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Tag Archives: roland
This is our Roland stuff from the 80s. We like that era of Roland, and use it on almost every Monopolx recording. #vintagesynth #analogsynth #bedroomproducer #homestudio #homerecording #makingmusic #beatmaking #electronicmusic #songwriting #roland #drummachine #monopolx (at Stockholm, Sweden)
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On the Kitchen Table
That modular thing, that escalated quickly.
It’s like building a character in a role-playing video game. You distribute endurance, strength, dexterity and such to make the avatar/modular reflect your play style. Some builds will render an East Coast synth voice, while others are suited for a more experimental kind of noise.
My first iteration of modules was based on dedicated, no frills core functionalities, such as Doepfer’s essential modules. It was good to start with the basics. By doing this I was able to test different routings, patch them in how I wanted and learn the signal path.
I did want to build a complete system, made entirely from one manufacturer’s modules. Because part of the beauty with modular is putting together an own rack made of different modules from different places and with different approaches.
From the beginning I decided for a quite small system, a limited case of 6U, 84 HP. But one or a few function per module demands more space, so after a while I began to replace some with functionally dense modules, in other words, I levelled up. Still I didn’t want to go to far; I don’t want a computer-like module that solves everything – I reckon that would be contra-modular.
For the time being, I run sequencer/clock outside of the system. Maybe it’s a little bit cheating, but this way I save space in the case. Anyway, I’m using my Analog Keys, and with it I can drive two separate sequences, process the modular signals through the synth’s filters, envelopes, effects and so on, and trigger my TR-606. And using all four voices of the synth itself at the same time. The Rosie output module has send and return for external effects, so I’ve my BigSky plugged in there. All in all, it’s quite a powerful and portable little setup.
As for the case, I just cut up a cardboard box and gaffered it together to fit the Happy Ending Kit rails. It’s very slim, very light, maybe not so stylish though.
And the housing is really a project. It’s like a doll house that is defragmented, partly from an interior design thinking. Well, I want it to look nice and neat. Then again, most time is spent researching which modules go in and out, based on functionality and compability with the ecosystem.
Nevermind the patch in the picture, I just needed something so sound and didn’t want to clutter the image too much. The photo is from the kitchen table.
On the Kitchen Table
That modular thing, that escalated quickly.
It’s like building a character in a role-playing video game. You distribute endurance, strength, dexterity and such to make the avatar/modular reflect your play style. And like some characters are quick and stealthy and others heavy hitters, some builds will render an East Coast synth voice, while others are suited for a more experimental kind of noise.
My first iteration of modules was based on dedicated, no frills core functionalities, such as Doepfer’s essential modules. It was good to start with the basics. By doing this I was able to test different routings, patch them in how I wanted and learn the signal path.
I didn’t want to build a complete system, made entirely from one manufacturer’s modules. Because part of the beauty with modular is putting together one’s own rack made of different modules from different places and with different sounds and approaches.
Right from the start I decided for a quite small system, a limited case of 6U, 84 HP. But one or a few function per module demands more space, so after a while I began to replace them with functionally dense modules, in other words, I levelled up. Still I didn’t want to go to far; I don’t want a computer-like module that solves everything – I reckon that would be contra-modular.
I run sequencer/clock outside of the system, for the time being. Maybe it’s a little bit cheating, but this way I save space in the case. Anyway, I’m using an Analog Keys, and with it I can drive two separate sequences, process the modular signals through the synth’s filters, envelopes, effects and so on, and trigger an old DIN-synced TR-606. And using all four voices of the synth itself at the same time. The Rosie output module has send and return for external effects, so I got a BigSky plugged in there. All in all, it’s quite a powerful and portable little setup.
As for the case, I just cut up a cardboard box and gaffered it together to fit two Happy Ending Kit rails. It’s very slim, very light, maybe not too stylish though.
The housing is really a project. It’s like a doll house that is defragmented, partly from an interior design thinking. Well, I want it to look nice and neat. Then again, most time is spent researching which modules that go in and out, based on functionality and compability with the ecosystem.
Nevermind the patch in the picture, I just needed something so sound and didn’t want to clutter the image too much. The photo is from the kitchen table.
CV on Analog Four
If you got an Elektron Analog Four (or Analog Keys) and devices that can be operated via CV (control voltage) and Gate trigger connections, here’s how to do it, e.g. connect Moog Minitaur and Arturia MiniBrute to sequence, automate and processes them on Analog Four.
1. Connect a stereo ¼" (female) to CV Output A and B on Analog Four, and dual mono ¼" to Pitch CV (tip) and Gate (ring) of the Minitaur.
2. Connect Audio Out on Minitaur to Audio Input Left on Analog Four.
3. On Analog Four, select track Trk 1.
4. Select Osc 1 > IN L.
5. Pass all frequencies on 2-pole ladder filter: Filters > FRQ 127 and RES 0, and 2-pole multi mode filter: Filters > HP2 > FRQ 0 and RES 0.
6. Set the envelope on Amp > REL INF (if you don’t plan to use the Osc 2, sub oscillators or filter self-oscillation of the Analog Four).
7. Select track CV.
8. Set CV > CV A > TRK > TR1 and CV > CV B > TRK > TR1.
9. Select CV A configuration page, and set:
TYPE > PITCH V/oct
NOTE 1 > C 3
VOLTAGE 1 > 1.448 V
NOTE 2 > C 6
VOLTAGE 2 > 4.634 V
10. Select CV B configuration page, and set:
TYPE > GATE
POLARITY > V-TRIG
LEVEL > 5.0 V
11. Connect a stereo ¼" (female) to CV Output C and D on Analog Four, and dual mono ¼" to Pitch (to VCO) (tip) and Gate In (ring) of the MiniBrute.
12. Connect Master Out on MiniBrute to Audio Input Right on Analog Four.
13. On Analog Four, select track Trk 2.
14. Select Osc 1 > IN R.
15. Pass all frequencies on 2-pole ladder filter: Filters > FRQ 127 and RES 0, and 2-pole multi mode filter: Filters > HP2 > FRQ 0 and RES 0.
16. Set the envelope on Amp > REL INF (if you don’t plan to use the Osc 2, sub oscillators or filter self-oscillation of the Analog Four).
17. Select track CV.
18. Set CV > CV C > TRK > TR2 and CV > CV D > TRK > TR2.
19. Select CV A configuration page, and set:
TYPE > PITCH V/oct
NOTE 1 > C 5
VOLTAGE 1 > 1.004 V
NOTE 2 > C 8
VOLTAGE 2 > 4.004 V
20. Select CV D configuration page, and set:
TYPE > GATE
POLARITY > V-TRIG
LEVEL > 5.0 V
Set up the old king SH-101
If you got a Roland SH-101, the set it up like this:
1. Connect a stereo ¼" (female) to CV Output A and B on Analog Four, and dual mono ¼" to CV In (tip) and Gate In (ring) of the SH-101.
2. Connect Output on SH-101 to Audio Input Left on Analog Four.
3. On Analog Four, select track Trk 1.
4. Select Osc 1 > IN L.
5. Pass all frequencies on 2-pole ladder filter: Filters > FRQ 127 and RES 0, and 2-pole multi mode filter: Filters > HP2 > FRQ 0 and RES 0.
6. Set the envelope on Amp > REL INF (if you don’t plan to use the Osc 2, sub oscillators or filter self-oscillation of the Analog Four).
7. Select track CV.
8. Set CV > CV A > TRK > TR1 and CV > CV B > TRK > TR1.
9. Select CV A configuration page, and set:
TYPE > PITCH V/oct
NOTE 1 > C 3
VOLTAGE 1 > 0.986 V
NOTE 2 > C 6
VOLTAGE 2 > 3.956 V
10. Select CV B configuration page, and set:
TYPE > GATE
POLARITY > V-TRIG
LEVEL > 5.0 V
Note that the voltage levels are roughly set. Also bear in mind that it seems that some split cables use left for tip and right for ring, while others directly contrary.
Tune Other Gear
If you got other gear, then connect a tuner to the audio output, select CV A configuration page and start with:
TYPE > PITCH V/oct
NOTE 1 > C 3
VOLTAGE 1 > 1.000 V
NOTE 2 > C 6
VOLTAGE 2 > 4.000 V
Then just calibrate the voltage settings – 1 V per octave in the mid range – according to the tuner, this usually works.
Lastly, don’t forget to check all four voices on the KIT > POLY CONFIG > VOICES to use Analog Four as an analog polysynth while using the two external sound sources of your choice.
P.S. I totally missed this, but this blog, Holy Bot, turns four years today, yay!
CV on Analog Four
If you got an Elektron Analog Four (or Analog Keys) and devices that can be operated via CV (control voltage) and Gate trigger connections, here’s how to do it, e.g. connect Moog Minitaur and Arturia MiniBrute to sequence, automate and processes them on Analog Four.
1. Connect a stereo ¼” (female) to CV Output A and B on Analog Four, and dual mono ¼” to Pitch CV (tip) and Gate (ring) of the Minitaur.
2. Connect Audio Out on Minitaur to Audio Input Left on Analog Four.
3. On Analog Four, select track Trk 1.
4. Select Osc 1 > IN L.
5. Pass all frequencies on 2-pole ladder filter: Filters > FRQ 127 and RES 0, and 2-pole multi mode filter: Filters > HP2 > FRQ 0 and RES 0.
6. Set the envelope on Amp > REL INF (if you don’t plan to use the Osc 2, sub oscillators or filter self-oscillation of the Analog Four).
7. Select track CV.
8. Set CV > CV A > TRK > TR1 and CV > CV B > TRK > TR1.
9. Select CV A configuration page, and set:
TYPE > PITCH V/oct
NOTE 1 > C 3
VOLTAGE 1 > 1.448 V
NOTE 2 > C 6
Voltage 1 > 4.634 V
10. Select CV B configuration page, and set:
TYPE > GATE
POLARITY > V-TRIG
LEVEL > 5.0 V
11. Connect a stereo ¼” (female) to CV Output C and D on Analog Four, and dual mono ¼” to Pitch (to VCO) (tip) and Gate In (ring) of the MiniBrute.
12. Connect Master Out on MiniBrute to Audio Input Right on Analog Four.
13. On Analog Four, select track Trk 2.
14. Select Osc 1 > IN R.
15. Pass all frequencies on 2-pole ladder filter: Filters > FRQ 127 and RES 0, and 2-pole multi mode filter: Filters > HP2 > FRQ 0 and RES 0.
16. Set the envelope on Amp > REL INF (if you don’t plan to use the Osc 2, sub oscillators or filter self-oscillation of the Analog Four).
17. Select track CV.
18. Set CV > CV C > TRK > TR2 and CV > CV D > TRK > TR2.
19. Select CV A configuration page, and set:
TYPE > PITCH V/oct
NOTE 1 > C 5
VOLTAGE 1 > 1.004 V
NOTE 2 > C 8
Voltage 1 > 4.004 V
20. Select CV D configuration page, and set:
TYPE > GATE
POLARITY > V-TRIG
LEVEL > 5.0 V
Set up the old king SH-101
If you got a Roland SH-101, the set it up like this:
1. Connect a stereo ¼” (female) to CV Output A and B on Analog Four, and dual mono ¼” to CV In (tip) and Gate In (ring) of the SH-101.
2. Connect Output on SH-101 to Audio Input Left on Analog Four.
3. On Analog Four, select track Trk 1.
4. Select Osc 1 > IN L.
5. Pass all frequencies on 2-pole ladder filter: Filters > FRQ 127 and RES 0, and 2-pole multi mode filter: Filters > HP2 > FRQ 0 and RES 0.
6. Set the envelope on Amp > REL INF (if you don’t plan to use the Osc 2, sub oscillators or filter self-oscillation of the Analog Four).
7. Select track CV.
8. Set CV > CV A > TRK > TR1 and CV > CV B > TRK > TR1.
9. Select CV A configuration page, and set:
TYPE > PITCH V/oct
NOTE 1 > C 3
VOLTAGE 1 > 0.986 V
NOTE 2 > C 6
Voltage 1 > 3.956 V
10. Select CV B configuration page, and set:
TYPE > GATE
POLARITY > V-TRIG
LEVEL > 5.0 V
Note that the voltage levels are roughly set. Also bear in mind that it seems that some split cables use left for tip and right for ring, while others directly contrary.
Tune Other Gear
If you got other gear, then connect a tuner to the audio output, select CV A configuration page and start with:
TYPE > PITCH V/oct
NOTE 1 > C 3
VOLTAGE 1 > 1.000 V
NOTE 2 > C 6
Voltage 1 > 4.000 V
Then just tweak the voltage settings – 1 V per octave in the mid range – according to the tuner, this usually works.
Lastly, don’t forget to check all four voices on the KIT > POLY CONFIG > VOICES to use Analog Four as an analog polysynth while using the two external sound sources of your choice.
P.S. I totally missed this, but this blog, Holy Bot, turns four years today, yay!
Hardware versus Software
Firstly, most listeners wouldn’t care if a piece of music was achieved using real analog gear or virtual analog emulations. And the quality and tone of different sound sources could be so similar that no-one could tell which one is which, at least not in the context of a finished track.
However, which synth is being used does matter for the musician, due to the sound is only one of many equally important factors for the operator.
Different instruments affect creatively and playability. And different purpose-built interfaces inspire different musical ideas and sound designs. For me, it’s just more fun with knobs and switches on a hardware synth. (Also there’s the resale value. Many hardware synths hold their value well, and vintage synths increase over time.)
Options to the Original
A real Roland Jupiter-8 possesses an unmatched tactility, but its sounds could be copied.
For example, Arturia has programmed a recreation of the synth, the Jup-8 V, and while it may sound quite like the original, softsynths by their nature have no physical controls (tweaking sounds and sweeping filters are being done with a mouse, keyboard or with a generic MIDI controller).
One could of course sample the original Jupiter-8, but samples are merely captured snapshots (even when using a round-robin algorithm) and samples may not convey all the nuances of playing the original instrument.
Roland’s own JP-08, a digital hardware synth with lots of controls and a dedicated set of processors that’s using Analog Circuit Behaviour technology to reproduce Jupiter-8’s sounds could be a third option in this case. Now this small device don’t deliver all the actual characteristics of the original hardware, but it has its own right and does step outside the in-the-box-environment.
Analog Hardware
Nowadays, many home and even professional studios are run by a digital setup, combining software and MIDI controllers. And as electronic instruments, there are some benefits of softsynths, like instant recall of settings when loading a project, and not occupying any physical space.
For a long time I mainly used softsynths and a small MIDI controller, the Oxygen 8, and I was good with that. But I like unruly analog sounds, and analog synths with analog circuitry need to be hardware. (While, in terms of digital synths, most things they do are technically feasible with comparable software.)
Worth mentioning is that Arturia, that made a name for itself by making faithful software emulations of hardware vintage synths, has manufactured a few solid analog monosynths too since 2012.
What I don’t get is when a software company like Softube release a virtual modular plugin based on Doepfer’s Eurorack standard. The most obvious reason for these modular synths is tactility. The concept (already being done with Reaktor by Native Instruments) and sound of a modular system could of course be imitated, but the physical aspects just don’t translate. One of the main point here is manually signal routing on a physical, expandable and flexible modular grid.
Anyway, I think the sound of analog hardware per se can be comparable, if not equivalent, to software, but sound is not all when making music.
Hardware versus Software
Firstly, most listeners wouldn’t care if a piece of music was achieved using real analog gear or virtual analog emulations. And the quality and tone of different sound sources could be so similar that no-one could tell which one is which, at least not in the context of a finished track.
However, which synth is being used does matter for the musician, due to the sound is only one of many equally important factors for the operator.
Different instruments affect creatively and playability. And different purpose-built interfaces inspire different musical ideas and sound designs. For me, it’s just more fun with knobs and switches on a hardware synth. (Also there’s the resale value. Many hardware synths hold their value well, and vintage synths increase over time.)
Options to the Original
A real Roland Jupiter-8 possesses an unmatched tactility, but its sounds could be copied.
For example, Arturia has programmed a recreation of the synth, the Jup-8 V, and while it may sound quite like the original, softsynths by their nature have no physical controls (tweaking sounds and sweeping filters are being done with a mouse, keyborad or with a generic MIDI controller).
One could of course sample the original Jupiter-8, but samples are merely captured snapshots (even when using a round-robin algorithm) and samples may not convey all the nuances of playing the original instrument.
Roland’s own JP-08, a digital hardware synth with lots of controls and a dedicated set of processors that’s using Analog Circuit Behaviour technology to reproduce Jupiter-8’s sounds could be a third option in this case. Now this small device don’t deliver all the actual characteristics of the original hardware, but it has its own right and does step outside the in-the-box-environment.
Analog Hardware
Nowadays, many home and even professional studios are run with a digital setup, combining software and MIDI controllers. And as electronic instruments, there some are benefits of softsynths, like instant recall of settings when loading a project, and not occupying any physical space.
For a long time I used mainly used softsynths and a small MIDI controller, the Oxygen 8, and I was good with that. But I like unruly analog sounds, and analog synths with analog circuitry need to be hardware. While, in terms of digital synths, most things they do are technically feasible with comparable software.
Worth mentioning is that Arturia, that made a name for itself by making faithful software emulations of hardware vintage synths, has manufactured a few solid analog monosynths too since 2012.
What I don’t get is when a software company like Softube release a virtual modular plugin based on Doepfer’s Eurorack standard. The most obvious reason for these modular synths is tactility. The concept (already being done with Reaktor by Native Instruments) and sound of a modular system could of course be imitated, but the physical aspects just don’t translate. One of the main point here is manually signal routing on a physical, expandable and flexible modular grid.
Anyway, I think the sound of analog hardware per se can be comparable, if not equivalent, to software, but sound is not all when making music.
Holy Bot 