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The History Of Roland: Part 3 . It was a leap into the unknown for the company — but it ushered in a golden era.. In the first two parts of this history, I charted the rise of Roland from humble beginnings in 1. This month, we'll see what happened when Roland jumped onto the digital bandwagon, and enjoyed what proved to be a golden age for the company.
MAJOR PRODUCT LAUNCHESAMPS, MIXERS & SPEAKERSBOSS PRODUCTSCS3 Compression Sustainer. DR DRP I, DRP II, DRP III Dr Pad. DR2. 20. A and DR2. E Dr Rhythm. DSD3 digital sampler/delay. RCE1. 0 digital chorus/ensemble (Microrack system).
RDD2. 0 digital delay (Microrack system). ROD1. 0 overdrive/distortion (Microrack system). RPS1. 0 digital pitch- shifter/delay (Microrack system). RSD1. 0 digital sampler/delay (Microrack system). EFFECTSGUITAR SYNTHESIS PRODUCTSFC1. GK1 synthesizer driver. GM7. 0 GR- to- MIDI converter.
PIANOSHP2. 00. 0, HP3. HP4. 50. 0, HP5. 50. HP5. 60. 0 domestic pianos.
MKS2. 0 digital piano module. RD1. 00. 0, RD2. 00, RD2. S, RD3. 00 stage pianos. RHYTHM MACHINESCR1. TR5. 05 Rhythm Composer. SAMPLERSMKS1. 00 digital sampling module. S5. 0 keyboard sampler.
SEQUENCERSMC5. 00 Micro Composer. MRC APL sequencer for Apple II and IIe.
MRE IPC sequencer for IBM PC. SYNTHS & HI- TECHHS1. Synth Plus 1. 0). MKS7. 0 Super JX module. PG3. 00 programmer. In 1. 98. 6, the world was gripped by FM fever and Roland lacked a flagship synth.
The Jupiter 8 was gone, and the six- note polyphony of the JX8. P looked dismal when compared to the 3. Yamaha's DX1 and DX5. There was only one thing to do. The industry had long embraced the 'two identical synths in a box' concept, so Roland competed against two DX7s in a six- octave keyboard by releasing two JX8.
Ps in a six- octave keyboard. The result was the inappropriately numbered Super JX1. Last Great Analogue Polysynth' award. The JX1. 0 (shown above) was a superbly playable instrument that you could play in Whole (1. Split mode (two six- voice synths), or as a layered six- voice synth.
This was possible because the guts of a JX1. JX8. P motherboards, plus a third board that controlled them and added a handful of additional synthesis facilities. Consequently, it offered huge pads, brasses, strings, lead sounds, and monstrous basses.. Indeed, when invoked on a Super JX1. JX8. P's Mono. 1 mode assigned all 2. Unfortunately, it was still overshadowed by Yamaha's DX synths, a point not lost on Roland's president, Ikutaro Kakehashi who, in his autobiographical book I Believe In Music, admits that he had to work hard to maintain the morale of his partners, which was in danger of being swept away on a tide of FM synthesis. Alongside the JX1.
MKS7. 0, a Super JX1. Nevertheless, when all was said and done, this was simply repackaged JX8. P technology. Likewise, 1. Roland released a range of repackaged Alpha Junos.
These were the MKS5. Alpha Juno 2 in a 1. U rackmount module, and the HS1.
HS8. 0, repackaged Juno 1s and Juno 2s with built- in amplifiers and speakers. Elsewhere, more products ploughed existing furrows, but Roland also doubled the size of the Boss Microrack range, and launched their first digital multi- effects unit, the DEP5.
For guitarists, there was the GK1 pickup and GM7. MIDI converter, which — as well catering for Roland's own G- series controllers — removed the need for a dedicated guitar synth, and allowed players to control MIDI modules from their favourite guitars. All of this was good stuff, but none of it was going to take the world by storm. Fortunately, something far more significant was happening elsewhere: this was the year that the company went truly digital. However, Roland's first digital keyboards were not synthesizers; they were samplers and pianos.
The GK1 pickup and GM7. MIDI- savvy guitarists from having to use Roland's guitar synths for the first time, allowing users to connect and trigger any MIDI module from their guitars. By the end of 1. 98. The affordable end of the market was dominated by the Ensoniq Mirage, while Kurzweil, Emu, and Fairlight ruled the high end.
But there was a large hole in the middle and, in 1. Roland plugged it with not one, but three 1. S5. 0, the S1. 0, and a modular version of the S1. MKS1. 00. The S5. B- per- octave anti- aliasing filters and the type of graphical operating system previously associated only with instruments that boasted external processing units, QWERTY keyboards and computer displays. It was also, perhaps, the first affordable keyboard that was upgradeable by the simple process of loading new OS software, and one of the first to offer a software sequencer (the SYS5. Roland's software engineers.
As an instrument, the S5. What's more, as well as offering digital filters, amplifiers and envelopes that allowed you to manipulate samples at the point of replay, it provided a limited form of resynthesis that made it possible to manipulate the sample data itself. There was also a superb library supplied on 3. The S5. 0 should have been a winner, and the speed and elegance of its operating system should have ensured that it became the industry standard. Unfortunately, Roland had come to the market just a little too late. Akai launched their S9.
Consequently, the first question asked by many prospective S5. It was not only more limited than its big brother — which, given their respective price- points, is hardly surprising — but it felt as if it had been designed and programmed by a different company. It also sported non- standard 2. Quick Discs', a horrible experiment in low- cost drives that were excruciatingly slow and of much more limited storage capacity. Unlike the S5. 0, the S1. MKS1. 00 deserve their ignominy.
Elsewhere, the company had used their mastery of sampling and digital technology to develop a resynthesis system that they called SAS — or Structured/Adaptive Synthesis (see the box below) This was not a simple sample- playback system. Instead, Roland's engineers had sampled and analysed the timbre of various instruments — but primarily acoustic pianos — at many pitches and loudnesses, and designed an algorithm that resynthesized the necessary harmonics and noises each time you played a note. For the first time, SAS made it possible to synthesize a grand piano with remarkable accuracy, and it provided the engine for a huge range of electronic pianos. Indeed, some acoustic piano manufacturers felt so threatened by Roland's flagship HP5. HP5. 60. 0 that they complained when the company used the word 'piano' to describe them, fearing that it would confuse prospective purchasers (this paralleled a similar response to Laurens Hammond's use of the word 'organ', and the US Federal Trade Commission's assertion in 1. Model 'A' and 'AB' should be classified as 'electrotones', because they did not have pipes!). Kakehashi responded by adding the word 'digital' to every Roland Digital Piano, sold thousands of them, and everybody was happy..
The follow- up to the MSQ7. MIDI sequencer offered a far larger memory and greatly enhanced editing capabilities.
Initially marketed alongside the HP5. MKS7 as part of the Roland MPU Music System, it spawned a series of stand- alone products, and its derivatives would later provide the sequencing power for Roland's keyboard workstations.
On the corporate front, Kakehashi was again active, adding Roland Italy S. A. The second of these is today an important ingredient in Roland's worldwide manufacturing capability. It's sometimes hard to remember that there was a time when it was impossible to synthesize a realistic acoustic piano sound.
In fact, it was as recently as 1. Kurzweil demonstrated that it was possible to imitate the piano using PCM- based synthesis. However, the K2. 50 was expensive and, while some players loved its sound, few would have suggested that it was almost indistinguishable from the real thing. Two years later, Roland changed all that.. When the SAS system appeared, it was a revelation. With more than 3. For the first time, you could recreate acoustic and electronic pianos on a range of stage instruments, and — most realistically of all — on the range of domestically styled Roland Digital Pianos.
Of these, the most celebrated was the RD1. Famously adopted by Elton John, this featured a superb 8. KS1. 1), all of which looked and sounded as good as anything since.
It offered just eight voices, but you could tweak these with a three- band EQ, and add chorus and tremolo, storing the results in a further 5. M1. 6C cartridge. The polyphony was stingy by today's standards — just 1. The same SAS system was available in a MIDI module, the MKS2. HP- series domestic pianos, which offered the same sounds without the editing and memories. Instead, they came with dedicated speaker systems built into heavy wooden cases that emulated the resonances and rattles of.. Coupled to improved acoustic design for the domestic/concert pianos and, more recently, a genuine hammer action, these developments have kept Roland at the forefront of the digital piano market for nearly two decades.
Roland described the D5. Linear Arithmetic Synthesis' engine as 'A new universe of sound beyond the limits of conventional synthesis'. For once, the hyperbole was justified. The D5. 0 and D5. The first half of the secret was the invention of the technique now known as 'sample and synthesis', or S& S.
Roland's engineers had discovered that much of the information that we use to identify and categorise a sound is contained in its first few hundred milliseconds. They reasoned, therefore, that synthesized sounds would be more realistic if they had snippets of the attack portions of 'real' instruments before the conventional synthesis waveforms. So the D5. 0 contained a ROM that held 1. PCM samples. Although these were very short by today's standards, they enabled the D5.