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-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

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

Roland BK-9 Backing Keyboard

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

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

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

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

Related links and articles:

• Roland Connect Main Page
• New Products: FP-80 and FP-50 Digital Pianos
• New Products: FR-8X and FR-8XB V-Accordions

Author: Oz Owen

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

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

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

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

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

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

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

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

Video published by: alexfox101

Step ‘n’ Slide…

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

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

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

Getting “That” Sound…

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

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

Originally published in POWERON – Download it for Free

Related links and articles:

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

American Idol season 12 is underway with a new slate of contestants vying to reach the top spot and international stardom. Led by music director Ray Chew, the American Idol house band backs up every performer on live television, covering an enormous range of musical styles to perfection throughout the year. Working without a net before TV audiences of 20 million and beyond is a pressure-packed gig, for sure. To help get their jobs done, keyboardist Russell Graham and drummer Rex Hardy Jr. rely on Roland instruments to instantly deliver the top-level sounds and versatility they need every time, without fail.

In his duties as second keyboardist on American Idol, Russell Graham uses two JUPITER-80 synthesizers, plus a VP-770 Vocal & Ensemble Keyboard for vocoder sounds. “Over the course of the past year I’ve come to lean very heavily on the JUPITERs, not only for their sound quality and sonic richness, but also for the speed of programming,” he says. “I find the touchscreen navigation to be extremely intuitive and well thought out. I can do simple tweaks quickly, or I can go a few levels deeper and really get ‘under the hood’ of the sound.”

The impressive sounds that Russell achieves with his Roland rig are regularly noticed at rehearsals and on the set. “Without fail, every time we begin the rehearsal process for a TV show or live artist performance, someone asks me what these keyboards are and how I’m getting the sounds I’m getting,” he relates. Russell appreciates the great versatility of his Roland keyboards, and also their ability to achieve unique sounds. “As general-usage keyboards, the JUPITERs and the VP hold their own against anything else out there,” he says. “But aside from that, I’d say it’s about once a week that I do something keyboard-wise that simply wouldn’t have been possible with any other keyboard currently available.”

Drummer Rex Hardy Jr. employs the flagship TD-30KV V-Pro Series V-Drums set while working on American Idol. In addition to its great feel, he loves the ability to have quick and easy access to an incredible variety of drum and percussion sounds. “Using the Roland TD-30 gave me more versatility with sounds,” he says. “Considering we play so many different styles of music on American Idol, the TD-30 allows me to explore all types of sounds and feels that make each song sound authentic.”

Rex has expanded his TD-30KV with an additional PD-108-BC V-Pad for a side snare, plus a PDX-8 V-Pad for even more triggering options. “I have three to four main kits that I’ve set up to fit what we normally do on American Idol,” he says. “There are a few times where I may have to set up an ‘80s rock kit or an electronic disco kit, depending on the songs week to week. Being able to have options is amazing! When the kit is going through the house mains, it sounds killer.” Rex also plays an SPD-SX Sampling Pad, which he loads up with custom drum loops and auxiliary sounds that he triggers for song intros and other applications.

With his success using V-Drums, Rex readily encourages drummers to discover their many benefits. “Other pro players should definitely get into the TD-30 because it’s limitless,” he relates. “There is nothing you can’t do with this kit. I even implement it within my acoustic setups as well. The sounds are amazing, and you can tweak them to what you feel works. My advice is to try it and see what you think—you’ll love it.”

Russell is equally enthusiastic in recommending Roland gear to other keyboardists. “Playability, sound quality, versatility, reliability. They sound great, they play great,” he says. “Especially in TV situations, where deadlines are tight and everything is moving fast, they can be programmed and edited very, very quickly.”

Related links and articles:

• Russell Graham Interview on Roland Users Group
• Russell Graham Talks About His Roland Rig at the BET Awards
• Learn to Play Electronic Drums

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

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

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Related links and articles:

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

Download a PDF version of the Roland Synthesizer Chronicle, 1973 through 2010.

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2013: V-Combo VR-09

This synth is travel-ready, affordable, and outfitted with top-level Roland sounds, the V-Combo VR-09 is the ideal all-in-one solution for performing keyboard players. Dedicated piano, organ, and synth sound engines—organized in three intuitive blocks on the front panel—provide all the essential tones you need, right under your fingertips.

2012: INTEGRA-7

The powerhouse rack comprises a “greatest hits” collection of sounds from Roland’s flagship keyboards and V-Drums modules, plus a coveted lineup from the legacy SRX library. It also introduces a new technology called Motional Surround, a 17-part ambience engine that lets you graphically control the distance and position of each part within 360-degree sound field.

2012: JUPITER-50

By combining the supreme expression of the JUPITER-80 with the travel friendliness of the JUNO series, the new JUPITER-50 brings SuperNATURAL® sound and pro performance to every stage and studio.

JUPITER Synth Legends Vol. 1

The emulations in JUPITER Synth Legends provide you with a large selection of authentic vintage sounds to use alongside the advanced acoustic and synth capabilities already in the JUPITER-80/-50. Featured synths include:

1. JUPITER-8
2. SH-101
3. TB-303
4. JUNO-60
5. JUPITER-6
6. JUNO-106
7. D-50

2012: JUPITER-80

A live-performance powerhouse that pays homage to its legendary namesake with road-proven hardware and massive sound, yet blasts into the future with advanced SuperNATURAL® technology.

2010: JUNO-Gi

What propels this power-synth into another realm, however, is its supercharged feature set with over 1,300 fresh sounds, an onboard eight-track digital recorder, and pro effects created by BOSS. Write, record, mix, master, and perform anywhere with the new JUNO-Gi.

2010:  GAIA SH-01

Affordable yet powerful, the GAIA SH-01 is a high-performance value with old-school charm. The triple-stacked engine provides massive virtual-analog synthesis under the control of hands-on knobs, sliders, and buttons.

2010: Lucina AX-09

This 37-key ultra-light synth is designed to fit all musicians — even kids. It’s loaded with 150 excellent sounds, all easily selectable with the onboard category buttons, and features a USB Audio Player function for jam-along fun.

2010: V-Combo VR-700

With a legendary Virtual Tone Wheel organ and dedicated harmonic bars onboard, plus banks of essential ensemble sounds, the V-Combo melds an entire rig into one convenient instrument for easy transport and fast setup.

2009: JUNO-Di

A traveling musician’s dream, the JUNO-Di is lightweight, can run on batteries, and is easy to use. It’s packed with 1,000+ great sounds, has a friendly control panel for easy editing, and a Song Player for larger-than-life performances.

2009: AX-Synth

The battery-powered AX-Synth is an eye-catching 49-key remote keyboard with a high-quality sound generator onboard. It’s self-contained and equipped with powerful, solo-oriented sounds from Roland’s latest generation of synths.

2008: Fantom-G8

The Fantom-G8 is outfitted with Roland’s top-of-the-line PHA II “Ivory Feel” keyboard. This amazing keyboard technology reproduces the real surface feel of ivory acoustic piano keys providing a familiar stability and comfort to the pianist.

2008: Fantom-G7

The Fantom-G series redefines the boundaries of playability and creativity with its advanced sound engine, revolutionary ARX SuperNATURAL expansion bay, large-sized color LCD, powerful 152-track audio/MIDI sequencer, and more.

2008: Fantom-G6

The Fantom-G6 is a dream instrument that redefines the boundaries of playability and creativity with its advanced sound engine, revolutionary ARX SuperNATURAL™ expansion bay, large-sized color LCD, powerful new audio/MIDI sequencer and more.

2008: JUNO-STAGE

Decked out with an extra-large display, USB backing-track functionality, a Click output for drummers, performance knobs, hands-free patch select, master MIDI control, and more, the 76-key JUNO-STAGE offers onstage power at a great price.

2007: SonicCell

With its dual SRX expansion bay, built-in USB audio interface, and ability to play SMFs and WAV/AIFF/MP3 files, SonicCell puts the power and legendary sound quality of a Roland hardware synthesizer on the desktop.

2007: V-Synth GT

Onboard dual-core engine supercharges Elastic Audio Synthesis with revolutionary Articulative Phrase Synthesis, which models the performance behavior and nuance of acoustic music instruments, plus Vocal Designer.

2006: JUNO-G

For songwriters and performers, the JUNO-G synth offers a 16-part MIDI sequencer with four companion stereo audio tracks, plus a powerful Fantom-X-quality sound engine, 128-voice polyphony, and SRX expansion.

2006: V-SYNTH XT

Named the “Synthesizer of the Year” at the 2004 MIPA Awards, Roland’s groundbreaking V-Synth now has a travel-friendly offspring. The XT is a portable new V-Synth with some spectacular tricks up its sleeves — and with enough synthesis and audio-processing power to make heads spin.

2006: SH-201

This 49-key analog-modeling synthesizer provides the famous Roland Super SAW waveform. It also has an External Input for manipulating audio, a D Beam, and plentiful knobs and switches for realtime control.

2004: Fantom-Xa

For musicians who craved Fantom power, but wanted a more cost-effective way to Fantomize their rig, the Fantom-Xa was the answer — a multifaceted sampling workstation with a 16-track sequencer and affordable price tag.

2004: Fantom-XR

The stunning sound of a Fantom-X workstation in a 1U rack module, the Fantom-XR provides room for over 1GB of sounds when fully expanded with six SRX cards and DIMMs for user sampling.

2004: JUNO-D

Budget priced yet big on features, the Juno-D offered 640 of new patches, a world-class array of expressive multi-effects, realtime performance controllers, and tools for groove creation and composition.

2004: Fantom-X7

The Fantom-X Series were the first “Giga-Workstations,” providing nearly 1GB of wave memory when fully expanded with four SRX cards. They also offered 128-voice polyphony, eight stereo audio tracks, and a large color LCD.

2003: VariOS / VariOS-8 / VariOS 303

Thanks to its open-ended hardware/software system, VariOS could emulate Roland’s most popular synths. VariOS 8 emulated Roland’s vintage Juno and Jupiter, and VariOS 303 emulated the classic TB-303, without draining the host computer’s CPU.

2003: RS-50

A scaled-down version of the RS-70, this live-performance synthesizer provided great Roland sounds and performance-friendly features including Phrase/Arpeggio Generator and Multi Chord Memory to the entry-level market.

2003: RS-70

With a fresh collection of quality sounds, a Loop Sequencer, and friendly Direct Access buttons for instantly selecting patches, the RS-70 introduced a new level of performance power for live or song production at an attractive price.

2003: Fantom-S

This 61-note workstation keyboard offered seamless integration of audio and MIDI with advanced sampling features such as realtime time-stretching and Skip Back Sampling, plus a Dynamic Pad Bank, mastering effects, and USB file exchange.

2003: V-Synth

The V-Synth integrated Variphrase technology, allowing realtime control of waveform pitch, time, and formant for organic and animated sounds. It also offered analog-modeling synthesis, COSM filtering, and the unique TimeTrip Pad.

2002: XV-2020

The XV-2020 synthesizer module put Roland’s acclaimed XV sounds in a half-rack unit with USB and GM2 compatibility. It offered two SRX expansion boards, 16 multitimbral parts, and three effects processors.

2001: SH-32

After 20 years in retirement, the “SH” prefix was revived. This ambitious product integrates the traditional panel interface to evoke images of the first SH-series, plus programmable arpeggiator and many other new features.

2001: XV-5050

This 64-voice, 16-part sound module fits the high sound quality of the XV-5080 into a 1U-rack size. Editing software is also included that allows all parameters to be controlled via computer.

2001: Fantom

A new breed of workstation with a large graphical LCD and centralized control of its numerous functions. This 76-key workstation featured professional XV-5080 quality sounds and a wide range of realtime performance functions.

2000: XV-5080

The top-of-the-line XV module, it had the highest-performance sound generator of its time, as well as a smorgasbord of attractive features, including Matrix Control and sample playback via SIMM.

2000: XV-3080

This 2U-rack synthesizer module had the same sound generator as the XV-88. It could hold up to two SRX-series and four SR-JV80-series sound expansion boards.

2000: XV-88

The XV-88 was the full-sized keyboard model of the XV series. This 128-voice synthesizer was equipped with an 88-key, hammer-action keyboard. It could hold up to four expansion cards (two SRX series and two SR-JV80 series).

2000: RS-5

While reasonably priced, this synthesizer contained the same high-quality sounds as the JV/XP/XV series. It was also easy to operate, with knob controls for LFO, filter, and other parameters.

1999: JV-1010

This compact half-rack module inherited the rich preset sounds of the JV-1080 and 2080. Able to hold one SR-JV80-Series expansion board, it could handle up to 1,151 patches.

1999: XP-30

The last model in the XP-Series. Although the sequencer was removed in order to lower the price, it boasted a full lineup of features, including 1,406 patches and an arpeggio function.

1998: JP-8080

This rack version of the JP-8000 sound generator upped the power even more. Built-in Unison and Voice Modulator, an increase in polyphony from 8 to 10, and external audio input were some of the features that distinguished this module.

1998: JX-305

The playability of a keyboard was added to the functionality of the MC-505 Groovebox, which was a hit product at the time. The main appeal of the model was easy operation with inspiring realtime operation.

1998: XP-60

This model compressed the features of the XP-80 into a compact 61-key body. All operations conformed to the XP-80. New expansion boards went on sale at the same time, increasing the appeal of this instrument even further.

1997: JV-2080

This sound module became so popular, it was considered a world standard. With features such as 640 patches and 16 multitimbral parts, it represented the pinnacle in sample-playback synthesis at the time.

1996: JP-8000

This 8-voice synthesizer offered an impressive array of knobs and sliders to manipulate its analog modeling synthesis engine. It had a built-in Motion Control function that allowed operations on the panel to be recorded and played back.

1996: XP-80

The top model in the XP series, this synthesizer was based on the XP-50 with many refinements added on, plus 76 keys with weighted action. The sequencer memory could hold about 60,000 notes, three times that of the XP-50.

1995: XP-10

This XP-series model was aimed at the more affordable price range. Equipped with 16-part multitimbral GM/GS sound generator, it also incorporated a newly developed arpeggiator with 30 different styles, a Combination Palette, and more.

1995: XP-50

This workstation featured the sound generator of the JV-1080, and a sequencer with loop recording and quick play. It also featured Realtime Phrase Sequence (RPS).

1994: JV-1080

This synthesizer module featured 64 voices and 16-part multitimbral specs. Nicknamed the Super JV, the module could carry four wave expansion boards simultaneously, enabling up to 1,741 patches that spanned a wide range of music genres.

1993: JD-990

This sound-generator module achieved the operability of the JD-800 via a large-screen display. In addition to enabling ring modulation and oscillator sync, it was equipped with an FXM function and eight multi-effects processors.

1993: W-50

Intended for Professional Use / Church Environment (Complete library of rich Organ sounds,etc). This keyboard was a collaboration with Rodgers Organ (a Roland subsidiary).

1993: JV-50

This model featured the same functions as the JV-35, with a built-in SMF player. As with the JV-35/90, it was based on the JV-series concept of expandability, capable of up to 56 voices.

1993: JV-90

The JV-1000 synthesizer with the sequencer removed, the JV-90 was based on the concept of expandability. Expansion boards could be used to expand the number of voices and sounds as needed.

1993: JV-35

This model offered superb cost performance. While low priced, it allowed expansion boards to be installed, adding extra sounds and voices The separately sold VE-JV-1 provided the synth-engine equivalent of the JV-1000.

1993: JV-1000

This workstation featured a refined version of the JV-80 sound generator, with a built-in MC-50MKII sequencer engine. Expansion boards made this workstation expandable up to 993 patches, and 56 voices.

1992: JW-50

This workstation had an onboard GS sound generator with a built-in 16-track sequencer. In addition to a backing function as a composition-support tool, the JW-50’s ease of editing tones made for an appealing instrument.

1992: JV-880

This PCM sound module, with the high-quality sound and functionality of the JV-80, was made to fit into a compact 1U rack-size. In addition to four main and sub outputs, the module has a Preview function that allowed users to check tones without using any other equipment.

1992: JV-30

The lower model of the JV-80, this 16-part multitimbral synthesizer captivated users with its 189 high-quality, built-in PCM tones and ease of operation. Editing filter, envelope generator, and vibrato was possible.

1992: JV-80

With eight paramaters sliders, this PCM synthesizer could be operated with an analog feel. This was the first synth compatible with the best-selling SR-JV80-Series expansion board.

1991: JX-1

While low priced, this playback keyboard had the ultimate selection of preset sounds, from acoustic instruments to analog synthesizers. It also had an edit function with eight parameters.

1991: JD-800

This digital synth employed a large number of sliders on the panel to allow real-time control of all parameters with an analog feel. Each Patch could consist of up to four Tones for creating fat sounds.

1990: D-70

This synthesizer used Advanced LA synthesis, which is an evolved form of LA synthesis. It had a built-in DLM function that could generate a variety of wave data for synthesizing. This innovation created an infinite range of sound creation possibilities.

1989: U-220

Employing the RS-PCM sound generator system, this upper model of the U-110 aimed at even higher sound quality. Preset tones were increased from 99 in the U-110 to 128 in U-220, and an onboard effects processor provides built-in chorus and reverb.

1989: D-5

The greatest feature of the D series was an onboard LA sound generator. With a chase function and arpeggiator at a price of ¥99,800 in Japan (roughly $725), this synthesizer offered outstanding cost performance.

1989: U-20

This keyboard used the RS-PCM sound generator, which retained compatibility with the U-110′s tone data. It was distinguished by a unique system of operation, with sound patches that managed tone data, and keyboard patches that managed MIDI data.

1988: U-110

A simple-playback sound module with a DC-PCM sound generator. In addition to a wide range of built-in musical instrument tones, it could hold up to four memory cards at once. By combining these, users could create custom sounds.

1988: D-20

This model contained the same basic features of the D-10 but added a sequencer capable of 9-track multi-recording and a 3.5-inch floppy drive. The sequencer supported real time recording method.

1988: D-110

A stand-alone version of the D-10 sound generator, this sound module fit in a 1U rack. In addition to its main stereo output, it also had six individual outputs.

1988: D-10

Although this digital synthesizer was reasonably priced, it borrowed the D-50’s LA sound generator, and also had multitimbral capability and rhythm machine functions. It had seven types of digital reverb, and the first built-in ROM player.

1987: D-550

This rack-mounted version of the D-50 synth also had an LA sound generator. Creating sounds was made simply by using a PG-1000 external controller that enabled manipulation of edit parameters in real time.

1987: D-50

Equipped with the Linear Arithmetic (LA) synthesis, this was Roland’s first digital synthesizer. It also had a digital filter/effects processor. One of Roland’s best-selling models, this synthesizer also excelled at analog-style sound.

1986: MKS-50

This rack-mounted model of the α JUNO series made it possible to add portamento, detune, and other parameters to patches. It was equipped with chord memory, and could also use the PG-300.

1986: MKS-70

A rack version of the JX-10, this model could also use the same PG-800 sound programmer as the JX-10. Equipped with three different effects — portamento, delay, and chorus — it also had a memory cartridge slot.

1986: JX-10

This 76-key, DCO-type analog synthesizer incorporated 2 JX-8P sound generators. With 12-voice polyphony, this synth was nicknamed the Super JX. The PG-800 sound programmer could be used with it.

1985: α JUNO-2

A step up from the α JUNO-1, the α JUNO-2 had 61 keys. The JUNO series was always popular for its string and bass sounds, and still is to this day. The PG-300 programmer, common to the α JUNO-1 and -2, was also available.

1985: α JUNO-1

Pronounced “alpha JUNO-1″, this was a low-cost model in the JUNO series. It had 49 keys, and a specially designed sound-generator IC. Although it had 6-voice polyphony and 128 sound memory, it was below ¥100,000 in Japan (roughly $420) – quite an appealing combination.

1985: JUNO-106S

This JUNO was equipped with stereo speakers; other than that, the specs were completely identical to the JUNO-106. As a common feature in this time — internal sound memory could be backed up to a cassette tape.

1985: MKS-7

The MKS7 was a single unit that offered four sections with independent outputs: a duophonic lead synth, a monophonic bass synth, and a four-voice polyphonic synth (hence the name… 2+1+4 = MKS7) plus a drum machine with 11 PCM sounds drawn from the TR707.

1984: JX-8P

An upgraded version of the JX-3P, the JX-8P analog synthesizer featured 6-voice polyphony and two DCOs per voice. A separately sold PG-800 sound programmer was also available.

1984: MKS-80

2U-rack size, 8-voice polyphonic version of the Jupiter-6. Nicknamed the Super Jupiter, it stood out for its ability to play a wide range of sounds, from musical instruments to special effects. The MPG-80 sound programmer was also available as an option.

1984: MKS-30

A 2U-rack vesion of the JX-3P. Although the JX-3P’s MIDI receive channel was fixed to ch. 1, the MKS-30 has programmable channels. The PG-200 sound programmer for the JX-3P could also be with this model.

1984: JUNO-106

This 1DCO per voice, 6-voice polyphonic analog synthesizer was the successor of the Juno-60. Equipped with 128-sound memory and MIDI, it would become a favorite of dance and techno artists.

1983: JX-3P

This MIDI-capable, 2DCO per voice, 6-voice polyphonic analog synthesizer was released at the same time as the Jupiter-6. A PG-200 sound programmer (could be placed on the upper right on the panel) was also available.

1983: JUPITER-6

Scaling down the Jupiter-8 to 6-voice polyphony, coupled with creative tweaking by Roland’s engineers, allowed the Jupiter-6 to hit the market at half the price of the Jupiter-8. It also made news with its highly stable oscillator and MIDI terminal.

1982: JUNO-60

A Juno-6 with newly added memory functions for 56 sounds. Roland’s proprietary DCB interface standard was used for exchanging control information with external devices.

1982: SH-101

A 1VCO analog mono synth available in three color variations; modulation grip was also an option. The synth could run on batteries, allowing it to be slung on a shoulder strap and worn like a guitar.

1982: JUNO-6

This 6-voice polyphonic analog synthesizer used a DCO per voice to generate sound. Built-in chorus effects increased the range of sounds that could be produced. This synth also had a key transpose feature.

1981: JUPITER-8

A deluxe 8-voice polyphonic analog synthesizer with 64-sound memory. Its smorgasbord of features, including key split, patch preset, and auto arpeggio, earned this synth global praise and legendary status.

1979: PROMARS

This is the monophonic version of the Jupiter-4 with 2 VCOs. As with the Jupiter-4, it had eight user sound memories and 10 preset sounds.

1979: JUPITER-4

Roland’s first polyphonic analog synthesizer (4 voices). The 4VCO sound in unison mode is superb, and it also has built-in user sound memory function. The synth carried a price tag of ¥385,000 in Japan at the time (roughly $1750).

1979: SH-2

The meaty sound of 2VCO + 1 sub-oscillator made this analog synthesizer quite popular. As with the SH-09, a price of under ¥100,000 in Japan (roughly $450) propelled this synth’s popularity. It’s a coveted classic.

1978: SYSTEM-100M

A version of the System-700 aimed more at the general consumer. This compact modular synthesizer was made up of various modules and a rack with built-in power supply (a 32-key and 49-key keyboard was available).

1978: PARAPHONIC RS-505 

This analog synthesizer features three tone sections: a strings section, a polysynth section and a bass section. The keyboard has 49 keys and is split down the middle with different sounds on the left and right sides.

1978: SH-09

A number of cost-cutting measures were applied to the SH-1. The result was this 1VCO analog synthesizer, the first to sell for below ¥100,000 in Japan (roughly $450). This synth played a major role in popularizing synthesizers in Japan.

1978: SH-7

This 2VCO analog synthesizer was released as the successor to the SH-5. The case was made somewhat smaller, and it could play two voices, taking advantage of the two VCOs.

1978: SH-1

A 1VCO analog synthesizer with a basic circuit design derived from Roland’s System-700. In addition to being the first synth to incorporate a sub-oscillator, it was also the first to use a molded plastic case.

1976: SYSTEM-700

The first — and only — modular synth to be made in Japan. It included 9VCO, 4VCF, 5VCA, 4ENV, 3LFO, mixer, analog sequencer, effects processors, and more. The full system was priced at ¥2,650,000 in Japan (roughly $9,000).

1976: SYSTEM-100

This system consisted of a small 2VCO synthesizer, expander, mixer, analog sequencer, and a pair of speakers (photo showed the basic model 101 synth). It was possible to purchase each unit separately.

1975: SH-5

Roland’s first 2VCO analog synthesizer. The huge one-piece case blew away keyboardists at the time. This synth was also the first to have pitch bender levers.

1974: SH-2000

This preset-only analog synthesizer (1VCO) is equipped with aftertouch. Although Roland analog keyboard synthesizers have 1V/1oct VCOs, this one uses Hz/V.

1974: SH-3

1VCO analog synthesizer making full use of control functions. There are two types — the SH-3 and SH-3A (photo) — which differ slightly in terms of appearance and internal construction. Additive synthesis oscillation creates a distinctive meaty sound.

1973: SH-1000

This 1VCO analog synthesizer’s claim to fame is being the first mass-production synthesizer made in Japan. It had a selection of preset tones to choose from, and control functions to give the user freedom when producing sounds. It carried a price tag of ¥165,000 in Japan (roughly $600).

In this edition of Synth Basics with Ed, Ed describes how to program a lead on the GAIA SH-01. This knowledge could be applied to any synthesizer regardless of make or model by using basic synth components and effects.

Related links and articles:

• Synth Basics with Ed: Programming Strings
• Back to Basics with Ed Diaz
• Synth Basics with Ed: How to Make a Synth Bass

The V-COMBO VR-09 live performance keyboard debuted last week at Winter NAMM 2013 with great enthusiasm across social networks. Many questions were brought to the attention of Ed Diaz (our resident synth ninja), which he will address in the following weeks. In the meantime please check out this coverage of the VR-09 by Keyboard Magazine. Please note, these video recordings were taken from a live trade show environment.

Keyboard Magazine demos the new Roland VR-09 at NAMM 2013

Published by Keyboardmag1

“Roland’s new VR-09 V-Combo stacks up SuperNatural drawbar organ and rotary modeling, synth, piano and more in an “ensemble” keyboard intended to get you through the gig with little or no other gear. Weighs in at 12 pounds and has a $999 street price.” -Keyboardmag1

Additional Keyboard Magazine coverage of the VR-09 at NAMM 2013: Roland Introduces V-Combo VR-09 Mobile Keyboard

New Keyboards at Roland Press Conference [NAMM 2013]

Published by MusicPlayerNetwork

Additional Keyboard Magazine coverage of the VR-09 at NAMM 2013: Roland Introduces V-Combo VR-09 Mobile Keyboard

Related links and articles:

• New Product: V-Combo VR-09 All-in-One Stage Keyboard
• Classic Roland Synths
• MIDI: The Essential Standard Turns 30

The V-Combo VR-09 is an easy-to-transport rig for performing keyboard players, with dedicated piano, organ, and synth engines. It’s built around a single idea: playing live. Because you don’t need any distractions onstage, the V-Combo VR-09 is all about getting the exact sounds you need as quickly and simply as possible, with a well-organized panel layout and a ton of intuitive real-time controls. It also features USB song playback, onboard rhythms, battery-powered operation for mobile playing, and much more.

Check out the V-Combo VR-09 at RolandConnect.com.

Related links and articles:

• New Product: Add Triggering to Any Drum Set with the BT-1 Bar Trigger Pad
• 18 Exciting New Products For Winter NAMM
• New Product: STUDIO-CAPTURE 16×10 Audio Interface with 12 Mic Preamps

Roland’s all-new CUBE Lite series introduces a fresh concept in amplification. The CUBE Lite Guitar Amplifier (for guitarists) and CUBE Lite MONITOR (for keyboard/synth players and vocalists) are compact, home-based amps with stylish looks and built-in iOS audio interfaces, making it easy to integrate with music apps on your favorite Apple mobile devices. Featuring awesome 2.1 Channel sound, the CUBE Lite series works equally well for playing instruments and enjoying your digital music library in the comfort of your living space.

CUBE JAM, a free companion app, turns your iPhone, iPad, or iPod touch into a fun command center for jamming, recording, and learning. Play songs and backing tracks from your iTunes library through the i-CUBE LINK interface in the CUBE Lite, then jam and sing along with the music with great sound and effects. You can even record your performances in CUBE JAM and share your mixes on the web! The app also has cool features for music practice, including Center Cancel, tempo/key adjustment, and more.

Learn all about the CUBE Lite amps and CUBE JAM at RolandConnect.com.

Related links and articles:

• New Product: Add Triggering to Any Drum Set with the BT-1 Bar Trigger Pad
• 18 Exciting New Products For Winter NAMM
• New Product: STUDIO-CAPTURE 16×10 Audio Interface with 12 Mic Preamps

Roland’s new JUPITER-50 was unveiled at the Frankfurt Musikmesse last year, and though it sits at the cutting-edge of new technology, it’s a synth that sits firmly in line with Roland’s synth philosophy and history.

The JUPITER-50 is a streamlined version of the flagship JUPITER-80, and both instruments fit neatly into Roland’s 40-year story of pioneering synthesizer development. As the JUPITER name suggests, these new synths are related to one of the most iconic synth lines ever created – the genre-defining JUPITER-8.

Using the most innovative analog technologies of the time, the JUPITER-8 was released in 1981 and provided musicians with a rich palette of synth textures. Its reliability and ease of use on stage made it a go-to instrument for the electro crowd of the time. Its built-in arpeggiator and deep sonic potential satisfied the synth elite and awed countless Duran Duran fans.

The original desire for the JUPITER-8 was also to provide acoustic sounds, but the limited technology of the day meant that this goal remained out of reach.

This is where the JUPITER-80 and new JUPITER-50 come in. Building on Roland’s original philosophy, they both deliver unparalleled expressiveness and sound creation capabilities. Packing Roland’s SuperNATURAL technology, both models are equipped with the detail and nuance to reproduce acoustic sounds to near perfection as well as the most powerful synthesizer sounds in Roland’s history.

But to understand the future you need to look to the past. From its very first synth back in 1971, Roland has strived to deliver the best sounds and this musician-focussed philosophy has produced generations of classic synths and even inspired entire genres of music. Here are some of the best:

SH-1000 (1972)
Roland’s first synth was Japan’s first synth. The SH-1000 was strikingly different from contemporary modular Moog and ARP synths. Although it lacked the duophony, pressure sensitivity and the performance control of its rivals, it more than made up for it in sheer sonic character and personality.

System-100 (1976)
This beautiful semi-modular monophonic synth comprised five modular components, all built around the central Synthesizer 101 module – a self-contained mono-synth with tons of sliders and raw power. Looking more like a telephone exchange than a synth, the System-100 is an ultra-rare and much-coveted beast.

Photo linked via Vintage Synth Explorer: www.vintagesynth.com/roland/sys100.php

JUPITER-4 (1978)
The JUPITER-4 was Roland’s first true polysynth and showed how Roland wasn’t worried about following the competition. The JUPITER-4 had just a single Voltage Controlled Oscillator (VCO) per voice, and it only had 10 presets. However, the trademark chorus and arpeggiator knocked spots off its rivals and acclaim quickly followed.

Photo linked via Retro Sound: http://www.retrosound.de/

JUPITER-8 (1981)
Unlike anything else, the JUPITER-8 had a split keyboard, oscillator sync, cross modulation and polyphonic portamento. Its broad sonic range meant the electro pop community quickly adopted it as their synth of choice, and it appeared on the roster of stadium-filling artists such as Duran Duran, Heaven 17 and Erasure. Its big, room-filling sounds defined the pop-music of a generation.

JUNO-6 (1982)
The Juno-6 was the first Roland synth to use Digitally Controlled Oscillators (DCOs). Traditional VCOs were prone to detuning at high temperatures, leaving musicians bereft onstage – but the new DCOs were completely reliable.

The SH-101 (1982)
Proving that Roland was as stylish as it was advanced, the SH-101 ran on batteries and you could wear it! In a decade dominated by outlandish fashion, the SH-101 was designed for posing on stage. Bizarre hairstyle and makeup optional – and that was just for the guys.

MIDI (1983)
The next innovation to come from the Roland camp was more substantial than a single synth. MIDI was the fruit of collaboration with Sequential Circuits, Yamaha and Korg. These manufacturers invented a uniform connectivity that would enable users to link synths made by any manufacturer.

JX-3P (1984)
Roland’s first polysynth to feature a sequencer, the JX-3P was named after the three Ps: Programmability, Polyphony and Presets. It was followed by the JX-10 (1986), which was by far the most programmable synth of the time.

JUNO-106 (1984)
The third of the Juno range, this six-voice subtractive analog synth cost £799 when launched, and even had a fairly comprehensive MIDI implementation (for the time anyway, and especially for an analog synth). Produced for four years, the JUNO-106 is still used today, and counts Moby, Chemical Brothers, Sigur Ros and Black Eyed Peas among its many users. Current JUNO models include the JUNO-D, JUNO-Di, JUNO-G, JUNO-Gi, and the JUNO-STAGE.

D-50 (1987)
You couldn’t turn the radio on in the late eighties without hearing the influence of the Roland D-50. Combining sample playback with digital synthesis (called Linear Arithmetic Synthesis), the D-50 was the forerunner of hybrid technology later found in the V-Synth and very much became the prototype for synth development for years to come.

JD-800 (1991)
The JD-800 combined digital precision with the look and feel of a top-of-the-range analog synth. Teeming with knobs and sliders, musicians could once again enjoy the tactile thrill of creating new sounds, but with the confidence and control of digital synthesis. The JD-800 was a dream for those who liked to get their hands dirty and was marketed as a return to the roots of synthesis and could be expanded via 8 PCM cards covering various genres. Users include Ken Ishii, Laurent Garnier, William Orbit, New Order and Pet Shop Boys.

XP series workstation (1995)
The XP-series were powerhouse keyboards capable of recreating hundreds of voices. With patches galore, they offered intricate sound creation. Six years later Roland would evolve the workstation range further still with the Fantom series. Essentially a mobile sample-based studio, the Fantom enables musicians to build and layer their own tracks on the fly.

JP-8000 (1997)
Opening the floodgates for a plethora of supersaw-inspired trance records, the JP-8000 aimed to recreate the sonic warmth and tonality of the fabled JUPITER-8 while adding new features for the production scene of the late nineties. With the ability to deliver haymaking lead lines or soothe the audience with soaring, constantly evolving pads, the JP-8000 is a modern classic in every sense: powerful, programmable and punchy. The classic detuned supersaw sound has become a staple of dance music, which is just as popular today as heard on tracks by LMFAO, Lady Gaga, Calvin Harris etc. Other users include Prodigy, David Bowie, Faithless, Muse, Goldie, Duran Duran, Underworld and Tangerine Dream.

V-Synth (2003)
Continuing to innovate, Roland assembled its most advanced technology and crammed it all into the V-Synth. It offered a multi-sampling keyboard, real-time looping and tempo-warping. Among other features were PCM oscillators, user sampling, multi-effects and COSM processing. The V-Synth remains a force to be reckoned with to this day, in the guise of the second-generation V-Synth GT, offering synth fanatics an unbelievable amount of sonic power and sheer experimentation potential.

SH-201 (2006)
The SH-201 was a great-value synthesizer, offering quick, fun sound creation through its array of knobs and sliders. However it is the forensic level of sound creation that really set this apart. The SH-201 was Roland’s first hardware synth to offer VSTi integration and came with comprehensive editor/librarian software giving users easy access to hidden parameters, fitting neatly into computer-based studios.

GAIA SH-01 (2010)
Blending digitally-perfect sound with the simplicity of analog controls, the GAIA SH-01 easily passes for retro, but the concept is radically different from contemporary big hitters. With generous polyphony and a versatile triple-core analog modelling engine, the GAIA is an authentic, super-affordable synth. It’s also a great way to stay connected with the past glories of Roland’s synth legacy.

JUPITER-80 (2011)
An absolute beast of a machine, combining monstrous analog-modelling power with pristine, beguilingly-realistic acoustic sounds underpinned by Roland’s SuperNATURAL technology and behaviour modelling. This is a Roland synth four decades in the making – play one and you’ll understand why.

So the JUPITER-50 might be the most recent Roland synthesizer, but it’s also part of a rich history of innovation. Always focussed on usability and value, Roland has consistently delivered cutting-edge performance and inspiring sounds at an affordable price.

In this edition of Synth Basics with Ed, Ed describes how to program a bass tone on the GAIA SH-01. This knowledge could be applied to any synthesizer regardless of make or model by using the basic synth components of oscillators, filters, and low-frequency oscillators. Aside from making a simple bass tone, Ed goes further by showing us how to fatten up the tone by layering another bass tone over it. Finally, making bass wobbles for Dubstep and Electro music couldn’t be easier. According to Ed, you don’t have to be a synth ninja to follow along.

Related links and articles:

• Synth Basics with Ed: Programming Strings
• Back to Basics with Ed Diaz
• How to Make BASS Wobbles for Electro and Dubstep