AXIAL Patches for your Synth! Axial has patches from a number of classic Roland synthesizers like the Jupiter-8, Juno-106, TB-303, SH-101, D-50, Alpha Juno, and XV-5080. Most of these are sampled from the original instruments and processed using Roland’s Supernatural sound engine, in order to recreate a tweakable yet playable patch. Roland’s GAIA Synthesizer is pretty strange looking to say the least when comparing it to the other Roland synths I’ve reviewed. I don’t review smaller keyboards often (generally stick to 88 and 61 key products), but when I do review them, you know they’re good. If you look at the MiniNova or the JD-Xi also by Roland, they’re quite decent products – both of which I have reviewed.

If you don't like programming synths via obscure two‑line displays and arcane menu systems, the Roland Gaia SH01 could be just what you're looking for..

Roland haven't exactly flooded the market with analogue modelling synthesizers since the JP8000 in 1997. It took another 10 years before the SH201 appeared, considerably cheaper, yet unlikely to ever generate the same interest. Next up is the brand new Gaia SH01, which is potentially more memorable, thanks to its impressive polyphony, convenient size and a back‑to‑basics layout. Throw in the ability to act as your computer's audio interface, pitch the price just right, and this curvy white and black synth could tempt beginners, experienced campaigners and live performers alike.

Earthly Delights

Maybe the name has worked its spell on me (I can't stop dreaming of dolphins and incense) but I find the Gaia SH01 to be Roland's most touchy‑feely synth in years. Back-lit buttons in several colours contribute to a look that falls somewhere between elegant and kitsch, with a dash of boutique hi‑fi. The blend of knobs, sliders and buttons is perfectly judged; sliders where speed is required, knobs for precision. For each modulation depth, a gentle detent in the middle of the control marks the zero point because, happily, all modulation is bi‑polar.

Brimming with confidence, this synthesizer banishes the usual screen and menu systems. Admittedly, this leads to an arcane subset of normal operations centred on the Shift key, but there's still a healthy whiff of old-school values — in keeping with the 'SH' prefix.

On the flip side, you'll see there's a battery compartment, although if (like me) you don't have the eight AA batteries required, the more usual external power arrangement applies. Battery life is quoted at five hours.

In a niche at the rear are two USB sockets: one is your means of doubling the onboard patch memory, the other provides direct connection to a PC or Mac. Two MIDI ports are present (no prizes for guessing the one that isn't), and audio is delivered via the familiar stereo pair of quarter‑inch jack sockets. A headphone output and pedal input complete the rear connections, although there is one further input, a stereo mini‑jack on the front panel.

The Joy Of Threesomes

The SH01's front panel. As you can see, everything is controlled via knobs, buttons or sliders, without even an LED display to be seen.

The architecture Roland have chosen is both classic and easy to grasp: oscillator, filter, amplifier (each with an envelope), plus an LFO to move things around. Depth and complexity are achieved by simply tripling this structure. The three tones are layered across the keyboard without the option of splits or zones — either for simplicity's sake or because the keyboard, at three octaves, isn't long enough to justify it.

If you imagine that everything is going to take three times as long to program, you needn't worry. You can freely select one, two or all three tones to tweak at once, and there's also a helpful tone 'copy and paste' button. Programming is, therefore, refreshingly fast, direct and inviting — exactly as it should be.

Strange But True

Up to 64 notes of polyphony is quoted, which is a surprising amount for a modelling synth of this type. Remember, Roland's JP8000 could summon only eight notes, the SH201 a couple more. Like me, you might be wondering how this is achieved and how it can be exploited — but all I could discover was that it involves a new-generation chip with greater processing power.

The picture becomes cloudier when you realise that the SH01 contains a complete General MIDI 2 engine only accessible via MIDI. This inclusion seems quaint, especially since neither the GM logo nor any listing of the GM2 patches appear in the manual. Delving further, I figured the logo failed to earn its place because only 15 MIDI channels are available for GM playback (one is reserved for the SH01 itself).

Without resorting to external rechannelisation, you can't play the GM patches from the SH01's own keyboard, nor is there any clear indication of how resources are shared between the GM and the SH01 synths. All I can tell you is that I never ran out of notes, and never felt close to doing so. Ultimately, despite the slightly weird implementation, the GM voices could prove handy if you're gigging with just an SH01 and a sequencer. Alternatively, they could be a hindrance if you need the SH01 to share a MIDI port with another synth (because there's no obvious way to turn off GM channels that are not needed).

There's a further twist, in the form of a single bank of sample‑based presets. There are just eight of these, consisting of a church organ, some strings, brass and saxophone, plus some 'do do dah'‑type voice samples and an ethereal choir. When selecting a patch from this eclectic collection, the analogue modelling synth is temporarily locked out. It may be that these are someone's idea of the peachiest sampled sounds ever. Your mileage may vary.

Sounds Like

At the back of the SH01 are a power button and port for the external PSU, headphone and stereo outputs on quarter‑inch jack sockets, connections for an optional pedal and MIDI I/O, and two USB ports.

The PCM diversions aside, all the usual analogue waveforms (and noise) are offered, plus Roland's much praised Supersaw. This simulation of seven stacked and slightly detuned sawtooth waves invokes a lush ensemble even with just one tone active. Engage more and the SH01 rapidly fills out into morbid obesity. Each oscillator waveform possesses three tonal variations; these, although sometimes subtle in isolation, help achieve a more natural blend when stacking tones. There is a limited amount of interaction between tones 1 and 2 — essentially ring modulation and oscillator sync. When you switch into either of these modes, the tone buttons turn orange as a reminder.

Ring modulation is great for clangy, metallic textures, but oscillator sync, although rough, brash and cutting, has the unfortunate side effect of forcing the synth into mono operation. It is in mono mode that the SH01 reveals its digital origins most clearly, specifically in the envelope department.

To illustrate what I mean, here's a simple test. In mono mode, set the amplifier envelope's attack and release to maximum then hold down a note so that the level gradually increases. Release the note and quickly play a second one. In an analogue SH synth, the second note smoothly starts its ascent from the current release level. However, the SH01 does what many other digital synths do, which is to assume that every note lives in isolation. New notes start their journey from silence, and therefore the SH01's mono patches sound most realistically analogue with short attacks. Long ones invariably deliver deviant accordions.

It's only fair to point out that Roland aren't alone in this 'mono sin'. The same behaviour is seen in many software synths, suggesting that the major push has been to mimic analogue oscillators and filters, leaving envelopes, well, 'unlicked' is the word that comes to mind. I can't really consider this behaviour a 'con' (it may be that the goal was not to simulate analogue envelopes anyway) — but here's a plea to developers everywhere: remember the humble capacitor!

Moving swiftly on, the filter sports four modes: low‑pass, band‑pass, high‑pass and peaking, with each switchable between 12 and 24 dB. I thought the low‑pass response a little odd at first; it becomes surprisingly restrained (or maybe compressed) as resonance increases. This isn't to say that it lacks squelch — it doesn't. And with familiarity I came to appreciate it as one of Roland's better digital filters, in terms of not actually lobotomising anyone at high resonance.

The SH01 grows in stature as you spend more time exploring it. It willingly supplies the full spectrum of analogue noises, from warm, fuzzy strings and blippy arpeggios to fat, blubbery basses and loads of solid, contemporary sounds. It's refreshing to encounter a modern instrument designed to be programmed, rather than merely permitting it. As there's no 'take‑up' mode for the controls, you may experience audible leaps when you select a patch and get stuck into making adjustments. Happily, for the dedicated tweaker, there's a leap‑free manual mode that sets all parameter values to their current live positions.

USB, Storage & MIDI

Having quickly established itself as versatile, I was surprised to discover the SH01's patches totalled just 64 preset and 64 user. With a spare USB memory stick slotted in, you gain space for an extra 64 original patches plus eight more phrases. Since patches are known only by their bank and number anyway, it could be that this is as many as anyone is expected to remember.

While USB memory is a helpful add‑on, it's the second USB slot that hijacked my interest. Connected to a PC or Mac, the SH01 not only gains direct MIDI communication but also becomes an audio interface, complete with input via the Audio In socket. The supplied disc contains PC drivers, and I'm pleased to report that they slipped in without even the hint of a glitch. Mac users have to visit Roland's web site to gather theirs, but after that it's plain sailing too.

As a would‑be laptop companion, the SH01's credentials therefore include controller keyboard, sound generator and audio interface abilities. I found audio quality well up to scratch when playing back songs from Ableton Live on a Windows XP PC and, later, on a Mac running OS X. There is one slight down side for computer interaction, though, and it relates to Roland's eternal struggle with the concept of MIDI continuous controllers. I really hoped to use all those lovely knobs and sliders to control my soft synths. Initially, all looked good; I turned a few knobs and MIDI CCs spilled forth. It was only when I began assigning parameters to some objects in Logic that I realised the envelope sliders weren't playing ball — they weren't sending any data. A browse of the manual revealed an extra edit mode that forces these sliders to generate System Exclusive data — but I could find no way to address the CC oversight. Let's hope this can be remedied in an OS revision not too far in the future.

Further widening its repertoire, the SH01's analogue input takes an incoming stereo source and mixes it with the regular post‑effects output. There's a dedicated level knob and a mute button, plus three 'cancel' algorithms that can be invoked to eliminate various signal bands from the centre of the mix. Typically, the cancel feature is intended to remove vocals, kicks/basses or just about anything placed centrally.

Effects

The effects implementation sits neatly in the Goldilocks Zone: it's just right. Select the effect you want to tweak and two knobs serve up the most important parameters, with the Shift key adding two more. Logically, when you activate an effect, it is also instantly selected for knobby adjustment.

The four simultaneous effects are: modulation (or pitch shift), distortion, delay and reverb, plus there's a low‑boost that can be switched in whenever extra oomph is needed. Of the three distortion algorithms, my personal favourite was 'Bit Crash', its range encompassing the charms of ancient low‑resolution samplers and extending almost into vocal filter territory. The flanger and phaser are both spacily on the money and the only blatant omission was a traditional Roland chorus. Fortunately, I found the pitch‑shifter able to simulate a reasonable detuned chorus, which was possibly a better bet than its rather gritty pitch‑shifting. Delay comes in two varieties and reverb has three types, which means that all the basics are covered with a minimum of fuss.

In Performance

The keyboard's velocity response is initially turned off, but if that's a retro step too far, it's soon remedied. You can then begin applying dynamics to the filter or amplitude. Although the keyboard doesn't have aftertouch, other expressive avenues on the map are a programmable pedal input, Roland's combined bender and modulation lever, and a D‑Beam motion controller.

Setting up the modulation lever's actions requires one of those Shift-key operations. In the shifted state, the tone's regular LFO is shunted aside in favour of an otherwise hidden 'lever LFO'. Given that the tone LFO already brings modulation to your fingertips with three very accessible sliders, you might not even care about this second LFO. Me, I reckon the more the merrier. Both LFOs have identical waveform and clock sync options, although only the tone LFO has an auto fade‑in function.

The D‑Beam offers three possible assignments, two of which are fixed (pitch and volume) and one that is variable per patch. It was the variable option to which I turned most often. With it, the D‑Beam takes on the function of any knob or slider. Then it's just a matter of deciding how many tones you want to control and it's time to make with the crazy hand gestures..

Conclusion

Compact without being cramped or compromised, the SH01 is all about direct, uncomplicated synthesis anyone can understand. By layering tones and making individual adjustments to each, you'll find that patches of considerable subtlety or monstrous mushiness are yours to command. Perhaps not the most authentically analogue‑sounding virtual analogue, its bright, modern sheen and distinctive filters identify a synth that is classy in its own right. Its polyphony eclipses all synths in its market area — and then some! Take into account the effects, the external input and the audio/MIDI interfacing and it's clear that the SH01 punches above its weight.

Yes, it would have been nice to have better access to the GM2 sounds (if only because they're there), and it would have been nicer still if all the sliders transmitted MIDI continuous controllers. However, at the price, my niggles (and my personal envelope crusade) hardly make a dent in the SH01's highly recommended status.

Alternatives

For more realistic analogue tonality, plus an array of impressively modelled filters, the Akai Miniak and Alesis Micron are both cheaper than the SH01. However, they are restricted to eight-note polyphony, have a labyrinthine menu‑based programming system rather than knobs, and don't speak USB.

Korg's Microkorg XL is another possible contender, being easier to edit than the Akai/Alesis, and it has a great vocoder. The Microkorg brings USB MIDI and free editing software to the table, although it lacks the SH01's USB audio functionality. If you can adapt to its diddy keys, it might be worth a look.

The final alternative is Waldorf's Blofeld keyboard which, because of its screen, is reasonably accessible, and it features Waldorf's own particular brand of sound and synthesis. However, like the rest, it can't match the SH01 for simplicity of approach or polyphony.

Arpeggiator & Phrase Recorder

The arpeggiator is packed with 64 different patterns that start with the expected up, down, alternate, and so on, and end amongst a host of exotic rhythmic alternatives. Engage the Hold button, so that the arpeggio runs freely, and you're able to devote all your attention to experimenting with the controls.

When you finally drag yourself away from the arpeggiator, there's a second slice of auto‑performance bliss to enjoy, in the form of the Phrase Recorder. This real‑time recorder of keyboard performance and controller tweaks has been around for a while, in various incarnations. Recordings can be from one to eight measures long and are potentially even more showy than the arpeggiator — so it's a shame there's only room for eight phrases in total.

If you select a new phrase while one is playing, it takes over seamlessly after the last measure completes. Recording of knob twiddles with no associated keyboard action produces looping tonal changes you can apply freely to any performance. And if you prefer to record something precise and 'sequence-y, switch on the arpeggiator and capture its output as a phrase. Neat.

A quick word about how the SH01 handles tempo: there's a tap tempo button ideal for manually sync'ing to other players. Tempo is stored in each patch, along with any arpeggio pattern used, plus the usual tempo‑aware parameters (ie. LFO clock divisions and delay times). Alternatively, you can sync to incoming clock, from the MIDI input or from MIDI over USB.

Pros

• Friendly user interface.
• Three-tone structure is simple, yet powerful.
• Built‑in USB audio.
• Sixty-four notes of polyphony.
• Can run on batteries.

Cons

• The usual for a budget synth — no aftertouch, external power supply.
• Despite all that polyphony, only multitimbral via a General MIDI synth.

Summary

The Gaia SH01 is Roland's best‑sounding 'digital analogue' since the JP8000. It should appeal to anyone who wants to program their own sounds but has neither the time nor the patience for menus and unnecessary complication.

information

Roland UK +44 (0)1792 702701.

Choosing the Best Synth for the Gig

In Synth Bass for Bass Players, Part 1, we talked about how doubling on synth bass can increase your opportunities to land more work in today’s music scene. We also outlined some of the important features to look for when choosing a keyboard for playing synth bass. This time, we’ll take a closer look at some Roland synths that are ideal for the job.

Which Roland Synth is Right for You?

While Roland makes many different synthesizers that will work well, we’ll spotlight four models that are particularly suited for the needs of the bass player doubling on synth bass:

• GAIA SH-01 Synthesizer
• SYSTEM-1 PLUG-OUT Synthesizer
• JD-Xi Analog/Digital Crossover Synthesizer
• FA-06 Music Workstation

Each model has its own unique features and advantages. All of them are easy to use, and incorporate the essential bass sounds and real-time controls needed to keep a bassist at the top of their game.

GAIA SH-01 Synthesizer

The GAIA SH-01 looks and feels like it was designed with the bass player in mind. It features a very logical arrangement of synth parameters, and each has its own dedicated control for instant access. More importantly, the GAIA SH-01 cranks out impressive, fat synth basses with a three-oscillator sound engine and up to five simultaneous effects, including a massive-sounding low boost.

The panel layout of the GAIA SH-01 is simple to grasp. It’s equipped with well-arranged knobs, sliders, and buttons that match the signal flow of the patch, making it quick and easy to tweak preset patches or program your own original sounds.

The front panel of the Roland GAIA SH-01 is loaded with hands-on controls for creating and tweaking sounds.

If sound design is not something that interests you, don’t worry. The GAIA SH-01 comes with 64 preset sounds that are suitable for all types of electronic music, and there are lots more available for free at Roland’s Axial site. You have the ability to store 64 user sounds on board as well, and another 64 via a removable USB key.

Compact and easy to carry, the GAIA SH-01 weighs about 9.5 pounds and features a 37-note velocity-sensitive keyboard. It can also run on batteries if needed—great for practicing or programming sounds on a tour bus, or in any situation where AC power is not available.

GAIA SH-01: Top Features for Bassists

• Fat, analog-style bass sounds
• Easy-to-understand panel with hands-on controls
• Simple to save and recall sounds
• Operates with AC or battery power
• Huge collection of sound libraries available from Roland’s Axial website

SYSTEM-1 PLUG-OUT Synthesizer

The SYSTEM-1 PLUG-OUT Synthesizer is probably the most compact synth that Roland has ever made. It weighs in at just under 5.5 pounds, and features a durable, space-saving keyboard with 25 full-size waterfall keys. The SYSTEM-1’s footprint was designed for optimizing space in any setup, and it’s small enough to go into your gig bag, backpack, or carry-on luggage. But don’t let the small size fool you—the SYSTEM-1 is a sonic monster that’s the “transformer” of synthesizers.

Unique to the SYSTEM-1 is its versatile PLUG-OUT technology. Along with its main synth engine, the SYSTEM-1 has a second engine that can host Roland PLUG-OUT software, so it’s like having two synths in one. The concept is brilliant—for one, you can download VST/AU versions of classic Roland synths and use them in your favorite DAW; at the same time, you can also upload the same synth into the SYSTEM-1’s host engine. The latter ability lets you access either the SYSTEM-1’s main engine or the PLUG-OUT synth live, with no computer required. (Check the AIRA homepage for availability on the growing list of SYSTEM-1 PLUG-OUT synths.)

On its own, the SYSTEM-1’s main synth engine provides massive sound with four fat oscillators (including a sub oscillator). All parameters have dedicated physical controls, and the knobs and faders are equipped with backlighting to ensure visibility on dark stages.

The SYSTEM-1 integrates seamlessly with other products in Roland’s AIRA series.

A typical way that you might use the SYSTEM-1 on stage is to have some onboard sounds programmed in the main engine, and a PLUG-OUT synth like the legendary Roland SH-101 (an EDM staple) or vintage SH-2 loaded as well. With the Version 1.2 update, you have quick access to eight patch banks, giving you a total of 64 patches for a live gig.

SYSTEM-1: Top Features for Bassists

• Massive four-oscillator sound engine
• Ultra-compact footprint with full-size keys and backlit knobs/faders
• Unique PLUG-OUT technology allows you to add new sounds to the SYSTEM-1

JD-Xi Analog/Digital Crossover Synthesizer

The JD-Xi is another Roland synth with a small footprint, making it ideal for synth bass duties. But it has an additional cool feature that really makes it stand out—the JD-Xi is a true hybrid instrument that’s equipped with both analog and digital sound engines. This unique crossover design gives you the warm, smooth response of classic analog and the versatility of modern digital, all in one compact synth.

The JD-Xi is a compact crossover synth with analog and digital sound engines and 37 mini keys.

The JD-Xi’s monophonic analog synth section includes saw, triangle, and square waveforms with pulse-width modulation, plus an analog low-pass filter. There’s an independent sub oscillator as well, which is great for bringing extra low-end power to your bass tones.

In addition to the analog engine, the JD-Xi has two digital synth sections with 128-voice total polyphony and high-quality tones powered by Roland’s acclaimed SuperNATURAL technology. There are many digital tones that sound great for bass parts, plus synth pads, electric pianos, strings, brass, and many other sounds for playing normal polyphonic keyboards parts.

With its 37 responsive mini keys, the JD-Xi gives you three octaves of range in a modest space, and many hands-on controls are available for tweaking sounds on the fly. The JD-Xi also includes many other tools for more advanced music making, such as a detachable gooseneck mic and built-in vocal effects, onboard drum sounds, an intuitive four-track pattern sequencer for creating loops, and more.

JD-Xi: Top Features for Bassists

• Hybrid crossover synth with analog and digital sound engines
• Compact size with 37 mini keys and lots of hands-on controls
• Analog low-pass filter and versatile digital filters for shaping sounds

FA-06 Music Workstation

The FA-06 Music Workstation is a 61-note instrument with full-size keys and lots of real-time control. It’s a great choice if you want to grow beyond synth bass to play other keyboard parts on stage, or if you need an instrument that does double-duty as the centerpiece of your music production setup. And with its onboard sequencer and audio playback capabilities, the FA-06 is also ideal for playing backing tracks live.

Ready to support any type of music you play, the FA-06 includes a massive sound collection inherited from the flagship INTEGRA-7 sound module. Secure eraser cnet. As such, the FA-06—and its 88-note sibling, the FA-08—offer the largest array of bass sounds of any current Roland keyboard, with everything from analog-style synths to electric basses to upright acoustic sounds. In addition, the Roland Axial site provides many free patch collections, plus new sounds that can be downloaded into the FA-06’s virtual expansion slot.

While the FA-06 is a 61-note instrument, it’s still light (under 13 pounds) and easy to carry, so it won’t break your back moving it from gig to gig. Unlike other workstation keyboards, it also starts up in seconds, a particular benefit for live use.

The FA-06 is both flexible and accessible. The streamlined panel is logically organized into dedicated sections, with a big color LCD and tons of dedicated buttons, knobs, and sliders. The Sound Modify section is ideal for live control of essential synth parameters, special performance effects, and more. For optimum organization, the FA-06 also provides a Favorite mode, so you can organize your most-used sounds into banks for instant access on stage.

Sound Modify section on the FA-06 front panel.

Since the FA-06 is a multi-timbral instrument, you can layer sounds on top of each other to create the ultimate in supersize bass sounds. Each sound has its own dedicated multi-effects unit, while the master effects section allows you to add compression, EQ, and TFX (including filter and subsonic bass) to the overall output.

Going beyond synth bass, the FA-06 is a full-featured workstation that offers extensive creative capabilities. With a 16-track sequencer, built-in performance sampler, USB audio/MIDI for computer integration, and much more, it’s an ideal command center for music production on the road and in the studio.

FA-06: Top Features for Bassists

• Large selection of electronic and acoustic tones
• Layering of tones for building massive bass sounds
• Dedicated knobs for real-time control
• Can do double-duty as the master keyboard in a home or mobile studio setup
• Extensive effects capabilities for enhancing sounds
• Patch and sound expansion options available from Roland’s Axial website

Visit the synth product pages at RolandUS.com to learn more about Roland’s entire synthesizer lineup. Telecharger driver bluetooth samsung r530 specifications.