Roland JX-1 User manual

Roland
RERFDRMANCE SYNTHESIZER
JX-l
OWNER'S MANUAL

Introduction
Thank you, and congratulations on your choice of the Roland Performance Synthesizer JX-1
.
With its quality construction, variety of sounds, and easy to use yet comprehensive controls,
it is sure to satisfy most everyone, from beginner to seasoned professional. In order to gain
abetter understanding of every feature this unit offers, and to ensure continuing satisfaction
for years to come, please take the time to read this manual in its entirety.
Features
Dedicated Sliders For Unique Sound Creation
Eight essential sound parameters are controlled by
four panel sliders. These sliders allow you to alter
sounds in amanner reminiscent of analog instru-
ments.
Dual Voicing Offers Greater Variety
Two different sounds can be layered together (Dual).
Since an amazing number of interesting combinations
can be made, awealth of creative possibilities are now
available, even during performance.
Input Jacks
Convenient input jacks allow you to connect awide
range units, such as radio-cassette player, rhythm
machine, or another electronic musical instrument.
This feature is helpful when wishing to practice along
with arecorded piece, or for increasing the number of
sources that generate sound.
On-Board Digital Effects
The JX-1 includes on-board digital Reverb/Delay and
digital Chorus. To obtain an even richer, more expan-
sive sound, try using stereo output.
Wide Variety Of Preset Tones
The JX-1 includes awide selection of the highest-qual-
ity and most versatile sounds. Whether you need are-
sounding acoustic piano or asolo synth sound for lead
lines, the JX-1 has them ail.
Ease Of Operation
Since buttons or sliders have been provided for all
sound selections and functions, there is no convoluted
series of programming steps to learn.
Compact, Lightweight &Highly Portable
The JX-1 was designed to be compact and lightweight.
It can be carried and be setup almost anywhere.
Important Notes
Be sure to use only the adaptor supplied with the unit. Use of any other power adaptor could result in damage,
malfunction, or electric shock.
[Power Supply]
•V\/hen making any connections with other devices, al-
ways turn off the power to all equipment first; this
will help prevent damage or malfunction.
•Do not use this unit on the same power circuit with
any device, that will generate line noise, such as a
motor or variable lighting system.
•The power supply required for this unit is shown on its
nameplate. Ensure that the line voltage of your instal-
lation meets this requirement.
•Avoid damaging the power cord; do not step on it,
place heavy objects on it etc.
•When disconnecting the AC adaptor from the outlet,
grasp the plug itself; never pull on the cord.
•If the unit is to remain unused for a long period of
time, unplug the power cord.
[Placement]
•Do not subject the unit to temperature extremes (eg.
direct sunlight in an enclosed vehicle). Avoid using or
storing the unit in dusty or humid areas or areas that
are subject to high vibration levels.
•Using the unit near power amplifiers {or other equip-
ment containing large transformers) may induce hum.
•This unit may interfere with radio and television re-
ception. Do not use this unit in the vicinity of such
receivers.
•Do not expose this unit to temperature extremes
(eg. direct sunlight In an enclosed vehicle can deform
or discolor the unit) or install it near devices that
radiate heat.
[Maintenance]
•For everyday cleaning wipe the unit with asoft, dry
cloth (or one that has been slightly dampened with
water). To remove stubborn dirt, use a mild neutral
detergent. Afterwards, be sure to wipe the unit
thoroughly with asoft, dry cloth.
•Never use benzene, thinners, alcohol or solvents of
any kind, to avoid the risk of discoloration and/or
deformation.
[Additional Precautions]
•Protect the unit from strong impact.
•Do not allow objects or liquids of any kind to penet-
rate the unit. In the event of such an occurrence, dis-
continue use immediately. Contact qualified service
personnel as soon as possible.
•Should amalfunction occur (or if you suspect there is
aproblem) discontinue use immediately. Contact qual-
ified service personnel as soon as possible.
•To prevent the risk of electric shock, do not open the
unit or its AC adaptor.
[Memory Backup]
•The unit contains abattery which maintains the con-
tents of memory while the main power is off. The ex-
pected life of this battery is 5years or more. However,
to avoid the unexpected loss of memory data, it is
strongly recommended that you change the battery
every 5years.
Please be aware that the actual life of the battery will
depend on the physical environment {especially temp-
erature) in which the unit is used. When it is time
to change the battery, consult with qualified service
personnel.

Making the Connections
Before attempting to make the necessary connections, make
sure you have the power turned off to the keyboard, amplifier
and mixers. Also, the volume on your amplifier should be set to
zero. This will help prevent damage or malfunction.
Following the illustration below, connect the keyboard with
any external devices you intend to use.
<REAR PANEL>
-MIDI.
THRU OUT IN PEDAL INPUT PHONES OUTPUT AC IN 12V POWER
HOLD RLRL(MONO) 500mA
O1-—^I"
O^
<3
oV loV
Pedal switch Stereo headphones
I
Q[
:
:
AC adaptor
To output jack of radio-cassette
player or other audio equipment Mixer, amplifier, etc.
*Since the JX-1 does not incorporate apower amplifier or speakers,
it cannot produce sound by itself {except through headphones).

OPOWER SWITCH
To turn the power on, press the switch.
To turn off, press it again.
ON OFF
OACIN
Use only the AC adaptor supplied. Loop the adaptor
cord around the cord hook to prevent the adaptor
from accidental disconnection.
OOUTPUT JACKS
These jacks provide output of the JX-1's sound. Con-
nect the keyboard to amixer, keyboard amplifier, or
other device using these jacks. In order to get the
most out of the instrument, use stereo output (L/R)
wherever possible. If you wish to use monaural out-
put, use the L(MONO) jack only. (Mixer; MSeries,
BOSS BX Series; Amp: CK Series, MA-12AV, or similar.)
OPHONES JACK
Connect stereo headphones to this jack.
INPUT JACKS
These jacks accept audio signals from external
sources. The audio signals input here are mixed with
what is generated by the keyboard itself before
being output from the OUTPUT or PHONES jack.
These jacks should be connected to the OUTPUT
(LINE OUT) jacks on your radio-cassette player or
other audio equipment (rhythm machine etc.). You
will need to adjust the volume of the connected de-
vice to get the proper balance.
Headphones
L R
Radio-cassette
player, rhythm
machine
OPEDAL HOLD JACK
Accepts connection of afoot switch. The foot switch
will act as adamper pedal, allowing you to sustain
notes played on the keyboard.
OMIDI CONNECTORS
These connectors allow you to use MIDI cables to
connect the JX-1 with other MIDI-equipped units. For
details, refer to "Using MIDI," page 10.
Turning on Power
Once all connections have been properly made, turn
on the devices in the following order:
Turn on the JX-1.
\
(5) Turn on the power to the mixer and amplifier.
(3) Adjust the volume.
*Due to its circuitry protection feature, this instrument
requires afew seconds after power up before It is ready
for operation.
When your playing session is finished, turn down
the volume on the amp and/or mixer. Then turn off
the units in this order: Amp, mixer, then the key-
board. (This is the reverse order used when power-
ing up.) Once all units are turned off, you can dis-
connect the cables.
Setting Up the
Music Stand
The music stand (supplied with instrument) should
be attached as shown in the illustration.
*Make certain you always remove the music stand before
moving the unit.

Playing Your Keyboard
Once you have everything connected and turned on, you are
ready to try out your new keyboard. Follow these steps...
D^lidJusl^the^luiTie
Adjust the volume of the keyboard. The VOLUME
slider controls both the OUTPUT jacks and the
PHONES jack.
Move the slider upwards to increase the volume,
and downwards to decrease it.
*The JX-1 provides no control over the volume of any
units you may have connected to the INPUT jacks.
@%djust the Brilliance
^S^ -M^j;' •'^-s-,' ,-;,•.
Adjust the brilliance the sound will have. The BRIL-
LIANCE slider affects the sound heard from the OUT-
PUT jacks and the PHONES jack.
Move the slider upwards to brighten the tone, and
downwards to make it mellower.
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CUTOFF COLOR ATTACK RELEASE
VB RATE VfB DEPTH REV LEVEL REV TIME
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"Osiiradh^^indeir'kever
This lever, located on the left side of the instru-
ment, allows you to bend the pitch or add vibrato
to the notes you play.
•Pitch Bending
By moving the lever to the left or right, the notes
you play will be lowered or raised in pitch. "Bend
Range" (a performance setting) allows you to
choose the amount of pitch change that will occur
when the lever is moved. (See "Performance Func-
tions," pages 6-7.)
With practice, you can perfect avariety of perfor-
mance techniques (eg., "portamento" or "string
bending").
•Vibrato
When the Bender Lever is pushed all the way for-
ward (towards the top of the instrument), you
obtain aVibrato effect. The manner in which Vi-
brato will take effect varies depending on the sound
being played. (See "Editing Tones," pages 8-9.)
MODULATION
i
BENDER

@QSelectihg the^ui
The JX-1 provides aselection of 96 different Tones.
•Preset Tones (A Group: 32; BGroup: 32 available)
Factory preset sounds stored in memory.
•Memory Tones (32 available)
Sounds which you create and then storing in
memory.
Press button B3 to choose the Tone Group,
(see right)
Press button Qto select the desired Tone.
Whenever aparticular button (sound) is currently
selected, its indicator will be lit.
How to choose the Tone Group
Preset Tone
AGroup
PRESET A
f- MEMORY
PRESET B
Preset Tone
BGroup
PRESET A
-MEMORY
PRESET B
Memory Tone
Group
PRESET A
MEMORY
PRESET B
(Press both the buttons
at the same time)
VSENS/
NE .MIDI eRANGg TRANSPOSE
3OREVERB CHORUS OCT DOWN
^J ^3 ^3 WBBIW
•01 iI6'JIt 8 3 Ci wn n Ai '? BOm^-4
jjjjjjj^ "J^ "3^ "J"' -i-is-v ai 6? fi3 Bi 8i a; e; svsix ei;
When Playing
To layer two sounds and have them play together,
hold down the button for one Tone while you press
the button for the other.
[Example]
You wish to layer "PIANO" with "STRINGS":
Simply hold down the IPIANO Ibutton while you press
the [strings! button.
+
Hold down the
jPIANOl button
The indicator on the Tone button you press first will
light steadily, while the indicator on the second
button will be blinking. The first Tone is referred to
as the "Main Tone," while the second is called the
"Sub Tone."
With respect to the Main Tone, you can check
whether effects are "On" or not, as well as perform
the normal EditAA/rite operations. This is not possi-
ble with the Sub Tone. See "Editing Tones," page 8.
*Tones in different Tone Groups cannot be layered.
Press the STRINGS! button

Performance Functions
The following functions allow you to alter the way your key-
board performs. These variable performance functions are: Q
Tuning, Scale which uses quarter-tones, B3 MIDI Channel,
Bend Range, BVelocity Sensitivity, and Key Transpose.
Once made, these settings will be retained even while the
power is off.
The unit's overall tuning is adjusted by
changing the frequency (pitch) of mid-
dle "A" (the "A" above middle "C").
Tuning is adjustable in 1Hz increments
from 438-445 Hz.
[What To Do]
Hold down the TUNE Ibutton, and
then press the Tone button which cor-
responds to the pitch you require
(lower row, first eight buttons; green).
The following procedure allows you to
choose the MIDI Channel that the unit
will use for the exchange of perfor-
mance information and Program
Change messages. Any channel from 1
through 16 can be selected.
[What To Do]
while holding down the jMIDII button,
press the Tone button which corres-
ponds to the desired Channel number
(upper row; blue). 1-16 are available.
Please refer also to "Using MIDI," start-
ing page 10.
Function Button
TUNE VSENS/
MIDI BRANGE TRANS
^^ ^
PRESET A
r-
b)
-MEMORY
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AAim VA 5£6
AA2Hi aA3H!
"W -w "W -w r^
PRESET BSY.\ STACK 1PnOLOGLE SV\ VOX ISY\ c
It is possible to set the JX-1 to use anon-Western tuning system
(ex. Arabic music). By following the procedure below, you can
create scales which include "quarter-tones" (pitch intervals
equal to about 1/2 of asemitone).
[What To Do]
First, turn off the power for amoment.
Then, while holding down the iTUNEl button, turn power on.
You will then be in the mode which allows you to use quarter-
tones.
Next, while holding down iTUNEj .press the Tone button
(upper row; pink) which corresponds to the note you wish to
have set to aquarter-tone (the pitch will be lowered by about
1/2 asemitone). Any number of notes among the twelve from
Cthrough Bcan be specified. To seta quarter-tone back to the
normal pitch, keep holding down ITUNEl and press the Tone
button again which corresponds to the note you wish.
Once your settings have been made, release your finger from
the lTUNEj button. The instrument will then be ready to play.
As long as the power remains on, quarter-tone settings can be
made at any time. To restore the instrument's standard tuning,
simply turn the unit off and then on again.
6

[Common Procedure]
Common procedure to set Performance Functions is as bellow: While holding
down the function button, press the Tone button which coresponds to the de-
sired value. The values available for these functions appear between the rows of
the Tone buttons and are color-coded. If you wish to be shown the each value
of these functions, press the desired function button. While the function button
is holding down, the indicator(s) on the button corresponding to currently
selected value will be lit.
Hold down
the function
button
Press the Tone
button which
corresponds to
the desired
value.
+
REVERB CHORUS OCT DOWN ^WBBM
1
1
1
^t^ t^ '1
BMI ^^IS^^^^^^^mm^^mm^^ BHSSQB^^^^BIB^
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110 A
B2
11 Al m112 B
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13 B5 Id
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15 B7 16
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With the JX-1, you can obtain changes in the volume and tone
color depending on the strength (velocity) with which keys are
played. This allows you to use every dynamic level from pianis-
simo to fortissimo. Velocity Sensitivity is an adjustment that
allows you to determine how responsive the keys will be to vel-
ocity. Four settings are available: V1-4.
1V4 Playing softly will produce aquiet sound, while playing
forcefully will produce aloud sound.
VI The volume level will change very little, regardless of
whether you play softly or forcefully.
[What To Dol
While holding down the jV SENS/B RANGE! button, press the
Tone button which corresponds to the desired value (lower
row; yellow).
This setting determines the extent to which the pitch will
change when the bender lever is moved completely in either
direction (up or down). The setting is made in semitone steps:
B1-7or 12.
[What To Do]
While holding down the |V SENS/B RANGE Ibutton, press the
Tone button which corresponds the desired value (lower row;
yellow). For a semitone, select "B1", for awhole tone, choose
"B2". Perfect fifth would be "87," and for an octave, select
"B12."
^^^png the
ranspose
p^hing On/Off
This feature allows you to play in adiffe-
rent key while using amore familiar
keyboard fingering. This is convenient
for accompanying asinger, or making a
difficult piece easier to play.
Transposition is set in semitones, with
C-B being available. For example, if the
transpose function is set to "G," you will
obtain a"G" whenever a"C" is played.
If set to "C," the note will be shifted
down an octave.
[What To Do]
While holding down the [TRANSPOSE
button, press the Tone button which
corresponds to the desired key (upper
row, pink). The indicator on the
[TRANSPOSE] button will light to indi-
cate that akey transposition is cur-
rently in effect.
The key transposition can be turned
on and off simply by pressing the
[TRANSPOSE! button. If the indicator
on this button is lit, it is on; if it is out,
there is no key transposition.

Editing Tones
The JX-1 allows you to change the character of aselected Tone
by editing its parameters. Each Tone has anumber of parame-
ters which can be changed using buttons and sliders. When-
ever editingchanges have been made, the indicators on the
PRESET Al and/or [PRESET B
I
buttons will start blinking to indi-
cate that aTone has been altered.
*whenever the Dual function is being used (to layer Tones), only the Main Tone can
be edited. Also, effect status (on/off) is only indicated for the Main Tone. The Sub
Tone cannot be edited.
^Using^the |Ji€pt^l^:J^ilUlng
Eight different parameters can be controlled. But-
ton selects one Parameter Group. By moving
the slider @you alter the settings of that
specified parameter. Changes are accepted for a
Parameter Group when its indicator is lit.
Move aslider to the center position and you ob-
tain the original Preset Tone settings {no altera-
tion to the sound).
OCUTOFF
Used to set the cutoff point when the har-
monic overtones are to be filtered. The
further the slider is raised, the higher the fre-
quency of the cutoff point.
OCOLOR
Provides sensitive control over the tonal col-
oration of the sound. As the slider is raised,
the sound become more distinctive and
unique.
OATTACK
Adjusts the velocity of the attack portion of
the sound; produced the first instant akey is
played.
The further the slider is raised, the slower the
attack becomes.
ORELEASE
Adjusts the time over which sound fades
after akey is released. The further the slider
is raised, the longer it will take for sound to
fade away.
CUTQFf COLOR ATTACK RELEASE |tS ij
VIS RATE VIB C^PTH REV LEVEL REV TIME
n
CD
Uu
n
Uu
m
OVIB RATE (Vibrato Rate)
Provides control over the speed at which the
pitch fluctuations occur. When the slider is
raised, the vibrato speed will increase.
OVIB DEPTH (Vibrato Depth)
Allows you to adjust the depth to which the
Vibrato fluctuations occur.
When the slider is raised, the Vibrato be-
comes deeper.
OREV LEVEL (Reverb Level)
Adjusts the amplitude of the reverberant {or
delayed) portion of the sound.
Raise the slider to increase the amplitude of
reverberated or delayed sound.
OREV TIME (Reverb Time)
Adjusts the amount of time over which re-
verberant sound will decay. For the Tone set
which delay effect, it adjusts the rate at
which the repetitions in delayed sound will
occur.
The further the slider is raised, the longer the
Reverb Time (or the repetition rate) becomes.

HJi e':blJ-$pns.lorlEcittfn^^^ :-.i>svt»-.' ^i^
Reverb, Chorus, and Octave Down are turned on and
off simply pressing the JREVERBI.ICHORUSIand
[OCT DOWN Ibuttons. When on, the indicator will
light, and when pressed again, the indicator goes
out.
REVERB
By adding reverberation, you add an enhanced
sense of spaciousness to what you play. The
most suitable Reverb type has already been as-
signed to each Preset Tone. With certain Tones,
Delay (a repetitive, echo-like effect) will also
be applied. No change can be made in the
Reverb/Delay type that has been selected.
REVERB CHORUS OCT DOWN
^I. mIm
os m
SCHORUS
This is an effect which adds more breadth and
depth to asound.
El OCT DOWN (Octave Down)
When turned On, notes will sound one octave
lower.
Both Reverb and Chorus provide stereo processing. To make sounds even richer
and more expansive, try using stereo output (using both Land ROUTPUT jacks).
Storing Edited Tones
By performing the Write procedure, you can store a
sound which has been altered as aMemory Tone.
The new Tone is stored in the Memory Tone loca-
tion assigned to the same button as the original
Preset.
You cannot store an altered Tone in alocation other
than the correspo ndi ng button for the original
Preset (Ex. IPIANOI -^ lE.PIANOl).
[Write Procedure]
Press and hold the IWRITE Ibutton and the destina-
tion Tone button's Indicatorwill be blinking. While
holding down the IWRITE Ibutton, press the button
that is blinking.
As aresult, the newly created sound is stored as a
Memory Tone, and the unit returns to its previous
state. The procedure should be used with caution,
however, since any Memory Tone already at the
destination will be replaced by the new Tone.
When using the Dual function, the Write procedure
can only be performed with respect to the Main
Tone (Sub Tone cannot be written).
[Ex.]
iPIANOl ]
in PRESET AGROUP
is edited
Write
proced
.
IPIANOI ure
in PRESET BGROUP
is edited
—*- IPIANOI
in MEMORY
TONE GROUP
IPIANOI
in MEMORY TONE GROUP
is edited
mpi
+
Hold down the
IWRITE Ibutton
Press the tone button with blinking
9

Using MIDI 1
About MIDI
MIDI (Musical Instrument Digital Interface) is an
internationally recognized standard for the transfer
of performance information among electronic
musical instruments and computers. The majority of
contemporary electronic musical instruments are
equipped to support this standard. Under MIDI,
music is not handled as sound itself. Instead, perfor-
mance information (and whatever commands ac-
company it) are converted and expressed in digital
form. All such digital data communicated through
MJDI is collectively referred to as "MIDI Data."
Benefits of MIDI
By using MIDI to connect your JX-1 to another elec-
tronic musical instrument, you can then use it to
control the other unit, or in reverse, the other unit
can be used to control your JX-1 .Whenever you play
your JX-1, MIDI data describing v^hat you play (or
how you use the controls) will automatically be
transmitted. On the other hand, whenever the unit
receives such performance data, it will play notes,
and otherwise be controlled by the incoming data.
In addition, this performance data can be recorded
into asequencer (MIDI data recorder) while you
play, and then be played back.
MIDI IN MIDI data is received here. Use the MIDI IN connector to receive data from akey-
board (or other device) you are using to control the JX-1 .AMIDI cable should be con-
nected so it runs from here to the MIDI OUT on the external unit.
MIDI
OUT
Keyboard controller
or sequencer
MIDI
JX-1
MIDI OUT MIDI data is sent out from here. Use it to send data to play asound module, or to be
recorded in asequencer. AMIDI cable should be connected so it runs from here to
the MIDI IN on the external unit.
MIDI
OUT '
MIDI
,IN
.X.1 }Sound module
MIDI THRU This connector re-transmits an exact copy of all MIDI data arriving at MIDI IN. The
MIDI data produced by the unit itself is NOT sent from this connector. MIDI THRU is
useful for chaining instruments together, such as when akeyboard controller or
sequencer is being used to play the JX-1, and also to pass on the data to another
sound generating unit. AMIDI cable should be connected so it runs from here to the
MIDI IN on an external unit.
MIDI
OUT
MIDI
IN ,'
MIDI
THRU
MIDI
,IN
Keyboard controller
or sequencer <->Sound
module
10

i^l^iii Jhe£MI[|l^l^^i^
An important feature of MIDI is that it uses a
number of different channels. Performance data
can be transferred between two instruments only
when the channel on the receiving unit matches
the channel on the transmitting unit. For example,
if the transmitting unit is using channel 1, only an
instrument set to receive on channel 1would re-
spond to the incoming data.
MIDI
OUT ^i^
'
MIDI
.IN
ch.1 'ch.l '
When recording on asequencer, anumber of diffe-
rent channels can be used. This allows different
sound modules (or individual sounds) to be played
separately (as needed).
MIDI
OUT
ch.2
ch.3
^r
-P
MIDI
THRU
ch.3 ^r-
PMIDI
IN
ch.2 ^€'
Sequencer Sound module 1Sound module 2
On the JX-1 ,you select one channel on which both
transmission and reception will take place. The
manner in which you select this channel is
explained in "Performance Functions," page 6.
OMIDI Data Types on the JX-1
The types of MIDI data that are recognized
(when MIDI channels match) by the JX-1 are as
follows:
•Performance Data Produced by aKeyboard
Note Numbers and their Velocity are produced
when keys are played.
Velocity when key is released is only transmitted.
•Pitch Bend Data
Information regarding pitch bend is produced
when the bender lever is moved. Bend range can
be set on the receiving instrument.
•Control Change Data
Modulation Depth produced by the bender
lever; and whether the Hold pedal is depressed
or not (ON or OFF).
Volume information is dealt with only when re-
ceived.
•Program Change Data
These cover the selection of sounds using the
Tone buttons. The Sub Tone for the Dual func-
tion is also handled.
Refer to "Sound and Corresponding Program
Change Numbers" page 13.
<y About MIDI Implementation Chart
MIDI makes it possible for an extensive range of
information about aperformance to be com-
municated. However, depending on the par-
ticular devices you have connected, the types of
data that can be communicated can vary con-
siderably. You should refer to the MIDI Im-
plementation Charts supplied with the devices
you are connecting in order to confirm what
types of MIDI messages can be sent out and/or
received (see below). When comparing charts,
if "O" appears for a particular type of message
on both charts, communication will be successful.
Transmitting
instrument [^"-v^
Turn
fUFKlion :Fji-tTis« fttMtrlt Jt<«gvri
Receiving
instrument
)1

Using MIDI 2
in addition to using MIDI channel to transfer performance data between instru-
ments, there are also other types of data that can be carried by MIDI. These include
Information concerned with aspecific unit's sounds or functions (system exclusive
data), and other data used for system monitoring.
tes^geil i/*"^^ t"-
Information concerned with aunit's own unique sounds or functions is exchanged as System Exclusive
Messages. System Exclusive Messages can only be exchanged between identical units. Thus, if the JX-1
sends System Exclusive Messages, they have meaning andareeffectiveonly if received by another JX-1.
System Exclusive Messages can, however, be recorded into and be played back by asequencer.
OThe JX-1 understands and uses the
following three types of System
Exclusive Messages;
•Tone Dump
Provides for the transfer of all
data for Edit Parameters for the
currently selected Tone. When the
unit receives aTone Dump, all Edit
Parameters for the current tone
will be altered with incoming data.
•Bulk Dump
Provides for the transfer (in bulk)
of all settings for all 32 Memory
Tones. Be aware, however, that
when the unit receives aBulk
Dump, all settings previously
stored in the unit are replaced.
•Parameter Dump
After turning the System Exclusive
switch "ON," the data for each
Edit Parameter will be output over
MIDI according to the operations
you perform using the buttons
and sliders. When the unit receives
Parameter Dumps, its settings will
be altered to conform with the in-
coming data. The result will be the
same as if the panel controls had
been used to manually make the
changes.
OSystem Exclusive Messages Are Transmitted/Received
As Follows:
Transmission Reception
Tone Dump Hold Down MIDI while
pressinqiWRITEl. Once the System Exclusive
switch is turned ON, the
unit is ready for reception
of System Exclusive
messages.*
Bulk Dump Hold down MIDI while
Dressing [PRESET Bl.
Parameter Dump Turn System Exclusive switch
ON, then perform operations.
*Changing the System Exclusive switch setting:
While holding down the iMIDil button, press the Tone button
which has "SYS EX" printed in blue above (lower row, right
end; "SYN LEAD 2"). While the[MTDl] button is held down, the
indicator on the "SYS EX" button will be lit, indicating that the
function is ON.
While ON, any System Exclusive messages that are received
(whether from asequencer or another JX-1) will be recognized.
In addition. Parameter Dumps need to be carried out while in
this condition ("SYS EX" ON).
To turn the function OFF, hold the |MIDI| buttori down and
press the "SYS EX" button (the indicator will go out).
OIf it fails to receive System Exclusive Messages correctly, one of
the indicator of the Edit Parameter Group buttons will flash.
Other Tyjpescif fMtm
This unit also recognizes the following types of data (refer to "MIDI Implementation" page 16):
Local ON/OFF (Reception Only)
If you wish to switch Local "On" and "Off", do
so using MIDI messages from asequencer.
Refer to the sequencer manual for details on
how to do this. Note, however, that the unit
will automatically be set to Local "ON" each
time the unit is turned on.
Active Sensing
This type of data is used to monitor the integ-
rity of the MIDI connectors and cables. It pro-
vides for measures to be taken (such as cutting
off all notes) when abnormalities are detected.
12

Restoring the Factory Settings
The procedure below allows you to restore the
unit's original factory settings.
[What To Do]
While holding down both the IWRITE Ibutton and
the IFLUTE Ibutton, turn the unit on.
Turn the
power on
Hold down both the buttons
Factory Setting of Performance Functions
Tuning 440Hz
MIDI Channel 1
MIDI Exclusive Switch OFF
Bend Range B2
Velocity Sensitivity V3
Key Transpose ON/OFF OFF
Key Transpose Value B
Be aware that by carrying out this procedure you will lose all settings and sounds you may have stored in the unit.
Sounds and Corresponding Program Change Numbers
The relationship between sounds and Program
Change Numbers is predetermined on the JX-1.
Whenever you press abutton to select aTone, the
corresponding Program Change Number (0-95) will
be sent out over MIDI. When you select two Tone
with Dual function, both the corresponding Pro-
gram Change Numbers will be sent out (0-95 for
Main Tone first and 96-127 for Sub Tone next).
If Program Change Number (0-95) is received, the
corresponding Tone will be selected. If Program
Change Number (96-127) is received, the corres-
ponding Tone will be layered for Sub Tone with the
currently selected Tone (Main Tone). Sub Tone will
be selected from the same Tone Group as Main
Tone.
Tone Program Change
Number
Tone Group Row of Buttons
Preset Tone
AGroup Upper
Lower 0- 15
16- 31
Preset Tone
BGroup Upper
Lower 32- 47
48- 63
Memory Tone
Group Upper
Lower 64- 79
80- 95
Sub Tone in
Dual Function Upper
Lower 96-111 112-127
(Left -right)
Program Change messages are both sent and received on the IVIIDI channel
that has been set for the unit to use.
Maximum Polyphony
The various Tones have different requirements as to
the number of sounds they need. (See right)
For this reason, the number of notes that can be
played will vary depending on the particular Tones
and possible combinations you choose to use. (See
below)
*"SYN LEAD 1" and "SYN LEAD 2" are monophonic
sounds.
Maximum Polyphony for Choice of Tones
Choice of Tones Maximum
polyphony
1voice Tone
2voice Tone 24
12
Dual mode 1voice -i-.1 voice
1voice -1- 2voice
2voice -1- 2voice
12
8
6
Voice Number for Tone
Tone name ABTone name AB
PIANO 1 1 FANTASIA 2 2
E.PIANO 11SYN STACK 2 2
JAZZ ORGAN 11PROLOGUE 2 2
ROCK ORGAN 1 1 NEPTUNE 22
SYN CLAV 1 1 SYN VOX 11
ACCORDION 21SYN CHOIR 22
MARIMBA 11WOODY 22
BELL 22SYN HARP 12
STRINGS 12BUZZY 2 2
SYN STRINGS 21SWEEP 11
BRASS 22EPILOGUE 22
SYN BRASS 22SYN BASS 22
TRUMPET 1 1 SAWTOOTH 1 1
SAX 11SQUARE 11
REED 11SYN LEAD 1*22
FLUTE 2 2 SYN LEAD 2* 12
13

Roland Exclusive Messages
Data Format for Exclusive Messages
Roland's MID) implementation uses the following daia format for all
exclusive messages (type 1V>
:
Byte DescriDtion
FOH Exclusive status
41H Manufacturer 10 (Roland)
OEV Device ID
MDL Model ID
CMD Command ID
[BODY] Main data
F7H End of exclusive
#MID1 status: FOH. F7H
An exclusive message must bo flanked byapair of status codes, starting
with aManufacturer-ID immediately after FOH (MIDI versionl.0).
#Manufacturer-ID :41
H
The Manufacturer-ID identities the manufacturer of aMIDI instrument
that triggers an exclusive message. Value 41H represents Roland's
Manufacturer-ID.
^Device-ID: DEV
The Device-ID contains a unique value that identities the individual device
in the multiple implementation of MIDI Instruments. It is usually set to
OOH -OFH, avalue smaller by one than that of a basic channel, but
value OOH -IFH may be used for adevice with multiple basic channels.
#Model-ID: MDL
The Model-ID contains avalue that uniquely identifies one model from
another. Different models, however, may share an identical Model-ID if
they handle similar data.
The Model-ID formal may contain OOH in one or more places to provide
an extended data field. The following are examples of valid Model-IDs,
each representing aunique model:
01
H
02H
03H
OOH. OIH
OOH. 02H
OOH. OOH, OIH
#Command-ID: CMD
The Command-ID indicates the function of an exclusive message. The
Command-ID format may contain OOH In one or more places to provide
an extended data field. The following are examples of valid Command-
IDs, each representing aunique function
:
OIH
02H
03H
OOH, OIH
OOH, 02H
OOH. OOH, OIH
cMain data :BODY
This field contains amessage to be exchanged across an interface.
The exact data size and contents will vary with the Model-ID and
Command-ID.
Address-mapped Data Transfer
Address mapping is atechnique for transferring messages conforming
to the data format given In Section 1, It assigns aseries of memory-
resident records-waveform and lone data, switch status, and parameters.
for examp!e-to specific locations in amachine-dependent address space,
thereby allowing access to data residing at the address amessage
specifies.
Address-mapped data transfer Is therefore independent of models and
data categories. This technique allows use of two different transfer
procedures :one-way transfer and handshake transfer.
Oneway transfer procedure (See Section 3for details.)
This procedure Is suited for the transfer of asmall amount of data.
It sends out an exclusive message completely independent of a receiving
device status.
Connection Diagram
Device (A) Device (B)
Connection at point 2 is essential for "Request data"
Section 3.)
procedures. (See
tHandshake-transfer procedure
(This device does not cover this procedure)
This procedure initiates apredetermined transfer sequence (handshaking)
across the interface before data transfer takes place. Handshaking ensures
that reliability and transfer speed are high enough to handle alarge
amount of data.
Connection Diagram
Device (A) Device (S)
MICH OUT
MIDI IN
'_MIDI IN
MIDI OUT
*t
Connection at points land 2Is essential.
Notes on the above two procedures
*There are separate Command-IDs for different transfer procedures.
*Devices Aand Bcannot exchange data unless they use the same
transfer procedure, share identical Device-ID and Model ID, and are
ready for communication.
One-way Transfer Procedure
This procedure sends out data all the way until it stops and is used
when the messages are so short that answerbacks need not be checked.
For long messages, however, the receiving device must acquire each
message in time with the transfer sequence, which inserts Intervals of
at least 20 milliseconds in between.
Typ«* of MeMage•
Message Command ID
Request data 1
Data set 1
RQl (IIH)
OTl (12H)
#Request data #1 :RQl (11H)
This message Is sent out when there Is aneed to acquire data from
adevice at the other end of the interface. It contains data for the address
and size (hat specify designation and length, respectively, of data required.
On receiving an RQl message, the remote device checks its memory for
the data address and size that satisfy the request.
It It finds them and Is ready for communication, the device will transmit
a"Data set 1(DTI)" message, which contains the requested data.
Otherwise, the device will send out nothing.
Byte Description
FOH Exclusive status
4IH Manufacturer ID (Roland)
DEV Device ID
MDL Model 10
IIH Command 10
aaH Address MSB
LSB
S5H Size MSB
LSB
sum Check sum
F7H End of exclusive
14

Roland Exclusive Messages
*The size of the requested data does not indicate the number of bytes
thai will make up aDTl message, but represents the address fields
where the requested data resides.
*Some models arc subject to limitations in data format used for a
single transaction. Requested data, for example, may have alimit
in length or must be divided into predetermined address fields before
it is exchanged across the interface.
*The same number of bytes comprises address and size data, which,
however, vary with the Model-ID,
*The error checking process uses achecksum that provides abit
pattern where the least significant 7bits are zero when values tor
an address, size, and that checksum are summed.
#Data set 1:DTI (12H}
This message corresponds to the actual data transfer process.
Because every byte in the data is assigned a unique address, aDTI
message can convey the starting address of one or more data as well
as ascries of data formatted in an address- dependent order.
The MIDI standards inhibit non-real time messages from interrupting an
exclusive one. This fact is inconvenient for the devices that support a
"soft-through" mechanism. To maintain compatibility with such devices,
Roland has limited the DTI to 256 bytes so that an excessively long
message is sent out in separate segments.
•Device Brequesting data from Device A
(This device does not cover this procedure)
Device Bsends an RQl message to Device A. Checking (he
message. Device Asends aDTI message back to Device B.
Device (A) Device (B)
[Data set 1] -^ (Request data]
[Data set U^-
*More thar^ 20m sec time internal.
[Data set 1] ;^-
[Data set 1] '^-
8yte Description
FOH Exclusive
41H Manufacturer ID (Roland)
DEV Device ID
MDL Model ID
12H Command ID
3£ HAddress MSB
LS8
dc HDa a
SI. mCh jck sum
F7H End of exclusive
*ADTI message is capable of providing only the valid data among
those specified by an RQl message.
*Some models are subject to limitations in data formal used for a
single transaction. Requested data, for example, may have alimit
in length or must be divided into predetermined address fields before
il is exchanged across the interface.
*The number of bytes comprising address data varies from one Model-
ID to another,
*The error checking process uses achecksum that provides abit
pattern where the least significant 7bits are zero when values for
an address, size, and that checksum are summed.
4Example of Message Transactions
*Device Asending data to Device B
Transfer of a DTI message is all that takes place.
Device (A) Device (B)
[Data set 1] ^-
* More than 20m sec time internal.
[Data set 1]
[Data set i]
15

PERFORMANCE SYNTHESIZER
Model JX-1 MIDI Implementation
Date :Nov. 15 1990
Version :1.00
1.TRANSMITTED DATA
Following messages are transmitted through the MIDI channel set on JX -1.
Channel voice message
#Note event
ONote off
Status Second Third
8nH kkH vvH
n=MIDI channel number
kk =Note number
vv ~Velocity
OH -FH (1 -16)
18H -60H (24 -96)
OIH ~7FH (1 -127)
ONote on
Status Second Third
9nH kkH vvH
n=MIDI channel number OH -FH (1 -16)
kk -Note number 18H -60H (2'} -96)
vv =Velocity OIH -7Fil (1 -127)
*Note number's range can be changed with key transpose. The degrees of
transposition is as below.
kev transpose note numi er's range
OFF 36-96
B<- 1) 35-95
A^(-2) 34-94
A(-3) 33-93
G*(-4) 32-92
G(-5) 31 -9!
F=(-6) 30-90
P(-7) 29 -89
E(-8) 28-88
DJ:C-9) 27-87
D(-10) 26-86
CS(- 11) 25-85
C(-12) 24 -84
•Control change
GModulation depth
This message is transmitted by (he operation of the modulation lever. The effect
of the message is determined by (he receiving device.
Status Second Third
vvH
Onll OIH
n-.MIDI channel number
vv =Modulation depth
OH -FH (I -16)
OOH -7FH (0 -127)
Tone Program number
Main tone PRESET A 1-32 0-31
PRESET B1-32 32 -63
MEMORY 1-32 64 -95
Sub tone in dual mode 1-32 96 -127
•Pitch bend change
Status Second Third
Enll tlH mmll
n-MIDI channel number OH -FH (J -J6)
II =LSB of pilch bend change OOH -7FH (0 -127)
mm =MSB of pitch bend change OOH -7FH (0 -127)
mmH IIH relative value of pitch
OOH OOH -8192
40H OOH
7FH 7FH +8191
Channel mode message
•Reset all controllers
Whenever the MIDI channel is changed, this message is transmitted through the
new MIDI channel.
Status
Bnii
Second
79H
Third
OOH
System realtime message
•Active sensing
This message is transmitted at intervals of 250 msec for checking the MIDI
path from the JX -1MIDI out connector.
Status
FEII
System exclusive message
Data for each parameter setting is transmitted in system exclusive messages.
Refer to p.l2 'Using MIDI 2'
p. 14 'Roland Exclusive Messages'
p.18 '3.Exclusive Communications.'
Status
FOH ....
Data
ddH.
.
FOX
F7H
KOli -- System exclusive
ddH =data OOH -7FII (0 -127)
i"7ii -- EOX (End of Exclusive)
OHoldl
This message is transmitted by depressing (on/off) the hold pedal.
Status
Bnll
Second
40H
Third
vvli
n=.MIDI channel number OH -FH (I -I6)
vv ^Holdl on/off OOH (0) :Off
7FH (127) :On
•Program change
This message is transmitted for tone selection by pressing [PRESET A], ^PRESET
B] or tone button.
Status
Cnll
Second
PPH
n=MIDI channel number OH -FN (I -16)
pp ^Program number 001! -7FH (0 -127)
2. RECOGNIZED RECEIVE DATA
The following messages are recognized through the MIDI channel set on JX -
1.
Channel voice message
•Note event
ONolo off
Status Second Third
8nH kkll vvH
9nH kkH OOH
n-MIDI channel number OH -FH {1 -16)
kk -- .\otc number OOH -7FH (0 -127)
vv -Velocity ignored
16

ONote on
Status Second
9nH kkH
n=MIDI Channel number
kk =Note number
vv =Velocity
•Control change
OModulation depth
Third
vvH
OH -FH (I -16)
OOH -7FH CO -127)
OIH -7FH Cl -127)
Status Second Third
BnH OIH vvH
n-MIDI channel number OH -FH (1 -16)
vv =Modulation depth OOH -7FH (0 -127)
OVolume
Status Second Third
BnH 07H vvH
n=MIDI channel number OH -FH (1 -16)
vv =Volume OOH -7FH {0 -127)
OHoldl
Status
BnH Second 40H
n-MIDI channel number
vv =Holdl on/off
Third
vvH
OH -FH <1 -16)
OOH -3FH (0 -63) :off
40H -7FH {6-1 ~127) :oi
Channel mode message
Reset ail controllers
Status
BnH Second 79H Third OOH
n=MIDI channel number OH -FH <i -16)
When reset all controllers is recognized, each of the controllers is sei as follows.
Controller Setting
Modulation
Holdl
Pitch bender
•Local control
(minimum value)
off
±0
Status Second Third
BnH 7AH vvH
n=MIDI channel number
vv =OOH :Off
vv =7FH :0n
•Alt notes off
Status Second Third
BnH 7BH OOH
n=MIDI channel number OH -FH (1 -16)
When all notes off is recognized, all the notes which had been turned on by
MIDI note on messages are turned off. However, if the omni setting is on, "all
note off" is ignored.
•Program change
if the recognized program number is -95. the corresponding tone is selected,
if 96 -127 is recognized, JX -Iselects the dual mode and the corresponding
number of the tone in same group with the current tone is selected as the sub
tone.
Status Second
CnH ppH
n=MIDI channel number OH -FH (1 -16)
pp =Program number OOH -7FH (0 -127)
Program numbers correspond lo the lone numbers as follows.
Program sTone #
0-31 Select tone from PRESET A(1 -32)
32-63 Select tone trom PRESET B(1 -32)
64 -95 Select tone from MEMORY (1 -32)
96 -127 Select tone as the sub tone (1 -32)
•Pitch bend change
Status Second Third
EnH IIH mmH
n=MIDI channel number OH -FH (1 -16)
11 =LSB of Pitch bend change OOH -7FH (0 -127)
mm =MSB of pilch bend change OOH -7FH (0 -127)
mmH IIH relative value of pitch
OOH OOH -8192
40H OOH.
7FH 7FH +8191
•Omni off
Status Second Third
BnH 7CH OOH
n=MIDI channel number OH -FH {1 -16)
Recognized as alt notes off and omni off.
•Omni on
Status Second Third
BnH 7DH OOH
n=MIDI channel number OH -FH (l -16)
Recognized as all notes off and omni on.
Mono
Status
BnH Second
7EH Third mmH
n=MIDI channel number OH -FH (l -16)
mm =Mono channel range ignored
Recognized as all notes off only.
•Poly
Status
BnH Second
7FH Third 00
n=MIDI channel number OH -FH (1 -16)
Recognized as alt notes off only.
17

System realtime message
•Active sensing
Status
FEH
After receiving this message, the JX -1expects to accept status or data in
sequence within 400 msec intervals. If it fails to receive amessage within this
interval, it will mute the sound turned on by MIDI messages and monitoring
of incoming signals will cease.
System exclusive messages
Parameter address map
Address are shown in 7-bit hexadecimal.
IAddress MSB LSB
IBinary IOaaa aaaa IObbb bbbb
I7-i)it, Hex IAA IBB
Status
FOH ....
data
ddH .
EOX
F7H
FOH =system exclusive
ddH =data OOH -7FH (0 -
F7H =EOX <End of Exclusive)
127)
Data for each parameter setting is recognized in system exclusive messages.
Refer to p.l2 "Using MIDI 2'
p.l4 'Roland Exclusive Messages'
p.l8 'S.Exclusive Communications'
3. EXCLUSIVE COMMUNICATIONS
Device ID
Device ID is set the same number of the MIDI channel COOH-OFH).
Model ID
Model -ID ~in the exclusive message :3EH
Transmitted
AR- lOB transmits system exclusive data in the following way&
l.Temporary tone dump
While holding 'MIDI' button, press 'WRITE' button.
2.Bulk dump
While holding 'MIDI' button, press 'PRESET B' button.
B.Parametcr dump
When some of the tone parameters are modified by edit slider or panel button
in setting 'SYSEX' switch on.
1start
1address Description 1
!00 OOH Teiporary Tone 1
100 ObH Hewry Tone 11
100 17H Mesory Tone ii
100 23H lte»ry Tone 3 1
;00 3fH itesory Tone 41
i00 3bH Hewry Tone 51
100 ilR Moory Tone 6(
!00 S3)I Heaory Tone 7[
!00 5fli Mesory Tone 8 i
100 ObH Hewry Tone 91
^00 77H Heiory Tone 10 i
101 03H Memory Tone 11 1
101 OfH Hepory Tone 12 1
101 tbH Ueiory Tone 13 !
\01 27H IfeKiry Tone 14 f
101 33H Ueiory Tone 15 1
[01 3fK Ueiory Tone 16 1
1Start
1address Description 1
101 4bil .Heaory Tone 17 1
\01 571! Heiory Tone 18 1
!01 63H He«ory Tone 19 1
i01 6fl! Me«ory Tone 20 1
;01 7bH Meaory Tone 21 1
I02 07i! Mesory Tone 22 1
102 13H Meiory Tone 23 i
102 IfH Meiory Tone 24 1
102 2bH Meiory Tone 25 1
102 37H Meiory Tone 26 1
102 43H Meiory Tone 27 i
102 im Meiory Tone 28 !
102 SbH Meiory Tone 29 1
102 67H Meiory Tone 30 1
102 73H Meiory Tone 31 1
102 7fll Heiory Tone 32 1
*Teiporary tone paraieter area
:Offset I
:address IDescription
+-r
00 OOK I0000 000a IReverb switch ,I(OFF, OS)
00 OJH IOOOO 000a IChorus switch ,1(OFF, ON)
00 02H I0000 000a IOct.Dom switch .1(OFF. ON)
00 03H
00 04H
00 05H
00 06H
00 07H
00 08H
00 09H
00 OAH
IOaaa aaaa ICutoff
tOaaa aaaa IResonance
IOaaa aaaa IAttack
IOaaa aaaa IRelease
IOaaa aaaa IVib. Rate
IOaaa aaaa IVib. Depth
IOaaa aaaa IRev Level
IOaaa aaaa IRev Tiie
.127 (-64 . . •63)
.127 (-64 . . •63)
. . 127 (-64 . . t63)
. . 127 (-64 . . t63)
. . 127 (-64 . . t63)
.127 (-64 ..t63)
.127 (-64 . . t63)
.127 (-64 . . t63)
Recognized
Set 'SYSEX' switch on to recognize system exclusive messages (to recognize
some system exclusive messages). When any messages for parameter dump
arerecognized, JX -1behaves as the corresponding parameters of the current
tone are modified. If it fails to recognize correct messages, one of the indicator
of the edit parameter buttons will flash.
Data set Dt1 (12H)
Byte Comments
*.Heiory Tone Paraieter Area (1 -32)
FOH Exclusive status
41H Manufactures ID (Roland)
dev Device ID (=M1D1 channel)
3EH Model ID (JX- 1)
12H Command ID (DTI)
aaH Address MSB
bbH Address LSB
ccH Data
ddH Data
sum Check sum
F7H EOX (End Of exclusive)
1Offset 1 1
1address 1Description 1
100 OOH 10000 000a 1Tone group ,1(Preset A, B) t
100 OIH 10000 000a 1Reverb switch ,1(OFF, ON) i
100 0211 10000 000a 1Chorus switch ,1(OFF, ON) 1
100 0311 10000 000a 1Oct.DonTi switch .1(OFF, ON) 1
100 0411 1Oaaa aaaa 1Cutoff .127 (-64 . . t63) 1
100 0511 1Oaaa aaaa 1Resonance .127 (-84 . . te3) 1
100 0611 1Oaaa aaaa 1Attack .127 (-64 . . te3) 1
i00 07)1 1Oaaa aaaa 1Release .127 (-64 ..'63) 1
;00 03H 1Oaaa aaaa 1Vib. Rate .127 (-64 . . '63) 1
100 09H 1Oaaa aaaa 1Vib. Depth .127 (-64 ..'63) i
i00 OAH 1Oaaa aaaa 1Rev Level .127 (-64 . . '63) i
100 OBH 1Oaaa aaaa 1Rev Tlie .127 (-64 . . '63) t