![]() ![]() The synth engine builds its patches (which Roland call 'Tones') from up to three Partials, each of which offers seven virtual analogue waveforms with three variants, as well as PWM and SuperSaw depth where appropriate, plus a PCM option that offers 363 waveforms. Like the Jupiter 80, the 50 generates its sounds using a virtual analogue synth engine called Supernatural Synth, coupled with a selection of acoustic models called, with devastating predictability, Supernatural Acoustic. For a features specification, see the box elsewhere in this article. Nevertheless, it can sound superb, so I'm pleased to see that Roland have persevered with its weird architecture, cutting costs by removing expensive components such as its large, touch-sensitive colour screen and sacrificing a few electronic bits and pieces to produce a more affordable sibling, the Jupiter 50. ![]() For many players it's an enigma: neither fish nor fowl, neither workstation nor conventional stage keyboard, making it easier to discuss what it isn't rather than what it is. Ignore the rabid hatred poured upon the Jupiter 80 by people who weren't born in 1982 but think that no synthesizer released since then has been worth playing, there's a more pragmatic reason for its failure to set the keyboard-playing world alight. Does this slimmed-down synth offer the same Supernatural sound? Roland's Jupiter 80 has gained a little brother in the shape of the Jupiter 50.
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