Roland FAQ - Jan 95 (Part 2/2)

[Tom Honles]

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3. KEYBOARDS, KEYED CONTROLLERS
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Keyboard and Rack-mount Synthesizers, MIDI keyboard controllers,
modular synth units, and programming modules.

Section 3 - Table of Contents
-----------------------------
3.1 - Polyphonic Synthesizers
D-5 Multi Timbral Linear Synthesizer
D-10 Multi Timbral Linear Synthesizer
D-50 Keyboard Multi Timbral Linear-Arithmetic Synthesizer
D-70 Keyboard Multi Timbral Linear-Arithmetic Synthesizer
D-110 Digital Rackmount
D-550
HP-1000s Digital Piano
Juno-6 Digital/Analog hybrid, Non-MIDI
Juno-60 Analog/Digital hybrid synth., non-MIDI
Juno-106 MIDI
Alpha-Juno-1 Analog/Digital hybrid synth.
Alpha-Juno-2 Analog/Digital hybrid synth.
Jupiter-6 Analog
Jupiter-8 Analog
JX-3P Analog/Digital hybrid
JX-8P Analog/Digital hybrid
JX-10 Hybrid Digital/Analog
JD-800 Digital synthesizer
JD-990 Rack-mount super-upgrade of the JD-800
JV-30 Digital sample-playback keyboard (a Sound Canvas with a keyboard)
JV-35 An upgrade of the JV-30, which is expandable via ROM or RAM cards.
JV-80 Digital synthesizer and sample-playback synth.
JV-90 A 76-key version of the JV-80.
JV-880 Rackmount version of JV-80
JV-1000 The super JV flagship keyboard.
JV-1080 Rackmount version of the JV-1000
JV Expansion boards
MKS-50 Rackmount
MKS-80 Super Jupiter - Rackmount Jupiter with MIDI.
Roland Rhodes Model 660
Roland Rhodes Model 760
S-10 Digital Sampling Keyboard (MIDI)
S-220 Rackmount Sampler
U-20 Digital synthesizer
U-110 Rackmount Digital Synthesizer module
U-220 Rackmount Digital Synthesizer module
3.2 - Monophonic Synthesizers
MC-202 Analog, Non-MIDI, monophonic
SH-0x Series
SH-101 Analog, Non-MIDI, monophonic
TB-303 Analog, monophonic Bass line synthesizer (Non-MIDI)
3.3 - Sequencer/Programming Units, MIDI controllers
MKB-300 MIDI Keyboard Controller
MPG-80 (programmer for MKS-80 Super Jupiter)
MSQ-100 MIDI sync/sequencer box
MSQ-700 MIDI/DCB Multi-track Digital Keyboard Recorder
PG Series Synthesizer Programmers (see also MPG Series)
PG-100 programmer box
PG-200 (programmer box for JX-3P, MKS-30 Planet S)
PG-300 (programmer box for Alpha Juno 1 & 2, MKS-50)
PG-800 (programmer for JX-8P, JX-10, MKS-70 Super JX)
PG-1000 (programmer for D-50, D-550)
System 100 Sequencer Module 104
A-30 Master Controller Keyboard (verify?)
A-50 Master Controller Keyboard (verify?)
PC-100 MIDI Keyboard Controller
PC-200MKII MIDI Keyboard Controller

3.1 Polyphonic Synthesizers
===========================

D-5 Multi Timbral Linear Synthesizer
-------------------------------------------
The D-5 is a member of the D-10/20/110 family. It can share ROM cards,
patches, and tones with these other models (although it's missing a few tone
parameters). It lacks the built-in effects of the other units, but has four
performance mode features that the others don't have: Chord Play, Harmony,
Chase, and Arpeggio.

-Keyboard: 61 keys, velocity sensitive, pitch bend/modulation controller
-Sound Source: LA Synthesis, 32 maximum voices
-Internal Memory: Synthesizer Section (128 Patches, 128 Timbres,
128 Preset Tones, 64 Programmable Tones), Rhythm Section
(63 Preset Rhythm Tones)
-Ports: 1/4" Left and Right Outs, Headphone jack, sustain pedal,
Midi IN/OUT/THRU, Memory card
-Display: 2 lines, 16 letter (backlit)
-Weight: 15 pounds

Owner comments:
"-can be made compatible with MT32 patch numbers, but has newer samples
-works well as a MIDI controller for other modules, soundcards, etc."

"We own one and it is NOT compatible with MT-32 sysex messages. We
have a converter that can convert the timbre banks to D series format
though. Also, the D-5 timbre map is different from the MT-32, although
the sounds can be rearranged to look like an MT-32. I wrote such a timbre
bank, it is on the CI$ midiforum. This is no decendant of the MT-32, it
was the last and cheapest of the D series aynths. For instance the MT-32
only has 128 PCM sounds, the D-5 has 256. The MT-32 has a reverb
processor, the D-5 has no effects at all. The MT-32 is very noisy (we
own one as well), the D-5 is very quiet. You could call them first
cousins though <grin>." (From: Gary Fisher)

D-10 Multi Timbral Linear Synthesizer
-------------------------------------------
-Keyboard: 61 keys, velocity sensitive, pitch bend/modulation controller
-Multi-timbral: 8 parts plus a drum part.
-Sound Source: 16 bit samples and PCM, 32 note polyphony.
-Synthesis engine: L/A synthesis (linear arithmetic)
-Internal Memory: Synthesizer Section (128 Patches, 128 Timbres,
128 Preset Tones, 64 Programmable Tones)
-Ports: 1/4" Left and Right Outs, Headphone jack, sustain pedal,
Midi IN/OUT/THRU, Start/Stop pedeal for drum machine, Memory card
-Display: 2 lines, 16 letter (backlit)
-Drum Sounds: 16 bit sampled drums sounds (excellent), pattern programming
available, 64 drum pattern, 32 presets and 32 programmable. 1/4 thru
8/4 time.
-Metronome: Built in metronome, tempo adjustable, as well as loudness in
comparison to the synth output.
-Effects: Adjustable Pan, Volumne, and Reverbs (which include halls, plates,
and Delays.
User comment:
"You have 13 structures (sorta like the algorithms in DX synths)
you can use samples or a synth wave (square,triangle only (?)) or both
in any combination with/without a ring modulator (sorta like modulation
carriers in DX synths) 128 x 2 internal PCM samples. believe it or
not, some(most) of the samples are the same samples in the D50. There
is a company called Real World (?) based in australia that upgrades the
D5/D10/D20/D110/MT32 with more reverb programs, extra outputs,
better S/N ratio. They have a representative in the US. Call Keyboard
magazine for their number."

D-50 Keyboard Multi Timbral Linear-Arithmetic Synthesizer
----
(no data)

D-70 Keyboard Multi Timbral Linear-Arithmetic Synthesizer
----
The D-70 is a 76 key, 4 slider, MIDI-controller keyboard with 128 tones that
map into 128 patches.
User comment:
"In addition to L/A synthesis,it also has an unusual synthesis method called
DLM (direct linear modulation, I believe) that generates a range of sounds by
using a series of chopped wave forms. The frequency of the series can be set
so that the frequency itself interacting with (the wave I think) generates a
pitch. The DLM process seems fairly unpredictable and not terribly control-
lable, but has found industrial applications. The sound is somewhat raspy
when used in this mode.
Otherwise, the D-70 tones provide PCM sourced filter and amplitude
ADSR enveloping. The time variant amplitude (TVA) and time variant
filter (TVF) curves are displayed simultaneously as either is edited
within a tone. The D-70 comes with a reasonably good piano sound, some
unusual Vox patches ("ghost vox").
The sliders and LCD back-lit display provide a highly readable
way of controlling MIDI channels, even in low light. The D-70 transmits
all 16 midi channels and can receive (play) 5 voices plus the drum kit
at the same time. The 5 voices can be played on any midi channel - 5
separate channels, all on the same channel, etc. The drum kit receives
only on channel 10.
All 76 keys of the drum kit can be programmed individually with
pan, cut-off, resonance and TVF/TVA. D-110 compatible cards can be
used as PCM sources." (From: RIC...@delphi.com)

"While it will use D-110 cards, it will only read the first part if it's a
two-part sound. You can always layer the sound to get close to the same thing,
I suppose, but I was disappointed at this. One problem with the D-70 is that
patch changes are s-l-o-w by comparison with other makers and even other
Roland models. It has something to do with the D-70 architecture "
(From: Paul Petersen)

(*)D-110 Digital Rackmount
-----
The D110 is a rackmount digital synthesizer module with 32 voice
polyphony, 8 parts multi-timbral plus drums (9 parts total).
It works with the same L/A synthesis technology as the D-50, having
only 4 partials per tone. There are 8 independent outputs.
Built-in effect section, some types of reverb and echo.
The sounds are very similar to the MT-32.

User comment:
"I'm using it mainly for sequencing purposes in a multitracking environment
and it works well."

"... I'm not really familiar with the D10 but I do have a D110. There's no
drum sequencing or any sequencing - it's just a sound module. There are 8
"parts" (instruments) plus the rhythm section, which allows you to spread
the 64 built-in rhythm sounds plus the 64 sounds in the "internal" (user
storable) bank across the keyboard...It's still quite useful. A bit noisy,
though." (From: m...@xmission.com (michael moncur))

D-550
-----
(no data)

HP-1000s Digital Piano
----------------------
Keyboard 88 Keys
Max. No. Voices 32 voice polyphonic
Preset Voices Pianos 1, 2, Harpsichord, Vibraphone, Electric Piano
Effects Chorus 1 ON/OFF, Chorus 2 ON/OFF
Connectors Input & Output jacks (mono/stereo), MIDI IN/OUT/THRU
Switches Power, Local ON/OFF
Speakers 16cm * 2
Output 20w * 2
Finish Roland Original Oak
Dimensions (W*D*H) 55-13/16" * 18-11/16" * 6-1/16"
Weight 81lb 11oz
Consumption 117vac: 60w 220/240vac: 100w
Accessories Power cord, music rest
Options Stand, Kbd cover

The HP-1000sl is identical save for an additional 5lb weight, and comes
standard with a kbd cover. I took all that directly from the spec. section
in the back of the owners guide. Here follows some more tidbits.....

Controls Volume, Brilliance, Tuning adj., Damper,
Soft/Sostenuto Pedals
Key Transpose Range can be transposed up a perfect 4th, and down
a diminished 5th.
Midi Modes
i) Note On/Off, Pedal and Program Change messages are transmitted and
received.
ii) Note On/Off, Pedal and Program Change messages are transmitted.
Program Change messages are not received.
iii) Note On/Off, Pedal and Program Change messages are transmitted and
received. The moment a new voice is selected on the piano, the
corresponding Program Change number is transmitted. The Chorus
On/Off is also transmitted. (Ideal for recording to a sequencer)
iv) Performance information (messages) sent from an external Midi
device (e.g. sequencer) can play more than one voice of the piano
(Multi-Timbral). Up to five voices may be played at the same time.
Receives on channels 1, 11, 12, 13, and 14.

Juno-6 Digital/Analog hybrid, Non-MIDI
------
- 6 voice polyphonic, digital controlled oscillators (DCO)
- DCO's feature simultaneous variable pulse, sawtooth, square waveforms
- selectable Manual, Envelope or Pulse Width Modulation (PWM)
- variable LFO modulation, rate and delay and PWM modulation
- noise generator, trigger mode selector
- VCF section: hipass , lowpass filters w/ cutoff freq & resonance control
- Envelope modulation slider/inversion switch
- VCA can be modulated by the Envelope or can follow square envelope.
- 4-part ADSR envelope generator
- two-mode chorus section: chorus, vibrato, or stereo panning effects
- Bend range sliders for DCO and VCF, return-to-center pitch bend control
- Back panel: Main out (stereo/mono), level switch, headphone, VCF pedal,
sustain pedal, arpeggio clock control, master tuning

Juno-60 Analog/Digital hybrid synth., non-MIDI
-------
* great 5 octave keyboard. thick warm analog sounds. great for techno

* Roland Juno 60 (with MD-8 MIDI interface.)(?)
6 voice analog/digital hybrid synth. A real classic. The best
sounding Juno ever made.

Juno-106 MIDI
--------
(no data)

(*)Alpha-Juno-1 Analog/Digital hybrid synth.
------------
6-note polyphonic, w/MIDI, 49 key non-velocity keyboard, 128
patches, performance controls (transpose, chord memory, etc.), will
receive and process velocity and aftertouch thru MIDI. Jacks
for stereo out, sustain pedal, expression pedal (sends either velocity or
aftertouch data).

Alpha-Juno-2 Analog/Digital hybrid synth.
------------
w/MIDI, 6-note polyphonic, velocity sensitive w/ aftertouch.

Jupiter-6 Analog
---------
Analog synthesizer very much like its great brother, the Jupiter 8.
The differences are: only 6 voices instead of 8 and MIDI (only IN
and OUT, only OMNI Mode).
It has very GREAT analog synthesizer sounds!
The keyboard can be split in two parts, playing different sounds.
An optional upgrade MIDI chip, can give it the ability to send the
upper keyboard sound on channel 1, the other on channel 2.
Unfortunately there is small storage space:
64 different sounds can be saved in memory, 32 patches are available.

Jupiter-8 Analog
---------
The Jupiter-8's impressive sounds are created by its eight two oscillator
synthesizer systems. These synthesizers are controlled by single bank of
controls that feature a logical left to right flow and mix sliders with
rotary controls to provide the most readily available information and
control. Highlights of each JP-8 synthesizers voice include:
Two separate VCO's providing four waveform options, each including precise
sine, triangle, sawtooth, square, variable pulse, and noise waveforms.
All sixteen oscillators are easily tuned in approximately three seconds
and feature high stability to remain in tune even during long sessions under
difficult conditions. A wide variety of modulation options include syncing
and cross modulation between VCOs for control over an exceptionally wide
variety of sound and tone color.

Output of the VCOs passes through an infinitely variable source mixer and
then on the the Filter sections. A separate Hi Pass Filter can be combined
with a voltage controlled Low Pass Filter that is selectable between a rich
-24dB/octave or a more acoustic -12 dB/octabe cutoff slope. These choices
combine with a wide variety of control options that give musicians maximum
creative control over the tone color of their sound.

Two complete four stage ADSR Envelope Generators feature slider controls
for accurate visual information and control during programming and editing.
Each envelope includes and exclusive Key Follow option allowing the Attack,
Decay, and Release length to be shortened in proportion to the height of
any pitch as they naturally do on many acoustic instruments including the
piano. Envelope-1 also includes a switch for inverting its effect before
being sent to the sections. The VCA may be both Envelope and LFO controlled
and terminates on the JP-8 back panel in a stereo Headphone output, two
balanced outputs. and three unbalanced outputs suitable for a wide variety
of situations.

The Jupiter-8's powerful programmer has the capacity to store and recall
the exact synthesizer settings for up to sixty-four different patch programs.
Patches may be stored virtually permanently using the JP-8's lithium battery
back-up system. Writing into any patch position from the Manual control or
another patch position requires only pressing two switches and the patch
number desired. Patch selection simply requires punching in the actual two
digit number needed which is then displayed in a large LED display window.

JX-3P Analog/Digital hybrid
------
Digital Oscillators & Analog filtering. Simple, but well thought out.
Analog style programmer (PG-200) also available.
Six voice/Two Oscillator/1 Envelope generator/VCA-VCF/Chorus
It is a dual oscillator synth (meaning 2 oscillators per voice total of
12 DCO's) There are 6 VCF's, 6VCA's, and 6 ENV's.
128 step non-MIDI programmer/non-velocity kybd (there is also an upgrade
that makes the system velocity sensitive from an external controller. The
internal kydb is inactive when this is switched on).
Has connection for storing sequencer/patch data on tape.
32 patches in ROM
32 patches in RAM
Built in chorus effect.

JX-8P Analog/Digital hybrid
------
Digital oscillators with analog filtering
This was a basic upgrade of the above described JX-3P...
Same basic design with velocity kybd/2nd envelope generator...
Also added sysex dumps (i.e., patch programming via MIDI)
--6 voice analog synthesizer. Beautiful sound. 5 octave touch
sensitive keyboard with aftertouch. MIDI. Presets plus programmable
sounds.
--Each voice has 2 Oscillators for fat sound, VCF with EG, VCA with
EG. Also has noise generator, LFO, great Chorus. Pitch and
Modulation bender.

JX-10 Hybrid Digital/Analog
------
76 Key Analog Synthesizer, bi-timbral, programmable, good MIDI
controller. Very diverse analog sounding unit. The JX is a hybrid
synth: digital waveforms with analog filters.

Comments:

"The JX-8P, JX-10, and MKS-70 all use the same synth circuitry
so they sound the same (the JX-10 and MKS-70 acually have two JX-8P
inside so they are capable of dual sounds). The older JX-3P uses
different circuitry so it sounds quite different (same for MKS-30
which uses JX-3P ciruit) from the later series."
From: 73073...@CompuServe.COM (Mike Kent)

"> I had a JX-3P. It is a cool synth, but beware of its MIDI
implementation.
Folks, also beware the MIDI implementation of the JX-10. I have this
keyboard (and love the sounds, BTW), and found out the hard way that
there's a bug in the ROM that won't allow it to talk to many (if any)
sys-ex librarians such as Galaxy+. I HAVE heard, however, that the MKS-70
(rackmount JX-10) does not have this problem.
All other MIDI functions on the JX-10 work fine.
If you are into Roland analog sounds but want digital oscillators that
don't go out of tune, I highly recommend either a JX-10 or MKS-70."
From: we...@aol.com (Weave)

"hey, what about contacting Roland to see if you have the latest ROM
software for it? I can't believe they would let a synth like the JX10
be like that. Even my JX8P recieves/send sysex.
Btw. maybe this will help- for sending sysex from my JX8P, I have to press
each patch button, and the sysex reciever (computer or whatever) will recieve
the patches one by one. Try that with your JX10 and see if it works."
From: hall...@ifi.uio.no (Hallvard Tangers)

"As they say in US commercials: been there, done it, tried it. I've had
my ROMs upgraded twice, no sysex response, and Roland says "no more ROM
upgrades ever for that board". The last ROM version for JX-10: v2.3,
8/6/87. MKS-70 has a different version number.
So, for you JX-10 owners/potential acquirers, I absolutely love the board,
but no can do sys-ex." From: we...@aol.com (Weave)

">I!ve successfully dumped patches from my JX-10 to a Mac-sequencer called
>EZ Vision by making a "handshake-message", putting 65 of this mesages in
>track 2 of the sequencer with enough space between them so the JX-10 can
>dump a patch (The JX-10 sends 1 patch at a time, before it looks for a
>handshake-message). Set track 1 to record from the JX-10 and track 2 to
>play back the handshaking message. It!s a time-consuming job, but it
>works.
>
>Stein Tore Sonsteli
>Email: ste...@odh.no
Nearly all of the older Roland's used this handshaking method and in fact most of the
new ones give you bulk dump and handshake mode. Any halfway decent librarian program
should be able to communicate with a JX10. Just set the acknowledge message to be sent
after each patch is transmitted. The Korg DW6000/8000 worked on the same principle, but
the I think the Roland handshake acknowledge needs to be sent after every 256 bytes of
data in the sysex message. You may also need to wait statements in the loop because
Roland's are slowwwww to dump sysex info."
From: cra...@monterey.gedl (Craig Barnes SYS ADMIN LDN 2690)

Roland JD & JV Series
---------------------
JD-800
Digital synthesizer with tons of front panel sliders (like the old analog ones).
Very clean, clear, and sparkly (sounds like intro to the new Star Trek series,
although I don't know whether they used a JD-800 or not). I wasn't very
impressed with its acoustic instrument simulations, but that's not really what
it's for.

JD-990
A rack-mount super-upgrade of the JD-800, and I hear that it sounds even
cleaner, crisper, and sparklier than the JD-800 according to a review in
Electronic Musician (I think). Here's where the distinction between the JD's
and the JV's starts to get fuzzy. The JD-990 can also recognize the JV's 8 meg
expansion boards, although I'm not sure whether their patch parameters are
identical (I tend to think not).
"The JD990 will accept the orchestral board (I have one in mine) also the
pop board." From: clo...@aol.com (CLovley)

JV-30
Digital sample-playback keyboard (a Sound Canvas with a keyboard, pretty much)
with some programmable parameters (including filters, which is what the U-20
lacked). Non-expandable (no RAM or ROM cards). Nice acoustic instrument
simulations. The JV-30 is velocity-sensitive, but not aftertouch-sensitive.

JV-35
An upgrade of the JV-30, which is expandable via ROM or RAM cards
I think. Maybe a few other features as well.

JV-80
Digital synthesizer and sample-playback synth. Better programming interface
than the U-20's (wish they'd thought of it before they made the U-20). Very
crisp, clean, sparkly, lots of high-end (some would say, too much). I wasn't
impressed with the onboard acoustic piano samples (too metallic), but there are
8 megabyte expansion boards with lots of sounds (categories: pop, orchestral,
piano, etc. The orchestral expansion board is wonderful). The keyboard is very
responsive and very nice to play (velocity- and aftertouch-sensitive -- I forget
whether it's channel aftertouch or polyphonic aftertouch). The JV-30 and JV-80
are really different animals; I don't know why they are both called JV-keyboards.

JV-90
A 76-key version of the JV-80. I don't know whether there are other
differences, though. A more accurate description of the JV-90 is that
it's a JV-1000 minus the sequencer. The big difference between the JV-80
and the JV-90 is that the JV-90 is expandable, like the JV-1000 (you can
plug in a GS expansion board to give you more polyphony and parts). Both
the JV-90 and JV-1000 support General MIDI as manufactured.

The default patches on the JV-90 are different than the JV-80, but the
JV-90 waveforms are a superset of the JV-80. There are also 128 JV-80
compatible patches on the JV-90, this is in addition to the 256 preset
patches available (this is not mentioned in the brochure), even though
there are some overlap of patch names. The JV-90 also have 4 preset
drum sets, versus the 1(?) on the JV-80.

The prices for JV-80 and JV-90 are about the same, so the JV-90 is
clearly the better buy, unless you need a JV-80 for compatibility
reasons.

JV-880 Rackmount
The Roland JV-880 is the rack-mount version of the JV-80.
Comment:
IMHO, the JV-880 allows you more synthesis power (than JV-35)--there are
more parameters for one to manipulate, one can even do microtunings, and the
unit has 4 outs (2 stereo pairs or 4 individual outs). So assuming you
want flexibility, the JV-880 is a good choice. Also, I do believe that one
can program the synth to respond to after-touch, which the JV-35 doesn't do."
From: "M.C.Death/Attenuated Euphoria" <mcd...@gladstone.uoregon.edu>

JV-1000
The super JV flagship keyboard. I think this one has 76 notes, plus a
sequencer onboard (the equivalent of an MC-50, I think), and the capability
to add on a Sound Canvas expansion board for more sounds and polyphony. But
here's the catch: The extra polyphony applies only to the Sound Canvas sounds,
not to the other internal sounds. I hear that it's a good-sounding keyboard,
but that it's control section, sound section, and sequencing section aren't
seamlessly integrated, so there's a bit of a learning curve involved.

(*)JV-1080 Rackmount
The Roland JV-1080 is the rack-mount version of the JV-1000.
Comments:
"The JV1080 has the same 12db/oct filter like the 990, but the 1080 has
4 Filtermodes (LPF,HPF,BPF,PEAK) and the 990 only has 3 (LPF,HPF,BPF)...
the 1080 is programmable." From: dahl...@uke.uni-hamburg.de

JV Expansion boards
-------------------

Roland SR-JV80-02 Orchestral Expansion Board
Will slot very neatly into JV80, JV1000, JV880.

JV-80/JV-90/JV-1000/JD-990 is a vintage keyboards expansion board (so,
they are pop, orchestral, piano, and vintage).

JV-880 analog synth expansion board.
internal expansion board that has analog samples, classic analog synth sounds.

MKS-50 - Rackmount
------
Alpha-Juno 2 series synthesizer in rackmount unit.

MKS-80 Super Jupiter - Rackmount Jupiter with MIDI.
--------------------
8 voice analog synth. Two VCO, Noise, VCF with EG, VCA with EG, LFO.
Oscillators will sync. Split Dual Mode for two sounds at once.
Unison mode for 16 analog oscillators assigned to one monstrous
note with selectable detuning amount.
1/4inch and Balanced XLR outputs, responds to velocity and
aftertouch, Autotuning button to control oscillator drift.
Works with MPG-80 programmer.

Roland Rhodes Model 660
------------------------
61-key synth. 30 note polyphony, 6 part multi-timbral.
Many internal sounds and combinations. Uses same sound engine as the U-20,
although patches are organized differently. Accepts U220 cards.

Roland Rhodes Model 760
------------------------
76-key synth. 30 note polyphony, 6 part multi-timbral.
Many internal sounds and combinations. Uses same sound engine as the U-20,
although patches are organized differently. Accepts U220 cards.

S-10 Digital Sampling Keyboard (MIDI)
------------------------------
The Roland S-10 is a 12-bit sampler with a 30 KHz sampling rate (max).
It's got 128 Kb's of RAM (I think). You can sample up to 4.4 seconds at this
rate. You can also choose a 15 KHz sampling rate (up to 8.8 sec's). It can
only hold 4 different samples at a time (1.1 secs each at 30 KHz).
These samples are organized in banks A, B, C and D. When you sample you
choose either one of these banks or one of the following combinations:
AB, CD (max. 2.2 sec's) or ABCD (max. 4.4 sec's).

Splits: A/B, C/D, AB/CD or A/B/C/D.

Layers: Banks at the same "stage". For example: B+D or AB+CD. Not A+AB.
These bank combinations can also be mixed or switched via adjustable
velocity.

The keyboard has only got 4 octaves, but is VERY playable compared to the
keyboards on most modern synths. You see, under each key there is a piece of
metal (is this what is called semi-weighted?).

The S-10 has got 8 voice polyphony which is cut down to 4 voices when
layering or velo-switching and velo-mixing. You can detune two banks to get
a "flanger-like" effect (4-voice polyphony). There is also a simple but
useful delay option (4-voice...).

Arpeggiator: (up,down, up&down or random, rate, # of note repeat).
Trigger function: Audio in triggers a specified note, chord or notes via
arpeggiator. The trigger sensitivity is adjusted with the record
level fader.
Autobend: Depth, speed. A kind of portamento (?) but bends only upwards (both chords
and single notes).

It's got both manual and automatic looping functions. (Not crossfade-looping,
I think). The manual looping function is very user-friendly as you can let the
sample be sustained while you are editing it to find the best/most glitchless
looping point. There are some high-pass and low-pass filters that can change
the sounds quite dramatically but they are not so flexible - sort of static.

When performing I use my S-10 for effects and special "fill-in" sounds and
as a master for my Roland D-110 and E-mu Proformance.

The dummest thing about the S-10 is that it uses 2,8"(!!!) disks
("quickdisks"). These are hard to get, expensive and even though you can save
sounds on both sides you can ONLY save one bank per side. So, to save a 4.4
sec 30 KHz sample you will need two of these disks.
(From: m...@kreftreg.no (Mads Olsen))

S-220 Sampler
-------------
Two rackspace 12-bit sampler with 16 note polyphony, four part
multimbral, four individual outs for panning samples thru a mixer.

U-20 Digital synthesizer
-----------------------------
61-note sample playback keyboard with 6 parts plus drums and 30 note polyphony.
It has velocity and after-touch and ADSR envelope editing.
May also accept 2 expansion PCM cards.
Sustain pedal, and Sysex librarian.
U-20 Expansion Card
2 voice cards (orchestral winds and special effects)
Comment:
"The U-20 will read both parts of the D-110 sound cards." (From: Paul Petersen)

(*)U-110 Rackmount Digital Synthesizer module
----------------------------------------------
Sound Module with 31-voice polyphony, 6 multi-timbres.
6 Multi outs + L (mono), R
99 Preset tones (10 Piano, 5 E. Piano, 3 Vibraphone, 4 Bells, Marimba, 5 A.
Guitar, 4 E. Guitar, 12 Slap Bass, 2 Fingered Bass, 2 Picked Bass, 2 Fretless
Bass, Acoustic Bass, 3 Synth bass, 4 Choir, 4 Strings, 13 E. Organ,
9 Trumpets, 5 Saxophone, 5 Brass, 2 Flutes, 2 Shakuhachi, Drums with 32 sounds)
4 ROM card slots (Organ/Harpsichord, Latin & F/X percussion, Ethnic, Electric
Grand and Clavi, Orchestral Strings, Orchestral Winds, Electric Guitar,
Drums, Shyntetizer, etc.)
2 Built-in effects (Chorus, Tremolo).

Comment:
"My personal opinion of the U-110. It's a great companion unit (especially
with the Drums, E. Guitar, and Orchestral Strings cards). I use it
extensively for rhythm section (Drums, Bass and Guitar).
The E. guitar card has tons of Clean, Overdrive and Distorted guitar tones
plus fret noises, harmonics and loud/soft, mute/unmuted, normal/feedbacked
variations which are velocity controlled. It can be found very cheap used
nowadays (I've seen shop prizes as low as US$ 250, sometimes ROM cards are
thrown in free)."
- From: "Cesare Tirabassi (NSI)" <CTIR...@vmprofs.estec.esa.nl>

(*)U-220 Rackmount Digital Synthesizer module
----------------------------------------------
Single space, MIDI module. 30 voice, 6-part multitimbral plus drums
rhythm channel (7 parts total), 128 high quality PCM sampled instruments
ranging from piano, guitar, bass, brass, strings, flute, etc. to analog
synth samples.
2 simultaneous digital FX thru the main stereo output (4 other outputs
available + headphones, 6 independent outputs). Accepts two simultaneous
PCM cards from the Roland U-110/220 Library. Built-in chorus, reverb
and delay effects.

Comment:
"The U-20 will read both parts of the D-110 sound cards." (From: Paul Petersen)

3.2 Monophonic Synthesizers
===========================

MC-202 Analog, Non-MIDI, monophonic
------
Can sync up to drum machines such as TR-707,-727, and -909.

Owner comments:
"The MC stands for microcomposer and that is just what this little angel does.
Except, I never use it that way (too much of a hassle.) I call it my little
angel because this thing produces the deepest, roundest bass that i have ever
seen. I love it to death.. can't wait to MIDI it! anyway, this machine has
basically the same circuitry again as the sh-101 and sh-01 synth, minus the
ability to go to different waveforms. I think it is stuck with a square wave,
maybe, maybe a sawtooth. it doesn't do as much as the 101 does but I think it
makes up for its bass sounds. I think of it as my bass machine."

"...the PG-series do not have ANY features that allow DIN-sync to MIDI
clock! The PG-series consisted of the PG-200 (JX3p, MKS30 Planet S), PG-300
(Alpha Juno 1 &2, MKS50), PG800 (JX8p, JX10, MKS-70 Super JX) and PG1000
(D50, D550). You could also consider the MPG-80 (MKS-80 Super Jupiter) as
part of the PG-series if you wish. But, they don't provide DIN-sync to MIDI
clock..." (From: George Kotsopoulos)

"...available waveforms on the MC202 and SH101 (since they share the exact
same sound circuitry).
The MC202 can produce Pulse Width Modulated waveforms (when Modulation is set
to 50%, you get a square wave), Sawtooth and a sub-oscillator which is a
Square wave with adjustable octave switch. The progammability differences
between the SH101 and MC202 is that the MC202 only has a TRIANGLE wave for
its LFO (Low Frequency Oscillator) modulation. The SH101 has TRIANGLE,
SQUARE, RANDOM and WHITE NOISE." (From: George Kotsopoulos)

(*)SH Series
--------------
The SH series were the line of keyboards that Roland first sold. They came
out in the late 70's and they were basic synths. They were usually half size
(two octaves) and they had knobs and some switches, monophonic, and of course
not multitimbral. This is the closest thing to the Moogs that were coming out
at the time (except more condensed and not made of wood.) What I hear is that
the circuitry for a SH-9 is similar to that of the 808. These synths usually
have a control voltage/gate input from any external synth or sequencer of
sorts. The "SH" supposedly stands for "synth".

The SH-1 is closest to the SH-101 except there is no pitch lever (I think)
and it has the ability to generate pink and white noise, which very few
synths have now. It has a VCO (voltage controlled oscillator), a VCF (voltage
controlled filter), and a VCA (voltage controlled amplifier), as well as
an envelope follower.

This is a small synthesizer and it can be used to generate the classic
"LOW BASS" sounds as well as a lot of percolating random noises. some people
like to make pads and simulations of string synths with it by setting the
attack a little slower and turning the frequency cutoff down a bit.

Other synths in this category are the SH-2, SH-5, SH-7, and SH-9.

(*)SH-5
-------
"The SH-5 is BIG. It is ca 85 cm wide, built in its own case and has 3,5
octaves of keys. It has 2 oscillators, ringmodulator, 5 input mixer, 2
filters (one LPF/BPF/HPF and one extra BPF filter). It has three LFOs and
to ENVs (one ADSR and one A(S)R). The modulation capabilities are awesome
and so is the sound.
The SH-5 housing is indeed made out of wood. And as I said earlier wider than
a Minimoog ." From: per.ma...@earnie.mkv.mh.se

SH-101 Analog, Non-MIDI, monophonic
------
This two octave digital/analog hybrid synth is pretty popular. It features
everything that the SH-01 did except it is not switchable from white to pink
noise. it has a pitch/modulation lever that can trigger the LFO to modulate
the sound as well as an external modulation grip. This grip is just a small
wheel on a grip that just does the modulation and nothing else. You can
attach a strap to this and the other side to wear the 101 like a guitar.
It came in several colors of grey, blue, red, and purple.

When I say it is a digital/analog hybrid, I am refering to the fact that the
clock in it is run digitally. The difference between running a digital clock
versus analog is that the analog waveform's oscillation peak points are what
triggers it. This is not the most dependable way of timing as interferences
and all kinds of fun stuff can cause it to fluctuate. The digital clock on
it should make it more dependable.

This has CV/gate in and out 1/8th jacks. Also, there is a modification that
you can add to allow a line input before the VCF and you can shape your line
input with the 101's controls (frequency cutoff, resonance, modulation, etc.)

There is a small battery inside the 101 that stores your 99 note sequence.
There is a hold function which holds the note that was last played, also an
arpeggiator that can can go up or down or both (like Philip Glass type
stuff.) The waveforms can be from a sawtooth, a square, a noise, or a random
wave. Like the SH-01, the wavelength distances can range from 16-2 feet
(very low frequencies to very high frequencies.) There is a noise generator
that just adds noise to whatever you are playing.

(*)TB-303 Analog, monophonic Bass line synthesizer (Non-MIDI)
------
The TB-303 can easily sync to other ProForm products or many other products
to play the composition. Can sync up to drum machines such as TR-707,-727,
and -909.

Specs:
- Programmable in real time or in step mode using input buttons
- ProForm standard includes the TR-606 drum synthesizer/sequencer.
Comments:
"They all have their own sound really, 303 is what is associated with the
acid sound, 202 has more of a midrange effect (not all that popular really),
and the SH 101 seems to be mostly used for bass (I've used one before and
remain thoroughly unimpressed)" From: imp...@ids.net

"The only available way of entering notes is via step-time entry. It's a
peculiar way too. First, you enter the pitches that you want and then
secondly, you enter the rests and any other accents or slides you want.
Sorry, no real-time entry on this! (Page 9 through 17 deals with programming
bass sequences in to the TB-303.)" From: George Kotsopoulos

"I assume that the TB stands for something like, "the bassline" or "tone
bass." Whatever the case, this is also called the acid machine...it was used
in the later 80's house music (Phuture, Adonis, Derrick May) and this is what
the drug acid would have sounded like. This, along with the 808, 909, and 106
is probably one of the most famous machines that Roland ever made.
The heart of the 303 is the square/sawtooth wave. It has 6 knobs at the top
of the machine to control this wave (tuning, frequency cutoff, attack,
resonance, decay, and accent.) The wave is switchable from square to sawtooth
wave. There are no lfo's or noise filters or anything.
I think actually all of these machines are run by DCO's but anyway, this is
the "computer controlled" sequencer of the machine. You can store 64
patterns, which are split into 4 groups and then each group has 8 patterns
each on A and B. You can also tie 4 patterns together to make a song. You
must program the pattern in (again!) step time (ugh!) with rests (no sound),
staccato (moving at the tempo of the click), and legato (extending through
several clicks.)"

3.3 Sequencer / Programming Units and MIDI Controllers
======================================================

MKB-300 MIDI Keyboard Controller
--------------------------------
-76 full size velocity sensitive and weighted action keys (firmer than
regular synth. and softer than acoustic piano).
-Slider for key transpose.
-Joystick for pitch bender, modulation.
-Sliders for modulation rise time and depth.
-Connectors for soft pedals (2) and damper pedals (2). Soft
pedals can be use to increase or decrease patch number.
-Connectors for MIDI IN (1), OUT (4) and THROUGH (1).
-Connector for modulation pedal (1).
-Displays and buttons to select MIDI channels (all 16 channels) in
multiple modes (split, dual, whole lower, whole upper,
monophonic and polyphonic).
-Buttons (24) to save and transmit up to 128 program change MIDI
messages. These programmed MIDI messages are saved in battery
backed (non-volatile) memory.
-MIDI channel split point can be disable or set AT ANY of the 72 keys.
Each of the saved 128 programs can have different split points.
-Note that the MKB-300 is a MIDI controller without sound module.
(From: nh...@bnr.ca (Gia Nhan))

MPG-80 (programmer for MKS-80 Super Jupiter)
--------------------------------------------
(see also PG Series)
(no data)

MSQ-100 MIDI sync/sequencer box
-------
(no data)

MSQ-700 MIDI/DCB Multi-track Digital Keyboard Recorder
-------
The MSQ can memorize all MIDI informatino and has 8 memory tracks.
Up to 6,500 notes can be stroed in all tracks. The MSQ-700 has several
convenient functions; a chain function, multitrack function, overdub
function, and merge function. Numerous data, such as remaining memory
capacity, tempo, or measure number, can be digitally diplayed. And the
MIDI allows the MSQ-700 to be connected with the TR-909 and to control
the TR-909 with the MSQ-700's data.

Specs:
- 8 tracks, programmable in real or step time, to 1/32 resolution
- Beat: Free, 1 ~ 6, 8, Tempo: 35 ~ 260
- Max memory capacity 6,5000 notes in all 8 tracks
- Modes: Chain, Normal and Tape.
- Clock: Internal, Tape, Sync, MIDI
- Display: Measure, Chain, Avail., Note, Tempo, Status
- Metronome switch: off, load/play, on
- Rear Panel: EXT Control(Start/Stop, Punch in), Sync In/Out (5p DIN),
Tape Sync(Load/IN, Save/Out), Memory Protect On/Off Switch
- Dimensions: 346mm x 108mm x 328 mm (WxHxD), 5 kG
13.6" x 4.25" x 12.9" , 11 lbs.

PG Series Synthesizer Programmers (see also MPG Series)
-------------------------------------------------------
Comments:
From: George Kotsopoulos
"The only PG-series programmers which do not have MIDI jacks are the PG-200
(which is used with the MKS-30 Planet 'S' module or the JX3p keyboard) and
the MPG-80 (which is used with the MKS-80 Super Jupiter module) which use a
special 6-pin DIN connector. Every other programmer (the PG-300, PG-800, PG-
1000 ect.) have MIDI jacks to interface to the keyboards/modules they are
capable of editing.
The PG-series are programmers. If [deleted] thinks that programming
and triggering are the same thing, then that is incorrect."

PG-100 programmer box
---------------------
(no data)

PG-200 (programmer box for JX-3P, MKS-30 Planet S)
--------------------------------------------------
(no data)

PG-300 (programmer box for Alpha Juno 1 & 2, MKS-50)
--------------------------------------------------
allows tactile programming with about 3 dozen sliders over MIDI
of the parameters in the A-Juno-2 and others in the Alpha Juno line.

PG-800 (programmer for JX-8P, JX-10, MKS-70 Super JX)
--------------------------------------------------
(no data)

PG-1000 (programmer for D-50, D-550)
------------------------------------
(no data)

System 100 Sequencer Module 104
-------------------------------
Description: 12 stage, dual channel analogue voltage sequencer.
Connections/Controls:
Gate Outputs (2)
Series Outputs (2)
Parallel (CV Sequencer) outputs (2 per channel)
Ext CV Input [Clock Rate]
Gate Time, Clock Time controls
Range switch [x1/x10]
Step Number [1-12] [How many steps in sequence]
Channel A/Channel B [Which channel are we talking about]
One Time/Repeat [Play sequence once/continuously]
Ext Trigger Input [Start]
Ext Trigger Input [Continue]
End Pulse Output [Stop]
Ext Trigger Input [Step]
Note - All jacks are 3.5mm mini.

Owner comments:
"Output control voltage ranges are variable across 2.5V, 5V, 10V - I'd be
extremely reluctant to use the 10V range, especially on a low-voltage
device like the MC202, SH101 etc. Maybe they have the precautions necessary
to deal with the trauma, but I wouldn't risk it.
This hefty looking box is just the trick for those analogue jams - loads of
flashing LEDs, 27 dials, switches etc!
Using the beast is a doddle - just dial up the various values for each stage
of the sequence, and connect up one of the "parallel outputs" to a CV-in
on your favourite noise box [ie VCF Cutoff etc] and start creating complex,
syncopated rhythms, especially if you have the thing being clocked
externally.
Something interesting to keep in mind with this things is the fact that its
own internal clock is a VCO! So you can have it sequencing away, but slowing
down and speeding up to another external voltage. Great huh?
It's curious that there are 12 stages to the sequencer, as opposed to 8 or
16, but I'm not complaining. It wouldn't be too hard to bodge up something
that does what this box does, but it sure wouldn't look half as cool! :)"
(From: Andrew W Gamlen <awg...@huxley.anu.edu.au>)

A-30 Master Controller Keyboard (verify?)
-------------------------------

A-50 Master Controller Keyboard (verify?)
-------------------------------
76 keys un-weighted
-64 patches, which can linked 32 patches together,with card slot.
-Can send all kind of midi program change including aftertouch
and velo. , and all programmable.
-Split/stack its up to 4 zone .
-Program can be change via sliders.
-2 Midi in, 1 Midi thru, 4 Midi out, and four foot controller inputs.
-Large LCD screen display.

PC-100 MIDI Keyboard Controller
-------------------------------
4-octave keyboard MIDI controller

PC-200MKII MIDI Keyboard Controller
-----------------------------------
- 49 full-size velocity sensitive keys
- compact, desktop design, standard MIDI connections
- octave shift provides 6 octave range
- bender/modulator lever for expressive control
- data entry slider for full MIDI capability

--------------------------------------------------------------------------
4. MODULES AND MIDI COMPUTER PERIPHERALS
--------------------------------------------------------------------------
MIDI soundcards, peripherals, external synth modules and adapters.

CA-30 Intelligent Arranger
--------------------------
"Note that the CA-30 is a MIDI controller without sound module. Provides 32
music accom. styles (ex: RUMBA, ROCK, BALLAD, SLOW, etc.) in real-time, for
MIDI keyboards or MIDI modules. Each style has 4 variants. More music styles
can be added using Roland ROM cards (external, credit card size). Most home
entertainment synth. and electronic piano can only send and and receive MIDI
on one fixed channel. And they do not send all parts (drum, upper-split,
lower-split, accomp. and bass) of the performance. This unit, as a MIDI
controller, is fully configurable for 16 MIDI channels and sends all
instrument parts to the configured channels." (From: nh...@bnr.ca (Gia Nhan))

(*)CM-32L External Module
----------------------
The CM32L was an MT32 in a plain external box (no LCD's or parameter
controls). Also has 33 F/X sounds, reverb. Meant to be used with a computer.
Similar to an SC-55 in quietness.
From: Adam Mirowski <m...@chorus.fr>
(no specs)

(*)CM-32P PCM Sound Module
-----------------------
-Multi Timbral Sound Module
-This PCM Sound Module similar to the Roland U-110 is built in the CM32P,
creating high quality 64 different sounds.
-Can produce a maximum of 31 voices (Partials)
-Built in digital Reverb creates realistic reverb effect
-Midi Hardwired Channels 11-16
- only half of the samples compared to the U-220
- no MIDI out
- no external controls beyond volume
-THOROUGH MANUAL

THIS UNIT READS THE ENTIRE SERIES OF ROLAND Sound Library SN-U110 Series.
This is the series of cards made for the Roland U110. You can buy the
complete collection of Roland U110 cards at American Musical Supply
(1-800-458-4076) for $19.95 each. <--These usually cost $59-$69.

The 64 internal sounds already on the CM-32P are all from the high quality
ROLAND sound library: 10 Pianos, 5 Guitars , 8 SLAP Bass , 2 Fingered Bass
, 2 Picked Bass, 1 Fretless Bass, 1 Acoustic Bass, 4 Choirs, 4Strings, 10
Organs, 4 Sax , 5 Brass , 8 Trumpet /Trombone (and a few more).

Owner comment:
"This is a great little module....that will give you those lush ROLAND
sounds..and best of all...you can get all the cards to build quite a
collection of sounds from American Music Supply...again..it's PCM so you
will have as rich/quality a sound as the U110 and U220!"

"The "MT-32/CM-32L Companion" module. :) Designed to give
digitally-sampled PCM sounds to your existing setup. Since it runs on
channels 11-16, it works perfectly with the 32L which is on 2-10.
It has 64 internal sounds, and a card slot that accepts cards from
the U-110, 220, etc, library." From: Markell Moss

CM-64
-----
The CM64 was an CM-32L plus a CM-32P in a single box, a kind of 64-voice
polyphony.

CM-300
------
The CM300 was an SC55 in a plain (no LCD or buttons) external box.
"The CM-300 is the same [as the CM-500] but without the LA sound source."

CM-500
------
The CM500 is 2 synths in one box; equivalent to an SC55 and an CM-32L,
for "perfect games compatibility".
"The CM-500 contains an LA sound source (identical to that found in the MT-
32 and CM-32L), and a GS format sound source. It's capable of producing up
to 56 voices at any one time, 32 LA sounds and 24 GS sounds. (reverb and
chorus effect is implanted).
It can be run in four different modes:Mode A doubles LA with GS sounds
(one can be turned off by sending an Exclusive message) ( -> Channel 1 -
16 GS + 2 - 10 LA <- ) , Mode B for use with song data written for the CM-
32L or CM-64 (the GS sound source will emulate a CM-64 PCM sound module) (
->Channel 2-10 LA + 11-16 GS <- ), Mode C for use with GS Format song data
( -> 1-16 LA <- ) and Mode D for use when playing the CM-500 with a
keyboard (-> 1-10 GS + 11-16 LA)." From: Matthias Steinwachs(MIDINET)

LAPC-1 Soundcard
----------------
Linear Arithmetic sound for the PC.
The LAPC was a CM-32L on a PC card, with enhanced sound effects and
additional user patch RAM. Introduced around 1988. Was sold by Sierra
On-line for use with their games, in additional to traditional Roland
dealers. Needs an external adapter box to turn it into a full MPU401 MIDI
interface (Roland MCB-01). Includes the CM-32L's F/X samples and as quiet.
(no specs)

MT-32 MIDI Sound Module
-----------------------
- Linear Arithmetic (L/A) synthesis, same technology as in the D-10 synth,
12-bit sampling and processing, half the samples of the D-10.
- Multi-timbral, 8 parts arranged in 8 Sound Groups plus a drum part.
- 32 voice polyphony plus 30 percussion samples
- 128 preset patches and 64 user programmable patches
- 128 PCM digital sound samples, plus digitally synth'd partials
- built-in reverb effects

The preset sounds are arranged in Sound Groups including several different
instruments and timbres from each group: Piano, Organ, Keyboard, Bass,
Syn-Bass, Synth 1 & 2, Strings, Wind, Brass, Syn-Brass, Mallet, Special
Instruments, Percussion and Effects. The power of the MT-32 really comes
through when you combine these voices together under sequencer control.
(Source: Roland Product Literature)
Owner comment:
"Lacks half of samples compared to D-10. The absence of
a piano sample is very annoying...!" (From: Adam Mirowski <m...@chorus.fr>)

Roland MT-100
-------------
An older MIDI disk-player/sequencer with the old MT-32 sound module built
in. Roland has replaced the MT-100 with file-players/sequencers with the
Sound Canvas built in instead.

RAP-10/AT Roland Audio Producer Soundcard
-----------------------------------------
The RAP-10 provides General MIDI and WAV record and play. The MIDI
is based on the SC-7. MIDI ports are provided by an optional adapter
which connects to an expansion on port on the backplane of the card.
Roland makes an adapter called the MCB for this purpose.

Features:
- 16-channel, 26-voice 'Sound Canvas' General MIDI synthesizer
- 128 MIDI instrument sounds, 6 drum kits
- 16-bit, 44.1 kHz stereo sampling
- studio-quality digital reverb and chorus for both MIDI and digital audio
- Roland Audio Toolworks software for Microsoft Windows 3.1
- fully synchronized record/play of MIDI and WAV data
- 16 MIDI channel + 2 WAV channel mixing console
- waveform editing
- internal ISA bus card for PC, General MIDI interface
Specs:
Synthesizer:
Tones: 128 sounds (General MIDI System Level 1), 6 drum kits
Polyphony/Timbres: 26 voices/16parts, (1 for drums)
Digitized Audio Section:
Record: Linear 8 or 16 bit at 44.1/22.05/11.025 kHz
Playback: Linear 8 or 16 bit at variable rates
(+/- 1.5 ocatves from sample)
Polyphony: One stereo or two mono part(s)
Effects: Reverb/Delay and Chorus common to both sections
independent levels per part.
Inputs: Stereo
Mic/Line: adjustable from -50dBm to -10dBm; stereo mini-phone jack
Aux/CD: -10dBm; stereo mini-phone jack & internal connector
Output: Stereo
Line Level: -10dBm; stereo mini-phone jack
Mixer: Seperate levels for synthesized audio playback,
digitized audio playback,
AD/input (also Aux. in)
Interfaces:
Joystick/MIDI (Enhanced MPU-401 UART) connector;
DB-15F (optional MCB-10 connector box provides MIDI connections)

Comment:
" >one question: If I add the midi interface accessory, does the RAP 10
>become truly MPU-401 compatible? I need a true MPU-401 interface

Nope - Roland finally dropped their own standard on this one. The
RAP-10 is MPU-401 compatible as far as Windows is concerned, and will
work with any software that will support a UART-only interface (I'm
taking a stab that Cakewalk 5.0 for DOS will work with it) such as a
SoundBlaster offers, but the RAP-10 doesn't have the MPU coprocessor.
Old software that requires that hardware support won't work with it.
If you like the synth and audio parts of the RAP-10, go ahead and get
one cheap, and buy a Music Quest PC-MIDI card for your gen-u-ine MPU
requirements." From: Mike Rivers

(*)SCC-1 GS Sound Card
--------------------------
The SCC-1 is the CARD type of the SC-55 Sound Canvas module, it is an
8-bit card with onboard MPU-401 unit for processing MIDIs,
128 GS instruments, General MIDI and GS Compatible.

The SCC-1 is also MT32 compatible, but does not understand
MT32 Sysex messages. It has an MT-32 compatible program change map
(bank 128 issued on every channel/part).

Specs:
- 16-channel, 24 voice 'Sound Canvas' General MIDI synthesizer
- 317 MIDI instrument sounds, 9 drum kits, plus sound effects
- MPU 401 interface for DOS & Windows MIDI software
- studio quality reverb and chorus
Reverb: ROOM 1-3, Hall 1-2, Plate, Delay,Panning Delay
Chorus: Chorus 1-4,Feedback Chorus,Flanger,Short Delay,Short
Delay Feed back.
- General MIDI and Roland GS compatible
- Ports: Headphones, MIDI IN/OUT, RCA Left, RCA Right.

Owner comments:
"All basic GM sounds have variations, memorized on a per-part basis,
changed using the Bank Select MSB controller (0) and often offering
a richer sound through the usage of two partials instead of one."
(From: Adam Mirowski <m...@chorus.fr>)

"Samples are stored in ROM, using 4MB , Uncompressed. (I wasnt able to verify
the 4MB size, if anyone can verify it with Roland Corp. it will be great.)"

"The way to combine 2 soundcard audio signals into one stereo signal feeding
a stereo system input, would be to pass the audio output from one card
into the AUX input of the other, and then use the mixer applet to combine
them. In the case of using a SB card and an SCC-1, the only choice
would be to feed the SCC-1 audio output into the SB AUX input,
and take the SCC-1 audio output to your stereo. The SCC-1 does not have
an AUX input."

SCC-1B GS Sound Card
---------------------
Basically the SCC-1 bundled with additional software.

This is a small comparison between the Roland SC-7 module
and the Roland SCC-1 card. You are encourged to use this template
when comparing other wavetabled cards.

Roland SC-7 Roland SCC-1

Parts: 16 16
Polyphony (MAX) 28 24
Tones: 128 317
6 Drum Sets 9 Drum Sets
Standard Standard
Electronic Electronic
Brush Brush
Power Power
TR808-set TR808-SET
Orchestra Orchestra
Jazz
Room
Sfx
CM64/32L

Effects Reverb/Delay Chorus Reverb/Delay
Chours

NOTE: Both SC-7 and SCC-1 are GM. The SCC-1 also conforms to GS.

(*)SC-7(PC),SC-7(MAC) Sound Modules
--------------------------------
- connects to PC or MAC serial port or any MIDI interface
- 128 General MIDI instrument patches with 6 drum kits
- 28 voice polyphony, 16 parts
- studio quality reverb and chorus
- two-input mixer for MAC/PC audio, CD-ROM, etc.
- Ballade(r) and Band-in-a-Box(r) software and cables
- Ballade software mixer (MIDI)
- Band-in-a-Box software (PG Music, Inc.)

(*)SCD-10 and SCD-15 Sound Canvas Daughter Boards
----------------------------------------------
Model SCD-10 and SCD-15 are Sound Canvas Daughter Boards bundled with Software.
SCD-10 is General MIDI and SCD-15 is General MIDI and GS Format. The model
number of the cards themselves are SCB-7 and SCB-55 but these are not sold
outside of the bundle. Either one connects to Sound Blaster 16 wave expansion
feature connector (except SB16 Value Edition which does not have expansion
connector). Software includes Do-Re-MiX, Easy Juke, and 100 song files.

Comments:
"Basically, the SC-10 and SC-15 are the SC-7 and SC-55 technology in a
SoundBlaster daughterboard expansion format. As the daughterboards use
the Soundblaster audio circuitry, the SB+DB arrangement is noisier than
a discrete Roland SC-7 or SC-55 arrangement. This may not be a concern
for gaming, but is a concern for recording and multimedia development."

SC-55
------
The SC-55 is the Original Sound Canvas and is an External Module.
The SC-55 is a 16-part General MIDI/GS sound module with up to 24-note
polyphony. It has 317 sounds plus 9 drum sets plus a sound effects set. It
has a larger display and more front-panel controls than most Sound Canvas
models. It's mostly a sample playback unit, but some aspects of the samples
(such as filtering and the envelope) can be altered to produce new sounds.
There is no capability to add totally different sounds. The SC-55 also has
built-in reverb and chorus. It has a MT-32 compatibility mode (although the
sounds aren't exact and there are some limitations, such as that MT-32 sys ex
is not supported). It has an extra MIDI In jack on the front panel and has a
remote control that can handle some basic functions. It's rack-mountable
(taking half a rack space).

User comment:
"When Keyboard magazine did a blind test with many trained listeners a year
ago, they rated the SC7 and the SC55 (the original Sound Canvas) equal in
quality and better than the half dozen other General Midi boxes they tested,
including Korg, Kawai, and Yamaha TG100." (From: dc...@ua.d.umn.edu)

(*)SC-88 Roland Sound Canvas 88
-------------------------------
The SC-88 is a MIDI sound module with 64-note polyphony and 32-instrument
multi-timbrality. The back panel has MIDI A IN, MIDI B IN, MIDI OUT/THRU,
a special serial port for PC control if your computer doesn't have a MIDI
card, a switch to choose among MIDI, MAC, PC 1, PC 2 for control, and 2
pairs of RCA jacks (audio in, with volume control, and audio out).

The front panel is a whole mess of controls handling everything from
instrument selection to pan, chorus, reverb, EQ, and parameter editing. Of
special note is the second MIDI B IN jack on the front panel, a boon to
multi-controller setups to avoid the plug tangle in the back.

Comments:
"Roland boasts some 600+ sounds from the SC-88. This is a bit optimistic,
IMHO, as I really don't detect any difference in some of the similar sounds
on different maps (and some of the sounds on different maps are indicated as
identical). The three maps available are SC-88, SC-55 and CM-64. The SC-88
map contains 408 (by my one-pass manual count) sounds, the SC-55 map contains
226 (117 of which are identical to their SC-88 versions, and the CM-64
contains 192 sounds (none of which are indicated as identical, but some of
which sound pretty much identical). Still, it is a large assortment of a
wide variety of sounds (we'll get to drum kits in a minute).

When you look at the patches by type, some generalizations can be
made. The piano sounds are uniformly good (the Honky Tonk and Old Upright
sounds especially) -- not quite up to some of the dedicated piano sound
modules I've heard, but far above average. Ditto for the chromatic
percussion set (Celesta, Glockenspiel, Music Box, Vibes, Marimbas, Xys, etc.).
The organd sounds are spotty. Some are excellent (the Reed Organ and some of
the church sounds, for instance); the rotarys aren't that hot, though --
look elsewhere if you want a decent B3 sound (it gives me an excused to buy
a dedicated B3 module, I guess :-). The guitars are incredibly weak -- if
you're doing recording, plan on getting a friend to lay down any guitar
lines you want. The basses are about 70% positive -- the Acoustic and
Fingered in particular (I'm primarily a bass player, so I was picky about
this :-). There are a few weak ones in it -- the slaps aren't as thick as
I'd like.

The orchestral and ensemble groups are great -- I was blown away by
a couple of the demo songs that came with the SC-88. The brass is
hit-or-miss -- the best French Horn I've ever heard on a synth, but lame
Trumpets, for instance. The reed group is slightly better, but not
fantastic. The pipes (flute, recorder, etc.) are solid, but not spectacular.
The Synth pads are very nice, and the synth leads are good, but not up to
Vintage Key standards. The synth FX are nice if you need that sort of thing
-- a couple of them are amazingly cheesy, though (sometimes intentionally,
sometimes not, I think). The ethnic section is good, but too damn short
(with the exception of the bagpipe sound, which is truly, truly awful). The
tuned percussive section is great, and the Special Effects (footsteps,
shots, choppers, cats, birds, rain, cars, etc.) is very good.

Drum Kits include Standard 1 & 2, Room, Power, Electronic, 808/809,
Jazz, Brush, Orchestra, Kick/Snare, Ethnic, SFX, and Rhythm. All are very,
very good.

The EQ section provides 12 db of cut/gain at 200, 400, 3k and 6k. I
suppose wishing for a parametric EQ is pushing for it, but it would have
been nice to offer 100 hz and 12k. <sigh> Nitpick. There are 8 different
reverbs: Room 1-3, Hall 1-2, Plate, Delay and Panning (Sweep) Delay. There
are also 8 choruses: Chorus 1-4, Feedback Chorus (soft flange), Flanger,
Short Delay, Short Delay w/repeats. There are also 9 delays Delay1-4
(progressively longer delay times), and panning versions of the above, plus
a ping-pong left/right pan repeat that is way cool. Each type of effect has
a whole slew of parameters that can be adjusted (and damn do I want a good
Windows editor for this beast).

There is room to store 256 user patches, and everything in the
system can be controlled via sysex dumps.

I've only had it for a week, so I can't really get in-depth on the
editing, etc., but as far as sound quality and versatility go, this is
fantastic. If I can get a good B3 module, the Proteus Ethnic module and
perhaps a Vintage Keys, I'd have everything I need at my fingertips :-). If
not, I can struggle by with the SC-88. Recommended."
From: men...@io.com (Loyd Blankenship)

Super MPU/AT, MPU-IMC, MPU-IPC MIDI Interfaces
----------------------------------------------
- full MPU 401 compatibility
- MPU-IMC for IBM Microchannel, -IPC for PC ISA
- 'Super MPU/AT' adds:
dual ports (32 MIDI channels in and out), SMPTE read/write ports,
high resolution (960 ppqn), 16-bit MPU MIDI data processing

--------------------------------------------------------------------------
5. RHYTHM UNITS
--------------------------------------------------------------------------
Rhythm sequencers, drum machines, bass line sequencers, electronic drum
kits and accessories.

BOSS DR-5
---------
Comments:
"The DR-5 is an entire "band in a box": it's part drum machine, part synth
and part sequencer. Physically, it's a little larger than the DR-550/-660 drum
machines (approximately 6" x 10"). The front (really top) panel is comprised of
a multi-function display and about 40 buttons + data wheel on the top. Most of
the buttons are dual- purpose. For instance, 30 of the buttons are arranged to
kind of represent the first five fretted notes on a guitar on all strings.
However, all of these buttons are used for another purpose depending on the mode
you're in.
The unit contains 200 preset "patterns", and room for 200 user-defined
patterns. A pattern is made up of four tracks programmed to play drums, bass
and rhythm tracks. The drums play something, in some time signature, along with
bass and rhythm lines. Track 1 is reserved for drums. The remaining tracks
can be used for anything, though typically you'll find that the preset patterns
are set up like this:
Track 1: Drums (always)
Track 2: Rhythm instrument (guitar, piano, synth, brass)
Track 3: Bass (*many* types to choose from)
Track 4: Additional rhythm or lead instrument
You create songs by stringing together one or more patterns, setting up
loop points with repeat bars, etc. Hit play and you have an instant rhythm
section!
To create a new pattern, you first pick a kit. A kit defines the percussion
instruments that can be used on Track 1, PLUS each instrument that can used on
each of the remaining tracks (Tracks 2-4). There are 32 preset kits and room
for 16 user-defined kits.
For each kit, there are 30 percussion sounds (out of a total of 64) that may
be used. That is, for each kit, there is a drum kit of 30 pieces.
The display is pretty slick. You're presented with both a guitar fretboard and
a piano keyboad (one octave). The keypad layout is like a guitar fretboard, so
you can enter chords or single notes through the keypad and it'll appear in the
guitar and keyboard "tab" display simulatneously. Or, you can connect your
(From: an...@blade.enet.dec.com, Andre' J. St. Laurent)

BOSS DR-550
-----------
Excellent 16-bit drum machine from Boss (a division of Roland).
48 16-bit samples (not sampled at 44.1k though!)
Some samples imported from the R-8 series. Includes 808 samples (snare,
hats, clap, cowbell), 5-6 versions of kicks and snares, latin percussions,
special effects type (scratches and zaps) and full kits.
pattern sequencer.
MIDI In ONLY! (so, you'll have to put it at the end of the chain or get
a THRU box)
Runs on battery. Power adaptor supplied.
Stereo outs (L/R) Tape storage interface.
(BTW, it's 12 notes polyphony)
From: am...@charlie.usd.edu

(*)R-5 Drum Machine (Human Rhythm Composer)
----------------------------------------
Stereo mix outputs plus 4 individual outs plus headphone out.
Contains Drum, Percussion and Bass Guitar sounds.
Human feel algorithms
Touch sensitive pads
MIDI in/out/thru
Preset patterns as well as user defined
Swing feature
Flam and roll buttons
Sequence start/stop jack on rear panel
Copy internal instruments and modify to create new sounds
Edit all internal sound parameters (e.g. pitch and decay etc.)
Tempo and level changes

R-8 Drum Machine (Human Rhythm Composer)
----------------------------------------
- Full MIDI compatibility
(no data)

R-70 Human Rhythm Composer
--------------------------
- of course, it's MIDI, and supports a lot of controllers, etc.
- I use SYSEX all the time to define drum sets and setups from the IBM
(running Cake 2)
- 210 16-bit drum and percussion samples, and they sound really quite nice.
- Positional pad, which can play "across" a drum head or cymbal from the
edge to the center (bell of the cymbal) - this is great for customizing
hits, and it really sounds authentic if you use it right!
- on board effects (these are o.k., and I use them sometimes)
Stereo flange, chorus, delays, reverbs
- 32 spots for User-tweaked samples
- Ram cartridges are available, but I don't use them
(I SYSEX dump to IBM instead)
- It is a "drum machine," and has a hardware sequencer that I sometimes use.
It doesn't mind being the slave, but I usually just use Cake and do all my
work there.
- The unit is capable of creating patterns in various genres, which may be
handy for the person that's temporarily out of ideas. Works fairly well.
I don't use this either, but it's kind of neat. :) Those things it
creates can be converted to user patterns and saved/edited.
- Can memorize some of the MIDI data sent to it
- Recognizes an eight-bit pitch bend resolution, mods, data entry, volume
(of course), panpot, etc. (most used controllers, anyway)

TR-505 MIDI
------
(no data)

TR-606 Drumatix (Non-MIDI)
------
The Drumatix is a totally programmable drum synthesizer/sequencer. The
drum sounds available on the TR-606 include: Bass, Snare, Lo and Hi Toms,
Cymbal, Open and Closed HiHat. Each sound has its own level control for
total mix flexibility.

With the Drumatix, you can program 32 different rhythm patterns which
can be arranged to play up to 8 complete rhythm tracks ("songs"). After
the track has been programmed, the TR-606 can easily sync to other
ProForm products or many other products to play the complete drum track
of the composition.

Specs:
- Programmable in real time or in step mode using input buttons
- ProForm standard includes the TB-303 bass synthesizer/sequencer.

TR-626 MIDI
-----
(no data)

TR-707 Rhythm composer MIDI
----------------------
The TR-707 is a programmable drum machine, similar to the TR727,
but has ordinary drum sounds.

TR-727 Rhythm composer MIDI
----------------------
The TR-727 is a programmable drum machine for latin percussion with MIDI.

Programmable in "step mode" or "tap mode"
4 tracks , 998 bars in total from up to 64 user created rhuthm patterns.
the sequencer supports accents, "flam" (grace-note), and "shuffle" for
rhythmic variants.

15 Sound sources with
Hi Bongo
Low Bongo
Mute Hi Conga
Open Hi Conga
Low Conga
Hi Timbale
Low Timbale
Hi Agogo
Low Agogo
Cabasa
Maracas
Short Whistle
Long Whistle
Quijada
Star Chime

Stereo or Mono Output
Ten independent outputs for each sound source (Bongo, Conga etc.)
stereo headphone jack
built in mixer with individual level control buttons

MIDI Input (1, in), MIDI Outputs (1, out) Cassette Tape Memory/Sync Jacks: Save/Out, Load/In
DIN Sync IN/OUT Connector
External Trigger Output ("Hi Ag trig out" jack)
DC in 12V, AC adaptor jack

Optional Pedal switch, memory cartridge.

Note numbers used for MIDI are remappable and the unit can thus
be used as a simple sequencer.

TR-808 Non-MIDI
------
Programmable in real time or in step mode using input buttons
(no data)

TR-909 Rhythm Composer MIDI
----------------------
Programmable in real time or in step mode using input buttons
96 patterns (16 patterns x 3 pattern groups) x 2 banks
4 tracks (continuous: max 896 measures) x 2 banks
1-16 step range
Sound sources (controls):
Bass drum (Level, Tune, Decay, Attack)
Snare Drum (Level, Tune, Tone, Snappy)
Low Tom (Level, Tune, Decay)
Mid Tom (Level, Tune, Decay)
High Tom (Level, Tune, Decay)
Rim Shot (Level), Hand Clap (Level), Closed/Open HiHat (Level, Decay)
Crash Cymbal (Level, Tune)
Ride Cymbal (Level, Tune)
Stereo or Mono Output
Independent outputs for each sound source (Bass, Snare, Etc.)
MIDI Input (1), MIDI Outputs (2)
Cassette Tape Memory/Sync Jacks: Save/Out, Load/In
External Trigger Output (Rim Shot jack)

--------------------------------------------------------------------------
6. QUESTIONS & ANSWERS
--------------------------------------------------------------------------
Selected questions and answers on general Roland equipment features.
Specific equipment questions would soon be too numerous to include in
this document, and should be part of another, equipment-specific FAQ.

Q. How do I contact Roland Corporation?

A. ROLAND CORPORATION US
---------------------
Warranty Repair Service
7200 Dominion Circle
Los Angeles, California 90040-3696

(213)722-0911 FAX
(213)685-5141 Main Technical Support (extension 770)
(213)726-8865 Main Technical Support FAX

CompuServe Forum
In addition to the above numbers, technical information articles,
technical support messaging and Help files uppdates are provided
online via Compuserve. To access the Roland forum, type
GO ROLAND
at any CompuServe prompt.

CompuServe E-Mail Account
The account number is RolandTech,72662,376

ROLAND CORPORATION OUTSIDE USA:
-------------------------------
Roland Canada Music Company
5480 Parkwood Way
Richmond, B.C. V6V 2M4
Phone (604) 270-6626
FAX (604) 270-6552

(THERE ARE OTHERS, WILL BE LISTED IN FAQ IF REQUESTED)

Q. What is the "Roland GS" standard?

A. The groundbreaking GS standard was created to standardize the Tone
map and MIDI parameters for Roland instruments, providing consistent
rules for defining MIDI Program Change number assignments and sound
modification parameters. Developed in conformity with the General
MIDI format adopted by the MIDI Manufacturer's Association, any GS-
compatible sound source will be able to utilize the same sequencing
data without having to reset MIDI Program Change numbers, Receive
channels, or other parameters. The SB-55 Sound Brush and the SC-55
Sound Canvas were the first instruments to incorporate the GS Standard.
(Source: Roland Users Group)

Q. What drum sounds are available in Roland MIDI equipment?

A. The General MIDI specification designates a 'standard' drum kit ("sounds").
A drum kit is a collection of percussive instruments (snare drum, bass
drum, hi-hats, etc.) laid across the entire MIDI keyboard. Under General
MIDI, MIDI channel 10 is reserved for percussion instruments. General
MIDI defines only one drum kit, which is the Standard Kit. Extensions
to the General MIDI spec allow additional drum sounds, of which the
Roland GS is a well-known extension used in many Roland synthesizers.

Roland GS Mode "drum kits"
--------------------------

Under the "GS" synth mode there are additional (including the
Standard Drum Kit) drum kits you can use on MIDI Channel 10.
Actually, you can set any channel (part) to drum mode
and you can even use two drum kits at the same time.
A part/channel can be either in melodic mode or in one
of two drum modes.

Some common alternate drum kits are:

Name Description

Standard/Jazz Standard General MIDI drum kit.

Jazz is similar to the Standard drum kit.

Room Similar to that of the Standard
kit except that it has more room
ambiance.

Power Again similar to that of the
Standard kit, but with more power
kick and snare drums.

Electronic Electronic drum kit. Most of the
percussion instruments in this
drum kit are reminiscent of old
analogue and digital rhythm
machines (such as the Roland
TR-707 and TR-909 rhythm machine)

TR-808 Electronic drum kit, reminiscent
of the Roland TR-808 rhythm
machine.

Brush Similar to the Standard kit except
that brushes have been added. This
kit is mostly used for Jazz MIDI
pieces.

Orchestra An immense collection of concert
drums and timpani.

SFX A collection of Sound Effects.

CM-64/32L Same as the CM-32L and CM-64 drum kit
This drum kit contains standard
percussion at the lower range of
the keyboard, and sound effects
at the higher range of the
keyboard.

Drum kits are very easy to access under MIDI. Each drum kit is essentially
an instrument and you select a drum kit by selecting an instrument, just
as if you would select a melodic instrument. For example, if you want to
select the TR-808, all you have to do is to perform a program change to 25
on MIDI channel 10. After the program change, all percussion sounds will
be played back through the TR-808 drum kit.
(Source: Roland Users Group,SBAWE32.FAQ)

Additional Comments on GS Drum Kits
-----------------------------------
From: dc...@ub.d.umn.edu (david cole)
Subject: Info: the Roland GS drum sets

Roland's GS standard allows for up to 128 drum kits. These are selected
by sending a midi program number on the percussion or drum midi channel;
the default midi channel for drums is 10. At powerup, and if a midi
program 1 is sent, gives the standard General Midi drum set (or "kit").

This General Midi kit is similar to the MT32 kit, but on the
upper notes it adds various infrequently used instruments (jingle bell,
Latin instruments), many in locations which were used by Sound Effects in
the CM32l and LAPC-1.
No GS module has anywhere near 128 different drum kits. The following
information comes from the CM500 manual, and should apply to the SCC-1 card,
SC55, SC155, CM300, and, I believe, the JV30 keyboard. The SC-7, RAP10
and SCD10 have fewer, and the SC55 MkII and SCD15 appear to have more,
drum kits.

The other drum kits in the various original Sound Canvas GS models make a
few changes to the basic General Midi kit. In the following, I list
Rolands name for the set, the program number on channel 10 that calls up
the kit, and a description of what is different.

Room set, program number 9:
replaces the 6 Toms with Room Toms.

Power set, program number 17:
uses the room Toms, and also adds "MONDO kick" and Gated Snare drum.

Electronic set, program number 25:
electronic Bass Drumm, Snare Drum, and 6 electronic Toms, and reverse
cymbal replaces Chinese cymbal.

TR808 set, program number 26 (TR808 is a poplular Roland drum machine):
808 versions replace the Bass Drum 1, rim shot (side stick), senare, the
toms, hihats and cymbal, cowbell, 3 congas, maracas and claves.

Brush set, program number 41:
replaces the GM hand clap, snare drum 1 and 2 with brush slap, tap, and
swirl respectively. For Jazz, presumably.

Orchestra set, program number 49: concert bass drums 1 and 2, concert
snare, castanets and cymbals. Big change is the high hats are moved and
note numbers 41 thru 53 produce an octave of Timpani.
Applause is note number 88. It is, of course, polite appluse, no hooting.

SFX set, program number 57:
46 sound effects, most are the same effect (if not same quality, I
haven't compared) as in the CM32l and lapc-1: door creaks, slams,
screams, gunshots, jets, laser guns, laughs, etc. New are slap, guitar
sliding finger, guitar cutting noise (down), guitar cutting noise (up),
string slap of double bass, fl. (flute?) key click.

CM64/32L set, program number 128:
nothing new here, but combined differently for backward compatibility.
Notes 35 to 75 are percussion (7 notes are skipped along the way and have
no instruments), notes 75 to 108 are sound effects.

GS EFFECTS for percussion: percussion parameters are set via midi exclusive
messages. Each instrument can have a level setting, a pan postion in the
stereo field, and a settable amount of reverb and chorus. Also, as I
interpret Roland's somewhat cryptic MIDI Imprementation charts, you have
some control over the pitch of each percussion instument. And, as I read
it, you can create 2 maps of these drum parameters. Haven't tried this;
don't see how you switch between the maps.

Hope this helps make clearer just what "GS" comes down to -- and maybe
will inspire some to compose using the additional capabilities. The
information here should allow using the brush, room, and power sets, but
for the others you will need to consult the charts in the manual for one
of Roland's many GS instruments.

Q. What drum sounds are available in the "Standard" General MIDI kit?

A. The General MIDI specification designates a 'standard' drum kit
("sounds") which includes the following percussion tones:

STANDARD GM DRUM SET TABLE (From: ROLAND RAP-10 GM SOUNDCARD MANUAL)
PC# NOTE 8VA STANDARD SET
---- ------ ---- ---------------
C
C#
D
27 D# 1 High Q
28 E 1 Slap
29 F 1 Scratch Push
30 F# 1 Scratch Pull
31 G 1 Sticks
32 G# 1 Square Click
33 A 1 Metronome Click
34 Bb 1 Metronome Bell
35 B 1 Kick Drum 2
36 C 2 Kick Drum 1
37 C# 2 Side Stick
38 D 2 Snare Drum 1
39 D# 2 Hand Clap
40 E 2 Snare Drum 2
41 F 2 Low Tom 2
42 F# 2 Closed HiHat[EXC1]
43 G 2 Low Tom 1
44 G# 2 Pedal HiHat [EXC1]
45 A 2 Mid Tom 2
46 Bb 2 Open HiHat [EXC1]
47 B 2 Mid Tom 1
48 C 3 High Tom 2
49 C# 3 Crash Cymbal 1*
50 D 3 High Tom 1
51 D# 3 Ride Cymbal 1
52 E 3 Chinese Cymbal
53 F 3 Ride Bell*
54 F# 3 Tambourine
55 G 3 Splash Cymbal*
56 G# 3 Cowbell
57 A 3 Crash Cymbal 2*
58 Bb 3 Vibra-Slap
59 B 3 Ride Cymbal 2
60 C 4 High Bongo
61 C# 4 Low Bongo
62 D 4 Mute High Conga
63 D# 4 Open High Conga
64 E 4 Low Conga
65 F 4 High Timbale
66 F# 4 Low Timbale
67 G 4 High Agogo
68 G# 4 Low Agogo
69 A 4 Cabasa
70 Bb 4 Maracas
71 B 4 Short Hi Whistle[EXC2]
72 C 5 Long Low Whistle[EXC2]
73 C# 5 Short Guiro [EXC3]
74 D 5 Long Guiro [EXC3]
75 D# 5 Claves
76 E 5 High Wood Block
77 F 5 Low Wood Block
78 F# 5 Mute Cuica [EXC4]
79 G 5 Open Cuica[EXC4]
80 G# 5 Mute Triangle*[EXC5]
81 A 5 Open Triangle[EXC5]
82 Bb 5 Shaker
83 B 5 Jingle Bell
84 C 6 [empty]
85 C# 6 Castanets
86 D 6 Mute Surdo*[EXC6]
87 D# 6 Open Surdo*[EXC6]
88 E 6 [empty]
Notes:
1 "The blank positions have the same instruments as
the ""Standard Set""."
2 Instruments with the same [EXC#] (Exclusive Group
Number) will mute each other when played in
combination.
3 Instruments marked with (*) can have their TVF's
(Time-Variant Filter) modified by Channel Aftertouch

Q. What is Roland's SysEx Data ID and what is SysEx?

A. Should be "41". SysEx is a means of storing/retrieving synthesizer
system patch data. This is for advanced MIDI users. In many MIDI
sequencer software packages, the bytes are edited as hexadecimal
numbers, separated by spaces. The sysex data will look something
like this example: 'F0 41 10 42 12 40 11 02 10 1D F7' . Each sysex
message should start with 'F0' and end with 'F7'.

Q. Why is this FAQ published?

A. About the ROLAND.FAQ: This is a 'work in progress'. I have seen questions
on the Usenet and FTSC nets many times asking what Roland equipment
features are. I hope this effort will help the situation.
I have attempted to gather information from spec sheets wherever possible.
Because the price of equipment changes rapidly, I have made no effort to
track average selling prices, etc. There are other sources out there that
attempt to track current prices of new and used equipment, and I suggest
that you look for them if that is what you need.

==========================================================================
MORE INFO - APPENDICES
==========================================================================

How to submit information to the ROLAND FAQ
===========================================
Please submit comments, corrections, and additions to:

Tom Honles Internet: t...@manta.dwp.la.ca.us
or t...@f945.n102.z1.fidonet.org
Fidonet : Tom Honles @ 1:102/945
Familynet: Tom Honles @ 8:77/28
OS2Net : Tom Honles @ 81:307/6

Submissions should include specs where possible. Data obtained from Roland
product literature or magazine reviews is preferred, but hands-on owner's
experiences and comments are welcome. Specs are most readable when listed
in a line-by-line, item-by-item style. Comments and reviews are typically
in a running prose. For an example see the entry for the RAP-10/AT soundcard
in the MIDI COMPUTER PERIPHERALS section of the FAQ.

Credits
=======
Equipment data obtained from manufacturer's literature where possible.
Other sources include public postings of descriptions by owners of
equipment via Usenet conferences or e-mail, including but not limited to:

From: ta...@zeus.datasrv.co.il (Tal Barenboim)
From: dc...@ua.d.umn.edu (david cole)
From: John Corrigan (Fidonet MIDINET)
From: dal...@Xenon.Stanford.EDU (Ismail Dalgic)
From: EATON%S...@CRF.CUIS.EDU (Dan Eaton)
From: Kenn Fink (Fidonet MIDINET)
From: Andrew W Gamlen <awg...@huxley.anu.edu.au>
From: Steve...@aol.com (Steve Grace)
From: Don Guy (Fidonet MIDINET)
From: William Hsu: h...@acuson.com
From: Mike Kent <73073...@CompuServe.COM>
From: George Kotsopoulos(Fidonet MIDINET)
From: andrew....@rose.com (andrew maclean)
From: Adam Mirowski <m...@chorus.fr>
From: Markell Moss (Fidonet MIDINET)
From: nh...@bnr.ca (Gia Nhan)
From: Paul Petersen(Fidonet MIDINET)
From: JT <jmil...@magnus.acs.ohio-state.edu>
From: m...@kreftreg.no (Mads Olsen)
From: Jon Rose (Fidonet MIDINET)
From: yswe...@nermal.santarosa.edu (Yarrow Sweningsen)
From: (Alf) Thomas Sjoeland <a...@sics.se>
From: "Cesare Tirabassi (NSI)" <CTIR...@vmprofs.estec.esa.nl>
From: urb...@lion.de (Juri Urbainczyk)
From: vel...@epas.utoronto.ca (Nicholas Velharticky)
From: 3J...@QUCDN.QueensU.CA (Gooey)
From: Irdial-Discs <ird...@irdialsys.win-uk.net>
From: qu...@panix.com (Quest)
From: RIC...@delphi.com
From: rjba...@et.tudelft.nl (ROBERT)
From: anal...@magnus.acs.ohio-state.edu (Analog Heaven mailing list)

- Thanks to all.

==========================================================================
DISCLAIMER
==========================================================================
I am in no way connected with or compensated by Roland Corporation or
any affiliates in production of this document. This document has been
created solely for the purpose of providing a convenient service to
other owners of Roland equipment. The information contained within
this document is as accurate as has been presented to me, and may contain
significant errors. You are encouraged to verify the details on the
particular equipment you are purchasing or comparing with the seller
or with Roland Corporation.
Tom Honles
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