At the back of the album cover of the Rendez-vous album by Jean-Michel Jarre is a list of used instruments. In short: Seiko DS 250, Synthex, Moog, Roland JX 8P, ARP 2600, Fairlight, Emulator II, Eminent, AKS, Lynn 9000, Memory Moog, Drumulator, Laser Harp, RMI, Seiko DS 320, OBX, DX 100, Matrisequencer, TR 808, Prophet, Casio CZ 5000, Baby Korg personal keyboard.more
Well I've got five JX8Ps,' he reflects, 'because very soon we'll be going on tour and I'm going to have two keyboard players each using two JX8Ps. I'm going to keep one spare as well because you can never be too safe even though everybody's telling me that they're the most reliable synths you can use. I really like the idea of that sort of uniformity on stage from an aesthetic point of view and from a sound point of view it's great because the JX8Ps sound brilliant when they are MIDI'd together.'more
"A lot of things on the album are pretend versions of particular genres of music. We've got a pretend funk track, "Hot Hot Hot!!!," which sounds sort of like an old Chic track. On that, I'm using the Emulator for cello and some human voices. We've got pretend Motown too, "Why Can't I Be You?," which was a combination of a patch on the Roland JX-8P called "Stab Brass," MIDIed to a trumpet sample on the Mirage, together with and Emulator brass sound. "more
«The JX-8P, this baby I use for pads, chords and so on. It’s a totally analogue machine (apart from the control section) and it’s the last fully analogue Roland machine if I recall correctly. It was used extensively by the UK pop band Duran Duran back in the 80s. It’s polyphonic with 8 voices. I used this to play all the synths and chords on my new album»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
A Korg DVP- 1 voice processor is used for "really cheesy 10cc-type vocal sounds", and the Roland JX8P is another favourite. "There's a whacking bass on that. You have to doctor the pre-set, but it's got a gorgeous sound to it. It sounds very analoguey for a digital synth. It's got a warmth to it. The only other digital stuff we've got is a Bit One and a Bit 99, these weird Italian keyboards that Chase used to bring in, which are great for hard, digital sounds."more
The PWL complex is well-equipped, no doubt about it, with two out of three studios identically equipped with SSL desks, Sony 24-track digital machines, and generous amounts of outboard equipment. These are supported by the most comprehensive collection of keyboards this writer has ever witnessed in a studio: Fairlight III, Kurzweil, PPG Waveterm, Roland JX8P, Publison Infernal Machine (which Stock describes as "a Godsend"), Emulator II, DX7II, and so on.more
At the centre of Blancmange's sound over the last few years has been Stephen's Roland Jupiter 8, an instrument which he cherished and claimed to know inside out. His first excursion into the domain of electronic sound came some years before when he borrowed a VCS3. It turned out to be a good introduction: "The VCS 3 helps to understand how synthetic music works, because it has a matrix on it. You could see where one oscillator went through an envelope, then through a filter or whatever. And you could see why it did it and how it affected the sound." In spite of his mild disdain for digital synthesis ("I still don't like ultra squeaky clean things...") he has finally yielded to the times and switched to the JX8P.more
The Roland JX-8P is a classic vintage synthesizer. Manufactured between 1984-85, it was Roland's early hybrid digital/analog synth with analog (digitally controlled) oscillators, analog filter, software envelopes and the classic Roland chorus. It was made famous by many bands of the 80s, and prominent in several songs - eg the lead brass synth in Europe's "Final Countdown" (doubled with a Yamaha DX-7). The JX-8P has a flexible synth engine with 2 DCOs, 2 Envelopes, Cross Modulation/Osc sync and LFO modulation options. It unfortunately lacks PWM and the envelopes are not the snappiest. That said, it makes the most stunning warm, evolving analog pads of any synth I know, when using the chorus. Nothing else comes as close for lush chorused strings and pads.
The JX-8P has it's good points and bad like most synths but it just seems to swing very far in both directions. Which is probably why people are so polarized about it. Obviously the first problem is the digital interface. You get use to it but it's still more difficult than using a programmer. Two DCOs with pitch range with tuning and LFO and envelope routing. Tri,pw,square and noise waveforms with cross mod. Cross mod only has three settings, which sucks. Has a mixer section with an envelope. That's good. The filter is very subtle and kinda boring IMO. No "wow!" factor but it does the job. It has typical volume drop at high resonance settings. Has LFO, envelope and key follow. Has a high pass filter as well. Can be used together. High pass only has three settings. That sucks. VCA is connected to envelope 2 or just gate. Has volume control that can be over driven. That's good... or bad. Depending on what you're going for. Has 2 ADSR envelopes that can be used on most parts of the synth except the VCA. It can only use Env1. LFO has sine,square and random waveforms. Has delay time, rate and mod wheel amount. Chorus is good but a little noisy. Not as noisy as a Juno though! Aftertouch still mostly works on mine but usually it's gone bad. Portamento works as expected. Key follow and dynamics can be assigned all over but again only in three stages. Mod and pitch wheel in one control that looks like a joy stick but is really just a spring loaded pitch wheel left to right and a spring loaded mod switch up and down. No mod range. Just on off. That sucks. Good for pads and deep bass, but not punchy fingered bass. Can sound nasty or pretty. Over all, not a completely bad synth. The problem is it seems very versatile but it just doesn't deliver. It's like it's aimed at performers. Like Roland thought "don't get too wild with the parameter ranges." Reminds me of guitar pedals. Lots of knobs but limited range. Boring! BTW PG-8X sounds nothing like the JX-8P. It's great for programming it but it's not the same sound.
It is a great alternative to the Juno series (the EG are just a bit slow but nevermind !) It sounds great from a reso bass to a cutting edge lead or even a huge and lush CS80-ish pad. Its single parameter slider is quite useless: I use to program my Jx through the PG8X vst (which is an almost identical sounding digital version of that analog beast).