|Polyphony||12 voices in 'WHOLE' and 'SPLIT' mode, 6 voices in 'DUAL' mode|
|Timbrality||2 ('SPLIT'/'DUAL' modes)|
|Oscillator||2 [DCO]s per voice/4 in 'DUAL' mode. Waveforms: SAW/SQUARE/FIXED PULSE/NOISE. Oscillator sync, xmod.|
|LFO||1 sine/square/random=noise with delay and rate|
|Synthesis type||Analog Subtractive|
|Attenuator||2 ADSR Envelopes/4 in 'DUAL' Mode. They both have 3 levesl (and '0') of "Key Follow"|
|Memory||50 preset tones/50 user tones/64 patches, optional M64C memory cardtridges holding 50 tones|
|Effects||chorus, delay ('chase play' using voices, not a 'real' delay FX)|
|Left-hand control||Pitch bend Lever with upward moving controlling LFO|
|External control||MIDI for playing notes/PG-800 programmer for sound editing|
The Roland JX-10 (also known as the Roland Super JX) was a 12-voice analog synthesizer produced from 1986 to 1989, and was the last true analog synthesizer made by Roland. It is essentially two Roland JX-8P synthesizers put together, along with a 76-note velocity-sensitive keyboard with aftertouch. It also includes features not found on the JX-8P, including a simple 1-track sketchbook sequencer and a delay effect (which works like a "midi delay" by delaying one tone rather than acting as a true DSP delay effect). Still, the JX10 / MKS70, is not exactly as "two JX8P's in one" unit since the chorus in JX10 and MKS70 is not identical to JX8P. Thus the chorus sound difference between the JX8P and JX10 with single patches. The JX-10 also has a slightly different amplifier section as well as different electronic components which further distinguish its sound from its predecessor, the JX-8P.
Like most synthesizers of the time, the JX-10 is programmed by selecting a parameter through a small keypad and editing the parameter using a data wheel (which Roland dubbed the "alpha-dial"). Like the JX-8P, this can be bypassed by connecting a PG-800 programmer to the synthesizer. The PG-800 connects to a specific PG-800 port on the back of the synthesizer.
The JX-10 and MKS-70's Factory Presets were created by Eric Persing and Dan DeSousa.
The JX-10 combines two completely separate 6-voice Tone Modules (A-Upper and B-Lower) which allow it to function as a single 12-voice synthesizer or as two 6-voice synths capable of layering or splitting two different Tones simultaneously. There are six playing modes:
Dual Mode - layers sounds from both Tone modules which can be balanced
Split Mode - allows for split-keyboard play of the Tone modules, upper and lower sections can overlap
Whole A - Upper Tone Module controls all 12 voices
Whole B - Lower Tone Module controls all 12 voices
Touch Voice Mode- adds velocity switching
Cross-Fade Mode - controlled by the amount of velocity, one tone fades in while the other tone fades out
The JX-10 has space for 64 patches in its internal memory, each of which can be composed with one (12-voice) or two tones (rendering the synth 6-voice polyphonic). These tones can be selected individually, combined together, or split. Of the 100 available tones, 50 of them can be edited and saved to memory; the other 50 are factory patches. The JX-10's memory can also be expanded by plugging in a M-16C, M-32C (very rare, originally only available on the Japanese market) or M-64C memory cartridge. If a cartridge is inserted, the JX-10's built in sketchbook sequencer can be used (it can only be used if a cartridge is present). The JX-10 / MKS-70 can also read and write tone data for the JX-8P this way (which in turn can only use the M-16C). The M-64C can store 64 patches and 100 tones; the M-16C can store 32 tones only (no patches).
The MIDI implementation on the JX-10 is somewhat faulty and lacks common features. Maybe most importantly it cannot send or receive Tone or Patches by MIDI SYSEX. The Roland MKS-70 (the rack version of the JX-10) does however send and receive tones and patches over SYSEX because it has newer/different software in ROM. If the software in the JX-10 is updated then it will support SYSEX and have other bugs corrected. Unfortunately, an update means soldering off the old ROM chip and soldering on the new one (they did not use flash RAM for OS in 1986) It can also be noted that the JX-10 outputs MIDI Control Change 123 (all notes off) instead of "normal" note off messages to its MIDI out every time a key is released (apparently the JX-8P does this is well). This can be filtered out or ignored by editing CC 123 in the sequencer if it should create any problems; normally it does not.
The JX-10 also has a 2U rack-mounted counterpart called the MKS-70. It is basically the same as the JX-10, except that the MKS-70's tones can be edited through MIDI; this is not possible on the JX-10 due to its incomplete SysEx implementation, but this can be solved by updating the JX-10's operating system.
- Lyle Mays- Can be heard on the Pat Metheny Group albums Still life talking, Letter from Home, The road to you, We live here, Imaginary day, Speaking of now and The Way Up. Also used on his solo album Street dreams as well as the Pat Metheny album Secret Story. The "Mays Pad" patch is called after him and based on his Prophet 5/Oberheim 4 voice signature lead sound.
- Vince Clarke- Can be heard on the Circus, The Innocents and Wild! albums.
- The K2 Plan (Shekhar Raj Dhain) - Used on Arkpan Mart E.P. and In Perfekter Bedingung E.P. Also uses on a lot of scoring work.
- Pink Floyd - On Momentary Lapse of Reason
- Duran Duran - On Notorious
- The Cure ( e.g. synth brass on "Why Can't I be You?" )
- Tim Simenon on Neneh Cherry's single "Buffalo Stance" - ascending hook riff
- Nik Kershaw - On Radio Musicola and The Works
- Angelo Badalamenti On the soundtracks of "Twin Peaks"
- Countless newer artists in synth-using genres like house/dance/trance/techno/electronica etc.
- Journey- On Raised On Radio
- André Sachs on the soundtracks "Jogo da Velha", "O Crime da Gávea", and the CD Fruto Maduro (With Paulo Moura and "Animaltopea")