Roland Jupiter-8
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| Jupiter-8 by Roland | |||
| Synthesis type: | Analog Subtractive | ||
|---|---|---|---|
| Polyphony: | 8 voices | ||
| Timbrality: | 2 | ||
| Oscillators: | 2 VCOs per voice | ||
| Filter: | 12&24dB/Oct resonant lowpass, non-resonant highpass |
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| LFO: | 1 triangle/square/sawtooth/random | ||
| Velocity sensitive: | No | ||
| Aftertouch: | No | ||
| External control: | DCB (on later models) | ||
| Memory: | 64 patches | ||
| Onboard effects: | None | ||
| Produced: | 1981 - 1985 | ||
The Jupiter-8, Roland's flagship analog synthesizer of the early 1980s is an eight-voice polyphonic synth and is considered one of the greatest synths of all time.[citation needed]
The Jupiter-8, introduced in the Autumn of 1981, features analog slider controls for most of its parameters, encouraging users to program their own patches. Although it lacked the soon-to-be standard of MIDI control, later model Jupiter-8s did include Roland's proprietary DCB interface, and sported advanced features such as the ability to split the keyboard into two zones, with a separate patch active on each zone.
The Jupiter-8 was discontinued in 1985. 2,000 Jupiter-8s were manufactured.
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[edit] Features and architecture
As its name suggests, the Jupiter-8 is an 8-voice polyphonic analog synthesizer. Each voice features two VCOs with cross-modulation and sync, pulse-width modulation, a non-resonant high-pass filter, a resonant Low-pass filter with 2-pole (12 dB/octave) and 4-pole (24 dB/octave) settings, an LFO with variable waveforms and routings, and two envelope generators (one invertible).
Noteworthy performance features include adjustable portamento, a hold function for making sound design easier, a versatile arpeggiator with DIN-sync and external analog clock input connectivity, assignable pitch-bender, instrument layer and split modes, robust load and save functionality for its 64-patch memory, a DCB port for attaching an external MIDI interface or other DCB-compatible device, built-in XLR outputs, and—in addition to legato and polyphonic modes—the Jupiter-8 includes a powerful unison mode.
A Z80 CPU was used for managing storage of patches, scanning the keyboard, display, and buttons, port handling, and taking care of the auto-tune function among other things. The VCOs were discrete. The VCF was based on the Roland IR3109 IC (also used in the Jupiter 6, MKS-80 rev 4, Juno 6/60, JX-3p respective filter circuits). The VCA was the BA662. The envelopes were hardware generated by the Roland IR3R01 chip (also in the Juno 6/60), and are much faster than software generated ones in the subsequently introduced Jupiter-6 and MKS-80 "Super Jupiter".
[edit] Reliability
Although it has been suggested that the Jupiter-8's tuning is unstable, this is only somewhat true of the earliest versions using 12-bit resolution for panel slider encoding and main control voltage generation. Later revisions, which employ 14-bit resolution, seldom require manual re-tuning, except in cases where the synth has seen some serious abuse (as baggage on a flight, for example). The soldered-in battery typically lasts ten years or more, ranking these boards among the lowest-maintenance of their generation. Most synthesizer service technicians will confirm the Jupiter-8 is built with much higher quality and endurance than its contemporaries made by Sequential Circuits and Oberheim. Compared to Curtis chips, used by these two companies, the failure rate of the Roland IR series IC's used in the JP-8, is almost unmeasurable.
[edit] In the present day
The wide range of sounds that the Jupiter-8 can produce, along with its sturdy construction, render it a venerable instrument even today. Units in good condition still fetch more at auction than most new synthesizers, suggesting that the Jupiter-8 will continue to be heard for years to come. The characteristic sound of the Jupiter-8 is heard extensively on albums from the early 1980s to the present day. It is considered in professional circles[who?] to be among the most versatile, intuitive, and musical synthesizers ever made. It is likely more widely used today than it was when in production, especially in diverse world of modern electronica subgenres - psy trance, goa trance, twisted house, minimal etc.
At the 2007 NAMM show, French music software manufacturer Arturia announced, and subsequently released a software Jupiter-8 called "Jupiter-8V". It is uncertain what effect this will have on the value of existing Jupiter 8's since more people will have access to this instrument at a much lower price than an original unit, not to mention that original units in good condition are difficult to find.
Additionally, the Roland VariOS will run a mildly successful digital approximation of Jupiter 8 using "Varios-8" software.
[edit] Jupiter changes and successors
Throughout the production of the JP-8 there were several changes. Starting at serial #171700 the D/A converter on the Interface board was changed from 12-bit to 14-bit. This change was made mainly to improve tuning stability. The problem with the 12-bit digital-to-analog converter on the original JP-8 is that it could cause the autotune to be inaccurate in some instances. Some say to avoid these early JP-8's while others say they haven't experienced tuning problems. Starting at serial #242750 the LEDs of the display were changed to brighter ones. Starting at serial #282880 the JP-8 came standard with a DCB port. These newer JP-8's may be referred to as JP-8A's. DCB, or Digital Control Bus, was Roland's pre-MIDI interface that allowed the JP-8 to talk to other DCB enabled hardware, such as the Roland MC4 and MC8 microcomposers. Previous JP-8's had the option of having the OC-8 retrofit installed to give it DCB capability.
The Jupiter-6 was released 2 years after the JP-8 and was an attempt at more affordable version of Roland's flagship. It features a similar voice architecture and appearance. It stored fewer patches, and had six voices. In order to make it cheaper to manufacture, a move towards integrated circuits (Curtis) was made, to replace discrete circuits used in JP-8's oscillators and amplifiers. JP-6 is built using CEM3340 chip for its oscillators, and CEM3360 for its voltage controlled amplifiers. These changes imparted a change in sonic character. additionally, Jupiter-6 features a true multimode resonant filter, built-in MIDI, unison detune function and ability to make multiple selection of waveforms on its oscillators.
The Roland MKS-80 "Super Jupiter" is a MIDI-controlled, rack-mountable sound module with a similar voice architecture to the Jupiter-8. However, its first released incarnation in 1984 (revision 3 and 4) used hardware identical to its predecessor, Jupiter 6 (combination of Curtis VCO and VCA chips and Roland's own filter). In 1985 out came another revision of MKS-80, known as "Rev 5", that had no ties with any previous Jupiter's hardware, as it used a new generation of both Roland VCO's, VCA's and filter. The Rev 5 filter was also used in JX-8P, JX-10 and MKS-70 synthesizers.
French software company Arturia makes a software version of the Jupiter-8 known as the Jupiter-8V. The instrument is compatible with VST, AU, and RTAS software such as Cubase, Logic, and ProTools, and has received much praise for its fidelity to the actual Jupiter-8. It even includes an arpeggiator that functions similar to the actual one of the Jupiter-8.
[edit] Notable users
- Duran Duran - "Hungry Like the Wolf"
- Harold Faltermeyer - "Axel F"
- Michael Jackson - Thriller
- Depeche Mode
- Jean Michel Jarre - Chronologie - Oxygene Live in your living room (2007)
- Howard Jones - esp. Human's Lib
- No Doubt - "Just a Girl"
- The Prodigy - "Wind It Up (Rewound)"
- William Orbit
- Jan Hammer - "hitlist
- Journey on different albums. It is shown in the "Separate Ways" music video.
- David Bowie
- Underworld
- Legowelt
- Moby
- Meat Beat Manifesto
- Uberzone
- Queen - Queen on Fire - Live at the Bowl (1982/2004), The Works (1984), A Kind of Magic (1986)
- Radio Gaga's recognisable bassline was created using the Jupiter-8's arpeggiator, and the solo on I Want to Break Free was performed on Jupiter-8 as well
- The Cars - Heartbeat City, Door To Door
- Shriekback
- Roger Joseph Manning Jr.
- Devo - Oh, No! It's Devo
- Spliff - "Heut' Nacht"
- Freur - "Doot Doot"
- Foreigner - "Yesterday"
- Go West - "We Close Our Eyes"
- Rush - Signals
- Rush - Grace Under Pressure Notably, the bass line for "Red Sector A"
- Tears for Fears - "Head over Heels" and "Shout" on Songs from the Big Chair
- Peter Oxendale with John Foxx - "The Hidden Man"
- Tangerine Dream
- Alicia Keys on "No One"
- John Foxx on The Garden
