Roland SH-09 User manual

^Roland®
Owner's Manual

Introduction 1
The Roland SH-09 Synthesizer is acompact lead
synthesizer designed to offer the musician
uncompromised sound, performance flexibility and
durability at amoderate price. The SH-09's excep-
tional quality combined with its unique live perfor-
mance and interfacing features allow it to surpass
the capabilities of many larger, more expensive
synthesizers.
The VCO section features virtually rigid pitch
stability in even the most difficult conditions and
produces precise, rich waveforms including: Noise,
Sawtooth, Square and variable Pulse Wave with
both LFO and Envelope Modulation options. ASub
Oscillator produces any one of three parallel tones
that may be mixed with the VCO at the internal
Audio Mixer for thickness and extra flexibility with-
out introducing tuning difficulties. Both the VCO
and Sub Oscillator may be modulated by the LFO
Modulator which includes Square Wave, Delayed
Sine Wave or Sample and Hold options.
The VCF section of the SH-09 features the highest
quality 24 dB/octave Low Pass Filter available for
stability, flexibility and rich, deep tones. The extra
flexibility is achieved through the SH-09's modula-
tion options including: apositive or inverted
envelope, an envelope follower for processing
external instruments, three LFO modulation options,
resonance control that may be pushed into self-
oscillation for use as an extra sine wave oscillator,
and control of the filter from the Bender section.
The VCA may control volume with the Envelope
Generator, directly from the Keyboard Gate, or be
fully opened with aHold switch for added flexibility.
This control is enhanced by the complete four
slider ADSR Envelope Generator which may be
activated by either the Keyboard Trigger and Gate,
.
the Keyboard Gate alone, or by the LFO and the
Keyboard Gate together. These options combine
with other control possibilities to make the SH-09
an exceptionally sensitive musical instrument.
The LFO Modulator control offers Sine Waves with
or without delay, Square Waves, Sample &Hold
and aseparate Sine Wave without delay for the
Pulse Width Modulation section. The LFO speed is
fully adjustable and indicated by LED for precise,
predictable control.
The SH-09 Bender section is the finest available.
The center sprung lever returns to its origin
automatically for quick, easy, musically secure
playing. The Bender may control pitch through the
VCO or tone through the VCF either separately or
simultaneously with amounts preset by the per-
former for exact, predictable control of the syn-
thesizer.
Interface options on the SH-09 include industry
standard CV and Gate inputs and outputs for con-
nection with Roland digital sequencers, other
Roland synthesizers and with any other equipment
offering 1volt per octave Keyboard Control Voltage
and positive voltage Keyboard Gate inputs and out-
puts.
Other instruments may be processed through the
SH-09 using the self contained External Audio
Input with the Envelope Follower contained in the
VCF section.
The SH-09 is equipped with aV* inch phone jack
output for connection with any conventional
amplification and with aseparate Vi inch stereo
phone jack connection for headphone monitoring
through self-contained headphone amplifier. Acon-
nection cable is included with options for connec-
tion to either aVi inch phone jack socket or any
female RCA jack socket.

Front and
Back Panel
Layout
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AUDIO IN
GATE CV
INPUT
GATE CV
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OUTPUT

Control
Descriptions
Modulator Section The Modulator is acontroller used tor producing
regular changes in pitch and tone in the VCO and
VCF sections and for repeatedly triggering the
Envelope generator. The Modulator is based on a
Low Frequency Oscillator (LFO) producing wave-
forms with speeds ranging from 0.2 to 25 Hz. The
Sample and Hold mode also produces random sig-
nals by sampling the output of the noise generator
at arate determined by the LFO.
Mode Switch This switch determines which waveform will be
used for VCO and VCF modulation. The three
options include: (~\j (sine wave), fTJ (square
wave), and Random (S/H) for the Sample and Hold
output
Rate Control The Rate slider controls the frequency or speed of
change for all Modulator outputs. Raising the con-
trol increases the frequency, which may be
monitored with the associated flashing LED.
r\j Delay Time Control When this control is raised, pressing akey on the
keyboard will delay the entry of the LFO sine wave
to the VCO and VCF. Raising the control increases
the delay time, and lowering it fully results in a
continuous output with no delay.
VCO
(Voltage Controlled
Oscillator Section)
The VCO is the basic sound source of the SH-09
and is responsible for the pitches produced and
the basic tone color used.
Tune Control This small tuning knob controls the overall pitch of
the SH-09. The tuning range is ±65 cents.
Range Switch The rotary Range switch changes the VCO pitch in
exact one octave steps from 2' to 32' for atotal
range change of four octaves.
MOD (Modulator)
Control
This slider changes the pitch of the VCO with the
Modulator output according to the Rate and Mode
shape set in that section. Raising the slider
increases the amount of change in pitch.
Control Voltage The SH-09 includes several VCO controls which
are internally wired and do not appear on the VCO
panel. The most important is the Keyboard control
Voltage which permanently controls the VCO pitch
in relation to the keys played. The VCO may also
be controlled by the Bender section through the
associated Bender Sensitivity control.

Waveform Switch This rotary switch selects the VCO output wave-
form, providing abasis pure tone tor the SH-09
to shape and process. The basic waveforms .
include Noise (a hiss including all frequencies, for
various sound effects), Sawtooth wave (a rich tone
for strings, brass and full synthesizer sounds),
Square wave (a tone very similar to aclarinet or
xylophone), and Pulse Width Mod (a variable Pulse
wave sounding from Square wave to very nasal in
tone). The Pulse Width Mod. section includes a
three position Mode switch including Manual, LFO
and ENV modulation options, and aPulse Width
slider control to manually adjust Pulse Width or the
amount of LFO or ENV modulation.
SUB OSC
(Sub-Oscillator)
The Sub-Oscillator is actually apart of the VCO
and produces any one of three parallel tones
including aSquare wave at one or two octaves
below or aPulse wave two octaves below the
VCO. The Sub-Oscillator follows the VCO pitch in
all particulars including LFO and Bender modula-
tion.
Audio Mixer Section The Audio Mixer mixes the VCO, Sub-Oscillator
and External Input signals in infinitely variable pro-
portions before sending them on for processing.
VCF
(Voltage Controlled
Filter Section)
The VCF is used to alter the tone of the Audio Mix-
er output by cutting or boosting harmonics in that
sound. The tone may be altered manually or
automatically through voltage control as anote is
played. The VCF is a24 dB/octave Low Pass filter
which passes low frequencies and blocks high fre-
quencies
Cutoff Frequency
Control
The Cutoff Frequency Control determines how
much of atone will be filtered away by the VCF. In
its highest position the sound will pass unchanged.
As it is lowered the sound will become progres-
sively more mellow until it is filtered away to
silence at its lowest position. This control acts as a
starting position for all other control functions within
the VCF section.
Resonance Control This control emphasizes the frequencies at the
point where the Cutoff Frequency begins to filter a
sound. It is most often used to emphasize motion
within the filter. At its lowest level it has no effect
increasing as the slider is raised until it begins to
self-oscillate near the top of the slider travel. In this
position, the VCF becomes aseparate sine wave
audio oscillator which is controlled by all the
Modulation controls within the VCF section.
Envelope Mode Switch This three position switch determines the source of
Envelope control for modulation of the VCF. In the
/N^ (positive Envelope) mode, the filter cutoff fre-
quency will rise and fall following the shape of the
Envelope. The tone will become brighter and then
more mellow once each time the Envelope
Generator is activated, providing the manual Cutoff
Frequency control is lowered to make room for this
sweep.
In the Kjf (Inverted Envelope) mode, the filter
cutoff frequency will fall then rise agaia following a
mirror image of the Envelope pattern set The tone
heard will begin bright become more mellow, then
more bright agaia Beginning and ending tone is
determined by the position of the VCF Cutoff slider.
The ENV FOL'R (envelope follower) position will
use the changing volume of any audio signal
appearing at the EXT AUDIO IN jack on the back
panel to modulate the VCF cutoff point in aposi-
tive direction. In this mode, the filter cutoff will rise
and fall as the External Audio Input grows louder
and softer, providing the manual Cutoff Frequency
control is lowered to allow for this movement

Control
Descriptions (com)
VCF Envelope Control This control determines the depth to which the
Envelope Mode selected will modulate the VCF.
With the slider at '0' there is no modulation,
increasing gradually as the control is raised to full
depth at '10'.
MOD (Modulator)
Control
This control allows the VCF cutoff to be controlled
by the Modulator section output The slider deter-
mines the depth of modulation whose shape and
rate was selected in the Modulator section.
Modulation increases as the slider control is raised,
with no modulation when the control is lowered to
'0'.
Control Voltage Inputs The SH-09 includes several VCF controls which are
internally hardwired and do not appear on the VCF
panel. The Keyboard Control Voltage is permanent-
ly fed to the VCF so that the tone may subtly
follow the pitch, the way most acoustic instruments
do. The VCF may also be controlled by the Bender
section through the associated Bender Sensitivity
control.
VCA
(Voltage Controlled
Amplifier Section)
The VCA allows the SH-09 output loudness contour
to be shaped automatically by acontrol voltage.
There is no increase in volume in the VCA.
VCA Mode Switch The VCA may be switched between three control
options. Setting the VCA in HOLD mode holds the
VCA wide open so that any sound emerging from
the VCF is passed directly to the SH-09 output
jacks. The ENV f\^ mode shapes the output
volume with the Envelope Generator output. The
GATE _n_ mode shapes the output volume direct-
ly with the Keyboard Gate, fully '0' when akey is
pressed, fully 'off' the next instant all keys are
released.
ENV
(Envelope Generator)
The Envelope Generator produces ashaped control
voltage that may be used to control the VCF cutoff
frequency point and/or to control the VCA loudness
contour.
Envelope Mode Switch The envelope Generator may be activated from the
keyboard in three ways, depending on the position
of the Envelope Mode Switch. In the Gate and Trig-
ger mode, both the Keyboard Gate and Keyboard
Trigger are used to activate the Envelope (this is
sometimes referred to as aMultiple trigger). In the
Gate mode, only anew Keyboard Gate will activate
anew Envelope. The LFO mode activates anew
Envelope each time the Modulator LFO begins a
new cycle (as indicated by its LED indicator), with-
in aMaster Gate command from the keyboard.
Specifics on these choices are given in the Opera-
tion section of this text.
Envelope Function
Sliders
The Envelope Generator is often referred to as an
ADSR, aterm made from the initial letters of the
words Attack, Decay, Sustain and Release —the
four slider functions within the Envelope Generator.

(Attack Time)
The Attack slider controls the amount of time
required for the Envelope voltage to reach its max-
imum level after akey is pressed. This Attack time
is virtually instantaneous with the slider at '0' and
lengthens as the slider is raised.
D
(Decay Time)
The Decay slider controls the amount of time
required for the voltage to fall from its level at the
end of the Attack time to the level set by the Sus-
tain control. Again, Decay time is virtually instan-
taneous with the slider at '0' and lengthens as the
slider is raised.
(Sustain Level)
This control determines the level to which the
voltage will fall at the end of the Decay time. Once
this level is reached it will be held until the key is
released. ASustain level of "0' will Decay to and
hold at silence, effectively cancelling Sustain. A
Sustain level of '10' will not Decay, but will remain
at '10', effectively cancelling Decay. Sustain levels
between these extremes combine with the various
Decay times aavailable to subtly shape notes as
they are held.
R
(Release Time)
This slider determines the amount of time required
for the voltage to fall to minimum level after the
release of the key. The Release will begin at any
time within the Attack, Decay or Sustain sections of
the Envelope as instructed from the keyboard.
Keyboard Control
Functions
The keyboard of the SH-09 provides three control
functions: the Keyboard Control Voltage, Keyboard
Gate and Keyboard Trigger. These are internally
hardwired, sometimes appearing as aselectable
control and others providing aconstant control
function.
Keyboard Control
Voltage
(KCV)
The Keyboard Control Voltage is permanently wired
to the VCO and VCF for precise control of pitch
and tone in relation to the keys played on the
keyboard.
Keyboard Gate The Keyboard Gate is an on/off switching function
used to signal the Modulator for Delayed sine wave
output as apreset Envelope choice for the VCA
and/or to initiate Envelope events. Both the KCV
and Keyboard Gate are available as inputs and
outputs for interfacing on the back panel of the
SH-09.
Keyboard Trigger The Keyboard Trigger is avoltage spike appearing
for an instant at the initial pressing of akey. It is
used in conjunction with the Keyboard Gate to pro-
vide one of the control organs for initiating
Envelope events.

Control
Descriptions (com.
Portamento Control The Portamento control determines the time
required to change pitches when different keys are
pressed. Set at '0', the keyboard will react with ins-
tant pitch changes. As the slider is raised, new
keys pressed will slide from the last pitch to the
new one, taking longer as the control is raised
further.
Bender Section The Bender section allows the performer to change
pitch and/or tone freely as he performs to add
expression and vitality to the sound.
Bender The Bender lever is center-sprung to return to its
original setting reliably after each bend for great
speed and accuracy. The center position has no
effect on the SH-09 sound or settings, while the left
and right extremes of movement (— and +)
achieve the same amount of bend in opposite
directions.
VCO and VCF Bender
Sensitivity Controls
These two sliders control the exact amount of pitch
and/or tone change at the extremes of the Bender
travel. These may be set either separately or
together to achieve the exact amount of sharp and
flat pitch and/or brighter and more mellow tone
change with exact predictability and control.
Volume Control The Volume Knob determines the final signal level
present at the SH-09 Output jack for standard
amplification and at the Headphone output jack for
any stereo headphones.
Power On/Off Switch This push-on/push-off switch controls the flow of
AC. power to the SH-09. The power must be
switched on for the SH-09 to perform any function.
An LED status indicator is provided to allow a
visual check of this function.

Basic
Connections
The Roland SH-09 synthesizer is an exceptionally
flexible musical instrument capable ot producing a
broad range of sounds from gentle to brutally
savage in character, over awide pitch range. The
SH-09 may be monitored through any conventional
amplification, however individual musical needs
should be considered in choosing an ideal
amplification setup.
To maximize the SH-09 sultimate sound flexibility,
ideal amplification will reproduce all of the syn-
thesizers sounds faithfully with aminimum of
added distortion or coloration. Avariety of quality
PA's, combo amps and component amplification
systems will fill this need, but there are several
special items to consider. Synthesizers are capable
of producing sudden, high level output signals
which may cause distortion in the pre-amplifier
section of amps not built to handle them —such
as many vocal PA's. Also, avoid equipment or
speakers chosen to color the sound to suit apar-
ticular instrument such as guitar. Finally, be sure
that any effects, whether built-in or outboard, per-
form well in your particular setup and do not dis-
tort An example of this would be the reverb, units
contained in many PA's built for vocals that cannot
handle synthesizers.
Consideration should also be given to an alterna-
tive approach, choosing amplification that will color
the sound in aspecific way to support amore
specific, narrower range of sounds you may wish to
pursue with your SH-09. If the SH-09 is primarily
used to provide guitar-style lead lines, aguitar amp
with its particular distortion and coloration circuitry
and speaker choice may be an ideal choice.
Likewise, an SH-09 to be used almost exclusively
for bass lines could be played through abass
setup. Remember, this approach influences the
sound considerably and at the same time limits
certain styles while it supports others.
The SH-09 is provided with aconnection cord
terminating in a%inch phone jack for connection
to the synthesizer on one end and with an RCA
connection with an adapter to V* inch phone jack
for output connection at the other end. The %inch
phone jack adapter will be used for most
amplification connections including combo amps
and mixers.
8
The RCA jack offers access to most hi-fi
component systems, asignificant advantage when
the SH-09 is used for practice at home without the
inconvenience of transporting and setting up stage
amplification. Connect the SH-09 to an AUX. input
or TAPE input avoiding aPHONO input with its
special internal equalization. The SH-09 will appear
at one speaker only, unless aTcable or junction
box such as the Roland J-5 is used. IMPORTANT
NOTE: begin with the volume level on your SH-09
at Zero, and the hi-fi at normal or lower than
normal levels. By gradually raising the SH-09 level
and using caution as you change patches you can
easily avoid high level sounds that might otherwise
damage sensitive hi-fi equipment
The SH-09 provides self-contained headphone
amplification for any conventional stereo
headphones through aV* inch stereo phone jack
on the back panel. This is not only convenient
when practicing, but allows for fine adjustments to
be made to critical patches while on stage. To do
this, simply turn the SH-09 output off at the mixer
or amplifier input volume control and monitor
through headphones during breaks in playing.
Return the amplification to normal settings when
you are finished making your adjustments.
Other rear panel connections on the SH-09 include
an External Audio Input to allow interfacing with
other instruments by using the Envelope Follower
included in the SH-09, or to allow interfacing with
instruments equipped with apositive voltage Gate
Output such as the Roland RS-09 Organ Strings or
the SA-09 Saturn.
Control Voltage and Gate Inputs and Outputs are
provided to allow interfacing with other synthesizers
such as the Roland SH-2 or Jupiter-8 or for
connection to the Roland CSQ series computer
sequencers. These applications are detailed in the
Interfacing section of this manual. All interface
connections follow the industry standard one volt
per octave Keyboard Control Voltage and positive
voltage Keyboard Gate to allow for connection to
all other major brands, giving the SH-09 the
maximum amount of flexibility and potential for
growth and innovation.

Operation
Blank Interfacing The easiest way to get familiar with the SH-09 is to
systematically explore the controls and their effect
on the sound itself. Once the basic exploration is
completed, combinations of these controls will be
used to piece the information gained into a
practical, useful whole.
Connect the SH-09 to suitable amplification and
begin your examination with the following settings:
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Set the Volume control at Zero, then gradually
increase it to acomfortable level. After exploring
each control, return it to this basic setting (patch)
to assist the rest of your initial examination.
Voltage Controlled
Oscillator
The Voltage Controlled Oscillator is the primary
sound source of your synthesizer, where the basic
pitch range and tone color of your sound must be
chosen. The Voltage Controlled Oscillator is the
second major section along the top of the SH-09,
labelled VCO.
Pitch Control The pitch you are hearing may be switched up or
down manually in single octave increments with
the Range selector. The pitch is also automatically
controlled by the keyboard —include pressing
both extremes of the keyboard with each of the
various range selections to get an aural picture of
how the SH-09 keyboard can fit into many different
instrumental ranges easily and accurately. It is
helpful to understand that nearly all instruments
have auseful range that falls within asingle
keyboard length of the SH-09, and by selecting
that range thoughtfully your imitations will be more
authentic and your new creations more believable
than if those ranges were exceeded. Figure 1will
assist in relating the SH-09 keyboard and range
options to other musical references.
The SH-09 is asolo instrument —as are the vast
majority of other musical instruments. It will play
only one note at atime and its keyboard operates
accordingly. The SH-09 keyboard has low note
priority —if more than one note is played, the bot-
tom one will be sounded by the VCO. More details
on how to make maximum advantage of the SH-
09 keyboard will follow.

Keyboard Voltage The keyboard produces acontrol voltage which
corresponds to the key pressed. This control
voltage is most often used to control aVCO so
that it produces the pitch related to the key
pressed.
The SH-09 uses the relation of 1volt/1 octave (one
volt per octave) which means that aone volt
change in the control voltage will produce aone
10
octave change in pitch.
This relation is very common and is used on most
synthesizers and related equipment including
professional studio equipment as, well as stage
type equipment This means that the SH-09 is
compatible with most equipment used in all forms
of electronics music.
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INSTRUMENT
RANGES
AT
CONCERT
PITCH
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-EnglisnHorn
——BD Cornet, Trumpet Flueoemoin-
-F French Horn -
—Bb Trombone and Eupnoniu^-
-Eb Bass Tuba «-
-BbBassTuba-
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-^—Tenor Voice—
-^ Baritone Voice -«
WRITTEN
CONCERT
PITCH P
440Hz
T
8va<
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32.?Hz
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65. 4Hz
130.8Hz '261.6Hz
SOUNDING
RANGES
OF SH-09
KEYBOARD
32'
.(Sub Oscillator
32'
16'
loct Dowrj )
523. 2Hz 1046Hz
-t-
A
2093Hz
I
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4186Hz
88 KEY
PIANO
KEYBOARD I
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!MIDDLE C
E

Operation (cont)
The SH-09 may be fine tuned to any reference by
using the small black Tune knob located directly
above the Range control in the VCO section. This
control is made inconspicuous to avoid throwing
out the tuning during asession by grasping the
incorrect knob. The SH-09 oscillator is so stable
that once it is warmed up for approximately 15
minutes and then tuned, it should remain in perfect
tune for the rest of the session regardless of use or
outside influence such as the heat generated by
stage lighting. You may find the SH-09 is so stable
that it often won't need re-tuning at the beginning
of anew session.
To tune the SH-09 begin with the setting used here
or something similar that will give along, steady
note. Strike the key for the note you wish to match
to another instrument or to atuner, then match
pitches by adjusting the Tune knob
The pitch being produced by the VCO may be
changed automatically by applying the MOD
(Modulation) slider within the VCO section. This
introduces regular, recurring fluctuations in pitch
relating to the shape and speed set in the Modula-
tor section. For now, just use the MOD slider withjn
the VCO for its most common function, vibrato, and
as you experiment remember that this slider inf-
luences the depth of the pitch change only, not its
speed or shape. This is an application of acontrol,
not the control itself. The Modulator control will be
covered separately.
Basic Tone Selection The VCO section's role as asound source gives
control over both the pitch of anote and its basic
tone, atone that may later be modified in other
sections. The Waveform selector within the VCO
provides us avariety of very distinct precise tone
colors from which to choose. Dial through them as
they are discussed.
The Noise waveform is basically ahiss, which may
be altered many ways for use in various sounds or
effects such as wind, surf or steam locomotive. The
second waveform/tone option is the Sawtooth
wave, commonly used for string, brass, and rich
synthesizer sounds. The third option is the Square
wave, very near to the sound of aclarinet or
xylophone.
The fourth position labeled Pulse Width Mod.
actually provides avariety of tone colors. With its
special selector in the Manual position, and the
accompanying slider set at '0', you begin with a
Square wave. Gradually raising this control up to
'10' takes the waveform through acontinuously
narrowing Pulse Wave, sounding progressively
more nasal.
Moving the three position Pulse Width Modulation
selector from Manual to either LFO or ENV
(Envelope) obtains atone which is actually in
motion within the spectrum of change heard while
moving the slider in the Manual mode. Here is a
Voltage Controlled Waveform, beginning with a
Square wave and moving automatically through to
anarrower, more nasal Pulse Wave and back
again.
The LFO position gives acontinuously sweeping,
smooth tone change pivoting from the basic
Square wave. With the accompanying slider at '0',
there is no Pulse Width Modulation, no tone
change. As the slider is raised, the tone varies cor-
respondingly further away as it swings away from
the square wave to the extreme limit set by the
slider and back again in arepeated pattern. The
speed of modulation is set in the Modulator sec-
tion, with afixed smooth Sine wave motion —only
the depth of the application is set here. This yields
athicknening of the sound, and at asuitable speed
and depth is very similar to having aphase effect
unit within the synthesizer.
The ENV position gives asingle, shaped change in
tone moving away from and returning to the
Square wave position once each time akey is
pressed. The shape and length of this change is
determined by the ADSR setting, and how the
ADSR itself is manipulated by the keyboard. The
slider within the Pulse Width Modulation section
determines only how far the Envelope voltage will
change the tone from its basic Square wave posi-
tion. See the Application section for direct exam-
ples of Pulse Width Modulation.
Sub-Oscillator
and
Audio Mixer
The basic setting has already routed the sound
from its origin within the VCO through the Audio
Mixer by raising the Mixer's VCO slider. The adja-
cent slider pot mixes in the output of the Sub-
Oscillator, located between the VCO and the Audio
Mixer on the SH-09 front panel.
The Sub-Oscillator is actually aslave of the VCO,
generating another pitch in parallel to the original.
Three sound options are available: asquare wave
tone one or two octaves below, or afixed pulse
wave tone two octaves below whatever pitch is
selected within the VCO. By mixing the original
VCO output and the selected Sub Oscillator output
in various proportions within the Audio Mixer, many
new possibilities for thick, rich sound are available
with no turning problems between the two sound
sources.
By combining the 'Sub Osc Square Wave 1Oct
Down' with the original VCO sound within the
Audio Mixer, it is possible to produce sounds that
gain in weight and richness without obviously con-
taining two distinctly separate notes. The Shuffle
Bass patch presented later illustrates this point
clearly.
Mixing in the square or pulse wave tores 2
octaves down may produce either asingle tone
sound such as that of avibraphone or atone with
two distinct notes for heavier synthesizer sounds.
Pause here and experiment with mixing the various
VCO ranges and waveforms in differing proportions
with the three Sub Oscillator options at the Audio
Mixer.

The Audio Mixer also contains aslider controlling
the amount of input accepted from any electronic
instrument signal inserted into the External Audio In
jack on the back panel of the SH-09. The SH-09
12
may be used in several different ways to process
external instruments (in contrast to processing its
own VCO signal), and these are discussed in this
manuals Interfacing section.
Voltage Controlled
Filter
The basic VCO sound now passes automatically
from the Audio Mixer on through the Voltage Con-
trolled Filter (VCF). Here the tone resulting from
choices made within the VCO and Audio Mixer
may be finely adjusted and manipulated.
The basic patch passes the VCO sound directly
through the VCF unchanged, opened by raising the
Cutoff Frequency slider fully. An understanding of
the effect of the filter Cutoff is basic to an unders-
tanding of the entire VCF section.
The SH-09 VCF is ahigh quality Low Pass Filter.
With the Filter Cutoff slider set at '10', it has no
effect on the sound. As this slider is lowered, the
tone becomes progressively more mellow as the
higher parts of the tone are removed, becoming a
pure sine tone just before it is filtered away to
silence. Lower and raise this slider at different
speeds using each basic waveform from the VCO
to obtain an aural picture of the various colors
available and also of the effect of motion within the
filter.
Motion within the filter, changing the tone during
musical notes, is critical to many synthesizer
sounds. Some synthesized sounds are based on a
'passive' filter, afixed Cutoff Frequency setting with
no motion or change in tone. Others depend on the
tone changing 'actively' during the length of each
note, either arepeating change controlled by the
LFO Modulator or asingle sweep initiated by the
Envelope control. The most basic demonstration
would be to compare the basic brass and string
patches presented in this manuals section on
Patches. The prime difference between these two
sounds is the 'passive' filter of the string patch as
contrasted to the 'active' filter of the brass patch.
Move the Cutoff Frequency slider to '1 0' while its
selector is in the middle, ENV (positive envelope),
positioa Press any key and the note will change
both in volume and tone according to the shape
set in the ENV section of our basic patch, getting
brighter and louder, then more mellow and soft
The volume level followes the tone just as it did
when the slider was manually moved. This experi-
ment moves the filter exactly the way it could be
done manually, but with more potential speed, pre-
cision and ease through automatic control. Repeat
this procedure with different waveforms and
different amounts of VCF Envelope Control.
Return the Cutoff Frequency slider to '10', move the
selector to EMV (inverted envelope) and
move the VCF Envelope Control to '6'. Your effect
is now reversed, closing the filter rather than open-
ing it moving this time from bright and loud to
mellow and less loud and back again each time a
key is pressed. This inverted envelope is very use-
ful in creating plucked or strong, punching syn-
thesizer sounds with lots of dynamic motion.
Experiment here with different waveforms and
different Cutoff Frequency starting points and
amounts of Envelope Modulation. Patches are
given later for specific applications of this feature.
The ENV FOL'R position on the three position VCF
Envelope Mode Selector uses the natural shape of
notes introduced at the External Audio In to move
the filter, allowing instruments such as electric
piano or electric guitar with no Gate Voltage out-
puts to drive the SH-09. Specifics on this pro-
cedure are given in the Interfacing section of this
manual.
The MOD slider within the VCF section allows you
to change the tone of your note with the IFO
Modulator. Begin with your basic patch, lower the
Cutoff Frequency slightly to 7', and gradually raise
the MOD slider. You will hear atone/volume tre-
molo (the speed and shape are determined again
in the Modulator section), the depth of tremolo
varying with the MOD slider position. It is useful to
note here that the tremolo is smoothly, alternately
both raising and lowering the Cutoff Frequency (for
brighter and more mellow tone, respectively). For
this reason the Cutoff Frequency slider has been
lowered slightly to make room for both actions. If
the Cutoff Frequency slider was in either extreme
position, any tremolo would lose its smoothness as
only half of its cycle could have any influence on
what is heard. Experiment with this now and later
check the Vibraphone patch for aspecific exam-
ple.
The Resonance slider in the VCF section emphas-
izes the tone at the precise edge of the Cutoff Fre-
quency. Place the Cutoff Frequency slider at any
point that allows atone to pass, then add any-
where from '0' to '6' of the Resonance slider and
you will hear aslight difference in tone. Leave the
Resonance slider at '6' and move the Cutoff Fre-
quency slider. Resonance emphasizes the edge of
the Cutoff and when it is moved the motion is
emphasized. The prime use of Resonance is to
emphasize tone in motion, such as the twang of
the bass guitar in the Shuffle Bass patch given
later in this manual. You may wish to leave the
Resonance slider at '6' or less and repeat the
experiments with Envelope or LFO Modulation of
the VCF to learn how these automatic changes in
tone are emphasized using Resonance.
Once that is completed, push the Resonance slider
fully to '10', and again move the Cutoff Frequency
slider. You will now hear an extra pitch in addition
to that produced by the VCO, one whose pitch is
determined by the VCF Cutoff point Silence the
VCO at the Audio Mixer and experiment with
various kinds of modulation using the Resonance
as an extra oscillator —all functions which altered
the tone using the VCF will now move the pitch of
the VCF produced note in the same manner. This
use of the Resonance as an extra oscillator may be

Operation tcont)
put to excellent use in patches such as the
Tonewheel Organ or the Synth Drum, given later.
During this exercise with Resonance, you may
notice that its note will roughly follow the keyboard.
This is an indication that the SH-09 Keyboard Con-
trol Voltage that the VCO pitch follows is also alter-
13
mg the tone slightly as you play, brighter tor higne-
notes, more meliow for lower notes This allows
your patches to follow the keyboard tor changes in
tone following changes in register or pitch just the
way most acoustic instruments do, giving added
realism and sensitivity to your synthesizer sound
Voltage Controlled
Amplifier
Your sound has originated in the VCO, passed
through the Audio Mixer and the Voltage Controlled
Filter, and will now pass through the Voltage Con-
trolled Amplifier on its way to the SH-09 output
jacks for external amplification and/or headphone
monitoring.
The Voltage Controlled Amplifier (VCA) does not
actually amplify the sound, but controls the shape
of the Volume. Three VCA control options are
offered: Hold, Envelope control and Keyboard Gate
control.
The Hold position opens the VCA fully, allowing
any sound leaving the VCF to pass unchanged
through to the various outputs As iong as asound
is present in the VCF and the filter cutoff, is high
enough to let that sound pass, the VCA Hold will
present acontinuous sound at the outputs This is
particularly helpful for continuous sounds such as
wind, surf, certain Sample &Hold applications, pro-
cessing external instruments and for ease in tuning
The Envelope and Gate options tor VCA control
allow notes to start and end in silence and be
shaped by apreset Gate or adjustable Envelope.
both initiated in some way by the keyboard. These
options will be detailed in the following Keyboard
and Envelope sections.
Keyboard Functions The keyboard of the SH-09 produces no sound of
its own, and functions only to control other sections
of the synthesizer. The SH-09 produces three dis-
tinct Keyboard Controls, the Keyboard Control
Voltage, Keyboard Gates and Keyboard Triggers.
Keyboard Control
Voltage
The SH-09 keyboard continuously produces a
Keyboard Control Voltage that corresponds directly
to the keys played on the keyboard. You have
already used the Keyboard Control Voltage (KCV)
to automatically control the VCO and Sub-Oscilla-
tor pitches from the keyboard. The same KCV is
permanently routed to control the VCF cutoff fre-
quency, adjusting the tone brighter for high pitched
notes and more mellow for notes pitched lower just
as other instruments change tone as they change
range or register. This KVC control of the VCF
cutoff was illustrated by controlling the pitch of the
VCF when it was in self-oscillation.
As mentioned previously, the SH-09 is asolo
instrument —as are the vast majority of other
musical instruments. Only one note at atime may
be produced and the keyboard accordingly pro-
duces only one KCV at atime. The SH-09
keyboard has low note priority —if more than one
note is played at atime, the bottom one will be
sounded. In legato playing where the playing of
keys overlaps, new keys depressed to the left will
change the pitch while new keys at the right will
not change the pitch until any keys to its left are
released.
The Roland SH-09s Keyboard Control Voltage
references to alinear one volt per octave, produc-
ing exactly one more volt for each octave higher
played on the keyboard. Keyboard Control Voltage
input and output jacks are available on the SH-09
back panel to allow interfacing with other compati-
ble instruments and equipment such as the Roland
CSQ series digital sequencers. Roland features the
most comprehensive interfacing alternatives availa-
ble, some of which are detailed in the Interfacing
section of this manual. The linear one volt per
octave KCV is an industry standard and is com-
patible with most other major brands for the ulti-
mate in flexibility and expansion for your SH-09.

Keyboard Gate Each key on the SH-09 keyboard can produce an
on/off signal called aKeyboard Gate. The
Keyboard Gate (KG) is avoltage that remains at
zero until any key is pressed, jumping instantly to a
steady voltage zero again. Legato playing will result
in one long gate beginning with the first note play-
ed and ending the first moment that no keys are
depressed.
14
Switch the VCA from Hold to the Gate position anc
familiarize yourself with the low note priority logic
for the KCV and with the Keyboard Gate Pay par-
ticular attention to detached and legato playing,
these will have asignificant influence on your
sound.
Keyboard Trigger Each time akey is depressed on the SH-09, an
impulse signal is produced called aKeyboard Trig-
ger. The Trigger is actually avoltage spike that
ends virtually the instant it is begun, no matter how
long you hold akey. The Keyboard Triggers follow
low note priority logic the same way the KCV does
—in legato playing, new keys depressed to the left
will introduce anew trigger while new keys at the
right will not trigger until any keys to its left are
released.
The Keyboard Trigger is used only in conjunction
with the Keyboard Gate to activate the SH-09
Envelope. To use the Gate and Trigger combina-
tion, switch the VCA to Envelope control. Notes
now played will have adistinctly different shape
than the simple on/off of the Gate position, and
legato playing will yield arenewed" attack for each
note within the logic described above. This techni-
que will be described in more detail in the follow-
ing Envelope section and in the Application section
later in this manual.
Envelope Generator An Envelope is acontrol that produces ashaped
voltage once each time it is activated, avoltage
that is normally used to produce achange in
volume, tone, and/or pitch once each time a key is
struck. The SH-09 uses acomplete four section
ADSR Envelope that may be activated three
different ways, important features that help make
the SH-09 the flexible, sensitive synthesizer that it
is.
The Envelope is often referred to as an ADSR, a
term made from the initial letters of the words
Attack, Decay, Sustain and Release —the four
slider functions within the Envelope. Leave the VCA
in the Envelope position, lower the ADSR sliders to
'0', and experiment with pressing asingle key for
short and long notes as you proceed through the
Envelope section. (In this application the ADSR is
responsible for the shape of the volume of the note
only, and all descriptions will fit this frame of
reference.)
With all four Envelope sliders at '0', you will hear a
'click' as you press akey —the sound of the
Envelope acting too quickly for anote to be heard.
This click is also heard lat the beginning of any
notes with an Attack of '0', and is essential to
sound such as Vibes or Guitar where the impact of
the mallet or the plucking of the string is actually a
part of the sound. Examples of this may be found
in the Application and Patch sections of this
manual.
ATTACK The Attach slider controls the time needed for the
beginning of anote to grow from silence to full
volume. The Attack functions from the instant akey
is depressed until the note reaches full volume or
the key is released. Move the Attack slider to '10'
and hold any key down —the sound will build gra-
dually from silence to full volume, cutting instantly
back to silence the moment that full volume is
reached. If you pick up the key before the Attack
has reached full volume, it will end at that point
This allows you to control volume, phrasing, bow-
ing, etc. from the keyboard for any notes with a
gradual attack such as strings or brass. Experiment
with this principle and check the Application sec-
tion for more specifics.
Lower the Attack slider to '5' and notice that the
note reaches full volume much faster. Experiment
with various Attack speeds and note lengths, notic-
ing that the Attack setting does not directly alter
the volume of any note —just the amount of time
needed to reach the maximum.
Decay The Decay slider controls the time needed for a
note to diminish from full volume at the end of the
Attack to silence or the level set by the Sustain
function. Move the Attack slider to '0', raise the
Decay slider to '10', and play along note. The note
will begin at full volume instantly as dictated by the
Attack slider, then fade smoothly, gradually to
silence as long as your finger is held on the key.
The Decay is once again only responsible for the
note until the key is released, and raising all keys
before the Decay is complete will again end in
abrupt silence with our settings. Experiment with
various combinations of Attack and Decay lengths,
ending with settings of '3' for each.

Operation (cont)
Sustain The Sustain slider has already been referred to in
the Decay section, and is not atime function but
the level to which the Decay will fall while any key
is still held down. With the Sustain at '0', any
Attack/Decay combination will end in silence no
matter how long akey is held. With the Sustain
level set at '10', anote will stay at full volume from
the instant the Attack is complete until the key is
released —virtually cancelling the Decay function
and giving the note no 'internal' change in shape
during its length.
15
By using different combinations of the Attack and
Decay lengths and Sustain level, sophisticated
shaped notes are possible such as the extra
emphasis at the beginning of astring down bow,
held brass notes, or the burst at the beginning of
percussive instrument notes such as piano. See the
Application and Patch sections tor specific uses of
the Sustain function
Release The Release slider control is responsible for the
note from the instant the key is released —taking
over from the Attack, Decay and Sustain which end
at the point as we have seen. Leave the A, D&S
all set at about '3' and set the Release at '10'.
Hold anote long enough so that the Attack and
Decay are completed and your note is resting on
the Sustain level. When the key is released the
note will continue, gradually fading to silence.
Repeat this procedure, lowering the Release time
in several steps until you are down to the abrupt,
instant Release at '0' that we experienced before.
Leave the Release slider at '2' or so for apleasing,
relatively short Release, set the Attack and Decay
sliders at '6' and experiment with short notes, inter-
rupting the Attack and Decay cycles at various
points. Here you will discover the full extent of the
extra keyboard control mentioned at the end of the
Attack description. Pressing and releasing asingle
key produces aGate beginning and ending at
those respective moments. The Release function
will begin when the Gate ends —regardless of
when it ends. The Release, then, will follow the
Gate logic as described —in legato playing, the
Gate will begin at the first note and end the first
instant that all keys are raised. Practice with this
principle and patches presented within this manual
to play the SH-09's keyboard to amajor advantage
for added realism and control.
Envelope Modes The SH-09 Envelope may be activated by the
keyboard in three different ways, each with its own
advantages. The Envelope Mode switch lets you
choose between Gate and Trigger, Gate, and LFO
options. Your SH-09 gives you this choice to give
you the ultimate in flexibility and expression in all
applications.
With the Envelope mode selector in the Gate &
Trigger position, individual spaced notes will each
have acomplete envelope shape of its own. When
legato playing is used (overlapping the playing of
two or more keys) new notes will re-attack from
whatever point they had reached in the notes they
are interrupting. This principle follows the Trigger
logic: new keys pressed on the left will re-attack
while new keys to the right will not until any keys
to the left are released. This type of playing allows
very fast playing in which totally clean keyboard
technique is not absolutely necessary, and is par-
ticularly useful for sounds with aquick attack and
arelatively low sustain level. Check the Sustained
Guitar patch give later for atypical example.
Placing the Envelope mode selector in the Gate
position offers asecond option. Individually spaced
notes will each have acomplete envelope shape.
Legato playing will produce new pitches (accord-
ing to the KCV logic described earlier), but the
envelope will continue on as if it were one long
note. In apatch such as the Shuffle Bass shown
later, this allows you to produce the sound of re-
fretting notes without re-plucking them. When you
place aclean break between notes they will re-
attack. Legato playing will allow the series of notes
to continue to fade. Practice using this technique
will give good control and asound with variety and
interest —an area where most other synthesizers
fall short.
Some sounds will need adetached keyboard tech-
nique to sound their best. In astring instrument
patch, for instance, either the Gate or the Gate and
Trigger positions played legato will lose the realism
that would be generated by afresh release and
attack from detached playing. Also, in legato play-
ing a'click' will be heard as the notes switch ins-
tantly to new pitches. Experience will show you
which of these two mode options to choose, but
there is no substitute for developing akeyboard
technique where light playing and at least a
minimum separation between notes is possible.
The Envelope mode labelled LFO is controlled both
from the Keyboard Gate and the Modulator LFO.
When akey is depressed, the Keyboard Gate will
allow the Modulator LFO to repeatedly activate the
Envelope at the speed set by the Modulator Rate
control, and indicated on the associated LED
indicator. This repeating Envelope will continue as
long as any key is held down, ending the instant
that all keys are released according to the
Keyboard Gate logic explained earlier. This mode
is especially useful for instruments needing fast
continuous repeating notes such as the mandolin,
banjo or marimba.

Control Options The creative control of the SH-09 includes Porta-
mento, LFO Modulator, and Bender section control
options. These controls are simple to operate, yet
add much to the expressive control of the syn-
thesizer in performance. Return all controls to the
basic patch and proceed to explore these controls.
16
Portamento Portamento is aslide from one pitch to another,
much as atronbone might. The Portamento control
determines the time required to change pitches
when different keys are pressed. The Portamento
slider is found directly to the left of the keyboard,
and is actually afunction of the Keyboard Control
Voltage and its control of pitch.
Set the slider at "0' and the keyboard will react to
the keyboard with instant pitch changes. As the
slider is raised, new keys pressed will slider from
the last pitch to the new one, taking longer as the
control is raised further. If you strike the same key
twice in arow, there will be no slide since Porta-
mento works between the last note struck and the
new one —in this case the same note.
Portamento stops when the key is released, and is
best used in melodic situations with aquick slide
that will allow the melody to sound clearly. Longer
portamentos are best used carefully for single
notes or for effects —experience is your best
guide. Portamento may be introduced or changed
at any time during performance, adding variety and
interest
Modulator Section The Modulator control section is located at the
upper left hand comer of the SH-09 control panel
and is used for producing regular changes in pitch
and tone such as vibrato, tremolo, trills and effects.
The Modulator section includes aLow Frequency
Oscillator (LFO) and aSample &Hold circuit. The
output of the Modulator can be used for modulat-
ing (changing) pitch through the VCO, tone by
varying the Pulse Width in the VCO, tone and/or
pitch within the VCF, and for repeated gating of the
Envelope.
The Modulator Mode switch determines which
waveform will be used for VCO and VCF modula-
tion. The three options include: f~\j (sine wave),
nj(square wave) and Random (S/H) for the
Sample and Hold output
The Rate slider controls the frequency or speed of
change for all Modulator outputs. Raising the con-
trol increases the frequency, which may be
monitored with the associated flashing LED.
Using the basic patch, experiment with the three
Modulator Mode switch options at various rates by
raising the VCO and VCF sliders singly and
together in various amounts. The sine wave output
will give smooth pitch or tone changes usually
used for vibrato and tremolo. The square wave out-
put gives steady, rhythmic up/down pitch and tone
changes most commonly used for trills with the
CVO.
The S/H output produces regular rhythmic changes
in pitch or tone of arandom depth. The S/H effect
is acharacteristic of synthesizers most often
applied as VCF MOD with agenerous amount of
Resonance —this gives apronounced effect with-
out disrupting the identity of pitches being played.
All three Modes have their shape and rate deter-
mined in the Modulator section, their application
and depth determined with the VCO and VCF
MOD sliders.
When the f~\j Delay Time control slider is raised,
pressing a key on the keyboard will delay the
effect of the Modulator sine wave output on the
VCO and VCF. This Delay follows Keyboard Trigger
logic with separated notes having delay, while in
legato playing new keys depressed to the left will
introduce anew delay but anew key to the right
will delay only as keys to the left are released.
Raising this slider increases the delay time, lower-
ing it fully results in acontinuous output with no
delay You may wish to experiment with this func-
tion using different amounts of VCO and VCF
Modulation and various delay lengths. Notice that
the Delay control has no effect on the Square wave
and Random S/H outputs of the Modulator.
The Modulator has asmooth, regular output which
is internally wired into the Pulse Width Modulation
section of the VCO as discussed earlier. This out-
put is not effected by the Delay time control or the
Modulator Mode switch. LFO Pulse Width Modula-
tion usually uses an LFO rate between Vand '3'
and amoderate amount of Pulse Width Modulation
depth. This depth is determined by the Pulse Width
slider control and has noticeably more effect on
low pitched notes than on high notes, so set your
patches accordingly.
The LFO within the Modulator section may also be
used for repeated gating of the Envelope section
as described earlier. This output is hardwired to the
Envelope Mode switch and only the Modulator
Rate control and its associated LED indicator have
any bearing upon it It is useful to note that all
Modulator section outputs including VCO and VCF
modulation in all three modes, Pulse Width Modul-
tion and repeated Envelope gating are all linked to
the same LFO to allow coordination and control
over those effects.

Operation
Bender Section
(cont) 17
The Bender section allows you to change pitch
and/or tone freely as you perform to add expres-
sion and spontaneity. The Bender lever itself'is
center-sprung to return to its original setting reliably
after each bend for great speed and accuracy. The
center position has no effect on the SH-09 sound
or settings, while the left and right extremes of
movement (labelled -and +) achieve the same
amount of bend in opposite directions.
The effect of the Bender is determined by the VCO
and VCF Bender Sensitivity slider controls. These
may be set either separately or together to achieve
the exact amount of sharp or flat pitch and/or
brighter and more mellow tone change with exact
predictability and control.
VCO bend will always change pitch. It is conve-
nient to have the extreme limits of the bend control
stop at the musical interval most useful to your
patches, usually ahalf-step, stop or an octave.
Using your basic patch for now, try this procedure
to set the VCO bend easily and accurately: hold
any note with your right hand, hold the Bender
lightly at its most positive position with your left
thumb, then slide the VCO Sensitivity control slowly
upwards. You will hear the pitch of your note
rise—tune it to the desired interval above the note
you began with. To check yourself, release the
bender and press the note on the keyboard mat
you were aiming for. Check this against your
original note with bender and repeat if necessary.
You will find that you usually use the same bend
for most patches and that the adjustable bender
makes this possible with 100% accuracy.
The VCF Bender Sensitivity control will change the
tone of the Audio Mixer output as it passes through
the VCF. By combining VCO and VCF bend, a
pitch bend becomes more dynamic by becoming
brighter as it bends sharp, more mellow as it
bends flat. Remember that if the VCF Cutoff is fully
open either manually or through other controls that
it cannot be bent in the positive, brighter direction.
The same applies to the reverse—you can only
bend the filter down to the extent that it is open.
It should also be noted that VCF bending will
change the pitch of any notes produced by push-
ing the VCF Resonance into self-oscillation. The
various uses of the Bender section are best prac-
ticed using patches presented later in this manual
and by listening to examples in live performance or
on record or tape.

Application
You are now ready to piece the aural and technical
information gained in the last section into apracti-
cal, useful whole. Two approaches are necessary to
achieve the greatest success: an examination of
the basic approach to learning/playing synthesizer,
and astudy of specific musical applications aimed
at giving amastery of synthesis in general and of
the specific advantages of the SH-09 in particular
18
Basic Patch Position When pursuing any sound on asynthesizer, it is
usually best to start from astandard basic position
or patch, asetting which pre-supposes as little as
possible by leaving control sliders closed and
switches or sliders which are always active in the
position most commonly used. This beginning point
will avoid having remainders of the last patch con-
fuse the building of the new one, and will lead to
quick troubleshooting since you will be totally
familiar with your starting point and each variation
you have chosen to make. This approach will not
cramp your creativity by imposing decisions upon
asound that you have not specifically chosen.
Such asetting is presented here. As you become
more familiar with the SH-09 and it becomes more
of an extension of yourself, you may wish to modify
this basic starting position or even eliminate it. For
now, try returning to it each time you begin to
patch—it will only take amoment and can save
much frustration.
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Methodical Practice It is important to understand the musical uses of
each SH-09 control in as many different situations
as possible. Try each patch given in this manual,
regardless of your personal musical preferences.
Understand the main points of each, then spend
time to adjust each control and discover the
various options available.
This methodical approach has many advantages.
Each musician has different personal preferences,
is dealing with different amplification and acoustic
environments, and not every SH-09 will react to the
same patch in exactly the same way (just as other
fine musical instruments all have their own
individual character). You will develop variations on
each patch, or entirely new patches, which may be
memorized or restated on ablank patch sheet for
future reference. Most important you will learn how
to manipulate the SH-09 quickly and with real
understanding.
The SH-09 has the simplicity, sound quality and
subtle control options to allow you to achieve a
new level of musical expression and freedom. With
practice you will get to the point where the SH-09
becomes an extension of your musician ship, when
you will instinctively know how to get a sound you
hear or image, or how to alter apatch to suit your
needs exactly.

Real-Time Patch
Changes
To get the most musical vitality out ot your SH-09,
alter its sound while you are actually playing to add
interest and remove predictability. Change the
sound as you play by adding/removing/or altering
Portamento. Change waveforms or envelope
shapes. Discover useful variations of patches or
different patches which are very close in settings
and may evolve from one to the other as you paly.
The concept of 'evolving' one patch to another is
1
9
also useful for developing speed and accuracy for
on-stage patching. You can find 'chains' of patches
which require only simple changes to move from
one to the next, yet give significant new sounds
and alarge change from the beginning of the
chain to the end. Basic String to Brass to Tuba to
Bass Guitar is agood example—changing VCF
Cutoff and Envelope Mod, then Range and finally
the ADSR settings through the chain and find
adjusting other controls as you go
Custom Patches Making your own patches to match asound you
have heard or are imaging is very rewarding, but
often avoided as loo difficult'. Many musicians just
'fiddle' until they get what they want or what they
are willing to settle for, play patches out of books
without tailoring them to suit or play the same
sound all the time. Mastering your own patches is
not all that difficult—only requiring acertain
amount of experience and practice, and alogical
approach. Asummary of one such approach is
presented at the end of the Patches section of this
manual. Work your way through the Patches given,
try customizing them to your own needs, then try
creating your own sounds and you will get the
most out of the SH-09's vast potential.
There are several pitfalls or traps which are com-
mon with synthesists working on new patches.
Awareness of them can eliminate several and
minimize others.
Sounds created in your imagination present special
problems. These totally abstract ideas are hard to
hold on to, and tend to fade away or evolve into
other ideas. Your mind has atendency to accept
your new patch as 'correct' when you know that it
isn't—the idea you are trying to hold in your mind
slips over and becomes the sound it hears. The
only answers are concentration to hold the idea
and speed to complete the patch while your idea
is still clear in your mind. Set up basic parameters
before you listen and work quickly to give your ear
the least temptation be distracted and change.
Listen carefully to any sound you wish to copy. Do
not be fooled by an emotional reaction to the effect
of the sound, listen to the sound itself. AViolin may
sound rich and sweet to alistener according to his
emotional response, but the sound itself is very
bright, with abit of abuzz in the tone color. Learn
to analyse sounds quickly and accrately. Reference
to arecord or tape will help keep you on the right
track and is good practice, but don't get too hung
up with absolute precision— your audience won't
be making side-by-side comparisons as you play
No sound created by asynthesizer is actually com-
plete until it reaches the ear of the listener. You
must not only consider your o> amplification,
effects and room acoustics but listen for those
same things in instruments or sounds you wish to
imitate. Listen for reverb, phasing or flanging, wash
pedals, or any other influences over asound
including specialised amplification such as over-
driving asmall amp to get aparticularly hot lead
sound.
Pay particular attention to reverb. Acoustic instru-
ments are played in settings with varying amounts
of natural reverberation—the time it takes asound
to -die away to silence as it bouces around the
room. This effectively extends the 'Release' time of
those instruments. Many electric/electronic instru-
mentalists achieve this 'room' effect with areverb
unit within their amplification equipment or as an
extra in their amplification chain. If you have no
reverb available, your sound may seem flat and
two dimensional. To compensate, add just atouch
of extra Release length to your settings —this will
simulate the extra 'ring' of room acoustics. Listen to
sounds you wish to use on your synthesizer as they
appear on records. Sounds like Strings are usually
recorded in or simulate the sound of alarge hall
(lots of reverb), and many synthesizer sounds
recorded by the great players use large amounts of
reverb in the studio —your sound won't measure
up to theirs unless you take reverb into account
STYLE One last but very important note: every patch is
created with acertain musical or performance style
in mind and will sound its best only when played
in asimilar style. Awind instrument patch will
sound odd if you do not put rests in at regular
intervals for the 'player" to 'breathe'. The listener
may not know what is wrong, but often will sense
the omission when he should be subconsciously
appreciating the extra attention to detail. Alead
solo patch intended for lyric music lines with subtle
pitch bending will sound entirely different if played
in aripping fast line with wild pitch bending. Copy-
ing other sounds and styles need not be negative
or un-creative —many new styles are born from
an understanding of previous work and borrow
from others. If you admire aparticular performer or
sound, don't just go after the sound, you must
study the style.