21
—————————————————————
Overview
—————————————————————
The SH-32’s front panel is designed for easy editing. There are 17
sliders that control envelopes, etc.; four large knobs that control filter,
etc.; four smaller knobs for selecting effects, etc.; 49 self-illuminating
buttons; six buttons and a 3-digit LED display. The rear panel
contains all the basic connections: stereo outputs, MIDI In and Out,
a headphone output, footswitch jack and power switch. The SH-32’s
compact, portable design makes it perfect for desktop use or for use
in a DJ booth, while its retro-styled interface lets you tweak and
program sounds with ease.
The SH-32 contains the following:
● 2 oscillators, a filter, amp and two LFOs per sound.
While being fully digital on the inside, you have the
ability, using knobs and sliders, to create sounds
using an analog-style interface.
● 67 oscillator waveforms and 4 rhythm sets. Handles
layering and multitimbral sound creation with 32-voice
polyphony and 4-part multitimbral operation.
● 2 independent effects processors: 10 types of reverb/delay
and 35 insertion effects.
● Built-in programmable arpeggiator with chord memory
function.
The self-illuminating buttons, mentioned above, are what make it
possible to fit so many features in such a functional, compact box.
These buttons include those for sound editing with which the
current status is shown using three types, or “stages”, of indication:
off, illuminating, and flashing. This allows you to edit intuitively
from the front panel without having to navigate back and forth
through a hierarchical interface. Thirteen buttons at the bottom of
the front panel function as a virtual single-octave keyboard when
the Preview button is pressed. This feature allows you to verify
sounds and play performances without having to connect a MIDI
keyboard.
—————————————————————
Wave Acceleration Synthesis
—————————————————————
Let’s explore some of the actual sounds while examining some
features. There are two basic ways that sounds can be saved on the
SH-32. One is called “Patch” mode and the other is “Performance”
mode, in which up to four patches (including rhythm sets) can be
overlapped and played at the same time. Y ou can use either mode,
depending on your needs.
Let’s explore Patch mode first. Listen to some of the preset sounds
using the virtual keyboard on the front panel. You will probably
notice how fat and powerful the notes sound. You might be
wondering how this is possible.
When designing the SH-32, Roland developed a proprietary
sound generating system called “Wave Acceleration Synthesis.”
Wave Acceleration is a new way to generate sound that was
developed by studying famous vintage synthesizers and analog
modeling synths. The results were then quantified so that Roland
could put the best of these qualities into the SH-32. Words like
“fat”, “distinct” and “cutting” all come to mind when playing the
presets. And these sounds are designed to fit in any mix—no need
for extensive EQ and outboard effects.
This punchy sound can also be found in the built-in rhythm sets.
The SH-32 contains four kits (two preset and two user) with
waveforms taken from Roland’s classic TR-808 and -909 Rhythm
Composers. We’re sure you’ll notice how rich the bass presence is
in not only the kick drum, but even in the toms.
—————————————————————
Oscillator
—————————————————————
Let’s take a closer look at W ave Acceleration Synthesis by investigating
the waveforms contained in the oscillator section. For those who
don’t know, oscillators are what determine the basic characteristic
of a sound. The SH-32 includes seven basic waveforms: saw , square,
pulse, PWM, triangle/sine, Spectrum, and Noise. These also include
variations capable of producing a variety of sound characteristics
(Figure 2), translating into over 67 waveforms total! And each
waveform has that fat analog feel, so you’ll never experience the
dull, lifeless sounds that result when sampling an analog synthesizer .
(You will notice this even with the PWM and Noise waveforms.)
But don’t take our word for it, let your own ears be the judge!
1. Oscillator Section
The SH-32 includes two independent oscillators. The basic waveforms are
saw, square, pulse, PWM, triangle/sine, Spectrum, and Noise. Each
waveform also includes several variations (except for PWM), so be sure to
check them out when auditioning the SH-32.
Pitch can be varied in octaves (Octave button), in semitones over two octaves
with the Pitch Coarse slider, and over ±50 cents using the Pitch Fine slider.
Also, the sub oscillator (SUB OSC), which is used for adding a sub-octave
element, contains a Subsonic mode for adding a special frequency
component for ultra-thick bass sounds. There is also an Oscillator Sync
function, a ring modulator, and a pitch envelope, which changes the pitch of
a sound over time.
By pressing the OSC1 and OSC2 buttons at the same time, both become the
editing target, which makes it easy to apply the same settings to both.
2. Filter Section
The filter can be set to one of the following settings: low pass, band pass,
high pass, peaking, and OFF. You can switch between –24 dB/oct for a tight
sound and –12 dB/oct for a smooth sound. A Key Follow function is also
provided, which changes the cutoff frequency in accordance with the key
pressed on the keyboard.
3. Amp Section
The amp section contains an ADSR-type envelope generator. Using the Key
Follow function you can change the time that follows the decay time for each
pitch range. The On and Off buttons for the ten types of reverb and delay,
which can be used as loop effects, are located here. The Level button located
on the right side of the front panel can be used to control the volume of
patches, rhythm sets and performances.
4. LFO Section
There are two independent LFO sections and you can choose among seven
waveforms including random. Several parameters are available such as Fade
In, which allows you to set the time it takes to reach the maximum LFO
amplitude, and Key Sync, which causes the LFO phase to start each time a
key is struck. The LFO rate can be automatically synchronized to BPM; tap
input is also possible. As with the oscillators, simultaneous editing is possible
by pressing the LFO1 and LFO2 buttons together.
The SH-32 User Interface
5. INTENSITY/INS-FX
This area is used to turn on and off one of the SH-32’s 35 insert effects, and
to make settings for the particular effect selected.
6. Output Level
Adjust the level of the main out and headphone out jacks here.
7. FX/SYSTEM
Adjust the insertion effect and reverb/delay parameters. When set to the
System position you can set the SH-32’s overall system parameters (selected
from buttons at the bottom of the front panel).
8. MIDI Setting Knob
Select parameters to be set when controlling the SH-32 with information
transmitted from external MIDI devices.
9. Button Group 1 and Data Entry
In addition to “Analog Feel,” which adds a slight wavering of pitch to produce an
analog synth-like sound, these buttons are for setting portamento, legato, level
and pan, and for switching between patch/performance and entering data.
The Exit and Level/Pan buttons, when pressed together, play a demo song.
10. Button Group 2
The buttons at the bottom of the front panel have a variety of functions. The
basic functions are patch number selection, part selection, calling up chord
memory and system parameters, setting the arpeggiator and programming.
Also, turning on the Preview button activates a “virtual” keyboard which
consists of self-illuminating buttons lit orange (octave shifting is possible).
You can use the virtual keyboard to perform and verify sounds without using
an external MIDI keyboard. You can also play sounds continuously by turning
on the Hold button.
Section 1 What is the SH-32?
W elcome to the SH-32 Guide Book. W ith this booklet and CD, you can gain a better
understanding of this powerful desktop synthesizer , complete with audio examples.
This first section describes the SH-32 in general terms for those new to synthesizers.
6
5
1
4
10
7
8
9
2 3
Figure 1: SH-32 Block Diagram
▼
ARPEGGIATOR
ENVENV
(PROGRAMMABLE)
2 x EFFECTS
INS-FX
REV/DELAY
TO ARPEGGIATOR
BPM SYNC
LFO2
MIX/
ENV
LFO1
FILTER AMP
PREVIEW
/CHORD MEMORY
OSC 1
SUB OSC
OSC 2
SUB OSC
PART 1
PART 2
PART 3
PART 4 / RHYTHM
RING/
SYNC
—————————————————————
High-quality waveforms for unlimited
sound creation
—————————————————————
Let’s take a look at the basic waveforms. The SH-32 contains seven
waveform groups: saw, square, pulse, PWM, triangle/sine,
Spectrum, and Noise. Each of these has variation waveforms, for
a total of 67 oscillator waveforms. These waveforms include those
found on traditional analog synthesizers, plus all-new waveforms
for creating sounds never heard before.
To begin, let’s audition some typical preset patches. Let’s start
with C11 “Bass” which uses a basic sawtooth waveform. This
demonstrates the fat and powerful SH-32 character (T rack 01). The
preset “Bass2” also demonstrates this quality (Track 02).
To check out the Oscillator Sync function, select patch C12 “Sync
Lead 1” (Track 03). And for leads, patch D18 “Comp-F Lead” has
a powerful presence (Track 04). Next, listen to patch C13 “Slicer 1”
which uses the Slicer Sync effect to achieve a changing rhythmic
effect (Track 05). You will see that all sorts of characteristic
synthesizer sounds can be produced by a single SH-32 when you
listen to C23 “Ring Bell” (T rack 06), which uses Spectrum, and C25
“Noise Pad” (Track 07), which uses Noise.
When listening to these preset patches, you should notice the high
quality of the SH-32’s waveforms. To demonstrate this further,
choose any of the Square waveform variations and turn on the
sub-oscillator with Subsonic function. This alone brings out the
warm atmosphere of an analog synthesizer. The amount of PWM
applied is also similar to an analog synthesizer. The Spectrum
waveform, on the other hand, produces sounds characteristic of
digital synthesizers. Having access to both of these qualities in the
same box is part of what makes the SH-32 so fascinating.
—————————————————————
Onboard rhythm sets with complete
editing capabilities
—————————————————————
The SH-32 has four rhythm sets (two preset and two user). As
stated earlier, these sets feature rich bass qualities, but the large
number of waveforms contained should also be noted.
For starters, there’s a full sampling of sounds taken from the
TR-808 and TR-909 Rhythm Composers. Accurate to the last
detail, these sounds can be morphed into entirely new sounds by
varying the pitch, filters, envelopes and effects. The classic CR-78
and TR-606/707/626 waveforms are also included, plus a healthy
dose of synth percussion instruments like LoFi Bongo, 909 Dist
Kick, Jungle Kick and Reggae Rim.
Now, listen to “Power Beat” and “HipHop Beat” (Tracks 8 and 9).
These will give you a glimpse of what is possible when these
sounds are layered and arpeggiated.
—————————————————————
Multimode filter with smooth, analog feel
—————————————————————
The filter is probably one of the most important facets of synthesizer
sound creation. The SH-32 has four filter types: low pass, band pass,
high pass, and peaking (there is also an OFF setting). The peaking
filter strongly emphasizes harmonics in the frequency range set
with the cutoff. By periodically changing the cutoff frequency you
can achieve a powerful wah effect. For filter slopes, you can switch
between –12 dB/oct, which is smooth sounding and suitable for
pads, and –24 dB/oct, which is tight and powerfully resonating.
Sound transitions are also very natural. The response when using
filter envelopes and the Key Follow function is true to the analog
tradition. You will no doubt feel just how smoothly and easily
sounds change when following the direction specified by the knobs
and sliders. The SH-32 provides a wide setting range for cutoff
frequencies and resonance width. Whether it’s a synth bass with
a strongly boosted bottom range or a hard techno sequence, you’ll
get a response that’s both aggressive and accurate. (To make the
SH-32’s filter scream, just crank up the resonance!) Even if you
don’t like to program sounds, we strongly encourage you to
experiment with the filters. You’ll like the results.
Of particular note are the 20 variations provided for the Spectrum
waveform. These waveforms are based on special harmonic overtones
and formants that would be difficult to express on subtractive
analog synthesizers. But with the SH-32, you can turn them into
gorgeous digital synth sounds or unique lead sounds difficult to
produce on an analog synthesizer.
Adding to the effectiveness of the SH-32’s sound is the sub-oscillator
with a unique Subsonic mode for ultra-thick bass sounds. Just
choose from one of three settings: octave down, Subsonic mode,
and off. The result is deep, booming bass that dance music producers
crave. And since the subsonic mode is more than a simple low-range
EQ boost, you can achieve fantastic effects even when using prominent
lead sounds and filter sweep pads.
—————————————————————
Filter and Modulation
—————————————————————
This section explains the SH-32’s filter section. The filter is what
determines the timbre of a sound. By adjusting the cutoff, you can
make a sound seem brighter or darker. Add some resonance and
you get that distinct “electronic” characteristic synthesizers are
known for. Ther e are four filter types on the SH-32: low pass, band
pass, high pass, and peaking. The slopes can be switched between
–12dB and –24dB for truly sharp and penetrating edges. The
peaking filter is particularly powerful—keep an eye on the
resonance to avoid blowing your speakers! The SH-32’s filter is so
responsive, you can even produce wah-wah like sounds by
adjusting the cutoff while leaving the resonance fixed.
Like the oscillators, the SH-32’s filter was designed with analog
feel. So while there is no analog circuitry inside, you still get that
sharp analog edge and easy knob- and slider-based control. Be
sure to check out the Envelope Depth slider, the method for
changing the emphasis of the ADSR envelope on the filter cutoff.
Many musicians place a high value on analog synthesizers
because it’s easy to edit sounds. The SH-32 fits right into that
“analog” niche by successfully re-creating the sound and feel of
these classic instruments.
—————————————————————
LFO
—————————————————————
Equipped beneath the oscillators and filters is the LFO section.
Short for “Low Frequency Oscillator,” LFOs are used to introduce
variation to a sound such as vibrato. The two main elements of the
LFO section, Depth and Rate, can be precisely controlled by knobs.
In addition to the LFO 1 and LFO 2 Select buttons you can select
among five destinations: OSC1 and OSC2 for obtaining vibrato,
Filter for obtaining a wah effect, Amp for obtaining tremolo, and
Pan for obtaining an auto-pan effect. There are also seven LFO
waveforms including random.
The BPM Sync feature is also unique and convenient. This allows
you to synchronize the LFO rate with the BPM (tempo can be input
using the Tap function or with the Value buttons). You can select
among seven settings—16th notes, triplets and 8th notes—up to
two measures in length. This function makes the SH-32 very useful
for dance music production where tempo-based effects are
frequently used.
Aside from these basic features, the SH-32 includes 35 insertion
effects like distortion and phaser, ten types of reverb and delay
(loop effects), a user-programmable arpeggiator, plus a Chord
Memory function for creating chords from a single note.
Section 2 Exploring the SH-32
This section goes into detail on how to get the most out of the SH-32. W e recommend
that you listen to the attached audio CD while reading this section.
Section 1 What is the SH-32?
43
Wave Acceleration Synthesis
Wave Acceleration Synthesis
Roland's Wave Acceleration Synthesis employs a proprietary
"accelerated generation" technique for creating synthesizer
waveforms. This technique allows the oscillators in Roland's
custom synthesis engine to yield more polyphony and
waveshape variations when compared to conventional "Analog
Modeling" methods. The Wave Acceleration engine also
includes highly-optimized filters and other modifiers. The
result is an endless variety of amazingly expressive, incredibly
fat and punchy synthesizer sounds—from ground-shaking
vintage synths to shifting exotic textures and more.
Track
01-07
Track
08-09
Figure 2: Waveform List
▼
—————————————————————
Two independent LFOs with BPM sync
—————————————————————
The LFO waveforms are triangle, sine, sawtooth, square, trapezoidal,
sample & hold, and random. Convenient features are included
such as simultaneous editing of both LFO1 and LFO2 by pressing
both LFO1 and LFO2 switches at the same time, and the ability to
initialize either one by pressing either LFO1 or LFO2 together
with the EXT key. Awide setting range is provided for setting the
rate width, and when the LFO fade-in function is used,
transpositions are possible for dynamic musical changes.
Notable in the LFO section is the ability to synchronize the phase
with a song’s BPM. In addition to setting by tapping, synchronization can be done with an external MIDI clock by setting system
parameters. Another convenience is the Beat/Cycle function,
which lets you set four beats of the set BPM to one LFO phase.
Furthermore, being able to select among 8, 4, 2, 1, 1/2, 1/3 and 1/4
(in other words, from 2 measures up to 16th notes), opens up a
world of inspiring musical possibilities.
——————————————————
Effects from mild to extreme
——————————————————
The SH-32 is loaded with killer effects capable of transforming
your sounds even further. These effects can be broadly classified
into two groups: insertion effects and reverb/delay. W ith so many
effects, you don’t need any outboard gear to create finishedsounding patches on the SH-32.
The SH-32’s two effects sections can be connected serially (for
connecting delay after distortion, for example) or connected in
parallel. Parallel connection is useful when you want to set the
send level individually for each part of a performance or for each
tone in a rhythm set.
Separate reverb and delay are also included in the insertion effects
to broaden your toolbox. This allows you to use reverb and delay
at the same time or use the two types of delay (long and short) if
needed.
Many unique effects are also built into the SH-32. Slicer, for
example, is a stereo effect that automatically and continually cuts
the sound. Asecond Slicer type is also provided, which cuts to the
BPM of your song using 16th or dotted 8th notes. This effect is
useful when, for example, you want to change a filter pad to a
rhythmic cutting pattern.
Distortion 1 and 2 are perfect distortion effects for modern
musical use. For some truly distinctive effects, try selecting among
the record noise types (LP, EP, SP, and rnd) for the LoFi Noise
effect. The SH-32’s phaser, which offers a natural phase feeling,
captures the true feel of this classic effect without sounding
digital. For modulation effects check out the step flanger (Track
10) and ring modulator (Track 11).
—————————————————————
Analog Feel for true vintage sounds
—————————————————————
Another one of the SH-32’s unique features is Analog Feel. This
function is designed to add instability to a sound’s pitch—just like
analog synths of the past. The amount can be set anywhere
between 0-127 with a higher value producing more instability.
Even though the effect is analog in nature, the pitch is still being
controlled digitally! Imagine how useful this effect would be
when playing a lead sound with lots of portamento. And, unlike
analog synthesizers, pitch instability can be controlled.
Experiment with this function to get the best results.
—————————————————————
Chord memory function for composing
and performing
—————————————————————
Let’s dive a little deeper now and take a look at the SH-32’s Chord
Memory function. This function allows you to play, by pressing a
single key on the keyboard, a harmony which was registered
beforehand as a “chord form.” For example, if you register note C
to be Cm7, you will get a Dm7 chord by pressing D and an Em7
chord by pressing E, etc. (Track 12). This function was commonly
found in synths of the early ‘80s. However , today, with music such
as Artcore in which sampled electric piano harmonies parallel the
riff, chord memory functions offer you a fascinating and creative
new way to make music.
EFFECTS SECTION
Select effect parameters
with the knob and set
values with the Value
buttons
▼▼
Insertion Effects
STEREO EQ/EZ FILTER/ISOLATOR/AUTO WAH/OVERDRIVE/DIST OR TION 1/DISTOR TION 2/
STEREO COMPRESSOR/STEREO LIMITER/PHASER/ROTARY/HEXA-CHORUS/TREMOLO
CHORUS/SPACE-D/STEREO FLANGER/STEP FLANGER/STEP FLANGER SYNC/RING
MODULATOR/LOFI/LOFI NOISE/SLICER/SLICER SYNC/TREMOLO/TREMOLO SYNC/
AUTO PAN/AUTO PAN SYNC/2-VOICE PITCH SHIFTER/FEEDBACK PITCH SHIFTER/
STEREO DELAY/STEREO DELAY SYNC/LONG DELAY/ LONG DELAY SYNC/RESONANCE
DELAY/REVERB/GATED REVERB
Use the button to turn
INS-FX on and off.
Adjustments can be
made with the Intensity
knob.
Reverb/Delay
REVERB ROOM/REVERB STAGE/REVERB HALL/STEREO DELAY/STEREO DELAY
SYNC/LONG DELAY/LONG DELAY SYNC/PAN DELAY/MODULATION DELAY/STEREO
CHORUS
To make life easy, the SH-32 comes with 64 chord forms already
built in. You can come up with cool, quick-and-dirty riffs right
away by selecting chord forms and playing the keyboard at
random. (When thinking up ideas for remixes users will probably
use this procedure a lot.) Preset chord forms include all the basic
chords as well as sus4, half diminished, 6/9, and those found on
Artcore, etc., such as minor 9th and minor 11th.
Of course, it is also possible to create and store your own original
chord forms manually. The procedure is extremely simple: Press
the Chord button and then play the chord you want to set with a
connected MIDI keyboard, or use the Preview function (virtual
keyboard) on the SH-32. You can connect a foot switch and use it
to change the chord form numbers (the numbers saved to
memory). This is great for gigs and for polishing up musical ideas.
—————————————————————
Programmable arpeggiator—even more
powerful with chord memory
—————————————————————
Next, we will introduce the arpeggiator . As you know, the function
of an arpeggiator, as a creative tool, goes beyond its inherent
purpose of simply splitting up and playing chords note-by-note. It
has many important roles including the production of materials for
making phrases, coming up with new song ideas, making basic
arrangements, and creating new rhythm patterns.
The SH-32’s arpeggiator is powerful in many ways. First of all, it
comes with 64 preset arpeggio styles and 64 rhythm styles that use
the preset rhythm sets. The patterns are as varied as they are
inspired. Notable arpeggio styles include those in cutting-edge
dance music as well as trance riffs. Rhythm styles include not only
the standard house and techno patterns, but R&B, drum ‘n’ bass,
2-step and even reggae.
There are many parameters you can choose from. When playing
preset patterns, you can change the beat or swing (Grid
adjustment), change staccato and tenuto (Duration adjustment),
change the pitch range (Range), or change the ascending/
descending variation (Motif). Note, in particular, the great number
of Motif variations provided. Aside from the simple low-to-high
and high-to-low, the ten types available include “UP. H”, in which
the arpeggiator plays, in order, from the lowest key pressed while
both the lowest and the highest notes are played each time, and
“rn. L”, in which the keys pressed are played at random while the
lowest note pressed is played each time. These fun variations alone
are likely to keep you busy for quite a while.
Now let’s take a look at the setting variations for Duration.
Normally, the level of staccato is set using a numerical parameter.
On the SH-32 you can optionally perform this setting by
controlling filters on the arpeggiator with “Ft1” and “Ft2”. With
Ft1, the note number values generated by the keys pressed are
replaced with the filter cutoff setting and the sound changes
(Track 13). With Ft2, the filter cutoff setting changes with the note
number played when the arpeggiator style is being created,
regardless of which key is pressed during the performance.
Because of this, a fixed pattern step change is obtained that is
similar to step modulator. Arpeggio style 52a is also worth
checking out (Track 14) as it lets you play in an ethnic style.
65
Section 2 Exploring the SH-32
ARPEGGIATOR
Buttons used when using step
input. From left: Tie, Rest, To Top
(returns next input grid to top) and
Back (deletes last note input).
These buttons also function as part
selection buttons when using
performance mode.
These are the main parameters. The four
buttons are, from the left: Range (octave
range), Grid (beat and shuffle), and Style
(arpeggio). When the buttons are flashing
they are, from the left: Motif (ascending or
descending variations), Duration (staccato
and tenuto), and Store. Select between step
and realtime input by pressing the Arpeggio
On button together with either the Value ▲
or VALUE ▼ button. You can set the tempo
with the Tap button.
CHORD MEMORY
Press this button to turn on the Chord Memory function. Use the
following procedure to register original chord forms: Press Chord
button and make it flash ➜ Press Value button to select a chord
form to be overwritten ➜ Press Write button ➜ Preview function
activates and sound is played ➜ Press Hold button to stop sound
➜ Press virtual keyboard button to specify sound ➜ Press Write
button. Press once more to save!
MIDI/SYSTEM PARAMETER
Turning the effect settings knob to
“SYSTEM” accesses parameters
that apply to the entire system.
Select the parameters using the
buttons located above the Roland
logo and set them with the Value
buttons. By pressing the Preview
button located above on the far left,
these buttons—along with the
Manual, Bank, Solo, Unison and
Portamento buttons—will function
as a virtual keyboard.
A knob is available for controlling
modulation parameters to make
operation easy. LFO destination, bend,
velocity and aftertouch settings are
possible.
Track
10-11
Track
12
Track
13-14
Section 2 Exploring the SH-32
ORIGINAL DEMO SONG
“Natal Dance”
Composer’s Notes by WATUSI
(COLDFEET)
■Specifications
■Rear Panel
●Sound Generator: 2 x Oscillators (with Sub Oscillator, PWM, Oscillator Sync, or Ring
Modulation), 1 x Filter (LPF/BPF/HPF/PKG/OFF), 1 x Amp, 2 x LFO (7 forms) ●Note:Patches
using Oscillator Sync will be monophonic. These patches can be used in Part 1. Sub Oscillator,
PWM, Oscillator Sync, and Ring Modulation cannot be used together in the same patch.
●Parts: 4 (or 3 + 1 Rhythm) ●Maximum Polyphony: 32 voices ●Waveform: 67 waves
(7 categories) for main oscillators, 63 rhythm waves for rhythm sets ●User Memory:
Patches: 128, Rhythm Sets: 2, Performances: 64 ●Preset Memory: Patches: 128, Rhythm
Sets: 2 ●Arpeggiator: Style Programmable (Step Input/Realtime Input), Arpeggio Styles:
64, Rhythm Styles: 64, Tempo = 20.0 — 250.0 BPM ●Chord Memory: Chord forms: 64
●Display: 8 segments, 3 characters (LED) ●Connectors: Output Jacks (L/MONO, R), MIDI
Connectors (IN, OUT), Foot Switch Jack, Headphones Jack (Stereo), AC Adaptor Jack ●Power
Supply:AC Adaptor (ACI Series/PSB-1U) ●Current Draw: 1,000 mA●Dimensions: 303 (W)
x 228 (D) x 91.5 (H) mm/ 11-15/16 (W) x 9 (D) x 3-5/8 (H) inches ●Weight:1.9 kg/4 lbs 4 oz
●Accessories: AC Adaptor (ACI Series/ PSB-1U)
C11 Bass 1 Bass sound with Resonance effect
C12 SyncLead 1 Oscillator Sync lead sound
C13 Slicer 1 Beat sound that uses the LFO
C14 Arpeggiator Saw 1 Dance sound with ample use of Arpeggiator
C15 Dist Lead Feedback lead with distortion strongly applied
C16 LFO Pulsing FX sound with heavy use of Noise waveform
and LFO
C17 Spank Noize Noise sound used in the demo song "SPANK"
C18 GR300 Lead Lead sound using the distinctive analog-synth
Saw wave
C21 Synth Orch Analog PAD sound
C22 Techno Saws Classic deeply-detuned Dance sound
C23 Ring Bell Bell sound produced with the Ring Modulator
(INS-FX)
C24 Filter Arpeggiator Sound with a strong sense of beat produced with
filter controlled by Arpeggiator
C25 Noise Pad Noise sound with distinctive character
C26 Low Sweep Sweep sound typical of analog synth
C27 Bass Beat Bass sound with a sense of pulsation from
the LFO
C28 Arpeggiator Saw 2 Dance sound with ample use of Arpeggiator
C31 Moving Noise FX sound using LFO
C32 Moving Strings String sound with changes produced using
the LFO
C33 Soft Lead Distinctive analog-synth soft lead sound
C34 Arpeggiator Saw 3 Sequenced sound using Arpeggiator
C35 PWM Pad PAD sound using the PWM function
C36 Techno Voice Synth voice sound with Resonance
C37 Analog E.Piano Electric piano-type sound characteristic
of analog synths
C38 Zap Classic sound that uses a higher Resonance
setting
C41 Bass 2 Mild, low bass such as used in drum and bass
C42 Bass 3 Soft bass such as used in Hip Hop
C43 Bass 4 Classic SH-101-type bass sound
C44 Bass 5 SH-101-type bass sound with Resonance
applied
C45 Bass 6 Classic Mini-type bass sound
C46 Bass 7 Synth bass using saw wave
C47 Comp-F Bass Bass sound used in the demo song
"CompFusion"
C48 Bass 8 Bass sound with Resonance applied (variation)
C51 Bass 9 Bass sound with Unison function
C52 Bass 10 Bass sound using multiple oscillators
C53 Bass 11 Bass sound with Resonance applied (variation)
C54 Bass 12 TB-303 bass sound, as used frequently
in Techno and other styles
C55 Bass 13 Bass sound with delay
C56 Spank Bass Bass sound used in the demo song "SPANK"
C57 Bass 14 Bass sound with distortion applied
C58 Lead 3 Pipe lead sound using triangle wave
C61 Lead 4 Pipe lead sound with combined rectangular
wave and noise
C62 Lead 5 Lead sound with combined triangular wave and
vibrato
C63 Lead 6 Lead sound using saw wave
C64 Lead 7 Lead sound with combined rectangular wave
and pulse wave
C65 Lead 8 Lead sound using rectangular wave
C66 Lead 9 Lead sound with phaser added
C67 Lead 10 Lead sound with Resonance
C68 Lead 11 Lead sound with soft distortion added
C71 Lead 12 Lead sound using PWM
C72 Lead 13 Lead sound using SPECTRUM waveform
C73 Lead 14 Lead sound using Oscillator Sync
C74 Lead 15 Lead sound using distortion
C75 Lead 16 Lead sound with distortion and delay applied
C76 Syn Organ 1 Synth organ sound
C77 Syn Organ 2
C78 Synth Sitar Synth sitar
C81 Bell 1 Synth bell sound
C82 Bell 2 Synth bell sound variation
C83 Analog Piano 1 Analog synth piano-type sound
C84 Synth Clavi 1 Analog synth clavi sound
C85 Synth Clani 2 Analog clavi sound with distinctive attack
C86 Analog Key 1 Analog keyboard sound with Resonance
C87 Analog Key 2 Analog keyboard sound
C88 SEQ 1 Sound for analog sequences
Patch List
87
Still, the most outstanding feature of the SH-32’s arpeggiator is its
ability to work with the Chord Memory function, mentioned
earlier. If you are a trance-techno fan, you won’t want to miss out
on this feature—just hit a note for instant trance riffs!
This arpeggiator, of course, also lets you create your own original
styles. You can program using either step recording or realtime
recording. Select the grid number and press the Write button to
start the metronome (with accented beats) for guidance. Then you
can quickly begin note input using either the SH-32 virtual
keyboard or an external MIDI keyboard. You can input not only
arpeggios, but conveniently input original rhythm styles as well.
To make even more advanced arpeggios, simply connect an
external MIDI sequencer and load the phrase data. (The SH-32 can
load a note’s pitch, duration and velocity for some highly
expressive arpeggios.) Once you’ve created an apreggio style you
like, simply store it for instant recall later.
—————————————————————
A full-blown MIDI module
—————————————————————
Increase the flexibility of the SH-32 by combining it with an external
MIDI device. The SH-32 comes with a set of MIDI In and Out ports;
a soft Thru is available so sound modules can be connected serially.
The SH-32 is complete with all the MIDI parameters you need:
Local, MIDI channel and clock settings, etc., can be made after
turning the effects setting knob to the SYSTEM position. Simply call
up parameters using the corresponding buttons and change the
settings with the Value buttons. You can freely set control channels
for patch and performance modes. The arpeggiator and LFOs can
be synchronized with an external MIDI clock, and SH-32 settings
can be transferred to an external sequencer as system exclusive
messages.
A dedicated knob is provided for parameters such as aftertouch
and velocity . Select the parameter with the knob and enter the value
with the Value buttons. Flexible control is provided. For example,
you can use modulation messages to change the oscillator pitch,
filter cutoff and LFO pitch fluctuation applied to the amp level; and
use the pitch bend, after touch and velocity messages to make fine
changes to the sound. By connecting a dual foot switch, you can
control the on/off status of insertion effects and reverb/delay, and
navigate up and down through the chord memory and arpeggio
style numbers.
We hope this booklet and CD have given you a better idea of the
power that lies within the SH-32 Synthesizer, but the best way to
experience this tabletop beast is to play one for yourself. So go
ahead and check one out at your local Roland dealer today!
Track
15
Bank C (User)
—————————————————————————————————————————
No. Patch Name Comment
—————————————————————————————————————————
Performance List
————————————
No. Performance Name
—————————————
Bank D (User)
—————————————————————————————————————————
No. Patch Name Comment
—————————————————————————————————————————
D11 SEQ 2 Sound for analog sequences
D12 SEQ 3
D13 Reso BPF 1 Sound with Sweep, typically used in Techno and
other styles
D14 Reso BPF 2 Techno Sweep sound variation
D15 Reso HPF Techno Sweep sound with special filter
characteristics
D16 LoFiRing LoFi sound using Ring Modulator
D17 4th Saws Techno sound with oscillator layering fourths
D18 Comp-F Lead Lead sound used in the demo song
"CompFusion"
D21 4th Reso Saw Techno sound with Resonance
D22 SEQ 4 80's-style analog sequence sound
D23 SEQ 5 Sound for analog sequence
D24 PolySynth 1 Polysynth sound
D25 PolySynth 2
D26 PolySynth 3
D27 PolySynth 4
D28 Comp-F Poly Synth sound used in the demo song
"CompFusion"
D31 TRAVELER 1 Synth sound used in the demo song "TRAVELER"
D32 SawStack 1 Saw stack sound used for Dance, Techno, and
other styles
D33 SawStack 2
D34 SawStack 3
D35 Brass 1 Classic analog brass sound
D36 Brass 2 Soft synth brass
D37 Brass 3 Soft synth brass with lots of resonance
D38 SynthPad 1 Synth PAD sound using saw wave
D41 SynthPad 2 Analog PAD sound
D42 SynthPad 3 Soft PAD sound with sweep
D43 SynthPad 4
D44 SynthPad 5 PAD sound with Phaser
D45 Analog Strings Analog strings sound
D46 Soft Strings Soft analog strings
D47 Oct Strings Analog strings sound with added octave
D48 SynthPad 6 HPF-swept PAD sound
D51 SynthPad 7 Bell PAD sound
D52 SynthPad 8 PAD sound with filter controlled by Arpeggiator
D53 SynthPad 9
D54 Slicer 2 PAD sound using slicer
D55 LFOPad PAD sound using LFO
D56 StepFlanger 1 PAD sound using Step Flanger
D57 StepFlanger 2
D58 Pot Analog percussion sound
D61 MetalStick Analog tambourine-like sound
D62 Electronica 1 Driving sound used in Electronica and other
styles
D63 Arpeggiator Saw 3 Dance sound with ample use of Arpeggiator
D64 SynthFX 1 FX sound with ample use of LFO Slicer
D65 SynthFX 2 FX sound with ample use of LFO
D66 SynthFX 3
D67 SynthFX 4 PAD FX sound using Noise
D68 SynthFX 5 FX sound with ample use of LFO
D71 SynthFX 6 Classic analog FX sound using sample and
hold LFO
D72 SynthFX 7 FX sound using LFO and Noise
D73 SynthFX 8 Sweep FX sound
D74 SynthFX 9 Classic FX sound using pink noise
D75 SynthFX 10 Bell FX sound with delay added
D76 SynthFX 11 Noise Sweep FX sound
D77 SynthFX 12 Analog sound simulating drops of water
D78 SweepingUp FX sound used in the demo song "SPANK"
D81 TRAVELER 2 Synth sound used in the demo song "TRAVELER"
D82 TRAVELER 3
D83 TRAVELER 4
D84 TRAVELER 5
D85 TRAVELER 6
D86 TRAVELER 7
D87 TRAVELER Bs Bass sound used in the demo song "TRAVELER"
D88 INIT PATCH Initial Patch
(convenient Patch to use when creating sounds
from scratch)
1-1 Power Beat
1-2 Techno Beat 1
1-3 HipHop Beat 1
1-4 HipHop Beat 2
1-5 Pop Beat 1
1-6 Dist Sync
1-7 LoFi Stack 1
1-8 Noise FX 1
2-1 LFO Pad
2-2 Pop Beat 2
2-3 Asian Beat
2-4 Bell ARP 1
2-5 LoFi Stack 2
2-6 Techno Beat 2
2-7 Noise Beat 1
2-8 Noise Beat 2
————————————
No. Performance Name
—————————————
3-1 Clavi Beat 1
3-2 Noise Beat 3
3-3 LFO Low Beat
3-4 Saw Beat
3-5 Analog Gamelan
3-6 Techno Beat 3
3-7 Stack Pad 1
3-8 Stack Pad ARP
4-1 Stack Pad Beat
4-2 Stack Lead
4-3 BPM Pad
4-4 Techno Beat 4
4-5 Noise Beat 4
4-6 Pulsing Pad 1
4-7 Noise Beat 5
4-8 KalimbaGliss
————————————
No. Performance Name
—————————————
5-1 Sync Beat
5-2 Noise Beat 6
5-3 Organ Beat
5-4 Stack Pad 2
5-5 Sweep FX
5-6 Dance Beat 1
5-7 Pop Beat 3
5-8 Noise Beat 6
6-1 Noise Beat 7
6-2 Noise Beat 8
6-3 Sweep Pad 1
6-4 Bell ARP 2
6-5 LoFi Stack 3
6-6 Pop Beat 4
6-7 Clavi Beat 2
6-8 Stack Pad 3
————————————
No. Performance Name
—————————————
7-1 Bell ARP 3
7-2 Pulsing Pad 2
7-3 Noise Beat 9
7-4 Dance Beat 2
7-5 Bellpad
7-6 Dance Beat 3
7-7 LoFi Stack 4
7-8 Bell Stack
8-1 Sometimes
8-2 Dance Beat 4
8-3 Poly Brass
8-4 Dist ARP
8-5 Sweep Beat
8-6 Broken!
8-7 Sweep Pad 2
8-8 INIT Performance
Rhythm Wave List
————————————
No. Rhythm Wave Name
—————————————
1 SH32 Kick
2 TR808 Kick 1
3 TR909 Kick 4
4 TR909 Kick 5
5 TR909 Kick 9
6 TR909 Dst BD
7 Plastic BD 2
8 Plastic BD 3
9 Plastic BD 4
10 JungleKick 2
11 TR909 Snr 3
12 TR909 Snr 4
13 TR909 Snr 5
14 TR909 Snr 6
15 TR909 Snr 7
16 TR808 Snr 5
17 TR808 Snr 8
————————————
No. Rhythm Wave Name
—————————————
18 Break Snare2
19 Flange Snr
20 TR707 Rim
21 TR909 Rim
22 TR808 Rim
23 TR808 RimLng
24 Ragga Rim 2
25 TR808 Tom
26 TR909 CHH 1
27 TR909 CHH 2
28 TR808 CHH 2
29 TR808 CHH 3
30 TR909 PHH 1
31 TR909 PHH 2
32 TR808 PHH 1
33 TR909 OHH 1
34 TR909 OHH 2
————————————
No. Rhythm Wave Name
—————————————
35 TR909 OHH 3
36 TR808 OHH 1
37 TR606 Cym 1
38 TR909 Ride
39 TR707 Ride
40 TR909 Crash
41 TR909 Clap 1
42 TR909 SnClp1
43 TR909 SnClp2
44 Group Clap
45 TR808 Cowbell
46 Techno Shaker
47 TR626 Shaker
48 CR78 Tamb
49 HiBongo LoFi
50 LoBongo LoFi
51 P-Zing
————————————
No. Rhythm Wave Name
—————————————
52 MG Zap 6
53 MG Zap 7
54 MG Zap 12
55 MG Blip
56 Beam HiQ
57 CR78 Beat
58 MG WhiteNoise
59 MMG PinkNoise
60 TR909 Snr2
Reverse
61 BreakSnr2
Reverse
62 FlangeSnr
Reverse
63 TR909 Crash
Reverse
Rhythm Style List
————————————————————
No. Rhythm Style Name
——————————————————————
11.r BASIC (HOUSE/TECHNO 1)
12.r BASIC (HOUSE/TECHNO 2)
13.r BASIC (HOUSE/TECHNO 3)
14.r BASIC (HIPHOP/R&B 1)
15.r BASIC (HIPHOP/R&B 2)
16.r BASIC (REGGAE 1)
17.r BASIC (REGGAE 2)
18.r BASIC (POP)
21.r BASIC (ROCK 1)
22.r BASIC (ROCK 2)
23.r BASIC (ROCK 3)
24.r BASIC (ROCK 4)
25.r BASIC (ROCK 5)
26.r BASIC (ROCK 6)
27.r BASIC (ROCK 7)
28.r BASIC (ROCK 8)
31.r TECHNO/HOUSE 1
32.r TECHNO/HOUSE 2
33.r TECHNO/HOUSE 3
34.r TECHNO/HOUSE 4
35.r TECHNO/HOUSE 5
36.r TECHNO/HOUSE 6
————————————————————
No. Rhythm Wave Name
———————————————————
37.r TECHNO/HOUSE 7
38.r TECHNO/HOUSE 8
41.r TECHNO/HOUSE 9
42.r TECHNO/HOUSE 10
43.r TECHNO/HOUSE 11
44.r TECHNO/HOUSE 12
45.r TECHNO/HOUSE 13
46.r TECHNO/HOUSE 14
47.r TECHNO/HOUSE 15
48.r TECHNO/HOUSE 16
51.r TECHNO/HOUSE 17
52.r TECHNO/HOUSE 18
53.r TECHNO/HOUSE 19
54.r TECHNO/HOUSE 20
55.r TECHNO/HOUSE 21
56.r TECHNO/HOUSE 22
57.r TECHNO/HOUSE 23
58.r TECHNO/HOUSE 24
61.r HIPHOP/R&B 1
62.r HIPHOP/R&B 2
63.r HIPHOP/R&B 3
64.r HIPHOP/R&B 4
—————————————
No. Rhythm Wave Name
——————————————————————
65.r HIPHOP/R&B 5
66.r HIPHOP/R&B 6
67.r HIPHOP/R&B 7
68.r HIPHOP/R&B 8
71.r HIPHOP/R&B 9
72.r HIPHOP/R&B 10
73.r HIPHOP/R&B 11
74.r HIPHOP/R&B 12
75.r HIPHOP/R&B 13
76.r HIPHOP/R&B 14
77.r HIPHOP/R&B 15
78.r HIPHOP/R&B 16
81.r DNB/2STEP 1
82.r DNB/2STEP 2
83.r DNB/2STEP 3
84.r DNB/2STEP 4
85.r DNB/2STEP 5
86.r DNB/2STEP 6
87.r DNB/2STEP 7
88.r DNB/2STEP 8
Going with my impression of the SH-32 being a modern
representation of the good qualities of the ‘80s and ‘90s
music scene, my overall approach in composing this piece
was, while applying the qualities of New Wave, to try to
create a chilling feel with a tribal pattern. (The truth is,
being stimulated by the sounds of this box, I ended up proceeding on a
whim, going from idea to idea.) My tools were an SH-32 combined with
Digital Performer. I thoroughly edited sounds that I felt needed attention.
Those sounds led to phrases, which I entered as MIDI data and then
recorded, one by one, to hard disk. From there I worked on the overall
composition. This was my workflow. I kept my use of plug-in effects to just
partial use of an equalizer and compressor. Mainly, I used the onboard
effects of the SH-32.
As for the main sound, I wanted to introduce the SH-32’s great rhythm
sets so I used lots and lots of TR-909 sounds, making them a central
fixture of the piece. For synth sounds I relied on preset patches and edited
them over and over. (For me, that was the fun part of using the SH-32).
I made liberal use of features such as the ring modulation and pan effects,
the auto arpeggiator, and chord memory.
Starting from the top, in order, I somehow thought up the intro chord
when playing the keyboard after creating this sound. Also, the low-pitched,
sine-wave-like sound was edited from a -909 tom. The
sound you can hear on the right channel had its pitch
tweaked in real time. Now, following the development, the
percussive, filter-like sound you hear was recorded after
going nuts tapping a rhythm patch and then switching the
filter type using a note number followed by tweaking to death the basic
cutoff and resonance. The flashy, arpeggio-like phrase is patch D57 with
some fine-tuning. The descending and ascending arpeggio-like sound is
preset pattern 44a. After using it to create a phrase using the chord
memory, a filter in the LFO section was used to produce the squirmy feeling.
Further developed parts employed typical motifs using the chord memory
along with pads and a metal kalimba. The part which returns you to the
intro pattern was created exclusively using the arpeggiator. The rhythm
styles that spin out are a parade of preset patterns: 76, 83, 84, 87, and 88.
They are all blurred, 6-beat patterns. The final whistle-like sound I made
from scratch using portamento with a full-on analog feel.
The sounds of the SH-32 stirred my feelings because they contained a sort
of inexactness that lent a slightly rough-edged, analog feel. That is the
quality I picked up on and pursued when choosing parts to edit. It is my
hope that when you listen to my piece you will be able to feel this quality,
which differs from the so-called PCM synth sound.
Section 2 Exploring the SH-32
109
Track
Audio CD Contents
1 Patch C11 Bass 1
2 Patch C41 Bass 2
3 Patch C12 SyncLead 1
4 Patch D18 Comp-F Lead
5 Patch C13 Slicer 1
6 Patch C23 Ring Bell
7 Patch C25 Noise Pad
8 Performance 1-1 Power Beat
9 Performance 1-3 HipHop Beat 1
10 Effect Step Flanger
11 Effect Ring Modulator
12 Chord Memory Form 17.c
13 Arpeggio Style 16.a
14 Arpeggio Style 52.a
15 Original Demo Song Natal Dance WATUSI (COLDFEET)
2001 © WATUSI
16 SH-32 Internal demo song TRAVELER WALL5 2001 © Roland Corporation
17 SH-32 Internal demo song SPANK SHIBUICHI ABE (from PCM) 2001 © Roland Corporation
18 SH-32 Internal demo song CompFusion Ken Suzuki 2001 © Roland Corporation
All musical material on this disc is intended for demonstration purpose only
Visit us online at www.roland.co.jp
All specifications and appearances are subject to change.
All trademarks used in this catalog are the property of their respective companies.
Printed in Japan Apr. 2002 RAM-3471 HL-ISI-SE A-3
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