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Three New Jupiter 80 Videos from Dan Krisher (Roland US)

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  • #16
    I am by no means a Roland fan boy, but seriously how many of you have actually used one for several hours or more at least ?

    I got to spend a good 5 hours with one the other day and the sound quality is universally superb, especially on the hybrid synthetic/modelled sound patches.
    The articulation and voice phrasing is stunning to say the least, especially on things like trumpet, flugelhorn, flute, strings and hybrid combinations. The filter is markedly digital but can have some nice Oberheim like brassy honk where needed.
    Beautifully constructed, with a solid feel and fantastic keybed I might add.
    Having tried the Motif XS, Korg M3 and FantomG, I'd easily take this over the rest and just track played performances into a daw. Easily their best keyboard since the V-Synth by a country mile and really shouldn't be looked at as either a bog standard rompler or va, as the hybrid patches on this thing are IMHO really where it's at. And what it does it does damn well.
    Just for the record my gear list is a mixed bag - Electribe EMX & ESX, Korg Prophecy, Alesis QS8.1 (with Vintage Keys and Vintage Synth Q cards), Akai MPC2500, Kurzweil K1000PX, Roland S550Rack, Roland D550 rack (with several voice cards) and a JD990 Expanded and an E-Mu UltraProteus .
    My only daw and virtual instruments I use are the Reason Record Duo ( 1.5/5.0) and a 3rd party audio editor.
    The only other synth I have enjoyed this much in years from an outright playing view point was the Korg Oasys ( had a deal on one this year for a steal but do not have the studio space ).
    Really we would have killed for digital synths of this calibre several years ago and it is a synth as opposed to a workstation. It certainly would NOT replace anything I have (the Oasys could have replaced most of it IMHO) but it would definitely complement and enhance my sonic palette immeasurably.

    Really quite a nice keyboard IMHO.
    Superb sound.
    Venn Diagram - Artist WebsiteMachinedrum, Monomachine, Analog Four, Octatrack, NordModular, Moog SubPhatty, Novation Nova, Korg MS20 Mini, Maschine, Tassman, Aalto, Absynth, Uhe's ACE & AudulusContact

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    • #17
      I am by no means a Roland fan boy, but seriously how many of you have actually used one for several hours or more at least ?

      I got to spend a good 5 hours with one the other day and the sound quality is universally superb, especially on the hybrid synthetic/modelled sound patches.
      The articulation and voice phrasing is stunning to say the least, especially on things like trumpet, flugelhorn, flute, strings and hybrid combinations. The filter is markedly digital but can have some nice Oberheim like brassy honk where needed.


      We're not talking about how it sounds but what the keyboard can do and whether it delivers what a live performer may need or not. I don't need to spend any time in front of the keyboard to find out what it can and what it cannot do.

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      • #18
        But the question is, what is saved and where when you use a tone for the percussion/solo part? It's clear that you can save controller settings for a SN acoustic sound as part of a live set, but where are the controller settings saved if you want to use that same acoustic sound for the solo part? The solo/percussion part doesn't use live sets. Does it mean that I have to program the controller settings for the solo/percussion part as part of the registration? That would mean that you have to do the same work over and over again, whenever you create a new registration and use a tone for those two parts.



        We're not talking about how it sounds but what the keyboard can do and whether it delivers what a live performer may need or not. I don't need to spend any time in front of the keyboard to find out what it can and what it cannot do.



        I would personally disagree, that said you're entitled to that opinion. It is however clearly geared toward being a performance keyboard with highly nuanced expression and articulation. On that front it certainly does not disappoint. If i might just add I don't think any of the video's bar perhaps the one by Howard Jones, really doing it justice (for what it's worth).
        Venn Diagram - Artist WebsiteMachinedrum, Monomachine, Analog Four, Octatrack, NordModular, Moog SubPhatty, Novation Nova, Korg MS20 Mini, Maschine, Tassman, Aalto, Absynth, Uhe's ACE & AudulusContact

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        • #19
          It is however clearly geared toward being a performance keyboard with highly nuanced expression and articulation. On that front it certainly does not disappoint.


          I never said that the jp80 doesn't sound great. But having a highly expressive sound on the stage is not all a keyboarder needs. I have my concerns about the effect structure because that is all I get live on stage from that keyboard. In that part for example, an SN organ with rotary and overdrive is not possible. It may not be a problem for you in your studio because you may add any number of inserts afterward in your software DAW or simply use anything else from your equipment, but on stage, you get what the keyboard offers you. If it's your only keyboard, it can be quite tricky. And as an experienced keyboard user, you may find the information about things that are important to you simply in the manual. That's why I think that playing the keyboard is not really necessary to get a picture about what it can or can't do. A greatly expressive trumpet or erhu violin will not make it up for the lack of some pretty much standard effect chains which are not possible on that keyboard. At least, not for me.

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          • #20
            But the question is, what is saved and where when you use a tone for the percussion/solo part? It's clear that you can save controller settings for a SN acoustic sound as part of a live set, but where are the controller settings saved if you want to use that same acoustic sound for the solo part? The solo/percussion part doesn't use live sets. Does it mean that I have to program the controller settings for the solo/percussion part as part of the registration? That would mean that you have to do the same work over and over again, whenever you create a new registration and use a tone for those two parts.



            It is a different work flow. It is not like having a workstation or hardware sampler/sequencer where you can have libraries of patches and effects to mix and match on midi channels in the sequence.

            I am not sure what happens on the Solo Perc slots when saving as registrations for SN sounds etc however I understand why they have done it different given as Dan says, there is more to a sound than the SN and effects, the articulations and use on the keyboard factor into the structure of a registration.

            It will be interesting if Roland incorporate this into a WorkStation with suitable workflow, if so that future product may suit you better...

            Having said that where you can save in live sets, you have 1000's of slots. No big deal if you want some SN variations programmed and set up ready for copying to other areas as it seems to suggest you can... This seems to be what you want...
            世界で最高のシンセはmicroKORGにある

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            • #21
              A different workflow, yes. Inferior to those on a regular workstation, IMHO. Inability to actually NAME your USB backup right on the board, and the need to use a computer to do that is downright ridiculous. Not to mention that you can only load ONE backup from a single stick. Lame. Roland needs to learn how to do a proper file system.
              If you need a KSP script, e-mail me! Depending on amount of work, the price can be arranged!

              Folio: Zero-G - Animato | Sonokinetic - Tigris & Euphrates - Desert Voice - Carousel - Toccata - Voices Of Israel - EMP - FE | Hollow Sun - HSDV Drum Synthesiser - Music Laboratory Machines Series - RMI Electrapiano

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              • #22
                This guy liked it:

                世界で最高のシンセはmicroKORGにある

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                • #23
                  That big sound again:

                  世界で最高のシンセはmicroKORGにある

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                  • #24
                    Well actually, I need to correct myself. I just found out you can switch the Percussion Tone into being a second Solo Tone instead. So that means you can actually stack ten tones, not nine as stated in the manual.


                    Craig, I'm looking forward to one of your fuller reviews of this keyboard, if you have the time/opportunity to write one.

                    The good news as far as I'm concerned (as someone who simply can't afford this instrument at this time) is that it signals, like the V-Synth, a return on Roland's part to making thoughtful, high-quality, well-built, professional high-end synthesizers, with design goals that solve real-world issues in need of solving for a specific audience (in this case, to sum it up simply: the ability to mix and layer a variety of tones in what some would call a "Performance" but is called more aptly here a "Live Set"). So, it's not a re-hash; it's not dumbed-down; it's well-designed. Period.

                    Let us know when you have further thoughts on the instrument, thanks! Wish I could get my hands on one, oh well; better for the pocketbook that I don't, I'm sure.
                    A Gadibus usque ad Auroram

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