Product: Roland SH-32
Price Paid: US $500
Submitted
03/05/2002
at
10:49am
by
Anonymous
Ease of Use
:
9
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).
Features
:
10
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.
Expressiveness/Sounds
:
10
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.
Reliability
:
10
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. :)
Customer Support
:
8
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.
Overall Rating
:
10
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.
