Roland Jupiter 6

Forget the presets. Editing patches is a whiz. As with any instrument, if you want to get the most out of it read the fking manual. You would have to for cracking the potential of this machine, but there are things in there that you would have missed had you not read it.

Easy to use? Hell yes. Sliders for everything, what else can you ask for. Organized very nicely and in fact I prefer having sliders because I can move several of them at the same time... like in the envelope, for example.

6 note poly. Great action. No built in effects. Expansion? Europa, perhaps. Very basic midi, note on off. No onboard sequencer.

Features? Man this thing has them. The unison is HUGE and the unison detune makes it even BIGGER!

Two oscillators and you can select several waveforms at once on each oscillator. Cross mod that can be controlled by the envelope. Sync both ways. Envelope and LFO on either or both VCO.

VCF is mean. Does it sound like vangelis? no. It sure can do some sounds, but think acid or techno. It's got this mean Roland sound. I think of it as kind of a 6 voice two osc. SH-101.. except with WAY more features. Sure the SH has snappy analog envelopes, but the Jupiter's are snappy in their own right.

The thing about this machine that puts people off is there isn't as much instant satisfaction. The reason why is the extremely large range of each of it's features. For your bass lines to bounce, you need to raise the releases a tad and you might put your decay and sustain places you are not used to. It is just different than other synths... where on one you might have something set at 2 or 3, on the jupiter that might be 1. That specifically is the case with resonance. This thing gets EXTREME!

Oh and Europa.. ok this is what I have to say. Worth it? Perhaps. But I kind of have apprehension about ripping the heart out of my prize synth, ya know. Granted, it will greatly improve the functionality of the synth without affecting the tone.. I frankly LOVE the machine the way it is and don't see the need for some monster arpeggiator.I have an amazing sequencer, why would I want to upgrade the arp in the Jupiter? It's already got more than enough memory as it is. So, the big winner with Europa is all the midi sysx implementation, but even then I don't find it necessary. NOBODY complains about the lack of SYSX on a Jupiter 8, Prophet 5, Oberheim 4 voice, or CS-80... so why should I with my JP6?

This thing has TONE man. When I first heard it my jaw dropped. If they went for 2 grand and I had that for a synth.. choice between an Andromeda, Prophet 08, or whatever else... I would get the Jupiter 6 without batting an eye.

The only thing that might compare in it's price range would be the Xpander... but these still more often go for much more than the Jupiter. The JP6 commonly goes for 1200 and it is a freaking STEAL. Everybody who has a Juno-60 and a Juno-106 should sell them and get a Jupiter 6 instead! I got my JP-6 for 900 Just a few weeks ago!

I wouldn't take it to a gig because it's just a prize to me.. and I am a young broke kid, don't want to risk losing it. We will take the Nord Lead to gigs... the Jupiter stays home!

But if I DID take it to gigs, I would expect it to work perfectly night after night!

Customer support? It aint gonna die any time soon, how is that for customer support!

Most of the synths I have owned have been bottom of the bucket analog's... But I have owned ALL of them.

This thing BLOWS the JX and Juno's out of the water. Imagine a machine with the big tone of the Juno-60 filter... Just as much control over the paramters... but with VCO's and MUCH more flexibility than the JX8p.

Not to mention that multi-mode filter... which is one of the big reasons I chose to get the JP6 over the MKS-80.

This filter IS MAD. Really.. it's unbelievable.

Anybody who says the JP-6 isn't worth a damn is deaf.
It is FAR more valuable than anything in it's price range. SURE it sounds DIFFERENT than a Jupiter 8... But that's the appeal, ya know.

Most of the presets are just dated. They sound alright for what they are but are you really gonna be using the presets on this thing? I certainly do not.
Despite it's power, the JP6 is very easy to use. Knob per function and a very clearly laid out panel. I never have to think twice about where I need to go for a parameter. Love having sliders hard!
Everything I thought I might need the manual for I figured out in a few minutes

6 voices, good action, excellent panel layout. I actually really like the "mod button" and the pitch bend wheel seems pretty sturdy for a plastic stick.
The features I am most fond of on this synth:
1. multimode filter - not many analog poly's have anything but a lowpass with maybe a nonresonant high pass in front. not the J6. The bandpass is squirmy and liquidy and the highpass eats all the VA stuff for breakfast. No, the lowpass is not fat if you give it any resonance. Oh well, it's just the way the J6 is but I've come to really like it. Distort it and it will squelch terribly well.
2. the oscs - you can run multiple waveforms from each osc at once. I love the way this sounds in or out of unison mode. also, the sync sounds on this synth can really sing. it's got a very hard, guitarlike tone to it.
3. interesting mod routings - its no modular, but roland was generous with modulation routings on this thing.

Eff realistic, this thing is made for outer space.
The sound of the JP6 is like no other synth. I can't really put it into words but it's definitely one of the most "alive" synths I have ever played. The overall sound can be described as sharp, cutting and crystalline yet still very organic. Although it can do bass (the pure square wave sounds great) it truly excels at synced lead sounds, lfo/ reso effects and lush abstract strings and pads. This is where the living quality really comes out.
I can say that I have never felt so truly connected to an electronic instrument as I do to my JP6. It's sound and character cause me to play amazing things I could never do on a VA. It is a joy to play and a constant inspiration. Expressive does not do it justice.

For an analog polysynth from 1983 it's fairly reliable. I haven't had mine for that long but it needed a tune up and a new osc when I got it. Pretty standard procedure for a synth of that age. The tune button is really nice and helps a lot. That said, I don't think i'd gig with it simply because its irreplaceable. Then again, if the price was right... ;)

too old to be supported by roland.

I haven't had my JP6 for long, and it's already become my favorite synth. I've wanted one since I was 17 and now that I have it, I feel like I've been united with a lost family member or something :)
I plan on getting the Europa upgrade soon, as well as possibly replacing all the knobs and faders. I will never part with this synth and plan on treating her like the queen she is. As I said, it is a constant inspiration and has really taken my sound up to a whole new level.
Coming from years of using softsynths and virtual analogs, this thing really stomps them when you use if for what it's good at. I will no longer ever attempt another sync lead sound on a VA. I have a virus TI, and while it is super powerful, it can't even come close to the sound of the Jupiter.


I would pretty much flip my $%#@ if someone stole it. Barring my arrest for assault and attempted murder to the sucka that took it, I would start saving for another one.

I have the Europa upgrade that totally upgrades the MIDI capabilities. The presets are weak and non-usable for the most part. Editing patches is easy and intuitive. The synth has lots of sliders and buttons for real-time editing without having to punch through layers of digital menus. The Roland manual is good. The Europa upgrade manual is very extensive, which indicates how sophisticated the Europa upgrade is.

6 voice polyphony. Key resistance create by small springs for each key. No built in effect, but you can use an external effect like the Roland SDD-330 for unbelievably fat and novel sounds. For example, using two oscillators with a touch of LFO and a flanger effect on the SDD-330 and you get this sound no modern keyboard is capable of. Likewise, playing the arpeggiator that can be clocked to MIDI (thanks to the Europa upgrade) and putting it through a chorus and then digital delay creates really cool sounds. With the Europa upgrade, the synth can be set to any of 16 MIDI channels. No onboard sequence. I use the Roland MC-50 for live performance. This is a ANALOG synth with an arpeggiator that can be synced to MIDI!!!

This is an ANALOG synth so the sounds are just that - ANALOG. They are FAT, spacy, esoteric, unique, and really, really, cool. You can make R2-D2 type screaming sounds, noise (put that through a phaser/flanger and it sounds really, really cool), laser gun sounds, helicopter blades, etc. You can really create so much. This synth is like having an oil painting set with 124 colors. What I mean is that new synths might have 124 sounds (for example), but you can't really modify the sounds that much, and you can't mix them. The best analogy I can think of is that this synth is like an oil painting set and you are the artist. New synths are like crayola sets. You may have 1000 crayons, but if you can mix the colors like you can with oil paints - well it's all the difference in the world if you want ORIGINAL UNIQUE TECHNO/MODERN music sounds. The Jupiter 6 is best for TECHNO/DANCE/NEW WAVE/RETRO 80s/SPACE AGE music. You don't need onboard effects to make FAT sounds because of the 2 oscillators. If you want effects, get an external effects such as the Roland SDD-330. It is much better than the onboard chorus effects on the Juno-106 and the Juno-60. I have owned the Roland Jupiter 8 and have played on the Juno-60. I also own a Juno-106 now. Mark my words: THE ROLAND JUPITER 6 CAN MAKE ANY SOUND THE JUNO-106 OR JUNO-60 CAN MAKE, AND TO ME SOUNDS AS GOOD AS THE JUPITER 8. I know people say the Jupiter 8 sounds "fatter", but they sound similar to me. With the Europa upgrade, THE JUPITER 6 CAN DO ANYTHING THE JUNO-60 ARPEGGIATOR CAN DO AND A HUNDRED TIMES MORE AT LEAST!!! WITH THE MIDI SYNC YOU DO NOT HAVE TO WORRY ABOUT HOW YOU WILL SYNC THE AREPEGGIATOR TO DRUM MACHINE OR SEQUENCER MIDI CLOCKS (i.e. no bulky external boxes to worry about and DCB cables are you do with the non-upgraded Jupiter 8 or Juno 60). I also can make any sound the Juno 106 can make, but the Jupiter 6 does it better. REALLY. NOTE: THE FACTORY SOUNDS ARE HORRIBLE TO ME. YOU HAVE TO OPEN UP THE FREQUENCY AND ENVELOP TO UNLEASH THE ANALOG SOUNDS OF THIS FANTASTIC MACHINE. DETUNE THE TWO OSCILLATORS SLIGHTLY FROM ONE ANOTHER AND RUN IT THROUGH EXTERNAL EFFECTS LIKE US DELAYS, CHORUS, FLANGER, PHASER, AND YOU WILL SEE WHAT I MEAN. INSTANT SOUNDS OF LIVING ON VIDEO (TRANS-X), THE METRO (BERLIN), DURAN DURAN, ETC. It does not make unison/stacked bass sounds as smoothly or as "fat" as a Prophet or a Moog, but that's that what you should be using a Jupiter for anyway. Just in case you are wondering, I have been doing cover music and the popping sounds from RIO and HUNGRY LIKE THE WOLF can be made on the Jupiter 6. You do not need the Jupiter 8. You have the same arepeggiator patterns as the original Juipiter 8 (and much more with the Europa upgrade). You will have to create a "popping" type sound thorugh the ADSR filters and use delays as Nick Rhodes did. On Rio, I recall he stated in Keyboard Magazine that he used two delays (a delay on a delay). That is how you get the really cool popping arpeggiator sound at the very beginning of Rio (that plays in the background for most of the entire song). By the way, keep that arpeggiator sound on one chord and let the guitar and vocals move around that chord and it sounds like the original song - yes that's another secret I read about with Nick Rhodes. If you try to change chords everytime the guitarist or vocalist does, it will be in tune, but it will not sound right. The sound is very CRYSTAL CLEAR and will pop out in a mix.

Very reliable. I know they are "old", but I would use the Jupiter 6 in a gig without backup. No problem. I have used Roland, Yamaha, and Korg synths without backup for years in live venues and have NEVER EVER had a problem. I only play in local nightclubs. Of course if you play for a multi-million dollar making band, I'm sure you will have backups and technicians traveling on the road with you anyway.

Old analog keyboard. I have had EXCELLENT results when I call Roland. I hear the stories about how they are conceited etc. I think if you sound have educated they treat you right. They obviously don't stock items for this anymore, but they will refer you to businesses that do. You can also look them up online. I have ordered Roland support/parts for amps, synths, V-drums, and guitar effects boxes and they are always helpful. If I don't know the name of the part, they will listen to me describe it and they will look it up for me until they can order the part. No kidding. I LOVE ROLAND!!!

If lost or stolen, I would save up money to buy another one. I paid $2700 for the Europa upgraded Roland Jupiter 6. Mine is in perfect shape with NO scratches, not even on the bottom. I am very picky about my synths - and I DO MEAN SYNTHESIZER, not just "keyboard". I started playing violin in 3rd grade, and piano in 5th grade. I have played drums and the cornet as well. I have transitioned to electronic synthesizer/keyboards, electric/acoustic guitar, and electronic V-drums. I have been playing music for 30 years and have been in about 5 bands. I own the Roland JD-800, Roland JP-8000, Roland Juno-106, Korg DW-8000, Yamaha DX-7, and Roland XV-3080. I use the Roland MC-50 for my sequencer and the Roland R-8 Mark II for my drum machine. I have a Roland TD-3 V-drum set to make my live show more exciting. I have a Boss GT-8 multi-effects pedal (COSM technology) for my electric guitar and a Martin acoustic guitar. I just sold my Roland JV-1000 so I can get a Yamaha Motif 7 for a different palette of sounds. I use a Yamaha Promix 1 for my main mixing board. External effects inlude the Lexicon LXP3 II (best reverb I have heard), Roland SDD 330, Yamaha SPX-1000 (NICE REVERBS FOR ACOUSTIC PIANO SOUNDS - WOW!!!), Korg SDD-2000 delay (nice delays), and the Digitech Vocalist Harmonizer (has MIDI Notes patch that you can use to make vocals sound like New Order's Bizarre Love Triangle dance version, and you can make vocoder type sounds as well).

For my monitor amplifier I use the Roland KC-300 amp. It's not too have like the KC-500 and it has enough power so I can hear my monitor mix in a live venue of up to 1000 people in the audience. This makes music FUN FUN FUN. I love making new sound with this synthesizer and I can make leads that jump out in front of the mix for my dance songs really easily.

When I was in high school my synthesizer instructor had a Prophet V. I have played around with the new synths and have some virtual analog synths. I also have heard the virtual Jupiter 8. My final verdict: HANDS DOWN, NO MODERN SYNTH, V-SYNTH, OR PROPHET CAN TOUCH THE ROLAND JUPITER SERIES. THIS JUPITER 6 IS RIGHT UP THERE WITH THE JUPITER 8 AS THE ANALOG STANDARD OF EXCELLENCE.

great programmable synth to learn synthesis on. all the buttons & knobs for everything are right there.

one of the first midi synths. so features are limited. it has a unique sound. innovative in it's time. i just found out about the EUROPA expansion so i'll be looking into that mod.

sounds great. i like it most for tweaky drones & arpegiated noise loops.

this thing is a tank. i used to gig with it. someone bumped the crap keyboard stand it was on @ a show & sent it plummeting 10 feet off the stage to the ground. (picture a slow motion "noooooOOOO!!!" as it dropped). put a dent in the back & busted the xlr out, everything else was fine. i've since replaced the xlr out.

never bugged roland.

i got this back in the day when "clean digital" synths were all the rage & everyone was hating on those "old noisy out of tune" analog synths. my college midilab traded for a used u110 that i scored for $25.

so, a decade later people are crazy for that "warm vintage" sound that was "old noisy & out of tune" a while back & they now sell for close to a thousand bucks which i would never pay for this unit. it's a nice synth & i love it, but the prices on these things are way over inflated. if it spontaneously combusts i'd go pick up something else unless i came across a good deal on one.

quite logically laid out. the modulation routings and bandpass filter ensure you will get fresh sounds out of it after years. never use the presets, though some are ok as starting points. the manual is typical for its era - near unreadable.

except aftertouch there isn't much i miss, maybe the 12 db filter option on the jp8... your programming skilles are the limit. i still havent exhausted mine after 3 years, and still come up with surprising new sounds.

one thing i don't like very much, is the 2nd lfo activated by a push button - this sounds very mechanical, which is suitable only rarely. otherwise, you don't have enough fingers to exhaust all the modulation opportunities it has. its sound is supreme, lush, biting, you name it you can probably program it (after having spent some time with it). many reviewers stating its thinnish or not "fat" enough, probably haven't fully mastered it yet. its bass is GREAT.

the patch preset banks sometimes produce irritating bugs, like all the lights go on simultaneously. no big deal, you press a few buttons, and its back to normal. otherwise, very reliable.

never tried, i have mine serviced by a local techie.

its one of the mainstays of my studio, along with some instruments from the old yamaha cs line, a dx7 and various other lesser vintage synths. as such, its irreplaceable.

A wonderful piece of analog kit. A control for everything, some clever effects, some amazing presets.

6 note poly - classic Roland keys - very early MIDI (bit basic, but so what)
So easy to use, to play with.
Still miss it....

We are talking Roland analog. To my mind, for those (most) of us who couldn't possibly afford a Moog, this was a very nice alternative.
No velo/after, but really too early for that.
If you want the warmth, the width, the power, the depth of analog, go for this beauty.
If you want digital - Yamaha etc - go somewhere else.
That simple

Never had a problem, but never gigged with it.

NA

If I had the opportunity/the space/the time, I'd buy another one.
Everything to love about it - allow for its age, please!
Nothing to hate - MIDI apart, but that is a small thing

A very intuitive keyboard. All dedicated sliders. Excellent hardware. Lots of features and fun to be had. Just one of the best. The more you put on a synth, the more complicated it becomes. Just think about the excellent JD800! This has all the sliders and ideas you could wish for, yet still remains easy and fun to work with.

A real belter of a synth. VCOs...real ones that sound great. The best Roland filter ever. An arpeggiator. A great cross-mod section. People say this is a cut down Jupiter 8. I've had them side by side and there aint' much missing. It has a better specified filter and midi. The Jupiter 8 has two more notes of polyphony. The 8 also has an led display. This has leds galore. It looks as good as you could wish for. One of the best specified synths out there. Every bit as good as the Jupiter 8...even better.

A cross between the Jupiter 8 and Prophet 5. In fact, excellent. Many say this is the best analogue ever. It is just about the best all-rounder I can think of, bar the JX10, and that has digital access control. Great for warmth, clangs, spacey effects and leads. A good effects unit talkes it to extreme greatness. This synth can sound as rich and varied as anything below a Matrix 12. It would have been nice to have a velocity sensitive keyboard. It was just a little bit too early for that stuff.

As good as any analogue out there. Miles better than a Jupiter 8. It is a very well built unit. I repair synths for a living. Most of these come in for keyboard rebushing, upgrades and, occasionally, a power supply repair. Unlike monsters of trouble, like the memorymoog and polymoog, it doesn't take half the chips with it when the power packs up. Roland knew how to build an analogue when they put this together. The build is very strong. All steel, no chipboard to damage. Old synths shouldn't be gigged. They weren't that reliable new and parts are becoming increasingly difficult to locate. This is the best of the bunch. If left in the studio, it will be a loyal friend.

This is one of the best supported of all the vintage analogues. There are companies specialising in feature and midi upgrades. Many of the chips are standard fare which makes them easier to locate than specialised Roland components. Roland are ok. The web is full of suitable stuff. You can buy with confidence, which is a rare thing to say about an old analogue.

One of the great analogues. Owners all say it. A fabulous synth by any standards. It is a better prospect than a Jupiter 8 and has a wider spectrum of sounds. Myth has it that the Jupiter 8 sank sales of the 6. This is wrong. I retailed both. It was the next generation of polys, such as the JXs and later the DXs which did for them both. Things moved on. The midi boom had just started. The faceless menu driven boom became fashionable and knobs and sliders looked out of date. I told customers that...silly boy! Prices are great value. This synth is hugely more powerful than any Juno and is at least as good...and is much more reliable than...the Jupiter 8. It looks great and is feature packed...with midi for goodness sake!! What more could you want! When most vintage analogues have terminally packed up, and that will happen, the Jupiter 6 will still be available and useable.

10 and considering the fact that you can get it modernised to do all the arpeggiator and midi-CC etc stuff that the VA's can by adding the EUROPA upgrade, 11 or 12 is the more proper rating here.

Some 50 parametres or thereabouts, all fully conrollable with dedicated sliders and knobs, and you can save your sounds, too,
incredible for a (w)holy analogue 12 VCO machine!

What can I tell ya, Unison mode is Godlike. It's capable of these HUGE analogue sonics unheard of elsewhere. This adding to the fact that it's extremely versatile, and you just know it, this is one of those machine that they'll never replicate. ever.
I guess that's why a couple of wiseguys made the EUROPA upgrade, too.
My rating here goes beyond numbers.

Unlike with the J8, never experienced any troubles with this one, status: unbreakable, or at least mine is. Works like a clock.

There are several helpful 3rd parties here, just don't expect much from Roland, they've forgotten their rootes and only makes weedy digital machines now, plastic fantasticly JP 8's and the like.

Many favour this to other analogue giants around, and for reasons: An incredibly sophisticated and unique sound, 12 vco's, a massive Unison mode, and both hipass, lowpass and bandpass in the filter department. DO NOT go about in the delusionary state thinking your Nord or whatever can get close to the sound of the J6, it can't.

Editing is a breeze. I have used this live in cover bands for 15 yrs and replicated a miriad of sounds, best filter sweep possibilities ive ever experianced in any synth. Mine came with original manual,very basic but helpful for memory dump.

arpeggiator can be hours of fun. I cant believe no-one has mentioned my favourite feature, the bender. Ive never found a more expressive mod section on a non touch sens. board. bender which can be set to " wide" which can send this baby into a dive youve got to experience. mine is one of the earliest, with midi in out only. however i have used it live with a 16 trk seq. running thru an M1 and a pocket midi filter.Always worked for note and prog change, but not mod or bend over midi.

as others have mentioned it seems to respond to playing style which makes vel.sens un-neccesary

Had no choice but to use it live. Very reliable for many years touring in a flight case. broke down 2003 for first time (except for memory battery change in 93.)now in workshop awaiting now rare parts.

Among the best keyboards ive ever owned. Untouchable sound in its day and price range. Mine has always had an audable noise pulsing with tu the lfo.never could program it out. Love the xlr output. hate the tape memory backup. Tune command over midi also makes an electronic click in audio out. Dont believe those who say you cant get fat bass, you just need to spend a bit of time on it.

I have an unmodified MIDI-thru version, with selectable MIDI-channel.
All the parametres are right in front of you, but...this complicated machine still takes time to learn.

6 voices in mode 1 & 2 and Unison + Unison/Solo. The Solo mode is those 12 VCO's stacked on one note...
The features are maybe the best of all the old polys:
12 VCO's, multiple filters (Hipass, lowpass & bandpass),
LFO with trine - saw - pulse and Random(S/H), Arpeggiator w/ up - down and both together (1 - 4 octaves range), 2 env, PW + PWM, 2 VCO sync modes, up to 4 waveforms simultaneously per sound, portamento, glissando, split function where you can run an arp on one part of the keys and another sound pad, bass, or whatever onthe other half.
It has 48 memorypatches and 32 presets (to save splits, arp settings, mode, etc). Yes, it is quite flexible.

There's a lot of grit and disturbance attainable from these cem's,
but you need to find the LFO trippin' sweet spots, and the awesome, brutal Unison sounds. The latter is what the Virus synths are trying to, but will never, ever replicate (even with the use of a dozen FX's). The Alesis Ion/Micron are closer though, but I don't think any machine will ever reproduce the exact sound of this one, it's just not possible.
Be warned, the J6 can easily damage your ears - or - your speakers. All the modes are good on this machine, but I tend to stay in Unison: it's very phat and totally unique.
One little minus is the annoying noise (from the CEM's) that will always be somewhat present on even the sweetest pad.
Going a few rounds with the arp works well, too!

Mine tends to hang up from time to time, but nothing to worry about.

Sure, if you know someone...

The Jupiter 6 is possibly the very best of the analog polys,
and actually it's osc are fairly stable, too!
(In the real 'sound& features' world, that is,
not the 'hyped and rare is all that matters' realm...)
Nuff said!

The Jup-6 has an intuitive layout. It's easy to see what modulates what. Programming is a little more difficult. I had previously only owned one oscilator synths such as the Juno 60 and 106. Working with two oscillators and two envelopes made things a little tricky at first. However, it also exposed the limitations of a one oscillator synth. The capabilities of the Jup-6 are almost endless (once you get the hang of it).

Everything you want in front of your face. There are no menus, sub-menus, data wheels, etc. The Jup-6 has two oscillators, two envelopes, split capabilities, high-band-low pass filter, cross modulation, four waveforms (with noise), LFO with triangle, saw, square, and random waves, etc. Most of these parameters can easily be routed to other features. The back panel includes MIDI and trigger inputs for the arpeggiator, VCA, and VCF.

inally, the Jup-6 is bi-timbral. Models that have MIDI Thru can easily be set to receive two MIDI channels. Mine, however, did not have MIDI Thru. In this case, you have to: 1. Turn the unit off 2. Connect a MIDI cable from the In to the Out on the Jup-6 3. Turn the unit back on 4. Press any key on the board 5. Disconnect the MIDI loop and reconnect the MIDI In to your sequencer.

(It's kind of a pain but my only other option is to shell out $250 [that I don't have] for a Europa chip.)

This synth can accomplish a broad range of sounds. People complain that it sounds thin but I cannot agree. It took me some time but I did get some decent bass sounds from it. I think it really shines for those quirky analog blips and LFO-modulated sweeps.

I have great faith in old Roland gear. Everything I've owned has been built solid and has never given me problems. Granted, misuse or accidents can kill any synth. I bought my Jup-6 as mint as any board built in 1983 is going to be. Hopefully, it will go strong for another twenty years.

N/A- Never had to deal with them (knock on wood).

I would be very bummed if this piece were damaged/destroyed. I'm convinced that its features are superior to any analog synth of its era (except the Elka Synthex). I would also consider a Jup-8 or Prophet 5 but those seem to command a price beyond me. Regardless, two oscillator synths are at the top of the food chain. The split capabilities on the Jup-6 and Jup-8 make them more attractive to me. (It's like getting two synths for one.)

it's very easy to use .you don't need manual .

good features for an 83's synth .

it really sounds pretty good .
good bass .you need unisson mode to create fat strings .
unisson mode is better than jp8 's because you can detune it to do fatter sounds . jp6 is a monster !!
like oberheim obxa .i didn't imagine that it could sound like that.

i have an atc1 with 4 filters, my number1 .
the number2 is jp6 .i also have a jp8000,jv1080,S2000,RD150,emuproformance .
I would buy it again and again .

This is an easy synth to program. The knobs, sliders, and buttons are very straight-forward, without any of that multi-function crapola nor sub-menus. Of course, there are some dumb-bell synthesizers out there that are easier to program, but they don?t have the sound nor capabilities of the Jupiter 6.

This synth doesn?t have velocity or aftertouch, but that is no biggie. You can can trigger an LFO, open up the filter with the performance controls left of the keyboard and bend VCO(s) (this is good when you have an oscillator synched up to the other one). As you can have two different sounds simultaneously on the split keyboard, you can play chords or bass with the left hand, and chords or a melody with the right.

this Keyboard makes a variety of warm analog sounds, but it?s not real big in the "fat" department. However, you can have the voices in unison, and detune them, for a bigger sound for monophonic leads and basses. It does good Hammond and Farfisa impressions, as well as comes with a nice electronic piano patch (just use some keyboard tracking to open up the filters a bit more on the higher notes). This is not a prime Sequential Circuits Prophet, Oberheim, Yamaha CS or Moog -- those machines are much better at serving up fat synth sounds. My digital Roland XP-30 has a better analog-type synth-brass sound than the Jupiter 6 can do. Pads, spacey effects, and string ensemble sounds (it whips all those fizzy string machines' butts) are all very good on the Jupiter. Some of the stock patches are bells and Rhodes-type sounds. It was like Roland was trying to day, "See, you don?t need a Yamaha DX-7 for those FM -type of sounds."

I used my Jupiter 6 live exclusively from 1986 to 1989 (it was that versatile), and recorded an EP with it, and it never let me down. It?s still an important part of my studio rig. I would never take it out live now; it?s just too old.

Except for one minor problem, I?ve never had the JP-6 serviced.

I sold my Juno 60 to buy this synth. DCOs don?t sound as good as honest-to God VCOs. A music store in the San Fernando valley was unloading these sweet Jupiters for a mere $1200/each, new, probably to make room for those crappy earry digital keyboards. This is overall quite a good, programmable, polyphonic analog synthesizer. It was Roland?s first keyboard with MIDI, which makes it relevant in today?s world of digital audio sequencers; but, I must say that my Korg MS-2000 is a better-sounding analog-style synth, and it set me back only $750, new.

Don't know the software version but it is the one with MIDI in and OUT--Probably an earlier version of the Jupiter 6, but I believe the outlay is the same throughout the manufacturing run of this synth. The presets all sound great, very lush smooth filters. The editing and/or creation of patches from scratch is very easy, probably one of the most intuitive outlays of any synth available, which is why this synth was in my analog synthesis programming class back at Berklee College of Music in 1986. The other synth they had, a Juno-106, was there below it, and it was very easy to see the differences. The JP-6 sounds great. It is true, the bass sounds aren't as fat as the 106, but other than that, this synth is about twice as deep, but still very easy to operate. I don't have a manual.

The JP-6 is a 6 voice polyphonic synth. It has excellent keyboard action although it doesn't have features put on later 80's synths such as velocity, aftertouch, but it plays these sounds easily, and one can adjust the VCA envelope for variables in sound. Also the LFO can control the amplitude. The bender can control the LFO, there are 2 LFO's one in the bender section and the other up top. The top LFO can be changed in waveform from simple sinewave(triangle) to square to pulse-width modulation to random. One cool feature the JP-6 has that neither the JP-8 or Juno 106 have is a nice multimode filter. You can switch it to either Highpass 24db/oct, Lowpass 24db/oct or both(Bandpass 12db/oct).This puts it up there with some of the coolest synths because it can make stringy, spacey sounds and really subtle changes with this filter. There are 2 envelopes on the JP-6 while the Juno106 has only one.
Used to be no expansion capability until a company called Synthcom came up with the Europa, a MIDI expansion update that runs around $200. Although I haven't tried this, I intend to, because it can really boost the features of the JP-6.

The Jupiter6 already has a nice arpeggiator that can be switched ranging from 1 to 4 octaves, and can be programmed for UP, Down, UP/Down, or Down/UP. With Europa the thing can do note-order arppegiator and even has a limited sequencing capability. I just got this synth and plan on really finding out all the things it can do but for now I can just say it could rival even the JP-8 for features, and is still usually priced below that, although the Europa mod does increase the value of this synth quite a bit. I would like to echo the last poster's comment that this is a synth, and so the great thing about it is the strange sounds you can make with it. It can produce adequate mimicry of horn and string sounds, but the ideal sounds are all in the realm of analog synthesis.

It plays itself--not other instruments. This isn't a sampling keyboard, so I wouldn't expect it to play "instruments", but it does play an excellent string ensemble sound, great bass(as stated above not as fat as a JUNO106, but in some cases you want a more cutting bass line, and this does have plenty of cut and strong attack). This works for ambient music, classic rock, Jazz-rock, New age, trance, anything. The real limitation only exists in the programmer. Excellent addition to any studio. There is an amount of clicking that the envelope creates on the faster attack settings, but I actually like this percussive attack. You can roll off the envelope and get it to go away. I don't know why others have complained about this feature, a Minimoog does the same thing, and that is a feature Minimoog enthusiasts LIKE. Has no Velocity or Aftertouch. Personally, I don't want these features on most analog synths (unless it is disableable) because it becomes too overbearing for me to control all those functions(and many newer synths with this feature are programmed, too deep for me to remove it, and they sometimes put aftertouch in there with an LFO controlling the filter or something, or a vibrato, and it just sucks, unless you're looking for a sampler with realistic horn mimicry or something...I'm not).This thing reacts to my playing and every knob/slider/key/button has a definite effect on the sound, which is what I want. Also the split keyboard is very handy, so you can have some multitimbral activity going on here.

This synth is about 20 years old now, and everything works well on it. I would be careful about gigging it if I had any reservations about how it would be treated. It has an Anvil flight case and is protected but unless I was close by and supervising, I would not just let anybody lug it around.I think the plusses of the great sound would help me decide to take it out without hesitation if I trusted the helpers. Without a backup.

Roland has an excellent customer service department, although I have never had to have this item fixed. They have sent me copies of Juno 106 manuals though, and were prompt and friendly. Additionally there are many Roland websites and other Jupiter 6 related sites that one can go to for information/support.

I would definitely try to replace this if I could were it lost or stolen. It is work about 2-3 times what I paid for it. I have been playing synths on and off for about 20 years. This is a very musical synth. I have had many brands of synths, and of the Rolands that I've owned, this is the most versatile, best-sounding, musical synth I've owned.

some of the presets are ok as a starting point for tweaking. contrary to popular belief, they do not all suck. some pads a la jupiter 8 are useable. the manual is typical humourless obscure rolandspeak. but perfectly understandable (but not very sexy to read). it can be downloaded for free, too.

i don't use midi.
the arpeggiator...i've used better ones.
it sure would be better if it had aftertouch but then again: you'd need to be a neptunian squid with ten arms to fully be able to operate all the knobs on this machine, anyway.
i'd sum it up saying that possibilities for tweaking are infinite. careful with them sliders! little changes can turn out to be drastic. buy some acid and go ape with this baby. (needs some form of compression though when you're improvising)

not sure if it reacts to my playing, feels more like i have to react to it. i'd say the yamaha cs-60 i own reacts to my playing. the jupiter offers way more programming options, but you'll need time to learn.
i haven't mastered mine fully yet.
sound quality is excellent (esp. how it cuts through any mix), though i personally don't always like the harshness and electronic precision.
the key is subtlety. another aspect to be mastered. it'll make you work hard at getting beautiful / musical sounds out of it (as opposed to shrill industrial noise assaults) - but when you succeed. oh boy.

i'd say an advantage is that curtis chips still crop up regularly on ebay, for quite reasonable prices.

never did

i mainly work with analogue synths, as i like their warmth and also their immediacy and their quirks. my favourite line of synths is the yamaha early cs line, though, and moogs. i do not think the rolands are quite up there. but close.
i never owned a virtual analogue, but then, what's the point. the build quality on these older instruments is so much better. the jupiter 6 is no exception.

Synth is very easy to use. Easy to edit and create your own patches.
Anyone with a basic understanding of synthesis should have no problem
understanding this beast also very good for beginners. The presets sound really good to really bad so don't judge by this. Make your own patches and see where it really stands out. The manual is alright
but doesn't go into depth on how knobs and sliders effect your sound.

Polyphony is good enough for what it is and what your going to be using it for. This board has very rudimentary midi capabilities but
as long as I can sequence with a board it doesn't matter how good the midi is. VERY GOOD FEATURES FOR 1983.

Most sounds are excellent. IMO a synth shouldn't sound like a real
instrument thats what sampled sounds are for. This monster makes the best industrial and Sci-Fi sounds you will ever hear, also makes good soft and smooth sounds. Basses are a little different than say a Moog, they are a lot grittier and cutting as a Moog's are warm and punchy not to say that the basses aren't warm and punchy because they definetly are. The leads are great especially in unison mode. Pads and sweeps are this boards best sounds. Like mentioned in other reviews this thing can do a filter sweep from hell, fast and slow deep and shallow. The filters on the JP6 are some of the best of any synth ever produced. The best High pass and band pass filter I ever heard. Different routings and syncable VCO's plus the multi mode filter make this the most versatile synth ever produced.

No problems yet haven't had any problems in the short time I've
had it. Battery is probably 20 years old and is still going strong.

Haven't dealt with Roland yet so I don't know.

This Synth Reeks of Analog Goodness one of the best Analogs ever produced. There is nothing I can complain about on the unit. It's built like a Tank and it should last you another 20 years if taken care of. I Can't see myself without this wonderfull synth!!!

My Jupiter is the first version (Midi in/out only) but I ain't gonna open it up unless I install EUROPA. No presets just programs and they're all mine so AWESOME! Programming it is very easy due to the knobs, sliders and buttons. Didn't get a owners manual but Roland did supply me with a service manual a few years back.

6 note poyphonic with 2 VCO's per voice. The keyboard is lovely and oozes quality. No effects but that would probably spoil the synths pureness. No cheap bells and whistles on this monster. Now EUROPA is available I'm gonna invest but a word of caution to other owners. Roland cannot supply the CPU controller board anymore so be very careful. Midi is basic on the Jups original O/S but EUROPA is the answer. No sequence but a good arpeggiator.

This sizer can sound realistic but why when GM modules are ten a penny? Its sound works well in most senarios and it sounds BIG, HUGE! It has to be one of the most expressive synths ever made. No velocity or aftertouch but who cares. I've got a one and that's all that matters. I can sit for hours just listening to a sound riff on the arpeggiator of jam with my Moog Source which is a fab combi.

Replaced 2 pots but that's due to external damage. Roland had replacements (1994), apart from that nothing has ever gone wrong. It's always the mainstay of the studio and used constantly with never a glitch. My mates girlfriend threw a sock at him, it missed and brushed the Jup, the relationship ended! It's that precious to us. It's in absolutely pristine condition even after almost 20 years.

Roland (UK)like Korg (UK) have excellent aftercare. They've provided me with info, parts and manuals when required. 10/10. Parts must be getting scarce though as the production run was for 1 year only so there can't be to many Jups left.

God created the world in six days and designed the Jupiter 6 on the seventh! If it were stolen I'd be found swinging from a short rope. I can't see myself even being able to find another and even so it would be untouchable in terms of price. I got mine for #100 and a MKS7. Unbelievable nowadays but in 1988 it was old hack. There is nothing bad to say about this synth as it's perfect. The Jupiter 8 is cool too and supposed to be one of the top 10 synths ever built including the MKS 80. Yet the MKS is a 16 VCO version of the Jupiter 6. Hmmm? Its got an unique sound. It may have some software LFO's and such but that's irrelevant unless your an anorak. I used to dream of owning a Jup for years, staring at ads (particularly the one where it in semi darkness)and praying for one. It's my favourite synth of all time. If there's anything I could wish for then it would be EUROPA up and running and another Jupiter 6 so I can look at them stereostropically. Amen!

This synth gets faulted one point for the MIDI spec, which is a real
nuisance. Very primitive, and while there IS a channel-change
capability, it's an arcane thing to set. Just leave it on 1 and be
done with it. MIDI aside, the rest of the synth is snooze-level
difficult. It can get sort of deep, programming-wise, but it's very
easy to get good, serviceable sounds out of one of these PDQ. The
factory presets are...ah...OK, I suppose, but the real meat here is
in the ease of programming your own stuff. Everything on the patch
panel is well-indicated, works as described, and after a little bit
of work can get to the point that you'll have one hand on the
keyboard and the other on the knobs all the time. A true joy to
work with and to play.

Six voices, crap-grade early-spec MIDI, no aftertouch, and a really
fun arpeggiator that you sadly can't sync to a MIDI clock. Those are
the downside points. The upside points are the amazing mod routings,
the MAD multimode filter, super-intuitive interfacing, a nice-feeling
keyboard, the great bender/LFO 'mash-pad' expression section, the
split capability, and construction that borders on mil-spec.

Good ghod...just let me give this thing a '10' and be done with it
on this aspect, already! Analog polyphonic heaven, to make a bit of
a paraphrase...

I've had mine about 12 years now. In that time, it has NOT ONCE done
anything I would categorize as 'questionable behavior'. Construction
of these is nigh-trashproof...and I've had mine out on road gigs,
in the studio, and even used it as a writing-desk keyboard back in my
old academic composition days. Would YOU feel safe doing smash-down
forearm clusters on YOUR synths? I do with this one...and have! Truly
a device from the days when Roland built things to last...

Roland still 'recognizes' these, although specialized parts can get
a bit troublesome if they fail...which isn't often from my experience.
Also, techs are apt to know and have docs for these. You can feel
pretty safe here.

Another of those 'touch this and you die' synths, to be sure. I've
used mine without reservation on minimalist classical, hardtrance,
noisecore, ambient, Berlin school spacemusic, and even a performance
of Stockhausen's "Set Sail for the Sun" from _Aus den Sieben Tagen_.
Yes, it's _that_ versatile. It is NOT merely a rave toy. While it
doesn't have the raw power of some other late analogs like the
Oberheim Matrix-12/Xpander or Elka Synthex, it makes up for that in
an intutiveness that makes it ideally suited for live performance.
I wouldn't feel wholly comfortable with an Xpander on stage (and
haven't!)...but I'm 'at one' with my JP-6 when I sit down at it. I
should note, btw, that there are two versions of the JP-6; a few
early models did not have a MIDI thru. These also don't have some
of the albeit limited MIDI capabilities of the later version. Luckily,
most are the later flavor.

Not sure of the software version, but this one doesn't have a MIDI through.

Very easy to use due to the multitude of dedicated sliders. If you know analog synthesis, then this is a breeze. If you don't, this synth is a great teacher! You'll learn what all those things mean in your VA's.

The presets are O.K., I like some of the softer sounds, but the lead and bass sounds are kinda tame compared to the supreme nastiness that the Jupiter 6 is capable of. Don't judge it by the presets, you'll think it sounds "bland"...well at least I did at first, thanks god I've had a chance to program it (I was going to sell it as soon as I got it, but didn't)

If you enjoy programming, you'll be up many a night tweaking this beast, everything sounds so good - you'll end up creating mini masterpieces every night! Once I turn it on I can't stop tweaking!

The manual is decent, but not great - it tells you what things are but not how they effect the sound. If anyone needs one, I have created a .PDF file of it and I will email to anyone interested.

Polyphony is 6 notes.

Keyboard action is decent, the thing I really like is the bender joystick and mod button, it feels tight and is fun to use, there is nothing like playing with your right hand, and using the other to bend the filter, your pinky to select the mod button, and our other fingers to adjust the controls!

MIDI is basic - note on/off. Man do I wish I could record CC changes (cutoff/resonance/lfo speed)

No sequencer, but it does have an arpeggiator.

Good for pads, leads and wierdness.

Filter sweeps from hell (or heaven). I first heard a hi-pass filter on my Quasimidi Sirius, but it was nothing, and I mean nothing like the Jupiter 6! You know those Drum & Bass hi-pass filter sweeps? This is a specialty of the Jupiter 6..cutting and smooth and deep at the same time.

Basses are elusive, but I am making some phat ass stuff now. Not as punchy as a Juno 106...the attack is slower, but you can get a nice ROUND dubby bass out of it. Also great squelchy basses, but watch the filter, if it sweeps to depp you'll loose all the low end. You can get some real "dirty" leads from it, and (in unison) they are so rich it amazes me. People talk about the "tone" of the Jupiter 6, and I know what they mean now. The "tone" can be described as rich, full and round. Overall, the sound is perfect in a analog sense.

The Jupiter 6 also exels at low-fi video game sounds. Have you ever heard the SidStation? Similar sounds are possible. I have made Donkey Kong sounds, weird laser gun/bubble sounds, and Squeeky, fizzy pitch bend things easily.

Not velocity or aftertouch sensitive.

No effects.

1 point off due to the somewhat slow attack.

Built with metal, it is heavy as well.

I would use it on a gig, but I think I would sample it instead so I could leave it safe at home!

Never dealt with Roland.

I love it more and more every day. It fits well into a mix. If you are at all interested - get one, you'll love it too.

of course, it's interface is analog.

however, it can be hard to get an exact setting with the sliders (there's not much throw imo).

as many features and possibly more than what to expect from a 16 year old analog synth. voltage-controled low-pass, high-pass, AND band-pass resonant filters. factory midi. nice keyboard action.

wonderful sounds. has a distinct character- can be warm in its own way but also sharp and metalic sounding. bass sounds may not stand out well in the mix, but do hold their own better than most. pad sounds may be thin compared to a prophet 5, but that is really an unfair comparison. the saw wave is thin sounding, but pulse wave is full sounding. not to mention the pwm is incredible sounding. the filter sounds wonderful with the minor exception that the amplitude of the sound becomes inversely proportional to the amount of resonance applied. so the more resonance, the softer the sound- this is particularly true in the bass region which imo contributes to the fact that the bass is a bit weak. this of course can be worked around. all in all, a wonderful distinctive *synthetic* sound.

very dependable.
built like a tank.

customer support from Roland? on a 16 year old instrument? ha! you may be able to order schematics and/or operation manuals...

check with third party companies that do good electronic repair for servicing. Electronic Innovations in the Detroit area is good.

owned this synth for almost a year and have grown to really like the way it sounds and where it fits in composing and in the mix.

i wish someone would come out with a midi upgrade- especially for controling VCO cutoff, VCA level, envelope times, etc.

all in all a very nice value if your looking for this type of sound.

This is the super-bad. All the sliders are right there on the front and in your face. The factory presets range from both ends of the spectrum: killer sounds and pee-wee herman crap. Why do they bother putting bell sounds in these things anyway? We all know the presets don't mean jack, because its creating your own sounds that matters. Editing those sounds is a breeze, like a walk in the park on a sunny happy day. The manual didn't go into any detail and had quite a few mistakes.

The range of keys is a good size. Polyphony is decent for this kind of synth. I haven't really messed with the midi yet.

Man, most people praise the pad sounds on this synth as the best. They are very good. But I think it is the very best at getting those killer sweeps from hell. My god man I said goddamn, now that is what I'm talking about! The sounds can be very thick and lively. Although not as clean sounding as the newer synths, but I live for that dirty-sounding noise in the background of the sounds. Make that stuff stand out. This synth can get ugly with the wierd stuff. I leave that bastard in unison mode, and stay there.

This synth was built like a brick sh*thouse. They don't make them heavy like this anymore! I don't gig, but if I did I would not want to take this vintage beauty out since it might get a scratch. Gigging is about taking gear you don't mind beating the sh*t out of in front of others (a la Trent Reznor).

Never mind.

Man I would replace this beast in a heartbeat if something happened to it. It is worth every cent I paid for it--my god man....the sounds I tell you...the sounds! I have seen other stuff, but nothing is like this! The only other thing I might think about as an alternative is the Oberheim Matrix 12 but that one goes for 3 times as much.

The Jupiter 6 I had was probably a later production model, 1984ish I would say. Everything about it was good, it looked cool and mine was brand new, not a scratch on it! It looked new, it was wierd i tell you ....But I sold it at a profit, still I wish I hadnt have sold it....I was confused...I was stupid...

6 voice poplyphonic with midi and memory, no xpansion slots
tons of sliders and knobs
it looks cool

is good for techno and synth pop ala Petshop Boys
Sounds are fat, very good pads and basses.
no velocity or afterrouch (Who cares)

Yup, to tune it, you just hit the tune key.

I got mine used. I went to Roland to get the manual. I bought a real manual(not photocopied) from Roland for 10 bucks.

$600 Canadian, with Flight Case! Oh yeah, and it was MINT. (this was in the early 1990's)

Complex, so many mod routs, you can put an env on pw mod. its so killer the ammount of soudns that can come out, okay for bass but i still think the sh-101 is much better for bass cause of the faster adsr, as well as the juno 106 is better for bass. but any thing else analog, this is the best, the unison mode rocks and makes it fat, and it does it poly or mono.

its 6 voices of analog heaven! no fx, but the unison and detuning, and the env and pw mod make it phaze so nicely! basic midi, omni mode is annoying, but i use it with my kenton pro 2000 so its great. no pressure sensitive. apreggiator! for analog it is the bomb of features.

very cool for leads, arpegg stuff, tom and drum fx, best at pads hands down, can do good bass but not as good as 106 and sh101,! dance king, weirdness galor!

very solid, not like the jupiter 8.

its roland so. and many techs know this synth.

I would buy this 10 times if i had to. I do professional industrial and techno dance music. i own a ton of gear, dont buy VAs unless you want a do it all thin not as cool real analog. buy this over a prophet 600, obxa, and the over priced jupiter 8 that breaks all the time.

One of the best analog synths around.The factory presets were very good to bad. Very easy to edit as there is a slider or knob for everything.The manual sucks bad. The sound is great I got it new inthe fall of 1984 the other synth I looked at was the DX-7.I think I made the right choice.

6 voice could be split in to 2/4 voice or 4/2 voice. allso unision witn all voices on one note could be detuned.No effects.no expansion.has midi but no system exe.no sequencer.but its got that big fat analog sound.

the sound is great if you dont want to sound like some other instruments.it has its own sound.no velocity or aftertouch. but what do you want for 1984. your choices DX-7,T-8,JP-6or8,

never had a problem yet still has the original battery in it.

This is my babe. I all so have a MKS-70 and Ensonic VFX.I love its sound but hate the lack of midi features.

The presets on my Jupiter 6 are really dedicated ones,they are really easy to draw on up."Alright enough of the gabber,no not gabber house. The presets have pretty incredible sounds some better than others, some not as good. Now don't let it fool you about this little monster because he's all about that,not to metion very shapable. Editing patches is no problem,well you know apple pie but not that obscrete. Not a big difference with the patch editor. The manual in regards of the instructions or the operational part. The manual which I have not ever seen,but am currently trying to find. Well here is the scoop,The manual control over this cool little pup is awesome. You can shape some of the nicest sounds ever attempted to hear by the human ear."Yeah this baby is exellent for dance music,and can or will probebly be hard for a jup.,owner to disregard one of their own. So the fine line draws up this ending.Find one buy one and we will see who will be the judge,"yourself".

The keybard action is very good for it's day and age. The only built in effects are you're very own.Ease of use sliders,switches,and of course knobs. Yes,it's expansion capabilities are with MIDI.And the MIDI on this cry baby is alright pretty decent. No sequencer is on board,"Nope gona hafta bye one";But that's quite alright because she's well worth it.

Some of the sounds are pretty much as close as you're going to get from a synthesized sound. And of course this machine is very easy to use.It can react to your playing on how fancy you can make it react.Oh yeah there is static but that is on you're own versatility and ability on shaping a nice envelope.

Yes ,I would relly on it for it's expresive sound and clarity. Play the baby live like she already does.

The rom upgrade.And no she has never seen a shop doctor.

Oh yeah I still have my original and would like to sinc it up to another. It is worth every penny that i paid.Oh she helps me to produce some relly fat sounds to make my music. I call mine the one and only "THE JUP BOX"........