Roland juno-stage ユーザーガイド
123
Chapter 9. Detailed Settings for a Rhythm Set
Changes you make are temporary, and will be lost when you turn off
the power or select another patch (rhythm set). If you want to keep the
rhythm set you modified, you must save it to internal user memory.
the power or select another patch (rhythm set). If you want to keep the
rhythm set you modified, you must save it to internal user memory.
When you edit the settings of a rhythm set in Patch mode, an “*” will
be shown in the PATCH PLAY screen. If you’ve edited a patch in
Performance mode, you should also save the performance after saving
the patch (p. 133).
be shown in the PATCH PLAY screen. If you’ve edited a patch in
Performance mode, you should also save the performance after saving
the patch (p. 133).
When you save, the data that previously occupied the save
destination will be overwritten.
destination will be overwritten.
1.
Edit a rhythm set.
2.
Press [WRITE].
The RHYTHM SET NAME screen will appear.
If you’re in Performance mode, the WRITE MENU screen will
appear. Pressing [3 (PAT/RHY)] will access the RHYTHM SET
NAME screen.
appear. Pressing [3 (PAT/RHY)] will access the RHYTHM SET
NAME screen.
fig.disp-rhyname.eps
3.
Assign a name to the rhythm set.
4.
When you’ve finished assigning a name, press [7 (WRITE)].
A screen allowing you to select the save destination will appear.
5.
Use the VALUE dial, [DEC] [INC], or [
] [
] to select the save-
destination rhythm set number.
If you press [5 (COMPR)] to apply a check mark (
✔
), you’ll be
able to play the save-destination rhythm set (Compare function).
6.
Press [7 (WRITE)].
A confirmation message will appear.
If you decide to cancel, press [6 (CANCEL)].
7.
Press [7 (EXEC)] to save the rhythm set.
Never turn off the power while data is being saved.
Saving a Rhythm Set You’ve Created
([WRITE])
Note when selecting a waveform
The JUNO-STAGE uses complex PCM waveforms as the basis for its
sounds. For this reason, you should be aware that if you specify a
waveform that is very different than the original waveform, the result
may not be what you expect.
The JUNO-STAGE’s internal waveforms can be categorized into the
following two types.
One-shot:
sounds. For this reason, you should be aware that if you specify a
waveform that is very different than the original waveform, the result
may not be what you expect.
The JUNO-STAGE’s internal waveforms can be categorized into the
following two types.
One-shot:
These are sounds with a short decay time. One-shot waveforms
contain the entire duration of the sound from the attack until it
decays to silence. Some of these waveforms capture a complete
sound such as a percussion instrument, but there are also many
attack component sounds such as the hammer strike of a piano
or the fret noise of a guitar.
contain the entire duration of the sound from the attack until it
decays to silence. Some of these waveforms capture a complete
sound such as a percussion instrument, but there are also many
attack component sounds such as the hammer strike of a piano
or the fret noise of a guitar.
Loop:
These are sounds with a long decay, or sustaining sounds.
Looped waveforms will repeatedly play a portion of a sound
once it has reached a relatively stable state. These sounds also
include numerous component sounds such as a vibrating piano
string or a resonating pipe.
Looped waveforms will repeatedly play a portion of a sound
once it has reached a relatively stable state. These sounds also
include numerous component sounds such as a vibrating piano
string or a resonating pipe.
The following illustration shows an example of a sound created by
combining a one-shot waveform with a loop waveform. (This example
is of an electric organ.)
combining a one-shot waveform with a loop waveform. (This example
is of an electric organ.)
fig.Waveform1-e.eps
Note when selecting a one-shot waveform
It’s not possible to use the envelope settings to give a one-shot
waveform a longer decay than the original waveform contains,
or to make it a sustaining sound. Even if you made this type of
envelope setting, you would be trying to bring out something
that doesn’t exist in the original waveform.
waveform a longer decay than the original waveform contains,
or to make it a sustaining sound. Even if you made this type of
envelope setting, you would be trying to bring out something
that doesn’t exist in the original waveform.
Note when selecting a looped waveform
Many acoustic instruments such as piano or sax are marked by
a sudden change in timbre at the very beginning of the sound,
and this rapid change is what gives the instrument its distinctive
character. When using these waveforms, it’s best to use the
complex tonal changes in the attack portion of the sound without
attempting to modify them; use the envelope only to modify the
decay portion of the sound as desired. If you use the envelope to
modify the attack as well, the envelope settings will be affected
by the attack of the waveform itself, and you may not get the
result you intend.
a sudden change in timbre at the very beginning of the sound,
and this rapid change is what gives the instrument its distinctive
character. When using these waveforms, it’s best to use the
complex tonal changes in the attack portion of the sound without
attempting to modify them; use the envelope only to modify the
decay portion of the sound as desired. If you use the envelope to
modify the attack as well, the envelope settings will be affected
by the attack of the waveform itself, and you may not get the
result you intend.
fig.Waveform2-e.eps
TVA ENV for looped Organ
waveform (sustain portion)
waveform (sustain portion)
Note off
Time
Level
Resulting TVA ENV
change
change
TVA ENV for one-shot Key
-click waveform (attack portion)
-click waveform (attack portion)
Note off
+
=
Tone change stored
with the wave
Envelope
for the TVF filter
Resulting
tone change
Looped portion
Time
Level
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