The Roland S-750 Digital Sampler, introduced in 1991, was a professional 16-bit stereo sampling instrument developed as a more affordable alternative to Roland’s flagship S-770. Sharing much of the S-770’s sampling architecture, signal processing and editing capabilities, the S-750 offered 24-voice polyphony, 32-part multitimbral operation, 20-bit digital-to-analogue conversion and extensive waveform manipulation. With expandable sample memory, SCSI connectivity, multiple audio outputs and support for an external CRT monitor and mouse, the Roland S-750 provided a comprehensive sampling and sound-design environment for professional recording studios, composers and electronic musicians.
The Roland S-750 was developed around the same fundamental technology as the S-770, retaining its 16-bit linear sampling format and sophisticated digital signal-processing architecture. Roland also maintained the same standard of analogue signal-path components used in the flagship model. The S-750 employed 16-bit analogue-to-digital conversion for sampling, 24-bit internal signal processing and 20-bit digital-to-analogue conversion for playback, providing the precision required for detailed waveform editing and complex sample-based synthesis.
Four sampling frequencies were available: 48kHz, 44.1kHz, 24kHz and 22.05kHz. Stereo sampling was supported at all four rates, allowing users to select between higher sampling frequencies and longer available recording times. The instrument’s maximum polyphony of 24 voices provided sufficient capacity for complex sampled instruments, layered sounds and arrangements involving multiple simultaneous parts.
One of the Roland S-750’s most significant capabilities was its 32-part multitimbral architecture. Rather than functioning simply as a device for recording and replaying individual samples, the S-750 provided a comprehensive environment for constructing playable instruments and multitimbral arrangements. Individual sounds could be assigned to separate MIDI channels, combined into keyboard splits or layers, and organised into complete performances.
The instrument employed a hierarchical sound structure consisting of Samples, Partials, Patches, Performances and Volumes. Samples contained the recorded waveform data and associated playback parameters, while Partials combined up to four samples into a more complex sound. Patches organised these Partials across the keyboard, allowing multisampled instruments, layered sounds and drum configurations to be created. Performances provided 32 independently configurable parts, each with its own patch assignment, MIDI channel and level settings. Volumes were used to manage collections of sound data within the sampler’s memory.
This architecture provided considerable flexibility when assembling detailed acoustic instrument recreations or creating entirely new electronic sounds. Keyboard ranges could be assigned to individual sounds, multiple Partials could be layered, and positional crossfading could be employed to provide smoother transitions between multisampled regions.
The Roland S-750 also incorporated substantial synthesis capabilities. Its Time Variant Filter (TVF) offered low-pass, high-pass and band-pass filtering, together with resonance control. Time Variant Amplifier (TVA) processing provided amplitude shaping, while the low-frequency oscillators offered eight waveform selections, including sine, triangle, sawtooth, square and random waveforms. These facilities allowed sampled waveforms to be manipulated using techniques associated with conventional synthesiser programming.
Waveform editing was another central feature of the S-750. Roland’s SYS-772 Version 2.0 operating software introduced an expanded collection of digital editing functions, including Sample Edit 2. Users could establish sustain and release loops, apply smoothing to produce crossfaded loop transitions, and normalise recorded samples to optimise their levels.
The editing system also included functions for joining and combining existing recordings. Patch Work allowed samples to be connected or mixed to create new waveforms, while Compress/Expand provided processing of waveform amplitude data. Time Stretch allowed the duration of samples to be altered without changing their pitch, and Wave Draw enabled detailed waveform modification using a mouse. Rate conversion was also supported, extending the instrument’s ability to manipulate existing sample material.
Resampling provided a further level of sound manipulation. Two samples could be combined internally without conversion to analogue audio, with ring modulation available for creating new waveforms. Performance Resampling also allowed sounds to be processed through external recording equipment or effects before being sampled again, providing a means of incorporating external processing into the instrument’s sound-design workflow.
The S-750’s user interface reflected Roland’s emphasis on making extensive sampling and editing functions accessible without requiring an external computer. Its front panel incorporated a backlit 240 x 64-dot LCD, dedicated function buttons, cursor controls and a large value dial. For more extensive editing, an external 320 x 200-dot CRT monitor could be connected using RGB or composite video output, with mouse operation providing direct access to waveform displays, parameter windows and editing functions.
The SYS-772 operating environment contained more than 100 window pages, covering the instrument’s extensive collection of functions. Index and Mark facilities provided faster access to frequently required screens, while template functions allowed parameter settings, including filter configurations, to be retained and reused. This approach made it possible to undertake detailed sample editing and sound programming directly on the instrument.
Memory expansion was an important consideration for professional sampling systems of this period. The Roland S-750 was supplied with 2MB of waveform RAM, expandable to 18MB using the RAS-750E memory board and OMS-750 memory expanders. With the maximum memory installed, the sampler could accommodate substantially longer recordings and more extensive multisampled instruments.
The standard 3.5-inch floppy disk drive supported both 2HD and 2DD disks, allowing the S-750 to use compatible Roland S-series sound libraries. Unlike the S-770, which incorporated an internal 40MB hard disk, the S-750 relied on external SCSI storage for larger sample libraries and project management. The SCSI interface supported external hard disks, CD-ROM players and magneto-optical disk systems, enabling users to construct larger sampling systems as their requirements increased.
Roland provided an extensive selection of compatible sample libraries, including its L-series floppy disk collections and CD-ROM libraries. Sound data created using the earlier Roland S-550, S-330 and W-30 instruments could also be converted for use with the S-750. Support for the Universal Exclusive Sample Dump Standard provided an additional method of exchanging sample data with compatible instruments from other manufacturers.
For studio integration, the S-750 offered flexible analogue output configurations. Users could select six individual outputs plus a stereo output pair, or configure the connections as eight individual outputs. This allowed sampled instruments to be routed separately to a mixing console for external equalisation, dynamics processing and effects. Stereo analogue sampling inputs, MIDI In, Out and Thru connections, and a footswitch input completed the instrument’s principal audio and performance interfaces.
The Roland S-750 occupied an important position within Roland’s early-1990s professional sampling range. By incorporating much of the S-770’s sound-generation, editing and memory expansion architecture into a less expensive instrument, Roland made its advanced S-series sampling environment available to a wider range of recording studios and musicians. Its combination of multitimbral sample playback, detailed waveform editing, resampling and external storage support reflected the increasing role of digital samplers as complete production instruments rather than simply devices for reproducing recorded sounds.
Features
- Professional 16-bit linear digital sampler with stereo sampling and playback capabilities.
- Four selectable sampling frequencies: 48kHz, 44.1kHz, 24kHz and 22.05kHz.
- 24-voice maximum polyphony with 32-part multitimbral operation.
- 16-bit analogue-to-digital conversion, 24-bit internal signal processing and 20-bit digital-to-analogue conversion.
- Hierarchical sound architecture incorporating Samples, Partials, Patches, Performances and Volumes.
- Up to four samples can be combined within a single Partial.
- Keyboard splitting, layering, multisampling and positional crossfading.
- Time Variant Filters with low-pass, high-pass and band-pass characteristics, including resonance control.
- Time Variant Amplifier processing and low-frequency oscillators with eight selectable waveforms.
- Advanced waveform editing with sustain loops, release loops, smoothing and normalisation.
- Sample Edit 2 functions including Patch Work, Compress/Expand, Time Stretch, Wave Draw and rate conversion.
- Internal resampling, sample mixing and ring modulation processing.
- Performance Resampling for capturing sounds processed through external equipment.
- 2MB standard waveform memory, expandable to 18MB.
- Built-in 3.5-inch floppy disk drive supporting 2HD and 2DD disks.
- SCSI interface supporting external hard disks, CD-ROM drives and magneto-optical storage systems.
- Compatibility with selected earlier Roland S-series sample libraries through data conversion.
- Support for the Universal Exclusive Sample Dump Standard.
- Backlit LCD with external CRT monitor and mouse operation for detailed graphical editing.
- Flexible analogue output configuration providing six individual outputs plus stereo, or eight individual outputs.
- MIDI In, Out and Thru connections for integration with sequencers and other MIDI equipment.
- SYS-772 Version 2.0 operating software with expanded editing and file-management functions.