I've seen Jay's video and David Stone's set. Both are great. They're both worth looking into. Jay's has a lot of work on helping you develop your own routines and the routines that are there are designed for informal work, but work great in a walk around set. There are no special coins needed and the material, either. The David Stone set is filled with good, commercial coin routines. I go back to that set pretty often when I'm looking for new routines to work on. Either would be great.
Ben Salinas' Modern Coin Magic set is pretty good. Salinas himself is a little goofy, though, and I don't mean that in a Sankey way. He just comes off as a guy that's trying really hard to make people like him, instead of being natural. Other than that, there is some good material on the set. In fact, if you're not interested in getting a book like Bobo's right now, you should pick up this set and start going through it. After a bit, pick up the book and start going through it side by side with the video. That's how I recommend people work with Royal Road and Erdnase as well, now that good video sets have come out on all of them.
I haven't seen Eric Jones' Metal yet, but I'm sure it's packed with good material.
The Roth set is still extremely valuable, I just don't see it as the "be all, end all" set. After you've got a little knowledge under your belt, adjusting those effects isn't too difficult and is worth the effort.
My personal advice on coin magic is to first know that it's much harder than it originally comes off. Anyone can hold a coin in their hand secretly or do a French Drop. The difference between a magician and some shmuck doing really bad coin tricks is much different than it is with cards, which is why so many magicians stick to cards and don't start working on coins for years. Erdnase's classic lesson of "detect, let alone suspect" come in more so here than with cards. Coin magic is thought of in many circles and even in the classic books, as very rigid and tight. In 2010, natural is the key. If you're rigid and intense now, you're going to get caught. When you're getting started, even before you pick up a coin, stand in front of a mirror and just move naturally. Let your arms hang by their side, turn from side to side, pick a small object up and display it for others to see, transfer that same object into the other hand. Observe how you move. No one else moves exactly the same way you do. For that reason, no one will be able to teach you natural coin magic as well as you're own experimentation with other people's ideas. You also need to know that you should be using the lightest grip possible in any palm. If I'm Classic Palming a coin and someone taps the back of my hand, that coin won't stay there. It shouldn't. If I'm squeezing hard enough to hold that coin after a surprise "attack", I'm only fooling myself. The hand would be too cramped. Instead, loose, open and natural is the way to go. By using only the required pressure my hands are going to look much relaxed and I'm going to be able to adjust without having to contract the muscles as far, which is where most people get caught. Also, as with cards, subtlety is better than technique. If you have the option between Ramsay Subtlety and a natural gesture or an overly "movey" hand washing sequence, why would you go with moves? If the hand is empty, you're not going to show it by quickly rubbing the hands together in an odd way, you're just going to let them drop and swing or use them to point to something. That's a little of my theory on coin magic.