And so it happened that I found myself with a Roland JX-10, or Super JX as they’re also known. Roland wasn’t kidding around with this thing. It’s basically two JX-8P’s lashed together inside a case so big it puts some aircraft carriers to shame. It has a 76-note velocity-sensitive keyboard with aftertouch, a pitch bender with LFO modulation control, and more buttons than a closet full of dress shirts. Like many mid-80s synths, the Super JX foregoes sliders and pots and forces the user to make do with the aforementioned buttons, as well as an alpha dial, which is oddly slow to react for some parameters. But you don’t buy a synth for its buttons, you buy it for the sound, and in this case the Super JX is really something special. Like I said, it’s two JX-8P’s in one machine, which means you can double up the sounds and create full, rich, layered sounds with up to 12 voices of polyphony. You can also split the keyboard if you like. It was Roland’s flagship synth at the ti...