Roland T8 Presets

[Emigdio Binet]

Version1.10 update improves workflow, adds audio output delay for live streaming, and synchronizes the transition of all effects layers. Also included are 24 memory presets (16 additional) and an improved graphical interface on the companion iPad remote app.

I download some files (from a Roland site)that are supposed to allow me to get the factory presets back by playing them into the Keyboard. As I understand it, they are audible files that need to be played into the keyboard via a 1/4" cable. Is this correct, and can anyone give me some helpful information on how I might be able to accomplish this?

Regards,

pAndAmOnkEY

P.S. I have the orig. manual still and have read it but would just like some tips etc..

hmm, I used to have two of those, loved them and wish I had them back. For some reason I remember restoring the original presets by holding a button down while turning it on. Anyone else remember that?

You load the files into a wave editor or a media player, conect the output of the soundcard to the the input jack from the Juno [ at the back of the Juno is tape-load]and play the file. Thats all.

Before you do this, play the file and listen through a phone if you hear the sound at the output to be sure it works.

Good luck.

Here is the complete procedure:

-load file in wave editor or media player

-play the file and listen to the output of the sound card if you can hear the noise

[something similar to the noise of program loading in the old ZX Spectrum computers]

-conect the soundcard output to the Juno106 [TAPE LOAD jack]

-set the memory protect switch to OFF

-select the BANKGROUP where to load the sounds [A or B]

-press the load button on the juno

-play the audio file from the begining to end

-if loading is complete set memory protect to ON

The Go Keys 3 and 5 are similar in 'sound' other than the passive radiator/speaker system yet $150 difference. The 3 does not have audio lines out (or in)making it more of a 'fun' practice board and decent midi controller, although both have Bluetooth audio and midi.

The companions I can't live without: Kawai Acoustic Grand, Yamaha MontageM8x, Studiologic Numa Piano X GT,

Other important stuff: Novation Summit, NI Komplete Ultimate 14 CE, Omnisphere, EW Hollywood Orchestra Opus, Spitfire Symphony, Pianoteq 8 Pro, Roland RD88.

I hadn't seen this thread when I just replied to your comment about this in the other. ? But I don't see this as very CK-like, other than it being a small battery-powered board with speakers. I'd say it's much closer to the Casio offerings. To me, CK is all about the hands-on interface, the Roland has almost none. And like the Casio (and unlike CK), the Roland has built-in auto-accompaniment.

Some quick obvious CT-S500 advantages: For sound manipulation, besides pitch bend, Casio has 3 assignable knobs, Roland has none. Casio has 3-sound split/layer (2 layered sounds above the split point, 1 below), Roland has a max of two sounds at a time (either split or layered). And actually, these things make the Casio closer to the CK61 than the Roland is! Albeit just barely. ? But maybe Roland does have a better rotary implementation... it wouldn't take much to beat Casio there. And I'll also give you this one... Roland's display is more CK-like, e.g. showing more on the screen, an area where I really wish Casio had done better, e.g. scrolling lists of sound names, and displaying the names of your setups ("scenes" on Roland, "registrations" on Casio, "live sets" on Yamaha).

Maybe this is the best place for a shameless plug! Our now not-so-new new video at is a 40 minute adaptation of T. S. Eliot's "Prufrock" - check it out! And hopefully I'll have something new here this year. ;-)

Lol, no....the Keystage is still in my setup and Im interested to see where they go with it. This just looks 'interesting' for certain applications, not something I am looking to buy. I think we have all tried to do a few numbers on a dodgy keyboard in the past. This looks like it could get through a basic gig and offer a little more in the studio, and would be great for a youngster who might also want to get into making their own music.

I'm not seeing any specs on polyphony yet - hopefully they didn't cripple it that way. The GO:KEYS 5 looks like a good contender for a controller with built-in audio for a Mainstage rig, maybe paired with a Nanokontrol for CC/mod control if necessary. I'm thinking for those basic use cases like at a church for a pads player, or something.

Indeed, forgetting the somewhat gimmicky accompaniment, this has some decent features (even if they are presets). It can do splits and layers too, again making it a decent little board for not a lot of money.

We haven't heard these "new sound sets and wave expansions" yet, nor any details on pricing... or is it a subscription? How many GB of empty memory is provided for adding these expansions? These are the kinds of things that may not concern the typical millenial this keyboard is targeted for. They just want to push a few buttons and hear their "hit song" come out those little speakers! ?

With all this stuff, there is no way around (at least as far as I can see) creating and account and installing their Roland Cloud Manager - so Roland will live on your Mac/PC along with Waves, NI, IK etc. who have done the same. Avid still lets you decide if you want to download your software from the website or have their account management software running on your computer.

During the install process the installer flips out and goes into reverse because I'm not logged into it yet. Very strange, but it opens my default browser for me, Iogin at the website and then it brings me back to Roland Cloud Manager.

I was using a Roland Juno-G, Line 6 M9 vocal processor, and a BOSS VE-20 vocal processor. I used GarageBand, but I only used it for tracking. I use Logic now. I really need to make clear that I no longer use GarageBand.

The lead synth in the intro of Genesis comes from the Roland Juno-G, specifically the Theramax preset. The patch is made of a single sawtooth waveform with a lot of the tone coming from the medium-high resonance filter and a delayed LFO vibrato (LFO speed around 4.79 Hz). Because of the high resonance, the filter cutoff point affects the tone strongly; in TAL U-NO-LX I found a cutoff setting of 4.63, resonance of 4.73 and keyboard tracking of 6.17 closely matched the settings in the Theramax preset.

After the synth, process the sound with a treble boosting EQ, a light amount of delay and a lot of big reverb. After the lead finishes the reverb effect is raised causing it to distort; I recreated this by automating the reverb mix levels as well as adding some overdrive effect in Ableton.

At the 1:26 mark a harp melody is introduced over some thick supersaw chords. The harp sound is also from the Roland Juno-G, and is the X-Cultural patch, which was also used in the tracks Crystal Ball, Sagrad, and Know the Way. The patch uses samples of a harp to approximate the sound of a real harp, and you can find similar patches on other Roland synths from the era (such as the JV-1080) as well as other digital synths.

I also used XV-5080 for the piano sound, which has a strong fake piano vibe. Similarly to the bass track, the piano has synced digital delay, this time of a 1/4 note at 40% wet, causing the arpeggiated phase to overlap.

For the Oblivion bridge, I used the Upright Pno preset in XV-5080 with some heavy EQing to cut the lows and boost the highs, and a 1/4 delay at 34% to create the cascading effect. The descending arps are the Soaring Saws preset and the strings are the Lush Strings preset, both in XV-5080 with very similar sounds available in the Juno-G.

For the classic orchestra hits I used the XV-5080 patch PR-B: 071 Impact preset, and for the sub layered I used a filtered unison sawtooth wave. The main drum beat is processed with a 1/4 note delay at about 40% mix, which causes hits to layer over each other, and the snare has a slow flanger on it, which adds tonal variation on each hit.

Thanks for reading! In the download button below you can find all the Arturia Mini V and TAL U-NO-LX presets from these recreations, as well as the choir samples used in the Oblivion remake and some extra presets I recreated from Visiting Statue and Nightmusic.

Get the Ableton Live Projects for these remake on the Projects Store. All projects have frozen tracks in case of missing plugins and all downloads include stems and MIDI files for use in other DAWs.

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