Roland's SuperNATURAL Technology on the JUPITER-80 Review

by: Cosmo Music

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Transcript:

[5.66]
so supernatural sounds are unlike anything that we've had in keyboards in the past where keyboards or sound modules usually have one sound engine that drive the entire instrument Jupiter 50 Jupiter 80 Integra seven each individual sound supernatural sound contains their own sound engine so and that's because each sound have their own behaviors piano is different from a guitar is different from a cello so here's a piano sound for instance a


[33.03]
fantastic sound but there's things going on underneath this virtual lid that this piano sound has that you would not normally have on a typical piano sound from a keyboard like this for instance you play that key I played it so lightly that the virtual hammer never hit the string but as long as this note is down what happens on an acoustic piano well the damper is off the string letting this string ring free so if I go like this notice that you hear these notes ringing within that string this string is vibrating with the harmonics of those notes which means notes are interacting with each other that's the behavior of a piano inside of a piano cabinet strings when they're struck interact with each other the frequencies bounce off of the sound bus bounces off each other off of the wood of the side of the panels of the piano creating new harmonics new musical content this is vital insanity a no sound samples can't do that samples are recordings of single notes here supernatural the modeling will kick in and model what happens when two notes play each other are with each other and they bounce around with each other creating new harmonic so that's why when I play notes like this


[121.529]
the sound is so amazing cuz the sound evolves it is it's almost organic it it creates new musical content that has never been there before now what happens if we go to another sound like like a guitar well a guitar has different behaviors than a piano so what happens when you pluck single strings well it's that simple you get you know you play single notes it's like you're plucking single strings on a guitar but how do you play a chord on a guitar well you fret on the on the fret board and you strum well what happens when I play a chord here well play a chord and the keyboard strums for me the behavior modeling kicks in and the keyboard strums if I have the sustain pedal down on the keyboard and I play the chord multiple times you notice how you get down and up strums which is crucial on a con on guitars because it's a different voicing up and down strumming but let's go even further what about note relation note speed the the behavior modeling knows the speed between notes and the interval between notes so if I play notes like this we get individual notes but as soon as I play a little faster there's a hammer on and even faster you get a fret slide so you


[204.98]
it's quite an experience playing us now what if we move to something else say something like a cello which we now have to implement a bow and and that's something just a more amazing that we have to try to achieve on a keyboard well because you have to deal with the bow skipping off the string or legato notes linking together well it doesn't matter the keyboard here the supernatural sounds no and the behavior modeling know how you're playing and will instantly apply that so watch how I you know play legato


[255.57]
mr. Kotter there


[264.66]
we used to achieve this by doing something that's called velocity switching you'd have the staccato a sample on us say a hard note and analog auto sample on a soft note but that meant I was tied to playing quiet for legato and allowed for staccato what if I wanted to play staccato softly and legato loud well I have to create a whole new sound swap the samples and now I'm dealing with two different patches to create a dynamic performance not with supernatural sounds and the jupiter's and Integra seven you just play and as dynamic as you are the sound is that dynamic it's it's a again a crazy amazing phenomenon let's go to something else say something like brass let's go to a trumpet typically with trumpet or if or any types of sounds if you wanted to play a certain style of music you need to pick that type of sound so here our trumpet if I want to play jazz I'd pick the jazz trumpet sound or the break trumpet if I wanted to play classical I pick the soft or mellow trumpet here just pick the trumpet sound and play the behavior modeling kicks in knows how you're playing dynamically an instant applies itself so you check this out


[349.979]
here the files and a do it and here's another amazing thing about Supernatural say I go to something like an ensemble or a brass quartet so in this instance trumpet second trumpet flugelhorn and trombone typically a quartet the way music is played in a quartet each instrument if they play harmony takes a note within that chord and they all play together and they get harmony and it's a certain voicing because the trombone takes the low note the one of the trumpets takes the high note and that the other trumpet flugelhorn take the middle notes it's a really different distinct sound and distinct type of voicing well on sample-based instrument if you sample the quartet well quartet is sampled on every single note so if I play more than one note you've got quartets playing both notes which actually means you got an octet if you play two notes and you got a whole brass band if you play more than that because you've got the sample that has sampled the whole quartet playing each note here the actual supernatural behavior modeling will kick in which is a feature within the Jupiter series called layer sectioning and will actually break up each instrument per note and give you something like this


[461.919]
so listen to this trumpet trumpet flugelhorn trombone it's it's an amazing thing and it's a just an unbelievable utility to have with you for performance


[496.26]
the way it works is musician plays the keyboard the keyboard feeds back to the musician all these behaviors now the musician can be more dynamic more expressive you use these behaviors because I know that those behaviors will happen and now I can think more mute as a musician I don't have to think as a technician having to switch between different sounds and to get a certain articulation moving knob or press a button or anything like that I just play and for once I can now be a musician and be very dynamic and very expressive and that is what is so essential and so evolutionary about supernatural sounds on Jupiter 50 Jupiter 80 and the Integris Evan


[547.329]
so rolling the hardware the Jupiter series that you prove 50 that you per 80 and the new Integra module things I love about hardware well hardware lasts you know unlike software that does run into all the issues of the latest and greatest operating systems you don't have to worry about that on stage or in the studio with hardware I remember having the original jupiter-8 and having to buy extra boxes just to get it me so I can plug into the computer then it wouldn't it be great to have real piano sounds and a great feeling key bed and unlimited notes rather than you'll just eat notes only


[596.709]
great feeling keyboards that always work great sounds for live onstage you have instant access to these great buttons across the front on the jew-fro 84 instant control of all your patches and endless numbers lots of everything instantly in the order that you need them onstage


[620.89]
the Integra module just to get really portable all in one box no computer needed it always works you can set up 16 sounds at one time all your splits and layers just ready to roll in the studio or on stage it's just great to have



Description:
More from this creator:
Roland Product Manager Adrian Marsi demonstrates the intricacies of Roland's new SuperNATURAL sound engine on the Jupiter-80. Roland Jupiter-80 http://cosmomusic.ca/synthesizer-roland-jupiter-80-76-note.html

Recorded at Cosmo Music - The Musical Instrument Superstore! http://www.cosmomusic.ca

@CosmoMusic
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