JV-1010 Parameter Reference


CONTENTS

Chapter 1. An overview of the JV-1010

Chapter 2. Creating your own sounds

Chapter 3. Using the JV-1010 as the GM sound source


Chapter 1. An overview of the JV-1010

Classification of JV-1010 sound types

JV-1010 sounds are made up of the following types:

Tones

In the JV-1010, the Tone is the smallest class of sound. Each Tone consists of one sound. But when you play the JV-1010 you will mostly play a Patch, which is made up of several Tones. Tones therefore are the elements which collectively form a Patch.

Tone configuration:

WG (Wave Generator)

Using the Wave Generator, you select a waveform and set its pitch.

TVF (Time Variant Filter)

With the Time Variant Filter, you modify the waveform's frequency characteristics.

TVA (Time Variant Amplifier)

With the Time Variant Amplifier, you set volume level and set the sound's position in a stereo soundfield.

Envelope

You use Envelope to initiate changes to occur to a sound over time. There are separate Envelopes for the WG (pitch), TVF (filter) and TVA (volume). For example, to modify a sound's attack and decay time, you would use TVA Envelope to adjust volume changes to the sound over time.

LFO (Low Frequency Oscillator)

Use the LFO to create cyclic changes (modulation) in a sound. The JV-1010 has two LFOs. Either one or both can be applied to effect the WG (pitch), TVF (filter) and/or TVA (volume). To illustrate this control's action, you can apply an LFO to modify the WG (pitch) to create vibrato. If the LFO is used to modify the TVA (volume), you'll get tremolo.

Patches

Patches are the basic sound configurations that you play during a performance. Each Patch can be configured by combining up to four Tones.

Performances

The next level in sound configuration. A single Performance groups 15 Patches and one Rhythm Set so that they can be combined to play ensembles or produce fabulously rich, thick sounds. One Performance allows a single JV-1010 to control up to 16 instrument sounds. Because the JV-1010 sound source can control multiple sounds (instruments) it is called a 'multitimbral sound source.'

Rhythm Sets

A Rhythm Set is a grouping of percussion instruments (Rhythm Tones). Since percussion instruments generally do not play melodies, there is no need for a percussion instrument sound to be able to play a scale on the keyboard. It is however, more important that as many as possible percussion instruments be available to you at the same time. Therefore, each key (Note number) of a Rhythm Set will produce a different percussion instrument.

Parts

When the JV-1010 is used as a multitimbral sound source, another sound configuration called a Part comes into play. A Part contains a Patch or Rhythm Set. For multitimbral applications, the Performance consists of 16 Parts. A specific Patch can be assigned to each Part except Part 10 because Part 10 is universally set as the Drum Part to which a Rhythm Set (discussed above) is assigned. In a multitimbral context, it helps to think of a Performance as an orchestra, each Part in it being a musician, and the Patch or Rhythm Set that musician's instrument.


Chapter 2. Creating your own sounds

Regarding effects

The JV-1010 contains three independent effects units.

EFX (multiple effects)

The EFX offers 40 different effects ranging from single effects such as distortion and delay to powerful combination effects. The EFX also includes chorus and reverb effects which are independent of the Chorus and Reverb outlined below.

Chorus

Chorus adds depth and spaciousness to the sound.

Reverb

Reverb adds reverberation characteristics of hall or auditorium ambiences.

Connection of the three effects units depend on the mode you've selected.

How effects units work in different modes

In Patch mode

The EFX, Chorus and Reverb effects can be set individually for each Patch. Adjusting the signal level to be sent to each effects unit (Send Level) provides control over the effect intensity that's applied to each Tone.

In Performance mode/GM mode

The EFX, Chorus and Reverb effects can be set individually for each Performance and GM mode. The intensity of each effect will be set for each Part (Fig. 1), but the Send Level setting for each Tone can also influence effect intensity (Fig. 2). Effects settings of the Patch assigned to each Part will be ignored, but EFX applied to a Patch assigned to a given Part can also be applied to the entire Performance.

In Rhythm Set mode

Because in Rhythm Set mode, only Part 10 of a Performance is called up, the effects settings of a Performance in the temporary area will be used.


Section 1. Functions of Patch parameters

Settings common to the entire Patch (Common)

Common General

You can assign a name to a Patch and set the volume and pan of the entire Patch.

Patch Name

You can call the Patch any name of up to 12 alphanumeric characters.

Patch Level

Adjust the Patch's volume level. The Tone Level parameter (PATCH/TVA/TVA Param) lets you level each Tone.

Patch Pan

Places or pans the Patch to a desired point in the stereo soundfield. L64 is hard left, 0 is center, and 63R is hard right. The Tone Pan parameter (PATCH/TVA TVA Param) lets you pan each Tone.

Analog Feel (Analog feel depth)

Adjusts the depth at which 1/f modulation is applied to the Patch.


<1/f modulation>

'1/f' is a mathematical ratio that expresses the amount of 'predictable randomness' occurring in natural sounds that sound pleasing to the human ear, such as gentle breezes or murmuring brooks. The JV-1010 can modulate the pitch and volume of sounds by this ratio to create the warmth that analog synthesizers have.


Bend Range Up

Specify the amount (in semitones) of pitch bend that will occur when the bender lever of a connected MIDI keyboard is moved to the far right position (or for a wheel, the fully upward position). With a setting of 12, moving the pitch bend lever to the far right position will raise the pitch 1 octave.

Bend Range Down

Specify the amount (in semitones) of pitch bend that will occur when the bender lever of a connected MIDI keyboard is moved to the far left position (or for a wheel, the fully downward position). With a setting of 48, moving the pitch bend lever to the left position will lower the pitch 4 octaves.

Category

The JV-1010 provides a "Patch Search function" which allows you to specify a type(category) of Patch so that you can quickly find the desired Patch. There are a total of 38 categories.

The following categories can be selected.

GroupCategoryContents
--NO ASSIGNNo assign
PIANOPNOAC.PIANOAcoustic Piano
EPEL.PIANOElectric Piano
KEY&ORGANKEYKEYBOARDSOther Keyboards (Clav,Harpsichord etc,)
BELBELLBell,Bell Pad
MLTMALLETMallet
ORGORGANElectric and Church Organ
ACDACCORDIONAccordion
HRMHARMONICAHarmonica, Blues Harp
GUITAR&BASSAGTAC.GUITARAcoustic Guitar
EGTEL.GUITARElectric Guitar
DGTDIST.GUITARDistortion Guitar
BASSBSBASSAcoustic & Electric Bass
SBSSYNTH BASSSynth Bass
ORCHESTRALSTRSTRINGSStrings
ORCORCHESTRAOrchestra Ensemble
HITHIT&STABOrchestra Hit, Hit
WNDWINDWinds (Oboe, Clarinet etc.)
FLTFLUTEFlute, Piccolo
BRASSBRAAC.BRASSAcoustic Brass
SBRSYNTH BRASSSynth Brass
SAXSAXSax
SYNTHHLDHARD LEADHard Synth Lead
SLDSOFT LEADSoft Synth Lead
TEKTECHNO SYNTHTechno Synth
PLSPULSATINGPulsating Synth
FXSYNTH FXSynth FX (Noise etc.)
SYNOTHER SYNTHPoly Synth
PADBPDBRIGHT PADBright Pad Synth
SPDSOFT PADSoft Pad Synth
VOXVOXVox, Choir
ETHNICPLKPLUCKEDPlucked (Harp etc.)
ETHETHNICOther ethnic
FRTFRETTEDFretted Inst (Mandolin etc.)
RHYTHM&SFXPRCPERCUSSIONPercussion
SFXSOUND FXSound FX
BTSBEAT&GROOVEBeat and Groove
DRMDRUMSDrum Set
CMBCOMBINATIONOther Patched which use Split and Layer
Octave Shift

Specifies transposing a Patch in 1 octave units (-3 -- +3 octaves).

Stretch Tune Depth

Selects a stretch tuning curve. The curve selected decides how the notes of a chord will sound. The diagram below shows available tuning curves. The horizontal axis represents the scale, and the vertical axis represents the pitch difference relative to equal temperament. When this parameter is OFF, the notes of the keyboard will be in mathematically equal temperament. With a setting of 3, the high and low note ranges will be stretched to the maximum possible.


<Stretched tuning>

Acoustic pianos are normally tuned for a slightly flatter low note range and a slightly sharper high note range compared to a mathematically calculated equal temperament (i.e., octave precisely doubles the frequency of the previous octave). This tuning is most often used compared to any other simply because pianos sound better and richer when stretch-tuned.


Voice Priority

Specifies which currently played notes take priority when notes turned off to accommodate newly requested notes when the limits of 64 simultaneous voices are exceeded.

LAST : Latter played notes take priority. When the 65th voice is requested, the first notes currently being sounded will be turned off.

LOUDEST : Louder notes take priority. When the 65th voice is requested, the softest notes currently being sounded will be turned off.

Clock Source (Patch Clock Source)

Some parameters let you set a time value in terms of a note length which is determined by a tempo setting or tempo source you specify (reference tempo). Such parameters include Rate parameter (PATCH/LFO&Ctl/LFO1,2 Param), Time parameter (PATCH/WG/Wave Param), and some EFX parameters. The reference tempo can be set for each Patch. Select the tempo source for synchronization.

PATCH : Synchronizes to the Patch Tempo setting.

SYSTEM : Synchronizes to the System Tempo of JV-1010 or the external sequencer's tempo clock.

Patch Tempo

Set the Patch tempo.

* Clock messages for the Patch Tempo will not be transmitted from the MIDI OUT connector.

Common Control

Here you can make settings for the operation and effects of various controllers.

Key Assign

Specifies how notes will be played. When playing a solo instrument Patch (such as sax or flute), setting this parameter to SOLO is recommended.

POLY : Two or more notes will be played simultaneously.

SOLO : Only one note will sound at a time.

Legato Switch (Solo legato switch)

The Solo Legato function works only when the Key Assign parameter is set to SOLO. Turn this parameter ON when you use Solo Legato and OFF when you don't.

With the Legato Switch parameter ON, pressing a key while continuing to press a previous key causes the note to change pitch to the pitch of the most recently pressed key, sounding all the while. This is useful when you want to simulate playing techniques such as a guitar hammer-ons and pull-offs.


<Portamento>

Portamento makes a smooth pitch transition from one note to the next note played. With the Key Assign parameter set to SOLO, portamento is especially effective when simulating playing techniques such as a violin glissandos.


Portamento Switch

Set this parameter ON for using Portamento.

Portamento Time

Adjusts the changeover time for one pitch to change into the new pitch. The higher the setting the longer the time.

Portamento Type

Selects the Portamento effect wanted.

RATE : Pitch change time varies in relation to the pitch difference.

TIME : Pitch change time stays constant, regardless of pitch difference.

Portamento Mode

Selects how Portamento is to be applied.

NORMAL : Portamento will always be applied.

LEGATO : Portamento effects only legato notes (i.e., when you press one key before releasing the previously pressed key).

Portamento Start Pitch

Starts a new portamento if you press another key during pitch change. This setting specifies the pitch where the new portamento starts.

PITCH : Starts a new portamento when another key is pressed while the pitch is changing.

NOTE : A new portamento starts from the pitch change destination.


<Control Source>

You can use controllers to control a specific Tone parameter for each Patch, assigning functions that are different from those offered by conventional controllers to a controller. For example, changing Tone pitch by holding down a key (aftertouch) or TVF resonance through the Pitch Bend lever.

Each Patch can have up to three controller assignments (Ctrl 1--3), and you can assign the following controllers to Control Source. The Control Source for Ctrl 1 is fixed at MODULATION.

OFF : A controller will not be used.

SYS-CTRL1 : System controller 1

SYS-CTRL2 : System controller 2

MODULATION : Modulation (Controller number 1)

BREATH : Breath (Controller number 2)

FOOT : Foot (Controller number 4)

VOLUME : Volume (Controller number 7)

PAN : Pan (Controller number 10)

EXPRESSION : Expression (Controller number 11)

PITCH BEND : Pitch bend

AFTERTOUCH : Aftertouch

LFO1 : Adjusts the modulation rate of the LFO1 waveform--Rate parameter (PATCH/LFO&Ctl/LFO 1 Param)

LFO2 : Adjusts the modulation rate of the LFO2 waveform--Rate parameter (PATCH/LFO&Ctl/LFO 2 Param)

VELOCITY : Velocity

KEYFOLLOW : Adjusts parameter value depending on the key position, relative to the C4 key (0)

PLAYMATE : Adjusts parameter value depending on the time duration of the key press

* If you want to use a controller that is common to all Patches, or to use a controller that is not available for selection here, first select SYS-CTRL1 or SYS-CTRL2 for Control Source, then use the Sys-Ctrl1 parameter (SYSTEM/Control/Control Assign) or Sys-Ctrl2 parameter (SYSTEM/Control/Control Assign) to select the controller.


<Peak&Hold>

Pedal messages conventionally hold only note -- not MIDI messages like modulation and aftertouch. This makes it impossible to hold a sound (using a hold pedal) with aftertouch applied as you play the phrase.

The JV-1010 can hold parameter value changes (maximum change value) even when the controller is returned to its original position after receiving pedal messages.

Use Peak&Hold to specify how parameter values will be held after receiving pedal messages.

OFF : Parameter values will not be held even if pedal messages are received.

HOLD : Parameter values will be held when pedal messages are received.

PEAK : Parameter values will be held when pedal messages are received. But if a parameter value greater than the current one is received while Hold is still ON, the new value will be held.

* When using this function, make sure you also set the Hold-1 parameter (PATCH/LFO&Ctl/Control Switch) ON.

* If HOLD is selected for Peak&Hold, you must also set the Hold parameter (SYSTEM/Control/Control Source) to the type of pedal message to be controlled.

* If PEAK is selected for Peak&Hold, you must also set the Peak parameter (SYSTEM/Control/Control Source) to the type of pedal message to be controlled.


Ctrl 1 (Controller 1)

Ctrl 1 uses Modulation to control a specific Tone parameter. Select how parameter values will be held using Peak&Hold.

Ctrl 2 (Controller 2)

Select the controller to control Ctrl 2 parameter with Control Source. Select how parameter values will be held using Peak&Hold.

Ctrl 3 (Controller 3)

Select the controller to control Ctrl 3 parameter with Control Source. Select how parameter values will be held using Peak&Hold.

Structure

Use this parameter to determine how Tones are combined.

Structure Type 1&2 Structure Type 3&4

Each of the above two parameters determines how Tone 1 and 2, and Tone 3 and 4 are connected. Ten structures are available.

TYPE1 : This keeps Tone 1 and 2 (or 3 and 4) independent of each other. Select this when you want to preserve PCM sounds or create new sounds and combine them for each Tone.

TYPE2 : Two filters combine to enhance filter response. The TVA for Tone 1 (or 3) controls the volume balance between the two Tones.

TYPE3 : Filters the mix of Tone 1 (or 3) and Tone 2 (or 4), before sending the signal through a booster to distort the waveforms.

TYPE4 : Two filters combine and a booster is applied to distort waveforms. The TVA for Tone 1 (or 3) controls the volume balance between the two Tones and adjusts booster level.

TYPE5 : Combines two filters and boosts the upper harmonics by processing with the ring modulator. The TVA for Tone 1 (or 3) is used to adjust ring modulation depth.

TYPE6 : Combines two filters, boosts harmonics by ring modulation and mixes in Tone 2 (or 4). As the sound from the ring modulator and Tone 2 (or 4) can be mixed, the TVA for Tone 1 (or 3) adjusts the amount of ring-modulated sound.

TYPE7 : Sends Tone 1 (or 3) which has been filtered and Tone 2 (or 4) through the ring modulator to boost harmonics.

TYPE8 : Sends Tone 1 (or 3) which has been filtered and Tone 2 (or 4) through the ring modulator, then mixes it with the filtered Tone 2 (or 4).

TYPE9 : Sends the filtered Tones through the ring modulator to boost the harmonics. The TVA for Tone 1 (or 3) controls the volume balance between the two Tones and adjusts ring modulation depth.

TYPE10 : Sends the filtered Tones through the ring modulator to boost harmonics, then mixes the result with Tone 2 (or 4). As the sound from the ring modulator can be mixed with Tone 2 (or 4), the TVA for Tone 1 (or 3) adjusts the amount of ring-modulated sound.

* In a selection of TYPE2--10, turning off one Tone will make the other Tone have a TYPE1 structure.

Booster 1&2 (Booster gain 1&2) Booster 3&4 (Booster gain 3&4)

If TYPE3 or TYPE4 is selected for the Structure Type parameter, you can adjust the degree of Boost. The Booster amplifies the incoming signal to distort it, an effect like the distortion used with electric guitars.


<Booster>

The Booster is used to distort the incoming signal.

You can also create a PWM (Pulse Width Modulation) like effect by using a Tone's waveform (WG1) as an LFO to shift the other Tone's waveform (WG2) up and down. This parameter works best when you use it in conjunction with the Gain parameter (PATCH/WG/Wave Param).


<Ring Modulator>

The Ring Modulator multiples the waveforms of two Tones, creating a new sound that includes many harmonics (inharmonic partials) not present in the two original Tones. (As long as one Tone's waveform is not a sine wave, virtually no frequency components sound at regular intervals). As the pitch difference between the two waveforms changes the harmonic structure, the result will be an unpitched metallic sound. This is especially suitable for creating bell and other metallic sounds.


Tone Key Range Lower: Upper

You can specify the range of notes that will play each Tone. This can be used to make notes in different areas of the keyboard play different Tones.

Tone 1 (Tone 1 key range lower:upper) Tone 2 (Tone 2 key range lower:upper) Tone 3 (Tone 3 key range lower:upper) Tone 4 (Tone 4 key range lower:upper)

Lower specifies the lowest note to play each Tone and Upper specifies the highest, over the C-1 to G9 range.

* You cannot set Lower to a value greater than Upper, or Upper to a value smaller than Lower. If you should do this by mistake, the two values will change together. If this is the case, reset the value.

Tone Vel Range Lower:Upper:Fade (Tone velocity range)

Here you can specify the range of velocities that will play each Tone. You can make different velocities play different Tones.

Tone 1 (Tone 1 velocity range lower:upper:crossfade) Tone 2 (Tone 2 velocity range lower:upper:crossfade) Tone 3 (Tone 3 velocity range lower:upper:crossfade) Tone 4 (Tone 4 velocity range lower:upper:crossfade)

Lower specifies the lowest velocity limit to play each Tone, over the range of 1 to 127. Notes played softer than the set limit will not sound at all or be hardly audible.

Upper specifies the highest velocity limit to play each Tone, over the range of 1 to 127. Notes played more stronger than the set limit will not sound at all or be hardly audible.

Crossfade specifies how the volume of the Tone changes when the velocity of a note is outside the specified velocity range. Higher settings will result in a more gradual attenuation. If you don't want the Tone to sound at all for velocities outside the specified range, set this parameter to 0.

* Lower cannot have a value greater than Upper, or Upper any value smaller than Lower. If you should do this by mistake, the two values will change together. If this is the case, reset the value.

Switch (Velocity range switch)

Specifies if the velocity range setting will be used or not. The velocity range setting is used when the Switch parameter is ON.

Modifying waveform and pitch (WG)

Wave Param (Wave parameter)

Selects the basic sound source waveform for a Tone and modify it.

Wave Group

Selects the waveform group.

INT A, INT B, Session(XP-A) : Waveform stored in the internal memory

Wave-EXP(XP-B) : Waveform stored in Wave Expansion Board installed in EXP-B slot.

* You cannot select a waveform group of a Wave Expansion Board which is not installed.

Wave Number

Selects the basic waveform for a Tone.

Wave Gain

Adjusts the gain of the wave to boost it. The range is -6 -- +12 dB, in steps of 6 dB. An increase of 6 dB doubles the gain. If you use Booster to distort the sound, turn this right up!

Tone Switch

Turn it on when you want a specific Tone. Keep it OFF otherwise. This allows you to make best use of the available number of simultaneous voices because unused Tones can be turned off.


<FXM (Frequency Cross Modulation>

FXM applies frequency modulation by adding a specific waveform to the original waveform to create new and more complex harmonic components. It really helps when you want to create radical sounds or effects.


FXM Switch

Set it ON for using the FXM, otherwise keep it OFF.

FXM Color

Selects one of four different types for FXM frequency modulation method. Higher settings will result in a grainier sound and lower settings will result in a more metallic sound.

FXM Depth

Adjusts frequency modulation depth created by the FXM.


<Tone Delay>

This parameter delays the time from when a key is pressed (or released) to when the Tone actually sounds. Since you can change the timing of each Tone to sound, you can create effects not possible with conventional delay units. For instance, you can change the sound for a Tone to be delayed or can play an arpeggio simply by pressing a single key if you've assigned a different pitch to each Tone.

The delay time can also be synchronized with an internal or external clock (tempo).

* If you are not going to use Tone Delay, set the Mode parameter (discussed below) to NORMAL and Time parameter to 0.


Tone Delay Mode

Selects delay type to be applied to each Tone.

NORMAL : The Tone will sound after the time specified with the Time parameter.

HOLD : If the key is pressed for a longer time than what you specified for the Time parameter, the Tone will sound after the delay time elapses. If the key is released earlier than the specified delay time, the Tone will not sound.

PLAYMATE : If less than 2 seconds elapse before pressing the next key, the Tone will sound after the time specified by the Time parameter. If 2 seconds or more elapse before you press the next key, the Tone will not sound.

CLOCK-SYNC : Syncs delay time to the Patch Tempo parameter setting (
PATCH/Common/Common General), Perform Tempo parameter setting (PERFORM/Common/Common), System Tempo parameter setting (SYSTEM/Setups/setup) or the external sequencer's tempo clock.

If you want to use a fixed tempo of the individual Patch in Patch mode (Patch Tempo parameter setting), set the Patch Clock Source parameter (PATCH/Common/Common General) to PATCH and set the Patch Tempo parameter (PATCH/Common/Common General).

If you want to use a fixed common tempo of the entire JV-1010 in Patch mode (System Tempo parameter setting), set the Patch Clock Source parameter (PATCH/Common/Common General) to SYSTEM, set the System Clock Source parameter (SYSTEM/Setups/setup) to INT and set the System Tempo parameter (SYSTEM/Setups/setup).

If you want to use the external sequencer's tempo clock in Patch mode, set the Patch Clock Source parameter (PATCH/Common/Common General) to SYSTEM and set the System Clock Source parameter (SYSTEM/Setups/setup) to MIDI.

If you want to use a fixed tempo of the individual Performance in Performance mode (Perform Tempo parameter setting), set the Performance Clock Source parameter (PERFORM/Common/Common) to PERFORM and set the Performance Tempo parameter (PERFORM/Common/Common).

If you want to use a fixed common tempo of the entire JV-1010 in Performance mode (System Tempo parameter setting), set the Performance Clock Source parameter (PERFORM/Common/Common) to SYSTEM, set the System Clock Source parameter (SYSTEM/Setups/setup) to INT and set the System Tempo parameter (SYSTEM/Setups/setup).

If you want to use the external sequencer's tempo clock in Performance mode, set the Performance Clock Source parameter (PERFORM/Common/Common) to SYSTEM and set the System Clock Source parameter (SYSTEM/Setups/setup) to MIDI.

KEY-OFF-N : The Tone will not sound while the key is being pressed, but will sound after the Time parameter setting, if the key is released.

KEY-OFF-D : The Tone will not sound while the key is being pressed, but will sound after the Time parameter setting, if the key is released. Please remember that this setting allows the TVA envelope of the Tone to begin changing, so in most cases only the decay portion of the sound will be heard.

* If you have selected a decay type sound wave (i.e., a sound that fades naturally even if the key is not released), selecting KEY-OFF-N or KEY-OFF-D may result in no sound being produced.

TEMPO-SYNC : If you select a Wave with tempo (BPM) being indicated when an optional Wave Expansion Board such as the "SR-JV80-10: BASS & DRUMS" is installed, the Tone will synchronize to the tempo clock of the external sequencer regardless of which key is pressed. This is most effective when playing phrase loops in sync with the tempo of a song.

If you want to use the external sequencer's tempo clock in Patch mode, set the Patch Clock Source parameter (PATCH/Common/Common General) to SYSTEM and set the System Clock Source parameter (SYSTEM/Setups/setup) to MIDI.

If you want to use the external sequencer's tempo clock in Performance mode, set the Performance Clock Source parameter (PERFORM/Common/Common) to SYSTEM and set the System Clock Source parameter (SYSTEM/Setups/setup) to MIDI.

* When TEMPO-SYNC is selected, pitch and FXM settings will be ignored.

* When selecting TEMPO-SYNC, also set the Time parameter to 0. If other values are set, Tone Delay will be activated.

Tone Delay Time

Specifies the time that elapses from when the key is pressed (or from key release if KEY-OFF-N or KEY-OFF-D has been selected for the Mode parameter) to when the Tone will sound (using Tone Delay).

If PLAYMATE has been selected for the Mode parameter, a setting of 64 will set delay time to the interval between the previous Note On and the current Note On. To extend time about twice as long as a 64 setting, try 127. To cut the time by half, try setting it to 32. At a 0 setting, the Tone will not sound. For example, to make two notes sound (one note followed by the other) with one key, use two Tones and set one Tone's Time parameter to 0 and the other Tone's Time parameter to 32 or whatever delay you prefer.

If the Mode parameter is set to CLOCK-SYNC, the setting will be in quarter-note steps. This lets you specify the delay time in note length relative to sync tempo. For instance, if the tempo is 120 with resolution set to 96=quarter-note, delay time will be 0.5 second. In other words, a tempo of 120 produces 120 quarter-notes per minute (60 seconds), so 60 divided by 120 equals 0.5 second.

* If Structure Type 1&2 (or 3&4) parameter (PATCH/Common/Structure) is set to Type2--10, the outputs of Tone 1 (or 3) and 2 (or 4) will be combined into Tone 2 (or 4). The settings of Tone 1 (or 3) will be ignored.

Pitch

You can set the WG pitch of each Tone.

Coarse Tune

Adjusts pitch in semitone steps (-4 -- +4 octaves).

Fine Tune

Adjusts pitch in 1-cent (1/100th of a semitone) steps (-50 -- +50 cents).

Random Pitch Depth

For random pitch changes with every key press, use this parameter to set the desired amount (in cents) of pitch change. If you don't want random pitch changes set it to O.

Pitch Keyfollow

Sets the amount of pitch change as you move 1 octave on the keyboard.

For a conventional keyboard pitch change of 1 octave when keyboard position goes up 1 octave, set this parameter to +100. For a 2 octave pitch changes when keyboard position goes up 1 octave, set this parameter to +200. Negative (-) values will lower pitch even as you go up the keyboard. A setting of 0 makes all keys have the same pitch.

Pitch Envelope

This is where to set the pitch envelope (how pitch changes over time) according to keyboard playing dynamics.

Time1-4 (Pitch envelope time 1--4)

Sets pitch envelope's time (Time 1--4). Higher settings extend the duration over which pitch changes from one point to another (for example, time for the pitch to change from Level 1 to Level 2 for Time 2).

Level1-4 (Pitch envelope level 1--4)

Sets pitch envelope level (Level 1--4) to determine pitch of each point relative to the reference pitch (pitch set for Coarse Tune or Fine Tune). Positive (+) values will raise pitch over the reference pitch, and negative (-) values lower pitch below the reference pitch.

Envelope Depth (Pitch envelope depth)

Adjusts pitch envelope amount. Higher settings produce more change. Negative (-) values invert the envelope.

Velocity Sens (Pitch envelope velocity sensitivity)

This parameter should be used when you want keyboard playing dynamics (velocity) to impact on pitch envelope amount. With positive (+) values, the amount of pitch envelope increases as the key is pressed with increasing force. Negative (-) values reduce pitch envelope amount as the key is pressed with increasing force.

Velocity Time 1 (Pitch envelope velocity time 1 sensitivity)

Use this parameter when you want keyboard playing dynamics (velocity) to impact on the Time1 parameter of the pitch envelope. With positive (+) settings, a higher keyboard velocity will reduce (speed up) Time1 value. With negative (-) settings, higher keyboard velocity will increase (slow down) Time1 value.

Velocity Time 4 (Pitch envelope velocity time 4 sensitivity)

Use this parameter when you want key release speed to impact on Time4 value of the pitch envelope. If you want a quicker release to reduce (speed up) Time4 value, use positive (+) values. For a quicker release to increase Time4 (slow down) value, use negative (-) settings.

Time Keyfollow (Pitch envelope time keyfollow)

Use this parameter when you want a pressed key to control pitch envelope time (Time2--Time4 parameter settings). Higher settings will have a greater time change relative to the envelope time at middle C (C4). Positive (+) settings will reduce the time when keys higher than middle C are pressed. Negative (-) settings will increase the time for notes higher than middle C.

Modifying the brightness of sound with a filter (TVF)

TVF Param (TVF parameter)

TVF (Time Variant Filter) settings. By changing a sound's brightness or thickness, a Tone can be modified.

Filter Type

Selects the filter type. A filter attenuates a specific frequency range to modify the brightness or thickness of sound.

OFF : No filter is used.

LPF : Low Pass Filter cuts frequencies above the cutoff frequency to round off the sound. This is the most common filter used in synthesizers.

BPF : Band Pass Filter cuts frequencies below and above the cutoff frequency range. Most effective for creating sounds with strong characteristics.

HPF : High Pass Filter cuts the frequencies below the cutoff frequency. Suitable for creating percussive sounds emphasizing highs.

PKG : Peaking Filter emphasizes frequencies around the cutoff frequency. You can use this to create wah-wah effects by employing an LFO to change the cutoff frequency cyclically.

Cutoff Frequency

Sets the frequency at which the filter begins to have effect on the waveform's frequency components.

With LPF selected for the Filter Type parameter, lower Cutoff Frequency settings will reduce upper harmonics for a more rounded sound. Higher settings will make sound brighter.

If BPF is selected, harmonic components will change depending on the Cutoff Frequency setting. Using this parameter effectively will create some highly distinctive sounds.

With HPF selected, higher Cutoff Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

With PKG selected, the harmonics to be emphasized will vary depending on Cutoff Frequency setting.

Resonance

Emphasizes frequencies around the cutoff frequency. Excessive level at some settings can cause oscillation and distortion.

Resonance Vel Sens (Resonance velocity sensitivity)

Use this parameter if you want velocity to influence the Resonance parameter. If you want higher keyboard velocities to create more changes in Resonance, use positive (+) values. For less Resonance change, use negative (-) values.

Cutoff Keyfollow (Cutoff frequency keyfollow)

Use this parameter if you want the cutoff frequency to be influenced by the key pressed. Higher settings will increase change relative to middle C (C4). Positive (+) settings will make cutoff frequency rise as you play higher on the keyboard. Negative (-) settings will lower the cutoff frequency.

TVF Envelope

Setting TVF envelope (how cutoff frequency changes over time).

Time1-4 (TVF envelope time 1--4)

Sets TVF envelope time (Time 1--4). Higher settings will extend the time over which cutoff frequency changes from one point to the next point (for example, time during which the cutoff frequency changes from Level 1 to Level 2 for Time 2).

Level1-4 (TVF envelope level 1--4)

Sets the TVF envelope level (Level 1--4) to determine cutoff frequency of each point relative to the specified Cutoff Frequency parameter value.

Envelope Depth (TVF envelope depth)

Adjusts degree of TVF envelope. Higher settings result in more change. Negative (-) settings invert the envelope.

Velocity Curve (TVF envelope velocity curve)

Selects one of seven curves to set how keyboard playing dynamics (velocity) influences cutoff frequency.

Velocity Sens (TVF envelope velocity sensitivity)

The parameter to use when you want keyboard playing dynamics (velocity) to affect TVF envelope amount. Positive (+) settings increase TVF envelope amount as a key is pressed harder. Negative (-) settings decrease TVF envelope amount when the key is pressed harder.

Velocity Time 1 (TVF envelope velocity time 1 sensitivity)

The parameter to use when you want keyboard playing dynamics (velocity) to affect Time1 parameter of the TVF envelope. At positive (+) settings, higher keyboard velocities will reduce (speed up) Time1 value.

At negative (-) settings, higher keyboard velocities will increase (slow down) Time1 value.

Velocity Time 4 (TVF envelope velocity time 4 sensitivity)

The parameter to use when you want key release speed to control the Time4 value of the TVF envelope. For a quicker release to reduce (speed up) the Time4 value, use positive (+) settings. To increase (slow down) Time4 value, use negative (-) settings.

Time Keyfollow (TVF envelope time keyfollow)

The parameter to use when you want key position to control the time of the TVF envelope (Time2--Time4 parameter settings). Higher settings produce more time change relative to the envelope time at middle C (C4). Positive (+) settings will reduce time when keys higher than middle C are pressed. Negative (-) settings will extend time.

Changing the sound's volume (TVA)

TVA Param (TVA Parameter)

Setting volume for each Tone.

Tone Level

Adjusts the volume of each Tone. Use this parameter to adjust the volume balance between Tones as desired.

* To set overall volume for a Patch, use the Patch Level parameter (PATCH/Common/Common General). The Tone Level parameter setting will be multiplied by the Patch Level value.

Tone Pan

Adjusts the pan (location in stereo soundfield) for each Tone. L64 pans hard left, 0 is center and 63R pans hard right.

* To pan a complete Patch, use the Patch Pan parameter (PATCH/Common/Common General). The Tone Pan parameter setting will be added to the Patch Pan value.

Pan Keyfollow

Use this parameter if you want key position to affect panning. Higher values will have more pan relative to middle C (C4). Positive (+) settings will pan notes toward keyboard right when keys higher than middle C are pressed. Negative (-) settings will pan left.

Random Pan Depth

Use this parameter to select key-initiated random panning. Higher values result in greater panning.

Alternate Pan Depth

Use this parameter for key-initiated left/right alternate panning. Higher values result in greater panning. L or R values can be set, and these can be used to reverse the left/right panning order if desired. If you want to alternate the pan position of two Tones, set them to opposite L and R settings.


<Bias>

Set this parameter for key position to influence the Tone Level parameter. This is useful for changing volume through keyboard position (pitch) when playing acoustic instruments.


Direction (Bias direction)

Selects the direction in which the change will occur relative to the key set for the Position parameter.

LOWER : Changes the volume in the range below the key set for the Position parameter.

UPPER : Changes the volume in the range above the key set for the Position parameter.

LOW&UP : Changes the volume symmetrically in the ranges below and above the key set for the Position parameter.

ALL : A straightline volume change is created over the entire keyboard range, relative to the key set for the Position parameter.

Position:Level (Bias position: Bias level)

Use the Position parameter to select the key from which volume will begin to change.

Level parameter adjusts the volume change curve to occur in the direction determined by the Direction parameter. Higher values will result in a steeper curve. Negative (-) values will invert the change.

TVA Envelope

Setting TVA envelope (how TVA level changes over time).

Time1-4 (TVA envelope time 1--4)

Sets TVA envelope time (Time 1--4). Higher settings will extend the time over which the volume changes from one point to the next (for example, duration for volume to change from Level 1 to Level 2 for Time 2).

Level1-3 (TVA envelope level 1--3)

Sets TVA envelope level (Level 1--3) to adjust the volume level of each point relative to the reference volume (specified Tone Level value).

Velocity Curve (TVA envelope velocity curve)

Selects one of seven curves to set how velocity (keyboard playing dynamics) influences TVA envelope amount.

Velocity Sens (TVA envelope velocity sensitivity)

Use this parameter when you want velocity to influence TVA envelope amount. Positive (+) settings increase the amount of TVA envelope as the key is pressed with increasing force. Negative (-) settings do the reverse.

Velocity Time 1 (TVA envelope velocity time 1 sensitivity)

Use this parameter when you want velocity to influence the Time1 parameter of the TVA envelope. With positive (+) settings, greater keyboard velocities will reduce (speed up) Time1 value.

With negative (-) settings, greater keyboard velocities will increase (slow down) Time1 value.

Velocity Time 4 (TVA envelope velocity time 4 sensitivity)

Use this parameter when you want key-release speed to influence the Time4 value of the TVA envelope. For a quicker release to reduce (speed up) the Time4 value, use positive (+) settings. To increase (slow down) Time4 value, use negative (-) settings.

Time Keyfollow (TVA envelope time keyfollow)

Use this parameter for a key position to influence TVA envelope time (Time2--Time4 parameter settings). Higher settings result in a greater time change relative to the envelope time at middle C (C4). Positive (+) settings will reduce time when keys above middle C are pressed. Negative (-) settings will extend time.

Modulating sounds--Adding Vibrato, Tremolo, etc.

Using controllers to change how sounds are played (LFO&Ctl)

LFO1 Prm (LFO 1 parameter) /LFO2 Prm (LFO2 parameter)

An LFO (Low Frequency Oscillator) causes change over a cycle in a sound. Each Tone has two LFOs, and these can be used to cyclically change the pitch, cutoff frequency and volume to create modulation-type effects such as vibrato, wah-wah and tremolo. Both LFOs have the same parameters so only one explanation is needed.

Waveform (LFO waveform)

Selects the waveform of the LFO.

TRI : Triangle wave

SIN : Sine wave

SAW : Sawtooth wave

SQR : Square wave

TRP : Trapezoidal wave

S&H : Sample and hold wave

RND : Random wave

CHS : Chaos wave

Key Sync (LFO key sync)

Specifies whether you want the LFO cycle to start in sync with the timing of a key press (ON) or not (OFF).

Rate (LFO rate)

Adjusts the modulation rate of the LFO waveform.

* If you have selected CHS (chaos waveform) for Waveform parameter, the Rate parameter setting has no effect.

* If you have set the Ext Sync parameter to CLK, this parameter will indicate a note value in multiples of a quarter note. This allows you to set the Rate parameter in terms of a note length in the sync tempo.

Ext Sync (LFO external sync)

Selects how the LFO is to be synchronized.

OFF : Unsynchronized.

CLK : Synchronizes the LFO delay time to the Patch Tempo parameter setting (PATCH/Common/Common General), Perform Tempo parameter setting (PERFORM/Common/Common), System Tempo parameter setting (SYSTEM/Setups/setup) or the external sequencer's tempo clock.

If you want to use a fixed tempo of the individual Patch in Patch mode (Patch Tempo parameter setting), set the Patch Clock Source parameter (PATCH/Common/Common General) to PATCH and set the Patch Tempo parameter (PATCH/Common/Common General).

If you want to use a fixed common tempo of the entire JV-1010 in Patch mode (System Tempo parameter setting), set the Patch Clock Source parameter (PATCH/Common/Common General) to SYSTEM, set the System Clock Source parameter (SYSTEM/Setups/setup) to INT and set the System Tempo parameter (SYSTEM/Setups/setup).

If you want to use the external sequencer's tempo clock in Patch mode, set the Patch Clock Source parameter (PATCH/Common/Common General) to SYSTEM and set the System Clock Source parameter (SYSTEM/Setups/setup) to MIDI.

If you want to use a fixed tempo of the individual Performance in Performance mode (Perform Tempo parameter setting), set the Performance Clock Source parameter (PERFORM/Common/Common) to PERFORM and set the Performance Tempo parameter (PERFORM/Common/Common).

If you want to use a fixed common tempo of the entire JV-1010 in Performance mode (System Tempo parameter setting), set the Performance Clock Source parameter (PERFORM/Common/Common) to SYSTEM, set the System Clock Source parameter (SYSTEM/Setups/setup) to INT and set the System Tempo parameter (SYSTEM/Setups/setup).

If you want to use the external sequencer's tempo clock in Performance mode, set the Performance Clock Source parameter (PERFORM/Common/Common) to SYSTEM and set the System Clock Source parameter (SYSTEM/Setups/setup) to MIDI.

Fade Mode (LFO fade mode)

Selects how the LFO is to be applied.

ON-IN : The LFO will fade in after the key is pressed.

ON-OUT : LFO is applied immediately on key press then fades out.

OFF-IN : LFO will fade in after key release.

OFF-OUT : LFO is applied immediately when the key is pressed and will begin to fade out at key release.

Delay Time (LFO delay time)

When the Fade Mode parameter is set to ON-IN, this parameter specifies the time from key press to when the LFO begins to take effect. When the ON-OUT is selected, this parameter sets the time over which the LFO continues to be active after key press.

When the Fade Mode parameter is set to OFF-IN, this parameter specifies the time from key release to when the LFO begins to take effect. When OFF-OUT is selected, this parameter sets the time over which the LFO continues to be active after key release.

Refer to the Fade Mode parameter diagrams.

Fade Time (LFO fade time)

Specifies time after the delay time until the LFO amplitude reaches maximum (or minimum).

Refer to the Fade Mode parameter diagrams.

Offset (LFO level offset)

Adjusts the LFO waveform up or down from the center value (pitch or cutoff frequency). Positive (+) settings will move the waveform up from the center value. Negative (-) settings will move it down from the center value.


<Depth (LFO depth)>

The Depth parameters adjust how LFO affects each parameter. Applying LFO to the pitch creates vibrato, applying it to the cutoff frequency will create a wah-wah effect, and applying it to the volume creates tremolo.


Pitch (Pitch LFO depth)

Adjusts degree to which LFO influences pitch.

Filter (Filter LFO depth)

Adjusts degree to which LFO influences cutoff frequency.

Level (Amplitude LFO depth)

Adjusts degree to which LFO influences volume.

Pan (Pan LFO depth)

Adjusts degree to which LFO influences panning.

* Pitch or volume changes reverse in relation from each other between positive (+) and negative (-) Depth parameter settings. Setting a Depth parameter to a positive (+) value for one Tone and setting another Tone with the same numerical value but negative (-), the modulation phase for the two Tones will be in reversed from each other. This allows you to shift back and forth between two different Tones and cyclically move the stereo soundfield position in combination with panning.

Control Param (Control parameter)


<Control Dest:Depth (Control destination: Control depth)>

Ctrl 1--3 can simultaneously control up to four parameters for each Tone.

For instance, filter opens by pressing down the key.

Use Control Dest to select the parameters to be controlled by Ctrl 1--3:

OFF : No control

PCH : Pitch

CUT : Cutoff frequency parameter (PATCH/TVF/TVF Param)

RES : Resonance parameter (PATCH/TVF/TVF Param)

LEV : Tone Level parameter (PATCH/TVA/TVA Param)

PAN : Tone Pan parameter (PATCH/TVA/TVA Param)

MIX : Mix/EFX Send Level parameter (PATCH/Effects/General)

CHO : Chorus Send Level parameter (PATCH/Effects/General)

REV : Reverb Send Level parameter (PATCH/Effects/General)

PL1 : Vibrato depth--Pitch parameter (PATCH/LFO&Ctl/LFO1 Param)

PL2 : Vibrato depth--Pitch parameter (PATCH/LFO&Ctl/LFO2 Param)

FL1 : Wah-Wah effect depth--Filter parameter (PATCH/LFO&Ctl/LFO1 Param)

FL2 : Wah-Wah effect depth--Filter parameter (PATCH/LFO&Ctl/LFO2 Param)

AL1 : Tremolo depth--Level parameter (PATCH/LFO&Ctl/LFO1 Param)

AL2 : Tremolo depth--Level parameter (PATCH/LFO&Ctl/LFO2 Param)

pL1 : Depth of LFO1 applied to panning--Pan parameter (PATCH/LFO&Ctl/LFO1 Param)

pL2 : Depth of LFO2 applied to panning--Pan parameter (PATCH/LFO&Ctl/LFO2 Param)

L1R : Modulation rate of the LFO1 waveform--Rate parameter (PATCH/LFO&Ctl/LFO1 Param)

L2R : Modulation rate of the LFO2 waveform--Rate parameter (PATCH/LFO&Ctl/LFO2 Param)

Depth parameter adjusts the degree of change applicable to the Tone parameters selected for the Control Dest. Higher values will cause more change. Negative (-) values will reverse the direction of change. For Rate parameter (PATCH/LFO&Ctl/LFO Param 1/2), negative (-) values will make modulation slower while positive (+) values will be faster.

* Tone parameter changes made with Ctrl 1--3 affect only the performance. They do not modify a Value of the tone parameter.


Ctrl 1 (Controller 1)

Control Dest specifies the four Tone parameters to be controlled by Ctrl 1 controller. Depth is used to adjust the degree of Tone parameter change.

* The Ctrl 1 controller is fixed at MODULATION.

Ctrl 2 (Controller 2)

Control Dest specifies the four Tone parameters to be controlled by Ctrl 2 controller. Depth is used to adjust the degree of Tone parameter change.

Use Control Source to set Ctrl 2 controller. This setting also changes the Control Source setting of the Ctrl2 parameter (PATCH/Common/Common Control).

Ctrl 3 (Controller 3)

Control Dest specifies the four Tone parameters to be controlled by Ctrl 3 controller. Depth is used to adjust the degree of Tone parameter change.

Use Control Source to set the Ctrl 3 controller. This setting also changes the Control Source setting of the Ctrl3 parameter (PATCH/Common/Common Control).

Control Switch

You can specify whether you want each Tone to receive MIDI messages for volume, pan, pitch bend, etc.

* Generally, volume messages control the volume, pan messages control stereo location and pitch bend messages control the pitch of the currently sounding note. However, the JV-1010 allows these messages to control other specific tone parameters. Therefore, when you set any specific tone parameters to be controlled by such messages, make sure the respective control switch is OFF. If ON, the original functions of these MIDI messages will also be activated.

Volume (Volume control switch)

Set this ON when you want each Tone to receive volume messages. If not, set OFF.

Pan (Pan control switch)

Specifies how the pan messages are received.

OFF : Not received.

CONTINUOUS : Whenever pan messages are received, the stereo position of the note specified will be changed.

KEY-ON : The stereo position of a specific note is changed when the note is played. The stereo position of the specified note will not change until the next key press even if pan messages are received while it is being played. In this case, only the stereo position of the next played note will change, not the current note which is sounding.

Pitch Bend (Pitch bend control switch)

Set this ON when you want each Tone to receive pitch bend messages. If not, set OFF.

Hold-1 (Hold1 control switch)

Set this ON when you want each Tone to receive Hold1 messages. If not, set OFF.

Redamper (Redamper control switch)

If Hold1 massages are received during the time period from key release to sound decay, this parameter specifies whether or not to sustain the currently sounding note. If you want to sustain the sound, set this ON. When using this function, also set the Hold-1 parameter ON. This function is effective for piano sounds.

Setting effects for a Patch (Effects)

Output Assign

MIX : The direct sound is output to OUTPUT jack. If Chorus and/or Reverb is selected, these effects are output together with the direct sound.

EFX : The direct sound is sent to EFX. After passing through EFX, the sound is output to OUTPUT jack.

Reverb Send Level

Adjusts reverb intensity for each Tone.

Chorus Send Level

Adjusts chorus amount for each Tone.

Mix/EFX Send Level

If Output Assign Parameter is set to MIX, adjusts volume of each Tone. If Output Assign Parameter is set to EFX, adjusts the volume level of EFX'd sound for each Tone.

EFX Type

Select EFX type from the 40 types available.

EFX Reverb Send Level

Adjusts reverb intensity applied to the sound that passes through EFX.

EFX Chorus Send Level

Adjusts the amount of chorus applied to the sound that passes through EFX.

EFX Output Level

Adjusts volume level of the output sound that passes through EFX.


EFX Control

As with Tone parameters, you can also modify EFX parameters using controllers.


<Control Source>

Each Patch can have two controller assignments (EFX Ctrl 1--2), and you can assign the following controllers to Control Source.

OFF : A controller will not be used.

SYS-CTRL1 : System controller 1

SYS-CTRL2 : System controller 2

MODULATION : Modulation (MIDI controller number 1)

BREATH : Breath (MIDI controller number 2)

FOOT : Foot (MIDI controller number 4)

VOLUME : Volume (MIDI controller number 7)

PAN : Pan (MIDI controller number 10)

EXPRESSION : Expression (MIDI controller number 11)

PITCH BEND : Pitch bend

AFTERTOUCH : Aftertouch

* If you want to use a controller that is common to all Patches, or to use a controller that is not available for selection here, first select SYS-CTRL1 or SYS-CTRL2 for Control Source, then use the Sys-Ctrl1 parameter (SYSTEM/Control/Control Assign) or Sys-Ctrl2 parameter (SYSTEM/Control/Control Assign) to select the controller.


<Depth>

Adjusts the degree of EFX parameter changes to occur in response to controller movement. Higher values will result in more change. Negative (-) values will invert the change direction.


<Peak&Hold>

Pedal messages conventionally hold only note messages-- not effects settings. This makes it impossible to hold effects settings as you play the phrase.

The JV-1010 can hold parameter value changes (maximum change value) even when the controller is returned to its original position after receiving pedal messages.


EFX Ctrl 1 (EFX Controller 1)

Select the controller to control EFX Ctrl 1 parameter with Control Source. Set the amount of EFX parameter change using Depth.

EFX Ctrl 2 (EFX Controller 2)

Select the controller to control EFX Ctrl 2 parameter with Control Source. Set the amount of EFX parameter change using Depth.

EFX Ctrl Peak&Hold (EFX Controller Peak&Hold)

Use Peak&Hold to specify how EFX parameter values will be held after receiving pedal messages.

OFF : EFX parameter values will not be held even if pedal messages are received.

HOLD : EFX parameter values will be held when pedal messages are received.

PEAK : EFX parameter values will be held when pedal messages are received. But if a parameter value greater than the current one is received while Hold is still ON, the new value will be held.

* When using this function, make sure you also set the Hold-1 parameter (PATCH/LFO&Ctl/Control Switch) ON.

* If HOLD is selected for Peak&Hold, you must also set the Hold parameter (SYSTEM/Control/Control Source) to the type of pedal message to be controlled.

* If PEAK is selected for Peak&Hold, you must also set the Peak parameter (SYSTEM/Control/Control Source) to the type of pedal message to be controlled.

Chorus

Make the Chorus settings for how chorus will sound and be output.

Level (Chorus level)

Adjusts the volume level of the chorus sound.

Rate (Chorus rate)

Adjusts modulation speed for the chorus.

Depth (Chorus depth)

Adjusts modulation depth for the chorus.

Pre-Delay

Adjusts time from when the direct sound begins to when the chorus sound is heard. Higher values create a more spacious sound.

Feedback (Chorus feedback level)

Adjusts the amount of chorus sound that is returned (fed back) to the chorus. Higher values create a more intense effect.

Output (Chorus output assign)

Specifies how chorus sound is to be output.

MIX : The sound will be output from the OUTPUT jacks just as it is.

REVERB : Reverb will be applied.

MIX+REV : The sound will be output from the OUTPUT jacks and to reverb.

Reverb

Makes reverb effect settings such as reverb type and reverb time.

Type (Reverb/Delay type)

Selects reverb or delay type.

ROOM1 : Short, dense reverb

ROOM2 : Short, sparse reverb

STAGE1 : Reverb with greater late reverberation

STAGE2 : Reverb with strong early reflections

HALL1 : Reverb with clear reverberation

HALL2 : Reverb with rich reverberation

DELAY : Conventional delay

PAN-DLY : Delay with echoes that pan left and right

Level (Reverb/Delay level)

Adjusts the level of the reverb (or delay) sound.

Time (Reverb/Delay time)

For any ROOM1--HALL2 Type, this parameter adjusts reverb time. For DELAY or PAN-DLY, this parameter adjusts delay time. Higher values make for a more spacious sound.

HF Damp (Reverb/Delay HF damp)

Adjusts the frequency above which reverb will be cut. The lower this setting, the more the high frequency cut, resulting in a softer, muted reverb. If you want reverb with full frequency extension, set this parameter to BYPASS.

Delay Feedback (Delay feedback level)

If you have selected DELAY or PAN-DLY Type, this parameter adjusts the amount of delayed sound that is returned (fed back) to the delay. Higher values will result in more delay repeats.


Section 2. Functions of Performance parameters

Settings common to the entire Performance (Common)

Common

Set parameters that are not part of other groups. These include Performance Name and Performance Clock Source.

Performance Name

You can use up to 12 alphanumeric characters to name the Performance.

Clock Source (Performance Clock Source)

With some parameters you can set a time value in terms of a note length which can be determined by a tempo you specify (reference tempo). These include Rate parameter (PATCH/LFO&Ctl/LFO1,2 Param), Time parameter (PATCH/WG/Wave Param), and some EFX parameters. A reference tempo can be set for each Patch, but if a Patch is used in Performance mode, the Patch settings will be ignored. Select your sync source.

PERFORM : Synchronizes to the Performance Tempo setting.

SYSTEM : Synchronizes to the System Tempo of JV-1010 or the external sequencer's tempo clock.

* The Performance Clock does not transmit clock messages from MIDI OUT.

Performance Tempo

Sets the Performance tempo.

Setting the keyboard range (K.Range)

Part Key Range Lower:Upper

You can specify the range of notes that will play each Part. Use this option to make notes in different keyboard areas play different Parts.

1 (Part 1 key range lower:upper)-- 16 (Part 16 key range lower:upper)

Lower specifies the lowest note that each Part can play and Higher specifies the highest, from C-1 to G9.

* If K.Range (PATCH/Common/Tone Key Range) settings have been assigned to the Patch, only the overlapping notes made in the Key Range settings (of Patch and Performance) will play.

* Lower cannot be set to a value greater than Upper, or Upper to a value smaller than Lower. If you do this by mistake, the two values will change together.

Switch (Key range switch)

Specifies if key range setting is to be used or not. The key range setting is used when the Switch parameter is ON.

Making settings for each Part (Part)

Part Param (Part parameter)

Assigns a Patch for each Part and setting volume and other adjustments for the Part.

Patch Group

Selects the Patch group for each Part (or Rhythm Set for Part 10).

USER : Patches from user memory

PR-A -- PR-C, PR-E : Patches from preset memory A--C,E

GM : GM Patches

Session(XP-A) : Session Patches

Wave-EXP(XP-B) : Patches from Wave Expansion Board installed in EXP-B slot.

* You cannot select a Patch group of a Wave Expansion Board which is not installed.

Patch Number

Selects the Patch number assigned to each Part (or Rhythm Set number for Part 10).

Part Level

Adjusts the volume of each Part. Use this parameter mainly for adjusting the volume balance between Parts.

Part Pan

Adjusts pan for each Part. L64 pans hard left, 0 is center and 63R pans hard right.

* As Pan settings are also contained in a Patch, each Patch will move by what is specified here from its current position in the stereo soundfield.

Coarse Tune (Part coarse tune)

Adjusts pitch of each Part in semitone steps (-4 -- +4 octaves). The pitch will change relative to the pitch specified for the Patch as being 0.

Fine Tune (Part fine tune)

Adjusts the pitch specified for the Coarse Tune parameter in 1-cent (1/100th of a semitone) steps (-50 -- +50 cents).

Voice Reserve

This setting determines how many voices will be reserved for each Part when more than 64 simultaneous voices are requested.

* You can set any Voice Reserve value until the total of all Parts reaches 64 voices.

Making MIDI settings for a Part (MIDI)

Part MIDI

Determine how each Part will receive MIDI messages.

Channel (MIDI channel)

Specifies each Part's MIDI channel.

* If you set this to the same channel as specified by the Perform Ctrl-Ch parameter (SYSTEM/MIDI), Control Channel selection will take priority. Trying to use Program Change messages to select Patches will select Performances instead. In order to select Patches, change the Perform Ctrl-Ch parameter (SYSTEM/MIDI) to a different setting.

Rx Switch (Receive switch)

Specifies whether each Part is to receive MIDI messages (ON) or not (OFF). This is normally left ON, but you set it OFF when you don't want a specific Part to be playing during a song playback.

Rx Program Chg Switch (Receive program change switch)

Specifies whether you want each Part to receive MIDI Program Change messages (ON) or not (OFF).

Rx Volume Switch (Receive volume switch)

Specifies whether you want each Part to receive MIDI Volume messages (ON) or not (OFF).

Rx Hold-1 Switch (Receive hold 1 switch)

Specifies whether you want each Part to receive MIDI Hold 1 messages (ON) or not (OFF).

Setting effects for a Performance (Effects)

Effects parameter configurations are almost identical for Performance and Patch.

General (Effects general)

Output Assign

MIX : The direct sound is output to OUTPUT jack. If Chorus and/or Reverb is selected, these effects are output together with the direct sound.

EFX : The direct sound is sent to EFX. After passing through EFX, the sound is output to OUTPUT jack.

PAT : The direct sound is output as specified by the Output Assign parameter of the Patch assigned to each Part. The Part's Output Assign, Mix/EFX Send Level, Chorus Send Level and Reverb Send Level parameter settings will be multiplied by those settings for the Patch.

Reverb Send Level

Adjusts reverb intensity for each Part.

Chorus Send Level

Adjusts chorus amount for each Part.

Mix/EFX Send Level

If Output Assign Parameter is set to MIX, adjusts volume of each Part. If Output Assign Parameter is set to EFX or PAT, adjusts the volume level of EFX'd sound for each Part.

EFX Type

Select EFX type from the 40 types available.

EFX Reverb Send Level

Adjusts reverb intensity applied to the sound that passes through EFX.

EFX Chorus Send Level

Adjusts the amount of chorus applied to the sound that passes through EFX.

EFX Output Level

Adjusts volume level of the output sound that passes through EFX.

EFX Source

Selects the EFX parameter settings to be used by the Performance. If you want to apply the Performance's EFX parameter settings to the entire Performance, select PERFORM. To use the EFX parameter settings of the Patch that's assigned to one of the Parts, select the Part number.

* Part 10 (Rhythm Set) can't be selected because it does not contain effects settings.


<Using the set Tone volume balance (the varying levels of the four Tones) of a Patch in a Part>

Set the Output Assign parameter to PAT.

This lets you adjust the Part's Mix/EFX Send Level, Chorus Send Level and Reverb Send Level parameter settings while keeping the relative value differences among Tones.

<Using Patch EFX parameter settings for the Performance>

Set the Output Assign parameter to PAT and the EFX Src parameter to the Part number to which the desired Patch is assigned (PART1--9, 11--16).

The EFX parameter settings of the Patch assigned to the selected Part will apply to the entire Performance.


EFX Control

As with Tone parameters, you can also modify EFX parameters using controllers.


<Control Source>

Each Patch can have two controller assignments (EFX Ctrl 1--2), and you can assign the following controllers to Control Source.

OFF : A controller will not be used.

SYS-CTRL1 : System controller 1

SYS-CTRL2 : System controller 2

MODULATION : Modulation (MIDI controller number 1)

BREATH : Breath (MIDI controller number 2)

FOOT : Foot (MIDI controller number 4)

VOLUME : Volume (MIDI controller number 7)

PAN : Pan (MIDI controller number 10)

EXPRESSION : Expression (MIDI controller number 11)

PITCH BEND : Pitch bend

AFTERTOUCH : Aftertouch

* If you want to use a controller that is common to all Patches, or to use a controller that is not available for selection here, first select SYS-CTRL1 or SYS-CTRL2 for Control Source, then use the Sys-Ctrl1 parameter (SYSTEM/Control/Control Assign) or Sys-Ctrl2 parameter (SYSTEM/Control/Control Assign) to select the controller.


<Depth>

Adjusts the degree of EFX parameter changes to occur in response to controller movement. Higher values will result in more change. Negative (-) values will invert the change direction.


Chorus

Make the Chorus settings for how chorus will sound and be output.

Level (Chorus level)

Adjusts the volume level of the chorus sound.

Rate (Chorus rate)

Adjusts modulation speed for the chorus.

Depth (Chorus depth)

Adjusts modulation depth for the chorus.

Pre-Delay

Adjusts time from when the direct sound begins to when the chorus sound is heard. Higher values create a more spacious sound.

Feedback (Chorus feedback level)

Adjusts the amount of chorus sound that is returned (fed back) to the chorus. Higher values create a more intense effect.

Output (Chorus output assign)

Specifies how chorus sound is to be output.

MIX : The sound will be output from the OUTPUT jacks just as it is.

REVERB : Reverb will be applied.

MIX+REV : The sound will be output from the OUTPUT jacks and to reverb.

Reverb

Makes reverb effect settings such as reverb type and reverb time.

Type (Reverb/Delay type)

Selects reverb or delay type.

ROOM1 : Short, dense reverb

ROOM2 : Short, sparse reverb

STAGE1 : Reverb with greater late reverberation

STAGE2 : Reverb with strong early reflections

HALL1 : Reverb with clear reverberation

HALL2 : Reverb with rich reverberation

DELAY : Conventional delay

PAN-DLY : Delay with echoes that pan left and right

Level (Reverb/Delay level)

Adjusts the level of the reverb (or delay) sound.

Time (Reverb/Delay time)

For any ROOM1--HALL2 Type, this parameter adjusts reverb time. For DELAY or PAN-DLY, this parameter adjusts delay time. Higher values make for a more spacious sound.

HF Damp (Reverb/Delay HF damp)

Adjusts the frequency above which reverb will be cut. The lower this setting, the more the high frequency cut, resulting in a softer, muted reverb. If you want reverb with full frequency extension, set this parameter to BYPASS.

Delay Feedback (Delay feedback level)

If you have selected DELAY or PAN-DLY Type, this parameter adjusts the amount of delayed sound that is returned (fed back) to the delay. Higher values will result in more delay repeats.


Section 3. Functions of Rhythm Set parameters

Naming a Rhythm Set (Common)

Rhythm Set Name

You can use up to 12 alphanumeric characters to name the Rhythm Set.

Modifying waveform and pitch of a Rhythm Tone (Key WG)

Wave

Select the basic Rhythm Tone waveform and modify it or adjust pitch.

Wave Group

Selects the waveform group.

INT A, INT B, Session(XP-A) : Waveform stored in the unit's internal memory.

Wave-EXP(XP-B) : Waveform stored in a Wave Expansion Board installed in EXP-B slot.

* You cannot select a waveform group of a Wave Expansion Board which is not installed.

Wave Number

Selects the basic waveform for a Rhythm Tone.

Wave Gain

Adjusts the gain over a -6 -- +12 dB range, in steps of 6 dB. An increase of 6 dB doubles the gain.

Tone Switch

Turn it on when you want a specific Rhythm Tone. Keep it OFF otherwise.

Coarse Tune

Sets the key pitch for the Rhythm Tone played.

Fine Tune

Adjusts pitch in 1-cent (1/100th of a semitone) steps (-50 -- +50 cents).

Random Pitch Depth

For random pitch changes with every key press, use this parameter to set the desired amount (in cents) of pitch change. If you don't want random pitch changes set it to O.

Pitch Envelope

This is where to set the pitch envelope (how pitch changes over time).

Time1-4 (Pitch envelope time 1--4)

Sets pitch envelope's time (Time 1--4). Higher settings extend the duration over which pitch changes from one point to another (for example, time for the pitch to change from Level 1 to Level 2 for Time 2).

Level1-4 (Pitch envelope level 1--4)

Sets pitch envelope level (Level 1--4) to determine pitch of each point relative to the reference pitch (pitch set for Coarse Tune or Fine Tune). Positive (+) values will raise pitch over the reference pitch, and negative (-) values lower pitch below the reference pitch.

Envelope Depth (Pitch envelope depth)

Adjusts pitch envelope amount. Higher settings produce more change. Negative (-) values invert the envelope.

Velocity Sens (Pitch envelope velocity sensitivity)

This parameter should be used when you want keyboard playing dynamics (velocity) to impact on pitch envelope amount. With positive (+) values, the amount of pitch envelope increases as the key is pressed with increasing force. Negative (-) values reduce pitch envelope amount as the key is pressed with increasing force.

Velocity Time (Pitch envelope velocity time sensitivity)

Use this parameter when you want keyboard playing dynamics (velocity) to impact on the pitch envelope time. With positive (+) settings, a higher keyboard velocity will reduce (speed up) Time value. With negative (-) settings, higher keyboard velocity will increase (slow down) Time value.

Changing the tone (filter) of a Rhythm tone (Key TVF)

TVF Param (TVF parameter)

TVF (Time Variant Filter) settings. By changing a sound's brightness or thickness, a Rhythm Tone can be modified.

Filter Type

Selects the filter type. A filter attenuates a specific frequency range to modify the brightness or thickness of sound.

OFF : No filter is used.

LPF : Low Pass Filter cuts frequencies above the cutoff frequency to round off the sound. This is the most common filter used in synthesizers.

BPF : Band Pass Filter cuts frequencies below and above the cutoff frequency range. Most effective for creating sounds with strong characteristics.

HPF : High Pass Filter cuts the frequencies below the cutoff frequency. Suitable for creating percussive sounds emphasizing highs.

PKG : Peaking Filter emphasizes frequencies around the cutoff frequency. This expresses the special sound of a drum.

Cutoff Frequency

Sets the frequency at which the filter starts to have an effect (cutoff frequency) on the waveform's frequency components.

With LPF selected for the Filter Type parameter, lower Cutoff Frequency settings will reduce upper harmonics for a more rounded sound. Higher settings will make sound brighter.

If BPF is selected, harmonic components will change depending on the Cutoff Frequency setting. Using this setting effectively will create some highly distinctive sounds.

With HPF selected, higher Cutoff Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

With PKG selected, the harmonics to be emphasized will vary depending on Cutoff Frequency setting.

Resonance

Emphasizes frequencies around the cutoff frequency. Excessive level at some settings can cause oscillation and distortion.

Resonance Vel Sens (Resonance velocity sensitivity)

Use this parameter if you want velocity to influence the Resonance parameter. If you want higher keyboard velocities to create more changes in Resonance, use positive (+) values. For less Resonance change, use negative (-) values.

TVF Envelope

Setting TVF envelope (how cutoff frequency changes over time).

Time1-4 (TVF envelope time 1--4)

Sets TVF envelope time (Time1--4). Higher settings will extend the time over which cutoff frequency changes from one point to the next point (for example, time during which the cutoff frequency changes from Level 1 to Level 2 for Time 2).

Level1-4 (TVF envelope level 1--4)

Sets the TVF envelope level (Level1--4) to determine cutoff frequency of each point relative to the specified Cutoff Frequency parameter value.

Envelope Depth (TVF envelope depth)

Adjusts TVF envelope amount. Higher settings result in more change. Negative (-) settings invert the envelope.

Velocity Sens (TVF envelope velocity sensitivity)

The parameter to use when you want keyboard playing dynamics (velocity) to affect TVF envelope amount. Positive (+) settings increase TVF envelope amount as a key is pressed harder. Negative (-) settings decrease TVF envelope amount when the key is pressed harder.

Velocity Time (TVF envelope velocity time sensitivity)

The parameter to use when you want keyboard playing dynamics (velocity) to affect the TVF envelope time. At positive (+) settings, higher keyboard velocities will reduce (speed up) Time value. At negative (-) settings, higher keyboard velocities will increase (slow down) Time value.

Changing the volume of a Rhythm Tone (Key TVA)

TVA Param (TVA Parameter)

TVA (Time Variant Amplifier) controls volume changes and panning for each Rhythm Tone.

Tone Level (Rhythm Tone level)

Adjusts the basic volume of a Rhythm Tone. Use this parameter to adjust the volume balance between Rhythm Tones as desired.

Tone Pan (Rhythm Tone pan)

Adjusts the pan (location in stereo soundfield) for each Rhythm Tone. L64 pans hard left, 0 is center and 63R pans hard right.

Random Pan Depth

Use this parameter to select key-initiated random panning. Set a desired value for the panning change. Set this to 0 if you don't want random panning.

Alternate Pan Depth

Use this parameter for key-initiated left/right alternate panning. Higher values result in greater panning. L or R values can be set, and these can be used to reverse the left/right panning order if desired. If you want to alternate the pan position of two Rhythm Tones, set them to opposite L and R settings.

TVA Envelope

Setting TVA envelope (how TVA level changes over time).

Time1-4 (TVA envelope time 1--4)

Sets TVA envelope time (Time 1--4). Higher settings will extend the time over which the volume changes from one point to the next (for example, duration for volume to change from Level 1 to Level 2 for Time 2).

Level1-3 (TVA envelope level 1--3)

Sets TVA envelope level (Level 1--3) to adjust the volume level of each point relative to the reference volume (specified Tone Level value).

Velocity Sens (TVA envelope velocity sensitivity)

Use this parameter when you want velocity to influence TVA envelope amount. Positive (+) settings increase the amount of TVA envelope as the key is pressed with increasing force. Negative (-) settings do the reverse.

Velocity Time (TVA envelope velocity time sensitivity)

Use this parameter when you want velocity to influence the Time parameter of the TVA envelope. With positive (+) settings, greater keyboard velocities will reduce (speed up) Time value.

With negative (-) settings, greater keyboard velocities will increase (slow down) Time value.

Controlling how a Rhythm Tone will sound with controllers (Key Ctl)

Control Param (Control parameter)

You can assign functions to the JV-1010's controllers and determine how each key will sound.

Bend Range (Pitch bend range)

Specify the width of the pitch change that will occur when the bender lever of a connected MIDI keyboard is moved fully left or right, in semitone steps over a maximum of +/-1 octaves.

Mute Group

The Mute Group function lets you keep certain Rhythm Tones with the same settings from sounding at the same time. Take an acoustic drum set as an example. An open hi-hat and a closed hi-hat can't sound simultaneously. To simulate this situation on the JV-1010, set each hi-hat sound to the same Mute Group number.

Up to 31 Mute Groups can be used. When not muting notes, set it OFF.

Envelope Mode

Usually when a looped Wave is selected, sound will continue as long as a key remains pressed. Select NO-SUS if you want sound to decay naturally even if the key is not released.

* If you select a one-shot Wave, it will not sustain even if this parameter is set to SUSTAIN.

Volume (Volume control switch)

If you want Volume messages to be received, set this parameter ON. If not, set it OFF.

Pan (Pan control switch)

Specifies how pan messages are received.

OFF : Not received.

CONTINUOUS : Whenever pan messages are received, the stereo position of the specified note will change.

KEY-ON : The stereo position of a specific note changes when the note is played. The stereo position of the specified note will not change until the next key press even if pan messages are received while it is being played. In this case, only the stereo position of the next played note will change, not the current sounding note.

Hold-1 (Hold1 control switch)

Set this ON when you want Hold1 messages to be received. If not, set it OFF.

* If NO-SUS is selected for the Envelope Mode parameter, the Hold-1 parameter values will have no effect.

Setting effects for a Rhythm Tone (Effects)

When in Rhythm Set Mode, only Part 10 of a Performance is selected, so effects settings of the currently selected Performance will be used. The following parameters, however, can be specified for each note (Rhythm Tone).

General (Effects general)

Output Assign

Specifies how each Rhythm Tone will be output.

MIX : The direct sound is output to OUTPUT jack. If Chorus and/or Reverb is selected, these effects are output together with the direct sound.

EFX : The direct sound is sent to EFX. After passing through EFX, the sound is output to OUTPUT jack.

Reverb Send Level

Adjusts the intensity of reverb for each Rhythm Tone.

Chorus Send Level

Adjusts the amount of chorus for each Rhythm Tone.

Mix/EFX Send Level

If Output Assign Parameter is set to MIX, adjusts volume of each Rhythm Tone. If Output Assign Parameter is set to EFX, adjusts the volume level of EFX'd sound for each Rhythm Tone.


Section 4. EFX effect types (EFX Parameter)

EFX provides 40 types of effect. Some of these consist of two different effects connected in series or parallel.

Select the EFX type you want using the EFX Type parameter and set each EFX parameter.

* Parameters marked with a sharp (#) can be controlled using a specified controller. Settings in the Patch or Performance EFX Control (PATCH/Effects), EFX Control (PERFORM/Effects) will determine how these parameters are controlled. Two setting items will change simultaneously for "#1" and "#2". The EFX control sources can be set for each Patch or Performance.


1: STEREO-EQ (Stereo equalizer)

This is a four-band stereo equalizer (low, mid x 2, high).

Low Freq (Low frequency)

Select the frequency of the low range (200 Hz/400 Hz).

Low Gain

Adjust the gain of the low frequency.

High Freq (High frequency)

Select the frequency of the high range (4000 Hz/8000 Hz).

High Gain

Adjust the gain of the high frequency.

P1 Freq (Peaking 1 frequency)

Adjust the frequency of Peaking 1 (mid range).

P1 Q (Peaking 1 Q)

This parameter adjusts the width of the area around the P1 Freq parameter that will be affected by the Gain setting. Higher values of Q will result in a narrower area being affected.

P1 Gain (Peaking 1 gain)

Adjust the gain for the area specified by the P1 Freq parameter and P1 Q parameter settings.

P2 Freq (Peaking 2 frequency)

Adjust the frequency of Peaking 2 (mid range).

P2 Q (Peaking 2 Q)

This parameter adjusts the width of the area around the P2 Freq parameter that will be affected by the Gain setting. Higher values of Q will result in a narrower area being affected.

P2 Gain (Peaking 2 gain)

Adjust the gain for the area specified by the P2 Freq parameter and P2 Q parameter settings.

Level (Output level) #

Adjust the output level.


2: OVERDRIVE

This effect creates a soft distortion similar to that produced by vacuum tube amplifiers.

Drive #

Adjust the degree of distortion. The volume will change together with the degree of distortion.

Amp Type (Amp simulator type)

Select the type of guitar amp.

SMALL : small amp

BUILT-IN : single-unit type amp

2-STACK : large double stack amp

3-STACK : large triple stack amp

Low Gain

Adjust the gain of the low frequency range.

High Gain

Adjust the gain of the high frequency range.

Pan (Output pan) #

Adjust the stereo location of the output sound. L64 is far left, 0 is center, and 63R is far right.

Level (Output level)

Adjust the output level.


3: DISTORTION

This effect produces a more intense distortion than Overdrive.

Drive #

Adjust the degree of distortion. The volume will change together with the degree of distortion.

Amp Type (Amp simulator type)

Select the type of guitar amp.

SMALL : small amp

BUILT-IN : single-unit type amp

2-STACK : large double stack amp

3-STACK : large triple stack amp

Low Gain

Adjust the gain of the low frequency range.

High Gain

Adjust the gain of the high frequency range.

Pan (Output pan) #

Adjust the stereo location of the output sound. L64 is far left, 0 is center, and 63R is far right.

Level (Output level)

Adjust the output level.


4: PHASER

A phaser adds a phase-shifted sound to the original sound, producing a twisting modulation that creates spaciousness and depth.

Manual #

Adjust the basic frequency from which the sound will be modulated.

Rate #

Adjust the frequency (period) of modulation.

Depth

Adjust the depth of modulation.

Resonance

Adjust the amount of Phaser feedback. Larger values produce a more distinctive sound.

Mix (Mix level)

Adjust the ratio with which the phase-shifted sound is combined with the direct sound.

Pan (Output pan)

Adjust the stereo location of the output sound. L64 is far left, 0 is center, and 63R is far right.

Level (Output level)

Adjust the output level.


5: SPECTRUM

Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies. It is similar to an equalizer, but has 8 frequency points fixed at locations most suitable for adding character to the sound.

Band 1 (Band 1 gain)

Adjust the 250 Hz level.

Band 2 (Band 2 gain)

Adjust the 500 Hz level.

Band 3 (Band 3 gain)

Adjust the 1 kHz level.

Band 4 (Band 4 gain)

Adjust the 1250 Hz level.

Band 5 (Band 5 gain)

Adjust the 2000 Hz level.

Band 6 (Band 6 gain)

Adjust the 3150 Hz level.

Band 7 (Band 7 gain)

Adjust the 4000 Hz level.

Band 8 (Band 8 gain)

Adjust the 8000 Hz level.

Width (Band width)

Simultaneously adjust the width of the adjusted areas for all the frequency bands.

Pan (Output pan) #

Adjust the stereo location of the output sound. L64 is far left, 0 is center, and 63R is far right.

Level (Output level) #

Adjust the output level.


6: ENHANCER

The Enhancer controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

Sens (Sensitivity) #

Adjust the sensitivity of the enhancer.

Mix (Mix level) #

Adjust the ratio with which the overtones generated by the enhancer are combined with the direct sound.

Low Gain

Adjust the gain of the low frequency range.

High Gain

Adjust the gain of the high frequency range.

Level (Output level)

Adjust the output level.


7: AUTO-WAH

The Auto Wah cyclically controls a filter to create cyclic change in timbre.

Filter Type

Select the type of filter.

LPF : The wah effect will be applied over a wide frequency range.

BPF : The wah effect will be applied over a narrow frequency range.

Sens (Sensitivity)

Adjust the sensitivity with which the filter is controlled.

Manual #

Adjust the center frequency from which the effect is applied.

Peak

Adjust the amount of the wah effect that will occur in the area of the center frequency. Lower settings will cause the effect to be applied in a broad area around the center frequency. Higher settings will cause the effect to be applied in a more narrow range.

Rate #

Adjust the frequency of the modulation.

Depth

Adjust the depth of the modulation.

Level (Output level)

Adjust the output level.


8: ROTARY

The Rotary effect simulates the sound of the rotary speakers often used with the electric organs of the past. Since the movement of the high range and low range rotors can be set independently, the unique type of modulation characteristic of these speakers can be simulated quite closely. This effect is most suitable for electric organ Patches.

Low Slow Rate(Low frequency slow rate)

Adjust the slow speed (SLOW) of the low frequency rotor.

Low Fast Rate (Low frequency fast rate)

Adjust the fast speed (FAST) of the low frequency rotor.

Low Acceleration (Low frequency acceleration)

Adjust the time it takes the low frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed. Lower values will require longer times.

Low Level (Low frequency level)

Adjust the volume of the low frequency rotor.

High Slow Rate(High frequency slow rate)

Adjust the slow speed (SLOW) of the high frequency rotor.

High Fast Rate(High frequency fast rate)

Adjust the fast speed (FAST) of the high frequency rotor.

High Acceleration (High frequency acceleration)

Adjust the time it takes the high frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed. Lower values will require longer times.

High Level (High frequency level)

Adjust the volume of the high frequency rotor.

Separation

Adjust the spatial dispersion of the sound.

Speed #

Simultaneously switch the rotational speed of the low frequency rotor and high frequency rotor.

SLOW : Slow down the rotation to the specified speed (the Low Slow Rate parameter / Hi Slow Rate parameter values).

FAST : Speed up the rotation to the specified speed (the Low Slow Rate parameter / Hi Slow Rate parameter values).

Level (Output level) #

Adjust the output level.


9: COMPRESSOR

The Compressor flattens out high levels and boosts low levels, smoothing out unevenness in volume.

Attack

Adjust the attack time of an input sound.

Sustain

Adjust the time over which low level sounds are boosted until they reach the specified volume.

Post Gain

Adjust the output gain.

Low Gain

Adjust the low frequency gain.

High Gain

Adjust the high frequency gain.

Pan (Output pan) #

Adjust the stereo location of the output sound. L64 is far left, 0 is center, and 63R is far right.

Level (Output level) #

Adjust the output level.


10: LIMITER

The Limiter compresses signals that exceed a specified volume level, preventing distortion from occurring.

Threshold (Threshold level)

Adjust the volume at which compression will begin.

Ratio (Compression ratio)

Adjust the compression ratio.

Release (Release time)

Adjust the time from when the volume falls below the Threshold Level until compression is no longer applied.

Post Gain

Adjust the output gain.

Low Gain

Adjust the low frequency gain.

High Gain

Adjust the high frequency gain.

Pan (Output pan) #

Adjust the stereo location of the output sound. L64 is far left, 0 is center, and 63R is far right.

Level (Output level) #

Adjust the output level.


11: HEXA-CHORUS

Hexa-chorus uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.

Pre Delay (Pre delay time)

Adjust the time delay from when the direct sound begins until the processed sound is heard.

Rate #

Adjust the rate of modulation.

Depth

Adjust the depth of modulation.

Pre Delay Deviation

Pre Delay determines the time from when the direct sound begins until the processed sound is heard. Pre Delay Deviation adjusts the differences in Pre Delay between each chorus sound.

Depth Deviation

Adjust the difference in modulation depth between each chorus sound.

Pan Deviation

Adjust the difference in stereo location between each chorus sound. With a setting of 0, all chorus sounds will be in the center. With a setting of 20, each chorus sound will be spaced at 60 degree intervals relative to the center.

Balance (Effect balance) #

Adjust the volume balance between the direct sound and the processed sound.

Level (Output level)

Adjust the output level.


12: TREMOLO-CHORUS

Tremolo Chorus is a chorus effect with added Tremolo (cyclic modulation of volume).

Pre Delay (Pre delay time)

Adjust the time delay from when the direct sound begins until the chorus sound is heard.

Chorus Rate

Adjust the modulation speed of the chorus effect.

Chorus Depth

Adjust the modulation depth of the chorus effect.

Chorus Phase

Adjust the spread of the chorus effect.

Tremolo Rate #

Adjust the modulation speed of the tremolo effect.

Tremolo Separation

Adjust the spread of the tremolo effect.

Balance (Effect balance) #

Adjust the volume balance between the direct sound and the processed sound.

Level (Output level)

Adjust the output level.


13: SPACE-D

Space-D is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus effect.

Pre Delay (Pre delay time)

Adjust the time delay from when the direct sound begins until the processed sound is heard.

Rate #

Adjust the rate of modulation.

Depth

Adjust the depth of modulation.

Phase

Adjust the spatial spread of the sound.

Low Gain

Adjust the gain of the low frequency range.

High Gain

Adjust the gain of the high frequency range.

Balance (Effect balance) #

Adjust the volume balance between the direct sound and the processed sound.

Level (Output level)

Adjust the output level.


14: STEREO-CHORUS

This is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorus sound.

Pre Delay (Pre delay time)

Adjust the time delay from when the direct sound begins until the processed sound is heard.

Rate #

Adjust the rate of modulation.

Depth

Adjust the depth of modulation.

Phase

Adjust the spatial spread of the sound.

Filter Type

Select the type of filter.

OFF : A filter will not be used.

LPF : cut the frequency range above the cutoff frequency

HPF : cut the frequency range below the cutoff frequency

Cutoff Freq (Cutoff frequency)

Adjust the basic frequency of the filter.

Low Gain

Adjust the gain of the low frequency range.

High Gain

Adjust the gain of the high frequency range.

Balance (Effect balance) #

Adjust the volume balance between the direct sound and the processed sound.

Level (Output level)

Adjust the output level.


15: STEREO-FLANGER

This is a stereo flanger. (The LFO has the same phase for left and right.) It produces a metallic resonance that rises and falls like a jet airplane taking off or landing. A filter is provided so that you can adjust the timbre of the flanged sound.

Pre Delay (Pre delay time)

Adjust the time delay from when the direct sound begins until the processed sound is heard.

Rate #

Adjust the rate of modulation.

Depth

Adjust the depth of modulation.

Feedback (Feedback level) #

Adjust the amount (%) of the processed sound that is returned (fed back) into the input. Positive (+) settings will return the sound in phase, and negative (-) settings will return the sound in reverse phase.

Phase

Adjust the spatial spread of the sound.

Filter Type

Select the type of filter.

OFF : a filter will not be used

LPF : cut the frequency range above the cutoff frequency

HPF : cut the frequency range below the cutoff frequency

Cutoff Freq(Cutoff frequency)

Adjust the basic frequency of the filter.

Low Gain

Adjust the gain of the low frequency range.

High Gain

Adjust the gain of the high frequency range.

Balance (Effect balance)

Adjust the volume balance between the direct sound and the processed sound.

Level (Output level)

Adjust the output level.


16: STEP-FLANGER

The Step Flanger effect is a flanger in which the flanger pitch changes in steps. The speed at which the pitch changes can also be specified in terms of a note-value of a specified tempo.

Pre Delay (Pre delay time)

Adjust the time delay from when the direct sound begins until the processed sound is heard.

Rate

Adjust the rate of modulation.

Depth

Adjust the depth of modulation.

Feedback (Feedback level) #

Adjust the amount (%) of the processed sound that is returned (fed back) into the input. Negative (-) settings will invert the phase.

Phase

Adjust the spatial spread of the sound.

Step Rate #

Adjust the rate (period) of pitch change. This parameter can be set as a note-value of a specified tempo. In this case, specify the value of the desired note.

As the specified tempo, you may use the Patch Tempo parameter (PATCH/Common/Common General), Perform Tempo parameter (PERFORM/Common/Common), System Tempo parameter (SYSTEM/Setups/setup) or the external sequencer's tempo clock.

If you want to use a fixed tempo of the individual Patch in Patch mode (Patch Tempo parameter setting), set the Patch Clock Source parameter (PATCH/Common/Common General) to PATCH and set the Patch Tempo parameter (PATCH/Common/Common General).

If you want to use a fixed common tempo of the entire JV-1010 in Patch mode (System Tempo parameter setting), set the Patch Clock Source parameter (PATCH/Common/Common General) to SYSTEM, set the System Clock Source parameter (SYSTEM/Setups/setup) to INT and set the System Tempo parameter (SYSTEM/Setups/setup).

If you want to use the external sequencer's tempo clock in Patch mode, set the Patch Clock Source parameter (PATCH/Common/Common General) to SYSTEM and set the System Clock Source parameter (SYSTEM/Setups/setup) to MIDI.

If you want to use a fixed tempo of the individual Performance in Performance mode (Perform Tempo parameter setting), set the Performance Clock Source parameter (PERFORM/Common/Common) to PERFORM and set the Performance Tempo parameter (PERFORM/Common/Common).

If you want to use a fixed common tempo of the entire JV-1010 in Performance mode (System Tempo parameter setting), set the Performance Clock Source parameter (PERFORM/Common/Common) to SYSTEM, set the System Clock Source parameter (SYSTEM/Setups/setup) to INT and set the System Tempo parameter (SYSTEM/Setups/setup).

If you want to use the external sequencer's tempo clock in Performance mode, set the Performance Clock Source parameter (PERFORM/Common/Common) to SYSTEM and set the System Clock Source parameter (SYSTEM/Setups/setup) to MIDI.

Low Gain

Adjust the gain of the low frequency range.

High Gain

Adjust the gain of the high frequency range.

Balance (Effect balance)

Adjust the volume balance between the direct sound and the processed sound.

Level (Output level)

Adjust the output level.


17: STEREO-DELAY

This is a stereo delay.

When Feedback Mode parameter is NORMAL:

When Feedback Mode parameter is CROSS:

Delay Left (Delay time left)

Adjust the time from the original sound until when the left delay sound is heard.

Delay Right (Delay time right)

Adjust the time from the original sound until when the right delay sound is heard.

Feedback (Feedback level) #

Adjust the proportion (%) of the processed sound that is fed back into the effect. Negative (-) settings will invert the phase.

Feedback Mode

Select the way in which processed sound is fed back into the effect.

NORMAL : The left delay sound will be fed back into the left delay, and the right delay sound into the right delay.

CROSS : The left delay sound will be fed back into the right delay, and the right delay sound into the left delay.

Phase Left (Feedback phase left)

Select the phase of the left delay sound.

NORMAL : Phase is not changed.

INVERT : Phase is inverted.

Phase Right (Feedback phase right)

Select the phase of the right delay sound.

NORMAL : Phase is not changed.

INVERT : Phase is inverted.

HF Damp

Adjust the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.

Low Gain

Adjust the gain of the low frequency range.

High Gain

Adjust the gain of the high frequency range.

Balance (Effect balance) #

Adjust the volume balance between the direct sound and the processed sound.

Level (Output level)

Adjust the output level.


18: MODULATION-DELAY

This effect adds modulation to the delayed sound, producing an effect similar to a flanger.

When Feedback Mode parameter is NORMAL:

When Feed back Mode parameter is CROSS:

Delay Left (Delay time left)

Adjust the time from the original sound until when the left delay sound is heard.

Delay Right (Delay time right)

Adjust the time from the original sound until when the right delay sound is heard.

Feedback (Feedback level)

Adjust the proportion (%) of the processed sound that is fed back into the effect. Negative (-) settings will invert the phase.

Feedback Mode

Select the way in which processed sound is fed back into the effect.

NORMAL : The left delay sound will be fed back into the left delay, and the right delay sound into the right delay.

CROSS : The left delay sound will be fed back into the right delay, and the right delay sound into the left delay.

Rate #

Adjust the speed of the modulation.

Depth

Adjust the depth of the modulation.

Phase

Adjust the spatial spread of the sound.

HF Damp

Adjust the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.

Low Gain

Adjust the gain of the low frequency range.

High Gain

Adjust the gain of the high frequency range.

Balance (Effect balance) #

Adjust the volume balance between the direct sound and the processed sound.

Level (Output level)

Adjust the output level.


19: TRIPLE-TAP-DELAY

The Triple Tap Delay produces three delay sounds; center, left and right. The center delay time can be specified as a note value of a specified tempo.

Delay Center (Delay time center)

Adjust the time delay from the direct sound until when the center delay sound is heard. This parameter can be set as a note-value of a specified tempo. In this case, specify the value of the desired note.

Delay Left (Delay time left)

Adjust the time delay from the direct sound until when the left delay sound is heard. This parameter can be set as a note-value of a specified tempo. In this case, specify the value of the desired note.

Delay Right (Delay time right)

Adjust the time delay from the direct sound until when the right delay sound is heard. This parameter can be set as a note-value of a specified tempo. In this case, specify the value of the desired note.

As the specified tempo, you may use the Patch Tempo parameter (PATCH/Common/Common General), Perform Tempo parameter (PERFORM/Common/Common), System Tempo parameter (SYSTEM/Setups/setup) or the external sequencer's tempo clock.

If you want to use a fixed tempo of the individual Patch in Patch mode (Patch Tempo parameter setting), set the Patch Clock Source parameter (PATCH/Common/Common General) to PATCH and set the Patch Tempo parameter (PATCH/Common/Common General).

If you want to use a fixed common tempo of the entire JV-1010 in Patch mode (System Tempo parameter setting), set the Patch Clock Source parameter (PATCH/Common/Common General) to SYSTEM, set the System Clock Source parameter (SYSTEM/Setups/setup) to INT and set the System Tempo parameter (SYSTEM/Setups/setup).

If you want to use the external sequencer's tempo clock in Patch mode, set the Patch Clock Source parameter (PATCH/Common/Common General) to SYSTEM and set the System Clock Source parameter (SYSTEM/Setups/setup) to MIDI.

If you want to use a fixed tempo of the individual Performance in Performance mode (Perform Tempo parameter setting), set the Performance Clock Source parameter (PERFORM/Common/Common) to PERFORM and set the Performance Tempo parameter (PERFORM/Common/Common).

If you want to use a fixed common tempo of the entire JV-1010 in Performance mode (System Tempo parameter setting), set the Performance Clock Source parameter (PERFORM/Common/Common) to SYSTEM, set the System Clock Source parameter (SYSTEM/Setups/setup) to INT and set the System Tempo parameter (SYSTEM/Setups/setup).

If you want to use the external sequencer's tempo clock in Performance mode, set the Performance Clock Source parameter (PERFORM/Common/Common) to SYSTEM and set the System Clock Source parameter (SYSTEM/Setups/setup) to MIDI.

Feedback (Feedback level) #

Adjust the proportion (%) of the processed sound that is fed back into the effect. Negative (-) settings will invert the phase.

Center Level

Adjust the volume of center delay sound.

Left Level

Adjust the volume of left delay sound.

Right Level

Adjust the volume of right delay sound.

HF Damp

Adjust the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.

Low Gain

Adjust the gain of the low frequency range.

High Gain

Adjust the gain of the high frequency range.

Balance (Effect balance) #

Adjust the volume balance between the direct sound and the processed sound.

Level (Output level)

Adjust the output level.


20: QUADRUPLE-TAP-DELAY

The Quadruple Tap Delay has four delays. Each of the Delay Time parameters can be specified as a note length of the selected tempo.

The stereo location of each delay sound is as follows.

Delay 1 (Delay time 1)

Adjust the time delay from the direct sound until when delay 1 sound is heard. These parameters can be set as a note-value of a specified tempo. In this case, specify the value of the desired note.

Delay 2 (Delay time 2)

Adjust the time delay from the direct sound until when delay 2 sound is heard. These parameters can be set as a note-value of a specified tempo. In this case, specify the value of the desired note.

Delay 3 (Delay time 3)

Adjust the time delay from the direct sound until when delay 3 sound is heard. These parameters can be set as a note-value of a specified tempo. In this case, specify the value of the desired note.

Delay 4 (Delay time 4)

Adjust the time delay from the direct sound until when delay 4 sound is heard. These parameters can be set as a note-value of a specified tempo. In this case, specify the value of the desired note.

As the specified tempo, you may use the Patch Tempo parameter (PATCH/Common/Common General), Perform Tempo parameter (PERFORM/Common/Common), System Tempo parameter (SYSTEM/Setups/setup) or the external sequencer's tempo clock.

If you want to use a fixed tempo of the individual Patch in Patch mode (Patch Tempo parameter setting), set the Patch Clock Source parameter (PATCH/Common/Common General) to PATCH and set the Patch Tempo parameter (PATCH/Common/Common General).

If you want to use a fixed common tempo of the entire JV-1010 in Patch mode (System Tempo parameter setting), set the Patch Clock Source parameter (PATCH/Common/Common General) to SYSTEM, set the System Clock Source parameter (SYSTEM/Setups/setup) to INT and set the System Tempo parameter (SYSTEM/Setups/setup).

If you want to use the external sequencer's tempo clock in Patch mode, set the Patch Clock Source parameter (PATCH/Common/Common General) to SYSTEM and set the System Clock Source parameter (SYSTEM/Setups/setup) to MIDI.

If you want to use a fixed tempo of the individual Performance in Performance mode (Perform Tempo parameter setting), set the Performance Clock Source parameter (PERFORM/Common/Common) to PERFORM and set the Performance Tempo parameter (PERFORM/Common/Common).

If you want to use a fixed common tempo of the entire JV-1010 in Performance mode (System Tempo parameter setting), set the Performance Clock Source parameter (PERFORM/Common/Common) to SYSTEM, set the System Clock Source parameter (SYSTEM/Setups/setup) to INT and set the System Tempo parameter (SYSTEM/Setups/setup).

If you want to use the external sequencer's tempo clock in Performance mode, set the Performance Clock Source parameter (PERFORM/Common/Common) to SYSTEM and set the System Clock Source parameter (SYSTEM/Setups/setup) to MIDI.

Level 1

Adjust the volume of delay 1 sound.

Level 2

Adjust the volume of delay 2 sound.

Level 3

Adjust the volume of delay 3 sound.

Level 4

Adjust the volume of delay 4 sound.

Feedback (Feedback level) #

Adjust the proportion (%) of the processed sound that is fed back into the effect. Negative (-) settings will invert the phase.

HF Damp

Adjust the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.

Balance (Effect balance) #

Adjust the volume balance between the direct sound and the processed sound.

Level (Output level)

Adjust the output level.


21: TIME-CONTROL-DELAY

This effect allows you to use a specified controller (the controller selected in EFX Control) to control the delay time and pitch in realtime. Lengthening the delay will lower the pitch, and shortening it will raise the pitch.

Delay (Delay time) #

Adjust the time delay from the direct sound until when each delay sound is heard.

Acceleration

This parameter adjusts the time over which the Delay Time will change from the current setting to a newly specified setting. The rate of change for the Delay Time directly affects the rate of pitch change.

Feedback (Feedback level) #

Adjust the proportion (%) of the processed sound that is fed back into the effect. Negative (-) settings will invert the phase.

HF Damp

Adjust the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.

Pan (Output pan)

Adjust the stereo location of the processed sound. L64 is far left, 0 is center, and 63R is far right.

Low Gain

Adjust the gain of the low frequency range.

High Gain

Adjust the gain of the high frequency range.

Balance (Effect balance)

Adjust the volume balance between the direct sound and the processed sound.

Level (Output level)

Adjust the output level.


22: 2VOICE-PITCH-SHIFTER

A Pitch Shifter shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the original sound.

Coarse A (Coarse pitch A) #1

Adjust the pitch of Pitch Shift A in semitone steps (-2 -- +1 octaves).

Fine A (Fine pitch A) #1

Make fine adjustments to the pitch of Pitch Shift A in 2-cent steps (-100 -- +100 cents).

* One cent is 1/100th of a semitone.

Pan A (Output pan A)

Adjust the stereo location of the Pitch Shift A sound. L64 is far left, 0 is center, and 63R is far right.

Pre Delay A (Pre delay time A)

Adjust the time delay from when the direct sound begins until the Pitch Shift A sound is heard.

Coarse B (Coarse pitch B) #2

Adjust the pitch of Pitch Shift B in semitone steps (-2 -- +1 octaves).

Fine B (Fine pitch B) #2

Make fine adjustments to the pitch of Pitch Shift B in 2-cent steps (-100 -- +100 cents).

* One cent is 1/100th of a semitone.

Pan B (Output pan B)

Adjust the stereo location of the Pitch Shift B sound. L64 is far left, 0 is center, and 63R is far right.

Pre Delay B (Pre delay time B)

Adjust the time delay from when the direct sound begins until the Pitch Shift A sound is heard.

Mode (Pitch shifter mode)

Higher settings of this parameter will result in slower response, but steadier pitch.

Level Balance

Adjust the volume balance between the Pitch Shift A and Pitch Shift B sounds.

Balance (Effect balance)

Adjust the volume balance between the direct sound and the processed sound.

Level (Output level)

Adjust the output level.


23: FBK-PITCH-SHIFTER (Feedback pitch shifter)

This pitch shifter allows the pitch shifted sound to be fed back into the effect.

Coarse (Coarse pitch) #1

Adjust the pitch of the pitch shifted sound in semitone steps (-2 -- +1 octaves).

Fine (Fine pitch) #1

Make fine adjustments to the pitch of the pitch shifted sound in 2-cent steps (-100 -- +100 cents).

* One cent is 1/100th of a semitone.

Pan (Output pan)

Adjust the stereo location of the pitch shifted sound. L64 is far left, 0 is center, and 63R is far right.

Pre Delay (Pre delay time)

Adjust the time delay from when the direct sound begins until the pitch shifted sound is heard.

Mode (Pitch shifter mode)

Higher settings of this parameter will result in slower response, but steadier pitch.

Feedback (Feedback level) #

Adjust the proportion (%) of the processed sound that is fed back into the effect. Negative (-) settings will invert the phase.

Low Gain

Adjust the gain of the low frequency range.

High Gain

Adjust the gain of the high frequency range.

Balance (Effect balance)

Adjust the volume balance between the direct sound and the processed sound.

Level (Output level)

Adjust the output level.


24: REVERB

The Reverb effect adds reverberation to the sound, simulating an acoustic space.

Type (Reverb type)

Select the type of Reverb effect.

ROOM1 : dense reverb with short decay

ROOM2 : sparse reverb with short decay

STAGE1 : reverb with greater late reverberation

STAGE2 : reverb with strong early reflections

HALL1 : reverb with clear reverberance

HALL2 : reverb with rich reverberance

Pre Delay (Pre delay time)

Adjust the time delay from when the direct sound begins until the reverb sound is heard.

Time (Reverb time) #

Adjust the time length of reverberation.

HF Damp

Adjust the frequency above which the reverberant sound will be cut. As the frequency is set lower, more of the high frequencies will be cut, resulting in a softer and more muted reverberance. If you do not want the high frequencies to be cut, set this parameter to BYPASS.

Low Gain

Adjust the gain of the low frequency range.

High Gain

Adjust the gain of the high frequency range.

Balance (Effect balance) #

Adjust the volume balance between the direct sound and the processed sound.

Level (Output level)

Adjust the output level.


25: GATE-REVERB

Gate Reverb is a special type of reverb in which the reverberant sound is cut off before its natural length.

Type (Gate reverb type)

Select the type of reverb.

NORMAL : conventional gate reverb

REVERSE :backwards reverb

SWEEP1 : the reverberant sound moves from right to left

SWEEP2 : the reverberant sound moves from left to right

Pre Delay (Pre delay time)

Adjust the time delay from when the direct sound begins until the reverb sound is heard.

Gate Time

Adjust the time from when the reverb is heard until when it disappears.

Low Gain

Adjust the gain of the low frequency range.

High Gain

Adjust the gain of the high frequency range.

Balance (Effect balance) #

Adjust the volume balance between the direct sound and the processed sound.

Level (Output level) #

Adjust the output level.


26: OVERDRIVE -> CHORUS

This effect connects an overdrive and a chorus in series.

OD Drive

Adjust the degree of overdrive distortion. The volume will change together with the degree of distortion.

OD Pan (Output pan) #

Adjust the stereo location of the overdrive sound. L64 is far left, 0 is center, and 63R is far right.

Chorus Pre Delay (Chorus pre delay time)

Adjust the time delay from when the direct sound begins until the chorus sound is heard.

Chorus Rate

Adjust the modulation speed of the chorus effect.

Chorus Depth

Adjust the modulation depth of the chorus effect.

Chorus Balance #

Adjust the volume balance between the overdrive sound that is sent through the chorus and the overdrive sound that is not sent through the chorus. With a setting of "D100:0W", only the overdrive sound will be output. With a setting of "D0:100W", only the overdrive sound that is sent through the chorus will be output.

Level (Output level)

Adjust the output level.


27: OVERDRIVE -> FLANGER

This effect connects an overdrive and a flanger in series.

OD Drive

Adjust the degree of overdrive distortion. The volume will change together with the degree of distortion.

OD Pan (Output pan) #

Adjust the stereo location of the overdrive sound. L64 is far left, 0 is center, and 63R is far right.

Flanger Pre Delay (Flanger pre delay time)

Adjust the time delay from when the direct sound begins until the flanger sound is heard.

Flanger Rate

Adjust the modulation speed of the flanger effect.

Flanger Depth

Adjust the modulation depth of the flanger effect.

Flanger Feedback (Flanger feedback level)

Adjust the proportion (%) of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

Flanger Balance #

Adjust the volume balance between the overdrive sound that is sent through the flanger and the overdrive sound that is not sent through the flanger. With a setting of "D100:0W", only the overdrive sound will be output. With a setting of "D0:100W", only the overdrive sound that is sent through the flanger will be output.

Level (Output level)

Adjust the output level.


28: OVERDRIVE -> DELAY

This effect connects an overdrive and a delay in series.

OD Drive

Adjust the degree of overdrive distortion. The volume will change together with the degree of distortion.

OD Pan (Output pan) #

Adjust the stereo location of the overdrive sound. L64 is far left, 0 is center, and 63R is far right.

Delay Time

Adjust the time delay from when the direct sound begins until the delay sound is heard.

Delay Feedback (Delay feedback level)

Adjust the proportion (%) of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Delay HF Damp

Adjust the frequency above which delayed sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.

Delay Balance #

Adjust the volume balance between the overdrive sound that is sent through the delay and the overdrive sound that is not sent through the delay. With a setting of "D100:0W", only the overdrive sound will be output. With a setting of "D0:100W", only the overdrive sound that is sent through the delay will be output.

Level (Output level)

Adjust the output level.


29: DISTORTION -> CHORUS

This effect connects a distortion and a chorus in series. The parameters are the same as for "26: OVERDRIVE ' CHORUS."


30: DISTORTION -> FLANGER

This effect connects a distortion and a flanger in series. The parameters are the same as for "27: OVERDRIVE ' FLANGER."


31: DISTORTION -> DELAY

This effect connects a distortion and a delay in series. The parameters are the same as for "28: OVERDRIVE ' DELAY."


32: ENHANCER -> CHORUS

This effect connects an enhancer and a chorus in series.

EH Sens (Enhancer Sensitivity) #

Adjust the sensitivity of the enhancer.

EH Mix (Enhancer Mix level)

Adjust the ratio with which the overtones generated by the enhancer are combined with the direct sound.

Chorus Pre Delay (Chorus pre delay time)

Adjust the time delay from when the direct sound begins until the chorus sound is heard.

Chorus Rate

Adjust the modulation speed of the chorus effect.

Chorus Depth

Adjust the modulation depth of the chorus effect.

Chorus Balance #

Adjust the volume balance between the enhancer sound that is sent through the chorus and the enhancer sound that is not sent through the chorus. With a setting of "D100:0W", only the enhancer sound will be output. With a setting of "D0:100W", only the enhancer sound that is sent through the chorus will be output.

Level (Output level)

Adjust the output level.


33: ENHANCER -> FLANGER

This effect connects an enhancer and a flanger in series.

EH Sens (Enhancer Sensitivity) #

Adjust the sensitivity of the enhancer.

EH Mix (Enhancer Mix level)

Adjust the ratio with which the overtones generated by the enhancer are combined with the direct sound.

Flanger Pre Delay (Flanger pre delay time)

Adjust the time delay from when the direct sound begins until the flanger sound is heard.

Flanger Rate

Adjust the modulation speed of the flanger effect.

Flanger Depth

Adjust the modulation depth of the flanger effect.

Flanger Feedback (Flanger Feedback level)

Adjust the proportion (%) of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

Flanger Balance #

Adjust the volume balance between the enhancer sound that is sent through the flanger and the enhancer sound that is not sent through the flanger. With a setting of "D100:0W", only the enhancer sound will be output. With a setting of "D0:100W", only the enhancer sound that is sent through the flanger will be output.

Level (Output level)

Adjust the output level.


34: ENHANCER -> DELAY

This effect connects an enhancer and a delay in series.

EH Sens (Enhancer Sensitivity) #

Adjust the sensitivity of the enhancer.

EH Mix (Enhancer Mix level)

Adjust the ratio with which the overtones generated by the enhancer are combined with the direct sound.

Delay Time

Adjust the time delay from when the direct sound begins until the delay sound is heard.

Delay Feedback (Delay feedback level)

Adjust the proportion (%) of the delay sound that is fed back into the delay input. Negative (-) settings will invert the phase.

Delay HF Damp

Adjust the frequency above which delayed sound fed back to the delay input will be cut. If you do not want to cut the high frequencies of the delay feedback, set this parameter to BYPASS.

Delay Balance (Delay balance) #

Adjust the volume balance between the enhancer sound that is sent through the delay and the enhancer sound that is not sent through the delay. With a setting of "D100:0W", only the enhancer sound will be output. With a setting of "D0:100W", only the enhancer sound that is sent through the delay will be output.

Level (Output level)

Adjust the output level.


35: CHORUS -> DELAY

This effect connects a chorus and a delay unit in series.

Chorus Pre Delay (Chorus pre delay time)

Adjust the time delay from when the direct sound begins until the chorus sound is heard.

Chorus Rate

Adjust the modulation speed of the chorus effect.

Chorus Depth

Adjust the modulation depth of the chorus effect.

Chorus Balance #

Adjust the volume balance between the direct sound and the chorus sound. With a setting of "D100:0W", only the direct sound will be output. With a setting of "D0:100W", only the chorus sound will be output.

Delay Time

Adjust the time delay from when the direct sound begins until the delay sound is heard.

Delay Feedback (Delay feedback level)

Adjust the proportion (%) of the delay sound that is fed back into the delay input. Negative (-) settings will invert the phase.

Delay HF Damp

Adjust the frequency above which delayed sound fed back to the delay input will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.

Delay Balance #

Adjust the volume balance between the chorus sound that is sent through the delay and the chorus sound that is not sent through the delay. With a setting of "D100:0W", only the chorus sound will be output. With a setting of "D0:100W", only the chorus sound that is sent through the delay will be output.

Level (Output level)

Adjust the output level.


36: FLANGER -> DELAY

This effect connects a flanger and a delay in series.

Flanger Pre Delay (Flanger pre delay time)

Adjust the time delay from when the direct sound begins until the flanger sound is heard.

Flanger Rate

Adjust the modulation speed of the flanger effect.

Flanger Depth

Adjust the modulation depth of the flanger effect.

Flanger Feedback (Flanger feedback level)

Adjust the proportion (%) of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

Flanger Balance #

Adjust the volume balance between the direct sound and the flanger sound. With a setting of "D100:0W", only the direct sound will be output. With a setting of "D0:100W", only the flanger sound will be output.

Delay Time

Adjust the time delay from when the direct sound begins until the delay sound is heard.

Delay Feedback (Delay feedback level)

Adjust the proportion (%) of the delay sound that is fed back into the delay input. Negative (-) settings will invert the phase.

Delay HF Damp

Adjust the frequency above which delayed sound fed back to the delay input will be cut. If you do not want to cut the high frequencies of the delay feedback, set this parameter to BYPASS.

Delay Balance #

Adjust the volume balance between the flanger sound that is sent through the delay and the flanger sound that is not sent through the delay. With a setting of "D100:0W", only the flanger sound will be output. With a setting of "D0:100W", only the flanger sound that is sent through the delay will be output.

Level (Output level)

Adjust the output level.


37: CHORUS -> FLANGER

This effect connects a chorus and a flanger in series.

Chorus Pre Delay (Chorus pre delay time)

Adjust the time delay from when the direct sound begins until the chorus sound is heard.

Chorus Rate

Adjust the modulation speed of the chorus effect.

Chorus Depth

Adjust the modulation depth of the chorus effect.

Chorus Balance #

Adjust the volume balance between the direct sound and the chorus sound. With a setting of "D100:0W", only the direct sound will be output. With a setting of "D0:100W", only the chorus sound will be output.

Flanger Pre Delay (Flanger pre delay time)

Adjust the time delay from when the direct sound begins until the flanger sound is heard.

Flanger Rate

Adjust the modulation speed of the flanger effect.

Flanger Depth

Adjust the modulation depth of the flanger effect.

Flanger Feedback (Flanger feedback level)

Adjust the proportion (%) of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

Flanger Balance #

Adjust the volume balance between the chorus sound and the chorus sound that is passed through the flanger. With a setting of "D100:0W", only the chorus sound will be output. With a setting of "D0:100W", only the chorus sound that passes through the flanger will be output.

Level (Output level)

Adjust the output level.


38: CHORUS/DELAY

This effect connects a chorus and a delay in parallel. The parameters are the same as for "35: CHORUS ' DELAY." However, the Delay Balance parameter adjusts the volume balance between the direct sound and the delay sound.


39: FLANGER/DELAY

This effect connects a flanger and a delay in parallel. The parameters are the same as for "36: FLANGER ' DELAY." However, the Delay Balance parameter adjusts the volume balance between the direct sound and the delay sound.


40: CHORUS/FLANGER

This effect connects a chorus and a flanger in parallel. The parameters are the same as for "37: CHORUS ' FLANGER." However, the Flanger Balance parameter adjusts the volume balance between the direct sound and the flanger sound.


Section 5. JV-1010 operating environment setup (System parameters and their functions)

Setups (Setup)

Setup

Patch Remain (Patch remain switch)

Specifies whether you want the notes that are sounding to remain (ON) or turn off (OFF) when you select a new Patch or Rhythm Set.

* Effects settings change as soon as you switch to a new Patch or Rhythm Set, without being influenced by the Patch Remain setting. Because of this, certain effects settings can cause notes that were until then sounding to no longer be heard, even though Patch Remain has been set to on.

Clock Source (System Clock Source)

Set the common clock of the entire JV-1010.

INT : Set the value of the System Tempo parameter to the common clock of the entire JV-1010.

MIDI : Set the clock of the external sequencer to the common clock of the entire JV-1010.

System Tempo (System Tempo)

Set the common clock of the entire JV-1010.

Adjusting tuning (Tune)

Tune

Master Tune

Adjust the overall tuning of the JV-1010.

Master Key Shift

Shift the overall pitch of the JV-1010 in semitone steps.

Scale Tune Switch

Set this parameter ON when playing the keyboard in a scale other than equal temperament.

Scale Tune

To set a scale, specify the amount of pitch to be shifted for each note relative to the pitch of the equal temperament scale in 1-cent units.

Two scales can be set -- one for Patch mode, and the other one for Performance mode and GM modes.

* 1 cent is 1/100th of a semitone.


<Equal Temperament>

This scale divides an octave into 12 equal parts for the tuning system that is most widely used in Western music. The JV-1010 employs equal temperament when the Switch parameter is set OFF.

<Pure Temperament (Tonic is C)>

With this tuning, the three fundamental chords sound richer compared to equal temperament. This effect only applies to one key, and transposition makes the chord ambiguous.

<Arabian Scale>

In this scale, E and B are a quarter-note lower and C#, F# and G# are quarter-note higher compared to equal temperament. The intervals between G and B, C and E, F and G#, A# and C#, and D# and F# have a natural third (the interval between a major third and a minor third). With the Jv-1010, you can play Arabian scale in G, C and F keys.

(Examples)

Note nameEqual
temperament
Pure
temperament
(tonic C)
Arabian
scale
C00-6
C#0-8+45
D0+4-2
D#0+16-12
E0-14-51
F0-2-8
F#0-10+43
G0+2-4
G#0+14+47
A0-160
A#0+14-10
B0-12-49

MIDI settings (MIDI)

Performance Ctrl-Ch (Control channel)

Selects the receive channel used for selecting Performances via MIDI messages (Bank Select and Program Change messages). If you don't want to use Program Change messages to select Performances, set this OFF. If you set this control to the same channel as the receive channel for a Part specified by the Channel parameter (PERFORM/MIDI/Part MIDI), Performance selection will have priority and Program Change messages cannot be used for selecting Patches on that Part.

Rx Sys.Excl (Receive system exclusive switch)

Set ON if you want System Exclusive messages to be received. If not, set OFF.

Patch Rx-Ch (Patch receive channel)

Specifies the channel on which MIDI messages will be received in Patch mode.

Rx Program Change (Receive program change switch)

If you want to receive Program Change messages, set this ON. If not, set it OFF.

Rx Bank Select (Receive bank select switch)

If you want to receive Bank Select messages, set this ON. If not, set it OFF.

Control Assign

Sys-Ctrl1 (System Controller 1) Sys-Ctrl2 (System Controller 2)

These parameters allow you to choose up to two controllers for common use for controlling Patch or Performance parameters. The settings in each Patch (or Performance) determines which of the two controllers you choose here will actually be used. You also need to specify the parameters to be controlled for each Patch (or Performance).

CC01--95 : Controller numbers 1--95 (except for 6, 32--63).

PITCH BEND : Pitch bend

AFTERTOUCH : Aftertouch

* To use the selected controllers, you need to make necessary System settings and Patch/Performance settings so that the MIDI messages transmitted by the selected controllers will be received.

* For most control change messages, the function performed by message number is defined in MIDI specifications. Please note these settings allow you to use control change messages without regard to officially defined functions.

Control Source

Select the type of pedal messages that will be used to control Peak&Hold.

Hold (Hold control source)

Selects the type of pedal message that will be used to hold the current parameter values.

OFF : Not used

HOLD-1 : Hold 1 (controller number 64)

SOSTENUTO : Sostenuto (controller number 66)

SOFT : Soft pedal (controller number 67)

HOLD-2 : Hold 2 (controller number 69)

Peak (Peak control source)

Selects the type of pedal message that will be used to hold the highest parameter values received.

OFF : Not used

HOLD-1 : Hold 1 (controller number 64)

SOSTENUTO : Sostenuto (controller number 66)

SOFT : Soft pedal (controller number 67)

HOLD-2 : Hold 2 (controller number 69)

Volume (Volume control source)

Specifies whether or not Expression messages (controller number 11) will affect the volume of a Patch or Part, as with Volume messages (controller number 7).

VOLUME : Only Volume messages will affect the volume, not Expression messages.

VOL&EXP : Both Volume and Expression messages will affect the volume.

Aftertouch (Aftertouch control source)

Selects the types of aftertouch messages that will affect the internal sound source.

CHANNEL : Channel aftertouch (aftertouch applied equally to all keys).

POLY : Polyphonic aftertouch (aftertouch applied independently to each key)

CH&POLY : Channel aftertouch and polyphonic aftertouch

Preview (Preview) Preview Mode (Preview Mode)

You can select one of three ways in which the preview will sound: "play a phrase," "play a chord," or "play a single note."

PHRASE : The phrase prepared for the Patch type (category) will sound.

CHORD : The notes specified by Note 1 -- 4 will sound simultaneously.

SINGLE : The notes specified by Note 1 -- 4 will sound successively one by one.

Preview Key Set (Preview Key Set)

Specify the pitch of four notes (C-1 -- G9) which will sound when SINGLE or CHORD is selected for Preview Mode.

If PHRASE is selected for Preview Mode, these settings will have no effect.

Preview Vel Set ( Preview Vel Set)

Specify the four volume (0 -- 127) which will sound when SINGLE or CHORD is selected for Preview Mode.

If PHRASE is selected for Preview Mode, these settings will have no effect.


Chapter 3. Using the JV-1010 as the GM sound source

The JV-1010 features a GM mode -- a convenient way to play back or create GM score data (music data for GM sound sources). You're able to play back commercial GM score data releases and even modify various parameter settings for enhanced musical expression.

Entering GM mode

Use GM mode to place the JV-1010's sound source in GM System compatible mode. Basically GM mode is similar to a special kind of Performance in which a GM System Rhythm Set is assigned to Part 10, and GM System Patches are assigned to other Parts. But however, you can't store GM mode settings in user memory.

Each time you enter GM mode, the GM Drum Set is assigned to Part 10, and Piano 1 is assigned to other Parts. You can also select other GM Patches and GM Drum Sets for each Part to match the performance.

Initializing the sound source for GM System basic settings

To play back a GM score correctly, the sound source must first be initialized to basic GM system settings. The JV-1010's sound source is initialized in the following situations:

When the JV-1010 is switched to GM mode.

When it receives a GM System On message from an external MIDI device.

At power on.

When you execute the GM Initialize function.

* The JV-1010 is not compatible with the GS format (standard format for multitimbral sound sources advocated by Roland). Music data bearing the GS logo (GS music data) may therefore not play back correctly on the JV-1010.

Modifying GM mode settings

GM mode also offers parameters that you can modify for each Part. You can modify settings like effects, pan and level to customize a GM score playback to your preference.

Setting a Part (Part)

Part Param (Part parameter)

Patch Number (GM Patch number)

Select the number of the GM Patch assigned to each Part (GM Rhythm Set is assigned to Part 10).

* You can select GM Patches only.

Part Level

Set the volume for each Part. This parameter is mainly used to adjust volume balance between Parts.

Part Pan

Adjusts panning for each Part. L64 is hard left, 0 is center, and 63R is hard right.

Coarse Tune

Adjusts the reference pitch of each Part in semitone steps (-4 -- +4 octaves). The pitch will change relative to the pitch of the GM Patch (0).

Fine Tune

Makes fine adjustments over -50 -- +50 cents in 1-cent steps (1/100th of a semitone) for the pitch specified in Coarse Tune for the Part.