Unfortunately, the drawbar organ still doesn't have a dedicated B3-style chorus (as noted in our JP-80 review) and though drawbars appear on the screen now you can't touch and drag them… This really simplifies programming a lot.
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This isn't such a big deal in practice but bear in mind it means less complex splits and layers.Ī very handy feature that's debuted on the JP-50 (and that's made its way to the JP-80 with the free Version 2 software) is the manual/single play mode, which immediately switches the JP-50 to a single upper part, from which you can quickly build new sounds.
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As a result we noticed occasional note stealing in complex multi-layered patches, though for the majority of sounds it's not a problem.Īlso, there are now three parts per registration (Perc/Lower, Upper and Solo) compared to the four parts on the JP-80. The JP-50's polyphony has been halved from 256 notes (on the JP-80) to 128 notes, which is still decent but perhaps a little restrictive, especially when you consider how much stacking power is available under the hood. The dedicated coloured sound category buttons massively aid the sound selection process but we do miss the under-panel registration buttons on the JP-80 - though the '50 still has four on the main panel. It also includes an upper part, combined lower/percussion part and a solo part, each of which has a dedicated front panel volume slider and on/off switch, so that parts and layers can be quickly muted or faded in or out, which is great for live performance. This registration contains a snapshot of performance-related settings such as splits, layers, note ranges, arpeggiator settings, pedal control assignments and more. Up to four tones (acoustic or synth) can be layered to form a 'live set' (which includes envelopes, filters, offsets, panning and more) and one live set (two on the JP-80) can be used in what's called a 'registration'. The main element in a JP-50 sound is a 'tone', which can be a 'Supernatural Acoustic' or a 'Supernatural Synth'. So what does it sound like? Let's quickly outline the sound structure - there's a bit of a learning curve here. Do watch out though if you have a small car as the JP-50 is actually a little bit longer than the JP80 at 1,268mm. Given that Roland sold the '80 as the perfect live 'board this is certainly a step in the right direction. One upside to this is that 7kg (almost 15lb) has been shaved off the weight of the JP-80, making this a very lightweight board - so much so that you can easily manage it yourself under one arm in a soft case, or in a lightweight plastic hard case.
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The two control pedal connections and sustain are still present and the switchgear feels largely the same quality as the JP-80, though the side panels are now silver-painted plastic rather than the much sturdier brushed metal panels on the '80. Out the back we lose the XLR balanced outs and the digital out of the '80 but the sub outs are retained along with USB, MIDI ports (no Thru) and stereo audio in. How about a weighted version of the JP-50 or '80 for those that want to get more out of the superb onboard pianos and EPs? Oh, and a 61-note cheaper version and rack module would be nice too! Close to the tone Unfortunately that means that it's lacking the aftertouch of it's big brother, and while many other boards at this price are similarly strapped, the JP-50 really misses it, especially when you consider how expressive the Supernatural and behaviour-modelled sounds can be (and how much the feature was all over the complex sounds of the JP-80).Īt least the 76-note keybed is almost indistinguishable in feel when put next to the JP-80 - it's super high quality and fast to play yet controllable. The '50 is markedly thinner than the bulky '80 with a keybed more like that on their excellent Juno Stage. And if you need to buy an iPad to get the most out of programming your '50 then the combined price is approaching that of the '80… Which - for a limited time - now comes with a free iPad 2… Still with us…? Let's just let it go, eh?
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Meanwhile back on the keyboard, the space where the real-time controllers should be is now the perfect place to place your 'Pad. Requiring the ownership of an iPad? You got it. This is what customers want and a lot of competitors, such as Nord and Korg, know that hands-on means extra sales.īy way of an antidote, Roland has an iPad app (downloadable from Apple's App Store) on the way, which will go a long way to making the JP-50 touchable. It's unclear why Roland has such an aversion to multiple real-time controllers, especially as the original Jupiters were so well adorned, but we hope it heads more in the direction of the slider-laden JD-800 (and even last year's excellent screenless SH-01 Gaia) in the future.