Summary of the content on the page No. 1
WE DESIGN THE FUTURE
Creating Sounds
with Fun and Ease
Synthesizer 101: Learning the SH-201
Creating Sounds
with Fun and Ease
Synthesizer 101: Learning the SH-201
Visit us online at www.Roland.com All specifications and appearances are subject to change without notice.
All trademarks are the property of their respective companies.
Printed in Japan. May 2006 RAM-4077 B-4 P-S
Summary of the content on the page No. 2
Chapter Top Panel 1 Arpeggiator adds instant Ultra-EZ front panel is logically designed to teach the basics of synthesis. rhythmic motion to sounds. P5 I nvisible infrared D Beam controller. P9 P11 P13 P15 OSC FILTER AMP LFO S hort recorder onboard to capture Chapter 2 and loop your performance and knob movements. Chapter 3 Chapter 4 Chapter 5 B uilt-in delay, reverb, and overdrive effects. P19 E xternal input for manipulating external audio P17 from CD/MP3 players, etc. Chapter 6 Appendix V
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Chapter Chapter Introduction 1 1 V-Synth 2003 Experience the magic of creating your own sounds. For more than a quarter century, Roland has defined V-Synth XT 2005 and redefined the state of the art in synthesizers. JP-8000 1996 Today, the fundamentals for sound creation remain the same for most synthesizers. JD-800 1991 Independently manipulate the pitch, By understanding the fundamentals, anyone can enjoy time, and formant of sampled ® waveforms using VariPhrase This 8-voice synthesizer
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Chapter The Basic Structure of a Synthesizer 2 A typical synthesizer will have a signal flow-chart ( ) ➝ P. 13 AMP similar to the one pictured below. Sound generated in OSC and processed through the FILTER is amplified here. (*3) On analog synthesizers, it is called the VCA . The VCA is used to change To start, let’s understand the fundamentals. the volume (level) of sound signal through changes in voltage. Chapter 2 Audio signals ( ) LFO Low Frequency Oscillator ➝ P. 15 Control signals LFO
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Chapter Let’s Play 3 You can start playing the SH-201 as soon as you SH-201 allows you to store the timbres (sounds) turn on the power. Go ahead and play the keyboard you have created. These stored timbres are called patches. while adjusting the volume with the [MASTER VOL] knob. A total of 64 patches can be stored. The patch-storing location works like a file cabinet. A patch can be selected through the GROUP, BANK, and NUMBER buttons. PRESET GROUP (read only) USER GROUP (rewritable) Power S
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The Function of Controls 1 Chapter ( ) OSC Oscillator 4 The OSC determines the waveform and pitch, which becomes the source of the sound. This is the heart N ext, let’s determine the pitch. Playing the keyboard with one hand while turning [PITCH] and [DETUNE] knobs left and right gradually and soul of a synthesizer. On analog synthesizers, with the other hand. Listen to the changes in pitches. (*1) it is called the VCO . The VCO is a sound generator After listening capable of changing fre
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The Function of Controls 2 Chapter FILTER 4 N ext, turn the [RESONANCE] knob. Turn it all the way left (MIN), then gradually rightward The sound signal generated from the OSC is processed to (MAX). It will start to resonate, yielding a colorful, howling sound. through the filter, which can emphasize and reject If you turn the knob far too right, you will hear a selected frequency range. The filter can affect an ear-piercing, high-pitched sound. This sound is generated from the filter itsel
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The Function of Controls 3 Chapter AMP 4 The sound signal generated in OSC and processed A dditionally, to create a classic synth sound (analog Press this lead sound), set it up to play monophonically (single through the FILTER is amplified here. The AMP button note at a time) by pressing the [SOLO] button. also controls the attack and decay of sounds. T urn the [LEVEL] knob left I n this set up, when you play a key + SOLO LEGATO SOLO Turn this knob and right. Listen to the change while p
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The Function of Controls 4 Chapter ( ) LFO Low Frequency Oscillator 4 This is a sound generator capable of producing low (*1) frequencies. On analog synthesizers, it is also called LFO . T o achieve expressive, animated sounds, many musical instruments are played with cyclic vibration Y ou can switch the vibrato waveform by pressing the [SHAPE] button. of sound frequency, volume, and/or timbre. LFO creates these effects for a synthesizer. Additionally, turning the [RATE] knob will change the
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The Function of Controls 5 Chapter ( ) EXT IN External In 4 (*1) The newest feature of the SH-201 is the EXT IN , Press this button to select the EXT IN T o make the portable digital music player will sound which is a major evolution from prior analog only when the keyboard is played, press the [WAVE] button on the OSC1 (oscillator 1) and select synthesizers. When devices such as portable digital the waveform to EXT IN. music players are connected to the SH-201, various effects can be add
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Chapter Synth-Programming Examples 5 Synth-Programming Examples Synth-Programming Examples Synth Bass Synth Lead 1 2 2 89 3 5 10 11 63 2 910 6 1 4 7 12 11 7 8 1 4 5 10 Choose “PRESET D-8”. The sawtooth wave is selected. 1 1 Choose “PRESET D-8”. The sawtooth wave is selected. Since bass involves low frequencies, turn the [PITCH] knob on the OSC section all the way 2 2 Turn the [CUTOFF] knob in the FILTER section to the “two o’clock” position. to left, and set to (-12). Now the sound is lowered b
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Chapter Synth-Programming Examples 5 Synth-Programming Examples Synth-Programming Examples Synth Pad Sound Effects 3 4 2 3 4 10 5 2 35 4 6 8 11 12 1 7 9 10 12 1 6 7 8 9 Choose “PRESET D-8”. The sawtooth wave is selected. Let’s create a sound effect like a synth drum. 1 * Sudden loud sound may occur. In order This sound is created from deliberately Press the [WAVE] button of the OSC1 section and select the SUPER SAW. 2 NOT to damage your hearing or speakers, generated sound from the fil
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Appendix Chapter The Three Elements of Sound 6 Sounds are waves that vibrate through the air. These waves eventually reach our ears, and we would recognize them Harmonics as sounds. The shape of the wave determines its sound. We’ve just talked about the brightness Sawtooth Wave Square Wave of sounds, and how they are determined In concept, sounds are composed of three elements: pitch, by the shape of their waveforms. volume, and brightness. But how are these waveforms constructed? It is c
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Voice from the Artist One look at the panel is all it takes to inspire Most of the PCM synthesizers have set their and the vertical faders are used to control goal on the pursuit of reality or replication. the time-variable parameters such as your creativity. That’s the SH-201. I am glad to see that this particular the envelope generator for easy visual setting. synthesizer, the SH-201, is built upon It’s design with sound creation as the top the ultimate pursuit of the “synthesized priority
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WE DESIGN THE FUTURE Creating Sounds with Fun and Ease Synthesizer 101: Learning the SH-201 Creating Sounds with Fun and Ease Synthesizer 101: Learning the SH-201 Visit us online at www.Roland.com All specifications and appearances are subject to change without notice. All trademarks are the property of their respective companies. Printed in Japan. May 2006 RAM-4077 B-4 P-S
