Released in 1984 the MKS-80 is basically a refined Jupiter 8 in a module. It is called the Super Jupiter and it is very fat and very analog! Its great sound is due in part to the classic analog Roland technology in its filters, modulation capabili...
The 1994 studio was equipped with a 56-input Amek Mozart console with Rupert Neve modules, two Studer A800 Mk3 multitrack machines, Mac-based Pro Tools and a host of outboard gear, in addition to Akai S1100 and Kurzweil K2000 samplers; Prophet VS, Digidesign Turbosynth, ARP Odyssey, Oberheim Expander, Oberheim OBMx, Roland MKS80 and Minimoog synthesizers; Doepfer and Oberheim sequencers; a Mellotron MKIV polyphonic tape replay keyboard; a Roland R70 drum machine;more
"I'm using a rack system, composed of two Oberheim DPX-1 sample players, which play Mirage, Prophet, and Emulator disks. I've also got a rack-mounted DX7, a Roland digital piano module, a Roland Super Jupiter module, and a Roland DP-5 multi-effects unit. It's all controlled by a Simmons computer mixer, which has about 64 programs in it. Through that mixer I change all the MIDI channels on all the modules. I control the mixer through a Roland MIDI MKB-200 keyboard controller. You can assign split points to the keyboard, so I do that for a lot of songs where there is, say, a piano, a koto, then a trumpet sound. Rather than take an Emulator and things like that on the road, I wanted a very easy live setup, so that I could do most of the work beforehand. That's another reason for having those two Oberheim sample players. An Emulator disk takes a long time to load, and you can't say, "Sorry, Madison Square Garden, I've gotta load this disk." We've worked out a system where we can keep switching back and forth [between the DPX-1s]. The only other alternative would be to use something like a hard disk, which I don't really want to do because the hard disk has to be installed in the Emulator and is notoriously unreliable on the road. The good thing about having a rack system is that it can be well protected. You can throw it off the back of the truck and nothing will happen to it."more
For Very they used: Korg M1Rs Akai S1000s Akai S3000s Roland S770 E-mu Systems Proteuses Oberheim Matrix 1000 Roland MKS80s Roland MKS50s PPG Waveterm Roland JD800 Roland Juno 106 Sequential Circuits Prophet V Roland R70 Fairlight CMI Macintosh running Notator Logic Dynaudio monitors This is according to Music Technology magazine (Dec 1993)more
Although boasting a lush sound, the album was recorded largely at Paul's Rhythm Ranch studio on a single tascam 16-track with a Studiomaster desk. Synths used include: Roland D-50, Akai S1000 and S3000, Kork M1R, Waldorf Microwave, Roland Super Jupiter module, Oberheim Matrix 1000, Yamaha TX802, Minimoog, MIDIMoog, Oberheim Two-Voice, Roland Jupiter 8 and SH-101.more
Atari 1040 ST, Atari Mega ST 4, Roland: Super JX 10, S 50, D 50, MKS 80, MKS 30, U 110, MPG 80; Akai X 7000, Fairlight, Yamaha TX 81 Z, Akai S 612, Korg DVP 1, Roland SRV 2000, Korg SDD 1200, Ibanez SDR 1000, Eventide Harmonizer, 3x Hohner HS-1/E, 2x Klark EQ, Arsonic-Sigma 5.2, EMS Synthi A, and others...more
"There are three sound sources", he explains. "There's an Akai S900 which has samples transferred from the Fairlight Series III, a Roland Super Jupiter and a Roland MKS20 piano module. All of those go into an Akai MIDI mixer and through two effects: a Yamaha SPX90 and an Alesis Midifex. They're all mapped by a Cooper Electronics MIDI Link, and I play them from a KX5 slung round my neck and a couple of Yamaha pedals. They put out program numbers to the MIDI link and that sends out separate program numbers to everything else. In other words I'll build up an entire patch with sound sources, a mix, effects and a stereo output, and store it. Then, when I send one program number into it from either the keyboard or from the pedal, it'll send the appropriate numbers out."more
From the FAQ page found on The Enigma Archive: "From the credits of various albums, it is known that Michael Cretu uses or has used the Waveframe 1000, Audi Frame Workstation, MIDIMoog, PPG System, Korg M1, C-Lab Notator, Takamine 6 and 12 String, Tom Anderson Electric Guitars, Otari DTR-900, Akai 900, Linn 9000, Prophet 2002, X-Pander, EMS Vocoder, DX-7, and Roland Super Jupiter."more
Keyboards and synthesizers feature in Morcheeba's studio, and the collection includes a Roland Super Jupiter MKS80, a Novation BassStation, a Hammond organ and a Wurlitzer electric piano. But first prize for pure weirdness goes to the EMS Synthi A -- a 1970s beast in a box that was originally designed as a teaching tool and a portable version of the desktop VCS3 which features so heavily on Dark Side Of The Moon.more
The Body Bags score was composed using Digital Performer software running on a Macintosh Iicx computer. Sampling was done with an Emulator IIIxp and a Forat F16. Other electronic instruments include Hammond B3, Wurlitzer electric piano, MicroMoog, Roland MKS80, D550, Prophet VS, Yamaha DX and TX series, EMU Proteus 1 and 2, Korg M1r and M1rex, and an AKAI 612. The score was digitally recorded using Alesis ADATs and BRC and John Hardy microphone preamps. Microphones included AKG414, Shure VP88 and SM57. The music was mixed on a custom Speck Electronics model 62 console. Signal processors used include: Behringer MDX 2000, SNR 802, DBX165a, B&B and Troisi cq, Dyna-Mite, Aphex expander gates, Lexicon and Yamaha Reverbs, Zoom, TC and Korg delays. Additional DSP and editing done in Sound Designer/Sound Tools. -John Carpentermore
Released in 1984 the MKS-80 is basically a refined Jupiter 8 in a module. It is called the Super Jupiter and it is very fat and very analog! Its great sound is due in part to the classic analog Roland technology in its filters, modulation capabilities and a thick cluster of 16 analog oscillators at 2 per voice. It comes in a 2 space rack-module - no keyboard here. Tons of editing capabilities, although editing is tedious. It's got all the classic sounds of the Jupiter synths and so much more. An excellent choice for ambient drones, pads, blips, buzzes and leads.
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