This is relatively simplistic by wavetable standards, and probably the SH-4d’s most underwhelming element. The next oscillator mode is a wavetable mode. Continuing in this digital vein, the next mode is a ring modulator, which works well for creating metallic and discordant sounds. The controls allow for a variety of waveshapes and tuning ratios to be set for each, as well as an adjustable modulation envelope to alter the modulation over time. Here we have two waves set up in a modulator/carrier relationship. The next oscillator mode is a simple two-oscillator FM setup. The first is a clone of SH-101’s oscillator section, the second is modelled on the oscillators of the Juno-106. Beyond this is a pair of vintage emulations. The next mode is Sync, which offers a classic hard sync sound with an additional envelope for sweeping the pitch of the synced oscillator. The second mode is labelled SH-3D, which is effectively the same oscillator model albeit with the fourth oscillator exchanged for an additional LFO. This is effectively a four-oscillator virtual analogue synth, where each oscillator can have its own wave shape (including noise and a stacked supersaw mode), plus individual tuning, level and shape/pulse width. The first of these modes is the SH-4d engine which gives the instrument its name. If basic rhythm and sample sequencing is what you’re after, the TR-8S is still the other high point of Roland’s current product line. Circuit Tracks offers a similar synths-and-samples ethos, albeit in a manner more immediate but less deep.
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