Even though the card’s got an amplified output, it’s super clean, as you’d expect from a production card. Joystick and MIDI connector is as usually on the left side of the card. Another jumper sets the mic and line in to stereo or mono and the last jumper just turns off the sound output.īack panel holds the usual mic/line in, auxiliary in and speaker out. Jumpers right under the switches set IRQ, the default is 9, I’m gonna leave it there as well. Default address is of course 330 so I’m gonna leave it there. First switch enables or disables joystick, the rest is to select the address. There are couple of jumpers and switches you need to set up. Games supporting only Sound Blasters or sound cards with OPL chip shouldn’t work at all with RAP. It doesn’t even have OPL chip or any kind OPL clone chip, so if you like FM synth, this card is not for you. Unfortunately, there is no Sound Blaster emulation for this card, so I assume games need direct RAP support, otherwise sounds won’t work. Card’s resolution is 16bit at 44kHz, so it should be crystal clear. Roland released cards like LAPC-I or SCC-1, these cards can handle only MIDI playback, RAP on the other hand, is the first and also the last Roland’s card, that supports digital audio and Roland’s last PC based ISA card. But since we are here for DOS gaming, it should be perfect for playing back MIDI music in games. They should have identical instrument sets, SC-7 as well as RAP-10 is GM only, it doesn’t support Roland’s own GS standard, which is a bit weird on a production card. RAP-10 is essentially Sound Canvas SC-7 with MPU-401 interface and 16bit digital audio, so it should be possible to use it in any game that supports General MIDI. Is this card really that good? Can it even be used in DOS games? Let’s dive into the world of Roland’s perfection and let’s hear if Roland deserves the praise it usually gets. Although, it was an excellent card for audio production, I am, as always, interested in DOS games. RAP stands for Roland Audio Production and as the name suggests, it was made for audio production. Additionally, CM-500 includes fully SysEx compatible LA tone generator similar to CM-32L's.Roland RAP-10 is not as known as LAPC-I or SCC-1, but it sure is more interesting, in my opinion. SC-155 adds additional slider controls for master and channel level and panning. Both models have external appearance nearly identical to Roland's earlier CM-32/64-series modules. CM-300 and CM-500 models lack the LCD screen and extended controls of SC-55. Other models with comparable tone generators include Roland CM-300, Roland CM-500 and Roland SC-155 sound modules. Both the Sound Canvas and Sound Brush could be rackmounted alongside each other. The selection of effects includes reverb and chorus.Īlongside the SC-55, Roland released the SB-55 (Sound Brush), an inexpensive MIDI sequencer module the same size as the Sound Canvas. Aimed at PC music enthusiasts, the SC-55 featured 317 instrument patches, including the GS drum kits and additional controllers. It came preloaded with the Roland MT-32's variation bank, but lacked the MT-32's re-programmability. The SC-55 used both PCM and a cut-down version of the LA synthesis engine, to support 24-voice polyphony with 16-part multitimbrality. The SC-55 was the first sound module to incorporate the new General MIDI standard. The Roland SC-55 (Sound Canvas) is a GS MIDI sound module released in 1991 by Roland.
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