USER MANUAL _JUP-8 V4
Special Thanks DIRECTION Frédéric Brun Kevin Molcard DEVELOPMENT Yann Burrer Raynald Dantigny Timothée Behety Antoine Moreau Marie Pauli Corentin Comte Mathieu Nocenti Markus Bollinger Alessandro De Cecco Pierre-Lin Laneyrie Simon Conan Kevin Arcas Stephano D'Angelo Alexandre Adam Loris De Marco Geoffrey Gormond Samuel Limier Baptiste Aubry Cyril Lepinette Rasmus Kürstein Edouard MADEUF Shaun Ellwood Philipp Roller Baptiste Legoff Florian Rameau Morgan Perrier Victor Morello Dav
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 reproduced or transmitted in any form or by any purpose other than purchaser’s personal use, without the express written permission of ARTURIA S.
Thank you for purchasing JUP-8 V4! This manual covers the features and operation of Arturia’s JUP-8 V4, the latest in a long line of powerful virtual instruments. Be sure to register your software as soon as possible! When you purchased JUP-8 V4 you were sent a serial number and an unlock code by e-mail. These are required during the online registration process. Special Messages Specifications Subject to Change: The information contained in this manual is believed to be correct at the time of printing.
Introduction Congratulations on your purchase of Arturia's JUP-8 V4! We’d like to thank you for purchasing JUP-8 V4, a virtual instrument recreation of the classic Roland Jupiter-8 synthesizer, which took the polyphonic synthesizer market by storm in 1981. It was the absolute pinnacle of analog synthesizer technology at the time, light-years ahead of the competition. It was more reliable than its contemporary competition, with a more consistent sound was from unit to unit.
Table Of Contents 1. ACTIVATION & FIRST START.................................................................................................................................. 3 1.1. Computer system requirements .................................................................................................................................. 3 1.2. How to Install and Activate the JUP-8 V4 on your computer .................................................................. 3 1.2.1.
5.7.2. Noise modulation...................................................................................................................................................................................................... 38 5.7.3. Using VCO-2 as an LFO ....................................................................................................................................................................................... 38 6. HPF and VCF Filters, VCA, and Envelopes ...........................
1. ACTIVATION & FIRST START 1.1. Computer system requirements Before installing JUP-8 V4, make sure that your computer hardware and operating system meets these minimum specifications: Windows 8.1 or later (64bit) • 4 GB RAM; 2.5 GHz CPU • 1GB free hard disk space • OpenGL 2.0 compatible GPU Apple macOS 10.13 or later • macOS 10.13 or later • 4 GB RAM; 2.5 GHz CPU • 1GB free hard disk space • OpenGL 2.
Click on the My Products icon. Depending on how you bought the software, the product has already been dropped into your account, or you need to enter the Serial Number and Unlock Code delivered with your instrument. If you want to activate the instrument on a computer that doesn't have internet access, that's OK. On a different computer that does have online access, click on the Activate Product on an Offline Machine link for the procedure.
1.3. How to select the instrument's MIDI input and audio outputs (standalone mode) If you're going to use JUP-8 V4 as a standalone application (that is, not use it as an instrument plugin in a digital audio workstation like Pro Tools, Cubase, Digital Performer, etc.) you need to connect JUP-8 B to your computer's MIDI interface and audio interface. Here's how: 1.3.1. Audio and MIDI settings: Windows At the top left of the JUP-8 V4 stand-alone application window is a pull-down menu.
Starting from the top you have the following options: • Device lets you choose which audio driver you want to use to route sound out of the instrument. This might be your computer’s own driver like Windows Audio, or an ASIO driver. The name of your hardware interface may appear in this field. • Output Channels lets you select which of the available outputs will be used for audio out from the software. If you only have two outputs, only two will appear as options.
1.3.2. Audio and MIDI settings: macOS In an Apple Macintosh computer, the process is very similar to initial setup for Windows and the menu is accessed in the same way. The difference is that macOS 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 as described in the Windows section. In the upper left corner, click and scroll down to select Audio Settings.
2. QUICK START: HOW TO PLAY JUP-8 V4 PRESETS Now that all that computer stuff is out of the way, it's time to get familiar with your instrument. Assuming you want to hear the Jupiter as quickly as possible, this chapter is a shortcut to get you started without getting bogged down in details. A more complete explanation of the new Arturia Preset Browser is in Chapter 10 [p.79] Preset Browser. 2.1. Sections of the visual interface The layout of the JUP-8 V4 screen is very intuitive.
The easiest way to audition the many sounds of the JUP-8 V4 is to click on one of the preset options in the upper toolbar: 2.2.1. Scrolling through presets using the upper toolbar Click on the down arrow in the upper toolbar to recall the next preset in the list. Click on the up arrow to recall the previous preset in the list. Click on the Preset Name field to display a list of different types of presets (or, ALL TYPES).
Now that you've chosen the Type, the up and down arrows will scroll only through the presets of that type. They will scroll in alphabetical order if the "random button" (the crossed arrows to the right of the down arrow) is off (gray) and in random order if the random button is on (red). To display all the presets in memory again, select ALL TYPES. You may be wondering at this point, how those types are assigned, and how to save your own patches. The answer lies in the... 2.2.2.
2.2.2.1. Scrolling Presets Designer, or randomly by Name, Favorite, Type, or The default order is by Name of preset, in alphabetical order. The up/down arrows will scroll through the list as displayed. You can change the order of the list in several ways: • Click on the heart icon to put your favorite presets at the top of the list. • Click on the upward pointing triangle of the NAME column heading to reverse the alphabetical order (from Z to A).
2.2.3.2. Import Import is the command when you want to add a patch to your JUP-8 V4 library from outside your studio, or from an archive. You can import a single preset, an entire bank of presets, or a playlist. This command will bring up a popup directory window for your computer; simply navigate to a valid file (it MUST be in the .jup4x format) and click Open. This lets you share sounds between systems and with other users. 2.2.3.3.
3. QUICK TOUR OF THE ARTURIA JUP-8 V4 Now that we've covered the basics of recalling presets, let us explain a few more basic toolbars and controls you need to know about, before we dive into the details of making your own sounds. When you're ready to learn more about these features, we suggest starting with How Analog Synthesis Works [p.28]. 3.1. How to display the Advanced Panel In the last chapter, we focused on the left side of the Upper Toolbar. Now let's look at the right side.
Select any of the four subpanels by clicking on the one you want to see on the left side of the panel. In the screen shot above, the MODULATIONS panel is active and highlighted in red. All four Advanced modules are active, as shown by the red "on" switch in each section. You can click on any switch icon to turn off or bypass that subpanel without having to recall it to the screen. More details on these features can be found in the Advanced Panel [p.46] section. 3.2.
3.2.1. Settings 3.2.1.1. Global Settings: MIDI Channel This data field determines which MIDI channel(s) the JUP-8 V4 will "listen" to. The default is All (e.g., Omni mode). In this mode, any MIDI messages on any MIDI channel will play the sounds of the JUP-8 V4. To set the JUP-8 V4 to respond to its own individual channel, choose a value from 1 to 16. Open this tab to set the MIDI channel (1-16, or ALL) that the JUP-8 V4 will respond to. 3.2.1.2.
3.2.1.3. Poly (Polyphony control) JUP-8 V4 allows a maximum polyphony (voices that can be playing at the same time) of 16 voices. A higher voice count is also more CPU-intensive, so this menu gives you the option to limit the number of voices to ease the workload on your computer. This setting is stored independently with each preset, so you can limit one preset to 4 voices and another to 16, depending on the needs of the preset.
3.2.3. Macro This tab of the right sidebar is where you assign the four Macro knobs on the lower right corner of the window to specific destinations of the JUP-8 V4. There are four macro controls. They allow you to control several parameters at once by turning a single knob. Their default names are Brightness, Timbre, Time, and Movement, but you can rename them as needed. In the illustration above, the Time macro will increase the decay and release times of both envelopes at once.
To see the current assignments of each Macro, click the left or right arrows to cycle among the four macros. To add a control to a Macro, click the + Add control at the bottom of the window. Then click on any fader, knob or switch in the display that is marked in purple. Set the range you want by clicking and dragging in the Min and Max fields, or by typing a number in them. To rename a Macro, simply click in the name field and type.
3.3. Top panel general controls Some important controls are on the top panel above the virtual keyboard: 3.3.1. Volume The rotary control on the lower left side of the control panel is the master volume control for the JUP-8 V4. Click and drag the knob to select a value within the range of +0 to -60 decibels (dB). Double-click the knob to reset the volume to its default value of -15.0 dB. The VOLUME is saved with each patch.
3.3.4. Pan Spread This controls how much width there is in the stereo output of the JUP-8 V4. When fully counter-clockwise (0) the signal is centered (mono); when fully clockwise (10) the stereo spread is at its widest. In Poly mode, the first note played is centered, the second hard left, the third hard right, the fourth half left, etc. In Unison Classic mode, the voices are spread across the stereo field in fixed values so that there is a good balance no matter how many notes you play. 3.3.5.
If you have an AZERTY keyboard, the layout goes like this: Letter Q Z S E D F T G Y H U J K O L Note C C# D Eb E F F# G Ab A Bb B C C# D To shift the AZERTY playing range up an octave: Press the letter "X" To shift the AZERTY playing range down an octave: Press the letter "W." 3.4.2. Parameter help and value popups When you hover the cursor over a control, its name and description will appear in this lower left-hand corner of the window.
3.4.4.1. LFO MOD VCO and VCF switches and faders These allow you to control the range of the MOD wheel's effect on the pitch or timbre of the sound. • To send the LFO to the VCOs, the switch must be in the ON position and the fader must be up. At its highest setting, the vibrato will span two octaves when MOD is all the way up. • To send the LFO to the VCF, same story.
3.4.5.1. Rate and Hz/Sync switch These two controls determine the speed of the arpeggio. When the switch is in the Hz position, as shown above, the rate is adjustable from 0.1 to 50 Hz. When the switch is in the SYNC position, the rate is adjustable from 1/2 to 1/64th of the current tempo, with 1/4 equaling one beat. The tempo is set externally by the computer either in the Audio MIDI Settings or incoming MIDI clock, or, when run as an instrument plugin, by the DAW's tempo setting. 3.4.5.2.
3.4.6. VOICE ASSIGN These switches change the voice allocation style of the JUP-8 V4. The JUP-8 V4 has up to 16-note polyphony in either POLY mode. The first generations of analog synthesizers were monophonic: they could play only one note at a time, and there are times when that style is called for. The VOICE ASSIGN buttons let you select how you want to use the voices as follows: 3.4.6.1.
3.4.6.4. POLY 2 (Reset) In this polyphonic playing mode, a note played cuts the release of the previous note played and released. The difference is most noticeable when envelopes have long release times. For example, with a long release if you play a C3, release it, then play a E3, the release of C3 is cut instantly. This leads to less clutter when playing notes and chords with long release times. The total polyphony in either POLY mode is set in the right toolbar's Settings menu.
3.4.8.2. Undo, Undo History, and Redo Whenever you make a change to a setting, it is recorded in the Undo History and the Undo arrow (pointing to the left) becomes active. If you don't like the last change you made, click the Undo arrow to return it to its previous setting. Change your mind and want to "undo the undo"? Click on the right arrow, which is now active, and click on that.
Well, that's it. We've explained everything you need to know about the Arturia JUP-8 V4, if you're only going to play the library of preset sounds. That's perfectly fine. You can ignore the dozens of other controls if you want. Really, you don't need to know what a VCO or a VCF is. Just don't touch anything else. We're kidding! Now we'll explain all those other, more interesting switches and knobs on the top panel in the next chapters.
4. HOW ANALOG SYNTHESIS WORKS If you’ve never programmed an analog synthesizer before, here’s a basic explanation of how the different controls of the Jupiter 8 relate to each other. It may seem complicated at first glance, but actually the controls on the top panel are arranged in a very logical way. Once you understand these basic concepts you’ll be able to make your own sounds on almost any analog synthesizer, since most classic analog synthesizers use a similar structure. 4.1. What each module does 4.
4.1.3. VCA Stands for Voltage-Controlled Amplifier. The signal passes through this after the filter section; controls the final output level over time. It’s the last step in the signal path. The VCA “opens and shuts the door” on the signal based on how the ADSR controls of ENV-2 are set. If the VCA LVL control is at zero, or if ENV-2 controls (A, D, S) are all at zero, no sound will come out of the Jupiter-8.
Below is a simplified flow chart of how this all fits together “under the hood” of the JUP-8 V4. 4.3. VCOs generate the sound When you press a key or keys, it tells the oscillators what basic pitches or notes to generate; it also sends a trigger to the envelopes telling them to start their attack. The basic pitch of each VCO can be modulated, if you want, by the LFO directly, or by the LFO when you increase the MOD wheel (notice the two orange arrows pointing at the top of the VCOs).
4.4. VCF (Voltage Controlled Filter) filters the sound Next comes the VCF, where the real fun begins. The VCF has the power to “open or shut” the low-pass filter, depending on the settings of the VCF's CUT Control and the input from either ENV-1 or ENV-2 as selected by the 2-position switch between them. Like the Oscillators, the VCF can receive LFO modulation either directly, or via the MOD wheel. 4.4.1.
4.6. Summary That's the basic flow of signal within the JUP-8 V4. As long as you keep these concepts in mind, you'll be able to craft a sound that's right for your project: • The oscillator modules generate the basic sound; everything after that in the chain is dependent upon the sound they originate. • The filters have the ability to take away or filter certain parts of the audio spectrum generated by the oscillators. The VCF will also stop the signal in its tracks entirely when it is closed.
5. VCOS The top-panel modules VCO-1 and VCO-2 make up the oscillator section of JUP-8 V4. This is where the sound starts. Here, you select the waveforms for each VCO, set their pitch, what modulates their pitch (if anything), and how the two VCOs interact with each other. 5.1. VCOs 1 and 2 There are two oscillators to each voice. When the VOICE MODE is set to 16-note polyphony, that's a total of 32 oscillators that may sound at one time.
5.3. VCO-1 Controls • RANGE: Sets the frequency of VCO-1 to one of four octaves 16', 8', 4', 2'. (The octaves are indicated in feet, referring to the length of the pipes of pipe organs; a 4-foot pipe sounds an octave higher than an 8-foot pipe). Double-click the control to set it to the default of 8' (middle C = middle C).
5.5. About waveforms Each kind of waveform has its own unique harmonic content. Understanding the difference between them will help you know which one to select for your purpose. A sine wave, such as the one in VCO-2, has only a single fundamental frequency, with no harmonic overtones at all (although that's an ideal that real-world synthesizers don't achieve perfectly). A sine wave's timbre doesn't change when it's filtered; it can only be made louder or softer.
Here is an image of the spectral content of the above waveform: Notice that the fundamental frequency is the loudest, and the even harmonics (2nd, 4th, 6th harmonics are all much softer than the odd harmonics (3, 5, 7, 9 etc.) and there are many, many of them. As you raise the PWM control, the pulse width gets narrower and narrower, the wave looks less like a square and more like a spike; the fundamental and lower harmonics get softer and higher harmonic frequencies get louder.
Notice that the first 12 or so harmonics are about equal and much lower than in the spectrum of the wide pulse width wave; the odd harmonics aren't louder than the even ones, and even the fundamental is down at the same level. So, there’s not as much bottom end to the sound; it’s not as “fat”, but it’s also less harsh, and you can hear something like comb filtering going on at the high end. The magic happens in-between these two extremes.
5.7. CROSS The CROSS fader in VCO-1 controls how much VCO-2 will cross-modulate VCO-1. This may be used for frequency modulation-type effects, noise modulation, or low-frequency modulation. 5.7.1. Frequency Modulation Frequency modulation is a dramatic synthesizer technique that adds multiple overtones to the sound by modulating VCO-1 with VCO-2. Technically, it generates sum, difference, and multiple frequencies between the two generators.
6. HPF AND VCF FILTERS, VCA, AND ENVELOPES Once the oscillators have generated the sound, and have been balanced by the SOURCE MIX control, they now proceed through the filter section and the final amplifier section, which typically use envelopes to shape the dynamics of the sound over time. 6.1. HPF (High Pass Filter) This is a non-resonant -6 dB per octave high-pass filter. It gently eliminates low frequencies below its cutoff frequency, while letting high frequencies pass through.
6.2. VCF (Voltage Controlled Filter) This is an emulation of the original Jupiter-8 filter, a major factor of the JUP-8 V4's sound. It is a resonant low-pass filter (LPF) with a switchable slope of -12 or -24 dB per octave; these slopes are much steeper than the slope of the HPF. At -24 dB, when the cutoff frequency is set around middle A, low A will be less than half as loud, and the octave below that will be almost inaudible. Its filtering is more powerful than most loudspeaker crossover networks.
• ENV-1 / ENV-2: This switch selects whether the envelope MOD source for the VCF cutoff will be ENV-1 or ENV-2; ♪: If you want the VCF to have the same attack curve as the VCA, choose ENV-2. That would leave ENV-1 free to provide a different frequency and/or pulse width modulation in the VCO MODULATOR. • LFO MOD: This fader sets the level of modulation by the top-panel LFO. Use this parameter to make a wah-wah or switching or sample-and-hold effect.
6.4. Envelopes The Envelopes generate a container for the sound, shaping them over time each time you touch, hold, and release any key on the keyboard. You will find two envelopes on the JUP-8 V4: • ENV-1 is typically used as a filter envelope that modulates the cutoff frequency of the VCF (and can be used as a pitch or PWM envelope for the VCOs) • ENV-2 is typically dedicated to provide an amplitude envelope to open and close the VCA.
7. LFO AND VCO MODULATOR CONTROLS Now that we've covered the envelopes, let's look at the left side of the top panel, which is dedicated to producing and sending modulations to various destinations. 7.1. LFO (Low-Frequency Oscillator) The top-panel LFO is typically used to create a vibrato effect (when the LFO modulates the frequency of one or both VCOs, which are "audio frequency oscillators") and/or a “wah-wah” effect (when it modulates the cutoff frequency of the filter).
In either case, the "LED" above the RATE fader will blink to indicate the speed of the LFO. • DELAY TIME: this sets a delay time between the time a key is pressed and the LFO rises to full effect. At the bottom setting of 0 milliseconds, there is no delay. Double click on DELAY to set it to this. The maximum delay time is 3.8 seconds.
• ENV to FREQ: Raise this fader when you want the pitch of the VCO(s) selected by the switch to the right to follow the attack/decay/sustain/release curve of ENV-1. A pitch envelope modulates the frequency of the waveform over time. If there is no pitch envelope (that is, if all the envelope ADSR controls are off, or if ENV to FREQ fader is set to zero) each key will play its normal pitch.
8. ADVANCED PANEL When the Roland Jupiter 8 synthesizer was introduced in 1982, digital signal processing was in its infancy; a digital reverb processor (like the Yamaha Rev-7) cost as much as a small synthesizer. Visual display technology was dominated by 2x16 alphanumeric displays; having a full graphic screen on a synthesizer was unheard of, except in the Fairlight/ Synclavier category.
8.1.1.1. To select an LFO Waveform: The current waveform and its speed is shown on an oscilloscope display of the window. Click on the name of the wave under the LFO wave display, and make a selection from the menu: 8.1.1.2. LFO 2 and 3 controls • Single/Cycle: In Cycle mode, the LFO operates normally, continually generating the selected waveform. In Single mode, the LFO generates only one complete waveform starting when you play the first key after a release, then stops until triggered again.
• Retrig: When this retrigger field is on, the LFO will restart from zero each time you play the first key after all keys are released. • Rate (Herz or Sync): This determines the speed of the LFO. Double-click the knob to set it to its default value of 1 Hz, or 1/4 in Sync mode. There are four different ways to set the speed of the LFO: • Hertz: sets the LFO rate in a range of 0.01 to 200 Hz (cycles per second), independent of tempo.
49 • Warp: This control, when turned either direction from the 12:00 position, intentionally distorts the phase of the LFO wave, at the extreme settings turning it into a spike. Depending on the LFO wave, the positive or negative setting of Warp determines whether the "resting" pitch will be sharp or flat. • Fade: Turn this knob clockwise to introduce a gradual fade-in of the LFO level when you play a key. The range is from 0 milliseconds (no fade in, immediate action) to 20 seconds.
8.1.2. Modulation Mixer The right half of the Advanced Modulations screen allows you to combine any two modulation sources with any of six different mathematical operations, and send them in varying degrees to three different destinations. It gives you powerful creative control of how and when modulations occur, and includes live performance inputs like velocity, aftertouch, and mod wheel. The best way to understand how this works will be to provide a simple example.
The color-coded lines of the display give you a clear idea of what's going on: 51 • The long yellow line is the slow sine wave from LFO 2. • The orange line is the faster sawtooth wave from LFO 3. • The red "small sawtooth" is the result, the actual output of the Modulation Mixer. 1. Turn the SOURCE MIX knob counter-clockwise so you hear only VCO-1, and play any key on the keyboard. 2. Slowly move the Mod Mixer Amount knob (next to "Sum") up and down between 1.00 to 0.
8.1.2.2. Mixer formulas The formulas used to calculate each Type are displayed below in a single chart to see how each formula differs from the others.
Make your selection from the pulldown menu, then turn the knob to the right (clockwise) for a positive modulation, or to the left (counter-clockwise) for a negative modulation. Doubleclick the knob to set it to the default "12:00" (zero, no modulation) position. 8.1.2.4. FX as Modulation Mixer Destinations In the pulldown menu above, the last six destinations involve the three effects (FX) we will cover later in the Effects section, but they bear some extra explanation here. The labels "FX 1" etc.
To play the sequencer simply turn the master Sequencer and Notes Sequencer's power switches on (red) and hold any key(s) on the keyboard. The Notes Sequencer is an offset generator that will play its melody according to the keys you press: each step of the sequence is defined not as a particular note (like "A♭") but as an interval: "7 semitones above whatever key(s) are being played". 8.2.1. Notes and Mod Sequencer shared parameters The following controls affect both sequencers simultaneously: 8.2.1.1.
8.2.1.2. Retrig (Retrigger) When Retrig is lit, the sequence will restart from the beginning whenever you play the keyboard after you've released all notes. If you play legato, it will not retrigger. When Retrig is off, the sequencer continues going through its steps at all times. Playing the keyboard will "jump in" to whatever step the sequencer is currently on. 8.2.1.3.
8.2.1.6. Sequence Length You can change the length of the sequence to any value you wish between 1 and 32. The Notes Sequencer and the Mod Sequencer may be set to different lengths. To change the length, the sequencer must be turned on. In the bar of step numbers from 1 to 32, click on the small red left-facing triangle and drag it in either direction. the Notes Sequence length has been set to 12. Notes to the right of 12 will not be played 8.2.2.
8.2.2.1. Scale On the right side of the Notes sequencer screen, click on the pulldown menu next to Scale to see your available options: The Sequencer step values will select from the Natural Minor scale. At the bottom outlined in red are the notes that would be available from the C minor scale, just for clarification: any note on the keyboard will play its own particular Major key There are 15 possible scales to choose from. In Chromatic scale, any semitone can be selected.
8.2.2.3. Accent Below the Trigger row is the Accent row. Clicking on any of these blocks will turn it white, and that step will be accented by an independent envelope that opens the VCF, (provided that the filter isn't already open from an envelope, or its CUT being set wide open). The sound of the accent depends on the settings of the Accent Decay and Env Amt controls on the right side of the Sequencer window (above Scale). Turn the Env Amount clockwise to start accenting the notes.
8.2.3. Mod Sequencer To see the Mod Sequencer in the Sequencer Window, click on its tab. To turn it on, click on the power icon on the right side of the tab to turn it red. The Mod Sequencer is similar in operation to the Notes Sequencer, except that instead of sending out note messages in semitones, it sends out a sequence of modulation values that can be varied from -1.000 to +1.000 for each step.
8.2.3.2. Mod Sequencer destinations The three pulldown menus and associated knobs on the right side send the Mod Sequencer output to three different destinations in varying amounts: • If the knob is in the "12:00" position (like the Unison Detune destination in the illustration above), no modulation will be sent even though a destination is chosen. • Turn the knob to the right to send a normal output level (e.g.
8.3. Keyboard This page of the Advanced Panel allows you to map four different performance inputs (Velocity, Aftertouch, Mod Wheel, and Keyboard Tracking) to 3 modulation destinations each. Each input can be shaped by a bezier curve that you can customize for the purpose: In the illustration above: • Velocity is mapped to the VCA, with a curve that will increase the volume the harder you play. This makes the JUP-8 V4 velocity-sensitive.
♪: Keep in mind that if you simply want to reverse a curve, e.g. if you want the Mod Wheel to slow down the Sequencer Rate instead of speeding it up, you could leave the curve as it is and turn the Destination knob counter-clockwise from the center "12:00" position. • A bowed curve means the Keyboard source will be multiplied (bowed up) or divided (bowed down) for part of its travel.
The signal flows from left to right. First in line is a Parametric EQ; its Dry/Wet fader is "all wet" because it's the kind of effect that should NOT be mixed with the original "dry" signal. Effect 2 is a Chorus; last in line is Effect 3, a Reverb. These two have Dry/Wet faders set to about 50% to mix the signal from the previous module with their own output. Notice that each module has its own On/Off or Bypass switch in its upper right corner.
8.4.4. Editing the effects Each effect has its own parameters, which will be described in the following sections. ♪: When you hover your cursor over an effect control, the numerical value for the parameter is displayed in a text bubble next to the control, and the name of the control is displayed in the lower tool bar on the left side. 8.4.4.1. Reverb A Reverb effect creates a large number of echoes that gradually fade or "decay". It simulates how the input would sound in a room or a large space.
8.4.4.2. Delay A delay can increase the spaciousness of a sound by providing distinct echoes within the stereo field. It can also be used as a rhythmic counterpoint to accentuate a groove. The Delay Time Sync options let you synchronize the delays with tempo and any other synchronized parameters of the JUP-8 V4, and even allow delays in triplet and dotted times. Control Delay Time and Sync (Binary, Ternary, Dotted) Feedback HP Freq LP Freq 65 Description Changes the length of the delay, from 2 ms.
8.4.4.3. Chorus A Chorus delays the signal, then uses an internal low-frequency oscillator (LFO) to vary the playback speed of the delay, throwing the delayed signal out-of-tune with the input, like vocal doubling. The amount of change in pitch depends both on the depth of the delay range being scanned, and the speed and waveform of the modulating LFO.
8.4.4.4. Flanger Flanging works by mixing two nearly-identical signals together, with one signal delayed by a small and gradually changing period. This produces a swept “comb filter” effect as the delayed signal adds and subtracts from the original due to phase cancellation at multiple frequencies simultaneously. Control Description Stereo Switches the flanger output between mono and stereo. LP Freq HP Freq that will enter the flanger effect. Double-click to set to the default of 13 kHz.
8.4.4.5. Phaser A phaser uses a steep multipole filter whose frequency can be modulated by an LFO, sweeping across the spectrum of the input, causing that familiar “whooshing” sound. It is similar to flanging, but is filter and phase-based instead of time-based. Control Sync (Binary, Ternary, Dotted) Description If Sync is lit, it synchronizes the LFO Rate with master tempo clock in a range from 4 bars/ cycle to 32 cycles/bar.
8.4.4.6. Overdrive The Overdrive effect will add a certain "fuzziness", deliberately distorting the sound. The tone control will adjust the brightness of the output. This is modeled after a "solid-state" circuit being distorted. Control Drive Sets the overdrive amount. Appears as a Mod Destination in the Advanced Modulations window and Mod Sequencer. Tone Adjusts the high frequencies of the sound, smoothing it or adding a harsher edge.
8.4.4.7. Compressor A compressor is an automatic level control. If a signal rises above a certain level (the threshold), the compressor lowers the signal output to compensate (at low Ratios) or won’t let it rise at all (high Ratios, also called “limiting”). It is generally used to help maintain a consistent level of sound, though there are many other ways to use it. For example, it can keep the attack transients of a sound from overloading the input of the next effect.
8.4.4.8. BitCrusher This is a digital distortion effect that operates by lowering the word length (bit depth) and downsampling the digital signal, introducing noise, aliasing, and dulling the frequency response. This is what happens when good digits go bad. Parameter Description Bit Depth Sets the number of bits from 16 (no effect) to 1.5, lowering the resolution and increasing noise.
8.4.4.9. Multi Filter In LP (Low pass filter) mode with a slope of 36 dB/octave and a fairly high resonance This analog filter model inserts a filter with selectable slope and adjustable resonance into the FX chain. It can act in low pass, high pass, band pass, and two comb filter modes. Each pass filter is available in 12, 24, and 36 dB per octave slopes.
8.4.4.10. Parametric EQ This is a five-band parametric equalizer. Parametric means that each band of the EQ can be adjusted in 3 different parameters: Gain, frequency, and Q (sometimes referred to as bandwidth). • Two of the bands are shelving EQs, so called because their frequency chart looks like a shelf. The LS stands for Low Shelving: it raises or cuts all the frequencies on the low end by the same amount, like a conventional "bass" control.
8.4.4.11. Stereo Pan This effect pans the signal back and forth from left to right in varying depths and speeds. Parameter Amount Description Determines the amount of swing from left to right. At low levels, the signal is close to the center; at maximum, it pans from hard left to hard right. Controls the speed of stereo panning, in conjunction with the Rate Pulldown menu. Appears as a Mod Destination in the Advanced Modulations window and Mod Rate Sequencer.
8.4.5. Modulation Mixer FX Parameters When you select an effect for any of the slots, its name will appear in the list of Mod Mixer Destinations. For example, if you select Reverb as FX 1, the Mod Mixer Destinations will list "Reverb 1 Dry/Wet" and "Reverb 1 Decay" as destinations.
9. DISPERSION The DISPERSION section with the trimpot "cover" open.Dispersion preset 1 shows some pitch variance, and low levels of pulse width, envelope, VCF cutoff and resonance, and modulation dispersion Sometimes minor imperfections in an instrument give it soul and character. The strings of a piano are never perfectly in tune, and the way each hammer strikes its own string is unique. So it was with analog synthesizers.
The three preset dispersion modes are arranged basically in increasing amounts of dispersion from left to right. • Mode 1 is shown in the picture at the beginning of this section. It is the most subtle of the bunch, roughly equivalent to the slight drift just after calibration. The pitch of successive voices will be only slightly different from each other (in a range of about ± 5/100ths of a semitone, 5 cents), and the other settings are very moderate.
RESO (Resonance) introduces differences to the VCF RES setting on different voices. This dispersion effect is most audible on presets with relatively high RES settings. MOD varies the modulation amounts from the VCO MODULATOR sources (LFO 1 and ENV-1 to VCO frequency, LFO to PWM) and to VCF CUT from LFO 1, Envelopes, and BEND VCF, introducing subtle variations in modulation amounts from the top panel controls. This does not affect modulations coming from the Advanced Panel.
10. THE PRESET BROWSER The Preset Browser is where you can search through all of the presets. Open the Preset Browser by clicking the library symbol on the toolbar. To close the Preset Browser and return to the main screen, click the "X" that appears in the Toolbar. To narrow down your choice and help you find the sounds you want, you can enter keywords in the search bar.
10.2. Playlists In the lower left corner of the Preset Browser window is a feature titled Playlists. This is used to collect presets into collection groups, such as a set list for a particular performance or a set of presets related to a particular studio project. 10.2.1. Add a playlist To create a playlist, click the + New Playlist button. Give the playlist a name and it will appear in the Playlists menu. To rename the playlist at any time, double click on the name. 10.2.2.
11. SOFTWARE LICENSE AGREEMENT In consideration of payment of the Licensee fee, which is a portion of the price you paid, Arturia, as Licensor, grants to you (hereinafter termed “Licensee”) a nonexclusive right to use this copy of the SOFTWARE. All intellectual property rights in the software belong to Arturia SA (hereinafter: “Arturia”). Arturia permits you only to copy, download, install and use the software in accordance with the terms and conditions of this Agreement.
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