Roland SH-32

This is supposed to be a retro-style interface. It might remind many users of the old Arp Odyssey's perhaps. So one advantage of this style of non-menu driven interface is the realtime tactile tweaking that it affords the user. That being said, I do not find this module to be intuitive in the least. A huge problem when combining retro interface gizmos like dials and sliders with digital memory is the fact that old parameter settings on the dials and levers become obsolete as soon as they've been recalled. Ideally, there needs to be diode settings to reflect the memorized parameters (eg. see the Behringer V-Amp 2). Of course, this would have added considerably to the cost, which is quite reasonable given the features of the unit.

Lots of polyphony, lots of sound editing. See other reviews for details. I don't like its minimalist LED display. A small LCD menu would have been much nicer. I wish Roland had added a "randomize" function, to create random settings (although there is the UI feedback problem mentioned above). Note that this is NOT a groovebox. There's no sequencing abilities, other than its substantial arpeggiator (which I find difficult to use, given the user interface).

This is a pseudo-analog emulating synth module. I say "pseudo" because it really doesn't sound analog whatsoever. However, that is not to say that it doesn't have a character of its own. It can produce some noisy, nasty sounds, albeit on the thin side.

Haven't had it too long. Metal case looks solid. Plastic dials seem flimsy.

I use this as an additional sound source in my home studio. It cannot be considered a central module to a music setup, but rather, it is a fun source of sonic inspiration. Hopefully a Windows-based editor will appear for it in the near future.

The Software version I'm using is whatever it came with out of the box - I suppose that would be version 1 or whatever. The presets sound good, if not kind of stereotypical, but this is easily fixed because the front panel layout is very easy to use for anyone who has ever used an analouge synthesiser before. The manual is typical Roland fare, that is to say poorly translated from Japanese. I feel you would be better off just digging in.

The sh-32 is 32 voice polyphonic. There is no real "keyboard" per se, but a one octave keypad set up like a keyboard that is not velocity sensitive or aftertouch capable. I use it with a Midi guitar however, so this is no issue for me. There are a lot of useful built in effects which are as easy to use as the synthesizer section, and all applicable can be synced to MIDI. As far as I know the only "expansion" is to upgrade the operating system so far. It will accept any MIDI you send it. Very extensive. There is no sequencer, but a very flexible arpeggiator which is programmable.

This box does not try to duplicate existing instruments, but instead is used to create your own unique sounds. At this it excels. Any type of music that can utilize a synthesizer will benefit from this little guy. The onboard effects are great, and the synth and effects react well to my guitar playing (I use guitar to trigger) It responds well to Velocity and aftertouch and both of these can be adjusted by a know on the front panel.

Seems to be a solid piece of gear, I intend to take it on the road with me. My experience with Roland gear is that it is usually sturdy, and this is know exception.

I have never had to deal with Roland for any reason.

If lost, I would replace this thing right away. It makes a wonderful guitar synthesizer. I have been playing for 22+ years, and my other devices are too numerous to mention. The only thing I don't LOVE about it is that it seems like you can only latch an arpeggio that you started with the built-in keypad and not the guitar. This may be fixable with new OS, however. The only thing in the price range that I feel is simular is the korg ms-2000 which is left in the dust by this thing in terms of polyphony, effects, and pdrice. I find it to be a very inspiring tool in the studio and live.

I am using OS 1.06.

The presets do not show anything about this synth full capability. It seems Roland try to keep the presets the most simple so that they can serve as sound template rather than ready-to-use deluxe sounds. (That's what bread-and-butter or samplers are for anyway.)

The presets serve well as templates. The editing is very fast and easy for people familiar with subtractive synthesis. There is no menu diving. Patch editor will not make editing easier, but a patch librarian might turn out very helpful because it's so easy to create sounds on the SH-32 and you will run out of the 128 user writtable sound memory pretty quickly.

Manual is average at the least. They should have included the MIDI implementation. ($10 per from Roland.)

SH-32 sports 32 oscillators. A voice can use up to 2 oscillators. There are parameter buttons that also serve as keyboard. They are just note on and off, but they are useful enough for programming the arpeggiators, trigger sounds, playing chord memory and it can transpose over 8 octaves.

The built in effects are just like those in BOSS multi effects. They are minimal but very versatile and useful in sound shaping (think Swiss Army Knife). All effects sound like they should sound. They are all surprisingly distinctive and expressive to say the least.

No expansion for this board that I know of.

I dont' have the MIDI implementation manual so I have no idea what it can do. But all knobs will send MIDI controller Message (super nice!) and/or Sysex. Very configurable.

The onboard arpeggiator is full programmable and it can made polyphonic. Different from the traditional ones that are usually monophonic. Very cool. The arpegiator will work for the drum sets also. In performance mode the arpeggiator has extensive use. We will talk about that.

SH-32 is set to Bass Boost Mode from the factory. It's not recommended for big loud speakers which is what I use. At first I thought this box sounds horrible. Too muddy and distorting. But once I turn off the bass boost function. It sounds GREAT! I reckon the Base Boost Mode is useful in case you need to play in a small party with no real PA system. Kudos to Roland for being thoughtful. Sometimes these silly situations come up for us who play music that people can enjoy at parties.

Back to the sounds. They sounds better than my JV-2080's "analog" sounds, that's for sure. The variations of waveforms skyrocket this machine's versatility. For example, I was trying to emulate this bass sounds from a record the other day. It's a very simple dull bass sound. It wasn't until I realized I should try other waveforms, that full usefullness of wave variation prevailed. You can't imagine until you hear how 10 types of saw waves can make a bass sound sounds so much different through the same filter and envelop settings. This is another edge that the SH-32 has over all "analog" modeling machines that only have one type of saw, square, sine waves.

The type of music it works well for? Any type. It's a synthesizer, not Band in the Box program. YOU program it to sound what you like.

Does it react to playing? There are velocity modulations routed to cutoff, loudness, attack envelope, etc, just like all other Roland synths that I have owned. So yes it can be programmed to react to your playing. If you want it static, just turn these modulations off.

SH-32 has settings for Aftertouch -> cutoff and loudness as well.

In performance mode, you can layer all 4 parts of the SH-32 and play with one MIDI channel. The arpeggiator will also work dependently for each sound in each part. You can even make very complex evolving one-finger FX sound with this thing. Big plus!!!

Like other Roland products I would guess. One thing I like about buying from big companies is that their quality control of the product is good. (I still have nightmares about my Waldorf Q used to fail all the time in the first few OS versions.)

I have no idea.

I will probably get a new one if it was stolen. I don't see any other machines as flexible, versatile and self sufficient (polyphony, sample drumsets, arp, etc.) at this price range in the market.

I have been playing it for 2 weeks and I haven't touched my Waldord Q and Novation Nova since then. It's just so much more fun and easier to get cool grooves and sounds going with this thing.


I compared this box with MS2000r. The MS2000r filter is obviously much better than the SH-32's because the SH-32's has zipper noise. SH-32's filter will not self-oscillate in the sense that when only the resonance is turned up, but you aren't playing the keys, you won't hear the sine wave as in the case with real analog filters. However, if you play the keys, you will hear the self oscillation. After this is not a real analog synth. Anyway, back to MS2000r. The synth only has 2 parts and 4 voices and it's a little more expensive than the SH-32. The decision is obvious.

The only thing I wish is that they fix the cut off filter zipper noise.

The presets sounds are a mix of melodic and noisy patches.
Editing is very easy (supposing you have used analog synths before and know what ADSR and Cutoff mean).
Manual is ok, but some features are a little tricky to catch at first glance. (note: english is not my native language and the manual came only in english)

Polyphony is GREAT! Much better than other analog modeling synths. 32 notes in all!
The effects are very configurable and very useful.
There is an arpeggiator that is relatively easy to use and does the job.

The sound quality is overall, great. I own a Moog Rogue and the sound quality is near impossible to distinguish on a similar patch. Good job of Digital Modeling from the engineers at Roland.

Had it only 2 weeks, but I feel this could last a lifetime (metal casing and LED display)

Don't know yet...

Yes I would buy another one right away if it was stolen.
I've been playing synths for about 15 years.
I like the "hands-on" editing.
My only complaints are, as others have pointed out, the audible steppiness of the filter cutoff knob AND the fact that the highest cutoff frequency is not high enough (compared with real analog synths) and the resonnance cannot self oscillate. Also, the sound of the waveforms is somewhat filtered out at ultra low frequency witch makes a sawtooth wave sound more like a dulled pulse, but this is compared to a real analog synth remember... All in all, considering the low price ($700 CDN) it is a SUPERB instrument. I was also considering a MS2000-R before buying the SH-32, but better polyphony and better effects and a slightly lower price did it for me.

Very user friendly

Lots of bang for the buck. Aside from the steppy filter, I think it sounds better overall than my ms2000r. The dist. on this is WAY more usable. the dist. on the MS2k gets muddy. Sounded warmer than my Korg as well, I was convinced ultimately that this sounded more analog. Warm lowend. I REALLY have had a strong dislike for Roland for a while, and I am shocked by how much I liked this thing. I really felt that for a while Roland was really going right for marketing, and minimal features with alot of "hype" advertising. BUT, I really feel they crammed alot into this box for the price, and it actually has MORE polyphony than the MS2k, and more timbres!!! WAY better effects, more punch, etc.....

WARM! Great fx, 32 note ployphony, 4 timbres! Very good at a really good price. Clearly better than the A station.

Only demo'd it.

Overall I like it (so far) more than my MS2000r. The real test will be when I buy it. So far though it seems like it will fit in well with my setup.

I think the presets sound great.It sounds kind of metalic and definitly diferent from all other roland stuff and I just got it yesterday so I havent played with it enough to rate it deaper.I also think it is very intuative to use

I dont feal like explaining all that and if u go to www.rolandus.com I am surre u'll get the hints u nead.But what I can tell u is those knobs and sliders have a very deep and flexible inpact on the sound and u can get some very,very interesting resolts if u make cutting edge music.

expressive????hell yes.By the way I dont understand Why is it so cheap i mean Thanks ROLAND

I have only had it for a day but when u see how some things look u get that gut fealing that its gonna last forever,well I got that fealing.In this rating categorry I am gonna put no opinion,but I am gonna rate it in my own words,"gut fealing:9"

I have dealt with this company before and they are very helpfull

I am just gonna say that the outlook on my set up has changed its color to a brighter so I am raitn' it

Software version: default. I note there is already an update on www.roland.co.uk but not downloadable yet, no info on what's changed or fixed or improved.

Presets: 128 good, basically vanilla examples of the range of sound types you can work out from with the available architecture. Tweak any of them a little and they can change dramatically (for the better!)

Editing patches: Quite easy -- if you're familiar either with the Roland JV/XV architecture or with the JP-8000/8080, you'll immediately understand 90% of the architecture. Interface has that same intuitive, performative quality that made the JP-8000 such a huge success.

LFO capabilities quite good, understanding how to apply them takes a little practice (for example the LFO _depth_ setting can be set independently for each Destination -- OSC1, OSC2, Filter, Amp, Pan -- but the LFO _rate_ applies across all destinations for each LFO -- you can set LFO1 & LFO2 rates simultaneously or independently from each other, though). Classic Roland LFO waveforms, same as on JV architecture.

OSCS: the heart of the synth. All the classic synth waveforms, with interesting and distinctive variations upon saw, pulse, tri as well as spectrum (providing a kind of physical-modeled tonality -- e.piano, guitar, bell, etc. -- for the OSC). Plenty of variation here, editing is extremely easy, mixing OSCs simple.

Envelopes: Again, very clear-headed interface, much like the JP8K. AD for pitch, ADSR for filter, amp, with time key following (i.e. amp env. can be adjusted for increasing/decreasing rates up/down keyboard). Simple but very flexible. Env amount is positive/negative for all 3 envelopes.

Filter: 12db and 24db slopes, classic Roland LPF, BPF, HPF and PKG. PKG as always particularly good for extreme resonance-based sound. Filter self-oscillates like a banshee. No major changes immediately apparent compared with previous Roland JV and JP filter designs. Filter Cutoff knob only has 0-127 steps so, while filter itself modulates smoothly, doing smooth, analog-style classic filter sweeps generates that "stepped" sound some people hate. I'm used to it so don't mind it but be aware if that sort of thing bothers you. LFO best used for filter sweep modulation. Why couldn't they have done a better job with these controls, use 16-bit rather than 8-bit variables to handle cutoff and resonance? Any chance for improvement in an update here?

Four banks of patches, A and B are User and C and D are Preset, 256 patches total. A and B banks are replicas of C and D banks default from the factory. Easy to bulk-dump patches, banks, arpeggio styles, patterns individually or as a group to a sequencer, so really endless no. of patches possible.

Noise OSC: like the JP- line, the ability to use the 10 Noise variations for OSC1 or OSC2 widens the sound palette considerably. Even better variety for noise-based sound (including filtered noise for whistles, space music, etc.) than the JP, in my opinion.

Ring Mod, Hard Sync: Ring Mod keeps filter on, sounds wonderful, esp. with noisier waveforms; hard sync disables main filter but see below re: efx section filter. Hard sync sound is _very_ hard, definitely acid sounding.

Seems like the filter, envelope settings are applied across both OSCs simultaneously, as with JP, so use multi-timbrally (up to 4) for wider variety of sound-sculpting.

Manual is just fine except for lack of inclusion of usual full MIDI instrument memory architecture documentation. No info on Sysex, etc. Manual follows combination of JP and MC-505 style presentation (i.e. structured well for beginners, not a lot of meaty in-depth info though, unlike say XP-80 manual).

Polyphony: 32-voice polyphony, traditional Roland Patch/Performance architecture with 4 parts multitimbral (as opposed to JP 2, JV 16). Plenty of polyphony, including combination of 3 OSC voices with 4th rhythm-track part. Best considered, though, as a solo lead/bass-line synth in main strength, consistent with SH line. Solo and Unison modes as well as sub-osc for each of OSC1 and OSC2 provide incredible flexibility in terms of producing thick or complex melodic/bass lines. Nice little built-in, sample-based drum machine as well, integrates effectively into overall architecture without weighing down main synth engine performance.
Keyboard action: it's a box without keyboard, but definitely worth mentioning is the ability to adjust settings for modulation control, aftertouch and keyboard velocity, as well as key following, so the SH32 is very much oriented towards keyboard hook-up, and responsive with same.

Knob and slider action: as with JP synths, nice, smooth and solid/rugged feel to the knobs. Knobs are current Roland instrument-standard, i.e. with nice wide base, very easy to do subtle adjustments (which makes the 0-127 i.e. 8-bit values for the filter and cutoff ranges all the more maddening! <g>). Sliders if anything feel even more rugged than JP8K, as their new design is less likely to encourage accidental slamming at either extreme of the slider's action.

Effects: For the most part a replication of the excellent range of multi-effects Roland is shipping with their SP-808ex, XV line, EF-303, etc. Notable is the new addition of a number of "Sync" versions of chorus, delay, flanger to exploit the BPM Sync option on the LFO panel. Wide range of beat-synchronized efx thus possible, and ability included as well to link efx section with reverb/delay section in series or in parallel, for even more variety. Great slicer, sync-slicer, Lo-fi and noise efx, plus "EZ Filter" for use of LPF, BPF, HPF, PKG filter at _end_ of architecture routing, particularly useful when using the osc hard-sync feature (which disables main filter). Ring delay effect is a new one, really unusual, sounds like revving a motorcycle engine, great for scaring the neighbors. Tricky at first to control, just like a Harley. <g>

Expansion: none, just good bulk-dump control. Software control over MIDI Thru, only MIDI In/Out. Full 1/4" outputs, though.

MIDI capabilities: responds to velocity, aftertouch, mod and pitch-bend controls (all adjustable on the SH32 in detail).

Arpeggiator: more like a mini-sequencer and/or step modulator. Lots of included styles, following, again, classic Roland design tradition, with addition however of lots more editability than in the past, less reliance upon stock style/motif/etc. collection. Bunch of patterns for drum section in addition, much like substantial subset of MC-505/D2 pattern sequencing (again, with editing). Very intuitive design, easy to real-time or step edit using keyboard or onboard bank/patch select buttons. Aside from the pattern sequencers on the MC- line and D2, this is the best arpeggiator/sequencer implementation Roland currently has on the market (aside from the traditional MC-80), and is as intuitive to use as those on the MC- 505 and D2. Less memory for saving but again, easily rectified with bulk-dump to an external sequencer.

Sound Quality: Very expressive. Quite distinctive sound (this coming from someone who's intimately familiar with current state of VA and multi-sample synth technology, Europe and Japan both). Truly worth it for unique capabilities. Really, honestly something new in the area of synth sound design. Can copy a wide range of what VA and multi-sample does, but in a different category. Not as feature-rich as higher-end offerings in either area might be, but nevertheless unique. Much easier to use for newcomers to synthesizers, more likely to encourage active sculpting. Good and interesting and _fresh_ results come quickly working with this instrument.

Note that the emphasis in the sound generators (all 67 of 'em) for the SH32 is on providing excellent fodder for the rest of the architecture. Each separate sound generator has subtle details to it that call for close study and effective use. The integration of these sound generators with the filter, efx and modulation capabilities is quite tight, so you know there's nothing on this score that is "throw-away" in the design of the instrument's sound. This is a very carefully thought-through instrument, not just a re-hash of existing concepts.

Works best for almost any type of music, particularly good for music where an expressive, electronic voice is added to other elements. Not a workstation, not an instrument to do full orchestral scoring, certainly sufficient for any DJ setup, excellent supplement if you already have a good VA or multi-sample synth.

Onboard efx: excellent sounds. Really interesting results. Wide range of experimental sounds possible.

How does it react to my playing? Very easy to use the sound-sculpting interface in real-time, so you get immediate feedback on what you're doing _while you're making the music_. I really think this has been the fundamental effort at Roland for the past five years: with both this and the D2, Roland have really emphasized the ability to take all the components that have been available for years in sound design and make them very easy to use as part of your musical performing, or improvising. Instead of the traditional scoring, detailed note-taking approach here you tweak and use your ears to discover results. Kind of at the opposite end of the spectrum than, say, Csound. <g> Takes sound design out of the lab/studio and makes real-time sound design part of your performance practice. Jeff Pressing would approve.

Metal case, which some would say emphasizes ruggedness, but I'm of two minds about that -- plastic is lighter and more flexible! <g>

Absence of back-lit LCD means that 20 years from now the SH32 will still be going strong, and you'll still be able to see everything you're doing. Nice, rugged knobs and sliders design, LED interface is retro-simple but really cool once you get used to it. This synth's built to live forever.

Wall-wart power supply. Some hate this but it makes the box smaller, lighter, cooler, extends the instrument's life and as long as the world makes 9v, 1000 milliamp transformers you'll never have to spend a fortune to send your synth in to have the power supply replaced. Also makes for easy replacement when (not if, when) the power cord is tromped on, cut, pulled, etc.

This thing's actually probably solid enough to use without backup. Only thing I'd do is make sure any custom patches are saved elsewhere, equipment (sequencer, computer etc.) is available for quick re-load if needed and, since this is just out, use it plenty before going live to make sure it doesn't do something mysterious to you in front of a crowd of 30,000. :)

If you're patient, professional, logical and objective in your approach to problem solving, you will get help. If you come in screaming, with a chip on your shoulder, ready to take your current frustrations out on the nearest tech support person whether they're responsible for them or not, you'll get predictable results.

Upgrades are easy, as with all current Roland gear. For whatever reason, Roland rarely releases info on fixes/updates. Repair is easy as Roland has worldwide service.

If it were lost or stolen, I'd pick another one up tomorrow. Well worth the money.

Been playing music for 35 years, playing synths for 5. Own a wide range of other gear, from Nord Modular to Waldorf Q (rack) to XP-80 to Microwave XT to Cakewalk Sonar.

I love the SH32 for its sound, simply. That's what matters. I love it for the fact that I can dig into it quickly and get unique results I can't get with any of my other instruments. It's not "better" or "worse" than any of them, just definitely different. It's a very musical instrument, if your definition of musical extends well beyond the conventional.

The only thing I "hate" is the filter cutoff "stepping" sound, due to the 8-bit value used to provide the range for the filter cutoff knob. This amazes me, as the filter itself is perfectly smooth when modulated by the LFO, so the "stepping" sound is not due to any limitation of the filter, merely to the fact that the cutoff knob basically goes from 0-127. Change that to a 16-bit number and miracle of miracles, you have 0-16384, sufficient for a nice, smooth sweep sound. PLEASE, Roland, if there's any chance you can re-code the software to change the filter cutoff range from 0-127 to 0-16384, DO IT. That would be a HUGE selling point particularly for those who don't understand why the filter cutoff has this "stepped" sound. You're shooting yourselves in both feet by handling it with an 8-bit value. There has to be a good reason for your having done so.

Compared this very specifically, over time, to an MS2000. There are lots of nice things about the MS2000, and price is identical, but the unfixable mod-sequencer timing issue unfortunately knocked the MS2000 out of my consideration. Otherwise, lots of nice things to say about the MS2K. SH32 is more slicing/metallic/screaming in sound, which I like better; MS2K is more traditionally "analogue-ish," with a softer, rounder overall tendency. I chose the SH32 for its ability to complement the very weird stuff I do with the Nord Mod, Waldorf Q and Microwave XT. It's perfect in a mix with any or all of those.

Do I wish it had anything else? Hmm, there's always something.... well, yes: I wish the EQ efx had been included in the Reverb/Delay efx unit instead of in the Insert efx unit, so could use EQ _alongside_ the other Insert efx, instead of just EQ with Reverb/Delay. Independent EQ from all the efx would've been even better (as with, for example, VS-1680/2480 and VM-3100). Ability to adjust independent LFO rates for each modulation destination, instead of having LFO rate for LFO1 or LFO2 apply across all destinations (and efx) equally. Something to make it easy to fit the SH32 into a standard rack (it's GREAT that it's so tiny, but inconvenient when you want to rack it). Nothing else I can think of right now.

The SH32 is really an exciting little instrument with a huge sound palette. It's the kind of instrument I know I will continue to enjoy for many, many years to come. Hats off to the Roland engineers who managed to pack so much, into such a small box, for so little; in that way, the SH32 is an aesthetic masterpiece. I also, for one, have to say that I appreciate Roland's evolutionary rather than revolutionary approach to interface design; as someone who's been familiar with the Roland way of doing things for awhile now, I find it's a real relief not to have to "reinvent the wheel" when I approach a new Roland synth. Basically, I can take skills and practices built over time and continue to apply them, which -- as a musician -- helps me spend more of my time making music, instead of learning interfaces. So in that way, the SH32 is a real musician's instrument, not an engineer's perfectionist dream.

Editing voices is quite easy and doable w/o the manual. Some more
advanced features are less obvious (and that's where some kind of menu would actually be
of help!). Again, the voices have really simple architecture
and ADSR sliders and all that make work easy. Deserves credit for
small footprint.

I suppose it's 4 times multitimbral (not sure yet). Effects are
passable.

Sounds are ok, sort of meat and potatoes VA fare. In general,
left me unimpressed. Almost about any piece of gear can
sound more interesting. There are some nice Sci-Fi patches with
lots of S/H LFO modulation and effects, but that has limited
applicability.

N/A

I tried it a few times in the store, and I'm not buying it.
Same amount of money can be spent on things infinitely more
interesting.

Most presets sound pretty good out of the box.
Editing is where the SH-32 shines. This thing
is very tweakable so that can be easy for some or
hard for other people. I find it medium hard but
love the results!
Manual is ok with average step by step instructions.

a 32-voice polyphonic, 4-part multitimbral analog modeling synth with built-in effects designed to recreate classic sounds of it's predecessors as well as new and unique sounds.

I got this for unrealistic sounds since that is what I am into.
As far as the effects, heres the ripped off list from this web site
The SH-32 also provides an insertion effect and reverb/delay, available to all four parts. Available insertion effects include:

Stereo EQ
EZ Filter
Isolation
Auto Wah
Overdrive
Distortion 1
Distortion 2
Stereo Compressor
Stereo Limiter
Phaser
Rotary
Hexa-Chorus
Tremolo Chorus
Space-D
Stereo Flanger
Step Flanger
Sync Step Flanger
Ring Modulator
Lo-Fi
Lo-Fi with noise
Slicer
Sync Slicer
Tremolo
Sync Tremolo
Auto Pan
Sync Auto Pan
2-voice pitch shifter
Feedback pitch shifter
Stereo Delay
Sync Stereo Delay
Resonance Delay
Reverb
Gated Reverb
The Reverb/Delay effects section includes:

Reverb - Room
Reverb - Stage
Reverb - Hall
Stereo Delay
Sync Stereo Delay
Long Delay
Sync Long Delay
Panning Delay
Modulation Delay
Stereo Chorus

Metal case a plus, the sliders seem a tab fragile to me but
this is being kept in my studio so not an issue.

Have dealt with Roland on some other issues with other equipment
and found them to be ok to deal with.

Right now I'm loving the Sh -32.. so of course if it was stolen
I would replace it. I play/create experimental and techno.
Currently own Roland Juno 106, EG 101 (dont buy) XP-10. Emu Proteus
2000 with Xlead rom pak, Proteus 2. Korg Electribe ER-1. Also use
most all VSTi and Cubase VST 5 ,Orion Pro and Acid Pro 3.0

I had wanted to get the Korg MS2000 rack mount but glad I waited
and Roland released the SH-32.. I have no need to get the MS2000
now and this is cheaper . Another plus is its footprint is about
the size of the Korg Electribes so it doesnt take up a lot of
room in my cramped studio.