Roland A90ex

  • Filter
  • Tijd
  • Tonen
Clear All
nieuwe berichten

    Roland A90ex

    Hallo mensen,

    Ik heb vandaag vlakbij een Roland A-90ex op kunnen halen voor €350. En begin nu na 14 jaar piano binnen te stromen in de wereld van de midi en synths. Ik heb al wat ervaring met midi bij het programmeren van mijn gitaarspul, maar met synths is toch wat anders denk ik? De geluiden die ik tot nu toe heb kunnen bouwen zijn zeer aangenaam, fijne aanslag met mooie diepe synth strings en piano's. Hebben jullie nog tips/trucs t.o.v. dit apparaat?


    Op zoek naar interessant studioproject in de progressieve hoek.
    More info ==> PM

    Welkom op dit forum.....Ik zou de zoekmachine rechtsboven eens proberen(barstensvol met info!)
    keerlist: maschine...yahaha cs15...labtop...ableton....korg es2....gitaarbakkies...


      Re: Nieuwe member, nieuwe aanwinst!

      Origineel geplaatst door Magic Bean
      Hallo mensen,

      Hebben jullie nog tips/trucs t.o.v. dit apparaat?


      dumpen en een echte synth kopen
      To each his own.


        Bericht door een moderator:
        topic titel aangepast
        TE KOOP: Malekko EKKO BBD delay, EHX Germanium overdrive, TC Electronics M-One, Emu 2x2 MIDI interface


          Welnee, ik denk dat je een erg fijn masterkeyboard hebt gekocht met zeer acceptabele pianoklank.
          En de prijs die je noemt is echt geweldig.
          Ik snap de reacties wel dat het geen 'echte' synth zou zijn in de zin dat je de klanken niet enorm kunt beinvloeden.
          Maar daarom heb je ook liefst 4 (!) Midi uitgangen... kan je er nog eens wat fijne (echte... ) synth-modules aanhangen, en die dan superhandig bedienen (splitten / layeren etc.) met de A90.
          Ik denk dat je er dan nog meer plezier van gaat hebben...

          Het mooie is dat je veel van de essentiele bediening van de externe modules vanaf de A90 kan doen; het selecteren van patches (evt. gelayerd met andere synths, binnen 1 A90 preset), waarbij dan zelfs de namen van de patches van het externe apparaat op de display van de A90 staan... Plus je hebt 4 van die fijne schuifjes waaraan je ook nog extra MIDI control changes of andere MIDI boodschappen kan hangen. Je kan zelfs een breathcontroller op de A90 aansluiten!

          “...I am merely a conduit, a kind of big hairy tool. I am just a plastic funnel connected to a Moog...”


            Electronic Musicianship

            Designing a Powerful and Practical
            Live Keyboard Rig

            by Scott Wilkie


            Whether it's recording, writing songs, programming sounds or playing
            live, I find that I spend a lot of my time behind a keyboard. But what
            do I enjoy most? Playing live, of course. For me, the experience of a
            live gig has always been my biggest thrill as a musician--interacting
            with the other players, feeding off the audience's response, being
            immersed in an environment where spontaneity is everything, playing
            right on the edge. Through years of playing live, I've also found that
            getting my keyboard gear set up to maximize my performance options is
            critical in making it an enjoyable experience for both myself and my

            It's been a long time since the days when you could cover a gig with a
            Rhodes, a Juno 60 and a Minimoog. These days, you really need a wide
            variety of sounds right at your fingertips. And while MIDI gives
            musicians a whole new set of sonic options and performance solutions, in
            a live situation, these sounds sometimes get buried beneath a complex
            maze of MIDI channels, polyphony, multi-timbrality (say that five times
            fastÉ) and endless banks of patches. This really became apparent to me
            when I recently decided to put together my "working" live rig; I didn't
            realize the magnitude of the project before me...

            Think About It. My first instinct was to create a fantastic array of
            synths and modules that would dim the house lights when I powered it up.
            After all, that's what I'm accustomed to when I'm working in the studio.
            Then I started to consider what I really needed onstage, both musically
            and sonically.

            I came to my senses for two reasons: first (and let's pretend this is
            the main reason), it's now possible to get a ton of sonic horsepower out
            of today's modern instruments; second, all of my gear ultimately has to
            be loaded into my car before and after each gig. For these reasons, I
            decided upon a relatively simple system with lots of firepower.

            I chose a Roland A-90EX Expandable Controller as the core of my system.
            It gives me a great combination of really musical piano sounds with some
            very powerful MIDI controller capabilities. But an equally important
            factor is the action on this instrument. What can I say about the A-90's
            award-winning hammer action but "I love it!" Since I'm a piano player at
            heart, the A-90 feels very comfortable and familiar; it's like having
            killer grand piano action with all of the benefits of modern electronics
            and the stability of a road-worthy instrument.


            I chose a Roland A-90EX Expandable Controller as the core of my system.
            It gives me a great combination of really musical piano sounds with some
            very powerful MIDI controller capabilities.


            My second keyboard is an XP-80, which I chose for a number of reasons. I
            wanted to be able to use my favorite patches and expansion boards from
            my JV-1080 modules, and the XP-80 is identical to the 1080 when it comes
            to synth specs. I also wanted to have the option of occasionally using
            sequenced material on stage, for which the XP-80's high-power sequencer
            is perfect. In addition, the XP-80 features an extended keyboard--76
            keys--which cinched the deal for me.

            I loaded the XP-80 with my favorite expansion boards: the SR-JV80-02
            Orchestral, the SR-JV80-08 Keyboards of the '60s & '70s, the SR-JV80-09
            Session, and the brand-new SR-JV80-10 Bass & Drums board.

            The only other piece of gear that I couldn't live without was my JD-990.
            It's what I use for many of my favorite lead patches. With a Vintage
            Synth expansion board installed, the JD-990 is a really fat box; I keep
            it in a lightweight two-space rack and won't go anywhere without it.

            Taking control. Once I selected the gear I was going to use, the next
            step was getting it to work together smoothly. Some of what I will be
            explaining may be a bit confusing when you first read it, but stick with
            me; if you understand the basic concepts, you can easily adapt these
            ideas to your system.

            My MIDI configuration is relatively straightforward. Essentially, I let
            the A-90 control the whole thing (after all, it's a "controller"
            right?). I plug the A-90's MIDI OUT 1 into the MIDI IN of my XP-80.
            Similarly, the second MIDI OUT on the

            A-90 (MIDI OUT 2) is plugged into the MIDI IN of my JD-990. While this
            second connection goes to my JD-990, it doesn't go directly. In fact, I
            have a small MIDI Merge box connected just before the MIDI IN of my
            JD-990. The Merge box combines the two signals from the A-90 and the
            XP-80. This type of configuration gives me great flexibility in
            assigning the JD-990. I'll explain why as we go on.


            •The XP-80 is in Performance Mode with Part 1 enabled locally. Part 9
            has a "silent" patch selected. Thus, when Part 9 is played from the
            keyboard, it will trigger the JD-990 through MIDI. All other parts in
            the XP-80 (2-16, except 9) are set to receive MIDI and are used to layer
            with the A-90EX and play sequenced parts from the XP-80's sequencer. •
            The A-90EX controls the entire system with sliders assigned to volume on
            different zones for layering, leads, etc. •The JD-990 is in Patch mode
            and set to MIDI Channel 9.


            With all the instruments connected in this fashion, I can layer sounds
            from any of them. For example, by calling up a single Performance on the
            A-90EX controller I can have the XP and JD automatically setup the
            correct sounds.

            The MIDI Channel Thing. If I'm using a piano sound on stage, it's a
            pretty safe bet that I'm using the internal sounds from the A-90EX. This
            is particularly helpful because I can dedicate the A-90's entire
            polyphony to pianos and electric pianos. And because it's an internal
            sound, it's easy to access at all times.

            The palette sliders on the A-90 can be assigned globally, so I have them
            all assigned to MIDI Controller 7 (volume). I then use the individual
            Performances to determine which zones they control. I typically use
            Slider 1 to control any sounds that are layered with the A-90; Slider 2
            controls the volume of sounds played on the XP-80's keyboard; and Slider
            3 controls the JD-990. I keep Slider 4 as a "wild card" because I use it
            for different things in different Performance setups. I'll explain more
            about using the sliders after I cover how the zones control the XP and

            Before we go any further I should clarify how I have the XP and JD
            receiving MIDI. I keep my XP-80 in Performance (multitimbral) mode with
            the Control Channel OFF. This ensures that the XP-80 will remain in that
            same Performance. I've created a simple SINGLE-MODE Performance that has
            Part 1 enabled for local control from the keyboard. That means that
            whatever patch is used on Part 1 is the sound that will trigger when I
            play the XP-80's keyboard. I also take advantage of a very handy button
            on the front panel of the XP-80 labeled "LOCAL/TX/RX" (this stands for
            local/transmit/receive). Hitting this allows the PART buttons on the
            XP-80 to determine which part is controlled locally. That same part is
            also transmitted through MIDI. My JD-990 is on MIDI Channel 9 (in Patch

            Stay with me, because here's where it gets really interesting. By
            changing the XP-80's active part, I can instantly switch from playing
            the XP-80's internal sound to playing the JD-990. All I have to do is
            switch the active part from 1 to 9. Also note that the Part 1 and Part 9
            buttons are directly on top of each other (I was really thinking!),
            which makes it a breeze to switch back and forth. By the way, I have
            also set up an "empty" patch (no tones enabled) on Part 9 of the XP-80.
            When I select that part, I only hear the JD-990 triggered through MIDI.

            I reserve Parts 2 and 3 (in the XP) for layering with the A-90EX. I
            simply set up a zone (or zones) in the A-90EX to transmit on MIDI
            Channel 2 and/or 3. Now those parts in the XP will be layered with
            whatever sound I'm using internally on the A-90EX. Finally, as I
            mentioned earlier, I also have the JD-990 MIDI'd to the A-90EX.

            Let me explain a little more about the zoning in the A-90EX; then I'll
            give you a couple of examples as to how this can be used in live

            I use the A-90's four external zones to control the XP-80 and JD-990.
            Zones A, B and C control the XP-80 while Zone D controls the 990. Each
            zone in the A-90EX can be set to a specific key range. This makes it
            perfect for controlling the entire system, not just the sounds that are
            active on the A-90's keyboard. Here's an example:

            On the A-90EX, I use Internal Zone A with a grand piano sound. In this
            example, that's the only sound I use from the A-90EX, but remember that
            you can internally layer up to four zones if you like.

            Next, I assign External Zone A to MIDI Channel 2 (this triggers Part 2
            on the XP-80). I program the Volume, Panning, Transposition, Reverb and
            Chorus levels so that they will automatically set-up the sound on Part 2
            in the XP-80. Of course, I can set the bank and program numbers so that
            the correct patch will be selected whenever I select this Performance in
            the A-90EX. I also assign Palette Slider 1 to control EXT A. This gives
            me control over the volume of the layered sound.


            By calling up a single Performance on the A-90EX controller, I can have
            the XP and JD automatically set up the correct sounds.


            The example above is how you'd typically set-up a layered MIDI zone. But
            here comes the fun part.

            I assigned External Zone B (on the A-90) to control MIDI Channel 1.
            Remember that MIDI Channel 1 is the part in the XP-80 that I want to be
            able to play from the XP-80's keyboard, so I typically don't want it to
            also trigger from the A-90EX's keyboard. No problem. Simply set the KEY
            RANGE LOWER for Zone B to G9. This puts Zone B out of the

            A-90EX's keyboard range so that it no longer plays from the A-90EX.
            However, even though you don't hear anything the zone is still active.
            This allows you to control the patch, volume, effects, etc. for the
            sound in the XP-80, and easily assign Slider 2 to control the volume in
            realtime. Now apply this same principle to Zone C and set up the JD-990
            to be controlled by that zone.

            Voila! Now whenever I select this Performance on the A-90, it will
            immediately select the correct patches from the A-90EX, the XP-80 and
            the JD-990. It will also set the appropriate levels for volume and
            effects. Plus, I can control all volumes of all sounds with the A-90's
            sliders. For example, the A-90EX piano sound can be layered with a
            string sound from the Orchestral Expansion in the XP-80 and controlled
            by Slider 1. The XP-80's keyboard can be set to a gritty organ sound
            from the '60s & '70s Expansion Board and controlled from Slider 2 on the
            A-90. By switching the active part on the front of the XP-80, I can play
            a searing lead patch from the JD-990, which was automatically selected
            by the A-90 because it's on a "ghost zone" and thus outside of the
            A-90's keyboard range.

            Better yet, because the XP-80 is in Performance mode, I can play
            sequences from its internal disk drive and trigger sounds on any of the
            unused parts. I can also trigger the JD-990 if desired.

            Once your system is configured in this fashion it's really easy to
            create powerful Performance setups. This is primarily due to the fact
            that everything can be accessed from the front panel of the A-90EX,
            which brings up yet another hip feature of the A-90; you can select
            Patch Name maps for each of the A-90's external zones. The patch names
            for many current Roland instruments (JV-, JD-, SC-Series), as well as
            all of the patches from the expansion boards, are already stored in the
            A-90's ROM memory. So once you tell the A-90 which modules are assigned
            on which zone, you can view patches as names instead of banks and
            numbers. This, of course, means that you can program a patch into a zone
            on the A-90 by simply selecting "Mini Lead 2" in the screen as opposed
            to MSB Bank 84, LSB Bank 3, Program Number 1. (Ahhh, it's a beautiful
            thing!) I've even used one of the USER name banks to create a name map
            for my JD-990 custom patches so I can select them by name, too.

            RPS. The XP-80 has another amazingly cool feature for live performance.
            It's called Realtime Phrase Sequencing, or RPS for short. RPS allows you
            to assign sequenced patterns to individual keys on the keyboard, which
            can then be triggered "on the fly." Patterns can be set up to loop
            continuously or play once when triggered. One way that I like to use RPS
            is for occasional horn stabs or string pads. I can sequence the patterns
            ahead of time, then trigger them with one finger when I'm playing live.
            It gives me the best of both worlds; I get multitimbral sequences with
            realtime control.


            Realtime Phrase Sequencing allows you to assign sequenced patterns to
            individual keys on the keyboard, which can then be triggered "on the


            Of course, any keys that aren't assigned to RPS can still be played
            normally, so I can have a ton of patterns and sounds from a single
            keyboard. I also use RPS to enhance a big orchestral intro that my other
            keyboardist and I do on one of my tunes. It lets us create some
            incredible sonic textures that would otherwise be impossible to pull off

            1... 2... 3... 4... Another handy thing about the XP-80 is the CLICK OUT
            jack on the back. Occasionally I like to incorporate full-blown
            sequences into a performance. When I do, it's imperative that my drummer
            be able to sync to the sequenced material. Typically, it's necessary to
            run a MIDI sync signal from the sequencer (in this case, the XP-80) to a
            drum machine or other metronome-type device from which the drummer gets
            a click.

            Fortunately for me, my XP-80 handles this all by itself. It's got an
            audio jack that generates a click which can be fed directly into
            headphones or mixed into my drummer's monitor wedges. Because it's
            coming right out of the XP-80, there's never any MIDI sync problems or
            need to deal with another drum machine, etc.

            Let 's hear it. I should take a minute to mention the all-important
            "other half" of my rig--my amps. After all, it's hardly worth spending
            hours meticulously programming sounds if you can't make them punch
            through live.

            From the moment they were introduced last year, I've been using a pair
            of Roland KC-500 Keyboard Amplifiers. They're perfect for my stage
            setup, first and foremost because they sound great! However, what I
            really love about them are their clever "performance-minded" features.

            First of all, the KC-Series amps have true stereo mixers built right in.
            There are four stereo channels on each amp. I use the first three for
            stereo audio from my A-90EX, XP-80 and JD-990. (I'll tell you more about
            the fourth channel in a second.)

            I use the KC-500's balanced stereo line outputs to send a stereo feed to
            the house sound system (yeah, I sold my old direct boxes!). There is
            also a separate volume control for the balanced line out which allows me
            to turn it down if I want to check something out at full volume on stage
            without it blasting through the main sound system. And the onboard EQ
            doesn't affect the line outs, so I can tweak my amps to sound good on
            stage without driving the soundman nuts!

            Now, back to the fourth channel (this is such a cool thing). As I
            mentioned, I've got a second keyboard player in my band. Having two
            keyboardists is quite challenging and lots of fun, but it is crucial
            that he and I are able to hear each other, or else ... well, you can
            imagine the result. Before I got my KC-500, hearing him was often a
            problem. It required a separate dedicated monitoring system just so I
            could hear him and he could hear me. This wasn't as much of a problem if
            the house sound system had separate monitor mixes and we could have our
            own monitor feeds (which was not always the case). But even then, we had
            no direct control over the levels, etc. and were left at the mercy of
            our soundman (sound familiar?).

            With the KC-500, however, channel four can be switched to feed the
            internal speaker, the headphones only, or the internal speaker and the
            line outputs. This allows me to run a direct stereo line from the other
            keyboard rig and have it play only through my KC-500's speaker. All of
            my keyboards still send in stereo to the house PA, but the other
            keyboard stuff (with it's own level control!) doesn't feed to the house.
            If I need to hear more of my other keyboardist, I simply turn him up on
            my amp, and it doesn't affect anybody else in the mix chain. Pretty
            slick--I'd buy the amp just for that feature alone!

            And as I mentioned earlier, I have two KC-500 amps. So when I'm playing
            a club that doesn't have its own PA, I have more than enough power to
            deliver a really big stereo sound from my keyboard rig. The amps'
            innovative Stereo Link feature even lets me keep one KC close at hand
            (for master level and EQ controls) and put the second KC on the other
            side of the stage, connected with a single cable--giving me true stereo

            How will you use it? That was a quick look at some of the ways I use my
            Roland gear to make it easier and more fun to play live. While all of
            these tips may not be appropriate for your particular rig, there are a
            lot of concepts here that apply pretty much across the board. Why don't
            you take a look at the gear you're currently using to play live and see
            if some of these tips and some of this gear might not make your live rig
            simpler and your playing experience more enjoyable? Because once you've
            got the right tools, you'll be ready for some serious live jams.


            Scott Wilkie is a keyboardist and composer based in Southern California.
            He performs worldwide for Roland as a keyboard artist and is a regular
            contributor to Roland Users Group magazine. You can find him online at

            “...I am merely a conduit, a kind of big hairy tool. I am just a plastic funnel connected to a Moog...”