User manual ROLAND SH-32 GUIDE BOOK

[. . . ] With this booklet and CD, you can gain a better understanding of this powerful desktop synthesizer, complete with audio examples. This first section describes the SH-32 in general terms for those new to synthesizers. ------------------------------------------ Overview ------------------------------------------ from the front panel without having to navigate back and forth through a hierarchical interface. Thirteen buttons at the bottom of the front panel function as a virtual single-octave keyboard when the Preview button is pressed. This feature allows you to verify sounds and play performances without having to connect a MIDI keyboard. The SH-32 User Interface 2 3 5 6 1 7 8 The SH-32's front panel is designed for easy editing. [. . . ] The result is an endless variety of amazingly expressive, incredibly fat and punchy synthesizer sounds--from ground-shaking vintage synths to shifting exotic textures and more. 4 3 Section 2 Exploring the SH-32 Section 2 Exploring the SH-32 ------------------------------------------ Two independent LFOs with BPM sync ------------------------------------------ The LFO waveforms are triangle, sine, sawtooth, square, trapezoidal, sample & hold, and random. Convenient features are included such as simultaneous editing of both LFO1 and LFO2 by pressing both LFO1 and LFO2 switches at the same time, and the ability to initialize either one by pressing either LFO1 or LFO2 together with the EXT key. A wide setting range is provided for setting the rate width, and when the LFO fade-in function is used, transpositions are possible for dynamic musical changes. Notable in the LFO section is the ability to synchronize the phase with a song's BPM. In addition to setting by tapping, synchronization can be done with an external MIDI clock by setting system parameters. Another convenience is the Beat/Cycle function, which lets you set four beats of the set BPM to one LFO phase. Furthermore, being able to select among 8, 4, 2, 1, 1/2, 1/3 and 1/4 (in other words, from 2 measures up to 16th notes), opens up a world of inspiring musical possibilities. Many unique effects are also built into the SH-32. Slicer, for example, is a stereo effect that automatically and continually cuts the sound. A second Slicer type is also provided, which cuts to the BPM of your song using 16th or dotted 8th notes. This effect is useful when, for example, you want to change a filter pad to a rhythmic cutting pattern. Distortion 1 and 2 are perfect distortion effects for modern musical use. For some truly distinctive effects, try selecting among the record noise types (LP, EP, SP, and rnd) for the LoFi Noise effect. The SH-32's phaser, which offers a natural phase feeling, captures the true feel of this classic effect without sounding digital. For modulation effects check out the step flanger (Track 10) and ring modulator (Track 11). To make life easy, the SH-32 comes with 64 chord forms already built in. You can come up with cool, quick-and-dirty riffs right away by selecting chord forms and playing the keyboard at random. (When thinking up ideas for remixes users will probably use this procedure a lot. ) Preset chord forms include all the basic chords as well as sus4, half diminished, 6/9, and those found on Artcore, etc. , such as minor 9th and minor 11th. Of course, it is also possible to create and store your own original chord forms manually. The procedure is extremely simple: Press the Chord button and then play the chord you want to set with a connected MIDI keyboard, or use the Preview function (virtual keyboard) on the SH-32. You can connect a foot switch and use it to change the chord form numbers (the numbers saved to memory). This is great for gigs and for polishing up musical ideas. inspired. Notable arpeggio styles include those in cutting-edge dance music as well as trance riffs. Rhythm styles include not only the standard house and techno patterns, but R&B, drum `n' bass, 2-step and even reggae. [. . . ] Starting from the top, in order, I somehow thought up the intro chord when playing the keyboard after creating this sound. Also, the low-pitched, sine-wave-like sound was edited from a -909 tom. The sound you can hear on the right channel had its pitch tweaked in real time. Now, following the development, the percussive, filter-like sound you hear was recorded after going nuts tapping a rhythm patch and then switching the filter type using a note number followed by tweaking to death the basic cutoff and resonance. [. . . ]