▼ Of particular note are the 20 variations provided for the Spectrum waveform. These waveforms are based on special harmonic overtones and formants that would be difficult to express on subtractive analog synthesizers. But with the SH-32, you can turn them into gorgeous digital synth sounds or unique lead sounds difficult to produce on an analog synthesizer.
Adding to the effectiveness of the SH-32’s sound is the sub-oscillator with a unique Subsonic mode for ultra-thick bass sounds. Just choose from one of three settings: octave down, Subsonic mode, and off. The result is deep, booming bass that dance music producers crave. And since the subsonic mode is more than a simple low-range EQ boost, you can achieve fantastic effects even when using prominent lead sounds and filter sweep pads.
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Filter and Modulation
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This section explains the SH-32’s filter section. The filter is what determines the timbre of a sound. By adjusting the cutoff, you can make a sound seem brighter or darker. Add some resonance and you get that distinct “electronic” characteristic synthesizers are known for. There are four filter types on the SH-32: low pass, band pass, high pass, and peaking. The slopes can be switched between –12dB and –24dB for truly sharp and penetrating edges. The peaking filter is particularly powerful—keep an eye on the resonance to avoid blowing your speakers! The SH-32’s filter is so responsive, you can even produce wah-wah like sounds by adjusting the cutoff while leaving the resonance fixed.
Like the oscillators, the SH-32’s filter was designed with analog feel. So while there is no analog circuitry inside, you still get that sharp analog edge and easy knob- and slider-based control. Be sure to check out the Envelope Depth slider, the method for changing the emphasis of the ADSR envelope on the filter cutoff. Many musicians place a high value on analog synthesizers because it’s easy to edit sounds. The SH-32 fits right into that “analog” niche by successfully re-creating the sound and feel of these classic instruments.
Figure 2: Waveform List
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LFO
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Equipped beneath the oscillators and filters is the LFO section. Short for “Low Frequency Oscillator,” LFOs are used to introduce variation to a sound such as vibrato. The two main elements of the LFO section, Depth and Rate, can be precisely controlled by knobs. In addition to the LFO 1 and LFO 2 Select buttons you can select among five destinations: OSC1 and OSC2 for obtaining vibrato, Filter for obtaining a wah effect, Amp for obtaining tremolo, and Pan for obtaining an auto-pan effect. There are also seven LFO waveforms including random.
The BPM Sync feature is also unique and convenient. This allows you to synchronize the LFO rate with the BPM (tempo can be input using the Tap function or with the Value buttons). You can select among seven settings—16th notes, triplets and 8th notes—up to two measures in length. This function makes the SH-32 very useful for dance music production where tempo-based effects are frequently used.
Aside from these basic features, the SH-32 includes 35 insertion effects like distortion and phaser, ten types of reverb and delay (loop effects), a user-programmable arpeggiator, plus a Chord Memory function for creating chords from a single note.
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Track High-quality waveforms for unlimited
01-07sound creation
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Let’s take a look at the basic waveforms. The SH-32 contains seven waveform groups: saw, square, pulse, PWM, triangle/sine, Spectrum, and Noise. Each of these has variation waveforms, for a total of 67 oscillator waveforms. These waveforms include those found on traditional analog synthesizers, plus all-new waveforms for creating sounds never heard before.
To begin, let’s audition some typical preset patches. Let’s start with C11 “Bass” which uses a basic sawtooth waveform. This demonstrates the fat and powerful SH-32 character (Track 01). The preset “Bass2” also demonstrates this quality (Track 02).
To check out the Oscillator Sync function, select patch C12 “Sync Lead 1” (Track 03). And for leads, patch D18 “Comp-F Lead” has a powerful presence (Track 04). Next, listen to patch C13 “Slicer 1” which uses the Slicer Sync effect to achieve a changing rhythmic effect (Track 05). You will see that all sorts of characteristic synthesizer sounds can be produced by a single SH-32 when you listen to C23 “Ring Bell” (Track 06), which uses Spectrum, and C25 “Noise Pad” (Track 07), which uses Noise.
When listening to these preset patches, you should notice the high quality of the SH-32’s waveforms. To demonstrate this further, choose any of the Square waveform variations and turn on the sub-oscillator with Subsonic function. This alone brings out the warm atmosphere of an analog synthesizer. The amount of PWM applied is also similar to an analog synthesizer. The Spectrum waveform, on the other hand, produces sounds characteristic of digital synthesizers. Having access to both of these qualities in the same box is part of what makes the SH-32 so fascinating.
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Track Onboard rhythm sets with complete
08-09editing capabilities
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The SH-32 has four rhythm sets (two preset and two user). As stated earlier, these sets feature rich bass qualities, but the large number of waveforms contained should also be noted.
For starters, there’s a full sampling of sounds taken from the TR-808 and TR-909 Rhythm Composers. Accurate to the last detail, these sounds can be morphed into entirely new sounds by varying the pitch, filters, envelopes and effects. The classic CR-78 and TR-606/707/626 waveforms are also included, plus a healthy dose of synth percussion instruments like LoFi Bongo, 909 Dist Kick, Jungle Kick and Reggae Rim.
Now, listen to “Power Beat” and “HipHop Beat” (Tracks 8 and 9). These will give you a glimpse of what is possible when these sounds are layered and arpeggiated.
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Multimode filter with smooth, analog feel
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The filter is probably one of the most important facets of synthesizer sound creation. The SH-32 has four filter types: low pass, band pass, high pass, and peaking (there is also an OFF setting). The peaking filter strongly emphasizes harmonics in the frequency range set with the cutoff. By periodically changing the cutoff frequency you can achieve a powerful wah effect. For filter slopes, you can switch between –12 dB/oct, which is smooth sounding and suitable for pads, and –24 dB/oct, which is tight and powerfully resonating.
Sound transitions are also very natural. The response when using filter envelopes and the Key Follow function is true to the analog tradition. You will no doubt feel just how smoothly and easily sounds change when following the direction specified by the knobs and sliders. The SH-32 provides a wide setting range for cutoff frequencies and resonance width. Whether it’s a synth bass with a strongly boosted bottom range or a hard techno sequence, you’ll get a response that’s both aggressive and accurate. (To make the SH-32’s filter scream, just crank up the resonance!) Even if you don’t like to program sounds, we strongly encourage you to experiment with the filters. You’ll like the results.
WaveWave AccelerationAcceleration SynthesisSynthesis
Roland's Wave Acceleration Synthesis employs a proprietary "accelerated generation" technique for creating synthesizer waveforms. This technique allows the oscillators in Roland's custom synthesis engine to yield more polyphony and waveshape variations when compared to conventional "Analog Modeling" methods. The Wave Acceleration engine also includes highly-optimized filters and other modifiers. The result is an endless variety of amazingly expressive, incredibly fat and punchy synthesizer sounds—from ground-shaking vintage synths to shifting exotic textures and more.
