Roland Jupiter 80 Vst12/11/2022 ![]() ![]() This can't really be true, because all four filters offer 12dB/oct and 24dB/oct options but, whichever way you look at it, that's a lot of low-pass filters, and very nice they are too.ĭespite the loss of the colour touchscreen, I found editing to be straightforward in 'Pro' mode on the 240 x 64 pixel monochrome display, which presents everything in a long, vertical list of parameters. LPF2 is based upon the Jupiter 8's filter and, while there's no documentation to say what LPF3 and LPF4 might be, rumour has it that they are based on one of the Prophets and an unspecified Moog. As I discovered last year when I reviewed the Jupiter 80 (see Sound On Sound, August 2011), a polysynth patch built on just one Partial can be a powerful beastie in its own right, and one built on all three of them can be monstrous.ĭespite what the nay-sayers may claim, the Jupiter 80 was always capable of some lovely recreations of analogue synths, as well as more modern sounds, and this ability is further enhanced in the Jupiter 50 (and on the Jupiter 80 version 2 - see box) by the addition of three new low-pass filter options within each Partial. ![]() Not just an oscillator section, each Partial is an independent synthesizer with a pitch envelope, a multi-mode resonant filter, a high-pass filter, dual ADSR contour generators, dual LFOs, waveshaping, unison, analogue feel and more. The synth engine builds its patches (which Roland call 'Tones') from up to three Partials, each of which offers seven virtual analogue waveforms with three variants, as well as PWM and SuperSaw depth where appropriate, plus a PCM option that offers 363 waveforms. Like the Jupiter 80, the 50 generates its sounds using a virtual analogue synth engine called Supernatural Synth, coupled with a selection of acoustic models called, with devastating predictability, Supernatural Acoustic. For a features specification, see the box elsewhere in this article. Nevertheless, it can sound superb, so I'm pleased to see that Roland have persevered with its weird architecture, cutting costs by removing expensive components such as its large, touch-sensitive colour screen and sacrificing a few electronic bits and pieces to produce a more affordable sibling, the Jupiter 50. ![]() For many players it's an enigma: neither fish nor fowl, neither workstation nor conventional stage keyboard, making it easier to discuss what it isn't rather than what it is. Ignore the rabid hatred poured upon the Jupiter 80 by people who weren't born in 1982 but think that no synthesizer released since then has been worth playing, there's a more pragmatic reason for its failure to set the keyboard-playing world alight. ![]() Does this slimmed-down synth offer the same Supernatural sound? Roland's Jupiter 80 has gained a little brother in the shape of the Jupiter 50. ![]()
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