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1. No Effect Chaorus Flanger k Param EQ Param EQ k Phaser a Ring Mod E z No Effect h a No Effect Choose the effect of Distortion in the effects menu The interface of the distortion effect is now on screen gt Adjust the distortion amount with to the Drive knob and see the changes in the sounds as well as in the curve gt Change modulation source and amount gt Adjust the mix of Dry Wet signals The Distortion effect Place a second effect between the VCF and the VCA Take the Param EQ Certain parameters of this effect will be modulated by the LFO in order to create an effect similar to phasing The Param EQ is composed of 4 filters Band 1 is a low shelving filter Band 2 and 3 are middle peaking filters and Band 4 is a high shelving filter They can be activated or deactivate by clicking on the Band 1 2 3 4 buttons point in the gain curve Set the volume of the frequency for band 3 gt 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 gt 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 frequen
2. New Config entry This will open a popup enter the name you want to call your configuration and click on the SAVE button A new entry for your configuration now exists in the list of available configurations You may now fill in this initially empty configuration by performing the assignment operations described in the previous section e Copy a configuration It is possible to copy a configuration by loading it and then clicking on Save Config As A popup opens enter the name of your configuration A new entry for your configuration now exists in the list of available configurations e Remove a configuration It is possible to remove a configuration by first loading it and then clicking on Delete Current Config 5 3 10 4Minimum and Maximum Ranges For each assignment a minimum range value and a maximum range value can be set This allows you to limit how much the controller will affect the parameter on Jupiter 8V e The assigned parameter will have the configured minimum value when the controller will be at its lowest position e The assigned parameter will only reach the configured maximum value when the controller will be at its highest position e You can invert Negative Slope the Min and Max so that parameter will have minimum value when control has the highest value and parameter will have maximum value when control has the lowest value Output parameter alues A MAX S 7 ge Input 7 control
3. TUNE SYNC 1 2 3 amp UPDOWNUD AND MODE d JMB _Dual 80s Select a preset from the toolbar 5 2 1 5 The PRESETS screen 5 2 1 6 The second solution is to use the PRESETS screen to select a preset PATCH or PROGRAM To do that open the extension panel click on the button situated on the left right of the tool bar Then click on the PRESETS tab to open the presets page This page offers you two possibilities Mame JMB_Full Pad Project JMB Click on the preset tab This page shows two distinct sections e The left portion allows selection of presets by category PATCH PROGRAM Lower or Upper e The right portion allows searching with the help of two filter criteria Four buttons situated above the choice fields allow you to create save save as or delete a preset O Pth Name JMB_Full Pad Filter 1 Filter 2 ype Project Upper Organ w JMB Lightwave PadO2 ower Celmo J 2 Pad w JMB_Psychadelic Pad Name JM Name JM_Reso Pad_2 l JMB healed Percussive KUJIIE w JMB_Sweet Pad oa a a ee _ z w JMB Voices ii ia ype Pad Piano w RUFFANDJAM JUPL see B Sequence ae a 80s Richard James Characteristics Characteristics d JMB Full Pad Quiet Soundtrack Ambient Quiet 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 instan
4. i KLITTE l All l A UJ Brass Choose the preset Default of the project Template gt On VCO 1 the SAW wave form is selected This waveform is very rich in harmonics and will be perfectly suitable to create the violin sound gt gt Change the range of this oscillator by octave Click on the selector Range and place it on 16 ROSS RANGE WAVE SYNC RANGE Fi A tT Osc 1 Coarse h 16 YN Click on the Range selector of VCO Choose the modulated square waveform on VCO2 vCO 2 FINE WAVE SYNC RANGE TUNE WAVE n ere _ Ate ad Oscillator 2 Wave Shape Rectangle 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 S THC RANGE WAVE A ME i A Aj H OFF NORM ON Low Te Set VCO 2 slightly out of tune Lower the cut off frequency of the filter FREQUENCY lt by positioning the knob in the center around 400 Hz That will allow you to return to a softer sound You will hear the effect that the envelope will produce on the filter VCOl vco2 PF SOURCE AVE MIX CUT CUT RES MIGH i t Lower the cut off frequency of the filter gt On the ADSR envelope situated to the right of the filter increase the attack time to a value close to 100MS lt Lower the knob of the Decay set it to a value around
5. 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 ee om of OSSSeeSeUHoaRaweSo 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 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 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 synthesiz
6. In this chapter we will see how to create a simple melodic sequence gt Click on the MODULATIONS tab and then click on the SEQUENCER tab to bring up the interface Start Stop Note On Note Off T Rate Click on the SEQUENCER button gt 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 VCO1 Pitch amen VCO1 Pitch w OO1 Pitch a k VCO2 Pitch voor PW VCO Paw HPF Cutoff VCF Cutoff VCO1 Pitch T WLP REES Set Sequencer Output l gt Connect the frequency of VCF to the second modulation output and set the amount knob to let it blend in to your liking VCO1 Pitch WCO1 Pitch E Tami if WCF Cutoff i uput 2 Amount 0 348 WCO1 Pitch i HPF Cutoff i v VCF Cutoff Ouput 2 Amount VCF Res 0 3468 ar X iat x Set Sequencer Output 2 gt Enabling Retrig button triggers envelopes at each steps of the sequence Set Retrig gt To start the sequencer set the start stop mode to Free running and click on Play Start Stop Free Running Play Sequence gt Set the value of each step by clicking and dragging the 16 bars up or down to create your melody nning Step 12 Val 0 374 Q 9 semi tones gt Set the speed of the sequencer with the Rate knob P If it is synchronized with an external sequencer
7. gt Guitar sounds Cl Keyboard sounds fy Lead sounds L Pad sounds Oo Percussive sounds y Sequence sounds A Strings sounds p Others sounds To select and to listen a preset directly click on one of the icons anywhere you want on the map area The icon is now highlighted in red If you hold a few seconds on the selected preset a popup appears and indicates the name of the preset a oo y a A 4 v mV v S Ay 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 8V 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 a n Ar Ao m 9 AM A Morphing between a group of presets o You can now drag your mouse between those presets The green arrow shows you the starting point of your motion o When you release the left mouse button you can play the resulted sound and if you wish you can save it on a Jupiter 8V user bank In this way it is very easy to quickly get some new and exciting sounds without programming anything on the synthesizer interface 5 4 2 The Sound Map overview On the top right of the Sound Map main interface you can see an overvie
8. 200 ms and finally lower the Sustain toward 0 0 600 000 The maximum level of the cut off frequency is thus reduced ENV KYBD POL Increase the attack time gt 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 lt PWM lt selector on the position LFO Now it is set to modulate the width of the square with the LFO VCO MODULATOR vco 1 FREQ LFO ENY PWM CROSS RANGE WAVE 5S ff mg o f T F A t von LEO LFO ENVI Increase the position of the PWM selector gt Increase the position of the LFO Rate slider to a position around 3 Hz The achieved effect will be comparable to a chorus effect LFO i i Lite War DELAY RATE TIHE WAVE h mi Increase the position of the LFO rate slider At this stage you can add a little Stereo Delay effect to your tone in order to make it sound wider Open the Effects page situated in the top panel of the Jupiter 8V In the first Patch slot at the bottom of the connection diagram of the effects choose the ST Delay lt Set the times Time lt for each of the two sides of the stereo delay You also can adjust the number of repetitions feedback to your convenience No Effect St Chorus Flanger St Delay St Fx Reverb St Phaser The Delay settings Save the sound as Violin 1 you will then be able to use it later O
9. Q For Quantized select a value 1 8 lt Galaxy completes the sequence played by the step sequencer to finish your sound Q O Setting of the Galaxy module Finally the preset consists of e 2VCOs VCO2 as a 7 tuning e A high pass filter HPF e A low pass filter VCF e An ADSR envelope connected to the filter e An ADSR envelope connected to the amplifier e The Galaxy module e The Arpeggiator e The step sequencer modulating the frequency of the VCF e The Galaxy module modulating the volume of the VCA e ALFO modulating the square waveform of VCO2 e Patch effect Chorus Flanger e 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 Jupiter 8V and create original sounds 8 MODES OF OPERATION 8 1 STANDALONE The Jupiter 8V can be used as an instrument independently from a sequencer software Standalone mode This allows you launch the application as a single instrument and to play it using an external MIDI keyboard 8 1 1 Launch the application To launch the Jupiter 8V application e on Windows go to the menu Start gt Programs gt Arturia gt Jupiter 8V2 and choose Jupiter 8V2 e on Macintosh open the finder gt Applications gt Arturia
10. 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 gt Audio ssaa Modulations Signal path of the Jupiter 8VStart lowering the cutoff frequency of the low pass filter VCF A sound with less brightness will result gt To do this adjust the knob Cutoff For fine tuning use the right mouse button or Alt click on Mac gt Note that the cutoff frequency of the filter is also modulated by an ADSR envelope Attack Decay Sustain and Release CO1 VCO HPF SOURCE CUT Lower the cut frequency of the VCF gt 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 CUT RES Increase the value of the resonance gt 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 gt In the same manner change the value of the De
11. The possibility to edit the attack time was added to the original unit to allow more flexibility e A Attack time of the accent envelope e D Decay time of the accent envelope e LEVEL Knob that controls the modulation amount of the accent to the low pass VCF Filter Start Stop Note On Note Off oO Rate EE Mode Forward Smooth Swing Q A G DO Lever G The transport section 6 2 2 Edit the sequence The editable part of the sequencer is located in the center of the sequencer s interface Edit tools STEPS LENGTH LINK GLIDE ACCENT Five tools are available for editing the sequence e Pencil drawing of the values of the steps e Line drawing of the values of the steps in line e Eraser Delete certain values and settings e Noise Automatically create a sequence e Reset Reset the sequencer The steps They contain bi directional values positive or negative To set the length of the sequence 32 steps maximum Link the selected step with the following step Legato gt Place an effect of portamento between the selected step and the following step Place an accent effect on the selected step 6 2 3 The edit section of the sequencerOutputs 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 5 4 it is also possible to connect the parameters of
12. e The number of polyphonic voices e Playing Modes o Poly Mono Low when legato between two notes the lowest note gets priority o Mono High when legato between two notes the highest note gets the priority o Mono Last when legato between two notes the last note played gets the priority e Unison number of voices e CPU meter e Open Sound Map button e MIDI Learn combo button Open and Close buttons access to preset advanced modulation and effects panels i w ull Pa Midi All Boly 8 Play Mode Last Unizon Tool Bar 5 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 5 2 1 The types of presets 5 2 1 1 The patches The PATCH presets can save e The modes of playing Whole Dual or Split e The settings of the keyboard Split e The types of playing SOLO UNISON POLY1 et 2 e The MIDI configuration e The settings of the arpeggiator e The modulation module settings BEND MOD PORTAMENTO The master effect settings delay chorus 5 2 1 2 The Programs The PROGRAM presets are composed of sounds from the Jupiter 8V They contain e A
13. EAs RA aN Modulation Sequencer Effects tabs 4 Outputs Sequencer Galaxy _ Keyboard y gt Steps Settings Sequencer s B Envelopes transport LFO i JUPITER 8 General info Ei _ Ula mE YSA ENNI EN j 440 Hz tone VCOs settings SE a F aallcainla A PE E Arpeggio s j rate amp gen m volume Lo Import Master amp Voice art iy Export Detune 4 NS Favorite presets p i aai pm A i 1 Modulation Arpeggio Assign Hold Key amp Panel Screen Mixer HPF VCF VCA Virtual Settings Settings Modes Modes Keyboard The Jupiter 8V interface STRUCTURE OF THE JUPITER S8V 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 e DUAL allows you to play the two Programs Lower and Upper Simultaneously on the entire keyboard e Split allows you to play the two Programs Lower and Upper divided separately over the two zones of the keyboard e 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 e The configuration o
14. Instrumenta Other Other Other Other Other Other Inverse the order of the instrument types 5 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 Snap 2 SF_CrossMod2 Snap 1 SF_RyuichiPolyMod Snap 4 SF_EpicTrancel Snap 3 SF_Epicfrancel The Morphing interface mar List O lt lt lt lt lt lt lt lt lt lt lt Sequence Strings Guitar Keyboard ica o TO open the Morphing page click on the COMPASS button located on the toolbar of the Sound map To create a new morphed sound from these presets o Click anywhere on the centre of the compass area four red arrows appear converging to the location o Hold the left button of your mouse and drag the convergence point until you have found the right sound The green arrow shows you the starting point of your motion Snap 2 SF_CrossMod2 Snap 1 SF_RyuichiPolyMod S3ap 4 SF_EpicTrancel Snap 3 SF_Epicfrancel Create a new sound lt lt V V V lt lt lt lt lt lt lt Percussive sequence Strings Guitar Keyboard o If you wish you can save it on a User bank of the Jupiter 8V memory 6 THE DIF
15. MIN oe values DEFAULT Output Output parameter parameter alues alues ii MAX MIN A a S Dj Input gt Input A control control MIN values MAX values POSITIVE SLOPE NEGATIVE SLOPE parameter_value MIN MAX MIN control_value 5 3 10 5Multiple Assigned Parameters It is possible to assign multiple parameters to a single control This allows you to change many parameters with one fader or knob e Activate Learn mode select a parameter GUI control e Tweak control to assign it optionally setup minimum and maximum e Select a second parameter e And tweak the same control e Deactivate Learn mode Tweaking assigned control should modify both parameters with regards to assignation setup Min Max 5 3 11 The preference screen On this screen you are able to e See the version of the software e Read the credits e Activate or deactivate the pop up windows animations To open this window click on the About button situated on the bottom right of the Jupiter 8V interface 5 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 The Sound Map offers three views
16. Mod Amount Ring Mod 6 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 E E No Effect 6 5 1 Patch effect connectionsChorus Flanger The stereo Chorus Flanger module adds thickness and width to the sound This effect is often used to create string pads for example the Ensemble effect of old analog synthesizers RATE Knob to set the frequency of the chorus DEPTH Knob to set the depth of the modulation FEEDBACK Knob to set the feedback of the modulation to achieve more of a flanged effect AMOUNT Knob to set the depth of the modulation DRY WET Knob to set the balance between the original signal and the output of the effect OUTPUT Knob to set the output volume of the chorus The BYPASS button allows deactivating the CHORUS FLANGER effect No Effect St Chorus Flanger alg e Ig wn og wl y wi y wli y St Delay De be 1 i yy i i i i Ta F k gt m J mm a EJ St Fx Reverb oe 3 i k t Ty t my My oy ty r i f k r k r k r k St Phaser Ory f Wet Width Rate Tune Delay Feedback Spread Bypass Syric 6 5 2 Chorus FlangerStereo 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 characte
17. The chorus 31 3 6 2 The delay 32 3 7 Realtime controllers and MIDI assign 33 4 A UNIQUE SYNTHESIZER WHY 4 1 The Roland Jupiter 8 4 2 The Arturia Jupiter 8V 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 Sequenc
18. 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 gt eee 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
19. and double click on the Jupiter 8V2 application icon 8 1 2 Configuration of the instrument Click on the Settings button on the Jupiter 8V toolbar It will show the following Audio Settings dialog box OUTPUT Built in Output Show advanced settings active midi inputs In this option menu you can e Set the audio output port e Choose the audio interface e Choose memory buffer size smaller size will increase the load on the CPU but will reduce latency and reciprocally e Choose sample rate between 44100 Hz and 96000 Hz e Choose one or several active MIDI input port s 8 2 VST 2 VST Virtual Studio Technology is a plug in standard created by Steinberg It allows you to integrate software audio synthesizers and effect plug ins with audio DAWs and host software VST is supported by a large number of audio applications like Cubase Nuendo Wavelab FL Studio Audacity Samplitude Sonar Audition Live etc The VST interface was updated to version 2 in 1999 One of the additions was the ability for plug ins to receive MIDI data This allowed for the introduction of VSTi Virtual Studio Technology Instrument format plug ins 8 3 VST3 VST3 is a new update of VST audio plugins protocol It was updated in 2008 This has improved performance over previous versions of VST and has many new features as well Cubase 6 and Nuendo 5 are using this new protocol With VST3 on Windows users do not have to choose a
20. creation of a sound library or as a sound library for any kind of synthesizer virtual instrument sample library sample based Product or other musical instrument is strictly prohibited Individual samples sound sets or audio loops may not be distributed commercially or otherwise standalone Furthermore these samples sound sets or audio may not be repackaged in whole or in part as audio samples sound libraries or sound effects 6 Data Protection Arturia attaches great importance to compliance with legislation on data protection The User data collected are used exclusively for performing its contractual obligations No data is passed on to third parties Further information can be obtained from our Privacy Policy at www arturia com privacy 7 Limited Warranty Arturia warrants that the physical media on which the software is provided is free from defects in materials and workmanship under normal use for a period of thirty 30 days from the date of purchase The Licensee s invoice shall be evidence of the date of purchase Any implied warranties on the software are limited to thirty 30 days from the date of purchase Some states do not allow limitations on duration of an implied warranty so the above limitation may not apply to the Licensee in this case All programs and accompanying materials are provided as is 8 No Liability for Consequential Damages Neither Arturia nor anyone else involved in the creation production
21. each edition equips the User with the same software the editions vary as regards both the scope of functions activated in the Product and the rights of use granted under this EULA 1 3 By installing the software on your computer you agree to these terms and conditions If you do not approve these terms and conditions you must not install this software 1 4 If you do not approve these terms and conditions please return the complete Product including all written matter packaging and similar material to the dealer from whom it was originally bought within 14 fourteen days after the day of purchase For purchases from the Arturia Online Store please contact Arturia on the internet website www arturia com support askforhelp purchase 1 4 Arturia reserves all rights not expressly granted in the EULA 2 Right of use 2 1 The Product is protected by copyright The Licensee may not lease loan or sub license the software The Licensee is not authorized to modify the software 2 2 Owning any product provided to the Licensee as Standard version grants the Licensee a non exclusive right to use the Product in perpetuity including commercial purposes The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activa
22. for 64 bit VST and Audio Unit e Added support for Pro Tools 9 amp 10 e Added support for Mac OS X 10 7 Lion e Dropped support for PowerPC computers Dropped support for Mac OS X 10 4 New features in Jupiter 8V 2 0 If you already own Jupiter 8V version 2 includes the following changes e Sound Map graphical preset browser added e RPN pitch bend range message is now recognized e NRPN midi controls can be used for automation e Increase of overall volume e Switched to eLicenser Protection e Fixed issue related to modulation wheel in Pro Tools MAC OSX e Fixed issue related to triangle signal amplitude e Miscellaneous fixed issues Table of contents 1 INTRODUCTION 1 1 Roland Jupiter 8 Story 1 2 TAE 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 amp FIRST START 2 1 Register amp Activate 3 QUICK START Structure of the Jupiter 8V 3 1 Using the presets 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
23. in the display gt Click on the display again to give the name that you wish to this new Patch Save Patch As x h JMB_Fu eea Project JMB Reso Pad 3 Pad ih i kn T Ambient Quiet None Saving a patch gt 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 IN 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 8SV The Jupiter 8V offers 4 main parts e The Jupiter 8V interface represents the interface of the original e The PRESETS manager section e The SEQUENCER GALAXY interface to access the SEQUENCER and GALAXY modules e 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 SV 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 near
24. is the maximum volume level that the sound will reach after the decay is complete The Release is the time that the sound will take to diminish once the key has been released Switch to connect envelope 1 and or 2 to the keyboard follow When the switch is ON the envelope times A D and R will be as Shorter as you will play the higher notes on your MIDI keyboard Switch to set the polarity for envelopel e If the switch is on the top the envelope polarity is positive this is the more common way to use an envelope e 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 Take a look on the preset Original JP 8 Preset EFX JP 8 66_Fact to hear an example of this special effect Using the LFO as a modulation source is very common It can be used to create a vibrato effect when the LFO modulates the frequency of an oscillator or a wah wah effect when it modulates the cutoff frequency of the filter RATE DELAY TIME WAVEFORM Knob to set the speed of the LFO Knob to set the delay time before the LFO becomes active Switch the LFO s waveform e Sine e Saw tooth e Square e Random LFO LOW UP DELAY RATETIME WAVE h fu a The LFO 6 1 7 The VCO modulator The VCO modulat
25. 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 gt Click on the Accent button and apply it to the steps you want to accentuate gt Set the intensity of this modulation with the Level knob gt Set the attack time A and decay time D of the envelope to your convenience Smooth Swing Q The accent settings gt 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 HPF Cutoff None k None VCF Cutoff None None 0000 00 The GALAXY module Click on the MODULATIONS tab then on the GALAXY tab to show the 43 Sequencer Keyboard interfa
26. 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 Click on the LIST button The list preset interface is very simple you can see four columns showing from left to right gt The preset names gt The instrument type gt The name of the sound designers gt A reminder of the presets added to a snapshot memory oe ENAP 2 SNAP 3 LIST COMPASS x J C Instrument Author IMB Sweet Pad Pad JMB JMB_ u ky Stack JMB JMB Dual 805 IMB JMB Hollow Pad JMB IMB Sequenced Chords saguence JMB Fd le ae me rE JMB tas unstable_rings tas deep blue tas saturdays tas sad_whistle tas odd_ harmony tas bad_kitty tas bird_on_acid tas acid pulse tas egghead Celm_Bass01 Celm_ElektroHarp es tl _ arp tas morning_hours tas the_ slug tas wanderer tasmodia tasmodia tasmodia tasmodia tasmodia tasmodia tasmodia tasmodia tasmodia tasmodia tasmodia tasmodia tasmodia Preset list interface All this data is classified by alphabetical order ADB kd F C4 B VEE Ej EF vE vE Kd Pe E v VE kj K o To select a preset simply browse the list and click on the name of a desired preset o You can reverse the order from A to Z or from Z to A by clicking on the column title an ascendant or descendant arrow shows you the order type
27. one you will see an unfolding menu appear indicating the list of the available banks gt In the first filter choose Project then select JMB gt In the second filter choose Mode then select Whole gt Finally select the preset named JMB_Full_Pad preset in the result list Filter 1 Filter 2 Project i Type fev j ES i w JMB_Full Pad gt clad w JMB_Funky Stack KUJIIE Pad OOOO E wi JMB Hollow Pad al PVE ro ect Percussive WW IMB Lightwave Pad E UE FAND J JUE Fiano Ww JMB Lig htwave PadO2 F i A i W IMB Psychadelic Pad 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 gt 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 gt Then click on the third tab to choose the name of the preset that you wish to edit w JMB Atnsi soit Il w JMB Astral Voice w JMB Big Flanger w JMB Funky Stack wi JIMS VCO MODULATOR L S TTLUTIO arpeccio wee Low UP FREQ DELAY VOL BAL RATE RATETIME WAVE LFOENV PWM CROS A m wy Ra voor tao m gt s TES r E LOW UP ExT LFO ENV vco MASTER DETUNE LFO ARPEGGIO n ASSIGN es TUNE SYNC 1 2 3 amp UPDOWNUO RNO MOOE d JMB_ Dual 80 j 7 Choose a preset patch from the toolbar The Jupiter 8V is delivered with 400 factor
28. set the output volume of the reverb A visual interface shows the characteristics of the REVERB for convenient editing The BYPASS button allows deactivating the REVERB effect No Effect St Chorus Flanger St Delay St Fx Reverb St Phaser The Reverb effect 6 5 4 Dual Phaser The Phaser unit provides a classic phasing sound similar to analog effects used in the 70 S SWEEP Selection of the waveforms for the modulations of phasers 1 and 2 GENERATOR e Sin 1 2 e Square e Saw e Triangle RATE 1 2 Knob to set the rate for Phaser 1 2 DEPTH 1 2 Knob to set the depth of the modulation for Phaser 1 2 FEEDBACK 1 2 Knob to set feedback time for Phaser 1 2 DRY WET Knob to set the balance between the original signal and the output of the effect OUTPUT Knob to set the output volume of the DUAL PHASER SWEEP SYNC Button allows activating the synchronization of the two modulation frequencies INVERT Button allows inverting the phase of the modulation frequencies BYPASS Button allows deactivating the DUAL PHASER effect No Effect St Chorus Flanger St Delay St Fx Reverb Dual Phaser 7 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 e The first part will allow you to explore the basis of the subtractive synthesis with the Jupiter 8V While s
29. 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 8s 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
30. 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
31. EO Pitch WOOL FPW MOOZ PW HEF Cutoff WEF Cutoff WLP RES w VCA More Keyb Velo 1 Amount 1 000 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 HPF Cutoff Noe Morie 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 No Effect No Effect The interface of the effects To familiarize yourself with this function click on the EFFECTS button situated with the other tabs gt Using the preset filters choose the Project JMB Type Bass Preset JMB_BassO1 gt 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
32. FERENT MODULES The interface of the Jupiter 8V consists of four main parts e The interface of the original Jupiter 8V e The PRESET MANAGER offers a dedicated interface to manage the presets e 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 e The effect section EFFECTS These four parts are accessible by clicking on the tabs situated above the synthesis part of the interface 6 1 THE ORIGINAL JUPITER 8 The Jupiter 8V interface takes on all the original parameters and characteristics of the synthesizer it is based on Likewise the 40 factory presets of the original machine are included these can not be deleted LFO VCO MODULATOR VCcO 1 PTATCUTIO i TA ARPEGGIO yo FREG JUPITER 8 ENV1 ENV2 DELAY VOL BAL RATE RATETIME WAVE LFOENV PWM CROSS RANGE WAVE SYNC RANGE yA A on A Une 2 i ain a es N m INT vco LE Y LFO vL MOO UOFF NORM LOW uP EXT 002 Em ON Low 16 2 co SLOPE ENV FO KYAD ENY i MASTER DETUNE LFO ARPEGGIO z ASSIGN HOLO Key PANEL TUNE SYNC 2 3 amp UPDOWNUD AND MODE MODE MODE VLA 5 Ud SLU gt t PAURE 6 eee E 0 1 12 93 4 2 4 IMP ratte i RANGE MODE SOLO UNI POLY LOW UP DUAL Spt Whi LOW UP iMhutisti The Jupiter 8V The Jupiter 8V consists of e 2 os
33. ORM ON Low 16 T CO1 Two Oscillators 6 1 1 1 VCO 1 6 1 1 2 RANGE Switch the frequency range for VCO 1 RANGE between one of four octaves 16 8 4 2 The unities are indicated in feet referring to the sizes of the pipes of church organs WAVE Switch for the four waveforms e Triangle e Saw Tooth e Variable Pulse e Square CROSS MOD Knob to set the frequency rate of modulation between the frequencies of VCO 2 towards the frequencies of VCO 1 6 1 1 3 VCO 2 6 1 1 4 RANGE LOW FREQ FINE TUNE SHAPE SYNC Switch the frequency range for VCO 2 RANGE choose between four octaves 16 8 4 2 Switch for the FREQ NORMAL low frequencies audible frequencies of VCO 2 of which the oscillation frequency is lower and enables you to use it as an LFO to modulate the frequency of the VCOl1 Knob to fine tune pitch with the range of plus or minus one half tone e Switch for the four waveforms e Sine e Saw Tooth e Variable Pulse e 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 The synchronization between oscillators allows you to create very complex waveforms and overtones When oscillator 2 is synchronized with oscillator 1 oscillator 2 will restart a new period every time the first oscillato
34. S HTDM plug ins check the Pro Tools documentation for more details on plug in automations 8 9 USING IN Loic Mac OS X AU Make sure the plug in has been tested OK in the Logic Audio Units Manager To launch it click on the menu Preferences gt Start Logic AU Manager Create a new Software Instrument track Grab File Edit Capture Window Help 4 Mon Apr 23 10 25 Kevin Q ooo Untitled Arrange Ta 1 zi ica ji cS Sk New Tracks O O o at inspector Preferences Settings Auto Zoom Automation Flex SetLocators Repeat tia ounce Regions Bounce Colors Notes Lists Media reems E Snap Smart Drag Overlap Quantize off 3840 Q Swing Loop Transposition gt Delay Velocity Dynamics oo On the channel of the mixer corresponding to the selected track click on the button I O to list the available plug ins then select AU Instruments gt Arturia gt Jupiter 8V2 gt Stereo gt pt weray j Space Dsn l i a ity l Sends i CS 80V2 No Plug in EFM1 FM Synth gt ES E Ensemble Synth d ESM Monophonic Synth E ES P Polyphonic Synth gt ES1 Synthesizer 1 G ES2 Synthesizer 2 gt EVB3 Tonewheel Organ gt EVD6 Electric Clav gt EVOC 20 PS Vocoder Synth gt EVP88 Electric Piano F EXS24 Sampler gt External Instrument id Analog Laboratory gt Klopfgeist a ARP2600 V2 gt Scu
35. USER S MANUAL JUPITER 8U True Analog Emulation ARTURIA YOUR EXPERIENCE YOUR SOUND 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 Mu sh Rsmus7 Celmar Engel Ruff amp Jam Katsunori Ujiie Sato Fujimori Richard James Nori Ubutaka ARTURIA SA 1999 2014 All rights reserved 30 Chemin du Vieux Ch ne 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 exp
36. al MIDI controllers Before anything else make sure that the MIDI device is correctly connected to the computer and that the sequencer or the standalone Jupiter 8V application is correctly configured to receive MIDI events coming from the device 5 3 10 1 Learn Menu A new button and menu have been introduced in Jupiter 8V The button and menu provide access to MIDI assign functionalities The left part of the button activates the MIDI learn mode while the right part small down arrow opens the control management menu Panic SOUND MIDI MAP LEARN New Config Delete Current Config Analog Expenence Keyboards Learn Menu Palle LEARN T Learn Mode Button The Learn Menu is composed of 2 sections e First section provides o New Config creates a new controller set o Save Config As saves current configuration to a new one o Delete Current Config removes current configuration from list The second section contains the list of existing configurations o The checked one is the currently selected MIDI map o Click on a configuration to load it 5 3 10 2Assigning MIDI Controls In order to start assigning MIDI controls click the Midi Learn button left part The button remains highlighted to indicate that the learn mode is ON Click on a knob or button in the GUI to open the MIDI assignment popup Plug in parameter name MIDI Control Setup Assigned or no
37. and the output of the effect DRIVE Sets the distortion amount OUTPUT Knob to set the output volume of the distortion The LCD screen allows to graphically show the distortion curve The MOD display allows accessing the modulation connections for each of the parameters of the distortion as well as the choice of the sources of modulation e KEY FOLLOW e VELOCITY e AFTERTOUCH e ENVELOPE 1 e ENVELOPE 2 e GALAXY Y e GALAXY X e LFO e SEQUENCER The BYPASS button deactivates the distortion effect ae No Effect iar gt O ji Vy ag Chorus Flanger 1 a amp Param EQ k Phaser Ring Mod High Quality Distortion 6 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 This allows you to create effects that sweep frequencies resulting in a complex phasing or filtering effect BAND 1 bass frequencies FREQUENCY F Knob to set the band of the bass frequencies GAIN G Knob to set the gain of the bass frequency band BAND 2 Mid low frequencies FREQUENCY F Knob to set the band of the mid low frequencies GAIN G Knob to set the gain for the band of the mid low frequencies BAND WIDTH Q The setting of the band width of the mid low frequencies BAND 3 Mid hig
38. anger St Delay St Fx Reverb St Phaser Setting of the St fx Delay Now you can save your preset to be able to use it later 7 3 MA SEQUENCE WITH THE JUPITER 8V In this example you will discover the basics of programming a sequence on the Jupiter 8V 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 lt JMB This sound uses VCO2 tuned to a dominant 7th and is very brilliant This will be a starting point for our third preset gt Open the interface of the Sequencer situated in the upper panel of the Jupiter 8V Click on the Sequencer button Start Stop Note On Note Off Open the interface of the Sequencer Click on the first list Output situated to right of the sequencer and choose VCF Cutoff WCF Cutoff HEF Cutoff v VCF Cutoff YEr Res ror LA Choose VCF Cutoff Increase the value of the intensity of this modulation while turning the knob to the right Quput 1 Amount iia ve 1 000 a Increase the amount of modulation 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 Quantize
39. ards the oscillators pitches VCO to obtain an effect of vibrato or towards the filter VCF to obtain a wah wah effect LFO HED The modulation button 5 3 6 Virtual keyboard The keyboard lets you listen to the synthesizer sounds without the need for an external master MIDI keyboard and without programming a melody in the sequencer Just click on a virtual key to hear the corresponding sound There is no MIDI output for the keyboard 5 3 7 LCD Screen The LCD screen on the extension panel of the Jupiter 8 allows selection of presets editing of the sequencer as well as the Galaxy interface the keyboard settings and the effects gt To open the extension panel click on the Open button situated on the tool bar gt To choose which function to edit click on one of the buttons situated on left top corner of the screen PRESET for example The SEQUENCER GALAXY KEYBOARD screen has two tabs that let you edit the sequencer and the galaxy module Name JMB_Full Pad Project JMB l Upper Orga Saini w JMB Lightwave Pad02 A airig w JMB_Psychadelic Pad Name JM_Reso Pad_2 _ H N JMB_Sweet Pad ercussive KUJIIE cnt a _ Vice o l ders oe RUFFANDJAM JUPL paS aaee d JMB_ Dual 80s ch mars pias Richard James Characteristics d JMB Full Pad Ambient Quiet 5 3 8 5 3 8 LCD screen 5 3 9 5 3 10 MIDI Control Most of the knobs sliders and switches on the Jupiter 8V can be manipulated with extern
40. ave As dialog to save it as a user preset 5 2 5 Delete a preset To delete a selected PATCH or PROGRAM click on the Erase button C A dialog window will appear Click on OK to delete the preset 5 2 6 Import Export a preset bank It is possible to import new banks of presets for the Jupiter 8V To import a new project bank click on the import button situated on the right of the interface of the Jupiter 8 UN ETEO POLARITY Li a E IMP EXP k Preset Import button When this button is selected a window appears allowing the choice of a preset bank for the Jupiter 8V Choose a file to import it will be shown as a xxx j8e file and click on Open The new bank of presets will appear automatically among the available Project banks The Jupiter 8V offers the possibility to export user created sounds in order to use them on other machines or to share them with other users It is possible to export a preset a sub bank or a complete bank To export the project click on the export button for the preset bank on the tool bar Then select the type of export that you want to carry out bank sub bank or preset in the list A window appears allowing the choice of a destination folder and a file name for the bank to export Export Project x Celma JMB KOJHE K RUFFANCJAM JUPITERS BANK Richard lames Sato Fujimori remus 1 tasmodia Export a preset proj
41. cay 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 gt Increase the Attack time of this envelope so that the volume of the sound increases progressively Increase the Attack time of the amplitude envelope gt 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 Start Stop Note On Note Off The step sequencer
42. ce Click on the GALAXY tab Choose a parameter for example the HP VCF Cutoff for the X axis then adjust the speed HPF Cutoff None YOO Pitch VCO2 Pitch WoO PW WO FW w HPF Cutoff Wor Cutoff WL Res parameter of the LFO to your liking Choose a destination for the modulation of the X axis gt Choose a parameter for the Y axis for example the LP VCF Cutoff then adjust the speed parameter of the LFO to your liking Sh e Sine l Rate f Galaxy Lfol Rate ap i ta Che Ae 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 gt Choose the triangle waveform then adjust the speed parameter of the LFO to your liking yw Sine Square Cc sity Triangle Choose the triangle waveform for the a alpha angle 3 4 3 Control parameters with the Keyboard unit The Keyboard unit enables you to control parameters via velocity and aftertouch b Click on the MODULATIONS tab then on the tab called KEYBOARD to show the interface Click on the KEYBOARD tab gt Select the parameter to be controlled by the velocity and then set the amount knob to your liking VCA wee Kerb Velo 1 Amount Sime 1 000 d None YOO Pitch Y
43. ce Project JMB Type Pad and finally choose a preset in the list Filter 1 Filter 2 Type Project w JME_Lightwawe Fad z Pad OOOO w IMB_Psychadelic Pad Percussive E KUJIE a ae on tne fie Piano RUFFANDIAM JUPI eee ate ai op pe el JMB Dual 80s ae ESICe Richard James ias ns a F a i d JMB_Full Pad 43 Organ Celma 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 After selection of the filter categories of interest simply select the preset by clicking on the preset name Mam i JH Reso Pad 2 Type Pad Characteristics Ambient Quiet Click on the button upper Filter 1 Type No Filter Characteristics ract User w Type Guitar Selection of the filter criteria 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 dbs The key mode must be in Dual or Split in order to get access to the Lower Prog part 5 2 2 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 Then y
44. ces 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 1 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
45. cillators VCO 1 and 2 in which the second can equally be used as a source of modulation e 1 mixer for the volume of the 2 oscillators e 1 High pass filter HPF 6dB oct non resonant e 1 low pass resonant filter VCF 12 24dB oct e 1 amplifier e 2 envelopes dedicated to filter and amplitude modulations e 1 LFO low frequency oscillator e 1 modulation section WHEEL MOD dedicated to the LFO 6 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 These can be activated in the LFO MODULATION section monophonic modulation by the LFO or the CROSS MOD polyphonic modulation using the frequency of oscillator 2 on oscillator 1 The oscillators can be tuned and edited separately They allow selecting one of four waveforms on each oscillator The two oscillators have some different waveforms E g OSC1 triangle square OSC2 white noise Sine These waveforms can be used simultaneously Whether tuned separately or when using several mixed waveforms the two oscillators allow you to quickly obtain a rich variety of sounds vco 1 FIN CROSS RANGE WAVE SYNC RANGE Pen AW 0 YTN IU OFF N
46. cy of the band 3 Q 248 Tad TE Q None Increase the Modulation amount potentiometer 3 6 THE PATCH SECTION OF THE EFFECTS The section of the patch effects allows you to add 2 master effects to your sound They are accessible while clicking on one of the 2 displays situated down below to the left of the interface Effects Choose the St Chorus for the first effect and St Delay for the second one The editor will appear to the right as for the effects Voices St Chorus Flanger St Delay St Fx Reverb St Phaser R p No Effect Click on the display patch 3 6 1 The chorus The Chorus effect allows doubling the original sound with slightly out of tune copies in order to make a deeper and livelier sound Three types of stereo chorus are available from simple to very wide gt Activate the ON OFF button of the Chorus in the effects section placed to right of the tool bar a ai Distortion No Effect hi St Chorus Flanger St Delay k n aii Param E St Fx Reverb St Phaser No Effect Activate the button ON OFF of the Chorus gt Adjust the Dry Wet knob of the Chorus in a manner that is balanced between the Original sound and the treated sound gt Next turn the Rate knob of the Chorus to set the speed of the oscillations affecting pitch gt Finally set the stereo width of the Chorus by turning the Sp
47. d choose the value 1 8 lt Start Stop Note On Note Off o D on Mode Backward Smooth B Choose the value 1 8 gt 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 i Set it to 8 steps gt Set the values of the different steps to your convenience while clicking on each of the vertical bars and pulling them up for positive values or down for negative values Neate OF Step B Val 0 232 a Q 6 semi tones Set the values of the different steps pP Click on the W tool to create different values randomly for each note This way you will quickly obtain Bj rhythmic sequences that you can edit to your liking Start Stop Note On Note Off The interface of the Jupiter SV sequencer gt 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 gt Click on Output X situated to right of galaxy and choose VCA lt as destination of modulation controlled by LFO 1 axis X gt Do the same for the first destination of the axis Y while choosing also the destination VCA gt Set the two levels of modulation to the range of 0 600 gt Sync the Galaxy module to MIDI Sync gt Select the speed of the LFO while clicking on
48. dulation 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 It is composed of two independent filter units a non resonant 6 dB Octave high pass filter and a resonant 12 or 24 dB Octave low pass filter The combination of the non resonant high pass filter with the resonant low pass filter enables creating very characteristic Roland style sounds This structure can also be found on the Roland Juno series The Jupiter 8 is often considered the biggest and fattest of the Roland Jupiter family The Jupiter 8 offers eight analog voices The sound of the Jupiter 8 is often referred to as fat and crispy clear at the same time The Fast envelopes make it possible to create punchy sounds This is great for bass and stab sounds in particular The colorful interface with lots of sliders and knobs is inviting for sound designers and producers Furthermore it was one of the first synthesizers that offered a keyboard split and layer possibility In fact the Jupiter 8 complemented its competition by bringing something different In 1982 Roland released an upgraded Jupiter 8 the JP8A It upgraded the Jupiter 8 with a number of enhancements The most noticeable changes where an improved DAC with a higher resolution of the auto tuning system from 12 to 14 bit and a brighter LED screen The Jupiter 8 has become on
49. e The MAP main interface the sound map classifies the presets thanks to statistical methods in order to organize the sounds on a map from their own audio characteristics e The LIST presets list this page offers a more classical interface to classify the presets using lists and filters to find the desired sound e The COMPASS morphing interface this page allows creating new sounds in real time thanks to a morphing result with up to 4 presets Let s have a deeper look in the Sound Map different views gt To open the main Sound Map interface click on the SOUND MAP button located in the toolbar o To open the preset list page click on the LIST button on the top right of the sound map interface Open the List interface o To open the preset morphing page click on the COMPASS button Open the Morphing interface o To return back to the main sound map interface click on the MAP button T D o Return back on the map interface 5 4 1 The MAP main interface The Sound Map main interface shows a map where all the presets of the Jupiter 8V are spread out organized by their different types of sound and their own audio characteristics __Soungmap m ATS ALS TDZ AAZ NEENA AAP LIST x lt The Map interface The types of presets are represented by different geometrical symbols and colors for an easy way to locate them Bass sounds O Brass sounds EFX sounds mm FM sounds
50. e 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 Howard Jones and Martyn Ware also used it enormously The path to classic status of the Jupiter started there 4 2 THE ARTURIA JUPITER 8V Aside from recreating the original in every aspect the Jupiter 8V adds many new functions which make it even more attractive to use The Jupiter 8V offers various new editing possibilities which can result in sounds that were never heard before The galaxy module creates very complex modulations with interaction of 3 LFO s The first 2 LFO s can each modulate a different parameter on a X Y axis The third LFO can be set to rotate the X Y axis at a certain speed This is beautifully visualized in the interface of the Jupiter 8V and enables a totally new dimension for sound design Furthermore the Jupiter 8V offers two connections of Voice effects The connections of the effects 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 the different available sources of modulations such as the LFO or the envelopes Combinations of effects and modulations provide the Jupiter 8V with even more sonic power Two PATCH effect modules are available on the end of the synthesis chain T
51. e two parameters SHAPE 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 RATE Knob to set the modulation frequency of the LFO ANGLE Knob to set the rotation angle of the X Y axis manually e Three modulation outputs can be connected For each the following modulation destinations are available None Nothing is connected VCO1 Pitch VCO1 FREQUENCY VCO2 Pitch VCO2 FREQUENCY e VCO1 PW Pulse width of the square wave form of VCO1 VCO2 PW Pulse width of the square wave form of VCO2 HPF Cutoff Frequency of the high pass filter VCF Cutoff Frequency of the low pass filter VCF Res Resonance of the low pass filter VCA Volume of the VCA A reset setting of the movements for the three LFO s by a played note is available by using the RETRIG button HPF Cutoff None X None 0000 00 0O The Galaxy module 6 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 k 2 i Chorus Flanger Connections of the
52. ect bank 5 3 USING THE CONTROLLERS 5 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 In linear mode the knob can be set only by vertically moving the mouse not by going around it Like the sliders it is possible to obtain a higher precision by right clicking or Alt click on the knob concerned The linear mode can sometimes be simpler to use than the circular mode although we can lose in precision the precision is limited by the number of vertical pixels on the screen on which the mouse movements are being evaluated Movement to linear mode is available in the options of your DAW In Cubase for example this choice can be found via the File Preferences Edit Controls menu and is found in the General tab of the window 5 3 1 1 Potentiometers As this name indicates this type of control can be rotated They can set a continuous value frequency of the VCO balance programs for Lower and Upper keyboard for example or a set a parameter for an individual selection choices of the wave forms of the oscillators or LFO for example A rotary knob 5 3 1 2 Sliders These controls are vertical and
53. em as a separate preset within the plug in itself the next time you open the project the Jupiter 8V will load the P1 preset plus the modifications you made previously The drop down menu in which the VST sequencer allows you to save a new preset is of course usable with the Jupiter 8V However it is highly advised to use the Jupiter 8V internal menu the presets saved in this way are usable in any other mode standalone or with other sequencers they can be exported and exchanged more easily and they will remain compatible with Jupiter 8V future versions 8 8 USING IN PRO TOOLS RTAS 8 8 1 Opening of the plug in Access to the Jupiter 8V plug in is like all other plug ins in Pro Tools via a new Instrument Track creation ProTools File Edit View BER Clip Event AudioSuite Options Setup Win 3 10 in Q N A Edit fwfewfew ptx ji TRACKS Write MIDI Real Time Properties Input Only Monitoring Scroll to Track Clear All Clip Indicators Create Click Track GROUPS Event AudioSuite Options Setup Help Length Window Marketplace anaa ole lee oe TRACKS p p Audit Bars Beats 1 17 25 33 4 d Min Secs 00 0 10 0 20 0 30 0 40 0 50 1 00 1 10 1 30 Timecode 00 00 00 0077 hist 30200 OO0100000 0001 30 Samples 0 1000000 2000000 4000000 4000000 Tempo Default 4 4 Meter Markers LF INSTRUMENT INSERTS A c M no insert multichannel plug in b Jupiter B8V2 s
54. er 70 6 2 1 The transport 70 6 2 2 Edit the sequence TA 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 7 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 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 timepie
55. ers 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 I l l I ll i 54 jj 20627 22000 F 24 97 s270 3643 11016 12383 13 762 1513 16 508 17 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 0 3 0 2 0 1 0 1 0 2 0 3 0 4 0 sog 1000 1500 2000 2500 3000 Temporal representation of a saw tooth waveform of the Jupiter 8 0 3 0 2 0 1 0 1 0 2 0 3 0 4 0 s00 1000 1500 2000 2500 3000 Temporal representation ofa 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 wi
56. et the level of modulation from LFO to the VCF Selectors of the destinations that can be modulated by the PITCH BEND e ON OFF switch VCO 1 gt e ON OFF switch VCO 2 gt e ON OFF switch VCF Slider to set the intensity of the BEND modulation affecting the VCO From 0 To 24 semi tones 24 semi tones Slider to set the intensity level of the BEND modulation affecting the VCF Pitch bender movement towards the left the tuning is diminished movement towards the right the tuning of the oscillators is increased Slider to set the level of portamento Switch to use the portamento e Connection Section UPPER UPPER ONLY e Connection PORTAMENTO OFF e Connection Sections LOWER et UPPER ON LFO MOD SEND woo RISE TIME PORTA IVCOZVEF VCO VCF ef a uP E OFF LFO MOD f N VEO VCF vOO VCF BENO LFO MOD Destination connections 6 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 This wheel controls the pitch bend of the two oscillators LFO MO Push Button to control LFO modulation LFO MOD RISE TIME PORTA 4 The Pitch Bend wheel and Wiz LFO mod button 6 1 10 The Master Tune section Among these parameters you will find the general tuning of the Jupiter 8V the detune option for the voices and a 440 Hz tone to tune the Ju
57. f the keyboard methods Whole Dual et Split e The division zones of the keyboard Split e The types of playing SOLO UNISON POLY1 and 2 e The midi configuration of the synthesizer e The settings of the arpeggiator e The settings of the Modulation zone BEND MOD PORTAMENTO e 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 e All the synthesis parameters e All the parameters of the Galaxy module and the sequencer e The parameters of the voice effects Voices Effects b Modulations N Effects Patch Name JMB_Full Pad Project JMB Upper EALE JK Reso Pad 2 Type Pad Characteristics Ambient Quiet Preset organization of the Jupiter SV 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 gt First click on the button on the toolbar to open the expansion interface gt 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 Mame JMB_Full Fad Project JMB 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
58. folder path to install the plug in The installer will put VST3 files automatically into the appropriate directory on your hard drive 8 4 RTAS RTAS short for Real Time AudioSuite is an audio plug in developed by Digidesign AVID technology for their Pro Tools systems 8 5 A AU for Audio Units is a plug in protocol developed by Apple Computer It used by Apple applications such as GarageBand Soundtrack Pro Logic Express Logic Audio Final Cut Pro Mainstage Ardour Ableton Live REAPER and Digital Performer 8 6 64 BIT COMPATIBILITY The Jupiter 8V is optimized for both 32 bit and 64 bit modes If you have a 64 bit operating system and a 64 bit digital audio workstation you should use 64 bit version of the plug in for Windows Usually on 32 bit Windows all 32 bit programs are installed in C Program Files However on 64 bit Windows you can find the 64 bit programs in C Program Files and the 32 bit programs in C Program Files x86 Mac users don t have to bother with this because the same plug in file contains both the 32 bit and the 64 bit versions and the host automatically chooses the better one 8 7 USE IN CUBASE NUENDO VST 8 7 1 Instrument use in VST mode The opening of a Jupiter 8V VST 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 Nuendo create a new Instrument track and choose Jup
59. h frequencies FREQUENCY F Knob to set the band of the mid high frequencies GAIN G Knob to set the gain for the band of the mid high frequencies BAND WIDTH Q The setting of the band width of the mid high frequencies BAND 4 High frequencies FREQUENCY F Knob to set the band of the high frequencies GAIN G Knob to set the gain for the band of the high frequencies DRY WET Knob to set the balance between the original signal and the output of the effect OUTPUT Knob for the PARAM EQ s output volume The LCD screen allows you to graphically show the positions of each band The MOD button allows accessing the modulation connections for each of the parameters of the PARAM EQ as well as the choice of the sources of modulation e KEY FOLLOW e VELOCITY e AFTERTOUCH e ENVELOPE 1 e ENVELOPE 2 e GALAXY Y e GALAXY X e LFO e SEQUENCER The BYPASS button allows deactivating the parametric equalizer effect No Effect Chorus Flanger Distortion fParameEQ Phaser Ring Mod 6 4 4 Parametric EQPhaser The PHASER effect provides a classic phasing sound similar to analog effects used in the 70 S SWEEP START Knob to set the reference frequency FEEDBACK Knob to set the feedback of the modulated signal SWEEP AMOUNT Knob to set the amplitude of the modulation SWEEP RATE Knob to set the speed of the modulation DRY WET Knob to set the balance between the original signal and the output of the effect OUTPUT Knob f
60. he 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 There is a user friendly preset and patch structure for easy yet expandable management of the sounds It is possible to add characteristics to sounds to be saved This provides an easy and effective way to browse patches and find the most relevant one quickly As a matter of fact every single setting can be saved and recalled in a heartbeat This allows perfect integration with your project and saves a lot of time compared to the Original Jupiter 8 The Jupiter 8V delivers a sound that is full of character and highly editable It can be the perfect companion on every kind of musical project with the ease of use of the 21st century 5 THE INTERFACE 5 1 TOOL BAR The tool bar consists of an ensemble of essential icons for the Jupiter 8V organized from left to right allowing you to e Access drop menus offering filters with the following criteria o Characteristics o Factory User o Mode Whole Dual Split o Project o Type e MIDI activity light e Choice of MIDI channels o All o ito 16
61. he 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 Other 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 5 4 2 2 Preset snapshot memories You can select up to four presets anywhere on the map interface and save them on up to four snapshot memories You will be able to use those four presets on the COMPASS view to create new sounds by morphing feature see below for more details on this feature Of course you can save any kind of preset on these four snapshot memories SHAP 2 SHAP3 SHAP 4 eae Fe aes Select a snapshot memory TO save a preset on a snapshot memory O O Select a preset on the sound map main interface Hold the Shift key and select one of the four snapshot memory buttons The Snapshot memory button is now highlighted in red Repeat the same actions if you wish to save presets on the three other Snapshot memories When all memories already contain a saved preset you can replace them with other presets Select another preset anywhere on the Sound Map interface click on any of the 4 snapshot buttons while pressing the Shift key 5 4 3 The LIST preset manager The list preset manager offers a more traditional way to explore presets using a
62. ife to the sound while keeping the envelope free for the filter ASSION HOLD MOOE ttt W SOLO UNI POLY LOW UP 6 1 13 Play mode section The play modes selection KEY MODE The methods of playing indicate the distribution of the programs on the keyboard They are 3 selectable configurations that can be set to ON OFF DUAL Two selected programs on the LOWER and UPPER part can be played simultaneously on the keyboard The polyphony is then divided by two SPLIT Two selected programs are assigned the LOWER and UPPER part of the keyboard The polyphony is then divided between the two selected programs WHOLE A single program is assigned to the entire keyboard range DUAL Spl Whi Key modes 6 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 Start Stop Note On Note Off T Rate 1 16 The step sequencer The interface of the sequencer consists of three main parts 6 2 1 The transport The transport is on the left side of the sequencer It consists of the necessary parameters to play and stop the sequence MIDI s
63. ill be heard ARPEGGIO i 1 d 2 UP DO W NH WO ANO uone Setting of the arpeggiator P If you work with a MIDI Sequencer and you wish to synchronize the arpegiator to the tempo of the sequencer click on the switch INT EXT situated next to the Rate fader of the arppegiator then place it toward the bottom into the position EXT gt Click on the selector Hold Up if you wish to hold the arpeggio in play mode gt Low oh Click on the Hold Up selector 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 gt Open the Modulations page situated in the upper panel of the Jupiter 8V the Galaxy unit is selected by default Open the Modulations page gt Choose the destination parameters of the modulations for LFO1 Y output and 2 X output LFO1 gt HPF Cutoff gt LFO2 gt VCF Cutoff Set the depth of these modulations with the knobs situated next to these destinations Take values around 0 900 lt for the HPF Cutoff and 0 500 for the VCF Cutoff lt HPF Cutoff None None VCF Cutoff None akole joile Settings of the galaxy unit If you wish to give space to your sound add chorus reverb or delay effects To do that click on Effects situated in the upper panel of the Jupiter 8V gt In the first Voice effect slo
64. iter 8V2 in the rack Cubase File Edit Project Audio MIDI Scores Media Transport Devices Window 1 Help im 2 4 E Mon Apr 23 10 19 Kevir e090 Cubase 6 Project Untitled1 gt Add Audio Track Add Instrument Track Add MIDI Track E Add Track Using Track Preset lt Add Arranger Track 4 Add FX Channel Track Add Folder Track H Add Group Channel Track rt Add Marker Track 0 Add Ruler Track Add Signature Track K Add Tempo Track JL Add Transpose Track LI Add Video Track Show All Used Automation Hide All Automation Cubase 6 Project Untitled1 OC 0 es Eo eS MESETA e ee i ee eee mil ici ie mN 2 3 5 6 7 8 T l Add Instrument Track Y No VST Instrument me Add Track Drum Groove Agent ONE Synth b Analog Laboratory ARP2600 V2 CS 80V2 CS 80V2 10 voices HALionOne Jupiter 8V2 Maschine mini V Modular V 2 Pianoteq 4 VST Pianoteq VST Prophet V2 Spark OO OO a a 8 7 2 Rescan the plug in directory in Cubase If the Jupiter 8V does not appear in the list of VST plug ins you can perform a rescan of the plug in directory 8 7 3 Saving of presets When the session project is saved the Jupiter 8V is saved in its last mode of operation with all modifications intact For instance if you were working on a P1 preset in which you had modified parameters without saving th
65. linear They set a continuous setting cutoff frequency of the VCF filters or settings of the two ADSR envelopes for example A vertical slider 5 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 5 3 3 Switches There are several types of switches on the Jupiter 8V Certain ones activate deactivate a parameter For example one is used to turn ON or OFF modulation towards oscillator synchronization To change its state simply click the switch A switch 5 3 4 Pitch Bend wheel The Pitch bend controls the frequency pitch of the synthesizer oscillators Simply click on the wheel while playing a note on the master keyboard or from a sequencer then move 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 5 3 5 Modulation button gt 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 gt Click on it to apply the modulation then click again to stop it gt To adjust the rate of modulation set the linear potentiometer called LFO mod situated on the left side of the pitch bend Using this you can control the rate of modulation tow
66. ll the synthesis parameters e All the Galaxy Sequencer and Keyboard parameters e The voice effects parameters Voices Effects Patch Marie JMB_Full Pad Project JMB Upper Marie JM Voice Pad Marie Jk Rese Pad 2 Type Pad Type Pad Characteristics Characteristics Quiet Soundtrack Ensemble Ambient Quiet Patch preset window The Jupiter 8V is delivered with several factory sound banks Of course it is also possible to create sound banks yourself containing any number of banks and presets The factory sound banks are not directly modifiable Nevertheless it is possible to modify a sound based on a factory preset and save it in a user bank Selection of a preset PATCH or PROGRAM The Preset PATCH banks of the Jupiter 8V are permanently selectable from the left part of the toolbar You have two options to select a preset 5 2 1 3 Select from the toolbar 5 2 1 4 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 s JMB_Full Pad w JMB_Atnsi solt Il w JMB Astral Voice w JMB_ Big Flanger w JMB_Funky Stack _ i WI JMD LFO VCO MODULATOR N F XTCUTIQ arpeccio a Low uP FREO DELAY VOL BAL RATE RATETIME WAVE LFOENV PWM A m wile vcol igo M is Low UP EXT LFO ENV MASTER DETUNE LFO ARPEGGIO r ASSIGN
67. lpture Modeling Synth gt csS 80V2 ia Test Oscillator gt Jupiter 8V2 gt Ultrabeat Drum Synth gt mini V gt GarageBand Instruments peasant r Oberheim SEM V gt AU Generators Prophet V2 gt AU Instruments Modartt Spark gt E gt gt AU MIDI controlled Effects Native Instruments gt p Spark Vintage Drum Machines 8 10 USING IN ABLETON LIVE AU AND VST From the plug ins tab simply double click on the Jupiter 8V2 VST or AU icon or drag and drop the plug in into a MIDI track a 3 1 Audio Ce Ca Ca Ca Ca C C C C C C C C C C C Bo o C C HEO HEO If necessary you can perform a rescan of the plug in directory in the Preferences File Folder tab press the Scan button or press Scan while holding the Alt key for a full rescan 9 ARTURIA JUPITER 8V LICENSE AGREEMENT 1 General 1 1 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 for the use of software including related media documentation for example program descriptions manuals and other documents and materials manufactured by Arturia SA Product s All intellectual property rights in the software belong to Arturia SA hereinafter Arturia 1 2 The following editions of the Product are available Demo Standard EDU and NFR Whilst
68. ly infinite variety of sounds These parameters consist of e 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 e A mixer to mix the 2 VCO s e Anon resonant high pass 6 dB oct filter e A resonant low pass 12 24 dB oct filter e An LFO e 1 amplifier VCA allowing amplification of the signal between the filter to the stereo output e Two envelopes ADSR to modulate the low pass filter and the VCA VCO MODULATOR vco 1 vco 2 JUPITER 8 ve ENV1 ENV2 yoo a HPF VCF Ary turia J iL wi ARPEGGIO wa S FREQ iy DELAY FINE SOURCE KEY LFO KEY voL BAL RATE RATETIME WAVE LFO ENV PWM CROSS RANGE WAVE SYNC RANGE TUNE WAVE MIX CUT CUT RES moo MODFLW LYL MOO O Aa R FA 0 A tw MIGH A fw Oe A te A N oe ee 1 TA ny 3 A INT Z Y pt LE y OFF NORM j Las t LOW UP ExT P ON Low 14 2 oy 7 Low SLOPE ENV MASTER DETUNE LFO ARPEGGIO z ASSIGN TUNE SYNC 1 2 3 amp UPDOWNUD AND MODE i vi VLL V ATOU EN JDE Ae cee Cy Yay Gee Say Bee 10 RANGE MODE SOLO UNI POLY LOW UP DUAL Spi Whi LOW UP 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
69. n the middle value 1 00 The cutoff frequency of the filter can be modulated by one of the two ADSR envelopes see the following chapter It can also be modulated by the LFO The VCF 6 1 4 The Amplifier VCA The amplifier is the last step in controlling the sound It allows setting the general volume of the Jupiter 8V VCA LFO LVL MOO ENV The amplifier VCA This module is very simple it consists of VOLUME Knob to set the volume of the synthesizer LFO MOD Slider to set the intensity level of the modulation by the LFO The amplifier s volume is directly affected by envelope 2 ADSR2 6 1 5 The ADSR Envelopes The lt ADSR envelopes allow several parameters to be controlled with the help of the keyboard as a trigger You will find two envelopes on the Jupiter 8 one unit for the cutoff frequency of the filter as well as the frequency of VCO2 and another one to modulate the VCA amplitude When playing the keyboard the envelopes will trigger and modify the way to sound will be heard AYGU POLARITY The ADSR envelope of the filter The ADSR envelope consists of 4 different parameters ATTACK DECAY SUSTAIN RELEASE KEYFLW POLARITY 6 1 6 The LFO The Attack is the time that the sound will take to reach its maximum volume once we have pressed a key on the keyboard The Decay is the time that the sound will take to diminish after the attack portion is complete The Sustain
70. ndows 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 Nya 9 Audio Units 2 1 REGISTER amp 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 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 Toolbar eus a mn D Settings an ranie mo is Ambient A w mai a Poly 6 PlayMode 1ast 2 Unison 2 10 C0 MOL acs Preset l z PFF R a a aTa T gt
71. off frequency The resonance amplifies the frequencies near the cutoff frequency Turn this knob toward the right and the filter will become more selective At extreme settings the sound will eventually begin to whistle as the filter begins to self oscillate Note that the filtering will be less strong with the filter type set on 12 dB instead of 24 dB y For hosts that allow linear control of knobs and sliders right click the mouse or Command lick on Mac for additional precision This is useful when trying to regulate the level of the cut off frequency precisely for example When in circular control mode simply click on the knob and drag the mouse pointer out into a broader arc for a more precise setting Ware jl R a Hz 20 00 4 00 80 00 160 0 320 0 640 0 1280 2560 5120 10240 Resonant low pass filter CUTOFF FREQ Knob to set of the cut off frequency of the filter From 10 Hz to 25 KHz RES Knob to set the resonance of the filter SLOPE 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 KEY FOLLOW Knob to manually set the keyboard follow 5 f For a conventional setting of the keyboard follow place the knob i
72. or delivery of this Product shall be liable for any direct indirect consequential or incidental damages arising out of the use of or inability to use this Product including without limitation damages for loss of business profits business interruption loss of business information and the like even if Arturia was previously advised of the possibility of such damages Some states do not allow limitations on the length of an implied warranty or the exclusion or limitation of incidental or consequential damages so the above limitation or exclusions may not apply to the Licensee in this case This warranty gives the Licensee specific legal rights and the Licensee may also have other rights which vary from state to state
73. or section allows adding modulations to both of the oscillators frequencies for vibrato or automatic pitch bending effects and on the pulse width of their waveforms Frequency modulation LFO Slider to set the level of modulation from LFO on the VCO frequencies ENV1 Slider to set the level of modulation from Envelope 1 on the VCO frequencies VCO 1 Selector to choose either oscillator 1 oscillator 2 or both oscillators as VCO 2 destinations for LFO ENV modulation PWM _ Slider to set the level of modulation on the VCOs pulse width LFO Selector to choose either a manual setting via the fader LFO or M envelope 1 as a source for the pulse width modulation ENV1 VCO MODULATOR FREQ LFO ENV PWH i WD L _ LFO a aa coz L Env LFD ENVI The VCO modulator section 6 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 LFO MOD RISE Knob to set the triggering time of the LFO LFO MOD Chooses the destinations that can be modulated by the LFO VCO level VCF level BEND VCO level VCF level BENDER PORTAMENTO level PORTAMENTO select e ON OFF switch VCO e ON OFF switch VCF Slider to set the level of modulation from the LFO to the VCO Slider to s
74. or 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 e KEY FOLLOW e VELOCITY e AFTERTOUCH e ENVELOPE 1 e ENVELOPE 2 e GALAXY Y e GALAXY X e LFO e SEQUENCER The BYPASS button allows deactivating the PHASER effect ly No Effect n T E Cuan sas F 4 Chaorus Flanger 1 Sweep Rate Distortion aoe 4 i Param EQ ate i Go ih Ring Mod os Sweep Start Lfo Shape Sine Stages 6 4 5 PhaserRing Mod The RING MODULATOR allows adding metallic effects to the sound with modulation of the output of the VCO or filter VCF MOD FREQ Knob to set the speed of the modulation MOD AMOUT Knob to set the amplitude of the modulation DRY WET Knob to set the balance between the original signal and the output of the effect OUTPUT Knob for the volume of the output of the ring modulator The MOD display allows accessing the modulation connections for each of the parameters of the RING MOD as well as the choice of the sources of modulation e KEY FOLLOW e VELOCITY e AFTERTOUCH e ENVELOPE 1 e ENVELOPE 2 e GALAXY Y e GALAXY X e LFO e SEQUENCER The BYPASS button allows deactivating the RING MOD effect No Effect Chaorus Flanger Distortion I ee Param EQ hes call i aE i i Q None i UT PE wt ly i way Fo Phaser Ring Mod ry 5 i
75. ossgrade offers and cannot be exchanged for vouchers or coupons 3 No Unbundling Bundles product bundles are an association of software and hardware or software only products can only be resold transferred as a whole The individual components of a bundle must not be resold transferred separately 4 Resell 4 1 Renting or lending the licensed Software to a third party is expressly forbidden Apart from that and if not provided otherwise within this EULA 4 2 Except if otherwise stated within this EULA Licensee may resell the software to a third party or transfer the software permanently free of charge provided the third party agrees in writing with this EULA and Licensee ceases all use of the software completely removes all installed copies of the software from his computers and if the software was not purchased via download deletes or transfers the original media delivered with the software to the third party In addition Licensee is required to de register the purchased software with Arturia more information available on www arturia com 5 In case a sound library is part of the purchased Product the following shall apply in addition to the EULA The provided samples instruments and presets can be used for commercial or non commercial music and audio Productions without the prior permission from Arturia under the terms of this Agreement The usage of this Product in particular samples instruments and presets for the
76. ou can work on the parameters of the sound to save the sound under the same preset name while clicking on the save button You can also change the name of the new preset by clicking on the name 5 The new preset will always be a patch of the type WHOLE by default To change the preset mode click on one of the two other types you would like to choose 5 2 3 Save a user preset To save your current settings of the preset click on the Save button on the toolbar 5 2 4 Save a user preset using the Save as option To save your current settings of the preset under another name click on the save as button on the toolbar A dialog window will appear It will let you set the name of the preset PATCH and set the search filter type of the preset PROJECT Click on OK to save At this point the preset PROGRAM will not be modified even if you changed the synthesis parameters To save a preset PROGRAM check Save As You can fill in the name of the project and the name of the patch to define the search criteria You can also click cancel to exit this menu without saving Save Patch As New patch Program Save A k New Prog 3 Program Save A lame New Prog 3 Save As and the save menu db 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 S
77. pen 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 lt Save Patch As L Violin 1 Project Thomas Violin prog 1 Strings Characteristics Simple None None 7 2 SAVE THE SOUNDARPEGGIATED SOUNDS Load the preset JMB_Bass1 in the JMB project We are going to use the galaxy module and the arpeggiator to modulate the sound This preset will contain e Two VCO s e An high pass filter HPF e A low pass filter VCF e An ADSR envelope connected to the filter e An ADSR envelope connected to the amplifier e The Galaxy module e The Arpeggiator e Voice effect Chorus Flanger e Patch effect St Reverb e Patch effect St Delay gt 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 Increase the release time for the second ADSR envelope gt Increase the cut off frequency of the high pass filter to the range of 800 Hz gt Lower the resonance rate of the VCF almost to the minimum gt Activate the arpeggiator by clicking on the buttons Range 2 and Mode UDN lt Then play a chord on your MIDI keyboard An arpeggio w
78. piter 8V TUNE Knob to set the general tuning of the synthesizer one semitone DETUNE Set the amount of detune of the polyphonic voices P The detune knob of the polyphonic voices is very useful to make out of tune sounds in the unison mode It will sound a little like the effect of a chorus When the Unison is not active this parameter brings a little more instability to the tuning of the oscillators a typical characteristic of the original machine MASTER DETUNE TUNE The Master Tune parameters 6 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 e In SPLIT mode the arpeggiator only works with the lower part of the keyboard e In DUAL MODE the arpeggiator works on both parts of the keyboard The pattern development is possible to control with two parameters RANGE Choose the range of the arpeggiator 1 4 in octaves e One octave button ON OFF 1 e Two octaves button ON OFF 2 e Three octaves button ON OFF 3 e Four octaves button ON OFF 4 MODE Choose the playing mode e UP button ON OFF e Down button ON OFF e Up and Down button ON OFF e Random button ON OFF The rate of the arpeggiator can be set on the left side of the LFO section next to the general volume and LOWER UPPER balance potentiomete
79. r completes its period even if oscillator2 has not fully completed its current cycle this signifies that it is not tuned to the same tonality Here are some of the representations of the different waveforms used by the oscillators of the Jupiter 8V Saw tooth at Square AN he Sine 6 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 VCO1 VCO SOURCE MIX The mixer 6 1 3 The filter VCF The Jupiter 8V has a filter that is an emulation of the original Jupiter 8 filter It is made up of two independent filter units 6 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 TT rr i ray Hz 000 Woo so00 OO S200 400 1280 2560 5120 10r4 The non resonant high pass filter CUTOFF FREQ Knob to set of the cut off frequency of the filter Non resonant high pass filter 6 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 It eliminates the frequencies situated above the frequency setting the cut
80. read knob The settings of the chorus 3 6 2 The delay The Delay is a stereo echo effect that adds space to your sound It possesses independent settings for speed and the number of repetitions on the right and left side Therefore it is possible to create a big number of rhythmic combinations between the repetitions The speed of the Delay can also be synchronized to the MIDI tempo of your sequencer Let s use the JMB_Bass1 example again and see how to use the effect on this sound gt Activate the Delay button on the tool bar The effect is activated gt Set the Dry Wet knob of the Delay in a manner to balance between the original and the treated sound gt Turn next the 2 knobs TIME L TIME R to set the speed of the repetitions for the right and left side gt It is also possible to set the number of repetitions Feedback for each stereo side Feedbk R and Feedbk L i r bT a Ka a iy 7 i Damping Output The settings of the delay 3 7 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 gt Click on the MIDI Learn button gt Click on the knob Cutoff The MIDI assign option appears gt Move the con
81. ress 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 Thank you for purchasing the ARTURIA Jupiter 8V In this package you will find e This paper manual for the Jupiter 8V e One CD ROM containing the Jupiter 8V installer for MAC OSX and Windows XP Vista 7 e 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 New features in Jupiter 8V Features e MIDI Control Assignment Improvement e V Series standalone Bug fixes e Sluggish GUI on Mac OS X 10 5 Leopard e Effect GUI update was showing wrong settings e Fixed crash with arpeggio e Fixed crash with Sound Map e Unison improvement e Fixed issues with modulation wheel Platform requirements e Added support
82. ristics of the analog delays of the 70 s which are very popular today for their unique sound the famous tape delays RIGHT TIME Knob to set the time for the right channel LEFT TIME Knob to set the time for the left channel FEEDBACK RIGHT Knob to set the feedback for the right channel FEEDBACK LEFT Knob to set the feedback for the left channel CROSS FEEDK R Knob to set the feedback of the right channel towards the left channel CROSS FEEDKL Knob to set the feedback of the left channel towards the right channel DAMPING Knob to set the amount of high frequencies that are rolled off with each repetition DRY WET Knob to set the balance between the original signal and the output of the effect OUTPUT Knob to set the output volume of the delay The BYPASS button allows deactivating the delay effect The SYNC button allows synchronize the delay to MIDI The LINK button allows linking of the left and right channel of the delay No Effect St Chorus Flanger St Delay St Fx Reverb St Phaser 6 5 3 Stereo DelayReverb The reverb effect creates a very dense series of decaying echoes in the sound simulating the sound s performance within a three dimensional space FEEDBACK Knob to set feedback time for the reverb DAMPING Knob to set the rate at which high frequencies that are rolled off as the reverb decays DRY WET Knob to set the balance between the original signal and the output of the effect OUTPUT Knob to
83. rs In the same area you can also affect the MIDI synchronization for the arpeggiator rate EXT position ARPEGGIO z 1 2 3 amp UPDOWNUD AND e w a ra O K t MODE The arpeggiator section The arpeggiator rate section 6 1 12 The keyboard assign section ASSIGN MODE This section allows selecting the play modes as follow 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 POLY 2 Polyphonic playing mode reinitializing the envelopes with each note played The release time is cut by the next note played HOLD LOW This mode allows holding the played notes on the LOWER part This effect is similar to a sustain pedal action HOLD UP This mode allows holding the played notes on the UPPER part In SPLIT mode the HOLD function can be assigned to both the LOWER and UPPER parts independently In DUAL and WHOLE modes the HOLD function simultaneously affects both parts Only the volume envelope will be used by the hold function That allows you to bring l
84. t at the top of the connection diagram for the effects choose Chorus Flanger This will be placed between the VCO and the filters Set the speed of the chorus frequency with the Rate knob to your convenience You also can adjust the numbers of repetitions feedback to your convenience Set the dry wet knob of the chorus in a manner to balance between the original and the effected sound No Effect Chorus Flanger Distortion Param EQ Phaser 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 Chorus Flanger No Effect St Chorus Flanger St Delay St Phaser No Effect Setting of the St FX Reverb gt In the second Patch effect slot choose St FX Delay gt Set the times of the different delay lines Time for each of the two sides of the stereo delay so that they will be in sync with the arpeggiator P If you work with a MIDI Sequencer and you wish to synchronize the arpeggiator to the tempo of the sequencer click on the Sync button gt You also can adjust the numbers of repetitions feedback to your convenience No Effect St Chorus Fl
85. t Leaming ave Sl UNASSIGNED CLEAR i Control Uses NRFI number a Bs SOLO UNI POLY LOW UP DUAL Spl Whi LOW UP MIDI assignation popup e Learn assignment The fastest and easiest way to assign a control is to move the fader knob or button for it to be recognized by Jupiter 8V e Manual assignment It is also possible to change the assigned MIDI control number by clicking on Control xx and select a specific value e Support for NRPN In addition to MIDI Control Change messages NRPN messages are now supported either send NRPN MIDI control messages to Jupiter 8V or check NRPN then manually select LSB and MSB numbers MIDI Control Setup Learning LFO Wave Shape Min Max ASSIGNED ap id 26 MIDI assignation popup NRPN activated e Remove assignment Assignments can be removed by clicking the Clear button The message Unassigned will then be displayed Continue selecting the parameters you want to map to create a complete configuration 5 3 10 3 Manage Configurations New in Jupiter 8V the possibility to maintain multiple configurations e Default configuration By default Jupiter 8V loads the configuration for Arturia Analog Experience keyboards e Select one configuration A configuration is loaded by clicking the corresponding entry in bottom part of Learn menu e Create a new configuration A new configuration can be created by clicking on the Learn menu
86. tarting off with a basic preset you will make a polyphonic violin sound that is typical for this synthesizer After that you will approach the programming of a richer sound complex modulations cross modulation in the form of a bell tone e The second part will allow you to explore the newly added functionalities of the Jupiter 8V After this the Galaxy and Step Sequencer modules will not be a mystery anymore e The third part will allow you to create a very rich and progressive tone thanks to the combination of the voice effects and numerous possibilities of modulations that have already been presented 7 1 A POLYPHONIC VIOLIN PRESET MADE WITH THE JUPITER 8 V To begin we will learn how to program a basic polyphonic sound It will be simply composed of four elements e Two oscillators VCO1 and 2 e A high pass filter HPF e A low pass filter VCF e An ADSR envelope connected to the filter e An ADSR envelope connected to the amplifier e An LFO connected to the width of the square waveform of VCO2 By doing this you will obtain a basic preset offering an overall tone of violins Figure 1 Shows you the position of the different knobs gt To begin choose the preset UJ Brass in the project KUJIIE Brass As you will notice the sound is very basic and not very alive when you play a note In fact this very simple preset continuous and brilliant is our starting point for the sound design
87. te the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed Owning a license of the Products entitles the Licensee to get access to the future updates of this Product 2 3 Any Products provided to you as NFR Not For Resale version grants the Licensee a non exclusive right to use the Product for a limited period of time The Product shall only be used for demonstration testing and evaluation purposes NFR Products must not be used for commercial purposes and must not be resold or transferred The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed NFR Products are exempt from update upgrade or crossgrade offers and cannot be purchased with or exchanged for vouchers or coupons Furthermore as an owner of a NFR Product you are not entitled to any vouchers that ship with the standard version of the Product 2 4 Any Products labelled or otherwise provided to you as an Educational version grants the Licensee a non exclusi
88. tereo multi mono plug in EQ ifo p Dynamics Pitch Shift Reverb Delay Modulation Harmonic Dither Sound Field instrument Other Ableton Live stereo Analog Laboratory stereo ARP2600 V2 stereo Avid Marketplace Boom stereo Brass 2 stereo CS 80V2 stereo CS 80V2 10 voices stereo DB 33 stereo ee Maschine stereo Mini Grand stereo miniV stereo The Jupiter 8V must be loaded on an instrument stereo track We can now make Jupiter 8V sound by playing with the mouse on the virtual keyboard 8 8 2 Saving the presets When the session project is saved Jupiter 8V is saved in its last mode of operation with all modifications intact For instance if you were working on a P1 preset in which you had modified parameters without saving them as a separate preset within the plug in itself the next time you open the project the Jupiter 8V will load the P1 preset plus the modifications you made previously The drop down menu in which the VST sequencer allows you to save a new preset is of course usable with the Jupiter 8V However it is highly advised to use the Jupiter 8V internal menu the presets saved in this way are usable in any other mode standalone or with other sequencers they can be exported and exchanged more easily and they will remain compatible with the Jupiter 8V future versions 8 8 3 Automation under Pro Tools The automation function with Jupiter 8V functions like with all RTA
89. th 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 SV and the Roland Jupiter amp 2 ACTIVATION amp FIRST START Jupiter 8 V works on computers equipped with Wi
90. the voice effects to the sequencer To do that go to the Effects Voice Effects page Then choose the source Sequencer among the choices of sources of proposed modulations for the parameters of these effects see paragraph Voice Effects for more details Three connection locations are available for the sequencer For each of them the following destinations are available DESTINATION Choice of available modulation destinations e None Nothing is connected e VCO1 Pitch VCO1 FREQUENCY e VCO2 Pitch VCO2 FREQUENCY e VCO1 PW Pulse width of the square wave form of VCO1 e VCO2 PW Pulse width of the square wave form of VCO2 e HPF Cutoff Frequency of the high pass filter e VCF Cutoff Frequency of the low pass filter e VCF Res Resonance of the low pass filter e VCA Volume of the VCA AMOUNT Sets the level of modulation Q Quantification of the modulation settings by semitones This parameter is essential to regulate the levels of each step for the creation of a melodic sequence RETRIG Automatically place a trig gt envelope on all the steps VWCO1 Pitch WVECOZ PW WCF Cutoff The connection section 6 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 hav
91. troller of your choice the knob of modulation for example The knob of the Jupiter 8V will begin moving at the same time gt Then you will be able to record the movements of your MIDI controller in your MIDI sequencer or simply manipulate the sound in real time with your controller live vC01 vCO 2 VCO HPF FINE SOURCE RANGE WAVE SYNC RANGE TUNE WAVE MIX CUT CUT RES HIGH MIDI Control Setup Learning Cutoff UNASSIGNED CLEAR B None VCO 1 VCO 2 VCO 2 VCO FINE SOURCE FINE SOURCE RANGE WAVE SYNC RANGE TUNE WAVE MIX CUT RES RANGE WAVE SYNC RANGE TUNE WAVE MIX CUT MIDI Control Setup u MIDI Control Setup Learning Cutoff in Max Leaming Cutoff ASSIGNED CLEAR R he pss i ASSIGNED kz WV 81 pen 16 mes MIDI CC 81 assigned MIDI NRPN MSB 16 LSB 35 In addition to the Learn button midi assignments can be set by clicking on the midi control number 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 44 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 4 A UNIQUE SYNTHESIZER WHY 4 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 mo
92. ve right to use the Product in perpetuity The Product shall only be used by students or those working in educational institutions This definition includes students faculty staff and administration attending and or working at an educational institutional facility private public schools colleges universities and similar These Products must not be used for commercial purposes and must not be resold or transferred The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed These Products are exempt from upgrade or crossgrade offers and cannot be purchased with or exchanged for vouchers or coupons Furthermore as an owner of an educational Product you are not entitled to any vouchers that ship with the Standard version of the Product 2 5 Any Products labelled or otherwise provided to you as a Demo version grants the Licensee a right to use the Product only for demonstration and evaluation purposes These Products must not be used for commercial purposes and must not be resold or transferred These Products are exempt from upgrade or cr
93. voice effects 6 4 1 The effects are accessible when you click on the EFFECTS tab situated on the LCD screen on the right part of the Jupiter 8V They will be activated or deactivated when you click on the EFFECT button situated on the toolbar Chorus Flanger This monophonic Chorus Flanger module adds a comb filtering aspect to the sound RATE Knob to set the frequency of the chorus DEPTH Knob to set the depth of the modulation FEEDBACK Knob to set the feedback of the modulation to achieve more of a flanged effect AMOUNT Knob to set the depth of the modulation DRY WET Knob to set the balance between the original signal and the output of the effect OUTPUT Knob to set the output volume of the chorus The MOD display allows accessing the modulation connections of each of the parameters of the chorus as well as the choice of the sources of modulation e KEY FOLLOW e VELOCITY e AFTERTOUCH e ENVELOPE 1 e ENVELOPE 2 e GALAXY Y e GALAXY X e LFO e SEQUENCER The BYPASS button deactivates the Chorus Flanger effect No Effect i gt k J Th Pi Chaorus Flanger Feed back Distortion sn Param EQ Ring Mod nts Phaser ae i s s j Q Mone Amount 6 4 2 The Chorus FlangerDistortion 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 DRY WET Knob to set the balance between the original signal
94. w of this map You can use the map overview for navigating into the map and to zoom in or out inside of the map area List a E L gt 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 The zoom slider db You can also use the ZOOM or ZOOM buttons under the slider to increase or decrease the map size step by step by a factor of 1 o Clicking on the FIT ZOOM button re allows resizing the map to its global size 5 4 2 1 The instrument type filter window On the right of the map main interface an instrument type filter window allows you to choose which type of preset you want to see or to hide on the map By default all types of presets are selected Other Percussive Sequence Strings Guitar y y F y V Y V V V V v y keyboard ALL The instrument type filter To select an individual or a group of instrument types O O ALL First click on the All button im on the bottom of the type filter window this will hide all the instrument types from the sound map Then select t
95. y presets that will allow you to become familiarized with the tones of the synthesizer P 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 gt 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 vcot VCO HPF SOURCE AVE MIX CUT CUT RES rm HGH 12 Hz pi T HEE Change the brightness of the sound gt 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 E vco1 VCO 2 veo HPF FINE SOURCE AVE SYNC RANGE TUNE WAVE MIX CUT ae 0 J u fu 5 a i Oscillator 2 coarse 12 semitone ON Low 16 h OO 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 gt To choose another destination for this sound click on the icon Save As cl then choose your location For example create a new Project while writing your name
96. ynchronization quantification and trigger trigg parameters START Selection screen to control the sequencer s playing mode FLER e Note On Note OFF Start Stop with a note ON OFF message e MIDI Start Stop Start Stop the sequencer with a MIDI sequencer or a drum machine for instance e Free running Start Stop the sequencer with the Start Stop buttons of the step sequencer START Start Stop the sequencer in free running mode only STOP buttons RATE Set the speed of the sequencer in free running mode only SYNC Synchronization to an external MIDI clock ON OFF Q Subdivision of MIDI tempo to adjust the speed of the sequencer in MIDI Sync mode 1 2 51 4 1 4T 51 8 1 8T 51 16 1 16T 51 32 1 32T 1 64 51 128 Mode Playing modes of the sequencer e FORWARD Playing the sequence forward e BACKWARD Playing the sequence backward e FORWD BACKWD Playing the sequence forward and backward e RANDOM Playing the sequence randomly SMOOTH 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 ACCENT Bring an additional modulation to the selected step thanks to an Attack Decay envelope applied to the cutoff frequency of the VCF low pass filter This unit is comparable to the one that is located on the very famous TB303

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