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Alongside the SC-55, Roland released the SB-55 (Sound Brush), an inexpensive MIDI sequencer module the same size as the Sound Canvas. Both the Sound Canvas and Sound Brush could be rackmounted alongside each other. Other models with comparable tone generators include Roland CM-300, Roland CM-500 and Roland SC-155 sound modules.
It was released in 1992. It supports the General MIDI System and can also be used as a MIDI interface for a computer. The Roland SC-7 provides the basic (capital) Roland Sound Canvas sounds in a compact design for stand-alone, IBM PC/AT or Apple Macintosh computer use.
A Edirol Studio Canvas SD-80 displaying a user saved patch. Studio Canvas was a series of PCM sound modules with built in audio interfaces (some models only) sold under both Edirol and Roland branding. The samples contained in the ROMs of these units do not in all cases mirror the original SC-7 / SC-55 GM/GS samples. GM2 is downward compatible ...
The Roland ED SC-8850 (Sound Canvas) is a GS-compatible MIDI sound module released in 1999 by Roland under the name RolandED. The SC-8850 was the first sound module to incorporate the new General MIDI Level 2 standard. The SC-8850 uses a PCM sampling engine based on that of the SC-88 Pro, and supports 128-voice polyphony with 64-part ...
Roland Cloud is a subscription [1]-based collection of VST instruments and 'RVR' sample libraries launched in early 2018 by Roland. [2] [3] Instrument downloads and installation are handled by Roland's Cloud Manager software. [4] The software instruments available via Roland Cloud also include features that were not available in the original ...
Roland GS, or just GS, sometimes expanded as General Standard [1] [2] or General Sound, [1] is a MIDI specification. It requires that all GS-compatible equipment must meet a certain set of features and it documents interpretations of some MIDI commands and bytes sequences, thus defining instrument tones, controllers for sound effects, etc.
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The Roland VariOS is a rack-mounted open-ended variable system module. It is possible to independently manipulate the pitch, time and formant of a sample, add effects and build complete audio-based arrangements—all in a real-time environment and without CPU drain.