Jupiter 80....I bought it.....

[Rocness]

Wait a minute , can you use the JP-80 as a midi controller and send all of the SN expression by midi to a soft synth ? That would be very cool .

and

Would you say the VA synth on the JP-80 was better than TI 2 ?

[RonF]

Wait a minute , can you use the JP-80 as a midi controller and send all of the SN expression by midi to a soft synth ? That would be very cool .

and

Would you say the VA synth on the JP-80 was better than TI 2 ?

No you cannot. The "expression" is not midi events, per se, and certainly not sent out the midi out jacks in any way. I suspect it is more a scripting, similar to Kontact 4 scripting, or LA Scoring Strings. Its very effective, but its different/unique per patch...and not relevant to, say, some other patch on a VSTi on your computer.

I do not like getting into "better than" if at all possible.....especially in THIS thread. I think the JP80 is a world class VA which emulates the JP8 remarkably. "Better" is a matter of opinion. As was described recently in another thread.....many original analog synthesizers have a VERY different character and voice.....leading to very different results. The VA emulations of them tend to have similar differences. The fact that there are many styles, voices, types, and flavors of synthesis is wonderful IMO. I am happy for it....otherwise, all synth music would be limited to sounding very similar.

To think that you cannot like, enjoy, appreciate, layer, use together, speak positively of....these many different flavors....simply because they come from competing manufacturers....is silly IMO.

[Rocness]

I think the JP80 is a world class VA which emulates the JP8 remarkably.

Wow , I don't think anybody saw the JP-80 coming . And the cool thing is that we are still learning more about it everyday .

[Rocness]

I would like to here more about what a registration is and how many diffrent pad sounds there are . BTW where the hell is the list of sounds on the JP-80 I can't find it anywhere . how many ?

I cannot find the list either. Ticks me off!

A registration is the top programming layer. Here you can mix and match two separate Live Sets and two additional tones, plus effects. Its that simple.

The bulk of the "pad sounds" are in the Live Sets...and there are hundreds of them, and they are predominantly outstanding and diverse....IMO.

So how many sounds can a registration have if you combine 2 live sets ?

And where do these 2 additional tones come from in a registration , I thought all sounds had to come from a live set ?

So correct me if I'm wrong, if each live set holds 3 tones and a registration holds 2 live set plus 2 additional tones ,
then a registration can hold up to 8 tones ?
Is this correct or not ?

Sorry for the confusion I'm just trying to understand a registration compared to a combi .

[michelkeijzers]

I also can remember setting a synth (don't know about the Kronos) to play only the even or uneven notes. So if you have 2 of them, you can connect them by MIDI so the polyphony actually doubles even though you can use the same program/combis without having to split them for the 2 synths yourself.

[Devnor]

A registration consists of upper & lower parts and percussion and solo parts. It also saves the entire configuration of the machine...controllers, ext midi assignments ect. Upper & lower parts consist of 4 tones. Solo & perc have 1 tone. A tone can consist of SN acoustic sound or a 3 partial synth tone.

[RonF]

So correct me if I'm wrong, if each live set holds 3 tones and a registration holds 2 live set plus 2 additional tones ,
then a registration can hold up to 8 tones ?
Is this correct or not ?

Off the top of my head....I think 26 individual sounds (partials) is the correct answer per registration. But the thing to remember is that each partial can be a wholly independent synth....so when you consider 26 of em on your keyboard....you can imagine how huge, or complex, this can get.

[Bruce Lychee]

From my Roland clan post:

I'll get to some of your requests shortly, but for now I want to turn to the SN articulations. I will address a few here, but there are several items to cover so it will take a few posts.

Articulations are triggered different ways depending on the tone being used. You really have to spend time with each tone to understand where the articulations are introduced and how they are triggered.

First, listen to the real time tone blender demo again and you will notice slight variations to the drum rythm. That would be a very basic articulation intended to give the drums a more natural expression.

http://soundcloud.com/bruce-lychee/planet-jupiter

Next, listen to the orchestral strings in the following demo. A 4 chord progression. First it is played with the damper pedal depressed between chords. This activates the articulation for the orchestral strings which causes more natural transitions through the progression. Next the chords are played without the pedal pressed.

http://soundcloud.com/bruce-lychee/song0008

Before getting to more specific instrument articulations, the next clip is a simple demonstration of articulations from a natural instrument being applied to a synth lead. You can hear the phrasings of the Ehru. This is from the stock reg. item called Outta Control and is clearly a radical sound designed for showing how the articulations can be introduced. The only contoller being used is the damper pedal.

http://soundcloud.com/bruce-lychee/song0032

[Rocness]

So correct me if I'm wrong, if each live set holds 3 tones and a registration holds 2 live set plus 2 additional tones ,
then a registration can hold up to 8 tones ?
Is this correct or not ?

Off the top of my head....I think 26 individual sounds (partials) is the correct answer per registration. But the thing to remember is that each partial can be a wholly independent synth....so when you consider 26 of em on your keyboard....you can imagine how huge, or complex, this can get.

Thanks Ron , your right I actually think it's even more like 30(partials).
I had to go and find out what a partial was lol.


This Quote is from the Sound on Sound Mag Review of Jupiter 80 :
"
Turning now to Supernatural Synth, I can only restate how powerful the Jupiter 80 is in this department. You can stack three Partials in a Tone and up to 10 Tones in a Registration to create some monstrous patches combining analogue waveforms, Supersaw and PCMs! Or course, it’s much more sensible to create useful Tones and then layer them in Live Sets to create some luscious sounds, but I suspect that the main question on everyone’s lips is, ‘does it sound like a Jupiter 8?’. As you might expect in a synth called the Jupiter 80, there are numerous Tones, Live Sets and Registrations called ‘Jupiter 8 something or other’, and a cynic might expect these to be nothing more than an appeal to the gullible. However, notwithstanding a touch of aliasing at the highest pitches, I found the Jupiter 80 to be capable of some remarkably good imitations of the old lady. What’s more, these comparisons weren’t against dim recollections of how a JP8 sounded when I heard one in a shop in Middlesbrough on a soggy
afternoon in 1982... I placed my Jupiter 8 next to the Jupiter 80 and compared them directly. Of course there were differences, but in a blind test of some brass and string patches, I couldn’t
tell which synth was generating which. This was not what I had expected!"

[sani]

Next, listen to the orchestral strings in the following demo. A 4 chord progression. First it is played with the damper pedal depressed between chords. This activates the articulation for the orchestral strings which causes more natural transitions through the progression. Next the chords are played without the pedal pressed.

http://soundcloud.com/bruce-lychee/song0008

Honestly, I don't hear anything different in the tone of the strings. In the first part, the arpeggio plays without interrupts, but for my taste not nicely since it changes the direction between the chord progressions. In the second part, the arpeggio simply stops when you release the keys.
Maybe I'm missing something, but I don't hear any difference between the sound character in any of those two parts.

Before getting to more specific instrument articulations, the next clip is a simple demonstration of articulations from a natural instrument being applied to a synth lead. You can hear the phrasings of the Ehru. This is from the stock reg. item called Outta Control and is clearly a radical sound designed for showing how the articulations can be introduced. The only contoller being used is the damper pedal.

http://soundcloud.com/bruce-lychee/song0032

It certainly sounds nice, but it's not an instrument articulation applied to a synth lead. It's a layer where the acoustic instrument plays its articulations, while the layered synth tone plays exactly as you play the keys. Just to make it clear what is going on in that patch.

[Bruce Lychee]

The articulations associated with SN don't necessarily affect tone. It can mean something as simple as the slight variations in drum rhythm as you hear in the Planet Jupiter demo or in the case of something like a flamenco guitar, the strumming sliding, etc.

In the case of the orchestral strings, the articulations affect transitions from one chord to the next. You can choose to have the articulation ignored and have chords all arpeggiated in the same direction, or depending on the timing and notes in the chord, have them arpeggiated in a way that flows more naturally. Listen to the transition in the articulations and you can hear how they tried to make it flow naturally. Not just the direction of the arpeggiation. If you take strings on the Kronos and have them arpeggiated in a way that switches direction, you will hear what Roland has added to the transition.

You are correct about the Ehru patch. As you might know, in the V-synth GT they allowed you to cross utilize articulations in a limited way. If you listen to the results, however, you notice a distinct voicing that carries with each instrument. For instance if you apply an Ehru articulation to a saw wave, you still hear what sounds like the essence of an Ehru tone. In the Jupiter, I do not see the ability to cross utilize articuations in the way you can on the GT. Instead, it seems they have created tones that are meant to be layered with the synth or other tones. So while there is an Ehru patch, there is also something called Ehru APS, which does not sound like an Ehru when played alone.

I believe they found that the approach taken on the Jupiter has more sonically useful results. They have isolated a core tone and articulations and allow you to layer those tones into other sounds rather than trying to fit the model of that tone onto another wave. Given the sonic remnants you hear when you cross utilize articulations on the V, the Jupiter approach does seem to have more practical applications.

[cello]

I would like to here more about what a registration is and how many diffrent pad sounds there are . BTW where the hell is the list of sounds on the JP-80 I can't find it anywhere . how many ?

I cannot find the list either. Ticks me off!

Sound list here: http://www.roland.com/products/en/_supp ... PITER%2D80

[billysynth1]

Thnks Cello

Too many listing of violin 1, violin2, guitar 1, giutar 2, guitar 3, etc etc
Not sure why companys do that...probably make life easy for them in terms of getting the documenation finished lol

Billy

[michelkeijzers]

Sometimes it is hard to find good names for similar sounding patches. Of course you can hear a difference, but for a real instrument there are a several ways to make it sound different and it's hard to grab it in a 16 or 24 character name. Sound influences are (not complete possibly):
- brand/type of the instrument
- way of playing
- use of accessories
- effects or means to play it
- Mic recording (like brand of mic, distance, type)

E.g. you cannot name a patch: Violin sampled with a Mic xxx at 1.0 feet
or Violin played staccato with a comb of brand xxx

But I have to admit: violin 1 and 2 is a bit too easy. Better use word extensions like 'Vivid violin', 'dark violin' or even non meaningful wordsor even names like 'Violin Maria' (Ikea does it with great success).

[Rocness]

I would like to here more about what a registration is and how many diffrent pad sounds there are . BTW where the hell is the list of sounds on the JP-80 I can't find it anywhere . how many ?

I cannot find the list either. Ticks me off!

Sound list here: http://www.roland.com/products/en/_supp ... PITER%2D80

Holy Sh!t ! This thing has over 2000 tones and over 2000 Live Sets . WOW!
The Jp-80 must have broken a recored for most sound in a hardware synth ever . I must have this synth Now and all of those pads sounds WoW !