Historically, Roland uses a capital “V” to indicate innovative instruments embodying a specific set of virtues: virtual, variable, vintage, and vanguard. The V-STAGE series is the latest release to carry the tradition. With its four sound engines and intuitive workflow, the series is perfect for pros who want to stay in the moment. V-STAGE also represents a host of technical and design achievements. Team lead Shuichi Matsunaga sheds light on the engineering process culminating in V-STAGE.
Vision
What was the initial vision for V-STAGE from an engineering perspective?
Planning for this product started with the vision of creating the best stage keyboard. We have the FANTOM flagship synthesizer lineup, but we wanted to create a flagship keyboard from a different perspective—a stage keyboard. Development began with the question of how to make the sound module, system, and structure suitable for the flagship.
Sound Engines
Describe the four distinct V-STAGE sound engines. How did you develop them?
V-STAGE has four dedicated sound engines. The organ sound engine uses Roland’s traditional Virtual Tone Wheel sound engine. The Virtual Tone Wheel sound module used on the FANTOM is the base. However, on the FANTOM, there was only one upper part. With V-STAGE, you can use the upper, lower, and pedal three parts. In addition to the tone wheel, we added the transistor and pipe organ. The sound module now contains dedicated reverb and delay for the organ, so you can add reverberation to the organ sound without using total FX.
The rotary effect, which can be used for organ parts, has also been completely redesigned. This is not just an improvement to the conventional rotary, but a new algorithm is used to simulate the movement of an actual machine. Along with recreating a more realistic rotary, new parameters have been added.
"We wanted to create a flagship keyboard from a different perspective—a stage keyboard."
We carefully recreated the rotary speaker sound so you can precisely control how the rotation changes. Changes in sound caused by rotation are reproduced not only by changes in volume and pitch, but also by compositing many complex reflections. For the first time, the sound has a “washawasha” feel similar to the real thing.
The acoustic piano engine uses V-Piano technology, which has been used since the RD-2000. This time, we model a new felt piano tone for V-STAGE. Felt piano is prevalent in contemporary music and appropriate for different stages than classic grand piano modeling.
The electric piano part features an improved SuperNATURAL sound engine. In addition to improving the fundamental sound engine, we’ve reviewed what parameters user can adjust, and added dedicated effects for electric piano.
It’s not just a reproduction, but an update of the original electric piano. For example, with a traditional electric piano is structurally difficult to produce a soft sound. Using V-STAGE, it is possible to increase the volume while retaining the characteristics of the soft sounds. Players can achieve this by using a feature called Sound Lift. The control of timbre changes by keystroke is unique and beyond any other dedicated sound engine.
You can create sounds by using tremolo and amp sim for the MFX, where you can select a variety of effects especially designed for electric piano. We’ve also improved the quality of the effects and the user interface, which is easier to adjust.
The synth part uses the ZEN-Core sound engine, a key development of Roland’s synthesizers. Since V-STAGE is a stage keyboard, we emphasize the ease of selecting superb, easy-to-use sounds on the fly. For live players, this is easier than creating sounds from scratch and great for staying in the moment.
This synth section features approximately 400 carefully selected tones. These include pads and string sounds for layers that are easy to use with piano and organ parts and synth lead sounds that can also be used for solos.
In addition, since this unit supports ZEN-Core, you can import and use sounds from other ZEN-Core-compatible products, such as ZENOLOGY and FANTOM. The synth part also supports four types of model expansions. Installing the Model Expansion from the Roland Cloud Manager allows you to access the following Roland Legends: JUPITER-8, JUNO-106, SH-106, and JX-8P.
"We unraveled Roland's history, considered what sound engines would be suitable for the flagship, and decided on the sound engines for each part."
Past, Present, and Future
These sound engines draw on several different Roland engines and new technologies. Tell us about how you combined the past, present, and future.
The goal of developing the flagship stage keyboard was to equip each part with the best sound source. In this process, we unraveled Roland’s history, considered what sound engines would be suitable for the flagship, and decided on the sound engines for each part. Roland is a company with a 50-year history and various sound engine technologies. To incorporate these into the latest platform called V-STAGE, we devised various ways to incorporate them into a single system.
What were some of the team’s considerations when designing the user interface for V-STAGE?
The most important aspect of this design is that it is intuitive. Roland sound engines allow you to manipulate many parameters. Among them, we consider the parameters that you want to touch immediately or that you want to control while you play and use these as switches and knobs. With the enhanced assign function, you can easily assign the operation of each part to a wheel or assignable switch. A 4.3-inch color LCD lets you adjust each parameter graphically.
The V-STAGE also has a function that shows the menu for the corresponding parameter on the LCD by touching each switch or knob while holding down the [MENU] button. The V-STAGE user interface features an intuitive control unit on the top panel and a graphical LCD that lets you create sounds when you want to create a full-fledged sound. By unifying the fonts on the GUI and on the product panel, we made it feel like a common thing that connects the worldview of software and hardware.
Were there any Roland instruments from the past that provided visual or sonic inspiration?
When it comes to visual inspiration, I don’t think I was directly conscious of it, but I would dare say that there is inspiration from FANTOM as Roland’s flagship. We are also very aware of the role of the instrument as a Roland instrument. It’s not just about the look; it’s about the rationalized layout, detailed design with ease of use, panel graphics that clearly show parts and functions, and a simple, rigid housing with a solid character.
I think it is a kind of philosophy that flows in common with Roland’s instruments, which is expressed from the whole into the details. V-STAGE is the result of this philosophy of making instruments, which has been passed down from generation to generation.
"V-STAGE is the result of the Roland philosophy of making instruments, which has been passed down from generation to generation."
Design Challenges
What were some of the biggest challenges during the V-STAGE design process?
Since V-STAGE is a lineup of products we didn’t have in the past, we had to think about the design from scratch. The final design is timeless, but in the early stages of development, to examine the product’s character and the direction of the design, we experimented through trial and error.
It was difficult to create a completely new design, so I made a mockup of the design several times and checked the color and size. The most difficult part of the design process was to pack all this functionality into a chassis of this size.
In detail, the solid wood on the sides is structured so that the screws are not visible from the outside. We are particular about the design of these details. The various switches and knobs are also newly designed and optimized for the V-STAGE.
"Since V-STAGE is a lineup of products we didn’t have in the past, we had to think about the design from scratch."
How did you settle on the materials for the sturdy V-STAGE construction?
The decision was made to use a metal enclosure because of the strength of the robust rigid housing that responds to professional performance and the size that it can be carried around. By using metal or solid wood for the housing, I think it will be a product that will be used for a long time. The solid wood on the left and right sides is also considered to be a grip when carrying equipment.
The V-STAGE I/O connectivity is robust. Were there any engineering demands to accommodate all these formats?
As the flagship of the Roland, we designed V-STAGE from the perspective of what I/O is required. Of course, it was difficult to pack so much I/O into this compact enclosure, but the flagship keyboard is needed to meet various demands. In addition to the XLR and other audio jacks, the V-STAGE is equipped with several jacks, such as a MIDI jack and a pedal jack, so that players can use it for a variety of stage applications.
Using the USB external device jack combined with the a-Pro series, you can play four parts on each keyboard. USB-C connection is also an important function. This unit can be connected not only to a PC, but also to a mobile device. This makes streaming and recording easier than ever before.
How did the team design the Scenes on V-STAGE, and is the approach unique from other Roland instruments?
V-STAGE Scenes come from multiple artists, in-house sound teams, and specialists. The main concept of Scenes is that they can be used immediately on stage. Rather than showing off the specs of V-STAGE, you’ll find a line of easy-to-use sounds, so you’ll have Scenes that you can use as-is. V-STAGE comes equipped with 64 types of scene presets.
We’ve also included a blank introductory Scene. We want this to be the starting point for customizing the sound that players wish to. In addition, additional scene packs will be released from the Roland Cloud Manager along with the release. We have prepared a variety of Scenes here, so be sure to download and play them.
The keybed is one of the V-STAGE’s most exciting features. Did the engineering team choose the specific materials, or was it a collaboration between engineers, suppliers, and factories?
This time, the 76-key model uses a newly designed waterfall keyboard. This is a redesigned waterfall keyboard for synthesizers, which was part of the FANTOM 6/7. This is ideal for unique organ playing techniques such as trill, sputter, glissando, and percussive playing. With the unique playing characteristics of a waterfall keyboard, this instrument perfectly responds to light and quick passages, percussive attacks, and smooth glissandos. In addition, the keyboard curve is adjusted to play the organ and the piano tone. This keyboard lets you control the piano tone in more detail.
The 88-key piano keyboard is a hammer-action piano keyboard that is popular in other Roland piano and synth products. This time, we also tuned the keyboard curve as a keyboard that controls the piano, organ, synth and so on. You can also make the keyboard curve heavier or lighter for the acoustic piano and electric piano parts individually. This lets the player adjust how the velocity changes when layering multiple parts.
"With the unique playing characteristics of a waterfall keyboard, this instrument perfectly responds to light and quick passages, percussive attacks, and smooth glissando."
How does Roland Cloud factor into the V-STAGE workflow, and did that require any specific choices on your part?
Roland Cloud is built into the V-STAGE workflow as a content delivery location. Model Expansions and additional Scenes will be free at the time of release, so please register with the Roland Cloud and try them out. We plan to continue supplying V-STAGE content in the future.
Were there any happy surprises during the V-STAGE design process?
I don’t know if I can say this as a pleasant surprise, but a lot has changed since the beginning of the project. The product design has also changed drastically. We were considering a 61-keyboard model but consolidated it into a 76-keyboard model and an 88-keyboard model. The number of CPU/DSP systems has increased, and the display is now color. In addition, we welcomed new members to the development team, and many elements changed from the beginning of the project. In the end, I think we were able to produce the optimal result.
