ARTURIA Jun-6 V User Manual
USER MANUAL
_JUN-6 V
Special Thanks
DIRECTION
Frédéric Brun Kevin Molcard
DEVELOPMENT
Raynald Dantigny
Kevin Arcas
Rasmus Kurstein
Alexandre Adam
Yann Burrer
DESIGN
Edouard Madeuf
Morgan Perrier
SOUND DESIGN
Jean-Michel Blanchet
Maxime Audfray
TESTING
Florian Marin
Maxime Audfray
Samuel Limier
Corentin Comte
Marie Pauli
Pierre-Lin Laneyrie
Baptiste Aubry
Florian Rameau
Shaun Ellwood
Lily Jordy
Simon Gallifet
Christophe Tessa
Thomas Barbier
Timothée Behety
Mathieu Nocenti
Simon Conan
Loris De Marco
Cyril Lepinette
Baptiste Le Goff
SolidTrax
Sonar Traffic
Benjamin Renard
Antoine Moreau
Markus Bollinger
Thomas Koot
BETA TESTING
Dan Tinen
Terry Marsden
Marco Correia
Gary Morgan
Gustavo Bravetti
Chuck Zwicky
Peter Tomlinson
David Harman
Guillaume Hernandez
Pagnier
Fernando Manuel
Rodrigues
Andrew Henderson
Dwight Davies
Angel Alvarado
Paolo Negri
MANUAL
Fernando MANUEL
RODRIGUES (author)
Florence BURY
© ARTURIA SA – 2020 – All rights reserved.
26 avenue Jean Kuntzmann
38330 Montbonnot-Saint-Martin
FRANCE
www.arturia.com
Information contained in this manual is subject to change without notice and does not
represent a commitment on the part of Arturia. The software described in this manual is
provided under the terms of a license agreement or non-disclosure agreement. The software
license agreement specifies the terms and conditions for its lawful use. No part of this
manual may be reproduced or transmitted in any form or by any purpose other than
purchaser’s personal use, without the express written permission of ARTURIA S.A.
Camille DALEMANS
Roger Lyons
Minoru KOIKE
Vincent LE HEN
Charlotte METAIS
Jose RENDON
Holger STEINBRINK
Jack VAN
All other products, logos or company names quoted in this manual are trademarks or
registered trademarks of their respective owners.
Product version: 1.0
Revision date: 8 December 2020
Thank you for purchasing Arturia's Jun-6 V!
This manual covers the features and operation of the Jun-6 V.
Be sure to register your software as soon as possible! When you purchased Jun-6 V you
were sent a serial number and an unlock code by e-mail. These are required during the online registration process.
Special Messages
Specifications Subject to Change:
The information contained in this manual is believed to be correct at the time of printing.
However, Arturia reserves the right to change or modify any of the specifications or features
without notice or obligation.
IMPORTANT:
The software, when used in combination with an amplifier, headphones or speakers, may
be able to produce sound levels that could cause permanent hearing loss. DO NOT operate
for long periods of time at a high level or at a level that is uncomfortable.
If you encounter any hearing loss or ringing in the ears, you should consult an audiologist.
Introduction
Congratulations on your purchase of Arturia's Jun-6 V
Since the late 1990s, Arturia has received acclaim from players and reviewers alike for
designing state-of-the art software emulations of the venerable analog synthesizers from
the 1960s to the 1980s. From the Modular V, back in 2004, to Origin, a modular system
introduced in 2010, to the Matrix 12 V (2015), the Synclavier V (2016), followed by the CMI
V and the DX7 V (2017) and, last but not the least, Pigments, our first original software
synthesizer, Arturia's passion for synthesizers and sonic purity has given demanding
musicians the best software instruments for professional audio production.
Recently, Arturia launched its latest emulation, this time covering one of the most celebrated
polysynths of the pre-MIDI era. This was the Arturia OB-Xa V.
With the launch of a new version of the V (Vintage) Collection, Arturia consolidates its
position as a leader in the field of modeled vintage instruments software.
The ARTURIA Jun-6 V is one of the new instrument emulations included in the current
version of our acclaimed bundle, and it benefits from more than twenty years of experience
in recreating the most iconic tools of the past.
ARTURIA has a passion for excellence and accuracy. This has led us to conduct an extensive
analysis of every aspect of one of the most famous and iconic synthesizers of the eighties. It
was also a synth which definitely marked that era and has lately achieved "vintage" status,
with prices rising up in the second-hand market. We have carefully studied and reproduced
the behavior of its electrical circuits and modules. We have also added many features, some
even unimaginable in the days that unit was first launched.
Jun-6 V runs as a stand-alone virtual instrument, as well as a plug-in in all major formats
inside your DAW. It has an easy MIDI learn functionality for hands-on control of most
parameters, and as a plug-in also allows parameter automation for greater creative control.
DISCLAIMER: All manufacturer and product names mentioned in this manual are
trademarks of their respective owners, which are in no way associated or affiliated with
Arturia. The trademarks of other manufacturers mentioned are used solely to identify the
products of those manufacturers whose features and sound were studied during Jun-6 V
development. All names of equipment inventors and manufacturers have been included for
illustrative and educational purposes only and do not suggest any affiliation or endorsement
of Jun-6 V by any equipment inventor or manufacturer.
The Arturia team
Table Of Contents
1. WELCOME TO THE JUN-6 V................................................................................................................................... 3
1.1. What is the Juno-6? ............................................................................................................................................................. 3
1.2. Some historical facts........................................................................................................................................................... 3
1.2.1. Whos' who of Juno users........................................................................................................................................................................................ 4
1.3. Does a Juno emulation still make sense? ............................................................................................................ 4
1.4. Arturia's Jun-6 V..................................................................................................................................................................... 5
2. ACTIVATION AND FIRST START.......................................................................................................................... 6
2.1. System Requirements ........................................................................................................................................................ 6
2.2. Activate the Arturia Jun-6 V license......................................................................................................................... 6
2.2.1. The Arturia Software Center (ASC)................................................................................................................................................................... 6
2.3. Initial Setup .............................................................................................................................................................................. 7
2.3.1. Audio and MIDI Settings: Windows................................................................................................................................................................. 7
2.3.2. Audio and MIDI Settings: macOS .................................................................................................................................................................... 8
2.3.3. Jun-6 V as a plug-in .................................................................................................................................................................................................. 9
3. JUN-6 V OVERVIEW ................................................................................................................................................ 10
3.1. What can you do with Jun-6 V? .............................................................................................................................. 10
3.1.1. The original Juno's limitations........................................................................................................................................................................... 10
3.1.2. The Jun-6 V's main features................................................................................................................................................................................. 11
3.2. Getting hands-on with the Jun-6 V......................................................................................................................... 13
3.2.1. Oscillator Basics.......................................................................................................................................................................................................... 13
3.2.2. Filter Basics................................................................................................................................................................................................................... 14
3.2.3. More Envelope Features ....................................................................................................................................................................................... 15
3.2.4. Chorus and Arpeggiator....................................................................................................................................................................................... 16
3.2.5. Using the Advanced Section Modulations ................................................................................................................................................. 17
3.2.6. Using the effects........................................................................................................................................................................................................ 18
3.2.7. Automating the Jun-6 V with MIDI................................................................................................................................................................ 19
4. The User Interface .................................................................................................................................................... 21
4.1. High-Level Overview.......................................................................................................................................................... 21
4.2. The Upper Toolbar ............................................................................................................................................................. 21
4.2.1. The Jun-6 V menu .................................................................................................................................................................................................... 22
4.2.2. Browsing Presets ..................................................................................................................................................................................................... 24
4.2.3. Side Panel ..................................................................................................................................................................................................................... 24
4.3. The Lower Toolbar ............................................................................................................................................................ 25
4.4. Side Panel............................................................................................................................................................................... 24
4.4.1. MIDI controller configuration............................................................................................................................................................................ 26
4.4.2. Assigning / Un-assigning controls................................................................................................................................................................. 27
4.4.3. Min / Max value sliders ......................................................................................................................................................................................... 27
4.4.4. Relative control option .......................................................................................................................................................................................... 28
4.4.5. Unassigning or "un-learning" a MIDI mapping .................................................................................................................................... 29
4.5. The Preset Browser in Detail .................................................................................................................................... 30
4.5.1. Browse Presets With MIDI Controller........................................................................................................................................................... 31
4.5.2. Playlists............................................................................................................................................................................................................................ 31
5. JUN-6 V CONTROL PANEL................................................................................................................................... 32
5.1. Main Control Panel ............................................................................................................................................................ 32
5.1.1. Hold Button ..................................................................................................................................................................................................................... 32
5.1.2. Chord Mode................................................................................................................................................................................................................... 33
5.1.3. Arpeggio.......................................................................................................................................................................................................................... 34
5.1.4. LFO...................................................................................................................................................................................................................................... 35
5.1.5. DCO (Digitally Controlled Oscillator) ............................................................................................................................................................. 37
5.1.6. HPF (High-Pass Filter).............................................................................................................................................................................................. 41
5.1.7. VCF (Voltage-Controlled Filter)........................................................................................................................................................................... 41
5.1.8. VCA (Voltage-Controlled Amplifier)............................................................................................................................................................... 44
5.1.9. ENV (Envelope Generator) ................................................................................................................................................................................... 45
5.1.10. Chorus............................................................................................................................................................................................................................ 46
5.1.11. Tune.................................................................................................................................................................................................................................... 47
5.1.12. Volume............................................................................................................................................................................................................................. 47
5.1.13. Voice Calibration....................................................................................................................................................................................................... 47
5.2. Advanced Control Panel ............................................................................................................................................... 48
5.2.1. Assign (Modulation Matrix) ................................................................................................................................................................................. 48
5.2.2. LFO 2 ................................................................................................................................................................................................................................ 49
5.2.3. ENV 2 ................................................................................................................................................................................................................................. 51
5.2.4. Delay ................................................................................................................................................................................................................................ 52
5.2.5. Reverb.............................................................................................................................................................................................................................. 53
5.2.6. Virtual Keyboard....................................................................................................................................................................................................... 54
6. Software License Agreement............................................................................................................................ 57
1. WELCOME TO THE JUN-6 V
1.1. What is the Juno-6?
In 1982, the Juno-6 - a relatively cheap single oscillator synth - was Roland's answer to
the Korg Polysix, which dominated the lower-end segment of the market at the time. After
launching the high-end Jupiter-8, Roland felt the need to fill the gap for that segment. With a
reduced but very clever set of features, a great built-in chorus unit that contributed to giving
it a very big and fat sound (and stereo), the Juno-6 had everything to become a success.
1.2. Some historical facts
Back in 1981, Roland created one of best analog polyphonic synthesizers that ever existed the Jupiter-8. Already a major player in the synth world, the company had launched several
synths since its foundation in 1972, including modular systems like the System-100m and
System-700. These contributed to establishing Roland as one of the main contenders in the
market for this new type of electronic musical instruments.
Roland's first polyphonic synthesizer was the Jupiter-4, but with the launch of the Jupiter-8,
they firmly established their position as a leader in the polyphonic synth segment, directly
competing with big names such as Moog, Sequential Circuits and Oberheim.
Yet, the Jupiter-8 was expensive - unaffordable for most musicians. That's where the Juno-6
came into play.
Greatly simplified when compared with the monster that was the Ju piter-8, the Juno-6
nevertheless offered six-voice polyphony for a fraction of the price of its flagship brother.
Sure, it was simple, but that simplicity, based on a carefully selected set of features and a
control panel which was beautiful, clear and well designed, invited musicians to also create
their own sounds. In fact, the Juno-6 is one of the simplest synths ever built. Yet, it sounds
great.
Much of this great sound is due to the presence of a gorgeous chorus unit. This chorus unit
was so important and sounded so big that some jokingly describe the Juno-6 as a chorus
unit with a synth attached.
Shortly after the launch of the Juno-6, Roland introduced the Juno-60, which was basically
the same synth, with added memory slots for patch storage, and the new DCB port,
which allowed interconnectivity with several devices. This DCB port, already present in the
Jupiter-8 as well, served as the basis for the MIDI technology that would appear shortly
after that. Roland played a big role in the definition of that standard.
As a matter of fact, the Juno-6/Juno-60 were the last synths Roland launched in the preMIDI era.
3 Arturia - User Manual Jun-6 V - WELCOME TO THE JUN-6 V
1.2.1. Whos' who of Juno users
Sure, the Juno does not have as extensive a list of famous users as other synths. After all, it
was a lower-end synth. But still, there were some.
Madonna (the Juno-6 was featured in "Borderline", in 1983), A-Ha (they reportedly used a
Juno-60 in the smash hit "Take On Me", layered with a DX7), Enya (featured in "Caribbean
Blue"), Duran Duran (featured in "Save a Prayer"), The Cure, Sean Lennon, Faithless, Astral
Projection, Vince Clarke, Men At Work, Flock of Seagulls, Eurythmics, Mr. Fingers (featured
in "Can You Fell It"), Niels Frahm... these are some of the big names who used the Juno-6/
Juno-60.
More recently, we can mention the British band Metronomy. It is also used by many
producers pretty much worldwide.
1.3. Does a Juno emulation still make sense?
The original Juno was the polyphonic synth for the masses. Very easy to program and
operate, great-sounding and relatively cheap, it immediately conquered its place. And it has
been gaining vintage status lately.
The Jun-6 V preserves the best qualities of the Juno, like the immediacy and convenience of
programming, and the great sound. Arturia's goal was to create a synthesizer that everyone
would feel compelled to program and be comfortable creating their own sounds with.
The advantages of a software version of the Juno over its hardware counterpart are
considerable. For example:
• It's much cheaper than its hardware counterpart (which is still a very soughtafter synth, with prices rising);
• You can use as many instances as you wish;
• The instrument has been modernized and supplemented with some welcome
features, such as expanded polyphony (up to 36 voices), unison, a second
envelope and LFO, velocity sensitivity, aftertouch, etc.;
• You can use MIDI to control and automate several parameters. Actually, you can
use MIDI to play it, something you cannot do with the original.
• You will still have a very simple and great-sounding synth;
• Due to its immediacy and simplicity, it is a great tool to start learning synthesis;
Arturia - User Manual Jun-6 V - WELCOME TO THE JUN-6 V 4
1.4. Arturia's Jun-6 V
That's why we, at Arturia, believe that a Juno emulation still makes sense. We felt truly
compelled to create the Jun-6 V. Of course, being an Arturia product, it wasn't enough to
simply model the original hardware. As usual, we pushed it further, adding some tasteful
new features that honor the original while making it more useful in a modern context.
For example, you have two extra effect processors - a Delay and a Reverb. Together with
the luscious chorus, they contribute to creating a really big sound. You also have an extra
envelope. This was a feature that was very much missed in the original Juno. This second
envelope can be assigned to the VCA, leaving Envelope 1 free to modulate the filter. This
way, you can have a filter contour that is independent of the volume contour, which is really
important on countless occasions.
You also have a second LFO. LFOs are very important modulation sources, and we can
never have enough of them. Yet the original hardware unit was restricted to just one, limited
to a single waveform at that. Here, you have a second one, enriched with a choice of six
waveforms.
These two extra modulation sources can also process several other parameters. Courtesy
of mini modulation matrices, you have two extra freely assignable destinations for each of
the two modulators. Besides that, the second Envelope Generator is also hard-wired to the
VCA, where it is one of the choices.
There are also assignable slots for the Mod Wheel, Velocity and Aftertouch. Last but not
least, the oscillators can be calibrated to emulate different aging stages (from Good to Poor),
and you have a Chord player, which allows to play chords with a single note.
We hope you are as excited about this great instrument as we are. Now, it's time to play it
and get some sound. Let's go!
5 Arturia - User Manual Jun-6 V - WELCOME TO THE JUN-6 V
2. ACTIVATION AND FIRST START
2.1. System Requirements
The Arturia Jun-6 V plug-in works on computers equipped with :
Win 8+ 10.13+
You can use the Jun-6 V as an AAX, Audio Unit, VST2 or VST3 plug-in (64-bit only).
2.2. Activate the Arturia Jun-6 V license
Once the software has been installed, the next step should be to activate your license, so
that you can use it without limitations.
This is a simple process which involves a different software program: the Arturia Software
Center.
2.2.1. The Arturia Software Center (ASC)
If you have not already installed the ASC, go to this web page: Arturia Updates & Manuals
Look for the Arturia Software Center at the top of the page, and then download the version
of the installer that you need for your system (macOS or Windows).
Follow the installation instructions and then:
• Launch the Arturia Software Center (ASC)
• Log into your Arturia account
• Scroll down to the My Products section of the ASC
• Click the Activate button
That's all there is to it!
Arturia - User Manual Jun-6 V - ACTIVATION AND FIRST START 6
2.3. Initial Setup
The first time you launch Jun-6 V in standalone mode, you'll be asked to define the Audio
settings (and MIDI settings) for the instrument. These settings can be accessed at any time
by clicking the Main Menu icon at the top left of the Upper Toolbar (the "hamburger" symbol
that's becoming a standard), then click Audio Midi Settings. We will cover all the options of
the Main Menu later in this manual.
2.3.1. Audio and MIDI Settings: Windows
This is where you define what kind of audio interface will be used to play the instrument,
as well as the MIDI controller. It works in a very similar way in both macOS and Windows,
although the names for the devices available to you will depend on the operating system
and hardware you are using.
Let's look at the options one by one, starting from the top:
• Device lets you choose which audio driver you want to use to route sound out
of the instrument. You may choose your computer’s own audio driver (Windows
Audio), DirectSound (which is also an internal Windows driver), or an ASIO
driver (which will offer you the best performance). The name of your hardware
appears in this field, and may vary according to the option you take.
7 Arturia - User Manual Jun-6 V - ACTIVATION AND FIRST START
• Output Channels lets you select which of the available outputs will be used to
route audio out. Some audio interfaces offer more than the regular stereo out,
but if you don't have one of these, only one pair will appear as an option. If you
have a multi-output audio interface, you can select any specific pair of outputs.
• The Buffer Size menu lets you select the size of the audio buffer your computer
uses to calculate sound. The smaller the buffer, the faster it will play a note after
pressing a key. A larger buffer means a lower CPU load as the computer has
more time to process the audio, but can result in a slight delay between pressing
the key and hearing the note. A fast, modern computer should easily be able
to operate at a buffer size of 256 or even 128 samples without creating pops or
clicks in the sound. Usually, a buffer of 256 samples is more than acceptable. If
you are getting clicks, try raising the buffer a little.
• The Sample Rate menu is where you define how many times per second the
digital audio will be sampled before it is converted into analog (audible) sound.
Higher sample rates mean more definition but demand more CPU power. The
options available will de pend on the audio interface hardware you are using.
Modern computers’ own hardware may operate at high sample rates, up to 96
kHz. The latest external audio interfaces may go even higher, even the simple
ones. Usually, there's no need to use such high sample rates. A value of 44.1 kHz
or 48 kHz is perfectly fine (audio CDs work at 44.1 kHz).
• The Show Control Panel button will jump to the system control panel for
whatever audio device is selected. Be aware that some audio hardware may not
have a Control Panel, or that Control Panel can be a generic OS one.
• Play Test Tone helps you troubleshoot audio issues by confirming whether sound
can be heard through the correct device.
• MIDI Devices is where you will see your connected MIDI devices. All MIDI
devices available should be seen in the list. Click the check box of the MIDI device
(or port, if you happen to have a multi-port MIDI device) you want to use to
trigger the instrument. In standalone mode, Jun-6 V listens for all MIDI channels
so there’s no need to specify a channel. You can specify more than one MIDI
device at once.
• Tempo defines the internal tempo used by the Jun-6 V to play time sync elements
when in standalone mode, like synchronized effects. When used as a plug-in, the
instrument will always synchronize to the host tempo.
2.3.2. Audio and MIDI Settings: macOS
In macOS the process is very similar. The only important difference is that macOS uses
CoreAudio to handle audio. Other than that, everything works the same way as described
for Windows.
Arturia - User Manual Jun-6 V - ACTIVATION AND FIRST START 8
2.3.3. Jun-6 V as a plug-in
Jun-6 V comes in VST2, VST3, AU and AAX plug-in formats for use in all major digital audio
workstations (DAW) including Live, Logic, Cubase, Pro Tools and others. Unlike the hardware,
you can load as many instances as you find useful. The Jun-6 V also has some other big
advantages over hardware:
• The instrument will now synchronize to your DAW’s host tempo/bpm rate, when
tempo is a factor;
• You can automate numerous parameters using your DAW’s automation system;
• You can use more than one instance of Jun-6 V in a DAW project. In standalone
mode you can also open more than one instance (for example to copy
parameters from a preset to another, or to try layered presets);
• You can route Jun-6 V’s audio outputs freely inside your DAW using the DAW’s
own audio routing system, for mixing and further processing;
• Any additional audio effects your DAW has available may be used to process the
sound, including delay, chorus, filters, etc.;
• Your settings and current instrument state will become recorded in your project,
and you can pick up exactly where you left off the next time you open it.
9 Arturia - User Manual Jun-6 V - ACTIVATION AND FIRST START
3. JUN-6 V OVERVIEW
3.1. What can you do with Jun-6 V?
3.1.1. The original Juno's limitations
The Juno-6 was a very simple synth, intended as a polyphonic synth for the masses. The
original manufacturers cut corners wherever they could, yet the final product was still a
great-sounding synth. Despite its deceivingly simple appearance, it is capable of great string
sounds, great brass sounds, powerful basses and leads, amazing pads, and even some very
convincing percussion sounds and special synthesizer sound effects.
Even more amazing: all that is achieved with a single oscillator! Indeed, the Juno only has
a single analog oscillator (digitally controlled), though it is capable of summing several
waveforms to create a fatter and more varied sound. By adding a variable pulse
(controllable manually or automated through the envelope or the LFO) and a very bright
saw, you can already produce many sounds. You can also add to this a sub-oscillator
(square wave) pitched one octave lower, and an independent noise source (white noise).
The sub-oscillator and the noise source have their own volume control fader, which means
you can control their volumes independently.
The multiple sound sources are then sent through the filter section. This section has two
filters, as was already the case for the Jupiter-8. First, there is a -24 dB resonant LowPass Filter, followed by a -6 dB High-Pass Filter (although the control panel may suggest
otherwise). The LPF wasn't exactly the same as that of the Ju piter-8 (whose Low-Pass filter
was capable of switching between -12 dB and -24 dB per octave, for example), but it was
based on the same chip, so it is a very powerful and high-quality filter as well.
The Low-Pass Filter is resonant up to self-oscillation, and may be controlled by keyfollow, envelope (both positively and negatively) and LFO. All these controls may be active
simultaneously, and each has its own fader to control the modulation intensity. Again, this
is a detail which gives a lot of versatility to the sound.
Finally, the VCA may be controlled through a Gate triggered by the keyboard (which means
that the sound will be On as soon as a key is pressed, and Off as soon as it is released) or
through the Envelope Generator.
As far as controls are concerned, you only have one LFO and one Envelope Generator.
This is maybe the biggest limitation. The synthesizer also features a very simple but very
effective arpeggiator, with a range of up to three octaves, and configurable between Up,
Down or Up and Down. Arpeggio rate is variable.
Last but not the least, Roland introduced an effect in the synth for the first time: a gorgeous
Chorus unit, with three possible settings (I, II and I + II). This chorus unit is mostly
responsible for the fat and huge sound the synth is capable of. It also masked the fact that
the synth only had one oscillator, because the chorus gives it a sound depth and stereo
image which create the illusion that it has much more. In fact, the chorus is so important for
the sound that some jokingly said the Juno is a chorus unit with a synth attached.
Arturia - User Manual Jun-6 V - JUN-6 V OVERVIEW 10
To sum it up, despite its simple appearance and reduced set of features (when compared to
other polyphonic synthesizers on the market, like the Prophet-5, the Oberheims and Juno's
big brother Jupiter-8), the Juno was a great-sounding synth which offered a lot of "bang for
the buck". It had everything to become popular, and so it did.
3.1.2. The Jun-6 V's main features
With the Jun-6 V, you will be able to use all the features that made the Juno-6 a great synth,
and some more. As usual, Arturia expanded the options with some additions that, while
preserving the simplicity and immediacy of the synthesizer, greatly expand its potential.
Sound generation rests upon an emulation of the same single DCO that was featured in
the original. Although it was an analog oscillator, it was controlled digitally for the sake of
stability and to prevent it from going out of pitch. That's why the Juno-6 was so stable, and
great to use on stage. But besides that, it preserved all the qualities inherent to a real analog
oscillator.
This DCO has two main waveforms. The first one is a variable pulse which can produce
any waveform from a plain square to the narrower pulse waveform (without reaching
silence). Pulse width can be changed manually, or dynamically modulated by the LFO or
the Envelope. This means that the Jun-6 V has true Pulse Width Modulation (PWM) which,
by the way, sounds beautiful and allows for great string and pad sounds.
Adding to this, you have a very bright saw waveform, which beautifully complements the
variable pulse. These two waveforms can be summed to achieve a bigger sound (especially
when the pulse waveform is being modulated).
But that's not all. You also have a sub-oscillator, which sounds an octave lower than the
main oscillator, and produces a fixed square wave. This may be important, for example, to
produce percussive sounds like kicks, add "oomph" to the basses, or create a pitch anchor
when using sounds with self-oscillating resonance.
Finally, you have a white noise source, also inde pendent. The sub-oscillator square and the
noise have their own independent volume fader control.
These sound sources are then routed to the filter section, where the main -24 dB resonant
Low-Pass Filter is placed before a -6 dB non-resonant High-Pass Filter. (This allowed Roland
to put a single high-pass, instead of per voice filter, as on the Ju piter.) This filter is a great
sounding one, capable of resonance u p to self-oscillation, and greatly contributes to the
overall sound. The original, although not the same filter as in the Jupiter-8 (that one was
capable of -12 dB and -24 dB per octave cutoff), was also a very good sounding analog filter,
and based on the same chip.
Finally, the Jun-6 V's main modulation sources, as is the case with the original, are an ADSR
envelope (labeled ENV) and an LFO.
11 Arturia - User Manual Jun-6 V - JUN-6 V OVERVIEW
The envelope has very fast Attack and Decay segments which, when set to the zero position,
produce an audible "click" that may be used very effectively in organ sounds, percussive
sounds, pianos, etc.
The LFO produces a single triangle waveform and doesn't go very fast, but it works very
well with the rest and is very good and effective when used as a modulation source for the
filter or for PWM (Pulse Width Modulation).
The filter may be modulated by the envelope, the LFO and also by the keyboard position.
The filter envelope modulation can even be inverted - another nice feature that adds more
possibilities.
In the hardware, key-follow cannot be in tune for the entire keyboard. We simulate bad
calibration with our voice dispersion, so if you are in setting 2 or 3 for the voice calibration,
you will experience this out-of-tune key-follow. However, if you are in vaoice calibration
setting 1, you will have the key-follow apply properly to the whole keyboard.
The VCA can be controlled by the same envelope or by a Gate, triggered by the keyboard.
When set to Gate, the sound is triggered as soon as you press a key, and stops as soon
as you release the key. This is another uncommon feature inherited from the modulars and
which could help in some situations, since you only had one envelope in the original.
However, as we have said, the Jun-6 V has some added features that may override the
original's limitations. The main ones are the addition of a second envelope and a second
LFO (with several waveform choices).
It also has assignable destination slots for the Mod Wheel, Velocity, Aftertouch, and two
modulation destinations for the second Envelope and the second LFO (besides the
hardwired VCA destination for the envelope 2).
Finally, besides the original chorus, the Jun-6 V also features two additional effects: Delay
and Reverb.
Arturia - User Manual Jun-6 V - JUN-6 V OVERVIEW 12
3.2. Getting hands-on with the Jun-6 V
3.2.1. Oscillator Basics
To get an idea of Jun-6 V's oscillator capabilities, we suggest you try the following:
• Open the Jun-6 V in standalone mode;
• If you haven't done it yet, define the Audio and MIDI settings to be able to work
with the instrument. For more information about the Audio and MIDI Settings,
please read the entry [p.7] in Chapter 2 of this manual;
• Load the "Default" preset;
• Play some notes with your MIDI keyboard. If everything was set u p properly,
you should hear a saw sound playing;
• Now click the saw button to turn it Off. Jun-6 V doesn't produce a sound anymore.
Click the square/pulse button. This activates the variable pulse waveform. Since
the pulse depth is at zero (the PWM fader is in the lowest position), you'll hear a
square wave;
• PWM modulation is set to manual, so if you drag the fader up, you'll see the
sound becoming "buzzier", "narrower", and more nasal. The higher the pulse, the
more narrow and nasal the sound becomes. This is very effective for stringlike sounds, for oboe-like, harpsichord-like, and also for pads, especially when
coupled with filtering and resonance;
• Now let's experiment with PWM, using the LFO. Place the PWM fader at half
(value 0.500). Now turn the PWM switch from manual to LFO. You'll hear a
vibrato sound, caused by the LFO modulating the pulse value. You may drag the
LFO rate down, to get a subtler modulation. 2.00 Hz may be a good value. Also,
to get a rising modulation fade, drag the LFO delay time up;
Jun-6 V LFO (Low Frequency Oscillator) and DCO
(Digitally Controlled Oscillator)
• Now to make the sound a little heavier, you may add a small amount of low
frequencies. This can be done with the sub-oscillator. Click the Sub button, and
drag the fader up slowly, until you become satisfied with the results;
• To make the sound a little more "atmospheric", you may also add a small amount
of noise. This may sound strange, but some noise added to pad-like sounds can
produce wonderful sounds. Please try it to hear if the result pleases you.
13 Arturia - User Manual Jun-6 V - JUN-6 V OVERVIEW
• We haven't touched the envelope yet. This is a very important modulation
resource, since the envelope may transform a sound completely, turning a string
sound into a piano sound, for example. Right now, you are using a kind of neutral
envelope contour which lets the sound pass basically unaltered. Let's transform
this into a kind of string envelope with a little room reverb. First drag the Attack
up to around 75 ms. Then, drag the Decay down to 0. Now, drag the Release up
to around 300 ms (this gives a little "tail" to the sound);
♪: To manage a precise editing of the different values, you may use" Ctrl + Drag". This way, the values
change more slowly, allowing you to reach the precise value you want.
• Now that we have a string-like envelope, and since our sound is somehow
"atmospheric" (assuming you added some noise), let's make it more "pad"-like.
Raise the Attack up to 300 ms. Raise the Decay up to the maximum value. Lower
the Sustain to around middle position. Raise the Release up to around 700 ms. If
you play a few notes, you'll notice a whispering atmospheric sound coming out.
And we haven't yet touched the filter (nor the chorus);
3.2.2. Filter Basics
Now that you have experienced some of the capabilities of the oscillator section, it's time
to move on to the filter section. This section of Jun-6 V is very good. Although the LowPass filter only has a -24 dB per octave configuration, it is a very good-sounding filter, with
resonance up to self-oscillation. And the High-Pass filter, although with a roll-off of only 6
dB per octave and no modulation capabilities, is good to act as a kind of EQ filter in some
situations.
• Let's keep going with the whispering sound. This sound is good to discover the
capabilities of the Low-Pass filter. First, drag down the filter fader to around 750
Hz. The sound becomes mellower, and the "whispering" quality disappears;
• Now let's turn on the envelope modulation. This is a very important resource,
since it allows the filter to act dynamically over time. Drag the envelope fader
to around 0.350. The sound will regain some of its "whispering" quality, but this
time with a softer feel;
• Experiment with the Resonance parameter. If you drag it u p, you'll notice the
sound becoming narrower, and the noisy part of the sound becoming more
prominent. This is because the frequencies around the Cutoff point are
increasing with the Resonance;
• Now add a little LFO modulation. Remember that the LFO doesn't start
immediately, since we raised the Delay parameter. If you place the LFO
modulation at around 0.100, a nicer vibrato effect will appear after a little while;
Jun-6 V Filter (both the High-Pass Filter and the Voltage
Controlled Low-Pass Filter) and Envelope Generator
Arturia - User Manual Jun-6 V - JUN-6 V OVERVIEW 14
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