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2
PROGRAMMING :
Nicolas Bronnec
Fabrice Bourgeois
Gavin Burke
Vincent Travaglini
Jean–Michel Blanchet
Philippe Wicker
Cristian Kreindler
Damien Vanderbeyvanghe
MANUAL :
Jean–Michel Blanchet (Version française)
Christiaan de Jong (Version anglaise)
Houston Haynes (Version anglaise)
Kenta Sasano (Version japonaise)
Kiriko Ishida (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
© ARTURIA SA – 1999-2007 – All rights reserved.
4, Chemin de Malacher
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.
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TThhaannkk yyoouu ffoorr ppuurrcchhaassiinngg tthhee AARRTTUURRIIAA JJUUPPIITTEERR--88VV!!
In this package you will find:
• This paper manual for the JUPITER-8V
• a CD-ROM containing the JUPITER-8V installer for MAC OSX and Windows XP/2000
• A USB (Syncrosoft) protection key you will need to run JUPITER-8V
• Authorization Card
Carefully store your USB key and your card. The USB key will be required any time you run JUPITER8V, so your key is the real value of your product. See chapter two for more information about how
the key works.
We recommend that you 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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1
2
3
Introduction 7
1.1
Roland/Jupiter-8 Story 7
1.2
TAE® 10
1.2.1 Aliasing-free oscillators 10
1.2.2 A better reproduction of analog oscillator waveforms 11
1.2.3 Direct Filter Circuit Modeling 12
Installation 14
2.1
Notes about USB key protection and the installation: 14
2.2
Windows Installation 14
2.3
Installation Mac OSX 17
2.4
Registration 18
Quick Start 19
3.1
Structure of the Jupiter-8V 20
3.2
Using the presets 20
3.2.1 Selecting the presets 20
3.2.2 The Programs 20
3.2.3 Editing the presets 22
3.3
The 3 main parts of the Jupiter-8V 23
3.4
Overview of the Jupiter-8V user interface 24
3.4.1 The SEQUENCER / GALAXY section (advanced modulations) 26
3.4.2 Create progressive modulations with the GALAXY unit: 28
3.5
The Effects 30
3.6
The "Patch" section of the effects. 32
3.6.1 The chorus 32
3.6.2 The delay 33
3.7
Realtime controllers and MIDI assign 33
4
5
A unique synthesizer, Why ? 35
4.1
The Roland Jupiter-8 35
4.2
The Arturia Jupiter-8V 35
the interface 37
5.1
Tool bar 37
5.2
Using the presets 37
5.2.1 The types of presets 37
5.2.2 Selection of a preset PATCH or PROGRAM 38
5.2.3 Creating a new preset 40
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 41
5.2.7 Import / Export a preset bank 41
5.3
Using the controllers 42
5.3.1 Knobs 42
5.3.2 Buttons 43
5.3.3 Switches 43
5.3.4 Pitch Bend wheel 44
5.3.5 Modulation button 44
5.3.6 Virtual keyboard 44
5.3.7 LCD Screen 44
5.3.8 MIDI control 45
5.3.9 The preference screen 45
6
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The different modules 47
6.1
The original Jupiter-8 47
5
6.1.1 The oscillators (« VCO 1 et 2 ») 48
6.1.2 The mixer (« VCO 1 / VCO 2 ») 50
6.1.3 The filter (« FILTER ») 50
6.1.4 The Amplifier 53
6.1.5 The ADSR Envelopes 53
6.1.6 The LFO 54
6.1.7 LFO MODULATION, PORTAMENTO and BEND 54
6.1.8 La section modes de jeux (« KEY MODE ») 55
6.1.9 The arpeggiator (« ARPEGGIO ») 55
6.1.10
The keyboard assign section (« ASSIGN MODE ») 56
6.1.11
The Tune section 57
6.1.12
The wheels 57
6.2
Step Sequencer 57
6.2.1 The transport 58
6.2.2 Edit the sequence 59
6.2.3 OUTPUTS 59
6.3
Galaxy 60
6.4
Voice Effects 61
6.4.1 CHORUS/ FLANGER: 61
6.4.2 DISTORTION: 62
6.4.3 PARAMETRIC EQ: 63
6.4.4 PHASER : 64
6.4.5 RING MOD: 65
6.5
Patch Effects 66
6.5.1 CHORUS/ FLANGER 66
6.5.2 STEREO ANALOG DELAY 66
6.5.3 REVERB 67
6.5.4 DUAL PHASER 68
7
8
9
The basics of subtractive synthesis 69
7.1
The basics 69
7.1.1 The main elements 69
7.1.2 The Noise generator 73
7.1.2 The Mixer 73
7.1.3 The filter or VCF 74
7.1.4 The amplifier or VCA 76
7.2
Other modules 76
7.2.1 The keyboard 76
7.2.2 The envelope generator or ADSR 77
7.2.3 The low frequency oscillator 78
7.3
Modules of the Jupiter-8V 79
Some elements of sound design 81
8.1
A polyphonic violin preset made with the Jupiter- 8 V 81
8.2
Sounds and arpeggiators 84
8.3
A sequence with the Jupiter-8V 87
Modes of Operation 91
9.1
Stand-alone 91
9.1.1 Launching the Stand-alone application 91
9.1.2 Preference Configuration 91
9.1.3 Instrument configuration: utility bar 92
9.1.4 Information on CPU usage 93
9.1.5 Saving the configuration 93
9.2
Cubase VST 93
9.2.1 Installation 93
9.2.2 Instrument use in the VST mode 94
9.3
Sonar VST (Windows only) 95
9.3.1 Installation 95
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9.3.2 Opening the instrument (Sonar) 95
9.4
Audio Unit (Max OSX only) 96
9.4.1 Installation 96
9.4.2 Use in Logic Audio 96
9.4.3 Use in Digital Performer 97
9.5
RTAS - Pro Tools 98
9.5.1 Installation 98
9.5.2 Utilization of the plug-in 98
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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 short-wave 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.
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.
1
It is remarkable that a man named Mr. Torakusu Yamaha had also started out as a watch repairer.
Just as Matthias Hohner, the founder of Hohner. Even the Hammond Organ Company has the same
kind of origin. It started out as a sub-division of the Hammond Clock Company.
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On 18th April 1972, Mr. Kakehashi established the Roland Corporation.
The first synthesizer from Roland, was also Japan's first synthesizer. The sh-1000 came to the
market in 1973, just before the Korg 700 did. It was a remarkable instrument, offering 10 preset
tones selectable from coloured 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 semi-modular 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.
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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. 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,
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: Howard Jones, 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 lauched the Jupiter-6, the first synthesizer inclueding 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.
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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 recognised that digital signal processing and physical
modelling were the future of the electronic audio industry. Roland applied these technologies to a
broad range of products. From sound modules and dance-oriented 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 analog classic synthesizers.
The Jupiter-8V is taking benefit of 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, offers 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.
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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
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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 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.
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Comparison of Harmonics generated by the filter circuits of the Arturia Jupiter-8V and the Roland
Jupiter-8
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2 Installation
2.1 Notes about USB key protection and the installation:
The Jupiter-8V application is delivered with a USB key, also called <<dongle>>. This key contains
your Jupiter-8V license and authorizes the software to function. To use the software on a different
machine, simply install the software on that computer and then plug in the USB key. In this way,
you can use this system key to install licenses of other Arturia products, or other products that use
Syncrosoft technology, and carry the license from computer to computer as you wish.
In order to function correctly, the USB key driver must be already installed on your system.
The installation program for the Syncrosoft License Control Center is available on CD-Rom and will
be launched automatically when the installation of the JUPITER-8V is complete.
You can also download the latest version at this address: http://syncrosoft.com/downloads/
Once you have installed the driver, an application called <<License Control Center>> allows you to
manage the installed licenses on your key.
On Windows, this application and its documentation are available via the menu Start-> Programs ->
Syncrosoft.
On Macintosh, this application is installed in the Application folder of your system and the
documentation is available from the Help menu of this particular application.
Important Note:
Your license number, and thus the dongle on which it is installed, represents the true value of your
software. To lose the USB key is to lose the use of the software on which the licenses are installed.
Take special care of this USB key.
2.2 Windows Installation
Insert the CD-ROM into the drive. Explore the contents of the CD-ROM and double click on
the icon called << Jupiter-8V Setup.exe >>.
After having accepted the license agreement, you can choose the folder in which the
Jupiter-8V will be installed
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Choose the Installation Folder
Next, select the protocol(s) that you wish to install. The available options are:
• The VST plug-in
• The DXi plug-in
• The RTAS plug-in
Choose your protocol
For more information on those protocols, please see to chapter 8 of this manual.
For the installation of the VST and RTAS 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, go to the Protocol Chapter (Ch. 8).
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Select installation folder for plug-ins
A dialogue box will ask you if you wish to have a shortcut on your desktop. This will give
you access to the standalone application.
Shortcut to your desktop
The installation program will then ask to install the Syncrosoft drivers. These drivers are
necessary for the USB protection key; for the Jupiter-8V to function properly the latest
version of Syncrosoft must be installed. If you are sure that your system possesses the most
recent Syncrosoft drivers, you can click on the “Cancel” button. Otherwise, click “OK”.
Syncrosoft Installation Dialogue box
Next, the installation program proceeds with installation of the Syncrosoft USB key driver
and License Control Center. In order to do this, it will execute the available Syncrosoft
installer of the CD-Rom. Follow the instructions of the installer.
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Syncrosoft Installation
The installation program now has enough information to finish. In a few seconds you will be able to
use Jupiter-8V.
2.3 Installation Mac OSX
Insert the CD-ROM into the drive. Explore the contents of the CD-ROM, and double click on
the icon called << Jupiter-8V.mpkg>>.
The installation program, requiring administrative rights, may have the system ask you to
enter the login of an administrative user of the system. In this case, enter your login and
administrative password, and click on OK to continue the installation.
After the software license has been validated, the installation program will select the
system disc as target by default. It’s not possible to install Jupiter-8V on another disc. Click
on continue to proceed with the installation.
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Choice of installation disc
Jupiter-8V will automatically install as a standalone application (functioning independently and
apart from any sequencer host). In the same way, all the available protocols (VST, Audio Unit and
RTAS/HTDM) will be installed. For more information on those protocols, go to chapter 8.
Next, the installation program proceeds with installation of the Syncrosoft USB key driver and
License Control Center. In order to do this, it will execute the available Syncrosoft installer of the
CD-Rom. Follow the instructions of the installer.
The standalone application will be installed in the applications folder, and the different plug-ins will
be installed in folders reserved to each type of plug-in.
2.4 Registration
Once your software has been installed, we recommend to you to register online as a licensed
Jupiter-8V user. This registry isn’t obligatory, but it is highly advised. It gives you the access to
reserved resources for new presets and will make you the first to know when updates are made
available.
There is a product registry card in your software box, which contains your Arturia license. This
license permits you to register and identify yourself as an Arturia customer. It will be asked for
when you are registering.
You will find this registry form at this address:
http://www.arturia.com/en/userzone.php
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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 7, 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
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3.1 Structure of the Jupiter-8V
The structure of the Jupiter-8V allows you to play two tones at once (called "Lower" and "Upper"
Program 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.
3.2 Using the presets
3.2.1 Selecting the presets
The Jupiter-8V has two kinds of presets:
• The PATCHES
• The presets « PATCH » 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).
3.2.2 The Programs
The "PROGRAM" presets are the composed sounds of the JUPITER-8V. They contain:
• All the synth parameters,
• All the parameters of the Galaxy module,
• The parameters of the voice effects (« Voices Effects »)
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Preset organization of the Jupiter-8V
To familiarize your self 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".
To do that, click on the button "Presets" situated above the programming interface of the
JUPITER-8V. This screen presents the choice interface of the presets.
Click on the tab “presets”
2 filtering lists allow you to select the search options that will guide you to find your preset.
While clicking on the first one, (you will see an unfolding menu appear indicating the list of
the available banks). Choose the bank “JUPITER-8V" (the name of the bank is checked).
When this menu is opened, the sub menus are accessible. This system allows attaining the
"SUB BANK" and the "PRESETS" of a sound designer in a single click.
Choose the "SUB BANK" "Pads" then select: "Full_Pad" among the "PRESETS".
Select the preset
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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 presets that will allow you to become familiarized with the
tones of the synthesizer. A bank named "To Wear / Temp" provides a selection of templates to
begin the programming of a sound. (The sound “1_Osc", for example, presents an oscillator going
into a low pass filter, next being routed toward the VCA.)
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".
3.2.3 Editing the presets
To begin, we will start with a very simple manipulation.
Modify the brightness of the sound "Full_ Pad" with the "CUTOFF" knob (VCF for Voltage
Controlled Filter). For that, turn the knob toward the right or toward the left. The timbre
of the sound will change to more or less "brilliant". Tune this knob to your liking.
Change the brightness of the sound
In the same way, you can increase the range of the oscillator 2 (VCO2 for Voltage Controlled
Oscillator) by an octave with the knob "RANGE". Choose a value of "4'".
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Tunnig 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 preset
To save a user preset ("Users"), click on the save button, "Save", on tool bar: The new
settings will be saved in the framework of the currently selected preset without changing
the name.
Attention! 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.
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.
3.3 The 3 main parts of the Jupiter-8V
The Jupiter-8V offers 3 main parts:
The « JUPITER-8 » interface represents the interface of the original,
• The « PRESETS » section
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• « SEQUENCER / GALAXY » interface to access the SEQUENCER / GALAXY
• « EFFECTS » interface to access the effects
To open the extension panel of the Jupiter-8V, click on this button:
3.4 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 (VCO) deliver the basic audio signal thanks to the waveforms (triangle, saw
tooth, square and triangle) and allow the tuning of the sound (the frequency).
• A mixer to mix the 2 VCO’s
• A non resonant high pass filter 6 dB/oct
• A resonant low pass filter 24 dB/oct
• An LFO
• 1 amplifier (VCA) Allowing to amplify the signal going out of the filter to direct it toward 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 “1_Osc" in the bank "Templates". The synthesis structure of this
sound is comparatively simple: the saw tooth wave form of VCO 1 is active and the signal is directed
through the low pass filter. Afterwards it is routed through the mixer, and finally into the amplifier.
An ADSR envelope modulates the cutoff frequency of the filter and a second ADSR envelop
modulates the volume of the amplifier.
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Signal path of the Jupiter-8V
Begin by lowering the cut off frequency of the low pass filter " VCF ". A sound with less brightness
will be the result.
To do that, adjust the knob "Cutoff". (For fine tuning, use the right mouse button or
shift+click on Mac)
Note that the cut frequency of the filter is modulated by an envelope ADSR (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. That will amplify the filtering effect and the sound
will begin to "to whistle".
Increase the value of the resonance
Change the length of the attack of this envelope ("Attack time") so that filter rise time
increases more or less quickly at the time of the playing of a note.
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Increase the length of the attack
In the same manner, change the value of the Decay; the filter will diminish more or less
quickly while you will play the keyboard.
The "Decay" envelope parameter of the filter.
Carry out a short modification on the second "ADSR" envelop to modulate amplification.
Increase the "Attack time" of this envelope so that the volume of the sound increases
progressively.
Increase the "Attack" time envelope of the amplitude.
Don't forget to save your work.
3.4.1 The SEQUENCER / GALAXY section (advanced modulations)
With the "SEQUENCER / GALAXY", you attain 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.
3.4.1.1 Creating a melodic sequence with the SEQUENCER:
The sequencer is accessible while 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
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of dynamic modulations of other parameters such as the cutoff 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 «SEQUENCER/ GALAXY » 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 by clicking the « Q » button
to activate the quantize factor by half-tones for the frequency values.
Click on the “Q” button
Set the "Amt" knob ( "Amount" ) to let it blend in to your likings.
Do the same for VCO2
to start the sequencer, click on the button "play". At this point all the steps have the same
frequency value. (This value corresponds to a C3 note )
Set the value of each step by clicking and dragging the 16 bars up or down to create your
Melody.
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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 ("Accent" - envelopes "Attack and
Decay" effective on the cutoff frequency of the VCF) on certain notes.
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 LFO’s. The first two
LFO's allow intermodulation with a different parameter on the axes X and Y. They are represented
in the framework of the interface of the unit. A third LFO allows modifying the alpha angle
between the 2 axes X an Y.
The "GALAXY" module
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• Click on the tab "SEQUENCER/ GALAXY" then on the tab "GALAXY" to show the interface.
Click on the tab "GALAXY"
Choose a parameter (take the "Cutoff of the LP VCF" for example) for the axis X, 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 (take the "Cutoff of the LP VCF" for example) 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 cyclic way. You will obtain unusual and very progressive modulations thanks to this unit.
You also can modify this angle manually thanks to the knob "ANGLE".
Choose the waveform "triangle" then adjust the speed parameter of the LFO to your liking.
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Choose the wave form triangle for the α angle
3.5 The Effects
The interface "EFFECTS" offers a unique treatment possibility to route the effects through the
synthesis chain of the JUPITER-8V, between the VCO, VCF and between the VCF and the VCA. These
combinations allow you to create a wide variety of new sounds.
In this interface, you will be able to connect two effects "Patches" that will be situated at the audio
output of the synthesizer.
The interface of the effects
To familiarize yourself with this function, Click on the button "EFFECTS" situated with the other the
tabs.
Choose the preset JUPITER-8V /pad/jmb/FullPad » in the list of the presets.
In order to enrich the sound, let us add an effect between the VCO and the VCF. While
clicking on the menu "No Effect" between the VCO and the VCF, choose the effect
"Distortion".
Choose the effect of "Distortion" in the effects menu.
The interface of the effect of distortion is now on screen.
Choose the option of distortion "Soft" that corresponds to a soft distortion (soft clipping).
Adjust the distortion rate with to the knob "Drive".
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