New UVX-3P Inspired By The Roland JX-3P Synthesizer


UVI has introduced UVX-3P, a new software instrument inspired by the Roland JX-3P synthesizer.

Here are the details:

Here’s what they have to say about UVX-3P:

In 1983, Roland introduced one of the first affordable analog synths, the JX-3P. The JX-3P signaled a shift away from control dense synths like the JUNO and JUPITER series for a less intimidating, more entry-level aesthetic aimed at players who wanted the Roland sound without being distracted by a slew of controls.

UVX-3P was developed with the same care and thoroughness as our other Vintage series instruments. A JX-3P was fully restored to factory spec, programmed by members of our sound design team and deeply multi-sampled, capturing samples both dry and with the built-in analog chorus enabled. Great care was taken to capture a wide range of the sonic capabilities of this synth, giving you 160+ presets in all.


With the free UVI Workstation 2.0.9 (required version), UVX-3P can work:

  • as a stand-alone instrument, compatible with Mac & PC
  • as a VST, AudioUnit, RTAS and MAS plug-in.

UVI UVX-3P is priced at US $99, with a $79 introductory price. iLock key required. A demo version is available.

27 thoughts on “New UVX-3P Inspired By The Roland JX-3P Synthesizer

  1. The minute I see “iLok” listed, I auto-reject anything the demands one. Keeping all of this rolling is hard enough without an added hair-puller like that. NO SALE.

    1. VST/AU > RE

      The only reason RE exists is because Propellerhead would not allow standard plugin types to work with their system. I actually was very surprised they made a plugin system for Reason over 10 years after its first release, I thought Propellerhead did not wanted any plugins at all.

      1. I disagree that AU/VST are better than REs. I use both, and while VST and AU offer a much wider choice of plugins they’re nowhere near as connectable as REs.

        Then there’s stability, which can be an issue for AUs and VSTs, and the lack of native undo and redo integration. REs run exactly like normal reason devices, and are sandboxed so that if they crash they don’t bring Reason to its knees.

        1. To me, buying an RE is like buying an expensive guitar pedal which works only with Fender guitars.

          I guess its ok for the people who will never use another DAW than Reason for their entire life, but for the rest of the world, universal is better.

  2. Agreed and agreed…I hate these stupid renderings and these days I REALLY dont care unless its an RE…stability rules. My work around for only having to worry about the Reason key is having a second laptop sync’d running Cubase SX3 (which I do own), but I use a cracked version now so I dont have anymore stupid usb keys (which Im sure Steinberg loves, but fuck em’ for using up my ports). As soon as I find a decent condition RM1X then that second lappy is going out the window!

    1. You really need people to tag 3d stuff for you? … Just because a baby can’t chew meat it doesn’t mean we should put a “danger” label on it.

      As far as I understand it, this is Synthtopia, not HardwareSynthtopia.

      Do you also write this kind of comment over every vst and ipad synth? Just wondering, because there was a lot of news about soft synths in the past 10 years.

  3. Wow. According to this crew, Arturia and Native Instruments should have gone out of business already. Of course, they do have the option of software key control, but those using multiple computers (at least one at home and one on the road) would need to use a fob. Which major software synth companies are not using DRM and surviving? Which software synth developers not using DRM are better than minor indies? I think, none and none are the answers. And the state of things today, when someone can openly admit to using cracked software without fear of repercussion. Maybe he thinks anonymity on sites like this is guaranteed. Anyway, it’s nice to see someone else wanting to make even more old machines accessible, even if it is S&S rather than modeled synthesis like the Arturias and Korg Legacies. And, yes, one can buy a JX-3P cheap like I did, but you usually end up with at least hours of cleaning if not days or weeks of refurbishing.

    1. Uhh, Native Instruments doesn’t use dongles…if you actually had a legit copy of Komplete you would know this…so who’s the pirate again?

  4. I bought a Roland Super JX10 (That is 2 JX 8P’S in one) for $300.00 in good condition, don’t think I will be tempted to buy this softy especially with it requiring an iLok key…..nnnnooooooooooo! no!

  5. To everyone moaning about the iLok requirement, they’re hardly an issue. Keep it on a lanyard, and if you use a desktop just plug it into a USB header inside the case and forget about it.

    Copy protection is a pain, but if it stops the crackers (as it often does) then all the better.

    1. “but if it stops the crackers (as it often does)”

      Yeah “if” it would maybe it would be useful, but that’s not what’s happening.

      Can you name one ilok protected software that wasn’t cracked?

      1. What usually happens is that the cracks are so buggy that most people give up, or don’t use it on a regular basis. Dongles do work – Reason 6 hasn’t been cracked and it’s been out a long time now. Ditto for Cubase 6 and 7

        1. One more thing, ask yourself why the only industry out there that uses dongles or iLoks is the soft synth industry. No other big software industry resorts to dongles, not the big graphic companies not Microsoft not Apple, not Adobe, not any of the DAW software………the only industry that uses dongles is the soft synth companies……why? It is an antiquated system.

          1. Quite frankly that’s not true and it’s not an antiquated system, it merely doesn’t support the scale of markets like Adobe CS, Windows etc., but it works just fine for smaller industries and industry segments—within the graphic industry even they are present in subsets like 3d and signage (see VRay, UVLayout, FlexiSign), these segments are small enough to support using hardware locks. Additionally the industries you mention don’t have anywhere near the developer diversity that exists in pro audio. What are your options to Adobe? Corel? Quark? Please. With pro audio you have an ocean of options. The relative slice-of-the-pie that developers get is not comparable. When DRM means your business succeeds or fails, you consider it in a different light.

            There are benefits to a hardware lock system as well, and no one ever seems to note those. For example last time my I replaced a system I had to contact near a dozen companies to get them to issue me new authorizations. It took about 4 business days to completely resolve that process—that’s not insignificant and the problem only gets worse with scale. However with iLok, I just moved it. Done. What happens when those dozen business aren’t around anymore? How long will my Bias licenses continue to authorize? The cost of an iLok is nothing compared to the investment I have in licenses. I’m not saying it’s perfect, but it’s no where near as broken a system as it’s painted by the majority and it has many merits compared to system ID methods.

    2. The iLok system is an outdated system, there are so many companies now not using it.
      U-He, D16 ……etc. The reason you go with software is so that it is easy and mobile…..nothing worse than have to keep account of your iLok licenses and or the ever outdated dongles. There is no reason anymore to have dongles or iLok. Not to mention buying a new computer and having to get you dongles in order WHAT A BUNCH OF BULLSHIT. Dongles and iLOk ……..Barbaric and outdated!

    3. There are better systems than dongles and iLok.
      U-He and D16 which by the way are the best sounding soft synths out there today use the registration number, your account with them, with internet connection for reading your computer id, now that is how ya do it. No fucking dongles or iLok!!!!!

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