Now if you want to talk guitar, ask Dave Gregory. He was crushed that he couldn't take his entire guitar harem (over 20) with him for Oranges and Lemons, but he made do with his faves: a 1953 Gibson Les Paul gold-top; a Schecter Telecaster-style ("quite versatile"); a 1963 Stratocaster; a semi-hollow 1964 Epiphone Riviera with miniature humbuckers, heard on the "Pink Thing" solo ("It has a nice Beatley sound"); and one of the first 25 Rickenbacker 12-strings shipped to England in the wake of A Hard Day's Night. Gregory uses Ernie Ball strings "out of force of habit," but creates his own gauge set: .011-.013-.016-.024-.038-.050. He has a Roland JC-120 amp "for those rare occasions that I go out of the house," and a Japanese Fender Sidekick 30 amp for home practice. Effects include a MIDIverb and D1500. For keyboard dabbling he keeps a Roland JX3P with MSQ-100 sequencer, and "an old acoustic piano."more
In a SoundOnSound article from Nov 2006, The Future Sound of London talk about the creation of their song "Papua New Guinea". Garry Cobain talks about the melodies in the track, and mentions using the Roland JX-3P Synthesizer: ""'Papua New Guinea' is a very good example of the way we were working back then," says Cobain. "When you look at that track, the melodic sensibility of it was mine. I wrote, sequenced and played the JX3P top-line synth part live, I did the same for the strings — a one-note pad in the sampler, triggered from the 1040, with each of the chords being three notes worked out and played — and an engineer we were working with also gave me this one-note harp sample, that, basically, could go from C-0 to G-8 right across the keyboard" The original article can be read [here](http://www.soundonsound.com/sos/nov06/articles/classictracks_1106.htm).more
"But now I've got an Emulator and an Emulator II, two DX9's, an Oberheim, a Prophet, a Roland JX3-P and so on, and I'd say at this point that the synth has a generic sound of its own; when I wrote parts for the synths I used to write "woodwind" and "brass" to indicate the kind of sound, but now I tend to just write "bass synth" or "wind synth" because they have sounds of their own. And even when you think you're hearing an acoustic instrument on the albums there's a synth doubling it an octave below, which gives you a bigger bottom end."more
Donovan started his musical life on the piano, and still prefers piano keyboards to those on any synthesiser he has played. Throughout the time he was learning piano, he looked forward to the day he would acquire his first synthesiser. That was a Roland JX3P and it was quickly followed by a Yamaha DX7. In retrospect he sees these two purchases as the best investments of his life - six months later and he was recruited into the band. However, neither synth is retained in his current line-up.more
I’ve owned so many Roland synths, I’ve lost count. But this JX-3P, which came out in 1983, has stuck around the longest. Obviously, you have to get the PG-200 controller, but between its Juno-60-like analogue strings and brass, and its funkier Juno-106 bass flavour, it really is, in my humble opinion, the most underrated gem of the 80s Roland polysynth family.more
Eric Persing has had a unique and influential relationship with Roland Corp for two decades. He started as a product demonstrator in 1984, showing some of Roland's first MIDI instruments. He quickly became involved in the R&D side with Roland Japan, earning the title "Chief Sound Designer", and began contributing his design ideas, real-world studio experience and sound design expertise. Persing's skills have left their mark on countless classic Roland instruments. He is the originator of many legendary Roland sounds that have become part of the vocabulary and lexicon of musical sound. These include the Factory D-50 sounds such as Fantasia, Soundtrack and Digital Native Dance, a majority of the JV/XP/XV series Classics, all the Factory JD-800 sounds, the original Juno "Hoover" sound and thousands of others. Here is a partial list of the Roland instruments that Eric has contributed his sound design, sampling and design consulting skills: Juno-106 Alpha Juno 1&2 JX-3P JX-8P JX-10 Jupiter 6 Super Jupiter D-50 D-550 D-110 D-10 D-20 D-70 MT-32 U-110 U-20 U-220 Sound Canvas JD-800 JD-990 JV-80 JV-90 JV-1000 JV-1080 JV-2080 XP-10 XP-50 XP-60 XP-80 XV-3080 XV-5050 XV-5080 Fantom JP-8000 JP-8080 S-10 S-220 S-50 S-550 S-770 S-760 S-750 MC-303 MC-500 MC-505 VP-9000 MSQ-700 MSQ-100 MKS-20 MKS-30 MKS-50 MKS-70 MKS-80 R-8 R-5 DR-660 DR-770 R-70 V-Drums V-Drums expansion board SRV-2000 DEP-5 RSP-550 R-880 SRV-330 SE-50 SE-70 VS-880 VS-1680 SR-JV series expansion boards SRX series expansion boards Sound Canvas Project series CD-ROM libraries Archives series CD-ROM libraries Composers series CD-ROM librariesmore
still very much underrated, for me the jx-3p is one of the nicest affordable analog synths for creating spaced out pad and string sounds. it sounds a lot "cleaner" than e.g. a juno-60 or korg polysix but still organic and vital. the two DCOs are very stable compared with the VCOs of the JUNO, the filter is not as aggressive and dirty as that of a juno or jupiter - so the synth is always a bit more controlled and precise. though it sounds cleaner, you can still do a lot of hypnotic stuff by detuning the oscillators. a perfect machine for warm glowing aphex twin-ish ambient pads.
another big plus is the easy to use built-in step sequencer, so it works great with the usual tr-606/808 setup.
the additional PG-200 controller ist strongly recommended, this gives you direct access to all parameters.
This was my first synth. I saved up all summer doing work to be able to spring enough cash for the $1,200 to get it. Decent synth, and much better with a dedicated programmer.
Despite its shortcomings in the vintage synth market, this piece of music history is nothing but amazing analog. Its like having an even more powerful juno despite not being able to program it without the pg 200. Fat basses, smooth pads and sharp electrical leads. It really can do it all. Lack of an arpeggiator is a disappointment but for everything else this synth can do, its a fine loss. Ignore the reviews of juno only players, having heard both the jx and the juno 106 side by side they both have their own pros and cons (a juno 60 sounds better than both of them however), but the jx seems to sound more present. The juno uses chorus to pump up its sound but the jx's second oscillator per voice really thickens up the sound in all the best ways. One thing great about it as well is it has no reliability issues if treated right. Great synth overall for many types of sounds. Worth it to get the kiwi upgrade as the midi implementation is awful, which is one solid reason you don't see this synth in many modern studios.
Played for a while, a real good machine. It features a couple of good preset analog sounds like organs a beautiful EP and a lot of synth sounds
Good filters and does more than the box tells it to. Has that nice Roland sound of the eighties. I use it often for arps as it has a sequencer with a trigger-input, but it works just as well for organ, brass and sometimes bass-patches.