GENERAL Roland iid Gs 16 PART MULTI TIMBRAL SYNTHESIZER IV-30 OWNER’S MANUALRoland V- | OO 16 PART MULTI TIMBRAL, | SYNTHESIZER OWNER’S MANUAL INTRODUCTION Thank you, and congratulations on your choice of the Roland JV-30 16 Part Multi Timbral Synthesizer, ‘Thanks to its high-quality, widely ranging selection of sounds, and easy-to-use, control features, itis sure to satisfy most everyone from beginner to seasoned professional. Moreover, it can easily be used to create ensemble effects, by making use of its multi timbral capabilities. In order to gain an overall understanding of every feature this unit offers, and to ensure continued satisfaction for years to come, please take the time to read this manual in its entirety. L_ @ General MIDI System J The General MIDI System isa set of recommendations which seek to pro- fimmmmmes vide a way for going beyond the limitations of proprietary designs, and standardize the MIDI capabilities provided by sound generating devices. If you use a sound generating unit which carries the General MIDI logo (fii), you will be able to faithfully reproduce any song data which also cames the General MIDI logo. @Gs Format ‘The GS Format is Roland's universal set of specifications which were for- mulated in the interest of standardizing the way in which sound generat- ing devices will operate when MID! is used for the performance of music. If you use a sound generating unit which carries the GS logo ( ], oF PARAMETER (a\](W], it means that you should press oné or ‘the other of such buttons; whichever is appropriate In the particular case. OForeryoy the unit with a soft dry doth ( For everday leaning wipe the unit witha soft dry cath or ne that has been sigh dampened wih wat). to remove Subbomn at, use 8 mid neutal Getergent Aferwarss, be Sure to wipe the unt thoroughly witha sot vy cath @ Never use benzne, thine, alcoho o soients ofan kind, {0 avoid the ruk of discoloration andor deformation [Additional Precautions} © Protect the unit from strong impact. Do not alow objects or iquids of any kind to penetrate the tnt in the event of such an occurrence, discontinue use in matey Contact quaied serie personne a soon 25 possi @ Never ste or apply stong pressure to the display. Should a malfunction occur (if you suspect theresa prob- jem) discontinue use immediately. Contact quatiied service personnel as s00n as possible. © A small amount of nose may be heard from the dspay, and thus should be considered normal (© To prevent the risk of electie shock, do not open the unit or its AC adaptor ban ap @ The unit contains a battery which maintains the contents of Tn ea uty iis te tat gitpaternce inca cea ees Eee cet Se eee ete Seeley Se eR EESTI ec tonnage Spout dg rt Bese ey oT Se eee aay 8 oe Brea ce rag oe Se Noone a Tan cta as mieg oh aetia, amar See menwuerore teense cme Sey ae eure arene Go SUSCONTENTS Panel Descriptions Making the Connections ‘Turning the Power On Listening to the Demo Songs (ROM Play) ~ [Section 1 PLAYING! ‘Auditioning the Sounds: 2 Playing Drum Sets: 14 Changing Parts: 8 Selecting the Key Mode: 7 se “16 LUsing/Making Settings for the Performance Features: “18 Setting Performance Functions Applying to All Parts-v--r-s-resrsesneesees 20 Setting Performance Functions for Individual Parts +22 Eziting Tones: “24 ‘Storing Edited Tones: “25 Ezdting Drum Seis r-rsrvseneesee +28 ‘Storing Edited Drum Sets ~ - ar Performances: z “28 Section USING MIDI Using MIDI 1 +30 Using MD 2. +32 MIDI Settings ~ nena 84 Making Full Use of the Muli Timbral Features 38, MIDI Controller Features:--rsvrrcieeeetene “38 Restoring the Original Settings ~ 7 39 Obtaining MT -3 Sound Ordering 39 Saving the JV - 30's Data “40 Section Ili APPENDIX Concerning 6S, General I Systm “44 ‘Troubleshooting AB Error Messages s-rve oon 46 ‘Tramsmitted MIDI Messages-~~ + 47 Organization of Sounds in the JV «30 ~ 48 JV - 30 Program Numbers ~~ F 49 Parameter List 50 Tone Table 82 Drum Set Table =~ : 56 Roland Exclusive Messages st ~ 59 MIDI IMPLEMENTATION ~ eeeeenenenen “61 ‘TOPICAL INDEX" 74 INDEX: 76 ‘SPECIFICATIONS:Panel Descriptions ‘VALUE Buttons 7Siider “EDIT PALETTE Buttons = or Skee ‘Siders Bender/Modulation Lever, ss athe 900 a OPIPanel Descriptions FpaRT Buttons TUNE/PAN Button REVERE Button CONTROL, Button | LEVEL Button CHORUS Button MIDI Button MASTER Button Come cf thet at'8 Laver and Frc Oop 3. se wet ban ‘hewn ‘vng ‘an oroall antes for ar eats ree SiGiiskt GSN Soe S Sees Se oe 2262s35 or “NUMBER “Buttons (se se PRESET Button” USER Button eee eee {PEDAL HOLD Jack fe rite £ comadaieieniede i ContentionMaking the Connections Before connecting any cords, make sure you have the power switch turned OFF on this unit, as well as on any other equipment, such as an amplifier or mixer. Additionally, make sure to have the volume on your amplifier or mixer is set at the lowest possible level. This way, you can prevent damage to speakers or other equipment during the power up procedure. Following the illustration below, connect the JV-30 with your external devices. ‘tor90 Hesdphones (Patan BH 20/780/120, te) AUX, LINE IN fae eae [Oe moO mentee a ro 0%, rdioeasette a Mier (BOSS MA-T2V, oc) Stee Sad paves ete Keyboerd Ampitier (GOSS 8X00, te) (Roland CK 40, eto) * Pedal switches, MIDI cables, and stereo headphones are all optionally available items. * Pleace use only Roland or BOSS pedal switches. The unit may not operate as expected if you substitute products from a different manufacturer.Making the Connections @ Power Switch Push to tun the unit's power ON or OFF. _ =o on OFF @ AC Adaptor Jack Use only the supplied AC adaptor. The AC adaptor should 'ee looped around the hock located to the right of the Power Switch, This prevents the cord from being acci- deny pulled out while you ae playing, © OUTPUT Jacks Provide output of the sound signals. They can be con pected to an amplifier or mixer, or some other unit. In ‘order to get the most out of this instrument, the use of stereo output is recommended. I you wish to play in monaural, use only the &. (MONO) jack When connecting to a home stereo or sinilar system, re- ‘move the adaptor plug from the suppied cable. @ PHONES Jack Stereo headphones should be used. Headphones: RH-20, RH-80, RH-120 etc, @ PEDAL HOLD Jack ‘Accepts connection of a pedal switch. While the pedal is ‘depressed, decaying-type sounds (such asthe piano), wall ‘decay more stony. Sounds which normally tend tobe sus- tained wil sound continually @ MIDI Connectors ‘low you to use MIDI cables to connec this instrument twth other MiDequpped unis. For cea, refer to “Using MID" p30) {_ Turning the Power On ‘Once all connections have been completed, turn on the devices in the folowing order: ® w-30 @ Amir, Stereo. set, Miner, Power oe owen (e a oe OFF oN Tum on the 3v-30. @ Tur on the power to the mixer andlor amplifier. @Set the volume control on each unit at an appropriate level. + This instrument requires 2 few seconds immediately after the power is tuned on before it is ready for operation. ‘This is duo to its circuitry protection feature. * Power down your system in the reverse order (ie, the 3V-30 last). @ w-20 Amplifier, ete. Reland tere sabe JUSS [Bee maa are eo 1bPiano 1 Pr i-1Listening to the Demo Songs (ROM Play) ‘The JV-30 contains two demonstration songs stored in ROM which take full advantage of the instrument's multi timbral sound generation capabilities. To hear the Demo Songs, follow this procedure: ‘SE 2 3 3 FF Press simultaneously (@ Press [LEVEL] and [PAN] simultaneously, The following will appear in the display: SS ROM PLAY 28% All Songs: @ Press cither the PARAMETER [/\] or [¥V] key to select a song. you do not make ths selection, the unit will ploy both songs, one after the other ‘© Press VALUE [A] to start song play. @ Press VALUE [¥] to stop song play. © To exit the ROM Play mode, you must once again simultaneously press [LEVEL] ‘and [PAN]. ‘he dscay wil show what it di before entering the ROM Play mode. * The keyboard cannot be used to play anything while ROM Play is in progress. * The performance data for these demonstration songsis not output from MDI OUT. ‘Song Tle Biographies of Composers Dreamscape (Adrian Scott Musie by Adan Scot forasy handed the voces and Keyboards for the popuar group ‘Adisn Scot: [tom Ausvaia, "Ae Supply". Since flowing the solo path be in 1884 wen the| JCopyriett © 1991, | Sivor Price at the “World Sang Festival Tokyo ‘84°. Current. he is involved as Adan Scott | eroducar of commercial muse and music for fins. In addon. 33 9 session payor, ho has performed slong with a numbar of Australia's top muccion, nctusing John Famam and Kyle Minogue. He Sves in Melbourne, Austaia, ‘ROUND AND ROUND [Chong Lim Musio by Jonona Lim ie a busy session keyboard payor, arranger, producer and composer Chong Lim working mainly in the cities of Melbourne and Sydney, Austala. He has Copyright © 1991, eotaborated with many top international artists including Jermaine Jackson, Jonny BMG Pubishing |Mor's, Litls River Band, The Euroaders ete. He is also sctiely volved in the Jcamposion of soundtrack music for fim and television * Please note that relevant laws prohibit the recording of the demonstration songs ‘on tape, as well as their use for public performance or broadcast (and all other usage which would extend beyond private, personal enjoyment) without the per- mmission of the holder of the rights to such material. 10ios oe mae 8Auditioning the Sounds Contained within the JV-30 is a comprehensive selection of Tones. Follow the instructions below to select those you are interested in and hear how they sound. Part Number Tone Name @ Preset Tones i ‘This Tone Group contains all the Tones that were stored in the unit when it was. ieptano 1. ene Coane F Repke neat fase Fac nel epee ies rien 1 l that you'll know what of Tone isin 2 particular Bank. Number These 128 Tones, which can be selected using BANK buttons (1}{16} and NUMBER buttons [1H], are refered to as “Capital Tones.” @ User Tones This Tone Group contains al the Tones that have been altered to your Hking. Ary “Tone that you have made changes to, whether it was originally a Preset ora User Tene, can be saved as a User Tone thats identified by means of BANKINUMBER system. [Selecting Tones] 1! | fit) eee eee of © Press [PRESET] to select a Preset Tone. ‘To select a User Tone, press [USER]. Selections can be made from the Tone Group where the indicator is It Using BANK [11-16], select the Bank. © Using NUMBER [1}8), select the desired Number. The indicator onthe bution wich has been pressed wil be it. Now, pay the keyboard, and it wil sound using the sect Tone. * Any button, whether it be [PRESET/[USER], [BANK or [NUMBER], will result in an immediate change to a new Tone if pressed. ‘Try playing as many of the sounds as you wish, while referring to the “Tone Table” ps2).Auditioning the Sounds @ Variation Certain Preset Tones provide related Tones containing a cifferent nuance. These are refer- ‘ed to a5 "Variation.” Note that while some Tones may have a number of Variations, others will have none at ai + User Tones have no Veriton et i z 3 i 3 5 i = eee ecco eee eee [Selecting Variations] Whenever you have 2 Tone selected that provides a Variation, press [VARIATION] to select the Variation. With Tones carrying @ number of Variations, each additional press of [VARIATION] allows you to select the next inthe series of avalabie Variations. ‘ter all Variations have been called up, the indicator light will go out andthe Capital Tone wal return Or, the Capital Tones will ao return if you press [BANK or NUMBER) + Should you press [VARIATION] when the Tone has no Variation, the sound simply remains the same.Playing Drum Sets ‘The JV-30 contains a number of Drum Sets which allow a wide range of per- ‘cussion instruments to be played, with a different sound produced by each key ‘on the instrument. Similar to ordinary Tones, there are Preset Drum Sets which are stored in the instrument, as well as User Drum Sets which can be edited to your liking (before being stored). Follow the instructions to play percussion sounds within the various Drum Sets. There are 9 Drum Sets and they correspond to the buttons as shown below: Button | Drum set name INUMBER[ TJ] STANDARD Set INUMBER[2]| ROOM Set NUMBER[S || POWER Set NUMBER[4 | ELECTRONIC Set NUM TR- 808 Set, NUMBER[6| JAZZ Set NUMBERCT | BRUSH Set NUMBER(S ]| ORCHESTRA Set EGUN SEX Set {For information on which instruments are assigned to which keys, refer to the “Drum Set Table” (» p58). [Selecting Drum Sets] eeepc HEHEHE of oy 0 @ Press either [DRUM] or [DRUM2. ‘The indicator on the button you have pressed vill ight. @To select a Preset Drum Set. press [PRESET]. To select a User Drum Set, press [USER]. © Press NUMBER [1}-[8] or [VARIATION]. The indicator on the button pressed wil ght. The percussion sounds ofthat Drum Set can row be played on the keyboard. * To return to an ordinary Tone after using a Drum Set, press BANK [1116], then re- select a Tone. * When you wish to play a percussive sound that uses a note lying beyond the range ‘of the keyboard, use the Transpose function to shift the keyboard's playing range ( pag). ulChanging Parts The JV-30 is capable of playing 16 Parts. Parts can be likened to separate per- formers, each playing on a particular instrument. A different Tone can be as- signed to each of the Parts. An ensemble effect can be obtained by having a ‘number of Parts play together, but in order to do this, you will need to have @ sequencer ot similar device. However, the JV-30 alone can be used creatively as explained below. @ You could assign the Tones (that you need for a series of songs, for example) to Parts in ‘numerical order. Then while playin, instantaneously switch to the needed Tone simply by changing to the next Part, {© When switching among Parts, a Variation of a Tone that has been assigned to a Part does Rot revert to the Capital Tone. This is convenient, since, for example, if you have a Tone \Varation assigned to Part 1, that sound wall be ready and playable whenever you choose Part 1, even after switching to other Pars for @ while. In other words, by using Pats, you ‘can more quickly select Variations. [Selecting Parts] Pat st, (© Prat Tone (fee tee Cantar 28 Oe Pea CSD Varation : 8 b | 0 Ue tere Pat 3 Cian] ve Change te Pats LET Preset 18 eee Ueee ° Per 16 Cana To change Parts, use PART [4] [>] A different Tone or Drum Set can be assigned to each ofthe Pars. Change the Part using PART [431 | and assign a Tone ora Drum Set to each of the Parts. For information on how ta select 2 Tone or Drum Set, refer to “Selecting Tones (» p12)" or "Selecting Drum Sets (vp. 14)". ‘ When assigning Drum Sets, take note of the following: ‘Although any Part can have a Drum Set assigned to it, only two Drum Sets can be handled at ‘one time, one for Drum 1 and one for Drum 2. For examnole, ifthe Perts ate asigned Dium Sets as shown below, and you then change the Drum Set for Part 1 to ROOM Set, the Orun Set for Part 3 will also change to ROOM Set 1 you make the Pan 1» DRUNT (STANDARD Sep ]°OOM Set Pert 1.755 pent cnOGM Sen Pat 2 + ORUMZ (JAZZ Sat) |__| par 2» vrume Gazz seo Part 3: DRUM (STANDARD Sat) Part 3: DRUM (ROOM Set) 6Selecting the Key Mode ‘The JV-30 provides the following 4 Key Modes, allowing you to alter the type ‘of expression applied to a Tone, or to play two Tones layered together. SaaS oe ene 0 @raT ‘Adds sound portions which have been minutely shifted in pitch to the curenty selected Tone. ‘This makes the Tone fatter or fuller. When output in stereo, the sound wal be broader, span- ring the stereo spectrum from left to right, @ocTAvE ‘Ads sound portions mbich are oe octave owesin ih to the cure selected one make i it fot. Layers another Tone nth the curety selected Toe, Area ange of ound tons ae poe @ DUAL Sle depending onthe chokes rade forts cmbiton of sounds, [Changing Tones} Bipiano 1 Curent Seseted Part PStrint (Move the cursor (>) using PARAMETER [A] [V], and select the Part for which you wish to change the Ton The Tone can be changed for the Part where the cursor appears. @ Use the Tone Selection button to change the Tone. * Using PART [-4] [>], the Part where the cursor appears can be changed. 8Selecting the Key Mode @ SPLIT [changing Tones] [Setting the Split Point] ‘Allows the keyboard to be spit into two zones, at a specified point (Split Point). This makes it possible for you to playa cfferent Tone in each zone. The curently selected Tone will be as- signed tothe zone located above the Spl Point, while the neviy selected second Tone wil play in the zone below it. ‘The Split Point can be set anywhere within the range C2-CH7, mT TNNTEN ae iano 1 poet Tone 2bstrings Lower Tere (© Move the cursor (+) using PARAMETER [4] [¥], and select the Part for which you wish to change the Tone. ‘The Tone can be changed forthe Part where the cursor appears. {© Use the Tone Selection button to change the Tone. * Using PART [-4] [D>], the Patt where the cursor appears can be changed. ‘© Press [SPLIT] to view the current setting for the Split Point. Srlit Point . ca Hold down (SPLIT, and use either the VALUE slider or VALUE [4] [¥] to set the Split Point. @ Release your finger from [SPLIT and the new Split Point is stored in memory. * All of the Key Modes employ two Parts when sound is produced. With Fat and ‘Octave, the Part which immediately preceeds the currently selected one is ‘employed. For example, if Part 2 is curently selected, and you then choose Fat or Octave as the Key Mode, Part 1 will be combined into the resulting sound. if Part ‘1 was originally selected, Part 16 will be the one added, For example, when using the sequencer for ensemble play, if you use FatlOctave on Part 2, then Part 1 notes won't sound. With Dual and Split, the two Parts shown in the display are used. You should be ‘areful with the allocation of Parts when employing a sequencer if a Key Mode is in effect. re ee m=) Qe) fp {Sines Piano 1) [Srinas) Swed a # atrst 208 v7Using/Making Settings for the aC US Rh ‘The following provides instruction on how to take advantage of a number of functions which enhance the performance capabilities of the instrument. © Effects The 1V30 is equipped wih two effectors, which prove Chows and roe @ Chorus ‘Adds greater spacousness and fatness to the sourd, It is most effective ‘when applied to organ or string Tones. @ Reverd Apps an effect othe sound which makes it sem 2 were being played in a concert hall IRE tl lk To tuen Chorus ON, press [CHORUS]. Confirm that the inicator is it ‘To tuin Reverb ON, press [REVERB]. Confirm that the indicator is It. ‘ress the relevant button again to turn the effect off * Hf you wish to change the Chorus or Reverb type, or the manner in which itis to be applied, refer to "Setting Performance Functions Applying to All Parts" (» p.20). @ Transpose “This function allows the keyboard's playable range to be shifted in semitone units. Transpose is convenient for accommodating the pitch of a singer's voice, for making songs in dificult keys easier to ply, and fer accessing percussive sounds that normally are beyond the keyboord's ange. To turn Transpose ON, press [TRANSPOSE]. Confirm thatthe indicator is it Press TRANSPOSE] again to turn the function OFF. [Setting the Amount of Transposition] ‘Hold down [TRANSPOSE], and use either the VALUE slider or VALUE [A] L¥] to set the amount by which the Pitch isto be shifted, ‘The amount of transposition is set in semitones, within a possible range of £2 octaves (~24 to +24}. Transrose -12 @ Release your finger from [TRANSPOSEI, and the amount of transpos- ition is stored in memory. Since the unit stores the setting, the range wil be transposed by the same amount each time you turn on the Transposefuncion. * fa setting of “0” has been made for the amount of transposition, the indicator on the button will not light when pressed.Using/Making Settings for the Performance Features © Solo @ Portamento This feature allows you to specify that only one sound is to be played. This can used whenever YoU wish to have only one sound used at atime, such as for slo pieces, or bras type sounds. Fress[50LO}, and confirm thatt incatris It. The instrument willnow only pay one sound. ress [S0L0) again to turn the function OFF. * ta Drum Set is currently selected, [SOLO] will have no effect if pressed. Portamento isan effect which provides a smooth transition in pitch between the key pressed fist and the key pressed aftr it Fress[ORTAMENTO], and confirm thatthe indicators It. Portarento will now be in effect, Press |PORTAMENTO] again to turn the function OFF * When you press [PORTAMENTO], and the indicator on its button lights, the indi ‘ator on [SOLO] automatically ights, allowing the instrument to be played using ‘one sound. [setting the Portamento Time] wae Reina thie down Perform the steps below to set the amount of time over which te pitch transition is to occur while Portamento is turned on. “The acceptable range is 0-127. The higher the value, the longer the pitch tans ition time @Hold down [PORTAMENTO), and use cither the VALUE slider or VALUE [4] [¥] to set the Portamento Time. Portamento Time. 127 {@ Release your finger from [PORTAMENTO], and the Portamento Time is stored in memory. © Bender/Modulation Lever « ‘BENDER The Benderticdulation Lever located on the et side of the keyboard is used as fllons: ‘@When moved to the leftight it lowersraises the pitch of what is played. cn is rased @When pushed towed the rer, it adds a vibrato effect. —™ The lever can be conveniently used to duplicate such techniques as string bending on a guitar, oF to simulate certain breath techniques ‘that would occur with a wind instrument. You may want to practice with the lever @ while, however, until you get precisely the effect you need. a * Concerning the settings available for Bend Range and Vibrato Depth, refer to “Setting Performance Functions for individual Parts" (v p22). # Bend Range: the range over which the pitch is can be changed. Vibrato Depth: depth to which the Vibrato effects applied. 13Tadic Mace is mala telary Applying to All Parts The following explains how to make the settings for functions which apply equally to al Parts at once. [Making the Settings] © Press [MASTER], and confirm that the indicator is lit. @ Press the button (indicated in blue on the lower row) for the function for which you wish to make a setting change. © Should there be several items available for the selected function, switch among them using PARAMETER [44] [V]. The function and its value will be shown in the display. @ Use either the VALUE slider or VALUE [41] [¥] to select the new value. © Once you are through making settings, once again press the button for the func: tion selected in stop @. * To make changes in the settings for other functions, repeat steps @-O. * any setting changes you make for the above remain stored in memory, even while the power is off. @ Level macteregar Sets the overall volume, The acceptable range is 0127 100 @ Tune Adjusts the pitch. As the value is decreased, the pitch is made loner; wile higher Master TUume oo | lies raise the pitch. The pitch can be adjusted within the range of 415.3 to 8) 662 He aSetting Performance Functions Applying to All Parts © Chorus Chorus Level Provides selection of the Chorus Level and the Type fori. “The acceptable range forthe Level 0-127, ‘The folowing 8 Types are avalabe: Chorus Tare Short Belay @ Reverb Te Files [Ghows 1/2/3748 Standard chorus fect Fosdick Chowus (Chowus eect that simulates @ fanger with soft sound Fenger ‘An etfok that fe sometines ed to emulate the wkaot and landing of a Jet [Short Ooty [A delay reposted 0 shor tne, Short Coay FB) A short delay repeated many tines Provides selection of the Reverb Level and the Type for it @ IDI RSE oe “The acceptable range for the Level s 0-127. 36 The following 8 Types are availabe: Tee Eft Rewer eae reeset | (ene fae Reverb that sinuses the natual echo of & room: Sharply dtined reverb with 2 broad spread verb that simulates tho natural echo of @ hall Smooth reve, Pane ith greater deoth than room. 7 This offect simulates Plato Echo G iypo of raved hat oe im the vibration of msi plates to produce a metalic ocho). Belay [Standard delay affect Delay rations pan to lit and right This eect can be ued Ponning Osiny Ff the unit is connected to 0 stereo aucéo dovic. I is effective hen the JV-30 is connected to a steteo system ‘These settings are for functions which come into play when you connect this nstru- ment with another WIDLequipped unt. For deals, refer to "MOL Settings" (op 34). alSetting Performance Functions for Individual Parts “The following explains how to make the function settings which can be made individually for each of the Parts, [Making the Settings] (Press [MASTER], and confirm that the indicator go ot. @ Using PART [4] [D1 select the Part for which you wish to change settings. @ Press the button (indicated in white on the upper row) for the function for which you wish to make a setting change. @ Should there be several items available for the selected function, switch among ‘them using PARAMETER [4] [¥]. The function and its value will be shown in the isplay. @ Use either the VALUE slider or VALUE [4] [¥] to select the new value, @ Once you are through making settings, once again press the button for the func- tion selected in step ©. ‘To make changes in the settings for other functions, repeat steps OG). * Any setting changes you make remain stored in memory, even while the power is off. @ Level 1pPiano 1 Part. Level? 199 @ Pan ‘Aows you to aust the pan poston Gocalzation of sound image) or each ofthe LyPiano Fars obtdned when ung 2 sreo ouput With an inaeave i the wake fr Pant leat R more of the sound will be heard as coming from the left side. Similarly, more of the {und wl be hen a: oignating atte Pht the eae of R's otnsed When S=t to ND anon), you obtain speclznd effec whereby te Sound fancy moves lef and ight th each note played Sets the sound volume for each of the Parts. The acceptable range is 0-127. * Within Drum Sets, the localization is already fixed to what is considered appropriate for each percussive sound. For this reason, if you change Pan for a Part using @ Drum Set, the sound localization for the whole set will move. © Chorus Send Depth 1s the manner in ich Chorus willbe appl acceptable an 1>Piano 1 poe which Chorus vl be apples to each Part. The acceptable range Chorus berth: 5aSetting Performance Functions for Individual Parts @ Reverb Send Depth ibPiano 1 Reverb Derth? 45 Cy © Control OBend Range LbPiano 1 Bend Range +16 © Modulation Depth LbPiano 1 Mod Dert 28 O Key Shift ibPiano 1 Kes Shift: + 2 ‘O Velocity Sens Depth IbPiano 1 Velo Derth? 64 O Velocity Sens Offset 1pPianc i Velo Offset: 64 O Voice Reserve ‘Tae ros of “The Voice Reserve number (current part) Sets the manner in which Reverb will be applied foreach Part. The acceptable ange 50.127, These settings are foc functions which come into play when you connect this instru- ‘ment with another MIDlequipped unit. For details, refer to "MIDI Settings” (» p.34). ‘Allows settings to be made for the following functions: Determines the amount of pitch change obtained when the Bender/Modulation Lever is moved to either the lft or right extreme. The setting isin semitones, and a maximum of 2 octaves is possible (0 to +24) Sets the depth ofthe ibrato obtained when the BenderiModulation Levers pushed all the way tothe rear. The range for the value 0-127. The higher the value, the ‘deeper the vibrato becomes. ‘Allows the pitch to be shifted in semitones. The setting can be within the range of “£2 octaves (~24 to +24) (On the 1V-30, the strength (velocity) with which you play the keyboard is translated into alterations in the volume or timéxe of the sound. The Velocity Sens Depth set ting determines the extent to which such alterations will occur. With the setting 2¢ ‘high value, the changes in volume wil be quite pronounced; whereasif set to *0,” ‘there willbe no change in volume no mater how hard you play the keys. The range of the value is 0-127, ‘This setting determines the approximate velocity at which the keys should be struck in order to obtain alterations in the volume. With values greater than 64, volume fluctuation occurs even when the keys are pressed lightly. With values lower than. 64, volume fluctuation occurs when the keys are pressed firmly. The range of the value is 0-127. * Sounds may not be output depending on the settings. If this occurs, set ‘the Velocity Sens Depth or Velocity Sens Offset to higher values. ‘This settng determine the minimum number of voices that wil always be reserved and made avaiable for a certain Pat. This for stuations where the total number of voices being sbunded has exceeded the JV-30's maximum pophony For example, if Voice Reserve f set to "6" for a partculr Pat that Part will AMOS be able fo sound atleast 6 voices, even when the unit ara whole sheng requested 10 proce more voices than it capable of * Since the V-30 is capable of producing 24 voices simultaneously, the values set for Voice Reserve for all Parts combined must add up to 24 (or less). 23Editing Tones ‘The JV-30 allows you to make changes in the settings for a Tone, then store it as an original Tone. Such edited Tones are stored in memory as User Tones. ‘* Any changes made in the settings for a Tone will only be temporary. Once another ‘Tone is selected, the settings will revert to their original values. Should you wish to retain the setting changes you have made, they need to be stored in memory by performing the Write Procedure. * The procedures explained here will not work for Drum Sets. To change the settings for Drum Sets, refer to “Editing Drum Sets” (» p.26). [Altering the Settings] Tones are exited by making changes in the settings for their 8 parameters (editable items). These parameters Belong 10 one of three groups: Vibrato, Fite, or Envelope, depending on their purpose. Select the Tone which you wish to edit. Both User and Preset Tones can be selected ‘© Using buttons @, select the parameter group. ‘The indicator on the button which has been pressed wil ight © Using sliders © alter the value for the parameter. Depending on the group selected, the parameters which can be edited with each of the siders will change. ‘Once the value for 2 parameter has been changed, the indicator on fther {PRESET} or (USER) wil start blinking. This indicates that 2 change in value has been made, ‘To return to the stage you were orginally in, press whichever button in @ that is it * Changes in Tone values can also be made using PARAMETER, [A] [V1 the VALUE slider, or VALUE [A] [¥]. Use PARAMETER [as] [10 select the parameter, then alter the value using the VALUE sider or VALUE [all] [Parameters and Their Functions] O Vibrato Te folowing settings affect the manne in which Vibro & apple, @ Vibrato Rate Adjusts the speed of the vibrato. Range: ~50 to +50 ibPiane t 7 re value, " VibPPAREO. 1 zg | Thehianer te vue, the fester he vibrato become. @ Vibrato Depth ‘Adjusts the depth of the vbrato, The higher the value, the deeper the vibrato bPians 1 becomes. Vib. Dertht +3a Range: —$0 to +50. The higher the slider is raised, the deeper the vibrato becomes, @ Vibrato Delay Provides an adjustment forthe amount of time thats fo pass between the moment 2m | 2 #ey's pesed, and the moment tat Vibrato begins to take eect. Range: ~50 to +50. The higher the value, the longer the time becomes. edEditing Tones O Filter Tre elon stings aft th ruaee ofa scandy 2pphne changes tots har @ Cutoff Frequency Sets the frequency at which the harmonic content willbe cut. Range:—50 to +16, ibPiarno 1 cs " cut BELPEC sag | The lower the vob. the more “peasant” the sound becomes @ Resonance Provides an adjustment forthe amount of emphasis thats to be placed on the har ee E EBS. 1 yg | monic content inthe vicinity of the Cutoff Frequency ange: ~50 to +50. The higher the valu, the more distinctive the sound becomes @ Envelope ‘The following settings adust the volume and the change that occurs overtime the Cutoff Frequency. @ Attack Time ust kes for the iia a soun 8 key is Treianott Aju tn takes he i portn of sound we hea ater key Attack Timet +18] Range: —50 to +50. The higher the value, 1 sloner the attack becomes, @ Decay Time : As the et teste “Sst ef he und rece ter pee! aa | teaaccha finshed : Range: 50 to +50, The higher the value, the longer the time becomes. @ Release Time ‘Sustain Level: Thelevel at which volume/cutoff frequency changes stabilize. ‘Adjts the time it takes before the sound will fade aviay after a key is released. iyFiano 1 =! the value, i pe EEO ts eie | erge: ~50%t0 +50. The higher the value, the longer the time becomes {Storing Edited Tones ) ‘The “Write Procedure” must be performed in order to retain the changes you make to a Tone ‘The destination for an edited sound isa User Tone located atthe sare Bank/Number asthe cur- rently selected Tone, eank CO) + Numser (5 ET) (PHESED) © ogyc C1)+ NUMBER CE) + CVENATHN]—b (USER): 8ANKCE- NUMBER(S) ‘ane [1] + NuMBER [5] Wie Procedre [Write Procedure] a Hold down [WRITE] and press the NUMBER [1]{8] button thats bik: + ing, o write the edited Tone into memory. Whe hoki this If you let up on the [WRITE] before pressing 2 NUMBER {1148], then down, rnathing happens and the Write Procedure is canceled. * User Tones do not have any Variations. If you create a sound that is an edited version (of a Variation, you need to write it to the Number button where that Variation belongs. * Care should be taken when performing the Write Procedure, since any Tone that was previously stored at the destination will be overwritten (erased). 6Editing Drum Sets ‘The JV-30 allows you to make changes in the percussive sounds in the currently selected Drum Set. The edited sounds can be stored as part of a new Drum Set. Drum Sets have a number of parameters (editable items) which can be altered using the buttons and sliders. [Altering the Settings] Drum Sets are edited by making changes in the settings for thei & parameters © Select the Drum Set which you wish to edit. Both User and Preset Drum Sets can be selected @ Press PARAMETER [A] and [¥] simultancously. CR, Edit Drum © Press the key on the keyboard corresponding to the percussive sound you wish to edit. ‘The percussive sound's name and its position on the keyboard will be shown inthe display. oe 7 cy ecu Sip None How Nan J——»[Hiah Bongo C4 EA Hie cd f t Pasarater Nae vans @ Use PARAMETER [.4] [¥] to select the parameter. ‘The parameter’s name and its value wil be shown in the splay. @ Alter the parameter’s value using the VALUE slider or VALUE [4] (VJ. ‘Once the value for 2 parameter has been changed, the indicator on ether [PRESET] or {USER} wil start blinking, This indicates that a change in value has been made. @ Toexit the Drum Set editing mode, simultaneously press PARAMETER [A] and [¥]. * When you wish to edit a percussive sound assigned to @ note lying beyond the range ofthe keyboard, first use the Transpose function to shift the keyboard's play- ing range ( p.18). * Any changes made in the settings for a Drum Set will only be temporary. Once ‘another Drum Setis selected, the settings will revert to their original values, Should you wish to retain the setting changes you have made, they must be stored i ‘memory by performing the Write Procedure.Editing Drum Sets a [Parameters and Their Functions] Pitch ‘Adjust the pth of the percussive sound in semitone unis, The sting can be High Bongo C4 on the range of coat Fitch: 3 within the range of +2 octaves (-24 to +24). Level the volume rcussive sound . 7 range is 0-127. ish bongs ca) ase 1 of the per Wd. The acceptable range is 0-12 Level? 127 @Pan ‘Allows you to st the pan postion (localization of sound image) foreach of the per High Bongo, CA) cussive sounds, obtained when using a stereo output, With an increase inthe value Een L251 R | fort, move of the sound wil be heard es coming from the let side Simla, more ofthe sound wil be heard as originating atthe right the value of Ris increased, \When set to RND (Random) you obtain aspecalized effect whereby the ound ran- domly moves left and ight with each key played. Reverb Depth 1¢ manner in which Rever ‘2pplied, The acceptable range is High Bongo ca] S28 the manner in which Reverb wil be ano acceptable range is 0-127 Reverb Deeth: 3a |_ Storing Edited Drum Sets ‘The Wiite Procedure allows you to retain the changes you make to a Drum Set by storing them in memory. The destination for edited Orum Sets willbe @ User Drum Set located atthe same but- ‘tom as the currently selected Drum Set. numer) (USEF) + numseacry (OSE : numecrcD Wane Precaaire [Write Procedure] ot. Hold down [WRITE] and press the NUMBER [1118] button that is blinking, oF press INARIATION), 0 write the edited Drum Set into memory. While holding Ht you let up on the [WRITE] betore pressing 3 NUMBER }8]or [VARIATION], ‘fis down. ‘then nothing happens and the Wate Procedure is canceled, * Care should be taken when performing the Write Procedure, since any vwaitten (erased), Drum Set that was previously stored at the destination will be over- aPerformances The JV-30 allows you to save a whole group of settings (for a range of func- tions) as one unit referred to as a "Performance." The following explains how to make the settings for, and how to use such Performances. Performances __ Inits basic farm, the v-30 can be played by simply presing the necessary panel buttons to Explained change Tones, f 10 tu desired effects on or off, However considering the numerous fea- {ures offered, and the number of cetingsrequied, tis dificult to sll make wide-anging ‘Changes while playing the instrument. Fortis eason its much more convenient to make use of Performances ‘A Performance ean store information on all the settings forthe buttons iustrated below. Up 40 8 such Performances can be placed in memory. {A Performance which provides exactly the settings you need can be prepared and stored be forehand. Then, while playing, the whole collection of choices can be selected instantaneously, simply by selecting the Performance. Ss ———__—_—_ ae a ee 2 “ eet TUS oe jae ee | Tt a a a on ee en) ee ee TEER ccortea Performance paremators button [Selecting a Performance] \Whie holding down {PERFORMANCE}, press NUMBER [1118] ‘The 1V-30 willbe set to comply with al settings contained inthe selected Performance. o. halging this dow. [Storing a Performance in Memory] @ Make all the settings for all the features you wish to be stored in the Performance, @While holding down (WRITE, press [PERFORMANCE Then, while stil holding down [WRITE], press NUMBER [1]-[8], whichever one is to be the destination for ‘the Performance. ‘ Wile elo this down * tfyou remove your finger from [WRITE] before pressing NUMBER [1-(8}, you will be returned to the previous level, and the Performance settings will not be stored. * Care should be taken when storing Performances, since any settings previously 2 stored at the same destination will be overwritten (erased).Section I[About MIDI] HEE pep EEE ¥ [MIDI (Musical instrument Digital Interface) is an internationally recognized standard formulated to provide for the transfer of performance information among electronic musical instruments and computers. When MIDI, musi is ‘ot handled as sound itsof. Instead, performance information and what- ever commands accompany it are converted and expressed in digital form. ‘Any device equipped with MIDI connectors, regardless of differences in ‘model or manufacturer, can exchange whatever performance data they are both equipped to understand, once MIDI cables have been used to make the correct connections, For example, the 1V-30 can be used to play another separate keyboard, ora sequencer could provide the data necessary to play the 1V-30, [Making the Connections] @ Playing the JV-30 and Another Uni imuttaneously ‘Connect the units together as shown below. Then, whenever you play the JV-30, not only wil ‘sound, but the other unit wil receive that performance information and play the same nates. ‘This type of connection is refered to as the “One-way” method. ‘The unit that transmits the performance information is called the “master,” whereas the unit receiving the information is known as the “slave.” D1 Cable mn [E00 (Sound Module: 62 @ Connecting the JV-30 to a Sequencer Connect the JV-30 and a sequencer (uch as the MC-50) as shown below. Then, once you get ‘the sequencer ready to record, whatover performance information you generate (play) using the 1V-30's keyboard wil be recorded into the sequencer IF your sequencer provides a Soft Thru function, you should tur it ON. Local Control (» p38) ‘on the 4V-30 should also be OFF. (if your sequencer does'nt provide Soft The function, you should turn it ON) This type of connection is considered as an alternate form of the "One- ‘way" method. When recording, the V-30 isthe master, and the sequencers the slave, During playback, their roles are reverse, ‘The connections can be made in the same way when using @ computer-based sequencer. LASTUsing MIDI 1 @ Simultaneously Controlling Two or More MIDI Devices ‘As ilustrated below, connect a cable between the MID! OUT on the V-30, which becomes the ‘master, and the MIDI IN on Slave 1. Then, connect the MIDI THRU on Slave t with the MIDI IN on Save 2, ‘When connected in this manner, the performance information from the master is sent 10 Slave 1 and Save 2, 50 whatever is played on the master keyboard wil also be sounded by Slaves 1 and 2. ‘his method is eferred to as a "Series Network”. IFEEEPEPEEETEEEEEPEPEEPe crete A reece 0.0 [Sound Module: == fj 5) ox ox ; oo [Sound Module However, this method may be unsatisfactory, because the further from the master that the vice is located, the more delay there is that could occur. Signal deterioration is also 8 consideration IW connection of 4 or more devices is required, we recommend that you use 2 MIDI Fetch Bay (@g,, 4-880, available separately), and make the connections as ilustated below. This method is refered to as a "Star Network™ GFE EERE ETEEEPE PEPE Preece °° MIDI Patch: Bay 62 om S00 (Sound: Module: === 5 | E00 EaSbind: Modulet a= 5 -| 3[Concerning MIDI Channels] \With MID. a single cable can be used to transfer an enormous amount of performance infor mation. This is possible thanks to the concept of MIDI channe’s. MIDI channels can in some ‘ways be considered as similar tothe channels on 2 television set. On a television, any of the broadcasts from different stations can be selected by switching channels. The information on any particular channel is conveyed only when the receiver is set tothe seme channel that is being used for transmission. Similaly, when a receiving device is set so its MIDI channel matches the channe! used by the tuensmiting device, the MID! data on that channel is conveyed. “The cable coming from the antenna carat the T.V, sgnas fora varaty Staion A wane ‘Station 8 Jp (On 2 T.V. the channel Is selected to watch the station you want Baton © J However, in one important aspect, the JV-30 is quite different from television. One can only view one channel ata time on 3 television, whereas on the 1V-30, all of the performance in- formation on all 16 channels can be played at the same time. Ths is because the unit has 16 Parts, and each of them isa separate sound generator. Synthesizers which are designed in this ‘manner are refered to as being “muti timéral [Concerning the Types of Data Handled Over MIDI] In order to convey the great variety of expression possible with music, MIDI contains a lige range of datatypes (messages). MIDI messages can be divided into two main types Messages handled on each channel Channel messages ‘Messages handled independently of channels: System messages @ Channel Messages ONote Messages OPitch Bend Messages Ed “These messages are used to convey the musical events of a performance. The great majority of MIDI data Is of ths type ‘These messages are sent out whenever anything is played on the keyboard. Note messages indude the following Note Number: Number representing the positon of the key pressed. Velocty Strength with which the key was pressed. Note On: Key was pressed Note Off — : Key was released Messages which convey the action of the Bender/Moduiation Lever.Using MIDI 2 OAftertouch “These messages convey the amount of pressure thats further put on ake after it has intaly Messages ben pressed. There ae two types oF Aftetouch; Channel and Polyphonic. Channel After: ‘touch provides control based on each MIDI channel, whereas Polyphonic Aftertouch manages the information on an individual Key basis. though the JV-30 cannot transmit Aftertouch, messages, it is capable of responding to both types of Aftertouch messages when received from an external device, Reception of channel aftertouch and polyphonic aftertouch on the 1V-30 is disabled in the default factory setting oF when receiving 2 GS reset message. When you wish to use these functions, set them by transmitting exclusive message from external MIDI device. See the MIDI implementation chart for more detais. ‘© Program Change Messages ‘These messages corwey information about changes inthe sound used, © Control Change Messages ‘These messages are used toerhance the expressvenes ofa performance, andinéude Vibrato, Hold, Vol, and Pan. On the JV-30, value of "0° for the Contre Number is employed to change Variations. @ System Messages System Messages include Exclusive messages; data concerned with synctvonized play, 2s well '25 ciagnostcuse data, On the JV-30 it s mainly Exclusive messages that are recognized. O Exclusive Messages Exchisive messages handle information such a thet related toa device's own unique sounds ) on the sequencer to ON. the sequ- fencer does not have a Soft Thru function, the JV-30 should be lft at Local ON.) ‘Refer to the owmer’s manual for your sequencer for information on the Soft Thru feature. @ Select the Tones Selecta Tone foreach of the JV-30's Parts. For our purposes here, we wil set up an orchestra, demonstrating the creative use ofall 16 Parts, Part 10 wil be the Drum Part. Pease refer tothe clagram below and select the Tones PART 1] vain PART_@] Bassoon Pant 2| Vow PART 10 DRUM 1 GACHESTIASeo PART 3 | Colo, PART 11 | Hom PART 4 Contrabees PART 12] Trumpet PART 8 | Piece PART 13] Trombone PART 6 Flute Pant ia Tube PART | Clarinet Part 16] Pano 1 PART a] Obce’ PART 16] Hep * When set to the factory defaults, Part 10 is set as the Drum Part. @ Start Recording Refer to "MIO\ Setings Common to All Pars,” and set the JV-30's Transmit channels. You wi probably find it corwerient to have the uit set so the Parts have a numerical correspondence wit their respective MIDI Transmit channels ‘Once ready, you can begin recording for each Part. Have the sequencer ready to record, then input the music for each Part from the keyboavd. Its probaby best to do the Drum Part first, then listen to it wile you work with the rest, Since itis ficult to record drums while playing on the keyboard, you could use step time input to enter them into the sequencer, or you could play them using a separate hythm machine (Roland ®-8, R-5, CR-0, ete). Ifyou set the Key Miode to SPUT, you can record what is played using two Parts at the same time. In addition, you may want to use the Bender/Modulation Lever, or other controls during recording, since such data will aso be incuded in the recording 38Making Full Use of the Multi Timbral Features @ Creation of the most satisfactory Performance ‘Once you have finshed the recording of the whole pce, try listening to the playback. Wile Ttening, ty selecting other Tones; and similar to using a mixer, adjust the overall balance by changing Level or Pan settings. As finishing touches, make adjustments for Chorus and Rever. ‘Wher completed, it can be stored as a Performance. (Once stored asa Performance, a Performance Change message can be sent at the beginning ‘of the song, and you wil be able to record knowing that you have the optimum balance. © Changing Tones partway through a song ¥ you make a change in the Tone while recocding, not only will the sound change, but also the Variation Number (0 for a Capital Tone), Program Change Number, and Tone Edit Data which corresponds to the selected Tone wil be transmitted. Since a large volume of data is sent out at such times, you may notice upon listening tothe ‘playback that the timing of Tone changes hes shifted somewhat. inorder to prevent such tin- ing problems, its better to fist record only the music, and then overdub afterwards 1 insert the Tone changes. @ Maximum Polyphony and Part Priority Ordering [Concerning the Maximum Polyphony] ‘The 1V-20 i capable of producing 24 voices simultaneously. However, when using Tones com josed of 2 voices, ths maximum number of woies is reduced to 12. Alco if using a Key Mode, the maximum polyphony wil change, since 2 Tones are played together. For information on the number of voles used by paricular Tones, refer to the "Tone Table” (» p52). [Concerning Part Priority Ordering] Tae Soman Peiorny order When the numiter of voices being sounded exceeds 24, priority is given fet estett to producing the most recent sounds. Those that have already been TO Gam sad sounding for a while will be cancelled out to make room for the newest rates. The JV-30 follows a prcrity ordering system, whereby the Part hav- ing the lowest priority wal be the one that has to stop producing sounds fist; and thereon up through the order of priotity. For this eason, you should take a Pan's order of priority into consideration when assigning it for use in sones. For sounds that you definitely must have produced, use the Voice Reserve function (» p.23) to set an appropriate numberof voices for them. aMIDI Controller Features ‘The JV-30 allows you to add further expression to songs while they are played by, or recorded onto a sequencer. This can be accomplished thanks to the MIDI Controtfer Features, which allow you to use the sliders for control over what- ever parameters you wish. For example, you can apply continuing changes in ‘the volume of Parts to add excitement, pan the sound left and right, or make many other creative alterations in parameter values. The sliders thus make ‘easy the recording of many operations which would take much longer using conventional methods of entry into a sequencer. Perform the following to use the MIDI Controle features creatively in songs. [Procedure] dee Press simultaneously Press simultaneously ‘Using PART [-4] [>], select the Part for which you wish to change the volume (expression) or panning. @ Press [MIDI] and [CONTROL] simultaneously. @ Have the sequencer ready to racord, then move the sliders to change the volume, ‘or pan the sound while recording. @ To return to where you were ori simultaneously. ly, once again press {MiDI] and [CONTROL] Parameters are assigned tothe three siers as shown below, The Control Number determines what isto be assigned, and is set using VALUE [4] [¥]. For details, refer to the "MIO! implementation.” ‘The range for each parameter is as shown below’ esosson ar om1a7 (us3~R63) Pan + fo damm = [Sener |e ey Valu for the Fated 15 “These numbers change es you ‘move the sider Exe, Pan CC=87 28 26 * The Control Numbers which can be specified ‘are: 0-9, 12-31, and 64-95. 8Restoring the Original Settings On the JV-30 you can always revert to any the following three choices of or nal settings, even after making wide-ranging changes in settings, and revising numerous sounds. (1) Restore all settings to their factory defaults (Initialization). Initialize Sure? A TUALUE@I (2) Restore settings for User Tones and User Drum Sets to their factory defaults. Initialize Sure? Tone/Dr. CURLUES) (3) Restore the original GS Format settings. Initialize Sure? COALUE «I [Procedure] aaa © Press [CHORUS] and [REVERB] simultaneously. @ Using PARAMETER [a] [¥1, make the type selection from (1).). we & Press VALUE] La], andl the spectiedinitazation wil be carried out. To cancel the procedure, press VALLE [¥ instead, Prose simstaneousty Obtaining MT-32 Sound Ordering ‘The 1V-20 contains an WiT-32 (Mui Timbral Sound Module) simulation mode. This makes it convenient for connecting with computer music systems, for which the MT-32 js a wellknown, widely-used unit For Part 10, the CM-64/32L Drum setis selected au- tomatcally. When wishing to lay sound data intended for the MT-32, simply perform the procedure below. Initialize MT=32 ‘While holding down [PERFORMANCE], press [VARIATION]. + To return to tho JV-30's normal sound order, press PERFORMANCE [1]{8]. Or while still set to MT-32 sound ordering, turn the power off. The next time the power is turned on, the unit will be at the Performance 1 settings. * For details of the MT-32 sound ordering, refer to p.55.Saving the JV-30's Data ‘The JV-30's Data can be saved in the form of Exclusive message onto an exter- ral MIDI device. To save data in this manner, you need to perform what is re- ferred to as the Bulk Dump procedure. The following explains the different types of Bulk Dump available, and how they are performed. [Connections] The 1V-30 must be connected to an external MIDI device, ther a sequencer or other type of, Unit. MIDI cables should be connected asilustrated below. ‘MIDI Messege —> Tranemittr our * if instead of a sequencer, you connect another JV-30, both of them can be set to ‘exactly the same settings. [Bulk Dump Types] The following types of Bulk Dump are available: @ Bulk Dump BUDE DUMP verre | Toronto he wang, @ Tone Dump Tome OUMr erty | Tansmas the stings for the 128 Ue Tones. @ Drum Tone Dump Brum Tone, Dum | trrumis the stings for the Use Onan Sts, @ Bulk Dump (Part) Bulk Dume Sure? | Oumps the settings for Parts, or for individually Part i CWRITEI | selected Pans. 40Saving the JV-30's Data [Performing a Bulk Dump] (1) Bulk Dump, Tone Dump, Drum Tone Dump trace (Press [MASTER], and confirm that the indicator is lit @ Press INIDI. @ Use PARAMETER [4] [V1 to select the parameter you wish to have transmitted. © Press WRITE], and the JV-30's data willbe transmitted ‘When the transfer has been suecessfuly accomplished, “Completed” willbe shown in the dpiay for about one second. Should you wah to abort the data transision, press [MII (2) Bulk Dump (Part) oO @ @® @® © _ weve - oo CI CATA ee (© Press [MASTER], and confirm that the indicator go off. @Press [MIDI @ Use PARAMETER [14] [¥] to select Bulk Dump (Part). @ Using PART [-] [>], solect the Part you wish to bulk dump. © Press [WRITE], and the JV-30 will transmit the Part data. ‘When the transfer has been successfuly accomplished, “Completed” will be shown inthe splay for about one second, Should you wish to abort the data transmission, ores [MIDI + ordinarily, after bulk dumping data to a sequencer, you should save it onto floppy disk, However, if you use a unit such as the BOSS Bl, the data can be stored on a memory card. +# Receiving Data Connect the MIDI OUT on the extemal device to the MIDI IN on the JV-20, then set the “Exclusive Receive Switch (» p35)” 10 ON. After connection, wansmit the saved data (bulk data) from the extemal device. The V-30 ‘automatically receives the data and set is reset accordingly Note the following When the JV-30 receives saved data via MIDI, the internal settings are overnite. aaeAPPENDIXConcerning GS, General MIDI System GS Format ‘The “GS" logo apprears on the panel ofthe JV-30. Ths serves to indicate thet the unit is equipped with a GS Format sound source. ‘The GS Format, developed by Roland, assures that all sound sources will respond in a standardized way whenenver music is played using MIDI “Thanks to this format, any song data created with any GS format sound source can be reproduced identically on any other unit with carries the GS logo. General MIDI System The sound source in the JV-30 conforms to Genera MiDi System specifications, Current recommended practice cals for conformity with the General MIDI System, since it aims at bridging the gap between menufacturers through standardization of the specifications for the MIDI functions provided by all sound sources. n fact, the Roland GS Format includes all rues set down in the General MIDI System specications. @ Circumstances Leading to GS ‘The MIDI standard was created out of the need for a means to transmit performance informa- tion among electronic musical instruments, regardless of model or manufacturer, Thanks to ‘MII, the feaim of electronic musical instruments now enjoys 2 level of communicative free- dom that was hitherto unimaginable, Without MID}, eutomaticaly sequenced instrumenta- ‘ions, and the participation of computers in music would not have been possible. However, certain inconveniences have become much more apparent, even while MIDI has ‘become an indispensable part of electronic musical instruments. It sometimes seems un- fortunate that MIDI has progressed this fr without more ofthe finer details having been de- ‘Sided upon. For example, MIDI defines things in terms such as “signals for changing sounds are called Program Change messages, and they should be sent in such and such 2 way." However, deta such as “a number something Program Change message wil cause a change to 8 ‘ound of this type” were never decided upon. As a result, the diferences in the correspon dence between the numbers and the actual sounds can sometimes become quite confusing ‘winen working with a variety of different devices, For this reason, song data that was created to be sutable for one device will often not play 2s expected if played by some other sound source, “The GS format has been formulated in order to alleviate such problems. Any song data created with one GS sound source in mind can be reproducad faithfuly on any other GS sound source.Troubleshooting tn cases when for some reason no sound is produced, or you think the unit is ‘not operating as it should, frst check the items below. Then, if you should still be unable to achieve normal operation, contact the store where you bought the instrument, or the nearest Roland Service Station, No sound produced/ @ ‘you sure you don’t have the volume set too low? Recheck th vl etings ou Rave Ot nt ry ample ir ou have sound too low eee @ can sound be heard through headphones? If so, then you may have a cord that is damaged, or the amplifier or mixer you have con nected isthe source of the problem. Check the cable(s) being used, and the equiprnent you have connected, @ Ac you sure you do not have the Local Control MIDI parameter set to OFF? Setit to Local ON (» 35) © Ae you sure the value set for Master/Parts is not too low? Recheck Master Level (» p.20) and Part Level (» p.22) @ 1: it possible that the volume for Parts is being set too low as a result of Volume ‘messages received from an external device? Try changing the Pat @ Are you sure the Transmit channel is matched with the Receive channel used by the ‘other device? Refer to "Transmit Channel” (» p.34), and “Receive Channel” (» p35) it ight © Could the setting for Master Turing possibly be wrong? The pitch is not right @ cous e ttn @ Are you sure you don't have Transpose set to "ON"? Press {TRANSPOSE} to turn it OFF. @ Js the setting for Key shift appropriate? Check the setting (> p.23). @ is it possible that Bender messages are being continually received? Try moving the Bende Modulation Lever, Tones don’t change @ Ave you sure you do not have Local Control set to OFF? properly Seti to Local ON (e 9.35). @ Could you have the Tone Change Receive Switch set to OFF? Set the Tone Change Recave Switch to ON, {@ Could you possibly be in the ROM Play mode? ress LEVEL) and (PAN simultaneously to ent the ROM Ptay mode, Effects do not work @ Are you sure the level set for Chorus/Reverb for Master/Parts is not too low? Recheck the settings. @ Are the indicators on relevant Effects On/Off switches (Chorus, Reverb) lighted? Press their buttons to turn them ON.Error Messages When a mistake in an operational procedure has been made, or the unit is unable to carry out a procedure properly, an Error Message will appear in the display. In such cases refer to the information below, then perform the indi- cated remedy. @ When battery is depleted Cause: The unit's backup battery has been depleted. Bate ee Remedy: Contact your nearest Roland Serie Station @ When using other MIDI devices Cause: An excessive amount of was reced al a once, and cou MIDI Buff. Full! tol be paseeae aetna Sere Remedy: Try reducing the amount of MIDI data that is sent to the unit Cause: Exclusive messages could not be received cortecty. Remedy: After checking the cable and connections, and the data that is to be ‘vansmitted, tty performing the procedure again. WEDT GF Lines] SSS ems ns ee Sees reo See tate aeogteonae 46Transmitted MIDI Messages [MIDI messages which can be transmitted bythe IV - 30 areas fllows: Jv-30 Acion | Transmitod M1 Message] Edema Device Response Seen ee iow mea Ea ne Comal Croeo Se chee Stabeteay sn he Tove ste y se natn an * Don Crag nonmze_[ooineten Ces Chango & che [Pan Me Sekt ues an) eens Eco) cat Penn Sage moon and jeaiich between Tones, CChgo : 0-127 ‘read in the edit data specified by con 6 nee Po tan a Tw fe Pah Belo [Pe Bowne ee fares cen erases eames emt notes sounding Bend: ~8192-0- 48104 fi coer whe Beccttn Ln pcsuen Coweta Hage} [rue te ated a feoribece heme etree) vos Sern oeraes) Potamant & adéed ab dain ro te Pomme Buin w ats prranenrn msg) [Perna kad wei | | Pertamenito effect {ransentted when Portamento ison) | yy 3 eimai corel change ve Ho Fan ar cae | Pancerctere) [Tie pon thc in Po tmeoyetae posta caae Somterte cawercre 1 rina Eqrnn ar era peered nee) — | a amacetavlctunge nua the volume: (continuously variable) f coweichnee cong coo [Depress the Hold Pedal to sustain |, smaned whether Hold ls OnsOt) | The current nate is sustained neue | C.Chg 64 OFF 0 eit comics fromnene Cnt ers) | a anon hansen ton Presse ronan bten | prunes vane Poraena_] MO nou plcearton Yon octewon ten Sra rein eciets:oF 0 omer Hecate fear te Pouneccerenatrsonpey |Deuntchrauriers ener sh [owl donee tne Congas colar oct noc wna Sms! Oia irons at na sremie etree (nega anew es aOrganization of Sounds in the JV-30 The following explains the system of organization used for all sounds in the JV-30. You may have no need for reading the following, since when operating the instrument, everything concerned with sound organization is handled au- ‘tomatically. It is only when you wish to use an external unit to select sounds that a knowiedge of the system becomes important. [Concerning the Sound Organization] ‘As can be seen below, every sound is assigned a number, resulting from a combination of a Variation No. from 0-127, and a Tone No. from 1-128. The Variation Number corresponds to Centro! Change 0, whereas the Tone Number corresponds with Program Change. When using {an external device to specify a sound, @ Control Change 0 and a Program Change must be transmitted as 2 pat. OGapital Tones Capital Tones are asigned tothe row where the Variation Number i 0 Variations Variations are assigned to the columns containing Vaiation Numbers 1-127. Each Vaviationre- Sides in the coluran corresponding to the number of the Capital Tone itis affilated with ‘The MT-32 set is assigned to Variation No. 127. * When using an external device to change the sound: After a Variation has been solected, and you wish to select another Variation, you only need to change the Tone Number (Program Change) to select another Variation that has the same Variation Number. [Concerning Sub Capitals] If you specify @ location where no Tone is assigned when selecting a Variation, no sound wil ‘be produced. However, sel with regard to Variation Nos. 0-63, and Tone Nos. 1-120, shown, left, the Tone of a Capital or Sub-Capital wil be selected in its place, and sound willbe pro duced. (See below.) [As shown at ef, the Tones assigned to all Variation Numbers which are a multiple of 8 (Nos. 8, 16, 24, etc), are designated 25 Sub-Capital Tones. As shown left, when no Tone assignment exists: D When there s ‘2 Tone assigned to the Sub Capital immediately below it, that Tone ‘wil be used instead, @ When there is no Tone assigned tothe Sub Copital immediately below it, the Capital Tone wil be used instead Bi carina Veraton BB 0 coorJV-30 Program Numbers (On the 1V-30, Program Change data can be used to change its internal Tones, fr to change Tones in an external device by means of pane! operations, The Program Change data that accomplishes these tasks is communicated over the TransmitReceive channels, ewes 1pGun Shot ipGun Shot. PH 128 ‘On the 1V-30, 8 Program Change Number i allocated for each Tone. Should you wish to de ‘ermine the Program Number ofthe currently selected Tone, ess either PARAMETER [4 or {'¥] while the name of the Tone appears in the display. You can aso switch between display (of the BankiNumber and the Prograin Number. (© Transmitted Prooram Number when you press the JV30's Bark/ Number buttons (© When selecting the Drum Part SST Pellet Tl. arbor |_Prosam Nomber a Ze opie sya as sare ig [20 [2 bee os | 2a “a—[ 25 | 26 | 27 [28 [29| 50] si 132. 5 [ss [sa }35 | 36] 57 | se [3a | a0 eat fae [as Pae fas | a6 [ar Pas, 7 [as [5031 62} 3] 64 [55 | 55 @ [sr] se | 53 [60 | 61| ee [es [oa ‘sess [or [es | 69] 70] 71 | 72 @ Tors ra 95 76 | rr ve] 78 | 8, niet fae as [ea | as [86 [er [a8 VARIATION 12 feo {90 [or | o2 | 98-[ 94 98 [06 13 | €7 | 99 | 99 [100/101 [102/703 104 WaT-32 Set Ta 13 [795] 106 107] 108 [109 [110] 131 [142 1S —[ris| nafs [refi] 16| 719120 Te [rat [rea [zs vee 126 b25 [re fz \Whether using an external device to change ths unit's Tones, or changing Tones in an external device from the 1V-30, you should carefully study the Program Number Correspondence chart for the external deveParameter List LS @ Parameters Common to All Parts Parameter Name Value. Tew = [oer Fie | at53 4400-4562 va = | 0-64.127 Chorus 1727874 Feedback Chews evi yo + | Fengsr Short Delay Short Dey (FB) Level = ho-e127 Room 17278 et Hol 172 Ty00 | Pa Deby Panning Delay rans Gann (Tene PART. 1-16 Prone Canoe Footve Switch Gx Tove Chad = [LOFFON [6S Resot Recon, Switch (Rx GS Reset) = [LoFr ow Excivsive Receive Swich (Rx Syst) = [OFF ON [Ateouch Resse Swich Gx Aft) = [err on a eat Conte (Leesd OFF.ON Performance Dump Switch (Petormance Dump 7) oFF.oN Deve 10 Nomibor Cnvce OA [ae Buk ure = ove Bune rum Tene Dan Trensoore ON GFF = rAerure of Tranepoiton [224-8078 tuo |, | ore. Far. octave. OUAL, seu Soi Poe w [eae @Tone Edit Parameters Parameter Name Valve Vibes Fate =80-0-+ 50 Vibrato Depth = 80-0. +50) Visto ely = 80-0.+50) [our Freauensy = 50-0-+16) Resonance = 50-0-450) Ack Tine 50.0.4 50 Decay Ti =50-0- +50 ahs TaeParameter List @ Parameters for Individual Parts Parameter Valve over = [oi0e 27 com Pan) [63-0 RESANO. [Grows Send Depth = [0 0-127 © Reverb Sind Dest = [o-64-127 op Nb [Receive Channel Pe Crane = lor. 1-16 Buk Dorp Bend Range = Modulation Death = Key Shit > oe Velosty Sens Desh = Velosty Sone Offet = Voice Reserve = Tone. Sect = Stow » [ore ON Ettoer ON/OFF — SN 306 ON/OFF 7 [OFF. ow Portrenie ONZ OFF = [OFF. ow Poctsranto Tere = [0-30-1737 © @Drum Tone Edit Parameters Parameter Name Pick Lever Pen overs Dosth @ MIDI Controller Features Parameters Parameter Neme Value Cae jo- 127 fo-8, 12-51, 64-98 om Bold : Factory Preset Setting * Parameters witch can be recorded as part of 2 performance ©) £68 Detauke sating Blank Seme os the Factory Preset setting exceot * (7. 51TONE TABLE 7 [rofoa] tow rare |v] mone 2 [rtpeer tone came |v | Romande ound ge sound ones | T [to [Pane 4 7 7 oe Dee oreo men 9 z[a[o|pane 2 eae 8 | Ucale T]aen=s@D 3] 3 [0 [pane 2 7 o|swaer 611], can “| 4 [0 |Hockrsenke [2 2|oc[@ [arc 2 ay, elerent 1 1 Manson 1 [See ©15| 8 Pe fonuna eh _ [2 0 [sar Ge 1 3 0 | Pene 2 eee eee 3|°|?"[e [Honatan Gx [1 8[° | [sooner 2 [a CT viv fetieeseee TT ream | (SL Ile femmes 6 2 @ [ous Hox [2 3) |zel ofc ; alee leew 1 |@ea= aren @ [Funk Ge T]s2u0-ceves Ft fe to [omen Texan e106) T [Bolo [ovine Gt Elzl0] 0 [sestense’ [+ sca—cece 7 fa: Lo [Osenen oxo $stirTe Pier tox 1 [oreo -ose0 @ [Feecbeck G2 i [728 [vests T]ee@-re0 fool o-[oe tamense [1 2[5 [ral 0 [warrta Tace=osen @ [or Fecteck [1 3 6 [14] 0 | Xviophone 7 [Face —c7 oD 7 [33] 0 [Acoustic Bs. 7 Tire Lo [mane 7 256] 0 |Frseee es [1 S17 [5 [eTowcen bor e[eeeerebere ee 3 [35] 0 [Picked Bs. 1 ABLE [O [Sen T [eran | | a] 26] 0 [reves 6s 1 1 ]17 fo foro 1 8is[s7[0 ‘Siap Gass 1 Te con) 0385) 2 [ones Oot | $[elsel 0 [Sep bee 2 © [orwen 2 Teean—cren | /3|_] fo lsvam sas 1 [7 2|"8T e [oeuned Or 2 2 7 [891s [Synth Bess 5 1 §2[s[o loom = 2 bol 2 [Sia toss 2 [2 Sl fool 2 fee get Troe con [sem bee 1 3 [5 |21[0 [med oan [1 Jeean—creo @-[pccucion [2 6 [zz 2 [Aeeden tes) roc BE 1 [eran 2 ef 0 [nner 2 [Rene + Nomar row Progam unter coo# Valu of conta number 0 (6S bank select mbar) v :Nanber of waces, ecanndee {cud ange +The recomminded sound ange dees nt indeate the Feit of sound pcodvetion. The setual playable ange extends bayond the recommended sound range.TONE TABLE % [Pox |ecor] Tone name | voice # [Pc#|occH] Tone Name | Voice These Rens bs 7 pee amper a 2-[ sa [0 Fingered es : 2 bee Lop trombens 7 3 [35 [0 | Picked Bs. H 1 | trombone 2 a fae LO] Fretess Bs H [ss [0 taba 7 QLCsLor Co [Sap Bass 1 : a £ &\-¢-Pee [0] Siap ass 2 TT] | gs Por Lop Bensntion 2 : | Symmh Bass 1 {8 1 | From 2 2 7 | 39 [4] syninpassi07 H | Brass 1 @ | Synth Bass 3 wy ELS | & Pe evass2 2 (O_| Synth Bass 2 2 a ‘O_|_ Synth Braset [2 8 | 40 [Ta | syn ease 4 2 7 | 62 [7a | syntn erases 2 16] Rubber Bass 2 16 | -AnaiogBrasst 2 z o-| Vein Hi [Syn Base 2 $L1 [4 Cab sow vin : e | ot [2 [smi erassa 7 Seta ot via H 15 | AnelopSrasse 2 Se [as of coe i a ; Ba [ae [0 | conabass a7] |, fe Pee [oo Fate sax to & [5 [4s [0 | tremoto sir 1 3 [3 [er [0 | Tenor Sax 1 [Ce [ae [0 | Pisicaosi <7] | € MaPee [oT atone Sc i 2 Ta fo [ep +] | 8 {= [ee [of one 1 [48 [-0_| Timpani 1] | 3 [6s [te- [co engisn Hor 1 o7| Sings Hi 7[ 71 [0 [Bassoon + 1 | FoF ornesra 2 | 72 {0 | Chait 1 9 | 2507 Siow stings 1 + [78 | 0] Preooie 1 3 | Syn Siingst t 2 [14 Po | Fue 1 5 [9 |! Fe [syncing 2_| | 8-3 Treo [Recorder 4 8 aT eof syasringse 2 | |S [ce [76 [0 | Pen Fare 1. 80. Tes L2 [choi ahs 1] | fs [77 Po [ete ew 2 z 32 | Choir Aahs 2 a 2 [82-0 [Wace Gone Hi 7 [73-0 | white i 7 [sso | Syvox 1 | 80-[-0| Ocarina 1 ee 24 o-| Square Wave 2 1 | or [Tsar 1 3 | Sine Wave 1 3 o-| Saw Wave 2 2 2 | ce FT saw Hi g + oosar Sa ; 21s Tas [0 [sin atone 2 § [a [ero [oni tea 2 2 [ [es [Co [charang 2 & 16 [as fo | soo vox 2 7 Lar [0 [sin Saw Wave 2 Bog hunter 3 [ae-[-o | Bass Lees 2 PO# : Program number ‘CCO# : Vale of conto! number 0 (GS Bank select umber) Voice: Number of voicesTONE TABLE 54 + [reef Tone name v tf Tone name v Tet] @ [eran z 0 [ee Foe hi [2 [ee] © | ounces 2 1 frail [oe Out Noise An Kaooer 2 2 [su Sap eb Es ool 0 [Ainessiee 21 | FT ago [erent Nao 2 3] oi 0 [ovaares z 1 |AL Ker Gi zhi [6 [102] 0 [Gott 2 (0 [Seashore *]T S| Thea 0 [eee Sone i +L x2 fa 0" [Sue Te ZY | |g aol 2 ara «Lt “feo 7 3 [Wd ¥ 2 hosh 0 1 a [eee x2 slebete 3 5 [our «fe EP heel 2feo= H 3 [ae #2 | [fe [rane Kore 2] | |afr2dla oe x 3 [5 foal o [rants 7 2 [Hon aon ee Sle sol 0 [oe Foe 1 © [Tesh 1 =f 7 | 0 [ride 1 1 [ebohone 2 x fra 0-[ sean TT |g aol 2 [ose Gest xt [ral o [Team ot 7 3 [se ae 2 fal 0-Tasoae +] Je) | fa fseom Le 3 [8 0 [Set Dans TT al | [o [Windcae x2 8) fel 2 Deemer S11] [277 [eco «li 314 Te [easums sLe] |S] | Frfestrene nl ET s fur 2 tat *[ +] 13 2 [CorSton ¥iT eo! f foment 65 =f [cara x ETT fe [mete ton a aft a [carcosh a[2 §|° "°F [ic Tom 2 Lt] | 1°15 [sien [2 Tol 2 [mou on 6 Tain ¥ @ [208 Tom x 7 [see x2 300 [Reve om ae 2 [seat #2 3 [at Nabe ne #:enter 2 [acoaane ste POH :Proam number 1 [ousting a (008 : Vain of cont! nba 0 han 2fseeme8 x (G8 bark ect ba) 2 [ech * VcRanter of vote [Hea Ba x A eco make By an have an rae 5 [Foomiers a0 ich Paco ine boy stand C4 (Ky #60. oer ae 0 The ura one to tment and oth alot ii a of Ad Koy # 69) i AO “fii =| 3 [Bean #12TONE TABLE @MT-32 set (CCO # : 127) 4] Tone nemo Vv] PE#] Tone name Vv] Pea] Tone name v] Pee] Tone name v 1 [emu Pano + pt] [33 [Faoey 2| [65 Aoov Goss 1 [1] or] Ba Seer 2 2 2 [acau Pano? | 1] [34 | tome Pan 2| [66 [Acou Goss 2 [1] 86] vee 1 7 3 [Aoou Pano 3 [1] [35] Chora 1] [er | Bee Gave 7 7 [59 [vee 2 7 [Bee Fano 1 [1] [35 Gases 2| [oa] cee ease 2 1] [roof Sin aia 7 3 [Bee Foro 2 [1] [37] sounarack 2| [62 [sep Bass 1 | [toi winawet 2 @ | Bee Reno |] [38 Aimosohee 2| [70] sop Base 2 [1] [102] Goce 1 | Bee Pano 4] +] [39 Worm oat 2] [7 [ates 1 | [tos Tove Bal t @ | Honore 2| [40 | Funny Vox 1] [rz press 2 1] [204 veonone 1 9 | Bie Oe 1 7] [at | eto Se 2| [7s [rie 1 77 [tos] Memes i 10 Gee Ow 2 2| [22 [ice ain 2| [74 [Fie 2 1 [8] Kote 7 71 | Bee Ow 3 | [23 | Oboe 2007 2] | 75 | Besos 7 | for] sho z 12 [ee 00 4 + [44 [eene Far 2| [76 [Pica 2 2| [108] seataract 2 73 | Pow Ow 1 2 [45 [ Doser Som 2] [77 [Resoaer | [00] wisue + 2 14 [Poe Org 2 2 [6 [Sehoot ozo 7] [72 | Pon Powe 1] [110] wrieee 2 7 75 [ibe Oro 5 2 [a7 sors 1] 75 | Set 1] [rot] Bort 2 16 | Accoron| 2| [401 Seve Ware [2] [00 [sox 2 7] [i72] Borsoe 7 17 | ros 1 | 7] [er [see-2 1] [ita] Tames 7 e [Hast 2 2| [so] se ser 2 | [ez sex a 1] [ita] Weiecic Tom [1 19 [Farsi 3 3] [54 [se Seer 3 1) [3 [cient 7 T] [175] Doe Snare 7 20 | Gow 1 7] [52 [Paste 7] [ee [cones 2 1] [116] Se Pere i 21 [oi 2 1] [53 [vote 1 1] [25 [oboe 1] [117] ies Boe 2 7 22 [Gavi 3 7 [54] Wein 2 1 | [25 | eo Hors | [518] Toko t 23 | ceesa 7 +] [ss [ome + 1] [87 | Bossoon | [9] Take Ae 7 Za Coeste 2 1) [56 [coro 1] [22 | Harmonica 1] [120] crea 7 es Syn Brass 4 2 [57 | Contrabaes 1] fee [Trumpet 1 1 | [121] castanets 7 | syn Bass 2 {2 || 86 [Hoo 1 fe Trengee 2 | fi22| Twat 7 2 [Sm Bass 5 [2] [60 [Haw 2 1] [21 [rontone 1 2] fi23| orcne Hi r 28 [Sm Bass 4 [2] | 60 Gator 7 1 [ez [Trombone 2 [2] [124] Tephone r 29 [Sim Base 4 7] [et | Gotar 2 7] [s2 [Fe Hor 1 2| 125 [Bes Two T 30 Syn Sass 2 2| [62 [ee Gee 4 1] [9 Fe Hom 2 2| |125| Ove Nowe Jom [1 31 [Sym Base 3 2| [68 [Bee ow 2 1] [es Tate 7} [¥27| weter Got 2 32 | Syn Base 4 1] [ea [sir 2| [os [ee seer t 7] [122] ste Tone [2 (000 :Vaue of contol numbar 0 GS Bonk seact numba) Pow Program number Vo Rumber of veces 1 127 of contrel number 0 ie ext to the sama sound avangement of the MT-32 (Roland Multi Timbre Sound ‘Moda). But the setting of the pitch bund range, modution depth, ete, are diferent from thot of MT-32 Pan diestons ae reversed from an actual MT-22, 20 to rectly ths, reverse the LR. connections of the Audio Owtout jacks. 1 Hf exch mossages of the MT-82 are acsved by the JV-30, the settings cf the lator wil not be changedDRUM SET TABLE Sse CE roe cumber Tends which are crated by using two voies, (AW other tones are created by one voi) Blok (exe) eat Te + Some 96 the percussion sound of “STANOARO™ No sound Percussion eound of the same umber wil ot be heard at theDRUM SET TABLE POH Program number eas ro Fao) TOT Tongs which are created by using two voices, (A orter tones ate created by one voica) Pas iat eee eat ay eT lark + Same a6 the percussion sound of "STANDARD" No sound Percuesion sound of the same ‘umber wil not be heaed at the 7DRUM SET TABLE NT @SFX set (rooram number 87) @CM64/32L set (Prosramnumber128) % Tones which are created by uso ‘wo {All ober tones ate created by one vie) ----- No sound (€xC)__:Peression sounde of the same aumber ‘conot be heed at the same tine. 3% The CM-64/32L set is the MT-32 drum set ‘with SFX sounds adcod 40 it 8Roland Exclusive Messages Gre [Soman ‘2MID| status FOH F7H ‘Nan'S Sanus tenet oer Fon rerun = ManufecturerID , 41H =DeviesID; DEV er a in ole dn re =ModalID MDL. Senne tien nesta here, mapas on eat SoD eats apg play eta oeny «Main dats BODY S'S ce # Sao hectare cee sown i, of ie wane + Oneway transfer procedure (See Section 3 for details ost Handshake tranefor procedure Cis deves'does ndt Cover this procedure) {i ry rd Ctr tes or ‘rough hands ae one OD Notes on the above two procedures “ins ot Maan roan aw [non 9 ‘sRequest data =1; RQ1 1H)60 + Reet maps ee ot tec cee te Sh icon" dt ee anes tne 8 nt + These Ging er a hae, ta ove 9B =Data sot 1, OT da PEt Ran Sate : SS ee cere + READE GEER aon toe at ee eee Example of Message Transactions (ov ae 1) (00 ae 1), looove ring dts om Dn A Sei as AS mee De Cine (000 on 1) treo co) (00 we) (om ae) fone ae) —— be16 PART MULTI TIMBRAL SYNTHESIZER MIDI IMPLEMENTATION wv-30 © Note off = it SESetim bo lnc when heat on OFF" of we ae (© Polyphonic key prossuo fase gant et (© Control change. © Bank select eo s= & 2 Mooutatin = het Be (© Portamento tne go ge otf (nt ens) Date : Jan. 6 1992 vera + 10 © os en aol chon rucear 4A (ent 16) 2 Volume rat ea tot = cate =) © Expression ae get ot Wea Stet By ier wh Rasen = OFF O Halat ae ane © Poramento Ca 1 Seaton = se ot (© Effect! depth (Reverb send level depth) at im 6(© Effoct3 depth (Chorus sond level (oott)) og ob (© NRPN MSB/1SB tH cnt =e ae get 1 Moy ann mata =P (n=) noo tenga unr ka 0 989 8 OF a SENT gates Parmer Sunde an aan eel hngs Thera vantve mange (tem pee) pretreat carga Thea tongs grontre may hve at on et oa won re eS oo) Papen Craee oo) ‘Snsa0t aba rae Coane) oxen bear eer Imm 000 = aon = TON 80 3480) toe SO ai ae ene oe) (fence batt = Gener Rag) (© RPN MsB/isB ior a ioe tng Tathite Sere wg oma) en vse EME IED Se ota 20 ame) (Ue 0 Boece Sone om et on sates) ove The Zatssne stirs 1 Pars cond © con = ot Fh Gt a ot nge Sm a © channel pressure a oe cP cnt ant eo tg nto prc or Me ste hee: © ich tand che = Cameses seyW Channel Mode Message © At sounds off © Reset all controes % © 1 notes ot thf tent en) ‘© oun oFF = ee Bt © own on ae Bet Bt © 0H - = s rie Rane © Pou = moar sO Co System Resitime Message © Active sensing System Exclusive Messoge ae Re > mene: eh a ca) System Exclusive Messave of Mode Change © 5 Reset a eC ney guciete, im Gee» (© Tun Gonosal MDI System On gue out bee Bye outdo fe etiesog tie eecdtan cat 664 Bi [Tensmit data) Channel Voice Messace © Note off a Bet 2 how on bea Masiawie eadnce © cote hr © tk set eee eee HFM ent = ch Foo Tr has a0) ‘hk st vine carl sane sone’ COC he Bon le (© Modulation ea teen © Poramento time oo eet nee © Data entry fe ee Be SN com mrtr sat ts cet Gat Bet nate mebar GA FH Gn 6) cote Boat Rar ce Rae) © Exoresion peettteeeattttee Chol nd, fas wh covsaende et tn Poe © Hest so at Go G2) wm OF, 17 = Om © Pertamento oe et OL= FH Gat =e) (© NRPN ¥es8/LsB a et se meng warn we tn gn adh on he Ea TaN iT aaoaad Puan Manteo ein eo aoe vers notin iinet ino Tae Cote oe om) mee ae eee ao) Estee eee tee) ee ET ee (© Ext Contrel Number a 0 chacrat muni ot = eR) fe Ere ae onaam Oo "yeu eeae mts Contanea| = "2"! © Program change gas sauce ae Se(© Pich bend change oe pee et n= Mot cara member 4 Ft Gn = he neha $e te SGC THe Co ataa- e109 I Cfarrel Node Message hn ot cae ex oem BF (© A notes oft ae a at MOY ete memer HF Cent = ED @ ONO, ae at f= ot ene naar 2H GM =I © POL ee at n= Mot curt member 208 FH Cont OE) W System real time messoge © Active sensing W System Exclusive Message to coo Bee x BE sD mm ones [Exclusive communications| BD or 3.50 42 (65) wr so SO. erect cae} ha G0 fe Bee ei So Mat (easton 2 a) oo eo muses oon a or: 29 Eh Parameter Adress Van) 65Wi Parameter bese address aoe os oo” (ee 7 =a AL \! i Rica EE crowonusee y Mesen= aoe (u00 8 eee & oe 8 & Bas ® sevemane (a0) (sen tone over 9 (9 oma ser en User TON Co 10 = goers» Se TSR rial SEROUS a gates= woth oma 2€1 Gre = coord CERES Te ae) grav sue sean ree frum oot ote oo euanme avn 08 te on oe ten TE Siege sap ede ee 86 (parc arses) ‘uo fst rch 1) "99 ‘atm tw os tt be et tan oa he sme’ oft gers Fr tama 1H i th xno a ft #2 ce sed eeSteen ee ree are Stent seen e-0 sere ousncren re eee ft Sr: Sho Boar ec eee te over 9 co) eee _ wins eo ma—s0 rT! Ker SFT Cemitone) an « (oe v9 ~ eee poeateeerasie ee we cn SG Cen - ves ai) eee Cars (a6 ome coco cen Sone aor + 5 Wicrs cast nts 9 0} 62 08 a8 a8 Be SEESSSSESES BesBeesgooe Seeesesesse SEEEEEEIEES BtEaEaaEEES VUVYREN TTY vey vL Ove ETD Fee BEB. sse8 ea 2 3 8 assssaseaes 22933338888 aeessseeese SS85SS22582 BESRESEEE88 TERLESEREEE 88 a a BUG AUSRHRRESEE GE REET SG ES MELA Ensue Be 69 01 62 ito Got Wn deo Bmw woe vo ret fed TelI8 oe) oo one 6 0-24 entra) een 8 tert ions Seno socom $2 eon ene Sioee 6 sao Oe oon fara $24 nao) ctone’ one 8) so si00 be Feo eon 3 Stefan 3 fone 6) 29a too ox oo end 9 Soe inet ote oe) 24 +24 eae) Teeew 2 aes Shoe “toon fh Tigao ead oi escend Those te) Seas 180 be) ores tend ore 24-2 (raniom) Teeoo” Yates coms Tone ‘ona Stoo -'ae oa 9 fond 3a ee Scone be) Peo ste a) 2 cat tee 3a iat 3 gegseegenes sgeseegssss seasees.peuraer tear ct —— ie senHicecetare Sree Seem itt a, terres Beeiiiese ese Sseee comet ee cereecs Sapitiesstss aes EP 5 SEB BBE EE eaten see 8 Soatiiisss tec Saver ements Baaiiiiegs cess Ff Somuemictite Saeltieed ees Soe Revers Last lle Beetle iia Seer neg Sescitteediac Save cai” Seceicssstian Pte Saosin oma stun anasto ENED nme ae ee Sata aE So eae zt i. Gobe 6214 6 1 ob md 7 ame oe Sano Ranion, 3 LEFT) = +69 (RED Cob e 16 8 06 mo ase eee ee ese (OUP Ponte Vane (0 nae nk ee ta (2 1 = ut) === sate panaseren(0= ctor) IIT Sime faring soo 19 a0) TET Euan tS)went eon pus ass y ant 18 aoe 9) Pete Pant 2 ae 2) Pee Pant 9 oe 3) Pree Paar 5 oe 5) 2 eves Pane coe 2 oven Paar 8 ass Perea Pane 9 (eve > 2 psa Pan 2 ase 8) 2 ovat ' PART 1 ase 2 vets fu uP BARAMETER (a8 = BW) Sat? Conte = 00 628 DD sang green tang fea i soe onour maveen eas16 PART MULT! TIMBRAL SYNTHESIZER MIDI Implementation Chart Date : Jan. 6 1992 JV-30 Version + 1.01 Function Transmitted Recognized Remarks Basie Default 1-16 1-16 Channel Changed 1-16 118 each Memorined Default Mode 3 Mode 3 Mode Messages MONO, POLY Mode 3.4 (M. 2, Operating Abered, ee esaeene Note i o-127 o~127 Number True Voie pa eeaenee o~127 Note ON ° ° Velocity Note OFF x x After Key's x 1 Touch __Ch's x a1 Fitch Bender ° 1 0-8 12-5, AGE | +1 Gasnabi) as2/0 3 (SB ont) Bank elect 1/0 " Mocsition 5]o #3 Portamento time 6 38 | 0 488 ont) 3 ata entry 7| $1 "i Value w]o a1 Panot i BIS " Expression nto! * Hot 10 * Portament Change 88 | 7 a Sovtenato er] #1 a Soft otf at 33. over) Etect? ceoth 83] at 33: Choe) Esect3 Geoth 99.93] O14 n NRPN USB, se 100. 101 | 1 a) en LSB, SB. Yao | 1 3 ‘Al sounds off 11] o 8 Feset al conte Prog ° a1 Chanoe True # saeekeeee 0-127 Prog, Numbor 1 ~ 128 System Exclusive ° a1 Song Pos x x Common SeS | x Tune x x System Clock ia x Foal Tims Commands x x Local ON/OFF | x at Aux All Notes OFF | Q 123~ 125) Messages Active Sense | O ° Reset x x hen 1 OX is ecectable 2 Recognize ag m= even if mat #9 Oris selectable only when using the receive switch control change (all) 4 The edit data is transmitted, only tone change. Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO Mode 3: OMNI OFF, POLYWHow to read a MIDI Implementation Chart (O:MIDI data that can be transmitted or lecived X:MIDI dara that connot be wensmited or received. @Besic Channel ‘The MIDI channol for tanemitng (or rcsveng) MII dota can be epscifd over thio rengo. The MIDI channel senting ie eemembered even when the power is tuned off @ Mode Most reoect keyboard use made 3 (omni off, poy). Fecepion: MIDI data is received only on the soecitied channels, and played polyohoricaly. Transmission: All MIDI date ie taramited on the specified MIDI chonnel {’Mede" refers 9 MIDI Mode messones @Note Number This ie the range of note numbers that can be tansmited (oe recsivad), Note number 60 ie mide © (CA, @ Velocity This ie the range over which velocity can be wansmitied (or received) by Note On and Note Off messages. @Aftertouch Key's: Polyphonic Aftertouch Chis: Channel Attertouen| @Fitch Bender ‘The bender range setting of each Tone determines the range of pitch change caused by Pitch Bender messages. When 491 to 0, Pitch Bender messages wil bo ignored @contro! Change This inccates the contol numbers that can be ‘the MIDI implementation. @Frogram Change ‘The oroaram numbers in the chart indicte the actual data (This is one less than the Tone proaram numbers.) @ Exclusive Exclusive messege reseption oan be tuned On/Oft @Common, Real time ‘Thece MIDI messages are uses to synchronize sequencers and thytim machines. The JV-30 does not use these messanes @Aux messages sity theze messane are of the type used to prevent problems, such as Active Sensing (Checks whether MIDI cable is in oper condtion or not): and Al Notes Off (Massage which terminates the sounding of all notes) m3TOPICAL INDEX @ When You Want to Know a Name + When you want © know the mame and function ofa button or sider. “Pane Descriptions (p- 6) + When you want fo know the mame and purpose of jack (lg np) on the rear panel ss Making the Connections (p. 8) @ Playing Tones o etch berween tones * When you w s~-Auaitining the Sounds (p. 12) “Auditioning the Sounds (p12) “Playing Deum Sets (p14) + Changing Parts. 18) * When you wantto play a Variation. + When you want selet or switch between drum tts. + When you want swich Pans. @ Adding Effects Sounds ™ When you want to expand and ¢ depth fo the sound. s-PayOetave(. 16) * When you want totum Chom on o off. sn tect (p18) * When you want ota Revesb on or off ‘fects (p. 18) + When you want change or hilt hey. ‘Teanspose (p18 Key Shift(p.23) * When you want payin a higher or lower ey without changing positions on the keyboard. “Transpose (p18), Key Shift(p. 23) smonnnoner$0lo (0.18) ramen. 18) BenderMeduation Lever (p. 19) * When you want to play just one note at time * When you want lide smoathly up or down fo the next ate. * When you want know how to use th BenderMedulation lever. @ Making Settings ™ “When you want o adja the ove Vole. rnmnnennnnnnn sone Level (p20) "= When you wan! ost the volume of each Part indivialy v-nrnnnnnanimnnsnennnsne Lave (p20) * When you want o match the overall ning ofthe JV ~ 30 with an exeral device. Tune (p. 20) ‘= When you want to adja the lefightoutpt balance of enc Pat individually. Pan(p. 22) ‘= When you wan! to change from ore king of chors to another. Chorus Type (p21) * When you want o adjust the amount of ever chm fet. +--Chorus Level (p21) = When you want to edjst the amount of chon effect on individual Pas, “~-Chons Send Dept (p. 22) "= When you want to change From one Kind of ever to anther nn Reverb Type(e-2) * When you want to adja the amount of overall ever effet. ovsn-nnansnnnanennnmnnenoReverd Level (p21) = When you want oat the amount of ever effec on individual Par, “om Revet Send Depin(p. 23) * When you want o conto the amount of add effect withthe Bender. ~Bend Range (p. 23), Modulation Depth 23) * When you wan! he volume ofthe sound to match hew hard you play the hey velocity Sense Depth (p. 23), Velocity Sense Ost (. 23) “= When you want o prevent stealing of important nots when playing many notes at once. Voice Reserve (p. 23)TOPICAL INDEX @Using Two Tones together + When you want ayer wo tones. * When you want to divide the Keyboard an pay. * When you wantto change where he dividing pola it Daatip-16) Sip. 16) Seung the Split Point (p17) @ Adding to an Original Sound + When you want © adda quiver tothe snd :0 oni Vibro (e. 24) + When you wan to make the sound harder rote. Fiber (9.28) "Whe you wantto make the sound brighter or mellover Fier(p.25) + When you wan a fist response, oa slow build — op afer stikinga ey. “Avtack Time (p28) + When you want the stn he rte for org 2 You Hol own the Kay ne Decty Time (p25) + When you wantthe note to dieu a soon a ou hit tbe key. Decay Time (p28) + Wheter the note shot linger or top immediately ater ing vp onthe ke. s- Release Tie (p25) @ Adding to an Original Drum Sound = When you want to make the sound higher orlowe.. Pieh@. 27) + When you want to adjust the volume. * When you want to change the lfuight balance. + when you want to add some spaciousness tthe sound. Levelip.27) “Pan. 27) Reverb (p. 27) @Storing * When you want to sore an edited sound (Tone or Dam Set). Storing Edit Tones (, 25), Registering Edited Drom Set (p.27) “Let's Tey an Acwal Performance (p. 8) + When you want to store all he stings on the JV 30. @ About MIDI * When you want to hook op the MIDI ctles.rsnnnnennnannnnnanns ‘Using MIDI 1 (p. 30) * When you want to know something about how MIDI messoges are handled. ‘Using MIDI 2(p. 32) = When you want o know which MIDI messages are actually transmited by the JV -30, “--eTragsmited MIDI Messages (p. $7) “When you want o change the Volume/Pan in he Song data. MIDI Coatller Features (p38) + When you want to specify cern Control Change Numbers and change tee vals, “+ MIDI Contoller Features (p. 38) @ Others * When you want to know he Factory Defalt Setings Restoring the Orginal Seng (p. 39) “Restoring the Original Stings (p38) Concerning Par Prisity Ordering (p37) * When you want to make GS stings. * When you want to know the Pinty of Pas, * When you want to know the maximum number of simultaneous nots alowed “Conceming the Maximum Polysony(p. 37) 11 don't ndertand the notation used i his mana, ener Conventins Used In This Manual (p.4)INDEX [A] AC Adaptor AC Adaptor ck ‘AMteroch Messages wns Aesth Receive Switch sak Tine es 33 se 3§ Bende/Modalation Lever Bend Range Blk Dn (MASTER) Bulk Dump (PART) {C] Capital Tones (Channel Aftenouchvnn enn Channel Messages ~ Chores Level (MASTER) Chemis O20 (Chorus Send Depth (PART) = (Chorus Type nem CM 6432, ner Computer-based Sequencer Cans ti Contr Change 0 Centro Change Messages Centr Nome Cott Frequency [D] Decay Time: ba smn 8 ReeEseese Envelope: Breer Meseages-~ [Exclusive Messages Excusve Receive Switeh 76 38 [F] Fate Bae ie Fiternnnenn eee as [G] Geneal MIDE Sytem sth os “4 68 fomat vn 9.44 (5 Reset Receive Switch 236 8 symbol of {H] Heck 7 {k] Key Noe ie Key Shift i {L] Level (Oru Se a2 Level (MASTER) = 20 Level PART) « ae Loca Cota m8 [M] MASTER. 20 Maser (D1) * Maxima Polyphony = a Memory Card = 7 Mipi MIDI Cables MIDI Channels (MIDI Connectors [MIDI Contrlir Features MIDI Cones! Modes MIDI Tpementi “MIDI Implementation Char MII Messages: MIDI Pate Bay ~ Medion Dept MT 32 Sound Onterng Mt TinbalCN] Note Messages 7 232 Note Number 32 Note Off Note On REN NUMBER batons [0] One One way Method OUTPUT Saks P 7 ee oe Polyphonic ARerouth Poramento Poramento Tine Power Switeh~ Preset Tones Program Change“ Program Change Messen Program Number (R] Receive Cham 38 Release Time ese 3§ Resonance 28 Reverb Depth (Drum Ses) Reverb Level (MASTER) =~ Reverb OnOff Reverb Send Depth (PART) = Reverb Type ROM Play (INDEX [s] Sequencer 7 Series conneetin i a Stave MID} 30 Soft Tha Fastin 36 Solon 19 Sound Medal 30 Split i Split Poi 7 Sarcontcton 31 Shi uthady tet teil aoe rg ‘System Messages 3 (T] Tone Change Receive Switch ou Tone Damme «0 ‘Tone Number 48 Transmit Chon! 3 Tranpose: = Amount of Transposition ‘Toe [u] User Tones n [v] Vasintion 13.88 Vasiton Number 88 Vetosiy Sens Death 23 Vetociy Sens set wed Vitra 24 Vibrato Delays 4 Vibrio Det 6 Vibrato Rate aE Voice Reserve 2 Volume ° tw] pre unarocenarienenrtrenetanecraneneneretye77 7SPECIFICATIONS 3V-30: 16 Patt Multi Timbval Synthesizer GS response @ Keyboard 61 Keys (with velocity) @ Number of parts @ Dimensions 978(W) x 279(D) x 84(H) mm BB1/2" x 11 x 3.418" 16 (Two parts can be set in the drum part) @ Weight 66 ka/14 Ibs & oz (@ Maximum Polyphony 24 (Voices) © Current Draw 800 ma (Sv DC) @ Effects Reverb @ Accessories Chorus ‘AC Adaptor ‘ACHI20 (120) internal Memory ‘ACE220 (220V) Tones preset: 189 ACB-240A, ACB-240E (240V) user: 128 ‘Owner's Manual Drumsets preset : 9 Connection Cable (PI-1M) user: 9 MT-32sets Tones: 128 @ Options Drumset: 1 Pedal Switch 0-2/6, FU-SU (BOSS) Performance 8 Keyboard Stand KS-8 Carrying Bg cB-10 @ Display Stereo Headphones RH-20180/120 16 characters, 2 line MIDUSYNC Cable MSC-07/15/25/50/100 Monitor Amp MA-12 (BOSS) @ Connectors Output jacks (L,R) Phones jack Pedal Hold lack MIDI connectors (IN, OUT, THRU) For the UK, IMPORTANT: THE WiRESIN THISMARS LEAD AREGOL OUREDIN ACCORDANCE WITHTHE FOLLOWING CODE, BLUE: NELTRAL BROWN | LVE Aethe ous ol he wisin thems lead is appara ney vl cress wit cred mags erg the terminal in your pug pocoed as folows: The wire wtich is cooured BLUE mustbe connecedto the lemina wich marked withthe eter orccoued BLACK “Tho wce whic is coioured BROWN must be conneetec one trina which s marked he ter Lor colowe RED. 8or Noxtle Counties Apparatus containing Lithium batteries [ADVARSEL! \VARNING! nena aps ws sta esse tee Nee Sern hyo ie 98 Ueto nt ede fae ‘Snrimmenoa 5 opt” tao ‘im amoebae et tne {ore aba te ap rete srt ADVARSEL! varomrusi ayontter epee too a, ies {etaiten bees hn ote ote ‘bones spot ‘Gato asain rate det svete, ‘etn pi fo ays ‘insane er se For Germany’ Bescheinigung des Herstellers/Importeurs ermitid beheld derteeas InDeerenstrenung miter Bestmmungen der Pole 16 PRT MULTI TRRAL Sr4T Vig 1984 ‘ ‘Bezocnna) furicenstort st (er Deutschen Bundespost muce 6 Inertchrbingen doses Gertesangezcigl und de Beretigung zur Uberprifung er Seo aul Ciohalung der Bestinmungen eingeraumt Roland Corporation Osaka/Japan For he USA RADIO AND TELEVISION INTERFERENCE vasne— Torreon cn cia Sampy ete pan PAF nn ‘eigen remem kate ena See a LEAST none saa a eee eee ee enn Scivitay iamwae ne eter ‘Sreurs near roe iy aap BE Sea Se For Canade: cLass 8 NOTICE “Tis dit! appara does not excoed the Clas B lms for rato note omissions set out in the Rac lntertronce Regutione of tne Canacsan Departmont of Carmmuricatons ‘CLASSE B avis ‘Cet apparel numérique ne anasce ps ls ies dela lasse B au iveau des érisions de brs recodectiqes fxds ‘ane e Pegiement des Sgnaux pareses parle mrestere canadien des Communcatons.{=Roland ——.a- we