Hardly deep menu driving on the jx3p.i love mine. Especially triggering the sequencer. also, I’ve had mine since 1995 and haven’t changed a battery yet. Maybe tomorrow
3p is my fav synth, my go to... it was my 1st, i learnt with it, i know it inside and out... and i still have it! its since had the kiwi upgrade, which brings it more up to date feature wise. i love it, and will never let it go!
I have most Roland classic synths including these two, love both. One thing that the 8p shines on is it's velocity sensitivity, it's the most "playable" synth in my entire collection. Roland implemented this so simply with switches peppered all over the place that just feel right and don't require you to fine tune all that much. I was surprised when you demonstrated the 8p, you played it from the non touch sensitive 3p keyboard.
I have definitely noticed this, i did a whole EP using a MIDI keyboard with the jx8p (mainly because one of the octaves is out on its keybed and I can't figure it out) but then I went back to the keybed of the 8p and the thing came ALIVE. That is different than the after touch right? It is just the velocity sensitivity? And it is not possible to control that with a midi keyboard?
My first synth was the Roland _JX-3P_ with the PG-200 controller. But I grew out-of favor with it within 6 months. My 2nd synth was the Roland *_JX-8P_* with the PG-800 controller. The 8P I got had a cigarette burn on one key, but I loved the _FEEL_ of the 8P & I still have it today - with a replaced key! But it's a relationship that's seen it's up's & down's over the years - not always been smooth sailing & there are some stories to tell...
@@group-music Not if you have the PG-300 or a way to program it. The Junos are great, but so is the 3P. Don't hate on whats good. It's all good. Roland synths rule.
@@group-music for sure! Nothing wrong with preferences! I have an Alpha-1 and it just sounds killer for certain uses. I just ordered a JX-8p however and im pumped!
@ghost mall The Junos are okay for. basic sounds (with the chorus on). It is just an oscillator, a filter and not much else. I am coming from the point of view of a sound designer. On a Juno you have no second oscillator, no oscillator sync, no cross modulation, no complex modulation. It can do fairly nice pads and bass if you don't have access to better synths. The Junos sold well in the 80s because they were cheap not because they were particularly good. Newbies then thought they must be a good synth because their favourite artists used them. They were not a desirable synth at the time. If the artists could have afforded a Prophet 5, Jupiter 8, Jupiter 6 or other flagship poly synth they probably would not have used a lowly Juno.
Since the end of 2003, I have owned three instruments from the JX line. I began with the JX-10, having “cut my teeth” on what would be my second one, the JX-8p w/ PG-800. Somehow, I learned how to patch the 10 from its own front panel. After getting over the painstaking part of learning that, it became fun. After selling the tent, I bought the MKS-70 to succeed it. I still have to re-educate myself about anything concerning patch editing that must be done from the front panel, since the programmer is only good for shaping the sound but not the polyphony, as well as educating myself on how to access the cross fading features on the module. I don’t honestly think I am missing anything not having any Jupiter or Juno models. The only thing these instruments lack is an external audio input, and that is something that’s not necessary.
the GR-700 guitar synth was essentially the JX8P sound module both were released in I985. The JX3P was NOT velocity sensitive so it wasn't the GR-700 sound module.
Two very nice synthesizers our Zack. Put this guy at the front man. Superb fellow. My JX3P went to Jive Bunny as a MIDI light controller. JX8P had that exact keyboard problem from leaning against a wall for a couple of years. I used software synths since 1998
Just a note: I use a Yamaha bluetooth to MIDI adapted with my iPad running the iPG800 app. The Yamaha adapted plugs into, and powdered by the MIDI ports. Ok, maybe not as rock solid a connection than using a wire (and iRig) but it works for me and is pretty stable.
Another big difference between the 3P and the 8P is that the 3P had an early MIDI implementation and didn’t have the ability to use SYSEX data, whereas the 8P can. That’s why there are tons of software versions of the PG800 programmer and the only software versions for the 3P depend on the Kiwi hardware mod for the 3P, which enables sysex messaging for programming and tweaking the sound.
I had a Juno 60 that I had to sell to have my wisdom teeth removed - absolute bummer. Purchased a JX8P little further down the road and still have it today - your synapses is right on, including the sticking keys. I’ve always liked the string, organ and piano sounds. I was able to mimic many of Greg Hawkes patches as we loved playing Cars covers. It’s a great synth.
@@asoundlab Loved them both for different reason, which you nailed when highlighting the differences between the 3p and 8p. I was playing the 8p today and it’s truly a versatile synth. I never purchased the programmer, wish I had!
I hear you there!! Every time I poke around looking for a vintage Juno 60 or a Jupiter 8, I can’t believe what they are going for. To top it off, making it more painful, I see high level modern performers still using the Juno 60 or Jupiter 8. I just watched a on-line auction by a movie soundtrack guy, had an absolutely amazing arsenal of incredible vintage synths, including Prophet T8, PPG Fairlight on and on. He was auctioning for charity, one of the half dozen he was keeping out of the incredible array of synths was the Juno 60. I almost puked!! To top it all off, two out of my three boys had their wisdom teeth out this week, giving me a not so subtle reminder of why I originally had to sell the Juno 60 and my Roland Cube amp!! Just thinking of some of the stuff I was able to do on the Juno 60, the bass line in Take it to the Top by Loverboy. Managed to recreate that sound very closely, and the Roland Cube amp handled the bottom of that patch very well. I think Doug Johnson used a Yamaha CS 80 for that bass patch. It was thunderous hearing it live. I was amazed the Juno 60 could recreate that patch. Loved the sound of the CS 80 - it was a beast. I think there was a CS 60 being auctioned off in the charity auction I mentioned above.
Uhhh, the 3P (1983) came out BEFORE the DX7 (late 1983). The 8P came out in 1985 and wasn't really a competitor to the DX7. The R&D had already been done for the JX-8P. However, it *WAS* part of a greater design trend by synth manufacturers at the time to bury things in menus and have just basically 'presets' available on the front panel for gigging musicians. The late 1980s almost all synths had buried most of their features in menus and it lead to sub-menu diving from hell. By that point most manufacturers had even given up on providing additional cost editors with their products (with the exception of Roland). The JX-8P isn't really *quite* that bad and can be edited without the PG-800, but it takes a long time to come up with a patch because of this trend to 'simplify' the look and feature-set available without an editor. The one slider for multiple functions is a pain, but isn't just something that was uncommon to just the JX-8P at the time. Many analogue DCO synths like the Korg Poly-61, Kawai/Teisco SX-240, Korg Poly-800/EX-800, etc. all had this similar layout. So lets compare apples to apples here... The DCO analogue synths listed above, that also include the 3P and 8P, weren't really in the same category and are part of a brief few years of synth manufacturers trying to figure out where they were headed next. All of the DCO models I've listed, perhaps with the exception of the Kawai/Teisco sold well at the time. The DX7 is a fully digital signal path synth that arguably changed the world of synthesis at the time for the number of 'ready to play' sounds available. No manufacturer at the time saw it coming and it changed the R&D focus pretty much over night when competitors saw how cheap they were to make and how many Yamaha were selling. Roland's answer to the DX7 was the D-50 (1987) - at which point Roland realized they needed to come up with a big digital competitor with similar sounds to the DX7. Korg's answer was the M1. All of these sold in droves and it's why they're so common on the used market today - especially the variants of FM synthesis Yamaha put into things (and continues to). The 3P is actually very easy to edit from the front screen without the PG-200 because it has a pretty limited architecture in comparison to the JX-8P and JX-10 (Super JX). I wouldn't say it's as easy with the 8P and programming without the PG-800, but it can be done - albeit slowly. I own both and have the PG-800, but not the PG-200 and don't really find it an issue with editing for the JX-3P. I would die without the PG-800 however. I'm frustrated by this channel. They have great gear and sound demos. However, the presenter constantly gets things wrong talking about certain aspects and features that are pretty common knowledge and aren't hard to find. These two synths definitely WERE NOT competition to the DX7 or even a response to them - especially when you consider the 3P came out before the DX7! I appreciate that he probably wasn't born during the era, but please do your research properly if you're going to be stating things as if they were fact.
Hi Jay! Thanks for the feedback. The jx3p is easier to program without a controller then the 8p but, for those born of a different era, I think it is still a chore and a little frustrating. The pg200 makes it a lot more fun. You are right about the 3p being released pre dx7 but the 8p, I think, is definitely in dialog with the dx7. The membrane buttons and the preset patches are too close to not have been at least influenced by it. This was an earlier video that we shot - we’re cleaning up the mistakes as we go :) please keep pointing them out and helping us along. Happy new year!
The DX7 was however presented for the public in June '83 at the NAMM Expo in Chicago, and was in the hands of Brian Eno early on - he used it heavily on the Apollo album (released in July '83). Kitaro also had one early on, as he used it on his '83 album Silver Cloud.
@@asoundlab I have a love for the JX-8P because it was my first ever synth in 1994. I was far top young in the 1980s to be its target market. Even when I purchased it, they weren't very expensive and are vastly underrated compared to say, the Juno-106 despite being able to make similar sounds. I dare say one would be hard pressed to tell them apart for certain sounds provided they're not doing filter sweeps. Something about this video struck a chord for me and I felt it necessary to correct a few glaringly obvious mistakes because I love the JX-8P so much!
Both really great synths (although I haven’t owned either did have a 10). and unlike a lot of their 80 competitors, built really well and often still pretty reliable. Personally I think the prices are a bit high considering what modern stuff you could get for the money, but they are great way to get into real 80s hardware synth for the right person.
I got my JX-3P for $100 😎. Also just scored a TR-606 for $250. Sometimes you get lucky. Not looking forward to dropping $500+ on the PG-200 but I think at this point it may be worth it. Happy Synthing lads!
I have both and have had the JX- 3P since 1985, they are worth it. But I got em cheap and the programmers. Todays prices are high but you can still find deals on them, though that’s not easy today.
Software can get close in spirit to the JX8P, but not the same in terms of sonics. The hardware version has noticeably more depth. I have tried all of the software versions (have the best one here), and I own the hardware JX8P. Additionally, with the PG800, you can fly around the programming of the synth much faster than you can on any VST replica.
The saw sounds great, warm and fat! I was looking at getting the Roland boutique version of the JX but looks like the polyphony is limited to 4 notes; kind of disappointing. I suppose you can buy two and link them but I try to limit the amount of gear and cables and things to go wrong when I go to gigs.
@@group-musicWell the Jx3p was my first synth and i was totally broke so i couldnt afford the Pg200... But i really deepdived into that machine....ahh those were the days😅
@@group-music Dammit! i had the Prophet 600 also a bit later on together with the Crumar Bit One. The Pg200 could be quite valuable these days. I would start on 1200$ to test the market.
My first experience with a synth featuring mainly digital controls was the DX7, at the height of its glory (1984 or thereabouts). On encountering the legendary synth, and finding the preset patches a tad tame and conservative, I looked in vain for a "cutoff" function for some fun with the filter, but, alas - no joy there (as there is no filter at all). Mystified, and unimpressed with what I had heard so far. I asked the salesman: "Er...WHAT exactly, CAN this thing do, in terms of live performance action?" "Well, when we raise the mod wheel, we can get a LOVELY rich vibrato!" (He proceeded to do so) Er... rrright. "Lovely"... The wobbly seasick noise now emanating from the already anemic and uninspiring FM patch made me understandably skeptical about FM - and digital/digital access synths in general. I thought the DX7 was thin and weedy sounding, overpriced and underpowered for its price tag, polyphony or not. I hated it, and I did not even consider the DX range as true synthesizers, when compared to Moog, Korg and others. The DX's seemed like machines for playing presets, and nothing more. To this very day, the mere thought of a DX - of any kind - with its accursed mod wheel at full-tilt - is a dark nightmare capable of triggering PTSD. A few years later I got a chance to try out a JX3P (with no PG200 programmer attached) at the same store, without any salesperson present - it was plugged in with headphones connected, inviting all and sundry to have a go. I was not expecting much from the JX3P, and thought it would sound, more or less, like a DX7... I was happily surprised by the rich and full sound delivered by the JX3P, and my cynicism was instantly banished - the JX3P sounded like a dream machine - bold, full-bodied, and robust. The BBD analog chorus (which was certainly NOT my favourite effect at the time, due to its overuse and abuse by contemporary artists) made patches come alive when engaged, it was truly the icing upon the cake. And - Lo, and Behold - the screenprinted legend upon the upper right of the machine: "CUTOFF FREQ"!!! Magical words to me, like an arcane spell - granting the wielder wishes of unlimited analog power, as only the ancients knew. I'm now the happy owner of a JX3P, which has been fitted with the original Kiwitechnics upgrade, and the mod to control the chorus speed. £600 well-spent, and it goes well with my Prophet REV2. Sheer analog bliss! tl;dr = SYNTHESIZER FANS - if you get a chance to acquire a JX3P or a JX8P, go for it, you will not be disappointed.
The JX-8P can sound really good- however the presets aren't good (maybe ok, but not good). However if you can program, it can cover a LOT of sonic territory! It can sound Jupiter-ish, similar to some Juno sounds, its own JX unique sounds and even a kind of analog version of DX7 sounds...
Very easy bro, really easy... Just a bit slower into your workflow, and also can be fun tweaking with controller but not essential fo sure. I got it today, it tooks around 15 minutes to understand how it works and to create two marvellous patches with it... I fell in love almost immediately with my new "old" super sexy jx3p, think i'll get my hands on the 8p soon too.
@@paulcrothers6291 yeah that's crucial on the jx8p... When it still works! aftertouch seems to often be the 8p's disease. But pretty easy to fix as well
Hello@@MisAnnThorpe my poor knowledge in term of repairing do not allows me to do it but I know some people that did several times but it seems to break again constantly and very fastly everytime he fix it. A real disease ! He said, comparatively, the AT of the jx10 is much easier to fix "durably".
The JX-3P is not difficult to use without a controller, every function is one button press away. Also, you mention the JX-3P sounds a bit harsher like a Juno 60 and the JX-8P a bit more smoother?! you can reverse that as the JX-8P is well know for its harsher more exciting sound while the 3P is definitely a lot more smother. You are obviously new to this game.
These synths are reviewed to death. Nothing to see here. I have them both and have now since 1999. I disagree on many of the reviews. Is there no level of exhaustion you tubers won’t force on us?
In the 80's and 90's I had a Jupiter 4 and a Juno 106.... when these came out, to me, they looked and sounded thin and plastic-ee.... for the type of music i was making, these 2 were never gonna get a look in.
The jx-3p has potential to offer a lot more interresting sounds that are usually presented. The presets are horrible. I have tuned in so many carpenter sounds exactly from the jx-3p. Makes me believe that he used it on his productions. Also it can sound like a analog old rock organ better than an old vintage organ... If you like darker sounds, close to 80's horror flicks and rock organs, there might be no better option.
I had the jx3p with controller in the 90s... pretty cool but I’m not a fan of rolands 80s synths .... too glassy and harsh sounding to me.. almost digital ......their earlier 70s synth just seem warmer and fatter ...
the 3p sounds best, 8p was suppose to be an upgrade to the 3p, and they faiiled. The x8p sounds crystalline, almost metal kind of sounds, sounds like a physical modeling synth. If you prefer the 8p, you do dislike real analog synth, stick with hybrid synth, its your area. Your ears are not getting it I think, so the question is, is your review worth it ? The synths are.
Wot. U can't even quote the exact year these synths came out? Latter? Early? Research? Omni-present/ It's pronounced om-NI-present. you contiguous muppet. If you can't pronounce basic english words correctly you've lost me.
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Recently I found a method to edit the jx8p in the PC only with a USB midi cable (Or audio interface with MIDI) and an app called CTRLR
Hardly deep menu driving on the jx3p.i love mine. Especially triggering the sequencer. also, I’ve had mine since 1995 and haven’t changed a battery yet. Maybe tomorrow
3p is my fav synth, my go to... it was my 1st, i learnt with it, i know it inside and out... and i still have it!
its since had the kiwi upgrade, which brings it more up to date feature wise.
i love it, and will never let it go!
I have most Roland classic synths including these two, love both. One thing that the 8p shines on is it's velocity sensitivity, it's the most "playable" synth in my entire collection. Roland implemented this so simply with switches peppered all over the place that just feel right and don't require you to fine tune all that much. I was surprised when you demonstrated the 8p, you played it from the non touch sensitive 3p keyboard.
I have definitely noticed this, i did a whole EP using a MIDI keyboard with the jx8p (mainly because one of the octaves is out on its keybed and I can't figure it out) but then I went back to the keybed of the 8p and the thing came ALIVE. That is different than the after touch right? It is just the velocity sensitivity? And it is not possible to control that with a midi keyboard?
Should have said, my aftertouch is also not working so I'm not exactly sure what it does
The 3p is fine to use without the controller for example; your workflow however changes and is slower versus using the PG200.
My first synth was the Roland _JX-3P_ with the PG-200 controller. But I grew out-of favor with it within 6 months.
My 2nd synth was the Roland *_JX-8P_* with the PG-800 controller. The 8P I got had a cigarette burn on one key, but I loved the _FEEL_ of the 8P & I still have it today - with a replaced key!
But it's a relationship that's seen it's up's & down's over the years - not always been smooth sailing & there are some stories to tell...
3P is the ultimate sleeper vintage analog Roland. The 8P is great too, but if I had to get rid of one of mine, I'd keep the 3P. Also 3P over any Juno.
@@group-music Not if you have the PG-300 or a way to program it. The Junos are great, but so is the 3P. Don't hate on whats good. It's all good. Roland synths rule.
@@group-music for sure! Nothing wrong with preferences! I have an Alpha-1 and it just sounds killer for certain uses. I just ordered a JX-8p however and im pumped!
@ghost mall The Junos are okay for. basic sounds (with the chorus on). It is just an oscillator, a filter and not much else. I am coming from the point of view of a sound designer. On a Juno you have no second oscillator, no oscillator sync, no cross modulation, no complex modulation. It can do fairly nice pads and bass if you don't have access to better synths. The Junos sold well in the 80s because they were cheap not because they were particularly good. Newbies then thought they must be a good synth because their favourite artists used them. They were not a desirable synth at the time. If the artists could have afforded a Prophet 5, Jupiter 8, Jupiter 6 or other flagship poly synth they probably would not have used a lowly Juno.
Used jx-3p 1993, love A3 hammond organ 3p!!!@
Jx_8p nice Strings, strings pad. Love clear design jx-8p
Since the end of 2003, I have owned three instruments from the JX line. I began with the JX-10, having “cut my teeth” on what would be my second one, the JX-8p w/ PG-800. Somehow, I learned how to patch the 10 from its own front panel. After getting over the painstaking part of learning that, it became fun. After selling the tent, I bought the MKS-70 to succeed it. I still have to re-educate myself about anything concerning patch editing that must be done from the front panel, since the programmer is only good for shaping the sound but not the polyphony, as well as educating myself on how to access the cross fading features on the module.
I don’t honestly think I am missing anything not having any Jupiter or Juno models. The only thing these instruments lack is an external audio input, and that is something that’s not necessary.
I bought my jx3p new in 83. I have never changed the battery. Still works great.
Got mine used in 93 and still has original battery too. They do not make them like they used too.
Maybe time to change it? Or are you going for the 50 year record?! 😅
the GR-700 guitar synth was essentially the JX8P sound module both were released in I985. The JX3P was NOT velocity sensitive so it wasn't the GR-700 sound module.
Two very nice synthesizers our Zack. Put this guy at the front man. Superb fellow. My JX3P went to Jive Bunny as a MIDI light controller. JX8P had that exact keyboard problem from leaning against a wall for a couple of years. I used software synths since 1998
I was recently gifted a jx 8p... totally free is as great price! great sounds. key bed needs a little TLC but works nicely. undervalued for sure.
Just a note: I use a Yamaha bluetooth to MIDI adapted with my iPad running the iPG800 app. The Yamaha adapted plugs into, and powdered by the MIDI ports.
Ok, maybe not as rock solid a connection than using a wire (and iRig) but it works for me and is pretty stable.
Another big difference between the 3P and the 8P is that the 3P had an early MIDI implementation and didn’t have the ability to use SYSEX data, whereas the 8P can. That’s why there are tons of software versions of the PG800 programmer and the only software versions for the 3P depend on the Kiwi hardware mod for the 3P, which enables sysex messaging for programming and tweaking the sound.
Didn't know a whole lot about these ones, thanks for the info and great demo'ing! These synths sound lush!
No problem! Thanks for y’all watching. I love the fullness they both have!
I had a Juno 60 that I had to sell to have my wisdom teeth removed - absolute bummer. Purchased a JX8P little further down the road and still have it today - your synapses is right on, including the sticking keys. I’ve always liked the string, organ and piano sounds. I was able to mimic many of Greg Hawkes patches as we loved playing Cars covers. It’s a great synth.
Which do you like better? It’s hard for me to say which I prefer - I find myself going back to the both for different reasona
@@asoundlab
Loved them both for different reason, which you nailed when highlighting the differences between the 3p and 8p. I was playing the 8p today and it’s truly a versatile synth. I never purchased the programmer, wish I had!
I hear you there!! Every time I poke around looking for a vintage Juno 60 or a Jupiter 8, I can’t believe what they are going for. To top it off, making it more painful, I see high level modern performers still using the Juno 60 or Jupiter 8. I just watched a on-line auction by a movie soundtrack guy, had an absolutely amazing arsenal of incredible vintage synths, including Prophet T8, PPG Fairlight on and on. He was auctioning for charity, one of the half dozen he was keeping out of the incredible array of synths was the Juno 60. I almost puked!! To top it all off, two out of my three boys had their wisdom teeth out this week, giving me a not so subtle reminder of why I originally had to sell the Juno 60 and my Roland Cube amp!!
Just thinking of some of the stuff I was able to do on the Juno 60, the bass line in Take it to the Top by Loverboy. Managed to recreate that sound very closely, and the Roland Cube amp handled the bottom of that patch very well. I think Doug Johnson used a Yamaha CS 80 for that bass patch. It was thunderous hearing it live. I was amazed the Juno 60 could recreate that patch. Loved the sound of the CS 80 - it was a beast. I think there was a CS 60 being auctioned off in the charity auction I mentioned above.
@@daveham5113 "A movie soundtrack guy," Junkie XL lol. Sorry I couldn't help it. I wish I could have bought something out of his selection too
Uhhh, the 3P (1983) came out BEFORE the DX7 (late 1983). The 8P came out in 1985 and wasn't really a competitor to the DX7. The R&D had already been done for the JX-8P. However, it *WAS* part of a greater design trend by synth manufacturers at the time to bury things in menus and have just basically 'presets' available on the front panel for gigging musicians. The late 1980s almost all synths had buried most of their features in menus and it lead to sub-menu diving from hell. By that point most manufacturers had even given up on providing additional cost editors with their products (with the exception of Roland).
The JX-8P isn't really *quite* that bad and can be edited without the PG-800, but it takes a long time to come up with a patch because of this trend to 'simplify' the look and feature-set available without an editor. The one slider for multiple functions is a pain, but isn't just something that was uncommon to just the JX-8P at the time. Many analogue DCO synths like the Korg Poly-61, Kawai/Teisco SX-240, Korg Poly-800/EX-800, etc. all had this similar layout.
So lets compare apples to apples here... The DCO analogue synths listed above, that also include the 3P and 8P, weren't really in the same category and are part of a brief few years of synth manufacturers trying to figure out where they were headed next. All of the DCO models I've listed, perhaps with the exception of the Kawai/Teisco sold well at the time.
The DX7 is a fully digital signal path synth that arguably changed the world of synthesis at the time for the number of 'ready to play' sounds available. No manufacturer at the time saw it coming and it changed the R&D focus pretty much over night when competitors saw how cheap they were to make and how many Yamaha were selling. Roland's answer to the DX7 was the D-50 (1987) - at which point Roland realized they needed to come up with a big digital competitor with similar sounds to the DX7. Korg's answer was the M1. All of these sold in droves and it's why they're so common on the used market today - especially the variants of FM synthesis Yamaha put into things (and continues to).
The 3P is actually very easy to edit from the front screen without the PG-200 because it has a pretty limited architecture in comparison to the JX-8P and JX-10 (Super JX). I wouldn't say it's as easy with the 8P and programming without the PG-800, but it can be done - albeit slowly. I own both and have the PG-800, but not the PG-200 and don't really find it an issue with editing for the JX-3P. I would die without the PG-800 however.
I'm frustrated by this channel. They have great gear and sound demos. However, the presenter constantly gets things wrong talking about certain aspects and features that are pretty common knowledge and aren't hard to find. These two synths definitely WERE NOT competition to the DX7 or even a response to them - especially when you consider the 3P came out before the DX7! I appreciate that he probably wasn't born during the era, but please do your research properly if you're going to be stating things as if they were fact.
Hi Jay! Thanks for the feedback. The jx3p is easier to program without a controller then the 8p but, for those born of a different era, I think it is still a chore and a little frustrating. The pg200 makes it a lot more fun. You are right about the 3p being released pre dx7 but the 8p, I think, is definitely in dialog with the dx7. The membrane buttons and the preset patches are too close to not have been at least influenced by it. This was an earlier video that we shot - we’re cleaning up the mistakes as we go :) please keep pointing them out and helping us along. Happy new year!
The DX7 was however presented for the public in June '83 at the NAMM Expo in Chicago, and was in the hands of Brian Eno early on - he used it heavily on the Apollo album (released in July '83). Kitaro also had one early on, as he used it on his '83 album Silver Cloud.
Additionally, the JX8P was somewhat more affordable than a DX7.
@@asoundlab I have a love for the JX-8P because it was my first ever synth in 1994.
I was far top young in the 1980s to be its target market. Even when I purchased it, they weren't very expensive and are vastly underrated compared to say, the Juno-106 despite being able to make similar sounds. I dare say one would be hard pressed to tell them apart for certain sounds provided they're not doing filter sweeps.
Something about this video struck a chord for me and I felt it necessary to correct a few glaringly obvious mistakes because I love the JX-8P so much!
@jaykaufman I wish this channel would bring you on as a consultant. And your comment with correct historical context should be pinned to the top.
Both really great synths (although I haven’t owned either did have a 10). and unlike a lot of their 80 competitors, built really well and often still pretty reliable. Personally I think the prices are a bit high considering what modern stuff you could get for the money, but they are great way to get into real 80s hardware synth for the right person.
I got my JX-3P for $100 😎. Also just scored a TR-606 for $250. Sometimes you get lucky. Not looking forward to dropping $500+ on the PG-200 but I think at this point it may be worth it. Happy Synthing lads!
Stay blessed my brother thanks for the video.
They are undervalued. That's why I watched your video. 😁
Right?? :)
look at the prices on reverb. . they're way overpriced now
I have both and have had the JX- 3P since 1985, they are worth it. But I got em cheap and the programmers. Todays prices are high but you can still find deals on them, though that’s not easy today.
I genuinely prefer mt 8p over ny OB-6. Such a rich sounding tone, lovely oscillators.
Software can get close in spirit to the JX8P, but not the same in terms of sonics. The hardware version has noticeably more depth. I have tried all of the software versions (have the best one here), and I own the hardware JX8P. Additionally, with the PG800, you can fly around the programming of the synth much faster than you can on any VST replica.
The saw sounds great, warm and fat! I was looking at getting the Roland boutique version of the JX but looks like the polyphony is limited to 4 notes; kind of disappointing. I suppose you can buy two and link them but I try to limit the amount of gear and cables and things to go wrong when I go to gigs.
JX-08 has something like 20 voices and is 2-tone multitimbral! It sounds fantastic… but I havn’t heard the original in person, so I can’t compare.
one thing that really separate the twos is the velocity sensitive keybed on the jx8p and also the aftertouch on that model
Aftertouch is dead on nearly every 8p at this point.
@@SacSynths_Jack_Z Thx Jx has more variety to its timbres...
@@group-music like i wrote the jx8p from 1985.
@@group-musicWell the Jx3p was my first synth and i was totally broke so i couldnt afford the Pg200... But i really deepdived into that machine....ahh those were the days😅
@@group-music Dammit! i had the Prophet 600 also a bit later on together with the Crumar Bit One.
The Pg200 could be quite valuable these days. I would start on 1200$ to test the market.
3P for the harsh leads 8P if you want that organ / pad tone. The organ tone from the 8p is on point.
I swear this guy was on 'The Inbetweeners'
I can only see one audio jack coming out of the JX-3P 😱 .....it’s a stereo synth.
My first experience with a synth featuring mainly digital controls was the DX7, at the height of its glory (1984 or thereabouts). On encountering the legendary synth, and finding the preset patches a tad tame and conservative, I looked in vain for a "cutoff" function for some fun with the filter, but, alas - no joy there (as there is no filter at all).
Mystified, and unimpressed with what I had heard so far. I asked the salesman:
"Er...WHAT exactly, CAN this thing do, in terms of live performance action?"
"Well, when we raise the mod wheel, we can get a LOVELY rich vibrato!" (He proceeded to do so)
Er... rrright.
"Lovely"...
The wobbly seasick noise now emanating from the already anemic and uninspiring FM patch made me understandably skeptical about FM - and digital/digital access synths in general. I thought the DX7 was thin and weedy sounding, overpriced and underpowered for its price tag, polyphony or not. I hated it, and I did not even consider the DX range as true synthesizers, when compared to Moog, Korg and others. The DX's seemed like machines for playing presets, and nothing more.
To this very day, the mere thought of a DX - of any kind - with its accursed mod wheel at full-tilt - is a dark nightmare capable of triggering PTSD.
A few years later I got a chance to try out a JX3P (with no PG200 programmer attached) at the same store, without any salesperson present - it was plugged in with headphones connected, inviting all and sundry to have a go.
I was not expecting much from the JX3P, and thought it would sound, more or less, like a DX7...
I was happily surprised by the rich and full sound delivered by the JX3P, and my cynicism was instantly banished - the JX3P sounded like a dream machine - bold, full-bodied, and robust. The BBD analog chorus (which was certainly NOT my favourite effect at the time, due to its overuse and abuse by contemporary artists) made patches come alive when engaged, it was truly the icing upon the cake.
And - Lo, and Behold - the screenprinted legend upon the upper right of the machine: "CUTOFF FREQ"!!!
Magical words to me, like an arcane spell - granting the wielder wishes of unlimited analog power, as only the ancients knew.
I'm now the happy owner of a JX3P, which has been fitted with the original Kiwitechnics upgrade, and the mod to control the chorus speed. £600 well-spent, and it goes well with my Prophet REV2.
Sheer analog bliss!
tl;dr = SYNTHESIZER FANS - if you get a chance to acquire a JX3P or a JX8P, go for it, you will not be disappointed.
Slice N Seal Great story, thanks for sharing !!
Great demo man!
The JX-8P can sound really good- however the presets aren't good (maybe ok, but not good). However if you can program, it can cover a LOT of sonic territory! It can sound Jupiter-ish, similar to some Juno sounds, its own JX unique sounds and even a kind of analog version of DX7 sounds...
I feel like the jx3p has a softer side not explored here.
The 3p isn’t hard to use without a controller.
Very easy bro, really easy... Just a bit slower into your workflow, and also can be fun tweaking with controller but not essential fo sure. I got it today, it tooks around 15 minutes to understand how it works and to create two marvellous patches with it... I fell in love almost immediately with my new "old" super sexy jx3p, think i'll get my hands on the 8p soon too.
@Luke I would steer a beginner towards the JX3/8P rather than a Roland JD800.
@Luke agreed. I just got a Poly-61 which has a similar approach to editing. It reminds me of the 3p in a lot of ways.
That synth is Fire!!!
Wonderful instruments!
Sadly, with the PG, not much cheaper than a brand new Jupiter-X.
that’s next on my list
Why didn't you play the JX8P directly instead of going through midi on the 3P?
The jx8p had a sticking key
If you play jx8p using jx3p as a controller , you lose touch sensitivity and after touch.......nice video though.
@@paulcrothers6291 yeah that's crucial on the jx8p... When it still works! aftertouch seems to often be the 8p's disease. But pretty easy to fix as well
@@AxisChemicals Have you ever repaired the aftertouch on a JX8P?
Hello@@MisAnnThorpe my poor knowledge in term of repairing do not allows me to do it but I know some people that did several times but it seems to break again constantly and very fastly everytime he fix it. A real disease ! He said, comparatively, the AT of the jx10 is much easier to fix "durably".
God I want a JX-8P so bad I'm thinking of selling a kidney, absolutely love your videos big fan here in the UK! Definitely not over valued.
I wish they made a Boutique version of the JX8P
It’s in the new Jupiter x which is nice
boutique are crap , its the same as plug in, vst, get the real thing
Why playing the JX-8 with a JX-3? The attraction of the JX-8 is its velocity.
I hated 8P and sold it less I paid but kept 3P
The JX-3P is not difficult to use without a controller, every function is one button press away. Also, you mention the JX-3P sounds a bit harsher like a Juno 60 and the JX-8P a bit more smoother?! you can reverse that as the JX-8P is well know for its harsher more exciting sound while the 3P is definitely a lot more smother. You are obviously new to this game.
Yes but the fact remains that the JX3P's default tone is definitely considered "harsher" than the JX8P's!
@Luke He's right though. Tone was wrong, but facts weren't.
These synths are reviewed to death. Nothing to see here. I have them both and have now since 1999. I disagree on many of the reviews. Is there no level of exhaustion you tubers won’t force on us?
History was all good. I lived it. You did not :) but you were very well read.
The only thing I really missed on the 3P was portamento.
In the 80's and 90's I had a Jupiter 4 and a Juno 106.... when these came out, to me, they looked and sounded thin and plastic-ee.... for the type of music i was making, these 2 were never gonna get a look in.
真的很难选择其中之一，两台琴各有各的特点！
The jx-3p has potential to offer a lot more interresting sounds that are usually presented. The presets are horrible. I have tuned in so many carpenter sounds exactly from the jx-3p. Makes me believe that he used it on his productions. Also it can sound like a analog old rock organ better than an old vintage organ... If you like darker sounds, close to 80's horror flicks and rock organs, there might be no better option.
9:46 ???
Was that Spinal Tap?
I had the jx3p with controller in the 90s... pretty cool but I’m not a fan of rolands 80s synths .... too glassy and harsh sounding to me.. almost digital ......their earlier 70s synth just seem warmer and fatter ...
@10:30 I DO NOT LIKE THE STAND YOU ARE PLAYING ON 0_0
the 3p sounds best, 8p was suppose to be an upgrade to the 3p, and they faiiled. The x8p sounds crystalline, almost metal kind of sounds, sounds like a physical modeling synth. If you prefer the 8p, you do dislike real analog synth, stick with hybrid synth, its your area. Your ears are not getting it I think, so the question is, is your review worth it ? The synths are.
Man, play something, correct a bit. Other then that nice video.
3P all day. 8P… not so much
pretty cheesey 80s sounds. might be good with the/a controller
Congratulations, you made that 3P barely listenable.
Wot. U can't even quote the exact year these synths came out? Latter? Early? Research? Omni-present/ It's pronounced om-NI-present. you contiguous muppet. If you can't pronounce basic english words correctly you've lost me.
Man, the theory and story were amazing. But that is got to be the worst sounds i ever heard coming from those 2 amazing synths.