Roland SH-09 Owner`s Manual

^Roland®
Owner's Manual
Introduction
1
The Roland SH-09 Synthesizer
a compact lead
synthesizer designed to offer the musician
uncompromised sound, performance flexibility and
durability at a moderate price. The SH-09's exceptional quality
mance and
combined with
its
is
unique
interfacing features allow
the capabilities of
many
larger,
it
to surpass
more expensive
VCO
section features virtually rigid pitch
and Sub
Oscillator
difficulties.
with other control possibilities to
an exceptionally
Both the
may be modulated by
VCO
the
make
the
SH-09
sensitive musical instrument.
The LFO Modulator
control offers Sine
Waves
with
Waves, Sample & Hold
or without delay, Square
and a separate Sine Wave without delay for the
Pulse Width Modulation section. The LFO speed is
fully adjustable and indicated by LED for precise,
predictable control.
even the most difficult conditions and
produces precise, rich waveforms including: Noise,
Sawtooth, Square and variable Pulse Wave with
both LFO and Envelope Modulation options. A Sub
Oscillator produces any one of three parallel tones
that may be mixed with the VCO at the internal
Audio Mixer for thickness and extra flexibility withstability in
out introducing tuning
These options combine
together.
live perfor-
synthesizers.
The
Keyboard Gate
LFO
Modulator which includes Square Wave, Delayed
Sine Wave or Sample and Hold options.
The VCF section of the SH-09 features the highest
24 dB/octave Low Pass Filter available for
stability, flexibility and rich, deep tones. The extra
flexibility is achieved through the SH-09's modula-
quality
options including: a positive or inverted
envelope, an envelope follower for processing
The SH-09 Bender section is the finest available.
The center sprung lever returns to its origin
automatically
for quick, easy,
The Bender may
playing.
musically secure
control pitch through the
VCO
or tone through the VCF either separately or
simultaneously with amounts preset by the performer for exact, predictable control of the synthesizer.
Interface options on the
standard
SH-09 include
industry
CV and
Gate inputs and outputs for connection with Roland digital sequencers, other
Roland synthesizers and with any other equipment
offering 1 volt per octave Keyboard Control Voltage
and positive voltage Keyboard Gate inputs and outputs.
tion
Other instruments may be processed through the
SH-09 using the self contained External Audio
LFO modulation options,
resonance control that may be pushed into selfoscillation for use as an extra sine wave oscillator,
VCF
and
control of the
The SH-09
The
VCA may
external instruments, three
filter
from the Bender section.
volume with the Envelope
Generator, directly from the Keyboard Gate, or be
fully opened with a Hold switch for added flexibility.
This control is enhanced by the complete four
slider ADSR Envelope Generator which may be
activated by either the Keyboard Trigger and Gate,
the Keyboard Gate alone, or by the LFO and the
control
Input with the Envelope Follower contained
in
the
section.
output
for
is equipped with a V* inch phone jack
connection with any conventional
and with a separate Vi inch stereo
phone jack connection for headphone monitoring
through self-contained headphone amplifier. A conamplification
nection cable
tion to either
female
RCA
a
is
included with options for connecinch phone jack socket or any
Vi
jack socket.
Front and
Back Panel
Layout
(V
cfr
SVnTHraEERDR
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39E3E
GATE
CV
GATE
CV
o <P
AUDIO
IN
INPUT
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TJ~l r ~l r ~L r
KB Roland
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On
EXT
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OUTPUT
Control
Descriptions
Modulator Section
The Modulator is a controller used tor producing
regular changes in pitch and tone in the VCO and
VCF sections and for repeatedly triggering the
Envelope generator. The Modulator is based on a
Low Frequency Oscillator (LFO) producing waveforms with speeds ranging from 0.2 to 25 Hz. The
Sample and Hold mode also produces random signals by sampling the output of the noise generator
at
Mode
a
determined by the LFO.
rate
waveform will be
and VCF modulation. The three
This switch determines which
Switch
used
for
VCO
options include: (~\j (sine wave),
(square
wave), and Random (S/H) for the Sample and Hold
fTJ
output
The Rate slider controls the frequency or speed of
change for all Modulator outputs. Raising the control increases the frequency, which may be
Rate Control
monitored with the associated flashing LED.
r\j Delay Time
Control
When
this control is raised,
keyboard
will
pressing a key on the
delay the entry of the
LFO
sine
wave
VCO
and VCF. Raising the control increases
the delay time, and lowering
fully results in a
to the
it
continuous output with no delay.
VCO
(Voltage Controlled
Oscillator Section)
Tune
Control
The
and
VCO
is the basic sound source of the SH-09
responsible for the pitches produced and
the basic tone color used.
is
the SH-09.
rotary Range switch changes the VCO pitch
exact one octave steps from 2' to 32' for a total
range change of four octaves.
Range Switch
The
MOD
This slider
(Modulator)
Control
knob controls the overall pitch
The tuning range is ±65 cents.
This small tuning
in
changes the pitch of the VCO with the
Modulator output according to the Rate and Mode
shape set
in
that section. Raising the slider
increases the
Control Voltage
of
amount
of
change
in pitch.
The SH-09 includes several VCO controls which
are internally wired and do not appear on the VCO
panel. The most important is the Keyboard control
Voltage which permanently controls the VCO pitch
in relation to the keys played. The VCO may also
be controlled by the Bender section through the
associated Bender Sensitivity control.
Waveform Switch
This rotary switch selects the
form, providing
to
VCO
a basis pure tone
SH-09
shape and process. The basic waveforms .
include Noise (a hiss including
various
sound
for strings,
effects),
brass and
Square wave
SUB OSC
output wave-
(a
tor the
all
frequencies, for
Sawtooth wave
full
(a rich
tone
synthesizer sounds),
tone very similar to a clarinet or
xylophone), and Pulse Width
Mod
(a variable
wave sounding from Square wave
tone).
Pulse
to very nasal in
The Pulse Width Mod. section includes a
three position
Mode
switch including Manual,
and ENV modulation
slider control to
amount
of
LFO
LFO
and a Pulse Width
manually adjust Pulse Width or the
or
options,
ENV
modulation.
The Sub-Oscillator is actually a part of the VCO
and produces any one of three parallel tones
including a Square wave at one or two octaves
below or a Pulse wave two octaves below the
VCO. The Sub-Oscillator follows the VCO pitch in
all particulars including LFO and Bender modula-
(Sub-Oscillator)
tion.
Audio Mixer Section
The Audio Mixer mixes the VCO, Sub-Oscillator
and External Input signals in infinitely variable proportions before sending them on for processing.
VCF
The VCF
(Voltage Controlled
Filter Section)
er output
Cutoff Frequency
Control
The Cutoff Frequency Control determines how
much of a tone will be filtered away by the VCF. In
its highest position the sound will pass unchanged.
As is lowered the sound will become progres-
used to alter the tone of the Audio Mixby cutting or boosting harmonics in that
sound. The tone may be altered manually or
automatically through voltage control as a note is
played. The VCF is a 24 dB/octave Low Pass filter
which passes low frequencies and blocks high frequencies
is
it
Resonance Control
emphasizes the frequencies at the
where the Cutoff Frequency begins to filter a
sound. It is most often used to emphasize motion
within the filter. At its lowest level it has no effect
Mode
Switch
silence at
until
is filtered
it
away
self-oscillate
near the top of the slider
point
position, the
VCF becomes
is
raised until
it
/N^ (positive
Envelope) mode, the
and
filter
cutoff fre-
shape of the
Envelope. The tone will become brighter and then
more mellow once each time the Envelope
Generator is activated, providing the manual Cutoff
Frequency control is lowered to make room for this
sweep.
In
the
will rise
Kjf
following the
mode, the filter
agaia following a
the Envelope pattern set The tone
(Inverted Envelope)
cutoff frequency will
mirror
fall
image
of
fall
then
rise
travel. In this
a separate sine wave
audio oscillator which is controlled by all the
Modulation controls within the VCF section.
begins to
This three position switch determines the source of
Envelope control for modulation of the VCF. In the
quency
to
lowest position. This control acts as a
starting position for all other control functions within
the VCF section.
its
This control
increasing as the slider
Envelope
more mellow
sively
begin bright become more mellow, then
agaia Beginning and ending tone is
determined by the position of the VCF Cutoff slider.
heard
more
will
bright
The ENV FOL'R (envelope follower) position will
use the changing volume of any audio signal
appearing at the EXT AUDIO IN jack on the back
VCF cutoff point in a posimode, the filter cutoff will rise
and fall as the External Audio Input grows louder
and softer, providing the manual Cutoff Frequency
panel to modulate the
tive direction. In this
control
is
lowered to allow
for this
movement
Control
Descriptions
VCF Envelope
(com)
Control
which the
modulate the VCF.
no modulation,
This control determines the depth to
Envelope
With the
Mode
selected
slider at
'0'
will
there
is
increasing gradually as the control
depth
MOD
(Modulator)
Control
is
raised to
full
at '10'.
This control allows the
VCF
cutoff to
be
controlled
by the Modulator section output The slider determines the depth of modulation whose shape and
rate was selected in the Modulator section.
Modulation increases as the slider control is raised,
with no modulation when the control is lowered to
'0'.
Control Voltage Inputs
The SH-09 includes several VCF controls which are
internally hardwired and do not appear on the VCF
panel. The Keyboard Control Voltage is permanently fed to the VCF so that the tone may subtly
follow the pitch, the way most acoustic instruments
do. The VCF may also be controlled by the Bender
section through the associated Bender Sensitivity
control.
VCA
(Voltage Controlled
Amplifier Section)
VCA Mode
Switch
The VCA allows the SH-09 output loudness contour
to be shaped automatically by a control voltage.
There is no increase in volume in the VCA.
The
VCA may be
switched between three control
options. Setting the
VCA
in
HOLD mode
holds the
VCA wide open so that any sound emerging from
the VCF is passed directly to the SH-09 output
jacks. The ENV f\^ mode shapes the output
ENV
(Envelope Generator)
volume with the Envelope Generator output. The
GATE _n_ mode shapes the output volume directly with the Keyboard Gate, fully '0' when a key is
pressed,
fully 'off'
the next instant
all
keys are
released.
The Envelope Generator produces a shaped control
voltage that may be used to control the VCF cutoff
frequency point and/or to control the
VCA
loudness
contour.
Envelope
Mode
Switch
Envelope Function
Sliders
The envelope Generator may be activated from the
keyboard in three ways, depending on the position
of the Envelope Mode Switch. In the Gate and Trigger mode, both the Keyboard Gate and Keyboard
Trigger are used to activate the Envelope (this is
sometimes referred to as a Multiple trigger). In the
Gate mode, only a new Keyboard Gate will activate
The Envelope Generator is often referred to as an
ADSR, a term made from the initial letters of the
words Attack, Decay, Sustain and Release — the
four slider functions within the
Envelope Generator.
new Envelope. The LFO mode activates a new
Envelope each time the Modulator LFO begins a
new cycle (as indicated by its LED indicator), within a Master Gate command from the keyboard.
Specifics on these choices are given in the Operaa
tion section of this text.
The Attack
(Attack Time)
slider controls the
amount
of
time
required for the Envelope voltage to reach
imum
level after
is virtually
a key
is
instantaneous with the slider at
lengthens as the slider
is
D
The Decay
(Decay Time)
required for the voltage to
end
fall
'0'
and
amount
of time
from
level at the
its
of the Attack time to the level set
Decay time
taneous with the slider at
max-
raised.
slider controls the
tain control. Again,
its
pressed. This Attack time
'0'
by the Sus-
is virtually
instan-
and lengthens as the
slider is raised.
(Sustain Level)
This control determines the level to which the
voltage will fall at the end of the Decay time. Once
this level is
released.
A
reached
it
will
be held
Sustain level of
"0'
will
until
the key
Decay
to
hold at silence, effectively cancelling Sustain.
R
This slider determines the
(Release Time)
for
is
and
A
amount of time required
the voltage to fall to minimum level after the
release of the key. The Release will begin at any
time within the Attack, Decay or Sustain sections of
the Envelope as instructed from the keyboard.
Keyboard Control
Functions
The keyboard
of the
SH-09 provides
three control
Keyboard Control Voltage, Keyboard
Gate and Keyboard Trigger. These are internally
hardwired, sometimes appearing as a selectable
control and others providing a constant control
functions: the
function.
Keyboard Control
Voltage
The Keyboard Control Voltage is permanently wired
to the VCO and VCF for precise control of pitch
and tone in relation to the keys played on the
(KCV)
keyboard.
Keyboard Gate
The Keyboard Gate is an on/off switching function
used to signal the Modulator for Delayed sine wave
output as a preset Envelope choice for the VCA
and/or to
initiate
Envelope events. Both the
KCV
and Keyboard Gate are available as inputs and
outputs for interfacing on the back panel of the
SH-09.
Keyboard Trigger
The Keyboard Trigger is a voltage spike appearing
for an instant at the initial pressing of a key. It is
used in conjunction with the Keyboard Gate to provide one of the control organs for initiating
Envelope events.
Sustain level of
'10' will not
Decay, but
will
remain
at '10', effectively cancelling Decay. Sustain levels
between these extremes combine with the various
Decay times a available to subtly shape notes as
they are held.
Control
Descriptions
(com.
Portamento Control
The Portamento control determines the time
required to change pitches when different keys are
pressed. Set at '0', the keyboard will react with instant pitch changes.
keys pressed
new
As the
will slide
slider is raised,
from the
new
last pitch to
one, taking longer as the control
is
the
raised
further.
Bender Section
The Bender section allows the performer to change
pitch and/or tone freely as he performs to add
expression and vitality to the sound.
Bender
The Bender
lever is center-sprung to return to
original setting reliably after
each bend
its
for great
speed and accuracy. The center position has no
effect on the SH-09 sound or settings, while the left
and right extremes of movement (— and +)
achieve the same amount of bend in opposite
directions.
VCO
and
VCF Bender
Sensitivity Controls
These two
sliders control the exact
amount
of pitch
and/or tone change at the extremes of the Bender
travel. These may be set either separately or
amount of sharp and
and more mellow tone
change with exact predictability and control.
together to achieve the exact
flat
Volume Control
pitch and/or brighter
The Volume Knob determines the final signal level
present at the SH-09 Output jack for standard
amplification and at the Headphone output jack for
any stereo headphones.
Power On/Off Switch
This push-on/push-off switch controls the flow of
AC. power to the SH-09. The power must be
switched on for the SH-09 to perform any function.
An LED
visual
status indicator
check
is
provided to allow a
of this function.
Basic
Connections
8
The Roland SH-09 synthesizer is an exceptionally
flexible musical instrument capable ot producing a
broad range of sounds from gentle to brutally
savage in character, over a wide pitch range. The
SH-09 may be monitored through any conventional
amplification, however individual musical needs
should be considered in choosing an ideal
amplification setup.
ideal amplification will
added
sounds
reproduce
faithfully
with a
distortion or coloration.
A
all
systems
flexibility,
of the syn-
minimum
of
variety of quality
combo amps and component
PA's,
amplification
need, but there are several
special items to consider. Synthesizers are capable
of producing sudden, high level output signals
will
fill
this
which may cause
distortion in the pre-amplifier
—
section of amps not built to handle them
such
as many vocal PA's. Also, avoid equipment or
speakers chosen to color the sound to suit a particular
that
effects,
input avoiding a
PHONO
special internal equalization.
whether
built-in or
input with
The SH-09
will
its
appear
T
one speaker only, unless a
cable or junction
box such as the Roland J-5 is used. IMPORTANT
NOTE: begin with the volume level on your SH-09
at Zero, and the hi-fi at normal or lower than
normal levels. By gradually raising the SH-09 level
and using caution as you change patches you can
easily avoid high level sounds that might otherwise
damage sensitive hi-fi equipment
The SH-09 provides self-contained headphone
amplification for any conventional stereo
headphones through a V* inch stereo phone jack
on the back panel. This is not only convenient
when
practicing, but allows for fine adjustments to
be made
instrument such as guitar. Finally, be sure
any
TAPE
or
at
To maximize the SH-09 s ultimate sound
thesizers
The RCA jack offers access to most hi-fi
component systems, a significant advantage when
the SH-09 is used for practice at home without the
inconvenience of transporting and setting up stage
amplification. Connect the SH-09 to an AUX. input
this,
outboard, per-
to critical patches while on stage. To do
simply turn the SH-09 output off at the mixer
in your particular setup and do not disAn example of this would be the reverb, units
contained in many PA's built for vocals that cannot
or amplifier input
tort
volume control and monitor
through headphones during breaks in playing.
Return the amplification to normal settings when
handle synthesizers.
you are finished making your adjustments.
Consideration should also be given to an alternaapproach, choosing amplification that will color
an External Audio
form well
tive
a specific way to support a more
narrower range of sounds you may wish
the sound
specific,
other instruments
in
pursue with your SH-09.
If
the
SH-09
is
to
primarily
a guitar amp
and coloration circuitry
and speaker choice may be an ideal choice.
Likewise, an SH-09 to be used almost exclusively
for bass lines could be played through a bass
setup. Remember, this approach influences the
sound considerably and at the same time limits
used
with
to provide guitar-style lead lines,
its
particular distortion
certain styles while
The SH-09
is
terminating
in
it
supports others.
provided with a connection cord
a % inch phone jack for connection
on one end and with an RCA
connection with an adapter to V* inch phone jack
for output connection at the other end. The % inch
phone jack adapter will be used for most
to the synthesizer
amplification connections including
and
mixers.
combo amps
Other rear panel connections on the SH-09 include
Input to allow interfacing with
by using the Envelope Follower
included in the SH-09, or to allow interfacing with
instruments equipped with a positive voltage Gate
Output such as the Roland RS-09 Organ Strings or
the
SA-09
Saturn.
and Gate Inputs and Outputs are
provided to allow interfacing with other synthesizers
such as the Roland SH-2 or Jupiter-8 or for
connection to the Roland CSQ series computer
Control Voltage
sequencers. These applications are detailed in the
Interfacing section of this manual. All interface
connections follow the industry standard one volt
per octave Keyboard Control Voltage and positive
voltage Keyboard Gate to allow for connection to
all
other major brands, giving the
maximum amount
of flexibility
growth and innovation.
SH-09 the
and potential
for
Operation
Blank Interfacing
The easiest way
to get familiar with the
systematically explore the controls
and
SH-09
is
to
their effect
on the sound itself. Once the basic exploration is
completed, combinations of these controls will be
used to piece the information gained into a
practical, useful whole.
Connect the SH-09
to suitable amplification
and
begin your examination with the following settings:
.-,
n—
-i.
-J p-
{(
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W-
Vt
4M*-
im Roland
SVnTHESCER oq
Set the Volume control at Zero, then gradually
increase it to a comfortable level. After exploring
each
control, return
it
to this basic setting (patch)
to assist the rest of your
Voltage Controlled
Oscillator
examination.
The Voltage Controlled Oscillator is the primary
sound source of your synthesizer, where the basic
pitch range and tone color of your sound must be
chosen. The Voltage Controlled Oscillator is the
second major section along the top of the SH-09,
labelled
Pitch Control
initial
The
VCO.
pitch
you are hearing may be switched up or
in single octave increments with
down manually
the
Range
selector.
The
pitch
controlled by the keyboard
—
is
also automatically
include pressing
both extremes of the keyboard with each of the
various range selections to get an aural picture of
how
the
SH-09 keyboard can fit into many
and accurately.
instrumental ranges easily
different
It
is
understand that nearly all instruments
have a useful range that falls within a single
keyboard length of the SH-09, and by selecting
that range thoughtfully your imitations will be more
helpful to
authentic
than
if
and your new creations more believable
those ranges were exceeded. Figure
assist in relating the
1
will
SH-09 keyboard and range
options to other musical references.
The SH-09
is
a solo instrument
—
as are the vast
majority of other musical instruments.
It
will
play
one note at a time and its keyboard operates
accordingly. The SH-09 keyboard has low note
priority —
more than one note is played, the bottom one will be sounded by the VCO. More details
on how to make maximum advantage of the SH09 keyboard will follow.
only
if
10
Keyboard Voltage
The keyboard produces a
corresponds
that
which
octave change
key pressed. This control
in pitch.
This relation
is
synthesizers
and
very
common and
is used on most
equipment including
professional studio equipment as, well as stage
type equipment This means that the SH-09 is
compatible with most equipment used in all forms
most often used to control a VCO so
produces the pitch related to the key
voltage
it
to the
control voltage
is
pressed.
The SH-09 uses the relation of 1 volt/1 octave (one
volt per octave) which means that a one volt
change in the control voltage will produce a one
related
of electronics music.
-Accotax
-
—
-Guita-
-brj soprano Saxopnor-e-
-tr A::oba*oonone-
—
6t
lenc baxoE-^cnr-
-fcc Baritone Saxocro'i*
-Bd Bass Saxobnone-
-6b SQD'anoCianne'-EDAitcCtanne!-
INSTRUMENT
RANGES
-BBBassCianne!-EnglisnHorn
AT
—— BD Cornet, Trumpet
CONCERT
F
lueoemoin-
-F French Horn Bb Trombone and Eupnoniu^«-Eb Bass Tuba
—
PITCH
-BbBassTuba-
-Soprano Voice—
-^
—
Tenor Voice—
-«
Baritone Voice
-^
8va<
440Hz
T
WRITTEN
CONCERT
PITCH
-r—bc
P
\m
B
_
-&-
130.8Hz
-t-
|
261.6Hz
'
523.
2Hz
1046Hz
A
A
2093Hz
4186Hz
I
65.
4Hz
32.?Hz
SOUNDING
RANGES
OF SH-09
KEYBOARD
16'
32'
32'
. (
Sub
Oscillator loct
Dowrj )
88 KEY
PIANO
KEYBOARD
r
!
I
MIDDLE C
E
Operation
(cont)
The SH-09 may be
fine
tuned to any reference by
using the small black Tune knob located directly
above the Range control in the VCO section. This
made
inconspicuous to avoid throwing
out the tuning during a session by grasping the
control
is
so stable
The SH-09
once it is warmed up for approximately 15
minutes and then tuned, it should remain in perfect
oscillator is
incorrect knob.
that
tune
for the rest of
the session regardless of use or
outside influence such as the heat generated by
stage lighting. You may find the SH-09 is so stable
that
of
Basic Tone Selection
it
often won't
need
re-tuning at the beginning
a new session.
setting
or something similar that will give
a
VCO
section's role as
a tone that
sections.
may
later
The Waveform
used here
long, steady
a sound source gives
control over both the pitch of a note
tone,
to
pitches by adjusting the Tune knob
The pitch being produced by the VCO may be
changed automatically by applying the MOD
(Modulation) slider within the
and
be modified
in
its
basic
other
selector within the
VCO
provides us a variety of very distinct precise tone
colors from which to choose. Dial through them as
they are discussed.
The Noise waveform is basically a hiss, which may
be altered many ways for use in various sounds or
effects such as wind, surf or steam locomotive. The
second waveform/tone option is the Sawtooth
wave, commonly used for string, brass, and rich
synthesizer sounds. The third option is the Square
wave, very near to the sound of a clarinet or
VCO
section. This
introduces regular, recurring fluctuations
relating to the
tor section.
the
VCO
shape and speed
For now, just use the
for its
common
most
set
or shape. This
not the control
itself.
in
pitch
in
the Modula-
MOD
slider withjn
function, vibrato,
as you experiment remember that this
luences the depth of the pitch change
speed
To tune the SH-09 begin with the
The
key for the note you wish to match
another instrument or to a tuner, then match
note. Strike the
and
slider infonly, not its
an application of a
The Modulator control
is
control,
be
will
covered separately.
Voltage Controlled Waveform, beginning with a
Square wave and moving automatically through to
a narrower, more nasal Pulse Wave and back
again.
The LFO position gives a continuously sweeping,
smooth tone change pivoting from the basic
Square wave. With the accompanying slider at '0',
there is no Pulse Width Modulation, no tone
change. As the slider is raised, the tone varies correspondingly further away as it swings away from
the square
slider
speed
tion,
wave
to the
and back again
of
modulation
extreme limit set by the
a repeated pattern. The
in
is
set in the Modulator sec-
with a fixed smooth Sine
wave motion
—
only
xylophone.
the depth of the application
The
a thicknening of the sound, and at a suitable speed
and depth is very similar to having a phase effect
Width Mod.
With its
special selector in the Manual position, and the
accompanying slider set at '0', you begin with a
Square wave. Gradually raising this control up to
'10' takes the waveform through a continuously
narrowing Pulse Wave, sounding progressively
fourth position labeled Pulse
actually provides a variety of tone colors.
more
nasal.
Moving the three position Pulse Width Modulation
selector from Manual to either LFO or ENV
(Envelope) obtains a tone which is actually in
motion within the spectrum of change heard while
moving the slider in the Manual mode. Here is a
is
set here. This yields
unit within the synthesizer.
The ENV position gives a single, shaped change
tone moving away from and returning to the
Square wave position once each time a key is
pressed. The shape and length of this change is
determined by the ADSR setting, and how the
ADSR itself is manipulated by the keyboard. The
slider within the Pulse Width Modulation section
in
determines only how far the Envelope voltage will
change the tone from its basic Square wave position.
See the Application
section for direct
exam-
ples of Pulse Width Modulation.
Sub-Oscillator
and
Audio Mixer
The basic
setting has already routed the sound
from its origin within the VCO through the Audio
Mixer by raising the Mixer's VCO slider. The adjacent slider pot mixes in the output of the Sub-
between the VCO and the Audio
Mixer on the SH-09 front panel.
Oscillator, located
The Sub-Oscillator
is
a slave of the VCO,
actually
generating another pitch
in parallel
to the original.
Three sound options are available: a square wave
tone one or two octaves below, or a fixed pulse
wave tone two octaves below whatever pitch is
VCO. By mixing the original
VCO output and the selected Sub Oscillator output
in various proportions within the Audio Mixer, many
selected within the
new
possibilities for thick, rich
sound are available
with no turning problems between the two sound
sources.
By combining the 'Sub Osc Square Wave 1 Oct
Down' with the original VCO sound within the
Audio Mixer, it is possible to produce sounds that
gain in weight and richness without obviously containing two distinctly separate notes. The Shuffle
Bass patch presented later illustrates this point
clearly.
Mixing in the square or pulse wave tores 2
octaves down may produce either a single tone
sound such as that of a vibraphone or a tone with
two distinct notes for heavier synthesizer sounds.
Pause here and experiment with mixing the various
VCO ranges and waveforms in differing proportions
with the three
Mixer.
Sub
Oscillator options at the
Audio
12
may be used
The Audio Mixer also contains a slider controlling
the amount of input accepted from any electronic
instrument signal inserted into the External Audio
jack on the back panel of the SH-09. The
Voltage Controlled
Filter
VCO
The basic
In
SH-09
sound now passes automatically
from the Audio Mixer on through the Voltage Controlled Filter (VCF).
choices
made
may be
finely
Here the tone
VCO
within the
through the
resulting from
VCO
Cutoff Frequency slider
the effect of the
filter
tanding of the entire
VCF
is
directly
of
basic to an unders-
section.
The SH-09 VCF
is a high quality Low Pass Filter.
With the Filter Cutoff slider set at '10', it has no
effect on the sound. As this slider is lowered, the
tone becomes progressively more mellow as the
higher parts of the tone are removed, becoming a
pure sine tone just before it is filtered away to
silence. Lower and raise this slider at different
speeds using each basic waveform from the VCO
to obtain an aural picture of the various colors
available and also of the effect of motion within the
(in
ways
to
process
contrast to processing
and these are discussed
note, either
a repeating change controlled by the
LFO
Modulator or a single sweep initiated by the
Envelope control. The most basic demonstration
would be to compare the basic brass and string
patches presented in this manuals section on
Patches. The prime difference between these two
sounds
the 'passive'
is
contrasted to the
Move
filter
of the string patch as
'active' filter of
the brass patch.
its
in this
Interfacing section.
Frequency starting points and
Envelope Modulation. Patches are
different Cutoff
amounts
of
later for specific
applications of this feature.
on the three position VCF
shape of
notes introduced at the External Audio In to move
the filter, allowing instruments such as electric
piano or electric guitar with no Gate Voltage outputs to drive the SH-09. Specifics on this procedure are given in the Interfacing section of this
Mode
position
Selector uses the natural
manual.
The MOD slider within the VCF section allows you
to change the tone of your note with the IFO
Modulator. Begin with your basic patch, lower the
Cutoff Frequency slightly to 7', and gradually raise
MOD
the
molo
in
You will hear a tone/volume trespeed and shape are determined again
slider.
(the
the Modulator section), the depth of tremolo
varying with the
MOD
slider position.
note here that the tremolo
It
is
useful to
smoothly, alternately
is
both raising and lowering the Cutoff Frequency
filter.
Motion within the filter, changing the tone during
musical notes, is critical to many synthesizer
sounds. Some synthesized sounds are based on a
'passive' filter, a fixed Cutoff Frequency setting with
no motion or change in tone. Others depend on the
tone changing 'actively' during the length of each
brighter
and more mellow
(for
tone, respectively). For
reason the Cutoff Frequency slider has been
lowered slightly to make room for both actions. If
this
was in either extreme
any tremolo would lose its smoothness as
only half of its cycle could have any influence on
what is heard. Experiment with this now and later
check the Vibraphone patch for a specific examthe Cutoff Frequency slider
position,
ple.
The Resonance
slider in the
izes the tone at the precise
VCF
edge
section
emphas-
of the Cutoff Fre-
quency. Place the Cutoff Frequency slider at any
point that allows a tone to pass, then add anywhere from '0' to '6' of the Resonance slider and
you
the Cutoff Frequency slider to
selector
is in
the middle,
positioa Press any key
both
signal),
The ENV FOL'R
raising the
An understanding
fully.
Cutoff
manuals
Envelope
sound
VCF unchanged, opened by
own VCO
given
and Audio Mixer
adjusted and manipulated.
The basic patch passes the
several different
in
external instruments
in
ENV
ENV
0'
while
its
(positive envelope),
and the note
volume and tone according
set in the
'1
will
change
shape
to the
section of our basic patch, getting
and louder, then more mellow and soft
The volume level followes the tone just as it did
when the slider was manually moved. This experiment moves the filter exactly the way it could be
done manually, but with more potential speed, precision and ease through automatic control. Repeat
this procedure with different waveforms and
different amounts of VCF Envelope Control.
brighter
will hear a slight difference in tone. Leave the
Resonance slider at '6' and move the Cutoff Frequency slider. Resonance emphasizes the edge of
the Cutoff and when it is moved the motion is
emphasized. The prime use of Resonance is to
emphasize tone in motion, such as the twang of
the bass guitar in the Shuffle Bass patch given
later in this manual. You may wish to leave the
Resonance slider at '6' or less and repeat the
experiments with Envelope or
LFO Modulation of
these automatic changes in
tone are emphasized using Resonance.
the
VCF
Once
to learn
how
push the Resonance slider
and again move the Cutoff Frequency
slider. You will now hear an extra pitch in addition
to that produced by the VCO, one whose pitch is
determined by the VCF Cutoff point Silence the
VCO at the Audio Mixer and experiment with
various kinds of modulation using the Resonance
as an extra oscillator — all functions which altered
that is completed,
fully to '10',
Return the Cutoff Frequency slider to
selector to
EMV
'10',
(inverted envelope)
move
the
and
move the VCF Envelope Control to '6'. Your effect
is now reversed, closing the filter rather than openit moving this time from bright and loud to
mellow and less loud and back again each time a
key is pressed. This inverted envelope is very useful in creating plucked or strong, punching synthesizer sounds with lots of dynamic motion.
Experiment here with different waveforms and
ing
the tone using the
VCF
VCF produced
note
the
use of the
now move the pitch of
same manner. This
Resonance as an extra oscillator may be
will
in
the
Operation
13
tcont)
put to excellent use in patches such as the
Tonewheel Organ or the Synth Drum, given
During
this
notice that
This
trol
Voltage Controlled
Amplifier
is
an
exercise with Resonance, you
note
its
will
VCO
may
SH-09 Keyboard Conis
also
trolled Amplifier
on
for external
its
way
to the
slightly
more meliow
as you
for
tone following changes
way most
realism
pitch follows
lower notes This allows
tor
changes
acoustic instruments do, giving
and
sensitivity to
in
or pitch just the
in register
added
your synthesizer sound
alter-
Your sound has originated in the VCO, passed
through the Audio Mixer and the Voltage Controlled
Filter, and will now pass through the Voltage Conjacks
notes,
play, brighter tor higne-
your patches to follow the keyboard
roughly follow the keyboard.
indication that the
Voltage that the
mg
later.
the tone
SH-09 output
headphone
amplification and/or
through to the various outputs As iong as a sound
is
present
wind,
monitoring.
The Voltage Controlled Amplifier (VCA) does
actually amplify the sound, but controls the shape
in
the
VCF and
the
filter
cutoff,
is
high
sound pass, the VCA Hold will
present a continuous sound at the outputs This is
particularly helpful for continuous sounds such as
enough
to let that
surf,
certain
Sample & Hold
cessing external instruments and
applications, profor
ease
in
tuning
not
Volume. Three VCA control options are
offered: Hold, Envelope control and Keyboard Gate
of the
control.
The Hold position opens the VCA fully, allowing
any sound leaving the VCF to pass unchanged
Keyboard Functions
The keyboard of the SH-09 produces no sound of
its own, and functions only to control other sections
of the synthesizer. The SH-09 produces three distinct Keyboard Controls, the Keyboard Control
Voltage, Keyboard Gates and Keyboard Triggers.
Keyboard Control
The SH-09 keyboard continuously produces a
Keyboard Control Voltage that corresponds directly
to the keys played on the keyboard. You have
already used the Keyboard Control Voltage (KCV)
to automatically control the VCO and Sub-Oscillator pitches from the keyboard. The same KCV is
Voltage
The Envelope and Gate options tor VCA control
allow notes to start and end in silence and be
shaped by a preset Gate or adjustable Envelope.
both initiated in some way by the keyboard. These
options will be detailed in the following Keyboard
and Envelope sections.
sounded. In legato playing where the playing of
keys overlaps, new keys depressed to the left will
change the pitch while new keys at the right will
not change the pitch until any keys to its left are
released.
permanently routed to control the VCF cutoff frequency, adjusting the tone brighter for high pitched
notes and more mellow for notes pitched lower just
as other instruments change tone as they change
range or register. This KVC control of the VCF
cutoff was illustrated by controlling the pitch of the
The Roland SH-09s Keyboard Control Voltage
references to a linear one volt per octave, producing exactly one more volt for each octave higher
played on the keyboard. Keyboard Control Voltage
input and output jacks are available on the SH-09
back panel to allow interfacing with other compatible instruments and equipment such as the Roland
VCF when
CSQ
it
was
As mentioned
in self-oscillation.
previously, the
SH-09
is
a solo
—
as are the vast majority of other
musical instruments. Only one note at a time may
be produced and the keyboard accordingly produces only one KCV at a time. The SH-09
if more than one
keyboard has low note priority
instrument
—
note
is
played at a time, the bottom one
will
be
series digital sequencers. Roland features the
most comprehensive interfacing alternatives available, some of which are detailed in the Interfacing
section of this manual. The linear one volt per
octave KCV is an industry standard and is compatible with most other major brands for the ultimate in flexibility and expansion for your SH-09.
14
Keyboard Gate
Each key on the SH-09 keyboard can produce an
on/off signal called a Keyboard Gate. The
Keyboard Gate (KG) is a voltage that remains at
zero until any key is pressed, jumping instantly to a
steady voltage zero again. Legato playing
will result
in one long gate beginning with the first note played and ending the first moment that no keys are
VCA
Switch the
from Hold
to
the
Gate position anc
familiarize yourself with the low note priority logic
for
the
KCV and
with the Keyboard Gate Pay par-
ticular attention to
these
have a
will
detached and legato playing,
on your
significant influence
sound.
depressed.
Keyboard Trigger
Each time a key
Envelope Generator
que
released.
ing
An Envelope
is
is
a control that produces a shaped
is
voltage once each time
that
is
it
normally used to produce a change
is
struck.
ADSR
the
ways, important features that help
SH-09 the
is
make
flexible, sensitive
synthesizer that
it
made
The Attach
slider controls the time needed for the
beginning of a note to grow from silence to full
volume. The Attack functions from the instant a key
depressed
and hold
until
the note reaches
volume
or
released.
dually from silence to
back
full
Move the Attack slider to '10'
any key down — the sound will build gra-
is
to silence the
volume, cutting
full
moment
that
full
instantly
volume
is
you pick up the key before the Attack
has reached full volume,
will end at that point
This allows you to control volume, phrasing, bowreached.
If
it
Decay
The Decay
slider controls
note to diminish from
full
the time needed
volume
at the
for
end
a
of the
Attack to silence or the level set by the Sustain
function. Move the Attack slider to '0', raise the
Decay
will
Attack
and play a long note. The note
volume instantly as dictated by the
slider to '10',
begin at
slider,
Envelope
Notes
control.
distinctly different
shape
legato playing will yield a renewed" attack for each
note within the logic described above. This techniwill be described in more detail in the followEnvelope section and in the Application section
later in this manual.
and long notes as you proceed through the
only,
and
for
all
(In this
the
shape
descriptions
application the
of the
will
fit
ADSR
is
volume of the note
this frame of
With
four Envelope sliders at '0', you will hear a
as you press a key — the sound of the
Envelope acting too quickly for a note to be heard.
This click is also heard lat the beginning of any
notes with an Attack of '0', and is essential to
sound such as Vibes or Guitar where the impact of
all
'click'
is often referred to as an ADSR, a
from the initial letters of the words
Attack, Decay, Sustain and Release — the four
slider functions within the Envelope. Leave the VCA
in the Envelope position, lower the ADSR sliders to
'0', and experiment with pressing a single key for
is
to
have a
reference.)
The Envelope
the key
will
than the simple on/off of the Gate position, and
responsible
in
is.
term
VCA
switch the
now played
Envelope section.
The SH-09 uses a complete four section
Envelope that may be activated three
different
tion,
short
activated, a voltage
volume, tone, and/or pitch once each time a key
ATTACK
The Keyboard Trigger is used only in conjunction
with the Keyboard Gate to activate the SH-09
Envelope. To use the Gate and Trigger combina-
depressed on the SH-09, an
produced called a Keyboard Trigger. The Trigger is actually a voltage spike that
ends virtually the instant it is begun, no matter how
long you hold a key. The Keyboard Triggers follow
low note priority logic the same way the KCV does
— in legato playing, new keys depressed to the left
will introduce a new trigger while new keys at the
right will not trigger until any keys to its left are
impulse signal
full
then fade smoothly, gradually to
the mallet or the plucking of the string
is
actually a
Examples of this may be found
the Application and Patch sections of this
part of the sound.
in
manual.
ing, etc. from the keyboard for any notes with a
gradual attack such as strings or brass. Experiment
with this principle and check the Application sec-
tion for
more
specifics.
Lower the Attack
slider to '5' and notice that the
volume much faster. Experiment
with various Attack speeds and note lengths, noticing that the Attack setting does not directly alter
the volume of any note — just the amount of time
needed to reach the maximum.
note reaches
full
silence as long as your finger
is held on the key.
once again only responsible for the
note until the key is released, and raising all keys
before the Decay is complete will again end in
The Decay
is
abrupt silence with our settings. Experiment with
various combinations of Attack and Decay lengths,
ending with settings
of
'3'
for
each.
Operation
Sustain
15
(cont)
The Sustain slider has already been referred to in
the Decay section, and is not a time function but
the level to which the Decay will fall while any key
is still held down. With the Sustain at '0', any
Attack/Decay combination will end in silence no
matter how long a key is held. With the Sustain
level set at '10', a note will stay at full volume from
the instant the Attack is complete until the key is
released — virtually cancelling the Decay function
and giving the note no 'internal' change in shape
during
Release
slider control is responsible for the
note from the instant the key
over from the Attack,
we have
all
'3'
as
set at about
is
released
—
taking
Decay and Sustain which end
at the point
and
seen. Leave the A,
set the
Release
D &S
at '10'.
Hold a note long enough so that the Attack and
Decay are completed and your note is resting on
the Sustain
will
Repeat
in
level.
When
is
released the
procedure, lowering the Release time
this
Release at
'0'
Leave the Release
relatively short
Envelope Modes
the key
continue, gradually fading to silence.
down
several steps until you are
instant
that
we
slider at
to the abrupt,
experienced before.
'2'
or so for
a pleasing,
Release, set the Attack and Decay
The SH-09 Envelope may be activated by the
keyboard in three different ways, each with its own
advantages. The Envelope Mode switch lets you
choose between Gate and Trigger, Gate, and LFO
options. Your SH-09 gives you this choice to give
you the ultimate in flexibility and expression in all
applications.
selector in the
are interrupting. This principle follows the Trigger
logic:
new keys pressed on the left
new keys to the right will not
will re-attack
until
any keys
to the left are released. This type of playing allows
very fast playing
technique
is
in
relatively
which
totally
clean keyboard
not absolutely necessary, and
ticularly useful for
a
is
par-
sounds with a quick attack and
low sustain
level.
Check the Sustained
Guitar patch give later for a typical example.
Placing the Envelope
mode
selector in the Gate
a second option. Individually spaced
each have a complete envelope shape.
Legato playing will produce new pitches (accord-
position offers
notes
of the Attack
and
Decay lengths and Sustain level, sophisticated
shaped notes are possible such as the extra
emphasis at the beginning of a string down bow,
held brass notes, or the burst at the beginning of
percussive instrument notes such as piano. See the
and Patch sections tor specific uses of
Application
the Sustain function
'6'
sliders at
and experiment with short notes, interand Decay cycles at various
rupting the Attack
points.
Here you
will
ing to the KCV logic described earlier), but the
envelope will continue on as if it were one long
note. In a patch such as the Shuffle Bass shown
later, this allows you to produce the sound of refretting notes without re-plucking them. When you
discover the
will
full
extent of the
mentioned at the end of the
Attack description. Pressing and releasing a single
key produces a Gate beginning and ending at
those respective moments. The Release function
will begin when the Gate ends — regardless of
extra keyboard control
when
Gate
Gate
it
ends. The Release, then,
logic as
described
—
in
will
follow the
legato playing, the
begin at the first note and end the first
all keys are raised. Practice with this
principle and patches presented within this manual
to play the SH-09's keyboard to a major advantage
will
instant that
added realism and
for
control.
place a clean break between notes they will reLegato playing will allow the series of notes
to continue to fade. Practice using this technique
attack.
will
fall
good control and a sound with variety and
an area where most other synthesizers
give
interest
—
short.
Some sounds
Gate &
Trigger position, individual spaced notes will each
have a complete envelope shape of its own. When
legato playing is used (overlapping the playing of
two or more keys) new notes will re-attack from
whatever point they had reached in the notes they
mode
With the Envelope
while
combinations
different
length.
its
The Release
note
By using
will
nique to sound
need a detached keyboard tech-
their best. In
a string instrument
patch, for instance, either the Gate or the Gate and
Trigger positions played legato will lose the realism
that
would be generated by a fresh release and
attack from detached playing. Also,
in
legato play-
be heard as the notes switch instantly to new pitches. Experience will show you
which of these two mode options to choose, but
ing
a
there
'click' will
is
no substitute
technique where
minimum
light
for
developing a keyboard
playing
and
at least
separation between notes
is
a
possible.
The Envelope mode labelled LFO is controlled both
from the Keyboard Gate and the Modulator LFO.
When a key is depressed, the Keyboard Gate will
allow the Modulator
LFO
to repeatedly activate the
speed set by the Modulator Rate
control, and indicated on the associated LED
indicator. This repeating Envelope will continue as
long as any key is held down, ending the instant
Envelope
at the
all keys are released according to the
Keyboard Gate logic explained earlier. This mode
is especially useful for instruments needing fast
continuous repeating notes such as the mandolin,
banjo or marimba.
that
16
Control Options
The creative control
of the
SH-09 includes
LFO
mento,
options.
Modulator, and Bender section control
These controls are simple to operate, yet
add much
to the expressive control of the syn-
thesizer in performance. Return
basic patch
Portamento
Porta-
and proceed
all
controls to the
to explore these controls.
Portamento is a slide from one pitch to another,
much as a tronbone might. The Portamento control
determines the time required to change pitches
when different keys are pressed. The Portamento
slider is
and
found directly to the
actually
is
Voltage and
a function
its
Set the slider at
left
of the
of the keyboard,
Keyboard Control
control of pitch.
"0'
and the keyboard
will
the keyboard with instant pitch changes.
slider
react to
As
the
new keys pressed will slider from
new one, taking longer as the
raised further.
you strike the same key
raised,
is
the last pitch to the
control
Modulator Section
is
twice in a row, there will be no slide since Portamento works between the last note struck and the
new one — in this case the same note.
Portamento stops when the key is released, and is
in melodic situations with a quick slide
that will allow the melody to sound clearly. Longer
portamentos are best used carefully for single
notes or for effects
experience is your best
guide. Portamento may be introduced or changed
at any time during performance, adding variety and
best used
—
interest
If
The Modulator control section is located at the
upper left hand comer of the SH-09 control panel
and is used for producing regular changes in pitch
and tone such as vibrato, tremolo, trills and effects.
The Modulator section includes a Low Frequency
Oscillator (LFO) and a Sample & Hold circuit. The
output of the Modulator can be used for modulating (changing) pitch through the
VCO, tone by
Width in the VCO, tone and/or
the VCF, and for repeated gating of the
When
the
f~\j Delay Time
control slider
is
raised,
pressing a key on the keyboard will delay the
effect of the Modulator sine wave output on the
VCO
and VCF. This Delay follows Keyboard Trigger
logic with
separated notes having delay, while in
new keys depressed to the left will
introduce a new delay but a new key to the right
will delay only as keys to the left are released.
legato playing
varying the Pulse
Raising this slider increases the delay time, lower-
pitch within
ing it fully results in a continuous output with no
delay You may wish to experiment with this function using different amounts of VCO and VCF
Envelope.
The Modulator Mode switch determines which
waveform will be used for VCO and VCF modulation. The three options include: f~\j (sine wave),
(square wave) and Random (S/H) for the
Sample and Hold output
nj
The Rate slider controls the frequency or speed of
change for all Modulator outputs. Raising the control increases the frequency, which may be
monitored with the associated flashing LED.
Using the basic patch, experiment with the three
Modulator Mode switch options at various rates by
raising the
VCO
together
various amounts.
and VCF
and
The sine wave output
will give smooth pitch or tone changes usually
used for vibrato and tremolo. The square wave output gives steady, rhythmic up/down pitch and tone
changes most commonly used for trills with the
CVO.
in
sliders singly
The S/H output produces regular rhythmic changes
in pitch or tone of a random depth. The S/H effect
is a characteristic of synthesizers most often
applied as VCF MOD with a generous amount of
Resonance — this gives a pronounced effect without disrupting the identity of pitches being played.
All three Modes have their shape and rate deter-
mined in the Modulator section, their application
and depth determined with the VCO and VCF
MOD
sliders.
Modulation and various delay lengths. Notice that
the Delay control has
no effect on the Square wave
and Random S/H outputs of the Modulator.
The Modulator has a smooth,
regular output which
wired into the Pulse Width Modulation
section of the VCO as discussed earlier. This output is not effected by the Delay time control or the
Modulator Mode switch. LFO Pulse Width Modulais
internally
V
tion usually uses an LFO rate between
and '3'
and a moderate amount of Pulse Width Modulation
depth. This depth is determined by the Pulse Width
slider control and has noticeably more effect on
low pitched notes than on high notes, so set your
patches accordingly.
The LFO within the Modulator section may also be
used for repeated gating of the Envelope section
as described earlier. This output is hardwired to the
Envelope Mode switch and only the Modulator
Rate control and its associated LED indicator have
any bearing upon it It is useful to note that all
Modulator section outputs including VCO and VCF
modulation in all three modes, Pulse Width Modultion and repeated Envelope gating are all linked to
same LFO to allow coordination and control
over those effects.
the
Operation
Bender Section
17
(cont)
The Bender section allows you to change pitch
and/or tone freely as you perform to add expression and spontaneity. The Bender lever itself'is
center-sprung to return to
each bend
its
original setting reliably
speed and accuracy. The
center position has no effect on the SH-09 sound
or settings, while the left and right extremes of
movement (labelled - and +) achieve the same
amount of bend in opposite directions.
after
for great
The effect of the Bender is determined by the VCO
and VCF Bender Sensitivity slider controls. These
may be set either separately or together to achieve
the exact amount of sharp or flat pitch and/or
brighter and more mellow tone change with exact
predictability and control.
VCO
bend
nient to
will always change pitch. It is convehave the extreme limits of the bend control
stop at the musical interval most useful to your
patches, usually a half-step, stop or an octave.
Using your basic patch for now, try this procedure
to set the
VCO
bend
easily
and accurately: hold
any note with your right hand, hold the Bender
lightly at its most positive position with your left
thumb, then slide the VCO Sensitivity control slowly
upwards. You
will
hear the pitch of your note
rise— tune
it
to the desired interval
above the note
you began with. To check yourself, release the
bender and press the note on the keyboard mat
you were aiming for. Check this against your
original note with
bender and repeat
necessary.
usually use the same bend
that the adjustable bender
if
You will find that you
for most patches and
makes
this
possible with
1
00%
accuracy.
The VCF Bender Sensitivity control will change the
tone of the Audio Mixer output as
passes through
the VCF. By combining VCO and VCF bend, a
pitch bend becomes more dynamic by becoming
brighter as it bends sharp, more mellow as
bends flat. Remember that the VCF Cutoff is fully
open either manually or through other controls that
it cannot be bent in the positive, brighter direction.
The same applies to the reverse— you can only
bend the filter down to the extent that is open.
it
it
if
it
It
should also be noted that
change the
VCF bending
will
any notes produced by pushing the VCF Resonance into self-oscillation. The
various uses of the Bender section are best practiced using patches presented later in this manual
and by listening to examples in live performance or
on record or tape.
pitch of
18
Application
You are now ready
to
information gained
in
cal, useful
whole.
piece the aural and technical
the last section into a practi-
Two approaches
are necessary to
achieve the greatest success: an examination
of
the basic approach to learning/playing synthesizer,
and a study of specific musical applications aimed
at giving a mastery of synthesis in general and of
the specific advantages of the
Basic Patch Position
When
SH-09
in
particular
pursuing any sound on a synthesizer,
it
is
usually best to start from a standard basic position
or patch, a setting
which pre-supposes as
possible by leaving control sliders closed
little
switches or sliders which are always active
position
will
as
and
in
the
most commonly used. This beginning point
avoid having remainders of the last patch con-
fuse the building of the
new
one,
and
will
lead to
quick troubleshooting since you will be totally
familiar with your starting point and each variation
you have chosen
M'\i —
to
make. This approach
will
cramp your
a sound
by imposing decisions upon
you have not specifically chosen.
creativity
that
Such a setting is presented here. As you become
more familiar with the SH-09 and it becomes more
of
an extension
this
now,
try
-1
P-.
patch—
much
Methodical Practice
It
is
it
will
Slat
Q
many
different situations
various options available.
many
advantages.
different personal preferences,
is dealing with different amplification and acoustic
environments, and not every SH-09 will react to the
exactly the
fine musical instruments
individual
same way
(just as other
have their own
character). You will develop variations on
in
!>
S3
each patch, or entirely new patches, which may be
memorized or restated on a blank patch sheet for
future reference. Most important you will learn how
to manipulate the SH-09 quickly and with real
understanding.
The SH-09 has the
simplicity,
sound
quality
and
subtle control options to allow you to achieve a
This methodical approach has
same patch
For
IS Roland
as possible. Try each patch given in this manual,
regardless of your personal musical preferences.
Understand the main points of each, then spend
time to adjust each control and discover the
Each musician has
it.
it
sm-o»
control in as
wish to modify
not
important to understand the musical uses of
each SH-09
may
frustration.
y 4
SVtTTHESBEfi OR
you
each time you begin to
only take a moment and can save
returning to
f
Many);
((any;;
of yourself,
basic starting position or even eliminate
all
new
practice you
musical expression and freedom. With
will get to the point where the SH-09
becomes an
extension of your musician ship,
you
level of
when
know how to get a sound you
how to alter a patch to suit your
will instinctively
hear or image, or
needs
exactly.
1
Real-Time Patch
Changes
To get the most musical vitality out ot your SH-09,
alter its sound while you are actually playing to add
interest and remove predictability. Change the
sound as you play by adding/removing/or altering
Portamento. Change waveforms or envelope
shapes. Discover useful variations of patches or
patches which are very close in settings
and may evolve from one to the other as you paly.
different
The concept
Custom Patches
of 'evolving'
one patch
to another
is
difficult'.
Many musicians
all
that difficult— only requiring
all
the time. Mastering your
just
own patches
is
a certain
of experience and practice, and a logical
approach. A summary of one such approach is
presented at the end of the Patches section of this
manual. Work your way through the Patches given,
try customizing them to your own needs, then try
creating your own sounds and you will get the
of the SH-09's vast potential.
There are several
mon
pitfalls or
traps
with synthesists working on
Awareness
of
chain to the end. Basic String to Brass to Tuba to
Bass Guitar is a good example— changing VCF
and Envelope Mod, then Range and finally
settings through the chain and find
adjusting other controls as you go
Cutoff
ADSR
a bit of a buzz in the tone color. Learn
sounds quickly and accrately. Reference
to a record or tape will help keep you on the right
track and is good practice, but don't get too hung
up with absolute precision— your audience won't
be making side-by-side comparisons as you play
No sound
patches.
them can eliminate several and
minimize others.
created by a synthesizer
is
actually
com-
reaches the ear of the listener. You
must not only consider your o>
amplification,
effects
same
it
and room acoustics but listen for those
in instruments or sounds you wish
things
to
phasing or flanging, wash
pedals, or any other influences over a sound
imitate. Listen for reverb,
including specialised amplification such as overdriving
which are com-
new
one to the next, yet give significant new sounds
and a large change from the beginning of the
plete until
amount
most out
for
bright, with
they get what they want or what they
are willing to settle for, play patches out of books
without tailoring them to suit or play the same
not
developing speed and accuracy
to analyse
'fiddle' until
sound
for
on-stage patching. You can find 'chains' of patches
which require only simple changes to move from
the
Making your own patches to match a sound you
have heard or are imaging is very rewarding, but
often avoided as loo
also useful
a small
amp
to get
a
particularly hot lead
sound.
Pay particular attention to reverb. Acoustic instruments are played in settings with varying amounts
of natural reverberation— the time
takes a sound
to -die away to silence as it bouces around the
it
Sounds created in your imagination present special
problems. These totally abstract ideas are hard to
hold on to, and tend to fade away or evolve into
other ideas. Your mind has a tendency to accept
your new patch as 'correct' when you know that
isn't— the idea you are trying to hold in your mind
slips over and becomes the sound
hears. The
mentalists achieve this 'room' effect with a reverb
only answers are concentration to hold the idea
equipment or as an
you have no
reverb available, your sound may seem flat and
two dimensional. To compensate, add just a touch
and speed
of extra
it
it
complete the patch while your idea
up basic parameters
before you listen and work quickly to give your ear
the least temptation be distracted and change.
is still
to
clear in your mind. Set
Listen carefully to
not
any sound you wish to copy. Do
be fooled by an emotional
of the sound, listen to the
sound
rich
and sweet
to
a
reaction to the effect
sound
itself.
listener
emotional response, but the sound
STYLE
room. This effectively extends the 'Release' time of
those instruments. Many electric/electronic instru-
A
Violin
may
according to his
itself is
very
One last but very important note: every patch is
created with a certain musical or performance style
sound its best only when played
in a similar style. A wind instrument patch will
sound odd you do not put rests in at regular
in
mind and
will
if
intervals for the 'player" to 'breathe'.
may
The
listener
know what is wrong, but often will sense
when he should be subconsciously
appreciating the extra attention to detail. A lead
not
the omission
unit within their amplification
extra
in their
amplification chain.
Release length
If
to your settings
—
this will
room acoustics. Listen to
sounds you wish to use on your synthesizer as they
appear on records. Sounds like Strings are usually
recorded in or simulate the sound of a large hall
(lots of reverb), and many synthesizer sounds
recorded by the great players use large amounts of
reverb in the studio — your sound won't measure
up to theirs unless you take reverb into account
simulate the extra
'ring' of
solo patch intended for
pitch bending will
in
a ripping
ing other
lyric
sound
music
lines with subtle
entirely different
if
played
fast line with wild pitch bending.
sounds and
or un-creative
—
styles
many new
Copyneed not be negative
styles are born from
an understanding of previous work and borrow
from others.
you admire a particular performer or
sound, don't just go after the sound, you must
If
study the
style.
20
Patches
The patches presented in this section present both
quick access to useful sounds from your SH-09
and a way to study specific applications of the
principles and techniques discussed earlier. An
approach to setting up your own patches is given
at the end of this section, and blank patch sheets
are supplied for you to photocopy and use to
notate your own patches or any modified version of
Set up the patches as marked, using the text given
as a further guide. There are only two rules to
follow in using these patches:
all unmarked sliders
down, and any unmarked
switches may remain in any position. To avoid confusion, return to the basic starting position each
time you begin a new patch. That patch is repe-
should be
ated here
left fully
for
your convenience.
those presented here.
'Zipper'
Lead
(with Portamento)
1*1
*UDiO
GATE
oo
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th
CV
GATf
CV
9 HOMES
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SWTTHKEER OR
o
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Thick synthesizer lead sound with long,
resonant release.
Sub
*;|4t
Oscillator
is
optional for a heavier
Portamento should be set according to the
speed of playing and the size of any jumps
in the musical line. Keep Portamento fast
enough
sound.
each note
to identify
clearly
Sustained
Guitar
(XT
tv
GATt
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CV
QUT*UT
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bend a whole
Increase the volume during long sustains
Pitch
using a volume pedal between the output
guitarist
and amplification, or by adjusting the SH09 volume knob with your left hand.
before notes bent
or half step, as a
would. Put at least a short space
flat
21
Lead Line
in
Motion
U'
gate
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AUDIO
IN
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PHONES
OUTPUT
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INPUT
OUTPUT
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A good lead sound with narrowing pulse
wave changing the tone of longer notes.
Delayed vibrato enters at end of tone
-iH>-i
,at::3E.
sweep.
bend a half-step or step. Vibrato will
enter at end of bend if you time your playPitch
patch
for fast playing
—
instant
attack
and release (Gate) give speed and
clarity
regardless of keyboard technique.
NOTE: Optional Sub-Oscillator two octaves
away lends weight and thickness. Use the
Audio Mixer carefully
—
if
too
much Sub-
mixed against the VCO the
Pulse Width sweep will be obscured.
ing that way.
Flexible
A good
Roland
Oscillator
is
Lead
Line
GATj
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GATE
C^
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SVnTHBBER OT
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sh-m
Great
n
for subtle
melody work. Try
pitch
available.
Switch
)
2)
VCO Waveform
selector to
/"I
|
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j
for
OPTIONS:
1
a brass sound.
Switch VCO Waveform selector to
Pulse Width Mod. for a more
aggressive, synthesized sound.
These options make this patch very flexible
for
bending away-and-back from notes held,
or begin above or below pitch by bending
in rest immediately before. Use reverb if
33E •4p
'C
?
It
switching sounds during a piece or
quickly
between numbers.
'Chick Korea'
Lead Line
GAT[
EXT
GATE
Cv
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CV
AUDIO
OUTPUJ
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IN
OUTPUT
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switheseer oq
D
•^Hb"J|r
Play both legato and very short staccato
changes with
styles.
aggressive sound.
Use
pitch
bend
—
small, subtle
bends
in
octave bends quickly at
the beginning of a note and springing back
at the end of a note, and slower full octave
bends on longer notes. NOTE: tone
mid-phrase,
full
Use a LOT
NOTE:
pitch
bend
of reverb
if
it
for
is
a more
available.
the Gate
and Trigger Envelope
Mode is used so that notes will speak
clearly in fast playing. NOTE: deeper
delayed vibrato than normal.
22
Telstar'
{.-
GATf
Gat
r..
C
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'MONSI:
'.
© O© ©©
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SVTTTHEaEERaq
(^Roland
s«h
A good
-^1
B-
i
lead sound, reminiscent of that
song from the
Use reverb
if
sixties'.
available.
:jdt:d
Electric Clavichord
GATE
1*1
Cv
GAn
PHONES
cv
outcu'
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OUTPUT
INCUT
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it?
3T1 llntvMCtn LfH
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1-41
s-
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HH Roland
sh-09
Play
SHORT
notes
—
don't hold keys for
ons
Useful
MOD
for 'funky'
in
adds
ed,
Use reverb
A
VCF
backing
—
think In style.
sound slightly as
and interest
alters
variety
if
available.
chorus pedal
is
useful as
an optional
effect
play-
Funky Lead with
Wah Bend
GATE
tXT
CV
GATE
CV
© ©© ©
AUDIO
IN
INPUT
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OUTPUT
PHONES
OUTPUT
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ir-B-
SiTITHESBEH OR
^Q
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s»-,
Similar to Electric Clavichord but more
capable of carrying a lead line.
Use
Wah
positive
control.
-1
and negative bend
for
Wah-
23
'Waw' Lead
GATi
Ci
©© ©©
AUOlO
-4M>-
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OUTPu'
iNPyT
IN
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irit
1
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-
[^Roland
*,-„
Bender controls pitch and 'Wah'.
_.r
Tone
#
through'
of
is
keyboard to 'cut
and be heard through the sound
bright at top of
a band.
—
-.
.
Flexible
-i
Bass
EXT
GATt
Cv
GATE
OUTPUT
PMON1S
CV
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AUDIO
OUTPU'
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L. -fl
9
4@L!.-S
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^
lj
(HI Roland
SiTITHEaEER OR
This bass patch uses the Gate
and Trigger
Envelope Mode and identical Decay and
Release times for playing ease.
-!>fH-fr-
^iE
for
)
Shuffle
a
'fuzzy'
rought rock
n'
Width Mode
to
manual
a more clear, precise sound. Suitable
Country & Western.
3) Switch to the
OPTIONS:
As marked
1
roll
2) Switch Pulse
^\ waveform
for
for
for
a sim-
ple walking bass style.
sound.
Bass
GATE
IXT
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IN
CV
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OUT^Ut
PHONIS
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OUTPUT
INPUT
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RB Roland
anTHraEBr^cR
on
-iWV-t-fl"
A
very round,
dle
full
and bottom
sound
of
TECHNIQUE: Use
—
best at the mid-
keyboard.
of
Gate Envelope Mode
allows legato playing to give a
without a
new
attack
—
as
if
new
pitch
the string
was
refretted to a new pitch without being
plucked again. Detached playing gives a
fresh attack for
each
note. Practice to
gam
control over which notes get a fresh attack
and which ones don't to add to the variety
and flexibility of the sound.
NOTE: The Release time is shorter than
Decay time for further control, from the
keyboard. NOTE: Sub-Osciilator adds
thickness without tuning.
the
24
Compressed
Bass
£»'
GAT{
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SVnTHESEEflOT
This patch gives two distinct bass sounds
stop short
from one patch, determined by keyboard
technique. Keyboard technique here is
opposite to 'normal': notes held longer
this
sound short and 'compressed', notes played very short with a 'plucking' action ring
long and bright Think in terms of the key
plucked and
being a string that will ring
dampened with your hand and
come easily. Practice to control
if
should
how each
note
will
sound.
NOTE: this patch is excellent to add a
dynamic live feel' to sequenced bass patterns using a
Roland
CSQ
digital
sequencer. Record slow, playback
fast.
if
Growling
Bass
GATE
CV
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AUOlO
IN
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PHONIS
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11
ourt-ij-
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in
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wiitheseerot
A more
thick,
and
synthesized bass sound with a
growling tone and an instant attack
release.
Funk Bass
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OUTPUT
INCUT
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GATE
CV
GATE
(XT
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SVmHSEERuH
6
m5
A
funky synthesized bass sound.
with pitch bend. Try bending during
rest before long notes,
the note as
it
bending back
into
begins.
.
!
i
Try the keyboard technique described for
Shuffle
"B
Bill
Is! Roland
»-«.
Good
a
0*
Bass
patch.
Experiment with other envelope shapes
such as '0' Attack and Release times or an
occasional longer Attack time adjusted as
you
play.
25
Inverted
Punch Bass
(K*
G*'i
C
G*T(
,
PHQNIb
Cv
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Oufpl
© ©© ©©
AUDIO
IN"UT
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Output
WnTHESSEROq
Roland
A
synthesized bass with an initial 'punch'
followed by a rise in tone and volume.
{5
Allows fast playing withxlear attacks and
the dynamic forward motion you would get
Use a detached
with a slow attack.
—
keybaord technique
to get the 'punch'
legato technique gives an alternative growling bass without the 'punch'.
Tonewheel
Organ
I.T
G»T(
©
AUD>0
ih
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GATf
Cv
©© ©
INPUT
OUTPUT
RB Roland
arttTHESEEFlOq
There are
many good
variations
on
this
lowering the
one:
1
3TO
2)
3)
The
"key click'
VCF
Envelope
is
brought
—
slider
in
it
4) Vibrato
may be
VCO MOD
altered
cutoff to taste.
Sub-Oscillator settings.
with the
can be
removed or altered to taste.
The 'drawbar' sound may be
VCF
Experiment with other waveforms and
by
introduced with the
slider at different
Modulator
rates.
Upper and Lower
Register Flute
GAU
€*T
CV
GATE
CV
OUTPU'
PHONIS
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OUTPUT
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IS
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SWTTHSEER DR
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IS Roland
Play with a detached keybaord technique
except
for
scale runs and
character and avoids
trills
'clicks'
—
this is in
between
notes.
Upper
register
(shown)
is
best played on
the keybaords top end.
Switch to
8'
VCO
range
for
lower register
remember
playing
to put in rests for
'breathing'.
when switching registers as
needed. Changing volume during playing
adds expression
try a volume pedal betAdjust volume
—
ween
and play the lower end of the keyboard.
This gives a good breathy sound for slow
passages.
When
the
SH-09 and amp.
Use reverb
if
effective with
available.
flute.
Echo
is
also very
26
Jazz Trumpet
|Jj s=: pr p=j |_
D*
SHrTTTHraEER
OR
IS Roland
sh-c
Notice the biting attack, the brass tonguing
effect that
a short attack
attacks give
options.
gives.
wah-wah mute
Longer
or french horn
Gate and Trigger Envelope Mode
gives accurate attacks to
Quickly chipping the
all
VCO
octave at the very beginning and end
of
notes gives a jazz/rock 'pinch' for the high
notes, the lack of stability from reaching for
those 'impossible' notes.
notes.
Use reverb
if
available.
bend one
Sax
..T
GAT(
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Sax is difficult to synthesize because it
sounds many different ways, even within
one solo, and because its technique offers
very fast and technical playing ability. For
best results use the flexibility of this patch,
practice, and listen to sax players.
Bend the VCF before a note
add variety while playing.
Legato and detached playing sounds
different
use both.
needed with your
|
— —
Move
the Modulator Rate to
or
'1
passage
0' to
get a
may be used as
Delay. You may also
growling tone which
shown
or with
bring the
VCF
'0'
MOD
slider in only
as
hand.
left
—
Clarinet
on
GATf
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is a good, simple example of
combining a manual VCF cutoff setting
with ADSR modulation of the VCF.
This patch
Both legato and detached keyboard techn-
qiues sound correct each contributing a
different Clarinet playing style. Practice
both so that you
them
to get the
may
alternate
most out
between
of this patch.
to
27
Violin/Viola
GATE
Cv
GATE
EKT
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AUDIO
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OUTFUt
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SMTTHSEffi DR
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Play with a detached keyboard technique.
D_
Short notes
w1
will
be
softer
and
lighter
than
Set the Release time just long enough to
sound
natural.
Use reverb
if
at
all
possible
longer notes.
^^^
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Bassoon
GATE
fin
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SirrrHESBER tn
a good example of using
change tone instead of
emphasising motion within the filter.
This patch
Resonance
is
to
For best results play
tom end
of the
Use reverb
if
in
the middle
and
bot-
keyboard
available.
Xylophone
fXT
GATE
GATE
CV
CV
PHONES
OUTPUT
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AUDIO
IN
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INPUT
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01
avnTHESEERDR
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Mode
LFO and Xylophone rolls on any
key, at a speed determined by the Modulator Rate. You may choose either the Gate
labelled
m
f¥
PU Roland
sm-«
Try switching to the Envelope
ols
It
and Trigger or LFO Mode, or switch between them with your left hand as you play,
u
b
reverb
Use
jf availablp
" ava,lable
28
Vibraphone
GAT I
EXT
GATE
CV
©
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OUTPUT
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INPUT
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PMQNI5
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SVnTHSEERQq
This patch
is
a good example
of
sound
combm-
VCO
and the Sub-Oscillator square
wave two octaves down to produce the
ing the
of
one
single with a
complex tone
color.
Best
p| ay ed in
a slower, melodic
style.
Female Voice
GATE
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GATE
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PMONIS
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Careful settings and slow,
lines will yield
an
lyric
melody
'aw' sound.
Pay particular attention to the Cutoff and
Resonance settings - experiment around
'5'
and
,
„
T
Try a small amount of portamento.
'6'.
.
,_ „„,„.
reverb
Use
.
if
lf
.
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available
01
Chirping Birds
(XT
GATE
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This patch is a good example of both LFO
gating of the Envelope and of using the
Press different keys for different lengths of
time, changing the Modulator Rate bet-
VCF as an
ween
oscillator.
notes.
:
29
Wind
6*n
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A good
Press the release the bottom key.
example
Hold
of the
function.
Resonance
of the
Synth
Noise wavetorm, and the
wind
responsible for the howling
is
—
raise
it
slightly to
increase
the howling (raising
it
too
far will result in
a
screeching sound).
Lowing the Resonance completely eliminates the howling of the wind and gives a
sound similar to rolling surf
Drum
GATf
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IS Roland
sh-o.
Different pitches are available from
Gate and Trigger Envelope Mode
different keys.
fast playing
Play rhythms and short
»--ft—
o*
rolls
on keys
—
will
allow
the
Inverted Synth
Drum
GATS
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shh
Different pitches are available from
fast playing.
different keys.
—
Play rhythms and short rolls on keys
the
Gate and Trigger Envelope Mode will allow
Rajse {he VCF MQD s|jder
delayed special effect.
tQ
r for
30
Bass Drum
t*T
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Strike
—
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f
Driving
a key
different
in
the middle of the keyboard
keys
will
change
the
sound
Experiment with different drum sounds as
an extension of the Roland CR rhythm
units, and especially the Boss DR-55 Dr.
ii-
I
[^Roland
*,-,
Rhythm
unit with
its
programmable
trigger
output Simply plug the rhythm units Trigger Output into the SH-09 Gate Input and
you have added a custom drum, Synth-
Drum
or other effect
i
Random
Pitches
GATE
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Play any key on the upper end
of the
keybaord. Te Sample and Hold will give
both random pitch and tone changes while
the LFO gating of the Envelope repeats a
-!'HH-fl-
WlE.
steady, driving beat
To use
this
changes, lower the VCO MOD slider to '0',
switch the VCO Range to 32', and raise
the
to 7' — you will get
and tone change with-
VCF Resonance
the driving rhythm
out losing the identity of your musical
line.
sound without the pitch
Heavy Random
Tone Colors
GATE
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SYnTHKEER DR
IS Roland
»-«.
A heavy bass
synthesizer patch using
Sample and Hold to provide a rhythmic
change in tone color during the Sustain
and Release
of
each
note. Pitched are not
effected so the musical line
its identity.
does not lose
31
Designing your
own patches
is
very rewarding and
foundation decision
You should always begin by
any sound you wish to synthesize, clearly visualizing in your mind any sound
you wish to create. Once you have a strong
enough idea about the sound you are seeking that
you can base decisions upon it building a patch
for that sound can follow a logical process.
not
all
that difficult
these settings
Once you
keep your basic sound
influence
Envelope
You
—
it
has an
sound.
major consideration
is
the Style with
it.
on designing you rown patches
shows only one of many approaches. As you use
backtrack and change anything you discover is
faulty. Go back through this manual and study the
text and the patches. The aural lessons learned
there will make patching easier as you recognise
slider) or
final
'parts of your
This discussion
and make a preliminary guess concerning whether
(raise the
final
firmly in
which you perform the patch. If you are imitating a
sound, study the style. If you are creating a sound.
decide upon one style and stick to
quality of square, or the nasal quality of pulse?)
is 'active'
These
remember to
mind and .pay
keyboard technique
on many
Again, the
error.
Next select a basic waveform for one oscillator (do
you need the buzz of sawtooth, the hollow clarinet
VCF
are satisfied with your basic Foundation
attention to your
close no degree of subtlety with other
'passive' (raise the Cutoff slider).
controls
are basically self-explamatory, but
Foundation decisions concern basic pitch, tone and
volume. Decide on a basic pitch range, selecting
exact octave and keyboard use as you proceed.
the
VCF
oscillator or mixing
decisions, proceed through the finer points
beginning with a solid foundation, adding building
blocks, and tying it all together with a capstone. If
your foundation blocks are not correct or at least
can correct the
on the keyboard as you
Keep your mind open about
and adjust them as you proceed,
adding an extra
as needed.
one such process, building a
synthesizer sound as you would a pyramid —
building blocks
short notes
ADSR shape -
set these controls.
Figure 2 represents
relatively
and
play long
listening carefully to
the basic
is
basic
patterns
in
sound.
CAPSTONE
STYLE
suiting your
style
performance
and imagination
to
the sound.
other internal effects
such as PWM, S/H,
external effects such
as reverb or tone
etc.
control
Bender pitch and/or tone how much?
Portamento how much? Continuous
how. often
or occasional?
Keyboard technique and
Vibrato-needed?
depth? delay?
range,
influence
on ADSR, Mod
Resonance-tone,
Env. mode-Gate,
motion
Gate
PITCH
VCO
its
•
Keyboard use,
mix of oscillations.
Basic
Action
+
Trigger
TONE
VCO wave shape
Mix of
N
Trernolo-needed?
depth? delay?
VOLUME
note volume, shape,
VCF (Envelope Control)
VCF (Cutoff slider)
Passive
•
delay, etc
or
length as controlled
ADSR
oscillators
D
T
N
or
VCA
by
it,
Interfacing
32
Interfacing capability
striking
is
advantage, an
and
perhaps the SH-09's most
ability to
expand
in
many
customize itself to a performers needs. An instrument such as electric
piano or guitar may be processed through the SH09 for synthesizer style effects, any polyphonic
instrument with.a gate output may be linked
through the SH-09 to achieve polyphonic synthesizer sounds and the SH-09 control inputs and
outputs allow it to be used with other synthesizers
or with units such as the Roland CSQ digital
sequencers for flexibility and freedom to create.
directions
to virtually
are very helpful
instruments independently. Either or both
may
still
be played independently, switched to play as a
single new instrument or used both for the sounds
of the external instrument and of the SH-09 combination at the
same time
for orchestration style
Using a Roland CSQ Digital Sequencer
with the SH-09 allows musical lines either preprogrammed or programmed as you play to be
automatically repeated or altered at will, expanding
layering.
the studio, but virtually essential
performance where a keyboard player must
one playing recreate the thick, complex sounds
in live
in
—
his audience expects
sounds originally created
through multitrack recording and/or the use of
many
session musicians.
Interfacing capability not only allows great artistic
freedom and choice, but allows an involved
keyboard setup to be built gradually as money
becomes
available. Building
a system
this
way
pro-
vides the performer with an instrument immediate-
him become more
each instruand allows him to
purchase absolute top quality instruments such as
the SH-09 at each step of the way instead of buying a more expensive instrument which compromises quality and flexibility in order to be more
comprehensive. You may feel confident that the
SH-09 quality and extensive expansion options will
not lock you into a closed concept that must be
traded in and changed completely each time your
musical needs change or expand.
ly,
Combining the SH-09 with another instrument
gives much greater flexibility than using the two
in
lets
ment as he
familiar with
builds gradually,
the talents and capabilities of a player beyond his
normal hands-and-feet
Interfacing External
Instrument
Without Gates
limitations.
These
abilities
An
external source with no Gate output such as a
microphone, an electric piano or electric guitar may
be processed through the SH-09 using the Audio
VCF and
Modulator sections. The VCO,
Envelope and Delay Time functions of the SH-09
cannot be used in this application because there
Mixer,
are no Control Voltage or Gate
them
commands
for
to follow.
Example 1 uses the natural volume shape of the
Roland MP-600 Electronic Piano to modulate
or move the filter using the SH-09's self-contained
Envelope Follower. The Envelope Follower in the
VCF raises and lowers the Cutoff Frequency in
direct proportion to increasing and decreasing
volume levels from any incoming external signal.
The MP-600 is an ideal instrument for this application because its touch sensitive dynamics let you
control the depth of the SH-09 filter sweep from
the piano keyboard, it has an adjustable Decay
Interfacing External
Instruments With
Gate Outputs
The most popular application of SH-09 interfacing
is with polyphonic keyboard instruments that have
Keyboard Gate outputs such as the Roland RS-09
Organ/Strings and the Roland SA-09 Saturn. In this
application the SH-09 controls function normally
time to shape the filter sweep, and includes both
mixable Tone sliders and a six band Graphic
Equalizer to control the sound presented to the SHfor processing. Block chords or unison rhythms
09
work best with this patch because there is only
one set of synthesizer components to process the
summed output of the piano. The same process
will work with other external instruments, using the
natural note shape and tone for a basic starting
point.
Examples 2 and 3 continuously pass the external
instrument signal through the SH-09, adding either
a constant
Wah-Wah
the sound as
it
or Sample and Hold effect to
passes through the VCF, acting as
a sophisticated effect device. You
Sample and Hold patch the most
that effect
is
exclusive to synthesizers
—
SH-09 modulator, although you are
as Tremolo within the
are not using the
an instrument
therefore
a critical element in many synthesized sounds. The
gate will also initiate the delayed LFO output of the
and the Keyboard Gate are provided by
the external instrument (the SH-09 VCO and
keyboard are not used). When the two instruments
are linked, the combined instrument is played from
the external instrument keyboard using the SH-09
controls as an extension of the external instrument.
of connecting
and
possessing a Gate output to the SH-09 is that the
Envelope may now be used to sweep the filter
applying
The great advantage
find the
unexpected and unusual on other instruments.
with the exceptions that the pitches, basic tone
selection
may
effective, since
it
restricted to
VCF
since you
SH-09 VCO. Instead use the
delayed Vibrato available on both the RS-09
Organ/Strings and the SA-09 Saturn oscillators.
Standard Keyboard Gate logic is followed and the
most successful keyboard technique is usually to
play
in
block chords or with unison, separated
rhythms.
33
The RS-09 Organ/Strings has a special Raw Organ
Output making
ideal for synthesizer interfacing.
one slider to provide a Square wave Tne RS09/SH-09 Brass patch comDines tour sliders tc
a straight mix of the oscillators
before any Chorus Ensemble or Tone Selectors,
provide a Staircase wave, very similar to the
Sawtooth wave normally used for synthesizer brass
patches. Each RS-09 drawbar slider provides a
pure Square wave on its own, while the SA-09 has
four Tone Selectors which can alter the tones from
the basic square wave before they are mixed and
it
This output
is
allowing the RS-09 String
and Organ sounds to be
used normally while providing the SH-09 with a
pure sound as a basis for poly-synthesizer sounds.
Both the RS-09 and SA-09 provide Drawbar Mixing
control over the output that
you will process with
Each has four parallel octave tones at
and 1 pitches which may be mixed in a
the SH-09.
8', 4', 2',
'
form of additive synthesis to provide different
sent for processing
Four examples each are presented
for interfacing
the RS-09/SH-09 and the SA-09/SH-09 combina-
study the diagram and the accompanying text to fully understand the principles
behind interfacing external instruments possessing
tions. Carefully
waveforms for the SH-09 to work with. The RS09/SH-09 Woodwind patch provided here uses
gate outputs.
Interfacing Digital
A
Sequencers
09
sequencer
digital
may be
interfaced with the
to actually play the synthesizer for you,
SH-
accord-
ing to your instruction. A Roland CSQ Digital
Sequencer may be connected directly to your SH09 as diagrammed in the examples given, actually
placing it within the synthesizer between the
keyboard and the rest of the instrument No patch
cord changes are necessary to bring the sequencers into work — they can be loaded, played back,
or return your SH-09 to normal keyboard control
with no hesitation or interruption of the musical line.
performance or prepared beforehand. Any
line loaded can be played back exactly as
originally performed, as notes of equal value no
matter what the original rhythm, or with the original
pitches over a different rhythm rewritten from the
synthesizer keyboard. Tempo may be adjusted over
a wide range, sequences may be played once or
live
musical
repeated automatically, and may be transposed
from the keyboard of the synthesizer.
Two examples
are given here, each interfaced onj
CSQ sequencers with a
so that they will run together in
step further by linking the
Both the CSQ- 100 and CSQ-600 Digital Sequencers are loaded and manipulated from the synthesizer keyboard. The CSQ's memorize exactly
how you play the SH-09's keyboard: pitches,
rhythms, and the exact length of
each note or rest
every nuance and subtle change in tempo or
style. Since the CSQ's memorize the performance
for
rhythmic sync.
unit
Example
CSQ- 100
by the gate
output of the DR-55 programmable rhythm unit
Example 2 shows the larger CSQ-600 driving the
is
In
1
the smaller
actually being driven rhythmically
internal
clock of the more flexible
mable Rhythm
unit
CR-78 Program-
so that each has
total
and not the sound itself, the sound patch of the
SH-09 may be altered before or even during per-
another. Only the jack connections are
formance.
for further
The
Patches
Roland Rhythm
A
CSQ
Digital
Sequencers can be loaded during
blank patch sheet
is provided for each of the
combinations discussed. Photocopy
use with the actual instrument combina-
interfacing
them
for
tion or to
work out
of interfacing suits
in
advance which combination
you best
flexibility,
manual
yet will run
in
perfect
information refer to a
or your Roland dealer.
tempo
CSQ
rhythmic
one
shown here,
with
owners
Interfacing External
Instrument
Without Gates
Example
34
1
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touch-sensitive
wah
effect for external instruments.
.
-
Instruments such as guitar and the Roland
MP-600
Electric
Piano are "touch-sensitive" and can increase and decrease
(
-Hf•-
wah depth by
If"
accenting or playing
softer.
•.—i'-
Instruments that are not touch-sensitive can vary the
more notes give greater wah depth.
—
._
For Bass instruments, lower the
VCF
wah depth by
carefully
choosing the number of notes played at once
Cutoff slightly.
Example 2
f
A
EXT
useful sound, especially for electric piano.
more "synthesizer"
Good for guitar.
For
AUDIO
type sounds, raise the
Resonance
slider to
"7"
IN
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A good Sample and Hold sound for all instruments.
Adjust the VCF Cutoff to gain the maximum effect for
V_
the instrument
used.
MjCNOMMfA
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35
WOODWIND & STRINGS
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Woodwinds
To add
Use
alone.
strings,
reverb
if
ifl
available.
press the RS-09 4' String switch.
BRASS & STRINGS
r
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GATE
EXT
AUDIO
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1
SH-09
GATE
CV
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OUTPUT
PHONES
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gate
RS-09
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For lower Brass, transpose RS-09
Add
Strings
Short block
down one
by pressing the RS-09
chads
or solo notes
SW«SS
octave.
Longer chords
4' string button.
will
de-emphasize
Use
strings.
reverb
if
or notes let strings rise to stronger volume.
available.
i
SH-09-RS-09
36
ELECTRIC PIANO
r
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1
SH-09
GATE
CV
GATE
EXT
RS-09
CV
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Play detached chords
Try adding a "tine"
Try transposing the
Try adding tremolo by raising the
and solo lines.
RS-09 one octave down.
sound by adding the RS-09 Organ 2'
SH-09 VCF Mod slider
slider to "5".
to "4".
POLY SYNTH & STRINGS
n
GATE
EXT
1
SH-09
GATE
CV
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sound with delayed
l3D0
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Try adding
strings.
Sample and Hold by
raising the
SH-09 VCF Mod
"7"
Best with block-chord comping; holding
delayed effect.
some chords
to
hear
Add
strings
Use reverb
by pressing
if
available.
4' string button
on the RS-09.
slider to
SH-09+SA-09
37
WOODWINDS
f
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SH-09
CV
GATE
EXT
GATE
[olllo]
OUTPUT
IN
SA-09
CV
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Use reverb
JT.
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Play with detached chords and melody
alone.
if
QQQZ
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styles.
available.
TREMOLO VIBES
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GATE
CV
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PHONES
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sh-09
6 la
souno souncc
itQN-l^"
o
0"
-U-
lengths.
DP-2
Freely polyphonic.
sustain pedal
and
alternate sustain
[ENVELOPE
a
'o
Strong vibes tremolo effect
For ultimate control, use
i
Use reverb
if
available.
]
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M
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SH-09-SA-09
38
POLY SYNTH
17
SH-09
GATE
EXT
1
SA-09
CV
GATE
CV
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AUDIO
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OUTPUT
INPUT
IN
-
-
MONO
STERtO
r»-
t—
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on
(fox
0>
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R
SVnTHESlEER OR *-
SOUHD SOURCE
style,
for
but also
the delayed effects.
try
j^
•
m
Normally play with a detached
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»ccc*n
ru
"Comp" chords, holding some long enough
Roland
1
Try cancelling the
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n
Hi
-H-
SH-09 VCF Mod and adding SA-09 Chorus.
changing the bass
while holding a right hand-chord.
BRASS CHORUS
r
i
GATE
EXT
AUDIO
SH-09
CV
GATE
o©
SA-09
I
LoD
OUTPUT
INPUT
IN
1
CV
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SWTTHESEEflOq »-«
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;
For true brass, switch
SA-09 Chorus
For brighter brass, switch
_ MMH.ITM
_r
g
"Off"
SA-09 Tone Selector
0-
;
Q
Use reverb
to
if
[
ENVELOPE
Jl
H
nan
J
-K
ifl
available.
For lower pitches, switch SA-09 Transpose one Octave Down.
Interfacing
Digital
Sequencers
39
r?
EXT
GATE
CV
}
r
GATE
CV
PHONES
AUDIO
EXT CONTROL
CV
GATC
FROM SYNTHESIZER
r
GATE
CV
OUTPUT
INPUT
IN
GATE
o
ft
CSQ-100
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OUTPUT
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CV
GATE
i
CV
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OUTPUT
PHONES
TO SYNTHESIZER
BO Qfl
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OUTPUT
INPUT
CSQ-600
CSQ-100
WPUT
G*te
OUTPUT
Cv
GATE
EXT CONTROL
CV
STAUT
STEP
© © Q© © ©
FROM SYNTHESIZER
TO SYNTHESIZER
l
PHONES
OUTPUT
© ©
SH-09
AMP
40
GATE
EXT
AUDIO
CV
GATE
OS o
PHONES
OUTPUT
fs
OUTPUT
INPUT
IN
CV
I
AMP
CSQ-600
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MOWS
OUTPUT
PHONES
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INPUT
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CV
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OUTPUT
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SH-09 BLOCK DIAGRAM
43
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GATE*
J
-TLTL lfo.
1
SH-09
<»***« NOtSE
BLOCK
NOISE
»•
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r
AND
GEN
RANDOM,
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iMODE
1
DIAGRAM
ENV
ENV
o-jHOCO
RANGE
TUNING
^<
GATE
KVBO
GATE
*
32
MOD
»&— vco
LFO
VCA
VCF
-*VOLUME
f
_^oJ MANUAL
OUTPUT
JT
HESONANCE CUTOFF!
RATE
*TE DELAY
I
CV OUTPUT
HEAD-
I
SUB
OSC
GATEI GATEGATE -TRIG
I
cv
*
|
4-
PHONES
IOCT DOWN ["U
20CT DOWN
BENOER
EXT
SIG
INPUT
nv
*
EXT
T
SIG
|? £?
amp rr?—
ENV
/v.
FOUR
SENSITIVITY
BENDER
vTVCO
FUSE POWER
VCF
0.2SA
BENDER
*V
AMP
MOD
KYBO-CV
KYBD
CV
GATE INPUT
HEADPHONE
"J-
Tl_
L-fc
GATE OUTPUT
PORTAMENTO
OCT DOWN
i
l»V.
POWER
KYBD
GATE
TRIG
32Key
KEYBOARD
SUPPLY
-ISV-e-
1
1
1.
J^
S,
SH-09
Specification
44
Keyboard
32
VCO
AUTO BEND
keys, 2-1/2 octaves
(Voltage Controlled
Modulation depth
Oscillator)
Tune (±65
cent)
Wave
(
form
^\ HJ
,
,
("LJ NOISE)
,
Pulthwidth Modulation (Min-50%)
SUB OSC
(Sub-oscillator)
PWM
Mode
IOCT
DOWN rU, 20CT DOWN ITJ
Switch (Env/Manual/LFO)
20CT DOWN
HJ
AUDIO MIXER
VCO/SUB OSC/EXT SIG
VCF
Cutoff Frequency Control
(Voltage Controlled
Filter)
(10Hz - 20kHz)
Resonance (Min-Self
ENV
ENV
Switch (ENV
(Voltage Controlled
Envelope Switch
(Hold, Env
Kybd gate
fx
Attack Time (1ms
-
Decay Time (2ms
-
2.5s)
10s)
Sustain Level (0- 100%)
Release Time (2ms - 10s)
Gate Trigger Selector Switch
(Gate-Trig/Gate/LFO)
Modulator
Modulation
Mode Switch
(Randum/'~\_WrU)
Rate (0.2Hz - 25Hz)
Delay Time (0- 1.5s)
Rate Indicator
PORTAMENTO
VOLUME
(0
-
ENV
Control
Amplifier)
ENVELOPE
GENERATOR
A\
Control
MOD
VCA
Oscillation)
FOLH ENV
5s)
J~L
)
\S
)
45
BENDER
Bender Lever
Bender Sensitivity
(VCO, VCF)
POWER SWITCH
Power
CONNECTION JACKS
Indicator
Output Jacks
Phones Jack (8 ft Stereo)
External Control Input Jack
(1V/oct)
External
(ON
Gate Voltage Input Jack
with
+7.5Vorover)
Keyboard Gate Output Jack
(OFF-OV,
ON-+14V)
External Signal Input Jack
POWER
8W
CONSUMPTION
DIMENSIONS
605(w) x 305(d) x 100(h)
WEIGHT
6.1
ACCESSORIES
Specifications are subject to
kg
2.5m connection cord
change without
notice.
mm
OPTIONAL
ACCESSORIES
CASECB-100
ORGAN/STRING RS-09
46
STAND
REVERB
KS-1
RV-1 00
HEADPHONE RH-10
ECHO CHAMBER
RE-1
50
[MRoland
10522
UPC
10522
C
Roland
®
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