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ORIGINAL DEMO SONG
“Natal Dance”
Composer’s Notes by WATUSI
(COLDFEET)
■ Specifications
■ Rear Panel
●Sound Generator: 2 x Oscillators (with Sub Oscillator, PWM, Oscillator Sync, or Ring
Modulation), 1 x Filter (LPF/BPF/HPF/PKG/OFF), 1 x Amp, 2 x LFO (7 forms) ●Note: Patches
using Oscillator Sync will be monophonic. These patches can be used in Part 1. Sub Oscillator,
PWM, Oscillator Sync, and Ring Modulation cannot be used together in the same patch.
●Parts: 4 (or 3 + 1 Rhythm) ●Maximum Polyphony: 32 voices ●Waveform: 67 waves
(7 categories) for main oscillators, 63 rhythm waves for rhythm sets ●User Memory:
Patches: 128, Rhythm Sets: 2, Performances: 64 ●Preset Memory: Patches: 128, Rhythm
Sets: 2 ●Arpeggiator: Style Programmable (Step Input/Realtime Input), Arpeggio Styles:
64, Rhythm Styles: 64, Tempo = 20.0—250.0 BPM ●Chord Memory: Chord forms: 64
●Display: 8 segments, 3 characters (LED) ●Connectors: Output Jacks (L/MONO, R), MIDI
Connectors (IN, OUT), Foot Switch Jack, Headphones Jack (Stereo), AC Adaptor Jack ●Power
Supply: AC Adaptor (ACI Series/PSB-1U) ●Current Draw: 1,000 mA●Dimensions: 303 (W)
x 228 (D) x 91.5 (H) mm/ 11-15/16 (W) x 9 (D) x 3-5/8 (H) inches ●Weight: 1.9 kg/4 lbs 4 oz
●Accessories: AC Adaptor (ACI Series/ PSB-1U)
C11 Bass 1 Bass sound with Resonance effect
C12 SyncLead 1 Oscillator Sync lead sound
C13 Slicer 1 Beat sound that uses the LFO
C14 Arpeggiator Saw 1 Dance sound with ample use of Arpeggiator
C15 Dist Lead Feedback lead with distortion strongly applied
C16 LFO Pulsing FX sound with heavy use of Noise waveform
and LFO
C17 Spank Noize Noise sound used in the demo song "SPANK"
C18 GR300 Lead Lead sound using the distinctive analog-synth
Saw wave
C21 Synth Orch Analog PAD sound
C22 Techno Saws Classic deeply-detuned Dance sound
C23 Ring Bell Bell sound produced with the Ring Modulator
(INS-FX)
C24 Filter Arpeggiator Sound with a strong sense of beat produced with
filter controlled by Arpeggiator
C25 Noise Pad Noise sound with distinctive character
C26 Low Sweep Sweep sound typical of analog synth
C27 Bass Beat Bass sound with a sense of pulsation from
the LFO
C28 Arpeggiator Saw 2 Dance sound with ample use of Arpeggiator
C31 Moving Noise FX sound using LFO
C32 Moving Strings String sound with changes produced using
the LFO
C33 Soft Lead Distinctive analog-synth soft lead sound
C34 Arpeggiator Saw 3 Sequenced sound using Arpeggiator
C35 PWM Pad PAD sound using the PWM function
C36 Techno Voice Synth voice sound with Resonance
C37 Analog E.Piano Electric piano-type sound characteristic
of analog synths
C38 Zap Classic sound that uses a higher Resonance
setting
C41 Bass 2 Mild, low bass such as used in drum and bass
C42 Bass 3 Soft bass such as used in Hip Hop
C43 Bass 4 Classic SH-101-type bass sound
C44 Bass 5 SH-101-type bass sound with Resonance
applied
C45 Bass 6 Classic Mini-type bass sound
C46 Bass 7 Synth bass using saw wave
C47 Comp-F Bass Bass sound used in the demo song
"CompFusion"
C48 Bass 8 Bass sound with Resonance applied (variation)
C51 Bass 9 Bass sound with Unison function
C52 Bass 10 Bass sound using multiple oscillators
C53 Bass 11 Bass sound with Resonance applied (variation)
C54 Bass 12 TB-303 bass sound, as used frequently
in Techno and other styles
C55 Bass 13 Bass sound with delay
C56 Spank Bass Bass sound used in the demo song "SPANK"
C57 Bass 14 Bass sound with distortion applied
C58 Lead 3 Pipe lead sound using triangle wave
C61 Lead 4 Pipe lead sound with combined rectangular
wave and noise
C62 Lead 5 Lead sound with combined triangular wave and
vibrato
C63 Lead 6 Lead sound using saw wave
C64 Lead 7 Lead sound with combined rectangular wave
and pulse wave
C65 Lead 8 Lead sound using rectangular wave
C66 Lead 9 Lead sound with phaser added
C67 Lead 10 Lead sound with Resonance
C68 Lead 11 Lead sound with soft distortion added
C71 Lead 12 Lead sound using PWM
C72 Lead 13 Lead sound using SPECTRUM waveform
C73 Lead 14 Lead sound using Oscillator Sync
C74 Lead 15 Lead sound using distortion
C75 Lead 16 Lead sound with distortion and delay applied
C76 Syn Organ 1 Synth organ sound
C77 Syn Organ 2
C78 Synth Sitar Synth sitar
C81 Bell 1 Synth bell sound
C82 Bell 2 Synth bell sound variation
C83 Analog Piano 1 Analog synth piano-type sound
C84 Synth Clavi 1 Analog synth clavi sound
C85 Synth Clani 2 Analog clavi sound with distinctive attack
C86 Analog Key 1 Analog keyboard sound with Resonance
C87 Analog Key 2 Analog keyboard sound
C88 SEQ 1 Sound for analog sequences
Patch List
87
Still, the most outstanding feature of the SH-32’s arpeggiator is its
ability to work with the Chord Memory function, mentioned
earlier. If you are a trance-techno fan, you won’t want to miss out
on this feature—just hit a note for instant trance riffs!
This arpeggiator, of course, also lets you create your own original
styles. You can program using either step recording or realtime
recording. Select the grid number and press the Write button to
start the metronome (with accented beats) for guidance. Then you
can quickly begin note input using either the SH-32 virtual
keyboard or an external MIDI keyboard. You can input not only
arpeggios, but conveniently input original rhythm styles as well.
To make even more advanced arpeggios, simply connect an
external MIDI sequencer and load the phrase data. (The SH-32 can
load a note’s pitch, duration and velocity for some highly
expressive arpeggios.) Once you’ve created an apreggio style you
like, simply store it for instant recall later.
—————————————————————
A full-blown MIDI module
—————————————————————
Increase the flexibility of the SH-32 by combining it with an external
MIDI device. The SH-32 comes with a set of MIDI In and Out ports;
a soft Thru is available so sound modules can be connected serially.
The SH-32 is complete with all the MIDI parameters you need:
Local, MIDI channel and clock settings, etc., can be made after
turning the effects setting knob to the SYSTEM position. Simply call
up parameters using the corresponding buttons and change the
settings with the Value buttons. You can freely set control channels
for patch and performance modes. The arpeggiator and LFOs can
be synchronized with an external MIDI clock, and SH-32 settings
can be transferred to an external sequencer as system exclusive
messages.
A dedicated knob is provided for parameters such as aftertouch
and velocity. Select the parameter with the knob and enter the value
with the Value buttons. Flexible control is provided. For example,
you can use modulation messages to change the oscillator pitch,
filter cutoff and LFO pitch fluctuation applied to the amp level; and
use the pitch bend, after touch and velocity messages to make fine
changes to the sound. By connecting a dual foot switch, you can
control the on/off status of insertion effects and reverb/delay, and
navigate up and down through the chord memory and arpeggio
style numbers.
We hope this booklet and CD have given you a better idea of the
power that lies within the SH-32 Synthesizer, but the best way to
experience this tabletop beast is to play one for yourself. So go
ahead and check one out at your local Roland dealer today!
Track
15
Bank C (User)
—————————————————————————————————————————
No. Patch Name Comment
—————————————————————————————————————————
Performance List
————————————
No. Performance Name
—————————————
Bank D (User)
—————————————————————————————————————————
No. Patch Name Comment
—————————————————————————————————————————
D11 SEQ 2 Sound for analog sequences
D12 SEQ 3
D13 Reso BPF 1 Sound with Sweep, typically used in Techno and
other styles
D14 Reso BPF 2 Techno Sweep sound variation
D15 Reso HPF Techno Sweep sound with special filter
characteristics
D16 LoFiRing LoFi sound using Ring Modulator
D17 4th Saws Techno sound with oscillator layering fourths
D18 Comp-F Lead Lead sound used in the demo song
"CompFusion"
D21 4th Reso Saw Techno sound with Resonance
D22 SEQ 4 80's-style analog sequence sound
D23 SEQ 5 Sound for analog sequence
D24 PolySynth 1 Polysynth sound
D25 PolySynth 2
D26 PolySynth 3
D27 PolySynth 4
D28 Comp-F Poly Synth sound used in the demo song
"CompFusion"
D31 TRAVELER 1 Synth sound used in the demo song "TRAVELER"
D32 SawStack 1 Saw stack sound used for Dance, Techno, and
other styles
D33 SawStack 2
D34 SawStack 3
D35 Brass 1 Classic analog brass sound
D36 Brass 2 Soft synth brass
D37 Brass 3 Soft synth brass with lots of resonance
D38 SynthPad 1 Synth PAD sound using saw wave
D41 SynthPad 2 Analog PAD sound
D42 SynthPad 3 Soft PAD sound with sweep
D43 SynthPad 4
D44 SynthPad 5 PAD sound with Phaser
D45 Analog Strings Analog strings sound
D46 Soft Strings Soft analog strings
D47 Oct Strings Analog strings sound with added octave
D48 SynthPad 6 HPF-swept PAD sound
D51 SynthPad 7 Bell PAD sound
D52 SynthPad 8 PAD sound with filter controlled by Arpeggiator
D53 SynthPad 9
D54 Slicer 2 PAD sound using slicer
D55 LFOPad PAD sound using LFO
D56 StepFlanger 1 PAD sound using Step Flanger
D57 StepFlanger 2
D58 Pot Analog percussion sound
D61 MetalStick Analog tambourine-like sound
D62 Electronica 1 Driving sound used in Electronica and other
styles
D63 Arpeggiator Saw 3 Dance sound with ample use of Arpeggiator
D64 SynthFX 1 FX sound with ample use of LFO Slicer
D65 SynthFX 2 FX sound with ample use of LFO
D66 SynthFX 3
D67 SynthFX 4 PAD FX sound using Noise
D68 SynthFX 5 FX sound with ample use of LFO
D71 SynthFX 6 Classic analog FX sound using sample and
hold LFO
D72 SynthFX 7 FX sound using LFO and Noise
D73 SynthFX 8 Sweep FX sound
D74 SynthFX 9 Classic FX sound using pink noise
D75 SynthFX 10 Bell FX sound with delay added
D76 SynthFX 11 Noise Sweep FX sound
D77 SynthFX 12 Analog sound simulating drops of water
D78 SweepingUp FX sound used in the demo song "SPANK"
D81 TRAVELER 2 Synth sound used in the demo song "TRAVELER"
D82 TRAVELER 3
D83 TRAVELER 4
D84 TRAVELER 5
D85 TRAVELER 6
D86 TRAVELER 7
D87 TRAVELER Bs Bass sound used in the demo song "TRAVELER"
D88 INIT PATCH Initial Patch
(convenient Patch to use when creating sounds
from scratch)
1-1 Power Beat
1-2 Techno Beat 1
1-3 HipHop Beat 1
1-4 HipHop Beat 2
1-5 Pop Beat 1
1-6 Dist Sync
1-7 LoFi Stack 1
1-8 Noise FX 1
2-1 LFO Pad
2-2 Pop Beat 2
2-3 Asian Beat
2-4 Bell ARP 1
2-5 LoFi Stack 2
2-6 Techno Beat 2
2-7 Noise Beat 1
2-8 Noise Beat 2
————————————
No. Performance Name
—————————————
3-1 Clavi Beat 1
3-2 Noise Beat 3
3-3 LFO Low Beat
3-4 Saw Beat
3-5 Analog Gamelan
3-6 Techno Beat 3
3-7 Stack Pad 1
3-8 Stack Pad ARP
4-1 Stack Pad Beat
4-2 Stack Lead
4-3 BPM Pad
4-4 Techno Beat 4
4-5 Noise Beat 4
4-6 Pulsing Pad 1
4-7 Noise Beat 5
4-8 KalimbaGliss
————————————
No. Performance Name
—————————————
5-1 Sync Beat
5-2 Noise Beat 6
5-3 Organ Beat
5-4 Stack Pad 2
5-5 Sweep FX
5-6 Dance Beat 1
5-7 Pop Beat 3
5-8 Noise Beat 6
6-1 Noise Beat 7
6-2 Noise Beat 8
6-3 Sweep Pad 1
6-4 Bell ARP 2
6-5 LoFi Stack 3
6-6 Pop Beat 4
6-7 Clavi Beat 2
6-8 Stack Pad 3
————————————
No. Performance Name
—————————————
7-1 Bell ARP 3
7-2 Pulsing Pad 2
7-3 Noise Beat 9
7-4 Dance Beat 2
7-5 Bellpad
7-6 Dance Beat 3
7-7 LoFi Stack 4
7-8 Bell Stack
8-1 Sometimes
8-2 Dance Beat 4
8-3 Poly Brass
8-4 Dist ARP
8-5 Sweep Beat
8-6 Broken!
8-7 Sweep Pad 2
8-8 INIT Performance
Rhythm Wave List
————————————
No. Rhythm Wave Name
—————————————
1 SH32 Kick
2 TR808 Kick 1
3 TR909 Kick 4
4 TR909 Kick 5
5 TR909 Kick 9
6 TR909 Dst BD
7 Plastic BD 2
8 Plastic BD 3
9 Plastic BD 4
10 JungleKick 2
11 TR909 Snr 3
12 TR909 Snr 4
13 TR909 Snr 5
14 TR909 Snr 6
15 TR909 Snr 7
16 TR808 Snr 5
17 TR808 Snr 8
————————————
No. Rhythm Wave Name
—————————————
18 Break Snare2
19 Flange Snr
20 TR707 Rim
21 TR909 Rim
22 TR808 Rim
23 TR808 RimLng
24 Ragga Rim 2
25 TR808 Tom
26 TR909 CHH 1
27 TR909 CHH 2
28 TR808 CHH 2
29 TR808 CHH 3
30 TR909 PHH 1
31 TR909 PHH 2
32 TR808 PHH 1
33 TR909 OHH 1
34 TR909 OHH 2
————————————
No. Rhythm Wave Name
—————————————
35 TR909 OHH 3
36 TR808 OHH 1
37 TR606 Cym 1
38 TR909 Ride
39 TR707 Ride
40 TR909 Crash
41 TR909 Clap 1
42 TR909 SnClp1
43 TR909 SnClp2
44 Group Clap
45 TR808 Cowbell
46 Techno Shaker
47 TR626 Shaker
48 CR78 Tamb
49 HiBongo LoFi
50 LoBongo LoFi
51 P-Zing
————————————
No. Rhythm Wave Name
—————————————
52 MG Zap 6
53 MG Zap 7
54 MG Zap 12
55 MG Blip
56 Beam HiQ
57 CR78 Beat
58 MG WhiteNoise
59 MMG PinkNoise
60 TR909 Snr2
Reverse
61 BreakSnr2
Reverse
62 FlangeSnr
Reverse
63 TR909 Crash
Reverse
Rhythm Style List
————————————————————
No. Rhythm Style Name
——————————————————————
11.r BASIC (HOUSE/TECHNO 1)
12.r BASIC (HOUSE/TECHNO 2)
13.r BASIC (HOUSE/TECHNO 3)
14.r BASIC (HIPHOP/R&B 1)
15.r BASIC (HIPHOP/R&B 2)
16.r BASIC (REGGAE 1)
17.r BASIC (REGGAE 2)
18.r BASIC (POP)
21.r BASIC (ROCK 1)
22.r BASIC (ROCK 2)
23.r BASIC (ROCK 3)
24.r BASIC (ROCK 4)
25.r BASIC (ROCK 5)
26.r BASIC (ROCK 6)
27.r BASIC (ROCK 7)
28.r BASIC (ROCK 8)
31.r TECHNO/HOUSE 1
32.r TECHNO/HOUSE 2
33.r TECHNO/HOUSE 3
34.r TECHNO/HOUSE 4
35.r TECHNO/HOUSE 5
36.r TECHNO/HOUSE 6
————————————————————
No. Rhythm Wave Name
———————————————————
37.r TECHNO/HOUSE 7
38.r TECHNO/HOUSE 8
41.r TECHNO/HOUSE 9
42.r TECHNO/HOUSE 10
43.r TECHNO/HOUSE 11
44.r TECHNO/HOUSE 12
45.r TECHNO/HOUSE 13
46.r TECHNO/HOUSE 14
47.r TECHNO/HOUSE 15
48.r TECHNO/HOUSE 16
51.r TECHNO/HOUSE 17
52.r TECHNO/HOUSE 18
53.r TECHNO/HOUSE 19
54.r TECHNO/HOUSE 20
55.r TECHNO/HOUSE 21
56.r TECHNO/HOUSE 22
57.r TECHNO/HOUSE 23
58.r TECHNO/HOUSE 24
61.r HIPHOP/R&B 1
62.r HIPHOP/R&B 2
63.r HIPHOP/R&B 3
64.r HIPHOP/R&B 4
—————————————
No. Rhythm Wave Name
——————————————————————
65.r HIPHOP/R&B 5
66.r HIPHOP/R&B 6
67.r HIPHOP/R&B 7
68.r HIPHOP/R&B 8
71.r HIPHOP/R&B 9
72.r HIPHOP/R&B 10
73.r HIPHOP/R&B 11
74.r HIPHOP/R&B 12
75.r HIPHOP/R&B 13
76.r HIPHOP/R&B 14
77.r HIPHOP/R&B 15
78.r HIPHOP/R&B 16
81.r DNB/2STEP 1
82.r DNB/2STEP 2
83.r DNB/2STEP 3
84.r DNB/2STEP 4
85.r DNB/2STEP 5
86.r DNB/2STEP 6
87.r DNB/2STEP 7
88.r DNB/2STEP 8
Going with my impression of the SH-32 being a modern
representation of the good qualities of the ‘80s and ‘90s
music scene, my overall approach in composing this piece
was, while applying the qualities of New Wave, to try to
create a chilling feel with a tribal pattern. (The truth is,
being stimulated by the sounds of this box, I ended up proceeding on a
whim, going from idea to idea.) My tools were an SH-32 combined with
Digital Performer. I thoroughly edited sounds that I felt needed attention.
Those sounds led to phrases, which I entered as MIDI data and then
recorded, one by one, to hard disk. From there I worked on the overall
composition. This was my workflow. I kept my use of plug-in effects to just
partial use of an equalizer and compressor. Mainly, I used the onboard
effects of the SH-32.
As for the main sound, I wanted to introduce the SH-32’s great rhythm
sets so I used lots and lots of TR-909 sounds, making them a central
fixture of the piece. For synth sounds I relied on preset patches and edited
them over and over. (For me, that was the fun part of using the SH-32).
I made liberal use of features such as the ring modulation and pan effects,
the auto arpeggiator, and chord memory.
Starting from the top, in order, I somehow thought up the intro chord
when playing the keyboard after creating this sound. Also, the low-pitched,
sine-wave-like sound was edited from a -909 tom. The
sound you can hear on the right channel had its pitch
tweaked in real time. Now, following the development, the
percussive, filter-like sound you hear was recorded after
going nuts tapping a rhythm patch and then switching the
filter type using a note number followed by tweaking to death the basic
cutoff and resonance. The flashy, arpeggio-like phrase is patch D57 with
some fine-tuning. The descending and ascending arpeggio-like sound is
preset pattern 44a. After using it to create a phrase using the chord
memory, a filter in the LFO section was used to produce the squirmy feeling.
Further developed parts employed typical motifs using the chord memory
along with pads and a metal kalimba. The part which returns you to the
intro pattern was created exclusively using the arpeggiator. The rhythm
styles that spin out are a parade of preset patterns: 76, 83, 84, 87, and 88.
They are all blurred, 6-beat patterns. The final whistle-like sound I made
from scratch using portamento with a full-on analog feel.
The sounds of the SH-32 stirred my feelings because they contained a sort
of inexactness that lent a slightly rough-edged, analog feel. That is the
quality I picked up on and pursued when choosing parts to edit. It is my
hope that when you listen to my piece you will be able to feel this quality,
which differs from the so-called PCM synth sound.
Section 2 Exploring the SH-32