"Later on I purchased a D-50, JD-800, and MKS-20 and P-330 piano modules. Roland always seemed to come out with the greatest sounding keyboards, and they’re user-friendly. They were bright enough to cover digital, but I really loved the warm analog pad and string sounds, the really signature Roland stuff," Paul says, at 6:30 in this video.more
During Legowelt’s Studio Tour for *Future Music Magazine*, at 3:36 Legowelt says that this is “a digital synthesizer from 1992…I made a sample kit you can [download](http://awolfe.home.xs4all.nl/samples.html) from my site.” At 4:25 Legowelt goes on to say that it uses LA synthesis (Linear Arithmetic synthesis) which is typically difficult to edit, especially on the [Roland D-10](http://equipboard.com/items/roland-d-10) or the rackmount [Roland D-110](http://equipboard.com/items/roland-d-110).more
In the video, where Steve Mac is taking Future Music Magazine on a tour of his studio, at 0:48:31 he says "Also we've come to over here which is a JD-800 which we have been using extensively for the last two or three weeks on this new project we are doing and we're just getting some amazing sounds out of it. Yeah, they are really, really, really good. Got lovely filters on them. Really, really, really good synth".more
William Orbit (about the gear he used for the recording session of Madonna's Ray of Light album) : “How did I know you would ask me that? Oh, it’s all in a pile there if you wanna look at it . It’s not a ton of gear. Most of it is pretty retro; a Korg MS-20, a [Roland] Juno-106, a [Roland] JD-800. Much of the album was done on a Juno-106. You can get so much out of that synth. Also a significant amount of it was done on the MS-20 – the more spiky sounds. A few things that people think are guitar are actually the MS-20. And then there were a few more bits and pieces: a few modules, a Yamaha DX7, a Novation Bass Statlon, a [Roland] JP-8000, a lot of Roland stuff. I’ve always liked Roland stuff. ”more
"We get a lot of mileage out of the JD-800. We use it more like a drum synthesizer rather than just a sample source," says Graham. "Like, you can take a CR-78 snare which is very 'biscuit-tinny' and add a little bit of a metal sample to it, but only so that you can only 'sense' it, rather than hear it. It makes everything a lot harder."more
In this pic we see Dj Quik in the studio and underneath his feet is a Roland JD-800 among other gear in the studio. He also mentions the JD-800 in an in-depth [interview](http://www.complex.com/music/2012/04/dj-quik-tells-all-the-stories-behind-his-classic-records/lets-get-down) with Complex magazine.more
For Very they used: Korg M1Rs Akai S1000s Akai S3000s Roland S770 E-mu Systems Proteuses Oberheim Matrix 1000 Roland MKS80s Roland MKS50s PPG Waveterm Roland JD800 Roland Juno 106 Sequential Circuits Prophet V Roland R70 Fairlight CMI Macintosh running Notator Logic Dynaudio monitors This is according to Music Technology magazine (Dec 1993)more
Liam Howlett once acquired a JD800, though he says he quickly regretted his decision: "I played a JD800 in a shop, and thought it was pretty cool; it seemed to have the analogue feel. So I thought I could get all the analogue sounds on other equipment (...) When I got the JD800 home, I knew within a week I wasn't happy with it. I'm definitely getting the Minimoog back!"more
The JD800 is not that big, the sound is like an enhanced Roland D50, very clean and with presence, millions times than the JV line. I Love It !
I owned many synths but this big fellow remains in my studio. For me the Roland JD800 has the best sound and feel. He is easy to be programming and I use it for his great pads. The Roland is used by many great synth artist like Klaus Schulze, Vangelis and Jean Michel Jarre and that is not for nothing. If you find one and you buy it probably you won't regret it.
Historic keyboard, totally '90s sounds, infinite possibility of editing with its large - full of fader - panel. It's very fragile (due the famous "red glue" issue that compromises the keyboard itself)
A solid mixture of virtual analog and early 90's esqe wave ROM style synthesis. It is known for it's pads but I feel like it is great for most types of patches. The multi-stage envelopes and deep modulation potential allows you to add much more depth and variance to your patches to give it a dense and lush quality few synths can come close to.