Page 1 OWNER’S MANUAL Thank you, and congratulations on your choice of the Roland V-Synth. Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY INSTRUCTIONS” (Owner’s Manual p. 2), “USING THE UNIT SAFELY” (Owner’s Manual p. 3), and “IMPORTANT NOTES” (Owner’s Manual p. 4). These sections provide important information concerning the proper operation of the unit.
Page 2: Important Safety Instructions
CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION : RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
Page 3: Using The Unit Safely
Roland. • When using the unit with a rack or stand recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.
Page 4: Important Notes
• 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 5 • Unfortunately, it may be impossible to restore the contents of data that was stored on a PC card once it has been lost. Roland Corpo- ration assumes no liability concerning such loss of data. • Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls;...
Page 6: How To Use This Manual
Reading it is essential for understanding V-Synth operational procedures. Playing in Patch Mode This explains how to play the V-Synth in Patch mode. Reading it is essential for understanding V-Synth operational procedures. Creating a Patch This chapter explains how to create patches, and describes what the patch parameters do and how they are composed.
Page 7: Table Of Contents
Applying an Effect by Passing Your Hand Over the D Beam (D Beam Controller) ... 29 Applying an Effect by Turning a Knob (Assignable Controller) ... 30 Synchronizing Music and Video While You Play the V-Synth (V-LINK) ... 30 Enter V-LINK Mode ... 31 V-LINK Functions that the V-Synth Can Control and MIDI Messages ...
Page 8 Basic Disk Utility Operations... 83 Sorting the Files Displayed in the File List... 84 Loading a Project from Disk into the V-Synth (Load Project) ... 84 Saving Project on Disk (Save Project) ... 85 Delete Unneeded Files (Clean Project) ... 85 Importing Individual Patch or Wave Files (Import Files) ...
Page 9 MFX Parameters ... 116 Chorus Parameters ... 138 Reverb Parameters ... 138 Troubleshooting...145 Problems Related to the V-Synth ... 145 Problems Related to the USB Driver (Windows)... 146 Problems Related to the USB Driver (Macintosh) ... 148 Message List ...149 ERROR Screens ...
Page 10: Main Features
The V-Synth brings together the ideal combination of sound generators, together with an interface that dynamically links your sensitivities with the sound. It’s a powerful synthesizer that only Roland could have produced. The sounds of the V-Synth have a living character that goes beyond the limits of previous synthesizers.
Page 11 By using a video device that supports V-LINK, you can easily link various video effects with your performances. If the V-Synth is connected to an Edirol DV-7PR, you can use the V- Synth’s controllers to adjust the brightness or color of the image, vary the playback speed, or switch between images.
Page 12: Panel Descriptions
Panel Descriptions Front Panel Volume Slider Adjusts the overall volume that is output from the rear panel MAIN OUT jacks and PHONES jack. (Quick Start; p. 4) INPUT [PEAK] (Peak Indicator) This will light when the input volume is too high. [LEVEL] Adjusts the volume of the signal input through the INPUT jacks on the rear panel.
Page 13 KEYBOARD Here you can change the pitch range of the keyboard. [TRANSPOSE] Specifies transposing the keyboard in semitone steps. Pressing this button while holding down [-OCT] or [+OCT] allows you to set the desired amount of transposition. [-OCT], [+OCT] These buttons adjust the pitch of the keyboard in octave steps. (p.
Page 14 Panel Descriptions EFFECTS Here you can switch the onboard effects (multi-effects, chorus, reverb) on/off. When an effect is on, the indicator for its button will light. [MFX] Switches multi-effects on and off. [CHORUS] Switches chorus on and off. [REVERB] Switches reverb on and off. OSC1, OSC2 Here you can adjust the oscillator section.
Page 15: Rear Panel
Rear Panel fig.00-02 fig.00-03 POWER Switch Press to turn the power on/off. (Quick Start; p. 4) AC Inlet Connect the included power cord to this inlet. fig.00-04 PC CARD Slot A PC card can be inserted here. For details on installing the included PC card protector, refer to p.
Page 16: Overview Of The V-Synth
The V-Synth allows up to 16-part multitimbral operation, and can be played multitimbrally by performance data sent from an external device. You can use the V-Synth to play the sounds of a song you created on your sequencer, or as part of an ensemble. From the keyboard you can play only the patch that is assigned to part 1.
Page 17: Memory
Reset). Overview of the V-Synth Work Area/Temporary Area When you turn on the power of the V-Synth, or when you load a project in Disk mode, the project data is placed in temporary memory called the work area. Sampling and sample editing operations modify the data that is in the work area.
Page 18: Basic Operation Of The V-Synth
In this mode, you can sample the waves that form the basis of the sounds you create, and edit the sampled waves. System Mode fig.SYSTEM_50 In this mode, you can set the overall behavior of the V-Synth, such as its tuning and how it handles received MIDI messages. Disk Mode fig.DISK_50 In this mode, you can perform operations related to disks, such as saving data on a disk or loading data from a disk.
Page 19: Basic Touch Screen Operation
USB Mode fig.USB_50 In this mode, you can connect the V-Synth to your computer and exchange patch or wave data. Calibration Mode fig.CALIBRATION_50 In this mode you can adjust the response of the touch screen and D Beam controller. Factory Reset Mode fig.FACTORY_50...
Page 20: Moving The Cursor
To edit a value, you can use the VALUE dial, [INC/+] [DEC/-], or drag on the touch screen. In each V-Synth 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 21: Playing In Patch Mode
Indicates/sets the zone Opens the pulldown menu. Displays the various patch setting screens. Selecting a Patch V-Synth contains 512 patches for you to select and use. All of these patches can be overwritten. 1. Access the PATCH PLAY screen (p. 21). fig.02-02.e Patch number 2.
Page 22: Selecting Favorite Patches (Patch Palette)
3. 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. The changed setting will be remembered even if you switch patches.
Page 23: Transposing The Keyboard In Octave Units (Octave Shift)
You can also do this by dragging on the touch screen. There is a single Octave Shift setting (Setup parameter) for the entire V-Synth. The changed setting will be remembered even if you switch patches. 2. To turn off the Octave Shift function, press the other button [+OCT] or [-OCT] of that pressed in step 1.
Page 24: Playing Arpeggios (Arpeggiator)
You can also use the keyboard of an external MIDI instrument to play arpeggios. 1. Use a MIDI cable to connect the V-Synth’s MIDI IN connector to the MIDI OUT connector of your external MIDI keyboard. 2. Access the PATCH PLAY screen (p. 21).
Page 25: Making Arpeggiator Settings
Making Arpeggiator Settings 1. Access the PATCH PLAY screen (p. 21). 2. At the bottom of the screen, touch <Common>. 3. In the left side of the screen, touch the Arpeggio> tab. The PATCH Edit Com Arpeggio screen appears. fig.02-09_50 In this screen you can set the following arpeggiator parameters.
Page 26 Time (Real Rec) This method lets you create a pattern in a way similar to realtime recording on a sequencer. Your playing on the V-Synth’s keyboard and your controller operations will be recorded “as is.” 1. Specify the Grid and End Point of the arpeggio pattern that you will be creating.
Page 27 2. Touch <Step Rec>. The V-Synth will be in step-input standby mode. fig.02-09d_50 3. Play the V-Synth’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 28: Applying Various Effects To The Sound
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’s panel. What is the Time Trip function? One of the advantages of VariPhrase is that the playback location and speed of the wave can be changed in real time.
Page 29: Applying An Effect By Passing Your Hand Over The D Beam (D Beam Controller)
If [ASSIGNABLE] is on The effect will be applied when you move your finger up/ down/left/right on the Time Trip pad. fig.02-13 • By pressing TIME TRIP PAD [HOLD], you can cause the effect to be held even after you take your finger off the Time Trip pad. •...
Page 30: Applying An Effect By Turning A Knob (Assignable Controller)
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 31: Enter V-Link Mode
2. To exit V-LINK mode, press [V-LINK] once again so the indicator goes out. V-LINK Functions that the V-Synth Can Control and MIDI Messages You can assign the following functions to the V-Synth’s controllers to control a V-LINK compatible video device. Projector V-LINK function...
Page 32: Creating A Patch
Creating a Patch With the V-Synth, you have total control over a wide variety of settings. Each item that can be set is known as a parameter. When you change the values of parameters, you are doing what is referred to as Editing.
Page 33: Initializing Patch Settings (Patch Init)
If you wish to restore all of the V-Synth’s settings to their factory values, perform a Factory Reset (p. 98). 1. Access the PATCH PLAY screen, and select the patch that you wish to initialize (p.
Page 34: Naming A Patch (Patch Name)
Creating a Patch Naming a Patch (PATCH Name) Before you save the patch, here’s how to give it a new name. 1. Make sure that the patch that you want to name is selected. 2. Touch < > in the upper right of the screen. A pulldown menu appears.
Page 35: Auditioning The Save-Destination Patch (Compare)
• By touching <Compare> you can check the save-destination patch (Compare function). • When you touch <List>, the PATCH List window will appear, allowing you to select the save-destination patch from the list. fig.03-05_50 5. Touch <Execute> to execute the Save operation. Auditioning the Save-Destination Patch (Compare) Before you save a patch, you can audition the patch which currently...
Page 36: Deleting Patches (Patch Delete)
Creating a Patch Deleting Patches (PATCH Delete) Delete unneeded patches from the internal memory. 1. Touch < > in the upper right of the screen. A pulldown menu appears. fig.01-05_50 2. In the pulldown menu, touch <PATCH Delete>. The PATCH Delete List window appears. fig.03-06a_50 3.
Page 37: Octave Shift
Portamento Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key. By applying portamento when the Mono/Poly parameter is monophonic, you can simulate slide performance techniques on a violin or similar instrument. Mode (Portamento Mode) Specifies the performance conditions for which portamento will be applied.
Page 38: Matrix Ctrl
For that reason, a number of the more typical of the V-Synth’s patch 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.
Page 39 BEAM-L: D Beam controller (left) BEAM-R: D Beam controller (right) KNOB1: Assignable Controller ([C1]) KNOB2: Assignable Controller ([C2]) VELO: Velocity (pressure you press a key with) KEYF: Note Number Sens (Matrix Control Sens) Sets the amount of the Matrix Control’s effect that is applied. If you wish to modify the selected parameter in a positive (+) direction –...
Page 40: Patch Tempo
Creating a Patch Arpeggio fig.03-11_50 Arpeggio Switch Switches the Arpeggiator on/off. Value: OFF, ON Patch Tempo Specify the tempo of an arpeggio. When Clock Source parameter (p. 75) is set to “INTERNAL,” this setting value is effective. Value: 20.0–250.0 Hold (Arpeggio Hold Switch) Switch between Hold On/Hold Off for the Arpeggiator performance.
Page 41: Equal Temperament
G and B, C and E, F and G#, Bb and C#, and Eb and F# have a natural third—the interval between a major third and a minor third. On the V-Synth, you can use Arabian temperament in the three keys of G, C and F.
Page 42: Modifying Waveforms (Osc1/Osc2)
Creating a Patch Modifying Waveforms (OSC1/ OSC2) Oscillator Switch Switches the oscillator on/off. Value: OFF, ON OSC Type Analog Oscillator PCM Oscillator Oscillator Type Selects the type of oscillator. By selecting “EXT IN,” the signal that is input through the rear panel INPUT jack can be used as an oscillator.
Page 43 Playback Mode (PCM Oscillator Playback Mode) Specifies how the wave will be assigned to each key. Value RETRIGGER: The sample will play back from the beginning each time you play a key. LEGATO: When you play legato, the playback point will be synchronized with the currently playing sound.
Page 44 Creating a Patch Pulse Width (ANALOG) fig.03-15_50 Pulse Width Specifies the amount by which the wave shape will be modified. Value: -63– +63 PW KF (Pulse Width Key Follow) Specifies the amount by which the pulse width value will be affected by the key you play.
Page 45 Formant (PCM) fig.03-18_50 The parameters of this screen are ignored when the Vari switch (p. 42) is off and when the Encode Type (p. 70) is “BACKING” or “ENSEMBLE.” Formant This sets the range of change in vocal quality (formant). Value: -63–...
Page 46: Mixing/Modulating Two Sounds (Mod)
Creating a Patch Mixing/Modulating Two Sounds (Mod) Modulator Switch Switches the modulator on/off. Value: OFF, ON Mod Type fig.03-21_50 Modulator Type Selects the type of modulator. Value MIX: Add OSC1 and OSC2. RING: Use OSC2 to apply ring modulation to OSC1. FM: Use OSC2 to apply FM (frequency modulation) to OSC1.
Page 47: Adjusting The Volume And Pan (Tva)
Adjusting the Volume and Pan (TVA) TVA Switch Switches the TVA on/off. Value: OFF, ON fig.03-24_50 Level Specifies the volume of the patch. Value: 0–127 Level KF (Level Key Follow) Use this parameter if you want the volume of the patch to change according to the key that is pressed.
Page 48: Making Envelope Settings
Creating a Patch Making Envelope Settings This section explains the envelope setting screens. fig.03-26_50 Velocity Curve (Envelope Velocity Curve) Choose from the following seven curves to specify how your keyboard playing strength will affect the envelope depth. If you don’t want your keyboard playing strength to affect the envelope depth, set this to “0”.
Page 49: Making Lfo Settings
Making LFO Settings This section explains the LFO setting screens. fig.03-27_50 Waveform (LFO Waveform) Selects the waveform of the LFO. Value SIN: Sine wave TRI: Triangle wave SAW: Sawtooth wave SQR: Square wave RND: Random wave TRP: Trapezoidal wave S&H: Sample & Hold wave (one time per cycle, LFO value is changed) CHAOS: Chaos wave “LFO”...
Page 50: Setting Effects For A Patch (Effect)
Creating a Patch Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the effect fig.LFO-2.e high (more) Delay Time Pitch Cutoff Frequency Level Note on low (less) Fade Mode: ON >> Fade Time: The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.
Page 51 MFX To CHO (MFX Chorus Send Level) Adjusts the amount of chorus for the sound that passes through MFX. If you don’t want to add the Chorus effect, set it to “0.” Value: 0–127 MFX To REV (MFX Reverb Send Level) Adjusts the amount of reverb for the sound that passes through MFX.
Page 52: Zone Settings (Zone)
Zone Settings (Zone) V-Synth lets you divide the keyboard into as many as sixteen zones, with each zone playing a different sound. The following patch settings are applied in common to each of the individual sounds that are divided by zone.
Page 53: Creating A Drum Patch (Drum)
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.
Page 54 Creating a Patch 4. In the lower part of the screen, touch <Drum>. A window like the following appears. fig.03-34_50 5. To change the split point of each zone, refer to the procedure described in the preceding section, “Splitting the Keyboard to Play Different Sounds (Split).”...
Page 55: Creating And Editing Samples (Sample Mode)
Optical Sample a digital signal. Connect your audio device to the rear panel OPTICAL IN connector. Resampl Play a sample on the V-Synth and sample the result. This is called “resampling.” For details on resampling, refer to p. 60. Comp Use the compressor pre-effect.
Page 56: 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 has the following input jacks. • INPUT L, R (GAIN: MIC/LINE) • DIGITAL AUDIO INTERFACE OPTICAL IN COAXIAL IN Use the input jack that is appropriate for your situation.
Page 57 3. 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 58 Creating and Editing Samples (Sample Mode) Naming a Sample (SAMPLE Name) Assign a new name to the sample. You can assign a name consisting of up to twelve characters. 1. Access the SAMPLE Top screen, and select the sample that you want to name (p.
Page 59 Moving a Sample (SAMPLE Move) 1. Access the SAMPLE Top screen (p. 56). 2. Touch < > in the upper right of the screen. A pulldown menu appears. fig.04-03_50 3. In the pulldown menu, touch <SAMPLE Move>. The SAMPLE Move window appears. fig.04-04b_50 4.
Page 60: Resampling
The SAMPLE Delete List window closes. Resampling The V-Synth 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.
Page 61: Pre-Effect Settings
Input Source Select the input from which the sound will be sampled. Value ANALOG: INPUT jacks OPTICAL: OPTICAL IN connector COAXIAL: COAXIAL IN connector RESAMPL: Select this when you wish to resample. The sound that is output to MAIN OUT L(MONO) and R will be sampled. Trigger Mode Specifies how sampling will be started.
Page 62: Metronome Settings
Creating and Editing Samples (Sample Mode) Limiter Thres (Threshold Level) Specifies the level (threshold level) at which the limiter will begin to function. Value: -60–0 dB Release (Release Time) Specifies the time from when the input level drops below the threshold level until the limiter turns off.
Page 63: Checking Sample Information
Naming a Template (Template Name) A template can be given a name of up to eight characters. 1. Access the SAMPLE Top screen, and select the sample that you want to name (p. 56). 2. Touch < > in the upper right of the screen. A pulldown menu appears.
Page 64: Importing A Sample
(p. 69). • The factory-set waves (preset waves) cannot be edited. Common Procedure for Editing Displaying the Sample Edit Screen 1. Press [MODE]. The V-SYNTH MODE MENU window appears. fig.MODE_50 2. Touch <SAMPLE>. The SAMPLE Top screen appears. fig.04-01_50 3.
Page 65 Functions Common to All Editing Screens “Start,” “End,” and “Current” Settings The V-Synth 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.
Page 66: Editing The Specified Region Of The Sample
Creating and Editing Samples (Sample Mode) (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 67 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 is handled as 44.1 kHz data, meaning that one second contains 44,100 data samples.
Page 68: Loop Region Settings
Loop Start Start The data in the V-Synth 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. 43) is set to “STEP”...
Page 69: Original Tempo Setting
Samples whose wave is too short (0.1 sec or less) cannot be encoded, and the SAMPLE Encode screen cannot be accessed for such samples. 1. Press [MODE]. The V-SYNTH MODE MENU window appears. fig.MODE_50 2. Touch <SAMPLE>. The SAMPLE Top screen appears.
Page 70: Selecting The Encoding Type
Creating and Editing Samples (Sample Mode) 4. Touch <Encode>. The SAMPLE Encode screen appears. fig.04-20_50 To Execute the Encode Operation In the SAMPLE Encode screen, select the encode type, set the encode depth, and delete or add events. Then touch <Execute>. If you wish to stop the encode during the operation, touch <Abort>.
Page 71: 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 Depth (Encode Depth) In the SAMPLE Encode screen, move the cursor to “Depth” and set the value.
Page 72: Saving A Sample
Creating and Editing Samples (Sample Mode) 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 Disk Save Project screen in the Disk mode. 1.
Page 73: Settings Common To All Modes (System Mode)
Settings Common to All Modes (System Mode) Settings that affect the entire operating environment of the V-Synth, 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 74: Functions Of System Parameters
Patch Remain has been set to on. Powerup Mode Specifies the condition that the V-Synth will be in when the power is turned on. Value LAST SET: Reinstates the patch selected at the time the V-Synth was last turned off.
Page 75: High Gain
fig.05-02_50 4 Band EQ (4-Band Equalizer Switch) Switch the 4-Band equalizer on/off. Value: OFF, ON LOW Freq (Low Frequency) Selects the frequency of the low range. Value: 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000 Hz LOW Gain Adjusts the gain of the low frequency.
Page 76: Usb Mode
MIDI: MIDI mode. Select this if you want to exchange MIDI messages with a sequencer or other program. You must switch the USB Mode before you connect the V-Synth to your computer via the USB cable. If you change this setting while the V-Synth is connected, the computer may fail to recognize it correctly.
Page 77: Controller Settings (Controller)
Part 1–16 Rx Ch (Part 1–16 Receive Channel) Specifies the MIDI receive channel for each part. Value: 1–16 Performance data directed to the V-Synth itself will be transmitted on the channel you specified for part 1. Settings Common to All Modes (System Mode) Controller Settings (Controller) fig.05-05_50...
Page 78 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’s keyboard and controllers to control only external sound modules, set it to “OFF.”...
Page 79 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 80: V-Link Settings (V-Link)
Settings Common to All Modes (System Mode) V-LINK Settings (V-LINK) fig.05-10_50 MIDI Channel (V-LINK MIDI Channel) Specifies the channel used to transmit MIDI messages for V-LINK control. Value: 1–16 Audio (V-LINK Audio Switch) Specifies whether sound from the externally connected video device will be played (ON) or not played (OFF).
Page 81 Knob 1, 2 Assign (V-LINK Knob1, 2 Assign) Specify the V-Link function that will be controlled when you turn the ASSIGNABLE CONTROL knob. Value OFF: The assignable controller will not be used. PLAYBACK-SPEED: Playback speed DISSOLVE-TIME: Dissolve time (time over which the image switches) AUDIO LEVEL: Volume during audio playback COLOR-CB: Color Cb (color-difference signal)
Page 82 Settings Common to All Modes (System Mode) Bend Assign (V-LINK Pitch Bend Assign) Specify the V-Link function that will be controlled when you operate the pitch bend lever. Value OFF: The pitch bend lever will not be used. PLAYBACK-SPEED: Playback speed DISSOLVE-TIME: Dissolve time (time over which the image switches) AUDIO LEVEL: Volume during audio playback...
Page 83: Disk-Related Functions (Disk Mode)
About Disk Utility Disk Utility contains the following functions. In the DISK UTILITY MENU screen, you can select the desired function and execute it. Load Project This function loads project data from disk into the V-Synth’s work area. (p. 84) Save Project This function saves project data to disk.
Page 84: Sorting The Files Displayed In The File List
Loading a Project from Disk into the V-Synth (Load Project) This function loads a project on disk into the V-Synth’s work area. 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.
Page 85: Saving Project On Disk (Save Project)
Project) This lets you clean up the contents of the disk by deleting files that cannot be used by the V-Synth or waves that are not used by patches. Executing this operation can increase the free space available on the disk. If there are any unused patch/wave numbers, subsequent patches/waves will be automatically renumbered forward.
Page 86: Initializing A Disk (Format)
Disk-Related Functions (Disk Mode) 4. Touch <Preset> if you want to import from preset memory, touch <Int> if you want to import from internal memory, or touch <Card> if you want to import from a PC card. 5. From the file list, select the file/folder that you want to import.
Page 87: Functions Related To Files And Folders (Tools)
Functions Related to Files and Folders (Tools) You can manage files or folders by copying or moving them. Copying Files/Folders (Copy) 1. Access the DISK UTILITY MENU screen (p. 83). 2. Touch <Tools>. The Disk Tools screen appears. fig.06-13_50 3. Touch <Copy>. 4.
Page 88: Deleting Files/Folders (Delete)
Disk-Related Functions (Disk Mode) 5. In the file list, select the file or folder that you want to move. 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.
Page 89: Renaming A Files/Folders (Rename)
Renaming a Files/Folders (Rename) 1. Access the DISK UTILITY MENU screen (p. 83). 2. Touch <Tools>. The Disk Tools screen appears. fig.06-13_50 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 PC card, touch <Card>.
Page 90: Connecting To Your Computer Via Usb (Usb Mode)
Transferring Files to or from Your Computer (Storage Mode) By connecting the V-Synth with your computer via a USB cable, you can transfer files such as projects, patches, and wave data from internal memory or a PC card to and from the hard disk or other media of your computer, in order to back up your data.
Page 91: Windows Me/2000/Xp Users
Connecting to Your Computer via USB (USB Mode) Connecting the V-Synth to Your Computer 1. Make sure that the power of the V-Synth is turned off. 2. Start up your computer. 3. Connect the V-Synth and your computer using a USB cable.
Page 92 • Disconnect the USB cable • Turn off the V-Synth’s power while the USB cable is connected 1. Use “Eject hardware” (displayed in the task bar in the lower right of the screen) to cancel the connection with the V- Synth.
Page 93: Macintosh Users
Macintosh Users Connecting the V-Synth to Your Computer 1. Make sure that the power of the V-Synth is turned off. 2. Start up your computer. 3. Connect the V-Synth and your computer using a USB cable. fig.07-05.e USB port Computer V-Synth 4.
Page 94: Examples Of Using Storage Mode
Backing Up the V-Synth’s Internal Data onto Your Computer 1. Use a USB cable to connect the V-Synth to your computer as described in “Connecting the V-Synth to your computer” (p. 91, p. 93).
Page 95: Pc Card
V-Synth (p. 92, p. 94), and then execute the Factory Reset command (p. 98). This will erase all the data that has been saved on the V-Synth. As a precaution against such occurrences, we recommend that you always make a backup of your data (p.
Page 96: Exchanging Midi Messages With Your Computer (Midi Mode)
Your Computer (MIDI Mode) Driver Installation and Settings In order to use the V-Synth as a USB MIDI device from your computer, you must first install the USB MIDI driver. The USB MIDI driver is on the included “V-Synth Driver CD-ROM.”...
Page 97: Other Functions
Patch, setup and system settings will be transmitted to an external MIDI device. This operation is called bulk dump. Use this operation when you want to connect another V-Synth and play it using the same settings, or to save your data on an external MIDI device as a precaution against possible loss of sound data or system settings.
Page 98: Reset To Default Factory Settings (Factory Reset)
Other Functions Reset to Default Factory Settings (Factory Reset) This restores all data in the V-Synth to the factory-set condition (Factory Reset). If there is important data you’ve created that’s stored in the V- Synth’s internal memory, all such data is discarded when a Factory Reset is performed.
Page 99: Adjusting The Sensitivity Of The Touch Screen/Time Trip Pad/D Beam Controller (Calibration Mode)
Adjusting the Sensitivity of the Touch Screen/Time Trip Pad/D Beam Controller (Calibration Mode) Displaying the CALIBRATION MENU Screen 1. Press [MODE]. The V-SYNTH MODE MENU window appears. fig.MODE_50 2. Touch <CALIBRATION>. The CALIBRATION MENU screen appears. fig.08-05_50 Other Functions Adjusting the Sensitivity of the...
Page 100: Adjusting The Sensitivity Of The Time Trip Pad
Other Functions Adjusting the Sensitivity of the Time Trip Pad Perform this adjustment if the Time Trip pad no longer responds as you expect. 1. In the CALIBRATION MENU screen, touch <TIME TRIP PAD>. The TT PAD CALIBRATION screen appears. fig.08-07_50 2.
Page 101: Appendices
Appendices...
Page 102: Parameter List
Parameter List Patch Parameters Common Group (p. 36) Parameter General Structure Type Portamento Portamento Switch Mode Portamento Mode Type Portamento Type Time Portamento Time Time Velo Sens Portamento Time Velocity Sensitivity Mono/Poly Legato Legato Switch D Beam/Bender Octave Shift D Beam D Beam Type Bend Range Up Pitch Bend Range Up...
Page 103 OSC1/OSC2 Group (p. 42) Parameter Oscillator Switch OSC Type Oscillator Type Wave Gain Waveform Analog Oscillator Waveform Impact Analog Oscillator Impact Time Trip Sw Time Trip Switch Beat Keep Time Trip Beat Keep Waveform PCM Oscillator Waveform Vari Sw PCM Oscillator Vari Switch Start Offset PCM Oscillator Start Offset Playback Mode...
Page 104 Parameter List Parameter Fat (ANALOG) Fat KF Fat Key Follow Fat LFO Depth Velocity Curve Envelope Velocity Curve Velocity Sens Envelope Velocity Sensitivity Velocity A-Sens Envelope Attack Time Velocity Sensitivity Velocity D-Sens Envelope Decay Time Velocity Sensitivity Velocity R-Sens Envelope Release Time Velocity Sensitivity ADSR Attack Envelope Attack Time ADSR Decay...
Page 105 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 (Sixteenth note), (Thirty-second note), (Dotted eighth note), (Quarter note), (Half-note triplet), (Dotted half note), (Whole note),...
Page 106 Parameter List TVA Group (p. 47) Parameter TVA Switch Level Level KF Level Key Follow Lvl LFO Dp Level LFO Depth Pan KF Pan Key Follow Pan LFO Dp Pan LFO Depth Velocity Curve Envelope Velocity Curve Velocity Sens Envelope Velocity Sensitivity Velocity A-Sens Envelope Attack Time Velocity Sensitivity Velocity D-Sens...
Page 107 Effect Group (p. 50) Parameter Routing MFX Send MFX Send Level CHO Send Chorus Send Level REV Send Reverb Send Level Output Assign MFX On/Off Switch MFX Type MFX Master Level MFX To CHO MFX Chorus Send Level MFX To REV MFX Reverb Send Level Chorus On/Off Switch CHO Type...
Page 108: System Parameters
Parameter List System Parameters Common Group (p. 74) Parameter Master Master Tune Master Key Shift Master Level Patch Remain Patch Remain Switch Powerup Mode External Input Type Mix/Parallel Output Gain Digital Output Freq Digital Output Frequency 4 Band EQ 4-Band Equalizer Switch LOW Freq Low Frequency LOW Gain...
Page 109 Controller Group (p. 77) Parameter Patch Tx Ch Patch Transmit Channel Tx PC Transmit Program Change Switch Tx Bank Transmit Bank Select Switch Tx Active Sens Transmit Active Sensing Switch KBD Sens Keyboard Sensitivity KBD Velocity Keyboard Velocity After Sens Aftertouch Sensitivity Local Sw Local Switch...
Page 110 Parameter List V-LINK Group (p. 80) Parameter Channel V-LINK MIDI Channel Audio V-LINK Audio Switch Output V-LINK Keyboard Output Fade Switch Local Sw V-LINK Patch Palette Local Switch TT Pad/Knob Local Sw V-LINK Time Trip Pad Local Switch X Assign-XY V-LINK X Assign-XY Y Assign-XY V-LINK X Assign-XY...
Page 111: Cosm List
COSM List COSM Parameters COSM provides 15 types. This section explains the features of each COSM, and the functions of the parameters. Explanations for each COSM Type are given on the following pages. Overdrive / Distortion OD/DS Wave Shape W-SHAPE Amp Simulator Speaker Simulator SPEAKER...
Page 112: Amp Simulator
COSM List Amp Simulator Simulates an amp. Parameter Value COSM Type Amp Type 1–3 Bass 0–127 Middle Treble Output Level 0–127 Gain Gain #1 0–127 Gain LFO Depth -63– +63 * For details on envelope settings, refer to “Making Envelope Settings”...
Page 113: Comb Filter
2nd order SideBandFilter By boosting the fundamental and overtones, you can apply a pitch to unpitched input sounds such as noise or a drum phrase. This lets you create a stronger effect than the first-order sideband filter. Parameter Value Description COSM Type 0–127 Frequency bandwidth...
Page 114 COSM List Cuts off a specific frequency band to change a sounds brightness, thickness, and other qualities. Parameter Value COSM Type Filter Type LPF, BPF, HPF, NOTCH, PEAK db/Octave -24dB/oct, -12dB/ oct, -6dB/oct Cutoff Freq #1 0–127 Freq KF -200– +200 LFO Dp #3 -63–...
Page 115 Polyphonic Limiter Compresses signals that exceed a specified volume level, preventing distortion from occurring. Parameter Value Description COSM Type Thres 0–127 Sets the volume level at which the compression be- gins. Ratio 2:1, 4:1, 16:1, 100:1 Compression ratio Attack #1 0–127 Attack time Release #2...
Page 116: Effects List
Effects List MFX Parameters MFX (Multi-Effects) provides 41 types of effect. This section explains the features of each MFX, and the functions of the parameters. Parameters marked by “#1”–“#3” can be selected as a destination parameter for matrix control (Destination MFX1–MFX3). These correspond as follows.
Page 117 01: Parametric EQ (Parametric Equalizer) This is a 4 band (low range, midrange x 2, high range) stereo parametric equalizer. fig.MFX-01 4-Band EQ Parameter Value Description Low Freq 50–4000 Hz Frequency of the low range Low Gain -15– +15 dB Gain of the low range Mid 1 Freq 50–20000 Hz...
Page 118 Effects List 04: Isolator and Filter A 3-band isolator, filter, and low booster are connected in stereo in series. Isolator is an equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying ranges.
Page 119 OD-1, OD-2 TURBO, DIS- TORTION, FUZZ JC-120: The sound of a Roland JC-120. CLEAN TWIN: The sound of a standard built-in type vacuum tube amp. MATCH DRIVE: The sound of a recent vacuum tube amp widely used in blues, rock, and fusion.
Page 120 Effects List 07: Auto Wah Wah is an effect that modifies the frequency characteristics of a filter over time, producing a unique tone. The wah effect can change in relation to the volume of the input signal, and/or cyclically. fig.MFX-07 Auto 2-Band Parameter...
Page 121 Parameter NS Release 10: Tape Echo Simulator This virtual tape echo gives you real tape delay sound. This simulates the tape echo part of Roland’s RE-201 Space Echo. fig.MFX-10 Parameter Noise Suppressor Mode...
Page 122 Effects List 11: Stereo Delay This is a stereo delay. Depending on the length of the delay you set, you can get long echoes, thick sounds, or spatial sounds. fig.MFX-11.e Delay When Mode parameter is STEREO: Delay When Mode parameter is MONO or ALTERNATE: Parameter Value Description...
Page 123 12: Multi Tap Delay The effect has five delays. Each of the Delay Time parameters can be specified as a note length of the selected tempo. You can also set the panning and level of each delay sound. fig.MFX-12 Delay 1 Delay 2 Multi Tap Delay Delay 3...
Page 124 Effects List 14: Vocal Echo This effect simulates a karaoke echo. fig.MFX-14 ECHO Parameter Value Description Delay Time #1 0–650 ms, note Adjusts the delay time from the direct sound until the delay sound is heard. Pre LPF Freq 500–15000 Hz, Sets the filter’s cutoff frequency THRU (THRU: no filter is used)
Page 125 16: Analog Delay Chorus This effect reproduces the sound of the BOSS CE-1 Chorus Ensemble. To reproduce the sound of the unit at the time, a monaural analog-type delay is first inserted in series. fig.MFX-16 Analog Delay Parameter Value Description Dly Sw OFF, ON Turns the delay on/off.
Page 126 Ps Hi Freq Ps Hi Gain 20: Analog Flanger This effect reproduces the sound of Roland’s SBF-325 analog flanger. You can get three different types of flanger sounds (adding a metallic swelling sound to the source sound) and chorus like effect.
Page 127 21: BOSS Flanger This effect features a pair of the same flanger circuits used in the BOSS compact flangers, connected in parallel for stereo input. This adds a particular metallic-sounding modulation to the source sound. fig.MFX-21 2-Band Flanger Parameter Value Description Type NORMAL, HI-...
Page 128 Effects List 23: Analog Phaser This effect features two analog-type phasers arranged in parallel, making it stereo compatible. The sound as it cyclically drifts in and out of phase is added to the source sound, creating the modulation with the characteristic of phasers. fig.MFX-23 Analog Phaser...
Page 129 25: Rotary The Rotary effect simulates the sound of the rotary speakers often used with the electric organs of the past. Since the movement of the high range and low range rotors can be set independently, the unique type of modulation characteristic of these speakers can be simulated quite closely.
Page 130 Effects List 27: Stereo Pitch Shifter This effect features two pitch shifters arranged in parallel, making it stereo compatible. It can shift the pitch of the input signal up to one octave up or down. fig.MFX-27 Stereo Pitch Shifter Parameter Value Description Input Mode...
Page 131 29: OD/DS Delay (Overdrive/Distortion Delay) This effect connects either Overdrive or Distortion and Delay in series. fig.MFX-29 Overdrive/ Delay Distortion Parameter Value Description Distortion OD, DS Selects whether to use overdrive Mode (OD) or distortion (DS). Drive #1 0–127 Degree of distortion Amp Sim Sw OFF, ON Turns the amp simulator on/off.
Page 132 Effects List 31: Enh Cho/Flg (Enhancer Chorus/Flanger) This effect connects Enhancer and either Chorus or Flanger in series. fig.MFX-31 Chorus/ Enhancer Flanger Parameter Value Description Enhan Sens #1 0–127 Sensitivity of the enhancer Enhan Frequen- 0–127 Sets the lower limit of the fre- quencies to which the enhance- ment effect is added.
Page 133 33: Vocal Multi A limiter/de-esser, enhancer, 3-band equalizer, and delay are connected in series. A limiter holds down high signal levels to prevent distortion. A de-esser cuts the sibilant sounds of a voice, producing a gentler tone. fig.MFX-33 Limiter/ 3-Band Enhancer Delay De-esser...
Page 134 Effects List Parameter Value Description Mod Mode CHORUS, Selects whether to use chorus or FLANGER flanger. Mod Rate 0.05–10.0 Hz, Adjusts the speed of modulation note for the chorus or flanger. Mod Depth 0–127 Adjusts the depth of modulation for the chorus or flanger. Mod Phase 0–180 deg Sets how the chorus or flanger...
Page 135 36: Rhodes Multi Enhancer, Phaser, Chorus or Flanger, and Tremolo or Auto-pan are connected in series. This effect is used for electric piano. fig.MFX-36 Enhancer Phaser Tremolo/ Chorus/ Auto Pan Flanger Parameter Value Description Enhan Sw OFF, ON Turns the enhancer effect on/ off.
Page 136 Effects List Parameter Value Description PS Coarse -12– +12 semi- Specifies the pitch shift amount tone in semitone steps. PS Fine -100– +100 cent Adjusts the pitch shift amount in 2-cent steps (1 cent = 1/100 of a semitone). PS Balance DRY100:0WET–...
Page 137 40: Bit Rate Converter By changing the bit count and sample rate, this effect recreates the Lo-Fi (Low-Fidelity) sounds of the early digital samplers and similar machines. After the Lo-Fi processor, a filter to change the tone is arranged in series. fig.MFX-40 Lo-Fi Processor...
Page 138: Chorus Parameters
Effects List Chorus Parameters The functions of Chorus parameters are explained. Chorus Type 01: Chorus 1 This conventional chorus effect adds spaciousness and depth to the sound. Slow modulation frequency with less depth. 02:Chorus 2 This conventional chorus effect adds spaciousness and depth to the sound.
Page 139 01: Room 1 Reverb which simulates the reverberation within a room. It is standard room reverb. Parameter Value Description Pre Low Freq 50–4000 Hz Frequency of the low range Pre Low Gain -15– +15 dB Gain of the low range Pre Mid Freq 50–20000 Hz Frequency of the middle...
Page 140 Effects List 03: Room 3 Reverb which simulates the reverberation within a room. This is suitable for simulating a fairly large room, and produces reverberation with a strong mid and low range. Parameter Value Pre Low Freq 50–4000 Hz Pre Low Gain -15–...
Page 141 05: Hall 2 Simulates the reverberation in a concert hall. This is suitable for simulating a smaller room, and produces a clear reverberation. Parameter Value Description Pre Low Freq 50–4000 Hz Frequency of the low range Pre Low Gain -15– +15 dB Gain of the low range Pre Mid Freq 50–20000 Hz...
Page 142 Effects List 07: Garage This simulates the reverberation of a garage. It produces the reverberation of a room surrounded by hard-surfaced walls with many reflections. Parameter Value Pre Low Freq 50–4000 Hz Pre Low Gain -15– +15 dB Pre Mid Freq 50–20000 Hz Pre Mid Q 0.5, 0.7, 1.0, 2.0,...
Page 143 09: Non-Linear This uses digital processing to create an artificial reverberation that is quite different than naturally occurring reverberation. Parameter Value Description Pre Low Freq 50–4000 Hz Frequency of the low range Pre Low Gain -15– +15 dB Gain of the low range Pre Mid Freq 50–20000 Hz Frequency of the middle...
Page 144 Effects List Parameter Value Description Balance DRY100:0WET– Volume balance between the di- DRY0:100WET rect sound (DRY) and the delay sound (WET) Ps Low Freq 50–4000 Hz Frequency of the low range Ps Low Gain -15– +15 dB Gain of the low range Ps Hi Freq 2000–20000 Hz Frequency of the high range...
Page 145: Troubleshooting
Problems Related to the V-Synth Problem Cause Power does not turn on Is the AC cord connected correctly to the V-Synth and to an AC outlet? No Sound/Volume is low Is the power of the connected devices turned on? Is the volume turned down?
Page 146: Problems Related To The Usb Driver (Windows)
You must cancel the USB connection (p. 92) before you turn off the power of the V-Synth. You must cancel the USB connection (p. 92) before you turn off the power of the V-Synth before you exit Win- dows. Before you Suspend your computer, power down the V-Synth using the procedure described on p.
Page 147 V-Synth. * If the “Composite USB Device” (or other) indication disappears when you turn off the power of the V-Synth, then it is the V- Synth that has been incorrectly detected. Return to step 2 and continue the procedure, and when you reach step 8, delete the information that was detected incorrectly.
Page 148: Problems Related To The Usb Driver (Macintosh)
[OK]. Delete each unwanted occurrence of “Composite USB Device,” “USB Device,” or “USB composite device” indications with an “!” or “?” symbol. 11.Turn off the power of the V-Synth, then delete the driver. 12.Restart Windows. Then install the driver once again.
Page 149: Message List
Message List The V-Synth displays a variety of messages. There are three types of message screen. ERROR screen: This will appear if you attempt to perform an incorrect operation, or if an operation could not be executed correctly. WARNING screen: This will appear when caution is necessary.
Page 150: Warning Screens
Will disconnect before ejecting. Is it OK to execute? Perform the Eject operation on your computer. The V-Synth contains an unsaved patch or sample. If you need the patch or sample, save it now. Touch There is an identically named file or folder at the copy- or move-destination.
Page 151: Message Boxes
Roland service center for service. Check whether there is a problem with the MIDI ca- ble connected to the V-Synth’s MIDI IN, or whether the MIDI cable has been disconnected. If the same message appears repeatedly, there is a problem with the content of the MIDI messages.
Page 152: About Midi
Example: Set the V-Synth to send Channel 1 and Channel 2, then set sound module A to receive only Channel 1 and sound module B only Channel 2. With this setup, you can get an ensemble performance, with, for example, a guitar sound from sound module A and bass from sound module B.
Page 153: Midi Implementation
2nd byte 3rd byte n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Volume: 00H - 7FH (0 - 127) Model: V-Synth Date: Nov. 20, 2002 Version: 1.00 Panpot (Controller number 10) Status 2nd byte 3rd byte n = MIDI channel number: 0H - FH (ch.1 - 16)
Page 154: Channel Mode Messages
MIDI Implementation This device receives the following RPNs. Data entry MSB, LSB MSB, LSB Notes 00H, 00H mmH, llH Pitch Bend Sensitivity mm: 00H - 18H (0 - 24 semitones) ll: ignored (processed as 00H) Up to 2 octave can be specified in semitone steps. 00H, 01H mmH, llH Channel Fine Tuning...
Page 155: System Realtime Message
= ID number: an ID number (manufacturer ID) to indicate the manufacturer whose Exclusive message this is. Roland’s manufacturer ID is 41H. ID numbers 7EH and 7FH are extensions of the MIDI standard; Universal Non-realtime Messages (7EH) and Universal Realtime Messages (7FH).
Page 156 41H, dev, 00H, 53H, 11H, aaH, bbH, ccH, F7H ddH, ssH, ttH, uuH, vvH, sum Byte Remarks Exclusive status ID number (Roland) device ID (dev: 10H - 1FH, 7FH) model ID #1 (V-Synth) model ID #2 (V-Synth) command ID (RQ1) address MSB address address address LSB...
Page 157: Control Change
Transmit Program Change or Transmit Bank Select parameter (SYSTEM Com MIDI/ USB) is OFF. * Although with the V-Synth you can select the Bank Select messages to be transmitted, be sure to refer to the Program Change Map on (p. 153) for the Bank Select messages transmitted when the V-Synth is select a Patch, Rhythm Set, Multitimbre or Performance.
Page 158: System Realtime Messages
Universal Non-realtime System Exclusive Message and Data Set 1 (DT1) are the only System Exclusive messages transmitted by the V-Synth. Universal Non-realtime System Exclusive Message Identity Reply Message Receiving Identity Request Message, the V-Synth send this message. Status Data byte 7EH, dev, 06H, 02H, 41H, 53H, 01H,...
Page 159 * Transmission of “#” marked address is divided to some packets. For example, ABH in hexadecimal notation will be divided to 0AH and 0BH, and is sent/received in this order. 1. V-Synth (ModelID = 00H 53H) +——————————————————————————————————————————————————————————————————————————————+ | Start Address | Description |—————————————+————————————————————————————————————————————————————————————————|...
Page 160 MIDI Implementation 00 36 | 000a aaaa | EQ Total Gain 00 37 | 0000 000a | EQ Switch |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 38 | Total Size +——————————————————————————————————————————————————————————————————————————————+ System Controller +——————————————————————————————————————————————————————————————————————————————+ | Offset Address | Description |—————————————+————————————————————————————————————————————————————————————————| 00 00 | 0000 000a | Transmit Program Change 00 01 | 0000 000a | Transmit Bank Select 00 02 | 0aaa aaaa | Keyboard Velocity 00 03 | 0000 00aa | Keyboard Sens...
Page 161 OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, | OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, | OSC2—LFO—FR/FT, OSC2—LFO—LVL, | CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, | CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, | CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, | CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, | CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, | CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, | TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, | TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, | MFX—SEND, CHO—SEND, REV—SEND, | MFX—PRM1, MFX—PRM2, MFX—PRM3 00 4E | 0aaa aaaa | Matrix Control 1 Sens 2...
Page 162 MIDI Implementation OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, | OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, | OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, | OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, | OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, | OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, | OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, | OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, | CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, | CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, | CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, | CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, | CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |...
Page 163 00 14 | 0000 aaaa | | 0000 bbbb | | 0000 cccc | | 0000 dddd | MFX Parameter 5 00 18 | 0000 aaaa | | 0000 bbbb | | 0000 cccc | | 0000 dddd | MFX Parameter 6 00 1C | 0000 aaaa | | 0000 bbbb | | 0000 cccc |...
Page 164 MIDI Implementation | 0000 bbbb | | 0000 cccc | | 0000 dddd | Reverb Parameter 10 00 2A | 0000 aaaa | | 0000 bbbb | | 0000 cccc | | 0000 dddd | Reverb Parameter 11 00 2E | 0000 aaaa | | 0000 bbbb | | 0000 cccc | | 0000 dddd | Reverb Parameter 12...
Page 165 | 0000 dddd | | 0000 eeee | | 0000 ffff | | 0000 gggg | | 0000 hhhh | OSC 2 Start Offset 00 68 | 0aaa aaaa | OSC 2 Time 00 69 | 00aa aaaa | OSC 2 Time Keyfollow 00 6A | 0aaa aaaa | OSC 2 Time LFO Depth 00 6B | 0aaa aaaa | OSC 2 Time Envelope Depth 00 6C | 0000 00aa | OSC 2 Time Offset...
Page 166 MIDI Implementation 01 01 | 00aa aaaa | Env 10 Time Keyfollow |—————————————+———————————+————————————————————————————————————————————————————| 01 02 | 0000 aaaa | | 0000 bbbb | Env 11 Attack Time 01 04 | 0000 aaaa | | 0000 bbbb | Env 11 Decay Time 01 06 | 0aaa aaaa | Env 11 Sustine 01 07 | 0000 aaaa | | 0000 bbbb | Env 11 Release Time...
Page 167 Patch Controller +——————————————————————————————————————————————————————————————————————————————+ | Offset Address | Description |—————————————+————————————————————————————————————————————————————————————————| 00 00 | 0000 0aaa | Beam Type |—————————————+———————————+————————————————————————————————————————————————————| 00 01 | 0000 000a | Pad Mode 00 02 | 0000 000a | Pad Hold |—————————————+———————————+————————————————————————————————————————————————————| 00 03 | 0000 000a | Arpeggio Switch 00 04 | 0000 000a | Arpeggio Hold 00 05 | 0aaa aaaa | Arpeggio Motif NOTE—ORDER, RHYTHM, PHRASE, AUTO...
Page 168 MIDI Implementation 4. Supplementary Material Decimal and Hexadecimal Table (An “H” is appended to the end of numbers in hexadecimal notation.) In MIDI documentation, data values and addresses/sizes of Exclusive messages, etc. are expressed as hexadecimal values for each 7 bits. The following table shows how these correspond to decimal numbers.
Page 169 Example of an Exclusive Message and Calculating a Checksum Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before F7) to make sure that the message was correctly received. The value of the checksum is determined by the address and data (or size) of the transmitted Exclusive message.
Page 170 Equal Temperament This method of tuning divides the octave into 12 equal parts. It is currently the most widely used form of tuning, especially in occidental music. On the V-Synth, the default settings for the Scale Tune feature produce equal temperament.
Page 171: Midi Implementation Chart
Synthesizer Keyboard MIDI Implementation Chart Model V-Synth Function... Basic Default 1–16 Channel Changed 1–16 Default Mode 3 Mode Messages Mono, Poly Altered ************** Note 0–127 Number : True Voice ************** Note On Velocity Note Off After Key's Touch Channel's Pitch Bend...
Page 172: Specifications
Specifications V-Synth: Synthesizer Keyboard Keyboard 61 keys (with velocity and channel aftertouch) Sound Generator Configuration Oscillator (envelope x 4 + LFO x 1) x 2 Modulator x 1 OSM (envelope x 2 + LFO x 1) x 2 TVA (envelope x 1 + LFO x 1) x 1...
Page 173: Index
Index Symbols [+OCT] ... 13, 23 [-OCT] ... 13, 23 Numerics [1]–[8] ... 13, 22 4 Band EQ ... 75 4-Band equalizer switch ... 75 [A] ... 14 AC inlet ... 15 Addjust ... 65 ADSR Attack ... 48 ADSR Decay ... 48 ADSR Release ...
Page 174 Index Duration ... 40 Effect ... 50 Effects ... 16 Encode ... 69 Encode depth ... 71 Encoding type ... 70 Energy ... 45 Env Depth ... 48 Env Time KF ... 48 Envelope attack time ... 48 Envelope attack time velocity sensitivity ... 48 Envelope decay time ...
Page 175 Load Project ... 84 Local Sw ... 78 Local switch ... 78 LOCK ... 65 LOOP ... 65 Loop ... 43 Loop region ... 68 LOW Freq ... 75 Low frequency ... 75 LOW Gain ... 75 Lvl LFO Dp ... 47 MAIN OUT jack ...
Page 176 Index PC CARD slot ... 15 PCM oscillator loop switch ... 43 PCM oscillator playback mode ... 43 PCM oscillator robot voice switch ... 43 PCM oscillator start offset ... 42 PCM oscillator tempo sync switch ... 43 PCM oscillator vari switch ... 42 PCM oscillator waveform ...
Page 177 T SCREEN CALIBRATION ... 99 Template Name ... 63 [TEMPO] ... 12, 24 Tempo ... 62 Tempo Sync ... 43 Temporary area ... 17 Thres ... 62 Threshold ... 62 Threshold level ... 62 [TIME] ... 12, 14, 29 Time ... 37, 44 Time KF ...
Page 178: Installing The Pc Card Protector
Installing the PC Card Protector The V-Synth provides a PC card protector to prevent theft of the PC card. To install the PC card protector, use the following procedure. 1. Use a screwdriver to remove both of the screws from the bottom side of the PC CARD slot.
Page 179 This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC. FEDERAL COMMUNICATIONS COMMISSION RADIO FREQUENCY INTERFERENCE STATEMENT This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules.
Page 180 Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. SINGAPORE AFRICA AFRICA Swee Lee Company 150 Sims Drive, EGYPT SINGAPORE 387381 TEL: 6846-3676 Al Fanny Trading Office...

Roland V-Synth Owner's Manual

Using the Unit Safely

Important Notes

How to Use this Manual

Main Features

Panel Descriptions

Overview of the V-Synth

Playing in Patch Mode

Creating a Patch

Creating and Editing Samples (Sample Mode)

Settings Common to All Modes (System Mode)

Disk-Related Functions (Disk Mode)

Connecting to Your Computer Via USB (USB Mode)

Other Functions

Appendices

Parameter List

COSM List

Effects List

Troubleshooting

Message List

About MIDI

MIDI Implementation

Specifications

Index

Installing the PC Card Protector

Quick Links

Related Manuals for Roland V-Synth

Summary of Contents for Roland V-Synth

Table of Contents