AROIOS

The vinyl revival and iPhone fetish are a big part of why I don't trust the average consumer's eyes, ears (or brain) at all. 😃

Looked it up out of curiosity, what a disappointment. If that's the kind of shit "the old system" has suppressed, thank God, it can stay in Sahara for all I care. 😆

Yes, it does have all of XV-5080's samples and patches. That said, some of the patches won't sound the same as they do on JV and XV, because of changes in effect routing design. Any JV/XV patches that have significant differences among EFX send levels at the element/partial/layer level will likely sound different on Integra-7, Zenology and most newer Roland romplers. If you're nerdy enough to dig into the details, here's my ranting about it a while ago.

Love the first song, thanks for the share. It sounds like John Mayer joining with Squeeze.

I blame it on Max Martin and the Backstreet Boys. 😃

For those of us who aren't oblivious to the decline of popular music (not to be conflated with the business/industry), what they discussed about certainly isn't limited to just Rock.

I'm glad to hear that. Unfortunately, most of the GenZ/Millenials I come across have boring tastes. It's not their fault at all, just a result of what they've been conditioned with from early on. He deserves a big hug from me. Even on a forum like ours, lots of folks just don't or choose not to see it.

Photography, reading, computer programming, gardening, crafting/tickering... These have all been excellent for recharging my musical brain.

First we'll have to define "music that Gen Z is enamored with". If that's measured by Top 40 charts, then NOPE. Music is about 1) Melody; 2) Harmony; 3) Rhythm; 4) Timbre (or sound design). Those who love non-instrumental music might add 5) Lyrics, which is really more Literary than Music per se. I'm a sucker for 2) harmony. And there has been zero advancement but plenty of regression in this area of the "music GenZ is enamored with". Rhythm-wise, 1/32 notes in HipHop and Dilla's "drunk swing" beat pushed the envelope, bu it's been mostly stagnant since the mid 90's. Melodies, again, stagnant since the mid 90's. Timbre, this is where most of the progress is. There have been some interesting sound design and mixing ideas in the past 20 years. BTW, folks who make claims like "you love what you grew up with" are blind to the fact that so many listeners love music that came out way before they were born.

Better yet, a Linux app I can run on a Raspberry Pi. I couldn't care less about supporting walled POSIX gardens like iOS and Android. But for the manufacturers, these type of decisions are ultimately about money, Roland and Korg obviously have very different cash forecast models about mobile revenues. Maybe one day Roland has a new CEO, and hipsters will be air-playing virtual Jupiter-8s in Vision Pro and Oculus Rift.

Yup, you found it!

I loved my XP-30 too. With excellent synth action, aftertouch, 3 built-in SR-JV cards and over 1000 sounds, it was a very well rounded song_writing/home_studio power tool. Roland made a great decision to package the "Session" card with it and the JV-1010.

I've had several JVs and a XV-5080 and a 5050 but never a 3080. IIRC, XV-3080s' had 32KHz samples, just like the JVs. JD-990 and XV-5080/5050 have 44KHz samples. As a result, JVs and 3080s can produce frequencies up to 16KHz, more than enough for our older ears, but missing some of the ethereal fairy dust young folks might catch. Many have suspected that this is the reason the JVs and 3080s sounded warmer. On the other hand, Eric Persing mentioned once that Roland did some "hyping" on the analog output of the 5080s, as well as their S-760 samplers. Korg did similar tricks on their TRITON STUDIOs (2nd gen in the family). A lot of people loved that kind of "hyped" sound. I remember preferring the slightly more "Hi-Fi" sound of my 5080 over my JVs on the same patches 20 years ago. Nowadays, with the plethora of saturation/exciter plugins out there, we can easily do our own "hyping". Those tiny sonic differences among models and sample sets within the same product family had stopped triggering my GAS/GIS long time ago. Even a JV-1010 has a DAC chip with flatter frequency response and wider dynamic range than what those early 90's samples could ever ask for. Once my attention shifted towards programming and re-programming patches, I got so much more fun out of these boxes. The core Super-JV software architecture Roland designed and coupled with their 90's state-of-the-art hardware remains largely unchanged even til today. Other than polyphony (which we can easily double given how cheap these boxes are), the only upgrade the JVs/XVs need is the ROM capacity. And even that can be solved with 3rd party "Pseudo" SR-JV expansion cards today. (Shhhh... don't let Roland hear that) Enjoy your XV, Eric. I'm sure it'll complement your Nord well.

The intro is in Eb, the move at the end of the intro from Bb9sus to C is a very common 80's technique to modulate the key center 3 steps down (the relative minor becomes the new major tonal center). The arranger's decision to immediately move from C back to Cm in the verse, feels like a wasted opportunity for me. The verse modulates between Cm and Eb, then moves one step up to Dbm at the end. Bb - F and Fm7 - Ab are simply V - II and IIm7 - IV in Eb. You can add a b7 to the F, making it an II7, and it'll still sound legit. These types of progressions were extremely common in old school Pop. No need to over-analyze them.

Not even that much. 😃 JV-1080/2080 had an 8MB rom and JD-990 6MB. It's quite amazing what sonic magic Roland (and other 90's manufacturers) pulled out of those tiny memory spaces.

That's a great way of looking at it. Thanks Mike.

Yup, EPA was part of Nixon's legacy

This perfectly echoes the Warren Huart interview of Richard Niles I was watching the other day, in which Richard mentioned about his time at Berklee and Gary Burton's adventure with "Jazz/Country" fusion.

We had a long chat about the "mu" chord a while back. I just came across a sound I first thought was a "mu". But looking at the keys, it had a different root. Instead of 3--2-5-1, it plays as 7--2-5-1. Not only does it retain the modern vibe of "mu", it sounds even more sentimental. Sure, we can call it something like Iadd9/VII, Imaj9/VII, Vsus4/VII or VIIm#5b9, just like we named the "mu" IIIm7#5 and Iadd9/III. But "Sub-Mu" just sounds so much hipper! Here's a quick demo of how it sounds in context: CHD Pro - 62.mp3

Was gonna share this same vid yesterday, but these type of sentiment almost always gets a "OK Boomer" type of response from the more politically correct among us. I'm sure someone's simply gonna find some silliness in old school music to prove their point. And to play the devil's advocate, it's not like "We're the World" changed much of anything, or "love and flowers" really made us any more altruistic than the Gen Z/Millennials.

Not exactly LH/RH per se, but SQ does have two different snare roll samples. Although the end result sound hardly any better. 😆 With my crude MIDI programming skills, it looks like we'll at least need some round-robin single-hit or an actual drumroll sample to make it sound convincing. Drumroll 2 .mp3

I'm caught red-handed.

Not too shabby for a GM-ish rompler drumkit. Drumroll .mp3

Time for the reveal. Drumroll.... it's from Roland's 20-year old, largely neglected HQ Super Quartet. https://www.kvraudio.com/product/superquartet-by-edirol Considering this is only 1 out of the 70 programs from a 34MB ROM, Roland did a pretty good job there.

Yup, you nailed it. Great ears! Btw, there was a LONG thread from a while back on those slash chords. The "mu" chord seems to be a common tongue-in-cheek way to name them among the more cultured players.