The CR-78 is historically singular: the first microprocessor-based drum machine and the first to allow user-programmable pattern creation. Its analog synthesis yields 14 fixed drum sounds. Its four-note polyphony defines its rhythmic ceiling. It does not offer sound editing, velocity layers, or sample playback. It belongs in rooms where constraint is compositional strategy—not a flaw to be patched.
The Roland D-50 is a 1987 hybrid synthesiser that pairs 47 ROM-based PCM attack samples with subtractive synthesis to create realistic, bright, and instantly usable tones. Its architecture — two tones, each with two partials — delivers clarity and presence but imposes strict limits on timbral complexity and real-time control. It was built for affordability and immediacy, not flexibility or depth.
The Roland JD-800 is a hands-on, sample-based digital synthesizer manufactured between 1991 and 1996. It features many knobs and sliders for patch editing and performance control. Roland's intention was to return to the roots of synthesis. It employs sample-based oscillators and a fully digital signal path. It has 108 built-in sampled waveforms, expandable via PCM cards. A patch consists of up to four tones. In Multi mode it is possible to play five different patches over MIDI, plus a 'special' patch — which assigns different waveforms to the 61 keys for drums and percussion.
The Roland JP-8000 is an analog modeling synthesizer released in early 1997. It sought to digitally reproduce the analog tonalities and power of its analog predecessors. Although it lacked somewhat in analog warmth due to its early digital architecture, it added many new features, such as RPS (Realtime Phrase Sequencing), which allowed short sequenced phrases to be assigned to keys, and such as motion control. It also featured the unique Supersaw oscillators and analog-style controllers such as an arpeggiator and an assignable touch response ribbon control. The Supersaw in particular was the reason why the JP-8000 was particularly successful as a main keyboard (along with the Virus) in the dance music market, especially for trance music.
The Juno-106 is a six-voice analog synthesizer released by Roland in February 1984. It features digitally controlled oscillators, 128 patch memories (up from the Juno-60’s 56), a performance lever for pitch and modulation, and early MIDI implementation enabling parameter change sequencing.
The Roland Juno-60 is an analog synthesizer introduced in 1982 as a lower-cost, more stable alternative to contemporaries like the Prophet-5 and Jupiter-8. It features digitally controlled oscillators for tuning stability, a single oscillator architecture compensated by a signature chorus effect, patch memory for 54 sounds, an arpeggiator, and performance controls.
The Jupiter-6 delivers focused, hands-on bitimbral control and waveform stacking unavailable on the Jupiter-8 — but locks you into rigid voice splits and omits expressive dimensions like aftertouch.
The Jupiter-8 is an eight-voice polyphonic analog subtractive synthesizer introduced by Roland in early 1981. Each voice features two discrete VCOs with cross-modulation and sync, pulse-width modulation, a non-resonant high-pass filter, a resonant low-pass filter with 2-pole and 4-pole settings, an LFO with variable waveforms and routings, and two envelope generators (one invertible). It includes adjustable polyphonic portamento, a hold function for infinite sustain, an assignable bender for pitch or filter frequency, balanced XLR and unbalanced 1/4" outputs for Upper and Lower presets in Split mode, and a unique polyphonic unison mode where all 16 oscillators stack onto one note and divide down when more keys are pressed. Its arpeggiator syncs externally via DCB or CV. Tuning stability improved from serial #171700 onward.
The Roland JX-8P is a 1985 hybrid analog synthesizer with six-note polyphony, designed to bridge analog warmth and FM-style timbres using new modulation and a DX7-inspired interface. It features two DCOs per voice, software ADSR envelopes, dual filters, chorus, sync modes, multiple play modes, and a polished MIDI implementation — programmable via edit slider or optional PG-800, with limitations on real-time control.
Roland Corporation is not an instrument — it is the company behind foundational electronic instruments launched from 1973 onward, beginning with the SH-1000 synthesizer and culminating in genre-defining tools like the TR-808, TB-303, and D-50. Its innovations were enabled by microprocessors and standardised communication (MIDI), prioritising programmability, tactile control, and distinctive analogue character over flexibility or fidelity.
The Roland SH-101 is a monophonic analog synthesizer made by Roland Corporation between 1982 and 1986. It features a single oscillator, sub-oscillator, low-pass filter, mixer, noise generator, arpeggiator and sequencer. An ADSR envelope controls the filter and VCA. The LFO modulates filter, VCA, pitch and pulse width. It can be played as a keytar using an optional handgrip and shoulder strap, and it can be powered via battery.
The Roland System 100 is an analog semi-modular synthesizer introduced in 1975. It consists of discrete rack- and keyboard-mounted units (101, 102, 103, 104, 109), each independently powered, supporting patch-cable reconfiguration of an otherwise fixed signal path. It forms an expandable two-oscillator monosynth with sequencing and effects, uses 1V/oct control, and avoids fixed oscillator footages for enhanced sound design flexibility.
The Roland TB-303 is a 1981 subtractive bass synthesizer with a 24 dB/octave low-pass filter controlled by an envelope generator and an internal sequencer for note programming. Designed to simulate bass guitars, it was commercially unsuccessful and discontinued in 1984 due to its unrealistic sound.
The TR-808 is a programmable analog drum machine introduced in 1980. It generated all sounds via analog synthesis—not sampling—and allowed full percussion track programming including breaks and rolls. It supported up to 32 patterns, chaining up to 768 measures, and beat accents. Roland discontinued it in 1983 after approximately 12,000 units due to semiconductor shortages. It was a commercial failure because the market preferred realistic drum sounds.
The TR-909 is a rigid, unyielding rhythmic engine. Its strength is timing, not texture. Its legacy is built on what it withheld—not what it offered.