In this Roland Users Group article, the Hartnoll brothers are asked about "What Roland gear made it onto The Blue Album?" They reply, "God almighty. The 303, the 808, the 909, the Jupiter-6, the SH-09, which is still a personal favorite of mine... The Jupiter-6 has also been a favorite. It was semi-customized with two outputs before I bought it. That synth was our workhorse. All of our early albums just thrived on the Jupiter-6. I remember doing things for TV, and people would come up and try to put gaffer tape over the logo. I’d say, ‘What are you doing?’ I can honestly say that I’m not the kind of person who likes to display corporate logos and things like that, but I’ve always felt quite proud of the word Roland across my gear."more
"An old-fashioned enthusiast of standalone synthesizers, samplers, and drum machines, Moby's arsenal includes two [Korg Tritons](http://equipboard.com/items/korg-triton-studio-88-workstation); [Yamaha SY-22](http://equipboard.com/items/yamaha-sy-22) and [SY-85](http://equipboard.com/items/yamaha-sy-85) models; old Roland Jupiter 6 and [Juno 106](http://equipboard.com/items/roland-juno-106-synthesizer) synths, as well as the company's newer (http://equipboard.com/items/roland-xv-5080) and (http://equipboard.com/items/roland-jp-8080-synthesizer-module) units..." - [Paul Verna](http://www2.digidesign.com/digizine/archive/digizine_june02/feature/)more
Eric Persing has had a unique and influential relationship with Roland Corp for two decades. He started as a product demonstrator in 1984, showing some of Roland's first MIDI instruments. He quickly became involved in the R&D side with Roland Japan, earning the title "Chief Sound Designer", and began contributing his design ideas, real-world studio experience and sound design expertise. Persing's skills have left their mark on countless classic Roland instruments. He is the originator of many legendary Roland sounds that have become part of the vocabulary and lexicon of musical sound. These include the Factory D-50 sounds such as Fantasia, Soundtrack and Digital Native Dance, a majority of the JV/XP/XV series Classics, all the Factory JD-800 sounds, the original Juno "Hoover" sound and thousands of others. Here is a partial list of the Roland instruments that Eric has contributed his sound design, sampling and design consulting skills: Juno-106 Alpha Juno 1&2 JX-3P JX-8P JX-10 Jupiter 6 Super Jupiter D-50 D-550 D-110 D-10 D-20 D-70 MT-32 U-110 U-20 U-220 Sound Canvas JD-800 JD-990 JV-80 JV-90 JV-1000 JV-1080 JV-2080 XP-10 XP-50 XP-60 XP-80 XV-3080 XV-5050 XV-5080 Fantom JP-8000 JP-8080 S-10 S-220 S-50 S-550 S-770 S-760 S-750 MC-303 MC-500 MC-505 VP-9000 MSQ-700 MSQ-100 MKS-20 MKS-30 MKS-50 MKS-70 MKS-80 R-8 R-5 DR-660 DR-770 R-70 V-Drums V-Drums expansion board SRV-2000 DEP-5 RSP-550 R-880 SRV-330 SE-50 SE-70 VS-880 VS-1680 SR-JV series expansion boards SRX series expansion boards Sound Canvas Project series CD-ROM libraries Archives series CD-ROM libraries Composers series CD-ROM librariesmore
In the section of the article "THEN: The Vintage Keys of Thriller" (by Michael Boddicker) describing the “P.Y.T.” synth noodle that answers the chorus vocal: " That was a Roland Jupiter-6 “wang bar”-style pitch bend doubled with, and controlling, a Sequential Circuits Prophet-5, thus the sort of smear you can hear on the “wobble” between the top two notes."more
?SYNTHS: Any regrets? What synthesizers did you let go and wish you could get back? Shawn Rudiman: First and foremost, it would be my Jupiter 6. I traded it (as a career move of sorts) in 2000 or so for my FR-777. They were new and I had zero money and really, I was playing a lot of rave gigs and I knew I was going to have to maybe fly one day to a gig. I needed something sound-wise that was equivalent to a Pro-One with an onboard sequencer. The 777 was exactly what I need at the time. I still miss that machine. Also, when I moved to Pittsburgh, I split the old studio I had with my studio partner Ed Vargo. We had bought a Yamaha CS-70M together over the years and luckily when I moved we had things that were sort of comparable to split. It was an “amicable divorce” I guess, you could say. We each got the things we liked. He got the CS-70M and I got the JP-6. That CS-70m is one of the most beautiful sounding machines I’ve ever touched. It’s amazingly huge in size and sound. We put the Kenton midi kit into as well so its really super duper sweet. I also miss my Octave Cat a lot. I traded that synth years ago for a 727 with trigger outs on all voices. Once again, another trade for gig machine, rather than cool studio stuff. I also miss my Avatar. I sold it to help pay for my Virus A in 1997. Oh, add my re-555 to that list as well. So, there’s always things I miss and probably won’t find again. Those days are long over for getting machines at humane prices.more
Per peggy's Soundcloud profile image Also, per Hardlife London, Oct 19, 2017 "I have 2 Kawai synthesizers, one Yamaha DX21, a Novation midi keyboard and I use KRK RoKit monitors for the speakers. I also now have a Roland Jupiter 6, which I had used before but didn’t own as it was not easy to get them and it definitely is my favourite one." http://hardlife.london/interview-peggy-gou/more
I love my Jupiter-6. The Europa upgrade is a must if you want to fully unleash this analog beast's full potential. It gives you expanded routing, modulation, and arpeggiation capabilities, in addition to significantly improving upon the otherwise basic MIDI implementation.
Much like the Jupiter 8's Ive had I've also had half a dozen different Jupiter 6's over the past 20 years, i buy keyboards use them and sell them on so i don't have them gathering dust or get bored with them, but i always end up re-buying a JP6 at some point. The JP-6 is a superb synth and while its touted as the JP8s small brother.. its really not, its much much more. It holds its own against the mighty JP8 and sounds totally different for a starter. It has free wheeling pitch to its oscillators so intervals can be set, and it has a multimode filter, HPF, BPF and LPF 12db and 24db all resonant. I used this more than any other analog synth on my Automatic Records releases in the early 2000's, and the baseline on "can't stand the pain" is pure JP6.
Pretty similar to other polysynths of this time period but still very good. What it loses a bit in sound quality compared to the other Jupiters it makes up for in interface and programming potential (multimode filter in a Jupiter is a huge plus). Don't go into it thinking you're going to get some massive-sounding 70's poly. Think more along the lines of a Drexciya or an eary D-Train track.
I own the Jupiter 6 since middle 80's. Its analog, it has preset storing, its polyphonic and it has a special cross modulation which make the synth sound rich and warm. Used this one for the main melody on Exit EEE "Epidemic", waaaay back in the early 90's. This "Epidemic" sound was tried to be reproduced by other artist and other synth with no luck. The filter/reso of the Jupiter 6 is very unique.
If you're used to 'warmer' sounding vintage polys/monos then this one takes a bit of getting used to. Stop trying to think of it in similar terms to, say, a Prophet 5 or a Juno 6... as it wont help you. Instead think of it as a totally different manufacturer, let alone synth category.
Truly gritty/harsh sounds can be had out of this thing due to the LFO rates and other tweaks. Plus it has that rare, synth ability to think youve actually killed its internal chips with your knob-twiddling. Scary fun.
I hated it at first, then fell in love. So much that I even own an MKS-80 also.