Jup-8 V4 - General Questions

The VCO Sync parameter is the switch located underneath the VCO 1 and 2 section. It enables the oscillator hard synchronization which forces the pitch of one oscillator to synchronize with that of the other.

The left and right positions of the switch (VCO 1 and VCO 2) correspond to the slave VCO (the other then becomes the master). The middle position disables the synchronization.

Useful tips:

  • In order to get a relevant and strong effect, we recommend to keep the slave VCO frequency pitched higher than the master VCO frequency.

  • With the VCO Modulator, you can modulate the frequency of the Slave VCO to add craziness to your sound. To do that, select the same VCO on the VCO Sync and in the VCO Modulator.

  • The Cross Modulation (also called FM) makes the VCO 2 modulate the frequency of VCO 1. This can create very interesting results when VCO 1 is synced to VCO 2 and guarantee that the FM remains in tune.

  • This section controls the synthesizer’s voice allocation. There are 4 modes to use, but you can only select one mode at a time.

    1. Solo
    2. Sets the voice to monophonic mode. Play mode (note priority) applies in this mode. The solo mode does not retrigger the envelopes when playing legato.

    3. Unison Mode
    4. Enables the unison voice assign mode and can be modified from the bottom toolbar. Pitch voice dispersion creates the basic detune effect. In addition, the Unison Detune knob lets you increase or decrease the detune effect. The Pan Spread knob is complementary and increases the stereo width.

      This mode has two different behaviors that are dependent on the value selected in the bottom toolbar:

      • Unison Classic
      • This function splits the 8 voices as evenly as possible among the number of keys pressed (if you press 2 keys, each note will have 4 voices; if you press 8 keys, each note will have 1 voice).

      • Unison Mono (2-8)
      • The defined number of voices is assigned to each note played. This mode is monophonic and play mode (note priority) applies.

    5. Poly 1
    6. Enables the first polyphonic mode. In this mode, the voices are allocated one by one each time a new note is pressed and envelopes restart from their current value.

    7. Poly 2
    8. Enables the second polyphonic mode. This mode works globally the same way as the Poly 1 mode, except triggering new voices will cut the previous voices’ release.

    Useful tips:

  • With the Voice allocation set to Poly 1 or Poly 2, enabling the Arpeggiator brings the voices to cycle. Add strong voice dispersion levels to make it easier to notice the variations between each voice.
  • The Pan Spread knob on the left part of the synthesizer allows you to automate the pan and to determine the depth of the effect.

    The first note played is centered, then a stereo distribution occurs following L, R, L, R for each new voice.

    To explore the possibilities offered by this function, turn on the arpeggiator and play around with the Pan Spread knob.

    The Arpeggiator section is located on the right side of the synthesizer. It contains an ON/OFF switch, 4 ranges (orange buttons), 7 modes (red buttons), a Frequency/Sync switch and a Rate knob.

    Enables or disables the arpeggiator.

    Limits the range to the keys octave.
    1st cycle on keys octave, 2nd cycle +1 octave.
    1st cycle on keys octave, 2nd cycle +1 octave, 3rd cycle +2 octave.
    1st cycle on keys octave, 2nd cycle +1 octave, 3rd cycle +2 octave, 4th cycle +3 octave.

    Plays the notes...
    From the lowest to the highest.
    From the highest to the lowest.
    From the first key pressed to the last.
    From the last key pressed to the first.
    Up and down with the end notes repeated.
    Up and down with the end notes played once.
    In a random order.

    Sets the rate of the arpeggiator either to synchronize to the DAW tempo or to remain free.

    Rate knob
    Defines the arpeggio tempo (connected to the previous switch).
    Voice dispersion introduces subtle to strong inconsistencies between the voice parameters. This reproduces the behaviors caused by analog components’ tolerance drifting and aging.

    The Voice dispersion section is located left to the LCD screen in the middle of the synthesizer.

    There are 3 factory variations which correspond to a subtle, fair and strong amount of voice dispersion (buttons 1, 2 and 3), but you can also select the Custom button which lets you define the voice dispersion manually from the trimmers underneath the section. Each trimmer defines the amount of voice dispersion brought to the given parameter:

    Applies dispersion to the...
    Pitch of the oscillators
    Pulsewidth of the oscillators
    Envelope parameters
    Filter cutoff
    Filter resonance
    voice modulation amounts

    Useful tips:

  • Using the London Square preset, enable the Arpeggiator and mess around with the PITCH and PW trimmers to hear the frequency and pulsewidth dispersion in action.

  • With strong dispersion levels, program a pad with long envelopes times opening the filter, add some resonance and pan spread, and hear how each voice will drift in terms of timber and time across the stereo field.
  • The Advanced Panel brings an additional array of utilities and effects, extending the possibilities of the JUP-8 V4. You can open the Advanced Panel by clicking on the Advanced button on the upper right corner of the synthesizer. It contains 4 main tabs which each have a bypass button.

    LFO 2 and LFO 3 are 2 complex LFOs, which can be used as regular LFOs or as envelopes, thanks to their Cycle/Single modes, and can be assigned towards almost any parameter of the synthesizer. Pick a modulation destination and play some keys to explore the possibilities of the LFOs.

    Useful tips:

  • Engage the Poly button and enjoy each voice being affected independently. This is great for adding vibrato, filter sweeps or envelope times modulations.

  • To use the LFO as an envelope, set the LFO to Single mode and Unipolar, then adjust the Rate time to adjust the length. Use the Warp parameter to bend the sawtooth waveform and make it more exponential.

  • Create evolving rhythms by using one LFO to modulate the rate of the other.
  • The modulation mixer lets you feed one or two modulation signals from any of the modulators available in the synth, which can be processed using different operation modes.

    You can set the first source on the left slot (yellow) and the second source from the right slot (orange) of the Modulation mixer. The selected sources appear in the dedicated colors on the mixer display.

    The middle slot (red) lets you choose the operation mode of the mixer and shows the result in the same color on the display. The knob on the right to that slot lets you define the amount of Source 2 interacting with Source 1.

    Underneath the Mixer display, you will find 3 destination slots to which the Modulation Mixer output can be sent. Destinations can be chosen within almost any parameter from the entire synth.

    What to do with the Mixer?

  • Use the Multiply operation to sidechain a modulation with another. This allows you to modulate the modulation amounts.

  • You can exponentialize a source by multiplying it by itself.

  • Use the Multiply operation to set an envelope on any destination. Select an envelope in Source 1 and set the Mixer amount to 0.

  • Use the Lag operation to smooth the modulation of your choice and avoid clicks.
  • The Sequencer tab from the Advanced Panel is a useful tool divided in 2 sections: the Notes Sequencer and the Modulation Sequencer. Both are complementary and have common global parameters:

    Defines the speed of the sequencer either in Hz or synced to your DAW tempo
    Mod Multiplier
    Divides or multiplies the rate of the sequencer
    Sets the amount of swing
    Playback Modes
    Defines the play direction of the sequencer
    Randomizes the step values. Click and drag the Dice button to control the amount of randomization
    Defines if the playback restarts when a new key is pressed
    Clears the sequence content

    How to use the Sequencers:

    Set the sequence length from 1 to 32 steps using the red arrow on the top line of the sequencer. The Notes and Modulation Sequencers can have different sequence lengths but still work together.

    The Notes Sequencer applies pitch offsets and timber modifications to the notes played. It can transpose single notes or chords but also specific steps of the sequence. Drag and drop the sliders in the sequencer to set the pitch for each step. In the Mod Sequencer, drag and drop the sliders to set the modulation amount.

    Use the Trigger line to determine if the step retriggers the envelope (red), sustains them (pink), or acts as a note off (empty).

    The Accent line lets you apply an additional envelope to the steps. Decay and Envelope Amount parameters on the right of the sequencer let you modify the envelope parameters.

    The Glide line applies some glide to the pitch of the step. You can set the Glide time also from the parameters panel on the right.

    You can apply non-destructive scales to your sequence from the Scale menu, and select the Octave range from the slot underneath. Also choose your Pitch routing between VCO 1, VCO 2 or both.

    Useful tips:

  • Build a sequence exclusively based on triggers and accents to create rhythmic grooves.

  • On sequences containing accents, adding a rising automation on the accent decay can create an interesting build-up before a drop.

  • Creating per step modulations and applying them to the Notes Sequencer parameter is a convenient way to refine the sequence’s groove even further.

  • Play around with the Mod Multiplier to dissociate the rates of the Notes and the Mod Sequencers and create less redundant modulations.