Roland’s Zenology Pro plugin unlocks the Zen-Core synthesis system for sound designers

At launch, Roland’s Zenology synth plugin was essentially a preset player, but Roland is making good on its promise to evolve it. It’s already added emulations of four classic Roland synths, and now the Pro version has landed, which enables sound designers to dive significantly deeper.

Available to those on either the Pro or Ultimate Roland Cloud subscription tier, Zenology Pro promises to unlock the full power of Roland’s Zen-Core synthesis system, enabling you to create sounds with up to four partials simultaneously.

Each of these partials can access PCM and virtual analogue waveforms, multimode filters, LFOs and more (Step-LFOs, for example, have 16 steps of beat-synced automation with 37 curve choices per step).

Zenology Pro also offers full tone compatibility Roland’s Jupiter-X and Fantom synths, plus other compatible Zen-Core hardware.

Anyone with a Roland account can currently test drive Zenology Pro for 30 days - this offer ends on 26 October.

Roland has also announced that it’s updated Zenbeats, its desktop and mobile music-making app, to version 2.0. This adds ZC1, the company’s first mobile-ready - and Zen-Core-powered - synth, which comes with more than 800 presets and 90 MFX. There are other features and workflow enhancements, too.

Ultimate Unlock access to Zebeats 2.0 is available to people at all Roland Cloud membership levels - this provides 7GB of presets, loops and sounds. There’s also a free version of Zenbeats 2.0 that’s available outside Roland Cloud, with two chargeable upgrade options.

Membership options for Roland Cloud are as follows: Roland Cloud Core Membership (USD $29.99/year or $2.99/month); Roland Cloud Pro Membership (USD $99/year or $9.99/month); Roland Cloud Ultimate Membership (USD $199/year or $19.99/month).

Find out more and sign up on the Roland Cloud website.

Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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