Roland Jupiter 4 Synthesizer Owner's Manual
Below you will find brief information for Synthesizer Jupiter 4. The Jupiter-4 is a 4-voice polyphonic synthesizer equipped with four independent synthesizer modules. Ideal for live performances, this amazing creation is with a manual control, with an authentic COMPU-MEMORY that stores eight different timbres 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.
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Roland: J-< Owners Manual JUPITER - 4 COMPUPHONIC * THE JUPITER-4 is a 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. «Before Starting ...... » | *Power supply indicated on the name plate | must be used. In case that the power sup- CO NTENTS ply in your district is different from it, it must be adjusted, using the voltage regulator. e SYNTHESIZER BASICS 8 ña. Protection Switeh 10 «Because it is operated by AC power this e HOOK UP 13. orume 14 instrument may sometimes generate a * CONNECTION TERMINAL 6 4. VCO 14 little heat. * INSTRUCTIONS FOR HOOKUP 7 08. Noise 18 * NAMES OF THE COMPONENTS в 18. VCF 16 * FUNCTIONS OF THE 9 7. VCA 16 «Notes» COMPONENTS 18. LFO 18 *eKeep away from interferences that induce 49. Trigger 19 high levels of noise, such as flourescent eg. Delay / Bend 20 lamps, neon lights and transformers as 21. Bend / Modulation 21 much as possible. | ed. Portamento 22 * Avoid the use of this instrument in places 41. Power Supply Switch 9 Es. Transpose = - 21 that are dusty, of high temperature or 2. rarer 8 high humidity. | - *Ciean the control panel with neutral deter- dl. Ensemble Switch 10. | gent. Use a soft, dry cloth for the wooden a Koy Ae ode Switch es SAMPLE SOUNDS | 24 parts. Do not use solvents such asypaint [7]. Hold Switch 0 SAMPLE NOTES 31 thinner. | [8. Memory Write Switch 10 * BLOCK DIAGRAM 38 [8]. Manual Switch 10 © SPECIFICATIONS 39 fis. Compu-Memory Selection Switch 10 1%. Pre-Set Selection Switch 10 * SYNTHESIZER BASIC BLOCKS MAKING UP A SYNTHESIZER CONTROLLER | veo VCE VCA. > VI ET KEYBOARD P a |. SOUND SIGNAL Lro HI - ENV contmor VOLTAGE MODULATION | | GATE PULSE SIGNAL! 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 generates a waveform, or in this case, sound. “Voltage controlled” means that a 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 a 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 BOOHz, etc. Fig. 2 shows a square wave. Square waves produce a tone color much like that of a FIG.2 — TONE COLOR = HARMONIC CONTENT SQUARE WAVE withthresofits SINE WAVE ~~ harmon hown ics show clarinet. Square waves contain only the odd numbered harmonics, or in 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 nn. velope generator is a control voltage. This control voltage is used to control the VCA, thus shaping the loudness pattern of the output sound of the synthesizer. FIG.3 — VOLUME = AMPLITUDE LOUD { SOFT p (ON Y Ми * BASIC SYNTHESIZER THEORY CONTROLLED VCO TONE COLOR VCA CONTROLLER PITCH = FREQUENCY HARMONIC CONTENT LOUDNESS = AMPLITUDE KEYBOARD The most common use of the key- The tone color of most instruments The control of loudness by means board control voltage is for the will vary with pitch; higher pitches of the keyboard is of little practical control of the pitch of a VCO: the often produce brighter tone colors, use; the JP-4 has no provision for pitch produced will correspond to lower pitches darker tone colors. this type of control. the key pressed. For this purpose, the VCF can be controlled by the keyboard. With some sounds, it is desirable The tone color of many instru- The loudness pattern (or articula- ENVELOPE to incorporate pitch changes dur- ments, particularly the wind in- tion} of a sound is produced by ing the production of each note. struments, changes during the using the cutput of the envelope | production of each note. This ef- generator to control the VCA. 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. The LFO (Low Frequency Oscilla- With some sounds, the tone color The LFO output can be used to LFO tor) produces low frequency wave- forms. Using the LFO sine wave output to control the pitch of the VCO will produce vibrato elfects. The LFO square wave output will produce trills, and the sawtooth wave Output will produce pitches which sweep downwards. 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. vary the loudness of the sound output. The most common form is to use the sine wave output to produce tremolo effects. RE Ea ABR LL aa pe da TC CTA == = = * HOOKUP * 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. DAMPER VCF CONT EXP EXT CLOCK IN HEADPHONE OUTPUT PEDAL PEDAL PEDAL LEVEL LEVEL “e 7 EI Lom] © Ql © MO a STEREO-— © @ ® ® AUDIO AMP H GUITAR AMP L, M P.A.MIXER H,M,L @ OUTPUT This jack is for the output of JUPITER-4. ® DAMPER PEDAL Connect this pedal switch (DP-1, 2) to this jack. This turns on or off the HOLD- effect. | 6 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. ® 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. A — ne ee. pp * INSTRUCTIONS FOR HOOKUP HEADPHONES E ) _ RH-10 AUDIO OUT (STEREO) TT fe NE AE a [ee STEREO EE elle | “Tons Lon e fro. С MK N (MONO) The = ef fre GUITAR № о|Ё_ $ еее ео) AMP. L À emo | | - … J > EXT CLOCK IN = of Fe е ©! eje) FROM PULSE SOURCE ((SYNTHESIZER, SEQUENCER, ETC) cv GATE TAIG ENT Sic PEDAL CONT PHONES QUTPUT Oo 0616/6006 $ OUTPUT QUTPUY O L MM Lt MW LMM , CONTROL | ОР-1, 2 * NAMES OF THE COMPONENTS iE) ig Pa la ta ig na ia | JUPITER - ; — 1 ii Al 2) “| = | | — В [4] 5 В Ш a [1] Power Supply Switch and Pilot Lamp Hold Switch fil Volume e MODIFIER SECTION [2] Keyboard Memory Write Switch and Indicator * PROGRAMMABLE SECTION 19 Trigger [3] Tuning [9] Manual Switch = Noise kd Delay/Bend [4] Ensemble Switch #0 Compu-Memory Selection Switch i8 VCF Bil Bend / Modulation 5) Arpeggio Selector 11] Pre-Set Selection Switch 13 VCA 24 Portamento [6] Key Assignment Mode Selector Protection Switch id LFO B3 Transpose * FUNCTIONS OF THE COMPONENTS [1] POWER SUPPLY SWITCH By switching on the synthesizer, the pilot lamp will light up and JUPITER-4 is ready for operation. [2] KEYBOARD The keyboard component of JUPITER 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. 8 feet is the basic range and when the TRANSPOSE switch is off, the second from the left C “do” (C) of the keyboards becomes the middie C of the piano. 442H2 а „о TTT mmm ese 71 + hna E£LI LI 3) — um 5 | = E i i v i I 1 | i |! 4 | | { PO ld i ! PA tooo ! 1 1 4 16 | 4 À ' | | < 16'(Transpose) ! t ! J | 1 ra | | + =. 0} = ar — ро Е ВЕС — il — Ld ARAN. WEL lis. We sm. ER Ws de EE ————— un Win mA TI TEL TRAE Mes AEP Ae WY EEE — GA = a CL = o oO pe че ava wl jan —o—l —— PA FR Nur E Y Г A = ; > + ba — —— пой T= + — . . - O O O ® (6) © ® ® ád KEY ASSIGNMENT 3] TUNING O) MODE SWITCH @ MEMORY WRITE SWITCH 6) 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 tuned at 442 Hz. When the interval dif- fers from another instrument, use this knob for tuning. [a] ENSEMBLE SWITCHO) This knob turns on or off the ensemble elfect. 6] ARPEGGIO MODE SELECTOR® With JUPITER-4, basing the range on the first note played, it is possible to play the aulo-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 (69) of TRIGGER. 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 6) This switch turns on or off the condition where a note is preserved by a volume established by the VCA's sustain level. This switch is for memorizing the tone set with PROGRAMMABLE. B MANUAL SWITCH 3) Switch on the manual switch when you want to manipulate PROGRAMMABLE (=) It you press the pre-set switch it will automatically go off (CN. COMPUTER MEMORY SELECTION SWITCH 6) This switch reproduces the sound memo rized by PROGRAMMABLE. 11) PRE-SET SELECTION SWITCH e) This switch reproduces the pre-set tone fi PROTECTION SWITCH 49 This switch prevents accidental destruction of programmed sounds. Use the MEMORY WRITE SWITCH 6 when setting COMPU MEMORY. = rk As dle IE EL ee » + 4 | a ve memes iris TIT Mi a OPERATION OF 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. * SETTING THE COMPU-MEMORY . Push MANUAL O 2. Atthe PROGRAMMABLE section, create the sound you want week 3. Push the button of COMPU-MEMORY 63 between 1 through 8 where you want your sound memorized. 4. While pushing PROTECTION (9 push WRITE ® along with it. If the INDICA - TOR lights up, MEMORY is completed. * THE REPRODUCTION OF THE PROGRAMMED SOUND Press the button between 1 through 8 of COMPU-MEMORY O where you had programmed the data. This will re- produce the sound. 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. * 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. However 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. When using the synthesizer after the back - up battery is exhausted and memory 15 erased, there might he some noise produced depending on the setup 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 C, one octave above the highest C, is the limit. Therefore, depending on where you start, the arpeggios might consist of under four octaves. UPA up DOWN DOWN RANDOM * UP Following the order of the keys selected for the pattern the arpeggio is perlormed on every scale within the 4-octave range. LN THE KEY THAT IS PRESSED (unison) *: {chord) LOWEST C ДАТА 1 3 Lt THE ORDER OF PRESSING THE KEYS Вуа - - - - - - 3 * 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) wm LOWEST rh | I THE KEY THAT IS PRESSED ДАМ Lowest C 7 A IL THE ORDER OF PRESSING THE KEYS Tx I= == 0 TE | Lu Just the first arpegglo will tart from this no For continuous performance, It will start from this note after the second arpeggio. e 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 C” 2 3 THE ORDER OF PRESSING THE KEY 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 C |! yo. THE ORDER OF PRESSING THE KEYS Bva de we we 0m ? À * + aA 1 * Ka * a a a $. eE.” . te fea, UP ! DOWN ii? UN IN EFFECT, 1T 1S ONE OCTAVE HIGHER, * RANDOM The sound of the selected key along with the corresponding higher four octaves are produced in irregular patterns, nm; THE SECOND 5 FROM THE LEFT C “ THE ORDER OF PRESSING THE KEYS SF Г — и a E = * KEY ASSIGNMENT MODE UNISON POLY mamada 1 a 1 2 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 e simultaneously. 0 EXAMPLE Bids LA pr 0D IA E dorar x x E E i A I x ; # 1 + С С Е G KEY KEY FUNCTIONING MODULE OC vinnie cl CE B © AVCO + OOO С) INOTE RTT E] 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 KEY 4 modules working - a simultaneously TWO SOUNDS 4 modules working in twos, functioning [€] separately between KEY 3 groups THREE, FOUR SOUNDS [A] KEY 3 or 4 modules working separately EXAMPLE Л J 1 i д i Ху MODULETA-C: C: CI: CI CI E Ct я B--C:C:1 E E E E Cs a CC: E G G G E C2 » D--C:.E x C:x E C: e POLY-1 POLY 1 functions with one key to one 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. 4VC0 « INOTE AVCO = 2NOTES ЗУСО ® ЗМЮТЕ $ 4МОО АКЮТЕ 5 ‘о-о-в-а-! ——. + The key that is con- KEY tinuously pressed is 9 maintained with the в same module for that h time. EXAMPLE L_ NIN MODULE [A]+C1 x x XxX C1C1:Ci:C1 Ci x Bl-X EX X x Gx x С; " K--x x G x x x E E Е . [Хх Xx Xx C?X x x G G 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 УСО, set to this position. 1) In playing chords, the order of the keys always determines the order of the modules. KEY EXAMPLE E DONT MODULE CIE G Cz:C:C:C:C1C B--x Xx x x xGE EE G-x x x x x x x GG Dl +X x x x x x x x C» 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 MODIFIER Lan" AALLILCARIE с — TRIGGER j re Roland || ST EEN | a o wow uw em Lois o. vum — Cos wo Za | PT ae gr TT Ш - i 7 CL N 3- Ale - EN a > food O e 1-0] 0 Fo HEHE | HERE La ED НЫ (ST (3 VOLUME © This knob determines the total volume. PROGRAMMABLE SECTION 14 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 can produce a rich sound. * MOD(S 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- tinuously change the interval to produce a vibrato effect. * PW (PULSE WIDTH) When the PW switch (9 is on MANUAL the slider (08) will change the width to four 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' } q > A = ны но = н5.. + | 2 Roland ROGHAMMABLE- Cathet » WAVEFORM 5 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. If 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 can be used as it is pre-set or can be modulated with the LFO signal. This is called pulse width modulation (PWM). eae ew = autre - —— = тен —— q Ue a 16 MODIFER -——— ) ue prow. rr Roland | ma «JO MAH MDI NA WER Mam PROGRAMMABLE 15 NOISE® 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) Y 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 FILTER)%9 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. e 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 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. 3 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 -pedal. The intensity of the effect is adjusted by this slider. ENV. MOD.29 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 VCA and produces changes that occur in tone or volume through time lapse. * POLARITY 63 This switch changes the polarity of the envelope. The envelope of inverted polarity (\—)is used for special effects. Usually it susedat (/x). ha - ts = + : LOST. a+ 4% gel a+ het 1 або 6 dd a Barr E. Aaa A D R Foto ® OS “JT KEY ON —Y TIME FOVLTOA | ay aid PE *° > и + + PL 1 : + - . e . 2. | * dr a "RH cary + er na y Sad aka TA изба IIS rs Ne J The ENVELOPE GENERATOR produces voltage that change through time lapse, as pictured in the above diagram. ® 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 the 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. EEE Na, — —]o——] ll + Tr A NY WP A S——————— - "то - rp —— a ———— En 18 re Roland | { i 5 PROGRAAMMARI E— М] МСА (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. * LEVELO) This slider controls the volume of the PROGRAMMABLE section. Sound is dis- torted when the level is too high. In this case the OVERLOAD LAMP will light up. 18 LFO (LOW FREQUENCY OSCILLATOR) This output signal controls the VCO, the VCF and the VCA. It produces the vibrato effect (changes the interval periodically}, the grow! effect (changes the tone’ periodically), and the tremolo effect (changes the volume peri- odicaliy). * RATE (3 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 (3 This switch changes the output waveform of the LFO. + i Ce - . a ada . . Mo Ad Led MOO ER Г a rire J Cas —) | OR 2 Roland e MODIFIER SECTION TRIGGER * RATE 60 * VCF 6d * VCF MOD. 63 This slider controls the arpeggios and the The VCF is equipped with SAMPLE AND This slider adjusts the modulation sensitivi- speed of VCF modulation. HOLD with NOISE as the sample source. ty. * ARPEGGIO 6) This creates variations in the cutoff frequen- cy. INT: Switch on to INT when you want to use the internal trigger generator for INT: Switch on to INT when you want to control the arpeggio speed with the internal trigger generator. Adjust the speed with RATE @ . sampling. Adjust the speed with EXT: Switch on to EXT when you want to RATE ©) and for depth, use the control the arpeggios with the ex- VCF MOD. ® ternal signal. EXT: Switch on to EXT when you want to use the external signal for sampling. = ов обо мот ато a de gem dj | OA A A TEE - 20 re Roland PROGRAMMABLE DELAY / BEND * DELAY TIME 3 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 re-occur unless the key is played over again. Therefore in legato performance, DELAY only occurs in the first note. e LFO 6 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. * NORMAL/WIDE 63 This switch determines the range of control of the LFO (63) 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 of the MODIFIER SECTION are used. (Take special notice of the use of the LFO BEND (GD slider). When not using the MODIFIER SECTION, please make it a habit to set it back to the normal position as seen in the diagram above. a Ra a Pe aa rama В RR a „© | D 21) BEND / MODULATION * BENDSENS 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. es LFO MOD 68 This knob controls the LFO modulation depth regulated by the bender. эк ЙО , . i ft ae oad ae ao Nong" , * BEND/LFO SELECTION SWITCH 63 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 (39 and the BEND SENS 4» * BEND/MOD LEVER 49 This is to produce variations in 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. PORTAMENTO “Portamento” is to smooth the change in the scale. It is a distinctive phenomenon with synthesizers, not possible with the other keyboard instruments, a". Mao | Ava A HUE qe pe E NR a eb, a О ade habit E MAA e PORTAMENTO @ This knob controls the smoothness in the change of the scale. The more you turn it to the right, the longer the time for the change. * PORTAMENTO SWITCH @ This switch turns the PORTAMENTO ON or OFF, 23 TRANSPOSE @ Centering on NORMAL, 1 OCT DOWN lowers the interval by one octave. 21 Ta de a * 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 PROGRAMMABLE , cuore eus "1 “rip ; rotor — — meee EZ DO T7 r - E — me wo my FOR LO MI Wn en mt a ® . » : n uw * STRING -—PROGRAMMABLE— , rower cure 1 ED om [UIMP Y potes ma two ws ow ME mon emir 4 5 + # à n ` "ол ДЕПО TI] Arent hint ee. A . ra - ". nL toa - , LA , „x toas a aaa - A a + ‘ . ha + a a» * . ue a oi LT - a LL + "OEA, 4 o „x " - + a aa ey na a +. LA 2" . a" wi CC LE A ‘a ‚а В En a * "a a+" ta hu" LI [3 Ea " - * " E com bs 1444 = 2 +4 + " . . X tad, Aa - . 1 Ma a a AAA ee E... BN a * E dado ERA 1 OE ' oe. "e. РЫ + + Fan at Uma " EE + ado ah, 1 fa Na * E DD à a +. * . aaa RETIRA. 4 . ‚ \ e ea a ! ... wd "e + , a “ a * «ON . * . ae +” . . a * К’, : . . . ‚ * - Poa wl Je + . . . a at + Le Let Su ete à Ep et “. . ! + AE ATRAS A. Les waa Sh De . Loh es FUNKY CLAVICHORD PROGRAMMABLE ra 1 Ow MEE 05 vu autre a t + “ = 1 1 9) LL 1. * PIANO r PROGRAMMABLE a afl J hl * + @ + a E” £ i ra но rie ен DE + HE санки сом À “ven 1 ml { } Г | vant FONE 8474 Marc mo o ws HOM LO X woh PR AMEN # е % Li a её + » 14... — - = de "vy pros — у - <> + = = fr ` 0 = — . — pr = AL = e VOICE PROGRAMMABLE nm у = ее = ое RE [I == AMET ED Cure CHE 7 vas trie f } Г "mo MG my "ie mon MR AA * 5 U . te ` a 11 че E ча + gy y. . N TE hd =o = - = Q — ll — * ` iy pr primi jr vil — jr] porn pe В - = ЗЕ a . rg Eo anna m “ a Ge . “un pe = Lo = я ve MN * ‘ A Ma \ | Pg = 24 ¢ TROMBONE e SAX e TRUMPET f PROGRAMMABLE ' м im Am — i _— E. ET sm. won =" mont tes rk ve J Ee o m ob, , и Tom Ш Г me 1 * . shui x. - “ A Tu A - de mir © … A AHHH Et E : « ‚Ч + — [3 Г: © ` bl: dE = zZ vs - ме . L 1 J | "uy = a | = PROGRAMMABLE oR Om Folio f | чет Y J - Ca - - me - » - “ - us 4 { i J lel UD J + bat ЛОЛ JIT ДОЛЕ ГАИ PROGRAMMABLE f 4 ri ——— А К - —— E РИ РИ оны CURE 1 “vig 1 f 1 it YEE MATE "wn WA FOE о tO Wm "CALC 0 "ao POR AMI Y a Г H } 2 444%" As +My - A _ - u LS . res Tex E | | oe A fj LL * BASIC SYNTHESIZER SOUND PROGRAMMABLE * THE FORCE a”. нем [ONO vo oy Qi 05 MOD mt . nm o mare Mania Den NAT a. ta. a - © "че Mh * - - - { à fü A = mt ne CR; rt .. I IL er “ally “hd: ` й a A - BK a - - - mm +. fd = Ny в i. я * „nn к. | | * - - | PURE = че чита de gr TCE SE A A 26 * SAMPLE SOUND II Setting Examples Each slider is at a standard position. How- ever the sound will vary depending on the amplifier and speaker used. Therefore make adjustments for final retouching during per- MCAT CHORUS re2 Roland — Cm wy Xx“. formance. Turn off the sliders when there are no markers in the diagrams. Ш ë a =... mé dt pee EE TT TT ITI TEC TET i DT MN SCIENCE FICTION. MODIFIER i= Roland Mie LH WD i a] ve una TUNE f 1 Po mo) Cae] x firme Hii TH Ш@ “RICK WAKEMAN" SYNTHESIZER SOUND (————- МООБЕВ worry TRIGGER 1 [ofl av nnn) т AM GLAS LF CE Ch К mM say Roland Bi CUT сэр. Г “SH = = ARE, ny i - - { Cu] | в - ое | 4 + | I 7 ©; pr ай mm de. + Li т це чу елей wr di = 28 MTHE FUNKY MAN r= Roland cm OR CB! PROGRAMMABLE [] ! Tor ] 1 E Tit = = was Ware a СЕТ чан a Pl LL LL TTT] Td EL PAT) YE IW от "a FEB AA LA EH COSMIC WIND —— MOOIFIEN ———— 7 —————————[s——]——[d]—]_ —LAOGRAMMARBE rm Roland | es) Cone | eee loa E E su . I. - 1 — ai | war ly La Wl wit a y UC ma D "1 ed 4 Ca HQ aE a our wa wr bos } { . IN à He «СЭР - : „3 HE a Tes 5 | LE a INTI ELO Heroe Tio Eo HA HT = | E “TANGERINE DREAM" one ROOF ER PROGRAMM ASLE — — = Roland |C TRGCER ) Cao] mn FE A] en mue 0 mew TP pot ED a erm OTT) Pe] CB! AN y C3 || ul Dp =] ii = 2 wm TEI EL sz NE NN fun IL T1 JU. EA ВЫ ЕТ] a ET Ta Г rf ТЕТ | [= nn BE wr mee RE io =_=, MSPACE MONSTER —PROGRAMUMARLE | стон CHE NER — mn an { 1 = CA] mE EEE DETER TI = Ro and compe comps Y - maga POUM LT] a wary - “E * НОА +R e o uo rN E * " * ни MORGAN (WITH CLICK ATTACK) ты pro ary OLS wr WEE men += Roland св поно OM Ay Де оЗЕНА |2 an | i г "— rR 4 =" fe) Te = T " 1 peu CI 1 Ll] ha — | 3% | SR wn U] 2 OT | MSPACE SHIP == Roland | i 5 { wd = i J i + | FA E Г | MFANTASY PIANO = , PROGRAMABLE fr Roland , pen mr —— TT me promos i. A a via vt win” и ee 210 of — za } [ree à > 2 t b = D A а] - » : а « |* | LA - * - Е В wap SB CC | a] - ay T foi” a dpt gêne nim eu [= ME Ts tu Ci ECO à MO MITTE FTE [IT TY —_—] — не ‚ .—- a. amr Y 32 * SAMPLE NOTES DN) os E JHHH | || ULL He) J ra har LilLILELLEEELELNI IC) PROGRAMMABLE Г e Wi porta il [ITU oe * | в * a H . - AU e. ir“ + o tire ity at + TEE . . NU PT Ra E ME Го Е & ЗЕТЕТЕТЕ. {EHH | | т , Lem, — O IT LE PEF r Err (= ca e] PTT em НН НИЕ, НН ` . . * : ir 11 С) ATTE H - + A nr f= -.- -—— —— MODFIEN ———— f PROGRAMMABLE “A re Roland |! TROGER ) CORE) | SNEED E TT IDE + — E ~ HARE ее MT mur — pue EE O wm | 1 NEL, a el =a = TTT TO [Ceo - TT TIT] “ СЕТ ТТТ ТТТ ТТТ ТТ [LI Ja [= Roland 1 1 ESE» Ea era ROGRAMMABLE = Roland ДИ | Sas men = À - ТЕТЕ ТТТ] Li [ Ce) Ce ROGRAMMASLE mes Ge $ ШИ PR ог СОТ] 36 &@ Roland PROGRAMMABLE * Block Diagram PANEL CONTROLLER | z PRESET COMPUTER vv ill] TO PROGRAMMABLE RANGE DAMPER PEDAL PHONES out HOLD EXP QUT PUT EXP TO SUB OSC Exp PEDAL BENDER TE KEY ASSIGNER 49KEYS KEYBOARD way WIDE Pies ny ASSIGN MODE SW BENI: RATE 37 + т то — . =. = ое ке = * 38 SPECIFICATIONS * KEYBOARD (49-keys, 4 octaves, C scale) о SYNTHESIZER MODULES ......... 4 * VCO (VOLTAGE CONTROLLED OSCILLATOR) VCO RANGE (16°, 8", 4')............ 1 WAVE FORM (A.TU.ML......... 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 - 5KHz)........ 1 LPF RESONANCE (O-Self Oscillation). ................ 1 KYBD FOLLOW (10%, 40%, 70%, 100%) ........... 1 LFO MODULATION. ............... 1 ENVMODULATION................ 1 ENV POLARITY Vx 77)... ..... 1 * VCALVOLTAGE CONTROLLED AMPLIFIER) VCAOUTLEVEL.................. 1 OVERLOAD INDICATOR ........... 1 * LFO (LOW FREQUENCY OSCILLATOR) WAVEFORM (~ 1. A. №) ..... 1 LFO RATE (OVER 0.1H2-80Hz) . . .. .. 1 LFO RATE INDICATOR ............ 1 ¢ ENVELOPE GENERATOR (ENVELOPE GENERATOR) for the УСЕ, УСА ................. 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 (IHz - 25 Hz) ....... 1 ARPEGGIO SELECTION SWITCH UNT, EXT)... ae 1 VCF MOD SELECTION SWITCH (NT, EXT). o.oo 111211 1 VCF MODULATION DELAY/BEND BEND LFORATE ................. 1 BEND LFO RATEWIDTH. .......... 1 (NORM, WIDE) DELAY TIME (0-10 Sec)........... 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 WRITESWITCH ......... 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 I, IL POLY 1, 1)... 4 * CONTROLLER PORTAMENTO (1 sec/1 oct)........ 1 PORTAMENTO SWITCH (ON - OFF) . 1 TRANSPOSE (NORMAL - 1 oct. DOWN)... 1 LFO MODULATION. ............... 1 BEND SENSITIVITY ............ ... 1 VOC : over +1 oct. VCF over + 2 oct (RESONANCE PITCH) VCA: over + 12 dB SELECTION SWITCH (LFO/OFF/BEND) ................. 1 MANUAL LEVER * TUNING (+50 cent.+1%)........... 1 * ENSEMBLE (ON-OFF). ............. 1 * HOLDION-OFF) ................... 1 * CONNECTION JACKS OUTPUT JACK (MONO, STEREO)... 2 OUTPUT LEVEL SELECTION SWITCH (AVERAGE 0 dB at positionH) HEADPHONE JACK (stereo) ........ 1 HEADPHONE LEVEL SELECTION SWITCH ........... Lea LL 1 EXTERNAL CONTROL JACK ....... 4 DAMPER (DP-1, DP-2), VCF (FV-20) EXP, ({FV-20, 0— —30 dB) EXTERNAL CLOCK (OFF: ov/on: min. + | V pulse) POWER CONSUMPTION ........ 30W OVERALL SIZE. ........ 3461 W)x410(D)>1791H)mm NETWEIGHT................. . 19 kg ACCESSORIES. 2.5m hookup cords:2 SPECIFICATIONS ARE SUBJECT TO CHANGE WITHOUT NOTICE. e Options эй * Pedal Switch * Foot Volume DP-2 FV-20 = | lola | Те. JP-4 OWNER'S MANUAL '82 AUG. C-2 ">

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Key features
- 4-voice polyphonic synthesizer
- 4 independent synthesizer modules
- COMPU-MEMORY stores 8 timbres & 10 presets
- 2 channel output with stereo effect
- External control mechanism
- 49-key keyboard
Frequently asked questions
The Jupiter-4 is a 4-voice polyphonic synthesizer.
The COMPU-MEMORY stores eight different timbres as well as the ten pre-set sounds.
The keyboard is a 49-note 4-octave system.
It has a two channel output with stereo effect.