Introduction

The Roland W30 is a compact yet powerful music workstation that combines an eight-part multitimbral sampler with a sophisticated sequencer, creating a complete music production system in a single unit. Unlike many workstations that are designed primarily as stand-alone instruments, the W30 is engineered to function as the central hub of an expanding MIDI setup. By choosing sampling over synthesis, Roland has provided maximum sonic flexibility, while the integrated sequencer offers capabilities that extend well beyond what's needed to control just the internal sounds.

Design and Interface

Despite its considerable power, the W30 maintains a surprisingly compact form factor, similar in size to standard five-octave keyboard instruments but with a more squared profile. The front panel features a 3.5" disk drive positioned to the left, just above the pitch bender/modulation lever, and a large LCD display in the center that serves as the primary interface.

The user interface is exceptionally friendly, with 62 different screens accessible through the display. Navigation is menu-driven, with five "soft" buttons below the screen that perform different functions depending on the current display. Parameter values can be adjusted using a combination of the cursor dial and either the incremental value dial or numeric keys, making all aspects of operation intuitive and straightforward.

The keyboard itself consists of 61 keys with both velocity and aftertouch sensitivity. God knows why Roland put the unweighted keys in this rather powerful in its time workstation. The rear panel is well-equipped with connectivity options, including eight individual polyphonic outputs (one of which can function as a monophonic mix output), a headphones socket, a SCSI port, an audio input for sampling, and MIDI In, Out, and Thru ports. Two additional jack sockets accommodate optional footpedals: one for switch-type controls (sustain, sequencer start/stop, or punch in/out) and one for volume/expression control.

System Architecture

The W30's architecture can be divided into three main components: a sampler, a controlling keyboard, and a sequencer. The sampler appears to be based on Roland's S330 model but with the significant addition of pre-sampled Wave data stored in two ROM Wave banks. These ROM banks provide a foundation of "preset" sounds that can be loaded from the system disk, eliminating the need to repeatedly sample commonly used sounds.

Both ROM Wave data and user samples can be utilized in Tones, which are then grouped to form Patches. A Patch might be a multi-sampled piano or a complete drum setup. The W30 can hold 16 Patches in memory simultaneously, and for multitimbral operation, these Patches are assigned to eight parts (labeled A through H).

While the eight-part structure of the sampler might suggest an 8-track sequencer, the W30 actually features a 16-track sequencer with editing capabilities that exceed expectations for a workstation of its class.

Sound Structure

The W30's sound organization follows a hierarchical structure: Wave Banks, Tones, Patches, and Parts. There are four Wave Banks: two non-rewritable ROM Banks (A and B) and two RAM Banks (User Banks A and B). Wave Banks contain raw sample data, while Tones are used to select, loop, filter, and tune sections of this data as needed.

The system provides 96 Tones in total: 64 that can only use ROM Wave data and 32 that can only use data from User Banks A and B. Tones are organized into Patches by assigning one or two Tones to each note across a keyboard range of up to nine octaves. When two Tones are assigned to the same notes, they can be mixed (overlaid), velocity mixed, or velocity crossfaded.

Upon booting the W30 with the system disk, both the operating system and data for the 64 ROM Tones are loaded, along with 16 Patches that utilize these Tones. Although these are considered "preset" sounds since they're present at startup and based on ROM Wave data, they aren't truly preset in a traditional sense—both the ROM Tones and Patches can be deleted and replaced. The system disk also includes a second set of 16 Patches that use a different set of 64 ROM Tones.

The quality of these semi-preset sounds is mixed. The standout is the Drums/Perc Patch, which features an excellent selection of powerful kicks, snares, toms, and Latin percussion sounds. The synth strings and pad-type sounds also make good use of the W30's filter section, but some selections (like the three very similar slap bass sounds) seem redundant and less useful.

Sampling Capabilities

For creating custom sounds, the W30 provides 32 Tones that utilize the two User Wave Banks for sample storage. Each bank has a capacity of 7.2 seconds at 30kHz sampling rate or 14.4 seconds at 15kHz. The sample memory must be used in 0.4-second blocks (or 0.8-second at 15kHz), which slightly limits the length and number of samples.

The sampling process is straightforward, with a single mic/line input and gain control on the rear panel. The LCD display functions as a VU meter during sampling to help set input levels correctly, and the input signal can be monitored via the headphones socket or mix output. One minor design flaw is the positioning of the gain control on the rear panel, which requires reaching around the machine to adjust—a control used this frequently would be better placed on the front panel.

Sound capture can be triggered manually or automatically. The auto-trigger function allows specification of a threshold level above which the input signal must rise before sampling begins. To prevent accidentally cutting off the beginning of sounds with slower attacks, a pre-delay parameter allows sampling of the 10, 50, or 100 milliseconds before the trigger level is reached—a useful feature that proves valuable in practice.

The sound quality of the W30 is very good, though not quite 16-bit standard. Sample data is stored and processed at 12-bit, but Roland employs special techniques at the A-to-D and D-to-A conversion stages to improve audio characteristics beyond typical 12-bit quality. The W30 does seem somewhat sensitive to input overloading—samples that exceed input levels even briefly can sound rough throughout and may contain unexpected clicks. However, with properly set levels, these issues are completely avoided.

Looping samples is made easier by a surprisingly effective LCD waveform display and the ability to hear loops while adjusting start and end points. An auto-loop function can find perfect single-cycle loops instantly, though it struggles with good long loops in timbrally shifting sounds. Both forward and alternating loops can be used, and samples can be played either forwards or backwards.

For those who prefer not to create their own samples, the W30 can load sounds from S330 and S550 disks, providing immediate access to an extensive sound library. Furthermore, the rear panel SCSI port (with an upgrade board and new operating system) enables the use of SCSI hard disks and CD-ROM players as alternatives to the floppy disk drive, offering faster access to substantially more data.

16-Track Sequencer

What truly elevates the W30 from a mere "synthesizer" or "sampler" to a genuine "workstation" is its onboard sequencer—and in contrast to many workstations, the W30's sequencer is exceptionally capable. Based on the MRC and Super MRC software used in Roland's popular MC500 and MC300 hardware sequencers, it can even read songs created on those machines.

The sequencer features 16 tracks plus a dedicated tempo track for recording tempo and time signature changes. It has an internal capacity of 15,000 notes and 20 songs, with a resolution of 96 pulses per quarter note (ppqn). Importantly, the sequencer's memory is independent of the sampler memory, so filling the W30 with samples doesn't reduce note capacity.

Recording is track-based rather than pattern-based, similar to using a tape recorder. This tape recorder feel is enhanced by transport controls: Record, Start/Stop, and two sets of Fast Forward and Rewind buttons (one for navigating measure by measure, the other for jumping to the start or end). There's no need to pre-define recording sections—if a new take extends beyond previously recorded material on other tracks, new measures are automatically created as needed.

The default Normal recording mode most closely resembles a tape recorder: recording begins from the current position when Start/Stop is pressed, overwriting any existing data on the track. Other modes allow pre-defined punch-in or punch-out points, or both, or looping a section while recording on the current track. Uniquely, the loop mode allows overdubbing new data on existing material.

Several parameter sets determine how and what data is recorded. The Keyboard parameters set which MIDI channel the W30's keyboard transmits on, and it's the keyboard's performance data that gets recorded. The sequencer can also record data via MIDI In for those who prefer alternative controllers like MIDI guitars or other keyboards. Program Change messages can be transmitted and recorded to change sounds internally or externally. The Record parameters let users specify what types of data will be recorded and what will be filtered out to save memory, choosing from Polyphonic and Channel Aftertouch, Pitch Bend, MIDI Controllers, and System Exclusive messages.

The sequencer can quantize data during recording and offers an option to offset quantized notes by placing them 1/8, 1/4, or 1/2 note before or after the beat on which they were played—excellent for rhythmic experimentation. Track parameters determine how each track's data is handled during playback: tracks can be individually muted, and data can be sent to either or both the W30's internal sound sections or to MIDI Out.

The W30's sequencer editing capabilities are professional-grade, far beyond a simple musical notepad. Tracks can be merged, sections copied, measures deleted, blank measures inserted, notes or other data extracted and moved to another track, data erased, and notes quantized. Users can specify what type of data to operate on, allowing for precisely targeted edits. For even more granular control, Micro Edit lets users scroll through every MIDI event on a track, erasing, changing, and creating events as needed.

While the W30's sampler section is impressive, the sequencer is truly outstanding. With 16 tracks, comprehensive editing facilities, and flexible recording modes, it simplifies the recording and refinement of complex music and provides more than enough power to control external MIDI equipment beyond the W30's internal sounds. This makes the W30 well-suited to serve as the core of a growing MIDI setup.

The sequencer integrates seamlessly with the W30's operation: it can be used while editing sounds, and most transport controls remain active in all but a few screens, allowing users to hear sound parameter changes in the context of a song.

Songs created on the sequencer can be saved to disk with or without their associated sounds. W30 disks can be formatted for either sound and song data or just song data. Sound and song disks can store one set of sound data (User Wave Banks A and B, Tone and Patch parameters, plus all Part settings) along with up to 7,000 notes of song data, usable across 64 songs. Song-only disks can also hold 64 songs but with a total note capacity of 100,000 notes. While sample data isn't stored with each song, Part setting data is, striking a reasonable balance between disk space efficiency and keeping sound data with its intended song. When loading a song from a sound and song disk, users can choose to load just the song data or both song and sound data.

Polyphonic Outputs

The W30's polyphonic outputs are a valuable feature, previously seen on the S50, S550, and S330. In Mix output mode, all voices are routed through a single socket. Alternatively, each Part can be assigned to any individual output, sending all notes played by that Part to its assigned socket. A third output mode goes further, allowing each Tone to specify which socket it will use. This is useful for creating stereo effects by pairing Tones and outputs, and also enables separate processing of individual drum sounds within a multi-sound percussion Patch.

Operation Modes

The W30 has three basic operation modes reflecting its internal architecture, organized in a hierarchical arrangement of display screens:

1. Performance Mode: Used for playing the keyboard and making master settings for tuning, pedal assignment, etc. The sequencer can play in the background, controlling parts A to H independently of the Patch being played in Performance mode.

2. Sequencer Mode: Contains sub-modes for Song Parameters, Recorder functions, Micro Editing, Song Editing, Disk operations, and Track Information.

3. Sound Mode: Includes sub-modes for Part Set (Patch, Output, and Receive Channel settings), Receive Set (MIDI data reception settings), Patch Edit, Tone Edit, Disk operations, Wave Edit, and Sampling.

Technical Specifications

General

• Type: Music Workstation with Sampling and Sequencing
• Keyboard: 61 keys with velocity and aftertouch sensitivity
• Display: Large LCD with menu-driven interface (62 different screens)
• Polyphony: 16-note
• Multitimbrality: 8-part (Parts A through H)
• Storage: 3.5" disk drive for sound and song storage

Sampler Section

• Memory:
  • 512K word RAM (14.4 seconds sampling at 30kHz)
  • 512K word ROM (non-rewritable)
• Sample Rates: 30kHz (7.2 seconds per bank) or 15kHz (14.4 seconds per bank)
• Sample Resolution: 12-bit with enhanced A/D and D/A conversion
• Wave Banks:
  • 2 ROM Wave Banks (A and B)
  • 2 User Wave Banks (A and B)
• Tones:
  • 32 RAM-using Tones (for user samples)
  • 64 ROM-using Tones
• Patches: 16 simultaneously available
• Sound Structure: Wave Banks → Tones → Patches → Parts
• Sample Editing: Waveform display, auto-loop, forward/reverse playback, forward/alternating loops
• Compatibility: Can load sounds from S330 and S550 disks

Sequencer Section

• Tracks: 16 plus dedicated tempo track
• Songs: 20 songs in memory
• Capacity: 15,000 note internal capacity
• Resolution: 96 pulses per quarter note (ppqn)
• Recording Modes: Normal, Punch In/Out, Loop
• Editing Features:
  • Track merging
  • Section copying
  • Measure deletion
  • Blank measure insertion
  • Note/data extraction and movement
  • Data erasure
  • Note quantization
  • Micro editing (event-level)
• External Sync: MIDI Clock, Song Select, Start, Stop, Continue and Song Position Pointers
• Disk Storage:
  • Sound and song disks: 7,000 notes across 64 songs plus sample data
  • Song-only disks: 100,000 notes across 64 songs
• Compatibility: Can read songs created on Roland MC500 and MC300 sequencers

Connectivity

• Audio Outputs:
  • 8 individual polyphonic outputs (one usable as monophonic mix output)
  • Headphones socket
• Audio Input: Single mic/line input for sampling (rear panel)
• MIDI: In, Out, and Thru
• SCSI: Port for connecting external storage devices (requires upgrade board)
• Pedal Inputs:
  • Switch-type (for sustain, sequencer start/stop, or punch in/out)
  • Volume/expression-type

Operation Modes

• Performance Mode: For playing and master settings
• Sequencer Mode: Song parameters, recording, editing, disk operations
• Sound Mode: Part settings, MIDI reception, patch editing, tone editing, wave editing, sampling

System

• Operating System: Disk-based (not copy-protected, user can create backup)
• Expandability:
  • OS can be upgraded
  • SCSI port supports hard disks and CD-ROM with appropriate upgrade

Overall, the Roland W30 represents a well-conceived implementation of the workstation concept—an instrument that offers composers a means of realizing complex compositions with minimal limitations. The choice of sampling over synthesis as the sonic foundation is entirely justified for this purpose. As a stand-alone unit, the W30 excels in ease of use and flexibility, though there are valid questions about the inclusion of ROM Wave data that many users might find partially redundant.

What makes the W30 particularly exciting is its forward-looking design that extends beyond its already impressive stand-alone capabilities. It's fundamentally an "open-ended" machine: the disk-based operating system can be easily upgraded, the sequencer offers professional-grade features, and the SCSI port opens up expansive possibilities for sampled sounds via CD-ROM and hard disk storage. Once again, Roland has demonstrated its talent for providing musicians with exactly what they need and want.