In the late 1980s, while the world was obsessed with the shimmering "LA Synthesis" of the D-50, Roland quietly released the U-110 PCM Sound Module. It was a different beast entirely—Roland’s first dedicated sample-player (ROMpler).
While it’s often remembered for its tiny screen and legendary menu-diving frustrations, the U-110 holds a secret weapon: a collection of drum sounds that defined a transitional era of music production. It wasn't quite the 808/909 analog warmth, and it wasn't yet the polished 16-bit perfection of the 90s. It was something gritty, punchy, and uniquely "U-Series."
Unlike its successor, the U-220, or the later JV series, the U-110 lacks a resonant filter. What you hear is the raw PCM sample in all its 12-bit (companded to 16-bit) glory. This lack of filtering gave the drum sounds a specific "edge"—a brightness that cuts through a mix without needing much EQ.
The internal ROM features a "Dry" kit and an "Electric" kit. Here is why they still matter:
The Kicks: They are surprisingly weighty. While they lack the sub-bass of an 808, they have a "thwack" that anchors a track, making them perfect for industrial, early techno, or synth-pop.
The Snares: This is where the U-110 shines. They are the epitome of the "gated reverb" era. They are snappy, slightly metallic, and have that distinct digital "air" around them.
The Toms: If you’re looking for those "Phil Collins" style fills, the U-110 toms are legendary. They are booming, melodic, and unapologetically 1988.