![]() ![]() Indeed, when invoked on a Super JX10, the JX8P's Mono1 mode assigned all 24 oscillators, filters and what-have-you to a single note. in fact, everything a super-synth should. Consequently, it offered huge pads, brasses, strings, lead sounds, and monstrous basses. This was possible because the guts of a JX10 were truly two JX8P motherboards, plus a third board that controlled them and added a handful of additional synthesis facilities. The JX10 (shown above) was a superbly playable instrument that you could play in Whole (12-voice) mode, or Split mode (two six-voice synths), or as a layered six-voice synth. The result was the inappropriately numbered Super JX10 possibly the holder of the 'Last Great Analogue Polysynth' award. The industry had long embraced the 'two identical synths in a box' concept, so Roland competed against two DX7s in a six-octave keyboard by releasing two JX8Ps in a six-octave keyboard. ![]() The Jupiter 8 was gone, and the six-note polyphony of the JX8P looked dismal when compared to the 32-note capabilities of Yamaha's DX1 and DX5. In 1986, the world was gripped by FM fever and Roland lacked a flagship synth. ![]() RSD10 digital sampler/delay (Microrack system). RPS10 digital pitch-shifter/delay (Microrack system). ROD10 overdrive/distortion (Microrack system). RCE10 digital chorus/ensemble (Microrack system). ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |