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

V-drums Friend Jam

First, a bit of a disclaimer and a short story. I work for Roland as a sales rep and have been playing electronic drums since 1994. I was first introduced to V-Drums Friend Jam in Los Angeles at a Roland sales and product meeting. Steve Fisher, V-Drums innovator and drummer extraordinaire, showed us this innovative drumming program, which was already fairly popular in Japan. I immediately wanted to try it, so I jumped right in. After it was over, a number came up, something in the 600s. “What is that?” I asked. Steve said, “You’re ranked 600.” “600 what?” I asked. “600th best drummer,” said Steve. “Out of how many?” I asked. “Oh, I dunno, a couple thousand.” That’s all I needed to hear to light up my competitive chops.

V-Drums Friend Jam for Kids

In my experience, drummers are obsessed with two things: drumming and other drummers. We learn from other drummers, and we always want to get better. Every drummer wants to get better, but how do you know you’re improving? That’s where V-Drums Friend Jam can help. Not only does it shell out immediate feedback about areas of improvement, the program also monitors your workout time and progress. The thrill for me is when my score is posted, and I can see where I rank against other Friend Jam players worldwide.

V-Drums Friend Jam Explained…

Friend Jam is a free download program for Mac, PC or iPhone that analyzes your drumming while you play to your MP3s or included songs. The program is compatible with all V-Drum kits and measures your playing in five key areas of drumming: Kick, Beat, Stamina, Technique and Variation. Each area has a weight of 120 points for a total of 600 points. Your drumming score is automatically published on the V-Drums Friend Jam website via your Twitter account. See additional V-Drums Friend Jam features.

Roland TD-15 drum kit

Become a Better Drummer…

Friend Jam makes you a better drummer by measuring you against the program and other drummers. Friend Jam is not a video game, even though it has cool graphics of your playing in real-time. It’s your own personal drum trainer. One of the most interesting things about Friend Jam is how it stretches your abilities by getting you out of your comfort zone. For example, if you’re a Rock player, try the Jazz Songs. If you’re a Pop style player, try the World Songs.

So there you have it. Now you know what Friend Jam is, who’s is playing it and how to join in the fun. If you already play Friend Jam, or if you have questions, I want to hear from you. My Friend Jam user name and Twitter handle is @RolandSFlorida or drop me a comment below.

Related links and articles:

• V-Drums Friend Jam for Kids
• Choosing a Roland V-Drums Kit is Easier Than You Think!
• The Benefits of Electronic Drums

Roland VS PREAMP

When choosing an audio interface, preamps are often overlooked despite the significant role they play in determining what a recording actually sounds like. A well-spec’d audio interface with bad preamps will result in a bad recording. Why?  Because preamps are the ears of your DAW. How well a preamp performs determines the sound quality of your recording.

Check out these 5 tips for choosing an audio interface

Ever since digital multitrack recording became accessible to the “everyday” musician in the nineties, Roland has been developing ground-breaking products, starting with the DM-80, the VS-880 and the RAP-10. This deep knowledge and long-term experience of creating digital recording products is evident in Roland’s three latest audio interfaces, the STUDIO-CAPTURE, OCTA-CAPTURE and QUAD-CAPTURE. All three interfaces feature VS PREAMP technology to ensure your music has the best sonic clarity possible.

Roland STUDIO-CAPTURE featuring VS PREAMPs

Preamps are one of the most important components in an audio interface. They provide the ability to connect dynamic and condenser microphones and can supply dedicated phantom power to mics that require it. Basically, a microphone’s signal level is very limited and needs to be amplified to achieve suitable recording levels.

In addition, the preamp has to minimize noise which can be introduced during the amplification process. Preamp design that provides proper gain and avoids noise requires long-term and precise knowledge of circuit design. Quality preamps are essential for high quality recordings.

What are VS PREAMPs?

Roland’s VS PREAMPs are widely acclaimed for their pristine and transparent sound. Developed from the same class A preamp circuitry found in our V-Mixer series of professional mixing consoles, these premium-quality mic preamps deliver an accurate, neutral sound across the entire frequency spectrum, with no bias toward any particular frequency band.

VS PREAMPs also deliver lots of headroom. Increasing the headroom in mic preamps typically results in problems with the signal-to-noise ratio; however, with our latest power supply circuitry, we’re able to minimize noise levels while providing a wider dynamic range. With huge headroom and top-level sound quality, you can easily record sources with a wide dynamic range, such as acoustic drums and percussion instruments, with professional results.

Quality preamps are absolutely vital to quality recordings and an essential part of any audio interface. Roland’s VS PREAMPs provide low noise with high-quality, class A circuitry and huge headroom, bringing pro-quality recording with stunning clarity to your studio.

Roland Capture Series with VS PREAMPs

Related links and articles:

• Recording with AUTO-SENS Technology
• 5 Tips for Choosing an Audio Interface
• See What’s New In SONAR X2 Producer

Roland FP-80 Digital Piano

Roland has revamped its popular FP-series lineup with two all-new models, the FP-80 and FP-50. Compact and stylish, these instruments feature the acclaimed SuperNATURAL® Piano sound engine for superior tone and 88-note Ivory Feel keyboards for the authentic touch and expressiveness of an acoustic grand. Both pianos are equipped with built-in sound systems, with the FP-80 incorporating multi-channel Acoustic Projection technology for an even more natural sound.

Roland FP-50 Digital Piano in white finish with optional KSC-44 stand

The FP-80 and FP-50 are extremely versatile instruments that are ideal for a variety playing situations. Available in black or white finishes, their attractive looks and sleek styling are perfect for modern living spaces, while the compact design makes them easy to transport for gigs and rehearsals. In addition to great acoustic piano tones, the FP-80 and FP-50 are equipped with a wide selection of additional sounds, including SuperNATURAL-based electric pianos, organs, strings, synths, and more. Via Roland Wireless Connect, you can also enjoy the FP-80 and FP-50 with your iPhone, iPad, or iPod touch.

From home enjoyment to the music classroom to the performance stage, the FP-80 and FP-50 digital pianos deliver Roland’s top-level tone, touch, and versatility at affordable prices.

Learn more about the FP-80 and FP-50 at RolandConnect.com.

Related links and articles:

• New Product: RC-505 Loop Station
• New Product: BK-9 Backing Keyboard
• Roland Connect

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

Packed with features requested by the world’s top accordionists, the new flagship FR-8x (piano-type) and FR-8xb (button-type) V-Accordions take the digital accordion to an all-new dimension. With extremely natural playability thanks to newly developed Dynamic Bellows Behavior technology, more convenient battery charging, an expanded sound set, four multi-effects engines, an onboard looper, and much more, the FR-8x and FR-8xb bring players the most powerful V-Accordion experience yet.

Here’s a quick rundown of just a few of the great new features in the FR-8x and FR-8xb:

• True acoustic accordion feel—Roland’s new Dynamic Bellows Behavior varies the resistance of the bellows depending on the register and number of notes played, delivering the familiar and comfortable playing feel of an acoustic accordion.
• Simple battery charging—The onboard battery can now be charged easily with the included AC adapter, with no playing interruption during the charging process.
• A wide range of new sounds and effects—In addition to accordions from around the world, the FR-8x and FR-8xb give you instant access to a ton of versatile sounds, including organs, strings, brass, synths, acoustic and electric guitars, and even drums! On top of that, four powerful multi-effects engines provide a huge selection of studio-quality sound sweetening options, with independent processing for Accordion, Orchestra 1, Orchestra 2, and Orchestra Chord sections.
• All-new user interface—A large, recessed color display, logical panel layout, and three programmable chin switches make operation simple and intuitive.
• Built-in looper—This much-requested feature allows you to layer the many different onboard sounds to create instant accompaniment for backing and improvisation.
• New button-type keyboard in the FR-8xb—The redesigned button-type keyboard provides improved response, an authentic look, and lower noise.

And that’s not all—this just touches on what these powerful new flagship instruments can do! To explore these new V-Accordions in full detail, visit RolandConnect.com.

Related links and articles:

• New Product: BK-9 Backing Keyboard
• New Product: RC-505 Loop Station
• Roland Connect

Roland BK-9 Backing Keyboard

If you’re looking for a premium auto-accompaniment instrument that’s easy to carry and simple to use, then check out the BK-9, the all-new flagship backing keyboard from Roland. The latest addition to the popular BK lineup is truly a powerhouse performer, with over 1,700 professional sounds, a 16-track sequencer, USB recording/playback, and much more. It’s also filled with full-ensemble accompaniments in almost every musical style imaginable, letting you lead the world’s most versatile backing band as you play. Perfect for solo/duo performers, songwriters, and casual hobbyists playing at home or social gatherings, the BK-9 puts inspiration under your fingertips.

Check out just a few of the BK-9’s top-level features:

• Over 1,700 sounds and 70 drum kits, including 22 of Roland’s acclaimed SuperNATURAL® sounds and 500 all-new tones
• 540 rhythm accompaniments, remastered with the BK-9’s superior tones and effects
• Studio-quality effects, including five independent multi-effects engines and dedicated mastering effects
• A simple user interface designed for performing, with dual displays, an intuitive panel layout, onboard mixing with faders, favorite tones, music assistants, and much more
• 16-track sequencer for song composition and Rhythm Composer for creating and customizing accompaniments
• Audio playback and recording via USB flash memory
• XLR mic input and video output for displaying lyrics and photos
• Free iPad apps for displaying lyrics, managing tones, and more

And that’s just the start! Learn all about the BK-9 Backing Keyboard at RolandConnect.com.

Related links and articles:

• Roland Connect Main Page
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• New Products: FR-8X and FR-8XB V-Accordions

BOSS RC-505 Loop Station

BOSS has just introduced the RC-505 Loop Station, a new breed of looper that’s perfect for beatboxers, singers, club performers, and DJs. With its compact, tabletop design and powerful yet simple interface, the RC-505 gives you fingertip control of five simultaneous stereo loop tracks, a variety of recording and playback options, amazing real-time effects, and much more.

The RC-505: A New Concept in Loop Stations

Fueled by BOSS’ industry leading Loop Station products and annual Loop Station World Championship competitions, the live looping movement has exploded over the last few years. From the start, Loop Stations have been incredibly popular with guitarists, singer/songwriters, and multi-instrumentalists. But recently, increasing numbers of solo vocalists have been discovering the amazing potential of live looping as well. With just a microphone and a Loop Station, beatboxers and singers can perform in a highly creative and dynamic new way, using the incredible expressive range of the human voice to deliver jaw-dropping soundscapes, intense rhythmic onslaughts, and beyond.

Until now, Loop Stations have been designed mainly for floor use, so that instrumentalists and vocalists can operate them with their feet while performing. However, most vocal loopers prefer to use them at table height so they can manipulate the controls with their hands. The RC-505 is ideal for these modern performers, offering a powerful, dedicated device built for easy fingertip operation and maximum expression.

With its five simultaneous stereo loop tracks and up to three hours of recording time, the RC-505 is also well suited for DJs and club performers. Via USB, you can load up the RC-505’s tracks with WAV audio files consisting of everything from sound effects to entire songs, then trigger, mix, and manipulate them sampler-style with the front-panel controls and effects.

BOSS RC-505 Loop Station—front view

Effects, External Control, and More

Powerful INPUT FX and TRACK FX make it easy to enhance or mangle live sounds and loops as you perform, with quick-access buttons for effects selection and dedicated knobs for real-time tweaking. Multiple inputs (all available simultaneously) include an XLR mic jack with phantom power, mono/stereo instrument jacks, and a mini-jack for hooking up a smart phone or music player. 99 phrase memories allow you to save your loop creations instantly, including all five tracks plus effects and playback settings.

BOSS RC-505 Loop Station—rear panel

The RC-505 can be operated externally via optional foot switches, an expression pedal, or MIDI devices, providing extended control for vocal performers and instrumentalists. The RC-505 also functions as a USB audio/MIDI interface, so you can integrate with your favorite DAW for audio recording, MIDI sync, and more.

Learn more about the amazing RC-505 Loop Station at RolandConnect.com.

Related links and articles:

• Roland Connect Main Page
• BOSS Loop Station World Championship 3: International Finals
• Loop Station World Finalists 2013 Part 1

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
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• Synth Legends: Howard Jones | JUPITER-8

When the original BOSS overdrive stompbox, the OD-1, was first released way back in 1977, it looked very different from any other stompbox of the day. Where others were simple squared-off aluminum boxes crudely screwed together, the OD-1 was a smooth cast-metal body. It had no little button to step on to turn it on or off like the others. Most of the OD-1’s surface was the stompbox for the switch. Instead of the commonly used simple click switch that always caused an audio line POP when pressed, the OD-1 had a silent electronic switch under the pedal that never made a sound. It had recessed knobs; other stompboxes back then had big knobs protruding up from the case — very easy to kick and move or worse, destroy. And it sounded amazing! To this day, the BOSS OD-1 is sought after by collectors who know tone. Who would have thought that after 35 years, BOSS stompboxes would use the same design elements that were developed then, and would be mimicked by so many competitors. Why? A wise man once said, “If it works, don’t fix it.” Think about it. What other product has been in continuous production for more than 35 years, with the same looks and industrial design, and seems just as fresh as when it first was released?

Free BOSS mobile phone wallpaper—choose from 10

There are ten original design elements common to all BOSS stompboxes. From the OD-1 to the  ST-2 Power Stack or the RC-3 Loop Station, they represent ten solid reasons why BOSS is still the guitar stompbox line that sets the standard for the world. Let’s take a look at these elements, to better understand their benefits and why they have withstood the tests of time (and millions of heavy-booted musicians).

1. Heavy Duty Stompbox Construction

It is well known that BOSS stompboxes are tough. The thick all-metal cast construction of the case is very durable and provides very strong protection for the circuitry inside. We have seen cars driven over them, after which they still work (we’re not advocating this, by the way), and in the early days, the BOSS engineers used to test them by literally throwing them out of a second story window. Every component is tested to withstand extreme use. The spec for the electronic switch, for example, specifies that it must be able to withstand a minimum of 100,000 stomps. BOSS has machines that test them by hitting this switch 100,000 times to see if they can withstand the abuse. They do. Which leads us to the next one…

Even after running over a BOSS stombox with a car, it still works. (<–Tweet this)

2. Five-Year Warranty

This is the longest standard warranty around. Why? Because BOSS knows that they can stand behind the workmanship and quality of construction of these pedals; in other words, they are really hard to break. Think twice about pedals that have shorter warranties.

3. Easy Access Battery Compartment

DA-2 Adaptive Distortion

There are actually two benefits to this one. In the early days of guitar effects pedals, the only way to change the battery was to open up the entire stompbox, (which usually required finding a screwdriver and removing — and not losing — microscopic screws, just what you want to be doing on a dark stage at a gig or at a rehearsal) and exposing the entire circuit board in order to get to the battery, which was usually just hanging by its wires inside. The BOSS battery compartment is under the pedal, which is spring loaded, so when you unscrew the front of the pedal, it pops open, revealing the battery. The other benefit is that the battery compartment is completely sealed off from the components, so if it ever leaks, it won’t contaminate or ruin the electronics.

4. Recessed Knobs

This seems obvious today, but it wasn’t 35 years ago when BOSS was the first to figure out that knobs below the surface of the stompbox couldn’t be kicked, which at best changes your settings (and for some cosmic reason, always for the worse, not better) and at worst could break the knobs off. This concept has been adopted by many stompbox manufacturers, although many boutique stompboxes still have knobs standing tall on top of the stompbox. It’s really only a matter of time until they get kicked or worse.

5. Rubber Pads on Top and Bottom

The entire bottom of a BOSS stompbox is a big rubber surface. Why? Many other stompboxes use tiny rubber feet, or sometimes nothing at all. The big rubber bottom of a BOSS stompbox keeps if from sliding around on the floor when you stomp on it. This seems like another one of those simple concepts until you look at many other guitar effects pedals and realize that it is not so common. But you’ll appreciate it the night you use your pedals on a slick wooden stage. Your boutique pedals may slide away from you as you try to use them, but your BOSS effect pedals will be right where you want them to be: under your foot. Why rubber on the top? The simple answer is to keep your foot from sliding off the pedal when you want to turn it on. The entire surface of the pedal is covered with a rubber pad, so your foot can hit it without slipping.

6. Silent Electronic Switching

BOSS was the first stompbox company to use this kind of switching. Rather than use mechanical click switches due to their drawbacks (they tend to cause unwanted loud pops in the audio signal and tend to break at inconvenient times, like when your playing your best solo), BOSS developed electronic switching for their compact pedals using FET components, which are very highly regarded for high reliability and noise-free operation. The benefits are pretty clear — no switch failures and no noise in the line ever.

7. Big Pedal Surface

When the band is rocking and you’re really getting into your playing, you don’t want to reach out and miss the stompbox button. After all, with many guitar stompboxes, you’re aiming at a target less than a half inch wide. On a BOSS stompbox, most of the effects’ entire surface is the stompbox, so you won’t miss. You can hit it from virtually any angle, so when you want the stompbox to be on, it’s on.

8. Dual Purpose LED

The LED on a BOSS stompbox has two functions. The more obvious one is to indicate that the stompbox is on and working. The other function is to indicate the condition of the battery. It’s better to know the battery is going before it’s too late than to find out the hard way — on stage, when you expect the sound to be there, and it’s not. A BOSS stompbox will always let you know before it’s too late that you ought to change the battery.

9. Color Coded Pedals

This one is very simple: BOSS stompboxes are color coded, so you can easily tell which is which when you’re using them. There have been some consistencies in the colors over the years.  For example, BOSS digital delay stompboxes have always been white, phaser shifters have always been green, compressors have always been blue, and flangers have always been various shades of purple. There have also been some colors that seem somewhat random. Distortion stompboxes, for example, have been everything from orange (DS-1, DS-2, and many others) to black (MT-2, HM-2, etc.) to red (XT-2), and several shades in between (although overdrives tend to always be some degree of yellow. Go figure…). Again, the point is so you can tell which is which in your rig. This is another BOSS first that some other stompbox makers have also caught on to, but many others still adhere to the same color, same look concept. Next time you get a chance, try out a pedalboard made of stompboxes that all look the same. In the heat of battle in the middle of a gig, on a dark stage with the lights in your face, how easy will it be to tell which is which? Not as easy as a rig full of BOSS stompboxes, to be sure.

10. Great Sound

Tone is what you like, and few things are more subjective, but with tens of millions of BOSS pedals out there, an awful lot of which are on top pro players’ stage rigs, it’s probably safe to say that BOSS stompboxes always sound right. (<– Tweet this)

These, then, are the big ten. From the first three BOSS pedals more than 35 years ago with the now-classic and iconic design (do you know what they are? Check the BOSS Facebook page to find out) to the amazing pedals in the current line, these ten time-tested design elements have helped to make BOSS pedals what they are — the undisputed market leaders in compact effects.

Related links and articles:

• BOSS Showcases at SXSW
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• How to Chain Your Guitar Effects Pedals – Part 2
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