SuperNATURAL Technology Logo

Author: Roland UK Features Team

Welcome to the sublime and beautiful world of SuperNATURAL. This is the inside story of one of the most profound music technology breakthroughs for electronic instruments.

Things which seem simple are often complex, and this is especially true when applied to musical instruments. To recreate the sound of an acoustic instrument, you can’t just sample it – you have to understand how the sound is made, how it’s played and even how it behaves. Our SuperNATURAL technology is found in our digital pianos, synths, sound modules and electronic drums. It’s an essential part of our goal of creating instruments which are realistic. Before we go forward, let’s take a trip back in time to see how things used to be. For decades, the industry standard for reproducing the sound of traditional instruments was PCM sampling. The challenge with sampling is that most acoustic instruments respond differently to how hard they are struck, blown, or bowed – most acoustic instruments grow brighter as they get louder, for example.

Before SuperNATURAL Technology…

Recording a sample of an instrument captures a one-dimensional rendition of the sound. To work around this, manufacturers often used velocity-driven filters with ‘bright’ samples. Some use multiple samples of a given note at multiple ‘energy’ levels. It sounds complicated, but all it means is that you hear a different ‘previously recorded’ sound depending on how hard you hit the keys. A step in the right direction, but still far from perfect. During these experiments, it became clear that the piano was the ultimate challenge to recreate, due to a broad dynamic range, extreme pitch range, exceptionally long decay times and the sympathetic resonance of all the components. Previous attempts to digitally reproduce the piano with gigabytes of multiple samples still fell short in realism.

JUPITER-50 Synthesizer With SuperNATURAL Technology

There are many performance nuances inherent in instruments, which further complicates the realistic use of sampling technology. Consider orchestral string players using a variety of bowing styles. With traditional sample-based instruments, an array of samples for each of these styles must be captured distinctly from the other styles and typically assembled into entirely separate sets. Then to alternate between legato and staccato violins, the player of a sample-based keyboard would have to switch patches, play different keyboard zones or develop a unique playing style to accommodate different sets on different velocity layers. A tall order when you’re in the zone.

FP-80 Digital Piano With SuperNATURAL Technology

A SuperNATURAL Era…

Roland instruments with SuperNATURAL technology adds powerful sound modeling to the equation. Each SuperNATURAL instrument— piano, violin, trumpet, etc.—has its own specialized sound engine because, just as the sounds of a piano, flute and timpani are very different, so are their related modeling needs. Each SuperNATURAL engine is based on pristine studio samples of the original instrument, however; that’s where the similarities to PCM-based gear end.

INTEGRA-7 With SuperNATURAL Technology

First, SuperNATURAL doesn’t use sample looping. We’ve also developed technology that creates models of the characteristics and responsive aspects of each instrument. The SuperNATURAL engine handles how those parameters react to performance dynamics and nuances from a controller such as a keyboard, just as they would in the original instrument. As a simple example, volume and brightness in SuperNATURAL instruments respond to nuances in playing force without any velocity switching and inherent stepping sounds between sample layers. SuperNATURAL goes much deeper. Looking at the orchestral strings scenario mentioned earlier, SuperNATURAL modeling translates the player’s natural use of playing styles such as legato and staccato into appropriate variations in bowing technique and associated sound. Further, use of a pedal or switch will seamlessly invoke tremolo or pizzicato styles.

TD-30KV Electronic Drums With SuperNATURAL Technology

Transparent Technology…

All this power is useless if it gets in the way, which is why SuperNATURAL technology is transparent, for a natural playing experience that requires no thinking, programming or changes to playing style. For those who wish to delve deeper, most SuperNATURAL instrument engines provide access to key parameters such as how much growl and noise brass instruments have. Another example is the SuperNATURAL piano engine in the JUPITER-80, which allows players to adjust the desired amount of string resonance, key-off noise, hammer noise, stereo width, the tonal character and more. The modelled (and continuously variable) characteristics in SuperNATURAL engines are a sharp contrast to what are largely snapshots of timbres in electronic instruments relying solely on samples. The benefit is a leap forward in realism, sound and responsiveness.

Where SuperNATURAL technology models the natural sound qualities and expressiveness of traditional instruments, Roland’s new Behavior Modeling technology goes a step further by intelligently recreating – on demand – the articulations that happen when those instruments are in the hands of seasoned players. Behavior Modeling acts as an interpreter between a keyboard player’s phrasing and the performance technique of the original instrument. As a simple example, when a trumpet player performs a half-valve trill, the initial transient attacks inherent in playing isolated single notes are absent. Behavior Modeling not only reproduces authentic sounds, it integrates it into the SuperNATURAL trumpet engine so that a keyboard player can invoke those trills naturally. No playing adjustments or compromises needed.

Share your thoughts with us, in the meantime here’s a video with SuperNATURAL technology in action.

Related links and articles:

• SuperNATURAL Tehcnology for Top Electronic Drum Kits
• Richard Vission Talks INTEGRA-7
• Roland Synth Chronicle: 1973 Through 2013

Axial - Roland Synthesizer Sound Libraries

Today is the debut of Axial, our official sound library for Roland synthesizers. Now, more than ever, musical styles and tastes seem to change by the minute, and it was only yesterday that Dubstep and Electro were on every TV commercial and hot remix (only to be replaced by Moombahton and Trap). Roland’s top programmers are now giving you access to this fresh new stream of creative tools that will keep you ahead of the curve!

What is Axial?

Axial is the official Roland tone library site where you can download new sounds for your Roland synthesizer. These sounds have been specially designed by top synth programmers and are available to Roland synth owners. From recreations of vintage analog classics to modern, cutting-edge tones used in the latest music styles and beyond, Axial is an ever-expanding selection of unique and exciting new sounds for your Roland synthesizers.

About the Tones Featured on Axial…

With the wide range of completely new sounds available on Axial, you’ll find a growing universe of creative inspiration for live performing and music production. The sound downloads on Axial are grouped by musical genre and concept, making it easy to find the tones that will work best with your music. The site also features demo videos and sound clips, so you can check out the sounds and examples of their uses. One of the great thrills of using synthesizers is being able to create your own original tones. With Axial, you now have a starting point for the creation of your own tones to suit your personal taste and style.

Which Instruments Can I Use Axial With?

For now, you will be able to download additional sounds for the INTEGRA-7 sound module, the GAIA SH-01, the JUPITER-50 and the JUPITER-80.

What sounds would you like to see on Axial? Please drop us a comment below.

P.S. Thank you for your patience Musicman100, Adam Smith and Craig MacDonald!

Additional links and articles:

• V-Combo VR-09 – Made for Live Playing
• TB-303 Acid Flashback
• Roland Synth Chronicle: 1973 Through 2013

V-Drums kit for lefties

Author: Roland UK Features Team

As in the acoustic drum world, it’s easy for left-handed players to feel that they’re forever made to adapt to playing on a kit set up for right-handed players. We show you how to setup a V-Drums kit for lefties.

Wich V-Drums kit is right for you?

If you’re a left-handed player, it’s important that you can set up your kit, whether it’s acoustic or electronic, for your comfort and playing style. It’s certainly possible with every single Roland V-Drums kit to adapt the drum stand or rack for left-handed playing. Here’s how to setup a V-Drums kit for lefties:

Here’s How You Set Up a V-Drums Kit for Lefties…

MDS-4V (TD-11 kits and previous TD-4 kits)

The MDS-4V is perhaps one of the easiest V-Drums stands to set-up for left-handed playing

• Step 1: Remove the cables from each of the pads and cymbals initially, and unsecure the wiring harness from the stand. You will plug the jacks back in and re-secure the harness with the supplied clips and Velcro tapes after step 5, once the module has been moved
• Step 2: Move the pad clamp and hi-hat mount, located on the left-hand side of the rack over the right-hand curved pipe. You will need to undo the pipe clamps at the end of left, and right pipes using a drum key, to slip the pad mount off and on. Also move the FD-8 foot controller to the left-hand side of the kit
• Step 3: Switch the crash and ride cymbals on the cymbal arms, so that the ride is on the left and the crash is now on the right
• Step 4: Move the snare pipe and pipe clamp from the inner left leg, to the inner right leg. To do this, loosen the clamp and slip off the rubber feet at the bottom of each leg, replacing after use
• Step 5: Switch the module from the left hand side to the right hand side pipe and the tom 3 pad from right to left. Do this by loosening the pad clamp that holds the module and tom pad 3 (floor tom) and switch them over

MDS-9V (TD-15 kits and previous TD-9 kits)

The MDS-9V stand, although bigger than the MDS-4V and looking slightly different, actually transforms to a left-handed stand in exactly the same way as the MDS-4V, as described above.

MDS-25 (TD-30KV and previous TD-20KX)

The MDS-25 is perhaps the easiest to setup and doesn’t require much effort or time. The internal cabling only runs through 2 of the 3 sections of tubing on the MDS-25, and although these 2 sections are connected by the internal cabling, they are both easily “flipped” or reversed in order to be clamped to the appropriate legs in a left-player orientation and, so the cable ends (exiting from the tube sections) are positioned correctly for connection to the pads, cymbals, and module.

V-Drums Kit for Lefties MDS-25

V-Drums Kit for Lefties TD-20SX

MDS-20BK (TD-20S-BK and TD-20S-WT kit)  

Like the MDS-25, the wiring harness is also built into the MDS-20BK rack. However, the left conversion method for the MDS-20BK requires a few more steps. Simply follow the steps below and you’ll switch the MDS-20Bk rack from right to left in no time:

Start with the stand unfolded as shown.

• Step 1: Loosen the hand knob on the T-fitting that holds the right side horizontal tube.
• Step 2: Swing the right tube and vertical post out and around to the back and tighten the knob.

MDS-20BK-Reverse-Step-1-2

• Step 3: Use a drum key to loosen lug bolts 1 and 2 on both T-fittings holding the right tube.
• Step 4: Rotate the right horizontal tube outward approximately 1/3 of the way around until the vertical posts are parallel. Tighten the lug bolts.

MDS-20BK-Reverse-Step-3-4

• Step 5: Use a drum key to remove the T-fitting on the outside left vertical post (under the module mount).
• Step 6: Loosen the hand knob on the T-fitting on the front left vertical post that holds the left horizontal tube.
• Step 7: DO NOT SWING THE TUBE OUTWARD! To prevent cable damage, swing the tube in and through the front horizontal tubes.

MDS-20BK-Reverse-Step-5-7

• Step 8: Loosen lug bolts 1 and 2 on the T-Fitting on the front left vertical.
• Step 9: Rotate the tube outward 1/3 of the way around.
• Step 10: Attach the T-fitting to the vertical post and the horizontal tube. Carefully position the cables in the T-fitting (as shown). Also, make sure the T-Fitting is angled up (the numbers near the holes will be upside down).

MDS-20BK-Reverse-Step-9-10

MDS-20BK-Reverse-Step-10-close-up

• Step 11: Loosen lug bolts 1 & 2
• Step 12: Rotate tubes
• Step 13: Reinsert the tubes and tighten the lug bolts.
• Step 14: Attach pad mounts, pads, and module. Have fun!

MDS-20BK-Reverse-Step-11-14

Related links and articles:

• V-Drums Friend Jam Improves Your Drumming
• TD-4KP V-Drums Portable Wins MIPA Award
• V-Drums World Championship 2 Finals

Weird Al Yankovic

There are few artists in the world who’ve had songs and albums at the top of the Billboard charts over a span of three decades. Among those elite few is perhaps the most famous parodist in pop music history, “Weird Al” Yankovic. Since the beginning of MTV in the ‘80s, Al has been there with his hilarious and spot-on parodies of popular songs. Those songs along with a polka-laden library of original songs have gained him legions of die-hard fans around the world. An accordion player first and foremost, Al uses Roland’s FR-7 V-Accordion.

Weird Al’s Take on Mics…

According to Weird Al, there are tons of options on the FR-7 V-Accordion that regular accordions don’t have. His favorite is being able to record directly and digitally without having to use microphones, this speeds up the setup process in the studio and for live performance. He explained that the accordion is a hard instrument to mic, because if you put a microphone next to an accordion – especially the left hand – the bellows are always moving.  So it’s kind of hard to get an even sound, because the mic is always going to be closer and then further away from the sound source. Internal microphones are also always a problem, because you still get the sound of the bellows. With a V-Accordion, all one needs to do is plug in or play through the on board speakers.

“V” For Versatility…

Imagine being able to program the bass buttons for one instrument say acoustic bass, and the chord buttons for another instrument say baritone tuba, and the keys for yet another instrument, you could be a one man band. Traditional and orchestral sounds combination scan be created and played back, compete with full bellows articulation. You can instantly switch between instruments because it doesn’t depend on moving parts for sound generation, the V-Accordion is always in tune, and both keyboards can be transposed to play across a wide range octaves.

FR-8x and FR-8xb V-Accordions

Behold the FR-8X V-Accordion…

We haven’t told Weird Al, but we introduced our new flagship accordion, the FR-8X last month during the Frankfurt Musikmesse. This V-Accordion can do anything the FR-7 could do and more. Some of the most notable features are:

• Newly developed Dynamic Bellows Behavior technology which, emulates the true bellows response of an acoustic accordion in every register
• On board battery charging
• 180 orchestra, percussion, and Virtual Tone Wheel organ sounds
• A new interface with a large, easy-to-read color display with programmable buttons
• Built in looper for backing accompaniment
• A multi-effects engine
• The ability to record, playback and connect to a computer via USB

What are your thoughts on the new FR-8x? What is your favorite Weird Al parody? Drop us a comment!

Related links and articles:

• US’ First V-Accordion Orchestra
• New Products: FR-8x and FR-8xb V-Accordions
• Recording with AUTO-SENS Technology

Thomas Lang using V-Drums with SuperNATURAL Technology

Author: Roland UK Features Team

In 2012, Roland launched an entirely new line-up of V-Drums featuring SuperNATURAL technology. The new line up gives drummers a more dynamic and natural playing experience than most electronic kits, but what does SuperNATURAL technology actually do, and how does it work?

6 reasons for choosing electronic drums

The V-Drums Lineup

First of all, what are the current models and which models do they replace?

• TD-11K/TD-11KV series replaces TD-4K2/TD-4KX2 series
• TD-15K/TD-15KV series replaces TD-9K2/TD-9KX2 series
• TD-30K replaces TD-12KX model
• TD-30KV replaces TD-20SX model

The TD-11, TD-15 and TD-30 modules all feature a SuperNATURAL sound engine. However, the SuperNATURAL experience becomes more obvious as you travel up the range. Paradoxically, it takes a lot of technology to keep things sounding simple and real.

SuperNATURAL Technology Explained…

In brief, SuperNATURAL technology improves the way the instrument responds to your playing, making it feel far more natural and authentic. For years, digital instruments have faithfully reproduced the sound of an acoustic instrument. But digital instruments usually feel different to their acoustic counterparts, due to the way they respond to your playing.

SuperNATURAL technology incorporates ‘Behavior Modeling’ which takes the playing experience a step further than just offering a ‘detailed’ sound. By accurately reproducing the behavior and responses of an acoustic instrument, it transforms the way a digital drum kit responds, therefore; giving the drums a dynamic and natural ‘feel’ that until now has not been possible.

SuperNATURAL technology was first introduced in Roland’s prestigious digital pianos and synthesizers. When developing the next generation of V-Drums, Roland’s engineers felt that SuperNATURAL technology could be developed further and adapted for V-Drums.

What are drum triggers? Find out here!

What is Behavior Modeling?

To understand how SuperNATURAL technology works, we first need to understand how an acoustic instrument behaves. Let’s consider a snare drum roll. If you play a single or double stroke roll lightly on the snare drum, it has a soft tone, a quiet volume and the drum responds in a certain way with less ‘attack’. As you play harder, not only does the volume get louder, but the tone changes too. It now responds differently, with the attack now a lot more pronounced. This transition in tone, volume and response happens in a smooth and seamless way. Every strike is different, and the drum reacts differently to each strike.

Okay, So How Does SuperNATURAL Technology Work?

SuperNATURAL processes many elements to model convincingly the behavior of acoustic instruments:

• It processes your playing input faster than ever before.
• It captures detailed sensing information, such as rim shot strength and the player’s position on the pad.
• The sound engine produces sounds that respond and change smoothly and dynamically.

Together, these elements create an authentic ‘behavioral reaction’, or to put it another way, the drums play and feel just how you’d expect them to. There are three distinct stages to modeling this behavioral reaction:

1. How the pad or cymbal physically feels when you hit it. For example, the Roland mesh head has a more natural feel when the drum stick hits it, responding with an acoustic like bounce and rebound that feels natural.
2. The sensing within the pad is high quality and accurately detects hit strength, position and interval (i.e. the time between each hit). This information is then sent to the module.
3. The sound engine within the module processes all of the information sent by the pad and then recreates the sound accurately and smoothly. This is the key to ensuring the transition in volume and tone is dynamic and natural.

Because the sound engine processes the player’s input very quickly, it means that every stroke can be processed individually. Therefore, dynamics, such as ghost notes, flams, buzz rolls and rim shots feel far more realistic. This removes the ‘machine gun’ effect associated with previous digital drum kits, where every hit can sound the same as the last.

So now, if you can think it, you can now play it – but only on a SuperNATURAL V-Drums kit.

Related links and articles:

• The Benefits of Electronic Drums
• What are Drum Triggers?
• Learn to Play Electronic Drums
• Pick Your Poison – SPD-SX versus SPD-30

V-Combo VR-09

The V-Combo VR-09 is designed from the ground up to be the ultimate keyboard for live players. It is designed with dedicated knobs, sliders and buttons that allow you to choose your instruments and also shape sounds quickly and painless without having to dig into menus. In the following videos our resident synth ninja, Ed Diaz dives into the VR-09’s synth section, splits, layers, piano, organ, drums and on board looper.

Questions about a Roland product? Visit our YouTube Product Support Channel

Synth Section

The V-Combo VR-09 has tons of ready-to-play synth sounds, from vintage analog classics like the JUNO strings and ‘80s synth brass to modern tones and beyond. Here’s a peek at some of the brass, string, bass, lead, pad and choir sounds within the synth section. Ed’s first instrument is the trumpet, so it is only natural that he gravitates to the brass sounds. Within the brass section of the synth block, Ed plays the JP-8 brass, Juno brass, FS Brass and the N Trumpet. In the strings section of the keyboard, Ed plays the JP-8 strings and the Full Strings. For the lead section, he plays the Saw Lead and Pure Lead. In the bass section, Ed plays the Fat Analog Bass, Monster Bass, Acoustic Bass and Finger Style Bass. For the pad section, Ed plays the Heaven pad and wraps up the synth section with choir.

Splits and Layers

The V-Combo VR-09’s split and layering features are perhaps the worlds easiest and most intuitive you will ever see on any keyboard. For beginners, this is probably the best time to describe what splits and layers are. A split is when you divide and assign sections of the keyboard to different sounds; for example, assigning a piano sound on everything from middle C and to the left and a brass sound from D to the right. A layer is when you assign multiple sounds to the same key; for example, a string sound over a piano. In this video, Ed demonstrates how to layer sounds on top of each other in two steps and how to split the key bed with one extra step.

Piano Editing

All sounds in the V-Combo VR-09 are editable, including the piano sounds.  In this short video Ed demonstrates Reverb, pitch shifter, tremolo, overdrive, phaser, delay and wah over piano, electric piano and clavier.

Organ Section

The V-Combo VR-09 has three different types of organs jazz, rock, and transistor. Here, we’ll show you how easy it is to build an organ tone. To adjust our tone, we’ll use the V-Combo VR-09’s vibrato, chorus, leakage noise, click sound (on and off click), and rotary speaker acceleration. We will also show you how to adjust the harmonics with the drawbars. Finally, we’ll show you how easy it is to assign effects to the pitch wheel, pedal, button or d-beam.

Drums and Audio Looper

For the last video, Ed demonstrates the variety of drum kits found on the V-Combo VR-09 such as pop, jazz, rock to the ever popular TR-808 and everything in between. You don’t have to be a great finger drummer to use these kits, there are onboard rhythm patterns to choose from. Finally, Ed demonstrates the power of the on-board looper.

In closing, the V-Combo VR-09 is an all purpose keyboard for the working musician. It’s nearly effortless to find and tweak your sounds with the surface sliders, knobs and buttons or go deep with the iPad editor. You can take this board to your rock gig, your jazz gig, your metal gig and on Sunday you can take it to church to wash your sins away. If you have any questions about the V-Combo VR-09 drop us a comment below.

Related links and articles:

• V-Combo VR-09 Press Coverage at NAMM 2013
• Classic Roland Synths
• Roland Synth Chronicle: 1973 Through 2013

Author: Roland UK Features Team

Due to constantly advancing digital technology, even the most die-hard tone masters enjoy the benefits of amp modeling products. Even famous artists now rely on the convenience and range of tones available from amp modeling while performing, practicing or writing. If you’re looking for a modeling amp, here are a few things to consider.

Hardware with Amp Modeling technology: The VG-99 Inspires

What Does Amp Modeling Actually Do?

The term modeling usually refers to emulating or recreating the sound of something digitally. Amp modeling is basically Digital Signal Processing (DSP) that emulates the sound of different amplifiers and speaker cabinets. Amp modeling isn’t exclusive to plug-ins, in fact, modeling started with hardware – the Roland VG-8 V-Guitar System. Today’s guitarists can find a host of guitar amplifiers, pedals and rack-mounted gear – all with the ability to model a variety of different amps.

VG-8 V-Guitar System

So, what are the main advantages of amp modeling? Broadly speaking, there are four areas: convenience, reliability, flexibility and cost. One amp modeling product can provide the sound of hundreds of amps, speaker and even microphone combinations; way more than you’re ever likely to be able to buy, store, maintain and transport.

The potential Behind Amp Modeling…

Tube Amp

Imagine being able to combine the tone of a hot Fender Twin with two different 4×12 cabinets for your lead sound and a stereo Roland JC-120 with a sweet reverb effect for a clean tone, just by dialling up a preset.

The other advantage is that amp modellers tend to work well in most scenarios. Tubes sound great, but remember they are a decades-old technology and come with limitations. They sound best when they are running hot and cranked up all the way. But hot tubes usually mean serious volume and vice versa! The tubes also need to be treated much more carefully and require time to warm up; also the tubes will need replacing from time to time by someone with the right equipment and knowledge. An amp modeller can imitate the coveted characteristics of a hot tube amp at very low volumes or even through headphones, meaning you can play for longer and at much more unsociable hours with a full-on tone.

Emulating an Amplifier’s Characteristics…

Thanks to the latest DSP technology, it’s now easy to emulate virtually an infinite range of amp and speaker combinations. Complex algorithms have been designed to give ultra-realistic responses that simulate the result you get from a mic’d-up cabinet in different size rooms, with adjustable mic positioning and amp character that responds naturally to the way you play your guitar. This provides the player with an almost limitless tonal canvas on which to experiment, potentially saving thousands of dollars and years of tweaking and experimenting. They sound exceptional, straight out of the box.

Most legendary tube amps are also famous for a particular sound or characteristic but amp modeling can build on these by being able to adjust parameters of the modelled amp beyond what the original can do. For example, you could have a much more adjustable EQ, more gain, less hum, an effects loop or different speaker configuration.

There are, however, different types of modeling algorithms, all of varying quality. Some provide a ‘snapshot’ of the tone that initially sounds great, but once you start tweaking, they become much less authentic. Other modeling systems such as Roland’s COSM system actually model different aspects of all the individual components that make up your modelled rig, as well as the associated effects that countless guitarists have come to love.

But remember, all this technology requires hardware that can handle the job. If you’re using software, make sure your computer can do the number crunching or you’ll get poor performance and even latency. Generally, purpose built hardware with dedicated DSP chips and algorithms will reward you with the best experience and tone. You can find this technology in our CUBE series amps and other hardware such as the VG-99 V-Guitar System, GT-100 Amp effects Processor, GR-55 Guitar Synthesizer and others.

Related links and articles:

• Play an Entire Live Set With Just the GT-100
• Digital Guitar Amp Roundtable
• The Arrival of The Digital Guitar Amp
• The VG-99 Inspires

Netsky Live at the Fonda Theater in Los Angeles, CA.

A celebrity in his native Belgium and growing in popularity worldwide, Boris Daenan—better known as Netsky—has received numerous awards and accolades for his new-school brand of drum and bass. In 2009, Hospital Records signed him to an exclusive deal, and his first release with the influential UK label was the highly successful single “Memory Lane,” followed soon after by the chart-topping debut album “Netsky.” In 2012, sensing that he could take his show to another level, the DJ and producer put his turntables aside and unveiled Netsky LIVE!, an EDM stage show featuring a complete band.

What’s the difference between the SPD-SX and the SPD-30? Find out here!

Netsky LIVE uses a full arsenal of Roland gear

Netsky plays the SPD-30 and A-500 PRO, keyboardist Babl plays the JUPITER-80, VP-770, and A-800 PRO and drummer Michael Schack plays the TD-30KV V-Drums and SPD-SX Sampling Pad. Michael has a long history with Roland, both as as a product demonstrator and advisor. We caught up with him at a recent show date in Los Angeles for some insight into his gig with Netsky, including how the band uses Roland gear to deliver a more rich and dynamic live EDM experience than a one-man DJ show can.

Q. How do you prepare your V-Drums set for the Netsky show?

A. Actually, there’s this incredible thing that happened a few years ago: I was playing V-Drums with Kate Ryan, who is really popular in Eastern Europe. We arrived with the tour bus, and I see all kind of microphones set up close to the V-Drum pads. So, a very strange situation, because the guy didn’t actually realize that it was an electronic drum set!

With electronic drums, and especially the TD-30 today—which is fast, low-latency, the best SuperNATURAL [sounds]—you can go single outs for everything. For instance, I’m using the kicks and snares in stereo, layered with the TD-30, but they’re coming out of the SPD-SX. So [they’re] triggered at the same time. And then we have the toms on separate channels, we have the hi-hat on a separate channel, the ride on a separate channel, and the two crashes on a separate stereo channel. [With] so many separate channels, [the sound engineer] can actually make it sound very wide.

You can adjust the panning to every concert hall. You can totally go wild in making the sound as broad as possible, which is much more impressive than a USB stick just playing a stereo out through a DJ mixer. Same for the keyboards—it’s hardware and software combined. So all the synth sounds, all the pianos [have] separate stereo channels, so that’s really a very important main difference with any DJ set, which actually sounds a little bit more compressed, and not so wide-spectrum, not so dynamic.

Q: With all that Roland gear on stage, how long does the sound check usually take?

Michael Schack, drummer for Netsky Live

A: Actually, we have a very good system. First of all, we don’t have to put mics on the V-Drums, which is already a big time saver. We have all the sounds and patches very well prepared, [and] everything connects very easily to the laptops. We have a flying rack with us, which holds some very nasty sound cards and everything, so it’s actually jut a matter of getting the engine started and then really tweaking the PA for what’s coming out of these instruments for the front of house. Frank, our sound guy, is a champion in tweaking a PA for really good drum and bass vibes. It’s very important with electronic music that everything is very consistent and very glued together, and that makes the people dance. It takes us not too much time to really get going.

Q: What’s your involvement with Roland V-Drums?

A: My involvement with Roland V-Drums has been a love story [for] 20 years. Before the V-Drums came out, I became a demonstrator in Belgium, Holland, and Luxembourg through Roland Benelux, when the TD-7 came out. I was a very young guy, but I was interested in electronic drums. Most of my colleague musicians, they named me “Mr. Tupperware” because they didn’t believe in the potential of electronic drums. Then the V-Drums came out [in 1997], and in 2001, for the very first time, I was invited by Roland Japan to play at the Frankfurt Musikmesse.

Netsky Live on stage

From then on it took off—I got to know the engineers more personally, [and] they were asking me things about the music I was playing. They found it really strange that as a drummer I was also interested in using samples and triggering samples, and not just playing along with linear tracks from a CD or whatever. I’m really a little bit freaky on how it sounds and how it’s compressed and how fat you can go, and it took off from there.

I [also developed] a very good relationship and [friendship] with Steve Fisher from Roland U.S., who has been a main guy in getting the V-Drums program going, [and] also Tommy Snyder, another very important Roland demonstrator. I learned so much from them. In 2004, I had the incredible opportunity to play together with Steve when the first TD-20 set came out, and then again the success story continued.

I’m so happy that I could serve along on this wave of continuous development. The engineers in Japan, they’re just great, and they dig electronic music, acoustic music, old-school blues—they really have their thing together. I try to [advise] them [based on my experience]: “Hey, this kick sound, you need to make the people dance, this needs to be a little bit more punchy, more in the face, less effects, more compression,” and so on. Johnny Rabb is also a very important contributor. Through all these people working together, the presets in a V-Drum set are actually very representative of what it already can do, and then the user, the drummer, can go as far he wants. That’s my role in this story.

Related links and articles:

• Michael Schack looping on the Octapad
• Michael Schack – Drumeo Edge (FULL DRUM LESSON)
• Omar Tavarez: How I Use my SPD-SX
• Aaron Rossi on how to land a gig like Ministry

Roland V-Drums just won a Grammy! Well, maybe not exactly a Grammy, but in our industry (musical instrument industry), a MIPA award is just as prestigious. MIPA stands for Musikmesse International Press Award, and it’s determined by more than 100 members of the music industry press from all over the world.  They get together each year and vote for the best musical instruments and audio equipment in more than 40 categories. This year, Roland’s TD-4KP V-Drums Portable drum kit was honored with a MIPA award for the electronic drums category.

Watch U.S. Champ Pat Kennedy train for the V-Drums World Champion 2

TD-4KP V-Drums Portable earns a MIPA at Musikmesse

The TD-4KP V-Drums Portable is one of Roland’s newest and most unique members of the V-Drums family. Unlike any drum kit, acoustic or portable, the TD-4KP features a small footprint and an innovative folding design for fast set-up/breakdown and easy transport/storage, and it is perfectly suited for mobile drumming and small spaces. When you want to play, simply unfold everything and adjust the pad positions, and then you’re ready to roll! With it’s custom-design case, shoulder strap and detachable pouches, drummers can now break down just as fast as the guitar and bass players in the band. Its powerful TD-4 sound module is equipped with a wide range of expressive, editable sounds and essential practice features, and its integrated pads provide a very natural playability.

“Even though this drum set is pint-sized compared to some of the others in the category, it doesn’t mean it can’t pack a punch,” said Roland Corporation U.S. Vice President of Sales Brian Alli. “It’s spectacular to be able to offer a kit that can be used pretty much anywhere and still deliver premium sounds and playability.”

TD-4KP V-Drums Portable

Related links and articles:

• Choosing a Roland V-Drums Kit is Easier Than You Think!
• The Benefits of Electronic Drums
• Learn to Play Electronic Drums
• What are Drum Triggers?
• SPD-SX Vs. SPD-30: What’s the Difference?

This is an exclusive behind-the-scenes look at U.S. National Champion Pat Kennedy preparing for the V-Drums World Championship 2. He’ll be representing the U.S. during the V-Drums World Championship in Frankfurt, Germany on Thursday, April 11, 2013. And Roland is giving everyone around the world a front row seat to watch the event live, online! Check the V-Drums contest website for all the streaming details, and join us for the show if you can. Go Pat!

Patrick Kennedy (USA)

Like Pat Kennedy, each contestant is already a champion, having won their respective national V-Drums contests, but climbing to this level has been far from easy. In order to adhere to an interesting twist in Roland’s V-Drums contest rules, contestants had to learn and incorporate an additional piece of Roland gear for their national championship showdown. Each regional finalist won the opportunity to choose his or her prize, an SPD-30 or an SPD-SX. (Pat chose an SPD-SX.) Then, each national champion went on to win a TD-30KV V-Drums flagship electronic drum kit. With the playing field as level as possible for the world championship event —  TD-30KVs, SPD-SXs and SPD-30s at each drummers’ disposal — the pressure to shine creatively and technically will be higher than ever, and the competition will be fierce.

What’s the difference between the SPD-SX and the SPD-30, any way?

The first V-Drums World Championship contest attracted hundreds of talented drummers from around the world. These were narrowed down to 16 finalists who traveled to the world final in Anaheim, California during Winter NAMM 2012. After a night of spectacular performances, the top honor finally went to drummer Baard Kolstad of Norway who beat out the U.S. national champion JP Bouvet.  Judges were impressed not only with Baard’s drumming ability but also with his use of the technology available on his Roland V-Drums kit.

Based on the contestant lineup below, the judges have a tough job on their hands trying to choose a winner for this year’s V-Drums World Championship. Meanwhile, each drummer must impress the panel of judges with technique, creative rhythm, use of technology, and of course, great showmanship.

What are your thoughts on the U.S. national champion Pat Kennedy’s preparation? Do you have a favorite drummer from the list below? Will Pat bring home the world title?

Judges:

Dirk Brand – Musician, V-Drums Specialist (event host as well)
Craig Blundell – UK Songwriter, Producer, Journalist, V-Drums Clinician
Tommy Snyder – Drummer, Singer
Florian Alexandru-Zorn – Drummer, Lecturer, Journalist
Mark Van Schaik – Journalist
Rich Chamberlain – Journalist
Axel Mikolajczak – Journalist

Related links and articles:

• V-Drums Contest U.S. Finals Results
• Pick Your Poison: SPD-SX Versus SPD-30
• The Benefits of Electronic Drums
• Roland on Stage with American Idol

Meet the United States’ first digital accordion orchestra, the New England Roland V-Accordion Orchestra. Organized by Springfield, MA Roland V-Accordion dealer Sam Falcetti, this unique digital orchestra features more than 25 accordion players with a wide range of musical perspective, including accordion contest champions, semi-professional accordionists, students and accordion hobbyists. The orchestra’s premier performance is scheduled during the 51st annual New England Music Festival, the weekend of April 5, 2013 in Newton, MA at the Newton Marriott.

In 2011, after adjudicating at Roland’s 5th International V-Accordion Festival in Rome, Sam was convinced that an instrument this incredible was deserving of an entire digital accordion orchestra. Harnessing this inspiration, Sam set out to create the first group of its kind in the U.S. After many months of planning and recruiting musicians, Sam finally kicked off rehearsals for the orchestra in February 2013, just in time for the New England Roland V-Accordion Orchestra to make its April 2013 debut. The orchestra features four Roland U.S. V-Accordion Festival champions, Daniel Pavlotsky and Ollie Luey, Junior Division winners, and also Christopher Gorton and Danielle Renzi, Senior Division winners. A talented roster of drummers, percussionists, guitarists and vocalists will also accompany the orchestra.

During his career, Sam Falcetti has conducted many different groups, including the Springfield Accordion Orchestra which toured in Japan, Italy, New Zealand, and the United States. He also directed this orchestra on the nationally televised David Frost Show with Roberta Flack. The Westfield State College Accordion Ensemble performed twice at Carnegie Hall under Sam’s direction, and he and his son Michael conducted a 50-peice orchestra in celebration of the the Accordion Teachers Association of Massachusetts 50th Anniversary and his store, Falcetti Music.

For more information about the debut performance or about joining the group, please call Mike Falcetti at 413.543.1002 EXT 105 or email peggyf1944@gmail.com.

Related links and articles:

• Special Edition Rock ‘N’ Roll Fantasy Camps, Powered by Roland Gear
• BOSS Loop Station World Championship 3: International Finals
• MIDI: The Essential Standard Turns 30

The V-Drums Friend Jam Kids is a free software download for children to build drumming skills and compare their progress with other V-Drums users around the world. A special version of Roland’s acclaimed V-Drums Friend Jam software designed for young drummers, V-Drums Friend Jam Kids provides a fun way to practice and enjoy playing drums.

Available for both Windows and Mac OS X, V-Drums Friend Jam Kids helps young drummers improve their skills with enjoyable songs and fun practice evaluation features. It offers a friendly and inviting user interface, plus a continuously growing library of play-along songs that can be downloaded directly within the application from the web. Included are traditional children’s tunes like “Twinkle Twinkle Little Star,” classic pieces such as “Air on the G String,” and a variety of musical grooves in popular styles, all specially arranged for playing along on the V-Drums. Users can also add MP3 files stored on their computer to jam with their favorite songs.

Since its release two years ago, V-Drums Friend Jam has become an extremely popular social networking tool for drummers, with over 30,000 users to date in 175 countries and regions worldwide. The software allows players to share scores and interact with each other via their Twitter accounts while practicing the drums.

V-Drums Friend Jam Kids is a completely self-contained application that does not require Twitter to share scores. Its practice features and functions are similar to V-Drums Friend Jam, but are tailored more to children who are just starting to learn the drums. The software supports 13 different languages, including English, Spanish, French, German, Polish, Russian, Turkish, and more.

By connecting a computer to a V-Drums kit, such as the compact and kid-sized HD-3 or TD-4KP, players can capture and evaluate individual performance elements such as rhythm, technique, and variation, then see how their results compare with other V-Drums Friend Jam Kids users around the world via the Internet.

Related links and articles:

• V-Drums Friend Jam Kids
• Press Release: New Roland V-Drums Software Designed for Kids
• Choosing a Roland V-Drums Kit is Easier Than You Think!
• The Benefits of Electronic Drums

Author: Oz Owen

Image from ‘Forward to the Past 2′ on PokerFlat Recordings. www.pokerflat-recordings.com

The machine that put a smile on the faces of party people all over the world, without even realizing—the incomparable TB-303 Bass Line.

It’s hard to make a definitive statement these days without kicking off an almighty flame war, but we’re going to make one anyway: the TB-303 is the greatest single-oscillator monosynth of all time, bar none. There, we said it. And you know what? We’re right. Argue all you want. Go on, see where it gets you!

What other monosynth, and single oscillator monosynth at that, has carved such a prominent niche for itself throughout the contemporary landscape of electronic music? What other synth could claim to have such a unique and distinctive feel, capable of creating sound like no other? No one could argue that the electronic music scene would be markedly different today without that little silver box.

The TB-303 (TB standing for “Transistorized Bass”) proudly left the Roland stable in 1981, originally designed to play bass accompaniment for solo guitarists. But notoriously difficult to program and producing a less-than-authentic acoustic sound, the 303 was swiftly relegated to a curiosity in second-hand music stores, where it languished for years—right up until Phuture, a trio of under-funded Chicago musicians, picked one up for a giveaway price and set about experimenting.

What the TB-303 lacked in user-friendliness and authentic bass tones it more than made up for with its quirky idiosyncrasies and insanely over-engineered tweaking potential via the half-dozen, front-panel rotaries. In 1987, Phuture released Acid Trax, a 10-minute squelch-fest that helped define the Acid sound, a sound that would quickly cross the Atlantic to become a pivotal component of 1988′s nascent rave culture that would come to be known as the UK’s very own “Summer of Love.”

See our list of 10 iconic songs made with the TB-303 on POWERON

There are many monosynths, so just what is it that makes the sound of the TB-303 so unique? In many ways, it’s a simple sound that emanates from that mono output; a single oscillator can be switched between a square and saw wave before sculpting with the 24 dB low-pass filter (often misquoted as 18 dB, 3-pole) that can’t even ascend into self-oscillation. For the truly authentic grind that the 303 is capable of, you’ll need one other element—overdrive or distortion. If you have nothing at hand, then overdrive a channel on your desk to add some crunch.

Video published by: alexfox101

Step ‘n’ Slide…

In Roland’s desire to create an instrument that was self-contained (a Roland ethos that continues to this day), the TB-303 was imbued with three vital functions that combined to create its unique, slippery “acid” sound: the basic-yet-almost-impenetrable step sequencer, the Accent that punched accented notes to greater heights, and that inimitable Slide function that didn’t remotely emulate the sound of a fretless bass. When these functions are used together, the TB-303 serves up those trademark slippery, creaking, acid-laden riffs that, to this day, stamp their authority on dance floors the world over. For best results, drop Josh Wink‘s “Higher State of Consciousness” on any dance floor and stand well back.

In the intervening years, artists by the thousands have flocked to embrace that sound. Notable masters are legion, including Josh Wink, Aphex Twin, and Plastikman (aka Richie Hawtin). But Hardfloor, the legendary Dusseldorf-based proto-acid trance duo, are probably the most famous early exponents. They utilized up to six 303s to weave complex and subtle acid workouts that still stand the test of time, 1992′s “Acperience 1″ being essential listening for the uninitiated.

Programming the onboard step sequencer was a nightmare. But in the 303′s defense, one could jab randomly at those plastic keys to input a riff, then apply the timing, slides, and accented notes to complete the pattern. Bizarrely, 80 percent of the time the results actually sounded passable, if not entirely useable in a musical context. Such is the sonic allure of its cosmic tone.

Getting “That” Sound…

So just how do you get that classic acid sound these days? Purists seeking the original hardware will pay $1,500-plus for one of the 10,000 units that Roland originally made. Right now, there’s even one signed by Trax producer Marshall Jefferson on Ebay—a steal at $6,000.

For those who don’t have the funds for hardware, there are many hardware clones that approximate the sound, but arguably don’t come close. Many software versions, however, perfectly mimic the original. Propellerhead kickstarted the soft-synth revolution with ReBirth back in 1997, and now there are a flood of imitators. AudioRealism and D16 Group are regarded as the most authentic, with the latter’s Phoscyon adding a wealth of new features that take that 303 sound into incredible new territory, should you come over all experimental.

Originally published in POWERON – Download it for Free

Related links and articles:

• PowerOn: Free iPad Music Magazine from Roland and BOSS
• Synth Legends: TB-303
• Afrika Bambaataa – Rob Ricketts TR-808 Programming Posters
• The Making of “Egypyt, Egypt”
• Synth Legends: Howard Jones | JUPITER-8

Key Tracks: Egyptian Lover “Egypt, Egypt” from Red Bull Music Academy on Vimeo.

In January, the Red Bull Music Academy debuted their Key Tracks series with dublab, an LA based non-profit public broadcasting Internet radio station. We were pleased to learn that the series opened with Electro legend Egyptian Lover who happened to make his monster 1984 track “Egypt, Egypt“ on a Roland TR-808 drum machine and a JUPITER-8 synth. In this video, the Egyptian Lover takes us back a couple of decades by recreating his original tune and talking about his inspiration for the song. Check it out!

Follow us on Instagram

Related links and articles:

• Afrika Bambaataa – Rob Ricketts TR-808 Programming Posters
• Throwback Thursday – Ed Diaz & His XP-50
• MIDI: The Essential Standard Turns 30
• Synth Legends: TB-303
• Synth Legends: Howard Jones | JUPITER-80

If you’ve outgrown your audio interface and want to replace it with something more flexible, you’ll need to look beyond the number of inputs and outputs offered. To help you choose the best audio interface for your needs, we’ve put together a list of five things to consider.

1: You’ll need more than eight inputs
How many inputs do you need? This isn’t as simple as counting your audio sources and making sure you have enough inputs:

• Many musicians consider an eight-input interface to be sufficient. But this is actually the minimum number of channels needed for recording a live rock band: four mics for your drum kit plus guitar, bass, vocals and a mono keyboard.
• If you want to record with maximum clarity and control, a drum kit could easily require eight inputs. So it’s much better to have the extra inputs if you can afford them, so you can expand when you need to (and that point always comes sooner rather than later).
• Remember that although some recording audio interfaces advertise a lot of inputs, they often only include two preamps. If you want to record with microphones you’ll need as many preamps as you have microphone sources – leading to additional cost, cables and connection headaches.
• Check the phantom power situation. Many interfaces have a ‘global’ phantom power switch that either applies to all channels at once or applies to groups of four. Ideally, individual phantom-power for each channel gives you more flexibility, so you can use different mixes of condenser mics, ribbon mics, etc. without accidentally torching a ribbon microphone with phantom power.

Roland STUDIO-CAPTURE

2: Multiple outputs: can you send sound to different parts of the room?

The ability to hear your mix on different speakers (or monitors) is one of the most common reasons for having multiple outputs, but there are many other uses too:

• If you’re recording a band, you’ll need to route a click track to a pair of headphones, while playing the music out of your main monitors.
• Most interfaces with two outputs also feature a headphone output, but the headphones will usually receive the same signal that goes to your speakers. If you send the click track to headphones only, you’ll need an interface that can route independent channels to the headphones.
• For live work, you may want to route the music to a number of different PA speakers, some angled towards the crowd and others used for on-stage monitors so the band can hear their playing.
• To sum up, if you use more than two speakers, you’ll need an interface with more outputs.

Related product: OCTA-CAPTURE Hi Speed USB Sudio Interface

3: Portable audio interfaces are far more practical

If you’re recording or live mixing a band, you’ll need an audio interface that is easy to carry and easy to use once the session begins.

Many multi-input interfaces are designed to fit into a 1U rack – not particularly easy to carry to a gig or put down on a table once you get there. Audio interfaces which are more compact, such as Roland’s STUDIO-CAPTURE, have a smaller footprint so can be carried around easily and are far quicker to set up.

You should also choose an audio interface with level meters, so you can see the level of incoming audio signals and prevent clipping.

4: Flexible monitoring gives your band members their own monitor mix
Separate monitor mixes are essential for studio and live recording. Imagine having different cue mixes for different musicians – more vocals for the vocalist, more bass for the bass player or different monitoring for wedges or in-ear monitors.

Some audio interfaces can even send the sound coming from your DAW or instruments to as many as four separate mixes, which can in turn be sent on to any pair of outputs. This handy feature essentially means you have four separate mixers built into your audio interface.

Related product: DUO-CAPTURE EX USB Audio Interface

5: Build quality matters – the cheaper option can be more expensive
If you plan on taking your interface on the road, it’ll inevitably get knocked around.

Make sure you look for an interface that is well built – cheap plastic casing smashes easily when dropped.

Likewise, poor quality knobs and switches are unlikely to cope with life on the road, so it’s worth paying a little extra for a quality audio interface that is built to last.

Finally, remember that an audio interface will be constantly hooked up to all manner of different input sources. The housings supporting the various inputs and outputs need to be robust and sturdy, and they also need to facilitate high-quality, low-noise signal transfer, ensuring that the audio is of premium quality – which is what it’s all about.

Related links and articles:

• See What’s New In SONAR X2 Producer
• Static Revenger AKA Dennis White – First Look at INTEGRA-7
• Jason Freese: Soft Synths Versus JP-80