The chord mode automatically builds up a chord out of the single note you are playing. To turn on the chord mode, click the ON button once. Click it once again to turn it off.
The Select button lets you choose a type of chord. Click on it once to open the Chord Selection window, then click on the type of chord you want.
The virtual keyboard on the top of the window shows the notes corresponding to the selected chord. The chords are built from C and active notes are shown in blue.
You can customize your chords by clicking on the notes of your choice on the keyboard. This will switch the chord selection to Custom. To come back to the original chord, click on its name once again.
To get back to the main view, simply click outside the Chord Selection window.
The Select button lets you choose a type of chord. Click on it once to open the Chord Selection window, then click on the type of chord you want.
The virtual keyboard on the top of the window shows the notes corresponding to the selected chord. The chords are built from C and active notes are shown in blue.
You can customize your chords by clicking on the notes of your choice on the keyboard. This will switch the chord selection to Custom. To come back to the original chord, click on its name once again.
To get back to the main view, simply click outside the Chord Selection window.
The Chorus of the JUN-6 V is controlled by 3 buttons:
Both I and II buttons work the same way: click once to activate the effect and once again to turn it off. The modes I and II are the same on all Juno series (6, 60 and 106).
Chorus Noise
The chorus effect produces a noise floor in the background, which is inherent to vintage hardware and has contributed to its characteristic warm organic tones. This background noise can be enabled or disabled by clicking the Chorus Noise button on the left end of the synth, above the Arpeggiator section.
| Function | |
| Disables the chorus effect, whatever mode is chosen. | |
| Enables the first type of chorus. The effect is nice and soft, not too deep, giving just a stereo twist to the sound. |
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| Enables the second type of chorus. This mode is similar to the first one with a slightly higher rate, which makes the sound more energetic. |
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| Enables a third type of chorus effect. This will raise the rate and the depth of the effect, making the sound more nervous and giving it a whole new texture. The third mode changes depending on the series of the Juno. The one emulated here corresponds to the Juno 6. Note that this mode is mono, not stereo! |
Both I and II buttons work the same way: click once to activate the effect and once again to turn it off. The modes I and II are the same on all Juno series (6, 60 and 106).
Chorus Noise
The chorus effect produces a noise floor in the background, which is inherent to vintage hardware and has contributed to its characteristic warm organic tones. This background noise can be enabled or disabled by clicking the Chorus Noise button on the left end of the synth, above the Arpeggiator section.
You can find the Detune button on the bottom left part of the synthesizer, next the the pitch bender and the modulation wheel.
The Detune function has different effects in combination with the Unison function:
The Detune function has different effects in combination with the Unison function:
You can choose up to 6 voices for the Unison (underneath the virtual keyboard) and create various depths and movements to the sound by exploring unison voices combined to the Detune function. |
The Voice calibration panel is located on the top left part of the synthesizer. These parameters recreate the degradation that affects hardware components through time, bringing subtle to strong disparities in the sounds.
This affects the waveform level and pulsewidth, the filter cutoff and resonance, as well as the envelope times. You can choose between Good, Average and Poor voice calibration, which reproduces the character of a brand new unit down to the one of an old and dusty unit.
This affects the waveform level and pulsewidth, the filter cutoff and resonance, as well as the envelope times. You can choose between Good, Average and Poor voice calibration, which reproduces the character of a brand new unit down to the one of an old and dusty unit.
Pushing up the resonance parameter to the maximum brings the filter to auto-oscillate, which creates a sine wave. Using this trick in combination with the keyboard tracking makes it possible to use the filter as a sine oscillator. In order to do this, you will need to go through following steps:
Make sure no other modulations are being applied to the VCF cutoff!
Tip: Now that you have a nice and sweet sine to play around with, feel free to make it even more mellow by enabling the chorus!
- Set the Voice Calibration to Good.
- Disable the DCO waveforms.
- Set the VCF Resonance to 1.00.
- Make sure the VCF’s ENV and LFO are set to 0.00.
- Set the KBD parameter to 1.00.
- Set the cutoff frequency to 131Hz.
Make sure no other modulations are being applied to the VCF cutoff!
Tip: Now that you have a nice and sweet sine to play around with, feel free to make it even more mellow by enabling the chorus!
Down in the bottom left corner of the synthesizer, you can find the pitch bender and the LFO modulation wheel, as well as shortcuts to the DCO and VCF.
You can assign the Mod Wheel to any parameter you want.
The same method applies for Velocity and Aftertouch. The knob next to the parameter allows you to choose the amount of modulation brought to the parameter.
You can assign the Mod Wheel to any parameter you want.
- Open the Advanced Panel by clicking on the Advanced button on the top right corner.
- In the top left corner, you can find the Assign Panel. Click on the one corresponding to the Mod Wheel.
- Select the parameter you want to assign from the Parameters Window.
The same method applies for Velocity and Aftertouch. The knob next to the parameter allows you to choose the amount of modulation brought to the parameter.
If you have any further questions, feel free to contact us.