent for repairs or when by ‘some chance a maifunction has occurred. important data should be stored on a DATA card, or written down on paper. During repairs, due care Is taken to avoid the loss of data. However, in certain cases, (such as when Circuitry related to memory itself is out of order) we ragrot ‘that it may be impossible to restore the data. [Expansion Board] (When using the optional expansion board, refer to the ‘expansion board manual for the instructions on installation ‘and use ofthe board.STVNINYFL ONY STOULNOD T3NVdoy—Ol K 1 Oi | & ok }Roza Cea SETTING UP AND PLAYING THE JV-80 41. CONNECTING THE JV-80 TO EXTERNAL EQUIPMENT ‘Since neither an amplifier or speakers is built into the JV-80, you should have some kind of arnplification/speaker system in order to hear the instrument. When using 2 set of headphones, insert the headphone plug into the PHONES jack on the JV-80 ‘When using an amp/speaker setup, be sure the volume of the amplifier is at minimum before tuming the system on. This will help prevent damage fo your speaker systems. ‘When using the optional PJ-IM cable, the instrument can be directly connected to the jacks of a stereo ‘set by removing the phone plug adaptors and using the RCA pin connectors. trament to take full advantage of the functions of, We suggest that you use the stereo outputs oft the JV-80, However, if you require a mono output, use only the L (MONO) jack. ‘Soaneated eco! jacket Connection cable Optional : PIM etc.) ‘Stereo headphones Pedal switch (Roland RH20, RH-80, RH-120, etc.) (FS4, DP2, otc) Expression pedal (EV5, EV-10, etc.) 1 To the AUK LINE IN terials =| O “I stereo sat, radio cassette player, etc.2. TURN THE POWER ON After making the proper connections, turn on the power according to the procedure given below. (1) Before you turn on the power, check the following points: + Are all connections made correct? + Are the volume contols ofthe ampliar and other equipment turned down? + ls the volume contol ofthe JV-80 turned down? [2] Tum on the power switch on the rear panel of the JV-80. The following display appears. “The JV-80 as a protection cireuit that mutes the ovtput for afew seconds after the power is tumed on. {Example of the display] PERFORM TET 3K Upon power up, the JV-80 recall the lst selected Performance ot Patch, [3] Turn on the power of the connected devices, such as the amplifier, and adjust the volume. [4] Adjust the sound volume with the master volume control of the JV-80. Maximum volume” 3% Adjust the sound at the TVA level (P.36), Resonance (P.46) or ‘the Part level (P.59) if the sound is stil distoned even atter ‘agjusting the overall level with the master volume slider. Minimum volume [5] When turning off the power, first turn off the external devices, then turn off the Jv-80. ‘Be careful net to set the ouput level too high when conaecting the JV-80 directly to an audio system, “The speakers may be damaged by an excessive volume level B2.TURN THE POWER ON i Adjusting the a) [2] Contrast of the LCD Occasionally, the characters in the display may be difficult to read, depending on existing lighting conditions and the placement ofthe JV-80 If this is the case, adjust the contrast of the LCD according, to the steps given below. Press either [PERFORMANCE PLAY Jor [PATCH PLAY]. the incicator of the button will Hah) Press [TUNE]. (tho indicator wil ight) SR Tae somo. uC © cS JS i — Adjust the contrast by using Parameter Slider 3, . 2 3 wien TUNE & 8 Tune! Trans! LOB FUNCTIONH 448,01 BI Sle [4] Press [TUNE] once you finish adjusting the contrast. (The indicator goes out) 3 You can also retum to individual modes by pressing the mode select buteons,HE ROM PLAY FEATURE ‘The JV-60 contains several demo songs that showcase the various sophisticated functions of the instrument, such as the mult-timbral capabilities and the Solo mode, The ROM Play function automatically plays these songs. We suggest that you connect a stereo amplifier or listen through a set of stereo headphones in order to get the full benefit ofthe JV-80's advanced capebilities, a) [2] (3] While holding down the Fs") button, press the (=) button. This selects the ROM Play mode. come som ne fae om PLAy [Press ENTER/EXITI Press [ENTER |to start playback from the frst song. Adjust the volume of playback by using the MASTER VOLUME slider, Press [EXIT 10 stop playback. 1 Introduction Songs 1 through § are parts that play 2 | House Sounds back as a medley, and together form one 3 | Cosmo Space whole song, 4| Acoustics 8 | Finalett Music by Bric Persing ‘¢ | Perseverance Copyright © 1981, Eric Persing Music : ‘Music by Adrian Scott ifilBestdhness Copyright © 1991, Adrian Scott Press [EXIT] after playback has stopped. This returns the instrument to the standard operating mode, FSS5e Teo I ‘Stops playback» ends ROM Play function. ] J] stots otavbeck 3 Keys or butions other than those described above will not function, since all ther functions ofthe JV-80, ‘are temporarily suspended during ROM Play. 3% The notes and other musical data of the ROM Play are not transmitted trom the MIDI OUT terminalS.LISTENING TO THE ROM PLAY FEATURE @ Profiles of the composers - Pee EEE ee Eric Persing Eric Persing is one ofthe most in-demand session players and programmers inthe Los Angeles area. Eric began working for Roland as a product specialist, fist doing cles and suppor, then gradually ‘became more involved in product and sound design. Eric has worked with such artats as Michaet Jackson, Chaka Khan, Lary Garton, Marcus Miler, and Bon Jovi, His music and sounds can also be heard on many TV shows and commercials. Actively Involved in film music, ho has worked with top ‘composers including Michel Columbier, Denny Ellman, and Bill Cont Adrian Scott ‘Adrian was the keyboardist and vocal for the work/-famous hitaaking Austraon pop group Alt Supply. Alter pureving a golo career, ho captured tho evr prize atthe World Song Festival Tokyo "Bt in 1984. Asa sossion musician, he has backed up many famous Australian antsts, including John Farnham and Kylis Minogue. He currently resides in Melboume and is active as a producer of ‘commercial music and fim music. 3 Warning : Ail rights reserved, Unauthorized use ofthis materials a violation of applicable laws, The chart below lists the Patches used in each of the demo songs. 7 | introduction Att APiano 4 ‘Abie _Storeoww Gs BIB Orch Stings ALi: APiano1 ‘A76:_ House Base ‘A8G_Aubber Bs 1 s Ay Neuse sounes [A82:_Thumpin Base B86: Big n Booty Bas_JP_ OPad Bit; GlassVoices Cosmo S| 7 eee 1B86; Analog Seq ‘Bat: Slow Sirings [AS6:_Velo Hatrmnix ASS: 12 stings ATi: SiFroess ft cea B21: Slow Stings 3_| Finaloit B21:_Siow Stings Orch Stings Var Sings [aa Pick Bass Funk Gtr Pox Oooze [aBs: Yowza Base Dig Rhodes 2 FlevCymBend 6 | Perseverance [A6s:Ciean Start Beauty Vox Dig Rhodes + [AsT:_Wave Bale Stereoww BS B56: AtoLead Sax B6t: “Air Lead Stab Brass RevCymBend [ASI:_Nyion Gir ATS:_Analog Bs 1 B25:_Orch Stab 1 [AIS:_Pop Piano 2 BBs: Pufh ‘Ada: Pop Strat ens [Ba6: Brass Sect Tdi Hatmon Muted BST: Alo Sax B23:_BrightStings Rythm Set: 1—8= preset 8 7=preset A4. PLAYING THE JV-80 When the JV-80 is shipped, it contains settings (Patches) of preset sounds. This section will explain the various sounds and how to select them, First tum on the power, then press [PATCH PLAY]. You can now play the instrument from the keyboard. Try playing the instrument and listening to various sounds by changing Patches. “The mumbers I —8 printed in orange on the [BANK] [NUMBER butions atthe righ side ofthe pane indicate the banc and numberof the Patch, Patches numbered 11 —88 can be selected osing boi the [BANK ]and [NUMBER Joutons. The numbers (Patch number) and the eters (Patch nam) in the LCD change according tothe buttons that are pressed, You can also select addtional Patches. By combining [USERPRESET ano the following can be selected User memory, Internal and Proset are described in | USer memory = Internal 11 —88 detail in the next section of Card 11 —88 (when an optional DATA card is used) Preset A 11-88, B 11-88 this manual, "ORGANIZA- TION OF THE SOUND SOURCE," P.27. ‘Try playing the diferent sounds, switching between Paiches by pressing these buttons. Switching betwuon User ct ume mm ade Gem TOMNPO == = == = Mm & a = Switching betwscon internal Sas Me Sar WE aaa — seucting Banks 1-8 J seucting numbers 1 ‘Internal Patches (User memory) ‘+ Card Patches (User memory) ”4.PLAYING THE JV-80 li Trying Out the Realtime Performance Functions @ ‘The JV-80 has various controls for altering the sound a8 you pliy. Try out some of these functions “while playing the keyboard. The application of effects can also be determined for individual sound programs by using the same controllers. Listen to some of the differences by selecting other Patches. ‘dynamics (velocity), or how hard you strike the keys. The action of pressing a key down after playing itis called “aftertouch.” Pitch, tone and volume can aso be changed using aftertouch, Pay softly Pray 2 Press down nider Modulation Lever 20 TES ae While playing a note, you can move the Bendex?Modulation Lever othe lft 0 lower the pitch, or to the ight ors the pitch, This is called the pitch bend effec. You can azo push the lever forward to auddexpresive modulation effecs, suchas vibrato or tremolo, while you ply po STEM BS ae ~~ BENDER - oC Rae ‘The volume and tone of the sound can be changed by moving this sider up and down while playing the keyboard, The functions of the slider difer depending on the setings. ‘This is used to change the tonal quality of the sound; it adjusts the brightness and clarity. The higher the lever is moved the more pronounced the effect becomes. Further expressive conti is evalablo witha podal svitch (FS-1 or DP-2) or expression pedel (EV-5 or EV-10), By connecting a pedal switch tothe HOLD jack on the rear panel, you can have the sound susiain even aftr you rolease the keys. By connecting an expression pedel to one ofthe pedal jacks, ‘You can use the poda to change the volume or the tone of he sound. you can also change varlous aspects of the sound in realtime by using the eight parameter sliders, see the Play Section (P.34, 67) for more details. 84.PLAYING THE JV.20 M Switches CHORUS REVERB [TRANSPOSE By using the buttons on the top left side of the front panel, you can convenieatly tum on and off the intemal stereo effects (chorus and reverb) andthe intemal transpose function. 4 c= {_—~ ‘This button tums the chorus effect on and off, ‘This button tums the reverb effect on and off. ‘This button is sed to tur the transpose function, set inthe transpose parameter (P.73) of the system ‘common parameters, on and off. There is no pitch transposition When the system common teanspose. parameter is set 100. 19Oe GENERAL OVERVIEWMODES ‘The sound programs of the JV-80 Performance Synthesizer can be called up and played in two different ways, One is by using a Patch, ‘Which is the basic sound program of the instrument, and the other is by using a Performance, which isa comt ‘and one Rhythm Set. Different modes are available depending on which sound program (Patch or Performance) is selected, ton of seven Patches Patch Play mode +++ (P.30) This mode plays sounds by calling up one Patch at a time. By using the eight sliders ‘or an optional foot pedal, you can make various realtime changes in the sound and volume and even change sound programs as you play. This mode lets you operate the JV-80 as you would a conventional synthesizer. Performance Play mode -- feeteeeereeeees (PSM) Since a Performance can combine up to eight different Patches, much thicker and richly textured sound programs can be created. Performances can also be used to create ensemble sounds by using different Patches to play different parts. This ‘mode also lets you add dynamic changes and movement to your music by changing the volume and pan settings for each Patch as they are played. Patch Edit mode ------- see (P.78) This mode Is used to access the synthesizer sound creation features of the instrument. In this mode, you can change the various elements which determine the character of the sound programs and create new Patches. Performance Edit mode ------ (P.115) By combining seven Patches and one Rhythm Set as component parts of a sound, this mode lets you set the overall sound or effect that you wish to create. In this ‘mode, the JV-60 can adapt to a wide range of applications. It can be used as a keyboard for live performance, in which you can make dynamic changes to the sound as you play by key velocity or by using connected pedals. It can also be set up as an all-purpose muttiple sound source for desktop music and home studio applications. Rhythm Edit mode <+++s+eeseesesestseeeeseeneeeeeeee + (P.139) This mode changes the settings of the Rhythm Set that is assigned to a Performance. A Rhythm Set is a group of individual Rhythm Tones, which are assigned to each key of the Keyboard, This mode also allows you to set various parameters that control and change the sound of each Rhythm Tone. 3 In addition to the modes mentioned above, there is a Write Mode (P.154) which allows you to store and organize your original sound program data,2. TWO TYPES OF SOUND UNIT: (PATCHES AND PERFORMANCES) Patches and Tones "ek ae 'A Patch is the individual sound program unit of the JV-80. Patches themselves are made vp of Tones. is possible to create a Patch by using only a single Tone; however, sounds of remarkable ‘complexity and clarity can be created by using up to four Tones in a Patch. Doing this, however, limits the maximum aumber of voices (notes) that can sound simultaneously, since several voices are used to create a single Patch. The Tone processes the basic waveforms and forms a part of the Patch. ‘The structure ofthe Tone is shown below. ‘Sound Outout @ WG (Wave Generator) ---+-+++ ‘This calls up the waveforms stored in intemat memory, optional PCM cards or expansion boards, and generates the waveform to be used as the basic sonic building block. It also controls the pitch of the wavefoam atthe same time. Since itis the basic sound unit, itis erucal in determining the fundamental characteristics of the final sound, @ IVF (Time Variant Filter) ----eeevooss see sesso hiss used to shape the tonal uae ofthe sound by procesing the orginal waveform generated by the Wave Generator. It determines the timbre of the sound by cutting or boosting the frequency element tht male up the original waveform. @ TVA (Time Variant Amplifier) «+ ‘This controls the volume af the sound. @ ENV (Envelope Generator) . This applies changes in pith, Fegueney or volume when vsed withthe WO, TVF and TVA, respectively @LFO...-.-- - Tas epi a pid an eulccunein pc, fee orYlome wen wed with he WG, TVE and TVA, respectively It és expression to the sound through various vibrato-like effects, 38 Patch parameters include the following: the parameters which set the effects for use while Patches are played, the parameters, such as bend range, commonly applied to the Tone contained in the Patch, and the parameters that set the operations of ‘each aspect of the Tone and determine the character of the Tone. ———— 2B2TWO TYPES OF SOUND UNITS (PATCHES AND PERFORMANCES) i Performances and Patches? By using upto seven Patches (the individual sound programs of the JV-80), andthe sound progrem set for percussion (Rhythm Set), an ensemble of sounds can be created. The group containing these Ptches and the Rhythm Set is called a Performance, Bach Performance is divided into separate sections, called Parts, and Patches are assigned to Parts 1—7, with the Rhythm Set assigned to Part 8. By changing the volume balance andthe relative pitch among the pars, the total sound of the Performance can be adjusted ‘The JV-80 has what ae calle “internal zones" and “transmit Zones" between the Patches and the internal device (the controllers ofthe JV-80). The internal zone processes the play data from the intemal device and sends them to the Patch. The transmit zone proccesses the play data ftom the intemal device and sends them through the MIDI OUT terminal. In this way, the eight Pers end instruments controlled over the MIDI channels can be played independently. Performan Internal Zone Transmit Zone Play date ‘Sounding MIDI OUT. Internal Zone Fyn Set Transmit Zone 3 The parameters for setting the Parts of the Performance and determining how the sound source responds to the controllers of the JV-60, are called the Performance parameters.3. SOUND SOURCE AND CO! ‘The JV-80 has « built-in sound source that provides the sonic “building blocks” forthe sound. The keyboard and other various controllers (such as the sliders and pedals), are used 10 control the sound source, resulting in the final sound output. The sound source and the controllers of the JV-80 are shown in the illustration below. = = as Bendor/ Modulation lever jov-s0 Pedal ewitch fees Other MIDI devices (sound sources) 1 slider ti yo Parameter sliders i i i i i i i i i i i i | expression ped ! i i i i i i i i i i i i i i @ Keyboard 6 z EEE “This i used to pay the sounds. It also lets you comtinuovsly change the varius elements ofthe sound according te how haré you ske a Key (velocity) and how strongly you press down on a key after it has been pressed (aftetouch, Effects such as vibrato and pitch bend canbe obtained depending onthe sestings @ Bender/ Modulation Lever * > es eae ‘ ‘The pitch alone can he changed by moving the lever laterally (tothe right and left) Presting the lever forward lets you continuously change various aspects of the sound. Generally, this is used to apply effects such as vibra3.SOUND SOURCE AND CONTROLLERS ‘Volume, modulation and other parameters can be assigned to pedal control, via the PEDAL 1 and 2 jacks, The JV-80 also has a special jak for controlling the hold (sustain) function. 3 Either exprossion pedals (Oplionat: EV-S, EV-10) or pedal ewitches (Optional: FS-1, DP-2) can be connected o pedal jacks 1 and 2. This slider ean be used to control the came functions as the foot pedal, and can change the tonal uatity ofthe sound. ‘These are used to adjust various elements of the sound in realtime, You can determine or assign beforehand the parameters you wish to control dusing performance. The parameters which are controlled by the Parameter Sliders differ from those controlled by the foot pedals and the C1 slider. ‘The Parameter Sliders can also be used to set the parameters when creating of programming sounds. [ec BIeT Sa oe ian ORT RNERES ‘These ate used fo tum parameters on and off while playing, or to change the sound programs or ‘odes. cE By connecting the JV-80 to other snsia!jneruments that ae MIDI-omeatibe, you cn play and conl thse instrument fom the JV-80, or use a connected MIDI device play and contol the sound source of the JV-80, The contol dua ofthe keyboard, benderimoduisitn ever and fot pedals canbe tansnited through MIDI4. ORGANIZATION OF THE SOUND SOURCE This section describes the organization of the sound source, so that you can best understand how to use the sound creation and performance functions of the JV-80. Mi Internal Sound Source » ‘The intemal sound source of the JV-80 consists of three sections: memory, in which sound program ‘ata is stored, a section of preset sounds, and the effects. The sound program that is selected (either from the pane! or remotely by MIDI program change) can be heard when performance (play) data is ‘received from the JV-80 itself or another device connected tothe MIDI IN terminal. The sound signals ‘are output through the output terminals or headphone jack after chorus/everb effects are applied in the effects section —+—-—-—Internal Sound Source... _. fi | mee i cme i ees e 1 | (perenne Peromenee | | | i 16 16 ' Patches ! | ee : Pane Paces : i e ce 1 | [mes 1 | [re Tovim Se] | | i i | Le I eee } ae | ‘hon Performance 28 wees sound ea ay)” Date Oa ot patemaee_| et 6 eae L evonoy i teh and Bryn Eee [ 18A.ORGANIZATION OF THE SOUND SOURCE the following memory types. User Memory “The intemal memory and DATA card (optional) are memory areas that can be used to store eriginal sound programa data, Bach ofthe memory areas can store 16 Performances, 64 Patches and | Rhythm Set Preset AB Each of the preset areas A and B contain 16 Perfonmances, 64 Patches and 1 Rhythm Set, The Performance data and the Patch data stored in Preset A/B canaot be overwritten; however, you ean use these sound programs as basic material for editing and then store the newly created sounds in User memory ‘@ Temporary Area ‘This area is used to temporely store the sound program deta. Performance data and Patch data are read in from User memory of Preset A/B by panel button operations or MIDI messages. (You can think of the temporary area as place where a copy of the data is kept The intemal sound source sounds according to the data inthe temporary area. Since any adjusiments and editing ofthe dat is Let canter Right The display selected by [A] (3 pages) --++++0+00+ PINEEE Ory Level Range: 0—127 ‘This determines the level of the unprocessed (dry) sound (the signal to which no effect has been applied), PATCH Til FRRMEMSEM Chorus Send Level Range: 0—127 ‘This determines the level of the signal 1 be sent to the chorus processor. PATCH JY Strings: Chorus Send Tit # 161 a5 isa 18a) uy bs GEMGOESued Reverb Send Leve! Range: 0—127 ‘This determines the level of the signal to be sent tothe reverb processor. 4 Reverb Send 1ea! et a Pca) see ee Reverb onus sed Sv Chorus J 3K When using the chorus or reverb efecs, press [CHORUS Jor [EVER Jon the panel betorehand inorder to turn on the appropriate etfet ‘Output 3940 L.PLAYING PATCHES ‘The display selected by [W](1 page) --- Pan Key Follow Maancggalag Settings : - 100/ -70/ ~50/ - 40/ ~30/ ~20/ — 10/0/+10/420/+30/+40/+501470/+100 ‘This determines changes in the stereo image position ofthe sound according to the key range played. With the C4 key a8 a standard of reference, when the value is positive (+), higher keys played sound to the right of center. When the value is negative (— ), lower keys played sound to the right of center. The farther the value is set from 0, the further the sound is placed toward the extreme pan positions. PATCH fJU Strings Pan Kew Follow 1 o Gl +iea! “~1s0i 4 Lett : Key numberCOARSE TUNE] 85° Coarse Tune Ran ‘PLAYING PATCHES [COARSE TUNE, WOCHOS: ‘This determines the pitch of the sound in semitone units. The greater the value, the higher the pitch The display selected by a (3 pages) --- MEMO Pitch Envelope Depth Range: ~ 12—+12 This determines the overall depth of the pitch envelope. \when the value is positive (4), the greater the depth of the envelope and the higher the pitch. When the value is negative (~ ), the greater the depth of the envelope and the lower the pitch. The farther the vale is set from 0, the {greater the pitch change becomes for both positive and negative values Pitch Envelorg! al sizt = UMMM Pitch LFOT Depth Range: - 63—+63 ERENT Pitch LFO2 Depth Range: - 63—+63 In these 1wo pages, these parameters de the depth of LFOs 1 and 2 that are applied to the piteh of each Tone. ‘The greater the value, the greater the variation in pitch. Seting the parameter to either postive or negative values reverses the direction of the pitch change. PATCH @JU Strings ii a Br PATCH @JU Strings Tit a or a‘LPLAYING PATCHES: (COARSE TUNE The display selected by [¥](1 page) ------ EE Pitch Key Follow ‘Settings: — 100 ~70/ ~50/ ~ 30/ - 10/0/+10/+20/430/+40/+50/+70/+1 0/+120/+180/+200 ‘This determines how the pitch of each Tone changes in response to the key range played. With the CA key as a standard of reference, when the value is postive (+), the higher the key played, the higher th pitch, When the value is negative (— ), the lower the key played, the higher the pitch. The farther the value is set from O, the greater the change (increase or decrease) becomes for both postive and negative values. 92 Pitch Key Follo. i tigate) "OH BE key" number 2PLAYING PATCHES FINE TUNE Fine Tune Range: - 50— +50 ‘This determines the fine pitch setting of each Tone, adjustable in units of 1/100 of a semitone. When this is se to a positive value (+), the greater the value, the higher the pitch. When negative (— ), the greater the value, the lower the piteh Fi I CH ap i The display selected by Random Pitch Setngs: 05/0720/901415070/o07200/s00400!800/601800200 This detemins the ange over which he pitch of eich Tne is anol shied up note on (ve ine he is piyed) The ineemens se 1/100 ofa semitone. AI eng of 100 te pc is shied endo ap oF down) within a senor ng. PATCH (JU Strings ¢ Random Pitch Tid 4 e 5 fc 38 re 7 Random . pitch . ha pitch set fom the Coarse Tune” Fire Tune parameters The pitch shits randomly for sach nove on, within the specified citch range 4“PLAYING PATCHES. CUTOFF The disp CME VF Cutoff Range: 0—127 ‘This determines the cutoff frequency of the TVF of each Tone. The greater the value, the higher the cutoff frequency. PATCH fJU Strings: Cutete Til + t ie Eo 166] lay selected by [A](4 pages) -+++++seseeeeeeseeseeeeeeseeeteeeeeeeeee ERTS TVF Envelope Depth Range: ~ 63—+63 ‘This determines the overall depth of the TVF envelope of each Tone. When the value is positive (4), the greater the depth ofthe envelope, the higher the cutoff frequency. ‘When the vale is negative (— , the greater the depth of the envelope, the lower the cutoff frequency. The farther the value is st from 0, the greater the effect becomes for bth postive and negative values CH #JU Strings + TUF _Envelore| + 4541 at #iel =56 EATEN ACEI TVF Velocity Envelope Level Sensitivity Range: - 63—+63 ‘This determines how the TVF envelope of each Tone responds overall to Key velocity. When the valve is positive (GH, the stronger the velocity, the higher the cutoff frequency. When the value is negative ( ~ ), the stronger the velocity, the lower the cutoff frequency. ‘The farther the value is set from 0, the grater the effect becomes for both positive and negative values. PATCH #5 Strings ¢TUF-Enu Uelo Sense] it a at a1 i at cf1 PLAYING PATCHES TVF LFOt Depth Range: - 63—+63 TVF LFO2 Depth Range: - 63—+63 In these two pages, these parameters determine the depth of LFOs 1 and 2 that are applied fo the TVF evtoft frequency. The greater the valu, the greater the variation in the cuff Frequency. Setting the parameter to either positive o negative values reverses the direction of the cutoff frequency change “JU Strin : TUF LEG 1 Berth # ay el St - PATCH [JY Strings ¢ TUF LEQ 2 Deeth vad 4 al BI ae31 més The display selected by [¥](2 pages) Filter Type. Settings: OFF/LPF/IMPF ‘his determines the type of TVF for each Tone. The LPF (low pas filter) setng allows the low elements of the frequency to pass untiered, The HPF (high pas fier setng allows the high elements ofthe frequency 0 pass unfiltered, The filter doe nat funetion when sto OFF PATCH TL LPF ay HPF ry Ccurott freausney Cutott treauoncy Cutoff Key Follow Settings : ~ 100/ -70/ —50) ~ 30/ ~ 10/0/+10/+20/+30/+40/+50/+70/+100/+120/+150/+200 “his detemines how the TVF cutof frequency of each Tone changes in response tothe key range played. With the (C4 key asa standard of reference, when the value is postive (4), the bigher he Key played, the higher the cutoff frequency. When the value is negative (~ the lower the Key played, the higher the cutoff frequency. The fanher the value is set from 0, the greater the change (inerease or decrease) of the cutoff frequency becomes for both positive and negative values 4s46 {.PLAYING PATCHES [RESONANCE RESONANCE TVF Resonance Range:0—127 ‘This deteaines the strength of the resonance effect applied to the TVF of each Tone. The grester the value, the stronger the resonance effect. PATCH BJU Strin’ Resonance Ti # al at rail a The display selected by [¥](1 page) «+--+ GEERMEMET EY Fesonance Mode Settings: HARD/SOFT ‘This switches between strong and moderate resonance. The resonance effect becomes stronger when set to HARD, and becomes less pronounced when set to SOFT. : Resonance Mode! SOFTI HARDT "SOFTPLAYING PATCHES. (TAG (RELEASE) The parameters called up by the [ATTACK ]/[RELEASE |buttons 2600". By using these two buttons, the parameters related to the envelopes of both the TVF and TVA of each Tone are called up. The parameters are the same, but the first page and the order of the pages differs between the TVF parameters and TVA parameters (see illustration below). TVF = Env Key Follow TVF ~ Env Key Follow TVF Envelope T4 TVF Envelope T1 TVF Envelope L3 TVF Envelope T2 TVF Envelope T2 TVF Envelope L3 Tl] sve envelope Tt GI] tye Envelope Ta [ATTACK] ——> TVA Envelope T1 IRELEASE|— TVA Envelope T4 py| TVA Envetone 72 Fe | TWA Ervsione £3 TVA Envelope L3 TVA Envelope T2 TVA Envelope T4 TVA Envelope Ti TVA~Env Key Follow TVA~ Env Key Follow In the following five display pages, the change of the cutoff frequency over time (TVF envelope) can be controlled. Cutott frequency la f L i Time Key 00 key ett BETES ERAN TVF Envelope Ti Range: 0—127 ‘This determines T1 of the TVF envelope. The greater the valu, the longer the time of TL, allowing you to make the sound gradually become brighter as it decays CH @3U Strings + Tit & ir a1.PLAYING PATCHES. ERTMEMO EME TVF Envelope T2 Range: 0—127 ‘This determines T2 of the TVF envelope. The greater the value, the longer the time of T2, allowing you to make the timbce ofthe sound gradually become softer as it decays PATCH JU Strings ¢ TUF Enyelore T2| Tid # S51 201 351 | ERTS ME TVF Envelope L3 Range: 0—127 ‘This determines L3 of the TVF envelope, The greater the value, the brighter the sustained portion ofthe sound, PATCH JU Strinas : TUF Enyelore L: Tit Bar 3 etait 41 5 ERTSNECMEN 7VF Envelope T4 Range: 0—127 ‘This determines T4 of the TVF envelope, The greater the value, the longer the time of T4, allowing you to make the ‘imbee of the sound change gradually after the key is released, PATCH #30 Strings + TUF Enyelore Ta! Tit * 181 251 251 30 TVE Envelope Time Key Follow ‘Settings: ~ 100/ ~70/ ~50/ —40/ ~30/ ~ 20/ ~ 10/0/+104+20/+30/+40/+50/+70/+100 This determines how the TVF envelope changes in response to the key range played. With the C4 Key asa standard of refemee, when the value is postive (4), the higher the key played, the shorter the overall time of the envelope, and the less time it takes to reach successive level values within the envelope. When the value is negative (— ) the lower the key played, the shorter the overall time ofthe envelope, andthe less time it takes to reach successive level values within the envelope. PATCH BJU Strings :TUF-Env Key Follow ii ¥ +58 4261 BT “25 81.PLAYING PATCHES: (ATTACK) ELEN] In the following five display pages, the change of the sound level over time (TVA envelope) can be controlled. ERZNEMOMRN 7VA Envelope T1 Range: 0—127 ‘This determines TH of the TVA envelope, The greater the value, the longer the time of TI, allowing you to make the sound star slowly. CH #TU Strings = | TUA Envelore TL a SI 51 261 6a ERZNEMIEREA TVA Envelope T2 Range: 0—127 the sound slower. TCH @3U Steings ¢ TUA Envelope 72] Ti + 181 201 451 10 BAUME ONE TVA Envelope 13 Range: 0—127 “This determines L3 of the TVA envelope. The greater the value, the higher the level of sound, PATCH #3 Strings ¢ TUM Envelore L3| Ti # 18a 8s as 6) ‘This determines T2 of the TVA envelope. The greater the value, the longer the time of T2, which makes the decay of the sustained portion of the ERZNEMEUT ORES TVA Envelope T4 Range: 0—127 sounds linger on afte the key is released PAT Tih cH @JU Strings 7_ TUR Envelore T4 2 151 sal sor 6a This determines T4 of the TVA envelope. The greater the value, the longer the time of T4, allowing you to have 0PLAYING PATCHES (AUTACK]) [RELEASE] Sa AZM Aa TVA Envelope Time Key Follow ‘Settings : ~100/ ~70) ~80/ — 40/ —-30/ ~20y — 10/0/+10/+20/+30/+40/+50/+70/+100 ‘This determines how the TVA envelope changes in response tothe key range played. When the value is positive (4), the higher the key played, the shorter the overall time of the envelope, and the less time it takes to reach successive level values within the envelope. When the value is negative (~ ), the lower the key played, the shorter the overall time of the envelope, andthe fess time it takes to each successive level values within the envetope. PATCH #JU Strings Til i +581 -Eny Kew Follou| i ‘ai -24)2. PLAYING A PERFORMANCE Wi What is the Performance Play mode? ;2)/* ‘When you play the JV-80 in the Performance Play mode, the performance deta controls the Patches through the intemal zone, and extemal MIDI data is controlled through the transmit zone. ‘The intemal device (the controllers of the JV-80), such as the Keyboard, controls the Patches assigned to each Part {or the intemal sound soutee, and also serves as 2 master keyboard which controls play data over eight MIDI channels through the transmit zone for the external device (MIDI). You cen also change the sound of Patches assigned to the Parts according fo how you play. Do this by setting the parameters of the Pats and intemaltransmit zones, matching tothe song and performance condition. Since data which is called up tothe temporary memory ares is used when a Performance ie selected, the original Performance in the intemal memory or DATA card will be retained, The data being used in the ‘emporaty area can be stored as a new Performance in the user memory. (See Command Section, Write Mode.) Preset A Preset Bhar Pessing sho dite of inena fe, Operation DATA card Wiring he oto phew fe france Effects ecu reves Play data + 14¢ ourrur > Mio OUT pheseertonl-» fren 2o poate SI2PLAYING A PERFORMANCE, li Parameters Available for Realtime Control The parameters which can be controlled while you are playing in the Performance Play mode are roughly divided into three categories. ‘These are parameters which are related tothe overall sound, suck as the volume and the fixed stereo positon of the Pat. They are not parameters ofthe Patch itself, but are parameters of e Part that apply relative changes to settings such as level, pan and pitch, which are already set forthe Patch, By controlling the Volume for each Pat, you can ax the sounds just as you would with an eighchannel mixer. It is possible to adjust the dynamic balance of the sounds by increasing the level ofthe Pact which plays the melody or shyt, for example. You can also finely adjust the relative levels ofall the Parts to create a well-balanced ensemble sound. The function can also be used for fading Parts in and out or for muting them. ‘The sound image moves left and right when the Pan function is operated, This is particularly effective for lead lines, ‘or in creating a sense of space by sweeping effect sounds to the left and right. ‘Assign the placement Ae @ NO level and tho pan e OR ‘There are two pilteh-related functions. One changes the pitch in units of a semitone (Coarse Tune) and the other changes the tuning or to adjust the pitch of the selected Patch relative tothe other Pans. They can be also used 10 create a chorus in nits of 1/100 of a semitone (Fine Tune). These can be used to temporarily change ihe effect by changing the pitch continuously, or to make special effect sounds. You can even use this instead of the pitch bender, by adjusting the Fine Tune control as you play. Roturing Patches to Koop them all at the Making one Patch sound at different pitches X 7 Se \We suggest that you use the above mathed to change the pitch ofthe sound, instead of ueing the transpose function hich will be explained lat In situations whon you have to change the overall ich ofthe JV.80 to match the tuning of other instruments, st te Tune parameter of the system common parameters. 322.PLAYING A PERFORMANCE ok The MIDI receive channel is a Past parameter. When using another keyboard to play the sound source of the JV-80, the JV-80 can easily be matched to the transmission channel(s). This is especially eonvenient for checking Which MIDI data is transmitted over which channel. Also, by combining this function with Patch selection (the ‘explanation of which follows), a sound program can be assigned to performance data which was intended originally for another sound source, orto data which has yet to be given a sound program assignment. + Since a Patch which has been selected for a Part can be changed, even a single Performance can be made to play any number of various Patches by switching among them. This is convenient when detemmining the Patch assignment for an entite Performance, or when switching only the Patch of the Part to be played from the keyboard while using a sequencer for backing pats. Part Internat MOL —>¢ Preset A/B DATA oad R © Check play data you are unsure of by listening to each channel ia tum, © Compare different instrumentations of the petformanca by trying different sound programs, switching the Patches assigned to each Pert, IK Be sure 1 reserve a sufficient number of voices forthe important Parts in song, or Parts that would stand out ifthe available voices were suddenly eut off. Veice shortage during realtime performance can be prevented by reserving a certain number of voices forthe Patt you intend to play live, while other perfomance data is being received from a sequencer. 332PLAYING A PERFORMANCE oo @ internal. Zone. Parameters... Rid RR TE ‘These parameters control how the intemal sound source responds to performance data received from the controllers of the V-80. By selecting different transpose sewings foreach Pat, you can create an ensemble effect, For example, itis possible ‘o play beyond the range of the Keyboard, if you shift he key range of a bass sound down an octave and shift that for tuning ofthe sound program. and use the transpose function to adjust the tuning forthe performance condition olo up an octave. We suagest that you use the Coarse Tune setting, which is a Part parameter, to adjust the Instrument sound Instrument sound of the low range ‘of the high range Shift the key range which can be played on the main Keyboard The velocity received from the main keyboard is processed and sent to the Partin the infernal zone. Since possible to control how each Part is processed, you can change the volume of each Part according fo how strongly or lightly you play the keyboard. For example, set the Velocity CUrve to respond quickly for a Part that is to sound loudly. When you want a uniform velocity response, no matter how sofly or strongly you play, set the Sensitivity close to 0, and set the strength from the Max Velocity parameter. On the other hand, when you want to emphasize the velocity difference, set the sensitivity to values greter than O. Its also possible ro limit the key range of each Part to different areas of the keyboard. This is used 0 temporarily change settings, such a8 for playing diferent Parts with each hand. For example, you could play a bass sound with your left hand and a piano with your right: or you could use the function to cut off higher or lower range sounds that are displeasing or unnatucal Ae, Processed velocity IMM Velocity from the keys of the main keyboard The same key velosty can be processed in different ways for different Parts ‘The function of the internal zone isto provess performance dala and send it the Part. The actual response of the ‘sound fo control inthe Performance play mode depends on the Patch setings, 54Performance is layed by the data of Also, if you record this onto another track of the sequencer, ‘the two tracks, EM and [El can bbe merged to one track, 2PLAYING A PERFORMANCE TO TARSHiORe RACs AS ee These parameters ae elated fo the MIDI transmission of the peformance data, and they change the way sounds of tne extemal sound source respond to the data, They consist ofthe same parameters used with Parts and intemal zones described above, such a8 volume and velocity. The processed data is transmited from the MIDI OUT terminal, The MIDI teansmission channel of the transmit zone is Hike thet of a Part, and the extemal sound source hic i matched tothe receiving channel slike Patch Team be used not only for controlling several external sound sources asa master keyboard, but also can be used to edit the data ofthe device lke a sequencer. The method of operation for the transmit zone related to realtime play is the same as thal of a Part or internal zone. The explanation here describes how to create play data by various devices, including a sequencer. When entering play dat, eal up beforehand the Performance which was set at the beginning of the song, ‘The program change number for selecting the Performance is :?2: transmited tothe control channel; at the same time, the program change number and the Volume information forthe sound program which i to be used in the song is wansmited over the MIDI transmission channel ofeach tansait zone In ths ese, on the Parts for which transmission of data isnot needed, set the MIDI transmit switch to OFF. Its possible to transmit the necessary program change numbers, volume and pan data for the song in realtime, First, record only the play data forthe song, Then, by controlling the transmit zone parameters while listening o the song, ‘you can overdub volume and pan data or even record on another track, “This makes it easy to balance the relative volume of each sound program, Iitng you continuously fade in and fade cout the tracks. Morsina G+ {EL MIDI data trom the $ oI keyboard or Parameter es Performance Siders war SB ES es EN Piay data that is to be played back ‘The velocity parameters are normally used to limit or emphasize velocity values in the play data. However, if you set ‘each transmit zone o transmit with different velocity settings, you can in one pass simultaneously create a maximum ‘of cight separate “blocks” of play date, each with different velocities. Moreover, by using the transpose or key range setting, itis possibe to automatically transpose the data as you record it, orto spit your keyboard performance data conto different chanaels depending on the key range; for example, separating the data of the cight and left hand Parts. Using the transmit zone settings in this way allows you process or edit the data in realtime as you play. ‘There are parameters other than the perameters described above which do not belong to the Performance but are play-rlated and are common to the entire operation ofthe JV.80 (system common parameters). Tose setings ‘ae maintained and do not change even whan selecting diferent Performances or entering other modes. (S2e P.72) $52.PLAYING A PERFORMANCE, moperaton Wl Operation 44° 8s ea This section how to select Performances, how to select the LCDs (pages) how to adjust and set the displayed parameters. Which the parameters are showa, and ‘@ Selecting the Performance Play Mode Press the (PERFORMANCE PLAY Jbuton to ener this mode Tree ae a Jae @ Changing Performances Press the [USER/PRESET) burton to switch between User memory and Preset (A/B). (The indicator of the button lights when Preset i selected.) When User memory is selected, pressing the [INTIGARD AVB] button swicches between Internal and DATA card. ‘When Preset is selected, pressing the [INT/CARD AB] button switches between A and B. (The indicator of the ‘bation lights when the DATA card or Preset B is selected) 3K tthe DATA card has not been properly inserted Info the DATA CARD slot, the DATA card Pertormance cannot be selected, even when INTIGARD ADB] pressed. Pees one of the [BANK] or [NUMBER] buttons to change the number. (The numbers 1 —16 printed in blue indicate Performance numbers.) Switehos between User nt oret cum omaha TO Se ree nn emt’ DATA eae or AB Sohcts numbers 1-8 J— sewers numbers 8— 16 @ Inserting DATA Cards ‘With the label side up, gently (bul firmly) insert the DATA card into the DATA ‘CARD slot on the rear panel. The DATA card has a special protect ewitch used to prevent accidental erasure of data stored in the card. Always make sure the Protect swith is On when inserting or removing the DATA card, Use the optional M-256E for the DATA cara 562.PLAYING A PERFORMANCE operation @ Selecting and Adjusting the Performance Parameters with the Assign Buttons ----- Presing on ofthe aSsign Bustos calls up ihe Performance parameter contesponding to that baton, (The eters printed in blue above the asign buttons indicat the Performance parameters.) nce a parameters been selected, “HR” or “Ema shown inthe eal, indicating that ther display ses Showing adionl parameter) can be elected, this ase the dpa ean be changed by pressing the [i] and [W] buon ‘One display of the several avallable displays is called a “page.” To switch (to move to another display) by pressing the [Zi ]and [{¥ buttons is referred to as “selecting pages.” Example) an Le: Hane $229 553 foot lea “Ssiiis PERFORM tSun Lead pT. WHE PERFORM ten Lead : Tx.Uelo Sense + [PERFORM @Sun Lead Tx, Transrose 161i Ber @lsi2i-12i +3 471 Bl 8 eS nm Lead t Tx. Range Lower PERFORM tSun Lead 4 Tx, Range Ureer isi fcr ier ier ies pee ies ice ‘The value for the selected parameter of each individual Part is adjusted by using the appropriate Parameter Slider. Each number of the eight numbers in the display indicates the parameter value of each Part (in order from left to right), The number printed above each slider indicates the Part which can be operated by the slider. 1 sorone (Fer cating a the svamacere) Teor ahaa the oraneter vane PERFORM Sun Leg Tes rad 29/1534 oariaas As fist tT omser ce) Putt Pur2 Pad Pine PALE Pane Pan? Pars (Le imernal: C= DATA card: A ox B= Preset 372PLAYING A PERFORMANCE Moperation SS —_ @ Adjusting the settings with the [DEC]/[INC] buttons SG Gaara eae ‘You can sls adjust the parameter values by wsing the [EC] [ING] buttons. Move the cursor wo the Part to be changed using the [2] [De] butons, and ress the [ING] button o increase he valve or press the [BEG Jouton to decrease the value. 34 Holding down ether tho (BECY/[RC], [i [BJor [ALF] outon steps continuous trough the vaes auto repeat function). You can move through the values even faster by holding down one of the two buttons and pressing the other one, [Décreasing end increasing the value) ze ee (Moving the cursor] @ How to use the [PART SWITCH ‘When used during play of a Performance, the [PART SWITCH] buttons (1 —8) function as on/off switches for receiving and transmitting MIDI data of each Part, and on/off switches for the sounding of exch Part, However, the on/off fnctions of the buttons depends on the assign button which is currently active. 3X The indicator ofthe button fights when sot to ON. BBA ROoamqe Oe 6 The on/off functions of the (18) buttons are explained together with the operation of parameters, descrived in the next section. 582PLAYING A PERFORMANCE (Pa (COARSE TUNE) [ARE TURE] Explanations of the Parameters 2 ee sheet ca Explanations of he Perfomance parame ate dived note following categorie + Par parameters «Transmit one parameters + ntermal zone parameters ‘These se followed bythe parameters ofthe pages elected by (A/C). the order that they are selected. DER: BEE IIE SE @ Part Parameters “The relative level, pan and pitch values, which are sct for the Patch, are adjusted ‘When pressing the four buttons described below, the [PART SWITCH ] buttons (1—8) function as MIDi receive ewitehes for turning MIDI data reception of each Part on and off LEVEL] Part Level Range: 0—127 ‘This determines the volume level ofthe Par. e art Level 20 CERT wai esnioa: series ize PERFORM #5un Li at ai PAN] Part Pan Range: This determines the fixed p ition of the Pan's sound in the stereo image. Relative to the Patch seting, L64 is the farthest lft, Os the Patch setting, 63R is the farthest right position PERFORM tun Lead Part Pan| Tat TEU C837 Liat e 1 a lieRIS2RI 8 COARSE TUNE] Part Coarse Tune Range: ~ 48—+48 his determines the tuning ofthe Part, The tune of the Patch canbe shifted in semitone increments, When set to 4 positive valve (4, the greater the value, the higher the pitch, When negative ( ~ , the greter the value, the lower the pitch art | FINE TUNE] Part Fine Tune Range: - 50—+50 “This determines the fine pitch setting of the Par, It shifts the pitch set inthe Patch in units of 1/100 of a semitone. When set to a positive value (+), the greater the value, the higher the pitch. When negative ( ~ ), the greater the value, the lower the pith PERFORM gan Lea Part Fine Tung: Tei Tater ase Pa’ ot ce) ESE2PLAYING A PERFORMANCE (TEVEL)/(PAN] [COARSE TONE }/[INE TUNE) ener En ee eee eee The display selected by [A] (1 page) « Patch Select Settings : A-11 —88/8-11 —88/-11 — aaiRihythm Set PRAPRB/INT/CARD) ‘his determines the Patch to be assigned to each Part (Part 8 is used for the Rhythm Sl) Selection can be made from a total of 256 programs: 64 from itemal (1), 64 from DATA card (C), and 64 exch ftom presets A and B. The Rhythm Set can be selected from preset A (PRA), preset B (PRE), internal (INT), and DATA card (CRD). When the Patch has been selected, the Patch name is shown athe tp right ofthe display. PERFORM Patch Select Pi Tet WTiZiTiSiTi401d 6 1 4rit I 1 ‘The it incicators of [USER/PRESET |/[INT/GARD AB )/(BANK]/[NUMBEA] change depencing on the selected Patch number. The Patches can also be changed by pressing these buttons. (The Performances cannot be changed} 3 Ilthe DATA card has not been propery inserted into the DATA card slot, the DATA card Pach cannot be selected. The displays selected by [¥](7 pages) --- GEEERAREGMGN Receive Channel pange:1—16 ‘This determines the MIDI receive channel ofeach Part. 2FORM #Sun Lead t Receive Channel 1 #11 21st Si ‘err ia REGGE Part Voice Reserve Range: 0—28 ‘This determines the number of voices that will sound for the Part. Keep in mind that a Part consists of a Patch, Which in tum is made up of Tones. For example, in order to reserve two voices of 2 Patch made up of three Tones, ‘set the value to six (3 Tones x 2 voices). Since the total number of voices on the JV-80 is 28, the fotal of the voice reserve settings for the Pants cannot exceed 28, PERFORM Sen Lead # Ws 168i e 414i 4 4n 4 ETRE Chorus Switch settings: ON/OFF This determines the ON/OFF setting forthe chorus effect of each Par. PERFORM #5un Lead z Chorus 161 °ON| ONTOFFIGFE) ONT ONT2.PLAYING A PERFORMANCE ([EEVEC)/ [PAN] (COARSE TUNE [FINE TUNE] GEMS Reverb Switch settings: ON/OFF “This determines the ON/OFF setting forthe reverb effect ofeach Part Rever| “Billore orrrorr Th Switch for T On| Program Change Receive Switch Settings: ON/OFF ‘This switch enables or disables reception of program change messages for each Pat. PERFORM Tal Receive GAT ane ont GREENER Ee Volume Receive Switch Settings: ONOFF ‘This switch enables or disables reception of volume data for each Par PERFORM #5un Leact : Receive ol 161 SOPEIGEF | ONT ONE ONT ONT On GEER OME Hold 1 Receive Switch Settings: ON/OFF ‘This switch enables or disables operation of the Hold 1 pedal for each Par. FORM tSen Lead 2 Receive Hol fOPF UGE) OM) OM@ ONT ONT ONT ‘The Patches/Pertormances which are selected by receiving Program Change messages are as follows. Pateh Number [Program Change Number] When the Bank Select in the Control Change messages ee = then @ Program Change number are received, Memory (UseriPreset) and Patch/Performance will change. cues. Se. (For detailed explanation, refer to the MIDI Implementation AN—-88 184 Chart) Bias 5128 Performance Number [Program Change Number| 101-16 116 Coté 580 AOI I6 116 bog 580 612.PLAYING A PERFORMANCE (exvouune) (rx FAN] @ Transmit Zone Parameters ‘When pressing the two buttons described below, the [PART SWITGH Jbuttons (1—8) function as the MIDI transmit switches for turing MIDI data transmission of each Part on and off. TX VOLUME] Transmit Volume Range: 0— 127 ‘This determines the volume date trensmitted over MIDI forthe teansmit zone of each Part, PERFORM Wer wee 161 rt # 1081127) Ng 24 When soloing « Performance whose tranemit volume parameter (P26) is sotto OFF, “FF “is cieplyed inthe ‘een selected by pressing the [FE VOLUHE] buton. However, the setings are later changed by the Parameter Sider or tho [DEC] [ING ]butons, “IDF * eanot be selected TXPAN] Transmit Pan Range: Le4—-0—69R ‘This determines the pan data transmitted over MIDI for the transmit zone of each Part. The sound position is atthe farthest left at L64, atthe center at , and atthe farthest right at 63R. PERFORM tSen Lead 2 Transmit Pan| 1ai HG 1G ILediL3ze @ ISERTe4R1 oF 2% Wnen selecting a Peformance whose transmit pan peraretar (128) is sotto OFF, "(IF i dispayed in the lect by pressing the [THPAN]outon, However, fhe satings ae later changed by the Parameter Sider or [TRE] butons," FF cannot be selected. The display selected by [A](1 page) --- BPSD eMCae ue Transmit Program Change Settings: Att —88; 81188 ‘This determines the program change data transmitted over MIDI for the transmit zone of each Part, The letter indicates the group and the numbers 11 — 88 indicate the bank/aumber. The program change number (1 — 128) of the selected Paris indicated atthe top right of the display. PERFORM 161 2 One of the indicators of the [INTIGARD A], [BANK] and [NUMBER] outons tights depending on the rooram change seing of he solected Par. lis posse to swich the program change tobe tansmited by presing these bts. 2 When seleing a Peformance whove program change parameter (P.128) i soto OFF, “CFF “is eplayed inthe seraen salected by prossing the [Ai] button, However i the settings are later changed by the Parameter Sider or the (BEC) [INE Jautons, FF “cannot be colaceg 22PLAYING A PERFORMANCE (CEXVOLURIE } (TX PAN] XTRARS] The display selected by [¥](1 page) « EPeMSMneEe Transmit Channel Range: 1—16 ‘This determines the MIDI tranzmiseion channel forthe transmit zone ofeach Pert TX TRANS] Transmit Transpose Range: ~ 38 — +36 "Note data from the keyboard is transposed forthe transmit zone of each Part and is transmitted via MIDI. [Example] When Tx. Transpose ie set t0+2 | cy Toy flew | es Jos | as | be c4 Jors| 02 [ows | 4 | ra Jes | co ows] aa 3K The seting here become invalid when the key made is set to SINGLE (P.121), When pressing this button described below, the [PART SWITCH] buttons (18) function as MIDI ‘transmit switches for tuning MIDI data reception of each Part on and off The display selected by [A](3 pages) «+--+ EERE Tensmit Velocity Sensitivity Range: - 63— +63 ‘This determines the amount of offset applied tothe Key velocity data before being transmitted as MIDI velocity data for the transmit zone of each Part RFORM #5un Lead : Te BeS21FS2I4+181 Sb-1a1~ en Bevo Sone et te « pote whe (49 When Develo See is atte a gute a (=) ‘beng oreccesses = WA being oroccessed 3 sare Pevns steno PS sng aren 62.PLAYING A PERFORMANCE TX TRANS: 6 Transmit Velocity Curve Range: 1—7 ‘The strength ofthe velocity sensed atthe main keyboard is changed eccording tothe curve set here, and the altered data is transmitted over MIDI forthe transmit zone of exch Part The mark which indicates the shape of the selected ‘curve is shown atthe top right of the display. PERFORM @Ssn Lead : rel a 2131 al Velocity curves aa Transmit Max Velocity Range: 0—127 ‘This determines the maximum valve of the velocity data which is transmitted over MIDI forthe transmit zone of cach Pat. This funtion compresses the original velocity data sensed atthe main Keyboard and transmits the altered (redvced) velocity data. PERFORM Tad Tx Max Volosty setting Pay voloity daa compressed [Example] Max velocity « Velocity cure Velocity sensitivity Using the combined values above results in the velocly response shown atthe right2.PLAYING A PERFORMANCE The display selected by [W](2 pages) v---ss-ss-r Transmit Zone Key Range Lower Range: C-1—G9 BEMiUP EME Transmit Zone Key Range Upper Range: 0-1 —G: ‘These two pages determine the low and high key limits forthe transmit 2one of each Part. From the note data received from the main keyboard, only note data falling within the specified key range is transmitted for each transmit zone, ange Lower Fal ce Only play data in this range is transmitted ay TE Key range lower Key range upper ‘When the Key mode (P.121) i set somewhere outside ofthe zone, the setting of the key range here i not elective 6s> 2PLAYING A PERFORMANCE @ internal Zone Parameters ‘As withthe transmit zone, the play data is processed forthe internal zone, and passed on tothe Patch, even though ‘the method of processing the play data is the same as that of the transmit zone. ‘When pressing the button described below, the [PART SWITCH] buttons (1—8) function as local ‘on/otf switches for turning reception of play data from the keyboard on and off for each Part. INT TRANS] internal Transpose Range: - 96 —+36 ‘The note data from the keyboard is transposed forth is assigned to the Pat. femal zone of each Part, and is passed onto the Patch which ERFORM g5un Le nb. Transrose rat Bi PSteazitaon eat ean e X The setting here become invalid when the key modo ie soto SINGLE (P.121). The display selected by [4.](3 pages) - [REISER internal Velocity Sensitivity Range: - 63— +63 ‘his determines the amount of offset applied tothe key velocity data before being transmitted as velocity data forthe {intemal zone of each Past PERFORM #Syn Lead Tht SeS2 S83 Teo an et vata Sane at to» poste vl Ce) ran ios Sense is aot to 0 negutve vate (=) The vlc ater 9 Te vec ater eng recdeand ag procetves, ox { ring suena Internal Velocity Curve Rang “The stength of the velociy sensed atthe main keyboard is changed accondng othe curve set here, andthe altered da i transmitted for the intemal zone of each Pat. The mack which indicates the shape of the selected cuve is Posing sverats 1-7 shown atthe top right of the display. PERFORM tSen Lead Po oTmb.U-try Pia Tat gS St oat 4h Bt “ri 612 Velocity curves “UAE 62PLAYING A PERFORMANCE INT TRANS [AMESMC nd ‘ternal Max Velocity Range: 0—127 ‘This determines the maxinvum value of the velocity data which ie transmitted for the transmit zone of each Part. ‘This function compresses the original velocity data sensed atthe main keyboard and transmits the altered (reduce) velocity data to the Pateh PERFORM 181 Int. Max Voloiy souing Pray valociey date is compressed (Example) Mex veloc Velociy cure ‘Velociy sesitvy : Using the combined values above resus in the Volocty response shown at the ght The display selected by [W](2 pages) sss Internal Zone Key Range Lower Range: C2—C7 Internal Zone Key Range Upper Range: C2—C7 ‘These two pages determine the low and high Key limits forthe internal zone of each Patt Prom the aote data received from the main Keyboard, only note data falling within the speifed key rane is passed on othe Patch, ‘Only play data in this range is passed on to the Patch Nt na ser noe vl horas om a.3. Other Play Operations ‘Setting ofthe effects (chorus/reverb) and seting the transmission status of program change messages can be: and operated from the Patch or Performance parameters which are curently selected Wl Operation | e Ed When (EEFEGT) oc [PROGRAM CHANGE] is presed (the indistor ight), several parameters are indicated on the upper line of the LCD, and the set values of each parameter are indicated on the lower line. The parameters conespond, from left to right, to the Parameter Sliders 1 —8. Use the appropriate Parameter Slider to edit the desired parameter [Example] _ when pressing [EFFECT] age name (paramoter typo) Parametors PERFORM sChok: EFFECTS ‘The set value ean be changed by using [DEC] and [INC] Move the CUrSOF below the set value of the parameter to be changed by pressing [Jor [Be], and press [ING] to increase the value and[DE]}o decreste the value. Holding [DES [ING] or [I/D] cowa stare the auto repeat function, teting you continuously change the ‘valve. You can speed up the change in values by holding dwn ene buton and then pressing and roling down the thor buton‘3.0ther Play Operations (erect) Explanations of the Parameters) = EFFECT EFFECTS page “This determines the effect parameters of Patches in the Patch Play mode, andthe effect parameters of Performances 1 Performance Play mode. @ During Patch Play Mode Operation BATCH §ChoRate! DerthiRev-Levl Tine EFFECTS @ 2a 281 Tee! 36 ‘@ During Performance Play Mode Operation BEREORN EChoRate! DerthiRev-Ley! Time EFFECTS 2a 2a iaa! 3a) ME Chorus Rate Range: ‘This determines the modulation speed of the chorus sound. The greater the value, the faster the modulation speed. 127 EERE Chorus Depth Range: 0—127 ‘This determines the depth of the chorus effect. The greater the value, the more pronounced the chorus effect, Reverb Level Range: 0— 127 This determines the level ofthe everd sound. The greater the val, the higher the everb level Reverb Time Range: 0—127 ‘This determines the time ofthe reverberant decay sound. The grester the value, the longer the reverberant decay3.0ther Play Operations PROGRAM CHANGE PROGRAM CHANGE TRANSMIT P.C Pago TRANSMIT H Pec a Transmit Channel Renge: + — 16 “his determines the chanel over which program change messages are transmitted. Program Change Number Renge: 001/A11 — 128/888 “This éetermines the program change number that is transmitted over the channel st inthe Tx-Ch parameter above. ‘The number to the left ofthe stash merk () isthe program chang number, The value tothe sigh ofthe slash mark is the number when iit ae othe group/bankinumber method. Depending onthe program change number selected the indicator lights ofthe [USER/PRESET |/{INT/CARD ATB ]/BANK]/[ NUMBER ]buttons change \Wnen the cursor i atthe program change number, a number Between 001 and 128 can be direaly spectied. Since [BANK] 1 —2 and [HUMBER] 1 —2 correspond to numbers 1—0 (the numbors are printed direct beneath the bolton). press ths [BARK] [ NUMBER baton which corresponds othe desired program change numba, then press (ENTER). When using the group/bankinumber method, the program change number ean be specified by pressing the buttons in ‘his order [UBERVPRESET |/[[NTICARO AB |/[BANK } [ROBER].3.0ther Pay Operations @ Panic unetion @ Panic function «--------- ‘This eetums all device, including those connected by MIDI, tothe normal condition I is used to stop “stuck” notes from continvally sounding. (Operation) Press the tf betton while holaing down the [se] ton SAAS E When the buttons are pressed down for a short time (less than one second), they transmit key offfhold off messages over the channels where the Internal sound source mute and key on/hold on are applied. When the button is held down for more than one second, the following messages are transmitted over all channels: All note off (note off velocity 127) Pitch bender center Channel aftertouch 0 ‘Modulation o Hold 1 o Volume 127 n4. System Common Parameters ‘The parameters whose settings are common to the entice operation of the JV-80 are called system common parameters. The system ‘common parameters that are related to the Patch Play mode or Performance Play mode are explained in this section. Remember thatthe pwametes peratd her reflective regres of hangin the een of Prorat Pach When one ofthe TUNE], [CONTHL or [IBY] tone i presed (the indicator light), severl parameters are indicated on the upper line ofthe LCD, andthe se values ofeach parameter ae indicated onthe lower line. The 3 Wl Operation 2°" parameters correspond, from left 1 right, to the Parameter Sliders 1 —8, Use the appropriate Parameter Slider to edit the parameter you wish to change. Select different display pages by pressing [Jor [W], when “ft” or “J are indicated in the LCD. [Example] When pressing (TURE): Page name (parameter typo) Parameters “The set vale can be changed by using DEG Jond[ING]. Move the CUrSOr below te set value ofthe parameter to be changed by pressing [Jor [Be], and pess[ING] co increase the value end DEC decrease he value 3 Holding (DEC) (INE). [EVD Jor [CF] down stants the auto repeat function, lating you continuously ‘change the value, You can speed up the change in values by holding down one button and then pressing and holding ‘down the other button, n4.Systom Common Parameters (RE) (eonTROT HM Explanetions of the Parameters fj. "en" TUNE TUNE & FUNCTION Page Tune! Trans! Le 1 2 ONE 440,01 cl 3 Master Tune Range: 427.4—452.6Hz This determines the overall tuning ofthe JV-80. The value indicates the frequency at AA. Transpose Range: — 96 —+98 ‘This is used to adjust the overall pitch of the JV-80 in semitone units. The transpose that was set here can be switched ON/OFF by [TRANSPOSE Jbutton. LCD Contrast: Range: 0—10 ‘This determines the contrast setting ofthe display. Power Up mode Setings: ASTSEVDEFAULT ‘This determines the automatic voice selection condition of the instrument when the power is tumed on. LASTSET : The last Patch or Performance selected before the power was previously turned off is automatically selected when the power is turned back on, DEFAULT : Patch 111 or Performance 101 is automatically selected when the power is turned back on. CONTROL] (5 pages) PEDAL 1 ASSIGN, PEDAL 2 ASSIGN, C1 ASSIGN Pages i ze Sa It fission! TICC11/EKPRESSION|----1> ee || oe |) ome 2 || = o lode | ssign!¢Ualt 127? Pitecatpenpcoe dS ‘These pages are used to assign parameter control for foot pedsls 1 and 2 (connected to the pedal jacks 1/2) and the C1 slider. 2B4.8ystem Common Parametors CONTROL) ” EERE Output mode settings: OFFANT/MIDII + M ‘This determines the destination of the data which is controled by the pedals or Cl slider. The INT setting sends the data tothe internal sound source only. The MIDI seting sends the data only tothe MIDI OUT terminal. The {+ setting sends the data to both the intemal sound source and the MIDI OUT tesminal. It does not function when set to OFF. eM Ls out MIDI Assign ‘Settings : CCO — CC88/AFTERTOUCH/BEND-UP/BEND-DOWN/PROG-UP/PROG-DOWN This determines the parameters which are controlled by the pedals or Cl slider. The CCO—CC9S setting switches among MIDI contro! change numbers 0—95, The AFTERTOUCH setting corresponds to aftertouch. The BEND-UP/BEND-DOWN settings correspond to pitch bend ip and down, And the PROG-UP/PROG-DOWN setting selects the next Performance/Patch number. The value in parentheses ( ) indicates the current value of the pedal/Cl slider PEDAL POLARITY Pago PEDAL of Ped: POLARITV3S TAND Settings: STANDARO/REVERSE ‘This parameter lets you set the JV-80 so that it matches the polarity of the pedal switch connected to pedal jacks 1 and 2 andthe hold peda ack. Setitto STANDARD when using a Roland pedal switch (OP-2). Set it to REVERSE when using other manufacturers’ pedal switches that have reverse polarity. For example, 2 pedal with reverse polarity connected to the hold peda ack would sustain the sound when the peda is not presse.) AFTERTOUCH Page AFTER ¢ TOUGH OnMIDI 4.System Common Parameters [eonTROL (ADI) Threshold Range: 0—127 ‘This determines the value (threshold) at which aftertouch begins to affect the sound, When the affecouch value is smaller than the threshold setting it does not function. When the threshold is set to 127 it does not function ether @ ‘Aftertouch threshold (6 pages) ‘The first page tobe displayed when this button i pressed differs depending onthe mode selected. [When Patch Play mode is selected:) PATCH MIDI Page TCH IDE Local Switch Settings: When this is set fo ON, the intemal sound source of the JV-80 receives and responds to play data from the instrument. When set to OFF, the sound source ignores the data. This, however, has no effect on the transmission and reception of MIDI data Patch Receive Channel Rang This determines the MIDI receive channel inthe Patch Play mode, Transmit Channel Range: 1 —16/Rx-CHOFF This determines the MIDI send channel inthe Patch Play mode, The Rx-Ch set when set to OF 18 indicates thatthe transmission the same as that ofthe receive channel. It does not tran [When Performance Play mode is selected:} PERFORM MIDI Page Loc. Local Switch Settings: ON/OFF When this is set to ON, the intemal sound source of the JV-80 receives and responds to play data from the instrament, When set to OFF, the sound source ignores the data. This, however, has no effect on the transmission and reception of MIDI da 184.System Common Paramotors" Control Channel Range: 1 —16/0FF Distinguishing between the send and receive channels of each Part of the Performance, this determines the channel for switching the Performances, When this channel is set to the same receive channel of a Pan, switching of Performances has priory, Neither transmission or reception is possible when thsi set to OFF. MIDI send and receive channels of each Part are set with the Performance parameters. TRANSMIT MIDI/RECEIVE MIDI Page Ze. |) Ze. Ze || 2o EES SRAM setings: oworr When st ON, thee allo reception and tamision of he coresponding MIDI daa. Seting 1 OFF disables reception and tanamision ofthe dt, PC Program change Bok Bank select cc Control change ( * Serre coamett) Be es oes er oe sents GH) cannot be controled by either the JV.80 or Beret Hii eater CAD ‘8 pedal when RECEIVE MIDI pages are set to Mod Modulation ( * ) OFF. Aft Aftertouch (4) SYS-EX MIDI Pace SYS-EX Receive|Unit-Nal 1 MIoT 1 On| 1? |-------1--~: Exclusive Recelve Switch Settings: ON/OFF ‘This tums on and off the JV-80's original MIDI data, such as Performance data and Patch data. Unit Number Range: 17—92 ‘When receiving system exclusive messages, st this to the same unit numberof the transmitting device. 16SECTION4 |1. Patch Edit Wi What is the Patch Edit mode? # ‘The Tone is the basic building block for sound programs, and the JV-80 is capable of making various kinds of sounds. A Patch, on the other hand, is the basic unit of sound which is stored in memory and called vp for playing. A. Patch can be made by using a maximum of four Tones together. When creating a Patch it is helpful to look at it as ‘more than just sounding several Tones simultaneously, but rather as making a single sound by judiciously layering the Tones. ‘The Tone parameters ofthe JV-80 correspond tothe various characteristics of the sound elements (timbral quality of the sound, its Feequency, ie volume, end the ways of changing them). The sound of the intemal sound source differs depending on the setings of these parameters. The main work in crafting sounds with a eynthesizer isin setting and adjusting these parameters, However, there are also other parameters that are used to determine Patch names and ), the frequency is low (son). ane ero = 82 +83 | (Aco see the chart below.) LiR/LaR MWK 7. 3 The MIDI standard defines contol change numbar 11 forthe expression pedal and number 1 for modulation, Afterouch For positive values C+) For negative values (-) 'e defined separetely from contro! change date. In the case of the JV-80, pushing the lever forward transmits ‘modulation signals; fr pedals 1 and 2, and tho C1 slider, the signals which wore assigned beforohand aro tranemited. {Refer also tothe MIDI implementation chart)1 Patch Edt Parameters Selected by [WAVE/LFO (7 Pages) -- These display pages et you select the waveform the basic building block for the sound and make LFO settings. ok Waveform ‘The JV-80 is particularly well suited for recreating the complex sounds of actual musical instruments. Take, for ‘example, the sound of an acoustic piano, We know that the piano sound is basically made by the vibration of the strings. However, if we listen more clossly, we find thatthe overall sound is fairly complex and made up also of the percussive sounds of the hammer hitting the stings, the sympathetic vibration of the other strings and the resonance of the body ofthe piano itself. Inthe 1V-80, by assigning all these sounds to several different Tones, we can create & much richer and realistic sound. Even when creating unique sounds that have no counterparts among actual instruments, you can give those sounds added depth and “realism” by crafting them with component striking or plucking sounds and sympathetic vibration sounds. ‘The JV-60 not only has waveforms for making the basic sounds, but also “one-shot” waveforms which ean be used for the attack portion of the sound, loop waveforms, which are useful for sound effects, and shythm waveforms which are especially for creation of drum and percussion sounds. They canbe called up from the internal memory, ‘optional PCM cards and expansion boatds, + Tone Switches These allow you to tum the sound of individual Tones on and off. In order to save simple sound programs and set the number of voices that sound, we suggest that you use these switches to tumm off Tones that are not being used +k Processing the Waveforms ‘The JV-80 also provides waveform processing hat lets you create a nesry unlimited variety of waveforms having ven greater complexity. The processing. method is ealed FXM (Frequency X-Modulation), and. new waveforms can be created by mixing (or eross-modulating) two waveforms. This is ideal for eveating unusually <éynamic and sharp sounds, 2 Modulation and Vibration of Sound ‘Many of the sounds in nature and the sounds of acoustic musical instruments have their own unique modulation or vibration. Por example, the sound of a bell has a natural modulation, and notes on a violin are often played with ich, cutofT frequency and/or level with the LFO, instrument sounds can be made more natural and authentic. Besides these subtle techniques, itis also possible 10 use the LFO to radically change the character of the sound. The JV-80 has two independent LFO systems for esch Tone. Waveform: Avaiable waveforms are tiangle wave, sine wave. sawiooth wave, square wave. and random waves 1 {and 2.n order to add modulation and vibrato, eelect the sine wave of rangle wave, and apply tin small {degrees fo the level (volume) and the pitch, The random waveforms are useful in creating spacial sound ctfects and modulation ‘Synero: When this is eet to ON, the LFO stats independently for each key pressed (key on). making a richly textured mix of sounds when playing chords. This Is ideal lor adding realigm to an ensemble otfect, ‘reproducing the natural lag betwoen the start of vibrate foreach incrumentin a band or orchestra. 95,‘Patch Eat (WAVETLFO) Olfset This shits the wavelor ofthe LFO toward ether (2) or (—} Ilitis shit to the + sido (~ side). the center of the vibration ofthe sound becomes higher (bigger or lower (emallor) than the original pitch or ‘ound volume. For example, you can ereafe automatic ils by setting the offset of the square waveform to +100 or ~ 100, and appying it tothe pitch wit an appropriate pth setting. Doley: This allows you seta dolay so that tho LFO starts a certain timo after the key has been played (hey on). Fade: ‘This determines the time change from when the LFO is fist applied unt t reaches the depth that is set by the dopth parameter. Rate: ‘This doterminos the vibration sposd of the LFO, ‘You should use delay when you don't want 10 have the LFO to start atthe same time as the sound itself stats, or ‘when you want to simulate the sound of en actual musical instrument in which vibrato is usually applied after the sound starts. In such a ease, the depth of the vibration can be made to gradually increase by using the fade time settings, Jetting you create natural vibrato and tremolo effects, Also, setting the rate fo low values creates vibrato and tremolo effects, while higher values ereate a vague and distorted sound. Depth: Th datermines the vibration depth of he LFO. ‘The way of changing the pitch and sound volume are reversed, when the value of depth is (+) and ( —~ ). For example, the phase of the modulation becomes reversed when seting the depth to a positive value (+) for one Tone, and setting the same amount of the depth on the negative ( — ) side for another Tone. By using this operation, «different Tones can be sounded altemately, and the sounds can be moved back and forth over the stereo image in ‘combination withthe pan function (explained below). You can ereate a bell-like effect if you set the depth ofthe saw waveform of the offset to 100 with the (— ) value a the level and cutoff. Make the following pitch modulation setings to the Make the following TVA modulation settings to the continuous portion ofthe sound continuous portion ofthe sound Wavetonm: Square wave Wavelorm: Square wave Offset = 100 otset +100 Dept “ Depth -6s By using the above setings, @ semitone til wil be By using the above setings, the sound will ng out Produced, continuously ike a bel‘Patch Ett coziny we f 1 SEES BEIM Fone switon souings: oMoFF This demos wher he Toe cue sled is wed (ON) or not (OFF) The oie sd ony fr the Tone hich stared on Wave Group Settings: INT/EXP/CARD This determines the type of waveform memory that is 1 be vsed. The JV-80 has 129 intemal waveforms. The ‘waveforms in the options expsnsion (EXP) board and PCM cards (CARD) canbe alzo used @ inserting a PCM Card With the iabel facing up, gently (but firmly) insert the PCM card into the PCM GARD slot on the rear panel, 3K The design of the CARD shown in the ravang difers trom an actual one. BX Wave number ‘This determines the number ofthe waveform to be used. The wave name of the set wave number is displayed in parentheses (in the display. ‘Only readable memory marks are displayed in the LCD. FXM Page: i--— # Suiteh! Dertht FxM 4 ONT Sie EIEN Fx (Frequency X-Modulation) Switch Settings: ON/OFF This determines whether the FXM funetion is on (ON) or not (OFF). BEY 5x14 cept 115 ‘This determines the depth ofthe FXM function.La ‘The LFO 1 and 2 settings ae made from these four pages. (Parameters for both LFOSs are identical.) @ FormiSunchrol Rate! orfset| Be OTRIZe1 OFF I 4a Gi L014 ® Delay! Fade! Bal IN| t Form !Synchra! FO 2 RNB I ONT .r02 Delay! Fadel SKEV-OFF I IAI LFO Waveform Settings: TRYSIN/SAWISQR/RND! —2 This parameter lets you selec from th avilable waveforms: angle wave, sine wave, sawtooth wave, square wave, and random waves. A mark indicating the shape ofthe waveform isdeplaed along with the name inthe LCD. eae eg Cate eet eg te pete MW Aan WL WM “Triangle wave Sine wave Sawtooth wave Square wave Random wave 1 Random wave 2 LFO Synchro. Settings: ON/OFF ‘When this et toON, the LFO phase is synchronized with the Key on dat, allowing a separate LFO phase for each note that is played. When set to OFF, the phase of the LPO is unified forall notes played. LFO Synchro = ON LFO Synctvo = OFF Notes played| Notes played (7 Sounds 7 Sounds : (M/F 7 a i 3 apo Tine Time LFO Rate Range: 0—127 ‘This determines the speed ofthe LFO. The greater the Value, the faster the speed.1 Patch Eat TEES ofset setings: ~100/ -50/0/+501+100 ‘This determines the ratio of how much the waveform of the LFO is shifed toward the positive (4) side or the TOV PARA DO = 100 -50 ° +50 +100 LFO Delay Time Range: 0— {27/KEY-OFF ‘This determines the time that lapses between the stat of the Tone's sound (key on) andthe start of the LFO. The seater the value, the greater the delay before the LFO is applied. Setting this to KEY-OFF applies the LFO only after the key is released, [EERE Fo Fade Mode settings: IN|OUT This determines the time over which the LFO is applied. When thsi setto IN, the LFO is applied gradually afer the key on det, acconding fo the set LFO fade time (explained below). When set to OUT, the LFO is aplied from the key on ntl the end of the delay time, and then gradually fades out according to the set fade time, LFO Fade Time Range; 0—127 ‘This determines the time of the fade in (or the fade out) ofthe LFO. The greater the valve, the longer the time ofthe fade Fade =1N ton + Datay tne Fade iw Deoth Pitch TWF evtott TVA vl x Key on vow | Fade =OUT High ch TWF ato TVA vel 91Patech Edit ENED Pitch LF0 1 Depth, Pitch LFO 2 Depth Range: - 63— +83 “This determines the depth of LFOS | and 2, as applied to the Tone pitch. The further the valve set from 0, the snore pronouaced the variation in pitch Filter LFO 1 Depth, Filter LFO 2 Depth Piange: - 63— +63 ‘This determines the depth of LFOs | and 2, applied to the Tone cutoff frequency. The further the valve is set from ©. the more pronounced the “growling” sound of the iter sweep. ERY BED Lever LF0 1 Depth, Level LFO 2 Depth Range: - 63— +63 ‘This determines the depth of LAOs 1 and 2, as applied to the Tone level. The further the value is set from 0, the more pronounced the tremolo (sell effect. Whon the depth is positive (+) +83 Pte uta frequency of ° Seva Waveform of LFO iA When the depth is negative (-) Pitch cute traasoney Of ° tovel t 63Patch Ect Parameters Selected by [PITCH] (3 Pages) +----+- Pitch related parameters of the Tone ace set on this page + Pitch Shift Coarse/Fine ‘This determines the basic pitch or tuning at which notes will sound. Coarse and fine tuning contcols are also available in the Performance settings, but the parameters in this section ate separate controls used for ereating the basic sounds. For example, you can use these controls to slightly detune the pitch of two Tones relative to each other to create a chorus effect, making the sound thicker and more animated, Its also possible create a chord by playing ‘one key if the pitch coarse parameter of more than two Tones are set appropriately. 3H Koop in mind that using those controls changes the pitch that you hear, but has no offect on the key number ofthe leybeard. Therefore, the key range postion and the key number date Wansinited via MIDI OUT are the same regardless ofthe setting ofthese pitch coarsefine parameters ok Random Pitch ‘Since, this randomly detunes the pitch for each note played, itis particulaly effective for reproducing the sound of a fretless stringed instroments and percussion instruments. 1 Pitch Key Follow ‘The pitch of the 1V-80 is changed according tothe range in which keys are played. The key C4 isthe center (or 0) ‘andthe pitch variation i creases as you move away from C4. Therefore, the pitch for CA is the same regardless of the Key follow setting. Normally, the key follow parameter should beset to 100, A key follow seting of © results in no pitch change, oF all keys playing the seme pitch, This setting is useful for producing transient sounds, like that ofthe hammers on piano strings. Envelope “This makes changes inthe pitch overtime, within the range st bythe depth parameter. Ifyou find thatthe pitch doesn't change as much as you want it to, even when the envelope is set toa igh valve, you can increase the depth ‘On the other hand, when you want to set the pitch to change in minute gradations, eventhough the pitch change itself is narrow, set the depth toa low value. ‘When simulating the sound of a human voice or chor, # more realistic sound can be obtsned by making the initial pitch slightly lower than the man pitch. These parameters can also be used to imitate acoustic wind instruments like the Japanese shakuhach, the pitch of which often fluctuates according tothe player's blowing technique Envelope Time Key Follow/Velocity Sensitivity ‘These parameters allow you to control how the time of the entire envelope changes according tothe key position (the standatd or center Key is C4) or the playing strength “This is useful for changing the pitch by Key rang or paying strength, especially when simulating tuned percussion insicuments 1011Pateh Eat [ Rnd 1P-KEPEny 1 oe Le at Pitch Shift Coarse Range: —48—+48 This offsets the pitch of the Tone in semitone units. The pitch is shifted higher than normal when the valve is positive (+), and is shifted lower when the vale is negative (~). Pitch Shift Fine Range: -50—+50 This offsets the pitch ofthe Tone in units of 1/100 ofa semitone. The pitch i shifled higher than normal when the value is postive (+), and is shifted lower when the valoe is negative ( ~ ). [BEET Rancom pitch Depth setings : 0/5/10/20/80/40/50/70/1 00/200/300/400/500/600/80011200 The pitch of the Tone is shifted over random amounts within the ange set here. The valve is expressed in units of 1/10 of a balf-step. Pitch Key Follow ‘Settings: — 100/ -70/ —50/ —30/ — 10/0/+10/+201430/+40/450/+70/+100/+120/+180/+200 ‘This determines how the pitch of the Tone changes according to the Key positon. At a seiting of +100, the pitch change over 12 keys isthe normal one octave, C4 key a8 a standard of reference, when the pitch key follow is set to 2 positive (+) value, the larger the note number, the higher the pitch; also, the greater the value, the greater the pitch difference between suocessve noes. When the value i negative (the pitch difference i smaller saa Se a C3 Key. number Pitch Envelope Depth Range: -12—+12 ‘This determines the maximum change rate of the pich ofthe Tone acording to the eve of the envelope. When the ember of th Pateh te be stored) (le nternel. = OATA cars) [Operation] the destnaion Path number is selected by using [NTTSARD AS] [BANK] (NUMBER]], (WC) [BE] Parameter Ser ‘The name of the slecod Peformance is displayed within he parentheses Pressing (CWEITE) avicnes othe Patch compare fonction, alowing you to check the sound atthe solactd destination Patch number. CH CPress COMPARE 1PARE I1icA.Piano 1. > tone of fhe Patch tobe sored unter of fh 80 bo stor Ce nerish C= OATA cared “The Patch number can also be changed from this screen, Press [COMPARE Jett checking the sound program of the Patch aid selecting the destination to wile the program to, (The LCD returns to the Patch wrto operation) Rhythm Edit Mode =» Write ssssssssssssseseeessssssnnneesecccesssneee ERMA M OGLE Ahythm Set write ‘This operation stores the Rhythm Set data currently in the temporary area. RHYTHM ifrom TEMP [Press ENTER] WRITE Iho CARD Tivemory ope of the castnation (RT = eral CARD = DATA care) [Operation] tho destnaten momory types selected by sing RTTEARD AB], [NE])[BEC]or Paranoter Ser 156mite Mode. econy @ Copy Performance Play/Performance Edit Mode = Copy «+--+ [Operation] [Operation} ag at RAE RR RN eS BS ‘This operation copies Performance data, Patch data and Tone data to the temporary area. Eerennea nak) “The setting of a single specific Par of a Performance is copied to one Part of the Performance in the femporary area, RERGORN Efron G1, PiCJaze Split 2 cory a TEMP PS [Press ENTERI ‘Tho destinaon Paich number is eolectod by using [USERPRESET] (INTCARO AS] (BANK) ([TiG)/[BEE] or Parameter Sider 1. The name of the selected Performance is displayed win the parentheses, “The Partto be copied is selected by using Parameter Slider 2. Itcan also be seleced by fist moving the cursor wit the [)/[B-]butons then using INC] or [BEC] ‘The Par ofthe copy destination can be selected by using the[ PART SWITGH ]butons (1 —8). emake ‘This operation copies the settings of the Performance name, key mode and effect section from the specified Performance (which has been already stored) to the Performance inthe temporary area umber of the Performance tobe copa Oot Soe eaes Bae teen COMMON ) Lead > tPress ENTER] ‘The Performance number to be copied is selected by using [USERBRESET]/(INTICARD AB)! (EERE) [RONBER ) (INC) [DEC ]or Parameter Sider ‘The name ofthe selected Performance is dapleyed within the parentheses, 187Write Modo: econy Patch Play/Patch Edit Mode + Copy -~ (Operation) [Operation] Penk ‘The data ofa single specific Tone ofa Patch is copied to a Tone of the Patch in the temporary area toma oe Tone tobe ceed gH Efron Alt TLSA.Piane eB ENP fPress ENTER] Destination Tone fr coving ‘The Patch to be copied is solected by using [USER/PAESET |/[INT/CARD AB |/[BANK]/[NUNBER]. [NE)/[DES] or Paramoter Sidor 1, The name of the selected Patch is displayed within the parentheses. ‘Tho Tono tobe copied ia selected by using Paramtor Sor 2. can aso be selected by frst moving th cursor with tho (5£]/[Be] tons, ton using [ING ]or [BEE] ‘Tho Tone ofthe copy destination can be selacied by using the [TONE SELECT |buttons (1 —4). Pee ‘The parameters which are common in ¢ Tone ftom a specific Patch (which has already been stored) are copied to the Patch in the temporacy aea pomealeaaego Nae of tha Path to cote PATCH ffrom 111 COMMONCIU Strings copy fio TEMP Yerecsefirers ‘The contents copied inthis operation include effect and kay assign (POLY:SOLO) setings. (Roler tothe Patch Edit mode, P.83) ‘The Palch number to be coped is selected by using [USERIPRESET]/NTICARD AB) [BANK] [RORBER] [INC)/ [BET] or Parameter ster 1 “The namo ofthe selected Performance is displayed within the parentheses. 158Rhythm Edit Mode =» Copy «+ GI ad ‘This operation copies the Rhythm Tone data (Which is assigned toa Specific key inthe Rhythm Set) to «8 specified key ofthe Rhythm Seti the tempocary area, Key muse to Bo cies Monry Yeoh Rtn St RHYTHM from TEMP C2 [Press ENTER copy ito | TEMP CS Trey amr of py snsnon [Operation] the memery type to be copied to ie oslected by using [USERPRESET]/(INTISARD AIS] (BANK]) [BEC ]or Parameter Sider 1. “The ty number t9 Be coped is selected by using Parameter Sider 2. can also be selected hy test moving he cursor wih the [1] /[BeJbutons, then using[INGor[BEC]. ‘The destination koy number i selected by prossing the desired key onthe Keyboard. 159Write Mode @ Initialize eee 3K See P.175, 180 for the intiatized data and the factory setting data Performance Play/Performance Edit Mode = Initialize -----+-+-+---++--re-errr errr ERG MMNLN Performance initialize ‘This operation initializes the Performance detain the temporary area tothe standard parameter values (Gnitstize data) ORM [Press ENTER] Patch Play/Patch Edit Mode = Initialize ++++-+++-++++-++ EZMGSREN Patch initiaize This operation initializes the Patch data in the temporary area to the standard parameter values (initialize data), PATCH [Press ENTER] INIT Rhythm Edit Mode = Initialize ---.-- ERMAN Rhythm Key Initialize This operation initializes the Rhythen Tones assigned to specific keys in the Rhythm Set data to the standard parameter valve (initialize data), RHYTHM | Kew=02 [Press ENTER] KEY INITS Operation] the key 10 be initialized is selected by pressing the corresponding key on the keyboard or by pressing, one of the [TONE SELECT Joutons 1—4 GRMOLESAMNIE Ahythm Set initialize ‘This operation initializes the Rhythm Set data inthe temporary area to the factory set data, [Press ENTER]Write Mode @Card ‘This command transfers the data between intemal memory and DATA card or PCM card. When this ‘command is selected, a display appears allowing you to select the ype of data transfer. DATAZPCH Card InteCardi CardeIntlIntesCardiPcCM Card [Operation] setect the desired operation by using [-4]/[B Jor Parameter Slider 1 {the selected operation flashes), ‘en press ENTER] NOTE]. You can create Performances on the JV-80 by combining Patches from both internal memory and DATA card. When copying Performance data created in this way from intemal memory to DATA card or vice verse, tke care to avoid possible problems, such as described in the example below. (Example) In this example, Performance numbered 101 has been programmed, and in i Part 1 has boon aseigned to Patch 112 and Patch C11 has been assigned to Part 2. When the Perlormance is copied from intemal memory to DATA card, tis stored as “C01” in the DATA card, in his operation, the Patch of Part 1 is stored as “C12” and he Patch of Part 2 slays the same as CLL thie copied Performance ie copied again, this time from DATA card back to internal memory, the Perlormarce is stored as “IO,” and Part 1 is stored as “I12" to internal memory. Howevér, Part 2 is now stored as " 1.” Therefore, even though the Performance umber i¢ the same as that ofthe original data, the Patch number set lor Part 2 has been changed. Performance Performance Poroensees 101 cot 7 +L ie 1 te ——_— 2{ Cit |} copying to | 2 CU Copying to | 2[ it DATA card internal memory ‘The Patch number which is set by the Part 2 has been changed Execute the bulk dump funetion (P.164) when you want store the internal data as it Js, without being changed. 16tCOPY INTERNAL => DATA CARD -r--ssseeeessseeeessseeeeeneeesnee CARD HINTERNALSDATA CARD cory [Press ENTER] Copy Internal > Data Card ‘This operation copies all Performance data, Patch data and Rhythm data in intemal memory to the DATA card BK _ Ia new DATA card, ora DATA card which has beon used for another musical intrument, is used when this command is executed, the DATA card will be fommatted so that JV-80 data can be stored on it COPY DATA CARD = INTERNAL --+++++-serssseeesssecerenseeseee ARS ATA CARDS INTERNAL copy ot (Press ENTER] Copy Data Card-> Internal “This operation opis al Perfomance dats Patch data and Rhythm dat inthe DATA card t intemat memory COPY INTERNAL => DATA CARD -ivs-sessssecesssseecrsseesnneeesene CARD. TINTERNAL?SDATA CARD cory t {Press ENTER Copy internal —-» Data Card ‘The Performance data, Patch data and Rhythm data in iotemal memory is switched with that stored on. the DATA card, POM CARD csssssessssssesesseeescssee ‘ha mee to be copied fom (EXP = parson boord CARD = POM ened) Loa rom CARD @61¢PATCH NAME? PARAM § (Press ENTERI RUNG Load PCM Card Parameters ‘Thece are some PCM cards (SO-PCMI series) or expansion boards (SR-JV8O series) which already ‘contain Patch data. This command copies the date tothe temporary area. 162[Operation] vito Mode ‘The media tobe coped tom f selected wth the [INE] [BEG] butons or Parametor Sider | ‘Tho Tone number to bo copod is selected by using Parameter Sidor 2. I can aso be selacod by frst ‘moving the cursor with the []/[B]butons, than using [INE] or BEG). (The name of he selected ‘Tone eppear in paronthesen) “The tone is salected by pressing the desired Key on the Keyboard, 163Wie Mode (@ Buk (Buk Dump) @ Bulk (Bulk Dump) ee ees [Operation] INTERNAL DATA. ‘This operation transfer program data ofthe JV-80 via MIDI) to another JV-80 or evies whieh en record bul date suchas the MC-50 sequencer Bulk dump transmits the Patch dts and Tone data inthe internal memory (or temporary area) via MIDI. The wnt number hs to match the MIDI chanel of bth the ceoeiving and sending devies. (The unit numbers set by pressing [MDT from the SYS-EX MIDI page.) 3 The cota s transfered by a one-way mathod and involves no “handshaking” When this command is selected, a display appears allowing you to select the type of memory from hich the data will be transferred, BULK DUMP Infernal Cardl Temporary Select the operation by using [/[B}or Perameter Sider 1 ine seectd operation Hashes) then press ENTER When Temp orar'"is soleced, a display appears allowing you to eelet the unit ofthe data to be transterred. BULK DUMP TEMPORARY FerformancelPatchiRhthmiill In this case as well, select the operation by using []/[Be] or Parameter Sider 1 (the selected operation Hashes), then prose [ENTER]. \Whon the type of data to be transleted has been determined, press A Now Sending? message is displayed in the LCD as the data anslertad, A moment later, a “Complete” message eppeer, indicating that the data transier has been completed. NAL DATE [Press ENTER LK WINTE i Internal Data ‘This operation transfers all includes Performance data, Patch data and Rhythm Set data, sored in the internal memory of the JV-80. The data tranfertedWrite Mode (© Bulk (Buk Dump) CARD DATA veeesseeeonee BULK ACARD DATA tPress ENTER] Bune: a Card Data ‘This operation transfers all data stored ina DATA card. The data tranferred includes Performance ata, Patch data and Rhythm Set data PERFORMANCE TEMP -------- BuLK UPERFORMANCE TEMP (Press ENTERI BURP 1 Performance Temporary ‘This operation transfers the Performance date currently inthe temporary area, PATCH TEMP ae sessuneeeeecnsaneeeecessnuseesssnneeesses BULK EPATCH TEMP (Press ENTER] Leia ' Patch Temporary ‘This operation transfers the Patch data currently in the temporary area, RHYTHM TEMP - cessnnneseescnannneccesnsnsesessnsnanscees BULK YRHVTHM TEMP [Press ENTER] BONE a Rhythm Temporary ‘This operation transfers the Rhythm Set data cursently in the temporary area ALL TEMP --- sessnsennseee BULK WALL TeMe tPress ENTERI Gun a All Temporary ‘This operation transfers the Performance data, the Patch data of each Past and the Rhythm Set data currently inthe temporary area 16sWite Modo © Protect HaRCaaRibkar ae ee eae dvertently erased or altered, ‘This function prevents data stored in internal memory from being WRITE PROTECT - WeITE o& OM PROTECT O Write Protect ONOFF ‘The protect function is effective when this is set to ON, and is disabled when set to OFF. Be sure to tum it OFF when writing Patch data and Tone data from the card or temporary are2 to internal memory. Also tum it off when overwriting the intemal memory with bulk data received over MIDI. ‘This is always set to ON as a default sexing (when the power is tumed on), [Operation] _ changetne proted ON/OFF seting by using [IIE] BES], r Parameter Stier 1 16