Roland SH-201 User Manual

Creating Sounds

WE DESIGN THE FUTURE

with Fun and Ease

Synthesizer 101: Learning the SH-201

Top Panel

Chapter

Introduction

Arpeggiator adds instant

rhythmic motion to sounds.

Short recorder onboard to capture

and loop your performance and knob movements.

I nvisible infrared D Beam controller.

Ultra-EZ front panel is logically designed to teach the basics of synthesis.

OSC

FILTER

P11

AMP

P13

LFO

P15

Chapter

The Basic Structure

of a Synthesizer

Chapter

Let’s Play

Chapter

The Function

of Controls

Chapter

Examples

External input for manipulating external audio

from CD/MP3 players, etc.

P17

Built-in delay, reverb, and overdrive effects.

VSTi Editor software included

for computer integration.

USB port for audio/MIDI connection to computer.

P19

Chapter

Appendix

Elements of Sound

Put the Fun Back in Synthesis!

1 2

Synth-Programming

The Three

Chapter

Introduction

Chapter

Introduction

Experience the magic of creating your own sounds.

For more than a quarter century, Roland has defined and redefined the state of the art in synthesizers.

Today, the fundamentals for sound creation remain the same for most synthesizers.

By understanding the fundamentals, anyone can enjoy creating sound for virtually any type of synthesizer.

JUPITER-8

SYSTEM-700

Roland Synthesizer History

SH-1000

The first of its kind to be produced in Japan, the SH-1000 was an instant hit with its compact size, easy operation, and affordable price.

1973

Bringing together all the soundmaking technology of its day, this complete electronic studio system was used by leading broadcasting stations and groundbreaking electronic music artists.

1976

An 8-voice analog synthesizer with 64 sound-memory locations. One of Roland’s earliest polyphonic synthesizers, this significant instrument paved the way to today’s synthesizer development.

1981

JUNO-60

61 key, 6-voice fully programmable polyphonic synthesizer with 56 sound-memory locations. Roland’s proprietary DCB interface standard was used for exchanging control information with external device.

1982

JD-800

D-50

Equipped with the Linear Arithmetic (a.k.a. LA) synthesis, this was Roland’s first full-digital synthesizer, and one of the bestselling models. The D-50 was a worldwide sensation due to its operating ease and stunning sound.

1987

Combining stunning digital sound with a natural feel and operability reminiscent of analog instruments, the JD-800 was the pinnacle of synthesizer development of its era.

Roland has released numerous legendary synthesizers

the SH-201, combines Roland’s state-of-the-art technology

Even though this is synthesis at its friendliest, the SH-201 is no toy. With two beefy analog-modeling oscillators, complete with Roland’s famous Supersaw waveform and resonant filter, this little synth can blow down doors.

NEW

2006

2003

2005

1991

JP-8000

This 8-voice synthesizer has an inviting array of knobs and sliders to manipulate an analog modeling synthesis engine. It has a built-in Motion Control function that allows operations on a panel to be recorded and played back.

1996

V-Synth

V-Synth XT

Independently manipulate the pitch, time, and formant of sampled waveforms using VariPhrase technology — a world’s first in a synthesizer!

The V-Synth XT is fully stocked with a potent array of synthesis types, including the V-Synth’s famous Elastic Audio Synthesis engine, plus analog-synth modeling, vocal modeling, and classic D-50 emulation.

in the past. The newest member of the line,

with an incredibly easy user-interface.

Synthesizer Evolution — the Workstation

The Fantom-X Series is the flagship of the Roland workstation family, offering musicians nearly 1GB of wave memory when fully expanded, and 128-voice performance.

Fantom-X

2004

This guidebook will give you many tips for creating classic synthesizer sounds on the SH-201.

If you’re new to synthesis, fear not. We will guide you every step of the way, so no worries!

As you master the fundamentals of creating sound, an unexplored world of creativity awaits you. Let’s begin our journey together!

3 4

Chapter

The Basic Structure of a Synthesizer

A typical synthesizer will have a signal flow-chart similar to the one pictured below. To start, let’s understand the fundamentals.

Audio signals

AMP

ENV

Control signals

(*1)

. A VCO is

OSC 1

PITCH

ENV

OSC 2

LFO 1

MIX/

FILTER

MOD

LFO 2

(

OSC

This is the basis of the sound, where the waveform and pitch are selected. It is indeed

the heart and soul of a synthesizer. On analog synthesizers, it is called the VCO

a sound generator capable of changing frequency through changes in voltage. The SH-201

has two oscillators (OSC1 and OSC2). It’s like having two synthesizers in one.

FILTER

This is where the sound signal generated from the OSC is processed through the emphasis

and rejection of a selected frequency range. On analog synthesizers, it is called the VCF

A VCF is used to continuously change the characteristics of a filter (cutoff frequency)

through changes in voltage. The SH-201 houses three separate filters, each designed

for a specific purpose.

LPF BPF

level

Oscillator

(

➝ P. 11

Low Pass Filter High Pass Filter Band Pass Filter

partials which are cut

➝ P. 9

)

HPF

level

partials which are cut

FILTER

ENV

level

partials which are cut

(*2)

(

)

AMP

Sound generated in OSC and processed through the FILTER is amplified here.

On analog synthesizers, it is called the VCA

the volume (level) of sound signal through changes in voltage.

➝ P. 13

(*3)

. The VCA is used to change

Chapter

The Basic Structure

(

LFO

This is a sound generator capable of producing low frequencies. On analog

synthesizers, it is also called the LFO

AMP individually as it adds modulation. LFO is a “must have” for producing

synthesizer-like effects.

Examples of LFO

ENV

An envelope generator controls the initiation and termination of sounds.

On analog synthesizers, it is also called ENV

the keyboard, ENV affects the volume and timbre on OSC, FILTER, and AMP

individually as it processes its time-varied elements.

Examples of ENV

Low Frequency Oscillator

applied to OSC

LFO

applied to FILTER

applied to AMP

Envelope Generator

applied to OSC

ENV

applied to FILTER

applied to AMP

Vibrato

WahWah (Growl)

Tremolo

(

➝ P. 10, 12, 13

Pitch becomes higher or lower

Sound becomes brighter or darker

Sound becomes louder or softer

)

➝ P. 15

(*4)

. The LFO affects the OSC, FILTER, and

)

(*5)

. Every time you play

of a Synthesizer

PITCH ENV FILTER ENV AMP ENV

pitch

DEPTH

Key-on

time

cutoff frequency

Key-on

Key-off

volume

DEPTH

time

Key-on

Key-off

time

Analog Synthesizer

Once considered relics, analog synthesizers are attracting attention once again. The simple and easy-to-understand OSC ➝ FILTER ➝ AMP structure enables real-time control to achieve dynamic sound variation. Moving knobs and faders to create your own unique sound can be a very exciting experience indeed. The SH-201 is recommended not only for keyboardists, but for any artist or producer who desires a new outlet for creativity expression.

frequency

5 6

frequency

(*1) Voltage Controlled Oscillator (*2) Voltage Controlled Flter (*3) Voltage Controlled Amplifier

(*4) Low Frequency Oscillator (*5) Envelope Generator

Chapter

Let’s Play

You can start playing the SH-201 as soon as you turn on the power. Go ahead and play the keyboard while adjusting the volume with the [MASTER VOL] knob.

Power Switch D Beam Knobs Sliders

SH-201 allows you to store the timbres (sounds) you have created. These stored timbres are called patches.

A total of 64 patches can be stored. The patch-storing location works like a file cabinet.

A patch can be selected through the GROUP, BANK, and NUMBER buttons.

PRESET GROUP (read only)

NUMBER (1–8

BANK

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

( A–D

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

Half of the SH-201’s 64 patches are user programmable. In other words, use these locations to store your original timbres that you have created.

Once the timbres are stored, they can easily be recalled and played through

simple button operations. Experiment with all of the patches on SH-201

to hear the sounds created!

)

USER GROUP (rewritable)

NUMBER (1–8

BANK

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

(

A–D

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

)

Chapter

Let’s Play

Lever

Lever on the left side of the keyboard can be moved left or right to change the pitch.

Lever on the left side of the keyboard can be moved forward to add vibrato.

D Beam on the upper left of the keyboard can be controlled from your hand movement above to change the pitch, volume, or brightness.

Listen to the sound as you move any or all of the knobs and sliders gradually.

The SH-201 lets you create sound while listening to it in real time by moving knobs and sliders.

At this stage, it is okay if you don’t know how each control affects the sounds. Don’t worry, because you will get a hang of it as you continue with this text!

7 8

MASTER VOL

Select GROUP

(PRESET or USER)

Select BANK

(A,B,C,D)

Select NUMBER

(1,2,3,4,5,6,7,8)

Let’s get into the function of each of the controls.

Sound Programming for Thought

As you check out the factory-preset patches in detail, you will find many creative ideas. Use them as examples to create your own sounds from scratch. This method will enhance your sound-making skills, verses the common approach of editing a pre-existing sound.

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