Roland V-Card VC-1 D-50 Owner's Manual
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Roland V-Card VC-1 D-50 Owner's Manual

Roland V-Card VC-1 D-50 Owner's Manual

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Owner's Manual
The V-Synth XT comes with the VC-1 and VC-2 titles
from Roland's "V-Card" software series preinstalled.
Without having to cycle power to the unit, you can sim-
ply press a single switch to transform the V-Synth XT
into a completely different product.
VC-1 "D-50" transforms the V-Synth XT into a sound
module that's equivalent to the Roland D-50 (a classic
digital synthesizer that was released in 1987). Not just the
preset patches, but every bit of functionality has been
faithfully reproduced, giving you that distinctive D-50
sound with the stability of modern hardware.
*
All product names mentioned in this document
are trademarks or registered trademarks of their respective owners.
Copyright © 2005 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form
without the written permission of ROLAND CORPORATION.

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Summary of Contents for Roland V-Card VC-1 D-50

  • Page 1 VC-1 “D-50” transforms the V-Synth XT into a sound module that's equivalent to the Roland D-50 (a classic digital synthesizer that was released in 1987). Not just the preset patches, but every bit of functionality has been faithfully reproduced, giving you that distinctive D-50 sound with the stability of modern hardware.

  • Page 4: Table Of Contents

    Table of Contents Introduction...6 Panel Descriptions ...8 Try Out the Sounds ...11 Turning On the Power ... 11 Selecting Patches and Playing Sounds ... 12 Viewing Various Information... 14 Applying Effects to the Sound ...15 Assigning Parameters to the Controllers ... 16 How to Make the Patch Factors...
  • Page 5 Key Mode Alteration ...76 Sound List ...78 Preset Patches... 78 Patch Factors ... 81 Tone Parameters ... 82 System Parameters ... 85 Waveform ... 86 MIDI Implementation...88 Specifications...97 Index...98 Table of Contents...

  • Page 6: Introduction

    Introduction Main Features Perfect Simulation of the D-50’s Tones! fig.01-01 The VC-1 comes complete with all 64 of the D-50’s preset patches, including the famous preset tones “Fantasia” and “Digital Native Dance.” It also is programmed with the D-50/D-550 sound libraries PN-D50-01–04 (with 256 patches). Since it naturally handles MIDI bulk dumps, you can use the VC-1 to create your own original tunes exactly as you would with your D-50.
  • Page 7 Introduction What is the digital synthesizer: D-50? The D-50, released in 1987, was Roland’s first fully digital synthesizer. Equipped with an LA (Linear Arithmetic Synthesis) format sound generator that combined PCM and subtractive synthesis, it opened the door to countless new sounds for levels of creativity surpassing anything up to that point.

  • Page 8: Panel Descriptions

    Panel Descriptions When using the VC-1, the actual functions of the V-Synth XT’s buttons and knobs may not correspond to the functions ascribed to these controls on the V-Synth XT’s panel. Here is a description of the names and functions in each section of the V-Synth XT when it is used with the VC-1. Please read this material together with “Panel Descriptions”...
  • Page 9 LCD CONTRAST Knob Adjusts the display contrast. Display This displays information regarding the operation you are performing. * The explanations in this manual include illustrations that depict what should typically be shown by the display. Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may not always match what appears in the manual.

  • Page 10: Rear Panel

    Panel Descriptions Rear Panel AC Inlet Connect the included power cord to this inlet. DIGITAL AUDIO INTERFACE Connector These connectors input/output a digital audio signal (stereo; conforming to IEC60958). The output signal is identical to the signal that is output from the MAIN OUT jacks. * IEC60958 is a digital interface format used for consumer digital audio devices.

  • Page 11: Try Out The Sounds

    Try Out the Sounds Turning On the Power To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections. fig.03-01e(ConnectionImage) Before hooking anything up, make sure that the power on all of your gear is turned OFF.

  • Page 12: Selecting Patches And Playing Sounds

    Try Out the Sounds Selecting Patches and Playing Sounds The VC-1 comes with a wide range of onboard sounds, including single tones called patches. A Patch is represented by a Patch Bank (Pre1–6, Int1–8), a Bank (1–8) and a Number (1–8). fig.03-03e(PatchBankImage) Patch bank (Pre1–6) Pre6...

  • Page 13: Selecting Patches With The Value Dial

    Selecting Patches with the VALUE dial fig.03-04e(PatchNumber) Make sure the PATCH TOP screen is displayed. If the PATCH TOP screen—shown right—is not displayed, press [EXIT] once or twice until the PATCH TOP screen appears. Play the keyboard to hear what the selected patch sounds like. To change to a different patch, touch the Patch number to highlight it, and then turn the VALUE dial or press [INC/+], [DEC/-].

  • Page 14: Viewing Various Information

    Try Out the Sounds Viewing Various Information In the upper right of the screen, touch < In the pulldown menu, touch <INFO>. The Information window appears. fig.08-13 This window shows the following information. The VC-1’s program version Ver.: When you have finished viewing the information, press [EXIT] to close the window. Enabling or Disabling the Beep Tone You can specify whether or not a beep tone will be heard when you touch a valid point on the touch screen.

  • Page 15: Applying Effects To The Sound

    Applying Effects to the Sound The performance controlling functions (we call them factors in this manual) in each Patch can be edited by taking the following procedure. A patch consists of several Factors as show below. fig.05-01e(PatchFactorImage) Tone Tune UPPER Tone Variations of Key Mode Control Functions...

  • Page 16: Assigning Parameters To The Controllers

    Applying Effects to the Sound Assigning Parameters to the Controllers You can assign a variety of patch factors (p. 81), tone parameters (p. 82), and other settings to the V-Synth XT’s complement of controller sections. This is referred to as the Control Setup. With intuitive editing of sound sources with the knobs, you can use the D-50 in ways that go way beyond the original instrument.
  • Page 17 LIST (OSC1, OSC2, COSM1, COSM2 and TVA) • Tone Parameters; The Tones (UPPER or LOWER) to be applied are specified with the Tone Select button. • Partial Parameters; The Partials (L1, L2, L3 or L4) to be applied are specified with the Partial Select button.
  • Page 18 Applying Effects to the Sound table You can control the following parameters. Display Parameters PATCH TOP (p. 19) ToneBal Tone Balance PATCH EDIT CONTRL (p. 21) BendRang Bender Range Aftertouch Bend AftrPB Range PortTime Portamento Time PortMode Portamento Mode PATCH EDIT OUTPUT (p. 22) Rev Bal Reverb Balance TotalVol...

  • Page 19: How To Make The Patch Factors

    How to Make the Patch Factors The Display shows several Factors at a time. If necessary, Scroll up or down the Display to find the Factor to be edited. (Patch Parameters; p. 19) fig.05-12(LCD_PatchEditControl) Access the PATCH TOP Screen. Touch <PATCH EDIT> at the bottom of the screen. Touch one of the tabs in the left of the screen to select the desired editing screen.
  • Page 20 Applying Effects to the Sound Display WHOLE DUAL SPLIT (Separate) WHOL-S (Whole Solo) DUAL-S (Dual Solo) SPL-US (Split Upper Solo) SPL-LS (Split Lower Solo) SEP-S (Separate Solo) SPLIT The Split Point can be changed as follows. Value: C2–C7 fig.05-14e C2–B2 C3–B3 BALANCE (Tone Balance) The volume balance of the Upper and the Lower Tone can be change.
  • Page 21 CONTROL fig.05-15(LCD_PatchEditControl/Bend) Patch Controls determine how the Control Functions actually affect the Upper and the Lower Tones. Bend (Bender Range) This sets the variable range of the pitch change caused by moving the Bender lever fight and left. The variable range set here may result differently depending on the setting of the Tone Parameter Bender Mode (p.
  • Page 22 Applying Effects to the Sound OUTPUT (Output Mode) The Output Mode determines how the Tones take on the reverb effect, and how the Tones appear at the outputs. A sound reverberated in an acoustic environment consists of three parts. First, you hear the direct sound as it travels from the source outward.
  • Page 23 RevType (Reverb Type) Selects one of the 32-reverb types. Value: 1–32 Display Description Small Hall Medium Hall Large Hall Chapel Small Metal Room Small Room Medium Room Medium Large Room Large Room Single Delay (102 ms) Cross Delay (180 ms) Cross Delay (224 ms) Cross Delay(148–296 ms) Short Gate (200 ms)
  • Page 24 Applying Effects to the Sound CHASE The Chase Play function makes it possible to output the Lower Tone slightly later than the Upper Tone, which is actually played on the keyboard. This function, however, is only available in Dual or Whole Key Mode.
  • Page 25 TONE TUNE The relative pitch of the Upper and the Lower Tones can be separately set. By setting slightly different pitches, a detune effect can be obtained. Also, by lowering the pitch of the Upper Tone, and raising the pitch of the Lower Tone, the pitches of the Two Tones can become exactly the same. fig.05-18(LCD_PatchEditControl/Tone) LKey (Key Shift of the Lower Tone) Allows you to shift the pitch of the Lower Tone in semi-tone...

  • Page 26: Saving Patches You've Created

    Saving Patches You’ve Created When you edit the settings of a patch, the PATCH TOP screen displays <EDITED> to remind you that the patch’s settings have been modified. If <EDITED> is displayed, you will lose your edited patch settings if you switch to another patch or turn off the power.

  • Page 27: Saving Patches

    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 keep the modified sound, you must save it (PATCH WRITE). When you perform the save procedure, the data that previously occupied the save destination will be lost. However, the factory setting data can be recovered by performing the Factory Reset.

  • Page 28: Reset To Default Factory Settings

    Saving Patches You’ve Created Reset to Default Factory Settings This restores all data in the VC-1 to the factory-set condition (Factory Reset). If there is important data you’ve created that’s stored, all such data is discarded when a Factory Reset is performed.

  • Page 29: Transferring Patches To And From The D-50/550

    Transferring Patches To and From the D-50/550 You can use MIDI to transmit patch data (64 patches) saved on your D-50 and receive the data with the VC-1 (V-Synth XT). This procedure is known as “bulk load.” This is an easy and convenient way to take your own original patches (64 patches) created with the D-50 and use them with the VC-1.
  • Page 30 Transferring Patches To and From the D-50/550 Transfer the patch from the memory card to the D-50/550 All the 64 Patches data stored on the Memory Card can be loaded to the D-50/550’s internal memory. Using the D-50 Insert the Memory Card (M-256D) into the D-50 Card Slot. Turn the Memory Protect of the D-50 to OFF.
  • Page 31 Transferring Patches from the D-50/550 to the VC-1 * You cannot bulk load data when a patch in the Preset Banks (Pre1 – Pre6) is selected. * The VC-1 display does not change immediately following the bulk load. This is due to the fact that the work area is the bulk load destination (p.
  • Page 32 Transferring Patches To and From the D-50/550 Saving Transferred Patches The transferred patch data (64 patches) will be lost if you turn off the power. Be sure to save the data. fig.04-04(LCD_ModeMenu_DataTrans) Press [MODE] on the VC-1. The MODE MENU window appears. Touch <DATA TRANSFER>.

  • Page 33: Transferring Patches From The Vc-1 To The D-50/550

    Transferring Patches from the VC-1 to the D-50/550 Using the D-50 Use a MIDI cable to connect the V-Synth XT’s MIDI OUT connector to the D-50’s MIDI IN connector. Set the D-50 and V-Synth XT to the same MIDI channel (the basic channel; p. 73). Turn the Memory Protect of the D-50 to OFF.
  • Page 34 Transferring Patches To and From the D-50/550 Using the D-550 Use a MIDI cable to connect the VariOS’s MIDI OUT connector to the D-550’s MIDI IN connector. Set the D-550 and V-Synth XT to the same MIDI channel (the basic channel; p. 73). Turn the Memory Protect of the D-550 to OFF.

  • Page 35: Copying A Reverb Type

    10. Touch <OK>. The bulk dump starts. If you want to cancel without executing, touch <Cancel>. 11. When the data transfer is completed, the D-50’s display shows “Complete.” 12. Press the [EXIT] button on the D-50 to return to the play mode. Copying a Reverb Type In addition to the patches (64 patches), 16 reverb types (17–32 are also saved to the VC-1’s patch banks (Pre 1–6, Int 1–8).
  • Page 36 Transferring Patches To and From the D-50/550 fig.04-07(LCD_DataTrans_ReverbCopy) Touch <REVERB COPY> in the left of the screen. The REVERB COPY screen appears. Modify the value by either turning the VALUE dial or pressing [INC/+] or [DEC/-]. Source Bank Selects the source Patch Bank of Reverb Type. Value: P1 –...

  • Page 37: Overview Of The Vc-1

    Overview of the VC-1 Memory Structure fig.07-01(MemorySuructure) Patch:Int1 (64) Int1–Int8 (512) Wave (128) Work Area Once the V-Synth XT has started up the VC-1, the system program and patch data is loaded from the VC-1 into the V-Synth XT. The section where the system and patch data is loaded is called the Work Area. Content loaded to the Work Area is cleared when the V-Synth XT’s power is turned off.

  • Page 38: The Basic Concept Of A Tone

    Overview of the VC-1 The Basic Concept of a Tone Throughout the process of programming the D-50, the operation remains simple and logical. You can think of the D-50 having powerful synthesizers built in. Each of these hypothetical synthesizers could behave like a convention analog synthesizer, or a PCM sampled synthesizer. Any combination of two synthesizers can achieve some remarkable cross-modulation effects.
  • Page 39 PCM sound generator A PCM sound generator provides 128 different PCM sampled sounds (= waveform). fig.07-04(BlockDiagramPCM) PCM Wave Interpolator Memory Pitch Processor Structure Structure, which is one of the Common Parameters, determines which two of the hypothetical synthesizers (a synthesizer sound generator or a PCM sound generator) are to be used as Partial 1 and Partial 2.

  • Page 40: Ring Modulator

    Overview of the VC-1 Ring Modulator The Ring Modulator multiplies two sounds, creating an unusual and metallic sound that contains complicated harmonics. For instance, two waveforms ( multiplied and waveform fig.07-07(RingModulatorWave) Patch During live performance, you can easily select a Patch, which is the combination of two Tones (Upper and Lower), together with programmed E.Q., chorus and reverberation.

  • Page 41: Structure Of Tone Parameters

    Structure of Tone Parameters Depending on which generators are selected in the Partial Block, greatly different Tone Parameters will be used. Some Tone Parameters used for the Synthesizer sound generators are irrelevant to the PCM generator. In a Structure with Ring modulation, some parameters of Partial 2 are automatically set to those of Partial 1.
  • Page 42 Overview of the VC-1 TVF (Time Variant Filter) This fitter passes lower frequency harmonics and cuts off the higher ones. By changing the cutoff point and the resonance, the waveform changes. Cutoff Frequency This sets the cutoff point. The cutoff point can be controlled by parameter).

  • Page 43: Creating A Patch

    Creating a Patch With the VC-1, 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 44: Useful Functions For Editing

    Creating a Patch Useful Functions for Editing The VC-1 provides numerous ways in which you can edit your own patches more conveniently. Editing a Value To edit a value, you can use the VALUE dial, [INC/+] or [DEC/-].In each VC-1 screen, you can select a value using the cursor as described earlier, and modify its value.
  • Page 45 Editing with the Panel Controls (Partial Select) You can assign a variety of parameters (such as TVF Resonance or TVA Level) to the knobs at the right of the front panel for direct, intuitive editing of the parameters. The partials to which the tone parameters assigned to the different knobs are applied are specified in the PATCH TOP screen or with STRUCTURE [1] at the right of the front panel.
  • Page 46 Creating a Patch Copying Tone Settings A Tone from another Patch can be copied to the patch currently selected (Tone Copy). fig.08-05(LCD_Pulldown_ToneCopy) Make sure the PATCH TOP screen is displayed. Touch < > in the upper right of the screen. A pulldown menu appears.
  • Page 47 Copying Parameter Settings A group of Tone parameters can be copied within a Patch (Parameter Copy). fig.08-06a(LCD_Pulldown_ParamCopy) Make sure the PATCH TOP screen is displayed. Touch < > in the upper right of the screen. A pulldown menu appears. In the pulldown menu, touch <PARAM COPY>. The PARAM COPY window appears.
  • Page 48 Creating a Patch PARTIAL (Source Partial) If PART-1 or PART-2 is selected in Value: PART-1, PART-2 * When is set to All or COMMON, Touch <Execute> to execute the copy operation. If you want to cancel without executing, touch <CANCEL>. Auditioning the Sound Before Editing While editing a parameter, you may wish to hear the original sound before it was edited.
  • Page 49 Initializing Patch Settings Initialize means to return the settings of the currently selected patch to a standard set of values. The Initialize operation will affect only the currently selected patch in temporary area; the patches that are stored in internal memory and work area will not be affected. If you wish to restore all of the VC-1’s settings to their factory values, perform a Factory Reset (p.

  • Page 50: Tone Parameters

    Tone Parameters Common Parameters fig.09-01(LCD_Structure) <Struct>: <P-ENV>: <LFO>: <EQ/CHORUS>: Structure Struct (Structure Number) Select one of the following seven Structures. Value: 1–7 Number : Synthesizer Sound Generator : PCM Sound Generator, Balance (Partial Balance) Adjusts the volume balance of the Upper and Lower Tone. Value: 0–99 (p.
  • Page 51 P-ENV (Pitch Envelope) P-ENV Edit (Envelope) fig.09-09(LCD_P-ENV_PEnvEdit) Velo (Velocity Range) Sets the maximum effect of the velocity that controls the pitch of the P-ENV. At higher values, the keyboard velocity has a greater, effect on the envelope. Value: 0–2 fig.09-10(TimeKeyFollow) TKF (Keyfollow (Time)) Sets the time of the P-ENV depending on the key played.
  • Page 52 Tone Parameters fig.09-12(LCD_P-ENV/Time) T1 (Time 1) Sets the time needed from point 0 (the moment the key is pressed) to point 1. Value: 0–50 T2 (Time 2) Sets the time needed from point 1 to point 2. Value: 0–50 T3 (Time 3) Sets the time needed from point 2 to point 3.
  • Page 53 * The maximum variable range of each level will depend on the Velocity Range in P-ENV. (p. 51) Velocity Range Pitch Mod (Pitch Modulation) Depending on how the LFO in WG modulation (p. 60) is set, the vibrato set here may have no effect at all. fig.09-14(LCD_P-ENV/PitchMod) LFOD (LFO Depth) Sets the depth of LFO-1, that controls the WG pitch.
  • Page 54 Tone Parameters Delay (Delay Time) This sets the time needed for the LFO to appear, from the moment a key is pressed. Higher values increase the delay time. Value: 0–100 Sync Selects the timing of the LFO oscillation as follows. For LFO-2 and LFO-3, KEY cannot be selected. Value: OFF, ON, KEY Display Description...
  • Page 55 fig.09-18e(EQ_Hf/HQ) HiFreq (High Frequency) Sets the frequency where the gain is altered in the middle to high range. Value: 250, 300, 350, 420, 500, 600, 700, 840 Hz, 1.0, 1.2,\r1.4, 1.7, 2.0, 2.4, 2.8, 3.4, 4.0, 4.8, 5.7, 6.7, 8.0, 9.5 kHz HiQ (High Q) Sets the width of the frequency band where the gain is boosted or cut.

  • Page 56: Partial Parameters

    Tone Parameters Balance (Chorus Balance) This sets the volume balance of the chorus of the chorus sound and normal sound. Value: 0–100 Partial Parameters Restriction of the available parameters caused by Structure Depending on what Structure (p. 50) is used, the available parameters may be different. Some parameters included in a Partial that uses a PCM sound generator are invalid.
  • Page 57 WG Form (WG Waveform) WG Form (Waveform) fig.09-21(LCD_PART1-FORM) Wave (Waveform) Selects the waveform of the synthesizer sound generator. Value: SQU, SAW Display SQU (square) SAW (Sawtooth) * A sawtooth waveform is produced by processing a square Waveform at the TVF, that is, all the waveform are square at WG even when a sawtooth is selected.
  • Page 58 Tone Parameters fig.09-24(VelocityRange) Velo (Velocity Range) Sets the sensitivity of the velocity that controls the pulse width. With “-” values, the pulse width becomes smaller by playing the keyboard harder, and with “+” values, the pulse width becomes wider by playing the keyboard harder. Value: -7–+7 After (Aftertouch Range) Sets the sensitivity of the aftertouch that controls the pulse width.
  • Page 59 WG PITCH WG Pitch fig.09-26(LCD_WgPitch) Coars (Pitch Coarse) Sets the standard pitch of a Partial in semi-tone steps. The standard pitch is the pitch at C5 (middle C) key. Value: C1–C7 Fine (Pitch Fine) The standard pitch can be altered over about +/- 50 cents. Value: -50–+50 fig.09-27e(PitchKeyFollow) KF (Keyfollow (pitch))
  • Page 60 Tone Parameters WG Mod (WG Modulation) fig.09-27z(LCD_PitchWfMod) LFO (LFO Mode) fig.09-28e(LFO_Mode) Selects one of the following four vibrato modes. Value: OFF, (+), (-), A&L Display Description No vibrato is obtained. Vibrato is on. Vibrato is on but inverted. Vibrato can be obtained only by Aftertouch A&L and Bender Lever.
  • Page 61 Bender Mode Example: • If the Bender range is set to 12 (1 octave), and the Keyfollow (Pitch) of WG is set to 2, the maximum pitch change caused by moving the Bender Lever is 2 octaves. • When the Keyfollow (Pitch) of WG is set to zero, there is no pitch change caused by the Bender lever.
  • Page 62 Tone Parameters fig.09-32e(Resonance) Reso (Resonance) Boosts the cutoff point. As you increase the value, specific harmonics are emphasized and the sound will become more unusual, more electronic in nature. Value: 0–30 fig.09-33e(CutoffKeyFollow) KF(Keyfollow (Cutoff Point)) Keyfollow can change the cutoff point depending on the key played.
  • Page 63 Keyfollow Adjustment fig.09-34e(bias/direction) Middle C (C4) The curve in the picture represents the Keyfollow value with the bias level added. • TVF Keyfollow (Cutoff Point): • Bias Direction: TVF ENV (TVF Envelope) fig.09-35(LCD_TVF/TVF ENV) Depth (ENV Depth) Sets the depth of the TVF ENV modulation that changes the TVF cutoff Point.
  • Page 64 Tone Parameters TVF ENV Time An envelope curve is determined by times and levels. fig.09-37e(TvfEnvTime) Point 1 Key On fig.09-38(LCD_TvfEnvTime) T1 (Time 1) Sets the time needs to reach point 1 from the moment the key is pressed. Value: 0–100 T2 (Time 2) Sets the time needed to reach point 2 from point 1.
  • Page 65 TVF ENV Level fig.09-39(LCD_TvfEnvLevel) L1 (Level 1) Sets the of point 1. Value: 0–100 L2 (Level 2) Sets the level of point 2. Value: 0–100 L3 (Level 3) Sets the level of point 3. Value: 0–100 SusL (Sustain Level) This sets the level of point 4. Value: 0–100 EndL (End Level) To lower the level after releasing the key, set this to 0, and to raise the level, set it to 100.
  • Page 66 Tone Parameters TVA (Time Variant Amplifier) fig.09-40(LCD_TvaTva) Level Sets the volume of a Partial. Higher values may cause sound distortion. If so, lower the value. Even when the Level is set to zero here, the sound may not be completely muted if the TVA ENV curve is high.
  • Page 67 TVA ENV (Envelope) fig.09-42(LCD_TvaEnv) Velo (Velocity Follow (Time 1)) Sets the sensitivity of the velocity than controls the Time 1 of the TVA ENV. Increasing the sensitivity shortens Time 1, by stronger playing. Value: 0–4 fig.09-36(TimeKeyFollow) TKF (Keyfollow (Time)) This can change the time o the TVA ENV depending on the key played.
  • Page 68 Tone Parameters T4 (Time 4 Sets the time needed to reach point 4 from point 3. Value: 0–100 T5 (Time 5) Sets the time needed to reach point 5 from the moment the key is released. Value: 0–100 TVA ENV Level fig.09-44(LCD_TvaEnvLevel) L1 (Level 1) Sets the level of point 1.
  • Page 69 MOD (Modulation) TVF MOD fig.09-45(LCD_ModTvfMod) LFO (LFO Select) Selects the LFO that changes cutoff point periodically (creating growl effects). Value: +1, -1, +2, -2, +3, -3 fig.09-25e(LFO Select) Display LFO (Phase) LFO-1 (+) LFO-1 (-) LFO-2 (+) LFO-2 (-) LFO-3 (+) LFO-3 (-) LFOD (LFO Depth) Sets the depth of a growl effect.
  • Page 70 Tone Parameters TVA MOD fig.09-46(LCD_ModTvaMod) LFO (LFO Select) Selects the LFO that changes the volume periodically (tremolo effects) . Value: +1, -1, +2, -2, +3, -3 fig.09-25e(LFO Select) Display LFO (phase) LFO-1 (+) LFO-1 (-) LFO-2 (+) LFO-2 (-) LFO-3 (+) LFO-3 (-) LFOD (LFO Depth) Sets the depth of the tremolo effect.

  • Page 71: Settings For The Entire Vc-1

    Settings for the Entire VC-1 Settings that affect the entire operating environment of the VC-1, 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. How to Make the System Function Settings fig.10-01(LCD_ModeMenu) Press [MODE].
  • Page 72 Settings for the Entire VC-1 fig.10-03(LCD_SystemGeneral) Sound Setting Master Tune Adjusts the overall tuning of the VC-1. The display shows the frequency of the A4 note (center A). Value: 427 – 452 Hz Sound Character Sets whether the output characteristics of the sound are the same as those of the D-50 (D-50) or the V-Synth XT (V-Synth).
  • Page 73 fig.10-04(LCD_SystemMidi) MIDI MIDI CH (MIDI Channel) Sets the Basic Channel (MIDI channel on which the VC-1 receives and transmits messages). Value: 1 – 16 * The transmit change can be set to a different number from the Basic Channel individually from each Patch (p. 25). Control Determines how to receive messages from an external MIDI device.
  • Page 74 Settings for the Entire VC-1 Exclusive (Exclusive Switch) To receive or transmit Exclusive messages (Roland ID Number only), set this to On, P-Dump or TxEdit. Value: Off, On, P-Dump, TxEdit Display Function Normally. The patch data that you select is transmitted.

  • Page 75: Initializing The System Settings

    Initializing the System Settings The current settings of the system functions can be restored to a set of standard settings, or to the factory settings (System Initialize). fig.10-04a Access the System Edit screen. Touch <Init>, located in the lower right of the screen. If you want the factory settings to be in effect the next time the VC-1 is powered up, touch <Write>...

  • Page 76: Key Mode Alteration

    Key Mode Alteration Poly Mode or Mono Mode is an element that determines how to output the Upper and Lower Tones. Mono Mode, Poly Mode There are two ways of the The VC-1 can use either mode. Name Allows the control of more than one Key message on one channel at a a time. Poly Mode The VC-1 is 16 or 8 voices polyphonic (depending on the patch used).
  • Page 77 Poly Mode Key Mode Mode Message Off Lower Dual Receive Channel Lower Dual-S (Dual Solo) Receive Channel Lower Split Rceive Channel Lower Split-US (Split Upper Solo) Receive Channel Lower Split-LS (Split Lower Solo) Receive Channel Lower Separate Receive Channel Lower Separate-S (Separate Solo) Receive Channel...

  • Page 78: Sound List

    Sound List Preset Patches P1 (Preset 1:Original D-50) No.1 Fantasia Metal Harp BANK 1 Digital Native Bass Marimba Dance Breathy Gamelan bell Chiffer Shamus Vibraphone Theme Glass Voices Hollowed Harp Staccato Oriental Bells Heaven Nightmare Syn Marimba Intruder FX Steel Pick P2 (Preset 2: New) No.1 Brass Tacks...
  • Page 79 P3 (Preset 3:PN-D50-01) No.1 Bouncing Deep Analog BANK 1 Bows Strings Cello Viola Classical Horn Fanfare Tenor Alto Saxophone Saxophone Flute-Piccolo Oboe Synth Lead 1 Synth Lead 2 Ham and Slow Rotor 2 Organ Star Peace Spacy Voice Chorus P4 (Preset 4:PN-D50-02) No.1 Synthetic Upright...
  • Page 80 Sound List P5 (Preset 5:PN-D50-03) No.1 String Section Syn-Strings Hi BANK 1 Vibrato Cello String Quartette Powerful Mute Trumpet Brass Baritone Silver Saxophone Saxophone Breathy Flute Bohemian Heavy Metal Monophonic Lead Lead Jazz Organ Huge Pipes Whispy Vox Alpha Omega Ensemble P6 (Preset 6:PN-D50-04) No.1...

  • Page 81: Patch Factors

    Patch Factors Patch Factors PATCH TOP (p. 19) Chase Switch Chase Switch Portament Switch Portamento Switch KEY MODE Key Mode SPLIT Split Point BALANCE Tone Balance CONTROL (p. 21) Bend Bender Range AfterPB Aftertouch Bend Range Hold Hold Mode Time Portamento Time Mode Portamento Mode...

  • Page 82: Tone Parameters

    Sound List Tone Parameters Common Parameters Parameter Struct (p. 50) Structure Struct Structure Partial Balance Balance Partial Balance P-ENV (p. 51) Velo Velocity Range P-ENV Time Keyfollow Time1 Time2 P-ENV Time Time3 Time4 Level0 Level1 P-ENV Level Level2 SusL Sustain Level EndL End Level LFOD...
  • Page 83 Parameter EQ/Chorus (p. 54) LowFreq Low Frequency LowGain Low Gain HiFreq High Frequency High Q HiGain High Gain Type Chorus Type Rate Chorus Rate Chorus Depth Chorus Depth Balance Chorus Balance Partial Parameters Parameter FORM (p. 57) Wave Waveform WG Form PCM Wave No.
  • Page 84 Sound List Parameter Depth Depth Velo Velocity Range TVF ENV Depth Keyfollow Time Keyfollow Time1 Time2 TVF ENV Time Time3 Time4 Time5 Level1 Level2 TVF ENV Level Level3 SusL Sustain Level EndL End Level TVA (p. 66) Level Level Velo Velocity Range Bias Point/Bias Direction BLevel...

  • Page 85: System Parameters

    System Parameters Parameter Sound Setting (p. 72) Master Tune Master Tune Sound Character Sound Character Digital Freq Digital Output Frequency MIDI (p. 73) MIDICH Basic CH Control Control Separate CH Separate Mode Receive CH Prog.C Program Change Switch Exclusive Exclusive Switch Bank.S Bank Select Switch Value...

  • Page 86: Waveform

    Sound List Waveform Oneshot Number Display PCM Name Marmba Marimba Vibes Vibraphone Xylo1 Xylophone 1 Xylo2 Xylophone 2 Log_Bs Log bass Hammer Hammer JpnDrm Japanese Drum Kaimba Kalimba Pluck Pluck 1 Chink Chink Agogo Agogo 3angle Triangle Bells Bell’s Nails Nail File Pick Pick...
  • Page 87 Loop (Some of the sounds 1 to 76, are combined and looped.) Number Display Loop01 Loop02 Loop03 Loop04 Loop05 Loop06 Loop07 Loop08 Loop09 Loop10 Loop11 Loop12 Loop13 Loop14 Loop15 Loop16 Loop17 Loop18 Loop19 Loop20 Loop21 Loop22 Loop23 Loop24 Newly Added Waveforms Number Display PCM Name...

  • Page 88: Midi Implementation

    MIDI Implementation Model: VC-1 Date: January 10, 2005 Version: 1.10 1. Data Transmission ■Channel Voice Messages ●Control Change ❍Bank Select (Controller number 0, 32) Status 2nd byte 3rd byte n = MIDI channel number: 0H - FH (ch.1 - 16) mm, ll = Bank number: 00 00H - 7F 7FH (bank.1 - bank.16384) * Not transmitted when Bank Select Switch (SYSTEM MIDI) is OFF.

  • Page 89: Control Change

    2. Receive data ■Channel Voice Messages ●Note off Status 2nd byte 3rd byte n = MIDI channel number: 0H - FH (ch.1 - 16) kk = note number: 00H - 7FH (0 - 127) vv = note off velocity: 00H - 7FH (0 - 127) ●Note on Status 2nd byte...

  • Page 90: Channel Aftertouch

    MIDI Implementation <<< RPN >>> Control Changes include RPN (Registered Parameter Numbers), which are extended. When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any order) should be sent in order to select the parameter, then Data Entry (Controller numbers 6 and 38) should be sent to set the value.

  • Page 91: Message Structure

    3. Exclusive Communication ■ 3.1 Message structure All exclusive communications are based on following structure ( Roland Exclusive Format Type IV ). Byte Description Exclusive status Roland ID # Device-ID # = MIDI basic channel -1 Model-ID # (D-50) Command-ID #...
  • Page 92 MIDI Implementation ■ 3.3 Partial Parameter Offset Address 0vvv vvvv WG Pitch 0vvv vvvv WG Pitch 0vvv vvvv WG Pitch 0vvv vvvv WG Modulation 0vvv vvvv WG Modulation 0vvv vvvv WG Modulation 0vvv vvvv WG Waveform 0vvv vvvv WG Waveform 0vvv vvvv WG Pulse Width 0vvv vvvv...
  • Page 93 ■ 3.4 Common Parameter Offset Address 0vvv vvvv Tone Name 0vvv vvvv Tone Name 0vvv vvvv Structure 0vvv vvvv P-ENV Edit 0vvv vvvv P-ENV Edit 0vvv vvvv P-ENV Time 0vvv vvvv P-ENV Time 0vvv vvvv P-ENV Time 0vvv vvvv P-ENV Time 0vvv vvvv P-ENV Level 0vvv vvvv...

  • Page 94: Patch Parameter

    MIDI Implementation ■ 3.5 Patch Parameter Offset Address 0vvv vvvv Patch Name 0vvv vvvv Patch Name 0vvv vvvv Key Mode 0vvv vvvv Split Point 0vvv vvvv Portamento Mode 0vvv vvvv Hold Mode 0vvv vvvv U-Tone Key Shift 0vvv vvvv L-Tone Key Shift 0vvv vvvv U-Tone Fine Tune 0vvv vvvv...
  • Page 95 * 1: table 1 (Common Parameter - Partial Mute) Description Partial2 Off, Partial1 Off Partial2 Off, Partial1 On Partial2 On, Partial1 Off Partial2 On, Partial1 On * 2: table 2 (Patch Parameter - Tone Select) Description Upper Off, Lower Off Upper Off, Lower On Upper On, Lower Off Upper On, Lower On...

  • Page 96: Midi Implementation Chart

    MUSIC SOFTWARE Model: VC-1 Function... Basic Default Channel Changed Default Mode Messages Altered Note True Voice Number : Note ON Velocity Note OFF Aftertouch Key's Ch's Pitch Bend 0, 32 Control Change 6, 38 100, 101 Program : True Number Change System Exclusive : Song Pos...

  • Page 97: Specifications

    Specifications VC-1: V-Card D-50 Sound Generator D-50 Compatible LA (Linear Arithmetic) Synthesis Polyphony 16 voices Waveforms Synthesizer: PCM: Internal (User) Memory Banks: Patches: Preset Memory Banks: Patches: * In the interest of product improvement, the specifications and/or contents of this unit are subject to change without prior notice.

  • Page 98: Index

    Index AC Inlet ... 10 After ... 53, 58, 69–70 AfterPB ... 21 Aftertouch ... 21 Aftertouch Range ... 58, 69–70 B.CH ... 73 BALANCE ... 20 Balance ... 50, 56 Bank ... 12 Bank Select Switch ... 74 Bank.S ... 74 Basic Channel mode ...
  • Page 99 KEY MODE ... 19 Key Shift of the Lower Tone ... 25 Key Shift of the Upper Tone ... 25 Keyfollow (Cutoff Point) ... 62 Keyfollow (Depth) ... 63 Keyfollow (pitch) ... 59 Keyfollow (Time) ... 51, 63, 67 KF ... 59, 62 L0 ...
  • Page 100 Index Rate ... 53, 55 Receive Channel in Separate Mode ... 25 Reso ... 62 Resonance ... 62 Revbal ... 23 reverb ... 22 Reverb Balance ... 23 Reverb Type ... 23 reverb types ... 35 RevType ... 23 Ring Modulator ... 40 SEP ...

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