You can cram well over 1,500 sounds into a Roland JV-1080, so is it the
only sound module you'll ever need? Andy Jones sockets to you...


HOT OF THE HEELS of Roland's series of JV synths comes the new Super
JV-1080. But this is no ordinary `rackmount version' of any keyboard
within that popular, expandable-synth range. It is based around 32-bit
RISC technology, has 64-note polyphony and a quite stunning 640
internal presets (128 user). And with the option of adding up to four
of Roland's soundcards (from World, Vintage, Pop, Orchestral or Piano),
you can see that the JV-1080 looks like it could be more than `just
another black box'.
	Set in a 2U black casing with an uninspiring display and, it
	must be said, rather indistinct controls, it doesn't exactly
	encourage love at first sight. But in fact, the architecture is
	quite simple. There are three main modes: Patch, Performance
	and Rhythm. Audition sounds or set-ups by `cursoring' or
	dialling (in steps of one or 10) through banks A to D, and edit
	sounds or performances to one of the 128 program or 64
	performance user locations. Should you be lucky enough to own
	one or more of the expansion cards, press the Exp button and
	audition their sounds using banks A, B, C or D.

Sounds and performances Preset banks A to D are where you'll find the
original supplied sounds. Bank D is set out in General MIDI form, while
banks A to C are organised in clusters of different sound types, the
format of which will be familiar to JV synth owners. There is the usual
plethora of pianos, strings and `copies' of real instruments, all good
quality and with plenty of variation. The Hammondy sounds are
excellent, with various organs and synthetic organs (such as some from
the D-50) represented.

	But it's in bank B where things really start hotting up. You
	get some of the most realistic grunge guitars I have heard from
	a box with chips in it, and the best analogue effects on this
	side of the digital curtain. The first track on the CD is
	backed by a few of the latter category, while the second track
	shows the kind of things lurking in bank C. Here are many of
	the more dreamy sounds, pads, effects and weird loops. There
	are loads of downright indescribable noises for that menacing,
	horror-film backdrop and a stack of grating, burbling stabs to
	put in your songs as fills or (let's face it, we all do it)
	just for the sake of it, to impress your mates.

	Finally, to GM mode. I can't see many of the people who want
	the Super JV-1080's kind of power really utilising the GM bank
	(D), but there again, it always comes in handy for those song
	files and karaokes. There are no real surprises (argghh! Ice
	Rain and Soundtrack again) but with the kind of effects routing
	and other options available on the 1080, GM users will love
	it.

	The performances are also good, and there are some
	already-set-up combinations for instant song making. For
	example, the second track on this month's CD makes use of
	combination 10 with just one or two minor modifications.
	Effects are a little difficult to access, but easy to mix
	within a combination and to send to different outputs.

	One of the most useful benefits of many Roland synths is the
	facility to tune parts within combinations. You can apply this
	to the percussive sounds in rhythm parts to create some wild
	effects; if you are sick of the TB-like rave drums and cymbals
	supplied, tune them up or down to get some piercing or kicking
	beats.

Making changes Under the screen, you'll find a row of eight buttons
that initiate the editing of sounds and performances. Hang on, though,
only eight on a 16-part multi-timbral module? Don't worry, there's a
button that switches between the first and second set of eight for any
16-part performances. Those keys with blue labels access these
performance parameters (level, part per MIDI channel, and so on), and
those in orange access the sound-editing options, which include the
now-standard TVA/TVF parameters.

	There is also a general system-editing level for tuning, LCD
	contrast and MIDI set-up. Rhythm-edit mode enables you to make
	changes to the user drum set and effects settings. A very
	useful option here (a Roland rhythmic favourite) enables you to
	place waveforms in drum sets to serve as actual percussive
	tones.

	Saving any changes to user locations is done by way of the
	Utility and Enter buttons. Many of the combinations are locked,
	so you have to go through a verification process before changes
	are made. As with most expanders, the initial editing takes a
	bit of getting used to, but it soon becomes second nature - I
	didn't even have a manual and I was up and running within half
	an hour.

Conclusion A few years ago, I would have recommended mixing and
matching sound modules to get the best of all worlds for your studio.
Now, technology has improved so much that you can buy a unit such as
the Super JV-1080 and expand it as your wallet fills, or just be
content with the vast number of presets supplied.
	There are plenty of people who should consider putting the
	JV-1080 at, or near, the top of their shopping lists. Those
	after classic analogue sounds will find plenty within the
	unexpanded JV-1080 to get their teeth into and could, of
	course, buy the Vintage Synth card. It will also appeal to
	songwriters and performers after a large palette of varied
	presets and the option to expand at a relatively low cost;
	those wishing to create wild effects; and GM owners and anyone
	lacking studio space but wishing to branch out a bit.

	It would be rash to say that the JV-1080 provides all the
	sounds your studio will ever need - you can never have too much
	equipment, after all, and how long will it be before someone
	breaks the 10,000-supplied-sounds barrier with something for 20
	quid? But hell, it's probably the best start you can make at
	present, the best addition you can buy at present and the best
	expanding expander available at present. And you can now get
	the unit complete with the Pop, Orchestra, World and Vintage
	Synth cards for a shade under £2,000. That's just over
	£1 for each preset. Sounds good to me.