    Subject: ROLAND.FAQ - September 94 Edition
    From: tdh@manta.dwp.la.ca.us (Tom Honles)
    Date: 8 Sep 94 17:25:29 GMT
    Summary: This is the latest edition of a collection of information and specs

    ==========================================================================
                            ROLAND MUSICAL EQUIPMENT
                   FREQUENTLY ASKED QUESTIONS/FEATURES AND SPECS
    ==========================================================================
    --------------------------------------------------------------------------
    Edition 0.940907         September 7, 1994         ROLAND.FAQ    Number  6
    --------------------------------------------------------------------------

    Introduction
    ============
    This is the latest edition of a collection of information and specs on
    Roland musical gear. I have seen questions on the Usenet and FTSC nets
    over and over again asking what Roland equipment features are. I hope this
    effort will help the situation. This is a 'work in progress'. This FAQ
    will be posted on the first Wednesday of each month on the following:
    (Usenet) comp.sys.ibm.pc.soundcard.music
    (Usenet) rec.music.makers.synth
    (Fidonet) MIDI-NET

    For any who would want to FREQ the ROLAND.FAQ in it's pre-release draft form
    including all interim updates:
    FReq:   ROLAND.FAQ         from  1:102/945 (FidoNet)
    There is no FTP site available at this time.

    Information that you would like to include in this list is welcome. E-Mail
    is preferred, but if you do not have netmail access, then a message addressed
    in this conference addressed to me is acceptable, as long as traffic does not
    become a problem for the moderator and other particpants. Please refer to the
    section at the end of this document, "How to Submit Corrections & Additions"
    for suggested format.

    Tom Honles
           Internet:   tdh@f945.n102.z1.fidonet.org OR tdh@manta.dwp.la.ca.us
           Fidonet :   Tom Honles @ 1:102/945
           Familynet:  Tom Honles @ 8:77/28
           OS2Net  :   Tom Honles @ 81:307/6

    ==========================================================================
    TABLE OF CONTENTS:
    ==========================================================================

    Introduction
    Table of Contents

    Equipment Specs and Descriptions
    1. EFFECT UNITS
    2. GUITARS AND STRINGED CONTROLLERS
    3. KEYBOARDS, KEYED CONTROLLERS
     - Polyphonic Synthesizers
     - Monophonic Synthesizers
     - Sequencer/Programming Units, MIDI controllers
    4. MODULES AND MIDI COMPUTER PERIPHERALS
    5. RHYTHM UNITS / DRUM MACHINES
    6. QUESTIONS & ANSWERS
       Q. What is the "Roland GS" standard?
       Q. What drum sounds are available in Roland MIDI equipment?
       Q. What drum sounds are available in the "Standard" General MIDI kit?

    Appendices
     - About the ROLAND.FAQ
     - How to submit corrections & additions to this document.
     - Credits (partial)
     - How to Contact Roland Corporation, telephone and other information
     - Disclaimer

    ==========================================================================
    EQUIPMENT SPECS AND DESCRIPTIONS
    ==========================================================================

    --------------------------------------------------------------------------
    1. EFFECT UNITS
    --------------------------------------------------------------------------
    Analog and Digital effects processors, BOSS or Roland.

    DEP-5 Digital Effects Processor  MIDI in/out, Rackmount
    -------------------------------
    The DEP-5 is a versatile effect unit that features non-linear Reverb
    (Gate Reverb) and Delay effects as well as Reverb and Chorus. Using the
    Algorithm function, these effects can be combined creating subtle
    effects. Up to 99 different effect settings "patches" can be written
    into memory and selected by number. Each effect passes through the
    built-in parametric 3-band digital equalizer. The MIDI section
    responds to the Program Change message to select any one of the 99
    programmed settings. Rackmount, full width (19"W x 1-7/8"H x 11-3/8"D).
    - 16-bit D/A conversion system,
      with 28-bit internal DSP for 90dB dynamic range
    - Sampling rate: 32kHz
    - Freq. response:
      Direct: 10Hz - 100 kHz @ +0 max, -3dB max ; S/N Ratio = 95dB
      Effect: 30Hz - 12 kHz @ +0 max, -3dB max ; S/N Ratio = 80dB
    - Delay: 0 to 2000 mS
    - Reverb: 11 "Room", 7 "Hall", 2 "Plate", and 2 "Special"
              0.1 sec. to 99 sec. decay

    SDE-2000 Digital Delay    Rackmount
    ----------------------
    - Delay times from 0 (?) to 640 mS, selectable in 1mS increments
    - 16K RAM, 12-bit A/D converter
    - LED display of actual delay time
    - modulation section features 2 waveforms:
      sine - for doubling and flanging
      triangle - chorusing
    - adjustable modulation rate and depth, input sensitivity, feedback
    - single repeat, mixed, and repeat hold modes
    (Data source: Roland Users Group Magazine)

    --------------------------------------------------------------------------
    2. GUITARS AND STRINGED CONTROLLERS
    --------------------------------------------------------------------------
    Guitar synthesizers, controllers, MIDI units, digital effect units.
    Note: The guitar synthesizers are listed chronologically.

    GR-500/GS-500    Non-MIDI Analog Guitar Synthesizer System
    ----------------------------------------------------------
    The GR-500 was billed as a _paraphonic_ guitar synth, featured
    slider-adjustable parameters on the console. The unit was on its own stand,
    like a keyboard, and recalling what the Avatar looked like, the 500 looks
    pretty similar.

    According to the Roland literature: "The GS500/GR500 is the first guitar
    synthesizer in the world - a true pioneer. Connected to a mating
    synthesizer GR500, GS500 boasts the following features and characteristics:
    1. A synthesizer for guitarists, it can be played the same way as an
       ordinary guitar.
    2. It is a paraphonic system comprising five sections; guitar, polyensemble,
       bass, solo melody, and external synthesizer. They can be played
       simultaneously thereby producing sounds in unique modes..."

    The GS-500 guitar/synth controller was styled like a Les Paul "copy",
    except it had only one humbucking pickup somewhat farther from the bridge
    than the bridge pickup usually is, and a smaller hexaphonic split pickup
    was installed immediately next to the bridge. Lots and lots of knobs!!!

    The synthesizer unit could be played mixed in with guitar sound or
    separately. A short description on each 'section ' of the synthesizer:

    The Guitar Section featured an interesting implementation of an equalizer,
    having only one slider on the synth unit ranging from 'low' to 'high' and
    together with the switch on the guitar, worked like a variable pickup
    selector switch allowing "1 or 2 or 3 notes" to be selected.

    The Poly-Ensemble Section was an envelope generator with separate Attack,
    Decay, and Sustain controls and a 4-part voicing mixer for 'simulating
    string notes such as violin, brass ensembles, harpsichord ...'.

    The Bass Section featured suppression of previously picked notes as a new
    note was produced for a 'double playing effect'. An ADS envelope generator,
    soft-hard voice mixer, percussion control ("attack"?) and decay switch were
    included to 'simulate bass bowing, tuba notes, etc." The triggering was
    selectable from "all" strings, 3-strings (4th/5th/6th), or 2-string
    (5th/6th).

    The Solo-Melody Section was the 'real synthesizer' part, and could be used
    with the preceding sections, including the previously picked note
    suppression. It featured:
    - Pulse Width Modulation and Changeover Switch (LFO/Manual/Envelope)
    - Mixer for VCO (16' Square, 8' Square, 8' Ramp, Polyensemble)
    - VCF with Cutoff Frequency and Resonance Controls
    - LFO frequency control
    - Envelope Generator with A/D/S controls
    - Modulation
    - Envelope/LFO/Pitch Follower
    - Pitch Follower/Pedal Control Changeover Switch
    - VCA (Initial Gain, Envelope)
    - Touch Sense Changeover Switch ( 2 / 1 / Off)

    The External Synthesizer Section was designed to interface with Roland's
    System 700, System 100/101/102 or SH-5. It included a portamento time
    control and a transposition control:
     (32'F / 16' F,5,3 / 8' F,5,3 / 4' F,5,3 / 2' F /1' F )
     ( I think the F = fundamental, 5= 5th interval, 3= 3rd interval)
    Using this section, the GR-500 would send the corresponding trigger to the
    external synthesizer(s).

    I don't have any articles on who played/endorsed the unit, but I recall that
    at this point, the guitar synthesizer did not take very well with musicians
    on account of the slow response and limited tones. I agree that the GR-300
    was the first really 'usable' guitar synth, but fellows like McLaughlin,
    if indeed he employed the unit on his 1976 album would dispute that!

    GR-300    Non-MIDI Analog Synth Unit (requires GR-300 series controller)
    ------------------------------------
    Floormount analog VCO synthesizer, dual 'hexa' VCO's (two voices per
    string, harmonically locked, variable harmony), VCF with variable length
    sweep up and down, LFO. Enable/Disable switches for each string, string
    sensitivity switch (compression), built-in footswitches control VCO
    single/dual mode, VCO harmonize pitch (1 of 2), VCF on/bypass/invert.
    Output: mix/synth/guitar, pedal VCF, sweep control jacks.

    G-202    Guitar Synth Controller
    --------------------------------
    Solid-body, "Stratocaster-style" bolt-on solid maple neck, dual neck/bridge
    humbucking pickups, built-in hex pickup, onboard synth controller
    electronics, controls: guitar volume, tone, synthesizer VCF cutoff,
    guitar/synth mix, VCF resonance (feedback) and LFO depth (synth vibrato).
    Fully adjustable bridge, was available in bright enamel finishes.
    (Data source: Roland Users Group Magazine)

    G-303    Guitar Synth Controller
    --------------------------------
    "Gibson SG style" solid-body, thru-body neck, dual neck/bridge humbucking
    pickups with 3-position pickup selector, built-in hexaphonic pickup,
    onboard synth controller electronics, controls: guitar volume, tone,
    synthesizer VCF cutoff, guitar/synth mix, VCF resonance (feedback) and LFO
    depth (synth vibrato). Fully adjustable bridge.
    Manufactured for Roland Corporation by BC Rich, this is the one you saw
    Andy Summers of the Police play on "Don't Stand So Close to Me" and David
    Byrne of the Talking Heads on "Stop Making Sense".
    (Data source: Roland Users Group Magazine, owner-submitted information)

    G-505    Guitar Synth Controller
    --------------------------------
    "Stratocaster-style": Solid-body, bolt-on solid maple neck, three low-hum
    single coil pickups, 5-position pickup selector, built-in hex pickup,
    onboard synth controller electronics, controls: guitar volume, tone,
    synthesizer VCF cutoff, guitar/synth mix, VCF resonance (feedback) and
    LFO depth (synth vibrato). Fully adjustable bridge with tremolo arm and
    brass sustain block, was available in metallic finishes.

    G-707    Guitar Synth Controller
    --------------------------------
    This is the futuristic-looking controller that Roland made with the neck
    "stabilizer bar", overall style reminiscent of a Gibson "Flying Vee".
    Dual humbucking pickups, onboard synth electronics to control a GR-700.

    GK-1     Hexaphonic Pickup
    --------------------------
    Hex Pickup for GR-700, GM-70, and possibly others. The unit is NOT compatible
    with the GK-2 (But I've been told that there IS a conversion unit!)

    GK-2     Hexaphonic Pickup
    --------------------------
    Hex Pickup for GR-50, and possibly others.

    GK-1     Hexaphonic Pickup
    --------------------------
    Hex Pickup for GR-1, GR-09, and possibly others.
    Owner comment:
    "... The GK-1 won't plug directly into a GR series guitar synth module
    (GR-50, GR-1 and GR-09). You can get an adaptor unit that will let you use
    a GK-1 with a GR module. The GK-1 was released with the GM-70 pitch-to-MIDI
    module, but was superceded by the GK-2 when the GR-50 was released."
    (From: Gareth.Bull@cc.monash.edu.au)

    GR-700    MIDI (out only) Digital Synth Unit
    --------------------------------------------
    -Guitar synth version of (same engine as) the JX3P synthesizer.
    -64 internal patches and an addition 64 available with MC-16 Cartridge.
    -Can be used either with the GK-1 pickup unit or seperate guitar
     controller (707 something or other)(req. GR-300/700 series controller)
    -Uses PG-200 programmer, but all parameters accessible and modifiable
     via some pots on the GK-1.  Don't know about other controllers.
    -Onboard pedals are numbered 1 through 8 for patch selection and
     parameter modification, and three other pedals, for selecting bank,
     edit mode, and a hold pedal.
    -Built in Chorus
    -MIDI: OUT only, and only transmits note off and on, and patch change.
     A couple of other companies DO make MIDI IN mods, as well as a mod
     that allows it to be controlled from a GK-2.
    -Audio outputs: (no data)

    GR-50 Guitar Synth (uses GK-2 Hex Pickup Unit)
    ------------------
    GK-2 pickup, rackmount synthesizer, 128 sounds, MIDI in/out, tuner,
    many features for blending synth and guitar sounds.
    -L/A Synthesis.  Same engine as found in the Roland D-10.
    -Patches can be arranges in a patch chain, with 5 or 6 (I forget)
     patch chains available... this allows the player to organize patches
     that are stored randomly in the patch banks in order, and the player
     can quickly go up and down the patches while playing, all controllable
     from the GK-2.
    -Accepts memory cards, but I have been told that "strange things"
     might happen if I try to load a D-10 card into my GR-50.  Nothing
     damaging, but things might be laid out differently between the two
     even though they share the same engine.

    GM-70 GR-MIDI Converter (uses GK-1 Hex Pickup Unit)
    ------------------------
    GR-MIDI Converter. 1u Rack Mount Interface box for guitar/MIDI control
    via the GK-1 pickup, one of the Roland GR series guitars, or the Steinberger
    Controller. EXTENSIVE MIDI control. Each string can have six simultaneous
    outputs with different characteristics (pitch/channel/etc.). NO INTERNAL
    SOUNDS -- REQUIRES AN ADDITIONAL BOX (Sound Module).

    User comment:
    "Very versatile. Has the inherent MIDI delay in triggering. (All the new ones
    only get around it by using direct control of their internal sounds instead
    of MIDI.... the use of their MIDI outs will shortly confirm that! )"

    "The GM-70 is a guitar-to-MIDI converter. It takes the signal from the GK-1
    pickup (mountable on just about any steel-string guitar) and converts it to
    MIDI output. The GM-70 does NOT have any sound generation capability; you
    must route the MIDI output to your own sound module. It has two operating
    modes--poly (all six strings go to one MIDI channel) and mono (each string
    has its own channel). Since it uses pitch-to-MIDI technology it has a short
    tracking delay, more noticeable on the lower strings. MIDI Guitarist magazine
    (Summer 1991) gave it a B+ in timing, the best grade of the 11 pitch-to-MIDI
    devices they compared. My only complaint is that it has the worst manual I've
    ever seen, which is really amazing considering how bad Roland manuals are in
    general."       (From: SteveG1119@aol.com)

    GR-09     MIDI Digital Synth Unit (uses GK-2/GK-2a Hex Pickup Unit)
    ---------------------------------
    GK-2a pickup, floormount synthesizer, 180 sounds, 128 programmable patches,
    expandable to 360 sounds, MIDI in/out, tuner, external effects loop, stereo
    headphone and line output, sweep, hold, bank and program change pedals,
    many features for blending synth and guitar sounds.

    GR-1      MIDI Digital Synth Unit plus 4-Track Sequencer (expanded GR-09)
    --------------------------------------------------------
    GK-2a pickup, floormount synthesizer, 180 sounds, 128 programmable patches,
    expandable to 360 sounds, MIDI in/out, tuner, external effects loop, stereo
    headphone and line output, sweep, hold, bank and program change pedals,
    many features for blending synth and guitar sounds.

    ROLAND JC-120 Guitar Amplifier
    ------------------------------
    120 watts, 2 12" speakers, reverb, famous Roland stereo chorus,
    distortion, great clean sounding amp, dust cover.

    --------------------------------------------------------------------------
    3. KEYBOARDS, KEYED CONTROLLERS
    --------------------------------------------------------------------------
    Keyboard and Rack-mount Synthesizers, MIDI keyboard controllers,
    modular synth units, and programming modules.

     - Polyphonic Synthesizers
     - Monophonic Synthesizers
     - Sequencer/Programming Units, MIDI controllers

    Polyphonic Synthesizers
    =======================

    D-5 Multi Timbral Linear Synthesizer
    -------------------------------------------
    The D-5 is a member of the D-10/20/110 family. It can share ROM cards,
    patches, and tones with these other models (although it's missing a few tone
    parameters). It lacks the built-in effects of the other units, but has four
    performance mode features that the others don't have: Chord Play, Harmony,
    Chase, and Arpeggio.

    -Keyboard: 61 keys, velocity sensitive, pitch bend/modulation controller
    -Sound Source: LA Synthesis, 32 maximum voices
    -Internal Memory: Synthesizer Section (128 Patches, 128 Timbres,
     128 Preset Tones, 64 Programmable Tones), Rhythm Section
     (63 Preset Rhythm Tones)
    -Ports: 1/4" Left and Right Outs, Headphone jack, sustain pedal,
     Midi IN/OUT/THRU, Memory card
    -Display: 2 lines, 16 letter (backlit)
    -Weight: 15 pounds

    Owner comments:
    "-can be made compatible with MT32 patch numbers, but has  newer samples
    -works well as a MIDI controller for other modules, soundcards, etc."

    "We own one and it is NOT compatible with MT-32 sysex messages.  We
    have a converter that can convert the timbre banks to D series format
    though.  Also, the D-5 timbre map is different from the MT-32, although
    the sounds can be rearranged to look like an MT-32.  I wrote such a timbre
    bank, it is on the CI$ midiforum.  This is no decendant of the MT-32, it
    was the last and cheapest of the D series aynths.  For instance the MT-32
    only has 128 PCM sounds, the D-5 has 256.  The MT-32 has a reverb
    processor, the D-5 has no effects at all.  The MT-32 is very noisy (we
    own one as well), the D-5 is very quiet.  You could call them first
    cousins though ."   (From:    Gary Fisher)

    D-10 Multi Timbral Linear Synthesizer
    -------------------------------------------
    -Keyboard: 61 keys, velocity sensitive, pitch bend/modulation controller
    -Multi-timbral: 8 parts plus a drum part.
    -Sound Source: 16 bit samples and PCM, 32 note polyphony.
    -Synthesis engine: L/A synthesis (linear arithmetic)
    -Internal Memory: Synthesizer Section (128 Patches, 128 Timbres,
          128 Preset Tones, 64 Programmable Tones)
    -Ports: 1/4" Left and Right Outs, Headphone jack, sustain pedal,
          Midi IN/OUT/THRU, Start/Stop pedeal for drum machine, Memory card
    -Display: 2 lines, 16 letter (backlit)
    -Drum Sounds: 16 bit sampled drums sounds (excellent), pattern programming
          available, 64 drum pattern, 32 presets and 32 programmable. 1/4 thru
          8/4 time.
    -Metronome: Built in metronome, tempo adjustable, as well as loudness in
          comparison to the synth output.
    -Effects: Adjustable Pan, Volumne, and Reverbs (which include halls, plates,
          and Delays.
    User comment:
    "You have 13 structures (sorta like the algorithms in DX synths)
     you can use samples or a synth wave (square,triangle only (?)) or both
     in any combination with/without a ring modulator (sorta like modulation
     carriers in DX synths)  128 x 2 internal PCM samples.  believe it or
     not, some(most) of the samples are the same samples in the D50.  There
     is a company called Real World (?) based in australia that upgrades the
     D5/D10/D20/D110/MT32 with more reverb programs, extra outputs,
     better S/N ratio.  They have a representative in the US.  Call Keyboard
     magazine for their number."

    D-50      Keyboard  Digital
    ----
    (no data)

    D-70      Keyboard  Multi Timbral Linear-Arithmetic Synthesizer
    ----
    The D-70 is a 76 key, 4 slider, MIDI-controller keyboard with 128 tones that
    map into 128 patches.
    User comment:
    "In addition to L/A synthesis,it also has an unusual synthesis method called
    DLM (direct linear modulation, I believe) that generates a range of sounds by
    using a series of chopped wave forms. The frequency of the series can be set
    so that the frequency itself interacting with (the wave I think) generates a
    pitch.  The DLM process seems fairly unpredictable and not terribly control-
    lable, but has found industrial applications.  The sound is somewhat raspy
    when used in this mode.
       Otherwise, the D-70 tones provide PCM sourced filter and amplitude
    ADSR enveloping.  The time variant amplitude (TVA) and time variant
    filter (TVF) curves are displayed simultaneously as either is edited
    within a tone.  The D-70 comes with a reasonably good piano sound, some
    unusual Vox patches ("ghost vox").
        The sliders and LCD back-lit display provide a highly readable
    way of controlling MIDI channels, even in low light.  The D-70 transmits
    all 16 midi channels and can receive (play) 5 voices plus the drum kit
    at the same time.  The 5 voices can be played on any midi channel - 5
    separate channels, all on the same channel, etc.  The drum kit receives
    only on channel 10.
         All 76 keys of the drum kit can be programmed individually with
    pan, cut-off, resonance and TVF/TVA.  D-110 compatible cards can be
    used as PCM sources."  (From: RICKATZ@delphi.com)

    D-110     Digital Rackmount
    -----
    The D110 is a 19'' digital synthesizer module with 32 voices.
    It works with the same technology as the D50 having only 4 partials per tone.
    It has MIDI Multi mode and can generate 8 different sounds at the same time.
    One drum set is featured, too.
    There are 8 single outputs.
    A small effect section is included, some types of reverb and echo.
    The sounds are very similar to the MT-32.

    User comment:
    "I'm using it mainly for sequencing purposes in a multitracking environment
     and it works well."

    "... I'm not really familiar with the D10 but I do have a D110.  There's no
    drum sequencing or any sequencing - it's just a sound module.  There are 8
    "parts" (instruments) plus the rhythm section, which allows you to spread
    the 64 built-in rhythm sounds plus the 64 sounds in the "internal" (user
    storable) bank across the keyboard...It's still quite useful.  A bit noisy,
    though."    (From: mgm@xmission.com (michael moncur))

    HP-1000s Digital Piano
    ----------------------
     Keyboard               88 Keys
     Max. No. Voices        32 voice polyphonic
     Preset Voices          Pianos 1, 2, Harpsichord, Vibraphone, Electric Piano
     Effects                Chorus 1 ON/OFF, Chorus 2 ON/OFF
     Connectors             Input & Output jacks (mono/stereo), MIDI IN/OUT/THRU
     Switches               Power, Local ON/OFF
     Speakers               16cm * 2
     Output                 20w * 2
     Finish                 Roland Original Oak
     Dimensions (W*D*H)     55-13/16" * 18-11/16" * 6-1/16"
     Weight                 81lb 11oz
     Consumption            117vac: 60w  220/240vac: 100w
     Accessories            Power cord, music rest
     Options                Stand, Kbd cover

    The HP-1000sl is identical save for an additional 5lb weight, and comes
    standard with a kbd cover. I took all that directly from the spec. section
    in the back of the owners guide. Here follows some more tidbits.....

    Controls                Volume, Brilliance, Tuning adj., Damper,
                            Soft/Sostenuto Pedals
    Key Transpose           Range can be transposed up a perfect 4th, and down
                            a diminished 5th.
    Midi Modes
     i)      Note On/Off, Pedal and Program Change messages are transmitted and
             received.
     ii)     Note On/Off, Pedal and Program Change messages are transmitted.
             Program Change messages are not received.
     iii)    Note On/Off, Pedal and Program Change messages are transmitted and
             received. The moment a new voice is selected on the piano, the
             corresponding Program Change number is transmitted. The Chorus
             On/Off is also transmitted. (Ideal for recording to a sequencer)
     iv)     Performance information (messages) sent from an external Midi
             device (e.g. sequencer) can play more than one voice of the piano
             (Multi-Timbral). Up to five voices may be played at the same time.
             Receives on channels 1, 11, 12, 13, and 14.

    Juno-6     Digital/Analog hybrid, Non-MIDI
    ------
    - 6 voice polyphonic, digital controlled oscillators (DCO)
    - DCO's feature simultaneous variable pulse, sawtooth, square waveforms
    - selectable Manual, Envelope or Pulse Width Modulation (PWM)
    - variable LFO modulation, rate and delay and PWM  modulation
    - noise generator, trigger mode selector
    - VCF section: hipass , lowpass filters w/ cutoff freq & resonance control
    - Envelope modulation slider/inversion switch
    - VCA can be modulated by the Envelope or can follow square envelope.
    - 4-part ADSR envelope generator
    - two-mode chorus section: chorus, vibrato, or stereo panning effects
    - Bend range sliders for DCO and VCF, return-to-center pitch bend control
    - Back panel: Main out (stereo/mono), level switch, headphone, VCF pedal,
                  sustain pedal, arpeggio clock control, master tuning

    Juno-60    Analog/Digital hybrid synth., non-MIDI
    -------
    * great 5 octave keyboard. thick warm analog sounds. great for techno

    * Roland Juno 60 (with MD-8 MIDI interface.)(?)
      6 voice analog/digital hybrid synth. A real classic. The best
      sounding Juno ever made.

    Juno-106   MIDI
    --------
    (no data)

    Alpha-Juno-1  Analog/Digital hybrid synth.
    ------------
    6-note polyphonic, w/MIDI

    Alpha-Juno-2  Analog/Digital hybrid synth.
    ------------
     w/MIDI, 6-note polyphonic, velocity sensitive w/ aftertouch.

    Jupiter-6  Analog
    ---------
    Analog synthesizer very much like its great brother, the Jupiter 8.
    The differences are: only 6 voices instead of 8 and MIDI (only IN
    and OUT, only OMNI Mode).
    It has very GREAT analog synthesizer sounds!
    The keyboard can be split in two parts, playing different sounds.
    An optional upgrade MIDI chip, can give it the ability to send the
    upper keyboard sound on channel 1, the other on channel 2.
    Unfortunately there is small storage space:
    64 different sounds can be saved in memory, 32 patches are available.

    Jupiter-8  Analog
    ---------
    The Jupiter-8's impressive sounds are created by its eight two oscillator
    synthesizer systems. These synthesizers are controlled by single bank of
    controls that feature a logical left to right flow and mix sliders with
    rotary controls to provide the most readily available information and
    control. Highlights of each JP-8 synthesizers voice include:
    Two separate VCO's providing four waveform options, each including precise
    sine, triangle, sawtooth, square, variable pulse, and noise waveforms.
    All sixteen oscillators are easily tuned in approximately three seconds
    and feature high stability to remain in tune even during long sessions under
    difficult conditions. A wide variety of modulation options include syncing
    and cross modulation between VCOs for control over an exceptionally wide
    variety of sound and tone color.

    Output of the VCOs passes through an infinitely variable source mixer and
    then on the the Filter sections. A separate Hi Pass Filter can be combined
    with a voltage controlled Low Pass Filter that is selectable between a rich
    -24dB/octave or a more acoustic -12 dB/octabe cutoff slope. These choices
    combine with a wide variety of control options that give musicians maximum
    creative control over the tone color of their sound.

    Two complete four stage ADSR Envelope Generators feature slider controls
    for accurate visual information and control during programming and editing.
    Each envelope includes and exclusive Key Follow option allowing the Attack,
    Decay, and Release length to be shortened in proportion to the height of
    any pitch as they naturally do on many acoustic instruments including the
    piano. Envelope-1 also includes a switch for inverting its effect before
    being sent to the sections. The VCA may be both Envelope and LFO controlled
    and terminates on the JP-8 back panel in a stereo Headphone output, two
    balanced outputs. and three unbalanced outputs suitable for a wide variety
    of situations.

    The Jupiter-8's powerful programmer has the capacity to store and recall
    the exact synthesizer settings for up to sixty-four different patch programs.
    Patches may be stored virtually permanently using the JP-8's lithium battery
    back-up system. Writing into any patch position from the Manual control or
    another patch position requires only pressing two switches and the patch
    number desired. Patch selection simply requires punching in the actual two
    digit number needed which is then displayed in a large LED display window.

    JX-3P      Analog/Digital hybrid
    ------
    Digital Oscillators & Analog filtering. Simple, but well thought out.
    Analog style programmer (PG-200) also available.
    Six voice/Two Oscillator/1 Envelope generator/VCA-VCF/Chorus
    128 step non-MIDI programmer/non-velocity kybd (there is also an upgrade
    that makes the system velocity sensitive from an external controller. The
    internal kydb is inactive when this is switched on).

    JX-8P      Analog/Digital hybrid
    ------
    Digital oscillators with analog filtering
    This was a basic upgrade of the above described JX-3P...
    Same basic design with velocity kybd/2nd envelope generator...
    I don't have more details...

    JX-10       Hybrid Digital/Analog
    ------
    76 Key Analog Synthesizer, bi-timbral, programmable, good MIDI
    controller. Very diverse analog sounding unit. The JX is a hybrid
    synth: digital waveforms with analog filters.

    Roland JD & JV Series
    ---------------------
    JD-800:   Digital synthesizer with tons of front panel sliders (like the
            old analog ones).  Very clean, clear, and sparkly (sounds like
            intro to the new Star Trek series, although I don't know whether
            they used a JD-800 or not).  I wasn't very impressed with its
            acoustic instrument simulations, but that's not really what
            it's for.

    JV-30:   Digital sample-playback keyboard (a Sound Canvas with a keyboard,
            pretty much) with some programmable parameters (including filters,
            which is what the U-20 lacked).  Non-expandable (no RAM or ROM
            cards).  Nice acoustic instrument simulations.

    JV-80:   Digital synthesizer and sample-playback synth.  Better programming
            interface than the U-20's (wish they'd thought of it before
            they made the U-20).  Very crisp, clean, sparkly, lots of high-
            end (some would say, too much).  I wasn't impressed with the
            onboard acoustic piano samples (too metallic), but there are
            8 megabyte expansion boards with lots of sounds (categories: pop,
            orchestral, piano, and I forget the other one.  The orchestral
            expansion board is wonderful).  The keyboard is very responsive
            and very nice to play (velocity- and aftertouch-sensitive -- I forget
            whether it's channel aftertouch or polyphonic aftertouch).
            The JV-30 is velocity-sensitive, but not aftertouch-sensitive,
            by the way.  The JV-30 and JV-80 are really different animals;
            I don't know why they are both called JV-keyboards.

    JD-990:   A rack-mount super-upgrade of the JD-800, and I hear that it
            sounds even cleaner, crisper, and sparklier than the JD-800
            according to a review in Electronic Musician (I think).  Here's
            where the distinction between the JD's and the JV's starts to get
            fuzzy.  The JD-990 can also recognize the JV's 8 meg expansion
            boards, although I'm not sure whether their patch parameters are
            identical (I tend to think not).

    JV-90:   A 76-key version of the JV-80.  I don't know whether there are
            other differences, though.

    JV-35:   An upgrade of the JV-30, which is expandable via ROM or RAM cards
            I think.  Maybe a few other features as well.

    JV-1000: The super JV flagship keyboard.  I think this one has 76 notes,
             plus a sequencer onboard (the equivalent of an MC-50, I
            think), and the capability to add on a Sound Canvas expansion
            board for more sounds and polyphony.  But here's the catch:
            The extra polyphony applies only to the Sound Canvas sounds, not
            to the other internal sounds.  I hear that it's a
            good-sounding keyboard, but that it's control section, sound
            section, and sequencing section aren't seamlessly integrated,
            so there's a bit of a learning curve involved.

    A more accurate description of the JV-90 is that it's a JV-1000 minus
    the sequencer.  The big difference between the JV-80 and the JV-90 is
    that the JV-90 is expandable, like the JV-1000 (you can plug in a GS
    expansion board to give you more polyphony and parts). Both the JV-90 and
    JV-1000 support General MIDI as manufactured.

    The default patches on the JV-90 are different than the JV-80, but the
    JV-90 waveforms are a superset of the JV-80.  There are also 128 JV-80
    compatible patches on the JV-90, this is in addition to the 256 preset
    patches available (this is not mentioned in the brochure), even though
    there are some overlap of patch names.  The JV-90 also have 4 preset
    drum sets, versus the 1(?) on the JV-80.

    The prices for JV-80 and JV-90 are about the same, so the JV-90 is
    clearly the better buy, unless you need a JV-80 for compatibility
    reasons.

       Expansion boards
       ----------------

       Roland SR-JV80-02 Orchestral Expansion Board
       Will slot very neatly into JV80, JV1000, JV880.

       JV-80/JV-90/JV-1000/JD-990 is a vintage keyboards expansion board (so,
       they are pop, orchestral, piano, and vintage).

       JV-880 analog synth expansion board.
       ------------------------------------
        internal expansion board that has analog samples,
        classic analog synth sounds.

    MKS-50  Rackmount
    ------
    Alpha Juno series synthesizer in rackmount unit

    Roland Rhodes Model 760
    ------------------------
    76-key synth.  30 note polyphony, 6 part multi-timbral.
    Many internal sounds and combinations.
    Accepts U220 cards.

    S-10 Digital Sampling Keyboard  (MIDI)
    ------------------------------
    The Roland S-10 is a 12-bit sampler with a 30 KHz sampling rate (max).
    It's got 128 Kb's of RAM (I think). You can sample up to 4.4 seconds at this
    rate. You can also choose a 15 KHz sampling rate (up to 8.8 sec's). It can
    only hold 4 different samples at a time (1.1 secs each at 30 KHz).
    These samples are organized in banks A, B, C and D. When you sample you
    choose either one of these banks or one of the following combinations:
    AB, CD (max. 2.2 sec's) or ABCD (max. 4.4 sec's).

    Splits: A/B, C/D, AB/CD or A/B/C/D.

    Layers: Banks at the same "stage". For example: B+D or AB+CD. Not A+AB.
    These bank combinations can also be mixed or switched via adjustable
    velocity.

    The keyboard has only got 4 octaves, but is VERY playable compared to the
    keyboards on most modern synths. You see, under each key there is a piece of
    metal (is this what is called semi-weighted?).

    The S-10 has got 8 voice polyphony which is cut down to 4 voices when
    layering or  velo-switching and velo-mixing. You can detune two banks to get
    a "flanger-like" effect (4-voice polyphony). There is also a simple but
    useful delay option (4-voice...).

    Arpeggiator: (up,down, up&down or random, rate, # of note repeat).
    Trigger function: Audio in triggers a specified note, chord or notes via
            arpeggiator. The trigger sensitivity is adjusted with the record
            level fader.
    Autobend: Depth, speed. A kind of portamento (?) but bends only upwards (both
    chords
              and single notes).

    It's got both manual and automatic looping functions. (Not crossfade-looping,
    I think). The manual looping function is very user-friendly as you can let the
    sample be sustained while you are editing it to find the best/most glitchless
    looping point. There are some high-pass and low-pass filters that can change
    the sounds quite dramatically but they are not so flexible - sort of static.

    When performing I use my S-10 for effects and special "fill-in" sounds and
    as a master for my Roland D-110 and E-mu Proformance.

    The dummest thing about the S-10 is that it uses 2,8"(!!!) disks
    ("quickdisks"). These are hard to get, expensive and even though you can save
    sounds on both sides you can ONLY save one bank per side. So, to save a 4.4
    sec 30 KHz sample you will need two of these disks.
    (From: mo@kreftreg.no (Mads Olsen))

    Monophonic Synthesizers
    =======================

    MC-202   Analog, Non-MIDI, monophonic
    ------
    Can sync up to drum machines such as TR-707,-727, and -909.

    Owner comments:
    "The MC stands for microcomposer and that is just what this little angel does.
    Except, I never use it that way (too much of a hassle.) I call it my little
    angel because this thing produces the deepest, roundest bass that i have ever
    seen. I love it to death.. can't wait to MIDI it! anyway, this machine has
    basically the same circuitry again as the sh-101 and sh-01 synth, minus the
    ability to go to different waveforms. I think it is stuck with a square wave,
    maybe, maybe a sawtooth. it doesn't do as much as the 101 does but I think it
    makes up for its bass sounds. I think of it as my bass machine."

    "...the PG-series do not have ANY features that allow DIN-sync to MIDI
    clock!  The PG-series consisted of the PG-200 (JX3p, MKS30 Planet S), PG-300
    (Alpha Juno 1 &2, MKS50), PG800 (JX8p, JX10, MKS-70 Super JX) and PG1000
    (D50, D550). You could also consider the MPG-80 (MKS-80 Super Jupiter) as
    part of the PG-series if you wish. But, they don't provide DIN-sync to MIDI
    clock..."    (From: George Kotsopoulos)

    "...available waveforms on the MC202 and SH101 (since they share the exact
    same sound circuitry).
    The MC202 can produce Pulse Width Modulated waveforms (when Modulation is set
    to 50%, you get a square wave), Sawtooth and a sub-oscillator which is a
    Square wave with adjustable octave switch. The progammability differences
    between the SH101 and MC202 is that the MC202 only has a TRIANGLE wave for
    its LFO (Low Frequency Oscillator) modulation. The SH101 has TRIANGLE,
    SQUARE, RANDOM and WHITE NOISE." (From: George Kotsopoulos)

    SH-0x Series
    ------------
    The SH-0x series were the line of keyboards that Roland first sold. They came
    out in the late 70's and they were basic synths. They were usually half size
    (two octaves) and they had knobs and some switches, monophonic, and of course
    not multitimbral. This is the closest thing to the Moogs that were coming out
    at the time (except more condensed and not made of wood.) What I hear is that
    the circuitry for a SH-09 is similar to that of the 808. These synths usually
    have a control voltage/gate input from any external synth or sequencer of
    sorts. The "SH" stands for synth, if you were wondering.

    The SH-01 is closest to the SH-101 except there is no pitch lever (I think)
    and it has the ability to generate pink and white noise, which very few
    synths have now. It has a VCO (voltage controlled oscillator), a VCF (voltage
    controlled filter), and a VCA (voltage controlled amplifier), as well as I
    think an envelope follower.

    This is a small synthesizer and it can be used to generate the classic
    "LOW BASS" sounds as well as a lot of percolating random noises. some people
    like to make pads and simulations of string synths with it by setting the
    attack a little slower and turning the frequency cutoff down a bit.

    Other synths in this category are the SH-05, SH-07, and SH-09.

    SH-101   Analog, Non-MIDI, monophonic
    ------
    This two octave digital/analog hybrid synth is pretty popular. It features
    everything that the SH-01 did except it is not switchable from white to pink
    noise. it has a pitch/modulation lever that can trigger the LFO to modulate
    the sound as well as an external modulation grip. This grip is just a small
    wheel on a grip that just does the modulation and nothing else. You can
    attach a strap to this and the other side to wear the 101 like a guitar.
    It came in several colors of grey, blue, red, and purple.

    When I say it is a digital/analog hybrid, I am refering to the fact that the
    clock in it is run digitally. The difference between running a digital clock
    versus analog is that the analog waveform's oscillation peak points are what
    triggers it. This is not the most dependable way of timing as interferences
    and all kinds of fun stuff can cause it to fluctuate. The digital clock on
    it should make it more dependable.

    This has CV/gate in and out 1/8th jacks. Also, there is a modification that
    you can add to allow a line input before the VCF and you can shape your line
    input with the 101's controls (frequency cutoff, resonance, modulation, etc.)

    There is a small battery inside the 101 that stores your 99 note sequence.
    There is a hold function which holds the note that was last played, also an
    arpeggiator that can can go up or down or both (like Philip Glass type
    stuff.) The waveforms can be from a sawtooth, a square, a noise, or a random
    wave. Like the SH-01, the wavelength distances can range from 16-2 feet
    (very low frequencies to very high frequencies.) There is a noise generator
    that just adds noise to whatever you are playing.

    TB-303  Analog, monophonic Bass line synthesizer (Non-MIDI)
    ------
    The TB-303 can easily sync to other ProForm products or many other products
    to play the composition. Can sync up to drum machines such as TR-707,-727,
    and -909.

    Specs:
    - Programmable in real time or in step mode using input buttons
    - ProForm standard includes the TR-606 drum synthesizer/sequencer.
    Comment:
    "The only available way of entering notes is via step-time entry. It's a
    peculiar way too. First, you enter the pitches that you want and then
    secondly, you enter the rests and any other accents or slides you want.
    Sorry, no real-time entry on this! (Page 9 through 17 deals with programming
    bass sequences in to the TB-303.)" - From: George Kotsopoulos

    "I assume that the TB stands for something like, "the bassline" or "tone
    bass." Whatever the case, this is also called the acid machine...it was used
    in the later 80's house music (Phuture, Adonis, Derrick May) and this is what
    the drug acid would have sounded like. This, along with the 808, 909, and 106
    is probably one of the most famous machines that Roland ever made.
    ---
    The heart of the 303 is the square/sawtooth wave. It has 6 knobs at the top
    of the machine to control this wave (tuning, frequency cutoff, attack,
    resonance, decay, and accent.) The wave is switchable from square to sawtooth
    wave. There are no lfo's or noise filters or anything.
    ---
    I think actually all of these machines are run by DCO's but anyway, this is
    the "computer controlled" sequencer of the machine. You can store 64
    patterns, which are split into 4 groups and then each group has 8 patterns
    each on A and B. You can also tie 4 patterns together to make a song. You
    must program the pattern in (again!) step time (ugh!) with rests (no sound),
    staccato (moving at the tempo of the click), and legato (extending through
    several clicks.)"

    Sequencer / Programming Units and MIDI Controllers
    ==================================================

    MKB-300 MIDI Keyboard Controller
    --------------------------------
    -76 full size velocity sensitive and weighted action keys (firmer than
     regular synth. and softer than acoustic piano).
    -Slider for key transpose.
    -Joystick for pitch bender, modulation.
    -Sliders for modulation rise time and depth.
    -Connectors for soft pedals (2) and damper pedals (2). Soft
     pedals can be use to increase or decrease patch number.
    -Connectors for MIDI IN (1), OUT (4) and THROUGH (1).
    -Connector for modulation pedal (1).
    -Displays and buttons to select MIDI channels (all 16 channels) in
     multiple modes (split, dual, whole lower, whole upper,
     monophonic and polyphonic).
    -Buttons (24) to save and transmit up to 128 program change MIDI
     messages. These programmed MIDI messages are saved in battery
     backed (non-volatile) memory.
    -MIDI channel split point can be disable or set AT ANY of the 72 keys.
     Each of the saved 128 programs can have different split points.
    -Note that the MKB-300 is a MIDI controller without sound module.
    (From: nhan@bnr.ca (Gia Nhan))

    MPG-80 (programmer for MKS-80 Super Jupiter)
    --------------------------------------------
    (see also PG Series)
      (no data)

    MSQ-100 MIDI sync/sequencer box
    -------
    (no data)

    MSQ-700 MIDI/DCB Multi-track Digital Keyboard Recorder
    -------
    The MSQ can memorize all MIDI informatino and has 8 memory tracks.
    Up to 6,500 notes can be stroed in all tracks. The MSQ-700 has several
    convenient functions; a chain function, multitrack function, overdub
    function, and merge function. Numerous data, such as remaining memory
    capacity, tempo, or measure number, can be digitally diplayed. And the
    MIDI allows the MSQ-700 to be connected with the TR-909 and to control
    the TR-909 with the MSQ-700's data.

    Specs:
    - 8 tracks, programmable in real or step time, to 1/32 resolution
    - Beat: Free, 1 ~ 6, 8, Tempo: 35 ~ 260
    - Max memory capacity 6,5000 notes in all 8 tracks
    - Modes: Chain, Normal and Tape.
    - Clock: Internal, Tape, Sync, MIDI
    - Display: Measure, Chain, Avail., Note, Tempo, Status
    - Metronome switch: off, load/play, on
    - Rear Panel: EXT Control(Start/Stop, Punch in), Sync In/Out (5p DIN),
      Tape Sync(Load/IN, Save/Out), Memory Protect On/Off Switch
    - Dimensions: 346mm x 108mm x 328 mm (WxHxD), 5 kG
                  13.6" x 4.25" x 12.9"         , 11 lbs.

    PG Series Synthesizer Programmers (see also MPG Series)
    -------------------------------------------------------
    Comments:
    From:    George Kotsopoulos
    "The only PG-series programmers which do not have MIDI jacks are the PG-200
    (which is used with the MKS-30 Planet 'S' module or the JX3p keyboard) and
    the MPG-80 (which is used with the MKS-80 Super Jupiter module) which use a
    special 6-pin DIN connector.  Every other programmer (the PG-300, PG-800, PG-
    1000 ect.) have MIDI jacks to interface to the keyboards/modules they are
    capable of editing.
    The PG-series are programmers. If [deleted] thinks that programming
    and triggering are the same thing, then that is incorrect."

    PG-100 programmer box
    ---------------------
      (no data)

    PG-200 (programmer box for JX-3P, MKS-30 Planet S)
    --------------------------------------------------
      (no data)

    PG-300 (programmer box for Alpha Juno 1 & 2, MKS-50)
    --------------------------------------------------
      allows tactile programming with about 3 dozen sliders over MIDI
      of the parameters in the A-Juno-2 and others in the Alpha Juno line.

    PG-800 (programmer for JX-8P, JX-10, MKS-70 Super JX)
    --------------------------------------------------
      (no data)

    PG-1000 (programmer for D-50, D-550)
    ------------------------------------
      (no data)

    System 100 Sequencer Module 104
    -------------------------------
    Description: 12 stage, dual channel analogue voltage sequencer.
    Connections/Controls:
    Gate Outputs (2)
    Series Outputs (2)
    Parallel (CV Sequencer) outputs (2 per channel)
    Ext CV Input [Clock Rate]
    Gate Time, Clock Time controls
    Range switch [x1/x10]
    Step Number [1-12]              [How many steps in sequence]
    Channel A/Channel B             [Which channel are we talking about]
    One Time/Repeat                 [Play sequence once/continuously]
    Ext Trigger Input [Start]
    Ext Trigger Input [Continue]
    End Pulse Output  [Stop]
    Ext Trigger Input [Step]
    Note - All jacks are 3.5mm mini.

    Owner comments:
    "Output control voltage ranges are variable across 2.5V, 5V, 10V - I'd be
    extremely reluctant to use the 10V range, especially on a low-voltage
    device like the MC202, SH101 etc.  Maybe they have the precautions necessary
    to deal with the trauma, but I wouldn't risk it.
    This hefty looking box is just the trick for those analogue jams - loads of
    flashing LEDs, 27 dials, switches etc!
    Using the beast is a doddle - just dial up the various values for each stage
    of the sequence, and connect up one of the "parallel outputs" to a CV-in
    on your favourite noise box [ie VCF Cutoff etc] and start creating complex,
    syncopated rhythms, especially if you have the thing being clocked
    externally.
    Something interesting to keep in mind with this things is the fact that its
    own internal clock is a VCO!  So you can have it sequencing away, but slowing
    down and speeding up to another external voltage.  Great huh?
    It's curious that there are 12 stages to the sequencer, as opposed to 8 or
    16, but I'm not complaining.  It wouldn't be too hard to bodge up something
    that does what this box does, but it sure wouldn't look half as cool! :)"
    (From: Andrew W Gamlen )

    A-30 Master Controller Keyboard (verify?)
    -------------------------------

    A-50 Master Controller Keyboard (verify?)
    -------------------------------
     76 keys un-weighted
       -64 patches, which can linked 32 patches together,with card slot.
       -Can send all kind of midi program change including aftertouch
        and velo. , and all programmable.
       -Split/stack its up to 4 zone .
       -Program can be change via sliders.
       -2 Midi in, 1 Midi thru, 4 Midi out, and four foot controller inputs.
       -Large LCD screen display.

    PC-100 MIDI Keyboard Controller
    -------------------------------
             3-octave midi controller

    PC-200MKII MIDI Keyboard Controller
    -----------------------------------
            - 49 full-size velocity sensitive keys
            - compact, desktop design, standard MIDI connections
            - octave shift provides 6 octave range
            - bender/modulator lever for expressive control
            - data entry slider for full MIDI capability

    --------------------------------------------------------------------------
    4. MODULES AND MIDI COMPUTER PERIPHERALS
    --------------------------------------------------------------------------
    MIDI soundcards, peripherals, external synth modules and adapters.

    CA-30 Intelligent Arranger
    --------------------------
    "Note that the CA-30 is a MIDI controller without sound module. Provides 32
    music accom. styles (ex: RUMBA, ROCK, BALLAD, SLOW, etc.) in real-time, for
    MIDI keyboards or MIDI modules. Each style has 4 variants. More music styles
    can be added using Roland ROM cards (external, credit card size). Most home
    entertainment synth. and electronic piano can only send and and receive MIDI
    on one fixed channel. And they do not send all parts (drum, upper-split,
    lower-split, accomp. and bass) of the performance. This unit, as a MIDI
    controller, is fully configurable for 16 MIDI channels and sends all
    instrument parts to the configured channels." (From: nhan@bnr.ca (Gia Nhan))

    CM-32L External Module
    ----------------------
    The CM32L was an MT32 in a plain external box (no LCD's or parameter
    controls). Also has 30 F/X sounds. Meant to be used with a computer.
    Similar to an SC-55 in quietness.
    From: Adam Mirowski
    (no specs)

    CM-32P PCM Sound Module
    -----------------------
    -Multi Timbral Sound Module
    -This PCM Sound Module  similar to the Roland U-110 is built in the CM32P,
     creating high quality 64 different sounds.
    -Can produce a maximum of 31 voices (Partials)
    -Built in digital Reverb creates realistic reverb effect
    -Midi Hardwired Channels 11-16
    - only half of the samples compared to the U-220
    - no MIDI out
    - no external controls beyond volume
    -THOROUGH MANUAL

    THIS UNIT READS THE ENTIRE SERIES OF ROLAND Sound Library SN-U110 Series.
    This is the series of cards made for the Roland U110.  You can buy the
    complete collection of Roland U110 cards at American Musical Supply
    (1-800-458-4076) for $19.95 each. <--These usually cost $59-$69.

    The 64 internal sounds already on the CM-32P are all from the high quality
    ROLAND sound library: 10 Pianos,  5 Guitars , 8 SLAP Bass  , 2 Fingered Bass
    , 2 Picked Bass, 1 Fretless Bass,  1 Acoustic Bass, 4 Choirs, 4Strings, 10
    Organs, 4  Sax , 5 Brass  , 8 Trumpet /Trombone   (and a few more).

    Owner comment:
    This is a great little module....that will give you those lush ROLAND
    sounds..and best of all...you can get all the cards to build quite a
    collection of sounds from American Music Supply...again..it's PCM so you
    will have as rich/quality a sound as the U110 and U220!
    This is a great way to capture the sound of Roland!

    CM-64
    -----
    The CM64 was an CM-32L plus a CM-32P in a single box.
    (no specs)

    CM-300
    ------
    The CM300 was an SC55 in a plain (no LCD or buttons) external box.

    CM-500
    ------
    The CM500 is 2 synths in one box; equivalent to an SC55 and an CM-32L,
    for "perfect games compatibility".

    LAPC-1 Soundcard
    ----------------
    Linear Arithmetic sound for the PC.
    The LAPC was a CM-32L on a PC card, with enhanced sound effects and
    additional user patch RAM.  Introduced around 1988.  Was sold by Sierra
    On-line for use with their games, in additional to traditional Roland
    dealers. Needs an external adapter box to turn it into a full MPU401 MIDI
    interface (Roland MCB-01). Includes the CM-32L's F/X samples and as quiet.
    (no specs)

    MT-32 MIDI Sound Module
    -----------------------
    - Linear Arithmetic (L/A) synthesis, same technology as in the D-10 synth,
      12-bit sampling and processing, half the samples of the D-10.
    - Multi-timbral, 8 parts arranged in 8 Sound Groups plus a drum part.
    - 32 voice polyphony plus 30 percussion samples
    - 128 preset patches and 64 user programmable patches
    - 128 PCM digital sound samples, plus digitally synth'd partials
    - built-in reverb effects

    The preset sounds are arranged in Sound Groups including several different
    instruments and timbres from each group: Piano, Organ, Keyboard, Bass,
    Syn-Bass, Synth 1 & 2, Strings, Wind, Brass, Syn-Brass, Mallet, Special
    Instruments, Percussion and Effects. The power of the MT-32 really comes
    through when you combine these voices together under sequencer control.
    (Source: Roland Product Literature)
    Owner comment:
    "Lacks half of samples compared to D-10. The absence of
    a piano sample is very annoying...!"  (From: Adam Mirowski )

    RAP-10/AT Roland Audio Producer Soundcard
    -----------------------------------------
    The RAP-10 provides General MIDI and WAV record and play. The MIDI
    is based on the SC-7. MIDI ports are provided by an optional adapter
    which connects to an expansion on port on the backplane of the card.
    Roland makes an adapter called the MCB for this purpose.

    Features:
        - 16-channel, 26-voice 'Sound Canvas' General MIDI synthesizer
        - 128 MIDI instrument sounds, 6 drum kits
        - 16-bit, 44.1 kHz stereo sampling
        - studio-quality digital reverb and chorus for both MIDI and digital audio
        - Roland Audio Toolworks software for Microsoft Windows 3.1
            - fully synchronized record/play of MIDI and WAV data
            - 16 MIDI channel + 2 WAV channel mixing console
            - waveform editing
        - internal ISA bus card for PC, General MIDI interface
    Specs:
    Synthesizer:
        Tones: 128 sounds (General MIDI System Level 1), 6 drum kits
        Polyphony/Timbres: 26 voices/16parts, (1 for drums)
    Digitized Audio Section:
        Record: Linear 8 or 16 bit at 44.1/22.05/11.025 kHz
        Playback: Linear 8 or 16 bit at variable rates
                      (+/- 1.5 ocatves from sample)
        Polyphony: One stereo or two mono part(s)
    Effects: Reverb/Delay and Chorus common to both sections
        independent levels per part.
    Inputs:   Stereo
        Mic/Line: adjustable from -50dBm to -10dBm; stereo mini-phone jack
        Aux/CD:   -10dBm; stereo mini-phone jack & internal connector
    Output:   Stereo
        Line Level: -10dBm; stereo mini-phone jack
        Mixer:        Seperate levels for synthesized audio playback,
                    digitized audio playback,
        AD/input (also Aux. in)
    Interfaces:
        Joystick/MIDI (Enhanced MPU-401 UART) connector;
        DB-15F (optional MCB-10 connector box provides MIDI connections)

    SCC-1        GS Sound Card
    --------------------------
     The SCC-1 is the CARD type of the SC-55 Sound Canvas module, it is an
     8-bit card with onboard MPU-401 unit for processing MIDIs,
     128 GS instruments, General MIDI and GS Compatible.

     The SCC-1 is also MT32 compatible, but does not understand
     MT32 Sysex messages. It has an MT-32 compatible program change map
     (bank 128 issued on every channel/part).

    Specs:
    - 16-channel, 24 voice 'Sound Canvas' General MIDI synthesizer
    - 317 MIDI instrument sounds, 9 drum kits, plus sound effects
    - MPU 401 interface for DOS & Windows MIDI software
    - studio quality reverb and chorus
      Reverb: ROOM 1-3, Hall 1-2, Plate, Delay,Panning Delay
      Chorus: Chorus 1-4,Feedback Chorus,Flanger,Short Delay,Short
              Delay Feed back.
    - General MIDI and Roland GS compatible
    - Ports: Headphones, MIDI IN/OUT, RCA Left, RCA Right.

    Owner comments:
    "128 [instruments], but very sparsely populated. Sounds just have variations,
    memorized on a per part basis, changed using the Bank Select MSB controller
    (0) and often offering a richer sound through the usage of two partials
    instead of one."    (From: Adam Mirowski )

    "Samples are stored in ROM, using 4MB , Uncompressed. (I wasnt able to verify
    the 4MB size, if anyone can verify it with Roland Corp. it will be great.)"

    SCC-1B   GS Sound Card
    ---------------------
            Basically the SCC-1 bundled with additional software.

    This is a small comparison between the Roland SC-7 module
    and the Roland SCC-1 card. You are encourged to use this template
    when comparing other wavetabled cards.

                       Roland SC-7                   Roland SCC-1

    Parts:                 16                             16
    Polyphony (MAX)        28                             24
    Tones:                 128                            317
                           6 Drum Sets                    9 Drum Sets
                             Standard                     Standard
                             Electronic                   Electronic
                             Brush                        Brush
                             Power                        Power
                             TR808-set                    TR808-SET
                             Orchestra                    Orchestra
                                                          Jazz
                                                          Room
                                                          Sfx
                                                          CM64/32L

    Effects                 Reverb/Delay Chorus           Reverb/Delay
                                                          Chours

    NOTE: Both SC-7 and SCC-1 are GM. The SCC-1 also conforms to GS.
          Roland SC-7B is the upcoming daughterboard for the SB16
          at the moment it is available as a external module.

    SC-7(PC),SC-7(MAC) Sound Modules
    --------------------------------
            - connects to PC or MAC serial port or any MIDI interface
            - 128 General MIDI instrument patches with 6 drum kits
            - 28 voice polyphony, 16 parts
            - studio quality reverb and chorus
            - two-input mixer for MAC/PC audio, CD-ROM, etc.
            - Ballade(r) and Band-in-a-Box(r) software and cables
                    - Ballade software mixer (MIDI)
                    - Band-in-a-Box software (PG Music, Inc.)

    SC-7B
    ------
            Basically the SC-7 on a PC card.

    SC-55
    ------
    The SC-55 is the Original Sound Canvas and is an External Module.
    The SC-55 is a 16-part General MIDI/GS sound module with up to 24-note
    polyphony. It has 317 sounds plus 9 drum sets plus a sound effects set. It
    has a larger display and more front-panel controls than most Sound Canvas
    models. It's mostly a sample playback unit, but some aspects of the samples
    (such as filtering and the envelope) can be altered to produce new sounds.
    There is no capability to add totally different sounds. The SC-55 also has
    built-in reverb and chorus. It has a MT-32 compatibility mode (although the
    sounds aren't exact and there are some limitations, such as that MT-32 sys ex
    is not supported). It has an extra MIDI In jack on the front panel and has a
    remote control that can handle some basic functions. It's rack-mountable
    (taking half a rack space).

    User comment:
    "When Keyboard magazine did a blind test with many trained listeners a year
    ago, they rated the SC7 and the SC55 (the original Sound Canvas) equal in
    quality and better than the half dozen other General Midi boxes they tested,
    including Korg, Kawai, and Yamaha TG100."   (From: dcole@ua.d.umn.edu)

    Super MPU/AT, MPU-IMC, MPU-IPC MIDI Interfaces
    ----------------------------------------------
            - full MPU 401 compatibility
            - MPU-IMC for IBM Microchannel, -IPC for PC ISA
            - 'Super MPU/AT' adds:
              dual ports (32 MIDI channels in and out), SMPTE read/write ports,
              high resolution (960 ppqn), 16-bit MPU MIDI data processing

    U-20  Expansion Card
    ----
    2 voice cards (orchestral winds and special effects), sustain
    pedal, and sysex/librarian.

    U-220   Module
    -----
    Multi-timbral sample playback. 30 voice/6 part +drums/2 simultaneous
    digital FX thru the main stereo output (4 other outputs available
    +headphones). Accepts two simultaneous PCM cards from the Roland U-110/220
    Library.

    --------------------------------------------------------------------------
    5. RHYTHM UNITS
    --------------------------------------------------------------------------
    Rhythm sequencers, drum machines, bass line sequencers,  electronic drum
    kits and accessories.

    R-8 Drum Machine (Human Rhythm Composer)
    ----------------------------------------
     - Full MIDI compatibility
    (no data)

    R-70 Human Rhythm Composer
    --------------------------
    - of course, it's MIDI, and supports a lot of controllers, etc.
    - I use SYSEX all the time to define drum sets and setups from the IBM
      (running Cake 2)
    - 210 16-bit drum and percussion samples, and they sound really quite nice.
    - Positional pad, which can play "across" a drum head or cymbal from the
      edge to the center (bell of the cymbal) - this is great for customizing
      hits, and it really sounds authentic if you use it right!
    - on board effects (these are o.k., and I use them sometimes)
      Stereo flange, chorus, delays, reverbs
    - 32 spots for User-tweaked samples
    - Ram cartridges are available, but I don't use them
      (I SYSEX dump to IBM instead)
    - It is a "drum machine," and has a hardware sequencer that I sometimes use.
      It doesn't mind being the slave, but I usually just use Cake and do all my
      work there.
    - The unit is capable of creating patterns in various genres, which may be
      handy for the person that's temporarily out of ideas.  Works fairly well.
      I don't use this either,  but it's kind of neat. :) Those things it
      creates can be converted to user patterns and saved/edited.
    - Can memorize some of the MIDI data sent to it
    - Recognizes an eight-bit pitch bend resolution, mods, data entry, volume
      (of course), panpot, etc. (most used controllers, anyway)

    TR-505     MIDI
    ------
    (no data)

    TR-606     Drumatix (Non-MIDI)
    ------
    The Drumatix is a totally programmable drum synthesizer/sequencer. The
    drum sounds available on the TR-606 include: Bass, Snare, Lo and Hi Toms,
    Cymbal, Open and Closed HiHat. Each sound has its own level control for
    total mix flexibility.

    With the Drumatix, you can program 32 different rhythm patterns which
    can be arranged to play up to 8 complete rhythm tracks ("songs"). After
    the track has been programmed, the TR-606 can easily sync to other
    ProForm products or many other products to play the complete drum track
    of the composition.

    Specs:
    - Programmable in real time or in step mode using input buttons
    - ProForm standard includes the TB-303 bass synthesizer/sequencer.

    TR-626     MIDI
    -----
    (no data)

    TR-707 Rhythm composer    MIDI
    ----------------------
    The TR-707 is a programmable drum machine, similar to the TR727,
    but has ordinary drum sounds.

    TR-727 Rhythm composer    MIDI
    ----------------------
    The TR-727 is a programmable drum machine for latin percussion with MIDI.

     Programmable in "step mode" or "tap mode"
     4 tracks , 998 bars in total from up to 64 user created rhuthm patterns.
     the sequencer supports accents, "flam" (grace-note), and "shuffle" for
     rhythmic variants.

     15 Sound sources with
      Hi Bongo
      Low Bongo
      Mute Hi Conga
      Open Hi Conga
      Low Conga
      Hi Timbale
      Low Timbale
      Hi Agogo
      Low Agogo
      Cabasa
      Maracas
      Short Whistle
      Long Whistle
      Quijada
      Star Chime

     Stereo or Mono Output
     Ten independent outputs for each sound source (Bongo, Conga etc.)
     stereo headphone jack
     built in mixer with individual level control buttons

     MIDI Input (1, in), MIDI Outputs (1, out) Cassette Tape Memory/Sync Jacks:
    Save/Out, Load/In
     DIN Sync IN/OUT Connector
     External Trigger Output ("Hi Ag trig out" jack)
     DC in 12V, AC adaptor jack

     Optional Pedal switch, memory cartridge.

     Note numbers used for MIDI are remappable and the unit can thus
     be used as a simple sequencer.

    TR-808     Non-MIDI
    ------
     Programmable in real time or in step mode using input buttons
    (no data)

    TR-909 Rhythm Composer     MIDI
    ----------------------
     Programmable in real time or in step mode using input buttons
     96 patterns (16 patterns x 3 pattern groups) x 2 banks
     4 tracks (continuous: max 896 measures) x 2 banks
     1-16 step range
     Sound sources (controls):
      Bass drum (Level, Tune, Decay, Attack)
      Snare Drum (Level, Tune, Tone, Snappy)
      Low Tom (Level, Tune, Decay)
      Mid Tom (Level, Tune, Decay)
      High Tom (Level, Tune, Decay)
      Rim Shot (Level), Hand Clap (Level), Closed/Open HiHat (Level, Decay)
      Crash Cymbal (Level, Tune)
      Ride Cymbal (Level, Tune)
     Stereo or Mono Output
     Independent outputs for each sound source (Bass, Snare, Etc.)
     MIDI Input (1), MIDI Outputs (2)
     Cassette Tape Memory/Sync Jacks: Save/Out, Load/In
     External Trigger Output (Rim Shot jack)

    --------------------------------------------------------------------------
    6. QUESTIONS & ANSWERS
    --------------------------------------------------------------------------
    Selected questions and answers on general Roland equipment features.
    Specific equipment questions would soon be too numerous to include in
    this document, and should be part of another, equipment-specific FAQ.

    Q. What is the "Roland GS" standard?

    A. The groundbreaking GS standard was created to standardize the Tone
       map and MIDI parameters for Roland instruments, providing consistent
       rules for defining MIDI Program Change number assignments and sound
       modification parameters. Developed in conformity with the General
       MIDI format adopted by the MIDI Manufacturer's Association, any GS-
       compatible sound source will be able to utilize the same sequencing
       data without having to reset MIDI Program Change numbers, Receive
       channels, or other parameters. The SB-55 Sound Brush and the SC-55
       Sound Canvas were the first instruments to incorporate the GS Standard.
       (Source: Roland Users Group)

    Q. What drum sounds are available in Roland MIDI equipment?

    A. The General MIDI specification designates a 'standard' drum kit ("sounds").
       A drum kit is a collection of percussive instruments (snare drum, bass
       drum, hi-hats, etc.) laid across the entire MIDI keyboard. Under General
       MIDI, MIDI channel 10 is reserved for percussion instruments. General
       MIDI defines only one drum kit, which is the Standard Kit. Extensions
       to the General MIDI spec allow additional drum sounds, of which the
       Roland GS is a well-known extension used in many Roland synthesizers.

       Roland GS Mode "drum kits"
       --------------------------

       Under the "GS" synth mode there are additional (including the
       Standard Drum Kit) drum kits you can use on MIDI Channel 10.
       Actually, you can set any channel (part) to drum mode
       and you can even use two drum kits at the same time.
       A part/channel can be either in melodic mode or in one
       of two drum modes.

       Some common alternate drum kits are:

        Name                    Description

        Standard/Jazz           Standard General MIDI drum kit.

                                Jazz is similar to the Standard drum kit.

        Room                    Similar to that of the Standard
                                kit except that it has more room
                                ambiance.

        Power                   Again similar to that of the
                                Standard kit, but with more power
                                kick and snare drums.

        Electronic              Electronic drum kit. Most of the
                                percussion instruments in this
                                drum kit are reminiscent of old
                                analogue and digital rhythm
                                machines (such as the Roland
                                TR-707 and TR-909 rhythm machine)

        TR-808                  Electronic drum kit, reminiscent
                                of the Roland TR-808 rhythm
                                machine.

        Brush                   Similar to the Standard kit except
                                that brushes have been added. This
                                kit is mostly used for Jazz MIDI
                                pieces.

        Orchestra               An immense collection of concert
                                drums and timpani.

        SFX                     A collection of Sound Effects.

        CM-64/32L               Same as the CM-32L and CM-64 drum kit
                                This drum kit contains standard
                                percussion at the lower range of
                                the keyboard, and sound effects
                                at the higher range of the
                                keyboard.

       Drum kits are very easy to access under MIDI. Each drum kit is essentially
       an instrument and you select a drum kit by selecting an instrument, just
       as if you would select a melodic instrument. For example, if you want to
       select the TR-808, all you have to do is to perform a program change to 25
       on MIDI channel 10. After the program change, all percussion sounds will
       be played back through the TR-808 drum kit.
       (Source: Roland Users Group,SBAWE32.FAQ)

    Q. What drum sounds are available in the "Standard" General MIDI kit?

    A. The General MIDI specification designates a 'standard' drum kit
       ("sounds") which includes the following percussion tones:

    STANDARD GM DRUM SET TABLE (From: ROLAND RAP-10 GM SOUNDCARD MANUAL)
    PC#    NOTE    8VA  STANDARD SET
    ----   ------  ---- ---------------
           C
           C#
           D
    27     D#      1    High Q
    28     E       1    Slap
    29     F       1    Scratch Push
    30     F#      1    Scratch Pull
    31     G       1    Sticks
    32     G#      1    Square Click
    33     A       1    Metronome Click
    34     Bb      1    Metronome Bell
    35     B       1    Kick Drum 2
    36     C       2    Kick Drum 1
    37     C#      2    Side Stick
    38     D       2    Snare Drum 1
    39     D#      2    Hand Clap
    40     E       2    Snare Drum 2
    41     F       2    Low Tom 2
    42     F#      2    Closed HiHat[EXC1]
    43     G       2    Low Tom 1
    44     G#      2    Pedal HiHat [EXC1]
    45     A       2    Mid Tom 2
    46     Bb      2    Open HiHat [EXC1]
    47     B       2    Mid Tom 1
    48     C       3    High Tom 2
    49     C#      3    Crash Cymbal 1*
    50     D       3    High Tom 1
    51     D#      3    Ride Cymbal 1
    52     E       3    Chinese Cymbal
    53     F       3    Ride Bell*
    54     F#      3    Tambourine
    55     G       3    Splash Cymbal*
    56     G#      3    Cowbell
    57     A       3    Crash Cymbal 2*
    58     Bb      3    Vibra-Slap
    59     B       3    Ride Cymbal 2
    60     C       4    High Bongo
    61     C#      4    Low Bongo
    62     D       4    Mute High Conga
    63     D#      4    Open High Conga
    64     E       4    Low Conga
    65     F       4    High Timbale
    66     F#      4    Low Timbale
    67     G       4    High Agogo
    68     G#      4    Low Agogo
    69     A       4    Cabasa
    70     Bb      4    Maracas
    71     B       4    Short Hi Whistle[EXC2]
    72     C       5    Long Low Whistle[EXC2]
    73     C#      5    Short Guiro [EXC3]
    74     D       5    Long Guiro [EXC3]
    75     D#      5    Claves
    76     E       5    High Wood Block
    77     F       5    Low Wood Block
    78     F#      5    Mute Cuica [EXC4]
    79     G       5    Open Cuica[EXC4]
    80     G#      5    Mute Triangle*[EXC5]
    81     A       5    Open Triangle[EXC5]
    82     Bb      5    Shaker
    83     B       5    Jingle Bell
    84     C       6    [empty]
    85     C#      6    Castanets
    86     D       6    Mute Surdo*[EXC6]
    87     D#      6    Open Surdo*[EXC6]
    88     E       6    [empty]
    Notes:
    1    "The blank positions have the same instruments as
         the ""Standard Set""."
    2    Instruments with the same [EXC#] (Exclusive Group
         Number) will mute each other when played in
         combination.
    3    Instruments marked with (*) can have their TVF's
         (Time-Variant Filter) modified by Channel Aftertouch

    ==========================================================================
    APPENDICES
    ==========================================================================

    About the ROLAND.FAQ
    ====================
    I have attempted to gather information from spec sheets wherever possible,
    but you will notice that some equipment is described by
    quoting persons who have put their equipment up for sale and their
    descriptions are sufficiently accurate.

    Because the price of equipment changes rapidly, I have made no effort to
    track average selling prices, etc. Any submissions to me to correct or
    include prices in this list will be politely ignored, there are other
    sources out there that attempt to track current prices of new equipment,
    and I suggest that you look for them if that is what you need.

    How to submit information to the ROLAND FAQ
    ===========================================
    Please submit comments, corrections, and additions to:

    Tom Honles       Internet:   tdh@manta.dwp.la.ca.us
                              or tdh@f945.n102.z1.fidonet.org
                     Fidonet :   Tom Honles @ 1:102/945
                     Familynet:  Tom Honles @ 8:77/28
                     OS2Net  :   Tom Honles @ 81:307/6

    Submissions should include specs where possible. Data obtained from Roland
    product literature or magazine reviews is preferred, but hands-on owner's
    experiences and comments are welcome. Specs are most readable when listed
    in a line-by-line, item-by-item style. Comments and reviews are typically
    in a running prose. For an example see the entry for the RAP-10/AT soundcard
    in the MIDI COMPUTER PERIPHERALS section of the FAQ.

    Credits
    =======
    Equipment data obtained from manufacturer's literature where possible.
    Other sources include public postings of descriptions by owners of
    equipment via Usenet conferences or e-mail, including but not limited to:

    From: talb@zeus.datasrv.co.il (Tal Barenboim)
    From: dcole@ua.d.umn.edu (david cole)
    From: Kenn Fink (Fidonet MIDINET)
    From: Andrew W Gamlen
    From: SteveG1119@aol.com (Steve Grace)
    From: Don Guy (Fidonet MIDINET)
    From: William Hsu:  hsu@acuson.com
    From: George Kotsopoulos(Fidonet MIDINET)
    From: andrew.maclean@rose.com (andrew maclean)
    From: Adam Mirowski
    From: nhan@bnr.ca (Gia Nhan)
    From: JT
    From: mo@kreftreg.no (Mads Olsen)
    From: Jon Rose (Fidonet MIDINET)
    From: (Alf) Thomas Sjoeland
    From: urbain@lion.de (Juri Urbainczyk)
    From: velhart@epas.utoronto.ca (Nicholas Velharticky)
    From: 3JMD2@QUCDN.QueensU.CA (Gooey)
    From: Irdial-Discs
    From: quest@panix.com (Quest)
    From: RICKATZ@delphi.com
    From: rjbakker@et.tudelft.nl (ROBERT)
    From: analogue@magnus.acs.ohio-state.edu (Analog Heaven mailing list)

    - Thanks.

    How to Contact Roland
    =====================

    ROLAND CORPORATION US
    ---------------------
       Warranty Repair Service
       7200 Dominion Circle
       Los Angeles, California 90040-3696

       (213)722-0911 FAX
       (213)685-5141 Main Technical Support (extension 770)
       (213)726-8865 Main Technical Support FAX

    CompuServe Forum
       In addition to the above numbers, technical information articles,
       technical support messaging and Help files uppdates are provided
       online via Compuserve. To access the Roland forum, type
       GO ROLAND
       at any CompuServe prompt.

    CompuServe E-Mail Account
       The account number is RolandTech,72662,376

    ROLAND CORPORATION OUTSIDE USA:
    -------------------------------
    Roland Canada Music Company
    5480 Parkwood Way
    Richmond, B.C. V6V 2M4
    Phone (604) 270-6626
    FAX (604) 270-6552

    (THERE ARE OTHERS, WILL BE LISTED IN FAQ IF REQUESTED)

    --------------------------------------------------------------------------
    DISCLAIMER
    --------------------------------------------------------------------------
    I am in no way connected with or compensated by Roland Corporation or
    any affiliates in production of this document. This document has been
    created solely for the purpose of providing a convenient service to
    other owners of Roland equipment. The information contained within
    this document is as accurate as has been presented to me, and may contain
    significant errors. You are encouraged to verify the details on the
    particular equipment you are purchasing or comparing with the seller
    or with Roland Corporation.
                                                       Tom Honles
    --------------------------------------------------------------------------
    --------------------------------------------------------------------------

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    IF mail gets BOUNCED back from manta, TRY tdh@dwp.la.ca.us
    (sorry, it's a gateway problem)
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