Classic Roland Synths
Roland’s new JUPITER-50 was unveiled at the Frankfurt Musikmesse last year, and though it sits at the cutting-edge of new technology, it’s a synth that sits firmly in line with Roland’s synth philosophy and history.
The JUPITER-50 is a streamlined version of the flagship JUPITER-80, and both instruments fit neatly into Roland’s 40-year story of pioneering synthesizer development. As the JUPITER name suggests, these new synths are related to one of the most iconic synth lines ever created—the genre-defining JUPITER-8.
Using the most innovative analog technologies of the time, the JUPITER-8 was released in 1981 and provided musicians with a rich palette of synth textures. Its reliability and ease of use on stage made it a go-to instrument for the electro crowd of the time. Its built-in arpeggiator and deep sonic potential satisfied the synth elite and awed countless Duran Duran fans.
The original desire for the JUPITER-8 was also to provide acoustic sounds, but the limited technology of the day meant that this goal remained out of reach.
This is where the JUPITER-80 and new JUPITER-50 come in. Building on Roland’s original philosophy, they both deliver unparalleled expressiveness and sound creation capabilities. Packing Roland’s SuperNATURAL technology, both models are equipped with the detail and nuance to reproduce acoustic sounds to near perfection as well as the most powerful synthesizer sounds in Roland’s history.
But to understand the future you need to look to the past. From its very first synth back in 1971, Roland has strived to deliver the best sounds possible, and this musician-focused philosophy has produced generations of classic synths and even inspired entire genres of music. Here are some of the best:
Roland’s first synth was Japan’s first synth. The SH-1000 was strikingly different from contemporary modular Moog and ARP synths. Although it lacked the duophony, pressure sensitivity, and performance control of its rivals, it more than made up for it in sheer sonic character and personality.
This beautiful, semi-modular monophonic synth comprised five modular components, all built around the central Synthesizer 101 module, a self-contained mono-synth with tons of sliders and raw power. Looking more like a telephone exchange than a synth, the System-100 is an ultra-rare and much-coveted beast.
The JUPITER-4 was Roland’s first true polysynth and showed how they weren’t worried about following the competition. The JUPITER-4 had just a single voltage-controlled oscillator (VCO) per voice, and it only had 10 presets. However, the trademark chorus and arpeggiator knocked spots off its rivals and acclaim quickly followed.
Unlike anything else, the JUPITER-8 had a split keyboard, oscillator sync, cross modulation, and polyphonic portamento. Its broad sonic range meant the electro pop community quickly adopted it as their synth of choice, and it appeared on the roster of stadium-filling artists such as Duran Duran, Heaven 17, and Erasure. Its big, room-filling sounds defined the pop-music of a generation.
The Juno-6 was the first Roland synth to use digitally controlled oscillators (DCOs). While traditional VCOs were prone to detuning at high temperatures and leaving musicians bereft onstage, the new DCOs were completely reliable.
Proving that Roland was as stylish as it was advanced, the SH-101 ran on batteries and you could wear it! In a decade dominated by outlandish fashion, the SH-101 was designed for posing on stage. Bizarre hairstyle and makeup optional—and that was just for the guys.
The next innovation to come from the Roland camp was more substantial than any single synth. MIDI was the fruit of collaboration between Roland, Sequential Circuits, Yamaha, and Korg. These manufacturers invented a uniform connectivity that would enable users to link synths made by any manufacturer.
Roland’s first polysynth to feature a sequencer, the JX-3P was named after the three Ps: programmability, polyphony, and presets. It was followed by the JX-10 (1986), which was by far the most programmable synth of the time.
The third of the Juno range, this six-voice subtractive analog synth had a fairly comprehensive MIDI implementation (for the time anyway, and especially for an analog synth). Produced for four years, the JUNO-106 is still used today, and counts Moby, Chemical Brothers, Sigur Ros, and Black Eyed Peas among its many users. Current JUNO models include the JUNO-D, JUNO-Di, JUNO-G, JUNO-Gi, and the JUNO-STAGE.
You couldn’t turn on the radio in the late ’80s without hearing the influence of the Roland D-50. Combining sample playback with digital synthesis (called Linear Arithmetic Synthesis), the D-50 was the forerunner of hybrid technology later found in the V-Synth, and very much became the prototype for synth development for years to come.
The JD-800 combined digital precision with the look and feel of a top-of-the-range analog synth. Teeming with knobs and sliders, musicians could once again enjoy the tactile thrill of creating new sounds, but with the confidence and control of digital synthesis. The JD-800 was a dream for those who liked to get their hands dirty. It was marketed as a return to the roots of synthesis and could be expanded via eight PCM cards covering various genres. Users include Ken Ishii, Laurent Garnier, William Orbit, New Order, and Pet Shop Boys.
XP-Series Workstation (1995)
The XP-series were powerhouse keyboards capable of recreating hundreds of voices. With patches galore, they offered intricate sound creation. Six years later, Roland would evolve the workstation range further still with the Fantom series. Essentially a mobile sample-based studio, the Fantom enables musicians to build and layer their own tracks on the fly.
Opening the floodgates for a plethora of supersaw-inspired trance records, the JP-8000 aimed to recreate the sonic warmth and tonality of the fabled JUPITER-8 while adding new features for the production scene of the late ’90s. With the ability to deliver haymaking lead lines or soothe the audience with soaring, constantly evolving pads, the JP-8000 is a modern classic in every sense—powerful, programmable, and punchy. The classic detuned supersaw sound has become a staple of dance music, heard on tracks by LMFAO, Lady Gaga, Calvin Harris, etc. Other users include Prodigy, David Bowie, Faithless, Muse, Goldie, Duran Duran, Underworld, and Tangerine Dream.
Continuing to innovate, Roland assembled its most advanced technology and crammed it all into the V-Synth. It offered a multi-sampling keyboard, real-time looping, and tempo-warping. Among other features were PCM oscillators, user sampling, multi-effects, and COSM processing. The V-Synth remains a force to be reckoned with to this day in the guise of the second-generation V-Synth GT, offering synth fanatics an unbelievable amount of sonic power and sheer experimentation potential.
The SH-201 was a great-value synthesizer, offering quick, fun sound creation through its array of knobs and sliders. However, it is the forensic level of sound creation that really set this apart. The SH-201 was Roland’s first hardware synth to offer VSTi integration, and came with comprehensive editor/librarian software giving users easy access to hidden parameters, fitting neatly into computer-based studios.
GAIA SH-01 (2010)
Blending digitally perfect sound with the simplicity of analog controls, the GAIA SH-01 easily passes for retro, but the concept is radically different from contemporary big hitters. With generous polyphony and a versatile triple-core analog modelling engine, the GAIA is an authentic, super-affordable synth. It’s also a great way to stay connected with the past glories of Roland’s synth legacy.
An absolute beast of a machine combining monstrous analog-modeling power with pristine, beguilingly realistic acoustic sounds underpinned by Roland’s SuperNATURAL technology and Behavior Modeling. This is a Roland synth four decades in the making—play one and you’ll understand why.
So the JUPITER-50 might be the most recent Roland synthesizer, but it’s also part of a rich history of innovation. Always focused on usability and value, Roland has consistently delivered cutting-edge performance and inspiring sounds at affordable prices.
August 20, 2014 @ 1:14 am
I’ve had 6 of the synths listed here – Juno 6, SH-101, JX-3P, D-50, JD-800 and V-Synth.
The V-Synth is the best all round synth of the lot (and one of the best synths ever invented full stop). JD-800 is still a beautiful machine in looks, feel and sound and can be very warm and analogesque, sits in a mix beautifully. D-50 is a super-classic extremely warm for digital and a powerful synth (though not quite as flexible or as startling as the JD-800). JX-3P is my pick of the non jupiter analogs as it’s got that bit more flexibilty and edge. Juno 6/60 are nice but get very stale after a while. SH-101 is cool, sounds good but lack of patch storage drives you insane after a few years 😉
So JD-800, V-Synth and JX-3P are my pick. If I could try a Jupiter 8 of course I would, but that’s impossible now for the prices they go for.
And I agree there’s NOTHING classic about the Jupiter 80 (nor the toy keyboard Gaia).
Bennie T. Rogers
September 24, 2013 @ 5:04 pm
A rich history of classic synths!
May 11, 2013 @ 8:46 am
It’s nice that I get daily updates and articles from Roland on Facebook. Thanks.
March 23, 2013 @ 3:43 pm
Moog has been back for a decade, Korg reissues the MS-20, Dave Smith and Tom Oberheim are making analogs again, etc. and Roland does…nothing. So lame. Nothing classic about the Jupiter 80 except how little they understand about the synth market now.
March 17, 2013 @ 8:37 am
Its a shame you dont have a donate button! Id without a doubt donate to this fantastic blog! I suppose for now ill settle for bookmarking and adding your RSS feed to my Google account. I look forward to new updates and will share this blog with my …
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