SMC Networks SH-32 User Manual

————————————————————— Overview

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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

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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

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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.

2 3

Figure 1: SH-32 Block Diagram

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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

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High-quality waveforms for unlimited sound creation

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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.

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Onboard rhythm sets with complete editing capabilities

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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

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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

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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

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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?

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

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