Two-layer JX architecture (stack / split / independent)
The Roland MKS-70 “Super JX” is a rack-mount synthesizer from the mid-1980s JX line. Conceptually it is closely related to the JX-10 keyboard, and is often described as a two-layer design: two complete tone layers that can be stacked, split, or addressed separately.
The instrument is best known for its combination of stable DCO-based oscillators, an analogue filter stage, and a workflow that becomes far more practical when paired with an external programmer. In use, the MKS-70 tends to be associated with layered pads, strings, evolving textures, and “glossy” analogue tones that sit well in dense arrangements.
A core feature of the MKS-70 is the ability to build sounds as a combination of two layers. Stacking the two layers increases weight and density, while splits and independent layer control support more “performance” style setups. Modulation options vary by patch and programming approach, but in general the two-layer design allows movement and variation that can be harder to achieve on single-layer architectures.
The MKS-70 was released as a rack version of Roland’s Super JX concept, arriving after earlier JX models such as the JX-3P and JX-8P. The general design goal was to combine the stability and repeatability of digitally-controlled oscillators with analogue signal shaping, patch memory, and MIDI-era integration. In studios, it was commonly used as a multi-purpose polyphonic layer machine rather than as an “aggressive” lead synth.
The MKS-70 sits at the top end of the JX “Super JX” line. It is most often discussed in relation to the JX-10 and JX-8P, since the overall sound and programming concepts are closely related.
The MKS-70 is sometimes compared with other mid-1980s “hybrid workflow” synths: digitally-managed architectures with analogue filtering and strong patch recall. While the details differ between instruments, the comparison is usually about role (pads, textures, stable tuning, studio integration) rather than exact tone.
The MKS-70 is often valued for its layered architecture, stable tuning behaviour, and its ability to produce large, mix-friendly polyphonic textures. It is less about “maximum aggression” and more about reliable, repeatable analogue-flavoured layers that can be built into arrangements without constant retuning or complex patch management.