Lemur v1.6 Manual

Abou t the L emur an d this manual
Congratulations for choosing JazzMutant’s Lemur! The Lemur is a

groundbreaking input device for controlling music and media applications. Its
unprecedented modularity combined with its unique multitouch sensing technology
will forever change the way you compose, perform, produce and, in more general
terms, interact with your work environment.
• What the Lemur is …
The Lemur is a computer peripheral. In other words, it is a device that

you connect to a computer.
The Lemur is a controller : its only purpose in life is to provide hands-on
control over software running on a computer, or other devices connected to it -
such as samplers, synthesizers etc. To interact with them, the Lemur uses two
communication protocols : MIDI and OpenSoundControl. Software must comply
with at least one of those protocols to be controlled by the Lemur.
• … and what it is not

The Lemur is neither a tablet PC nor a display monitor. That means you cannot
write your emails or watch a movie with it.
The Lemur does not produce any sound by itself. There is plenty of
wonderful software and hardware out there perfectly doing that job. The Lemur is
there to make the use of that software and hardware more efficient and hands-on.
The Lemur is not a Midi Interface; you cannot directly connect it to a
master keyboard or any other MIDI device.
In short, the Lemur requires that you own at least one computer running
at least one compatible application in order to work. In case you don’t, the Lemur is
ultimately worthless.
• How to use this manual

This manual aims at leading you through the process of getting a grip on
the Lemur and providing you with the technical information you might need to
smoothly integrate it into your workflow.
This manual is split into four main parts:
• The first part gives a brief overview describing the major features and
concepts of your new controller and its software.
• The second parts deals with all things installation , and setup
• The third part holds the main information needed to work with the Lemur and
to create your own interface layouts with the JazzEditor software. You’ll find an
overview of all features including a reference for the available Interface
Objects and the Parser.
In the last part you find several appendices covering things like the
keyboard shortcuts of the JazzEditor, upgrade procedures, troubleshooting tips
and documentation of special network configurations
Considering the great variety of applications that can be controlled by the
Lemur, it would be nearly impossible to exhaustively detail here all the interfacing
possibilities you get from this product. Therefore, instead of providing step-by-step
tutorials for every single piece of software you might use, this manual focuses on
the general features and concepts one needs to master in order to work with the
Lemur. Besides this manual, there exists a host of external material, including
additional documentation, templates and didactical workshops meant to make your
introduction to Lemur work as smooth as possible. Some of it is available on the
provided CD-ROM and a lot more can be download from www.jazzmutant.com.
Last, another great characteristic of the Lemur is the constant evolution

of its software, always listening to the Lemur community’s needs. For that purpose,
JazzMutant regularly releases new updates to both software and documentation.
Consequently, the manual you are reading might be already out-of-date. The
version covered by this manual is mentioned on its cover. Before getting deeper
into the documentation, please make sure that the present documentation matches
the software version installed on your Lemur. In general, we suggest keeping both
your Lemur and the above documentation up-to-date by regularly checking the
product section on www.jazzmutant.com.
Table of Con tents
About the Lemur and this manual ....................................................................1
Table of Contents 4
Chapter 1 Knowing Your Lemur ..................................................................9
1.1. The Anatomy of your Lemur ........................................................................... 9
1.2. Inside your Lemur's brain .............................................................................10
1.2.1. Projects, Interfaces and Containers......................................................10
1.2.2. Objects.....................................................................................................12
1.2.3. Modules...................................................................................................13
1.2.4. Variables .................................................................................................13
1.2.5. Targets ....................................................................................................14
1.3. The daily life with your Lemur.......................................................................14
1.3.1. Cuddling your Lemur..............................................................................14
1.3.2. Living with your Lemur ..........................................................................15
1.3.2.1. Walking your Lemur .......................................................................15
1.3.2.2. Your Lemur’s Hygiene ....................................................................15
Chapter 2 Installing your Lemur ...............................................................16

2.1. Software Installation......................................................................................16
2.1.1. Mac OS Software Installation.................................................................16
2.1.2. WindowsTM XP Software Installation......................................................17
2.2. Network configuration – direct connection ..................................................19
2.2.1. Three steps .............................................................................................20
2.3. The JazzDaemon ............................................................................................21
2.3.1. The JazzDaemon on WindowsTM XP .......................................................21
2.3.2. The JazzDaemon on MacOS X ................................................................21
Chapter 3 Working With Your Lemur.........................................................22

3.1. The JazzEditor Workspace ............................................................................22
3.1.1. The Toolbar .............................................................................................23
3.1.1.1. Editing and file I/O...........................................................................23
3.1.1.2. Configuration tools .........................................................................24
3.1.2. The Project Browser ..............................................................................25
3.1.3. The Editing Area .....................................................................................28
3.1.4. The General Properties..........................................................................28
3.1.5. The Behavior Properties ........................................................................29
3.1.6. The Script Panel .....................................................................................30
3.1.7. The OSC Panel ........................................................................................30
The Lemur User Manual
3.1.8. The MIDI Panel .......................................................................................30

3.1.9. Workspace Configuration.......................................................................30
3.2. Interface building ...........................................................................................31
3.2.1. Connecting your Lemur..........................................................................31
3.2.2. The Settings window ..............................................................................32
3.2.2.1. Editor setting...................................................................................32
3.2.2.2. Lemur Settings................................................................................33
3.2.2.3. OSC Settings....................................................................................33
3.2.3. Creating an interface..............................................................................33
3.2.4. Creating Objects .....................................................................................34
3.2.5. Saving your project .................................................................................36
3.2.6. Changing Object appearance .................................................................37
3.2.7. Basic Interface Work ..............................................................................37
3.2.7.1. Copy, Paste & Co.............................................................................37
M ..................................................................................................................39
3.2.7.2. ..............................................................................................................39
3.2.8. Configuring Object’s behaviour .............................................................40
3.2.9. Using Containers ....................................................................................45
3.2.10. Import and Export of Modules .............................................................47
3.3. MIDI and OSC Target Setup ...........................................................................47
3.3.1. OSC Settings ...........................................................................................47
3.3.2. MIDI Settings...........................................................................................49
3.3.2.1. Lemur MIDI Settings.......................................................................50
3.3.2.2. MIDI Daemon Settings ....................................................................51
3.3.2.3. MIDI Setup Example........................................................................52
3.3.2.4. Virtual MIDI Ports on Mac...............................................................56
3.3.2.5. Virtual MIDI Ports on WindowsTM XP ..............................................56
3.4. Use your Interface..........................................................................................57
3.4.1. The send mode .......................................................................................57
3.4.2. Setting up OSC mappings.......................................................................57
3.4.3. Setting up MIDI messages .....................................................................59
3.4.3.1. Using the MIDI window ...................................................................59
3.4.3.2. Simple MIDI Mapping......................................................................61
3.4.3.3. Multiple Controller Mappings ........................................................62
3.4.3.4. Mapping MIDI Note Messages........................................................63
3.4.3.5. Using the Midi Mapping window.....................................................64
3.4.4. Trigger Modes.........................................................................................64
3.5. Advanced features .........................................................................................65
3.5.1. The Lemur’s memory for Projects ........................................................65
3.5.2. Control your Objects with your Objects.................................................66
3.5.3. Making your own Variable ......................................................................69
3.5.4. Using Vector Variables ...........................................................................72
3.5.5. Using Custom MIDI Messages ...............................................................74
3.5.6. Bi-directional Control ............................................................................76
3.5.7. Defining and Using Functions ................................................................77
3.5.8. Vector Datacrunching.............................................................................79
Chapter 4 Object Reference ......................................................................80

4.1.1. Guide to Object Reference Pages ..........................................................80
4.1.2. Container.................................................................................................81
4.1.3. Custom Button........................................................................................81
4.1.4. Fader .......................................................................................................83
4.1.5. Knob ........................................................................................................85
4.1.6. Leds .........................................................................................................86
4.1.7. Monitor ....................................................................................................87
4.1.8. MultiBall..................................................................................................89
4.1.9. MultiSlider ..............................................................................................92
4.1.10. Pads.......................................................................................................93
4.1.11. Range ....................................................................................................95
4.1.12. RingArea ...............................................................................................96
4.1.13. SignalScope ..........................................................................................98
4.1.14. SurfaceLCD ...........................................................................................99
4.1.15. Switches ..............................................................................................100
4.1.16. Text ......................................................................................................101
Chapter 5 Parser Reference.................................................................... 103

5.1.1. Value Colouring ....................................................................................103
5.1.2. Vectors, Singletons and Operators......................................................103
5.1.3. Functions ..............................................................................................104
5.1.4. Expressions...........................................................................................104
5.1.5. Accessing Variables .............................................................................105
5.1.6. Lemur internal clock............................................................................105
5.1.7. Lemur Time ..........................................................................................106
5.1.7.1. Time Code Example ......................................................................106
5.1.7.2. LFO Example .................................................................................107
5.1.8. Operators and Functions Reference ...................................................107
5.1.8.1. Arithmetic......................................................................................107
5.1.8.2. Logic ..............................................................................................108
5.1.8.3. Others ............................................................................................109

5.1.8.4. Trigonometric................................................................................110
5.1.8.5. Vector.............................................................................................110
Chapter 6 MIDI Message Reference ........................................................ 113

6.1.1. The MIDI Messages ..............................................................................113
6.1.1.1. 80 – Note Off ..................................................................................114
6.1.1.2. 90 – Note On ..................................................................................114
6.1.1.3. A0 – Key Pressure (Polyphonic Aftertouch) ................................114
6.1.1.4. B0 – Control Change .....................................................................115
6.1.1.5. C0 – Program Change...................................................................115
6.1.1.6. D0 – Channel Pressure.................................................................116
6.1.1.7. E0 – Pitch Bend .............................................................................116
6.1.1.8. F0 – System Exclusive ..................................................................117
6.1.1.9. F2 – Song Position ........................................................................117
6.1.1.10. F3 – Song Select..........................................................................117
6.1.1.11. F5 – Bus Select ...........................................................................117
6.1.1.12. F6 – Tune Request ......................................................................118
6.1.1.13. F8 – Timing Tick ..........................................................................118
6.1.1.14. FA – Start Song ...........................................................................118
6.1.1.15. FB – Continue Song ....................................................................118
6.1.1.16. FC – Stop Song ............................................................................119
6.1.1.17. FE – Active Sensing.....................................................................119
6.1.1.18. FF – System Reset ......................................................................119
Chapter 7 Appendices 120

7.1. Network Configuration Guide ......................................................................120
7.1.1. Glossary ................................................................................................120
7.1.2. Computer directly connected to a Lemur (as known as P2P)............120
7.1.2.1. Computer configured as a DHCP Server – Connection Sharing 120
7.1.2.2. Computer and Lemur using DHCP ..............................................120
7.1.2.3. Computer and Lemur using Static IP ..........................................120
7.1.3. Computers and Lemur connected to a Network ................................121
7.1.3.1. Network with a DHCP Server .......................................................121
7.1.3.2. Network without DHCP Server.....................................................121
7.1.4. Lemur Network Setup..........................................................................121
7.1.5. MacOS Network Setup .........................................................................122
7.1.6. WindowsTM XP Network Setup .............................................................126
7.1.7. Lemur – Computer network communication......................................129
7.2. Shortcuts ......................................................................................................130
7.3. Upgrade your Lemur....................................................................................131
7.3.1. Lemur hardware settings ....................................................................132
7.4. The FTP Server.............................................................................................132
7.5. Warranty .......................................................................................................134
7.5.1. Warranty and Liability ..........................................................................134
7.5.2. Your Rights............................................................................................135
7.5.3. Applicable laws and court of jurisdiction ............................................135
Cha pter 1 K NO WING Y OUR L EMUR
Not only does the Lemur look unlike any controller out there, it also
introduces new ways of describing human-machine interaction. This chapter will
put you in acquaintance with your new pet and the way it thinks.
1.1. The Anatomy of your

Lemur
Let’s first have a look at your Lemur’s anatomy. The top of the Lemur
obviously features the Multitouch screen, consisting of the touch-sensitive surface
and the ultra-bright TFT Display. The first allows you to manipulate colourful user
interface objects displayed on the latter with all your ten fingers independently.
Above the display, there are four buttons which have different utility functions :
• The Settings button gives your access to the Lemur network, OSC (see chapter
3.3), MIDI (also to be found in chapter 3.3), display and touch panel configuration. It
also displays the version number of the firmware running on your Lemur.
• The Interface List button displays a gallery of thumbnails depicting each

interface currently stored on the unit. Touch the desired interface to display it full
screen.
• The I nt erf ace List button also contains the link to the Le mur Proj ect br o wser .
• The two Navigation buttons allow you to move forwards and backwards through
the Interfaces currently stored on the unit.
Knowing Your Lemur
On the rear panel of the Lemur you find the power switch and the
power input jack.
Only connect the original power supply that came with your unit as it is
perfectly verified for providing the correct currents.
Next to the adapter input, there is an Ethernet jack with two status
lights. This is the Lemur’s door to communication with the outside world. Out of all
the existing manners to connect the Lemur to your computer, the easiest one
consist in plugging the provided network cable between the Lemur Ethernet Input
and your computer Ethernet interface.
NOTE : The Ethernet jack can be used with any network cable. Please
use CAT5 or better quality. Lower grades will not work properly. Depending on the
situation you will either need a crossover network cable (for direct connection
to the computer - that’s the cable that came with your Lemur) or a non-
crossover network cable (for connecting the Lemur to a hub or switch; this
situation is described in the Appendix Network Configuration Guide ).
1.2. Inside your Lemur's

brain
The Lemur introduces a new paradigm in the realm of media control, and
along with this brand new approach, its usage might slightly differ from the way
you are used to deal with conventional controllers. Therefore, before you start
working with your new controller, we felt it was worth making you familiar with the
core concepts of the system.
1.2.1. Projects, Interfaces and Containers
As you might have noticed, the main characteristic of the Lemur is that it
doesn’t feature any physical control object, such as real pads, keyboard, bulky
faders or joysticks. Instead, there is a blank touch panel that your can populate
with as many different virtual objects as you need. This way, you can design the
interface layouts that will perfectly fit both your application and your hands. For
that purpose, the Lemur is provided with a dual-platform (MacOSX and Windows
XP) interface design utility, the mighty JazzEditor.
This application lets you import or create complete control templates for
the Lemur, which we call Projects . All Project files the JazzEditor produces are
stored somewhere on your computer’s hard drive as XML files.
Furthermore, the Projects can be stored in the Lemur’s internal Flas h
me mory . You can access the L e mur Proj ect bro w ser with the second b ut to n
on your Lemur and a touch of the Project Browser button. You are presented with a
list of stored Projects and with commands for opening, saving or deleting Projects
residing on the unit.
The Lemur features a small FTP server for shuffling projects back
and forth between the Lemur and your computer. Please refer to chapter 7.4 for
details.
A Project can contain many Interfaces . You can think of them as

pages in your Project containing multiple Objects that can be organized in
Containers . The number of Interfaces and Objects is limited only by the
internal memory of the Lemur, which gives you plenty of room for your creations.
The figure below shows a typical Lemur project, comprised of three different
interfaces.
Once a project is loaded on the Lemur, the different Interfaces can be

browsed through via the Interface List button or switched to with the
Navigation buttons. The Interface List button presents them as an array of
small icons that you can activate by touch. Use the Navigation buttons to step
through the Interfaces one by one, as shown below.
Knowing Your Lemur
The Containers let you organize the Objects on an Interface.

Containers have a frame around them leading to tidy looks and easy structuring
of your control surface. They can contain multiple Containers themselves building a
hierarchy of Interface elements. The picture below shows an interface featuring
three different containers.
You can lock a Container and its content will become un-editable and will
also vanish from the Project Browser. This improves the overview when working on
large Projects.
All details regarding projects, interfaces and containers are disclosed in

chapter 3 : Working With Your Lemur
1.2.2. Objects
Objects are the main message generators of the Lemur : they provide
the values you control with your fingers. There is a multitude of different Objects
available that all have their special capabilities:
• Custom Button
• Fader
• Leds
• Knob
• Monitor
• MultiBall
• MultiSlider
• Pads
• Range
• RingArea
• SurfaceLCD
• SignalScope
• Switches
• Text
Each particular object comes along with a set of specific options enabling you to customise
their appearance (e.g., size, color, and brightness) and their behaviour, i.e. the way they
respond to your fingers. Objects can send and/or receive a plurality of Midi or OSC messages
from your applications. Different Objects on the same Lemur Interface can be connected to
different applications and even to different computers on the network (see below for details
on OSC and MIDI Targets). One object can even be used to modify in real-time the properties
of another object. JazzEditor provides a set of handy tools to easily map objects output to the
software you wish to control and to create ultimate interactions between different objects.
For more information about the different Interface Objects and how to
work with them, please have a look at chapter “Interface Building” and at the
Object Reference further down the text.
1.2.3. Modules
Additionally, you can import pre-built parts of project as Modules. A

Module is a set of reusable interface elements. A module can feature objects,
containers and even interfaces. A library of modules is provided on the Installation
CD, and more modules are available from JazzMutant’s website.
You can also create your own user library of reusable items. Indeed, any
part of a Lemur Interface can be exported as a Module for future use in other
Projects. Due to this feature you never have to develop the same thing twice. Just
save your building blocks as Modules to produce a growing library of re-useable,
object-oriented Interface parts. The User Library on the JazzMutant website also is
a great resource for stacking up on handy Interface elements.
1.2.4. Variables
Variables are the mathematical basis of the Object’s output. Any
Object has its own set of Variables that change when you touch it with your fingers.
Most object properties are also variables. They can be changed by external
software or by the status of other Lemur Objects dwelling in the Project. Those
variables are called built-in Variables because you always find them with
the respective Object.
You can also create your own user-defined Variables that you
can fill with your own Expressions.
Variables can be local , living in a specific Object and accessed from the
outside through its address. You can also define them globally , enabling
multiple Objects to use their values directly.
Variables can be multi-dimensional , too. A Fader, for example,

has only one Variable defining its output with a single number. A MultiBall Object
has three Variables for the X, Y position and the lightness of the balls. The MultiBall
Variables are Vectors with as many components as there are balls defined for the
Object.
In combination with the built-in Functions and Operators and the

user-definable Ex pressions the Variables become a powerful tool for refining
Object behaviour, scaling and shaping responses, and setting up interactions
Knowing Your Lemur
between Objects. Please refer to the section about Interface building and the
respective reference chapters for more information.
The global Time Variable deserves a special mention. It presents

the time in milliseconds since the Lemur was switched on. Combined with the
Lemur’s mathematical operators, it can produce a great variety of time-varying
number sequences.
1.2.5. Targets
The networkability of the Lemur endows it with the unique capacity to
simultaneously control several applications running on the same computer, and
even to control several pieces of software launched on different computers. Each
application or device controlled by the Lemur is called a Targ et.
Each of Object’s Variables can be mapped to any of the eight available
MIDI Targets and to any of the eight OSC Targets .
A MIDI Target is a pair of MIDI In- and Outputs and an OSC Target is
characterized by its IP address and its port number. This means a Target can be
software on a networked computer or a piece of MIDI kit you have sitting in your
rack. No matter how complex your setup may be, you can control everything from a
single Interface on your Lemur by individually assigning the different Variables to
different Targets.
The J az zD ae mo n (see chapter 2) makes MIDI routing as flexible as
Network routing. You can connect to the MIDI p or ts of any computer on the
network that has the JazzDaemon running. Use the MIDI port br ows er (see
Chapter 3.2.2) on your Lemur to get a list of running JazzDaemons on the network
and to connect to specific MIDI ports on the respective machines. This makes it
easy to control with a single Lemur various applications and MIDI hardware even if
they are running on different computers.
Because the MIDI and OSC Targets can be chosen on a per O bject
basis you can integrate all your applications and MIDI hardware into a single
Lemur interface.
1.3. The daily life with

your Lemur
1.3.1. Cuddling your Lemur

The Lemur loves to be touched. After all, it is its main purpose in life. But
as it’s the case with all primates, the nature of the touch will affect the outcome.
The multitouch technology used in the Lemur combines high resolution
with high sensitivity. You don’t have to use excessive force to control the objects on
your interfaces. Extremely light touch, on the other hand, won’t work either. Just
practice a bit with your Lemur and you will quickly find the right balance combining
precision with tactile feedback.
The best technique is using the fingertips and not the flat underside.
It leads to a maximum of precision and ensures good agility for the various multi-
finger gestures you will develop when working with the Lemur.
1.3.2. Living with your Lemur

There are a few elementary rules that need respecting carefully if one
want to have a pleasant and durable life with one’s Lemur.
1.3 .2 .1 . Wal ki ng yo ur L e mur
When transporting the Lemur, please ensure it is pro perly packed

to protect it from shock and damage. A good idea is using a sturdy laptop case (15”
or 17” should fit). Place an additional protective layer over the display.
There are two types of power cables enclosed with your Lemur. One is of
the European type and one works in the USA. If you take your Lemur abroad to
other countries, please make sure you get the appropriate power cable for the
respective country.
1.3 .2 .2 . Yo ur L e mur’s Hygie ne
The Lemur is a sturdy creature. If you follow some basic guidelines

concerning care and feeding it will be your companion for years and years to come.
For everyday cleaning wipe the unit with a soft, dry cloth or one that has
been slightly dampened with water. To remove stubborn dirt, use a cloth with a
mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with
a soft, dry cloth.
Never use gasoline, thinners, alcohol or solvents of any kind. Chemicals
may cause fading of colors and/or deformation of the surface.
When working with the unit’s buttons, display, or other controls or when
using its cords and cables try to be reasonably gentle. Rough handling can lead to
malfunctions.
Never strike or apply strong pressure to the display.
When connecting/disconnecting all cables, grasp the connector itself.
Never pull on the cable. This way you will avoid causing shorts, or damaging the
cable's internals.
Use the Ethernet cable supplied with the unit. If using some other cable,
please make sure it is of the correct type. When you connect the Lemur directly to a
computer it has to be a crossover Ethernet cable. The JazzMutant Ethernet cable
you received with your Lemur is of that type. If you connect your Lemur to a hub or
switch, please use a high quality, non-crossover Ethernet cable (CAT5 or better).
Working with your Lemur
Cha pter 2 I NSTALLING YOUR L EMUR
2.1. Software Installation

For the Lemur to become functional you have to install the JazzEditor
software that enables you to create custom interfaces and that also manages the
connection to the Lemur. You find the J az zEdi to r Installer on the provided
Installation CD.
Also included is the Ja zz Da e mo n, a small application running in the
background that handles the MIDI data flow from and to the Lemur via the network.
It is necessary to achieve any kind of MIDI communication using the Lemur.
2.1.1. Mac OS Software Installation

Soft war e & H ardw are Re quir e ments M ac:
• Power G3 or earlier based computer
• CD/DVD drive to install from the provided CD
• MacOS 10.4 (Tiger) minimum
• Network Adapter (Ethernet/Wifi/Airport/USB/Firewire)
Double-click on the Lemur v1.6.dmg file located on the provided

CD.
Open the Le mur v1 .6 updater if your Lemur runs and older version.
Drop the J az zEdi tor and Ja zz Da e mo n applications in your
Applica tio ns folder.
2.1.2. WindowsTM XP Software Installation

Soft war e & H ardw are Re quir e ments Wi ndo ws T M :
• P3 800 MHz or greater, 64 Mo SD-RAM
• Windows XP SP 2
• CD-Rom Drive
• Ethernet Interface
For installation of the software open the CD in the Windows Explorer and
double-click the JazzEditor_setup.exe.
Click on Next to start the Installation.

We recommend using the default installation path (on English systems it

is C:\Program Files\JazzMutant). If you have your own way of organizing things you
can also choose a different folder.
In this step you can choose the name of the Start Menu folder where
Windows will put the shortcut for starting the JazzEditor.
The next screen summarizes the settings you chose before. If you click
on Install the software is transferred to your hard disk and all necessary are made
automatically.
Just click Finish on the last screen of the installation procedure and you
are done.
2.2. Network
configurati on – direct
connection
The Lemur uses standard Ethernet to communicate with your computer
or with other devices on the network. You can connect it directly to your computer
with a single, crossover Ethernet cable, or place it on a local area network via a hub
or switch and a non-crossover Ethernet cable.
You may want to use a local area network if any of the following are true:
• You are using your computer’s Ethernet port to connect to the internet, and you want
to keep the connection while working with your Lemur.
• You use a WLAN connection to the internet via a wireless router, and you would like
to access your Lemur wirelessly by connecting it to your router.
• You have several Lemurs you would like to use in parallel (Lemurs are very social
creatures – one is never enough).
You may want to connect your Lemur directly to you computer with a
single cable if any of the following are true:
• Your Lemur is the only Ethernet device you have (either because you don’t own any
others or you connect wirelessly to other Ethernet network devices).
• You are looking for the simplest possible configuration for live performance.
To get in business rapidly, we’ll only cover the latter configuration in this
section. It should suffice on most systems. Should it not work out of the box, or if
you seek more details on OS tinkering and connection to hubs and switches, please
have a look at the Appendix on Network Configuration.
2.2.1. Three steps

The direct connection procedure basically boils down to three steps.
• Connect the Lemur’s Ethernet port to your computer’s one, using the provided
crossover cable.
• Make sure any firewall software is deactivated on your computer.
• Turn your Lemur on and press the settings button. On the appearing panel, just
select the Auto matic Using DHC P mode.
2.3. The JazzDaemon

The Ja zz Da e mo n is a little helper application running in the
background on your system. It handles the MIDI data flow between the Lemur and
the MIDI ports installed on the computer.
The Daemon automatically scans all available MI DI por ts on the
computer. These may be physical hardware ports or virtual ports like offered by
MIDI Yoke or Maple. The detected ports are then made available to the Lemurs on
the network.
2.3.1. The JazzDaemon on WindowsTM XP

By default the Daemon is loaded automatically at boot time of the
computer. You can find it in the System Tray of your WindowsTM XP desktop.
A click on the Daemon opens a menu with two entries:
• Set up MI DI Da e mon opens the MIDI port browser of the Daemon. Please
have a look at chapter 3.3 for details.
• Qui t shuts the MIDI Daemon down.
Please note that the Daemon mus t be runni ng if you want to use MIDI
with the Lemur. Use the small X in the upper left corner of the MIDI connection
browser for closing it without shutting the Daemon down.
If you don’t want the Daemon to be automatically started, you can change
its behaviour. Uncheck the L a unc h Da e mo n at St a rtup flag and the next time
you boot your computer the Daemon won’t be started.
2.3.2. The JazzDaemon on MacOS X

The Daemon doesn’t appear in your Dock while it’s running. You can find
it on the Menu Bar of your MacOS X desktop.
A click on the Daemon opens a menu with two entries:
• Set up M IDI Da e mon opens the MIDI connection browser of the Daemon.
Please have a look at chapter 3.3 for details.
• Qui t shuts the MIDI Daemon down.
Please note that the Daemon mus t be runni ng if you want to use MIDI
with the Lemur. Use the small X in the upper left corner of the MIDI port browser
for closing it without shutting the Daemon down
If you want the Daemon to be automatically started, you can enable this
by enabling a single checkbox. Choose Setup MIDI Daemon and click the
Pre fer e nces T ab.
Cha pter 3 W ORKING W ITH Y OUR L EMUR
We are now ready to start working with the Lemur. This chapter will
guide you through the use of the JazzEditor application and introduce you to the
workflow involved with designing Lemur control interfaces.
3.1. The JazzEditor

Workspace
All editing and building of Interfaces is done via the JazzEditor
Software. Here you create, modify and save your Projects, as well as manage
connections to your Lemur and to external gear via Ethernet and MIDI.
This section will walk you through the different parts of the Workspace.
Please read the section about Interface building for details on how to actually use
them and refer to the Object Reference for complete documentation of all
parameters.
The JazzEditor Workspace is your home when it comes to building

Lemur Interfaces. It consists of four major areas.
• The Toolbar on top of the Workspace provides typical items you might find in an
application’s File and Edit menus.
• The Editing Area is the place where the actual Interface Objects are placed to
design Lemur Interfaces.
• The Selection specific Panels allows for editing details and mappings of
selected interfaces, objects, variables, etc.
• The Project Browser provides a hierarchical view of your current project

(Interfaces, Objects and Variables).
A lot of the commands and functions of the Workspace can also be
controlled via keyboard shortcuts. The shortcuts are displayed in the Tool tips that
pop up when you hover with your mouse pointer above the respective command.
Please have a look at the corresponding appendix for a complete list.
3.1.1. The Toolbar
3.1 .1 .1 . Editi ng a nd fil e I/ O
On top of the JazzEditor you find the elements of the Toolbar . To the
left you see buttons dealing with Project creation, in- and output to disk and the
undo system.
• The New Project Button creates an empty Project.

• The Open Project command presents you with a dialog for opening Projects from
your file system.
• The Save Project button opens a dialog for saving your current Project to the file
system. Choose an appropriate folder to store the Project. Please note, that the
Save As command is reachable via using the corresponding keyboard shortcut
(Control+Shift+S for PC and Command+Shift+S for Mac).
• The Im port Library and Ex port Selection commands are for import and
export of Modules . Any imported Module is incorporated into the currently opened
Interface at the level of hierarchy you choose and you can select any group of Objects
for export as a Module to the file system. Please note that you can also import and
export Interface elements via contextual menus that can be triggered in many parts
on the user interface.
• Use the Copy , C ut and Paste commands as you know them from other
applications. They are also available via contextual menus.
• The last two commands on the left side of the Toolbar are the Undo /Redo
buttons. You can roll back an unlimited number of JazzEditor commands with this
system.
3.1 .1 .2 . Config ura tio n t ools
The Toolbar also contains commands for configuring the Lemur.
To the left you have the Memory Display showing you the
percentage of the Lemur’s memory that is occupied by your Project. This is for
reference, only.
The MIDI M apping button opens a window with all MIDI mappings
used in the current Project.
If you activate the Lemur Synchronization button, any changes to

Objects’ states on the Lemur will also be reflected in the JazzEditor. This can be
very handy for saving a Project including the state of all Objects. O ne -s ho t
sync hro ni zati o n can be achieved via the F5 key on your computer keyboard.
The Lemur Synchronization of course only works if you have the same
Project running on your computer and on the connected Lemur.
The Connection button opens a window listing all the accessible

Lemurs on the network. This is the place where you create a connection between
the JazzEditor and a Lemur.
The Settings button opens a window that let you configure OSC
targets (if there is a Lemur connected), as well as upgrade a connected Lemur.
3.1.2. The Project Browser
In the lower left part of the Workspace you find the Project
Browser . It displays all elements of the current Project in a hierarchical tree
structure. If you need more space to see all levels of your Project just grab the top
or right border of the Project Browser and drag it to resize the browser.
Click on the small disclosure triangles in front of the symbols or

double-click on a symbol to expand or collapse the next deeper level of the
tree.
The upper part of the tree displays the Interfaces of the Project.
Inside the Interfaces are Objects and their Vari ables . The small
checkboxes play an important role in Lemur Projects. If a box is checked it
means that the respective Variable is transmitted via OSC or MIDI. If it’s unchecked
it is only used internally (e.g. as a reference for other Variables). Global send boxes
on Objects and Containers let the user activate/deactivate OSC and MIDI mappings
for a whole hierarchical level of a project.
Below the Interfaces you find the Global Variables and the internal
Operators and Functions . These are just for your reference and you cannot
interact with them using your mouse. Find out more about Operators and Functions
in the Parser Reference section.
The various entries in the Project Browser are color-coded.
• Red dots stand for the Object’s main parameters (x for a Fader; x, y, z for a
MultiBall, etc.)
• Orange dots depict a Custom MIDI message

• Green dots show Expressions created by the user.
• Blue dots show Functions defined by the user.
• Grey stands for internal Functions
• Black dots are the Operators
Use the four Create commands to create new Interfaces ,

Objects , Expressions and Custom MIDI m appings .
3.1.3. The Editing Area

The Editing Area is where you actually construct the Interfaces. It
always displays the Interface that is currently selected in the Project
Browser .
Any freshly created Objects appear in the upper left corner of the current
Interface. Fetch them with your mouse and move them to the spot you want.
If you hover with your mouse over an Object its corners highlight.
Grab a corner and move the mouse to resize the Object.
Objects can overlap on the Interface. The rule of thumb is that the
Object created last will cover older Objects. Some Objects (like the Monitor) can be
transparent leading to various possibilities for labels and captions. When the
Transparency flag is activated, only parts of the Object will remain opaque and
any Objects lying underneath can be seen.
Multiple Objects can be selected by holding the Shift key and

clicking on them one after the other. You can also drag a s quare around them
to get the same effect. By clicking an Object again while still holding the Shift key
you remove it from the selection.
There are two different modes available concerning interaction with
Objects in the JazzEditor. In default Edit mode you cannot interact with Objects.
In Run mode you can use them with your mouse as you would do it with your
fingers on the Lemur. Simply press “e” on your computer keyboard and hold it
to switch to Run mode. As long as you hold the key you can use your Interface. This
comes very handy when debugging your Setup without having your Lemur
connected.
The Editing Area also features a contextual menu . Open it with a

right-click (command-click for Macs). It offers an additional way for executing the
following commands for working with Objects or groups of them:
• Copy, C ut , P ast e, D elet e
• Gro up/ Ungr o up
• Imp ort /Exp ort
3.1.4. The General Properties

The Properties panel provides access to the basic properties of
the Lemur’s Objects. As the parameters vary from Object to Object, the details are
given in the Object Reference chapter.
The General Properties deal with appearance and Variables. Here

you find number-fields for positioning and resizing of Objects. Depending on the
Object the additional parameters may vary. Please look at the Object reference for
information on Object-specific parameters.
The name of Objects on the Lemur can be up to 64 characters long.
3.1.5. The Behavior Properties
The Behavior panel circles around the physical characteristics of the

Objects. Here you find parameters like friction and tension and the different physics
modes of the Object. We’ll cover those in the chapter Using your Lemur and
in the Object reference .
3.1.6. The Script Panel
The Script panel is for defining expressions for Variables and

Functions, be it globally or locally. Have a look at Chapters 3.3.2 and 3.5 for details
on forging your own expressions.
3.1.7. The OSC Panel
On the OSC Panel you can define the routing of the different Variables
to OSC Targets. You have a menu for the Vari ables and one for the eight
possible OSC Targets . This panel also serves for controlling Lemur objects via
OSC.
3.1.8. The MIDI Panel
The MIDI panel presents all things you need for transforming the
Variables of your Objects into MIDI messages and routing them to the MIDI Targets.
This panel also serve for controlling Lemur Objects via MIDI.
3.1.9. Workspace Configuration

The layout of the JazzEditor Workspace can be customized to suit your
preferences. Just grab a panel by its title bar, be it the Project Browser, the Object
Panels or the Editing Area, and drag it to another spot on the Workspace.
Everything can be rearranged.
The picture below shows a configuration that shows the complete Editing
Area of your Lemur and access to the two Property Editors on a small, 1024x768
screen..
3.2. Interface building

Now that you know your way around the Workspace, it is time to get your
feet wet and mess around with a little Project.
3.2.1. Connecting your Lemur
The first step naturally consists in opening the connection between

JazzEditor and the Lemur. To do so, click on the Connect button on the toolbar,
which should result in opening the following window :
If you have your network set up correctly (see the chapters about
network configuration and the respective appendix), the connected Lemurs should
be listed with their IP addresses and port numbers. You can select a Lemur on the
list and click Connect to establish a connection. A double-click on the list entry
does the same trick.
If you just connected your Lemur or had it switched on shortly before,
wait a few seconds for the list to update.
Note : Be careful! If you have a Project residing on your Lemur and
connect to it with a different Project open in the JazzEditor, the one on the Lemur
will be overwritten. A connection always automatically transfers the currently
opened Project to the Lemur.
The IP and Port fields below the list allow manual entry and remember
the last setting of the Lemur connection. They also can be handy for connecting
through a proxy.
The current connection status can be seen from the displayed

Connection icon. A Play button means there is no Lemur currently connected. If
you connect to a Lemur the Stop button appears and a click leads to a
disconnection of the Lemur.
3.2.2. The Settings window
3.2 .2 .1 . Editor s etti ng
The first panel of the Setting Windows deals with JazzEditor settings: you
only have a checkbox for the display of mouse-over hints . When active, the
description of the interface item alongside with the eventual keyboard

shortcut is displayed when you hover with your mouse pointer over
the various interface elements.
3.2 .2 .2 . Le mur Set ti ngs
On the second panel of the Settings window, called Lemur, you can
choose which of the Local IP addresses of your computer is used by the
JazzEditor for connecting to the Lemur.
The IP of the currently connected Lemur is also displayed.
3.2 .2 .3 . OSC Setti ngs
The OSC Settings are documented in chapter 3.3.
3.2.3. Creating an interface

Now that the Lemur and JazzEditor are connected together, let’s create
our very first interface. To do so, just click on the New Interface button,
located below the project browser.
This opens a small dialog asking for the name of the new Interface. You
can type in any name you like. Click OK and your new Interface is created.
Both the Editing Window and the Lemur screen suddenly turn black.
There is nothing to worry about: we just created a blank interface. The yellow sit
lemur you were familiar with is kept in a safety place – you will see it again next
time you power on the device or you create a new project. You will also notice that
the new interface appears on the project browser, as shown below.
3.2.4. Creating Objects

Although empty screens might be of a great interest from an aesthetical
point of view, they happen to be rather boring and useless when they come to
controlling software. To start filling this empty space, let’s click on the New
Object button, which is supposed to open the Object List Window, as shown
below.
As its name may suggest, the object list window displays all available
objects, sorted by alphabetical order. To create a new object, we just have to
choose one among the list, to give it a name of our liking then to click the “Ok”
button. For our first experience with interface building, I would suggest to start
with the most common: the Fader.
Once created, our newbie Fader appears on the upper left corner of both
the editing window and the Lemur’s screen. It’s also referenced in the project
browser.
As a reward of our effort, let’s have some fun with the fader.
When you touch the Fader on the Lemur, you will notice that the actions
are not mirrored in JazzEditor.
Click the Synchronization button to change this. Now everything you do

on the Lemur will be reflected on your Computer. This helps if you have to save a
Project in a defined state for future use.
Are you already bored with your lonely fader? That’s no problem; let’s
provide it with a few fellow objects. By repeating the very same procedure
described above, we’re going to create a Switch and then a MultiBall.
Not surprisingly, these will appear on both the editing window and the
Lemur screen. And as good news never come alone, the two objects are also listed
in the project browser, sorted in alphabetical order.
3.2.5. Saving your project

You might want to keep this work of art ready for future loading and
editing. Just hit the S ave b ut to n in the toolbar and give a name to your project.
When you do that, all the interfaces, objects and variables contained in
your work session are saved in a single .jz ml file.
All files the JazzEditor produces, be it Project files or Modules, reside on
your hard disk.
The Project files have the extension .jzml and Modules have the file
extension .jzlib .
Now, let’s open our project again, by hitting the O pe n b utt o n. You
might have noticed that the “Connect” Button has changed is status. That’s a
normal behaviour. When opening a new Project in JazzEditor (either by loading an
existing one from disk or by creating an empty Project), the connection to the
Lemur is dropped.
If you connect the Lemur again, the Project loaded in JazzEditor will
automatically be transferred to the Lemur, overwriting the one on the
Lemur.
There’s currently no way to recover a Project residing on the Lemur.
Make sure to save your work in the JazzEditor before closing the Project.
Once your Project is transferred to the Lemur, you can close the
JazzEditor and use the Lemur to produce OSC data. It will happily connect to all
defined OSC Targets.
If you use MIDI in your Project the JazzDaemon has to run, as it is needed
to translate the OSC data from the Lemur into MIDI messages.
As a note for technical nerds, the Lemur and JazzEditor read projects as
XML formatted files, leaving you endless possibilities for algorithmic interface
generation, and other fancy geeky stuff. That’s another story though.
3.2.6. Changing Object appearance

First we are going to resize the Fader to have some more travel for
our fingers. Grab the lower right corner of the Fader and drag it down to
make the Fader longer and maybe a bit wider, too. Note how the Width and
Height Parameters in the Properties change as you do it, and vice versa: if
you type a value in one of the dimension fields, the fader will move and resize
accordingly.
Talking about the properties tab, what about changing the colour of our
fader? Sure, a yellowish green can be nice, but what about a deep blue?
Sometimes it’s a good idea to display the name of your Objects on the
Interface. Click into the Name field of the MultiBall’s General Properties and
change it. Then check the label checkbox .
3.2.7. Basic Interface Work
3.2 .7 .1 . Copy, Pas te & C o
Now we want two Faders . We can do this with a simple copy and
paste.
Right-click (Command-click for Mac) on the Fader and choose Copy

from the context menu . Then right-click on the background of the Edit Area
and choose Paste from the menu. Those commands are also available on the
Toolbar . The Fader is duplicated. Grab it with your mouse and position it to the
right of the first Fader.
Have a look at the General Properties of your Faders. The JazzEditor
automatically named the new Fader “MyFader2 ” to avoid a name conflict .
This is important, as the names are also used as addresses of the Objects for OSC
mapping and variable accessing. As a consequence, there cannot be any identical
names in any Lemur Project – except by protecting objects inside containers, which
we’ll cover later in this manual.
Of course you can also change the names by entering one of your choice
into the name field of the Properties.
If you have several Objects lying on top of each other, the JazzEditor
provides a way to control the layering order. A right-click on a selected Object
opens a menu. Choose Bri ng t o Fr o nt to make the selected Object the topmost.
Send to B ack puts it to the bottom of the Object pile.
3.2 .7 .2 . MMM
We now want to change the colour of the two Faders. As we already

saw, we could do it by changing every Fader on its own. But it’s tough to hit the
exact same colour twice, so we select them both and change their colour to a same
one.
square with your mouse that touches both Faders. Now they
Drag a
both are selected and you can change the properties for both Objects at the
same time.
Objects can also be grouped permanently via the context menu by right-
clicking (command-clicking for Macs) on the selected Objects and choosing
Group .
This group command is also available on the Properties panel, if several

Objects are selected.
Do this for your Faders and every time you click on one of them both will
be selected. Double-click on your new Group to display the General Properties
panel. Note : since different kind of objects can grouped together, only the
properties common to all objects are displayed. Now dial in a nice purple on the
color swatch . Both Faders now have the exact same color.
If you want to ungroup the Faders, click on the Ungro up in the
properties panel.
When you select several Objects or have them grouped, you’ll notice
additional commands appearing on the Properties Panel that deal with l ayout
and size of the Objects..
The commands are:

• Align to Left, Align to Right
• Align to Top, Align to Bottom
• Make same Width
• Make same Height
They always refer to the Object you selected first in the group. These
commands are of great help when it comes to tidying up your Interfaces.
Experiment a bit with those to get the hang. And always remember that you have
the Undo command to roll back changes.
If you select three or more Objects (or have a group of three or more),
two additional commands are available:
• Distribute horizontally evenly distributes the Objects on the screen. The left- and
rightmost Objects are the boundaries for the line of Objects.
• Distribute vertically does the same, only on the vertical axis.
3.2.8. Configuring Object’s behaviour

Now, let’s glance at one of the most powerful feature of the Lemur’s
objects : their configurable behaviour. Select the MultiBall object with the mouse,
and look at the Behavior panel. The following display will appear:
The Physics menu has three modes defining the behaviour of the
balls. When Physics is set to None , the ball moves immediately to the position of
your finger and stays there. It also follows your finger around as you move it on the
touch screen, and immediately stops when you lift up your finger.
Make sure the Physics menu is set to Interpolate, which should be the
default setting.
Touch the Lemur screen somewhere in the MultiBall, but not on top of a
ball. The ball will not move to your finger immediately but according to the setting
of the Attraction property. Let’s modify Attraction to make the ball react more
slowly . Enter a value of 0.1 .
Experiment again with the Ball’s reaction. It should follow your finger
slowly.
Now let’s try the last behavior mode. Choose M ass-Spring from
the Physics menu.
Change the Attraction value to 1.0 and the Friction to 0.2.
Try moving the ball now. It bounces off the “walls” and eventually slows
down. The Mass-Spring mode is something like Interpolation, except that the ball
has friction (or a lack of it), can bounce off of things, and in certain cases, the
ball may oscillate before coming to a complete rest. You can also control the speed
of the ball via the Speed parameter.
Physics parameters are nice to produce complex time-varying values
with little effort. We will see later in this chapter that we can obtain even more
enjoyable effects by controlling the Physics properties with other objects.
As another example we create a MultiSlider Object.
In the General Properties we enter 5 in the Slider field for having

– you guessed it – 5 sliders. Also, we drag the MultiSlider to a free spot on the
Interface and make it bigger so that we can interact easily with the individual
sliders.
The default MultiSlider Object displays no physical behaviour. The sliders

simply follow your finger and stay where you leave them.
Now change to the Behavior panel and activate the Physic

checkbox. Also, change the tension to 0.1 and the friction to 0 . Now it’s a
completely different story. If you move the sliders they will continue to wiggle
forever. They behave as if they are connected with springs and oscillate around a
centre value that’s defined by the height parameter.
Again, we are only scratching the surface here. Please have a look at the
Object Reference for details about all Object Properties.
Let’s come back to our MultiBall Object. The Capture parameter on

the Behavior panel has great influence on the possible finger actions. When you are
inside of the Object’s boundaries the Capture mode doesn’t make any
difference. But if you move the ball and leave the borders of the Object, the control
of the ball will stop when Capture is off . If Capture is on , the ball will continue
being tied to your actions. No matter if you move your finger across other Objects
and even if you switch to a different Interface, the ball will still cling to your finger
and the finger has no effect on other Objects. Just experiment a bit with the two
modes and you will quickly get the hang of it.
The MultiBall Object is a complex critter. It also sports an ADSR+H

envelope for its brightness parameter that is accessible as a numerical value inside
its z parameter. You might be familiar with envelopes from using synthesizers.
They represent an easy way to produce defined parameter changes over time.
The MultiBall ADSR acts just like it’s cousins from the synthesis world.
When you touch the Lemur the bri ghtness of the ball will be faded in
according to the Attack value, decay down to the sustain level and fade out
with the release time when you lift your finger from the surface.
Objects supporting ADSR envelopes (MultiBall and Pads for the time
being) also have a hold parameter. Its effect is similar to a sustain pedal, freezing
the object’s state as long as its value is 1. When set to 0, if has no effect. Interesting
effects can be achieved when setting the hold parameter to an expr essi o n
depe ndi ng o n ot her obj ects’ s tat e . We’ll cover such methods later on.
The above picture is an example of brightness ADSR. Please note that

the Ephemeral mode has to be active for the envelope to work. In Ephemeral
mode the balls appear when you touch the surface and they vanish when you lift
your finger.
Sometimes you don’t want the f ull res olutio n of an Object because the
target parameter in your software is q ua nti ze d to only a fe w val ue s. You can
quantize the values sent via OSC by using variables and expressions, but the steps
introduces by the quantization won’t be reflected in the behaviour of the Object.
Enter the Grid parameter. You get it several kinds of objects. This
parameter quantizes the movement of your Object into multiple steps. The number
of steps can be chosen. Test it with the So Funny MultiBall object. Open its
Properties and check the grid flag after setting its x-value to 3 and the y-value to 5.
If you now have a look at the Object you see that the MultiBall area
displays a grid and the Ball can only move to distinct points on every axis.
The values produced by the SoFunny.x and SoFunny.y variables are of

course also quantized to produce only three steps on the x-axis (0.000, 0.5000,
1.000) and five steps on the y-axis (0, 0.25, 0.5, 0.75, 1).
3.2.9. Using Containers

The next thing we want to do is put some of the Objects into a
Container to separate them visually from our Faders. To do this, drag a
square around the MultiBall and the Switch Object to select them. Now
right-click (Ctrl-click on Mac) on the selection and choose Cut from the menu.
The Objects disappear. They are not gone, though, but just got copied into the
clipboard of the JazzEditor.
Click the Ne w O bject button and create a Container from the

displayed list. Name it and position the Container to the right of the Faders and
resize it to encompass the complete right part of the Interface.
Right-click (Command-click for Macs) the Container and choose Paste

from the menu. This puts the two Objects we have cut out into the
Container .
Now it’s time to have a look at how all of this is mirrored in the Project
Browser. The Contai ner can be opened in the Project Browser by clicking on
the disclosure triangle in front of the Container. You see that the two
Objects in the Container are grouped on a lower level in the Project hierarchy.
Please note, that the use of Containers also has implications for the
Variable addresses of Objects living inside of the Container. Indeed, within
the Container, the local names of both objects are still the same. From the outside
however, there are now known as RatherInteresting.ILoveButtons and
RatherInteresting.SoFunny respectively. Do you feel a little bit lost? Well, that’s
normal at this point, but don’t worry, we will come back to this later.
In larger Projects the Project Browser can quickly become quite crowded
with Objects. This may lead to a lack of overview. You can make life a bit easier by
using the Lock feature of Containers. Just try it with our RatherInteresting
Container. Check the L ock flag in the Properties and you will see the MultiBall and
the Switch vanish from the list of Objects.
A locked Container doesn’t show its contents in the Project Browser.

This of course also means you can’t edit the Objects inside of it. Simply unlock it
again, if you need access to the contents.
3.2.10. Import and Export of Modules

Let’s suppose now that you would like to reuse later some portions of the
interface in another project. For that purpose, the JazzEditor provides the quite
useful Import Library and Export Selection commands of the Toolbar
for creation and integration of Modules . Any imported Module is incorporated
into the currently opened Interface and you can select any group of Objects for
export as a Module to the file system. Please note that you can also import and
export Interface elements via the context menu of the Project Browser (right-
click/control-click on the Editing Area).
The file extension for Modules is .jzlib .
There are some caveats concerning Object hierarchy when it

comes to exporting parts of your Projects. Make sure that you do not destroy any
dependencies in terms of variables and expressions. It is good practice to
encapsulate the exported Module in a Container and have the variables and
functions that are important for the Module’s functionality created locally to that
Container. If you define them globally, they will not get exported and the
functionality of the Module will be broken
3.3. MIDI and OSC Ta rget

Setup
3.3.1. OSC Settings

The Open Sound Control protocol specifies the transmission of
messages between two devices. Rather than attaching specific meanings to these
messages - as it is done with MIDI - Open Sound Control allows you to define your
own system of messages. With the Lemur for example, the names of objects you
create and their “path” in the Project hierarchy constitute their default “address”
for OSC messages.
The second screen of the Lemur’s Settings deals with the eight OSC
Targets . You can reach it via the S etti ngs b utt o n on the Lemur. The Targets
are also mirrored on the OSC Settings in the J az zEdi t or, if a Lemur is connected.
You can use both screens to set up your OSC Targets.
If there is no connection, the JazzEditor states this and does not show
any OSC settings.
OSC Targets can be software applications on your local computer,

somewhere on the network, or OSC-enabled hardware connected to the network.
They are called Targets because they are what the Lemur targets its messages at.
Always remember that OSC is bi-directional and the OSC Targets can also
control your Lemur’s Objects.
Just fill in the IP addresses of the Targets you want to communicate with.
If it’s a piece of software running on the same computer as the J az zEdi tor, click
the My IP button on the OSC panel of the JazzEditor. This will automatically fill in
the IP of the currently used interface.
On the L e mur you have to mark the IP Address with your finger and fill
in the new one via the appearing number pad. Do the same for the port number.
The Port setting is dependent on the corresponding setting in the

Target. Ports are something like channel selectors that allow multiple applications
to share the same IP address without conflicts. The choice of port number is
determined by what software you are using:
• Port 8001 and 8002 should not be used , because the JazzEditor and
JazzDaemon use those ports to establish connections with the Lemur. If you try to
use another application while the JazzEditor is open, the application will not be able
to access ports 8001=8002. Similarly, if you launch the JazzEditor while another
application is using ports 8001-8002, it will be unable to connect to the Lemur.
• For M ax/MSP , the port number can be anything. 8000 is the typical value used.
• For Reaktor 5 the port number must be higher than 10000.

• For other OSC-compatible software or hardware, consult the Target’s documentation
for details on port settings.
Close closes the Settings window and saves the OSC settings into the
Lemur’s flash memory. Wether you set up your OSC targets from the JazzEditor or
from the Lemur, they will always be saved to memory and available at each reboot.
Once you have loaded a Project from the JazzEditor onto the Lemur
(which is automatically done on connect) or open a Project from the Lemur’s
internal flash memory, the OSC messages are handled by the Lemur. This means
you can close the JazzEditor and let the Lemur communicate with OSC Targets.
3.3.2. MIDI Settings

MIDI Targ ets can either be set up on the Le mur itself or via the
Jaz zD ae mo n running on a computer. For MIDI work there has to be a
JazzDaemon running on the computer as the MIDI data is not generated on the
Lemur itself: the Daemon works as a bridge, translating between MIDI and OSC
protocols in real time.
The Daemon automatically scans all available MI DI por ts on the
computer. These may be physical hardware ports or virtual ports like offered by
MIDI Yoke or Maple on WinXP, or IAC Busses on OSX(see 3.3.2.3 and 3.3.2.4 for
details). The detected ports are then made available to the Lemurs on the network.
It doesn’t end there. You can also have sev eral c o mp uter s on the
same network all running MIDI Daemons and you will see all available MIDI ports of
all computers on the MIDI Setup page of your Lemur. This means maximum
flexibility in terms of MIDI topology. Regardless of the complexity of your MIDI
network, you can reach every single device via your Lemur, as long as it is
connected to a computer on the same network as the Lemur.
There are some thoughts to be invested about being able to make MIDI
connections on the Lemur and making them on the Daemon. The two methods lead
to different behaviour when starting the Lemur or the Daemon, respectively:
• The c o nnecti o ns creat ed fr o m t he L e mur can be saved in its internalf
Flash from the Sav e Se tti ngs button. The Lemur will then automatically attempt
to reconnect to the Daemons at boot. If the connections can’t be re-established
(due to a missing Daemon on the computer), the entries on the Lemur’s MIDI
settings are greyed out. At the moment an awaited Daemon appears on the
Network, the Lemur makes the corresponding connection. If you always connect
your Lemur to the same computer(s), saving the MIDI connections on the Lemur is
highly encouraged : there will be no setup time afterwards.
• The co nnectio ns crea ted fr o m a D ae mo n are saved in its preferences.
They will be automatically remade when the Daemon is launched. If the
connections can’t be re-established (because the Lemur is connected), the entries
on the Daemon’s MIDI settings are greyed out. At the moment an awaited Lemur
appears on the network, the Daemon makes the corresponding connection. If you
need to have several MIDI setups depending on which computer the Lemur is
hooked to, you should create the connections from the Daemons : this way,
whenever you plug your Lemur to any PC, the relevant connections are made.
3.3 .2 .1 . Le mur MI DI Se tti ngs

The MIDI Se tti ngs screen on the Lemur displays the currently defined
MIDI Targets . There can be up to eight of them. The MIDI communication is bi-
directional, meaning you can choose a MIDI input port (incoming to the
Lemur) and a MIDI output port (outgoing from the Lemur). Which ports are
present on the menu depends on the ports presented by the MIDI D ae mo ns
currently running on the network. Please have a look at chapter 3.3.2 for further
detail.
A MIDI Daemon has to run on the computer for working with MIDI as the
MIDI data is not generated on the Lemur itself.
To uch the I np ut or O utp ut of a Target to be changed on the MIDI
screen of the Lemur. You get a lis t of currently available Daemons on the network.
Touch the s mall triangle in front of the Daemons to open the list o f
availabl e port s on the respective computer. Just touch a port and touch
Connect to make the connection. You can also touch Disco nnect if you chose an
existing connection and it will be disconnected. Ca ncel closes the list without
changing anything.
Touch Ap ply to save the changes you made into the Lemur’s flash
memory. The settings done on the Lemur will be remembered the next time the
Lemur wakes up.
Close closes the Settings saving any changes you made to the internal
memory of the Lemur.
3.3 .2 .2 . MIDI Da e mo n Se tti ngs
MIDI Targ ets are defined with the MI DI por t br o wser of the M IDI
Dae mo n. Please read chapter 2.3 for details about starting the Daemon.
The MIDI port browser is opened via a me nu you can reach by clicking on
the Daemon icon in the System Tray (for Windows XP) or the Menu Bar (for MacOS
X), respectively.
Setup MIDI Daemon opens the MIDI port browser. On the left side of the
browser the available M IDI i np ut ports on the system are listed. The right part
shows the available M IDI outp ut p orts.
3.3 .2 .3 . MIDI S et up E xa mpl e
Let’s do a small w alkt hro ug h showing the steps to get a MIDI

connection up and running:
• Start the Daemon by going to the JazzMutant start menu folder and clicking
MIDI Daemon.
• Switch on your Lemur.

• Push the Settings button on your Lemur (the first button) and touch the MIDI
button on the screen.
• Now touch the O utp ut b ut to n for the M IDI T arge t 0 and see the list of
Daemons detected by the Lemur.
• Touch the small triangle in front of the computer name to drop down the
ports list. Choose one of the MIDI por ts (see below for details) and touch the
Connect button.
• You should now see the selected port appearing in the Targets list.
• Now click on the Da e mo n’ s icon on your computer and choose Setup MIDI
Daemon
• The list for current MIDI Connections appear. It shows the connection that
has just been done from the Lemur.
• You can now check if the MI DI co nnectio n works. Connect an a pplicati on

to the virtual MIDI port. Create a Fader and send some controller data to Target 0
or take a Pad Object and send some Note On messages.
• Tur n o ff your Lemur
• Tur n it b ack on and have a look at the MIDI Settings on the Lemur and at
the Settings of the MIDI Daemon. Everything is still there and works as before.
The connection of a Lemur target to MIDI port can also be done the other
way around.
• Click the Add button in the JazzDaemon window. You are now presented with
all the MIDI ports of the machine. You can choose any In or Out port to connect to a
Lemur. (Note that Mac Users will see there the Daemon Input and Daemon Output
virtual ports that are automatically created by the JazzDaemon at launch). Any port
in the Dae mo n I n section can be connected to the output of a Lemur. Any port in
the D ae mo n O ut section can be connected to the input of a Lemur.
• Double click on the local port you want to connect. Here, we want to receive
all MIDI data coming from the Lemur’s target zero on our virtual port named I AC
1. You can now browse the network and look for a Lemur to connect to. Choose
Le mur O ut 0 as a source, and double click the item, or hit the Co nnect button.
• Congratulations, you have successfully created a connection from the

Daemon ! Now if you quit and relaunch the Daemon, or reboot your computer, it
will automatically redo the connection from I AC 1 to Le mur O ut 0. Use this
technique if you often swap computers connected to your Lemur, and need a
unique configuration for each of those.
3.3 .2 .4 . Virtual MI DI Ports on Mac
On the Mac, the JazzDaemon automatically creates 8 virtual Inputs and 8

virtual Outputs for you to link with Lemurs. They are conveniently named D ae mo n
Inp ut and D ae mo n O utp ut. Once you’ve connected them to the Ins and Outs of
Lemurs, you can use them in any MIDI application on your Mac.
3.3 .2 .5 . Virtual MI DI Ports on Wi nd o ws TM XP
On Windows, you’ll need a third-party software virtual MIDI interface,

such as LoopBe or MidiYoke . Both drivers are freeware and easily
downloadable from the internet. The virtual MIDI drivers offer multiple MIDI ports
that you can use to create multiple connections from the Lemur to your host.
In the software application you want to control with the Lemur, choose
the virtual MIDI port to which the Lemur is connected. As you can also have bi-
directional communication via MIDI - i.e. the MIDI-enabled software can also
control Lemur Objects - use a second virtual port to make the reverse connection
to the Lemur.
Again, we will take Ableton Live as an example for the Target side. If you
want to route MIDI data from the Lemur to a live track, choose the appropriate
virtual MIDI port from the MIDI input menu in Live.
3.4. Use your Inte rface

Now that we have set up our Interfaces and know how to modify the
Objects it is time to put all this to use. You already know how to set up MIDI and
OSC Targets by using the Lemur Settings from the Toolbar (see Chapter 3.2).
We assume in this section that you have your Targets sorted out.
For every Variable of your various Objects you can decide to which Target
its value is transmitted and from which Target its variables and parameters are
controlled. You can choose MIDI and OSC Targets independently . This
ensures maximum flexibility in terms of routing values across your software and
hardware setup.
3.4.1. The send mode

As we said before, a project can be comprised of a great number of
variables. Only a few of them are useful when it comes to controlling your
application - most are only meant to change objects properties. Also, as we will see
later, there might be at least two reasons for not sending the output value of a
particular object. One would be if you were using an Object merely to display
information coming from your computer. The MultiBall object could represent the
state of something happening in different application.
The other reason could be that you transmit the data from the Object to
your computer via a Vari able containing a mathematical expression. In this case
the original Variable (e.g. the x) is only referenced by the Expression in another
Variable. This is often used to scale values into a more appropriate range. We’ll
learn more about this technique later.
Since it‘s not worth overloading the network with useless data, we
provided an option that let you decide whether or not a variable shall be sent.
Let’s have a look at the project browser window.
The checkboxes next to My Fader and x are what we’re interested in.
the checkbox in front of the Fader must be checked for enabling any data
transmission from this Object. Also, the checkbox next to the x must be checked in
order for the Lemur to send fader positional data when you touch the Object.
We want the Fader to transmit its position to our setup, so we should
check My Fader as well as x .
While checkboxes are enabled by default when creating objects and
variables, remember to uncheck the variables you don’t want to be sent out to
reduce network overload.
3.4.2. Setting up OSC mappings

If you are unsure about basic OSC setup , please have a look at
chapter 3.3.1
Make sure our Fader is selected and have a look at the OSC panel .
On the left you see the Variables menu and to the right the
Targets menu. We want to transmit the Fader’s x Variable via OSC. If you
have a look at the Variables menu of the OSC panel, you see that it lists all
available Variables of the Fader: Choose the x. From the OSC Targets menu,
choose the Target that you have set up in the general OSC Settings.
If you now move your Fader it will send the value of x to the OSC address
/Fader/x . Use whatever OSC software you have to check it.
If you want to change the OSC address use the Cus tom Address
flag and type in whatever address you need. This may be useful in case of naming
conflicts between Lemur Projects and projects running on the Target side.
Default parameters of objects range between 0 and 1 (such as the x
variable of a Fader). However, you can choose to scale their OSC output to your own
range. Enable the Scale chec kbo x and enter other integer boundaries for the
output.
The communication with OSC Targets is bi-directional. You define

the pairing for both incoming and outgoing OSC data with the various
parameters of your Objects on the OSC panel. That’s why you also find Variables on
the menu that don't output values: they can be remote controlled from the
displayed OSC address.
Main object’s parameters react to incoming OSC according to their OSC
range. Sending / Fa der/ x 1.0 to the Lemur will bring the Fader’s cap to the top if
the defaut range is used. If you’ve customized the range to 0..2 as explained above,
the Fader’s cap will instead go midway, since 1.0 is thye center of the 0..2 range.
Note that OSC scaling is only enabled to object’s main parameters, and
not to user-created expressions, since those have undefined range by essence.
You might already have noticed the different colors for the Variables in
the menu. By the way, the above menu is from a MultiBall Object.
• Red stands for the Object’s main parameters (x for a Fader; x, y, z for a MultiBall,
etc.)
• Orange depicts a properties/behaviour parameter (like friction, attraction, value,

etc.)
• Green entries are Expressions created by the user.

Have a look at Chapter 3.3.4 for more information about the Trigger
Mode menu. It allows for choosing when and how often the messages are
actually transmitted (triggered).
3.4.3. Setting up MIDI messages
3.4 .3 .1 . Usi ng t he MID I wi nd ow
On the top of the MIDI panel, you’ll find two menus. The left one is the
Variables menu and the right one is for choosing one of the MIDI
Targets defined in the MIDI Settings.
Choose any of the MIDI messages from the Message Menu . You find
a great variety ranging from Note messages over Controllers to System Realtime
messages, like Song Start/Stop or Active Sensing. They are preceded by their MIDI
status byte.
Depending on the message type you get various parameters to tweak.
Please have a look at the MIDI Message reference appendix for

details.
The communication with MIDI Targets is bi-directional . You define

the pairing for both incoming and outgoing MIDI data with the various
parameters of your Objects on the MIDI panel. That’s why you also find Variables on
the menu that do not output values.
You might already have noticed the different colors for the Variables in
the menu.
• Red stands for the Object’s main parameters (x for a Fader; x, y, z for a MultiBall,
etc.)
• Orange depicts a properties/behaviour parameter (like friction, attraction, value,

etc.)
• Green entries are Expressions created by the user.

Have a look at Chapter 3.3.2 for more information about the Trigger
Mode menu. It allows for choosing when and how often the messages are
actually transmitted (triggered).
3.4 .3 .2 . Simpl e MI DI Ma ppi ng
In order to generate MIDI messages from the objects you touch on the
Lemur, you have to establish a mapping between the 0-1 values transmitted by
the Lemur and MIDI values, which are typically integers (whole numbers) between
0 and 127. This is done on a per Variable basis on the MIDI panel of the Object. We’ll
start with a simple example.
• Select a Fader in your project. To assign a MIDI message to this fader, click the
MIDI panel of the Fader.
• Change the settings of the dialog to those shown above (Message is Control
Change, controller number is 7, and value is x). The Scale fields should be set from 0
to 127. Set the MIDI channel according to the channel of the desired Target, which is
chosen via the Target Menu to the upper left. These settings configure the Fader to
transmit MIDI controller 7 (volume) with the fader’s 0-1 floating-point values mapped
to 0-127.
• Verify the MIDI assignment by clicking on the M IDI Map icon at the top of the
JazzEditor window.
The MIDI Mapping window will appear. It displays the assignment we just
configured.
3.4 .3 .3 . Multi ple Co ntr oller M appi ngs
In the next example, we’ll use a MultiSlider object and automatically

assign different control change messages for each slider.
• Create a MultiSlider object. Using the General Properties tab, set the number
of sliders to 16 .
• Click the MIDI panel of the MultiSlider.
• On the MIDI panel choose B0 Control Change and MIDI 0 as Target for the x
Variable.
• Type controller number 10 into the first controller field. The second controller
field is automatically set to 25 to extrapolate for the 16 sliders.
• Click the MIDI Map icon to open the MIDI Map window.
Since the MultiSlider has sixteen values instead of just one, the
JazzEditor automatically assigns each slider to successive MIDI controller values.
The same thing happens for other multi-value Lemur variables (such as
MultiBall’s’ parameters).
3.4 .3 .4 . Mappi ng M IDI Note Mess age s
The following example uses the same automatic mapping feature to

create a chromatic one-octave MIDI “pad” on your Lemur that will send MIDI note
messages.
• Create a Pads object. Give it 12 columns and one row .
• Create a new MIDI assignment . Choose the x Variable and Note On as the
MIDI message type.
• Set the first pitch field to 60 and the second will automatically be
expanded to 71 (reflecting your 12 Pads). Your MIDI assignment should resemble
the one shown below.
• Click the M IDI Ma p icon to look at the MIDI Mapping window. You see the 12 Pads
nicely laid out working as a MIDI keyboard.
You can use more than 12 pads to create a bigger keyboard if you wish.
3.4 .3 .5 . Usi ng t he Midi M appi ng wi nd o w
The table consists of seven columns:
• The Name column shows the name of the Variables used.
• The Msg (Message) column displays the numbers of the different MIDI messages
used for the individual mappings.
• In the Ch (Channel) column you find the associated MIDI channel for the individual
mappings.
• The Message Name column writes out the full name of the different MIDI
messages.
• The two Parameter columns show the MIDI parameters associated with the
chosen message type, i.e. the CC number and the CC value for a MIDI controller
message.
• The Target column shows which of the MIDI Targets that are defined on the
Settings window have been chosen for the respective mapping.
The Refresh button updates the list of MIDI mappings and you can
close the window by hitting the Close button or the escape key on your computer
keyboard.
3.4.4. Trigger Modes

Common to the OSC and MIDI parameters that can change over time is
the Trigger Mode Menu :
The Trigger Mode is set for every parameter individually via a

dedicated menu and it decides when a message should be transmitted.
Let's look at the trigger mode for one parameter of a MIDI message (let's
say, the velocity of a note on message, or the value of a control change)
any : The message is sent whenever the parameter changes
up : The message is sent each time the parameter rises from 0 into the positive
value range
down : The message is sent each time the parameter reaches 0 from the positive
value range
up and down : The message is sent each time the parameter reaches 0 OR rises
from 0.
+: The message is sent each time the parameter increases above its previous
value
-: The message is sent each time the parameter decreases below its previous
value
For Custom MIDI Messages (see Chapter 3.5.5 for an explanation) there
is an additional item on the Trigger Mode Menu.
The first entry (“None ”) means that a change in the attached value or
expression will not trigger a transmission of the MIDI message. It might, however,
still get triggered by values or expressions associated with other parameters of the
Custom MIDI message that don’t have their Trigger Mode set to None.
3.5. Advance d features
3.5.1. The Lemur’s memory for Projects

The Lemur has a me mory for the Proj ects you throw at it. You just
have to tell it to remember them. This frees you from always having to open the
JazzEditor when you just want to work with your finished Interface.
Push the second button on top of the Lemur and hit the Project Browser
button to open the Pr oject bro wser . It displays a list of Pr ojec ts currently
stored in the Lemur’s flash memory.
We want to save the important Interface we have built, so we touch the

Save C urre nt command. You see the Project appear on the list. You can select
the Project ((leading to a blue tag) and touch D elet e to remove it from memory and
Ope n to load the selected Project into the main memory.
If you want the Lemur to open a specific Project when the Lemur is
switched on, select the Project on the list and activate the Load at Star t up flag.
The Startup Project is tagged in red. Touch Load at Startup again to remove the tag.
You have a maximum of 2048 kb for storing Project data on the unit.
Use the Close button to shut down the Project browser and get back to
working on the JazzEditor. You can also hit the I nt er face Br ows er button to go
back to the Interface thumbnails.
3.5.2. Control your Objects with your Objects

It’s easy to control the behaviour of your Objects via other Objects on the
Interface. Let’s add an additional F ader to our original Container. Call it
Friction .
Now switch to the Behavior panel of the Multi Ball Object and
change the Physics parameter to M ass-Spring . Please d e-acti vat e t he grid
as it is of no use in Mass-Spring mode. Also, enter F riction.x as the value for
friction .
Now you can control the friction of the MultiBall via the new Fader. It’s as
simple as that. Use any value of any of the Objects dwelling on your Lemur
Interface to control any of the parameters. This can lead to very interactive
Interfaces.
If you have sub-objects you can address their behaviour properties

individually by using a vector or list instead of a singleton. If you have
three balls in a MultiBall Object and use a vector with three
components to denote, say, friction, all balls will get their individual friction
value. Of course this also works with attraction and speed and any other
parameter of objects with multiple sub-objects .
You could have the Fader display the chosen friction value. But
sometimes you want to have the value displayed at a different place on your
interface. You can even display values on top of Objects. Let’s do that now. Create a
Mo nit or Object inside of our C ontai ner and position it right in the middle of the
MultiBall area.
Name the Object Grip, check the Lab el, Tr anspar e nt and val ue flags.
Fill in Fric tio n.x for value because we want to display the friction parameter set
via our Fader.
Now set the Font size of the Monitor to 13pt and choose a nice,
contrasting color . It should look similar to this:
If you move the Friction Fader, its value is displayed via the Grip Monitor.
You can still use the M ultiBall Obj ect, as if the Monitor wouldn’t exist, because
the Monitor is transparent to touch. Don’t mix this feature up with the
Tra nspar e nt fl ag of the Monitor which is only making the background of the
Monitor invisible. You can always “reach through” a Monitor Object, even if its
Transparent flag is unchecked. This can come handy if you want to hide Objects on
your Interface but still use them with your fingers.
3.5.3. Making your own Variable

Now, let’s say you have that special Reaktor patch with a custom
parameter having an extra wide range. You want fine-grained control with a Fader
in the lower range but you also need the possibility to control it over the complete
range. How would you do that?
Simply take a second Fader and use it as a multipli er for the Value of
the first one. This is best done via the creation of a l ocal Variable that gets
transmitted via OSC and MIDI.
Go back to our two originals faders from the beginning of this chapter,
and select the first one.
Now click on the Create Variable button below the Project Browser.
Type in the name M Fader into the dialog and click OK . You should see
the Variable named Mfader in the Project Browser, being local to the Fader.
We want to scale the output of the first Fader with the value of the
second. Do this by clicking on the fresh Variable in the Project Browser. Type
x*(Fader2.x*100) into the Script field of the Variable. Make sure that the
checkbox in front of the local Variable is checked . This ensures that the
Variable is actually transmitted via OSC and MIDI. It should look like this:
You might wonder why we addressed the Fader’s value with x directly
and not via Fader.x. This is possible because the Expression we created is local
to the Fader so that it “knows” the address of its parent. If we would have created
the Expression globally , we would have used the full address (Fader.x).
Of course you want to see the output of the Variable. Open the General
Properties of the first Fader and check the value flag . Type MFader into
the value field . As we don’t care about decimal places this time, set the
Precision to 0 .
For the second Fader also check the value checkbox and type
x*100 into the value field . The Precision can also be set to 0 .
If you now move the Faders you will see the relevant values
displayed above. Move the second Fader and the value of the Variable will
change, because it gets multiplied by a factor between 0 and 100 depending on
the value of the second Fader (Fader2.x*100).
Please note, that the displayed values are not those actually
produced by the Faders. They both still produce values between 0 and 1 .
Those values are combined in the calculation of the local Variable MFader that is
displayed above the first Fader. The factor that’s used for multiplication is
displayed above Fader 2.
Now, what if you want to multiply with multiples of 10, only? The Fader
has grid variable for quantization of the output.
We want to transmit the local Variable MFader via M IDI . This is easily
done via the MIDI panel of the first Fader . The Variables menu
contains the Variable MFader and we can choose it to be transmitted to MIDI
Target 0 (or any other Target we want). Choose Control Change as
Message and Controller 10 as controller. Make sure that you uncheck
the Scale checkbox , as we want the values to be transmitted as is and not
extrapolated to values between 0 and 127.
Now your Lemur will output values between 0 and 100 to MIDI Target 0
depending on the state of the two Faders.
3.5.4. Using Vector Variables

The Lemur doesn’t only know data structures containing single values.
There are also vector/list variables that consist of more than one value. Vectors
are used by the MultiSlider, MultiBall, Pads, and Switches Objects.
This can be convenient when you need controls for ADSR envelopes or
other tightly interrelated groups of parameters. Let’s use a MultiSlider to produce
values for an envelope working somewhere in a Synthesizer and trigger them with
a Pads Object:
• Switch to the 1 Demo Interface and click into the Container . There’s some
space left.
• Click the Create Object button and choose the Pads . Name the Object Trig and
click OK.
• Click the Create Object button again, choose M ultiSlider from the list of
objects, name the object Env , and click OK.
• Click the Behavior panel of the MultiSlider, and set the number of sliders to 4 .
Move and resize the MultiSlider so you can control each slider easily. Maybe
something like this or a little bigger?
We’re going to use the first slider for Attack , the second for Decay ,
the third for Sustain , and the fourth for Release . As with the x variables of all
Lemur objects, the MultiSlider x variable ranges between 0 and 1. This is not really
enough of a range for the time values of our envelope, so we need to scale these
values. We’ll also need to create three Expressions, one for each of the envelope’s
time values.
• Click on the Trig Object (Pads) in the Project Browser so that its name is selected.
• Click the Cre ate Expression button to create a new, local Expression.
• Name the expression Atk and press return
• Click on the new expression in the Project Browser and change to its Script
panel .
• In the script field enter the Expression shown below:
This means that the Atk Variable will use the value of the first slider (with
the index of 0) of the MultiSlider we just created.
Create similar Expressions for Dec (decay), which will use Env.x[1]
* 5.0 , Sus (sustain), which will use E nv.x[2 ], and Rel (release), which will
use E nv.x[3] * 5.0 . Note that we do not scale the value for Sustain, since this
is just a value between 0 and 1.
When you’re done, your Project Browser should look like this:
The final step is to enter these Variable names in the Behavior

Properties of the Trig Object. Enter Atk for Attack , Dec for Decay , Sus for
Sustain , and Rel for Release as shown below. As the Variables are local to
the Trig Object, you don’t have to write out the complete addresses (which would be
Trig.Atk, Trig.Dec, etc.).
Now you can test your envelope by hitting the Pads Object. You don’t even
need an attached Synthesizer to see what’s going on. Dial in the envelope values via
the MultiSlider and you will see how the changes of the sliders affect the
brightness envelope of the pad.
3.5.5. Using Custom MIDI Messages

Custom MIDI messages provide simple means to generate very
complex MIDI data by entering Expressions for all the parameters of the
chosen M IDI message . With normal MIDI assignments you can only assign the
selected variable to one parameter of the message. With Custom MIDI messages
you gain complete freedom to assign any value or expression to any one of the
different parameters of the message. And remember that expressions can use all
values of all Objects in your Project.
For a Note On message the parameters would be:
• Pitc h
• Velocity
• MIDI C ha nnel
You can even use an additional expression to control the triggerring of

the MIDI message. There is also Trigger Mode menu for all the parameters.
Please read chapter 3.4.4 for details.
As a small example, try adding a Pads Object and two Faders

(Fader3 and Fader4) to the second Interface of our Project.
Next, create a Custom MIDI message local to the Pads Object

and call it MyMIDI .
Now look at the MIDI panel of the Custom Midi message and choose
Note On from the message menu.
We want a fixed pitch for the generated note messages and set the
pitch field to 65.
For velocity we use the value of Fader3 , scaled to the MIDI range of
0 to 127 via the Scale fields .
The trigger field is set to x, which is the state of the Pad. By setting
the trigger mode for this field to “up”, the MIDI message is sent when x leaves 0, i.e
when the pad is pressed.
Now we can trigger notes with the Pad and control the velocity with
Fader3.
As a playful addition we assign the other Fader’s value to the MID I

channel. Here we use range function to get values between 1 and 16.
Now you can choose the MIDI Channel for the outgoing note messages.
This might be an exotic application but it’s fun – stack up a pile of sounds in
multimode in your favourite synth and trigger different sounds by moving the
channel fader on your Lemur.
Have a look at the different Trigger Modes we use. Pitch, Celocity

and Channel are set to None . Only a change in the Pads.x value will trigger
transmission of the MIDI message.
Note that unlike usual variables, Custom MIDI messages cannot be
controlled via OSC or MIDI. They only provide outgoi ng data .
3.5.6. Bi-directional Control

All Variables of a Lemur Project can also be easily controlled by
external software or hardware via MIDI and OSC .
If you want to control a Variable via MIDI , just set up the necessary MIDI
input for a Target in the MIDI settings. Then choose that MIDI Target for the
Variable on the MIDI panel.
If you have, for example, a Fader’s x value set up for transmission of MIDI
controller 1 on MIDI Target 0, it will also be controllable via incoming controller 1
data on the input port chosen for that MIDI Target.
Similarly, you can control all values via OSC . The different values are
controlled via their OSC addresses you already know.
For controlling a Fader via OSC, just set up the OSC Target for the
x value on the OSC panel and produce the OSC messages on the Target side. In
the Fader’s case you would send values between 0 and 1 to the OSC address
/Fader/x to the current IP and port of the Lemur. If you’ve set up a custom OSC
range for Fader.x, it will respond to values inside that range.
Please make sure that you think about the hierarchy of Objects on
the Lemur. If the Fader is inside of a Container the address would be
/Container/Fader/x.
Note that it’s also possible to switch Interfaces via OSC . Just send an OSC
message in the format “/interface InterfaceName ” to the Lemur’s IP
(port 8000). In our case this would look like “/interface 1 Demo” for switching to the
first one. For names that include spaces there is an additional consideration to
be made. The OSC software has to send the name as a single string. This might
involve putting it in quotes in the software. This is the case for Max/MSP.
For more about working with OSC, MIDI and bi-directional control please
have a look at the extensive workshop chapters we offer on our website .
There you’ll learn everything about how the Lemur loves Max/MSP , Reaktor
and other OSC enabled applications.
3.5.7. Defining and Using Functions

In addition to built-in functions and operators, you may define your own
mathematical functions to use in other Lemur variables and expressions.
Here’s how to do it:
Click the Cre ate Expression button to create a new Expression.

The Expression is created at the level of the hierarchy you have currently
selected. If you have an Object selected it will be an Expression local to that
Object. If you have the Global folder selected the Expression will go there.
• Type the name of the function and its argume nts in parentheses . For
example, to define a function named cubed that takes one argument, you would type:
• Click OK and click on the Script panel of the new Expression.
• Type in the definition of your function as an expression. You can reference other
variables if desired. The example below just multiplies the function argument a by
itself twice to raise the input to the third power.
How to use the new function? We are running out of space with our
Interfaces, but there’s still an empty spot on the first one.
Switch to the 1 Demo Interface and create a new Fader in the

Container .
Make it a vertical one, change the colour to something different (in our
case it’s red). Also, name the Fader Cubic and check both the label and the
value checkboxes.
Now switch to the Properties and set the value field to cubed(x*10).
You are now using the Function we just created to raise the x value (which is
multiplied by 10 beforehand) to the power of three. The variable argument of the
Function is replaced by the Expression x*10 .
Move the Fader and you will see that it displays an exponential range
from 0 to 1000.
3.5.8. Vector Datacrunching

A vector (also known as an array or list), is a variable that holds more
than one element (number). The Lemur expression syntax allows operations on
vectors and individual access to their elements. You can access the data in certain
Lemur Objects (MultiSlider, MultiBall, Pads, and Switches) as vectors. Typically
each “sub object ” is an element of a vector. For example, the x coordinates of
the balls in a MultiBall object are accessed as
• myball.x[0]
• myball.x[1]
• etc.
Let’s look at some of the operations you can perform on vectors. Assume
we have a MultiSlider object called moo and a MultiBall object called
bar . Below we have listed some expressions involving vectors and the results they
would produce. Assume moo.x contains {0.2 0.3 0.6} and bar.x
contains {0.25 0.5}
• moo.x * 3 Multiply all elements of moo.x by 3, returns {0.6 0.9 1.8}
• moo.x + 2 Add 2 to all elements of moo.x, returns {2.2 2.3 2.6}
• moo.x>0.5 Return a vector consisting of 1 or 0 depending on whether moo.x is
greater than 0.5, returns {0. 0. 1.}
• moo.x + bar.x Add all elements of two vectors. The size of the result is the smaller
of the two input vectors. Returns {0.45 0.8}
• moo.x[0] The first (index 0) element of moo.x, returns 0.2
• bar.x[1] The second element of bar.x, return 0.5
• moo.x[0.5] Interpolated value between bar.x[0] and bar.x[1], returns 0.3
• {moo.x, bar.x} Concatenates moo.x and bar.x, returns {0.2 0.3 0.6 0.25 0.5}
• {moo.x[0],bar.x[1.5]} Creates a new vector consisting of the first element of moo.x
and the average of the second and third elements of bar.x, returns {0.2 0.625}
Please have a look at the Parser Reference for a complete

overview of the possibilities.
Object Reference
Cha pter 4 O BJECT R EFERENCE
The Lemur contains fourteen Objects (and the utility Object

Container) you can use to build interfaces. This section explains the features,
options, and OSC message format of each Object. The Object names appear in the
picker window you see when clicking the Object button at the bottom of the
JazzEditor window.
Make sure to periodically check the JazzMutant website for updates, as
the number of available Objects will grow in the future.
4.1.1. Guide to Object Reference Pages

Variables Lists the built-in Variable names of the Object and what they
represent. All built-in Variables range from 0-1 unless otherwise
noted.
Dimensions Lists the default and minimum dimensions (height and width) of the
Object in pixels.
General Properties Describes the properties shown in the General tab of the Properties
inspector. Properties marked with a checkbox ( ) are on/off
properties (typically check boxes). Otherwise, the properties can
accept constants, Variables, or Expressions.
Behavior Properties Documents the behavior properties of the Object—generally these

are related to physical modelling features. Properties marked with a
checkbox ( ) are on/off properties (typically checkboxes).
Otherwise, the properties can accept constants, Variables, or
Expressions.
4.1.2. Container
The Container is a utility Object helping to structure your Interfaces. You

can enclose any number of Objects including other Containers. A Container can be
transparent, meaning that anything lying “under” the contained Objects will show.
A transparent Container also loses its frame.
You can also lock the Container, making it impossible to edit the Objects
inside. The contained Objects also won’t show up in the Project Browser anymore,
unless you unlock the Container again.
Variable s
none
Di me nsi o ns
Default 60 x 60 pixels
Minimum 32 x 32 pixels
Ge ner al Pr oper ties
Name The name of the Container. Must be used as a prefix for addressing the
Objects inside of the Container (as in Container/Fader.x)
Lock A locked Container prevents editing and display of its content in the Project
Browser.
 Transparent If checked, the Objects lying “under” the Container (but not belonging
to its content) are shown and the Container’s frame is not displayed
anymore.
Color Drag the color bar to change the frame color of the Container.
OSC Dat a
Lemur->Host none
Host->Lemur none
4.1.3. Custom Button
The Custom Button can act as a pad or switch. You can set the text of the
button for on and off state. Another option is to have the state displayed by two
different geometric forms to be chosen among .
Variable s
Object Reference
x A list of the envelope (brightness) values of the pads in the Object.

Di me nsi o ns
Name The name of the Custom Button Object that’s also used as its address.
Style Off A menu for choosing how the Off state is depicted. Choose between Text and
12 different symbols. If you choose Text, whitespace can be used in the text
entry.
Style On A menu for choosing how the On state is depicted.
Font A menu for choosing the font size for the text. The font size ranges from 8pt
to 24pt.
Alignment A graphical menu for choosing the position of the text within the boundaries
of the Object. You get a choice between 9 different positions. This feature
does not work for the symbols.
Color Off/On Dial in the color for the two respective button states.
Light Can be a constant or any mathematical expression and controls the
luminosity of your button. -2 means black, +2 means white, and you get to
choose any decimal number in-between.
Be havi or Pr oper ties
Mode A menu for choosing if the Button works as a Switch or a Pad. A Switch
changes state on touch and doesn’t change back on removal of the finger. A
Pad changes its state back if you remove your finger.
4.1.4. Fader
The F ader tracks your finger with a virtual cap and transmits one value
corresponding to the position of the cap on the fader. The Fader can be oriented
vertically and horizontally. Just grab a corner and drag it to change orientation.
Variable s
x The location of the cap. When the cap is at the top or right-most position of
the fader (depending on orientation), the value is 1 by default. When it is at
the bottom or at the left-most position, respectively, the value is 0.
Z A flag variable for detecting if the Fader is being touched. 1 if touched, 0 if
untouched. This is useful to emulate fader touch of control surfaces.
Di me nsi o ns
Default 60 pixels wide by 200 pixels high
Minimum 53 pixels wide by 200 pixels high
Name The name of the Fader that’s also used as its address.
 Label If checked, the Object’s name is displayed on the Interface.
 grid If checked, the range of values produced by the Fader is quantized into [grid]
steps. The maximum number of steps for the Fader is 33.
 Value If checked, the current value of the Fader is displayed on the Interface. In
addition, you can enter a formula for how the value is displayed. This does not
affect the actual value sent by the Fader, which remains between 0 and 1.
Unit This user-specified text is appended at the end of the value display. Use it to
specify the type of value, as in dB or ms.
Precision Specifies the number of decimal places for the value display. The default
value is 3 and the maximum number is 6. This setting has no influence on the
actual output of the Object. You have to scale the output using expressions or
on the Target side.
Colour Drag the colour bar to change the background colour of the fader. The cap
always keeps a pink outline.
Prop erti es E xa mpl e
Object Reference
This collection of General properties can be used to configure a fader

that displays values in decibels, where 0 dB is considered the maximum.
The resulting Fader Object looks like this:

 Capture If Capture is checked, an Object will only react to cursors that were created
inside its area. Even if the cursor later leaves the Object for another position,
it will remain in control of the original Object, until it is destroyed eventually.
When Capture is off, the old school way from previous versions is restored,
meaning an Object will react to whatever cursor is present at any moment in
its area.
Cursor Mode If set to Limited , the Fader will respond to a new cursor only if the original
one has been destroyed (i.e. finger is raised)
Get Newer means that whenever a new cursor appears inside the
Object’s area, it gains full control of the Object
In Barycentric mode each cursor, old and new, has the same amount of
influence on the Object
In Cap Only mode, the Object acts like a conventional fader that doesn’t
react to cursors outside of the cap area
Physics Can be one of three settings: None, Interpolate, or Mass-Spring.
If Physics is set to None , the Fader cap tracks one finger immediately. If
other fingers touch the fader, they are ignored.
If Physics is set to Interpolate , the cap moves according to the value of

Attraction from its current location to the location of your finger. Larger
values for attraction (up to 1) cause the cap to move to the new finger
location more quickly. When Attraction is set to 0, the cap cannot be moved
by your finger.
If Physics is set to Mass -Spring , Attraction and Friction are both active.
Friction ranges between 0 and 1. Lower values of friction mean that if the cap
is moving it will tend to keep moving. With a value of 0, the cap will never stop
moving. At a value of 1, the cap exactly follows your finger. Values of 1 for
Attraction and Friction are essentially the same as if Physics is set to None .
Please consider that the Lemur will send the Fader’s position constantly with
lower values of Attraction and Friction in Mass-Spring mode.
Attraction The amount of attraction the cursor (your finger) has on the Fader.
Friction See Mass-Spring above.
4.1.5. Knob
The Knob Object emulates two types of knobs: Classic knobs which are
constrained between a min and max value (0 and 1 by default), and endless
encoders which can reach any value through multiple successive turns.
Variables
x The current value of the knob, based on absolute angle position in Classic
mode, or rotation count in Endless mode
Name The name of the Knob Object that’s also used as its address.
 grid If checked, the range of values produced by the Knob is quantized into [grid]
steps. The maximum number of steps for the Knob is 33.
 Label If checked, the Object’s name is displayed above the Knob.
 Endless If checked, the knob switches to endless mode.
Value If checked, the current value of the Knob is displayed on the Interface. In
addition, you can enter a formula for how the value is displayed. This does not
affect the actual value sent by the Knob, which remains between 0 and 1.
Unit This user-specified text is appended at the end of the value display. Use it to
specify the type of value, as in dB or ms.
Precision Specifies the number of decimal places for the value display. The default
value is 3 and the maximum number is 6. This setting has no influence on the
actual output of the Object. You have to scale the output using expressions or
on the Target side.
Object Reference
Color Drag the colour bar to change the colour of the Knob.
Cursor Mode If set to Limited , the Knob will respond to a new cursor only if the original
one has been destroyed (i.e. finger is raised)
Get Newer means that whenever a new cursor appears inside the
Object’s area, it gains full control of the Object
In Barycentric mode each cursor, old and new, has the same amount of
influence on the Object
Control In Polar mode, the Knob respond to the polar position of cursors, relative
to its center point.
In Linear mode, the Knob responds to cursor drag on the vertical axis.
If Physics is set to None , the Knob jumps instantly to the value dictated by
the cursors’ positions.
If Physics is set to Interpolate , the Knob rotates toward new values

according to the value of Attraction. Larger values for attraction (up to 1)
cause the Knob to reach a new value more quickly. As the Attraction value is
lowered, the Knob takes longer to arrive at the finger position. When
Attraction is set to 0, the Knob cannot be moved by your finger.
If Physics is set to Mass -Spring , Attraction and Friction are both active.
Attraction works as described above under Interpolation. Friction ranges
between 0 and 1. Lower values of friction mean that the Knob will tend to
keep moving. With a value of 0, the Knob will essentially never stop moving.
Values of 1 for Attraction and Friction are essentially the same as if Physics
is set to Interpolate.
Attraction See the discussion of Interpolation and Mass-Spring modes under Physics
above.
Friction See the discussion of Mass-Spring mode under Physics
above.
4.1.6. Leds
The Leds Object is a two-dimensional array of Leds. It can be a single

led or a whole matrix of them, all with their individual light and value parameters.
Remember that those properties can be set to vectors when dealing with several
columns or rows of Leds.
The Bar Graph mode makes a matrix or vector of Leds act as your typical
bar graph: the Leds work together to graphically display the current value.
The Leds are transparent to touch but not transparent in terms of
display. This means you can implement switch or pad functionality by placing a
hidden Switches or Pads Object underneath the Leds.
Variables
value In Bargraph mode this value represents the percentage of the Leds being switched
on. If Bargraph mode is off, only 1 and 0 are accepted as values. If you send a single
value (0,1) it will switch all Leds to their on or off colors. If you have multiple
rows/columns, you can use a vector to individually address the Leds.
Name The name of the Leds Object that’s also used as its address.
 Label If checked, the Object’s name is displayed above all of the Leds.
Columns The number of columns of Leds contained in the Object. Only 16 columns of
Leds can be set.
Rows The number of rows of Leds contained in the Object. Only 16 rows of Leds can
be set.
Color Off Drag the colour bar to change the colour for the off-state of the Leds.
Color On Drag the colour bar to change the colour for the on-state of the Leds.
Light Can be a constant, a vector or any mathematical expression and controls the
luminosity of your Objects. -2 means black, +2 means white, and you can
none
4.1.7. Monitor
The Monitor produces no data when you touch it. Its purpose is to
display information sent to the Lemur by your computer.
Variable s
value Represents the value of the Monitor to be displayed. You can use a constant
or any expression.
Di me nsi o ns
Minimum 50 pixels wide and 22 pixels high. The font size of the monitor is adjusted as
the Object is resized.
Name The name of the Monitor that’s also used as its address.
 Label If checked, the Object’s name is displayed above the value.
Value The checkbox is not functional. The text field next to Value represents the
monitor’s default value. Since any value can be sent to the monitor, there is
no 0-1 limitation.
Object Reference
 Transparent If checked, only the label and the value is displayed and the Monitor’s
background becomes transparent. This also makes it possible to use
the Monitor as a text label anywhere on the Interface.
Unit Appends arbitrary text to the end of the value display.
Precision Number of floating-point digits that appear. A precision of 0 displays only the
integer part of numbers the monitor receives.
Font A menu for choosing the font size for the label and value of the Monitor. The
font size ranges from 8pt to 24pt.
Alignment A graphical menu for choosing the position of the text within the boundaries
of the Object. You get a choice between 9 different positions.
Color Drag the color bar to change the color of the label text. The numerical value
display is always white.
None.
4.1.8. MultiBall
The MultiBall Object assigns each finger to track one of a number of

balls (up to 10) in a rectangular space. Balls can either always be visible or only appear
when you touch the space; the latter is called ephe meral mode . The brightness
of the balls is sent as the z variable in the Object.
Variable s
x A list of the horizontal positions of all the balls.
y A list of the vertical positions of all the balls.
z A list of the brightness values of all the balls. Brightness values change only
when the MultiBall Object is in ephemeral mode.
Di me nsi o ns
Name The name of the MultiBall Object that’s also used as its address.
 Label If checked, the Object’s name is displayed above the balls.
Numbers If checked a running number is displayed inside of each ball (see picture below)
Balls Number of balls (1 to 10)

 grid If checked, the range of values produced by the Balls is quantized into [grid]
steps. The maximum number of steps for the MultiBall axis is 33.
Object Reference
Color Drag the color bar to change the color of the outline around the MultiBall’s
rectangular space. The colors of the balls are fixed as follows:
1: faded purple
2: lime green
3: “lemur” yellow/orange (see screen shot above)
4: lemon yellow
5: red
6: teal blue
7: deep blue
8: sea green
9: intense purple
10: white/grey
 Ephemeral If checked, the MultiBall behaves in a mode where the balls disappear until you
touch it with one or more fingers. The brightness of the balls becomes the value
of the z variable of the Object, and the way the brightness changes over time is
controlled by an ADSR envelope (described below). When Ephemeral is not
checked, the balls are always visible and their z values are constantly 1.
inside its area. Even if the cursor later leaves the Object for another position, it
will remain in control of the original Object, until it is destroyed eventually. When
Capture is off, the old school way from previous versions is restored, meaning an
Object will react to whatever cursor is present at any moment in its area.
Cursor Mode If set to Limited , the Balls will respond to a new cursor only if the original one
has been destroyed (i.e. finger is raised)
In Barycentric mode each cursor, old and new, has the same
amount of influence on the Object.
Get Oldest Ball : If all the balls are currently “possessed” by your
fingers and a new cursor comes in, it will take control of the oldest ball (the one
that lived the longest in Ephemeral mode or the first ball in normal mode).
Get Closest Ball : In the same situation, the new cursor gets
attributed the ball that is the closest in distance.
If Physics is set to None , balls move to finger positions immediately,

and the settings of Attraction and Friction are ignored.
If Physics is set to Interpolate , balls move toward finger positions

according to the value of Attraction. Larger values for attraction (up to 1) cause a
ball to move to a finger position more quickly. As the Attraction value is lowered,
the balls take longer to arrive at the finger position. When Attraction is set to 0,
balls cannot be moved by your finger.
If Physics is set to M ass-Spring , Attraction and Friction are both

active. Attraction works as described above under Interpolation. Friction ranges
between 0 and 1. Lower values of friction mean that if a ball is moving it will tend
to keep moving. With a value of 0, the balls will essentially never stop moving. At
a value of 1, a ball will move only where you touch with your finger. Values of 1
for Attraction and Friction are essentially the same as if Physics is set to
Interpolate.
Attraction The amount of attraction the cursors (your fingers) have on the Balls.
Friction See the discussion of Mass-Spring mode under Physic above.
Speed This value multiplies the balls’ speed after Physics computation by a user-
defined expression. Input a singleton for the same effect on all balls, otherwise
input a vector. Experiment with negative values for crazy effects.
Ab out t he Mul tiBall ADS R+ H

The next four properties relate to the “brightness” or z variable envelope
that can be used in ephemeral mode. You specify time values for the Attack, Decay, and
Release in seconds as well as a Sustain level between 0 and 1. Unlike a keyboard
ADSR, the MultiBall ADSR goes through its entire cycle when you touch the surface to
trigger the appearance of a ball. If the ball is still tracking your finger when it reaches
the end of the Decay portion of the envelope, the z value (brightness) will remain at the
sustain level until you lift your finger off the surface. At that point (or before, if your
finger has already left the surface), the Release portion of the envelope will be
triggered, and the z variable will return to 0.
Attack Applies only when using ephemeral mode. The Attack value specifies the number
of seconds over which the z variable (brightness of a ball) increases from its
initial value of 0 to a maximum of 1 after you touch the screen. As an example, if
the Attack value is 0, the ball will be at full brightness the moment you touch the
screen.
Decay Applies only when using ephemeral mode. The Decay value specifies the number
of seconds over which the brightness will decrease after the initial Attack portion
of the envelope has completed. During the Decay portion of the envelope, the z
variable (brightness of a ball) will decrease from 1 to the level set by the Sustain
value.
Sustain Applies only when using ephemeral mode. The sustain value is the level
(between 0 and 1) at which the brightness of the ball will remain as long the
MultiBall Object is tracking your finger within its space. The Sustain level is
reached after the Attack and Decay portion of the envelope have completed. If
your finger lifts up from the touch surface before the completion of the Attack
and/or Decay portion of the envelope, the Release portion of the envelope is
triggered immediately after the Decay portion completes, and the brightness
ultimately goes to 0.
Release Applies only when using ephemeral mode. The Release value specifies the
number of seconds over which the brightness of a ball will decrease from its
Sustain level to 0, starting at the moment that you lift up (“release”) your finger
from the touch surface.
Hold Its effect is similar to a sustain pedal, freezing the Object’s state as long as its
value is 1. When set to 0, if has no effect. This means this parameter should be
used with a mathematical expression depending on other Objects. For instance,
if you have a Switch Object named Sustain in your interface, you can set the hold
parameter of a Pad to Sustain.x so the Switch gets the ability to freeze the
current lightness.
Object Reference
HoldX If 0, this has no effect. Any value greater than 0 freezes the respective ball on its
current position on the x-axis. The y-axis remains active. Use a vector, if you
want to affect specific balls.
HoldY If 0, this has no effect. Any value greater than 0 freezes the respective ball on its
current position on the y-axis. The x-axis remains active. Use a vector, if you
want to affect specific balls.
4.1.9. MultiSlider
The MultiSlider Object tracks movement across an array of sliders. You

can “wipe” all the faders to a set value with one horizontal gesture. This is pretty hard
to do with real—or virtual—faders.
Variable s
x A list of the vertical positions of all the individual sliders.
Di me nsi o ns
Minimum 64 pixels wide x 40 pixels high
Name The name of the MultiSlider Object that’s also used as its address.
 grid If checked, the range of values produced by the Sliders is quantized into [grid]
steps. The maximum number of steps for the MultiSlider is 33.
 Horizontal Swaps the orientation of the MultiSlider from vertical to horizontal.
 Label If checked, the Object’s name is displayed above the sliders in the lower left-
hand corner.
Slider Number of sliders (1 to 64)
Color Drag the color bar to change the “thematic” color of the sliders. The foreground
uses a gradient based on this color, and the background is a darker version of
the color.
luminosity of your Objects. -2 means black, +2 means white, and you get to
 Physics If checked, the MultiSlider emulates the physics of an Object similar to a plucked
string anchored at the left and right sides of the array of sliders. Your fingers
“pluck” the string by lifting it up in one or more places. The values of the sliders
ramp up to meet your fingers and track them as they move. Lifting your finger(s)
from the surface releases the string, and its subsequent behavior is determined
by the Tension, Friction, and Height values.
Tension A value between 0 and 1 corresponding to the tension on a string. As tension
increases, the frequency of oscillation of the string increases. Increasing the
tension is something like turning the tuning peg of a guitar to raise the pitch of a
string.
Friction A value between 0 and 1 corresponding to the damping on a string. As friction
increases, the damping on the oscillation increases. With large friction values,
the string returns to its resting position quickly. With smaller friction values, the
string may oscillate for a long time.
Height When Gravity mode is enabled, the height (0 to 1) is the value of the initial and
resting position of the string. When Gravity mode is not enabled, the height is the
initial value of the MultiSlider after it is initialized.
4.1.10. Pads
The Pads Object is a two-dimensional array of buttons that are triggered by

touch. They are intended to trigger events instead of represent state, since they
eventually return to an “off” value after you touch them.
Variable s
x A list of the envelope (brightness) values of the pads in the Object.
Di me nsi o ns
Minimum 32 x 32 pixels times the number of rows and columns
Name The name of the Pads Object that’s also used as its address.
 Label If checked, the Object’s name is displayed above the pads, which are “squished”
to accommodate the text.
 Numbers If checked, each pad is labelled with a number corresponding to the order in
which its value is transmitted, starting with 0 as shown below.
Object Reference
Columns The number of columns of pads contained in the Object. There does not appear to
be a maximum number of columns, but only 25 columns of pads can be seen on
the screen at once. The minimum width of a pad is 32 pixels, and the Object will
be resized if necessary to maintain the minimum pad height.
Rows The number of rows of pads contained in the Object. There does not appear to be
a maximum number of rows, but only 19 rows of pads can be seen on the screen
at once. The minimum height of a pad is 32 pixels, and the Object will be resized
if necessary to maintain the minimum pad height.
Color Off Drag the colour bar to change the colour for the off-state of the Pads.
Color On Drag the colour bar to change the colour for the on-state of the Pads.
Ab out t he Pads ADSR +H
The four behavior properties of a Pads Object relate to its “brightness” or x
variable envelope. You specify time values for the Attack, Decay, and Release in
seconds as well as a Sustain level between 0 and 1. Unlike a keyboard ADSR, the Pads
ADSR goes through its entire cycle when you touch the surface to trigger it. If your
finger is still down on a pad when the envelope reaches the end of its Decay portion,
the x value (brightness) will remain at the sustain level until you lift your finger off the
surface. At the release point (or before, if your finger has already left the surface), the
Release portion of the envelope will be triggered, and the x variable will return to 0.
To implement an immediate response trigger, set the Attack, Decay, and
Release to 0, and the Sustain to 1.
Attack The Attack value specifies the number of seconds over which the x variable (pad
brightness) increases from its initial value of 0 to a maximum of 1 after you touch
the screen. As an example, if the Attack value is 0, the pad will be at full
brightness the moment you touch the screen. An attack value of 10 means the
pad will take 10 seconds to reach the full value.
Decay The Decay value specifies the number of seconds over which the x variable (pad
brightness) will decrease after the initial Attack portion of the envelope has
completed. During the Decay portion of the envelope, the x variable (pad
brightness) will decrease from 1 to the level set by the Sustain value.
Sustain The Sustain value is the level (between 0 and 1) at which the x variable (pad
brightness) will remain as long your finger is touching the pad. The Sustain level
is reached after the Attack and Decay portion of the envelope have completed. If
your finger lifts up from the touch surface before the completion of the Attack
and/or Decay portion of the envelope, the Release portion of the envelope is
triggered immediately after the Decay portion completes, and the brightness
ultimately goes to 0.
Release The Release value specifies the number of seconds over which the x variable
(pad brightness) will decrease from its Sustain level to 0, starting at the moment
that you lift up (“release”) your finger from the touch surface.
Hold Its effect is similar to a sustain pedal, freezing the Object’s state as long as its
value is 1. When set to 0, if has no effect. This means this parameter should be
used with a mathematical expression depending on other Objects. For instance,
if you have a Switch Object named Sustain in your interface, you can set the hold
parameter of a Pad to Sustain.x so the Switch gets the ability to freeze the
current lightness.
4.1.11. Range
The R ange Object is a slider with adjustable length. Touch either end to
change the width/height of the range.
Variable s
x A list of the vertical positions of all the individual sliders.
Di me nsi o ns
Minimum 20 pixels wide x 120 pixels high (vertical mode)
Name The name of the Range Object that’s also used as its address.
 grid If checked, the range of values produced by the Sliders is quantized into [grid]
steps. The maximum number of steps for the Range Object is 33.
 Horizontal Swaps the orientation of the Range Object from vertical to horizontal.
 Label If checked, the Object’s name is displayed within the Objects boundaries.
Color Drag the color bar to change the “thematic” color of the sliders. The foreground
uses a gradient based on this color, and the background is a darker version of
the color.
Object Reference
 Physics If checked, the Range boundaries snap back to user-defined positions (that can
evolve based on other variables) when you release them. Physics behavior is
determined by the Tension, Friction, and Min_Height and Max_Height values.
Tension A value between 0 and 1 corresponding to the tension of the string that links the
boundaries to their snap-back positions. You can enter a vector to specify
different tensions for the two extremities.
Friction A value between 0 and 1 corresponding to the damping on a string. As friction
increases, the damping on the oscillation increases. With large friction values,
the string returns to its resting position quickly. With smaller friction values, the
string may oscillate for a long time. You can enter a vector to specify different
frictions for the two extremities.
Min_Height When Physics mode is enabled, the height (0 to 1) is the value of the initial and
resting position of the mininum boundary of the Range.
Max_Height When Physics mode is enabled, the height (0 to 1) is the value of the initial and
resting position of the maximum boundary of the Range.
drag If drag is not zero, the current range can be dragged with the finger without
changing its limits. You may use this with a switch to toggle the behaviour of your
Range Object (put Switch.x into the drag field). The field can contain any
expression.
4.1.12. RingArea
The RingArea tracks your finger inside a circular space. It reports the X
and Y coordinates of a ball that can be programmed to have a variable degree of
attraction toward a central point. You can specify the location of the attraction point
within the circular space.
Variable s
x The horizontal position of the ball.

y The vertical position of the ball.
Di me nsi o ns
Name The name of the RingArea Object that’s also used as its address.
 Label If checked, the Object’s name is displayed above the circular space.
Color Drag the color bar to change the background color of the circular space. The ball
and attraction point are lighter variants of this color.
Attraction A value from 0-1 representing the speed of the ball from its attraction point to
your finger when you touch the Object, and from your finger to the attraction
point when you release your finger.
Friction A value from 0-1 representing the stickiness of the movement to either your
finger or the attraction point. Lower values of friction make the ball overshoot
the attraction point when it approaches, causing bouncing and/or oscillation.
Attractor X A value from 0-1 representing the horizontal location of the attraction point
within the Object’s rectangle. A zero value of Attractor X is at the left edge and a
value of 1 is at the right edge.
Attractor Y A value from 0-1 representing the vertical location of the attraction point within
the Object’s rectangle. A zero value of Attractor Y is at the bottom edge and a
value of 1 is at the top edge.
The exact position values transmitted by the Lemur when the ball arrives at
the attraction point is partially dependent on the size of the RingArea. The ball never
leaves the circular area, but as the Object grows larger in size, the attraction points
can be located outside the circular area when Attractor X and Attractor Y are given very
large or very small values.
Object Reference
4.1.13. SignalScope
The SignalScope displays values of other Objects and variables on your Lemur.
The “trace” shows a recent history of the value of what you are monitoring.
The SignalScope is transparent to touch, meaning that you can place it on top of
Objects and still interact with them.
Variable s
None
Di me nsi o ns
Name The name of the SignalScope Object that’s also used as its address.
 Label If checked, the Object’s name is displayed in the scope area.
 Mode XY If checked, the signal scope shows both an X and Y value plotted against each other. If
unchecked, the X value is time, shifting Y values to the left.
Color Drag the bar to change the color of the scope and its frame.
X= If Mode XY is enabled, X can be the value of a variable or a constant, otherwise it is
assigned to time against which the Y value will be plotted.
Y= A variable or constant expression that will be periodically evaluated and plotted against X.
For example, to plot the x variable of a Fader Object called chan1, enter chan1.x in the
text field.
Time base = Corresponds to the time (in seconds) displayed on the scope. As the Time base increases,
individual elements of the graph will decrease in width as more of the “past” is shown.
The picture below shows a SignalScope displaying a tenth of a second of history. It is set
to time base of 0.1:
And here is a SignalScope showing 2 seconds of history. Its time base is set to 2.0.
4.1.14. SurfaceLCD
The SurfaceLCD Object emulates traditional control surfaces' LCD, by making

use of the MIDI input capabilities of the Lemur. With his Object you can display track names,
parameter changes, timecode, all updated in real-time by your Digital Audio Workstation (DAW).
The SurfaceLCD Object is compatible with the Mackie Control surface protocol.
Variable s
None This Object has no value to be mapped to MIDI and OSC. It displays information coming from a
DAW.
Name The name of the SurfaceLCD Object that’s also used as its address
 Transparent If checked, the background of the SurfaceLCD disappears to obtain a see-through
appearance. If unchecked, the background color is set by the Top color slider.
Target This lets you select the MIDI Target number for information display. First, setup a MIDI
target with an input of your liking inside the JazzEditor settings. Then, configure your
DAW to send Mackie Control surface data to this MIDI input. Refer to the bundled
examples for mappings of control Objects compatible with control surfaces protocols
known by your DAW.
Display This lets you select one of three LCD modes common to conventional control surfaces.
In Main LCD mode, the Object displays Track information.

Object Reference
In Timecode mode, the Object displays up-to-date Timecode information.
In Assignment mode, the Object displays a three character code describing the
current assignment of other mapped control Objects.
Refer to your DAW’s manual for more information on specific display functions.
None
4.1.15. Switches
The Switches Object is a two-dimensional array of toggle switches. Their values

reverse when you touch them. Switches can be used to represent and transmit one or more on-
off states.
Variable s
x A list of the on-off values of the switches in the Object. The list starts with the top-left
corner, and traverses the first row before starting at the beginning of the second row.
Name The name of the Switches Object that’s also used as its address
 Label If checked, the Object’s name is displayed above all of the switches.
 Numbers If checked, each switch is labelled with a number corresponding to the order in which its
value is transmitted, starting with 0 as shown below.
 Radio In Radio mode, only one switch can be turned on at any particular time. Turning on any
switch turns all the others off.
Columns The number of columns of switches contained in the Object. There does not appear to be a
maximum number of columns, but only 16 columns of pads can be seen on the screen at
once. The minimum width of a pad is 32 pixels, and the Object will be resized if necessary
to maintain the minimum pad height.
Rows The number of rows of switches contained in the Object. There does not appear to be a
maximum number of rows, but only 16 rows of pads can be seen on the screen at once.
The minimum height of a pad is 32 pixels, and the Object will be resized if necessary to
maintain the minimum pad height.
Color Off Drag the colour bar to change the colour for the off-state of the Switches.
Color On Drag the colour bar to change the colour for the on-state of the Switches.
Light Can be a constant, a vector or any mathematical expression and controls the luminosity of
your Objects. -2 means black, +2 means white, and you get to choose any decimal number
in-between.
 Capture If Capture is checked, an Object will only react to cursors that were created inside its
area. Even if the cursor later leaves the Object for another position, it will remain in
control of the original Object, until it is destroyed eventually. When Capture is off, the old
school way from previous versions is restored, meaning an Object will react to whatever
cursor is present at any moment in its area.
Paint If this flag is active, you can “paint” on an array of switches by dragging your finger
around. If paint is inactive, a touch only toggles the switch you hit first and dragging the
finger around has no further effect.
4.1.16. Text
The Text Object produces no data when you touch it. Its purpose is to display
arbitrary text including whitespace characters typed in via the JazzEditor.
Variable s
None This Object has no value to be mapped to MIDI and OSC. It displays information defined by the
user.
Di me nsi o ns
Minimum 50 pixels wide and 22 pixels high. The font size of the text can be chosen (see below).
Name The name of the Text Object that’s also used as its address.
 Transparent If checked, only the text is displayed and the Object’s background becomes
transparent.
Text Type in any text you want the Object to display for you.
Font A menu for choosing the font size for the displayed text. The font size ranges from 8pt to
24pt.
Alignment A graphical menu for choosing the position of the text within the boundaries of the Object.
You get a choice between 9 different positions.
Color Drag the color bar to change the color of the text and its background (if the Transparent
flag is not set).
Light Can be a constant or any mathematical expression and controls the luminosity of your
text. -2 means the text is invisible, +2 means white, and you get to choose any decimal
number in-between.
Object Reference
None.
Cha pter 5 P ARSER R EFERENCE
The parser is the part of the Lemur’s brain that crunches away on the Math you throw
at it. It is used to do simple stuff like scaling an internal value or adding some Variables. But
there’s more. Due to a set of internal Operators and Functions and the possibility to create your
own, custom Functions, you can construct very complex Projects. They may include a lot of
internal calculation and interdependences between Objects helping in building the perfect,
interactive Interface.
5.1.1. Value Colouring

There is a colour code for showing the type of value in a variable or expression. The
colour changes automatically when you start typing into the respective fields:
• Black means a standard expression that is evaluates 60 times a second (every 16ms).
• Red indicated an invalid expression.
• Blue is a constant, like 10+2.
This is useful to check whether an expression is well formed. If it goes black, you
know it can be calculated – which of course still doesn’t mean it does what you want it to…
5.1.2. Vectors, Singletons and Operators

The Parser handles two kinds of variables: vectors and singletons .
a vector : {0, 2, 0.5}
a singleton : 3
If you want to access the items of a vector separately, use brackets [].
a = {1,3,4}
a[0] = 1
a[2] = 4
This also works for multiple items:
a[0,2] = {1, 4}
At the heart of the Lemur’s parser lie the Operators and Functions . They are
used to construct ex pressions that make the Lemur such a versatile animal.
The operators are basic mathematical critters that you should know from your Maths
classes (you do remember your Maths classes, do you?)
+, -, *, /, ^
% is the modulo operator used to calculate the remainder of a division.

10%3 = 1
Parser Reference
This can be very useful to derive “clean” values from the time variable (see below for
a definition of Lemur time):
time%1 = 0.25 (if time = 2043.25)
5.1.3. Functions
Functions are the other founding stone of expressions in the Lemur. There is a
variety of internal (pre-defined) Functions but you can also define your own Function.
You can create a Function by setting up a variable named xxx( a,b) and set its value
as something like a-b+2 .
The Functions can then be taken as the value for other Variables, where they receive
“real” Lemur values as arguments. You could use the above function by making a Variable
named yyy with the value xxx(F ader.x,Mult iball.y). In this case a and b are
substitutes by the current values of F ader.x and MultiBall.y .
Please note that most Functions that can act on singletons can adapt to vectors as
well. For instance :
round(1.2) = 1
round({1.2, 3.8, 0.1}) = {1, 4, 0}
5.1.4. Expressions
Using all those bricks, you can create named Expressions (Variables) or use
Expressions as Objects' parameters (attraction, etc.)
When entering a vector as a parameter for a multi-state Object (Switches,

MultiBall, Leds, Pads), the parser will do its best to map each item in the vector to each sub-
object
For instance :
entering {0.1, 0.5, 1.0} as the attraction for a Multiball that has 3 balls sets :
attraction for Ball 0 : 0.1
When mapping a vector Variable to MIDI (the x parameter of a Multiball with 10 balls,
or a user-created Expression that evaluates as a vector), the parser will try to stretch the
mapping to all the items.
For example:
A custom Expression called "vec" with value set to :
{Ball.x+Ball.y, Ball.x-Ball.y}.
If you now go into the MIDI panel and want to map the Expression to a MIDI controller,
you just have to put controller 10 into the first controller field and the second field will
automatically be set to 11.
5.1.5. Accessing Variables

An Expression that is local to an Object can access the x parameter of the Object just
by its name "x":
scaled_x = x
If the Expression is created outside of the Object (local to another Object, or in the
global folder, or at root level of a Container) the parent of the x Variable must be included in the
address:
scaled_x = Fader.x
WARNING : Containers are taken into account in the hierarchy. If the Fader is inside
container "Cont", all Expressions outside of the container must access it with "Cont.Fader.x"
Expressions inside of the same container can omit the first part and access it directly
via "Fader.x"
5.1.6. Lemur internal clock

The Lemur works with a clock speed of 60 ticks per second . This means that
every 16 ms all states of Objects, Expressions and Functions are evaluated. These 16 ms
constitute one Lemur frame .
There are some special considerations, though, as the Lemur’s brain tries to avoid
unnecessary work. When it comes to deciding whether the value of a Variable is going to be
transmitted via MIDI or OSC, the Lemur first checks if the Variable has changed since
the last frame . If it hasn’t changed, it’s not going to be transmitted.
This has implications if you want to transmit constant controller
values via MIDI (or OSC), e.g. via a Pads Object. It does not work to just put in a constant for
your controller value, as the Lemur will refuse to send it after the first activation of the Pads
Object. The value didn’t change so it is not worth sending it.
Let’s assume you want to transmit the value 64 every time you hit the Pad.
Simply create a Variable (we called it “changer”) local to the Pads Object and fill in
64*x in the Variable’s script field. Now switch to the MIDI panel, choose the new Variable and
switch the Trigger Mode menu to +. For Scale you fill in 0 and 64 . That’s it.
Parser Reference
When the Pad is on, the Variable will have the value 64, when the Pad is off it will be 0
- it always changes. The Trigger Mode only allows transmission for a change from 0 to positive,
so only the value 64 will get transmitted via MIDI.
5.1.7. Lemur Time

If you look at the Internal folder in the Project Browser, you will see a pre-defined
Variable called time .
The time Variable is a millisecond value you can use for creating time-varying
behaviour in your Lemur. It represents the number of milliseconds since your Lemur
was turned on and it resets to 0 every hour. The time value is intended to be manipulated by
mathematical Operators, particularly by multiplication (*), division (/), and by the modulo
operator (%).
By multiplying time by a value greater than 1, you produce a sequence of values that
increase faster than clock time. By multiplying time by a value less than 1, you will produce a
sequence of values that increase more slowly than clock time. You can use the modulo Operator
(%) to create a repeating sequence of values that resembles a sawtooth wave. For example time
% 1 produces a ramp from 0 to 999 that occurs over the course of a second.
Here are some example Expressions created using the time variable:
5.1 .7 .1 . Time Cod e E xa mpl e
Use Monitor Objects to display the values of the following expressions:
Frames = (time % 0.25) * 100

Hours = floor(time/3600)
Minutes = floor(time/60) % 60
Seconds = floor(time % 60)
Create global Variables for each of these Expressions. Then you can use the Variables
in other Lemur Objects. For example, here is the Properties Browser view for a monitor Object
that would display a global Seconds variable.
Even if you are not connected to a Lemur, the resulting Monitor Object will begin
changing immediately after you enter a time-based variable.
5.1 .7 .2 . LFO Ex a mple
This is an Expression using the time Variable that generates an LFO.
LFO = sin(time * 2) *0.5 + 0.5

You can display this in a SignalScope.
You can assign time-based variables to properties in Lemur Objects (such as Friction
or the ADSR envelopes) to create Objects that change over time. However, you can’t assign
them to the values of Objects (other than the Monitor and SignalScope), so you can’t use the
time variable to “animate” the purple ball in an Area.
5.1.8. Operators and Functions Reference

The following is a list of all internal Functions and Operators the Lemur parser
understands.
Try them out by creating a monitor Object and enter an Expression using the
Functions and Operators in the value field.
5.1 .8 .1 . Arithmetic
abs(x) : absolute value
abs(-2) = 2
ceil(x) : rounded value to higher integer

ceil(1.2) = 2
ceil(1.8) = 2
floor(x) : rounded value to the lower integer

floor(1.2) = 1
floor(1.8) = 1
max(a,b) : max of a and b

Parser Reference
max(0.1, 0.8) = 0.8
min(a,b) : min of a and b

min(0.1, 0.8) = 0.1
pow(a,b) : a at the power of b

pow(2,4) = 16
round(a) : rounded value to the closest integer

round(1.2) = 1
round(1.8) = 2
sign(a) : -1 if a<0, +1 if a>=0

sign(-12) = -1
sign(0) = +1
sign(12) = +1
sqrt(a) : square root of a

sqrt(64) = 8
operators : -a, a%b, a*b, a+b, a-b, a/b, a^b

note : a^b = pow(a, b)
5.1 .8 .2 . Logic
When using logic and conditions in the parser, (not 0) is true and 0 is false.
!a : not a
1 when a = 0
0 when a!=0
a!=b
1 if a!=b (i.e a=2, b=4)
0 if a==b
a&&b : logical AND

1 && 1 = 1
1 && 0 = 0
a<b 1 if a < b
0 otherwise
a>b 1 if a>b
0 otherwise
a==b 1 if a==b
0 otherwise
a>=b 1 if a>=b
0 otherwise
a<=b 1 if a<=b
0 otherwise
a || b : logical OR
1 || 0 = 1
1 || 1 = 1
a?b:c This one is a conditional statement. It translates as:

if (a is true) then b else c
You can put anything in a, b and c.
Example:
Creating an Expression "e" in a MultiBall and setting its value to
Pad.x?x:y
will mean that :
if Pad.x != 0 (i.e Pad is pressed), e=x
if Pad.x == 0 (i.e Pad is not pressed), e=y
You could for example map the e Expression to a control change that
will be mapped to the x axis when pad is pressed, and y axis when pad is released
5.1 .8 .3 . Ot hers
clamp(a, min, max) : Constrain a between min max

clamp(Fader.x, 0.2, 0.3) =
0.2 if Fader.x<=0.2
Parser Reference
0.3 if Fader.x>=0.3
Fader.x otherwise
rand() : Returns a random value between 0 and 1at each frame (one frame is
16ms, the parser evaluates every Expression at each frame and send out
MIDI or OSC if a mapped value has changed)
range(a, min, max) : Stretch a Variable that normally goes from 0 to 1, to range [min, max]
range(Fader.x, 10, 100) =
10 if Fader.x == 0
100 if Fader.x == 100
between 10 and 100 otherwise
5.1 .8 .4 . Trigo no metric
acos, asin, atan, cos, sin, tan, log, log10, exp are the same as their mathematical
counterparts.
angle(x,y) : Returns the angle in radians formed by a vector of coordinates (x,y) to the positive
x axis
Example:
Create a RingArea
Create a variable inside : a = angle(x-0.5, y-0.5)
this returns the angle position of the ball from the centre of the RingArea
norm(x, y) : Length of a vector of coordinates (x,y)

Example :
create a Multiball with 2 balls
variable inside : distance = normal(x[1]-x[0], y[1]-y[0])
this returns the distance between ball 0 and ball 1
5.1 .8 .5 . Vector
fill(a, value, size) : Returns a vector with "size" items

the vector is filled from the left with n items = "value"
the number of items set to "value" depends on the a argument : a
threshold between 0 and 1
when a = 0, there's no filling at all, and the vector is full of zeros
when a = 1, the vector is completely filled with items = value

when a = 0.5, the vector is half filled
Examples :
fill(1, 0.524, 4) = {0.524, 0.524, 0.524, 0.524}
fill(0, 0.524, 4) = {0, 0, 0, 0}
fill(0.5, 0.524, 4) = {0.524, 0.524, 0, 0}
firstof(a) : Returns the position of the first non-null item in a vector

this is often used with switches in radio mode : firstof(x) returns the
position of the enabled switch in the matrix
Examples:
firstof({0,0,1}) = 2
firstof({1,0,0}) = 0
if the vector only contains null items, the function returns the size of
the vector
firstof({0,0,0}) = 3
replace(a, b, position) : Takes an array, and replace the items starting at

“position” with b
b can be an array or a singleton
Examples:
replace({0,0,0,0}, {12,2}, 0) = {12, 2, 0, 0}
replace({0,0,0,0}, 0.15, 3) = {0, 0, 0, 0.15}
If position is not an integer, the parser converts it using the
floor function (next lower integer)
set(a, value, position) : Takes an array, and change the item at "position" to
"value"
position can be an array or a singleton
Examples:
set({0,0,0,0}, 12, 0) = {12, 0, 0, 0}
set({0,0,0,0}, 12, {0,2}) = {12, 0, 12, 0}
If position is not an integer, the parser converts it using the
floor function (next lower integer)
sizeof(a) : Returns the size of an vector (or 1 if applied on a

singleton)
Parser Reference
stretch(a, size) : Stretches a value or a range and returns a vector

Explanation :
If a is a single value (or a vector with a single item), the
function returns a vector with "size" items containing that value
stretch(0, 12) = {0,0,0,0,0,0,0,0,0,0,0,0}
After that, you could do :
set(stretch(0, 12), 1, time%12)
This returns:
{1,0,0,0,0,0,0,0,0,0,0,0} when time<1
{0,1,0,0,0,0,0,0,0,0,0,0} when time<2
{0,0,1,0,0,0,0,0,0,0,0,0} when time<3
etc.
If a is a vector with more than one value, the function stretches
the range over "size" items :
stretch({1,4}, 4} = {1,2,3,4}
stretch({0,10},11} = {0,1,2,3,4,5,6,7,8,9,10,11}
sumof(a) : Sums all the items of an array

Cha pter 6 MIDI M ESSAGE R EFERENCE
Depending on the Message type you choose from the Message menu on the MIDI
panel you get a different set of parameters.
6.1.1. The MIDI Messages

The descriptions given below are the standard definitions as given by the MIDI
specifications. Of course it is up to you to use the various messages to your liking. In a world of
flexible software the MIDI messages tend to lose their original meanings. In modular software
like Reaktor or Max/MSP you can use any MIDI message to trigger or change anything you want.
We only give the standard MIDI panels as examples, here. Please note that with
Custom MIDI messages the different parameters of the MIDI messages (like pitch, velocity and
MIDI channel) can be controlled by any expression you want. Please read chapter 3.5.5 for
details.
MIDI Message Reference
6.1 .1 .1 . 80 – Not e Off
The Note Off message is sent when a key is released.
pitch: Dial in the MIDI note number. If the value is a vector the second field will be extrapolated
automatically. You can always override this setting by putting in your own value.
velocity: The Variable chosen from the Variable menu that is converted to velocity values is shown
here.
Scale: Type in the desired target scaling for the MIDI messages. Possible values range from 0 to
127.
Channel: Dial in the MIDI channel. If the value is a vector the second field will be extrapolated
automatically. You can always override this setting by putting in your own value. Possible
values range from 0 to 16.
6.1 .1 .2 . 90 – Not e O n
The Note On is sent when a key is depressed.
pitch: Dial in the MIDI note number. If the value is a vector the second field will be extrapolated
velocity: The Variable chosen from the Variable menu that is converted to velocity values is shown
here.
127.
6.1 .1 .3 . A0 – Key Press ur e (Polyp ho nic Aftert o uc h)
The Key Pressure, also called polyphonic aftertouch, gives the keyboarder a
continuous controller for every key he had on his keyboard. It is used via pressing down on the
different keys.
This works great for spreading out vector values to multiple key pressure values.
key: Dial in the MIDI note number. If the value is a vector the second field will be extrapolated
pressure: The Variable chosen from the Variable menu that is converted to key pressure values is
shown here.
127.
6.1 .1 .4 . B0 – Co ntr ol Cha ng e
The Control Change data is used to produce pseudo-continuous data (ranging from 0
to 127).
controller: Dial in the MIDI controller number. If the value is a vector the second field will be
extrapolated automatically. You can always override this setting by putting in your own
value. Possible values range from 0 to 127
value: The Variable chosen from the Variable menu that is converted to the controller values is
shown here.
127.
automatically. Possible values range from 0 to 16.
6.1 .1 .5 . C0 – Progr a m C ha nge
Used to change the patch number of synthesizers.

preset: The variable chosen from the Variable menu that is converted to program change values
is shown here.
127.
6.1 .1 .6 . D0 – Cha nnel Pr ess ur e
Another continuous controller used on a per MIDI channel basis.
pressure: The Variable chosen from the Variable menu that is converted to channel pressure values
is shown here.
127.
6.1 .1 .7 . E0 – Pi tch B e nd
Used to indicate a change in the pitch wheel. It is a 14 bit value providing a higher
resolution than control changes.
bend: The Vvariable chosen from the Variable menu that is converted to program change values
is shown here.
Scale: Type in the desired target scaling for the MIDI messages. Note that pitch bend values
range from 0 to 16383.
6.1 .1 .8 . F0 – Syst e m Excl usiv e
Used for custom data that is not covered by normal MIDI messages. The first part is
usually a 7 bit value representing an ID. If the device or software recognizes the ID as its own, it
will listen to the rest of the message. Otherwise, the message will be ignored.
trigger: The Variable chosen from the Variable menu that is converted to SysEx messages is
shown here.
data: Type in the desired SysEx string you want to send. Please have a look at the MIDI Target’s
documentation for details about possible SysEx messages.
6.1 .1 .9 . F2 – So ng Posi tio n
A 14 bit value that holds the number of MIDI beats (1 beat= six MIDI Timing Tick) since
the start of the song.
position: The Variable chosen from the Variable menu that is converted to song position values is
shown here.
Scale: Type in the desired target scaling for the position pointer. Note that song position pointer
6.1 .1 .10 . F3 – So ng Sel ect
The Song Select specifies which sequence or song is to be played.
song: The Variable chosen from the Variable menu that is converted to song number values is
shown here.
Scale: Type in the desired target scaling for the song number. Possible values range from 0 to
127.
6.1 .1 .11 . F5 – B us Sel ect
The Bus Select message specifies to which MIDI output further data should be sent.
bus: The Variable chosen from the Variable menu that is converted to bus number values is
shown here.
Scale: Type in the desired target scaling for the bus number. Possible values range from 0 to
127.
6.1 .1 .12 . F6 – T une Re quest
Used to trigger the tuning of oscillators in analog synthesizers.
trigger: The Variable chosen from the Variable menu that is used to trigger tune request
messages is shown here.
6.1 .1 .13 . F8 – Ti mi ng Tic k
Sent 24 times per quarter note for synchronization purposes. Build your own MIDI
clock.
trigger: The Variable chosen from the Variable menu that is used to trigger timing tick messages
is shown here.
6.1 .1 .14 . FA – Start S ong
Used to start the song or sequence from the beginning.
trigger: The Variable chosen from the Variable menu that used to trigger start song messages is
shown here.
6.1 .1 .15 . FB – Co nti nue So ng
Used to start the song or sequence from where it was stopped.
trigger: The Variable chosen from the Variable menu that is used to trigger tune request
6.1 .1 .16 . FC – Stop S o ng
Used to stop the song or sequence.
trigger: The Variable chosen from the Variable menu that is used to trigger stop song messages is
shown here.
6.1 .1 .17 . FE – Activ e Se nsi ng
When initially sent, the receiver will expect to receive another Active Sensing
message each 300ms (max), or it will be assume that the connection has been terminated. At
termination, the receiver will turn off all voices and return to normal (non-active sensing)
operation.
trigger: The Variable chosen from the Variable menu that is used to trigger active sensing
6.1 .1 .18 . FF – Sys te m Res et
Resets all receivers in the MIDI chain to power-up status.
trigger: The Variable chosen from the Variable menu that is used to trigger system reset
Appendices
Cha pter 7 A PPENDICES
7.1. Network C onfiguration Guide

The Lemur control surface is a network device using the Ethernet protocol to connect
and communicate with other devices on the network: Computers, routers, DHCP servers….
Thus you have to setup your Lemur and your network devices properly. Generally, a
device can have multiple network adapters, like Ethernet, WIFI, Airport, USB Network Adapters,
Firewire and others. Each adapter can have its own IP settings and it is highly recommended to
set different sub-networks to avoid network problems.
7.1.1. Glossary
IP Address a unique sequence of 4 numbers witch identify each device on a network. An IP address
can be setup in static mode or attributed dynamically by a DHCP server. An IP address is
composed by 4 numbers between 0 and 255 as follows: 192.168.2.2 or 10.0.0.35.
Network Mask an IP-like sequence witch defines a sub-network of compatible IP addresses.

Most of the time we use 255.255.255.0 or 255.255.0.0, which means that only the 3
or 2 first IP numbers should be equal to be compatible.
Gateway the IP address of the machine giving you access to IPs which are not included in the sub-
network. In brief, a Gateway enables you to gain access to the internet from an intranet.
MAC Address a sequence of 6 numbers identifying each network adapter on a network. The
MAC Address is unique and constant for each device.
7.1.2. Computer directly connected to a Lemur (as known as P2P)

Using a simple crossover RJ45 cable, you can directly connect your Lemur to any computer.
7.1 .2 .1 . Co mp uter c o nfig ur ed as a DHC P Serv er – Co nnectio n S hari ng
If your computer is configured as a DHCP Server, it will attribute dynamically an IP

address to the Lemur. Most of the time your computer forces its IP address to 169.254.X.1 and
the Lemur will obtain an IP like 169.254.X.X.
7.1 .2 .2 . Co mp uter a nd Le mur usi ng D HC P
When the Lemur and the computer are set up as DHCP clients, they both wait for a
DHCP server until the OS gives a default IP address like 169.254.X.X.
7.1 .2 .3 . Co mp uter a nd Le mur usi ng St atic IP
The most common way to configure a network without a DHCP server is to set up
each device with different but compatible IPs using the same network mask. Most people use IP
addresses like 192.168.0.X or 10.0.0.X.
Eventually, when using connection sharing, the computer can share its internet
connection and give the Lemur access to another sub-network by using the Gateway Address.
7.1.3. Computers and Lemur connected to a Network
7.1 .3 .1 . Ne tw or k wit h a DHC P Serv er
Most network sharing devices allow multiple connections and manage the attribution
of IP addresses through the DHCP protocol. These devices include WIFI/Ethernet Routers,
Airport Base Stations and ADSL/Cable Modems with routers.
You only need to configure all your devices - including the Lemur - to use the DHCP
mode.
7.1 .3 .2 . Ne tw or k wit ho ut D HCP S erver
If you have multiple devices connected through a hub or switch, you may have to
configure them individually with a unique, static IP sharing the same network mask.
Use IPs like: 192.168.0.X or 10.0.0.X
Mask: 255.255.0.0
7.1.4. Lemur Network Setup

You open the Network Settings via the Settings button, which is the left-most
hardware button on top of the Lemur.
DHC P IP C o nfig ura tio n:
• Select “Automatic using DHCP”.
• If a DHCP server is available, the Lemur will obtain a DHCP IP address automatically. If there is
no DHCP server available, the Lemur will choose its own address.
Static I P Co nfig ur atio n:

Appendices
• Select “Static IP”.

• Enter assigned static IP address into the IP field.
• Enter NetMask (255.255.0.0)
7.1.5. MacOS Network Setup

Static I P Co nfig ur atio n usi ng M ac OS X:
• Go to the Apple menu and select System Preferences .
• Under Internet and Network , select Network .

Appendices
• Change the Show pop-up option to Built-in Ethernet .

• Under Location , choose Automatic (or name the new connection).
• Under Show , Select Built-in Ethernet .

• Change to the TCP/IP tab.
• Set Configure IPv4 to Manually .

• Enter assigned static IP Address .
• Enter Subnet Mask 255.255.255.0
• Click the Apply Now button, and quit the System Preferences application.
DHC P Co nfig ur ati on usi ng M ac OS X:
• Go to the Apple menu and select System Preferences.
• Under Internet and Network, select Network.

• Change the Show pop-up option to Built-in Ethernet.

Appendices
• Under Location , choose Automatic (or give this connection a name).
• Under Show , Select Built-in Ethernet.

• Change to the TCP/IP tab.
• Set Configure IPv4 to Using DHCP .

• Click the Apply Now button, and quit the System Preferences application.
7.1.6. WindowsTM XP Network Setup

• On the Desktop, click right on the My Network Places icon and select Properties .
• Select your LAN connection and double-click on it.

• Click on the Properties button.
• Select Internet Protocol (TCP/IP) and click the Properties button

Appendices
• Obtai n an IP address automatically to use DHCP configuration or select

Select
Use the following IP address to use static IP configuration. Enter assigned static IP
address and Subnet Mask.
• Click OK to confirm changes.
7.1.7. Lemur – Computer network communication

To confirm that your network setup is correct, power on the Lemur and open the
JazzEditor .
Click the Connect button. You must see the Lemur on the list.
Appendices
7.2. Shortcuts
Co mma nd Keyb oard s hortc ut
New Project Control+N
Save Project Control+S
Import Library Control+I
Copy Control+C
Paste Control+V
Redo Control+Y
Lemur Synchro Control+R
Lemur Settings Alt+S
Create Object Control+Shift+O
Create Custom MIDI Control+Shift+M
Open Project Control+O
Save Project As Control+ Shift+S
Export Module Control+E
Cut Control+X
Undo Control+Z
MIDI Map Alt+M
Lemur Connection Alt+C
Create Interface Control+Shift+I
Create Expression Control+Shift+E
Create Custom MIDI Control+Shift+M
Toggle to Run Mode Hold E
7.3. Upgrade your Lemur

The Lemur is fully reprogrammable by upgrading its firmware . You will
always find the most recent upgrade on our website . An upgrade can contain bug corrections
or new features.
To upgrade your Lemur to a a different firmware than the one it’s running, download
the corrsponding L e mur Updat er application, and run it as you would run the JazzEditor, with
your Lemur on and connected. Select the Lemur you want to upgrade in the List and click
Upgr ade . The new firmware will be uploaded to the Lemur. The Lemur will then reprogram
itself and reboot with the new firmware.
Should the upgrade process fail, you can boot the Lemur in fact ory mode and try
again. To boot in fact ory mod e, turn off the Lemur and switch on while holding the leftmost
button.
If all things fail, contact your reseller for help.
Appendices
7.3.1. Lemur hardware settings
The leftmost button on your Lemur opens the Hardware Settings . Choose
between Network Settings (discussed in Chapter 2 and in the Appendix about Network
Configuration) , OSC Settings (discussed in chapter 3.3), MIDI Settings (also to be
found in chapter 3.3) and the Screen Settings .
The Screen Settings are opened by touching the Settings Button on the
Hardware Settings Window.
There are two sliders for controlling you Lemur’s screen hardware:
• LCD Brightness controls the brightness of your Lemur’s screen. It may be useful to dim the
display if you want to work under dark stage conditions where too much light may not be
desirable.
• The TouchScreen Filtering is for controlling the sensitivity of the Lemur’s touch screen.
If you experience multiple triggering or other touch artefacts, try a higher Filtering level.
7.4. The FTP Server

Yep, the Lemur runs an FTP server . This can be helpful for uploading large
numbers of Projects to the Lemur without having to channel them through the JazzEditor.
It can also come in very handy for retrieving Projects that you lost due to a mishap
with the JazzEditor, e.g. if you accidentally closed it without saving. Simply save the Project to
the internal memory of the Lemur, download it via FTP to your computer and everything is cool
again. As we don’t want everybody on the Net work to log into our Lemur and fill it up with
trash, the FTP server is deactivated by default.
Push the Settings button on your Lemur and you are presented with various Setup
options. Touch the Enable FT P flag to activate the FTP server.
Now you can use you favourite FT P cli ent to connect to the Lemur on its IP address.
A web browser also does the job.
Appendices
The logi n and pa ssw ord is arbitrary, use anything you like, the Lemur doesn’t care.
You have to type something, though. You can see the list of Projects saved on your Lemur.
Download and upload them from / to your computer to your hearts content.
7.5. Warra nty
7.5.1. Warranty and Liability

Please check the delivered products for obvious defects. By opening the original
packaging or downloading the product you accept all copyrights as well as the warranty
restrictions. Should you find any defect of the merchandise during the one-year warranty
period, JAZZMUTANT will - at its sole discretion - either replace the merchandise or remove
any defects. Should we be unable to do so within an acceptable period of time, you are entitled
to cancel your order. We are liable for the culpable breach of fundamental contractual
obligations (so-called cardinal obligations) and the absence of any promised qualities.
Otherwise, we are liable only within the limits set by applicable liability laws or - for whatever
legal reason – when any damages were caused with intent or gross negligence by us or one of
our affiliates. Neither our affiliates nor we are liable in any case not described above. In case of
culpable breach of cardinal obligations without intent or negligence on our part, our affiliates or
we will be liable only to the extent of typically foreseeable damages and not for damage not
incurred to the delivered merchandise itself. The risk of loss is transferred to you once the
merchandise has been sent to you. This
also applies with part deliveries. If you are buying software via electronic delivery
(Instant Delivery), we carry the risk of loss until the software has been fully transferred to your
computer.
7.5.2. Your Rights

The customer's rights concerning refunds of all or part of a payment are valid only
when such rights were legally confirmed or were accepted by us in writing. The orderer's right
to retention is valid only provided claims are based on the same contract. The preferred method
of written communication is email and is held to be equal in status to letters transmitted
through the postal service. The term "correspondence" below is taken to include email.
Deadlines are taken, insofar as is not otherwise mutually agreed, to always mean the date of
receipt by the recipient. As far as email is concerned, the date of receipt is considered to be the
date of dispatch. If there is disagreement about the date of dispatch, the time of receipt is taken
as the receipt of the message on the target email server.
7.5.3. Applicable laws and court of jurisdiction

The law of France applies in exclusion of UN buying law, even when the order is
placed in another country or the order is to be delivered into another country. If you are resident
outside France, or if your usual place of abode is outside France, the court of jurisdiction for all
claims in relation to your order is in Bordeaux, France. In the event of a legal dispute, the
official address is JAZZMUTANT, 45 cours Alsace Lorraine 33000 BORDEAUX, France.
Appendices
Index
-,64 Checkbox,68
,21,35,46,79 Checkboxes,24
,21,35 Color,38
+,64 Color Off,81
Accessing variables,104 Color On,81
Active Sensing,118 ,23,31
ADSR+H,42,56 Connection,23,30
,28,39 Connection Sharing,119
,28,39 Constant controller values,104
,28,39 ,21,44
,28,39 Creation,44
Alignment,81 Loc k,45
any,64 ,21
Arithmetic,106 Continue Song,117
Attraction,40,56 Control Change,114
Behavior,28,39,56,66,71 Controller,62
Behavior panel,28,71 Controller Mappings,61
Behavior Properties Controlling sub-objects,66
Fader,83 Copy,23,27,37
Leds,85,86 ,38
Monitor,87,100 Create
Multiball,89 Custom MIDI mappings,26
MultiSlider,91,95 Expressions,26
Pads,81,93 Objects,26
SignalScope,97 Create
Switches,100 Interfaces,26
bi-directional,48,58 Create commands,26
Bi-directional Control,75 Create Expression,72,76
Brightness ADSR,43,56 ,46
Bring t o Fr o nt,38 Crossover Ethernet cable,9,19
Bus Select,116 ,21
,21,42,56 ,21
,23,63 ,23,57,59
Channel Pressure,115 Custom Button,80
Custom MIDI Messages,73 Arithmetic,106

Cut,23,27 Logic,107
Dae mo n,13,20 Name,76
Delete,27,65 Script,76
DHCP IP Configuration,120 Trigonometric,109
DHCP Server,119 Vector,109
Dimensions Functions Reference,106
Monitor,86,100 Gateway,119
Multiball,88 General Properties
MultiSlider,91,94 Fader,82
Pads,80,81,92 Leds,84,86
RingArea,96 Monitor object,86,100
SignalScope,97 Multiball,88
Disclosure triangles,24,45,56 MultiSlider,91,94
,23,31 Pads,80,81,92
down,64 RingArea,96
Edit mode,27 RingArea,96
Editing Area,27 SignalScope object,97
Enable FTP,132 Switches,98,99
,21,43,56 Global,69,76
Ethernet cable,9 Grid,43,82
Ethernet jack,9 Group,27,38
Export,27 Grouping,38
Export Selection,23 Hard war e
Expression,68,72 Proj ect br o wser,8
Expressions,12,21,103 ,13,131
Fader,38,82 Hierarchy,45,76
firmware,130 Hold,42,56
Font,81 Import,27
Font size,67 Import Library,23
Frame,104 Interacting Objects,66
Friction,40,56,66 ,21,38
FT P clie nt,132 Creation,32
FTP Server,131 Name,33,56
Functions,12,21,76,103 Order,33,56
Arguments,76 Interface building,30
Appendices
Interface List button,8,13 Local Variable,68,71

Interfaces,21 Loc k,45
Interface List,10,21 Logic,107
Navigation buttons,10,21 ,21,56
Switch via OSC,10,21
Internal clock,104 DHCP,123
Interpolate,40,56 Network Setup,121
IP Address,119 Static IP,121
,21,55
,56,57 MAC Address,119
,21 Mac OS Software Installation,15
Toolbar,22 Maintenance,14
Workspace,21 ,28,39
,21 ,28,39
JazzEditor.dmg,15 Mass-Spring,40,56
JazzEditor_setup.exe,16 Max/MSP,48
,21,35 Memory Display,23
,21,35 ,29,59
Key Pressure,113 ,23,63
Keyboard Shortcuts,129
Label,36 Bi-directional,75
Layout,39 ,23,50
,13,131 ,23,50
Leds,85 ,23,50
Lemur MIDI assignment,62
MIDI Settings,50 ,23,63,75
Project Browser,65 ,21
Syving Projects,65 MIDI Daemon,20
,21 Mac,21
Lemur Network Setup,120 MIDI p ort br ows er,51
Le mur Pr ojec t br ows er,8,10 Setup,51
,21 MIDI data,20
Lemur Synchronization,23 ,21
LFO,106 MIDI Map window,61
Load at Star t up,65 MIDI Mapping,23,60
,23,32 ,23,63
,23,63 Note On,62,113

,23,63 ,21
,23,63 Creation,33
,23,63 Object Reference,79
,23,63 Objects,11,21
,23 Custom Button,80
,23,63 Fader,82
MIDI Message Reference,112 Hierarchy,46,76,79
MIDI Messages,112 Interaction,66
MIDI Note Messages,62 Layout,39
,21 Leds,85
MIDI Panel,29,60 Monitor,86,100
Automatic mapping,62 Multiball,88
Controller,62 MultiSlider,91,94
Message,61 Overlap,27
MIDI por ts,20 Pads,80,92
,21,49,56 Resize,27
MIDI Targets,13,21,23,29,49,50,59 RingArea,95
,21,56 SignalScope,97
Modules,12,21,46,79 Switches,99
Import/Export,46,79 Transparency,27
Monitor,86,100 Ope n,65
,23,63 Open Project,23
MultiBall,42,56,88 Open Sound Control,46
Speed,41,56 Operators,12,21,102
Multiball ADSR,90 Operators Reference,106
MultiSlider,41,56,91,94
Name,36 Bi-directional,75
Name conflict,37,38 ,23
Navigation,8,13 ,23,48
Network configuration,18,119 Setup,46
Network configuration - direct connection,18 ,23
Network Mask,119 Variables menu,57
New Project,22 OSC address,37,38
Non-crossover Ethernet cable,9 OSC Data
Note Off,113 Pads,80
Appendices
OSC mappings,57 Global Variables,26

OSC Panel,29,57 Objects,24
OSC Targets,13,21,23,47 Operators,26
Pads,62,92 Variables,24
Pads ADSR,93 Proj ect br o wser,8,24,65
,23,63 Colors,26
Parser Reference,102 Interfaces,24
Paste,23,27,37 ,21
Physics,39,56 Projects
Attraction,40,56 Saving,35
Friction,40,56 Transfer,35
Tension,42,56 Properties,27,28,37,38
Physics menu,40,56 modifying,40,56
Interpolate,40,56 Precision,69
Mass-Spring,40,56 value,69
None,40,56 Properties panel,27
Pitch,74 Range Function,75
Pitch Bend,115 Reaktor 5,49
,23,31 Rear Panel,9
Polyphonic Aftertouch,113 Redo,23
,23,48 Resize,27,36
ports,49 RingArea,95
Run mode,27
,56,57 Save As,23
Power Cable,14 Save C urre nt,65
Power Input,9 Save Project,23
Power Supply,9 Saving,35
Power Switch,9 Scale,75
Precision,69 Script,29
Program Change,114 Script panel,29
,21 Send mode,56
hierarchy,45 Send to B ack,38
,38 Settings,23
Project Browser Settings button,8,13
Checkboxes,24 Shortcuts,129
Functions,26 SignalScope,97
Singletons,102 up,64
Slider,41,56 up and down,64
Software & Hardware Requirements Mac,15,16 Upgrade,130
Software Installation,15 ,23
Song Position,116 ,23
Song Select,116 Value Coloring,102
Speed,41,56 Value flag,69
Start Song,117 ,21,56,68
Static IP,119 Variables,21
Static IP Configuration,120 ,29,58,60
,23,31 Global,12,21
Stop Song,118 Hierarchy,76
Style Off,81 Leds Object,84,86
Style On,81 Local,12,21
SurfaceLCD,98 Monitor,86,100
Switches object,99 Multiball,88
Switching Interfaces,76 Multi-dimensional,12,21
Synchronization,23,34 MultiSlider,91,94
System Exclusive,116 Pads,80,92
System Reset,118 RingArea,95
,23,63 SignalScope,97
Targets,13,21 Switches,98,99
Tension,42,56 ,29,57,59
Time,105 Vector,71,109
Time Code,105 Vector Variables,71
Timing Tick,117 Vectors,78,102
,21,22 Velocity,75
,13,131 ,21
Transparency,27 ,21,55
Tra nspar e nt,68 Warranty,133
Trigger Mode,74
,29,64,75 ,21,56
Trigonometric,109 Network Setup,125
Tune Request,117 Windows XP Software Installation,16
Undo,23 WLAN,19
Ungroup,27,39 Workspace,21
Appendices
Workspace Configuration,29 x Variable,57

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Abou t the L emur an d this manual

Congratulations for choosing JazzMutant’s Lemur! The Lemur is a

• What the Lemur is …

The Lemur is a computer peripheral. In other words, it is a device that

• … and what it is not

• How to use this manual

Last, another great characteristic of the Lemur is the constant evolution

Chapter 2 Installing your Lemur ...............................................................16

Chapter 3 Working With Your Lemur.........................................................22

3.1.8. The MIDI Panel .......................................................................................30

Chapter 4 Object Reference ......................................................................80

Chapter 5 Parser Reference.................................................................... 103

5.1.8.3. Others ............................................................................................109

Chapter 6 MIDI Message Reference ........................................................ 113

Chapter 7 Appendices 120

Cha pter 1 K NO WING Y OUR L EMUR

1.1. The Anatomy of your

• The Interface List button displays a gallery of thumbnails depicting each

1.2. Inside your Lemur's

1.2.1. Projects, Interfaces and Containers

A Project can contain many Interfaces . You can think of them as

Once a project is loaded on the Lemur, the different Interfaces can be

The Containers let you organize the Objects on an Interface.

All details regarding projects, interfaces and containers are disclosed in

Additionally, you can import pre-built parts of project as Modules. A

Variables can be multi-dimensional , too. A Fader, for example,

In combination with the built-in Functions and Operators and the

The global Time Variable deserves a special mention. It presents

1.3. The daily life with

1.3.1. Cuddling your Lemur

1.3.2. Living with your Lemur

1.3 .2 .1 . Wal ki ng yo ur L e mur

When transporting the Lemur, please ensure it is pro perly packed

1.3 .2 .2 . Yo ur L e mur’s Hygie ne

The Lemur is a sturdy creature. If you follow some basic guidelines

Cha pter 2 I NSTALLING YOUR L EMUR

2.1. Software Installation

2.1.1. Mac OS Software Installation

Double-click on the Lemur v1.6.dmg file located on the provided

2.1.2. WindowsTM XP Software Installation

Click on Next to start the Installation.

We recommend using the default installation path (on English systems it

2.2.1. Three steps

2.3. The JazzDaemon

2.3.1. The JazzDaemon on WindowsTM XP

A click on the Daemon opens a menu with two entries:

2.3.2. The JazzDaemon on MacOS X

A click on the Daemon opens a menu with two entries:

Cha pter 3 W ORKING W ITH Y OUR L EMUR

3.1. The JazzEditor

The JazzEditor Workspace is your home when it comes to building

• The Project Browser provides a hierarchical view of your current project

3.1.1. The Toolbar

3.1 .1 .1 . Editi ng a nd fil e I/ O

• The New Project Button creates an empty Project.

3.1 .1 .2 . Config ura tio n t ools

The Toolbar also contains commands for configuring the Lemur.

If you activate the Lemur Synchronization button, any changes to

The Connection button opens a window listing all the accessible

3.1.2. The Project Browser