Roland V-Synth Owner's Manual
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Roland V-Synth Owner's Manual

V-synth version 2.0
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See also: Reference Manual , Service Notes
Errata
We apologize for the following errors in the V-Synth XT Owner's Manual.
Please make the corrections listed below.
P.39 Step 6
(Incorrect)
To save your patch, use the procedure described in "Saving Patches
(PATCH Write)" (p. 51).
(Correct)
To save your patch, use the procedure described in "Saving Patches
(PATCH Write)" (p. 53) and "Saving Project on Disk (Save
Project)" (p. 132) .
*
If you want to save a patch you created in the Sound Shaper,
you must also execute "Save Project" (p.53) in addition to
"PATCH Write" (p.132). If you don't execute "Save Project,"
the PCM oscillator of the patch you created in Sound Shaper
will no longer sound the next time you turn on the power.
P.54 right column
"About Multitimbral Performance"
(Add)
The effect settings of Part 1 are used by all parts.
The arpeggiator works only on Part 1.
P.57 right column "Demo Mode"
(Incorrect)
Demo Mode
(Correct)
Features Mode
P.77 right column Step 6
(Incorrect)
Save your patch as described in "Saving Patches (PATCH Write)" (p. 74).
(Correct)
Save your patch as described in "Saving Patches (PATCH Write)" (p. 74)
and "Saving Project on Disk (Save Project)" (p. 132) .
*
If you want to save a patch you created in the Sound Shaper,
you must also execute "Save Project" (p.74) in addition to
"PATCH Write" (p.132). If you don't execute "Save Project,"
the PCM oscillator of the patch you created in Sound Shaper
will no longer sound the next time you turn on the power.
P.98 right column "Zone Settings (Zone)"
(Add)
By holding down [SHIFT] and playing the keyboard, you can switch to
the zone that includes that note-on.
* You can't switch zones by playing more than one key while you hold
down [SHIFT]. You'll need to release [SHIFT] and press it again each
time you play the keyboard.
* This function will not operate if the arpeggiator is on.
P.99 right column Step 10
(Add)
Each zone works just like a single patch. You can create the sound for a
zone from scratch in the same way as for a patch, as described in the
procedure "Creating a patch" (p.72). If you want to assign a different
patch sound to a zone, use Patch Copy (p.73) to copy the patch settings to
the desired zone.
V-Synth Version 2 LEAFLET
P.101 left column "The concept of a Rhythm Kit"
(Add)
When you're using Rhythm mode, the effect you specify for the Rhythm
part will also apply to the other parts (non-rhythm parts) you're using.
P.102 right column Step 3
(Add)
You can also switch notes by holding down [SHIFT] and playing the
keyboard.
* You can't switch notes by playing more than one key while you hold
down [SHIFT]. You'll need to release [SHIFT] and press it again each
time you play the keyboard.
* This function will not operate if the arpeggiator is on.
P.110 right column "Beat"
(Incorrect)
Value
Numerator:
1–31
(Correct)
Value
Numerator:
0–31
* If you set this to 0, no time signature accent note will be sounded.
P.122 left column
"Patch Remain (Patch Remain Switch)"
(Incorrect)
Specifies whether currently sounding notes will continue sounding when
another patch is selected (ON), or not (OFF).
(Correct)
Specifies whether currently sounding notes will continue sounding when
another patch is selected (ON), or not (OFF).
* This function is valid only when the effect is turned off.
For the latest information about MIDI Implementation, please visit
http://www.roland.com/
40670934
1PD

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  • Page 1 Errata We apologize for the following errors in the V-Synth XT Owner’s Manual. P.101 left column “The concept of a Rhythm Kit” Please make the corrections listed below. (Add) P.39 Step 6 (Incorrect) When you’re using Rhythm mode, the effect you specify for the Rhythm To save your patch, use the procedure described in “Saving Patches...
  • Page 2 Version 2.0 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 201b SAFETY INSTRUCTIONS” (p. 2), “USING THE UNIT SAFELY” (p. 3), and “IMPORTANT NOTES” (p. 4). These sections provide important information concerning the proper operation of the unit.

  • Page 3: Important Safety Instructions

    WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture. The lightning flash with arrowhead symbol, within an CAUTION equilateral triangle, is intended to alert the user to the RISK OF ELECTRIC SHOCK presence of uninsulated “dangerous voltage”...
  • Page 4 • 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, • Protect the unit from strong impact.

  • Page 5: Using The Unit Safely

    • Before cleaning the unit, turn off the power and unplug the 101c power cord from the outlet (p. 52). • This unit for use only with Roland keyboard stand KS-12. Use with other stands is capable of resulting in instability ........................
  • Page 6 • For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn • Be aware that if patches created on a V-Synth with a system version dirt, use a cloth impregnated with a mild, non-abrasive detergent.

  • Page 7: How To Use This Manual

    This explains how to transmit data to an external MIDI device (Data refer to the separate “Sound List.” Transfer), and how to restore all data of the V-Synth to the factory settings (Factory Reset). Read it as necessary. Quick Start (p. 19) Appendices (p.

  • Page 8: Table Of Contents

    Setting Up the Oscillators (OSC1/2)...................... 43 Mixing/Modulating Two Sounds (Mod)....................45 Applying COSM Modeling to Oscillators (COSM1/2)............... 46 Shaping a Sound’s Volume Over Time (TVA) ..................47 Adding the V-Synth Effects ........................48 Saving Patches You’ve Created ......................49 Turning Off the Power..........................52...
  • Page 9 Applying an Effect by Passing Your Hand Over the D Beam (D Beam Controller) ... 68 Applying an Effect by Turning a Knob (Assignable Controller) ........... 69 Synchronizing Music and Video While You Play the V-Synth (V-LINK) ........69 Enter V-LINK Mode ........................70 V-LINK Functions that the V-Synth Can Control and MIDI Messages ........
  • Page 10 Basic Disk Utility Operations........................ 131 Sorting the Files Displayed in the File List................132 Loading a Project from Disk into the V-Synth (Load Project) ............132 Saving Project on Disk (Save Project) ....................132 Delete Unneeded Files (Clean Project) ....................133 Importing Individual Patch or Wave Files (Import Files) ..............
  • Page 11 Contents Exchanging MIDI Messages with Your Computer (MIDI Mode)........... 144 Driver Installation and Settings ....................144 Using V-Synth Librarian ........................145 Features of V-Synth Librarian ....................145 Installation............................ 145 System Requirements ......................... 145 Other Functions ..................... 146 Transmitting Data to an External MIDI Device (Data Transfer) ............. 146 Reset to Default Factory Settings (Factory Reset) ................
  • Page 12 08: PLATE............................. 192 09: Non-Linear ..........................193 10: Delay ............................193 Troubleshooting..................... 194 Problems Related to the V-Synth ......................194 Problems Related to the USB Driver (Windows)................195 Problems Related to the USB Driver (Macintosh) ................197 Message List ......................198 ERROR Screens ............................

  • Page 13: Main Features

    Whether you’re playing live on stage or producing music in the studio, and regardless of the musical styles in which you’re working, the V-Synth gives you usable and playable sounds that are available nowhere else.

  • Page 14: Changes In Version 2.0

    Simply by inserting a card into the slot and even use these patterns as an LFO. turning the power on, you can start up the V-Synth as a completely different device without making any modifications Using steps to vary the sound (Multi Step Modulator) (p.

  • Page 15: 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.→ (p. 21) 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 16 Panel Descriptions Display This displays information regarding the operation you are performing. VALUE Dial This is used to modify values. If you hold down [SHIFT] as you turn the VALUE dial, the value will change in greater increments. → (p. 25) [DEC/-], [INC/+] This is used to modify values.
  • Page 17 Panel Descriptions [LEVEL] STRUCTURE This modifies the volume. Here you can turn each sound-producing element (section) on or off. [1], [2], [3] COSM1, COSM2 Switches the structure type (the way in which the sections are Here you can adjust the COSM sections. connected).

  • Page 18: Rear Panel

    Panel Descriptions Rear Panel fig.00-02 MIDI Connectors (IN, OUT, THRU) fig.00-03 These connectors can be connected to other MIDI devices to receive and transmit MIDI messages. fig.00-08 POWER Switch Press to turn the power on/off. → (p. 21, p. 52) CTRL 1, CTLR 2 PEDAL Jack AC Inlet You can connect optional expression pedals (EV-5, etc.) to these...
  • Page 19 About VariPhrase What is VariPhrase? VariPhrase has the following advantages: 1 Capable of changing the pitch, rate of time expansion/ compression and voice characteristics (formant) on a real- time basis. 2 Allows easy synchronization to tempo and pitch. 3 A single sample covers an extended range of keys compared to conventional digital samplers.

  • Page 20: Quick Start

    Quick Start...

  • Page 21: Getting Ready

    Getting Ready Connecting an Amp and Speaker System Since the V-Synth contains no amplifier or speakers, you’ll need to connect it to audio equipment such as a keyboard amplifier, monitor speaker system or home stereo, or use headphones to hear its sound.

  • Page 22: Turning On The Power

    • Are all peripheral devices connected correctly? been completed (p. 20), turn on power to your various devices • Have the volume controls of the V-Synth and all connected audio devices been in the order specified. By turned to their lowest settings?

  • Page 23: Adjusting The Display Contrast (Lcd Contrast)

    Installing the PC Card Protector The V-Synth provides a PC card protector to prevent theft of the memory card. To install the PC card protector, use the following procedure. Use a screwdriver to remove both of the screws from the bottom side of the PC CARD slot.

  • Page 24: Basic Touch Screen Operation

    Basic Touch Screen Operation The V-Synth features a touch screen. The touch screen lets you perform a variety of operations by lightly touching the screen. * The touch screen responds to a light touch. Pressing the touch screen with too much force, or with a hard object, may damage it.

  • Page 25: Moving The Cursor

    Basic Touch Screen Operation Moving the Cursor A single screen or window displays multiple parameters or items for selection. To edit a parameter’s value, move the cursor to the value. The cursor is a black rectangle, and the parameter value or item you select with the cursor is highlighted (displayed in inverted colors).

  • Page 26: Editing A Value

    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 27: Try Out The Sounds

    Try Out the Sounds Selecting Patches and Playing Sounds The V-Synth comes with a wide range of onboard sounds, including single tones called patches. Let’s select a few patches to get an idea of the variety of sounds available with the V-Synth.

  • Page 28: Selecting Patches From The List

    Try Out the Sounds Selecting Patches from the List You can easily find the desired patch by selecting it from the patch list. Make sure the PATCH PLAY screen is displayed. If the PATCH PLAY screen is not displayed, press [EXIT] once or twice until the PATCH PLAY screen appears.

  • Page 29: Selecting Favorite Patches (Patch Palette)

    Try Out the Sounds Selecting Favorite Patches (Patch Palette) If your favorite, frequently used patches are registered in the Patch Palette, you can select them instantly by simply pressing NUMBER [1]–[8]. In each patch palette you can register eight patches, corresponding to the [1]–[8] keys.

  • Page 30: Playing A Drum Set (Rhythm Mode)

    Try Out the Sounds Playing a drum set (Rhythm mode) Rhythm mode lets you assign a different V-Synth sound to each note of the keyboard. This lets you use the V-Synth as a rhythm sound module. Press [MODE]. In the V-SYNTH MODE MENU window that appears, touch <RHYTHM>.

  • Page 31: Try Out The Various Performance Features

    Try Out the Various Performance Features The V-Synth is equipped with a variety of powerful performance features that can raise your musical expressiveness to new levels. These include the Time Trip Pad, the D Beam controller, and the Arpeggiator. Take a moment to try out some of the V-Synth’s performance features.

  • Page 32: Moving Your Hand Above The D Beam Controller To Apply Effects

    Try Out the Various Performance Features 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 Time Trip Pad settings are saved with each patch. This means that you can create the best Time Trip Pad settings for each patch.

  • Page 33: Using Knobs To Modify The Sound In Realtime (Assignable Controller)

    Try Out the Various Performance Features Move your hand up and down slowly over each D Beam controller as The D BEAM indicator lights you play the keyboard. when the D Beam controller is fig.Q-12 responding. The D BEAM indicator doesn’t light if you’re outside the valid range of the D Beam controller.

  • Page 34: Playing Arpeggios (Arpeggiator)

    For example, if you press the keys of a C major chord, the V-Synth arpeggiates the chord as C → E → G → C → E → G...

  • Page 35: Using Steps To Vary The Sound (Multi Step Modulator)

    (Multi Step Modulator) The Multi Step Modulator is a function that modulates the value of various parameters according to a sixteen-step sequence. On the V-Synth, the patterns of this sequence are managed as “tracks.” You can simultaneously use up to four tracks, with each track containing a different sequence.

  • Page 36: Holding The Notes You Play (Key Hold)

    The Key Hold function is turned “off” when you power Play the keyboard. up the V-Synth. The patch will sound according to the key you pressed. When you press the same key once again, the patch will stop sounding. * If the Key Hold function is turned on, and you forget which key you pressed, the patch will simply continue sounding.

  • Page 37: Other Performance Features

    Try Out the Various Performance Features Other Performance Features Other performance functions include the following. Select various patches, and try out these functions. Velocity/Aftertouch The force with which you play the keyboard, or the “velocity” with which you play, can affect the volume or timbre of a sound. Aftertouch—downward pressure you apply to a key after playing a note—can also affect the sound.

  • Page 38: Octave Shift

    Try Out the Various Performance Features Octave Shift Pressing [+OCT] or [-OCT] transposes the pitch of the keyboard in 1 octave units (-3– +3 octaves). fig.Q-20 For details, refer to “Transposing the Keyboard in Octave Units (Octave Shift) ”(p. 61). Hold Pedal If an optional pedal switch (DP series) is connected to the rear panel HOLD PEDAL jack, you can press the pedal switch to cause notes to sustain or “hold”...

  • Page 39: Creating A Patch

    Creating a Patch This section explains the procedure for creating a patch on the V-Synth. Broadly speaking, there are two ways to create a patch. Using a template to create a patch intuitively (the Sound Shaper function) You can easily create a patch just by choosing a group and template.
  • Page 40 • The V-Synth’s knobs shown in the diagram below correspond to the knobs in the screen. • Some buttons have an on/off function, while others select choices from a list.

  • Page 41: Initializing Patch Settings

    Creating a Patch Initializing Patch Settings This section explains the basic procedure for creating a patch on the V-Synth from scratch. First we will return the settings of the currently selected patch to a standard set of values. Make sure that the PATCH PLAY screen is displayed.

  • Page 42: Selecting A Structure Type

    Creating a Patch Selecting a Structure Type The sounds of the V-Synth are produced by six elements (sections). Here’s how to select the Structure Type, which determines how these elements are combined. Section name Function OSC1, OSC2 This section generates the sound on which a patch is based.

  • Page 43: Switching Each Section On/Off

    Creating a Patch Switching Each Section On/Off After deciding on the structure type to use, you can switch each section within that structure on or off as desired. Within the currently selected structure, turn the buttons of each section on (indicator lit) or off (indicator not lit), depending on whether or not you want to use that section.

  • Page 44: Setting Up The Oscillators (Osc1/2)

    Creating a Patch Setting Up the Oscillators (OSC1/2) The oscillator sections produce the original sound, either by playing back an internal PCM wave or a sampled wave, or by generating an analog modeling wave. Selecting a Wave In the lower part of the screen, touch <OSC1> (or <OSC2>). A screen like the following appears.
  • Page 45 Creating a Patch Modifying the Volume and Sound While playing the keyboard, turn the following knobs to adjust the character of the sound. fig.Q-30 Depending on the encoding type of the PCM wave, Formant may have no effect. For details, refer to “Selecting the Encoding Type ”(p.

  • Page 46: Mixing/Modulating Two Sounds (Mod)

    Creating a Patch Mixing/Modulating Two Sounds (Mod) The Modulator mixes and modulates the two audio signals. Selecting a Modulator Type In the lower part of the screen, touch <Mod>. A screen like the following appears. fig.Q-32_60 In the Modulator Type area, select the modulator type you wish to use. Modulator Type Description Add OSC1 and OSC2.

  • Page 47: Applying Cosm Modeling To Oscillators (Cosm1/2)

    Creating a Patch Applying COSM Modeling to Oscillators (COSM1/2) The COSM sections modify the sound in various ways, including filtering the sound. COSM differs from the Effects section in that while Effects are applied to the final mix of the sound, COSM is applied individually to each note. Selecting a COSM Type In the lower part of the screen, touch <COSM1>...

  • Page 48: Shaping A Sound's Volume Over Time (Tva)

    Creating a Patch Shaping a Sound’s Volume Over Time (TVA) You can adjust the way in which the patch’s volume changes over time, or modify the attack or decay of the sound. In the lower part of the screen, touch <TVA>. A screen like the following appears.

  • Page 49: Adding The V-Synth Effects

    Creating a Patch Adding the V-Synth Effects Since the V-Synth effects have such a profound impact on its sounds, turn them on to listen to the sound itself so you can better evaluate the changes you’re making. Actually, sometimes just changing effects settings can give you the sound you want.

  • Page 50: Saving Patches You've Created

    Creating a Patch Saving Patches You’ve Created When you edit the settings of a patch, the PATCH PLAY 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 51 Creating a Patch Touch <PATCH Name> in the pulldown menu. The PATCH Name window appears. fig.Q-38_60 Enter a name into the text box by touching the desired characters. For this example, let’s enter “My Patch1” as the currently selected patch’s name.
  • Page 52 When shipped from the • If you touch < Compare > you’ll be able to play the keyboard to audition the factory, the V-Synth already patch that is at the save destination you choose (the Compare function). contains a collection of •...

  • Page 53: Turning Off The Power

    Turning Off the Power Before you turn off the power, consider these two questions: • Have the volume controls for the V-Synth and all connected audio devices been turned to their lowest settings? • Have you saved your V-Synth sounds or other data you’ve created? (p. 51) Turn off the power for all connected audio devices.

  • Page 54: Reference

    Reference...

  • Page 55: 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 56: Memory

    Overview of the V-Synth Memory 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 Structure memory called the work area.

  • Page 57: Basic Operation Of The V-Synth

    Changing Operating Modes ([MODE]) The V-Synth has nine operating modes: Patch mode, Rhythm mode, Sample mode, System mode, Disk mode, USB mode, Calibration mode, Factory reset mode and Demo mode. To access the desired V- Synth feature, you must select the appropriate mode.

  • Page 58: Demo Mode

    In this mode, you can reset to default factory settings. as saving data on a disk or loading data from a disk. Demo Mode USB Mode (p. 138) fig.DEMO_50 This is a demo screen mode that introduces you to the V-Synth’s fig.USB_50 functionality. System Mode (p. 121) fig.SYSTEM_50 In this mode, you can connect the V-Synth to your computer and exchange patch or wave data.

  • Page 59: Playing In Patch Mode

    You will enter Patch mode, and the PATCH PLAY screen appears. Selecting a Patch fig.PATCH_50 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. 58). fig.02-02.e Patch number 2.

  • Page 60: Selecting Favorite Patches (Patch Palette)

    Melodic Sequence Melodic (i.e., pitched) sequences RHY SEQ Rhythmic Sequence Rhythmic (i.e., non- Selecting Patches by Category pitched) sequences The V-Synth provides a Patch Search function which allows you to ARPEG Arpeggio Arpeggio FX/AMBI FX/Noise/ Effect/Noise/ specify a type (category) of patch so that you can quickly find the...

  • Page 61: Selecting Patches From The List

    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 62: Transposing The Keyboard In Octave Units (Octave Shift)

    There is a single Octave Shift setting (Setup parameter) for the 1. Access the PATCH Edit Com General screen (p. 61). entire V-Synth. The changed setting will be remembered even if fig.02-07_50 you switch patches.

  • Page 63: Playing Arpeggios (Arpeggiator)

    Once you turn on the arpeggiator, the keys you press 1. Use a MIDI cable to connect the V-Synth’s MIDI IN connector will automatically be played as an arpeggio. to your external MIDI keyboard’s MIDI OUT connector.

  • Page 64: Making Arpeggiator Settings

    Playing in Patch Mode Making Arpeggiator Settings Creating an Original Arpeggio Pattern (Pattern Edit) 1. Access the PATCH PLAY screen (p. 58). You can create your own arpeggio pattern that specifies how an 2. At the bottom of the screen, touch <Com>. arpeggio will be sounded.
  • Page 65 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 0, 32, 64, 96, 127, Tie/Clr and your controller operations will be recorded “as is.”...
  • Page 66 <ALL CLEAR>. If you decide you don’t want to clear anything, touch <CANCEL>. 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.

  • Page 67: Using Steps To Vary The Sound (Multi Step Modulator)

    1. Access the PATCH PLAY screen (p. 58). 2. At the bottom of the screen, touch <Com>. The V-Synth’s knobs, shown below, correspond to knobs 1–16. 3. In the left side of the screen, touch <Step Mod>. If you touch <▼ MENU > and select Hand Draw, you’ll be able to draw the graph directly with your finger.

  • Page 68: Applying Various Effects To The Sound

    Time Trip pad and move your finger in the following way. Time Trip pad located at the left side of the V-Synth’s panel. If [TIME TRIP] is on The effect will be applied when you move your finger in a circle What is the Time Trip function? on the Time Trip pad.

  • Page 69: Applying An Effect By Passing Your Hand Over The D Beam (D Beam Controller)

    Playing in Patch Mode If [ASSIGNABLE] is on [TIME TRIP]: Apply the Time Trip effect. The effect will be applied when you move your finger up/ [TIME]: Apply the time control effect. down/left/right on the Time Trip pad. [PITCH]: Apply the pitch control effect. fig.02-13 [ASSIGNABLE]: Apply the effect that is specified by each patch.

  • Page 70: Applying An Effect By Turning A Knob (Assignable Controller)

    V-LINK. This means separately. Set the matrix control Source to “KNOB1” or “KNOB2,” that your performance on the V-Synth can control not only sound and specify the parameter to be controlled in Destination. For but also images, producing sound and video effects that are linked to details on this setting, refer to “Matrix Ctrl”...

  • Page 71: Enter V-Link Mode

    V-LINK Functions that the V-Synth Example Connections Can Control and MIDI Messages fig.02-18.e Edirol PR-80 You can assign the following functions to the V-Synth’s controllers to control a V-LINK compatible video device. Projector V-LINK function Transmitted MIDI message Playback Speed...

  • Page 72: Creating A Patch

    Creating a Patch 1. Access the PATCH PLAY screen, and select the 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 whose settings you wish to modify (p. 58).

  • Page 73: 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. 147). 1. Access the PATCH PLAY screen, and select the patch that you wish to initialize (p.

  • Page 74: Naming A Patch (Patch Name)

    Creating a Patch Naming a Patch (PATCH Name) Assigning the Category of a Patch Before you save the patch, here’s how to give it a new name. If you assign a category to your patches, you’ll be able to search for them by category in the PATCH List window.

  • Page 75: Saving Patches (Patch Write)

    Creating a Patch Saving Patches (PATCH Write) You can also assign a category by touching <Category> in the Changes you make to sound settings are temporary, and will be lost Patch Write window. if you turn off the power or select another sound. If you want to keep fig.06 the modified sound, you must save it in the internal (internal memory).

  • Page 76: Auditioning The Save-Destination Patch (Compare)

    Creating a Patch Registering a Favorite Patch (Patch Palette) • By touching <Compare> you can check the save-destination patch (Compare function). You can bring together your favorite and most frequently used • When you touch <List>, the PATCH List window will appear, patches in one place by registering them into the patch palette.

  • Page 77: Deleting Patches (Patch Delete)

    Creating a Patch Deleting Patches (PATCH Delete) Creating a patch intuitively (Sound Shaper) Delete unneeded patches from the internal memory. 1. Touch <▼ MENU> in the upper right of the screen. The Sound Shaper function lets you create a sound simply by choosing the appropriate group and template for the type of sound A pulldown menu appears.
  • Page 78 VALUE dial or use [INC/+][DEC/-]. • The Sound Shaper function lets you edit only the most important The V-Synth knobs shown below correspond to the knobs in the parameters of each effect using the on-screen knobs.

  • Page 79: Functions Of Patch Parameters

    Creating a Patch Functions of Patch Parameters Portamento This section explains the functions the different patch parameters have, as well as the composition of these parameters. 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, ★...
  • Page 80 Creating a Patch Legato (Legato Switch) Bend Range Down (Pitch Bend Range Down) Legato is valid when the Mono/Poly parameter is set to Specifies the degree of pitch change in semitones when the Pitch monophonic. This setting specifies whether the Legato function will Bend lever is all the way left.
  • Page 81 Value: -63– +63 transmitted can get quite large. 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 Destination 1, 2...

  • Page 82: Pattern Edit

    Creating a Patch Arpeggio OSC1/2-LFO-FR/FT: Formant/Fat LFO Depth (p. 88, p. 91) OSC1/2-LFO-LVL: Oscillator Level LFO Depth (p. 91) fig.03-11_50 CSM1/2-PRM1: (p. 161) CSM1/2-PRM2: (p. 161) CSM1/2-ENV1-ATK: COSM Envelope Attack Time (p. 94) CSM1/2-ENV1-DCY: COSM Envelope Decay Time (p. 94) CSM1/2-ENV1-REL: COSM Envelope Release Time (p.
  • Page 83 Use these knobs to input the sixteen steps. With a setting of “50%” the notes will be spaced evenly. As the value is increased, the note timing will have more of a “dotted” (shuffle) The following knobs of the V-Synth correspond to knobs 1–16. feel. Value: 0–100% fig.Shuffle Rate...
  • Page 84 Creating a Patch Key Sync (Step modulator key sync) Dir (Step modulator direction) This specifies whether the step sequence will be reset (i.e., will play This specifies the direction in which the step sequence will play. from the beginning) when a note-on occurs. Value: Value 1 2 3 •...
  • Page 85 G and B, C and E, F and G#, Bb and C#, and Value: -48– +48 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 Patch Fine Tune temperament in the three keys of G, C and F.

  • Page 86: Modifying Waveforms (Osc1/Osc2)

    *2 “LA-SAW” and “LA-SQR” simulate waveforms used in the LA INPUT jack can be used as an oscillator. This lets you play the (Linear Arithmetic) sound generator of the Roland D-50. These externally input signal from the keyboard. produce a more mild and fat sound than the conventional “SAW”...
  • Page 87 Creating a Patch Sub-Oscillator (ANALOG) Playback Mode (PCM Oscillator Playback Mode) The sub-oscillator adds a low pitch to create a thicker sound. You Specifies how the wave will be assigned to each key. can use the Detune parameter to add a detune effect. Value RETRIGGER: The sample will play back from the beginning each time you play a key.

  • Page 88: Pulse Width

    Creating a Patch Pitch Random (Oscillator Random Pitch Depth) This specifies the width of random pitch deviation that will occur fig.03-14_50 each time a key is pressed. If you do not want the pitch to change randomly, set this to “0.” These values are in units of cents (1/100th of a semitone).
  • Page 89 Creating a Patch Fat (ANALOG) Detune KF (Detune Key Follow) Specifies the amount by which the detune value will be affected by fig.03-16_50 the key you play. Value: -200- +200 Detune LFO Depth Specifies how deeply the LFO will affect detune. Value: -63- +63 In this screen you can make settings for the envelope that affects the detune.
  • Page 90 Creating a Patch Harmonics LFO Depth (ANALOG, when SUPER-SAW is selected) Specifies how deeply the LFO will affect Harmonics. Value: -63- +63 fig.08_50 In this screen you can make settings for the envelope that affects the Harmonics. For details on envelope settings, refer to “Making Envelope Settings”...
  • Page 91 Creating a Patch X-MOD Time (PCM) (ANALOG, when X-MOD-OSC is selected) fig.03-17_50 fig.08_50 Time ★◆ X-MOD (Cross Modulation Depth) This sets the range of change in playback speed (time). Value: -63– +63 Cross Modulation is when OSC2 modify the frequency of OSC1. [X- MOD] adjusts the depth of this Cross Modulation.
  • Page 92 Creating a Patch Formant (PCM) OSC TVA fig.03-18_50 fig.03-19_50 Level ★◆ The parameters of this screen are ignored when the Vari switch Specifies the volume of the oscillator. (p. 86) is off and when the Encode Type (p. 118) is “BACKING” Value: 0–127 or “ENSEMBLE.”...

  • Page 93: Mixing/Modulating Two Sounds (Mod)

    Creating a Patch Mixing/Modulating Two Sounds Applying Various Effects to Each (MOD) Note You Play (COSM1/COSM2) Modulator Switch ◆ COSM Switch ◆ Switches the modulator on/off. Switches the COSM on/off. Value: OFF, ON Value: OFF, ON Mod Type COSM Type fig.03-21_50 fig.09_50 Modulator Type...

  • Page 94: Adjusting The Volume And Pan (Tva)

    Creating a Patch Adjusting the Volume and Pan Pan KF (Pan Key Follow) (TVA) Use this parameter if you want key position to affect panning. Positive (+) settings will cause notes higher than C4 key (center C) to TVA Switch ◆ be panned increasingly further toward the right, and negative (-) Switches the TVA on/off.

  • Page 95: Making Envelope Settings

    Creating a Patch ADSR Attack (Envelope Attack Time) ★◆ Making Envelope Settings Specifies the attack time of the envelope (the time from when you This section explains the envelope setting screens. press a key until the envelope level reaches the maximum value). fig.03-26_50 Value: 0–127, Note ADSR Decay (Envelope Decay Time) ★◆...

  • Page 96: Making Lfo Settings

    Creating a Patch Rate (LFO Rate) ★◆ Making LFO Settings Adjusts the modulation rate, or speed, of the LFO. This section explains the LFO setting screens. Value: 0–127, Note fig.03-27_50 LFO Rate sets the beat length for the synchronized tempo when the tempo that specifies the LFO cycle (Patch Tempo) is synchronized with the tempo set in a external sequencer.

  • Page 97: Setting Effects For A Patch (Effect)

    Creating a Patch Setting Effects for a Patch (Effect) How to Apply the LFO ● Apply the LFO gradually after the key is pressed Routing fig.LFO-1.e Delay high (more) Time Fade Time fig.03-28_50 Pitch Cutoff Frequency Depth Level Note on low (less) Fade Mode: ON <<...
  • Page 98 Creating a Patch MFX Master Level Adjusts the volume of the sound that has passed through the MFX. fig.03-29_50 Value: 0–127 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...

  • Page 99: Zone Settings (Zone)

    Zone Settings (Zone) Chorus Switch Switches the Chorus on/off. V-Synth lets you divide the keyboard into as many as sixteen zones, Value: OFF, ON with each zone playing a different sound. The zone is shown in the upper right of the PATCH PLAY screen fig.03-31_50...
  • Page 100 Creating a Patch 2. Touch <▼ MENU> in the upper right of the screen. 9. After you have specified the sound that you want to play in zone 01, next specify the sound for zone 02. A pulldown menu appears. fig.01-05_50 The zone is shown in the upper right of the PATCH PLAY screen or EDIT screen.

  • Page 101: Creating A Drum Patch (Drum)

    Creating a Patch Creating a Drum Patch (Drum) 5. To change the split point of each zone, refer to the procedure described in the preceding section, “Splitting the By dividing the keyboard into sixteen zones and assigning a Keyboard to Play Different Sounds (Split).” percussion instrument sound to each zone, you can create a patch 6.

  • Page 102: Creating A Rhythm Kit (Rhythm Mode)

    Since the sound 2. In the V-SYNTH MODE MENU window that appears, touch < assigned to each key is a fully editable V-Synth sound, you can have RHYTHM >. a variety of sounds ranging from analog-style kicks to VariPhrase drum loops all standing by for immediate play.

  • Page 103: Creating A Rhythm Kit

    Creating a Rhythm Kit (Rhythm Mode) Creating a Rhythm Kit 3. Touch < OK >. The note is determined, and you’re returned to the RHYTHM PLAY screen. In Rhythm mode, the level, panpot, and MFX (multi-effect)/chorus/ reverb send levels for each note can all be edited conveniently in the In Rhythm mode, the current note is shown in the upper right of Setup screen.

  • Page 104: Creating And Editing Samples (Sample Mode)

    USB (XT) Sampling from a PC USB Audio. With the factory settings, eight sampling templates are preset. * This template is the same as that on the “V-Synth XT,” which has USB Audio capability. Since the V-Synth For details on modifying the settings, refer to “Sampling does not have USB Audio capability, the analog input Procedure”...

  • Page 105: Sampling Procedure

    1 (REC) 1 (REC) * This template is the same as that on the “V-Synth XT,” which has USB Audio capability. Since the V-Synth does not have USB Audio capability, the analog input will automatically be selected as the source if you choose “USB (XT).”...
  • Page 106 Creating and Editing Samples (Sample Mode) 3. Select the location (sample number) that you wish to 8. To set the value of a parameter, move the cursor to the value sample. box of the parameter that you want to edit. Then adjust the value by turning the VALUE dial or by using [INC/+] [DEC/-].
  • Page 107 Creating and Editing Samples (Sample Mode) Naming a Sample (SAMPLE Name) Copying a Sample (SAMPLE Copy) 1. Access the SAMPLE Top screen (p. 104). Assign a new name to the sample. You can assign a name consisting of up to twelve characters. 2.
  • Page 108 Creating and Editing Samples (Sample Mode) Moving a Sample (SAMPLE Move) Exchanging a Sample (SAMPLE Exchange) 1. Access the SAMPLE Top screen (p. 104). 1. Access the SAMPLE Top screen (p. 104). 2. Touch <▼ MENU> in the upper right of the screen. A pulldown menu appears.

  • Page 109: Resampling

    Deleting a Sample (SAMPLE Delete) 1. Access the SAMPLE Top screen (p. 104). The V-Synth is able to resample samples from its internal memory. This is called resampling. In actuality, the sounds that are output 2. Touch <▼ MENU> in the upper right of the screen.

  • Page 110: Pre-Effect Settings

    Creating and Editing Samples (Sample Mode) Pre-Effect Settings Input Source Select the input from which the sound will be sampled. SAMPLING Pre-Effect Value ANALOG: INPUT jacks fig.04-07_50 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.

  • Page 111: Metronome Settings

    Creating and Editing Samples (Sample Mode) ■ Limiter Metronome Settings Thres (Threshold Level) Metronome Specifies the level (threshold level) at which the limiter will begin to fig.04-08_50 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 112: Naming A Template (Template Name)

    Creating and Editing Samples (Sample Mode) Naming a Template (Template Name) Checking Sample Information A template can be given a name of up to eight characters. 1. Access the SAMPLE Top screen (p. 104). 1. Access the SAMPLE Top screen, and select the sample that 2.

  • Page 113: Importing A Sample

    Common Procedure for Editing Displaying the Sample Edit Screen 1. Press [MODE]. For details on operations in this screen, refer to “Importing The V-SYNTH MODE MENU window appears. Individual Patch or Wave Files (Import Files)” (p. 133). fig.MODE_50 2. Touch <SAMPLE>.
  • Page 114 In edit screens, the Adjust function moves the Edit Start, Edit End, or “Start,” “End,” and “Current” Settings Current locations to the nearest of the following locations 1–7. The V-Synth uses seven terms to indicate locations within a sample. 1 Sample Start location Sample Start: Beginning of the sample...

  • Page 115: Editing The Specified Region Of The Sample

    Creating and Editing Samples (Sample Mode) Editing the Specified Region of the (Zero Cross Search) Sample This function searches for locations where the sample has a value of You can specify a region of the sample, and edit the region by zero.
  • Page 116 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 117: Loop Region Settings

    Wave 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. 86)

  • Page 118: Original Tempo Setting

    If you wish to play back a loop while simultaneously 1. Press [MODE]. synchronizing another sample, you must specify the correct The V-SYNTH MODE MENU window appears. original tempo. If you fail to do this, the sounds will drift out of fig.MODE_50 synchronization.

  • Page 119: Selecting The Encoding Type

    Creating and Editing Samples (Sample Mode) Selecting the Encoding Type 4. Touch <Encode>. The SAMPLE Encode screen appears. You can choose from the following four types of encoding. Touch the fig.04-20_50 appropriate button to select a type. fig.04-21 LITE This is the simplest encoding type. When you sample on the V- Synth, this type is selected by default.

  • Page 120: Automatically Detecting Events

    Creating and Editing Samples (Sample Mode) Automatically Detecting Events Deleting and Adding Events By specifying the Depth, you can automatically detect and “▼”mark Setting the Encode Depth and automatically detecting events does locations where there is a strong attack (i.e., locations where the not guarantee that the events will be added at the locations that you volume changes abruptly).

  • Page 121: 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 122: Settings Common To All Modes (System Mode)

    Settings Common to All Modes (System Mode) 6. When editing a parameter that requires you to specify a Settings that affect the entire operating environment of the V-Synth, such as tuning and MIDI message reception, are referred to as value, move the cursor to the value box of that parameter.

  • Page 123: 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 124 Settings Common to All Modes (System Mode) MID 2 Gain Adjusts the gain of the middle range 1. Positive (+) settings will fig.05-02_50 emphasize the middle range 2. Value: -15–+15 dB High Freq (High Frequency) Selects the frequency of the high range. Value: 2000, 4000, 5000, 6300, 8000, 10000, 12500, 16000, 20000 Hz HIGH Gain Adjusts the gain of the high frequency.
  • Page 125 Local Switch messages with a sequencer or other program. V-Synth You must switch the USB Mode before you connect the V-Synth USB-MIDI Thru Sw=ON 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 126: Controller Settings (Controller)

    Value: 1–16 Specifies whether Program Change messages will be transmitted (ON) or not (OFF). Performance data directed to the V-Synth itself will be Value: OFF, ON transmitted on the channel you specified for part 1. Tx Bank (Transmit Bank Select Switch)
  • Page 127 (ON). Normally Y Assign-TT (Y Assign-Time Trip) 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 128 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 129: V-Link Settings (V-Link)

    Settings Common to All Modes (System Mode) V-LINK Settings (V-LINK) TT Pad/Knob fig.05-11_50 fig.05-10_50 TT Pad Local Sw (V-LINK Time Trip Pad Local Switch) MIDI Channel (V-LINK MIDI Channel) Specify whether the Time Trip pad and the internal sound generator Specifies the channel used to transmit MIDI messages for V-LINK will be disconnected in V-LINK mode (OFF) or not disconnected control.
  • Page 130 Settings Common to All Modes (System Mode) Beam VFX3: Visual effects 3 VFX4: Visual effects 4 fig.05-12_50 OUTPUT-FADE: Output fade T-BAR: T bar Assign-TT (V-LINK Assign-Time Trip) Specify the V-LINK function that will be controlled when you operate the Time Trip pad in Time Trip mode. Value OFF: The time trip pad will not be used.
  • Page 131 Settings Common to All Modes (System Mode) Lever Bend Assign (V-LINK Pitch Bend Assign) Specify the V-LINK function that will be controlled when you fig.05-13_50 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)

  • Page 132: Disk-Related Functions (Disk Mode)

    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. 132 Save Project This function saves project data to disk.

  • Page 133: Sorting The Files Displayed In The File List

    <Sort By Size ▼: Sort in descending order of file size. 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. If you want to cancel the procedure at this point, touch <CANCEL>.

  • Page 134: Delete Unneeded Files (Clean Project)

    This lets you clean up the contents of the disk by deleting files that Be aware that if patches created on a V-Synth with a system cannot be used by the V-Synth or waves that are not used by version older than 2.0 (i.e., versions 1.00 through 1.51 of the patches.

  • Page 135: Initializing A Disk (Format)

    Disk-Related Functions (Disk Mode) Initializing a Disk (Format) 2. Touch <Import Files>. The Disk Import Files screen appears. fig.06-09_50 You can initialize (format) a disk, erasing all data from it. 1. Access the DISK UTILITY MENU screen (p. 131). 2. Touch <Format>. The Disk Format screen appears.

  • Page 136: Functions Related To Files And Folders (Tools)

    Disk-Related Functions (Disk Mode) Functions Related to Files and 7. If you want to copy to internal memory, touch <Int>. If you want to copy to a memory card, touch <Card>. Folders (Tools) 8. In the file list, select the copy-destination file or folder. You can manage files or folders by copying or moving them.

  • Page 137: Deleting Files/Folders (Delete)

    Disk-Related Functions (Disk Mode) Deleting Files/Folders (Delete) 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 1. Access the DISK UTILITY MENU screen (p. 131). button to execute.

  • Page 138: Renaming A Files/Folders (Rename)

    Disk-Related Functions (Disk Mode) Renaming a Files/Folders (Rename) 7. Touch the on-screen alphabetic or numeric keys to enter the new name in the text box. 1. Access the DISK UTILITY MENU screen (p. 131). The on-screen keys have the following functions. 2.

  • Page 139: 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 memory card to and from the hard disk or 3.

  • Page 140: Windows Users

    Installation is completely automatic. fig.07-01_50 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.07-02.e 8.
  • Page 141 SYNTH” if you selected “Internal.” If you selected “PC Card,” it will show the volume label that you assigned when formatting the card. If you formatted the card on the V-Synth, the volume label will be “PC CARD.” 11.Once the V-Synth is connected, you can transfer files by Touch <EXECUTE>...

  • Page 142: Macintosh Users

    <PC Card>: Mounts the memory card as an external drive on your computer. 1. Make sure that the power of the V-Synth is turned off. 2. Start up your computer. You cannot select “PC Card” unless a memory card is inserted in 3.

  • Page 143: Examples Of Using Storage Mode

    Backing Up Patch and Wave Data “Access” (the access indicator) is not blinking. (Project) from the V-Synth 2. Select the V-Synth drive icon on the desktop, and drag it into the “trash.” When using USB in Storage mode, the data within the V-Synth may...

  • Page 144: Internal Memory

    Factory Reset command (p. 147). described in “Connecting the V-Synth to your computer” (p. This will erase all the data that has been saved on the V-Synth. As a 139, p. 141). precaution against such occurrences, we recommend that you 2.

  • Page 145: Exchanging Midi Messages With Your Computer (Midi Mode)

    Readme file on the CD-ROM before installation. Driver Installation and Settings Windows XP/2000 In order to use the V-Synth as a USB MIDI device from your → \Driver\V-Synth\Usb_xp2k\README_E.HTM computer, you must first install the USB MIDI driver. Windows Me →...

  • Page 146: Using V-Synth Librarian

    * Once you’ve saved a completed project on your PC’s hard disk, send it Operating System: via USB to the V-Synth’s internal memory or PC card so that it can be Mac OS (Classic) 9.0.4 or later used. For details on using this software, click “Help”-”Using V-Synth Mac OS (X) 10.2 or later...

  • Page 147: 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 148: Reset To Default Factory Settings (Factory Reset)

    Viewing Various Information (Factory Reset) (Info) 1. In the upper right of the screen, touch <▼ MENU>. This restores all data in the V-Synth to the factory-set condition (Factory Reset). A pulldown menu appears. fig.01-05_50 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...

  • Page 149: Adjusting The Sensitivity Of The Touch Screen/Time Trip Pad/D Beam Controller (Calibration Mode)

    The T SCREEN CALIBRATION screen appears. Screen fig.08-06_50 1. Press [MODE]. The V-SYNTH MODE MENU window appears. fig.MODE_50 2. Touch the center of “+” symbol indicated by the square symbol in the screen, in the following order: left → top →...

  • Page 150: Adjusting The Sensitivity Of The Time Trip Pad

    Other Functions Adjusting the Sensitivity of the Time Adjusting the Sensitivity of the D Trip Pad Beam Controller Perform this adjustment if the Time Trip pad no longer responds as Perform this adjustment if the D Beam controller is functioning you expect.
  • Page 151 Other Functions...

  • Page 152: Appendices

    Appendices...

  • Page 153: Parameter List

    Parameter List Patch Parameters Common Group (p. 78) Parameter Value General Structure Type TYPE1, TYPE2, TYPE3 Portamento Portamento Switch OFF, ON Mode Portamento Mode NORMAL, LEGATO Type Portamento Type RATE, TIME Time Portamento Time 0–127 Time Velo Sens Portamento Time Velocity Sensitivity -63–...
  • Page 154 Parameter List OSC1/OSC2 Group (p. 85) Parameter Value Oscillator Switch OFF, ON OSC Type Oscillator Type ANALOG, PCM, EXT IN Wave Gain -12– +12 dB Waveform Analog Oscillator Waveform SAW, SQUARE, TRIANGLE, SINE, RAMP, JUNO, HQ-SAW, HQ-SQUARE, NOISE, LA- SAW, LA-SQUARE, SUPER-SAW, FEEDBACK- OSC, X-MOD-OSC Impact Analog Oscillator Impact...
  • Page 155 Parameter List Parameter Value Fat (ANALOG) 0–127 Fat KF Fat Key Follow -200– +200 Fat LFO Depth -63– +63 Velocity Curve Envelope Velocity Curve 0–7 Velocity Sens Envelope Velocity Sensitivity -63– +63 Velocity A-Sens Envelope Attack Time Velocity Sensitivity -63– +63 Velocity D-Sens Envelope Decay Time Velocity Sensitivity -63–...
  • Page 156 Parameter List Parameter Value Waveform LFO Waveform SINE, TRI, SAW, SQR, RND, TRP, S&H, CHAOS Offset LFO Offset -100, -50, 0, +50, +100 Key Sync LFO Key Sync Switch OFF, ON Delay Time LFO Delay Time 0–127 Rate LFO Rate 0–127, note (*) Fade Mode LFO Fade Mode...
  • Page 157 Parameter List TVA Group (p. 93) Parameter Value TVA Switch OFF, ON Level 0–127 Level KF Level Key Follow -200– +200 Lvl LFO Dp Level LFO Depth -63– +63 L64–0–63R Pan KF Pan Key Follow -200– +200 Pan LFO Dp Pan LFO Depth -63–...
  • Page 158 Parameter List Effect Group (p. 96) Parameter Value Routing MFX Send MFX Send Level 0–127 CHO Send Chorus Send Level 0–127 REV Send Reverb Send Level 0–127 Output Assign MULTI, MAIN, DIR MFX On/Off Switch OFF, ON MFX Type 00 (Thru)–41 MFX Master Level 0–127 MFX To CHO...

  • Page 159: System Parameters

    Parameter List System Parameters Common Group (p. 122) Parameter Value Master Master Tune 415.3–466.2 Hz Master Key Shift -24– +24 Master Level 0–127 Patch Remain Patch Remain Switch OFF, ON Powerup Mode Last Set, Default External Input Type STEREO L R, MONO MIX, MONO L, MONO R Mix/Parallel MIX, PARALLEL Output Gain...
  • Page 160 Parameter List Controller Group (p. 125) Parameter Value Patch Tx Ch Patch Transmit Channel 1–16, RX CH, OFF Tx PC Transmit Program Change Switch OFF, ON Tx Bank Transmit Bank Select Switch OFF, ON Tx Active Sens Transmit Active Sensing Switch OFF, ON KBD Sens Keyboard Sensitivity...
  • Page 161 Parameter List V-LINK Group (p. 128) Parameter Value Channel V-LINK MIDI Channel 1–16 Audio V-LINK Audio Switch OFF, ON Output V-LINK Keyboard Output Fade Switch OFF, ON Local Sw V-LINK Patch Palette Local Switch OFF, ON TT Pad/Knob Local Sw V-LINK Time Trip Pad Local Switch OFF, ON X Assign-XY...

  • Page 162: Cosm List

    COSM List COSM Parameters Overdrive / Distortion Overdrive produces a natural-sounding distortion COSM provides 16 types. This section explains the features of each similar to that produced by a vacuum tube amplifier. COSM, and the functions of the parameters. Distortion produces a more intense distortion than the overdrive effect.

  • Page 163: Amp Simulator

    COSM List Amp Simulator 1st order SideBandFilter Simulates an amp. By boosting the fundamental and overtones, you can apply a pitch to unpitched input sounds such as a noise or a drum phrase. Parameter Value Description COSM Type Parameter Value Description Amp Type 1–3...

  • Page 164: 2Nd Order Sidebandfilter

    COSM List 2nd order SideBandFilter Comb Filter By boosting the fundamental and overtones, you can A comb filter can be used to boost or cut the apply a pitch to unpitched input sounds such as noise fundamental or overtones. or a drum phrase. This lets you create a stronger effect than the first-order sideband filter.

  • Page 165: Tvf

    COSM List Dynamic TVF Cuts off a specific frequency band to change a sounds Cuts off a specific frequency band to change a sounds brightness, thickness, and other qualities. brightness, thickness, and other qualities. A wah effect can be applied by using the volume of the input sound to vary the center frequency.

  • Page 166: Frequency Shifter

    Frequency Shifter TB Filter By shifting the frequency relationship of the This filter simulates the circuitry of the Roland TB-303. fundamental and overtones, a human voice can be If Reso Follow is set to a value other than “0,” the given a “groaning”...

  • Page 167: Effects List

    Effects List MFX Parameters Explanations for each MFX Type are given on the following pages. MFX (Multi-Effects) provides 41 types of effect. This section explains the features of each MFX, and the functions of the parameters. 01: Parametric EQ Para EQ (p.

  • Page 168: 01: Parametric Eq (Parametric Equalizer)

    Effects List 01: Parametric EQ 03: Resonant Filter (Parametric Equalizer) It allows for cyclical control of the cutoff frequency using an LFO. It allows you to make drastic changes in the frequency response of the This is a 4 band (low range, midrange x 2, high range) stereo input signal by the cutoff frequency and feedback, making the sound parametric equalizer.

  • Page 169: 04: Isolator And Filter

    Effects List 04: Isolator and Filter Parameter Value Description Filter Slope -12, -24 dB/O Filter’s attenuation slope A 3-band isolator, filter, and low booster are connected in stereo in -24 dB per octave: steep series. -12 dB per octave: gentle Isolator is an equalizer which cuts the volume greatly, allowing you Filter Cutoff 0–127...

  • Page 170: 06: Amp Simulator (Guitar Amp Simulator)

    FUZZ BUILT IN 1 open back enclosure 12 x 2 dynamic JC-120: The sound of a Roland JC-120. BUILT IN 2 open back enclosure 12 x 2 condenser CLEAN TWIN: The sound of a standard built-in BUILT IN 3...

  • Page 171: 07: Auto Wah

    Effects List 07: Auto Wah 08: Humanizer Wah is an effect that modifies the frequency characteristics of a filter This adds a vowel character to the sound, making it similar to a over time, producing a unique tone. The wah effect can change in human voice.

  • Page 172: 09: Dynamic Processor (Stereo Dynamic Processor)

    10: Tape Echo Simulator (Stereo Dynamic Processor) This virtual tape echo gives you real tape delay sound. This simulates the tape echo part of Roland’s RE-201 Space Echo. A comp/limiter, enhancer, 3-band equalizer, and noise suppressor fig.MFX-10 are connected in series.

  • Page 173: 11: Stereo Delay

    Effects List 11: Stereo Delay Parameter Value Description Feedback -98– +98% Adjusts the proportion of the de- This is a stereo delay. Depending on the length of the delay you set, lay sound that is fed back into you can get long echoes, thick sounds, or spatial sounds. the effect.

  • Page 174: 12: Multi Tap Delay

    Effects List 12: Multi Tap Delay 13: Reverse Delay The effect has five delays. Each of the Delay Time parameters can be Adds the reverse of the input sound as the delay sound. specified as a note length of the selected tempo. You can also set the fig.MFX-13 panning and level of each delay sound.

  • Page 175: 14: Vocal Echo

    Effects List 14: Vocal Echo Parameter Value Description This effect simulates a karaoke echo. Phaser Manual 0–127 Specifies the center frequency at fig.MFX-14 which the sound is modulated. Phaser Rate 0.05–10.0 Hz, Specifies the frequency of mod- 2-Band note ulation. ECHO Phaser Depth 0–127...

  • Page 176: 16: Analog Delay->Chorus

    Effects List 16: Analog Delay->Chorus 17: Digital Chorus This effect reproduces the sound of the BOSS CE-1 Chorus This is a stereo chorus or flanger. Equalizers are provided before Ensemble. To reproduce the sound of the unit at the time, a (Pre) and after (Post) the chorus (or flanger).

  • Page 177: 18: Space Chorus

    20: Analog Flanger Chorus Level #1 0–127 Volume level of the chorus sound This effect reproduces the sound of Roland’s SBF-325 analog flanger. Ps Low Freq 50–4000 Hz Frequency of the low range Ps Low Gain -15– +15 dB...

  • Page 178: 21: Boss Flanger

    Effects List 21: BOSS Flanger 22: Step Flanger This effect features a pair of the same flanger circuits used in the This is a flanger in which the flanger pitch changes in steps. The BOSS compact flangers, connected in parallel for stereo input. This speed at which the pitch changes can also be specified in terms of a adds a particular metallic-sounding modulation to the source sound.

  • Page 179: 23: Analog Phaser

    Effects List 23: Analog Phaser 24: Digital Phaser This effect features two analog-type phasers arranged in parallel, Phaser is an effect that adds a phase-shifted sound to the original making it stereo compatible. The sound as it cyclically drifts in and sound to create time-varying change, modulating the sound.

  • Page 180: 25: Rotary

    Effects List 25: Rotary 26: Tremolo/Auto Pan The Rotary effect simulates the sound of the rotary speakers often This is a stereo tremolo or auto-pan effect. Tremolo cyclically used with the electric organs of the past. Since the movement of the modulates the volume to add tremolo effect to the sound.

  • Page 181: 27: Stereo Pitch Shifter

    Effects List 27: Stereo Pitch Shifter 28: OD/DS->Cho/Flg (Overdrive/ Distortion->Chorus/Flanger) 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 This effect connects either Overdrive or Distortion and either Chorus octave up or down.

  • Page 182: 29: Od/Ds->Delay (Overdrive/Distortion->Delay)

    Effects List 29: OD/DS->Delay 30: Cho/Flg->Delay (Overdrive/Distortion->Delay) (Chorus/Flanger->Delay) This effect connects either Overdrive or Distortion and Delay in series. This effect connects either Chorus or Flanger and Delay in series. fig.MFX-29 fig.MFX-30 Overdrive/ 2-Band Delay Chorus/ 2-Band Delay Distortion Flanger Parameter Value Description...

  • Page 183: 31: Enh->Cho/Flg (Enhancer->Chorus/Flanger)

    Effects List 31: Enh->Cho/Flg 32: Enh->Delay (Enhancer->Delay) (Enhancer->Chorus/Flanger) This effect connects an Enhancer and a Delay in series. fig.MFX-32 This effect connects Enhancer and either Chorus or Flanger in series. fig.MFX-31 2-Band Enhancer Delay Chorus/ 2-Band Enhancer Flanger Parameter Value Description Enhan Sens #1 0–127...

  • Page 184: 33: Vocal Multi

    Effects List 33: Vocal Multi Parameter Value Description Low Damp Freq 50–4000 Hz Adjusts the frequency below A limiter/de-esser, enhancer, 3-band equalizer, and delay are which sound fed back to the ef- connected in series. fect will be cut. The Low Damp function damps A limiter holds down high signal levels to prevent distortion.

  • Page 185: 35: Bass Multi

    Effects List Parameter Value Description Parameter Value Description Mod Mode CHORUS, Selects whether to use chorus or Comp Gain -60– +12 dB Adjusts the output gain. (Chorus / FLANGER flanger. Distortion Sw OFF, ON Selects whether to use overdrive Flanger) or distortion.

  • Page 186: 36: Ep Multi

    Effects List 36: EP Multi Parameter Value Description Mod Level 0–127 Volume of the chorus or flanger Enhancer, Phaser, Chorus or Flanger, and Tremolo or Auto-pan are sound. connected in series. This effect is used for electric piano. Trem/Pan Sw OFF, ON Turns the tremolo/auto pan ef- fig.MFX-36...

  • Page 187: 38: Phonograph

    Effects List 38: Phonograph Parameter Value Description PS Grade 1–5 Sets the grade of the effect This effect reproduces the sound of an analog record played on a sound. record player. This includes the various noises with the characteristic The higher the value is set, the more natural-sounding can be of records and the uneven rotation of older turntables.

  • Page 188: 39: Radio Tuning

    Effects List 39: Radio Tuning Parameter Value Description Filter Type THRU, LPF, Type of filter This effect reproduces the sound of an AM radio playing. BPF, HPF, THRU: no filter is used fig.MFX-39 NOTCH LPF: Passes frequencies below the Cutoff. BPF: Passes frequencies near the Cutoff.

  • Page 189: Chorus Parameters

    Effects List Chorus Parameters Chorus Parameters The functions of Chorus parameters are explained. Parameter Value Description Pre Low Freq 500–15000 Hz, Frequency of the low range Chorus Type THRU (THRU: no filter is used) Pre Hi Freq THRU, 50–800 Hz Frequency of the high range (THRU: no filter is 01: Chorus 1 used)

  • Page 190: 01: Room 1

    Effects List 01: Room 1 02: Room 2 Reverb which simulates the reverberation within a room. It is This simulates the reverberation of a room. It is suitable for standard room reverb. simulating a fairly small room, and produces a clear reverberation. Parameter Value Description...

  • Page 191: 03: Room 3

    Effects List 03: Room 3 04: Hall 1 Reverb which simulates the reverberation within a room. This is This simulates the reverberation of a concert hall. It is a conventional suitable for simulating a fairly large room, and produces hall reverb. You can also apply a chorus effect to the reverberation to reverberation with a strong mid and low range.

  • Page 192: 05: Hall 2

    Effects List 05: Hall 2 06: Hall 3 Simulates the reverberation in a concert hall. This is suitable for Simulates the reverberation in a concert hall. This is suitable for simulating a smaller room, and produces a clear reverberation. simulating a fairly large room, and produces reverberation with a strong mid and low range.

  • Page 193: 07: Garage

    Effects List 07: Garage 08: PLATE This simulates the reverberation of a garage. It produces the Simulates plate reverberation (a reverb unit that uses the vibration of reverberation of a room surrounded by hard-surfaced walls with a metallic plate). many reflections. Parameter Value Description...

  • Page 194: 09: Non-Linear

    Effects List 09: Non-Linear 10: Delay This uses digital processing to create an artificial reverberation that This is a stereo delay. Depending on the length of the delay you set, is quite different than naturally occurring reverberation. you can get long echoes, thick sounds, or spatial sounds. Parameter Value Description...

  • Page 195: Troubleshooting

    * If a message appears during operation, consult the following section “Message List” (p. 198). Problems Related to the V-Synth Problem Cause Action Is the AC cord connected correctly to the V-Synth and Check the AC cord connections. Power does not turn on to an AC outlet? No Sound/Volume is low...

  • Page 196: Problems Related To The Usb Driver (Windows)

    V- that the computer cannot be powered down if you exit you turn off the power of the V-Synth before you exit Synth powered up, the com- Windows when the V-Synth is still powered up (with- Windows.
  • Page 197 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 198: 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 199: 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 200: Warning Screens

    Disconnection Will Be Done Before Ejecting. Are You Sure? EDITED DATA EXISTS The V-Synth contains an unsaved patch or sample. If you need the patch or sample, save it now. Touch If You Need This Data, Save Immedi- <ACCEPT> to erase the message. ately.

  • Page 201: Message Boxes

    MIDI Offline! The MIDI IN connection has been broken. 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. Please Wait a Minute. Please wait a short time.

  • Page 202: About Midi

    Example: This connector receives MIDI messages that are transmitted from Set the V-Synth to send Channel 1 and Channel 2, then set sound external MIDI devices. The V-Synth can receive these messages to module A to receive only Channel 1 and sound module B only play notes or select sounds, etc.

  • Page 203: Midi Implementation Chart

    MIDI Implementation Chart Synthesizer Keyboard Date: Mar. 1, 2005 MIDI Implementation Chart Model V-Synth Version 2.0 Version: 1.00 Transmitted Recognized Function... Remarks Basic Default 1–16 1–16 Channel Changed 1–16 1–16 Memorized Default Mode 3 Mode 3 Mode Messages Mono, Poly...

  • Page 204: Specifications

    Specifications ● Arpeggiator V-Synth Version 2.0: Synthesizer Keyboard Patterns: User programmable ● Keyboard (support use of control change messages) 61 keys (with velocity and channel aftertouch) Motifs: 8 types ● Sound Generator Configuration Tempo: 20 to 250 BPM Oscillator (envelope x 4 + LFO x 1) x 2 ●...

  • Page 205: Index

    Index Symbols ..............................[+OCT] [C1] ..............................[-OCT] [C2] ............CALIBRATION MENU Numerics ............Calibration mode ................[1]–[8] ................................4 Band EQ ............... CHO Master Level ............4-Band equalizer switch ................CHO Send ............... CHO To REV ................CHO Type ..................
  • Page 206 Index ................. Event ................................................Delete ................D Beam ................. [EXIT] ..........D Beam 1–4 Assign L, R ........................External Input Type D Beam CALIBRATION ..............D Beam controller ..............D Beam Sens L, R ..............Factory Reset ............
  • Page 207 Index ................[LFO DP3] ............................. LFO fade mode Just temperament ..............LFO fade time ............LFO key sync switch ................................LFO offset ............................... KBD Output [LFO RATE] ................................ KBD Sens LFO rate ..............................KBD Velo LFO settings ..............
  • Page 208 Index ..............................MIDI mode Panic Key ..........................MIDI/USB Part 1–16 receive channel ............................Part 1–16 receive switch ............................Mix/Parallel Part 1–16 Rx Ch ................................[MOD] Part MIDI ............................... Part1–16 Rx Sw ............... Patch Mod Assign ..............
  • Page 209 Index ..............Portamento mode ..............Portamento switch ................................. Portamento time ................Sample ........Portamento time velocity sensitivity ................Edit ..............Portamento type ................. Import ..............POWER switch Sample edit ............................... Powerup Mode Clear ................................ Pre gain Copy .................
  • Page 210 Index ........................... T SCREEN CALIBRATION Undo ..............................Template Name ............................[TEMPO] USB connector ..............................Tempo USB MIDI driver ..............................Tempo Sync USB Mode ............................Temporary area USB mode ................................Thres USB Setup ............................
  • Page 211 Index ..............Zero cross search ................ZeroX ................Zone ................Zoom ................Zoom bar...
  • Page 212 For EU Countries This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC. For the USA 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 213 Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. PHILIPPINES COSTA RICA TRINIDAD NORWAY JORDAN AFRICA G.A. Yupangco & Co. Inc. JUAN Bansbach Instrumentos AMR Ltd Roland Scandinavia Avd.

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