Roland Sound Pack

[Tijuana Strauhal]

Fromrecreations of vintage analog classics to modern, cutting-edge tones that are perfect for the latest music styles and beyond, Axial is your home for an ever-expanding selection of unique and exciting new sounds for your Roland instruments.

The MC-707 GROOVEBOX has everything you need to create a song or perform a live set without a computer. Immerse yourself in eight tracks of recording, sequencing, synthesizers, and effects, plus a curated palette of sounds, loops, and phrases.

FANTOM-0 brings your creative world together, combining the sonic power and fluid workflow of the top-of-the-line FANTOM series in streamlined instruments that go everywhere your inspiration takes you.

@The_Bard_sRc said:

looking at the store page from my purchase history, it straight up says it doesn't work on iOS 14. so you're not seeing it in the app store because you're on an unsupported OS now

I'm actually restoring my iPad Air 2 running iOS 13.5.7 on a brand new Pro 11" that I've been forced to update to iPadOS 14.3.

SOUND Canvas has just been installed and loads correctly too.

The only apps which seem to be lost forever for me, and that I will miss a lot, are Diode108 and Flux:FX ??.

@ecstaticax - Roland has a habit of repackaging its considerable IP, so this won't be the end of the story. I expect it signals the end of the SOUND Canvas app, though. It wouldn't be a huge surprise if SC sound packs turned up within the Zenbeats/ZENOLOGY/ZEN-Core store(s), but they won't want to step on the toes of the new-ish VST version, so who knows?

I've noticed there's actualy some bugs with it on iOS 14, which is probly why they removed it. trying to load the builtin demo MIDIs is just a mess, and theyre not sending the PC's to it so the instrument doesnt change to what the demo is supposed to be using. so my guess is Roland ran into problems with that, and wrote off the whole app as not compatible for now even though it's usable to be drivien by MIDI commands. consiering the app was originally just a MIDI file player and the actual use we have of it now was added later, that may be why

I just updated from IOS 13 to IOS 14.6 and Sound Canvas no longer works I was just wondering if there is anyone out there running IOS 14, who are still able to use Sound Canvas?

I particularly loved some of the guitar sounds on SC , so does anyone have any alternative recommendations? I do already have BS-16i and THU, but was wondering if there is anything I have overlooked that offers decent guitar sounds , preferably in the Funk sounding genre ?

The problem is that the app has not been updated in ages (and Roland has officially dropped support for it) and it currently lacks a proper certificate to run. Deleting/re-downloading it will fix it even if there's no longer a way to purchase the app.

@Samu Thank you so much, I will try that. The last time I encountered this issue with another app that was no longer supported or available , I used the iMazing program to reinstall the app from my backup and it worked like a charm

@anotherscott2 said:

iM1, Thumbjam, and Sampletank are some that come to mind as possible replacements. Though while they may have similar "multimbral rompler" functionalities, they will not sound the same.

In short, PureAcoustic Ambience is a simulation of overhead microphones. During a recording session, overheads create ambient sound. For example, the atmosphere around a bass drum sound can be so nice.

ST: V-Drums MFX and System FX are almost the same as our synthesizer products. But in kit creation, we have some very unique V-Drums DSP functions which include our transient shaper and dynamic enhancer.

We started to investigate and research solutions. Latency is one of the most important things for playability, and it was difficult to find a sensor with low latency. Eventually, we found the best sensor for cross stick.

RT: Oh man, that was before my time. I joined Roland in 2009. My boss told me a really interesting story involving a trampoline. After seeing one, he came up with the idea that if we adopted a structure that was more like a trampoline, we could get a more natural feel for our heads.

RT: We measure how far you have to deploy using a laser displacement meter. In the case of a 3-layer mesh head like the PD-140DS, we repeat the trial over and over. Then we compare and contrast.

Stan: "All right, but apart from the Jupiter 8, guitar synthesis, sample-based synthesizers, playable electronic drum kits, Boss effects units, programmable rhythm units, reliable analogue synthesizers, the Space Echoes and Jazz Chorus amplifiers, what have the Rolands ever done for us?"

Clearly, the Rolands have done a great deal for us, and it seems high time that we looked back at some of the milestones in the company's (and, therefore, the electronic music industry's) history. But this is the story of a man as much as a company, so we'll start by turning our clock back to a time long before the birth of the hi-tech music.

It's hardly surprising that the FR1 was successful. Long before rhythm machines became commonplace, it offered 16 preset patterns that you could mix together simply by pressing two buttons simultaneously, so more than one hundred rhythm combinations were just a button press (or two) away. What's more, four additional buttons allowed you to defeat the cymbal, claves, cowbell and bass-drum sounds, thus allowing you to modify the sound still further.

But perhaps most innovative of all were the FR1's sounds, now recognisable as archetypically 'Roland', and which were later destined to shape rock and pop music from the late '70s onwards. Indeed, the FR1 is the precursor of all Roland's great analogue rhythm machines. What's more, in an era of sometimes shoddy manufacturing and poor reliability, the FR1 was built like a tank, and also to last. Mine is approaching its 40th birthday, and its little heart beats as strongly today as it did back in the Summer of Love.

Once World War II was over, and after failing on health grounds to enter the city's university in 1946, Kakehashi moved to the southernmost of Japan's four major islands, Kyushu. This offered a far more rural existence and, to survive, he took a day job as a geographical survey assistant. But, at just 16 years old, he noticed that, with no watch or clock industry in post-war Japan, there was a thriving business to be had repairing existing timepieces. He was unaware of it at the time, but a chap named Torakusu Yamaha had also started out as a watch repairer, as had Matthias Hohner. Even the Hammond Organ Company started out as a sub-division of the Hammond Clock Company!

Kakehashi was offered a part-time position in a watch repair business, but after a few months he had to leave when he asked to be taught everything in a few months, thus attempting to short-circuit the traditional seven-year apprenticeship.

In response, Kakehashi bought a book on watch repair and set up the Kakehashi Watch Shop in direct competition with his former employer. This was a success, and he next decided to turn his enthusiasm for music into a business venture. It was no longer illegal to own a short-wave radio or to listen to foreign broadcasts and, scanning the airwaves for new music, Kakehashi learned the basics of how radios worked. He was soon cannibalising broken sets to create working ones, and his repair shop started handling broken radios in addition to watches and clocks. Nonetheless, he still supplemented his income with agricultural work.

Kakehashi spent four years in Kyushu, but when he heard that he could go back to Osaka, he liquidated his business to fund his entry into the city's university. Still just 20, he returned but was struck down by tuberculosis in both lungs, the treatment for which quickly consumed all the money he had earmarked for his education. So, as the months in Sengokuso hospital turned into years, Kakehashi supported himself by repairing watches and radios for the staff and other patients.

At this time, Japan was about to broadcast its first television signals, and Kakehashi was determined to receive the first test transmissions. He borrowed enough money to purchase a cathode-ray tube and, still confined to hospital, assembled his own receiver. Amazing though this was, it is almost incredible when you understand that Kakehashi had by this time spent three years in hospital. Indeed, his condition was gradually becoming terminal when he was selected as a guinea-pig for the newly developed drug, Streptomycin. Kakehashi's improvement was immediate; within a year he had left hospital. In retrospect, he was extremely lucky... the cost of Streptomycin was such that he could never have afforded it, and had he not been selected, it's likely that he would not have survived.

The reason for the failure of the R1 is obvious; it produced sounds when you pressed buttons, much like today's drum pads, but it offered no pre-programmed patterns. The technological problems of producing repeating rhythms were themselves non-trivial, but Kakehashi and his colleagues overcame them by inventing a 'diode matrix' that determined the position of each instrument in a pattern. Having done so, they were able to release the FR1 Rhythm Ace, which appeared in 1967 (see the above box). The positive response was immediate, and the FR1 was adopted by the Hammond Organ Company for incorporation within its latest line of organs. Ace Electronic were on their way...

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