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js80p

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A MIDI driven, performance oriented, versatile synthesizer.

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JS80P
=====

JS80P is a MIDI driven, performance oriented, versatile, free and open source
[synthesizer VST® plugin][plugin] for Linux, Windows, and macOS.

[plugin]: https://en.wikipedia.org/wiki/Virtual_Studio_Technology

JS80P has two oscillators (and a sub-harmonic sine), and a lot of filters,
effects, envelope generators, LFOs, and powerful macros to shape your sound
with subtractive, additive, PWM, FM, PM, and AM synthesis, complete with
polyphonic, monophonic, and split keyboard modes, MPE support, MTS-ESP tuning
support, and analog imperfection emulation.

To download JS80P, visit its website at
[https://attilammagyar.github.io/js80p](https://attilammagyar.github.io/js80p),
or look for the "[Releases](https://github.com/attilammagyar/js80p/releases)"
section at its GitHub page at
[https://github.com/attilammagyar/js80p](https://github.com/attilammagyar/js80p).
(The source code is also available on GitHub under the terms of the GNU General
Public License Version 3.)

See the "[Before Installing: Choosing a Distribution](#install-dist)" section
below to find out which package you need.

> VST is a registered trademark of Steinberg Media Technologies GmbH.

Table of Contents
-----------------

* [Table of Contents](#toc)
 * [Features](#features)
 * [Installation](#install)
    * [Before Installing: Choosing a Distribution](#install-dist)
       * [Linux, Windows](#install-dist-pc)
       * [macOS](#install-dist-mac)
    * [System Requirements](#system-reqs)
       * [General Information](#system-reqs)
       * [Linux](#system-reqs-linux)
          * [Dependencies](#linux-deps)
       * [Windows](#system-reqs-windows)
           * [Dependencies](#windows-deps)
       * [macOS](#system-reqs-macos)
    * [Installing on Linux](#install-linux)
       * [VST 3 Bundle](#vst3-bundle-linux)
       * [VST 3 Single File](#vst3-single-linux)
       * [FST (VST 2.4)](#fst-linux)
       * [Uninstalling](#uninstall-linux)
    * [Installing on Windows](#install-windows)
       * [VST 3 Bundle](#vst3-bundle-windows)
       * [VST 3 Single File](#vst3-single-windows)
       * [FST (VST 2.4)](#fst-windows)
       * [Uninstalling](#uninstall-windows)
    * [Installing on macOS](#install-macos)
       * [VST 3 Bundle](#vst3-bundle-macos)
       * [FST (VST 2.4) Bundle](#fst-macos)
       * [Uninstalling](#uninstall-macos)
    * [Setting up MTS-ESP Tuning Providers](#install-tuning)
       * [Linux](#mts-esp-linux)
       * [Windows, macOS](#mts-esp-windows-macos)
 * [Usage](#usage)
    * [Signal Chain (Simplified)](#usage-signal)
    * [Knobs](#usage-knobs)
       * [Polyphony](#usage-polyphony)
    * [Controllers](#usage-controllers)
    * [Resizing the User Interface](#usage-resizing)
    * [Synthesizer (Synth)](#usage-synth)
       * [Main Panel](#usage-synth-main)
       * [Common Oscillator Settings](#usage-synth-common)
       * [Oscillator 1 (Modulator)](#usage-synth-modulator)
       * [Oscillator 2 (Carrier)](#usage-synth-carrier)
       * [MIDI Polyphonic Expression (MPE)](#usage-synth-mpe)
    * [Effects](#usage-effects)
       * [Volume Controls](#usage-effects-volume)
       * [Distortions](#usage-effects-distortions)
       * [Filters](#usage-effects-filters)
       * [Tape](#usage-effects-tape)
       * [Chorus](#usage-effects-chorus)
       * [Echo](#usage-effects-echo)
       * [Reverb](#usage-effects-reverb)
    * [Macros (MC)](#usage-macros)
    * [Envelope Generators (ENV)](#usage-envelopes)
    * [Low-Frequency Oscillators (LFOs)](#usage-lfos)
    * [Voice Management, Garbage Collector](#usage-gc)
 * [Presets](#presets)
    * [Blank](#preset-blank)
    * [Bright Organ](#preset-bright-organ)
    * [Chariots-Aftertouch](#preset-chariots-aftertouch)
    * [Chariots](#preset-chariots)
    * [Demo 1](#preset-demo-1)
    * [Demo 2](#preset-demo-2)
    * [Kalimba](#preset-kalimba)
    * [Rock Organ](#preset-rock-organ)
    * [Sandstorm](#preset-sandstorm)
    * [Stereo Saw](#preset-stereo-saw)
    * [Filter Sweep 1](#preset-filter-sweep-1)
    * [Filter Sweep 2](#preset-filter-sweep-2)
    * [Filter Sweep 3](#preset-filter-sweep-3)
    * [Bells 1](#preset-bells-1)
    * [Bells 2](#preset-bells-2)
    * [Flute](#preset-flute)
    * [FM Womp 1](#preset-fm-womp-1)
    * [FM Womp 2](#preset-fm-womp-2)
    * [FM Womp 3](#preset-fm-womp-3)
    * [Tech Noir 1](#preset-tech-noir-1)
    * [Tech Noir 2](#preset-tech-noir-2)
    * [Tech Noir 3](#preset-tech-noir-3)
    * [Derezzed](#preset-derezzed)
    * [Ambient Pad 1](#preset-ambient-pad-1)
    * [Ambient Pad 2](#preset-ambient-pad-2)
    * [Ambient Pad 3](#preset-ambient-pad-3)
    * [Saw Piano](#preset-saw-piano)
    * [Saw Piano Reversed](#preset-saw-piano-reversed)
    * [Nightmare](#preset-nightmare)
    * [Tremolo](#preset-tremolo)
    * [Monophonic Saw](#preset-monophonic-saw)
    * [Dystopian Cathedral](#preset-dystopian-cathedral)
    * [Gloomy Brass](#preset-gloomy-brass)
    * [Gloomy Brass Raindrops](#preset-gloomy-brass-raindrops)
    * [Sawyer](#preset-sawyer)
    * [Analog Brass AT](#preset-analog-brass-at)
    * [Analog Brass mod](#preset-analog-brass-mod)
    * [Bouncy](#preset-bouncy)
    * [Lo-fi Keys](#preset-lo-fi-keys)
    * [Analog Brass AT last](#preset-analog-brass-at-last)
    * [Analog Brass mod last](#preset-analog-brass-mod-last)
    * [Dystopiano](#preset-dystopiano)
    * [Expressive Saw](#preset-expressive-saw)
    * [Flute Mono](#preset-flute-mono)
    * [FX Master Enhancer](#preset-fx-master-enhancer)
    * [Creepy Wind](#preset-creepy-wind)
    * [Stalacpipe Organ](#preset-stalacpipe-organ)
    * [Crystal Bowl](#preset-crystal-bowl)
    * [Metal Bowl](#preset-metal-bowl)
    * [Metal Bowl Bright](#preset-metal-bowl-bright)
    * [Analog Brass AT MPE](#preset-analog-brass-at-mpe)
    * [Analog Brass mod MPE](#preset-analog-brass-mod-mpe)
    * [Expressive Saw MPE](#preset-expressive-saw-mpe)
    * [16 Beats Riser](#preset-16-beats-riser)
    * [Ambient Pluck](#preset-ambient-pluck)
    * [Chiptune](#preset-chiptune)
    * [Octave Bass](#preset-octave-bass)
    * [Tremolo PWM Bass](#preset-tremolo-pwm-bass)
 * [Bugs](#bugs)
 * [Frequently Asked Questions](#faq)
    * [Why do you say FST instead of VST 2?](#faq-fst)
    * [Parameters, Envelopes, LFOs, and polyphony: how do they work?](#faq-params-polyphony)
    * [The knobs in the waveform harmonics section don't do anything, is this a bug?](#faq-custom-wave)
    * [How can parameters be automated? What parameters does the plugin export?](#faq-automation)
    * [Aren't Phase Modulation and Frequency Modulation equivalent? Why have both?](#faq-pm-fm)
    * [Where does the name come from?](#faq-name)
    * [FL Studio: How to assign a MIDI CC to a JS80P knob?](#faq-flstudio-midicc)
    * [FL Studio: How to assign Channel Pressure (Aftertouch) to a JS80P knob?](#faq-flstudio-aftertouch)
    * [FL Studio: How to set up the Sustain Pedal?](#faq-flstudio-sustain)
 * [Development](#dev)
    * [Tools](#dev-tools)
    * [Dependencies](#dev-dep)
    * [Compiling](#dev-compile)
    * [Theory](#dev-theory)

Features
--------

* 64 notes polyphony.
    * MIDI Polyphonic Expression (MPE).
 * Last-note priority monophonic mode.
    * Legato playing will either retrigger or smoothly glide to the next note,
      depending on the portamento length setting.
 * Polyphonic and monophonic hold modes to keep notes ringing without a sustain
   pedal.
 * 2 oscillators with 14 waveforms and an additional noise generator:
    * sine,
    * sawtooth,
    * soft sawtooth,
    * inverse sawtooth,
    * soft inverse sawtooth,
    * triangle,
    * soft triangle,
    * square,
    * soft square,
    * waveforms with variable pulse width:
       * pulse,
       * soft pulse,
       * bipolar pulse,
       * soft bipolar pulse,
    * custom.
 * 2 filters for each oscillator, 7 filter types:
    * low-pass,
    * high-pass,
    * band-pass,
    * notch,
    * bell (peaking),
    * low-shelf,
    * high-shelf.
 * Sub-harmonic sine wave for oscillator 1, distortion for oscillator 2.
 * Adjustable oscillator pitch inaccuracy and instability, for analog-like
   liveliness and warmth.
    * Optional synchronization of inaccuracy and instability between the
      oscillators within each polyphonic voice.
 * Microtuning support via the MTS-ESP tuning protocol by
   [ODDSound](https://oddsound.com/).
 * Portamento.
    * Glide from the last note or a set amount.
 * Wavefolder.
 * Split keyboard.
 * Amplitude modulation.
 * Frequency modulation.
 * Phase modulation.
 * Built-in effects:
    * various distortions,
    * 2 more filters,
    * basic tape simulation (saturation, tone coloring, noise, wow and flutter,
      slow-down stop, fast-forward),
    * chorus,
    * stereo echo (with distortion, side-chain compression or gate, and
      reversible delay lines),
    * stereo reverb (with distortion and side-chain compression or gate),
    * volume controls at various points of the signal chain.
 * 12 DAHDSR envelope generators with customizable shapes, freely assignable to
   most of the oscillator, filter, and modulation parameters.
 * 8 low-frequency oscillators (LFO) with optional amplitude envelope and
   polyphony.
    * Variable pulse width in 4 of the LFOs.
 * Filter and envelope imperfection settings for analog-like feel.
 * Freely assignable MIDI controllers and powerful macros.
    * Ability to override the primary function of the sustain pedal, and use it
      as a toggle switch for various parameters and macros.
 * Channel pressure (aftertouch).
    * Optionally with semi-polyphonic aftertouch emulation (even with MIDI
      keyboards that don't have polyphonic aftertouch):
       * last pressed key,
       * oldest pressed key,
       * lowest pressed key,
       * or highest pressed key.
 * Highly expressive built-in presets, including classic synth sounds as well
   as emulations of real instruments.
 * Random preset generator to help explore the capabilities of JS80P.
 * MIDI learn.
 * Logarithmic or linear scale filter cutoff frequencies.
 * Tempo synchronization for envelopes, LFOs, and effects.
 * Use the peak level at various points of the signal chain to control
   parameters:
    * oscillator 1 output,
    * oscillator 2 output,
    * volume control 1 input,
    * volume control 2 input,
    * volume control 3 input.
 * Route external audio into the effects chain of JS80P (in host applications
   which support it).

<a href="#toc">Table of Contents</a>

Installation
------------

### Before Installing: Choosing a Distribution

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.

The source code distribution can be compiled for various CPU architectures and
operating systems. Ready-to-use binary distributions are available for
Linux "`x86_64`" and "`i686`" and Windows "`X64`" and "`X86`" compatible
systems (like most desktop PCs and laptops), and universal binaries are
available for macOS.

<a href="#toc">Table of Contents</a>

#### Linux, Windows

If your CPU supports [AVX instructions](https://en.wikipedia.org/wiki/Advanced_Vector_Extensions)
and you use a 64 bit plugin host application (also known as "`x86_64`" or
"`X64`"), then you should download a JS80P package that is optimized for AVX
compatible processors.

If you have an older computer, or if you get error messages complaining about
"illegal instructions" or experience crashes, then you should go with one of
the [SSE2](https://en.wikipedia.org/wiki/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](https://github.com/attilammagyar/js80p/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.zip`: for modern
      (AVX), 64 bit CPUs.

* `js80p-X_Y_Z-windows-x86_64-sse2-vst3_single.zip`: for older
      (SSE2), 64 bit CPUs.

* `js80p-X_Y_Z-windows-x86-sse2-vst3_single.zip`: for older (SSE2),
      32 bit CPUs.

* VST 3 single file editions for Linux:

* `js80p-X_Y_Z-linux-x86_64-avx-vst3_single.zip`: for modern (AVX),
      64 bit CPUs.

* `js80p-X_Y_Z-linux-x86_64-sse2-vst3_single.zip`: for older
      (SSE2), 64 bit CPUs.

* `js80p-X_Y_Z-linux-x86-sse2-vst3_single.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 code:

* `js80p-X_Y_Z-src.zip`: the source code of the plugin which you can
      compile for any CPU architecture. (See the "[Development](#dev)" section
      for the details.)

<a href="#toc">Table of Contents</a>

#### macOS

The universal packages are built for macOS 11 Big Sur for M1, M2, etc. and
newer CPUs (`arm64`) and for macOS 10.12 Sierra for Intel CPUs (`x86_64` with
[AVX instructions](https://en.wikipedia.org/wiki/Advanced_Vector_Extensions)),
and were tested on macOS 26 Tahoe.

[Compiling from source code](#dev) for older macOS versions and different CPUs
might be possible, but it may require some technical knowledge and a few tweaks
in the `Makefile` and `make/macos-gpp.mk`.

##### Packages

These are the file names that you will find on GitHub on the
"[Releases](https://github.com/attilammagyar/js80p/releases)" page:

* VST 3 bundle: `js80p-X_Y_Z-macos-universal-vst3_bundle-signed.pkg`.

* FST bundle: `js80p-X_Y_Z-macos-universal-fst_bundle-signed.pkg`.

* Source code: `js80p-X_Y_Z-src.zip`. (See the "[Development](#dev)" section
   for the details of compiling.)

<a href="#toc">Table of Contents</a>

### System Requirements

#### General Information

Tested with [REAPER](https://www.reaper.fm) 7.14.

A buffer size of around 6 ms (256 samples at 44.1 kHz sample rate) usually
gives good performance and low latency.

**RAM**: around 300-400 MB is used per instance, depending on settings like
sample rate, buffer sizes, etc.

**Note**: the source code can be compiled for various other platforms than the
ones listed below, thanks to the following contributors:

* [RISC-V 64](https://github.com/aimixsaka/js80p/) by
   [@aimixsaka](https://github.com/aimixsaka/)
 * [LoongArch ](https://github.com/YHStar/js80p) by
   [@YHStar](https://github.com/YHStar)

<a href="#toc">Table of Contents</a>

#### Linux

* **CPU**: SSE2 support, 64 bit (`x86_64`) or  32 bit (`i686`).
    * Separate packages are available for AVX capable 64 bit processors for
      better performance and CPU utilization.

##### Dependencies

Required packages:

* `libxcb`,
 * `libxcb-render`,
 * `libcairo`,
 * either `kdialog` or `zenity`.

These are usually already installed on most desktop systems, but to install
them on Debian based distributions (e.g. Ubuntu), you can use the following
command:

sudo apt-get install libxcb1 libxcb-render0 libcairo2 zenity kdialog

**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 packages, for example:

sudo apt-get install libxcb1:i386 libxcb-render0:i386 libcairo2:i386 zenity kdialog

<a href="#toc">Table of Contents</a>

#### Windows

* **Operating System**: Windows 7 or newer.
 * **CPU**: SSE2 support, 64 bit (`X64`) or 32 bit (`X86`).
    * Separate packages are available for AVX capable 64 bit processors for
      better performance and CPU utilization.

##### Dependencies

Typical Windows systems usually have the MSVC library already installed, but in
case you need it, you can download it from
[Microsoft's website](https://learn.microsoft.com/en-US/cpp/windows/latest-supported-vc-redist).

(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](#install-dist) section for more
information.)

<a href="#toc">Table of Contents</a>

#### macOS

* **Operating System**:
    * M1, M2, etc. and newer CPUs: macOS 11 Big Sur or newer.
    * Intel CPUs: macOS 10.12 Sierra or newer.
 * **CPU**: either M1, M2, or newer, or Intel-based `x86_64` CPUs (with AVX
   support).

<a href="#toc">Table of Contents</a>

### Installing on Linux

#### VST 3 Bundle

1. [Download JS80P](https://attilammagyar.github.io/js80p/index.html#download).
2. Extract the ZIP archive.
3. Copy the entire `js80p.vst3` directory to your VST 3 directory which is
   usually `~/.vst3`.

#### VST 3 Single File

1. [Download JS80P](https://attilammagyar.github.io/js80p/index.html#download).
2. Extract the ZIP archive.
3. Copy the `js80p.vst3` file to your VST 3 directory which is usually
   `~/.vst3`.

#### FST (VST 2.4)

1. [Download JS80P](https://attilammagyar.github.io/js80p/index.html#download).
2. Extract the ZIP archive.
3. Copy the `js80p.so` file to the directory where you keep your VST 2.4
   plugins.
4. 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.

#### Uninstalling

1. Use a file manager application to locate JS80P in your VST 2.4 or VST 3
   folder where you installed it.
2. Delete it or drag it to the Trash.

<a href="#toc">Table of Contents</a>

### Installing on Windows

#### VST 3 Bundle

1. [Download JS80P](https://attilammagyar.github.io/js80p/index.html#download).
2. Extract the ZIP archive.
3. Copy the entire `js80p.vst3` folder to your VST 3 folder which is
   usually `C:\Users\YourUserName\AppData\Local\Programs\Common\VST3`.

#### VST 3 Single File

1. [Download JS80P](https://attilammagyar.github.io/js80p/index.html#download).
2. Extract the ZIP archive.
3. Copy the `js80p.vst3` file to your VST 3 folder which is usually
   `C:\Users\YourUserName\AppData\Local\Programs\Common\VST3`.

#### FST (VST 2.4)

1. [Download JS80P](https://attilammagyar.github.io/js80p/index.html#download).
2. Extract the ZIP archive.
3. Copy the `js80p.dll` file to the folder where you keep your VST 2.4 plugins.
4. 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\Steinberg\VstPlugins` folder.

#### Uninstalling

1. Use File Explorer to locate JS80P in your VST 2.4 or VST 3 folder where you
   installed it.
2. Delete it or drag it to the Recycle Bin.

<a href="#toc">Table of Contents</a>

### Installing on macOS

#### VST 3 Bundle

1. [Download JS80P](https://attilammagyar.github.io/js80p/index.html#download).
2. Locate the downloaded `.pkg` file in Finder and double click on it.
3. Follow the on-screen installation instructions.
4. JS80P will be installed in the `/Library/Audio/Plug-Ins/VST3` folder.

#### FST (VST 2.4) Bundle

#### Uninstalling

1. Use Finder to locate the `js80p.vst` or `js80p.vst3` package in the
   `/Library/Audio/Plug-Ins/VST` or `/Library/Audio/Plug-Ins/VST3` folder.
2. Drag it to the Trash.

<a href="#toc">Table of Contents</a>

### Setting up MTS-ESP Tuning Providers

#### Linux

As of February, 2026, there is no official distribution of the MTS-ESP tuning
provider plugins by [ODDSound](https://oddsound.com/) for Linux, however, there
are plugins which can act as a tuning provider, for example,
[Surge XT](https://surge-synthesizer.github.io/).

To use MTS-ESP, you may have to download the `libMTS.so` library from the
[ODDSound/MTS-ESP GitHub repository](https://github.com/ODDSound/MTS-ESP/tree/main/libMTS/Linux),
and put it in the `/usr/local/lib` directory if it is not already installed on
your system. As of February, 2026, `libMTS.so` is not available for `x86`
Linux systems.

#### Windows, macOS

Download and install either the free [MTS-ESP Mini](https://oddsound.com/mtsespmini.php)
plugin or the paid [MTS-ESP Suite](https://oddsound.com/mtsespsuite.php) plugin
by [ODDSound](https://oddsound.com/). 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 and install the
libMTS dynamic library from the [ODDSound/MTS-ESP GitHub repository](https://github.com/ODDSound/MTS-ESP/tree/main/libMTS).
See the [installation instructions in the README file](https://github.com/ODDSound/MTS-ESP?tab=readme-ov-file#libmts).

<a href="#toc">Table of Contents</a>

Usage
-----

### Signal Chain (Simplified)

(x64)
    Oscillator --> Filter --> Wavefolder --> Filter --> Volume ---------> Mixer
                     ^                                       |            ^ ^ |
                     |                                       |            | | |
    Sub-oscillator --+                                       |   Aux      | | |
                                                             |   Input ---+ | |
     (Frequency, Phase, and Amplitude Modulation)            |              | |
     +-------------------------------------------------------+              | |
     |                                                                      | |
     v                                                                      | |
     Oscillator                                                             | |
     |                                                                      | |
     v                                                          (x64)       | |
     Filter --> Wavefolder --> Distortion --> Filter --> Volume ------------+ |
                                                                              |
            +-----------------------------------------------------------------+
            |
            v
            Volume --> Overdrive --> Distortion --> Filter --> Filter --+
                                                                        |
            +-----------------------------------------------------------+
            |
            v
            Volume --> Tape (1) --> Chorus --> Echo --> Reverb --> Tape (2) --+
                                                                              |
            +-----------------------------------------------------------------+
            |
            v
            Volume --> Out

Note: the tape effect can be placed either before the chorus or after the
reverb in the chain.

<a href="#toc">Table of Contents</a>

### Knobs

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](#usage-controllers)
   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.

<a href="#toc">Table of Contents</a>

#### Polyphony

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)](#usage-synth) tab can be changed to be polyphonic or
to emulate semi-polyphonic behaviour by associating them with
[envelope generators](#usage-envelopes) or
[low-frequency oscillators](#usage-lfos) that have envelope generators
associated with them.

<a href="#toc">Table of Contents</a>

### Controllers

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](#usage-knobs):

* **MIDI CC**: [MIDI Control Change](https://midi.org/midi-1-0-control-change-messages)
   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:

* [FL Studio: How to assign a MIDI CC to a JS80P knob?](#faq-flstudio-midicc)
    * [FL Studio: How to use the Sustain Pedal?](#faq-flstudio-sustain)

* **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](https://midi.org/midi-1-0-control-change-messages)
   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](#usage-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 [velocity sensitivity](#usage-synth-common-vels) parameter), but it can
   also be used for controlling other parameters as well. For example, by
   assigning this controller to [filter cutoff frequency](#usage-synth-common-freq)
   parameters (especially with using [macros](#usage-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:

* [FL Studio: How to assign Channel Pressure (Aftertouch) to a JS80P knob?](#faq-flstudio-aftertouch)

* **Macros**: MIDI-based controller values go from 0% to 100% on a linear
   scale, which is often quite limiting. [Macros](#usage-macros) are JS80P's
   way of customizing how a MIDI event affects a certain parameter.

* **LFOs**: see [low-frequency oscillators](#usage-lfos).

* **Envelopes**: see [envelope generators](#usage-envelopes).

<a href="#toc">Table of Contents</a>

### Resizing the User Interface

Drag the bottom right corner of the window to resize the user interface.

<a href="#toc">Table of Contents</a>

### Synthesizer (Synth)

This tab contains the foundational settings of the sound.

#### Main Panel

##### Import Patch, Export Patch

The leftmost and rightmost icons at the top left corner allow loading and
saving synth settings (often called "patches" or "presets") as ordinary files,
e.g. for transferring sounds across projects, different host applications,
computers, etc.

##### Randomize Patch

The dice icon in the middle at the top left corner generates a random synth
configuration (within reason) and sets up randomized effects and expressions.
Try playing notes with varying velocities, turn the modulation wheel or the
pitch wheel, or use aftertouch (channel pressure) and timbre control
(MIDI CC 74, also known as "sound controller 5", "brightness", "filter cutoff",
MPE slide, etc.) to find out how the sound reacts.

##### Note Handling

Click on the black bar below the Import Patch, Randomize 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 [portamento length](#usage-synth-common-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](#usage-controllers) 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](#usage-controllers) 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](#usage-gc). One way to achieve that is
   to assign an [envelope generator](#usage-envelopes) 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](#usage-controllers) 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](#usage-controllers) controller is still
   maintained, allowing the pedal to be used as a 0% / 100% switch without
   releasing the sustained notes.

* **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](#usage-controllers) controller is still
   maintained, allowing the pedal to be used as a 0% / 100% switch without
   releasing the sustained notes.

##### 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 [operating mode](#usage-synth-main-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 [operating mode](#usage-synth-main-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 [operating mode](#usage-synth-main-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 [operating mode](#usage-synth-main-mode) knob is in the
_Mix&Mod_ position.

<a href="#toc">Table of Contents</a>

#### Common Oscillator Settings

##### Tuning

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](#install-tuning) 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](https://en.wikipedia.org/wiki/Equal_temperament)
   is used.

* **N MTS-ESP**: use an [external tuning provider](#install-tuning) 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](#usage-synth-common-tuning)
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
[operating mode](#usage-synth-main-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](#usage-synth-common-tuning)
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
[operating mode](#usage-synth-main-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](#usage-synth-common-tuning)
mixes white noise into the output of the oscillator, independently from the
oscillator's amplitude.

##### Fine Detune x4 (FIN x4)

The [fine detune](#usage-synth-common-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](#usage-synth-common-prd) parameter.

When the synthesizer is in [MONO](#usage-synth-main-nh) 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 [portamento length](#usage-synth-common-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 [filter cutoff frequency](#usage-synth-common-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 factor](#usage-synth-common-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 [logarithmic Q factor](#usage-synth-common-lgq)
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 [logarithmic Q factor](#usage-synth-common-lgq)
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](#usage-synth-common-freq) are attenuated. The
   [Q factor](#usage-synth-common-q) controls the resonance.

* **HP**: high-pass filter, the frequencies below the
   [cutoff frequency](#usage-synth-common-freq) are attenuated. The
   [Q factor](#usage-synth-common-q) controls the resonance.

* **BP**: band-pass filter, the frequencies outside a band around the
   [cutoff frequency](#usage-synth-common-freq) are filtered out. The
   [Q factor](#usage-synth-common-q) 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](#usage-synth-common-freq) are filtered out. The
   [Q factor](#usage-synth-common-q) 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](#usage-synth-common-freq). The
   [Q factor](#usage-synth-common-q) 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](#usage-synth-common-freq).

* **HS**: high-shelf filter, boosts or attenuates frequencies above the
   [cutoff frequency](#usage-synth-common-freq).

##### 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 [filter type](#usage-synth-common-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 [filter type](#usage-synth-common-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.

* **Pulse**: similar to the square wave, but the length of the up part (the
   duty cycle) within a period is variable using the
   [pulse width](#usage-synth-common-pw) parameter.

* **Soft Pls**: a softer, warmer version of the pulse wave. Less prone to
    aliasing when various modulations and wave folding are engaged.

* **BiPoPu**: bipolar pulse wave, a staircase-like waveform. Also similar to
   the square wave, but when the signal flips between its two extremes, it can
   stay for a while in the center, depending on the
   [pulse width](#usage-synth-common-pw).

* **Soft BPP**: a softer, warmer version of the bipolar pulse 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.

**Notes**:

* It is usually a good idea to use a high-pass filter around 20 Hz to control
   the low-end when using the pulse, soft pulse, bipolar pulse, or soft bipolar
   pulse waveforms.

* The pulse, soft pulse, bipolar pulse, and soft bipolar pulse waveforms
   collapse to complete silence when the [pulse width](#usage-synth-common-pw)
   parameter is at the 0% or 100% extremes. When the pulse width is 50%, these
   waveforms are equivalent to a square or a soft square waveform respectively.

##### Pulse Width (PW)

Control the duty cycle of the pulse, soft pulse, bipolar pulse, and soft
bipolar pulse [waveforms](#usage-synth-common-wav). Has no effect for any other
waveform. When pushed to the 0% or 100% extremes, the wave will collapse into
complete silence. At 50%, the waveform will be equivalent to a square or a soft
square waveform respectively.

<a href="#toc">Table of Contents</a>

#### Oscillator 1 (Modulator)

##### Subharmonic Amplitude (SUB)

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](#usage-effects-distortions) on the
[Effects](#usage-effects) tab, but with polyphonic controller capabilities.

<a href="#toc">Table of Contents</a>

#### MIDI Polyphonic Expression (MPE)

[MPE](https://en.wikipedia.org/wiki/MIDI#MIDI_Polyphonic_Expression) is an
extension of the [MIDI standard](https://en.wikipedia.org/wiki/MIDI) which
allows various expressions like pitch bend, channel pressure, timbre control
(CC 74), etc. to be applied differently to individual polyphonic notes by
assigning separate MIDI channels for each note.

To use MPE, you need an MPE-capable MIDI input device, or alternatively, you
can use the [MPE Emulator](https://github.com/attilammagyar/mpe-emulator)
plugin to enhance the functionality of a non-MPE device.

The MPE protocol dedicates one of the 16 MIDI channels to global messages which
affect all sounding notes (manager channel), so the remaining up to 15
channels can be used for the individual notes (member channels). The manager
channel can be either the 1st channel (lower zone) or the 16th channel (upper
zone). This flexibility allows sharing a single MIDI connection between two MPE
input devices and two synthesizers.

The MPE configuration of JS80P can be set by clicking on or using the mouse
wheel over the black box next to the MPE label in the header section of
[oscillator 1](#usage-synth-modulator). The available options are:

* **OFF**: MPE is not used, all [macros](#usage-macros), expressions,
   controllers, and MIDI CC are [paraphonic](#usage-polyphony) except when
   used in [envelope generator](#usage-envelopes) settings.

* **Lo 15** - **Lo 1**: turn on MPE, use channel 1 as the manager channel,
   and allocate the respective number of lower channels for polyphonic notes.
   Ignore all messages from the rest of the channels. Voice parameters which
   accept [envelope generators](#usage-envelopes) (including the settings of
   the envelope generators themselves), as well as the settings of
   [low-frequency oscillators](#usage-lfos) which have an amplitude envelope
   assigned to them, will not be affected by [controller](#usage-controllers)
   events that originate from any other member channel than their respective
   one. (Only their own member channel and the manager channel will affect
   them.)

* **Up 15** - **Up 1**: same as above, but the manager channel is the 16th
   one, and the member channels are allocated from the upper region.

**Notes**:

* It is not recommended to send `Note On` MIDI messages to JS80P over
   the MPE management channel, because JS80P copies control messages from the
   member channels to the manager channel as well (without affecting the other
   member channels) in order to keep the associated
   [controllers](#usage-controllers) usable for paraphonic and global
   parameters as well. (Though this may violate MPE specifications, in practice,
   it makes it easier to utilize JS80P's capabilities.)

* MPE Configuration Messages (MCM) are ignored, JS80P's MPE settings can only
   be changed via the user interface.

<a href="#toc">Table of Contents</a>

### Effects

#### Volume Controls

##### Auxiliary Input Volume (Aux In VOL)

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](#usage-controllers).

**Note**: the first volume controller goes up to 200% so that you can boost the
signal which is going into the
[distortion effects](#usage-effects-distortions).

#### 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.

* **sin x**: very gentle saturation turning into soft clipping at higher
   signal levels.

* **x^2**: dynamic range expander using a signed quadratic curve with soft
   clipping at higher signal levels.

* **sqrt(x)**: heavy fuzz, a waveshaper which aggressively pulls the signal
   away from zero.

* **x^3**: a more prominent dynamic range expander using a cubic curve with
   soft clipping at higher signal levels.

* **cbrt(x)**: even heavier fuzz, pulling the signal away from zero more
   aggressively.

* **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](#usage-effects-echo) and the
   [reverb](#usage-effects-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.

#### Filters

See [oscillator filters](#usage-synth-common-filter).

#### Tape

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](#usage-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](#faq-automation): assign
a MIDI controller (CC) (optionally through a [macro](#usage-macros)) to the
Stop / Start parameter, and automate that in the host application.

##### Wow and Flutter Amplitude (W&amp;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](#usage-effects-tape-wnf).

##### 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](#usage-effects-tape-wnf) 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](#usage-effects-distortions) 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](#usage-effects-volume) and the
[chorus](#usage-effects-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](#usage-effects-reverb)
and the last [volume control](#usage-effects-volume). With this setup, a tape
stop will also include the echo and reverb tails.

<a href="#toc">Table of Contents</a>

#### Chorus

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](#usage-effects-chorus-freq) parameter.

##### Logarithmic Filter Cutoff Frequencies (LG FILTER FREQS)

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](#usage-effects-chorus-wid) 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.

<a href="#toc">Table of Contents</a>

#### Echo

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](#usage-effects-echo-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.

##### Logarithmic Filter Cutoff Frequencies (LG FILTER FREQS)

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](#usage-effects-echo-dist) 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](#usage-lfos)
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](#usage-effects-echo-cth) 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](#usage-effects-echo-cth), 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](#usage-effects-echo-cth), so the sound can be
   very atmospheric while allowing precise control over the echo tail length
   and drop-off.

##### Side-chain Compression

The following information applies when the
[side-chain compression mode](#usage-effects-echo-cm) is set to **COMP**.

###### Side-chain Compression Threshold (CTH)

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.

##### Side-chain Expansion (Gate)

The following information applies when the
[side-chain compression mode](#usage-effects-echo-cm) is set to **EXPD**.

###### Side-chain Expansion Threshold (CTH)

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](#usage-effects-echo-erel)
parameter.

##### Wet Volume (WET)

Control the loudness of the echo signal.

##### Dry Volume (DRY)

Control the loudness of the original, unmodified input signal.

<a href="#toc">Table of Contents</a>

#### Reverb

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](#usage-effects-echo), 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.

**Note**: bigger is not always better. For example, for transient-heavy sounds
like plucks and drums, combining a small room size setting with a big
[reflectivity](#usage-effects-reverb-refl) and careful dampening often produces
nicer, more diffuse reverb tails than the other way around. (Combine this with
[side-chain expansion](#usage-effects-echo-cm) to get an 1980s style gated
reverb effect.)

##### 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.

<a href="#toc">Table of Contents</a>

### Macros (MC)

Macros are [controllers](#usage-controllers) that can combine and transform
other momentary value based controllers, like
[MIDI CC](https://midi.org/midi-1-0-control-change-messages), 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)](#usage-macros-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](#usage-macros-in).

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](#usage-macros-in) 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](#usage-macros-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](#usage-macros-in) or
its [scale](#usage-macros-scl) parameter is at the 0% position.

#### Maximum Value (MAX)

The macro will output this value when both its [input](#usage-macros-in) and
its [scale](#usage-macros-scl) parameters are at the 100% position.

#### Scale (SCL)

Scale the [input](#usage-macros-in) by this amount.

#### Distortion (DIST)

Tell how far the macro should diverge from the linear path between its
[minimum](#usage-macros-min) and [maximum](#usage-macros-max) values.

#### Randomness (RAND)

Set how much the macro's value should be randomized while still staying between
the [minimum](#usage-macros-min) and [maximum](#usage-macros-max) values.

<a href="#toc">Table of Contents</a>

### Envelope Generators (ENV)

An envelope generator is a [controller](#usage-controllers) 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](#usage-synth) 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](#usage-envelopes-scl) 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](#usage-controllers), MIDI CC, or [macros](#usage-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](#usage-synth-main-nh).

* 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 href="#toc">Table of Contents</a>

### Low-Frequency Oscillators (LFOs)

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](#usage-lfos-freq) parameter of the LFO between a
logarithmic and a linear scale.

#### Center (CENTER)

Make the LFO oscillate around the midpoint of the [minimum](#usage-lfos-min)
and [maximum](#usage-lfos-max) values instead of between the two extremes.
This makes a difference when the [amplitude](#usage-lfos-amp) 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](#usage-lfos-center) switch in
the header row of an LFO, or use the mouse wheel while holding the cursor above
it to associate an [envelope generator](#usage-envelopes) with the LFO. When an
LFO with an amplitude envelope is assigned to a
[synthesis parameter](#usage-synth) 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](#usage-lfos-freq) 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](#usage-synth-common-wav) of the audio-range
oscillators, except that LFOs don't have the "Custom" option, and only half of
the available LFOs offer variable pulse width waveforms.

**Note**: when using square, pulse, or bipolar pulse waveforms or their soft
versions, then the oscillator may not reach the configured
[minimum](#usage-lfos-min) and [maximum](#usage-lfos-max) values perfectly
without adding some saturation using the [distortion](#usage-lfos-dist)
parameter.

#### Pulse Width (PW)

Same as the [pulse width](#usage-synth-common-pw) parameter of the audio-range
oscillators.

#### Frequency (FREQ)

Set how many oscillations to do per second (or per beat, when the
[tempo synchronization](#usage-lfos-bpm) 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](#usage-lfos-max) 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](#usage-lfos-min) value, then the waveform is flipped upside down.

#### Amplitude (AMP)

Set the amplitude of the oscillation.

#### Distortion (DIST)

Saturate the waveform using a soft clipping distortion.

#### Randomness (RAND)

Randomize the waveform.

<a href="#toc">Table of Contents</a>

### Voice Management, Garbage Collector

When a new note is triggered on a synthesizer that is running out of available
polyphonic voices, it can do one of two actions:

* ignore the new note completely,

* or "steal" a voice, which means that it picks one of the active voices and
   makes it play the new note instead of the one that it was already playing.

Due to the high number of available polyphonic voices, JS80P usually goes with
the first option, except in two cases:

* a monophonic [note handling mode](#usage-synth-main-nh) is selected,

* 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](#usage-synth-main-mode) configuration,

* or its amplitude (and in case of [oscillator 1](#usage-synth-modulator),
      its subharmonic amplitude) or its volume has no
      [controller](#usage-controllers) and is configured to be 0%.

* or its amplitude (and its subharmonic amplitude) or its volume is
      controlled by an [envelope generator](#usage-envelopes), 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.

<a href="#toc">Table of Contents</a>

Presets
-------

### 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 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.

### Filter Sweep 1

Sawtooth wave with a velocity sensitive filter sweep. Aftertouch and mod wheel
increase the vibrato, the sustain pedal lengthens the decay.

### Filter Sweep 2

Square wave with a velocity sensitive filter sweep. Aftertouch and mod wheel
increase the vibrato, the sustain pedal lengthens the decay.

### Filter Sweep 3

Another variation of the filter sweep sawtooth wave. 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 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 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 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

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

Thick sawtooth sound. Aftertouch adds vibrato and harmonics, mod wheel opens up
the filter and adds a tremolo effect. The filter 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.

### Crystal Bowl

Singing bowls (standing bells) made of crystal. High velocity notes
emulate a struck bowl which rings out and fades naturally, while low velocity
notes evoke a bowl that slowly begins to resonate while the mallet is circling
its rim. The mod wheel and aftertouch introduce different kinds of subtle
instabilities to the sound.

### Metal Bowl

Metallic sounding singing bowls (standing bells). High velocity notes
emulate a struck bowl which rings out and fades naturally, while low velocity
notes evoke a bowl that slowly begins to resonate while the mallet is circling
its rim. The mod wheel and aftertouch introduce different kinds of subtle
instabilities to the sound.

### Metal Bowl Bright

Bright, metallic sounding singing bowls (standing bells). High velocity notes
emulate a struck bowl which rings out and fades naturally, while low velocity
notes evoke a bowl that slowly begins to resonate while the mallet is circling
its rim. The mod wheel and aftertouch introduce different kinds of subtle
instabilities to the sound.

### Analog Brass AT MPE

A version of the Analog Brass AT preset that is optimized for MIDI Polyphonic
Expression (MPE). Note: the preset does not turn on or modify MPE settings.

### Analog Brass mod MPE

A version of the Analog Brass mod preset that is optimized for MIDI Polyphonic
Expression (MPE). Note: the preset does not turn on or modify MPE settings.

### Expressive Saw MPE

A version of the Expressive Saw preset that is optimized for MIDI Polyphonic
Expression (MPE). Note: the preset does not turn on or modify MPE settings.

### 16 Beats Riser

Tempo-synced 16 beats long risers. Notes below middle C make a white noise
swell followed by a reverb-based impact, notes above middle C make a tonal
riser covering 6 octaves, starting 4 octaves below the triggered note and
ending 2 octaves above it. The mod wheel controls filter resonance.

### Ambient Pluck

Dark ambient pluck with distinct response to note velocity and a sustained sub
oscillator for low notes. The mod wheel adds high-passed echos and reverb
(with a little bit of side-chain compression), and aftertouch adds more
harmonics to high notes and makes bass notes growl. Pitch bends, besides
affecting the currently sounding notes, also change the pitch of the ambience.

### Chiptune

Pulse-width-modulated chiptune sound with a healthy dose of pitch modulation.
The mod wheel controls the modulation amount, note velocity controls loudness
and brightness, and aftertouch adds emphasis.

### Octave Bass

A bass jumping up and down between two octaves. The mod wheel adds a vibrato
effect, while aftertouch brightens the sound and shortens the notes.

### Tremolo PWM Bass

Ever evolving pulse width modulated bass sound. The mod wheel adds a tremolo
effect, aftertouch slightly brightens and emphasizes the sound while also
adjusting the tremolo's timing.

<a href="#toc">Table of Contents</a>

Bugs
----

If you find bugs, please report them at
[https://github.com/attilammagyar/js80p/issues](https://github.com/attilammagyar/js80p/issues).

When reporting an issue, please provide at least the following information:

* What JS80P version are you using?
 * What host application or DAW are you using?
 * What operating system are you using?
 * How is JS80P set up?
 * How can the bug be reproduced, what steps can trigger it?

<a href="#toc">Table of Contents</a>

Frequently Asked Questions
--------------------------

### Why do you say FST instead of VST 2?

> VST is a registered trademark of Steinberg Media Technologies GmbH.

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](https://git.iem.at/zmoelnig/FST).

<a href="#toc">Table of Contents</a>

### 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](#usage-macros), or an [LFO](#usage-lfos) to it and
adjust the parameter via that, or if you use
[automation in your plugin host application](#faq-automation), then that
parameter will be shared among all sounding voices.

But if you assign an [envelope generator](#usage-envelopes) as a
[controller](#usage-controllers) 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](#usage-envelopes-update) for the envelope generator.

Similarly, if you assign an [LFO](#usage-lfos) to a parameter which can accept
control from [envelope generators](#usage-envelopes), and the LFO is associated
with an [amplitude envelope](#usage-lfos-ampenv), 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](#usage-controllers) or a [macro](#usage-macros)'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](#usage-synth-common-freq) 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](#usage-envelopes-scl) parameter of the
envelope, and assign the envelope to control the parameter.

<a href="#toc">Table of Contents</a>

### 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 _Custom_
[waveform](#usage-synth-common-wav) 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.

<a href="#toc">Table of Contents</a>

### 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][midicc] (MIDI CC) message to a parameter (or use _MIDI
Learn_) as a [controller](#usage-controllers), 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.

[midicc]: https://midi.org/midi-1-0-control-change-messages

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.

<a href="#toc">Table of Contents</a>

### 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](https://github.com/attilammagyar/js80p/blob/main/doc/pm-fm-equivalence.pdf).

<a href="#toc">Table of Contents</a>

### Where does the name come from?

In 2022, I started developing a browser-based synthesizer using the [Web Audio
API][webaudio], mostly being inspired by the [Yamaha CS-80][cs80]. I named that
project [JS-80][js80]. 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.

[webaudio]: https://www.w3.org/TR/webaudio/
  [cs80]: https://en.wikipedia.org/wiki/Yamaha_CS-80
  [js80]: https://attilammagyar.github.io/toys/js-80/

<a href="#toc">Table of Contents</a>

### FL Studio: How to assign a MIDI CC to a JS80P knob?

[FL Studio](https://www.image-line.com/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)][midicc2] 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.)

[midicc2]: https://midi.org/midi-1-0-control-change-messages

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:

1. Click on the small triangle in the top left corner of the plugin window of
   JS80P, and select the "_Browse parameters_" menu item.

2. Find the parameter named "_Vol_" (FST) or "_MIDI CC 7 (Volume)_" (VST 3) in
   the browser. Click on it with the right mouse button.

3. Select the "_Link to controller..._" menu item.

4. Turn the knob on your MIDI keyboard until FL Studio recognizes it.

5. Now click on the area below the _Phase Modulation (PM)_ virtual knob in
   JS80P's interface.

6. Select either the "_MIDI CC 7 (Volume)_" option, or the "_MIDI Learn_"
   option, and turn the physical knob on your MIDI keyboard again.

<a href="#toc">Table of Contents</a>

### FL Studio: How to assign Channel Pressure (Aftertouch) to a JS80P knob?

[FL Studio](https://www.image-line.com/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](#faq-flstudio-midicc).
For example, to make Channel Pressure control the _Phase Modulation (PM)_
virtual knob in JS80P, you have to do the following steps:

1. Click on the small triangle in the top left corner of the plugin window of
   JS80P, and select the "_Browse parameters_" menu item.

2. Press a piano key on your MIDI keyboard, and hold it down without triggering
   aftertouch.

3. 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.

4. Select the "_Link to controller..._" menu item (keep holding the piano key).

5. Now push the piano key harder to trigger aftertouch.

6. Click on the area below the _Phase Modulation (PM)_ virtual knob in
   JS80P's interface.

7. Select the "_Channel Aftertouch_" option.

<a href="#toc">Table of Contents</a>

### FL Studio: How to set up the Sustain Pedal?

[FL Studio](https://www.image-line.com/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)][midicc3] 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.

[midicc3]: https://midi.org/midi-1-0-control-change-messages

1. Open "_Options / MIDI settings_" from the main menu.

2. Turn off the "_Foot pedal controls note off_" option.

3. Close the _Settings_ dialog window.

4. Click on the small triangle in the top left corner of the plugin window of
   JS80P, and select the "_Browse parameters_" menu item.

5. 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.

6. Select the "_Link to controller..._" menu item.

7. Press the pedal.

<a href="#toc">Table of Contents</a>

Development
-----------

This section contains information for those who downloaded the source code of
JS80P and want to compile it themselves.

### Tools

#### Linux

* [GNU Make 4.3+](https://www.gnu.org/software/make/)
 * [G++ 11.4.0+](https://gcc.gnu.org/)
 * [MinGW-w64 10+](https://www.mingw-w64.org/)
 * [Valgrind 3.18.1+](https://valgrind.org/)
 * [Cppcheck 2.7](https://github.com/danmar/cppcheck)
 * [Doxygen 1.9.1+](https://www.doxygen.nl/)

#### Windows

* [WinLibs MinGW-w64 13.1.0+ (MSVCRT)](https://winlibs.com/)
 * [Doxygen 1.9.6+](https://www.doxygen.nl/)

#### macOS

* JS80P can be built using the standard Xcode and BSD command-line development
   tools. Install them by running `xcode-select --install` in a Terminal
   window.

### Dependencies

The `lib/` directory contains code from the following projects:

* [FST](https://git.iem.at/zmoelnig/FST)
 * [MTS-ESP](https://github.com/ODDSound/MTS-ESP)
 * [VST 3 SDK](https://github.com/steinbergmedia/vst3sdk)

**Note**: the `lib/` directory does not include the whole SDK packages, it only
contains what is required for compiling JS80P.

#### Linux

To compile JS80P on e.g. Ubuntu Linux 22.04, the following packages need to be
installed:

apt-get install \
        binutils \
        build-essential \
        cppcheck \
        g++ \
        libcairo2-dev \
        libx11-dev \
        libxcb1-dev \
        libxcb-render0-dev

Additionally, to compile the 32 bit version, the following packages are also
necessary (don't forget to run `sudo dpkg --add-architecture i386` if you have
not already done that):

apt-get install \
        gcc-multilib \
        g++-multilib \
        libcairo2-dev:i386 \
        libx11-dev:i386 \
        libxcb1-dev:i386 \
        libxcb-render0-dev:i386

The Windows version can also be built on Linux after installing the following:

apt-get install mingw-w64

### Compiling

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](#install) 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
    SET CXX_WARNINGS=

mingw32-make.exe check
    mingw32-make.exe all

To optimize JS80P for the CPU on which it is compiled, insert the following
variable to the beginning of the above: `SET INSTRUCTION_SET=native`.

#### 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 CXX_WARNINGS= make all
    TARGET_PLATFORM=i686-w64-mingw32 CXX_WARNINGS= make all
    TARGET_PLATFORM=x86_64-gpp CXX_WARNINGS= make all
    TARGET_PLATFORM=i686-gpp CXX_WARNINGS= make all
    TARGET_PLATFORM=riscv64-gpp CXX_WARNINGS= make all
    TARGET_PLATFORM=loongarch64-gpp CXX_WARNINGS= make all

Insert `INSTRUCTION_SET=native` to the beginning of the above commands to
optimize JS80P for the CPU on which it is compiled.

Run `make check` in a similar fashion to run unit tests.

#### macOS

If you have a working set of the standard Xcode and BSD command-line
development tools (e.g. you have successfully run `xcode-select --install`),
then the following commands should compile JS80P for your system:

cd js80p-4_0_0-src
    export DEV_OS=macos
    export TARGET_PLATFORM=gpp
    export CXX_WARNINGS=
    export SDKROOT=$(xcrun --show-sdk-path)
    make all

Run `make check` in a similar fashion to run unit tests.

After successful compilation, you will have to copy either the entire
`js80p.vst` or the entire `js80p.vst3` directory to the appropriate plugin
directory under `/Users/YOUR-NAME/Library/Audio/Plug-Ins`, e.g.:

mkdir -p ~/Library/Audio/Plug-Ins/VST
    cp -rv dist/js80p-dev-macos--native-fst/js80p.vst ~/Library/Audio/Plug-Ins/VST

or:

mkdir -p ~/Library/Audio/Plug-Ins/VST3
    cp -rv dist/js80p-dev-macos--native-vst3_single/js80p.vst3 ~/Library/Audio/Plug-Ins/VST3

Note: some host applications don't look for VST plugins in the
`/Users/YOUR-NAME/Library/Audio/Plug-Ins` directory by default. Please refer to
the documentation of your host application to find out how to configure it to
do so, or copy the compiled JS80P plugin to the system plugin directory using
`sudo`, for example:

sudo mkdir -p /Library/Audio/Plug-Ins/VST
    sudo cp -rv dist/js80p-dev-macos--none-fst/js80p.vst /Library/Audio/Plug-Ins/VST

<a href="#toc">Table of Contents</a>

### Theory

* [Wavetable Synthesis from McGill University](https://www.music.mcgill.ca/~gary/307/week4/wavetables.html)

* [Bandlimited Synthesis of Classic Waveforms from McGill University](https://www.music.mcgill.ca/~gary/307/week5/bandlimited.html)

* [W3C Web Audio API (2021. June 17)](https://www.w3.org/TR/2021/REC-webaudio-20210617/)

* [W3C's adaptation of Audio-EQ-Cookbook.txt by Robert Bristow-Johnson](https://www.w3.org/TR/2021/NOTE-audio-eq-cookbook-20210608/)

* [Amplitude Modulation from Sound on Sound](https://www.soundonsound.com/techniques/amplitude-modulation)

* [An Introduction To Frequency Modulation from Sound on Sound](https://www.soundonsound.com/techniques/introduction-frequency-modulation)

* [Reducing the Aliasing of Nonlinear Waveshaping Using Continuous-Time Convolution by Julian D. Parker, Vadim Zavalishin, Efflam Le Bivic](https://www.dafx.de/paper-archive/2016/dafxpapers/20-DAFx-16_paper_41-PN.pdf) (a.k.a. Antiderivative Antialiasing, ADAA)

* [Freeverb (by Jezar at Dreampoint) explained in Physical Audio Signal Processing, by Julius O. Smith III](https://ccrma.stanford.edu/~jos/pasp/Freeverb.html)

* [Lock-Free Programming With Modern C++ by Timur Doumler](https://www.youtube.com/watch?v=qdrp6k4rcP4)

* [Lagrange Interpolation with Equally-Spaced Nodes from NIST Digital Library of Mathematical Functions](https://dlmf.nist.gov/3.3#ii)

* [Using Faster Exponential Approximation from CodingForSpeed.COM ](https://codingforspeed.com/using-faster-exponential-approximation/)

* [Multiply-with-carry pseudorandom number generator](https://en.wikipedia.org/wiki/Multiply-with-carry_pseudorandom_number_generator)

* [The World's Smallest Hash Table by Orson Peters](https://orlp.net/blog/worlds-smallest-hash-table/)

* [Horner's method for polynomial evaluation](https://en.wikipedia.org/wiki/Horner%27s_method)

* [Splines](https://en.wikipedia.org/wiki/Spline_%28mathematics%29)

* [Matrix inversion](https://en.wikipedia.org/wiki/Invertible_matrix)

* [Chebyshev polynomials](https://en.wikipedia.org/wiki/Chebyshev_polynomials)

* [Low-pass filter](https://en.wikipedia.org/wiki/Low-pass_filter#Discrete-time_realization)

* [High-pass filter](https://en.wikipedia.org/wiki/High-pass_filter#Discrete-time_realization)

* [Pulse-width modulation from Sound on Sound](https://www.soundonsound.com/techniques/synthesizing-strings-pwm-string-sounds)

<a href="#toc">Table of Contents</a>

js80p

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