Mark Merlino

When I had the pleasure of reviewing the initial release of the Roland AIRA series, there was one factor left out of the equation. I finally got my hands on that missing link, the AIRA SYSTEM-1 Plug Out Synthesizer. What exactly is a plug-out synthesizer? It’s Roland’s method of taking analog modeling further than ever before. Not only can the SYSTEM-1 stand alone as a fully capable hardware synthesizer, it also functions as a host for Roland-inspired virtual instruments that are designed to emulate some of their most legendary synths, instantly turning this new instrument into a Roland classic. How, you ask? All you have to do is load one of the available “plug-out” soft synths into the SYSTEM-1 and you’ll have the ability to instantly switch between the internal sound engine and the virtual instrument that you loaded. Oh, and did I mention that you can do this with or without the SYSTEM-1 connected to your computer? This means you can take the loaded virtual instrument plug-out with you to your next live performance. I was able to play with the SH-101 plug-out at the time of this review, which sounded incredible, and there will be more on the way from Roland soon. I’m excited to see what’s next! As mentioned, the SYSTEM-1 has no problem tackling internal synthesis through its two oscillators, 2- and 4-pole low-pass filter, independent high pass filter, onboard effects, and built-in arpeggiator with signature AIRA Scatter effect. There are 73 physical controls on the SYSTEM-1, allowing you to completely customize and design your own sounds ranging from lush pads, to soaring leads and bass patches…. And the sound? Well, just as the rest of the AIRA series, the SYSTEM-1 benefits significantly from Roland’s new Analog Circuit Behavior (ACB) technology, which faithfully recreates analog circuits down to the finest details, creating an exceptionally warm and rich sound. Ok, so it sounds great, but how does it play? Well the 25 thin, short-action keys make this synth fun and fast, with a very pleasant response. All in all, the SYSTEM-1 looks great, sounds even better and is designed to work seamlessly with the other products in the AIRA series. In my opinion this is the heart of the AIRA system to which the limitations seem endless. What you need to know There are a total of four hardware instruments that make up the complete AIRA series: the TR-8, TB-3, VT-3 and the SYSTEM-1. The SYSTEM-1 can be synchronized for full integration with the entire AIRA series, creating a complete music performance system when joined together. The SYSTEM-1 is a fully capable standalone hardware synthesizer that can also be used to host Roland-inspired virtual instruments, or “plug outs” that are digital emulations of classic Roland synthesizers. There are 73 physical controls on the SYSTEM-1 that give you a full-range of sound designing possibilities through two main oscillators, a sub oscillator, noise control, filter section with low- and high-pass filters and ADSR envelope control, an amplifier section also with ADSR control, a pitch control section with attack and decay, digital reverb and delay effects, LFO section, and built-in arpeggiator. Both oscillators have a choice between the standard Sawtooth, Square, and Triangle waveforms, but Roland has also added three additional versions of these (Super Saw, Super Square, and Super Triangle) each with multiple stacked waveforms that are slightly detuned from one another giving you a fatter and lusher sound. You can also adjust the modulation type, octaves, cross modulation, tuning, ring modulation, oscillator 1 and 2 sync, and a color control for each oscillator, which will sculpt the sound dependent on the type of waveform selected. The Oscillator Mixing section lets you control the level of the two oscillators, as well as a sub oscillator with two octaves that will really beef-up the lower frequencies and a noise type selector and level control allowing you add artifacts that will add additional character. The LFO section really gives your sound some movement and adds excitement. Choose from Sine, Triangle, Sawtooth, Square, Sample and Hold, and Random LFO waveforms to control pitch, filter, and amplitude all independently. There’s also different settings to control the rate of the LFO and a fade time control, which controls how long it takes to hear the LFO kick in after you press a key. The filter section on the SYSTEM-1 is where you can really appreciate Roland’s ACB technology. The Low Pass Filter cutoff is incredibly smooth with no aliasing or stepping, which you won’t normally find with most digital filters. There’s also an independent high-pass filter and ADSR sliders to control the filter’s envelope. The Amplitude section is pretty straightforward with an independent ADSR envelope control and a tone control that adjust the sound’s brightness. The added bonus here is the Crusher knob that modifies the tonal character by distorting the waveform resulting in some really mangled, bit-crushed digital effects. Just adjacent to the amplitude section is the effects section with reverb and delay control. I must say, just as with the AIRA TR-8 Rhythm Performer, the reverb sounds as full and luxurious as some analog reverb units I’ve used, yet another outstanding result of Roland’s ACB technology. Probably the most fun and instantly gratifying component of the SYSTEM-1 is the Pitch Bend/Scatter section. Here of course you’ll have access to standard pitch bend control, but the real gratification is in the built-in arpeggiator with the signature AIRA Scatter effect. Choose the type of arpeggio you want, and then morph and mangle it until your heart’s content. Choose from up to 10 different “scatter” effects each with its own characteristic way of affecting the arpeggiator. The last, but one of the most important sections you’ll encounter, is the Model Select buttons. Here’s where you’ll discover the true meaning of “plug-out” synthesizer. In “SYSTEM-1” mode, the system runs off the keyboards internal sound engine, but when you select “PLUG-OUT” mode you have instant access to the plug-out virtual instrument you loaded into the SYSTEM-1. In this case I was able to try the SH-101 plug-out and it was impeccable. I don’t own an original SH-101, but I did some research online and found some sound samples for comparison and the plug-out version seems to be spot on. Once more I was able to switch between the SYSTEM-1 sound engine and the SH-101 virtual instrument right from the model select section without the keyboard attached to my computer. It’s like having two incredible Roland synthesizers built-into one unit. The keyboard on the SYSTEM-1 has a unique feeling, different from any other synthesizer I’ve played before. They are thinner than standard-size keybeds, and in turn have a really short action that makes them very fast and a lot of fun for synth-style playing. They also have a really solid build quality with a very satisfying response, in fact all of the faders and controls on the SYSTEM-1 benefit from this same quality of construction. You can choose to set the playing style of the SYSTEM-1 to monophonic for single note bass sounds, or polyphonic with up to four voices for lush pad chords. A little note, press the MONO button until it starts blinking and all of the audio will then play in unison mode for an even bigger, more powerful sound. SYSTEM-1 can transport MIDI and audio data over USB to the computer, or it can be synchronized with other devices or the rest of the AIRA series via standard MIDI connections. Limitations While the keys are not bred for classical piano compositions, the thin design and short action makes them exceptionally fun to play as a synthesizer allowing for fast, and creative leads and basslines. The other limitation here is that the keys do not transmit velocity MIDI data, and there’s no aftertouch. Most people associate hardware instruments with analog components, but the SYSTEM-1 is completely digital, there are no analog circuits inside. However, the sound quality of Roland’s ACB technology is some of the best analog modeling I’ve heard, so in the instance of the AIRA series this really isn’t a compromise at all. I would’ve liked to see more presets on the SYSTEM-1. There’s only 8 total available on the hardware. It would have been nice to see an additional bank of eight or more. The workaround here is that you can drag and drop any of the presets on the computer to any of the eight slots, so in the instance of the SH-101 plug-in you can essentially have up to 56 presets to choose from while you’re connected to the computer. Conclusion The SYSTEM-1 completes the Roland AIRA series and it is a major player for sure. I can think of many instances where the SYSTEM-1 would come into play both in the studio and in live performance environments, and it won’t sacrifice performance in either scenario. In the studio it is a sound designer’s best friend. Between the computer integration and the amount of control that’s offered, I was able to conjure up with some really amazing-sounding patches that would work well in a wide range of applications from electronic music production to soundscapes for film and TV media. On the road the SYSTEM-1 takes full advantage of the plug-out capability giving you access to two instruments in one, and it’s lightweight and compact so traveling is not a concern. Roland has really set the bar high for digital analog modeling. The sound quality of their ACB technology is astonishing and it’s evident that they put a lot of time into replicating true analog circuitry. The SYSTEM-1 is just as warm and lush as some other hardware analog gear that I’ve used, and it’s expandability with the plug-out capability is something that will keep this synth a current piece in your studio or stage setup. Unlike some other keyboards in its price range, the SYSTEM-1 plays well and handles just as you would expect a Roland instrument to. While there are some analog purists out there who might be skeptical, I bet they would agree here that the SYSTEM-1 stands just fine on its own. Of course if you already own part of the AIRA series, then the SYSTEM-1 is a must have to complete your system! Resources Learn more about the Roland AIRA System-1 Plug-Out Synth at rolandus.com Pricing and purchase info on the Roland AIRA SYSTEM-1 Plug-Out Synth at B&H Mark Merlino is a certified audio engineer, producer, DJ and sound designer. A graduate of SAE Institute in Miami, he has worked with a wide range of artists both in and out of the studio, including time on the road with Ms. Lauryn Hill during her world tour. With over 15 years of DJ and electronic music production experience, he has a firm grasp on the current trends in drum&bass, dubstep, house, hip-hop and many other styles. He is also a published copywriter for Musician’s Friend and Harmony Central, staying up-to-date with the latest music technology.

In the ever-expanding sea of computer music production there seems to be a repetitive repertoire of virtual instruments. There are many different variations of the usual suspects including virtual synths, pianos, drum machines and samplers; but the latest innovation from Output brings an entirely new type of software to the forefront. REV is a revolutionary virtual instrument that takes a whole world of sound and flips it in reverse. Much more than just the standard reverse function in your DAW, REV incorporates over 14GB of sound content including complex synths, real instruments, multi-layered organic pads, loops, rises, pulses, swells, stutters and more, and reverses them across the span of your keyboard for an easy-to-play and intuitive instrument. What you need to know • REV software provides a world of inspiring sound that is based on reversed elements, ideal for composers, musicians, sound designers, producers and more • Running on four powerful engines, it's like having four software instruments in one. There's an instance for rises, one for instruments, another for loops and one for timed instruments • Includes an expansive palette of sounds including complex synths, real instruments, multi-layered organic pads, loops, rises, pulses, swells, stutters and more • All of REV's instruments can either be played freely or locked to a tempo, and notes can be set to whole note, half note, or quarter note duration • There are over 1,000 presets inside REV, all of which are playable in reverse and in real time, and you can choose from one of the already created patches or create your very own from scratch • The Loops engine is compiled of thousands of possibilities to choose from, all of which were recorded live, and can be locked to the tempo of your session • The Rises engine is ready for use in a variety of genres including electronic music, films, trailers, video game sound design and more • Each of the four engines include built in FX and FX presets including filters, envelopes, distortion, saturation, lo-fi, chorus, delays, reverb, EQ and more • Runs on the full version of the Native Instruments Kontakt software sampler, or the free Kontakt player Limitations While the sounds in REV may not be geared towards contemporary music, it does an exceptional job at providing an incredible selection of sound for a wide range of applications, and although you won’t be able to dive deep into the full-sound programming ability of REV without the full version of Kontakt, you can still play and enjoy the software on the free Kontakt player. Conclusion Many established music producers and sound designers have been using the technique of reversed sound effects for years, but setting up your own patches of reversed sounds can be a time consuming labor. REV takes all the layout work out of the equation and packs everything you need into a powerful instrument that's ready to play right after install. With its over 1,000 presets and 4GB of content, REV has more than enough content for a wide range of applications. If you're an electronic music producer, sound designer, or film composer who can benefit from the fresh, unique and expressive effect of revered sounds, then REV is a must-have software title that will inspire creativity. Resources Buy Output REV for Kontakt 5 at musiciansfriend.com Learn more about REV at ouputsounds.com Mark Merlino is a certified audio engineer, producer, DJ and sound designer. A graduate of SAE Institute in Miami, he has worked with a wide range of artists both in and out of the studio, including time on the road with Ms. Lauryn Hill during her world tour. With over 15 years of DJ and electronic music production experience, he has a firm grasp on the current trends in drum&bass, dubstep, house, hip-hop and many other styles. He is also a published copywriter for Musician’s Friend and Harmony Central, staying up-to-date with the latest music technology.

There are few musical innovations that have defined an entire genre of music and the new AIRA series from Roland pay homage to a group of hardware instruments that have done exactly that. The Roland TR-808 and TR-909 drum machines, as well as the TB-303 groove box, set the foundation for what has become some of today's most popular sounds. Now these iconic instruments have been completely re-imagined for today's studio environments. The TR-8 takes the iconic sound and feeling of the original TR-808 and the TR-909 drum machines, and combines them into one extremely functional, digitally modeled version of the original legends. While the TB-3 Touch Bassline is a detailed emulation of the original TB-303 groove box, a box that is solely responsible for creating Acid House music. With the series there is also the VT-3 voice transformer based on the 1996 Roland VT-1, which is an ultra-fast and intuitive way to transform vocals. Finally there is the SYSTEM-1 synthesizer, which at the time of this review I have yet to get my hands on, but it is believed to be the ultimate piece of hardware to complete this masterful collection. And if all of this wasn't enough, Roland made sure that all of these instruments communicate flawlessly with each other to work as one complete AIRA command center for the stage or the studio. What You Need To Know • There are a total of 4 hardware instruments that make up the complete AIRA series: the TR-8, TB-3, VT-3 and the SYSTEM-1 The TR-8 • Lightweight, but solid build with an aluminum faceplate. Weighs in at just over 4 pounds. • The TR-8 is based on analog modeling technology, so the sounds are synthesized entirely inside the TR-8 to faithfully emulate the original units. • In Step-sequence mode, you can create beats just like you would on the original TR-808, TR-909 by specifying the steps at which each instrument will sound. • Each sound is laid out on its own individual channel including a bass drum, snare drum, low tom, mid tom, high tom, rim shot, hand clap, closed hi-hat, open hi-hat, crash cymbal, and a ride cymbal. • Each drum sound has a dedicated set of parameters that can be adjusted for each channel. For example on the kick drum you have access to the attack and decay, along with tuning and compression. There's also a volume fader for each instrument. • Instant Record mode lets you play a sound and record it in real time, all while quantizing the notes you play to keep everything tight and in sync. • There are a total of 16 patterns in the TR-8 with two variations (A/B) for each pattern. • All of the 11 instruments are considered to be a kit, and the TR-8 has a total of 16 kits to choose from. • Use roll modes to repeat a sound during playback in 8th note, 16th note or 2 different variation modes. This is a great way to enhance a live performance with on-the-fly edits. • The effects let you shape your sound even further with reverb and delay, each of which can be applied per step or per instrument. For example you can dial in a specific type of reverb for the clap or add a delay on the snare for a unique sound. • The built-in Scatter mode lets you mash-up your beat with a combination of stutters, glitches and other effects while the beat continues to run underneath. This feature is aimed at live performances, but there is no reason why you can't record some of the edits into your DAW for inspiration or a unique fill. • The USB jack can transmit MIDI information as well USB audio data. Make sure you install the correct USB drivers before connecting the TR-8 to your computer. • MIX OUT jacks are your main jacks to your amp or speakers. There's also ASSIGNABLE OUT (A,B) jacks that you can use to output instruments that you specify, for example just the kick and snare on their own individual outputs. • The TR-8 also includes EXTERNAL IN (L,R) jacks so you can connect an external audio source to the system. The input sound will be routed to the MIX OUT jacks and out to your speakers. You can even use the Scatter effect on the incoming sound. • There’s also a side chain feature for your external input sources. Set it per-step to choose when you want to duck the incoming audio. The TB-3 • It's compact and lightweight at just over a pound. • Just like the TR-8, the TB-3 utilizes Roland's Analog Circuit Behavior technology that models the actual analog sound of the original using digital synthesis, but the sound is as instantly recognizable as the original. • Roland meticulously created the TB-3 using an original, untouched TR-303 unit to recreate the exact sound using their original spec sheets and other archived data. • For those of you who remember the original TB-303, a lot of features have pretty much been left untouched with the exception of some modern enhancements • The most notable improvement is the addition of an illuminated touchpad interface where you have access to a KEYBOARD to play notes; an XY PLAY mode where you can use the horizontal (x) and vertical (y) axes of the pad to perform pitch and volume control; and the ENV MOD where you can control envelope modulation all at the touch of a finger. • The TB-3 has a total of 64 patterns (8 patterns x 8 banks) that can be recorded by step recording or playing the recording patterns in real time. When in Pattern Select mode the display will show you the bank and pattern number you are currently working on. • Use the PTN SELECT button to select a pattern you want to work with either by selecting it on the touchpad or by using the VALUE knob. • Use Step Recording to enter notes or rests, accents and slides/ties at each step. Each pattern is divided into 16 "steps" or grid locations, which can be changed to 32 if you need a finer grid resolution. • Press the REALTIME REC button to choose the recording mode where you can record and play notes in real time right into the TB-3. Note the current pattern you're working on will be overwritten. • The sound of the TB-3 comes from state-of-the-art synth tones, powered by four oscillators and effects, which also include Roland's faithfully reproduced classic TB-303 tones (A01: TB-303 saw tooth wave, A02: TB-303 square wave) • There are five control knobs including VOLUME, CUTOFF, RESONANCE, ACCENT and EFFECT to edit sounds with. Use the filter cutoff to control the brightness of the sound, the resonance to add character, accent to increase or decrease the amount of accents in your pattern, and effects to add more depth. • You'll also find a Scatter mode on the TB-3 just like the one on the TR-8 that will create unique variations of your pattern. Hold down PTN SELECT and SCATTER to create a completely random version of the currently selected pattern, or hold down the KEYBOARD button and SCATTER to randomly change the octave, slide, shift and accent parameters without changing the character of the pattern. Each version can be recorded to save the variation as a new pattern. • The TB-3 connectivity includes a DC In jack; OUT jacks, MIDI in and out, and a headphone out. The VT-3 • Simple and straightforward, the VT-3 is easy to operate and can create instant vocal effects including auto tune, vocoder, synth, lead, bass, megaphone, radio and scatter. • Lightweight and just a bit shorter in width than the TB-3, the VT-3 also weighs in at slightly over a pound. • Connectivity on the VT-3 includes an XLR/TRS combo input jack, stereo mini PHONES jack (front), mini MIC IN jack (front), USB port, OUT jacks, and a place to connect a footswitch (sold separately) if desired. • One additional note on the OUT jacks, when the SELECT switch is set to “BYPASS-MONO”, you can output the processed sound and the unprocessed sound separately. • Phantom power is available via the PHANTOM switch for mics that require it. • Modifying your voice is easy. Just plug your mic into either the rear XLR/TRS combo input or the front mini input on the VT-3 and adjust the mic sensitivity accordingly. Then select the desired effect and raise the MIX BALANCE fader to increase the amount of the applied effect. • A note from Roland suggests that it is important to set the mic sensitivity level so that the PEAK indicator lights up occasionally to make sure the effect will work properly. Too much or too little signal can make for an undesired performance. • The Character Knob is where you select the type of effect you want applied. Choose from AUTO PITCH1 & 2, VOCODER, SYNTH, LEAD, BASS, MEGAPHONE, RADIO, and SCATTER. • There are also sliders on the VT-3 to adjust pitch, formant and reverb for some unique sound shaping characteristics. • The VT-3 can transmit audio via USB. You can playback audio from your computer out of the VT-3’s output and headphone jacks, send the processed mic sound from the VT-3 to your computer, or loop-back the sound from your computer into the VT-3 and back out to your computer with the mixed mic signal added. • The VT-3 has 3 Scene Memory buttons that can store up to 3 scenes to instantly recall settings of the ROBOT button, Character Knob, and the sliders. Limitations • There is no way to save patches on the TR-8 and recall them at a later time, so whatever beat you're working on remains in the unit until you're ready for the next creation. This however isn't necessarily a bad thing as it can keep your creativity fresh by making you start over to create a new song, and you can always record your favorite patterns into your computer and save them as custom loops. • The roll function is a performance only effect and cannot be recorded directly into a pattern, but again you can always record the effect into a workstation and use it as an audio clip in your productions. • There's no way to copy a pattern to the next slot while the unit is running the current pattern. This would be a great feature for performances where you're creating patterns live. • There are some extra steps involved with adding effects that can be a bit confusing at first. In addition, you only have reverb and a delay to choose from, but you do get multiple types of each effect that you can apply. • The TR-8 has a dazzling light display that comes on only moments after the unit has been sitting idle, and as cool as it looks, it can be quite distracting in a low-light studio environment. However, after some research I did find out that there is a way that you can just shut off this feature. • There are effects on the TB-3, but you don’t have the ability to select which one is applied. There is an effect that is automatically applied to best suit the sound you’re using. • The TB-3 doesn't have a dedicated knob for envelope depth like there is on the original TB-303, but you can access the envelope modulation window on the touchscreen for similar control. • You don’t have access to the synth engine, or the effects on the TB-3. Everything is done under the hood for you. Conclusions First and foremost is the sound. Being that this entire series is based on some of Roland’s most iconic instruments, I was interested to see just how close they could come to the real thing. The result? I think they nailed it, and they did so without any analog circuitry inside. Roland’s ACB (Analog Circuit Behavior) technology faithfully models traditional analog circuits right down to the way they behave, and the sound proves it. The 808 and 909 kits in the TR-8 are the closest I’ve heard to the originals. The sound shaping ability on each individual drum channel really lets you dial in the exact sound you’re looking for with very little effort, and with a hands-on precision that you just can’t get with software emulations. Within the first few moments of powering up the unit I was able to get an 808-kick sound that shook the walls of my studio. As for the TB-3, the ACB technology again mimics the original unit with exceptional detail. The TB-3 also adds in a whole range of effects like distortion and compression, eliminating the need to run the unit through external effects like what was once a common practice with the original TB-303. Bank A on the TB-3 is aimed at that niche TB-303 sound of Acid House music, but what’s nice is there are 2 more banks of bass and other synthesized sounds that leave the TB-3 open to a wider range of musical styles. So it sounds good, but how does it work? Natural and intuitive is the best way I can describe it. In less than 10 minutes I was able to plug-in the TR-8 and start making my first pattern. If you have prior experience with drum machines, you should see instant results like I did. If this is your first time with an instrument of this type, it still will not take you very long to get your head around it. It’s fast and easy to comprehend. Some more in depth features like applying effects might take you a few times to learn, but once you’ve got the button combinations down, you’re good. The TB-3 on the other hand might take some people a little longer to learn, but it will eventually return the same results. The step-editing feature on the TB-3 is a very fast and easy way to create your own sound, or you can take any number of the already loaded presets and make them your own. And let’s not to forget the VT-3, this little box packed a huge surprise for me. Small, compact and full of life the VT-3 sounds amazing and is quite simply, well… simple. Just plug in a mic and select and effect and it’s already doing its thing. I was able to get some pretty inspiring vocal effects out of the VT-3, from a crazed robot, to an old-time radio. Now here’s the fun part. Taking the VT-3 a bit further is where you’ll find it is most fun in the studio. Using only my voice and the VT-3 I was able to make a drum&bass inspired bass patch that was just as, if not more insane than some synth patches I commonly use in my productions. It was as simple as selecting the BASS preset, pitching it down a few semitones, adding a touch of reverb and making some really unique variations with my voice. Using the VT-3 as an effects processor is another way to integrate this little gem into your existing set up. I didn’t get the chance to use the AIRA lineup outside of the studio in a live performance environment, but I can imagine that it would be an amazing centerpiece to any performance that could benefit from its sound. All of the units were extremely easy to sync together with just a standard MIDI cable, and without the need to be tied down to a laptop makes it an extremely attractive attribute. While I believe there is no substitute for the real thing, these instruments are the equivalent of a photo finish, and for a price point that is much more accessible than trying to track down their vintage ancestors. All in all, these are the next-generation versions of the original, made for any modern studio or stage. Resources Shop Roland AIRA gear at musiciansfriend.com Learn more about the AIRA Series at rolandus.com Mark Merlino is a certified audio engineer, producer, DJ and sound designer. A graduate of SAE Institute in Miami, he has worked with a wide range of artists both in and out of the studio, including time on the road with Ms. Lauryn Hill during her world tour. With over 15 years of DJ and electronic music production experience, he has a firm grasp on the current trends in drum&bass, dubstep, house, hip-hop and many other styles. He is also a published copywriter for Musician’s Friend and Harmony Central, staying up-to-date with the latest music technology.