Thanks for Shabdahbriah for hosting this, and tidying up the files (converting to mono, for instance). The oscillatrs are raw with no effects, no limiting or volume changes at all.
Here's the link for the technical oscillator demo:
http://obsidiananvil.com/temp/JP-8000-T ... -Osc-1.rar
There's an extensive text file explaining exactly what's happening in the audio demo, and the WAV file is cut into pieces according to each oscillator. I'm going to copypasta the text file for people to read while they download it, or to get a taste of the demo.
And here's the link to the other demo posted in the other thread, which is more based on playing the synth as opposed to studying it.
http://obsidiananvil.com/temp/Sendy-Jp8000.rar
Thanks again to Shabdahbriah for doing helping out, he converted the files to mono, so if it weren't for him, you'd be taking twice as long to download a stereo recording of a mono oscillator
Bronto, thanks for your offer to host it as well, that would be very cool. It'd be best if you copied the file hosted in here, as there are some improvements to the version I could send you.
Regarding copyright and blah, do whatever... If you make music or do whatever with them, you don't need to credit me as the samplist, though if you do, that's cool. If you use this for research making a softsynth, I'd appreciate some kind of "special offer", given that it took me the best part of an evening to do
Text notes follow.
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Note: Dry sound from output of the JP-8000. No volume balancing, limiting, or other processing was applied.
Note: One of the sliders on my JP is a bit jittery. You'll hear this most in the Square/PWM demo.
TRIANGLE
--------
Triangle's two controls are Shape and LFO1 Shape Modulation. Shape distorts the waveform in a manner similar to FM, producing a brighter, less symmetrical waveform more suitable for filtering, and providing PWM-like sounds when swept.
1) - A0 played with 0 Shape and maximum pitch envelope. Note is held while Shape is swept to maximum. Note is retriggered for a pitch sweep with maximum wave shape.
2) - A2 "
3) - A4 "
4) - A6 "
5) - A7 "
6) - A3 is played while the Shape parameter is slowly swept it's full travel.
SAWTOOTH
--------
Sawtooth's two controls are Shape and LFO1 Shape Modulation. Shape simply alters the volume and phase of the fundamental sine wave. It behaves almost exactly as the Fundamental effect in Zebra.
1) - A0 played with 0 Shape and maximum pitch envelope. Note is held while Shape is swept to maximum. Note is retriggered for a pitch sweep with maximum wave shape.
2) - A2 "
3) - A4 "
4) - A6 "
5) - A7 "
6) - A3 is played while the Shape parameter is slowly swept it's full travel.
SQUARE
------
Square's two controls are Pulsewidth and LFO1 PWM. If you need to know what Pulsewidth does, I'm better than you. Just objectively better.
1) - A0 played with 0 Shape and maximum pitch envelope. Note is held while Shape is swept to maximum. Note is retriggered for a pitch sweep with maximum wave shape.
2) - A2 "
3) - A4 "
4) - A6 "
5) - A7 "
6) - A3 is played while the Shape parameter is slowly swept it's full travel.
FEEDBACK OSC
------------
Feedback Osc's two controls are Harmonics and Feedback Amount. This oscillator produces a sound similar to a sawtooth feeding a comb filter with feedback. Or an electric guitar, if you ask Roland. The waveform is very dynamic and the tone often depends on previous states of the oscillator. It can make a lot of unpleasant aliasing AND it throws the synth into mono mode. Furthermore, there's no way to modulate it's parameters, other than velocity and the ribbon controller. Still, as there's no polyphony, you've got a spare hand anyway, so who needs modulation
1) - A0 played with 0 Harmonics, moderate Feedback and maximum pitch envelope. Note is held while Harmonics is swept to maximum. Note is retriggered for a pitch sweep with maximum wave shape.
2) - A2 "
3) - A4 "
4) - A6 "
5) - A7 "
6) - A3 is played while both controls are tweaked.
7 onwards) A note is held and Harmonics is swept. This is repeated each time with a higher value for Feedback.
NOISE
-----
Noise's two controls are Cutoff and Resonance for the in-osc filter. Since the noise is just digital noise and not very interesting, I tested the filter's self oscillation sine wave. Note: the note name and tuning will depend on the position of Cutoff. I made no effort to tune to A. Notice the sine wave fluctuates in volume, due to it's noisy origin.
1) - A0 played with medium Cutoff and maximum Resonance, and maximum pitch envelope. Note is held at steady pitch.
2) - A2 "
3) - A4 "
4) - A6 "
5) - A3 is played while both controls are tweaked. Why I forgot to do A7 is anyone's guess.
TRIANGLE MODULATION
-------------------
Triangle Modulation's two controls are Offset (shape) and LFO1 to Offset. Offset alters the waveshape by amplifying the triangle being fed into the wraparound distortion/waveshaper. As the waveform passes the top of it's bounds, it 'bounces' back to the opposite sign, keeping it's orientation and entering from the other limit, a bit like Pacman when he goes offscreen down the tunnel, and enters the other side of the maze.
As you can see, the Offset control doesn't change the shape of the waveform that much, and it's easy to imagine being able to push it further. This is partially why I requested it as a feature in Zebra. If you've got Zebra, you can do something similar to this to any waveform, and even 'wrap' multiple times, which produces a sound similar to FM or sync. Small values of modulation, such as those gifted to us by Roland here, produce a sound similar to PWM, but a bit more metallic and flangey.
Interestingly, the wrapping distortion can be produced by a transfer function which looks like several cycles of a sawtooth wave. The more cycles of saw you have in the transfer function, the more times you may recursively wrap. I think Zebra goes up to 10 times or thereabouts.
1) - A0 played with 0 Shape and maximum pitch envelope. Note is held while Shape is swept to maximum. Note is retriggered for a pitch sweep with maximum wave shape.
2) - A2 "
3) - A4 "
4) - A6 "
5) - A7 "
6) - A3 is played while the Shape parameter is swept it's full travel. LFO1 is applied to Shape and the speed of LFO1 is varied. Then I got a bit carried away.
SUPER SAW
---------
The supersaw makes smooth and lush unison string sounds and epic tarnce leadz. The sound consists of seven freerunning sawtooths. It's controls are Detune and Mix. Detune spreads the pitch of the 6 subwaves on a nonlinear curve, whilst Mix controls the volume of the subwaves against the central sawtooth. There is some clipping in this recording, which caught me unawares, because the volume is very unpredictable. It's inaudible and only affecting small peaks, though. Hey! Clipping is fashionable, all the kids are doing it!
1) - A0 played with 0 Detune, moderate Mix and maximum pitch envelope. Note is held while Detune is swept to maximum. Note is retriggered for a pitch sweep with maximum wave shape.
2) - A2 "
3) - A4 "
4) - A6 "
5) - A7 "
6 onwards) There then follows a systematic exposition of the combination of both controls which follows this pattern:
For the next 7 notes, Mix is swept slowly during each note from min to max, while Detune stays constant. Detune increases a bit inbetween the notes, so you can hear the effect of Mix on different Detune levels. On the seventh note, the extreme region of Detune is explored as it covers a wide range of values in a short space, and then Detune is slowly swept from maximum to minumum with the note still being held.
After a slight pause, Mix is set to a moderate value (around 7 out of 10) and several notes are played with static parameter values, each time with more detune. Each increase in detune matches one marking on the slider for accuracy.
The final part is a chord with maximum detune, where the detune level slowly decreases to minimum. I had to turn this down to prevent clipping.
