File: Updated December 15, 1997, HTML corrected April 20, 2001, placed on new web host June 1, 2002
Data: Revision 17, Compilation 0.960618    Date: June 18, 1996
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DISCLAIMER: Not connected with, authorized or sponsored by Roland Corporation.


This FAQ is a collection of information, specs and commentary on Roland musical gear.

Where to find the current document:


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Edited and published by Thomas Honles, who can be reached by e-mail on:

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A. Publication Data

B. Table of Contents TOC  <--- wherever this is you can return with a click.

Equipment Specs, Descriptions and Comments



- Guitar and Bass Guitar "Controllers"

- Guitar and Bass Guitar Synthesizers


- Polyphonic Synthesizers

- Monophonic Synthesizers

- Sequencer/Programming Units, MIDI controllers




Q. How do I contact Roland Corporation?
Q. What is the "Roland GS" standard?
Q. What drum sounds are available in Roland MIDI equipment?
Q. What drum sounds are available in the "Standard" General MIDI kit?
Q. What is Roland's SysEx Data ID and what is SysEx?
Q. Can the RAP-10 [soundcard] record a .WAV from a .MID file?
Q. Why is this FAQ published? "About the Roland FAQ"

More Info (Appendices):
- How to submit corrections & additions to this document.
- Credits
- Disclaimer







Analog and Digital effects processors, BOSS or Roland.

(-) [1.01] DEP-5 Digital Effects Processor MIDI in/out, Rackmount

The DEP-5 is a versatile effect unit that features non-linear Reverb (Gate Reverb) and Delay effects as well as Reverb and Chorus. Using the Algorithm function, these effects can be combined creating subtle effects. Up to 99 different effect settings "patches" can be written into memory and selected by number. Each effect passes through the built-in parametric 3-band digital equalizer. The MIDI section responds to the Program Change message to select any one of the 99 programmed settings. Rackmount, full width (19"W x 1-7/8"H x 11-3/8"D).

- 16-bit D/A conversion system, with 28-bit internal DSP for 90dB dynamic range
- Sampling rate: 32kHz
- Freq. response:
Direct: 10Hz - 100 kHz @ +0 max, -3dB max ; S/N Ratio = 95dB
Effect: 30Hz - 12 kHz @ +0 max, -3dB max ; S/N Ratio = 80dB

- Delay: 0 to 2000 mS
- Reverb: 11 "Room", 7 "Hall", 2 "Plate", and 2 "Special"
0.1 sec. to 99 sec. decay

(-) [1.02] GP-8 Guitar Effects Unit

* Rack Mount unit
* Eight Digital Effects: Delay, Chorus, Phaser, Dynamic Filter, EQ, Distortion, Overdrive, Compression
* Comes w/ foot controller for live performance use.
* MIDI controllable patch changes.
* Stereo Outputs
* Over 100 programmable presets.

(-) [1.03] SE-70 Effects Processor


AD conversion 16-bit linear (64 times oversampling delta signal process)
DA conversion 16 bit linear ( 8 times oversampling)
sampling frequency 48/32 kHz (algorithm set)
145 programs (100 users, 45 preset) Original factory settings are standard or tailored for guitar/bass
Frequency response 10 Hz to 22 kHz +0/-3 dB (sampling at 45 kHz)
10 Hz to 15 kHz +0/-3 dB ( " 32 kHz)
Input level -20/+4 dBm
Input gain -20 to +12 dB
Effects include chromatic tuner, 4 rhythms metronome (20 to 275 bpm), real time control over parameters (via expr. pedal and/or up to 3 control pedal and/or MIDI (after touch, pitch bend, CC#0 to 31, 64 to 119)).
Stereo/mono in, stereo out.
Algorithms (fixed, i.e. the orders of effects in a algorithm cannot be changed, but single effects only switched on/off).
Guitar algorithms (4), Bass algorithms (2?)
Limit/Compress, Overdrive/Distortion
(7 types, 2 gains, drive, tone, volume)

(4 bands with settable frequency range, Q, gain), Chorus, Flanger

Pitch Shifter
(+/- 2 octaves, fine control, delay, volume, 2 reverse + 4 normal modes), Phaser, Panner, Wah-Wah (auto or manual), Slow gate, Reverb (5 modes), Cabinet simulator (4 types), Noise gate, Enhancer, Delay.

Other algorithms: Guitar/Bass synthesiser (internal pitch to voltage conversion, basic mono synth. with VCO, VCA, VCF, LFO). Can track bends, whammy bars extravaganza, harmonics. Vocals algorithms (include limiter/compressor, de-esser, harmonizer, reverb, chorus, vocode r, delay, etc.)

Keyboard algorithms

Single algorithms (i.e. 20 tap delays, reverb, etc. etc.)

Double algorithms (i.e. reverb on one channel and delay on the other, etc.)


"I own a SE-70 since about a year and a half, and I'm MORE than satisfied by it. It is a very difficult unit to master (especially, if in my case, it's your first effects unit) but it can give very satisfying results...killer distortion, a very good reverb, and an excellent pitch shifter. Chorus, delays, metronome tuner, all of excellent quality, not to speak of phasers, panners, de-essers, bass/guitar cabinet simulators, flangers, vocoders, etc. The "noise" problem reported is simply a question of not understanding how to use the machine properly. In practice the noise is due to an improper set of the input level ... input level has to be trimmed! (and if your guitar is a crappy guitar expect it to sound crappy ...)."
From: "Cesare Tirabassi (NSI)" <>

(-) [1.04] SDE-1000 Digital Delay Rackmount


Comment: (From: (gary watts))

"I had one in my guitar rack for 3 or 4 years when they first came out in 1983. There were three models of rack mount delays with the SDE-1000 being the least expensive (around $599.00 at the time). Additional models include the SDE-2500 and SDE-3000. The SDE-1000 is mostly programmable which was very handy for the time as other products like the Delta Lab stuff wasn't. It has 4 memories which mainly remember the delay time which is a maximum of 1024 ms or about 1 second. One thing I always thought was weird about the delay length; It would only go to 750 ms and then you had to turn this knob on the back of the unit that extended the delay range to 1024. The knob is marked 1x to 1.5x. Why this was needed I don't know. It has knobs for input level, mix, and a modulation section for chorus and flange stuff. The programs only remember if the modulation is in or out of the program, not the knob levels. The biggest drawback was that the level inputs are only -20 or -10db not +4db which is what most pro gear is. Surprisingly, the SDE-3000 is selectable between +4 and -10db. The end result was that you couldn't use in many effects loops (like on my Boogie MKII I had at the time) without overdriving the input of the delay and generally ruining the tone of the Boogie. The other drawback is that the sampling is at b est 12 bit (possibly 8 bit) so the frequency response is stated at 12KHz."

(-) [1.05] SDE-2000 Digital Delay Rackmount


- Delay times from 0 (?) to 640 mS, selectable in 1mS increments
- 16K RAM, 12-bit A/D converter
- LED display of actual delay time
- modulation section features 2 waveforms:
sine - for doubling and flanging
triangle - chorusing
- adjustable modulation rate and depth, input sensitivity, feedback
- single repeat, mixed, and repeat hold modes

(Data source: Roland Users Group Magazine)

(-) [1.06] SVC-350 Rack Vocoder


This is a vintage analogue vocoder capable of processing any two sounds together. Used extensively by electronic pioneers like Kraftwerk as well as on dozens of trashy Funk and Disco tunes and more experimental stuff. It can reproduce "Robot Voices" as well and do many other special effects.


* 2 rack space compact unit with original roland "monkey-grip" rack ears

* Multiple in/outs with many trim controls, volume knobs, etc.

* 11 bands with realtime slider control

* Professional unit (XLR input,built like a tank,remote and other


* Headphone jack and level adjust

* Harmonics adjust, guitar input,etc, etc, etc...


From: (David Talento)

"I've used it for processing drum machines through analogue synths such as the Juno 106 to add resonance and envelope parameters to the beat. Perfect for processing synced drum loops, bass lines, or even melody and voices."




Guitar synthesizers, controllers, MIDI units, digital effect units.

Note: The guitar synthesizers are listed chronologically.

(*) Section 2 - Table of Contents


.(-) [2.01] GR/GS-500 Non-MIDI Analog Guitar Synthesizer System

.(-) [2.02] GR-100 Non-MIDI Hex Fuzz Unit

.(-) [2.03] GR-300 Non-MIDI Analog Synth Unit

.(-) [2.04] GR-700 MIDI (out only) Digital Synth Unit

.(-) [2.05] GR-50 Guitar Synth

.(-) [2.06] GM-70 GR-MIDI Converter

.(-) [2.07] GR-09 MIDI Digital Synth Unit

.(-) [2.08] GR-1 MIDI Digital Synth Unit/Sequencer

.(-) [2.09] GI-10 Rackmount Guitar-MIDI Converter

.(-) [2.31] VG-8 Guitar System

.(-) [2.41] GK-1 Hexaphonic Pickup

.(-) [2.42] GK-2 Hexaphonic Pickup

.(-) [2.43] GK-2a Hexaphonic Pickup

.(-) [2.53] G-202 Guitar Synth Controller

.(-) [2.54] G-303 Guitar Synth Controller

.(-) [2.55] G-505 Guitar Synth Controller

.(-) [2.56] G-707 Guitar Synth Controller

.(-) [2.57] G-808 Guitar Synth Controller

.(-) [2.90] JC-120 Guitar Amplifier

(-) [2.01] GR-500/GS-500 Non-MIDI Analog Guitar Synthesizer System


The GR-500 was billed as a _paraphonic_ guitar synth, featured slider-adjustable parameters on the console. The unit was on its own stand, like a keyboard, and recalling what the Avatar looked like, the 500 looks pretty similar.

According to the Roland literature: "The GS500/GR500 is the first guitar synthesizer in the world - a true pioneer. Connected to a mating synthesizer GR500, GS500 boasts the following features and characteristics:

1. A synthesizer for guitarists, it can be played the same way as an ordinary guitar.

2. It is a paraphonic system comprising five sections; guitar, polyensemble, bass, solo melody, and external synthesizer. They can be played simultaneously thereby producing sounds in unique modes..."

The GS-500 guitar/synth controller was styled like a Les Paul "copy", except it had only one humbucking pickup somewhat farther from the bridge than the bridge pickup usually is, and a smaller hexaphonic split pickup was installed immediately next to the bridge. Lots and lots of knobs!!!

The synthesizer unit could be played mixed in with guitar sound or separately. A short description on each 'section ' of the synthesizer:

The Guitar Section featured an interesting implementation of an equalizer, having only one slider on the synth unit ranging from 'low' to 'high' and together with the switch on the guitar, worked like a variable pickup selector switch allowing "1 or 2 or 3 notes" to be selected.

The Poly-Ensemble Section was an envelope generator with separate Attack, Decay, and Sustain controls and a 4-part voicing mixer for 'simulating string notes such as violin, brass ensembles, harpsichord ...'.

The Bass Section featured suppression of previously picked notes as a new note was produced for a 'double playing effect'. An ADS envelope generator, soft-hard voice mixer, percussion control ("attack"?) and decay switch were included to 'simulate bass bowing, tuba notes, etc." The triggering was selectable from "all" strings, 3-strings (4th/5th/6th), or 2-string (5th/6th).

The Solo-Melody Section was the 'real synthesizer' part, and could be used with the preceding sections, including the previously picked note suppression. It featured:

- Pulse Width Modulation and Changeover Switch (LFO/Manual/Envelope)

- Mixer for VCO (16' Square, 8' Square, 8' Ramp, Polyensemble)

- VCF with Cutoff Frequency and Resonance Controls

- LFO frequency control

- Envelope Generator with A/D/S controls

- Modulation

- Envelope/LFO/Pitch Follower

- Pitch Follower/Pedal Control Changeover Switch

- VCA (Initial Gain, Envelope)

- Touch Sense Changeover Switch ( 2 / 1 / Off)

The External Synthesizer Section was designed to interface with Roland's System 700, System 100/101/102 or SH-5. It included a portamento time control and a transposition control:

(32'F / 16' F,5,3 / 8' F,5,3 / 4' F,5,3 / 2' F /1' F )

( I think the F = fundamental, 5= 5th interval, 3= 3rd interval)

Using this section, the GR-500 would send the corresponding trigger to the external synthesizer(s).

I don't have any articles on who played/endorsed the unit, but I recall that at this point, the guitar synthesizer did not take very well with musicians on account of the slow response and limited tones. I agree that the GR-300 was the first really 'usable' guitar synth, but fellows like McLaughlin, if indeed he employed the unit on his 1976 album would dispute that!

(-) [2.02] GR-100 Non-MIDI Hex Fuzz Unit


(requires GR-300 series controller)

No additional data available.

(-) [2.03] GR-300 Non-MIDI Analog Synth Unit


(requires GR-300 series controller)

Floormount analog VCO synthesizer, dual 'hexa' VCO's (two voices per string, harmonically locked, variable harmony), VCF with variable length sweep up and down, LFO. Enable/Disable switches for each string, string sensitivity switch (compression), built-in footswitches control VCO single/dual mode, VCO harmonize pitch (1 of 2), VCF on/bypass/invert.
Output: mix/synth/guitar, pedal VCF, sweep control jacks.

(-) [2.04] GR-700 MIDI (out only) Digital Synth Unit


-Guitar synth version of (same engine as) the JX3P synthesizer.

-64 internal patches and an addition 64 available with MC-16 Cartridge.

-Can be used either with the GK-1 pickup unit or seperate guitar

controller (707 something or other)(req. GR-300/700 series controller)

-Uses PG-200 programmer, but all parameters accessible and modifiable

via some pots on the GK-1. Don't know about other controllers.

-Onboard pedals are numbered 1 through 8 for patch selection and

parameter modification, and three other pedals, for selecting bank,

edit mode, and a hold pedal.

-Built in Chorus

-MIDI: OUT only, and only transmits note off and on, and patch change. A couple of other companies DO make MIDI IN mods, as well as a mod that allows it to be controlled from a GK-2.

-Audio outputs:

It has 1/4 inch jack right/mono and left and guitar (directly, no synth or effect involved) out. It also has two balanced XLR-connectors for left and right signal at true +4 dBm line level.

(-) [2.05] GR-50 Guitar Synth (uses GK-2 Hex Pickup Unit)


GK-2 pickup, rackmount synthesizer, 128 sounds, MIDI in/out, tuner, many features for blending synth and guitar sounds.

L/A Synthesis. Same engine as found in the Roland D-10.


Q. Can anyone point me to a computer based editor for the Roland GR50?

A. Well, in theory (i.e. according to Roland) the GR50 has the same sysex as the D5, D10, D20, and D110. Therefore, you might try my program, Wmw. Just yesterday I posted an announcement of a new version. The best place to find it (for the time being) is, in /pub/MSDOS_UPLOADS/midi/ (program only runs on Windows.)"

From: (Andrew Sharpe)

"Patches can be arranged in a patch chain, with 5 or 6 (I forget) patch chains available... this allows the player to organize patches that are stored randomly in the patch banks in order, and the player can quickly go up and down the patches while playing, all controllable from the GK-2. Accepts memory cards, but I have been told that "strange things" might happen if I try to load a D-10 card into my GR-50. Nothing damaging, but things might be laid out differently between the two even though they share the same engine." (Source: lost)

"Although not perfect...the GR50 is much more useful that everyone here is describing. Mine tracks perfectly (is your pickup set up correctly?). I use it for sequencing and I've driven many synth modules (Sound Canvas, Wavestation SR, M1, D70) with it with excellent results. Are you using enough pitch bend..I use 12, both send on the GR and receive on the modules (they must match!). I have not noticed any problems with the internal tones when also using midi out. What modules are you trying to drive? And if you think the GR50 sounds good behind your guitar..try driving a real synth module...Korg pads are unbelievable underneath a guitar! In fact, I'd say that the internal tones on the GR50 is about the least useful thing about it!" From: (ISimon)

(-) [2.06] GM-70 GR-MIDI Converter (uses GK-1 Hex Pickup Unit)


GR-MIDI Converter. 1u Rack Mount Interface box for guitar/MIDI control via the GK-1 pickup, one of the Roland GR series guitars, or the Steinberger Controller. EXTENSIVE MIDI control. Each string can have six simultaneous outputs with different characteristics (pitch/channel/etc.). NO INTERNAL SOUNDS -- REQUIRES AN ADDITIONAL BOX (Sound Module).


"Very versatile. Has the inherent MIDI delay in triggering. (All the new ones only get around it by using direct control of their internal sounds instead of MIDI.... the use of their MIDI outs will shortly confirm that! <g>)"

"The GM-70 is a guitar-to-MIDI converter. It takes the signal from the GK-1 pickup (mountable on just about any steel-string guitar) and converts it to MIDI output. The GM-70 does NOT have any sound generation capability; you must route the MIDI output to your own sound module. It has two operating modes--poly (all six strings go to one MIDI channel) and mono (each string has its own channel). Since it uses pitch-to-MIDI technology it has a short tracking delay, more noticeable on the lower strings. MIDI Guitarist magazine (Summer 1991) gave it a B+ in timing, the best grade of the 11 pitch-to-MIDI devices they compared. My only complaint is that it has the worst manual I've ever seen, which is really amazing considering how bad Roland manuals are in general." From:

" > I recently dug my old GR-707/700 out of the cupboard an I have an >interesting question for this abundant supply of guitar information out >here on the net


>and if so, I would really like to know for what.

Sure do, even in my Hippy Dippy Headbanging RnB Band!

"Did ya see the guy playing that there fancy Guitar with the Organ sounds?" "They must be using tapes, I don't see no keyboard player." But it really shines in an improvizational soundscape format, which I also participate in. In this band, the new sounds possible with my setup can fill up a lot of spaces where few fear to tred.

I use a Roland GM-70 Gr-Midi Converter and a Korg Wavestation Ex. I play a Roland G-808 Neck through Body Synth Guitar because, quite simply, it looks great and tracks better than any of the other Roland Guitars, the Ibanez Guitar or the Newer Addon Pickups."

From: Mark J. Sarisky (

(-) [2.07] GR-09 MIDI Digital Synth Unit (uses GK-2a Hex Pickup Unit)


Uses GK-2a pickup, floormount synthesizer, MIDI in/out, tuner, external effects loop, stereo headphone and line output, sweep, hold, bank and program change pedals, many features for blending synth and guitar sounds. Tracks pitch bends, harmonics and hammer-ons.

-180 tone sources (2MB, expandable to 360 with expansion card, 6MB total)

-128 patches (64 rewritable factory presets)

-2 source tones assignable per patch with individual balance settings

-2 Effects Processors:

31 types of reverbs, delays and panning delays

25 types of chorusing, flanging, short delay and special effects

-4 dual function foot pedals built-in (switch on GK-2a controller):

1a: Pitch Shift 1b: Built-in 6 string chromatic Tuner

2a: Modulation 2b: Select Next Group (4 groups x 4 banks x 4 patches)

3a: Synth Hold 1 3b: Select Next Bank Down

4a: Synth Hold 2 4b: Select Next Bank Up


"A Patch can be made up of 2 Tones (basic sample building blocks). These Tones can be used to create layers and splits (for example, bass sound for the bottom two strings - piano for the top four) or a single Tone can be used alone."

(From: Kyle McGee, Roland Users Group Magazine)


Subject: Re: Roland GI-10 Was Re: Midi Guitars

>BUT Roland has just introduced a new interface only they say is faster as an >interface than the GR-1 or GR-09. It still uses a GK-2 or 2a pickup. Costs "I called Roland about this new box, and the person I spoke with claims it's exactly the same controller found in the Gr1 and the GR9, Furthermore, it doesn't have individually transposable strings, so forget about alternate tunings."

(-) [2.08] GR-1 MIDI Digital Synth Unit plus 4-Track Sequencer (expanded GR-09)


GK-2 pickup, floormount synthesizer, 180 sounds, 128 programmable patches, expandable to 360 sounds, MIDI in/out, tuner, external effects loop, stereo headphone and line output, sweep, hold, bank and program change pedals, many features for blending synth and guitar sounds.

See GR-09 for general details.

(-) [2.09] GI-10 Rackmount Guitar to MIDI Converter


(From: (Kamikori))

Roland will release compact and high-performance guitar-MIDI converter called GI-10. Here follows the information for the GI-10. The GI-10 is a half-rackmount size guitar-to MIDI converter designed for use with a divided pickup like the GK-2A. The power of the GI-10 allows for extremely smooth and natural response which does not interfere with the individual performance. This response is comparable to the acclaimed Roland GR-1 and GR-09 Guitar Synthesizers. In addition to adjustable pickup sensitivity, the GI-10 has a variety of convenient parameters tailored for driving MIDI equipments with a guitar.

*Bend data thin transmits only essential MIDI data by elimiating unnecessary bend data.

*Attack Noise Filter minimizes guitar-specific noise at the begininng of note.

*Touch Sense adjusts sensitivity according to an individual's specific picking dynamics. It also allows finger picking. A No Dynamics is also available.

The GI-10 also includes a guitar tuner function. A pitch-to-MIDI converter can translate vocals ot other instruments to MIDI as well as, using Mic In jack.


Display : 8-segment, 3-line LED

Connectors: GK-In, MIC In, Expression Jack, Hold Pedal Jack, MIDI IN/OUT,

AC Adaptor

Current Draw: 260mA

Dimensions: 217(W)x45(H)x235(D)mm

Wegiht: 1.3kg

**Specification and apprearance subject to change without notice.

The GI-10 has already released in Japan with dedicated MIDI Sequencing

software called "Singer Song Writer GI for Windows. This software has

several convenient features for guitarists such as guitar fret type

display, TAB score display in addition to normal score, tuner function and

more. 6-tracks for each strings can be treated just like single track,

when the GI-10 is used with MIDI mono mode. Package pricing range in

Japan is around US$600, so it will be higher when it is released in US.

I'm not sure the price and releasing timing, however it will be at NAMM

show timing.

(-) [2.31] Roland VG-8 Guitar System


From: (Mike Rivers)

Roland's V-Guitar System VG-8. This is sort of a guitar synthesizer, but based on the physical modeling concept that Yamaha introduced in a musician oriented synth, the VL-1, last year. What Roland has done is build models of how the various parameters of guitar, pickup, and amplifier design affect the sound under actual playing conditions, and put them in a box with a very intuitive user interface. There are too many parameters to turn loose on an innocent user, so they've offered several fixed choices, and provide a few user adjustable parameters.

For instance, you can select the basic style of guitar for starters. The demo model that came in from Japan had only a basic solid body electric, but they promise that acoustic guitars will be offered in the final version. Actually, the Roland US folks had seen the acoustic models in an earlier version, but all the parameters were in Japanese, and the company decided that it would be better not to show it that way. Fooey on them! You start with a real guitar as your sound source, and install a Roland GK-2A hexaphonic pickup, the standard rig for their MIDI guitar systems, but that's as far as it goes. There's no MIDI here (except to send and receive SysEx bulk dumps for setup purposes), the pickup is used only to send the sound of each string individually out to the model in the box.

Anyway, you pick out your guitar model (from the current choice of one), and then go to select pickups - a dual coil humbucker (with coils in or out of phase), a single coil, or a piezo transducer. You can position the pickup anywhere between the bridge and the nut, and adjust it's angle so you can get some really whacky sounds. You can "install" up to two pickups. You have to play it through an amp, so you pick one from the list - some are obvious, and some are obscure, for trademark reasons. What they've done here is model the way that a particular amp responds, both in the operation of it's controls, and in the way it overloads. Of course you need speakers, so you get an assortment of cabinet arrangements from a single speaker to a large stack, assorted sizes of drivers, open or closed back, and you can adjust your choice of simulated microphone's position on the cabinet.

You can add all the standard effects such as reverb and chorus just as you would with a real amp setup. Since each string is picked up and processed individually, you can assign them anywhere in the sound field.

The closest the VG-8 comes to a synthesizer is another technique which can be applied to the model by changing the harmonic structure of the original guitar signal so the entire tambre is changed, thus creating something that sounds like a bass, a horn, or, well, a synthesizer.

They all respond just like a guitar, though, even to the extent of responding appropriately to string harmonics that you're picking.

What goes in has to be in tune (or else what comes out will be out of tune), but each string can be individually pitch shifted in the same way as adjusting the tuning peg. When the tuning page is selected, you can move each string up or down by a specified number of frets to create instant open tunings. It could be mighty distracting if you can hear the acoustic sound of the guitar together with the output of the VG-8 - perhaps this is something that's best done with headphones on. In addition, you can double strings to create a very realistic twelve string sound by adding a second string an octave up for the lower 4 strings, and a second unison string for the top two. A touch of detuning adds to the realism.


The Roland VG-8 was demonstrated at NAMM. It is a foot controlled digital signal processor for steel string electric or acoustic guitar. It is not a synthesizer. The processing is done on the actual waveform produced from the vibrating guitar string. It is fed a signal through the GK-2A or older GK-2 pickup. It can switch between two different modes: Variable Guitar Modeling and Harmonic Restructure Modeling. Variable Guitar Modeling emulates: different pickups(and pickup positions), pitch shifting(including alternate guitar tunings for slide guitar etc without retuning your guitar), distortion, tube amplifier, speakers/cabs and mics. Harmonic Restructure Modeling allows the user to add, delete, intensify or de-emphasize certain harmonics to create new sounds(synth-like textures, brass, woodwinds, etc). Only being able to listen through headphones it wasn't able to hear how the mid to low end should really sound but it seemed pretty cool. Many of the patches/settings emulate fairly well. The Keith Richards sound was quite realistic but there is still nothing like the real thing.

(-) [2.41] GK-1 Hexaphonic Pickup


Hex Pickup for GR-700, GM-70, and possibly others. The unit is NOT compatible

with the GK-2 (But I've been told that there IS a conversion unit!)

Owner comment:

"... The GK-1 won't plug directly into a GR series guitar synth module (GR-50, GR-1 and GR-09). You can get an adaptor unit that will let you use a GK-1 with a GR module. The GK-1 was released with the GM-70 pitch-to-MIDI module, but was superceded by the GK-2 when the GR-50 was released."


(-) [2.42] GK-2 Hexaphonic Pickup


Hex Pickup for GR-50, GR-1 and possibly others. Mounts on most guitars. Select guitar only, synth only or mix with 3-way switch.

(-) [2.43] GK-2a Hexaphonic Pickup


Hex Pickup for GR-09, and possibly others. This unit is identical in function to the GK-2, but features a smaller profile pickup piece which allows installation on guitars having a smaller area available between the bridge and the bridge pickup, preventing installation of the larger GK-2 pickup.

Select guitar only, synth only or mix with 3-way switch.

(-) [2.53] G-202 Guitar Synth Controller


Solid-body, "Stratocaster-style" bolt-on solid maple neck, dual neck/bridge humbucking pickups, built-in hex pickup, onboard synth controller electronics, controls: guitar volume, tone, synthesizer VCF cutoff, guitar/synth mix, VCF resonance (feedback) and LFO depth (synth vibrato).

Fully adjustable bridge, was available in bright enamel finishes.

(Data source: Roland Users Group Magazine)

(-) [2.54] G-303 Guitar Synth Controller


Solid-body, glued-in neck, dual neck/bridge humbucking pickups with 3-position pickup selector, built-in hexaphonic pickup, onboard synth controller electronics, controls: guitar volume, tone, synthesizer VCF cutoff, guitar/synth mix, VCF resonance (feedback) and LFO depth (synth vibrato). Fully adjustable bridge.

Manufactured for Roland Corporation by Ibanez, this is the one you saw Andy Summers of the Police play on "Don't Stand So Close to Me" and David Byrne of the Talking Heads on "Stop Making Sense".

(Data source: Roland Users Group Magazine, owner-submitted information)

(-) [2.55] G-505 Guitar Synth Controller


"Stratocaster-style": Solid-body, bolt-on solid maple neck, three low-hum single coil pickups, 5-position pickup selector, built-in hex pickup, onboard synth controller electronics, controls: guitar volume, tone, synthesizer VCF cutoff, guitar/synth mix, VCF resonance (feedback) and LFO depth (synth vibrato). Fully adjustable bridge with tremolo arm and brass sustain block, was available in metallic finishes.

(-) [2.56] G-707 Guitar Synth Controller


This is the futuristic-looking controller that Roland made with the neck "stabilizer bar", overall style reminiscent of a Gibson "Flying Vee". Dual humbucking pickups, onboard synth electronics to control a GR-700.

(-) [2.57] G-808 Guitar Synth Controller


Solid-body, thru-body neck, dual neck/bridge humbucking pickups with 3-position pickup selector, built-in hexaphonic pickup, onboard synth controller electronics, controls: guitar volume, tone, synthesizer VCF cutoff, guitar/synth mix, VCF resonance (feedback) and LFO depth (synth vibrato). Fully adjustable bridge.

Manufactured for Roland Corporation by Ibanez, this is the one you saw Robert Fripp play.

(Data source: Roland Users Group Magazine, owner-submitted information)

(-) [2.90] ROLAND JC-120 Guitar Amplifier


120 watts, 2 12" speakers, reverb, famous Roland stereo chorus, distortion, great clean sounding amp.

(-) [2.99] End of Guitar / String Controller Section





Keyboard and Rack-mount Synthesizers, MIDI keyboard controllers, modular synth units, and programming modules.

(*) Section 3.0 - Table of Contents


(*) [3.1.0] - Polyphonic Synthesizers

.(-) [3.1.1] D-5 Multi Timbral Linear Synthesizer

.(-) [3.1.2] D-10 Multi Timbral Linear Synthesizer

.(-) [3.1.3] D-20 Multi Timbral Linear Synthesizer Workstation

.(-) [3.1.4] D-50 Keyboard Multi Timbral Linear-Arithmetic Synthesizer

.(-) [3.1.5] D-70 Keyboard Multi Timbral Linear-Arithmetic Synthesizer

.(-) [3.1.6] D-110 Digital Rackmount

.(-) [3.1.7] D-550

.(-) [3.1.8] HP-1000s Digital Piano

.(-) [3.1.9] Juno-6 Digital/Analog hybrid, Non-MIDI

.(-) [3.1.10] Juno-60 Analog/Digital hybrid synth., non-MIDI

.(-) [3.1.11] Juno-106 MIDI

.(-) [3.1.12] Alpha-Juno-1 Analog/Digital hybrid synth.

.(-) [3.1.13] Alpha-Juno-2 Analog/Digital hybrid synth.

.(-) [3.1.14] Jupiter-6 Analog

.(-) [3.1.15] Jupiter-8 Analog

.(-) [3.1.16] JX-3P Analog/Digital hybrid

.(-) [3.1.17] JX-8P Analog/Digital hybrid

.(-) [3.1.18] JX-10 Hybrid Digital/Analog

.(-) [3.1.19] JD-800 Digital synthesizer

.(-) [3.1.20] JD-990 Rack-mount super-upgrade of the JD-800

.(-) [3.1.21] JV-30 Digital sample-playback keyboard (Sound Canvas with keybd)

.(-) [3.1.22] JV-35 Upgrade of the JV-30, expandable via ROM or RAM cards.

.(-) [3.1.23] JV-80 Digital synthesizer and sample-playback synth.

.(-) [3.1.24] JV-90 A 76-key version of the JV-80.

.(-) [3.1.25] JV-880 Rackmount version of JV-80

.(-) [3.1.26] JV-1000 The super JV flagship keyboard.

.(-) [3.1.27] JV-1080 Rackmount version of the JV-1000

.(-) [3.1.28] JV Expansion boards

.(-) [3.1.29] JW-50 Synthesizer/Workstation

.(-) [3.1.30] MKS-50 Rackmount

.(-) [3.1.31] MKS-80 Super Jupiter - Rackmount Jupiter with MIDI.

.(-) [3.1.32] MS-1 Digital Sampler

.(-) [3.1.33] Roland Rhodes Model 660

.(-) [3.1.34] Roland Rhodes Model 760

.(-) [3.1.35] S-10 Digital Sampling Keyboard (MIDI)

.(-) [3.1.36] S-220 Rackmount Sampler

.(-) [3.1.37] S-330 Rackmount Sampler

.(-) [3.1.38] U-20 RS-PCM Digital Synthesizer Keyboard

.(-) [3.1.39] U-110 Rackmount Digital Synthesizer module

.(-) [3.1.40] U-220 Rackmount Digital Synthesizer module

.(-) [3.1.41] W-30 Synthesizer/Workstation

.(-) [3.1.42] XP-50 Synthesizer

(*) [3.2] - Monophonic Synthesizers

.(-) MC-202 Analog, Non-MIDI, monophonic

.(-) SH-0x Series

.(-) SH-101 Analog, Non-MIDI, monophonic

.(-) TB-303 Analog, monophonic Bass line synthesizer (Non-MIDI)

(*) [3.3] - Sequencer/Programming Units, MIDI controllers

.(-) MC-50 Sequencer

.(-) MKB-300 MIDI Keyboard Controller

.(-) MPG-80 (programmer for MKS-80 Super Jupiter)

.(-) MSQ-100 MIDI sync/sequencer box

.(-) MSQ-700 MIDI/DCB Multi-track Digital Keyboard Recorder

.(-) PG Series Synthesizer Programmers (see also MPG Series)

.(-) PG-100 programmer box

.(-) PG-200 (programmer box for JX-3P, MKS-30 Planet S)

.(-) PG-300 (programmer box for Alpha Juno 1 & 2, MKS-50)

.(-) PG-800 (programmer for JX-8P, JX-10, MKS-70 Super JX)

.(-) PG-1000 (programmer for D-50, D-550)

.(-) System 100 Sequencer Module 104

.(-) A-30 Master Controller Keyboard (verify?)

.(-) A-50 Master Controller Keyboard (verify?)

.(-) PC-100 MIDI Keyboard Controller

.(-) PC-200MKII MIDI Keyboard Controller

(*) [3.1] Polyphonic Synthesizers


(-) D-5 Multi Timbral Linear Synthesizer


The D-5 is a member of the D-10/20/110 family. It can share ROM cards, patches, and tones with these other models (although it's missing a few tone parameters). It lacks the built-in effects of the other units, but has four performance mode features that the others don't have: Chord Play, Harmony, Chase, and Arpeggio.

-Keyboard: 61 keys, velocity sensitive, pitch bend/modulation controller

-Sound Source: LA Synthesis, 32 maximum voices

-Internal Memory: Synthesizer Section (128 Patches, 128 Timbres,

128 Preset Tones, 64 Programmable Tones),

Rhythm Section - 63 Preset Rhythm Tones

(256 Instrument Patches, 128 Patches completely programmable)

-Ports: 1/4" Left and Right Outs, Headphone jack, sustain pedal,

Midi IN/OUT/THRU, Memory card

-Accepts RAM and ROM cards for additional patches

-Roland MT-32 compatible (works with most games)

-Display: 2 lines, 16 letter (backlit)

-Weight: 15 pounds

Owner comments:

"-can be made compatible with MT32 patch numbers, but has newer samples -works well as a MIDI controller for other modules, soundcards, etc." "We own one and it is NOT compatible with MT-32 sysex messages. We have a converter that can convert the timbre banks to D series format though. Also, the D-5 timbre map is different from the MT-32, although the sounds can be rearranged to look like an MT-32. I wrote such a timbre bank, it is on the CI$ midiforum. This is no decendant of the MT-32, it was the last and cheapest of the D series aynths. For instance the MT-32 only has 128 PCM sounds, the D-5 has 256. The MT-32 has a reverb processor, the D-5 has no effects at all. The MT-32 is very noisy (we own one as well), the D-5 is very quiet. You could call them first cousins though <grin>." (From: Gary Fisher)

"My partner Edgar Allen Joe and I have performed together under "The Project." We use only two keyboards, a mixer and no sequencers at all. My Roland D-5 has an arpeggiator so I can loop three or four notes by just holding them down on the keyboard. So that's how we get the groove. To keep it going, I go into the memory bank and change all the different parameters like TVF, envlopes, wavelength, etc.. Joe does the same thing except he does not arpegiate anything, so all of his sounds are totally free-form." From: Prasad Bidaye

(-) D-10 Multi Timbral Linear Synthesizer


-Keyboard: 61 keys, velocity sensitive, pitch bend/modulation controller

-Multi-timbral: 8 parts plus a drum part.

-Sound Source: 16 bit samples and PCM, 32 note polyphony.

-Synthesis engine: L/A synthesis (linear arithmetic)

-Internal Memory: Synthesizer Section (128 Patches, 128 Timbres,

128 Preset Tones, 64 Programmable Tones)

-Ports: 1/4" Left and Right Outs, Headphone jack, sustain pedal,

Midi IN/OUT/THRU, Start/Stop pedeal for drum machine, Memory card

-Display: 2 lines, 16 letter (backlit)

-Drum Sounds: 16 bit sampled drums sounds (excellent), pattern programming

available, 64 drum pattern, 32 presets and 32 programmable. 1/4 thru

8/4 time.

-Metronome: Built in metronome, tempo adjustable, as well as loudness in

comparison to the synth output.

-Effects: Adjustable Pan, Volumne, and Reverbs (which include halls, plates,

and Delays.


"You have 13 structures (sorta like the algorithms in DX synths) you can use samples or a synth wave (square,triangle only (?)) or both in any combination with/without a ring modulator (sorta like modulation carriers in DX synths) 128 x 2 internal PCM samples. believe it or not, some(most) of the samples are the same samples in the D50. There is a company called Real World (?) based in australia that upgrades the D5/D10/D20/D110/MT32 with more reverb programs, extra outputs, better S/N ratio. They have a representative in the US. Call Keyboard magazine for their number."

"I've had a D-10 for quite a while now. It can take data on eight MIDI channels simultaneously, plus a rhythm channel. (multitimbral mode, which is what you want for sequencing.). Each channel has one preset. The number of simultaneous notes depends on how many partials each preset uses, and how many notes are in each track. Practically speaking, you can have three or maybe four different tracks playing at the same time, plus the rhythm part. Much beyond that and you start having notes get cut off, or not play to begin with. In general, I'd say that the D-10 is a good choice for a sound card extension, though it does show the mileage if you compare it to a modern unit. It's noisier than today's synths, and the sounds, while useful, aren't as crisp as we're used to today. The rhythm section is OK, particularly some of the cymbals, which actually sound quite good." From: Pete Dunn

(-) D-20 Keyboard Multi Timbral Linear Synthesizer Workstation


32 note polyphony, 8 part multitimbral + 1 rhythm track onboard sequencer.


"The D-20 shares the same tone and patch programming features as the D-10, and adds a 16,000 note sequencer and a disk drive for storing patch libraries. The only case where the D-20 seems more attractive [than the D-50], is to compromise the sound quality to gain the sequencer and multi-timbral features for live performance." From: Tom Honles

"the sounds on the D20 are good, but the D50 is more punchy. The D20 also has an 8-track limit on sequencing. If that's not a problem, then get one and start recording a gold record..." From: Tony Chevalier

(-) D-50 Keyboard Multi Timbral Linear-Arithmetic Synthesizer



"Without boring you with all the D-20 or D-50 specifics, Roland literature of the period (late, late 80's) billed the D-20 as a home studio workstation, and the D-50 as a professional performance keyboard.

The Roland rag review itself stated that the D-10 and the D-20 had multitimbrality and a host of great pro-level features, but that they did not compare to the sound quality of the ir 'big brother', the D-50, even though the D-50 is not multi-timbral, nor does it have a sequencer.

So in looking into this, I realize that they were targeted at 2 distinctly different markets. Since I already have the GM multitimbral capability in my RAP-10, I don't really need the D-20 for home studio use, it's better to have the higher quality external synth option I get with the D-50." From: Thomas Honles

"to obtain truly unique sounds anyway. But on the bright side, just about any D50 pad patch will fatten up a mix. And there are millions of PD sounds available that you can tweak to make your own contribution to society. The problem with some of the PD libraries is varying computer formats." From: Tony Chevalier

(-) D-70 Keyboard Multi Timbral Linear-Arithmetic Synthesizer


The D-70 is a 76 key, 4 slider, MIDI-controller keyboard with 128 tones that map into 128 patches.


"In addition to L/A synthesis,it also has an unusual synthesis method called DLM (direct linear modulation, I believe) that generates a range of sounds by using a series of chopped wave forms. The frequency of the series can be set so that the frequency itself interacting with (the wave I think) generates a pitch. The DLM process seems fairly unpredictable and not terribly control- lable, but has found industrial applications. The sound is somewhat raspy when used in this mode.

Otherwise, the D-70 tones provide PCM sourced filter and amplitude ADSR enveloping. The time variant amplitude (TVA) and time variant filter (TVF) curves are displayed simultaneously as either is edited within a tone. The D-70 comes with a reasonably good piano sound, some unusual Vox patches ("ghost vox").

The sliders and LCD back-lit display provide a highly readable way of controlling MIDI channels, even in low light. The D-70 transmits all 16 midi channels and can receive (play) 5 voices plus the drum kit at the same time. The 5 voices can be played on any midi channel - 5 separate channels, all on the same channel, etc. The drum kit receives only on channel 10.

All 76 keys of the drum kit can be programmed individually with pan, cut-off, resonance and TVF/TVA. D-110 compatible cards can be used as PCM sources." (From:

"While it will use D-110 cards, it will only read the first part if it's a two-part sound. You can always layer the sound to get close to the same thing, I suppose, but I was disappointed at this. One problem with the D-70 is that patch changes are s-l-o-w by comparison with other makers and even other Roland models. It has something to do with the D-70 architecture "

(From: Paul Petersen)

(-) D-110 Digital Rackmount


The D110 is a rackmount digital synthesizer module with 32 voice polyphony, 8 parts multi-timbral plus drums (9 parts total).

It works with the same L/A synthesis technology as the D-50, having only 4 partials per tone. There are 8 independent outputs.

Built-in effect section, some types of reverb and echo. The sounds are very similar to the MT-32.

User comment:

"I'm using it mainly for sequencing purposes in a multitracking environment

and it works well."

"... I'm not really familiar with the D10 but I do have a D110. There's no drum sequencing or any sequencing - it's just a sound module. There are 8 "parts" (instruments) plus the rhythm section, which allows you to spread the 64 built-in rhythm sounds plus the 64 sounds in the "internal" (user storable) bank across the keyboard...It's still quite useful. A bit noisy, though." (From: (michael moncur))

(-) D-550


Rackmount version of the D-50.

(no additional data)

(-) HP-1000s Digital Piano


Keyboard 88 Keys

Max. No. Voices 32 voice polyphonic

Preset Voices Pianos 1, 2, Harpsichord, Vibraphone, Electric Piano

Effects Chorus 1 ON/OFF, Chorus 2 ON/OFF

Connectors Input & Output jacks (mono/stereo), MIDI IN/OUT/THRU

Switches Power, Local ON/OFF

Speakers 16cm * 2

Output 20w * 2

Finish Roland Original Oak

Dimensions (W*D*H) 55-13/16" * 18-11/16" * 6-1/16"

Weight 81lb 11oz

Consumption 117vac: 60w 220/240vac: 100w

Accessories Power cord, music rest

Options Stand, Kbd cover

The HP-1000sl is identical save for an additional 5lb weight, and comes standard with a kbd cover. I took all that directly from the spec. section in the back of the owners guide. Here follows some more tidbits.....

Controls Volume, Brilliance, Tuning adj., Damper,

Soft/Sostenuto Pedals

Key Transpose Range can be transposed up a perfect 4th, and down

a diminished 5th.

Midi Modes

i) Note On/Off, Pedal and Program Change messages are transmitted and


ii) Note On/Off, Pedal and Program Change messages are transmitted.

Program Change messages are not received.

iii) Note On/Off, Pedal and Program Change messages are transmitted and received. The moment a new voice is selected on the piano, the corresponding Program Change number is transmitted. The Chorus On/Off is also transmitted. (Ideal for recording to a sequencer) iv) Performance information (messages) sent from an external Midi device (e.g. sequencer) can play more than one voice of the piano (Multi-Timbral). Up to five voices may be played at the same time.

Receives on channels 1, 11, 12, 13, and 14.

(-) Juno-6 Digital/Analog hybrid, Non-MIDI


- 6 voice polyphonic, digital controlled oscillators (DCO)

- DCO's feature simultaneous variable pulse, sawtooth, square waveforms

- selectable Manual, Envelope or Pulse Width Modulation (PWM)

- variable LFO modulation, rate and delay and PWM modulation

- noise generator, trigger mode selector

- VCF section: hipass , lowpass filters w/ cutoff freq & resonance control

- Envelope modulation slider/inversion switch

- VCA can be modulated by the Envelope or can follow square envelope.

- 4-part ADSR envelope generator

- two-mode chorus section: chorus, vibrato, or stereo panning effects

- Bend range sliders for DCO and VCF, return-to-center pitch bend control

- Back panel: Main out (stereo/mono), level switch, headphone, VCF pedal,

sustain pedal, arpeggio clock control, master tuning

(-) Juno-60 Analog/Digital hybrid synth., non-MIDI


* great 5 octave keyboard. thick warm analog sounds. great for techno

* Roland Juno 60 (with MD-8 MIDI interface.)(?)

6 voice analog/digital hybrid synth. A real classic. The best sounding Juno ever made.

(-) Juno-106 MIDI


(no data)

(-) Alpha-Juno-1 Analog/Digital hybrid synth.


6-note polyphonic, w/MIDI, 49 key non-velocity keyboard, 128 patches, performance controls (transpose, chord memory, etc.), will receive and process velocity and aftertouch thru MIDI. Jacks for stereo out, sustain pedal, expression pedal (sends either velocity or aftertouch data).

(-) Alpha-Juno-2 Analog/Digital hybrid synth.


w/MIDI, 6-note polyphonic, velocity sensitive w/ aftertouch.

(-) Jupiter-6 Keyboard, Analog


Analog synthesizer very much like its great brother, the Jupiter 8. The differences are: only 6 voices instead of 8 and MIDI (only IN and OUT, only OMNI Mode).

It has very GREAT analog synthesizer sounds!

The keyboard can be split in two parts, playing different sounds.

An optional upgrade MIDI chip, can give it the ability to send the

upper keyboard sound on channel 1, the other on channel 2.

Unfortunately there is small storage space:

64 different sounds can be saved in memory, 32 patches are available.

(-) Jupiter-8 Keyboard, Analog


The Jupiter-8's impressive sounds are created by its eight two oscillator synthesizer systems. These synthesizers are controlled by single bank of controls that feature a logical left to right flow and mix sliders with rotary controls to provide the most readily available information and control. Highlights of each JP-8 synthesizers voice include:

Two separate VCO's providing four waveform options, each including precise sine, triangle, sawtooth, square, variable pulse, and noise waveforms.

All sixteen oscillators are easily tuned in approximately three seconds and feature high stability to remain in tune even during long sessions under difficult conditions. A wide variety of modulation options include syncing and cross modulation between VCOs for control over an exceptionally wide variety of sound and tone color.

Output of the VCOs passes through an infinitely variable source mixer and then on the the Filter sections. A separate Hi Pass Filter can be combined with a voltage controlled Low Pass Filter that is selectable between a rich -24dB/octave or a more acoustic -12 dB/octabe cutoff slope. These choices combine with a wide variety of control options that give musicians maximum creative control over the tone color of their sound.

Two complete four stage ADSR Envelope Generators feature slider controls for accurate visual information and control during programming and editing.

Each envelope includes and exclusive Key Follow option allowing the Attack, Decay, and Release length to be shortened in proportion to the height of any pitch as they naturally do on many acoustic instruments including the piano. Envelope-1 also includes a switch for inverting its effect before being sent to the sections. The VCA may be both Envelope and LFO controlled and terminates on the JP-8 back panel in a stereo Headphone output, two balanced outputs. and three unbalanced outputs suitable for a wide variety of situations.

The Jupiter-8's powerful programmer has the capacity to store and recall the exact synthesizer settings for up to sixty-four different patch programs. Patches may be stored virtually permanently using the JP-8's lithium battery back-up system. Writing into any patch position from the Manual control or another patch position requires only pressing two switches and the patch number desired. Patch selection simply requires punching in the actual two digit number needed which is then displayed in a large LED display window.

(-) JX-3P Analog/Digital hybrid


Digital Oscillators & Analog filtering. Simple, but well thought out.

Analog style programmer (PG-200) also available.

Six voice/Two Oscillator/1 Envelope generator/VCA-VCF/Chorus

It is a dual oscillator synth (meaning 2 oscillators per voice total of

12 DCO's) There are 6 VCF's, 6VCA's, and 6 ENV's.

128 step non-MIDI programmer/non-velocity kybd (there is also an upgrade

that makes the system velocity sensitive from an external controller. The

internal kydb is inactive when this is switched on).

Has connection for storing sequencer/patch data on tape.

32 patches in ROM

32 patches in RAM

Built in chorus effect.

(-) JX-8P Analog/Digital hybrid


Digital oscillators with analog filtering

This was a basic upgrade of the above described JX-3P...

Same basic design with velocity kybd/2nd envelope generator...

Also added sysex dumps (i.e., patch programming via MIDI)

--6 voice analog synthesizer. Beautiful sound. 5 octave touch

sensitive keyboard with aftertouch. MIDI. Presets plus programmable


--Each voice has 2 Oscillators for fat sound, VCF with EG, VCA with

EG. Also has noise generator, LFO, great Chorus. Pitch and

Modulation bender.

(-) JX-10 Hybrid Digital/Analog


76 Key Analog Synthesizer, bi-timbral, programmable, good MIDI

controller. Very diverse analog sounding unit. The JX is a hybrid

synth: digital waveforms with analog filters.


"The JX-8P, JX-10, and MKS-70 all use the same synth circuitry

so they sound the same (the JX-10 and MKS-70 acually have two JX-8P

inside so they are capable of dual sounds). The older JX-3P uses

different circuitry so it sounds quite different (same for MKS-30

which uses JX-3P ciruit) from the later series."

From: 73073.2707@CompuServe.COM (Mike Kent)

"> I had a JX-3P. It is a cool synth, but beware of its MIDI


Folks, also beware the MIDI implementation of the JX-10. I have this

keyboard (and love the sounds, BTW), and found out the hard way that

there's a bug in the ROM that won't allow it to talk to many (if any)

sys-ex librarians such as Galaxy+. I HAVE heard, however, that the MKS-70

(rackmount JX-10) does not have this problem.

All other MIDI functions on the JX-10 work fine.

If you are into Roland analog sounds but want digital oscillators that

don't go out of tune, I highly recommend either a JX-10 or MKS-70."

From: (Weave)

"hey, what about contacting Roland to see if you have the latest ROM

software for it? I can't believe they would let a synth like the JX10

be like that. Even my JX8P recieves/send sysex.

Btw. maybe this will help- for sending sysex from my JX8P, I have to press

each patch button, and the sysex reciever (computer or whatever) will recieve

the patches one by one. Try that with your JX10 and see if it works."

From: (Hallvard Tangers)

"As they say in US commercials: been there, done it, tried it. I've had

my ROMs upgraded twice, no sysex response, and Roland says "no more ROM

upgrades ever for that board". The last ROM version for JX-10: v2.3,

8/6/87. MKS-70 has a different version number.

So, for you JX-10 owners/potential acquirers, I absolutely love the board,

but no can do sys-ex." From: (Weave)

">I!ve successfully dumped patches from my JX-10 to a Mac-sequencer called

>EZ Vision by making a "handshake-message", putting 65 of this mesages in

>track 2 of the sequencer with enough space between them so the JX-10 can

>dump a patch (The JX-10 sends 1 patch at a time, before it looks for a

>handshake-message). Set track 1 to record from the JX-10 and track 2 to

>play back the handshaking message. It!s a time-consuming job, but it



>Stein Tore Sonsteli


Nearly all of the older Roland's used this handshaking method and in fact most

of the new ones give you bulk dump and handshake mode. Any halfway decent

librarian program should be able to communicate with a JX10. Just set the

acknowledge message to be sent after each patch is transmitted. The Korg

DW6000/8000 worked on the same principle, but the I think the Roland

handshake acknowledge needs to be sent after every 256 bytes of data in

the sysex message. You may also need to wait statements in the loop

because Roland's are slowwwww to dump sysex info."

From: craigb@monterey.gedl (Craig Barnes SYS ADMIN LDN 2690)

(-) Roland JD & JV Series


(-) JD-800


Digital synthesizer with tons of front panel sliders (like the old analog ones).

Very clean, clear, and sparkly (sounds like intro to the new Star Trek series,

although I don't know whether they used a JD-800 or not). I wasn't very

impressed with its acoustic instrument simulations, but that's not really what

it's for.

(-) JD-990


"A rack-mount super-upgrade of the JD-800, and I hear that it sounds even

cleaner, crisper, and sparklier than the JD-800 according to a review in

Electronic Musician (I think). Here's where the distinction between the JD's

and the JV's starts to get fuzzy. The JD-990 can also recognize the JV's 8 meg

expansion boards, although I'm not sure whether their patch parameters are

identical (I tend to think not)."

"The JD990 will accept the orchestral board (I have one in mine) also the

pop board." From: (CLovley)

Roland Library cards for the JV-80, JD-990.

Multi Timbral Sounds 1 PN JV-80-02

Rich Sounds collection 1 PN JV-80-01

Rich Sounds collection 2 PN JV-80-04

Multi Timbral Sounds 2 PN JV-80-03

(-) JV-30


Digital sample-playback keyboard (a Sound Canvas with a keyboard, pretty much)

with some programmable parameters (including filters, which is what the U-20

lacked). Non-expandable (no RAM or ROM cards). Nice acoustic instrument

simulations. The JV-30 is velocity-sensitive, but not aftertouch-sensitive.

(-) JV-35


An upgrade of the JV-30, which is expandable via ROM or RAM cards

I think. Maybe a few other features as well.


Comparing the JV-35 and the Korg X-5:

"I was looking at these a few months ago. The JV-35 is built much better than

the X5 is, for one. The X5 looks cool but it's aimed squarely at the home

market (even a mini headphone jack is included). The keys on the X5 are

spongy feeling. I didn't like them at all. I didn't try the JV-35's keys,

but FWIW my JV-90's keys feel very nice (for a nonweighted keyboard of

course). The sound quality differences are an interesting issue. I've

compared both extensively. I've owned a Sound Canvas for a year now (SCC-1

internal PC card) and I recently bought a Korg 05/RW (the X5 in a half-space

unit w/o keys). The 05/RW has very impressive, fat presets. They have some

weight towards rock, techno, acid, etc. but there are servicable orchestral

sounds. The effects processors (2 of 'em) are phenomenal and blow away the

Rolands, with 47 effects to choose from. However, the raw samples on the Korg

are a little weak and not as clean as the Roland set. The Roland sounds as if

it can perform better in a complex sequence, since the sounds rely less on

effects. The Roland sounds are also thinner, brighter and crisper; the Korg

has a little grit and grain in the sound but they're both clean overall. The

Roland drums are okay -- D4 quality, useable for rock, orchestra, and jazz.

The Korg drums KICK ass and take names, for all of the above plus techno, rap,

etc. Finally, the general MIDI set on the Roland sounds better to me than the

Korg set. I did this comparison primarly by hooking them all up to my

computer and playing some games, choosing "General MIDI" for sound. The

Roland consistently sounded a little punchier and cleaner than the Korg."

From: (James R Lendino)

(-) JV-80


"Digital synthesizer and sample-playback synth. Better programming interface

than the U-20's. Very crisp, clean, sparkly, lots of high-end (some would

say, too much). I wasn't impressed with the onboard acoustic piano samples

(too metallic), but there are 8 megabyte expansion boards with lots of sounds

(categories: pop, orchestral, piano, etc. The orchestral expansion board is

wonderful). The keyboard is very responsive and very nice to play (velocity-

and aftertouch-sensitive -- I forget whether it's channel aftertouch or

polyphonic aftertouch). The JV-30 and JV-80 are really different animals; I

don't know why they are both called JV-keyboards."

Roland Library cards for the JV-80, JD-990.

Multi Timbral Sounds 1 PN JV-80-02

Rich Sounds collection 1 PN JV-80-01

Rich Sounds collection 2 PN JV-80-04

Multi Timbral Sounds 2 PN JV-80-03

(-) JV-90


A 76-key version of the JV-80. I don't know whether there are other

differences, though. A more accurate description of the JV-90 is that it's a

JV-1000 minus the sequencer. The big difference between the JV-80 and the

JV-90 is that the JV-90 is expandable, like the JV-1000 (you can plug in a GS

expansion board to give you more polyphony and parts). Both the JV-90 and

JV-1000 support General MIDI as manufactured.

The default patches on the JV-90 are different than the JV-80, but the JV-90

waveforms are a superset of the JV-80. There are also 128 JV-80 compatible

patches on the JV-90, this is in addition to the 256 preset patches available

(this is not mentioned in the brochure), even though there are some overlap of

patch names. The JV-90 also have 4 preset drum sets, versus the 1(?) on the


The prices for JV-80 and JV-90 are about the same, so the JV-90 is clearly the

better buy, unless you need a JV-80 for compatibility reasons.

(-) JV-880 Rackmount


The Roland JV-880 is the rack-mount version of the JV-80.


IMHO, the JV-880 allows you more synthesis power (than JV-35)--there are more

parameters for one to manipulate, one can even do microtunings, and the unit

has 4 outs (2 stereo pairs or 4 individual outs). So assuming you want

flexibility, the JV-880 is a good choice. Also, I do believe that one can

program the synth to respond to after-touch, which the JV-35 doesn't do."

From: "M.C.Death/Attenuated Euphoria" <>

(-) JV-1000


The super JV flagship keyboard. I think this one has 76 notes, plus a

sequencer onboard (the equivalent of an MC-50, I think), and the capability to

add on a Sound Canvas expansion board for more sounds and polyphony. But

here's the catch: The extra polyphony applies only to the Sound Canvas

sounds, not to the other internal sounds. I hear that it's a good-sounding

keyboard, but that it's control section, sound section, and sequencing section

aren't seamlessly integrated, so there's a bit of a learning curve involved.

(-) JV-1080 Rackmount


The Roland JV-1080 is the rack-mount version of the XP-50, sharing the same

RISC technology (but without the keyboard).


"The JV1080 has the same 12db/oct filter like the 990, but the 1080 has

4 Filtermodes (LPF,HPF,BPF,PEAK) and the 990 only has 3 (LPF,HPF,BPF)...

the 1080 is programmable." From:

"-=- Joel Wild approached my podium, saying:

JW> does anyone have one and would like to offer their opinion...i'm

JW> thinking of buying one and putting the analog and world boards in it?

Those, and two more. :)

The new 1080 is a BEAUTIFUL unit. I simply couldn't believe that it sounds

better, and cleaner than the JD-990. Twice the polyphony, INCREDIBLE

expansion..." From: Markell Moss Jan-01-95

(-) JV Expansion boards


Roland SR-JV80-02 Orchestral Expansion Board

Will slot very neatly into JV80, JV1000, JV880.

JV-80/JV-90/JV-1000/JD-990 is a vintage keyboards expansion board (so,

they are pop, orchestral, piano, and vintage).

JV-880 analog synth expansion board.

internal expansion board that has analog samples, classic analog synth sounds.

(-) JW-50 Synthesizer/Workstation


From: Steve Butcher

"I have a Roland JW-50 workstation. It a heckuva keyboard. As you probably

know, it has the MC500MkII seq. built in, I believe, as well as the JV-30

sound canvas. I purchased the board when Roland presented the JW-1000, or

something like that."

(-) MKS-50 - Rackmount


Alpha-Juno 2 series synthesizer in rackmount unit.

(-) MKS-70 - Rackmount


Roland MKS-70 SuperJX rackmount analog style synth w/o programmer.

Rack version of the SuperJX keyboard (basically 2 JX8P's).

(-) MKS-80 Super Jupiter - Rackmount Jupiter with MIDI.


8 voice analog synth. Two VCO, Noise, VCF with EG, VCA with EG, LFO.

Oscillators will sync. Split Dual Mode for two sounds at once.

Unison mode for 16 analog oscillators assigned to one monstrous

note with selectable detuning amount.

1/4inch and Balanced XLR outputs, responds to velocity and aftertouch,

Autotuning button to control oscillator drift. Works with MPG-80 programmer.

(-) MS-1 Digital Sampler



From: flux@PEAK.ORG (Gregory Gaub)

" Roland Ad copy: The MS-1 puts famous Roland S-Series, 16-bit stereo

sampling into your hands and out of doors, with battery operation!! Recording

and playback are simple and practical right from the front panel. Great for

"fly-ins" for performance and studio work, the MS-1 provides 17.8 seconds of

mono sampling time at 44.1kHz and a maximum of 49.2 seconds (mono) at 16kHz.

It doesn't matter if you've got MIDI applications or not with the MS-1, it can

function fully with or without MIDI control. Packaged with the MS-1 is a

75-minute CD of loops and sounds to get you started. You can literally plug a

mic or a tape deck, or a drum machine, or a guitar processor into the MS-1 and

create your first sample. Ease of use is paramount in the MS-1, the sampler

for just about anyone. The MS-1 can also be powered by a BOSS PSA-120

adapter. (not included)

This sounds like a decent unit IF other things are true: Is it polyphonic at

all? or is it one sample at a time? Does it sample in stereo only with a

shorter time? (8.9-24.6 secs) Does it have SYSEX capability? Bulk dumps at

least? Thanks in advance, Greg"

(-) Roland Rhodes Model 660


61-key synth. 30 note polyphony, 6 part multi-timbral.

Many internal sounds and combinations. Uses same sound engine as the U-20,

although patches are organized differently. Accepts U220 cards.

(-) Roland Rhodes Model 760


76-key synth. 30 note polyphony, 6 part multi-timbral.

Many internal sounds and combinations. Uses same sound engine as the U-20,

although patches are organized differently. Accepts U220 cards.

(-) S-10 Digital Sampling Keyboard (MIDI)


The Roland S-10 is a 12-bit sampler with a 30 KHz sampling rate (max). It's

got 128 Kb's of RAM (I think). You can sample up to 4.4 seconds at this rate.

You can also choose a 15 KHz sampling rate (up to 8.8 sec's). It can only

hold 4 different samples at a time (1.1 secs each at 30 KHz). These samples

are organized in banks A, B, C and D. When you sample you choose either one of

these banks or one of the following combinations: AB, CD (max. 2.2 sec's) or

ABCD (max. 4.4 sec's).

Splits: A/B, C/D, AB/CD or A/B/C/D.

Layers: Banks at the same "stage". For example: B+D or AB+CD. Not A+AB.

These bank combinations can also be mixed or switched via adjustable


The keyboard has only got 4 octaves, but is VERY playable compared to the

keyboards on most modern synths. You see, under each key there is a piece of

metal (is this what is called semi-weighted?).

The S-10 has got 8 voice polyphony which is cut down to 4 voices when layering

or velo-switching and velo-mixing. You can detune two banks to get a

"flanger-like" effect (4-voice polyphony). There is also a simple but useful

delay option (4-voice...).

Arpeggiator: (up,down, up&down or random, rate, # of note repeat).

Trigger function: Audio in triggers a specified note, chord or notes via

arpeggiator. The trigger sensitivity is adjusted with the record

level fader.

Autobend: Depth, speed. A kind of portamento (?) but bends only upwards (both chords

and single notes).

It's got both manual and automatic looping functions. (Not crossfade-looping,

I think). The manual looping function is very user-friendly as you can let the

sample be sustained while you are editing it to find the best/most glitchless

looping point. There are some high-pass and low-pass filters that can change

the sounds quite dramatically but they are not so flexible - sort of static.

When performing I use my S-10 for effects and special "fill-in" sounds and

as a master for my Roland D-110 and E-mu Proformance.

The dummest thing about the S-10 is that it uses 2,8"(!!!) disks

("quickdisks"). These are hard to get, expensive and even though you can save

sounds on both sides you can ONLY save one bank per side. So, to save a 4.4

sec 30 KHz sample you will need two of these disks.

(From: (Mads Olsen))

(-) S-220 Sampler


Two rackspace 12-bit sampler with 16 note polyphony, four part

multimbral, four individual outs for panning samples thru a mixer.

(-) S-330 Sampler (Rackmount)


The S-330 features the following:

- 15KHz and 30KHz sample rates

- 28 seconds (@ 15KHz) sampling time

- 8 RCA outputs and 1 1/4" mix output

- midi in/out/thru ports

- compatible with Alchemy sample editing and sample-dumping software

Roland S-330 rack mount sampler works with monitor and mouse for

onscreen editing and parameter changing. Monitor and mouse plug directly

into sampler, no computer needed.

(-) U-20 RS-PCM Digital synthesizer


61-note sample playback keyboard with 6 parts plus drums and 30 note polyphony.

It has velocity and after-touch and ADSR envelope editing.

May also accept 2 expansion PCM cards.

Sustain pedal, and Sysex librarian.

U-20 Expansion Card

2 voice cards (orchestral winds and special effects)

RS-PCM stands for 'Re-synthesizered Pulse Code Modulation'

This means that the original acoustic samples in this synthesizer are

modified to have a better sound.


Multi-timbral sample playback.

31 voice with 128 sounds and effects (reverb/chorus)

Accepts two simultaneous PCM cards from the Roland U-110/220 Library.

Connector for external controller (e.g. EV5 or EV10)

Connector for a hold pedal (e.g. DP-2 or DP-6)

4 outputs (2 with- and 2 without FX) + headphones.

Slot for a RAM card.

2 slots for PCM cards

MIDI In/Out/Thru

* Keyboard banks (64 types) holds data for:

-The 2 programmable slides C1 and C2.

In EDIT-mode C2 is used to modify values by

sliding it up for a higher value and sliding it down for a lower.

- The 2 CHORD buttons witch are fully programmable.

(8 programmable types)

- The Arpeggio button.

- the bender/modulation wheel

- the 2 optional pedals

* Sound banks (64 types) holds data for:

- 6 parts within each part one of the 128 timbres (=programmable sounds)

- 1 rhythm part (one of the 4 types)

- effect


This is the series of cards made for the Roland U110.


"The 128 internal sounds are more or less the same as the U110, but have a

better quality.These sounds includes: Piano's, Organs, acoustic and electrical

guitars and bass guitars, trumpets, trombones, sax, (synthesizer) strings,


If you want to use Latin percussion or some special effects like a

telephone ring, you have to buy the 'FX Card' of the U110-serie. This is

strange because these Latin percussion sounds ARE built-in the U110 module

and NOT in the U20/U220. BUT it is an excellent instrument with great sounds

and possibilities for persons who want new sounds but don't have the time to

build them." From: "Boonen, Benny" <>

"The U-20 will read both parts of the D-110 sound cards." (From: PaulPetersen)

(-) U-110 Rackmount Digital Synthesizer module


Sound Module with 31-voice polyphony, 6 multi-timbres.

6 Multi outs + L (mono), R

99 Preset tones (10 Piano, 5 E. Piano, 3 Vibraphone, 4 Bells, Marimba, 5 A.

Guitar, 4 E. Guitar, 12 Slap Bass, 2 Fingered Bass, 2 Picked Bass, 2 Fretless

Bass, Acoustic Bass, 3 Synth bass, 4 Choir, 4 Strings, 13 E. Organ,

9 Trumpets, 5 Saxophone, 5 Brass, 2 Flutes, 2 Shakuhachi, Drums with 32 sounds)

4 ROM card slots (Organ/Harpsichord, Latin & F/X percussion, Ethnic, Electric

Grand and Clavi, Orchestral Strings, Orchestral Winds, Electric Guitar,

Drums, Shyntetizer, etc.)

2 Built-in effects (Chorus, Tremolo).


"My personal opinion of the U-110. It's a great companion unit (especially

with the Drums, E. Guitar, and Orchestral Strings cards). I use it

extensively for rhythm section (Drums, Bass and Guitar).

The E. guitar card has tons of Clean, Overdrive and Distorted guitar tones

plus fret noises, harmonics and loud/soft, mute/unmuted, normal/feedbacked

variations which are velocity controlled. It can be found very cheap used

nowadays (I've seen shop prizes as low as US$ 250, sometimes ROM cards are

thrown in free)."

- From: "Cesare Tirabassi (NSI)" <>

(-) U-220 Rackmount Digital Synthesizer module


Single space, MIDI module. 30 voice, 6-part multitimbral plus drums

rhythm channel (7 parts total), 128 high quality PCM sampled instruments

ranging from piano, guitar, bass, brass, strings, flute, etc. to analog

synth samples.

2 simultaneous digital FX thru the main stereo output (4 other outputs

available + headphones, 6 independent outputs). Accepts two simultaneous

PCM cards from the Roland U-110/220 Library. Built-in chorus, reverb

and delay effects.


From: Paul Petersen

"The U-20 will read both parts of the D-110 sound cards."

From: (Twangr)

"In his post of 5/4, (vern egbert) wrote:


> and if so, I would really like to know for what

(I've omitted much to save space.)

Yeah, I use a Casio controller and a Roland U-220 quite a bit in my top 40

band. I play a lot of horn, string and percussion parts. It really fleshes

out the sound of the band, although I find MIDI to be a pain in the ass at

times. But I do enjoy seeing the occasional onlooker scratching his head

trying to figure out where that B-3 solo came from or who's doing the

tympani roll."

(-) W-30 Synthesizer/Workstation


How to enter the Roland W-30 Hacker Mode.

-Press user twice to enter the the "user setting mode".

-While pressing tempo, press <F1> twice quickly.

1) New choices in "sequencer" menu.

2) "Jump to screen" window.

3) New items in "FD Format" window.

4) New information in the "micro edit" window.

It seems like this could be used by technicians to trouble-shoot the W-30.

There are things like RAM test, and keypad test. There are also some very

strange commands. Make sure to back up your system disk, it can even do

strange things to it.

(-) XP-50 Synthesizer


From: Mark Tan <>

> Does anyone know if the XP-50 is exactly a JV-1080 in

> a keyboard version. If so, what would be the dis/advantages to

> upgrading from a JV-1080 to the XP-50. I am thinking of upgrading

> since I have a controller with no aftertouch and also would like

> to do my sequecing on the keyboard. Any thoughts?

As opposed to the JV-1080's 4 separate outs, the XP-50 only has one pair of

outputs, and apparently there are no external PCM or DATA cardslots,

although you still can use up to four expansion boards of the SR-JV type.

(*) 3.2 Monophonic Synthesizers    


(-) MC-202 Analog, Non-MIDI, monophonic


Can sync up to drum machines such as TR-707,-727, and -909.

Owner comments:

"The MC stands for microcomposer and that is just what this little angel does.

Except, I never use it that way (too much of a hassle.) I call it my little

angel because this thing produces the deepest, roundest bass that i have ever

seen. I love it to death.. can't wait to MIDI it! anyway, this machine has

basically the same circuitry again as the sh-101 and sh-01 synth, minus the

ability to go to different waveforms. I think it is stuck with a square wave,

maybe, maybe a sawtooth. it doesn't do as much as the 101 does but I think it

makes up for its bass sounds. I think of it as my bass machine."

"...the PG-series do not have ANY features that allow DIN-sync to MIDI

clock! The PG-series consisted of the PG-200 (JX3p, MKS30 Planet S), PG-300

(Alpha Juno 1 &2, MKS50), PG800 (JX8p, JX10, MKS-70 Super JX) and PG1000

(D50, D550). You could also consider the MPG-80 (MKS-80 Super Jupiter) as

part of the PG-series if you wish. But, they don't provide DIN-sync to MIDI

clock..." (From: George Kotsopoulos)

"...available waveforms on the MC202 and SH101 (since they share the exact

same sound circuitry).

The MC202 can produce Pulse Width Modulated waveforms (when Modulation is set

to 50%, you get a square wave), Sawtooth and a sub-oscillator which is a

Square wave with adjustable octave switch. The progammability differences

between the SH101 and MC202 is that the MC202 only has a TRIANGLE wave for

its LFO (Low Frequency Oscillator) modulation. The SH101 has TRIANGLE,

SQUARE, RANDOM and WHITE NOISE." (From: George Kotsopoulos)

(-) SH Series


The SH series were the line of keyboards that Roland first sold. They came

out in the late 70's and they were basic synths. They were usually half size

(two octaves) and they had knobs and some switches, monophonic, and of course

not multitimbral. This is the closest thing to the Moogs that were coming out

at the time (except more condensed and not made of wood.) What I hear is that

the circuitry for a SH-9 is similar to that of the 808. These synths usually

have a control voltage/gate input from any external synth or sequencer of

sorts. The "SH" supposedly stands for "synth".

The SH-1 is closest to the SH-101 except there is no pitch lever (I think)

and it has the ability to generate pink and white noise, which very few

synths have now. It has a VCO (voltage controlled oscillator), a VCF (voltage

controlled filter), and a VCA (voltage controlled amplifier), as well as

an envelope follower.

This is a small synthesizer and it can be used to generate the classic

"LOW BASS" sounds as well as a lot of percolating random noises. some people

like to make pads and simulations of string synths with it by setting the

attack a little slower and turning the frequency cutoff down a bit.

Other synths in this category are the SH-2, SH-5, SH-7, and SH-9.

(-) SH-5


"The SH-5 is BIG. It is ca 85 cm wide, built in its own case and has 3,5

octaves of keys. It has 2 oscillators, ringmodulator, 5 input mixer, 2

filters (one LPF/BPF/HPF and one extra BPF filter). It has three LFOs and

to ENVs (one ADSR and one A(S)R). The modulation capabilities are awesome

and so is the sound.

The SH-5 housing is indeed made out of wood. And as I said earlier wider than

a Minimoog ." From:

(-) SH-101 Analog, Non-MIDI, monophonic


This two octave digital/analog hybrid synth is pretty popular. It features

everything that the SH-01 did except it is not switchable from white to pink

noise. it has a pitch/modulation lever that can trigger the LFO to modulate

the sound as well as an external modulation grip. This grip is just a small

wheel on a grip that just does the modulation and nothing else. You can

attach a strap to this and the other side to wear the 101 like a guitar.

It came in several colors of grey, blue, red, and purple.

When I say it is a digital/analog hybrid, I am refering to the fact that the

clock in it is run digitally. The difference between running a digital clock

versus analog is that the analog waveform's oscillation peak points are what

triggers it. This is not the most dependable way of timing as interferences

and all kinds of fun stuff can cause it to fluctuate. The digital clock on

it should make it more dependable.

This has CV/gate in and out 1/8th jacks. Also, there is a modification that

you can add to allow a line input before the VCF and you can shape your line

input with the 101's controls (frequency cutoff, resonance, modulation, etc.)

There is a small battery inside the 101 that stores your 99 note sequence.

There is a hold function which holds the note that was last played, also an

arpeggiator that can can go up or down or both (like Philip Glass type

stuff.) The waveforms can be from a sawtooth, a square, a noise, or a random

wave. Like the SH-01, the wavelength distances can range from 16-2 feet

(very low frequencies to very high frequencies.) There is a noise generator

that just adds noise to whatever you are playing.

(-) TB-303 Analog, monophonic Bass line synthesizer (Non-MIDI)


The TB-303 can easily sync to other ProForm products or many other products

to play the composition. Can sync up to drum machines such as TR-707,-727,

and -909.


- Programmable in real time or in step mode using input buttons

- ProForm standard includes the TR-606 drum synthesizer/sequencer.


"They all have their own sound really, 303 is what is associated with the

acid sound, 202 has more of a midrange effect (not all that popular really),

and the SH 101 seems to be mostly used for bass (I've used one before and

remain thoroughly unimpressed)" From:

"The only available way of entering notes is via step-time entry. It's a

peculiar way too. First, you enter the pitches that you want and then

secondly, you enter the rests and any other accents or slides you want.

Sorry, no real-time entry on this! (Page 9 through 17 deals with programming

bass sequences in to the TB-303.)" From: George Kotsopoulos

"I assume that the TB stands for something like, "the bassline" or "tone

bass." Whatever the case, this is also called the acid was used

in the later 80's house music (Phuture, Adonis, Derrick May) and this is what

the drug acid would have sounded like. This, along with the 808, 909, and 106

is probably one of the most famous machines that Roland ever made.

The heart of the 303 is the square/sawtooth wave. It has 6 knobs at the top

of the machine to control this wave (tuning, frequency cutoff, attack,

resonance, decay, and accent.) The wave is switchable from square to sawtooth

wave. There are no lfo's or noise filters or anything.

I think actually all of these machines are run by DCO's but anyway, this is

the "computer controlled" sequencer of the machine. You can store 64

patterns, which are split into 4 groups and then each group has 8 patterns

each on A and B. You can also tie 4 patterns together to make a song. You

must program the pattern in (again!) step time (ugh!) with rests (no sound),

staccato (moving at the tempo of the click), and legato (extending through

several clicks.)"

(*) 3.3 Sequencer / Programming Units and MIDI Controllers


(-) MC-50 Sequencer


From: Khang Nguyen <>


1) Built-in 3.5" disk drive

2) Memory capacity of 40,000 notes internal and 150,000 on disk

3) 8 Phase tracks with 16 midi channels per track (128 channels total)

4) Rhythm track & Tempo track

5) Quantize function

6) Two MIDI OUT connectors for a total of 32 midi channels simultaneously

7) SUPER-MRC recording system

(-) MKB-300 MIDI Keyboard Controller


-76 full size velocity sensitive and weighted action keys (firmer than

regular synth. and softer than acoustic piano).

-Slider for key transpose.

-Joystick for pitch bender, modulation.

-Sliders for modulation rise time and depth.

-Connectors for soft pedals (2) and damper pedals (2). Soft

pedals can be use to increase or decrease patch number.

-Connectors for MIDI IN (1), OUT (4) and THROUGH (1).

-Connector for modulation pedal (1).

-Displays and buttons to select MIDI channels (all 16 channels) in

multiple modes (split, dual, whole lower, whole upper,

monophonic and polyphonic).

-Buttons (24) to save and transmit up to 128 program change MIDI

messages. These programmed MIDI messages are saved in battery

backed (non-volatile) memory.

-MIDI channel split point can be disable or set AT ANY of the 72 keys.

Each of the saved 128 programs can have different split points.

-Note that the MKB-300 is a MIDI controller without sound module.

(From: (Gia Nhan))

(-) MPG-80 (programmer for MKS-80 Super Jupiter)


(see also PG Series)

(no data)

(-) MSQ-100 MIDI sync/sequencer box


(no data)

(-) MSQ-700 MIDI/DCB Multi-track Digital Keyboard Recorder


The MSQ can memorize all MIDI informatino and has 8 memory tracks.

Up to 6,500 notes can be stroed in all tracks. The MSQ-700 has several

convenient functions; a chain function, multitrack function, overdub

function, and merge function. Numerous data, such as remaining memory

capacity, tempo, or measure number, can be digitally diplayed. And the

MIDI allows the MSQ-700 to be connected with the TR-909 and to control

the TR-909 with the MSQ-700's data.


- 8 tracks, programmable in real or step time, to 1/32 resolution

- Beat: Free, 1 ~ 6, 8, Tempo: 35 ~ 260

- Max memory capacity 6,5000 notes in all 8 tracks

- Modes: Chain, Normal and Tape.

- Clock: Internal, Tape, Sync, MIDI

- Display: Measure, Chain, Avail., Note, Tempo, Status

- Metronome switch: off, load/play, on

- Rear Panel: EXT Control(Start/Stop, Punch in), Sync In/Out (5p DIN),

Tape Sync(Load/IN, Save/Out), Memory Protect On/Off Switch

- Dimensions: 346mm x 108mm x 328 mm (WxHxD), 5 kG

13.6" x 4.25" x 12.9" , 11 lbs.

(-) PG Series Synthesizer Programmers (see also MPG Series)



From: George Kotsopoulos

"The only PG-series programmers which do not have MIDI jacks are the PG-200

(which is used with the MKS-30 Planet 'S' module or the JX3p keyboard) and

the MPG-80 (which is used with the MKS-80 Super Jupiter module) which use a

special 6-pin DIN connector. Every other programmer (the PG-300, PG-800, PG-

1000 ect.) have MIDI jacks to interface to the keyboards/modules they are

capable of editing.

The PG-series are programmers. If [deleted] thinks that programming

and triggering are the same thing, then that is incorrect."

(-) PG-100 programmer box


(no data)

(-) PG-200 (programmer box for JX-3P, MKS-30 Planet S)


(no data)

(-) PG-300 (programmer box for Alpha Juno 1 & 2, MKS-50)


allows tactile programming with about 3 dozen sliders over MIDI

of the parameters in the A-Juno-2 and others in the Alpha Juno line.

(-) PG-800 (programmer for JX-8P, JX-10, MKS-70 Super JX)


(no data)

(-) PG-1000 (programmer for D-50, D-550)


(no data)

(-) System 100 Sequencer Module 104


Description: 12 stage, dual channel analogue voltage sequencer.


Gate Outputs (2)

Series Outputs (2)

Parallel (CV Sequencer) outputs (2 per channel)

Ext CV Input [Clock Rate]

Gate Time, Clock Time controls

Range switch [x1/x10]

Step Number [1-12] [How many steps in sequence]

Channel A/Channel B [Which channel are we talking about]

One Time/Repeat [Play sequence once/continuously]

Ext Trigger Input [Start]

Ext Trigger Input [Continue]

End Pulse Output [Stop]

Ext Trigger Input [Step]

Note - All jacks are 3.5mm mini.

Owner comments:

"Output control voltage ranges are variable across 2.5V, 5V, 10V - I'd be

extremely reluctant to use the 10V range, especially on a low-voltage device

like the MC202, SH101 etc. Maybe they have the precautions necessary to deal

with the trauma, but I wouldn't risk it. This hefty looking box is just the

trick for those analogue jams - loads of flashing LEDs, 27 dials, switches

etc! Using the beast is a doddle - just dial up the various values for each

stage of the sequence, and connect up one of the "parallel outputs" to a CV-in

on your favourite noise box [ie VCF Cutoff etc] and start creating complex,

syncopated rhythms, especially if you have the thing being clocked externally.

Something interesting to keep in mind with this things is the fact that its

own internal clock is a VCO! So you can have it sequencing away, but slowing

down and speeding up to another external voltage. Great huh? It's curious

that there are 12 stages to the sequencer, as opposed to 8 or 16, but I'm not

complaining. It wouldn't be too hard to bodge up something that does what

this box does, but it sure wouldn't look half as cool! :)"

(From: Andrew W Gamlen <>)

(-) A-30 Master Controller Keyboard (verify?)


(-) A-50 Master Controller Keyboard (verify?)


76 keys un-weighted

-64 patches, which can linked 32 patches together,with card slot.

-Can send all kind of midi program change including aftertouch

and velo. , and all programmable.

-Split/stack its up to 4 zone .

-Program can be change via sliders.

-2 Midi in, 1 Midi thru, 4 Midi out, and four foot controller inputs.

-Large LCD screen display.

(-) PC-100 MIDI Keyboard Controller


4-octave keyboard MIDI controller

(-) PC-200MKII MIDI Keyboard Controller


- 49 full-size velocity sensitive keys

- compact, desktop design, standard MIDI connections

- octave shift provides 6 octave range

- bender/modulator lever for expressive control

- data entry slider for full MIDI capability

(-) [3.99] End of Keyboard Section





MIDI soundcards, peripherals, external synth modules and adapters.

(*) Section 4 - Table of Contents


4.01 CA-30 Intelligent Arranger

4.02 CM-32L External Module

4.03 CM-32P PCM Sound Module

4.04 CM-64

4.05 CM-300

4.06 CM-500

4.07 LAPC-1 Soundcard

4.08 MT-32 MIDI Sound Module

4.09 Roland MT-100

4.10 RAP-10/AT Roland Audio Producer Soundcard

4.11 SCC-1 GS Sound Card

4.12 SCC-1B GS Sound Card

4.13 SC-7(PC),SC-7(MAC) Sound Modules

4.14 SCD-10 and SCD-15 Sound Canvas Daughter Boards

4.15 SC-55

4.16 SC-88 Roland Sound Canvas 88

4.20 Super MPU/AT, MPU-IMC, MPU-IPC MIDI Interfaces

(-) 4.01 CA-30 Intelligent Arranger


"Note that the CA-30 is a MIDI controller without sound module. Provides 32 music accom. styles (ex: RUMBA, ROCK, BALLAD, SLOW, etc.) in real-time, for MIDI keyboards or MIDI modules. Each style has 4 variants. More music styles can be added using Roland ROM cards (external, credit card size). Most home entertainment synth. and electronic piano can only send and and receive MIDI on one fixed channel. And they do not send all parts (drum, upper-split, lower-split, accomp. and bass) of the performance. This unit, as a MIDI controller, is fully configurable for 16 MIDI channels and sends all instrument parts to the configured channels." (From: (Gia Nhan))

(-) 4.02 CM-32L External Module


The CM32L was an MT32 in a plain external box (no LCD's or parameter controls). Also has 33 F/X sounds, reverb. Meant to be used with a computer. Similar to an SC-55 in quietness. From: Adam Mirowski <>

(no specs)

(-) 4.03 CM-32P PCM Sound Module


-Multi Timbral Sound Module

-This PCM Sound Module similar to the Roland U-110 is built in the CM32P, creating high quality 64 different sounds.

-Can produce a maximum of 31 voices (Partials)

-Built in digital Reverb creates realistic reverb effect

-Midi Hardwired Channels 11-16

- only half of the samples compared to the U-220

- no MIDI out

- no external controls beyond volume



This is the series of cards made for the Roland U110. You can buy the complete collection of Roland U110 cards at American Musical Supply (1-800-458-4076) for $19.95 each. <--These usually cost $59-$69. The 64 internal sounds already on the CM-32P are all from the high quality ROLAND sound library: 10 Pianos, 5 Guitars , 8 SLAP Bass , 2 Fingered Bass , 2 Picked Bass, 1 Fretless Bass, 1 Acoustic Bass, 4 Choirs, 4Strings, 10 Organs, 4 Sax , 5 Brass , 8 Trumpet /Trombone (and a few more).

Owner comment:

"This is a great little module....that will give you those lush ROLAND sounds..and best of can get all the cards to build quite a collection of sounds from American Music's PCM so you will have as rich/quality a sound as the U110 and U220!"

"The "MT-32/CM-32L Companion" module. :) Designed to give digitally-sampled PCM sounds to your existing setup. Since it runs on channels 11-16, it works perfectly with the 32L which is on 2-10. It has 64 internal sounds, and a card slot that accepts cards from the U-110, 220, etc, library." From: Markell Moss

(-) 4.04 CM-64


The CM64 was an CM-32L plus a CM-32P in a single box, a kind of 64-voice polyphony.

(-) 4.05 CM-300


The CM300 was an SC55 in a plain (no LCD or buttons) external box.
"The CM-300 is the same [as the CM-500] but without the LA sound source."

(-) 4.06 CM-500


The CM500 is 2 synths in one box; equivalent to an SC55 and an CM-32L, for "perfect games compatibility".
"The CM-500 contains an LA sound source (identical to that found in the MT- 32 and CM-32L), and a GS format sound source. It's capable of producing up to 56 voices at any one time, 32 LA sounds and 24 GS sounds. (reverb and chorus effect is implanted).
It can be run in four different modes:Mode A doubles LA with GS sounds (one can be turned off by sending an Exclusive message) ( -> Channel 1 - 16 GS + 2 - 10 LA <- ) , Mode B for use with song data written for the CM- 32L or CM-64 (the GS sound source will emulate a CM-64 PCM sound module) ( ->Channel 2-10 LA + 11-16 GS <- ), Mode C for use with GS Format song data ( -> 1-16 LA <- ) and Mode D for use when playing the CM-500 with a keyboard (-> 1-10 GS + 11-16 LA)." From: Matthias Steinwachs(MIDINET)

(-) 4.07 LAPC-1 Soundcard


Linear Arithmetic sound for the PC.

The LAPC was a CM-32L on a PC card, with enhanced sound effects and additional user patch RAM. Introduced around 1988. Was sold by Sierra On-line for use with their games, in additional to traditional Roland dealers. Needs an external adapter box to turn it into a full MPU401 MIDI interface (Roland MCB-01). Includes the CM-32L's F/X samples and as quiet.

(no specs)

(-) 4.08 MT-32 MIDI Sound Module


- Linear Arithmetic (L/A) synthesis, same technology as in the D-10 synth, 12-bit sampling and processing, half the samples of the D-10.

- Multi-timbral, 8 parts arranged in 8 Sound Groups plus a drum part.

- 32 voice polyphony plus 30 percussion samples

- 128 preset patches and 64 user programmable patches

- 128 PCM digital sound samples, plus digitally synth'd partials

- built-in reverb effects

The preset sounds are arranged in Sound Groups including several different instruments and timbres from each group: Piano, Organ, Keyboard, Bass, Syn-Bass, Synth 1 & 2, Strings, Wind, Brass, Syn-Brass, Mallet, Special Instruments, Percussion and Effects. The power of the MT-32 really comes through when you combine these voices together under sequencer control.
(Source: Roland Product Literature)

Owner comments:
"Lacks half of samples compared to D-10. The absence of a piano sample is very annoying...!" (From: Adam Mirowski <>)

From: Steve Butcher:
"Also, just to tell you a thing about the usability of the MT-32. I have a friend, Duane Gworek, who plays keyboards for Asia in the studio. He and Geoff Downes have a record company. He also plays with the likes of YES and Keith Emerson. Pretty impressive in my opinion. He lives here in Tulsa, OK. Anyway, back to the point. I traded him my MT-32 for some other stuff awhile back. He uses the MT-32 quite extensively. He says he really enjoys the sounds he is able to get out of it. This is a guy who is a BIG Korg Freak! So I think this is a testimony for the MT-32."

(-) 4.09 Roland MT-100


An older MIDI disk-player/sequencer with the old MT-32 sound module built

in. Roland has replaced the MT-100 with file-players/sequencers with the

Sound Canvas built in instead.

(-) 4.10 RAP-10/AT Roland Audio Producer Soundcard


The RAP-10 provides General MIDI and WAV record and play. The MIDI is based on the SC-7. MIDI ports are provided by an optional adapter which connects to an expansion on port on the backplane of the card. Roland makes an adapter called the MCB for this purpose.

- 16-channel, 26-voice 'Sound Canvas' General MIDI synthesizer
- 128 MIDI instrument sounds, 6 drum kits
- 16-bit, 44.1 kHz stereo sampling
- studio-quality digital reverb and chorus for both MIDI and digital audio
- Roland Audio Toolworks software for Microsoft Windows 3.1
- fully synchronized record/play of MIDI and WAV data
- 16 MIDI channel + 2 WAV channel mixing console
- waveform editing
- internal ISA bus card for PC, General MIDI interface

Tones: 128 sounds (General MIDI System Level 1), 6 drum kits
Polyphony/Timbres: 26 voices/16parts, (1 for drums)

Digitized Audio Section:
Record: Linear 8 or 16 bit at 44.1/22.05/11.025 kHz
Playback: Linear 8 or 16 bit at variable rates (+/- 1.5 ocatves from sample)
Polyphony: One stereo or two mono part(s)
Effects: Reverb/Delay and Chorus common to both sections independent levels per part.
Inputs: Stereo
Mic/Line: adjustable from -50dBm to -10dBm; stereo mini-phone jack
Aux/CD: -10dBm; stereo mini-phone jack & internal connector
Output: Stereo
Line Level: -10dBm; stereo mini-phone jack
Mixer: Seperate levels for synthesized audio playback, digitized audio playback, AD/input (also Aux. in)

Joystick/MIDI (Enhanced MPU-401 UART) connector; DB-15F (optional MCB-10 connector box provides MIDI connections)

From: Mike Rivers
"Question: If I add the midi interface accessory, does the RAP 10 become truly MPU-401 compatible? I need a true MPU-401 interface?"
Nope - Roland finally dropped their own standard on this one. The RAP-10 is MPU-401 compatible as far as Windows is concerned, and will work with any software that will support a UART-only interface (I'm taking a stab that Cakewalk 5.0 for DOS will work with it) such as a SoundBlaster offers, but the RAP-10 doesn't have the MPU coprocessor. Old software that requires that hardware support won't work with it. If you like the synth and audio parts of the RAP-10, go ahead and get one cheap, and buy a Music Quest PC-MIDI card for your gen-u-ine MPU requirements."

From: Tom Honles
"The Roland tech walked me through all the options in Roland Audio Tools (RAT) software. I have been less than impressed with this OEM'd software, and my opinion continues to slink down into the mud. Here's the scoop:

1. RAP-10 and [tape] sync to MTC via the MIDI interface. The RAP-10 will work with the MVI MIDI-MATE ... as with any MIDIMAN Y-cable or compatible. However, the software has to be tweaked carefully in order to operate in sync. The obvious setup items are ensuring that the input MIDI device is the RAP-10's interface, and that the software is configured to sync to SMPTE via MTC. The one that stumped me is a parameter called "Input Feedthrough" which if enabled, will allow you to play the RAP-10 using an external keyboard, passing the external MIDI info to the RAP-10 on-board synth. It was not enabled by default, yet I could hook up my controller and play the RAP-10 sounds. The tech never asked me about this item. I decided to try every combination of parameter in the book that had to do with MTC and sync. The manual did not mention the input feedthrough feature, but the online help does, and when I enabled it, voila!, the RAP-10 started syncing up WAV & MIDI playback to my rolling ADAT tape.

2. SMPTE time "Rollover"
... the SMPTE display in the RAT software rolls over at 59 mins and 59 secs back to "0", though internally it knows that it is 1 hour + whatever the display says. This is not a problem in most cases, I suppose, but if you [sync] an external clock that rolls over, your display on the PC screen is not correct. What made it a problem for me, is that the JLC DATAsync takes the ADAT time and designates the 2-minute leader data segment on the tape as SMPTE 00:58:00 - 00:59:55 (I understand this is commonly done in studios as well) and when the ... tape "starts" at ADAT time 0.00, the SMPTE time is [actually] 01:00:00. So in RAT, you have to tell it what the SMPTE time is for the "Start" of song, which in this case would be 01:00:00 if recording from "0" on ADAT... the Roland RAT software, the time display is in my opinion, flawed, reading 00.00:00.0 (mins.secs : frames.10ths), so that 1 hour, 2 hour, 3 hour, etc. all look like 0 hour! You have to 'trust' that you are at 01:00:00 when the display reads 00:00, just like an old automobile odometer that turns over at 100,000 miles ... add ... the time display does not "roll" unless it coincides with MIDI data present at that time. So there is no pre-song or post-song display of rolling time, which [makes] it difficult to know whether the RAP-10 was syncing up to tape or not...

3. Make sure PC cards are well seated.
After I added an MQX-32 and moved my system around, the RAP-10 would distort the WAV audio badly, though it would play MIDI sounds beautifully. I called Roland, and we spent an hour changing DMA settings, enabling/disabling features in the BIOS, etc, and ended with nothing to show. I could tell he was as frustrated as I. That evening I took the system apart and troubleshot each component. When I removed and reinserted the RAP-10 into the PC card socket, the audio problem disappeared! I installed verything else back in, and noticed that my motherboard 'gives' just a little, maybe enough when I install a card adjacent to the RAP-10 card, that the RAP-10 'unseats' itself. So I went through and made sure all the cards were well seated, and the fully assembled PC and RAP-10 played digital audio and MIDI perfectly, as when 'new'."

(-) 4.11 SCC-1 GS Sound Card


The SCC-1 is the CARD type of the SC-55 Sound Canvas module, it is an

8-bit card with onboard MPU-401 unit for processing MIDIs,

128 GS instruments, General MIDI and GS Compatible.

The SCC-1 is also MT32 compatible, but does not understand

MT32 Sysex messages. It has an MT-32 compatible program change map

(bank 128 issued on every channel/part).


- 16-channel, 24 voice 'Sound Canvas' General MIDI synthesizer

- 317 MIDI instrument sounds, 9 drum kits, plus sound effects

- MPU 401 interface for DOS & Windows MIDI software

- studio quality reverb and chorus

Reverb: ROOM 1-3, Hall 1-2, Plate, Delay,Panning Delay

Chorus: Chorus 1-4,Feedback Chorus,Flanger,Short Delay,Short

Delay Feed back.

- General MIDI and Roland GS compatible

- Ports: Headphones, MIDI IN/OUT, RCA Left, RCA Right.

Owner comments:

"All basic GM sounds have variations, memorized on a per-part basis,

changed using the Bank Select MSB controller (0) and often offering

a richer sound through the usage of two partials instead of one."

(From: Adam Mirowski <>)

"Samples are stored in ROM, using 4MB , Uncompressed. (I wasnt able to verify

the 4MB size, if anyone can verify it with Roland Corp. it will be great.)"

"The way to combine 2 soundcard audio signals into one stereo signal feeding

a stereo system input, would be to pass the audio output from one card

into the AUX input of the other, and then use the mixer applet to combine

them. In the case of using a SB card and an SCC-1, the only choice

would be to feed the SCC-1 audio output into the SB AUX input,

and take the SCC-1 audio output to your stereo. The SCC-1 does not have

an AUX input."

(-) 4.12 SCC-1B GS Sound Card


Basically the SCC-1 bundled with additional software.

This is a small comparison between the Roland SC-7 module

and the Roland SCC-1 card. You are encourged to use this template

when comparing other wavetabled cards.

Roland SC-7 Roland SCC-1

Parts: 16 16

Polyphony (MAX) 28 24

Tones: 128 317

6 Drum Sets 9 Drum Sets

Standard Standard

Electronic Electronic

Brush Brush

Power Power

TR808-set TR808-SET

Orchestra Orchestra





Effects Reverb/Delay Chorus Reverb/Delay


NOTE: Both SC-7 and SCC-1 are GM. The SCC-1 also conforms to GS.

(-) 4.13 SC-7(PC),SC-7(MAC) Sound Modules


- connects to PC or MAC serial port or any MIDI interface

- 128 General MIDI instrument patches with 6 drum kits

- 28 voice polyphony, 16 parts

- studio quality reverb and chorus

- two-input mixer for MAC/PC audio, CD-ROM, etc.

- Ballade(r) and Band-in-a-Box(r) software and cables

- Ballade software mixer (MIDI)

- Band-in-a-Box software (PG Music, Inc.)

(-) 4.14 SCD-10 and SCD-15 Sound Canvas Daughter Boards


Model SCD-10 and SCD-15 are Sound Canvas Daughter Boards bundled with Software.

SCD-10 is General MIDI and SCD-15 is General MIDI and GS Format. The model

number of the cards themselves are SCB-7 and SCB-55 but these are not sold

outside of the bundle. Either one connects to Sound Blaster 16 wave expansion

feature connector (except SB16 Value Edition which does not have expansion

connector). Software includes Do-Re-MiX, Easy Juke, and 100 song files.


"Basically, the SC-10 and SC-15 are the SC-7 and SC-55 technology in a

SoundBlaster daughterboard expansion format. As the daughterboards use

the Soundblaster audio circuitry, the SB+DB arrangement is noisier than

a discrete Roland SC-7 or SC-55 arrangement. This may not be a concern

for gaming, but is a concern for recording and multimedia development."

(-) 4.15 SC-55


The SC-55 is the Original Sound Canvas and is an External Module. The SC-55

is a 16-part General MIDI/GS sound module with up to 24-note polyphony. It

has 317 sounds plus 9 drum sets plus a sound effects set. It has a larger

display and more front-panel controls than most Sound Canvas models. It's

mostly a sample playback unit, but some aspects of the samples (such as

filtering and the envelope) can be altered to produce new sounds. There is no

capability to add totally different sounds. The SC-55 also has built-in

reverb and chorus. It has a MT-32 compatibility mode (although the sounds

aren't exact and there are some limitations, such as that MT-32 sys ex is not

supported). It has an extra MIDI In jack on the front panel and has a remote

control that can handle some basic functions. It's rack-mountable (taking

half a rack space).

User comment:

"When Keyboard magazine did a blind test with many trained listeners a year

ago, they rated the SC7 and the SC55 (the original Sound Canvas) equal in

quality and better than the half dozen other General Midi boxes they tested,

including Korg, Kawai, and Yamaha TG100." (From:

(-) 4.16 SC-88 Roland Sound Canvas 88


From: (Loyd Blankenship)

The SC-88 is a MIDI sound module with 64-note polyphony and 32-instrument

multi-timbrality. The back panel has MIDI A IN, MIDI B IN, MIDI OUT/THRU,

a special serial port for PC control if your computer doesn't have a MIDI

card, a switch to choose among MIDI, MAC, PC 1, PC 2 for control, and 2

pairs of RCA jacks (audio in, with volume control, and audio out).

The front panel is a whole mess of controls handling everything from

instrument selection to pan, chorus, reverb, EQ, and parameter editing. Of

special note is the second MIDI B IN jack on the front panel, a boon to

multi-controller setups to avoid the plug tangle in the back.


"Roland boasts some 600+ sounds from the SC-88. This is a bit optimistic,

IMHO, as I really don't detect any difference in some of the similar sounds on

different maps (and some of the sounds on different maps are indicated as

identical). The three maps available are SC-88, SC-55 and CM-64. The SC-88

map contains 408 (by my one-pass manual count) sounds, the SC-55 map contains

226 (117 of which are identical to their SC-88 versions, and the CM-64

contains 192 sounds (none of which are indicated as identical, but some of

which sound pretty much identical). Still, it is a large assortment of a wide

variety of sounds (we'll get to drum kits in a minute).

When you look at the patches by type, some generalizations can be made. The

piano sounds are uniformly good (the Honky Tonk and Old Upright sounds

especially) -- not quite up to some of the dedicated piano sound modules I've

heard, but far above average. Ditto for the chromatic percussion set

(Celesta, Glockenspiel, Music Box, Vibes, Marimbas, Xys, etc.). The organd

sounds are spotty. Some are excellent (the Reed Organ and some of the church

sounds, for instance); the rotarys aren't that hot, though -- look elsewhere

if you want a decent B3 sound (it gives me an excused to buy a dedicated B3

module, I guess :-). The guitars are incredibly weak -- if you're doing

recording, plan on getting a friend to lay down any guitar lines you want.

The basses are about 70% positive -- the Acoustic and Fingered in particular

(I'm primarily a bass player, so I was picky about this :-). There are a few

weak ones in it -- the slaps aren't as thick as I'd like.

The orchestral and ensemble groups are great -- I was blown away by a couple

of the demo songs that came with the SC-88. The brass is hit-or-miss -- the

best French Horn I've ever heard on a synth, but lame Trumpets, for instance.

The reed group is slightly better, but not fantastic. The pipes (flute,

recorder, etc.) are solid, but not spectacular. The Synth pads are very

nice, and the synth leads are good, but not up to Vintage Key standards. The

synth FX are nice if you need that sort of thing -- a couple of them are

amazingly cheesy, though (sometimes intentionally, sometimes not, I think).

The ethnic section is good, but too damn short (with the exception of the

bagpipe sound, which is truly, truly awful). The tuned percussive section is

great, and the Special Effects (footsteps, shots, choppers, cats, birds, rain,

cars, etc.) is very good.

Drum Kits include Standard 1 & 2, Room, Power, Electronic, 808/809,

Jazz, Brush, Orchestra, Kick/Snare, Ethnic, SFX, and Rhythm. All are very,

very good.

The EQ section provides 12 db of cut/gain at 200, 400, 3k and 6k. I suppose

wishing for a parametric EQ is pushing for it, but it would have been nice to

offer 100 hz and 12k. <sigh> Nitpick. There are 8 different reverbs: Room

1-3, Hall 1-2, Plate, Delay and Panning (Sweep) Delay. There are also 8

choruses: Chorus 1-4, Feedback Chorus (soft flange), Flanger, Short Delay,

Short Delay w/repeats. There are also 9 delays Delay1-4 (progressively longer

delay times), and panning versions of the above, plus a ping-pong left/right

pan repeat that is way cool. Each type of effect has a whole slew of

parameters that can be adjusted (and damn do I want a good Windows editor for

this beast).

There is room to store 256 user patches, and everything in the system can be

controlled via sysex dumps.

I've only had it for a week, so I can't really get in-depth on the editing,

etc., but as far as sound quality and versatility go, this is fantastic. If I

can get a good B3 module, the Proteus Ethnic module and perhaps a Vintage

Keys, I'd have everything I need at my fingertips :-). If not, I can struggle

by with the SC-88. Recommended."

From: Markell Moss

"-=- Randy Varnell approached my podium, saying:

RV> any module. I've not played with the SC-88, but if it follows

RV> suit of several of the other sound canvas units, then we can expect

RV> good piano and drums, and sucky everything else. Go for the

No way, this box is HOT! I'd never go back to a regular Canvas now.

They took the patches from all the best equipment, strings, guitars, all

from the high-end Roland stuff like the JD-990, etc. I don't know

WHERE they got the horns from but they are BEAUTIFUL! The old Canvas sounds

so synthy... these sound REAL. :) I love my SC-88 to death, and it's no

wonder I sold off my old Canvas for this one. Don't be too harsh without

hearing it first. Hot unit... Hot!"

"I think the SC88 is great "bang-for-buck". But wasn't it you who said

that an extra $400 gets you the 1080. I think it's worth it. I think the

sound quality of the Sound Canvas series is one healthy step down from

their "Professional" line. Example: I have a P-55 piano module with some

of the same PCM samples as the 1080. The 1080 delivers them much more

realistically. Personally I could never live with all the sounds coming

out of one (albeit stereo) output. I'm addicted to separate outputs.

Hey, call me a snob. (No don't)" - From: Bill Rowen

(-) 4.20 Super MPU/AT, MPU-IMC, MPU-IPC MIDI Interfaces


- full MPU 401 compatibility

- MPU-IMC for IBM Microchannel, -IPC for PC ISA

- 'Super MPU/AT' adds:

dual ports (32 MIDI channels in and out), SMPTE read/write ports,

high resolution (960 ppqn), 16-bit MPU MIDI data processing




Rhythm sequencers, drum machines, bass line sequencers, electronic drum

kits and accessories.

(-) BOSS DR-5



"The DR-5 is an entire "band in a box": it's part drum machine, part synth

and part sequencer. Physically, it's a little larger than the DR-550/-660 drum

machines (approximately 6" x 10"). The front (really top) panel is comprised of

a multi-function display and about 40 buttons + data wheel on the top. Most of

the buttons are dual- purpose. For instance, 30 of the buttons are arranged to

kind of represent the first five fretted notes on a guitar on all strings.

However, all of these buttons are used for another purpose depending on the mode

you're in.

The unit contains 200 preset "patterns", and room for 200 user-defined

patterns. A pattern is made up of four tracks programmed to play drums, bass

and rhythm tracks. The drums play something, in some time signature, along with

bass and rhythm lines. Track 1 is reserved for drums. The remaining tracks

can be used for anything, though typically you'll find that the preset patterns

are set up like this:

Track 1: Drums (always)

Track 2: Rhythm instrument (guitar, piano, synth, brass)

Track 3: Bass (*many* types to choose from)

Track 4: Additional rhythm or lead instrument

You create songs by stringing together one or more patterns, setting up

loop points with repeat bars, etc. Hit play and you have an instant rhythm


To create a new pattern, you first pick a kit. A kit defines the percussion

instruments that can be used on Track 1, PLUS each instrument that can used on

each of the remaining tracks (Tracks 2-4). There are 32 preset kits and room

for 16 user-defined kits.

For each kit, there are 30 percussion sounds (out of a total of 64) that may

be used. That is, for each kit, there is a drum kit of 30 pieces.

The display is pretty slick. You're presented with both a guitar fretboard and

a piano keyboad (one octave). The keypad layout is like a guitar fretboard, so

you can enter chords or single notes through the keypad and it'll appear in the

guitar and keyboard "tab" display simulatneously. Or, you can connect your

(From:, Andre' J. St. Laurent)

(-) BOSS DR-550


Excellent 16-bit drum machine from Boss (a division of Roland). 48 16-bit

samples (not sampled at 44.1k though!) Some samples imported from the R-8

series. Includes 808 samples (snare, hats, clap, cowbell), 5-6 versions of

kicks and snares, latin percussions, special effects type (scratches and zaps)

and full kits. pattern sequencer. MIDI In ONLY! (so, you'll have to put it

at the end of the chain or get a THRU box) Runs on battery. Power adaptor

supplied. Stereo outs (L/R) Tape storage interface. (BTW, it's 12 notes

polyphony) From:

(-) R-5 Drum Machine (Human Rhythm Composer)


Stereo mix outputs plus 4 individual outs plus headphone out.

Contains Drum, Percussion and Bass Guitar sounds.

Human feel algorithms

Touch sensitive pads

MIDI in/out/thru

Preset patterns as well as user defined

Swing feature

Flam and roll buttons

Sequence start/stop jack on rear panel

Copy internal instruments and modify to create new sounds

Edit all internal sound parameters (e.g. pitch and decay etc.)

Tempo and level changes

(-) R-8 Drum Machine (Human Rhythm Composer)


- Full MIDI compatibility

(no data)

(-) R-70 Human Rhythm Composer


- of course, it's MIDI, and supports a lot of controllers, etc.

- I use SYSEX all the time to define drum sets and setups from the IBM

(running Cake 2)

- 210 16-bit drum and percussion samples, and they sound really quite nice.

- Positional pad, which can play "across" a drum head or cymbal from the

edge to the center (bell of the cymbal) - this is great for customizing

hits, and it really sounds authentic if you use it right!

- on board effects (these are o.k., and I use them sometimes)

Stereo flange, chorus, delays, reverbs

- 32 spots for User-tweaked samples

- Ram cartridges are available, but I don't use them

(I SYSEX dump to IBM instead)

- It is a "drum machine," and has a hardware sequencer that I sometimes use.

It doesn't mind being the slave, but I usually just use Cake and do all my

work there.

- The unit is capable of creating patterns in various genres, which may be

handy for the person that's temporarily out of ideas. Works fairly well.

I don't use this either, but it's kind of neat. :) Those things it

creates can be converted to user patterns and saved/edited.

- Can memorize some of the MIDI data sent to it

- Recognizes an eight-bit pitch bend resolution, mods, data entry, volume

(of course), panpot, etc. (most used controllers, anyway)

(-) TR-505 Rhythm Composer MIDI


The TR-505 is a programmable drum machine with some sampled Latin percussion

sounds. It's MIDI compatible drum module with 16 sounds. MIDI note numbers can

be assigned so it can be used as GM.


MIDI Input (1, in), MIDI Outputs (1, out)

Note numbers used for MIDI are remappable and the unit can thus

be used as a simple sequencer.

Cassette Tape Memory/Sync Jacks: Save/Out

DC in 12V, AC adaptor jack

Stereo or Mono Output (There are NO independent outputs for the sound.)

Stereo headphone jack

Velocity sensitive sounds WHEN controlled by external MIDI controller

Programming: Real time "tap" / "step" programming / Manual play

16 digital drum voices with individual level controls

48 preprogrammed patterns, 48 user-defined (programmable) patterns

Use these 96 (total) patterns to store up to 6 songs on board (432 bars)

More patterns/tracks can be stored via Tape In/Out interface,

or on your sequencer

Tempo and volume are controlled by rotary knobs

The sequencer supports accents.

16 Sound sources with

Bass drum

Snare Drum

Low Tom

Mid Tom

High Tom

Rim Shot

Crash Cymbal

Ride Cymbal

Closed/Open HiHat

Hand Clap

Hi Conga

Low Conga

Hi Cowbell

Low Cowbell


Built in mixer with individual level control buttons

(it is possible to use this machine with batteries only)

Optional Pedal switch.

(-) TR-606 Drumatix (Non-MIDI)


The Drumatix is a totally programmable drum synthesizer/sequencer. The

drum sounds available on the TR-606 include: Bass, Snare, Lo and Hi Toms,

Cymbal, Open and Closed HiHat. Each sound has its own level control for

total mix flexibility.

With the Drumatix, you can program 32 different rhythm patterns which

can be arranged to play up to 8 complete rhythm tracks ("songs"). After

the track has been programmed, the TR-606 can easily sync to other

ProForm products or many other products to play the complete drum track

of the composition.


- Programmable in real time or in step mode using input buttons

- ProForm standard includes the TB-303 bass synthesizer/sequencer.

(-) TR-626 MIDI


(no data)

(-) TR-707 Rhythm composer MIDI


The TR-707 is a programmable drum machine, similar to the TR727,

but has ordinary drum sounds.

(-) TR-727 Rhythm composer MIDI


The TR-727 is a programmable drum machine for latin percussion with MIDI.

Programmable in "step mode" or "tap mode"

4 tracks , 998 bars in total from up to 64 user created rhuthm patterns.

the sequencer supports accents, "flam" (grace-note), and "shuffle" for

rhythmic variants.

15 Sound sources with

Hi Bongo

Low Bongo

Mute Hi Conga

Open Hi Conga

Low Conga

Hi Timbale

Low Timbale

Hi Agogo

Low Agogo



Short Whistle

Long Whistle


Star Chime

Stereo or Mono Output

Ten independent outputs for each sound source (Bongo, Conga etc.)

stereo headphone jack

built in mixer with individual level control buttons

MIDI Input (1, in), MIDI Outputs (1, out)

Cassette Tape Memory/Sync Jacks: Save/Out, Load/In

DIN Sync IN/OUT Connector

External Trigger Output ("Hi Ag trig out" jack)

DC in 12V, AC adaptor jack

Optional Pedal switch, memory cartridge.

Note numbers used for MIDI are remappable and the unit can thus

be used as a simple sequencer.

(-) TR-808 Non-MIDI


Programmable in real time or in step mode using input buttons

(no data)

(-) TR-909 Rhythm Composer MIDI


Programmable in real time or in step mode using input buttons

96 patterns (16 patterns x 3 pattern groups) x 2 banks

4 tracks (continuous: max 896 measures) x 2 banks

1-16 step range

Sound sources (controls):

Bass drum (Level, Tune, Decay, Attack)

Snare Drum (Level, Tune, Tone, Snappy)

Low Tom (Level, Tune, Decay)

Mid Tom (Level, Tune, Decay)

High Tom (Level, Tune, Decay)

Rim Shot (Level), Hand Clap (Level), Closed/Open HiHat (Level, Decay)

Crash Cymbal (Level, Tune)

Ride Cymbal (Level, Tune)

Stereo or Mono Output

Independent outputs for each sound source (Bass, Snare, Etc.)

MIDI Input (1), MIDI Outputs (2)

Cassette Tape Memory/Sync Jacks: Save/Out, Load/In

External Trigger Output (Rim Shot jack)




Selected questions and answers on general Roland equipment features. Specific equipment questions would soon be too numerous to include in this document, and should be part of another, equipment-specific FAQ.

Q. How do I contact Roland Corporation?


Roland Corporation US has their official Internet Website at:

Please check their site for the latest official product and warranty information.


Roland "Super Store"
Source for Roland equipment accessories, including videos, books, and paraphenalia
(800) 386-7575

Warranty Repair Service
7200 Dominion Circle
Los Angeles, California 90040-3696
(213)722-0911 FAX
(213)685-5141 Main Technical Support (extension 770)
(213)726-8865 Main Technical Support FAX

CompuServe Forum
In addition to the above numbers, technical information articles, technical support messaging and Help files uppdates are provided online via Compuserve. To access the Roland forum, type                          
at any CompuServe prompt.  (June 1996 note... please let me know if this is still active on Compuserver... thanks! -Ed.)

To contact Roland US online:
This is for US residents only!

CompuServe E-Mail Account
The account number is RolandTech,72662,376


In Canada:
Roland Canada Music Company
5480 Parkwood Way
Richmond, B.C. V6V 2M4
Phone (604) 270-6626
FAX (604) 270-6552

In the U.K.
Roland U.K. Ltd.
Atlantic Close, Swansea
Enterprise Park, Swansea
West Glamorgan SA79fJ
United Kingdom
Tel: (0792)700-139


Q. What is the "Roland GS" standard?

A. The groundbreaking GS standard was created to standardize the Tone map and MIDI parameters for Roland instruments, providing consistent rules for defining MIDI Program Change number assignments and sound modification parameters. Developed in conformity with the General MIDI format adopted by the MIDI Manufacturer's Association, any GS-compatible sound source will be able to utilize the same sequencing data without having to reset MIDI Program Change numbers, Receive channels, or other parameters. The SB-55 Sound Brush and the SC-55 Sound Canvas were the first instruments to incorporate the GS Standard.

(Source: Roland Users Group)

Q. What drum sounds are available in Roland MIDI equipment?

A. The General MIDI specification designates a 'standard' drum kit ("sounds").

A drum kit is a collection of percussive instruments (snare drum, bass drum, hi-hats, etc.) laid across the entire MIDI keyboard. Under General MIDI, MIDI channel 10 is reserved for percussion instruments. General MIDI defines only one drum kit, which is the Standard Kit. Extensions to the General MIDI spec allow additional drum sounds, of which the Roland GS is a well-known extension used in many Roland synthesizers.

Roland GS Mode "drum kits"

Under the "GS" synth mode there are additional (including the Standard Drum Kit) drum kits you can use on MIDI Channel 10. Actually, you can set any channel (part) to drum mode and you can even use two drum kits at the same time. A part/channel can be either in melodic mode or in one of two drum modes.

Some common alternate drum kits are:

Standard General MIDI drum kit. Jazz is similar to the Standard drum kit.

Similar to that of the Standard kit except that it has more room ambiance.

Again similar to that of the Standard kit, but with more power kick and snare drums.

Electronic drum kit. Most of the percussion instruments in this drum kit are reminiscent of old analogue and digital rhythm machines (such as the Roland TR-707 and TR-909 rhythm machines)

Electronic drum kit, reminiscent of the Roland TR-808 rhythm machine.

Similar to the Standard kit except that brushes have been added. This kit is mostly used for Jazz MIDI pieces.

An immense collection of concert drums and timpani.

A collection of Sound Effects.

Same as the CM-32L and CM-64 drum kit This drum kit contains standard percussion at the lower range of the keyboard, and sound effects at the higher range of the keyboard.

Drum kits are very easy to access under MIDI. Each drum kit is essentially an instrument and you select a drum kit by selecting an instrument, just as if you would select a melodic instrument. For example, if you want to select the TR-808, all you have to do is to perform a program change to 25 on MIDI channel 10. After the program change, all percussion sounds will be played back through the TR-808 drum kit.
(Source: Roland Users Group,SBAWE32.FAQ)

Additional Comments on GS Drum Kits

From: (david cole)
Subject: Info: the Roland GS drum sets
Roland's GS standard allows for up to 128 drum kits. These are selected by sending a midi program number on the percussion or drum midi channel; the default midi channel for drums is 10. At powerup, and if a midi program 1 is sent, gives the standard General Midi drum set (or "kit"). This General Midi kit is similar to the MT32 kit, but on the upper notes it adds various infrequently used instruments (jingle bell, Latin instruments), many in locations which were used by Sound Effects in the CM32l and LAPC-1.
No GS module has anywhere near 128 different drum kits. The following information comes from the CM500 manual, and should apply to the SCC-1 card, SC55, SC155, CM300, and, I believe, the JV30 keyboard. The SC-7, RAP10 and SCD10 have fewer, and the SC55 MkII and SCD15 appear to have more, drum kits.

The other drum kits in the various original Sound Canvas GS models make a few changes to the basic General Midi kit. In the following, I list Rolands name for the set, the program number on channel 10 that calls up the kit, and a description of what is different.

Room set, program number 9: replaces the 6 Toms with Room Toms.

Power set, program number 17: uses the room Toms, and also adds "MONDO kick" and Gated Snare drum.

Electronic set, program number 25: electronic Bass Drum, Snare Drum, and 6 electronic Toms, and reverse cymbal replaces Chinese cymbal.

TR808 set, program number 26 (TR808 is a popular Roland drum machine): 808 versions replace the Bass Drum 1, rim shot (side stick), senare, the toms, hihats and cymbal, cowbell, 3 congas, maracas and claves.

Brush set, program number 41: replaces the GM hand clap, snare drum 1 and 2 with brush slap, tap, and swirl respectively. For Jazz, presumably.

Orchestra set, program number 49: concert bass drums 1 and 2, concert snare, castanets and cymbals. Big change is the high hats are moved and note numbers 41 thru 53 produce an octave of Timpani.

Applause is note number 88. It is, of course, polite appluse, no hooting.

SFX set, program number 57:
46 sound effects, most are the same effect (if not same quality, I haven't compared) as in the CM32l and lapc-1: door creaks, slams, screams, gunshots, jets, laser guns, laughs, etc. New are slap, guitar sliding finger, guitar cutting noise (down), guitar cutting noise (up), string slap of double bass, fl. (flute?) key click.

CM64/32L set, program number 128:
nothing new here, but combined differently for backward compatibility. Notes 35 to 75 are percussion (7 notes are skipped along the way and have no instruments), notes 75 to 108 are sound effects.

GS EFFECTS for percussion: percussion parameters are set via midi exclusive messages. Each instrument can have a level setting, a pan postion in the stereo field, and a settable amount of reverb and chorus. Also, as I interpret Roland's somewhat cryptic MIDI Imprementation charts, you have some control over the pitch of each percussion instument. And, as I read it, you can create 2 maps of these drum parameters. Haven't tried this; don't see how you switch between the maps.
Hope this helps make clearer just what "GS" comes down to -- and maybe will inspire some to compose using the additional capabilities. The information here should allow using the brush, room, and power sets, but for the others you will need to consult the charts in the manual for one of Roland's many GS instruments.

Q. What drum sounds are available in the "Standard" General MIDI kit?

A. The General MIDI specification designates a 'standard' drum kit ("sounds") which includes the following percussion tones:


(Note: This ASCII text table did not translate well into HTML. A future edition will include a real HTML table. -Ed.)


---- ------ ---- ---------------




27 D# 1 High Q

28 E 1 Slap

29 F 1 Scratch Push

30 F# 1 Scratch Pull

31 G 1 Sticks

32 G# 1 Square Click

33 A 1 Metronome Click

34 Bb 1 Metronome Bell

35 B 1 Kick Drum 2

36 C 2 Kick Drum 1

37 C# 2 Side Stick

38 D 2 Snare Drum 1

39 D# 2 Hand Clap

40 E 2 Snare Drum 2

41 F 2 Low Tom 2

42 F# 2 Closed HiHat[EXC1]

43 G 2 Low Tom 1

44 G# 2 Pedal HiHat [EXC1]

45 A 2 Mid Tom 2

46 Bb 2 Open HiHat [EXC1]

47 B 2 Mid Tom 1

48 C 3 High Tom 2

49 C# 3 Crash Cymbal 1*

50 D 3 High Tom 1

51 D# 3 Ride Cymbal 1

52 E 3 Chinese Cymbal

53 F 3 Ride Bell*

54 F# 3 Tambourine

55 G 3 Splash Cymbal*

56 G# 3 Cowbell

57 A 3 Crash Cymbal 2*

58 Bb 3 Vibra-Slap

59 B 3 Ride Cymbal 2

60 C 4 High Bongo

61 C# 4 Low Bongo

62 D 4 Mute High Conga

63 D# 4 Open High Conga

64 E 4 Low Conga

65 F 4 High Timbale

66 F# 4 Low Timbale

67 G 4 High Agogo

68 G# 4 Low Agogo

69 A 4 Cabasa

70 Bb 4 Maracas

71 B 4 Short Hi Whistle[EXC2]

72 C 5 Long Low Whistle[EXC2]

73 C# 5 Short Guiro [EXC3]

74 D 5 Long Guiro [EXC3]

75 D# 5 Claves

76 E 5 High Wood Block

77 F 5 Low Wood Block

78 F# 5 Mute Cuica [EXC4]

79 G 5 Open Cuica[EXC4]

80 G# 5 Mute Triangle*[EXC5]

81 A 5 Open Triangle[EXC5]

82 Bb 5 Shaker

83 B 5 Jingle Bell

84 C 6 [empty]

85 C# 6 Castanets

86 D 6 Mute Surdo*[EXC6]

87 D# 6 Open Surdo*[EXC6]

88 E 6 [empty]


1 "The blank positions have the same instruments as the ""Standard Set""."

2 Instruments with the same [EXC#] (Exclusive Group Number) will mute each other when played in combination.

3 Instruments marked with "*" can have their TVF's (Time-Variant Filter) modified by Channel Aftertouch

Q. What is Roland's SysEx Data ID and what is SysEx?

A. Should be "41". SysEx is a means of storing/retrieving synthesizer system patch data. This is for advanced MIDI users. In many MIDI sequencer software packages, the bytes are edited as hexadecimal numbers, separated by spaces. The sysex data will look something like this example: 'F0 41 10 42 12 40 11 02 10 1D F7' . Each sysex message should start with 'F0' and end with 'F7'.

Q. Can the RAP-10 [soundcard]record a .WAV from a .MID file?

A. The only way I have found around it is to wire the RAP-10's output to its input. Which means I can not listen to it while it is recording. Basically what you're doing is taking the audio out of the MIDI-controlled synthesizer and routing it to the input to the A/D converter. Most sound cards have an audio mixer of sorts that allows you to mix the outputs of the MIDI and audio side (plus maybe audio from a CD or other external input) but I didn't know there was a default connection from the gozouta to the gozinta. So what's wrong with not hearing what you're recording when doing the MIDI-to-WAV transfer? You can hear that sequence play any time you want. Or are you trying to mix some other audio, like a vocal, in at the same time, like in an overdub situation? To do that, you'd probably want an external mixer so you'd have some control, and you can always monitor off a mixer. (Mike Rivers)

Q. Why is this FAQ published?

A. About the ROLAND.FAQ: This is a 'work in progress'. I have seen questions on the Usenet and FTSC nets many times asking what Roland equipment features are. I hope this effort will help the situation. I have attempted to gather information from spec sheets wherever possible. Because the price of equipment changes rapidly, I have made no effort to track average selling prices, etc. There are other sources out there that attempt to track current prices of new and used equipment, and I suggest that you look for them if that is what you need.




How to submit information to the ROLAND FAQ


Please submit comments, corrections, and additions to:

Thomas Honles Internet:

Fidonet : Thomas Honles @ 1:102/945

Familynet: Thomas Honles @ 8:8/58

OS2Net : Thomas Honles @ 81:307/6

Submissions should include specs where possible. Data obtained from Roland product literature or magazine reviews is preferred, but hands-on owner's experiences and comments are welcome. Specs are most readable when listed in a line-by-line, item-by-item style. Comments and reviews are typically in a running prose. For an example see the entry for the RAP-10/AT soundcard in the MIDI COMPUTER PERIPHERALS section of the FAQ. I am not able to accept contributions which require significant effort in editing.



Equipment data obtained from manufacturer's literature where possible. Other sources include public postings of descriptions by owners of equipment via Usenet conferences or e-mail. Because of the large number of contributors, it is not possible to include a full list of credits, for which I apologize. Many thanks go to the hundreds of contributors who have provided source material for this document. Where information or equipment reviews are of substantial length, I have attempted to include the sender information as credit.

- Thanks to all.

Thomas Honles.




I am in no way connected with or compensated by Roland Corporation or any affiliates in production of this document. This document has been created solely for the purpose of providing a convenient service to other owners of Roland equipment. The information contained within this document is as accurate as has been presented to me, and may contain significant errors. You are encouraged to verify the details on the particular equipment you are purchasing or comparing with the seller or with Roland Corporation.

Thomas Honles

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