SMC Networks SH-32 manual Two independent LFOs with BPM sync, Analog Feel for true vintage sounds

Section 2 Exploring the SH-32

Section 2 Exploring the SH-32

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Two independent LFOs with BPM sync

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The LFO waveforms are triangle, sine, sawtooth, square, trapezoidal, sample & hold, and random. Convenient features are included such as simultaneous editing of both LFO1 and LFO2 by pressing both LFO1 and LFO2 switches at the same time, and the ability to initialize either one by pressing either LFO1 or LFO2 together with the EXT key. A wide setting range is provided for setting the rate width, and when the LFO fade-in function is used, transpositions are possible for dynamic musical changes.

Notable in the LFO section is the ability to synchronize the phase with a song’s BPM. In addition to setting by tapping, synchro- nization can be done with an external MIDI clock by setting system parameters. Another convenience is the Beat/Cycle function, which lets you set four beats of the set BPM to one LFO phase. Furthermore, being able to select among 8, 4, 2, 1, 1/2, 1/3 and 1/4 (in other words, from 2 measures up to 16th notes), opens up a world of inspiring musical possibilities.

Many unique effects are also built into the SH-32. Slicer, for example, is a stereo effect that automatically and continually cuts the sound. A second Slicer type is also provided, which cuts to the BPM of your song using 16th or dotted 8th notes. This effect is useful when, for example, you want to change a filter pad to a rhythmic cutting pattern.

Distortion 1 and 2 are perfect distortion effects for modern musical use. For some truly distinctive effects, try selecting among the record noise types (LP, EP, SP, and rnd) for the LoFi Noise effect. The SH-32’s phaser, which offers a natural phase feeling, captures the true feel of this classic effect without sounding digital. For modulation effects check out the step flanger (Track 10) and ring modulator (Track 11).

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Analog Feel for true vintage sounds

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Another one of the SH-32’s unique features is Analog Feel. This function is designed to add instability to a sound’s pitch—just like analog synths of the past. The amount can be set anywhere

To make life easy, the SH-32 comes with 64 chord forms already built in. You can come up with cool, quick-and-dirty riffs right away by selecting chord forms and playing the keyboard at random. (When thinking up ideas for remixes users will probably use this procedure a lot.) Preset chord forms include all the basic chords as well as sus4, half diminished, 6/9, and those found on Artcore, etc., such as minor 9th and minor 11th.

Of course, it is also possible to create and store your own original chord forms manually. The procedure is extremely simple: Press the Chord button and then play the chord you want to set with a connected MIDI keyboard, or use the Preview function (virtual keyboard) on the SH-32. You can connect a foot switch and use it to change the chord form numbers (the numbers saved to memory). This is great for gigs and for polishing up musical ideas.

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Track Programmable arpeggiator—even more

13-14powerful with chord memory

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inspired. Notable arpeggio styles include those in cutting-edge dance music as well as trance riffs. Rhythm styles include not only the standard house and techno patterns, but R&B, drum ‘n’ bass, 2-step and even reggae.

There are many parameters you can choose from. When playing preset patterns, you can change the beat or swing (Grid adjustment), change staccato and tenuto (Duration adjustment), change the pitch range (Range), or change the ascending/ descending variation (Motif). Note, in particular, the great number of Motif variations provided. Aside from the simple low-to-high and high-to-low, the ten types available include “UP. H”, in which the arpeggiator plays, in order, from the lowest key pressed while both the lowest and the highest notes are played each time, and “rn. L”, in which the keys pressed are played at random while the lowest note pressed is played each time. These fun variations alone are likely to keep you busy for quite a while.

Now let’s take a look at the setting variations for Duration. Normally, the level of staccato is set using a numerical parameter.

Track

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between 0-127 with a higher value producing more instability.

Next, we will introduce the arpeggiator. As you know, the function

On the SH-32 you can optionally perform this setting by

10-11Effects from mild to extreme

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The SH-32 is loaded with killer effects capable of transforming your sounds even further. These effects can be broadly classified into two groups: insertion effects and reverb/delay. With so many effects, you don’t need any outboard gear to create finished- sounding patches on the SH-32.

The SH-32’s two effects sections can be connected serially (for connecting delay after distortion, for example) or connected in parallel. Parallel connection is useful when you want to set the send level individually for each part of a performance or for each tone in a rhythm set.

Even though the effect is analog in nature, the pitch is still being controlled digitally! Imagine how useful this effect would be when playing a lead sound with lots of portamento. And, unlike analog synthesizers, pitch instability can be controlled. Experiment with this function to get the best results.

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Track Chord memory function for composing

12and performing

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Let’s dive a little deeper now and take a look at the SH-32’s Chord Memory function. This function allows you to play, by pressing a single key on the keyboard, a harmony which was registered

of an arpeggiator, as a creative tool, goes beyond its inherent purpose of simply splitting up and playing chords note-by-note. It has many important roles including the production of materials for making phrases, coming up with new song ideas, making basic arrangements, and creating new rhythm patterns.

The SH-32’s arpeggiator is powerful in many ways. First of all, it comes with 64 preset arpeggio styles and 64 rhythm styles that use the preset rhythm sets. The patterns are as varied as they are

controlling filters on the arpeggiator with “Ft1” and “Ft2”. With Ft1, the note number values generated by the keys pressed are replaced with the filter cutoff setting and the sound changes (Track 13). With Ft2, the filter cutoff setting changes with the note number played when the arpeggiator style is being created, regardless of which key is pressed during the performance. Because of this, a fixed pattern step change is obtained that is similar to step modulator. Arpeggio style 52a is also worth checking out (Track 14) as it lets you play in an ethnic style.

Separate reverb and delay are also included in the insertion effects to broaden your toolbox. This allows you to use reverb and delay at the same time or use the two types of delay (long and short) if needed.

beforehand as a “chord form.” For example, if you register note C to be Cm7, you will get a Dm7 chord by pressing D and an Em7 chord by pressing E, etc. (Track 12). This function was commonly found in synths of the early ‘80s. However, today, with music such as Artcore in which sampled electric piano harmonies parallel the riff, chord memory functions offer you a fascinating and creative new way to make music.

ARPEGGIATOR

Buttons used when using step input. From left: Tie, Rest, To Top (returns next input grid to top) and Back (deletes last note input). These buttons also function as part selection buttons when using performance mode.

CHORD MEMORY

These are the main parameters. The four buttons are, from the left: Range (octave range), Grid (beat and shuffle), and Style (arpeggio). When the buttons are flashing they are, from the left: Motif (ascending or descending variations), Duration (staccato and tenuto), and Store. Select between step and realtime input by pressing the Arpeggio On button together with either the Value ▲ or VALUE ▼ button. You can set the tempo with the Tap button.

MIDI/SYSTEM PARAMETER

Turning the effect settings knob to “SYSTEM” accesses parameters that apply to the entire system. Select the parameters using the buttons located above the Roland

logo and set them with the Value

EFFECTS SECTION

▼ Select effect parameters with the knob and set values with the Value buttons

▼ Use the button to turn INS-FX on and off. Adjustments can be made with the Intensity knob.

Insertion Effects

STEREO EQ/EZ FILTER/ISOLATOR/AUTO WAH/OVERDRIVE/DISTORTION 1/DISTORTION 2/ STEREO COMPRESSOR/STEREO LIMITER/PHASER/ROTARY/HEXA-CHORUS/TREMOLO CHORUS/SPACE-D/STEREO FLANGER/STEP FLANGER/STEP FLANGER SYNC/RING MODULATOR/LOFI/LOFI NOISE/SLICER/SLICER SYNC/TREMOLO/TREMOLO SYNC/ AUTO PAN/AUTO PAN SYNC/2-VOICE PITCH SHIFTER/FEEDBACK PITCH SHIFTER/ STEREO DELAY/STEREO DELAY SYNC/LONG DELAY/ LONG DELAY SYNC/RESONANCE DELAY/REVERB/GATED REVERB

Reverb/Delay

REVERB ROOM/REVERB STAGE/REVERB HALL/STEREO DELAY/STEREO DELAY SYNC/LONG DELAY/LONG DELAY SYNC/PAN DELAY/MODULATION DELAY/STEREO CHORUS

Press this button to turn on the Chord Memory function. Use the following procedure to register original chord forms: Press Chord button and make it flash ➜ Press Value button to select a chord form to be overwritten ➜ Press Write button ➜ Preview function activates and sound is played ➜ Press Hold button to stop sound

➜Press virtual keyboard button to specify sound ➜ Press Write button. Press once more to save!

buttons. By pressing the Preview button located above on the far left, these buttons—along with the Manual, Bank, Solo, Unison and Portamento buttons—will function as a virtual keyboard.

A knob is available for controlling modulation parameters to make operation easy. LFO destination, bend, velocity and aftertouch settings are possible.

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