AIR Music Tech Jura Classic Synth for a Modern Music Production Studio User Guide

AIR Music Tech Jura Classic Synth for a Modern Music Production Studio

Introduction

Thank you for purchasing the AIR Jura plugin instrument. Jura is a faithful recreation of the classic 1980s Juno synthesizers, with both classic and expanded control layouts. Jura includes adjustable oscillator, filter, amplitude, and envelope sections, as well as delay, reverb, and EQ effects to compliment the classic chorus effect that helps give this synthesizer its signature sound. Jura also features performance controls like an arpeggiator, modulation and pitch bend wheels, glide control, and detune-able unison and editable chord voicing modes.

This user guide explains how to use your plugin instrument. For more information on using other parts of the MPC software or hardware, please consult the respective MPC Software User Guide and MPC hardware User Guide.

System Requirements & Product Support

For complete system requirements and compatibility information, visit airmusictech.com.
For technical support, visit support.airmusictech.com.

Installation

1. Double-click the .exe (Windows) or .pkg (macOS) file you downloaded. Follow the on-screen instructions to install the software.
2. Open the plugin application.
3. Click Sign In to sign into your inMusic Brands Profile using your Internet browser. If you do not have an inMusic Brands Profile yet, you will be prompted to create one.
4. Once you have signed in, click Activate in the plugin window to enter your serial key to unlock the plugin. You can unlock each plugin on up to three devices at a time.
5. If you do not have a serial key, you can click Try Unlicensed to explore the plugin with intermittent audio alerts. You can also click 10-Day Trial to initiate a free, fully featured trial of the plugin for 10 days.

If you would like to purchase a serial key, click the link to purchase a license at profile.inmusicbrands.com.

To install the plugin content on your standalone MPC device , copy the Synths directory you downloaded into the top-level (not in any folder) of a SD card or USB drive. You do not need to copy any of the other files. Then, insert the drive into your device.

Note: For maximum convenience, we recommend you install a SATA drive in the drive bay of your standalone MPC and then copy the Synths folder onto this drive. MPC One does not have a SATA drive bay; for MPC One we recommend you install the folder onto a SD card.

Operation

Overview

Click part of the pictures below to jump directly to a section.

Modern UI

Vintage UI: Click the Layout button in the upper right corner to enable the minimized Vintage layout. This can also be enabled in the Vintage Settings menu.

Setup Section

1. Keyboard: Click this icon to enable or disable the virtual keyboard. When enabled, you can click these keys to input notes, or view notes being played on an external MIDI device.
2. Tempo: Displays the current plugin tempo. To change the tempo:
   • Click the number and use your keyboard to input a new value.
   • Click and drag the tempo value up or down using your cursor.
   • Click the Tap button at regular intervals.
3. Settings: Click this icon to open the Settings window, where you can set the following parameters:
   • Output: to select an audio hardware driver in your computer system. Click the Test button to play a test tone for checking your audio output settings. (Careful! You should lower the volume on your audio system beforehand.)
   • Sample Rate: Click this drop-down menu to select the desired sample rate for your project. This depends on the available sample rates of the type of MPC hardware you are using or of your audio interface (i.e., select 96000 Hz only if your interface allows a 96 kHz sample rate).
   • Audio Buffer Size: Click this drop-down menu to set your audio system’s latency. Lower values result in a more immediate playing response but also more CPU consumption. If you are working with larger projects, this may cause audible clicks and pops. Higher values are more CPU-friendly but can produce more delay between pressing a pad and hearing the corresponding sound. The ideal audio buffer size also depends on your computer’s CPU performance. Experiment with this to find the best setting for your system.
   • Active MIDI Inputs: Displays available MIDI input devices. To enable a device, check the box next to its name.
   • Bluetooth MIDI: Click this icon to open your system’s Bluetooth settings menu, where you can select a Bluetooth-enabled MIDI device to control the plugin.
4. Menu: Click this icon to open the menu, where you can find the following options:
   • Scale: Click here to select a value to scale the plugin window to a new size.
   • Load Preset: Click here to load a saved preset.
   • Save Preset: Click here to save the current preset.
   • Open User Guide: Click here to open this User Guide.
   • About: Click here to view plugin version information.
   • Check for Updates: Click here to check for software updates for your plugin.
5. Preset: Click this drop-down menu to view the list of included plugin presets. You can also click the up and down arrows next to this field to move to the previous or next preset.
6. Layout: Click this button to toggle between the minimized Vintage Layout and expanded Modern Layout.
7. Vintage Settings: Click this icon to open the vintage setting menu, where you can find these additional options:
   • UI Layout: Toggle between the minimized Vintage Layout and expanded Modern Layout.
   • DCO Noise: Activates or deactivates the vintage noise setting for the digitally-controlled oscillator.
   • Chorus Noise: Activates or deactivates additional noise added to the Chorus effect.
     

Synth Controls

DCO

This section adjusts the digitally-controlled oscillator (DCO), which is the main sound generator for the synth.

this slider adjusts the modulation depth of the chosen modulation source applied to the pulse width wave.

When the PWM Switch is set to Man. , this slider adjusts the modulation wave shape between a square wave (lowest value) and a pulse width wave (highest value).

| 0–100%
PWM Switch| Determines whether the pulse width wave is modulated by the LFO , the PWM slider ( Man. ), or an envelope ( Env 1 , Env 2 ).| LFO, Man., Env 1, Env 2
Square/PWM Wave| Activate or deactivate the square wave/pulse wave .| Off, On
Sawtooth Wave| Activate or deactivate the sawtooth waveform.| Off, On
Sub| Activate or deactivate the sub-oscillator.| Off, On
Sub Level| Adjust the level of the sub-oscillator.| 0–100%
Noise| Level of the noise generator. You can adjust the type of noise in the Vintage Sett ings.| 0–100%

HPF

This section adjusts the high-pass filter (HPF), which reduces frequencies below the Cut value.

VCF

This section adjusts the voltage-controlled filter (VCF), which helps shape the frequency content of the sound.

Hz
Reso| Amount of filter resonance at the cutoff frequency.| 0–100%
Sat| Amount of saturation applied to the VCF.| 0–100%
Drive| Amount of overdrive applied to the VCF.| 0–100%
Invert| Determines the direction of the envelope.
In the normal position (up), values rise during the attack phase before falling again at the release phase.
In the inverted position (down), values drop at the attack point before rising again at the release point.| Normal, Invert
Env| Depth of envelope modulation applied to the VCF.| 0–100%
LFO| Amount of LFO modulation applied to the VCF.| 0–100%
KBD| Amount by which the oscillator cutoff frequency changes following the keyboard pitch.| 0–100%
Vel| Amount by which the oscillator cutoff frequency changes following the note velocity.| 0–100%

VCA

This section adjusts the voltage-controlled amplifier (VCA), which determines how the level of the sound is shaped.

Env 2, Gate
Velocity| Amount by which the note amplitude changes following the played velocity.| 0–100%

Env 1/2

This section adjusts the two ADSR envelopes, which are used to control the VCF and VCA.\

Note: The Env 2 controls are only visible in the Modern layout.

12.00 s
S (Sustain)| Level of the sound while the note is held.| 0–100%
R (Release)| Length of time for the note to become silent after being released.| 0.00 – 12.00 s

LFO

This section adjusts the low-frequency oscillator (LFO), which can be used to apply modulation to the DCO or VCF.

Note: The LFO controls differ between the Vintage and Modern layouts.

When Sync is Off: 0.10 – 30.00 Hz
Delay| Length of time for the LFO to begin after a note on message.| 0.000 – 3.000 s
Ramp| Additional time after the Delay time that can be added to the start of the LFO.| 0.000 – 3.000 s
Shape| Waveshape of the low-frequency oscillator.| Ramp Up, Ramp Down, Triangle, Sine, Square, Positive Square, RND 1, RND 2
Mode| When set to AUTO, the LFO will automatically run continuously.
When set to MAN., the LFO must be manually activated using the LFO Trigger button, and can then be manipulated using the Mod wheel.| Auto, Man.

Chorus

This section adjusts the two types of chorus effects, which help give this synth its signature luscious sound.

You can also click the Chorus section header to enable or disable the Chorus Noise setting, as described here.

Effects

This section adjusts the additional effects included with Jura: Delay, Reverb, and EQ.

When Sync is Off: 1 ms – 2.00 s
When Sync is On: 1/32 – 8/4

Ratio| Reduces the delay Time in either the left or right stereo field. This is useful for creating offset, panned delays.| 50:100 – 100:100 –

100:50

Sync| Sync the Delay Time to the Global Tempo or turn off to adjust Time by milliseconds.| Off, On
Feedback| Amount of signal fed back into the delay line.| 0–100%
Resonance Damp| Center frequency of where the feedback signal will be dampened.| 1.00–20.0 kHz
Resonance| Amount of resonance of the feedback signal.| 0–100%
Reso Freq| Center frequency for feedback resonance.| 100 Hz – 10.0 kHz
HPF| Center frequency for delay signal high-pass filter.| 20.0 Hz – 1.00 kHz
Width| Stereo width of delay signal. Higher values give wider stereo separation.| 0–100%
Mix| Wet/dry amount of the delay effect.| 0–100%

At lower settings, the sound of individual reflections is more present.
At higher settings, reflections are more uniform.| 0-100%
Dec (Decay)| Length of reverb tail.| 0-100%
Damp Hi| Amount of frequency dampening applied to the high frequency band of reverberated signal.| 0-100%
Damp Lo| Amount of frequency dampening applied to the low frequency band of reverberated signal.| 0-100%
Octs| Level of octave shifted reverb signal.| 0-100%
Fdbk (Feedback)| Amount of the octave shifted reverberated signal sent back into the reverb effect.| -100 – 0- +100%
Octs Switch| When set to Once, the reverberated signal controlled by the Octs slider will shift octaves once and then hold.

When set to Infinite, the reverberated signal controlled by the Octs slider will continuously shift octaves.

| Once, Infinite
Mod Speed| Rate of modulation applied to the reverberated signal.| 0.01-10.00 Hz
Mod Amount| Depth of modulation applied to the reverberated signal.| 0-100%
Width| Stereo width of reverb signal. Higher values give wider stereo separation.| 0-100%
Mix| Wet/dry amount of the reverb effect.| 0-100%

-15.0 – 0.0 – +15.0 dB
Low Freq| Center frequency for the low-end EQ band.| 20.0 Hz – 1.00 kHz
Mid Gain| Amount of attenuation or boost applied to the mid-range frequency band.| -15.0 – 0.0 – +15.0 dB
Mid Q| Width of the mid-range EQ band.| 0.50–10.00
Mid Freq| Center frequency for the mid-range EQ band.| 40.0 Hz – 16.0 kHz
High Gain| Amount of attenuation or boost applied to the high frequency band.| -15.0 – 0.0 – +15.0 dB
High Freq| Center frequency for the high-end EQ band.| 2.00 – 20.0 kHz
Output| Output level of the post-EQ audio signal.| -20.0 – 0.0 – +20.0 dB

Global Controls

This section controls the global plugin functions.

Modwheel

This section controls the modwheel, which is identical to the kind you would find on a standard keyboard, including where and how the modulation is applied.

Pitch Bend

This section controls the pitch bend functions.

Voice

This section controls the number of individual note voices available with the synth and how they are used. This helps you to create anything from a thick, detuned monophonic bass to fully polyphonic chords with the press of a single key.

Retrigger, 2–7, Poly
Voice| Determines how each available voice is played.

When set to 1 , each note corresponds to a single voice.

When set to Unison , each voice is stacked on itself, and the stacked voices can be detuned using the Detune knob for a thicker sound.

When set to Chord , each voice plays a set chord, determined by the Chord Edit function.

| 1, Unison, Chord
Chord Edit| When Voice is set to Chord , click the Chord Edit icon to adjust 0–127 semitones up to three intervals to be played whenever a key is pressed.
Chord Rec| When Voice is set to Chord , press and hold a chord on a connected MIDI device and then click this button to capture it. The intervals of up to three notes above the lowest note played will become the intervals for the Chord function.| 0–127 semitones
Detune| When Voice is set to Unison , this determines the amount of detuning applied to the doubled voice.| 0–100%

Glide

This section adjusts the glide parameters, which generates a glissando between played notes.

All

Arpeggiator

the Arpeggiator will continue to arpeggiate the notes even after the notes are released. While notes are held, you can add more notes to the arpeggiated chord by triggering additional notes. If you trigger notes, release them, and then trigger a new combination of not . the Arpeggiator will memorize and arpeggiate the new notes.| Off, On
Sync| Sync the arpeggiator Speed to the global tempo, or set to Off to ad just the Speed by Hz.| Off , On
Mode| The mode determines how the arpeggiated notes are played back.

• As Played: Notes will sound in the order they were pressed.
• Up : Notes will sound from the lowest to the highest.
• Down: Notes will sound from the highest to lowest.
• Up & Down: Notes will sound from the lowest to the highest, and then back down.. The lowest and highest notes will sound only once at the directional change.
• Up & Down Repeat Notes will sound from the lowest to the highest, and then back down. The lowest and highest . notes will sound twice at the directional change.
• Down & Up: Notes will sound from the highest to the lowest, and then back up. The highest and lowest notes will sound only once at the directional change.
• Down & Up Repeat Notes will sound from the highest to the lowest, and then back up. The highest and lowest notes will sound twice at the directional change.
• Random: Notes will sound in random order.

| As Played, Up, Down, Up & Down, Up & Down Repeat, Down & Up , Down & Up Repeat, Random
Range| Number of octaves in which the arpeggiated notes will play.| 1 , 2 , 3
Speed| Adjust the rateof the arpeggio.| When Sync i s On :
When Sync i s Off:| 8/4-32
0.10 – 30.00 Hz
Gate| Adjusts the length of each arpeggiated note. When using fast arpeggios, you may need to reduce this value to make individual notes sound clearer.| 0-100%

Trademarks and Licenses

AIR Music Technology is a trademark of inMusic Brands, Inc., registered in the U.S. and other countries. macOS is a trademark of Apple Inc., registered in the U.S. and other countries. Windows is a registered trademark of Microsoft Corporation in the United States and other countries. All other product or company names are trademarks or registered trademarks of their respective owners.

Customer Support

http://www.airmusictech.com/

References

• AIR | German-engineered virtual instruments and effects
• Customer Login
• Support : AIR
• AIR | German-engineered virtual instruments and effects

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