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== Djizz == « the top of romplers »
Published on 08/16/13 at 07:25Synth sample reading or "ROMpler".
Polyphony: 64 voices
Multitimbral: 16 shares
640 patches with one bank and one bank USER GM is truly 384 patches truly own the JV.
Each patch consists of 4 tones (samples basic) combined two by two through a circuit synthesis JV (VCA, VCF, LFO, ring modulator, booster).
1 module digital effects with high quality including flanger, phaser, delay (very good), distortion, chorus, reverb.
1 + 1 independent reverb and chorus.
Note: multi effects and LFOs are synchronized clock to the south, which is particularly effective for the time or for rhythmic effects with LFOs.
In performance (16 patches in multitimbral) mode, the module effect, reverb and chorus are common to 16 patches: it is in my opinion the only (and large) default JV 1080.
The sounds are flexible in all directions and well planned: via external modulators (bend, modulation, expression), or internal (2 LFOs, envelope 1 VCA, VCF 1 envelope). The sounds come out rich and dynamic, especially tablecloths and leads.
Connection complete mornings + 3 analog stereo outputs 6,35.
Another highlight of the JV: the ability to add four SR-JV80 expansion cards. With an average of 250 patches per card, it's a thousand more patches under the fingers.
UTILIZATION
Despite large capacity of synthesis, the use is simple and the user manual is very educational.
The navigation system patches is practical given the amount of patches: a large knob that lets you browse one at a time or 10 10 or navigation through the + / - buttons with the possibility of accelerated simultaneously pressing the navigation.
To edit the patches, you must go into the menu, which makes the JV 1080 more studio instrument that live unless they have an external controller. Despite all the navigation is made relatively easy by the matrix organization of menus to navigate horizontally on patch patch (in performance mode) or from module to module (in patch mode), vertically you edit the settings.
SOUNDS
1080 JV marked and still marks the contemporary soundscape. Some patches have even become cult (that would be the soundtrack of "who wants to be a Millionaire" without the inevitable patch "flying waltz?").
More generally, the sound palette is varied with a dominant electronic, film music, effects and tablecloths.
Bank A is mainly composed of acoustic sounds to start with piano (medium), the (very good or good hammond, good church) rhodes and other Wurlitzers (excellent), organs, electronic leads all good, bells (including the classic Fantasia D50) and guitars.
Bank B: saturated bass guitars (with a good electronic dominant - Moog, MS20, etc. -.) Electronic leads (all good IMHO), sliding to the solo acoustic instruments (good) through the inevitable shakuhachi.
Bank C: analog leads (big sound program) and choirs and pads (the best patches in my opinion) to finish with FX (right).
The "vintage synths" card is excellent: the solina is falling, bass, leads, everything!
Some cards are even too specialized: the "orchestral" card is almost unusable for everyday use but refers to specific products (eg music games Tomb Raider II and III).
Analog sounds are all very good (well highlighted by the filters and convincing envelopes) and have nothing to envy to a VA if not the obligation from a sampled waveform. As against some circuits synthesis are useless (or booster ring modulator) and quality of patches is mainly based on samples of basic filters, LFOs and effects.
OVERALL OPINION
I use this synhté since 1995. I do not resell: this is a must and it is more than enough to cover the expected ROMpler a 90s sound palette. At most I squint occasionally side or KORG EMU to complete the sonic palette (ah the famous shaku EMU II! ...).
Polyphony is a strong point of the JV 1080: we can draw a complete mix multitimbral and it sounds!
A 200 € used today, it is a boon for any musician wanting to equip cheaply and wants to sound pro.
Polyphony: 64 voices
Multitimbral: 16 shares
640 patches with one bank and one bank USER GM is truly 384 patches truly own the JV.
Each patch consists of 4 tones (samples basic) combined two by two through a circuit synthesis JV (VCA, VCF, LFO, ring modulator, booster).
1 module digital effects with high quality including flanger, phaser, delay (very good), distortion, chorus, reverb.
1 + 1 independent reverb and chorus.
Note: multi effects and LFOs are synchronized clock to the south, which is particularly effective for the time or for rhythmic effects with LFOs.
In performance (16 patches in multitimbral) mode, the module effect, reverb and chorus are common to 16 patches: it is in my opinion the only (and large) default JV 1080.
The sounds are flexible in all directions and well planned: via external modulators (bend, modulation, expression), or internal (2 LFOs, envelope 1 VCA, VCF 1 envelope). The sounds come out rich and dynamic, especially tablecloths and leads.
Connection complete mornings + 3 analog stereo outputs 6,35.
Another highlight of the JV: the ability to add four SR-JV80 expansion cards. With an average of 250 patches per card, it's a thousand more patches under the fingers.
UTILIZATION
Despite large capacity of synthesis, the use is simple and the user manual is very educational.
The navigation system patches is practical given the amount of patches: a large knob that lets you browse one at a time or 10 10 or navigation through the + / - buttons with the possibility of accelerated simultaneously pressing the navigation.
To edit the patches, you must go into the menu, which makes the JV 1080 more studio instrument that live unless they have an external controller. Despite all the navigation is made relatively easy by the matrix organization of menus to navigate horizontally on patch patch (in performance mode) or from module to module (in patch mode), vertically you edit the settings.
SOUNDS
1080 JV marked and still marks the contemporary soundscape. Some patches have even become cult (that would be the soundtrack of "who wants to be a Millionaire" without the inevitable patch "flying waltz?").
More generally, the sound palette is varied with a dominant electronic, film music, effects and tablecloths.
Bank A is mainly composed of acoustic sounds to start with piano (medium), the (very good or good hammond, good church) rhodes and other Wurlitzers (excellent), organs, electronic leads all good, bells (including the classic Fantasia D50) and guitars.
Bank B: saturated bass guitars (with a good electronic dominant - Moog, MS20, etc. -.) Electronic leads (all good IMHO), sliding to the solo acoustic instruments (good) through the inevitable shakuhachi.
Bank C: analog leads (big sound program) and choirs and pads (the best patches in my opinion) to finish with FX (right).
The "vintage synths" card is excellent: the solina is falling, bass, leads, everything!
Some cards are even too specialized: the "orchestral" card is almost unusable for everyday use but refers to specific products (eg music games Tomb Raider II and III).
Analog sounds are all very good (well highlighted by the filters and convincing envelopes) and have nothing to envy to a VA if not the obligation from a sampled waveform. As against some circuits synthesis are useless (or booster ring modulator) and quality of patches is mainly based on samples of basic filters, LFOs and effects.
OVERALL OPINION
I use this synhté since 1995. I do not resell: this is a must and it is more than enough to cover the expected ROMpler a 90s sound palette. At most I squint occasionally side or KORG EMU to complete the sonic palette (ah the famous shaku EMU II! ...).
Polyphony is a strong point of the JV 1080: we can draw a complete mix multitimbral and it sounds!
A 200 € used today, it is a boon for any musician wanting to equip cheaply and wants to sound pro.