J4 - Synth Magic & Tronsonic Inspired by a legendary 4 voice Japanese analogue synth from the late 70s.

FOR NATIVE INSTRUMENTS* KONTAKT 5.2.1 OR LATER (FULL RETAIL VERSION ONLY)

InstallationSimply unzip the downloaded file, and place in your regular Kontakt instruments folder. The presets must be navigatedto via Kontakt's browser window ('Files' tab), not via the 'Libraries' tab.

Samples and presetsThere are 2 different sets of samples made for the J4 - one set recorded 'DI', with a NEVE* style pre-amp/eq and boutique valve mixer into a ULN2* soundcard at 48khz/24 bit.The second set uses the same method, but has also been recorded to brand new 'old-stock' tape at 15ips on a Studer A807 quarter inch reel-to-reel recorder.The presets made with the 'taped' samples have the suffix 'T' at the end of the preset name.Presets are to be located within the 'Instruments' folders, with multi-presets located in the 'Multis' folder.

FeaturesJ4 has a large array of features - some of which may be taxing on cpu for older computers. There are some tips later onhow to manage this efficiently.

Features at a glance:

-Single Oscillator Analogue style synth with 6 Waveforms, a Sub Square Wave Oscillator and Noise Generator.-Syncable 16 step sequencer system with Filter, Resonance, Velocity and Chord sequencer-Syncable Arpeggiator-Syncable main LFO and VCF S/H LFO

-Overdrive function via relationship between 'Volume' and 'Level' controls.-Sub LFO-Dual Polarity Keytrack-Unison, Portamento and Mono mode-4 Voice or Full Polyphony-Pitch Bend and Mod Wheel routing system-Delay, high quality 'Mixbus' Compressor, 'Tape Compressor', Ensemble and choice of 3 Reverbs.

The Synth section

-VOLUME AND LEVEL These are connected to a saturation/overdrive effect, that introduces harmonics to the signal, emulating theoverdrive effect that the original synth that inspired this has. Different tones and textures can be createdby experimenting with the relationship between the levels of the 2 controls. The higher each level, the morethe distortion. By setting up the Compressor in the FX section, you can push these levels to the limit without over-loadingthe output signal in your DAW.

-VCF S/H This is a dedicated Sample and Hold LFO for the Lowpass Filter, syncable with your DAW (at the flick ofthe 'Sync/Free' switch). The VCF Mod slider sets the amount being sent to the LFO.

-SUB LFO This is a Sawtooth wave LFO connected to the frequency of the Main LFO. The 'Sub LFO' slider sets theamount.

-LFO This is connected to the Lowpass filter and the VCO (via 'LFO Mod' and 'VCO Mod' sliders, which set the amount). This is syncable with your DAW via the 'Sync/Free' switch.

-VCO Features Sawtooth, Square, and 4 different Pulse waves, with the amplitude set by the 'Main Volume' knob. This oscillator can be tuned via the 'ARP AND CONTROLS' window. The Sub LFO (square wave an octave lower) has its own dedicated 'Volume' knob.

-NOISE With its own dediated 'Volume' knob.

-VCA Envelope for the main Oscillator, Sub and Noise waveforms. The 'Level' slider boosts saturation, and can be

offset with the 'Main Volume'.

-VCF Features a separate Highpass Filter (HPF) that is not connected to any envelopes or LFOs. The Lowpass filter can be modulated by the 'Main LFO', via the 'LFO MOD' slider. The 'ENV MOD' slider sets the amount sent to the filters own 'Envelope' (which has a dual polarity switch). The 'KYBD Follow' slider is a dual-polarity keytrack, with zero set in the middle.

Arp and Controls

-Pitch-wheel and Mod-wheel assignments A simple way to easily set certain parameters to your Pitch-wheel or Mod-wheel for dynamic patchmorphing.

-Voices switch The original synth that inspired J4 had 4 voices, which has its pros and cons - so a 'FULL' polyphonyoption is included.

-Tune and Fine These tune the 'Main Oscillator' and 'Sub Oscialltor'.

-Vel Sens This affects the Velocity Sensitivity of the 'Main','Sub' and 'Noise' Oscillators. This needs to be engaged in order for the 'Velocity' function of the Sequencer to work. The more youturn, the more affect it will have on the Sequencer's velocity settings.

-Porta and Time Portamento for the 'Main' and 'Sub' Oscillators.

-Random Note Set this just above 'zero' for a subtle change in pitch from note to note, to emulate a badly serviced synth.Push all the way to '10' for an extreme effect.

-Mono and Mono Note Priority 'Mono' allows single note playing only, with 'Unison' mode functioning too when set to 'on'. 'Chords' are disabled when 'Mono' set to 'on'. The 'Priority' buttons determine which follwoing note has priority over the existing played note.

-Arpeggio and Hold A simple arpeggiator that is synced with your DAW. 'Hold' holds the arpeggio.

-Unison 2 voice and 4 voice modes. This feature can increase cpu noticably. NB best to put into 'Full Poly' mode if sequencing with '4' unison activated, as notes may be stolen ifin '4 Voice' mode.

Sequencer

-Chord, Scale and Key With 9 different chord shapes, this can also be used in 'normal' playing mode (if not in 'mono' mode),without the use of the sequencer, and with the 'Arpeggiator'. There are supplied patches that demonstrate this feature.

-How to use the Sequencer The first thing to know is that the sequencer will only 'run' from within your DAW, once the sequencer'Start/Stop' button is pressed (with Led 'on'), and then when 'Play' is pressed on your DAW.

Patterns are 'played-in' to this sequencer via your midi keyboard. To do this, make sure the 'Start/Stop'button is 'off', then press the 'Load/Reset' button so that its 'led' is lit up. Once pressed, you can start inputting your notes. When you are done, do not press'Load/Reset' again, as this will erase your pattern - instead, press 'Start/Stop', and your sequencer isnow ready to play, on command of your DAW.

The length of your sequence can be set by the 'Start Position' and 'End Position' sliders, with the quantized temposet by the 'Seq Rate' slider (synchronised to your DAW tempo). 'Shift' nudges the position of your pattern and/or 'rests' up or down one step at a time. When adjusting the 'Rate', the cycle completes its full sequence before changing to the next speed that's selected. 'Invert' will play your pattern (and/or position of 'rests') in reverse.

-Compu-Memory Write This stores and recalls up to 8 sequences. To 'store' a seqeunce, simply press the yellow button of your choice whilst the sequence is playing. To 'recall' a sequence, press down the switch of your choice.

-Seq Root This can be set to tell the sequencer what the root note of your 'played in' pattern is - useful if youdecide to transpose a sequence. You can also transpose your pattern by pressing a note on your midi keyboard in realtime.

-Note, Vel, Chord, Scale, Key This switch flicks between some of the different ways to program this sequencer, with the switches tothe right switching 'on' or 'off' the parameters. With setting the 'Velocity' of each step, you must first set the 'Velocity' control on the 'ARP AND CONTROLS'page to somewhere preferably around half way or more - how much you 'set' this will have a relationshipto how much the 'Velocity' is affected by the settings in your steps (1to127 -127 being MAX velocity).

-LPF Cut and Res By flicking the 'LPF Cut'/'Res' switch and pressing the red leds, you can engage the windows for setting the filter cutoff andresonance of the Main Lowpass filter for each step. These settings over-ride any master settings of your LPFon the main 'Synth' page. The small arrows to the far left and right of the filter windows will nudge the positioning of your settings onestep at a time either way. Pressing the red leds activates or de-activates the cutoff or resonance sequence settings independently.

-Keyswitches Many of the sequencers functions can be operated via the lowest keys of your midi keyboard. Click the 'Keyb' button at the top of Kontakts main Gui to see the colour coded keyswitching.

The lowest 8 red notes starting 'c-1' selects which memory is to be recalled via the 'Pattern Select' switches.The next 4 green notes starting 'd#-1' flip the 'Vel','Chord','Scale' and 'Key' switches 'on' or 'off' ( NB sequencer 'Start/Stop' ledmust be lit).The following single red note ('c0') toggles the filter cutoff sequencer 'on' or 'off'.The following single blue note toggles the resonance sequencer 'on' or 'off'.The next blue note ('d0') resets the cutoff and resonance to a default of 127 and 1 respectively.The next blue note ('d#0') resets the velocity to a default of 127 (Max velocity).The final blue note ('e0') resets the chord/scale and key to the default settings.

EFFECTS

-Delay Standard Kontakt delay - be aware that setting the 'Return' to '10' can cause a substantial raise in volume.

-Compressor This uses Kontakt 5's 'SolidBus Compressor', which is a very good quality compressor to tame levelsand introduce energy into your sounds. By setting up in certain ways, you can confidently experimentwith setting the main 'Volume' and 'Level' controls to their extreme, as well as playing with the resonance andfilter relationship, without blowing your speakers. NB PLEASE BE AWARE THAT SOME PRESETS ARE MADE IN THISWAY, SO BE CAREFUL IF SWITCHING THE MAIN COMPRESSOR 'OFF'.

-Tape Compressor Not so much a 'real' compressor as a tape-style transient shaper, but it can be used to mimic he effects of tapecompression, as well as altering the shape of your sounds whilst adding warmth and extra tape saturation (inthe form of harmonics). The 3 'Gain', 'Warmth' and 'High Frequency Cut' controls can be routed to a simple dual polarity envelope viathe 'Env' knobs. There are lots of possibilities available to alter the shape and texture of your sounds by experimenting with these settings. A little trial and error is necessary to learn how to get the best from this effect.

-Ensemble 3 different 'chorus' settings

-Reverb Featuring a lush 'space' reverb (REV 1), a plate (2) and spring reverb (3).

Adjusting settings, reducing CPU and tips-Settings and the Spanner The NKI header pictures the J4 logo and a spanner. Clicking on the J4 logo will shrink the gui - useful whenin multi-mode. The spanner will open up the 'behind-the-scenes' of the nki. Here, you can make some adjustments that canhelp to improve performance should you wish.

One way to reduce cpu, if need be, would be to 'de-select' the 'High Quality' settings in the Lowpass andHighpass filters, as well as in the 'Tape' effect.

You may notice that the audio quality is set to 'standard'. This is to help cpu in performance mode, butthe actual rendering of audio (for mixdown) can be set to 'perfect' via the 'options' button - see below:

Of course, if your computer has the power, you can set the HQI to 'perfect' within the NKI, for 'perfect'realtime performance.

-Reducing CPU Other ways to keep CPU in check, if your computer is struggling, is to be wary of 'Unison' mode - especially if in 'Master Chord' mode (via the sequencer section). Using a reverb in your DAW instead of within the NKI will also help, as well as dis-engaging the 'tape compressor',if it is 'on'. Long releases on the main envelope, especially in FULL polyphonic mode can also ramp up the cpu.

Lastly - if you've got this far - there is a 'random-preset generator'. Just mouse-click the large 'J4' logo on the main 'Synth' page.

Credits and Thanks

Special thanks to all who support Synth Magic and Tronsonic by buying our products, and for the general encouragementand goodwill that many of you give to us - it makes a difference. Thanks to Mario Kruselj (aka Evil Dragon) for sharing his 'tempo sync from the gui' technique. Thanks to NI for Kontakt!

Scripting, Presets, Sample editing and co-design, Steve from Synth MagicAudio, GUI design/creation, Presets and co-design, Rob from Tronsonic

© Synth Magic/Tronsonic 2014

*All trademarks mentioned belong to their respective owners, and unless stated, are not affiliated with Synth Magic or Tronsonic in any way