Moshkiae

craigb
Yeah, I had a D-Beam on my Roland SP-808.  Lots of interesting things could be patched to it.

What I would pay to have someone show me how to use the Jupiter 8 software even better!
 
Oh well ... let me die stupid and not knowing nothing!

Play with it

You picked a winner in the JP80..
 
I suspect you wont be making any music for quite some time while you simply enjoy the sounds..  a pure performance keyboard

Wookiee

Moshkiae

craigb
Yeah, I had a D-Beam on my Roland SP-808.  Lots of interesting things could be patched to it.

What I would pay to have someone show me how to use the Jupiter 8 software even better!
 
Oh well ... let me die stupid and not knowing nothing!

Play with it

Or look for tutorials - even YouTube might have some videos to watch.
 
It's been so many years since I've used my Korg N5 I may need to do the exact same thing.

I am interested in synth operating systems. It is interesting starting with an idea for a sound in your mind and then using the synth operating system to achieve it. The Jupiter 80 has an interesting approach to it too. Sound building that is. I am reading the manual which explains it pretty well.
 
It is possible to build a sound with up to 24 layers per note. The Super NATURAL synth tone can consist of 3 partials. If you constructed complex ambient textures using the super NATURAL tones you can maximise the number of layers possible. I like the live set concept too with 4 layers per Live set. So 12 layers are possible at this point. The Registration is also an interesting concept with Solo, Upper and Lower (two live sets) and Percussion parts. It is good how they think of it as a band in some ways. With Upper and Lower baing able to be layered too another 12 layers could be added too. I like the concept of the lead or solo and percussion parts being treated separately. The Tone blender is also an interesting part of the Jupiter. Effects routing and processing killer too as to be expected.
 
All of these layered tones could be split off and assigned individuial midi channels and become seriously multi timbral. I think it's one of the most advanced and interesting Jupiters they have made yet. I am sure it sounds great too.
 
I think working with two (or three) powerful hardware synths is a great concept. For me I am partnering a Roland JD800 which would rival the Jupiter 80 in some cases for its fat and unique sound and the Kurzweil which also has a deep and rich operating system and a great sound too. The Roland sound marries well with the Kurzweil sound. I would imagine the Jupiter 80 would be an even better match. I am also blending in the EMU Emulator sound into some of these mixes and it also fits in well with those two. It is still one heck of a great sounding sampler. 
 
A few people who I knew were major Fairlight operators back in the 80's and 90's and they often had a Roland Jupiter synth in partnership with it. It is a good marriage. Layering fat analog sounding patches under digital sounds, works very well and sounds effective. Does not mean you could not layer in other fat sounding layers from Korg and Yamaha. It only gets more interesting when you start blending different brands. I still think they sound different from each other. (Kurzweil, Roland, Yamaha, Korg. EMU) They did then and still do today.

I had always wanted the Jupiter 2 ...
 

Wookiee
Play with it

That's not the issue! It's how to make use of the other bits and pieces to do more and better things with it all. Even the presets are limiting, because it's hard to tell what was done or not done.
 
Let's say I want to extend this and have it repeat and so on ... I am not able to do that! I can only play variations upon a theme on what is already there! The rest is wasted!  Not to mention ****ing assinine comments here and there and everywhere!

Mystic38
You picked a winner in the JP80..
 
I suspect you wont be making any music for quite some time while you simply enjoy the sounds..  a pure performance keyboard

A performance keyboard and you spend your time playing on it, instead of using it on stage?
 
I want a keyboard for fun, and the performance whatever abilities can take a hike!

Jeff Evans
I am interested in synth operating systems. It is interesting starting with an idea for a sound in your mind and then using the synth operating system to achieve it. The Jupiter 80 has an interesting approach to it too. Sound building that is. I am reading the manual which explains it pretty well.
 
It is possible to build a sound with up to 24 layers per note. The Super NATURAL synth tone can consist of 3 partials. If you constructed complex ambient textures using the super NATURAL tones you can maximise the number of layers possible. I like the live set concept too with 4 layers per Live set. So 12 layers are possible at this point. The Registration is also an interesting concept with Solo, Upper and Lower (two live sets) and Percussion parts. It is good how they think of it as a band in some ways. With Upper and Lower baing able to be layered too another 12 layers could be added too. I like the concept of the lead or solo and percussion parts being treated separately. The Tone blender is also an interesting part of the Jupiter. Effects routing and processing killer too as to be expected.
 
All of these layered tones could be split off and assigned individuial midi channels and become seriously multi timbral. I think it's one of the most advanced and interesting Jupiters they have made yet. I am sure it sounds great too.
 
I think working with two (or three) powerful hardware synths is a great concept. For me I am partnering a Roland JD800 which would rival the Jupiter 80 in some cases for its fat and unique sound and the Kurzweil which also has a deep and rich operating system and a great sound too. The Roland sound marries well with the Kurzweil sound. I would imagine the Jupiter 80 would be an even better match. I am also blending in the EMU Emulator sound into some of these mixes and it also fits in well with those two. It is still one heck of a great sounding sampler. 
 
A few people who I knew were major Fairlight operators back in the 80's and 90's and they often had a Roland Jupiter synth in partnership with it. It is a good marriage. Layering fat analog sounding patches under digital sounds, works very well and sounds effective. Does not mean you could not layer in other fat sounding layers from Korg and Yamaha. It only gets more interesting when you start blending different brands. I still think they sound different from each other. (Kurzweil, Roland, Yamaha, Korg. EMU) They did then and still do today.

I nominate this post as "interesting!"

3 partials per tone
 
1 tone percussion
4 tones lower
4 tones upper
1 tone solo
 
3*(1+4+4+1)=30 layers
..still short of the Kurz.
 
Now if Kurzweil had a decent GUI more people would realise what a great synth it is.

I don't believe any synthesiser is limiting. It is interesting how there can be several points of view on something. They are limitless rather than limiting. Presets are a great starting point to get to know the sonic capabilities of the instrument. And also to inspire. They certainly do that for me. Reverse engineering of a preset synth patch enables you to learn the basic principles of synthesis. Once you have some basic understanding of the concept of sound building then you can easily learn what the original programmer did to create that sound.
 
You can now edit any aspect of that sound and turn it into yours. Waveforms can be changed, within minutes if you want you have a totally new sound that is yours and very original. All from a factory patch to start. (the Roland Jv30 is the best General Midi synth for sound editing direct on the front panel) Editing factory patches is great because you start with something half way there and end up with something that is fully there and very original. Roland synths have always made it easy to edit sound parameters. (The JD 800 is over the top with a faders and rotary controls and switches for every parameter laid out in front of you) The sound editing part of the Jupiter 80 looks pretty deep too.
 
Or you can build from scratch and create the sound yourself using the vast storage of raw materials you have to work with. Imagine pressing a key and hearing 16 events take place. All in their own time and space, some at the same time to fatten and add interest to the sound and other parts delayed and layered in. It doesn't take long to build a complex ambient texture for example. Different parts of it can be mapped out over the keyboard and velocity switching can bring in new sounds etc. The performance options once you have a sound made are also enormous. Adding in after touch, pedal, breath control, ribbon, pitch and mod wheels, the 10 sliders on the front panel of a Kurzweil etc..It is all about sound programming and how that is done in relation to the velocity curve of the keybed.
 
The keyboard is also a great performance instrument and for those who can play it well it is a super expressive tool. I think the synth action is also well designed because it is no less expressive than anything else. It allows for a different playing approach. With all the extra bits you can add to a performance keyboard in terms of performance controllers it is still a very expressive instrument. And for those with a deeper understanding of music, it is well organised.
 
PS the real power of the Kurzweil is using the editor software. Then the GUI takes on a whole new meaning. Those screens are large, detailed and look great and you can deal with huge amounts of stuff on one page. That is how you use it in the studio. The editor even runs fine along with your DAW and it has a two way link to the instrument. This editing program that is normally $99 is free currently to Kurzweil buyers. On stage you don't need it. It just sets up all your sounds and organises things into a very fast and retrievable system that uses the built in display. I find there is more than enough info on the display.