Arturia Jupiter-8V User Manual
USER’S MANUAL
PROGRAMMING:
Nicolas Bronnec
Fabrice Bourgeois
Gavin Burke
Vincent Travaglini
Jean–Michel Blanchet
Philippe Wicker
Cristian Kreindler
Damien Vanderbeyvanghe
Thomas Diligent
Robert Bocquier
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 (Beautifulscreen)
Elisa Noual
SOUND DESIGN:
Jean–Michel Blanchet
Thomas Binek (Tasmodia)
Stephan Muësh (Rsmus7)
Celmar Engel
Ruff & Jam
Katsunori Ujiie
Sato Fujimori
Richard James
Nori Ubutaka
© ARTURIA SA – 1999-2014 – All rights reserved.
30, Chemin du Vieux Chêne
38240 Meylan
FRANCE
http://www.arturia.com
Information contained in this manual is subject to change without notice and does not represent a commitment
on the part of Arturia. The software described in this manual is provided under the terms of a license
agreement or non-disclosure agreement. The software license agreement specifies the terms and conditions for
its lawful use. No part of this manual may be produced or transmitted in any form or by any purpose other than
purchaser’s personal use, without the express written permission of ARTURIA S.A.
The mark “Jupiter-8V” and “Roland” are property of Roland Corporation. The Jupiter-8 interface is also owned
by Roland Corporation, the design and model being registered trademarks. All other products, logos or
company names quoted in this manual are trademarks or registered trademarks of their respective owners.
November 2014 edition
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!
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. After registration, you will receive a user ID and password
in order to access a protected area on our site. It also puts you on our user notification
list, so that you can be the first to know when there are updates or new product offers.
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0
Features
MIDI Control Assignment Improvement
V Series standalone
Bug fixes
Sluggish GUI on Mac OS X 10.5 (Leopard)
Effect GUI update (was showing wrong settings)
Fixed crash with arpeggio
Fixed crash with Sound Map
Unison improvement
Fixed issues with modulation wheel
Platform requirements
Added support for 64-bit VST and Audio Unit
Added support for Pro Tools 9 & 10
Added support for Mac OS X 10.7 (Lion)
Dropped support for PowerPC computers
Dropped support for Mac OS X 10.4
If you already own Jupiter-8V, version 2 includes the following changes:
“Sound Map” graphical preset browser added
RPN “pitch bend range” message is now recognized
NRPN midi controls can be used for automation
Increase of overall volume
Switched to eLicenser Protection
Fixed issue related to modulation wheel in Pro Tools (MAC OSX)
Fixed issue related to triangle signal amplitude
Miscellaneous fixed issues
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1 INTRODUCTION 8
1.1 Roland/Jupiter-8 Story 8
1.2 TAE® 12
1.2.1 Aliasing-free oscillators 12
1.2.2 A better reproduction of analog oscillator waveforms 12
1.2.3 Direct Filter Circuit Modeling 14
2 ACTIVATION & FIRST START 15
2.1 Register & Activate 15
3 QUICK START 16
Structure of the Jupiter-8V 16
3.1 Using the presets 17
3.1.1 Selecting the presets 17
3.1.2 Editing the presets 19
3.2 The 4 main parts of the Jupiter-8V 20
3.3 Overview of the Jupiter-8V user interface 21
3.4 The (Advanced) Modulations section 23
3.4.1 Creating a melodic sequence with the SEQUENCER 24
3.4.2 Create progressive modulations with the GALAXY unit 26
3.4.3 Control parameters with the Keyboard unit 28
3.5 The Effects 29
3.6 The “Patch” section of the effects 31
3.6.1 The chorus 31
3.6.2 The delay 32
3.7 Realtime controllers and MIDI assign 33
4 A UNIQUE SYNTHESIZER, WHY ? 35
4.1 The Roland Jupiter-8 35
4.2 The Arturia Jupiter-8V 35
5 THE INTERFACE 37
5.1 Tool bar 37
5.2 Using the presets 38
5.2.1 The types of presets 38
5.2.2 Selection of a preset PATCH or PROGRAM 38
5.2.3 Creating a new preset 41
5.2.4 Save a user preset 41
5.2.5 Save a user preset using the “Save as” option 41
5.2.6 Delete a preset 42
5.2.7 Import / Export a preset bank 42
5.3 Using the controllers 43
5.3.1 Knobs 43
5.3.2 Buttons 44
5.3.3 Switches 44
5.3.4 Pitch Bend wheel 44
5.3.5 Modulation button 45
5.3.6 Virtual keyboard 45
5.3.7 LCD Screen 45
5.3.8 MIDI Control 46
5.3.9 The preference screen 49
5.4 The Sound Map 50
5.4.1 The MAP main interface 51
5.4.2 The Sound Map overview 52
5.4.3 The LIST preset manager 55
5.4.4 The COMPASS morphing interface 56
6 THE DIFFERENT MODULES 58
6.1 The original Jupiter-8 58
6.1.1 The oscillators (“VCO 1 and 2”) 59
6.1.2 The mixer (“VCO1 / VCO2”) 61
6.1.3 The filter (“VCF”) 61
6.1.4 The Amplifier (“VCA”) 63
6.1.5 The ADSR Envelopes 64
6.1.6 The LFO 65
6.1.7 The VCO modulator 65
6.1.8 The LFO MODULATION, PORTAMENTO and BEND section 66
6.1.9 The pitch bend wheel and LFO MOD button 67
6.1.10 The Master Tune section 67
6.1.11 The arpeggiator (“ARPEGGIO”) 68
6.1.12 The keyboard assign section (“ASSIGN MODE”) 68
6.1.13 The play modes selection (“KEY MODE”) 69
6.2 Step Sequencer 70
6.2.1 The transport 70
6.2.2 Edit the sequence 71
6.2.3 Outputs 72
6.3 Galaxy 73
6.4 Voice Effects 74
6.4.1 Chorus /Flanger 74
6.4.2 Distortion 75
6.4.3 Parametric EQ 76
6.4.4 Phaser 77
6.4.5 Ring Mod 78
6.5 Patch Effects 79
6.5.1 Chorus/Flanger 79
6.5.2 Stereo Analog Delay 80
6.5.3 Reverb 80
6.5.4 Dual Phaser 81
7 SOME ELEMENTS OF SOUND DESIGN 82
7.1 A polyphonic violin preset made with the Jupiter- 8 V 82
7.2 Arpeggiated sounds 85
7.3 A sequence with the Jupiter-8V 89
8 MODES OF OPERATION 93
8.1 Standalone 93
8.1.1 Launch the application 93
8.1.2 Configuration of the instrument 93
8.2 VST 2 94
8.3 VST 3 95
8.4 RTAS 95
8.5 AU 95
8.6 64 bit compatibility 95
8.7 Use in Cubase/Nuendo (VST) 95
8.7.1 Instrument use in VST mode 95
8.7.2 Rescan the plug-in directory in Cubase 96
8.7.3 Saving of presets 96
8.8 Using in Pro Tools (RTAS) 97
8.8.1 Opening of the plug-in 97
8.8.2 Saving the presets 98
8.8.3 Automation under Pro Tools 98
8.9 Using in Logic, Mac OS X (AU) 98
8.10 Using in Ableton Live (AU and VST) 99
9 ARTURIA JUPITER-8V - LICENSE AGREEMENT 100
1
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 the traditional Japanese organization
of work, becoming a master in any technical area would take a seven-year
apprenticeship. Consequently he left after a few months, bought a book on how to repair
watches and set up the “Kakehashi Watch Shop”.
This first venture happened to be so successful that he quickly decided to expand and
turn his enthusiasm for music into business. It became legal at that time to have a shortwave radio and to listen to foreign broadcasts. While he scanned the airwaves for new
music, Mr Kakehashi learned the basics of how radios operated. He then used broken
sets to create working units. His repair shop started to repair broken radios in addition to
clocks and watches.
It is remarkable that a man named Mr Torakusu Yamaha had also started out as a watch repairer. In
fact the same is true of Matthias Hohner, the founder of Hohner. Even the Hammond Organ Company started
out as a sub-division of the Hammond Clock Company.
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. In 1959, he designed and built a Hawaiian
guitar amplifier, but he also went on with his further organ developments.
On the 18th of April 1972, Mr. Kakehashi established the Roland Corporation.
The first synthesizer from Roland was also Japan's first synthesizer. The SH1000 came to
the market in 1973, just before the Korg 700 did. It was a remarkable instrument,
offering 10 preset tones selectable from colored tabs. You could add vibrato, growl and
portamento to modify the sound.
The System 100, launched in 1975, is another Roland monosynth that would become
sought-after long after production stopped. The System 100 consisted of five semimodular products. These were the 101 Synthesizer, the 102 Expander, the 103 Mixer
(including a simple reverb), the 104 Sequencer, and the 109 Monitor Speakers. These
units fit together to produce a system that sounded really interesting.
The first results from 1976's expansion in the development team, led to an explosion in
Roland's product range. There were more synthesizers, a piano, more speaker systems
and some now-classic instruments that included the Jupiter-4 Compuphonic polysynth.
The Jupiter-4 was the company's first true polysynth. It used Roland's trademark chorus
and three Unison options that made it a powerful monosynth. There also was an
excellent arpeggiator.
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.
But what made the Jupiter-8 so successful? Well, in terms of sonic possibilities, it
complemented its competition by bringing something different. The Jupiter-8 was capable
of creating very versatile sounds. You could easily make “fat” or “crystal” sounds with it.
In fact, the Jupiter-8 sounded the way it looked, ‘sleek and polished’. Offering oscillator
sync, cross modulation, a switchable 12dB/24dB filter and polyphonic portamento, the
sound design opportunities were endless. You could easily save and load patches via its
cassette interface. Even a superb arpeggiator was included. And last but not least, the
Jupiter 8 was more reliable than its competition, and the sound was more consistent from
model to model. Therefore it was very attractive for stage and studio use. In 1982,
Roland released an upgraded Jupiter-8, the JP8A. It upgraded the Jupiter-8 with a
number of enhancements including an improved DAC with a higher resolution of the
auto-tuning system from 12- to 14-bit, plus a brighter LED screen. The Jupiter-8 has
become one of the most revered of all synthesizers.
The electro-pop community became quickly convinced by the qualities of the Jupiter-8.
“Relax” by Frankie Goes to Hollywood was produced incorporating a Jupiter 8, and
players such Vince Clarke, Howard Jones, John Foxx, and Martyn Ware were also using it.
The path to classic status of the Jupiter started there.
Other artists that have used The Jupiter-8 include: Tangerine Dream, Underworld, Jean
Michel Jarre, Depeche Mode, Prince, Gary Wright, Adrian Lee, Heaven 17, Kitaro, Elvis
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. This new synthesizer was introduced as
an enhancement of the Jupiter-8.
In 1982 Roland also released the TB303 Bass line. Initially marketed as a “computerised
bass machine”, the little silver box and its companion, the TR606 “Drumatix”, were
intended for use as replacements for a bass guitarist and a drummer. The TB303 had a
very characteristic filter, and a built-in sequencer.
In 1984 there was the introduction of three synthesizers: the Juno 106, the JX8P and the
JX10P. The last one was the replacement for the Jupiter-8. Unfortunately, the JX10 was
never destined for the same success as the Jupiter 8.
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.
1.2 TAE
TAE® - True Analog Emulation - is Arturia's outstanding technology dedicated to the
digital reproduction of analog circuits used in classic analog synthesizers.
The Jupiter-8V benefits from an enhanced version of TAE®, optimizing CPU allocation
and memory usage, while being even more accurate than in previous products.
When implemented in software code, TAE®’s algorithms guarantee authentic emulation
of hardware specifications. This is why the Jupiter-8V, and all of Arturia’s virtual
synthesizers, offer an unparalleled quality of sound.
TAE® combines four major advances in the domain of synthesis:
1.2.1 Aliasing-free oscillators
Standard digital synthesizers produce aliasing in high frequencies, and also when using
Pulse Width Modulation or FM.
TAE® allows the production of totally aliasing-free oscillators in all contexts (PWM, FM…),
and at no extra CPU cost.
®
Linear frequency spectrum of the Jupiter-8V oscillator made with TAE
1.2.2 A better reproduction of analog oscillator waveforms
The waveforms produced by the oscillators in analog synthesizers are marked by the
presence of a capacitor in the circuits. The discharge of the capacitor results in a light
bend in the original waveform (notably for saw tooth, triangular and square waveforms).
TAE® allows the reproduction of this capacitor discharge. This is the analysis of the
Roland Jupiter 8 waveform, and that of the Jupiter-8V. They are both equally deformed
by the low-pass and high-pass filtering.
Temporal representation of a “saw tooth” waveform of the Jupiter 8
Temporal representation of a “saw tooth” waveform reproduced by the Jupiter-8V
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.
1.2.3 Direct Filter Circuit Modeling
Due to advances in computer processing power, the Jupiter-8V can now employ direct
filter modeling techniques to achieve unprecedented accuracy in the emulation of a
hardware synthesizer’s filter. By modeling the operation of the individual hardware
components of the filter circuit, the warm nuances synonymous with analog sounds are
recreated. This graph is a frequency domain plot as just a single example of direct circuit
modeling in action; it shows the generation of harmonics at multiples of the resonant
frequency, for both the Arturia Jupiter-8V and the Roland Jupiter-8. These harmonics are
characteristic of the hardware synthesizer’s filters and are due to the non-linear behavior
inherent in its analog circuitry. The harmonics generated add to the richness and warmth
of the sound produced by the filter. As a result of the direct recreation of this analog
circuitry, the same characteristics of the sound are present, thus giving the user a truly
analog sound.
Comparison of Harmonics generated by the filter circuits of the Arturia Jupiter-8V and the Roland Jupiter-8
2 ACTIVATION & FIRST START
Jupiter 8 V works on computers equipped with Windows 7 or 8 and Mac OS X 10.7 or
later. You can use the stand-alone version or use Jupiter 8 V as an Audio Units, AAX,
VST2 or VST3 instrument.
2.1 REGISTER & ACTIVATE
Once the Jupiter 8 V has been installed, the next step is to register the software.
The registration process will require you to enter the serial number and the unlock code
you received with the product.
In order to proceed, go to this web page and follow the instructions:
http://www.arturia.com/register
Note: If you don’t have an Arturia account yet, you will need to create one. The process
is quick, but it does require that you can access your e-mail address during the
registration process.
Once you have acquired an Arturia account you will be able to register the product.
Toolbar
Preset /
Modulation /
Effects tabs
Sequencer /
Galaxy /
Keyboard
Sequencer’s
transport
LFO
VCOs settings
Arpeggio’s
rate & gen.
volume
Master & Voice
Detune
Modulation
Settings
Arpeggio
Settings
Assign
Modes
Hold
Key & Panel
Modes
Screen
Mixer
HPF/VCF
VCA
Virtual
Keyboard
Sequencer
Outputs
Steps Settings
Envelopes
General info /
440 Hz tone
Import /
Export
Favorite
presets
3 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.
The Jupiter-8V interface
STRUCTURE OF THE JUPITER-8V
The structure of the Jupiter-8V allows you to play two tones at once (called “Lower” and
“Upper” Programs in the terminology of the Jupiter-8). You can play the keyboard in
three different ways:
“DUAL”: allows you to play the two Programs “Lower” and “Upper”,
simultaneously on the entire keyboard.
“Split”: allows you to play the two Programs “Lower” and “Upper” divided
separately over the two zones of the keyboard.
“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.
3.1 USING THE PRESETS
3.1.1 Selecting the presets
The Jupiter-8V has two kinds of presets:
3.1.1.1 The Patches
The “PATCH” presets can save:
The configuration of the keyboard (methods “Whole”, “Dual” et “Split”)
The division zones of the keyboard (“Split”)
The types of playing (SOLO, UNISON, POLY1 and 2)
The midi configuration of the synthesizer
The settings of the arpeggiator
The settings of the “Modulation” zone (“BEND”, “MOD”, “PORTAMENTO”…)
The setting of the master effect (delay, chorus).
3.1.1.2 The Programs
The “PROGRAM” presets are the composed sounds of the Jupiter-8V. They contain:
All the synthesis parameters,
All the parameters of the Galaxy module and the sequencer.
The parameters of the voice effects (“Voices Effects”)
Preset organization of the Jupiter-8V
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 button, on the toolbar, to open the expansion interface.
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.
Click on the “presets” tab
o 2 filtering lists allow you to select the search options that will help you find
your preset. If you click on the first one, you will see an unfolding menu
appear indicating the list of the available banks.
In the first filter, choose “Project” then select “JMB”.
In the second filter, choose “Mode” then select “Whole”.
Finally select the preset named “JMB_Full_Pad” preset in the result list.
Select the preset “JMB_Full Pad”
It is also possible to directly select the presets on the toolbar situated on the top of the
Jupiter-8V interface:
Click on the one of the first 2 tabs situated on the tool bar to choose a filtering
criteria – the name of the project for example.
Then click on the third tab to choose the name of the preset that you wish to edit.
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”.
3.1.2 Editing the presets
To begin, we will start with a very simple manipulation.
Modify the brightness of the sound “Full_Pad” with the “CUT” slider (VCF for Voltage
Controlled Filter). To do this, push or pull the slider. The timbre of the sound will
become more or less “brilliant”. Tune this slider to your liking.
Change the brightness of the sound
In the same way, you can increase the range of oscillator 2 (VCO2 for Voltage
Controlled Oscillator) by an octave with the knob “RANGE”. Choose a value of “4'”.
Tuning the second oscillator
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.
To choose another destination for this sound, click on the icon “Save As” , then
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.
Saving a patch
To save a user preset (“Users”), click on the save button “Save”, in tool bar: The
new settings will be saved in the framework of the currently selected preset without
changing the name. If the modified preset is a «factory preset» (factory), it will not
be overwritten and the window «save as» appears to create a user preset.
It is important to change the name of a preset in order to create a new one! Then the name of the preset
that has been edited will be modified.
3.2 THE 4 MAIN PARTS OF THE JUPITER-8V
The Jupiter-8V offers 4 main parts:
The “Jupiter-8V” interface represents the interface of the original;
The “PRESETS” manager section;
The “SEQUENCER / GALAXY” interface to access the SEQUENCER and GALAXY
modules;
The “EFFECTS” interface to access the effects;
To open the extension panel of the Jupiter-8V, click on the then choose one of the
3 tabs available.
3.3 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). VCO1 can produce triangle, saw tooth,
variable pulse or square signals while VCO2 can produce sine, saw tooth, variable
pulse or noise signals.
A mixer to mix the 2 VCO’s
A non resonant high pass 6 dB/oct filter
A resonant low pass 12/24 dB/oct filter
An LFO
1 amplifier (VCA) allowing amplification of the signal between the filter to the stereo
output.
Two envelopes (ADSR) to modulate the low pass filter and the VCA
The synthesis parameters
See how to quickly create a polyphonic sound with the Jupiter-8V:
To be able to understand the principle of how to program the Jupiter-8V, we will take a
very simple sound. Select the preset “UJ Brass« in the bank “KUJIIE” / “Brass”. The
synthesis structure of this sound is relatively simple: the sawtooth waveforms of VCO 1
are 2 are active and their signals are directed through the low pass filter. Afterwards the
signal is routed through the mixer, and finally into the amplifier. An ADSR envelope
modulates the cutoff frequency of the filter and a second ADSR envelope modulates the
volume of the amplifier.
Signal path of the Jupiter-8VStart 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).
Lower the cut frequency of the VCF
To hear the effect of the ADSR envelope on the cut frequency of the filter more
clearly, increase the value of the resonance. This will amplify the filtering effect and
the sound will begin to “ring”.
Increase the value of the resonance
Change the length of the attack of this envelope (“Attack time” ENV1) so that filter
rise time increases more or less quickly when a note is played.
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.
Don't forget to save your work by clicking on the “SAVE AS” button, situated on the
Jupiter-8V toolbar.
3.4 THE (ADVANCED) MODULATIONS SECTION
In the “MODULATIONS” section, there are sources of additional modulations allowing an
extension of the playing possibilities and of the synthesis. This section offers two types of
interfaces: SEQUENCER is accessible while clicking on the “SEQ” button.
3.4.1 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”. It allows the creation of several melodic
lines (when one of the three available modulations is affecting the frequencies of the
VCO) as well as creation of dynamic modulations of other parameters such as the cut-off
frequency of the VCF or on the width of the square waveform of the VCO's.
It enables you to affect up to 3 simultaneous parameters.
The step sequencer
In this chapter we will see how to create a simple melodic sequence.
Click on the “MODULATIONS” tab, and then click on the “SEQUENCER” tab to bring
up the interface.
Click on the “SEQUENCER” button
Connect the frequency of VCO1 to the first modulation output and click the “Q”
button to activate the quantize factor by half-tones for the frequency values.
Set Sequencer Output 1
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.
Set the value of each step
Set the speed of the sequencer with the “Rate” knob.
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.
Set the intensity of this modulation with the “Level” knob.
Set the attack time “A” and decay time “D” of the envelope to your convenience
The accent settings
There is also the option to add alternative quantization («SWING«) to the sequence.
This quantization can be useful for the composition of a piece of «house music«, for
example.
3.4.2 Create progressive modulations with the GALAXY unit
Galaxy allows creating very complex modulations thanks to the interaction of 3 LFOs. The
first two LFOs allow inter-modulation with a different parameter on the X and Y axes.
They are represented on the graphical interface of the unit. A third LFO allows modifying
the alpha angle between the 2 X and Y axes.
The «GALAXY« module
Click on the “MODULATIONS” tab then on the “GALAXY” tab to show the
interface.
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. You will obtain unusual and very progressive modulations
thanks to this unit.
You also can modify this angle manually thanks to the “ANGLE” knob.
Choose the triangle waveform then adjust the speed parameter of the LFO to your
liking.
Choose the triangle waveform for the (alpha) angle
3.4.3 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.
Choice of the modulation destination, setting its amount
Customize how velocity modifies the selected parameters thanks to a curve. The X
axis represents the amount of velocity while the Y axis represents the amount sent
to the parameters. This curve can be controlled thanks to 3 points.
Customize the velocity curve
You can do the same for the aftertouch.
Customize the aftertouch curve
3.5 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.
Additionally, you will be able to connect two effects “Patches” that are situated at the
audio output of the synthesizer.
The interface of the effects
To familiarize yourself with this function, click on the “EFFECTS” button situated with the
other tabs.
Using the preset filters, choose the Project “JMB” / Type “Bass” / Preset
“JMB_Bass01”.
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.
Adjust the mix of Dry/Wet signals.
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