Basic Sound Parameters; The Osc1/Osc2 Sections - Roland V-Synth Book

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Owner's manual (213 pages)

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Table Of Contents

Table of Contents

This chapter only deals with those sections which are directly

involved in sound generation and treatment. For information

about programming the Arpeggiator or applying realtime

controllers (Time-Trip, D-Beam, Bender and Control knobs),

please refer to the chapter "Advanced Performance" towards

the end of this tutorial. For information about Sampling and more

advanced programming, see the chapter "Advanced Sound

Programming" below.

Practical instructions here are in a much more compact form than

those above because I assume that you already know your way

around the menus. Look in the Owner's Manual under

"Creating a Patch - Functions of Patch Parameters"

whenever you need detailed information about individual

parameters. Although each section will be dealt with in turn, you

The OSC1 / OSC2 Sections

Go to 512:INIT PATCH and touch the OSC1 pad...

For each of its two oscillators (per Zone), the V-Synth gives you

the choice of two fundamentally different types - Analog and

PCM. Whichever you choose, many of the parameters are

practically the same. There is a third option which will be

mentioned later on: EXT IN causes signals from the two INPUT

jacks to be routed directly to the MOD section.

As these diagrams clearly show, the signal passes through several

stages, each with its own dedicated envelope but with a single,

shared LFO. This means that the main parameters (Pitch,

Time...) in each of the four stages can be modulated by individual

envelopes as well as by a common LFO.

* * A A n n y y a a u u d d i i o o s s i i g g n n a a l l t t h h a a t t ' ' s s b b e e e e n n i i n n p p u u t t w w h h i i l l e e t t h h e e o o s s c c i i l l l l a a t t o o r r

t t y y p p e e o o n n t t h h e e V V - - S S y y n n t t h h i i s s s s e e t t t t o o E E X X T T I I N N w w i i l l l l b b e e h h e e a a r r d d o o n n l l y y

w w h h e e n n y y o o u u p p l l a a y y t t h h e e k k e e y y b b o o a a r r d d . . I I n n o o t t h h e e r r w w o o r r d d s s , , t t h h e e s s i i m m p p l l e e

a a c c t t o o f f i i n n p p u u t t t t i i n n g g a a s s o o u u n n d d i i s s n n o o t t e e n n o o u u g g h h t t o o c c a a u u s s e e i i t t t t o o b b e e

h h e e a a r r d d . . N N o o t t e e t t h h a a t t t t h h e e s s i i g g n n a a l l f f r r o o m m t t h h e e D D I I G G I I T T A A L L I I N N P P U U T T i i s s n n o o t t

a a l l l l o o w w e e d d t t o o b b e e u u s s e e d d a a s s a a s s o o u u r r c c e e f f o o r r E E X X T T I I N N . .

B a s i c S o u n d P a r a m e t e r s

will be guided towards other sections in the V-Synth whenever

necessary. This will help you get used to switching between

sections and guard against seeing each one as a separate,

unrelated entity.

✱ I I n n p p r r a a c c t t i i c c e e , , c c r r e e a a t t i i n n g g a a g g o o o o d d p p a a t t c c h h u u s s u u a a l l l l y y m m e e a a n n s s

j j u u m m p p i i n n g g b b a a c c k k a a n n d d f f o o r r t t h h b b e e t t w w e e e e n n p p a a r r a a m m e e t t e e r r s s r r a a t t h h e e r r

o o f f t t e e n n . . S S y y n n t t h h e e s s i i z z e e r r m m o o d d u u l l e e s s / / s s e e c c t t i i o o n n s s a a r r e e , , b b y y t t h h e e i i r r v v e e r r y y

n n a a t t u u r r e e , , h h i i g g h h l l y y i i n n t t e e r r a a c c t t i i v v e e

Because the Effect section is dealt with last, the sounds will only

start coming to life towards the end of this chapter. If you find

dry sounds generally tiring to the ear, you can always add some

internal or external reverb.

Analog OSC

Pulse

Wave

Pitch

Width

Pitch

Envelope