Win Kern Brantley’s Custom GAIA SH-01

The custom synth you see here was constructed for Kern Brantley, a multi-talented music director who has spent years working with chart-topping icons. Kern’s tour schedule left no time to re-program some crucial Gaia SH-01 sounds into his Roland AX-Synth last year, and necessity bred invention, as the saying goes. His only option was to transform one of his Gaia SH-01 synths into a keytar. With the help of his keyboard tech and a stage hand, they used the handle of a paint roller to create a neck on one end, attached a guitar strap pin to the other end, and then painted it a “menacing” black color.

Kern Brantley’s custom GAIA SH-01

“The SH-01 was perfect for this since it runs on batteries and is lightweight, too,” Kern later commented on their handy work. Live audience members, band and crew were the only ones who had a chance to see Kern perform with this one-of-a-kind SH-01 Gaia keytar, which he played while standing in the window of a mock castle! And when he wasn’t getting medieval rocking SH-01 bass sounds from a castle, he was using the wind sounds that came with its stock patch set and some of its other “ambient sounding pads.”

About Kern Brantley…

When it comes to touring, the MD is more like the MVP because the music director is usually the sole person hiring the players, arranging the music, leading the rehearsals, and guiding the band from opening night to final curtain. From today’s touring crop, few leaders possess the grace-under-pressure skills of Kern Brantley, and for well over a decade, Kern has been laying down solid, deep-pocketed bass and serving as MD for a cavalcade of top stars.

Kern’s Project with Marvin Gaye…

Kern is presently working on the soundtrack of a documentary about Marvin Gaye called “Sexual Healing.” The film tells the story of Marvin Gaye’s time in Europe and how he was inspired to write that hit song there. In the meantime, don’t pass up this chance to win this one-of-a-kind SH-01.

Related links and articles:

• Making a Synth Bass Tone with a GAIA SH-01
• Roland Debuts Official Synth Tone Libraries – Axial
• Brocket Parsons: Vibing with the JP-80

Slash With a GR-55 Guitar Synth

A self-described film buff, Slash has had many small acting roles in both film and television. This has naturally progressed into a new side venture: the business of making movies, and horror movies in particular. His production company, Slasher Films, is currently finishing work on its first release titled Nothing to Fear, a horror thriller about a small-town family haunted by a bloodsucking demon.

Slash – Scoring with the GR-55 Guitar Synth…

Roland GR-55 Guitar Synth

Among his many projects, Slash has taken on the role of musical director for his fledgling movie production company, scoring much of the film music himself. To extend his capabilities on his primary instrument in this new realm, he’s turned to the Roland GR-55 Guitar Synthesizer to help generate and create the many sounds required to bring a movie production to life. “The GR-55 has been a great tool for me to use in a movie scoring capacity. There is an endless range of sounds/instruments I can transpose onto the guitar very effectively,” says Slash. “This is a way for me to record synth sounds without using a keyboard. I can also use the GR-55 to trigger soft synths in my computer via the USB output on the GR-55.”

Yes, Guitar Sounds are Still Included…

With over 900 synth sounds to choose from, including orchestral voices and sound effects such as screaming people and blowing wind, any guitarist/composer using a GR-55 can find the sounds they’re looking for. The GR-55 also features COSM® tube amp and humbucker-pickup guitar models, spot-on emulations of the classic sounds that Slash has built a career on.

Slash has shared some of his custom patches for the GR-55, and you can download and play them yourself. Grab ’em now at the GR-55 Artist Patches site! Other artist patches include Eric Johnson, Steve Stevens, Jeff Loomis, Gary Willis, and Robert Marcello. Play their patches or edit them even further.

GR-55 Technology…

For those of you that are not satisfied with 900 sounds, the GR-55 has MIDI IN and OUT for connection with other units (keyboard synths, sound modules). The GR-55 also features a USB port to trigger soft synths or to connect directly into a DAW for MIDI and audio recording. This unit truly offers endless possibilities, which is why film scoring is not just for keyboardists any more. Regular guitars and basses not outfitted with a 13-pin connector could be equipped with a divided pickup accessory for connectivity.

Related links and articles:

• The VG-99 Inspires
• Play an Entire Live Set with Just the GT-100!
• Herman Li of DragonForce

Roland Recording Class – STUDIO-CAPTURE

On June 11, at 3:00 p.m. PST Roland clinician and recording artist, Brandon Ryan, and Guitar Center invite you to sit in the Roland recording class. Portable recording solutions for singer-songwriters and live recording using the latest Roland gear are both on the agenda. Topics will include everything from monitoring and mixing, to connecting mics and instruments to the I/O, to production techniques that even novices can master using SONAR’s fast and fluid ProChannel.

Join this FREE Guitar Center Webinar

Portable Roland Recording…

For the portable recording portion of this webinar, singer-songwriter Sarah Vee will use the DUO-CAPTURE EX with an iPad running Garageband to record a song. See how the tablet feature turns her iPad into a professional recording device.

Live Roland Recording…

For the studio-recording portion, Brandon will demonstrate the power of the STUDIO-CAPTURE. He’ll demonstrate how to plug in a full band, with a full band, live in the studio, including keys, drums, guitar, bass, and singers for recording. In addition to capturing audio,  he’ll demonstrate how the STUDIO-CAPTURE handles headphone monitor mixes for individual players. With all of this gear plugged in, this is the perfect opportunity to find out just how good the AUTO-SENSE feature really is. If you’re a skeptic, here’s your chance to find out and ask questions.

Mixing…

SONAR X2 will then be used to bring this band’s freshly recorded music to life during the mixing session. In addition to showing how SONAR X2 can handle recording 15 tracks at the same time, a quick overview of this powerful DAW will be provided. The mixing section of the webinar is also a great opportunity to learn the extent of SONAR X2′s touch-screen feature. You’ll be able to get a sense for the nostalgic, yet futuristic feeling of interacting with a mixing board on a flat screen surface.

About the Band…

SouLiance describes their band as rock and soul with a funk edge. This young four-piece band is made up of three gals and a guy. If you’re wondering about their musical chops, they’ve got them. They are all highly trained musicians that have attended reputable schools such as Berklee, Musicians Institute and the LA Music Academy. Not only are they highly trained, but they also come from musical families. (Bassist Sarah Acosta’s father is Grammy award-winning guitarist Al Petteway.)

Members:

• Sarah Vee: Lead Vocals / Guitar
• Sarah Acosta: Background Vocals / Bass Guitar
• Caitlin Moss: Drums / Percussion
• Joe Quattrocchi: Piano / Clavi

With so much talent and powerful gear, what will stand out the most? Could the gear carry the band or the band carry the gear? You can make the call when you join us.

Related links and articles:

• 5 Tips for Choosing an Audio Interface
• See What’s New in SONAR X2 Producer
• VS PREAMPS Truly Capture Your Performance

SuperNATURAL Technology Logo

Author: Roland UK Features Team

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

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

Before SuperNATURAL Technology…

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

JUPITER-50 Synthesizer With SuperNATURAL Technology

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

FP-80 Digital Piano With SuperNATURAL Technology

A SuperNATURAL Era…

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

INTEGRA-7 With SuperNATURAL Technology

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

TD-30KV Electronic Drums With SuperNATURAL Technology

Transparent Technology…

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

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

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

Related links and articles:

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

Axial - Roland Synthesizer Sound Libraries

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

What is Axial?

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

About the Tones Featured on Axial…

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

Which Instruments Can I Use Axial With?

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

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

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

Additional links and articles:

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

V-Drums kit for lefties

Author: Roland UK Features Team

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

Wich V-Drums kit is right for you?

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

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

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

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

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

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

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

MDS-25 (TD-30KV and previous TD-20KX)

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

V-Drums Kit for Lefties MDS-25

V-Drums Kit for Lefties TD-20SX

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

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

Start with the stand unfolded as shown.

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

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

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

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

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

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

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

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

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

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

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

Related links and articles:

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

Weird Al Yankovic

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

Weird Al’s Take on Mics…

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

“V” For Versatility…

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

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

Behold the FR-8X V-Accordion…

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

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

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

Related links and articles:

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

Thomas Lang using V-Drums with SuperNATURAL Technology

Author: Roland UK Features Team

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

6 reasons for choosing electronic drums

The V-Drums Lineup

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

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

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

SuperNATURAL Technology Explained…

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

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

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

What are drum triggers? Find out here!

What is Behavior Modeling?

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

Okay, So How Does SuperNATURAL Technology Work?

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

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

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

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

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

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

Related links and articles:

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

V-Combo VR-09

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

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

Synth Section

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

Splits and Layers

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

Piano Editing

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

Organ Section

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

Drums and Audio Looper

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

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

Related links and articles:

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

Author: Roland UK Features Team

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

Hardware with Amp Modeling technology: The VG-99 Inspires

What Does Amp Modeling Actually Do?

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

VG-8 V-Guitar System

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

The potential Behind Amp Modeling…

Tube Amp

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

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

Emulating an Amplifier’s Characteristics…

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

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

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

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

Related links and articles:

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

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