The Jupiter-8V is the newest addition to the family Arturia’s analog synthesizer recreations. Offering the unique sound palette of the Roland Jupiter 8, this virtual version is a sound designer’s dream.
Based on the latest version of TAE®, the Jupiter-8V also offers a host of modern features: an advanced step sequencer, a line of dynamic effects, a module combining LFO’s (called Galaxy), and lots more…
MAIN FEATURES:
- More than 400 high quality and innovative sounding presets
- Up to 32 voices of polyphony, and a Unison mode
- A unique audio structure featuring 2 oscillators per voice (16 oscillators in total), 2 LFO’s, 2 filters and 2 envelopes.
- Keyboard split and layer
- A set of Analog Sounding Effects: Dual Delay, Phaser, Flanger, all three being largely modulable by any audio source in the synth.
- 2 digital effects, X and Y.
- Additional Live-oriented Step-sequencer, additional Galaxy module for advanced modulations
- Set to Control with your external MIDI keyboard in just a few clicks.
- Full compatibility with major formats and hosts on Mac OS X and Windows XP (VST, AU, RTAS)
VERSION 2.0 FEATURES:
- A revolutionary preset navigation system called SoundMap
- Ability to use NRPN midi messages for automation
- Presets now respond to modulation wheel
- Fresh batch of presets made by a selection of top sound designers
- MIDI RPN "pitch bend range" message is now recognized
- Increase of overall volume
- New e-licenser (old Syncrosoft) copy protection
- Numerous bug fixes
A LITTLE BIT OF HISTORY...
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’.
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 as Vince Clarke, 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, Devo, Freddy Fresh, Simple Minds, Jan Hammer and BT.
AN ACCURATE RECREATION OF THE ROLAND JUPITER-8
The legacy of the Roland Jupiter synthesizers is due to their unique voice architecture and design, creating sounds that were so unreal that they have to be heard. For many musicians, no other synths in the world can create analog sounds as cool and as authentic as these.
- The Jupiter-8 offers a very interesting combination of a high-pass non resonant filter and a low-pass resonant filter.
- The arpegiator and the keyboard split make it a remarkable performance keyboard.
- Fast envelopes and precise oscillators confer to the Jupiter-8’s sounds its famous versatility.
You can easily make 'phat' or ‘Crystal’ sounds with it.
INNOVATIVE ADDITIONS
With the Jupiter-8V Arturia brings this magic back while adding an updated generation of features, opening a unique and contemporary sound palette:
The Galaxy allows the user to choose from different LFO types and intertwine them together into a single unique modulation source, giving an evolving element to the sound of the Jupiter 8.
The Jupiter's step sequencer is also an assignable modulation source, which allows for easily generated patterns to be used to control the many interesting parameters of the sound.
Jupiter-8V Effects In addition to the step sequencer and Galaxy modulation sources, each voice now has its own suite of creative effects, which can be inserted into the main synthesizer signal path in each voice. Key parameters from each effect can be modulated by chosen sources, adding a contemporary dimension to the traditional subtractive synthesis sound of the original Jupiter 8.
True Analog Emulation
TAE is "True Analog Emulation" - Arturia's exclusive technology which accurately reproduces, tone, waveshape, tuning and other detailed characteristics of an analog synthesizer.
What are the main characteristics and advantages of the TAE technology ?
Better reproduction of analog oscillators
TAE recreates the characteristics of analog oscillators in amazing detail. The transparency and clarity of Arturia’s analog synthesizer emulations give the musician a freedom to be inspired by classic sounds or explore new textures with the expectation that previous limitations of digital oscillators will not interrupt the creative flow.
Better reproduction of analog filters
Filters are a major element in substractive sound synthesis. It is important to reproduce the exact characteristics of analog filters in the digital domain, as well as the individual characteristics of classics instruments that give them each their characteristic sound.
Implementation of soft clipping
Soft clipping can give the sound more punch and deeper basses, together with limiting the amplitude of the sound. It is another important point that gives analog synthesis its sound and "attitude".
Better Reproduction of Analog Oscillators
TAE oscillators are very similar to their analog counterparts for several important reasons.
One of the main reasons is that they are "free", i.e. they are not sampled or wavetable based - or generated from a 0-point when a note is played. Each waveform generated dynamically, allowing the waveform to be in constant adaptation regarding sampling "cutting" and quantization, avoiding one of the major "tell-tale" signs of digital waveform generation and provides a certain level of "liveness" found in the classic analog synthesizers of the past.
Standard digital synthesizers produce aliasing in high frequencies, and also when using Pulse Width Modulation or Frequency Modulation. TAE allows the production of oscillators that are totally aliasing-free in all contexts (PWM, FM,…), at no extra CPU cost.
Also, all of Arturia’s oscillators are highly optimized for the particular working frequency. That means that you can play with an instrument exactly as if you played a real analog synthesizer. Again, the waveforms are not presampled and or regenerated with digital perfection, allowing each note to have a life of its own.
In addition, original analog oscillators were unstable. Actually, their wave shape was always slightly different from one period to another. It is also true that due to analog hardware sensitivity, new period trigger times varied with the temperature and other environmental conditions.
TAE allows the simulation of the oscillator's instability, helping to create warmer and fatter sound.
Original analog oscillators used condensers' unloading to produce common wave shapes (saw tooth, triangle, square). This means that wave forms were slightly curved or distorted in other ways that are considered highly desirable in a musical context. TAE allows the reproduction of condenser's unload in order to give you the original analog sound.
Because TAE oscillators are "free" and "alive", when you play a simple chords with raw oscillators, you don't have a digital impression of "fog" or a "blocked" sound, but you have a pleasant feeling of transparency and clarity.
PWM
With TAE, you can even produce complex PWM sounds with unprecedented quality and, of course, free of any aliasing. This is true for all the TAE waveforms (square, triangle, saw…). This produces sounds which are unique on the market, because PWM is very difficult to achieve on certain waveforms like triangle or saw/ramp. Arturia brings you new levels of reality in a virtual analog synthesizer, so that you can achieve new levels of creativity in your music.
Better Reproduction of Analog with Direct Filter Circuit Modeling
TAE® produces the characteristics of the analog filters in the digital domain.
Let’s take the Prophet V for example. Due to advances in computer processing power, the Prophet V can now employ direct filter modeling techniques to achieve unprecedented accuracy in the emulation of the original's analog 4 pole low pass filter. By modeling the operation of the individual hardware components of the filter circuit, the warm nuances synonymous with the original's analog sounds are recreated. The harmonics generated add to the richness and warmth of the sound produced by the filter. As a result of the direct recreation of the analog circuitry in the Prophet V, the same characteristics of the sound are present, thus giving the user a truly analog sound.
Implementation of soft clipping
In analog synthesizers, the resonant filter uses a current limiting function, preventing the signal from being too loud (soft clipping).
TAE allows the reproduction of this current limiting function, making the sound more natural. It also allows filters to enter self-oscillation like original hardware synthesizers do.
Also, soft clipping can be a kind of saturation effect, but with a very particular shape. Common shapes can't give good results compared to analog soft clipping which is very particular to output amplification stages of analog synthetisers, and is a critical component to "the analog sound".
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