Starting with model JV-1080, some waveforms from the JD-800 were transferred into JV-1080. Which meant back then that some of the patches could technically be transferred from JD into Super JV synthesizers. Unfortunately what Super JV series missed was the effects section from the JD, and thus most of the patches were a total miss. (Notice: Well this is just half of the truth, the other half is a different gain structure, filter dynamic range and 44kHz waveforms vs 32 kHz ROM, but let’s pretend for a moment we have no idea about this. If you’re curious about details, go to our Ultimate Roland JD JV FAQ article). Anyway, the process of JD “migration” continued with XV series, to the point that all of 108 JD waveforms were finally available in the XV synths – seems like 7 are missing but are more likely renamed.
But that’s not all. What would be a JD without it’s special multi effect processor. That’s why Roland implemented JD’s “Effect processor A” into XV. In other words, you got a JD synth hidden inside your XV synth, and you can finally start converting favorite JD patches. There are some differences in the filter, but more on that later. I should just state that the 44.1k referenced samples points to models XV-5080 and XV-5050. I can not guarantee that model 3080 contains 44.1k playback engine at all, neither the samples in that format – it has been reported the machine is 32k. I can however guarantee than in 5080/5050 waveforms from the JD-800 are in original 44.1k format.
Table below shows us internal memory content (waveforms) of the JD-800. Starting with ‘’001 Syn Saw 1′’, ending with ‘’108 Wind Chime’’. Position of these same waves inside XV synthesizer are marked with orange color. For example if you want to load Syn Pulse 4 that on JD is waveform number 008, on XV you will find it on number 557.
JD-800 multi effect group A
With the XV synthesizer, Roland also brought us back the famous JD-800 multi effect from its section A block (note: the JD has two effect sections). On XV series it is available as MFX number “75: JD MULTI”. Just like on the JD-800, it allows distortion, phaser, spectrum and enhancer effects to be connected in series in any desired order. It features exactly the same settings as available on JD-800. Here is a brief explanation for each one of them.
The first effect in the chain is obvious – a standard distortion. This effect is useful in situations when you wish to add some drive to solos or do some nasty clipping effects depending on the sound design application. There are seven types of distortion available:
- MELLOW DRIVE: A soft, mellow distortion; somewhat darksounding.
- OVERDRIVE: The classic sound of an overdriven tube amp.
- CRY DRIVE: Distortion with a high-frequency boost.
- MELLOW DIST: Sounds like the distortion you’d get from a really big amp.
- LIGHT DIST: A distortion with an intense, brilliant feel.
- FAT DIST: Boosted lows and highs gives this one a thick, fat sound.
- FUZZ DIST: Like FAT DIST, but with even more distortion.
In typical phaser, modulation effect is created by mixing original sound with a phase shifted one. Result is a swirling effect and is best suited for backing sounds such as strings or electric pianos. Phaser will be most effective on sounds rich with harmonics, such as saw or pulse waves. Therefore it would be better to insert the phaser after the distortion or spectrum. For the best results, you should use center frequency at around 1 kHz.
Spectrum is an effect that modifies sound by boosting or cutting specified frequency areas, resulting in different tone colors. This effect might look similar to an equalizer. However, the frequency of each band has been set at the optimal location for adding a distinctive character to the sound. Rather than correcting the sound, spectrum allows you to aggressively modify the tonal character.
Spectrum will be best heard on spectral rich sounds such as white noise. There, the change will be most evident. For most expressive result use narrow bandwidth (set it to 5) and try setting all bands to max gain (positive or negative). When using wide bandwidth settings (set to 1) sound becomes less distinctive, and it starts to sound like an ordinary EQ.
Enhancer is a sort of aural exciter type of effect. Can be effective for sharpening up the vocal types of patches, flutes, guitars, etc. It will really help the instrument (patch) stand out in the mix. Its function is to generate new overtones out of the fundamental ones. With sensitivity you can set the depth of enhancer effect. While with the mix parameter you are specifying the mixture of original sound and the newly created sound overtones.
Effects setup on XV
Image below shows us the real JD-800 effect processor routing. As you can see, effects group A is connected in both series and parallel to group B. Same thing can be done in XV. The only difference is that on XV there is no effects group B, but instead there is separate chorus and reverb/delay. Since they can be configured in series or parallel, you can think of them as “group B” with only difference that you can have either delay or reverb, but not both like on the JD.
Image below shows us typical JD-800 effects setup emulated on XV. Chorus and reverb simulate JD’s “effect group B” while MFX: 75 JD Mlt provides “group A”. In this example, group A is connected in series to group B. Inside group B we connected chorus and reverb in parallel (M+R), so that we get chorused signal out followed by reverb/delay (in this example i used Reverb 1, type: Delay).
It is possible to have delay and reverb at the same time, but you will lose chorus. If this setup is required, just set chorus to type 2: delay (200-1000ms). Now you will have both delay and reverb.
Before starting to build or convert you first JD patches, keep in mind that JD and XV have different filter numerating system. For example, max resonance on JD is 100 while on XV is 127. Same is with the cutoff. And exactly the same thing applies for other parameters that on JD go in range from 0-99, while on XV and Super JV they go from 0-127. For better conversion of your JD patches you will need this JD/XV conversion table.
Roland Super JV?
Ok why giving hope to Roland Super JV users by placing it in the same title? Let’s say it is for those who are constantly sending me messages “how do i get this JD pad converted into my Super JV”. Well, to be frank, you can’t! You can try it. But you will never get there. Ok? These two machines have different gain structure and dynamic range which makes JD sound a little bit “harder”. For example you can not make soft sounding bass line on a JD, it will always have this hard character to it (not soft in a way you can make it on Super JV). The reason is higher gain and most likely smaller dynamic range of the JD filter section. But on the other hand you will never achieve those legendary high frequency shimmering pads on a Super JV, simply because i can’t go that high, neither it’s filter, neither its waveforms (which are 32kHz, compared to 44k on JD). And as already mentioned these two devices have different numeration. So if you still INSIST, here i am providing the above table for those of you who want to convert their patches. And for the second time, even if you convert all the parameters correctly, you won’t achieve JD’s sound on a Super JV machine, just like JD will never achieve the sound of a Super JV (which is darker, but also a much softer sounding – hint: analog style bass patches on Super JV are simply stunning). Ideally is to have both machines. So, there you go…