After finishing the Lexicon LXP-1/Reflex editor – I parked the LXP 15 for now (but saved a copy of the LXP-1 and LXP-5 combined in one with all the algorithms created, to build the 15). I parked the Lexicon projects because I really need variation to keep it all interesting. As a result, I’m back with Roland. As Per usual, I like to keep a blog record so that when I update or fix things, I remember why I undertook a certain action in the way that I did. I regulary update these pages with progress updates. Additionally, while building the editor, I want to document oddities that I come across, often quirks that give the devices charm. It’s now the New Year (2nd January) and I have a new editor in the works!
So what is the Juicy1010 and what does it look like? Well, it’s an editor to control my JV-1010 via software for standalone usage and VST/AU for DAW integration. I run a true hybrid music system and like to run hardware like software through building my own plugins in CTRLR to do just that. I like visuals because I tend to forget things so write stuff that I personally find useful and I’m happy to share. Judging by the SoundDiver template, due to the way in which roland wrote the SysEx, the Juicy1010 should be compatible with the JV-1080, JV-2080 and other variants. However, I cannot test features on other devices as I only have JV-1010.
The main learning curve for this editor is that of using the LUA paint feature in combination with JUCE to make whizzy graphics. It has been a fair bit of trial and error – and a lot of learning. In the end, I needed to change my approach. I thought about feeding everything into it’s own script that then paints on load but things started to drag and early on, I found I need to optimise. One of the reaosns why there is a TONE and EFFECTS option on the top right window is that in low CPU/GPU machines or where speed is needed, the visuals can be switched off. Paint will drag and feel laggy. It’s useful though because when mixing, I like visuals, especially for the EQ. I program on a 7 year old machine in Mojave so I suspect there will be some drag from that too. I am looking forward to seeing this on a M4 Silicon Mac.
I ended up using a technique from the Lexicon project for building grouped elements on the fly which meant I could dynamically assemble the paint visuals on an as and when requeired basis. So cool. Anyhow, time to crack on and make this panel beautiful! Through this technique, I managed to go from 80 scripts to 16 for Tones 1, 2, 3, 4 and 5. To keep things slim, I decided to look at the effect families and explore overlaps so that the scripts do not spiral out again.
The JV-1010 is a fantastic system. The effects have blown me away. I noticed there is a fair bit of repetition with modules in the effects chain so I can re-use elements. In CTRLR, this is quite tricky because I need to make dynamic assignments in the Paint() code and then use comp:getProperty(“property”). After wrestling with documentation for a while, I found that CTRLR cannot obtain the information from the modulator, for example customgroup but it can from the component group via something like comp:getProperty(“componentGroupName”). The repaint can use modulator values and in this instance, I can dynamically call a repaint through a dynamic name concatenation from the modulator itself. In this case, I used customname and this enabled me to iteratively call the paint based on unique IDs. Phew! I have a plan, it has been tested and it works! This in part is why I need my blog. Remembering what I have achieved and why is a challenge at the pace I work. Well, I now have my dynamic effects build to paint a chunk of cool effects with minimal scripting and low processing power. I can make refinements and updates in one place which is efficient and saves time. All in all, pretty solid coding.
I have designed the effects system to be very visual. Examples can be found below.
Spectrum EQ
Mod Delay
Hexa Chorus
Triple Tap Delay
So that I can label the sequence correctly, I will map the 40 effects here and document where paint() scripts have been reused. The number after the effect represents and iteration of the script. Each script has a dual lookup based upon the graph name and the modulator group name. This stops repainting uneccessarily to preserve cpu/gpu. It was a bit of a pain to write in but it is important to optimise when using the pain() function in JUCE. Counting up the numbers by the side of the script should reveal how many times something has been resused. If statements make two matches before painting to preserve processing power.
| Effect | Component | Component | Component |
| 1 Stereo EQ | Stereo EQ | – | – |
| 2 Overdrive | Overdrive (1) | EQ Low High (1) | Pan (1) |
| 3 Distortion | Distortion (1) | EQ Low High (2) | Pan (2) |
| 4 Phaser | Phaser (1) *Note 0-125 but SoundDiver values added to 0-124 Needs checking! | – | PanPlus (Pan and Level) (1) |
| 5 Spectrum | Spectrum (Pan Built In) | – | – |
| 6 Enhancer | Enhancer | EQ Low High (3) | – |
| 7 AutoWah | Autowah | – | – |
| 8 Rotary | Rotary | – | – |
| 9 Compressor | Compressor | EQ Low High (4) | PanPlus (2) |
| 10 Limiter | Limiter | EQ Low High (5) | PanPlus (3) |
| 11 Hexachorus | Hexachorus | – | – |
| 12 Tremolo Chorus | Tremolo Chorus | – | – |
| 13 Space D | Space D | EQ Low High (6) | |
| 14 Stereo Chorus | Stereo Chorus | Filter (1) | EQ Low High (7) |
| 15 Stereo Flanger | Stereo Flanger | Filter (2) | EQ Low High (8) |
| 16 Step Flanger | Step Flanger | EQ Low High (9) | |
| 17 Stereo Delay | StereoDelay (1) *Move to Delay (1) | EQ Low High (10) | |
| 18 Modulation Delay | Delay (2) | Modulation (1) | EQ Low High (11) |
| 19 Triple Tap Delay | Triple Tap Delay | EQ Low High (12) | |
| 20 Quadruple Tap Delay | Quadruple Tap Delay | ||
| 21 Time Control Delay | DelayLite (1) + Rotary Arc (3) | Pan (3) | EQ Low High (13) |
| 22 Voice Pitch Shifter | PitchShift (1) PitchShift (2) | Pan (4) Pan (5) | |
| 23 Feedback Pitch Shifter | Feedback Pitch Shifter | Pan (6) | EQ Low High (14) |
| 24 Reverb | Reverb | EQ Low High (15) | |
| 25 Gate Reverb | Gate Reverb | EQ Low High (16) | |
| 26 Overdrive>Chorus | Overdrive Lite (1) | Pan (7) | Chorus Lite (1) |
| 27 Overdrive>Flanger | Overdrive Lite (2) | Pan (8) | Flanger Lite (1) |
| 28 Overdrive>Delay | Overdrive Lite (3) | Pan (9) | Delay Lite (2) |
| 29 Distortion>Chorus | Distortion Lite (1) | Pan (10) | Chorus Lite (2) |
| 30 Distortion>Flanger | Distortion Lite (2) | Pan (11) | Flanger Lite (2) |
| 31 Distortion>Delay | Distortion Lite (3) | Pan (12) | Delay Lite (3) |
| 32 Enhancer>Chorus | Enhancer (2) | Chorus Lite (3) | |
| 33 Enhancer>Flanger | Enhancer (3) | Flanger Lite (3) | |
| 34 Enhancer>Delay | Enhancer (4) | Delay Lite (4) | |
| 35 Chorus>Delay | Chorus Lite (4) | Delay Lite (5) | |
| 36 Flanger>Delay | Flanger Lite (4) | Delay Lite (6) | |
| 37 Chorus>Flanger | Chorus Lite (5) | Flanger Lite (5) | |
| 38 Chorus/Delay | |||
| 39 Flanger/Delay | |||
| 40 Chorus/Flanger |
The Band Pass Filter on the Tones
While building the band pass filter, I discovered that the JV combines a low and high pass filter which leaves a shape that is not symettrical.
Why it looks “odd”
According to AI, the JV‑1080’s band-pass filter is built from a high-pass slope on the left, a low-pass slope on the right, both converge at the cutoff and esonance adds a peak at the cutoff but the HPF and LPF slopes are not equal:
- The HPF side (left) is smoother
- The LPF side (right) is steeper
- The resonance peak leans slightly toward the LPF side
So the result is a curve that looks like the one above. Quirky, interesting and as many vintage synths are, full of charm and character. No idea how accurate this is and something I may revisit later.
The Peak Filter
Since I researched it, thought I’d add a link here for future reference: SoundonSound (link).