Roland JV-2080

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JV-2080 by Roland
Synthesis type: Sample based
Polyphony: 64 tones
Timbrality: 16 part Multitimbral
Oscillators: 4 tones per voice
Filter: 1 TVF (Time Variant Filter) per tone, with resonance and its own envelope
Attenuator: 1 TVA (Time Variant Amplifier) per tone
LFO: 2 per tone, with eight waveforms
Velocity sensitive: Crossfade and key range.
Aftertouch: Channel
External control: MIDI
Memory: 768 patches, including General MIDI and 128 User patches
Produced: January 1997-2000
Original price: 1399 UKP

Released in 1997, the Roland JV-2080 was an expanded and updated version of the popular JV-1080. Based on a sample + synthesis architecture, the JV-2080 provided a rich library of on-board sample material and a strong semi-modular synthesis engine in a commercially viable mass-market product.

Used by hundreds of artists and producers in many genres, the JV-1080 and JV-2080 are workhorses of the synthesizer world.


Contents

[edit] Main Features

THe JV-2080 ("2080") is a sample+synthesis synthesizer with support for 768 internal patches, including General MIDI. In addition to the synthesizer, it also include a multi effects module, with 40 effect types, of which three can be used simultaneously in conjunction with a master reverberation effect and a master chorus effect. The 2080 is expandable via proprietary modules (SR-JV80) that contain both sample-based waveform data and patch information. A fully expanded system contains 8 modules, for a total of 2,000 patches.

The internal memory of the 2080 is divided into five sections.

  • USER - User rewriteable storage, initially contains a modified copy of PR-E, with different octave settings.
  • PRA-C,E (Preset A-C, E) - Presets in read-only memory, cannot be modified. Performances are found here also.
  • PR-D (General MIDI) - Presets compatible with the General MIDI system. No Performances, not modifiable.
  • XPA-H (Expansion A-H) - Sounds and patches from expansion boards, installed in slots A-H.
  • CARD - Data from compatible memory cards and sound library cards (PN-JV80 series).

[edit] Voice Architecture

(stub)

[edit] Compared to JV-1080

The 2080 is patch compatible with some earlier Roland synthesizers, including the JV-1080 and the XP-50 and the XP-80. (stub)

[edit] On-Board Demos

The JV-2080 has three on-board demo songs, accessible by holding the EXIT key, and pressing the down-cursor key.

The demos are[1]:

  • Timepeace, by Scott Tibbs. Scott Tibbs is a performer and conductor based at UCLA, where he teaches music composition and theory.
  • Denki, by Ryeland Allison.
  • Short Cuts, by Yuuki Kato. Directed by Takayuki Nagatani. Yuuki Kata is the managing director of Music Brains, Inc, and a guitarist, bassist, and drummer. Takayuki Nagatani is the chief director at Music Brains, Inc.

[edit] Expansion

In common with other Roland contemporary instruments, the JV-2080 could be expanded with SR-JV80 expansion boards, and could accept up to eight of them at one time, more than any other Roland product. Released at the same time as the JV-2080, was the SR-JV80-10 Bass & Drums board. This board contained 241 waveforms derived from the Spectrasonics sample CDs "Bass Legend", "Burning Grooves", and "Liquid Grooved." The name was carefully chosen as to not confuse Jungle music producers[2]

[edit] Overview

Roland synthesizers have always had a place of prominence in electronic music, and especially dance music genres. As the earlier generation of synthesizers, such as the Jupiter 8 and TB303 aged, the demand for the sounds they produce remain strong. Roland recognized this, and produced several new synthesizers that incorporated samples from these classic machines. The JV-1080 and JV-2080, along with the keyboard versions, became not only replacements for the older technology, but were sometimes sought out for themselves. [3] Until this generation, digital synthesizers were not considered replacements due to their colder and more clinical sound and problems with digital artifacts, specifically in envelope generators and filters. With the advent of faster processors and better analog to digital converters, these problems disappeared, and it became possible to not just digitally emulate the sound of the older technology, but create an entirely new sound based entirely in the digital domain.

Various patches in the presets of the JV-2080 are specifically targeted at, if not completely emulating the sound of older machines, at least evoking the memory of them. Some examples are:

  • PR-B 28 (101 Bass), a 12-pole filtered, single oscillator bass sound typical of the Roland SH-101.

101 Bass demo

Demo of PRB-28
Problems listening to the file? See media help.
  • PR-B 30 (Super Jup Bs), a thicker, but still fairly dry, bass sound typical of the Roland Jupiter-8.

Super Jup Bs demo

Demo of PRB-30
Problems listening to the file? See media help.
  • PR-B 41 (Super JX Bs), A chorused multi oscilator bass sound typically of the Roland JX-8P.

Super JX Bs demo

Demo of PRB-41
Problems listening to the file? See media help.

Auto 303 demo

Demo of PRB-48
Problems listening to the file? See media help.

These and other patches are supported by raw sound samples, taken from the actual hardware. Some examples:

  • INT-A 213-218 (JP Strings1A-2C), a selection of multisamples from the Jupiter-8 for creating string sounds.

JP-8 Str 2

Demo of PRC-52
Problems listening to the file? See media help.
  • INT-B 40-32 (JP-8 Saw A-C), a selection of multisamples from the Jupiter-8 of the oscillator's raw sawtooth waveform.

Custom user patch demo

Demo uses JP8 Saw
Problems listening to the file? See media help.

Afro Horns demo

Demo of PRC-67
Problems listening to the file? See media help.


Interestingly, the JV-2080 contains not just waveform samples from earlier analog synthesizers, but also from influential digital synthesizers such as the Roland D-50, various drum machines such as the Roland TR-606 and the Roland TR-808, and even from equipment not specifically designed to produce sound (The Roland MC-500 sequencer metronome sound). [4]

Ultimately the core synthesis engine of this generation came full circle in the Roland MC-505 (and MC-303), to not only emulate the sound of the older technology, but to replicate the physical way of working with the technology. These so-called "groove boxes" included not only the synthesis engine and core sample set, but sequencers and built in patterns for modern music styles.[5]


[edit] Notable Users and Genres

The JV-1080 and JV-2080 attract artists and producers from a broad range of genres because of the versatility of their sounds. Synth Pop artist Thomas Dolby once remarked that he didn't find the JV as immediate in usability as his older synthesizers[6]. The JV-2080 can also be found featured in the studios of Tidy Trax Records, a Hard House record label based in the UK[7]. You'll also find a JV-1080 at the studios of UK label Nukleuz, often called the biggest Hard House label on the planet[8]. Australian Electro band Gerling used the JV-1080 on their album Children Of Telepathic Experiences, and even documented the equipment in the liner notes[9]. You'll also find the JV-2080 in the kit list of the Speed Garage outfit of 187 Lockdown[10], DnB pioneers Omni Trio where Rob Haigh used one for the album Byte Size Life[11], and in the stage setup for DnB group 4 Hero[12]. Lastly, LTJ Bukem and Photek swear by theirs [13], making use of the synthesizer in beat making and film scoring, respectively.

Other notable users:

[edit] References

  1. ^ [Nicolantonio, Paolo] (2004). Roland JV-2080: 64 Voice Synthesizer Module. Synthmania.com. Synthmania.com. Retrieved on 2007-12-27.
  2. ^ Johnson, Derek (1997), “Upwardly Mobile”, Sound On Sound, <http://www.soundonsound.com/sos/1997_articles/apr97/rolandjv2000.html> 
  3. ^ Magnus, Nick (1994), “Why I Lurve the JV1080”, Sound On Sound, <http://www.soundonsound.com/sos/1994_articles/dec94/rolandjv1080.html> 
  4. ^ (-10-28-1996) JV-2080 64 Voice Synthesizer Modules Owner's Manual. Roland Corporation. 
  5. ^ “The Roland MC505”, Dancetech, 2000, <http://www.dancetech.com/aa_dt_new/hardware/item.cfm?threadid=376&lang=0> 
  6. ^ Fortner, Steve (2001), “Five Questions with Thomas Dolby”, Keyboard (no. May): 17 
  7. ^ James, Alex (2001), “Tidy Trax”, Future Music (no. 109): 90-91 
  8. ^ Harding, Tom (2001), “Nukleuz”, Future Music (no. 109): 92-93 
  9. ^ Booth, Phil (2001), “Electro Down Under”, Future Music (no. 107): 105-108 
  10. ^ Robinson, Date (1998), “Lock Who's Talking”, Future Music (no. 73): 100-102 
  11. ^ Cant, Tim (1999), “Don't Byte”, Future Music (no. 88): 64-66 
  12. ^ Davis, Sarah (1997), “Could They Be Heros?”, Future Music (no. 61): 86-93 
  13. ^ Barr, Tim (1998), “The Year In Gear”, Future Music (no. 74): 134-135