SMC Networks SH-32 Electronic Keyboard User Manual
Contents
1. The filter can be set to one of the following settings low pass band pass high pass peaking and OFF You can switch between 24 dB oct for a tight sound and 12 dB oct for a smooth sound A Key Follow function is also provided which changes the cutoff frequency in accordance with the key pressed on the keyboard 3 Amp Section The amp section contains an ADSR type envelope generator Using the Key Follow function you can change the time that follows the decay time for each pitch range The On and Off buttons for the ten types of reverb and delay which can be used as loop effects are located here The Level button located on the right side of the front panel can be used to control the volume of patches rhythm sets and performances 4 LFO Section There are two independent LFO sections and you can choose among seven waveforms including random Several parameters are available such as Fade In which allows you to set the time it takes to reach the maximum LFO amplitude and Key Sync which causes the LFO phase to start each time a key is struck The LFO rate can be automatically synchronized to BPM tap input is also possible As with the oscillators simultaneous editing is possible by pressing the LFO1 and LFO2 buttons together 9 D 9 X 8 R REALTIME STEP f MIDICH MIDI THRU BULK DUMP EY i i CREATE STYLE 919 30 9 INTENSITY INS FX This area is used to turn on and off one of the SH 32 s 35 insert2. selection buttons when using performance mode with the Tap button CHORD MEMORY Press this button to turn on the Chord Memory function Use the following procedure to register original chord forms Press Chord button and make it flash gt Press Value button to select a chord form to be overwritten gt Press Write button Preview function activates and sound is played Press Hold button to stop sound Press virtual keyboard button to specify sound Press Write button Press once more to save 2222222272727 usur m P store 3 PREVIEW OCT OCT 19 8 MANUAL BANK CHORD S AUNISON EN RANGE GRID STYLE ON 2 B 4 D 7 8 R LOCAL REMOTE FOOTSW mor CH MIDITHRU BULK DUMP 4 CREATE STYLE 7 Zoscx4rarts Roland Section Exploring the SH 32 inspired Notable arpeggio styles include those in cutting edge dance music as well as trance riffs Rhythm styles include not only the standard house and techno patterns but R amp B drum n bass 2 step and even reggae There are many parameters you can choose from When playing preset patterns you can change the beat or swing Grid adjustment change staccato and tenuto Duration adjustment change the pitch range Range or change the ascending descending variation Motif Note in particular the great number of Motif variations provided Aside from the simple low to high and high to low the ten types available include UP H in which
3. and TR 606 707 626 waveforms are also included plus a healthy dose of synth percussion instruments like LoFi Bongo 909 Dist Kick Jungle Kick and Reggae Rim Now listen to Power Beat and HipHop Beat Tracks 8 and 9 These will give you a glimpse of what is possible when these sounds are layered and arpeggiated Multimode filter with smooth analog feel The filter is probably one of the most important facets of synthesizer sound creation The SH 32 has four filter types low pass band pass high pass and peaking there is also an OFF setting The peaking filter strongly emphasizes harmonics in the frequency range set with the cutoff By periodically changing the cutoff frequency you can achieve a powerful wah effect For filter slopes you can switch between 12 dB oct which is smooth sounding and suitable for pads and 24 dB oct which is tight and powerfully resonating Sound transitions are also very natural The response when using filter envelopes and the Key Follow function is true to the analog tradition You will no doubt feel just how smoothly and easily sounds change when following the direction specified by the knobs and sliders The SH 32 provides a wide setting range for cutoff frequencies and resonance width Whether it s a synth bass with a strongly boosted bottom range or a hard techno sequence you ll get a response that s both aggressive and accurate To make the SH 32 s filter scream just crank up the re
4. be done with an external MIDI clock by setting system parameters Another convenience is the Beat Cycle function which lets you set four beats of the set BPM to one LFO phase Furthermore being able to select among 8 4 2 1 1 2 1 3 and 1 4 in other words from 2 measures up to 16th notes opens up a world of inspiring musical possibilities 4 Effects from mild to extreme The SH 32 is loaded with killer effects capable of transforming your sounds even further These effects can be broadly classified into two groups insertion effects and reverb delay With so many effects you don t need any outboard gear to create finished sounding patches on the SH 32 The SH 32 s two effects sections can be connected serially for connecting delay after distortion for example or connected in parallel Parallel connection is useful when you want to set the send level individually for each part of a performance or for each tone in a rhythm set Separate reverb and delay are also included in the insertion effects to broaden your toolbox This allows you to use reverb and delay at the same time or use the two types of delay long and short if needed EFFECTS SECTION 4 Select effect parameters with the knob and set values with the Value buttons L R SHIFT Use the button to turn INS FX on off Adjustments can be made with the Intensity SYNC LONG DELAY LONG Many unique effects are also built into the S
5. be found in the built in rhythm sets The SH 32 contains four kits two preset and two user with waveforms taken from Roland s classic TR 808 and 909 Rhythm Composers We re sure you ll notice how rich the bass presence is in not only the kick drum but even in the toms Oscillator Let s take a closer look at Wave Acceleration Synthesis by investigating the waveforms contained in the oscillator section For those who don t know oscillators are what determine the basic characteristic of asound The SH 32 includes seven basic waveforms saw square pulse PWM triangle sine Spectrum and Noise These also include variations capable of producing a variety of sound characteristics Figure 2 translating into over 67 waveforms total And each waveform has that fat analog feel so you ll never experience the dull lifeless sounds that result when sampling an analog synthesizer You will notice this even with the PWM and Noise waveforms But don t take our word for it let your own ears be the judge gt The SH 32 User Interface W noise WAVE CME A S m MELI SPECTRUM rii gt 4 1 H OCTAVE suBosc VARIATION LOT LPF HPF OFF E L LSUBSONIC PKG PWM PITCH LFO 2 COARSE FINE A FADE DESTINATION FORM 4 OSC 1 FILTER PAN 3 S OSC 2 GER NN AMA RND Y N 5 F1 1 dnm UMMA OWN T 000000000 i S 09 0 MANUAL BA
6. effects and to make settings for the particular effect selected 6 Output Level Adjust the level of the main out and headphone out jacks here 7 FX SYSTEM Adjust the insertion effect and reverb delay parameters When set to the System position you can set the SH 32 s overall system parameters selected from buttons at the bottom of the front panel 8 MIDI Setting Knob Select parameters to be set when controlling the SH 32 with information transmitted from external MIDI devices 9 Button Group 1 and Data Entry In addition to Analog Feel which adds a slight wavering of pitch to produce an analog synth like sound these buttons are for setting portamento legato level and pan and for switching between patch performance and entering data The Exit and Level Pan buttons when pressed together play a demo song 10 Button Group 2 The buttons at the bottom of the front panel have a variety of functions The basic functions are patch number selection part selection calling up chord memory and system parameters setting the arpeggiator and programming Also turning on the Preview button activates a virtual keyboard which consists of self illuminating buttons lit orange octave shifting is possible You can use the virtual keyboard to perform and verify sounds without using an external MIDI keyboard You can also play sounds continuously by turning on the Hold button Section What is the SH 32 P Of particular n
7. of the SH 32 As for the main sound wanted to introduce the SH 32 s great rhythm sets so used lots and lots of TR 909 sounds making them a central fixture of the piece For synth sounds relied on preset patches and edited them over and over For me that was the fun part of using the SH 32 made liberal use of features such as the ring modulation and pan effects the auto arpeggiator and chord memory otarting from the top in order somehow thought up the intro chord when playing the keyboard after creating this sound Also the low pitched The SH 32 is complete with all the MIDI parameters you need Local MIDI channel and clock settings etc can be made after turning the effects setting knob to the SYSTEM position Simply call up parameters using the corresponding buttons and change the settings with the Value buttons You can freely set control channels for patch and performance modes The arpeggiator and LFOs can be synchronized with an external MIDI clock and SH 32 settings can be transferred to an external sequencer as system exclusive messages A dedicated knob is provided for parameters such as aftertouch and velocity Select the parameter with the knob and enter the value with the Value buttons Flexible control is provided For example you can use modulation messages to change the oscillator pitch filter cutoff and LFO pitch fluctuation applied to the amp level and use the pitch bend after touch and veloci
8. through a hierarchical interface Thirteen buttons at the bottom of the front panel function as a virtual single octave keyboard when the Preview button is pressed This feature allows you to verify sounds and play performances without having to connect a MIDI keyboard Wave Acceleration Synthesis Let s explore some of the actual sounds while examining some features There are two basic ways that sounds can be saved on the SH 32 One is called Patch mode and the other is Performance mode in which up to four patches including rhythm sets can be overlapped and played at the same time You can use either mode depending on your needs Let s explore Patch mode first Listen to some of the preset sounds using the virtual keyboard on the front panel You will probably notice how fat and powerful the notes sound You might be wondering how this is possible When designing the SH 32 Roland developed a proprietary sound generating system called Wave Acceleration Synthesis Wave Acceleration is a new way to generate sound that was developed by studying famous vintage synthesizers and analog modeling synths The results were then quantified so that Roland could put the best of these qualities into the SH 32 Words like fat distinct and cutting all come to mind when playing the presets And these sounds are designed to fit in any mix no need for extensive EQ and outboard effects This punchy sound can also
9. up to two measures in length This function makes the SH 32 very useful for dance music production where tempo based effects are frequently used Aside from these basic features the SH 32 includes 35 insertion effects like distortion and phaser ten types of reverb and delay loop effects a user programmable arpeggiator plus a Chord Memory function for creating chords from a single note Description M nose WAVE Often used creating characteristic synthesizer sounds Variation 12 is constructed from multiple OC IS TL Til SPECTRUM detuned sawtooth waves layered together Square Wave AA TLI W Noise PR 10 1 10 Often used in creating characteristic synthesizer sounds The subtle differences in waveforms that a spectrum variety of popular classic synthesizers had can be expressed through switching variations Pulse Wave WAVE The Pulse group contains nine pulse wave variations you can switch through with duty cycles ranging eve ve di 9 1 9 M SPECTRUM from 5 to 45 set in multiples of 5 Tu noise WAVE With this waveform you can have the pulse width of a square wave change periodically Use this when WP 1 EL PLI ML SPECTRUM you want to create subtle changes in the tone Triangle Wave Sine Wave PZDR 5 1 5 This tone includes few harmonics and no unusual characteristics subtle differences waveforms NN CAMON that a variety of popular classic
10. while leaving the resonance fixed Like the oscillators the SH 32 s filter was designed with analog feel 5o while there is no analog circuitry inside you still get that sharp analog edge and easy knob and slider based control Be sure to check out the Envelope Depth slider the method for changing the emphasis of the ADSR envelope on the filter cutoff Many musicians place a high value on analog synthesizers because it s easy to edit sounds The SH 32 fits right into that analog niche by successfully re creating the sound and feel of these classic instruments Figure 2 Waveform List Waveform Group Number of Variations Sawtooth Wave LFO Equipped beneath the oscillators and filters is the LFO section Short for Low Frequency Oscillator LFOs are used to introduce variation to a sound such as vibrato The two main elements of the LFO section Depth and Rate can be precisely controlled by knobs In addition to the LFO 1 and LFO 2 Select buttons you can select among five destinations OSC1 and OSC2 for obtaining vibrato Filter for obtaining a wah effect Amp for obtaining tremolo and Pan for obtaining an auto pan effect There are also seven LFO waveforms including random The BPM Sync feature is also unique and convenient This allows you to synchronize the LFO rate with the BPM tempo can be input using the Tap function or with the Value buttons You can select among seven settings 16th notes triplets and 8th notes
11. Arpeggio Arpeggio Original Demo Song SH 32 Internal demo song SH 32 Internal demo song SH 32 Internal demo song Bass 1 Bass 2 SyncLead 1 Comp F Lead Slicer 1 Ring Bell Noise Pad Power Beat HipHop Beat 1 Step Flanger Ring Modulator Form 17 6 Style 16 a Style 52 a Natal Dance WATUSI COLDFEET 2001 warusi TRAVELER WALL5 2001 Roland Corporation SPANK SHIBUICHI ABE from 2001 Roland Corporation CompFusion Ken Suzuki 2001 Roland corporation All musical material on this disc is intended for demonstration purpose only Visit us online at www roland co jp All specifications and appearances are subject to change Q E All trademarks used in this catalog are the property of their respective companies WE DESIGN THE FUTURE Printed in Japan Apr 2002 RAM 3471 HL ISI SE 3
12. ET 32 Slicer for example is a stereo effect that automatically and continually cuts the sound A second Slicer type is also provided which cuts to the BPM of your song using 16th or dotted 8th notes This effect is useful when for example you want to change a filter pad to a rhythmic cutting pattern Distortion 1 and 2 are perfect distortion effects for modern musical use For some truly distinctive effects try selecting among the record noise types LP EP SP and rnd for the LoFi Noise effect The SH 32 s phaser which offers a natural phase feeling captures the true feel of this classic effect without sounding digital For modulation effects check out the step flanger Track 10 and ring modulator Track 11 Analog Feel for true vintage sounds Another one of the SH 32 s unique features is Analog Feel This function is designed to add instability to a sound s pitch just like analog synths of the past The amount can be set anywhere between 0 127 with a higher value producing more instability Even though the effect is analog in nature the pitch is still being controlled digitally Imagine how useful this effect would be when playing a lead sound with lots of portamento And unlike analog synthesizers pitch instability can be controlled Experiment with this function to get the best results Chord memory function for composing and performing Let s divea little deeper now and take a look at the SH 32 s Chord Memory functio
13. NK 5010 UNISON PORTAMENTO MELE LLU lt 9 L MONO OUTPUT R PHONES E INS FX OUTPUT 6 KEY TYPE SLOPE REV DELAY FOLLOW LOR amy LEVEL 1 a 7 24 i ENV KEY R DEPTH FOLLOW Pa os LEGATO LEVEL BPM INS REV PORTA syne CYCLE SYNC SERIES wRITE PATCH EXIT o 8 2 1 2 1 4 xc S L 7 EXEC PERFORM Fe pany 9 1 0 REST TOTOP BACK v VALUE A 1 2 8 3 C LOCAL REMOTE FOOTSW CLOCK OSC 1 Loe FILTER AMP 2 4 OSC 2 ew Roland 1 Oscillator Section The SH 32 includes two independent oscillators The basic waveforms are saw square pulse PWM triangle sine Spectrum and Noise Each waveform also includes several variations except for PWM so be sure to check them out when auditioning the SH 32 Pitch can be varied in octaves Octave button in semitones over two octaves with the Pitch Coarse slider and over 50 cents using the Pitch Fine slider Also the sub oscillator SUB OSC which is used for adding a sub octave element contains a Subsonic mode for adding a special frequency component for ultra thick bass sounds There is also an Oscillator Sync function a ring modulator and a pitch envelope which changes the pitch of a sound over time By pressing the OSC1 and OSC2 buttons at the same time both become the editing target which makes it easy to apply the same settings to both 2 Filter Section
14. a gila ariliHEadiGEn SUBE BUUR IN MIDI OUT FOOT SWITCH L MONO OUTPUT R PHONES RESONANCE f dB 24 lt gt ENV KEY R DEPTH FOLLOW S 12 Mult niis f 4 4 2 h 726 _ LEGATO LEVEL 50 50 A FADE KEY BEAT DESTINATION FORM IN SYNC CYCLE 7 OSC 1 FILTER PAN r e OMAN UM ud Y PATCH EXIT OSC 2 AMP 999 A di j NN RND M 1 2 1 4 9 Euh 2 A Oe No mE 1 3 eed Clee T ONLY MOTIF rPURATIN p store N PREVIEW OCT 499211 1198 MANUAL BANK CHORD 5010 UNISON PORTAMENTO GEUG GRID STYLE CONTROL 777 A E A 4 A JE 4 D 5 6 7 LOCAL REMOTE FOOTSW CLOCK MIDICH MIDITHRU BULK DUMP 313 Roland What is the SH 32 Section Welcome to the SH 32 Guide Book With this booklet and CD you can gain a better understanding of this powerful desktop synthesizer complete with audio examples This first section describes the SH 32 in general terms for those new to synthesizers Overview The SH 32 s front panel is designed for easy editing There are 17 sliders that control envelopes etc four large knobs that control filter etc four smaller knobs for selecting effects etc 49 self illuminating buttons six buttons and a 3 digit LED di
15. gether with either the Value A or VALUE W button You can set the tempo MIDI SYSTEM PARAMETER Turning the effect settings knob Tem end SYSTEM accesses parameters that apply to the entire system Select the parameters using the Fare buttons located above the Roland ms iae logo and set them with the Value buttons Preview s E ENG button located above on the far left these out REG with the a LEGATO LEVEL Manual Bank Solo Unison and LARAI Portamento buttons will function as a virtual keyboard write PATCH EXIT e x EXE PERFORM PART A knob is available for controlling modulation parameters to make operation easy LFO destination bend WP gt velocity and aftertouch settings are possible swnmHesieen 81 Section Exploring the SH 32 Still the most outstanding feature of the SH 32 s arpeggiator is its ability to work with the Chord Memory function mentioned earlier If you are a trance techno fan you won t want to miss out on this feature just hit a note for instant trance riffs This arpeggiator of course also lets you create your own original styles You can program using either step recording or realtime recording Select the grid number and press the Write button to start the metronome with accented beats for guidance Then you can quickly begin note input using either the SH 32 virtual keyboard or an external MIDI keyboard Yo
16. histle like sound made from scratch using portamento with a full on analog feel The sounds of the SH 32 stirred my feelings because they contained a sort of inexactness that lent a slightly rough edged analog feel That is the quality picked up on and pursued when choosing parts to edit It is my hope that when you listen to my piece you will be able to feel this quality which differs from the so called PCM synth sound 30 Roland SYNTHESIZER GI i x e e du lal 8 ov moma awe 255 e ACI OR PSB 1U C N225 ADAPTOR ONLY SER NO NCE CAUSING EQUIPMENT REGULATIONS TES CLASS DIGITAL APPARATUS MEETS ALL REQUIREMENTS APPAREIL NUM RIQUE OF LA CLASSE B RESPECTE TOUTES LES EXIGENCES DU REGLEMENT SUR LE MATERIEL BROURLEUR DU CANADA d THIS DEVICE COMPUES WITH PART 15 OF THE FCC RULES OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS 1 THIS DEVICE MAY NOT CAUSE HARMFUL Roland Corporation INTERFERENCE AND 2 THIS DEVICE MUST ACCEPT ANY INTERFEREN CE RECEIVED IN CLUDING INTERFERENCE THAT MAY CAUSE UND ESIRED OPERATION MADE IN JAPAN EG CC 1 Track con C Aa N st c 0O NO Ci DP Patch C11 Patch C41 Patch C12 Patch D18 Patch C13 Patch C23 Patch C25 Performance 1 1 Performance 1 3 Effect Effect Chord Memory
17. n This function allows you to play by pressing a single key on the keyboard a harmony which was registered beforehand as a chord form For example if you register note C to be Cm7 you will get a Dm7 chord by pressing D and an Em7 chord by pressing E etc Track 12 This function was commonly found in synths of the early 80s However today with music such as Artcore in which sampled electric piano harmonies parallel the riff chord memory functions offer you a fascinating and creative new way to make music Insertion Effects STEREO EQ EZ FILTER ISOLATOR OR A O WAH OVERDRIVE DISTORTION 1 DISTORTION 2 STEREO COMPRESSOR STE T CHORUS SPACE D STEREO Y MODULATOR LOFI LOFI NOISE SLICER SLICER SYNC TREMOLO TREMOLO SYNC FBK MOD DEPTH AUTO PAN AUTO PAN SYNC 2 VOICE PITCH SHIFTER FEEDBACK PITCH SHIFTER STEREO DELAY STEREO DELAY SYNC LONG DELAY LONG DELAY SYNC RESONANCE DELAY REVERB GATED REVERB PS Rey MITER PHASER ROTARY HEXA CHORUS TREMOLO ANC ER STEP FLANGER STEP FLANGER SYNC RING Reverb Delay REVERB ROOM REVERB STAGE REVERB HALL STEREO DELAY STEREO DELAY DELAY SYNC PAN DELAY MODULATION DELAY STEREO knob CHORDS EEE HD GENS y 2 vA OZ GSEED wee p uP ERE To make life easy the SH 32 comes with 64 chord forms already built in You can come up with cool quick and dirty riffs right away by selecting chord forms and playing the keyboard at random When thinking up ideas for remixes user
18. ote are the 20 variations provided for the Spectrum waveform These waveforms are based on special harmonic overtones and formants that would be difficult to express on subtractive analog synthesizers But with the SH 32 you can turn them into gorgeous digital synth sounds or unique lead sounds difficult to produce on an analog synthesizer Adding to the effectiveness of the SH 32 s sound is the sub oscillator with a unique Subsonic mode for ultra thick bass sounds Just choose from one of three settings octave down Subsonic mode and off The result is deep booming bass that dance music producers crave And since the subsonic mode is more than a simple low range EQ boost you can achieve fantastic effects even when using prominent lead sounds and filter sweep pads Filter and Modulation This section explains the SH 32 s filter section The filter is what determines the timbre of a sound By adjusting the cutoff you can make a sound seem brighter or darker Add some resonance and you get that distinct electronic characteristic synthesizers are known for There are four filter types on the SH 32 low pass band pass high pass and peaking The slopes can be switched between 12dB and 24dB for truly sharp and penetrating edges peaking filter is particularly powerful keep an eye on the resonance to avoid blowing your speakers The SH 32 s filter is so responsive you can even produce wah wah like sounds by adjusting the cutoff
19. s will probably use this procedure a lot Preset chord forms include all the basic chords as well as sus4 half diminished 6 9 and those found on Artcore etc such as minor 9th and minor 11th Of course it is also possible to create and store your own original chord forms manually The procedure is extremely simple Press the Chord button and then play the chord you want to set with a connected MIDI keyboard or use the Preview function virtual keyboard on the SH 32 You can connect a foot switch and use it to change the chord form numbers the numbers saved to memory This is great for gigs and for polishing up musical ideas Programmable arpeggiator even more 4 powerful with chord memory Next we will introduce the arpeggiator As you know the function of an arpeggiator as a creative tool goes beyond its inherent purpose of simply splitting up and playing chords note by note It has many important roles including the production of materials for making phrases coming up with new song ideas making basic arrangements and creating new rhythm patterns The SH 32 s arpeggiator is powerful in many ways First of all it comes with 64 preset arpeggio styles and 64 rhythm styles that use the preset rhythm sets The patterns are as varied as they are ARPEGGIATOR Buttons used when using step input From left Tie Rest To Top returns next input grid to top and Back deletes last note input These buttons also function as part
20. sonance Even if you don t like to program sounds we strongly encourage you to experiment with the filters You ll like the results Wave Acceleration Synthesis Roland s Wave Acceleration Synthesis employs a proprietary accelerated generation technique for creating synthesizer waveforms This technique allows the oscillators in Roland s custom synthesis engine to yield more polyphony and waveshape variations when compared to conventional Analog Modeling methods The Wave Acceleration engine also includes highly optimized filters and other modifiers The result is an endless variety of amazingly expressive incredibly fat and punchy synthesizer sounds from ground shaking vintage synths to shifting exotic textures and more Section Exploring the SH 32 Two independent LFOs with BPM sync The LFO waveforms are triangle sine sawtooth square trapezoidal sample amp hold and random Convenient features are included such as simultaneous editing of both LFO1 and LFO2 by pressing both LFO1 and LFO2 switches at the same time and the ability to initialize either one by pressing either LFO1 or LFO2 together with the EXT Key A wide setting range is provided for setting the rate width and when the LFO fade in function is used transpositions are possible for dynamic musical changes Notable in the LFO section is the ability to synchronize the phase with a song s BPM In addition to setting by tapping synchro nization can
21. splay The rear panel contains all the basic connections stereo outputs MIDI In and Out a headphone output footswitch jack and power switch The SH 32 s compact portable design makes it perfect for desktop use or for use in a DJ booth while its retro styled interface lets you tweak and program sounds with ease The SH 32 contains the following e 2 oscillators a filter amp and two LFOs per sound While being fully digital on the inside you have the ability using knobs and sliders to create sounds using an analog style interface 67 oscillator waveforms and 4 rhythm sets Handles layering and multitimbral sound creation with 32 voice polyphony and 4 part multitimbral operation e 2 independent effects processors 10 types of reverb delay and 35 insertion effects e Built in programmable arpeggiator with chord memory function Figure 1 SH 32 Block Diagram OSC 1 PSUB OSC e EY l ETAN PART 1 TO ARPEGGIATOR PART 4 RHYTHM 1 7777 self illuminating buttons mentioned above are what make it possible to fit so many features in such a functional compact box These buttons include those for sound editing with which the current status is shown using three types or stages of indication off illuminating and flashing This allows you to edit intuitively from the front panel without having to navigate back and forth
22. synthesizers had can be expressed through switching variations MU DE You can select waveforms that are difficult to achieve with general analog synthesizers such as voice SPECTRUM ceo 20 1 20 is ris dp m type waveforms and other waveforms with special harmonic structures and waves with formants WAVE Select from different noise types including white noise pink noise and noise for which the pitch can be eve o ill 10 1 10 LI ML SPECTRUM changed with the keyboard Section Exploring the SH 32 This section goes into detail on how to get the most out of the SH 32 We recommend that you listen to the attached audio CD while reading this section High quality waveforms for unlimited 01207 sound creation Let s take a look at the basic waveforms The SH 32 contains seven waveform groups saw square pulse PWM triangle sine Spectrum and Noise Each of these has variation waveforms for a total of 67 oscillator waveforms These waveforms include those found on traditional analog synthesizers plus all new waveforms for creating sounds never heard before To begin let s audition some typical preset patches Let s start with C11 Bass which uses a basic sawtooth waveform This demonstrates the fat and powerful SH 32 character Track 01 The preset Bass2 also demonstrates this quality Track 02 To check out the Oscillator Sync function select patch C12 Sync Lead 1 Track 03 And for leads pa
23. tch D18 Comp F Lead has a powerful presence Track 04 Next listen to patch C13 Slicer 1 which uses the Slicer Sync effect to achieve a changing rhythmic effect Track 05 You will see that all sorts of characteristic synthesizer sounds can be produced by a single SH 32 when you listen to C23 Ring Bell Track 06 which uses Spectrum and C25 Noise Pad Track 07 which uses Noise When listening to these preset patches you should notice the high quality of the SH 32 s waveforms To demonstrate this further choose any of the Square waveform variations and turn on the sub oscillator with Subsonic function This alone brings out the warm atmosphere of an analog synthesizer The amount of PWM applied is also similar to an analog synthesizer The Spectrum waveform on the other hand produces sounds characteristic of digital synthesizers Having access to both of these qualities in the same box is part of what makes the SH 32 so fascinating KAk Onboard rhythm sets with complete 09 09 editing capabilities The SH 32 has four rhythm sets two preset and two user As stated earlier these sets feature rich bass qualities but the large number of waveforms contained should also be noted For starters there s a full sampling of sounds taken from the TR 808 and TR 909 Rhythm Composers Accurate to the last detail these sounds can be morphed into entirely new sounds by varying the pitch filters envelopes and effects The classic CR 78
24. the arpeggiator plays in order from the lowest key pressed while both the lowest and the highest notes are played each time and rn L in which the keys pressed are played at random while the lowest note pressed is played each time These fun variations alone are likely to keep you busy for quite a while Now let s take a look at the setting variations for Duration Normally the level of staccato is set using a numerical parameter On the SH 32 you can optionally perform this setting by controlling filters on the arpeggiator with and With the note number values generated by the keys pressed are replaced with the filter cutoff setting and the sound changes Track 13 With Ft2 the filter cutoff setting changes with the note number played when the arpeggiator style is being created regardless of which key is pressed during the performance Because of this a fixed pattern step change is obtained that is similar to step modulator Arpeggio style 52a is also worth checking out Track 14 as it lets you play in an ethnic style These are the main parameters he four buttons are from the left Range octave range Grid beat and shuffle and lt arpeggio When the buttons are flashing lt they from the left Motif ascending or descending variations Duration staccato and tenuto and Store Select between step and realtime input by pressing the Arpeggio On button to
25. ty messages to make fine changes to the sound By connecting a dual foot switch you can control the on off status of insertion effects and reverb delay and navigate up and down through the chord memory and arpeggio style numbers We hope this booklet and CD have given you a better idea of the power that lies within the SH 32 Synthesizer but the best way to experience this tabletop beast is to play one for yourself So go ahead and check one out at your local Roland dealer today sine wave like sound was edited from a 909 tom The sound you can hear on the right channel had its pitch tweaked in real time Now following the development the percussive filter like sound you hear was recorded after going nuts tapping a rhythm patch and then switching the filter type using a note number followed by tweaking to death the basic cutoff and resonance The flashy arpeggio like phrase is patch D57 with some fine tuning The descending and ascending arpeggio like sound is preset pattern 44a After using it to create a phrase using the chord memory a filter in the LFO section was used to produce the squirmy feeling Further developed parts employed typical motifs using the chord memory along with pads and a metal kalimba The part which returns you to the intro pattern was created exclusively using the arpeggiator The rhythm styles that spin out are a parade of preset patterns 76 83 84 87 and 88 They are all blurred 6 beat patterns The final w
26. u can input not only arpeggios but conveniently input original rhythm styles as well To make even more advanced arpeggios simply connect an external MIDI sequencer and load the phrase data The SH 32 can load a note s pitch duration and velocity for some highly expressive arpeggios Once you ve created an apreggio style you like simply store it for instant recall later Increase the flexibility of the SH 32 by combining it with an external MIDI device The SH 32 comes with a set of MIDI In and Out ports a soft Thru is available so sound modules can be connected serially ORIGINALDEMO SONG Natal Dance 5 Composer s Notes by WATUSI COLDFEET Going with my impression of the SH 32 being a modern representation of the good qualities of the 80s and 90s music scene my overall approach in composing this piece was while applying the qualities of New Wave to try to create a chilling feel with a tribal pattern The truth is being stimulated by the sounds of this box ended up proceeding on a whim going from idea to idea My tools were an SH 32 combined with Digital Performer thoroughly edited sounds that felt needed attention Those sounds led to phrases which entered as MIDI data and then recorded one by one to hard disk From there worked on the overall composition This was my workflow kept my use of plug in effects to just partial use of an equalizer and compressor Mainly used the onboard effects
Download Pdf Manuals
Related Search