Roland JD-800

The Roland JD-800 is a popular synthesizer that was introduced in 1991. It was part of Roland's JD series, which stood for "Jupiter Descendants," as it was designed to follow in the footsteps of the iconic Jupiter-8 synthesizer however there were no acoustic PCM samples—no saxophones or orchestral strings. This was to be a very synthetic synthesizer.

 

The JD-800 is a digital synthesizer engine with analog-style controls. It had a 61-key velocity-sensitive keyboard and a sleek design with a large LCD screen and numerous sliders and knobs for parameter control.

One of the notable features of the JD-800 was its Super JD synthesis engine, which utilized digital oscillators combined with sample-based waveforms. It had 24-note polyphony and offered a rich palette of sounds, including realistic acoustic instruments, vintage synth tones, and unique synthetic textures. Users could manipulate the sound further using its extensive editing capabilities, including envelope shaping, filtering, and modulation.

The JD-800 also introduced Roland's "Structure" approach to sound design, allowing users to create complex layered sounds with up to four different tones stacked together. Each tone had its own dedicated oscillator, filter, amplifier, and effects, which could be individually edited and mixed to create intricate sounds.

In addition to its synthesis capabilities, the JD-800 included a built-in effects processor that offered a range of high-quality effects such as reverb, chorus, delay, and EQ. It also had an onboard arpeggiator and a comprehensive MIDI implementation, allowing for versatile integration with external devices and sequencing.

The JD-800 gained popularity among musicians and producers for its versatile sound and powerful programming capabilities. It was used by various artists across different genres, including electronic music, pop, and film scoring. 

It has been used by William Ørbit, Emerson Lake & Palmer, 808 State, Ken Ishii, Astral Projection, Rabbit in the Moon, Depeche Mode, Underworld, Tangerine Dream, LTJ Bukem, Apollo 440, Jean Michel Jarre, ATB, Vangelis, Pet Shop Boys, Faithless, Luke Vibert, Mouse on Mars, Laurent Garnier, MC Hammer, Bushflange, Genesis, and Eat Static.

Over time, the JD-800 became sought after in the second-hand market due to its unique character and sound quality.

While the JD-800 was eventually discontinued by Roland, its legacy lived on in later synthesizers, such as the JD-990 and JD-800-inspired software synthesizers. Its impact on the music industry and its status as a classic synthesizer make it a significant part of the history of electronic music instruments.

Roland - Linear synthesis

A bit about LAS or Linear Arithmetic Synthesis

Linear Arithmetic Synthesis (LAS) is a sound synthesis technique used in digital music production and computer-generated audio. It is a form of additive synthesis that combines multiple individual waveforms to create complex sounds.

The method was developed by Roland in the 1980s. It creates sounds by attaching the attack portion of a sampled waveform to one or more internally generated waveforms.

For example, the Roland D-50 patch “Fantasia”, uses a percussive, bell-like attack. This us added to a sustained pad sound.

Roland called these PCM samples and generated waveforms “Partials”.

Two partials can be grouped together forming "tones".

Tones could be modified using up to three LFOs, a pitch envelope, a programmable equalizer, and on-board effects such as reverberation and chorus. Two tones grouped together created a patch.

The Roland Linear Arithmetic Synthesis (LAS) method was primarily used in the following Roland synthesizers:

1. Roland D-50: 

    This was Roland’s first all-digital performance keyboard.

    The Roland D-50 is the most well-known and iconic synthesizer that utilized LAS.

    It was released in 1987 and became hugely popular due to its unique sound and 

    expressive capabilities. 

    The D-50 combined sampled attack transients with synthesized sustain elements, 

    allowing for a wide range of rich and evolving sounds.

2. Roland D-550: 

    The D-550 is the rack-mount version of the Roland D-50 and was released around 

    the same time. It offered the same synthesis capabilities as the D-50 but

    in a compact module form.

 To use this module  a programmer such as the Roland PG-1000 is useful

The Dtronics DT-01 is a hardware controller for the Roland Boutique D-05 and D-50/D-550.

https://www.synthcity.nl/us/dt-01.html

This editor may also be useful:

https://d-05-d50-editor-controller.jimdofree.com/#link1

3. Roland D-10: 

    The Roland D-10, released in 1988, was a more affordable version of the D-50. 

    Polyphony - 32 voices. 8 effects

    It featured a similar synthesis engine based on LAS but had a reduced number of 

    voices and lacked some of the advanced programming features of its predecessor.

    Multi-timbral (can work as 8 independent synths/parts) with a rhythm section.

    61 note keyboard.

    MIDI

3a. Roland D-110

     This is the rackmounted version of the D-10

     MIDI-in/out/through

     The D-110 adds 6 individual outputs

    

The D10 & D110 also had their own dedicated programmer called the PG-10

4. Roland D-20: 

    The D-20 was introduced after the D-10 in 1988.

    It was another budget-friendly version of the D-50. 

    32 voices of polyphony. 9 part multi timbral.

    61 keys with velocity

    This version adds an 8-track sequencer & retains the rhythm track.

    It also had a floppy disk drive for storing sounds

5. Roland D-70:

    The D70 was the only machine which expanded at all on the spec of the D50, 

    and that was in practical areas like the number of keys on the keyboard, 

    and controller functions. 

6. Roland D-5

    released in 1985.

    Cheap, great for live performance.

    

7. Roland Boutique D-05

    It's not a clone but all the reviews Ive read are favourable 

    Roland uses a technology called Digital Circuit Behaviour in all their boutique synths, 

    where paradoxically in this case, they try to digitally copy the circuit behavour of 

    the digital D-50 synth.

    

    Luckily , a single D-05 offers the full polyphony of the original D-50. 

    In addition, the D-05 offers improvements: an arpeggiator, a 64-step sequencer,

    and an expanded memory.

8.  Roland E-10, E-15, E-20, E-30

9.  Roland MT-32 Multi-Timbre Sound Module

10. Roland JD-800

It's worth noting that while LAS was a distinctive feature of these Roland synthesizers, they often incorporated other synthesis methods as well, such as subtractive synthesis, to enhance their sound design capabilities.

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As far as I know, only Roland has used this technology in synths, even to this day