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

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

V-Drums World Championship 2 winners at the Frankfurt Musikmesse

During the recent 2013 Musikmesse music fair in Frankfurt, Germany, Roland held the international finals for the V-Drums World Championship 2. From a field of top drummers representing 16 different countries, Issah Contractor from Canada grabbed the crown with a masterful performance blending impressive drumming chops and a thorough command of the modern technology in Roland’s electronic percussion products.

The V-Drums World Championship 2 Explained…

Roland’s annual V-Drums World Championship gives drummers everywhere a unique opportunity to showcase their skills and compete against other Roland electronic percussion players. This year’s contest was the biggest yet, with nearly 5,000 participants competing during national preliminary rounds in countries around the world. The grand finale took place on April 11, 2013 at the prestigious Südbahnhof music club in Frankfurt, with well-known German drummer Dirk Brand serving as the host for the evening. The event was also streamed live to Internet viewers around the globe on the V-Drums World Championship international website.

The night featured inspired drumming by players from the United States, Sweden, Italy, Mexico, Hungary, Switzerland, China, Turkey, Brazil, the Netherlands, Japan, United Kingdom, Russia, Germany, Spain, and Canada. Each earned a trip to the finals by winning national V-Drums competitions in their home countries. In Frankfurt, every finalist played an original drum performance using the TD-30KV V-Pro® Series V-Drums, OCTAPAD® SPD-30 Percussion Pad, and SPD-SX Sampling Pad.

A group of seven judges assembled for the finals included noted drummers Brand, Craig Blundell, Tommy Snyder, and Florian Alexandru-Zorn, plus music journalists Mark Van Schaik, Rich Chamberlain, and Axel Mikolajczak. They scored the contestants’ performances in areas of technique, style, stage presence, overall creativity, and creative use of technology.

See the V-Drums World Championship 2 slide show

V-Drums World Championship 2 winner: Issah Contractor

Naming a winner was a tough call, as all the players delivered jaw-dropping displays of drumming prowess. When the smoke had cleared, Issah Contractor came out on top with a performance that featured looping on the SPD-30, sample playback from the SPD-SX, multiple meter shifts, impressive double-kick chops, and unique playing of melodies with the V-Drums’ pads.

V-Drums World Championship 2 runner-ups Jaime Edwin de la Rosa & Lars Nijman

Second Place went to Jaime Edwin de la Rosa from Mexico, while Third Place went to Lars Nijman from the Netherlands.

In an interview after his win, Issah talked about how he’s excited to use the powerful technology in V-Drums to forge a new melodic direction in drumming. “One cool thing about the TD-30 is the step sequence function,” said Issah. “I believe that can be utilized very uniquely in the future. I’d like to see if I can push that boundary. It could be really something that is groundbreaking. Although there are notes on the drums, it feels a little devoid over the harmony aspect, and I think the V-Drums would be awesome for trying to put that forward.”

If you’re a drummer based in the United States and want to enter for the V-Drums World Championship 3, check the V-Drums contest page at RolandUS.com.

Check out our V-Drums World Championship 2 playlist on YouTube to see final performances from all the contestants, plus interviews with the top three players.

V-Drums World Championship 2 Performances

Do you agree with the judges? Tell us who you think the winner should be.

Related links and articles:

• Pat Kennedy V-Drums Training Camp
• Brendan Buckley Judges V-Drums Semi Finals
• Meet the V-Drums U.S. Finalists
• The Benefits of Electronic Drums

What’s the difference between overdrive and distortion? Learn the difference and how to get great tone with either stompbox.

Get Great Tone With OverDrive and Distortion

As guitar players, what are we all after? What do we struggle to describe, work to attain, but always know when we hear it? And what is all that gear out there for? The answer to all three of these questions is the same: great tone. With so much equipment available today to help in creating tone, how do we go about making it do what we want? Let’s take a look at some simple and effective ways to get killer tone with overdrive and distortion.

The first question is which should you use: an overdrive or distortion? The answer isn’t quite that simple. Like many things in the tone-quest world, there aren’t too many fixed rules here. The real answer is: it depends. Maybe an overdrive is what works for you; maybe it’s a distortion. So the next question is: What’s the difference between an overdrive and distortion?

Learn how to chain your guitar effects pedals.

BOSS OD-1 OverDrive

Generally, an overdrive is designed to work and sound like an old tube amp turned up loud. A good overdrive can produce the same overtones and harmonics that an overdriven tube amp produces, hence the name Overdrive. BOSS started the overdrive revolution with the legendary and very collectible OD-1.

Learn how to get great tone from an OVERDRIVE stompbox.

A distortion usually goes beyond the amount of gain and harmonic crunching typical of an overdrive. They tend to get more distorted, are usually (but not always) louder than typical overdrives, and often have multiple gain stages for abnormal amounts of sustain. The BOSS MT-2, probably the best selling distortion pedal ever, is a good example of a distortion pedal with those features. Now that we know what they are, let’s look at making them do what we want: getting great tone. First, let’s start with overdrive and after you’re finished reading that check out the distortion article.

Learn how to get great tone from a DISTORTION stompbox.

So there you have it, what is your preference? What do you use to get your tone? Leave us your comments.

Related links and articles:

• Get Great Tone With BOSS OverDrive
• Get Great Tone With BOSS Distortion
• Billy Duffy: The Cult of Tone
• 10 Original BOSS Stompbox Design Elements

Electronic dance music DJ and producer Richard Vission discusses his use of the INTEGRA-7 in his remixes and original music productions.

Richard Vission has been a preeminent house DJ and producer in Los Angeles since the late ’80s. His musical career started when DJ culture was first taking flight in Los Angeles, becoming known for a freewheeling mixing style that cycled through dozens of records per hour. He took the same frenzied sound into his production career, scoring big in 1992 with the sports-anthem classic “Jump” as a member of The Movement.

Static Revenger’s First Look at INTEGRA-7

Since then, Richard has produced and remixed top dance tracks for artists such as Donna Summer, Radiohead, Todd Terry, Lady Gaga, RuPaul, Ace of Base, Taylor Dayne, Crystal Waters, The Black Eyed Peas, Madonna, and many others. In 2001, he earned a GRAMMY nomination as Remixer of the Year. For over two decades, Richard’s hosted Powertools, the longest running mix show on U.S. radio. Powertools airs weekly on KPWR (Power 106 FM) in Los Angeles, and is syndicated in other markets.

As a busy producer who works on up to ten songs at any given time, Richard needs fast access to great sounds. That’s why he’s recently turned to the INTEGRA-7 SuperNATURAL® Sound Module, calling it Roland’s “best sound modules, all in one.”

We recently talked with Richard about his long career, current projects, and how he’s integrating his newly acquired INTEGRA-7 into his everyday production process.

INTEGRA-7

How many projects do you work on at a time?

In the studio, I’m working on nine or ten songs at one time. Usually, the norm is about seven in the pop world and about three in the EDM world. There’s just a constant flow. For good or for bad, I’m one of those tweakers—I’m never, ever done until it’s done done. You know, sometimes we’re writing pop stuff and we’ll be editing those vocals and working melodies out, and then at night I’ll be working on an EDM track. We’re also developing new tracks at the same time. It’s just ongoing, like nonstop here for us.

How does the INTEGRA-7 help you with your workflow and the demands of your schedule?

What’s cool about the INTEGRA-7, what I really like about it, [is that] it’s going to cut down on my time that I have to go searching for sounds. Right now, in the computer, we probably have 50 [virtual instruments] to choose from. But it’s very nice to know that I can get a lot of answers for what I’m looking for in my head [faster from the INTEGRA-7 hardware]. The INTEGRA-7 is going to make things really, really cool and help the workflow work faster.

Also, working from the INTEGRA-7 Editor for the iPad just makes it a little cooler. Looking at a sound module, sometimes it’s just difficult to get your head around it. The way [Roland has] laid it out in iPad form is very, very simple—touch here, press here, touch there—as opposed to [going] into different pages. An iPad just makes it [more fun].

How do you think other musicians and songwriters will use the INTEGRA-7?

I think the INTEGRA-7 is going to be used by a lot of different people, from studio rats like myself to live musicians. I can see every band wanting to have access to all these different synths when you’re on the road; you’d probably have to bring 20 different synthesizers to bring what’s in that box on the road. I think for songwriters, too, they just want access to a lot of different sounds to get their ideas out.

You’ve been ahead of the curve for a long time with EDM groups like The Movement and Stranger Days. Could we possibly see you forming a new group in the future?

I always like to look at history; history always repeats itself, but with a twist. And I think it’s really cool to see DJs play music, and I think the next thing for an EDM fan is to actually go and watch the person play the music. I mean, the best EDM show in the last 20 years is Daft Punk. So I think there’s going to be an evolution of that. Kids are going to be like, “There are a million DJs out there, but I want to play my stuff live.” I think you’re going to soon see four, five people on stage. I think that’s going to be the next thing. I think an electronic outfit having access to all the sounds that the INTEGRA-7 has is going to help them. If you’re doing your records live, you’re going to need access to a bunch of different sounds.

INTEGRA-7

How does the INTEGRA-7 inspire your creativity?

The INTEGRA-7 is great for inspiration, because it has so many different sounds, from brass to synth sounds to live piano, and a lot of new sounds, which is really cool. I mean, it’s just amazing to get ideas down or take your production to the next level. Anytime there’s something new that comes out, it’s definitely inspirational. [The INTEGRA-7] has old sounds too, and a lot of people have never discovered those old sounds, so to bring them back in the mix is very cool.

One other thing I think is dope about the INTEGRA-7 is the history of sounds that it has, especially a lot of the old drum sounds that I’m always searching for. One of the first drum machines I ever touched was a Roland TR-909. So to have access to that history in the INTEGRA-7, and their history of all their synths from the old JUNOs on down, it’s just pretty amazing and cool to have all that at your fingertips. It’s a JP-80, and it also has every SRX board. It’s like your best sound modules, all in one.

Related links and articles:

• Static Revenger’s First Look at INTEGRA-7
• Kurt Kesedar on How to Create the Electro Wobble Bass
• The Making of “Egypt, Egypt”
• 5 Tips for Choosing an Audio Interface

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

Wes and the Mob Dawgs with Sammy Hagar at Rock and Roll Fantasy Camp

At the 2013 Winter NAMM Show, Roland Corporation U.S. invited its valued dealers to enter a drawing for the opportunity to attend an all-expenses-paid weekend retreat at the Rock and Roll Fantasy Camp in Las Vegas. Wes Faulconor, the owner of Explorers Percussion in Kansas City, Missouri, had his name drawn randomly from the many entrants, winning a three-day experience at the camp’s permanent home near the MGM Grand Hotel & Casino on the Vegas Strip. From March 7-9, 2013, Wes enjoyed a jam-packed schedule of rehearsals, performances, recording sessions, and clinics, topped off with the chance to drum with legendary rockers Sammy Hagar and Steve Vai.

Special-Edition Rock and Roll Fantasy Camps, Powered by Roland

Rock and Roll Fantasy Camp in Las Vegas provides musicians and music fans a unique opportunity to jam with renowned rock stars, write and record original songs, and perform live before large audiences at Rouge, a lounge in the MGM Grand. Campers get to play pro gear from Roland and BOSS during their stay, including TD-30KV and TD-15KV V-Drums kits, the RD-700NX stage piano, GA-series guitar amps, ME-70 guitar effects, and more.

Wes is a lifelong drummer and percussionist with over 40 years experience, and he plays some piano and guitar as well. He opened Explorers Percussion in 1984, which quickly became one of the leading drum and percussion shops in the Kansas City metro area. Explorers carries a full line of major brands, including the electronic percussion lineup from Roland. They also offer educational events, private drum lessons, and regular drum clinics led by national and local artists.

Wes Faulconer and Sammy Hagar at Rock and Roll Fantasy Camp

Quickly after arriving at the camp, Wes was put together in a group with three guitarists, with one of the guitarists also handling lead vocal duties. Michael Lardie, a multi-instrumentalist who plays with Great White and Night Ranger, served as camp counselor for the group, and played bass and sang backup as well.

During their three-day stay, Wes’ band—calling themselves the Mob Dawgs—wrote an original song, worked up a selection of cover tunes, and performed every night alongside other campers’ groups at the Rouge. “Everybody played different orders every night,” says Wes. “We were one of the most natural bands that were there, I think. There was a big NASCAR race in Las Vegas that weekend. There were a lot of fans there to see that, and the club was always packed.” Rouge features a top-flight sound system with gear from Roland Systems Group, including the M-300 V-Mixer and a REAC Digital Snake setup. Pro roadies are also on hand to help the campers as they perform. “They were really on it,” says Wes. “They were at the ready to assist everybody, such as adjusting drums and swapping out guitars when someone broke a string.”

Teddy “Zig Zag” Andreadis on the RD-700NX

Throughout the weekend, Wes and the campers got to hobnob with many famous players. “Joe Vitale was there, and Billy Sheehan was there too,” he relates. “That was pretty cool. Lita Ford and Tony Franklin came in as well. On Friday, Sammy Hagar came in. Each band got to go in and play one song with him. We learned one of his songs, ‘I’ll Fall in Love Again,’ within about an hour. That was a little bit of pressure, but it worked out pretty good. We jammed with him, and it was a lot of fun.

“On Saturday, it was the same thing with Steve Vai,” Wes continues. “Everybody played a song with him. After that, he jammed with Billy Sheehan and Joe Vitale, and he did a little clinic where he talked for about an hour. His clinic was really inspirational.”

Wes at the Rouge lounge for Rock and Roll Fantasy Camp

Wes and his group also got to record their original song at one of the camp’s two studios in the MGM Grand, which are outfitted with Cakewalk’s SONAR X2 DAW software and Roland’s OCTA-CAPTURE audio interfaces, plus V-Mixers, Digital Snakes, and M-48 personal monitoring systems from Roland Systems Group. The band’s guitarists tracked with BOSS ME-70 guitar effects, while Wes played the flagship TD-30KV V-Drums. “They were great, with lot of nice sounds,” Wes relates. “I really like the new features and the sensitivity, which allows your drumming to be more expressive, just like on an acoustic drum kit. It was really nice. We recorded really quickly, and got a great sound. The Roland and BOSS guitar gear sounded really, really good too.”

TD-30KV V-Drums in the studio at Rock and Roll Fantasy Camp

Overall, Wes simply had a great time. “It was a real positive experience, and first-class all the way,” he says. “I really thank Roland for giving me the opportunity. I feel lucky and really grateful that I won it. I went out there without any agenda or high goals; I just played as good as I can play, and just gave it all I had. I wanted to make it more like a vacation, you know, and just play my butt off, just play for the music, and have a really good time. And that’s pretty much what I did.”

Wes’ stay at the camp happened to fall on his birthday weekend, making it even more special. “It was probably the best birthday I’ve ever had,” he enthuses. “On Saturday night, Billy Sheehan and a bunch of the other people at the camp sang ‘Happy Birthday’ to me, and that was really cool. It was a nice fitting end for the weekend.”

Wes with Billy Sheehan at Rock and Roll Fantasy Camp

For more information about Rock and Roll Fantasy Camp, visit RockCamp.com.

For details about Roland and BOSS gear used at the camp, check out our Rock and Roll Fantasy Camp gear list.

Related links and articles:

• Special Edition Rock and Roll Fantasy Camps, Powered by Roland Gear
• Roland Insider: Rock and Roll Fantasy Camp Giveaway Winner
• Behind the Scenes at Rock Camp

Have you ever been frustrated setting the input levels for a recording session? Getting the levels “just right” can be time consuming and gets in the way of the creative process. To solve this problem we developed AUTO-SENS technology for our audio interfaces. Whether you’re a seasoned pro or new to recording, this technology will save you time, headaches and even stream line that all-so-coveted creative process. Roland’s STUDIO-CAPTURE, OCTA-CAPTURE and QUAD-CAPTURE all feature AUTO-SENS technology which automatically sets the recording levels for optimal recording into your DAW.

5 Tips For Choosing an Audio Interface

Before AUTO-SENS you had to manually set the level of each individual input prior to recording. This was both tedious and time-consuming. Now, you simply activate AUTO-SENS and play the connected instruments. AUTO-SENS will automatically set the optimum input levels for each source.

AUTO-SENS on QUAD-CAPTURE

Here’s how AUTO-SENS works…

Initially the level of each input is not adjusted to match the input signal.

• Press the AUTO-SENS button on the front panel or in the software Control Panel, and then select the input channels you want to set.
• When you play the instruments or sing into the mics, the input levels are set automatically. This unique and innovative function is a real-world time saver and makes getting ready for a session quick and easy.
• The latest model STUDIO-CAPTURE has a graphical AUTO-SENS window that lets you adjust 16 inputs simultaneously.

So there you have it; one push of a button eliminates the tedious effort of setting input levels, which allows you to get recording right away with any DAW. Roland strives to develop gear that will work hard for you so that you can worry about more important things like finding your groove. What do you think about this technology? Is it something you’d find useful?

Related links and articles:

• See What’s New in SONAR X2 Producer
• New Product: STUDIO-CAPTURE Audio Interface
• Windows 8 Drivers for OCTA-CAPTURE
• Roland Synth Chronicle: 1973 Through 2013

BOSS Distortion

A distortion pedal usually goes beyond the amount of gain and harmonic crunching typical of an overdrive. They tend to get more distorted, are usually (but not always) louder than typical overdrives, and often have multiple gain stages for abnormal amounts of sustain. The BOSS MT-2, probably the best selling distortion pedal ever, is a good example of a distortion pedal with those features. Since distortion pedals tend to be louder and have more inherent distortion than overdrives, it is a little trickier to use them in conjunction with the amp’s own distortion sound. It might be what you want, especially if you’re after a nu-metal, super heavy, or very grungy sound. If you use your pedal this way, you are distorting distortion. This can get pretty ugly, but sometimes it’s just the thing. Set your pedal similarly to using an overdrive to use it this way: For example, set the BOSS DS-1 level up, the distortion somewhat down, and the tone for neutral.

What’s the difference between Overdrive and Distortion? Find out!

BOSS DS-1 Distortion

Distortions tend to be more effective when you use your amp set for a clean sound and let the pedal’s own tone sing through. Good distortion pedals, such as the BOSS Metal Zone, are quite sophisticated. Under the hood is some powerful circuitry that can create multi-stage distortion just like a high-end boutique tube amp. The MT-2 even has studio quality EQ: a 3-band tone section with parametric sweepable mids for duplicating pretty much any distortion tone you might want. For blazing metal tones, try this setting with a Metal Zone and your amp set for a clean and neutral sound.

BOSS MT-2 Metal Zone

Adaptive distortion does what?…

Another cool distortion pedal is the BOSS DA-2 Adaptive Distortion. Powered by Multi-Dimensional Processing technology (MDP), the DA-2 Adaptive Distortion delivers ideal distortion tones wherever you play on the guitar neck. Diverse guitarists like John 5 (Marilyn Manson / Rob Zombie) use the DA-2 to achieve amazing tones. Check out this video of John 5 and the DA-2 in action.

Just concepts…

To wrap up: These are not rules. They are concepts. Regardless of this post’s title, “Get Great Tone With BOSS Distortion” you can use these principles with any overdrive stompbox. The best way to incorporate them into your playing is to experiment. There are many pedals on the market, each with its own characteristic tone. One may be just the thing to make your tone what you’ve wanted it to be. Try some out, both with your own amp and guitar, and with others. The magic combination is out there. Do you have a favorite BOSS distortion pedal? Did you find this article useful? Leave your comments below.

Related links and articles:

• Overdrive Vs. Distortion: What’s the Difference?
• Get Great Tone With BOSS Overdrive
• 10 Original BOSS Stompbox Design Elements
• The VG-99 Inspires

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?

BOSS OverDrive

There are two good ways to get tone from an overdrive. One is to use the overdrive in conjunction with your amp; that is, use the overdrive pedal to augment your amp’s inherent tone. Here’s how this works:

One of the things an overdrive can do is to hit your amp with a bit more level, without adding too much distortion. Sometimes all an amp needs to sing is more input gain than your guitar can put out. It’s like the difference between single coil and humbuckers; hums put out more level, so they tend to create more sustain and distortion from an amp. Stevie Ray Vaughan often used his overdrive pedal in this way. Not much additional distortion, just some additional gain to boost the level of his single coils. To do this, set the amount of overdrive fairly low on your pedal, but set the output volume a bit high. Set your amp for a mild amount of distortion. If your overdrive has a tone control, set it so it doesn’t alter your tone as it is before you turn the pedal on. This mode is also effective for boosting solos.

What’s the difference between Overdrive and Distortion? Find out!

How effective this is depends a lot on the amp. A good tube amp works in this way. Another way to use an overdrive is to set the amp for a clean sound with flat EQ, and let the overdrive’s inherent tone come through. In this case, try setting the overdrive for somewhat more drive (or crunch, or whatever your pedal calls the amount of distortion), and try to match to the output of the pedal so that your volume doesn’t change when you turn it on (unless you want it to, for soloing or just being louder). Remember, there are really no rules! If you like the sound, that’s all that matters. This method is less dependent on the tone of your amp, and players often use their pedals this way. The tone is based on their finger technique and the pedal’s characteristics; the amp is just making it louder.

Just concepts…

To wrap up: These are not rules. They are concepts. Regardless of this post’s title, “Get Great Tone With BOSS Overdrive” you can use these principles with any overdrive stompbox. The best way to incorporate them into your playing is to experiment. There are many pedals on the market, each with its own characteristic tone. One may be just the thing to make your tone what you’ve wanted it to be. Try some out, both with your own amp and guitar, and with others. The magic combination is out there.

Related links and articles:

• Overdrive Vs. Distortion: What’s the Difference?
• Get Great Tone With BOSS Distortion
• How to Chain Your Guitar Effects Pedals – Part 1
• BOSS Showcases at SXSW