Factory Reset Procedures

Caution: Many of these procedures will erase all memory in the unit. Make sure you have backed up any data you wish to keep before performing these procedures! If a unit is not listed here, it does not have an initialization procedure that is user-executable.
Model A-30/33/37 A-50/80 A-70/90/90EX A-220 A-300PRO A-500PRO A-500S A-800PRO A-880 AD-8 AP-700 AT-Series AX-09 AX-1/7 AXIS-1 AX-Synth
Procedure Power on while holding WRITE. (Hold for 15 seconds) While holding the first, third, and fourth buttons under the display, press CHANNEL. Then press any cursor button Power on while holding down MANUAL, then press ENTER Power on while holding B and MEMORY Hold ACT and <, use the VALUE dial to select FACTORY RESET. Press ENTER twice. Hold ACT and <, use the VALUE dial to select FACTORY RESET. Press ENTER twice. Hold MIDI CH and PGM CHANGE, press the SYSTEM key, Use the VALUE dial to select SY6, press ENTER 3 times. Hold ACT and <, use the VALUE dial to select FACTORY RESET. Press ENTER twice. Power on while holding SIGNAL and MEMORY Power on while holding WRITE. Confirm that F flashes in the display, then release WRITE. Press WRITE again Power on, then press EXIT repeatedly to get ANALYZER/FILTER screen. Cursor to MENU, press ENTER. Cursor to SYSTEM, press ENTER. Cursor to INITIALIZE, press ENTER. Use VALUE to select ALL MEMORY, then press ENTER twice (Make sure disk drive is empty.) Power on while holding ONE TOUCH PROGRAM Power on while holding FAVORITE A, B, and WRITE. Press TONE 5, then press WRITE. Power on while holding WRITE. (Hold for 30 seconds) While holding FUNCTION, press the F#0, C#2, and D#2 keys Power on while holding INC/+, DEC/-, and TONE 7(ORGAN/CLAVI), then press WRITE. Procedure Press UTILITY. Cursor to Initialize. Press ENTER. Cursor to All. Press ENTER twice Power on while holding GUITAR, MIC, and LINE. Press ENTER. Press MENU. Cursor to Factory Reset. Press ENTER three times. Power on while holding INPUT SELECT/GUITAR/BASS, MIC, and LINE. Press ENTER Press UTILITY. Press CURSOR Right to select Initialize. Press ENTER. Press CURSOR Right to select All. Press ENTER twice Press UTILITY. Cursor to Initialize. Press ENTER. Cursor to All. Press ENTER twice Procedure Press MENU. Use the DATA dial to select INITIALIZE. Press ENTER twice. Press MENU. Use the < / > buttons to select Factory Reset. Press ENTER twice. Press UTILITY. Cursor right to INIT. Press ENTER/YES. Use CURSOR buttons to select desired target to be initilaized, (GLOBAL, FX, MIXER, ALL). Press ENTER/YES twice Power on while holding WRITE. Release WRITE then press WRITE again Power on while holding DEL and REPEAT, then press ENTER Procedure With the unit on, Hold WRITE and press SYSTEM. Press ENTER twice Power on while holding the START/STOP button until F shows in the display Power on while holding the MEMORY button until F shows in the display Power on while holding METRONOME MODE and LOOP MODE. Press WRITE Power on while holding MEMORY Power on while holding WRITE. Release, then press WRITE again
Model BR-8/532/1180 BR-600 BR-800 BR-864 BR-900CD/ 1200CD BR-1600CD Model CD-2 CD-2E/2i CDX-1 CE-20 CR-80
Model D-2 DB-30 DB-60 DB-88 DB-90 DD-20
2010 Roland Corporation U.S.

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DDR-30 DEP-3/5 DJ-70/70MKII DR-3 DR-5 DR-202 DR-550/550MKII DR-660 DR-670 DR-770 DR-880 DS-330
Power on while holding the #1 button Power on while holding MEMORY NO UP (^) and DOWN (v) Power on while holding the UP ARROW button to enter test mode. Press A, press C, press S1. When finished the screen will display IC21 = OK Press EDIT. CURSOR Right to select SYSTEM. Press ENTER. CURSOR Right to select <FACTORY RESET>. Press ENTER twice Power on while holding FRET LEFT (<) and RIGHT (>), then press ENTER twice Power on while holding MUTE and ROLL. Press TAP/ENTER. Cursor to YES in the display. Press TAP/ENTER Power on while holding -1 and +1, then press START Press UTILITY, then use LEFT (<) and RIGHT (>) to select [8] INIT. Press ENTER twice Power on while holding REC and STOP / CONT. Press ENTER twice Press UTILITY, then use LEFT (<) and RIGHT (>) to select [9] F. RST. Press ENTER twice Press EDIT. Press CURSOR Right to select Factory Reset. Press ENTER twice Power on while holding REVERB and SPLIT, then press YES Procedure Press FUNCTION so it is lit. Use the FAMILY </> buttons to select Utility, then use the SELECT </> buttons to select Factory Reset. Press TEMPO >/YES twice Power on while holding WRITE Power on while holding REC/PUNCH IN Power on while holding RECORDER Press MENU. Press UTILITY then press FACTORY RESET. Press EXECUTE. Power on while holding WRITE Power on while holding REC in the DISK RECORDER section Power on while holding WRITE Press UTILITY. Use the buttons under the display that correspond to <<PAGE>> to select FACTORY PRESET. Press EXECUTE, then press OK. When the screen displays RESET COMPLETE, turn the unit off, then on Press FUNCTION and use the PAGE (<) (>) buttons to select Factory Preset. Touch the Execute icon followed by the OK icon on the display screen. Power off then on Power on while holding WRITE Power on while holding USER PROGRAM/WRITE With the unit on, press FUNCTION until RESUME shows in the display. Then press TEMPO+ Power on while holding USER PROGRAM/WRITE Performance Sets need to be loaded from disk to restore factory default settings. Insert the factory ZIP Disk into the drive and power on. Press F5 (Disk), then F1 (Load). Press PAGE ^ / v to select PRF MEM and press UPPER 1(Execute) While holding REC and PLAY, press STRINGS. Power off and then back on While holding REC and PLAY, press CHOIR. Power off and then back on Power on while holding REC Power on holding LIGHT and SELECT. Release, then press LIGHT and SELECT again Power on while holding USER PROGRAM/WRITE Power on while holding USER PROGRAM/WRITE Procedure Hold REVERB and press TRANSPOSE, hold OTHERS and use the +/- buttons to select Fct in the display. Press the Stop/Start button twice. With the unit on, press MENU. Press the UP or DOWN cursor buttons to select FACTORY RESET. Press 8 (EXECUTE) twice Press MENU. Use the CURSOR Up and Down buttons to select Factory Reset, then press F8 [Select] followed by F7 [OK]. Press F7 [OK] when completed.

Model E-09 E-10/20/30 E-35 E-36 E-50/60/80 E-56 E-66 E-68/70/86/96 E-300/500 E-600 EG-101 EM-10 EM-15/25 EM-20/30/50/55 EM-2000 ep-5/7/7MKII ep-9 ep-75/85 EQ-20 EXR-3/5 EXR-40/46OR
Model F-110 Fantom Fantom-G6/7/8

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Fantom-S/S88 Fantom-Xa Fantom-XR Fantom-X6/7/8 FC-100MKII FC-200 FG-10/1000 FP-2 FP-4 FP-5 FP-7 FP-8 FR-3 FR-5/7
Press MENU. Use the CURSOR Up or Down buttons to select Utility, then press ENTER. Press 3 (Factory Reset) Press 8 (Execute) Press EXIT. Press MENU. Turn the VALUE dial to select Utility and then press ENTER. Press F3. Press F6 Press MENU. Press CURSOR Down to select UTILITY. Press ENTER. Press CURSOR Down to select FACTORY RESET. Press ENTER twice Press MENU. Press the CURSOR DOWN button to select Utility. Press button 3 (Factory Reset). Press Button 8 (Exec). Cycle the power Power on while holding pedals #1, #2, and #8 Power on while holding the #10 pedal, then press the CTL pedal Power on while holding CLEAR and EXIT Power on while holding REVERB until Fct shows in the display Power on while holding FUNCTION Power on while holding PEDAL CONTROL Power on while holding FUNCTION Press FUNC and release. While holding PIANO, press FUNC again Power on while holding SET and ORCHESTRA. Power on while holding MENU/WRITE. Press the DATA/ENTER button Procedure Press MENU. Touch UTILITY, then touch FACTORY RESET. Touch EXECUTE Power on while holding WRITE Performance Sets need to be loaded from disk to restore factory default settings. Insert the factory ZIP Disk into the drive and power on. Press F5 (Disk), then F1 (Load). Press PAGE ^ / v to select PRF MEM and press UPPER 1 (Execute) Power on while holding PARAMETER + and -, then press VALUE + With the power off, set the GUITAR /BASS switch to match the instrument you are using. Power on while holding TUNER(STRING SEL). Press WRITE Poly Mode: Power on while holding PLAY, GENERAL EDIT, and IND EDIT. Mono Mode: Power on while holding TUNE, CONTROL ASSIGN, and DATA TRANSFER Power on while holding the #6, #7, and #8 buttons. Use the FUNCTION LEFT (<) and RIGHT (>) buttons to select 2.All Factory Preset, then press WRITE three times Power on while holding WRITE. Release WRITE, (The MEMORY indicator will flash), then press WRITE again Power on while pressing in the PARAMETER knob, then press WRITE Power on while holding Pedal #2, then press the VALUE + button. Now press EDIT/PLAY Power on while holding WRITE/COPY, then press YES Power on while holding WRITE, then press WRITE again Power on while holding Pedal #2, then press the PATCH+ button to select INI. Press EDIT/PLAY. Then press PATCH+ and PATCH- simultaneously Press SYSTEM. Press PARAMETER (>) right to select FACTORY RESET. Use VALUE to select ALL. Press WRITE twice Power on while holding the CHANNEL SELECT A and B buttons (within the PREAMP/SPEAKER section), then press WRITE Power on while holding MOD and SFX. Press WRITE Power on while holding MOD and FEEDBACKER/SLOW GEAR. Press WRITE Power on while holding the PREAMP ON/OFF and (PREAMP)TYPE/VARIATION buttons. Press WRITE Power on while holding COMP/LIMITER ON/OFF and TYPE VARIATION. Press WRITE Press SYSTEM. CURSOR right to select FACTORY RESET then press ENTER twice. Press FUNCTION. Press SELECT Left or Right to choose Utility. Press ENTER twice Press MENU. Use the CURSOR Up and Down buttons to select Utility then press ENTER. Use the CURSOR buttons to select Factory Reset then press ENTER twice. Power off and on. Press TUNER/UTILITY. Use PARAMETER LEFT (<) and RIGHT (>) buttons to select FACT Page 3

Model G-70 G-600/800 G-1000 GI-10 GI-20 GM-70 GP-16 GP-20 GP-100 GR-09 GR-1 GR-20 GR-30 GR-33 GS-10 GT-3 GT-5 GT-6/8/Pro GT-6B GT-10/10B GW-7 GW-8 GX-700
Model HP-130 HP-557 HPD-10 HPD-15
INIT. Cursor to left and dial SYSTEM, then right and dial P#100. Press WRITE, then TUNER/UTILITY Procedure Power on while holding REC Press GUIDE button until it is NOT lit. Touch PIANO, then touch FUNCTION. Use Page (<) (>) to select the function page. Touch FACTORY RESET. Touch OK While holding SHIFT, press EDIT. Press the V button until you see FACTORY RESET. Press >, then use the +/- buttons to select ALL. Press V, then press 4/OK Press SYSTEM and use the PARAMETER (>) to select FACTORY RESET SYSTEM. Use the VALUE dial to select ALL and press WRITE Procedure Press DATA TRANSFER. Use PAGE UP (^) and DOWN (v) to select FACTORY PRESET. Press YES While holding EXIT, press UTILITY. Press F6 (EXECUTE), then F5 (YES) While holding SHIFT, press INIT/UTIL. Press INIT/UTIL repeatedly to select INITIALIZE WRITE. Use the DOWN/UP buttons to select FACTORY PRESET, then press WRITE Press EDIT. Press INIT/UTIL (Bank 7) repeatedly to select Factory Reset. Press REC then press WRITE Power on while holding RECORD located in the SEQUENCER section Press UTILITY. Use CURSOR buttons to select 16 SYSTEM FACTORY RESET. Press ENTER twice Press MENU. Press PAGE/CURSOR Right to select Factory Reset. Press ENTER twice Press MENU. Use ^/v to select UTILITY then press ENTER. ^/v to select FACTORY RESET then press ENTER twice. Press MENU. Use ^/v to select UTILITY then press ENTER. Press F3 FACTORY then press F6 EXECUTE. Press MENU. Use the VALUE Dial to select 5. Utility then press ENTER. Use the VALUE Dial to select Factory Reset then press ENTER. Press Button 5 [EXEC]. Press MENU. Use the CURSOR buttons to select UTILITY, then press ENTER. Use the CURSOR buttons to select FACTORY RESET, then press ENTER. Press 7 [EXEC] to confirm. Power off then back on when finished. Press CHORUS and REVERB (above INITIALIZE) simultaneously. Press VALUE UP (^) Press CONTROL and MASTER simultaneously. Use PARAMETER UP (^) and DOWN (v) to select ALL. Press VALUE UP (^) Power on while holding NUMBER 8 (also labeled PERFORM 16 and CAPS). Press ENTER and then press WRITE Press UTILITY, then use the DATA dial to select FACTORY PRESET. Press ENTER twice Power on while holding NUMBER 8 (also labeled PERFORM 16 and CAPS). Press ENTER, then press WRITE Press VALUE to select Performance Mode. While holding VOLUME press VALUE. Use the CATEGORY/BANK dial to select Piano (LCD will display Fct). Press VALUE twice Press UTILITY. Cursor down once, then cursor right three times to select FACTORY PRESET. Press ENTER twice, then press UTILITY Press UTILITY. Press F6 twice to select MENU 3. Press F1. Then press F6. If necessary, use the VALUE DIAL to turn Memory Protect OFF and press F6 twice Press TUNE/FUNCTION. Press F5 (FACTORY), then F4 (JW RESET), then F3 (GS RESET), then F4 (YES) Power on while holding WRITE and FLUTE Press UTILITY. Use PAGE </> to select Factory Preset and press ENTER. Use PAGE </> to select ALL and press ENTER twice Procedure Press FUNCTION. Touch [System Setting]. Touch [Facotry Reset]. Touch [Execute Press the One Touch Program PIANO button. Touch FUNCTIONS. Touch FACTORY RESET

Model JD-800 JD-990 JP-8000 JP-8080 JS-30 JS-5 Juno-D Juno-Di Juno-G Juno-Gi Juno-Stage JV-30 JV-35/50 JV-80/90 JV-880 JV-1000 JV-1010 JV-1080 JV-2080 JW-50 JX-1 JX-305

Model KF-90 KR-5/7

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KR-15/15M KR-55 KR-75 KR-177 KR-277/375 KR-350 KR-377 KR-500 KR-570 KR-575 KR-577/977 KR-650 KR-770 KR-1070 KR-1077 KR-3000 KR-3500/4500 KR-4700/5000 KR-5500
Press the One Touch PIANO button. Touch FUNCTION SETTINGS. Touch FACTORY RESET. Touch EXECUTE. Touch YES Hold MIDI/FUNC and press CARD. Hold both VARIATION buttons for 5 seconds Press UTILITY and use the PAGE <</>> buttons to select Factory Preset. Press EXECUTE, then press OK In the Utility menu screen, press PAGE < (left) or PAGE >(right) to select the FACTORY PRESET page. Press EXECUTE. Press OK Press FUNCTION until it is lit. Use BEAT and TEMPO buttons to display FNC41. Press TRANSPOSE twice While holding LOAD and SAVE, press WRITE Press FUNCTION until it is lit. Use the PAGE left or PAGE right buttons at the bottom of the display until Factory Reset appears. Press FACTORY RESET next to the display. Press EXECUTE at the bottom of the display. Press OK While holding FROM and TO, press WRITE While holding PART VOLUME ACCOMP, press TRACK 2 and 4 buttons (Composer section) simultaneously. Press PART VOLUME ACCOMP repeatedly to get FACTORY SETUP LOAD in the window. After loading is complete, power off and then back on Press FUNCTION and use the PAGE left or right buttons to select Factory Preset. Touch the Execute icon followed by the OK icon on the display screen. Power off then on Press FUNCTION until it is lit. Touch [Factory Reset]. Touch [Execute]. Touch [OK] While holding LOAD and SAVE, press WRITE While holding PART VOLUME ACCOMP, press TRACK 2 and 4 buttons (Composer section) simultaneously. Press PART VOLUME ACCOMP repeatedly to get FACTORY SETUP LOAD in the window. After loading is complete, power off and then back on Press UTILITY and use the PAGE <</>> buttons to select Factory Preset. Press EXECUTE, then press OK Press FUNCTION until it is lit. Touch [Factory Reset]. Touch [Execute]. Touch [OK] While holding FROM and TO, press WRITE While holding LOAD and SAVE, press WRITE While holding EDIT, press LOAD and SAVE While holding LOAD and SAVE, press WRITE Procedure Power on while holding ENTER Procedure Power on while holding FINALIZE and ROOM ACOUSTIC While holding EDIT, press WRITE. Use PARAMETER UP (^) and DOWN (v) to select ALL, then press WRITE. When completed, press EDIT to return to Play Mode Set the SELECT switch to the OPTICAL Input setting, then power on while holding the CLOCK SOURCE button Power on while holding F3 Power on while holding F3 Power on while holding F3 Press SETUP. Press INC or DEC until Fct shows in the display. Press ENTER, then press WRITE Power on while holding down SHIFT, then press ENTER With unit on, Press SYSTEM. Press F2 UTIL. Press CURSOR DOWN until Factory Reset appears. Press F1. Press F4 Power on while holding down SHIFT, then press ENTER. Note, this procedure takes several minutes Press SYSTEM, then hold SHIFT and press keyboard pad 16. CURSOR to Factory Rest and press ENTER twice. With the unit on, press MENU. Use CURSOR to select Utility. Press ENTER. Press F4 (Factory Reset.) Press F6 (Execute)

Model LVC-1N Model M-10/16DX M-660/760 M-1000 M-BD1/DC1 M-GS64/OC1 M-SE1/VS1 MC-09 MC-303 MC-307 MC-505 MC-808 MC-909

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ME-5 ME-6/6B ME-8/8B ME-10 ME-20/20B ME-25 ME-30 ME-33 ME-50/50B ME-70 ME-X MICRO BR MK-80 MKS-50 MMP-2 MT-32 MT-90S MT-100 MT-120/120S MT-200 MT-300S MV-8000/8800
Power on while holding pedals #1 and #2, then press WRITE immediately Power on while holding PARAMETER DOWN (v) and LEFT (<), then press WRITE Power on while holding PARAMETER LEFT (<) and DOWN (v), then press WRITE/COPY Power on while holding the BANK DOWN (v) pedal, then press WRITE In Manual Mode, hold EDIT/EXIT and press PEDAL 2. Press WRITE twice. Hold EXIT and press the MEMORY v (down) pedal. Press WRITE twice. Power on while holding PARAMETER RIGHT (>) and VALUE DOWN (-), then press WRITE/COPY Power on while holding the AMP/EFFECT right button and EZ TONE. Release, then press WRITE and wait for WRITE to stop flashing in the LCD. Power off, then on again Power on while holding WRITE and BANK Left <, then Press WRITE Twice Press Pedals 3 & 4 at the same time to switch to Manual Mode. Hold down EDIT / EXIT and press the MOD pedal. Press WRITE twice. Power on while holding PARAMETER DOWN (v) and LEFT (<), then press WRITE Power on while holding UTILITY. Press YES twice. While holding WRITE, press EDIT. While holding the LEFT (<) and RIGHT (>) cursor buttons, press UP (^) Poly Mode: Power on while holding NUMBER 4 and 8. Mono Mode: Power on while holding NUMBER 3 and 7 With the unit on press SYSTEM until it is orange. Press PAGE until INITIALIZE appears. Use the left VALUE control to select the desired target to be initialized. (SYSTEM, USER PATCHES, ALL). Press ENTER twice While holding MASTER VOLUME, press RHYTHM PART. Press PART 1 With the unit on, Press SONG and [4]. Press <(Bwd) or >(Fwd) until Factory Reset is displayed. Press (+). Press > (PLAY). Turn off the power, then on again While holding STOP, press DELETE. After the display flashes ALL CLEAR, press EXECUTE Power on while holding REPEAT, SONG (blue button), and PLAY. Press FWD repeatedly, until the window reads T-13. Press PLAY, then press REC. Power off, then on Power on while holding REPEAT, SONG (blue button), and PLAY. Use the DIAL to select T-15 in the window. Press PLAY, then press REC. Power off, then on Press MENU and use the VALUE DIAL to select 13:Factory Prset. Press ENTER/TRANSPOSE twice. Power off then on Press SYSTEM, press F5 (SysInfo), press F3 (Initialize), press F5 (Yes). Please note that all factory patches need to be reinstalled via CD-ROM. Procedure Power on while holding both INSTRUMENT buttons, then press PARAM 1 Power on while holding MIDI CH and NOTE NUMBER. Power off, then back on Power on while holding both VALUE (solid < and >) buttons Power on while holding COMMAND on the left edge of the keyboard Power on while holding the two buttons under the word STANDARD Press EDIT. Press the SYSTEM key, then press the # 8 key. SY8 will show in the display. Press ENTER three times Press EDIT. Press the SYSTEM key, then press the # 8 key. SY8 will show in the display. Press ENTER three times Press EDIT. Use the VALUE knob to select SYS, then press ENTER. Use the VALUE knob to select SY16, then press ENTER. Press ENTER twice. Power on while holding OCT/PARAM Power on while holding NUMBER buttons 1 and 2. (This reloads the first BANK of settings) Press UTILITY, then press the RIGHT (>) cursor button repeatedly to select INITIALIZE. Press ENTER, then [EXEC] Press MENU. Use the ^/v buttons to select Utility then press ENTER. Use the Cursor buttons to select Factory Reset then press ENTER. Power on while holding WRITE With the unit off, turn the TYPE knob to VO-WAH. Power on while holding

Model P-55 Pad-8 Pad-80 PC-150 PC-200/200MKII PCR-30/50/80 PCR-M30/50/80 PCR-300/500/800 PK-5 PM-16 PMA-5 Prelude Pro-E PW-10

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Model R-09/HR R-5/8/8MKII R-8M R-70 RA-50/90 RA-95 RA-800 RC-50 RD-150 RD-170 RD-300GX RD-300SX RD-500 RD-600 RD-700/GX/SX RM-2 RMP-3/5 RS-5/9 RS-50/70 RSP-550 RSS-10 RV-70
MANUAL/MEMORY. (ON/OFF will blink three times, then the MEMORY indicator blinks). Release MANUAL/MEMORY, then press MANUAL/MEMORY again Procedure Press MENU. Use the ^/v buttons to select FACTORY RESET. Press REC twice. Power on while holding CURSOR PAGE and PARAM SELECT, then press ENTER twice Power on while holding ENTER and the RIGHT (>) CURSOR button, then press ENTER twice Power on while holding MIDI and ASSIGN, then press YES twice Power on while holding WRITE Power on while holding REC (WARNING: This will erase the original factory Performance settings. However, you can save them to disk before doing this procedure.) Power on while holding WRITE Power on while holding PLAY MODE and LOOP SYNC. Press ENTER. Power on while holding REC and PLAY Power on while holding WRITE Press EDIT. Use INC/DEC to select Utility, then press ENTER. Use INC/DEC to select Factory Reset, then press ENTER twice. Press EDIT. Use INC/DEC to select UtL, then press ORGAN. Press ENTER twice. Power on while holding NUMBER 1 and 8. Press DEC/YES Press EDIT. Press the RIGHT PAGE button until Initialize All is displayed. Press INC/YES twice. Press EDIT to return to Play mode Press EDIT. CURSOR down to 9 UTILITY and press ENTER. CURSOR down to Factory Reset All and press ENTER three times Power on while holding VALUE UP, SELECT and METRONOME. When rSt flashes in the display, press METRONOME again Power on while holding STOP/START. Press and hold STOP/START until reset is completed. With the unit on, press UTILITY. Use VALUE + / - to select Factory Reset. Press ENTER. Use VALUE + / - to select All. Press ENTER twice Press PATCH so it is lit. Press UTILITY so it is lit. Use PAGE/CURSOR Left or Right to select Ag5: FACTORY RESET. Press ENTER twice Power on while holding PROGRAM/PAGE UP (^) and DOWN (v), then press WRITE Power on while holding LOCK and OPTION. (The MCR-8 LED lights.) Press DEMO PROGRAM four times. Press DEVICE ID Power on while holding WRITE and DOWN. Use the UP (^) and DOWN (v) buttons to select AL. Press WRITE. Power off, then back on Procedure Power on while holding CLEAR Power on while holding REVERB and SPLIT, then press YES Power on while holding both INSTRUMENT buttons, then press ALL While holding SELECT, press both INSTRUMENT buttons. Press ALL Power on while holding both INSTRUMENT buttons, then press ALL Press UTILITY. CURSOR UP and use the VALUE DIAL to select Factory Preset. CURSOR DOWN and use the VALUE DIAL to select ALL. Press ENTER twice Power on while holding CLEAR, then press REC Power on while holding SYSTEM and PROGRAM. Use the DATA dial to select SYSTEM + PROGRAM. Press MEMORY Power on while holding SYSTEM and PROGRAM. Use the DATA dial to select SYSTEM + PROGRAM. Press MEMORY Power on while holding PARAM UP (^) and VALUE UP (^). Press WRITE. Wait three seconds and press WRITE again Power on while holding in the NUMBER/VALUE knob. Press PARAMETER LEFT (<), then dial to STANDARD mode or GUITAR mode. Press WRITE Power on while holding PRESET PATCH and USER PATCH (keep holding until TAP TEMPO Page 7

Model SB-55 SC-33 SC-50/55/MKII SC-88 SC-155 SC-880 SD-35 SDE-330 SDX-330 SE-50 SE-70 SH-01
SH-32 SH-201 Sonic Cell SP-202 SP-303 SP-404 SP-505 SP-606 SP-808 SPD-S SPD-6 SPD-8 SPD-11/20 SPD-30 SRV-330 SRV-2000 SRV-3030/D SX-700
goes out). Press WRITE. Power on while holding 1/A. Press the VALUE UP/DOWN buttons to select the desired target to be initialized. Press WRITE/EXEC twice Power on while holding PRESET and USER. Press WRITE. Press MENU, then select UTILITY. Select FACTORY RESET, then select OK and press CURSOR/VALUE. CAUTION: This procedure will erase all of the internal samples and initialize the unit: Hold down CANCEL and press DEL, then press the A/B button. Press DEL Power on while holding CANCEL, REMAIN, DEL. Press REC Power on while holding CANCEL, REMAIN, and DEL. When ini shows in the display, press REC Press SONG or PTN to display the Play screen. Press SYSTEM to display the system screen. Press F1 (UTILITY). Press F3 (INIT). Set desired target to be initialized with VALUE dial.(ALL, SYSTEM, SAMPLE, SEQ). Press F1 twice Caution: Initializing the unit permanently deletes all samples out of the internal memory. Press MENU. Press CURSOR to select SYSTEM and then press ENTER. Press F3 twice Press SYSTEM/DISK and CURSOR to 4.Init SystemParam?. Press ENTER Press SETUP. Press PAGE Right to select INIT/DELETE. Press ENTER. Use + or to select ALL. Press ENTER Power on while holding DRUMS/U1, PERC/U2, SFX/U3 and OTHERS/U4. Press OTHERS/U4 to execute the reset Power on while holding EDIT, then press COPY. Use the VALUE UP (^) and DOWN (v) to select F A L in the window. Press ALL/ENTER Power on while holding ALL/ENTER and the DOWN ARROW button. Press ALL/ENTER Press MENU. Use Knob 1 to select SYSTEM then press Button 3 [ENTER]. Press Button 2 to select the F.RESET tab. Use Knob 1 to select Factory Reset then press Button 3 [ENTER]. Power on while holding SYSTEM and PROGRAM. Use the DATA dial to select SYSTEM + PROGRAM. Press MEMORY Factory: Power on while holding WRITE and REVERB NON-LINEAR. Delay Mode: Power on while holding WRITE, REVERB NON-LINEAR and ROOM SIMULATE With the unit on, press MEMORY. Use NUMBER/ENTER dial to select FACTORY RESET. Press NUMBER/ENTER twice Press UTILITY. Use PARAMETER LEFT (<) and RIGHT (>) to select FACT INIT. Press WRITE Procedure Power on while holding the + and buttons. Release them, and then press DRUM KIT Press MENU. Use the ^/v buttons to select 9 OPTIONS then press OK. Use the ^/v buttons to select Factory Reset then press OK. Use the Dial to select All then press the SEL [v] button. Press OK. Power on while holding EDIT and START/STOP, then press START/STOP again Power on while holding SHIFT and EDIT SETUP. Press INC/+ to select ALL. Press ENTER twice Press SYSTEM. Use the LEFT (<) and RIGHT (>) CURSOR buttons to select INI, then press ENTER. Cursor to HI HAT and use the DATA dial to select ALL. Press ENTER twice Power on while holding SYSTEM and JUMP, then press ENTER Press SETUP, then F3 MENU. Rotate VALUE to select RESET. Press F3 and use VALUE to select ALL. Press F3 EXEC to execute Press SETUP, then press F3 four times. Press SETUP, then press F4 four times Press SETUP, then press F5 three times Press SETUP. Press F5 twice Power on while holding TRIGGER SELECT and EDIT, release both then press EDIT again Power on while holding MODE and PATTERN GROUP KEY A Power on while holding MODE and TRACK #1 Power on while holding TRACK WRITE and TRACK #1 Page 8

Model TD-3 TD-4 TD-5 TD-6/V TD-7 TD-7T TD-8 TD-9 TD-10 TD-12 TD-20/20X TMC-6 TR-505 TR-626 TR-707/727

TR-909

Power on while holding TRACK #1 and PATTERN #1 Procedure Power on while holding PART and EDIT Procedure Press FUNCTION/MENU. Touch [Global Parameter]. Touch [ALL] Power on while holding MELODY/INTELL, CONTROLLERS and EFFECTS With the unit on, press the FUNCTION/MENU button. Press GLOBAL PARAMETER on the touch screen. Then press ALL on the touch screen Power on while holding PAGE left and PAGE right. Press WRITE Press [SYSTEM]. Press Page [>] to display Page 3. Press F2 [F.RST]. Select ALL , then press F6 [EXEC]. Press WRITE. With the unit on press UTILITY. Use NUMBER/VALUE dial to select Factory Reset. Press NUMBER/VALUE three times Power on while holding F1, F3, and F5. Press F6 for All, F4 for Patches, or F2 for System Power on while holding PAGE (>) and PAGE (<). Press WRITE twice Press SYSTEM. Press PAGE (>) to display page 3. Press F1 F.RST. Press F6 EXEC then press WRITE. Power on while holding WRITE. Release WRITE, then press WRITE again Power on while holding MAIN, SUB and PEDAL in the HARMONIC BAR PART section Power on while holding the UPPER, LOWER, and PEDAL buttons in the HARMONIC BAR PART section. Release and re- press the UPPER, LOWER, and PEDAL buttons once again With the unit on, confirm that the VOLUME is at the MIN position, then power off. Power on while holding BAND, WRITE, and H-BAR MANUAL Press EDIT. Use the RIGHT/LEFT ARROW buttons to select UTILITY and press ENTER. Use the UP/DOWN ARROW buttons to select Factory Reset. Press WRITE, then press ENTER Power one while holding BANK, WRITE, and H-BAR MANUAL. Continue holding BANK, WRITE, and H-BAR MANUAL until all panel indicators light. Press WRITE, then press F3 to access the INIT MENU screen. Press F4 to access the COLD BOOT screen, then press ENTER Press SYSTEM, then press F1-F4 ON/OFF. Use the VALUE dial to put a check in the ALL box and press ENTER three times Power on while holding PROJECT/SYS and F1. Continue to press F1 until completed Press FUNCTION so it is lit. Press F4 [UTILITY]. Use the VALUE dial to select 9. Initialize then press ENTER. Use the VALUE dial to select 2. Factory Reset All then press ENTER. Press F4 [Execute] then press F4 [OK]. Power on while holding BYPASS and FEMALE CHOIR. Power on while holding PLAY, VOICE EXPANSION, and MIDI Press MENU. Cursor to Factory Reset then press F2 [ENTER]. Press F1 [OK]. With the unit on, press UTILITY until it is lit. If the UTILITY Menu1 screen is displayed, press PART/ >. (the UTILITY Menu2 screen will appear). Press F1 (FACTORY). Press F6(EXEC) Press FUNCTION/ENTER. Use the +/- buttons to display Utl. Press STRINGS, then press FUNCTION/ENTER twice. With the unit on, Press MODE. Touch FACORY RESET, then touch EXECUTE Press UTILITY. Touch FACTORY RESET, then touch EXECUTE. Press MODE. Touch SYSTEM. Touch INIT. Touch EXECUTE. Hold shift and press F5/. Page to INIT. Press F1. Press ENTER/YES Hold SHIFT and press F4 (Utility). Press PAGE to get to page 3. Press F1 (PrmIni). Press F5. Press ENTER/YES Hold SHIFT and press F4 (Utility). Press PAGE to get to page 3. Press F6 (PrmIni). Press F5. Press ENTER/YES Press UTILITY. Press PAGE to get to page 3. Press F6 (PrmIni). Press F5. Press Page 9

Model U-110

Model VA-3 VA-5/7 VA-76 V-BASS VB-99 VF-1 VG-8/8EX VG-88 VG-99 VGA-5/7 VK-7 VK-8 VK-8M VK-77 VK-88 VK-1000 VM-3100/Pro VM/C-7100/7200 V-Piano VP-7 VP-70 VP-770 VP-9000 VR-700 V-Synth V-Synth GT V-SynthXT VS-1880/1824CD VS-2000CD VS-2400CD VS-2480
ENTER/YES Power on while holding down the PRESET/USER button Procedure Press CONTROL and MASTER simultaneously. Use PARAMETER UP (^) and DOWN (v) to select ALL. Press VALUE UP (^) Procedure Press UTILITY. Use VALUE + and - to select INITIALIZE, then press ENTER. Use VALUE + and - to select FACTORY PRESET, then press ENTER Press UTIL/CARD and use the CURSOR buttons to select 4:FACTORY RESET. Press ENTER three times. If Write Protect is on, press DEC once, then press ENTER three times Press DISK/UTILITY, select SOUND, select PRESET, then press ENTER. Use the dial to turn Memory Protect OFF if necessary, then press ENTER twice Press UTILITY, press F6 (MENU) twice to select Factory, then ENTER. Press F6 (EXECUTE). Use the dial to turn Memory Protect OFF if necessary, press ENTER, then press F6 (EXECUTE) With the unit on, press UTILITY. Cursor down to Utility Menu 2. Cursor right 3 times to select FACTORY RESET. Press ENTER twice. If Internal Write Protect is set to ON, turn the VALUE dial to select OFF, then press ENTER 3 times While holding down VOLUME, press VALUE. Release them, then turn CATEGORY/BANK to select PIANO. Rotate VALUE until Fct shows in the display. Press VALUE Twice With unit on, press UTILITY. Press UP or DOWN cursor buttons to select the UTIL 2 page. Use LEFT or RIGHT cursor buttons to select FACTORY RESET. Press ENTER twice With the unit on, press UTILITY. Press CURSOR left until FACTORY RESET shows in the display. Press ENTER twice. If WRITE PROTECT ON is displayed, turn the VALUE dial to select OFF, then press ENTER twice With the unit on, press SYSTEM/UTILITY. Press F6 [MENU] to select menu 3. Press F1[FACTORY], then press F6 [FACTORY]. If INT WRITE PROTECT=ON is displayed, press DEC, then press F6 twice

Model W-50

Model XP-10 XP-30 XP-50 XP-60/80 XV-88 XV-2020 XV-3080 XV-5050 XV-5080

Page 10

BookII Ofcial Edition
The Quest for New Sounds Synthesis Evolves Meet the V-Synth Family
V-Synth Version 2.0 V-Synth XT V-Card
Artist Proles History & Vision
* These pictures ware taken at a Roland event in spring 2005.
*Photo by Richard Salvador, Eiji Kikuchi
Welcome to Elastic Audio Synthesis
he Roland V-Synth and V-Synth XT are unique and expressive instruments designed to give
t Roland, we believe real synthesis means manipulating audio elastically. But what exactly
players total control over their sound. With a powerful multiplex synthesis engine that combines sophisticated modeling with realtime audio manipulation, Rolands V-Synth instruments let you discover the sound within the sound using an intuitive programming interface and a myriad of realtime controllers. We call this elastic audio synthesis, and its what separates the V-Synth family from all other synthesizers on the market. Why limit yourself to traditional types of synthesis like analog modeling, FM or sampling, when you can have innite possibilities and unparalleled sonic control?
does that mean? Think of a rubber band and how it can be stretched into any shape or form. Now imagine being able to apply the same principles to any soundgiving you the exibility to stretch and re-shape it all from a single waveform or sample! The V-Synth and V-Synth XT have this power, thanks to Rolands proprietary VariPhrase technology, which enables realtime and independent manipulation of a sounds pitch, time and formant. So, for example, a traditionally short sound like the attack of a piano key can be re-shaped and stretched into a long evolving sound. Or you could re-pitch a vocal performance in real timeeven polyphonicallywhile keeping the sound completely natural.

Contents

Synthesis Evolves
lastic audio synthesis gives you the power to make any sound work the way you want it tolive
or in the studio. This book will help familiarize you with the V-Synth family and give you some helpful tips to get the most out of them. Happy programming with the V-Synth and V-Synth XT!

The Quest for New Sounds

Meet the V-Synth Family

V-Synth Version 2.0

V-Synth XT

V-Card

Richard Barbieri

Tatsuya Nishiwaki

History & Vision
V-Synth Book II Ofcial Edition
or too long now, we have allowed ourselves to believe that a synthesizer is merely a keyboard-oriented instrument whose sole purpose is to mimic pianos, saxophones, brass and so on. Even in terms of purely electronic

by Paul Nagle

Synthesis: the combining of often diverse concepts into a coherent whole or system.
sounds, our minds seem preconditioned. For example, mention Moog and the vast majority instantly think of fat basses and solos. But it wasnt always this way. Many years ago, musicians in the know would never have thought a synthesizers role was to reproduce already familiar sounds. Instead, they would have whispered in hushed tones about creating original noises previously unheard by anyone; of developing innovative performance techniques never before witnessed and they would have spoken of the vast potential that lay ahead for these electronic wonders.
and the potential to use real-world recordings as the raw material for synthesis, the future should have been more exciting than ever! And, indeed, some instruments came along that did represent very real steps forward.
ts all too easy to blame the advent of digital technology for the demise of such dreams. Simple analogue waveforms surely cant represent the end of the story, can they? When musicians were given hundreds of realistic sounds
Analogue synthesizers gained popularity, offering DSP models of the oscillators and lters we knew already, plus internal effects and far greater polyphony than their analogue counterparts. However Virtual Analogues came in very conventional packages, mostly recycling what was already familiar; they didn't aim to establish fresh sonic palettes and broke no new ground in terms of performance control. These were the qualities that rst aroused my interest in synthesis and electronic music; I had almost given up hope of seeing a synthesizer that offered them again. Similarly, whilst I enjoyed working with PCM-based synths, I was frustrated at how little you could interact with the samples. Typically you could lter them, change their envelopes or add effects, but in most cases, this didnt really feel like synthesis at all. And if your PCM synth was lled with a range of samples you didnt like, you were stuck with them: precious memory wasted that could have been far better employed.

L TimeTrip Pad

nce you start to explore, you quickly reach for the performance controls. The TimeTrip pad
ure, you can program traditional sounds, but these are often just the starting point because the V-Synth can stretch those sounds until they are completely unrecognisablebut do it in a way that makes sense musically.
With this synth in your rig, you can produce lush, complex, evolving pads complete with wavesequence-like effects. You can construct searing, alien solo patches one minute and traditional synthesizer basses the next. If you want to process external audio, try mapping up to sixteen different zones on the keyboard, each with a different COSM processor and then select the signal processing you need at the touch of a key.
for instant access (a homage to the JD-800?). Pair this with a superb touch-screen (you can even change parameters with your nger!) and you have a user interface second to none. I cant emphasise
nlike most of its PCM-based contemporaries, the V-Synth boasts a full complement of knobs
the TimeTrip pad they are fully assignable to a variety of parameters. Ive witnessed their effect on an audience personally and feel they nally give me the power of expression Ive been searching for. For way too long, we synthesizer players have been regarded as just keyboard players, restricted in performance gestures and expression. Not any more. With my V-Synth, I feel liberated at last!

L Twin D Beam

* D Beam light has been colored for illustrative purposes only. Actual infrared light beam is invisible.
ext consider the twin D Beams. These are a revelation and highly responsive. Like
enough how cool it is to be able to grab dedicated controls at any time during a performancefor example to alter a samples playback speed without affecting the pitch. Or to non-destructively change the structure that determines signal ow. And at all times, those envelope sliders are available to offer lightning-fast adjustment to the overall shape or, when navigating via the touch-screen, they take over any on-screen envelopes. Its little details like this that remind you of the care and thought that has gone into the design of this instrument.

L Touch-screen

inally, in order to encompass the widest range of possibilities, Roland also included some standard waveforms. There are guitars and pianos, strings, drums, woodwinds and so on. All are ready to be played as youd
expector transformed by VariPhrase technology into something that could only originate in the magical realm of the V-Synth!
ince Ive owned a V-Synth, Ive used it extensively both live and in the studio. Ive programmed eerie,
whispering arpeggios or employed its effects section to create endless sound-on-sound loopsall perfectly synchronised to MIDI clock. Ive taken guitar riffs and torn them apart to produce weird chimes and metallic roars; Ive sampled my old monosynths such as the SH-101 and produced massive phasing pads or acid basslines. And Ive used many, many vocal recordings to add unique character to my tracks; the V-Synth lets me impose alternative melodies and harmonies onto entire phrases.
Currently there are three major Roland product categories:
1. Synths that are designed primarily for making/playing new sounds: V-Synth, V-Synth XT 2. Synths that are designed primarily for performing and composing music:
Fantom-Series Workstations

JP-8000

3. Synth designed primarily for multipurpose and easy to use: JUNO-D etc
JD-800 Fantom XP-80 JV-1000 U-20 D-50 RS-5 Fantom-S

Jupiter-8

Juno-60
The V-Synth may seem like a mutant, but actually, it is not. It is the evolutionary result of Rolands long journey in music technology and is based on solid developments dating back for years.
s you can see, the V-Synth boasts a vast selection of synthesis tools just waiting to be exploited. Having read my enthusiastic text so far, you might be under the impression that Roland have made a radical departure from their range of products.

SH-1000

ts worth remembering that Roland was the rst manufacturer to sell a synth in Japan. Starting from VCO origins, the company progressed to DCO, digital synthesis such as LA (Linear Arithmetic synthesis rst employed on D-50), PCM, User Sampling,

Three Categories

12 V-Synth Book II Ofcial Edition

Roland Synthesizer History
COSM (Composite Object Sound Modeling), and VariPhrase. And, as each new technology emerged, new product ranges arose. Thus we had the SH synths, Jupiters, JUNO/JX, D-Series, JV/JD/XP/XV-Series, and VP-9000 etc, each representing monophonic/duophonic VCO synths, polyphonic VCO synths, DCO synths, LA synths, PCM synths and workstations with massive Wave ROM capacity (especially when you consider the SR-JV80/SRX Series Wave Expansion Boards), and VariPhrase processing etc.
s the technologies steadily mature, their potential applications increase and diversify. Accordingly, Roland have begun to create product series whose names are based not on the underlying technology but on the character of each product.
Synthesis Evolves (continued)
and manipulate them in ways otherwise impossible.
nce upon a time, synthesizers were seen as a way to make thrilling new sounds. Dont let that spirit die! The V-Synth is designed for the adventurous, for those who wish to explore and to weave sonic tapestries
to coincide with the release of the XT, a new V-Synth operating systemversion 2.0is released. This upgrade includes a four-track Step Modulator providing stepped or smoothed automation of four parameters in any zone of your choice. All of the tracks run in sync with the current clock source. For maximum exibility, their rates, shapes and lengths (up to 16 steps) are all set individually. Imagine four freely-assignable, synced LFOs with waveforms created dynamically by the user and you may begin to understand the power of the Step Modulator. Other features
oth the VC-1 and VC-2 are included in the V-Synth XT, a butch-looking rack/table top version of the V-Synth with a touch-sensitive colour screen, 8 assignable controls, XLR input and streaming audio via USB. Furthermore,
he exible nature of its design means the journey does not end here. Already integration with a computer
include the fabled SuperSaw waveform plus Feedback, and X-mod Oscillators. These extend the virtual analogue sound palette considerably. Rhythm-Sets now offer unparalleled drum kit manipulation and the Sound Shaper is a tool to make programming fresh sounds easier than ever before. Included with this (free) operating system update is a selection of patches created specically to demonstrate the many unique features of the V-Synth. You may even nd some of mine in there!

Build the ultimate drum kit
Sound Shaper: Programming simplied
magine having the power to put the entire V-Synth engine behind every sound contained in a drum kit. Thats exactly what you
get with Version 2.0s new Rhythm mode! When engaged, Rhythm mode divides the V-Synths keyboard into seven distinct Drum Patches, each with 12 individual sounds. Do the math and thats up to 84 different sounds that can be mapped and played backeach with independent realtime processing. Using Rhythm mode, you could, for example, create a drum kit using analog modeling for the bass drum while still being able to use a Side Band Filter on a cymbal and alter sampled loops with elastic audio processing. Powerful stuff indeed.

L Rhythm Kit Setting

o help you make sense of all this programming power, Roland has introduced a new feature called Sound Shaper. The idea is to condense the amount of parameters one uses when programming certain types of sounds.
With Sound Shaper, you can select a type of sound you wish to program (i.e. polysynth, brass, organ etc.) and the V-Synth will automatically display the parameters that will have the most dramatic effect on the soundno more searching through menus to make some simple tweaks! Just use the corresponding switches and knobs outlined on the display to edit. With Sound Shaper, even novice users can create radical new sounds with minimal effort.

L Sound Shaper Menu

L Sound Shaper
Multi Step Modulator puts your sounds in motion
with four individual tracks, each of which can be used to modulate a pre-dened parameter. Just select a track and choose what youd like to control using the Destination List. Examples include oscillator pitch, COSM lter parameters, envelope settings and effect levels. Entering data is easy using the V-Synths bank of knobs, or you can simply draw in a modulation curve using the touch screen, complete a smoothing function to make your curve sound perfect. Elastic audio synthesis means taking an otherwise still sound and putting it in motion, and the Multi Step Modulator is one of the most powerful yet intuitive ways to do just that.
L Multi Track Step Modulator
ne of the most exciting new features in Version 2.0 is the new Multi Step Modulator. It is essentially a 16-step sequencer
Elastic Audio Synthesis to the MaxIn Your Rack
or those who want it all Roland proudly offers the V-Synth XT. More than just a rackmount version of the V-Synth keyboard, this powerful new module adds a vibrant full-color display, XLR microphone input and the power of the VC-1/VC-2 V-Cards built-in! Of course, you also get the elastic audio synthesis engine that made the original V-Synth famous and all the new Version 2.0 software features. Whether used in tabletop mode or in a rack full of gear, the V-Synth XT brings fresh new sounds, powerful vocal modeling and external audio synthesis to musicians everywhere.

Unparalleled synthesis capabilities
pitch, time and formantplus powerful COSM processing that includes things like a modeled TB-303 lter and studio-quality effects. Want more? How about analog modeling with choices of synth waveforms including Super Saw and the Feedback Oscillator from the JP-8000. With V-Card technology built-in (please refer to the VC-1/VC-2 section later in this book), the V-Synth XT can also be transformed into the classic Roland D-50 L/A Synthesizer. Relive all those classic L/A sounds made popular in the early nineties while creating new sounds of your own. Alternatively, you can connect a microphone and the XT becomes a powerful vocal synthesizer that can, for example, magically transform your voice into another gender or the sound of a full-on choir. And yes, it can also do classic vocoder sounds. The search for a vintage SVC-350 is over!
L Patch Play L Patch Edit OSC1 Type
hen you consider all the different types of synthesis built into the V-Synth XT, its clear that this module is in a class all its own. For starters, theres Rolands award-winning elastic audio synthesis engine with independent, realtime control over a sounds

Impressive design

USB and analog I/O
oland designed the V-Synth XT to be as exible on the outside as it is on the inside. When rack-mounted, you can actually angle the front panel to suit your own personal taste. And using the XT is easy, thanks to a new full-color LCD screen
he V-Synth XT provides several ways of getting audio into the module for sampling or external audio processing. The onboard USB port supports full audio/MIDI streaming for easy transfers with a computer, but there are also plenty of analog inputs
with helpful menus and eight universal control knobs. The colorful touchscreen display can even function as a virtual TimeTrip Pad
ranging from a 1/4 inch input for connecting line-level instruments to an XLR mic input with phantom power and guitar Hi-Z input.
just drag your nger over it and listen as the sound evolves.
Plug in a microphone and suddenly the V-Synth XT becomes a full-blown vocal modeling tool or vocoder. Connect a guitar and youve got an arsenal of killer COSM effects to create mind-blowing tones.

or now, we hope you have a better understand of what the V-Synth family is all about, and how these amazing instruments can put the fun back into sound creation, and ultimately help you nd a sound thats all your own.

h a r d

*Photo by Eiji Kikuchi

Artist Proles

Im still learning about the keyboard.
About a year ago I was asked to try the V-Synth, Barbieri relates, and to see what my approach would be like with it. At rst it was a very different kind of synthesizer than what Id been used to. The possibilities for sound-shaping and performance were quite extensive, so this presented me with many opportunities for a deeper kind of programming.
Usually, with most synthesizers, you only have limited materials to work with, he continues, and you have to nd ways to gain expression from the synth, but with V-Synth its possible to have expression from so many sources. You can pre-program so many changes in sounds, and so many effects, so many modulation techniques, and then assign them not only to the keyboard with pressure or velocity or to the standard kind of modulation wheel or bender, but also to the D Beam and TimeTrip Pad. And now, with the VC-2 [Vocal Designer card], its possible to use the human voice, the most expressive instrument, to shape sound to nd new ways of adding dimension to your music.
The new Sound Shaper feature, introduced in the V-Synths Version 2 operating system, makes programming sounds much quicker and easier. But for those who dare to create their sounds from an initialized palette, the V-Synths depth might seem impressive and slightly intimidating. It took me a long time, Barbieri confesses, because you have to go very deep into the synthesizer to get the best results. And of course you have sampling techniques as well, so its possible to import various sound sources uses these as waveforms in combination with the waveforms in the V-Synth, again to produce more interesting sounds and effects.
Im still learning about the keyboard, and thats a good thing because you should be learning for years and years, that means the technology that youre using is well thought-out and presents so many possibilities. Sometimes it can take ve or six years to fully understand a keyboard, to fully understand the range and the techniques and the possibilities of the sound, Famous for his stylish, synthetic contributions to the band Japan (circa 197080), Richard Barbieri has remained at the forefront of progressive music as a member of Porcupine Tree, as a contributor to numerous cutting-edge albums, and as a globally acclaimed producer and sound designer. Rolands V-Synth proved to be the perfect vehicle for Barbieris sophisticated brand of music creation.

*Photo by Richard Salvador
The main thing youve got to know is what you want to create.

About the VC-2

I To begin, would you tell us about the amazing world of the VC-2 vocal designer? The thing I was most attracted by was polyphonic pitch shift. The amazing thing is that unlike vocoders until now, you can use your own voice as the carrier (*1). Your voice is output at the pitch that you play on the keyboard. And the vibrato is not just a triangle wavethe VC-2 has vibrato data thats been collected from real vocalists that are actually good. And of course you can play with the formants, so you can turn yourself into a completely different personality. The quality is good enough that you could make an entire album as a vocal alter ego. Its plenty good enough to be used as the main element in the song.
(*1) The tone and pitch that forms the basis of the sound.
I How do you feel about the response or ease of use when you sing while playing the keyboard? For example until now, when I wrote a song for a female vocalist, I would use an effect on the VS-2480 (*2) to raise the octave and format to the same range as a female vocalist when I made the demo tape, but this produced a delay of about 30 milliseconds, so I would have to sing a bit ahead of the song. I dont notice that problem with the VC-2. The delay is really minimal. Tatsuya Nishiwaki began his music career in 1987 as a member of the band PAZZ on CBS/Sony records. After the groups break-up in 1988, he began producing numerous albumsworking as a composer/arranger, and playing instruments like keyboards, drums and harmonica. His emotional style of playing and unique arrangements have won him wide acclaim not only in Japan, but worldwide. Of course the vocal timbre changes when you raise or lower the formant, but the basic character of the voice comes through, and its interesting to hear the formant change. One of the things that make a good instrument is the possibility of the instrument sounding completely different when played by someone else.
(*2) Such as P105: VT:M to Fm.
Over the years, Nishiwaki has worked with a variety of top artists as a player, arranger or producer. His credits include names such as Bobby Caldwell, Roberta Flack, Richard Marx, The Pointer Sisters, Chad Wackerman, Carlos Vega, Jimmy Johnson and Lee Sklarplus major Japanese artists. An avid user of technology, Nishiwaki has also worked as a sound designer on several Roland synthesizers including the legendary D-50 and V-Synth.
I How is the legacy vocoder? On vocoders until now, when I was trying to get a really clean sound, I always ended up getting the best result using a sawtooth wave as the carrier. But a nice thing about the legacy vocoder is that you can get a very intelligible sound even when using voice as the carrier. Even if you use a large number of voicesinstead of a single voicethe result sounds like it really is a large number of voices. I have no idea what kind of processing is being done, but I think this is really great.

I Choirs are often used in sound tracks, but Ive heard that theyre a lot of work to record. If you needed to use a choir, the only choices you used to have were to use an Uuh or Aah sample in a sampler, or call in a real choir, or do multi-track recording with two or three people. And if you needed them to actually sing original lyrics properly, they just had to sing them. But now, this is really revolutionary you can do it with just one person.
I So it used to be a choice of whether you would spend time or spend money. Whether you go the multi-track recording route or bring in an actual choir, there used to be a high threshold involved if you were going to need choral sounds. There would be non-musical considerations; you might decide this is expensive, so lets feature the chorus or, its too much work, so lets not do it. But now that its so easy, you can be amazingly creative. The moment you decide you want a choir, you can just sing! I think theres amazing potential here. Ive got all sorts of ideas.
I How would you use the VC-2 in a live situation? Recently, I set the VC-2 so that it would sound without my having to play the keyboard (*4), and tried inputting a harmonica. It was really neat. The harmonica becomes sort of a wobbly sound. Of course it wouldnt take chords, but when I played two or more sounds on the harmonica on purpose, it was almost like the VC-2 had a problem deciding what to do, and generated this weird sound that was really interesting! When I used a square wave as the carrier, the harmonica morphs into a sort of clarinet sound. It might be interesting to input a guitar or bass.
I Maybe you can try things that used to be impractical, and come up with new types of music? In this age in which were living, the most important thing is to maintain a rm sense of yourself. If you have a clear vision of the sound you yourself want to create, I think you can achieve anything. Roland synths are packed with tools that let you do just that.
(*4) AutoNoteSw (Auto Note Switch).
I So as you try various things, theres no telling what kind of sound you might come up with? The easiest to understand in a live situation is probably Legacy. Sounds with a funky character, like Talking Modulator. Sing into that one, and use a little vocal slurring. Thats probably the easiest to understand. Theres a certain trick to getting a good result, and it takes a while to get it, but its well worth taking the time to get the knack. Unlike when youre using a sampler or playback synth, you can use actual lyrics, so its two or three dimensions better. You really end up wanting to use all of the functions in the VC-2.
I In other words, weve got the tools, so now we need to develop our imagination? Im not going to say anything quite that pretentious [laughs], but when you realize that you want to do some certain thing, just open up this toolthe V-Synthand Im positive that youll nd an answer somewhere. If youve got a tool like this, you could easily be making new discoveries with it for ve years or more. I really think this is that kind of synth. When you start wondering how to get a certain result, you can usually nd it in the V-Synth. Thats been my experience until now.

I In closing, would you like to say something to those who are planning to buy a V-Synth? I think its really up to each person as to how they would use it. I know that makes it difcult! [laughs] Because there are really so many ways to use this. You can use the V-Synth to make a cake or to build the Great Wall of China. Its got all sorts of tools you can use to create completely different things. So the main thing youve got to know is what you want to create. If you know what you want to create, the V-Synth will denitely help you create it.
I It sounds like the future will be exciting. For people who want to control the visuals from their music, the music is always going to be their strength. Thats something that a VJ cant do. From the standpoint of a musician, its really more interesting if the visuals can be the slave. Once that happens, I think there will be lots of different approaches from the musical standpoint.
istory sees the Pipe Organ as an early ancestor of the modern synthesizer, as it was rst developed to emulate a variety of acoustic instrument sounds. Acoustic instrument emulation was also the underlying purpose of the rst analog synthesizers, and continued as the goal for many subsequent synthesis technologies, including frequency modulation (FM), phase modulation (PM), and linear arithmetic (LA- as found on the D-50).
The V-Synth development team

L D-50

he initial appearance of photographic media was seen by most as an innovation that snatched away the portraiture work that had been the bread-and-butter of most artists at that time. However, the subsequent
invention of time-lapse motion pictures (*2) may itself have been the impetus for the rapid appearance of expressionist painting trends such as Surrealism and Cubism; trends which went beyond the photo-realism which had become mainstream at that time.
ampling technology, which started becoming practical in the 80s, had never been (and has not become) a focus for true computer music pioneers working at universities and research institutions worldwide. This is simply

imitation has emerged.

he parallel that exists in the world of sound is inescapable. Now that sampling has made it possible to play realistic acoustic sounds, a desire to search for musical expression that goes beyond the reality of acoustic

because something as easy as recording and reproducing an acoustic source held no real academic appeal. However, and ironically, as the popularity of sampling increased (thanks largely to the advent of high-capacity digital storage media), many ingenious techniques for synthesizing sound which had been developed by research institutions, corporations, and individuals, were almost completely abandoned. Ultimately these techniques were all forms of data compression (*1) which were rendered obsolete by sampling.
hile Analog Modeling has generated interest, it is seen by some as not being terribly innovative. Analog Modeling uses digital signal processing to emulate only the pastanalog synthesizers which have now earned
the status of vintage instruments. There have been numerous attempts at signal processing techniques such as analog modeling of sampled acoustic instrument sounds. However, with the exception of sound-eld effects like reverberation, common experience has been that the more realistic and idiosyncratic a sound is, the more degraded and disappointing the results of this analog modeling process become.
reached points of both maturity and saturation. It is here where we can draw interesting parallels to the 19th century invention of photography (which, incidentally, predated audio recording), and how it inspired a revolution in visual art.
ow that semiconductor digital media has appeared, and uncompressed sampling can be used for the realistic recording and playback of any type of music, some would say that electronic musical instrument technology has

(*1) Data Compression

It may be surprising to hear that even with analog synthesizers, the essence of musical sound synthesis lies in data compression. The sawtooth and square waves produced by a VCO are conveniently similar in their static spectral structure to the sounds of string and wind instruments. Both waveforms are extremely simple geometric shapes that represent very little data thanks to their cyclical nature. Likewise, the tonewheels of an electric organ can be seen as a form a data compression technology, where the approximately-geometric sine waves molded into the gearwheels also cycle repetitively. Continuing with the VCO, the geometric waveforms it produces are not only repeated in the time dimension, but are also used over a broad range of pitches, again representing another kind of data compression. Furthermore, the VCF, VCA, and envelope generators of an analog synthesizer are simplied representations of basic musical characteristics; they produce change using a minimal amount of data. Various synthesis methods such as FM, PM, and Wave Shaping are also in essence, techniques in which a minimum amount of data is used to generate the characteristics of musical sound.

(*2) Time-lapse Motion Photography
The British photographer Muybridge took time-lapse photographs of a galloping horse. Subsequently, these photographs had an important inuence on the painters Degas, Henri Rousseau, and Toulouse-Lautrecall contemporaries of Muybridge. Until these time-lapse photos, drawings of rapidly-moving objects had been done only from imagination. With time-lapse photography, a time dimension had been added, which enabled one to move forward, backward, or even freeze an image in motion. This breakthrough revolutionized the visual arts of Muybridges time.
period, so to speak). Further, Time is the fundamental dimension in which music exists; the dimensions of Pitch and Timbre, plus the element of Rhythm, all exist in Time.
he essential character of a timbre is determined not so much by its harmonic spectrum, but by its time-variant (*3) qualities; specically how a timbres harmonic spectrum changes over time (the differential calculus of a time
of as a microscope and telescope for sound, expanding the world of audio into the micro and macro domains.
he modern invention of photography can be traced back to the microscopes and telescopes of the Renaissance, which themselves expanded the world of images to the microcosms and macrocosms. VariPhrase can be thought
VariPhrase (*4) allows these elements to be manipulated independent of the temporal dimension, effectively liberating musical sound from Time itself. The result: user-sampled material converted to VariPhrase format becomes elastic audio (*4), where Pitch, Formant, and Time can all be modied dynamically and independent of the Time dimension. With VariPhrase, musical sound (which until now had been limited to a two-dimensional plane upon which Pitch and Formant were mutually constrained) becomes a three-dimensional timbre-space that includes the time axis.
he COSM (*5) processing built into the V-Synth can be used to apply spatial modulation effects to sampled sounds. However, when V-Synth introduces COSM
ith traditional linear audio technologies (tape, sampling, signal processing) of the past, Pitch, Timbre (Formant), and Time were closely bound to one another.
to VariPhrase-processed sounds, the synergistic combination of these two technologies is capable of producing results that are totally new, and completely unique. This is because COSM is being applied to sound that has the additional benet of time-axis control.
since the invention of the analog synthesizer in the 60s; an instrument that introduced time-variant control as a method of bringing life to sterile geometric waveforms.
ot limited to merely sampling reality, V-Synth offers virtually unlimited potential for extending, and ultimately transcending reality. It may be appropriate to consider V-Synth the most signicant sound-synthesis innovation

(*5) COSM

It was both out of respect for Dr. Moog, as well as an intention to emphasize this fundamental aspect of sound, that the lters used in Rolands rst digital synth, the D-50, were called Time Variant Filters (rather than Digital Control Filters). Composite Object Sound Modeling is a comprehensive technology for creating musical sound, and is based on object-oriented concepts that are an important paradigm in computer science. With COSM, sound objects (effects, processes, waves) created using a variety of digital signal processing techniques are combined synergistically (i.e., in a way that produces a result which is greater than the sum of the individual objects). In the V-Synth, COSM provides a full complement of spatial-type effects such as Side Band Filters.
Roland Synthesizer Chronological Table

VCO 1973

Fundamental Sound Module

Song Builder

Fundamental Sound Module 1989~1991

Sound Designer

Fundamental Synth

SH-3 SH-2000

JD-800

JV-880 JW-50 JV-80 JV-30

System-100 System-700
JV-1000 JD-990 JV-90 JV-50

SH-1 SH-7

JV-35 SH-09 System-100M

JV-1080

SH-2 Jupiter-4

Sound System Period

XP-50 XP-10

promars

XP-80 JP-8000

1982 Application Period

SH-101 Juno-6 Juno-60

JV-2080 XP-60

Jupiter-6 JX-3P

JP-8080

MKS-80 Juno-106 MKS-30

JV-1010 XP-30

Juno-106S Juno-1
XV-5080 XV-3080 RS-5 XV-88

Juno-2

XV-5050 Fantom SH-32 RS-9

JX-10 MKS-70

XV-2020

MKS-50

D-50 D-550
Fantom-S Series RS-50 RS-70

D-10 D-20 U-110 W-30

V-Synth

D-5 U-220

Fantom-XR

Fantom-X Series

Juno-D
Fantom-X Audio Track Expansion for X6, X7, X8

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Copyright 2005 Roland Corporation All rights reserved. No part of this publication may be reproduced in any form without the written permission of Roland Corporation. All specications and appearances are subject to change without notice. All trademarks are the property of their respective companies. Printed in Japan May. 2005 RAM-3900 B-3 MI-NK