A Roland History: A history of early Roland synthesizers, sequencers, drum machines, and effects by Mike Perkowitz (map@cs.washington.edu) Synthesizers --------------------------------------------------------------------------- --------------------------------------------------------------------------- System 700 Large Modular synth, modelled after Moog modulars. --------------------------------------------------------------------------- System 100 The 100 was a semi-patchable synth that was similiar in styling and sound to the early SH series synths. The System 100 was designed as a series of boxes to be purchased a piece at a time, and assembled into a fairly powerful system. There is a basic keyboard/synth - the 100, an expander box - the 102, a 12 step X 2 row CV sequencer - the 104, a mixer - 105?, and monitor speakers - the 109. --------------------------------------------------------------------------- System 100m The 100m is totally unlike the 100, both in appearance and sound. The 100m is more truly modular, with a series of different modules which are bolted into a rack (several sizes were available). Modules include the M-110 VCO/VCF/VCA, the M-112 dual VCO, the M-121 dual VCF, the M-130 dual VCA, the M-131 Mixer, the M-132 dual Mixer and Voltage Processor, the M-140 dual Envelope/LFO, the M-150 Ring Mod/Noise/S&H/LFO, the M-172 Phase Shifter/ Delay, the M-180 and M-181 Keyboards, and the M-182 Sequencer. The sound of the 100m is "thinner" and more precise than the 100. --------------------------------------------------------------------------- SH line Including the SH-1, SH-2, SH-3, SH-3a, SH-5, SH-7, SH-09, SH-1000, SH-2000 The SH-1000 and SH-2000 are basically preset synthesizers with some variability and tweakability. No external CV/gate control without modification. Like the SH-3 and SH-3a, they have all controls to the left of the keyboard or below it. The other SH synthesizers are non-programmable monosynths with CV/gate control. From the SH-1 up to the SH-5, they tend to increase in features and functionality while, I believe, the SH-7 and SH-09 are not as complex as the SH-5. --------------------------------------------------------------------------- Promars Kind of a weird proto-Jupiter monosynth. --------------------------------------------------------------------------- SH-101 Perhaps one of the most popular monosynths of all time. The SH-101 is a single oscillator CV/gate monosynth with a simple built-in sequencer. The 101s look and feel almost like toys and, correspondingly, come in red and blue as well as a more stolid gray. --------------------------------------------------------------------------- MC-202 Another toy-like monosynth, the MC-202 is, as a synthesizer, very similar to the SH-101. However, the MC-202 is also a two-track CV/gate sequencer which can be used to control the SH-101 and other CV/gate synths --------------------------------------------------------------------------- TB-303 Another toy-like Roland product, the little silver box has become a legend for its acid sound. It's a painfully simple monosynth with a painfully confusing sequencer (which also sends CV/gate information) all in a cheap plastic box. --------------------------------------------------------------------------- Jupiter line The Jupiters were kings of the Roland polyphonic analogue synth line. Voice architecture used two VCOs, low-pass filter (except for the JP-6's multimode filter), and two envelopes, with various kinds of modulation possibilities. Jupiter-4: in some ways closer in sound to the earlier SH series than the later Jupiters, the JP-4 is somewhat of a prototype of the Jupiter line. Polyphonic, two oscillators, a small amount of patch memory, and no external control interface (not even CV/gate). Jupiter-8: probably the warmest and richest of the Jupiters in sound, the JP-8 followed the JP-4. The JP-8 just preceded MIDI and has Roland's own DCB (a MIDI-like system found only on the JP-8 and Juno 60). Earlier JP-8s don't even offer DCB. The Roland MD-8 can convert between MIDI and DCB, and the JSQ-60 and MSQ-700 can both sequence a DCB synth. The JP-8 is an 8-voice, two-VCO synth. Random arpeggiations, cross-modulation, 64 patch memories, and split/layer. Jupiter-6: about one of the first MIDI synthesizers in the world. The JP-6 is somewhat of a little cousin to the JP-8. The sound, however, is quite different. The JP-6 can be colder and harsher, a complement to the JP-8, and its resonant low-pass/high-pass/band-pass filter gives it an unusual sound. The JP-6 has a rudimentary MIDI implementation. It's a 6-voice synthesizer with the same basic architecture as the JP-8 but with a few more features and modulation routings. In split mode, the JP-6 is bitimbral over MIDI. Its arpeggiator can sync to a trigger signal but not MIDI. MKS-80: the fully MIDI rackmount Super Jupiter. In some ways, the MKS-80 is the apex of the Jupiter line. It's a 2-unit rackmount with more programmability and modulation flexibility than any previous Jupiter. It has a complete MIDI implementation including sysex parameter control. The rackmount MKS-80, of course, has no knobs or sliders for programming, but there is an available (but hard to find) programmer for it, the MPG-80. The MKS-80 has 8 voices and more features, but is very similar in sound to the JP-6, except for the loss of the multimode filter. It has no arpeggiator either. --------------------------------------------------------------------------- Juno line The Junos were the affordable younger cousins of the Jupiters. Based on a single DCO architecture with a low-pass filter and one envelope, plus a chorus circuit for additional fullness. Juno-6: like the Jupiter-4, a sort of rudimentary prototype of the Juno line. The same basic architecture and sound as the later Juno-60, but without patch storage or the DCB interface. Juno-60: probably the warmest and fullest of the Junos, Like the Jupiter-8, the Juno-60 just predates MIDI and has DCB instead (see the Jupiter-8). All Junos share the same basic architecture: single digitally-controlled oscillator, suboscillator tone, low-pass filter, one envelope, and a lush chorus. Unlike any later Juno, the Juno-60 has a basic arpeggiator. Juno-106: probably one of the most popular polyphonic analogue synths of all time, the Juno-106 is a much-loved, fundamental, basic synth. It has a full MIDI interface, including realtime sysex for its sliders and the ability to save and load patches over MIDI. The Juno-106 is generally considered to be a little thinner than the Juno-60, a little more digital sounding. HS-60: home version of the Juno-106. Identical except for the presence of two speakers. Alpha Juno-1: the next "progression" of the Juno line. A compact synth with the same basic Juno architecture with a few extras. All the front-panel sliders are replaced with membrane keys and a data wheel (the alpha dial), although a programmer was made, the PG-300. The Alphas also recognize velocity and aftertouch data via MIDI. The Alphas are generally considered a bit more digital and less full than the Juno-106. Alpha Juno-2: an Alpha Juno-1 but with a five-octave keyboard which is velocity and aftertouch sensitive. Used the PG-300. MKS-50: a single-unit rackmount Alpha Juno. Could also use the PG-300. HS-80: possibly a home version of the alpha juno, with speakers. (?) --------------------------------------------------------------------------- JX line The JX line somewhat took over from the Jupiters and Junos, with some overlap. The architecture was based on two DCOs, low-pass filters, and a single envelope. Somewhat more complex, in general, than the Junos, but not as flexible as the Jupiters. JX-3P: the first JX, a basic synthesizer with a rudimentary MIDI implementation. Front panel editing was without sliders or an alpha dial, but simply funky buttons and a slider. A programmer was offered, the PG-200. The JX-3P had no arpeggiator but offered a simple one-track sequencer. MKS-30: the "Planet-P", a rackmount version of the JX-3P. Slightly cleaned up MIDI implementation, but still no ability to control parameter values via MIDI sysex. JX-8P: a somewhat more complicated version of the JX-3P, with better MIDI implementation and more usable programming interface. It could also be programmed with the PG-800. JX-10: the "Super JX" keyboard. Basically two JX-8Ps in one larger keyboard. Could also use the PG-800. MKS-70: a rackmount JX-10 with better MIDI (including sysex). --------------------------------------------------------------------------- MKS modules All the MKS modules are rackmounts, most of them rack versions of other synthesizers. MKS-10: analogue piano module. MKS-20: analogue piano module. (?) MKS-30: rackmount JX-3P (see JX line) programmer: PG-200 MKS-50: rackmount Alpha Juno (see Juno line) programmer: PG-300 MKS-70: rackmount JX-10 (see JX line) programmer: PG-800 MKS-80: super jupiter (see Jupiter line) programmer: MPG-80 MKS-100: rackmount S-10 sampler MKS-220 (?): rackmount sampler, about twice an MKS-100 ---------------------------------------------------------------------------