Someone is selling locally one of these Roland SD-50 sound module/audio interfaces.

I was wondering if I should grab it? It's less than $100. I was thinking 'bout using it as a sound module.

Would it worth it? Let me know. Thx.

It’s doubtful it has any sounds your BK9 doesn’t already have. You’ve already got an audio interface, right?

I don’t see the point…

That's what I thought, and yes I do have a Roland UA-22 audio interface already, so I figured I better ask before I make a move.

I’d give the GAS (gear acquisition syndrome!) a break for a while. 😂

There is plenty to work on with just your BK9 and DAW, and a long way to go before you max out their potential, anything extra is just going to distract.

If you’re contemplating adding something to your rig, for starters, if you are either singing or recording real instruments to add to your songs, you want a decent microphone. And if you want to add another keyboard or module, I’d recommend another brand. Another Roland will sound pretty close to what you have, but EVERYTHING in a Yamaha or Korg will sound totally different, which gives you more options.

GAS rarely solves anything! Mastering what you have is far cheaper and way more effective!

GAS? oh, no. I'm not as bad as I used to be. There are two things that I do before I buy anything:

First I ask myself, "Am I going to use that gear in the long run on a daily basis?"

Second: I wait for at least 3 days.

Usually after 3 days my "GAS" diminishes... plus by than I find something else to yearn for


I'm barely scratching the surface with my BK-9, that's why I don't want another arranger.


And with the DAW, I'm learning something new every day. I bought another book the other day, called "The MIDI Manual", it was like $6 on e-bay.

By the way, have you listened to my SMF that I created with the BK-9 and the Cakewalk?

It's a song from Bach called Arioso.

I used something simple. Bass and drums were recorded inside the BK-9 (with the arranger) than transferred to the DAW and the other tracks were recorded all at the same time, with the BK-9 as the controller.


My setup is simple. Computer + BK-9 + a Shure SM58 are connected to a Yamaha MG10XU mixer which in turn is connected to two Roland KC-60's. If I want to record Vocals I use the Roland UA-22 connected to the computer.

I also have a Sony MDR-7506 monitor headphone connected to the Yamaha Mixer.

I like one keyboard setups. I know some folks like to have two keys, especially a digital piano as a second one. But I got used to having only one keyboard. This is from the old days when I was carrying my Roland D-10 to rehearsals on buses and trams.

Nice work! If you don’t mind, can I suggest a few things to work on..?

My first impression is that you are making a very common mistake of mixing the melody so that it sits ON TOP of the track, not ‘inside it’. Naturally we tend to want to emphasize what WE played and downplay what the machine did, but every part is equally important. Mix it like you had played EVERYTHING..!

If you listen to pro recordings, there’s no problem hearing everything. The backing doesn’t swamp the lead, and the lead doesn’t swamp the backing.

Next thing that’s worth working on is dynamics in the lead voice. If you don’t have an expression pedal, that’s far more important than another module! But if you can’t get one, you can always ‘draw’ in CC11 (Expression) slopes. Especially in the flutes, listen for how real players play louder and quieter to give the phrase some shape, and also on long notes tend to die away just a bit. Your flutes sound like they have never ending lungs!🫁 Try singing along with your wind parts as you play them, and you’ll quickly get an idea of when you’re running out of breath!

But strings also swell and die, and this can also help increase the realism.

Another thing that can help push a little more realism is to edit your drum fills so that no two are EVER the same. Drummers treat the fills as their little moment to shine, they’re fine with keeping the basic beat steady but always want a little individuality for the fills. And again, a little bit of rise and fall of either velocity or CC11 can help support the dynamics you put into the lead line.

Lastly, I often find that doubling the string section melody with just a solo violin or cello mixed WAY back can give the impression that the section has a ‘leader’ (which in real life they usually do!). And allow the leader to come forward in the mix a bit as the section swells.

Strings are a lot more complicated than what a single section sound can do, so it pays to add in the solo sounds (violin, viola, cellos and bassists) a little bit to give each part some character. I use an iPad and the amazing SWAM solo strings to get the articulations, but even the ROM solo strings in the BK9 can push the realism up a notch or three…

Keep up the good work. Nice to hear some Bach here for a change!

Thank you Diki. I don't mind suggestions, not at all. I'm here to take advise and to ask questions, otherwise what's the point?

I hear you, and you are totally right with your observations, but at this point I was more focused on getting the tracks recorded, the timing to be right, and the rest fell out of focus. Once I master this DAW, that will also be important, of course, but for now I was like a kid who's home built kite finally took off flying.

If you'd like you could tweak the SMF, and load it back here.

You’re making quick progress Dengizich, I’m sure a few more attempts will bring more!

Thing is, it pays to not release a demo until you’re satisfied, or at least let people know what you’d like to improve on and the post the edit later as a comparison.

One thing I tend to do is make two or three final mixes, your baseline one, one with the lead down a bit (3-4db down), one with the rhythm (drums, bass and rhythm guitar) up a bit, and then WALK AWAY…

Revisit the mixes the next day, or after at least 8hrs away from the gear. Let your ears rest, get some distance from the project, give yourself a chance to listen with ‘fresh’ ears. Then start comparing with the lead down mix, then the rhythm up mix, then your baseline mix.

9/10 times, you’ll find that the lead down or rhythm up mixes are more balanced. Our ears close down with a lengthy recording and mix session, and we tend to focus on just ONE aspect of the sound mix. A few hours or a day off helps give perspective. Tell yourself you’re listening to someone else’s mix, get picky!

Listening to the mixes very quietly, or from a distance (go into the next room) can make an unbalanced mix easier to spot. Can you still hear EVERYTHING, or is one thing very prominent? Adjust, make another mix, listen again after a few hours. You’ll need less and less of this as you gain experience, but at least ONE ‘timeout’ usually pays dividends, exposing a mix weakness or confirming the mix’s evenness.

If you haven’t got one, get an expression pedal. Utterly indispensable, and it will revolutionize your organ playing..! The B3 sim is utterly useless without one. 🎹😎

Grab it ASAP with that price.


No module ( any new or older) will do the following like SD50.


Play all formats (SMF/ Wav/ Mp3) without loading from USB flash drive
GS compatible ( no new Roland gear does it)
Mic input with Efx
Can be battery operated
Has both USB and Midi ports/ USB bus powerd
Weight- one pound plus

Too late, it was sold for $30.