MOCO INC. No.41 Nike St., Dr.Shariyati Ave., Roberoye Cerahe Mirdamad Tehran, IRAN TEL: (021) 285-4169

U. S. A.

Roland Corporation U.S. 5100 S. Eastern Avenue Los Angeles, CA 90040-2938, U. S. A. TEL: (323) 890 3700

TRINIDAD

AMR Ltd Ground Floor Maritime Plaza Barataria Trinidad W.I. TEL: (868) 638 6385
Roland Italy S. p. A. Viale delle Industrie 8, 20020 Arese, Milano, ITALY TEL: (02) 937-78300

ISRAEL

Halilit P. Greenspoon & Sons Ltd. 8 Retzif Ha'aliya Hashnya St. Tel-Aviv-Yafo ISRAEL TEL: (03) 6823666
As of November 1, 2006 (ROLAND)

04566667

07-04-1N

For the USA

DECLARATION OF CONFORMITY Compliance Information Statement
Model Name : Type of Equipment : Responsible Party : Address : Telephone : V-Synth GT Synthesizer Keyboard Roland Corporation U.S. 5100 S. Eastern Avenue, Los Angeles, CA 90040-2938 (323) 890-3700
For EU Countries This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
FEDERAL COMMUNICATIONS COMMISSION RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help. This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. Unauthorized changes or modification to this system can void the users authority to operate this equipment. This equipment requires shielded interface cables in order to meet FCC class B Limit.

For Canada

NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
Cet appareil numrique de la classe B respecte toutes les exigences du Rglement sur le matriel brouilleur du Canada.

V-Synth-GT_e.book 3

Thank you, and congratulations on your choice of the Roland V-Synth GT.
Before using this unit, carefully read the sections entitled: IMPORTANT SAFETY INSTRUCTIONS (p. 4), USING THE UNIT SAFELY (p. 5), and IMPORTANT NOTES (p. 7). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Quick Start, Owners manual, and Driver Installation Guide should be read in its entirety. These manuals should be saved and kept on hand as a convenient reference.
The explanations in this manual include illustrations that depict what should typically be shown by the display. Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may not always match what appears in the manual.
Copyright 2007 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.

V-Synth-GT_e.book 4

IMPORTANT SAFETY INSTRUCTIONS
WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.

CAUTION

RISK OF ELECTRIC SHOCK DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated dangerous voltage within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

Copyright

Recording, duplication, distribution, sale, lease, performance, or broadcast of copyrighted material (musical works, visual works, broadcasts, live performances, etc.) belonging to a third party in part or in whole without the permission of the copyright owner is forbidden by law. This product can be used to record or duplicate audio or visual material without being limited by certain technological copy-protection measures. This is due to the fact that this product is intended to be used for the purpose of producing original music or video material, and is therefore designed so that material that does not infringe copyrights belonging to others (for example, your own original works) can be recorded or duplicated freely. Do not use this unit for purposes that could infringe on a copyright held by a third party. We assume no responsibility whatsoever with regard to any infringements of third-party copyrights arising through your use of this unit.

853 852a 851

The sensitivity of the D Beam controller will change depending on the amount of light in the vicinity of the unit. If it does not function as you expect, adjust the sensitivity as appropriate for the brightness of your location.
In order to provide high-quality images, the V-Synth GT uses a TFT liquid crystal display. Please be aware that due to the characteristics of a TFT liquid crystal display, there may be pixels that fail to light or pixels that remain lit, but these are not considered to be malfunctions or defects.
Due to the characteristics of a TFT liquid crystal display, leaving the same screen displayed for an extended period of time may cause the image to be burned into the screen. To avoid burn-in, we recommend that you use the screen saver function (p. 229).

Before Using USB Memory

Using USB Memory
* MatrixQuest 2007 TEPCO UQUEST, LTD. All rights reserved. The V-Synth GTs USB functionality uses MatrixQuest middleware technology from TEPCO UQUEST, LTD.
USB memories are constructed using precision components; handle the cards carefully, paying particular note to the following. To prevent damage to the cards from static electricity, be sure to discharge any static electricity from your own body before handling the USB memory. Do not touch or allow metal to come into contact with the contact portion of the USB memory. Do not bend, drop, or subject USB memories to strong shock or vibration. Do not keep USB memories in direct sunlight, in closed vehicles, or other such locations (storage temperature: -20 to 80 C: MUF128). Do not allow USB memories to become wet. Do not disassemble or modify the USB memories.

Be careful not to set your listening volume too high to avoid damage to your amp/speaker system or your hearing. To ensure proper operation of the pitch bend lever, make sure not to touch the lever when turning the V-Synth GTs power on.
1. Before turning on the V-Synth GTs power, consider these two questions:
Are all peripheral devices connected correctly? Have the volume controls of the V-Synth GT and all connected audio devices been turned to their lowest settings? Do not touch!
2. Turn on the POWER ON switch located on the rear panel of the V-Synth GT.

fig.01b-002-j.eps

* This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally.
3. Turn on the power for any connected amplifiers or speakers. 4. Wait for the V-Synth GT to start up. When it has started up normally, a screen like the following will appear.

fig.patch-ps.eps

V-Synth-GT_e.book 19
Getting Ready 5. Adjust the volume appropriately.
While playing the keyboard to produce sound, adjust the volume of the V-Synth GT and of the connected audio equipment.

fig.01b-003-j.eps

Turning Off the Power
1. Before you turn off the power, consider these two questions:
Have the volume controls of the V-Synth GT and all connected audio devices been turned to their lowest settings? Have you saved your V-Synth GT sounds or other data youve created?
2. Turn off the power for all connected audio devices. 3. Turn off the POWER switch located on the rear panel of the V-Synth GT.
* If you need to turn off the power completely, first turn off the POWER switch, then unplug the power cord from the power outlet. Refer to Power Supply (p. 7).

V-Synth-GT_e.book 20

Panel Descriptions

Front Panel

00b-01.eps

1 TIME TRIP PAD

2 D BEAM
By touching the pad surface with your finger you can apply a variety of effects to the sound. (p. 46)
Indicator [TIME TRIP] [ASSIGNABLE] [HOLD] This will light when you touch the Time Trip Pad. Switches to the Time Trip effect. Switches to the effect that is specified for each tone. Switches hold on/off for the effect controlled by the Time Trip pad.
You can apply a variety of effects to sounds simply by moving your hand. (p. 48)
Indicators (L, R) If the D Beam controller is on, these will light when you move your hand over the controller.

For more about VariPhrase, refer to What is VariPhrase? in Quick Start.

V-Synth-GT_e.book 33

Basic Operation of the V-Synth GT
Basic Operations in the Touch Panel
The V-Synth GT features a touch screen. The touch screen lets you perform a variety of operations by lightly touching the screen.
* The touch screen responds to a light touch. Pressing the touch screen with too much force, or with a hard object, may damage it. Be careful not to apply excessive force, and touch it only with your finger. Enabling/Disabling the Beep Tone (p. 227)

Moving the Cursor

A single screen or window displays multiple parameters or items for selection. To edit a parameters value, move the cursor to the value. The cursor is a black rectangle, and the parameter value or item you select with the cursor is highlighted (displayed in inverted colors).

fig.03-01.e.eps

Cursor

Cursor Buttons

Press [ ], [ ], [ to move the cursor.

fig.03-02.eps

Touch Screen
], or [ ] (the cursor buttons) Directly touch a parameter value to move the cursor.

fig.03-03.eps

V-Synth-GT_e.book 34

Editing a Value

To edit a value, you can use the VALUE dial, [INC/+] [DEC/-], or drag on the touch screen. In each V-Synth GT screen, you can select a value using the cursor as described earlier, and modify its value. Each parameter has its own range of possible values. You cannot set any value smaller than the minimum value or greater than the maximum value.

VALUE Dial

Turning the VALUE dial clockwise increases the value, and turning it counterclockwise decreases its value. Hold down [SHIFT] as you move the VALUE dial to increase value increments to make large value changes more quickly.

fig.03-04.eps

Touch a parameter value, and drag your finger up/down or left/right. Dragging upward or to the right increases the value, and dragging downward or to the left decreases the value.

fig.03-06.eps

[INC/+] and [DEC/-]
Press [INC/+] to increase the selected value, and [DEC/ -] to decrease it. Keep the button pressed for continuous adjustment. For faster value increases, keep [INC/+] pressed down and press [DEC/-]. To decrease values quickly, keep [DEC/-] pressed down and press [INC/+].

V-Synth-GT_e.book 49

Using the E1E8 Knobs
You can modify the sound in real time by turning the E1E8 knobs to control the functions assigned to the knobs.
1. Press [PATCH] to access the Patch Play screen. 2. While playing the keyboard to produce sound, turn the E1E8 knobs.
When you turn a knob, the sound will change according to the function that is assigned to that knob. You can check what function is assigned to a particular knob by viewing the eight knobs shown in the screen.

fig.04-22.eps

You can use the Utility menu to edit the assignments that the E1E8 knobs will perform in the Patch Play screen (p. 228).

V-Synth-GT_e.book 50

Using the Assignable Controllers
You can turn the ASSIGNABLE CONTROL knobs to modify the sound in real time. The assignable controllers use matrix control to apply effects to the sound. This means that you will need to make matrix control settings separately. Set the matrix control Source to KNOB1 or KNOB2, and specify the parameter to be controlled in Destination. For details on this setting, refer to Matrix Control (p. 91).
1. Press [PATCH] to access the Patch Play screen. 2. Press [ASSIGNABLE].
If you press [LEVEL] or [PAN], the knobs will adjust the level or pan of the upper and lower tones.
3. While playing the keyboard to produce sound, turn the ASSIGNABLE CONTROL knobs ([C1], [C2]).
The sound will change according to the function assigned to each knob.

fig.04-21.eps

By assigning MIDI controller numbers to the assignable controllers, you can turn [C1] or [C2] to control an external MIDI device that is connected. For details, refer to C1/C2 Knob (p. 206).

V-Synth-GT_e.book 51

Arpeggiator

Playing Arpeggios

The V-Synth GT comes with an arpeggiator that can play arpeggios automatically. Once you turn on the arpeggiator, the keys you press will automatically be played as an arpeggio.
1. Press [PATCH] to access the Patch Play screen. 2. Press ARPEGGIO [ON/OFF] to make the indicator light.
The arpeggiator is turned on.

3. Play the keyboard.

The V-Synth GT arpeggiates what youve played.

CHO Master Level (Chorus Master Level) CHO To REV (Chorus Reverb Send Level) REV (Reverb On/Off Switch) REV Type (Reverb Type)

OFF, ON 00 (Off)13

REV Master Level (Reverb Master Level)

V-Synth-GT_e.book 78

Tone-FX
This is an effect that can be applied to each tone individually. For details, refer to Tone-FX (Tone Effect) (p. 139).

Chorus

fig.05-51-j.eps

Chorus Switch

Chorus Type
Search Button Parameter Chorus Switch CHO Type (Chorus Type) Value OFF, ON 00 (Off)08 Description Switches the Chorus on/off. You can choose one of eight types of chorus. In this editing screen you can select the chorus type and edit the parameters for that type. For details on each type of chorus, refer to COSM_EffectsList(E).pdf in the EFFECTS LIST folder on the included CDROM. When you touch <Search>, the Chorus Type List window will appear, allowing you to select the chorus from the list.

V-Synth-GT_e.book 79

Reverb

fig.05-52-j.eps

Reverb Switch

Reverb Type

Search Button Parameter Reverb Switch REV Type (Reverb Type) Value OFF, ON 00 (Off)13 Description Switches the Reverb on/off. You can choose one of 13 types of reverb. In this editing screen you can select the reverb type and edit the parameters for that type. For details on each type of reverb, refer to COSM_EffectsList(E).pdf in the EFFECTS LIST folder on the included CDROM. When you touch <Search>, the Reverb Type List window will appear, allowing you to select the reverb from the list.

V-Synth-GT_e.book 80

Patch Mode (Editing a Tone)
A patch consists of a combination of two tones. This chapter will explain how to edit these tones, and what the tone parameters do.

Creating a Tone

Broadly speaking, there are two ways to create a tone.
Using a template to create a patch intuitively (Sound Shaper II)
By using the Sound Shaper II function, you can select a group and template that is close to the sound you want, and then simply turn the knobs to edit the important aspects of the sound, just like a professional sound designer (p. 158).
Creating a patch from scratch (Pro Edit)
Based on the tones the V-Synth GT provides, you can combine eight elements (sections) and edit the parameters of each section to create new sounds (p. 85).
Four Tips for Editing Tones
Select a tone that is similar to the sound you wish to create. Its hard to create a new sound thats exactly what you want if you just select a tone and modify its parameters at random. It makes sense to start with a tone whose sound is related to what you have in mind. Check the Structure setting. The structure type is an important parameter which determines how the eight sections are combined. Before you actually begin editing, you should understand how the sections are related to each other (p. 28). Decide which section(s) you will use. When creating a tone, it is very important to decide which section(s) you will use. In the Edit screen of each section, use the on/off switch to specify whether that section will be used (on) or not used (off). You can also use the on/off buttons located in the STRUCTURE section of the V-Synth GTs panel. Turn Effects off. Since the V-Synth GT effects have such a profound impact on its sounds, turn them off to listen to the sound itself so you can better evaluate the changes youre making. Since you will hear the original sound of the tone itself when the effects are turned off, the results of your modifications will be easier to hear. Actually, sometimes just changing effects settings can give you the sound you want.

In this way you can create a patch that plays different sounds on either side of the split point you specified in step 4.
Each zone works just like a single tone. You can create the sound for a zone from scratch in the same way as for a tone, as described in the procedure Editing a Tone (Pro Edit) (p. 85).
9. To save the patch you created, perform the Write operation (p. 81).

V-Synth-GT_e.book 90

Bender/Octave

fig.06b-12.eps_50

Parameter Bender Pitch Bend Range Down

Value 048

Description Specifies the degree of pitch change in semitones when the Pitch Bend lever is all the way left. For example if this is set to 48 and you move the pitch bend lever all the way to the left, the pitch will fall 4 octaves. Specifies the degree of pitch change in semitones when the Pitch Bend lever is all the way right. For example, if this parameter is set to 12, the pitch will rise one octave when the pitch bend lever is moved to the right-most position. Adjusts the pitch of the tones sound up or down in units of an octave (+/-3 octaves).

Pitch Bend Range Up

Octave Shift Octave Shift -3 +3

V-Synth-GT_e.book 91

Matrix Control

fig.06b-13-e.eps

Up to eight Matrix Controls can be used in a single patch. In the right side of the screen, touch the Control 1/2Control 7/8 tabs to select the matrix control that you want to use. Search button

Matrix Control Source

Matrix Control Sens
Matrix Control Destination
Ordinarily, if you wanted to change tone parameters using an external MIDI device, you would need to send System Exclusive messagesMIDI messages designed exclusively for the V-Synth GT. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large. For that reason, a number of the more typical of the V-Synth GTs tone parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. This provides you with a variety of means of changing the way tones are played. For example, you can use the Pitch Bend lever to change the LFO cycle rate, or use the keyboards touch to open and close a filter. The function which allows you use MIDI messages to make these changes in realtime to the tone parameters is called the Matrix Control. To use the Matrix Control, specify which MIDI message (Source parameter) will be used to control which parameter (Destination parameter), and how greatly (Sens parameter).

V-Synth-GT_e.book 92

Parameter Source 1, 2 (Matrix Control Source 1, 2) Sets the MIDI message used to change the patch parameter with the Matrix Control.

In this screen you can make settings for the envelope that affects the detune. For details on envelope settings, refer to Making Envelope Settings (p. 121).

V-Synth-GT_e.book 106

SS Detune (Analog, when SUPER-SAW is selected)

fig.06b-29-ps.eps_50

Parameter SS Detune SS Detune Keyfollow SS Detune LFO Depth
Description Adjusts the degree of pitch detuning. As the knob is rotated to the right, the pitch will be detuned more greatly, making the sound more spacious. Specifies the amount by which the detune value will be affected by the key you play. Specifies how deeply the LFO will affect detune.

V-Synth-GT_e.book 107

Mix (Analog, when SUPER-SAW is selected)

Parameter Mix

Value -63 +63
Mix Keyfollow Mix LFO Depth

-200 +200 -63 +63

Description Adjusts the volume of the detuned sounds relative to the central sound. As the knob is rotated to the right, the detuned sounds will become louder, making the sound thicker. Specifies the amount by which the Mix value will be affected by the key you play. Specifies how deeply the LFO will affect Mix.
In this screen you can make settings for the envelope that affects the Mix. For details on envelope settings, refer to Making Envelope Settings (p. 121).

V-Synth-GT_e.book 108

Harmonics (Analog, when FBACK-OSC is selected)

fig.06b-30-ps.eps_50

Parameter Harmonics Harmonics Keyfollow Harmonics LFO Depth
Description Varies the sound of the harmonics. Specifies the amount by which the Harmonics value will be affected by the key you play. Specifies how deeply the LFO will affect Harmonics.
In this screen you can make settings for the envelope that affects the Harmonics. For details on envelope settings, refer to Making Envelope Settings (p. 121). You can create distinctive effects by applying an LFO or envelope to Harmonics or FBK Amount.

V-Synth-GT_e.book 109

FBK Amount (Analog, when FBACK-OSC is selected)

V-Synth-GT_e.book 135

Advanced (when Phrase Model is Flute)

fig.06b-74-ps.eps_50

V-Synth-GT_e.book 136
Advanced (when Phrase Model is Multifade)

fig.06b-75-ps.eps_50

Parameter Brightness Porta Depth (Portamento Depth)
Fade1 Ctl Default (Fade 1 Control Default) Fade2 Ctl Default (Fade 2 Control Default) Low Velo Limit (Low Velocity Limit)
Low Dyn Ctrl Lmt (Low Dynamics Controller Limit)
Vibrato Dyn Sens (Vibrato Dynamics Sensitivity) Vibrato Reac Tm (Vibrato Reaction Time) Fade Ctrl Reac Tm (Fade Controller Reaction Time)
Description Adjusts the brightness of the sound (five steps). Positive (+) values will brighten the sound, and negative (-) values will darken it. Adjusts the amount of pitch change produced by portamento. Positive (+) values will increase the amount of pitch change, and negative (-) values will decrease it. Adjusts the initial tone balance for fade 1 immediately after the sound is selected (before you operate a controller). * This may not work for some selections of Source Waveform. Adjusts the initial tone balance for fade 2 immediately after the sound is selected (before you operate a controller). * This may not work for some selections of Source Waveform. Adjusts the lower limit of the dynamics produced by the force of your keyboard playing. Positive (+) values will increase the lower limit value, and negative (-) values will decrease it. * This may not work for some selections of Source Waveform. Adjusts the lower limit of the dynamics produced when you operate the controller assigned to dynamics. Positive (+) values will increase the lower limit value, and negative (-) values will decrease it. * This may not work for some selections of Source Waveform. Adjusts the linkage between changes in dynamics and changes in vibrato depth. Positive (+) values will produce deeper vibrato, and negative (-) values will produce less vibrato. Adjusts the reaction time when you control the vibrato using the controller assigned to vibrato. Positive (+) values will make the response slower, and negative (-) values will make the response quicker. Adjusts the reaction time when you modify the tone by operating the controllers assigned to fade 1 and 2. Positive (+) values will make the response slower, and negative (-) values will make the response quicker. * This may not work for some selections of Source Waveform. Adjusts the reaction time when you operate the pitch bender to control the pitch. Positive (+) values will make the response slower, and negative (-) values will make the response quicker. Adjusts the reaction time when you control the dynamics using the controller assigned to dynamics. Positive (+) values will make the response slower, and negative (-) values will make the response quicker. * This may not work for some selections of Source Waveform. Adjusts the reaction time when you control the dynamics using the controller assigned to dynamics. Positive (+) values will make the response slower, and negative (-) values will make the response quicker. * This may not work for some selections of Source Waveform. Adjusts the amount of ambience. Positive (+) values will increase the amount of ambience, and negative (-) values will decrease it.

The chorus of the Vintage vocoder is applied separately from the patch effect named Chorus.

V-Synth-GT_e.book 158

Editing a Tone (SOUND SHAPER II)
By using the Sound Shaper II function you can edit the tone simply by turning knobs or pressing buttons.
1. Access the Patch Play screen, and select the tone whose settings you wish to modify. 2. Touch <SOUND SHAPER II>.

fig.06c-01-j.eps

<SOUND SHAPER II>
The SOUND SHAPER II window will appear. Adjust the sound by operating the switches and knobs while you play the keyboard. In the case of Structures 14

fig.06c-02-ps.eps_50

The most suitable parameters for OSC will be assigned.
Mono/Poly Switch OSC1 Switch
Portamento Switch OSC2 Switch

OSC1 Level

OSC2 Level
OSC 1/2 wave (Touch to view a list.)

V-Synth-GT_e.book 159

In the case of Structure 5

fig.soundshape03

Mic Level
The most suitable parameters for editing the vocoder will be assigned.

OSC1/2 Switch

OSC1/2 Wave (Touch to view a list.)
Vocoder Type Cho/Rev Send Level
Adjust the OSC 1/2 level.
3. Touch <COSM> to make COSM settings (p. 160). 4. Touch <AP-Synthesis> to make AP-Synthesis settings (p. 161). 5. Touch <Effects> to make effect settings (p. 162). 6. Save the tone you created (p. 81).

V-Synth-GT_e.book 160

Here you can use the [E1][E8] knobs to edit the most important COSM parameters.

fig.06c-xx-ps.eps_50

COSM1 Type COSM1 Switch COSM2 Switch

COSM2 Type

The most suitable parameters for COSM will be assigned.
1. Use the COSM 1/2 switches to turn COSM 1/2 on/off. 2. Touch the screen to select the COSM 1/2 types.
You can also change the type by using the VALUE dial or [INC/+] [DEC/-].
3. Use the [E1][E8] knobs to edit the COSM 1/2 parameters.
For details on each parameter, refer to COSM1/COSM2 (p. 117) or COSM_EffectsList(E).pdf in the EFFECTS LIST folder on the included CD-ROM.

V-Synth-GT_e.book 161

AP-Synthesis
Here you can use the [E1][E8] knobs to edit the most important AP-Synthesis parameters.

fig.06c-10-ps.eps_50

Source Wave
AP-Synthesis Modify Parameters

AP-Synthesis Level

1. Use the AP-Synthesis switch to turn AP-Synthesis on/off. 2. Use the [E1] knob to select the source wave.
You can also use the VALUE dial or [INC/+] [DEC/-] to change this.
3. Touch the screen to select the desired phrase model.

V-Synth-GT_e.book 184

Normalize The Normalize operation is used to uniformly increase or decrease the level of the entire sample without allowing it to distort. This is used when you wish to make the volume consistent with other samples. In the Sample Edit Normalize window, specify the degree of normalization that you want to use. The value is specified in terms of a percentage. For example, lets suppose that 100 is the maximum volume at which the volume does not distort. Executing the Normal operation at a setting of 90% will make the maximum value of the sample be 90. If you normalize at a low setting and then normalize at a high setting, the audio quality will deteriorate. This means that if you intend to normalize several times, you should start from the higher value and work downward. The sample will be reversed between Edit Start and Edit End. If you want the sample to play backwards, execute Reverse to reverse the sample from the beginning. The region of the sample between Edit Start and Edit End can be stored in internal memory as a separate sample. The original sample will remain unchanged. Perform the following procedure. 1. Select the region that you want to extract as a separate sample, and execute Region. 2. In the Sample Edit Region window, select the sample number to which you want to paste the extracted region of the sample, and touch <OK>. 3. Assign a name to the new sample, and touch <OK>. If in step 2 you select a sample number that already has a sample, the sample data between Edit Start and Edit End will be added to the end of the selected sample.

Reverse Region

V-Synth-GT_e.book 185

Loop Region Settings

When the loop switch (p. 180) is ON, you can specify the region that will be played back as a loop. The region of the sample between Loop Start and Loop End will be played back repeatedly. In the Sample Loop FWD screen that appears when you touch <Loop FWD>, specify the loop region for forward playback. In the Sample Loop BWD screen that appears when you touch <Loop BWD>, specify the loop region for backward playback.

fig.04-13_50

Immediately after sampling or loading a sample, Loop Start will be set to the beginning of the sample and Loop End to the end of the sample. If you set Loop Start and Loop End to locations within the sample, the sample will play back from the beginning, and then the region between Loop Start and Loop End will play back repeatedly.

fig.04-14.e

Wave Start

Loop Start

Loop End

Wave End

The data in the V-Synth GT is handled as 44.1 kHz data, which means there are 44,100 data samples per second. The shortest possible loop that can be set is 16 data samples. Loop range settings are ignored when the Playback Mode (p. 99) is set to STEP or EVENT.

You can initialize (format) internal memory or USB memory to erase all data.
1. Press [UTILITY] to access the Utility Menu screen. 2. Touch <Format>.
The Format screen appears.

fig.09-50-ps.eps_50

3. If you want to format the internal memory, touch <Internal Memory>.
If you want to format a USB memory, touch <USB Memory>.
4. When you format a USB memory, the Volume Name window will appear, allowing you to assign a new volume

fig.09-51-ps.eps_50

V-Synth-GT_e.book 235
Factory Reset (Reset to Default Factory Settings)
This restores all data in the V-Synth GT to the factory-set condition (Factory Reset).
If there is important data youve created thats stored in the V-Synth GTs internal memory, all such data is discarded when a Factory Reset is performed. If you want to keep the existing data, save it on a USB memory (p. 217) or USB backing up onto a computer (p. 221).
1. Press [UTILITY] to access the Utility Menu screen. 2. Touch <Factory Reset>.
The Factory Reset screen appears.

fig.09-55-ps.eps_50

3. Touch <Execute> to execute the Factory Reset.
It will take several minutes for the factory reset to be carried out.
4. When <Completed!> is displayed, the factory reset is finished.

V-Synth-GT_e.book 236

MIDI Implementation Chart
Synthesizer Keyboard Model: V-Synth GT

Function.

Transmitted Mode 3 Mono, Poly

**************

Date: April 1, 2007 Version: 1.00

Remarks Memorized

Recognized Mode 3 Mode 3, 4 (M = 1)

Basic Channel

Default Changed Default Messages Altered
Note Number : True Voice Velocity After Touch Pitch Bend
0, 5 6, 93 131, 6495 100, 101

O O O O O

Note On Note Off Keys Channels

O O X O O

O O O O X X X O O O O O O O O O O O O O X X O O O O X X O X (Modulation) (Knob 1) (Pedal 2)

B e y o n d

R e a l i t y
N e x t- G e n e r a t i o n S y n t h e s i s f o r U n l i m i t e d

Assignable Control

Performance Control

p.37 p.35 p.37 The COSM

TimeTrip Pad

p.37 p.42

The Arpeggiator D Beam

V-LINK

Bender/ Moduration lever

Patch Palette

The Simplest of Patches

The OSC1/OSC2

S o n i c C o n t r o l.
Inside the V-Synth - A Tutorial
Doorway to a new universe of musical expression (the V-Synth!)

Main Features. 5

First Steps
Introduction. 10 Trying out the Presets. 11 The Two Basic Approaches to Programming. 11 Alternative Methods of Setting Values. 11 The Simplest of Patches. 12
The Effect Section The TVA Section Sections p.21 p.26

Basic Sound Parameters

The OSC1/OSC2 Sections. 16 The Mod Section. 19 The COSM Sections. 21 The TVA Section. 26 The Effect Section. 27
Advanced Sound Programming
Sampling and Encoding. 28 Effective Use of Envelopes. 31 Getting More out of a Sample. 34

Advanced Performance

The Arpeggiator. 35 Performance Controls. 37 The Matrix - Assigning Destinations. 38
Backing Up your Data New dimensions in visual performance V-LINK
Linking sound and images (V-LINK). 42 Preparing to use V-LINK. 43 Using the V-Synth to control sound and images. 44 V-LINK functions that can be controlled from the V-Synth. 46

Appendices

Sound Designers Comment
Howard Scarr. 48 Stephane Pigeon. 49

Sections

Hans-Joerg Scheffler. 50
Other Tips Patch List Waveform List Understanding Sound Specifications Index
Doorway to a new universe of musical expression

the V-Synth!

Unlimited sonic creation. Only synthesizers have such power. Unlike traditional instruments such as the familiar piano or violin, the synthesizer does not have a sound of its own. However, the synthesizer is unique in that it can generate sounds no one has ever heard before. Sound can be created in a vast number of ways. Analog synthesizers start from an electronicallycreated square wave or sawtooth wave, and boost or cut specific overtones. PCM synthesizers use large libraries of sampled waveforms to simulate acoustic instruments. Synthesizers have evolved through steady technical advances as well as startling technological breakthroughs. Today, approximately a half-century from the birth of the synthesizer, Roland continues to envision the shape of synthesizers to come. What kind of synthesizer might allow the continued use of existing knowledge and techniques, and yet break through all previous boundaries to create new and compelling sounds?
For the first time ever, here is a synthesizer providing a Sideband Filter that can add inharmonic overtones. Previous synthesizers were able to produce only harmonic overtones, yet many of the sounds in the world around us include inharmonic overtones that add timbral richness. The Sideband Filter lets you produce a completely new breed of sounds rich with natural expressiveness as never before.

Dy_SBF_WS

Side Band Filter
Interfaces such as the TimeTrip Pad and the D Beam Controller let you spontaneously animate these synthesized sounds in realtime.

DBeam1 TTPad2

Roland's efforts have borne fruit in a synthesizer that takes carries both types of synthesis to the ultimate height the V-Synth!
Cutting-edge Roland technologies such as The V-synth also supports V-LINK, letting you control visual images in much the same way as you perform music. There is an infinite number of ways to expressively link sound and images. For instance, you can change the playback speed of image clips using Pitch bend or TimeTrip, or use the D Beam to vary the brightness or hue of an image.

Go to 512:INIT PATCH and touch the OSC1 pad. For each of its two oscillators (per Zone), the V-Synth gives you the choice of two fundamentally different types - Analog and PCM. Whichever you choose, many of the parameters are practically the same. There is a third option which will be mentioned later on: EXT IN causes signals from the two INPUT jacks to be routed directly to the MOD section.
audio signal Pitch Envelope PW Envelope Fat Envelope control signal TVA Envelope Wave Pitch Pulse Width Fat OSC TVA

Analog OSC

As these diagrams clearly show, the signal passes through several stages, each with its own dedicated envelope but with a single, shared LFO. This means that the main parameters (Pitch, Time.) in each of the four stages can be modulated by individual envelopes as well as by a common LFO.
Waveform Pitch Time Formant OSC TVA

PCM OSC

* Any audio signal that's been input while the oscillator type on the V-Synth is set to EXT IN will be heard only when you play the keyboard. In other words, the simple act of inputting a sound is not enough to cause it to be heard. Note that the signal from the DIGITAL INPUT is not allowed to be used as a source for EXT IN.
Pitch Envelope Time Envelope Formant Envelope control signal TVA Envelope

audio signal

This is what you see when you select PCM in the OSC1 section and touch the Pitch pad, but the corresponding page for analog oscillators looks the same. If you touch each of the other tabs in succession, you will see that they have a similar layout - except for the LFO page of course.
This page is used for setting all parameters which affect oscillator pitch. Try turning up the LFO DP1 knob (DP stands for depth) to add some vibrato. If you like, go to the LFO page (touch the LFO pad) and experiment with the parameters for a while. Pitch modulation from the envelope is best demonstrated by turning Env Depth up to something drastic like +50, setting Sustain to zero and then adjusting Attack and Decay to taste. Which methods did you use to select and change all these values? Could you have made some of the adjustments much more quickly or precisely by using the knobs, buttons and sliders on the panel? The answer to this question may only mean 5 seconds difference for each adjustment you make, but this can add up to many hours in the long run!
PULSE WIDTH (Analog only)
This is where you can add automatic modulation and adjust various other pulse width parameters, but you should first be aware of the different effects Pulse Width has on each of the waveforms. Go back to the OSC Type page, select another waveform and manually turn the PW knob in the OSC1 section. Note that PW has no effect on the HQ-SAW waves. Pulse width is normally defined as the ratio between the upper and lower plateaus of a pulse wave, but in the V-Synth this term is also used for similar effects available for most of the other waves. Now try adding pulse width modulation from the LFO by turning up the LFO DP2 knob in the OSC1 section.

FAT (Analog only)

The Fat page looks almost exactly the same as the Pulse Width page. Go back to the OSC Type page, select each waveform and turn the FAT knob in the OSC1 section to see what effect Fat has on the sound. If you return to the Fat page at any point, you will see the value changing as you turn the knob. Note that Fat also has no effect on the three waveforms: HQ-SAW, HQ-SQR and NOISE.

P a r a m e t e r s

PITCH (Analog or PCM)

TIME (PCM only)

Mad Orchestra
Press EXIT, then step down and up a patch to remove any edits you have made. Press the OSC1 pad and change Osc Type to PCM instead of Analog. Use the cursor up/down buttons (if necessary) to highlight the waveform number, then change this to number 043, 120 PfLick1+. If you play a note you should now be able to hear a piano arpeggio sample. Touch the Time tab so you can see the Time value. Touch the ZERO pad 1. Play the keyboard, watch Time change as you take it slowly up to +63 (using the OSC1 / TIME knob) and then all the way down to -63 2. This is VariPhrase and not conventional sampling, in case you hadnt already noticed! Now set Time to -1 by turning the TIME knob back to the to the center, touching the Time control and pressing the DEC/- button. Play a bunch of random notes in the center of the keyboard. Do you recognize this sound? It is the basis for the first patch in your V-Synth, 001:MadOrchestra. Of course you can modulate the Time parameter from its own dedicated envelope or from the LFO. Later on you will learn how to modulate parameters using any realtime controls you like (TimeTrip, D Beam, C1 and S o u n d C2, Bender, keyboard velocity, aftertouch) by defining sources and destinations in the modulation matrix.

FORMANT (PCM only)

This page is grayed out because the currently used waveform is of type Ensemble - see the section on Creating and Editing Samples (Sample Mode) in the Owners Manual as well as the section Sampling and Encoding later on in this tutorial. We need a waveform of type Solo (or Lite) to demonstrate how formants can be manipulated in realtime. Press EXIT, then step down and up a patch. Go to the OSC1 / OSC Type page, select PCM and change the waveform to 067, 088:NaNaNa+. Activate Tempo Sync (a pad in the bottom right-hand corner of the page) and reduce the tempo a little using the TEMPO knob in the ARPEGGIO section. Play a chord with your left hand and add a higher note afterwards with your right hand. The new note will be retriggered i.e. probably out of step with the other voices, so change the Playback Mode to Legato. Try the chord and the additional note once again - everything is now in step. Now experiment with the OSC1 Formant knob.

Output OSC2 OSC1

ENV RING
This is basically an envelope follower whereby the volume of oscillator 1 is controlled by the audio envelope of oscillator 2 i.e. its volume at any given time. Patch number 179:ShakinStr uses an internal sampled percussion loop (055 Shakin+) and shows off the effect very well (play the lower half of the keyboard). However, here is a good opportunity to hook up an external audio source to your V-Synth.
Output OSC2 Envelope OSC1
Start from INIT PATCH again, activate oscillator 2 and set the Type to EXT IN. Select ENV RING in the MOD section 1 , go to OSC1 and change the waveform to SAW. P a r a m e t e r s Feed a drum loop or drum computer into the V-Synths inputs and play a chord. To accentuate the rhythmic effect, use only very short percussive sounds with no reverb etc. You can always soften the rhythmic effect by adjusting ENV RINGs own Attack and Release parameters 2.
ENV RING is very good in combination with dynamic filtering e.g. Auto Wah (available as Multi Effect), but we are going to jump the gun here and use a similar (but polyphonic!) COSM effect. Select COSM1 and change the Type to DYN-TVF. Touch the Cutoff tab 1 and take Cutoff frequency (Freq) down to around , Freq KF to +and Dyn (input Dynamics) up until it sounds interesting 4. Note that you might also have to adjust the volume of the sound source or the Cutoff frequency again. Try going to the Resonance page and take the Reso and/or DynEnv parameter up for a much more squelchy sound.

OSC SYNC

This algorithm resets the phase of oscillator 1 every time oscillator 2 repeats its cycle, and can have a similar effect to sweeping a filter with high resonance and overdrive if oscillator 1 pitch is modulated. Start again from scratch i.e. the INIT patch in program number 512, activate oscillator 2 and set both oscillators to SQR. Go to the MOD section and select OSC SYNC 1. Experiment with the OSC1 PITCH knob, then set it to the center again. Go back to OSC1 and touch the Pitch pad 2. Flip Sustain down to zero using the slider and change Decay to 40 to +50
3. Change the Velocity Curve to and Env Depth 5. Tune everything down an

OSC2 OSC1 (=Output)

octave 6 in the Common / Tune page (Course = -12) and play single notes on your keyboard as dynamically as possible you might recognize this type of sound from countless Techno tracks! 20

The COSM Sections

Although these two sections may appear to contain a bunch of add-on effects (like in the V-Synths own Effect section or a stand-alone effects unit), COSM is fundamentally different. It is polyphonic i.e. the effects will be applied separately to each and every note you play! Start again from scratch (512:INIT PATCH) and touch the COSM1 pad. The available COSM algorithms can be divided into four basic categories: Guitar Modeling (the top row), Filters (the middle row), Dynamic Processing and Special Effects (both in the bottom row).

Firstly, the six guitar-modeling algorithms:
OD/DS (OverDrive / Distortion)
Select the PCM type for oscillator 1 and change the waveform to number 161 Clean Gt Lo. You should be able to hear a half-muted electric guitar sound. Select OD/DS in the COSM1 / COSM Type page 1. The sound is now completely overdriven. If you prefer a little more movement within the sound, select the Drive tab 2 , change the Drive value to 64, flip Sustain down to minimum, change Decay to about 35 and take Env Depth up to +63. For a rounder guitar sound, select the drive type DS 3 , touch the Tone tab 4 and change the value of the Tone parameter to around 64. Of course you can apply an envelope to either or both of these parameters (Drive, Tone) and even make them velocity sensitive.

W-SHAPE (Wave Shaper)

Barinet
This is an alternative method of adding high-frequency partials to a waveform, at the same time attenuating some of the lower frequencies. Although grouped under the guitar modeling algorithms, I find this one particularly suited to sustained sounds. For instance, lets turn a clarinet sound into an edgy baritone-sax: Start from 512:INIT PATCH, select the PCM type for oscillator 1 and change the waveform to number 113 Clarinet Vib. Go to Common / Tune and take the overall Patch Tune (Course) down an octave (-12). Go to COSM1 / COSM Type and select W-SHAPE 1. Change the Shape Type to number 4 2. Touch the Drive tab 3 and reduce the Drive value to around 100. Play low notes on your keyboard.
AMP (Amplifier Emulation)
Because it is polyphonic, power chord type interaction between notes is not possible using COSM (the Effects section is much more suitable for that). However, this algorithm can be very useful for adding very typical amplifier distortion when using COSM2 for Speaker Emulation. Try it!
SPEAKER (Speaker Emulation)
The only parameter here is the Speaker Type control, which selects one of 12 preset equalization settings which mimic the frequency response of different speaker cabinet models. Particularly useful for guitar sounds in combination with Amplifier Emulation (see above).
RESONATOR (Hollow-body Emulation)
This COSM algorithm is actually a formant filter. To get an idea of how much this effect can color a sound, recall 512:INIT PATCH, select the PCM type for oscillator 1 and change the waveform to number 158 Nylon Gt Hi. Go to the OSC TVA, flip Sustain to minimum and Decay to around 70. Select COSM1 Type RESONATOR 1 , touch the Size 2 tab and change the value of Size to 110. Touch the Balance tab 3 and take Balance up to maximum (100). Now return to the COSM Type page and try out the 3 different Filter Types 4. Compare them with no effect at all by touching the pad labeled ON 5. Of course different values for Size are more suited to particular Filter Types, and you can make these effects more subtle by turning Balance down a little.

Adding / subtracting partials
Start from 512:INIT PATCH, select ANALOG for oscillator 1 and change the waveform to SAW. Go to COSM1, select COMB, change the Octave to +1 and Tone to 64 (thru) 4. Turn the P1 knob in the COSM1 panel all the way down to remove all the even-numbered partials. The sound of the oscillator will now be very similar to HQ-SQR (which only contains odd-numbered partials). Now try turning the P1 knob up - even-numbered partials are emphasized and the sound, though very similar to the original wave (sawtooth) is now an octave higher. Of course the Tone parameter can be controlled in the Matrix (via the CSM1-PRM1 parameter). See The Matrix - Assigning Destinations below.

DUAL (Dual Filter)

Similar to the standard TVF (see below), but with two 12dB/octave filters, either in parallel or in series. The filters can be routed in three different ways: parallel LowPass / HighPass, serial LowPass HighPass, and parallel BandPass / BandPass.
TVF (Time-Variant Filter)
A variation on the standard filter you will find on any subtractive synthesizer, but with a total of 12 different types:

LPF BPF HPF

Low Pass Filter. Removes frequencies above the Cutoff point. Band Pass Filter. Removes frequencies above and below the Cutoff point. High Pass Filter. Removes frequencies below the Cutoff point. 3 different slopes.
NOTCH Often called Band Reject or Band Stop. Removes frequencies around the Cutoff point.
Accentuates frequencies around the Cutoff point.
That was only five, but each of these types are available with different slopes (dB per octave). For an easy example of what to do with a Lowpass filter, see the section The Simplest of Patches above.
DYN-TVF (Dynamic Time-Variant Filter)
Basically the same as TVF, but with an additional parameter called Dyn (touch the Cutoff tab to see this) which applies Cutoff modulation from the audio-envelope of oscillator 2 (or from the inputs when oscillator 2 Type is EXT IN). See ENV RING in The Mod Section above!

Thirdly, the two dynamic processing algorithms:

COMP (Compressor)

Compress Tom
Compression is the audio-engineers secret weapon used to manipulate several attributes of pre-recorded sound. For instance, it can add punch to a drum. Restore 512:INIT PATCH, select PCM for oscillator 1, with Waveform 239 RockTom Lo. Listen to this sound for a while, then go to COSM1 and select COMP 1. Take both Attack and Sustain up to 70 and the Output Level down to so that the volume is about the same whether or not the compressor is active. Now compare the original with the treated sound by repeatedly touching the ON button 3. Note that compression can also accentuate the ambient tail of a sound: Play a note and hold it. The compressor in the COSM section is fairly simple (with only two main parameters - Attack and Sustain), but like all COSM algorithms, it is polyphonic. For a more typical and flexible stereo compressor, see MFX number 09 (Dynamic Processor) in the Effect section. 24

LIMITER

Limiting is a more primitive form of compression where any peaks above a fixed threshold are reduced to exactly this level. Start from the Tom sound you have just made, and select LIMITER instead of COMP in the COSM1 section 1. For the most drastic settings, take Threshold to and Ratio to 100:1 3. What is happening here is that you have told the limiter to reduce any signal level whatsoever by a factor of 100 to 1. You can still hear a click because the limiter needs a certain minimum time to react. Turning Attack up to maximum will increase this time a little 4. Now select the lower ratios, starting with 16:(particularly Threshold). and experiment with the other parameters P a r a m e t e r s
And finally, the two special effects algorithms:

Inharmonics

As well as standard pitch-shifting (which you should also try out of course), I find this COSM effect particularly useful for adding inharmonic partials to the attack part of a sound. A little experiment: Start from INIT PATCH, select SINE for oscillator 1 and change the Impact value (also in the OSC Type page) to 0.0. Go to COSM1 and activate F-SHIFT. Touch the Balance tab and take the Balance control right down to zero 1. Flip Sustain down to zero and change the Decay to 30 2. Take Env Depth up to +and change the Velocity Curve to 1 4. Touch the Effect tab 5 and adjust the Effect value (i.e. the amount of Shift) to taste.

A-Sens

D-Sens

R-Sense Env Time KF

The Effect Section
A comprehensive, high-quality effects section is a must for any modern synthesizer, and the V-Synth offers you plenty of choice here. There are three separate blocks which appear as miniature rack units on the screen: MFX (Multi-Effects), CHO (Chorus or Flanging) and REV (Reverb or Delay). These blocks can be routed in parallel, series or any mixture of both. The routing system may need a little explanation, although if you look carefully at the screen you can see that the signal flow is actually indicated by small arrows. Output from the TVA section is sent to all three blocks in parallel, each with a master send control. following choice of values: P a r a m e t e r s 27 B a s i c S o u n d Immediately in front to the MFX is an Output Assign parameter 1 offering the

MULTI MAIN DIR

Multi Effects. The standard setting where the signal is routed through the MFX block. Main Outputs. The signal that would otherwise go to the MFX is sent straight to the main outputs (MIX OUT) instead. Direct. The signal that would otherwise go to the MFX is sent to the dry outputs (DIR OUT) instead.
To allow any parallel and/or serial mixture of all three effects, the MFX block has three output controls. The one to the right sets the amount of MFX signal sent straight to the MAIN outputs. Below the block are two more controls which can send a certain amount of the MFX signal to the Chorus and Reverb blocks - useful for routing the effects in series. Similarly, the Chorus block has a To Rev control 2 so that the processed signal can have reverb added to it. If you have plenty of time right now, recall a patch with a lot of upper partials (e.g. 202: Tea Bea Lead), touch the Effects pad and the MFX tab, then try out each and every MFX type in turn. Note that many of these effects have multiple pages of parameters. Although you might not learn many details at this sitting, at least you will have seen all the possibilities on the screen, not just in the list in the Owners manual. As well as the Send levels, up to three type-specific MFX parameters can be modulated from the Matrix, and this can be very useful if you would like to e.g. control the repeat rate of a delay via the TimeTrip or the degree of distortion via foot pedal. In general, you should always have the Owners manual handy so you can see what these destinations are, because they simply appear as MFX1, MFX2 and MFX3 in the Matrix! See the chapter The Matrix - Assigning Destinations below.

A lot of thought has gone into making the V-Synth one of the most truly playable keyboards on the market. The left hand controls (TimeTrip, D Beam, the C1 and C2 knobs) are specifically designed for manipulating sounds in realtime once they have been programmed. Of course any of the buttons, knobs and sliders on the panel could be used as performance controls, and you might like to change e.g. the Decay time in an arpeggio or to switch effects in and out during live performance. However, it is a much better idea to assign one or more of the many multi-purpose controls to the appropriate destination in the Matrix Control (see below). Why? Because all the left hand controls are assigned MIDI CC numbers (definable in the MODE / SYSTEM settings). Any movements can be recorded to a MIDI sequencer or even to the V-Synths own pattern sequencer (where all recorded data is quantized to the current Grid value). The other buttons, knobs and sliders dont send data to the MIDI Out port.

Twin D Beam

Performance Controls
The Matrix - Assigning Destinations
The V-Synths Matrix Control is used for routing any sources of MIDI data to a wide range of possible destinations. Available sources include the V-Synths left-hand controls, all standard MIDI continuous controllers (including Pitchbend and Modulation) as well as Aftertouch, Velocity and Key Follow.
Lets add a bit more depth to the Simplicity patch you made early on in this tutorial - it should be number 300. Touch Common 1 , select the Matrix Ctrl tab 2 and the Control 1/2 tab if necessary 3. Pushing the Bender (CC01) has already been used for adding vibrato, but here is a little trick which can always be used to make this more expressive: Touch the Control 1 / Destination 2 List pad 4 and select 018:OSC1LFO-RATE. Touch OK and set the sensitivity (Sens) to +2 5. Pushing the Bender now increases the vibrato rate as well as its depth.
Highlight the source of Control 2 (at the moment this reads +PAD-Y) and change it to AFT (aftertouch) by pressing the DEC/- button twice 1. Select 044:CSM1-PRM1 (COSM1-Parameter1) from the upper list 2 and change the corresponding sensitivity to +20 3. Pressing harder on the keyboard now opens the filter a little.

Patch Write

PC Card
* Each capacity of the memory is as follows.
Work Area & Temporary Area (64 MB)
System & Patch (Max:512) 14 MB

Preset Memory

Internal Memory (16 MB)
Patch (No.001 - 287) Preset Wave (Dummy) 6 MB Preset Patch (No.001 - 287) Preset Wave (No.001 - 324) (archived) Blank (Patch No.288 - 512) (User Sample) 10 MB
Preset Wave (No.001 - 324) 30 MB
Blank 20 MB (User Sample)
will be lost if you simply turn the power off. will not be lost even if you simply turn the power off. y o u r 41 B a c k i n g U p
New dimensions in visual performance V-LINK
The V-Synth lets you use the pitch bend / modulation lever, TimeTrip Pad, D Beam controller, and C1/C2 knobs to control a connected external video device. This capability is called V-LINK ( playing. ). Your performance on the V-Synth can control not only sound, but images as well, linking the video to the sound of your
* V-LINK is a feature that lets you perform using music and images. V-LINK makes it easy to enjoy a variety of video effects that are linked to your V-Synth performance gestures.
Linking sound and images (V-LINK)
performance Let's experience V-LINK by using the Edirol DV-7PR Realtime Video Presenter in conjunction with the V-Synth. Using the V-LINK feature requires the following. DV-7PR: System software Ver.2.0 or later V-Synth: System software Ver.1.13 or later V-LINK is supported by the V-Synth controllers shown in the diagram Patch palette (p.44) Bender/modulation lever (p.44) Assignable controller C1/C2 (p.44) TimeTrip Pad (p.45) D Beam controller (p.45) Channel aftertouch

fig.v1

V-Synth controller section

dimensions

Preparing to use V-LINK

fig.v2

Connect the V-Synth and DV-7PR, and turn on the power of both devices. Wait until both devices have started up normally.

EDIROL DV-7PR

TV monitor

REMOTE

EDIROL UM-1

Projector

MIDI OUT

V-Synth

018:Pulsatronic

Pulsatronic perfectly illustrates different key-features inside a single powerful patch. First, the arpeggiator, which here turns a simple key-stroke into a rich up-and-down pattern. Settings can be customized from the Common/Arpeggio page where one may chose a shorter Duration for example. Then, the combination of both VariPhrase and analog oscillators, achieving a pleasant tonal balance. In this patch, the VariPhrase oscillator is used to produce some crisp digital sounds, while its analog counterpart adds more body to the patch. Then, the innovative Side-Band Filter which brings the noise bursts produced by the first Oscillator into tune. This filter is mainly responsible for the particular tonal character of this patch. Its effect can easily be heard by toggling the COSM1 structure switch ON or OFF. Furthermore, this patch also illustrates the flexibility of the analog section, which allows the user to gradually change the tonal characteristic of the sound while waving his hand around the D Beam.

110:Sidewalk

The Side Band Filter represents one of V-Synth unique features. This filter shapes noise-like spectrums into musical waveforms by removing all non-harmonic frequencies found in the original source. Its effect is best heard through the preset patch called [111:SBSyncd]. In this preset, a motor noise has been used as main oscillator source. This motor can be heard by turning the COSM1/P1 knob all the way up. By slowly decreasing the same parameter, the noise-like content of the original waveform will gradually dissapear until only harmonic frequencies remain. Once all non-harmonic frequencies are gone, the resulting sound can be played through the whole keyboard like any other musical instrument. The distinctive sound of [110:Sidewalk] has been achieved by this same particular filter and the COSM1/P1 knob can be used once again to increase or decrease the non-harmonic content of the filters output. In order to discover which sample has been used to create the rhythmic feel hidden behind the patch, grab the COSM1/P1 potentiometer and put all non-harmonic frequencies back into the sound! Arent you surprised of what you now hear?
Hans-Joerg Scheffler 240:OTODAMA-East meets west
The V-Synth is a great tool to create ethnic type sounds out of rather conventional sources like a piano multi sample. Otodama means the spirit of sound and I felt inspired by the name to use the piano waveform and see if I can turn it into a different instrument. Oscillator one plays the sample in reverse and creates the body of the new sound. Try setting the time to -39 and the envelope amount to a value of 63 to change the character of that OSC into a more brasslike tone. OSC2 uses another piano wave and provides the attack of the sound. Time is set to zero to freeze the waveform and the envelope modifies that so we get a very fast attack followed by a frozen sustain. Try experimenting with setting time to -63 and change the envelope shape and amount. Use the formant to control the amount of overtones in the Sound Designers Comment sound.

T i p s

What is the resampling function?
The V-Synth is able to resample sounds from its internal memory. This is called resampling. In actuality, the same sounds that are output from the rear panel MAIN OUT L(MONO), R jacks are sampled. Benefits of resampling: 1. You could make complicated and elaborated sound synthesis by applying the modulation and effect processing to a sound and then applying a different set of effects and modulation to the resampled version of the sound. 2. You could sample multiple samples played simultaneously, and record them as a single sample. You can conserve voices in this way. 3. You could sample a phrase using arpeggiator, or a passage you played with modulation using D Beam controller and/or TimeTrip Pad, and record it as a single sample. You can play it as a single phrase. Because resampling is done within the digital domain, there is no loss of sound quality.

O t h e r

Preset Patches
One of the prominent features of the V-Synth is that you can create sounds in a way that was not considered possible on digital synthesizers. Whats more, you dont need to have any prior knowledge of synthesizers of allall you need to do is turn a few knobs and move a few sliders and youll be creating sounds in real time that are sure to surprise and thrill your audience. Even though this instrument is totally digital, youll be able to experience the pleasure of creating sounds in the same way that those who used to use analog synthesizers did. And in fact, this instrument was designed specifically to allow users to rediscover the traditional sound creation processwith the help of the latest DSP and sampling technologies, of course. Most of the preset patches contained within the V-Synth were designed in a way that highlights the features mentioned above. Since the sampler found on the V-Synth is quite comprehensive, with features rivaling even those of a dedicated sampler, any real-life sounds you need can be readily acquired simply by sampling them. In recent years, developments in sound design have focused on analog modeling and the reproduction of existing, real-life soundsall the while keeping step with the advances in digital technology that have occurred in every sphere. While being part of such trends, the V-Synth represents a new departure because it allows the user to easily and freely create any sound imaginable, since it is a fully digital instrument.
Enabling/Disabling the Beep Tone
You can specify whether or not a beep tone will be heard when you touch a valid point on the touch screen. At the factory setting, the beep tone will be sounded. 1. 2. In the upper right of the screen, touch triangle. A drop-down menu appears. In the drop-down menu, touch <Beep> to add a check mark. With this setting, the beep tone will be heard. If you perform the same procedure once again, the check mark will be cleared and the beep tone will no longer be heard. Changes you make to the System function settings are only temporarythey will be discarded as soon as the power is turned off. If you want to keep any changes youve made in the system settings, you must save them in internal memory. 3. 4. 5. 6. Press [MODE]. The V-SYNTH MODE MENU window appears. Touch <SYSTEM>. The SYSTEM Com Master screen appears. In the Powerup Mode area, select the <Last Set> tab. Touch <Write>, located in the lower right of the screen.

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