Arturia JUPITER-8V 2 User manual

ARTURIA – JUPITER-8V – USER’S MANUAL
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USER’S MANUAL
2.0

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PROGRAMMING:
Nicolas Bronnec
Fabrice Bourgeois
Gavin Burke
Vincent Travaglini
Jean–Michel Blanchet
Philippe Wicker
Cristian Krein ler
Damien Van erbeyvanghe
Thomas Diligent
MANUAL:
Thomas Diligent (English version)
Christiaan e Jong (English version)
Houston Haynes (English version)
Richar Phan (English version)
Jean-Michel Blanchet (French version)
Antoine Back (French version)
Kenta Sasano (Version japonaise)
Kiriko Ishi a (Version japonaise)
Tomoya Fukushi (Version japonaise)
DESIGN:
Yannick Bonnefoy (Beautifulscreen)
Elisa Noual
SOUND DESIGN:
Jean–Michel Blanchet
Thomas Binek (Tasmo ia)
Stephan Muësh (Rsmus7)
Celmar Engel
Ruff & Jam
Katsunori Ujiie
Sato Fujimori
Richar James
Nori Ubutaka
© ARTURIA SA – 1999-2010 – All rights reserve .
4, Chemin e Malacher
38240 Meylan
FRANCE
http://www.arturia.com
Information containe in this manual is subject to change without notice an oes not represent a commitment
on the part of Arturia. The software escribe in this manual is provi e un er the terms of a license
agreement or non- isclosure agreement. The software license agreement specifies the terms an con itions for
its lawful use. No part of this manual may be pro uce or transmitte in any form or by any purpose other than
purchaser’s personal use, without the express written permission of ARTURIA S.A.
The mark “Jupiter-8V” an “Rolan ” are property of Rolan Corporation. The Jupiter-8 interface is also owne
by Rolan Corporation, the esign an mo el being registere tra emarks. All other pro ucts, logos or
company names quote in this manual are tra emarks or registere tra emarks of their respective owners.

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Th ha an nk k o ou u f fo or r p pu ur rc ch ha as si in ng g t th he e A AR RT TU UR RI IA A J Ju up pi it te er r- -8 8V V! !
In this package you will fin :
• This paper manual for the Jupiter-8V
• One CD-ROM containing the Jupiter-8V installer for MAC OSX an Win ows XP/Vista/7
• The registration Car
Carefully store your car !
In or er to be able to use the software, you have to register your pro uct. By registering,
you i entify yourself as the legitimate owner an will be sure to receive the latest news
an up ates for your pro uct. After registration, you will receive a user ID an passwor
in or er to access a protecte 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 up ates or new pro uct offers.

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Ne ew w f fe ea at tu ur re es s i in n J Ju up pi it te er r- -8 8V V 2 2. .0 0
If you alrea y own Jupiter-8V, version 2 inclu es the following changes:
• “Soun Map” graphical preset browser a e
• RPN “pitch ben range” message is now recognize
• NRPN mi i controls can be use for automation
• Increase of overall volume
• Switche to eLicenser Protection
• Fixe issue relate to mo ulation wheel in Pro Tools (MAC OSX)
• Fixe issue relate to triangle signal amplitu e
• Miscellaneous fixe issues

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Ta ab bl le e o of f c co on nt te en nt ts s
1 INTRODUCTION 8
1.1 Rolan /Jupiter-8 Story 8
1.2 TAE
®
12
1.2.1 Aliasing-free oscillators 12
1.2.2 A better repro uction of analog oscillator waveforms 12
1.2.3 Direct Filter Circuit Mo eling 14
2 INSTALLATION 15
2.1 Notes about software protection an the installation 15
2.2 Win ows Installation 15
2.3 Mac OS X Installation 18
3 AUTHORIZATION 19
4 QUICK START 25
4.1 Structure of the Jupiter-8V 25
4.2 Using the presets 26
4.2.1 Selecting the presets 26
4.2.2 E iting the presets 28
4.3 The 4 main parts of the Jupiter-8V 29
4.4 Overview of the Jupiter-8V user interface 30
4.5 The (A vance ) Mo ulations section 32
4.5.1 Creating a melo ic sequence with the SEQUENCER 33
4.5.2 Create progressive mo ulations with the GALAXY unit 35
4.5.3 Control parameters with the Keyboar unit 37
4.6 The Effects 38
4.7 The “Patch” section of the effects 40
4.7.1 The chorus 40
4.7.2 The elay 41
4.8 Realtime controllers an MIDI assign 42
5 A UNIQUE SYNTHESIZER, WHY ? 44
5.1 The Rolan Jupiter-8 44
5.2 The Arturia Jupiter-8V 44
6 THE INTERFACE 46
6.1 Tool bar 46
6.2 Using the presets 47
6.2.1 The types of presets 47
6.2.2 Selection of a preset PATCH or PROGRAM 47
6.2.3 Creating a new preset 50
6.2.4 Save a user preset 50
6.2.5 Save a user preset using the “Save as” option 50
6.2.6 Delete a preset 51
6.2.7 Import / Export a preset bank 51
6.3 Using the controllers 52
6.3.1 Knobs 52
6.3.2 Buttons 53
6.3.3 Switches 53
6.3.4 Pitch Ben wheel 53

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6.3.5 Mo ulation button 54
6.3.6 Virtual keyboar 54
6.3.7 LCD Screen 54
6.3.8 MIDI Control 55
6.3.9 The preference screen 55
6.4 The Soun Map 56
6.4.1 The MAP main interface 57
6.4.2 The Soun Map overview 58
6.4.3 The LIST preset manager 61
6.4.4 The COMPASS morphing interface 62
7 THE DIFFERENT MODULES 64
7.1 The original Jupiter-8 64
7.1.1 The oscillators (« VCO 1 an 2 ») 65
7.1.2 The mixer (“VCO1 / VCO2”) 67
7.1.3 The filter (“VCF”) 67
7.1.4 The Amplifier (“VCA”) 69
7.1.5 The ADSR Envelopes 70
7.1.6 The LFO 71
7.1.7 The VCO mo ulator 71
7.1.8 The LFO MODULATION, PORTAMENTO an BEND section 72
7.1.9 The pitch ben wheel an LFO MOD button 73
7.1.10 The Master Tune section 73
7.1.11 The arpeggiator (“ARPEGGIO”) 74
7.1.12 The keyboar assign section (“ASSIGN MODE”) 74
7.1.13 The play mo es selection (“KEY MODE”) 75
7.2 Step Sequencer 76
7.2.1 The transport 76
7.2.2 E it the sequence 77
7.2.3 Outputs 78
7.3 Galaxy 79
7.4 Voice Effects 80
7.4.1 Chorus /Flanger 80
7.4.2 Distortion 81
7.4.3 Parametric EQ 82
7.4.4 Phaser 83
7.4.5 Ring Mo 84
7.5 Patch Effects 85
7.5.1 Chorus/Flanger 85
7.5.2 Stereo Analog Delay 86
7.5.3 Reverb 87
7.5.4 Dual Phaser 87
8 THE BASICS OF SUBTRACTIVE SYNTHESIS 89
8.1 The main elements 89
8.1.1 The Oscillator or VCO 89
8.1.2 The Mixer 93
8.1.3 The filter or VCF 93
8.1.4 The amplifier or VCA 96
8.2 Other mo ules 96
8.2.1 The keyboar 96
8.2.2 The envelope generator or ADSR 97
8.2.3 The low frequency oscillator 98
8.3 Mo ules of the Jupiter-8V 99
9 SOME ELEMENTS OF SOUND DESIGN 100
9.1 A polyphonic violin preset ma e with the Jupiter- 8 V 100

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9.2 Arpeggiate soun s 103
9.3 A sequence with the Jupiter-8V 107
10 MODES OF OPERATION 111
10.1 Stan -alone 111
10.1.1 Launching the Stan -alone application 111
10.1.2 Preference Configuration 111
10.2 Using a VST an Au io Unit instrument in Ableton Live 112
10.3 RTAS - Pro Tools 113
10.3.1 Utilization of the plug-in 113
10.3.2 Connection to a MIDI channel 114
10.3.3 Saving the presets 115
10.3.4 Automation un er Pro Tools 115
10.4 Cubase VST 116
10.4.1 Instrument use in VST mo e 116
10.4.2 Rescan the plug-ins irectory in Cubase 116
10.4.3 Connection to a MIDI track 117
10.4.4 Saving of presets 117
10.5 Logic & Au io Unit (Max OSX only) 117
10.5.1 Use in Logic Au io 117
10.6 Sonar VST (Win ows only) 119
10.6.1 Opening the instrument (Sonar) 119
10.6.2 Connection to a MIDI track 119
10.6.3 Save the presets 120
10.6.4 Automation 120
10.7 Use in Digital Performer 120

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1 INTRODUCTION
1.1 R OLAND /J UPITER -8 S TORY
The history of Rolan is intimately tie to the personal story of its foun er, Mr Ikutaro
Kakehashi.
When he was just 16 years ol , the young Mr Kakehashi notice there was no watch or
clock in ustry in post-war Japan. He therefore un erstoo there was a thriving business
to evelop repairing existing timepieces.1
Mr Kakehashi foun a part-time job in a watch repair store, but he quickly felt frustrate
with the pace at which things were progressing. In the tra itional Japanese organization
of work, becoming a master in any technical area woul take a seven-year
apprenticeship. Consequently he left after a few months, bought a book on how to repair
watches an set up the “Kakehashi Watch Shop”.
This first venture happene to be so successful that he quickly eci e to expan an
turn his enthusiasm for music into business. It became legal at that time to have a short-
wave ra io an to listen to foreign broa casts. While he scanne the airwaves for new
music, Mr Kakehashi learne the basics of how ra ios operate . He then use broken
sets to create working units. His repair shop starte to repair broken ra ios in a ition to
clocks an watches.
1 It is remarkable that a man name Mr Torakusu Yamaha ha also starte out as a watch repairer. In fact the
same is true of Matthias Hohner, the foun er of Hohner. Even the Hammon Organ Company starte out as a
sub- ivision of the Hammon Clock Company.

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In 1954 Mr Kakehashi opene an electrical goo s an repair shop by the name of
“Kakehashi Musen”. - Later the name was to be change to Ace Electrical Company. His
initial goal was to pro uce an electronic instrument capable of generating simple
monophonic melo ies, an so he en e up buil ing a Theremin. Looking for a new
challenge, he later built a four-octave organ using parts from a ree organ, bits of
telephones, an simple transistor oscillators. In 1959, he esigne an built a Hawaiian
guitar amplifier, but he also went on with his further organ evelopments.
On the 18th of April 1972, Mr. Kakehashi establishe the Rolan Corporation.
The first synthesizer from Rolan was also Japan's first synthesizer. The SH1000 came to
the market in 1973, just before the Korg 700 i . It was a remarkable instrument,
offering 10 preset tones selectable from colore tabs. You coul a vibrato, growl an
portamento to mo ify the soun .
The System 100, launche in 1975, is another Rolan monosynth that woul become
sought-after long after pro uction stoppe . The System 100 consiste of five semi-
mo ular pro ucts. These were the 101 Synthesizer, the 102 Expan er, the 103 Mixer
(inclu ing a simple reverb), the 104 Sequencer, an the 109 Monitor Speakers. These
units fit together to pro uce a system that soun e really interesting.
The first results from 1976's expansion in the evelopment team, le to an explosion in
Rolan 's pro uct range. There were more synthesizers, a piano, more speaker systems
an some now-classic instruments that inclu e the Jupiter-4 Compuphonic polysynth.
The Jupiter-4 was the company's first true polysynth. It use Rolan 's tra emark chorus
an three Unison options that ma e it a powerful monosynth. There also was an
excellent arpeggiator.

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By the en of the 1970s, Rolan establishe itself as a major manufacturer, an in 1981
Mr. Ikutaro Kakehashi opene four new companies in three months. Rolan UK, Rolan
GmbH an Musitronic AG in Switzerlan . He also establishe a new Japanese ivision
calle AMDEK (Analogue Music Digital Electronics Kits)
Back to the early 80’s, the Prophet 5 an Oberheim OB series ominate the polyphonic
synthesizer market. Having that in min the Jupiter-8’s success, initiate in 1981, took
every one by storm.
But what ma e the Jupiter-8 so successful? Well, in terms of sonic possibilities, it
complemente its competition by bringing something ifferent. The Jupiter-8 was capable
of creating very versatile soun s. You coul easily make “fat” or “crystal” soun s with it.
In fact, the Jupiter-8 soun e the way it looke , ‘sleek an polishe ’. Offering oscillator
sync, cross mo ulation, a switchable 12 B/24 B filter an polyphonic portamento, the
soun esign opportunities were en less. You coul easily save an loa patches via its
cassette interface. Even a superb arpeggiator was inclu e . An last but not least, the
Jupiter 8 was more reliable than its competition, an the soun was more consistent
from mo el to mo el. Therefore it was very attractive for stage an stu io use. In 1982,
Rolan release an upgra e Jupiter-8, the JP8A. It upgra e the Jupiter-8 with a
number of enhancements inclu ing an improve DAC with a higher resolution of the
auto-tuning system from 12- to 14-bit, plus a brighter LED screen. The Jupiter-8 has
become one of the most revere of all synthesizers.
The electro-pop community became quickly convince by the qualities of the Jupiter-8.
“Relax” by Frankie Goes to Hollywoo was pro uce incorporating a Jupiter 8, an
players such Vince Clarke, Howar Jones, John Foxx, an Martyn Ware were also using it.
The path to classic status of the Jupiter starte there.
Other artists that have use The Jupiter-8 inclu e: Tangerine Dream, Un erworl , Jean
Michel Jarre, Depeche Mo e, Prince, Gary Wright, A rian Lee, Heaven 17, Kitaro, Elvis