Page 3 Thank you, and congratulations on your choice of the Roland V-Synth GT. 201b Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY INSTRUCTIONS” (p. 4), “USING THE UNIT SAFELY” (p. 5), and “IMPORTANT NOTES” (p. 7). These sections provide important information concerning the proper operation of the unit.
Page 4: Important Safety Instructions
IMPORTANT SAFETY INSTRUCTIONS WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture. CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION : RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK).
Page 5: Using The Unit Safely
• When using the unit with a stand recommended by Roland, the stand must be carefully placed so it is level and sure to remain stable.
Page 6 • The unit should be located so that its location or position does not interfere with its proper ventilation. 101c • This unit for use only with Roland keyboard stand KS-12. Use with other stands is capable of resulting in instability causing possible injury.
Page 7: Important Notes
However, in certain cases (such as when circuitry related to memory itself is out of order), we regret that it may not be possible to restore the data, and Roland assumes no liability concerning such loss of data. Additional Precautions •...
Page 8: Using Usb Memory
• In order to provide high-quality images, the V-Synth GT uses a TFT liquid crystal display. Please be aware that due to the characteristics of a TFT liquid crystal display, there may be pixels that fail to light or pixels that remain lit, but these are not considered to be malfunctions or defects.
Page 9: Table Of Contents
Connecting an Amp and Speaker System ...17 Turning On the Power ...18 Panel Descriptions...20 Front Panel ...20 Rear Panel ...24 Overview of the V-Synth GT ...26 How the V-Synth GT Is Organized ...26 Basic Structure ...26 Polyphony ...27 About Structures ...28 Structure Type ...28 Section ...29 About Memory ...30...
Page 10 Arpeggiator...51 Playing Arpeggios...51 Holding an Arpeggio...51 V-LINK (Synchronizing Music and Video While You Play the V-Synth GT) ...52 Enter V-LINK Mode ...53 V-LINK Functions that the V-Synth GT Can Control and MIDI Messages ...53 Patch Mode (Editing a Patch) ...54 Creating a Patch ...54...
Page 11 Patch Mode (Editing a Tone) ...80 Creating a Tone ...80 Tone Menu ...81 Tone Write (Saving Tones) ...81 Tone Name (Naming a Tone) ...82 Tone Category (Assigning the Category of a Tone)...83 Tone Init (Initializing the Tone Settings)...84 Editing a Tone (Pro Edit) ...85 Com (Settings Common to the Entire Tone) ...86 Structure...86 Keyboard ...87...
Page 12 Contents AP Syn (AP-Synthesis)...124 Phrase Model ...125 Pitch ...126 Modify (when Phrase Model is “Violin”)...127 Modify (when Phrase Model is “Erhu”)...128 Modify (when Phrase Model is “Sax”)...129 Modify (when Phrase Model is “Flute”) ...130 Modify (when Phrase Model is “Multifade”)...131 Advanced (when Phrase Model is “Violin”) ...132 Advanced (when Phrase Model is “Erhu”) ...133 Advanced (when Phrase Model is “Sax”) ...134...
Page 13 Common Procedure for Editing ...178 Editing the Specified Region of the Sample...182 Loop Region Settings ...185 Original Tempo Setting ...186 Encode (Converting the Sample to V-Synth GT Data)...187 Selecting the Encoding Type ...188 Automatically Detecting Events...189 Deleting and Adding Events ...190 Saving a Sample ...191...
Page 14 Contents Utility Mode...214 Project (Project-related Settings) ...215 Load Project (Loading a Project into the V-Synth GT) ...215 Save Project (Saving a Project)...217 Convert Project (Convert a Project) ...219 USB Storage (Exchanging Files with Your Computer) ...221 Windows Users...221 Mac Users...223 Examples of Using Storage Function ...225...
Page 15: How To Use The Documentation
This explains how to install the driver that is required for connecting the V-Synth GT to your computer. CD-ROM Lists of the COSM effects and other effects built into the V-Synth GT are provided in PDF format in the “Effects List” on the included CD-ROM. Refer to these lists as needed.
Page 16: Main Features
AP-Synthesis, unique controllers, and a sophisticated user interface are joined in this amazing instrument. For any genre or style, the V-Synth GT gives you musically expressive power of an entirely different dimension than any previous instrument, with highly usable and playable sounds that are available nowhere else.
Page 17: Getting Ready
Connecting an Amp and Speaker System Since the V-Synth GT contains no amplifier or speakers, you’ll need to connect it to audio equipment such as a keyboard amplifier, monitor speaker system or home stereo, or use headphones to hear its sound.
Page 18: Turning On The Power
* This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally. Turn on the power for any connected amplifiers or speakers. Wait for the V-Synth GT to start up. When it has started up normally, a screen like the following will appear. fig.patch-ps.eps Do not touch!
Page 19: Turning Off The Power
Adjust the volume appropriately. While playing the keyboard to produce sound, adjust the volume of the V-Synth GT and of the connected audio equipment. fig.01b-003-j.eps Turning Off the Power Before you turn off the power, consider these two questions: • Have the volume controls of the V-Synth GT and all connected audio devices been turned to their lowest settings? •...
Page 20: Panel Descriptions
Panel Descriptions Front Panel 00b-01.eps TIME TRIP PAD By touching the pad surface with your finger you can apply a variety of effects to the sound. (p. 46) Indicator This will light when you touch the Time Trip Pad. [TIME TRIP] Switches to the Time Trip effect.
Page 21 MODE These buttons switch between modes of the V-Synth GT. SYSTEM Switches to System mode (p. 193). PATCH Opens the Patch mode Patch Play screen (p. 39). UTILITY Switches to Utility mode (p. 214). SAMPLE Switches to Sample mode (p. 163).
Page 22 Panel Descriptions 00b-02.eps Pitch Bend/Modulation Lever This allows you to control pitch bend or apply vibrato. (p. [S1] [S2] These will apply the effect specified by AP-Synthesis. With the default settings, they switch the violin sound between tremolo or pizzicato. HELP/DEMO This opens the help browser, in which you can view the help screens (p.
Page 23 KEY MODE TONE [LOWER] If [SELECT] is unlit: TONE [UPPER] These switch the upper tone and lower tone on/off. If both are off, there will be no sound. If [SELECT] is lit: These select the upper tone or lower tone. You cannot select both simultaneously.
Page 24: Rear Panel
AC Inlet Connect the included power cord to this inlet. USB Connectors These are USB connectors. They allow the V-Synth GT to be connected to your computer to transfer files (p. 221) or to transmit and receive MIDI and audio data.
Page 25 MIC IN Jack This is a mic jack for analog audio signal input. It accommodates either XLR type or phone type plugs. XLR type connections can provide 48 V phantom power, allowing you to connect condenser mics that require phantom power. In this case, turn the PHANTOM switch to “ON.”...
Page 26: Overview Of The V-Synth Gt
Sound Generator Section The units of sound that you play on the V-Synth GT are called “patches.” A patch consists of two tones, upper and lower. For more about patches and tones, refer to “How Patches and Tones are related” in the Quick Start manual.
Page 27: Polyphony
The controller section consists of the keyboard, pitch bend/modulation lever, time trip pad, D Beam controller, C1/C2 knobs, E1–E8 knobs, S1/S2 buttons, arpeggiator, and pedals connected to the rear panel. When you manipulate these controllers, they send performance data to the sound generator section, causing the V-Synth GT to create sound. fig.02-03-j...
Page 28: About Structures
The V-Synth GT’s upper tone and lower tone consist of eight elements (sections) that create the sound. The way in which these sections are combined is called the structure type. To create a tone for the V-Synth GT, you need to start by specifying the structure type. Then, you can edit the parameters of each section.
Page 29 This section lets you use Vocal Designer. You can input sound via the mic connector, and perform using it. Overview of the V-Synth GT...
Page 30: About Memory
Overview of the V-Synth GT About Memory Memory Structure fig.02-04-e.eps USB Storage Computer V-Synth GT Internal Memory Project Patches Waves System Factory Load Save Data Performance Temporary Area Save Load USB Memory Project Patches Waves System Tones Factory Reset Tones...
Page 31: Internal Memory
Project The largest unit of memory used by the V-Synth GT is the project. A project contains up to 512 patches, up to 896 tones, up to 999 waves, and various system settings. The V-Synth GT uses one project at a time.
Page 32: About Variphrase
Overview of the V-Synth GT About VariPhrase What is VariPhrase? VariPhrase has the following advantages: Capable of changing the pitch, rate of time expansion/compression and voice characteristics (formant) on a real- time basis. Allows easy synchronization to tempo and pitch.
Page 33: Basic Operation Of The V-Synth Gt
Basic Operation of the V-Synth GT Basic Operations in the Touch Panel The V-Synth GT features a touch screen. The touch screen lets you perform a variety of operations by lightly touching the screen. * The touch screen responds to a light touch. Pressing the touch screen with too much force, or with a hard object, may damage it.
Page 34: Editing A Value
To edit a value, you can use the VALUE dial, [INC/+] [DEC/-], or drag on the touch screen. • In each V-Synth GT screen, you can select a value using the cursor as described earlier, and modify its value. • Each parameter has its own range of possible values. You cannot set any value smaller than the minimum value or greater than the maximum value.
Page 35 E1–E8 knobs to control the corresponding parameters. fig.03-08.eps Basic Operation of the V-Synth GT Envelope Sliders • When the ENV section’s TVA indicator is on (lit) You can use the envelope sliders to edit the ADSR values of the TVA section (p.
Page 36: Common Icons In The Touch Panel
Common Icons in the Touch Panel The V-Synth GT’s touch panel contains certain icons that perform common operations regardless of the scene. In many cases you can also use the panel buttons to perform these operations, but it’s worth knowing about these icons, since they allow you to complete an operation from within the touch panel.
Page 37: Using The Map Function
Since the V-Synth GT lets you edit many different aspects of the sound, you may lose track of what you’re currently editing in a patch or tone. If so, you can use the Map function to open the V-Synth GT Map window, which will show you the currently selected structure, and the section you’re editing within that structure.
Page 38: The V-Synth Gt's Four Modes
Basic Operation of the V-Synth GT The V-Synth GT’s Four Modes The V-Synth GT provides a large number of functions, which are organized into four operating modes: Patch mode, Sample mode, System mode, and Utility mode. Patch Mode (p. 39) fig.patch-ps.eps_50...
Page 39: Patch Mode (Playing In Patch Mode)
Opens the Sound Shaper II screen (p. 158). Opens the tone list. Indicates/specifies the tempo. Opens the Arpeggio setting screen (p. 69). Opens the V-Synth GT Map screen. Opens the Help screen. Use the C1 or C2 knob to adjust the level.
Page 40: Selecting A Patch
Patch Mode (Playing in Patch Mode) Selecting a Patch Press [PATCH] to access the Patch Play screen. fig.04-03-j.eps Patch Number Patch Name Search Button Move the cursor to the patch number, either by using the cursor buttons or by touching the patch number indication (the patch name field will light).
Page 41: Selecting Patches From The List
Selecting Patches from the List You can display a list of patches and select a patch from that list. In the upper left of the screen, touch the search button. The Patch List window appears. fig.04-30-e.eps Category Search Area Keyword Search Area Select a patch from the list.
Page 42: Selecting Favorite Patches (Patch Palette)
Favorite patches you use frequently can be registered in the Patch Palette. This allows you to quickly select favorite patches that are stored in the V-Synth GT. For details on registering a patch in the patch palette, refer to “Registering a Favorite Patch (Patch Palette)” (p.
Page 43: Applying Various Effects To The Sound
Applying Various Effects to the Sound Varying the Velocity or Aftertouch The force with which you play the keyboard, or the “velocity” with which you play, can affect the volume or timbre of a sound. Aftertouch—downward pressure you apply to a key after playing a note—can also affect the sound. Pitch Bend/Modulation Lever While playing the keyboard, move the lever to the left to lower the pitch of the currently selected patch, or to the right to raise its pitch.
Page 44: Transpose (Transposing The Keyboard In Semitone Steps)
To turn off Transpose, press [TRANSPOSE] once again so that its indicator goes off. The Transpose setting you make will be maintained. There is a single Transpose setting (Setup parameter) for the entire V-Synth GT. The changed setting will be remembered even if you switch patches.
Page 45: Octave Shift (Transposing The Keyboard In Octave Units)
Pressing [+OCT] once will raise the keyboard 1 octave. Pressing [-OCT] once will lower the keyboard 1 octave. There is a single Octave Shift setting (Setup parameter) for the entire V-Synth GT. The changed setting will be remembered even if you switch patches.
Page 46: Applying An Effect By Touching Your Finger To The Pad (Time Trip Pad)
Patch Mode (Playing in Patch Mode) Applying an Effect by Touching Your Finger to the Pad (Time Trip Pad) You can apply a variety of effects by touching your fingertip to the Time Trip pad located at the left side of the V-Synth GT’s panel.
Page 47 While you play the keyboard to produce sound, place your fingertip on the Time Trip pad and move your finger in the following way. If [TIME TRIP] is on The effect will be applied when you move your finger in a circle on the Time Trip pad. fig.04-16.eps If you are using matrix control as well, the effect will be applied when you move your finger from the circumference of the Time Trip pad toward the center.
Page 48: Applying An Effect By Passing Your Hand Over The D Beam
Patch Mode (Playing in Patch Mode) Applying an Effect by Passing Your Hand Over the D Beam The D Beam controller can be used simply by waving your hand over it. It can be used to apply various effects, depending on the function that is assigned to it. You can also create effects in which the sound changes instantaneously, in a way that would not be possible by operating a knob or the bender lever.
Page 49: Using The E1-E8 Knobs
Using the E1–E8 Knobs You can modify the sound in real time by turning the E1–E8 knobs to control the functions assigned to the knobs. Press [PATCH] to access the Patch Play screen. While playing the keyboard to produce sound, turn the E1–E8 knobs. When you turn a knob, the sound will change according to the function that is assigned to that knob.
Page 50: Using The Assignable Controllers
Patch Mode (Playing in Patch Mode) Using the Assignable Controllers You can turn the ASSIGNABLE CONTROL knobs to modify the sound in real time. The assignable controllers use matrix control to apply effects to the sound. This means that you will need to make matrix control settings separately.
Page 51: Arpeggiator
Arpeggiator Playing Arpeggios The V-Synth GT comes with an arpeggiator that can play arpeggios automatically. Once you turn on the arpeggiator, the keys you press will automatically be played as an arpeggio. Press [PATCH] to access the Patch Play screen.
Page 52: V-Link (Synchronizing Music And Video While You Play The V-Synth Gt)
V-LINK (Synchronizing Music and Video While You Play the V-Synth GT) The V-Synth GT lets you use the pitch bend/modulation lever, Time Trip pad, D Beam controller, and C1/C2 knobs to control an externally connected video device that supports V-LINK. This means that your performance on the V-Synth can control not only sound but also images, producing sound and video effects that are linked to your playing.
Page 53: Enter V-Link Mode
To exit V-LINK mode, press [V-LINK] once again so the indicator goes out. V-LINK Functions that the V-Synth GT Can Control and MIDI Messages You can assign the following functions to the V-Synth GT’s controllers to control a V-LINK compatible video device. V-LINK function...
Page 54: Patch Mode (Editing A Patch)
Patch Mode (Editing a Patch) With the V-Synth GT, you have total control over a wide variety of settings. This chapter explains the procedures used in creating patches, and the functions of the patch parameters. Creating a Patch Access the Patch Play screen, and select the patch that you want to edit (p. 40).
Page 55: Selecting A Tone
Selecting a Tone Specifying the Upper Tone and Lower Tone A patch consists of an upper tone and a lower tone. When selecting a tone, you must first specify which one you’re selecting—upper or lower. Press [PATCH] to access the Patch Play screen. Touch <Lower Tone>...
Page 56 Patch Mode (Editing a Patch) Selecting a Tone Once you’ve specified either the upper or lower tone, you can select the tone. fig.05-02-j.eps Tone Number Search Button Move the cursor to the tone number, either by pressing the cursor buttons, or by touching the tone number indication.
Page 57: Selecting A Tone From A List
Selecting a Tone from a List You can view a list of tones and select a tone from the list. Touch the search button. The Upper (or Lower) Tone List window will appear. fig.05-05-e.eps Category Search Area Keyword Search Area Choose a tone from the list.
Page 58: Patch Menu
Patch Mode (Editing a Patch) Patch Menu Patch Write (Saving Patches) Changes you make to sound settings are temporary, and will be lost if you turn off the power or select another sound. If you want to keep the modified sound, you must save it in the internal (internal memory). When you modify the settings of a patch, the Patch Play screen will indicate “*.”...
Page 59: Patch Name (Naming A Patch)
Patch Name (Naming a Patch) Assign a new name to the patch before you save it. You can assign a name of up to twelve characters to the patch. Make sure that the patch that you want to name is selected. Touch <MENU>...
Page 60: Patch Category (Assigning The Category Of A Patch)
Patch Mode (Editing a Patch) Patch Category (Assigning the Category of a Patch) If you assign a category to your patches, you’ll be able to search for them by category in the Patch List window. If no category is assigned to a patch, its category name will be “No Assign.” Make sure that the patch that you want to category is selected.
Page 61 Select a category from the list. Patch Category List Category No Assign Synth Lead Pad, Strings Vox, Choir Piano, Keyboards Bass, Guitar Winds Bell, Mallet, Hit Melodic Sequence Rhythmic Sequence Arpeggio FX, Noise, Ambient Ethnic Drum, Perc Combination, Others Touch <OK> to finalize the category. * You will lose your edited patch settings if you switch to another patch or turn off the power.
Page 62: Patch Init (Initializing The Patch Settings)
The Initialize operation will affect only the currently selected patch; the patches that are stored in internal memory and temporary area will not be affected. If you wish to restore all of the V-Synth GT’s settings to their factory values, perform a Factory Reset (p.
Page 63: Patch Common (Settings Shared By The Entire Patch)
Patch Common (Settings Shared by the Entire Patch) Here we’ll explain the parameters that are used in common by the entire patch (Patch Common parameters). Editing the Patch Common Parameters Press [PATCH] to access the Patch Play screen. Touch <MENU> in the upper right of the screen. A pulldown menu appears.
Page 64 Changes you make by editing the patch common parameters are temporary, and will be lost if you turn off the power. If you want to keep the changes you made, you must save them to the V-Synth GT’s internal memory (p. 58).
Page 65: Common (Settings Used By The Entire System)
Common (Settings Used by the Entire System) General fig.05-20-j.eps_50 Parameter Patch Level Patch Coarse Tune Lower Level Lower Pan Upper Level Upper Pan In this screen you can turn the upper/lower tones on/off, change each tone, and adjust the level and pan. Value Description 0–127...
Page 66: Time Trip Pad
Patch Mode (Editing a Patch) Time Trip Pad fig.05-21.eps_50 Parameter Pad Mode (Time Trip Pad Mode) Hold Switch (Time Trip Pad Hold Switch) For details on settings for the Time Trip effect, refer to “Matrix Control” (p. 91) and “Time Trip Pad” (p. 204). Value Description Time Trip...
Page 67: D Beam
D Beam fig.05-22.eps_50 Parameter D Beam (D Beam Mode) S1/S2 Switch fig.05-24.eps_50 Parameter S1/S2 Switch Setting Value Description The D Beam controller will not be used. Time Trip The D Beam controller will control the Time Trip effect (p. 46). Time The D Beam controller will control the Time Control effect.
Page 68: Key Range
Patch Mode (Editing a Patch) Key Range Here you can specify the zones of the keyboard in which the upper and lower tones are to be sounded. You can also specify how the two tones will be played. You can access this screen not only from the Patch Common screen, but also directly by touching <Key Range> in the Patch Menu.
Page 69: Arpeggio
Arpeggio In addition to accessing this screen from the Patch Common screen, you can access it directly by touching <Arpeggio> in the Patch Menu. fig.05-40-ps.eps_50 Parameter Arpeggio Switch Patch Tempo Hold (Arpeggio Hold Switch) Destination Motif (Arpeggio Motif) Sets the order in which notes of the chord will sound.
Page 70 Patch Mode (Editing a Patch) Parameter Shuffle Rate (Arpeggio Shuffle Rate) Shuffle Resolution (Arpeggio Shuffle Resolution) Octave Range (Arpeggio Octave Range) Keyboard Velocity (Arpeggio Keyboard Velocity) Arpeggio Duration Value Description 0–100% This setting lets you modify the note timing to create shuffle rhythms. With a setting of “50%”...
Page 71: Arpeggio Pattern Edit (Creating An Original Arpeggio Pattern)
Arpeggio Pattern Edit (Creating an Original Arpeggio Pattern) You can create your own arpeggio pattern that specifies how an arpeggio will be sounded. This gives you even more interesting ways to use arpeggios. An arpeggio pattern is a set of data that can be up to 32 steps (horizontally) x 16 lines (vertically). An arpeggio pattern can be saved for an individual patch as part of the patch settings.
Page 72 Patch Mode (Editing a Patch) Pattern Input Area Value 0, 32, 64, 96, 127, Tie/Clr Grid End Point Clear Real Rec (Realtime Recording) Step Rec (Step Recording) This area is where you input or edit notes or control changes. The symbols have the follow- ing meaning: ●: Note =: Tie...
Page 73 If you want to adjust the tempo, turn ARPEGGIO [TEMPO]. Turn the knob toward the right to make the tempo faster, or toward the left to make it slower. In time with the guide rhythm sounded by the metronome, play the V-Synth GT’s keyboard and operate the controllers.
Page 74 The V-Synth GT will be in step-input standby mode. fig.02-09d_50 Play the V-Synth GT’s keyboard or operate a controller to input the first step. You can repeatedly record over the pattern length (number of steps) you specified in step 1. On each pass, you can add new notes and control changes to build up the pattern.
Page 75 Erasing a Pattern (Clear) Here’s how to erase data from the pattern. You can erase a specific line or the entire pattern. To specify a line that you want to erase, move the cursor to that line. Touch <Clear>. A window like the following will appear. fig.02-09e_50 To erase a line of data, touch <LINE CLEAR>.
Page 76: Effects (Setting Effects For A Patch)
Effects (Setting Effects for a Patch) The V-Synth GT provides three high-quality effects: Tone-FX (tone effect), Chorus, and Reverb. The tone effect can be applied to each tone individually, and the amount of signal sent to chorus and to reverb can be specified individually for each tone.
Page 77 Parameter Value TVA Tone-FX Send 0–127 (TVA Tone-FX Send Level) TVA CHO Send 0–127 (TVA Chorus Send Level) TVA REV Send 0–127 (TVA Reverb Send Level) TVA Output Assign T-FX MAIN AP Syn Tone-FX Send 0–127 (AP Syn Tone-FX Send Level) AP Syn CHO Send 0–127 (AP Syn Chorus Send Level)
Page 78: Tone-Fx
Patch Mode (Editing a Patch) Tone-FX This is an effect that can be applied to each tone individually. For details, refer to “Tone-FX (Tone Effect)” (p. 139). Chorus fig.05-51-j.eps Chorus Switch Chorus Type Search Button Parameter Chorus Switch CHO Type (Chorus Type) Value Description OFF, ON...
Page 79: Reverb
Reverb fig.05-52-j.eps Reverb Switch Search Button Parameter Reverb Switch REV Type (Reverb Type) Reverb Type Value Description OFF, ON Switches the Reverb on/off. 00 (Off)–13 You can choose one of 13 types of reverb. In this editing screen you can select the reverb type and edit the parameters for that type.
Page 80: Patch Mode (Editing A Tone)
● Turn Effects off. Since the V-Synth GT effects have such a profound impact on its sounds, turn them off to listen to the sound itself so you can better evaluate the changes you’re making. Since you will hear the original sound of the tone itself when the effects are turned off, the results of your modifications will be easier to hear.
Page 81: Tone Menu
Tone Menu Tone Write (Saving Tones) Changes you make to sound settings are temporary, and will be lost if you turn off the power or select another sound. If you want to keep the modified sound, you must save it in the internal (internal memory). When you modify the settings of a tone, the Patch Play screen will indicate “*.”...
Page 82: Tone Name (Naming A Tone)
Patch Mode (Editing a Tone) Tone Name (Naming a Tone) Before you save the tone, here’s how to give it a new name. You can assign a name of up to twelve characters to a tone. Make sure that the tone that you want to name is selected. Touch <MENU>...
Page 83: Tone Category (Assigning The Category Of A Tone)
Tone Category (Assigning the Category of a Tone) If you assign a category to your tones, you’ll be able to search for them by category in the Tone List window. If no category is assigned to a tone, its category name will be “No Assign.” Make sure that the tone that you want to category is selected.
Page 84: Tone Init (Initializing The Tone Settings)
The Initialize operation will affect only the currently selected tone; the tones that are stored in internal memory and temporary area will not be affected. If you wish to restore all of the V-Synth GT’s settings to their factory values, perform a Factory Reset (p.
Page 85: Editing A Tone (Pro Edit)
Editing a Tone (Pro Edit) “Pro Edit” lets you individually edit all of a tone’s parameters, allowing you to perform detailed and professional tone editing. In the Patch Play screen, select the tone that you want to edit. fig.06b-01-j.eps_50 Touch <PRO EDIT>. The Pro Edit window will appear.
Page 86: Com (Settings Common To The Entire Tone)
(e.g., using SBF (Side Band Filter)), and then processed by COSM2 to adjust the tone (e.g., using TVF). The sound of the V-Synth GT’s new AP-Synthesis function can be mixed into the final result. This structure connects OSC1 and OSC2 asymmetrically. This is effective when using a modulation that has the modulator set to anything other than “MIX.”...
Page 87: Keyboard
Keyboard fig.06b-11.eps_50 Parameter Keyboard Mono/Poly Legato (Legato Switch) Portamento Portamento (Portamento Switch) Mode (Portamento Mode) Type (Portamento Type) Time (Portamento Time) Time Velo Sens (Portamento Time Velocity Sensi- tivity) Zone Mono/Poly, Legato, and Portamento have no effect on AP-Synthesis. OSC1/2 Value Description Mono...
Page 88 Zone Settings (Zone) On the V-Synth GT, the keyboard range is divided into up to 16 areas for each tone, allowing a different sound to be played in each area. Each of these areas in the keyboard range is called a “zone.”...
Page 89 Specify the split point between zones 01 and 02. Either turn the VALUE dial or use [INC/+] [DEC/-] to specify the note number. If you want to divide the keyboard into three zones, lower the top note of zone 02, and specify the split point between zones 02 and 03.
Page 90: Bender/Octave
Editing a Tone (Pro Edit) OSC1/2 COSM1/2 Bender/Octave fig.06b-12.eps_50 Parameter Bender Pitch Bend Range Down Pitch Bend Range Up Octave Shift Octave Shift AP Syn Effects Value Description 0–48 Specifies the degree of pitch change in semitones when the Pitch Bend lever is all the way left.
Page 91: Matrix Control
For that reason, a number of the more typical of the V-Synth GT’s tone parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. This provides you with a variety of means of changing the way tones are played.
Page 92 Editing a Tone (Pro Edit) OSC1/2 COSM1/2 Parameter Source 1, 2 (Matrix Control Source 1, 2) Sets the MIDI message used to change the patch parameter with the Matrix Control. Sens 1, 2 (Matrix Control Sens 1, 2) Destination 1, 2 (Matrix Control Destination 1, 2) Specifies the parameters that will be controlled by the matrix con-...
Page 93 Parameter Value CSM1/2-ENV2-ATK CSM1/2-ENV2-DCY CSM1/2-ENV2-REL CSM1/2-LFO-RATE CSM1/2-LFO-PRM1 CSM1/2-LFO-PRM2 TVA-LVL TVA-ENV-ATK TVA-ENV-DCY TVA-ENV-REL TVA-LFO-RATE TVA-LFO-LVL TVA-LFO-PAN TONE-FX-SEND CHO-SEND REV-SEND T-FX-PRM 1–3 TVA-PAN When you touch <Search>, the Matrix Control Dest List window will appear, allowing you to select the Matrix Control Destination from the list. Editing a Tone (Pro Edit) OSC1/2 COSM1/2...
Page 94: Tune
Editing a Tone (Pro Edit) OSC1/2 COSM1/2 Tune fig.06b-14.eps Parameter Tone Coarse Tune Tone Fine Tune Scale Tune (Tone Scale Tune Switch) Scale Tune C–B (Tone Scale Tune C–B) • Equal Temperament This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western music.
Page 95: Osc1/Osc2 (Oscillator 1/2)
OSC1/OSC2 (Oscillator 1/2) The “oscillator” is the section that specifies the basic wave that the V-Synth GT will play, and modifies this wave in various ways. Each tone can contain up to two oscillators. Parameter Oscillator Switch OSC Type fig.06b-20-j.eps...
Page 96: Osc Type (Analog Osc)
LA-SAW: This simulates a waveform used in the LA (Linear Arithmetic) sound LA sawtooth wave generator of the Roland D-50. It has a milder sound than the conven- tional “SAW” waveform. LA-SQUARE: This simulates a waveform used in the LA (Linear Arithmetic) sound LA square wave generator of the Roland D-50.
Page 97 Parameter Value Sub OSC Octave Select (Sub Oscillator Octave Select) Sub Level (Sub Oscillator Level) 0–127 Impact (Analog Oscillator Impact) 0.0–4.0 Wave Gain -12– +12 dB Pitch (Oscillator Pitch) -63– +63 Coarse Tune -48– +48 (Oscillator Coarse Tune) Fine Tune -50–...
Page 98 Editing a Tone (Pro Edit) OSC1/2 COSM1/2 What is a sub-oscillator? The sub-oscillator adds a low pitch to create a thicker sound. You can use the Detune parameter to add a detune effect. Detune is the effect or technique of adding (layering) a sound at a slightly different pitch. When using the sub- oscillator, you can apply a detune effect by setting Detune to a value other than “0.”...
Page 99: Osc Type (Pcm Osc)
OSC Type (PCM OSC) fig.06b-22-ps.eps_50 Parameter Waveform (PCM Oscillator Waveform) Start Offset (PCM Oscillator Start Offset) Playback Mode (PCM Oscillator Playback Mode) Vari Sw (PCM Oscillator Vari Switch) Time Trip Sw (Time Trip Switch) Beat Keep Sw (Time Trip Beat Keep Switch) Loop Sw (PCM Oscillator Loop Switch) Robot Sw...
Page 100 Editing a Tone (Pro Edit) OSC1/2 COSM1/2 Parameter Coarse Tune (Oscillator Coarse Tune) Fine Tune (Oscillator Fine Tune) Time Formant AP Syn Effects Value Description -48– +48 Adjusts the pitch of the oscillator up or down in semitone steps (+/-4 octaves). -50–...
Page 101: Osc Type (External In)
OSC Type (External In) You can use the signal being received from the rear panel INPUT jack as the oscillator. This allows you to play an external input source from the keyboard. fig.06b-23-ps.eps_50 Parameter Wave Gain OSC1/2 Value Description -12– +12 dB Sets the gain (amplification) of the waveform.
Page 102: Pitch (Common To Analog And Pcm)
Editing a Tone (Pro Edit) OSC1/2 COSM1/2 Pitch (common to Analog and PCM) fig.06b-24-ps.eps_50 Parameter Pitch (Oscillator Pitch) Pitch Keyfollow (Oscillator Pitch Keyfollow) Coarse Tune (Oscillator Coarse Tune) Fine Tune (Oscillator Fine Tune) Random (Oscillator Random Pitch Depth) Pitch LFO Depth (Oscillator Pitch LFO Depth) In this screen you can make settings for the envelope that affects the pitch.
Page 103: Pulse Width (Analog)
Pulse Width (Analog) fig.06b-25-ps.eps_50 Parameter Pulse Width Pulse Width Keyfollow Pulse Width LFO Depth In this screen you can make settings for the envelope that affects the pulse width. For details on envelope settings, refer to “Making Envelope Settings” (p. 121). OSC1/2 Value Description...
Page 104: Fat (Analog)
Editing a Tone (Pro Edit) OSC1/2 COSM1/2 Fat (Analog) fig.06b-26-ps.eps_50 Parameter Fat Keyfollow Fat LFO Depth In this screen you can make settings for the envelope that affects the fat. For details on envelope settings, refer to “Making Envelope Settings” (p. 121). If you use the sub-oscillator (p.
Page 105: Detune (Analog, When Using Sub Osc)
Detune (Analog, when using Sub OSC) fig.06b-28-ps.eps_50 Parameter Detune Detune Keyfollow Detune LFO Depth In this screen you can make settings for the envelope that affects the detune. For details on envelope settings, refer to “Making Envelope Settings” (p. 121). OSC1/2 Value Description...
Page 106: Ss Detune (Analog, When Super-Saw Is Selected)
Editing a Tone (Pro Edit) OSC1/2 COSM1/2 SS Detune (Analog, when SUPER-SAW is selected) fig.06b-29-ps.eps_50 Parameter SS Detune SS Detune Keyfollow SS Detune LFO Depth In this screen you can make settings for the envelope that affects the detune. For details on envelope settings, refer to “Making Envelope Settings”...
Page 107: Mix (Analog, When Super-Saw Is Selected)
Mix (Analog, when SUPER-SAW is selected) fig.06b-29-ps.eps_50 Parameter Mix Keyfollow Mix LFO Depth In this screen you can make settings for the envelope that affects the Mix. For details on envelope settings, refer to “Making Envelope Settings” (p. 121). OSC1/2 Value Description -63–...
Page 108: Harmonics (Analog, When Fback-Osc Is Selected)
Editing a Tone (Pro Edit) OSC1/2 COSM1/2 Harmonics (Analog, when FBACK-OSC is selected) fig.06b-30-ps.eps_50 Parameter Harmonics Harmonics Keyfollow Harmonics LFO Depth In this screen you can make settings for the envelope that affects the Harmonics. For details on envelope settings, refer to “Making Envelope Settings”...
Page 109: Fbk Amount (Analog, When Fback-Osc Is Selected)
FBK Amount (Analog, when FBACK-OSC is selected) fig.06b-31-ps.eps_50 Parameter FBK Amount (Feedback Amount) Amount Keyfollow Amount LFO Depth In this screen you can make settings for the envelope that affects the feedback. For details on envelope settings, refer to “Making Envelope Settings” (p. 121). You can create distinctive effects by applying an LFO or envelope to Harmonics or FBK Amount.
Page 110: X-Mod (Analog, When X-Mod-Osc Is Selected)
Editing a Tone (Pro Edit) OSC1/2 COSM1/2 X-Mod (Analog, when X-MOD-OSC is selected) fig.06b-32-ps.eps_50 Parameter X-Mod (Cross Modulation Depth) X-Mod Keyfollow X-Mod LFO Depth In this screen you can make settings for the envelope that affects the Cross Modulation. For details on envelope settings, refer to “Making Envelope Settings”...
Page 111: Time (Pcm)
Time (PCM) fig.06b-33-ps.eps_50 Parameter Time Time Keyfollow Time Offset Time LFO Depth Time Offset <How the Time parameter is related to playback speed> Time Reverse playback ZERO -2x speed 4x speed In this screen you can make settings for the envelope that affects the time. For details on envelope settings, refer to “Making Envelope Settings”...
Page 112: Formant (Pcm)
Editing a Tone (Pro Edit) OSC1/2 COSM1/2 Formant (PCM) fig.06b-34-ps.eps_50 You can use this only if the Vari switch (p. 99) is on and when the Encode Type (p. 188) is “SOLO.” Parameter Formant Formant Keyfollow Energy Fmt LFO Depth (Formant LFO Depth) In this screen you can make settings for the envelope that affects the formant.
Page 113: Osc Tva (Common To Analog And Pcm)
OSC TVA (common to Analog and PCM) fig.06b-35-ps.eps_50 Parameter Level Level Keyfollow Level LFO Depth In this screen you can make settings for the envelope that affects the sub TVA. For details on envelope settings, refer to “Making Envelope Settings” (p. 121). If you don’t notice any change when you adjust the OSC TVA values, check the TVA settings (p.
Page 114: Lfo (Common To Analog And Pcm)
Editing a Tone (Pro Edit) OSC1/2 COSM1/2 LFO (common to Analog and PCM) fig.06b-36-ps.eps_50 In this screen you can make settings for the LFO that affects the oscillator. For details on LFO settings, refer to “Making LFO Settings” (p. 122). AP Syn Effects...
Page 115: Mod
In the MOD section, you can not only simply mix OSC1 and OSC2, but also combine them in a variety of ways to create sounds. This is especially effective when you’ve selected analog oscillators. Parameter Modulator Switch fig.06b-40-j.eps_50 Modulator Switch MOD Type Parameter Modulator Type...
Page 116 Editing a Tone (Pro Edit) OSC1/2 COSM1/2 Parameter Original Level (Modulator Original Level) Attack (Modulator Attack Time) Release (Modulator Release Time) AP Syn Effects Value Description ENV RING OSC1 OSC2 Envelope Output OSC SYNC OSC1 (=Output) OSC2 0–127 Specifies the volume for the original sound of OSC1. This can be set if Modulator Type is set to “RING”...
Page 117: Cosm1/Cosm2
COSM1/COSM2 Here you can apply various effects to the sound. COSM effects are similar to the built-in effects (Tone-FX, reverb, chorus) or to conventional effect processors, but have the important difference that they are polyphonic, so that the effect is applied to each note you play.
Page 118: Lfo
Editing a Tone (Pro Edit) OSC1/2 COSM1/2 fig.06b-51.eps_50 For some COSM selections that you choose in COSM Type, you can make LFO settings. For details on LFO settings, refer to “Making LFO Settings” (p. 122). AP Syn Effects...
Page 119: Tva
This section determines the volume and panning. TVA stands for Time Variant Amplifier, and controls the overall volume of each note you play, affecting aspects of the sound such as master volume (level), envelope, keyboard velocity, pan, and tremolo. fig.06b-55-j.eps_50 TVA Switch Parameter TVA Switch...
Page 120: Lfo
Editing a Tone (Pro Edit) OSC1/2 COSM1/2 fig.06b-56-j.eps_50 LFO Switch Parameter LFO Switch In this screen you can make settings for the LFO that affects the TVA. For details on LFO settings, refer to “Making LFO Settings” (p. 122). AP Syn Effects Value Description...
Page 121 Making Envelope Settings Parameter Value Velocity Curve 0–7 (Envelope Velocity Curve) Velocity Sens -63– +63 (Envelope Velocity Sensitiv- ity) Velocity A-Sens -63– +63 (Envelope Attack Time Ve- locity Sensitivity) Velocity D-Sens -63– +63 (Envelope Decay Time Ve- locity Sensitivity) Velocity R-Sens -63–...
Page 122 Editing a Tone (Pro Edit) OSC1/2 COSM1/2 Making LFO Settings Parameter Waveform (LFO Waveform) Offset (LFO Offset) Key Sync (LFO Key Sync Switch) Delay Time (LFO Delay Time) Rate (LFO Rate) Fade Mode (LFO Fade Mode) Fade Time (LFO Fade Time) “LFO Curve”...
Page 123 How to Apply the LFO ● Apply the LFO gradually after the key is pressed fig.LFO-1.e Delay high (more) Fade Time Time Pitch Cutoff Frequency Level Note on low (less) Delay Time The time from when the keyboard is played until the LFO begins to be ap- plied.
Page 124: Ap Syn (Ap-Synthesis)
If you hold down [SHIFT] and touch a knob graphic in the Modify screen (or the Advanced screen), you’ll be able to use the V-Synth GT’s front panel MODIFY knob to directly control the selected parameter. An “MD” indication will appear for a parameter that can be controlled with the MODIFY knob.
Page 125: Phrase Model
Phrase Model fig.06b-61-ps.eps_50 Parameter Source Waveform Phrase Model Level Value Description Soprano Sax Specifies the source waveform. Tenor Sax 1 Tenor Sax 2 Flute Shakuhachi 1 Shakuhachi 2 Quena Pipe Pan Pipes Shino Pipe Ryuteki Pipe Qudi Pipe Uilleann Pipes Oboe 1, Oboe 2 Wood Winds Harmonica...
Page 126: Pitch
Editing a Tone (Pro Edit) OSC1/2 OSC1/2 COSM1/2 COSM1/2 Pitch fig.06b-62-ps.eps_50 Parameter Pitch Coarse (Pitch Coarse Tune) Pitch Fine (Pitch Fine Tune) Octave Shift AP Syn AP Syn Effects Effects Value Description -48– +48 Adjusts the pitch of the tone in semitone steps (+/-4 octaves). -50–...
Page 127: Modify (When Phrase Model Is "Violin")
Modify (when Phrase Model is “Violin”) fig.06b-63-ps.eps_50 Parameter Attack Time Release Time Fortissimo Atk Level (Fortissimo Attack Level) Scrape Nz Level (Scrape Noise Level) Natural Feel Vibrato Dly Time (Vibrato Delay Time) Vibrato Depth Vibrato Rate OSC1/2 OSC1/2 Value Description -100–...
Page 128: Modify (When Phrase Model Is "Erhu")
Editing a Tone (Pro Edit) OSC1/2 OSC1/2 COSM1/2 COSM1/2 Modify (when Phrase Model is “Erhu”) fig.06b-64-ps.eps_50 Parameter Attack Time Release Time Porta Time (Portamento Time) Scrape Nz Level (Scrape Noise Level) Natural Feel Vibrato Dly Time (Vibrato Delay Time) Vibrato Depth Vibrato Rate AP Syn AP Syn...
Page 129: Modify (When Phrase Model Is "Sax")
Modify (when Phrase Model is “Sax”) fig.06b-65-ps.eps_50 Parameter Attack Time Release Time Porta Time (Portamento Time) Breath Nz Level (Breath Noise Level) Natural Feel Vibrato Dly Time (Vibrato Delay Time) Vibrato Depth Vibrato Rate OSC1/2 OSC1/2 Value Description -100– +100 Adjusts the attack of the sound.
Page 130: Modify (When Phrase Model Is "Flute")
Editing a Tone (Pro Edit) OSC1/2 OSC1/2 COSM1/2 COSM1/2 Modify (when Phrase Model is “Flute”) fig.06b-66-ps.eps_50 Parameter Attack Time Release Time Slur Nz Level (Slur Noise Level) Breath Nz Level (Breath Noise Level) Natural Feel Vibrato Dly Time (Vibrato Delay Time) Vibrato Depth Vibrato Rate AP Syn...
Page 131: Modify (When Phrase Model Is "Multifade")
Modify (when Phrase Model is “Multifade”) fig.06b-67-ps.eps_50 Parameter Attack Time Release Time Porta Time (Portamento Time) Sub Tone Level Natural Feel Vibrato Dly Time (Vibrato Delay Time) Vibrato Depth Vibrato Rate OSC1/2 OSC1/2 Value Description -100– +100 Adjusts the attack of the sound. Positive (+) values will make the at- tack slower, and negative (-) values will make the attack faster.
Page 132: Advanced (When Phrase Model Is "Violin")
Editing a Tone (Pro Edit) OSC1/2 OSC1/2 COSM1/2 COSM1/2 Advanced (when Phrase Model is “Violin”) fig.06b-70-ps.eps_50 Parameter Brightness Finger Nz Level (Finger Noise Level) Tenuto Atk Time (Tenuto Attack Time) Low Velo Limit (Low Velocity Limit) Low Dyn Ctrl Lmt (Low Dynamics Controller Limit) Vibrato Dyn Sens (Vibrato Dynamics Sensitivity)
Page 133: Advanced (When Phrase Model Is "Erhu")
Advanced (when Phrase Model is “Erhu”) fig.06b71-ps.eps_50 Parameter Brightness Low Velo Limit (Low Velocity Limit) Low Dyn Ctrl Lmt (Low Dynamics Controller Limit) Vibrato Dyn Sens (Vibrato Dynamics Sensitivity) Vibrato Reac Tm (Vibrato Reaction Time) PitchBend Reac Tm (Pitch Bend Reaction Time) Dyn Ctrl1 Reac Tm (Dynamics Controller 1 Reaction Time)
Page 134: Advanced (When Phrase Model Is "Sax")
Editing a Tone (Pro Edit) OSC1/2 OSC1/2 COSM1/2 COSM1/2 Advanced (when Phrase Model is “Sax”) fig.06b-73-ps.eps_50 Parameter Brightness Scoop Depth Key Nz Level (Key Noise Level) Growl Sens (Growl Sensitivity) Low Velo Limit (Low Velocity Limit) Low Dyn Ctrl Lmt (Low Dynamics Controller Limit) Vibrato Dyn Sens (Vibrato Dynamics Sensitivity)
Page 135: Advanced (When Phrase Model Is "Flute")
Advanced (when Phrase Model is “Flute”) fig.06b-74-ps.eps_50 Parameter Brightness Low Velo Limit (Low Velocity Limit) Low Dyn Ctrl Lmt (Low Dynamics Controller Limit) Vibrato Dyn Sens (Vibrato Dynamics Sensitivity) Vibrato Reac Tm (Vibrato Reaction Time) PitchBend Reac Tm (Pitch Bend Reaction Time) Dyn Ctrl1 Reac Tm (Dynamics Controller 1 Reaction Time)
Page 136: Advanced (When Phrase Model Is "Multifade")
Editing a Tone (Pro Edit) OSC1/2 OSC1/2 COSM1/2 COSM1/2 Advanced (when Phrase Model is “Multifade”) fig.06b-75-ps.eps_50 Parameter Brightness Porta Depth (Portamento Depth) Fade1 Ctl Default (Fade 1 Control Default) Fade2 Ctl Default (Fade 2 Control Default) Low Velo Limit (Low Velocity Limit) Low Dyn Ctrl Lmt (Low Dynamics Controller Limit) Vibrato Dyn Sens...
Page 137: Control 1
Control 1 fig.06b-76.eps_50 Parameter Dynamics Ctrl1 (Dynamics Controller 1) Dynamics Ctrl2 (Dynamics Controller 2) Fade 1 Fade 2 Portamento Vibrato OSC1/2 OSC1/2 Parameter name Controller (can be changed using VALUE) Reverse switch Reverses the direction in which the controller will operate. Description Controls the dynamics.
Page 138: Control 2
Editing a Tone (Pro Edit) OSC1/2 OSC1/2 COSM1/2 COSM1/2 Control 2 fig.06b-77-ps.eps_50 Parameter Tremolo Pizzicato Mono/Poly Mix Level AP Syn AP Syn Effects Effects Parameter name Controller (can be changed using VALUE) Reverse switch Reverses the direction in which the controller will operate. Description Switches to a tremolo sound.
Page 139: Tone-Fx (Tone Effect)
Tone-FX (Tone Effect) The V-Synth GT contains three high-quality effects: Tone-FX (tone effect), Chorus, and Reverb. The tone effect can be applied to individual tones, and the amount of signal sent to chorus and reverb can be specified for each tone.
Page 140 Editing a Tone (Pro Edit) OSC1/2 COSM1/2 Parameter Tone-FX (Tone-FX On/Off Switch) Tone-FX Type Tone-FX Master Level Tone-FX To CHO (Tone FX Chorus Send Level) Tone-FX To REV (Tone-FX Reverb Send Level) (Chorus On/Off Switch) CHO Type (Chorus Type) CHO Master Level (Chorus Master Level) CHO To REV (Chorus Reverb Send Level)
Page 141: Tone-Fx
Tone-FX fig.06b-81.eps_50 Parameter Tone-FX Switch Tone-FX Type Chorus This effect is applied to the entire patch. For details, refer to “Effects (Setting Effects for a Patch)” (p. 76). Reverb This effect is applied to the entire patch. For details, refer to “Effects (Setting Effects for a Patch)” (p. 76). OSC1/2 Value Description...
Page 142: Using Steps To Vary The Sound (Multi Step Modulator)
The Multi Step Modulator is a function that modulates the value of various parameters according to a sixteen-step sequence. On the V-Synth GT, the patterns of this sequence are managed as “tracks.” You can simultaneously use up to four tracks, with each track containing a different sequence. You can use the panel knobs to freely modify the sequence pattern.
Page 143 While playing the keyboard to hear the sound, input steps 1–8. The V-Synth GT’s E1–E8 knobs correspond to knobs 1–8 and 9–16. To switch between 1–8 and 9–16, hold down [SHIFT] and use [ will be shown as a graph of 1--16 steps, and the color will change.
Page 144: Multi Step Modulator
If you touch < STEP >, the graph will become a bar graph. Use these knobs to input the sixteen steps. The V-Synth GT’s E1–E8 knobs correspond to knobs 1–8 and 9–16. To switch between 1–8 and 9–16, hold down [SHIFT] and use [ (the frame in the screen will move).
Page 145 Parameter Value Track Button A–D OFF, ON (Step Modulator Track Buttons A– Track TAB A–D (Step Modulator Track Tabs A–D) Loop (Step Modulator Loop Switch) OFF, ON Grid (Step Grid) Note End P (Step Modulator End Point) 1–16 Dir (Step Modulator Direction) FWD1–3, BWD1–3 Zone (Step Modulator Zone)
Page 146: Vocal Designer
Vocal Designer If you select structure type 5, you’ll be able to use Vocal Designer. Vocal Designer is a function that uses cutting-edge human vocal modeling technology. By connecting a mic to the V- Synth GT and playing the keyboard while you sing, you can model an extremely realistic and natural singing voice. fig.06d-01-j.eps <VOCAL DESIGNER>...
Page 147: How Vocal Designer Is Structured
The signal on which the sound is based (tone and pitch) is produced according to the pitches you play on the keyboard. On the V-Synth GT, this consists of the combination of the OSC, COSM, MOD, and TVA. OSC1...
Page 148: Using Vocal Designer
Vocal Designer Using Vocal Designer Connecting a Mic Connect your mic to the “MIC IN jack.” Press INPUT [SETTING] on the panel. The Audio Input Settings screen will appear. fig.06d-16-ps.eps_50 Check the mic settings. fig.06d-17.eps_50 While vocalizing into the mic, use the panel’s INPUT MIC LEVEL knob to adjust the volume so that the Level indicator in the screen does not quite light red.
Page 149 Make settings for Vocal Designer Select structure type 5. • Select Structure Type 5 in the Pro Edit screen (p. 86). • Press STRUCTURE [5], then touch <VOCAL DESIGNER> in the Patch Play screen. fig.06d-01-j.eps Make sure that UPPER or LOWER is lit as the KEY MODE of the patch for which Vocal Designer is selected. Play the keyboard.
Page 150: Vocal Designer
Vocal Designer Vocal Designer fig.06d-10-ps.eps Parameter Vocal Designer Switch Level Carrier OSC1 (Oscillator 1 Switch) OSC1 Waveform (Oscillator 1 Waveform) OSC1 Level (Oscillator 1 Level) OSC2 (Oscillator 2 Switch) OSC2 Waveform (Oscillator 2 Waveform) OSC2 Level (Oscillator 2 Level) Vocoder Level Natural Voice Effects...
Page 151: Mic Settings
Mic Settings fig.06d-04-j.eps Vocal Designer Vocoder Settings Mic effects such as equalizer are provided to enhance the mic input. You can use these to adjust the character of the mic sound, and make it easier for you to sing. As mic effects, equalizer (EQ), noise suppressor (Noise Sup), and compressor (Comp) are provided. These mic effect settings can be stored together as mic settings, and called up when necessary.
Page 152 Vocal Designer Equalizer: Adjusts the character of the low, mid, and high-frequency ranges. The EQ settings are shown by the graph in the middle of the screen. fig.06d-12-ps.eps Parameter Mic/EQ Switch 3 Band EQ EQ Low Freq (EQ Low Frequency) EQ Low Gain EQ Mid Freq (EQ Mid Frequency) EQ Mid Gain...
Page 153: Noise Sup
Noise Sup Noise suppressor: Suppresses noise when no sound is being input. fig.06d-13-ps.eps Parameter Mic/Noise Suppressor Switch NS Threshold (Noise Suppressor Threshold) NS Attack (Noise Suppressor Attack) NS Release (Noise Suppressor Release) Value Description OFF, ON Turns the noise suppressor on/off. -60–...
Page 154: Comp
Vocal Designer Comp Compressor: Reduces high-level sounds and boosts low-level sounds, thus improving the overall volume balance of the sound. fig.06d-14-ps.eps Parameter Mic/Compressor Switch CP Ratio (Compressor Ratio) CP Threshold (Compressor Threshold) CP Attack (Compressor Attack) CP Release (Compressor Release) CP Gain (Compressor Gain) Value Description...
Page 155: Vocoder
Vocoder fig.06d-05-j.eps Vocal Designer Settings Settings You can use these settings to modify the character of the vocal sound created by Vocal Designer. Choose one of the following four vocoder types, which will determine the character of the sound. Parameter Vocoder Type Vocoder Tone-FX...
Page 156 Vocal Designer Stereo/Mono/Enhance fig.06d-xxx-ps.eps Parameter Formant Type Level Attack Release Consonant Level Consonant Detect Value Description Flat No conversion. Soprano Transforms the mic input sound into the specified voice range. Alto 1 Alto 2 “TalkBox” is suitable for obtaining metallic talkbox-type sounds. Baritone Bass TalkBox...
Page 157 Vintage fig.06d-21-ps.eps Parameter Vocoder EQ Low Freq EQ Low Gain Hi Cut Switch Level Attack Release Consonant Level Consonant HPF Freq Chorus Vintage Vocoder Chorus Switch Chorus Rate Chorus Depth Chorus Balance Chorus HPF Cutoff Chorus Pre Delay The chorus of the Vintage vocoder is applied separately from the patch effect named Chorus. Value Description 200–800 Hz...
Page 158: Editing A Tone (Sound Shaper Ii)
Editing a Tone (SOUND SHAPER II) By using the “Sound Shaper II” function you can edit the tone simply by turning knobs or pressing buttons. Access the Patch Play screen, and select the tone whose settings you wish to modify. Touch <SOUND SHAPER II>.
Page 159 In the case of Structure 5 fig.soundshape03 OSC1/2 Switch OSC1/2 Wave (Touch to view a list.) Touch <COSM> to make COSM settings (p. 160). Touch <AP-Synthesis> to make AP-Synthesis settings (p. 161). Touch <Effects> to make effect settings (p. 162). Save the tone you created (p.
Page 160: Cosm
Editing a Tone (SOUND SHAPER II) COSM Here you can use the [E1]–[E8] knobs to edit the most important COSM parameters. fig.06c-xx-ps.eps_50 COSM1 Type COSM1 Switch COSM2 Switch The most suitable parameters for COSM will be assigned. Use the COSM 1/2 switches to turn COSM 1/2 on/off. Touch the screen to select the COSM 1/2 types.
Page 161: Ap-Synthesis
AP-Synthesis Here you can use the [E1]–[E8] knobs to edit the most important AP-Synthesis parameters. fig.06c-10-ps.eps_50 AP-Synthesis Switch AP-Synthesis Level Use the AP-Synthesis switch to turn AP-Synthesis on/off. Use the [E1] knob to select the source wave. You can also use the VALUE dial or [INC/+] [DEC/-] to change this. Touch the screen to select the desired phrase model.
Page 162: Effects
Editing a Tone (SOUND SHAPER II) Effects Here you can use the [E1]–[E8] knobs to edit the most important parameters of each effect. fig.06c-20-ps.eps_50 TONE-FX/CHORUS/ REVERB Type TONE-FX/CHORUS/REVERB Switch Use the effect switches to turn each effect on/off. Select the desired type for each effect. Use the [E1]–[E8] knobs to edit the parameters of each effect.
Page 163: Sample Mode
Sample a digital signal. Connect your audio device to the rear panel COAXIAL IN connec- tor. Play a sample on the V-Synth GT and sample the result. This is called “resampling.” For details on resampling, refer to p. 173. Use the compressor pre-effect. The sample will be recorded from the rear panel INPUT jacks.
Page 164 Sample Mode Factory Settings of Each Template Setup Sampling Type Input Source Trigger Mode Trigger Level Pre Trigger Pre Gain PreFX Type PreFX COMPRESSOR Sustain PreFX COMPRESSOR Attack PreFX COMPRESSOR Tone PreFX COMPRESSOR Level PreFX LIMITER Thres PreFX LIMITER Release PreFX LIMITER Tone PreFX LIMITER Level PreFX LIMITER Ratio...
Page 165: Sampling Procedure
Sampling Procedure Here’s how to input a sound from the input jacks and sample it. For resampling, refer to the following section. The V-Synth GT has the following input jacks. • INPUT L, R • MIC IN (mixed into INPUT R) •...
Page 166 Sample Mode Select the location (sample number) that you wish to sample. Move the cursor to the desired sample. Normally, you will select a sample that has no wave; i.e., a sample number whose name is “NO SAMPLE.” In this screen you can use the following functions. •...
Page 167 Adjust the sampling level. Adjust the volume of the device that is producing the sound. When sampling from the MIC IN jack, adjust the level by turning the front panel INPUT MIC LEVEL knob. When sampling from the INPUT jacks, press the INPUT [SETTING] button on the front panel, and in the Audio Input Settings screen that appears, use <Input Gain>...
Page 168: Sample Name (Naming A Sample)
Sample Mode Sample Name (Naming a Sample) Assign a new name to the sample. You can assign a name consisting of up to twelve characters. Access the Sample Top screen, and select the sample that you want to name (p. 178). Touch <MENU>...
Page 169: Sample Copy (Copying A Sample)
Sample Copy (Copying a Sample) Access the Sample Top screen (p. 165). Touch <MENU> in the upper right of the screen. A pulldown menu appears. fig.07-03_50 In the pulldown menu, touch <Sample Copy>. The Sample Copy window appears. fig.04-04a_50 Move the cursor to “Source” and select the copy-source sample. Move the cursor to “Destination”...
Page 170: Sample Move (Moving A Sample)
Sample Mode Sample Move (Moving a Sample) Access the Sample Top screen (p. 165). Touch <MENU> in the upper right of the screen. A pulldown menu appears. fig.07-03_50 In the pulldown menu, touch <Sample Move>. The Sample Move window appears. fig.04-04b_50 Move the cursor to “Source”...
Page 171: Sample Exchange (Exchanging A Sample)
Sample Exchange (Exchanging a Sample) Access the Sample Top screen (p. 165). Touch <MENU> in the upper right of the screen. A pulldown menu appears. fig.07-03_50 In the pulldown menu, touch <Sample Exchange>. The Sample Exchange window appears. fig.04-04c_50 Move the cursor to “Source” and select the exchange-source sample. Move the cursor to “Destination”...
Page 172: Sample Delete (Deleting A Sample)
Sample Mode Sample Delete (Deleting a Sample) Access the Sample Top screen (p. 165). Touch <MENU> in the upper right of the screen. A pulldown menu appears. fig.07-03_50 In the pulldown menu, touch <Sample Delete>. The Sample Delete List window appears. fig.04-04d_50 From the list, select the sample that you want to delete.
Page 173: Resampling
Resampling The V-Synth GT is able to resample samples from its internal memory. This is called resampling. In actuality, the sounds that are output from the rear panel MAIN OUT L/MONO, R jacks are sampled. For example, you could sample multiple samples played simultaneously, and record them as a single sample. You can conserve voices in this way.
Page 174: Sampling General (Setup Settings)
Sample Mode Sampling General (Setup Settings) fig.04-06_50 Parameter Sampling Type Input Source Trigger Mode Trigger Level Pre Trigger Pre Gain Value Description STEREO L R Samples in stereo. MONO MIX Mixes the signals input to L and R, and sample in monaural. MONO L Samples the L input signal in monaural.
Page 175: Sampling Pre-Effect (Pre-Effect Settings)
Sampling Pre-Effect (Pre-Effect Settings) fig.04-07_50 There are three pre-effects: compressor, limiter, and noise suppressor. By using these you can adjust the level of the sound being sampled. Compressor By reducing high levels and raising low levels, this effect smoothes out unevenness in volume. Limiter By compressing sounds that exceed a specified volume level, this effect prevents the sound from distorting.
Page 176: Metronome (Metronome Settings)
Sample Mode Metronome (Metronome Settings) fig.04-08_50 Parameter Metro Type (Metronome Type) Level (Metronome Level) Count In * If Trigger Mode is set to other than “MANUAL,” this parameter has no effect. Tempo Beat Value Description The metronome will not sound. The metronome will sound only during sampling.
Page 177: Template Name (Naming A Template)
Template Name (Naming a Template) A template can be given a name of up to eight characters. Access the Sampling Template screen, and select the sample that you want to name (p. 165). Touch <MENU> in the upper right of the screen. A pulldown menu appears.
Page 178: Editing A Sample
Sample Mode Editing a Sample When you have finished sampling, you can edit the sample data. When editing a sample, touching <PREVIEW> will play the sample so you can check whether it was edited as you expect. When the editing screens are displayed, playing the keyboard will not produce sound. It is not possible to edit two or more samples simultaneously.
Page 179 When you have finished making settings, press [EXIT] to return to the Sample Top screen. Functions Common to All Editing Screens “Start,” “End,” and “Current” Settings The V-Synth GT uses seven terms to indicate locations within a sample. Sample Start Beginning of the sample...
Page 180 Sample Mode (LENGTH LOCK) This locks the length of the region between the start point (Start) and end point (End) of the sample. It is convenient to use this when you already know the length of the sample that you need, and want to find the right region to use. After the length has been locked, you can turn the VALUE dial, use [INC/+] [DEC/-], or drag your finger over the sample in the screen to adjust the Start and End locations while maintaining the distance between these two points.
Page 181 (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.
Page 182: Editing The Specified Region Of The Sample
Sample Mode 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 Access the Sample Edit screen (p. 178). Specify the region that you want to edit (Edit Start–Edit End), or the Current location (p. 179). Touch <MENU>...
Page 183 In the Sample Edit Zero Insert window, specify the length of the silent region that you want to insert. This setting is made in terms of a number of samples. Data in the V-Synth GT is handled as 44.1 kHz data, meaning that one second contains 44,100 data samples.
Page 184 Sample Mode Normalize Reverse Region The Normalize operation is used to uniformly increase or decrease the level of the entire sample without allowing it to distort. This is used when you wish to make the volume con- sistent with other samples. In the Sample Edit Normalize window, specify the degree of normalization that you want to use.
Page 185: Loop Region Settings
Start Start The data in the V-Synth GT is handled as 44.1 kHz data, which means there are 44,100 data samples per second. The shortest possible loop that can be set is 16 data samples. Loop range settings are ignored when the Playback Mode (p. 99) is set to “STEP” or “EVENT.”...
Page 186: Original Tempo Setting
Sample Mode Original Tempo Setting The Original Tempo is the reference tempo of the sample used when synchronizing it to the master tempo. Example: A sample whose original tempo is 100 If the master tempo is set to 200 and the sample is synchronized, the sample will play back at double the speed at which it was recorded.
Page 187: Encode (Converting The Sample To V-Synth Gt Data)
Encode (Converting the Sample to V-Synth GT Data) After you have finished editing the sample, you should encode it. By using the encoding that is appropriate for the sample, you’ll be able to maintain a higher quality of audio while controlling the pitch, time, and formant.
Page 188: Selecting The Encoding Type
If this occurs, re-encode the sample using “BACKING” or “ENSEMBLE.” This is the simplest encoding type. When you sample on the V-Synth GT, this type is selected by default. This type can be used with a variety of sounds, but to obtain the highest quality we recommend that you encode using one of the other types.
Page 189: Automatically Detecting Events
Automatically Detecting Events By specifying the Depth, you can automatically detect and “▼”mark locations where there is a strong attack (i.e., locations where the volume changes abruptly). Such marked locations are called events. fig.04-22 Parameter Depth (Encode Depth) Value Description 0–127 In the Sample Encode screen, move the cursor to “Depth”...
Page 190: Deleting And Adding Events
Sample Mode Deleting and Adding Events Setting the Encode Depth and automatically detecting events does not guarantee that the events will be added at the locations that you expect. If necessary, you can delete or add events as you like. In the Sample Encode screen, you can touch <PREVIEW>...
Page 191: Saving A Sample
Saving a Sample Samples that you sample or encode will be lost when you turn off the power. If you want to keep these samples, use the Save Project screen in the Utility Menu. When you edit the settings of a sample, an asterisk (*) will appear at the left of the sample name in the Sample Browser screen.
Page 192: Checking Sample Information
Sample Mode Checking Sample Information Access the Sample Top screen (p. 165). Touch <Info>. The Sample Information screen appears. fig.04-10a_50 In the Sample Information screen you can check the following information for the sample. • Encode type (p. 188) • Sampling type (p. 174) •...
Page 193: System Mode (Settings Common To All Modes)
System Mode (Settings Common to All Modes) Settings that affect the entire operating environment of the V-Synth GT, such as tuning and MIDI message reception, are referred to as system functions. This section explains how to make settings for the System functions and describes the functions of the different System parameters.
Page 194: System Menu
System Mode (Settings Common to All Modes) System Menu System Write (Saving the System Settings) Changes you make to the System function settings are only temporary—they will be discarded as soon as the power is turned off. If you want to keep any changes you’ve made in the system settings, you must save them in internal memory.
Page 195: System Init (Initializing The System Settings)
A window like the following will appear. fig.08-27.eps_50 Touch <OK>. If you want the factory settings to be in effect the next time the V-Synth GT is powered up, touch <Write> to save the settings. System Mode (Settings Common to All Modes)
Page 196: Common (Settings Common To The Entire System)
When the power is turned on, the V-Synth GT reinstates the patch selected at the time the V-Synth GT was last turned off. Patch 001 When the power is turned on, the V-Synth GT will be ready to play Patch “001.”...
Page 197 fig.08-04.eps_50 System EQ Switch Parameter System EQ Switch Total Gain Low Freq (Low Frequency) Low Gain Mid 1 Freq (Mid 1 Frequency) Mid 1 Gain Mid 1 Q Mid 2 Freq (Mid 2 Frequency) Mid 2 Gain Mid 2 Q Hi Freq (High Frequency) Hi Gain (High Gain) System Mode (Settings Common to All Modes)
Page 198: Midi
System Mode (Settings Common to All Modes) MIDI fig.08-05.eps_50 Parameter Device ID (Device ID Number) Clock Source Receive MIDI Ch (Receive MIDI Channel) Receive Sw Program Change (Receive Program Change Switch) Bank Select (Receive Bank Select Switch) System Ex (Receive System Exclusive Switch) Transmit MIDI Ch (Transmit MIDI Channel) Program Change...
Page 199: Usb Midi
USB MIDI fig.08-08.eps_50 Parameter USB-MIDI Thru Switch System Mode (Settings Common to All Modes) Value Description OFF, ON Specifies whether MIDI messages received at the USB connector or MIDI IN connector when using MIDI via the USB connection will be retransmitted with- out change from the MIDI OUT connector or USB connector (ON), or will not be retransmitted (OFF).
Page 200: Audio Input
Specifies whether the rear panel INPUT jacks will be enabled (ON) or dis- abled (OFF). ANALOG The MIC IN jack or INPUT jacks will be the input source. The USB audio from a computer connected to the V-Synth GT will be the input source. STEREO Inputs in stereo.
Page 201: Audio Output
Description -12– +12 dB This adjusts the output gain from the V-Synth GT’s Analog Out and Digital Out. When, for example, there are relatively few voices being sounded, boosting the output gain can let you attain the most suitable output level for recording and other purposes.
Page 202: Usb Audio
Specifies whether the rear panel INPUT jacks will be enabled (ON) or dis- abled (OFF). OFF, MAIN, When the V-Synth GT is connected via USB to your computer, this specifies ANALOG the source of the USB audio that will be output to the computer.
Page 203: Controller (Controller-Related Settings)
Time Trip Pad, D Beam controller, pedal, and so on); or not disconnected (ON). Normally this is left “ON,” but if you wish to use the V-Synth GT’s keyboard and controllers to con- trol only external sound modules, set it to “OFF.”...
Page 204: Time Trip Pad
System Mode (Settings Common to All Modes) Time Trip Pad fig.08-12.eps_50 Parameter X Assign-XY X Assign-TT (X Assign-Time Trip) Y Assign-XY Y Assign-TT (Y Assign-Time Trip) Value CC01–31, 33–95 (Controller numbers 1–31, 33–95) CC01–31, 33–95 (Controller numbers 1–31, 33–95) CC01–31, 33–95 (Controller numbers 1–31, 33–95) CC01–31, 33–95 (Controller numbers 1–31, 33–95)
Page 205: D-Beam
D-Beam fig.08-14.eps_50 Parameter Beam Sens L, R (D Beam Sensitivity L, R) 1–4 Assign L, R (D Beam 1–4 Assign L, R) Specifies the MIDI controller num- ber that will be transmitted by movements in the D Beam Control- ler. Assign L is the left side, and Assign R is the right side.
Page 206: C1/C2 Knob
System Mode (Settings Common to All Modes) C1/C2 Knob fig.08-17.eps_50 Parameter C1, 2 Knob Assign S1/S2 Switch fig.08-19.eps_50 Parameter S1, 2 Switch Assign Value CC01–31, 33–95 (Controller numbers 1–31, 33–95) Value CC01–31, 33–95 (Controller numbers 1–31, 33–95) Description No message will be transmitted. Specifies the MIDI controller number that will be transmitted by movements in the ASSIGNABLE CON- TROL knob.
Page 207: Pedal
If your pedal has an effect opposite of what you expect, set this parameter to “Reverse.” If you are using a Roland pedal (that has no polarity switch), set this parameter to “Standard.”...
Page 208: V-Link Settings
System Mode (Settings Common to All Modes) V-LINK Settings fig.08-20.eps_50 Parameter V-LINK MIDI Channel V-LINK Audio Sw (V-LINK Audio Switch) Keyboard Output Fade Sw (V-LINK Keyboard Output Fade Switch) Patch Palette Local Sw (V-LINK Patch Palette Local Switch) Value Description 1–16 Specifies the channel used to transmit MIDI messages for V-LINK control.
Page 209: Time Trip Pad
Time Trip Pad fig.08-21.eps_50 Parameter Time Trip Pad Local Sw (V-LINK Time Trip Pad Local Switch) X Assign-XY (V-LINK X Assign-XY) Specify the V-LINK function that will be controlled when you oper- ate the Time Trip pad in the X (hor- izontal) direction in XY mode.
Page 210: D Beam
System Mode (Settings Common to All Modes) D Beam fig.08-23.eps_50 Parameter D Beam Local Sw (V-LINK D Beam Local Switch) 1–4 Assign L, R (V-LINK D Beam1–4 Assign L, R) Specify the V-LINK function that will be controlled when you oper- ate the D Beam controller.
Page 211: C1/C2 Knob
C1/C2 Knob fig.08-24.eps_50 Parameter C1, 2 Knob Local Sw (V-LINK Knob1, 2 Local Switch) C1, 2 Knob Assign (V-LINK Knob1, 2 Assign) Specify the V-LINK function that will be controlled when you turn the ASSIGNABLE CONTROL knob. System Mode (Settings Common to All Modes) Value OFF, ON PLAYBACK-SPEED...
Page 212: Bender
System Mode (Settings Common to All Modes) Bender fig.08-26.eps_50 Parameter Modulation Local Sw (V-LINK Modulation Local Switch) Bender Local Sw (V-LINK Pitch Bend Local Switch) Aftertouch Local Sw (V-LINK Aftertouch Local Switch) Modulation Assign (V-LINK Modulation Assign) Specify the V-LINK function that will be controlled when you oper- ate the modulation lever.
Page 213: Info (Viewing Various Information)
Version (Checking the Version) Here you can check the V-Synth GT’s program version. fig.08-30.eps_50 Features (Checking the Functions) Here you can view a screen that introduces the functionality of the V-Synth GT. fig.08-31.eps_50 System Mode (Settings Common to All Modes)
Page 214: Utility Mode
Utility Mode Utility mode provides various functions for your convenience when using the V-Synth GT. Press [UTILITY] to access the Utility Menu screen, then select and carry out the desired function. fig.utility-ps.eps_50 • Project (Project-related Settings) ... p. 215 • USB Storage (Exchanging Files with Your Computer)... p. 221 •...
Page 215: Project (Project-Related Settings)
Project (Project-related Settings) You can load a project from USB memory into the V-Synth GT’s temporary area, or save the project that’s in the temporary area. Load Project (Loading a Project into the V-Synth GT) This operation will load a project from internal memory or USB memory into the V-Synth GT’s temporary area.
Page 216 Utility Mode Touch <OK>. A Warning window like the following appears. fig.09-03-ps.eps_50 If you want to cancel the procedure at this point, touch <EXIT>. Touch <OK> to execute the operation. It will take several minutes for the project to be loaded. When <Completed!>...
Page 217: Save Project (Saving A Project)
Save Project (Saving a Project) This operation saves the project from the temporary area into internal memory or USB memory. Press [UTILITY] to access the Utility Menu screen. Touch <Project>. The Project Menu screen appears. fig.09-01-ps.eps_50 Touch <Save Project>. The Save Project screen appears. fig.09-04-ps.eps_50 To save to internal memory, touch <Int>.
Page 218 Utility Mode Touch <OK>. A Warning window like the following appears. fig.09-05-ps.eps_50 If you want to cancel the procedure at this point, touch <EXIT>. Touch <OK> to execute the operation. It will take several minutes for the project to be saved. When <Completed!>...
Page 219: Convert Project (Convert A Project)
Convert Project (Convert a Project) This operation will convert (import) a V-Synth Version 2.0 or V-Synth XT project for use with your V-Synth GT. Using your computer, create a folder named “XT” on your USB memory device. Copy the V-Synth Version 2.0 or V-Synth XT project to the “XT” folder on the USB memory device, and connect it to the V-Synth GT’s USB MEMORY connector.
Page 220 Utility Mode Touch <OK>. A Warning window like the following appears. fig.09-xxx-ps.eps_50 If you want to cancel the procedure at this point, touch <EXIT>. Touch <OK> to execute the operation. It will take several minutes for the project to be converted.
Page 221: Usb Storage (Exchanging Files With Your Computer)
USB Storage (Exchanging Files with Your Computer) By connecting the V-Synth GT to your computer via a USB cable, you can save (back up) projects and other files such as individual patches, waves, and data from internal memory to the hard disk of your computer.
Page 222 Installation is completely automatic. Please wait for it to be completed. When installation is completed, open My Computer and you will see a new drive icon. Once the V-Synth GT is connected, you can transfer files by operating your computer. Disconnecting USB Storage Use the device eject button shown in the taskbar at the lower right of your computer screen to cancel the connection with the V-Synth GT.
Page 223: Mac Users
Touch <Mount the Internal Memory> to establish the connection with your computer. When the USB connection is established, a new drive icon will appear on your desktop. Once the V-Synth GT is connected, you can transfer files by operating your computer. Connector...
Page 224 Utility Mode Disconnecting USB Storage Select the V-Synth GT drive icon on the desktop, and drag it into the “trash.” Alternatively, select “Eject “V-SYNTH GT”” from the “Files” menu. Press [EXIT]. The USB storage will be disconnected.
Page 225: Examples Of Using Storage Function
Backing Up the V-Synth GT’s Internal Data onto Your Computer Use a USB cable to connect the V-Synth GT to your computer as described in “Connecting the V-Synth GT to your computer” (p. 221, p. 223).
Page 226 222, p. 224), and then execute the Factory Reset command (p. 235). This will erase all the data that has been saved on the V-Synth GT. As a precaution against such occurrences, we recommend that you always make a backup of your data (p. 225).
Page 227: Beep (Beep Tone Settings)
Beep (Beep Tone Settings) You can specify whether a “beep” will be heard when you touch a valid point in the touch panel. * With the factory settings, there will be a beep tone. Press [UTILITY] to access the Utility Menu screen. Touch <Beep>.
Page 228: E1-E8 Knobs (E1-E8 Knob Settings)
Utility Mode E1–E8 Knobs (E1–E8 knob Settings) Press [UTILITY] to access the Utility Menu screen. Touch <E1–E8 knobs>. The E1–E8 Knob Settings screen appears. Specify the parameters you wish to assign to the E1–E8 knobs. fig.09-37-ps.eps_50 Parameter Init Settings Sw E1–E8 Assign Value Description...
Page 229: Screen Saver
Screen Saver This feature allows you to have a simple animation be displayed whenever the V-Synth GT has not been operated for a certain period of time. Because of the characteristics of the TFT liquid crystal display used in the V-Synth GT, leaving the same screen displayed for an extended time may cause that image to be burned into the screen.
Page 230: Wallpaper (Changing The Wallpaper)
Touch <Import> in the Wallpaper screen. Touch the bitmap file in USB memory to select it. Touch <OK>. The V-Synth GT provides sixteen screens that you can use as wallpaper. The imported file will be overwritten over the currently selected screen.
Page 231: Calibration (Adjusting The Controllers)
Calibration (Adjusting the Controllers) Adjusting the Positional Accuracy of the Touch Panel Perform this adjustment if the touch panel no longer responds as you expect. In the Utility Menu screen, touch <Calibration>. The Calibration screen appears. fig.09-30-ps.eps_50 Touch <Touch Screen>. The Touch Screen Calibration screen appears.
Page 232: Adjusting The Positional Accuracy Of The Time Trip Pad
Utility Mode Adjusting the Positional Accuracy of the Time Trip Pad Perform this adjustment if the Time Trip pad no longer responds as you expect. In the Utility Menu screen, touch <Calibration>. The Calibration screen appears. fig.09-30-ps.eps_50 Touch <Time Trip Pad>. The TT Pad Calibration screen appears.
Page 233: Adjusting The Sensitivity Of The D Beam Controller
Adjusting the Sensitivity of the D Beam Controller Perform this adjustment if the D Beam controller is functioning incorrectly, such as responding even though you have not operated it. In the Utility Menu screen, touch <Calibration>. The Calibration screen appears. fig.09-30-ps.eps_50 Touch <D Beam>.
Page 234: Format (Initializing Internal Memory Or Usb Memory)
Utility Mode Format (Initializing Internal Memory or USB Memory) You can initialize (format) internal memory or USB memory to erase all data. Press [UTILITY] to access the Utility Menu screen. Touch <Format>. The Format screen appears. fig.09-50-ps.eps_50 If you want to format the internal memory, touch <Internal Memory>. If you want to format a USB memory, touch <USB Memory>.
Page 235: Factory Reset (Reset To Default Factory Settings)
This restores all data in the V-Synth GT to the factory-set condition (Factory Reset). If there is important data you’ve created that’s stored in the V-Synth GT’s internal memory, all such data is discarded when a Factory Reset is performed. If you want to keep the existing data, save it on a USB memory (p. 217) or USB backing up onto a computer (p.
Page 236: Midi Implementation Chart
MIDI Implementation Chart Synthesizer Keyboard Model: V-Synth GT Function... Basic Default Channel Changed Default Mode Messages Altered Note Number : True Voice Note On Velocity Note Off After Key’s Touch Channel’s Pitch Bend 0, 32 6, 38 Control Change 1–31, 64–95...
Page 237: Specifications
Specifications V-Synth GT: Synthesizer Keyboard ● Keyboard 61 keys (with velocity and channel aftertouch) ● Sound Generator Configuration Dual-core (2 Tones per Patch: Upper, Lower) Sections per Tone: Oscillator (envelope x 4 + LFO x 1) x 2 Modulator x 1...
Page 238 Specifications ● Connectors Headphone Jack (Stereo 1/4 inch phone type) Main Output Jacks (L/MONO, R) (1/4 inch TRS phone type) Direct Output Jacks (L, R) (1/4 inch phone type) Input Jacks (L, R) (1/4 inch phone type) Mic Jack (1/4 inch phone type/XLR type, phantom power) Hold pedal Jack Control pedal Jacks (1, 2) MIDI Connectors (IN, OUT, THRU)
Page 239: Index
Index Symbols [-/+OCT] ... 21, 44–45 Numerics 1–4 Assign L, R ... 205 V-LINK ... 210 AC IN ... 24 Active Sens ... 198 Adjust ... 180 ADSR Attack ... 121 ADSR Decay ... 121 ADSR Release ... 121 ADSR Sustain ... 121 Aftertouch ...
Page 240 Index Carrier ... 147, 150 Category Patch ... 41, 60 Tone ... 57, 83 Chorus ... 78 Vintage Vocoder ... 157 Clock Out ... 198 Clock Source ... 198 Coarse Tune ... 97, 100, 102 AP-Synthesis ... 126 COAXIAL IN/OUT ... 24 Compressor Sampling ...
Page 241 Harmonics ... 108 Harmonics Keyfollow ... 108 Harmonics LFO Depth ... 108 Headphones ... 25 Hi Cut Switch ... 157 [HOLD] Time trip pad ... 20 Hold Arpeggio ... 51, 69 HOLD Jack ... 24, 51 Hold Pedal ... 51, 207 Hold Polarity ...
Page 242 Index MIDI Clock ... 198 MIDI Connectors ... 24 MIDI Message V-LINK ... 53 MIDI Thru ... 199 Mix ... 107 Mix Keyfollow ... 107 Mix LFO Depth ... 107 Mix/Parallel ... 201 MOD ... 29 Modes ... 38 MODIFY Knob ... 124 Modulation ...
Page 243 Portamento ... 87 AP-Synthesis ... 137 Portamento Switch ... 87 Portamento Time ... 87 Portamento Type ... 87 Power Turning Off ... 19 Turning On ... 18 POWER ON Switch ... 18 POWER Switch ... 24 Pre Gain ... 174 Pre Trigger ...
Page 244 Index [SYSTEM] ... 193 System Init ... 195 System Menu ... 194 System Mode ... 38, 193 System Settings Initializing ... 195 Saving ... 194 System Write ... 194 TalkBox ... 156 Temperament ... 94 Template Sampling ... 163–164 Tempo Metronome ...
Page 245 VOCAL DESIGNER ... 29 Vocal Designer ... 146 Compressor ... 154 EQ (Equalizer) ... 152 Mic Settings ... 151 Noise suppressor ... 153 Settings ... 150 Vocoder ... 155 Stereo/Mono/Enhance ... 156 Vintage ... 157 Vocoder Type ... 155 Volume ... 196 Wallpaper ...
Page 246 For EU Countries...
Page 247 DECLARATION OF CONFORMITY Compliance Information Statement Model Name : V-Synth GT Type of Equipment : Synthesizer Keyboard Responsible Party : Roland Corporation U.S. Address : 5100 S. Eastern Avenue, Los Angeles, CA 90040-2938 Telephone : (323) 890-3700 This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
Page 248 Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. PHILIPPINES AFRICA G.A. Yupangco & Co. Inc. 339 Gil J. Puyat Avenue EGYPT Makati, Metro Manila 1200, Al Fanny Trading Office...

Roland V-Synth GT Owner's Manual

Important Safety Instructions

Using the Unit Safely

Important Notes

How to Use the Documentation

Main Features

Getting Ready

Panel Descriptions

Overview of the V-Synth GT

Basic Operation of the V-Synth GT

Patch Mode (Playing in Patch Mode)

Patch Mode (Editing a Patch)

Patch Mode (Editing a Tone)

Editing a Tone (Pro Edit)

Vocal Designer

Editing a Tone (SOUND SHAPER II)

Sample Mode

System Mode (Settings Common to All Modes)

Utility Mode

MIDI Implementation Chart

Specifications

Index

Quick Links

Related Manuals for Roland V-Synth GT

Summary of Contents for Roland V-Synth GT