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There is no MIDI output for the keyboard. Before anything else, make sure that the MIDI device is correctly connected to the computer, and that the sequencer or the standalone Jupiter- 8V 2. The button and menu provide access to MIDI assign functionalities. The left part of the button activates the MIDI learn mode, while the right part small down arrow opens the control management menu.

The button remains highlighted to indicate that the "learn mode" is ON. The message "Unassigned" will then be displayed. Continue selecting the parameters you want to map to create a complete configuration. This will open a popup: A new entry for your configuration now exists in the list of available configurations. You may now fill in this initially empty configuration by performing the assignment operations described in the previous section.

A popup opens: This allows you to limit how much the controller will affect the parameter on Jupiter-8V 2. This allows you to change many parameters with one fader or knob. The sound map also offers a brand new interface for creating new sounds thanks to morphing feature works between four presets. The Sound Map offers three views: Let's have a deeper look in the Sound Map different views: The icon is now highlighted in red.

If you hold a few seconds on the selected preset, a popup appears and indicates the name of the preset. Four red arrows drawing a cross appear linking the group of four presets. The sound of the Jupiter-8V 2. Get closer to a preset to make the synth sound like this preset does. The green arrow shows you the starting point of your motion.

In this way it is very easy to quickly get some new and exciting sounds without programming anything on the synthesizer interface. On the top right of the Sound Map main interface, you can see an overview of this map. You can use the map overview for navigating into the map and to zoom in or out inside of the map area. Morphing between a group of preset: To zoom in the view on the sound map, click on the Zoom slider, under the overview window, and drag it towards the right to increase the size of the map. To zoom out the view on the sound map, click on the Zoom slider, and drag it towards the left to decrease the size of the map.

By default, all types of presets are selected. Then, select the type s you want to see by clicking on the corresponding square box es. A check appears on the selected box es and the type s of preset appears on the map interface. Show pad presets This is a good way to simplify and refine the preset search. You will be able to use those four presets on the COMPASS view to create new sounds by morphing feature see below for more details on this feature. Of course, you can save any kind of preset on these four snapshot memories.

Select a snapshot memory To save a preset on a snapshot memory: The snapshot memory button is now highlighted in red. Click on the LIST button The list preset interface is very simple; you can see four columns showing, from left to right: Instrument A.. The four presets are placed on the four cardinal points of the compass.

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Create a new sound o If you wish, you can save it on a User bank of the Jupiter-8V 2. Likewise, the 40 factory presets of the original machine are included these can not be deleted. The oscillator controls the basic frequencies and timbres of the Jupiter-8V with the frequency settings, choice of waveform, and the pulse width associated to the square waveform.

These settings are made either with various knobs static settings or by the means of the modulation sections. The oscillators can be tuned and edited separately. They allow selecting one of four waveforms on each oscillator. The two oscillators have some different waveforms. Whether tuned separately or when using several mixed waveforms, the two oscillators allow you to quickly obtain a rich variety of sounds. The unities are indicated in feet, referring to the sizes of the pipes of church organs WAVE Switch for the four waveforms: It is very useful to create breath effects flute tones for example or special effects like the sound of wind for example.

SYNC The synchronization between oscillators allows you to create very complex waveforms and overtones. When oscillator 2 is synchronized with oscillator 1, oscillator 2 will restart a new period every time the first 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!

It is made up of two independent filter units: The sound will become thinner. It is very useful to remove bass frequencies of a pad sound for example. It eliminates the frequencies situated above the frequency setting the cut off frequency. The resonance amplifies the frequencies near the cutoff frequency. Turn this knob toward the right, and the filter will become more selective.

At extreme settings, the sound will eventually begin to "whistle" as the filter begins to self-oscillate. Note that the filtering will be less strong with the filter type set on 12 dB instead of 24 dB. This is useful when trying to regulate the level of the cut off frequency precisely, for example. When in "circular" control mode, simply click on the knob and drag the mouse pointer out into a broader arc for a more precise setting. RES Knob to set the resonance of the filter. For a conventional setting of the keyboard follow, place the knob in the middle value 1. The cutoff frequency of the filter can be modulated by one of the two ADSR envelopes see the following chapter.

It can also be modulated by the LFO. The VCF 7. It allows setting the general volume of the Jupiter-8V. The amplifier's volume is directly affected by envelope 2 ADSR2. You will find two envelopes on the Jupiter When playing the keyboard, the envelopes will trigger and modify the way to sound will be heard.

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The ADSR envelope consists of 4 different parameters: The envelope's time settings are reversed: This type of polarity is very nice to create some inverted effects. It can be used to create a vibrato effect when the LFO modulates the frequency of an oscillator or a "wah-wah" effect when it modulates the cutoff frequency of the filter.

There is a white button to activate the LFO. When it is pressed, the modulation is activated. When it is raised, the modulation stops. Chooses the destinations that can be modulated by the LFO: Pitch bender movement towards the left: Switch to use the portamento: It will sound a little like the effect of a chorus. It allows performance of patterns of notes in a particular order, evolving according to the notes played.

The pattern development is possible to control with two parameters: The arpeggiator section The arpeggiator rate section 7. Button for selecting the Unison mode. The result is a rich harmonic sound. It sounds similar to a chorus effect. When the Unison mode is activated the patch is still polyphonic the amount of polyphony depends on the number of voices available The most natural polyphonic playing mode.

The envelopes are reinitialized by each note played. This mode allows holding the played notes on the LOWER part, effect is similar to a sustain pedal action. JL Only the volume envelope will be used by the hold function. That allows you to bring life to the sound while keeping the envelope free for the filter.

They are 3 selectable configurations that can be set to: The polyphony is then divided by two. The polyphony is then divided between the two selected programs. It allows the creation of several melodic lines when one of the three available modulations is affecting the pitch of the VCO as well as creation of dynamic modulations of other parameters such as the cutoff frequency of the VCF or the width of the VCO square waveform. Click on the "Modulations" tab, then, click on the "Sequencer" button to bring up the interface.

It consists of the necessary parameters to play and stop the sequence, MIDI synchronization, quantification and trigger "trigg" parameters: This parameter will be very useful to add "groove" to a sequence for hip hop music, for example. This unit is comparable to the one that is located on the very famous TB The possibility to edit the attack time was added to the original unit to allow more flexibility. Knob that controls the modulation amount of the accent to the low pass VCF Filter. Q Swing: Qr r Accent A: Edit tools Five tools are available for editing the sequence: They contain bi-directional values positive or negative.

Then choose the source "Sequencer" among the choices of sources of proposed modulations for the parameters of these effects, see paragraph "Voice Effects" for more details Three connection locations are available for the sequencer. For each of them the following destinations are available: Nothing is connected VCOl Pitch: Frequency of the high pass filter VCF Cutoff: Frequency of the low pass filter VCF Res: Resonance of the low pass filter VCA: Each of these 3 LFOs have two parameters: Three modulation outputs can be connected.

For each, the following modulation destinations are available: These effects can be modulated by sources of modulation such as the LFO or the envelopes. These combinations of effects and of modulations will bring an additional dimension to the original sound of the Jupiter Three modes of distortion are available: Soft Soft distortion comparable to setting an analog amplifier to the maximum volume. Hard Extreme distortion ideal for destructive lead sounds! 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: Distortion 7.

Bands 1 and 4 low and high are semi-parametric; bands 2 and 3 mid are fully parametric. Each of the parameters of the equalizer can be modulated by sources of modulation. The LCD screen allows you to graphically show the positions of each band. Parametric EQ 7. Ring Mod 7. The two modules are placed after the output of the VCA, and cannot receive external modulations. Delay St. Fk Reverb St. Phaser -: This effect is used on all types of sounds to add stereo space. This effect recreates the characteristics of the analog delays of the 70's, which are very popular today for their unique sound the famous "tape delays".

Of all forms of audio synthesis, subtractive is one of the oldest, and to this day, the most frequently employed by sound designers and musicians alike. This is due to the simplicity with which complex sounds can be created, over the more difficult types of synthesis, many of which employ elements of subtractive synthesis as well, such as low-pass filtering. As a basic overview to subtractive synthesis, one may consider any sound created, either in real life or on the synthesizer of your choice, as consisting of a number of sine waves, or harmonics grouped together. In subtractive synthesis, we start with a harmonically rich sound such as a saw wave, and through filtering, we remove the sine waves or harmonics that we do not want.

This as you can imagine is much more complex than turning a filter control knob! The Jupiter-8V you own shows some very good examples of the subtractive synthesis possibilities. It will generate the initial sound signal. We can think of the oscillator like a violin string that once stroked or plucked, vibrates to create its sound. Vt07 Oscillator Section on the Jupiter 8 The main oscillator settings are: The pitch determined by the oscillation frequency.

You can set the frequency of the oscillator with 3 controllers: Usually, on four octaves 16', 8', 4', 2'. The unities are indicated in feet, referring to the sizes of the pipes of church organs. The Jupiter-8 also has a "LOW" range to set the oscillator2 to low frequencies.

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This parameter gives a bit more life to your sound when you use several oscillators simultaneously, due to difference in frequencies between the oscillators. The waveform determines the harmonic richness of the audio signal. On the Jupiter-8V 2. Its sound is ideal for brass sounds, percussive bass sounds or rich pad sounds. Pulse width variation creates a spectrum modification that cannot be duplicated with subtractive filtering.

It is very low in harmonics odd only and can be very useful for creating sub basses, flute sounds, etc It produces only a single harmonic, referred to as "the fundamental". It can be used to reinforce the low frequencies of a bass sound or as a modulation of the frequency in order to create harmonic waveforms. This wave form is available on VC If for example, you synchronize oscillator2 with oscillatorl, oscillator2 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!

The more you tune oscillator2 upwards, the more you will encounter composite waveforms. If you introduce a square or sawtooth signal, the result can be quickly distorted For this reason, the noise module is used to create different noises like the imitation of wind or special effects.

White noise is the richest of noises. Pink noise is also regularly present on synthesizers. It is less rich in the high frequencies than white noise. With the mixer of the Jupiter-8V: The mixer has no modulation input. Therefore this setting is to be done manually. The Mixer ofJupiterSV 8. It is this module that we use to control the sound by filtering by removing or subtracting certain frequencies, which explains the name given to this type of synthesis the harmonics situated around a cut- off frequency.

It can be considered to be a sophisticated equalizer that reduces, depending on the filter type, a range of frequencies of a sound. The removal of undesirable frequencies at the cut-off frequency is not done suddenly but progressively, depending on the filtering slope. Let's have a look at some of its properties: It eliminates frequencies below the cut-off frequency. The High-pass filter on the Jupiter-8 is non resonant. Depending on the settings we will hear the sound becoming more or less "brilliant", more or less "dampened". This is the type of filtering that you will find most often on synthesizers that use subtractive synthesis.

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It can be found on most of the recent analog and digital synthesizers. The resonance is able to amplify frequencies close to the cut-off frequency. Then the other frequencies remaining are either unchanged below the cut-off frequency or reduced above the cut-off frequency. Resonance will also cause the frequencies below cut-off to be reduced, which is one factor in the resonance sounding more pronounced.

When you increase the resonance, the filter becomes more selective, the cut-off frequency is amplified, and the sound will begin to "ring" at higher settings. At this stage, the use of a key follow is very important as you can create a melody by tuning the cut-off frequency of the filter with the frequency of the oscillators.

This will "play" the sound as soon as a key is pressed and end it when released, as well as tune the oscillator to the selected key. If you do not use a MIDI keyboard, you can also play on the virtual keyboard of the JupiterSV, but your MIDI sequencer will not record those actions, it is for auditioning presets and programming only. The oscillator delivers a sound signal the audio output of a waveform of a fixed pitch in a continuous manner. In the diagram above, the only way to control this sound is to lower the filter cut-off frequency so that it becomes more and more damp until it finally disappears; or simpler yet, lower the volume of the amplifier.

The most common modules developed use 4 settings that we can vary: Amplitude Attacf Di? In other words, you won't hear the pitch of its sound. It will create a cyclic modulation on the setting to which it is connected. This will produce a tremolo effect. These tones are classified from simple to complex, and are organized in 3 parts: While starting off with a basic preset, you will make a polyphonic violin sound that is typical for this synthesizer. After that, you will approach the programming of a richer sound complex modulations, cross modulation It will be simply composed of four elements: Figure 1 shows you the position of the different knobs.

As you will notice, the sound is very basic and not very alive when you play a note. In fact, this very simple preset continuous and brilliant is our starting point for the sound design. This waveform is very rich in harmonics and will be perfectly suitable to create the violin sound.

Change the range of this oscillator by octave. The sound will become more alive. That will allow you to return to a softer sound. You will hear the effect that the envelope will produce on the filter. The maximum level of the cut off frequency is thus reduced. Now it is set to modulate the width of the square with the LFO. The achieved effect will be comparable to a chorus effect. Thomas Save the sound 9. We are going to use the galaxy module and the arpeggiator to modulate the sound. This preset will contain: Then play a chord on your MIDI keyboard. An arpeggio will be heard. Take values around "0.

This will be placed between the VCO and the filters. Take a value around "0. Setting of the St fx Delay Now you can save your preset to be able to use it later. This will be used together with Galaxy unit and the St Delay effect to create rich and complex rhythmic effects. This will be a starting point for our third preset.

Q VI A: Click on the left side of the bar situated on the top of the programming window. For example set it to 8 steps. Galaxy completes the sequence played by the step sequencer to finish your sound. Finally the preset consists of: We hope that they have allowed you to discover a part of the possibilities that the Jupiter-8V offers. But do not hesitate to do your own experimentations. This is the fastest way to master the Jupiter- 8V and create original sounds.

You can open one or several instruments, and play directly with the help of a master MIDI keyboard or external sequencer on a separate computer. You can also double-click on a previously saved document in order to open the corresponding configuration of the Jupiter-8V2 application. This window allows you to configure the global preferences of the Jupiter-8V application.

These are saved automatically. Windows only: Note that a high sampling frequency will demand increased processor performance on your computer. Be careful with this setting, as a latency setting that is lower than your system can support can cause unwanted artefacts in the sound. We can now make Jupiter-8V sounds by playing with the mouse on the virtual keyboard. See the Pro Tools menu for more information on plug-in connection.

For example, if you are working on a preset "PI" in which you have modified the parameters without saving them in the plug- in itself , the next time you open the session, Jupiter-8V will charge the "PI" preset plus the modifications. Nevertheless it is highly recommended to use the internal Jupiter-8V 2. Please consult the instruction manual of your host sequencer for more specific information. Set Timecode at Cursor Notepad ct Setup OS Fades Settings Pluglns V5T 7.

V51 CV2 10 voice datube. See the picture below for more details on how this is accomplished. Cubase asks you directly if you wish to create a midi track for the new inserted VSTi. The events played on a MIDI keyboard are recorded by your host sequencer, and now you can use the MIDI editing possibilities of the sequencer to control any parameter with Jupiter-8V 2. For instance, if you were working on a "PI" preset in which you have modified parameters without saving them as a separate voice in the plug-in itself , at the next opening of the piece, Jupiter-8V will load the "PI" preset and the modifications.

The drop-down menu in which the VST sequencer allows you to save a new preset is of course usable with Jupiter-8V 2. However, it is highly advised to use the Jupiter-8V 2. If it happens that one of the Arturia plug-ins poses a problem in Logic, start by checking that this plug-in has passed the compatibility test, and that it is actually selected for use.

In order to make the graphic interface of Jupiter-8V appear, double-click on its name in the "Synth Rack" window. For example, if you were working on the preset "PI" at which time you modified the parameters without saving them in the plug-itself , the next time you opened the piece, Jupiter-8V will load the preset "PI" plus the modifications. See your Sonar documentation for more details on the plug-in automation.

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