USER’S MANUAL 2.
PROGRAMMING: Nicolas Bronnec Fabrice Bourgeois Gavin Burke Vincent Travaglini Jean–Michel Blanchet Philippe Wicker Cristian Kreindler Damien Vanderbeyvanghe Thomas Diligent MANUAL: Thomas Diligent (English version) Christiaan de Jong (English version) Houston Haynes (English version) Richard Phan (English version) Jean-Michel Blanchet (French version) Antoine Back (French version) Kenta Sasano (Version japonaise) Kiriko Ishida (Version japonaise) Tomoya Fukushi (Version japonaise) DESIGN: Yannick Bonnefoy
Thank you for purchasing the ARTURIA Jupiter-8V! In this package you will find: • This paper manual for the Jupiter-8V • One CD-ROM containing the Jupiter-8V installer for MAC OSX and Windows XP/Vista/7 • The registration Card Carefully store your card! In order to be able to use the software, you have to register your product. By registering, you identify yourself as the legitimate owner and will be sure to receive the latest news and updates for your product.
New features in Jupiter-8V 2.
Table of contents 1 INTRODUCTION 8 1.1 Roland/Jupiter-8 Story 1.2 TAE® 1.2.1 Aliasing-free oscillators 1.2.2 A better reproduction of analog oscillator waveforms 1.2.3 Direct Filter Circuit Modeling 2 INSTALLATION 2.1 2.2 2.3 8 12 12 12 14 15 Notes about software protection and the installation Windows Installation Mac OS X Installation 15 15 18 3 AUTHORIZATION 19 4 QUICK START 25 4.1 Structure of the Jupiter-8V 4.2 Using the presets 4.2.1 Selecting the presets 4.2.2 Editing the presets 4.
.3.5 Modulation button 6.3.6 Virtual keyboard 6.3.7 LCD Screen 6.3.8 MIDI Control 6.3.9 The preference screen 6.4 The Sound Map 6.4.1 The MAP main interface 6.4.2 The Sound Map overview 6.4.3 The LIST preset manager 6.4.4 The COMPASS morphing interface 7 THE DIFFERENT MODULES 7.1 The original Jupiter-8 7.1.1 The oscillators (« VCO 1 and 2 ») 7.1.2 The mixer (“VCO1 / VCO2”) 7.1.3 The filter (“VCF”) 7.1.4 The Amplifier (“VCA”) 7.1.5 The ADSR Envelopes 7.1.6 The LFO 7.1.7 The VCO modulator 7.1.
9.2 9.3 10 Arpeggiated sounds A sequence with the Jupiter-8V MODES OF OPERATION 10.1 Stand-alone 10.1.1 Launching the Stand-alone application 10.1.2 Preference Configuration 10.2 Using a VST and Audio Unit instrument in Ableton Live 10.3 RTAS - Pro Tools 10.3.1 Utilization of the plug-in 10.3.2 Connection to a MIDI channel 10.3.3 Saving the presets 10.3.4 Automation under Pro Tools 10.4 Cubase VST 10.4.1 Instrument use in VST mode 10.4.2 Rescan the plug-ins directory in Cubase 10.4.
1 INTRODUCTION 1.1 ROLAND/JUPITER-8 STORY The history of Roland is intimately tied to the personal story of its founder, Mr Ikutaro Kakehashi. When he was just 16 years old, the young Mr Kakehashi noticed there was no watch or clock industry in post-war Japan. He therefore understood there was a thriving business to develop repairing existing timepieces.1 Mr Kakehashi found a part-time job in a watch repair store, but he quickly felt frustrated with the pace at which things were progressing.
In 1954 Mr Kakehashi opened an electrical goods and repair shop by the name of “Kakehashi Musen”. - Later the name was to be changed to Ace Electrical Company. His initial goal was to produce an electronic instrument capable of generating simple monophonic melodies, and so he ended up building a Theremin. Looking for a new challenge, he later built a four-octave organ using parts from a reed organ, bits of telephones, and simple transistor oscillators.
By the end of the 1970s, Roland established itself as a major manufacturer, and in 1981 Mr. Ikutaro Kakehashi opened four new companies in three months. Roland UK, Roland GmbH and Musitronic AG in Switzerland. He also established a new Japanese division called AMDEK (Analogue Music Digital Electronics Kits) Back to the early 80’s, the Prophet 5 and Oberheim OB series dominated the polyphonic synthesizer market. Having that in mind the Jupiter-8’s success, initiated in 1981, took every one by storm.
Costello, Tears for Fears, Huey Lewis and the News, Journey, Moog Cookbook, Yes, Devo, Freddy Fresh, Simple Minds, Jan Hammer, and BT. In the early 80’s Roland and Sequential Circuits combined forces to create the MIDI protocol. The technology was derived from Roland’s earlier DCB bus Format. MIDI is still being used today with great success. In 1982, Roland launched the Jupiter-6, the first synthesizer including the MIDI protocol on board.
It was the introduction of COSM and the “V” products in 1995 that set the future direction for Roland. Mr. Kakehashi and his teams had recognized that digital signal processing and physical modeling were the future of the electronic audio industry. Roland applied these technologies to a broad range of products. From sound modules and danceoriented groove boxes to their most expensive digital mixers and audio workstations, Roland remains at the forefront of synthesizers and electronic music. 1.
Roland Jupiter 8 waveform, and that of the Jupiter-8V. They are both equally deformed by the low-pass and high-pass filtering.
What’s more, the hardware analog oscillators were unstable. In fact, their waveform varies slightly from one period to another. If we add this to the fact that the starting point for each period (in Trigger mode) can vary with the temperature and other environmental conditions, we find another one of the characteristics that contributed to the typical sound of vintage synthesizers. TAE® reproduces the instability of oscillators, bringing a fatter and “bigger” sound. 1.2.
2 INSTALLATION 2.1 NOTES ABOUT SOFTWARE PROTECTION AND THE INSTALLATION Jupiter-8V2 includes the Soft-eLicenser protection system. Compatibility with v1.0 USBeLicenser dongles is carried on to v2.0. Thus Jupiter-8V1 owners can use their USB dongles to authorize Jupiter-8V2 update. Jupiter-8V2 owners only (not 1.x) will store their licenses on a virtual dongle. Please refer to authorization section for further details about protection schemes. 2.
Choose the installation folder Next, select the application or plug-ins that you wish to install. For more information on those protocols, please see to chapter 10 of this manual. The available options are: Choose the components to be installed 16 For the installation of the VST protocols, you should select the installation folder of these plug-ins to allow the host application to use them. If you don’t know how to do this, refer to the appropriate chapter (Ch. 10).
Select installation folder for plug-ins Set up the program’s shortcut in the Start menu, or use the default setting. Check or not to install an icon on your desktop (disabled by default). Before performing the installation, the installed components are summarized. Click on “Install”. Finally, the installation of the eLicenser Control Center and the creation of a virtual dongle are proposed. Click on “Finish”.
2.3 MAC OS X INSTALLATION If you purchased the Boxed version of the Jupiter-8V2, insert the CD-ROM into the drive. Explore the contents of the CD-ROM and double click on the icon called Jupiter-8V2.pkg. If you purchased the Download version of the Jupiter-8V2, double click on the file called Jupiter-8V2.dmg that you saved from the Arturia web site. Once the virtual disk is mounted, double-click on Jupiter-8V2.pkg.
3 AUTHORIZATION Now that your Jupiter-8V2 has been installed, you need to authorize the synthesizer. This doesn’t apply to owners of the Jupiter-8V previous version, who may use the software right away using their USB-eLicenser hardware dongle. Contrary to 1.x versions that used the USB-eLicenser protection scheme, the Jupiter-8V2 uses the “Soft-eLicenser” virtual dongle solution by default.
If you already have an account, simply log in: 20 Once you are logged into your account, you can register your Jupiter-8V2 and request your activation code.
In the form that appears, select “Jupiter-8V” from the drop down menu, and type in your synthesizer serial number and unlock code (as written on the registration card): You will then see the confirmation screen: And finally there is a screen from which you can copy the eLicenser activation code. The very same information is sent to you by email as a backup. Now that you have retrieved the activation code, launch the eLicenser Control Center.
interface differs, and possibly also the language used. These little details should not prevent you from understanding the full process. In the eLicenser Control Center main window you should see a “SeL” virtual dongle installed onto your computer. The eLicenser Control Center main window, showing an empty Soft-eLicenser. 22 In the eLicenser Control Center menu, click on the “Enter Activation Code” button, and enter the code when prompted.
Jupiter-8V 2.0 Enter the activation code The eLicenser Control Center is now ready to download the software license that will allow you to use Jupiter-8V2. Click on Start, the progress bar should anime until download completion. A popup window will confirm completion, just click “Close”. Now the main eLicenser Control Center window should show your Jupiter-8V2 license installed and activated: Jupiter-8V2 Jupiter-8V 2.
It’s now time to launch Jupiter-8V2.
4 QUICK START This chapter will allow you to familiarize yourself with the general functioning of the Jupiter-8V. This is a summarized presentation of the different parts of the synthesizer. You will find specified descriptions and details of all the parameters and screenshots in the following chapters. Chapter 9, entitled “Some Elements of Sound Design”, is particularly aimed at users that have no experience with a subtractive synthesizer, and wish to obtain basic knowledge in this domain.
• “Whole”: allows you to play the “Upper” Program over the full range of the keyboard. These three methods allow you to create very rich sonic combinations. 4.2 USING THE PRESETS 4.2.1 Selecting the presets The Jupiter-8V has two kinds of presets: 4.2.1.
To familiarize yourself with the different included sounds of The Jupiter-8V, we will select the preset “Full_Pad” situated in the bank “JMB / Pads/ JMB_Full_Pad”. First, click on the Then, click on the button “Presets” situated above the programming interface of the Jupiter-8V. This screen presents the interface in which to choose different presets. button, on the toolbar, to open the expansion interface.
Choose a preset patch from the toolbar The Jupiter-8V is delivered with 400 factory presets that will allow you to become familiarized with the tones of the synthesizer. It is also possible to show all the presets when choosing the option “All” in the bank. For example, to see the bass presets, click on “All” in the selection of the bank and then click on “Bass”. 4.2.2 Editing the presets To begin, we will start with a very simple manipulation.
While changing these first settings, you have modified the preset “Full_Pad”. Now you will be able to save the sound that you have just created. , then To choose another destination for this sound, click on the icon “Save As” choose your location. For example, create a new Project while writing your name in the display. Click on the display again to give the name that you wish to this new Patch.
4.4 OVERVIEW OF THE JUPITER-8V USER INTERFACE The interface of the Jupiter-8V has 54 synthesis parameters and a programmer that allows you to navigate quickly through the 44 factory presets of the original machine. The knobs and associated switches to these parameters will allow you to create a nearly infinite variety of sounds. These parameters consist of: • 2 oscillators (VCOs) that deliver the basic audio signal thanks to the waveforms and allow the tuning of the sound (the frequency).
Signal path of the Jupiter-8V Start lowering the cutoff frequency of the low pass filter “VCF”. A sound with less brightness will result. To do this, adjust the knob “Cutoff”. (For fine tuning, use the right mouse button or [Alt]+click on Mac) Note that the cutoff frequency of the filter is also modulated by an ADSR envelope (Attack, Decay, Sustain and Release).
Increase the length of the attack In the same manner, change the value of the Decay; the filter frequency will decrease more or less quickly while you will play the keyboard. The filter envelope “Decay” parameter. Carry out a short modification on the second “ADSR” envelop to modulate amplitude. Increase the “Attack” time of this envelope so that the volume of the sound increases progressively. Increase the “Attack” time of the amplitude envelope.
4.5.1 Creating a melodic sequence with the SEQUENCER The sequencer is accessible by clicking on the “MODULATIONS” tab, situated on the expansion panel. Click on the “SEQUENCER” icon. The sequencer is a 32-step “step sequencer”.
Connect the frequency of VCF to the second modulation output and set the amount knob to let it blend in to your liking. Set Sequencer Output 2 Enabling “Retrig” button triggers envelopes at each steps of the sequence Set Retrig To start the sequencer, set the “start/stop” mode to “Free running” and click on “Play” Play Sequence Set the value of each step by clicking and dragging the 16 bars up or down to create your melody.
If it is synchronized with an external sequencer like Cubase or Logic Audio for example, use the “Quantization” (“Q”) parameter, situated next to the “sync” button in the same section. Choose one of the tempo divisions to set the speed to your likings. To add additional punch to the sequence, place accentuations on certain notes (“Accent” - envelopes “Attack and Decay” are effective on the cutoff frequency of the VCF): Click on the “Accent” button and apply it to the steps you want to accentuate.
Click on the “GALAXY” tab Choose a parameter (for example, the HP VCF Cutoff) for the X axis, then adjust the speed parameter of the LFO to your liking. Choose a destination for the modulation of the X axis. Choose a parameter for the Y axis (for example the LP VCF Cutoff) then adjust the speed parameter of the LFO to your liking. Adjust the speed of the LFO of the Y axis See how to apply a modulation to automate the movements of the axis. This will shift the position in a cyclical way.
Choose the triangle waveform for the α (alpha) angle 4.5.3 Control parameters with the Keyboard unit The Keyboard unit enables you to control parameters via velocity and aftertouch. Click on the “MODULATIONS” tab then on the tab called “KEYBOARD” to show the interface. Click on the “KEYBOARD” tab Select the parameter to be controlled by the velocity and then set the amount knob to your liking.
Customize the velocity curve You can do the same for the aftertouch. Customize the aftertouch curve 4.6 THE EFFECTS The “EFFECTS” interface of the Jupiter-8V offers unique signal processing possibilities, allowing you to insert effects in the synthesis chain, between the VCO and the VCF and between the VCF and the VCA. These combinations allow you to create a wide variety of new sounds.
In order to enrich the sound, the effect “Distortion” has been inserted between the VCO and VCF (Filter). Change this effect to “No Effect” and back to “Distortion” to observe the differences of sound. Choose the effect of “Distortion” in the effects menu. The interface of the distortion effect is now on screen. Adjust the distortion amount with to the “Drive” knob and see the changes in the sounds as well as in the curve. Change modulation source and amount.
Apply a modulation on the frequency of band “3” with the LFO. To do that click on the button “Mods” situated on the right of the EQ interface. This will show you the possible modulation connections available. Click on the display situated next to “Band3” / “F” to open the menu of the modulation sources. Choose the “LFO”. Increase the level of the knob “Modulation amount” situated next to the display to hear the modulation on the frequency of the band 3.
Activate the button «ON/OFF» of the Chorus Adjust the “Dry/Wet” knob of the Chorus in a manner that is balanced between the original sound and the treated sound. Next, turn the “Rate” knob of the Chorus to set the speed of the oscillations affecting pitch. Finally, set the stereo width of the Chorus by turning the “Spread” knob. The settings of the chorus 4.7.2 The delay The Delay is a stereo echo effect that adds space to your sound.
The settings of the delay 4.8 REALTIME CONTROLLERS AND MIDI ASSIGN As its brilliant sounding ancestor, The Jupiter-8V is particularly adapted for playing in real time. One of the big evolutions in comparison with the original is the possibility to assign any knob of the Jupiter-8V to an external midi controller. For example: Click on the knob “Cutoff” while holding the [Ctrl] key ([Command] on Mac). The MIDI assign option appears.
In addition to the “Learn” button, midi assignments can be set by clicking on the midi channel labels and “Use NRPN” checkbox. To save the setting that we have just carried out during this chapter, click on the button «Save» situated on tool bar. The MIDI settings will only be saved when you quit the application of the Jupiter-8V. This is the same with the stand alone version and the plug-in version as well.
5 A UNIQUE SYNTHESIZER, WHY ? 5.1 THE ROLAND JUPITER-8 The Jupiter-8 is capable of creating very versatile sounds. The Jupiter-8 sounds the way it looks, ‘sleek and polished’. It offers oscillator sync, cross modulation, a switchable 12dB/24dB filter and polyphonic portamento. It also features a superb arpeggiator. The sound design opportunities are virtually endless. The filter (VCF) structure is one of a special kind.
modules are available on the end of the synthesis chain. The two modules are placed on top of the output of the VCA, and cannot receive external modulations. Amongst these «PATCH» effects are a delay, reverb, flanger and a phaser. Another addition is the sequencer which is a 32-step «step-sequencer» It allows the creation of several melodic lines as well as creation of dynamic modulations of different parameters such as the cutoff frequency of the VCF or the width of the square waveform of the VCO's.
6 THE INTERFACE 6.
6.2 USING THE PRESETS The presets allow saving and recalling the sounds of the Jupiter-8V. A preset contains all the new settings of the various controllers to reproduce a sound. In the software version, just like on the original one, the presets are classified in two categories of presets: The “Patches” and the “Programs”. 6.2.1 The types of presets 6.2.1.
You have two options to select a preset: 6.2.2.1 Select from the toolbar The fastest way to select a preset is to click on the “preset” buttons on the toolbar. Two preset filter windows, situated on the left of the preset screen allow preset selection according to available criteria. Select a preset from the toolbar 6.2.2.2 The “PRESETS” screen The second solution is to use the “PRESETS” screen to select a preset PATCH or PROGRAM. To do that, open the extension panel of the tool bar.
The Preset page Once the filters criteria are set, you can select Patch presets in the resulting list on the right of the page. Click on “PATCH”, then select criterion (for instance, Project: JMB, Type: Pad) and finally choose a preset in the list. Selection of a preset from the same bank To select a preset “PROGRAM” click on the “UPPER” or “LOWER” button. The name and the filter criteria of the preset are shown in the field above the button. A list of selection filters appears.
The choice of filters is the same as with “PATCH” presets. In the unfolding menu, the choice “No filter” is particularly useful to quickly pass through presets of the same type. If a preset is modified, this symbol “*” will appear next to the name of the preset. The key mode must be in Dual or Split in order to get access to the Lower “Prog” part. 6.2.3 Creating a new preset To create a new preset (PATCH or PROGRAM), click on the button, the name: “New_Patch” or “New_Prog” will appear.
When you work from a factory preset, it cannot be overwritten. Clicking on the “Save” button will not replace the factory preset, but will automatically open the “Save As” dialog to save it as a user preset. 6.2.6 Delete a preset To delete a selected PATCH or PROGRAM, click on the “Erase” button window will appear. Click on “OK” to delete the preset. . A dialog 6.2.7 Import / Export a preset bank It is possible to import new banks of presets for the Jupiter-8V.
Export a preset “project” bank 6.3 USING THE CONTROLLERS 6.3.1 Knobs Generally DAWs offer several knob control modes. The default control mode for knobs with the mouse is the circular mode: click on the knob and turn around it in order to change the value of the controller. The circular mode gives high precision in the manipulation of controls: The further the mouse goes from the knob, the higher the precision of the setting.
A rotary knob 6.3.1.2 Sliders These controls are vertical and linear. They set a continuous setting (cutoff frequency of the VCF filters, or settings of the two ADSR envelopes, for example) A vertical slider 6.3.2 Buttons There are several types of buttons on the Jupiter-8V. Some activate or deactivate a parameter (activation of the arpeggiator, for example). A red led on the button indicates that the parameter is active. A selection button 6.3.
the mouse horizontally to modify the pitch. The wheel comes back to its initial position at the release of the mouse. The Pitch Bend Wheel 6.3.5 Modulation button The modulation button applies the modulation created by the LFO, according to the modulation rate set by the LFO. The manipulation of this button is very simple: Click on it to apply the modulation then click again to stop it.
LCD screen 6.3.8 MIDI Control Most of the knobs, sliders and switches on the Jupiter-8V can be manipulated with external MIDI controllers. Before anything else, make sure that the MIDI device is correctly connected to the computer, and that the sequencer or the standalone Jupiter8V application is correctly configured to receive MIDI events coming from the device. Every instance of the Jupiter-8V receives MIDI events transmitted on a given channel.
6.4 THE SOUND MAP The sound map is an innovative preset explorer which offers an easy and revolutionary way to locate and choose a preset on a map area, thus simplifying preset management and making it much quicker to find an appropriate sound. The sound map also offers a brand new interface for creating new sounds thanks to morphing feature works between four presets.
6.4.1 The MAP main interface The Sound Map main interface shows a map where all the presets of the Jupiter-8V2 are spread out, organized by their different types of sound and their own audio characteristics.
Select a preset You can create new presets thanks to an exclusive real time morphing feature: o Click between several presets and drag the mouse. Four red arrows drawing a cross appear linking the group of four presets. The sound of the Jupiter-8V2 will modified with regards to the distance between the mouse pointer and the selected presets. Get closer to a preset to make the synth sound like this preset does. Morphing between a group of presets o You can now drag your mouse between those presets.
The map overview interface o To navigate into the map, click inside of the red square and drag it on the map area to view other sections of the Sound map. o To zoom in the view on the sound map, click on the Zoom slider, under the overview window, and drag it towards the right to increase the size of the map. o To zoom out the view on the sound map, click on the Zoom slider, and drag it towards the left to decrease the size of the map.
o First click on the All button , on the bottom of the type filter window: this will hide all the instrument types from the sound map. o Then, select the type(s) you want to see by clicking on the corresponding square box(es). A check appears on the selected box(es) and the type(s) of preset appears on the map interface. Show pad presets This is a good way to simplify and refine the preset search. • If you click again on the All button, all types of presets will be displayed on the map. 6.4.2.
6.4.3 The LIST preset manager The list preset manager offers a more traditional way to explore presets using a list interface in which the presets are classified and filtered in order to simplify preset management. o To open the list interface, click on the LIST button located on the toolbar of the Sound Map.
Inverse the order of the instrument types 6.4.4 The COMPASS morphing interface The Morphing page is an independent module allowing you to quickly create some new sounds thanks to a real time morphing feature between the four selected presets saved on the snapshot memories. The four presets are placed on the four cardinal points of the compass. The Morphing interface o To open the Morphing page, click on the COMPASS button, located on the toolbar of the Sound map.
Create a new sound o If you wish, you can save it on a User bank of the Jupiter-8V2 memory.
7 THE DIFFERENT MODULES The interface of the Jupiter-8V consists of four main parts: • The interface of the original Jupiter-8V • The “PRESET MANAGER” offers a dedicated interface to manage the presets • The “EXPANDED PARAMETERS” part offers a selection of real-time controllers (“GALAXY” “SEQUENCER” and “KEYBOARD”), as well as access to the modulation options available for the synthesis and effects parts of the Jupiter-8V • The effect section (“EFFECTS”) These four parts are accessible by clicking
• 1 LFO (low frequency oscillator) • 1 modulation section (WHEEL MOD) dedicated to the LFO 7.1.1 The oscillators (« VCO 1 and 2 ») There are two oscillators. The oscillator controls the basic frequencies and timbres of the Jupiter-8V with the frequency settings, choice of waveform, and the pulse width associated to the square waveform. These settings are made either with various knobs (static settings) or by the means of the modulation sections.
FINE TUNE SHAPE Knob to fine tune pitch with the range of plus or minus one half tone. • Switch for the four waveforms: • Sine • Saw Tooth • Variable Pulse • White noise The white noise waveform brings an interesting complement to the sonic possibilities. It is very useful to create breath effects (flute tones for example) or special effects like the sound of wind for example. SYNC The synchronization between oscillators allows you to create very complex waveforms and overtones.
Triangle Sine 7.1.2 The mixer (“VCO1 / VCO2”) The mixer allows regulating the volume of the mix between oscillators 1 and 2. VCO 1 Knob to set the volume for Oscillator1 (LEFT) VCO 2 Knob to set the volume for oscillator 2 (RIGHT) VCO 1/2 Knob to set the volume for both oscillators (CENTERED) The mixer 7.1.3 The filter (“VCF”) The Jupiter-8V has a filter that is an emulation of the original Jupiter 8 filter.
7.1.3.1 A non-resonant 6 dB/octave high-pass filter The high-pass filter eliminates the frequencies while letting high frequencies go through. The sound will become thinner. It is very useful to remove bass frequencies of a pad sound for example. The non-resonant high pass filter CUTOFF FREQ Knob to set of the cut off frequency of the filter Non-resonant high-pass filter 7.1.3.2 A resonant 12 or 24 dB/Octave low-pass filter The low-pass filter is characteristic of the Jupiter-8V’s sound.
Resonant low-pass filter CUTOFF FREQ RES SLOPE Knob to set of the cut off frequency of the filter, From 10 Hz to 25 KHz. Knob to set the resonance of the filter. Switch the filtering slope 12 or 24 dB/ octave. ENV. AMT Knob to manually set the rate of filter modulation by the ADSR envelope. ENV1 / ENV 2 Switch to choose whether the modulation source for the cutoff is envelope 1 or envelope 2. LFO MOD Knob to set the level of modulation by the LFO (use this parameter to make a wah-wah effect).
The amplifier (VCA) This module is very simple, it consists of: VOLUME LFO MOD Knob to set the volume of the synthesizer Slider to set the intensity level of the modulation by the LFO. The amplifier’s volume is directly affected by envelope 2 (ADSR2). 7.1.5 The ADSR Envelopes The «ADSR» envelopes allow several parameters to be controlled with the help of the keyboard as a trigger.
POLARITY Switch to set the polarity for envelope1: • If the switch is on the top, the envelope polarity is positive (this is the more common way to use an envelope). • If the switch is on the bottom, the polarity is negative. The envelope’s time settings are reversed: the shorter times will be heard when the faders are on their higher positions. This type of polarity is very nice to create some inverted effects.
LFO M ENV1 Selector to choose either a manual setting (via the fader), LFO or envelope 1 as a source for the pulse width modulation. The VCO modulator section 7.1.8 The LFO MODULATION, PORTAMENTO and BEND section The “LFO MOD” section shows the parameters that can be modulated by the LFO. There is a white button to activate the LFO. When it is pressed, the modulation is activated. When it is raised, the modulation stops.
Destination connections 7.1.9 The pitch bend wheel and LFO MOD button The pitch bend wheel and the push button for the amount of modulation by the LFO (« MOD ») are situated to the left side of the virtual keyboard. PITCH LFO MO This wheel controls the pitch bend of the two oscillators Push Button to control LFO modulation The Pitch Bend wheel and the LFO mod button 7.1.
7.1.11 The arpeggiator (“ARPEGGIO”) This section shows the connections that are necessary to make the arpeggiator work. It allows performance of patterns of notes in a particular order, evolving according to the notes played. • In SPLIT mode, the arpeggiator only works with the lower part of the keyboard. • In DUAL MODE, the arpeggiator works on both parts of the keyboard.
SOLO Button for selecting the monophonic mode. UNISON Button for selecting the Unison mode. When “UNISON” is activated, all the voices are regrouped to be played by one note of the keyboard. The result is a rich harmonic sound. It sounds similar to a chorus effect. When the Unison mode is activated the patch is still polyphonic (the amount of polyphony depends on the number of voices available) POLY 1 The most natural polyphonic playing mode. The envelopes are not reinitialized by each note played.
7.2 STEP SEQUENCER The sequencer is a 32-step sequencer. It allows the creation of several melodic lines (when one of the three available modulations is affecting the pitch of the VCO) as well as creation of dynamic modulations of other parameters such as the cutoff frequency of the VCF or the width of the VCO square waveform. Click on the “Modulations” tab, then, click on the “Sequencer” button to bring up the interface. The step sequencer The interface of the sequencer consists of three main parts: 7.2.
Mode SMOOTH Playing modes of the sequencer: • FORWARD: Playing the sequence forward • BACKWARD: Playing the sequence backward • FORWD/ BACKWD: Playing the sequence forward and backward • RANDOM: Playing the sequence randomly Amount of interpolation between values of each step in a sequence. SWING Automatically bring a ternary quantification to the sequence. This parameter will be very useful to add “groove” to a sequence for hip hop music, for example.
GLIDE Place an effect of portamento between the selected step and the following step. ACCENT Place an accent effect on the selected step. The edit section of the sequencer 7.2.3 Outputs The modulation destination (“OUTPUT”) is located to right of the interface of the sequencer, where the synthesis parameters that will be affected by the sequencer are selected. It is also possible to connect the parameters of the voice effects to the sequencer. To do that, go to the “Effects” / “Voice Effects” page.
The connection section 7.3 GALAXY The galaxy module creates very complex modulations with the interaction of 3 LFOs. The first 2 LFOs can each modulate a different parameter on the X/Y axes, represented in the framework of the interface. A third LFO allows modifying the alpha angle between the X and Y axes. Each of these 3 LFOs have two parameters: SHAPE RATE ANGLE Selection screen for the waveform of the LFO and X/Y axis (“Sine”, “Tri”, “Saw” and “Square”) and “Sine”, “Tri” and “Saw” for the third LFO.
The Galaxy module 7.4 VOICE EFFECTS The Jupiter-8V offers two connections of “Voice” effects. These connections can be made inside the synthesis chain, between the VCO and the VCF and between the VCF and the VCA. These effects can be modulated by sources of modulation such as the LFO or the envelopes. These combinations of effects and of modulations will bring an additional dimension to the original sound of the Jupiter-8.
• KEY FOLLOW • VELOCITY • AFTERTOUCH • ENVELOPE 1 • ENVELOPE 2 • GALAXY Y • GALAXY X • LFO • SEQUENCER The “BYPASS” button deactivates the Chorus / Flanger effect. The Chorus/Flanger 7.4.2 Distortion The distortion unit brings a soft or strong saturation to the sound, on the output of the VCO or VCF. Three modes of distortion are available: Soft Hard DRY/WET DRIVE SYMMETRY OUTPUT Soft distortion comparable to setting an analog amplifier to the maximum volume.
• ENVELOPE 1 • ENVELOPE 2 • GALAXY Y • GALAXY X • LFO • SEQUENCER The “BYPASS” button deactivates the distortion effect. Distortion 7.4.3 Parametric EQ This equalizer unit adjusts the harmonic content of the sound with four bands of frequency control. Bands 1 and 4 (low and high) are semi-parametric; bands 2 and 3 (mid) are fully parametric. Each of the parameters of the equalizer can be modulated by sources of modulation.
BAND 4 (High frequencies) FREQUENCY (F) GAIN (G) DRY/WET OUTPUT Knob to set the band of the high frequencies Knob to set the gain for the band of the high frequencies Knob to set the balance between the original signal and the output of the effect Knob for the PARAM EQ‘s output volume. The LCD screen allows you to graphically show the positions of each band.
OUTPUT Knob for the volume of the output of the phaser. The “MOD” display allows accessing the modulation connections for each of the parameters of the PHASER as well as the choice of the sources of modulation: • KEY FOLLOW • VELOCITY • AFTERTOUCH • ENVELOPE 1 • ENVELOPE 2 • GALAXY Y • GALAXY X • LFO • SEQUENCER The “BYPASS” button allows deactivating the PHASER effect. Phaser 7.4.
• ENVELOPE 2 • GALAXY Y • GALAXY X • LFO • SEQUENCER The “BYPASS” button allows deactivating the RING MOD effect. Ring Mod 7.5 PATCH EFFECTS Two “PATCH” effect modules are available on the end of the synthesis chain. The two modules are placed after the output of the VCA, and cannot receive external modulations. Patch effect connections 7.5.1 Chorus/Flanger The stereo Chorus/Flanger module adds thickness and width to the sound.
The “BYPASS” button allows deactivating the “CHORUS/ FLANGER” effect. Chorus / Flanger 7.5.2 Stereo Analog Delay The delay effect allows creating echo effects or doubling in the sound. This effect is used on all types of sounds to add stereo space. This effect recreates the characteristics of the analog delays of the 70's, which are very popular today for their unique sound (the famous “tape delays”).
7.5.3 Reverb The reverb effect creates a very dense series of decaying echoes in the sound, simulating the sound's performance within a three-dimensional space.
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8 THE BASICS OF SUBTRACTIVE SYNTHESIS Subtractive synthesis appeared at the end of the 1960’s, giving birth to the first analog synthesizers: Moog, ARP, EMS, Oberheim, Roland (SH, Juno or Jupiter series), Yamaha (CS series) and Korg (MS and PS series). Of all forms of audio synthesis, subtractive is one of the oldest, and to this day, the most frequently employed by sound designers and musicians alike.
• The tuning parameter (“COARSE” or “FREQUENCY”) allows you to tune the oscillator by semi-tones on a range of 5 octaves. • The fine tuning parameter (“FINE”) finely tunes the oscillator upwards or downwards by a semi-tone. This parameter gives a bit more life to your sound when you use several oscillators simultaneously, due to difference in frequencies between the oscillators. The waveform determines the harmonic richness of the audio signal.
The PWM (top) and the Square (bottom) waveforms and their respective harmonic spectrums • The PWM (Pulse Width Modulation) is a setting that allows you to modify the waveform cycle (or wave length). This can be done manually with the help of a knob “PW” or by modulation (with an envelope or LFO). Pulse width variation creates a spectrum modification that cannot be duplicated with subtractive filtering. • The triangle wave can be considered as a very filtered (and soft) square signal.
The Sinusoid waveform and its harmonic spectrum • The synchronization of an oscillator with another creates more complex waveforms. If for example, you synchronize oscillator2 with oscillator1, oscillator2 will restart a new period every time the first oscillator completes its period, even if oscillator2 has not fully completed its current cycle (this signifies that it is not tuned to the same tonality!) The more you tune oscillator2 upwards, the more you will encounter composite waveforms.
• The noise generator: the noise signal produces acoustic energy across a broad spectrum of frequencies with no discernible “fundamental” or harmonic signature. For this reason, the noise module is used to create different noises like the imitation of wind or special effects. White noise is the richest of noises. Pink noise is also regularly present on synthesizers. It is less rich in the high frequencies than white noise.
decibels per octave (or dB/oct). Most filters used in classic analog synthesizers have 24 dB/oct or 12 dB/oct slopes. The removal of undesirable frequencies at the cut-off frequency On the Jupiter-8V, you have access to a type of filtering with a 24 dB/Oct slope and to a type of filtering with a 12 dB/Oct slope. Let’s have a look at some of its properties: 8.1.3.1 High-Pass Filter (HP Filter) The high-pass filter acts symmetrically to that of the low pass filter.
Resonant low-pass filter 8.1.3.3 The resonance A second setting to compliment the cut-off frequency is the resonance (you will also find it called “emphasis” or “Q” (for Quality of filtering) elsewhere). The resonance is able to amplify frequencies close to the cut-off frequency. Then the other frequencies remaining are either unchanged (below the cut-off frequency) or reduced (above the cut-off frequency).
The filter settings of the Jupiter-8V 8.1.4 The amplifier or VCA The amplifier (Voltage Controlled Amplifier) receives the audio signal coming from the filter (or directly from the oscillator if it is not being filtered) to be adjusted before the volume is sent to the speakers. Jupiter-8V VCA In conclusion, here is a diagram that should help you to understand the composition of a basic sound: 8.2 OTHER MODULES 8.2.
Secondarily, the keyboard's pitch is also used to modulate other sources, such as filter cutoff. If you do not use a MIDI keyboard, you can also play on the virtual keyboard of the Jupiter-8V, but your MIDI sequencer will not record those actions, it is for auditioning presets and programming only. 8.2.
The envelope generator of the Jupiter-8V 8.2.3 The low frequency oscillator The LFO (Low Frequency Oscillator – or LFO on the Jupiter-8V) possesses more or less the same characteristics of the classic oscillator but it only produces frequencies lower than 20 Hz. In other words, you won’t hear the pitch of its sound. It will create a cyclic modulation on the setting to which it is connected.
The LFO module of the Jupiter-8V The Jupiter-8V allows you to use VCO2, placed at a low frequency (position «LOFREQ»), to modulate the frequency of VCO1. 8.
9 SOME ELEMENTS OF SOUND DESIGN Here are five examples that can guide you when programming different tones on the Jupiter-8V. These tones are classified from simple to complex, and are organized in 3 parts: • The first part will allow you to explore the basis of the subtractive synthesis with the Jupiter-8V. While starting off with a basic preset, you will make a polyphonic violin sound that is typical for this synthesizer.
Click on the “Range” selector of VCO1 Choose the modulated square waveform on VCO2 Choose the modulated square waveform on VCO2 Set VCO 2 slightly out of tune by turning the “Fine Tune” knob a little bit. The sound will become more alive. Set VCO 2 slightly out of tune Lower the cut off frequency of the filter («FREQUENCY») by positioning the knob in the center (around «400 Hz»). That will allow you to return to a softer sound.
200 ms) and, finally, lower the Sustain toward «0.0.600.000». The maximum level of the cut off frequency is thus reduced. Increase the attack time Increase the position of the «PWM» selector (for «Pulse Width Modulation») to the center of its range. Place the situated switch to the right of the «PWM» selector on the position «LFO». Now it is set to modulate the width of the square with the LFO.
You also can adjust the number of repetitions («feedback») to your convenience. The Delay settings Save the sound as « Violin 1», you will then be able to use it later. Open the preset interface and click on the «Save as» button. Choose a new name («Strings» for example). Also give a new name to the project (for example your name), a new name for the new preset Program (for example «Strings together») and give characteristics to this preset (for example «Strings» then «Bright» and «Simple»).
• An ADSR envelope connected to the amplifier • The Galaxy module • The Arpeggiator • Voice effect » Chorus / Flanger » • Patch effect » St Reverb » • Patch effect » St Delay » Increase the release time for the second ADSR envelope (for example to the range of 8000 ms) in order to give the impression of a harp tone.
We will use the Galaxy unit to modulate the width of the square wave form of the second VCO, the cut off frequency of the high pass filter and the low pass filter (VCF) Open the «Modulations» page situated in the upper panel of the Jupiter-8V. the Galaxy unit is selected by default.
Setting of the Chorus In the first «Patch» effects slot (underneath the «Voice» effects on the connection diagram for the effects), choose «St FX Reverb» Set the «Size» knob toward the right to lengthen the time of reverberation. (Take a value around “0.700») Set the «dry/wet» knob of the chorus in a manner to balance between the original and the effected sound.
9.3 A SEQUENCE WITH THE JUPITER-8V In this example, you will discover the basics of programming a sequence on the Jupiter8V. This can be done with the «32-step step sequencer». This will be used together with Galaxy unit and the St Delay effect to create rich and complex rhythmic effects. Choose the preset «JMB_Sequenced Chords» in the project «JMB». This sound uses VCO2 tuned to a dominant 7th and is very «brilliant». This will be a starting point for our third preset.
Place the sequencer in MIDI SYNC mode by clicking on the button «Sync.» The synchronization to the MIDI tempo allows regulating the speed of the sequencer, Galaxy and St Delay precisely. Select the speed of the sequencer by clicking on the list «Q» (for «Quantized») choose the value “1/8». Choose the value “1/8” Select the number of steps that you wish to have in your sequence. Click on the left side of the bar situated on the top of the programming window. For example set it to 8 steps.
The interface of the Jupiter-8V sequencer Open the Galaxy module to complete the rhythm. This will modulate the volume of the VCA to create «gate» effects that are often used in electronic music. Click on «Output X' (situated to right of galaxy) and choose «VCA» as destination of modulation controlled by LFO 1 (axis «X»). Do the same for the first destination of the axis «Y» while choosing also the destination «VCA» Set the two levels of modulation to the range of 0.
• Patch effect » St Delay » These sound examples present different levels of difficulty. We hope that they have allowed you to discover a part of the possibilities that the Jupiter-8V offers. But do not hesitate to do your own experimentations. This is the fastest way to master the Jupiter8V and create original sounds.
10 MODES OF OPERATION 10.1 STAND-ALONE The Stand-Alone application allows the use of the Jupiter-8V outside of any host application. You can open one or several instruments, and play directly with the help of a master MIDI keyboard or external sequencer on a separate computer. 10.1.1 Launching the Stand-alone application To launch the Stand-alone application on your PC, go into the Start menu > Programs > Arturia > Jupiter-8V2 and choose Jupiter-8V2.
The preferences window on Windows • Audio protocol (Windows only): select the audio protocol that you wish to use. The ASIO driver offers some increased performance in relation to the Direct X drivers. • Audio driver: here, select the driver corresponding to the sound menu that you wish to use. • Sampling frequency: here, choose the sampling frequency among those offered in your sound menu. Note that a high sampling frequency will demand increased processor performance on your computer.
Using Audio Unit and VST Instrument in Live If necessary, you can perform a rescan of the plug-in directory in Preferences, “File Folder” tab, button ”Scan” or button “Scan” and hold “Alt” for a full rescan. 10.3 RTAS - PRO TOOLS 10.3.
Opening the Jupiter-8V in Pro Tools Jupiter-8V must be loaded on an audio stereo track. We can now make Jupiter-8V sounds by playing with the mouse on the virtual keyboard. 10.3.2 Connection to a MIDI channel To enable the Jupiter-8V to play the information coming from a MIDI track, you have to associate it to a MIDI channel via the appropriate menu. (See the Pro Tools menu for more information on plug-in connection).
Connecting a MIDI track to Jupiter-8V 10.3.3 Saving the presets When the session is saved, the status of Jupiter-8V is saved as it is, even if its programming does not correspond to the preset. For example, if you are working on a preset “P1” in which you have modified the parameters (without saving them in the plugin itself), the next time you open the session, Jupiter-8V will charge the “P1” preset plus the modifications.
10.4 CUBASE VST 10.4.1 Instrument use in VST mode The opening of VST Jupiter-8V plug-in is the same as opening all other VST plug-ins. Please consult the instruction manual of your host sequencer for more specific information. Under Cubase, open the menu / VST Instruments, and choose Jupiter-8V2 in the rack. Using Jupiter-8V as VST instrument in Cubase 10.4.
10.4.3 Connection to a MIDI track In order for the Jupiter-8V to play information coming from a MIDI track, you have to choose a MIDI track and select Jupiter-8V as MIDI output of this track. See the picture below for more details on how this is accomplished. Cubase asks you directly if you wish to create a midi track for the new inserted VSTi.
Jupiter-8 V opening in Logic Since version 7, there has been an Audio Unit plug-in manager in Logic. To launch it, click on the menu “Preferences > Start Logic AU Manager” Launching of the Audio Unit manager of Logic This Manager allows us to see the list of the available plug-ins, to test their compatibility with Logic, and to activate or de-activate them.
10.6 SONAR VST (WINDOWS ONLY) Jupiter-8V is compatible with the VST protocol, and thus can be used with Sonar and also with all other sequencers that accept the VST instruments. 10.6.1 Opening the instrument (Sonar) In the “Insert” menu, open the sub-menu “Soft Synth” and choose “Jupiter-8V2”. Opening the Jupiter-8V in Sonar The “Synth Rack” window will then appear. In order to make the graphic interface of Jupiter-8V appear, double-click on its name in the “Synth Rack” window. 10.6.
10.6.3 Save the presets When the session is saved, the status of Jupiter-8V is saved as it is, even if the programming corresponds to none of the presets. For example, if you were working on the preset “P1” at which time you modified the parameters (without saving them in the plug-itself), the next time you opened the piece, Jupiter-8V will load the preset “P1” plus the modifications. 10.6.4 Automation Automation with Sonar functions simply by the reception and saving of MIDI Control Change messages.
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ARTURIA JUPITER-8V2 - LICENSE AGREEMENT In consideration of payment of the Licensee fee, which is a portion of the price you paid, Arturia, as Licensor, grants to you (hereinafter termed “Licensee”) a nonexclusive right to use this copy of the JUPITER-8V2 program (hereinafter the “SOFTWARE”). All intellectual property rights in the software belong to Arturia SA (hereinafter: “Arturia”).
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