Roland SH-1 Instructions Manual

SYNTHESIZER
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INSTRUCTIONS
The SH-1 incorporates a sub-oscillator which adds a one- or two-octave lower pitch
to the note played, thus widely expanding the sound.
The newly developed VCO and VCF guarantees stabilized pitch and
tone quality.
The SH-1 is provided with an envelope follower to make
synthesizer-like sounds from any type of sound source.
It is also provided with a bender lever which greatly
helps solo performance.
The SH-1 features versatile functions like those found on larger synthesizers and
it is designed to be compact and easily operable
even by beginners.
Copyright © 1978 by ROLAND CORPORATION
AN rights reserved. No part of this publication may be reproduced in any form without prior written permission of ROLAND CORPORATION,
PRECAUTIONS AND CONNECTION
PRECAUTIONS
® Avoid using the synthesizer in very high or low temperature
locations. Also keep it away from heaters and coolers since
this type of equipment tends to affect circuit and pitch stability.
e Avoid using the synthesizer in very dusty or high-humidity places.
elf it is necessary to play the synthesizer in an area with neon
or fluorescent lamps, keep the synthesizer as far away from
these lamps as possible since they will induce high levels of noise,
Sometimes, changing the angle of the synthesizer in relation to
the lamps will help reduce noise.
® When connecting the synthesizer, plug the cord into the external
amplifier first, then the other end into the SH-1 output. To
disconnect, remove the cord from the synthesizer first, then
from the amplifier.
eTo clean the synthesizer, wipe with a cloth dampened with a
neutral cleanser.
Do not use solvents such as paint thinner.
® COMBINING WITH ELECTRONIC ORGAN
"Tune to unison with middle С
on the organ.
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When playing an electronic organ in combination with the
SH-1, set the units as illustrated above.
® CONNECTING FO AMP
OUTPUT PHONES
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INPUT CV GATE
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| EXT SIG | OUTPUT
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Connecting the SH-1 to an amplifier.
CONTROLS AND BLOCK DIAGRAM
--—® CONTROLLER (page 8) @ MODULATOR (page 21) @ SUB-OSC (page 12} @ ENVELOPE GENERATOR
® NOISE (page 13) (page 19)
CONNECTION JACKS @VCO (расе 9) @ MIXER (page 13)
(page 5)
O HPF (page 14)
O VCF (page 15) VCA (page 18)
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- THE ABC’s OF THE SYNTHESIZER
sBASIC BLOCKS MAKING UP A SYNTHESIZER
PITCH. TONE COLOR VOLUME
determined by determined by determined by
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CONTROLLER
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"THE THREE QUALITIES OF SOUND
The three gualities of sound are: pitch, tone
color, and loudness.
Sound is the result of physical vibration tn
objects. The pitch produced depends on the
vibration rate. Fig. 1 shows that the higher the
vibration rate, or the higher the frequency. of
the vibrations, the higher the pitch is. Frequency
is measured in unit called the Hertz {Hz}. На
sound source vibrates at a rate of 100 vibrations
per second, it is said to have a frequency of
100Hz. The normal human ear can hear sounds
with frequencies from about 20Hz to about
16,000Hz.
In synthesizers, pitch is controlled by the VCO
(Voltage Controlled Oscitiator). An oscillator is
an electronic circuit which generates a wave-
form, or in this case, sound. Voltage controlled
means that a voltage is used to contral the
frequency {pitch, in this case) of the osciltator;
the higher the voltage, the higher the frequency.
This, then, is the first quality of sound: pitch.
Fig. 1 shows what are known as sine waves,
the simpiest mode of vibration. The sound of
a sine wave is very clean and pure. Most sound
sources vibrate at many frequencies at the same
FIG. 1 — SOUND PITCH
= FREQUENCY
VU
time, however, The lowest of the vibrations,
and usually the strongest, is the one which we
hear as the musical pitch of the sound source.
The presence of these other frequencies is what
gives a sound source its second quality: tone
color.
The frequencies produced by the complex
vibrations of a sound Source are called har-
monics. Harmonics are usualiy multipies of the
pitch frequency. For example, consider a sound
source which vibrates so as to produce a pitch
with a frequency of 200Hz. The first harmonic
would be 200Hz {1 x 200 = 200). The first
harmonic js also called the fundamental because
this is the frequency which gives the sound its
musical pitch. The second harmonic wouid be
2 x 200, or 400Hz. The third harmonie would
be 3 x 200, or 600Hz; the fourth harmonic
4 x 200, or ВООН?, etc.
Fig. 2 shows a square wave. Square waves
produce a tone color much like that ofaclarinet.
Square waves contain oniy the odd numbered
harmonics, or in other words, those frequencies
which are one, three, five, nine, etc. times the
frequency of the fundamental, or pitch frequen-
cy. The even numbered harmonics are missing.
Tone color, then, is determined by the harmonic
FIG. 2 — FONE COLOR
= HARMONICS CONTENT
SQUARE WAVE
with three of rts
harmonics shown
NA
SINE WAVE
comem of the sound; the more harmonics
there are, the brighter the tone color, In the
synthesizer, tone color is controlled by the
VCF {Voltage Controlled Filter}. The VCO
produces a basic sound wave rich in harmonics.
The VCF is used to remove (or filter out)
some of these harmonics thus controlling the
harmonic content of the finished sound. The
amount of the harmonics removed is control-
lable by a control voltage.
The third quality of sound, loudness, is de-
termined in a synthesizer by the level or ampli-
tude of the waveform, as shown in Fig. 3, and
is controlled by the VCA (Voltage Controlled
Amplifier).
The loudness of a sound changes during its
production. Strike a piane key: and the sound
jumps the maximum loudness. Hold the key
down and the sound slowly dies away. This
pattern of Joudness in a sound is called its
envelope. The output of the envelope generator
is a control voltage. This control voltage is used
to control the УСА, thus shaping the toudness
pattern of the output sound of the synthesizer.
FIG. 3 — VOLUME
= AMPLITUDE
BIG SMALL
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VCA
LOUDNESS = AMPLITUDE
The contro! of loudness by means of
the keyboard is of little practical use;
the SH-1 has no provision for this
type of control.
The toudness pattern (or articulation)
of a sound is produced by using the
output of the envelope generator to
control the VCA.
CONTROLLED VCO VCF
PITCH = FREQUENCY TONE COLOR =
CONTROLLER HARMONIC CONTENT
The most common use of the key- The tone color of mos: instruments
KEYBOARD board control voltage is for the will vary with pitch; higher pitches
control of the pitch of a УСО; the often produce brighter tone colors,
pitch produced will correspond to lower pitches darker tone colors.
the key pressed, For this purpose, the VCF can be
controlled by the keyboard.
With some sounds, it is desirable to The tone color of many instruments,
ENVELOPE Incorporate pitch changes during the particularily the wind instruments,
production of each note. changes during the production of
The SH-1 contains a special envelope each note. This effect can be produced
generator lautobend) provided exclu- with envelope generator control of
sively for this purpose. the VCF. Raising the VCF RESO-
NANCE control will produce sounds
possible only on the synthesizer.
LFO The LEO {Low Frequency Oscilla- With some sounds, the tone color
(MODU LATOR) tor) produces low frequency wave will vary at the same rate as vibrato.
forms, Using the LFO sine wave out- This can be done with LFO control
put to control the pitch of the VCO of the VCF. Raising the VCF RESO-
will produce vibrato effects. The LFO NANCE control will produce “growl”
square wave output will produce effects.
trills.
The SH-? does not provide for LFO
control of the VCA; however, the
square wave output of the LFO can
be used for triggering the envelope
generators to produce rapidiy repeat-
ing notes,
“BASIC SYNTHESIZER THEORY
In the synthesizer, then, the three qualities of
sound are controlled by the VCO (pitch),
VCF (tone color), and УСА Üoudness}. The
tremendous versatility of the synthesizer is due
to the principle of voltage control. The above
table shows some of the possibilities.
The keyboard has two outputs: a controi voltage
and a gate pulse. The level of the control voltage
will correspond to the last key pressed. The
control voltage output is most often used to
control the frequency of the VCO, thus, when
a key is pressed, the VCO will produce the
pitch which is related to that key. The key-
board produces a gate pulse each time a key is
pressed. The gate pulse is most often used to
trigger the envelope generator into operation,
The control voltage output of the envelope
generator, then, “opens” the УСА to let the
sound wave out, thus the synthesizer produces
sound each time a key is depressed.
The shape of the envelope is controlled by the
envelope generator sliders. When the sliders are
set, the envelope generator will generate a con-
trol voltage which corresponds to the shape of
the desired envelope. When this control voltage
controls the УСА, it regulates the loudness level
FIG. 4 — VIOLIN-LIKE SOUND
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of the sound so that the loudness will rise and
fall in the desired pattern. Fig. 4 shows the
output sound wave when the envelope generator
controls are set to produce a violin-like envelope,
and Fig. 5 shows the output sound for a piano-
or guitar-like envelope.
The tone color of many types of sound will
often change during the production of each
note. This can be done with the synthesizer by
using the output of the envelope generator to
control the VCF.
There are two other sources of control voltage:
the LFO {Low Frequency Oscillator} and the
S/H (Sample and Hold}, each of which can be
used to control various synthesizer functions.
in the following pages, the functions of each of
the synthesizer elements is explained in detail.
When trying various sounds, try to analyze
exactly what is happening; this will give you a
better understanding of thesynthesizer. Synthe-
sizer sounds are very much enhanced by the use
of effects units such as echo chambers, re-
verberators, chorus effects, phase shifters,
flangers, etc, thus their use is highiy recam-
mended.
FIG. 5 — PIANO-LIKE SOUND
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FIG. 6 — PARTS OF ENVELOPE
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CONNECTION METHODS - BASIC
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1, POWER SWITCH
Push the Power switch and the LED {light
emitting diode} will light, indicating the
SH-1 is on
NOTE: It requires about five minutes for
the SH-1 circuits to completely stabilize.
Keep this point in mind when using the
SH-? on stage or in recording sessions.
2, OUTPUT LEVEL
Set this switch to L, M, or H according to
the input sensitivity of the amplifier used.
Set to L or M for an ordinary guitar
amplifier and to H for an audio amplifier
or mixer,
3. OUTPUT
Connect to guitar amplifier, mixer, or
audio amplifier. If you use an effects unit
like an echo chamber, connect it between
the output jack and the amplifier. When
using audio amplifiers such as those in home
stereo systems, use caution with the volume
control because the synthesizer is capabie
of generating sound levels high enough to
destroy the speakers.
4. PHONES OUTPUT LEVEL
This switch changes the output level at
the PHONES jack. Set it at the position to
suit the sensitivity of the headphones you
use.
5, PHONES JACK
Connect headphones to this jack. Use
headphones designed for normal home
stereo systems. Roland RH-1 headphones
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OUTPUT PHONES INPUT
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are suited for this purpose. The output
level from this jack 15 constant, inde-
pendent of the TOTAL VOLUME setting;
therefore, you can turn down the volume
from the speaker when adjusting sounds
with the headphones. This is very con-
venient for setting sounds on stage.
6. EXT SIG INPUT LEVEL
This is a level changeover switch for the
external input. Set to H for microphone, to
M or H for an electric or electronic instru-
ment. When connecting a tape recorder ar
other audio devices, set to L.
lf the output level is low even when the
EXT SIG control on the AUDIO MIXER
is set to maximum, set the EXT SIG INPUT
switch a step higher. If the sound is dis:
torted by excessive input, change to a
sten lower.
7. EXT SIG INPUT
Connect external sources such as a micro-
phone, electric guitar, electric piano, or
strings to this jack. |
As the SH-1 incorporates an envelope
follower, the VCF can be controlled by
the levei of the signal from the external
source to use the SH-1 as a kind of effects
unit like automatic wah. When connecting
the strings such as the Roland RS-202,
connect the gate output also to make it
possible to control the envelope generator
of the SH-1 from the strings keyboard.
With this setting, the VCF can be activated
on brass chords producing sounds like a
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polyphonic synthesizer.
8. CV OUTPUT
This jack outputs the control voltage from
the SH-1 keyboard. Connect to the CV
input of an external synthesizer or the
MC-8 MicroComposer to control such
devices with the SH-1 keyboard.
9. GATE OUTPUT
The gate output from the SH-1 keyboard
can be taken from this jack. Connect to
the gate input of an external synthesizer or
the MC-8 MicroComposer for control of
such devices with the SH-1 keyboard.
10. CV INPUT
In the same way as the Gate input, control
voltages from external sources can be
connected to this jack.
When connecting external contro! voltages
to control the SH-1, be sure to set the KEY
MODE switch to EXT position. (See page
8, No. 2).
11. GATE INPUT
This jack receives gate pulses from sources
such as the VK-6 or VK-9 Organ, the
Model 104 (Systern 100) or Model 717A
{System 700) Analog Sequencer, the MC-8
MicraComposer, the RS-202 String Synthe-
sizer, etc.
12. TRIG INPUT
This jack receives external trigger pulses.
When a +15V pulse is fed to this jack, the
SH-1 gate is triggered.
CONNECTION METHODS - APPLICATION
1. SH-1 + EXTERNAL SYNTHESIZER (SYSTEM 100 — Model 101/102, SYSTEM 700, SH-7)
| OUTPUT INPUT
When the SH-1 is connected with the EX A ee as
System 700, System 100 (Model 101/102), O) © O O
SH-7, etc. the external synthesizer can be in A
controlled from the SH-1 keyboard. It is
also possible to control the SH-1 from the
keyboard of the external synthesizer.
Combined playing by two SH-1' is also
effective.
2. SH-1 + SEQUENCER (SYSTEM 700 — Model 717A, SYSTEM 100 — MODEL 104)
When the SH-1 is connected to an analog
sequencer like the System 700 Made! 717 A
or System 100 Model 104, automatic
performance is possible. When using the
System 700, up to 36 notes can be stored,
and with the Model 104, up to 24 notes
can be stored.
СУ GATE СУ GATE
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| OUTPUT , | INPUT!
_ 3. SH-1 + MICROCOMPOSER (MC-8)
When the SH-1 is combined with the MC-8 Fr
Microcomposer, performance of more than
5,300 notes can be carried out automati-
cally. The note pitch and rhythm can
be stored by use of the ten-keys. It is also
possible to play the SH-1 to store the pitch я
and rhythm directly in the MC-8. When N i
eight SH-1's are used with the MC-8, eight
voices can be automatically played simul-
taneousiy.
OUTPUT ! INPUT?!
GATE |
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4. SH-1 + GUITAR SYNTHESIZER GR-500
When the SH-1 and GR-500 Guitar Synthe-
sizer are combined, the SH-1 can be played
using the GS-500 Guitar Controller.
EXT SIG OUTPUT | INPUT!
| PHONES INPUT CV GATE Cv ont |
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5, SH-1 + ORGAN VK-9/6
When the SH-1 and Organ VK-9/6 are
combined, the SH-1 synthesizer sound can
be produced by the upper manual of the
organ, together with the organ sound. |
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GURPUT PHONES INPUT CV GATE CV GATE
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* When controlling the SH-1 from external instruments like examples 2 thru 5, set the KYBD/
EXT CV GATE selector ta the EXT CV GATE,
| EXT SIG OUTPUF <INPUT:
KEYBOARD
“KEYBOARD
The SH-1 keyboard has 32 keys for a range
of 2.1/2 octaves, but by use of the VCO
RANGE switch and with the CONTROL-
LER section TRANSPOSE switch, the SH-1
has a total pitch range of over eight octaves.
With the RANGE switch at 8’ and the
TRANSPOSE switch at M, the lowest C on
the keyboard corresponds to middle C on
the piano.
"KEYBOARD VOLTAGE
The keyboard produces a control voltage
which corresponds to the key pressed. This
control voltage is most often used to соп-
trol a VCO so that it produces the pitch
related to the key pressed.
The SH-1 uses the relation of 1 volt/1
octave {one volt per octave} which means
that a one voit change tn the control voltage
will produce a one octave change in pitch.
The relation is very common and is used on
most synthesizers and related equipment,
including professional studio equipment as
well as stage type equipment. This means
that the SH-1 is compatible with most
equipment used in all forms of electronic
music.
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CONTROLLER
4, TUNING
This controls the overall pitch of the SH-1.
The tunable range is +700 cents (700
cents = perfect fifth), thus if C were the
center pitch, the range would be from the
F below to the G above. With this feature,
the SH-1 can play transposing parts such as
for trumpet or saxophone without having
to rewrite the parts or transpose mentally.
When first turning the SH-1 on, be sure to
aliow enough time for the circuits to
stabilize before trying to tune accurately.
2. CV/GATE SELECTOR SWITCH
Set the selector switch to EXT CV/GATE
when controling the SH-1 with external
signals from ап organ, guitar, second
synthesizer, sequencer, computer, string
synthesizer {RS-202), etc.
in performance, this switch is convenient
because it allows instant changes of contro!
of the SH-1 between contro! by its own
keyboard or from an externa! source.
When nothing is connected to the GATE
and CV INPUT jacks, contro! will always
be from the SH-1 keyboard no matter
what the switch position ts.
3. VOLUME
This controls the totai volume of the
output sound from SH-1. Changing the
tone color by means of the VCF sometimes
causes a change in the volume of sound. in
such cases, the volume should be adjusted
with this knob.
à, PORTAMENTO
Portamento is the sliding of a note from
one pitch to another. The svnthesizer is
the only keyboard instrument which can
produce portamento effects. Through the
effective use of the SH-1 portamento
feature you can create portamento effects
like those sometimes used with trombone
and violin playing.
The PORTAMENTO knob controls the
time required for the change of pitch. As
this knob is turned clockwise, the porta-
mento time is increased. At the extreme
counterclockwise position no portamento
is in effect.
5. TRANSPOSE SWITCH
The TRANSPOSE switch transposes the
keyboard pitches up or down one octave.
L = LOW range; M = MIDDLE range, and
Н = HIGH range.
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BENDER
6. BENDER
This section functions for changing the
pitch, tone color, or volume by means of
the BENDER lever (6). The BENDER
variation of the pitch is very effective for
imitation of guitar choking.
The BENDER lever controls the bend
effects. М has a click-stop at center with a
spring return to center, When using the
BENDER for contro! of LFO death, the
lever may be moved in either direction, the
effect is the same.
7. SENSITIVITY SLIDER (VCO)
This slider controls the pitch variation
range induced by the bender, At maximum,
it is possible to get a tone octave variation.
Set at around “2” for normal bending.
8. SENSITIVITY SLIDER (VCF)
This slider controls the tone color variation
range induced by the bender. At the upper
position, wah pedal effects are imitated by
moving the bender iever. If the VCF
CUTOFF frequency is set high, the tone
colar variation may be poor even when the
lever is moved with the VCF Sensitivity
slider at high position.
VCO - VOLTAGE CONTROLLED OSCILLATOR
mVCO (Voltage Controlled Oscillator}
The VCO is the primary sound source of
the synthesizer and generates the basic
waveforms. The frequency or pitch of
these waveforms 15 controlied by a contro
voltage.
EVCO CONTROL VOLTAGE INPUTS
The most important control of VCO pitch
is by means of the keyboard control voltage
and the BENDER contro! voltage. The
keyboard control voltage is internally
connected to the VCO. The BENDER
contro! voltage is connected through the
BENDER SENSITIVITY control.
Other sources of control voltage for
control of the VCO are: MOD {Modulator}
and AUTOBEND voltage, and the S/H.
Each of these may be fed to the VCO in
the amounts needec to produce the desired
effects.
1. MOD (Modulator or LFO)
With the MOD slider at high position, the
VCO is modulated by the output signals of
Modulator. The VCO pitch will vary as
shown in (1), (2), and (3) at the right,
depending on the setting of the Modulator
MODE switch.
(1) Pitch varies continuously to give
vibrato effects.
(2) Pitch varies as in a trill.
(3) Pitch varies irregularly to give random
notes.
2. AUTOBEND DEPTH
This control adds a change of pitch at the
beginning of each note played. By raising
this control, the VCO pitch is controlled
by a voltage envelope as shown in (4) so
that the sound starts with a lower pitch.
The human voice, whistling, and other
sound sources which begin on lower pitches
will sound more real and natural using this.
3, AUTOBEND TIME
This controls the time required for the
VCO to return to its normal pitch when
using the AUTOBEND. Raising the slider
increases the time. Normally, this slider is
set between O and 5; special effects are
obtained with higher settings.
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CHANGE OF PITCH b _
+. RANGE SWITCH
This switeh changes the VCO range in one
octave jumps from 2’ to 32' for a total
range of five octaves. The 8’ position of the
RANGE switch is used for sounds in the
middie sound range; the lowest C on the
keyboard will produce the pitch of middie
С. The 4” position produces pitches in the
range one octave above 8, and the 2’
pasition produces pitches two octaves
above 8'. The 16’ and 32' positions produce
pitches one and two octaves below 8'
respectively.
5, WAVEFORM SWITCH
This switch selects the VCO output wave-
form.
11) SAWTOOTH WAVEFORM (A)
The sawtooth wave is very rich in harmonics
and therefore is used very often. It is
particularly suitable for brass and string
sounds, and for sounds which only the
synthesizer can produce.
(2) SQUARE WAVE (TIL)
The square wave is also rich in harmonics,
but it contains only the odd numbered
harmonics. The pure square wave has a
sound quality very much like a clarinet.
The clarinet and xylophone are common
sounds synthesized with this waveform, as
weil as sounds peculiar to the synthesizer.
One effect which is very often used is the
continuous sound of the square wave
(without envelope control) accompanied
by portamento,
(3) PULSE WAVE (fi)
When the top and bottom portions of the
square wave are unequal, the result is what
is called a pulse wave. The harmonic
content of the pulse wave will depend
greatiy on the width of the pulses. М 15
possible to modulate, or change the puise
width by means of the LFO or the envelope
generator.
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XYLOPHONE
FLUTE
OBOE
TRUMPET
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CLARINET
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WAVEFORM
DESCRIPTION
HARMONIC CONTENT
SAWTOOTH
The sawtooth wave con-
tains a fundamental sine
wave and jts integral har-
monic sine waves at a fixed
ratio. The level of each
harmonic 15 as shown on
the right. When fundamen-
tal content ts 1, the con-
tent ofath harmonic is 1/n.
F: Fundamental
SQUARE
The square wave contains a
fundamental sine wave and
its odd numbered harmon-
ics at a fixed ratio. The
level of each harmonic is
the same as sawtooth
wave: the content of mth
harmonic is 1/n; except
that there are no even
numbered harmonics,
JU
PULSE
With pulse wave, the har-
monic content greatly
Varies depending on the
pulse width, М is charac-
terized by a lack of the
mb harmonic series when
the pulse width is 1/n, The
exampie on the left lacks
3rd, 6th, and 9th harmon-
ies because the pulse width
is 1/3 (33%).
PULSE WIDTH
at 33% (1/3,
10
VCO - VOLTAGE CONTROLLED OSCILLATOR
6. PULSE WIDTH AND
PULSE WIDTH MODULATION
Pulse width refers to the ratio of the widths
of the top and bottom portions of the pulse
wave. Pulse width is measured in per-
centages as shown in the drawing at the
right. 10% pulse width produces a sound
very rich in harmonics and is often used for
synthesizing sounds such as the oboe,
bassoon, and human voice. Note that a
50% pulse width is nothing more than a
square wave.
In addition to using fixed pulse widths, it
is possible to modulate the pulse wave so
that the width of the pulses varies con-
tinually, as shown in the drawing at the
right.
Using the LFO to modulate the pulse
width produces chorus-like sounds. The
output of the envelope generator can be
used to modulate the pulse width to
produce sounds very much like those of
pizzicato strings.
With the PWM MODE switch at MANUAL,
this control allows manual adjustment of
the pulse width. Note that the lowest
position, 50%, will produce a square wave.
At the top is MIN (minimum) which
produces a pulse width of about 10%.
With the PWM MODE switch set at LFO or
ENV-1, this slider controls the depth of the
LFO or ENV-1 modulation.
7. PWM MODE SWITCH
With this switch at MANUAL, the pulse
widths may be set manually by means of
the PULSE WIDTH MOD slider. In LFO,
the pulse width will be modulated by the
LFO output, and in ENV-1, by the output
of ENVELOPE GENERATOR 1.
OUTPUT
WAVEFORM
(1) PULSE WIDTH WAVEFORM
«LT
I — = PULSE WIDTH MOD —
„ПЛ
о = =
50%
(2) PWM BY LFO
LFO
SIGNAL
PULSE WIDTH
MIN
a an С PAR
LFO
MANUAL
o 9
po PULSE WIDTH MOD y,
PULSE WIDTH |
MiN
ae 10 AIN
LFO
OTAN ==.
5 MANUAL
ENV +1
(3} PWM BY ENV-1
po PULSE WIDTH MOD =
ENV-1 PULSE WIDTH
SIGNAL
5 MANUAL
OUTPUT ENV-1
WAVEFORM в fu
в WAVEFORMS AND HARMONICS
All waveforms except the sine wave
can be generated by a combination
of a fundamental sine wave of the
pitch frequency and a group of sine
waves which are multiples of the
fundamental; therefore, any waveform
can be synthesized by combining a
fundamental sine waveform with a
proper ratio of harmonics.
The drawing below shows a funda-
mental with its harmonics. The white
notes are even numbered harmonics
and the black notes are odd num-
bered harmonics. {True harmonics are
actually slightly different from the
pitches produced by the equally
tempered scale.) All waveforms, except
the sine wave, contain harmonics. It is
this harmonic content that gives each
sound its particular tone color.
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И
SUB-OSCILLATOR
"Sub-oscillator
The sub-oscillator is actually a part of the
VCO and generates a pitch one- or two-
octaves lower than that of the VCO.
Three types of waves are availabie: a one-
octave lower square wave, 3 two-octave
lower square wave and a two-octave lower
pulse wave,
Mixing the sub-oscillator output with the
VCO output will give new dimensions to
your sound, as if two VCO's were used,
Figure {1} shows the combination of a
PWM wave from the VCO and a one-
octave lower square wave, which can be
used to synthesize accordion or organ
sounds.
Figure (2) shows the combination of a
square wave from the VCO and a two-octave
lower square wave, which can be used to
synthesize vibraphone sounds.
Figure (3) shows the combination of a
pulse wave from the VCO and a two-octave
lower pulse wave, which produces very
heavy sounds suited for rock music and
effective for ad-lib performance.
The correct adjustment of the AUDIO
MIXER controls is very important since
the sound will vary greatly with different
balances,
1. 1 OCT DOWN (ACCORDION, ETC. See page 34.)
VCO
PWM WAVE
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AUDIO MIXER © 935%
NOISE GENERATOR AND AUDIO MIXER
"NOISE GENERATOR
The NOISE GENERATOR is used as the
sound source for effect sounds like wind,
surt, and thunder.
в NOISE WAVEFORM
Two types of nolse are available: white
noise and pink noise.
White noise is the random combination of LE AL |
all frequencies, This kind of noise is like ‘iy AK me
the hissing sound which can be heard
when an FM tuner is set at a point where
there is no station broadcasting. Pink
noise is similar, but has some of the higher
frequencies filtered out to produce a sound
more like a waterfali,
The random notes of the MOD (Modulatar)
are due to irreguiarly changing voltages
produced by sampling the notse wave.
AUDIO MIXER О |.
SUB EXT
OSC NOISE SIG
BAUDIO MIXER
This mixer mixes outputs of the VCO,
Sub-osciliator, Noise Generator, and the
external input signal.
The OVERLOAD indicator lights when the
external level is excessively high. The
indicator is not related to the position of
EXT SIG slider. Keep the external signal
level so that the overload tndicator goes on
at the peak volume.
MIXING PRINCIPLE
Adding SUB-OSC 1 Oct Down Г], VCO | ¥
to СОГУ
SUB [> |
Te SUB Z MIXER
NOISE 3
GEN |.
Ny EXTERNAL
INPUT т OVER-
| | > 5 LOAD
Mono] EXT и
SIG
ES
HIGH PASS FILTER
"HIGH PASS FILTER
Before entering the VCF, the sign
WAVEFORM CHANGES IN THE HPF
als mixed
in the AUDIO MIXER pass through the
HPF (High Pass Filter). The HPF blocks
iow frequencies and passes high frequencies. D
With the CUTOFF FREQ contro! at its
lowest position, all sounds pass th
rough the
HPF without change; this may be thought
of as its normal position. When the
CUTOFF C
FREQ control is raised, the HPF will
remove the lower harmonics fram the sound
source, thus brightening the sound. It ts B
normal for higher positions of this contro!
to produce lower levels of output sound;
compensate for this by raising the VOL-
UME contro},
A
The HPF can be used for synthesizing
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Bernd!
ИНИННЕ
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a
KAP Y
NN
harpsichord and oboe sounds, for example.
им HPF FREQUENCY RESPONSE
| / / и. и
FREQUENCY —
ACTION TO BE TAKEN WHEN DESIRED SOUND CANNOT BE PRODUCED. N
Normally set Raising HPF No sound is produced Normally set at
Tune with piano, MODE $ N, may reduce when all ENV controis} [KYBD GATE.
organ, pitch pipe, (sine wave! volume. are set at "0"
tuning fork, etc. :
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| Normally set MOD at “O" — "5", | No sound with VCE will oscillate With HOLD at
MIXER sliders with Resonance at high position,
| Normally set at "4" — "6", | at low position, high position. sound continues
indefinitely.
1j Р or oF an ag = .
Normaliy set PORTAMENTO at 0 3 | No sound with Cutoff Freq at very low
Ма sound at ‘CO position. |
— | position.
и When по sound is produced at all check the following items.
(1) Are the POWER switches of the SH-1 and amplifier an?
(2) Are volume controls of the external amplifier, mixer, etc. raised?
(3) Are connections correct? (See page 5.)
(4) Are the cords detective? J
4
VCF - VOLTAGE CONTROLLED FILTER
VCF |
(VOLTAGE CONTROLLED FILTER)
The VCF is a low bass filter whose cutoff
frequency (or filtering characteristics) can CUTOFF | EXT SIG
be controlled by means of a control FREQ RESONANCE 1 MOD KYBD ENV FOLR
voltage. The VCF, being a low pass filter, HIGH MAX
u 10
acts in a way opposite to that of the
HPF, К passes low frequencies and blocks
high frequencies.
The VCF ts used to alter tone colors by
cutting or boasting harmonics in the signals
sent from the VCO or noise generator.
1. CUTOFF FREO CONTROL
This control determines the frequencies
which will be removed by the VCF. At its
highest position, ali sound passes through
the VCF without change, thus this may be
considered its normal position. Н the
control is stowly lowered, it will begin to
shave off the upper harmonies of the sound
passing through the VCF. In its lowest
A
Horner]
ИНННИ
в VCF FREQUENCY RESPONSE
position, the VCF CUTOFF FREO control
will remove all frequencies so that the A
VCF blocks all sound. dB
NOTE: If the synthesizer produces no
sound, this 15 one of the first things you A B С D
should check,
Tone color is determined by the waveform,
or the harmonic content, of the sound;
the more harmonics there are, the sharper
the waveform and the brighter the tone FREQUENCY —=
color. The fewer the harmonics there are,
the more rounded the waveform wil! be
and the softer the tone color.
The polarity of the envelope contro! voltage
which reaches the VCF is determined by
the ENVELOPE POLARITY switch (7). In
the normal f— } position, the VCF cutoff
frequency point will rise, following the
shape of the envelope, each time the
envelope generator is triggered. Since the
cutoff point rises, the CUTOFF FREQ
control should be kept away from its HIGH
position, otherwise the envelope will have
no effect.
With the ENVELOPE POLARITY switch
+
ÓN
in the inverted{L-"} position, the cutoff Ny, \
point of the VCF will fall, following the
envelope pattern, thus, for this position,
the CUTOFF FREO control should be IN
kept away from its LOW position for the 7 14 7
envelope to affect the VCF. Ny DY J av. J
The cutoff frequency is also affected by
the KYBD slider. Compensate for this by
adjusting the CUTOFF FREQ slider.
ET
9
A A
3 й I = 0
5 5 — 5
Us U — eo 9 Y 3
16
2. RESONANCE CONTROL
This control accents the frequencies at
the cutoff point of the VCF, At *'D”, the
RESONANCE control has no effect. The
effect will become stronger, the higher
the contro! is raised.
With the RESONANCE control at a high
position, moving the CUTOFF FREQ slider
will produce sounds peculiar to the synthe-
sizer,
At about 8”, the frequencies at the cutoff
point are accented so strongly that the
VCF starts to oscillate by itself, or in
other words, it begins generating a sine
wave even with no input to the VCF.
The frequency of this sine wave will
depend on the position of the VCF
CUTOFF FREO control. |
When the KYBD slider is raised, the pitch
can be controlled with the keyboard to
play music. In addition, a variety of effect
sounds are also obtained by the oscillating
VCF.
When the resonance control is set at a high
position, total volume may fall. The volume
should be compensated for with the
volume control.
3. ENV-1 CONTROL
With this control raised, the cutoff point of
the VCF will change during the production
of each note, following the pattern dictated
by the setting of ENVELOPE GENERA.
TOR 1. This type of VCF modulation is
very often used with brass sounds,
For example, with the ENV-1 controls at
around A=0, D=5, 5=0, R=5, the К type
envelope controis the VCF, The VCO
waveform, a square wave in this case, is
modified from Ato E as shown at the right
each time a key is depressed.
At the instant a key is depressed, the
cutoff frequency is high and the original
VCO wave passes unchanged.
As time passes, the envelope voltage falls
and the cutoff frequency lowers, changing
the waveform from В to D,
if the cutoff frequency slider is lowered
below a certain level, signals are blocked as
shown at E.
With the ENV-1 polarity in the inverted
position (y), the VCO waveform changes
in the opposite way. Normally, the Polarity
switch is set in the normal position(/~).
The inverted (1, )envelope is used for
producing special effects.
и FUNCTION OF RESONANCE CONTROL
À A
CUTOFF
FREQ RESONANCE FREQUENCY —
МАХ _
HIGH | — Г
dB
FREQUENCY —e
_^ \
FREQUENCY me
A
PD
о
=.
BIER ET
= CONTROL OF VCF BY ENVELOPE (№)
Af--|--F--}--[ СЕ Ce
No signal passes.
16
VCF - VOLTAGE CONTROLLED FILTER
4, MOD (Modulator)
Controliing the VCF with the Modulator
MODE switch at the (“\) position produces
effects like continuous wah pedal move-
ment. With the MOD slider at the maxi-
mum, grow! or fiutter effects are produced.
With the RESONANCE slider at the lower
position, tremolo effects are produced,
which is a slight varying of the loudness.
With the Modulator MODE switch at
RANDOM, the VCF response varies
stepwise to produce very interesting tone
color changes which are useful for proces-
sing noise or external signals.
5. KYBD CONTROL
This control allows control of the VCF
cutoff point by means of the keyboard
control voltage. The tone color of many
instruments will change with pitch; this
effect can be produced by means of
keyboard control voltage control of the
VCF cutoff point. When the slider is set at
maximum, the VCF cutoff frequency will
change at the rate of 1 volt/1 octave, and
the VCF CUTOFF FREO control will
have to be set a little lowe- than it would
be without keyboard contro
6. EXT SIG ENV FOL'R
{ENVELOPE FOLLOWER} CONTROL
This control will allow the VCF cutoft
point to follow the level of an external
audio signal. To get effective wah effects,
keep the external signal level so that the
overload indicator goes on at the peak
volume.
The best wah effects are obtained with
instruments whose sounds decay slowly,
such as guitars and pianos. И is also inter-
esting when used with wind instruments
and the human voice. See pages 47 and 48.
17
m CONTROL VOLTAGES ON VCF
ENV-1 PAYA, + VD
MODULATOR L I yA À я 2
IKYBD-CV ^^ SENSITIVITY o. Resonance
ENV FOUR | [BENDER
= CONTROL OF VCF BY KYBD-CV
|
| Filter characteristics changes with pitch. +
KYBD-CV Г
at maximum _Y
| 1
KYBD-CV f Filter characteristics are constant without regard to sound pitch. |
at Minimum y "a
= CONTROL OF VCF BY ENVELOPE FOLLOWER
OVERLOAD
EXTERNAL
INPUT о
y—o-*o— PRE- AMP МХЕВ VCF +
O
SENSITIVITY
A NZ
ENVELOPE
FOLLOWER
OUTPUT
EXTERNAL > Епуеюре
SIGNAL | Follower
m EXAMPLE OF SETTING TO USE ENVELOPE FOLLOWER
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VCA - VOLTAGE CONTROLLED AMPLIFIER
и \/СА
(VOLTAGE CONTROLLED AMPLIFIER)
The VCA is an amplifier whose gain is
controlled by a control voltage. in other
words, the varying contro! voltage acts
much like a volume control to any sound
passing through the VCA. If the output of
the envelope generator is used to control
the VCA, then the sound passing through
the УСА will take on a loudness pattern
corresponding to the shape of the envelope
voltage.
1. ENVELOPE SWITCH (ENV-1/ENV-2)
This switch decides which of the two
envelope generators will control the УСА.
At ENV-1, the envelope used for control
af the VCF is aiso used for the control of
the VCA,
Normally this is set at ENV-1, which has
A {attack}, D (decay), S {sustain}, and
В {release} controls. The ENV-2 has
А tettack) and R (release) controls only
and is convenient for synthesizing con-
tinuous sounds like the violin and organ.
When controlling the VCA by an envelope
separately from the VCF (for brass instru-
ments, for example}, use ENV-2.
2. HOLD CONTROL
When there is no envelope, the VCA is
“closed” and will not pass sounds. Raising
the HOLD contro! will “open” the УСА to
let sounds through. К is most often used
when it is desirable to control the sound
envelope entirely by means of the VCF,
or when tuning the synthesizer, or when
processing external sound sources.
When controlling the VCA with an envelope,
set the HOLD slider at “0”. If the HOLD
slider is raised, the volume of sound
cannot be controlled by the envelope as
shown at the right. With the HOLD slider
at “10”, the УСА is completely “open”
and sound is produced at a constant volume.
tn
were
7"
set
=
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ENV-1 ENV-2
и FUNCTION OF HOLD
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VOLUME 2
18
ENVELOPE GENERATOR
MENVELOPE GENERATOR
Depressing a key on the keyboard triggers
the envelope generator into action. The
envelope generator generates a control
voltage which varies with time according
to the control settings, This control voltage
is used to control the VCF cutoff frequency
point so as to vary the tone color during
the production of a note, and/or it is used
to control the VCA to give the output
sound its loudness contour. The drawing
on the right shows the four parts of an
envelope.
The SH-1 incorporates two envelope
generators. The VCF is controlied by the
ENV-1, while the VCA can be controlled
by either the ENV-1 or ENV-2,
ENV-1 has four controls: A (attack),
D {decay}, 5 {sustain}, and А (release).
ENV-2 has two controls: À {attack} and
R (release) with a sustain level set perma-
nently at maximum.
=CONTROL BY ENVELOPE
When controlling the VCF and VCA with
envelopes, four combinations are possibie:
1. Controlling VCA with ENV-2
Oniy the УСА Is controlled by the AR
sliders of ENV-2 to synthesize the sound of
strings, etc.
2. Controlling VCA with ENV-1
Only the VCA is controlled by ENV-1 to
synthesize piano-like sounds.
3. Controlling both VCF and VCA with
ENV-1
Both the VCF and VCA are controlled
with ENV-1.
This mode is most frequently used.
4. Controlling the VCF with ENV-1 and
the VCA with ENV-2
The VCF and VCA are controlled by
different envelopes to synthesize brass
sounds.
GATE TRIGGER SELECTOR SWITCH
This switch selects the pulse which will
activate the envelope generator.
19
ИНН
НИИ
[И
to
III
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a)
hii ИИ
= ENV-1 OUTPUT (ADSR)
" KYBD GATE
ON
OFF | | |
re A> BR
|
= ENV-2 OUTPUT (AR) | y | |
| |
|
| Sustain level is |
} constantly |
' maximum, |
i |
| |
A (ATTACK TIME) CONTROL This slider controls the amount of time which is
required for the voltage to reach its maximum level after a key is depressed. This is
called attack time.
{DECAY TIME} CONTROL This slider controls the amount of time required for
the voltage to fall to the level set by the SUSTAIN control. This time is called
decay time.
$ (SUSTAIN LEVEL) CONTROL This slider determines the leve! to which the
voltage will fall at the end of decay time. Once this level is reached (at the end at
decay time) it will be held until the key is released.
Note that if the SUSTAEN control is set at maximum, there will be no decay time
since the voltage level cannot fall to maximum. With the SUSTAIN control at
maximum, then, the DECAY control has no effect.
Note that ATTACK, DECAY, and RELEASE control time elements and SUSTAIN:
controis level.
R (RELEASE TIME} CONTROL Thisslider determines the amount of time required
for the voltage to fail to minimum level after the release of the key.
This switch is usually set at GATE +
TRIG or GATE for triggering the envelope
generator each time a key is depressed.
The gate portion of the keyboard output
actually consists of two simultaneously
generated pulses. The gate pulse is merely
a constant voltage which appears any time
one or more keys are in the depressed
position. In other words, it is like the
output of a light switch. Depressing one or
more keys turns the voltage on; when all
keys have been released, the voltage goes
off.
The trigger pulse is a short pulse which is
generated when a new key is depressed.
When two or more keys are pressed, a
trigger pulse will be produced each time
the highest key in the group is depressed or
released.
The GATE + TRIG position of this switch
might be considered its normal position.
This position will trigger the envelope
generator for each note in a passage played
legato as shown at (A). It is also useful for
playing fast trills very easily. This is ac-
complished by holding down the lower
note in the trill while repeatedly tapping
on the key for the upper note of the trili.
The GATE position of this switch is useful
in legato passages where it is desirable to
produce only one envelope for the complete
phrase.
in the LFO position, depressing a key will
cause the envelope generator to be triggered
by the LFO. This is useful for producing
rapidly repeating notes such as those
sometimes used in mandolin playing. in
addition, this position synchronizes the
LFO output to the keyboard so that the
pattern of repeated notes will always start
the instant a key is depressed.
= ENVELOPES FOR VARIOUS INSTRUMENTS
и FUNCTION OF GATE AND TRIGGER
GATE |
TRIGGER |
ENV-1 OUTPUT WAVEFORM
(GATE + TRIGGER)
NL
ENV-1 OUTPUT WAVEFORM (GATE)
MN
m ENVELOPE GENERATOR CONTROLLED BY LFO
ON
KEY |
|
ОЕЕ | |
;
| 1 1
LFO
(MOD)
ENV-1 OUTPUT
(0) -
=
FLUTE VIOLIN TRUMPET HARPSICHORD XYLOHPONE
ENVELOPE
WAVEFORM
2 D 10 2
ADSR == - -
SETTING |= i= = = =
CONTROLLED
FUNCTION VCF/VCA VCA VCF/(VCA] VCA VCF/VCA
20
Se
1
and Tr ED Wer
MODULATOR (LFO)
"MODULATOR
The Modulator includes an LFO and an
S/H as shown beiow.
The LFO 15 an oscillator which generates
wavetorms of a low frequency. The range is
from about 0.2Hz to about 25Hz. The
output of the LFO can be used for modu-
lating the VCO, or VCF, and for triggering
the envelope generators.
The S/H {Sample and Hold) produces
random signals by sampling the output fram
the noise generator at arate determined by
the LFO (See opposite page).
1. MODE SWITCH
This switch determines which waveform
will be used for VCO and VCF modulation.
The Mois the most commonly used wave-
form. Controlling the VCO, it produces
vibrato effects, or pitches which sweep up
and down. Controlling the VCF, it produces
growl effects (with faster LFO rates) or
tone color vibrato, which occurs in some
instruments in conjunction with pitch
vibrato.
The other positions are more often used
for special effects. For example, using the
square wave to modulate the VCO pitch
will produce trills.
2. RATE CONTROL
The RATE slider controls the frequency of
the modulator output, Raising the control
increases the frequency. The frequency can
be visually checked by means of the LED.
For vibrato-like effects, this control is
normally set at about “5”.
MODULATOR
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21
3. DELAY TIME CONTROL и EXAMPLE OF DELAYED VIBRATO
When this control is raised, pressing a key
on the keyboard will produce a delayed Cmaj? Am? Dm? Dm7(onG)
entry of the sine wave. This is especially A „— moon
effective for delayed vibrato effects, such 2 Lu
as in the musical example shown at the HH ; +—
right. The delayed sine wave is also useful e) o — n
for delayed growi or wah wah, and for
delaved tremolo. !f delayed entry of the м KEY TRIGGER ACTING ON PHASE OF EACH WAVE
sine wave is not desired, then this control
must be set at “D”. SINE WAVE MN IN N MN aN
“GATE TRIGGER SWITCH LA) Nu NA, Ny, \
When the GATE TRIG switch of the
envelope generator is set at the LFO SQUARE WAVE
position, the frequency of the LFO is (TL)
lacked to the keyboard gate pulse. What — Nan
this means is that when a keyboard gate
pulse appears, it triggers the LFO to begin KEY ON
its wave generating process from the begin- Ke
ning, or in other words from the highest
level contained in the waveform. With
some uses of the LFO, this is a desirabie
feature. The drawing at the right shows
what happens to the LFO waveforms when
a gate pulse occurs.
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The S/H (Sample and Hold) produces : | | | |
random voltage sequences by sampling |
input waveforms. Each sample represents
the voltage level at the instant the sample
was taken. The HOLD portion of the SAMPLING | | | |
circuit holds this voltage level until the ru | |
next sample is taken. The result of this is a
control voltage output which changes
stepwise in random patterns. When used to
control the VCO, this produces notes with Г]
random pitch patterns when the Envelope S/H
Generator GATE TRIG switch is set at АЕ _ = uch
LFO and a key on the keyboard is pressed,
as shown below.
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SYNTHESIZING SOUNDS 1. WAVEFORM AND RANGE
и Basic Setting (depressing key produces 8' 1 wave)
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in order to understand synthesis it is
usually best to begin by imitating known
sounds. Using a guitar amplifier, stereo
amplifier, or headphones, read and try the
following.
1. The Basic Setting
First set the synthesizer as shown in the
drawing above. Pressing a key produces the
sound of the 8’ Л waveform. Try this
sound with the RANGE switch at 32’, 16’,
4° and 2’ also.
2. Differences in Waveforms
Since the VCF CUTOFF FREQ control is
at HIGH, the VCO waveforms pass through
the synthesizer without change. Try the
other wavetorms.
Changing the WAVEFORM switch to
Fiji as shown in (1) produces the square
wave. Note the difference between this tone
color and that of the sawtooth wave.
The WAVEFORM switch setting in (2)
produces the pulse wave. Try moving the
PULSE WIDTH slider slowly up and down
and note the differences in tone color,
(3) shows how to obtain LFO modulation
of the pulse width. This produces a very
electronic type sound. Try different
positions of the PULSE WIDTH slider and
the MODULATOR section RATE slider.
(4) shows how to obtain pulse width
modulation by means of ENV-1. Try
ENV-1 settings of: A=0, D=5, S=0, and
R=5 for an interesting effect.
23
OUTPUT
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SYNTHESIZING SOUNDS 2. ENVELOPES
1. Envelope Control of the VCA
It is the nature of the VCO to produce its ENV-1 ENV-2
waveforms continuously. Using the Basic
Setting {opposite page}, try moving the
VCA HOLD control up; the sound will be
continuous whether a key Is pressed or not.
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With the normal Basic Setting, the VCA
is controlled by means of an envelope IL frm
generator to produce sound only when а
key 15 pressed.
In the Basic Setting, the ENV-2 “A” and VCO no m VCF a VCA >
*R* controls are at 0”, thus the sound is
like an electronic organ because it starts
and stops instantly. If the ENV-2 controls
are set as shown in (1) at the right, the
sound will take on the shape of a violin
sound. The tone quality will become even
more violin-like if you use the sawtooth (1) STRINGS ENVELOPE
waveform with the RANGE switch set at
4' or 8’, Check the sound with other settings MTS ЕМУ. Vf ENV»2
of the RANGE switch, too.
2. Controlling the VCA with ENV-1
The sustain level of ENV-2 is permanentiy
set at maximum; oniy the attack time
A”) and release time (R”) are adjustable.
To produce envelopes such as shown in (2)
and (3), use ENV-1 to control the VCA.
To do this, set the VCA envelope select
switch at ENV-1.
(2) shows an example of a piano-like
envelope setting. Raise the HPF slider and
use the Pulse wave output of the VCO
with ENV-1 control of pulse width moduta- 12) PIANO ENVELOPE
tion for a harpsichord-like sound, Try this
envelape setting with different waveforms
and RANGE settings.
(3) shows a very percussive envelope for
pizzicato-like sounds, Try different widths
of the puise wave set at 4’ or 8°, Also, try
the sawtooth wave set at 32’.
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(3) PIZZICATO ENVELOPE
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SYNTHESIZING SOUNDS 3. CONTROLLING TONE COLOR WITH THE VCF
Controlling Tone Color with the VCF
All the settings on the previous page
were with the VCF CUTOFF FREO set at
HIGH so that the VCF had no effect on
the sound. Set this way the VCF becomes
a fixed filter. in the drawing below, the
CUTOFF FREO and RESONANCE con-
trols are set to alter the tone color of the
waveforms from the VCO. The KYBD
slider is raised so that the filter will follow
the pitches played on the keyboard. The
loudness contour of the sound is produced
by ENV-1 control of the УСА.
(1) Controlling the VCA with ENV-1
ENV-1
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Since the KYBD stider is raised causing the
VCF to foliow the pitches played, the
tone color will be the same for all notes
played, thus, using ENV-2 to control the
VCA produces organ-like sounds,
Moving the VCF CUTOFF FREO or the
VCO PULSE WIDTH controls will change
the tone color. Try raising the AUDIO
MIXER SUB OSC slider to produce a bigger
sound. Also try the BENDER far a choking
effect.
{2) Controlling the VCA with ENV-2
(ORGAN-LIKE SOUND)
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SYNTHESIZING SOUNDS 4. ENVELOPE CONTROL OF THE VCF
controlling the VCF with the Envelope
In the drawing at the right, both the VCF
and VCA are controlled by the same
envelope. This type of setting is the most
common. The drawing below shows an
example of a string bass sound. With the
VCF ENV-1 contro} at “10” the cutoff ENV-1
point of the VCF is controlled by ENV-1.
This can be heard clearly by raising the УСА tn
HOLD control.
(3) Control of the VCF and VCA with the same envelope
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This example shows controi of the VCF
and VCA by separate envelopes such as
might be used for brass instrument sounds.
The example below shows a trumpet sound.
ENV-1 controls the VCF to change the
tone color during the production of ENV-1
each note, while ENV-2 controls the VCA
in what is almost only an on/off function.
(4) Control of the VCF and VCA with separate envelopes
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SYNTHESIZING SOUNDS 5, ENVELOPE CONTROL OF THE VCF
Electronic Sounds
1. Wah-Wah Sounds
Electronic sounds particularly associated
with the synthesizer are produced by means
of the VCF RESONANCE control. Each
time a key is depressed, a sound like the
word "wow" is produced. This is done by
means of envelope control of the VCF with
the RESONANCE control raised. Set the
VCO RANGE and the VCF CUTOFF
FREQ to produce the desired effects.
Also, try changing the shape of the envelope
to alter the speed and shape of the tone
color change.
Envelope control of VCF with RESONANCE control raised
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2. The Human Voice
The VCF envelope switch allows the VCF
to be controlled by means of a norma!
enveiope { fc} or inverted envelopel\, N),
as desired.
The settings below produce a sound very
near that of the human voice. Since a
small change in the VCF CUTOFF FREQ
control can cause a rather large change in
the sound quality, you may have to readjust
this setting to get a sound you like. The
AUTOBEND control of the VCO and the
delay vibrato both help the effect and
should be adjusted to suit your tastes.
Control of VCF with inverted (1) envelope
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SYNTHESIZING SOUNDS 6, THE OSCILLATING VCF
Examples of Using the Oscillating VCF
1. The Oscillating VCF
Raising the VCF RESONANCE contro! to Г и | un ENV
MAX causes the VCF to oscillate by itself. ENV-2 CUTOFF mo me À в а а
The frequency of these oscillations will Pm, eh N ame || en .
depend on the VCF CUTOFF FREQ.
The VCF is catibrated for 1 volt/octave
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contro! is raised to 10°’, melodies can be TA F —= — $ =
played using the keyboard. ew мою кто ENV FEL
The oscillating VCF produces a perfect
sine wave. With the settings shown on the VCF > VCA e ia
right, melodies can be played on the ews
keyboard, and the VCF CUTOFF FREQ | |
control acts as a tuning control. Also, try | ,,
moving the ENV-2 “A” control a little. KEYBOARD CONTROL VOLTAGE | All AUDIO MIXER sliders at “0”.
2. Whistling
The sound of whistling is very near the | suposc || мове
sound of a sine wave; adding a little noise oer
using the AUDIO MIXER produces the fu ware
effect of air passing between the lips. To les
add a vibrato effect, the VCF MOD contro! 2007 vu
is raised a little. Set the MODULATOR ео J ‘ J
section at Ú with a RATE of about | AUDIO MIXER Oo | vor
“4.5” and a DELAY TIME of about “3”. «о 66 om BE |) M meer | em ao renee
The use of ENV-1 to control the VCF = =
produces the effect of ап autobend. à
3. Producing a Sine Wave oo
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The settings on the right produce a sound a
little like a celesta. The VCH CUTOFF
FREQ control acts as a tuning control.
Notice the differences in the sound for >
different settings of the CUTOFF FREQ
control. ENV-1 E
A xylophone-like sound can be produced
by ¡owering both “D” and “R” of ENV-1
to about “2”. Envelope control of the Low
oscillating VCF can be used for synthesizing N_
animal sounds, natural sounds, and sound
effects (see pp. 41-44).
4. Pitched Noise
Try adding noise to the settings shown in
(3) above. This is dane in the same way as |
(2) whistling above by setting the VCF АН AUDIO MIXER sliders at “0”.
RESONANCE control just below the point | KEYBOARD CONTROL VOLTAGE |
where the VCF starts to oscillate, or at
about 7,5% Try various settings of
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SYNTHESIZING SOUNDS 7. VARIATIONS IN TONE COLOR CHANGES - VIOLIN
» BASIC SETTING FOR VIOLIN
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When synthesizing sounds with the synthe- 1. Effect of Pitch Variation
sizer, it is recommended to start with a 2 Roland o ae Te
setting for the sound of a conventional GUTTHESIGER u mute ro
acoustical instrument, then proceed to oe, SHA nawoou PU u w 7 AM me
make variations on that sound. This method _ y ы x
is very effective for becoming familiar with A я © ©
synthesizer functions as well as with the ©): ®
actual synthesis of sounds you like. >,
The Sound Examples in this manual include и
settings for 18 acoustical instruments. Ву es
gradually modifying the sounds into
variations, a large number of sounds can be
produced, . . |
What follows is an example of the method у 7
to use in producing variations.
2. Changing the Range
VARIATION OF BASIC SETTING
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The setting at the top of this page is an RANGE veros
example of a setting for a violin sound. e A7
Try to make some variations on this. ©) ©
First change the depth and speed of vibrato,
portamento and autobend effects. The о O
resulting sound will be fairly different from nn o
that of the basic setting. wo “peor va ^ pus тн
Then change the range and waveform, = = =" ir
which will greatly vary the sound. = ЕЕ.
With the settings shown in (3), the waveform E
is set at fi] and modulated by the LEO, |
which will cause а largely “electronic”
sound. When the range is changed greatly, 4. Changing the VCF Setting
the sound will become quite different (for
example, bass sound at 32’.)
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SYNTHESIZING SOUNDS 8. VARIATIONS IN TONE COLOR CHANGES - TRUMPET
„и BASIC SETTING FOR TRUMPET
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The basic setting on the top of this page
praduces a trumpet sound.
Try small changes in the VCF ENV-1 slider.
The sound will vary from a bright trumpet
sound to a soft sound. Now, let's experi-
ment with the influence of pitch variation
as in the case of violin sound.
Change the setting as shown in (1) at the
right. Autobend or vibrato will be in effect.
Try a little portamento.
Next, change the RANGE and WAVEFORM
switches. Try the settings in (2), and a tuba-
like sound will result. Try the settings in
(3) for a synthesizer-like trumpet.
With the VCO setting of (3) try the VCF
setting in (4). Wah effects wil! be added to
the trumpet-Jike sound, which is one of the
sounds peculiar to the synthesizer. By
adding the Sub-oscillator output, the
sound will become heavier.
Use the above methods to try variations of
other settings shown in this book.
In the above variations, there were no
changes made in the envelope setting.
Changes in the envelope will grealty change
the tone color. The setting of A” (attack
time} is very especially important.
Vary “A” slightly depending on the
phrasing effects desired during playing.
1. Effect of Pitch Variation
E= Roland
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30
WOODWIND INSTRUMENTS SAMPLE SOUNDS
1 FLUTE The flute sound is made from a filtered
sawtooth wave. Try playing the following
passage using an organ or string synthesizer
for the chords.
(Slow! F
GianF; Em? Am?
1
|
Emi
Roland | monucaron |! усо | {sus asc | nase |\{ mer |! té ENV-2 |
SU TTHESICES MODE RANGS MAVEË CU ост CUTOFF FRED
| SH-1 RANDOM па "a 1er e - wl Tu Di cv MEE"
qa Tr EZ
TE * у 2 OCT ee
rusa ty
b = reo amer = LFC
e FREU wrote a Low °
at |, a 1, a m a
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GATE
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PULSE WIOTH wo DSL WEISE SG
я ^^
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ИНННВ
(Fast) Р = 7 =] E
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SY RHESICER oo | = PR x
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OBOE The most difficult part of synthesizing the playing notes. Also, the moduiator section
3 oboe sound is the setting of the VCF RATE and DELAY TIME controls and the
CUTOFF FREO and RESONANCE con- VCO MOD control can be varied slightly
trols: this should be done while actually depending on the feeling desired.
(Slow) 55 С (отв Amz Ama Gm Gmz7iont} F
I ool Ш. — | М... i | a D — в Tl ill EE
ne ali | H L I ВА. Г H L ый Lawl 1 | Ll | H —4
Е. ari Li | i \ ! Fi in
Fi ¡tilda 1 LE 1 FA | _—
2 ы у r nr
Roland [ MODULATOR | vco | {sue osc | noise | HPF | ENV-1
SYITHESICER En nos rom 100 crore FeO | | eo оао
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21
SAMPLE SOUNDS BRASS INSTRUMENTS
TRUMPET There are various trumpet sounds, de- trumpet in a march. The settings of ENV-1
A pending on the playing style. This setting is and the VCF CUTOFF FREQ are im-
a little different from the setting shown on portant,
page 30 in order to produce the sound of a
(Fast) С — Dm? G? Pa m _
(= Roland Г wonuLaror |! ale \f suaosc || noise Г ure) f If ENV-2 \
ST HESICER MODE RANGE WAVEFORM beet CUTOFF FRED
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wen. SH-1 nun Sun w I 8 at on си mf»
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The horn sound is very similar to the is bastc and will depend on the style of the
trumpet sound and will depend a great music being played.
deal on the ENV-1 settings, particularly
the “A” setting. The setting shown below
(Medium) С 3 А? Dim? 4 Gr
i
i
Roland wonuLaton || vco lf susosc If noise |
SYITTHESIBER vo nues ata m
we. SH-1 nance u ы я A hi cri WHITE mr
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x Е CES u ms «0 ann ih,
— | Jour — LFO
=i I= = Er
| = — + =? iE
E = = — = = tuvo _
4 ak a ~ AA ~ и % ~ © A À
6 TUBA As with the other brass sounds, the VCF CUTOFF FREQ and ENV-1 settings are important.
ra 132%: Actual pitch 2 octaves lower)
age candied $ i Pe 7
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STRING INSTRUMENTS
SAMPLE SOUNDS
VIOLIN The modulator RATE and DELAY TIME being played.
controls and the VCO MOD control are
important to producing a violin-like sound
and will often depend on the style of music
fMedum} Em port. F #7 By by; Em
ae 77 $9 ball #- = » m fia
| | I "Tr | | ] 1 rr I | 1
I | | | 1 | | | | 11 [4
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am a
(= Roland MODULATOR veo VO sue ose | NOISE | ENY-1 ENV-2 \
SYITHESIBER vs mice o m ве: ur
wot, SH-1 nannies Me a >] “4 um т WHITE mé III ET
м A ===] JM] =
ca . 7001 | SI EEE
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FREQ WIDTH ar ip | Ku joe
I A J Le FRS
, ‘ EXT CV a O г р г
BATE AUDIO MIXER С ever. УСЕ УСА
ee ' Pu — p— AUTOREND zum PULSE WIDTH MOD +, Be ext eat oc
WE, LIME TAMENTO RATE bei at MOD DEPTH THE PULSE WTÈTH WE [eu HONZE SG + woo SYED ENV FLA HOLO
3 mon , una MA wu | foe à met
= E | po = ERY.
-, мани — = =
г = = Inw-1 = = == ENW-3
? . — ’ Tan
| ee | =! 7 ra a Ш
LLO Try adding a little portamento effect.
(Slow) С Dm? inf G7 Cc Giond!i Emsland) Ar
Ш 11 в. Yar | | rra |» г PU NA 1
ть SUN PTA ; AD N 1
l | | Е Ter LE À |
ER | I | Ld Li ] LE nu À "a i 1 a
Den? G7suss Gr
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| PT Е : Н
Ев H
Roland MODULATOR vco Il sua osc | NOISE i! ENV-1
St TTHESIZER pa mcs mr sc же,
nee SHS PRO er ÆX | г: u = SYS == E
р Ц ст TT TT КЕ:
та | ll | ml) =| S/S) Ee.
» ы pa Ta pine tro Zee] |=
PRES + 104 ra — =— 9
he À =
> uate ° AUDIO mixen ose) | УСЕ |
| A À Au F7 AUTOBEND — 7 PULSE WIDTH MOD =, ae ext Dub УСА
‘ vom || рамен nate Tike. WOO DEPTH THE PURSE WIDTH veo DSC ме SG HOLE
L tty
= = Ziz we = iz — HET me
=== ЕЕ, | jo ===: = =| (=:
| = = m = qu = — I — = — ЕМУ.
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137°: Actual pitch 2 octaves lower)
E. (Fast Cr F7
А ,
TAE RITA - 4 + 4 ) ; т - 4 |
E PE] — À Fe
ar EE Der С EPdim
: may en
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HE —> — 9 +
E Roland MODULATOR || vco | SUB OSC NOISE
SYinneaickr wove
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33
SAMPLE SOUNDS KEYBOARD INSTRUMENTS
music being played. И ts або possibie to PULSE WIDTH or using LFO or ENV-1
pe use the sawtooth wave. The setting below modulation.
#1:
РЫСЬ
10” HARPSICHORD The VCO RANGE will depend on the uses the pulse wave: try changing the
Ha (Medium)
Gr 6 с Bm?" Er Am Fu Gr
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г | J
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ata и т г — Н |
: nee et ] ¥ ТЕ
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г мм > e a f sn г г“ <
f=Rola nd MODUL 4TOR veo SUB CSC НОЕ НРЕ ЕМУ ENV-7
SYTTHESIEEN von RANCE waves D Loc CUTOFF FREG so a Q 5 k à R
. r Dart Hull . г ne ne о Tee _.
вос 5Н-1 манеры Ри = tE a Pi ui —, ru ware | in rid. ри — — — nn —
N 32 ES Lacer = = M = — Ze mm II =
Г TRING 158 1 a | оон j tim ane | — == = =. =.
ы > pe Y 3007 PINs = i= ^ iro = AX TI I i=
J me me LE cox ui = | a = Im:
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a : Ah ; Pu — A em PUR БЕ WIDTH MOD +,
Ar EFT
f WO UE PORTAMENTO } RATE Ям PLA SE WIDTH
| p mn Г мы
ee Sci — —
u ali ic lim AS ns
= 1—7 аа Mu м
F ae WE aja LJ
Г 4 р Des I ii em ми:
IL ] pe er 1 Г — — с
¡e I. À, Ji JA ZA J 4
called electric piano. Set the VCF CUTOFF
as) ae, НЕ FREQ control for the sound you like. Also
AS Ne. < (Sew) Cmair Orns Emmand!
> > rer Ca —
na = ie Bi a Ez “ 5
Jr i . À À
11 ELECTRIC PIANO There are many sounds which couid be try raising the VCF ENV-1 control.
AT
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The accordion sound uses the 4” LFO depend on the balance of the two AUDIO
modulated pulse wave mixed with the SUB MIXER controls. Also, try varying the
OSC square wave, The tone color wii VCF CUTOFF FREQ.
Fs iter Pe ate ьй
т...
94 (Medium)
PAGE ai
CEE a DES N G Eriond®!} Am Dr
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Roland MODULATOR | VCO | SUB OSC NOISE ENV-2
SYNTHESIZER ve mes ron в я
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MH M ME € o] ¡ars
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34
PERCUSSION INSTRUMENTS (1) SAMPLE SOUNDS
the VCF CUTOFF FREO and VCF RESO- control.
NANCE. If the ENV-1 switch is set to
LFO, the sound will be repeated at a rate
(Fast) С fn Am
13 XYLOPHONE The most critical points in this setting are determined by the modulator RATE
xe
ang ane
SE .
E]
=
= Roland ‘ \f АГ Y / .
an MODULATOR VCO SUB OSC NOISE
Sri | HESICER MODE RANGE WAVE FORM tect EUTORF FRED
L SH-1 Ma Гм fu — 1E' в" «q Pa Tu FL, ru HIGH mn ©
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PARA nu — AUTORE PUR SE WOTH CO мк o LOAD
Oe, т, DEL po р + — sue EIT
WEN Unt FORTAMENTO FATE TIME PULSE WIDTH чо 052 MEE Е
| L nae _N_. мм (Laue « a mece
wre] ыы i= mee] pa UFO EHY-1
5. = 1 ur um + = = + ыы
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E = ie ces us y — we à
Ha = Loe
eer, a e . A Fi A —
combined with the SUB OSC square VCF MOD slider controls the depth of the
14 VIBRAPHONE This sound uses the VCO square wave controls to produce the desired sound. The
wave two octaves lower. Adjust the VCF vibraphone tremolo effect.
er ER ~~ S CUTOFF FREQ and the VCF ENV:
AN — Y (Siow) Сипай (8) с 8 Ma
PRE у PE Gm ten a a A G7 l*5; A
#1. ZZ 18
ol hte e EL ee OS a
Sudan
VOD | | supose || some |f Her Г - H ENV-2 |
SYITTHESIBER us mues cr Le o.
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as: ra GATE el I |
r + >, дост 1 N =| Zilz
bete ru Li
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— | че o 90 | == == |
Gare ny AUDIO MIXER С ЕЕ УСА
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Г VOLUME МЕ POMTAMENTO | PATE TIME MOOG DEPTH Tye FIL SE witty woo) DIC MOISE 35 FREG AE “rat BAY Fav
hare й HIGH
= = = we = = ENV.
= = =. mar = —
= = = Fhe. 4 и Em
so Did IN
о FA FA a
The critical points in this setting, like the
xylophone, are the VCF CUTOFF FREQ
and RESONANCE,
=
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Г WEIL Ам ТЕ POATAMENTO | RATE TIME bon DEPTH TIME PULSE WIDTH WEG OBC MORE 56 PREG RESUHEMCE Ar
. | A tune _ e. un an | geass — Mo uk ns +
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SAMPLE SOUNDS
PERCUSSION INSTRUMENTS (2)
| Pr
3 $
The snare drum sound is a combination of
the drum tone with the rattling of the
snares. The drum tone is produced with the
VCO 16’ square wave and the sound of the
snares with white noise: be careful of the
van
fom
м,
near the center of the keyboard would be
best. With the ENV-1 gate trigger selector
switch at LFO as shown, a snare drum roll
is produced.
we oe ee os . .
И. Г. 2 mixing levels. The drum pitch will depend
o: : . .
м on which key is used; probably somewhere
a Ц г “г yf
Roland MODULATOR | УСО JE sus asc NOISE pre |! ЕМУ ENV-2
YT HESICER ME HAMGE WAVE FO PL tot CUTOFF FREO Por A 5 5 A A A
‚к . Mu MIG GATE - ,
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wore. SH-4 = м u ru нить ЕЕ me oem ни |] | ae Spo Е
р . 7007 =p |= = i SI I
bris O ls um ie: se] = Emp Jung I ~ = =
bog | «+ / is rm = || # = = we ==>
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a m PT WITDBEND — m PULSE WIDTH MOD — sun ent curore
Г wt вле РРЕТЕМЕНТО RATE Tht woo DEPTE TIME PLLSE WIHTH EG FREE RE SOMME Е. TES sone FOR A
h m woh ry ry GH
| "== =. ¡ja lis Timm ous sou D em [e
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2 AA __ ZA fw fw JU „7
Like most percussion instruments, this
sound has a very short decay/reiease time.
The quality of the sound will depend on
which key is used; in this case use C2 (the
C just to the right of the center of the
keyboard).
Various percussion sounds can be produced
by varying the VCF CUTOFF FREQ
setting. For example, with the CUTOFF
FREQ at about “3” and the ENV-1 “О”
and “R” controls at “4”, the sound of a
steel drum is produced.
2 Roland MODULATOR À! УСО 1 Г sun ose NOISE E Hero | ENV-2 |
SYITTHESIZER ts mer vero soc: cuore ent Sr
Tu . # . Ч ибн Г -
. Am ro 16 a #1 N Them mom oma in | 1 =
woe. SH-1 7 р . ru watt == A —| —||=
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rae ru = i= N pasa he) à fan
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FREQ wifth = ме г. | | —
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Jeanne rien DELAY p МОЕ, г A sut EXT SG
Г шо RTE RATE woo KEP TN TIME BULSE WOTH veo AST NOSE RVD EMV FOUR rs
4 A, With
: ul ju E one = == LFS wo sate | Fans sacs
na a fc Е NZ Zi LIT
НЕ RSR = => heat zilz,
c=} isco [7 se} mn] I it == iz
PA, : к р и IT SRI ees = = Ene —||- env?
у “ | tie en Co —U- sow Ue Ps, : — :
a I zoo, a u "EEE, BER
This sound is made with noise. Again, the
VCF settings are critical. Also, try variations
of the ENV-1 controls. The tone quality
wHl depend on which key is depressed.
Roland MopuLaTon | f vco Vf susosc |{ nose }f wer If ) ENV-2 )
ha ПНЕЗЕСР ODE RANGE Wave® CM per CUTOFF FREG 5 к 1 E
woo. SH-4 nenpow Г he eps At us DO a Kamm en ===
we > } Pu wert == are iii
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WEIL UM POA Tame НТС | Rare (TUE acc | DEPTH гаи PUL БЕ WIDTH ven US wou
. m № = m
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36
‘ SYNTHESIZER SOUNDS (1)
SAMPLE SOUNDS
19 FUNNY CAT
The VCF with the RESONANCE control
raised is controlled by ENV-1 to produce
tone color changes each time a key is
depressed. Set the ENV-1 “D” control
(Fast}
at ''3” and the “5% control
produce “wah” sounds.
at “2” to
Ma Ena)
a
pr.
e
Roland mosuLaron || vco VÍ sup ose NOISE НРЕ ‘ 1 ENV-2
eh | IHESICEN MODE RANGE wav FORM ост CUTOFF FRED A A
гы F Fu me -
Krull Ay te ru #1 Ti —, on m] Fam u mane | Tee | lame
vor SHA в 5 ñ AU mare = = ef НЕЕ
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[ |= i = *YBo a Fur = = In = = =
e PREG Witte oe oe E ==>:
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Gare _i AUDIO MER О VE A
JA a ces MORE PASE WIOTN MOT —, ae ext curoer
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ENV-1 “В” to match the music being
played. Lower ‘’R” for long phrases.
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This is a large sound combining the VCO
output with the SUB OSC, Many variations
can be produced by changing the ENV-1
settings. Aiso try VCO RANGE settings of
(Medium) Em
8’ or 16’ for heavy sounds.
(Bend!
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SAMPLE SOUNDS
SYNTHESIZER SOUNDS (2)
22 POPCORN
f= Roland
SYITTHESICEN
voce. SH-1
This is a very percussive sound. if the
ENV-1 gate trigger selector switch is set at
control. Try different VCO WAVEFORM
and RANGE settings. Also try raising the
eYED
LFO, the sound will repeat at a rate VCF RESONANCE control.
determined by the modulator RATE
(Fast) Dm; = G7 с os
fy ^^ #Рр Pa «e 2 „tn Le * pe
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[Roland
Sy iT HESICER
mx. SH-1
This sound uses a square wave with auto-
bend to produce a quick rise in pitch at
waveforms. Also try LFO modulation of
the pulse wave. Set the AUTOBEND TIME
a
. the start of each note. Staccato works slider as desired,
well with this sound. Try different VCO
(Medium) С? “ = —, + Ру * Li ” “ a *
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ZA FANTASY Try variations of the VCO MOD slides and
the modulator RATE and DELAY TIME.
om ons Abmaj7 Emai7
Roland
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38
SYNTHESIZER SOUNDS (3) SAMPLE SOUNDS
== - i E _ nt AL] A ——— e JE 2
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Em? A
RSS Pn! Ami ти
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DGSYNTHESIZER VOICE À warm, human voice-like, synthesizer sound.
(Fast) Am D Am Am Вт: £7
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SAMPLE SOUNDS SYNTHESIZER SOUNDS (4)
28 PHASE GUITAR All the sounds on this page are good for ad lib. Use pitch bend with this sound.
. Bend Bend Bend
1 Г | Г. |
| er |
i "O ee ll
Roland Г MObuLATOR |! УСО Vf susose ){ nos | ENV-2 |
БУПТНЕБЮЕА son CR sec oo
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FUNKY Use BENDER contro! of the VCF with this sound.
Am? Bend Dr Am? Bend
A A te
E ASA E BE m Е: Sa a an A A E : es AUS
are a .— . Е = 7 # F ый
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30 JAZZ ORGAN Raising the VCF ENV-1 control with ali ENV-1 sliders at “O" produces organ key click noise.
(Fast) Fre ED Frey E719) Fo) ECTS Frey: > EP Hg}
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40
PEOPLE AND ANIMALS SAMPLE SOUNDS
31 HUMAN VOICE!FEMALE) When synthesizing the human voice, the
most difficult settings are the VCF CUTOFF
mg FREO and RESONANCE; set these while
RER | listening to the sound. Try adding a little
portamento. To produce a “wah” sound,
set the ENV-1 controls at: A=0; D=2; S=0;
В=2; апд the VCF ENV-1 control at “3”.
Pa.
ER
Tey
a a‘ * a ™ a <, =,
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32 7 E — LI TL ми
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32 DOG BARK The dog bark is made with an oscillating sound. To produce a howling dag, set
VCF. With the VCF ENV-1 control raised, the ENV-1 “5” control at 7", press a key,
the frequency of the oscillating VER ts then move the “S” control up and down.
controlled by the shape of the envelope.
Pressing different keys will produce dif-
ferent dogs. Changing the VCF CUTOFF
FREQ will also cause large changes in the
= Roland [| mobuLaror \f усо Vf зив 056 \f noise HE Her о || ENV: ine 1
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3 CHIRPING BIRDS Pressing a key produces bird chirps. Various
| birds can be produced by pressing different
keys. This sound also depends on ENV-1
control of the oscillating VCF. The ENV-1
gate trigger selector switch is at LFO so
that the sound repeats at the rate deter-
mined by the modulator RATE setting.
= Roland ‘ MOGUL ATOR Ve yoo 1 sua ost | | NOISE a HPF ae ЕМУ. yf ENV-2 |
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41
SAMPLE SOUNDS SOUND EFFECTS (1)
34 WIND Wind is produced with pink noise passed as shown below. The VCA HOLD slider ts
through the VCF with the RESONANCE up so that pressing a key is not necessary
control raised. To produce the changes to produce sound,
as the wind blows, it is necessary to move
the VCF CUTOFF FREQ: this can be done
by hand, or it can be done by means of the
modulator {VCF MOD control raised)
FR | Cal * Can a г wy rl a г “h ГЫ uy Call ``
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35 SURF The setting for surf is very much like the contrel, you wil bring the wind sound
setting for the wind; by changing only back,
the VCF setting, wave-like sounds are
produced. The setting below uses white
noise, but pink noise works well, too. Try
differen. VCF settings for different types
of waves. If you raise the RESONANCE
Roland
yoo SUB 056
NOISE HPF ENY-1 ENV-2
Sri | | HESICER MODE Rane AVE $ DM CUTOFF FRE A a 5 E a в
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36 RAINDROPS Pressing a key produces raindrops. This selector switch. The ENV-1 “D” and “ER”
setting uses the oscillating VCF and like controls shouid be set very near “1”,
4 6 à 6 the (33) Chirping Birds setting, uses ENV-1
’ to control the VCF frequency. The main
difference is that the raindrops uses an
inverted {\, |" Jenvelope. This setting also
uses the RANDOM setting of the modulator
Roland Г MODULATOR À yoo if sumosc || noise |! P )
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SOUND EFFECTS (2) SAMPLE SOUNDS
3 / STEAM LOCOMOTIVE The steam locomotive uses pink noise, controls. The feeling of the sound will
Small changes in the VCF CUTOFF FREO change depending on which keys are
and ENV-1 controls will produce different pressed.
types of sounds. With the ENV-1 gate
trigger switch at LFO, the modulator
RATE slider controls the speed of the
locomotive. Experiment with the ENV-1
* Roland Г wapucator || vco \f susosc || Noise | ENV-2 |
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MACHINE GUN This sound is made with noise. Pressing a settings are very critical.
key produces machine gun shots. When the
ga le pane “te e Р-Я | ut OE .
RES SE ¿e ns key is released, the last shot will be a
eas he: e ricochet. The moduiator RATE controls
the speed of the shots. As above, the
envelope is triggered by the modulator. The
VCF CUTOFF FREQ and RESONANCE
2 Roland Г monuLaron \f vco If susosc |[ noise |f er || té ENV-2 |
ri НЕЕ MODE FE art oct CEUTOFF FRED A A |
гы ‚ В . Ц Hu
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«30 EUROPEAN POLICE in this setting, the VCO MOD control to 10’. In this setting, pressing a key
à should be set so that the VCO pitches are causes the sound to approach from a
a major third apart (if the lower pitch is C, distance; releasing the key causes the sound
the upper should be Е). A siren can be to fade away.
produced by changing the modulator
selector to), moving the RATE contro!
to *0”, and moving the VCO MOD control
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Syn ES CCR MORK FAHÈE WAVE FOR CUTCHF FREG КВ A р 5 A a R
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SAMPLE SOUNDS SOUND EFFECTS (3)
Set the TRANSPOSE switch at L. Pressing into the distance.
the lowest key starts the engine. Next,
pressing the highest key will cause the
motorcycle to move. While holding this
key down, the VCO MOD control causes
the motorcycle speed to vary, Releasing
the key will cause the motorcycle to fade
E Roland Г MopuLatoR | | vco Vf susosce |[ noise |[ wpe lf ENV-1 Vf ENV-2 |
SYITHESIEER vc mace crm № а С”,
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Set the TRANSPOSE switch at L. Press the boat to fade into the distance.
the lowest key. While listening to the
sound, adjust all the VCH sliders and the
modulator RATE control to get a sound
which sounds good. Try lowering the
TUNING controi. Also try adding a little
noise. As above, releasing the key causes
Roland monunarorn || | sumosc |{ noise |[ Her |f ENY-1 if ENV-2 |
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TEMPLE GONG Set the TRANSPOSE switch at L. The
setting combines three sounds: the VCO,
SUB OSC, and oscillating VCF to produce
gong sounds, Set the VCF CUTOFF
FREQ while listening to the output sound.
Once adjusted, the tone of the gong will
depend on which key is pressed.
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SPACE SOUNDS SAMPLE SOUNDS
Tapping a key will cause a fiying saucer to VCF CUTOFF FREQ or ENV-1 slider,
approach. This sound is produced by an and also the modulator RATE.
oscillating VCF controlled by ENV-1 and
the Г} output of the modulator. ENV-1
causes the overall pitch range of the sound
to fali, the modulator Li wave breaks the
sound up. Try different settings of the
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This sound is very much like the above
sound except that it uses inverted (Ц)
ENV-1 control of the VCF so that the VCF
pitch rises instead of falling. Since ENV-1
also controls the VCA, the sound becomes
softer as it rises.
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This sound uses the osciilating VCF. The
modulator is set at RANDOM and controls
the VCF frequency to produce random
sounds. Try various positions of the con-
trols. This sound works weil with a rever-
beration unit or echo chamber.
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SAMPLE SOUNDS
RANDOM SOUNDS
AG RANDOM NOTES
With this setting, when a Key is pressed,
random motes are produced. Pressing
different keys produces different tone
colors. The VCO RANGE and WAVEFORM
selectors, all the VCF sitders, and the ENV-1
sliders may be set anywhere. The rate at
which the notes are produced is set by the
modulator RATE control: the pitch range
of the notes by the VCO MOD controi.
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47
RANDOM
FILTERED NOISE
quality; tt is not particularly needed for
random noise sounds.
This setting uses noise with the random note
setting. Since noise is a combination of ali
pitches, it is possible to filter it to produce
specific pitches using the VCF. With the
VCF MOD slider raised, these pitches form
random patterns. The use of the VCO in
this setting gives the sound a metallic
2 Roland MODULATOR уса Vf susosc }{ noise fo pr if ENV.2
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This sound uses two random sound sources: on which key is depressed.
one is the VCO, the other is the oscillating
VCF. Try different MOD settings for the
VCO and VCF, Changing the VCF CUTOFF
FREQ will produce large changes between
metallic random notes to jarge sounding
random notes. The sound will also depend
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46
GUITAR SYNTHESIZER SAMPLE SOUNDS
AO FUNKY GUITAR
(ENVELOPE FOLLOWER)
it is possible to create interesting changes
in the tone color of electric guitars. Below
is an example of an envelope follower
setting for producing an automatic wah
effect. For bass guitar, move the VCF
CUTOFF FREQ control a little lower.
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SyUnNTHESICERA MODE Rane wave gen | CUTDEE FRED VE a в а
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fl =” | Inn — — ji. a +) an E me vr 0 u. wa wen — af
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in this setting, the VCF is controlled by
the modulator to produce '"'wah” sounds
in the guitar. Experiment with the modu-
lator RATE and VCF MOD controls.
Electric pianos and string synthesizers
can be used with this setting, too.
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With the setting below, the RANDOM
output of the medulater controls the
VCF to produce random changes in the
guitar tone color. Electric pianos and
string synthesizers work well with this;
set the VCF CUTOFF FREQ to match the
instrument being used,
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SAMPLE SOUNDS ALTERING EXTERNAL SIGNALS
Connecting a microphone to the SH-1
allows processing of any external sound
source. With the level switch at “Н”,
adjust the distance between the microphone
and sound source so that the AUDIO
MIXER OVERLOAD iamp lights only
occasionally.
52 VOICE SYNTHESIZER |
(ENVELOPE FOLLOWER)
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VOLUME | PORTAMENTO | RATE TIME Mac BEPTH THÉ PULSE WITH Е
x + i — — bil CE — — ПП — a PO — es, der
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Connecting the RS-202 String Synthesizer
GATE OUTPUT to the SH-1 GATE
INPUT allows the RS-202 to trigger the
SH-1 envelope generator. Set the CV/GATE
selector switch at EXT CV/GATE. This
setting allows the SH-1 to control the tone
POLYPHONIC
23 SYNTHESIZER
А, НЕ OUTPUT LITE.
| 4 cu sa RE | color of chords played on the RS-202.
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: = г u m AA mon _ “ar
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This setting allows automatic fades to be
added when dubbing tapes. Hold a key
down while dubbing; releasing the key will
produce a fade-out, the rate of which
depends on the ENV-2 “В” setting. The
“A” control can be used for a fade-in.
Monitor with headphones.
AUTOMATIC
94 FADE
F — E F г” nf y u = 47 “=.
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SPECIFICATIONS
SKEYBOARD ... 32 keys, 2-1/2 octaves
=\/CO (Voltage Controlled Oscillator}
Modulator
Autobend Depth
Autobend Time (8msec-360msec)
VCO Range (32', 16° 8’, 4’, 2°)
Waveform (41 MU.)
Pulsewidth Modulation {Min-50%)
PWM Mode Switch
{Env-1/Manual/LFO)
"SUB OSC (Sub-oscillator)
1 OCT DOWNTL/2 OCT DOWNFU /2
OCT DOWN IJ
"NOISE GENERATOR
White/Pink Selector
BAUDIO MIXER
VCO/SUB OSC/NOISE/EXT SIG
Overload indicator
MHPF {High Pass Filter)
Cutoff Frequency Control (25Hz-5KHz)
aVCF (Voltage Controlled Filter)
Cutoff Frequency Contro! (5Hz-20KHz)
Resonance (Min-Self Oscillation}
ENV-1 Polarity Switch (¿1 }
ENV-1 Control
MOB Control
KYBD Control
EXT SIG ENV FOL’R Control
# CA (Voltage Controlled Amplifier}
Hold Control
Envelope Switch (ENV-1/ENV-2)
MENVELOPE GENERATOR
ENV-] |
Attack Time (1.5msec-2.5sec])
Decay Time (1.5msec-8sec)
"MODULATOR
Modulation Mode Switch
[Random/P 11/7.)
Rate (0.2H52-25Hz)
Delay Time (O-3sec)
Rate Indicator
MKYBD/EXT CV GATE SWITCH
BTUNING (+700 cents)
MPORTAMENTO (0-2.5sec)
„VOLUME
a TRANSPOSE SWITCH (L/M/H]
"BENDER
Bender Lever
Bender Sensitivity (VCO, VCF}
"POWER SWITCH
Power Indicator
"CONNECTION JACKS
Output Jack
Output Level Switch (L/M/H)
(standard --20dBm/—8d8m/+4dBm}
Phones Jack (892, stereo)
Phones Output Level Switch (L/M/H}
External Signal Jack
External Signal Level Switch (L/M/H)
{standard OdBm/~2GdBm/—4GdBm)
External Control Voltage Input Jack
(1V foct)
External Gate Voltage input Jack
(ON with +7,5V or over)
Keyboard Control Voltage Dutput Jack
(1V foct)
Keyboard Gate Output Jack
(OFF — OV, ON — +14V)
Sustain Level (0-100)
Release Time (1.5msec-8sec)
Gate Trigger Selector Switch
(Gate+Trig/Gate/LFO}
ENV-2
Attack Time (1.5msec-3sec}
Release Time (1.5msec-8sec)
Gate Selector Switch (Gate/LFO)
"GENERAL
Power Consumption .......... TOW
Dimensions ...... 610{W) x 3701D) x
135(H)mm
24(W) x 14.6{D} x 5.3(H)in
Weight ............ 6.4kg, 14.1 Ibs
Accessory ..... 2.5m connection cord
“Specifications are subject to change
without notice.
54
SH-1 INSTRUCTIONS Printed in Japan MAY '78-АЕ-2 Y
Roland
10244
UPC 10244
Ui
Roland Corporation
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