Roland SH 09 Synthesizer Owner's Manual

^Roland®

Owner's Manual

.

Introduction

The Roland SH-09 Synthesizer is 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 combined with its unique live performance and interfacing the capabilities of features allow it to surpass many larger, more expensive synthesizers.

The VCO section features virtually rigid pitch stability in even the most difficult conditions and produces precise, rich waveforms including: Noise,

Sawtooth, Square and variable Pulse both

Wave with

LFO and Envelope Modulation options.

A Sub

Oscillator that produces any one of three parallel tones may be mixed with the

VCO at the internal

Audio Mixer for thickness and extra flexibility without introducing tuning difficulties.

Both the and Sub

Oscillator

VCO may be modulated by the

LFO

Modulator which includes Square

Sine

Wave, Delayed

Wave or

Sample and Hold options.

The VCF section of the SH-09 features the highest quality 24 dB/octave Low Pass

Filter available for stability, flexibility and rich, deep tones.

The extra flexibility is achieved through the SH-09's modulation options including: a positive or inverted envelope, an envelope follower for processing external instruments, three resonance control that

LFO modulation options, may be pushed into selfoscillation for use as an extra sine wave oscillator, and control of the filter from the Bender section.

The VCA may control volume with the Envelope

Generator, directly from the Keyboard Gate, or be fully opened with a Hold switch for added flexibility.

This control is slider enhanced by the complete four

ADSR

Envelope Generator which may be activated by either the Keyboard Trigger and Gate, the Keyboard Gate alone, or by the

LFO and the

Keyboard Gate together.

These options combine with other control possibilities to make the SH-09 an exceptionally sensitive musical instrument.

1

The LFO

Modulator control offers Sine

Waves with or without delay, Square Waves, and a separate Sine

Wave

Sample without delay

&

Hold for the

Pulse Width Modulation section.

The fully adjustable and indicated by

LFO speed

LED for precise, is predictable control.

The SH-09 Bender section is the finest available.

The center sprung lever returns to its origin automatically for quick, easy, musically secure playing.

VCO or

The Bender may tone through the control pitch through the

VCF either separately or simultaneously with amounts preset by the performer for exact, predictable control of the synthesizer.

Interface standard options on the 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.

Other instruments may be processed through the

SH-09 using the self contained External Audio

Input with the

VCF section.

Envelope Follower contained in the

The SH-09 is equipped with a V* inch phone jack output for connection with any conventional amplification and with a separate

Vi inch stereo phone jack connection for headphone monitoring through self-contained headphone amplifier.

A connection cable is included with options for connection to either female a

Vi inch phone jack socket or any

RCA jack socket.

Front and

Back Panel

Layout

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INPUT

Control

Descriptions

Modulator Section

Mode Switch

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 a rate determined by the LFO.

This switch used for determines which waveform will be

VCO and VCF modulation.

The three options include:

(~\j

(sine wave), fTJ

(square wave), and Random

(S/H) for the

Sample and Hold output

Rate Control

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.

r\j

Delay Time

Control

When this control is raised, pressing a key on the keyboard will delay the entry of the

LFO sine wave to the

VCO and VCF.

Raising the control increases the delay time, and lowering it fully results in a continuous output with no delay.

VCO

(Voltage Controlled

Oscillator Section)

Tune Control

The VCO is the basic sound source of the SH-09 and is responsible for the pitches produced and the basic tone color used.

Range Switch

This small tuning the knob controls the overall pitch of

SH-09.

The tuning range is

±65 cents.

The rotary

Range switch changes the

VCO pitch in exact one octave steps from 2' to

32' for a total range change of four octaves.

MOD

(Modulator)

Control

This slider 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 amount of change in pitch.

Control Voltage The SH-09 includes several

VCO controls which are internally wired panel.

and do not appear on the

VCO

The most important is the Keyboard control

Voltage which permanently controls the in relation to the keys played.

The

VCO pitch

VCO may also be controlled by the Bender section through the associated Bender

Sensitivity control.

Waveform Switch

SUB OSC

(Sub-Oscillator)

This rotary switch selects the

VCO output waveform, providing a basis pure tone tor the to shape

SH-09 and process.

The basic waveforms

.

include Noise

(a hiss including all frequencies, for various sound effects),

Sawtooth wave

(a rich tone for strings, brass

Square and full synthesizer sounds), wave

(a tone very similar to a clarinet or xylophone), and Pulse Width Mod

(a variable Pulse wave tone).

sounding from Square wave to very nasal in

The

Pulse Width Mod.

section includes a three position and

Mode switch including Manual, LFO

ENV modulation options, and a Pulse Width slider control to amount of manually adjust Pulse Width or the

LFO or

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 modulation.

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

(Voltage Controlled

Filter

Section)

The VCF is used to alter the tone of the Audio Mixer output by cutting or boosting harmonics in that sound.

The tone may be altered manually or automatically through voltage control played.

The as a note is

VCF is a 24 dB/octave Low Pass filter which passes low frequencies and blocks high frequencies

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 it is lowered the sound will become progressively more mellow until it is filtered away to silence at its lowest position.

This control acts as a starting position for all other control the

VCF section.

functions within

Resonance Control This control emphasizes the frequencies at the point 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 increasing as the slider is raised until it begins to self-oscillate position, the near the top of the slider travel. In this

VCF becomes a separate sine wave audio oscillator which is controlled by all the

Modulation controls within the

VCF section.

Envelope Mode

Switch This three position switch determines the source of

Envelope control for modulation of the VCF.

In the

/N^

(positive Envelope) mode, the filter cutoff frequency will rise and fall following the shape of the

Envelope.

The tone will become brighter and then more mellow once each time the Envelope

Generator is activated, providing the

Frequency control is lowered to manual

Cutoff make room for this sweep.

In the

Kjf

(Inverted Envelope) mode, the filter cutoff frequency will fall then rise agaia following a mirror image of the Envelope pattern set The tone heard will begin bright become more mellow, then more bright agaia Beginning and ending tone is determined by the position of the

VCF

Cutoff slider.

The ENV

FOL'R (envelope follower) position will use the changing volume of any audio signal appearing at the panel to

EXT modulate the

AUDIO

IN jack on the back

VCF cutoff point in a positive direction.

In this mode, the filter cutoff will rise and fall as the External Audio Input grows louder and softer, providing the manual

Cutoff Frequency control is lowered to allow for this movement

Control

Descriptions

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VCF Envelope Control

This control determines the depth to which the

Envelope

Mode selected will modulate the VCF.

With the slider at

'0' there is no modulation, increasing gradually as the control is raised to full depth at

'10'.

MOD

(Modulator)

Control

This control allows the

VCF cutoff to be controlled by the Modulator section output mines the depth of modulation

The slider deterwhose 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 do.

The the pitch, the way most acoustic instruments

VCF may also be controlled by the Bender section through the associated Bender

Sensitivity control.

VCA

(Voltage Controlled

Amplifier Section)

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.

VCA Mode Switch

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 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.

ENV

(Envelope Generator)

The Envelope Generator produces a voltage that shaped control may be used to control the

VCF cutoff frequency point and/or to control the

VCA loudness contour.

Envelope

Mode Switch 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 a 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 Operation section of this text.

Envelope Function

Sliders

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.

(Attack Time)

D

(Decay Time)

(Sustain Level)

R

(Release Time)

Keyboard Control

Functions

Keyboard Control

Voltage

(KCV)

Keyboard Gate

Keyboard Trigger

The Attack slider controls the amount of time required for the Envelope voltage to reach its maximum level after a key is pressed.

This Attack time is virtually instantaneous with the slider at

'0' and lengthens as the slider is raised.

The Decay slider controls the amount of time required for the voltage to fall from its level at the end of the Attack time to the level set by the Sustain control.

Again, Decay time is virtually instantaneous with the slider at

'0' and lengthens as the slider is raised.

This control determines the level to which the voltage will fall at the end of the Decay time.

Once this level is released.

reached it will be held until the key is

A

Sustain level of "0' will

Decay to and hold at silence, effectively cancelling Sustain.

A

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.

This slider determines the amount of time required for 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.

The keyboard of the

SH-09 provides three control functions: the Keyboard Control Voltage, Keyboard

Gate and Keyboard

Trigger.

These are internally hardwired, sometimes appearing as a selectable control and others providing a constant control function.

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 keyboard.

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 and/or to initiate

Envelope events.

Both the

VCA

KCV and Keyboard Gate are available as inputs and outputs for interfacing on the back panel of the

SH-09.

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.

Control

Descriptions

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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.

As the slider is raised, new keys pressed will slide from the last pitch to the new one, taking longer as the control is 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

Volume Control

The Bender lever is center-sprung to return to its original setting reliably after each bend 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 together to achieve the exact amount of sharp and flat pitch and/or brighter and more mellow tone change with exact predictability and control.

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 status indicator is provided to allow a visual check of this function.

Basic

Connections

The Roland SH-09 synthesizer is an exceptionally flexible musical instrument capable ot producing a broad range of sounds from gentle to brutally savage

SH-09 in character, over a wide pitch range.

The may be monitored through any conventional amplification, however individual musical needs should be considered in choosing an ideal amplification setup.

To maximize the

SH-09 s ultimate sound flexibility, ideal amplification will reproduce all of the synthesizers sounds faithfully with a minimum of added distortion or coloration.

PA's,

A variety of quality combo amps and component amplification systems will fill this need, but there are several special items to consider.

Synthesizers are capable of producing sudden, high level output signals 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 instrument such as guitar. Finally, be sure that any effects, whether built-in or outboard, perform well in your particular setup and do not distort

An example of this would be the reverb, units contained in many PA's built for vocals that cannot handle synthesizers.

Consideration should also be given to an alternative approach, choosing amplification that will color the sound in a specific way to support a more specific, narrower range of sounds you may wish to pursue with your SH-09.

If the

SH-09 is primarily used to provide guitar-style lead lines, a guitar amp with its particular distortion and speaker choice and coloration circuitry may be an ideal choice.

Likewise, an SH-09 to be used almost exclusively for bass lines could setup.

be played through a bass

Remember, this approach influences the sound considerably and at the same time limits certain styles while it supports others.

The SH-09 is provided with a connection cord terminating in a

% inch phone jack for connection to the synthesizer on one end and with an RCA connection with for output an adapter to V* inch phone jack connection at the other end.

The % inch phone jack adapter will be used for most amplification connections including combo amps and mixers.

8

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.

or

Connect the

TAPE input avoiding a

SH-09 to an AUX.

input

PHONO input with its special internal equalization.

at one speaker only, unless a

The SH-09 will appear

T 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 to critical patches while on stage.

To do this, simply turn the SH-09 output off at the mixer or amplifier input volume control and monitor through headphones during breaks in playing.

Return the amplification to normal settings when you are finished making your adjustments.

Other rear panel connections on the SH-09 include an External Audio

Input to allow interfacing with other instruments 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.

Control Voltage and Gate Inputs and Outputs are provided to allow interfacing with other synthesizers such as the Roland connection to the

SH-2 or Jupiter-8 or for

Roland

CSQ series computer 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 SH-09 the maximum amount of flexibility and potential for growth and innovation.

Operation

Blank Interfacing The easiest way to get familiar with the

SH-09 is to systematically explore the controls and 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:

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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 initial examination.

Voltage Controlled

Oscillator

The Voltage Controlled Oscillator is the primary sound source of your synthesizer, where the basic pitch range and tone color of your sound must chosen.

The Voltage Controlled Oscillator is the be second major section along the top of the SH-09, labelled

VCO.

Pitch Control

The pitch you are hearing may be switched up or down manually in single octave increments with the

Range selector.

The pitch is also automatically controlled by the keyboard

— 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 different instrumental ranges easily and accurately.

It is helpful to 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 authentic and your new creations more believable than if those ranges were exceeded.

Figure

1 will assist in relating the 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 only one note at a time and its keyboard operates accordingly.

priority

— if

The SH-09 keyboard has low note 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

SH-

09 keyboard will follow.

Keyboard Voltage

INSTRUMENT

RANGES

AT

CONCERT

PITCH

WRITTEN

CONCERT

PITCH

The keyboard produces a control voltage which corresponds to the key pressed. This control voltage is most often used to control a

VCO so that it produces the pitch related to the key 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

-Accotax

-

—

-Guita-

10 octave change in pitch.

This relation is very synthesizers common and is used on most and related equipment including professional studio equipment type as, well as stage equipment This means that the SH-09 is compatible with most equipment used in all forms of electronics music.

—

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— —

BD Cornet, Trumpet

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—

Bb Trombone and

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-Eb Bass Tuba

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Tenor Voice—

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Baritone Voice

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KEYBOARD

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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 control is made inconspicuous to avoid throwing out the tuning during a session by grasping the incorrect knob.

The SH-09 oscillator is so stable that once it is warmed up for approximately 15 minutes and then tuned, it should remain in perfect tune for the rest of the session regardless of use or outside influence such as the heat generated by stage lighting.

You that it often won't of a new session.

may find the

SH-09 is so stable need re-tuning at the beginning

To tune the SH-09 begin with the setting used here or something similar that will give a long, steady note.

Strike the key for the note you wish to another instrument or to a tuner, then to match match pitches by adjusting the Tune knob

The pitch being produced by the

VCO may changed automatically by applying the

MOD be

(Modulation) slider within the

VCO section. This introduces regular, recurring fluctuations in pitch relating to tor section.

the

For shape and speed set in the now, just use the

Modula-

MOD slider withjn the

VCO for its most common function, vibrato, and as you experiment remember that this slider influences the depth of the pitch change only, not its speed or shape. This is an application of a control, not the control itself.

The Modulator control will be covered separately.

Basic

Tone Selection The VCO section's role as a sound source gives control over both the pitch of a note and its basic tone, a tone that sections.

may later be modified in other

The Waveform 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 be altered may 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 xylophone.

The fourth position labeled Pulse Width Mod.

actually provides a variety of tone colors.

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

'10' takes the waveform through a up continuously to narrowing Pulse Wave, sounding progressively 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

Voltage Controlled

Square

Waveform, beginning with a 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 wave to the extreme limit set by the slider and back again in a repeated pattern.

The speed of modulation is set in the Modulator section, with a fixed smooth Sine wave motion

— only the depth of the application is set here. This yields a thicknening of the sound, and at a suitable speed and depth is very similar to having a phase effect unit within the synthesizer.

The tone

ENV position gives a single, shaped change in 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 determines only how far the Envelope voltage will change the tone from its basic Square wave position.

See the Application section for direct examples 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

Oscillator, mixes in the output of the Sublocated between the

VCO and the Audio

Mixer on the SH-09 front panel.

The

Sub-Oscillator is actually a slave of the

VCO, 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 selected within the

VCO. By mixing the original

VCO output and the selected Sub

Oscillator output in various proportions within the Audio Mixer, many new possibilities for thick, rich sound are available with no turning problems between the two sound sources.

By combining the 'Sub

Down' with the original

Osc Square

Wave

1

Oct

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 octaves wave tores 2 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

Sub

Oscillator options at the Audio

Mixer.

Voltage Controlled

Filter

The Audio Mixer also contains a slider controlling the amount of input accepted from any electronic instrument signal inserted into the External jack on the back panel of the SH-09.

The

Audio

In

SH-09

12 may be used in several different ways to process external own instruments

(in contrast to processing its

VCO signal), and these are discussed in this manuals

Interfacing section.

The basic

VCO sound now passes automatically from the Audio Mixer on through the Voltage Controlled Filter choices

(VCF).

Here the tone resulting from made within the

VCO and Audio Mixer may be finely adjusted and manipulated.

The basic patch passes the

VCO sound directly through the

VCF unchanged, opened by raising the

Cutoff Frequency slider fully.

An understanding of the effect of the filter

Cutoff is basic to an understanding of the entire

VCF 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, pure sine tone just before it is filtered becoming a 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 filter.

Motion within the filter, changing the tone during musical notes, is critical to sounds.

many synthesizer

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 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 is the 'passive' filter of the string patch as contrasted to the

'active' filter of the brass patch.

Move the Cutoff Frequency slider to '1

0' while selector is in the middle, its

ENV

(positive envelope), positioa Press any key and the note will change both in set in volume and tone according to the shape the

ENV section of our basic patch, getting brighter 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 different amounts of waveforms and

VCF

Envelope

Control.

Return the Cutoff selector to

Frequency slider to '10', move the

EMV

(inverted envelope) and move the

VCF

Envelope Control to '6'.

Your effect is now reversed, closing the filter rather than opening it 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 different Cutoff Frequency starting points and amounts of Envelope Modulation.

Patches are given later for specific applications of this feature.

The ENV

Envelope

FOL'R position on the three position

VCF

Mode

Selector uses the natural 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 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 the

Frequency slightly to 7', and gradually

MOD slider.

You will hear a tone/volume raise tremolo

(the speed and shape are determined again in the Modulator section), the varying with the depth of tremolo

MOD slider position.

It is useful to note here that the tremolo is smoothly, alternately both raising and lowering the Cutoff Frequency

(for brighter and more mellow tone, respectively). For this reason the Cutoff lowered slightly to

Frequency slider has been make room for both actions.

If the Cutoff Frequency slider was in either extreme position, 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 example.

The Resonance slider in the

VCF section emphasizes the tone at the precise edge of the Cutoff Frequency.

Place the Cutoff Frequency slider at any point that allows a tone to pass, then where from '0' to '6' of the Resonance slider and you will hear a slight difference in tone.

Leave the

Resonance slider at

'6' and move the add any-

Cutoff Frequency slider.

the Cutoff and

Resonance emphasizes the edge of when it is moved the motion is emphasized.

The prime use of Resonance is to emphasize the tone in motion, such as the twang of 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 the

LFO Modulation of

VCF to learn how these automatic changes in tone are emphasized using Resonance.

Once that is completed, push the

Resonance slider fully to slider.

'10', and again

You will move the Cutoff Frequency now hear an extra pitch in addition to that produced by the

VCO, one whose pitch determined by the

VCO at the

VCF

Cutoff point Silence the

Audio Mixer and experiment with is various kinds of modulation using the as an extra oscillator

— all functions

Resonance which altered the tone using the the

VCF will now move the pitch of

VCF produced note in the same manner.

This use of the Resonance as an extra oscillator may be

Operation tcont) put to excellent use in patches such as the

Tonewheel Organ or the Synth Drum, given later.

During this exercise with Resonance, you may notice that its note will roughly follow the keyboard.

This is trol an indication that the

Voltage that the

SH-09 Keyboard Con-

VCO pitch follows is also alter-

13 mg the tone slightly as you play, brighter tor hignenotes, more meliow for lower notes This allows your patches to follow the keyboard tor changes in tone following changes in register or pitch just the way most acoustic instruments do, giving added realism and sensitivity to your synthesizer sound

Voltage Controlled

Amplifier

Your sound has originated in the

VCO, passed through the Audio Mixer and the Voltage Controlled

Filter, trolled and will now pass through the Voltage

Con-

Amplifier on its way to the

SH-09 output jacks for external amplification and/or headphone monitoring.

The Voltage Controlled Amplifier (VCA) does not actually amplify the sound, but controls the shape of the Volume. Three offered: Hold,

VCA control options are

Envelope control and Keyboard Gate control.

The Hold position opens the any sound leaving the

VCA fully, allowing

VCF to pass unchanged through to the various outputs

As iong as a sound is present in the

VCF and the filter cutoff, is high enough to let that sound pass, the

VCA

Hold will present a continuous sound at the outputs This is particularly helpful for continuous wind, surf, certain sounds such as

Sample & Hold applications, processing external instruments and for ease in tuning

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 options will some way by the keyboard.

These be detailed in the following

Keyboard and Envelope sections.

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 tinct

Keyboard Controls, the

Keyboard Control dis-

Voltage, Keyboard Gates and Keyboard Triggers.

Keyboard Control

Voltage

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 permanently routed to control the same KCV is

VCF cutoff frequency, adjusting the tone brighter for high pitched notes and more mellow for notes pitched lower just as other instruments range or register.

This change tone as they change

KVC control of the

VCF cutoff was illustrated by controlling the pitch of the

VCF when it was in self-oscillation.

As mentioned previously, the SH-09 is a solo instrument

— 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 keyboard has low note priority

— if more than one note is played at a time, the bottom one will be 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.

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

CSQ series digital sequencers.

Roland features the most comprehensive interfacing alternatives available, some of which are detailed in the Interfacing section of this manual.

octave

The linear one volt per

KCV is an industry standard and is compatible with most other major brands for the ultimate in flexibility and expansion for your SH-09.

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 ed and ending the first note playmoment that no keys are depressed.

14

Switch the

VCA from Hold to the Gate position anc familiarize yourself with the low note priority logic for the

KCV and with the Keyboard Gate Pay particular attention to detached and legato playing, these will have a significant influence on your sound.

Keyboard Trigger

Each time a key is depressed on the SH-09, an impulse signal is produced called a Keyboard

Trigger.

The Trigger is actually a voltage spike that ends virtually the instant it is begun, no matter long you hold a key.

how

The Keyboard Triggers follow low note priority logic the same way the

— in legato playing, new keys depressed

KCV does to the left will introduce a right will new trigger while new keys at the not trigger until any keys to its left are released.

The Keyboard Trigger is used only in conjunction with the Keyboard Gate to activate the

SH-09

Envelope.

To use the Gate and Trigger combination, switch the

VCA to

Envelope control.

Notes now played will have a distinctly different shape than the simple on/off of the Gate position, and legato playing will yield a renewed" attack for each note within the logic described above. This technique will be described in more detail in the following Envelope section and in the Application section later in this manual.

Envelope Generator An Envelope is a control that produces a shaped voltage once each time it is activated, a voltage that is normally used to produce a change in volume, tone, and/or pitch once each time a key is struck.

The SH-09 uses a complete four section

ADSR

Envelope that may be activated three different ways, important features that help make the SH-09 the flexible, sensitive synthesizer that it is.

The Envelope is often referred to as an term made from the initial letters

Attack, Decay, Sustain of and Release the

ADSR, a words

— 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 short and long notes as you proceed through the

Envelope section.

(In this application the

ADSR is responsible for the shape of the volume of the note only, and all descriptions will fit this frame of reference.)

With all four Envelope sliders at '0', you will hear a

'click' 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 notes with an Attack of '0', and is any essential to sound such as Vibes or Guitar where the impact of the mallet or the plucking of the string is actually part of the sound.

Examples of this may be found a in the Application and Patch sections of this manual.

ATTACK The

Attach slider controls the time needed for the beginning of a note to volume.

grow from silence to full

The

Attack functions from the instant a key is depressed until the note reaches full volume or the key is released.

and hold any key

Move the Attack slider to

'10' down

— the sound will build gradually from silence to full volume, cutting instantly back to silence the moment that full volume is reached.

If you pick up the key before the Attack has reached full volume, it will end at that point

This allows you to control volume, phrasing, bowing, etc.

from the gradual attack keyboard for any notes with a such as strings or brass.

Experiment with this principle and check the Application section for more specifics.

Lower the Attack slider to

'5' and notice that the note reaches full volume much faster.

Experiment with various Attack speeds and note lengths, noticing that the the Attack setting volume of any note

— does not directly alter just the amount of time needed to reach the maximum.

Decay The Decay slider controls the time needed for a note to diminish from full volume at the end of the

Attack to silence or the level set by the Sustain function.

Move the Attack slider to '0', raise the

Decay slider to

'10', and play a long note.

The note will begin at full volume instantly as dictated by the

Attack slider, then fade smoothly, gradually to silence as long as your finger is held on the key.

The Decay is 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 abrupt silence with our settings.

Experiment with various combinations of Attack and Decay lengths, ending with settings of '3' for each.

Operation

(cont)

Sustain 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 released

— virtually complete until the key is cancelling the

Decay function and giving the note no

'internal' change in shape during its length.

15

By using different combinations 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

Application and Patch sections tor specific uses of the Sustain function

Release The

Release slider control is responsible for the note from the instant the key is released

— taking over from the Attack,

Decay and Sustain which end at the point as we have seen.

Leave the A,

D & S all set at about '3' and set the Release at

'10'.

Hold a note long enough so that the Attack and

Decay are completed and your note is resting on the Sustain level.

When the key is released the note will continue, gradually fading to silence.

Repeat this procedure, lowering the Release time in several steps until you are down to the abrupt, instant Release at

'0' that we experienced before.

Leave the Release slider at

'2' or so for a pleasing, relatively short Release, set the Attack and Decay sliders at

'6' rupting and experiment the Attack and Decay with short notes, cycles at intervarious points.

Here you will discover the full extent of the extra keyboard control mentioned at the end of the

Attack description.

Pressing and releasing a single key produces a Gate beginning and ending at those respective will begin moments. The Release function when the Gate ends

— regardless of when it ends.

The Release, then, will follow the

Gate logic as described

— in legato playing, the

Gate will begin at the first note and end the first instant that 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 for added realism and control.

Envelope Modes The SH-09 Envelope may be activated by the keyboard in three different ways, each with its own advantages.

choose

The Envelope Mode switch lets you 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.

With the Envelope mode selector in the Gate &

Trigger position, individual have a complete envelope spaced notes will each 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 are interrupting.

This principle follows the Trigger logic: while new keys pressed on the left will re-attack new keys to the right will not until any keys to the left are released.

This type of playing allows very fast playing in which totally clean keyboard technique is not absolutely necessary, and is particularly useful for sounds with a quick attack and a relatively low sustain level.

Check the Sustained

Guitar patch give later for a typical example.

Placing the Envelope mode selector in the Gate position offers a second option. Individually spaced notes will each have a complete envelope shape.

Legato playing will produce ing to the new pitches (accord-

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 place a clean break between notes they will reattack.

Legato playing will allow the series of notes to continue to fade.

Practice using this technique will give interest good control and a sound with variety and

— an area where most other synthesizers fall short.

Some sounds will need a detached keyboard technique to sound 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 playing a

'click' will be heard as the notes switch instantly to new pitches.

Experience will show you which of these two mode options to choose, but there is no substitute for developing a keyboard technique where light playing and at least a minimum separation between notes is 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

Envelope at the speed set by the Modulator Rate control, and indicated on the associated LED indicator.

long as

This repeating Envelope will continue as any key is held down, ending the instant that 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.

Control Options

Portamento

16

The creative control of the mento,

SH-09 includes Porta-

LFO

Modulator, and Bender section control options.

add

These controls are simple to operate, yet much to the expressive control of the synthesizer in performance. Return all controls to the basic patch and proceed 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 found directly to the left of the keyboard, and is actually a function of the Keyboard Control

Voltage and its control of pitch.

Set the slider at

"0' and the keyboard will react to the keyboard with instant pitch changes.

As the slider is raised, the last pitch to new keys pressed will slider from the new one, taking longer as the control is raised further.

If you strike the same key 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 best used 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 interest

Modulator Section

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

Oscillator (LFO) and a Sample

Low

Frequency

&

Hold circuit.

The output of the Modulator can be used for modulating (changing) pitch through the varying the Pulse Width in the

VCO,

VCO, tone by tone and/or pitch within the VCF, and for repeated gating of the

Envelope.

The Modulator Mode switch determines which waveform will be used for

VCO and VCF modulation.

The three options include: f~\j

(sine wave), nj

(square wave) and Random

(S/H) for the

Sample and Hold output

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 raising the

Mode switch options at various

VCO and VCF sliders singly and rates by together in various amounts.

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

CVO.

most commonly used for trills with the

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

Resonance

VCF

—

MOD with a generous amount of this gives a pronounced effect without disrupting the identity of pitches being played.

All three

Modes have their shape and rate determined in the Modulator section, their application and depth determined with the

MOD sliders.

VCO and

VCF

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 legato playing 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.

Raising this slider increases the delay time, lowering it fully results in a continuous output with no delay tion

You may wish to experiment with this using different amounts of

VCO and

VCF func-

Modulation and various delay lengths.

Notice that the and

Delay control has no effect on the Square wave

Random S/H outputs of the Modulator.

The Modulator has a smooth, regular output which is internally wired into the Pulse section of the

VCO as discussed

Width Modulation earlier.

This output is not effected and a moderate by the Delay time control or the

Modulator tion usually

Mode switch.

LFO

Pulse Width Modulauses an LFO rate between

V and '3' amount of Pulse Width Modulation depth.

slider

This depth is determined by the Pulse Width 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 used for repeated gating of the also

Envelope section be as described earlier.

Envelope

This output is hardwired to the

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 tion in all three modes, Pulse Width Moduland repeated Envelope gating are all linked to the same LFO to allow coordination and control over those effects.

Operation

(cont)

Bender Section

The Bender section allows you to change pitch and/or tone freely sion as you perform to add expresand spontaneity.

The Bender lever itself'is center-sprung to return to its original setting reliably after each bend for great speed and accuracy.

The center position has no effect on the SH-09 sound or settings, while the left movement

(labelled

and right extremes of and

+) achieve the same amount of bend in opposite directions.

The effect of the Bender is determined by the and VCF

Bender

Sensitivity slider controls.

VCO

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 will always change pitch.

It is convenient to have 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 to set the patch for now, try this procedure

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

17 rise— tune it to the desired interval above the note you began bender with.

To check yourself, release the and press the note on the keyboard mat you were aiming for.

Check this against your original note with bender and repeat

You will find that you usually use the if necessary.

same bend for most patches and that the adjustable bender makes this possible with

1

00% accuracy.

The VCF

Bender

Sensitivity control pitch will change the tone of the the VCF.

Audio Mixer output as

By combining it passes through

VCO and VCF bend, a bend becomes more dynamic by becoming brighter as it bends sharp, more mellow as it bends flat.

Remember that if 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 it is open.

It should also be noted that

VCF bending will change the pitch of 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 and by listening to on record or tape.

this manual examples in live performance or

—

Application 18

You are now ready to piece the aural and technical information gained in the last section into a practical, useful whole.

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

SH-09 in particular

Basic Patch Position

When 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 little as possible by leaving control sliders closed and switches or sliders which are always active in the position most commonly used. This beginning point will avoid having remainders of the last patch confuse the building of the new one, and will lead quick troubleshooting since you will be totally to familiar with your starting point and each variation you have chosen to make.

This approach will not cramp your creativity by imposing decisions upon a sound that you have not specifically chosen.

Such a setting is presented here.

As you more familiar with the

SH-09 and it become becomes more of an extension of yourself, you may wish to modify this basic starting position or even eliminate it.

For now, try returning to it each time you begin to patch— it will only take a much frustration.

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Methodical Practice

It is important to understand the musical uses of each SH-09 control in as many different situations 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 various options available.

This methodical approach has many advantages.

Each musician has different personal preferences, is dealing with different amplification and acoustic environments, and not every SH-09 will react to the same patch in exactly the same way

(just as other fine musical instruments all have their individual character).

own

You will develop variations on each patch, or entirely new patches, which may be memorized or restated on a blank patch sheet for future reference.

to manipulate the

Most important you will learn

SH-09 quickly and with real how understanding.

The SH-09 has the simplicity, sound quality and subtle control options to allow you to achieve a new level of musical expression and freedom.

With practice you will get to the point where the

SH-09 becomes an extension of your musician ship, when you will instinctively hear or image, or know how to get a sound you how to alter a patch to suit your needs exactly.

9

Real-Time Patch

Changes

Custom Patches

STYLE

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 different and patches which are very close in settings may evolve from one to the other as you paly.

The concept of 'evolving' one patch to another is

1 also useful for developing speed and accuracy for on-stage patching.

You can find 'chains' of patches which require only simple changes to move from one to the next, yet give significant and a large new sounds change from the beginning of the chain to the end. Basic String

Bass

Guitar is a good to

Brass to

Tuba to example— changing VCF

Cutoff the and Envelope Mod, then Range and finally

ADSR settings through the chain and find adjusting other controls as you go

Making your own patches to match a sound you have heard or are imaging is very rewarding, but often avoided as loo difficult'.

Many musicians just

'fiddle' until 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 sound all the time.

Mastering your same own patches is not all that difficult— only requiring a certain amount 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 creating your them to your own needs, then try own sounds and you will get the most out of the SH-09's vast potential.

There are several pitfalls or traps which are common with synthesists working on new patches.

Awareness of them can eliminate several and minimize others.

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

Your mind has a tendency to accept new patch as 'correct' when you know that it isn't— the idea you are trying to hold in your slips over and becomes the sound it hears.

mind

The only answers are concentration to hold the idea and speed to complete the patch while your idea is still clear in your mind. Set before up basic parameters you listen and work quickly to give your ear the least temptation be distracted and change.

Listen carefully to not any sound you wish to copy.

Do be fooled by an emotional reaction to the effect of the sound, listen to the sound itself.

A

Violin may sound rich and sweet to a listener according to his emotional response, but the sound itself is very bright, with to analyse 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 created by a synthesizer is actually complete until it reaches the ear of the listener.

You must not only consider your o> effects and amplification, room acoustics but listen for those same things in instruments or sounds you wish to imitate.

Listen for reverb, phasing or flanging, wash pedals, or any other influences over a sound including driving specialised amplification a small such as overamp to get a particularly hot lead sound.

Pay particular attention to reverb.

Acoustic instruments are played in settings with varying amounts of natural to -die reverberation— the time it takes a away to silence as it sound bouces around the room. This effectively extends the 'Release' time of those instruments.

Many electric/electronic instrumentalists achieve this 'room' effect with a reverb unit within their amplification equipment or as an extra in their amplification chain.

If reverb available, your sound you have no may seem flat and two dimensional.

of extra

To compensate, add just a touch

Release length to your settings

— this will simulate the extra 'ring' of sounds you wish to use on room acoustics. Listen to your synthesizer as they appear on records.

Sounds like Strings are usually recorded in or simulate the

(lots of reverb), and sound of a large hall many synthesizer sounds recorded by the great players use large reverb in the studio

— your sound won't amounts of measure up to theirs unless you take reverb into account

One last but very important note: every patch is created with a certain musical or performance style in mind and will sound its best only in a similar style.

when played

A wind instrument patch will sound odd if you do not put rests in at regular intervals for the 'player" to 'breathe'.

The listener may not know what is wrong, but often will sense the omission when he should be subconsciously appreciating the extra attention to detail.

A lead solo patch intended for lyric pitch music lines with subtle bending will sound entirely different if played in a ripping fast line with wild pitch bending.

Copying other sounds or un-creative and styles need not be negative

— many new styles are born from an understanding of previous work and borrow from others.

If you admire a particular performer or sound, don't just go after the sound, you must study the style.

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 at up your own patches is given 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 those presented here.

20

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 should be left fully 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 repeated here for your convenience.

'Zipper'

(with

Lead

Portamento)

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Thick synthesizer lead sound with long, resonant release.

Sub

Oscillator is optional for a heavier sound.

*;|4t

Hi Roland

Portamento should be set according to the speed of playing and the size of any jumps in the musical line.

Keep Portamento fast enough to identify each note clearly

Sustained

Guitar

(XT GATt

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GAT

I tv CV

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Increase the volume during long sustains using a volume pedal between the output and amplification, or by adjusting the SH-

09 volume knob with your left hand.

Pitch bend a whole or half step, as a guitarist would.

Put at least a short space before notes bent flat i

—

Lead Line in

Motion

Flexible

Line

Lead

'Chick Korea'

Lead Line

21

U'

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AUDIO IN gate cv GAT( Cv PHONES OUTPUT

©©

©

©

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INPUT OUTPUT oo-o

SWTTHESEEflCW

-iH>-i

,at::3E.

A good lead sound with narrowing pulse wave changing the tone of longer notes.

Delayed vibrato enters at end of tone sweep.

Pitch bend a half-step or step.

Vibrato will enter at end of bend if you time your playing that way.

m

Roland

—

A good 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-

Oscillator is mixed against the

VCO the

Pulse Width sweep will be obscured.

©

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IN

GATj

©©

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INPU'

GATE

Cv

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It

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SVnTHBBER OT sh-m

33E n

•4p

IBS Roland

Great for subtle melody work.

Try pitch bending away-and-back from notes held, or in begin above or below pitch by bending rest immediately before.

Use reverb if available.

OPTIONS:

1

)

Switch

VCO Waveform selector to

/"I

2)

!

for a brass sound.

Switch

VCO Waveform selector to j

|

Pulse Width Mod.

for a more aggressive, synthesized sound.

These options make this patch very flexible for switching sounds during a piece or quickly between numbers.

EXT

^7

AUDIO

IN

GAT[

INPu

Cv GATE CV

OUTPUJ

PHONES

©

OUTPUT

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0* *8 switheseer oq

D

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IS Roland

Play both legato and very short staccato styles.

Use pitch bend

— small, subtle mid-phrase, full octave bends in bends quickly at the beginning of a note at the and springing back end of a note, and slower full octave bends on longer notes.

NOTE: tone changes with pitch bend for a more aggressive sound.

Use a LOT of reverb if it is available.

NOTE: 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'

'MONSI:

;

QU'

{.GATf Gat f r..

C

'.

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jrui

^

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-ooo

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SVTTTHEaEERaq s«h

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A good lead sound, reminiscent of that song from the sixties'.

Use reverb if available.

:jdt:d

(^Roland

Electric

Clavichord

1*1 Cv

GAn cv

GATE

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© © ©

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I*

PHONES

© outcu'

© ifl j yy

•in flit?

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1-41

3T1 llntvMCtn LfH sh-09

Play

SHORT notes ons

— don't hold keys for

Useful for 'funky' backing

— think In style.

MOD in

VCF alters sound slightly as played, adds variety and interest

L sjSE-

<u

HH Roland

Use reverb if available.

A chorus pedal is useful as an optional effect

Funky Lead with

Wah Bend tXT

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GATE

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INPUT

©

CV GATE

CV

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OUTPUT

•o-

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SiTITHESBEH OR s»-,

Similar to Electric Clavichord but more capable of carrying a lead line.

Use positive and negative bend for

Wah-

Wah control.

^Q

-1 lH Roland

'Waw' Lead

Flexible

Bass

Shuffle Bass

!

23

AUOlO

IN

© iNPyT

©

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4>-

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SiTTTHESCER OR

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—

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.

irit

#

—

-.

-i

Bender controls pitch and

'Wah'.

Tone is bright at top of keyboard to 'cut through' and of a band.

be heard through the sound

[^Roland

EXT GATt

Cv GATE

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IN tNPUT OUTPU'

CV

OUTPUT PMON1S

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L.

-fl

9

4@L!.-S y *|y ^ lj

SiTITHEaEER OR

-!>fH-fr-

^iE

This bass patch uses the Gate and Trigger

Envelope Mode and identical

Decay and

Release times for playing ease.

OPTIONS:

1 )

As marked for a 'fuzzy' rought rock n' roll sound.

(HI Roland

2)

3)

Switch Pulse Width

Mode to manual for more clear, precise sound. Suitable for a

Country

&

Western.

Switch to the

^\ waveform for a simbass style.

ple walking

IXT

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IN

GATE CV GATt CV Od ©

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INPUT OUTPUT

PHONIS

©

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—•> "V™,

-CI-

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*B anTHraEBr^cR

o

n

-iWV-t-fl"

A very round, full sound dle

— best at the midand bottom of keyboard.

TECHNIQUE: Use of Gate Envelope Mode allows legato playing to give without a new attack

— a new pitch as if the string was refretted to a new pitch without being plucked again.

Detached playing gives a fresh attack for each note.

Practice to gam

RB Roland 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 the

Decay time for further control, from the keyboard.

NOTE:

Sub-Osciilator adds thickness without tuning.

Compressed

Bass

Growling

Bass

24

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GAT{ Cv

G*n cv 00

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OUTPUT

•Oi

UHH>~

Q*

SVnTHESEEflOT

This patch gives two distinct bass sounds from one patch, determined by keyboard technique.

Keyboard technique here is opposite to 'normal': notes held longer sound short and 'compressed', notes played very short with a 'plucking' action ring long being and bright Think in terms of the key a string that will ring if plucked and

-| a

I-

~S

^§h -

IBS Roland stop short if dampened with your hand and this should come easily.

Practice how each note will sound.

to control

NOTE: this patch is excellent to add a dynamic live feel' to terns using a Roland sequenced bass pat-

CSQ digital sequencer.

Record slow, playback fast.

O

AUOlO

IN

GATE

O in

CV

GAT

11

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OUTPUT

Cv

PHONIS

© ourt-ij-

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•dV-

~,

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4£ wiitheseerot

A more synthesized bass sound with a thick, growling tone and an instant attack and release.

"v?""V/"'

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HH Roland

Funk Bass

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GATE CV

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GATE CV

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Bill

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i

SVmHSEERuH

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6 m

5

A funky synthesized bass sound.

Good with pitch bend. Try bending during a rest before long notes, bending back into the note as it begins.

Try the keyboard technique described for

Shuffle Bass patch.

Is!

Roland

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

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IK

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,

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Output

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PHQNIb j;

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WnTHESSEROq

{5

A synthesized bass with an initial 'punch' followed by a rise in tone and volume.

Allows fast playing withxlear attacks and the dynamic forward motion you would get

Roland with a slow attack.

Use a detached keybaord technique to get the 'punch'

— legato technique gives an alternative growling bass without the 'punch'.

Tonewheel

Organ

I.T

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AUD>0 ih

G»T( o

GATf

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INPUT OUTPUT

Cv

Upper and Lower

Register Flute arttTHESEEFlOq

3TO

There are many good variations on this one:

1

2)

The

"key click' is brought in with the

VCF

Envelope slider

— it can be removed or altered to taste.

The

'drawbar' sound may be altered by

RB Roland

3)

4) lowering the

VCF cutoff to taste.

Experiment with other waveforms and

Sub-Oscillator settings.

Vibrato

VCO may be introduced with the

MOD slider at different Modulator rates.

€*T

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GAU

CV

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INPUT

GATE CV

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OUTPUT

PHONIS

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i-'D*Bi

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SWTTHSEER DR

o

D Play with a detached keybaord technique except for scale runs and trills

— this is in character and avoids 'clicks' between notes.

I

3

1

Upper register (shown) is best played on the keybaords top end.

Switch to 8'

VCO range for lower register and play the lower end of the keyboard.

This gives a good breathy sound for slow passages.

IS Roland

When playing remember to put in rests for

'breathing'.

Adjust volume when switching registers as needed. Changing volume during playing adds expression

— try a volume pedal between the

SH-09 and amp.

Use reverb if available.

Echo is also very effective with flute.

26

Jazz Trumpet

Sax

Clarinet

|Jj s=: pr p=j |_

; D*

SHrTTTHraEER OR sh-c

Notice the biting attack, the brass tonguing effect that a short attack gives.

Longer attacks give options.

wah-wah mute or french horn

Gate and Trigger Envelope

Mode gives accurate attacks to all notes.

Quickly chipping the

VCO bend one

IS

Roland 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.

Use reverb if available.

..T

^

AUDIO

IN

GAT( GAT( C* CV

©

(©

©

(©

OUTPUT

(ItfUt

PHONtS

©

OUTPUT

©

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"

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^

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,

SiTITHESErocn

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..-Mi*-.H(-

—

.-.

—

,

|

Sax is difficult to synthesize sounds because it 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.

Legato and detached playing sounds

— different use both.

IIP Roland

Bend the

VCF before a note or passage to add variety while playing.

Move the Modulator Rate to '1

0' to get a growling tone which may be used as shown or with '0' Delay.

You bring the

VCF may also

MOD slider in only as needed with your left hand.

GATf on Cv GAT

I

CV

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AUDIO IN INPU' OUTPUT

PMONIS

© outVut

©

1 I'LT*

II r

*fl fl

SVnTHESEER EH

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This patch is a good, simple combining a manual example of

VCF cutoff setting with

ADSR modulation of the VCF.

Both legato and detached keyboard techn-

IBH Roland qiues sound correct each contributing a different Clarinet playing style.

Practice both so that you may alternate between them to get the most out of this patch.

Violin/Viola

Bassoon

PHONE

S

OuiVot

EKT

GATE Cv GATE CV

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IHPUT AUDIO IN

OUTFUt

1 m

—

—

.

%T

_^i_

Ss=^

#0-

SMTTHSEffi DR o w

1

D_

Play with a detached keyboard technique.

Short notes will be softer and lighter than longer notes.

---'-

^^^ — fe fc..

OB

Roland

Set the Release time just long sound natural.

Use reverb if at enough all to possible

27 fin

©

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IN

GATE Cv GATt CV ©0

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INPUT

OUTPUT phones

©

OUTTul

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-o-

_j ru

"?!re"* m

SirrrHESBER tn

This patch is a good example of using

Resonance to change tone instead of emphasising motion within the filter.

01 tA=0m

^

Hi Roland

For best results play in the middle and bottom end of the keyboard

Use reverb if available.

Xylophone fXT

GATE

GATE CV CV

© ©<® ©

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AUDIO

IN INPUT OUTPUT

—o-

PHONES

©

OUTPUT

©

01 iHF

It

*B

^

m

f¥ avnTHESEERDR sm-« ols

Try switching to the Envelope Mode labelled LFO and Xylophone rolls on any key, at tor Rate.

a speed determined by the Modula-

You may choose either the Gate

PU Roland and Trigger or LFO Mode, or switch between them with your left hand as you play, u reverb jf

" availablp

Vibraphone

28

EXT

©

AUOlO

IN

GAT

I

©

INPUT

CV

GATE

©

OUTPUT

Cv o-

PMQNI5 OUTPUT

©

-oBt II'

Dgif

U

3 e?

E H r

:

•4h>-

SVnTHSEERQq IB Roland

This ing patch is a the good example of combmsound of one single with a complex tone

VCO and the Sub-Oscillator square color.

wave two octaves down to produce the

Best p| ay ed in a slower, melodic style.

Female Voice

IXT

©

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IN

GATE

INPUT

CV GATE CV

© ft

OUTPUT

PMONIS OUTPUT fl-irft-

-0-

/=** t ^'

^

"^•H-

%

SSTTTHBBER DR

*,.,

Careful settings and slow, lyric lines will yield an

'aw' sound.

melody

Pay particular attention to

Resonance settings

the Cutoff and experiment around

PH k

5

4r ir

,f=4>; "

IHI Roland

'5' and '6'.

T

Try

„ a small

.

,

.

amount of portamento.

.

,_ „„,„.

reverb if lf

01

....„

Chirping Birds

(XT

©

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IN

GATE ©0 CV

INPUT

GATE CV

©

(0

OUTPUT

PHONES

© outVut

© flrO-

9rfTTV€aEEflrjq

OH This patch is a good example of both LFO gating of the Envelope and of using the

VCF as an oscillator.

f §l iM

%

IB Roland

Press different keys for different lengths of time, changing the Modulator Rate betwe en notes.

29

Wind

£«• 6*n

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IN INPUT c.

GAT(

Cv PHOKtS OU^Pw-

[ © 0'

1 o ©

OUTPUT

Synth Drum

WnTHESEERDq

Press the release the bottom key.

A good example of the Noise wavetorm, and the

Hold function.

Resonance is responsible for the howling of the wind

— raise it slightly to increase

IS Roland 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

|

OUTPUT f»" GATf cv GATf

© © ©

AUDIO

IN iNPyt

OUTPl,"

Cv

-o-

0ffoo*

IT he

SiTITHEaEEfi EH sh-o.

w;

—fr-fl

—

»-ft—

Different pitches are available from different keys.

Play rhythms and short rolls on keys

— the

IS Roland

Gate and Trigger Envelope Mode will allow fast playing

Inverted

Drum

Synth

IXT

AUDIO IN

GATS CV GATf CV o®

0)

H»UT OUTPUT-

PHONES OUTPU

Kli

•II

HD-

Ds

SWiTHESBER OR shh

Different pitches are available from different keys.

Play

Gate rhythms and short rolls and

Trigger Envelope on keys

— the

Mode will allow h-y *§ Bi

Ml

IS

Roland fast playing.

Rajse {he

VCF MQD s|jder tQ r for delayed special effect.

30

Bass Drum t*T G*T(

GATf Cv

@ @ © ©

AUOtQ i* <H*>W

OUTPu'

Ci pmows OuTPu'

Driving

Pitches

Random

WnTHESEER DR

*,-,

-hI

— ii-

Strike

— a key in the middle of the keyboard different 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.

)

I i f

[^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

EXT

©

AUDIO

IN

GATE CV

GAlt

CV ©0

(0:

INPUT

OUTPUT

PMONtS OUTPUT

JQ.

•tefr w

«W#lf-

1 1

1

-1

HJH.1-

,

SiTTTHBEEfi OR

-!'HH-fl-

WlE.

Play any key on the upper end of the keybaord.

Te Sample and Hold will give both the random pitch and tone changes while

LFO gating of the Envelope repeats a steady, driving beat

To use this sound without the pitch

IS Roland changes, lower the

VCO MOD slider to '0', switch the the

VCO Range to 32', and raise

VCF

Resonance to 7'

— you will get the driving rhythm and tone change without losing the identity of your musical line.

Heavy Random

Tone Colors

EXT GATE CV GAT

I

CV

© ©0)

(0

AUOIO

IN

OUTPUT

INPUT

-Dl

SYnTHKEER DR

»-«.

A heavy bass synthesizer patch using

Sample and Hold to provide a rhythmic change in tone color during the Sustain fl

IS Roland and Release of each note.

Pitched are not effected so the musical line does not lose its identity.

Designing your own not all that difficult patches is very rewarding

You should always begin by and listening carefully to any sound you wish to synthesize, clearly visualizing you wish to create.

in your mind any sound

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.

Figure 2 represents synthesizer one such process, building a sound as you would a pyramid

— 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 relatively close no degree of subtlety with other building blocks can correct the error.

Foundation decisions concern basic pitch, tone volume.

Decide on a basic and pitch range, selecting exact octave and keyboard use as you proceed.

Next select a basic waveform for one oscillator (do you need the buzz of sawtooth, the hollow clarinet quality of square, or the nasal quality of pulse?) and the make a preliminary guess concerning whether

VCF is 'active' (raise the Envelope slider) or

'passive' (raise the Cutoff slider).

You final basic as needed.

-

31 foundation decision is the basic

ADSR shape play long and short notes on the keyboard as you set these controls.

these settings

Keep your mind open about and adjust them as you proceed, adding an extra oscillator or mixing VCF controls

Once you are satisfied with your basic Foundation decisions, proceed through the finer points These are basically self-explamatory, but remember to keep your basic sound firmly in mind and

.pay

attention to your keyboard technique

— it has an influence on many

'parts of your sound.

Again, the final major consideration is the Style with 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 it.

This discussion 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 it, patterns in sound.

CAPSTONE

STYLE suiting your performance style and imagination to the sound.

other internal effects such as

PWM,

S/H, etc.

external effects as reverb or tone such control

Bender pitch and/or tone how.

often how much?

Portamento how much?

Continuous or occasional?

Keyboard technique and its influence on ADSR, Mod delay, etc

Vibrato-needed?

depth?

delay?

Resonance-tone, motion

Env.

Gate mode-Gate,

+

Trigger

Trernolo-needed?

depth?

delay?

PITCH

VCO range,

Keyboard use, mix of oscillations.

TONE

•

Basic

VCO wave shape

Action

Passive

VCF

(Envelope Control)

VCF

(Cutoff slider) or

•

Mix of oscillators

N D

T

VOLUME note volume, shape, length as controlled

ADSR or

VCA by

N

Interfacing

Interfacing capability is perhaps the SH-09's most striking advantage, an ability to expand in many directions and to virtually customize itself to a performers needs.

An instrument such as electric piano or guitar may be processed through the SH-

09 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 or with units be used with other synthesizers such as the Roland

CSQ digital sequencers for flexibility and freedom to create.

Combining the

SH-09 with another instrument gives much greater flexibility than using the two 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 layering.

Using same time for orchestration style 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 the talents and capabilities of a player beyond his normal hands-and-feet limitations.

These abilities

32 are very helpful in the studio, but virtually in live essential performance where a keyboard player must in his one playing recreate the thick, complex sounds audience expects

— sounds originally created through multitrack recording and/or the use of many session musicians.

Interfacing capability not only allows great freedom and choice, but allows an involved artistic keyboard setup to be built gradually as money becomes available. Building a system this way provides the performer with an instrument immediately, lets him become more familiar with each instrument as he builds gradually, and 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 comprehensive.

You be more 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.

Interfacing External

Instrument

Without Gates

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

Mixer,

VCF and Modulator sections.

The VCO,

Envelope and Delay Time functions of the SH-09 cannot be used in this application because there are no Control Voltage or

Gate commands for them 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 control the depth of the let you

SH-09 filter sweep from the piano keyboard, it has an adjustable Decay 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

SH-

09 for processing.

Block chords or unison rhythms 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, a constant adding either

Wah-Wah or Sample and Hold effect to the sound as it passes through the VCF, acting as a sophisticated effect device.

You may find the

Sample and Hold patch the most effective, since that effect is exclusive to synthesizers unexpected and unusual on and therefore other instruments.

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 with the exceptions that the pitches, basic tone selection and the Keyboard the external instrument (the

Gate are provided by

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.

The great advantage of connecting an instrument possessing

Envelope a Gate output to the

SH-09 is that the may now be used to sweep the filter

— a critical element in many synthesized sounds.

The gate will also initiate the delayed LFO output of the

SH-09 modulator, although you are restricted to applying it as Tremolo within the

VCF since you are not using the

SH-09 VCO.

Instead use the delayed Vibrato available on both the

Organ/Strings

RS-09 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.

The RS-09 Organ/Strings has a special

Output making it

Raw

Organ ideal for synthesizer interfacing.

This output is a straight mix of the oscillators before any Chorus Ensemble or Tone

Selectors, 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 the SH-09.

Each has four parallel octave tones at

8', 4', 2', and 1

' pitches which may be mixed in a form of additive synthesis to provide different waveforms for the

SH-09 to work with.

The RS-

09/SH-09 Woodwind patch provided here uses

33 one slider to provide a Square wave Tne RS-

09/SH-09 Brass patch comDines tour sliders tc provide a Staircase wave, very similar to the

Sawtooth wave normally used for synthesizer brass patches.

pure

Each RS-09 drawbar slider provides

Square a 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 sent for processing

Four examples each are presented for interfacing the RS-09/SH-09 and the SA-09/SH-09 combinations.

Carefully study the diagram and the accompanying text to fully understand the principles behind interfacing external instruments possessing gate outputs.

Interfacing Digital

Sequencers

A digital sequencer may be interfaced with the SH-

09 to actually play the synthesizer for you, according to your instruction.

A

Roland

CSQ

Digital

Sequencer may be connected directly to your SH-

09 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.

Both the CSQ100 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 for every nuance and subtle change in tempo or style.

Since the CSQ's memorize the performance and not the sound

SH-09 itself, the sound patch of the may be altered before or even during performance.

The CSQ

Digital Sequencers can be loaded during live performance or prepared beforehand.

Any musical 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 synthesizer a different rhythm rewritten from the keyboard.

Tempo may be adjusted over a wide range, sequences repeated automatically, may be played once or and may be transposed from the keyboard of the synthesizer.

Two examples are given here, each interfaced onj step further by linking the

CSQ sequencers with a

Roland Rhythm unit so that they will run together in rhythmic sync.

In Example

1 the smaller CSQ100 is actually being driven rhythmically output of the by the gate

DR-55 programmable rhythm unit

Example

2 shows the larger

CSQ-600 driving the internal clock of the more flexible

CR-78

Programmable Rhythm unit so that each has total rhythmic flexibility, yet will run in perfect tempo with one another.

for

Only the jack connections are further information refer to a shown here,

CSQ owners manual or your Roland dealer.

Patches

A blank patch sheet is provided for each of the interfacing combinations discussed.

Photocopy them for use with the actual instrument combination or to work out in advance which combination of interfacing suits you best

—

Interfacing External

Instrument

Without

Example

1

Gates

EXT f

AUDIO IN

GATE o

INPUT d

CV GATE CV a o)

MP-600

'

-4

-f\

la&U

m o<

<

SVnTHEaEERDq s«-

-

::

".

r

—

-

—

.

i-

—

^—~"

— l-ft— ..—

(

-Hf-

•-

•.—i'-

If"

._

l_j

S

13 [in

T

T*

Roland

A touch-sensitive wah effect for external instruments.

Instruments such as guitar and the Roland wah depth by accenting or playing softer.

MP-600

Electric Piano are "touch-sensitive" and can increase and decrease

Instruments that are not touch-sensitive

— more notes give greater wah depth.

can vary the wah depth by carefully choosing the number of notes played at once

For Bass instruments, lower the

VCF

Cutoff slightly.

Example 2

EXT f

A useful sound, especially for electric piano.

For more

"synthesizer" type sounds, raise the Resonance slider to

"7"

Good for guitar.

AUDIO IN

MXMOMHtB

•O-

HVi-jV vju

--J-3L*

Example 3

r

EXT o

A good Sample and Hold sound for all instruments.

V_

Adjust the

VCF

Cutoff to gain the maximum effect for the instrument used.

m-

MjCNOMMfA

•-O-

^0

-ti

D-

IID-

D*

!> fl

34

r

SH-09-RS-09

WOODWIND & STRINGS

35

EXT

AUDIO

IN

,

H>fjr

GATE

©

INPUT m

CV svnTHESEEPi oq

GATE CV

O

(O) u«

Woodwinds alone.

To add strings, press the

RS-09 4' String switch.

BRASS & STRINGS

D*

SH-09

]

O

SUSTAIN

IMi OtauoO*

GATE

OMC

<U*>

™

O O

©

AM

*G

RS-09

•MOMS OKWUT

©

© ©

deb

I— ittAto-Jaaao

AUOO

MIXED

INI

fl

[^Roland i

— i

— i

— m u E3Q

Use reverb if available.

i wwas i ifl i

EXT

AUDIO IN

GATE r

CV GATE CV

©

OUTPUT

©

INPUT

PHONES

©

OUTPUT

©

SH-09

1

SUSTAW organ

ElTAUOtOM PfOAL gate raw

©

an

© ©

©

sc mows

© cumn

RS-09

' mill 7mh

M i

•ofli rQD* m

•§

•^J~tJ~1/~"

IB

Roland SWTTHBEEROT sh-«

©=

For lower Brass, transpose RS-09 down one octave.

Add

Strings by pressing the RS-09 4' string button.

Short block chads or solo notes will de-emphasize strings.

I

SW«SS

H3Q0

Longer chords or notes let strings rise to stronger volume.

Use reverb if available.

SH-09-RS-09

ELECTRIC PIANO

I

EXT

r

GATE CV GATE

O

CV

©

AUDIO

IN

INPUT

SH-09 1 RS-09

W

O

°E

_T, ("_

,

_A_

,

•"

"-

_Ti_

«, g sp ra E3

L

4Mf-

41 4J-

SVnTHESiEER oq s«-

S

Roland stones OWcK o

CI-

MM.UMI

mo

, y

-

-

-

1 w r

1

—

-

-

TM«-

5

Play detached chords and solo lines.

Try transposing the RS-09 one octave down.

AUDIO IN

EXT

POLY SYNTH & STRINGS n

SH-09

GATE CV o

(O)

GATE CV

OUTPUT

J

U nn

6

Try

Try adding a "tine" sound by adding the RS-09 adding tremolo by raising the SH-09

Organ 2' slider to

VCF Mod slider to

"4".

"5".

O

CED

I

1 cum RAW o © S1G mows o output

O

OD

RS-09

•-o

Q-i-i

«r

SWTTHEaEERCH

SH-09

OS

E o

Q:: o

Inverted poly-synth sound with delayed strings.

Best with block-chord comping; holding some chords to hear delayed effect.

MJCMO

MU(B

:y-|l

: U -B-i-I

IS Roland l3D0

Try

"7" adding Sample and Hold by raising the SH-09 VCF Mod slider to

Add strings by pressing

4' string button on the RS-09.

Use reverb if available.

36

SH-09+SA-09

WOODWINDS

I

EXT

f

GATE CV GATE

O

IP

OUTPUT

CV

AUDIO IN

-rfh-

SJJJ svnrHEasERoq

...

Q.

r-0-

D*

SH-09

Woodwinds alone.

Use reverb if available.

TREMOLO

VIBES

O

...

MOOUUTO*

1

[olllo]

SA-09 loI

-

STFREO

Cox cm:

'

MON.

r-

*H

I hRhK£

(^Roland

SOUND SOURCE

-!

QQQZ

JT.

J*.

ioai i !

Play with detached chords and melody styles.

37

EXT

r

GATE CV GATE CV PHONES

SH-09

OUTPUT

AUDIO IN INPUT OUTPUT

-O-

*v."5U'

{!

D*

SVnTHESEEROq sh-09

6

la itQN-l^" o

-U-

'o

0"

Strong vibes tremolo effect

For ultimate control, use DP-2 sustain pedal and alternate sustain lengths.

1

SA-09

[OX <fb]

-STEREO

*

MONO

L

M

H

P*l

,

B

Di

Roland souno souncc [ENVELOPE

] a

;o

Freely polyphonic.

Use reverb if available.

—

SH-09-SA-09

POLY SYNTH

EXT

17

GATE CV GATE CV

O

(@

OUTPUT AUDIO

IN

INPUT

r»-

SH-09 1

SA-09

[ox

(fox on

MONO

STERtO t—

D-

0>

1^ _jHt

SVnTHESlEER OR

*-

R

Roland

"Comp" chords, holding some long enough for the delayed effects.

Normally play with a detached style, but also try changing the bass while holding a right hand-chord.

BRASS CHORUS

m

SOUHD SOURCE

»ccc*n •I*.—

1 tQMl ru m> j^

U

• a

Hi n

-H-

#)

Try cancelling the SH-09 VCF Mod and adding SA-09 Chorus.

38

*H i

EXT

AUDIO IN

r

GATE

o

INPUT

©

CV GATE CV

OUTPUT rv

•o-

§4

D*

SH-09 i

SWTTHESEEflOq »-«

W j

^..

-I'KHt-fr-

-

O n

;

_r

For true brass, switch SA-09 Chorus "Off"

For brighter brass, switch SA-09 Tone

Selector to

_ MMH.ITM

g

0-

1

LoD

I

Co]

SA-09

[o J so»

-STEWO

>

MONO

I

M

H nan r# fl di

IB

Roland

;

Q

[

ENVELOPE

J

Jl -K ifl

Use reverb if available.

For lower pitches, switch

SA-09 Transpose one Octave Down.

Interfacing

Digital

Sequencers

EXT

AUDIO IN

GATE

INPUT

CV r?

r

GATE CV

© P

OUTPUT ft

PHONES OUTPUT

o

GATE

©

(Q

INPUT

CV r

i

GATE CV

©

OUTPUT

m

PHONES

I

OUTPUT

}

~.

HfMl

GATE CV GATC CV

CSQ-100

EXT CONTROL

FROM SYNTHESIZER TO SYNTHESIZER

^m

BO

Qfl

CSQ-600

WPUT OUTPUT

CSQ-100

EXT CONTROL

G*te Cv GATE CV STAUT STEP

© © Q © © ©

FROM SYNTHESIZER TO SYNTHESIZER l

39

PHONES

©

OUTPUT

©

SH-09

AMP

EXT

AUDIO IN

GATE OS CV

INPUT

GATE

o

fs

OUTPUT

CV

I

PHONES OUTPUT

AMP

CSQ-600 fMJt OUIPU'

©© ©©

CSOStMC

©© ©©© @© ©©

°£>> r

0)0)Cffi]00000

CR-78

40

1 i

SH-09+RS-09

GATE CV GATE

©

OUTPUT

CV

6

PHONES

©

OUTPUT

©

Of oan

AUDIO

IN INCUT

MOOUL*TOH

Di fH

[£.

o-

SVnTHESEEB OR

SH-09

•5

«UMK

:»: tf:

~_ i o

-

11'

D-

D* n ffl i

7

TMM-

1 ftttftiil

—

1 1 i r i

-rwvr

5

*^.

..

— U—

_

.

---SB

U-

.

l j.

i— i

>— i

—

B i—j

O

O

MOWS

OUTPUT

© © O cfc svfl -D-

IK

Roland i

— num

—

~ jd d

41

EXT

AUDIO IN

GATE

INPUT

6

CV GATE CV

©

OUTPUT

@ ot rr

PHONES OUTPUT

©

l-D-

D*

EMTTHESEEflOq

SM-og o m l

.,W0*M

I

O

CM3

GKTC

MWMG

MOWS ounv?

@ O O oc fl -Di

IB

Roland to

^

.

^

^

\ —

"

SH-09 + SA-09

EXT GATE CV PHONES OUTPUT

' PHONES

^^

» '

-

AUDIO IN

INPUT

GATE CV

©

OUTPUT c

STEREO

[OX l

»

MONO

MOOtXAIO" wcc •utosc vc> .c.

fM>

UMHW tK c x "V

~L_.

D

=

=..

•=

~ j~

( v_

:

CUTO" -»-» k.

•i ru

1 f m

>B r\r\r

"L.,

Va r\ f o

1 rDL> ~i

= =

§••

~=

= r

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=

=••

"0 -Di

~

=

=•

RJ

•H

•%=0~

" *^LF=iPa

9-

™t_r™"\/™\.

j mm

-

M svnTHES«3EP\ oq

IB

Roland

-^ p—T(—

* ti i f— romtf volume towc

[

ENVELOPE

!

JT.

.K

'o

0" 0' r l

42

EXT

©

AUDIO IN

GATE

©

(Q

INPUT

CV PHONES

©

OUTPUT

©

/

OUTPUT GATE CV

©

OUTPUT

Q

@) @> rian

'

MONO

'

STf«0 \

Hooutaton

_n n

X

-

~

—

-

~

-

=

=• •= jr1H

*-v— vco suaoec MJCHOWIIfB VC' vc»

1M* -o—

„**«

—

««««.«i «c

S

...

"ST ««>-«.

~

H.-0

••" — —

J^LZ~

"

**

't£Z.

4-_

TZ

— r™

— —

=

«...

o O

1

1

1.

0•i

= =

§••

•=

=

=•

=01

=

=•

"D -Di

= = =

I»

)-.

^

OJ

V,

^—

•n.

j \

/" v — M.^ _" a

™^ y~\ j™"^

,

/"

SVnTHEaEERQq shfsi Roland

SOUWQ SOUBCE

}=F

!

{ENVELOPE

!

XX ^.

DDDDi oO o !

SH-09 BLOCK DIAGRAM

»•

I *

CV OUTPUT

GATE OUTPUT

GATE INPUT

*V

.GATE* TRIG

J

1

GATE*

-TLTL lfo.

<»***« NOtSE

-i"

RANDOM, S/H r nA"

—

^<

AND

TUNING iMODE *

NOISE

GEN

RANGE

1

32

LFO

MOD

»&— vco

RATE DELAY

I

GATEI

I

GATE ENV

VCF f

_^oJ

MANUAL

HESONANCE CUTOFF!

SUB

OSC

I

OCT DOWN i

IOCT DOWN

["U

20CT DOWN

Tl_

"J-

MOD cv

*

L-fc

KYBO-CV

PORTAMENTO

4-

KYBD

CV

KYBD

GATE

TRIG

|

EXT

SIG

INPUT nv *

EXT SIG |?

amp

T

£?

rr?—

BENDER

32Key

KEYBOARD

KVBO

GATE

ENV

SH-09

BLOCK

DIAGRAM o-jHOCO

BENOER

OUTPUT VCA -*-

VOLUME

JT

HEADPHONE

AMP

HEAD-

PHONES

ENV

FOUR

/v.

VCO

SENSITIVITY vT-

VCF

BENDER l»V.

FUSE

0.2SA

POWER

POWER

SUPPLY

1

1.

1

S,

J

^

-ISV-e-

43

SH-09

Specification

Keyboard

32 keys, 2-1/2 octaves

VCO

(Voltage Controlled

Oscillator)

AUTO BEND

Modulation depth

Tune (±65 cent)

Wave form

^\

(

,

HJ

,

("LJ

,

NOISE)

Pulthwidth Modulation (Min-50%)

PWM

Mode

Switch (Env/Manual/LFO)

SUB OSC

(Sub-oscillator)

AUDIO MIXER

IOCT

20CT

DOWN

DOWN rU, 20CT DOWN

ITJ

HJ

VCO/SUB OSC/EXT SIG

VCF

(Voltage Controlled

Filter)

Cutoff Frequency Control

(10Hz 20kHz)

Resonance

(Min-Self Oscillation)

ENV

Switch (ENV FOLH ENV

ENV

Control

A\

ENV

MOD

Control

\S

)

VCA

(Voltage Controlled

Amplifier)

Envelope Switch

(Hold, Env fx

Kybd gate J~L

)

ENVELOPE

GENERATOR

Attack Time (1ms

2.5s)

Decay Time (2ms

10s)

Sustain Level (0100%)

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 5s)

44

BENDER

Bender Lever

Bender

Sensitivity

(VCO, VCF)

POWER SWITCH

Power

Indicator

CONNECTION JACKS

Output Jacks

Phones Jack (8 ft Stereo)

External Control Input Jack

(1V/oct)

External Gate Voltage Input Jack

(ON with +7.5Vorover)

Keyboard Gate Output Jack

(OFF-OV, ON-+14V)

External Signal Input Jack

POWER

CONSUMPTION

8W

DIMENSIONS

605(w) x 305(d) x 100(h) mm

WEIGHT

6.1

kg

ACCESSORIES

2.5m

connection cord

Specifications are subject to change without notice.

45

OPTIONAL

ACCESSORIES

CASECB-100 STAND

KS-1 HEADPHONE RH-10

46

ORGAN/STRING RS-09 REVERB

RV-1 00 ECHO CHAMBER

RE-1 50

[MRoland

10522

UPC 10522

C

Roland

®