SYSTEM-8 Software Synthesizer

Owner’s Manual

Copyright © 2017 ROLAND CORPORATION 03

Introduction
When using the SYSTEM-8 Software Synthesizer for the first time, you must specify the MIDI
Input/Output setting in the Setting window (p. 10).

For details on the settings for the DAW software that you’re using, refer to the DAW’s help or
manuals.

About Trademarks
• VST is a trademark and software of Steinberg Media Technologies GmbH.
• Roland, PLUG-OUT, AIRA are either registered trademarks or trademarks of Roland Corporation in the United States and/or
other countries.
• Company names and product names appearing in this document are registered trademarks or trademarks of their
respective owners.

2
 Screen Structure
Main window
This area shows various knobs and sliders that you
can use to edit the sound.

p. 4
Patch Memory name Level meter [CONDITION] knob [TUNE] knob
This area shows the name of the selected Displays output levels of the SYSTEM-8 Specifies the state (condition) of the analog sound Adjusts the overall pitch of the SYSTEM-8
patch memory. Software Synthesizer. engine circuit that is being modeled. Software Synthesizer.

[OPTION] button [HELP] button

[PATCH] button [SEND] button [GET] button Here you can make settings such as MIDI Displays help.
Selects a patch memory. Sends the memory to the SYSTEM-8 Software Loads the memory currently being edited in control mapping.
Synthesizer. the SYSTEM-8(temporary) into the SYSTEM-8 These settings can be made separately for each
The Patch Select window opens.
SoftwareSynthesizer. instance of the SYSTEM-8 Software Synthesizer. [ABOUT] button
Here you can view information about the
p. 10 SYSTEM-8 Software Synthesizer.
p. 7 p. 9 p. 9
[SETTING] button
* These operate only when the SYSTEM-8's MODEL setting is SYSTEM-8. Here you can edit the MIDI settings and the
direction of mouse wheel scrolling (Only
on Mac).
These settings are shared by all instances of
the SYSTEM-8 Software Synthesizer that you
are using.

p. 10

Keyboard area
Click here to produce sound.
When a MIDI message is received, the
corresponding key responds.
[KEYBOARD] button
Toggles the keyboard area between visible and
hidden.

3
Main Window
LFO OSC 1 / OSC 2 OSC 3 / SUB OSC FILTER
Here you can create cyclic change (modulation) in the sound. Here you can select the waveform that determines the character of the sound, These settings determine the brightness and thickness of the sound.
and specify its pitch.
Variation 1 Variation 2 Variation 3
Selects the waveform that is the basis of the sound. VARIATION
VARIATION & “OSC 1/OSC2 Variation (VARIATION) and Waveform TYPE & “FILTER Variation (VARIATION) and Type (TYPE)” (p. 5)
R Sine wave Sine wave x 2 TYPE 1 R -2Oct Sine wave two octaves lower
VARIATION WAVE (WAVE)” (p. 5) CUTOFF
Triangle wave R -1Oct Sine wave one octave lower
S Triangle wave TYPE 2 OCTAVE Resonance boosts the sound in the region of the filter’s cutoff
x2 Specifies the octave of the oscillator. TYPE R Sine wave RESO
(64–2FEET) frequency.
Sawtooth wave
COLOR Adjusts the tone. S Triangle wave
T Sawtooth wave TYPE 3 This knob specifies the depth and direction of the cutoff
x2 S -1Oct Triangle wave one octave lower ENV
MOD Selects the source that is modulated by the [COLOR] knob. frequency change produced by the [A], [D], [S], and [R] sliders.
Square wave S -2Oct Triangle wave two octaves lower
U Square wave TYPE 4 COARSE TUNE Adjusts the pitch in semitone steps. Allows the filter cutoff frequency to vary according to the key
x2 KEY
WAVE FINE TUNE Allows fine pitch adjustments. COLOR The result depends on the waveform. that you play.
Sample and Sample and
W TYPE 5 CROSS MOD Modifies the OSC 1 frequency according to the OSC 2 TUNE Adjusts the pitch of the oscillator. VELOCITY Adjusts the sensitivity by which the key velocity (playing
Hold Hold x 2
(OSC 1 only) waveform. SENS dynamics) varies the depth of the filter envelope.
Random wave
RND Random wave TYPE 6 This is a ring modulator. It generates a complex waveform Specifies the cutoff frequency of the high-pass filter. Frequency
x2 HPF
by multiplying OSC 1 and OSC 2. components below the cutoff frequency are cut.
Allows the LFO to modulate the pitch of the sound,
PITCH OSC 1 A Attack time
producing a vibrato effect.
RING
Specifies the time from when the tone sounds until the D Decay time
FADE TIME
LFO reaches its maximum amplitude.
(OSC 2 only) OSC 2
Allows the LFO to modulate the FILTER CUTOFF (cutoff S Sustain level
FILTER
frequency).
R Release time
Specifies whether the LFO waveform is synchronized This is oscillator sync. It generates a complex waveform
KEY TRIG to start the moment you press a key (on) or is not by forcibly resetting OSC 2 to the beginning of its cycle in
synchronized (off ). synchronization with the OSC 1 frequency.
Causes the envelope to start repeatedly at the LFO cycle
TRIG ENV SYNC
(on). OSC 1
(OSC 2 only)
RATE Determines the speed of the LFO modulation.
Allows the LFO to modulate the AMP LEVEL (volume),
AMP
producing a tremolo effect. OSC 2

EFFECTS, DELAY/CHORUS, REVERB

Here you can adjust the effect, delay/chorus, and reverb depth.

MIXER PITCH AMP EFFECT TYPE

TONE
Selects the effect type.
Specifies the character of the effect.
Adjust the OSC 1, OSC 2, OSC 3/SUB OSC, Noise’s volume. Here you can create time-varying change (envelope) for pitch. Here you can create time-varying change (envelope) for the volume.
DEPTH Specifies the depth of the effect.
OSC 1 Adjust the OSC 1’s volume. If this knob is turned toward the right, the pitch initially VELOCITY Adjusts the sensitivity by which the key velocity (playing
becomes higher and then returns to the pitch of the key you SENS dynamics) varies the volume. DELAY/CHO TYPE Switches the delay/chorus type.
OSC 2 Adjust the OSC 2’s volume.
ENV pressed. TONE Adjusts the brightness of the sound. TIME Adjusts the time by which the sound is delayed.
OSC 3/SUB
Adjust the OSC 3/SUB OSC’s volume. LEVEL Adjusts the volume of delay/chorus.
OSC If this knob is turned toward the left, the pitch initially becomes LEVEL Adjusts the volume.
NOISE Adjust the noise’s volume. lower and then returns to the pitch of the key you pressed.
A Attack time REVERB TYPE Switches the reverb type.
NOISE TYPE Selects the type of the noise. A These sliders operate similarly to the [A] [D] sliders of the AMP
TIME Specifies the reverb time.
D section (they affect the pitch rather than the volume). D Decay time
LEVEL Specifies the reverb volume.
S Sustain level

R Release time

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 Screen Structure

OSC 1/OSC2 Variation (VARIATION) and Waveform (WAVE) FILTER Variation (VARIATION) and Type (TYPE)
Variation 1 Variation 2 Variation 3 (*1) Variation 4 (*2) Variation Explanation Behavior of the [CUTOFF] knob
Sawtooth wave (SAW) Noise Saw (NOISE SAW) FM 2 operator (FM 1:1) FM 5 operator (FM Type A) LPF/HPF (Variation 1) Low pass filter (LPF), High pass filter (HPF) Cutoff
Square wave (SQR) Logic (LOGIC OPERATION) FM 2 operator (FM 1:1.5) FM 5 operator (FM Type B) SBF (Variation 2) Side band filter (SBF) Band Interval
Triangle wave (TRI) FM (FM) FM 2 operator (FM 1:2) FM 5 operator (FM Type C) SYSTEM-1 (Variation 3) This is a SYSTEM-1 type low pass filter (LPF). Cutoff
Sawtooth wave2 (SAW2) FM+SYNC (FM SYNC) FM 2 operator (FM 1:3.5) FM 5 operator (FM Type D) JUPITER-8 (Variation 4) The JUPITER-8’s HPF and VCF (LPF) Cutoff
Square wave2 (SQR2) Vowel (VOWEL) FM 2 operator (FM 1:15) FM 5 operator (FM Type E) JUNO-106 (Variation 5) The JUNO-106’s HPF and VCF (LPF) Cutoff
Triangle wave2 (TRI2) CB (COWBELL) FM 2 operator (FM 6:1) FM 5 operator (FM Type F) FORMANT 2 (Variation 6) Formant filter (morphing between two formants) Formant
FORMANT 3 (Variation 7) Formant filter (morphing between three formants) Formant
Filter that uses a feedback delay to vary the overtones
* The FM waveform of Variation 2 applies frequency modulation using a logarithmic scale. HARMONICS (Variation 8) Harmonics
* The HPF CUTOFF knob operates as the LPF/HPF knob.
Operating the COLOR knob will change the pitch.
* The FM waveform for Variations 3 and 4 applies frequency modulation using a linear scale.
Operating the COLOR knob will not change the pitch. Parameter Value Explanation
Low pass filter (LPF), High pass filter (HPF)
*1 FM 2 operator (Variation 3) Selects the slope of the filter.
LPF: -24dB, -18dB, -12dB
2
Volume
COLOR KNOB -18 dB
(Variation 1)
1
-24 dB -12 dB
LPF-24dB, LPF-18dB, Frequency
LPF-12dB, HPF-12dB,
HPF-18dB, HPF-24dB
HPF: -12dB, -18dB, -24dB
1 2
Variation 3 Explanation
SIN SIN Volume
FM 2 operator (FM 1: 1) 1 1 Uses harmonic overtones to produce a waveform similar to a sawtooth wave. -18 dB
FM 2 operator (FM 1: 1.5) 1 1.5 Allows you to obtain a harmonic at -1 octave. -12 dB -24 dB
Frequency
FM 2 operator (FM 1: 2) 1 2 Uses odd-numbered harmonics to produce a waveform similar to a square wave.
FM 2 operator (FM 1: 3.5) 1 3.5 Produces bell-like sounds.
Using ENV to adjust the COLOR parameter produces the attack sound of an electric Side band filter (SBF)
FM 2 operator (FM 1: 15) 1 15
piano. You can use the [CUTOFF] knob to adjust the band interval.
Using ENV to adjust the COLOR parameter produces a sound similar to electric guitar (Variation 2) You can also use the filter type knob to select the range of the band interval.
FM 2 operator (FM 6: 1) 6 1
feedback. SBF1–SBF6 SBF1–3: Low range, Mid range, High range with original sound
SBF4–6: High range, Mid range, Low range without original sound
You can use the resonance knob to adjust the band width.
TYPE
*2 FM 5 operator(Variation 4) (Variation 3)
This is a SYSTEM-1 type low pass filter (LPF)
Selects the slope of the filter.
3 5
LPF-24dB, LPF-18dB,
Although the knob moves through six steps, this setting has three values. Even
LPF-12dB
COLOR KNOB if you move the knob to the fourth or subsequent step, the value is LPF-12 dB.
The JUPITER-8’s HPF and VCF (LPF)
2 4 (Variation 4)
Selects the slope of the filter.
LPF-24dB, LPF-18dB,
LPF-12dB Although the knob moves through six steps, this setting has three values. Even
if you move the knob to the fourth or subsequent step, the value is LPF-12 dB.
The JUNO-106’s HPF and VCF (LPF)
1 (Variation 5)
Selects the slope of the filter.
LPF-24dB, LPF-18dB,
LPF-12dB Although the knob moves through six steps, this setting has three values. Even
if you move the knob to the fourth or subsequent step, the value is LPF-12 dB.
1 2 3 4 5 (Variation 6) Formant filter (morphing between two formants)
Variation 4 Explanation
SIN TRI SIN TRI SIN u-a, u-e, u-i, o-a, o-e, o-i Selects the combination of formants.
FM 5 operator (FM Type A) 1 4 11 4 15 (Variation 7) Formant filter (morphing between three formants)
Produce a tone generated by harmonic
FM 5 operator (FM Type B) 1 1 9 4 9 u-i-a, u-e-a, u-i-e, o-i-a, o-e-a, o-i-e Selects the combination of formants.
overtones that differ for each type.
FM 5 operator (FM Type C) 1 2 9 4 9 Filter that uses a feedback delay to vary the overtones
FM 5 operator (FM Type D) 1 1 11 3.5 11 Produce a tone generated by inharmonic (Variation 8) Selects the length of the delay.
FM 5 operator (FM Type E) 1 3 11 3.5 11 overtones that differ for each type. 64FEET, 32FEET, 16FEET, 8FEET, 4FEET, This is typically set to the same octave (feet) as OSC1 or OSC2.
Produces a tone with formant 2FEET You can additionally modify the FEET setting of HARM to select the desired
FM 5 operator (FM Type F) 1 1 1 40 1
characteristics. effect.

5
 Screen Structure

PORTAMENTO / PITCH BEND / MODULATION TEMPO / ASSIGN MODE ARPEGGIO

Adjusts the time over which pitch change occurs when The modulation speed (RATE) of the LFO section and the ARPEGGIO Turns the arpeggio function on/off.
PORTAMENTO TEMPO SYNC delay time (TIME) of the EFFECTS section are synchronized
portamento is applied. ARP TYPE Selects the arpeggio type.
to the tempo.
Applies portamento only when you play legato (i.e., when ARP STEP Selects the note value for each step of the arpeggio.
LEGATO Multiple notes are sounded together as a
you press the next key before releasing the previous key). UNISON
single note (Unison). KEY HOLD Turns the key hold function on/off.
BEND RANGE Specifies the amount of pitch bend range.
The instrument plays monophonically OCTAVE Shifts the pitch range of the keyboard in one-octave units.
Specifies a multiplier for the BEND RANGE, extending the KEY ASSIGN MONO
BEND GAIN (Mono).
range of change.
The instrument plays polyphonically
BEND SENS Specifies the amount of the pitch change produced by pitch POLY
(Poly).
PITCH bend operations.
BEND SENS Specifies the amount of the filter change produced by pitch
FILTER bend operations.
MOD SENS Specifies the amount of the pitch change produced by
PITCH modulation operations.
MOD SENS Specifies the amount of the filter change produced by
FILTER modulation operations.

6
 Memory and Bank
1. Click the [PATCH] button.
The Patch Select window opens. Bank
[NEW] button [DELETE] button A set of 64 memories is called a “bank.” By switching banks you can
Bank
Creates a new empty bank. Deletes the selected bank.
access a large number of memories. Memory 01
A bank of memories can be saved as a file. Memory 02
Memory 03

[LOAD] button [SAVE] button Memory 64

Imports a bank. Exports a bank as a file.

Changing to Other Bank

1. Click the Bank field.
The selected memory is shown
in light blue. The bank list window opens.

2. Click the bank that you want to recall.

By pressing the [H] [I] buttons located at the right of the bank field, you can switch to the next
or previous bank.

Exporting the Bank

Here’s how to export a bank as a file.
“ i ” symbol NOTE
1. Click the [SAVE] button.
When you place the mouse cursor (mouse All 64 memories are received into the currently selected
pointer) over this, a list of shortcuts appears. bank, overwriting the previous contents of that bank. If you
want to keep the state of the bank, create a new bank and The file name input window opens.
receive the memories into the newly created bank (p. 8).
2. Enter a file name and save.
The file is exported.
[SEND ALL] button [GET ALL] button
Sends all (64) memories in the bank to the Receives all (64) memories stored on the
SYSTEM-8. SYSTEM-8.

Importing a Bank
[WRITE] button [RENAME] button [READ] button
Saves an edited sound as a memory in the
bank.
Renames the selected memory. Loads a memory from a bank. 1. Click the [LOAD] button.
The file selection window opens.

2. Select a file and load it.

The bank is loaded.

7
 Memory and Bank

Creating/Deleting a Bank Memory

The SYSTEM-8 Software Synthesizer manages 64 memories as one bank.
Creating a bank
Click the [NEW] button to create a new empty bank. Loading a Memory
Here’s how to load a memory from a bank. When you load a memory, its settings appear in the
edit area and can be edited.
Deleting a bank
1. Click the number of the memory that you want to load.
Here’s how to delete the selected bank.
2. Click the [READ] button. Or press the [Return (Enter)] key.
1. Select a bank as described in “Changing to Other Bank” (p. 7). The memory is loaded.
* You can also load a memory by double-clicking a memory number.
2. Click the [DELETE] button.
A confirmation screen appears.

3. Click [OK] to delete the bank. Saving the Memory

Here’s how to save an edited sound as a memory in the bank.

Renaming a Bank 1. Click the number of the memory in which you want to save the sound.
2. Click the [WRITE] button.
1. Select a bank as described in “Changing to Other Bank” (p. 7). The memory is saved in the bank.

2. At the left of the bank field, click J.

3. Edit the name and press the [Return (Enter)] key. Renaming the Memory
1. Click the number of the memory that you want to rename.
2. Click the [RENAME] button.
3. Change the memory name. (Up to 16 letters)

Changing the Order of the Memories

Drag the memory number to change the order of memories.

8
 Playing with the SYSTEM-8
Memories that you edit using the SYSTEM-8 Software Synthesizer can be sent (SEND) to the
SYSTEM-8 and played. Get Memories
You can also receive (GET) memories from the unit into the SYSTEM-8 Software Synthesizer
and edit them. Here’s how to receive memories from the SYSTEM-8 into the SYSTEM-8 Software Synthesizer.
The “SYSTEM-8 CTRL” shown as a MIDI port is the port used by the SYSTEM-8 Software
Synthesizer.
Do not use this port from your DAW.
Receiving One Memory
Here’s how the memory that’s recalled (being edited) on the SYSTEM-8 can be received into the
SYSTEM-8 Software Synthesizer.

1. On the SYSTEM-8, press the MODEL [SYSTEM-8] button.

The SYSTEM-8 is in SYSTEM-8 mode.

2. Click the [GET] button.

The memory is received.

Send Memories
Receiving All Memories
Here’s how all (64) memories stored on the SYSTEM-8 can be received.
Sending One Memory NOTE
Here’s how to send the memory in the SYSTEM-8 Software Synthesizer to the SYSTEM-8. All 64 memories are received into the currently selected bank, overwriting the previous
contents of that bank. If you want to keep the state of the bank, create a new bank and
1. On the SYSTEM-8, turn the MODEL [SYSTEM-8] button on. receive the memories into the newly created bank (p. 8).
The SYSTEM-8 is in SYSTEM-8 mode.

2. Click the [SEND] button. 1. Specify the bank that will receive the memories.
The memory is sent. * If you want to create a new bank to receive the memories, press the [NEW] button. If you want to receive the memories into a specific
existing bank, specify the bank as described in “Changing to Other Bank” (p. 7).

Sending All Memories 2. Click the [GET ALL] button.

The 64 memories are received.
Here’s how to send all (64) memories in the bank to the SYSTEM-8.

NOTE
The 64 memories are transmitted in a single operation. If the SYSTEM-8 contains any
memories that you want to keep, use the “Get Memories” (p. 9) procedure to receive these
memories into the computer and save them before you continue.

1. As described in “Changing to Other Bank” (p. 7), select the bank that contains the
memories that you want to send.

2. Click the [SEND ALL] button.

The 64 memories are sent.

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 Settings
Option Setting
1. Click the [OPTION] button. 1. Click the [SETTING] button.
The Setting window opens.

* Flip Scroll Direction is only on Mac.

2. Edit the parameters.

Parameter Explanation

2. Select items. MIDI CTRL Input

Choose “SYSTEM-8 CTRL”.
MIDI CTRL Output
A ( is shown for the selected item.
Flip Scroll Direction
Inverts the direction of rotation when using the mouse wheel to edit a value.
(Only on Mac)
Item Explanation

Changes the layout of the controllers in the main window.

SYSTEM-8 Layout
SYSTEM-8 Layout: The controllers are laid out as they are on the SYSTEM-8. * If multiple instances of the SYSTEM-8 Software Synthesizer are running, these settings apply to all instances.
Zoom Changes the size of the main window.
Set MIDI Control Mapping for SYSTEM-8 Set MIDI control change mapping to use the SYSTEM-8 as a control surface.
Clear MIDI Control Mapping Clears all MIDI control change mapping.
Specifies the maximum simultaneous polyphony.
2–8Voices
You can reduce the load on the CPU by lowering the polyphony.
Optimize for Lower CPU Usage Turn this ON if CPU usage is high, and clicks or pops occur.
Roland Cloud... Displays the Roland Cloud site.
Authentication... Performs user authentication for the SYSTEM-8 Software Synthesizer.

10
 Settings

Others
If you want to use the SYSTEM-8 to play the SYSTEM-8 Software Synthesizer (plug-in) in your
DAW, set the SYSTEM-8’s menu item “SYSTEM” 0 “SOUND” 0 “Local Sw” to “SURFACE.”

The internal sound engine of the SYSTEM-8 no longer produces sound; only the SYSTEM-8
Software Synthesizer can produce sound.
For detailes, refer to SYSTEM-8 Reference Manual.

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