Roland Juno-6 Manuel utilisateur

JUNO-6 ^Roland

Operation Manual

The Roland Juno-6 is asix voice and

sixty-one key polyplionic synthesizer.

•The Digitally controlled Oscillator that

offers exceptionally stable pitch.

•The real six voice polyphonic synthesizer

connpletely equipped with 6VCF's,

6VGA's and 6ENVs.

•An Arpeggio function that enables you to

enjoy wide variation of the patterns by

changing the MODE and the RANGE.

•Chorus effects that expand the sounds for

arich performance.

•Akey transpose function that allows you

to transpose to any keys.

•It is necessary for you to understand the

functions of the controls and selectors

of the Juno-6 perfectly so that you can

fully enjoy the advantages of the unit.

Some setting examples are shown in this

manual so that it might be easier for you

to master how to operate the Juno-6,

but you are the one who creates the

sounds. Please find out your own setting

and new ways of playing.

Contents

Basic Connections 5

Functions 6

I. Functions for Sound Creating ... 6

DCO .' 6

HPF 8

VCF 8

VCA 10

ENV 10

LFO 11

I. Functions, for Playing 12

Keyboard 12

Controllers 12

Arpeggio 13

Hold 14

Key Transpose 14

Remote Controls .....; 15

I. Effects 16

Chorus 16

Other Effects (Options) ....... 16

•Arpeggio Samples 17

•Sample Sounds 18

•Sound Synthesis Memo 29

•Specifications 32

•Options 33

fFunctions for Playing- >iEffect —

Hold this button down and

press the key to which you

want to transpose.

mmammsm

The sound remains even

after the key is released.

(This applies to Arpeggio

as well.)

Changes the pitch

ranges.

Changes the speed of

Arpeggio.

ALow Frequency Oscillator that generates vibrato and growl effects.

Digitally controlled Oscillator that determines the pitch.

It also generates three waveforms that are the sound source of the synthesizer.

Turns on and off

the Arpeggio function.

Changes the move-

ment of the patterns.

The filter that cuts or emphasizes harmonics and consequently determines the tone color.

iM The amplifier that controls the amplitude, resulting in changing the volume.

It generates the control voltage which is applied to the VGA and VCF,

controlling the harmonics and the volume.

i^ammmmmiimi

This changes the depth

of the Chorus effect.

XON/OFF

WiEciii©

MODE RANGE

Wiiiiis

DOWN

V^_y DOWN U3 1=

DELAY TRIG

RATE TIME MODE rtu /! ru suBOSC noise

SUB __

GOO

LFO

MAHUAL ®

FREO RES

im—R

°-Hg B-Hi m——

iII

VOLUME

\1/

DCO VCF -^/^i^/

!__. -(fUJj-

—A^^A-

—LFO TRIG OCTAVE

TRANSPOSE

11—

(#)

pNORWAL 1

DOWN UP

BENDER

The manually operated button

for the LFO.

(It works when the TRIGGER

MODE switch, situated in the LFO,

is set to MANUAL.)

To alter the range

of the keyboard.

(1 octave up and down.)

Amanually operated lever which

controls the pitch of the DCO

and the Cutoff Frequency of

the VCF.

This control sets the maximum

effect of the BENDER.

This controls the rate

of the LFO. To select the pulse width

controlling signal.

This emphasizes the Cutoff

Point (creating unusual

sounds).

This selects the signal which controls the VCA.

(It decides whether to change the volume

by using Envelope signal or Gate signal. )

fe2i

(AUTO) In this mode it delays

the vibrato (growl) effects by

the set amount.

(MANUAL) While the LFO

TRIGGER button is being pressed,

the DELAY TIME determines the

time required for the LFO signal

to become maximum.

The LFO operates either manually or

automatically depending on which

position this switch is set to.

(MANUAL, AUTO)

It adjusts the depth of the

vibrato effect.

You can select the output

waveform of the DCO.

(Each of them can be

switched on and off indi-

vidually.)

This determines the polarity

of the Envelope.

(Negative polarity is for

special effect.)

This adjusts the level of the

Envelope signal which con-

trols the Cutoff Point of

the VCF.

This controls the time,

needed for the voltage

to reach its maximum

level after the key is

pressed.

This determines the time

needed for the voltage

to reach the Sustain level.

This is the volume of another

sound source, NOISE.

As you raise the knob, low fre-

quency is cut. (The sound is

getting brighter.)

This adjusts the depth of the

growl/wah effects.

As you lower the Knob, the

difference of the tone colors

between different notes

becomes larger.

(MANUAL) The pulse width is adjusted.

(LFO,ENV) The intensity of the modu-

lation is controlled.

As you lower the knob, high

frequency harmonics are cut off.

(The sound is getting softer.)

This determines the Sustain

level to which the voltage

falls at the end of the

Decay time.

This sets the time

required for the sound

to finally fades out

after the key is released.

^Functions for Playing Ji. Functions for Sound Creating- J

Basic

Conriections

TUNE

^^«

ARPEGGIO PEDAL VCF PHONES

CLOCK IN HOLD CONTROL OUTPUT

Refer to P. 15

PEDAL SWITCH FOOT VOLUME

DP-2 FV-200

Refer to P. 15 Refer to P.I 5

TUNE (±74 note)

KEYBOARD AMP M/H

AUDIO AMP H

RECORDING UNIT H

P.A. MIXER L/M/H

GUITAR AMP L/M

etc.

V- J

STEREO HEADPHONES

RH-10

Adjust the volume with the

Volume control knob.

I. Functions for Sound Creating

DCO

(Digitally Controlled Oscillator)

DCO is the digitally controlled oscillator that

controls the pitch and creates three types of

waveforms which are the sound source of

the synthesizer. Compared to VCO (Voltage

Controlled Oscillator), DCO has superior

stability. The operations and functions of

the DCO are virtually the same as those of the

VCO. ADCO does not, however, provide

portament function, because of its digitally

controlled system.

BM«i

nu /I ru

SUB

oo o

SUBOSC NOISE

DDDi

nu /I nj ,WAVEFORMS

You can select the output Waveform of

the DCO. Each switch can be individually

turned on and off and can be used with

other switches.

(2) PWM MODE switch

When it is set to (MAN), pulse width can be

set with the PWM knob (3). When it is set to

LFO or ENV, pulse width is controlled by

the corresponding signal from the LFO or the

envelope generator.

(3) PWM ePulse Width Modulation

When PWM MODE switch (2) is set to (MAN),

this knob controls pulse width, and controls

the intensity of the modulation when it is set

to LFO or ENV.

SUB OSC •Sub Oscillator Level

It controls the volume of the SUB OSC.

(5) LFO •LFO MODULATION

It adjusts the depth of the vibrato effect

when the LFO is controlling the pitch of the

DCO.

(6) NOISE eNOISE level

It controls the volume of the NOISE.

When the top and bottom portions of the

square wave are unequal, the result is what is

called apulse wave. The harmonic content of

the pulse wave will depend greatly on the

width of the pulses. It is possible to modulate,

or change the pulse width by means of the

LFO or the envelope generator.

Waveform

Setting

m®

PWM

Waveform

Saw Tooth

Square

Pulse

Description

The sawtooth wave contains

afundamental sine wave and

its integral harmonic sine

waves at afixed ratio. The

level of each harmonic is as

shown on the right. When

fundamental content is 1,

the content of «th harmonic

is 1/n.

The square wave contains a

fundamental sine wave and

its odd numbered harmonics

at afixed ratio. The level of

each harmonic is the same as

sawtooth wave; the content

of nth harmonic is 1/«;

except that there are no even

numbered harmonics.

With pulse wave, the har-

monic content greatly varies

depending on the pulse

width. It is characterized by

alack of the nth harmonic

series when the pulse width

is 1/«. The example on the

left lacks 3rd, 6th, and 9th

harmonics because the pulse

width is 1/3 (33%).

Harmonic Content

F2 3 4567

nra

357

PULSE WIDTH

at 33% (1/3)

F2457

Square wave one octave lower than the DCO's (||J )

Pulse Width ^Manual PWM

PWM MODE SWITCH Q) ^MAN

PU LSE Wl DTH (3) ^Determins the Pulse width.

50%-"

PWMby LFO

PULSE MODE SWITCH (g) ^LFO

PULSE WIDTH MODULATION (3) >

Adjusts the intensity of nnodulation. LFO

SIGNAL

OUTPUT

WAVE-

FORM

PWM by ENV

PWM MODE SWITCH @^ENV

PULSE WIDTH MODULAT ION (S) ^

Adjusts the intensity of modulation. ^^^

SIGNAL

WAVE-

FORM

rrLonoomin =

HPF

(High Pass Filter)

This filter lets the high frequency harmonics

pass and cuts off the low frequency harmo-

nics. As this filter is not voltage controlled.

Cutoff Point is changed by only moving the

knob.

FREQ •Cutoff Frequency

Cutoff Point of HPF can be adjusted with

this knob. As you raise this knob, frequencies

in the low pitch range will be cut off.

VCF

(Voltage Controlled Filter)

This filter changes the tone color by cutting

off or emphasizing harmonics. This filter lets

the low frequency harmonics pass and cuts off

the high frequency harmonics, and is con-

trolled by avoltage.

@FREQ •Cutoff Frequency

This knob is to change the Cutoff Point of the

VCF. As you lower the knob, the frequency

in the high pitch range will be cut off, and the

sound will fade out when the waveform be-

comes nearest to aSine Wave.

^C^^ •> Refer to P. 15

(^ RES •Resonance

This control emphasizes the Cutoff Point set

by Cutoff FREQUENCY knob @. As you

raise the knob, certain harmonics are em-

phasized and the created sound will become

more unusual more electronic in nature. If

you alter the Cutoff FREQUENCY knob

while the RESONANCE is set to ahigh level,

you can create atype of sound that is attain-

able only from asynthesizer. If you raise

the RESONANCE up to the maximum, VCF

will start Self Oscillation.

(5) ENV •Envelope Modulation

When the Cutoff Point of the VCF is being

modulated by the output of the Envelope

Generator, this knob is used to adjust the

intensity of the modulation. You can change

the Cutoff Point of the VCF in each note with

the ADSR pattern previously set. So the

tone color of one note can be changed quite

drastically.

(D Polarity Switch

This is the selector switch for the polarity

of the Envelope. When it is set at reverse

polarity, the ADSR pattern will be reversed

and the tone color alteration will be the other

way round.

*NOTE

This often means the Cutoff Frequency of

the VCF (HPF) will need to be set higher.

(6) LFO •LFO Modulation

When the Cutoff Point of the VCF is being

modulated by the output CV of the LFO,

this knob adjusts the depth of the growl or

wah effects.

(D KYBD •Key follow

When the Cutoff Point is being controlled

by the KYBD-CV (Keyboard control voltage),

this knob adjusts the level of the KYBD-CV.

It prevents any inconsistency in the harmonic

content caused by pitch alteration. Conse-

quently this knob is usually set to the maxi-

mum on such along keyboard, but can be set

to your taste.

*NOTE

Self oscillation of the VCF does not guarantee

accurate pitch. So, you cannot obtain correct

scale when playing the Keyboard.

Cutoff Frequency

Resonance

ENV Modulation

Level (dB)

/v^

Level (dB)

\ArJ /VvJ IAa

fVlM

Level (dB) t

JIaJ

(Vw,

/W^ l/lA'

PPositive Polarity Voltage (V)

yNegative Polarity

Voltage (V)

Frequency (Hz)

Frequency (Hz) \

Frequency (Hz)

NOTE

When modulating the VCF using the Enve-

lope, set the knob (2) to afairly low level in

case of positive porality, and set it to afairly

high level in case of negative. Otherv\/ise there

will be little effect.

VGA

(Voltage Controlled Amplifier)

This is to control the volume (amplitude) of

the sound, and is normally controlled by the

output voltage from the Envelope Generator.

(?) Select switch for the control signal

This switch enables you to select whether to

control the VGA by the signal from the

Envelope Generator or by the Gate signal.

ENV

(Envelope Generator)

This generates the Control Voltage applied to

the VCF and the VGA, thereby controlling

the volume and the tone color of each note.

This output voltage is generated whenever you

press akey.

@A{Attack time)

This sets the time required for the voltage

to reach its maximum from the moment the

key is pressed down.

(3) D(Decay time)

This determines the time required for the

voltage to drop from the maximum to the

sustain level. When the sustain level is high,

the Envelope curve does not change by

adjusting the Decay Time.

S(Sustain level)

This knob determines the Sustain Level to

which the voltage falls at the end of the Decay

Time.

(5) R(Release time)

This sets the time needed for the voltage to

reach zero.

!ENV OUTPUT

(ADSR)

iKYBO

GATE

OFF

The variation of eacli knob.

Attack Time

Setting of ADSR and Envelope Curve.

II I

Time (sec)-L-

Decay Time and Release Time

Time (sec)

Sustain Level

4t fi

Voltage

*In the figure shown above, the positions of

the knobs are not meant to be exactly correct,

so the knob position does not necessarily cor-

respond with the time and the voltage.

** When all of the ADSR sliders are set at

"0", the waveform will be an extremely

short Pulse wave, and only ashort "click"

is heard. Please be careful.

LFO

(Low Frequency Oscillator)

This oscillator operates only at aLow Fre-

quency. It controls the VCO and the VCF to

produce vibrato and growl effects.

DELAY TRIG

RATE TIME MODE

®RATE

This adjusts the rate of LFO.

(7) TRIG MODE •Trigger mode switch

You can select whether to operate the LFO

manually or automatically.

(8) DELAY TIME

This sets the time needed for the LFO to start

to function. The function varies depending

on the position of the TRIGGER MODE

switch (2).

®®

TRIG MODE

DELAY TIME

AUTO

m\AUTO

MAN

;man

MANUAL

LFO always functions. The LFO works while the

LFO TRIGGER button is

being pressed and stops when

the button is released.

=r =3 Other than

The LFO does not start to

function until the Delay Time

set with the DELAY TIME

has passed. (*)

While the TRIGGER button

is being pressed, the LFO

amplitude becomes larger.

When the delay time set pre-

viously has passed, it becomes

normal amplitude.

This Delay function works only in non-

legato manner. So the Delay Time affects

only the first key in alegato section.

Autres manuels pour Juno-6

Autres manuels Roland Clavier électronique

Roland

Roland RS-101 Strings Manuel utilisateur

Roland

Roland Fantom G8 Manuel utilisateur

Roland

Roland Fantom-S Manuel utilisateur

Roland

Roland AX-1 Manuel utilisateur

Roland

Roland KR-3000 Manuel utilisateur

Roland

Roland AT800 Music Atelier Manuel utilisateur

Roland

Roland X-6 Manuel

Roland

Roland A-49-BK Manuel d'utilisation et d'entretien

Roland

Roland Fantom-Xa Guide d'installation

Roland

Roland AX-1 Manuel d'utilisation et d'entretien

Roland

Roland V-Synth Manuel utilisateur

Roland

Roland E-500 Manuel utilisateur

Roland

Roland A-37 Manuel utilisateur

Roland

Roland Fantom G6 Fiche technique

Roland

Roland JV-30 Manuel d'utilisation et d'entretien

Roland

Roland Fantom-X Manuel utilisateur

Roland

Roland EM-2000 Manuel d'utilisation et d'entretien

Roland

Roland Fantom-X Manuel utilisateur

Roland

Roland A-90 Manuel technique

Roland

Roland Octapad SPD-20X Manuel utilisateur

Roland

Roland E-14 Manuel utilisateur

Roland

Roland RD-800 Manuel utilisateur

Roland

Roland EXR-5 Manuel utilisateur

Roland

Roland PRELUDE MUSIC KEYBOARD 2 Instructions et recettes

Manuels Clavier électronique populaires d'autres marques

Casio

Casio LK-50 Guide de configuration

Casio

Casio VZ-1 Guide de dépannage

Casio

Casio Privia PX-100 Manuel utilisateur

Yamaha

Yamaha PortaTone PSR-225GM Manuel utilisateur

Behringer

Behringer U-CONTROL UMX49 Manuel utilisateur

Yamaha

Yamaha Portatone X2500 Manuel utilisateur

Yamaha

Yamaha Portatone PSR-100 Manuel utilisateur

Casio

Casio WK-1600 Manuel utilisateur

Keith McMillen Instruments

Keith McMillen Instruments K-Board Pro 4 Fiche technique

Yamaha

Yamaha PortaSound PCS-30 Manuel utilisateur

McGrey

McGrey 6170 Manuel utilisateur

Yamaha

Yamaha PortaTone PSR-41 Manuel utilisateur

HDC

HDC Kurzweil KP300X Manuel utilisateur

Casio

Casio Celviano AP-45 Manuel utilisateur

Akai

Akai MPK88 Manuel utilisateur

Waldorf

Waldorf IRIDIUM Manuel utilisateur

Yamaha

Yamaha NP-30 Instructions de montage

Yamaha

Yamaha Portatone PSR-38 Manuel utilisateur