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Owner's Manual When the “AMP” Indicator Is Lit (P

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Easy Operation List Whole Patch Edit Modify value by larger steps [SHIFT] + [VALUE] (p. 16) Confirm Current Settings [SHIFT] + knob (p. 55) LCD Contrast [EDIT] -> BANK [8] (p. 168) Set Envelope Depth [ENVELOPE/LFO1/EFFECTS] + [VALUE] Tuning [EDIT] -> BANK [8] -> PAGE [>] (p. 168) when the “ENVELOPE” indicator is lit (p. 59, 64, 88, 92) Set LFO1 Waveform [ENVELOPE/LFO1/EFFECTS] + [VALUE] Effects when the “LFO1” indicator is lit (p. 72) Set Filter Type [FILTER/AMP/PITCH] + [VALUE] Effects On/Off (Master) [SHIFT] + [FX ON/OFF] (p. 101) when the “FILTER” indicator is lit (p. 61) Select Multi Effects Type [ENVELOPE/LFO1/EFFECTS] + [VALUE] Set Random Pan Switch [FILTER/AMP/PITCH] + [VALUE] when the “Effects” indicator is lit (p. 106) Owner's Manual when the “AMP” indicator is lit (p. 67) Set Coarse Tune [FILTER/AMP/PITCH] + [VALUE] Pattern Play This owner's manual consists of the following 14 chapters and supplementary information. when the “PITCH” indicator is lit (p. 57) Before using this unit, care- Move to the last measure [FWD] + [BWD] (p. 31) Save Patches [SHIFT] + [WRITE] in PATCH page -> Specify destination (p. 82) Before you read this manual, you should read through the Quick Start manual so you're famil- Move to the first measure [BWD] + [FWD] (p. 31) fully read the sections enti- iar with the basic operation of the unit. All Mute [SHIFT] + [PART MUTE] (p. 32) Turntable tled: “USING THE UNIT Monitor [PART MUTE] + PART [1]–[R] (p. 32) Turntable On/Off [SHIFT]+Modulation lever (p. 47) Mute Exchange [PART MUTE] + [PART SELECT] (p. 32) SAFELY” and “IMPOR- Chapter 1 An Overview of the JX-305 Quickly listen to next pattern [SHIFT] + PAGE [<] [>] during Pattern playback (p. 31) TANT NOTES” (Owner’s This chapter explains how the JX-305's sound generator and sequencer are organized, and explains the 1 MIDI Update [SHIFT] + [STOP/PLAY] (p. 40) Multi Effects Assignment basic operation. By reading this chapter, you can gain an overall understanding of the JX-305. Save Patterns [SHIFT] + [WRITE] in PTN page -> Specify destination (p. 36) 4-BAND-EQ SPECTRUM ENHANCER OVERDRIVE Manual p. 2, 3, 9). These CTRL1 High Gain Low-High Gain Sens Drive sections provide important Chapter 2 Playing the Keyboard Pattern Set CTRL2 Low Gain Middle Gain Mix Level AMP Type This chapter explains the Key Mode function, the pitch bend lever, the pedals, etc., and how to use the 2 DISTORTION Lo-Fi NOISE RADIO-TUNG information concerning the arpeggiator. Be sure to read this chapter. Register Patterns [PTN SET] + BANK, NUMBER button to be registerd (p. 152) CTRL1 Drive Bit Down Lo-Fi Level Radio-Detune proper operation of the Save Pattern Set [SHIFT] + [WRITE] in PTN SET page -> Specify destination (p. 153) Chapter 3 Playing Patterns CTRL2 AMP Type S-Rate Down Noise Level Noise Level unit. Additionally, in order PHONOGRAPH COMPRESSOR LIMITER SLICER This chapter explains how to play patterns, and how to use functions such as Real-Time Transpose, Mute, 3 Song CTRL1 Depth Attack Threshold Timing PTN to feel assured that you Part Mixer, and Play Quantize. Be sure to read this chapter. Save Songs [SHIFT] + [WRITE] in SONG page -> specify destination (p. 157) CTRL2 D Noise Level Sustain Release Accent PTN have gained a good grasp TREMOLO PHASER CHORUS SPACE-D Chapter 4 One-Touch Phrase Playback (RPS) Pattern Recording CTRL1 Depth Depth Depth Depth of every feature provided This chapter explains the various effect types and how to use them. Read this chapter when you wish to 4 CTRL2 Rate Rate Rate Rate use effects. Real-Time Recording [REC] -> [STOP/PLAY] (p. 125) by your new unit, Quick TETRA-CHRS FLANGER ST-FLANGER SHORT-DELY Rehearsal [REC] during recording (p. 127) CTRL1 Depth Depth Depth Time-L Start and Owner’s Manual Chapter 5 Creating Original Sounds (Patch Edit) Real-Time Erase [SHIFT] + [ERASE] during recording CTRL2 Rate Rate Step Rate Time-R This chapter explains the parameters that modify the sound. Read this chapter so you better understand ->Data is erased while [REC] is pressed (p. 130) should be read in its entire- 5 AUTO-PAN FB-P-SHIFT REVERB GATE-REVRB how to use the knobs to control the sound when creating your own sounds. Microscope [SHIFT] + [M.SCOPE] (p. 146) CTRL1 Depth Coarse Time Gate Time ty. The manuals should be Change Event PAGE[>] -> [VALUE] -> [ENTER] (p. 148) Chapter 6 Creating an Original Rhythm Set (Rhythm Edit) CTRL2 Rate Fine Balance Balance saved and kept on hand as Delete Event NUMBER [2]+[ENTER] (p. 150) This chapter explains the rhythm set parameters. Read this chapter when you wish to create an original 6 Insert Event NUMBER [3]+[ENTER] (p. 150) a convenient reference. rhythm set. Move Event [SHIFT] + [REC] + [VALUE] (p. 151) Step Recording1 [SHIFT] + [M.SCOPE] -> [REC] -> [REC] (p. 131) Chapter 7 Applying Effects to the Sound (Effects) Tie [BWD] (p. 133) This chapter explains the various effect types and how to use them. Read this chapter when you wish to 7 Rest [FWD] (p. 133) use effects. Back [SHIFT] + [BWD] (p. 133) Step Recording2 [SHIFT] + [M.SCOPE] -> [REC] -> [STOP/PLAY] (p. 131) Chapter 8 Recording Patterns Select Note [SHIFT] + keyboard (p. 134) This chapter explains how to record patterns. Read this chapter when you wish to record patterns. 8 Edit for Input Notes key to be edited + [VALUE] (p.136) Arpeggiator Chapter 9 Editing Patterns This chapter explains how to edit patterns, and how to modify music data after it's been recorded. Read Select Style [ARP] + [VALUE] (p. 25) 9 Save Arpeggio Settings [SHIFT] + [WRITE] in arpeggio setting page this chapter as necessary. ->Specify destination (p. 28) Chapter 10 Collecting Frequently Used Patterns in a Set (Pattern Set) This chapter explains how to use Pattern Sets and how to store patterns in a set. Read this chapter when 10 RPS you wish to use a pattern set. Register RPS Set Mute all parts except for the part to be registerd ->[RPS] + destination keyboard (p. 49) Chapter 11 Connecting Patterns in Playback Order to Create a Song Change Setup for RPS part [RPS] + [TEMPO&MEASURE] This chapter explains how to play back, record, and edit songs. Be sure to read this chapter if you wish to 11 -> Select parameter -> Select RPS part using keyboard (p. 50) use songs. Change Patch for RPS part [RPS] + [PATCH] -> Select RPS part using keyboard (p. 51) Save RPS Sets [SHIFT] + [WRITE] in RPS SET page Chapter 12 Using Memory Cards -> Specify destination (p. 52) Here you can learn how to use memory cards to back up your data, and how to make copies of a card. Be 12 sure to read this chapter before using memory cards. Play Quantize Chapter 13 Setting the Operating Environment of the JX-305 (System) Select the Resolution/Template [GRID/SHUFFLE/GROOVE] + [VALUE] (p. 40) This chapter explains settings that determine the overall configuration for your JX-305, such as its tuning 13 Select the Part for Quantize [SHIFT] + [QTZ SELECT]- > PART [1]–[R] (p. 41) and synchronization preferences. Read this chapter as necessary. Part Mixer Chapter 14 Advanced Applications Set using [INC] [DEC] Select current part -> [INC] [DEC] (p. 33) This chapter explains how the JX-305 can be used with external MIDI equipment, and gives tips for creat- 14 Key Shift in Octave step Select K-Sft -> [SHIFT] + knob (p. 34) ing sounds and performing. Read this chapter as necessary. Supplementary Information Consult this chapter when the JX-305 does not function as you expect, or if an error message is displayed. This chapter also contains information such as parameter lists and the MIDI implementation. • SmartMedia is a trademark of Toshiba corporation. • All product names mentioned in this document are trademarks or regis- tered trademarks of their respective owners. 01452367 '00-2-E3-31K Copyright © 1998 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Used for instructions intended to alert The symbol alerts the user to important instructions the user to the risk of death or severe or warnings.The specific meaning of the symbol is injury should the unit be used determined by the design contained within the improperly. triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger. Used for instructions intended to alert the user to the risk of injury or material The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that damage should the unit be used must not be done is indicated by the design contained improperly. within the circle. In the case of the symbol at left, it * Material damage refers to damage or means that the unit must never be disassembled. other adverse effects caused with The ● symbol alerts the user to things that must be respect to the home and all its carried out. The specific thing that must be done is furnishings, as well to domestic indicated by the design contained within the circle. In animals or pets. the case of the symbol at left, it means that the power- cord plug must be unplugged from the outlet. • Before using this unit, make sure to read the • Be sure to use only the AC adaptor supplied with instructions below, and the Owner's Manual. the unit. Also, make sure the line voltage at the instal- For the U.K. ......................................................................................................... lation matches the input voltage specified on the AC IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
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  • “Where the Mix Is Perfect”: Voices

    “Where the Mix Is Perfect”: Voices

    “WHERE THE MIX IS PERFECT”: VOICES FROM THE POST-MOTOWN SOUNDSCAPE by Carleton S. Gholz B.A., Macalester College, 1999 M.A., University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Carleton S. Gholz It was defended on April 11, 2011 and approved by Professor Brent Malin, Department of Communication Professor Andrew Weintraub, Department of Music Professor William Fusfield, Department of Communication Professor Shanara Reid-Brinkley, Department of Communication Dissertation Advisor: Professor Ronald J. Zboray, Department of Communication ii Copyright © by Carleton S. Gholz 2011 iii “WHERE THE MIX IS PERFECT”: VOICES FROM THE POST-MOTOWN SOUNDSCAPE Carleton S. Gholz, PhD University of Pittsburgh, 2011 In recent years, the city of Detroit’s economic struggles, including its cultural expressions, have become focal points for discussing the health of the American dream. However, this discussion has rarely strayed from the use of hackneyed factory metaphors, worn-out success-and-failure stories, and an ever-narrowing cast of characters. The result is that the common sense understanding of Detroit’s musical and cultural legacy tends to end in 1972 with the departure of Motown Records from the city to Los Angeles, if not even earlier in the aftermath of the riot / uprising of 1967. In “‘Where The Mix Is Perfect’: Voices From The Post-Motown Soundscape,” I provide an oral history of Detroit’s post-Motown aural history and in the process make available a new urban imaginary for judging the city’s wellbeing.