More Advanced Editing Of Tones; Tips For Choosing A Waveform - Roland XV-5050 Owner's Manual

More Advanced Editing of Tones

You can edit the Tones in a Patch with a tremendous degree of detail.
Editable parameters are separated into parameter groups as follows.
EFFECTS
Adjusting Effect Settings (p. 70)
CONTROL
Using Controllers to Change How Sounds Are Played (p. 51)
WAVE
Selecting a Waveform (p. 44)
LFO
Applying Vibrato or Tremolo (p. 50)
PITCH
Changing Pitch (p. 45)
TVF
Changing the Brightness with a Filter (p. 46)
TVA
Changing the Volume (p. 48)
The following shows the basic procedure for setting parameter
values. For a description of each parameter, refer to the reference
page given in the above.
1. Choose the Patch you wish to set up.
2. Press [EDIT] to make its indicator light.
3. Press [
CURSOR] a few times to move the cursor to the
parameter group in the upper line of the display.
4. Turn [VALUE] to choose the parameter group containing the
parameter you wish to set up.
5. Press [TONE] to make its indicator light.
6. Press TONE SW [1]–[4] to choose the Tone you wish to set
up.
Its indicator lights, and the chosen Tone's number appears in the
upper right of the display.
7. Press [CURSOR
] to move the cursor to the parameter
name in the lower-left corner of the screen.
8. Turn [VALUE] to choose the parameter you wish to set.
9. Press [CURSOR
] to move the cursor to the selected
parameter's value.
10.Turn [VALUE] to choose the desired value.
11.Repeat Steps 3-10 to finish setting up the Patch.
12.Press [EXIT] to return to the PATCH PLAY screen.
A "*" symbol appears at the left of the Patch name, indicating
that its settings have been changed.
fig.1-05
If you turn off the power or choose another Patch while the "*"
symbol is displayed, your new Patch settings will be lost. If you
wish to preserve them, save the changed Patch using the Write
operation. (p. 104)
Chapter 1 Creating a Patch

Tips for Choosing a Waveform

Because the XV-5050 is designed to create highly realistic sounds, the
success of the editing process depends to a large degree on the PCM
waveforms upon which Tones are based. Therefore, if you try to create a
sound that's totally different from the waveform(s) you're working with,
the desired result may be difficult or impossible to achieve.
The XV-5050's internal waveforms fall into the following two groups.
One-shot: These waveforms contain sounds that have short decays. A
one-shot waveform records the initial rise and fall of its sound. Some of
the XV-5050's one-shot waveforms are sounds that are complete in
themselves, such as percussive instrument sounds. The XV-5050 also
contains many other one-shot waveforms that are elements of other
sounds. These include attack components such as piano-hammer sounds
and guitar fret noises.
Looped: These waveforms include sounds with long decays as well as
sustained sounds. With looped waveforms, the latter part of the sound
plays over and over for as long as the note is held, allowing wave
memory to be used more efficiently. The XV-5050's looped waveforms
also include components of other sounds, such as piano-string resonant
vibrations and the hollow overtones of brass instruments.
The following diagram shows an example of a sound—an electric
organ—that combines one-shot and looped waveforms.
fig.1-09.e
TVA ENV for looped Organ TVA ENV for one-shot Key-
waveform (sustain portion) click waveform (attack portion)
+
Key-off
Notes for editing one-shot waveforms
You cannot give a one-shot waveform a longer decay—or make it into a
sustaining sound—by using an envelope. If you were to program such an
envelope, you would be attempting to shape a portion of the sound that
simply doesn't exist, and the envelope would have no effect.
Notes for editing looped waveforms
With many acoustic instruments such as piano and sax, extreme timbral
changes occur during the first few moments of each note. This initial attack
is what defines much of the instrument's character. The XV-5050 provides
a variety of waveforms containing realistic acoustic instrument attacks. To
obtain the maximum realism when using these waveforms, it's best to
leave the filter wide-open during the attack so that all of these important
timbral changes are heard. If you use an envelope to modify the attack
portion, you may not achieve the result you want. Use enveloping to
produce the desired changes in the decay portion of the sound.
fig.1-10.e
Tone change stored
with the wave
Envelope
for the TVF filter
Resulting tone change
If you try to make a waveform's attack seem brighter by lowering the high-
frequency content of its decay using the TVF filter, consider the original
timbral character of the waveform. If you're making a part of the sound
brighter than the original waveform, you should first generate new upper
harmonics not present in the original waveform by using the FXM Color
and FXM Depth parameters before filtering. This will help you achieve the
desired result. To make an entire waveform brighter, try applying an effect
such as an enhancer and equalizer before modifying the TVF parameter.
Resulting TVA ENV change
=
Key-off
Looped Portion
43