Different sound on one note...

[RoyR]

This is just an observation...not a criticism of the Jupiter, but perhaps interesting. Since my Jupiter 50 is related to the 80, I thought I'd ask my question here...

I observed a "tink" sounding on one note, the A-flat below middle C, as follows: I was playing (Jupiter 50 numbering) Liveset 1528, AOR Piano. I narrowed the "tink" sound down to the SuperNatural synthesized tone number 1710, E Piano 7.

The tink is most noticeable on that one A-flat, and is very faint on the adjacent A. It does not sound anywhere else. The tink is also audible on several other electric piano tones, again primarily on that A-flat. When I enable transpose to a different key, the tink sounds where that A-flat has been relocated.

Do you know if this is an intentional tie back to the original creation of these tones on older synthesizers? Or is it just a little glitch in the synthesizer programming? Since the instrument is a synthesizer rather than a sampler, I thought it odd that one note would sound differently than another. Maybe one of you folks familiar with how synthesizers work can answer this.

Here is the sound>> https://soundcloud.com/1royr/tink-on-ao ... veset-1528 The A-flat is the 4th note in each series. It is most audible in the third series of notes.

--Roy

[Dany]

This is just an observation...not a criticism of the Jupiter, but perhaps interesting. Since my Jupiter 50 is related to the 80, I thought I'd ask my question here...

I observed a "tink" sounding on one note, the A-flat below middle C, as follows: I was playing (Jupiter 50 numbering) Liveset 1528, AOR Piano. I narrowed the "tink" sound down to the SuperNatural synthesized tone number 1710, E Piano 7.

The tink is most noticeable on that one A-flat, and is very faint on the adjacent A. It does not sound anywhere else. The tink is also audible on several other electric piano tones, again primarily on that A-flat. When I enable transpose to a different key, the tink sounds where that A-flat has been relocated.

Do you know if this is an intentional tie back to the original creation of these tones on older synthesizers? Or is it just a little glitch in the synthesizer programming? Since the instrument is a synthesizer rather than a sampler, I thought it odd that one note would sound differently than another. Maybe one of you folks familiar with how synthesizers work can answer this.

Here is the sound>> https://soundcloud.com/1royr/tink-on-ao ... veset-1528 The A-flat is the 4th note in each series. It is most audible in the third series of notes.

--Roy

It is very easy to explain. You have two completely different types of E-Pianos on the JP-80/50:

1) The SuperNATURAL ACOUSTIC engine's E-Pianos
2) The SuperNatural SYNTH engine's E-Pianos

So the "tone number 1710, E Piano 7", you are talking about is a SN Synth Tone and NOT a SN Acoustic Tone.

As you know, the SN Synth Tones use the Virtual Analog subtractive synth engine, which can use VA analog waveforms or PCM waveforms as Oscillator source. The mentioned "tone number 1710, E Piano 7" is based on two SN Synth Tone Partials, which use E-Piano PCM waveforms as Osc source, with the usual sample key split points, which you are hearing between G and A-flat. This is indeed the typical "Rompler" E-Piano.

You have to choose the E-Piano Tones in the SuperNATURAL ACOUSTIC Tab in order to get the outstanding SN modeled E-Piano sounds, which do not have any sample key or velocity splits, like usual "Romplers", as it is also clear in light of the following official facts by Roland Corp.:

What is SuperNATURAL Technology? - Roland U.S.

"...Each SuperNATURAL instrument— piano, violin, trumpet, etc.—has its own specialized sound engine because, just as the sounds of a piano, flute and timpani are very different, so are their related modeling needs. Each SuperNATURAL engine is based on pristine studio samples of the original instrument, however; that’s where the similarities to PCM-based gear end...

...First, SuperNATURAL doesn’t use sample looping. We’ve also developed technology that creates models of the characteristics and responsive aspects of each instrument. The SuperNATURAL engine handles how those parameters react to performance dynamics and nuances from a controller such as a keyboard, just as they would in the original instrument.

As a simple example, volume and brightness in SuperNATURAL instruments respond to nuances in playing force without any velocity switching and inherent stepping sounds between sample layers. SuperNATURAL goes much deeper. Looking at the orchestral strings scenario mentioned earlier, SuperNATURAL modeling translates the player’s natural use of playing styles such as legato and staccato into appropriate variations in bowing technique and associated sound..."

;)

[RoyR]

Great, Dany...thanks for the thorough answer.

I am not up to speed in the technological underpinnings of the Jupiters. I have not gotten much past the layering of multiple out-of-the-box sounds, and mapping them to various spots on the keyboard. I have not edited any of the tones and re-saved them. So most of the advanced features like that have been wasted on me.

But it's good to understand how it all works, and your explanation of SN synthesized tones vs. SN acoustic tones clarifies alot of that!

Best...

Roy