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.

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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

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

Attention iPad users—there’s a great new way to get inside info on the latest Roland and BOSS gear, industry insights from pro musicians, and more. And best of all, it’s free! With our PowerOn digital magazines, you can keep up on the gear and artists you love, right from within the Apple Newsstand app on your iPad.

Packed with rich multimedia content and interactive features, our PowerOn mags offer lots of cool and interesting stuff for musicians:

• In-depth interviews with pro players, with info about how they use Roland and BOSS gear in their rigs
• Hot music industry news
• Detailed profiles of Roland and BOSS equipment
• Tips, tricks, how-to articles, and much more

Two different versions of PowerOn are published by Roland U.S. Both are available as free downloads at the Apple App Store.

Click a title below for a direct link:

• PowerOn Roland Users Group Magazine
  
• PowerOn BOSS & Guitar Edition
• PowerOn Global Version available for download outside of the U.S.

Screenshots

Screenshots: PowerOn Roland Users Group Magazine

Screenshots: PowerOn BOSS & Guitar Edition

A Continuing Tradition

If you’re a longtime Roland and BOSS user, you might remember the Roland Users Group and BOSS Users Group print magazines. Each of these titles was published for over 20 years, with new issues coming out about three times annually. They were available for free at all Roland and BOSS dealers, and were also sent directly to subscribers via mail. Around 2005, both Roland Users Group and BOSS Users Group moved to the web, where they’re still going strong today.

Blast from the past

PowerOn magazines from Roland U.S. are digital versions of these two popular print mags, reborn in paperless form for easy, portable access from your iPad. Of course, the iPad format also brings a huge range of hip, modern features, including audio and video content, interactive options, and lots more fun stuff.

Visit the Apple App Store and get PowerOn now!

Related links and articles:

• PowerOn Roland Users Group Magazine at the Apple App Store
• PowerOn BOSS & Guitar Edition at the Apple App Store
• Roland Users Group on the web
• BOSS Users Group on the web
• PowerOn Global Version available in the Apple App store outside of the U.S.

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).

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

Published by Ed Diaz

In this Synth Basics with Ed video, Ed explains how to create synth strings on a GAIA SH-01. Although this video is demonstrated on a GAIA, the fundamentals could be applied to any keyboard synthesizer regardless of make and model. According to Ed, these video tutorials are designed to strengthen your understanding of sound design via oscillators, wave forms, filters, and arpeggios.

Do you have a synth related topic that you would like Ed to demonstrate? Leave us a comment!

Related links and articles:

1. Back to Basics with Ed Diaz
2. How to Create Dubstep Wobbles On The GAIA SH-01
3. Arpeggios On The GAIA SH-01

Published by Ed Diaz

This is the first in a series of videos on the basics of keyboard synthesis. Our very own Ed Diaz shares these fundamentals on a GAIA SH-01. This basic knowledge could be applied to any keyboard synthesizer from any make and model and will overall better your understanding of sound design via oscillators, wave forms, filters, and arpeggios.

“In this series of videos I wanted to share how I breakdown the basics of synth programming. I’m not focusing on any of the usual nerd speak associated with this topic but more of a down to earth explanation. I hope it is easy for you to understand and, therefore, learn from.”

-Ed

Drop is a comment below if you’d like Ed to cover other aspects of keyboard synthesizers.

Related links and articles:

• Arpeggiation on The GAIA SH-01
• How to Create Dub Step Wobbles on The GAIA SH-01
• How to Make Bass Drops on the GAIA SH-01

In our first edition of throw back Thursday, Roland’s Ed Diaz remembers his college years and the keyboard that put him through school, the XP-50. This synth workstation was capable of emulating any instrument, here’s Vintage Synth Exporer‘s take on the XP-50:

“The XP-50 is not just another synthesizer workstation, it’s basically a JV-1080 with a built-in keyboard and a 16-track sequencer! It is a digital synthesizer using sampled ROM waveforms. Superb sound quality capable of emulating most any instrument imaginable plus totally fat analog synth type sounds and loads of percussion! It has 64 voices of polyphony and is 16-part multitimbral. The XP-50 makes a great beginner’s pro-quality workstation.”

Click here for Vintage Synth Explorer’s full take on the XP-50

Throwback Thursday – Ed Diaz & His XP-50 Part. 1

XP-50 features:

• 64-voice polyphony; 16-part multitimbral capability; 512 preset patches; 8 MB of internal waveform memory
• 32-bit custom RISC chip
• Redesigned 16-track sequencer; 100 patterns
• Accepts any four SR-JV80 Series expansion boards
• 40 insert effects in addition to digital reverb and chorus
• Direct-from-disk playback; Realtime Phrase Sequencing
• GM/GS Compatible

NOTE: This product is no longer in production. Similar capabilities can be found in the Fantom workstation.

Throwback Thursday – Ed Diaz & His XP-50 Part. 2

Have a unique story or experience with the XP-50? Please share with us!

Related links and articles:

• POLL: What’s Your Favorite Original 80s Roland Synth?
• Synth Legends – Howard Jones | JUPITER-80
• Synth Legends

Published by: alexfox101

Designed by Tadao Kikumoto in 1982, the TB-303 is a bass synthesizer with a built-in sequencer originally designed for bands or guitarists practicing without a bass player. It features a single analog oscillator with two waveforms (saw or square) and has a simple VCF filter with resonance, cut-off, and envelope controls. There are also knobs to adjust tuning, envelope decay, tempo and accent amount. The TB-303 was also  made to accompany the TR-606 drum machine pictured below.

After TB-303 production was halted three years after its debut, no one would have thought that it would be at the center of electronic dance music. It has helped develop and stylize many forms of electronic dance genres such as house, techno, trance and of course acid. An Electronic Musician article on Tadao Kikumoto published in January 2003 describes how the TB-303 came to the attention of the dance world:

One trio of friends collectively identified as Phuture (Spanky, Herbert J and DJ Pierre) stumbled upon the 303 circa 1985 and effectively changed the course of dance music by pioneering a searing, intense new sound: acid. “I went over to [Spanky's] house, and he had a track playing with this crazy sound on it,” Pierre recalls. “He didn’t exactly know how to work it, but he liked the sound it was putting out. I agreed and proceeded to mess around with the knobs and stuff. We made a tape of it that day and got it right away to Ron Hardy.” That tape, dubbed Acid Trax, ignited a spark that set the burgeoning house community alight. Hardy adopted the sound, and soon artists such as 808 State, Humanoid (who later formed FSOL) and Hard-floor began churning out acid tracks at an alarming rate.

Vintage Synth Explorer acknowledges the TB-303 as “THE sound of acid and techno house music!” and “one of the most sought after vintage synths ever!”. If the TB-303 ever needed justification for its use in electronic dance music one would have to look no further than Norman Cook’s (Fatboy Slim) song, “Everybody Needs a 303″ and Josh Wink’s “Higher State of Consciousness” for its heavy use.

Fatboy Slim – Everybody Needs a 303

Published by OfficalFatBoySlim

To acquire this original bass synthesizer today in playable condition would take a little bit of luck and a chunk of your savings, the value has increased significantly since its 1982 debut. Today, one could own an emulated version of the TB-303 with the help of a JUPITER-80 or JUPITER-50 via the JUPITER Synth Legends sound collection download for free. You can also win a JUPITER-50 for free fully loaded with the Synth Legends sound collection but you better hurry, this contest ends December 14.

Related links and articles:

• Synth Legends
• Win a JUPITER-50
• Synth Legends – Howard Jones | JUPITER-80
• Instruments That Changed The Game: The Rolan TB-303 Turns 30
• Roland TB-303 Bassline

Published by endlessdrifter on Feb 14, 2006

In honor of the JUPITER Synth Legends, Volume 1, this post is dedicated to the real life legends who pioneered the movement during the golden era of synthesizers. The above video, “Synthesizer Medley” features Howard Jones, Herbie Hancock, Thomas Dolby, and Stevie Wonder during the 1985 Grammy® Award Ceremony in Los Angeles, California. We chose this video as it symbolizes the time in history that made many of these sounds legendary.

In true throwback fashion, the “JUPITER Synth Legends” update honors the following Roland boards of the 1980s:

JUPITER-8 (1981)

TB-303 (1982)

SH-101 (1982)

JUNO-60 (1982)

JUPITER-6 (1983)

JUNO-106 (1984)

D-50 (1987)

The collection uses Roland’s SuperNATURAL® sound engine to capture these seven historical synthesizers which include all new Tones, Registrations, and Arpeggio Patterns. These classic synthesizers have between 10 and 20 iconic factory preset sounds that distinguish their character and are represented among 122 newly created single Tones for the JUPITER-80 and JUPITER-50. There is also 512 new Live Sets that combine the historic synthesizers together using layers and multi-effects processing. Here is a download of the full sound list. Download your free Jupiter Synth Legends Volume 1 today!

Win a Fully Loaded Jupiter-50

Roland US is hosting the Roland JUPITER #SynthLegends Giveaway. Enter the contest for a chance to win a JUPITER-50 pre-loaded with the patches from the Synth Legends Volume 1 sound collection. Join the conversation on Twitter with the hashtag #synthlegends and share with us your favorite patches from the Synth Legends Volume 1. Also keep following #synthlegends for more news and updates about Synth Legends Volume 1.

Related links and articles:

• Win a Jupiter-50
• Brockett Parsons: Vibing With The JP-80
• Roland Users Group: Beyond Retro

On Thursday, November 8th, Steve Stevens demonstrated his playing style and his use of guitar synths at the V-Guitar Experience event at Guitar Center in Hollywood, California. On stage with Steve were the GR-55 guitar synth and the G-5 Stratocaster®. The V-guitar experience tour consisted of 20 dates that started on September 22 through November 25th in various locations around the world.

Steve Stevens has long been a guitar synth advocate since the early 80s with his use of the GR-700 and GR-33. Steve explains that in his recent Billy Idol tour, he played all the keyboard parts with his guitar synth and completely eliminated the need for a keyboard player while Billy Morrison filled in as the second guitar player. Steve explained that his set-up worked flawlessly, even with keyboard heavy songs such as Flesh for Fantasy and Eyes Without a Face.

Published on Nov 9, 2012 by DANOV50

We found some really great footage from a member of the audience that night. Thank you YouTube user DANOV50 for posting these videos. The first video is of Steve Stevens being introduced by Roland’s product manager for guitar, bass, and BOSS pedals, Gary Lenaire. The second video of Steve is his demonstration of the G-5 V-Guitar Strat.

Published on Nov 8, 2012 by DANOV50

It was a real treat watching and listening to Steve demonstrate these instruments. He’s more than an average user, he explained how he really dives in to create his custom sound patches which he uses to perform and create material. Steve is also a song writer and producer and has toured with other bands and artists such as Michael Jackson, Juno Reactor, Vince Neil, and his own band of super musicians, Bozzio Levin Stevens. We say super musicians because the other two band members, drummer, Terry Bozzio and bassist, Tony Levin have a history of playing with some of the giants of music. Bozzio has played alongside Frank Zappa, U.K., Missing Persons, Steve Vai, and Jeff Beck while Levin has played with Peter Gabriel, King Crimson, and Liquid Tension Experiment.

In writing this blog post, we stumbled upon some great material and history of Steve and our products. Perhaps one if his most memorable projects was his appearance on the 1986 soundtrack to the Tom Cruise movie Top Gun, for which he collaborated with keyboardist Harold Faltermeyer on “Top Gun Anthem” which earned Stevens a Grammy Award for Pop Instrumental Performance that year. So with this, we leave you on the way back machine with with Steve Stevens.

Published by rockssiddiqui on Mar 25, 2011

Did we miss anything? Do you have any questions about our gear or Steve? Leave us a comment. Happy Thanksgiving everyone!

Related links and articles:

• Steve Stevens Demos The G-5 Strat
• The VG-99 Inspires
• Billy Duffy on How He Discovered His Signature Sound