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The ultimate music workstation

Roland is renowned for producing revolutionary keyboards and now reaches another historic milestone with the introduction of the G-70 Music Workstation. The G-70 incorporates concepts and technologies from across the entire Roland product range, resulting in an instrument epitomising the very best of Roland.

-f-e-a-t-u-r-e-s-
192 MB WAVE ROM
76 keys Pro-Action Keyboard
The best piano sound derived from Fantom-X
Virtual ToneWheel derived from VK organ
285 Styles
ACV - Adaptive Chord Voicing
SRX Expandability
Internal Memory 50MB (Solid State Disk)
DigiScore and Lyrics / Chord display on LCD
Makeup Tools / Cover for Songs and Styles
Vocal Harmonist
16 track Sequencer / 8 track Style composer with micro editing
7 independent effects sections
Full-color Touch Screen
9 Multi-function Sliders
USB connectivity

The best sound engine

The G-70 uses Roland’s most powerful sound engine ever. With its lightening-fast processor, 128-voice polyphony and 6 realtime performance parts, the G-70 will satisfy even the most demanding player.

The best sound quality

The quality of sound on the G-70 cannot fail to impress, as it uses the largest internal WAVE ROM in Roland keyboard history – 192 MB*. It boasts the best sounds from the Roland library, as well as the latest and most expressive piano sound Roland has ever produced, derived from Fantom-X. Many new studio-sampled guitars, accordion and other instrument sounds are also featured and give a fantastic live feel to arrangements. * 16 bit linear equivalent.

SRX expandability

Roland’s SRX expansion board series offers a wide selection of the highest quality sounds, taken from the world’s top professional studios. The G-70 can be expanded in this way to give an even greater choice of sounds to the performer.

76-key Pro-Action Keyboard

The keyboard on the G-70 features a superb weighted Pro-Action, with aftertouch, which has a longer stroke and a natural responsive feel.

 

Roland Corporation is a Japanese manufacturer of electronic musical instruments, electronic equipment and software. It was founded by Ikutaro Kakehashi in Osaka on April 18, 1972 with 33 million yen in capital. In 2005 Roland headquarter relocated to Hamamatsu in Shizuoka Prefecture. Today has factories in Japan, the United States, Italy, and Taiwan. As of March 31, 2005, it employed 2,233 employees, a rise of over 200% from 729 employees in 2003. It has existed in different forms since 1960, making it one of the oldest still-operating manufacturers of musical electronics, and has survived changes in technology to become one of the most noteworthy and widely-used brands in electronic music and production today.

Roland markets products under a number of brand names, each of which are used on products geared toward a different niche. Boss is a brand used for products geared towards guitar players and amateur musicians, and is used for guitar pedals, effects units, rhythm and accompaniment machines, and portable recording equipment. Edirol products are more production-oriented, and include computer audio interfaces, mixers, speakers, and video systems.* Rodgers Instruments was founded in 1958 as an organ company, and survives today as a subsidiary of Roland, still manufacturing high-quality electric, electronic, and pipe organs.

Roland company slogans include Inspire the enjoyment of creativity, Be the best rather than the biggest, and We design the future.

It may seem strange for a Japanese company to have a Western name, but Roland was founded with export in mind. Ikutaro Kakehashi heard that the name of his previous company, Ace Electronic Industries Inc., was often mangled in pronunciation, sometimes unpleasantly; so he looked for a good-sounding name which would be pronounced roughly the same in all of his major export markets. He found the name Roland in a telephone directory, browsing for an American-sounding name amongst the “R”s because no other electronic instrument manufacturer’s name started with this letter.

Ironically, the name is difficult to pronounce correctly in Kakehashi’s native Japanese, which does not distinguish the ‘L’ and ‘R’ sounds as in English.

Roland was not, as is often claimed, named after the French epic poem La Chanson de Roland.

 

The Fantom-X (X6/X7/X8) is a music production workstation produced by Roland Corporation. It was introduced in 2004 as an upgrade from the Fantom S series. The Fantom-X competes with the Korg Triton, the Yamaha Motif and the Alesis Fusion.

Features

Featuring an 128-voice PCM-based synthesizer/sampler, MRC-Pro sequencer, 6 effects processors, dynamic pads and infrared D-Beam. It has 4 (keyboard) or 6 (module) SRX expansion board slots.

Models

There are three models that differ only in number and types of keys:

* X6: 61 keys
* X7: 76 keys
* X8: 88 weighed hammer action keys

There is also a module version called XR. In 2005 the Fantom-Xa was released, being a stripped down version of the original Fantom-X.

* 1973 - Roland SH-1000: Claimed by Roland to be Japan’s first commercial keyboard synthesizer.
* 1973 - Roland RE-201: The renowned ‘Space Echo’ machine, one of the most popular tape delay-based echo machines ever produced.
* 1973 - Roland SH-3A: Monophonic synthesizer.
* 1975 - Roland System-100: Roland’s first attempt at a modular synthesizer.
* 1975 - Roland JC-120 Jazz Chorus Guitar Amplifier: A two channel 120 watt amplifier equipped with two 12″ speakers, built-in chorus and vibrato effects and a 3-band EQ per channel, renowned for its super-clean sound and durability, it has remained in production for over 30 years.
* 1976 - Roland System-700: Roland’s first professional-quality modular synthesizer.
* 1977 - Roland MC-8 Microcomposer: A ground breaking digital sequencer. The first product in the musical instrument industry to utilize a microprocessor.
* 1977 - Roland GR-500: The world’s first commercial guitar synthesiser.
* 1978 - Roland CR-78: One of the world’s first user programmable drum machine.
* 1978 - Roland Jupiter-4: Roland’s first self-contained polyphonic synthesizer.
* 1980 - Roland CR-8000
* 1981 - Roland Jupiter-8: This synthesizer put Roland in the forefront of professional synthesizers. A hugely successful 8-voice programmable analog synthesizer.
* 1981 - Roland TR-808: Among the first and most popular programmable drum machines; its distinctive analog sounds, such as its cowbell sound, have become pop music clichés, heard on countless recordings.
* 1982 - Roland Juno-6: Roland’s first synthesizer with digitally-controlled oscillators. (Later released was the Juno-60, a similar model but with the addition of patch memory for storing sounds).
* 1982 - Roland TB-303: Defined the “acid” sound for house music.
* 1983 - Roland JX-3P: First Roland synthesizer to support MIDI.
* 1983 - Roland Jupiter-6: Second Roland synthesizer to support MIDI.
* 1983 - Roland SH-101: Monophonic synthesizer designed to be worn hung around the neck with a strap, with an optional modulation attachment that protruded like the neck of a guitar.
* 1984 - Roland TR-909: An extremely popular drum machine during the early 1990s, the sounds of which (particularly the kick drum and Open Hi-Hat) are still essential components of modern electronic dance music. The first Roland drum machine to use analog sound synthesis combined with digital sample playback.
* 1984 - Roland TR-707 and Roland TR-727: The former was used extensively in the early days of house music and in non-Western pop music around the world to the present day. The latter was used extensively in polyrhythmic non-Western pop music to the present day.
* 1984 - Roland Juno-106: A widely used synthesizer with digitally-controlled oscillators. Same synth engine as the Roland Juno-60 but with the addition of MIDI and the ability to transmit button and slider information through SysEx. Still, no MIDI control of volume in real time.
* 1986 - Roland JX-10: One of Roland’s last true analog synths.
* 1986 - Roland RD-1000: Roland’s first digital piano to feature Roland SA Synthesis technology [2].
* 1987 - Roland D-50: One of the most popular digital synthesizers; Roland’s first all-digital synthesizer implementing their “Linear Arithmetic” synthesis (a form of sample-based synthesis combined with subtractive synthesis). The D-50’s descendants include the D-5, D-110 rack unit and D-20 synthesizers.
* 1987 - Roland MT-32: Also using “Linear Arithmetic” synthesis, it was supported by many PC games in the late 1980s and early 1990s as a high-quality music option, until support shifted to General MIDI sound cards.
* 1988 - Roland E-20: Roland’s first entry into the auto-accompaniment keyboard market, going head to head with Yamaha and Casio. The E-20’s descendants include the E-70, E-86, G-800, G-1000 and the current G-70.
* 1989 - Roland Octapad: A set of visually distinctive electronic drum triggers.
* 1989 - Roland W-30: A sampling Workstation Keyboard (DAW).
* 1990 - Roland HP-3700: Roland digital piano [3].
* 1991 - Roland SC-55 Sound Canvas: The world’s first General MIDI synthesizer.
* 1991 - Roland JD-800: Digital synthesizer with analog style knobs and switches.
* 1994 - Roland S-760: 16 bits Digital sampler with resonant filters.
* 1994 - Roland JV-1080: aka “Super” JV-1080, a 64-Voice Synthesizer Module. Used on more recordings than any other module in history, the JV-1080 boasts a full range of acclaimed Roland sounds, as well as four expansion slots.
* 1995 - Roland XP-50: The first music workstation which featured Roland’s Revolutionary MRC-Pro Sequencer.
* 1996 - Roland MC-303 The first non-keyboard drum machine, sample based synthesizer and sequencer combination bearing the now generic term “Groovebox”.
* 1996 - Roland XP-80: 64 voice music workstation.
* 1997 - Roland JP-8000: Roland’s first “virtual analog” synthesizer.
* 1997 - Roland V-Drums: Digital drums incorporating ’silent’ mesh drum heads that realistically reproduce both the natural feel and sound of an acoustic drum.
* 1997 - Roland JV-2080: 64 voice, 3 effects processor, 8 expansion slot, synthesizer module.
* 1998 - Roland JP-8080: Rack-mountable version of the JP-8000, lacking a keyboard, but featuring 10-voice polyphony, where JP-8000 had 8. JP-8080 also has a vocoder and SmartMedia support.
* 1998 - Roland MC-505: Successor to the MC-303 with a more powerful synthesizer and sequencer.
* 2001 - Roland AX-7: Successor to the AX-1. A keytar noted for it’s aesthetics and design.
* 2002 - Roland MC-909: Successor to the MC Groovebox series featuring a full 16 track sequencer and built-in sampling.
* 2004 - Roland Fantom-X: Music Workstation/Professional Synthesizer expandable to 1 gig of sounds.
* 2004 - Roland Juno-D: Popular entry-level synthesizer
* 2004 - Roland V-Accordeon FR-7: World’s first completely digital accordion
* 2005 - Roland MV-8000 : Production Station with 24-bit sampling capabilities. Designed to rival Akai’s legendary MPC series, specifically, the MPC-4000.
* 2005 - Roland Micro Cube: First portable amplifier made by Roland. Allowed for A/C adaptor or battery use. 7 input effects, delay, and reverb options.
* 2005 - Roland Fantom-Xa: Entry-level Fantom-X. The “a” stands for “access”. (Discontinued)
* 2006 - Roland SH-201 : The first affordable analog modeling synthesizer that can be bought for under £450.
* 2006 - Roland Juno-G: Entry-level workstation based on the Fantom-X
* 2007 - Roland V-Synth GT: an updated V-Synth

Roland XP-80 and its smaller variant the XP-60 are music workstations with 64-note polyphony, now discontinued. The XP-80 has a 76-key semi-weighted keyboard. The XP-60 has 61 keys.

Both models were sold with full GM instrument sets, plus a good range of additional instruments to give 512 instruments (”presets” in Roland parlance) in total. Additional user space is provided for making copies of any 128 presets and then editing their parameters.

Combinations of presets are “performances” in Roland parlance; 64 performances are built in, with user space for 32 of them to be copied and modified.

Eight rhythm presets are included, with two extra presets for user editing.

There are four empty slots in the underside into which SR-JV80 series expansion modules can be plugged. This allows the suite of sounds to be extended according to personal taste.

The inclusion of a competent sequencer enables theses instruments to be used to replay sequences as well as being used for live performance. The sequencer resolution is 96 ticks per crotchet (quarter note). A quantize algorithm can be applied to recordings if required, although if you don’t play precisely along with the metronone, the quantization often has undesirable effects.

A standard 3.5 in floppy disk drive provided removable storage space for up to 1.44Mb of sequences.

External connections include stereo mix outputs and stereo direct outputs. Instruments are normally routed to the mix outputs but can instead be routed to the direct outputs when required. There is a stereo headphone jack, a jack for the sustain (hold) pedal and a jack for the click track output, useful when playing along with the sequencer. Four control jacks have programmable functions, e.g. stepping through the patches. Finally, there are three 5-pin MIDI ports.

 

The SRX are a series of expansion boards produced by Roland Corporation. They are small boards of electronic circuitry with 64MB ROMs containing patches (timbres) and rhythm sets (drum kits). They are used to expand Roland’s synthesizers and workstations (keyboards or sound modules).

List of SRX expansion boards

* SRX-01 Dynamic Drum Kits
* SRX-02 Concert Piano
* SRX-03 Studio SRX
* SRX-04 Symphonique Strings
* SRX-05 Supreme Dance
* SRX-06 Complete Orchestra
* SRX-07 Ultimate Keys
* SRX-08 Platinum Trax
* SRX-09 World Collection
* SRX-10 Big Brass Ensemble
* SRX-11 Complete Piano
* SRX-12 Classic EPs

Today, fewer and fewer people actually create their own sounds, and simply play presets or sounds created by programmers.

However, the original purpose of the synthesizer was to “create sound”. It’s easy to simply select a preset you like, but that sound will always be “someone else’s sound”. We at Roland asked, “Why don’t we return to the roots of synthesis; the enjoyment of creating original sounds?” We considered many different ways in which we could bring back the fun of creating sounds, and the result is the JD-800 before you.

“Creating sounds” may seem like a highly technical process, but it’s actually just a matter of moving a slider to make the sound change! This is easy for anyone, and the sounds that you get will always be your very own.

The JD-800 is designed to make it fun to create sounds. So please go ahead and move those sliders! We hope you will make lots of different sounds; original sounds with which to play your original music.

—From the introduction to the JD-800 manual

One of the earliest uses of the TR-808 for a live performance was by Yellow Magic Orchestra in December 1980 in the song “1000 Knives,” composed by Ryuichi Sakamoto in 1978. The “Hand Clap” sound was later publicized by YMO’s innovative album BGM released in March 1981 in Japan, used again on “1000 Knives,” as well as in another of Sakamoto’s songs, “Music Plans”.

The TR-808 was an important step forward from Roland’s previous CR-78 drum machine; although both have developed a dedicated following, the sound of the TR-808 is generally considered to be more powerful and have more “punch.” The TR-808 also featured more sounds (sixteen in total) and better controls to allow the user to control the sounds in real time: volume knobs for the level of each sound, and tone-shaping controls for the more important sounds. The memory capacity for storing patterns was increased substantially: 32 pattern locations were available, and furthermore, these could be “chained” together to produce “songs,” 12 of which could also be stored in memory.

The memory was non-volatile (maintained by three AA batteries). The programming interface was hugely improved: a row of 16 buttons allowed the user to employ a very intuitive “step programming” method—the pattern is divided up into 16 steps, and the buttons and LEDs indicate whether a drum sound plays on each step. The unit also featured Roland’s new “DIN-Sync” clock interface for synchronization with other equipment, plus various analogue clock-outputs for slaving other devices. The TR-808 predated the invention of the MIDI interface; however such is the TR-808’s enduring popularity that several third-party manufacturers provided MIDI-retrofit kits for it over the years.