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.

have managed to bundle everything together logically and seamlessly, creating a synth that is way easier to use than you might expect.
The Quest for New Sounds (continued)
is a superb controller; with it you can spin through a sample, turntable-style, or freeze the waveform at any point without compromising its pitch. Reverse the circular direction with your nger and you hear the sample played backwards. Intuition soon takes over; this is fantastic for manipulating speech, drum loops, you name it. The pad may also be used as an X-Y controller, perhaps for varying pitch or modulation via each axis, or for other assignable parameters such as formant or oscillator level.

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

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!
is well realised: samples may be loaded via a USB cable or imported from a standard PC card. This card slot has interesting potential for further exploitation: consider Rolands VC-1, the rst of a range of alternate synth engine cards. With this installed, the entire instrument is transformed into the classic S&S synthesizer, the D-50. Apparently, the creation of this card involved digging in Rolands vaults for the original codeon 5-1/4 inches oppy disksand then transplanting that code into the V-Synth. Of course the sound was much cleaner and of better quality so an additional D-50 mode was introducedideal for those who still wish to hear some of the grunge and aliasing that characterised that instrument. As a sign of how our expectations have changed, Roland engineers reportedly rushed out to vomit when they heard the V-Synth truly become a D-50!

L VC-1 on V-Synth XT

he VC-1 is now joined by the VC-2 Vocal Designer, a card that transforms the V-Synth into a high quality
L VC-1 (D-50 for V-Synth/VariOS)
L VC-2 (Vocal Designer for V-Synth/VariOS)
vocoder and introduces vocal modelling for a variety of voice and choir (small or large ensemble) effects. Either use it as a traditional vocoder or play the modeled choirs from the keyboard with no need of audio input. The vast array of vocal textures at your command include Kraftwerk-style robotic speech, lush choral pads, gender-bending solo voices or growling, dissonant mumbles. And with its high-denition pitch detection algorithm, voice

New waveforms, new possibilities
o whats new? To start, theres an entirely new bank of waveforms and sounds that give the V-Synth a completely different character. Known as the V-Synth Producer Edition, these sounds were programmed
-Synth Version 2.0 also comes loaded with fresh new waveforms that further extend the sonic palette of this groundbreaking synth. There are newly sampled waves including standards like electric piano,
guitars and utes all the way to specialties like Gregorian chants (a great candidate for TimeTrip fun!) and ethnic instruments like sitar and didgeridoo. Roland even beefed up the V-Synths analog modeling sounds, adding an enhanced version of the popular Super Saw waveform and Feedback Oscillator from the classic JP-8000 synthesizer, plus an all-new X-Mod (cross-modulation) Oscillator that can create some very aggressive/distorted metallic sounds. Have a particular sound in your mind? Let the V-Synth bring it to reality.
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.

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.
Monitor sperakers (Powered)

Mixer etc.

Power amp

L E1E8 knobs

MIC MIC jack MAIN OUT MIDI IN
USB port USB cable MIDI OUT Computer PHONES Stereo headphones

L Virtual TimeTrip Pad

External MIDI device (MIDI Keyboard, Sequencer, etc.)
Powerful expansions for V-Synth
and watch as youre the V-Synth or VariOS are transformed into an entirely new instrument! Purchase the V-Synth XT, and the VC-1 and VC-2 come pre-installedno re-booting required. Its like getting two instruments free!
olands VC-1 and VC-2 V-Cards are all you need to turn your V-Synth keyboard or VariOS module into a vintage L/A synthesizer or a vocal modeling powerhouse. Simply pop an optional V-Card into the PC card slot, re-boot
own voice, youll be amazed at the results you can get with this expansion. Simply plug in your mic and let the VC-2 transform your voice into a full choira boon for lm score work! Ever wish you could sing higher or lower? Now you can just sing into the mic while playing the melody on the keyboard and listen as your voice magically follows. The VC-2, combined with the V-Synth familys elastic audio synthesis and COSM, can yield some of the most incredible sounds you can imagine. Well show you how as you delve deeper into this book.
he VC-1 is an exact emulation of Rolands legendary D-50 L/A synthesizer. Once installed, your V-Synth or VariOS will contain all the original D-50
Patchesincluding favorites like Digital Native Dance, Intruder FX and Living Calliopeplus the ability to program entirely new sounds using the original D-50 interface. Roland also includes free UniQuest VC-1 editor/librarian software, making it easy to program new sounds and manage your D-50 sound library from a Mac or PC.

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 Compared to vocoders of the past, how much of an impact has this been for you? I think legacy vocoder, analog modeling, vocal modeling, and vintage vocoder (*3) sound very natural, but are also major leaps that go beyond anything in the past. And separately from these, I think that poly pitch shift and modeling choir are absolutely different than anything else. In addition to the fact that theyre completely new and excellent, the effect is also amazingly clear, and thats something that hits everyone immediately. This is technology that gets a response of Wow! from everyone who listens to it.
(*3) Types of VC-2 algorithm.

About V-Synth XT

I What kind of potential did you sense in V-Synth XT? I like the fact that even though its a rack-mountable unit, its designed with the assumption that you can operate it in the rack. When I heard that the V-Synth was coming out as a rack-mountable version, I knew from experience that the strength of the V-Synth was that it allowed you to tweak the controllers in realtime, and I hoped that this advantage would not be completely lost in the rack-mount unit. I think the XT is a real success of good design in that theyve been able to keep these strengths of the V-Synth even in a rack-mountable unit it still makes you want to tweak the controllers. You dont want to put it in a rack somewhere far awayyou want it to be right by yourself. You shouldnt think of it simply as a rack-mount module.

About V-LINK

M Visual Synthesizer CG-8
I What are your thoughts about V-LINK? I see great potential there, but I think its still in the process of development. Its true that until now, musicians had to be the slaves to the video, but now the video can be synchronized to the musicians. But even now that its audio-visual, we still need to be able to make the images ourselves. And thats a lot of work. I think Roland has to create hardware like the V-Synth that let us create our own visuals.
I So you found it a convincing concept? On its own, Vocal Designer is enough to make me want it. And its also got the V-Synth and the D-50. And you can even switch between these without powering-off. I think its a great value. Even if youve already got the V-Synth, its still worth buying the XT. You can use the V-Synth as your master, and since the TimeTrip pad and the D Beam are already supported, its really convenient. The V-Synth is version 2, and you can use Vocal Designer on the XT to create patches. Of course if you dont have the V-Synth, its also worth getting the XT. As I said earlier, its got all the knobs and controllers, so you have plenty of control to create sounds just with the XT. I think its worth having both.

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
ariPhrase not only allows time to be compressed or expanded, it can also be reversed, or even halted completely. This new freedom on the time axis means that the texture (micro-structure) and architecture t is the sincere wish of the V-Synth design team that this instrument, which grants control of the time dimension that is the foundation of musical sound, will inspire creative artists to embark on a slightly risky (and thrilling!)
(macro-structure) of sound can be scrutinized or overviewed, not unlike a time-lapse motion picture.
voyage of temporal travel through timbral space. As it always has been (and always will be), the true creators are the artists and users; the instrument developers are merely providing potential.

(*3) Time Variant

In most acoustic sounds, there is a tendency for the overall amplitude following the onset to diminish over time, and for higher overtones to attenuate even more rapidly. Data compression was also applied to emulate this natural characteristic of acoustic sound. In the 1960s, Dr. Moogs invention of the analog synthesizer was a revolution in electric and electronic musical instruments. In Dr. Moogs designs, the application of a voltage controlled lter (VCF), amplier (VCA), and the systematic use of envelope generators to automatically control the time variant changes in harmonic structure, was a breakthrough. Additionally, the exponential envelopes created by charging and discharging a capacitor were themselves another type of data compression that effectively imitated the characteristics of natural acoustic sounds.
(*4) VariPhrase/Elastic Audio
On a tape recorder as on a conventional sampler, changing the playback time will also change the pitch and timbre. VariPhrase is a collective entity comprised of musical knowledge and multiple sophisticated technologies. One such component technology is an exquisite method for breaking-down a musical sound into minimal units called grainsthe smallest possible fragments of sound that still retain their own timbral character. Through this component technology, once a sound is broken down, the resulting grains can be reassembled in ways that allow Time to be modied without affecting Timbre or Pitch. Conversely, Pitch or Timbre can be modied independently without affecting Time. Phrases sampled and processed using VariPhrase become elastic audio, within which the dimensions of Pitch, Time, and Timbre can be modied with complete freedom.

(*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

Visit us online at

www.Roland.com www.V-Synth.com
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

[SHIFT]

This button is used in conjunction with other buttons to execute various functions.

[MODE]

Opens the Mode Menu window.

11 Numeric Key

When the cursor is at an input location, you can use the numeric keypad to input parameter values (p. 27). The keypad can also function as a Patch Palette that lets you select your favorite patches (p. 61).

[CTRL]

This accesses the Control screen (p. 63). In the Control screen you use the Time Trip function (p. 69) which lets you apply various effects to the sound by touching the display. Additionally, this is also used for the External Control function (p. 63), which lets you use the E1 E8 knobs to control an external MIDI device; for the V-LINK function (p. 71), which lets you control a video device; and for switching the Arpeggio function on/off (p. 64).
12 LCD CONT (LCD CONTRAST) Knob
Adjusts the display contrast. (p. 22)

[EXIT]

Return to the PLAY screen, or close the currently open window. In some screens, this causes the currently executing function to be aborted.

13 Display

This displays information regarding the operation you are performing.

[DEC], [INC]

This is used to modify values. If you keep on holding down one button while pressing the other, the value change accelerates. If you press one of these buttons while holding down [SHIFT], the value will change in bigger increments. (p. 26)

Reference_e.book 16

] (Cursor Buttons)
By holding down the [SHIFT] key and using the cursor left/right ([ ][ ]) keys you can switch the zone displayed in the upper right of the PATCH PLAY screen or EDIT screen (p. 99).
Moves the cursor location up/down/left/right. (p. 25)
In the PATCH PLAY screen (p. 60), you can hold down the [SHIFT] key and use the cursor up/down [ the function of the E1E8 knobs. ][ ] keys to alter

POWER Switch

Press to turn the power on/off. (p. 21, p. 54)

fig.01-10

[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].

fig.01-11

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.01-12

Reference_e.book 27
Using the numeric keys for input
Using the numeric keys to switch patch numbers
When the cursor is located at a patch number, you can use the numeric keys to switch patches.
The numeric keys also function as the Patch Palette (p. 30).
Input a numeric value in the input value area. [0]-[9] buttons: Input the patch number. [BANK-], [BANK+] buttons: These function as ENTER.
Using the numeric keys to input parameters
When the cursor is located at an input location, pressing a numeric key will sometimes make a list of parameter values appear. You can also display the list by pressing the VALUE dial (ENTER) instead of the numeric keys.
When you can input a numeric value
Use the numeric keys to input a value in the input field. [0]-[9] buttons: Input numeric values. [BANK-] button: Reverse the sign of the input value. [BANK+] button: Clear the input value. [KEY PAD] button: Return the list to the middle.
When you can input directly
The input area will blink SELECT. Press a button to input a value directly. From the top of the list, the items correspond to the [0]-[9] buttons. The corresponding buttons will light. The current value will blink.

Reference_e.book 28

Try Out the Sounds
Selecting Patches and Playing Sounds
The V-Synth XT comes with a wide range of onboard sounds, including single tones called patches. Lets select a few patches to get an idea of the variety of sounds available with the V-Synth XT.
Make sure the PATCH PLAY screen is displayed.
If the PATCH PLAY screenshown belowis not displayed, press [EXIT] once or twice until the PATCH PLAY screen appears.

fig.Q-06.e

Patch number
Press the [PREVIEW] button to audition the patch.
To change to a different patch, touch the patch number to highlight it, and then turn the VALUE dial or press [INC] [DEC]. At this time you can switch more rapidly by holding down [SHIFT] while you perform these operations.

fig.Q-06a

You can also touch the patch number display area and use the numeric keys to switch patches (p. 27).
Alternately, you can touch the patch number and drag your finger up and downor right and leftto change patches.

Reference_e.book 29

Playing a Patch on the V-Synth XT from an External MIDI Device (MIDI Keyboard)

Load Save

The factory-set waves can be restored using the Factory Reset operation (p. 147) even if they have been erased.

Computer

Preset Memory
Preset memory contains the state of the internal memory when the unit is shipped from the factory. If, after erasing the internal memory, you once again want to use the factory-set patches or waves, you can either perform the Factory Reset operation or use Disk mode to import the factory data from preset memory.

Project

The largest unit of memory used by the V-Synth XT is the project. A project contains up to 512 patches, up to 999 waves, and various system settings. The V-Synth XT uses one project at a time.

Internal Memory

The V-Synth XT has internal memory that stores a project. When the V-Synth XT is shipped from the factory, this memory already contains patch and wave data, but you are free to overwrite any of this. You can always restore the memory to the factory-set contents (Factory Reset).
If you connect the V-Synth XT to your computer via a USB cable, projects, patches, and wave data in the V-Synth XTs internal memory or on a memory card can be saved (backed up) to the hard disk or other media on your computer. In addition, wave data created on the V-Synth XT can also be used by software running on your computer, or wave data created by your computer software can be used on the V-Synth XT.

Overview

Reference_e.book 58
Basic Operation of the V-Synth XT
Changing Operating Modes ([MODE])
The V-Synth XT has nine operating modes: Patch mode, Rhythm mode, Sample mode, System mode, Disk mode, USB mode, Calibration mode, Factory reset mode and Demo mode. To access the desired V-Synth XT feature, you must select the appropriate mode. Heres how to change modes. 1. Press [MODE].
Patch Mode (p. 60, p. 72)

fig.PATCH_50

In this mode you can play a single patch from the keyboard, and edit patch settings.

Rhythm Mode (p. 102)

The V-SYNTH XT MODE MENU window appears.

fig.MODE_50

In this mode you can play a rhythm kit from the keyboard, and edit rhythm kit settings.

Sample Mode (p. 104)

fig.SAMPLE_50
2. Touch the touch screen to select the desired mode. When you select a mode, the screen for that mode appears. The currently selected mode is shown in the upper left of each screen.

Assigning the Category of a Patch (p. 74)

Reference_e.book 63

When using a patch for a naturally monophonic instrument such as sax or flute, it is effective to play in mono. 1. Access the PATCH PLAY screen (p. 60). 2. At the bottom of the screen, touch <Com>. 3. In the left side of the screen, touch the <General> tab. The Patch Edit Com General screen appears.

fig.02-07_50

On the panel, press [CTRL] to access the Control screen.
The Control screen provides the following functions.
< External Control >
If this button is on, the E1E8 knobs will control an external MIDI device. The MIDI controller number that is transmitted when you turn the E1E8 knobs is specified by E1 - E8 ExtCC (E1E8 External CC) (p. 129).
4. In the Mono/Poly field, touch < Now you can play in mono mode.
Creating Smooth Pitch Changes (Portamento)
Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key. By applying portamento when Mono mode is selected (see the preceding item), you can simulate performance effects such as slurring on a violin. 1. Access the PATCH Edit Com General screen (p. 63).

< V-LINK >

If you turn this button on, the V-Synth XT will be in V-LINK mode, where it can control video equipment (p. 71).

< Time Trip Pad >

This lets you use the Time Trip Pad function (p. 69) which allows you to apply various effects to the sound by moving your finger over the pad displayed in the screen.

< Arpeggio >

This switches the Arpeggio function (p. 64) on/off.
2. In the Portamento field, touch the on/off switch to turn it ON. Youre ready to play portamento. 3. When you want to change the portamento setting, edit the following parameters in the screen of step 2. Mode (Portamento Mode), Type (Portamento Type), Time (Portamento Time), Time Velo Sens (Portamento Time Velocity Sens) See p. 79 for each parameters functions.
Playing Single Notes (Mono)
Making Controller-related Settings (Control)

Reference_e.book 64

The V-Synth XT 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. Access the PATCH PLAY screen (p. 60). 2. Press Arpeggio <ON/OFF> to make the indicator light. The arpeggiator is turned on.

V-Synth XT lets you divide the keyboard into as many as sixteen zones, with each zone playing a different sound.

fig.03-31_50

The zone is shown in the upper right of the PATCH PLAY screen or EDIT screen. To move between zones, hold down [SHIFT] and use the left/right cursor ([ ], [ ]) keys.
The following patch settings are applied in common to each of the individual sounds that are divided by zone. Common group settings (except for Structure Type) Effect group settings for MFX, Chorus, and Reverb type, and effect settings
Use this parameter to select from among the 10 available reverb. For details on reverb parameters, refer to Reverb Parameters (p. 186). Value: 00 (Off)10 In this setting screen, you can edit the parameters of the reverb that is selected by the REV Type setting. For details on the parameters that can be edited, refer to Reverb Parameters (p. 186).
Splitting the Keyboard to Play Different Sounds (Split)
A patch that contains settings to play different patches in each keyboard zone is called a split patch. Heres how to create a split patch.

fig.11e

An indication of the note you play
When you touch <List>, the Reverb List window will appear, allowing you to select the reverb from the list.

Reverb Switch

Switches the Reverb on/off.
An indication of the zone for the note you play
1. Access the PATCH PLAY screen, and select the patch whose settings you wish to modify (p. 60).
If you want to create all your patches from the ground up, rather than the patches that have already been prepared, carry out the Initialize operation (p. 73).

Reference_e.book 100

9. After you have specified the sound that you want to play in zone 01, next specify the sound for zone 02. The zone is shown in the upper right of the PATCH PLAY screen or EDIT screen. To move between zones, hold down [SHIFT] and use the left/right cursor ([ ], [ ]) keys.
10. Specify the sound that you want to play in zone 02. In this way you can create a patch that plays different sounds on either side of the split point you specified in step 6. 11. To save the patch you created, perform the Write operation (p. 74).
3. In the pulldown menu, touch <Zone>. The PATCH Zone window appears.

fig.03-32_50

4. In the lower part of the screen, touch <Split>. A window like the following appears.

fig.03-33_50

5. Touch <01>. Zone 01 will be selected, and the top note number of zone 01 will be displayed in the upper right of the screen. 6. Specify the split point between zones 01 and 02. Either turn the VALUE dial or use [INC][DEC] to specify the note number.

Or, in the upper right of the RHYTHM PLAY screen, touch < MENU >, and then touch < SETUP > in the pulldown menu. The Setting window will appear.
In this screen, the level, panpot, and MFX (multi-effect)/chorus/ reverb send levels for each note can be conveniently edited together. [ ] buttons: move between notes.
Level, Pan, MFX, Cho, Rev knobs: Edit the level, panpot, and MFX (multi-effect)/chorus/reverb send levels of each note. Level, Pan, MFX, Cho, Rev tabs: Switch the on-screen graph between level, panpot, or MFX (multi-effect)/chorus/reverb send levels. If you turn on the < Select Note by KBD > located at the bottom of the screen, the note you play on the external MIDI keyboard will be selected.

Reference_e.book 104

In this chapter, we will explain the procedures for: Sampling (p. 104) Editing samples (p. 113) Converting samples so the VariPhrase function can be used (Encoding) (p. 118) For details on loading samples, refer to p. 133.
Applications of Each Template
The preset templates cover different input settings and pre-effect types. Sample in mono from a mic. Connect a mic to the front panel MIC jack. Line Sample in stereo from a CD. Connect your CD player to the rear panel INPUT jacks. Coaxial Sample a digital signal. Connect your audio device to the rear panel COAXIAL IN connector. Resampl Play a sample on the V-Synth XT and sample the result. This is called resampling. For details on resampling, refer to p. 109. Comp Use the compressor pre-effect. The sample will be recorded from the rear panel INPUT jacks (or from the front panel MIC jack). Limiter Use the limiter pre-effect. The sample will be recorded from the rear panel INPUT jacks (or from the front panel MIC jack). MIDI Start sampling when a sequencer start (system realtime message: FA) is received. The sample will be recorded from the rear panel INPUT jacks (or from the front panel MIC jack). USB (XT) Sampling from a PC USB Audio. Mic

Sampling

Settings Before You Sample (What Is a Template?)
A sampling template is something that holds a collection of settings for sampling (the setup settings, pre-effect settings, and metronome settings described below). You can store eight different sampling templates. When you sample, you will always select one of these eight templates. With the factory settings, eight sampling templates are preset. For details on modifying the settings, refer to Sampling Procedure (p. 105).

(LOOP)

This switches loop playback on/off. Turn this on if you want the loop region specified in the Loop FWD/BWD screen to play repeatedly.

(PREVIEW)

This plays the sample. During playback, you can touch this once again to stop playback.

(Adjust)

In the Loop FWD/BWD screen, the Adjust function moves the Loop Start, Loop End, or Current locations to the nearest of the following locations 15. In edit screens, the Adjust function moves the Edit Start, Edit End, or Current locations to the nearest of the following locations 17. 1 Sample Start location 2 Sample End location 3 Loop Start location 4 Loop End location 5 Current location 6 Edit Start location 7 Edit End location Move the cursor to the point that you want to adjust (Start, End, or Current), and touch or. Touching will move the point toward the left, and touching will move it toward the right.
Functions Common to All Editing Screens
Start, End, and Current Settings
The V-Synth XT uses seven terms to indicate locations within a sample. Sample Start: Beginning of the sample Sample End: End of the sample Loop Start, Loop End: When the Loop Play is ON, the region between these two points will be played repeatedly. Edit Start, Edit End: Editing will affect the region between these two points. Current: This is the currently selected location of the sample. Move the cursor to Start, End, or Current to select the point that you want to specify. Then specify the location by turning the VALUE dial, by using [INC][DEC], or by dragging your finger over the sample in the screen.
The region of the sample between Edit Start and Edit End is displayed with the color inverted. When Current = Loop/Edit Start, moving Loop/Edit Start will cause Current to change as well.
In the SAMPLE Encode screen (p. 118), this will move the Current location to the closest event.
It is not possible to move Loop/Edit Start to the right of Loop/ Edit End.
For example, if you wish to touch <PREVIEW> to check whether the results of your editing were satisfactory, you can jump the current location.
In some cases nothing may happen, due to the relation between points or the Length Lock setting.

Reference_e.book 115

(Zero Cross Search)
This function searches for locations where the sample has a value of zero. When setting loop points or when cutting the sample, you should search for locations where the sample value is zero so that noise is not heard when you play the sample. Move the cursor to the point (Start, End, or Current) for which you want to find a zero-cross point, and then touch or. Touching will search toward the left, and touching search toward the right. will
Editing the Specified Region of the Sample
You can specify a region of the sample, and edit the region by cutting or copying.

Basic Operation

1. Access the SAMPLE Edit screen (p. 113). 2. Specify the region that you want to edit (Edit StartEdit End), or the Current location (p. 114). 3. Touch < MENU> in the upper right of the screen. A pulldown menu appears.

Specifies whether System Exclusive messages will be received (ON) or not (OFF). Value: OFF, ON

USB-MIDI Thru Sw=ON

Tx Edit (Transmit Edit Data Switch)
Specify whether changes you make in the settings of a patch will be transmitted as system exclusive messages (ON), or will not be transmitted (OFF). Value: OFF, ON

Clock Out

Specifies whether MIDI clock will be transmitted (ON) or not (OFF). Value: OFF, ON

Reference_e.book 126

Part MIDI

fig.05-04_50

Audio I/F
Part116 Rx Sw (Part 116 Receive Switch)
For each part, specify whether MIDI messages will be received (ON), or not (OFF). If this is ON, you can play that part from an external MIDI device. Normally, you will select ON only for part 1 which you play from the keyboard. Value: OFF, ON

MIC Jack Switch

Specifies whether the front panel MIC jack will be enabled (ON) or disabled (OFF). Value: ON, OFF

INPUT Jack Switch

Specifies whether the rear panel INPUT jacks will be enabled (ON) or disabled (OFF). Value: ON, OFF
Part 116 Rx Ch (Part 116 Receive Channel)
Specifies the MIDI receive channel for each part. Value: 116

INPUT Jack Gain

Sets the gain of the rear panel INPUT jacks. Value: 0db, +12db Front Panel

MIC Jack MIC Sw

Hi-Z NORMAL PHANTOM
Performance data directed to the V-Synth XT itself will be transmitted on the channel you specified for part 1.

Input Knob

PEAK LED
In Rhythm mode, you can use eleven parts (non-rhythm parts) simultaneously. For this reason, the Part MIDI setting functions as follows. Part 1: The MIDI receive channel of the Rhythm part Part 212: Other parts (non-rhythm parts) Part 1316: Not used
INPUT Jack INPUT JACK Gain INPUT JACK Switch

MIC JACK Switch

Sound Generator

Reference_e.book 127

USB Audio Input Source
When the V-Synth XT is connected via USB to your computer, this specifies the source of the USB audio that will be output to the computer. Value: OFF, MAIN, ANALOG
Controller Settings (Controller)

fig.05-05_50

USB Audio Input Monitor Sw
Specifies whether USB Audio Input Source monitoring will be sent from the V-Synth XT's MAIN OUT (ON) or will not be sent (OFF). Value: ON, OFF
When the V-Synth XT is connected via USB to your computer, this specifies the output destination of the USB audio that is received from the computer. Value: OFF, MAIN, DIR
Patch Tx Ch (Patch Transmit Channel)

Loading a Project from Disk into the V-Synth XT (Load Project)
This function loads a project on disk into the V-Synth XTs work area. If you want to cancel the procedure at this point, touch <CANCEL>. 5. Touch <EXECUTE> to execute the operation.
Be aware that if patches created on a V-Synth with a system version older than 2.0 (i.e., versions 1.00 through 1.51 of the system) use preset PCM waves, those patches will not play correctly on version 2.0.
Saving Project on Disk (Save Project)
Save the project in the work area to disk. 1. Access the DISK UTILITY MENU screen (p. 131). 2. Touch <Save Project>. The Disk Save Project screen appears.
When a project is loaded, work area will be rewritten. If work area contains important data, you must save it to disk before you load other data. 1. Access the DISK UTILITY MENU screen (p. 131).

Reference_e.book 133

3. To save to internal memory, touch <Int>. To save to memory card, touch <Card>. Then select the save-destination project.
2. Touch <Clean Project>. The DISK Clean Project screen appears.

fig.10_50

If you want to save the data as a new project, touch <New Project>. The PROJECT Name window will appear. Assign a name to the new project. 4. Touch <OK>. A WARNING window like the following appears.

fig.06-07_50

3. Touch the check boxes to choose what the Clean Project command is to do. Keep unused user waves.: Check this box if you want to keep all the waves youve sampled or imported from an external device (user waves). Keep patch numbering.: Check this box if you dont want patches to be renumbered to fill up any unused patch numbers. 4. Touch <EXECUTE> to execute the operation. If you want to cancel the procedure at this point, touch <CANCEL>. 5. Touch <EXECUTE> to execute the operation.
Importing Individual Patch or Wave Files (Import Files)
You can import individual patch or wave files or folders into the work area of the V-Synth XT.
Delete Unneeded Files (Clean Project)
This lets you clean up the contents of the disk by deleting files that cannot be used by the V-Synth XT or waves that are not used by patches. Executing this operation can increase the free space available on the disk. This operation can also be used to renumber the patches/waves so that any numbers that werent being used are put to use, thus bringing up the slack. * Patch numbers (493512) used by Rhythm mode (p. 102) will not be renumbered.
If the current project is in Internal memory, all internal memory will be cleaned up. If the current project is on a memory card, only the current project will be cleaned up. 1. Access the DISK UTILITY MENU screen.
The data will be imported into unused patch/wave numbers. Importing is not possible if there are no empty patches or waves. 1. Access the DISK UTILITY MENU screen (p. 131).

3. Touch <Delete>. 4. If you want to delete a file or folder from internal memory, touch <Int>. If you want to delete it from a memory card, touch <Card>. 5. In the file list, select the file or folder that you want to delete. 7. If you want to move the file or folder to internal memory, touch <Int>. If you want to move it to a memory card, touch <Card>. 8. In the file list, select the move-destination file or folder. Here you can use the following functions. Touch the appropriate button to execute. Prevw: Preview (audition) the selected file (.w00/.wav/.aif). Info: View information for the selected file. Open: Open the selected folder. Close: Move to the next higher folder. 9. Touch <OK>. A WARNING window like the following appears.

fig.06-17_50

Here you can use the following functions. Touch the appropriate button to execute. Prevw: Preview (audition) the selected file (.w00/.wav/.aif). Info: View information for the selected file. Mark All: Mark all files/folders in the file list. Mark: Mark the selected file/folder in the file list. Open: Open the selected folder. Close: Move to the next higher folder. 6. Touch <OK>. A WARNING window like the following appears.

fig.06-18_50

If you want to cancel the procedure at this point, touch <CANCEL>. 7. Touch <EXECUTE> to execute the operation. If you want to cancel the procedure at this point, touch <CANCEL>. 10. Touch <EXECUTE> to execute the operation.

Reference_e.book 137

Renaming a Files/Folders (Rename)
7. Touch the on-screen alphabetic or numeric keys to enter the new name in the text box. The on-screen keys have the following functions. <><>: Move the cursor in the text box to the desired input location. <Shift>: Turn this on when you want to input uppercase letters or symbols. <Insert>: Turn this on when you want to insert a character at the cursor location. <Clear>: Erases all characters in the text box. <Delete>: Deletes the character at the cursor location. <Back>: Deletes the character that precedes the cursor location.
You can also move the input location cursor by pressing the [ ][ ] cursor buttons. Pressing [ ] will change the character at the cursor location to uppercase, and pressing [ will change it to lowercase. 3. Touch <Rename>. 4. If you want to rename a file or folder in internal memory, touch <Int>. If you want to rename a file or folder in a memory card, touch <Card>. 5. In the file list, select the file or folder that you want to rename. Here you can use the following functions. Touch the appropriate button to execute. Prevw: Preview (audition) the selected file (.w00/.wav/.aif). Info: View information for the selected file. Open: Open the selected folder. Close: Move to the next higher folder. 6. Touch <OK>. The Rename window appears.

Oscillator Pitch LFO Depth Envelope Velocity Curve Envelope Velocity Sensitivity Envelope Attack Time Velocity Sensitivity Envelope Decay Time Velocity Sensitivity Envelope Release Time Velocity Sensitivity Envelope Attack Time Envelope Decay Time Envelope Sustain Level Envelope Release Time Envelope Depth Envelope Time Key Follow
Pulse Width Key Follow Pulse Width LFO Depth Envelope Velocity Curve Envelope Velocity Sensitivity Envelope Attack Time Velocity Sensitivity Envelope Decay Time Velocity Sensitivity Envelope Release Time Velocity Sensitivity Envelope Attack Time Envelope Decay Time Envelope Sustain Level Envelope Release Time Envelope Depth Envelope Time Key Follow

Reference_e.book 152

Parameter Fat (ANALOG) Fat Fat KF Fat LFO Depth Velocity Curve Velocity Sens Velocity A-Sens Velocity D-Sens Velocity R-Sens ADSR Attack ADSR Decay ADSR Sustain ADSR Release Env Depth Env Time KF Time (PCM) Time Time KF Time Offset Time LFO Depth Velocity Curve Velocity Sens Velocity A-Sens Velocity D-Sens Velocity R-Sens ADSR Attack ADSR Decay ADSR Sustain ADSR Release Env Depth Env Time KF Formant (PCM) Formant Formant KF Energy Fmt LFO Depth Velocity Curve Velocity Sens Velocity A-Sens Velocity D-Sens Velocity R-Sens ADSR Attack ADSR Decay ADSR Sustain ADSR Release Env Depth Env Time KF OSC TVA Level Level KF Level LFO Dp Velocity Curve Velocity Sens Velocity A-Sens Velocity D-Sens Velocity R-Sens ADSR Attack ADSR Decay ADSR Sustain ADSR Release Env Time KF
Value 0127 -200 +200 -63 +-63 +63 -63 +63 -63 +63 -63 +63 0127, note (*) 0127, note (*) 0127 0127, note (*) -63 +63 -200 +200 -63 +63 -200 +200 BWD, ZERO, FWD -63 +-63 +63 -63 +63 -63 +63 -63 +63 0127, note (*) 0127, note (*) 0127 0127, note (*) -63 +63 -200 +200 -63 +63 -200 +200 OFF, 1127 -63 +-63 +63 -63 +63 -63 +63 -63 +63 0127, note (*) 0127, note (*) 0127 0127, note (*) -63 +63 -200 +-200 +200 -63 +-63 +63 -63 +63 -63 +63 -63 +63 0127, note (*) 0127, note (*) 0127 0127, note (*) -200 +200
Fat Key Follow Envelope Velocity Curve Envelope Velocity Sensitivity Envelope Attack Time Velocity Sensitivity Envelope Decay Time Velocity Sensitivity Envelope Release Time Velocity Sensitivity Envelope Attack Time Envelope Decay Time Envelope Sustain Level Envelope Release Time Envelope Depth Envelope Time Key Follow

Pre Mid Gain Pre Hi Freq Pre Hi Gain NLR Type
-15 +15 dB 200020000 Hz -15 +15 dB LR, NORMAL, L R
Density Early Ref Level Feedback Time Feedback Level Post HC Freq
0.11000 ms 099% 16015000 Hz, THRU

Env Time Ratio

10120%
Envelope T1T4 Envelope L1L3

0.11000 ms 0100

T1 T2 T3 T4

Reference_e.book 192

Description Adjusts the frequency above which sound fed back to the effect will be cut. High Damp, by attenuating the higher frequencies first, makes the delay sound more natural. Degree of High Damp Frequency of the low range Gain of the low range Frequency of the high range Gain of the high range

Reference_e.book 193

Troubleshooting
If the this unit does not function in the way you expect, first check the following points. If this does not resolve the problem, consult your dealer or a nearby Roland Service Station. * If a message appears during operation, consult the following section Message List (p. 197).
Problems Related to the V-Synth XT
Problem Power does not turn on No Sound/Volume is low Cause Is the AC cord connected correctly to the V-Synth XT and to an AC outlet? Is the power of the connected devices turned on? Action Check the AC cord connections.
Make sure that the power of your amp or mixer system is turned on. Is the volume turned down? Check the volume of the V-Synth XT and of the connected amp or mixer. Is there sound in the headphones? If there is sound in the headphones, it is possible that the connection cables are broken, or that the amp or mixer is malfunctioning. Check the connection cables and your other equipment once again. Is the Patch level set too low? Check the Level parameter setting (p. 94). Are the Effect settings correct? Check the Effect settings ON or OFF, in the Effect Balance or Level (p. 97). Are the settings for the output destination correct? Check the output assign settings (p. 97). Have volume messages been received from an external Check the volume. MIDI device to lower the volume? Could the oscillator be off? Turn on the [OSC1] or [OSC2]. Could the V-Synth XT be set to USB communication in Cancel USB communication (p. 140, p. 142). Storage function? Does the MIDI channel of the transmitting device (e.g., Set the transmitting device (e.g., MIDI keyboard) and MIDI keyboard) match the MIDI channel of the Vthe V-Synth XT to the same MIDI channel. Synth XT? Check the Part MIDI (p. 126) parameter setting. The volume level of the instru- Could you be using a connection cable that contains a Use a connection cable that does not contain a resistor. ment connected to INPUT resistor? 926 Jacks is too low. Is the INPUT Jack Gain (p. 126) setting correct? Check the INPUT Jack Gain (p. 126) setting. Check the INPUT Jack Switch (p. 126) or INPUT No sound from a device con- Is the MIC Jack Switch (p. 126) or INPUT Jack Jack Switch (p. 126) setting. nected to the INPUT jacks (or Switch (p. 126) setting correct? MIC jack) Pitch is wrong Are the Pitch settings of the Oscillator section correct? Check the Coarse Tune/Fine Tune parameter settings (p. 85). Is the Master Tune setting correct? Check the Master Tune parameter setting (p. 123). Has a Pitch Bend message been received from an exter- Try moving the pitch bend lever of the connected MIDI nal device, leaving the pitch hanging? keyboard. Sound is distorted Is an effect which distorts the sound being applied? Check the effect settings (p. 164). Has the Patch level been turned up? Check the Level parameter setting (p. 94). Effects do not apply [MFX], [CHO], or [REV] effect switches may have been Turn them on. turned off. Are the various effect settings correct? If the send level of each effect is set to 0, the effect will not be applied. Check the settings (p. 97). Even with send levels to each effect set at 0, effects are not applied if the MFX Master Level, the Chorus Master Level, or the Reverb Master Level is set to 0. Check each setting (p. 97). If Output Assign is set to other than MULTI, the MFX sound will not be output (p. 97). Try playing the MIDI keyboard. Oscillator Type has been to If the oscillator is set to external input (EXT IN), you EXT IN, but no sound is will not hear sound unless you play the MIDI keyheard when audio is input board. through the INPUT jacks (or Is the External Input Source (p. 123) setting correct? Check the External Input Source (p. 123) setting. MIC jack) Is the MIC Jack Switch (p. 126) or INPUT Jack Check the MIC Jack Switch (p. 126) or INPUT Jack Switch (p. 126) setting correct? Switch (p. 126) setting.

(0 dBu = 0.775 V rms) * In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior notice.

Reference_e.book 203

Numerics
4 Band EQ... 124 4-Band equalizer switch.. 124
AC inlet... 16 Adjust... 114 ADSR Attack.. 95 ADSR Decay.. 95 ADSR Release... 95 ADSR Sustain... 95 Analog oscillator waveform... 86 Arabian scale... 85 Arpeggiator... 64 Arpeggio.... 82 Arpeggio duration... 83 Arpeggio hold switch.. 82 Arpeggio keyboard velocity... 82 Arpeggio motif... 83 Arpeggio octave range... 82 Arpeggio shuffle rate.. 83 Arpeggio shuffle resolution... 83 Arpeggio switch.. 82 [ASSIGNABLE] Time trip pad... 32, 69 Assigning a name Files/Folders... 137 Patch.... 74 Sample.. 107 Template... 112 Assign-TT... 130 Attack... 93, 110 Attack time.. 110 Audio... 129 Audio I/F... 126
... 125 Coarse... 88 COAXIAL IN/OUT... 16 Common Patch... 79 System... 123 Compare.... 76 Compare function... 76 Controller... 127 Controller section... 56 Copy... 135 Files/Folders... 135 Patch... 73 COSM switch... 93 COSM1/COSM2... 93 Count In... 111 Cross Modulation Depth.. 91 [CTRL]... 15 Cursor... 25 Cursor button... 16, 25
Data Transfer... 146 [DEC]... 15, 26 Delay Time... 96 Delete... 136 Files/Folders... 136 Depth... 120 Destination 1, 2... 81 Detune... 89 Device ID... 125 Device ID number... 125 DIGITAL AUDIO INTERFACE connector. 16 Digital Output Freq... 124 Digital output frequency.. 124 DIRECT OUT jack... 16 Disk Format... 134 Disk Load Project... 132 Disk mode... 59, 131 Disk Tools.. 135137 Disk utility... 131 DISK UTILITY MENU.. 131 Drum... 101 Drum patch.. 101 Duration.... 83
Beat.... 111 Beat Keep... 87 Beep tone.... 24 Bend Range Down... 80 Bend Range Up... 80 Bender... 80
Calibration mode... 59, 148 CHO... 98 CHO Master Level... 98 CHO Send... 97 CHO To REV... 98 CHO Type... 98 Chorus master level.. 98 Chorus on/off switch.. 98 Chorus reverb send level.. 98 Chorus send level... 97 Chorus type... 98 Clean Project... 133 Clock Out... 125
E1 - E8 Knob... 128 E1 - E8 Knob2... 128 E1-E8 Assign... 130 E1-E8 Knob.. 130 E1E8 knobs.. 70 Effect.... 97 Effects... 56 Encode... 118 Encode depth... 120 Encoding type... 119 Energy... 92

Reference_e.book 204

Env Time KF.. 95 Envelope attack time... 95 Envelope attack time velocity sensitivity.. 95 Envelope decay time... 95 Envelope release time.. 95 Envelope release time velocity sensitivity.. 95 Envelope settings... 95 Envelope sustain level... 95 Envelope velocity curve.. 95 Envelope velocity sensitivity.. 95 EQ... 124 Equal temperament... 85 Event... 120 Add.... 120 Delete... 120 [EXIT]... 15 External Input Source... 123 External Input Type.. 123