Feeds:
Posts
Comments

Posts Tagged ‘roland’

Five years ago I wrote this on effects pedals. To save you the bother of reading it I was basically singing the praises of having lots of pedals and how I didn’t think Multi-FX boxes really cut the mustard.

Now – I just bought a Roland GT-1000 Multi-FX pedal to replace my ‘main’ pedalboard. Possibly.

There are a number of reasons behind this decision. The first of which was that I hurt my back – I’m not sure how, it’s almost certainly music gear-related but probably not the pedalboard itself. And this got me thinking about the weight of the gear I carry around and how much I can change my current setup to be lighter. My current pedalboard needs changing anyway (just the board, not the pedals) as it’s old and worn out. I looked at new boards that would allow more flexibility but soon realised that weight was going to be a real problem.

My next thought was inspired by the SY-300 ‘guitar’ synth and that I mentioned it was good enough to be used an occasional multi-FX pedal and wondered what the latest in actual multi-FX pedal technology was like. It just so happened that Roland were about to release the GT-1000, so this would be the very latest in the technology. I did look at other competitive units, but this seemed the best fit for what I need as regards weight and flexibility and Roland have an excellent reputation for quality.

One of my original arguments against multi-FX pedals was that it made all your effects come from the same manufacturer which gave a homogeneity to the sound – then I looked at my pedalboard and noticed that 60% of them were Roland BOSS pedals anyway! Also the quality argument has, inevitably, gone away too. The quality of modern digital effects is outstanding, Roland’s ACB technology is making excellent ‘analogue-like’ synths and quite a lot of effects pedals are digital these days anyway – including my beloved RE-20 ‘tape’ delay.

Another consideration is that pedals are a part of my instrument almost as the violin is, they have a profound effect on the sound I produce. That’s true up to a point but something I’m less worried about than I used to be, to be honest. I was always adding and removing pedals on the main board (apart from the RE-20 delay) and my sound is now much more based on the violin itself and the way I play than strange noises I can make. The main sound change will probably be using the tape delay in the GT-1000 instead of the RE-20; while both are from Roland, the GT-1000 tape delay is not explicitly an RE-201 emulation so there is a detectable difference there. It remains to be seen how important that is to me. Of course there will be a huge ‘user-interface’ change for me to manage but I can handle that.

Apart from the (lack of) weight, one thing that really appealed to me about a high-end multi-FX pedal was the flexibility of having the effects soft-wired. With a discrete pedalboard you have to position the effects boxes in a way that will be of use for most cases. With a multi-FX that can change as much as you like. I don’t actually envisage changing the pedal order a lot, there is definitely an optimal order that does serve for most purposes, but there have been several times when I had wished that a pedal was somewhere else in the chain or (and this does happen fairly often these days) that I could split the chain into 2 separate streams and join them again later. This is especially useful where my ‘extension’ pedalboard is concerned.

Because the extension board serves a couple of purposes – drones from the superego and ‘odd’ effects from the more boutique pedals – it often needs to be wired in different places and often should bypass the main effects chain entirely. I only really do this when recording because of the hassle, but having that board as a ‘send’ from the GT-1000 means it can be moved around easily with just a pedal press. The same goes for the looper which can now be before the final reverb rather than after it without having more sets of leads and sockets.

Of course soft wiring also gets rid of the mess of cables on a conventional pedalboard – with all the attendant reliability and noise issues. It also removes a lot of complications about powering them all adequately – which is not as simple as it might sound.

As to weight, you’ll notice that I mentioned the extension pedalboard. That might also disappear too, now I have mastered the art of making drones and other fancy effects with the SY-300. With the addition of a looper, the possibility is that I could do a full solo gig with just (shock, horror, probe) ONLY THREE pedals!

One thing I suppose I’ll miss is the “She’s got more pedals than <x>” jokes at gigs. But as nobody asks me to do gigs any more it’s not really an issue. Even if I did start gigging again (I’m available!), surely it’s more impressive to get all of that noise out of only 3 boxes. The other thing I *might* miss is looking at and playing with new pedals. Having thought about this though, a lot of new pedals these days seem to be more in the realm of ‘strange noises’ and have fairly limited application. I’ve seen this happen a lot where a supposedly interesting pedal gets one or two uses for its particular sound and then gets moved into the box of unused effects. Mostly these days I find myself concentrating on making music using the proven ‘useful’ ones rather than looking for a ‘new sound’ from a different piece of electronics.

Here’s a quick improv I did using the GT-1000 a few days after I got it

P.S.
The accessory FS-6 footswitch is insanely stupid. It has LEDs that light up when they are on in ‘latch’ mode, which sounds really useful. But it only works with the GT-1000 and SY-300 in ‘momentary’ mode – where the LEDs only light up when your foot is pushing the switch. So those LEDs are totally useless for indicating the state of the pedal effect they are connected to. But just in case you thought, “oh I won’t bother putting a battery in it then” – it needs power to work at all. Mad. Totally fucking mad. Come on Roland – fix this please, how the hell hard can it be to read the state of a switch instead of using it as an edge-trigger?

 

Advertisements

Read Full Post »

So that’s the RPM challenge finished for another year. I threw away a lot more this year than previously and still managed to complete the ‘more than 35 minutes’ challenge. Aided by a 13 minutes violin improvisation of course!

I won’t ramble on about the contents of the album here, you can read that on bandcamp by downloading it (I won’t charge you, just take it if you like it). Stylistically this album – a bit like last year’s – is a bit of a transitional one, though quite where I’m going isn’t entirely clear, even to me. I mentioned on Twitter a while ago that I was having a bit of a musical crisis and that is still unresolved, so this album has 80s-style drums & synths, odd synth noises, keyboard noodling, an all-acoustic piece as well as a violin improv that could have come from any time in the last 5 years (from me at any rate). Oh and a cat snoring – if you download it for the bonus track – and a ‘classical’ piece I wrote 13 years ago rescored for electronic instruments.

Despite it being a bit ‘neither owt nor nowt’ as we say around here I’m pretty pleased with it. There’s lots I would like to have been able to do better but also plenty I think I did well, or at least well enough for an album made in 25 days. Lets see what happens next time eh?

I also did a video for the “Violin Improv”

Read Full Post »

NOTE: This post is obsolete – Roland have released a firmware update for the JU-06 (and the other Boutique synths) that allows them to send and received MIDI CCs for their various functions, and these are also documented. See here for details.

 

I ‘accidentally’ bought one of the Roland ‘Boutique’ synths last week – the JU-06 one. It’s a nice instrument with a simple front panel and a good sound. It has a few annoying limitations, only 4 voice polyphony and the small stereo output jack but generally I rather like it.

One of the things I immediately noticed was missing, slightly unusual in a digital synth, was any obvious (or, at least, documented) way to control it remotely – either from a DAW or control surface. Moving the controls sent no MIDI CC values and no CC value I sent to the device made any difference apart from the usual documented ones of mod wheel and sustain pedal. Slightly disappointed, I left it at that for a few days.

Then, yesterday, Rob Schroeder on the Synthesizer Freaks Facebook group posted a (very) rough outline of what the SYSEX format was for the boutique range of synths and I started playing. Initially I could get nothing from that either but a bit more research revealed that the synth only sends those SYSEX messages when chained to another similar device for extra polyphony. It also only sends these messages down the 5 pin DIN MIDI socket – not the USB – but that gave me enough information to work on.

I plugged in a MIDI interface, enabled chaining and started moving sliders and pressing buttons. BINGO – numbers started appearing on the computer screen I was monitoring it from! I now had (nearly) all of the information I needed. The last bit of information to get was the checksum. This was very easy to establish as it’s a standard calculation based on the contents of the whole message (except for the header F0 and trailing F7 bytes).

So, here they are. I only have the JU-06 but I’m pretty sure that the other 2 synths in the Boutique range behave similarly and will be as easy to reverse-engineer. Although the synth only sends these sysexes over the 5 pin socket, it’s happy to receive them over the USB link, which makes it more useful.

The SYSEX message looks like this (all values are in hex)

F0
41 (Roland SYSEX number)
10 (device ID)
00 (modelID)
00
00
1D (Product code for the JU-06 )
12
03
00
address MSB
address LSB
value MSB
value LSB
checksum
F7

For sliders, the value is an 8 bit number (0-255) split into two, so the bottom 4 bits are sent in the LSB and the top 4 bits in the (bottom half of the) MSB. For switches the values are 1 or 0 as shown.

Addresses for the functions are as follows:

LFO Rate:       0600
LFO Delay Time: 0602
DCO Range:      0700 (values 0,1,2)
DCO LFO:        0702
DCO PWM:        0704
DCO LFO/Man:    0706 (values: Man:0 LFO:1)
DCO Sub:        070C
DCO noise:      070E
DCO Wave: PW:   0708   (values 0 1)
DCO Wave: Saw:  070A      “   “
HPF Freq:       0800
VCF Freq:       0802
VCF Res:        0804
VCF Env invert: 0806 (values 0 1)
VCF Env:        0808
VCF LFO:        080A
VCF KYBD:       080C
VCA Mode:       0900 (0=gate, 1=env)
VCA Level:      0902
Env A:          0A00
Env D:          0A02
Env S:          0A04
Env R:          0A06
Chorus:         1000 (off=0, A=1, B=2, both=3)
Delay level:    1002 (values 0->0xF)
Delay time:     1004   “ “     “ ”
Delay FB:       1006   “ “     “ "
Bend Range:     1108

The checksum calculation is expressed simply in C as follows

static unsigned char roland_cksum(unsigned char *data, int len)
{
        int i;
        unsigned int cksum = 0;

        for (i=0; i<len; i++) {
                cksum += data[i] & 0xFF;
        }
        cksum = (0x100 - cksum) & 0x7F;

        return cksum;
}

for Max users, here’s an sxformat string you can use. It takes 4 inputs (sorry for the line break):

sxformat 240 65 16 0 0 0 29 18 3 0 / is $i1 / is $i2 / is $i3 
         / is $i4 / is checksum(1,13,2) & 127 / 247

So now I can control the synth from my Quneo controller along with other synths or even from the large MIDI keyboard using some custom software I’ve written for my host Raspberry Pi system. One of the especially nice things about this is being easily able to change the delay times – which is quite fiddly on the synth itself 🙂

 

Read Full Post »