Programming the Studio Electronics – Roland SE-02
I’ve finally had some time to finish my sound expander for the Studio Electronics – Roland SE-02 called Analog Magic and I’m glad I revisited this special synthesizer in the Roland boutique range. Let’s find out why.
Strange Bird
Roland’s SE-02, developed in collaboration with Studio Electronics, is a somewhat strange bird within the Roland Boutique range. While Roland’s Boutique range typically leans toward emulating their vintage analog classics with digital ACB-modeling, the SE-02 takes a more unique approach.
Introduced in 2017, this monophonic synthesizer delivers a fully analog signal path but incorporates digital elements for features like VCOs with automatic calibration function and modulation, resulting in an analog instrument with digital control (hybrid) of all settings apart from the fine-tune knob. This means it has the ability to save patches and since firmware v1.10, it comes with an extra 128 factory patches making it 512 in total. Add to that the 128 user patches and you should have more than enough to play with.
Packaging and Contents
The Roland SE-02 comes in the typical Boutique packaging, slightly larger than other models due to an additional polystyrene insert beneath the synth, which houses the power supply and its cable. It’s great that Roland includes these, eliminating the need for a separate purchase. However, a USB cable for computer connection is notably absent, which feels like a missed opportunity.
Inside the box, you’ll find a multilingual instruction manual. As with the other boutiques you can purchase the boutique dock DK-1 and the keyboard unit K-25m seperately. Once unboxed, the SE-02 reveals itself as a small, but beautifully crafted synthesizer.

Features and layout
At first glance, the SE-02 looks like an homage to the Moog Minimoog Model D (Mini), with a similar aesthetic and a feature set that echoes some of the iconic synthesizers of the past. From left to right, we start with a control section with glide time and linear and exponential glide behaviour options.
Then the three oscillators (VCOs) clearly inspired by the Mini, offering six waveforms and 5 octave ranges from 32’ to 2’, plus an additional LO(w) mode. This VCO design takes inspiration not only from Moog, but also from ARP and Oberheim, according to Tim Caswell from Studio Electronics.
There is an overall tune knob and there are two fine(tune) knobs. These knobs are provided for OSC 2 and 3. It adjusts the tuning of those oscillators as a difference relative to OSC 1. You can make the sound richer by slightly detuning the pitch of oscillators but you can also create a chord by detuning oscillators to a specific musical interval or use it to tune FM sounds for example. Another thing to note is that when in LO-mode, OSC 2 can shift from deep subsonic lows to high-pitched extremes. This has an impact on the XMOD, making it great for creating drums or effects, for instance. Also, just so you know, this isn’t mentioned in the manual.
The oscillator waveforms are: triangle, a waveform that combines triangle and sawtooth waves (also known as sharktooth), sawtooth, pulse, and two variations of pulse that are thinner. Oscillator 3 is a bit different then the first two, as it can be decoupled from pitch tracking, function as an LFO – just like on the Mini – and has a inverse saw (ramp up) instead of the sharktooth wave that oscillator 1 and 2 have.
There are also find some nice additions compared to the Mini, namely oscillator sync (2>syncs to>1), pitch control via the filter envelope in both positive and negative directions for oscillator 2 and lastly, a cross modulation (XMOD) destination switch. Speaking of which, the panel features a dedicated XMOD section that provides filter modulation from OSC 2 (labeled ‘A’), FM from OSC 3 to OSC 2 (‘B’) and Pulse Width Modulation (PWM) of OSC 1 and OSC 2 from OSC 3 (‘C’). This could be inspired by synths from Tom Oberheim.
You can control this modulation directly with the dedicated knobs or use the mod wheel, easily toggling between A, B or C with the flip of a switch. This setup brings to mind Waldorf’s ‘Pulse’ (1&2), where cross modulation was also a key feature. Additionally, you can mix between LFO or XMOD using the mod wheel mix (‘WHL MIX’) – a neat feature! For instance, if you don’t want too much vibrato, you can adjust the wheel mix to around 3 to 5 o’clock, while 12 o’clock provides a balanced 50/50 mod source signal.

Next, we find the mixer, similar to the one on the Mini, with volume knobs for the three oscillators and the noise generator. One extra feature is the feedback amount, which was derived from Studio Electronics’ Boomstar series, enabling the mixer’s feedback loop trick. It would have been nice to see an overdrive LED like the one on the Mini, but I suppose you can’t expect everything for this price.
This brings us to the filter/envelope section, which includes the typical filter cutoff, resonance (emphasis) and filter-keytrack switches set at 1/3 and 2/3, allowing for 0, 1/3, 2/3 or full keyboard tracking. The Contour control specifies the amount of filter envelope applied and as a huge bonus, it can react to both aftertouch and velocity. The ADS(D) envelopes for the filter (env1) and the amp (env2) include the ability to add a release stage (copied from the decay stage, hence ADS(D)), which can be applied to just envelope 2 or both envelopes 1 and 2.
There is also an option to invert the filter envelope and you can multi-trigger the filter envelope, much like the classic synths. Perhaps this feature, along with the LFO/Gate trigger, was inspired by the Odyssey, as the SE-02 features it as well. This means that the current state of a gate signal or the LFO can trigger the amp envelope, according to the manual.
Speaking of the LFO, it’s derived from the Boomstar series and is digitally generated. The LFO offers 9 waveforms, with dedicated modulation knobs for the oscillators’ master frequency and the filter cutoff frequency. The low amplitude option is a great addition, addressing the original Mini’s overly responsive mod wheel for vibrato.
Another switch allows the LFO to run freely, sync to key triggers or produce a single ‘one-shot’ wave. However, the one-shot mode is limited, as the trigger point is set halfway between the minimum and maximum voltages, making it more suited for percussion with fast rates. It’s unfortunate that this wasn’t fixed to start the waveform from the beginning. The final switch determines whether the LFO is synced to MIDI Clock, the delay, both or not synced at all.
LFO Waveforms
- Sample and Hold
- Sine wave
- Triangle wave
- Sawtooth wave
- Reverse sawtooth wave
- Square wave 1
- Square wave 2
- Square wave 3
- Random wave (I would call this Sample & Glide)
Next, there is a digital mono delay with controls for delay time, feedback (regen) and mix (amount). With very short delay times, high feedback and a low mix level, you can almost create a sort of cheap reverb. With more feedback, you might even feel like you’ve entered a tunnel.
Beneath all these features, we find the familiar panel with options to switch between note, sequencer and song modes, along with transpose options and an octave switch. You can also use the sequencer steps to input notes and use the value knob, which also acts as an “enter” knob when pressed, to for example, change the length of gates or ties or confirm changes of certain settings. Additionally, you can set up some of the ‘hidden parameters,’ such as the MIDI channel, syncing options, PWM rate and depth and pitch bend range, among others. You will also find a
The sequencer, for instance, allows not only for parameter changes per step but also enables you to create evolving sequences that can become glitchy and unpredictable, expanding its sonic possibilities. Speaking of the sequencer, it features 16 steps, which may feel limited to some, but it compensates with four direction modes: forward, reverse, ping-pong and random. You can also set the first and last step of the sequence, enabling odd sequence lengths, which adds even more flexibility. Plus, it allows you to store up to 128 patterns.
The influence of classic x0x sequencers is clear, with an intuitive design that supports note, gate, glide and even modulation of synth parameters. Since v1.10, you can enter notes via the K-25m or an external MIDI keyboard and add ties (max gate length).
Portability and Usability
One of the SE-02’s most noticable – and for some appealing – features is its size. It’s incredibly compact and lightweight, easily fitting in a backpack or alongside your laptop, making it a great choice for musicians on the go. However, the form factor is a double-edged sword. The small size means the knobs are densely packed and this can make adjustments difficult, especially during live performances or fast tweaking sessions.
If you have larger fingers, you may find the control surface cramped and the tiny knobs can make fine adjustments a bit tricky. Speaking of the knobs, it would have been nice to have a pickup mode instead of just jump-mode. As mentioned earlier, I’ve solved this by using the excellent Studio Electronics editor, which gives you a clear overview of the patch at a glance. While starting from an init patch isn’t a dealbreaker, switching patches during live performances could pose a challenge for some.
While the SE-02 might not be as ergonomically ideal as larger synthesizers, Roland and Studio Electronics have undeniably crammed an impressive amount of functionality into this tiny box. Whether you’re traveling or trying to save space in your studio, the portability is a huge plus. However, for those who prefer a more tactile, spacious experience, this could be a dealbreaker.
Connectivity

The SE-02 offers a wide range of connectivity options. Here’s a quick summary:
- Power & On/Off: Power input with an associated on/off switch.
- Micro-USB Socket: Carries both audio and MIDI and can be used to backup your patches.
- MIDI Ports:
- 5-pin MIDI In and Out pair. I love that they’ve added DIN instead of 3,5mm sockets.
- Trigger In/Out:
- Trigger In: Allows external clock to drive the sequencer.
- Trigger Out: Outputs the sequencer’s clock.
- Control Inputs:
- 1V/oct CV input.
- Gate input.
- Auxiliary CV input for controlling the filter’s cutoff frequency.
- Audio I/O:
- Audio Input: Modify external audio signals.
- Audio Output.
- Headphone Socket.
- Volume Control: Positioned on the rear panel.
- 1x Kensington Lock Connector
*Sockets: All audio and control sockets accept 3.5mm plugs.
Sequencer and Other Features
The built-in sequencer is another standout feature of the SE-02, offering 16 steps of parameter automation and the ability to store up to 128 patterns. It’s easy to see the influence of the classic x0x sequencers here, with an intuitive design that supports note, gate, glide and even modulation of synth parameters. However, the sequencer could benefit from more intuitive real-time transposition features, which are currently missing.
But the sequencer isn’t the only extra feature. The SE-02 also provides portamento options, aftertouch and velocity sensitivity – though, unfortunately, aftertouch and velocity only affect the VCF contour, not the AMP. Additionally, it offers a wealth of MIDI functionality, including the ability to output MIDI CCs for parameter automation in DAWs.
Since firmware 1.10, a dedicated PWM LFO has been added as a bonus, since the LO modes of the oscillators don’t reach particularly low frequencies and previously, you weren’t able to apply PWM to all three oscillators. These features are configured via a sub-menu, but for patch creation, I still prefer the previously mentioned editor for more streamlined control.
The SE-02 can also serve as an audio interface, allowing you to transfer not only patches or MIDI via USB, but also audio. While the internal speaker isn’t exactly high quality and sounds pretty awful, you could still use it as a “grot-box” as a mix reference. All these features make the SE-02 more than just a studio tool – it’s more like a little monster in its own right.
Sound Design
The hybrid nature of the SE-02’s design means that while the waveforms themselves are analog, digital tuning and control mechanisms add precision, versatility and control. For example, the oscillators rarely went out of tune during the creation of over 100 presets. While the sound may feel familiar, especially to fans of Moog-like tones, it goes beyond simple emulation with unique capabilities such as oscillator sync, the aforementioned cross-modulation (XMOD) and various other modulation options. The inclusion of a digital delay and sequencer are welcome performance features, further expanding the SE-02’s possibilities.
One could argue whether this is a true hybrid synthesizer, as most of the time, a hybrid synthesizer is defined by having digital oscillators and an analog filter. But given that there are numerous digital factors involved – such as the envelopes, LFOs, delay, the VCOs being temperature-stabilized and automatically tuned – it’s safe to classify it as hybrid.
However, the SE-02 isn’t just a Mini in a smaller package. Its filter and VCA section, while reminiscent of the Moog’s 24dB ladder filter, bears Studio Electronics’ signature, delivering more aggressive tones and a variety of performance-oriented features. According to SE, it has been improved in several areas. The only thing I know for sure is that it sounds fantastic. Yes, it does lose some low end as soon as you add resonance, like the original, but I tend to use this to my advantage. Additionally, together with the filter cross-modulation and feedback, I actually find it better not to have too much low end, as it can easily overpower a mix.
As for the VCA, driving it hard results in a slightly driven sound, much like the Mini, but with even more grit than the original. If you don’t want that, simply lower the mixer or feedback levels until you achieve a more pleasant tone.
While the SE-02 certainly excels in bass and lead sounds, its character leans toward punchier and more aggressive tones compared to its vintage inspirations. Percussion is also a breeze and with the added XMOD panel, pitch envelope for oscillator 2, one-shot LFO and the ability to invert the filter envelope (which allows for a quicker filter envelope), you can set up FM-style percussion in no time. I’ve managed to get some pretty good kick and snare drums out of this little machine.
Together with the dedicated feedback knob, the SE-02 can really scream – especially with higher resonance settings and filter XMOD. Also, don’t forget that it has oscillator sync. So, combined with the pitch envelope (via the filter envelope), it can produce gnarly, ear-piercing sync sounds, like those on a Pro-One, for example. Sometimes you might think that this black box from Roland and Studio Electronics is a little monster!
Although the sawtooth LFO could typically be used to add extra punch or filter snap, in my opinion, this can only be done at somewhat faster rates and with short sounds, since, as mentioned earlier, the LFOs tend to start halfway through the waveform. Speaking of faster rates, that’s not a problem at all for the envelopes. These can be really fast, as well as slow (max 14 seconds).
On the other hand, despite the restricted modulation destinations, there are three LFOs. In addition to the normal LFO, you can also use OSC 3 as an LFO and there’s the dedicated PWM LFO, which is triangle-only but goes much lower in rate than the oscillators in LO-mode. It would have been nice if they added another LFO, but with the lower rates, the same destinations as on the front panel, one-shot mode and also a retrigger mode, like the one featured on the MicroFreak. This way, you could get random but steady pitch modulation per note, for example, when using a slow sample-and-hold LFO. An LFO fade-in and white noise as a waveform would also be a nice addition, in my opinion.

Editor
I found the editor to be almost a must-have for quality control of my patches, especially when it comes to fine-tuning the tuning and filter settings per patch, as it works much quicker. Another great feature is the ability to name your presets and easily configure items like pitch bend range, mod wheel range, aftertouch to oscillator modulation and VCF. You can also adjust velocity to VCF, PWM rate and depth and lastly, the overall patch volume.
It looks great too and the standalone version offers a high-resolution GUI. One of the cool features is the ability to blend between two patches and there is also a random patch generator, although I didn’t use this during sound design. It’s available – together with a plugin for your DAW – for $24,99 USD.
Conclusion
Ultimately, the Roland SE-02 is a powerful hybrid analog/digital synthesizer that blends vintage analog warmth with modern digital precision and flexibility. It excels at bass and lead sounds, offering a wide range of aggressive and evolving tones, but it’s by no means limited to just those sounds as you can hear in the demos of Analog Magic. With its sequencer, modulation options and portability, it’s an attractive choice for musicians seeking a hands-on synth that packs a punch in a compact form.
However, its small size and densely packed control layout may not be for everyone. While tuning instability and quantization issues were addressed with firmware v1.10, the lack of certain expected features – such as real-time transposition and a pickup mode for the knobs – might be off-putting for some users, especially those with more demanding performance needs. Also if you are a sound purist and want a real Model D, consider purchasing that one instead of this, but I found the SE-02 way more fun because of all the extras. I didn’t compare them I must say, but I never had the feeling that I needed too, since the SE-02 sounds very good on its own.
That said, the SE-02 is undeniably a powerful tool for modern sound designers, and you could definitely call it a ‘little monster’! It requires some patience and a willingness to learn to unlock its full potential, which is typical for most synthesizers with added bells and whistles. If you’re looking for a Minimoog Model D-style sound (on steroids) with patch storage (which becomes incredibly useful if you create a lot of music or work on multiple projects), look no further, as the SE-02 could easily become your go-to instrument for bass, leads and creative sound design.
Lastly, if you’re listening, Studio Electronics and Roland – please consider creating an analog poly synth in either keyboard, tabletop or 19” rack form. I highly recommend the SE-02 as a synthesizer worth adding to your collection.
Pros and Cons
Pros:
- Excellent sound quality and versatility
- Compact and portable
- XMOD section adds rich modulation options
- External input
- Sequencer features
Cons:
- Small size and cramped controls may be challenging for some
- Short sequencer step length could be a dealbreaker for certain users
- Pick up mode would be handy for the knobs
Sound Examples
More Information
For more information about the MiniFreak, please visit the product page on the Roland website:
https://www.roland.com/nl/products/se-02/
Or Studio Electronics website: https://www.studioelectronics.com/products/desktop/SE-02/
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