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Roland has released numerous legendary synthesizers

 in the past. The newest member of the line,

 the SH-201, combines Roland’s state-of-the-art technology

 with an incredibly easy user-interface.

This guidebook will give you many tips for creating classic synthesizer sounds on the SH-201. 

If you’re new to synthesis, fear not. We will guide you every step of the way, so no worries!

SH-1000

Roland Synthesizer History

1973

The first of its kind to be 

produced in Japan, the SH-1000 

was an instant hit with its 

compact size, easy operation, 

and affordable price.

SYSTEM-700

1976

Bringing together all 

the soundmaking technology 

of its day, this complete electronic 

studio system was used 

by leading broadcasting stations 

and groundbreaking electronic 

music artists.

JUPITER-8

1981

An 8-voice analog synthesizer 

with 64 sound-memory locations. 

One of Roland’s earliest 

polyphonic synthesizers, 

this significant instrument paved 

the way to today’s synthesizer 

development.

The Fantom-X Series is the flagship of the Roland workstation family, offering 

musicians nearly 1GB of wave memory when fully expanded, and 128-voice 

performance.

JUNO-60

1982

61 key, 6-voice fully programmable 

polyphonic synthesizer 

with 56 sound-memory locations. 

Roland’s proprietary DCB interface 

standard was used for exchanging 

control information with external 

device.

D-50

1987

2006

JD-800

1991

JP-8000

1996

V-Synth

2003

Fantom-X

2004

V-Synth XT

2005

Equipped with the Linear 

Arithmetic (a.k.a. LA) synthesis, 

this was Roland’s first full-digital 

synthesizer, and one of the best-

selling models. The D-50 was 

a worldwide sensation due to its 

operating ease and stunning 

sound.

Even though this is synthesis at its friendliest, 

the SH-201 is no toy. With two beefy 

analog-modeling oscillators, complete with Roland’s 

famous Supersaw waveform and resonant filter, 

this little synth can blow down doors. 

Combining stunning digital sound 

with a natural feel and operability 

reminiscent of analog 

instruments, the JD-800 was 

the pinnacle of synthesizer 

development of its era.

This 8-voice synthesizer has 

an inviting array of knobs 

and sliders to manipulate 

an analog modeling synthesis 

engine. It has a built-in Motion 

Control function that allows 

operations on a panel to be 

recorded and played back.

Independently manipulate the pitch, 

time, and formant of sampled 

waveforms using VariPhrase

®

 

technology — a world’s first 

in a synthesizer! 

The V-Synth XT is fully stocked 

with a potent array of synthesis 

types, including the V-Synth’s 

famous Elastic Audio Synthesis 

engine, plus analog-synth 

modeling, vocal modeling, 

and classic D-50 emulation.

Experience the magic 
of creating your own sounds.

For more than a quarter century, Roland has defined 

and redefined the state of the art in synthesizers.

Today, the fundamentals for sound creation remain 

the same for most synthesizers.

By understanding the fundamentals, anyone can enjoy 

creating sound for virtually any type of synthesizer.

Synthesizer Evolution — the Workstation

As you master the fundamentals of creating sound, an unexplored world 

of creativity awaits you. Let’s begin our journey together!

1

Chapter

Introduction

NEW

3

4

1

Chapter

Introduction

Summary of Contents for SH-201

Page 1: ...WE DESIGN THE FUTURE Creating Sounds with Fun and Ease Synthesizer 101 Learning the SH 201 ...

Page 2: ...gically designed to teach the basics of synthesis External input for manipulating external audio from CD MP3 players etc Built in delay reverb and overdrive effects USB port for audio MIDI connection to computer VSTi Editor software included for computer integration 1 2 1 Chapter 2 Chapter Introduction The Basic Structure of a Synthesizer 3 Chapter 4 Chapter Let s Play The Function of Controls 5 C...

Page 3: ...s was Roland s first full digital synthesizer and one of the best selling models The D 50 was a worldwide sensation due to its operating ease and stunning sound Even though this is synthesis at its friendliest the SH 201 is no toy With two beefy analog modeling oscillators complete with Roland s famous Supersaw waveform and resonant filter this little synth can blow down doors Combining stunning d...

Page 4: ...rols the initiation and termination of sounds On analog synthesizers it is also called ENV 5 Every time you play the keyboard ENV affects the volume and timbre on OSC FILTER and AMP individually as it processes its time varied elements time Key on Key off cutoff frequency A D S DEPTH R Low Pass Filter High Pass Filter Band Pass Filter Key on Key off time A D S R volume A D time DEPTH Key on pitch ...

Page 5: ... B 4 B 5 B 6 B 7 B 8 A 1 A 2 A 3 A 4 A 5 A 6 A 7 A 8 NUMBER 1 8 BANK A D PRESET GROUP read only USER GROUP rewritable The SH 201 lets you create sound while listening to it in real time by moving knobs and sliders At this stage it is okay if you don t know how each control affects the sounds Don t worry because you will get a hang of it as you continue with this text A total of 64 patches can be s...

Page 6: ...sionless To hear how the sound changes with each step play the keyboard after each process F irst determine the waveform to use as the source of the sound Play the keyboard with your left hand while switching waveforms with the WAVE button Listen to the differences in the sound of each waveform as you play the keyboard N ext let s determine the pitch Playing the keyboard with one hand while turnin...

Page 7: ...act that most of the sound frequencies have been filtered out and rejected N ext turn the RESONANCE knob Turn it all the way left MIN then gradually rightward to MAX It will start to resonate yielding a colorful howling sound On a piano its initial sound would include most of the harmonics that generates bright sound Afterward the sound would fade gradually as a decrease in harmonics will result i...

Page 8: ...und analog lead sound set it up to play monophonically single note at a time by pressing the SOLO button I n this set up when you play a key while playing another key timbre will remain unchanged but the pitch will change SOLO LEGATO This effect is similar to the trill technique used in string instruments Moving right along let s set the portamento control The portamento is an effect where the tra...

Page 9: ...sing the SHAPE button Additionally turning the RATE knob will change the speed of vibrato Try out various settings for vibrato with different waveforms and speeds For example the human voice or a violin would typically have a vibrato rate of 2 to 7 cycles per second Press the DESTINATION button and select AMP for tremolo or FILTER for growl effects 1 Low Frequency Oscillator Press PRESET Press D P...

Page 10: ...when your hand is released from the keyboard lower the R slider of the AMP ENV all the way down E xperiment with the TYPE CUTOFF and RESONANCE controls as you play the keyboard Just as the sawtooth and square waves were processed with effects your portable digital music player s music is processed with effects now I t doesn t really matter which keys you play the portable digital music player s mu...

Page 11: ...DEPTH knob and fatten the bass timbre Lastly fine adjust the DEPTH slider of the FILTER ENV to determine the overall sound 1 2 3 4 5 6 7 8 9 10 11 12 Choose PRESET D 8 The sawtooth wave is selected Turn the CUTOFF knob in the FILTER section to the two o clock position Turn the RESONANCE knob in the FILTER section to the one o clock position Let s create the initial portion of the sound Raise the A...

Page 12: ...nob to enhance the resonance 4 1 2 3 4 5 6 7 8 9 10 11 12 Choose PRESET D 8 The sawtooth wave is selected Press the WAVE button in the OSC1 section and select NOISE Turn the CUTOFF knob in the FILTER section all the way left to MIN The sound becomes inaudible Turn the RESONANCE knob in the FILTER section all the way right to MAX Raise the D and R sliders of the FILTER ENV mid way up Lower the S sl...

Page 13: ...quencies will become lower as well For example when A4 center A equals 440 0 Hz an octave higher pitch would generate twice the amount of frequency at 880 0 Hz A5 An octave lower pitch would produce half the frequency at 220 0 Hz A3 Pitch Harmonics Volume The volume of the sound is determined by the size or the width of the waves As the waves become wider vertically on the graph the louder the vol...

Page 14: ...hat time most people thought of the synthesizer as a tool to replicate real life sound In contrast listing to the latest music trend numerous sound music producers have created sounds that only synthesizers can produce and listeners are demanding these sounds as well Most of the PCM synthesizers have set their goal on the pursuit of reality or replication I am glad to see that this particular synt...

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