V-Synth Book 1 - Roland
The
B e y o n d
R e a l i t y
Book
N e x t- G e n e r a t i o n S y n t h e s i s f o r U n l i m i t e d
Assignable Control
➝ Performance Control
TimeTrip Pad
➝ Performance Control
V-LINK
Bender/
Moduration lever
➝ Performance Control
p.37
p.42
p.37
The Arpeggiator
D Beam
➝ Performance Control
Patch Palette
p.37
p.35
➝ The Simplest of Patches
p.12
p.37
The COSM
S
The OSC1/OSC2
S
S o n i c C o n t r o l.
Inside the V-Synth - A Tutorial
Doorway to a new universe of musical
expression (the V-Synth!)
9
4
Main Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
First Steps
10
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Trying out the Presets . . . . . . . . . . . . . . . . . . . . . . . . . . 11
The Two Basic Approaches to Programming . . . . . . . . . 11
Alternative Methods of Setting Values . . . . . . . . . . . . . 11
The Effect Section
The TVA Section
Sections
p.21
p.26
p.27
The Simplest of Patches . . . . . . . . . . . . . . . . . . . . . . . . 12
Basic Sound Parameters
16
The OSC1/OSC2 Sections . . . . . . . . . . . . . . . . . . . . . . . 16
The Mod Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
The COSM Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
The TVA Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
The Effect Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Advanced Sound Programming
28
Sampling and Encoding . . . . . . . . . . . . . . . . . . . . . . . . . 28
Effective Use of Envelopes . . . . . . . . . . . . . . . . . . . . . . 31
Getting More out of a Sample . . . . . . . . . . . . . . . . . . . . 34
Advanced Performance
35
The Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Performance Controls . . . . . . . . . . . . . . . . . . . . . . . . . . 37
The Matrix - Assigning Destinations . . . . . . . . . . . . . . . 38
Backing Up your Data
40
New dimensions in visual performance — V-LINK —
42
Linking sound and images (V-LINK) . . . . . . . . . . . . . . . 42
Preparing to use V-LINK . . . . . . . . . . . . . . . . . . . . . . . . 43
Using the V-Synth to control sound and images . . . . . . 44
V-LINK functions that can be controlled from the V-Synth . . 46
Appendices
Sound Designers’ Comment
47
48
Howard Scarr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Stephane Pigeon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Sections
p.16
Hans-Joerg Scheffler . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Other Tips
51
Patch List
54
Waveform List
56
Understanding Sound
58
Specifications
60
Index
62
Doorway to a new universe of musical expression
the V-Synth!
Unlimited sonic creation. Only synthesizers have
For the first time ever, here is a synthesizer
such power. Unlike traditional instruments such as
providing a Sideband Filter that can add
the familiar piano or violin, the synthesizer does not
inharmonic overtones. Previous synthesizers were
have a sound of its own. However, the synthesizer
able to produce only harmonic overtones, yet many
is unique in that it can generate sounds no one has
of the sounds in the world around us include
ever heard before.
inharmonic overtones that add timbral richness.
The Sideband Filter lets you produce a
Sound can be created in a vast number of ways.
completely new
Analog synthesizers start from an electronically-
breed of sounds
created square wave or sawtooth wave, and boost
rich with natural
or cut specific overtones. PCM synthesizers use
expressiveness as
large libraries of sampled waveforms to simulate
never before.
Side Band Filter
Dy_SBF_WS
acoustic instruments. Synthesizers have evolved
through steady technical advances as well as
Interfaces such as the TimeTrip Pad and the
startling technological breakthroughs.
D Beam Controller let you spontaneously animate
these synthesized sounds in realtime.
Today, approximately a half-century from the birth of
DBeam1
TTPad2
the synthesizer, Roland continues to envision the
shape of synthesizers to come. What kind of
synthesizer might allow the continued use of
existing knowledge and techniques, and yet break
through all previous boundaries to create new and
compelling sounds?
Roland's efforts have borne fruit in a
synthesizer that takes carries both types
of synthesis to the ultimate height
— the V-Synth!
The V-synth also supports V-LINK, letting you
control visual images in much the same way as you
perform music. There is an infinite number of ways
to expressively link sound and images. For instance,
Cutting-edge
Roland
technologies
such
as
you can change the playback speed of image clips
VariPhrase and COSM focus on the main theme —
using Pitch bend or TimeTrip, or use the
synthesize! By controlling “time” — one of the core
D Beam to vary the brightness or hue of an image.
Vrink3
elements of sound — the V-Synth delivers new
sound-making potential. You can synthesize new
sounds using the factory preset waves, and even
use original waves that you’ve sampled yourself.
Disp_COSM1
The V-Synth is a new generation of synthesizer
that frees sound- and sight-lovers from earlier
creative restrictions. Go ahead — open the door that
awaits you! Welcome to an uncharted universe of
expression!
4
Main Feafures
Amazing VariPhrase synthesis
— Oscillator —
Play waves any way you like! (Playback Mode)
There are four VariPhrase playback
You can choose from three completely different types of
oscillators that lie at the heart of the V-Synth: analog modeling,
modes.
fig.playback
PCM, and external input oscillators. It is exciting to realize that the
PCM oscillator features Roland's proprietary cutting-edge
RETRIGGER: The phrase plays from the beginning each time you
VariPhrase technology.
press a key. This is the most typical mode.
fig.retrigger
Here comes VariPhrase
Independent adjustment of Pitch, Time and
Formant is the essence of the V-Synth!
Key On
Key Off
Here comes VariPhrase
The elements that determine the character of a sound include
Key On
Pitch, Playback Time, and Timbre (or “Formants”). Until now, none
Key Off
Here comes VariPhrase
of these elements could be controlled without affecting the others.
Key On
Key Off
However, Roland's VariPhrase technology lets you control each
characteristic independently. The V-Synth pays special attention to
the way that a sound changes when you manipulate its playback
LEGATO: Holding down a key and pressing another key produces
time. You can vary the speed of a phrase loop without affecting
a harmony synchronized to the first waveform. You can
its pitch or timbre (formants), or create harmonies from a single
phrase sample. You can even take a decay-type sound such as a
hear this in the patch 015:NaNaNaHeyYaa.
fig.legato
piano and slow it down to a sustained state similar to bowed
Here
comes
VariPhra
strings. These are all methods of synthesis that could not be
Key On
imagined before. Time parameters themselves can be controlled
Key Off
VariPhrase
using LFO, velocity, or envelopes! These sound-shaping methods
Key On
are possible only on the V-Synth!
fig.vari
comes
value
formant
pitch
Key Off
pitch
STEP: The wave is divided into measures and steps; each time
original
value
original
value
Vari
Key On
value
Key Off
time
formant
time
you press a key, another of these regions plays by itself.
Try out patch 012: Poppy Day to hear this.
fig.step
0
original
sampling key
note No.
0
original
sampling key
note No.
Event
Here
* On a conventional sampler,
pitch, time, and formant
always change together.
* When you use VariPhrase,
time and formant will
remain fixed, and only the
pitch will vary.
Key On
Key Off
Vari
Key On
comes
Key On Key Off
Key Off
Phrase
Key On
Key Off
EVENT: The divided wave is assigned to separate keys. This is
useful when used with drum sets and vocal phrases.
fig.event
Phrase
comes
Here
Vari
5
Samples that make effective use of
VariPhrase (Patch Preview 1)
Unfortunately, merely listening to the factory preset patches does
not reveal even half the power of the V-Synth. This is because
Sound-making that transcends
the time axis (TimeTrip Pad)
The amazing expressive power of VariPhrase technology is
typified by the newly developed TimeTrip Pad.
many of these hitherto-unheard sounds are created by taking
advantage, behind-the-scenes, of VariPhrase to produce sounds
that differ radically from their original form. Let's examine some
sounds to see how they work.
New performance techniques that differ from
scratching or turntables
While playing a rhythm loop from the keyboard, touch the pad and
As examples, we'll take 007:VoixBulgares, 012:Poppy Day,
084:Tetapali, and 138:Spongle. Listen and compare these four
move your finger in a circle. Moving rapidly clockwise speeds up the
patches. These patches have totally different personalities, but are
playback speed of the loop, and moving slowly slows it down 1 .
actually created from the same wave — 066:137Scat 2+!
Moving counter-clockwise reverses the playback 2 . When you
stop moving your finger, the music freezes! 3 You rule the time
Next let's look at 008:Voco Bass. This is a typical synth bass, but
the original wave is not produced by analog modeling or bass
guitar. Amazingly, the wave that underlies this patch is
063:080 MakeGrv +, which is a vocal phrase! This type of
domain with your fingertips! VariPhrase gives you expressive power
to control wave playback position and speed in realtime. This is
somewhat related to a scratching turntable technique, but since
sound-creation is made possible by VariPhrase's ability to extract
you can control time without changing the pitch, you can also play
just the beginning of a wave.
melodies from the keyboard!
fig.tt1
Now try playing 110:Sidewalk. You can hear a sitar-like phrase
loop. While you play, slowly turn the [COSM1] knob located in the
[COSM1] section of the front panel. The sense of pitch diminishes
until gradually you hear a conga! Notice how certain nuances of
the original wave remain as a totally different sound is created.
3
All of these examples demonstrate the V-Synth's synthesis power.
2
1
Take conventional instrument sounds on a
TimeTrip as well!
TimeTrip is also effective with source material other than rhythm
loops. For example, it's fun to try it out with decay-type sounds
such as piano or cymbal. Stopping at the attack portion produces
a bright and percussive sustained tone, while stopping at the
release portion produces a darker and muted tone. At that point,
you can play the keyboard to create melodies! The possibilities
are endless; you can create string sounds without absolutely no
vibrato or tremolo, or scratch while playing a keyboard solo.
6
A revolutionary leap in sound
creation potential!
— Sampling and audio transfer —
When shipped from the factory, the V-Synth contains 324 different
waves. You can also sample sounds from a mic connected to the
input jack or from a CD player connected to the optical connector,
and you can use up to 999 different waves. The V-Synth is
awesomely powerful as a stand-alone instrument, but also
provides an interface for connection to your computer, opening up
unlimited creative possibilities that can go far beyond your current
sound sources.
Audio transfer lets you exchange waves and
patches with your computer
The V-Synth has a USB connector that lets you exchange audio
files and other data with your computer. Both Windows and
Macintosh are supported, and no driver installation is required.
Just use a single USB cable to connect the V-Synth to your
computer, and it is recognized as a hard disk drive. As with other
drives, you can drag and drop files to copy them. It only takes a
moment to back up patch data or save waves sampled by the
V-Synth onto your computer. Sound data you’ve created using your
computer-based sequencer or loaded from commercially-available
royalty-free sampling CDs can also be imported into the V-Synth.
Sampling functionality that lets you add
waves without limit!
In addition to taking full advantage of the wave data you already
have built-in, this lets you use the V-Synth to synthesize any sound
in the world!
fig.samp1
The V-Synth provides both analog and digital inputs. Both optical
and coaxial digital input jacks are standard. A wide range of
sample rates including 44.1 kHz, 48 kHz, and 96 kHz are
supported. Naturally, you can apply VariPhrase to the waves you
sample. Original vocals, scat vocals, guitar performances and more
can be synthesized with independent pitch/time/formant control,
delivering immense impact! By radically extending the playback
time of a sound, you can find gorgeous sound textures in unlikely
audio sources such as the tick-tock of a clock, the plop of a drop
of water or the click of a camera!
fig.optical
➝ “Backing Up your Data” (p. 40)
* In order to use the V-Synth as a USB MIDI device from
your computer, you must first install the USB MIDI Driver.
Resample the phrases you play!
Phrases you play or generate using the arpeggiator can be layered
to create loop sequences, and then resampled. You can also use
the D Beam or TimeTrip Pad to create extreme tonal changes, and
resample them. Already-staggering sounds can then be processed
even further by VariPhrase to produce unimaginably radical
results! You can create without being hampered by limitations or
conventions.
fig.resample
➝ “Advanced Sound Programming” (p. 28)
7
Proprietary modeling technology!
— COSM —
A new dimension for visual performances!
— V-LINK —
Where conventional synthesizers provide a simple filter, the V-Synth
instead offers you Roland's proprietary COSM (Composite Object Sound
Modeling) technology. This sophisticated modeling technology has
become familiar to musicians from its use in effect processors in hard disk
recorders and in multi-effect devices for guitarists. Unlike a filter or an
effect, COSM provides unique types of signal processing (15 types) that
allow amazing and previously unattainable tonal transformations.
V-LINK is a completely new feature that allows realtime
performance of synchronized music and images. By using the
V-Synth in conjunction with V-LINK-compatible devices (e.g.,
Edirol DV-7PR, V-4), you can create a wide range of visual
performance effects. Simply using the gestures with which you
already play music, you can freely control images in realtime.
fig.dv7pr
Side Band Filter creates a sense of pitch
In addition to familiar TVF types such as LPF and HPF, COSM makes
a number of newly developed filter types available in the V-Synth.
Natural sounds always contain inharmonic partials. For example,
the Side Band Filter can boost the fundamental — which
determines the basic pitch — and its inharmonic partials. This
means that for the first time, you can create sounds that blast
through the boundaries of existing analog synthesizers that create
sound only from harmonic partials. Un-pitched sounds such as
drums, percussion, or white noise can be given a pronounced
metallic pitch or a subtle hint of pitch. While applied in the form of
a filter, this feature allows powerful sonic transformations. It
delivers yet another radical expansion of sound-making potential.
fig.sbf
Instantly switch image clips as the scene
changes! (Patch Palette)
You can switch image clips instantly, and select clips that enhance
each section of a song or your stage performance. For example,
while playing a lead-type sound, you might display a computergraphic image that projects a sense of speed, or show a nature
scene when playing a pad, or display your band logo or name
during the intro and ending of your set.
Resonator adds the body resonance of a
stringed instrument!
The first generation of synthesizers provided keyboards that allowed
users to play the desired notes. This led to the view that synthesizers
are fundamentally keyboard instruments. The V-Synth breaks through
this stereotype, allowing you to create sounds in a manner similar to
those you would create on an electric guitar. Popular amps and
speakers can be freely combined using the Amp Simulator and
Speaker Simulator, and there's even a Resonator that adds the
body resonance of stringed instruments. Three types of Resonator are
provided; banjo, acoustic guitar, and resonator guitar. These go
well beyond simple simulations, allowing you to adjust the instrument’s
perceived body size in fine increments in order to create unique effects.
Control the image playback speed in realtime!
(TimeTrip Pad)
You can dynamically control the speed at which images play back.
For example, you might combine this type of control with a phrase
loop sound. The phrase and image could play back in their forward
direction as you move your finger clockwise across the pad, or
backward as you move your finger counter-clockwise. When you
stop moving your finger, the music and image would freeze! You
can also easily create a wipe between two image clips by sliding
your finger to the left and right across the pad.
Free adjustment of hue and visual effects!
(D Beam, C1/C2 knobs)
fig.reso
This is also a great way to vary the color (hue) and brightness of
an image. For example, you can use this capability in conjunction
with a PCM sound to make the image more red or blue along with
changes in the pitch of the sound. Or, the image could become
darker as a filter closes, and gradually brighter as the filter opens.
➝ “New dimensions of image performance — V-LINK —” (p.42)
8
➝ “Basic Sound Parameters” (p. 16)
Inside the V-Synth - A Tutorial
First Steps
Introduction
Trying out the Presets
The Two Basic Approaches to Programming
Alternative Methods of Setting Values
The Simplest of Patches
Basic Sound Parameters
The
The
The
The
The
OSC1/OSC2 Sections
Mod Section
COSM Sections
TVA Section
Effect Section
10
10
11
11
11
12
16
16
19
21
26
27
Advanced Sound Programming 28
Sampling and Encoding
Effective Use of Envelopes
Getting More out of a Sample
Advanced Performance
The Arpeggiator
Performance Controls
The Matrix - Assigning Destinations
Backing Up your Data
28
31
34
35
35
37
38
40
New dimensions in visual performance — V-LINK — 42
Linking sound and images (V-LINK)
Preparing to use V-LINK
Using the V-Synth to control sound and images
V-LINK functions that can be controlled from the V-Synth
42
43
44
46
I n s i d e t h e V- S y n t h - A Tu t o r i a l
S t e p s
F i r s t
S t e p s
Introduction
F i r s t
There is quite a lot of “learning by doing” in this tutorial, and to get the most out of it
you should follow all the instructions strictly from start to finish. Later parts of the tutorial
dial
assume that you have carried out all previous steps to the letter, e.g. that you have saved
a sound called INIT PATCH to patch number 512, and one called “Simplicity” to
number 300, etcetera. Instructions become progressively terse because you will become
more familiar with the programming environment and terminology.
To differentiate between physical and virtual controls, those on the panel are referred to
as KNOB, BUTTON, SLIDER, VALUE DIAL, whereas those appearing on the screen
button
knob
are referred to as PAD, TAB, CONTROL or even GRAPHIC (depending upon function
and/or appearance).
Tab
Pad
TABs are used for selecting different pages within a section, and only appear on the left
or right of the screen. The combination pitch-bender and modulation control to the left
of the keyboard is simply referred to as the BENDER.
For the sake of simplicity, only STRUCTURE number 1 is used throughout the tutorial.
Split and Drum modes are not mentioned for the same reason - for further information,
please refer to the Owner’s manual.
Graphic
10
Control
slider
Trying out the Presets
Before delving into the innermost secrets of the V-Synth, you should have a good listen to the presets to appreciate the wide range of sounds
the V-Synth already has to offer. If you are not currently in PATCH PLAY mode, press the EXIT button a few times (the mode is always
shown in the top left-hand corner of the display) and browse through all the presets using the INC/+ and DEC/- buttons or the VALUE dial.
Make sure that the patch number is highlighted white on blue first - if not, either touch it on the screen or use the cursor buttons.
Because most of the factory sounds have been programmed to react, often quite dramatically, to the various left-hand controls
One common misconception about programming synthesizers is that it is always easier to modify an existing sound than to start from
scratch. The main problem with modifying existing sounds is that you often have to search for and remove unwanted parameters (which
may be affecting the sound quite drastically), and you can easily end up with a very untidy patch structure.
On the other hand, analysing existing presets in depth can teach you quite a few tricks. Once you have found out how a certain trick is
done, you should then start from scratch and integrate the trick into your own patch. This will improve your programming skills much more
effectively than editing existing presets!
F i r s t
The Two Basic Approaches to Programming
S t e p s
(TimeTrip, integrated Bender, D Beam and the two CONTROL knobs) you should try all of these with each and every sound!
✱ After you have learned the basics here, there is of course nothing stopping you from being inspired by some of the existing
presets and making them your own
Alternative Methods of Setting Values
Like many computer programs, the V-Synth gives you alternative ways of selecting parameters and adjusting
their values: By touching and dragging controls (or even graphics) on the screen, by touching controls or
selecting with the cursor buttons then adjusting values using the VALUE dial or DEC/- and INC/+ buttons,
or by operating physical knobs, buttons and sliders on the panel. Throughout the tutorial I have tried to choose
the simplest method each time, although this sometimes means jumping wildly from one method to another.
✱ The best method of selecting adjacent parameters is to use the cursor buttons
11
The Simplest of Patches
The following instructions may seem rather long and needlessly detailed, but there is a very good reason for this – it has to be assumed
that you know absolutely nothing about the V-Synth architecture or menu structure at this stage. Please take your time and try to be
aware of the reason for everything you are asked to do. After you have become more familiar with the programming environment, creating
such a basic patch should only take a minute or two.
INIT PATCH
In PATCH PLAY mode, use the VALUE dial to select patch number 512 – the highest
one available 1 . Holding down the SHIFT button at the same time will scroll through
1
F i r s t
S t e p s
patch numbers in steps of 10, so this is of course the best method. Touch the triangle in
the top right-hand corner of the screen, select PATCH Init from the dropdown menu
2 , then touch the EXECUTE pad in the bottom right-hand corner of the screen 3 . If
2
you find you have selected a different function by mistake (e.g. PATCH Write or PATCH
Copy), simply touch the CANCEL pad 4 or press the EXIT button, and try again.
Tip: When calling functions from the drop-down menu, you may find it easier to do this
all at once: Touch the triangle and don’t release immediately. Drag your finger down until
the function you want is highlighted – then release!
4
3
The initial patch already reacts quite
strongly to keyboard velocity, and this is
seldom desirable when creating new
patches. Touch the TVA pad 5 , then the
Velocity Curve control
6 . Press the
6
7
DEC/- button (below the VALUE dial) to
change the curve to 0 (flat). Open the
dropdown menu again and select PATCH
8
5
Write 7 . Touch the Execute pad 8 in
the PATCH Write window.
✱ Y o u w i l l n e e d t h i s “v a n i l l a ” p a t c h
throughout the tutorial...
...so why not put it in the PATCH
PALETTE for instant recall? Hold down
the PATCH ASSIGN
1
button and
press 8 2 . To find INIT PATCH, just
press button number 8 from now on.
12
1
2
Simplicity
To introduce you to some of the more basic parameters we’ll start by creating a very
simple classic analog lead sound. Touch the OSC1 pad 1 on the screen to open the
2
4
5
6
PATCH Edit / OSC Type page for oscillator 1.
If the screen on your V-Synth looks different from the right image, this is probably
because one of the other tabs has been selected in this section – touch the OSC Type
3
tab 1 . You should be able to hear a simple sawtooth when you play the keyboard. The
oscillator type is ANALOG 2 and the currently selected waveform is SAW 3 .
1
✱ From now on it is a good idea to play a few notes after each step so that you
7
S t e p s
can hear what difference the parameter makes
Before we start filtering out some of the higher partials using one of the COSM sections, now
is a good time to check out the upper row of controls in the OSC1 section to see how they
affect the raw wave: PITCH, PW and FAT (TIME and FORMANT only apply to PCM
oscillators). Hold down a note with your left hand and turn each of these knobs in succession.
F i r s t
After you have finished, make sure that PITCH and PW are in the center and that FAT is at
minimum. The tabs labeled Pitch 4 , Pulse Width 5 and Fat 6 on the left of the screen
give you access to many parameters affecting these three elements, but we will leave them
alone for the moment and head straight for the filter: Touch the COSM1 pad 7 .
Touch the TVF 1 pad to select a conventional filter algorithm for the COSM1 section.
Touch the 24db/oct pad 2 to change the filter to a 4-pole Lowpass type. Touch the
Cutoff tab 3 to access the Cutoff page.
3
Take the filter cutoff frequency down to 64 by turning the upper knob in the COSM1
section to the center. The sound is now very mellow. To turn this into a typical analog
1
lead sound we have to apply some filter envelope...
2
Touch Env Depth (Envelope Depth) 1 and take the value up to +40 by holding SHIFT
and pressing the INC/+ button four times. Take the Sustain 2 value down to zero by
flipping the physical S slider (in the TVA section) all the way down. Touch Attack 3 and
5
keep your finger on the screen. Change the value to around 20 by dragging your finger
upwards (you can make fine adjustments with the DEC/- or INC/+ buttons). Press the
1
cursor-right button to select the Decay parameter 4 and change its value to 60 by holding
down SHIFT and moving the VALUE dial clockwise.
You have just been introduced to many different methods of selecting controls and
6
3
4
2
adjusting values – and not always the best ones! Choosing the best method according
to the circumstances is far quicker and more precise than using e.g. touch-and-drag for
each and every parameter.
Touch Freq KF (Frequency Keyboard Follow) 5 and change the value to 100% (I’ll leave
the method up to you this time). This balances out the filter cutoff frequency across the
keyboard – lower notes become mellower and higher notes become brighter, just like in many
acoustic instruments. If you like, try different values and play the keyboard to get a feel for
what this parameter does, then set it back to 100% again.
The sound is still polyphonic, which is not very typical of analog lead sounds, so touch
the Common pad 6 . Touch the General tab if this page isn’t already active.
Next
13
Touch the Mono pad
1
and switch Portamento on
2 . The sound is now
monophonic, but portamento (glide) is applied to every note you play even if you leave
gaps between notes. To remedy this, change the Portamento mode to LEGATO 3 . The
glide effect is a bit too slow. Reduce the Time parameter 4 to about 8.
5
Before adding some delay effects (this sound is still completely dry), we could make the
Bender add some vibrato for extra expression. Touch the Matrix Ctrl (Control) tab 5 .
2
3
4
S t e p s
Touch the control 1/2 tab 1 and change the control 1 source 2 to CC01 using the
F i r s t
1
✱ C C 0 1 i s d e f i n e d a s “M o d u l a t i o n ” i n t h e M I D I s t a n d a r d s p e c i f i c a t i o n s . O n t h e
3
VALUE dial. As CC01 is the very next source in the list after OFF, you can hold SHIFT
1
6
and turn VALUE anticlockwise to quickly reach the beginning, then either move the
VALUE dial one “click” in the other direction or press the INC/+ button.
2
V-Synth, this type of data is transmitted by pushing the Bender away from you
Open the Destination1 list 3 and select parameter 019:OSC1-LFO-PCH (oscillator
7
1 LFO to pitch) by turning the VALUE dial 4 . Touch OK to confirm 5 , then press the
cursor-right button to select Sens (Sensitivity) 6 . This parameter determines the
maximum depth of the modulation, in this case how much vibrato you will get when
pushing the bender to its limit. A value of +14 is enough here. Now touch the Effect
pad 7 to access the Effects section.
4
5
Touch the MFX (Multi Effects) tab 1 . Touch the List button 2 and select algorithm
16:AnalogDelay ➝ Chorus using the VALUE dial 3 . Confirm your selection with OK 4 .
1
Change the Level to 80 for a more subtle mixture 5 .
2
5
3
4
14
Although this sound is still very primitive, it’s about time we named and saved it to make
sure that all the work done so far is not lost. Open the drop-down menu (via the triangle)
and select PATCH Write 1 .
S t e p s
1
Now touch the Rename pad 2 . Enter a suitable name: “Simplicity”.
At this point you might like to try out all the pads in this page, for instance Shift gives
you capitals instead of lower case letters and symbols instead of numbers. Confirm with
the OK pad in the bottom right-hand corner of the screen 3 . To save the sound to an
are sure the destination number is correct and that you are not overwriting any patch
you might need in future, touch the Execute pad 5 . Note that you can Compare 6
a sound to the original before overwriting.
4
6
5
F i r s t
2
unused location (300), change the Destination using the VALUE dial 4 . When you
3
We’ll be improving “Simplicity” later on, so please make sure you have saved it.
Now it’s time to learn a little more about each individual section in your V-Synth...
15
Basic Sound Parameters
necessary. This will help you get used to switching between
about programming the Arpeggiator or applying realtime
sections and guard against seeing each one as a separate,
unrelated entity.
controllers (TimeTrip, D Beam, Bender and Control knobs),
those above because I assume that you already know your way
Because the Effect section is dealt with last, the sounds will only
around the menus. Look in the Owner’s Manual under
start coming to life towards the end of this chapter. If you find
“Creating a Patch - Functions of Patch Parameters”
dry sounds generally tiring to the ear, you can always add some
whenever you need detailed information about individual
internal or external reverb.
B a s i c
P a r a m e t e r s
will be guided towards other sections in the V-Synth whenever
involved in sound generation and treatment. For information
S o u n d
This chapter only deals with those sections which are directly
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
✱ In practice, creating a good patch usually means
jumping back and forth between parameters rather
often. Synthesizer modules/sections are, by their very
nature, highly interactive
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...
Analog OSC
LFO
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
Wave
Pitch
Pulse
Width
Fat
OSC
TVA
Pitch
Envelope
PW
Envelope
Fat
Envelope
TVA
Envelope
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.
audio signal
control signal
As these diagrams clearly show, the signal passes through several
stages, each with its own dedicated envelope but with a single,
PCM OSC
LFO
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.
Waveform
Pitch
Time
Formant
OSC
TVA
Pitch
Envelope
Time
Envelope
Formant
Envelope
TVA
Envelope
* Any audio signal that's been input while the oscillator
type on the V-Synth is set to EXT IN will be heard only
when you play the keyboard. In other words, the simple
act of inputting a sound is not enough to cause it to be
heard. Note that the signal from the DIGITAL INPUT is not
allowed to be used as a source for EXT IN.
16
audio signal
control signal
This is what you see when you select PCM in the OSC1 section and touch the Pitch
pad, but the corresponding page for analog oscillators looks the same. If you touch each
of the other tabs in succession, you will see that they have a similar layout - except for
the LFO DP1 knob (DP stands for “depth”) to add some vibrato. If you like, go to the
LFO page (touch the LFO pad) and experiment with the parameters for a while.
Pitch modulation from the envelope is best demonstrated by turning Env Depth up to
something drastic like +50, setting Sustain to zero and then adjusting Attack and
Decay to taste.
✱ Which methods did you use to select and change all these values?
Could you have made some of the adjustments much more quickly or precisely by using
the knobs, buttons and sliders on the panel? The answer to this question may only mean
5 seconds difference for each adjustment you make, but this can add up to many hours
in the long run!
S o u n d
This page is used for setting all parameters which affect oscillator pitch. Try turning up
B a s i c
PITCH (Analog or PCM)
P a r a m e t e r s
the LFO page of course.
PULSE WIDTH (Analog only)
This is where you can add automatic modulation and adjust various other pulse width
parameters, but you should first be aware of the different effects Pulse Width has on
each of the waveforms. Go back to the OSC Type page, select another waveform and
manually turn the PW knob in the OSC1 section.
Note that PW has no effect on the HQ-SAW waves. Pulse width is normally defined as
the ratio between the upper and lower plateaus of a pulse wave, but in the V-Synth this
term is also used for similar effects available for most of the other waves. Now try adding
pulse width modulation from the LFO by turning up the LFO DP2 knob in the OSC1
section.
FAT (Analog only)
The Fat page looks almost exactly the same as the Pulse Width page. Go back to the
OSC Type page, select each waveform and turn the FAT knob in the OSC1 section to
see what effect Fat has on the sound. If you return to the Fat page at any point, you will
see the value changing as you turn the knob. Note that Fat also has no effect on the
three waveforms: HQ-SAW, HQ-SQR and NOISE.
17
TIME (PCM only)
Mad Orchestra
Press EXIT, then step down and up a patch to remove any edits you have made. Press
the OSC1 pad and change Osc Type to PCM instead of Analog. Use the cursor up/down
buttons (if necessary) to highlight the waveform number, then change this to number
2
1
043, “120 PfLick1+”. If you play a note you should now be able to hear a piano
arpeggio sample.
Touch the Time tab so you can see the Time value. Touch the ZERO pad 1 . Play the
P a r a m e t e r s
keyboard, watch Time change as you take it slowly up to +63 (using the OSC1 / TIME
knob) and then all the way down to -63 2 . This is VariPhrase and not conventional
sampling, in case you hadn’t already noticed!
Now set Time to -1 by turning the TIME knob back to the to the center, touching the
Time control and pressing the DEC/- button. Play a bunch of random notes in the
center of the keyboard. Do you recognize this sound? It is the basis for the first patch in
your V-Synth, “001:MadOrchestra”. Of course you can modulate the Time parameter
from its own dedicated envelope or from the LFO. Later on you will learn how to
B a s i c
S o u n d
modulate parameters using any realtime controls you like (TimeTrip, D Beam, C1 and
C2, Bender, keyboard velocity, aftertouch) by defining sources and destinations in the
modulation matrix.
FORMANT (PCM only)
This page is grayed out because the currently used waveform is of type Ensemble - see
the section on “Creating and Editing Samples (Sample Mode)” in the Owner’s
Manual as well as the section “Sampling and Encoding” later on in this tutorial.
We need a waveform of type Solo (or Lite) to demonstrate how formants can be
manipulated in realtime. Press EXIT, then step down and up a patch.
Go to the OSC1 / OSC Type page, select PCM and change the waveform to 067,
“088:NaNaNa+”. Activate Tempo Sync (a pad in the bottom right-hand corner of the
page) and reduce the tempo a little using the TEMPO knob in the ARPEGGIO section.
Play a chord with your left hand and add a higher note afterwards with your right hand.
The new note will be retriggered i.e. probably out of step with the other voices, so
change the Playback Mode to Legato. Try the chord and the additional note once again
- everything is now in step. Now experiment with the OSC1 Formant knob...
Hey You!
Take FORMANT back to the center, then turn the LFO DP3 knob up to maximum for
some deep and rapid formant modulation. Go to the LFO page, activate Key Sync 1
4
3
and change the Rate to one of the musical notes you will find after reaching 127 2 .
If you have selected a minim here (the empty circle with a tail), changing the LFO
waveform to SAW 3 will give you “NunnaNaah HooYaah”, and TRI 4 will give you
“NannaNoo HeyYou”. To turn this into “HeyYou NannaNoo”, go to the Osc Type page and
take Start Offset up to about 40000. You should use SHIFT + VALUE to do this,
otherwise it would take forever! Save this patch under the name “Hey You!” to patch
number 301.
18
1
2
OSC TVA (Analog or PCM)
This gives you control over individual oscillator volume. Because the “Hey” in your “Hey
You” patch starts rather abruptly, you can smoothen it here by changing the Attack to
around 30 1 . You will find that the R (Release) setting has no effect yet because the
main TVA release time is currently very short. Open the TVA section (by touching the
TVA pad 2 ) and change the Release value to 30. Save the patch again.
1
The Mod Section
As well as standard mixing (MIX), the modulation section offers Ring Modulation (RING), Frequency Modulation (FM) or Synchronization
(OSC SYNC) between the two oscillators, as well as an envelope follower controlling oscillator 1 volume (ENV RING). Let’s experiment
with each of these algorithms in turn. For further details about each parameter, please refer to the Owner’s Manual under
S o u n d
“Creating a Patch – Mixing/Modulating Two Sounds”.
RING
Ring Modulation adds complexity to the sound by multiplying two input signals
OSC1
press the lower of the two buttons next to the VALUE dial. Set both oscillators to SINE,
then change the Modulator Type to RING in the MOD section 1 . Take the Original
B a s i c
(oscillators 1 and 2) together. When the waveforms of both inputs are fairly pure, you
can get bell-like sounds. Go to 512:INIT PATCH and activate oscillator 2 – you can
P a r a m e t e r s
2
OSC2
Output
Level down to 0 2 . Experiment with both PITCH knobs and adjust overall pitch in the
Common / Tune page.
You might also like to experiment with the other knobs in the OSC sections. Of course
ring modulation is not only useful for bell-like sounds – you can use any oscillator types
you like, including external input. Remember that if the sound is too harsh, you can
mellow it with a Lowpass filter (in one of the COSM sections). We’ll get to that soon.
1
2
FM
Frequency modulation of one signal (oscillator 1 is the carrier) by another (oscillator 2 is
OSC1
the modulator) is also a good source of complex sounds. Press EXIT and step down and
up a patch to remove all your edits. Activate oscillator 2 again and change both oscillators
OSC2
to SINE. Select FM in the MOD section 1 and turn the OSC2 PITCH knob only. Because
this is the modulator and not the carrier, doing this won’t change the fundamental pitch of
Output
your sound. Again, you should experiment with all the other oscillator types.
1
19
ENV RING
This is basically an envelope follower whereby the volume of oscillator 1 is controlled by
the audio “envelope” of oscillator 2 i.e. its volume at any given time. Patch number
OSC1
179:Shakin’Str uses an internal sampled percussion loop (055 Shakin’+) and shows
off the effect very well (play the lower half of the keyboard). However, here is a good
OSC2
Envelope
opportunity to hook up an external audio source to your V-Synth...
Output
Start from INIT PATCH again, activate oscillator 2 and set the Type to EXT IN. Select
B a s i c
S o u n d
P a r a m e t e r s
ENV RING in the MOD section 1 , go to OSC1 and change the waveform to SAW.
Feed a drum loop or drum computer into the V-Synth’s inputs and play a chord. To
accentuate the rhythmic effect, use only very short percussive sounds with no reverb etc.
You can always soften the rhythmic effect by adjusting ENV RING’s own Attack and
1
Release parameters 2 .
2
ENV RING is very good in combination with dynamic filtering e.g. Auto Wah (available as
Multi Effect), but we are going to “jump the gun” here and use a similar (but polyphonic!)
COSM effect. Select COSM1 and change the Type to DYN-TVF. Touch the Cutoff tab 1
and take Cutoff frequency (Freq) down to around 50 2 , Freq KF to +100 3 and Dyn
1
2
3
4
(input Dynamics) up until it sounds interesting 4 . Note that you might also have to adjust
the volume of the sound source or the Cutoff frequency again. Try going to the Resonance
page and take the Reso and/or DynEnv parameter up for a much more squelchy sound.
OSC SYNC
This algorithm resets the phase of oscillator
1 every time oscillator 2 repeats its cycle,
OSC1
(=Output)
and can have a similar effect to sweeping a
filter with high resonance and overdrive if
OSC2
oscillator 1 pitch is modulated. Start again
1
from scratch i.e. the INIT patch in
program number 512, activate oscillator 2
and set both oscillators to SQR. Go to the
MOD section and select OSC SYNC 1 .
Experiment with the OSC1 PITCH knob,
then set it to the center again. Go back to
OSC1 and touch the Pitch pad 2 . Flip
Sustain down to zero using the slider and
change Decay to 40 3 . Change the
Velocity Curve to 1 4 and Env Depth
to +50
6
2
4
5 . Tune everything down an
5
octave 6 in the Common / Tune page
(Course = -12) and play single notes on
your keyboard as dynamically as possible –
you might recognize this type of sound
from countless Techno tracks!
20
3
The COSM Sections
Although these two sections may appear to contain a bunch of add-on effects (like in the V-Synth’s own Effect section or a stand-alone
effects unit), COSM is fundamentally different. It is polyphonic i.e. the effects will be applied separately to each and every note you play!
Start again from scratch (512:INIT PATCH) and touch the COSM1 pad. The available COSM algorithms can be divided into four basic
categories: Guitar Modeling (the top row), Filters (the middle row), Dynamic Processing and Special Effects (both in the bottom row).
OD/DS (OverDrive / Distortion)
Select the PCM type for oscillator 1 and change the waveform to number 161 “Clean
Gt Lo”. You should be able to hear a half-muted electric guitar sound. Select OD/DS in
the COSM1 / COSM Type page 1 . The sound is now completely overdriven. If you
prefer a little more movement within the sound, select the Drive tab 2 , change the
1
2
4
Drive value to 64, flip Sustain down to minimum, change Decay to about 35 and take
Env Depth up to +63. For a “rounder” guitar sound, select the drive type DS 3 , touch
the Tone tab 4 and change the value of the Tone parameter to around 64. Of course
you can apply an envelope to either or both of these parameters (Drive, Tone) and even
3
B a s i c
make them velocity sensitive...
S o u n d
P a r a m e t e r s
✱ Firstly, the six guitar-modeling algorithms:
W-SHAPE (Wave Shaper)
Barinet
This is an alternative method of adding high-frequency partials to a waveform, at the
same time attenuating some of the lower frequencies. Although grouped under the
“guitar modeling” algorithms, I find this one particularly suited to sustained sounds. For
1
3
instance, let’s turn a clarinet sound into an edgy baritone-sax: Start from 512:INIT
PATCH, select the PCM type for oscillator 1 and change the waveform to number 113
“Clarinet Vib”. Go to Common / Tune and take the overall Patch Tune (Course) down
an octave (-12). Go to COSM1 / COSM Type and select W-SHAPE 1 . Change the
Shape Type to number 4 2 . Touch the Drive tab 3 and reduce the Drive value to
2
around 100. Play low notes on your keyboard.
AMP (Amplifier Emulation)
Because it is polyphonic, “power chord” type interaction between notes is not possible
using COSM (the Effects section is much more suitable for that). However, this algorithm
can be very useful for adding very typical amplifier distortion when using COSM2 for
Speaker Emulation. Try it!
21
SPEAKER (Speaker Emulation)
The only parameter here is the Speaker Type control, which selects one of 12 preset
equalization settings which mimic the frequency response of different speaker cabinet
models. Particularly useful for guitar sounds in combination with Amplifier Emulation
P a r a m e t e r s
(see above).
RESONATOR (Hollow-body Emulation)
This COSM algorithm is actually a formant filter. To get an idea of how much this effect
can color a sound, recall 512:INIT PATCH, select the PCM type for oscillator 1 and
1
B a s i c
S o u n d
change the waveform to number 158 “Nylon Gt Hi”. Go to the OSC TVA, flip Sustain
2
3
to minimum and Decay to around 70. Select COSM1 Type RESONATOR 1 , touch
the Size 2 tab and change the value of Size to 110. Touch the Balance tab 3 and
take Balance up to maximum (100). Now return to the COSM Type page and try out
the 3 different Filter Types 4 . Compare them with no effect at all by touching the pad
labeled ON 5 . Of course different values for Size are more suited to particular Filter
4
5
Types, and you can make these effects more subtle by turning Balance down a little.
✱ Secondly, the six Filter algorithms:
SBF1 (SideBand Filter 1)
Karplus 1
Very useful for adding/subtracting frequencies from drum sounds. Although called filters,
this and the following two COSM algorithms are actually based on extremely short delays,
and can therefore be used for “Karplus-Strong” physical modeling of plucked strings...
2
Start from 512:INIT PATCH and select NOISE for oscillator 1. Touch the OSC TVA tab
1
and take Sustain down to minimum. You will hear a very short burst of noise. Go to COSM1
and select SBF1 1 . You should now be able to hear a quiet and short plucked string sound.
Touch the Width tab 2 and take the Width value down to 2 - this makes the decay longer
but also makes it much quieter. Go back to OSC1 / OSC Type and take Wave Gain up to
maximum (+12) to give the filter more impulse to work with. Note that the filter frequency
is directly linked to oscillator 1 pitch (try turning the PITCH knob in the OSC1 section) and
that it can be finely adjusted with the DETUNE knob in the COSM1 section.
Because the sound is still too quiet (and a little too harsh at the top), Touch the Effect
pad 3 , then the MFX tab 4 and change the Multi Effects algorithm to number 01,
4
5
Parametric EQ 5 . Take TOTAL Gain up to maximum (+15) 6 and remove some of
the high frequencies by setting HIGH to minimum (-15)
6
7 . It’s well worth
experimenting with all the Frequency, Gain and Q values while you are here. Especially
removing some frequencies around 5000 Hz makes the sound much warmer 8 . Also,
try turning oscillator 1’s PW knob down just a little! Save your sound to program number
302 under the name “Karplus 1”.
22
8
7
3
SBF2 (SideBand Filter 2)
COMB (Comb Filter)
Comb filters in general use several delay lines to boost or attenuate a series of frequencies. The filter frequencies in the V-Synth version
S o u n d
follow the harmonic series, so it can be used as a static effect to isolate or remove noise or to boost/attenuate partials within a waveform:
Removing / isolating the noise component of waves
Start from 512:INIT PATCH, select PCM for oscillator 1 and change the waveform to
3
B a s i c
086:F Ahs Mid. Go to COSM1, select COMB 1 , change the Octave to 0 (zero) 2
and Tone 3 to 64 (the Thru position). Turn the P1 knob (which controls Tone) in the
P a r a m e t e r s
Similar to SBF1, but with stronger resonance.
1
COSM1 panel all the way down to isolate the noise component. Turn it up to remove
the noise i.e. all the inharmonic partials!
2
Adding / subtracting partials
Start from 512:INIT PATCH, select ANALOG for oscillator 1 and change the waveform to
SAW. Go to COSM1, select COMB, change the Octave to +1 and Tone to 64 (thru) 4 .
Turn the P1 knob in the COSM1 panel all the way down to remove all the even-numbered
3
4
partials. The sound of the oscillator will now be very similar to HQ-SQR (which only contains
odd-numbered partials). Now try turning the P1 knob up - even-numbered partials are
emphasized and the sound, though very similar to the original wave (sawtooth) is now an
octave higher.
Of course the Tone parameter can be controlled in the Matrix (via the CSM1-PRM1
parameter). See “The Matrix - Assigning Destinations” below.
23
DUAL (Dual Filter)
Similar to the standard TVF (see below), but with two 12dB/octave filters, either in
parallel or in series. The filters can be routed in three different ways: parallel LowPass /
S o u n d
P a r a m e t e r s
HighPass, serial LowPass ➝ HighPass, and parallel BandPass / BandPass.
TVF (Time-Variant Filter)
A variation on the standard filter you will find on any subtractive synthesizer, but with a
total of 12 different types:
LPF
Low Pass Filter. Removes frequencies above the Cutoff point.
BPF
Band Pass Filter. Removes frequencies above and below the Cutoff point.
HPF
High Pass Filter. Removes frequencies below the Cutoff point. 3 different slopes.
B a s i c
NOTCH Often called Band Reject or Band Stop. Removes frequencies around the Cutoff point.
PEAK
Accentuates frequencies around the Cutoff point.
That was only five, but each of these types are available with different slopes (dB per
octave). For an easy example of what to do with a Lowpass filter, see the section
“The Simplest of Patches” above.
DYN-TVF (Dynamic Time-Variant Filter)
Basically the same as TVF, but with an additional parameter called Dyn (touch the Cutoff tab to see this) which applies Cutoff modulation
from the audio-envelope of oscillator 2 (or from the inputs when oscillator 2 Type is EXT IN). See ENV RING in “The Mod Section” above!
✱ Thirdly, the two dynamic processing algorithms:
COMP (Compressor)
Compress Tom
Compression is the audio-engineer’s “secret weapon” used to manipulate several
attributes of pre-recorded sound. For instance, it can add punch to a drum...
Restore 512:INIT PATCH, select PCM for oscillator 1, with Waveform 239 “RockTom
Lo”. Listen to this sound for a while, then go to COSM1 and select COMP 1 . Take both
Attack and Sustain up to 70 and the Output Level down to 105 2 so that the
volume is about the same whether or not the compressor is active. Now compare the
original with the treated sound by repeatedly touching the ON button 3 . Note that
compression can also accentuate the ambient tail of a sound: Play a note and hold it...
The compressor in the COSM section is fairly simple (with only two main parameters - Attack
and Sustain), but like all COSM algorithms, it is polyphonic. For a more typical and flexible
stereo compressor, see MFX number 09 (Dynamic Processor) in the Effect section.
24
1
3
2
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 1 . For the most
drastic settings, take Threshold to 0 2 and Ratio to 100:1 3 . What is happening
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
1
to react. Turning Attack up to maximum will increase this time a little 4 . Now select
and experiment with the other parameters
2
5
3
4
P a r a m e t e r s
(particularly Threshold).
✱ And finally, the two special effects algorithms:
S o u n d
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
1
5
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
4
3
B a s i c
the lower ratios, starting with 16:1 5
zero 1 . Flip Sustain down to zero and change the Decay to 30 2 .
Take Env Depth up to +63 3 and change the Velocity Curve to 1 4 . Touch the
Effect tab 5 and adjust the Effect value (i.e. the amount of Shift) to taste.
2
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.
25
The TVA Section
TVA stands for Time Variant Amplifier, and this is the section which governs the
overall volume of each note while it is being played - including master volume (Level),
the envelope itself, keyboard velocity, panning and tremolo (via the dedicated LFO).
Having been introduced to envelopes earlier in this tutorial, you should already know
how to set up the most important parameters, but I will go into more detail here.
✱ The TVA sliders on the panel can be used for any of the V-Synth envelopes -
whenever one is visible on the screen!
B a s i c
S o u n d
P a r a m e t e r s
If TVA is deactivated, this is practically the same as setting maximum level, minimum
26
Attack and Decay, maximum Sustain and Release of 15. Release is not zero here
because cutting the sound off too suddenly would cause a click. Start with 512:INIT
PATCH and try out the following:
Level KF
Level KeyFollow. Level follows the MIDI note - try setting -200 and play
all the ‘C’ notes on the keyboard starting from the lowest one. Then set
Level KF to +200 and play each of these notes again. You should now
know what “KeyFollow” means! Set Level KF back to +0 and press the
cursor-right button to highlight the next parameter...
Lvl LFO Dp
Level LFO Depth. Amplitude modulation from the TVA’s own dedicated
LFO. Useful as a tremolo effect - try different values. Set Lvl LFO Dp
back to +0 and press the cursor-right button again...
Pan
Panorama. This moves the sound to the left or right. Try extreme values,
then take it back to zero.
Pan KF
Panorama KeyFollow. In a similar way to Level KF, the panorama position
will follow the notes on the keyboard. Note that panning is polyphonic,
i.e. if you play the lowest and highest notes on the keyboard at the same
time, they will be split in the stereo field. Try it!
Pan LFO Dp
Panorama LFO Depth. Try extreme values for a deep stereo tremolo effect.
Curve
At zero, this is flat i.e. the level (as well as some other values we will come
to shortly) is always the same, no matter how hard you play the keyboard.
The small graph indicates keyboard velocity in the X-axis, and how this is
translated into levels in the Y-axis. For instance Curve 1 means that keyboard
velocity is translated linearly, whereas Curve 3 means that it will take a lot
more energy to reach medium levels. Try playing the keyboard very
dynamically using each of these curves in turn - you will soon get a feeling
for each one, and understand intuitively what each individual graph depicts.
Sens
Sensitivity. This parameter governs the degree to which keyboard velocity will
affect Level. The default value is +32, but with Velocity Curve at 1, values
around +27 are better (for my personal playing style at least). Note that setting
negative values here will make the sound softer the harder you play. Set Sens
to +0 so you can hear the effects of the following parameters in isolation:
A-Sens
Attack Sensitivity. The Attack time is affected by how hard you play the
keyboard. Try setting A-Sens to +63 and the nominal Attack (using the
A slider) to 40, then alternate between playing very softly and very hard.
When you are finished, take both A-Sens and Attack back to zero.
D-Sens
Decay Sensitivity. The Decay time can also be affected by keyboard velocity.
To make Decay longer when you play harder, you will have to set negative
values here. Set D-Sens to -50, Decay to 50 and Sustain to zero. Alternate
between playing very softly and very hard, then set D-Sens back to zero.
R-Sense
Release Sensitivity. Similar to A-Sens and D-Sens, but affects Release time.
Env Time KF
Envelope Time Keyboard Follow. Envelope times follow the MIDI note.
Setting positive values here shortens Attack, Decay and Release (all at
the same time) when you play higher notes, and lengthens them when
you play lower notes. You will hear this effect when playing a piano.
The Effect Section
A comprehensive, high-quality effects section is a must for any modern synthesizer, and
the V-Synth offers you plenty of choice here. There are three separate blocks which
appear as miniature rack units on the screen: MFX (Multi-Effects), CHO (Chorus or
Flanging) and REV (Reverb or Delay). These blocks can be routed in parallel, series or
any mixture of both.
1
The routing system may need a little explanation, although if you look carefully at the
screen you can see that the signal flow is actually indicated by small arrows. Output from
2
following choice of values:
MULTI
Multi Effects. The standard setting where the signal is routed through the MFX block.
MAIN
Main Outputs. The signal that would otherwise go to the MFX is sent straight to the main outputs (MIX OUT) instead.
DIR
Direct. The signal that would otherwise go to the MFX is sent to the dry outputs (DIR OUT) instead.
To allow any parallel and/or serial mixture of all three effects, the MFX block has three output controls. The one to the right sets the amount
of MFX signal sent straight to the MAIN outputs. Below the block are two more controls which can send a certain amount of the MFX
signal to the Chorus and Reverb blocks - useful for routing the effects in series. Similarly, the Chorus block has a “To Rev” control 2 so
that the processed signal can have reverb added to it.
If you have plenty of time right now, recall a patch with a lot of upper partials (e.g. 202: Tea Bea Lead), touch the Effects pad and the
MFX tab, then try out each and every MFX type in turn. Note that many of these effects have multiple pages of parameters. Although
you might not learn many details at this sitting, at least you will have seen all the possibilities on the screen, not just in the list in the
Owner’s manual.
S o u n d
offering the
B a s i c
Immediately in front to the MFX is an Output Assign parameter 1
P a r a m e t e r s
the TVA section is sent to all three blocks in parallel, each with a master send control.
As well as the Send levels, up to three type-specific MFX parameters can be modulated from the Matrix, and this can be very useful if you
would like to e.g. control the repeat rate of a delay via the TimeTrip or the degree of distortion via foot pedal. In general, you should
always have the Owner’s manual handy so you can see what these destinations are, because they simply appear as MFX1, MFX2 and
MFX3 in the Matrix! See the chapter “The Matrix - Assigning Destinations” below.
27
Advanced Sound Programming
Sampling and Encoding
The Owner’s Manual includes quite a readable section about how to sample your own sounds, almost as step-by-step instructions. Being
primarily a reference work however, the Manual doesn’t include many tips about e.g. when to use pre-effects, how to find the best loop
or Event points, how to choose the most appropriate encoding method etc.
* On the V-Synth, samples can only be saved on a per project basis. Therefore, individual samples cannot be saved one by
one to their own files.
Advanced Sound Programming
General
Try to make sure that maximum levels are as close as possible to 0 on the dB meter 1 ,
without ever lighting up the Peak LEDs. Use the INPUT LEVEL knob on the panel in
preference to the Pre-Gain parameter. The trigger mode LEVEL is usually the best for
sampling from external sources, but sampling doesn’t stop automatically so please
remember to touch the STOP pad.
1
The PreTrigger parameter adjusts the size of a special ring-buffer, a short piece of
memory (up to 1 second in the V-Synth) to which the input is continuously being written
before sampling “officially” starts. This is automatically tagged on to the beginning of the
finished sample to ensure that you don’t lose the first bit - especially useful when using
LEVEL trigger mode. You can safely set PreTrigger to any value you like (though 50 ms
is usually enough if the Trigger Level can be set nice and low). Use the Truncate function
afterwards to remove any excess samples at the beginning.
* For the Digital IN/OUT of the V-Synth, possible sampling rates are 96 kHz, 48 kHz, and 44.1 kHz, and a bit rate of up to
24 bits is supported. As for the Digital Out, you can change the sampling frequency by means of Digital Output Freq in
System Mode. The internal format of the sampling frequency of the V-Synth is fixed at 44.1 kHz.
Pre-Effects
Instead of using an external compressor or limiter, audio can be recorded through the
V-Synth’s built-in dynamics processor. This is particularly useful for compressing live
vocals or for changing the punch and/or ambience of a drum loop.
Tip: To remove ambience from a drum loop, use the Noise Suppresser (a soft gate) with
maximum Threshold and minimum Release.
Metronome
Having an in-built metronome is a great advantage whenever you need to sample some
of your “live” playing (or singing) at a particular speed. Set the Tempo and Beat values
first, then switch MetroType to ALWAYS and adjust the Level parameter until you feel
comfortable with the volume. Change MetroType to REC 1 , select a 2MEASURE
Count-In 2 then touch START 3 . The V-Synth will only start recording after a two
bar count, just like most sequencers.
1
2
3
28
Editing Samples - Truncating
The first thing you should do is cut off any excess samples (there is usually quite a lot
at the end) using the Truncate function. The method explained below involves truncating
twice (once for the beginning and once for the end), but it is safer than trying to do this
all at once. After a little practice, this method will come naturally.
Touch the Edit pad 1 to enter the SAMPLE Edit page. Touch the horizontal Zoom ‘+’
pad a few times until you can’t see the start any more, then touch the horizontal
1
Zoom ‘-’ once 2 . Hold SHIFT and turn the VALUE dial until the highlighted section
starts very close to the beginning of your sample. Touch horizontal Zoom ‘+’ again and
repeat the procedure until the highlighted area starts exactly at the beginning of the
sample, where the wave crosses zero. Touch the Preview pad to make sure 3 . You
can use the ZeroX (zero-crossing) buttons to find the exact start automatically 4 .
Select the Truncate function from the drop-down menu 5 , read the message, then
3
4
confirm.
2
Zoom out completely and press the cursor-down button to highlight the End value 6 .
recorded something you wish to loop in its entirety (e.g. a drum loop), you should
activate the Loop pad 7 to make sure that there isn’t a “hiccup” at the end. Touch the
Preview pad and use the VALUE dial until you can’t hear any unwanted samples. Keep
5
zooming in and adjusting the end point until you are satisfied. Use the ZeroX
(zero-crossing) buttons. Note: If your sound “fades” to silence (e.g. a cymbal), you
7
should also use vertical Zoom ‘+’ to make sure you don’t lose the last bit of the “tail”.
6
When you have finished, select the Truncate function again.
Editing Samples - Finding the Best Loop Points
Depending upon the complexity of a sample e.g. whether it has vibrato or tremolo etc.,
finding good loop points can be difficult. I find the following method very useful:
First of all, search for a section of the wave where the volume remains fairly constant.
4
1
Advanced Sound Programming
Touch Preview to check whether there are any unwanted bits at the end. If you have
Touch the Loop FWD (forward) tab 1 and set the Start and End points to include at
least two of the “humps” which are caused by the cyclic effect. Touch the Loop and
Preview pads 2 so they are both highlighted. Zoom in a little to make sure that the
Start and End points are both at approximately the peak of each “hump”. Keep
2
alternating between Start and End with the cursor buttons, and touch the ZeroX
buttons 3 until you hear no more clicks.
3
If you don’t really need anything after the loop, you might be able to save a lot of
memory (in the long run) by doing the following: Now write down the Start value on a
piece of paper - this is important because the loop data will be lost when you truncate.
Touch Edit 4 and move the Start point to the very beginning. Truncate, touch Loop
FWD and set the Start point to the number closest to what you wrote down before.
Zoom in as far as possible and adjust the Start point to be exactly what you wrote down.
* The V-Synth's factory-loaded preset waves cannot be edited or encoded.
Select a sample that you've sampled or imported.
29
Encoding
Depending upon the type of audio material in the sample, it must be processed according
to one of four different encoding algorithms, each of which enables a different set of the
VariPhrase features. You are given this choice because certain algorithms are better for
certain jobs. Note: Encoding is non-destructive i.e. the original sample is not overwritten
and can be re-encoded at any time (as long as you do not delete the original wave).
* The V-Synth's factory-loaded preset waves cannot be edited or encoded.
Select a sample that you've sampled or imported.
PROS
Advanced Sound Programming
CONS
Typical
usage
LITE
SOLO
BACKING
ENSEMBLE
requires the least memory
all VariPhrase features are
supported
most VP features supported, best
at handling percussive material
most VP features supported, best
at handling complex material
no Events, switching
VariPhrase on causes artefacts
requires more memory
no Formant control, no
Robot Voice
no Formant control, no
Robot Voice
conventional sampling
vocals and solo
instruments
drums and percussion
(unpitched)
fully mixed audio, rich
sounds such as choirs
Defining Events
Before encoding, you can set the markers which define individual Events. Think of
Events as snippets within a sample, e.g. the individual hits in a drum loop, the words in
a vocal phrase - whatever you like. Individual Events can be played consecutively or on
fixed keys (C, C#, B etc.) if you choose STEP or EVENT mode in the OSC Type page.
Touch the Encode pad in the SAMPLE TOP page. The V-Synth operating system
“beats”. The Depth parameter 1
controls how many of these will be found - try
changing this value. Use the Adjust pads 2 to jump from one Event marker to the
next, preview the current Event, and delete or add Events using the Del Evt and Add
Evt pads 3 .
✱ When adding Events you should zoom in to the wave for fine control over position
30
1
automatically analyses samples and inserts Event markers wherever it finds distinct
2
3
Effective Use of Envelopes
You have already seen that many sub-sections in the V-Synth have their own dedicated envelopes. Here are a few tips to help you make
the most of them:
Typical Envelope Shapes
The ADSR envelope was originally developed to mimic the volume, pitch and tonal changes of notes played on existing acoustic and
electromechanical instruments using only a few parameters. Here is a short list of a few real instruments and how to achieve similar results
using an ADSR-type envelope:
Comments
Envelope
Organ
immediate Attack, maximum Sustain, immediate Release
Piano
very short Attack, long Decay, zero Sustain, short Release
French Horn
medium Attack, maximum Sustain, fairly short Release
Musical Saw
long Attack, maximum Sustain, long Release
Bass Drum
very short Attack, medium Decay, zero Sustain, medium Release (preferably the
same value as Decay)
Advanced Sound Programming
Instruments
✱ Note that the Decay value is irrelevant when Sustain is maximum.
Composite TVAs
With only four parameters, ADSRs were always a compromise. Although unable to
simulate exactly how (for instance) a real piano note decays, most modern instruments
still use ADSR envelopes because they are simple. The V-Synth has a solution to this
Sub TVA
problem: Each oscillator has its own dedicated Sub-TVA, and the signal is sent to a main
TVA afterwards. This allows for more subtle shapes while retaining the quasi-standard
four parameters (ADSR). Remember that many of the PCM waves already have a “built
in” envelope, so this is yet another factor to be added to the equation!
Main TVA
Result of using both
31
Using the Time Envelope as Event Offset
When using STEP or EVENT Playback Modes you may find that some of the Events (i.e.
the individual snippets) of the sample start too slowly or too quickly, or they have an
unwanted bit at the beginning. Clever use of the Time envelope can solve any such
problems:
Recall patch number 012:Poppy Day and touch the OSC1 pad 1 . Take a look at the
2
OSC Type page - the Playback Mode is Step 2 , and that is why the Events are played
in strict succession whatever notes you play. There are four Events in this patch: “PawPee-Day-Daah”.
1
Touch the Time tab 3 . Although the Time parameter is set to -19 4 , this is the same
as selecting ZERO Time Offset with Time at +1 (I programmed this sound before the
4
Time Offset pads were included). So FWD mode with Time = -20 as well as BWD
mode with Time = +20 are the same as ZERO mode with Time = +0. Check this.
3
Important here are the Env Depth, Decay and Sustain values. In combination they
5
Advanced Sound Programming
cause the first part of each and every Event to be drastically shortened, so you can see
this trick as a sort of Start Offset (see the OSC Type page) for individual Events. Try
changing Env Depth to +0 5 to see how much difference this makes!
Using the Time Envelope for Delayed “Freezing”
Especially in combination with the Start Offset parameter, a similar method can be used
to isolate and freeze any part of a wave, but still include some attack at the beginning.
You will find a prime example of this trick in the presets: In 147:GizmoVox, the sound
of oscillator 1 hardly resembles the original wave.
2
Recall 512:INIT PATCH, set OSC1 / Osc Type to PCM and select Waveform
077 “M Doo”. Touch the Pitch tab and listen to the sound. The pitch rises at the
beginning, then loops through a section of natural vibrato. Note that the Loop button is
not available - this is because a loop has been defined within the sample.
1
Our hypothetical goal (for learning purposes only) is to manipulate this sound so that it
starts with the initial attack, then freezes in the middle of the “oo” bit, all at the same
pitch and with no vibrato/tremolo whatsoever...
Touch the Robot Voice pad 1 to flatten the pitch, then touch the Time tab 2 and
6
3
select ZERO 3 . Trying out all positive values for the Time parameter shows that they
5
either slow the beginning down too much, or else they make the tremolo too obvious.
Changing Start Offset (in the OSC Type page) doesn’t help either, because the entire
wave is still “frozen”. Here’s the simple solution:
Leave Time at +0, flip Sustain down to 0 and set Decay to 40 4 . You will still only
hear the frozen beginning of the wave. Now take Env Depth up to around +20 5 .
What is happening here is that the envelope effectively shifts the Time parameter up to
+20 6 , then quickly takes it back to zero before the tremolo starts - so the wave is
frozen at this (later) position. To add some movement back into the sound, take Sustain
up. Around 40 is nice and subtle 7 .
32
4 7
One-Shot LFO as Additional Envelope
If LFOs are otherwise not required (e.g. for pitch or formant modulation), they can be put to good use as additional envelopes. Although
there is no special one-shot LFO mode in the V-Synth, this can be simulated using the following trick. Again, this is only an experiment
to show how it works - the sound itself is not particularly useful!
Dive
Start with 512:INIT PATCH and go to OSC1. Touch the LFO tab 1 , select SQR 2
and take Rate down to zero 3 . Activate both Key Sync and the “ON>>” Fade button
4 . Change the Time value to 40 5 . You should now see a short downward sloping
2
ramp in the LFO graphic display - this is our extra envelope.
3
4
4
5
To demonstrate how this could be used to “modify” an envelope, select OSC1 / Pitch 1 ,
flip Sustain down to zero and change Decay to 64 2 . Take Env Depth up to +40 so
that the pitch drops at a medium rate 3 . Play a note and listen to the shape of the decay
4
1
- it appears to be linear. Now change Pit LFO Dp (Pitch LFO Depth) to -27 and play a note
4 . At -27, the rising LFO (it was falling, but the modulation depth is negative) cancels out
3
the first part of the envelope exactly, and you end up with a plateau as long as the LFO
Time parameter, followed by the rest of the “dive” caused by the envelope.
Of course you can make the one-shot LFO have the opposite effect, e.g. adding it to the
2
normal filter envelope for an additional short “pluck” at the beginning of each note.
Pitch Envelope
Advanced Sound Programming
1
One Shot LFO
(Pit LFO Dp=-27)
Result of addition
Inverse Envelopes
Not many people ever consider putting envelopes upside-down, although this can be
Normal Envelope
Reverse Envelope
very useful sometimes. The individual segments change their meanings completely:
A
becomes a decay to minimum after an instantaneous attack
D
becomes a rising slope if the S value is not 127 (minimum!)
S
is inverted i.e. maximum becomes minimum and vise-versa
R
becomes a final rising slope
S
S
A D
R
A D
R
Next
33
Release Click
Start with 512:INIT PATCH and go
straight to the TVA section 1 . Change
Release time to 33 2 (you will find out
why very shortly). Now go to the OSC1
4
/ OSC Type page 3 . Set PCM-type
and select wave 151 “Clav Lo” 4 .
2
1
3
Touch the COSM1 pad, select TVF and
touch the Cutoff tab. Take Freq down to
100
5
and
set
the
envelope
8
5
Advanced Sound Programming
parameters as follows: A = 45, D = 127,
S = 0, R = 25 6 (shorter than in the
7
main TVA) and Env Depth = -46 7 .
To accentuate the effect, touch the
Resonance tab and take Reso up to
about 80 8 . Go back to the Cutoff page
6
and play the keyboard.
OK, this sound is not particularly spectacular at this primitive stage, but it demonstrates the only way (in most synthesizers) of getting a
noticeable and rapid change in timbre when you release notes - setting a negative envelope depth.
Getting More out of a Sample
One of the major selling-points of the V-Synth is its VariPhrase features, so you are surely aware of all that VariPhrase has to offer.
However, you may not realize all the implications this has in terms of flexibility i.e. just how far you can go with a “raw” waveform.
Patch 206:FragileVoice is a good case in point. To find out how this sound was made, touch OSC1 and check which Waveform was used
to create something like a cross between a voice and an ethnic violin: “Power-B fast” is actually a nasal organ-type sample with a fast
rotary effect. Let’s find out how simple it see the potential of waveforms. Instead of defeating all the parameters in turn, go to 512:INIT
PATCH and set OSC1 / OSC Type / PCM / Waveform to 168 “Power-B fast”. Now turn the Time knob down...
34
Advanced
Performance
The Arpeggiator
The V-Synth’s arpeggiator goes way beyond what you would normally expect an
arpeggiator to be able to do because, as well as handling the usual up/down arpeggio
functions, it is also a quite a comprehensive pattern sequencer. If you haven’t done so
already, please read the section in the Owner’s Manual.
* Arpeggiator settings can be saved with each patch as part of the patch
settings. An arpeggio pattern can be saved for an individual patch as part of
the patch settings. This means that you can create a patch designed
Stage 1 - Normal Arpeggios
Motif: UP, DOWN, UP&DOWN, RANDOM, NOTE-ORDER
A few little experiments with the main arpeggiator parameters - more “learning by
doing”, and lots of fun! Later on you will learn step and realtime recording, as well as
how to handle controller data.
Go to 024:Nylon Floot (which is suitably dynamic for our purposes) and play the
1
keyboard for a while to get used to the sound. Touch the Common pad and switch on
the arpeggiator as well as the Hold function 1 . Take the Patch Tempo down to 100
1
2
(use the TEMPO knob if you like) 2 . Play the D# below middle C and hold it. Add
higher black notes with wildly differing velocities (some soft, some hard), then release
the first note. Repeat this a few times until you come up with an arpeggio you really like.
Advanced
Per formance
specifically for that arpeggio pattern (or vice versa).
Experiment with the Motif value and different Octave Ranges.
3
4
5
Because the KBD Velo parameter says REAL 3 , each note will appear with its original
velocity. Play around with this parameter to see what it does, then set it back to REAL.
Now try the Duration parameter 4 . When you’re finished, set it somewhere below 50
percent for shorter notes. Try some shuffle 5 - 33 and 66 are full shuffle, the extreme
values (0 or 100) even play two notes at the same time. You might also like to try setting
the Resolution to a semiquaver - you can get some very interesting double-time effects
at Shuffle Rates of 33 or 66!
Try playing the TimeTrip and turning C1/C2. If you have connected an external
sequencer, you can record your performance because arpeggio notes are sent to the
MIDI output. Note that if you play the keyboard now, your original arpeggio will be
replaced by the new notes.
35
Stage 2 - Custom Rhythms
Reset 024:Nylon Floot by going back to PATCH PLAY mode (press EXIT) and
stepping down and up a number (DEC/- and INC/+ buttons). Touch the Common pad
1
1
and switch on the arpeggiator - but don’t press HOLD yet 1 . Change the Tempo to
2
100 2 and play a middle C. You will hear it repeated monotonously with the same
velocity as it was played. Touch the Pattern Edit pad 3 .
3
The bottom row is already filled with 32 semiquavers by default - this is the rhythm you
hear when you play the keyboard. Use the cursor buttons to highlight the 9th note along
and press the leftmost pad, “0” 1 . Press the cursor-left button a few times to move
back to the first note in the row. You can see that the 9th note is now missing, and if
you play the keyboard you can also hear the gap. Press the 127 pad and listen again
2 . The first note is now played with a higher velocity than the others (which are all at
100 - check this by pressing the cursor-right button a few times). Move the cursor to
where you deleted the note and press “Tie” 3 . The space has now been filled in with
1
a “=”, effectively making the previous note at least a quaver longer.
2
4
32 notes are too many for our purposes here, so change the End Point to 16 4 . You
Advanced
Per formance
might find it easier to use the cursor-down button to reach this field. Also, the pattern
still reacts to how hard you play keys. Press EXIT, change KBD Velo to 120, then touch
Pattern Edit again.
How about recording some realtime controls? Touch the Real Rec pad 1 . You will hear
G#5 repeated with the rhythm you have already set up. Play with the TimeTrip (only!)
until you are satisfied with the results, then touch Stop. Two extra lines have appeared
containing the data you have just recorded 2 . The CC numbers (80 and 81 by
default) are the default MIDI controls assigned to the TimeTrip. Press the MODE button,
select SYSTEM, touch Controller 3 and then the TT Pad Knob tab 4 to check these
2
values. There are plenty of other interesting parameters in the SYSTEM pages - have a
look around, but don’t change any values yet! Read the Owner’s Manual until you are
sure you know what each parameter means.
1
4
3
36
3
Stage 3 - Custom Sequences
Motif: RHYTHM, PHRASE, AUTO
Go back to the main arpeggiator page and set Motif to RHYTHM 1 so that the NOTE
values become relevant. Touch Pattern Edit 2 . Highlight anything in the bottom row
and touch Clear. Select ALL CLEAR 3 to delete all the lines in the grid, then touch
Step Rec (step recording) 4 . Now enter notes or chords (playing legato will also result
2
in chords) until you have filled all 16 steps, and touch Stop. To change the velocity of
1
any of these notes, simply use the cursor buttons to highlight them, then change the
value using the row of pads and/or the VALUE dial. Setting zero will delete a note.
Now play any note - you should be able to hear the sequence you have just made, but
in the original pitch only. Press the EXIT button and change the Motif to PHRASE so
that you can transpose the sequence by playing different notes.
Touch Pattern Edit, then Clear. Select ALL CLEAR, then change the End Point to 32.
Touch Real Rec (realtime record). Wait for two bars, then play for two bars. Touch Stop
when you are ready. If you don’t like what you have entered, you can always use the
Clear pad to start again. Tip: don’t play too laid-back, otherwise several notes will
3
appear later in the grid. Having said that, such “mistakes” can turn out to be quite funky
Performance Controls
A lot of thought has gone into making the V-Synth one of the most truly “playable”
TimeTrip Pad
Twin D Beam
keyboards on the market. The left hand controls (TimeTrip, D Beam, the C1 and C2
knobs) are specifically designed for manipulating sounds in realtime once they have been
programmed.
Advanced
4
Per formance
and highly inspiring!
Of course any of the buttons, knobs and sliders on the panel could be used as
performance controls, and you might like to change e.g. the Decay time in an arpeggio
or to switch effects in and out during live performance. However, it is a much better idea
to assign one or more of the many multi-purpose controls to the appropriate destination
Assignable Control
in the Matrix Control (see below).
Why? Because all the left hand controls are assigned MIDI CC numbers (definable in the
MODE / SYSTEM settings). Any movements can be recorded to a MIDI sequencer or
even to the V-Synth’s own pattern sequencer (where all recorded data is quantized to
the current Grid value). The other buttons, knobs and sliders don’t send data to the MIDI
Out port.
37
The Matrix - Assigning Destinations
The V-Synth’s Matrix Control is used for routing any sources of MIDI data to a wide
range of possible destinations. Available sources include the V-Synth’s left-hand
controls, all standard MIDI continuous controllers (including Pitchbend and Modulation)
as well as Aftertouch, Velocity and Key Follow.
Let’s add a bit more depth to the “Simplicity” patch you made early on in this tutorial - it
should be number 300. Touch Common 1 , select the Matrix Ctrl tab 2 and the
3
Control 1/2 tab if necessary 3 . Pushing the Bender (CC01) has already been used for
adding vibrato, but here is a little trick which can always be used to make this more
5
4
3
2
2
expressive: Touch the Control 1 / Destination 2 List pad 4 and select 018:OSC1LFO-RATE. Touch OK and set the sensitivity (Sens) to +2 5 . Pushing the Bender now
increases the vibrato rate as well as its depth.
Advanced
Per formance
1
Highlight the source of Control 2 (at the moment this reads +PAD-Y) and change it to
AFT (aftertouch) by pressing the DEC/- button twice 1 .
Select 044:CSM1-PRM1 (COSM1-Parameter1) from the upper list 2 and change the
corresponding sensitivity to +20 3 . Pressing harder on the keyboard now opens the
filter a little.
1
To make filter Cutoff velocity sensitive, you don’t really need to use the Matrix: Simply
go to COSM1 / Cutoff page 4 and change the Velocity Curve to 1 5 .
4
5
38
Activate oscillator 2, touch the OSC2 pad and the Pitch tab 1 . Change Fine to +5 2
so that the oscillators slowly “beat” against each other. With two oscillators the sound is
now much thicker, but pushing the Bender only adds vibrato to oscillator 1 at the
1
moment. Go back to the Common / Matrix Ctrl page and select the Control 3/4 tab
2
3 . Set the same values in Control 3 as in Control 1, but for oscillator 2 instead:
Source = CC01
Destination1 = 040:OSC2-LFO-PCH
Sens = +14
Destination2 = 39:OSC2-LFO-RATE
Sens = +2
Play the keyboard and push the Bender. You should be able to hear that the LFOs in both
oscillators have the same rate, but also that they are not synchronized - one can start
3
4
later (in it’s cycle) than the other. To remedy this, go to each of the oscillator LFO pages
in turn and switch on Key Sync.
Per formance
Now let’s create a control for the amount of Reverb. Select KNOB1 as Control 4 source
1 , set Destination1 to 075:REV-SEND 2 and sensitivity to +63. Even if you turn
up the C1 knob now, you won’t hear any reverb because it hasn’t been switched on yet.
Touch the Effect pad 3 (and the Routing tab if necessary) then set Reverb Type to
06 (Hall3) 4 . Save your refined version of “Simplicity”!
2
Advanced
1
4
3
39
Backing Up your Data
Now that you have started making your own sounds on the V-Synth, it’s time you thought about making back-up copies. To be able to
transfer entire projects, patches and samples (in WAV, AIFF or the V-Synth’s proprietary W00 format) between your V-Synth and
computer, the USB drivers must be installed in your computer. When the USB connection is established, the driver installation will begin
automatically. Apple Macintosh (OS 9.04 or later, OSX) as well as Microsoft Windows (Me, 2000 and XP) are supported at present.
For general information about USB-related procedures, please refer to “Settings
Common to All Modes” and “Connecting to your Computer via USB” in the
Owner’s Manual. To learn how to back up and restore data, please read the chapter
“Disk-Related Functions (Disk Mode)”.
B a c k i n g
U p
y o u r
D a t a
* The memory composition inside the V-Synth is as follows.
Temporary Area
Patch
(Play/Edit)
Preset Memory
Internal Memory
Patch
(001 - 287)
Patch
(Max:512)
Factory
Reset
Patch
Write
Patch
Write
Project
Wave
(Max:999)
Wave
(001 - 324)
USB
Patch
(Max:512)
Patch
Write
Project
Wave
(Max:999)
PC Card
40
Patch
(Max:512)
Project
Load
Project
Save
Project
Computer
(PC or Mac)
Patch
Select
Load
Project
Save
Project
Wave
(Max:999)
Work Area
Sampling
* Each capacity of the memory is as follows.
Work Area & Temporary Area (64 MB)
System &
Patch (Max:512)
14 MB
Preset Memory
Internal Memory (16 MB)
Patch (No.001 - 287)
Preset Wave (Dummy)
6 MB
Preset Patch (No.001 - 287)
Preset Wave (No.001 - 324)
(archived)
Preset Wave
(No.001 - 324)
30 MB
Blank
(Patch No.288 - 512)
(User Sample)
10 MB
D a t a
Blank
20 MB
(User Sample)
U p
B a c k i n g
will not be lost even if you simply turn the power off.
y o u r
will be lost if you simply turn the power off.
41
New dimensions in visual performance — V-LINK —
The V-Synth lets you use the pitch bend / modulation lever, TimeTrip Pad, D Beam
controller, and C1/C2 knobs to control a connected external video device. This
capability is called V-LINK (
). Your performance on the V-Synth can
control not only sound, but images as well, linking the video to the sound of your
playing.
* V-LINK is a feature that lets you perform using music and images. V-LINK
makes it easy to enjoy a variety of video effects that are linked to your
V-Synth performance gestures.
fig.dv7pr
New
dimensions
of
image
performance
Linking sound and images (V-LINK)
42
Let's experience V-LINK by using the Edirol DV-7PR Realtime Video Presenter
in conjunction with the V-Synth. Using the V-LINK feature requires the
following.
DV-7PR: System software Ver.2.0 or later
V-Synth: System software Ver.1.13 or later
V-LINK is supported by the V-Synth controllers shown in the diagram
Patch palette (p.44)
Bender/modulation lever (p.44)
Assignable controller C1/C2 (p.44)
TimeTrip Pad (p.45)
D Beam controller (p.45)
Channel aftertouch
fig.v1
V-Synth controller section
Preparing to use V-LINK
1.
Connect the V-Synth and DV-7PR, and turn on the power of both devices. Wait until
EDIROL DV-7PR
TV monitor
both devices have started up normally.
fig.v2
REMOTE
EDIROL UM-1
Projector
MIDI OUT
V-Synth
2.
Use the DV-7PR’s selector to select Presenter.
The Editor contains the DV-7R editing functions for use on video data imported from
external video devices. For information of using the DV-7PR, refer to the
DV-7PR instruction manual.
fig.v3
button
V-Synth's
lights,
display
and
the
shows
the
V-LINK screen. This is the basic
screen for using V-LINK. Also
notice that the V-LINK logo
appears in the upper left of the
DV-7PR's screen.
fig.v4a
f
ig.v4b
On the V-Synth’s display, touch <V-LINK>. Make the following settings in the
screen that appears.
of
fig.v5
MIDI Channel
Audio
Specify the MIDI channel to be used for V-LINK
messages. For this example, select 16.
Turn this ON if you want the DV-7PR to output audio
as well, or OFF if you don't want it to output audio.
Normally, you will be using only the sound from the
V-Synth, so turn this OFF.
Output
Turn this ON if you want to output images only when
playing the keyboard, or OFF if you want images to be
output all the time. For this example, turn this OFF.
Palette LocalSw
Turn this ON if you want to use the V-Synth’s PATCH
PALETTE [1] — [8] to switch V-Synth patches, or OFF
if you want to use these buttons only to switch images.
For this example, turn this OFF.
5.
Let’s save the settings we have made so far. In the lower right of the V-Synth’s display, touch <Write> and then touch <EXECUTE>.
6.
Press [EXIT] to return to the V-LINK screen. Preparations are now complete.
dimensions
4.
image
The
performance
On the V-Synth, press [V-LINK].
New
3.
43
Using the V-Synth to control sound and images
Selecting clips (Patch Palette)
Simply turning [V-LINK] on will not cause a clip (image) to appear on your TV monitor
— you must select a clip to be displayed. Let's do this. Of the thirty-two clips belonging
to each palette in the DV-7R, you can select eight clips from the V-Synth. PATCH
PALETTE [1]—[8] on the V-Synth correspond to Clips 1~8 in the upper line of the
DV-7PR palette.
To prepare to switch palettes on the DV-7PR, hold down [BANK] and press [1] or [2]
— at this point, the palette has not yet switched. When you next press one of the PATCH
PALETTE [1]—[8] buttons, the palette and clip switch simultaneously.
fig.v6
Changing the image playback speed (Bender lever)
From the V-LINK screen, touch <Bender/Mod>. Bend is assigned to the control of the
PLAYBACK-SPEED, so moving the bender lever toward the right speeds up the image
playback speed. Moving the lever to the left slows down playback.
Press [EXIT], and then operate the bender lever as you play the keyboard. Notice that
the sound (pitch) of the patch changes together with the image. The V-Synth patch
006:Heavy Drone is a good patch to use for this purpose.
Changing the color of the image (C1/C2 knobs)
From the V-LINK screen, touch <Knob1/2>. Knob1 is assigned to COLOR-CB
(chrominance: blue). Similarly, Knob2 is assigned to COLOR-CR (chrominance: red).
Turning [C1] changes the blue component of the image, and turning [C2] changes the
image
red component of the image.
Press [EXIT]. Next, turn [C1] or [C2] as you play the keyboard. The way in which the
of
performance
fig.v7
position.
sound changes (e.g., pitch, formant) depends on the currently selected patch. The
009:Phrase Lab V-Synth patch works well here.
To return to the normal color balance, set [C1] and [C2] to the straight-up (center)
New
dimensions
fig.v8
44
TimeTrip the image (TimeTrip Pad)
Press [TIMETRIP] located beside the V-Synth's TimeTrip Pad. Place your finger on the
TimeTrip Pad and move it clockwise in a circle to make the image play in the forward
direction. Move your finger counter-clockwise to make the image play backward. When
you stop moving your finger, the image also stops at that point. Try touching the TimeTrip
Pad as you play the keyboard. The V-Synth patch 023:TimeTripRun is well-suited for
this use.
fig.v9
Apply a visual effect (D Beam Controller)
The DV-7PR provides visual effects such as monotone, chroma-nega, colorize, and
luminance-nega. Let’s use the V-Synth’s D Beam Controller to apply these visual
effects.
From the V-LINK screen, touch <D BEAM>. Here we will specify the V-LINK function to
be assigned to the D Beam. You can select one of four V-LINK functions by pressing one
of the buttons ([TIMETRIP] [TIME] [PITCH] [ASSIGNABLE]) located below the
D Beam Controller. The screen settings correspond as follows.
4 Asgn L
Right D Beam function
1 Asgn R
2 Asgn R
3 Asgn R
4 Asgn R
For this example, we'll set up the D Beam so that a visual effect is also applied when
[ASSIGNABLE] is pressed. Touch <4 Asgn L>, and set [VALUE] to VFX1. Press
[EXIT], and then play the keyboard as you move your hand over the D Beam Controller
(left side). We recommend selecting 020:LetThemPray as the V-Synth patch.
fig.v10
Wiping between two images (TimeTrip Pad)
From the V-LINK screen, touch <TT Pad>. Y-Assign-XY is assigned to T-BAR. With
this setting, touching the TimeTrip Pad and moving your finger upward and downward
produces an effect similar to operating the T-bar. Let's try switching between two clips
as they play back together.
Press [EXIT] to return to the V-LINK screen, and press the V-Synth's [ASSIGNABLE]
button located beside the TimeTrip Pad. Next, press [HOLD]. While playing the
keyboard, touch the lower part of the TimeTrip Pad and select the clips you want to
switch using PATCH PALETTE [1]—[8]. Slowly raise and lower your finger to switch
images as the sound changes. Try 044:Rader Arp as your V-Synth sound. You can
select a clip to be switched each time you press PATCH PALETTE [1]—[8].
fig.v11
image
3 Asgn L
of
2 Asgn L
dimensions
1 Asgn L
New
Left D Beam function
performance
Button
45
V-LINK functions that can be controlled from the V-Synth
The V-Synth lets you assign the following functions to controllers such as the TimeTrip Pad, D Beam Controller, and C1/C2 knobs in order
to control V-LINK compatible video equipment (e.g., DV-7PR, V-4).
V-LINK function
DV-7PR
V-4
CC10 (panpot)
YES
NO
CC5 (portamento time)
YES
YES
Audio Level
CC7 (volume)
YES
NO
Color Cb (chrominance)
CC72 (release)
YES
NO
Color Cr (chrominance)
CC71 (resonance)
YES
NO
CC74 (cutoff)
YES
NO
VFX1 (Visual effect 1)
CC1 (modulation)
YES
YES
VFX2 (Visual effect 2)
CC91 (reverb)
NO
YES
VFX3 (Visual effect 3)
CC94 (celeste)
NO
YES
VFX4 (Visual effect 4)
CC95 (phaser)
NO
YES
Output Fade
CC73 (attack)
YES
YES
CC11 (expression)
YES
YES
CC64 (hold 1)
YES
NO
TimeTrip
CC92 (tremolo), CC93 (chorus)
YES
NO
Palette1 — 8 (Palette switching, Input select)
CC0 (bank select): 00H — 07H
YES
YES
Program change: 00H — 07H
YES
YES
Playback Speed
Dissolve Time (image switching time)
Brightness
T Bar
Dual Stream
New
dimensions
of
image
performance
Clip1 — 8 (Clip switching, Input select)
46
MIDI message transmitted
A p p e n d i c e s
Sound Designers’ Comment
Howard Scarr
Stephane Pigeon
Hans-Joerg Scheffler
48
48
49
50
Other Tips
51
Patch List
54
Waveform List
56
Specifications
60
Index
62
A p p e n d i c e s
Sound Designers’ Comment
Sound Designers’ Comment
Designer: Howard Scarr
The Potential of Waveforms
As already mentioned in “Getting More out of a Sample”,
but they are also very useful for creative sound design when
VariPhrase-encoded samples are not only capable of covering a
more extreme parameter values are used…
much wider range of musical notes than conventional samples,
001:Mad Orchestra – A Question of Time
The story of this patch is interesting because it is so typical of the
There was no preconceived idea behind this patch – I certainly
surprises that VariPhrase technology has in store. They are only
wasn’t thinking anything on the lines of “let’s turn this piano
revealed if you are willing to experiment.
arpeggio sound into something which sounds more like an entire
✱ Simply adjusting the oscillator parameter settings Pitch
and Time often yields results which are very different
from the original waveform
orchestra playing avant-garde music”. My only thought was
“what is the sonic potential of this particular wave?” and I
answered that question at the twist of a knob – TIME!
012:Poppy Day – Similar Events
This one is based on the wave 066 - 137 Scat 2+, a waveform
Poppy Day is a good showcase for Step mode. The individual
which appears (in different guises) in several other presets,
Events appear sequentially when you play notes, but because all
notably 007:VoixBulgares, 084:Tetapaali and 138:Spongle.
four events are fairly similar you can still play normal solos. Try
to remember this factor when recording your own samples!
203:Scratch Lead – Slow Movement
A scratchy ethnic violin sound from a brass waveform? Again, this
modulation in the original waveform (caused by the Rotary
wasn’t thought out beforehand, it only arose via experimentation
effect) creates subtle, organic movement in the slowed-down
with the Time value i.e. “let’s see what effect this parameter has
version.
on this waveform”. 206:FragileVoice is similar in that the rapid
48
Designer: Stephane Pigeon
V-Synth analog oscillators may be considered as the Sound
right behind waveform’s start point. To preview the resulting
designer’s “Swiss Army Knife”.
sound, from the Front Panel, switch all effects off, mute OSC2,
By offering sine, square and triangular waveforms, these
disable COSM1 and hit a key. The static waveform you now hear
oscillators instantly provide the characteristic sound of the
quickly becomes annoying if left as it is. The programmer bought
“traditional” synthesizer back at the time where everything was
this patch into life by assigning the Formant parameter to the
analog. These oscillators are best described as primitive and
keyboard velocity (see OSC1/Formant page). Furthermore,
static, but very powerful: the basic sound they offer literally
bright hi-frequency sonic components were filtered out by using
jumps straight onto listener’s face! By slowing the time down to
a Dynamic time variant filter (please now enable COSM1) and a
zero, VariPhrase is able to turn any PCM sample into a static
sub-oscillator has been added by means of our Swiss Army Knife
sound whose potential power is comparable to the one offered
emulating a sine waveform (now enable OSC2). This sub adds
by those analog waveforms. Start from an initialized patch,
an extra-bass character to the sound. At last, effects have been
choose a PCM oscillator, enable both VariPhrase and Robot
use to polish the patch and give its final shape thanks to the
functions then make sure Time Offset parameter is set to Zero:
Analog Phasing effect (now enable MFX and Chorus)
the Frozen World then welcomes you!
Additional playability is offered by means of the TimeTrip pad
Voco Bass has been designed while experimenting such static
(the X/Y mode alters both formant and filter COSM1 cutoff
waves and browsing through various “frozen” PCM samples. This
frequency) and Aftertouch (increases COSM1 cutoff frequency).
patch makes use of the “Make A Groove” waveform, frozen
Sound Designers’ Comment
008:Voco Bass
018:Pulsatronic
Pulsatronic perfectly illustrates different key-features inside a
Side-Band Filter which brings the noise bursts produced by the
single powerful patch. First, the arpeggiator, which here turns a
first Oscillator into tune. This filter is mainly responsible for the
simple key-stroke into a rich up-and-down pattern. Settings can
particular tonal character of this patch. Its effect can easily be
be customized from the Common/Arpeggio page where one
heard by toggling the COSM1 structure switch ON or OFF.
may chose a shorter Duration for example. Then, the
Furthermore, this patch also illustrates the flexibility of the
combination of both VariPhrase and analog oscillators, achieving
analog section, which allows the user to gradually change the
a pleasant tonal balance. In this patch, the VariPhrase oscillator
tonal characteristic of the sound while waving his hand around
is used to produce some crisp digital sounds, while its analog
the D Beam.
counterpart adds more body to the patch. Then, the innovative
110:Sidewalk
The Side Band Filter represents one of V-Synth unique features.
The distinctive sound of [110:Sidewalk] has been achieved by
This filter shapes noise-like spectrums into musical waveforms by
this same particular filter and the COSM1/P1 knob can be used
removing all non-harmonic frequencies found in the original
once again to increase or decrease the non-harmonic content of
source. Its effect is best heard through the preset patch called
the filter’s output. In order to discover which sample has been
[111:SBSync’d]. In this preset, a motor noise has been used as
used to create the rhythmic feel hidden behind the patch, grab
main oscillator source. This motor can be heard by turning the
the COSM1/P1 potentiometer and put all non-harmonic
COSM1/P1 knob all the way up. By slowly decreasing the same
frequencies back into the sound! Aren’t you surprised of what
parameter, the noise-like content of the original waveform will
you now hear?
gradually dissapear until only harmonic frequencies remain. Once
all non-harmonic frequencies are gone, the resulting sound can
be played through the whole keyboard like any other musical
instrument.
49
Hans-Joerg Scheffler
240:OTODAMA-East meets west
The V-Synth is a great tool to create ethnic type sounds out of
Try setting the time to -39 and the envelope amount to a value
rather conventional sources like a piano multi sample. Otodama
of 63 to change the character of that OSC into a more brasslike
means the spirit of sound and I felt inspired by the name to use
tone. OSC2 uses another piano wave and provides the attack of
the piano waveform and see if I can turn it into a different
the sound. Time is set to zero to freeze the waveform and the
instrument.
envelope modifies that so we get a very fast attack followed by
Oscillator one plays the sample in reverse and creates the body
a frozen sustain. Try experimenting with setting time to -63 and
of the new sound.
change the envelope shape and amount.
Sound Designers’ Comment
Use the formant to control the amount of overtones in the
sound.
223:Cutting Edge
223:Cutting Edge combines a PCM wave and an analog
than the release time of the TVA to produce an audible release
waveform for the best of both worlds.
noise like on a harpsichord or clavinet.
Try to change the waveforms for different results. This patch
It's a simple trick but helps a lot to simulate the sound of a
uses the dual filter for COSM1 with a release time that is shorter
plucked string.
255:V-ocoder
255:V-ocoder sounds like a sideband filter but it isn't. This
vocal sample. Change the pitch of OSC2 for some tonal changes.
patch uses the ring modulator and LFOs to create a pulsing
COSM1 is using the wave shaper to tame the sound of OSC1.
sound that has a breathy quality like a drum loop animating a
Try different waveforms for the shaper for different results.
009:Phraselab
009:Phraselab uses the attack menu waveform and the
source for giving patches an always changing character as they
arpeggiator to create wave sequences.
provide a different waveform for every key. In their original form
Time of OSC1 is set to zero and is controlled by an S&H LFO to
every key is tuned to the same pitch which can get a bit boring.
create periodic changes.
Activate ROBOT to have the pitch of these waveforms follow the
Try different LFO waveforms, rates and offsets for different
results. The attack and sustain menu waveforms are a great
50
keyboard. Now you can play melodies that have a different
sound on every note.
Other Tips
• Reset to Default Factory Settings (p. 51)
• What is the resampling function? (p. 52)
• What is VariPhrase? (p. 51)
• Preset Patches (p. 52)
• What is the TimeTrip function? (p. 52)
• Enabling/Disabling the Beep Tone (p. 53)
• What kinds of audio file can be loaded? (p. 52)
• Adjusting the Sensitivity of the D Beam Controller (p. 53)
Reset to Default Factory Settings
Press [MODE]. The V-SYNTH MODE MENU window appears.
2.
Touch <FACTORY RESET>. The Factory Reset screen appears.
3.
Touch <EXECUTE> to execute the Factory Reset. When the display indicates
“COMPLETED!,” the factory reset operation has been completed.
✱ If there is important data you’ve created that’s stored in the V-Synth’s
internal memory, please make sure it is backed up before you perform a
Factory Reset. All data is discarded when a Factory Reset is performed. If
you want to keep the existing data, back it up on a PC card, to a computer
via USB, or transmit it to an external MIDI device and save it.
O t h e r
1.
T i p s
This restores all data in the V-Synth to the factory settings (Factory Reset).
What is VariPhrase?
VariPhrase has the following advantages:
Typical issues with Digital Samplers and Digital recorders
1.
Capable of changing the pitch, rate of time expansion/
• Changing tempo affects Pitch.
compression and voice characteristics (formant) on a
• Changing the pitch of phrases affects tempo and formant of
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.
4.
Retains sound quality, while implementing the above three
the sound.
• Limited control of audio phrases. You cannot adjust a partial
section of a sound in real-time.
• Most samplers require multiple samples over limited key
ranges for realistic playback of a sound.
advantages. VariPhrase overcomes many problems that
• Samples of the same tempo must be available for performing
conventional samplers and digital recorders have with audio
chords, otherwise the notes of the chord will be out of sync.
phrases.
• Pitch or tempo changes on Digital samplers tends to degrade
audio quality.
VariPhrase solves all of these problems.
51
What is the TimeTrip function?
One of the advantages of VariPhrase is that the playback location
current playback location. Then as you move your finger from that
and speed of the wave can be changed in real-time. The TimeTrip
point in a circle, the wave playback will advance in the direction of
function takes advantage of this ability to manually control the
conventional playback (clockwise), or the reverse (counterclockwise).
playback location and speed of the wave.
Unlike “scratching” on a turntable, this lets you control the playback
without affecting the pitch, so you can play the sound at the pitch
In patches that use VariPhrase, switch the TimeTrip Pad function to
you specify from the keyboard.
“TIME TRIP” to use this function. While playing the keyboard, touch
the TimeTrip pad and the currently sounding wave will stop at the
You can use the D Beam controller to produce similar results.
What kinds of audio file can be loaded?
WAV/AIFF format audio files created by another device can be
loaded into the V-Synth and used in the same way as data you’ve
O t h e r
T i p s
sampled on the V-Synth.
What is the resampling function?
The V-Synth is able to resample sounds from its internal memory.
2. You could sample multiple samples played simultaneously,
This is called resampling. In actuality, the same sounds that are
and record them as a single sample. You can conserve voices
output from the rear panel MAIN OUT L(MONO), R jacks are
in this way.
sampled.
3. You could sample a phrase using arpeggiator, or a passage
you played with modulation using D Beam controller
Benefits of resampling:
1. You could make complicated and elaborated sound synthesis
by applying the modulation and effect processing to a sound
and then applying a different set of effects and modulation
and/or TimeTrip Pad, and record it as a single sample. You
can play it as a single phrase.
Because resampling is done within the digital domain, there is no
loss of sound quality.
to the resampled version of the sound.
Preset Patches
One of the prominent features of the V-Synth is that you can
In recent years, developments in sound design have focused on
create sounds in a way that was not considered possible on
analog modeling and the reproduction of existing, real-life
digital synthesizers. What’s more, you don’t need to have any
sounds—all the while keeping step with the advances in digital
prior knowledge of synthesizers of all—all you need to do is turn
technology that have occurred in every sphere. While being part
a few knobs and move a few sliders and you’ll be creating sounds
of such trends, the V-Synth represents a new departure because
in real time that are sure to surprise and thrill your audience.
it allows the user to easily and freely create any sound
imaginable, since it is a fully digital instrument.
Even though this instrument is totally digital, you’ll be able to
experience the pleasure of creating sounds in the same way that
Most of the preset patches contained within the V-Synth were
those who used to use analog synthesizers did. And in fact, this
designed in a way that highlights the features mentioned above.
instrument was designed specifically to allow users to rediscover
Since the sampler found on the V-Synth is quite comprehensive,
the traditional sound creation process—with the help of the latest
with features rivaling even those of a dedicated sampler, any
DSP and sampling technologies, of course.
real-life sounds you need can be readily acquired simply by
sampling them.
52
Enabling/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.
✱ At the factory setting, the beep tone will be sounded.
1.
2.
In the upper right of the screen, touch triangle. A drop-down menu appears.
In the drop-down menu, touch <Beep> to add a check mark . With this setting, the beep tone will be heard. If you perform the
same procedure once again, the check mark will be cleared and the beep tone will no longer be heard.
Changes you make to the System function settings are only temporary—they will be discarded as soon as the power is turned off. If you
Press [MODE]. The V-SYNTH MODE MENU window appears.
4.
Touch <SYSTEM>. The SYSTEM Com Master screen appears.
5.
In the Powerup Mode area, select the <Last Set> tab.
6.
Touch <Write>, located in the lower right of the screen.
Adjusting the Sensitivity of the D Beam Controller
Perform this adjustment if the D Beam controller is functioning incorrectly, such as responding even though you have not operated it.
1.
Press [MODE]. The V-SYNTH MODE MENU window appears.
2.
Touch <CALIBRATION>. The CALIBRATION MENU screen appears.
3.
In the CALIBRATION MENU screen, touch <D BEAM>. The D Beam CALIBRATION screen appears. When you place your hand
O t h e r
3.
T i p s
want to keep any changes you’ve made in the system settings, you must save them in internal memory.
over the D Beam controller, the “L” or “R” level meter in the screen will move upward or downward.
4.
First specify the location at which the D Beam controller will begin responding (i.e.,
the minimum value). Move your hand toward the D Beam controller, and touch
<Min> at the point where you want the controller to begin responding.
5.
Next specify the location at which the D Beam controller will reach the peak (i.e.,
the maximum value). Continue moving your hand toward the D Beam controller, and
touch <Max> at the point where you want the peak response to occur.
6.
While watching the level meter in the screen, raise and lower your hand to check
the response of the D Beam controller.
7.
If you are satisfied with the response, touch <OK>. The sensitivity of the D Beam
controller will be calibrated.
Changes you make to the System function settings are only temporary—they will be discarded as soon as the power is turned off. If you
want to keep any changes you’ve made in the system settings, you must save them in internal memory.
8.
Press [MODE]. The V-SYNTH MODE MENU window appears.
9.
Touch <SYSTEM>. The SYSTEM MENU screen appears.
10. Touch <Controller> button at the bottom of the screen, then touch <D beam>
tab in the left of the screen.
This sets the D Beam Controller’s sensitivity. Sens L is the left side. The higher the value
set, the more readily the D Beam Controller goes into effect. Normally you will leave this
at “100.”
53
P a t c h
L i s t
P a t c h
54
L i s t
No.
PatchName
No.
PatchName
No.
PatchName
No.
PatchName
001
MadOrchestra
034
Wondervoice
067
Galaxia
100
Harmny2Chaos
002
Harp Trek
035
LabyrinthArp
068
DBeamPsychic
101
Baby Steps
003
Dusted Loop
036
ARP Trance
069
Glass House
102
Wavescanner
004
MemoryMoke
037
Sine Bell
070
Psycho
103
SteproSwank
005
Hyperballad
038
Mekongscape
071
GlassCluster
104
Pluck-Morph
006
Heavy Drone
039
Bon Voyage
072
Decompose
105
Synapse 2
007
VoixBulgares
040
Acetate arp
073
V-aterphone
106
In a Hurry
008
Voco Bass
041
Little Fluff
074
La Magia
107
INSPIRATOR
009
Phrase Lab
042
Big Fluff
075
TT Creatures
108
Tribal SBF
010
Quasimodo
043
Chariosity
076
Gutter Shaku
109
Bo`sides now
011
Time Warper
044
Radar Arp
077
Dive Bomber
110
Side walk
012
Poppy Day
045
Tangy Speed
078
ScottishMess
111
SBSync'd
013
Jet Bass
046
Chorduroy
079
DA Converter
112
Triple Wha
014
Trip of Time
047
Synthetik
080
Sleeping Bs
113
Bowed Bells
015
NaNaNaHeyYaa
048
Late Lounge
081
DBeam Insect
114
Reversed Mb
016
Tardus
049
Tap Dance
082
Alien Bubble
115
Africalcool
017
120LpMixMenu
050
Dustbins
083
Talkbox
116
Running Away
018
Pulsatronic
051
Wet Balloon
084
Tetapaali
117
Funky Guru
019
Percolator
052
AKAGANI
085
HappyCartoon
118
Groovy-Doo !
020
LetThemPray
053
DanseSacrale
086
Junker Pad
119
Radon Rhythm
021
DblSweeper
054
InSaNe dJ
087
RevrsPfWater
120
BitDown Beat
022
Metalarnyx
055
Maddening Lp
088
Fireworks
121
Traship-Hop
023
TimeTripRun
056
MetalOnMetal
089
Break it !
122
XY&DB 4 Fun
024
Nylon Floot
057
NaidinTirips
090
Man-Machine
123
Hip Groove
025
GhostingGrit
058
Nemesis
091
Break Down
124
Micro Jazz
026
TalkingSteps
059
Metaluna
092
Elektronoiz
125
Rubbadub
027
Synapse 1
060
LoCo Pilot
093
e=mc^2
126
Alien Groove
028
DBeam Slap
061
Fixed Star
094
90FootSpikes
127
Machine Seq
029
StormyFunkBs
062
Spectroscope
095
Broken HAL
128
XY Artefacts
030
Look@MeEllie
063
Bird Island
096
Voxette 2003
129
LoopWaveMenu
031
Earth Temple
064
To Space
097
Piston Pulse
130
085LpMixMenu
032
Grity Groove
065
Snowflake
098
Talkn'Slicer
131
100LpMixMenu
033
ReversedTrek
066
TTripWhisper
099
Runners
132
125LpMixMenu
No.
PatchName
No.
PatchName
No.
PatchName
133
140LpMixMenu
173
Eclipse
213
Retro-Disco
253
HitSymphoniq
134
Voxalist
174
Aurora
214
Greasy Comb
254
Fire Bird
135
Formanteer's
175
Ghost
215
Hi-Lo Synth
255
V-ocoder
136
Idle Chatter
176
Tape Strings
216
V-Analog
256
SpectraPiano
137
Thinband Vox
177
VellatronStr
217
Wavezituar
257
AquaticPiano
138
Spongle
178
Stringerz
218
On the Edge
258
JD Piano
139
FmleVocalise
179
Shakin'Str
219
STALKER
259
MK-80 Rhodes
140
MOOD SCAT
180
Think Ployd
220
Legacy
260
Piano Warp
141
Babylon Talk
181
Stringent
221
Phasorblade
261
Vox Clavi
142
TimeTripMonk
182
DBeamFrmntVn
222
LiquidRubber
262
Keywave Klav
143
AfricanCharm
183
GoodOldJive
223
Cutting Edge
263
FM V-Klav
144
Virgo
184
Euro Flute
224
ElectricWah
264
V-Lo Klaver
145
Hybrid Scat
185
Vellatron Fl
225
NOT Sync!
265
ClaviWahWah
146
Vocalese
186
Tape Flute
226
DigiHarp
266
Nylon Shapes
147
GizmoVox
187
Soft Pan Flt
227
Winter night
267
OpticalOrgan
148
Vocalizing
188
Wind Ctrler
228
Krystal Bell
268
Prog Organ
149
Overtones
189
Drunk Alto
229
Remember D50
269
CathedrlPipe
150
Vocal Pad
190
ArpyClarinet
230
FrmntSwpBell
270
Wave Bass
151
Choir&Prayer
191
Big Bamboo
231
Steamwires
271
Voyager Base
152
Monestary
192
Digier-V-doo
232
Enigmatics
272
Boogie Bs
153
Choral Beam
193
Feedback Osc
233
Sympathizer
273
Blackness Bs
154
Vox Dreams
194
Whoover
234
Kalimberd
274
Mini$@#Right
155
Glass Choir
195
Wave Ripper
235
Piggy Picker
275
Reso Atk Bs
156
Initiation
196
Sinkkasten
236
MidEastDrone
276
Dark Bass
157
Tomorrow
197
TopOfTheWrld
237
Gangescape
277
Mini Me
158
Flotation
198
Think Lead
238
Distant Land
278
Dance Bs 1
159
Twilight
199
Feel no pain
239
Ethno Synth
279
Dance Bs 2
160
Glass Pad
200
NastyLead
240
OTODAMA
280
Kick Bass
161
FuzzyHeaven
201
Sine ahead
241
Buzzards
281
BassTryAfter
162
Padus
202
Tea Bea Lead
242
Scale tuned
282
WShapeBass1
163
Filmy Synth
203
Scratch Lead
243
Clip Clop
283
WShapeBass2
164
Fluty Pad
204
Brassy Lead
244
Metal Pearls
284
Retro-Singer
165
Ringbearer
205
Solo Square
245
Coffee Break
285
DigiDharma
166
Smoothie
206
FragileVoice
246
Vudu
286
SpyCarGetawy
167
Touchpad Pad
207
Shuu Lead
247
Dyna Dholak
287
Harem Dance
168
Resonus
208
Cla Lead
248
Dyna Tabla
169
SloSyncSweep
209
Asian Lead
249
Kick Menu
170
BriteVektars
210
ConstructBts
250
Snr&Tom Menu
171
Brass Pad
211
Pulsactive
251
Rave Cave
172
Tight Wire
212
Thick Sine
252
11 Staccato
L i s t
PatchName
P a t c h
No.
✱ Patch numbers 288 and
above were left empty when
the instrument left the
factory. Use them to store
patches that you create.
55
Wa v e f o r m L i s t
* The number in front of the name indicates the original tempo (BPM).
* Waveforms with a “+” symbol at the end of the name:
Events have already been specified for the wave. For details regarding event, refer to “Playback Mode (PCM Oscillator Playback Mode)”.
* Waveforms with a “-M” symbol at the end of the name:
This is a multisample wave. It consists of a multiple number of waves, each of which has been separately sampled for a specific pitch range.
* V S : The velocity switch is enabled. The sound will change in response to the dynamics of your keyboard playing. VS1 and VS2 are variations of the velocity switch.
* Wave numbers 325 and above were left empty when the instrument left the factory. Use them to store waves that you create.
Loops
Voice
Brass/Wood Winds
Piano/Keyboard/Mallet
No. Waveform Name
No. Waveform Name
No. Waveform Name
No. Waveform Name
001 108 MrphSyn +
033 160 Slicer1 +
069 M Ooohz +
102 Brs Cluster
002 058 VoxSwp +
034 160 Slicer2 +
070 F WoYeah +
103 Brs Swell
003 114 SyncSwp +
035 120 Slicer3 +
071 M OhYeah +
104 Brass ff
004 157 PGSweep +
036 120 MuscBel +
072 F Aah
105 Brs Fall
005 126 WaveTbl +
037 120 Spectre +
073 F Uuh
106 Trumpet Vib
006 119 SpctSeq +
038 100 GtrArpg +
074 F Hum
107 TpHarmonMute
007 123 FrmtSeq +
039 113 WahGtr +
008 120 Vox Seq +
040 116 WahCutG +
009 120 WindSeq +
041 117 FunkGtr +
010 120 PlckSeq +
042 090 FuzzGtr +
011 115 XVLp01 +
043 120 PfLick1 +
012 098 XVLp02 +
044 088 PfLick2 +
013 085 XVLp03 +
045 120 Glocken +
014 111 XVLp04 +
046 104 Kalimba +
015 160 XVLp05 +
047 144 AfroXyl +
016 123 D50Lp01
048 090 HipHpJz +
017 123 D50Lp02
049 100 HipHop +
018 123 D50Lp03
050 145 TechHH +
019 123 D50Lp04
051 145 TechK&H +
020 123 D50Lp05 +
052 115 TambGrv +
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
021 123 D50Lp06 +
053 090 AcidJz +
022 123 D50Lp07 +
054 090 BrshSnr +
023 123 D50Lp08 +
055 104 Shakin' +
024 123 D50Lp09 +
056 132 Bottle +
025 123 D50Lp10 +
057 140 Bongo +
026 123 D50Lp11 +
058 132 Conga +
027 123 D50Lp12 +
059 090 Dholak +
028 123 D50Lp13 +
060 090 TablaBy +
029 123 D50Lp14 +
061 120 Cuica +
030 123 D50Lp15 +
062 140 Tribal +
031 123 D50Lp16 +
032 123 D50Lp17 +
L i s t
No. Waveform Name
m
Phrase
W a v e f o r
Morphing/Sequence
Elements
075 F Nm
076 F Shuu
077 M Doo
078 M Nah
079 M Grow Nm
080 Soprano Vib
081 F India Aah
082 Tuvan Low
Choir
No. Waveform Name
109 AltoSax Vib
110 Flute Vib
111 Punchy Flute
112 Oboe Vib
113 Clarinet Vib
114 Bass Cl Vib
115 Bassoon
Ethnic
083 M Ahs Lo
No. Waveform Name
084 M Ahs Mid
116 Steamer
085 M Ahs Hi
117 Moceno
086 F Ahs Mid
118 Shaku Vib
087 F Ahs Hi
119 Hichiriki
088 M Oohs
120 Qu Di Vib
089 Organ Vox
121 Sona Vib
122 Shanai Orn
Strings/Orchestra
123 Didgeridoo
No. Waveform Name
124 Sitar Drone
090 Vn Vib
125 Santur
091 Vn BartkPizz
126 Sanxian
092 Vc Vib
127 Tsugaru
093 JV Str Lo
063 080 MakeGrv +
128 Biwa
094 JV Str Hi
064 080 NotHear +
129 Berimbau
095 JP Strings
065 126 Scat 1 +
130 Buzz Kalimba
096 OB Strings
066 137 Scat 2 +
131 Sanza
097 OBXP Str
067 088 NaNaNa +
132 Vib Kalimba
098 JP Soft Pad
068 110 Dance
099 D-50 Heaven
133 Gender
100 Orch Penta
101 OrchCluster
56
108 Trombone
134 Glass Harp
135 FingerCymbal
Ac.Piano Lo
Ac.Piano Mid
Ac.Piano Hi
JD Piano Lo
JD Piano Mid
JD Piano Hi
Rhodes Lo
Rhodes Mid
Rhodes Hi
MK-80 EP Lo
MK-80 EP Mid
MK-80 EP Hi
Wurly Lo
Wurly Mid
Wurly Hi
Clav Lo
Clav Mid
Clav Hi
Vibes
Marimba Lo
Marimba Mid
Guitar/Organ/Bass
No. Waveform Name
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
Nylon Gt Lo
Nylon Gt Hi
Steel Guitar
SteelGtSlide
Clean Gt Lo
Clean Gt Mid
Clean Gt Hi
Heavy Guitar
WahDelay Gtr
Rotary Gtr
B-Organ
Power-B fast
Ac.Bass
Pick Bass
Finger Bass
Bass Slide
Percussion
No. Waveform Name
No. Waveform Name
173 JU-2 Sub OSC
215 Sleigh Bell
174 260 Sub OSC
216 Wind Chime
175 Spectrum 1
217 Cowbell
176 Spectrum 2
218 Conga Lo Op
177 Bellwave
219 Dumbek
178 Vibwave
220 Bendir
179 TR-808Claves
221 UdoPot Long
180 TR-808Cowbel
222 UdoPot Mute
181 Digiwave
223 Cuica Mute
182 Wire String
224 Cuica Open
183 JP-8000 FBK
225 Nylon Perc
184 JP-8000 PWM
Drums
Noise/FX/Hit
No. Waveform Name
No. Waveform Name
226 Studio Kick
185 Atmosphere
227 TR-808 Kick
186 MG PinkNoise
228 TR-909 Kick1
187 P5 Noise
229 TR-909 Kick2
188 Rezo Noise
230 StdSnr VS
189 ZZZ loop
231 StdSnr
190 Bomb Noise
232 StdSnr RmSht
191 Radio Noise
233 StdSnr Stk
192 Vinyl Noise
234 R&B Snr
193 Cymbal Loop
235 TR-808 Snr
194 Jet Plane
236 TR-909 Snr
195 Turbine
237 TR-808 Rim
196 Afro Cheer
238 TR-909 Clap
197 Rain
239 Rock Tom Lo
198 Propeller
240 TR-909 Tom
199 120 Steamn' +
241 Studio HH Cl
200 150 Scratch1
242 Studio HH Op
201 136 Scratch2
243 TR-808 HH Cl
202 124 MG Zap
244 TR-808 HH Op
203 150 Water
245 Crash Cymbal
204 Harpin'Piano
246 Ride Cymbal
205 Piano Thump
247 Gong
Menu waves
No. Waveform Name
No. Waveform Name
No. Waveform Name
248 Ac.Piano A-M
280 NylonGt A -M
312 LoopMenu 1 +
249 Ac.Piano B-M
281 NylonGt B -M
313 LoopMenu 2 +
250 Ac.Piano C-M
282 NylonGt C -M
314 LoopMenu 3 +
251 Ac.PianoVS-M
283 NylonGtVS1-M
315 LoopMenu 4 +
252 JD Piano A-M
284 NylonGtVS2-M
316 ElmentMenu 1
253 JD Piano B-M
285 M+F Ahs A -M
317 ElmentMenu 2
254 JD Piano C-M
286 M+F Ahs B -M
318 ElmentMenu 3
255 JD PianoVS-M
287 M+F Ahs C -M
319 ElmentMenu 4
256 Rhodes A -M
288 JV Str A -M
320 ElmentMenu 5
257 Rhodes B -M
289 JV Str B -M
321 ElmentMenu 6
258 Rhodes C -M
290 JV Str C -M
322 ElmentMenu 7
259 Rhodes VS -M
291 JV Str VS1-M
323 Attack Menu
260 MK80EP A -M
292 JV Str VS2-M
324 Sustain Menu
261 MK80EP B -M
293 OB Str A -M
262 MK80EP C -M
294 OB Str B -M
263 MK80EP VS1-M
295 OB Str C -M
264 MK80EP VS2-M
296 OB Str VS1-M
265 Wurly A -M
297 OB Str VS2-M
266 Wurly B -M
298 D-50Hvn A -M
267 Wurly C -M
299 D-50Hvn B -M
268 Wurly VS1 -M
300 D-50Hvn C -M
269 Wurly VS2 -M
301 D-50HvnVS1-M
270 Clav A -M
302 D-50HvnVS2-M
271 Clav B -M
303 Brass A -M
272 Clav C -M
304 Brass B -M
273 Clav VS1 -M
305 Brass C -M
274 Clav VS2 -M
306 Brass VS1 -M
275 Marimba A -M
307 Brass VS2 -M
276 Marimba B -M
308 Fl Vib A -M
277 Marimba C -M
309 Fl Vib B -M
278 MarimbaVS1-M
310 Fl Vib C -M
279 MarimbaVS2-M
311 Fl Vib VS -M
L i s t
Synth
Multi-samples
W a v e f o r m
Elements
206 SteelGt Noiz
207 ET Flex
208 Waterpan Hit
209 PCM Press
210 Glass Break
211 Firework
212 Smear Hit
213 ClasicHousHt
214 Orch Hit
57
Column
Un d e r s t a n d i n g S o u n d
Randomly moving controls on the panel or changing parameters in the menus is not the best method of arriving at musically useful sounds. Before attempting to create
new sounds on your V-Synth, you should be aware of some fundamental audio principles and how these apply to synthesizers in general. The concepts and examples
in this section have been kept relatively basic for readers with little or no previous experience of synthesizers.
What is Sound?
Manipulating Partials
Throughout our lives we are constantly surrounded by sounds of all kinds.
Physically, sound waves are contractions and expansions in the air, rapid changes
in air pressure which cause our ear-drums to vibrate (like a microphone capsule)
and send corresponding signals to the brain. The physical attributes of a sound
wave determine how it is perceived, and the three elements we can all recognize
are pitch, brightness and volume (loudness).
A mathematician called Fourier once proved that any sound at all, from a dog
barking to the complete works of Rachmaninov, can be described as a timevariant mixture of many sine waves known as partials or overtones. A very
large number of sinewave oscillators, each with independent control of
frequency and amplitude would be necessary to emulate even a dog barking.
That is why this additive synthesis is much less common than subtractive
synthesis - selectively removing partials from complex waveforms.
Nevertheless, viewing a complex waveform as the sum of its component partials
is useful to understand how subtractive synthesizers work. The typical sawtooth
and square waves in any subtractive synthesizer consist of a fundamental (the
basic frequency) plus integer multiples of this frequency (2x, 3x ... and so on).
Such integer multiples are called harmonic partials, while the non-integer
multiples particularly prominent in drums or natural (non-instrumental) sounds
are called inharmonic partials.
Pitch
The pitch of a note depends upon how rapidly the wave repeats itself. A more
scientific and general term for pitch is frequency, measured in Hertz (Hz). 1Hz
is defined as 1 cycle (repetition) per second.
Higher frequency notes have higher pitch. Doubling or halving the frequency of
a note shifts the pitch up or down an octave - the most harmonic interval of all.
For example, the note A4 (middle A) has a standard frequency of 440 Hz, so
A5 is 880 Hz and A3 is 220 Hz.
A5
(=880 Hz)
1 Hz sound wave
time
1 second
A4
(=440 Hz)
A3
(=220 Hz)
Sawtooth wave
Square wave
time
time
time
time
time
Brightness
"clang"
Fundamental
2nd partial
3rd partial
4th partial
5th partial
6th partial
7th partial
Piano waveform (complex)
Fundamental
2nd partial
3rd partial
4th partial
5th partial
6th partial
The brightness of a wave is generally
determined by how complex it is. The less
smooth the waveform, the brighter it
sounds. If you compare a piano waveform
with a sinewave using an oscilloscope, it is
easy to see why the piano note sounds
brighter than the sine wave.
Partials
Partials
time
Filters
Sine waveform (smooth)
"poooh"
time
Volume
The volume of a sound is determined by its amplitude, which is basically the
absolute difference between peaks and troughs in the wave i.e. its height in the
diagram below. Louder sounds have higher amplitude, and softer sounds have
lower amplitude.
The more high-frequency partials there are in a sound, the brighter it will be.
Removing some of the higher partials from bright waveforms using a Low Pass
Filter will make the sound mellower, and this is the basic method used in
subtractive synthesis. Many subtractive synthesizers have an optional High Pass
filter to remove lower partials and/or a Band Pass filter to remove high and low
partials at the same time, leaving those in the middle unaffected. Whatever types
of filter are used, all subtractive synthesizers need waveforms with a rich
assortment of partials so that sounds can be modified in interesting ways.
Low Pass Filter
bright waveform
level
time
partials
which are cut
frequency
Higher partials are cut,
making the waveform more rounded (mellow)
time
soft sound
time
time
loud sound
Before being sent through the filter, additional partials can be created using
several methods of interaction between oscillators e.g. synchronisation (Sync),
Ring Modulation (RM) or Frequency Modulation (FM), as well as various
distortion techniques.
Column
Un d e r s t a n d i n g S o u n d
Time-variant timbral changes (Envelopes)
Listening to any acoustic instrument, you will often hear changes in brightness
and volume within each note. Synthesizers make use of Envelopes to emulate
these effects.
Pitch Envelope
Especially brass and woodwind
instruments exhibit a rapid pitch
change at the beginning of each note.
The diagram below shows the typical
time-variant pitch change of the
trumpet. Synthesizers make use of Pitch
Envelopes to emulate such effects:
Amplifier Envelope
Notes played on plucked or hammered instruments generally decay down to
silence, while on instruments such as organ or violins, they can carry on
indefinitely at the same level. Either of these basic forms can be emulated in
synthesizers using the Amplifier Envelope.
Trumpet, etc.
Piano, etc.
pitch
time
volume
time
Organ, etc.
Filter Envelope
Key-off
Notes played on plucked or hammered instruments such as the guitar, piano or
drums start relatively bright, then become increasingly mellow as the sound
decays. This behaviour can be emulated in synthesizers using the Filter
Envelope:
cutoff
frequency
volume
time
Key-on
Piano, etc.
time
Adding Expression to a Sound
Low Frequency Oscillators (LFO)
LFOs can be applied to the three basic elements of a sound (pitch, brightness
and volume) to make sounds less static than they would otherwise be and give
sounds a “human touch”. Most modern synthesizer keyboards include wheels or
joysticks as well as aftertouch (pressure on the keyboard) which can be used for
realtime control over LFO modulation depth.
Wah
Wah (originally “wah-wah”) is a cyclic modulation of brightness. Wah
techniques are often applied by trumpet players (using a cup-mute), blues
harmonica players or electric guitarists (using a wah pedal) to emulate some
typical formants of the human voice.
Vibrato
Vibrato is a cyclic modulation of pitch. Vibrato techniques are often used by
singers as well as instrumentalists (e.g. strings or saxophone) for maximum
emotional effect.
cutoff
frequency
bright sound
time
dark sound
Trumpet
Wah pedal
pitch
time
Tremolo
Tremolo is a cyclic modulation of volume. A speciality of flute and string
players, tremolo is also available in electric pianos and guitar-amplifiers with
built-in tremolo units.
loud
volume
soft
time
S p e c i f i c a t i o n s
V-Synth: Synthesizer Keyboard
Keyboard
61 keys (with velocity and channel aftertouch)
Sound Generator Configuration
Oscillator (envelope x 4 + LFO x 1) x 2
Modulator x 1
External Storage Device
PC CARD slot (Microdrive, SmartMedia or CompactFlash can
be used with PC card adapter.)
Effects
MFX (Multi-effects): 41 sets
COSM (envelope x 2 + LFO x 1) x 2
TVA (envelope x 1 + LFO x 1) x 1
Methods by Which Oscillators Produce Sound
Analog Modeling,
PCM / VariPhrase (Preset waveforms + Sampling waveforms),
External Input
Chorus:
8 sets
Reverb:
10 sets
System EQ
4 bands
Sampling Frequency
Modulator
Internal:
Digital Audio IN/OUT: 96, 48, 44.1 kHz
4 types + MIX
S p e c i f i c a t i o n s
44.1 kHz
Signal Processing
COSM
Internal processing
15 types + THRU
sound generating section: 32 bits (floating point)
Zones (Splits)
16
Parts
16
effects section:
24 bits (fixed point)
DA Conversion:
24 bits
AD Conversion:
24 bits
Nominal Output Level
Maximum Polyphony
24 voices
(Varies depending on the load placed on the sound generator.)
MAIN OUT:
+4 dBu
DIRECT OUT: +4 dBu
Nominal Input Level
Internal Memory
INPUT (LINE): -20 dBu
Project:
1
Patches:
512
Waves:
999
Wave memory (RAM): 50 M bytes (When the unit ships from
the factory, 30 M bytes of this is taken
up by the preset waves.)
Sample storage memory (FLASH): 10 M bytes
60
INPUT (MIC): -46 dBu
Arpeggiator
Patterns: User programmable
(support use of control change messages)
Motifs:
8 types
Tempo:
20 to 250 BPM
Display
Graphic 320 x 240 dot backlit LCD with touch screen
Controllers
Pitch Bend / Modulation Lever
TimeTrip Pad
Options
Keyboard Stand:
KS-12
Pedal Switch:
DP-2/6/8
Foot Switch:
BOSS FS-5U
Expression Pedal: EV-5, BOSS FV-300L
Mic:
DR-20
D Beam Controller (Twin beam)
Assignable Control Knobs (C1, C2)
Connectors
Headphones Jack
Main Output Jacks (L/MONO, R) (1/4 inch phone type)
Direct Output Jacks (L, R) (1/4 inch phone type)
Input Jacks (L, R) (1/4 inch phone type) (Equipped with
line/mic gain switch)
Hold Pedal Jack
Control Pedal Jacks (1, 2) (assignable)
MIDI Connectors (IN, OUT, THRU)
USB Connector
Digital Audio Interface (24-bit, S/P DIF)
COAXIAL (IN, OUT)
OPTICAL (IN, OUT)
AC Inlet
S p e c i f i c a t i o n s
Power Supply
AC 117 V, AC 230 V, AC 240 V
Power Consumption
16 W
Dimensions
1,056 (W) x 398 (D) x 111 (H) mm
41-5/8 (W) x 15-11/16 (D) x 4-3/8 (H) inches
Weight
13.1 kg / 28 lbs 15 oz
Accessories
Quick Start
Owner’s Manual
Sound List
CD-ROM (Driver)
(0 dBu = 0.775 V rms)
PC CARD Protector
Power Cable
✱ In the interest of product improvement, the
specifications and/or appearance of this unit are subject
to change without prior notice.
61
I n d e x
A
ADSR
31
ENSEMBLE
30
AIFF
40
ENV RING
AMP
21
Analog
I n d e x
Matrix
38
RESONATOR
22
memory
40
REV
27
Metronome
28
Reverb
27
MFX
27
RHYTHM
37
Mono
14
RING
19
MULTI
27
Sample
34
Sampling
28
SBF1
22
SBF2
23
31
16
Events
30
arpeggiator
35
EXT IN
16
AUTO
37
17
BACKING
30
Flanging
27
Backing Up
40
FM
19
BENDER
10
FORMANT
18
C1
10
37
27
Chorus
27
COMB
23
COMP
24
CONTROL
10
COSM
21
D Beam
37
DEC/-
11
Delay
27
32
Freq KF
13
F-SHIFT
G
25
NOTE-ORDER
35
O
OD/DS
21
SHIFT
12
OSC SYNC
20
Simplicity
10
OSC TVA
19
33
DOWN
35
DUAL
DYN-TVF
General
28
SLIDER
10
GRAPHIC
10
SOLO
30
P
H
Hey You!
18
INC/+
11
Inharmonics
25
PAD
10
SPEAKER
22
PATCH ASSIGN
12
STRUCTURE
10
TAB
10
TIME
18
TimeTrip
37
Truncating
29
TVA
26
TVF
24
UP
35
UP&DOWN
35
PATCH PALETTE 12
I
INIT PATCH 10, 12
K
27
Dive
effects
Freezing
Karplus 1
KNOB
L
PATCH PLAY
11
PATCH Write
12
patche
40
Pattern Edit
36
PCM
16
PHRASE
37
PITCH
17
Portamento
14
10
14
23
LFO
33
24
LIMITER
25
Pre-Effects
28
LITE
30
presets
11
LO-FI
25
project
40
Loop Points
29
PULSE WIDTH
17
28, 30
T
22
LEGATO
27
S
N
37
CHO
Encoding
62
15
envelopes
DIR
E
Rename
MAIN
C2
D
27
20
BUTTON
C
35
18
FAT
R
RANDOM
Mad Orchestra
F
B
M
U
V
VALUE DIAL 10, 11
W
WAV
40
W-SHAPE
21
M E M O
The
Book
Beyond Reality
The
B e y o n d
R e a l i t y
Book
WE DESIGN THE FUTURE
Copyright © 2003 ROLAND CORPORATION
All rights reserved.
No part of this publication may be reproduced in any form
without the written permission of ROLAND CORPORATION.
Visit us online at www.Roland.com
www.V-Synth.com
All specifications and appearances are subject to change without notice.
All trademarks are the property of their respective companies.
Printed in Japan July 2003 RAM-3739 BE-2 MI-NK
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