Roland SH-01 User Manual

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Page 2

Main Features

Able to produce a broad range of sounds with simple operation, the GAIA SH-01 is a compact and light-weight, yet full-edged virtual analog synthesizer that’s a great choice for live performance or in the studio.

Rich sound equivalent to three synthesizers

A synthesizer consists of sections such as the OSC (p. 30), FILTER (p. 32), AMP (p. 35), various ENV units (p. 32, p. 34, p. 35), and an LFO (p. 36). The GAIA SH-01 uses a newly developed, dedicated sound generator that provides three such synthesizers simultaneously.

From simple sounds to richly complex sounds, you can easily create sounds using a wide variety of combinations.

Panel design that makes synthesis understandable

The OSC, FILTER, and AMP sections, which provide the essential components needed for creating a sound, are laid out on the panel in a logical order from left to right, ending with the OUTPUT section. Even if you’re using a synthesizer for the rst time, this layout makes it easy to learn the process of creating sound (p. 10).

If you already have basic knowledge of analog synthesizers, you can easily access the parameters that you want to adjust.

Eects section for even broader sound-creating potential

A powerful eects section is provided, containing ve eects that can be used simultaneously: distortion, modulation, delay, reverb, and low boost (p. 38). By combining these eects you can expand your sonic possibilities even farther.

Simply pressing the LOW BOOST button will boost the low-frequency range—particularly eective for bass sounds.

Compact, space-saving body

The GAIA SH-01 newly features 37 keys, and a light-weight, compact body.

Since battery operation is supported (p. 13), you can use it not only for practice at home or for live performance, but also for playing on the street.

EXT IN jack lets you mix in your favorite music

The EXT IN jack (p. 40) allows you to connect a portable audio player or other device, and play back your favorite music without needing a mixer. This can expand your possibilities for practice or live performance.

The CENTER CANCEL function lets you eliminate sounds that are localized in the center. While listening to a favorite song as backing, you can use this function to eliminate the solo part and perform it yourself on the GAIA SH-01.

Powerful capabilities for live performance

D BEAM controller (p. 21)

The D BEAM controller lets you apply various eects simply by moving your hand above the sensor. You can also assign it to control panel knobs. This gives you fresh new performance possibilities that are not typically available with conventional keyboard playing.

Arpeggiator (p. 22)

Sixty-four built-in arpeggio patterns let you produce arpeggios simply by pressing a chord. Since you can save an arpeggio pattern in a patch as part of your favorite sound settings, it’s easy to instantly recall them during a performance.

Phrase recorder (p. 24)

In addition to recording your performance, you can also record and play back control actions, such as knob movements.

For example, if you perform while playing back lter control data, a lter eect will automatically be applied to your performance.

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USB memory for saving user data

The USB MEMORY connector allows you to connect USB memory (sold separately) for storing user patches or phrases. This is also a good way to back up your important user data.

Saved patches or phrases can be recalled directly from USB memory. It’s also easy to recall a desired patch or phrase from USB memory, and then re-save it to internal memory.

USB COMPUTER connector for connecting your computer

Since the GAIA SH-01 supports USB MIDI/ AUDIO, you can use DAW software on your computer to record a performance from the GAIA SH-01 or to record the sound from the EXT IN jack.

MIDI data played back by your DAW software can be sounded by GAIA SH-01’s sound generator, or audio played back by your DAW software can be output via the GAIA SH-01.

201a

Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (p. 4; p. 6). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

202

All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Roland and GAIA are registered trademarks or trademarks of Roland Corporation in the United States and/ or other countries.

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About WARNING and CAUTION Notices

Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.

Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.

* Material damage refers to damage or

other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.

ALWAYS OBSERVE THE FOLLOWING

About the Symbols

The symbol alerts the user to important instructions or warnings. The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.

The symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the power-cord plug must be unplugged from the outlet.

002c

WARNING

• Do not open (or modify in any way) the unit or its AC adaptor.

003

• Do not attempt to repair the unit, or replace parts within it (except when this manual provides specic instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

004

• Never install the unit in any of the following locations.

• Subject to temperature extremes (e.g., direct

sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are

• Damp (e.g., baths, washrooms, on wet oors); or are

• Exposed to steam or smoke; or are

• Subject to salt exposure; or are

• Humid; or are

• Exposed to rain; or are

• Dusty or sandy; or are

• Subject to high levels of vibration and shakiness.

005

• This unit should be used only with a rack or stand that is recommended by Roland.

006

• When using the unit with a rack or stand recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.

008c

• Be sure to use only the AC adaptor supplied with the unit. Also, make sure the line voltage at the installation matches the input voltage specied on the AC adaptor’s body. Other AC adaptors may use a dierent polarity, or be designed for a dierent voltage, so their use could result in damage, malfunction, or electric shock.

008e

• Use only the attached power-supply cord. Also, the supplied power cord must not be used with any other device.

009

• Do not excessively twist or bend the power cord, nor place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits.

WARNING

Damaged cords are re and shock hazards!

010

• This unit, either alone or in combination with an amplier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist.

011

• Do not allow any objects (e.g., ammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

012b

• Immediately turn the power o, remove the AC adaptor from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page when:

• The AC adaptor, the power-supply cord, or the plug

has been damaged; or

• If smoke or unusual odor occurs

• Objects have fallen into, or liquid has been spilled

onto the unit; or

• The unit has been exposed to rain (or otherwise has

become wet); or

• The unit does not appear to operate normally or

exhibits a marked change in performance.

013

• In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit.

014

• Protect the unit from strong impact. (Do not drop it!)

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015

WARNING

• Do not force the unit’s power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord’s outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.

016

• Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

019

• Batteries must never be recharged, heated, taken apart, or thrown into re or water.

023

• DO NOT play a CD-ROM disc on a conventional audio CD player. The resulting sound may be of a level that could cause permanent hearing loss. Damage to speakers or other system components may result.

027

• Never expose a nickel metal hydride batteries to excessive heat such as sunshine, re or the like.

CAUTION

101b

• The unit and the AC adaptor should be located so their location or position does not interfere with their proper ventilation.

101c

• This (GAIA SH-01) for use only with Roland stand KS-18Z. Use with other stands is capable of resulting in instability causing possible injury.

101f

• Please be sure to read and adhere to the cautionary notices contained in the instructions that came with this product. Please note that, depending on the manner in which keyboard performances are carried out, you may encounter situations where the keyboard falls o the stand or the stand topples over, even though you have followed all of the instructions and advice contained within the product’s manual. For this reason, you should always perform a safety check each time you use the stand.

102c

• Always grasp only the plug on the AC adaptor cord when plugging into, or unplugging from, an outlet or this unit.

103b

• At regular intervals, you should unplug the AC adaptor and clean it by using a dry cloth to wipe all dust and other accumulations away from its prongs. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time. Any accumulation of dust between the power plug and the power outlet can result in poor insulation and lead to re.

104

• Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children.

106

• Never climb on top of, nor place heavy objects on the unit.

107c

• Never handle the AC adaptor or its plugs with wet hands when plugging into, or unplugging from, an outlet or this unit.

108b

CAUTION

• Before moving the unit, disconnect the AC adaptor and all cords coming from external devices.

109b

• Before cleaning the unit, turn o the power and unplug the AC adaptor from the outlet (p. 13).

110b

• Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet.

111: Selection

• If used improperly, batteries may explode or leak and cause damage or injury. In the interest of safety, please read and observe the following precautions (p. 13).

• Carefully follow the installation instructions for

batteries, and make sure you observe the correct polarity.

• Avoid using new batteries together with used

ones. In addition, avoid mixing dierent types of batteries.

• Remove the batteries whenever the unit is to

remain unused for an extended period of time.

• If a battery has leaked, use a soft piece of cloth or

paper towel to wipe all remnants of the discharge from the battery compartment. Then install new batteries. To avoid inammation of the skin, make sure that none of the battery discharge gets onto your hands or skin. Exercise the utmost caution so that none of the discharge gets near your eyes. Immediately rinse the aected area with running water if any of the discharge has entered the eyes.

• Never keep batteries together with metallic objects

such as ballpoint pens, necklaces, hairpins, etc.

112

• Used batteries must be disposed of in compliance with whatever regulations for their safe disposal that may be observed in the region in which you live.

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IMPORTANT NOTES

Power Supply

301

• Do not connect this unit to same electrical outlet that is being used by an electrical appliance that is controlled by an inverter (such as a refrigerator, washing machine, microwave oven, or air conditioner), or that contains a motor. Depending on the way in which the electrical appliance is used, power supply noise may cause this unit to malfunction or may produce audible noise. If it is not practical to use a separate electrical outlet, connect a power supply noise  lter between this unit and the electrical outlet.

302

• The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a cause for concern.

303a

• The use of an AC adaptor is recommended as the unit’s power consumption is relatively high. Should you prefer to use nickel metal hydride batteries.

304a

• When installing or replacing batteries, always turn o the power on this unit and disconnect any other devices you may have connected. This way, you can prevent malfunction and/or damage to speakers or other devices.

307

• Before connecting this unit to other devices, turn o the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.

ADD

• If batteries are installed, disconnecting or reconnecting the power cord at the AC outlet or disconnecting the DC plug from the unit’s rear panel while the power is on will cause the power to turn o . You must turn o the power before you connect or disconnect the power cord or AC adaptor.

Placement

351

• Using the unit near power ampli ers (or other equipment containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it farther away from the source of interference.

352a

• This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers.

352b

• Noise may be produced if wireless communications devices, such as cell phones, are operated in the vicinity of this unit. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch them o .

354a

• Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit.

355b

• When moved from one location to another where the temperature and/or humidity is very di erent, water droplets (condensation) may form inside the unit. Damage or malfunction may result if you attempt to use the unit in this condition. Therefore, before using the unit, you must allow it to stand for several hours, until the condensation has completely evaporated.

358

• Do not allow objects to remain on top of the keyboard. This can be the cause of malfunction, such as keys ceasing to produce sound.

360

• Depending on the material and temperature of the surface on which you place the unit, its rubber feet may discolor or mar the surface. You can place a piece of felt or cloth under the rubber feet to prevent this from happening. If you do so, please make sure that the unit will not slip or move accidentally.

Maintenance

401a

• For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.

402

• Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.

Repairs and Data

452

• Please be aware that all data contained in the unit’s memory may be lost when the unit is sent for repairs. Important data should always be backed up on a computer, or written down on paper (when possible). During repairs, due care is taken to avoid the loss of data. However, in certain cases (such as when circuitry related to memory itself is out of order), we regret that it may not be possible to restore the data, and Roland assumes no liability concerning such loss of data.

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Additional Precautions

551

• Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory on a computer.

552

• Unfortunately, it may be impossible to restore the contents of data that was stored on a computer once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

553

• Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.

556

• When connecting / disconnecting all cables, grasp the connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable’s internal elements.

558a

• To avoid disturbing your neighbors, try to keep the unit’s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).

559a

• When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.

561

• Use only the speci ed expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

562

• Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For information on cable speci cations, contact the manufacturer of the cable.

566a

• The usable range of D BEAM controller will become extremely small when used under strong direct sunlight. Please be aware of this when using the D BEAM controller outside.

566b

• The sensitivity of the D BEAM controller will change depending on the amount of light in the vicinity of the unit. If it does not function as you expect, adjust the sensitivity as appropriate for the brightness of your location.

Before Using USB Memory

704

• Carefully insert the USB memory all the way in—until it is  rmly in place.

705

• Never touch the terminals of the USB memory. Also, avoid getting the terminals dirty.

708

• USB memories are constructed using precision components; handle the USB memories carefully, paying particular note to the following.

• To prevent damage to the USB memories from static electricity, be sure to discharge any static electricity from your own body before handling the USB memories.

• Do not touch or allow metal to come into contact with the contact portion of the USB memories.

• Do not bend, drop, or subject USB memories to strong shock or vibration.

• Do not keep USB memories in direct sunlight, in closed vehicles, or other such locations.

• Do not allow USB memories to become wet.

• Do not disassemble or modify the USB memories.

Handling CD-ROMs (DRIVER), DVD

801

• Avoid touching or scratching the shiny underside (encoded surface) of the disc. Damaged or dirty CD-ROM/DVD discs may not be read properly. Keep your discs clean using a commercially available disc cleaner.

853

• Do not use this unit for purposes that could infringe on a copyright held by a third party. We assume no responsibility whatsoever with regard to any infringements of third-party copyrights arising through your use of this unit.

220

• All product names mentioned in this document are trademarks or registered trademarks of their respective owners.

ADD

• MMP (Moore Microprocessor Portfolio) refers to a patent portfolio concerned with microprocessor architecture, which was developed by Technology Properties Limited (TPL). Roland has licensed this technology from the TPL Group.

Page 8

Contents

Main Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Names of Things and What They Do . . . . . . . 10

Top Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Getting Ready . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Connecting the AC Adaptor . . . . . . . . . . . . . . . . . . . . . . . . . 13

Installing Batteries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Removing the Batteries . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

When to Replace the Batteries

(BATTERY indicator) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

POWER SAVE MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Turning the Power On/O . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Turning the Power On . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Turning the Power O . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

How the GAIA SH-01 is Organized . . . . . . . . 16

Basic Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Performance Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

About Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Performing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Adjusting the Volume (VOLUME) . . . . . . . . . . . . . . . . . . . . 18

Selecting Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

About Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Adding Dynamics to the Sound . . . . . . . . . . . . . . . . . . . . . . 19

Changing the Pitch (BENDER) . . . . . . . . . . . . . . . . . . . . . . . . 19

Applying Vibrato (MODULATION) . . . . . . . . . . . . . . . . . . . . 19

Shifting the Keyboard’s Pitch Range

(OCTAVE UP/DOWN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Shifting the Keyboard’s Pitch Range in Semitones

(TRANSPOSE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Playing Single Notes (MONO) . . . . . . . . . . . . . . . . . . . . . . . . 20

Smoothly Connecting One Note to the Next

(PORTAMENTO) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Changing the Rate of Pitch Change

(Portamento Time). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Changing the Pitch or Volume by Moving Your Hand

(D BEAM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Changing the Pitch (PITCH) . . . . . . . . . . . . . . . . . . . . . . . 21

Changing the Assigned Parameter

(EFFECTS/ASSIGN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Changing the Volume to Add Expression

(VOLUME) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Automatically Playing Arpeggios (ARPEGGIO) . . . . . . . . 22

Playing an Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Selecting How the Arpeggio will Sound . . . . . . . . . . . 23

Changing the Tempo (TAP TEMPO) . . . . . . . . . . . . . . . . . . 23

Recording Operations (PHRASE RECORDER) . . . . . . . . . . 24

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Rehearsing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Erasing Recorded Operations . . . . . . . . . . . . . . . . . . . . . 25

Choosing the Type of Data to be Recorded

or Erased . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Saving the Recorded Phrase . . . . . . . . . . . . . . . . . . . . . . 25

Choosing the phrase to play back . . . . . . . . . . . . . . . . . 26

Playing or stopping the phrase . . . . . . . . . . . . . . . . . . . . 26

Using a Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Sustaining the Notes (HOLD) . . . . . . . . . . . . . . . . . . . . . . 26

Adding Expression to Your Performance

(EXPRESSION) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Using V-LINK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Creating Sounds . . . . . . . . . . . . . . . . . . . . . . . . . 28

Sound-Creating Workow . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

The Three Elements of Sound

(OSC, FILTER, AMP) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Time-Varying Change (ENVELOPE) . . . . . . . . . . . . . . . . 28

Cyclic Change (LFO) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Eects (EFFECTS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Tones (TONE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Selecting a Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Copying a tone (TONE COPY) . . . . . . . . . . . . . . . . . . . . . 30

Specifying the Waveform and Pitch (OSC) . . . . . . . . . . . . 30

Adjusting the Brightness and Thickness (FILTER) . . . . . . 32

Specifying the Sound’s Attack and Decay (AMP) . . . . . . 35

Modulating the Sound (LFO) . . . . . . . . . . . . . . . . . . . . . . . . 36

Adding Power, Spaciousness, and Reverb (EFFECTS) . . 38

Saving a Sound You’ve Created (WRITE) . . . . . . . . . . . . . . 39

Performing with Sound from a

Portable Audio Player . . . . . . . . . . . . . . . . . . . . 40

Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Adjusting the Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Eliminating Sound from the Center

(CENTER CANCEL) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Changing the way in which the center sound is

eliminated (TYPE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Muting the Input Sound (MUTE) . . . . . . . . . . . . . . . . . . . . . 41

Page 9

Using the GAIA SH-01 with a Computer or

Sound Module . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Recording the SH-01’s Sound or Data on a Computer

(USB) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Connecting the SH-01 to Your Computer . . . . . . . . . . 42

Using the SH-01 as a Controller or Sound Module

(MIDI) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

MIDI Connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

About MIDI Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Advanced Operation . . . . . . . . . . . . . . . . . . . . . 45

Patch Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

D BEAM ASSIGN Parameters . . . . . . . . . . . . . . . . . . . . . . 48

Eect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

System Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

USB Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Using USB Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Initializing USB Memory . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Saving User Patches to USB Memory . . . . . . . . . . . . . . 56

Restoring Data from USB Memory to

the GAIA SH-01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Saving Your Recorded Phrases to USB Memory . . . . 56

Restoring Phrases from USB Memory to

the GAIA SH-01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Saving All User Data to USB Memory . . . . . . . . . . . . . . 57

Restoring All Data from USB Memory to

the GAIA SH-01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Restoring the Factory Settings . . . . . . . . . . . . 58

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . 59

MIDI Implementation Chart . . . . . . . . . . . . . . 61

Main Specications . . . . . . . . . . . . . . . . . . . . . . 62

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Page 10

Names of Things and What They Do

Top Panel

1 9

D BEAM (p. 21)

Here you can turn the D BEAM function on/o . By moving your hand above the D BEAM controller, you can apply a variety of e ects.

[TONE COPY] Button (p. 30)

This copies all of a tone’s parameters to another tone.

USB MEMORY [PATCH] Button (p. 55)

Here you can save patches or phrases to USB memory, or load them from USB memory into the GAIA SH-01.

4 5 6 7

EFFECTS (p. 38)

The GAIA SH-01 has  ve built-in e ects: distortion,  anger, delay, reverb, and low boost. You can make settings independently for each e ect.

EXT IN (External Input, p. 40)

Here you can specify how the device connected to the INPUT jack will be heard. You can modify its sound; for example, by cancelling vocals or other sounds localized at the center.

14131211

TONE 1–3 (p. 29)

Here you can select the tone you want to edit, and specify which tones will be heard.

LFO (Low-Frequency Oscillator)

(p. 36)

Here you can apply cyclic modulation to the pitch (producing vibrato), the volume (producing tremolo), or to the  lter (producing a wah e ect).

OSC ( Oscillator) (p. 30)

Here you can select the waveform that determines the basic character of the sound, and specify the pitch.

FILTER (p. 32)

Allows you to modify the brightness or fatness of the sound. You can also create a distinctive tonal character that is typical of synthesizers.

AMP (p. 35)

Here you can specify the loudness of the sound that has passed through the  lter section.

Page 11

[V-LINK] Button (p. 27)

This button turns V-LINK on/o .

[TAP TEMPO] Button (p. 23)

You can use this button to set the tempo of the arpeggio or phrase recorder.

[KEY HOLD] Button (p. 22)

This button holds the notes even after you release your  ngers from the keyboard.

[MONO] Button (p. 20)

Use this button when you want to simulate the performance techniques of a solo instrument.

[PORTAMENTO] Button (p. 20)

This button turns portamento on/o .

[TRANSPOSE] Button (p. 20)

By holding down the [TRANSPOSE] button and pressing the OCTAVE [UP/+] or [DOWN/-] button you can raise or lower the pitch of the keyboard in steps of a semitone (-5–+6 semitones).

OCTAVE [UP/+], [DOWN/-] Buttons (p. 20)

Use these buttons to raise or lower the pitch of the keyboard in steps of an octave (-3–+3). These buttons are also used in combination with other function buttons to edit parameters.

[CANCEL/SHIFT] Button

This button cancels the operation that’s being executed.

This button is also used in combination with other buttons to carry out various functions.

[WRITE] Button (p. 25, p. 39)

Use this button to save patches or phrases.

Holding down the [CANCEL/SHIFT] button while you press the [WRITE] button initializes the selected patch.

WRITE PROTECT Indicator (p. 39)

This indicator will light if you’ve selected a patch that is write protected.

To turn write protect on/o , hold down the [CANCEL/SHIFT] button and press the current NUMBER button.

[ARPEGGIO] Button (p. 22)

This button turns the arpeggio on/o .

[PRESET PATCH] Button (p. 18)

Use this button to select preset patches.

[USER PATCH] Button (p. 18)

Use this button to select user patches.

By pressing the [PRESET PATCH] button and [USER PATCH] button simultaneously, you can activate the Manual function, which changes the parameter values so that they match the positions of the knobs and sliders (p. 30).

[BANK] Button (p. 18)

Use this button in combination with the NUMBER [A]–[H] buttons to switch banks.

NUMBER [1]–[8] Buttons (p. 18)

Use these buttons to select patches or phrases.

PHRASE RECORDER (p. 24)

[PLAY/STOP] Button

Press this button to play or stop the phrase recorder.

[REC] Button

Press this button to record on the phrase recorder.

BATTERY Indicator (p. 14)

When using batteries, this indicates the remaining battery power.

Normally, this will be unlit. When the batteries run low, the indicator will light. If you continue operating the GAIA SH-01, the indicator will blink; stop use and charge the batteries.

* If you continue playing even when the BATTERY indicator is

blinking, the unit will eventually become inoperable.

14 OUTPUT (p. 18)

[VOLUME] knob

This knob adjusts the overall volume that is output from the OUTPUT jacks and PHONES jack on the rear panel.

Pitch Bend/Modulation Lever

(p. 19)

You can use this to modify the pitch or to apply vibrato.

Page 12

Rear Panel

16 17 18

988

Security Slot ( )

http://www.kensington.com/

[POWER] Switch (p. 15)

This switch turns the power on/o .

DC IN (AC Adaptor) Connector (p. 13)

Connect the included AC adaptor here.

Cord Hook (p. 13)

Fasten the cord from the AC adaptor here to prevent accidental disconnection.

PHONES (Headphones) Jack (p. 15)

Connect your headphones (sold separately) here.

OUTPUT L/MONO, R Jacks (p. 14)

These jacks output the audio signal in stereo to your amp or mixer. To employ mono output, connect your equipment to the L jack.

20 21

PEDAL

PEDAL Jack (p. 26)

Connect an expression pedal (EV-5; sold separately) or pedal switch (DP series, FS-5U; sold separately) here.

MIDI Connectors (OUT/IN) (p. 43)

Connect these when you want to transmit or receive MIDI messages to or from another MIDI device.

USB

USB COMPUTER Connector (p. 42)

This connector lets you use a USB cable to connect the GAIA SH-01 to your computer.

USB MEMORY Connector (p. 55)

Connect USB memory (sold separately) here.

930

* Connect USB memory after you’ve powered up the GAIA

SH-01. Never disconnect USB memory while the power is turned on.

931

* When inserting USB memory, make sure that the

connector is oriented correctly, and insert the connector all the way in. Do not use excessive force.

Page 13

Getting Ready

Connecting the AC Adaptor

Connect the included AC adaptor to the DC IN connector on the rear panel of the GAIA SH-01.

Cord hook

Indicator

NOTE

924

• To prevent the inadvertent disruption of power to your unit (should the plug be pulled out accidentally), and to avoid applying undue stress to the AC adaptor jack, anchor the power cord using the cord hook, as shown in the illustration.

932

• Place the AC adaptor so the side with the indicator (see illustration) faces upwards and the side with textual information faces downwards.

• The indicator will light when you connect the AC adaptor to an AC outlet.

•

Power cord

Installing Batteries

The GAIA SH-01 can operate on eight commercially available AA nickel-metal hydride batteries.

1. Press in the tabs of the battery compartment cover on the bottom panel of the GAIA SH-01, and remove the cover.

NOTE

• Take care that foreign objects ( ammable items, coins,

pins, etc.) or liquids (water, juice, etc.) do not enter the unit while the battery compartment cover is removed.

928

• When turning the unit upside-down, get a bunch of newspapers or magazines, and place them under the four corners or at both ends to prevent damage to the buttons and controls. Also, you should try to orient the unit so no buttons or controls get damaged.

929

• When turning the unit upside-down, handle with care to avoid dropping it, or allowing it to fall or tip over.

2. Insert the batteries into the battery compartment, taking care to observe the correct polarity (+/orientation).

−

NOTE

• Insert the batteries correctly (be careful of +/- orientation),

as indicated.

011

• Do not allow any objects (e.g.,  ammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

3. Close the battery compartment cover.

NOTE

• If you connect the AC adaptor and turn on the power

when batteries are installed, AC adaptor operation will take priority.

• If you want to operate the unit on batteries, disconnect the AC adaptor from the unit.

• If batteries are installed, the power will turn o if you disconnect the power cord from the AC outlet or disconnect the AC adaptor’s DC plug from the unit while it is powered up. You must turn o the power before connecting or

disconnecting the power cord or AC adaptor.

Page 14

Removing the Batteries

If you want to remove the batteries, turn o power to the GAIA SH-01  rst; then open the battery compartment cover, and take out the batteries.

When to Replace the Batteries (BATTERY indicator)

When the batteries run low, the BATTERY indicator will light.

If you continue using the unit, the BATTERY indicator will blink. Cease operation, and charge the batteries.

NOTE

• If you continue to play the instrument even though the

BATTERY indicator is  ashing, eventually all the indicators on the panel will go out, and the instrument will become inoperable.

• The BATTERY indicator is only an approximate indication.

Batteries that can be used

• When using nickel-metal hydride batteries, the battery life will be approximately  ve hours of continuous use at room temperature. However, if USB memory is connected, the battery life will be approximately four hours. The battery life for continuous use will depend on factors such as the conditions of use.

NOTE

Do not use alkaline batteries or zinc-carbon batteries.

POWER SAVE MODE

You can set the GAIA SH-01 so it will automatically enter power-save mode when a certain length of time has passed without any operation being performed. To return from power-save mode to normal operation, perform an operation such as turning a knob or playing the keyboard.

You can set the amount of time that is to pass before the unit will enter Power Save mode. For details, see ”Time setting for POWER SAVE MODE” (p. 54).

Connecting Headphones or Speakers

The GAIA SH-01 does not contain speakers. In order to hear sound, you’ll need to connect it to an audio device, such as monitor speakers or a stereo system, or connect headphones.

921

* To prevent malfunction and/or damage to speakers or

other devices, always turn down the volume, and turn o the power on all devices before making any connections.

Connecting monitor speakers or a stereo system

Use cables to connect the GAIA SH-01’s rear panel OUTPUT jacks to your monitor speaker or stereo set.

Battery handling

• Do not mix fresh batteries with partially used batteries or batteries of a di erent type.

• If you won’t be using the unit for an extended period of time, save your stored settings to USB memory, and remove the batteries.

• Incorrect use of batteries, rechargeable batteries, or battery chargers can cause leakage, overheating,  re, or explosion. Before use, carefully read and observe the instructions that accompanied your batteries, rechargeable batteries, or battery charger.

* In order to take full advantage of the GAIA SH-01’s

capabilities, we recommend that you use it in stereo. To use it in mono, connect to the OUTPUT L/MONO jack.

Page 15

Using headphones

Connect commercially available headphones to the PHONES jack on the rear panel.

* Sound will be output from the OUTPUT jacks even if

headphones are connected.

Turning the Power On/O

941

* Once the connections have been completed (p. 13–p.

14), turn on power to your various devices in the order speci ed. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.

943

* Always make sure to have the volume level turned down

before switching on power. Even with the volume all the way down, you may still hear some sound when the power is switched on, but this is normal, and does not indicate a malfunction.

Turning the Power On

1. Check the following before you turn on the power.

• Are your speakers or headphones connected correctly?

• Is power to the connected equipment switched o ?

2. Turn the [VOLUME] knob on the top panel all the

way to the left.

3. Press the [POWER] switch on the rear panel to turn on the power.

* When turning on the power, do not touch the pitch

bend/modulation lever located at the left of the keyboard. If you turn on the power while touching this lever, the system may not operate correctly.

4. Switch on power to the connected equipment, and raise the volume to an appropriate level.

5. While playing the keyboard, slowly turn the [VOLUME] knob toward the right to adjust the volume.

Turning the Power O

1. Check the following before you turn o the power.

• Have you minimized the volume of the connected

equipment?

• Have you saved any sound you’ve created? (p. 39)

2. Switch o power to the connected equipment.

3. Press the GAIA SH-01’s [POWER] switch to turn o

the power.

Page 16

How the GAIA SH-01 is Organized

Basic Structure

Broadly speaking, the GAIA SH-01 consists of a controller section, a sound generator section, and e ects.

Controller section

The controller section is what you play.

For example, the performer’s actions, such as “playing the keyboard” are conveyed by the controller section to the sound generator section, causing it to produce sound.

The GAIA SH-01’s controller section consists of the keyboard, the pitch bend/modulation lever, the D BEAM controller, the panel buttons and knobs, and pedals connected to the rear panel.

Sound generator section

This section produces the sound.

It receives the performance data sent by the controller section, electronically creates the basic waveform, and modi es the brightness and loudness of the sound to create a broad range of tonal characteristics.

The GAIA SH-01’s sound generator section allows you to instantly adjust numerous elements that determine the sound’s character (waveform, pitch, brightness, loudness, etc.) using the knobs and buttons of the panel.

E ects

The GAIA SH-01 contains a variety of e ects, and each can be adjusted independently.

Performance Functions

The GAIA SH-01 contains a variety of e ects, and each can be adjusted independently.

Arpeggiator (p. 22)

This allows you to produce arpeggios simply by pressing a chord on the keyboard.

Tempo (p. 23)

You can easily change the tempo of the arpeggiator or phrase recorder by pressing the [TAP TEMPO] button several times in rhythm with the desired tempo.

Octave (p. 20)

You can shift the keyboard’s pitch range in steps of an octave, for a maximum shift of three octaves upward or downward.

Transpose (p. 20)

This function shifts the keyboard’s pitch range in steps of a semitone, for a maximum shift of -5–+6 semitones.

Phrase recorder (p. 24)

This allows you to record a phrase of several measures. By recording only control operations such as knob movements, you can also make the knobs operate automatically.

Basic structure of the GAIA SH-01

Phrase recorder

Arpeggiator Octave Transpose

Controller section

Control signals Audio signals

Sound

generator

section

E ects

Page 17

About Memory

Memory provides storage locations where patches (p.

18) and other settings are stored. There are three types of memory: “temporary memory,” “rewritable memory,” and “non-rewritable memory.”

Non-rewritable memory

Preset memory

arpeggios

Rewritable memory (Internal memory)

User memory System

phrases

Phrase

patches

Temporary memory (Temporary area)

memory

Patch

patches

Arpeggio

Temporary memory

Temporary area

Data for the patch you select via the front panel buttons is called up to this area.

When you play the keyboard or play back the phrase recorder, sounds are produced according to the settings that are in the temporary area. When you edit a patch, the changes you make do not directly modify the data in memory; rather, the data is read into the temporary area, then modi ed.

The settings in the temporary area will be lost when you turn o the power or call up other settings. If you want to keep the data that’s in the temporary area, you must store it into rewritable memory.

Rewritable memory

System memory

System memory contains system parameter settings that specify how the GAIA SH-01 is to operate.

User memory

Patches and phrases can be stored in user memory.

Rewritable memory (USB memory)

User memory System

phrases

patches

USB memory (p. 55)

Patches and phrases can be stored in USB memory in the same way as in user memory.

Non-rewritable memory

memory

Preset memory

The data in preset memory cannot be rewritten.

If you’ve edited data that was recalled from preset memory, you can store it in rewritable memory (user memory or USB memory).

Page 18

Performing

Adjusting the Volume ( VOLUME)

Here’s how to adjust the overall volume of the GAIA SH-01’s sound, which is output from the OUTPUT jacks on the rear panel and the PHONES jack.

Turning the knob toward the right will increase the volume, and turning it toward the left will decrease the volume. There will be no sound if you turn the knob all the way to the left.

* This knob does not a ect the output volume of USB

audio (p. 42).

Selecting Sounds

1. Press the [PRESET PATCH] button or the [USER PATCH] button.

These buttons switch you between the preset group and the user group.

If you want to select patches that are saved in USB memory, press the USB MEMORY [PATCH] button.

2. Press the [BANK] button, and then press one of the NUMBER [A]–[H] buttons.

These buttons allow you to select among banks A–H.

3. Press one of the NUMBER [1]–[8] buttons.

Patch 1–8 will be selected.

Example:

• If the USER A-1 patch is currently selected, pressing the

NUMBER [6] button will switch you to the USER A-6 patch.

• If the PRESET A-4 patch is currently selected, holding down the [BANK] button and pressing the NUMBER [C] button will switch you to the PRESET C-4 patch.

• If the PRESET B-5 patch is selected, pressing the [USER

PATCH] button will switch you to the USER B-5 patch.

About Patches

The GAIA SH-01 lets you store the sounds that you create.

A sound you create is called a “patch”; you can use the buttons to recall a patch and then play it.

Patches are organized into a “preset group” and a “user group.” If you use USB memory (sold separately), you’ll also be able to use the “USB memory group.”

Each group contains 64 patches, organized into eight banks with eight numbers in each bank.

Preset group (PRESET)

This group contains 64 patches that are already created for your use.

Although you cannot rewrite the contents of this group, you are free to create new sounds based on these patches.

To put the instrument in a special mode in which it functions as a PCM sound generator, hold down the [PRESET PATCH] button while you press a NUMBER [1]--[8] button. While in this mode, you can enjoy realistic instrumental performances that take full advantage of the PCM sound generator.

* The sounds provided by the PCM sound generator are

read-only sounds. Although you will be able to perform a limited amount of editing and carry out performances that use e ects (reverb), you won’t be able to save any of the settings you make.

Note also that PRESET BANK H contains the sounds actually used for the supplied DVD.

User group (USER)

Sounds that you create can be saved in this group of 64 patches.

For details on how to save a sound, refer to “Saving a Sound You’ve Created (WRITE)” (p. 39).

USB memory group (USB MEMORY)

When using USB memory (sold separately), sounds that you create can be saved in this group. USB memory can hold 64 patches.

For details on how to save a sound, refer to “Saving a Sound You’ve Created (WRITE)” (p. 39).

Banks (BANK)

There are eight banks (A–H), and eight patches can be saved in each bank. The banks provide a convenient way to organize the 64 patches.

For example, you could use bank A to hold the patches you’ll be using in the  rst song of your live performance, and bank B to hold the patches for the second song. Alternatively, you could use bank A to hold synth bass patches and bank B to hold lead patches.

Page 19

Preset group/User group/ USB memory group

A-1 A-2 A-3 A-4 A-5 A-6 A-7 A-8 B-1 B-2 B-3 B-4 B-5 B-6 B-7 B-8

BANK A–H

C-1 C-2 C-3 C-4 C-5 C-6 C-7 C-8

D-1 D-2 D-3 D-4 D-5 D-6 D-7 D-8

E-1 E-2 E-3 E-4 E-5 E-6 E-7 E-8 F-1 F-2 F-3 F-4 F-5 F-6 F-7 F-8 G-1 G-2 G-3 G-4 G-5 G-6 G-7 G-8

H-1 H-2 H-3 H-4 H-5 H-6 H-7 H-8

NUMBER 1–8

Adding Dynamics to the Sound

The GAIA SH-01’s keyboard allows you to vary the volume or brightness of the sound by changing your playing dynamics (key velocity).

When the instrument was shipped from the factory, this was set to “FIX,” which means that a  xed value will constantly be used for Key Velocity.

If you want to have the strength of your playing a ect the sound, you’ll need to set “KEYBOARD VELOCITY” (p. 51) to “REAL.”

* If you want to modify the way in which this change

occurs, edit the patch parameters “Level Velocity Sens” (p. 45, volume) or “Filter Envelope Velocity Sens” (p. 45, brightness).

2. While holding down the OCTAVE [DOWN/-] button, press a key (C2–C4).

This speci es the amount of pitch change that will occur when you move the lever to the left.

C2 C4Narrow – Range of change – Wide

3. While holding down the OCTAVE [UP/+] button, press a key (C2–C4).

This speci es the amount of pitch change that will occur when you move the lever to the right.

When you’ve  nished making settings, press the [CANCEL/ SHIFT] button.

Applying Vibrato ( MODULATION)

While playing the keyboard, move the pitch bend/modulation lever away from yourself to apply vibrato.

Changing the Pitch ( BENDER)

While playing the keyboard, move the pitch bend/modulation lever to the left to lower the pitch, or toward the right to raise the pitch.

Moving the pitch bend/modulation lever all the way to the left will lower the pitch by two semitones.

Moving the pitch bend/modulation lever all the way to the right will raise the pitch by two semitones.

Pitch falls Pitch rises

Pitch bend range

You can change the pitch bend range.

1. While holding down the [CANCEL/SHIFT] button, move the pitch bend/modulation lever all the way to the far left or right.

The OCTAVE [DOWN/-] and [UP/+] buttons will blink.

Vibrato is

applied

Modulation speed and depth

You can specify the speed and depth of the e ect that will be applied when you move the modulation lever away from yourself.

1. While holding down the [CANCEL/SHIFT] button, move the lever all the way away from yourself.

2. Make settings using the knobs and sliders in the LFO section of the panel.

For details, refer to “MODULATION LFO” (p. 37).

If you move the pitch bend/modulation lever to left or right and simultaneously away from yourself, both pitch bend and modulation will be applied at the same time.

Page 20

Shifting the Keyboard’s Pitch Range ( OCTAVE UP/DOWN)

You can shift the keyboard’s pitch range in steps of one octave, for a maximum of three octaves upward or downward.

1. To raise the range, press the OCTAVE [UP/+] button, and to lower the range press the OCTAVE [DOWN/-] button.

With each press of a button, the range is altered by one octave.

If the keyboard’s pitch range is raised above its normal range, the OCTAVE [UP/+] button will light. If the keyboard’s pitch range is lowered, the OCTAVE [DOWN/-] button will light. If you press the OCTAVE [UP/+] and OCTAVE [DOWN/-] buttons simultaneously, the keyboard will return to its normal pitch range; both buttons will go out.

Shifting the Keyboard’s Pitch

Playing Single Notes ( MONO)

This function is e ective when you need to simulate the performance of a solo instrument.

1. Press the [MONO] button so it’s lit; this puts the synth in mono mode.

Even if you hold down a chord on the keyboard, only a single note will sound. The last-played note will be heard.

When you press the [MONO] button once again to turn o its illumination, the Mono function will turn o .

Smoothly Connecting One Note to the Next ( PORTAMENTO)

This allows you to create a smooth change in pitch from one note to the next.

Range in Semitones ( TRANSPOSE)

This function lets you shift the keyboard’s pitch range in steps of a semitone, in a range of -5 to +6 semitones.

1. To turn transpose on, press the [TRANSPOSE] button so it’s lit.

By pressing the [TRANSPOSE] button again, so its light goes out, transpose is turned o .

2. To raise the range, hold down the [TRANSPOSE] button while you press the OCTAVE [UP/+] button. To lower the range, hold down the [TRANSPOSE] button while you press the OCTAVE [DOWN/-] button.

With each press of a button, the range is altered by one semitone.

If the keyboard’s pitch range has been raised above its normal range, the [TRANSPOSE] button and the OCTAVE [UP/+] button will be lit. If it has been lowered, the [TRANSPOSE] button and OCTAVE [DOWN/-] button will light.

If you hold down the [TRANSPOSE] button and press the OCTAVE [UP/+] button and OCTAVE [DOWN/-] button simultaneously, the keyboard will return to its normal pitch range. Both buttons will go out.

1. Press the [PORTAMENTO] button so it’s lit.

Changing the Rate of Pitch Change ( Portamento Time)

To change the rate of the pitch change (the time over which the pitch change occurs), hold down the [PORTAMENTO] button and move the LFO [FADE TIME] slider.

As you raise the slider, the portamento time will get longer and the pitch will change at a slower rate.

MEMO

There’s another way to adjust the portamento time; “PORTAMENTO TIME” (p. 45).

Page 21

Changing the Pitch or Volume by Moving Your Hand ( D BEAM)

By moving your hand above the D BEAM controller located at the upper left of the keyboard, you can vary the pitch or volume according to the height of your hand.

The D BEAM controller’s e ective range

Changing the Pitch ( PITCH)

1. Press the [PITCH] button so it’s lit.

2. While playing the keyboard, position your hand

over the D beam controller, then move it up and down.

The pitch will change.

If you press the [PITCH] button once again, it will blink; now sound will be produced when you move your hand above the D BEAM controller.

Press the [PITCH] button once again to turn o its illumination; the D BEAM will turn o .

Changing the Assigned Parameter ( EFFECTS/ASSIGN)

1. Press the [EFFECTS/ASSIGN] button so it’s lit.

2. While playing the keyboard, position your hand

over the D beam controller, then move it up and down.

Parameters assigned on an individual patch basis will change.

Press the [EFFECTS/ASSIGN] button to turn o its illumination; the D BEAM will turn o .

Since you can assign a variety of functions to the [EFFECTS/ASSIGN] button, use it to apply various e ects to the sound in real time (p. 48).

The D BEAM controller’s e ective range is shown in the diagram at left. No e ect will be obtained if you move your hand outside this range.

Adjusting the D BEAM controller’s sensitivity

The D BEAM controller’s sensitivity will decrease if it’s used in strong sunlight or strong illumination.

The GAIA SH-01 lets you adjust the sensitivity of the D BEAM controller.

1. Hold down the [EFFECTS/ASSIGN] button and press one of the NUMBER [1]–[8] buttons.

The higher the NUMBER button you press, the higher the sensitivity will be.

The current sensitivity is indicated by how many NUMBER buttons light red when you press the [EFFECTS/ASSIGN] button.

The more NUMBER buttons that are lit red, the higher the sensitivity.

Determining the polarity of the D

BEAM ( D BEAM POLARITY)

The changes in the value of the parameter assigned to the D beam can be made to occur in either the positive or negative directions.

The polarity is determined by the direction that you move the knob at the time that the parameter is assigned.

When you move your hand near the D Beam controller, the value will change in the same direction as it did when you turned the knob.

For example, if you hold down the D BEAM [EFFECTS/ ASSIGN] button while you turn the OSC [PITCH] knob to the right, the pitch will rise when you place your hand near the D beam controller. Conversely, if you turn the OSC [PITCH] knob to the left while you hold down the D BEAM [EFFECTS/ASSIGN] button, the pitch will descend when you place your hand near the D beam controller.

Page 22

Changing the Volume to Add Expression ( VOLUME)

1. Press the [VOLUME] button so it’s lit.

2. While playing the keyboard, position your hand

over the D beam controller, then move it up and down.

The volume will change, allowing you to add expression to your performance.

If you press the [VOLUME] button once again, it will blink; now sound will be produced when you move your hand above the D BEAM controller.

Press the [VOLUME] button to turn o its illumination; the D BEAM will turn o .

Holding Notes After Removing Your Hand from the Keyboard ( KEY HOLD)

You can make notes continue sounding even after you take your hand o the keyboard.

Automatically Playing Arpeggios ( ARPEGGIO)

Press the [ARPEGGIO] button so it’s lit; the arpeggiator will be on.

Playing an Arpeggio

1. Press the [KEY HOLD] button so it’s lit; key hold will be turned on.

When you play a new key, the previously sounding note will stop sounding, and only the newly played note will be heard. If the arpeggiator is on, turning key hold on will cause the arpeggio to continue sounding.

1. Press the [ARPEGGIO] button so it’s lit; the arpeggiator will be on.

Press a chord on the keyboard; an arpeggio will sound according to the settings stored for each patch.

If you press the [KEY HOLD] button so it’s lit, the arpeggio will continue sounding.

When you play a chord on the keyboard, an arpeggio will be produced according to the settings stored for each patch, and the arpeggio will continue sounding even after you take your hand o the keyboard. When you play a di erent chord, the notes of the arpeggio will also change.

To stop the arpeggio, turn o the arpeggiator.

To turn o the arpeggiator, press the [ARPEGGIO] button so it goes out.

Page 23

Selecting How the Arpeggio will Sound

The GAIA SH-01 lets you choose from 64 variations of arpeggio.

1. Hold down the [CANCEL/SHIFT] button and press the [ARPEGGIO] button.

Now you can use the [BANK] button and NUMBER [1]–[8] buttons to select the arpeggio variation. The NUMBER button corresponding to the currently selected variation will blink; the other buttons will be lit.

The arpeggio variations are organized into eight banks with eight variations in each bank.

2. Press the [BANK] button and then a NUMBER [A]– [H] button to select the desired bank of arpeggio variations.

The bank corresponding to the button you pressed will be selected.

While you’re selecting a bank, the button of the currently selected bank will be blinking, while the other buttons will remain unlighted.

3. Press a NUMBER [1]–[8] button to select the desired arpeggio variation.

4. Press the [CANCEL/SHIFT] button.

MEMO

There are also other ways to change the way in which the arpeggio is sounded”ARPEGGIO VARIATION” (p. 45).

Changing the Tempo ( TAP TEMPO)

1. Press the [TAP TEMPO] button four or more times at quarter-note intervals of the desired tempo.

You can also change the tempo by holding down the [TAP TEMPO] button and pressing the OCTAVE [UP/+] or OCTAVE [DOWN/-] button.

The [TAP TEMPO] button will be constantly blinking green at quarter-note intervals of the phrase recorder and arpeggio (p. 22) tempo.

When the phrase recorder is recording or playing back, the [TAP TEMPO] button will light red only for the  rst beat of the measure.

* If the SYSTEM parameter CLOCK SOURCE (p. 52) is set to

PATCH, these operations will change the PATCH TEMPO.

* If the SYSTEM parameter CLOCK SOURCE (p. 52) is set

to SYSTEM, these operations will change the SYSTEM TEMPO.

* If the SYSTEM parameter CLOCK SOURCE (p. 52) is set

to MIDI or USB, the TAP TEMPO operations are not available.

The corresponding arpeggio will be selected.

While you’re selecting an arpeggio, the button of the currently selected NUMBER will blink, and the other buttons will be lit.

Page 24

Recording Operations ( PHRASE RECORDER)

You can record your keyboard performance and knob operations, and play them back repeatedly.

The recorded performance is called a “phrase.”

You can record up to eight phrases, and each phrase can be up to eight measures long.

The GAIA SH-01’s phrase recorder does not record the sound that’s actually being produced; rather, it records performance data (MIDI messages) such as “which key was pressed when and how strongly.”

* The phrase does not record the patch you’re using, nor

does it record patch changes or tempo changes you made during the phrase.

Recording

1. Press the [REC] button to make it blink; the phrase recorder will enter Rec Standby mode.

3. Press the [PLAY/STOP] button.

You’ll hear a one-measure (four-beat) count, and then recording will begin.

The [REC] button, which was blinking, will now light steadily.

4. To stop recording, press the [PLAY/STOP] button once again.

Rehearsing

While recording a phrase, you can temporarily suspend recording while you rehearse an idea.

1. During recording, press the [REC] button.

The metronome will start sounding.

2. Press one of the NUMBER [1]–[8] buttons to specify the length (number of measures in the phrase you’re going to record.

The number of lit buttons corresponds to the number of measures in the phrase.

* When you specify the length of the phrase, any data

previously recorded in that phrase will be erased.

The [REC] button will blink. Your performance will not be recorded while the button is blinking.

2. Press the [REC] button once again.

The [REC] button will light, and normal recording will resume.

Page 25

Erasing Recorded Operations

While recording a phrase, you can erase unwanted notes from the recording.

1. During recording, press the [BANK] button.

2. Press the NUMBER [8] button at the location

where you want to erase notes

All recorded notes will be erased for the duration that you hold down the NUMBER [8] button.

3. At the end of the region that you want to erase, release the NUMBER [8] button.

Normal recording will resume.

Choosing the Type of Data to be Recorded or Erased

Saving the Recorded Phrase

The phrase you record will be lost when you switch o the GAIA SH-01’s power, or when you select a di erent phrase.

When you’ve  nished recording a phrase, it’s a good idea to save it.

1. Hold down the [REC] button and press the [WRITE] button.

The NUMBER button corresponding to the currently selected phrase number will blink, and the other seven NUMBER buttons will light. The [WRITE] button will also blink.

If you want to save the phrase to USB memory (sold separately), press the USB MEMORY [PATCH] button so it’s lit.

To store it internally, press the USB MEMORY [PATCH] button so its illumination is turned o .

2. Press the NUMBER [1]–[8] button for the phrase number in which you want to save the phrase you recorded.

While in Rec Standby mode, or while recording a phrase, you can choose the type of data that will be recorded or erased.

1. While in standby mode or during recording, press the [BANK] button

2. Select the type of data by pressing one of the NUMBER [1]−[4] buttons.

• NUMBER [1] (All): All recorded data (this is the default)

• NUMBER [2] (Bender): Only operations of the pitch bend/

modulation lever

• NUMBER [3] (Controller): Knob operations

• NUMBER [4] (Notes): Only keyboard performance data

The NUMBER button you pressed will blink, and the NUMBER buttons that were blinking will change to steadily lit.

3. Press the [WRITE] button.

The phrase will be saved.

The NUMBER [1]–[8] buttons will return to their function of selecting patches.

* If you decide not to save the phrase, press the [CANCEL/

SHIFT] button before pressing the [WRITE] button in step 3.

Page 26

Choosing the phrase to play back

Here’s how to select a phrase that’s saved in internal memory or USB memory.

1. Hold down the [REC] button.

While you hold down the [REC] button, the NUMBER [1]–[8] buttons will select phrases.

To select a phrase that’s saved in USB memory, hold down the [REC] button and press the USB MEMORY [PATCH] button so it’s lit. If this button is unlit, you’ll be selecting phrases that are saved in internal memory.

The NUMBER button for the currently selected phrase number will blink, and the other seven NUMBER buttons will light.

2. Continue holding down the [REC] button, and press the NUMBER [1]–[8] button of the phrase that you want to play back.

The NUMBER button you pressed will blink, and the other NUMBER buttons will light.

3. Take your  nger o the [REC] button.

The phrase has now been selected.

If playback is still taking place when you select a phrase, the selection will be switched after the previous phrase has  nished playing.

Playing or stopping the phrase

1. Press the [PLAY/STOP] button.

Using a Pedal

If you connect a pedal switch (DP series, FS-5U; sold separately) or expression pedal (EV-5; sold separately) to the rear panel PEDAL jack, you can use it to control a variety of functions that you’ve assigned.

Sustaining the Notes ( HOLD)

If you connect a pedal switch (DP series, FS-5U; sold separately), the notes will be sustained as long as you continue holding down the pedal even after you take your hands o the keyboard.

Setting things so a pedal switch can be used to sustain the sound

1. Hold down the [CANCEL/SHIFT] button and press the [V-LINK] button.

2. Hold down the [PORTAMENTO] button and press one of the NUMBER [1] buttons.

3. Press the [CANCEL/SHIFT] button.

• MODULATION

• VOLUME

• BEND MODE

• D BEAM SYNC

• TAP TEMPO

The currently selected phrase will start playing.

The phrase will continue playing repeatedly until you press PLAY/STOP once again.

2. Press the [PLAY/STOP] button once again to stop phrase playback.

* No data for the phrase that is played will be output from

MIDI OUT.

Page 27

Adding Expression to Your Performance ( EXPRESSION)

If you connect an expression pedal (EV-5; sold separately), you’ll be able to use the expression pedal to control the volume and add expression to your performance.

Setting things so an expression pedal can be used to add modulation to a performance

1. Hold down the [CANCEL/SHIFT] button and press the [V-LINK] button.

2. Hold down the [PORTAMENTO] button and press one of the NUMBER [4] buttons.

3. Press the [CANCEL/SHIFT] button.

925

* Use only the speci ed expression pedal (EV-5; sold

separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

MEMO

In addition to Hold and Expression, the following functions can be assigned to the pedal ”PEDAL ASSIGN” (p. 52).

• MODULATION

• VOLUME

• BEND MODE

• D BEAM SYNC

• TAP TEMPO

Using V-LINK

What is V-LINK?

V-LINK ( ) is functionality that allows you to perform music and video simultaneously. If the GAIA SH-01 is connected via MIDI to a V-LINK compatible device, you’ll be able to enjoy a variety of video e ects that are synchronized to the expressive elements of your performance.

The GAIA SH-01 can control images on a V-LINK compatible video device that’s connected via MIDI.

Press the [V-LINK] button to turn V-LINK on.

You can control the presentation of images so they’re matched with the music you play on the GAIA SH-01, simply by pressing buttons or operating sliders on the GAIA SH-01.

BANK, NUMBER [1]–[8] buttons

[CUTOFF] knob Controls the hue and brightness.

[RESONANCE] knob Controls the chrominance.

[LFO FADE TIME] slider

Pitch Bend Lever Controls the speed of playback.

To cancel V-LINK, press the [V-LINK] button once again.

Pressed to select among image choices.

Controls the timing of image switching.

Page 28

Creating Sounds

MODE

Speci es the bright-

Determines the

loudness of the sound

Distorts the sound

Sound-Creating Work ow

The following illustration shows the basic work ow for creating sounds on the GAIA SH-01.

TONE 3

TONE 2

TONE 1

OSC

WAVE

Creates the waveform and determines the pitch

PITCH ENV

Speci es the pitch at which the sound begins

LFO

SHAPE

Applies cyclic change

FILTER

MODE

Speci es the brightness of the sound

FILTER ENV

Modi es the brightness at the beginning and end of the sound

AMP

LEVEL

Determines the loudness of the sound

AMP ENV

Determines how the sound starts and ends

EFFECTS

DISTORTION

Distorts the sound

LOW BOOST

Boosts the low range

FLANGER

Gives spaciousness to the sound

DELAY

Adds delayed sounds

REVERB

Adds reverberation to the sound

OUTPUT

The Three Elements of Sound (OSC, FILTER, AMP)

There are three elements that determine the character of a sound: the pitch, the brightness, and the loudness.

On the GAIA SH-01, these three elements are determined by the following sections.

Pitch: OSC (Oscillator, p. 30)

The pitch is determined by the speed at which the waveform repeats. A waveform that takes one second to repeat is said to have a frequency of 1 Hertz (1 Hz). The higher the frequency, the higher the pitch. Conversely, the lower the frequency, the lower the pitch.

Brightness: FILTER (Filter, p. 32)

The brightness of a sound can be modi ed by boosting or cutting speci c frequency ranges. Boosting the high-frequency range produces a brighter sound, while boosting the low-frequency range produces a darker sound.

Loudness: AMP (Amp, p. 35)

The loudness of a sound is determined by the amplitude of the waveform. Greater amplitude means more volume, while lesser amplitude means less volume.

Time-Varying Change ( ENVELOPE)

“Envelope” refers to the way in which an aspect of the sound changes over time. The OSC, FILTER, and AMP each have an envelope that operates each time you play a key, applying time-varying change to the pitch, tonal character, and volume.

Each aspect of the sound is controlled by its own envelope, as follows.

Pitch: PITCH ENV (Pitch Envelope, p. 32)

Brightness: FILTER ENV (Filter Envelope, p. 34)

Loudness: AMP ENV (Amp Envelope, p. 35)

By taking full advantage of these envelopes, you can create more richly expressive sounds.

For example, you can use the pitch envelope to make the pitch momentarily lower at the beginning of each note, or use the amp envelope to make the volume gradually increase.

Page 29

Cyclic Change ( LFO)

The OSC, FILTER, and AMP can be modulated at a rate speci ed by the LFO (p. 36) to create vibrato (by modulating the pitch) or tremolo (by modulating the volume).

The GAIA SH-01 has three LFOs; you can use one LFO for each tone.

E ects ( EFFECTS)

You can apply e ects to add a  nishing touch to the sound.

Five types of e ects can be used simultaneously: distortion, modulation, delay, reverb, and low boost.

Tones ( TONE)

On the GAIA SH-01, “tones” are the smallest unit by which sound is produced.

Each tone consists of an OSC (oscillator) x 1, FILTER ( lter) x 1, AMP (amp) x 1, and LFO (Low-Frequency Oscillator) x 1; you’ll use these to create the sound of the tone.

The GAIA SH-01 lets you use three tones simultaneously.

Selecting a Tone

What the buttons do and how they light

[SELECT] button [ON] button

TONE 1

TONE 2

TONE 3

Select tone 1 Turn tone 1 on/o

ON: lit (green) OFF: unlit

[SELECT] button [ON] button

Select tone 2 Turn tone 2 on/o

ON: lit (green) OFF: unlit

[SELECT] button [ON] button

Select tone 3 Turn tone 3 on/o

ON: lit (green) OFF: unlit

ON: lit (red) SYNC, RING: lit (orange) OFF: unlit

ON: lit (red) OFF: unlit

Editing multiple tones

Simultaneously press the [SELECT] buttons for the tones that you want to edit.

Example 1:

Press the tone 1 [SELECT] button and the tone 2 [SELECT ] button, making them light.

Tones 1 and 2 will be the current tones, and the tone 1 and tone 2 buttons will both light green.

Example 2:

Press the [SELECT] buttons of all tones, making them light.

All tones will be the current tones, and the tone 1, tone 2, and tone 3 buttons will all light green.

[SELECT] buttons

Use these buttons to select the tone that you want to edit.

The selected tone is called the “current tone.”

[ON] buttons

Use these buttons to turn on the tones that you want to be heard.

Knob operations when you switch tones

When you switch tones, the knob or slider positions might not match the actual values of the settings. When you move a knob or slider, the GAIA SH-01 will modify its sound according to the position of that knob or slider.

Page 30

Making the sound re ect the physical positions of the knobs and sliders ( MANUAL)

The Manual function changes the parameter values to match the physical positions of the knobs and sliders, allowing you to edit in a straightforward manner. When you edit a patch to modify its sound, the actual value of each parameter will not necessarily match the physical positions of the knobs and sliders.

By executing the Manual function, you can change the sound to match the settings of the knobs and sliders. This is convenient when you’re editing a sound from scratch.

When you execute the Manual function, the patch parameters will be set according to the physical positions of the knobs and sliders.

1. Hold down the [PRESET PATCH] button and press the [USER PATCH] button.

The [PRESET PATCH] button and [USER PATCH] button will both light, and settings that are made will re ect the knob and slider positions.

Specifying the Waveform and Pitch (OSC)

The OSC (oscillator) section produces the waveform that is the basis of the sound.

Selecting a waveform will also determine the pitch.

The GAIA SH-01 has an oscillator for each tone 1–3.

These three oscillator can be used independently, or in combination to create thick or complex sounds.

You can also combine tone 1 and tone 2 to create thick sounds or metallic sounds.

Copying a tone ( TONE COPY)

You can copy the settings of a tone to another tone.

1. Press the [TONE COPY] button.

The [TONE COPY] button and the [SELECT ] buttons for all tones will start blinking.

2. Press the [SELECT] button of the copy-source tone.

The [SELECT] button for the tone you’ve selected will change from blinking to steadily lit.

3. Press the [SELECT] button of the copy-destination tone.

The copy will be completed, and the copy-destination tone will become the current tone.

* If you decide not to save the phrase, press the [CANCEL/

SHIFT] button before pressing the [SELECT] button in step 3.

[ WAVE] button

This button selects the waveform that is the basis of the sound. The waveform whose indicator is lit is the selected waveform.

Lit indicator Characteristics

This waveform contains a sine wave fundamental plus a  xed proportion

Sawtooth wave

Square wave

Pulse/PWM

Triangle wave

Sine wave

of sine wave harmonics at all integer multiples of that fundamental.

This waveform contains a sine wave fundamental plus a  xed proportion of sine wave harmonics at odd-numbered multiples of that fundamental.

The overtone structure of this waveform will vary signi cantly depending on the width of the upper portion of the waveform (Pulse Width, p. 31).

This waveform contains a sine wave fundamental plus a  xed proportion of sine wave harmonics at even-numbered multiples of that fundamental.

This is the simplest of all waveforms, containing only a single frequency.

Page 31

NOISE

Noise

SUPER SAW

Super Saw

This waveform contains all frequencies. It is suitable for percussion instrument sounds or sound e ects.

This produces a tone similar to seven sawtooth waves heard simultaneously. Pitch-shifted sounds are added to the center sound. It is suitable for strings sounds, and for creating thick sounds.

[ VARIATION] button

You can select variations of waveforms.

There are three variations for each waveform, and the [WAVE] button will change color according to the selected variation, as follows: unlit

red green unlit ...

[ PITCH] knob

This knob sets the pitch.

• Turning the knob toward the right will raise the pitch in semitone steps. Turning the knob all the way to the right will make the pitch two octaves higher than when the knob is in the center position.

• Turning the knob toward the left will lower the pitch in semitone steps. Turning the knob all the way to the left will make the pitch two octaves lower than when the knob is in the center position.

[ DETUNE] knob

This knob adjusts the pitch in  ner steps than the [PITCH] knob.

By layering tones and slightly shifting their pitches away from each other, you can create a sense of modulation and depth (a “detune” e ect).

• Turning the knob toward the right will raise the pitch.

Turning the knob all the way to the right will make the pitch 50 cents higher than when the knob is in the center position.

• Turning the knob toward the left will lower the pitch.

Turning the knob all the way to the left will make the pitch 50 cents lower than when the knob is in the center position.

[ MOD] button

This button combines the sound of tone 1 and tone 2 in order to create more complex sounds.

Press the button to select the way in which these tones will be combined; the corresponding indicator will light.

Pressing the button cycles you through the available choices, as follows: OFF

SYNC RING OFF ...

OFF

Tone 1 and tone 2 will sound independently.

SYNC (Oscillator sync)

Tone 1 will forcibly be reset to the beginning of its cycle at the frequency of tone 2, creating a complex waveform.

The OSC 1 waveform will change as shown in the illustration, and OSC 2 will be output with its original waveform.

This is e ective when the tone 1 pitch is higher than the tone 2 pitch.

OSC 1 waveform

(output waveform)

OSC 2 waveform

* If you’ve selected SYNC (oscillator sync), the MONO

setting will be forcibly chosen.

RING (Ring modulator)

By multiplying OSC 1 and OSC 2, this creates a complex, metallic-sounding waveform like that of a bell.

The OSC 1 waveform will change as shown in the illustration, and OSC 2 will be output with its original waveform.

OSC 1 waveform

OSC 2 waveform

OSC 1 output

waveform

* PW and PWM cannot be used for tones 1 and 2 if you’ve

turned on SYNC (Oscillator Sync) or RING (Ring Modulator). Also, if the OSC section’s asymmetric rectangular wave is selected, variations for the OSC become invalid, and the resulting tonal quality will be somewhat di erent compared to what it would be with the original wave selection.

[ PWM] slider

If the [ WAVE] button (p. 30) has selected (asymmetrical square wave), you can use this slider to specify the amount of LFO modulation applied to PW (pulse width).

Page 32

[ PW] slider

If the [ WAVE] button (p. 30) has selected (asymmetrical square wave), you can use this slider to specify the width of the upper portion of the square wave (the pulse width) as a percentage of the entire cycle.

• Moving the slider downward will narrow the pulse, making it approach a square wave (pulse width = 50%).

• Moving the slider upward will broaden the pulse, producing a more idiosyncratic sound.

PITCH ENV (Pitch envelope)

On wind instruments such as a trumpet, the beginning of the note (i.e., the moment at which the musician begins to blow) may be slightly di erent than the pitch at which the note stabilizes.

The pitch envelope lets you create this type of timevarying pitch change.

[ A] (Attack time) slider

This speci es the time from the moment you press the key until the pitch reaches its highest (or lowest) point.

Moving the slider upward will lengthen this time, and moving it downward will shorten the time.

[ D] (Decay time) slider

This speci es the time from the moment the pitch reaches its highest (or lowest) point until it returns to the pitch of the key you pressed.

Moving the slider upward will lengthen this time, and moving it downward will shorten the time.

[ ENV DEPTH] (Envelope depth) slider

This speci es how much the pitch envelope will a ect the pitch.

• If the slider is in the upward (+) half of its range, the pitch will initially rise and then return to the pitch of the key you pressed. Moving the slider upward will increase the distance by which the pitch rises.

• If the slider is in the downward (-) half of its range, the pitch will initially fall and then return to the pitch of the key you pressed. Moving the slider downward will increase the distance by which the pitch falls.

Using the pitch envelope

If you want the pitch to be momentarily sharp at the beginning of the note (e.g., as it is the instant a trumpeter begins blowing), set [A] and [D] to very short times, and move ENV DEPTH slightly in the “+” direction.

By setting [A] to the shortest time (the slider all the way down), setting [D] a bit longer, and raising ENV DEPTH to the maximum, you can simulate the downward-swooping electronic drum sound that was popular in the 80’s.

Adjusting the Brightness and Thickness (FILTER)

The FILTER section contains parameters that determine the character and distinctive features of the sound.

You can modify the tonal character by changing the  lter settings. There are various types of  lters; for example a low-pass  lter (LPF) passes only the portion of the sound that is below a speci c frequency (the cuto frequency), and a high-pass  lter (HPF) passes only the portion that is above that frequency.

By changing the cuto frequency of a low-pass  lter, you can make the sound brighter or darker. The cuto frequency can be controlled by the envelope to change over time.

By adjusting the  lter and envelope settings, you can create sounds that have movement and expressiveness.

The  lter parameters are described below.

Filter types

LPF (Low-Pass Filter)

This type of  lter cuts the frequency range that is above the cuto frequency, making the sound more mellow.

This is the most frequently used type of  lter.

Volume

Cut region

Frequency

Page 33

HPF (High-Pass Filter)

This type of  lter cuts the frequency range that is below the cuto frequency, emphasizing the high-frequency range.

This can be used to create percussion instrument sounds with a distinctive high-frequency range.

Volume

Cut region

Frequency

BPF (Band Pass Filter)

This type of  lter passes only the range of frequencies in the region of the cuto frequency, cutting the other frequencies.

This is suitable for creating distinctive sounds.

If you’ve selected “NOISE” as the oscillator waveform, selecting this  lter type will allow only a speci c frequency region of the noise to be heard, allowing you to play “pitched noise.”

Volume

Cut region

PKG (Peaking Filter)

This type of  lter boosts the range of frequencies in the region of the cuto frequency.

By using the LFO to cyclically modulate the cuto frequency, you can use this to produce a wah e ect.

Volume

BYPASS

The sound will not be sent through the  lter. The oscillator’s sound will be output without change.

Cut region

Frequency

Boosted region

Frequency

[ MODE] button

This button selects the type of  lter that will be applied to the waveform.

Press the button to make the indicator light for the desired type of  lter.

Pressing the button cycles you through the available choices, as follows: LPF HPF BPF PKG BYPASS

LPF ...

[ SLOPE] button

This button selects the slope (steepness) of the  lter.

Press the button to toggle the indicator between unlit and lit. This allows you to switch between slopes of -12 dB and

-24 dB per octave.

Example: LPF (Low-Pass Filter) slope

Volume

-12 dB-24 dB

Cuto

frequency

Unlit (-12 dB)

The  lter slope will be gentle; some sound near the cuto frequency will remain.

Lit (-24 dB)

The  lter slope will be steep; the sound immediately above (or below) the cuto frequency will be cut.

Frequency

[ CUTOFF] knob

This knob speci es the  lter cuto frequency.

LPF

Turning the knob toward the right will brighten the sound; turning it toward the left will make the sound darker (more mellow).

HPF

Turning the knob toward the right will make the sound lighter (thinner); turning it toward the left will make the sound heavier (thicker).

BPF

Turning the knob toward the right allows the highfrequency range to be heard; turning it toward the left allows the low-frequency range to be heard.

PKG

Turning the knob toward the right will move the boosted region toward the high-frequency range; turning it toward the left will move the boosted region toward the low-frequency range.

* If “BYPASS” is selected as the  lter mode, turning the

[CUTOFF] knob will not a ect the sound.

Page 34

[ RESONANCE] knob

Resonance emphasizes the sound in the region of the  lter cuto frequency.

Increasing the resonance setting will increase this emphasis, producing a distinctive sound that is characteristic of synthesizers. If you want to accentuate the resonance e ect, it’s a good idea to lower the cuto slightly.

LPF

Level

High

Frequency

Cuto frequency

Value

Low

• Turning the knob toward the right will emphasize the sound in the region of the cuto frequency, producing a more distinctive sound.

• Turning the knob toward the left will remove the emphasis from the sound in the region of the cuto frequency, producing a milder sound.

* If “BYPASS” is selected as the  lter mode, turning the

[RESONANCE] knob will not a ect the sound.

NOTE

In response to demands by pro sound designers for tonechanging capabilities, the GAIA SH-01 permits a wide variety of resonance settings. Because of this, raising the resonance level too much results in extremely high output levels in speci c frequency ranges. Be careful to keep the volume settings down when creating sounds in order to prevent overloading audio playback equipment.

BPF HPF PKG

[ KEY FOLLOW] knob

Here’s how you can make the  lter cuto frequency to vary according to the key you play.

• Turning the knob toward the right (maximum value is +100) will make the cuto frequency rise as you play toward the right side of the keyboard, and fall as you play toward the left side of the keyboard.

• Turning the knob toward the left (maximum value is -100) will make the cuto frequency fall as you play toward the right side of the keyboard, and rise as you play toward the left side of the keyboard.

• If the knob is in the center position (0), the cuto frequency will not be a ected by the notes you play.

* If “BYPASS” is selected as the  lter mode, changing this

setting will not a ect the sound.

Cuto frequency

(octave)

High

-1

C4C3C2 C5 C6

+100

+50

-50

-100

Value

Low

Key

FILTER ENV (Filter envelope)

On instruments such as a piano, the beginning of each note has a bright sound, which gradually becomes darker (more mellow) as the note decays.

The  lter envelope lets you simulate this and many other kinds of time-varying changes in brightness.

Cuto

frequency

Key-on

Key-o

DEPTH

Time

Page 35

[ A] (Attack time) slider

This speci es the time from the moment you press the key until the cuto frequency reaches its highest (or lowest) point.

Moving the slider upward will lengthen this time, and moving it downward will shorten the time.

[ D] (Decay time) slider

This speci es the time from when the cuto frequency reaches its highest (or lowest) point, until it decays to the sustain level.

Moving the slider upward will lengthen this time, and moving it downward will shorten the time.

[ S] (Sustain level) slider

This speci es the cuto frequency that will be maintained from when the decay time has elapsed until you release the key.

Moving the slider upward will raise the cuto frequency (or lower it if DEPTH is set to a “-” value).

[ R] (Release time) slider

This speci es the time from when you release the key until the cuto frequency reaches its minimum value.

Moving the slider upward will lengthen the time, and moving it downward will shorten the time.

[ ENV DEPTH] (Envelope depth) slider

This speci es the direction and depth to which the cuto frequency will change.

• If the slider is moved upward (“+” settings), the  lter envelope will raise the cuto frequency. The farther upward the slider is set, the more the cuto frequency will be raised by the  lter envelope.

• If the slider is moved downward (“-” settings), the  lter envelope will lower the cuto frequency. The farther downward the slider is set, the more the cuto frequency will be lowered by the  lter envelope.

Filter envelope velocity sensitivity

Here’s how you can make the  lter envelope depth vary according to the strength with which you play the key.

1. Hold down the [CANCEL/SHIFT] button and turn the [CUTOFF] knob.

• Turning the knob toward the right (maximum value is +63) will make the  lter envelope depth rise as you play more strongly, and fall as you play more softly. .

• If this setting is at the minimum value (0), the cuto frequency will not be a ected by the strength with which you play the key.

* If “BYPASS” is selected as the  lter mode, changing this

setting will not a ect the sound.

* This e ect can be obtained only when KEYBOARD

VELOCITY (p. 51) is set to “REAL.”

Specifying the Sound’s Attack and Decay (AMP)

The AMP section contains parameters that control the volume. Raising a value will increase the volume.

[ LEVEL] knob

This sets the volume. Turning the knob toward the right will increase the volume, and turning it toward the left will decrease the volume.

If the knob is turned all the way to the left, there will be no sound.

AMP ENV (Amp envelope)

When a note is played on a piano, the sound begins immediately, and then gradually diminishes.

On instruments such as an organ, the sound continues at a  xed volume as long as the key is held down.

The amp envelope allows you to create these and many other types of volume change over time.

Key-o

Volume

Key-on

[ A] (Attack time) slider

This speci es the time from the moment you press the key until the maximum volume is reached.

Moving the slider upward will lengthen this time, and moving it downward will shorten the time.

DEPTH

Time

Page 36

[ D] (Decay time) slider

This speci es the time from when the maximum volume is reached, until it decays to the sustain level.

Moving the slider upward will lengthen this time, and moving it downward will shorten the time.

[ S] (Sustain level) slider

This speci es the volume level that will be maintained from when the attack and decay times have elapsed until you release the key.

Moving the slider upward will raise the volume.

[ R] (Release time) slider

This speci es the time from when you release the key until the volume reaches its minimum value.

Moving the slider upward will lengthen the time, and moving it downward will shorten the time.

PAN

Here’s how to change the stereo position of the sound.

1. Hold down the [CANCEL/SHIFT] button and turn the [DETUNE] knob.

Turning the knob toward the left moves the stereo position to the left, and turning the knob toward the right moves the stereo position to the right. If the knob is in the center, the sound will also be in the center.

Modulating the Sound (LFO)

LFO stands for Low-Frequency Oscillator. This is an oscillator with a very low frequency. It can output several di erent waveforms, including sine wave, triangle wave, square wave, and sawtooth wave.

By using the LFO to modulate various aspects of the audio signal, you can apply e ects such as vibrato or tremolo.

• Applying the LFO to the pitch (OSC) will produce vibrato.

• Applying the LFO to the cuto (FILTER) will produce

wah-wah.

• Applying the LFO to the volume (AMP) will produce tremolo.

• Applying the LFO to the PAN will produce auto panning e ect.

[ SHAPE] button

This selects the LFO waveform. The indicator of the selected waveform will light.

Lit indicator Waveform

Triangle wave

Sine wave

Sawtooth wave

Square wave

Sample and Hold (The LFO value will change once each cycle.)

RANDOM Random wave

Page 37

[ TEMPO SYNC] button

This button lets you specify the LFO speed as a note value relative to the arpeggio or phrase recorder tempo.

If you press the [TEMPO SYNC] button so it’s lit, and then turn the [RATE] knob, the LFO speed (cycle) will change in steps of note lengths “RATE” (p. 47).

If you press the [TEMPO SYNC] button once again to turn o its illumination, the [RATE] knob will return to its original operation.

* The [TAP TEMPO] button (p. 23) blinks at quarter-note

intervals to indicate the tempo of the arpeggio or phrase recorder.

[ RATE] knob

This determines the speed of the LFO.

Turning the knob toward the right will make the modulation faster, and turning it toward the left will make the modulation slower.

* The indicator above the [RATE] knob blinks in synchroni-

zation with the LFO speed (cycle).

[ FADE TIME] slider

This speci es the time from when the tone sounds until the LFO reaches its maximum amplitude.

FADE TIME

[ PITCH DEPTH] slider

This allows the LFO to modulate the pitch, producing a vibrato e ect.

• Moving the slider upward (“+” settings) will deepen the modulation.

• If the slider is in the center position (0), the pitch will not be modulated by the LFO.

• Moving the slider downward (“-” settings) will apply modulation with an inverted LFO waveform.

[ FILTER DEPTH] slider

This allows the LFO to modulate the FILTER CUTOFF (cuto frequency), producing a wah e ect.

• Moving the slider upward (“+” settings) will deepen the modulation.

• If the slider is in the center position (0), the cuto frequency will not be modulated by the LFO.

• Moving the slider downward (“-” settings) will apply modulation with an inverted LFO waveform.

[ AMP DEPTH] slider

This allows the LFO to modulate the AMP LEVEL (volume), producing a tremolo e ect.

• Moving the slider upward (“+” settings) will deepen the modulation.

• If the slider is in the center position (0), the amp level will not be modulated by the LFO.

• Moving the slider downward (“-” settings) will apply modulation with an inverted LFO waveform.

PAN DEPTH

Here’s how to make the PAN (stereo position) vary (Auto Panning).

1. While holding down the [CANCEL/SHIFT] button, move the [AMP DEPTH] slider.

• Moving the slider upward (“+” direction) will deepen the modulation.

• If the slider is in the center position (0), there will be no modulation.

• Moving the slider downward (“-” direction) will apply modulation with the LFO waveform in reversed phase.

MODULATION LFO

Each tone has two LFOs: an LFO that is always applied to the tone, and a MODULATION LFO that is used to apply modulation when the pitch bend/modulation lever is moved away from yourself.

1. Hold down the [CANCEL/SHIFT] button and move the pitch bend/modulation lever away from yourself.

The LFO SHAPE indicator will blink.

2. Edit the following parameters.

• SHAPE (p. 47)

• TEMPO SYNC (p. 47)

• RATE (p. 48)

• PITCH DEPTH (p. 48)

• FILTER DEPTH (p. 48)

• AMP DEPTH (p. 48)

LFO KEY TRIGGER and FADE TIME cannot be speci ed for the MODULATION LFO.

Speed and waveform of vibrato applied by the modulation lever

The speed and waveform of the vibrato applied when you move the modulation lever (p. 19) away from yourself is determined by the MODULATION LFO’s SHAPE and RATE settings.

Page 38

Adding Power, Spaciousness, and Reverb (EFFECTS)

“E ects” allow you to modify or enhance the sound in various ways, such as by adding reverberation or delaying the sound.

The GAIA SH-01 provides  ve di erent e ects—DIST, FLANGER, DELAY, REVERB, and LOW BOOST—which give you a broad range of possibilities for modifying or enhancing the sound.

[ SELECT CONTROL] button

Use this button to select the e ect that you want to edit; DIST, FLANGER, DELAY, or REVERB.

Press the button to make the indicator light for the e ect you want to edit. Each press of the button takes you to the next choice among the available e ects, like this: DIST FLANGER DELAY REVERB DIST ...

[ CONTROL 1]/[ LEVEL] knob

Used to make changes in the parameters assigned to the e ects.

It will alter the value for the e ect that’s selected by SELECT CONTROL.

Parameter Panel operation

CONTROL 1 Turn the [CONTROL 1] knob.

CONTROL 2

CONTROL 3

LEVEL Turn the [LEVEL] knob.

For details, refer to “Advanced Operation” (p. 45).

Hold down the [CANCEL/SHIFT] button and turn the [CONTROL 1] knob.

Hold down the [CANCEL/SHIFT] button and turn the [LEVEL] knob.

Distortion e ects

These are e ects that distort the sound. They are particularly suitable for lead sounds.

[ DIST] button

This is a guitar amp simulator that reproduces the thick and powerful sound containing numerous overtones that is often heard from electric guitars.

The sound will be mono even if the tone is panned.

[ FUZZ] button

This is a guitar amp simulator with a di erent character of distortion than produced by DIST.

The sound will be mono even if the tone is panned.

[ BIT CRASH] button

This drops the bit depth or sampling rate, producing a distortion characteristic of low- digital devices.

Modulation e ects

Modulation means to vary the sound in a cyclic manner. By adding various sounds to the direct sound, you can produce more spaciousness and depth.

[ FLANGER] button

This applies modulation to the direct sound, producing an e ect that is reminiscent of a jet airplane taking o and landing.

[ PHASER] button

This adds a phase-shifted sound to the direct sound, producing a phasing e ect that gives the sound a sense of rotation.

[ PITCH SHIFTER] button

This adds a sound of a di erent pitch to the direct sound, producing the impression that chords are being played even if you’re actually playing single notes.

Delay

Delay is an e ect that delays the sound to create echo e ects. By layering the delay sound with the direct sound, you can give the sound more depth and spaciousness.

[ DELAY] button

This produces a stereo delay e ect.

[ PANNING DELAY] button

This is a delay for use only with stereo output. The delay time is distributed between the L and R channels.

Page 39

[ TEMPO SYNC] button

This button synchronizes the delay time to the GAIA SH-01’s tempo, allowing you to easily create e ect sounds that are synchronized to the tempo of your song.

Reverb

This e ect adds the reverberation that is characteristic of a performance in a large hall.

[ REVERB] button

This button applies the reverb e ect.

Others

[ LOW BOOST] button

If you press this button so it’s lit, the low-frequency range will be boosted for emphasis.

[ EFFECTS ON/OFF] button

This button turns all of the e ect blocks on/o in a single operation.

If the [EFFECTS ON/OFF] button is lit, the selected e ects will be on.

If the [EFFECTS ON/OFF] button is unlit, all e ects will be o .

Saving a Sound You’ve Created ( WRITE)

The sound you create will change if you move a knob or select a di erent patch, and will be lost when you switch o the GAIA SH-01’s power.

When you’ve created a sound you like, you should save it as a user patch.

2. Press the [BANK] button and a NUMBER [A]–[H] button to specify the save-destination bank.

The BANK button and NUMBER button you pressed will blink.

3. Press a NUMBER [1]–[8] button to specify the destination at which you want to save your patch.

NOTE

The sound settings that were previously in the patch you selected as the destination of the save will be overwritten by the patch you’re saving, and will be lost. Take care when choosing the destination of the save.

4. Press the [WRITE] button once again.

The selected BANK and NUMBER button, as well as the [USER PATCH] button, will light, and the [WRITE] button will go out.

The sound you created has been saved.

* If you decide not to save your sound, press the [CANCEL/

SHIFT] button before you press the [WRITE] button in step 4.

* You can’t save to a patch that is write protected. If you

attempt to do so, the WRITE PROTECT indicator will blink rapidly.

WRITE PROTECT

This lets you prevent an important patch from being accidentally overwritten and lost.

By holding down the [CANCEL/SHIFT] button and pressing the current NUMBER button, you can “write protect” the patch.

To disable the write protect setting, hold down the [CANCEL/SHIFT] button and press the current NUMBER button.

If you’ve selected a patch that is write protected, the WRITE PROTECT indicator will light.

1. Press the [WRITE] button.

The [USER PATCH] button will light; the [BANK] or NUMBER button that was selected, as well as the [WRITE] button, will blink.

If you want to save your patch to USB memory, press the USB MEMORY [PATCH] button.

Page 40

Performing with Sound from a Portable Audio Player

You can perform along with sound from a portable audio player, CD player, sampler, or other external device. You can also modify the sound of the external device.

Connections

1. Connect your portable audio player or other device to the GAIA SH-01’s top panel EXT IN jack.

926a

* When connection cables with resistors are used, the

volume level of equipment connected to the inputs EXT IN jack may be low. If this happens, use connection cables that do not contain resistors.

Portable audio player

Adjusting the Volume

1. Switch on the power of the portable audio player or other device that’s connected to the EXT IN jack, and raise the volume to an appropriate level.

2. While producing sound from the device that’s connected to the EXT IN jack, turn the [LEVEL] knob to an appropriate volume.

The sound from the device connected to the EXT IN jack will be output from the OUTPUT jacks and the PHONES jack.

Page 41

Eliminating Sound from the Center ( CENTER CANCEL)

By using this function, sounds that are localized at the center (such as vocals) can be eliminated from the sound of the device connected to the EXT IN jack.

When you press the CENTER CANCEL [ON] button so it’s lit, sounds localized at the center will be removed.

* With some songs, you may not be able to eliminate the

vocals.

* The center cancel on/o setting is not stored in the

patch.

Muting the Input Sound ( MUTE)

You can mute the sound of the device connected to the EXT IN jack.

Press the [MUTE] button so it’s lit; the sound will be muted. Press the button again to turn o its illumination; the sound will be heard again.

Changing the way in which the center sound is eliminated ( TYPE)

You can choose from types of the center cancel function.

There are three types, and the illumination of the CENTER CANCEL [TYPE] button will change as you step through the types, as follows: unlit

Type Explanation

(unlit)

(lit red)

(lit green)

red green unlit ...

Mid-frequency and high-frequency sounds localized in the center will be eliminated.

Low-frequency sounds localized in the center will be eliminated.

All sounds localized in the center will be eliminated.

Page 42

Using the GAIA SH-01 with a Computer or Sound Module

Recording the SH-01’s Sound or Data on a Computer ( USB)

If you use a commercially available USB cable to connect the SH-01’s rear panel USB COMPUTER connector to a USB connector on your computer, you’ll be able to do the following things.

• Use the SH-01 to hear audio or SMF  les played back by MIDI software.

• Create more sophisticated music productions by sending MIDI data between the SH-01 and your sequencer software.

Computer’s USB connector

USB

cable

USB COMPUTER connector

The USB driver is software that transfers data between the SH-01 and the application (e.g., DAW software) on your computer when the SH-01 is connected via USB to your computer.

The USB driver sends data from your application to the SH-01, and data from the SH-01 to your application.

USB audio

If the SH-01 is connected via a USB cable to your computer, DAW software on your computer will be able to record the sound of the SH-01 and the sound from the device connected to the SH-01’s INPUT jack. Sound played back by your DAW software can also be heard on the device connected to the SH-01’s OUTPUT jacks.

The following illustration shows the USB audio signal  ow.

USB connector

EXT IN connector

USB Audio

OUT

OSC

USB

Audio

OUTPUT jacks

USB MIDI

For details on operating requirements, refer to the Roland website.

NOTE

• For some models of computer, the system might not

operate correctly. Refer to the Roland website for the operating systems that are supported.

• Before you make connections to other equipment, turn down the volume and turn o the power o on all equipment in order to prevent malfunction and/or speaker damage.

• A USB cable is not included. To purchase one, please contact the dealer where you purchased the SH-01.

• Switch on the SH-01’s power before you start up the DAW software on your computer. Do not switch the SH-01 on/ o while your DAW software is running.

If the SH-01 is connected via USB to your computer, your DAW software can record the SH-01’s performance data (MIDI data), and performance data (MIDI data) played back by your DAW software can play the SH-01’s sound generator section.

Connecting the SH-01 to Your Computer

1. Install the USB driver on your computer.

The USB driver is on the included CD-ROM “GAIA SH-01 DRIVER CD-ROM.”

The driver installation procedure will depend on your system, so be sure to carefully read the “Readme”  le on the CD-ROM.

2. Use a USB cable (sold separately) to connect the SH-01 to your computer.

Page 43

MIDI

cable

Using the SH-01 as a Controller or Sound Module ( MIDI)

MIDI (Musical Instrument Digital Interface) is a universal standard for exchanging performance data and other information between electronic musical instruments and computers.

If you use MIDI cables to connect devices equipped with MIDI connectors, you’ll be able to do things such as using a single MIDI keyboard to play multiple instruments, play an ensemble of MIDI instruments, or make settings change automatically as the song progresses.

MIDI Connectors

The SH-01 has the following two types of MIDI connectors.

MIDI IN connector

This receives MIDI messages sent from an external MIDI device.

When the SH-01 receives MIDI messages, it can play sounds or switch patches.

MIDI OUT connector

This transmits MIDI messages to an external MIDI device.

The SH-01 will transmit messages from its controller section via MIDI OUT.

About MIDI Channels

MIDI allows numerous streams of performance data to be sent via a single MIDI cable. This is made possible thanks to the concept of “MIDI channels.”

MIDI channels allow an instrument to select and use just the messages that were intended for it.

MIDI channels are similar to television channels. By switching channels on your television, you can view programs that are being broadcast by di erent stations. This is because the television is singling-out only the data of the particular station you’ve chosen, and ignoring the data being transmitted by all the other stations. In the same way, a MIDI device uses only the messages that are intended for it.

There are sixteen MIDI channels, 1–16. Normally, you’ll set the receiving device to receive only the desired MIDI channel out of the various channels of data that the transmitting device might be sending.

The SH-01’s MIDI channel

The SH-01’s MIDI channel is set to “1.”

You can change the MIDI channel (RX/TX CHANNEL, p. 52).

Using an External Sequencer to Play the SH-01’s Sound Generator (MIDI IN)

Here’s an example of using the SH-01 as a sound module.

Use a MIDI cable to connect the MIDI OUT connector of your sequencer (or other device) to the MIDI IN connector on the SH-01’s rear panel.

MIDI IN

MIDI cable

MIDI OUT

MIDI sequencer

When you play back your external sequencer, the SH-01’s sound generator section will produce sound according to the performance data recorded on your sequencer.

For details, refer to the owner’s manual of the MIDI sequencer you’re using.

In addition to its dedicated sound generator, the SH-01 also comes with a multitimbral PCM sound generator that supports GM2 sound mapping.

This makes it possible for you to play SMFs (Standard MIDI Files) using an external sequencer.

MEMO

When the SH-01’s MIDI channel is set to “1,” GM2 sounds cannot be selected for the channel 1 track of SMFs you play.

In order to have the intended sounds be selected, you’ll need to set the SH-01’s MIDI channel to a channel that isn’t used by your SMFs.

For details, see ”RX/TX CHANNEL” (p. 52).

Page 44

Using the SH-01’s Keyboard and Knobs to Play an External MIDI Sound Module (MIDI OUT)

You can use the SH-01 as a controller.

Use a MIDI cable (sold separately) to connect the SH-01’s rear panel MIDI OUT connector to your MIDI sound module’s MIDI IN connector.

MIDI OUT

MIDI cable

MIDI IN

MIDI sound module

For details, refer to the owner’s manual of the MIDI sound module you’re using.

Page 45

Advanced Operation

In addition to editing its settings via the panel knobs and sliders, the GAIA SH-01 also allows you to edit the following parameters.

Patch Parameters

COMMON

Parameter Range Explanation Panel operation

If this is on, the LFO cycle will be restarted when you

LFO KEY TRIGGER OFF, ON

FILTER ENVELOPE VELOCITY SENS

LEVEL VELOCITY SENS 0–+63

PITCH BEND RANGE DOWN

PITCH BEND RANGE UP 0–24

PORTAMENTO TIME 0–127

ARPEGGIO VARIATION A1–H8 Species how the arpeggio will be sounded.

PAN -63–+63

PAN LFO DEPTH 0–127 Species the depth to which LFO will aect the pan.

0–+63

0–24

press a key.

The MODULATION LFO cannot be controlled with this setting.

Species how the cuto frequency will be aected by keyboard dynamics.

This eect can be obtained only when KEYBOARD VELOCITY (p. 51) is set to “REAL.”

Species how the volume will be aected by keyboard dynamics.

This eect can be obtained only when KEYBOARD VELOCITY (p. 51) is set to “REAL.”

Species the amount of pitch change that will occur when the pitch bend/modulation lever is moved all the way to the left.

Species the amount of pitch change that will occur when the pitch bend/modulation lever is moved all the way to the right.

Species the time over which the pitch will change to the next note.

Set the panning of the tone. “-63” is far left, “0” is center, and “+63” is far right.

Hold down the [CANCEL/SHIFT] button and press the [TEMPO SYNC] button.

Button lit: ON Button unlit: OFF

Hold down the [CANCEL/SHIFT] button and turn the [CUTOFF] knob.

Hold down the [CANCEL/SHIFT] button and turn the [LEVEL] knob.

1. Hold down the [SHIFT] button and move the pitch bend/ modulation lever all the way to the left or right.

2. Hold down the OCTAVE [DOWN/-] button and press a key (C2–C4).

3. Press the [CANCEL/SHIFT] button.

1. Hold down the [SHIFT] button and move the pitch bend/

modulation lever all the way to the left or right.

2. Hold down the OCTAVE [UP/+] button and press a key (C2–C4).

3. Press the [CANCEL/SHIFT] button.

While holding down the [PORTAMENTO] button, press the OCTAVE [UP/+] or OCTAVE [DOWN/-] button.

Hold down the [PORTAMENTO] button and press one of the NUMBER [1]–NUMBER [8] buttons.

Hold down the [PORTAMENTO] button and move the LFO [FADE TIME] slider.

1. Hold down the [CANCEL/SHIFT] button and press the [PORTAMENTO] button.

2. Use any of the following three methods to set the portamento time.

• Press one of the NUMBER [1]–NUMBER [8] buttons.

• Turn the EFFECTS [CONTROL 1] knob.

• Move the LFO [FADE TIME] slider

3. Press the [CANCEL/SHIFT] button.

Hold down [ARPEGGIO] button, and use the [BANK] button and NUMBER [1]–NUMBER [8] button to select a bank and variation.

1. Hold down [CANCEL/SHIFT] button, and press the [ARPEGGIO] button.

2. Use the [BANK] button and NUMBER [1]–NUMBER [8] button to select the bank and variation.

3. Press the [CANCEL/SHIFT] button.

Hold down the [CANCEL/SHIFT] button and turn the OSC [DETUNE] knob.

Hold down the [CANCEL/SHIFT] button and move the LFO [AMP DEPTH] slider.

Page 46

OSC

Parameter Range Explanation Panel operation

WAVE

VARIATION

PITCH -24–+24 Adjusts the pitch in semitone steps. Turn the [PITCH] knob.

DETUNE -50–+50 Adjusts the pitch in steps of one cent. Turn the [DETUNE] knob.

SYNC/RING OFF, SYNC, RING

PWM 0–127

PW 0–127 Species the pulse width. Move the [PW] slider.

A 0–127 Species the attack time of the pitch envelope. Move the [A] slider.

D 0–127 Species the decay time of the pitch envelope. Move the [D] slider.

ENV DEPTH -63–+63

SAW, SQR, PULSE, TRI, SIN, NOISE, SUPER SAW

Selects the waveform that is the basis of the sound.

You can select variations of the currently selected WAVE.

Selects how tone 1 and tone 2 will be combined.

Species the amount (depth) of LFO applied to PW (Pulse Width).

Species the depth to which the envelope will modulate the pitch.

FILTER

Parameter Range Explanation Panel operation

Press the [WAVE] button a number of times to make your selection.

There are three variations for each waveform, and each time you switch the variation, the illumination of the [WAVE] button will change as follows: unlit

Press the [MOD] button to choose.

Move the [PWM] slider.

Move the [ENV DEPTH] slider.

red green unlit ...

MODE

SLOPE -12dB, -24dB Species the slope of the lter. Press the [SLOPE] button to choose.

CUTOFF 0–127 Species the cuto frequency. Turn the [CUTOFF] knob.

RESONANCE 0–127 Species the resonance. Turn the [RESONANCE] knob.

CUTOFF KEY FOLLOW -100–+100

A 0–127 Species the attack time of the lter envelope. Move the [A] slider.

D 0–127 Species the decay time of the lter envelope. Move the [D] slider.

S 0–127 Species the sustain level of the lter envelope. Move the [S] slider.

R 0–127 Species the release time of the lter envelope. Move the [R] slider.

ENV DEPTH -63–+63

BYPASS, LPF, HPF, BPF, PKG

Selects the type of lter. Press the [MODE] button to choose.

Species how the cuto frequency will be aected by the keyboard position.

Species the depth to which the envelope will modulate the lter.

Turn the [KEY FOLLOW] knob.

Move the [ENV DEPTH] slider.

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AMP

Parameter Range Explanation Panel operation

LEVEL 0–127 Species the volume of the tone. Turn the [LEVEL] knob.

A 0–127 Species the attack time of the amp envelope. Move the [A] slider.

D 0–127 Species the decay time of the amp envelope. Move the [D] slider.

S 0–127 Species the sustain level of the amp envelope. Move the [S] slider.

R 0–127 Species the release time of the amp envelope. Move the [R] slider.

LFO

Parameter Range Explanation Panel operation

SHAPE

TEMPO SYNC OFF, ON

RATE

FADE TIME 0–127

PITCH DEPTH -63–+63

FILTER DEPTH -63–+63

AMP DEPTH -63–+63

PAN DEPTH -63–+63

TRI, SIN, SAW, SQR, S&H, RANDOM

Species the rate of the LFO.

When TEMPO SYNC is OFF:

0–127

When TEMPO SYNC is ON:

16, 12, 8 ( 1/4 (

), 3/16 ( ), 1/6 ( ), 1/8 ( ), 3/32, 1/12, 1/16, 1/24, 1/32

Selects the LFO waveform. Press the [SHAPE] button to choose.

Species whether the LFO rate will be synchronized with the GAIA SH-01’s tempo.

), 4 ( ), 2 ( ), 1 ( ), 3/4 ( ), 2/3 ( ), 1/2 ( ), 3/8 ( ), 1/3 ( ),

Species the time from when the tone begins to sound until the LFO reaches its maximum amplitude.

Species the amount of modulation applied to the tone’s pitch.

Species the amount of modulation applied to the tone’s cuto frequency.

Species the amount of modulation applied to the tone’s level.

Species the amount of modulation applied to the tone’s pan.

MODULATION LFO

Parameter Range Explanation Panel operation

SHAPE

TEMPO SYNC OFF, ON

TRI, SIN, SAW, SQR, S&H, RANDOM

Species the LFO waveform.

Species whether the LFO rate will be synchronized with the GAIA SH-01’s tempo.

Press the [TEMPO SYNC] button.

Turn the [RATE] knob.

Move the [FADE TIME] slider.

Move the [PITCH DEPTH] slider.

Move the [FILTER DEPTH] slider.

Move the [AMP DEPTH] slider.

Hold down the [CANCEL/SHIFT] button and move the [AMP DEPTH] slider.

1. Hold down the [CANCEL/SHIFT] button and move the pitch bend/modulation lever away from yourself.

2. Press the [SHAPE] button to choose a waveform.

3. Press the [CANCEL/SHIFT] button.

1. Hold down the [CANCEL/SHIFT] button and move the

pitch bend/modulation lever away from yourself.

2. Press the [TEMPO SYNC] button.

3. Press the [CANCEL/SHIFT] button.

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Parameter Range Explanation Panel operation

Species the LFO rate.

When TEMPO SYNC is OFF:

RATE

PITCH DEPTH -63–+63

FILTER DEPTH -63–+63

AMP DEPTH -63–+63

PAN DEPTH -63–+63

0–127

When TEMPO SYNC is ON:

16, 12, 8 ( 1/4 (

), 4 ( ), 2 ( ), 1 ( ), 3/4 ( ), 2/3 ( ), 1/2 ( ), 3/8 ( ), 1/3 ( ),

), 3/16 ( ), 1/6 ( ), 1/8 ( ), 3/32, 1/12, 1/16, 1/24, 1/32

Species the amount of modulation applied to the tone’s pitch.

Species the amount of modulation applied to the tone’s cuto frequency.

Species the amount of modulation applied to the tone’s level.

Species the amount of modulation applied to the tone’s pan.

1. Hold down the [CANCEL/SHIFT] button and move the pitch bend/modulation lever away from yourself.

2. Turn the [RATE] knob.

3. Press the [CANCEL/SHIFT] button.

1. Hold down the [CANCEL/SHIFT] button and move the

pitch bend/modulation lever away from yourself.

2. Move the [PITCH DEPTH] slider.

3. Press the [CANCEL/SHIFT] button.

1. Hold down the [CANCEL/SHIFT] button and move the

pitch bend/modulation lever away from yourself.

2. Move the [FILTER DEPTH] slider.

3. Press the [CANCEL/SHIFT] button.

1. Hold down the [CANCEL/SHIFT] button and move the

pitch bend/modulation lever away from yourself.

2. Move the [AMP DEPTH] slider.

3. Press the [CANCEL/SHIFT] button.

1. Hold down the [CANCEL/SHIFT] button and move the

pitch bend/modulation lever away from yourself.

2. Hold down the [CANCEL/SHIFT] button and move the [AMP DEPTH] slider.

3. Press the [CANCEL/SHIFT] button.

D BEAM ASSIGN Parameters

This setting species the parameter whose value will be modied by the D BEAM controller when you press the D BEAM [EFFECTS/ASSIGN] button. This setting applies to the current tone.

Hold down the D BEAM [EFFECTS/ASSIGN] button and operate the button, knob, or slider for one of the parameters listed below.

* With the D BEAM ASSIGN parameter, you cannot assign the parameter to be changed by holding down the [CANCEL/

SHIFT] button.

Parameter Range Explanation

RATE Modify the LFO rate (frequency, p. 37).

FADE-TIME Modify the time over which the LFO amplitude reaches the maximum (p. 37).

LFO

OSC

PITCH-DEPTH Modify the vibrato (pitch modulation) depth (p. 37).

FILTER-DEPTH Modify the wah (cuto frequency modulation) depth (p. 37).

AMP-DEPTH Modify the tremolo (volume modulation) depth (p. 37).

PITCH Modify the tone’s pitch (p. 31).

DETUNE Modify the pitch more nely (p. 31).

PWM If the asymmetrical pulse wave is selected for WAVE, modify the overtone structure(p. 31).

PITCH-ENV-A Modify the attack time of the pitch envelope (p. 32).

PITCH-ENV-D Modify the decay time of the pitch envelope (p. 32).

PITCH-ENV-DEPTH Modify the amount of pitch change produced by the pitch envelope (p. 32).

If the asymmetrical pulse wave is selected for WAVE, modify the width of the pulse waveform’s upper portion (p. 32).

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Parameter Range Explanation

CUTOFF Modify the cuto frequency of the lter. (p. 33)

RESONANCE Modify the amount of emphasis for the overtones in the region of the cuto frequency (p. 34).

KEY FOLLOW Modify the extent to which the cuto frequency is aected by the keyboard position (p. 34).

FILTER

AMP

EFFECTS

OTHERS

ENV-A Modify the attack time of the lter envelope (p. 35).

ENV-D Modify the decay time of the lter envelope (p. 35).

ENV-S Modify the sustain level of the lter envelope (p. 35).

ENV-R Modify the release time of the lter envelope (p. 35).

ENV-DEPTH Modify the amount by which the cuto frequency is controlled by the lter envelope (p. 35).

LEVEL Modify the volume (p. 35).

ENV-A Modify the attack time of the amp envelope (p. 35).

ENV-D Modify the decay time of the amp envelope (p. 36).

ENV-S Modify the sustain level of the amp envelope (p. 36).

ENV-R Modify the release time of the amp envelope (p. 36).

CONTROL 1 Perform the same operation as the panel [CONTROL 1] knob (p. 38).

LEVEL Perform the same operation as the panel [LEVEL] knob (p. 38).

PORTAMENTO-TIME Modify the portamento time (p. 20).

BENDER Apply the pitch bend eect. (p. 19).

MODULATION Apply modulation (p. 19).

POLARITY

Determine the polarity of the D BEAM (p. 21). When setting the D BEAM ASSIGN parameter, move the knob or slider to specify the direction in which value changes are to take place.

Eect Parameters

Parameter Range Explanation Explanation Panel operation

Drive 0–127 Adjusts the depth of distortion. Turn the [CONTROL 1] knob.

Hold down the [CANCEL/SHIFT] button and turn the [CONTROL 1] knob.

Hold down the [CANCEL/SHIFT] button and turn the [LEVEL] knob.

Hold down the [CANCEL/SHIFT] button and turn the [CONTROL 1] knob.

Hold down the [CANCEL/SHIFT] button and turn the [LEVEL] knob.

Hold down the [CANCEL/SHIFT] button and turn the [CONTROL 1] knob.

Hold down the [CANCEL/SHIFT] button and turn the [LEVEL] knob.

Turn the [CONTROL 1] knob.

Hold down the [CANCEL/SHIFT] button and turn the [CONTROL 1] knob.

Hold down the [CANCEL/SHIFT] button and turn the [LEVEL] knob.

Turn the [CONTROL 1] knob.

Hold down the [CANCEL/SHIFT] button and turn the [CONTROL 1] knob.

Hold down the [CANCEL/SHIFT] button and turn the [LEVEL] knob.

[DIST]

[FUZZ]

[BIT CRASH]

[FLANGER]

[PHASER]

Type 1–6 Selects the type of distortion.

Presence 0–127

Level 0–127 Adjusts the volume. Turn the [LEVEL] knob.

Drive 0–127 Adjusts the depth of distortion. Turn the [CONTROL 1] knob.

Type 1–6 Selects the type of distortion.

Presence 0–127

Level 0–127 Adjusts the volume. Turn the [LEVEL] knob.

Sample Rate 0–127 Adjusts the sample rate. Turn the [CONTROL 1] knob.

Bit Down 0–127 Adjusts the bit depth.

Filter 0–127 Adjusts the lter depth.

Level 0–127 Adjusts the volume. Turn the [LEVEL] knob.

Feedback 0–127

Depth 0–127 Adjusts the depth of modulation.

Rate 0–127 Adjusts the speed of modulation.

Level 0–127 Adjusts the volume. Turn the [LEVEL] knob.

Resonance 0–127

Depth 0–127 Adjusts the depth of modulation.

Rate 0–127 Adjusts the speed of modulation.

Level 0–127 Adjusts the volume. Turn the [LEVEL] knob.

Adjusts the tone for the ultra high frequency range.

Adjusts the proportion of eect sound that is returned to the input.

Determines the amount of resonance.

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Parameter Range Explanation Explanation Panel operation

Pitch -12–+12

[PITCH SHIFTER]

[DELAY]

[PANNING DELAY]

[REVERB]

Shared in Common Patch Level 0–127 Adjusts the volume of the patch.

Detune 0–50 [cent]

Pitch

Level 0–127 Adjusts the volume. Turn the [LEVEL] knob.

Time 0–127 This determines the delay time. Turn the [CONTROL 1] knob.

Feedback 0–127 Adjusts the amount of feedback.

High Damp -36–0 [dB]

Level 0–127 Adjusts the volume. Turn the [LEVEL] knob.

Time 0–127 This determines the delay time. Turn the [CONTROL 1] knob.

Feedback 0–127 Adjusts the amount of feedback.

High Damp -36–0 [dB]

Level 0–127 Adjusts the volume. Turn the [LEVEL] knob.

Time 0–127 Adjusts the reverberation time. Turn the [CONTROL 1] knob.

Type

High Damp 1–100 [%]

Level 0–127 Adjusts the volume. Turn the [LEVEL] knob.

-12, -7, -5, -2,

-1, 0, +1, +2, +5, +7, +12

ROOM, PLATE, HALL

Adjusts the amount of pitch shift in semitone steps.

Make ne adjustments to the pitch shift.

Selects the amount of pitch shift.

Adjusts the amount of highfrequency damping.

This selects the reverb type.