Roland Jupiter 4 Owners Manual
Contents
1. UNISON 2 If you press one key the sound of the four VCO s two keys the sound of the VCO s paired off In two and three or four keys the sound of the VCO s functioning individually will be produced SINGLE SOUND 4 modules working 8 simultaneously TWO SOUNDS 4 modules working in KEY twos functioning separately between groups THREE FOUR SOUNDS 8 4 modules working separately MODULE Al 01 C1 4 00 31 00 S 68 06 G G G E C NOTES C2x POLY 1 POLY 1 functions with one key to VCO At RELEASE or HOLD when you play from a chord to a single note several times the sound or the chord will fade out due to the single note that was played after the chord POLY 1 is suitable for the arpeggios boa The key that is KEY tinuously pressed is maintained with the same module for that time POLY 2 POLY 2 functions with one key to one VCO At RELEASE or HOLD even when you play from a chord to a single note the sound of the single note will be held with the exception of one note POLY 2 is suitable for PORTAMENTO When playing with single notes and you want to work it with one key to one set to this position 1 In playing chords the order of the keys always determines the order of the module2. ie eer mg CU ony lt Tu 30 MSPACE MONSTER a n Roland CS a A B Cup 0 f MORGAN WITH CLICK ATTACK 2 Roland Cmm mr 8 1 ol TAERA 1 T 11 11 d 3 i id Al MSPACE SHIP MFANTASY PIANO Roland 3 4 Sen Vid Mr mp peee p m onan FEES 2 1 T 1 1 i 1 1 7 1 E SAMPLE NOTES Roland mro 2 2 tte a 8 0 a ee TE z z h 1111111111111 a Roland Roland CERES PERA r E gE Block Diagram PANEL CONTROLLER PRESET COMPUTER TO PROGRAMMABLE 49KEYS KEYBOARD ARPEGGIO KEY CLOCK ASSIGNER DR ASSIGN MODE RATE xt 2 Sw TUNE BEND RATE 0 W
3. Options Pedal Switch Foot Volume DP 2 FV 20 E Roland 4 OWNER S MANUAL 82 AUG C 2
4. PITCH FREQUENCY The most common use of the key board contro voltage is for the control of the pitch of a VCO the pitch produced will correspond to the key pressed With some sounds it is desirable to incorporate pitch changes dur ing the production of each note The LFO Low Frequency Oscilla tor produces low frequency wave forms Using the LFO sine wave output to control the pitch of the VCO will produce vibrato effects The LFO square wave output will produce trills and the sawtooth wave output will produce pitches which sweep downwards VCF TONE COLOR HARMONIC CONTENT The tone color of most instruments will vary with pitch higher pitches often produce brighter tone colors lower pitches darker tone colors For this purpose the VCF can be controlled by the keyboard The tone color of many instru ments particularly the wind struments changes during the production of each note This ef fect can be produced with enve lope generator control of the VCF Raising the VCF resonance control will produce sounds possible only on the synthesizer With some sounds the tone color will vary at the same rate as vi brato This can be done with LFO control of the VCF Raising the VCF RESONANCE control will produce growl effects VCA LOUDNESS AMPLITUDE The control of loudness by means of the keyboard is of little practical use the JP 4has no provision for this type of control T
5. THE KEY 7 15 PRESSED THE ORDER OF PRESSING THE KEYS Just tho first arpeggio will start irom this For continuous performance It will start from this note after the second arpeggio UP DOWN After the UP movement ceases the DOWN movement takes over Please keep in mind that in principle the last note of UP is the first note of DOWN LOWEST THE ORDER OF PRESSING THE KEY zc uP When starting the arpeggios from the middle C or a higher C as an exception the range of the arpeggios becomes 3 octaves or less But since the highest C is added in times of holding chords the arpeggios become more natural sounding CENTER THE ORDER OF PRESSING THE KEYS Bva 1 so notte e tte ses h pown ___L un IN EFFECT IS ONE OCTAVE HIGHER RANDOM The sound of the selected key along with the corresponding higher four octaves are produced in irregular patterns W THE SECOND LEFT THE ORDER OF PRESSING THE KEYS KEY ASSIGNMENT MODE UNISON UNISON 1 The four VCO s become monophonic In this case if you press more than two keys only the lowest note functions The pattern where the 4 modules work simultaneously 9 BE PJ EXAMPLE a a 1
6. tuned at 442 Hz When the interval dif fers from another instrument use this knob for tuning 4 ENSEMBLE SWITCH 6 This knob turns on or off the ensemble elfect ARPEGGIO MODE SELECTORG With JUPITER 4 basing the range on the first note played it is possible to play the auto arpeggio with a maximum range of four octaves The pattern of the arpeggios will depend on the order of the notes played but the move ment of the pattern itself is selected from the three choices of UP DOWN and UP DOWN RANDOM is affected by the initial note but the order of the notes played or the choices of UP DOWN have no effect The speed of the arpeggios is controlled by RATE 00 of TRIGGER w T 6 9 KEY ASSIGNMENT MODE SWITCH From the signals produced by pressing the key there are four patterns which indicate how to work the modules This switch selects the pattern HOLD SWITCH This switch turns on or off the condition where a note is preserved by a volume established by the VCA s sustain level MEMORY WRITE SWITCH 6 This switch is for memorizing the tone set with PROGRAMMABLE 8 MANUAL SWITCH 2 Switch on the manual switch when you want to manipulate PROGRAMMABLE tes If you press the pre set switch it will automatically go COMPUTER MEMORY SELECTION SWITCH 6 This switch reproduces the sound memo rized by PROGRAMMABLE Ri PRE SET
7. AMENTO SWITCH This switch turns the PORTAMENTO ON OFF 23 TRANSPOSE Centering on NORMAL 1 OCT DOWN lowers the interval by one octave DNE UNE EXEC 21 M 22 SAMPLE SOUND PRE SET SOUNDS IN ITS SYSTEM Just as you can display GRAMMABLE When basing your original The tone quality of BRASS yellow button your talent in live performances with them sound creation with the pre set sounds is made flat When you want to make you can use them to base or compare with please refer to the patches below changes adjust the LFO BEND to WIDE of the original sounds you create with PRO the MODIFIER BASS PROGRAMMABL STRING PROGRAMMABL cu mon s 0 7 5 0 FUNKY CLAVICHORD PIANO E one Hir EH ur VOICE TROMBONE TRUMPET BASIC SYNTHESIZER SOUND 2 dr dur 5 0 ABE L ejl 26 SAMPLE SOUND II Setting Examples Each slider is at a standard position How ever the sound will vary depending o
8. Roland Owner s Manual JUPITER 4 COMPUPHONIC THE JUPITER 4 is 4 voice polyphonic synthesizer equipped with four independent synthesizer modules Ideal for live perfor mances this amazing creation is with a manual control with an authentic COMPU MEMORY that stores eight different tim bres as well as the ten pre set sounds The two channel output with its stereo effect and the external control mechanism make possible the fascinating pursuit of keyboard dreams In order to make this instrument display the best of its characteristic traits it is desired that you have full knowledge on the functions of its sliders tablets and knobs For the purpose of helping you master how to play this instrument as early as possible the setting examples are provided but it is you who creates the sound just as in the case of the synthesizer It is hoped therefore that you will draw Out full performance of this instrument by finding new setting and playing methods CONTENTS SYNTHESIZER BASICS HOOK UP CONNECTION TERMINAL INSTRUCTIONS FOR HOOKUP NAMES OF THE COMPONENTS FUNCTIONS OF THE COMPONENTS Power Supply Switch Keyboard ji Tuning Ensemble Switch Arpeggio Selector 3 Key Assignment Mode Switch Hold Switch Memory Write Switch Manual Switch Compu Memory Selection Switch Pre Set Selection Switch 03 84 88 88 87 18 ia ed 21 Protection Switch Volume vco Nois
9. SELECTION SWITCH This switch reproduces the pre set tone 2 PROTECTION SWITCH 40 This switch prevents accidental destruction of programmed sounds Use the MEMORY WRITE SWITCH 6 when setting COMPU MEMORY OPERATION COMPU MEMORY One of the necessary conveniences in live performances is the ability to swiftly inter change patches according to the progres sion of the music piece By programming COMPU MEMORY to memorize the sounds you want you can change the timbre with one switch Eight different sounds may be memorized and along with the 10 pre sets a total of 18 sounds are available for you CAUTION New data will erase the data previously programmed There should not be any trouble in program ming data but until you become accustomed to the process switch between COMPU MEMORY and MANUAL to check the sound before rearranging the set up on PROGRAMMABLE SETTING THE COMPU MEMORY 1 Push MANUAL 2 Atthe PROGRAMMABLE section create the sound you want 3 Push the button of COMPU MEMOR Y 6 between 1 through 8 where you want your sound memorized 4 While pushing PROTECTION push WRITE along with it If the INDICA TOR lights up MEMORY is completed JUPITER 4 has a battery back up which prevents loss of memory when the power Switch is turned off The battery is charge able and as long as the synthesizer is used regularly there will be no change in the memory Ho
10. SOURCE AUDIO OUT me EXT SIO PEDAL CONT PHONES STEREO STEREO NAMES OF THE COMPONENTS 1 Power Supply Switch and Pilot Lamp 2 Keyboard Tuning 4 Ensemble Switch Arpeggio Selector 6 Key Assignment Mode Selector l o EJ Hold Switch Memory Write Switch and Indicator 9 Manual Switch fid Compu Memory Selection Switch fi Pre Set Selection Switch Protection Switch ETTA 03 Volume PROGRAMMABLE SECTION 84 vco 18 Noise 18 VCF R8 LFO M MODIFIER SECTION 88 Trigger Pg Delay Bend 21 Bend Modulation Portamento Transpose FUNCTIONS OF THE COMPONENTS POWER SUPPLY SWITCH By switching on the synthesizer the pilot lamp will light up and JUPITER 4 is ready for operation 5 KEYBOARD The keyboard component of JUPITER 4 is in itself a 49 note 4 octave system But by means of a VCO range switch and the TRANSPOSE switch it is possible to extend the range to 7 octaves as shown in the diagram below 1 18 It i 8 feet is the basic range and when the TRANSPOSE switch is off the second from the left C of the keyboards becomes the middle C of the piano 6 TUNING This knob is for tuning the pitch The tun ing range is approximately 50 cent The knob is positioned at the center and A is
11. Y TIME 0 10 5 1 MODE SELECTOR PRE SET SELECTION SWITCH 10 BASS STRING CLAVICHORD PIANO VOICE TROMBONE SAX TRUMPET SYNTH THE FORCE COMPU MEMORY SELECTION SWITCH 8 MANUAL SWITCH 1 PROTECTION SWITCH 1 MEMORY WRITE SWITCH 1 WRITE INDICATOR 2 EQUIPPED WITH A BUILT IN BATTERY BACK UP ARPEGGIO AND KEY ASSIGNMENT ARPEGGIO SELECTOR UP DOWN UP DOWN RANDOM 4 KEY ASSIGNMENT MODE SELECTOR UNISON POLY 1 M 4 CONTROLLER PORTAMENTO 1 sec 1 oct 1 PORTAMENTO SWITCH OFF 1 TRANSPOSE NORMAL 1 oct DOWN 1 MODULATION 1 BEND SENSITIVITY 1 VOC over 1 oct VCF over 2 oct RESONANCE PITCH over 12 dB SELECTION SWITCH LFO OFF BEND 1 MANUAL LEVER TUNING 50 cent 1 1 ENSEMBLE 1 e HOLDION OFF 1 CONNECTION JACKS OUTPUT JACK MONO STEREO 2 OUTPUT LEVEL SELECTION SWITCH AVERAGE 0 dB at 007 NEED DAMPER DP 1 DP 2 VCF FV 20 EXP FV 20 0 30 dB EXTERNAL CLOCK OFF ov on min 1V pulse POWER CONSUMPTION 30W OVERALL SIZE 946 W x410 D x179 H mm NET WEIGHT 19 ACCESSORIES 2 5m hookup cords 2 SPECIFICATIONS ARE SUBJECT TO CHANGE WITHOUT NOTICE
12. e VCF VCA LFO Trigger Delay Bend Bend Modulation Portamento Transpose SAMPLE SOUNDS _ SAMPLE NOTES BLOCK DIAGRAM SPECIFICATIONS Before Starting Power supply indicated on the name plate must be used In case that the power sup ply in your district is different from it it must be adjusted using the voltage regulator Because it is operated by AC power this instrument may sometimes generate a little heat Notes Keep away from interferences that induce high levels of noise such as flourescent lamps neon lights and transformers as much as possible Avoid the use of this instrument in places that are dusty of high temperature or high humidity eClean the control panel with neutral deter gent Use a soft dry cloth for the wooden parts Do not use solvents such ampaint thinner SYNTHESIZER BASIC BLOCKS MAKING UP A SYNTHESIZER PITCH CONTROLLER veo ves mH EN KEYBOARD SOUND SIG SIGNAL LFO ONTROL VOLTAGE MODULATION re GATE PULSE SIGNA OSCILLATOR THE THREE QUALITIES OF SOUND The three qualities of sound are pitch tone color and loudness The pitch produced depends on the vibra tion rate Fig 1 shows that the higher the vibration fare or the higher the frequency of the vibrations the higher the pitch is In synthesizers pitch is controlled by the VCO An oscillator is an electronic circuit which generat
13. e time it takes for the sound to reach the peak of voltage from when the key is first pressed D DECAY TIME DECAY determines the time it takes for a sound to fade away As in the diagram it is the time when voltage hits the peak and decreases to S SUSTAIN LEVEL There fore D and S are closely related When S is raised there are no changes in the form of the envelope even with changing D Also when S is lowered if you shorten D a wave form only appears for an instant S SUSTAIN LEVEL This slider determines the maintenance level after the envelope has reached its peak The note is held at the level you assign It should be noted that the other ADR are of time value whereas S is of a level value R RELEASE TIME This slider determines when the sound will end or fade out after you release a key ADSR SETTING VS ENVELOPE WAVEFORM It must be noted that if all the ADSR sliders are at 0 the waveform becomes an ex tremely short pulse producing clip noise REN UNES 18 MODE E Roland m AM PROGRAMMARI E MN iC M 87 VOLTAGE CONTROLLED AMPLIFIER Through the distribution of the controlled voltage the VCA controls volume With the signals for the envelope generator volume is controlled as to show changes in sound caused from a lapse of time LEVEL This slider controls the volume of the PROGRAMMABLE section Sound is dis tort
14. ed when the level is too high In this case the OVERLOAD LAMP will light up LFO LOW FREQUENCY OSCILLATOR This output signal controls the VCO the VCF and the It produces the vibrato effect changes the interval periodically the grow effect changes the tone periodically and the tremolo effect changes the volume peri odically e RATE 6 This slider produces variations in the LFO speed frequency Slide it upward and the speed increases Slide it downward and the speed decreases WAVE FORM 69 This switch changes the output waveform of the LFO Roland mue amp es arent 1 MODIFIER SECTION TRIGGER RATE 69 This slider controls the arpeggios and the speed of VCF modulation ARPEGGIO y INT Switch to INT when you want to control the arpeggio speed with the internal trigger generator Adjust the speed with RATE EXT Switch on to EXT when you want to control the arpeggios with the ex ternal signal 62 VCF is equipped with SAMPLE AND HOLD with NOISE as the sample source This creates variations in the cutoff frequen cy INT Switch on to INT when you want to use the internal trigger generator for sampling Adjust the speed with RATE 00 and for depth use the VCF MOD EXT Switch on to EXT when you want to use the external signal for sampling MOD 63 This slider adjus
15. es a waveform or in this case sound Voltage controlled means that FIG 1 SOUND PITCH FREQUENCY HIGH LOW BIG SMALL voltage is used to control the frequency pitch in this case of the oscillator the higher the voltage the higher the frequency This then is the first quality of sound pitch Fig 1 shows what are known as sine waves the simplest mode of vibration The sound of a sine wave is very clean and pure Most sound sources vibrate at many fre quencies at the same time however The lowest of the vibrations and usually the strongest is the one which we hear as the musical pitch of the sound source The presence of these other frequencies is what gives a sound source its second quality tone color The frequencies produced by the complex vibrations of a sound source are called har monics Harmonics are usually multiples of the pitch frequency For example consider sound source which vibrates so as to pro duce a pitch with a frequency of 200Hz The first harmonic would be 200Hz 1 x 200 200 The first harmonic is also called the fundamental because this is the frequency which gives the sound its musical pitch The second harmonic would be 2 x 200 or 400Hz The third harmonic would be 3 x 200 or 600Hz the fourth harmonic 4 x 200 or 800Hz etc Fig 2 shows a square wave Square waves produce a tone color much like that of a FIG 2 TONE COLOR lt HARMONIC CONTENT SQUARE WAVE with three o
16. est PHONES 37 38 SPECIFICATIONS KEYBOARD 49 keys 4 octaves C scale SYNTHESIZER MODULES 4 VCO VOLTAGE CONTROLLED OSCILLATOR VCO RANGE 16 8 47 WAVE FORM 1 PULSE WIDTH 50 40 20 10 and PULSE WIDTH LFO DEPTH 1 PWM MODE SWITCH SUB OSCILLATOR 1 oct down 1 NOISE GENERATOR ON OFF SWITCH 1 VOFIVOLTAGE CONTROLLED FILTER HPF CUT OFF 40Hz 2 1 LPF RESONANCE 0 Self Oscillation 1 KYBD FOLLOW 10 40 70 100 1 LFO MODULATION 1 ENVMODULATION 1 ENV POLARITY M7l 1 VCAIVOLTAGE CONTROLLED AMPLIFIER OUT LEVEL 1 OVERLOAD INDICATOR 1 LFO LOW FREQUENCY OSCILLATOR WAVEFORM N 1 LFO RATE OVER 0 1 2 80 2 1 LFO RATE INDICATOR 1 ENVELOPE GENERATOR ENVELOPE GENERATOR for the VCF VCA 2 ATTACK TIME 0 6 ms 3 Sec DECAY TIME 14 ms 10 Sec SUSTAIN LEVEL 0 100 RELEASE TIME 14 ms 10 Sec MODIFIER TRIGGER GENERATOR TRIGGER TRIGGER RATE Hz 25 Hz 1 ARPEGGIO SELECTION SWITCH UNT HEMT a Sy asa 1 VCF MOD SELECTION SWITCH INT EXT ees 1 VCF MODULATION DELAY BEND BEND RATE 1 BEND LFO RATE WIDTH 1 NORM WIDE DELA
17. fits SINE WAVE 25 clarinet Square waves contain only the odd numbered harmonics other words those frequencies which are one three five seven etc times the frequency of the fundamental or pitch frequency The even numbered harmonics are missing Tone color then is determined by the harmonic content of the sound the more harmonics there are the brighter the tone color In the synthesizer tone color is con trolled by the VCF The VCO produces a basic sound wave rich in harmonics The VCF is used to remove or filter out some of these harmonics thus controlling the harmonic content of the finished sound The amount of the harmonics removed is controllable by a control voltage The third quality of sound loudness is de termined in a synthesizer by the level or amplitude of the waveform as shown in Fig 3 and is controlled by the VCA Voltage Controlled Amplifier The loudness of a sound changes during its production Strike a piano key and the sound jumps to maximum loudness Hold the key down and the sound slowly dies away This pattern of loudness in a sound is called its envelope The output of the en velope generator is a control voltage This control voltage is used to control the thus shaping the loudness pattern of the Output sound of the synthesizer FIG 3 VOLUME AMPLITUDE LOUD SOFT p BASIC SYNTHESIZER THEORY CONTROLLED CONTROLLER KEYBOARD ENVELOPE
18. he loudness pattern articula tion of sound is produced by using the cutput ol the envelope generator to control the The LFO output can be used to vary the loudness of the sound output The most common form is 10 use the sine wave output to produce tremolo effects e HOOKUP EXT CLOCK DAL IN CONNECTION JACKS HEADPHONE LEVEL This is the switch to adjust the output of the headphones HEADPHONES This is the jack to connect the head phones OUTPUT LEVEL Select the level L M or H according to the input sensitivity of the amplifier used AUDIO AMP GUITAR AMP P A MIXER OUTPUT This jack is for the output of JUPITER 4 HEADPHONE OUTPUT PEDAL PEDAL DAMPER PEDAL Connect this pedal switch DP 1 2 to this jack This turns on or off the HOLD effect VCF CONT PEDAL By connecting the foot pedal FV 20 to this jack you can control the cut off frequency and by raising the resonance you can use it like a wah wah pedal EXP PEDAL By connecting the foot volume FV 20 to this jack you can freely produce varia tions in volume 2 EXT CLOCK IN By connecting the external clock signal to this jack CR 68 Sequencer synthe sizer s gate output you can control the arpeggios or the VCF modulation ac cording to the cycle e INSTRUCTIONS FOR HOOKUP HEADPHONES EXT CLOCK IN FROM PULSE
19. l position as seen in the diagram above 21 BEND MODULATION BEND SENS 6 The knob establishes the possible variations in range of the bender lever The knob functions establishing the variation ranges of the interval for the VCO of the tone for the VCF and of the volume for the VCA LFO MOD 69 This knob controls the LFO modulation depth regulated by th bender BEND LFO SELECTION SWITCH 69 This switch determines the function of the lever regarding the VCO the VCF and the VCA You can choose the LFO OFF and BEND with this switch In case of the LFO you can regulate the depth with the lever The BEND regulates each block s control Output Each motion range is controlled by the LFO MOD 09 and the BEND SENS 31 BEND MOD LEVER 49 This is to produce variations the interval tone and volume by the manipulation of the ever By manipulating the MOD switch and controlling the LFO output you can control the depth of the vibrato the grow or the tremolo And by BEND manipulation of the interval it is possible to produce the choking effect of an electric guitar 24 PORTAMENTO Portamento is to smooth the change in the scale It is a distinctive phenomenon with synthesizers not possible with the other keyboard instruments PORTAMENTO 4 This knob controls the smoothness in the change of the scale The more you to the right the longer the time for the change PORT
20. n be used as it is pre set or can be modulated with the LFO Signal This is called pulse width modulation PWM M M PROGRAMMABLE RODE ER Roland meus n es 18 NOISEO The noise generator is the fundamental sound source for effects and reproduces sounds of the wind or the waves VCF VOLTAGE CONTROLLED FILTER This filter controls the tone of a sound HPF HIGH PASS FILTER 9 The High Pass Filter eliminates the low sounds and allows only the high sounds to pass This becomes possible by raising the cutoff frequency The husky timbre of the clarinet the sparkle of the oboe the brilliance of the harpsichord and the human voice are all created by the establishment of the high pass cut off frequency And by adjusting the cut off frequency to a mini mum the high pass filter does not function LPF LOW PASS This slider determines the frequency you want to cut off At the most upward posi tion the basic wave form from the basic note is left the same but as it slides down the high overtone components are elimi nated and the tone becomes mellow mel lower And when the LPF is further used the sound becomes similar to that of a square wave RES RESONANCE With CUTOFF FREQ the cutoff frequency point is emphasized As the slider is moved upward certain overtones are em phasized Distinctive sounds are created
21. n the amplifier and speaker used Therefore make adjustments for final retouching during per formance Turn off the sliders when there are no markers in the diagrams MCAT CHORUS Roland d Us HE HERE T lela 1 AE WARE 9 UAE lt T RAMMABLE 1 12 OCT mena O om L1 B SCIENCE FICTION Roland ee m n mY s i BESTE T T frrri TET 1 P Ts 807 8 E Roland m a r 1 1 2 1 1 CECIIIIIITTIITTITTIITIT Roland oce 1 1 eU Ae rs ra T EJ LLLLITTT J COSMIC WIND Roland NER merus 9 nr 5 at 1 E 00 _ TANGERINE DREAM sor eR
22. s MODULE C E G 2 OX x X X X X X X With POLY 1 and POLY 2 the effect of PORTAMENTO will vary depending on whichever way you choose to play During the state of HOLD the difference will be enhanced 14 Roland 335 4 PROGRAMMABLE 3 VOLUME This knob determines the total volume PROGRAMMABLE SECTION 4 VCO VOLTAGE CONTROLLED OSCILLATOR A voltage controlled oscillator changes the frequency pitch The fundamental waveform of the synthe sizer is created here And its frequency is controlled by voltage and this determines the pitch RANGE CHANGE 2 This selector changes the sound range of the VCO 8 feet is the fundamental sound range In switching to 4 feet or 16 feet you can transfer the range from 1 octave up or 1 octave down With 8 feet the middle C corresponds to the middle C in a piano However leave TRANSPOSE to NORMAL SUB SUB OSCILLATOR 3 Switch it on and the VCO will produce a square wave one octave down Combining use produce rich sound MOD Slide it up and the output signal of the LFO will modulate the VCO This slider controls the degree of modulation The further you slide it upward the more intensified the degree becomes Usually the sine wave output waveform of the LFO is used to con tinuousl
23. this way Since the manipulation of RESONANCE brings changes in volume use VOLUME to make adjustments KYBD FOLLOW This switch controls the VCF with the KYBD CV keyboard voltage Among certain instru ments the pitch can determine changes in the tone Therefore there is a need to control the VCF with voltage MOD By controlling the VCF with the LFO signal you can produce an effect growl effect similar to what is produced by periodically moving the wah The intensity of the effect is adjusted by this slider This slider adjusts the amount of change of CUTOFF FREQ by the envelope signal coming from ADSR By sliding it upward variations in the characteristics of the VCF are produced by the pattern previously set when a note is played ADSR ENVELOPE GENERATOR The envelope generator controls the VCF or the and produces changes that occur in tone or volume through time lapse e POLARITY 69 This switch changes the polarity of the envelope The envelope of inverted polarity V Z is used for special effects Usually it is used at lt 8 gt ENVELOPE GENERATOR produces voltage that change through time lapse as pictured in the above diagram O A ATTACK TIME Adjust the attack control to 0 The sound starts instantly Adjust the attack control to 10 In this case it takes time for the sound to reach full volume This slider determines th
24. ts the modulation sensitivi ty 20 2 Roland ROGRAMMABLE mm 6 995 pd OS 69 DELAY I BEND DELAY TIME With this switch it is possible to delay the time from playing a key to the start of modulation due to the LFO The more you slide it upward the longer the delay time It should be noted that DELAY does not unless the key is played over again Therefore in legato performance DELAY only occurs in the first note e 68 JUPITER 4 has the capacity to memorize RATE and WAVE FORM of the LFO with COMPU MEMORY This is the slider that adjusts the programmed speed of the LFO At the middle position 0 the rate is the same as the LFO rate memorized by COMPU MEMORY With MANUAL it is the PROGRAMMABLE LFO RATE Sliding it upward towards increases the speed whereas sliding it downward towards decreases the speed e NORMAL WIDE 68 This switch determines the range of control of the LFO 89 slider Choose between NORMAL and WIDE CAUTION Even while making patches in the PRO GRAMMABLE SECTION with the MANUAL SWITCH on the sliders and switches the MODIFIER SECTION are used Take special notice of the use of the LFO BEND 89 slider When not using the MODIFIER SECTION please make it a habit to set it back to the norma
25. wever when it is not used for a long period of time the data will become extinct Recharge the battery once every 6 months by turning the power switch on for the prevention of a loss of memory momia 1 2 ARE de ET 1 3 1 i T DE THE REPRODUCTION OF THE PROGRAMMED SOUND Press the button between 1 through 8 of COMPU MEMORY where you had programmed the data This will re produce the sound When using the synthesizer after the back up battery is exhausted and memory is erased there might be some noise produced depending on the set up of COMPU MI MORY This is not an indication of damage Please re set the COMPU MEMORY section 12 ARPEGGIO The pattern of the arpeggios is deter mined by the order of the keys pressed The one octave above the highest C is the limit Therefore depending on where you start the arpeggios might consist of under four octaves UP amp up DOWN DOWN RANDOM UP Following the order of the keys selected for the pattern the arpeggio is performed on every scale within the 4 octave range THE KEY THAT IS PRESSED unison LOWEST 1 3 2 THE ORDER OF PRESSING THE KEYS DOWN In principle DOWN funtions in the com plete opposite way of UP if you play the keys C E G the order of the performance with DOWN is G E C unison taa 1 LOWEST
26. y change the interval to produce a vibrato effect ELE PW PULSE WIDTH When the PW switch GD is on MANUAL slider will change the width to fou forms The LFO will modulate the width when switched to MOD and the depth of the pulse width modulation can be chosen among the four forms with the slider t or en 4 k Roland FE s NOS AMABLE nn e lt gt CER 8 HH WAVEFORM This switch changes the output waveform of the VCO 1 OFF Turn off WAVE FORM when you re not using the output from the VCO 2 SAWTOOTH WAVE It contains all the overtones You can manu facture tones of numerous musical instru ments If you form an envelope with the VCF you can create the brass sound you form an envelope with the VCA you can reproduce the strings You can also use this form as the fundamental wave form to produce sounds which are distinctively characteristic of the synthesizer 3 SQUARE WAVE The square wave contains many odd num ber overtones and it produces a timbre similar to the clarinet By forming an en velope with the VCF or the VCA you can reproduce sounds of a clarinet xylophone or the characteristic timber of a synthesizer 4 PULSE WAVE The width of the wave is not symmetrical Due to the pulse width there are changes in overtone construction and in tone as well The pulse width ca
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