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ARTURIA – Jup-8 V – USER MANUAL

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The Jup-8 V 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.

1.3

Arturia’s secret ingredient: TAE

®

TAE

®

(True Analog Emulation) is Arturia's outstanding technology dedicated to the

digital reproduction of the analog circuits used in vintage synthesizers.
TAE

®

’s software algorithms result in spot-on emulation of analog hardware. This is

why JUP-8 V offers an unparalleled quality of sound, as do all of Arturia’s virtual
synthesizers.
TAE

®

combines three major advances in the domain of synthesis:

1.3.1

Aliasing-free oscillators

Standard digital synthesizers produce aliasing in high frequencies, especially when
using Pulse Width Modulation (PWM) or Frequency Modulation (FM).
TAE

®

enables the generation of oscillators which are completely free of aliasing in

all contexts (PWM, FM…), and at no extra CPU cost.

Linear frequency spectrum of a current well-known software synthesizer

Linear frequency spectrum of an oscillator modeled with TAE

®

Aliasing

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Summary of Contents for JUP-8V

Page 1: ...ARTURIA Jup 8 V USER MANUAL 1 USER MANUAL ...

Page 2: ...gn Glen Darcey Yannick Bonnefoy Morgan Perrier Sebastien Rochard Greg Vezon Sound Design Jean Baptiste Arthus Jean Michel Blanchet Manual Jason Valax Special Thanks Alejandro Cajica Denis Efendic Ruary Galbraith Dennis Hurwitz Clif Johnston Koshdukai Joop van der Linden Sergio Martinez Shaba Martinez Miguel Moreno Daniel Saban Carlos Tejeda Scot Todd Coate ARTURIA S A 1999 2016 All rights reserved...

Page 3: ...INTERFACE 21 3 1 The virtual keyboard 21 3 2 Toolbar 21 3 2 1 Save Preset 21 3 2 2 Save Preset As 22 3 2 3 Import preset 22 3 2 4 Export preset 23 3 2 5 Resize window options 23 3 2 6 Audio settings 24 3 2 7 Preset browser overview 24 3 2 8 MIDI Learn assignment 25 3 2 8 1 Assigning unassigning controls 26 3 2 8 2 Min Max value sliders 27 3 2 8 3 Relative control option 27 3 2 8 4 Reserved MIDI CC...

Page 4: ...4 1 1 1 VCO 1 41 4 1 1 2 VCO 2 41 4 1 2 The mixer VCO1 VCO2 43 4 1 3 The filter VCF 43 4 1 3 1 A non resonant 6 dB octave high pass filter 43 4 1 3 2 A resonant 12 or 24 dB Octave low pass filter 44 4 1 4 The Amplifier VCA 46 4 1 5 The ADSR Envelopes 46 4 1 6 The LFO 47 4 1 7 The VCO modulator 48 4 1 8 The LFO MODULATION PORTAMENTO and BEND section 48 4 1 9 The pitch bend wheel and LFO MOD button ...

Page 5: ...ARTURIA Jup 8 V USER MANUAL 5 4 5 Patch Effects 62 4 5 1 Chorus Flanger 62 4 5 2 Stereo Analog Delay 63 4 5 3 Reverb 64 4 5 4 Dual Phaser 64 END USER LICENSE AGREEMENT 66 ...

Page 6: ...thriving business to develop repairing existing timepieces 1 Mr Kakehashi found a part time job in a watch repair store but he quickly felt frustrated with the pace at which things were progressing In the traditional Japanese organization of work becoming a master in any technical area would take a seven year apprenticeship Consequently he left after a few months bought a book on how to repair wat...

Page 7: ...her organ developments On the 18th of April 1972 Mr Kakehashi established the Roland Corporation The first synthesizer from Roland was also Japan s first synthesizer The SH1000 came to the market in 1973 just before the Korg 700 did It was a remarkable instrument offering 10 preset tones selectable from colored tabs You could add vibrato growl and portamento to modify the sound The System 100 laun...

Page 8: ...olyphonic 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 ...

Page 9: ... 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 synthes...

Page 10: ...y 1 2 1 The Roland Jupiter 8 The Jupiter 8 is capable of creating very versatile sounds The Jupiter 8 sounds the way it looks sleek and polished It offers oscillator sync cross modulation a switchable 12dB 24dB filter and polyphonic portamento It also features a superb arpeggiator The sound design opportunities are virtually endless The filter VCF structure is one of a special kind It is composed ...

Page 11: ...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 Jup 8 V and enables a totally new dimension for sound design Furthermore the Jup 8 V offers two connections of Voice effects The connections of the effects can be made inside the synthesis chain between the VCO and the VCF...

Page 12: ...t on emulation of analog hardware This is why JUP 8 V offers an unparalleled quality of sound as do all of Arturia s virtual synthesizers TAE combines three major advances in the domain of synthesis 1 3 1 Aliasing free oscillators Standard digital synthesizers produce aliasing in high frequencies especially when using Pulse Width Modulation PWM or Frequency Modulation FM TAE enables the generation...

Page 13: ...lts in a slight bend in the original waveform most notably for sawtooth triangular and square waveforms TAE reproduces the result of this capacitor discharge in software Below is the analysis of a waveform from one of the five original instruments Arturia s software emulates followed by one made by TAE They are both equally deformed by the low pass and high pass filtering Temporal representation o...

Page 14: ...dual hardware components of the filter circuit the warm nuances synonymous with analog sounds are recreated The following graph shows a single example of direct circuit modeling in action The peaks represent the generation of harmonics at multiples of the resonant frequency when a particular filter is in self oscillation mode These harmonics are characteristic of hardware synthesizer filters and a...

Page 15: ...tom line when you bring together a bunch of music lovers who also have a deep understanding of the characteristics of electronic circuits you wind up with Arturia And Arturia now offers you our most impressive software model yet the JUP 8 V We take great satisfaction in knowing this great synthesizer will help you explore previously unknown musical territory ...

Page 16: ... 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 email address during the registration process Once you have acquired an Arturia account you will be able to register the product 2 2 Initial setup 2 ...

Page 17: ...ANUAL 17 JUP 8 V main menu You will then see the Audio MIDI settings window This works in the same way on both Windows and Mac OS X although the names of the devices available to you will depend on the hardware you are using ...

Page 18: ...uses to calculate sound A smaller buffer means lower latency between pressing a key and hearing the note A larger buffer means a lower CPU load as the computer has more time to think but can result in a small latency Find the optimum buffer size for your system A fast modern computer should easily be able to operate at 256 or 128 sample buffer size without creating pops or clicks in the sound If y...

Page 19: ... s no need to specify a channel You can specify more than one MIDI device at once 2 2 2 Audio and MIDI settings Mac OS X The process is very similar to initial setup for Windows and the menu is accessed in the same way The difference is that OS X uses CoreAudio to handle audio routing and the audio device selection is made in the second dropdown menu Apart from that the options work the same way a...

Page 20: ...meters using your DAW s automation system You can use more than one instance of JUP 8 V in a DAW project In standalone mode you can only use one at once You can route JUP 8 V s audio outputs more creatively inside your DAW using the DAW s own audio routing system ...

Page 21: ...e keys to hear a glissando The JUP 8 V virtual keyboard 3 2 Toolbar The toolbar that runs along the top edge of the instrument both in standalone and plug in mode provides access to many useful features Let s look at them in detail The first seven of these options can be found by clicking on the JUP 8 V section at the very top left hand corner of the instrument window 3 2 1 Save Preset The first o...

Page 22: ...s useful for creating variations on patches but still keeping individual copies of each one 3 2 3 Import preset This command lets you import a preset file which can be either a single preset or an entire bank of presets Both types are stored in the jupx format After selecting this option the default path to these files will appear in the window but you can navigate to whichever folder you are usin...

Page 23: ...w options The JUP 8 V window can be resized from 60 to 200 of its original size without any visual artifacts On a smaller screen such as a laptop you might want to reduce the interface size so it doesn t dominate the display On a larger screen or a second monitor you can increase the size to get a better view of the controls The controls work the same at any zoom level but the smaller ones can be ...

Page 24: ...receives MIDI See section 2 2 of the manual for full details on this 3 2 7 Preset browser overview The Preset browser is invoked by clicking the toolbar button that has four vertical lines See section 3 3 of the manual for full details on this The Filter name field and left right arrows in the toolbar all assist with preset selection ...

Page 25: ...can be assigned to MIDI controls will be shown in purple and the idea is that you map physical buttons knobs faders or pedals from hardware MIDI controllers to specific destinations inside the instrument A typical example might be to map a real expression pedal to the virtual volume pedal or buttons on a controller to the effect switches so you can change the sound from your hardware keyboard ...

Page 26: ...ontrol into learning mode Move a physical knob or fader and the target goes red indicating that a link has been made between the hardware control and the software parameter There s a popup window that displays which two things are being linked and a button to unassign the two from each other VCO 2 fine tune knob selected and assigned ...

Page 27: ...irection and speed at which a knob is turning as opposed to sending a full range of values in a linear fashion 0 127 for example To be specific a relative knob will send values 61 63 when turned in a negative direction and values 65 67 when turned in a positive direction The turn speed determines the parameter response Refer to the documentation of your hardware controller to see if it has this ca...

Page 28: ...nt MIDI assignment setup or delete it import a configuration file or export the currently active one This is a quick way to set up different hardware MIDI keyboards or controllers with JUP 8 V without having to build all the assignments from scratch each time you swap hardware 3 2 10 The lower toolbar 3 2 10 1 Current control value At the left hand side of the lower toolbar you will see a readout ...

Page 29: ...er The Panic button can be pressed to reset all MIDI signals in the event of stuck notes or other issues The Panic button is also MIDI assignable The CPU meter is used to monitor how much of your computer s CPU is being used by the instrument 3 2 10 4 Play Mode The play mode allows to select which note is hear when several keys are pushed simultaneously while the Jup 8 V is in monophonic mode In L...

Page 30: ... modified with the Detune knob on the Jup 8 V interface Activating the unison mode fattens and enrich the sound of the Jup 8 V and the effect can be intensified by augmenting the number of unison voices and by increasing the amount of detuning 3 2 10 6 Maximum polyphony By clicking this button you will be able to adjust the upper limit for the number of voices played the Mini V It can be set from ...

Page 31: ...The preset browser is how you search load and manage sounds in JUP 8 V It has a couple of different views but they all access the same banks of presets To access the search view click on the browser button the icon looks a bit like books on a library shelf ...

Page 32: ... name The Results column is updated to show the results of your search Press the X button in the search field to clear the search 3 3 2 Using tags as a filter You can also search using different tags Clicking on a Type field shows only presets that match that tag The tag fields can be shown or hidden by using the small down arrow buttons in their title fields Results columns can be sorted by click...

Page 33: ...rite or Bank tags depending on how you like to search Click on its options menu button just next to its sort arrow Using Ctrl click Windows or Cmd click Mac will allow you to select multiple elements in the same area 3 3 3 The Preset Info section The Info column on the right of the search field shows you information about any preset The information for User presets may be changed here Name Type Fa...

Page 34: ...3 4 Preset selection other methods The pull down menu to the right of the Search menu provides a different way to select presets The first option in this menu is called Filter and it will display the presets that fit the search terms you used in the Search field So if you searched for Love in the main search area the results of that search will appear here Similarly if you previously selected a Ty...

Page 35: ...lecting a preset by its Type Clicking on the name field in the center of the toolbar will show you a list of all available presets The list will also take into account any selections you have made in the Search field So if you have pre selected a Characteristic such as Funky this shortcut menu will only show you presets that match that tag The left and right arrows in the toolbar cycle up and down...

Page 36: ...ject 3 3 5 1 Add a playlist To create a playlist click the plus sign at the bottom Give the playlist a name and it will appear in the Playlists menu You can rename the playlist at any time just click the pencil icon at the end of its row 3 3 5 2 Add a preset You can use all of the options in the Search window to locate the presets you want to have in your playlist Once you have found the right pre...

Page 37: ...nel give access to 4 additional modules o The GALAXY module o The SEQUENCER module o The KEYBOARD module o The EFFECTS module To open the extension panel of the Jup 8 V click on the open button then choose one of the 4 available tabs 3 4 1 Overview of the Jup 8 V user interface The interface of the Jup 8 V has 54 synthesis parameters and a programmer that allows you to navigate quickly through the...

Page 38: ... modulations thanks to the interaction of 3 LFOs The first two LFOs allow inter modulation with a different parameter on the X and Y axes They are represented on the graphical interface of the unit A third LFO allows modifying the alpha angle between the 2 X and Y axes The GALAXY module 3 4 2 2 The SEQUENCER module The sequencer is accessible by clicking on the SEQUENCER tab situated on the expans...

Page 39: ... 3 4 2 4 The EFFECTS module The EFFECTS interface of the Jup 8 V 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 s...

Page 40: ...sonant 1 low pass resonant filter VCF 12 24dB oct 1 amplifier 2 envelopes dedicated to filter and amplitude modulations 1 LFO low frequency oscillator modulation section WHEEL MOD dedicated to the LFO 4 1 1 The oscillators VCO 1 and 2 There are two oscillators The oscillator controls the basic frequencies and timbres of the Jup 8 V with the frequency settings choice of waveform and the pulse width...

Page 41: ...es are indicated in feet referring to the sizes of the pipes of church organs WAVE Switch for the four waveforms o Triangle o Saw Tooth o Variable Pulse o Square CROSS MOD Knob to set the frequency rate of modulation between the frequencies of VCO 2 towards the frequencies of VCO 1 4 1 1 2 VCO 2 RANGE Switch the frequency range for VCO 2 RANGE choose between four octaves 16 8 4 2 LOW FREQ Switch f...

Page 42: ...ween 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 oscillator completes its period even if oscillator2 has not fully completed its current cycle this signifies that it is not tuned to the same tonality Here are some of the representations of the different waveform...

Page 43: ...Knob to set the volume for both oscillators CENTERED The mixer 4 1 3 The filter VCF The Jup 8 V has a filter that is an emulation of the original Jupiter 8 filter It is made up of two independent filter units 4 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 t...

Page 44: ...y 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 For hosts that allow linear control of knobs and sliders right click the mouse or Command click on Mac for additional precision...

Page 45: ...R 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 For a conventional setting of the keyboard follow place the knob in the middle value 1 00 The cutoff frequency of the filter can be modul...

Page 46: ... The amplifier s volume is directly affected by envelope 2 ADSR2 4 1 5 The ADSR Envelopes The ADSR envelopes allow several parameters to be controlled with the help of the keyboard as a trigger You will find two envelopes on the Jup 8 V 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 envelo...

Page 47: ...r envelope1 o If the switch is on the top the envelope polarity is positive this is the more common way to use an envelope o 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 Origin...

Page 48: ... 1 as a source for the pulse width modulation The VCO modulator section 4 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...

Page 49: ...ORTAMENTO select Switch to use the portamento o Connection Section UPPER UPPER ONLY o Connection PORTAMENTO OFF o Connection Sections LOWER et UPPER ON Destination connections 4 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 ben...

Page 50: ...ws the connections that are necessary to make the arpeggiator work It allows performance of patterns of notes in a particular order evolving according to the notes played In SPLIT mode the arpeggiator only works with the lower part of the keyboard In DUAL MODE the arpeggiator works on both parts of the keyboard The pattern development is possible to control with two parameters RANGE Choose the ran...

Page 51: ... 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 holdi...

Page 52: ... 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 Key modes 4 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 dynami...

Page 53: ...SYNC ON OFF Synchronization to an external MIDI clock Q Subdivision of MIDI tempo to adjust the speed of the sequencer in MIDI Sync mode 1 2 1 4 1 4T 1 8 1 8T 1 16 1 16T 1 32 1 32T 1 64 1 128 Mode Playingmodes of the sequencer o FORWARD Playing the sequence forward o BACKWARD Playing the sequence backward o FORWD BACKWD Playing the sequence forward and backward o RANDOM Playing the sequence random...

Page 54: ...ailable for editing the sequence o Pencil drawing of the values of the steps o Line drawing of the values of the steps in line o Eraser Delete certain values and settings o Noise Automatically create a sequence o Reset Reset the sequencer STEPS The steps They contain bi directional values positive or negative LENGTH To set the length of the sequence 32 steps maximum LINK Link the selected step wit...

Page 55: ...are available for the sequencer For each of them the following destinations are available DESTINATION Choice of available modulation destinations o None Nothing is connected o VCO1 Pitch VCO1 FREQUENCY o VCO2 Pitch VCO2 FREQUENCY o VCO1 PW Pulse width of the square wave form of VCO1 o VCO2 PW Pulse width of the square wave form of VCO2 o HPF Cutoff Frequency of the high pass filter o VCF Cutoff Fr...

Page 56: ...O RATE Knob to set the modulation frequency of the LFO ANGLE Knob to set the rotation angle of the X Y axis manually 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 VCO1 PW Pulse width of the square wave form of VCO1 VCO2 PW Pulse width of the square wave form of VCO...

Page 57: ... the EFFECTS tab situated in the extension panel 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 o...

Page 58: ...tween the original signal 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 KEY FOLLOW VELOCITY AFTERTOUCH ENVELOP...

Page 59: ... 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 high 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 frequenc...

Page 60: ...4 Phaser 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 e...

Page 61: ...d 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 KEY FOLLOW VELOCITY ...

Page 62: ...und 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...

Page 63: ...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 FEEDK L 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...

Page 64: ...ing the REVERB effect The Reverb effect 4 5 4 Dual Phaser The Phaser unit provides a classic phasing sound similar to analog effects used in the 70 s SWEEP GENERATOR 1 2 Selection of the waveforms for the modulations of phasers 1 and 2 o Sin o Square o Saw o 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 s...

Page 65: ...ARTURIA Jup 8 V USER MANUAL 65 Dual Phaser ...

Page 66: ...urchases from the Arturia Online Store please contact Arturia on the internet website www arturia com support askforhelp purchase 1 5 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 t...

Page 67: ...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...

Page 68: ...e 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 ...

Page 69: ...ns 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 ...

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