Roland V-Synth Book page 21

LIMITER
Limiting is a more primitive form of compression where any peaks above a fixed
threshold are reduced to exactly this level. Start from the Tom sound you have just
made, and select LIMITER instead of COMP in the COSM1 section
drastic settings, take Threshold to 0
here is that you have told the limiter to reduce any signal level whatsoever by a factor
of 100 to 1. You can still hear a click because the limiter needs a certain minimum time
to react. Turning Attack up to maximum will increase this time a little
the lower ratios, starting with 16:1
(particularly Threshold).
✱ A A n n d d f f i i n n a a l l l l y y , , t t h h e e t t w w o o s s p p e e c c i i a a l l e e f f f f e e c c t t s s a a l l g g o o r r i i t t h h m m s s : :
F-SHIFT (Frequency Shifter)
Inharmonics
As well as standard pitch-shifting (which you should also try out of course), I find this
COSM effect particularly useful for adding inharmonic partials to the attack part of a
sound. A little experiment: Start from INIT PATCH, select SINE for oscillator 1 and
change the Impact value (also in the OSC Type page) to 0.0. Go to COSM1 and
activate F-SHIFT. Touch the Balance tab and take the Balance control right down to
zero 1 . Flip Sustain down to zero and change the Decay to 30
Take Env Depth up to +63
Effect tab 5 and adjust the Effect value (i.e. the amount of Shift) to taste.
LO-FI (Low-Fidelity)
This is a combined bit-depth and sample-rate reducer used to add the typical grunge you
get from early samplers. These machines (e.g. the original Fairlight CMI) were typically
8-bit, with a sample rate well below CD-quality (44.1 kHz), and therefore have a special
"quality" compared with today's machines. Although seen as a serious drawback at the
time, Low-Fi artifacts are now quite fashionable, especially in Hiphop and Techno circles.
2
and Ratio to 100:1
5
and experiment with the other parameters
3 and change the Velocity Curve to 1
1 . For the most
3
. What is happening
4 . Now select
2 .
4 . Touch the
1
2 5 3 4
1
5
4 3
2
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