![\"Classic](\"https:\/\/i0.wp.com\/www.rolandus.com\/blog\/wp-content\/uploads\/2013\/01\/Classic-Synths.png?resize=670%2C274\")
<\/a><\/p>\nRoland\u2019s new JUPITER-50<\/a> was unveiled at the Frankfurt Musikmesse last year, and though it sits at the cutting-edge of new technology, it\u2019s a synth that sits firmly in line with Roland\u2019s synth philosophy and history.<\/p>\n The JUPITER-50 is a streamlined version of the flagship JUPITER-80<\/a>, and both instruments fit neatly into Roland\u2019s 40-year story of pioneering\u00a0synthesizer<\/a>\u00a0development. As the JUPITER name suggests, these new synths are related to one of the most iconic synth lines ever created \u2013 the genre-defining JUPITER-8.<\/p>\n 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.<\/p>\n 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.<\/p>\n This is where the JUPITER-80 and new JUPITER-50 come in. Building on Roland\u2019s original philosophy, they both deliver unparalleled expressiveness and sound creation capabilities. Packing Roland\u2019s 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\u2019s history.<\/p>\n 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 and this musician-focussed philosophy has produced generations of classic\u00a0synths<\/a>\u00a0and even inspired entire genres of music. Here are some of the best:<\/p>\n SH-1000 (1972)<\/strong> System-100 (1976)<\/strong> Photo linked via Vintage Synth Explorer: www.vintagesynth.com\/roland\/sys100.php<\/p><\/div>\n JUPITER-4 (1978)<\/strong> Photo linked via Retro Sound: http:\/\/www.retrosound.de\/<\/p><\/div>\n JUPITER-8 (1981)<\/strong> JUNO-6 (1982)<\/strong> The SH-101 (1982)<\/strong> MIDI (1983)<\/strong><\/a> JX-3P (1984)<\/strong> JUNO-106 (1984)<\/strong> D-50 (1987)<\/strong> JD-800 (1991)<\/strong> XP series workstation (1995)<\/strong> JP-8000 (1997)<\/strong> V-Synth (2003)<\/strong> SH-201 (2006)<\/strong> GAIA SH-01 (2010)<\/strong> JUPITER-80 (2011)<\/strong> So the JUPITER-50 might be the most recent Roland synthesizer, but it\u2019s also part of a rich history of innovation. Always focussed on usability and value, Roland has consistently delivered cutting-edge performance and inspiring sounds at an affordable price.<\/p>\n Roland\u2019s new JUPITER-50 was unveiled at the Frankfurt Musikmesse last year, and though it sits at the cutting-edge of new technology, it\u2019s a synth that sits firmly in line with Roland\u2019s synth philosophy and history. The JUPITER-50 is a streamlined version of the flagship JUPITER-80, and both instruments fit neatly into Roland\u2019s 40-year story […]<\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":[]},"categories":[8],"tags":[234,23,260,261,237,262,263,264,240,25,265,19,257,55,242,266,267,268,269],"jetpack_publicize_connections":[],"yoast_head":"\n![\"Roland](\"https:\/\/i0.wp.com\/www.roland.co.uk\/assets\/images\/products\/gallery\/jupiter-50_top_gal.jpg?resize=520%2C147\")
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\nRoland\u2019s first synth was Japan\u2019s first synth. The SH-1000 was strikingly different from contemporary modular Moog and ARP synths. Although it lacked the duophony, pressure sensitivity and the performance control of its rivals, it more than made up for it in sheer sonic character and personality.<\/p>\n![\"Roland](\"https:\/\/i0.wp.com\/www.roland.co.uk\/assets\/images\/articles\/SH-1000web.jpg?resize=340%2C175\")
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\nThis beautiful semi-modular monophonic synth comprised five modular components, all built around the central Synthesizer 101 module \u2013 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.<\/p>\n![\"\"](\"https:\/\/i0.wp.com\/www.vintagesynth.com\/roland\/images\/sys100.jpg?resize=490%2C429\")
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\nThe JUPITER-4 was Roland\u2019s first true polysynth and showed how Roland wasn\u2019t 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.<\/p>\n![\"\"](\"https:\/\/i0.wp.com\/www.retrosound.de\/jupiter4kl.jpg?resize=500%2C204\")
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\nUnlike 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.<\/p>\n![\"The](\"https:\/\/i0.wp.com\/www.roland.co.uk\/assets\/images\/articles\/JUPITER-8web.jpg?resize=460%2C260\")
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\nThe Juno-6 was the first Roland synth to use Digitally Controlled Oscillators (DCOs). Traditional VCOs were prone to detuning at high temperatures, leaving musicians bereft onstage \u2013 but the new DCOs were completely reliable.<\/p>\n![\"Juno](\"https:\/\/i0.wp.com\/www.roland.co.uk\/assets\/images\/articles\/JUNO-6web.jpg?resize=360%2C208\")
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\nProving 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 \u2013 and that was just for the guys.<\/p>\n![\"Roland](\"https:\/\/i0.wp.com\/www.roland.co.uk\/assets\/images\/articles\/SH-101web.jpg?resize=360%2C218\")
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\nThe next innovation to come from the Roland camp was more substantial than a single synth. MIDI was the fruit of collaboration with Sequential Circuits, Yamaha and Korg. These manufacturers invented a uniform connectivity that would enable users to link synths made by any manufacturer.<\/p>\n
\nRoland\u2019s 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.<\/p>\n![\"JX](\"https:\/\/i0.wp.com\/www.roland.co.uk\/assets\/images\/articles\/JX-3Pweb.jpg?resize=460%2C222\")
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\nThe third of the Juno range, this six-voice subtractive analog synth cost \u00a3799 when launched, and even 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<\/a> models include the JUNO-D<\/a>, JUNO-Di<\/a>, JUNO-G<\/a>, JUNO-Gi<\/a>, and the JUNO-STAGE<\/a>.<\/p>\n![\"Juno](\"https:\/\/i0.wp.com\/www.roland.co.uk\/assets\/images\/articles\/JUNO-106web.jpg?resize=440%2C196\")
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\nYou couldn\u2019t turn the radio on in the late eighties 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.<\/p>\n![\"D-50\"](\"https:\/\/i0.wp.com\/www.roland.co.uk\/assets\/images\/articles\/D-50web.jpg?resize=460%2C186\")
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\nThe 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 and was marketed as a return to the roots of synthesis and could be expanded via 8 PCM cards covering various genres. Users include Ken Ishii, Laurent Garnier, William Orbit, New Order and Pet Shop Boys.<\/p>\n![\"JD-800\"](\"https:\/\/i0.wp.com\/www.roland.co.uk\/assets\/images\/articles\/JD-800web.jpg?resize=460%2C220\")
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\nThe 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.<\/p>\n![\"Roland](\"https:\/\/i0.wp.com\/www.roland.co.uk\/assets\/images\/articles\/XP-80web.jpg?resize=460%2C135\")
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\nOpening 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 nineties. 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, which is just as popular today as 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.<\/p>\n![\"Roland](\"https:\/\/i0.wp.com\/www.roland.co.uk\/assets\/images\/articles\/JP-8000web.jpg?resize=460%2C189\")
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\nContinuing 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.<\/p>\n![\"Roland](\"https:\/\/i0.wp.com\/www.roland.co.uk\/assets\/images\/products\/gallery\/v_synth_top_gal.jpg?resize=460%2C170\")
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\nThe 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\u2019s 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.<\/p>\n![\"Roland](\"https:\/\/i0.wp.com\/www.roland.co.uk\/assets\/images\/articles\/sh201Header_lweb.jpg?resize=460%2C180\")
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\nBlending 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\u2019s also a great way to stay connected with the past glories of Roland\u2019s synth legacy.<\/p>\n![\"Roland](\"https:\/\/i0.wp.com\/www.roland.co.uk\/assets\/images\/products\/gallery\/sh-01_top_gal.jpg?resize=320%2C148\")
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\nAn absolute beast of a machine, combining monstrous analog-modelling power with pristine, beguilingly-realistic acoustic sounds underpinned by Roland\u2019s SuperNATURAL technology and behaviour modelling. This is a Roland synth four decades in the making \u2013 play one and you\u2019ll understand why.<\/p>\n![\"Roland](\"https:\/\/i0.wp.com\/www.roland.co.uk\/assets\/images\/products\/gallery\/jupiter-80_top_gal.jpg?resize=440%2C156\")
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