Arturia JUP-8V User manual

ARTURIA –Jup-8 V –USER MANUAL 1
USER MANUAL

ARTURIA –Jup-8 V –USER MANUAL 2
Direction
Frédéric Brun Kevin Molcard
Development
Stefano D'Angelo
Baptiste Aubry
Corentin Comte
Baptiste Le Goff
Pierre-Lin Laneyrie
Valentin Lepetit
Samuel Limier
Germain Marzin
Mathieu Nocenti
Pierre Pfister
Benjamin Renard
Design
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.
11 Chemin de la Dhuy
38240 Meylan
FRANCE
http://www.arturia.com

ARTURIA –Jup-8 V –USER MANUAL 3
Table of Contents
1INTRODUCTION ................................................................................................................. 6
1.1 Roland/Jupiter-8 Story ........................................................................................................................... 6
1.2 A unique synthesizer, Why? ................................................................................................................ 10
1.2.1 The Roland Jupiter-8....................................................................................................................... 10
1.2.2 The Arturia Jup-8 V ......................................................................................................................... 11
1.3Arturia’s secret ingredient: TAE®........................................................................................................ 12
1.3.1 Aliasing-free oscillators ................................................................................................................... 12
1.3.2 A better reproduction of analog oscillator waveforms................................................................. 13
1.3.3 Direct Filter Circuit Modeling .......................................................................................................... 14
2ACTIVATION AND FIRST START ...................................................................................... 16
2.1 Register and Activate.......................................................................................................................... 16
2.2 Initial setup............................................................................................................................................. 16
2.2.1 Audio and MIDI settings: Windows................................................................................................. 16
2.2.2 Audio and MIDI settings: Mac OS X ............................................................................................... 19
2.2.3 Using JUP-8 V in plug-in mode........................................................................................................ 19
3USER 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 numbers .................................................................................................................................27
3.2.9 MIDI controller configuration.......................................................................................................... 28
3.2.10 The lower toolbar............................................................................................................................ 28
3.2.10.1 Current control value ............................................................................................................................................ 28
3.2.10.2 Midi Channel Setting ............................................................................................................................................. 29
3.2.10.3 Panic button and CPU meter .............................................................................................................................. 29
3.2.10.4 Play Mode............................................................................................................................................................... 29
3.2.10.5 Unisson ..................................................................................................................................................................... 30
3.2.10.6 Maximum polyphony ............................................................................................................................................ 30
3.3The Preset Browser................................................................................................................................ 31
3.3.1 Searching presets ........................................................................................................................... 32
3.3.2 Using tags as a filter........................................................................................................................ 32
3.3.3 The Preset Info section.................................................................................................................... 33

ARTURIA –Jup-8 V –USER MANUAL 4
3.3.4 Preset selection: other methods..................................................................................................... 34
3.3.4.1 Selecting a preset by its Type .............................................................................................................................. 35
3.3.5 Playlists ............................................................................................................................................ 36
3.3.5.1 Add a playlist.......................................................................................................................................................... 36
3.3.5.2 Add a preset........................................................................................................................................................... 36
3.3.5.3 Re-order the presets .............................................................................................................................................. 37
3.3.5.4 Remove a preset ................................................................................................................................................... 37
3.3.5.5 Delete a playlist...................................................................................................................................................... 37
3.4The two main parts of the Jup-8 V.................................................................................................... 37
3.4.1 Overview of the Jup-8 V user interface ......................................................................................... 37
3.4.2 Overview of the (Advanced) Modulations section....................................................................... 38
3.4.2.1 The GALAXY module ............................................................................................................................................. 38
3.4.2.2 The SEQUENCER module....................................................................................................................................... 38
3.4.2.3 The KEYBOARD module......................................................................................................................................... 39
3.4.2.4 The EFFECTS module .............................................................................................................................................. 39
4THE DIFFERENT MODULES IN DETAILS ........................................................................... 40
4.1 The original interface........................................................................................................................... 40
4.1.1 The oscillators (“VCO 1 and 2”) ..................................................................................................... 40
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................................................................................ 49
4.1.10 The Master Tune section................................................................................................................. 50
4.1.11 The arpeggiator (“ARPEGGIO”)..................................................................................................... 50
4.1.12 The keyboard assign section (“ASSIGN MODE”) ........................................................................... 51
4.1.13 Play mode section The play modes selection (“KEY MODE”)....................................................... 52
4.2 Step Sequencer.................................................................................................................................... 52
4.2.1 The transport................................................................................................................................... 53
4.2.2 Edit the sequence .......................................................................................................................... 54
4.2.3 The edit section of the sequencerOutputs .................................................................................... 55
4.3 Galaxy .................................................................................................................................................... 56
4.4 Voice Effects ......................................................................................................................................... 57
4.4.1 Chorus / Flanger ............................................................................................................................. 57
4.4.2 Distortion ......................................................................................................................................... 58
4.4.3 Parametric EQ ................................................................................................................................ 59
4.4.4 Phaser ............................................................................................................................................. 60
4.4.5 Ring Mod......................................................................................................................................... 61

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

ARTURIA –Jup-8 V –USER MANUAL 6
1INTRODUCTION
Arturia would like to thank you for purchasing our synthesizer model: the Jup-8 V.
We are confident it will prove to be an extremely valuable addition to your music
production studio. If you’ve purchased our products before, you know we pride
ourselves in faithfully recreating the sound and feel of the original instruments, down
to the smallest detail. Jup-8 V is no exception to this rule.
And if this is the first of our products you have owned, you are in for a treat! The
synthesizer upon which this model is based was the absolute pinnacle of analog
synthesizer technology at the time, light-years ahead of the competition.
1.1 Roland/Jupiter-8 Story
The history of Roland is intimately tied to the personal story of its founder, Mr Ikutaro
Kakehashi.
When he was just 16 years old, the young Mr Kakehashi noticed there was no watch
or clock industry in post-war Japan. He therefore understood there was a thriving
business to develop repairing existing timepieces.
1
Mr Kakehashi found a part-time job in a watch repair store, but he quickly felt
frustrated with the pace at which things were progressing. In the traditional
Japanese organization of work,becoming a master in any technical area would
take a seven-year apprenticeship. Consequently, he left after a few months,
bought a book on how to repair watches and set up the “Kakehashi Watch Shop”.
This first venture happened to be so successful that he quickly decided to expand
and turn his enthusiasm for music into business. It became legal at that time to have
a short-wave radio and to listen to foreign broadcasts. While he scanned the
airwaves for new music, Mr Kakehashi learned the basics of how radios operated.
He then used broken sets to create working units. His repair shop started to repair
broken radios in addition to clocks and watches.
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.

ARTURIA –Jup-8 V –USER MANUAL 7
In 1954 Mr Kakehashi opened an electrical goods and repair shop by the name of
“Kakehashi Musen”. - Later the name was to be changed to Ace Electrical
Company. His initial goal was to produce an electronic instrument capable of
generating simple monophonic melodies, and so he ended up building a
Theremin. Looking for a new challenge, he later built a four-octave organ using
parts from a reed organ, bits of telephones, and simple transistor oscillators. In 1959,
he designed and built a Hawaiian guitar amplifier, but he also went on with his
further organ developments.
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, 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.

ARTURIA –Jup-8 V –USER MANUAL 8
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.
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-

ARTURIA –Jup-8 V –USER MANUAL 9
tuning system from 12- to 14-bit, plus a brighter LED screen. The Jupiter-8 has
become one of the most revered of all synthesizers.
The electro-pop community became quickly convinced by the qualities of the
Jupiter-8. “Relax” by Frankie Goes to Hollywood was produced incorporating a
Jupiter 8, and players such Vince Clarke, 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.

ARTURIA –Jup-8 V –USER MANUAL 10
In 1984 there was the introduction of three synthesizers: the Juno 106, the JX8P and
the JX10P. The last one was the replacement for the Jupiter-8. Unfortunately, the
JX10 was never destined for the same success as the Jupiter 8.
It was the introduction of COSM and the “V” products in 1995 that set the future
direction for Roland. Mr. Kakehashi and his teams had 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 A unique synthesizer, Why?
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 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

ARTURIA –Jup-8 V –USER MANUAL 11
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 one of the most revered of
all synthesizers.
The electro-pop community became quickly convinced by the qualities of the
Jupiter-8. 'Relax', by Frankie Goes to Hollywood was produced incorporating a
Jupiter-8, and players such Vince Clarke, John Foxx, Howard Jones and Martyn
Ware also used it enormously. The path to classic status of the Jupiter started there.
1.2.2 The Arturia Jup-8 V
Aside from recreating the original in every aspect, the Jup-8 V adds many new
functions which make it even more attractive to use. The Jup-8 V 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 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 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 Jup-8 V with
even more sonic power. Two « PATCH « effect modules are available on the end of
the synthesis chain. The 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.

ARTURIA –Jup-8 V –USER MANUAL 12
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

ARTURIA –Jup-8 V –USER MANUAL 13
1.3.2 A better reproduction of analog oscillator waveforms
The waveforms produced by the oscillators in analog synthesizers are affected by
the presence of a capacitor in the circuits. The discharge of a capacitor results 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 of the “sawtooth” waveform of a hardware synthesizer

ARTURIA –Jup-8 V –USER MANUAL 14
Temporal representation of a “sawtooth” waveform reproduced by TAE®
What’s more, the hardware analog oscillators were unstable. In fact, their
waveforms vary slightly from one period to another. If we add to this the fact that
the starting point for each period (in Trigger mode) can vary with the temperature
and other environmental conditions, we see why vintage synthesizers have such a
typical sound.
TAE®reproduces the instability of oscillators, resulting in a fatter and “bigger” sound.
1.3.3 Direct Filter Circuit Modeling
Due to advances in computer processing power, TAE® 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.
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 are due to the non-linear behavior
inherent to their analog circuitry. Anomalies such as these add to the richness and
warmth of the sound produced by the filter.
But you’ll notice there are two lines on the graph: Those are the superimposed
frequency domain plots for both one of Arturia's virtual instruments and the
hardware filter being emulated. They are practically indistinguishable, both on the
graph and to the human ear. The direct recreation of this analog circuitry causes
the same characteristics of the sound to be present, thus giving the user a truly
analog sound.

ARTURIA –Jup-8 V –USER MANUAL 15
Comparison of harmonics generated by the filter circuits in self-oscillation
of TAE®and a hardware synthesizer
So here’s the bottom 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.

ARTURIA –Jup-8 V –USER MANUAL 16
2ACTIVATION AND FIRST START
2.1 Register and Activate
JUP-8 V works on computers equipped with Windows 7 or later and Mac OS X
10.8 or later. You can use the stand-alone version or use JUP-8 V as an Audio
Units, AAX, VST2 or VST3 instrument.
Once JUP-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 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
2.2.1 Audio and MIDI settings: Windows
At the top left of the JUP-8 V application is a pull-down menu. It contains
various setup options. Initially you will need to go to the menu and choose the
Audio Settings option to get sound and MIDI flowing in and out.

ARTURIA –Jup-8 V –USER MANUAL 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.

ARTURIA –Jup-8 V –USER MANUAL 18
Audio and MIDI settings window
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 to route audio out. If you only have two outputs, only two will
appear as options. If you have more than two you can select a specific
pair of outputs.
The Buffer Size menu lets you select the size of the audio buffer your
computer 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 you are getting
clicks, try raising the buffer a little. The latency is displayed on the right
hand side of this menu.
The Sample Rate menu lets you set the sample rate at which audio is
sent out of the instrument. The options here will depend on the capability
of your audio interface hardware though even most computers’ own
hardware can operate at up to 48kHz which is perfectly fine. Higher
sample rates use more CPU power so unless you have a good reason to

ARTURIA –Jup-8 V –USER MANUAL 19
go up to 96kHz, then 44.1k or 48k is usually fine. The Show Control Panel
button will jump to the system control panel for whatever audio device
is selected.
Play Test Tone helps you to troubleshoot audio issues by confirming
whether sound can be heard through the correct device.
Your connected MIDI devices will appear in the MIDI Devices area. Click
the check box to accept MIDI from the device you want to use to trigger
the instrument. In standalone mode, JUP-8 V listens for all MIDI channels
so there’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 as described in the
Windows section.
2.2.3 Using JUP-8 V in plug-in mode
JUP-8 V comes in VST, AU and AAX plug-in formats for use in all major DAW
software such as Cubase, Logic, Pro Tools and so on. You can load it as a plug-
in instrument and its interface and settings work the same way as in standalone
mode, with a couple of differences.

ARTURIA –Jup-8 V –USER MANUAL 20
You can automate numerous parameters 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.