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I also found that the maximum durations of the Attack, Decay and Release stages on the JU06 are longer than those of the Juno , which is a good thing because the original synth was always rather limited in the area of slow sweeps and gentle releases. My only real concern regarding the JU06 is its apparent inability to send or receive parameter value changes as SysEx, which puts it at a disadvantage when compared with the original Juno and spin—offs such as the S and HS Time will tell.

The most expensive in the range is the JP08, which emulates the oldest of the three synths in the family, the revered Jupiter 8.

Before looking closely at the three Boutique synths I had a preconception that the difference in cost was predicated by the higher number of physical controls on this model, but counting them revealed that, with its 55 knobs, faders, switches and buttons, the JP08 has only three controls more than the JX Elsewhere, the LFO adds a triangle wave and noise, the former of which is welcome for a different character of vibrato and tremolo effects.

The final two changes are cosmetic. The JP08 crams a lot into its x mm front panel. Nevertheless, as on the JU06, only a subset of the original factory patches — again, numbers 11 to 38 — are imitated. Furthermore, the timings of the Attack and Decay stages on the two synths were different, and this was particularly noticeable when the filter was being swept.

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But even these sounds could be tweaked into shape without too much difficulty. Next, I moved on to re—programming some the sounds that I had overwritten when restoring the factory set, and I found that the accuracy with which the waveforms are recreated is stunning. Filter sweeps are also lovingly created, as are sync sounds. The only area in which I was unable to duplicate patches as closely as I would have liked was when using cross—modulation.

Cross modulation is very sensitive to even the tiniest of tracking errors, so I suspect that JP08 sounds closer to the sound my Jupiter 8 made when it was new, than the Jupe itself does today! Oh yes, and the Upper and Lower Hold buttons have disappeared completely. Nonetheless, the principal issue I have with the JP08 is its polyphony. This is much more significant here than it is for either the JX03 or the JU06 because, whereas a layered preset on a Jupiter 8 reduces its polyphony to four notes, which is still usable for chords and other polyphonic duties, a JP08 preset plays a maximum of just two notes, which is useless for pads, ensembles, and much else besides.

All three Boutique synths look gorgeous, are surprisingly solid, are fabulous fun, and sound remarkably like their inspirations. Nevertheless, their most obvious attribute is their size. Japanese manufacturers appear to have embraced mini—everything in a way that sometimes seems a little alien elsewhere. But then we come to the issue of the rear panel. If Roland are hoping that these synths will attract the pros, they should have designed them with sturdier sockets.

In the meantime, perhaps a dedicated case would help, not only to hold the synths in place and to protect them cosmetically, but also to provide supports and restraints for the cables. Perhaps a micro—USB power supply would be the solution, but nowhere do Roland say whether this would be safe or not. Clarification please! Those who have a use for it can buy it; those for whom it would be an unwanted appendage can ignore it. The optional K25m keyboard gives you two octaves of mini keys if you want them. Putting all of these thoughts together, I wonder how many players would be willing to pay more for versions that were rather less boutique but with full—sized keyboards, double the polyphony, larger controls, integrated power supplies, and robust sockets?

In the meantime, the existing range provides the sounds of these three classics in a format that a new generation of music—makers will find convenient and affordable.

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Are they going to build a few thousand and then stop? If so, this begs the question of what they would then do with the technology.

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Whatever the future holds, I expect that some potential purchasers will wait to see what happens before handing over any cash, which is probably the opposite of what Roland intended. That would serve you right; despite the recent announcement of their System modules, at no time have Roland ever hinted that they intend to return to building large—scale, integrated analogue synths.

But one could argue that, with these Boutique synths, the company have done the next best thing. I doubt it Looking at them alongside the Aira series and the forthcoming System modules, it seems to me that Roland are in the process of rediscovering their mojo. Why should anyone want to complain about that?

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So here are some conclusions that I reached through a lot of experimentation, many of which have since been confirmed by Roland Europe. Perhaps most obviously, none of the front—panel controls on these synths generate or respond to MIDI CCs, which precludes control using the knobs and faders that adorn most modern MIDI controllers. I suspect that the reason behind this is technological; either the ACB sound engine is already stressing the CPU and additional features may not have been possible without cutting corners elsewhere, or the development had reached its limit in terms of time and cost.

Nonetheless, there is hope. Elsewhere, the LFO adds a triangle wave and noise, the former of which is welcome for a different character of vibrato and tremolo effects. The final two changes are cosmetic. The JP08 crams a lot into its x mm front panel.

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Nevertheless, as on the JU06, only a subset of the original factory patches — again, numbers 11 to 38 — are imitated. Furthermore, the timings of the Attack and Decay stages on the two synths were different, and this was particularly noticeable when the filter was being swept.

But even these sounds could be tweaked into shape without too much difficulty. Next, I moved on to re—programming some the sounds that I had overwritten when restoring the factory set, and I found that the accuracy with which the waveforms are recreated is stunning. Filter sweeps are also lovingly created, as are sync sounds.


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The only area in which I was unable to duplicate patches as closely as I would have liked was when using cross—modulation. Cross modulation is very sensitive to even the tiniest of tracking errors, so I suspect that JP08 sounds closer to the sound my Jupiter 8 made when it was new, than the Jupe itself does today! Oh yes, and the Upper and Lower Hold buttons have disappeared completely. Nonetheless, the principal issue I have with the JP08 is its polyphony. This is much more significant here than it is for either the JX03 or the JU06 because, whereas a layered preset on a Jupiter 8 reduces its polyphony to four notes, which is still usable for chords and other polyphonic duties, a JP08 preset plays a maximum of just two notes, which is useless for pads, ensembles, and much else besides.

All three Boutique synths look gorgeous, are surprisingly solid, are fabulous fun, and sound remarkably like their inspirations.

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Nevertheless, their most obvious attribute is their size. Japanese manufacturers appear to have embraced mini—everything in a way that sometimes seems a little alien elsewhere. But then we come to the issue of the rear panel. If Roland are hoping that these synths will attract the pros, they should have designed them with sturdier sockets. In the meantime, perhaps a dedicated case would help, not only to hold the synths in place and to protect them cosmetically, but also to provide supports and restraints for the cables.

Perhaps a micro—USB power supply would be the solution, but nowhere do Roland say whether this would be safe or not. Clarification please! Those who have a use for it can buy it; those for whom it would be an unwanted appendage can ignore it. The optional K25m keyboard gives you two octaves of mini keys if you want them. Putting all of these thoughts together, I wonder how many players would be willing to pay more for versions that were rather less boutique but with full—sized keyboards, double the polyphony, larger controls, integrated power supplies, and robust sockets?


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In the meantime, the existing range provides the sounds of these three classics in a format that a new generation of music—makers will find convenient and affordable. Are they going to build a few thousand and then stop? If so, this begs the question of what they would then do with the technology.

Whatever the future holds, I expect that some potential purchasers will wait to see what happens before handing over any cash, which is probably the opposite of what Roland intended. That would serve you right; despite the recent announcement of their System modules, at no time have Roland ever hinted that they intend to return to building large—scale, integrated analogue synths. But one could argue that, with these Boutique synths, the company have done the next best thing. I doubt it Looking at them alongside the Aira series and the forthcoming System modules, it seems to me that Roland are in the process of rediscovering their mojo.

Why should anyone want to complain about that? So here are some conclusions that I reached through a lot of experimentation, many of which have since been confirmed by Roland Europe. Perhaps most obviously, none of the front—panel controls on these synths generate or respond to MIDI CCs, which precludes control using the knobs and faders that adorn most modern MIDI controllers. I suspect that the reason behind this is technological; either the ACB sound engine is already stressing the CPU and additional features may not have been possible without cutting corners elsewhere, or the development had reached its limit in terms of time and cost.

Nonetheless, there is hope. In principle, therefore, it should be possible to write editors for each of the synths. This happened when Roland published the SysEx specification for the Aira TB3, converting it from a largely preset bass synth into something much more flexible.

That would be a shame both for us and for Roland because, without MIDI Sync, the market for the Boutique synths is going to be smaller than the company would otherwise hope.

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Fingers crossed My thanks to Roland Europe Group for confirming my initial findings and clarifying these issues with me. Check in Check out When is check-in time and check-out time at Unaytambo Boutique Hotel? Does Unaytambo Boutique Hotel offer free parking? No, Unaytambo Boutique Hotel does not offer free parking. Does Unaytambo Boutique Hotel offer free airport shuttle service? Yes, Unaytambo Boutique Hotel offers free airport shuttle service. How far is Unaytambo Boutique Hotel from the airport? Can you bring pets to Unaytambo Boutique Hotel? No, pets are not allowed at Unaytambo Boutique Hotel.

Does Unaytambo Boutique Hotel have a pool? No, Unaytambo Boutique Hotel does not have a pool on-site. Photos All photos Bathroom 1. Bedroom 8.

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