The Reverse Shell Generator is a tool that enables you to quickly and easily generate reverse shells for a variety of operating systems and platforms. With its user-friendly interface, you can easily customize the settings for your reverse shell, such as the host and port to connect to, and generate the command to execute on the target machine.
Whether you’re a penetration tester, a network administrator, or a developer, the Reverse Shell Generator can save you time and effort by automating the process of generating reverse shells. Plus, with support for multiple languages and platforms, the Reverse Shell Generator is a versatile tool that can be used in a variety of scenarios.
Some of the features of Reverse Shell Generator include:
😀User-friendly interface
🚨Multiple languages supported (e.g. Bash, Python, PowerShell, etc.)
If you’re interested in contributing to the development of Reverse Shell Generator, we would love to have you on board! We are constantly looking for ways to improve and add new features, and your contributions can help make Reverse Shell Generator even more powerful and useful.
Here are a few ways you can contribute to the project:
Report bugs or request new features by creating an issue on our GitHub repository.🐛
Help us improve the documentation by submitting updates or corrections.📚
Contribute code by submitting pull requests with bug fixes or new features.💻
Share Reverse Shell Generator with your friends, colleagues, and on social media to help spread the word and grow the community.📣
No matter how you choose to contribute, your help is greatly appreciated! Together, we can make Reverse Shell Generator the best tool for generating reverse shells. Thank you for your support! 🙏
⚠️Please note that using this tool for illegal or unauthorized purposes is strictly prohibited and the developers take no responsibility for any misuse of the tool. Use at your own risk.
NOTE: Downloading this repository is likely to cause a false-positive alarm by your anti-virus or anti-malware software, the filepath should be whitelisted. There is nothing in this that can harm your computer ; however it’s not recommended to store these files on a server or other important system due to the risk of local file inclusion attacks
Heartbee tracks senior users’ heart rate real time using the Fitbit watch. If the heart rate increases above a danger threshold and meets certain conditions, we will notify the senior’s family and friends immediately and enable online video chat via our paired web and iOS apps. Care for your loved ones, easy as can bee.
Heartbee was born at AngelHack San Francisco 2018 over the weekend of July 28-29, created together with my amazing teammates: Ami Zou (Software Engineer), Gabi Stein (Product Manager + Database Enginner), and Sophia Liu (Designer).
This repo is for the Fitbit app, which I was responsible for. The frontend is in svg and css, and backend is in JavaScript. To see our paired web and iOS apps, check out Ami’s repo.
The original code submitted for AngelHack is frozen at the original branch. Future changes should be made in the develope branch.
Awards
AngelHack’s Code For A Cause Impact Award winner
Fitbit’s Healthcare Challenge winner
HyperTrack’s $1000 Challenge winner
The Story
Imagine that Madeline is a busy young professional living in the city, and her grandma lives alone in Chinatown. Madeline’s grandma has high blood pressure and heart disease. Even though grandma doesn’t speak English, she’s stubbornly independent, loves to do things herself like grocery shop. A month ago, Madeline went to grandma’s place for dinner. Madeline arrived, found grandma on the ground short of breath. She was suffering from a fast heart rate. Madeline wished she could have taken care of grandma during an emergency like this, but it’s not easy to check up on your elderly parents when they insist on living alone.
San Francisco Chinatown is full of elderly citizens like Madeline’s grandma. Statistics show that more than 70% of them suffer from cardiovascular disease. We want to connect elderly parents and their family members in a way that doesn’t intrude on their independence, but make sure they’re being taken care of.
System Architecture
The Fitbit App
We created this seamless watch face with just two buttons. If everything is normal, the background will be green. If the heart rate goes near the danger threshold, the background will turn yellow as a warning. Currently we are using the formula (220 – user age) to calculate the danger threshold. Potentially we can come up with better and more customized algorithms. If the heart rate goes above the danger threshold, the background will turn red and the watch will start vibrating. Now if the user doesn’t press the “I’m OK” button within 5 seconds, the watch will automatically notify the user’s family and friends. If the user presses the “I’m OK” button, the watch will stop vibrating and cancel the notification. However, if the user isn’t feeling well, he or she can press the “HELP” button at any time, and the watch will immediately send out notifications regardless of heart rate.
This message will show after the user presses the “I’m OK” button. It will auto disappear in 3 seconds.
This message will show after the user presses the “HELP” button. It will disappear after the user presses the “Got it” button. Currently we do not own “beeheart.com”, but the idea is to ask the user to connect to our web app where video chat with family/friends will be auto started.
Heartbee tracks senior users’ heart rate real time using the Fitbit watch. If the heart rate increases above a danger threshold and meets certain conditions, we will notify the senior’s family and friends immediately and enable online video chat via our paired web and iOS apps. Care for your loved ones, easy as can bee.
Heartbee was born at AngelHack San Francisco 2018 over the weekend of July 28-29, created together with my amazing teammates: Ami Zou (Software Engineer), Gabi Stein (Product Manager + Database Enginner), and Sophia Liu (Designer).
This repo is for the Fitbit app, which I was responsible for. The frontend is in svg and css, and backend is in JavaScript. To see our paired web and iOS apps, check out Ami’s repo.
The original code submitted for AngelHack is frozen at the original branch. Future changes should be made in the develope branch.
Awards
AngelHack’s Code For A Cause Impact Award winner
Fitbit’s Healthcare Challenge winner
HyperTrack’s $1000 Challenge winner
The Story
Imagine that Madeline is a busy young professional living in the city, and her grandma lives alone in Chinatown. Madeline’s grandma has high blood pressure and heart disease. Even though grandma doesn’t speak English, she’s stubbornly independent, loves to do things herself like grocery shop. A month ago, Madeline went to grandma’s place for dinner. Madeline arrived, found grandma on the ground short of breath. She was suffering from a fast heart rate. Madeline wished she could have taken care of grandma during an emergency like this, but it’s not easy to check up on your elderly parents when they insist on living alone.
San Francisco Chinatown is full of elderly citizens like Madeline’s grandma. Statistics show that more than 70% of them suffer from cardiovascular disease. We want to connect elderly parents and their family members in a way that doesn’t intrude on their independence, but make sure they’re being taken care of.
System Architecture
The Fitbit App
We created this seamless watch face with just two buttons. If everything is normal, the background will be green. If the heart rate goes near the danger threshold, the background will turn yellow as a warning. Currently we are using the formula (220 – user age) to calculate the danger threshold. Potentially we can come up with better and more customized algorithms. If the heart rate goes above the danger threshold, the background will turn red and the watch will start vibrating. Now if the user doesn’t press the “I’m OK” button within 5 seconds, the watch will automatically notify the user’s family and friends. If the user presses the “I’m OK” button, the watch will stop vibrating and cancel the notification. However, if the user isn’t feeling well, he or she can press the “HELP” button at any time, and the watch will immediately send out notifications regardless of heart rate.
This message will show after the user presses the “I’m OK” button. It will auto disappear in 3 seconds.
This message will show after the user presses the “HELP” button. It will disappear after the user presses the “Got it” button. Currently we do not own “beeheart.com”, but the idea is to ask the user to connect to our web app where video chat with family/friends will be auto started.
The Electron Ext JS Starter project template is based on this Sencha guide and has been modified so that you don’t need to build your Ext JS application every time you want to test it in Electron. It makes use of the electron-routes package (as a substitute for a full web server, which is a good idea for security reasons) and demonstrates paginating an array of data in a grid.
$ git clone https://github.com/mfearby/electron-extjs-starter.git
$ cd electron-extjs-starter
Create a client/ext folder and extract a copy of the Ext JS framework into it (as per the pre-requisites above).
$ cd client
$ sencha app build development
$ cd ..
$ npm install
$ npm run plain
After cloning the repository you should npm run plain because the default npm start loads the production version of the Ext JS app, which you won’t have built yet. The development build also recreates the bootstrap files.
Building the Ext JS app
The production (minified) version of the app is generated and copied to the client_build folder.
The package script calls the existing build script (above) to minify the Ext JS app then calls the Electron Packager script to bundle everything together with Electron for distribution (in the dist folder).
Mac/Linux
$ chmod 755 package.sh
$ ./package.sh
Windows
$ ./package
Detailed Steps to Create Project Structure
If you don’t want to clone this repository and end up with an Ext JS project called “StarterApp”, follow these steps to create a similar project structure.
JS80P is a MIDI driven, performance oriented, versatile, free and open source
synthesizer VST plugin for Linux and Windows.
JS80P has two oscillators (and a sub-harmonic sine), and a lot of filters,
effects, envelopes, LFOs, and powerful macros to shape your sound with
subtractive, additive, FM, PM, and AM synthesis, complete with polyphonic,
monophonic, and split keyboard modes, MTS-ESP tuning support, and analog
imperfection emulation.
If your plugin host application does not support VST 3, but does support
VST 2.4, then you have to download and install the FST version of JS80P.
Otherwise, you should go with a VST 3 bundle on both Windows and Linux.
The source code distribution can be compiled for various CPU architectures.
Ready-to-use binary distributions are available for “x86_64” and “x86”
compatible systems, like most desktop PCs and laptops.
If your CPU supports AVX instructions
and you use a 64 bit plugin host application (also known as “x86_64“), then
you should download a JS80P package that is optimized for AVX compatible
processors. If you have an older computer, or if you experience crashes, then
you should go with one of the SSE2
compatible JS80P packages.
If you are using an older VST 3 host, or if you are running a 32 bit (also
known as “i686” or “x86“) VST 3 host on a 64 bit Linux system, then it might
not be able to load the VST 3 bundle, so you will have to go with a VST 3
single file JS80P package that matches the architecture of your host
application.
The 32 bit versions are usually only needed by those who deliberately use a 32
bit plugin host application, e.g. because they want to keep using some really
old plugins which are not available for 64 bit systems.
If you are in doubt, then try the VST 3 bundle, and if your plugin host
application doesn’t recognize it, then try the 64 bit VST 3 single file
edition, then the 64 bit FST version, then the 32 bit VST 3 single file
edition, and so on.
Note: all versions use the same high-precision sound synthesis engine
internally, so the CPU architecture does not affect the sound quality.
Packages
These are the file names that you will find on GitHub on the
“Releases” page:
VST 3 bundles for both Windows and Linux:
js80p-X_Y_Z-avx-vst3_bundle.zip: for modern (AVX), 64 bit CPUs. This is
what most people need.
js80p-X_Y_Z-sse2-vst3_bundle.zip: for older (SSE2), 64 or 32
bit CPUs.
VST 3 single file editions for Windows:
js80p-X_Y_Z-windows-x86_64-avx-vst3_single_file.zip: for modern
(AVX), 64 bit CPUs.
js80p-X_Y_Z-windows-x86_64-sse2-vst3_single_file.zip: for older
(SSE2), 64 bit CPUs.
js80p-X_Y_Z-windows-x86-sse2-vst3_single_file.zip: for older (SSE2),
32 bit CPUs.
VST 3 single file editions for Linux:
js80p-X_Y_Z-linux-x86_64-avx-vst3_single_file.zip: for modern (AVX),
64 bit CPUs.
js80p-X_Y_Z-linux-x86_64-sse2-vst3_single_file.zip: for older
(SSE2), 64 bit CPUs.
js80p-X_Y_Z-linux-x86-sse2-vst3_single_file.zip: for older (SSE2),
32 bit CPUs.
FST editions for Windows:
js80p-X_Y_Z-windows-x86_64-avx-fst.zip: for modern (AVX), 64 bit
CPUs.
js80p-X_Y_Z-windows-x86_64-sse2-fst.zip: for older (SSE2), 64 bit
CPUs.
js80p-X_Y_Z-windows-x86-sse2-fst.zip: for older (SSE2), 32 bit CPUs.
FST editions for Linux:
js80p-X_Y_Z-linux-x86_64-avx-fst.zip: for modern (AVX), 64 bit CPUs.
js80p-X_Y_Z-linux-x86_64-sse2-fst.zip: for older (SSE2), 64 bit
CPUs.
js80p-X_Y_Z-linux-x86-sse2-fst.zip: for older (SSE2), 32 bit CPUs.
Source:
js80p-X_Y_Z-src.zip: the source code of the plugin which you can
compile for any CPU architecture. (See the “Development” section
for the details.)
Typical Windows systems usually have the MSVC library already installed, but in
case you need it, you can download it from
Microsoft’s website.
(Most people need the X64 version of this library. To use the 32 bit version
of the plugin, you will need the X86 version of the library. See the
Before Installing: Choosing a Distribution section for more
information.)
Dependencies on Linux
On Linux, the libxcb, libxcb-render, and libcairo libraries, and either
the kdialog or the zenity application are required to run JS80P. To install
them on Debian based distributions (e.g. Ubuntu), you can use the following
command:
Note: if you want to run the 32 bit version of JS80P on a 64 bit system,
then you will have to install the 32 bit version of the libraries, for example:
Copy the js80p.dll file to the folder where you keep your VST 2.4 plugins.
Optionally, if your host application can load .vstxml files, it is
recommended to copy the js80p.vstxml file as well to the folder where
you keep your VST 2.4 plugins.
Note: VST 2.4 plugins are usually put in the C:\Program Files\VstPlugins
folder.
Copy the js80p.so file to the directory where you keep your VST 2.4
plugins.
Optionally, if your host application can load .vstxml files, it is
recommended to copy the js80p.vstxml file as well to the directory where
you keep your VST 2.4 plugins.
Note: VST 2.4 plugins are usually put in the ~/.vst directory.
Setting up MTS-ESP Tuning Providers
Windows
Download and install either the free MTS-ESP Mini
plugin or the paid MTS-ESP Suite plugin
by ODDSound. Follow the instructions on the website,
where you can also find the User Guide documentation for each product.
Note: it is possible to use a different tuning provider without installing
any of the above plugins, but you may have to manually download the
LIBMTS.dll library from the ODDSound/MTS-ESP GitHub repository,
and put it in a folder where Windows can find it:
On 64 bit Windows:
put the 64 bit DLL into the Program Files\Common Files\MTS-ESP folder,
put the 32 bit DLL into the Program Files (x86)\Common Files\MTS-ESP
folder.
On 32 bit Windows, put the 32 bit version of LIBMTS.dll into the
Program Files\Common Files\MTS-ESP folder.
Linux
As of November, 2023, there is no official distribution of the MTS-ESP tuning
provider plugins by ODDSound for Linux, however, there
are plugins which can act as a tuning provider, for example,
Surge XT.
To use MTS-ESP, you may have to download the libMTS.so library from the
ODDSound/MTS-ESP GitHub repository,
and put it in the /usr/local/lib directory, if it is not already installed on
your system. As of November, 2023, libMTS.so is only available for x86_64
Linux systems.
Most of the parameters that control various aspects of the sound that are
produced by JS80P can be adjusted via virtual knobs on the screen:
Move the mouse cursor over a knob or a small screw icon, and use the mouse
wheel or move the mouse while holding down the left mouse button for
adjusting the value.
Hold down the Control key on the keyboard while adjusting a knob for fine
grained adjustments.
Double click on a knob to reset it to its default value.
Click on the area below a knob to assign a controller
to it, or to remove a previously assigned one. When a knob has a controller
assigned to it, its value can no longer be changed manually, it’s set and
continuously adjusted by the selected controller.
Note: if you accidentally open the controller selector screen, and you
want to close it without changing anything, then just click on the “none”
option or the controller that is already selected.
By default, JS80P parameters are paraphonic, which means that when there are
multiple voices playing different musical notes, all of them share the same
value for each parameter. Many of the parameters on the
Synthesizer (Synth) tab can be changed to be polyphonic or
to emulate semi-polyphonic behaviour by associating them with
envelope generators or
low-frequency oscillators that have envelope generators
associated with them.
Controllers are various events and automations that can be used for setting the
momentary value (on a relative scale between 0% and 100%) of a
JS80P parameter knob:
MIDI CC: MIDI Control Change
messages are usually sent when various faders, knobs, and wheels are
adjusted on a MIDI device. For example, the modulation wheel on a keyboard
usually sends a CC 1 message, the expression pedal is usually associated
with CC 11 messages, the sustain pedal is CC 64, etc.
Note: some host applications don’t send MIDI CC messages to plugins by
default, but can be configured to do so. For example, the steps for getting
MIDI CC to work in FL Studio are described in the following F. A. Q.
entries:
MIDI Learn: this is a wild card MIDI CC controller: when it is assigned
to a parameter, JS80P will replace the assignment with the first MIDI CC
event type that it receives. This is useful when you don’t know the MIDI CC
number of a knob or fader on your MIDI device.
Note: JS80P does not process certain MIDI CC event types that are
reserved in the MIDI specification
for special uses. If your device sends such messages as if they were general
purpose messages, then it is recommended to change its configuration in
order to avoid compatibility problems.)
Triggered Note: a value which is associated with note pitch and which is
updated every time a new note starts to play, e.g. when a key is pressed on
a MIDI keyboard. Using this in macros is an extremely
flexible way to set up key tracking for any parameter of the sound.
Triggered Velocity: the speed with which a key on a MIDI keyboard is
pressed, or more generally, a measure of how strongly a note is to be played
(where 50% of the nominal range would be mezzo-forte). JS80P automatically
uses this value to adjust the amplitude of oscillator signals (depending on
the VEL S parameter), but it can also be used
for controlling other parameters as well. For example, by assigning this
controller to filter cutoff frequency parameters
(especially with using macros), you can brighten up forte
notes while keeping softer notes warmer, darker.
Released Note: a value which is associated with note pitch and which is
updated every time a note stops, e.g. when a key is released on a MIDI
keyboard.
Released Velocity: the speed with which a key on a MIDI keyboard is
released, or more generally, a measure of how softly a note is to be
stopped. Unfortunately, most MIDI devices don’t provide this data.
Pitch Wheel: this represents the controller that can be used on MIDI
instruments to do pitch bends. (On a typical MIDI keyboard, this is a wheel
that automatically returns to the center position when released.)
Osc 1 Out Peak, Osc 2 Out Peak, Vol 1 In Peak,
Vol 2 In Peak, Vol 3 In Peak: JS80P continuously measures the peak
amplitude of the signal at various points of the signal chain. These
controllers make it possible to use this information for adjusting the
parameters of the sound.
Channel Aftertouch: some keyboards can measure how the pressure on
pressed keys change over time, making it possible to add dynamic expression
to notes over time while they are playing.
Note: some host applications don’t provide aftertouch information to
plugins by default, but can be configured to do so. For example, the steps
for getting it to work in FL Studio are described in the following F. A. Q.
entry:
Macros: MIDI-based controller values go from 0% to 100% on a linear
scale, which is often quite limiting. Macros are JS80P’s
way of customizing how a MIDI event affects a certain parameter.
This tab contains the foundational settings of the sound.
Main Panel
Import Patch, Export Patch
The two icons at the top left corner allow saving and loading synth settings
(often called “patches” or “presets”) as ordinary files, e.g. for transferring
sounds across projects, different host applications, computers, etc.
Note Handling
Click on the black bar below the Import Patch and Export Patch icons, or use
the mouse wheel while holding the mouse cursor over it to change how JS80P
handles note events. The available options are:
MONO: monophonic mode, only a single note can be played at a time.
When a new Note Start event is received while a previous note is still
playing (e.g. legato), then the new note takes priority: the old note is
stopped, and the new note is started.
If the new note is released, and the previous note is still held, then
the previous note is restarted.
If the PRT setting of an oscillator is set
to a value above 0, then that oscillator will smoothly glide its
frequency and volume to match the new note’s pitch and velocity.
M HOLD: same as MONO, but Note Stop events are ignored until a
different note handling setting is selected, or until a Sustain Pedal Off
event is received.
M IS: same as MONO, but sustain pedal events are ignored while
the corresponding MIDI CC controller is still
maintained, allowing the pedal to be used as a 0% / 100% switch without
sustaining notes.
M H IS: same as M HOLD, but sustain pedal events are ignored while
the corresponding MIDI CC controller is still
maintained, allowing the pedal to be used as a 0% / 100% switch without
releasing the sustained note.
Note: there’s no way in this mode to stop a note except having it
released by the garbage collector. One way to achieve that is
to assign an envelope generator to either the amplitude
or the volume parameters, and set it up so that it decays into silence
before reaching the sustain stage.
POLY: polyphonic mode, 64 notes can be played simultaneously.
P HOLD: same as POLY, but Note Stop events are ignored until a
different note handling setting is selected, or until a Sustain Pedal Off
event is received.
P IS: same as POLY, but sustain pedal events are ignored while
the corresponding MIDI CC controller is still
maintained, allowing the pedal to be used as a 0% / 100% switch without
sustaining notes.
P H IS: same as P HOLD, but sustain pedal events are ignored while
the corresponding MIDI CC controller is still
maintained, allowing the pedal to be used as a 0% / 100% switch without
releasing the sustained notes.
Note: there’s no way in this mode to stop a note except having it
released by the garbage collector. One way to achieve that is
to assign an envelope generator to either the amplitude
or the volume parameters, and set it up so that it decays into silence
before reaching the sustain stage.
P RET: same as POLY, but when a Note Start event is received for a
note that is already being held by the sustain pedal, then instead of
triggering the same note on a different voice, the synth will retrigger the
already sounding voice.
P H RET: same as P HOLD, but Note Stop events are ignored until a
different note handling setting is selected, or until a Sustain Pedal Off
event is received.
P H R IS: same as P H RET, but sustain pedal events are ignored
while the corresponding MIDI CC controller is still
maintained, allowing the pedal to be used as a 0% / 100% switch without
releasing the sustained notes.
Note: there’s no way in this mode to stop a note except having it
released by the garbage collector. One way to achieve that is
to assign an envelope generator to either the amplitude
or the volume parameters, and set it up so that it decays into silence
before reaching the sustain stage.
Operating Mode (MODE)
Choose whether to mix the sound of the two oscillators or route low notes to
one oscillator, and higher notes to the other. The available options are:
Mix&Mod: the sound of the two oscillators can be mixed into the output,
and the sound of the second oscillator (carrier) can be modulated in various
ways by the first oscillator (modulator).
Split C3, Split Db3, etc.: notes below the selected split point are
played only on the first oscillator, notes above the split point (inclusive)
are played only on the second oscillator.
Modulator Additive Volume (MIX)
This is an additional volume control for the first oscillator that is applied
after its signal is sent into the second oscillator as a modulator. The main
purpose of this knob is to be able to control the oscillator’s volume without
affecting the modulation when the MODE knob is in the
Mix&Mod position. Turn it down to 0% for making the first oscillator contribute
to the final sound only via modulation.
Phase Modulation (PM)
Turn it up to have the first oscillator modulate the phase of the second
oscillator when the MODE knob is in the Mix&Mod
position.
Frequency Modulation (FM)
Turn it up to have the first oscillator modulate the frequency of the second
oscillator when the MODE knob is in the Mix&Mod
position.
Amplitude Modulation (AM)
Turn it up to have the first oscillator modulate the amplitude of the second
oscillator when the MODE knob is in the Mix&Mod
position.
Click on the black bar next to the oscillator’s name, or use the mouse wheel
while holding the mouse cursor over it to change the tuning. The available
options are:
C MTS-ESP: use an external tuning provider for
determining the frequency of each note. Frequencies of notes which haven’t
reached the release stage of their envelopes are updated continuously. The
connection to the tuning provider is indicated by “on” or “off” appearing in
the tuning selector box. If the connection to the tuning provider is broken,
then 440 Hz based
12 tone equal temperament
is used.
N MTS-ESP: use an external tuning provider for
determining the frequency of each note. Note frequencies are updated only
when a new note is started. The connection to the tuning provider is
indicated by the “on” or “off” sign. If the connection to the tuning
provider is broken, then 440 Hz based 12 tone equal temperament is used.
440 12TET: the usual 12 tone equal temperament with the A4 note being
tuned to 440 Hz.
432 12TET: 12 tone equal temperament with the A4 note being tuned to
432 Hz.
Oscillator Inaccuracy
The first screw icon next to the tuning selector
adds a level of randomization to the oscillator’s frequency, mimicking the
imperfectness of analog synthesizers. The more the screw is turned, the more
off each note will be from the correct pitch.
When the inaccuracy of the two oscillators is set to the same value, and the
MODE knob is in the Mix&Mod position, then the
oscillators will synchronize their randomness: each note will be off from the
correct pitch by a random amount, but within a single voice, the two
oscillators will be off by the same amount.
Oscillator Instability
The second screw icon next to the tuning selector
adds a level of randomization to the oscillator’s frequency over time,
mimicking the imperfectness of analog synthesizers. The more the screw is
turned, the more the oscillator will diverge from the correct pitch, hovering
sometimes above, and sometimes below.
When the instability of the two oscillators is set to the same value, and the
MODE knob is in the Mix&Mod position, then the
oscillators will synchronize their random divergence: each note will be off
from the correct pitch by a random amount, but within a single voice, the two
oscillators will always be off by the same amount, and will always diverge by
the same amount in the same direction.
Noise Level
The third screw icon next to the tuning selector
mixes white noise into the output of the oscillator, independently from the
oscillator’s amplitude.
Fine Detune x4 (FIN x4)
The Fine Detune (FIN) parameter goes from -1200
cents to +1200 cents (-1 octave to +1 octave), but if you want to go extreme
with pitch bends, this toggle switch can increase the range to -4800 cents to
+4800 cents (-4 octaves to +4 octaves).
Portamento Length (PRT)
The time it takes for the oscillator’s frequency to reach the current note’s
pitch starting from the pitch of the previous note, or from the value that is
specified with the Portamento Depth parameter.
When the synthesizer is in MONO mode, and
notes are played in a legato fashion (notes are started before the previous
ones would have ended), then it also controls how long the oscillator’s
amplitude will take to match the velocity of the latest note.
Portamento Depth (PRD)
When set to a non-zero value (specified in cents), the oscillator’s frequency
will glide to the current note’s pitch from a fixed level of detuning in
accordance with the PRT setting.
When its value is 0 s, then the starting frequency of the glide will be the
pitch of the previous note.
Detune (DTN)
Coarse detune, specifying how many semitones higher or lower the oscillator
should play above or below the note’s actual pitch.
Fine Detune (FIN)
Fine detune, specifying how many cents higher or lower the oscillator should
play above or below the note’s actual pitch.
Amplitude (AMP)
Sets the volume of the oscillator before any filtering and shaping.
Filter Logarithmic Frequency (LG F)
The toggle switch above the FREQ knob can switch
between using a linear or a logarithmic scale for the knob.
Filter Logarithmic Q Factor (LG Q)
The toggle switch above the Q knob can switch
between using a linear or a logarithmic scale for the knob.
Filter Cutoff Frequency Inaccuracy
The first little screw next to the LG Q switch adds
a level of randomization to the filter’s frequency to mimic imperfections of
analog synthesizers.
Be careful with this, because with certain filter settings, too much
randomization can produce loud noises and sound artifacts or make the filter
completely silent.
Filter Q Inaccuracy
The second little screw next to the LG Q switch adds
a level of randomization to the filter’s Q factor to mimic imperfections of
analog synthesizers.
Be careful with this, because with certain filter settings, too much
randomization can produce loud noises and sound artifacts or make the filter
completely silent.
Filter Type (TYPE)
The following filter types are available:
LP: low-pass filter, the frequencies above the
cutoff frequency are attenuated. The
Q factor controls the resonance.
HP: high-pass filter, the frequencies below the
cutoff frequency are attenuated. The
Q factor controls the resonance.
BP: band-pass filter, the frequencies outside a band around the
cutoff frequency are filtered out. The
Q factor controls the width of the band. (Low Q
value makes the band wide, high Q value makes the band narrow.)
Notch: band-stop filter, the frequencies inside a band around the
cutoff frequency are filtered out. The
Q factor controls the width of the band. (Low Q
value makes the band wide, high Q value makes the band narrow.)
Bell: boosts or attenuates a band of frequencies around the
cutoff frequency. The
Q factor controls the width of the band. (Low Q
value makes the band wide, high Q value makes the band narrow.)
LS: low-shelf filter, boosts or attenuates frequencies below the
cutoff frequency.
HS: high-shelf filter, boosts or attenuates frequencies above the
cutoff frequency.
Filter Cutoff Frequency (FREQ)
The cutoff frequency of the filter.
Be careful with this, because depending on other settings of the filter, a too
low or too high cutoff frequency can produce loud noises and sound artifacts or
it can make the filter completely silent.
Filter Q Factor (Q)
The quality factor of the filter. Its precise meaning depends on the position
of the TYPE knob. This knob has no effect for
the low-shelf and high-shelf filters.
Be careful with this, because depending on other settings of the filter, a too
low or too high Q factor can produce loud noises and sound artifacts or it can
make the filter completely silent.
Filter Gain (GAIN)
Controls the boosting or attenuation when the TYPE
knob is in the Bell, LS (low-shelf), or HS (high-shelf) positions. It has no
effect on other filter types.
Be careful with this, because too much boosting can make the signal too loud.
Wave Folding (FOLD)
A wave folder is a similar wave shaping effect to a clipping distortion, but
the portion of the signal that is above the maximum level is not clipped, but
reflected back on itself. Then if it reaches the maximum amplitude again in the
opposite direction, then it is reflected again and again. This process adds a
lot of complexity to the sound, making it sound metallic.
Velocity Sensitivity (VEL S)
Controls how the oscillator’s volume reacts to note velocity. When it’s set to
0%, then the oscillator will use a fixed volume for each note. Between 0% and
100%, the oscillator’s volume will react to velocity linearly. Above 100%, the
oscillator’s volume will react to note velocity more and more logarithmically.
Volume (VOL)
The last chance to control the oscillator’s volume after wave shaping and
filtering.
Width (WID)
When set to 0%, the oscillator will play all notes exactly in the middle of the
stereo field. When set to a positive value, higher notes will lean towards the
right side of the stereo field, and bass notes will lean towards the left. When
set to a negative value, high notes will lean towards the left side, and bass
notes will lean towards the right.
Panning (PAN)
Changes the position of the oscillator in the stereo field. Positive values
move the oscillator towards the right side, negative values move it towards the
left side.
Waveform (WAV)
Selects the waveform of the oscillator. The available options are:
Sine: simple sine wave without any harmonics above the fundamental.
Saw: sawtooth wave, ramps slowly, drops quickly. Contains both even and
odd harmonics.
Soft Sw: a softer, warmer version of the sawtooth wave. Less prone to
aliasing when various modulations and wave folding are engaged.
Inv Saw: inverse sawtooth wave, rises quickly, drops slowly. Contains
both even and odd harmonics.
Soft I S: a softer, warmer version of the inverse sawtooth wave. Less
prone to aliasing when various modulations and wave folding are engaged.
Triangle: rises slowly, drops slowly. Contains only odd harmonics.
Soft Tri: a softer, warmer version of the triangle wave. Less prone to
aliasing when various modulations and wave folding are engaged.
Square: rises quickly, stays up for half a period, then drops quickly
and stays down for half a period. Contains only odd harmonics.
Soft Sqr: a softer, warmer version of the square wave. Less prone to
aliasing when various modulations and wave folding are engaged.
Custom: the amplitudes of the waveform’s harmonics can be set using the
10 knobs in the Waveform & harmonics for the Custom waveform section.
Useful for emulating tonewheel organ sounds.
Sets how loud the subharmonic oscillator should be. The subharmonic oscillator
plays a sine wave exactly one octave below the oscillator’s main frequency.
Oscillator 2 (Carrier)
Distortion (DIST)
Same as the distortions on the
Effects tab, but with polyphonic controller capabilities.
Turn this up to mix external audio signal with that from the oscillators before
entering the effects chain, when JS80P is used as an audio effect.
Note: using synthesizer plugins as audio effects is known to be quirky in
some host applications, and the behaviour may vary between different plugin
types as well. For example, some versions of REAPER will mix the dry signal
with the processed output for VST 2 plugins by default, and some versions of FL
Studio don’t allow sending both MIDI and audio input into the same plugin
instance, etc. If JS80P’s input processing does not work in your environment
the way you want it, you may have to experiment with the tracks and bus layout,
the signal routing, and the plugin settings of your host application.
Vol 1, Vol 2, Vol3
There are three volume controls placed at strategic points of the effects
chain. Their purpose is twofold: they control the loudness of the signal, and
they also measure the incoming peaks for the signal loudness based
controllers.
Note: the first volume controller goes up to 200% so that you can boost the
signal which is going into the
distortion effects.
Distortions
Distortion Type
Click on the black box in the header section of the distortion effects, or use
the mouse wheel while holding the cursor above it to select the type of
distortion:
tanh 3x: gentle saturation or soft clipping.
tanh 5x: more prominent soft clipping.
tanh 10x: heavy distortion.
1+3: harmonic distortion, adding the 3rd harmonic at lower signal
levels; soft clipping at higher signal levels.
1+5: harmonic distortion, adding the 5th harmonic at lower signal
levels; soft clipping at higher signal levels.
1+3+5: harmonic distortion, adding the 3rd and 5th harmonics at lower
signal levels; soft clipping at higher signal levels.
square: harmonic distortion, adding the 3rd and 5th harmonics at lower
signal levels, with proportions known from the square wave; soft clipping at
higher signal levels.
triangle: harmonic distortion, adding the 3rd and 5th harmonics at lower
signal levels, with proportions known from the triangle wave; soft clipping
at higher signal levels.
bit 1: band-limited bit crusher-like effect with 2 stages at lower
signal levels, soft clipping at higher signal levels.
bit 2: band-limited bit crusher-like effect with 4 stages at lower
signal levels, soft clipping at higher signal levels.
bit 3: band-limited bit crusher-like effect with 8 stages at lower
signal levels, soft clipping at higher signal levels.
bit 4: band-limited bit crusher-like effect with 16 stages at lower
signal levels, soft clipping at higher signal levels.
bit 4.6: band-limited bit crusher-like effect with 24 stages at lower
signal levels, soft clipping at higher signal levels.
bit 5: band-limited bit crusher-like effect with 32 stages at lower
signal levels, soft clipping at higher signal levels.
bit 5.6: band-limited bit crusher-like effect with 48 stages at lower
signal levels, soft clipping at higher signal levels.
bit 6: band-limited bit crusher-like effect with 64 stages at lower
signal levels, soft clipping at higher signal levels.
bit 6.6: band-limited bit crusher-like effect with 96 stages at lower
signal levels, soft clipping at higher signal levels.
bit 7: band-limited bit crusher-like effect with 128 stages at lower
signal levels, soft clipping at higher signal levels.
bit 7.6: band-limited bit crusher-like effect with 192 stages at lower
signal levels, soft clipping at higher signal levels.
bit 8: band-limited bit crusher-like effect with 256 stages at lower
signal levels, soft clipping at higher signal levels.
bit 8.6: band-limited bit crusher-like effect with 384 stages at lower
signal levels, soft clipping at higher signal levels.
bit 9: band-limited bit crusher-like effect with 512 stages at lower
signal levels, soft clipping at higher signal levels.
reduce: soft clipping distortion that also slightly reduces the volume
of the input signal. (This is what the Echo and the
Reverb effects use internally on the feedback line
to make sure that the signal will decay eventually, even with high
distortion levels.)
Distortion Level (DIST)
The amount of distortion that is applied to the signal.
Though this effect is not a proper physical simulation of a tape machine and a
magnetic tape with bias, hysteresis, and whatnot, it can help achieve certain
effects that are usually associated with analog media, like lo-fi wow and
flutter, slow-down and stop, and tone coloring and saturation.
Stop / Start (STOP)
This parameter can trigger a slow-down and eventually a complete stop: a few
milliseconds after it is set to a non-zero value, the virtual tape will
gradually slow down (thus, the pitch of the sound will drop more and more) and
eventually stop, exactly after the set amount of time which can range from a
few milliseconds up to 15 seconds. (Since this is quite a wide range, using
macros with an appropriate range and distortion curve can
improve the controllability and the customization of this parameter.)
Once the tape is stopped, it can be started again in two ways:
increasing the value of the Stop / Start parameter will immediately start
the virtual tape again which will immediately catch up with reality,
or setting the value of Stop / Start to zero and then setting it to a
non-zero value again will make the tape fast-forward, and eventually catch
up with reality after the set amount of time.
Once the tape has started slowing down, the stopping process can be canceled
by decreasing the Stop / Start parameter, which will immediately result in a
short fast-forward. On the other hand, if the Stop / Start parameter is
increased while the tape is slowing down, it will trigger a completely new
slow-down and stop process.
Changing the Stop / Start parameter during fast-forwarding will trigger a new
fast-forward process.
After a stop-start sequence is completed, the tape will no longer react to
changes of the Stop / Start parameter until its value is set to zero.
The tape stop and start effect can also be automated: assign
a MIDI controller (CC) (optionally through a macro) to the
Stop / Start parameter, and automate that in the host application.
Wow and Flutter Amplitude (W&F)
Even the most precise analog tape machines have some amount of fluctuation in
their tape speed due to various physical limitations. Slow variations are
called wow, faster variations are called flutter, but they usually appear
together. A small amount of this is usually not noticeable, but e.g. if the
machine is set up incorrectly or the tape is breaking down, then the variation
of playback speed can produce audible pitch and tempo variations which have a
certain vibe to them that might be used artistically.
This parameter controls how much wow and flutter is simulated by JS80P.
Wow and Flutter Speed
The first little screw in the header section of the Tape effect controls the
speed of the wow and flutter.
Stereo Wow and Flutter Speed
The second little screw in the header section of the Tape effect controls the
variation of the wow and flutter between the two
stereo channels.
Saturation Type
The black box in the header section of the Tape effect can be used for
selecting the type of distortion applied by the tape simulation. See the
documentation of the distortion effect for the
details.
Saturation Level (SAT)
The amount of distortion that is applied to the signal.
Color (CLR)
Physical tape machines rarely have a flat frequency response; the actual curve
depends on the type and speed of the tape, and several other factors. This
parameter mimics some of the frequency response irregularities of tape: when
set to values below 100%, the sound gets darker, while above 100%, it gets
brighter.
Hiss Level
The second little screw in the header section of the Tape effect controls how
much noise should be produced by the virtual tape.
Position at End of Chain (END)
When this toggle is turned off, then the tape simulation is placed between the
second volume control and the
Chorus effect. This setup mimics the scenario of
recording an instrument to tape, and then adding various effects to it later
during the mixing process. This way, subsequent effects can react to tape stops
as well.
When this toggle is turned on, then the tape simulation is moved to the end of
the effects signal chain, right between the Reverb
and the last volume control. With this setup, a tape
stop will also include the echo and reverb tails.
The chorus effect mixes a signal with slightly delayed copies of itself, and
modulates the delay times with low-frequency oscillators so that the cloned
signals have a subtle variation in their phase and pitch relative to the
original signal and to each other. This creates the illusion of having many
different instances of the signal, making it sound bigger and fatter.
Logarithmic High-pass Filter Q Factor (LG Q)
The first component in the Chorus effect is a high-pass filter, in order to
control the low end of the sound, and to avoid bass frequencies becoming muddy.
This toggle switch makes the resonance parameter of the high-pass filter use a
logarithmic scale instead of a linear scale.
Logarithmic LFO Frequency (LG LFO FREQ)
Switch between a linear and a logarithmic scale for the
LFO frequency (FREQ) parameter.
Switch between a linear and a logarithmic scale for the high-pass
filter at the beginning of the Chorus effect’s signal chain, and for the
high-shelf filter near the end of it.
Tempo Synchronization (BPM SYNC)
Turn on tempo synchronization for the low-frequency oscillators and the delays
in the effect, so that what they normally measure in terms of seconds will be
measured in terms of beats instead. (This only works in hosts which provide
tempo information to plugins.)
Note: in order to prevent the memory that is allocated for delay buffers
from growing arbitrarily large, JS80P will not go below 30 BPM for tempo
synchronization.
High-pass Filter Cutoff Frequency (HP F)
Set the cutoff frequency of the high-pass filter that is at the beginning of
the signal chain of the effect in order to keep it from making bass frequencies
too muddy.
High-pass Filter Cutoff Frequency (HP Q)
Set the resonance of the high-pass filter that is at the beginning of
the signal chain of the effect.
Type (TYPE)
Select the chorus type. Different chorus types feature a different number of
voices (ranging from 3 up to 7) which are arranged in various different
positions in the stereo field (with regards to the
WIDTH parameter as well), with various different
loudness values, etc.
Delay Time (DEL)
The maximum time by which the chorus voices are lagging behind the main voice.
LFO Frequency (FREQ)
Control how quickly the lag of each chorus voice varies.
Depth (DPT)
Control how much the chorus voices vary their lag behind the main voice.
Dampening Frequency (DF)
Chorus voices are sent into a high-shelf filter which can be used for
attenuating higher frequencies, making the chorused sound warmer, darker.
This parameter sets the cutoff frequency of the filter.
Dampening Gain (DG)
Control how much the high-shelf filter attenuates high frequencies.
Feedback (FB)
Tell how loud the output of the effect is to be mixed back into its input. Be
careful with this, because too much feedback can lead to a loud runaway signal
feedback loop.
Stereo Width (WID)
Set the stereo spread of the chorus. When set to 0%, all the voices are placed
in the middle of the stereo field.
Wet Volume (WET)
Control the loudness of the chorused signal.
Dry Volume (DRY)
Control the loudness of the original, unmodified input signal.
The Echo effect repeats the input signal with a delay, optionally reversed,
with various levels of filtering and distortion, and with side-chain
compression or expansion (gate).
The effect is built around two sequentially connected delay lines; the output
of the second second one is fed back into the first one.
Delay 1 Reversed
Reverse the first delay line. In reverse mode, a delay line collects a length
of sound from its input corresponding to the
Delay Time setting, then plays it backwards while
collecting the next chunk from the input. To avoid unpleasant artifacts, a
short attack and release envelope is applied to each segment. Changing the
delay time will not interrupt the currently played chunk, but will affect its
playback speed, and thus, its pitch.
Delay 2 Reversed
Reverse the second delay line. Various combinations of reversed and normal
delay lines can result in interesting rhythmic effects.
Logarithmic High-pass Filter Q Factor (LG Q)
The first component in the Echo effect is a high-pass filter, in order to
control the low end of the sound, and to avoid bass frequencies becoming muddy.
This toggle switch makes the resonance parameter of the high-pass filter use a
logarithmic scale instead of a linear scale.
Switch between a linear and a logarithmic scale for the high-pass
filter at the beginning of the Echo effect’s signal chain, and for the
high-shelf filter near the end of it.
Tempo Sync (BPM SYNC)
Turn on tempo synchronization for the delay lines in the effect, so that time
will be measured in terms of beats instead of in terms of seconds. (This only
works in hosts which provide tempo information to plugins.)
Note: in order to prevent the memory that is allocated for delay buffers
from growing arbitrarily large, JS80P will not go below 30 BPM for tempo
synchronization.
Input Volume (IN V)
Control the input signal level for the effect. This parameter goes from 0% to
200%, so that the signal can be boosted for the
distortion that is built into the effect.
High-pass Filter Cutoff Frequency (HP F)
Set the cutoff frequency of the high-pass filter that is at the beginning of
the signal chain of the effect in order to keep it from making bass frequencies
too muddy.
High-pass Filter Cutoff Frequency (HP Q)
Set the resonance for the high-pass filter that is at the beginning of
the signal chain of the effect.
Delay Time (DEL)
Set how long the echo signal will lag behind the original signal.
Note: to simulate the feel of old tape delays, assign an LFO
to the delay time parameter which is set to oscillate very slowly, with a
really low amplitude, and maybe with a tiny bit of randomization.
Distortion (DIST)
Add some saturation or soft clipping distortion to the delayed signal. This can
also come handy for simulating slightly overdriven analog tape delay effect
units.
Dampening Frequency (DF)
The delayed signal is sent into a high-shelf filter which can be used for
attenuating higher frequencies, making the echo sound warmer, darker.
This parameter sets the cutoff frequency of the filter.
Dampening Gain (DG)
Control how much the high-shelf filter attenuates high frequencies.
Feedback (FB)
Tell how loud the output of the effect is to be mixed back into its input. Be
careful with this, because too much feedback can lead to a loud runaway signal
feedback loop.
Stereo Width (WID)
Set the stereo spread of the echos. The further away this value is from 0%, the
further from the center the echos will be, bouncing back and forth between the
right and left speaker.
Side-chain Compression Mode
Click on the black box in the header section of the Echo effect above the
compression parameters or use the mouse wheel while
holding the cursor above it to select the operating mode of the compressor:
COMP: compression, the volume of the echo is reduced while the dry
signal is above the threshold, so that the sound
can be crystal clear while also letting the echo tail be loud and long once
the dry signal stops.
EXPD: expansion, the volume of the echo is reduced when the dry signal
goes below the threshold, so the sound can be
very atmospheric while allowing precise control over the echo tail length
and drop-off.
Threshold for the side-chain compression: when the input signal goes above this
level, the effect will reduce the volume of the echos in order to keep them
from stealing the spotlight from the original signal in the mix. Once the
input signal goes below the threshold, the echos will be brought up to their
intended level.
Side-chain Compression Attack Time (CATK)
Set how fast or how slow the compression should kick in when the raw signal
goes above the threshold.
Side-chain Compression Release Time (CREL)
Set how fast or how slow the compression should bring back the echo signal to
its normal level once the raw input signal goes below the threshold.
Side-chain Compression Ratio (CR)
Control the amount of compression that is applied to the echo signal based on
the loudness of the raw input signal.
For example, if the threshold is -11 dB, and the input signal is -5 dB, then
the input is 6 dB louder than the threshold, because -11 + 6 = -5. A
compression ratio of 3 will turn this 6 dB difference into 6 / 3 = 2 dB, so
the target gain will be -11 + 2 = -9 dB, which means a -4 dB signal
reduction. The trick with side-chaining is that the necessary loudness
reduction is calculated for one signal, but applied to another; in this case,
the echo signal is the one which gets the -4 dB reduction, in order to let the
raw sound shine.
Later, if the input signal reaches -2 dB, then the difference from the -11 dB
threshold will be 9 dB. Since 9 / 3 = 3, and -11 + 3 = -8, the -2 dB signal
will need a -6 dB reduction in order to hit the -8 dB signal level. Therefore,
a reduction of -6 dB will be applied to the echo signal.
Then when the input signal goes below -11 dB, no more loudness reduction will
be applied to the echo signal.
Threshold for the side-chain expansion: when the input signal goes below this
level, the effect will reduce the volume of the echos in order to control the
echo tail. Once the input signal goes above the threshold, the echos will be
brought up to their intended level together with it to make the sound more
atmospheric.
Side-chain Expansion Attack Time (CATK)
Set how fast or slow the echos reach their maximum volume when the raw signal
goes above the threshold. Longer attack values can help clean up the transients
of the dry signal.
Side-chain Expansion Release Time (CREL)
Set how fast or slow the echo tail decays when the dry signal goes below the
threshold.
Side-chain Expansion Ratio (CR)
Control the amount of volume reduction that is applied to the echo signal based
on the loudness of the raw input signal.
For example, if the threshold is -11 dB, and the input signal is -16 dB, then
the input is 5 dB below the threshold, because -11 - 5 = -16. An expansion
ratio of 2 will turn this 5 dB difference into a 5 * 2 = 15 dB difference,
so the target gain will be -11 - 10 = -21 dB, which means a -7 dB signal
reduction. The trick with side-chaining is that the necessary loudness
reduction is calculated for one signal, but applied to another; in this case,
the echo signal is the one which gets the -7 dB reduction.
When the dry signal goes completely silent, then its volume will be infinitely
lower than the threshold, therefore the echo effect also goes silent. The speed
of its decay will be determined by the release
parameter.
Wet Volume (WET)
Control the loudness of the echo signal.
Dry Volume (DRY)
Control the loudness of the original, unmodified input signal.
The Reverb effect combines multiple delay lines to simulate sound reflections
that can be heard in various rooms, optionally with various levels of filtering
and distortion, and with side-chain compression or expansion (gate).
The signal chain is similar to the one in the
Echo effect, so many of the parameters work the same way
as described there.
Only the parameters that are unique to the Reverb effect are listed below.
Type (TYPE)
Select from various distributions and numbers of reflections, ranging from
small rooms with just a handful of reflection points, to large cathedrals with
many spread out reflections.
Room Size (SIZE)
Control the size of the room, ie. how long it takes for reflections to be
audible.
Room Reflectivity (REFL)
Control how reflective the room is, in other words, how loud are the sounds
that bounce off its walls. The higher this value, the longer it takes for the
reverberation to decay into silence after the raw input signal goes quiet.
Macros are controllers that can combine and transform
other momentary value based controllers, like
MIDI CC, pitch wheel
position, and even other macros. Basic controllers like the modulation wheel of
a MIDI keyboard go from 0% to 100% on a linear scale. Macros can (for example)
make it go from 80% down to 30% and use a non-linear curve in between.
The typical usage of a macro is to assign a controller to its
input (IN) parameter, set up the minimum, maximum,
distortion, etc. parameters, and then assign the macro to an oscillator,
filter, effect, envelope, or LFO parameter. Assigning various other controllers
(e.g. note value, velocity, other macros, etc.) to the parameters of a macros
can result in interesting and creative interactions between controllers.
Midpoint
Move the mouse cursor over the first function graph icon at the top right
corner of a macro, and start moving it while holding the left mouse button
down, or start using the mouse wheel to adjust the midpoint of the macro’s
input.
This is most useful when the input of the macro is associated with the pitch
bend wheel of a MIDI keyboard, and you want precise control over the range that
is covered by the lower and the upper half of the wheel’s movement.
Example: assign the pitch wheel to the Input of Macro 1,
and set its Midpoint to 75%. Now if you assign Macro 1 to a knob, then
when the pitch wheel is at 50%, the knob’s position will be at 75%. Moving the
pitch wheel from 50% to 0% will make the knob move from 75% to 0%, and the
pitch wheel’s movement between 50% and 100% will move the knob from between 75%
and 100%.
Distortion Curve
Click on the second function graph icon at the top right corner of a macro, or
use the mouse wheel while holding the mouse cursor over it to select the
non-linearity curve that the macro will use when its
distortion (DIST) parameter is set to a value above 0%.
Input (IN)
Assign the controller that you want to transform via the macro to this
parameter.
Minimum Value (MIN)
The macro will output this value when either its input or
its scale parameter is at the 0% position.
Maximum Value (MAX)
The macro will output this value when both its input and
its scale parameters are at the 100% position.
An envelope generator is a controller that shapes the
sound over time by defining target values for parameters which will be reached
in a given amount of time after a note is triggered.
Many of the synthesis parameters are polyphonic, which means
that each simultaneously playing voice can use different values and run
their own individual timeline for those parameters, as long as an envelope is
assigned to them.
Envelopes in JS80P use DAHDSR stages to reach four different values for their
assigned parameters:
Delay: when a note is triggered, the parameter will stay on the initial
level for this amount of time.
Attack: the parameter will reach the peak level in this amount of time.
Hold: the parameter will stay on the peak level for this long.
Decay: the parameter will reach the sustain level in this amount of
time.
Sustain: once the D-A-H-D stages are complete, the parameter will stay
on the sustain level until the note is stopped. (If the sustain level is 0%,
then JS80P will automatically release the note when this stage is reached.)
Release: once the note is stopped, the parameter will take this long to
reach the final level.
Note: when an envelope is assigned to an amplitude or volume parameter, it
is recommended to have its initial and final level be set to 0%.
The transitions between values can take various different shapes:
Linear: follow a straight line towards the target value.
Smooth-smooth: start slowly, then pick up some speed, and then slow down
again before landing on the target value.
Smooth-sharp: start slowly, then as the time to reach the target value
starts to run out, pick up more and more speed, and reach it quickly.
Sharp-smooth: start quickly, then as the target value is getting closer,
slow down and land on it gently and smoothly.
Sharp-sharp: start quickly, then lose momentum near the midpoint, and
when the time to reach the target value starts to run out, pick up the speed
again and reach it quickly.
Each non-linear shape has 3 different versions with various steepness.
Attack Shape
The first icon in the header row of envelope settings selects the shape that
defines how the envelope will go from the initial level to the peak level.
Click on it to select a different shape, or use the mouse wheel while holding
the cursor over it.
Decay Shape
The second icon in the header row of envelope settings selects the shape that
defines how the envelope will go from the peak level to the sustain level.
Click on it to select a different shape, or use the mouse wheel while holding
the cursor over it.
Release Shape
The third icon in the header row of envelope settings selects the shape that
defines how the envelope will go from the sustain level to the final level.
Click on it to select a different shape, or use the mouse wheel while holding
the cursor over it.
Update Mode
When a note is triggered and a voice starts to track its own envelope timeline
for a parameter, its default behaviour is to capture a snapshot of the envelope
settings at that moment, and run the envelope generator with those values.
Changing the envelope settings after this moment has no effect at all on
already engaged voices while they are playing. This behaviour can be adjusted
by selecting a different update strategy by clicking on the box next to the
transition shapes, or using the mouse wheel while holding the cursor over it.
The available options are:
STA: static envelope: the default behaviour where the envelope settings
are never updated by voices while they are playing a note.
END: the same as the static mode, except that the envelope settings
snapshot is updated once when the note is released.
DYN: dynamic envelope: the voice will continuously update the envelope
snapshot, and adjust the controlled parameter’s value so that it converges
to the level where it should be according to the momentary state of the
envelope settings.
LST: same as DYN, but the envelope snapshot is updated only for the
voice which corresponds to the last pressed MIDI key that is still pressed
at a given moment.
OLD: same as DYN, but the envelope snapshot is updated only for the
voice which corresponds to the MIDI key that was pressed first among the
keys which are pressed at a given moment.
LOW: same as DYN, but the envelope snapshot is updated only for the
voice which corresponds to the lowest MIDI key among the keys which are
pressed at a given moment.
HI: same as DYN, but the envelope snapshot is updated only for the
voice which corresponds to the highest MIDI key among the keys which are
pressed at a given moment.
Semi-polyphonic Aftertouch and Other Controllers
The LST, OLD, LOW, and HI envelope update modes make it
possible to emulate semi-polyphonic aftertouch, even if the MIDI keyboard does
not have polyphonic aftertouch functionality:
Set all the levels of the envelope to 100%.
Assign the Channel Aftertouch controller to the
scale parameter of the envelope.
Select the desired update mode.
Any sound parameter that is controlled by such an envelope generator will
become semi-polyphonic. Of course, you can use other
controllers, MIDI CC, or macros instead
of aftertouch.
Notes:
The semi-polyphonic envelope update modes above are based on the pressed
MIDI keys, not the currently sounding voices, which means that they don’t
take into account notes that are only held by the sustain pedal or by the
hold modes.
In some scenarios, the semi-polyphonic envelope update modes above don’t
behave exactly as one would expect from real polyphonic aftertouch. For
example, if the status of a voice changes because of a newly pressed key,
then that voice may continue sounding with the envelope settings stuck the
way they were when the new key was pressed. This happens when the newly
pressed key changes the status of an active voice in a way which no longer
allows updating the envelope settings for that voice. (E.g. the voice that
used to belong to the last pressed key is no longer the last when a new note
is triggered.)
Tempo Synchronization (BPM)
The time interval of each stage will be measured in terms of beats instead of
in seconds if the host provides tempo information to the plugin.
Time Inaccuracy
The first little screw in the top right corner of envelope settings adds
randomization to envelope stage lengths. Useful for simulating imperfectness of
analog hardware.
Level Inaccuracy
The second little screw in the top right corner of envelope settings adds
randomization to envelope levels. Useful for simulating imperfectness of analog
hardware.
Scale (SCL)
Scales all four levels of the envelope.
Initial Level (INI)
The level where the envelope starts.
Peak Level (PEAK)
Target level for the Attack stage.
Sustain Level (SUS)
Target level for the Decay stage.
Final Level (FIN)
Target level for the Release stage.
Delay Time (DEL)
How long the envelope will stay on the initial level before the Attack stage
begins.
Attack Time (ATK)
How long it will take to reach the peak level from the initial level.
Hold Time (HOLD)
How long the envelope will stay on the peak level.
Decay Time (DEC)
How long it will take to reach the sustain level from the peak level.
Release Time (REL)
How long it will take to reach the final level from the value where the
parameter is at when the Note Stop event is received.
A low-frequency oscillator (LFO) is a controller which makes a parameter’s
value oscillate back and forth between two values.
Logarithmic Frequency (LG FREQ)
Toggle the frequency parameter of the LFO between a
logarithmic and a linear scale.
Center (CENTER)
Make the LFO oscillate around the midpoint of the minimum
and maximum values instead of between the two extremes.
This makes a difference when the amplitude parameter of the
LFO is set to a value below 100%: by default, the LFO will oscillate above the
minimum value, and it won’t reach the maximum, but when the LFO is centered, it
will not reach either extremes, it will stay within a radius of the midpoint
which is half the value of the amplitude parameter. (This is similar to the
unipolar/bipolar LFO modes in other synthesizers.)
Amplitude Envelope (AMP ENV)
Click on the black box next to the centering switch in
the header row of an LFO, or use the mouse wheel while holding the cursor above
it to associate an envelope generator with the LFO. When an
LFO with an amplitude envelope is assigned to a
synthesis parameter that can accept control from envelope
generators as well, then each voice will run their own envelope and LFO
timeline for that parameter when a new note is triggered.
Furthermore, if a parameter of an LFO which has an amplitude envelope is
controlled by another LFO which also has an amplitude envelope, then each new
note will have its own timeline for both of those LFOs and envelopes. (Up to 6
timelines can be maintained by each parameter for each voice. When that limit
runs out, or when there’s a dependency cycle between LFOs, then some of the
LFOs will be run paraphonically, as if there was no envelope assigned to them.)
Note: when the LFO is assigned to a parameter which doesn’t accept control
from envelope generators, then the amplitude envelope has no effect.
Tempo Synchronization (BPM SYNC)
The LFO’s frequency is normally measured in Hertz (Hz)
which means “cycles per second”. Click on the BPM SYNC switch to change that to
“cycles per beat” instead. (This only works in hosts which provide tempo
information to plugins.)
Waveform (WAV)
Same as the waveform parameter of the audio-range
oscillators, except that LFOs don’t have the “Custom” option.
Frequency (FREQ)
Set how many oscillations to do per second (or per beat, when the
BPM SYNC switch is turned on).
Phase (PHS)
Shift the (initial) phase of the oscillator.
Minimum Value (MIN)
Set the lowest value of the oscillation. When it is greater than the
maximum value, then the waveform is flipped upside down.
Maximum Value (MAX)
Set the highest value of the oscillation. When it is less than the
minimum value, then the waveform is flipped upside down.
Amplitude (AMP)
Set the amplitude of the oscillation.
Distortion (DIST)
Distort the waveform with a soft clipping distortion.
or both oscillators within a voice go silent and it is unlikely that their
sound would come back, which means:
the oscillator is not even triggered according to the
split keyboard configuration,
or its amplitude (and in case of Oscillator 1,
its subharmonic amplitude) or its volume has no
controller and is configured to be 0%.
or its amplitude (and its subharmonic amplitude) or its volume is
controlled by an envelope generator, and it has
reached the sustain stage, and both the sustain level and the final level
of the envelope are 0%.
In computing, “garbage collection” is a mechanism which automatically releases
resources (e.g. chunks of memory) that are no longer used by a program,
allowing the operating system to make them available for other processes. JS80P
does something similar with voices and oscillators which go silent: such
oscillators and voices are stopped and released so that they can be allocated
for newly triggered notes.
JS80P has a few built-in presets, and in case you don’t like your plugin host
application’s preset browser, you can load and save them as ordinary files. For
each plugin type, you can find these presets in the presets folder in the ZIP
archive, and you can load them into JS80P by clicking on the Import Patch
icon near the top left corner of the main screen of the plugin.
Blank
The default, empty patch, a blank canvas.
Bright Organ
A bright, clean, Hammond-like organ sound. Aftertouch and mod wheel increase
the vibrato. The softer you play, the slower the attack, the harder you play,
the harder the attack.
Chariots-Aftertouch
A Vangelis-inspired split keyboard patch. Notes below C3 are modulated with
an inverse sawtooth LFO, notes above C3 get some wavefolding treatment if
you use aftertouch. The mod wheel controls the vibrato of notes above C3, and
the pitch wheel also affects only these notes.
Chariots
A Vangelis-inspired split keyboard patch. Notes below C3 are modulated with
an inverse sawtooth LFO, notes above C3 get some wavefolding treatment,
depending on the velocity. The harder you play, the longer it takes for the
wavefolder to kick in. The mod wheel controls the vibrato of notes above
C3, and the pitch wheel also affects only these notes.
Demo 1
The patch from the first demo video of JS80P. The mod wheel makes the sound
brighter, the volume knob (CC 7) adjusts the inverse sawtooth LFO which
controls the filter before the wavefolder.
Demo 2
The patch from the second demo video of JS80P. This split keyboard patch has
slow tremolo bass notes below Gb3, with extremely long release (just press a
key, and you’re good for about 2 measures with your left hand being free, even
without a sustain pedal), and plucky lead notes, with the mod wheel and the
volume knob (CC 7) controlling the timbre. (However, it is not recommended
with this patch to adjust the mod wheel while a right hand note is playing.)
Kalimba
A simple kalimba sound with percussive attack and short decay. The sustain
pedal adds more reverb and echo, and lengthens note decay.
Rock Organ
A little darker, overdriven Hammond-like organ sound. Aftertouch and mod wheel
increase the vibrato. The softer you play, the slower the attack, the harder
you play, the harder the attack.
Sandstorm
A dirty, harsh, detuned FM lead sound. Mod wheel and aftertouch make it even
dirtier and harsher.
Stereo Saw
A little bit metallic sounding sawtooth wave. Note velocity slightly affects
the timbre, mod wheel and aftertouch add wavefolding. The volume knob
adjusts an LFO which controls filter resonance.
Acid Lead 1
Sawtooth wave based acid lead sound. Aftertouch and mod wheel increase
the vibrato, the sustain pedal lengthens the decay.
Acid Lead 2
Square wave based acid lead sound. Aftertouch and mod wheel increase
the vibrato, the sustain pedal lengthens the decay.
Acid Lead 3
Another sawtooth wave based acid lead sound. Aftertouch and mod wheel increase
the vibrato, the sustain pedal lengthens the decay.
Bells 1
A bright bell sound. Aftertouch and mod wheel increase the vibrato,
the sustain pedal lengthens the decay.
Bells 2
A slightly darker bell sound. Aftertouch and mod wheel increase the vibrato,
the sustain pedal lengthens the decay.
Flute
A synth flute sound with a couple of tricks: the pitch of the notes decreases
slightly when they end, and the mod wheel adds a little embellishment to the
beginning of each note. Aftertouch adds more emphasis to the note.
FM Womp 1
A clean FM sound where the modulator and the carrier use different envelopes,
so the notes start with a slight “wah” effect. Aftertouch and mod wheel
increase the vibrato. Aftertouch also adds more modulation.
FM Womp 2
A slightly distorted FM sound where the modulator and the carrier use
different envelopes, so the notes start with a slight “wah” effect. Aftertouch
and mod wheel increase the vibrato. Aftertouch also adds more modulation,
making the sound brighter and more distorted.
FM Womp 3
A more distorted FM sound where the modulator and the carrier use different
envelopes, so the notes start with a slight “wah” effect. Aftertouch and mod
wheel increase the vibrato. Aftertouch also adds more modulation, making the
sound brighter and more distorted.
Tech Noir Lead 1
A brass sound for futuristic sci-fi dystopias with a slower filter sweep at
the beginning of notes, depending on note velocity. Mod wheel adds vibrato,
aftertouch adds emphasis and brightness.
Tech Noir Lead 2
A brass sound for futuristic sci-fi dystopias with a harsher filter sweep at
the beginning of notes, depending on note velocity. Mod wheel adds vibrato,
aftertouch adds emphasis and brightness.
Tech Noir Lead 3
A darker brass sound for futuristic sci-fi dystopias with a filter sweep at
the beginning of notes, depending on note velocity. Mod wheel adds vibrato,
aftertouch adds emphasis and brightness.
Derezzed
This Daft Punk inspired patch is built around sawtooth waves with lots of
distortions. Mod wheel makes upcoming notes brighter (without affecting
the currently sounding ones), and it increases the distortion. Aftertouch
adds vibrato.
Ambient Pad 1
Slowly evolving pad sound with sci-fi vibe. The mod wheel destabilizes
the tuning, the aftertouch increases that effect, and adds slight distortions.
Ambient Pad 2
Slowly evolving pad sound with a dark sci-fi vibe. The mod wheel destabilizes
the tuning, the aftertouch increases that effect, and adds slight distortions.
Ambient Pad 3
Slowly evolving pad sound with a dark sci-fi vibe. The mod wheel destabilizes
the tuning, the aftertouch increases that effect, and adds ghostly, distant
screams.
Saw Piano
A sawtooth wave based sound where high notes decay quickly, lower notes
decay slowly, but decay time is also affected by note velocity. The harder
you play, the brighter and richer the timbre, and the harder the note attack.
Mod wheel controls the vibrato, and aftertouch controls filtering. The
sustain pedal lengthens note decay.
Saw Piano Reversed
A sawtooth wave based sound which sounds like as if you were playing
a recording backwards. The time it takes for notes to un-decay depends on
note pitch and velocity. The harder you play, the brighter and richer the
sound gets. Mod wheel controls the vibrato, aftertouch adjusts the filtering.
Nightmare Lead
Starts out as a nice, filtered sawtooth wave, but as you begin to turn the mod
wheel and add some aftertouch, it becomes more and more menacing and distorted,
until it finally descends into madness.
Tremolo Lead
Thick lead sound. Aftertouch adds vibrato and harmonics, mod wheel opens up
the filter and adds a tremolo effect. Filtering also responds to note velocity.
Monophonic Saw
A sawtooth wave based monophonic, sustained sound with smooth legato glides.
The harder you play, the brighter and richer the timbre, and the harder the
note attack. Mod wheel controls the vibrato, and aftertouch controls the
filtering and the wavefolder. The sustain pedal lengthens note decay.
Dystopian Cathedral
Play softly and this futuristic organ-like patch will sound smooth as butter,
but when you start playing with more force, the sound will become angry, fat,
and in-your-face. The mod wheel increases the level of madness.
Gloomy Brass
Turn the mod wheel down for a soft, warm, and fat sound, turn it up for
brassy swells, distortion, and reverb. Aftertouch adds some harshness and
vibrato.
Gloomy Brass Raindrops
A version of Gloomy Brass where each note is followed by a raindrop after a
random amount of time.
Sawyer
Recreation of the iconic bass and lead sound from Tom Sawyer by Rush. Notes
below middle C will do the well-known resonance sweep and then turn into a
dark growl (which you can spice up with the mod wheel and some aftertouch),
and notes above middle C will be bright, but will lose much of their
brightness while doing a huge vibrato when you turn up the mod wheel or apply
aftertouch. (Note that this is not a split-keyboard patch, because both
oscillators are required to make this sound good in stereo – instead, the
effect is achieved through trickery with the Triggered Note controller and
the Distortion knob of Macro 12 and 13.)
Analog Brass AT
Play softly, pianissimo for a soft, smooth, warm, and fat analog brass sound.
Play fortissimo and use aftertouch for big bright swells. The mod wheel adds
vibrato, and the pitch wheel goes from -3 octaves to +1 octave.
Analog Brass mod
Turn the mod wheel down and play softly, pianissimo for a soft, smooth, warm,
and fat analog brass sound. Turn it up and play fortissimo for big bright
swells. Aftertouch adds vibrato, and the pitch wheel goes from -3 octaves to
+1 octave.
Bouncy
The sound of a ping-pong ball dropping on a glockenspiel, showcasing a use of
LFO amplitude envelopes.
Lo-fi Keys
Starts out as an electric piano drenched in lots of echo and reverb, but the
more you turn up the mod wheel, the more unstable the pitch becomes, and the
more distortions and fluttering the tape delay produces. Turn up the pitch
wheel to boost the mids and apply a high-pass filter, and turn it down to slow
down the tape delay and lower the pitch of the oscillators. Aftertouch adds a
brief flute-like triangle pad sound to the mix. High velocity notes will have
quick attack, low velocity notes will start slowly.
Analog Brass AT last
A version of the Analog Brass AT preset, demonstrating last note
semi-polyphonic aftertouch (channel pressure).
Analog Brass mod last
A version of the Analog Brass mod preset, demonstrating last note
semi-polyphonic aftertouch (channel pressure) being applied to a polyphonic
LFO.
Dystopiano
A soft electric piano bathed in lo-fi reverb and tempo-synced echo, with one
of the delay lines going backwards, creating weird and eerie sounds,
especially with slow tempos and short, staccato notes. The mod wheel increases
the width and the intensity of the echos, aftertouch boosts them even more.
The pitch wheel, rather than changing the pitch of the oscillators, tweaks the
delay time and the modulation of the effects, resulting in various chirps and
sweeps.
Expressive Saw
An analog sawtooth lead sound where low velocity, pianissimo notes have slow
attack and release, and high velocity, fortissimo notes have an extremely
quick attack and a quick release. On top of that, note velocity also controls
the filter envelope, so the harder you play, the brighter the sound gets. The
mod wheel first opens up a global filter, then starts brightening the sound
and adds a tremolo effect. The pitch wheel, besides note pitch, also affects
the room size of the Reverb effect, so you can play with the pitch long after
all notes have been released. Aftertouch adds a vibrato effect to the note
belonging to the highest pressed key.
Flute Mono
A monophonic version of the Flute preset: a synth flute sound with a couple of
tricks: the pitch of the notes decreases slightly when they end, and the mod
wheel adds a little embellishment to the beginning of each note. Aftertouch
adds more emphasis to the note.
FX Master Enhancer
This preset mutes the synthesizer and turns the Effects section into a
master mix enhancer by applying tape-like saturation and coloring, and a
hint of reverb. Depending on how much headroom you have in your mix, you may
need to adjust the settings; it is recommended to start with the
Vol 1 knob. (The preset has been developed with mixes
that have around 3-6 dB headroom.)
Creepy Wind
A non-musical Foley effect which uses noise and filter resonance to create
eerie wind sounds. The keyboard and the pitch wheel control the pitch, the
modulation wheel increases the variation of the sound, and aftertouch
makes the wind angrier and scarier.
Stalacpipe Organ
The largest musical instrument in the world is the Great Stalacpipe Organ
located in Luray Caverns, Virginia, USA. It is a keyboard instrument which
makes its tones by using rubber mallets to tap ancient stalactites of varying
sizes, distributed over several acres in the cavern. This patch is a
recreation of its sound, based on various samples, complete with occasional
random water droplets. The louder you play the more probable that you will
cause a droplet to fall, unless you turn them off completely by turning the
mod wheel down to zero.
Sorry, it’s not likely to happen anytime soon, unless someone is willing to
create and maintain a Mac fork of JS80P. For me to do it, it would require
quite a large investment, both in terms of effort and financially. If MacOS
would be available (at a reasonable price) for installing it in a virtual
machine that could be used for testing, I’d consider that. But as long as it
cannot be obtained (legally) without also buying a Mac, and I’m happy with my
current computer, I’m not going to invest in a new one.
VST® is a trademark of Steinberg Media Technologies GmbH, registered in
Europe and other countries.
I’m not a lawyer, so I have no idea if it would be trademark infringement for
me to claim VST 2.4 compatibility for JS80P without obtaining a license from
Steinberg Media Technologies GmbH, so I don’t do it; especially since they no
longer issue new licenses for VST 2 to anybody. Instead, I use the name of an
open source programming library which makes it possible to build plugins that
can be loaded into VST 2.4 hosts without requiring, violating, or otherwise
having anything to do with that license:
FST.
Parameters, Envelopes, LFOs, and polyphony: how do they work?
By default, knobs and toggles act paraphonically. This means that if you adjust
a knob with your mouse, or if you assign a MIDI event (controller change, note
velocity, etc.), a macro, or an LFO to it and
adjust the parameter via that, or if you use
automation in your plugin host application, then that
parameter will be shared among all sounding voices.
But if you assign an envelope generator as a
controller to a parameter, then each voice will use its
own timeline for that parameter, and the parameter’s value will change over
time for each simultaneously sounding voice independently from the others,
according to the envelope’s settings.
Furthermore, envelope generator settings are only evaluated once for each note
by default, at the very beginning of the note. This means that if the
parameters of the envelope generator are changed, then it will only affect the
notes that start after the adjustment, but the already sounding notes will keep
running with the envelope settings that were in effect when they were
triggered. This behaviour can be changed by setting a different
update mode for the envelope generator.
Similarly, if you assign an LFO to a parameter which can accept
control from envelope generators, and the LFO is associated
with an amplitude envelope, then the LFO becomes
polyphonic, and its amplitude will be controlled by the envelope generator for
each polyphonic voice independently from the other voices.
Note: the polyphonic behaviour of LFOs is transitive up to a limit. If a
parameter of a polyphonic LFO is controlled by another LFO, and the second LFO
is also associated with an envelope generator, then this second LFO will become
polyphonic as well. An LFO chain like this can contain up to 6 LFOs and
envelopes. If a chain contains more than that, or it has dependency cycles
where LFOs control each other’s parameters, then some of the LFOs in the chain
will be treated as if there weren’t any envelopes assigned to them.
To have polyphonic voice parameters sample and hold a
MIDI value or a macro‘s momentary value
for the entire duration of a note, independently of other voices and subsequent
changes of the value (e.g. to use lower
filter cutoff frequency for
low-velocity notes so that they sound softer), then you have to use an
envelope generator: turn up all the levels of the envelope to 100%, assign the
MIDI value or the macro to the scale parameter of the
envelope, and assign the envelope to control the parameter.
The knobs in the waveform harmonics section don’t do anything, is this a bug?
To hear the effect of those knobs, you have to select the Customwaveform for the oscillator.
Note: these parameters are CPU-intensive to process, so they are not sample
accurate, they are not smoothed, and they are processed only once for each
rendering block. Due to this, if you change them while a note is playing, or
assign a controller to them, then you might hear “steps” or even clicks.
How can parameters be automated? What parameters does the plugin export?
The intended way of automating JS80P’s parameters is to assign a
MIDI Control Change (MIDI CC) message to a parameter (or use MIDI
Learn) as a controller, and turn the corresponding knob
on your MIDI keyboard while playing, or edit the MIDI CC events in your host
application’s MIDI editor.
However, the VST 3 plugin format requires plugins to export a proxy parameter
for each MIDI CC message that they want to receive, and as a side-effect, these
parameters can also be automated using the host application’s usual automation
editor. For the sake of consistency, the FST plugin also exports automatable
parameters for each supported MIDI CC message.
For example, in both plugin types, you might assign the
MIDI CC 1 (Modulation Wheel) controller to the Phase Modulation (PM)
parameter of the synthesizer, and then add automation in the host application
to the MIDI CC 1 (Modulation Wheel) (VST 3) or ModWh (FST) parameter. JS80P
will then interpret the changes of this parameter the same way as if you were
turning the modulation wheel on a MIDI keyboard.
Aren’t Phase Modulation and Frequency Modulation equivalent? Why have both?
The reason for JS80P having both kinds of modulation is that they are not
always equivalent. They are only identical when the modulator signal is a
simple sinusoid. With each added harmonic to the modulator, PM and FM start to
differ more and more. A detailed mathematical explanation of this is shown in
doc/pm-fm-equivalence.pdf.
In 2022, I started developing a browser-based synthesizer using the Web Audio
API, mostly being inspired by the Yamaha CS-80. I named that
project JS-80. Then I started adding one little feature and
customization option after the other, then it got out of hand, and I also
started finding limitations of doing audio in the browser. So I decided to
implement a cleaned up version of this synth in C++ as a DAW plugin (with a
better waveshaper antialiasing method than what’s available in the browser),
and so JS80P was born.
FL Studio: How to assign a MIDI CC to a JS80P knob?
FL Studio does not send all MIDI
events that come out of a MIDI keyboard to plugins by default, and
unfortunately, MIDI Control Change (MIDI CC) messages are among the
kinds of MIDI data that it swallows. To make everything work, you have to
connect the MIDI CC events of your device to one of the MIDI CC helper proxy
parameters that are provided by JS80P. (JS80P does not directly expose its
parameters to the host, in order to avoid conflicts between the host’s
automations and JS80P’s internal controller assignments.)
For example, let’s say a physical knob on your MIDI keyboard is configured to
send its changes in MIDI CC 7 messages. To make this knob turn the Phase
Modulation (PM) virtual knob in JS80P, you have to do the following steps:
Click on the small triangle in the top left corner of the plugin window of
JS80P, and select the “Browse parameters” menu item.
Find the parameter named “Vol” (FST) or “MIDI CC 7 (Volume)” (VST 3) in
the browser. Click on it with the right mouse button.
Select the “Link to controller…” menu item.
Turn the knob on your MIDI keyboard until FL Studio recognizes it.
Now click on the area below the Phase Modulation (PM) virtual knob in
JS80P’s interface.
Select either the “MIDI CC 7 (Volume)” option, or the “MIDI Learn”
option, and turn the physical knob on your MIDI keyboard again.
FL Studio: How to assign Channel Pressure (Aftertouch) to a JS80P knob?
FL Studio does not send all MIDI
events that come out of a MIDI keyboard to plugins by default, and
unfortunately, Channel Pressure (also known as Channel Aftertouch) messages are
among the kinds of MIDI data that it swallows.
Getting the Channel Pressure to work in FL Studio is a similar, but slightly
more complicated procedure than setting up MIDI CC.
For example, to make Channel Pressure control the Phase Modulation (PM)
virtual knob in JS80P, you have to do the following steps:
Click on the small triangle in the top left corner of the plugin window of
JS80P, and select the “Browse parameters” menu item.
Press a piano key on your MIDI keyboard, and hold it down without triggering
aftertouch.
While holding the piano key down, find the parameter named “Ch AT” (FST)
or “Channel Aftertouch” (VST 3) in FL Studio’s browser. Click on it with
the right mouse button.
Select the “Link to controller…” menu item (keep holding the piano key).
Now push the piano key harder to trigger aftertouch.
Click on the area below the Phase Modulation (PM) virtual knob in
JS80P’s interface.
FL Studio does not send all MIDI
events that come out of a MIDI keyboard to plugins by default, and
unfortunately, the MIDI Control Change (MIDI CC) message which
contains information about the sustain pedal’s state is among the kinds of MIDI
data that it swallows.
To add insult to injury, FL Studio pretends that it notifies the plugin about
the pedal’s state, but in reality, it just defers sending Note Stop events
until the pedal is released. This might give the desired effect in some cases,
but it breaks patches that assign additional functionality to the pedal besides
sustaining notes, like for example lengthening envelope release times.
To make everything work, you have to assign the sustain pedal’s MIDI CC events
to the MIDI CC helper proxy parameter where JS80P expects them, and you have to
turn off FL Studio’s default behaviour of handling the pedal on behalf of
plugins.
Open “Options / MIDI settings” from the main menu.
Turn off the “Foot pedal controls note off” option.
Close the Settings dialog window.
Click on the small triangle in the top left corner of the plugin window of
JS80P, and select the “Browse parameters” menu item.
Find the parameter named “Sustn” (FST) or “MIDI CC 64 (Sustain Pedal)”
(VST 3) in the browser. Click on it with the right mouse button.
Successfully compiled plugin files are placed in the platform-specific
subdirectories inside the dist directory; copy them to the appropriate plugin
directories, as described in the Installation section.
Windows
Assuming that you have installed MinGW-w64 to C:\mingw64, you can use the
following commands to run tests and compile JS80P for Windows:
SET PATH=C:\mingw64\bin;%PATH%
SET TARGET_PLATFORM=x86_64-w64-mingw32
SET DEV_OS=windows
mingw32-make.exe check
mingw32-make.exe all
Linux
The following commands (on a 64 bit Linux environment) will compile JS80P for
64 bit Windows, 32 bit Windows, x86_64 Linux, x86 Linux, RISC-V 64 Linux,
and LoongArch Linux respectively:
TARGET_PLATFORM=x86_64-w64-mingw32 make all
TARGET_PLATFORM=i686-w64-mingw32 make all
TARGET_PLATFORM=x86_64-gpp make all
TARGET_PLATFORM=i686-gpp make all
TARGET_PLATFORM=riscv64-gpp make all
TARGET_PLATFORM=loongarch64-gpp make all
Run make check in a similar fashion to run unit tests.
✔️ Responsive navbar with a toggle for a "hamburger" menu in mobile sizes.
✔️ Language Selector visual component (ES / EN).
✔️ Dynamically obtained "List" of apartments from the provided API.
✔️ "Card" component displaying detailed information for each apartment. It includes:
- Image carousel with arrows for navigation.
- Description of the apartment and neighborhood.
- Maximum guest capacity.
- Province of location.
- Availability indicators for services (wifi, A/C, and/or heating).
- Number of bedrooms and bathrooms.
- Square meters.
- Monthly price.
- Button to check availability.
✔️ Pagination structured in 3 items.
✔️ Responsive design.
Technologies and Tools used
Project Setup
This template should help get you started developing with Vue 3 in Vite.
✔️ Responsive navbar with a toggle for a "hamburger" menu in mobile sizes.
✔️ Language Selector visual component (ES / EN).
✔️ Dynamically obtained "List" of apartments from the provided API.
✔️ "Card" component displaying detailed information for each apartment. It includes:
- Image carousel with arrows for navigation.
- Description of the apartment and neighborhood.
- Maximum guest capacity.
- Province of location.
- Availability indicators for services (wifi, A/C, and/or heating).
- Number of bedrooms and bathrooms.
- Square meters.
- Monthly price.
- Button to check availability.
✔️ Pagination structured in 3 items.
✔️ Responsive design.
Technologies and Tools used
Project Setup
This template should help get you started developing with Vue 3 in Vite.
This package is for Angular 1.x, if you’re looking for the Angular 2+ version, it’s here.
MobX is a modern reactive state management library.
This simple library connects MobX to Angular.
Why use MobX
The advantages of MobX are:
Normalized – MobX lets you define computed values that are based on the minimal state
Reactivity – MobX Automatically figures out when to re-invoke subscribers according to which observables they use. This allows for extremely performant applications
Plain objects – Use plain objects and classes with MobX decorators, or even observe existing objects (from external sources for example)
MobX is being used heavily in the community (mainly with React)
This library brings the magic of automatic data binding, together with incredibly high performance.
All you need is to wrap your template with a mobx-autorun directive.
The directive will automatically re-run the $digest cycle on the scope, whenever something that the template uses changes.
It will also dispose of the autorun callback when the scope is destroyed.
This package is for Angular 1.x, if you’re looking for the Angular 2+ version, it’s here.
MobX is a modern reactive state management library.
This simple library connects MobX to Angular.
Why use MobX
The advantages of MobX are:
Normalized – MobX lets you define computed values that are based on the minimal state
Reactivity – MobX Automatically figures out when to re-invoke subscribers according to which observables they use. This allows for extremely performant applications
Plain objects – Use plain objects and classes with MobX decorators, or even observe existing objects (from external sources for example)
MobX is being used heavily in the community (mainly with React)
This library brings the magic of automatic data binding, together with incredibly high performance.
All you need is to wrap your template with a mobx-autorun directive.
The directive will automatically re-run the $digest cycle on the scope, whenever something that the template uses changes.
It will also dispose of the autorun callback when the scope is destroyed.
https://github.com/sujayadkesar/reverse-shell-generator
