The JP-8000/JP-8080 (actually was technically not a Juno or Jupiter) has a lot of historical importance to trance, and considered a predecessor to the VA synths that came after it like Virus, SuperNova, etc. Maybe in some ways it was the synth that made trance possible? But yes they can be picked up pretty inexpensively -- I think Roland made a lot of them. I know Prodigy used to use these (they aren't technically a psytrance band but they always used a lot of resonant/distorted filter-esque sounds, so maybe it speaks to the versatility of the JP-8xxx somewhat).
I've toyed with the idea of picking one up, mostly for nostalgia sake, but most of the people I know that own the hardware boards have made the move to soft synths due to getting same (or better) results in an easier to work with form. You can certainly find them at a good deal though!
Do you feel the hypersaw on the Virus C is not capable of living up to the supersaw available in soft synths or the Ti2? I'm interested in this because maybe you saw another post where I was hoping to find a polyphony/voice count comparison of a Snow versus a C with the same patch.
But yes, Zebra is quite capable of this kind of sound. Another one that might surprise you, that I think you already own is FM8. Nobody thinks of FM synthesis when they think of the supersaw sound, but it is definitely capable, it just achieves the sound a slightly different way. If you dig through some of the trancelead patches on FM8 I think you'll see what I mean. Warmth isn't really the best characteristic of FM synthesis, but you can always layer it with the timbres of another synth if needed.
I think the supersaw is an interesting sound, mostly because it is such a processing-heavy type of sound, one that older analog gear wasn't really capable of, so in a way it is kind of iconic of the mid-late 90s, a time period which I see as kind of a "comeback period" for synths. For a time during the 90s, it seemed like everyone in popular music was going unplugged/acoustic and synthesizers were getting neglected. A handful of bands like Depeche Mode and Nine Inch Nails were keeping them relevant throughout that period, at least here in the USA, with the exception of course of dance club music. Then VA gear came onto the scene and brought a new sound to the table, and the supersaw was one of the iconic elements of that sound.
Really though, I think the basic supersaw sound is kind of boring by itself... just lots of detuned oscillators. It's things like the envelopes/LFOs and how it's used in the music that matters.
From a pure synth perspective, it's kind of an important type of sound I think, because a synth that has the power to do a nice supersaw typically has the power to do almost any other kind of sound. Yet there are synths that do every other kind of sound, but just don't have the raw power to do a proper supersaw.
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