Jup-8 V

How it works

The Jup-8 V uses subtractive synthesis: you start from harmonically rich waveforms and "sculpt" the sound by removing part of it with filters, then shape its behavior over time with envelopes.

The three stages

• Generate (VCO): two oscillators per voice produce periodic waves. The sawtooth contains all the harmonics (bright sound, ideal for strings and brass), the square only the odd ones (hollow sound, clarinet-like), the narrow pulse is nasal, the sine is pure, and noise contains all frequencies at once.
• Filter (HPF + VCF): the high-pass removes lows, the low-pass removes highs above the cutoff frequency; resonance emphasizes the area around the cutoff until it "whistles".
• Amplify (VCA): an amplifier controlled by an envelope decides how loud the note sounds at every instant: attack, decay, sustain, release (ADSR).

Modulation

An LFO (a very slow oscillator) and the envelopes can automatically move pitch, pulse width and filter cutoff: vibrato, PWM, wah, filter "sweeps". Polyphony means each note has its own complete VCO→VCF→VCA chain, so each voice behaves like a small independent synth, with slight differences between voices that keep the sound alive.

Character and tone

Timbre

A full, polished, "expensive" sound: very stable oscillators, a warm but defined IR3109 filter, fast and precise envelopes. It can be both "fat" (two unison saws) and "crystalline" (narrow pulse waves, sync, cross-mod).

Where it sits in the frequency spectrum

The body of the pads and brass lives between 150 Hz and 2 kHz; the VCF tops out at about 7.3 kHz, so the highest part of the spectrum is naturally soft: it is a sound that doesn't scratch, ideal under a vocal. The -6 dB/octave HPF lets you hollow out the low register of pads without losing warmth.

Strengths

• Polyphonic pads and brass with natural movement (PWM, chorus, dispersion between voices).
• Dual 12/24 dB slope: 12 dB is more open and "nasal" (brass, strings), 24 dB is rounder (basses, dark pads).
• Cross-mod (audio-rate FM, VCO-2→VCO-1) and sync for metallic timbres and aggressive leads, rare among the polysynths of its era.
• Classic arpeggiator and unison mode for huge basses and leads.

Limitations

• Only one LFO and two envelopes on the original (V4 adds LFO 2/3, a mod mixer and a sequencer).
• No velocity on the original: in V4 it has to be assigned on the Keyboard page.
• Extreme highs are limited by the filter's maximum cutoff: for "air" you need EQ afterward.

Comparisons

• vs Prophet-5: the Prophet is rougher and more "angular" (SSM filter, Poly-Mod); the Jupiter is more refined and glossy.
• vs OB-Xa: the Oberheim is wider, more aggressive in the mids and "roaring" on brass; the Jupiter is more controlled and precise.
• vs Juno-6: same filter family, but the Juno has a single DCO and lives on its chorus; the Jupiter has two VCOs, sync, cross-mod and more depth.

Architecture

Original Roland Jupiter-8 (1981)

• Polyphony: 8 voices, each with 2 VCOs, VCF, VCA and 2 dedicated envelopes; Whole/Split/Dual keyboard modes (two timbres), Solo, Unison, Poly 1, Poly 2 assign modes.
• VCO-1: triangle, sawtooth, variable pulse, square waveforms; Range 16', 8', 4', 2'; Cross Mod input from VCO-2.
• VCO-2: sine, sawtooth, pulse, noise; continuous Range in semitones, Fine Tune, Low position to use it as an LFO.
• Bidirectional Sync (VCO-1 to VCO-2 or vice versa) and Source Mix between the two VCOs.
• Filters: non-resonant -6 dB/octave HPF, then a resonant low-pass VCF based on the IR3109 chip, switchable -12/-24 dB/octave, with modulation from the envelope (ENV-1 or ENV-2), LFO and key follow.
• VCA controlled by ENV-2, with LFO modulation (tremolo).
• Envelopes: 2 ADSRs; ENV-1 with invertible polarity, both with key follow on the times.
• LFO: sine, sawtooth, square, random (S&H), with Delay Time.
• VCO Modulator: LFO and ENV-1 to the pitch of VCO-1, VCO-2 or both; PWM manual, from LFO or from ENV-1.
• Arpeggiator (Up, Down, Up/Down, Random, 1–4 octaves), polyphonic portamento, 64 memories, DCB interface.

Signal path (per voice)

VCO-1 + VCO-2 → Source Mix → HPF -6 dB → VCF 12/24 dB → VCA → output.

What Arturia adds (Jup-8 V4, V Collection 9)

• Up to 16 voices; "Classic" polyphonic Unison or 2–8 voices stacked on one note; stereo Pan Spread; Low/High/Last Play Mode in Solo/Uni.
• Extended arpeggiator: UP, DWN, ORD, REV, INC, EXC, RND modes; free rate 0.1–50 Hz or synced 1/2–1/64.
• Advanced Panel:
• Modulations: LFO 2 and LFO 3 (many shapes, Single/Cycle, Retrig, Rate in Hz 0.01–200 or synced binary/triplet/dotted, Phase, Warp, Fade up to 20 s, Unipolar/Bipolar, Poly, 2 destinations each) and Modulation Mixer (2 sources combined with Multiply, Sum, Diff, Divide, Crossfade, Lag, sent to 3 destinations among 54).
• Sequencer: 32-step polyphonic note sequencer (intervals ±24 semitones, 15 scales, trigger/legato/rest, accent, glide) + 32-step Mod Sequencer with smooth and 3 destinations.
• Keyboard: velocity, aftertouch (channel and polyphonic), mod wheel and key tracking with editable curves, 3 destinations each.
• Effects: 3 slots in series or parallel, 11 effects (Reverb, Delay, Chorus, Flanger, Phaser, Overdrive, Compressor, BitCrusher, Multi Filter, Parametric EQ, Stereo Pan).
• Dispersion: 3 "aging" profiles + Custom with 6 trimmers (Pitch, PW, Env, Cutoff, Reso, Mod).
• 4 Macros (Brightness, Timbre, Time, Movement), full MIDI learn, original factory presets included.
• Note: the V4 manual doesn't document the original's Split/Dual modes; for layers, use two instances in the DAW.

The controls, one by one

General controls (top panel)

Volume

Master volume from 0 to -60 dB, default -15 dB; responds to CC7. Leave headroom: with unison and high resonance the level rises a lot.

Master Tune

Global tuning from A=400 to A=480 Hz, center A=440. Useful only for tuning to recordings that aren't at 440.

Unison Detune

Detuning between the stacked voices in UNI mode; default 1/8 semitone, maximum 50 cents. Low values = slow flanger/chorus effect, high values = fast beating and a 'swarm' sound. Has no effect outside UNI.

Pan Spread

Stereo width from 0 (mono) to 10: in Poly the notes are distributed center/left/right; in Unison the stacked voices spread across the stereo field. Values of 4–7 for pads, 0–2 for basses.

Portamento (switch + knob)

Glide time between notes up to 3.5 s; ON/OFF switch. 30–120 ms for expressive leads, 200–600 ms for effects; it is polyphonic, so in Poly each voice slides from the previous note.

LFO (LFO 1)

Rate

Speed from 0.035 to 30 Hz (default 1 Hz). Vibrato 4–6 Hz, PWM 0.2–1 Hz, rhythmic wah faster.

Hz / Sync

Switch that syncs the Rate to the DAW tempo: the fader becomes a subdivision (e.g. 1/4, 1/8). The LED blinks at the current speed.

Delay Time

Fade-in delay of the LFO after the key is pressed, from 0 to 3.8 s: vibrato that appears only on held notes (0.3–0.8 s is the classic lead setting).

Wave

Waveform: sine (vibrato/tremolo), sawtooth (effects, ramps), square (trills when sent to the VCOs), random/sample & hold (burbles, stepped filter).

Free / Retrig

Free: the LFO runs independently of the keys. Retrig: restarts from the beginning on the first note after all keys are released (useful for wahs that are identical on every phrase).

VCO Modulator

LFO (to Freq)

Amount of LFO 1 sent to the pitch of the VCOs chosen with the destination switch: fixed vibrato, always on (for on-demand vibrato use the Mod Wheel).

ENV (to Freq)

Amount of ENV-1 sent to the pitch: pitch envelope for 'shot' attacks (toms, zaps), sync sweeps, blips. With ENV-1 in negative polarity the note starts flat.

Destination switch (VCO-1 / VCO-1&2 / VCO-2)

Chooses where the LFO and ENV modulations from the two faders go: VCO-1 only, both, VCO-2 only. Modulating only the 'slave' oscillator in sync changes the timbre without changing the pitch.

PWM

Pulse width of the pulse waves. In the M position it is a fixed value (0 = square, 100% = very narrow, thin pulse); with LFO or ENV-1 it becomes the modulation depth.

PWM source switch (LFO / M / ENV-1)

LFO = cyclic PWM, the 'two detuned oscillators' effect typical of pads and strings; M = manual; ENV-1 = the width changes over time with the envelope (thinner attacks that widen).

VCO-1

Range

Octave: 16', 8', 4', 2' (8' = normal pitch). VCO-1 is usually the fundamental.

Wave

Triangle (soft, few odd harmonics), sawtooth (bright, all harmonics), pulse (width from PWM), square (fixed at 50%).

Cross Mod

Amount of audio-rate frequency modulation from VCO-2 to VCO-1. With VCO-2 in Norm it generates FM and inharmonic sidebands (bells, metals, growls); with VCO-2 at fourth (5) or fifth (7) intervals the result stays more musical; with VCO-2 in Low it becomes a vibrato/trill; with noise it adds 'dirt' and raises the pitch.

Sync

Sync (VCO-1 / OFF / VCO-2)

Hard sync: the switch points to the oscillator that is forced to restart with the other's cycle. You only hear the 'slave' oscillator change timbre; the effect grows the further apart the pitches are. Classic: modulate the slave's pitch with ENV-1 for the 'screaming' lead typical of new wave.

VCO-2

Range

Continuous pitch in semitones from -12 (16') to +24 (2'): allows fixed intervals (fifth = 7, octave = 12) for 'organ' sounds or power chords.

Fine Tune

Fine pitch ±1 semitone: a few cents of detuning give beating and thickness (2–8 cents for pads and brass).

Norm / Low

Norm: audio oscillator that follows the keyboard. Low: becomes a low-frequency oscillator that doesn't follow the keyboard, usable as a second LFO via Cross Mod; noise switches from white to pink.

Wave

Sine (body, sub), sawtooth, pulse (PWM), noise (white in Norm, pink in Low): noise doesn't follow the keyboard and is useful for breaths, wind, attacks.

Source Mix

Source Mix

Balance between VCO-1 (fully left) and VCO-2 (fully right); at center (double-click) the two are equal. With sync or cross-mod you often hear only VCO-1.

HPF

HPF Cut

Non-resonant -6 dB/octave high-pass: from 5 Hz (no effect) to nearly 2 kHz. Cleans lows (150–300 Hz) out of pads to leave room for bass and kick; high values make the sound thin and 'radio-like'.

VCF

Cut

Low-pass cutoff frequency from 19 Hz to about 7.3 kHz. This is the main 'brightness' control; almost all sounds start with the Cut partly closed and opened by the envelope.

Res

Resonance: emphasizes the frequencies near the cutoff, up to self-oscillation (sine whistle). 10–30% for character, 50–70% for acid sweeps, at maximum it acts as a sine oscillator.

Slope (-12 / -24)

-24 dB/octave: steep cut, round and dark sound, ideal for basses and soft pads. -12 dB/octave: lets more harmonics through, more open and 'nasal', perfect for brass and strings.

Env Mod (MOD)

Amount by which the chosen envelope opens the filter. The higher it is, the further the filter rises above the Cut value on each note.

ENV-1 / ENV-2

Chooses the envelope that modulates the filter. ENV-2 gives the filter the same curve as the volume and leaves ENV-1 free for pitch or PWM.

LFO Mod

Cutoff modulation from LFO 1: cyclic wah, timbral tremolo, stepped S&H if the LFO is random. Works only if the filter isn't already fully open.

Key Flw

Keyboard tracking of the cutoff: at 0 the filter is the same across the whole keyboard (high notes dark); raising it makes high notes open more. 50–100% for leads and 'acoustic' sounds; with low Cut and high Key Flw the lows nearly disappear.

VCA

LVL

How much ENV-2 opens the amplifier: the voice's output level. At zero nothing sounds.

LFO Mod

Tremolo from LFO 1; it acts only downward (it doesn't exceed the set level).

ENV-1 (filter/modulation envelope)

A (Attack)

Time to rise to maximum after the key is pressed: 0–5 ms for percussive sounds, 50–300 ms for 'swelling' brass, seconds for sweeps.

D (Decay)

Time to fall from the peak to the sustain level: 150–600 ms gives brass its 'wah', long times give slow sweeps.

S (Sustain)

Level held as long as you hold the key: with low Sustain the filter closes again after the attack (pluck), high keeps it open.

R (Release)

Time to return to zero after the key is released.

Key Flw (switch)

Shortens the A, D, R times on high notes, as in acoustic instruments.

Polarity (switch)

Up: positive polarity (normal). Down: inverted envelope, closes the filter instead of opening it or lowers the pitch; with high Sustain the filter stays closed while you hold the key ('Bouncing Balls' preset).

ENV-2 (amplitude envelope)

A (Attack)

Volume attack: 0–2 ms for plucks and basses, 10–40 ms to avoid clicks on pads, 300 ms–2 s for pads that 'fade in'.

D (Decay)

Fall from the peak to the sustain; with Sustain at zero it determines the length of the note.

S (Sustain)

Volume level while the key is held (default 1.00).

R (Release)

Tail after release: 100–300 ms for tight sounds, 1–4 s for pads. Maximum stage time about 46 s.

Key Flw (switch)

Shortens the envelope times on high notes.

Arpeggiator

ON

Turns on the arpeggiator: held notes are played one at a time.

Rate + Hz/Sync

Speed: in Hz from 0.1 to 50 Hz; in Sync from 1/2 to 1/64 of the tempo (1/4 = one beat).

Range (1–4)

Octave span of the pattern: 1 = only the held notes, 2–4 = repeats the pattern in the higher octaves.

Mode

UP (ascending), DWN (descending), ORD (order of pressing), REV (reverse order), INC (up and down repeating the endpoints), EXC (up and down without repeating the endpoints), RND (random). With Dispersion on, each step uses a different voice and sounds slightly different.

Voice Assign and Hold

SOLO

Monophonic; the priority (Low, High, Last) is chosen in the Play Mode of the side panel.

UNI

Unison: stacked, detuned voices. 'Classic' = polyphonic with stacking that decreases as you play more notes; 2–8 = monophonic with that number of voices per note.

POLY 1 (Classic Reassign)

One voice per key up to maximum polyphony, then steals the oldest note.

POLY 2 (Reset)

A new note cuts off the release of the previous, already released note: less smearing with long releases.

HOLD

Like a sustain pedal: notes stay held (and the arpeggio keeps going) until you turn it off.

Keyboard area: Bender and Mod Wheel

Bender

Self-centering pitch bend lever/wheel; acts on the VCOs and/or the VCF according to the adjacent faders and switches.

Bend VCO (fader + VCO-1 / VCO-2 switch)

Bend range on pitch and the oscillators involved: bending only VCO-2 in sync or cross-mod changes the timbre.

Bend VCF (fader + switch)

How much the bender opens the filter.

LFO MOD (Mod Wheel)

Modulation wheel (CC1) that controls LFO 1 to VCO and VCF in real time: for expressive vibrato only where needed.

LFO MOD VCO (fader + switch)

Depth of the mod wheel vibrato; at maximum it reaches two octaves.

LFO MOD VCF (fader + switch)

Depth of the mod wheel wah; needs a filter that isn't already fully open.

Side panel (Settings) and Macros

MIDI Channel

Receive channel 1–16 or All (omni).

Play Mode

Note priority in SOLO/UNI: Low, High, Last.

Unison

Classic or 2–8 stacked voices (also in the bottom bar).

Poly

Maximum polyphony per preset, from Mono to 16 voices; fewer voices = less CPU.

Macro Brightness / Timbre / Time / Movement

Four knobs at the bottom right that move several parameters at once with customizable curves; by default Brightness = Cut, Timbre = Res or PWM, Time = envelope times, Movement = LFO/chorus.

Dispersion (under the door above the keyboard)

Modes 1 / 2 / 3 / Custom

1 = freshly calibrated (about ±5 cents between voices), 2 = medium (about ±10 cents), 3 = more timbral differences (about ±15 cents, PW and Reso at maximum); Custom is activated by touching a trimmer.

Pitch

Pitch variation between voices, up to ±50 cents at maximum.

PW

Pulse width differences between voices (audible on pulse, square, triangle waves).

Env

Differences between the voices' envelope times.

Cutoff

Differences in VCF cutoff between voices (more evident with high Res and a filter that isn't fully open).

Reso

Differences in resonance between voices.

Mod

Differences in the panel's modulation amounts (LFO/ENV to VCOs, PWM, VCF modulations).

Advanced Panel: Modulations (LFO 2 and LFO 3)

Wave

Waveform menu with oscilloscope.

Single / Cycle

Cycle = normal LFO; Single = one cycle per note, usable as an additional envelope.

Retrig

Restarts the LFO on every first note after all keys are released.

Rate (Hertz / Sync Binary / Sync Triplets / Sync Dotted)

In Hz from 0.01 to 200 Hz (up to the audio range); in sync from 1/32 to 8/1 of the tempo.

Phase

Starting point of the cycle from 0° to 360° when the LFO is restarted.

Warp

Distorts the phase of the waveform until it turns into a spike; positive or negative changes the direction.

Fade

Gradual fade-in of the LFO from 0 to 20 s.

Unipol / Bipol

Unipolar: positive values only (e.g. vibrato that only increases). Bipolar: oscillates above and below.

Poly

An independent LFO for each note instead of one common to all.

Dest 1 / Dest 2 + Amount

Two destinations with bipolar amount (center = zero).

Advanced Panel: Modulation Mixer

Source (left) / Mod (right)

Two modulation sources (11 options, including LFOs, envelopes, velocity, aftertouch, ModWheel).

Type

Mathematical operation: Multiply, Sum, Diff, Divide, Crossfade, Lag (delay/smoothing up to 5 s).

Amount

How much the second source acts on the first (0.00–1.00).

Destinations 1–3 + Amount

Three destinations among 54 (including Dry/Wet and a main parameter of each effect), with bipolar amount.

Advanced Panel: Sequencer

Power (Sequencer / Notes / Mod)

Master power and power for the two sequencers.

Rate

BPM from 6 to 600 or synced (Sync Binary/Triplet/Dotted) from 8 bars per step to 1/32.

Swing

From 50% (straight) toward triplet feel for a more human groove.

Mod Multiplier

Speed of the Mod Sequencer relative to the Notes Sequencer, from 1/32 to 6 times.

Retrig

Restarts from the first step when you play after releasing everything (not in legato).

Playback mode

Forward, Backward, BackAndForth, Random.

Randomizer (die) / Reset (trash can)

Randomizes the steps of the displayed sequence (respecting scale and Oct Range) or clears them.

Length

Length 1–32 steps, independent for notes and modulations.

Step (Notes)

Each step is an interval from -24 to +24 semitones relative to the pressed keys (transposable, polyphonic sequence).

Scale

15 scales (chromatic, major, minors, modes, pentatonics, blues, fifths, custom) that constrain the steps.

Trigger

Red = retriggers the envelopes; pink = changes note without retriggering (legato); black = rest.

Accent + Accent Decay / Env Amt

Accented steps open the VCF with a dedicated envelope; Env Amt = intensity, Decay = duration.

Glide + Glide

Steps with portamento; the Glide knob decides how much of the step is needed to reach the note.

Step (Mod) / Smooth / 3 destinations

Values from -1 to +1 per step, Smooth for soft transitions, three destinations among 54 with bipolar amount.

Advanced Panel: Keyboard

Velocity

Editable curve (3 points) and 3 destinations: to make the Jupiter dynamic, assign Velocity to VCA Env 2 Amt and/or VCF Cut.

Aftertouch

Channel or polyphonic, curve + 3 destinations (vibrato, filter opening, bend).

Mod Wheel

Curve + 3 destinations in addition to the classic LFO MOD use.

Keyboard Tracking

Curve of the note position + 3 destinations (e.g. more reverb at the extremes).

Advanced Panel: Effects

Series / parallel routing

Three slots chained or in parallel; master switch to bypass all effects.

Effect selector + On/Off + Dry/Wet

For each slot: Reverb, Delay, Chorus, Flanger, Phaser, Overdrive, Compressor, BitCrusher, Multi Filter, Parametric EQ, Stereo Pan, or None. EQ and distortions go at 100% wet, chorus/reverb/delay blended.

Sound design tips

Envelopes

• Attack vs decay: for brass, the "swell" comes from the filter, not the volume: keep ENV-2 at an attack of 5–20 ms and give ENV-1 an attack of 40–120 ms with a decay of 300–600 ms. If both attacks are slow, the sound becomes a pad and loses its bite.
• Release and tempo: at 120 BPM a quarter note lasts 500 ms. To keep pads from smearing chord changes, keep the release shorter than 1–2 chords; if you need long tails, use POLY 2, which cuts off the tails of the previous note on the same voice.
• Key Flw on the envelopes: turn it on for plucks and bells (high notes last shorter, which is more natural), leave it off for even pads.
• An ENV-2 attack of 0 ms on pads can produce a click: 3–10 ms is enough.

Filter

• Env Mod vs Cut: they are complementary. Low Cut + high Env Mod = a very bright attack that closes back down (plucks, brass). Medium Cut + low Env Mod = a stable, controllable sound. If the sound is always "open", lower the Cut first, then adjust the Env Mod.
• Slope: -12 dB for brass and strings that need to stand out in the mix without raising the volume; -24 dB for basses and pads that need to sit behind.
• Resonance and key tracking: with high resonance the peak follows the note only if Key Flw is high; without key tracking, the lows resonate at a fixed frequency and can boom.
• Resonance at -24 dB "hollows out" the lows: compensate with a VCO-2 sine one octave down or with less resonance.

Frequencies

• Jupiter pads build up between 200 and 500 Hz: raise the HPF to 100–250 Hz instead of cutting with EQ; the sound stays more natural.
• For brass, presence is between 1 and 3 kHz: that's where it competes with the vocal; lower the Cut slightly or use a dynamic EQ instead of reducing the volume.
• The VCF doesn't go beyond about 7.3 kHz: for "air" above 8–10 kHz you need a shelf from the built-in EQ, or let the reverb provide it.

Oscillators and modulation

• PWM: an LFO at 0.3–1 Hz with moderate depth gives pads their "chorused" movement; excessive depth pushes the pulse to zero and the sound "disappears" at times.
• Detuning: 2–8 cents between VCO-1 and VCO-2 adds thickness; beyond 15–20 cents the beating turns into obvious out-of-tune-ness, especially in basses (use less detuning in the low register).
• Cross Mod: small amounts add grit; high amounts make the sound noisy. Fifth/fourth intervals between the VCOs keep the result in tune.
• Sync: the sync "scream" comes from moving the pitch of the slave oscillator (ENV-1 or bender on that VCO only), not the master.

Polyphony, unison, stereo

• Unison with many voices + high Pan Spread + chorus = risk of cancellation in mono: always check the mix in mono, and keep unison basses and leads at a low Pan Spread.
• Dispersion 1–2 makes the sound "alive"; 3 is useful for lo-fi or for arpeggios that change with every note.

Velocity and glide

• The original has no velocity: assign it (Keyboard → VCA Env 2 Amt at 30–50% and VCF Cut at 20–30%) to play dynamically.
• Polyphonic portamento: beyond 150 ms chords "slide" conspicuously; for leads in SOLO use 40–90 ms.

Common mistakes

• Filter wide open and high Env Mod: no movement, a flat and shrill sound.
• Forgetting the LFO MOD at zero on the mod wheel and then getting unintended vibrato.
• Long releases with many voices: smearing and wasted CPU; reduce polyphony per preset.

Presets to recreate

In genres and records

• Synthpop and new wave: one of the signature polysynths of the genre. Duran Duran use it for the arpeggio of Hungry Like the Wolf and on Rio; documented users include Howard Jones, Vince Clarke, Tears for Fears, Ultravox, Orchestral Manoeuvres in the Dark (Junk Culture) and Pet Shop Boys (Behaviour). Wide brass and pads, clean arpeggios.
• '80s pop, soul and funk: the verse pads of Michael Jackson's Thriller combine a Jupiter-8 and a CS-80; Marvin Gaye builds Midnight Love on Jupiter-8 and TR-808; Queen use it on Hot Space, The Works and A Kind of Magic; Andy Richards plays it on Frankie Goes to Hollywood's Relax.
• '80s rock and AOR: Jonathan Cain uses it with Journey, notably on Separate Ways; Rush and Toto are among its users. Chord stabs and pads behind the guitars.
• Electronic and soundtracks: Tangerine Dream, Jean-Michel Jarre, Giorgio Moroder and Kitaro. Cinematic pads, cross-mod bells, synth strings.
• '90s techno, house and trance: Underworld, Orbital, Moby, BT and Josh Wink. Evolving pads, arpeggios, unison basses.
• Italo disco and hi-NRG: arpeggiator and sequenced basses, bright chords.
• Synthwave, retrowave and darksynth: the Jupiter sound (PWM pads, brass, unison leads) is one of the genre's models.
• House, nu-disco and pop with an '80s aesthetic: warm pads and stabs, plucks with chorus.
• Ambient and new age: long pads with a wide release and slow PWM.