Roland Synthesizer

Reviews | Roland System-1m Synthesizer
84
aimed. There are now many cost-
effective ways to access ‘real’ analogue
synthesis and there is still a stigma
attached to digital modelling even if
there are many occasions where it is
overstated. Ultimately, I commend
Roland for taking a new approach to the
analogue vs digital debate.
intend to use the patch cables or other
loadable synth models.
The fi lter
The System-1m fi lter – another defi ning
element in a synth’s character – takes
the well-worn Roland approach of
combining a low-pass fi lter (12 and
24dB/octave) with a fi xed-slope,
variable cutoff high-pass fi lter. The
LPF’s cutoff is hardwired to the
four-stage fi lter envelope, while the HPF
cutoff is set only by its control knob,
making band-pass sweeps impossible.
The LPF itself has a noticeably
analogue feel, but is more generic in
sound than some of the best known
analogue circuit types out there –
though this is not meant as a criticism.
It’s easy to forget that many synths now
hailed as classics were seen as severely
limited, or even a bit rubbish, on their
release – TB-303 anyone?
The Amp Envelope is another
straightforward four-stage affair. It’s also
nice to have a dedicated (two-stage)
Pitch Envelope section. The Amp
section is home to a few other
tonal-shaping a elements – Tone (a
simple tilting EQ) and Crusher, which
as an effect is perhaps more useful on
drums. Other effects include a limited,
if decent-sounding, reverb and delay. It
would have been great to have a way of
modulating delay time from the LFO or
elsewhere. Incidentally, there is only
one LFO available on the System-1m,
though this is mitigated by the included
patching possibilities. Sadly, there is no
way of modulating the LFO Rate even
from an external source.
It’s a real shame Roland didn’t
include a Juno-style chorus here – I
would have chosen this over the reverb
in a shot. The Scatter effect found on
the System-1 keyboard has been
dropped, along with the arpeggiator –
neither a particular loss.
Patch points
The big selling point on the 1m is of
course the patching capability, and this
works very well, albeit with the
limitation that sound-generation in this
mode is monophonic. The new synth
models available via the Plug-Out
system really extend its sonic scope,
though with some compromises on the
control assignment front. It’s also nice
to be able to access the synths in
plug-in form, however their GUIs have
legibility issues which could do with
some attention.
This is a good-sounding synth with
plenty of fl exibility, though it does beg
the question of to whom it is really
ALTERNATIVES
Arturia MicroBrute
£229
Diminutive single oscillator,
multi-waveform analogue
synth with patchable Mod
Matrix section and built-in
sequencer. Simple but
surprisingly fl exible.
www.arturia.com
Doepfer Dark
Energy 2
£369
Another single VCO synth,
but this time with more
control options and
patching capability.
www.doepfer.de
Roland SH-101
(second-hand)
£700+
If you want the sound and
feel of a classic Roland
SH-101 then this may be
the only way to get it. In the
late ’80s you could pick
these up for under £100 in
today’s money!
www.ebay.co.uk
VERDICT
BUILD
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VALUE
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EASE OF USE
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VERSATILITY
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RESULTS
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A novel approach to analogue
modelling, and great for dipping
your toe into the ‘cult of modular’.
The real excitement with
the System-1m comes in
the shape of the
numerous audio and
control breakout points
(though you are limited to
monophonic synthesis
when using them).
On switching to Mono
mode or enabling a
Plug-Out model you will
immediately notice red
and blue lights joining
the overtly green glowing
landscape. Red denotes
audio frequency
connections, and blue
those for control – though
there is of course some
overlap depending on
the application.
Audio outputs do cover
Oscillators 1 and 2,
oscillator mix and fi nal
audio (in stereo), but no
sub-oscillator (or noise)
out. External audio can
be pumped in for
processing by the amp (in
place of the sub-oscillator
signal), fi lter and effects,
as well as separate
ring-modulation source
for oscillator 2. Control
ins and outs allow you to
route the LFO plus fi lter
and amp envelopes
elsewhere, and use
external sources to
control pitch, fi lter cutoff
and amplitude. You can
also receive CV/Gate
signals (Oct/V only) from
elsewhere, though there
are currently issues using
these in Plug-Out mode
Remember that this is
only semi-modular,
so for some there
will be some patching
capabilities missing.
Plugging In
The fi lter section
follows the well-worn
Roland approach of a
low-pass fi lter with
cutoff that can be
modulated, and a
global high-pass for
general shaping.
Filter
FMU296.rev_roland.indd 84 8/12/15 5:27 PM