Patch Mode (Editing a Tone)

Patch Mode (Editing a Tone)
Information
AFRICA
EGYPT
Al Fanny Trading Office
9, EBN Hagar Al Askalany
Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: 20-2-417-1828
When you need repair service, call your nearest Roland Service Center or authorized Roland
distributor in your country as shown below.
PHILIPPINES
CURACAO
URUGUAY
NORWAY
JORDAN
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 899 9801
Zeelandia Music Center Inc.
Orionweg 30
Curacao, Netherland Antilles
TEL:(305)5926866
Todo Musica S.A.
Francisco Acuna de Figueroa
1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: 2273 0074
MUSIC HOUSE CO. LTD.
FREDDY FOR MUSIC
P. O. Box 922846
Amman 11192 JORDAN
TEL: (06) 5692696
VENEZUELA
POLAND
Instrumentos Musicales
Allegro,C.A.
Av.las industrias edf.Guitar
import
#7 zona Industrial de Turumo
Caracas, Venezuela
TEL: (212) 244-1122
ROLAND POLSKA SP. Z O.O.
UL. Gibraltarska 4.
PL-03 664 Warszawa
POLAND
TEL: (022) 679 4419
EASA HUSAIN AL-YOUSIFI
& SONS CO.
Abdullah Salem Street,
Safat, KUWAIT
TEL: 243-6399
DOMINICAN REPUBLIC
SINGAPORE
REUNION
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
REUNION ISLAND
TEL: (0262) 218-429
SOUTH AFRICA
T.O.M.S. Sound & Music
(Pty)Ltd.
2 ASTRON ROAD DENVER
JOHANNESBURG ZA 2195,
SOUTH AFRICA
TEL: (011)417 3400
SWEE LEE MUSIC
COMPANY PTE. LTD.
150 Sims Drive,
SINGAPORE 387381
TEL: 6846-3676
Instrumentos Fernando Giraldez
Calle Proyecto Central No.3
Ens.La Esperilla
Santo Domingo,
Dominican Republic
TEL:(809) 683 0305
TAIWAN
ECUADOR
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung
Shan N.Road Sec.2, Taipei,
TAIWAN, R.O.C.
TEL: (02) 2561 3339
Mas Musika
Rumichaca 822 y Zaruma
Guayaquil - Ecuador
TEL:(593-4)2302364
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo II,
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: 262-0788
THAILAND
Paul Bothner(PTY)Ltd.
Royal Cape Park, Unit 24
Londonderry Road, Ottery 7800
Cape Town, SOUTH AFRICA
TEL: (021) 799 4900
ASIA
CHINA
Roland Shanghai Electronics
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai 200090, CHINA
TEL: (021) 5580-0800
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 3 Section Anhuaxili
Chaoyang District Beijing
100011 CHINA
TEL: (010) 6426-5050
HONG KONG
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
TEL: 2415 0911
Theera Music Co. , Ltd.
330 Soi Verng NakornKasem,
New Road, Sumpantawongse,
Bangkok 10100, THAILAND
TEL: (02) 224-8821
GUATEMALA
Casa Instrumental
Calzada Roosevelt 34-01,zona 11
Ciudad de Guatemala
Guatemala
TEL:(502) 599-2888
AUSTRALIA/
NEW ZEALAND
HONDURAS
AUSTRALIA/
NEW ZEALAND
Roland Corporation
Australia Pty.,Ltd.
Almacen Pajaro Azul S.A. de C.V.
BO.Paz Barahona
3 Ave.11 Calle S.O
San Pedro Sula, Honduras
TEL: (504) 553-2029
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
MARTINIQUE
For Australia
Tel: (02) 9982 8266
For New Zealand
Tel: (09) 3098 715
Musique & Son
Z.I.Les Mangle
97232 Le Lamantin
Martinique F.W.I.
TEL: 596 596 426860
Gigamusic SARL
10 Rte De La Folie
97200 Fort De France
Martinique F.W.I.
TEL: 596 596 715222
CENTRAL/LATIN
AMERICA
ARGENTINA
MEXICO
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
Parsons Music Ltd.
8th Floor, Railway Plaza, 39
Chatham Road South, T.S.T,
Kowloon, HONG KONG
TEL: 2333 1863
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico
D.F. MEXICO
TEL: (55) 5668-6699
BARBADOS
NICARAGUA
A&B Music Supplies LTD
12 Webster Industrial Park
Wildey, St.Michael, Barbados
TEL: (246)430-1100
INDIA
Rivera Digitec (India) Pvt. Ltd.
411, Nirman Kendra
Mahalaxmi Flats Compound
Off. Dr. Edwin Moses Road,
Mumbai-400011, INDIA
TEL: (022) 2493 9051
BRAZIL
INDONESIA
CHILE
PT Citra IntiRama
Jl. Cideng Timur No. 15J-15O
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
KOREA
Roland Brasil Ltda.
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
Comercial Fancy II S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
Centro Musical Ltda.
Cra 43 B No 25 A 41 Bododega 9
Medellin, Colombia
TEL: (574)3812529
MALAYSIA
Roland Asia Pacific Sdn. Bhd.
45-1, Block C2, Jalan PJU 1/39,
Dataran Prima, 47301 Petaling
Jaya, Selangor, MALAYSIA
TEL: (03) 7805-3263
VIET NAM
PANAMA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE
PANAMA
TEL: 315-0101
PARAGUAY
COLOMBIA
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
Bansbach Instrumentos
Musicales Nicaragua
Altamira D'Este Calle Principal
de la Farmacia 5ta.Avenida
1 Cuadra al Lago.#503
Managua, Nicaragua
TEL: (505)277-2557
COSTA RICA
JUAN Bansbach Instrumentos
Musicales
Ave.1. Calle 11, Apartado
10237,
San Jose, COSTA RICA
TEL: 258-0211
Suoi Nhac Company, Ltd
370 Cach Mang Thang Tam St.
Dist.3, Ho Chi Minh City,
VIET NAM
TEL: 9316540
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (595) 21 492147
PERU
Audionet
Distribuciones Musicales SAC
Juan Fanning 530
Miraflores
Lima - Peru
TEL: (511) 4461388
TRINIDAD
AMR Ltd
Ground Floor
Maritime Plaza
Barataria Trinidad W.I.
TEL: (868) 638 6385
EUROPE
AUSTRIA
Roland Elektronische
Musikinstrumente HmbH.
Austrian Office
Eduard-Bodem-Gasse 8,
A-6020 Innsbruck, AUSTRIA
TEL: (0512) 26 44 260
BELGIUM/FRANCE/
HOLLAND/
LUXEMBOURG
Roland Central Europe N.V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
CROATIA
ART-CENTAR
Degenova 3.
HR - 10000 Zagreb
TEL: (1) 466 8493
CZECH REP.
CZECH REPUBLIC
DISTRIBUTOR s.r.o
Voctárova 247/16
CZ - 180 00 PRAHA 8,
CZECH REP.
TEL: (2) 830 20270
DENMARK
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
TEL: 3916 6200
FINLAND
Roland Scandinavia As, Filial
Finland
Elannontie 5
FIN-01510 Vantaa, FINLAND
TEL: (0)9 68 24 020
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844
Norderstedt, GERMANY
TEL: (040) 52 60090
GREECE/CYPRUS
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
HUNGARY
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint,
HUNGARY
TEL: (23) 511011
IRELAND
Roland Ireland
G2 Calmount Park, Calmount
Avenue, Dublin 12
Republic of IRELAND
TEL: (01) 4294444
ITALY
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
KUWAIT
PORTUGAL
LEBANON
Roland Iberia, S.L.
Portugal Office
Cais das Pedras, 8/9-1 Dto
4050-465, Porto, PORTUGAL
TEL: 22 608 00 60
Chahine S.A.L.
George Zeidan St., Chahine
Bldg., Achrafieh, P.O.Box: 165857
Beirut, LEBANON
TEL: (01) 20-1441
ROMANIA
OMAN
FBS LINES
Piata Libertatii 1,
535500 Gheorgheni,
ROMANIA
TEL: (266) 364 609
TALENTZ CENTRE L.L.C.
Malatan House No.1
Al Noor Street, Ruwi
SULTANATE OF OMAN
TEL: 2478 3443
RUSSIA
QATAR
MuTek
Dorozhnaya ul.3,korp.6
117 545 Moscow, RUSSIA
TEL: (095) 981-4967
Al Emadi Co. (Badie Studio &
Stores)
P.O. Box 62, Doha, QATAR
TEL: 4423-554
SLOVAKIA
SAUDI ARABIA
DAN Acoustic s.r.o.
Povazská 18.
SK - 940 01 Nové Zámky
TEL: (035) 6424 330
SPAIN
aDawliah Universal
Electronics APL
Corniche Road, Aldossary
Bldg., 1st Floor, Alkhobar,
31952 SAUDI ARABIA
Roland Iberia, S.L.
Paseo García Faria, 33-35
08005 Barcelona SPAIN
TEL: 93 493 91 00
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
SWEDEN
SYRIA
Technical Light & Sound
Center
Rawda, Abdul Qader Jazairi St.
Bldg. No. 21, P.O.BOX 13520,
Damascus, SYRIA
TEL: (011) 223-5384
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
SWITZERLAND
TURKEY
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
SWITZERLAND
TEL: (061) 927-8383
ZUHAL DIS TICARET A.S.
Galip Dede Cad. No.37
Beyoglu - Istanbul / TURKEY
TEL: (0212) 249 85 10
U.A.E.
UKRAINE
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Ground Floor, Dubai,
U.A.E.
TEL: (04) 3360715
EURHYTHMICS Ltd.
P.O.Box: 37-a.
Nedecey Str. 30
UA - 89600 Mukachevo,
UKRAINE
TEL: (03131) 414-40
UNITED KINGDOM
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
UNITED KINGDOM
TEL: (01792) 702701
NORTH AMERICA
CANADA
Roland Canada Ltd.
(Head Office)
5480 Parkwood Way
Richmond B. C., V6V 2M4
CANADA
TEL: (604) 270 6626
MIDDLE EAST
BAHRAIN
Moon Stores
No.1231&1249 Rumaytha
Building Road 3931, Manama
339 BAHRAIN
TEL: 17 813 942
Roland Canada Ltd.
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
TEL: (905) 362 9707
IRAN
U. S. A.
MOCO INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
TEL: (021) 285-4169
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
TEL: (323) 890 3700
ISRAEL
Halilit P. Greenspoon & Sons
Ltd.
8 Retzif Ha'alia Hashnia St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
As of May 1, 2007 (ROLAND)
04566667
*
0
4
5
6
6
6
6
7
-
0
2
*
07-07-2N
For the USA
DECLARATION OF CONFORMITY
Compliance Information Statement
Model Name :
Type of Equipment :
Responsible Party :
Address :
Telephone :
V-Synth GT
Synthesizer Keyboard
Roland Corporation U.S.
5100 S. Eastern Avenue, Los Angeles, CA 90040-2938
(323) 890-3700
For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) this device may not cause harmful interference, and
(2) this device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
V-Synth-GT_e.book 3 ページ 2007年6月21日 木曜日 午後1時23分
Thank you, and congratulations on your choice of the Roland V-Synth GT.
201b
Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY INSTRUCTIONS” (p. 4),
“USING THE UNIT SAFELY” (p. 5), and “IMPORTANT NOTES” (p. 7). These sections provide important
information concerning the proper operation of the unit. Additionally, in order to feel assured that you have
gained a good grasp of every feature provided by your new unit, Quick Start, Owner’s manual, and Driver
Installation Guide should be read in its entirety. These manuals should be saved and kept on hand as a
convenient reference.
985
The explanations in this manual include illustrations that depict what should typically be shown by the display. Note,
however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so
what you actually see in the display may not always match what appears in the manual.
Copyright © 2007 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written
permission of ROLAND CORPORATION.
3
V-Synth-GT_e.book 4 ページ 2007年6月21日 木曜日 午後1時23分
IMPORTANT SAFETY INSTRUCTIONS
WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS
SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1.
2.
3.
4.
5.
6.
7.
8.
9.
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
Do not block any of the ventilation openings. Install in
accordance with the manufacturers instructions.
Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. If the provided plug
does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
11. Only use attachments/accessories specified by the
manufacturer.
12. Use only with the cart, stand, tripod, bracket,
or table specified by the manufacturer, or
sold with the apparatus. When a cart is used,
use caution when moving the cart/apparatus
combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when
unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing
is required when the apparatus has been damaged in any
way, such as power-supply cord or plug is damaged, liquid
has been spilled or objects have fallen into the apparatus,
the apparatus has been exposed to rain or moisture, does
not operate normally, or has been dropped.
For the U.K.
WARNING:
THIS APPARATUS MUST BE EARTHED
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
GREEN-AND-YELLOW: EARTH, BLUE: NEUTRAL, BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured GREEN-AND-YELLOW must be connected to the terminal in the plug which is marked by the
letter E or by the safety earth symbol or coloured GREEN or GREEN-AND-YELLOW.
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
4
V-Synth-GT_e.book 5 ページ 2007年6月21日 木曜日 午後1時23分
USING THE UNIT SAFELY
The
symbol alerts the user to important instructions
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
* Material damage refers
other adverse effects
respect to the home
furnishings, as well
animals or pets.
The
symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.
to damage or
caused with
and all its
to domestic
001
• Before using this unit, make sure to read the instructions below,
and the Owner’s Manual.
.............................................................................................................................
001-50
• Connect mains plug of this model to a mains socket outlet with
a protective earthing connection.
.............................................................................................................................
002a
• Do not open or perform any internal modifications on the unit.
.............................................................................................................................
003
• Do not attempt to repair the unit, or replace parts within it
(except when this manual provides specific instructions
directing you to do so). Refer all servicing to your retailer, the
nearest Roland Service Center, or an authorized Roland
distributor, as listed on the “Information” page.
.............................................................................................................................
004
• Never use or store the unit in places that are:
• Subject to temperature extremes (e.g., direct sunlight in an
enclosed vehicle, near a heating duct, on top of heatgenerating equipment); or are
• Damp (e.g., baths, washrooms, on wet floors); or are
• Humid; or are
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
.............................................................................................................................
005
• This unit should be used only with keyboard stand KS-12 that is
recommended by Roland.
.............................................................................................................................
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.
006
• When using the unit with a stand recommended by Roland, the
stand must be carefully placed so it is level and sure to remain
stable. If not using a rack or stand, you still need to make sure
that any location you choose for placing the unit provides a
level surface that will properly support the unit, and keep it
from wobbling.
.............................................................................................................................
008a
• The unit should be connected to a power supply only of the
type described in the operating instructions, or as marked on
the rear side of unit.
.............................................................................................................................
008e
• Use only the attached power-supply cord. Also, the supplied
power cord must not be used with any other device.
.............................................................................................................................
009
• Do not excessively twist or bend the power cord, nor place
heavy objects on it. Doing so can damage the cord, producing
severed elements and short circuits. Damaged cords are fire
and shock hazards!
.............................................................................................................................
010
• This unit, either alone or in combination with an amplifier and
headphones or speakers, may be capable of producing sound
levels that could cause permanent hearing loss. Do not operate
for a long period of time at a high volume level, or at a level
that is uncomfortable. If you experience any hearing loss or
ringing in the ears, you should immediately stop using the unit,
and consult an audiologist.
.............................................................................................................................
011
• Do not allow any objects (e.g., flammable material, coins,
pins); or liquids of any kind (water, soft drinks, etc.) to
penetrate the unit.
.............................................................................................................................
5
V-Synth-GT_e.book 6 ページ 2007年6月21日 木曜日 午後1時23分
012a
101a
• Immediately turn the power off, remove the power cord from
the outlet, and request servicing by your retailer, the nearest
Roland Service Center, or an authorized Roland distributor, as
listed on the “Information” page when:
• The power-supply cord, or the plug has been damaged; or
• If smoke or unusual odor occurs
• Objects have fallen into, or liquid has been spilled onto
the unit; or
• The unit has been exposed to rain (or otherwise has
become wet); or
• The unit does not appear to operate normally or exhibits a
marked change in performance.
.............................................................................................................................
• The unit should be located so that its location or position does
not interfere with its proper ventilation.
013
• In households with small children, an adult should provide
supervision until the child is capable of following all the rules
essential for the safe operation of the unit.
.............................................................................................................................
014
• Protect the unit from strong impact.
(Do not drop it!)
.............................................................................................................................
015
• Do not force the unit’s power-supply cord to share an outlet
with an unreasonable number of other devices. Be especially
careful when using extension cords—the total power used by
all devices you have connected to the extension cord’s outlet
must never exceed the power rating (watts/amperes) for the
extension cord. Excessive loads can cause the insulation on the
cord to heat up and eventually melt through.
.............................................................................................................................
016
• Before using the unit in a foreign country, consult with your
retailer, the nearest Roland Service Center, or an authorized
Roland distributor, as listed on the “Information” page.
.............................................................................................................................
023
• DO NOT play a CD-ROM disc on a conventional audio CD
player. The resulting sound may be of a level that could cause
permanent hearing loss. Damage to speakers or other system
components may result.
.............................................................................................................................
026
• Do not put anything that contains water (e.g., flower vases) on
this unit. Also, avoid the use of insecticides, perfumes, alcohol,
nail polish, spray cans, etc., near the unit. Swiftly wipe away
any liquid that spills on the unit using a dry, soft cloth.
.............................................................................................................................
.............................................................................................................................
101c
• This unit for use only with Roland keyboard stand KS-12. Use
with other stands is capable of resulting in instability causing
possible injury.
.............................................................................................................................
102b
• Always grasp only the plug on the power-supply cord when
plugging into, or unplugging from, an outlet or this unit.
.............................................................................................................................
103a
• At regular intervals, you should unplug the power plug and
clean it by using a dry cloth to wipe all dust and other accumulations away from its prongs. Also, disconnect the power plug
from the power outlet whenever the unit is to remain unused for
an extended period of time. Any accumulation of dust between
the power plug and the power outlet can result in poor
insulation and lead to fire.
.............................................................................................................................
104
• Try to prevent cords and cables from becoming entangled.
Also, all cords and cables should be placed so they are out of
the reach of children.
.............................................................................................................................
106
• Never climb on top of, nor place heavy objects on the unit.
.............................................................................................................................
107b
• Never handle the power cord or its plugs with wet hands when
plugging into, or unplugging from, an outlet or this unit.
.............................................................................................................................
108a
• Before moving the unit, disconnect the power plug from the
outlet, and pull out all cords from external devices.
.............................................................................................................................
109a
• Before cleaning the unit, turn off the power and unplug the
power cord from the outlet.
.............................................................................................................................
110a
• Whenever you suspect the possibility of lightning in your area,
pull the plug on the power cord out of the outlet.
.............................................................................................................................
120
• Always turn the phantom power off when connecting any
device other than condenser microphones that require phantom
power. You risk causing damage if you mistakenly supply
phantom power to dynamic microphones, audio playback
devices, or other devices that don’t require such power. Be sure
to check the specifications of any microphone you intend to use
by referring to the manual that came with it.
(This instrument’s phantom power: 48 V DC, 10 mA Max)
.............................................................................................................................
6
V-Synth-GT_e.book 7 ページ 2007年6月21日 木曜日 午後1時23分
IMPORTANT NOTES
291b
In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages 4–6, please read
and observe the following:
Power Supply
Maintenance
301
401a
• Do not connect this unit to same electrical outlet that is being used by
an electrical appliance that is controlled by an inverter (such as a
refrigerator, washing machine, microwave oven, or air conditioner),
or that contains a motor. Depending on the way in which the
electrical appliance is used, power supply noise may cause this unit to
malfunction or may produce audible noise. If it is not practical to use
a separate electrical outlet, connect a power supply noise filter
between this unit and the electrical outlet.
307
• Before connecting this unit to other devices, turn off the power to all
units. This will help prevent malfunctions and/or damage to speakers
or other devices.
308
• Although the LCD and LEDs are switched off when the POWER switch
is switched off, this does not mean that the unit has been completely
disconnected from the source of power. If you need to turn off the
power completely, first turn off the POWER switch, then unplug the
power cord from the power outlet. For this reason, the outlet into
which you choose to connect the power cord’s plug should be one
that is within easy reach and readily accessible.
Placement
351
• Using the unit near power amplifiers (or other equipment containing
large power transformers) may induce hum. To alleviate the problem,
change the orientation of this unit; or move it farther away from the
source of interference.
352a
• This device may interfere with radio and television reception. Do not
use this device in the vicinity of such receivers.
352b
• Noise may be produced if wireless communications devices, such as
cell phones, are operated in the vicinity of this unit. Such noise could
occur when receiving or initiating a call, or while conversing. Should
you experience such problems, you should relocate such wireless
devices so they are at a greater distance from this unit, or switch them
off.
354a
• Do not expose the unit to direct sunlight, place it near devices that
radiate heat, leave it inside an enclosed vehicle, or otherwise subject
it to temperature extremes. Excessive heat can deform or discolor the
unit.
355b
• When moved from one location to another where the temperature
and/or humidity is very different, water droplets (condensation) may
form inside the unit. Damage or malfunction may result if you attempt
to use the unit in this condition. Therefore, before using the unit, you
must allow it to stand for several hours, until the condensation has
completely evaporated.
358
• Do not allow objects to remain on top of the keyboard. This can be
the cause of malfunction, such as keys ceasing to produce sound.
360
• Depending on the material and temperature of the surface on which
you place the unit, its rubber feet may discolor or mar the surface.
You can place a piece of felt or cloth under the rubber feet to prevent
this from happening. If you do so, please make sure that the unit will
not slip or move accidentally.
• For everyday cleaning wipe the unit with a soft, dry cloth or one that
has been slightly dampened with water. To remove stubborn dirt, use
a cloth impregnated with a mild, non-abrasive detergent. Afterwards,
be sure to wipe the unit thoroughly with a soft, dry cloth.
402
• Never use benzine, thinners, alcohol or solvents of any kind, to avoid
the possibility of discoloration and/or deformation.
Repairs and Data
452
• Please be aware that all data contained in the unit’s memory may be
lost when the unit is sent for repairs. Important data should always be
backed up on a USB memory, or written down on paper (when
possible). During repairs, due care is taken to avoid the loss of data.
However, in certain cases (such as when circuitry related to memory
itself is out of order), we regret that it may not be possible to restore
the data, and Roland assumes no liability concerning such loss of
data.
Additional Precautions
551
• Please be aware that the contents of memory can be irretrievably lost
as a result of a malfunction, or the improper operation of the unit. To
protect yourself against the risk of loosing important data, we
recommend that you periodically save a backup copy of important
data you have stored in the unit’s memory on a USB memory.
552
• Unfortunately, it may be impossible to restore the contents of data that
was stored in the unit’s memory or on a USB memory once it has been
lost. Roland Corporation assumes no liability concerning such loss of
data.
553
• Use a reasonable amount of care when using the unit’s buttons,
sliders, or other controls; and when using its jacks and connectors.
Rough handling can lead to malfunctions.
554
• Never strike or apply strong pressure to the display.
555
• A small amount of noise may be heard from the display during normal
operation.
556
• When connecting / disconnecting all cables, grasp the connector
itself—never pull on the cable. This way you will avoid causing shorts,
or damage to the cable’s internal elements.
557
• A small amount of heat will radiate from the unit during normal
operation.
558a
• To avoid disturbing your neighbors, try to keep the unit’s volume at
reasonable levels. You may prefer to use headphones, so you do not
need to be concerned about those around you (especially when it is
late at night).
559a
• When you need to transport the unit, package it in the box (including
padding) that it came in, if possible. Otherwise, you will need to use
equivalent packaging materials.
561
• Use only the specified expression pedal (EV series; sold separately).
By connecting any other expression pedals, you risk causing
malfunction and/or damage to the unit.
7
V-Synth-GT_e.book 8 ページ 2007年6月21日 木曜日 午後1時23分
IMPORTANT NOTES
562
• Some connection cables contain resistors. Do not use cables that
incorporate resistors for connecting to this unit. The use of such cables
can cause the sound level to be extremely low, or impossible to hear.
For information on cable specifications, contact the manufacturer of
the cable.
566a
• The usable range of D Beam controller will become extremely small
when used under strong direct sunlight. Please be aware of this when
using the D Beam controller outside.
566b
• The sensitivity of the D Beam controller will change depending on the
amount of light in the vicinity of the unit. If it does not function as you
expect, adjust the sensitivity as appropriate for the brightness of your
location.
add
• In order to provide high-quality images, the V-Synth GT uses a TFT
liquid crystal display. Please be aware that due to the characteristics
of a TFT liquid crystal display, there may be pixels that fail to light or
pixels that remain lit, but these are not considered to be malfunctions
or defects.
add
• Due to the characteristics of a TFT liquid crystal display, leaving the
same screen displayed for an extended period of time may cause the
image to be burned into the screen. To avoid burn-in, we recommend
that you use the screen saver function (p. 229).
Before Using USB Memory
Using USB Memory
708
• USB memories are constructed using precision components; handle
the cards carefully, paying particular note to the following.
• To prevent damage to the cards from static electricity, be sure to
discharge any static electricity from your own body before
handling the USB memory.
• Do not touch or allow metal to come into contact with the contact
portion of the USB memory.
• Do not bend, drop, or subject USB memories to strong shock or
vibration.
• Do not keep USB memories in direct sunlight, in closed vehicles,
or other such locations (storage temperature: -20 to 80˚ C: MUF128).
• Do not allow USB memories to become wet.
• Do not disassemble or modify the USB memories.
add
• Please use Roland M-UF128 as the USB memory device. Some
commercially available USB memory (2 GB or lower capacity) may
be usable, but Roland cannot guarantee operation or compatibility for
individual models. This is due to the fact that manufacturers may
change the internal circuit design or specifications without notice even
for identical models of USB memory.
* The model names of the USB memory devices offered within the
Roland product lineup are subject to change. For the most recent
information, please visit the Roland website.
* As a safeguard against data loss, we recommend that you copy
the contents of USB memory to your computer as a backup.
Handling CD-ROMs
801
• Avoid touching or scratching the shiny underside (encoded surface) of
the disc. Damaged or dirty CD-ROM discs may not be read properly.
Keep your discs clean using a commercially available CD cleaner.
8
Copyright
851
• Recording, duplication, distribution, sale, lease, performance, or
broadcast of copyrighted material (musical works, visual works,
broadcasts, live performances, etc.) belonging to a third party in part
or in whole without the permission of the copyright owner is forbidden
by law.
852a
• This product can be used to record or duplicate audio or visual
material without being limited by certain technological copy-protection
measures. This is due to the fact that this product is intended to be
used for the purpose of producing original music or video material,
and is therefore designed so that material that does not infringe
copyrights belonging to others (for example, your own original works)
can be recorded or duplicated freely.
853
• Do not use this unit for purposes that could infringe on a copyright
held by a third party. We assume no responsibility whatsoever with
regard to any infringements of third-party copyrights arising through
your use of this unit.
add
* MatrixQuest™ 2007 TEPCO UQUEST, LTD. All rights
reserved.
The V-Synth GT’s USB functionality uses MatrixQuest
middleware technology from TEPCO UQUEST, LTD.
204
* Microsoft and Windows are registered trademarks of Microsoft
Corporation.
206j
* Windows® is known officially as: “Microsoft® Windows® operating
system.”
V-Synth-GT_e.book 9 ページ 2007年6月21日 木曜日 午後1時23分
Contents
IMPORTANT SAFETY INSTRUCTIONS.................................................................................4
USING THE UNIT SAFELY ..................................................................................................5
IMPORTANT NOTES .........................................................................................................7
How to Use the Documentation.......................................................................................15
Main Features................................................................................................................16
Getting Ready................................................................................................................17
Connecting an Amp and Speaker System .........................................................17
Turning On the Power ....................................................................................18
Panel Descriptions..........................................................................................................20
Front Panel ...................................................................................................20
Rear Panel ....................................................................................................24
Overview of the V-Synth GT ...........................................................................................26
How the V-Synth GT Is Organized ...................................................................26
Basic Structure .....................................................................................26
Polyphony ...........................................................................................27
About Structures ............................................................................................28
Structure Type ......................................................................................28
Section ...............................................................................................29
About Memory ..............................................................................................30
Memory Structure .................................................................................30
About VariPhrase ..........................................................................................32
Basic Operation of the V-Synth GT..................................................................................33
Basic Operations in the Touch Panel ................................................................33
Moving the Cursor................................................................................33
Editing a Value ....................................................................................34
Common Icons in the Touch Panel ...................................................................36
Using the Map Function .................................................................................37
The V-Synth GT’s Four Modes .........................................................................38
9
V-Synth-GT_e.book 10 ページ 2007年6月21日 木曜日 午後1時23分
Contents
Patch Mode (Playing in Patch Mode) ...............................................................................39
About the Patch Play Screen ...........................................................................39
Selecting a Patch...........................................................................................40
Selecting Patches from the List ................................................................41
Selecting Favorite Patches (Patch Palette).................................................42
Applying Various Effects to the Sound ..............................................................43
Varying the Velocity or Aftertouch ..........................................................43
Pitch Bend/Modulation Lever .................................................................43
Transpose (Transposing the Keyboard in Semitone Steps)..........................44
Octave Shift (Transposing the Keyboard in Octave Units) ..........................45
Applying an Effect by Touching Your Finger to the Pad (Time Trip Pad) .......46
Applying an Effect by Passing Your Hand Over the D Beam ......................48
Using the E1–E8 Knobs.........................................................................49
Using the Assignable Controllers ............................................................50
Arpeggiator..................................................................................................51
Playing Arpeggios................................................................................51
Holding an Arpeggio............................................................................51
V-LINK (Synchronizing Music and Video While You Play the V-Synth GT) .............52
Enter V-LINK Mode ...............................................................................53
V-LINK Functions that the V-Synth GT Can Control and MIDI Messages .......53
Patch Mode (Editing a Patch) ..........................................................................................54
Creating a Patch ...........................................................................................54
Selecting a Tone............................................................................................55
Selecting a Tone from a List ...................................................................57
Patch Menu ..................................................................................................58
Patch Write (Saving Patches) .................................................................58
Patch Name (Naming a Patch)...............................................................59
Patch Category (Assigning the Category of a Patch) .................................60
Patch Init (Initializing the Patch Settings) ..................................................62
Patch Common (Settings Shared by the Entire Patch) ..........................................63
Editing the Patch Common Parameters ....................................................63
Common (Settings Used by the Entire System) ...................................................65
General ..............................................................................................65
Time Trip Pad ......................................................................................66
D Beam...............................................................................................67
S1/S2 Switch ......................................................................................67
Key Range....................................................................................................68
Arpeggio......................................................................................................69
Arpeggio Pattern Edit (Creating an Original Arpeggio Pattern) ..................71
Effects (Setting Effects for a Patch)....................................................................76
Routing ...............................................................................................76
Tone-FX ...............................................................................................78
Chorus................................................................................................78
Reverb ................................................................................................79
10
V-Synth-GT_e.book 11 ページ 2007年6月21日 木曜日 午後1時23分
Contents
Patch Mode (Editing a Tone) ...........................................................................................80
Creating a Tone ............................................................................................80
Tone Menu ...................................................................................................81
Tone Write (Saving Tones) ....................................................................81
Tone Name (Naming a Tone) ................................................................82
Tone Category (Assigning the Category of a Tone)...................................83
Tone Init (Initializing the Tone Settings)....................................................84
Editing a Tone (Pro Edit) .................................................................................................85
Com (Settings Common to the Entire Tone) .......................................................86
Structure..............................................................................................86
Keyboard ............................................................................................87
Bender/Octave....................................................................................90
Matrix Control .....................................................................................91
Tune ...................................................................................................94
OSC1/OSC2 (Oscillator 1/2) ........................................................................95
OSC Type ...........................................................................................95
OSC Type (Analog OSC) ......................................................................96
OSC Type (PCM OSC) .........................................................................99
OSC Type (External In) .......................................................................101
Pitch (common to Analog and PCM) .....................................................102
Pulse Width (Analog)..........................................................................103
Fat (Analog) ......................................................................................104
Detune (Analog, when using Sub OSC) ................................................105
SS Detune (Analog, when SUPER-SAW is selected).................................106
Mix (Analog, when SUPER-SAW is selected)..........................................107
Harmonics (Analog, when FBACK-OSC is selected) ................................108
FBK Amount (Analog, when FBACK-OSC is selected)..............................109
X-Mod (Analog, when X-MOD-OSC is selected) .....................................110
Time (PCM) .......................................................................................111
Formant (PCM)...................................................................................112
OSC TVA (common to Analog and PCM) ..............................................113
LFO (common to Analog and PCM) ......................................................114
MOD .........................................................................................................115
MOD Type ........................................................................................115
COSM1/COSM2 .......................................................................................117
COSM Type ......................................................................................117
LFO ..................................................................................................118
TVA ...........................................................................................................119
TVA ..................................................................................................119
LFO ..................................................................................................120
11
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Contents
AP Syn (AP-Synthesis)...................................................................................124
Phrase Model ....................................................................................125
Pitch .................................................................................................126
Modify (when Phrase Model is “Violin”)................................................127
Modify (when Phrase Model is “Erhu”)..................................................128
Modify (when Phrase Model is “Sax”)...................................................129
Modify (when Phrase Model is “Flute”) .................................................130
Modify (when Phrase Model is “Multifade”)...........................................131
Advanced (when Phrase Model is “Violin”) ...........................................132
Advanced (when Phrase Model is “Erhu”) .............................................133
Advanced (when Phrase Model is “Sax”) ..............................................134
Advanced (when Phrase Model is “Flute”) .............................................135
Advanced (when Phrase Model is “Multifade”) ......................................136
Control 1 ..........................................................................................137
Control 2 ..........................................................................................138
Tone-FX (Tone Effect) ....................................................................................139
Routing .............................................................................................139
Tone-FX .............................................................................................141
Chorus..............................................................................................141
Reverb ..............................................................................................141
Using Steps to Vary the Sound (Multi Step Modulator)......................................142
Multi Step Modulator ...................................................................................144
Vocal Designer ............................................................................................................146
How Vocal Designer is Structured..................................................................147
Using Vocal Designer ..................................................................................148
Vocal Designer ...........................................................................................150
Mic Settings................................................................................................151
Mic Type...........................................................................................151
EQ ...................................................................................................152
Noise Sup .........................................................................................153
Comp ...............................................................................................154
Vocoder .....................................................................................................155
Editing a Tone (SOUND SHAPER II) ...............................................................................158
COSM..............................................................................................160
AP-Synthesis ......................................................................................161
Effects ...............................................................................................162
Sample Mode ..............................................................................................................163
Sampling....................................................................................................163
Sample Name (Naming a Sample).......................................................168
Sample Copy (Copying a Sample) .......................................................169
Sample Move (Moving a Sample) ........................................................170
Sample Exchange (Exchanging a Sample).............................................171
Sample Delete (Deleting a Sample).......................................................172
Resampling........................................................................................173
12
V-Synth-GT_e.book 13 ページ 2007年6月21日 木曜日 午後1時23分
Contents
Sampling General (Setup Settings) .......................................................174
Sampling Pre-Effect (Pre-Effect Settings)..................................................175
Metronome (Metronome Settings) .........................................................176
Template Name (Naming a Template) ..................................................177
Editing a Sample .........................................................................................178
Common Procedure for Editing ............................................................178
Editing the Specified Region of the Sample............................................182
Loop Region Settings ..........................................................................185
Original Tempo Setting .......................................................................186
Encode (Converting the Sample to V-Synth GT Data)........................................187
Selecting the Encoding Type ................................................................188
Automatically Detecting Events.............................................................189
Deleting and Adding Events ................................................................190
Saving a Sample .........................................................................................191
Checking Sample Information .......................................................................192
System Mode (Settings Common to All Modes) ..............................................................193
How to Make the System Function Settings .....................................................193
System Menu ..............................................................................................194
System Write (Saving the System Settings) .............................................194
System Init (Initializing the System Settings)............................................195
Common (Settings Common to the Entire System).............................................196
Master ..............................................................................................196
EQ ...................................................................................................197
MIDI .................................................................................................198
USB MIDI ..........................................................................................199
Audio Input .......................................................................................200
Audio Output.....................................................................................201
USB Audio ........................................................................................202
Controller (Controller-related Settings) ............................................................203
Keyboard ..........................................................................................203
Time Trip Pad ....................................................................................204
D-Beam .............................................................................................205
C1/C2 Knob.....................................................................................206
S1/S2 Switch ....................................................................................206
Pedal ................................................................................................207
V-LINK Settings............................................................................................208
Tx.....................................................................................................208
Time Trip Pad ....................................................................................209
D Beam.............................................................................................210
C1/C2 Knob.....................................................................................211
Bender..............................................................................................212
Info (Viewing Various Information) .................................................................213
Version (Checking the Version) ............................................................213
Features (Checking the Functions).........................................................213
13
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Contents
Utility Mode.................................................................................................................214
Project (Project-related Settings) .....................................................................215
Load Project (Loading a Project into the V-Synth GT) ...............................215
Save Project (Saving a Project).............................................................217
Convert Project (Convert a Project) .......................................................219
USB Storage (Exchanging Files with Your Computer) .......................................221
Windows Users..................................................................................221
Mac Users.........................................................................................223
Examples of Using Storage Function .....................................................225
Beep (Beep Tone Settings) ............................................................................227
E1–E8 Knobs (E1–E8 knob Settings) ..............................................................228
Screen Saver ..............................................................................................229
Wallpaper (Changing the Wallpaper) ...........................................................230
Import (Importing an Image as Wallpaper) ............................................230
Calibration (Adjusting the Controllers)............................................................231
Adjusting the Positional Accuracy of the Touch Panel ..............................231
Adjusting the Positional Accuracy of the Time Trip Pad............................232
Adjusting the Sensitivity of the D Beam Controller...................................233
Format (Initializing Internal Memory or USB Memory) ......................................234
Factory Reset (Reset to Default Factory Settings)...............................................235
MIDI Implementation Chart...........................................................................................236
Specifications...............................................................................................................237
Index...........................................................................................................................239
14
V-Synth-GT_e.book 15 ページ 2007年6月21日 木曜日 午後1時23分
How to Use the Documentation
The V-Synth GT documentation is organized as follows. Refer to the printed documentation or CD-ROM as appropriate
for your needs.
Quick Start
“Quick Start” provides easily understandable, step-by-step explanations that the first-time user will need to know in
order to play the V-Synth GT. To get a quick understanding of the overall functionality provided by the V-Synth GT,
please be sure to read this.
Owner’s Manual
This is the manual you’re reading.
It explains all of the V-Synth GT’s functionality. After you’ve read “Quick Start” to get an overall picture of the V-Synth
GT, read this manual when you need to find out more about individual functions.
Driver Installation Guide
This explains how to install the driver that is required for connecting the V-Synth GT to your computer.
CD-ROM
Lists of the COSM effects and other effects built into the V-Synth GT are provided in PDF format in the “Effects List” on
the included CD-ROM. Refer to these lists as needed.
Conventions used in this manual
In order to describe operations as clearly as possible, this manual uses the following conventions.
Text or graphics enclosed in square brackets [ ] indicates a button or knob on the panel. For example, [MODE]
indicates the MODE button, and [
], [
], [
], and [
] indicate the cursor buttons.
Text or graphics enclosed in angle brackets < > indicates an item in the screen (touch panel) that you can operate
with your fingertip. We use the word “touch” to indicate that you are to place your fingertip on the touch panel.
References such as (p.**) indicate a relevant page to which you can refer.
Symbols appearing at the beginning of a paragraph have the following meaning.
indicates a note. Please be sure to read this.
indicates a memo. Read this as needed.
indicates a helpful hint. Read this as needed.
indicates a reference to a related page. Read this as needed.
The screens shown in this manual are based on the factory settings, but please be aware that there may be some
differences from the product that is actually shipped.
Please be aware that the patch names and so on in the screens shown in this manual may differ from the factory
settings.
15
V-Synth-GT_e.book 16 ページ 2007年6月21日 木曜日 午後1時23分
Main Features
The V-Synth GT is a professional synthesizer that brings together Roland’s revolutionary technologies. A variety of sound
generators, including the latest AP-Synthesis, unique controllers, and a sophisticated user interface are joined in this amazing
instrument. For any genre or style, the V-Synth GT gives you musically expressive power of an entirely different dimension
than any previous instrument, with highly usable and playable sounds that are available nowhere else.
Sound creation power driven by dual-core technology
A powerful user interface that’s easier to use than ever
❍ The sound generator engine is now dual-core, delivering
approximately twice as much simultaneous sound control as
the previous model of V-Synth. Two tones (Upper and
Lower) can be combined, letting you use V-Synth sounds
created with VariPhrase or COSM together with Vocal
Designer or the newly developed AP-Synthesis to play two
different types of sounds together.
❍ The V-Synth GT features a new, high-resolution TFT color
LCD. This LCD can display a wide range of colors and offers
a broad viewing angle. Not only is it a delight to view, but
it also delivers a great leap in discernibility when you’re
editing sounds. Of course, the LCD is a touch panel, so you
can directly access an item you want to manipulate. The
eight knobs located below the LCD are directly linked with
the parameters shown in the screen, allowing intuitive
control.
AP-Synthesis enables a new dimension of
performance expression
❍ The V-Synth GT features a newly developed sound
generation technology, AP-Synthesis (Articulative Phrase
Synthesis). By modeling and storing the way in which
individual acoustic instruments respond to being played,
this technology goes beyond merely generating “sound,”
and is able to re-create the nuances and behavior that are
distinctive to a particular instrument.
❍ Variations that are possible only for a synthesizer are also
provided as AP-Synthesis modeling types. This makes it
possible for you to select truly unique models—for example,
you could use violin performance techniques to play an
analog lead synth sound. These sounds can be processed
through COSM or layered with a VariPhrase sound to
create new sounds that are not limited to the simulation of
existing instruments.
Vocal Designer function that’s highly integrated
with the synth sound generator
❍ Since its debut, Vocal Designer has continued to astound
the music scene with its amazing human vocal emulation.
Until now, this has been limited to use on its own in the VSynth series, but on the V-Synth GT you can use it
simultaneously with V-Synth sounds that use VariPhrase or
modeling OSC, as well as with AP-Synthesis. You can
create performances that have never been heard before,
such as a complex pad that interweaves VariPhrase and
arpeggios, wrapped in a spacey vocal ensemble.
❍ The microphone input section provides a combo jack, which
accommodates either a 1/4" phone plug or an XLR
connector (phantom power is supplied), making it easy to
connect a variety of microphones.
16
❍ Frequently used controllers have also been rethought. For
example, we’ve speeded up operation by unifying the jog
dial and cursor buttons into a single unit. The arrangement
of the realtime controllers has also been refined. The VSynth’s distinctive Time Trip pad, the twin D Beam, and
assignable controller knobs have been brought together in
one location, letting you access each controller quickly for
even more aggressive realtime performance.
New USB connector for backup media portability
❍ The USB functionality has also been upgraded on the VSynth GT. A USB MEMORY connector is provided, allowing
USB memory to be directly connected for data storage. USB
2.0 support means quick saving or loading of audio files or
patch data, and easy data transfer with your computer. In
addition to the USB-MIDI interface functionality provided by
the previous model, there’s also the capability to transfer
files via USB, and even realtime transmission and reception
of audio via the USB-Audio functionality that was a popular
feature of the V-Synth XT. These capabilities allow powerful
inter-operation with your computer and DAW software.
V-Synth-GT_e.book 17 ページ 2007年6月21日 木曜日 午後1時23分
Getting Ready
Connecting an Amp and Speaker System
Since the V-Synth GT contains no amplifier or speakers, you’ll need to connect it to audio equipment such as a
keyboard amplifier, monitor speaker system or home stereo, or use headphones to hear its sound.
To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the
power on all devices before making any connections.
When connection cables with resistors are used, the volume level of equipment connected to the INPUT jacks may be
low. If this happens, use connection cables that do not contain resistors.
921
926a
1. Before hooking anything up, make sure that the power on all of your gear is turned OFF.
2. Connect the V-Synth GT to your amp/speaker system as shown in the diagram.
fig.01b-001-e.eps
Stereo Headphones
Mixer etc.
Monitor Speakers
(powered)
Power Amplifier
Use audio cables to connect audio equipment such as an amp or speakers. If you’re using headphones, plug them
into the PHONES jack.
Audio cables are not included with the V-Synth GT. You’ll need to provide them.
In order to fully experience the V-Synth GT’s sound, we recommend using a stereo amp/speaker system. If you’re
using a mono system, however, make your connections to the V-Synth GT’s MAIN OUT jack L/MONO.
17
V-Synth-GT_e.book 18 ページ 2007年6月21日 木曜日 午後1時23分
Getting Ready
Turning On the Power
Once you’ve made connections correctly (see preceding page), turn on the power using the following procedure.
Powering up your equipment in the wrong order may cause malfunctions or speaker damage.
Be careful not to set your listening volume too high to avoid damage to your amp/speaker system or your hearing.
To ensure proper operation of the pitch bend lever, make sure not to touch the lever when
turning the V-Synth GT’s power on.
1. Before turning on the V-Synth GT’s power, consider these two questions:
• Are all peripheral devices connected correctly?
• Have the volume controls of the V-Synth GT and all connected audio devices been turned
to their lowest settings?
Do not touch!
2. Turn on the POWER ON switch located on the rear panel of the V-Synth GT.
fig.01b-002-j.eps
ON
OFF
942
* This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate
normally.
3. Turn on the power for any connected amplifiers or speakers.
4. Wait for the V-Synth GT to start up. When it has started up normally, a screen like the following will appear.
fig.patch-ps.eps
18
941
V-Synth-GT_e.book 19 ページ 2007年6月21日 木曜日 午後1時23分
Getting Ready
5. Adjust the volume appropriately.
While playing the keyboard to produce sound, adjust the volume of the V-Synth GT and of the connected audio
equipment.
fig.01b-003-j.eps
Turning Off the Power
1. Before you turn off the power, consider these two questions:
• Have the volume controls of the V-Synth GT and all connected audio devices been turned to their lowest
settings?
• Have you saved your V-Synth GT sounds or other data you’ve created?
2. Turn off the power for all connected audio devices.
3. Turn off the POWER switch located on the rear panel of the V-Synth GT.
945
* If you need to turn off the power completely, first turn off the POWER switch, then unplug the power cord from the power outlet.
Refer to “Power Supply” (p. 7).
19
V-Synth-GT_e.book 20 ページ 2007年6月21日 木曜日 午後1時23分
Panel Descriptions
Front Panel
00b-01.eps
1
3
4
5
2
7
6
12
8
9
11
1 TIME TRIP PAD
[TIME TRIP]
[ASSIGNABLE]
[HOLD]
13
2 D BEAM
By touching the pad surface with your finger you can apply
a variety of effects to the sound. (p. 46)
Indicator
10
This will light when you touch the Time
Trip Pad.
Switches to the Time Trip effect.
Switches to the effect that is specified
for each tone.
Switches hold on/off for the effect controlled by the Time Trip pad.
You can apply a variety of effects to sounds simply by
moving your hand. (p. 48)
Indicators (L, R)
If the D Beam controller is on, these will
light when you move your hand over
the controller.
ON/OFF (TIME TRIP, TIME, PITCH, ASSIGNABLE)
Switches the D Beam controller on/off. The effect to be
controlled can be selected by pressing the relevant button.
[TIME TRIP]
[TIME]
[PITCH]
[ASSIGNABLE]
Applies the Time Trip effect.
Applies the Time Control effect.
Applies the Pitch Control effect.
Applies the effect that is specified for
each sound.
3 V-LINK
Enables or disables control of an externally connected VLINK device. (p. 52)
20
V-Synth-GT_e.book 21 ページ 2007年6月21日 木曜日 午後1時23分
Panel Descriptions
4 MODE
9 ARPEGGIO
These buttons switch between modes of the V-Synth GT.
[SYSTEM]
Switches to System mode (p. 193).
[PATCH]
[UTILITY]
Opens the Patch mode Patch Play
screen (p. 39).
Switches to Utility mode (p. 214).
[SAMPLE]
Switches to Sample mode (p. 163).
Use these buttons when you want to edit a patch or tone.
[PRO EDIT]
[MENU]
[WRITE]
Opens the Sound Shaper II screen (p.
158).
Opens the Pro Edit screen (p. 85).
Opens the menu.
Saves the edited content in internal
memory or USB memory.
Adjusts the overall volume that is output from the rear panel
MAIN OUT jacks and PHONES jack. (p. 18)
7 ASSIGNABLE CONTROL
You can assign a variety of parameters and functions to the
two knobs ([C1], [C2]), and use them to modify the sound
in realtime. (p. 50)
[PAN]
[ASSIGNABLE]
Adjusts the V-Synth GT’s tempo.
Switches the Arpeggiator on/off.
Switches the Arpeggiator hold on/off.
10 KEYBOARD
[-OCT], [+OCT]
[TRANSPOSE]
These buttons adjust the pitch of the
keyboard in octave steps. (p. 45)
Specifies transposing the keyboard in
semitone steps. (p. 44)
Pressing [-OCT] or [+OCT] while holding down this button allows you to set
the desired amount of transposition.
11 PATCH PALETTE
Here you can register and recall your favorite patches.
6 VOLUME
[LEVEL]
[TEMPO]
[ON/OFF]
[HOLD]
Here you can change the pitch range of the keyboard.
5 EDIT
[SOUND SHAPER II]
Here you can control the arpeggiator.
Adjust the volume of the upper tone
and lower tone.
Adjust the stereo position (panning) of
the upper tone and lower tone.
Switches to the effect that is specified
for each tone.
[PATCH ASSIGN]
[BANK]
[1]–[8]
If you hold down this button and press
PATCH PALETTE [1]–[8], the currently
selected patch will be registered as a
favorite patch (p. 42).
You can change the Patch Palette bank
by holding down this button and pressing PATCH PALETTE [1]–[8].
These buttons let you select/register
your favorite patches.
12 Display
This displays information regarding the operation you are
performing.
13 E1–E8 knobs
Use these knobs to modify the parameters when editing
sounds (p. 35).
8 INPUT
PEAK Indicator
[MIC LEVEL]
[ON/OFF]
[SETTING]
This will light when the input volume is
too high.
Adjusts the volume of the signal input
through the INPUT jacks on the rear
panel. (p. 148)
Switches the mic input on/off.
Opens the Audio Input Settings screen
(p. 200).
21
V-Synth-GT_e.book 22 ページ 2007年6月21日 木曜日 午後1時23分
Panel Descriptions
00b-02.eps
21
16
14
17
15
18
22
19
23
24
25
26
20
14 Pitch Bend/Modulation Lever
This allows you to control pitch bend or apply vibrato. (p.
43)
[S1] [S2]
These will apply the effect specified by AP-Synthesis. With
the default settings, they switch the violin sound between
tremolo or pizzicato.
15 HELP/DEMO
This opens the help browser, in which you can view the help
screens (p. 36).
16 VALUE Dial
This is used to modify values. If you hold down [SHIFT] as
you turn the VALUE dial, the value will change in greater
increments. (p. 34)
[
], [
], [
], [
] (Cursor Buttons)
Moves the cursor location up/down/left/right. (p. 33)
17 [SHIFT]
This button is used in conjunction with other buttons to
execute various functions.
[SHIFT] +
[STRUCTURE 1-5]
[SHIFT] + [AP-Synthesis]
[SHIFT] +
[Vocal Designer]
[SHIFT] + [OSC1]
[SHIFT] + [OSC2]
[SHIFT] + [COSM1]
[SHIFT] + [COSM2]
[SHIFT] + [MOD]
22
Opens the Structure screen.
Opens the AP-Synthesis screen.
Opens the Vocal Designer screen.
Opens the OSC1 screen.
Opens the OSC2 screen.
Opens the COSM1 screen.
Opens the COSM2 screen.
Opens the MOD screen.
[SHIFT] + [TVA]
[SHIFT] + [CHO]
[SHIFT] + [REV]
[SHIFT] + [TFX]
[SHIFT] +
[ARPEGGIO ON/OFF]
[SHIFT] +
[ARPEGGIO HOLD]
Opens the TVA screen.
Opens the Chorus screen.
Opens the Reverb screen.
Opens the Tone-FX screen.
Opens the Arpeggio screen.
Opens the Arpeggio Pattern Edit
screen.
18 Numeric Keys
You can select a patch by using the numeric keys. Enter a
number and press [ENTER] to finalize your choice.
In addition to selecting patches, the numeric keys can also
be used for numeric input such as selecting tones, effects, or
waveforms (p. 34).
[EXIT]
Return to the previous screen, or close the currently open
window. In some screens, this causes the currently
executing function to be aborted.
[ENTER]
Use this to finalize a value or execute an operation.
19 [DEC/-], [INC/+]
These are used to modify values.
If you keep on holding down one button while pressing the
other, the value change accelerates. If you press one of
these buttons while holding down [SHIFT], the value will
change in bigger increments. (p. 34)
V-Synth-GT_e.book 23 ページ 2007年6月21日 木曜日 午後1時23分
Panel Descriptions
20 KEY MODE
TONE [LOWER]
TONE [UPPER]
SELECT
KEY RANGE
24 OSC1, OSC2
If [SELECT] is unlit:
These switch the upper tone and lower tone
on/off. If both are off, there will be no sound.
If [SELECT] is lit:
These select the upper tone or lower tone.
You cannot select both simultaneously.
Switches the function of the TONE LOWER/
UPPER buttons.
Opens the Key Range screen, where you
can make settings for the keyboard (p. 68).
Here you can adjust the oscillator section.
These knobs are active if the oscillator is on (indicator lit).
The result of adjusting these knob will depend on the
oscillator type that is selected.
[PITCH]
[TIME]/[PW]
[FORMANT]/[FAT]
21 STRUCTURE
Here you can turn each sound-producing element (section)
on or off.
[1], [2], [3], [4], [5]
[AP-SYNTHESIS],
[VOCAL DESIGNER],
[OSC1], [OSC2],
[MOD], [COSM1],
[COSM2], [TVA]
Switches the structure type (the way in
which the sections are connected).
These buttons switch the corresponding section on/off.
25 COSM1, COSM2
Here you can adjust the COSM sections.
These knobs are active when COSM is on (indicator lit). The
result of adjusting these knobs will depend on the COSM
type that is selected.
[WIDTH]/[CUTOFF]
22 FX (EFFECTS)
Here you can switch the onboard effects (Tone effects,
chorus, reverb) on/off. When an effect is on, the indicator
for its button will light.
[TONE FX]
[CHORUS]
[REVERB]
Switches tone effects on and off.
Switches chorus on and off.
Switches reverb on and off.
This modifies the pitch.
This modifies the
TIME
time.
This modifies the
PW
pulse width.
This modifies the forFORMANT
mant.
Adjusts the fatness of
FAT
the sound when using
an analog oscillator.
[DETUNE]/[RESO]
23 AP-SYNTHESIS MODIFY knob
This lets you modify the sound of AP-Synthesis. You can
specify the parameter that will be modified (p. 124).
WIDTH
Adjusts the width
when SBF (Side Band
Filter) is selected.
CUTOFF
If a filter-type COSM
is selected, this adjusts the cutoff frequency.
* If any other type is selected, this
adjusts the parameter assigned to
the type.
Adjusts the detune
DETUNE
when SBF (Side Band
Filter) is selected.
RESO
If a filter-type COSM
is selected, this adjusts the resonance.
* If any other type is selected, this
adjusts the parameter assigned to
the type.
26 ENV
Here you can adjust the TVA section (p. 35).
• When the ENV section’s TVA indicator is on (lit)
[A]
[D]
[S]
[R]
This
This
This
This
modifies
modifies
modifies
modifies
the
the
the
the
Attack Time.
Decay Time.
Sustain Level.
Release Time.
• When the ENV section’s SCREEN indicator is on (lit)
The ADSR sliders shown in the display can be operated
directly.
23
V-Synth-GT_e.book 24 ページ 2007年6月21日 木曜日 午後1時23分
Panel Descriptions
Rear Panel
00b-03.eps
1
2
3
4
1 POWER Switch
5
6
7
8
9
10 11 12
5 MIDI Connectors
This switch turns the power on/off.
2 AC Inlet
Connect the included power cord to this inlet.
3 USB Connectors
COMPUTER
You can connect a USB memory device
to this connector, and load files from the
USB memory device into the V-Synth GT.
Use a USB cable to connect this to your
computer. Both MIDI and audio data
can be transferred via this connection.
* In order to use the USB MIDI and audio functionality, you’ll need to
install the USB driver in your computer as described in the separate
“Driver Installation Guide.”
* Never insert or remove a USB memory while this unit’s power is on.
Doing so may corrupt the unit’s data or the data on the USB memory.
* Carefully insert the USB memory all the way in—until it is firmly in
place.
4 DIGITAL AUDIO Connectors
OPTICAL IN/ OUT
COAXIAL IN/OUT
24
These connectors can be connected to
other MIDI devices to receive and
transmit MIDI messages.
6 FOOT PEDAL Jacks
These are USB connectors. They allow the V-Synth GT to be
connected to your computer to transfer files (p. 221) or to
transmit and receive MIDI and audio data.
MEMORY
IN
OUT
THRU
These connectors input/output a digital audio signal (stereo). The output
signal is identical to the signal that is
output from the MAIN OUT jacks.
CTRL 1, CTRL 2
HOLD
You can connect optional expression
pedals (EV series) to these jacks. By assigning a desired function to a pedal,
you can use it to select or modify sound
or perform various other control.
An optional pedal switch (DP series) can
be connected to this jack for use as a
hold pedal.
* Use only the specified expression pedal (EV series; sold separately).
By connecting any other expression pedals, you risk causing
malfunction and/or damage to the unit.
7 PHANTOM Switch
This switch turns the phantom power on/off for the XLR type
connector of the MIC IN jack.
* Always turn the phantom power off when connecting any device
other than condenser microphones that require phantom power. You
risk causing damage if you mistakenly supply phantom power to
dynamic microphones, audio playback devices, or other devices
that don’t require such power. Be sure to check the specifications of
any microphone you intend to use by referring to the manual that
came with it. (This instrument’s phantom power: 48 V DC, 10 mA
Max)
* It will take some time for the phantom power voltage to drop after
you turn the switch off.
V-Synth-GT_e.book 25 ページ 2007年6月21日 木曜日 午後1時23分
Panel Descriptions
8 MIC IN Jack
This is a mic jack for analog audio signal input.
It accommodates either XLR type or phone type plugs.
XLR type connections can provide 48 V phantom power,
allowing you to connect condenser mics that require
phantom power. In this case, turn the PHANTOM switch to
“ON.”
* This instrument is equipped with balanced (XLR/TRS) type jack.
Wiring diagrams for this jack are shown below. Make connections
after first checking the wiring diagrams of other equipment you
intend to connect.
fig.XLR/TRSJack.eps
9 INPUT Jacks
L
R
An external audio source such as a CD
player can be connected to these jacks
for sampling or external input.
* When connection cables with resistors are used, the volume level of
equipment connected to the INPUT jacks may be low. If this
happens, use connection cables that do not contain resistors.
10 DIRECT OUT Jacks
L
R
These jacks output the sound for which
the effect routing (p. 139) output assignment is “DIR.” You can connect to these
jacks when using an external effects processor or other device.
11 MAIN OUT Jacks
L/MONO
R
These jacks output the audio signal to the
connected mixer/amplifier system in stereo. For mono output, use the L jack (p.
17).
These also feature balanced output.
12 PHONES Jack
This is the jack for connecting headphones (sold
separately).
25
V-Synth-GT_e.book 26 ページ 2007年6月21日 木曜日 午後1時23分
Overview of the V-Synth GT
How the V-Synth GT Is Organized
Basic Structure
Broadly speaking, the V-Synth GT consists of a controller section and a sound generator section.
fig.02-01-j
V-Synth GT
Sound Generator Section
Performance
Controller Section
(Controllers such as the keyboard and the pitch bend lever)
Sound Generator Section
The units of sound that you play on the V-Synth GT are called “patches.” A patch consists of two tones, upper and
lower. For more about patches and tones, refer to “How Patches and Tones are related” in the Quick Start manual.
fig.02-02-j
Patch
Upper Tone
Lower Tone
26
V-Synth-GT_e.book 27 ページ 2007年6月21日 木曜日 午後1時23分
Overview of the V-Synth GT
Controller Section
The controller section consists of the keyboard, pitch bend/modulation lever, time trip pad, D Beam controller, C1/C2
knobs, E1–E8 knobs, S1/S2 buttons, arpeggiator, and pedals connected to the rear panel. When you manipulate
these controllers, they send performance data to the sound generator section, causing the V-Synth GT to create sound.
fig.02-03-j
Controller Section
(Controllers such as the keyboard and the pitch bend lever)
Polyphony
The maximum polyphony of the V-Synth GT depends on the OSC and COSM types used by the patch.
Changing the effect type or switching effects on/off does not affect the available polyphony.
27
V-Synth-GT_e.book 28 ページ 2007年6月21日 木曜日 午後1時23分
Overview of the V-Synth GT
About Structures
The V-Synth GT’s upper tone and lower tone consist of eight elements (sections) that create the sound.
The way in which these sections are combined is called the structure type.
To create a tone for the V-Synth GT, you need to start by specifying the structure type. Then, you can edit the parameters
of each section.
Structure Type
You can choose one of five structure types, as follows.
Structure type
1
2
3
4
5
Explanation
This is the most typical structure.
Different sounds produced by OSC1 and OSC2 can be mixed
by MOD, processed through COSM1 using an SBF (Side
Band Filter) or other process to modify the tonal character, and
the tone adjusted by the TVF selected for COSM2.
The sound of the V-Synth GT’s new AP-Synthesis can be mixed
into the final result.
This structure connects OSC1 and OSC2 asymmetrically, and
is a good choice when you want to use a modulation type other than “MIX” as the modulator. You can use OSC1 and
COSM1 to create the basics of the sound, use the OSC2
sound and the MOD selection to add variety, and select TVF
for COSM2 to adjust the tone.
The sound of the V-Synth GT’s new AP-Synthesis can be mixed
into the final result.
This structure pairs OSC1 with COSM1 and OSC2 with
COSM2. For example, you can use the Time Trip pad or other
controller to morph between the sound created by OSC1 and
COSM1 and the sound created by OSC2 and COSM2.
The sound of the V-Synth GT’s new AP-Synthesis can be mixed
into the final sound.
Unlike types 1–3, this structure lets you apply MOD effects to
AP-Synthesis sounds.
If you select this structure, you’ll be able to perform using Vocal
Designer.
The sound of the V-Synth GT’s new AP-Synthesis can be mixed
into the final sound.
To select a structure type, press STRUCTURE [1]–[5].
You can also select the structure type in the screen (p. 37).
28
V-Synth-GT_e.book 29 ページ 2007年6月21日 木曜日 午後1時23分
Overview of the V-Synth GT
Section
There are eight sections, as follows.
Section name
OSC1, OSC2
MOD
COSM1, COSM2
TVA
AP-SYNTHESIS
VOCAL DESIGNER
Explanation
These sections produce the sound. You can select internal preset waves or waves you’ve
sampled, or use analog-modeled waves generated by calculations. You can also use external audio input.
In this section, the two audio signals are mixed and modulated.
In these sections you can apply a variety of effects such as filtering. This is similar to effect
processing, but while a conventional effect processes the final mixed sound, COSM applies
the effect to each individual note.
This section creates time-varying changes in volume, or panning effects.
This section generates sound.
By selecting an instrumental waveform, then applying a phrase model that models the
unique expression and behavior of a particular instrument, you can create natural as well
as innovative sounds.
This section lets you use Vocal Designer. You can input sound via the mic connector, and
perform using it.
After you’ve selected a structure type, you can turn the various section buttons on/off to disable sections you’re not
using.
You can also turn sections on/off from within the display (p. 37).
AP-Synthesis and Vocal Designer can only be turned on for the upper or the lower tone, not for both.
29
V-Synth-GT_e.book 30 ページ 2007年6月21日 木曜日 午後1時23分
Overview of the V-Synth GT
About Memory
Memory Structure
fig.02-04-e.eps
V-Synth GT
Internal Memory
USB Storage
Project
Computer
Patches
512
Tones
896
Waves
999
System
Factory Reset
Save
Load
Temporary Area
Save
Factory
Data
Performance
Load
USB Memory
Project
30
Patches
512
Tones
896
Waves
999
System
V-Synth-GT_e.book 31 ページ 2007年6月21日 木曜日 午後1時23分
Overview of the V-Synth GT
Project
The largest unit of memory used by the V-Synth GT is the project. A project contains up to 512 patches, up to 896
tones, up to 999 waves, and various system settings.
The V-Synth GT uses one project at a time.
Internal Memory
The V-Synth GT has internal memory that stores a project. When the V-Synth GT is shipped from the factory, this memory
already contains patch and wave data, but you are free to overwrite any of this. You can always restore the memory
to the factory-set contents (Factory Reset, p. 235).
Temporary Area
When you switch on the V-Synth GT’s power or load a project, the project data is located in an area of memory called
the temporary area.
Operations such as sampling or patch editing will affect the data in the temporary area.
If you simply turn off the power, the edited sample data or patch data will be lost; you must be sure to save it (using
SAVE/WRITE) if you want to keep it.
USB Memory
Internal memory can hold only one project, but you can use commercially available USB memory to store additional
projects.
USB Storage
If you connect the V-Synth GT to your computer via a USB cable, projects, patches, tones, and wave data in the V-Synth
GT’s internal memory can be saved (backed up) to the hard disk or other media on your computer (p. 221).
In addition, wave data created on the V-Synth GT can also be used by software running on your computer, or wave
data created by your computer software can be used on the V-Synth GT.
Sampling Memory
The amount of memory you can use for sampling will depend on the state of the project that is currently loaded into
the temporary area. With the factory-set project, there is approximately 69 seconds (stereo) / 138 seconds (monaural)
of sampling memory. If you delete the factory-set waves, you will be able to use a maximum of approximately 380
seconds (stereo) / 760 seconds (monaural) of sampling memory. However since a maximum of approximately 290
seconds (stereo) / 580 seconds (monaural) can be saved in internal memory, you will need to use a commercially
available USB memory if you want to store more samples than this.
* The above values are for when the sample is encoded using the “LITE” type (p. 188).
The factory-set waves can be restored using the Factory Reset operation (p. 235) even if they have been erased.
Factory Data
The factory data is an area of memory that stores the state of internal memory when the V-Synth GT is shipped from
the factory. If you’ve erased the factory-set patch or wave data from internal memory, but decide that you would like
to use it again, you can execute the Factory Reset procedure to bring this data back.
31
V-Synth-GT_e.book 32 ページ 2007年6月21日 木曜日 午後1時23分
Overview of the V-Synth GT
About VariPhrase
What is VariPhrase?
VariPhrase has the following advantages:
1. Capable of changing the pitch, rate of time expansion/compression and voice characteristics (formant) on a realtime 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 advantages.
VariPhrase overcomes many problems that conventional samplers and digital recorders have with audio phrases.
Typical issues with Digital Samplers and Digital recorders
• Changing tempo affects Pitch.
• Changing the pitch of phrases affects tempo and formant of 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.
• Samples of the same tempo must be available for performing chords, otherwise the notes of the chord will be
out of sync.
• Pitch or tempo changes on Digital samplers tends to degrade audio quality.
VariPhrase solves all of these problems.
For more about VariPhrase, refer to “What is VariPhrase?” in Quick Start.
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Basic Operation of the V-Synth GT
Basic Operations in the Touch Panel
The V-Synth GT features a touch screen. The touch screen lets you perform a variety of operations by lightly touching
the screen.
* The touch screen responds to a light touch. Pressing the touch screen with too much force, or with a hard object, may damage it.
Be careful not to apply excessive force, and touch it only with your finger.
Enabling/Disabling the Beep Tone (p. 227)
Moving the Cursor
A single screen or window displays multiple parameters or items for selection. To edit a parameter’s value, move the
cursor to the value. The cursor is a black rectangle, and the parameter value or item you select with the cursor is
highlighted (displayed in inverted colors).
fig.03-01.e.eps
Cursor
Cursor Buttons
Press [
], [
], [
to move the cursor.
Touch Screen
], or [
] (the cursor buttons)
Directly touch a parameter value to move the cursor.
fig.03-03.eps
fig.03-02.eps
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V-Synth-GT_e.book 34 ページ 2007年6月21日 木曜日 午後1時23分
Basic Operation of the V-Synth GT
Editing a Value
To edit a value, you can use the VALUE dial, [INC/+] [DEC/-], or drag on the touch screen.
• In each V-Synth GT screen, you can select a value using the cursor as described earlier, and modify its value.
• Each parameter has its own range of possible values. You cannot set any value smaller than the minimum
value or greater than the maximum value.
VALUE Dial
Turning the VALUE dial clockwise increases the value,
and turning it counterclockwise decreases its value. Hold
down [SHIFT] as you move the VALUE dial to increase
value increments to make large value changes more
quickly.
Touch Screen
Touch a parameter value, and drag your finger up/down
or left/right. Dragging upward or to the right increases
the value, and dragging downward or to the left
decreases the value.
fig.03-06.eps
fig.03-04.eps
[INC/+] and [DEC/-]
Press [INC/+] to increase the selected value, and [DEC/
-] to decrease it. Keep the button pressed for continuous
adjustment. For faster value increases, keep [INC/+]
pressed down and press [DEC/-]. To decrease values
quickly, keep [DEC/-] pressed down and press [INC/+].
fig.03-05.eps
Numeric Keys
You can select a patch by using the numeric keys. Enter
a number and press [ENTER] to finalize your choice.
In addition to selecting patches, the numeric keys can
also be used for numeric input such as selecting tones,
effects, or waveforms.
Here’s how to enter a numeric value in a value box.
• [0]–[9] buttons: Enter numerals.
• [ENTER] button: Finalizes the value you entered.
• [EXIT] button: Cancels the value you entered.
For some parameters, it may not be possible to enter a
value correctly using the numeric keys.
34
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Basic Operation of the V-Synth GT
E1–E8 Knobs
If the small numbers 1–8 are shown in the display,
you can use the E1–E8 knobs to change the
corresponding parameters.
Envelope Sliders
• When the ENV section’s TVA indicator is on (lit)
Lit
fig.03-08.eps
You can use the envelope sliders to edit the ADSR
values of the TVA section (p. 119).
[A]
[D]
[S]
[R]
This
This
This
This
modifies
modifies
modifies
modifies
the
the
the
the
Attack Time.
Decay Time.
Sustain Level.
Release Time.
• When the ENV section’s SCREEN indicator is on (lit)
The ADSR sliders shown in the display can be
operated directly.
fig.03-09-j.eps
Lit
35
V-Synth-GT_e.book 36 ページ 2007年6月21日 木曜日 午後1時23分
Basic Operation of the V-Synth GT
Common Icons in the Touch Panel
The V-Synth GT’s touch panel contains certain icons that perform common operations regardless of the scene.
In many cases you can also use the panel buttons to perform these operations, but it’s worth knowing about these icons,
since they allow you to complete an operation from within the touch panel.
fig.03-10.eps
Search
When you touch this icon, a new window will open, displaying a choice of values
(such as a patch list or tone list) that are available in that situation. To select a
value, you can turn the VALUE dial, use the [INC/+] [DEC/-] keys, or directly
touch an item in the touch panel.
fig.03-11.eps
ON/OFF
This turns a function on/off. When you touch this icon to turn it on, the button will
light green.
fig.03-12.eps
HELP
If this icon is lit green, you can touch the icon to open the Help window. This window will display a simple explanation of the function or procedure.
fig.03-16.eps
EXIT
When you touch this icon you will return to the previous screen. You can also return by pressing the V-Synth GT’s [EXIT] button.
fig.03-17.eps
MAP
Since the V-Synth GT gives you a wide range of sound-creating elements, you may
lose track of the section you’re currently editing. If so, you can press this button to
open the V-Synth GT Map window, which will show you the currently selected
structure and the section you’re editing.
fig.03-13.eps
MENU
36
Opens the pulldown menu.
V-Synth-GT_e.book 37 ページ 2007年6月21日 木曜日 午後1時23分
Basic Operation of the V-Synth GT
Using the Map Function
Since the V-Synth GT lets you edit many different aspects of the sound, you may lose track of what you’re currently
editing in a patch or tone.
If so, you can use the Map function to open the V-Synth GT Map window, which will show you the currently selected
structure, and the section you’re editing within that structure.
From this screen you can also change the structure, or turn various functions on/off, so there’s no danger of becoming
lost in an enormous number of parameters.
1. Touch <MAP>.
The V-Synth GT Map window will appear.
fig.06b-03-j.eps
<MAP>
2. This shows the overall structure and the section you’re currently editing.
fig.06b-04-j.eps
Section being edited
and selected parameter
Switch on/off and jump
Structure selected for the Upper tone
Structure selected for the Lower tone
Patch-related screen
The icon that indicates each section will show the parameter that is selected.
When
is selected:
You can touch the icon in the panel to turn that section on/off.
When
is selected:
You can touch the icon in the panel to jump directly to the corresponding parameter setting screen.
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Basic Operation of the V-Synth GT
The V-Synth GT’s Four Modes
The V-Synth GT provides a large number of functions, which are organized into four operating modes: Patch mode,
Sample mode, System mode, and Utility mode.
Patch Mode (p. 39)
System Mode (p. 193)
fig.patch-ps.eps_50
fig.system.eps_50
When you press [PATCH], you’ll be in Patch mode.
In this mode you can play patches from the keyboard,
and edit patch settings.
When you press [SYSTEM], you’ll be in System mode.
Here you can make settings that affect the V-Synth GT’s
operating environment, such as tuning and how MIDI
messages will be received.
Sample Mode (p. 163)
Utility Mode (p. 214)
fig.sample-ps.eps_50
fig.utility-ps.eps_50
When you press [SAMPLE], you’ll be in Sample mode.
In this mode you can sample waves that can be used as
the basis of sound creation, or edit waves you’ve
sampled.
38
When you press [UTILITY], you’ll be in Utility mode.
Here you can make various settings for the V-Synth GT.
V-Synth-GT_e.book 39 ページ 2007年6月21日 木曜日 午後1時23分
Patch Mode (Playing in Patch Mode)
About the Patch Play Screen
When you press [PATCH], you’ll be in Patch mode, and the Patch Play screen will appear.
fig.04-01-j.eps
Lists the patches.
Indicates/specifies the tempo.
Opens the Arpeggio setting screen (p. 69).
Indicates/specifies
the number and name
of the selected patch.
Opens the V-Synth GT Map screen.
Opens the Help screen.
Opens the Patch menu.
Indicates the category of the patch.
Shows information about
the lower tone used
by the selected patch.
Shows information about
the upper tone used
by the selected patch.
Shows the parameters assigned
to the E1–E8 knobs, and their values.
A patch consists of two tones, and you can use the following portions of the screen to control each tone.
fig.04-02-j.eps
Turns the lower tone on/off.
Turns the upper tone on/off.
Use the C1 or C2 knob to adjust
the level.
Indicates the tone number, name,
and category.
Indicates the name of the structure.
Touch this to open the structure
setting screen.
Opens the Multi Step Modulator screen (p. 142).
Opens the Pro Edit screen (p. 85).
Opens the Sound Shaper II screen (p. 158).
Opens the tone list.
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Patch Mode (Playing in Patch Mode)
Selecting a Patch
1. Press [PATCH] to access the Patch Play screen.
fig.04-03-j.eps
Patch Number
Patch Name
Patch Category
Search Button
2. Move the cursor to the patch number, either by using the cursor buttons or by touching the patch number
indication (the patch name field will light).
3. Select a patch number.
You can use any of the following methods to specify the patch number.
•
•
•
•
Turn the VALUE dial
Press [INC/+] or [DEC/-]
Drag on the touch panel
Use the numeric keys to directly enter a patch number (p. 34)
For example, if you want to select patch number 123, consecutively press numeric keys [1], [2], and [3], and
then press [ENTER] to finalize your selection.
“Selecting Patches from the List” (p. 41)
“Selecting Favorite Patches (Patch Palette)” (p. 42)
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Patch Mode (Playing in Patch Mode)
Selecting Patches from the List
You can display a list of patches and select a patch from that list.
1. In the upper left of the screen, touch the search button.
The Patch List window appears.
fig.04-30-e.eps
Category Search Area
Keyword Search Area
2. Select a patch from the list.
Either turn the VALUE dial or use [INC/+] [DEC/-] to select a patch. You can also select a patch by touching it on
the display.
If you select a patch in the list and play the keyboard, the selected patch will sound. This is a useful way to audition
the sound of a patch.
By turning the [E8] knob you can scroll the list rapidly.
3. Touch <OK>.
The patch is selected and the Patch List window closes.
Selecting Patches by Category
Touch the <Category Search Area> to open the Category Search palette. Here you can view only the patches of
the category you specify, allowing you to quickly find the patch you want.
To return to viewing all patches, touch <
>.
Selecting Patches by Keyword
Touch the <Keyword Search Area> to open the virtual keyboard. When you type a keyword and touch <ok>,
only the patches that include the specified keyword will be displayed, allowing you to quickly find the patch you
want.
To return to viewing all patches, touch <
>.
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V-Synth-GT_e.book 42 ページ 2007年6月21日 木曜日 午後1時23分
Patch Mode (Playing in Patch Mode)
Selecting Favorite Patches (Patch Palette)
Favorite patches you use frequently can be registered in the Patch Palette. This allows you to quickly select favorite
patches that are stored in the V-Synth GT.
For details on registering a patch in the patch palette, refer to “Registering a Favorite Patch (Patch Palette)” (p.
42).
1. Press [PATCH] to access the Patch Play screen.
2. Press PATCH PALETTE [1]–[8] to select a patch.
fig.04-04.eps
3. If you want to switch patch palette banks, hold down [BANK] and press PATCH PALETTE [1]–[8].
When you press [BANK], the indicator of the button for the currently selected bank number (PATCH PALETTE [1]–
[8]) will blink.
Registering a Favorite Patch (Patch Palette)
You can bring together your favorite and most frequently used patches in one place by registering them into the patch
palette. By using this function you can rapidly select favorite patches from internal memory. You can register a total of
64 sounds (8 sounds x 8 banks) as favorite sounds.
For details on how to select patches that are registered in the patch palette, refer to “Selecting Favorite Patches
(Patch Palette)” (p. 42).
1. Access the Patch Play screen, and select the patch that you wish to register (p. 40).
2. Hold down [BANK] and press a PATCH PALETTE [1]–[8] to select the bank in which you wish to register the sound.
When you press [BANK], the indicator of the currently selected bank button (NUMBER [1]–[8]) will blink.
3. Hold down [PATCH ASSIGN] and press a PATCH PALETTE [1]–[8] to select the button at which you wish to register
the sound.
When the display indicates “Registration Completed!,” registration has been completed.
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Patch Mode (Playing in Patch Mode)
Applying Various Effects to the Sound
Varying the Velocity or Aftertouch
The force with which you play the keyboard, or the “velocity” with which you play, can affect the volume or timbre of
a sound. Aftertouch—downward pressure you apply to a key after playing a note—can also affect the sound.
Pitch Bend/Modulation Lever
While playing the keyboard, move the lever to the left to lower the pitch of the currently selected patch, or to the right
to raise its pitch. This is known as pitch bend. You can also apply vibrato and so on by gently pushing the lever away
from you. This is known as modulation. For AP-Synthesis, this lever will apply the effect that is assigned.
If you push the lever away from you and at the same time move it to the right or left, you can apply both effects at once.
fig.04-10.eps
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Patch Mode (Playing in Patch Mode)
Transpose (Transposing the Keyboard in Semitone Steps)
Transpose changes keyboard pitch in units of semitones.
This function is useful when you play transposed instruments such as trumpet or clarinet following a printed score.
1. While holding down [TRANSPOSE], press [+OCT] or [-OCT] to transpose the keyboard.
Pressing [+OCT] once while holding down [TRANSPOSE] will raise the keyboard one semitone.
Pressing [-OCT] once while holding down [TRANSPOSE] will lower the keyboard one semitone.
2. To turn off Transpose, press [TRANSPOSE] once again so that its indicator goes off.
The Transpose setting you make will be maintained.
There is a single Transpose setting (Setup parameter) for the entire V-Synth GT. The changed setting will be
remembered even if you switch patches.
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Patch Mode (Playing in Patch Mode)
Octave Shift (Transposing the Keyboard in Octave Units)
The Octave Shift function transposes the pitch of the keyboard in 1 octave units (-3– +3 octaves).
For playing a bass part more easily using your right hand, transpose the keyboard down by 1 or 2 octaves.
1. Press [+OCT] or [-OCT] and its indicator will light.
Pressing [+OCT] once will raise the keyboard 1 octave.
Pressing [-OCT] once will lower the keyboard 1 octave.
There is a single Octave Shift setting (Setup parameter) for the entire V-Synth GT. The changed setting will be
remembered even if you switch patches.
2. To cancel Octave Shift, continue pressing the opposite button until the indicator goes out.
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Patch Mode (Playing in Patch Mode)
Applying an Effect by Touching Your Finger to the Pad (Time Trip Pad)
You can apply a variety of effects by touching your fingertip to the Time Trip pad located at the left side of the V-Synth
GT’s panel.
What is the Time Trip Function?
One of the advantages of VariPhrase (p. 32) is that the playback location and speed of the wave can be changed
in real time. The Time Trip function takes advantage of this ability to manually control the playback location and
speed of the wave. In patches that use VariPhrase, switch the Time Trip Pad function to “TIME TRIP” to use this
function. While playing the keyboard, touch the Time Trip pad and the currently sounding wave will stop at the
current playback location. Then as you move your finger from that point in a circle, the wave playback will advance
in the direction of conventional playback (clockwise), or the reverse (counterclockwise). Unlike “scratching” on a
turntable, this lets you control the playback without affecting the pitch, so you can play the sound at the pitch you
specify from the keyboard.
You can use the D Beam controller to produce similar results.
The Time Trip pad will have an effect if PCM is selected as the oscillator (OSC1/OSC2) (p. 95) and the “Time
Trip Sw (Time Trip Switch)” (p. 99) is on.
1. Press [PATCH] to access the Patch Play screen.
2. Choose the function that you want to control from the Time Trip pad, and press the TIME TRIP PAD button for that
function.
fig.04-15.eps
[TIME TRIP]
[ASSIGNABLE]
46
Applies the Time Trip effect.
Applies the effect that is specified by each tone.
If [ASSIGNABLE] is on, the effect is applied via matrix control. This means that matrix control
settings must be made separately. Set the matrix control Source to “PAD-X” or “PAD-Y,” and
specify the parameter to be controlled in Destination. For details on these settings, refer to
“Matrix Control” (p. 91).
By setting matrix control Source to “TRIP-R,” you can apply the Time Trip effect and the matrix
control effect simultaneously. In this case, turn [TIME TRIP] on.
V-Synth-GT_e.book 47 ページ 2007年6月21日 木曜日 午後1時23分
Patch Mode (Playing in Patch Mode)
3. While you play the keyboard to produce sound, place your fingertip on the Time Trip pad and move your finger
in the following way.
If [TIME TRIP] is on
The effect will be applied when you move your finger in a circle on the Time Trip pad.
fig.04-16.eps
If you are using matrix control as well, the effect will be applied when you move your finger from the circumference
of the Time Trip pad toward the center.
fig.04-17.eps
If [ASSIGNABLE] is on
The effect will be applied when you move your finger up/down/left/right on the Time Trip pad.
fig.04-18.eps
• By pressing TIME TRIP PAD [HOLD], you can cause the effect to be held even after you take your
finger off the Time Trip pad.
• The Time Trip Pad settings are saved with each patch. This means that you can create patches that
contain Time Trip Pad settings you like.
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Patch Mode (Playing in Patch Mode)
Applying an Effect by Passing Your Hand Over the D Beam
The D Beam controller can be used simply by waving your hand over it. It can be used to apply various effects,
depending on the function that is assigned to it. You can also create effects in which the sound changes instantaneously,
in a way that would not be possible by operating a knob or the bender lever.
1. Press [PATCH] to access the Patch Play screen.
2. Choose the function that you want to control from the D Beam controller, and press the D BEAM button for that
function to turn on the D Beam controller.
fig.04-19.eps
[TIME TRIP]
[TIME]
[PITCH]
[ASSIGNABLE]
Applies the Time Trip effect (p. 46).
Applies the time control effect.
Applies the pitch control effect.
Applies the effect that is specified by each tone.
By turning [ASSIGNABLE] on, you can apply the effect that is specified by each patch. In
this case, however, unlike the other three functions, simply pressing the button to turn it on
will not apply an effect. You will also need to make matrix control settings. Set the matrix
control Source to “BEAM-L” or “BEAM-R,” and specify the parameter to be controlled in
Destination. For details on these settings, refer to “Matrix Control” (p. 91).
3. While playing the keyboard to produce sound, place your hand over the D Beam, and slowly move it up and
down.
Effects will be applied to the sound according to the button you pressed in step 2.
4. To turn off the D Beam controller, once again press the button that you pressed in step 2, so its indicator goes out.
• The D Beam controller settings are saved with each patch. This means that you can create patches
that contain D Beam settings you like.
• By assigning a MIDI controller number to the D Beam controller, you can use the D Beam to control
an external MIDI device that is connected. For details, refer to “1–4 Assign L, R (D Beam 1–4
Assign L, R)” (p. 205).
The usable range of the D Beam controller
fig.04-20.eps
The following diagram shows the usable range of the D Beam controller. Waving your hand outside
this range will produce no effect.
The D BEAM indicator will light when the D Beam controller is responding. The D BEAM indicator will
not light if you are outside the valid range of the D Beam controller.
The usable range of the D Beam controller will become extremely small when used under strong
direct sunlight. Please be aware of this when using the D Beam controller outside.
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V-Synth-GT_e.book 49 ページ 2007年6月21日 木曜日 午後1時23分
Patch Mode (Playing in Patch Mode)
Using the E1–E8 Knobs
You can modify the sound in real time by turning the E1–E8 knobs to control the functions assigned to the knobs.
1. Press [PATCH] to access the Patch Play screen.
2. While playing the keyboard to produce sound, turn the E1–E8 knobs.
When you turn a knob, the sound will change according to the function that is assigned to that knob.
You can check what function is assigned to a particular knob by viewing the eight knobs shown in the screen.
fig.04-22.eps
You can use the Utility menu to edit the assignments that the E1–E8 knobs will perform in the Patch Play screen (p.
228).
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V-Synth-GT_e.book 50 ページ 2007年6月21日 木曜日 午後1時23分
Patch Mode (Playing in Patch Mode)
Using the Assignable Controllers
You can turn the ASSIGNABLE CONTROL knobs to modify the sound in real time.
The assignable controllers use matrix control to apply effects to the sound. This means that you will need to make matrix
control settings separately. Set the matrix control Source to “KNOB1” or “KNOB2,” and specify the parameter to be
controlled in Destination. For details on this setting, refer to “Matrix Control” (p. 91).
1. Press [PATCH] to access the Patch Play screen.
2. Press [ASSIGNABLE].
If you press [LEVEL] or [PAN], the knobs will adjust the level or pan of the upper and lower tones.
3. While playing the keyboard to produce sound, turn the ASSIGNABLE CONTROL knobs ([C1], [C2]).
The sound will change according to the function assigned to each knob.
fig.04-21.eps
By assigning MIDI controller numbers to the assignable controllers, you can turn [C1] or [C2] to control an external
MIDI device that is connected. For details, refer to “C1/C2 Knob” (p. 206).
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Patch Mode (Playing in Patch Mode)
Arpeggiator
Playing Arpeggios
The V-Synth GT comes with an arpeggiator that can play arpeggios automatically. Once you turn on the arpeggiator,
the keys you press will automatically be played as an arpeggio.
1. Press [PATCH] to access the Patch Play screen.
2. Press ARPEGGIO [ON/OFF] to make the indicator light.
The arpeggiator is turned on.
3. Play the keyboard.
The V-Synth GT arpeggiates what you’ve played.
4. To adjust the tempo of the arpeggio, turn ARPEGGIO [TEMPO].
Turning the knob toward the right will speed up the tempo, and turning it toward the left will slow down the tempo.
5. To finish playing arpeggios, press ARPEGGIO [ON/OFF] again so the indicator turns off.
Holding an Arpeggio
By using the following procedure, you can produce arpeggios even without continuing to press the keyboard.
1. Press ARPEGGIO [ON/OFF] to turn the Arpeggiator on.
2. Press ARPEGGIO [HOLD] to make the indicator light.
3. Play the keyboard.
4. If you play a different chord or notes while the arpeggio is being held, the arpeggio will change accordingly.
5. To cancel Arpeggio Hold, press ARPEGGIO [HOLD] again.
When Using a Hold Pedal
If you play an arpeggio while pressing the hold pedal, the arpeggio will continue to be played even if you release the
keyboard.
1. Connect an optional pedal switch (DP series) to the HOLD PEDAL jack.
2. Press ARPEGGIO [ON/OFF] to turn the Arpeggiator on.
3. Play the keyboard while pressing the hold pedal.
4. If you play a different chord or notes while the arpeggio is being held, the arpeggio will change accordingly.
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Patch Mode (Playing in Patch Mode)
V-LINK (Synchronizing Music and Video While You Play the V-Synth GT)
The V-Synth GT lets you use the pitch bend/modulation lever, Time Trip pad, D Beam controller, and C1/C2 knobs to
control an externally connected video device that supports V-LINK. This means that your performance on the V-Synth
can control not only sound but also images, producing sound and video effects that are linked to your playing.
V-LINK (
) is a function that allows music and images to be performed together. By using MIDI to
connect two or more V-LINK compatible devices, you can easily enjoy performing a wide range of visual effects
that are linked to the expressive elements of a music performance.
Example Connections
fig.04-41-j.eps
V-Synth GT
Remote Function
(V-LINK)
CG-8
MIDI Cable
Video Output
Display or Projector
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Patch Mode (Playing in Patch Mode)
Enter V-LINK Mode
1. Press [V-LINK] so the indicator lights.
V-Synth GT will enter V-LINK mode.
For details on how to assign V-LINK functions to the controllers, refer to “V-LINK Settings” (p. 208).
2. To exit V-LINK mode, press [V-LINK] once again so the indicator goes out.
V-LINK Functions that the V-Synth GT Can Control and MIDI Messages
You can assign the following functions to the V-Synth GT’s controllers to control a V-LINK compatible video device.
V-LINK function
Playback Speed
Dissolve Time (amount time the video clips overlap)
Audio Level (Volume of audio playback)
Color Cb (color-difference signal)
Color Cr (color-difference signal)
Brightness
VFX1 (Visual Effects 1)
VFX2 (Visual Effects 2)
VFX3 (Visual Effects 3)
VFX4 (Visual Effects 4)
Output Fade
T Bar
Dual Stream
Time Trip
Palette1–8 (Selecting a palette)
Clip1–8 (Selecting a video clip)
Transmitted MIDI message
CC 10 (Panpot)
CC 5 (Portamento Time)
CC 7 (Volume)
CC 72 (Release)
CC 71 (Resonance)
CC 74 (Cutoff)
CC 1 (Modulation)
CC 91 (Reverb)
CC 94 (Celeste)
CC 95 (Phaser)
CC 73 (Attack)
CC 11 (Expression)
CC 64 (Hold 1)
CC 92 (Tremolo)
CC 93 (Chorus)
CC 0 (Bank Select): 00H–07H
Program Change: 00H–07H
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Patch Mode (Editing a Patch)
With the V-Synth GT, you have total control over a wide variety of settings.
This chapter explains the procedures used in creating patches, and the functions of the patch parameters.
Creating a Patch
1. Access the Patch Play screen, and select the patch that you want to edit (p. 40).
If you want to create all your patches from the ground up, rather than the patches that have already been prepared,
carry out the Initialize operation (p. 62).
2. Select the tones that you want to use for the upper tone and lower tone (p. 55).
3. Apply effects (chorus and reverb) (p. 76).
4. Save the patch (p. 58).
When you carry out a save, any data previously stored at the save destination will be overwritten and lost.
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Patch Mode (Editing a Patch)
Selecting a Tone
Specifying the Upper Tone and Lower Tone
A patch consists of an upper tone and a lower tone. When selecting a tone, you must first specify which one you’re
selecting—upper or lower.
1. Press [PATCH] to access the Patch Play screen.
2. Touch <Lower Tone> or <Upper Tone> to select the tone you want to specify.
Alternatively, press [SELECT] so it’s lit, then press [TONE LOWER]/[TONE UPPER].
fig.05-01-j.eps
Lower Tone
Tone Switch
Upper Tone
Tone Switch
If you don’t want the lower or upper tone to be sounded, touch the tone switch to turn it off.
Alternatively, press [SELECT] so it’s not lit, then press [TONE LOWER]/[TONE UPPER] to turn off a tone.
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Patch Mode (Editing a Patch)
Selecting a Tone
Once you’ve specified either the upper or lower tone, you can select the tone.
fig.05-02-j.eps
Tone Number
Tone Name
Tone Category
Search Button
1. Move the cursor to the tone number, either by pressing the cursor buttons, or by touching the tone number
indication.
2. Select the desired tone number.
You can use any of the following methods to select a tone number.
• Turn the VALUE dial
• Press [INC/+] or [DEC/-]
• Drag your fingertip on the touch panel
• Use the numeric keys to directly enter a tone number (p. 34)
For example, if you want to select tone number 123, consecutively press numeric keys [1], [2], and [3], and
then press [ENTER] to confirm your selection.
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Patch Mode (Editing a Patch)
Selecting a Tone from a List
You can view a list of tones and select a tone from the list.
1. Touch the search button.
The Upper (or Lower) Tone List window will appear.
fig.05-05-e.eps
Category Search Area
Keyword Search Area
2. Choose a tone from the list.
Either turn the VALUE dial or use [INC/+] [DEC/-] to choose a tone. You can also choose a tone by directly
touching it in the touch panel.
By turning the [E8] knob you can scroll the list rapidly.
3. Touch <OK>.
The tone will be selected and the Upper (or Lower) Tone List window will close.
Selecting Tones by Category
Touch the <Category Search Area> to open the Category Search palette. Here you can view only the tones of the
category you specify, allowing you to quickly find the tone you want.
To return to viewing all tones, touch <
>.
Selecting Tones by Keyword
Touch the <Keyword Search Area> to open the virtual keyboard. When you type a keyword and touch <ok>,
only the tones that include the specified keyword will be displayed, allowing you to quickly find the tone you want.
To return to viewing all tones, touch <
>.
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Patch Mode (Editing a Patch)
Patch Menu
Patch Write (Saving Patches)
Changes you make to sound settings are temporary, and will be lost if you turn off the power or select another sound.
If you want to keep the modified sound, you must save it in the internal (internal memory).
When you modify the settings of a patch, the Patch Play screen will indicate “*.” Once you save the patch into internal
memory, the “*” indication goes away.
When you perform the save procedure, the data that previously occupied the save destination will be lost. However,
the factory setting data can be recovered by performing the Factory Reset (p. 235).
1. Make sure that the patch you wish to save is selected.
2. Touch <MENU> in the upper right of the screen.
A pulldown menu appears.
fig.05-03.eps_50
3. In the pulldown menu, touch <Patch Write>.
The Patch Write window appears.
fig.05-04-ps.eps_50
4. Turn the VALUE dial to specify the save-destination patch.
• If you touch “Write Upper Tone” or “Write Lower Tone” to add a check mark, the tone(s) used in the patch
will also be saved.
• When you touch <Search>, the Patch Write Number List window will appear, allowing you to select the
save-destination patch from the list.
5. Touch <OK> to execute the Save operation.
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Patch Mode (Editing a Patch)
Patch Name (Naming a Patch)
Assign a new name to the patch before you save it. You can assign a name of up to twelve characters to the patch.
1. Make sure that the patch that you want to name is selected.
2. Touch <MENU> in the upper right of the screen.
A pulldown menu appears.
fig.05-03.eps_50
3. In the pulldown menu, touch <Patch Name>.
The Patch Name window appears.
fig.05-06-ps.eps_50
4. Touch the on-screen alphabetic or numeric keys to enter the new name in the text box.
The on-screen keys have the following functions.
< << >< >> >
<shift>
<clear all>
<back space>
<delete>
Move the cursor in the text box to the desired input location.
Turn this on when you want to input uppercase letters or symbols.
Erases all characters in the text box.
Deletes the character that precedes the cursor location.
Deletes the character at the cursor location.
5. When you have finished inputting, touch <OK> to finalize the patch name.
If you want to return to the original unedited name, touch <EXIT>.
* You will lose your edited patch settings if you switch to another patch or turn off the power. If you want to keep a patch whose
settings you have edited, then perform the Save operation (p. 58).
* You can also assign a category to each patch (p. 60).
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Patch Mode (Editing a Patch)
Patch Category (Assigning the Category of a Patch)
If you assign a category to your patches, you’ll be able to search for them by category in the Patch List window.
If no category is assigned to a patch, its category name will be “No Assign.”
1. Make sure that the patch that you want to category is selected.
2. Touch <MENU> in the upper right of the screen.
A pulldown menu appears.
fig.05-03.eps_50
3. In the pulldown menu, touch <Patch Category>.
The Patch Category window appears.
fig.05-07-ps.eps_50
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Patch Mode (Editing a Patch)
4. Select a category from the list.
Patch Category List
Category
No Assign
Synth
Lead
Pad, Strings
Vox, Choir
Piano, Keyboards
Bass, Guitar
Winds
Bell, Mallet, Hit
Melodic Sequence
Rhythmic Sequence
Arpeggio
FX, Noise, Ambient
Ethnic
Drum, Perc
Combination, Others
Contents
No Assign
Synth
Lead
Pad/Strings
Voice/Choir
Piano/Keyboards
Bass/Guitar
Winds
Bell/Mallet/Hit
Melodic (i.e., pitched) sequences
Rhythmic (i.e., non-pitched) sequences
Arpeggio
Effect/Noise/Ambient
Ethnic
Drum/Percussion
Combinations using zones (p. 88)/other
5. Touch <OK> to finalize the category.
* You will lose your edited patch settings if you switch to another patch or turn off the power. If you want to keep a patch whose
settings you have edited, then perform the Save operation (p. 58).
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Patch Mode (Editing a Patch)
Patch Init (Initializing the Patch Settings)
“Initialize” means to return the settings of the currently selected patch to a standard set of values.
The Initialize operation will affect only the currently selected patch; the patches that are stored in internal memory
and temporary area will not be affected. If you wish to restore all of the V-Synth GT’s settings to their factory values,
perform a Factory Reset (p. 235).
1. Access the Patch Play screen, and select the patch that you wish to initialize (p. 40).
2. Touch <MENU> in the upper right of the screen.
A pulldown menu appears.
fig.05-03.eps_50
3. In the pulldown menu, touch <Patch Init>.
A window like the following appears.
fig.05-09-ps.eps_50
4. If you also want to initialize the tones used in the patch, check the boxes for the tone(s) you want to initialize.
5. Touch <OK>.
The initialization will be carried out.
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Patch Mode (Editing a Patch)
Patch Common (Settings Shared by the Entire Patch)
Here we’ll explain the parameters that are used in common by the entire patch (Patch Common parameters).
Editing the Patch Common Parameters
1. Press [PATCH] to access the Patch Play screen.
2. Touch <MENU> in the upper right of the screen.
A pulldown menu appears.
fig.05-03.eps_50
3. In the pulldown menu, touch <Patch Common>.
The Patch Common screen appears.
fig.05-11-ps.eps_50
4. The parameters are organized into several editing groups. Touch one of the buttons at the bottom of the screen to
select the edit group containing the parameters you want to set.
5. Touch one of the tabs in the left of the screen to select the desired editing screen.
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Patch Mode (Editing a Patch)
6. In each screen, touch the touch panel to edit the parameters.
Move the cursor to the value box of the parameter you want to edit, and use any of the following methods to edit it.
• Turn the VALUE dial
• Press [INC/+] or [DEC/-]
• Drag your fingertip on the touch panel
7. Repeat steps 4–6 to edit the patch common parameters.
Changes you make by editing the patch common parameters are temporary, and will be lost if you turn off the
power. If you want to keep the changes you made, you must save them to the V-Synth GT’s internal memory (p. 58).
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Patch Mode (Editing a Patch)
Common (Settings Used by the Entire System)
General
fig.05-20-j.eps_50
In this screen you can turn
the upper/lower tones on/off,
change each tone, and adjust
the level and pan.
Parameter
Patch Level
Value
Patch Coarse Tune
0–127
-48– +48
Lower Level
Lower Pan
0–127
L64–0–63R
Upper Level
Upper Pan
0–127
L64–0–63R
Description
Specifies the volume of the patch.
Adjusts the pitch of the patch’s sound up or down in semitone steps (+/-4 octaves).
Specifies the volume of the lower tone.
Specifies the panning of the lower tone. “L64” is far left, “0” is center, and
“63R” is far right.
Specifies the volume of the upper tone.
Specifies the panning of the upper tone. “L64” is far left, “0” is center, and
“63R” is far right.
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Patch Mode (Editing a Patch)
Time Trip Pad
fig.05-21.eps_50
Parameter
Pad Mode
(Time Trip Pad Mode)
Hold Switch
(Time Trip Pad Hold Switch)
Value
Time Trip
Assignable
OFF, ON
Description
Applies the Time Trip effect (p. 46).
Applies the effect that is specified by each tone.
Specifies whether the current value will be maintained (ON) when you remove your finger from the Time Trip pad, or not maintained (OFF).
For details on settings for the Time Trip effect, refer to “Matrix Control” (p. 91) and “Time Trip Pad” (p. 204).
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Patch Mode (Editing a Patch)
D Beam
fig.05-22.eps_50
Parameter
D Beam (D Beam Mode)
Value
OFF
Time Trip
Time
Pitch
Assignable
Description
The D Beam
The D Beam
The D Beam
The D Beam
The D Beam
controller
controller
controller
controller
controller
will
will
will
will
will
not be used.
control the Time Trip effect (p. 46).
control the Time Control effect.
control the Pitch Control effect.
control the effect specified for each tone.
For details on how to specify the effect that will be controlled when
“Assignable” is selected, refer to “Matrix Control” (p. 91).
S1/S2 Switch
fig.05-24.eps_50
Parameter
S1/S2 Switch Setting
Value
Latch
Momentary
Description
The on/off status will alternate each time you press [S1] [S2].
The status will be on only while you hold down [S1] [S2].
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Patch Mode (Editing a Patch)
Key Range
Here you can specify the zones of the keyboard in which the upper and lower tones are to be sounded.
You can also specify how the two tones will be played.
You can access this screen not only from the Patch Common screen, but also directly by touching <Key Range> in the
Patch Menu.
fig.05-30-j.eps_50
From this screen you can turn the lower
and upper tones on/off and make other
changes for the tones.
Parameter
Key Range Upper/Lower
Min
Value
Description
C-1–G9
Max
C-1–G9
Specify the lowest keys of the ranges within which the upper tone or lower tone
will be sounded.
Specify the highest keys of the ranges within which the upper tone or lower tone
will be sounded.
Only the upper tone will play across the entire keyboard.
The upper tone and lower tone will both play across the entire keyboard.
The upper tone and lower tone will be split and will sound in separate zones of
the keyboard.
If you hold down a note of the keyboard and touch Split Sw, the keyboard will
be split at that note.
If you touch Split Sw without holding down a note, the keyboard will be split at
C4.
Single Sw (Single Switch)
Dual Sw (Dual Switch)
Split Sw (Split Switch)
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Patch Mode (Editing a Patch)
Arpeggio
In addition to accessing this screen from the Patch Common screen, you can access it directly by touching <Arpeggio>
in the Patch Menu.
fig.05-40-ps.eps_50
Parameter
Arpeggio Switch
Patch Tempo
Hold
(Arpeggio Hold Switch)
Destination
Motif (Arpeggio Motif)
Sets the order in which notes of
the chord will sound.
Value
OFF, ON
20.0–250.0
OFF, ON
Lower
Upper
Upper & Lower
UP
DOWN
UP&DOWN
RANDOM
NOTE ORDER
RHYTHM
PHRASE
AUTO
Pattern Edit
Description
Switches the Arpeggiator on/off.
Specifies the tempo of an arpeggio. When Clock Source parameter (p.
198) is set to “INTERNAL,” this setting value is effective.
Switches between Hold On/Hold Off for the Arpeggiator performance.
Arpeggios will be played only for the lower tone.
Arpeggios will be played only for the upper tone.
Arpeggios will be played for both the upper and lower tones.
Notes you press will be sounded, beginning from low to high.
Notes you press will be sounded, from high to low.
Notes you press will be sounded, from low to high, and then back down
from high to low.
Notes you press will be sounded, in random order.
Notes you press will be sounded in the order in which you pressed them.
By pressing the notes in the appropriate order you can produce melody
lines. Up to 128 notes will be remembered.
Unlike a conventional arpeggio, the notes that you specified when inputting the pattern will always sound. The keys that you press while performing will not affect the result; the specified pattern will play regardless of the
pitch of the keys you play.
Pressing a single key will sound the phrase based on the pitch of that key.
If multiple keys are pressed, the last-pressed key will be valid.
The timing at which the keys are sounded is assigned automatically, starting at the lowest key that you pressed.
Press this when you want to create an original arpeggio pattern.
For details on creating an arpeggio pattern, refer to “Arpeggio Pattern
Edit (Creating an Original Arpeggio Pattern)” (p. 71).
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Patch Mode (Editing a Patch)
Parameter
Shuffle Rate
(Arpeggio Shuffle Rate)
Value
0–100%
Description
This setting lets you modify the note timing to create shuffle rhythms.
With a setting of “50%” the notes will be spaced evenly. As the value is
increased, the note timing will have more of a “dotted” (shuffle) feel.
fig.Shuffle Rate
Shuffle Rate = 50%
50
70
Shuffle Resolution
(Arpeggio Shuffle Resolution)
Octave Range
(Arpeggio Octave Range)
16TH, 8TH
Keyboard Velocity
(Arpeggio Keyboard Velocity)
REAL, 1–127
Arpeggio Duration
0–100%
-3– +3
50
50
Shuffle Rate = 90%
50
90
10
90
10
Specifies the timing resolution in terms of a note value. The note value can
be specified as either an 16th note or a eighth note.
Sets the key range in octaves over which arpeggio will take place. If you
want the arpeggio to sound using only the notes that you actually play, set
this parameter to “0.” To have the arpeggio sound using the notes you play
and notes 1 octave higher, set this parameter to “+1.” A setting of “-1” will
make the arpeggio sound using the notes you play and notes 1 octave lower.
Specifies the loudness of the notes that you play.
If you want the velocity value of each note to depend on how strongly you
play the keyboard, set this parameter to “REAL.” If you want each note to
have a fixed velocity regardless of how strongly you play the keyboard, set
this parameter to the desired value (1–127).
Modifies the length of the notes.
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Patch Mode (Editing a Patch)
Arpeggio Pattern Edit (Creating an Original Arpeggio Pattern)
You can create your own arpeggio pattern that specifies how an arpeggio will be sounded. This gives you even more
interesting ways to use arpeggios.
An arpeggio pattern is a set of data that can be up to 32 steps (horizontally) x 16 lines (vertically).
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 specifically for that arpeggio pattern.
About the Pattern Edit Window
1. Access the Arpeggio screen (p. 69).
2. Touch <Edit>.
fig.05-41-ps.eps
<Edit>
The Pattern Edit window will appear.
fig.02-09a.e
Pattern input area
Cursor
State
Note/CC
(Note/Control Change)
Specifies the status of each line.
NOTE: Note pitch
CTRL: Control change
Specifies the note number or control change number assigned to each line. If Status is
“NOTE,” this will be a note number (C-1–G9). If Status is “CTRL,” this will be a control
change number (0–127).
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Patch Mode (Editing a Patch)
Pattern Input Area
Value
0, 32, 64, 96, 127,
Tie/Clr
Grid
This area is where you input or edit notes or control changes. The symbols have the following meaning:
●: Note
=: Tie
❍: Control change
Shows the velocity of the note or the value of the control change selected in the pattern input
area.
When inputting notes: When you touch one of these buttons, a note with the velocity shown
on that button will be input at the cursor location within the pattern input area. When you
touch <Tie>, a tie will be input at the cursor location.
When inputting control changes: A control change with the value shown on that button will
be input at the cursor location within the pattern input area. When you touch <Clr>, the
selected control change will be erased.
When you are editing, these buttons modify the velocity of the note that is selected in the
pattern input area, or the value of the control change.
You can also input the note velocity or control change value by using the VALUE dial or
[INC/+] [DEC/-].
Specifies the note value that will correspond to “one step” of the arpeggio pattern.
(Quarter note),
(Sixteenth note),
End Point
Clear
Real Rec
(Realtime Recording)
Step Rec
(Step Recording)
72
(Eighth note),
(Dotted eighth note),
(Dotted sixteenth note),
(Thirty-second note)
Specifies the pattern length as a number of steps (1–32).
Erases the pattern data (p. 75).
Uses realtime recording to create a pattern (p. 73).
Uses step recording to create a pattern (p. 74).
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Patch Mode (Editing a Patch)
Creating a Pattern by Playing in Real Time (Real Rec)
This method lets you create a pattern in a way similar to realtime recording on a sequencer. Your playing on the VSynth GT’s keyboard and your controller operations will be recorded “as is.”
1. Specify the Grid and End Point of the arpeggio pattern that you will be creating.
Move the cursor to each value box and set the value.
2. Touch <Real Rec>.
The V-Synth GT will be in realtime-input standby mode, and the metronome will sound a guide rhythm.
fig.02-09c_50
3. If you want to adjust the tempo, turn ARPEGGIO [TEMPO].
Turn the knob toward the right to make the tempo faster, or toward the left to make it slower.
4. In time with the guide rhythm sounded by the metronome, play the V-Synth GT’s keyboard and operate the
controllers.
You can repeatedly record over the pattern length (number of steps) you specified in step 1. On each pass, you
can add new notes and control changes to build up the pattern.
The notes (specified pitches) and control changes in a single pattern cannot exceed a total of 16. All further
(seventeenth and later) notes having a new pitch or control changes will not be recorded.
5. When you are finished with realtime input, touch <Stop>.
The metronome guide will stop sounding.
6. Press ARPEGGIO [ON/OFF] to turn on the arpeggiator, and play the keyboard to hear your realtime-recorded
pattern.
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Patch Mode (Editing a Patch)
Creating a Pattern by Inputting One Step at a Time (Step Rec)
This method lets you create a pattern in a way similar to step-recording on a sequencer. You can record notes and
control changes by inputting them one by one.
1. Specify the End Point of the arpeggio pattern that you want to create.
Move the cursor to the End Point value box and make the setting.
2. Touch <Step Rec>.
The V-Synth GT will be in step-input standby mode.
fig.02-09d_50
3. Play the V-Synth GT’s keyboard or operate a controller to input the first step.
You can repeatedly record over the pattern length (number of steps) you specified in step 1. On each pass, you
can add new notes and control changes to build up the pattern.
• To input a tie, hold down the key of the note that you want to tie and press [ ]. You will advance
as many steps as the number of times you press [ ].
• Step input records the strength (velocity) with which you press the key, and this will be reflected in
the level or dynamics of the arpeggiated notes.
• Control changes will be input with the value that was in effect when you pressed [ ].
• The notes (specified pitches) and control changes in a single pattern cannot exceed a total
maximum of 16. A newly pitched note or a control change that would exceed this total will not be
recorded.
• Be aware that if you input another note while still holding down the key for the previously input
note, these notes will be input as a chord located at the same step.
4. When you are finished with step input, touch <Stop>.
5. Press ARPEGGIO [ON/OFF] to turn on the arpeggiator, and play the keyboard to hear your step-recorded
pattern.
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Patch Mode (Editing a Patch)
Erasing a Pattern (Clear)
Here’s how to erase data from the pattern. You can erase a specific line or the entire pattern.
1. To specify a line that you want to erase, move the cursor to that line.
2. Touch <Clear>.
A window like the following will appear.
fig.02-09e_50
3. To erase a line of data, touch <LINE CLEAR>. To erase the entire pattern, touch <ALL CLEAR>. If you decide you
don’t want to clear anything, touch <CANCEL>.
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Patch Mode (Editing a Patch)
Effects (Setting Effects for a Patch)
The V-Synth GT provides three high-quality effects: Tone-FX (tone effect), Chorus, and Reverb. The tone effect can be
applied to each tone individually, and the amount of signal sent to chorus and to reverb can be specified individually
for each tone.
You can also access the effects screen by touching <Effect> in the Patch Menu, as well as from the Patch Common
screen.
Routing
Each effect block is displayed as if it were a small rack-mounted unit. You can turn each effect on/off to freely specify
the connection path (signal routing).
fig.05-50-j.eps_50
Chorus On/Off Switch
Chorus Type
Chorus Master Level
Reverb Master Level
Reverb Type
Reverb On/Off Switch
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Patch Mode (Editing a Patch)
Parameter
TVA Tone-FX Send
(TVA Tone-FX Send Level)
TVA CHO Send
(TVA Chorus Send Level)
TVA REV Send
(TVA Reverb Send Level)
TVA Output Assign
AP Syn Tone-FX Send
(AP Syn Tone-FX Send Level)
AP Syn CHO Send
(AP Syn Chorus Send Level)
AP Syn REV Send
(AP Syn Reverb Send Level)
AP Syn Output Assign
Tone-FX
(Tone-FX On/Off Switch)
Tone-FX Type
Tone-FX Master Level
Tone-FX To CHO
(Tone-FX Chorus Send Level)
Tone FX-To REV
(Tone-FX Reverb Send Level)
CHO
(Chorus On/Off Switch)
CHO Type
(Chorus Type)
CHO Master Level
(Chorus Master Level)
CHO To REV
(Chorus Reverb Send Level)
REV
(Reverb On/Off Switch)
REV Type (Reverb Type)
REV Master Level
(Reverb Master Level)
Value
0–127
Description
These parameters can be set for each tone.
For details, refer to “Tone-FX (Tone Effect)” (p. 139).
0–127
0–127
T-FX
MAIN
DIR
0–127
0–127
0–127
T-FX
MAIN
DIR
OFF, ON
00 (Thru)–41
0–127
0–127
0–127
OFF, ON
Switches chorus on and off.
00 (Off)–08
Touching this will take you to the Chorus screen (p. 78), where you can
choose one of eight types of chorus. For details on each type of chorus, refer
to “COSM_EffectsList(E).pdf” in the “EFFECTS LIST” folder on the included
CD-ROM.
Adjusts the volume of the sound that has passed through chorus.
0–127
0–127
OFF, ON
00 (Off)–13
0–127
Adjusts the amount of reverb for the sound that passes through chorus. If you
don’t want to add the Reverb effect, set it to “0.”
Switches reverb on and off.
Touching this will take you to the Reverb screen (p. 79), where you can
choose one of 13 types of reverb. For details on each type of reverb, refer
to “COSM_EffectsList(E).pdf” in the “EFFECTS LIST” folder on the included
CD-ROM.
Adjusts the volume of the sound that has passed through reverb.
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Patch Mode (Editing a Patch)
Tone-FX
This is an effect that can be applied to each tone individually.
For details, refer to “Tone-FX (Tone Effect)” (p. 139).
Chorus
fig.05-51-j.eps
Chorus Switch
Chorus Type
Search Button
Parameter
Chorus Switch
CHO Type (Chorus Type)
Value
OFF, ON
00 (Off)–08
Description
Switches the Chorus on/off.
You can choose one of eight types of chorus.
In this editing screen you can select the chorus type and edit the parameters
for that type. For details on each type of chorus, refer to
“COSM_EffectsList(E).pdf” in the “EFFECTS LIST” folder on the included CDROM.
When you touch <Search>, the Chorus Type List window will appear,
allowing you to select the chorus from the list.
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Patch Mode (Editing a Patch)
Reverb
fig.05-52-j.eps
Reverb Switch
Reverb Type
Search Button
Parameter
Reverb Switch
REV Type (Reverb Type)
Value
OFF, ON
00 (Off)–13
Description
Switches the Reverb on/off.
You can choose one of 13 types of reverb.
In this editing screen you can select the reverb type and edit the parameters
for that type. For details on each type of reverb, refer to
“COSM_EffectsList(E).pdf” in the “EFFECTS LIST” folder on the included CDROM.
When you touch <Search>, the Reverb Type List window will appear,
allowing you to select the reverb from the list.
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Patch Mode (Editing a Tone)
A patch consists of a combination of two tones. This chapter will explain how to edit these tones, and what the tone
parameters do.
Creating a Tone
Broadly speaking, there are two ways to create a tone.
Using a template to create a patch intuitively (Sound Shaper II)
By using the Sound Shaper II function, you can select a group and template that is close to the sound you want,
and then simply turn the knobs to edit the important aspects of the sound, just like a professional sound designer
(p. 158).
Creating a patch from scratch (Pro Edit)
Based on the tones the V-Synth GT provides, you can combine eight elements (sections) and edit the parameters
of each section to create new sounds (p. 85).
Four Tips for Editing Tones
● Select a tone that is similar to the sound you wish to create.
It’s hard to create a new sound that’s exactly what you want if you just select a tone and modify its parameters
at random. It makes sense to start with a tone whose sound is related to what you have in mind.
● Check the Structure setting.
The structure type is an important parameter which determines how the eight sections are combined. Before
you actually begin editing, you should understand how the sections are related to each other (p. 28).
● Decide which section(s) you will use.
When creating a tone, it is very important to decide which section(s) you will use. In the Edit screen of each
section, use the on/off switch to specify whether that section will be used (on) or not used (off). You can also
use the on/off buttons located in the STRUCTURE section of the V-Synth GT’s panel.
● Turn Effects off.
Since the V-Synth GT effects have such a profound impact on its sounds, turn them off to listen to the sound
itself so you can better evaluate the changes you’re making. Since you will hear the original sound of the tone
itself when the effects are turned off, the results of your modifications will be easier to hear. Actually, sometimes
just changing effects settings can give you the sound you want.
1. Access the Patch Play screen, and select the tone whose settings you wish to modify (p. 55).
If you want to create all your tones from the ground up, rather than the tones that have already been prepared, carry
out the Initialize operation (p. 84).
2. Use Sound Shaper II (p. 158) or ProEdit (p. 85) to edit the tone.
3. Apply a tone effect (p. 139).
4. Save the tone (p. 81).
When you save the tone, any data previously stored at the save destination will be overwritten and lost.
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Patch Mode (Editing a Tone)
Tone Menu
Tone Write (Saving Tones)
Changes you make to sound settings are temporary, and will be lost if you turn off the power or select another sound.
If you want to keep the modified sound, you must save it in the internal (internal memory).
When you modify the settings of a tone, the Patch Play screen will indicate “*.” Once you save the patch into internal
memory, the “*” indication goes away.
When you perform the save procedure, the data that previously occupied the save destination will be lost. However,
the factory setting data can be recovered by performing the Factory Reset (p. 235).
1. Make sure that the tone you wish to save is selected.
2. Touch <MENU> in the upper right of the screen.
A pulldown menu appears.
fig.06a-01.eps_50
3. In the pulldown menu, touch <Tone Write>.
The Tone Write window appears.
fig.06a-02.eps_50
4. Turn the VALUE dial to specify the save-destination tone.
• When you touch <Search>, the Tone Write Number List window will appear, allowing you to select the savedestination tone from the list.
5. Touch <OK> to execute the Save operation.
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Patch Mode (Editing a Tone)
Tone Name (Naming a Tone)
Before you save the tone, here’s how to give it a new name. You can assign a name of up to twelve characters to a tone.
1. Make sure that the tone that you want to name is selected.
2. Touch <MENU> in the upper right of the screen.
A pulldown menu appears.
fig.06a-01.eps_50
3. In the pulldown menu, touch <Tone Name>.
The Tone Name window appears.
fig.06a-04.eps_50
4. Touch the on-screen alphabetic or numeric keys to enter the new name in the text box.
The on-screen keys have the following functions.
< << >< >> >
<shift>
<clear all>
<back space>
<delete>
Move the cursor in the text box to the desired input location.
Turn this on when you want to input uppercase letters or symbols.
Erases all characters in the text box.
Deletes the character that precedes the cursor location.
Deletes the character at the cursor location.
5. When you have finished inputting, touch <OK> to finalize the tone name.
If you want to return to the original unedited name, touch <EXIT>.
* You will lose your edited tone settings if you switch to another tone or turn off the power. If you want to keep a tone whose settings
you have edited, then perform the Save operation (p. 81).
* You can also assign a category to the tone (p. 83).
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Patch Mode (Editing a Tone)
Tone Category (Assigning the Category of a Tone)
If you assign a category to your tones, you’ll be able to search for them by category in the Tone List window.
If no category is assigned to a tone, its category name will be “No Assign.”
1. Make sure that the tone that you want to category is selected.
2. Touch <MENU> in the upper right of the screen.
A pulldown menu appears.
3. In the pulldown menu, touch <Tone Category>.
The Tone Category window appears.
fig.06a-05.eps_50
4. Select a category from the list.
Tone Category List
Category
No Assign
Synth
Lead
Pad, Strings
Vox, Choir
Piano, Keyboards
Bass, Guitar
Winds
Bell, Mallet, Hit
Melodic Sequence
Rhythmic Sequence
Arpeggio
FX, Noise, Ambient
Ethnic
Drum, Perc
Combination, Others
Contents
No Assign
Synth
Lead
Pad/Strings
Voice/Choir
Piano/Keyboards
Bass/Guitar
Winds
Bell/Mallet/Hit
Melodic (i.e., pitched) sequences
Rhythmic (i.e., non-pitched) sequences
Arpeggio
Effect/Noise/Ambient
Ethnic
Drum/Percussion
Combinations using zones (p. 88)/other
5. Touch <OK> to finalize the category.
* You will lose your edited tone settings if you switch to another tone or turn off the power. If you want to keep a tone whose settings
you have edited, then perform the Save operation (p. 81).
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Patch Mode (Editing a Tone)
Tone Init (Initializing the Tone Settings)
“Initialize” means to return the settings of the currently selected tone to a standard set of values.
The Initialize operation will affect only the currently selected tone; the tones that are stored in internal memory and
temporary area will not be affected. If you wish to restore all of the V-Synth GT’s settings to their factory values,
perform a Factory Reset (p. 235).
1. Select the tone that you wish to initialize.
2. Touch <MENU> in the upper right of the screen.
A pulldown menu appears.
fig.06a-01.eps_50
3. In the pulldown menu, touch <Tone Init>.
A window like the following appears.
fig.06a-07.eps_50
4. Touch <OK>.
The initialization will be carried out.
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Editing a Tone (Pro Edit)
“Pro Edit” lets you individually edit all of a tone’s parameters, allowing you to perform detailed and professional tone
editing.
1. In the Patch Play screen, select the tone that you want to edit.
fig.06b-01-j.eps_50
<PRO EDIT>
2. Touch <PRO EDIT>.
The Pro Edit window will appear.
fig.06b-02-ps.eps_50
After you’ve selected a structure, edit the parameters of each section to create the sound.
3. Save the tone you’ve created. (p. 81)
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Editing a Tone (Pro Edit)
Com
OSC1/2
MOD
COSM1/2
TVA
AP Syn
Effects
Com (Settings Common to the Entire Tone)
Structure
Select the type of structure.
The icons that indicate each section show the parameter that is selected for each. You can turn each section on/off
by pressing the V-Synth GT’s buttons or by touching these icons.
By holding down [SHIFT] and touching an icon, you can jump directly to the editing screen for that parameter.
fig.06b-10.eps
Parameter
Structure Type
Value
1
2
3
4
5
86
Description
This is the most conventional structure. Different sounds from OSC1 and
OSC2 are mixed by MOD, processed by COSM1 to create the tonal character (e.g., using SBF (Side Band Filter)), and then processed by COSM2 to
adjust the tone (e.g., using TVF).
The sound of the V-Synth GT’s new AP-Synthesis function can be mixed into
the final result.
This structure connects OSC1 and OSC2 asymmetrically. This is effective
when using a modulation that has the modulator set to anything other than
“MIX.” Typically, you will use OSC1 and COSM1 to create the basic sound,
then select the OSC2 sound and MOD settings to add variation, and finally
select TVF in COSM2 to adjust the tone.
The sound of the V-Synth GT’s new AP-Synthesis function can be mixed into
the final result.
In this structure, OSC1 is paired with COSM1, and OSC2 is paired with
COSM2. You can use a controller such as the Time Trip Pad to morph between the sound created by OSC1 and COSM1 and the sound created by
OSC2 and COSM2.
The sound of the V-Synth GT’s new AP-Synthesis function can be mixed into
the final result.
Unlike types 1–3, this lets you apply effects such as MOD to AP-Synthesis
sounds as well.
If you want to apply an effect such as MOD to the sound of AP-Synthesis,
turn the OSC2 switch ON.
If you select this structure, you’ll be able to perform using Vocal Designer. For
details on using Vocal Designer, refer to “Vocal Designer” (p. 146).
The sound of the V-Synth GT’s new AP-Synthesis function can be mixed into
the final result.
V-Synth-GT_e.book 87 ページ 2007年6月21日 木曜日 午後1時23分
Editing a Tone (Pro Edit)
Com
OSC1/2
MOD
COSM1/2
TVA
AP Syn
Effects
Keyboard
fig.06b-11.eps_50
Parameter
Keyboard
Mono/Poly
Legato (Legato Switch)
Value
Description
Mono
(Monophonic)
Only the last-played note will sound.
The monophonic setting is effective when playing a solo instrument patch
such as sax or flute.
Two or more notes can be played simultaneously.
Poly
(Polyphonic)
OFF, ON
Legato is valid when the Mono/Poly parameter is set to monophonic. This
setting specifies whether the Legato function will be used (ON) or not (OFF).
With the Legato Switch parameter “ON,” pressing a key while continuing
to press a previous key causes the note to change pitch to the pitch of the
most recently pressed key, sounding all the while. This creates a smooth
transition between notes, which is effective when you wish to simulate the
hammering-on and pulling-off techniques used by a guitarist.
Portamento
Portamento
(Portamento Switch)
OFF, ON
Specifies whether the portamento effect will be applied (ON) or not (OFF).
Mode
(Portamento Mode)
NORMAL
LEGATO
Portamento will always be applied.
Portamento will be applied only when you play legato (i.e., when you press
the next key before releasing the previous key).
The time it takes will depend on the distance between the two pitches.
The time it takes will be constant, regardless of how far apart in pitch the
notes are.
When portamento is used, this specifies the time over which the pitch will
change. Higher settings will cause the pitch change to the next note to take
more time.
This allows keyboard dynamics to affect the portamento Time. If you want
portamento Time to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a
negative (-) value.
Refer to “Zone Settings (Zone)” (p. 88)
Type (Portamento Type)
RATE
TIME
Time (Portamento Time)
0–127
Time Velo Sens
(Portamento Time Velocity Sensitivity)
-63– +63
Zone
Mono/Poly, Legato, and Portamento have no effect on AP-Synthesis.
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Editing a Tone (Pro Edit)
Com
OSC1/2
MOD
COSM1/2
TVA
AP Syn
Effects
Zone Settings (Zone)
On the V-Synth GT, the keyboard range is divided into up to 16 areas for each tone, allowing a different sound to be
played in each area. Each of these areas in the keyboard range is called a “zone.”
The following tone settings are applied in common to each of the individual sounds that are divided by zone.
• Common group settings (except for Structure Type)
• Effect group settings for the Tone-FX type, and effect settings
You can select a different structure for each zone, but if you select structure 5, all zones will be set to structure 5.
AP-Synthesis does not support Zones.
Splitting the Keyboard to Play Different Sounds (Split)
A patch that contains settings to play different patches in each keyboard zone is called a split tone. Here’s how to
create a split tone.
1. In the Zone area of the Keyboard screen (p. 87), touch <Edit>.
The Tone Zone window appears.
fig.03-32_50
2. In the lower part of the screen, touch <Split>.
A window like the following appears.
fig.11e
Range of notes that will sound for the specified zone
Zone number
3. Touch <01>.
Zone 01 will be selected, and the top note number of zone 01 will be displayed in the upper right of the screen.
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Editing a Tone (Pro Edit)
Com
OSC1/2
MOD
COSM1/2
TVA
AP Syn
Effects
4. Specify the split point between zones 01 and 02. Either turn the VALUE dial or use [INC/+] [DEC/-] to specify the
note number.
If you want to divide the keyboard into three zones, lower the top note of zone 02, and specify the split point
between zones 02 and 03. By lowering the top note of the highest zone in this way, you can add more zones. You
can specify a maximum of sixteen zones.
5. Touch <OK>.
The zones will be established, and you will return to the Pro Edit screen.
6. In this state, zone 01 is selected. Specify the sound that you want to play in zone 01.
7. After you have specified the sound that you want to play in zone 01, next specify the sound for zone 02.
8. Specify the sound that you want to play in zone 02.
In this way you can create a patch that plays different sounds on either side of the split point you specified in step
4.
Each zone works just like a single tone. You can create the sound for a zone from scratch in the same way as for a
tone, as described in the procedure “Editing a Tone (Pro Edit)” (p. 85).
9. To save the patch you created, perform the Write operation (p. 81).
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Editing a Tone (Pro Edit)
Com
OSC1/2
MOD
COSM1/2
TVA
AP Syn
Effects
Bender/Octave
fig.06b-12.eps_50
Parameter
Bender
Pitch Bend Range Down
Value
Description
0–48
Pitch Bend Range Up
0–48
Specifies the degree of pitch change in semitones when the Pitch Bend lever
is all the way left. For example if this is set to “48” and you move the pitch
bend lever all the way to the left, the pitch will fall 4 octaves.
Specifies the degree of pitch change in semitones when the Pitch Bend lever
is all the way right. For example, if this parameter is set to “12,” the pitch
will rise one octave when the pitch bend lever is moved to the right-most position.
Octave Shift
Octave Shift
90
-3– +3
Adjusts the pitch of the tone’s sound up or down in units of an octave (+/-3
octaves).
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Editing a Tone (Pro Edit)
Com
OSC1/2
MOD
COSM1/2
TVA
AP Syn
Effects
Matrix Control
fig.06b-13-e.eps
Up to eight Matrix Controls can be
used in a single patch. In the right
side of the screen, touch the “Control
1/2”–“Control 7/8” tabs to select
the matrix control that you want to
use.
Search button
Matrix Control
Source
Matrix Control
Sens
Matrix Control
Destination
Matrix Control
Ordinarily, if you wanted to change tone parameters using an external MIDI device, you would need to send System
Exclusive messages—MIDI messages designed exclusively for the V-Synth GT. However, System Exclusive messages
tend to be complicated, and the amount of data that needs to be transmitted can get quite large.
For that reason, a number of the more typical of the V-Synth GT’s tone parameters have been designed so they
accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. This
provides you with a variety of means of changing the way tones are played. For example, you can use the Pitch
Bend lever to change the LFO cycle rate, or use the keyboard’s touch to open and close a filter.
The function which allows you use MIDI messages to make these changes in realtime to the tone parameters is called
the Matrix Control.
To use the Matrix Control, specify which MIDI message (Source parameter) will be used to control which parameter
(Destination parameter), and how greatly (Sens parameter).
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Editing a Tone (Pro Edit)
Com
OSC1/2
MOD
COSM1/2
TVA
Parameter
Source 1, 2
(Matrix Control Source 1, 2)
Sets the MIDI message used to
change the patch parameter with
the Matrix Control.
Sens 1, 2
(Matrix Control Sens 1, 2)
Destination 1, 2
(Matrix Control Destination 1, 2)
Specifies the parameters that will
be controlled by the matrix controllers. When not controlling parameters with the Matrix Control,
set this to “OFF.” Up to two parameters can be specified for
each Matrix Control, and controlled simultaneously.
For details on each parameter, refer to the corresponding reference
page.
AP Syn
Effects
Value
OFF
CC01–31, 33–95
BEND
AFT
+PAD-X
+PAD-Y
PAD-X
PAD-Y
TRIP-R
BEAM-L
BEAM-R
KNOB1
KNOB2
VELO
KEYF
-63– +63
OSC1/2-PITCH
OSC1/2-TIME/PW
OSC1/2-FORMA/FAT
OSC1/2-LVL
OSC1/2-PENV-ATK
OSC1/2-PENV-DCY
OSC1/2-PENV-REL
OSC1/2-TENV-ATK
OSC1/2-TENV-DCY
OSC1/2-TENV-REL
OSC1/2-FENV-ATK
OSC1/2-FENV-DCY
OSC1/2-FENV-REL
OSC1/2-AENV-ATK
OSC1/2-AENV-DCY
OSC1/2-AENV-REL
OSC1/2-LFO-RATE
OSC1/2-LFO-PCH
OSC1/2-LFO-TM/PW
OSC1/2-LFO-FR/FT
OSC1/2-LFO-LVL
CSM1/2-PRM1
CSM1/2-PRM2
CSM1/2-ENV1-ATK
CSM1/2-ENV1-DCY
CSM1/2-ENV1-REL
92
Description
Matrix control will not be used.
Controller numbers 1–31, 33–95
Pitch Bend
Aftertouch
Time Trip pad (horizontal direction from the center)
Time Trip pad (vertical direction from the center)
Time Trip pad (horizontal direction)
Time Trip pad (vertical direction)
Time Trip pad (center from the circumference)
D Beam controller (left)
D Beam controller (right)
Assignable Controller ([C1])
Assignable Controller ([C2])
Velocity (pressure you press a key with)
Note Number
Sets the amount of the Matrix Control’s effect that is applied. If you
wish to modify the selected parameter in a positive (+) direction –
i.e., a higher value, toward the right, or faster etc. – from its current
setting, select a positive (+) value. If you wish to modify the selected
parameter in a negative (-) direction – i.e., a lower value, toward
the left, or slower etc. – from its current setting, select a negative () value. When both positive and negative are selected, the changes
are greater as the value increases. Set it to “0” if you don’t want
this effect.
Oscillator Pitch (p. 97, p. 99, p. 102)
Time/Pulse Width (p. 97, p. 103)
Formant/Fat (p. 97, p. 100, p. 104, p. 112)
Level (p. 113)
Pitch Envelope Attack Time (p. 121)
Pitch Envelope Decay Time (p. 121)
Pitch Envelope Release Time (p. 121)
Time Envelope Attack Time (p. 121)
Time Envelope Decay Time (p. 121)
Time Envelope Release Time (p. 121)
Formant Envelope Attack Time (p. 121)
Formant Envelope Decay Time (p. 121)
Formant Envelope Release Time (p. 121)
Oscillator TVA Envelope Attack Time (p. 121)
Oscillator TVA Envelope Decay Time (p. 121)
Oscillator TVA Envelope Release Time (p. 121)
Oscillator LFO Rate (p. 122)
Oscillator Pitch LFO Depth (p. 102)
Time/Pulse Width LFO Depth (p. 103)
Formant/Fat LFO Depth (p. 104, p. 112)
Oscillator Level LFO Depth (p. 113)
Refer to “COSM_EffectsList(E).pdf” in the “EFFECTS LIST” folder on
the included CD-ROM.
Refer to “COSM_EffectsList(E).pdf” in the “EFFECTS LIST” folder on
the included CD-ROM.
COSM Envelope Attack Time (p. 121)
COSM Envelope Decay Time (p. 121)
COSM Envelope Release Time (p. 121)
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Editing a Tone (Pro Edit)
Com
Parameter
Value
CSM1/2-ENV2-ATK
CSM1/2-ENV2-DCY
CSM1/2-ENV2-REL
CSM1/2-LFO-RATE
CSM1/2-LFO-PRM1
CSM1/2-LFO-PRM2
TVA-LVL
TVA-ENV-ATK
TVA-ENV-DCY
TVA-ENV-REL
TVA-LFO-RATE
TVA-LFO-LVL
TVA-LFO-PAN
TONE-FX-SEND
CHO-SEND
REV-SEND
T-FX-PRM 1–3
TVA-PAN
OSC1/2
MOD
COSM1/2
TVA
AP Syn
Effects
Description
COSM Envelope Attack Time (p. 121)
COSM Envelope Decay Time (p. 121)
COSM Envelope Release Time (p. 121)
COSM LFO Rate (p. 122)
Refer to “COSM_EffectsList(E).pdf” in the “EFFECTS LIST” folder on
the included CD-ROM.
Refer to “COSM_EffectsList(E).pdf” in the “EFFECTS LIST” folder on
the included CD-ROM.
Level (p. 119)
TVA Envelope Attack Time (p. 121)
TVA Envelope Decay Time (p. 121)
TVA Envelope Release Time (p. 121)
TVA LFO Rate (p. 122)
Level LFO Depth (p. 119)
Pan LFO Depth (p. 119)
Tone-FX Send Level (p. 139)
Chorus Send Level (p. 139)
Reverb Send Level (p. 139)
Refer to “COSM_EffectsList(E).pdf” in the “EFFECTS LIST” folder on
the included CD-ROM.
Pan (p. 119)
When you touch <Search>, the Matrix Control Dest List window will appear, allowing you to select the Matrix
Control Destination from the list.
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Editing a Tone (Pro Edit)
Com
OSC1/2
MOD
COSM1/2
TVA
AP Syn
Effects
Tune
fig.06b-14.eps
Value
Parameter
Tone Coarse Tune
-48– +48
Tone Fine Tune
-50– +50
Scale Tune
(Tone Scale Tune Switch)
OFF, ON
Description
Adjusts the pitch of the tone’s sound up or down in semitone steps (+/-4 octaves).
Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/-50 cents).
One cent is 1/100th of a semitone.
Turn this on when you wish to use a tuning scale other than equal temperament.
The V-Synth allows you to play the keyboard using temperaments other than
equal temperament. The pitch is specified in one-cent units relative to the
equal tempered pitch.
One-cent is 1/100th of a semitone.
Scale Tune C–B
(Tone Scale Tune C–B)
-100– +100
The selected scale applies to MIDI messages received from an external
MIDI device.
Makes scale tune settings.
<Example>
• Equal Temperament
This tuning divides the octave into 12 equal parts, and
is the most widely used method of temperament used in
Western music. The V-Synth employs equal
temperament when the Scale Tune Switch is set to
“OFF.”
Note name
• Just Temperament (Tonic of C)
Compared with equal temperament, the principle triads
sound pure in this tuning. However, this effect is
achieved only in one key, and the triads will become
ambiguous if you transpose.
• Arabian Scale
In this scale, E and B are a quarter note lower and C#,
F# and G# are a quarter-note higher compared to equal
temperament. The intervals between G and B, C and E,
F and G#, Bb and C#, and Eb and F# have a natural
third—the interval between a major third and a minor
third. On the V-Synth, you can use Arabian
temperament in the three keys of G, C and F.
94
C#
D
Equal
temperament
0
0
0
Just Temperament (tonic C)
0
-8
+4
Arabian
Scale
-6
+45
-2
Eb
E
F
F#
G
G#
A
Bb
B
0
0
0
0
0
0
0
0
0
+16
-14
-2
-10
+2
+14
-16
+14
-12
-12
-51
-8
+43
-4
+47
0
-10
-49
C
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OSC1/2
MOD
COSM1/2
TVA
AP Syn
Effects
OSC1/OSC2 (Oscillator 1/2)
The “oscillator” is the section that specifies the basic wave that the V-Synth GT will play, and modifies this wave in
various ways. Each tone can contain up to two oscillators.
Parameter
Oscillator Switch
Value
OFF, ON
Description
Switches the oscillator on/off.
OSC Type
fig.06b-20-j.eps
Oscillator Switch
Parameter
Oscillator Type
Oscillator Type
Value
Analog OSC
PCM OSC
External In
Description
Analog Oscillator
PCM Oscillator
External Input Oscillator
A signal applied to the rear panel’s INPUT jacks can be used as an oscillator.
This means that you can use the keyboard to play the signal that’s being input
from an external source. (You’ll hear the sound only while you are playing
the keyboard.)
You can’t use an audio signal that’s received via digital input (DIGITAL IN)
(p. 200).
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Effects
OSC Type (Analog OSC)
fig.06b-21-ps.eps_50
Parameter
Waveform
(Analog Oscillator Waveform)
Value
SAW:
Sawtooth wave
Selects the wave upon which the
sound is to be based when using
an analog oscillator.
SQUARE:
Square wave
TRIANGLE:
Triangle wave
SINE: Sine wave
RAMP:
Ramp wave
JUNO:
Modulated sawtooth
wave
HQ-SAW:
High quality sawtooth wave
HQ-SQUARE:
High quality square
wave
NOISE:
Noise wave
LA-SAW:
LA sawtooth wave
LA-SQUARE:
LA square wave
SUPER-SAW:
Super Saw
FBACK-OSC:
Feedback Oscillator
X-MOD-OSC:
Cross Modulation
Oscillator
96
Description
This contains numerous harmonics. It can be used as the basis for most
instrumental sounds. It is particularly suitable for brass instruments and
string instruments (such as violin or piano).
This contains a rich array of odd-numbered harmonics. It is suitable as
the basic sound material for woodwinds and percussion instruments
(such as clarinet or xylophone).
This contains relatively fewer harmonics. It is suitable as the material
for woodwind sounds (such as recorder or flute).
This is the simplest waveform. It contains no harmonics at all, and
sounds like whistling.
This is a trapezoidal waveform that is similar to a pulse wave.
This is a modified sawtooth wave found on Roland’s αJUNO synthesizer. It has a brighter sound than the conventional “SAW” waveform.
This is a high-quality sawtooth waveform that is free of the aliasing
noise that can be a problem on digital synthesizers. If you select HQSAW, the Sub OSC, Pulse Width, and Fat parameters will be unavailable.
This is a high-quality square waveform that is free of the aliasing noise
that can be a problem on digital synthesizers. If you select HQSQUARE, the Sub OSC and Fat parameters will be unavailable.
This is white noise. You can use it to create the noise component of a
sound.
This simulates a waveform used in the LA (Linear Arithmetic) sound
generator of the Roland D-50. It has a milder sound than the conventional “SAW” waveform.
This simulates a waveform used in the LA (Linear Arithmetic) sound
generator of the Roland D-50. It has a milder sound than the conventional “SQUARE” waveform.
This is an intensified simulation of a feature found on the Roland JP8000/JP-8080. It is the sound of seven sawtooth waves played simultaneously. A pitch-shifted sound is added to the center. This is suitable
for creating rich sounds such as string-type sounds.
This is an intensified simulation of a feature found on the Roland JP8000/JP-8080. It is a sound that simulates guitar feedback. It is suitable for creating sharply aggressive sounds.
This is an intensified simulation of a feature found on the Roland JP8000/JP-8080. It uses the OSC2 waveform to modulate the frequency
of OSC1.
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Parameter
Sub OSC Octave Select
(Sub Oscillator Octave Select)
Sub Level (Sub Oscillator Level)
Impact (Analog Oscillator Impact)
Wave Gain
Pitch (Oscillator Pitch)
Coarse Tune
(Oscillator Coarse Tune)
Fine Tune
(Oscillator Fine Tune)
Value
OFF
-2
-1
0
0–127
0.0–4.0
-12– +12 dB
-63– +63
-48– +48
-50– +50
OSC1/2
MOD
COSM1/2
TVA
AP Syn
Effects
Description
The sub-oscillator will not be used.
The sub-oscillator will be added two octaves below the basic pitch.
The sub-oscillator will be added one octave below the basic pitch.
The sub-oscillator will be added at the same pitch as the basic pitch.
Specifies the volume of the sub oscillator.
Specifies the sharpness of the attack of the analog oscillator. Higher
settings will produce a sharper attack.
Sets the gain (amplification) of the waveform.
Adjusts the pitch of the oscillator.
Adjusts the pitch of the oscillator up or down in semitone steps (+/-4
octaves).
Adjusts the pitch of the oscillator up or down in 1-cent steps (+/-50
cents).
One cent is 1/100th of a semitone.
Depending on the waveform you’re using, the assignment of knobs 5 and 6 will change as follows.
Parameter
Value
Description
If Sub OSC is 0, -1, or -2
Pulse Width
Detune
If the Waveform is SUPER-SAW
-63– +63
-63– +63
Specifies the amount by which the wave shape will be modified.
Specifies the detuning (pitch difference) of the sub-oscillator.
SS Detune
Mix
-63– +63
-63– +63
Adjusts the detune (pitch difference) for the super-saw.
Adjusts the volume of the detuned sounds relative to the central sound.
As the knob is rotated to the right, the detuned sounds will become
louder, making the sound thicker.
Harmonics
FBK Amount (Feedback Amount)
If the Waveform is X-MOD-OSC
-63– +63
-63– +63
Varies the sound of the harmonics.
Adjusts the amount of feedback to adjust the level of the harmonics.
X-MOD (Cross Modulation Depth)
-63– +63
Cross Modulation is when OSC2 modifies the frequency of OSC1. XMOD adjusts the depth of this Cross Modulation. As the knob is rotated toward the right, the sound of OSC1 will become more complex,
with more overtones, and will be suitable for creating metallic sounds
and sound effects.
If the Waveform is FBACK-OSC
“Cross Modulation Depth” can be selected only for OSC1.
“Cross Modulation Depth” does nothing if OSC2 is off.
Fat
In other cases
0–127
Emphasizes the low-frequency region of the sound.
Pulse Width
Fat
-63– +63
0–127
Specifies the amount by which the wave shape will be modified.
Emphasizes the low-frequency region of the sound.
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OSC1/2
MOD
COSM1/2
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AP Syn
Effects
What is a sub-oscillator?
The sub-oscillator adds a low pitch to create a thicker sound. You can use the Detune parameter to add a detune effect.
Detune is the effect or technique of adding (layering) a sound at a slightly different pitch. When using the suboscillator, you can apply a detune effect by setting Detune to a value other than “0.”
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MOD
COSM1/2
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Effects
OSC Type (PCM OSC)
fig.06b-22-ps.eps_50
Parameter
Waveform
(PCM Oscillator Waveform)
Value
1–999
(wave number)
Description
Selects the wave upon which the sound is to be based when using a PCM
oscillator.
When you touch <Search>, the Wave List window will appear, allowing
you to select the wave from the list.
Start Offset
(PCM Oscillator Start Offset)
Playback Mode
(PCM Oscillator Playback Mode)
0–**
RETRIGGER
LEGATO
STEP
EVENT
Vari Sw
(PCM Oscillator Vari Switch)
Time Trip Sw
(Time Trip Switch)
OFF, ON
Beat Keep Sw
(Time Trip Beat Keep Switch)
OFF, ON
Loop Sw
(PCM Oscillator Loop Switch)
Robot Sw
(PCM Oscillator Robot Voice
Switch)
OFF, ON
Tempo Sync Sw
(PCM Oscillator Tempo Sync
Switch)
Wave Gain
Pitch (Oscillator Pitch)
OFF, ON
OFF, ON
When you select a wave, the wave name, encoding type, and stereo/
mono will also be displayed.
Specifies the starting address of the wave.
The sample will play back from the beginning each time you play a key.
When you play legato, the playback point will be synchronized with the currently playing sound.
Each time you play a key, the sample will play back to the next event (p. 189)
and then stop.
The sample will be divided at each event and assigned to separate keys.
Each time you press a key, the sample will play from the beginning of the
corresponding event.
Switches whether the sound will be produced using VariPhrase (ON) or linearly (OFF).
Selects whether Time Trip will operate (ON) or not (OFF).
After Time Trip is operated, this selects whether you will “chase” to the beat
location where you otherwise would have been if Time Trip had not been operated (ON), or whether this “chase” will not occur (OFF).
Specifies whether the wave will be played as a loop (ON) or not (OFF).
Specifies whether the pitch of the wave will be held steady (ON) or not
(OFF).
OFF, ON
This is available only if the encode type (p. 188) is “SOLO.”
Specifies whether the wave will be sounded in sync with the tempo clock
(ON) or not (OFF).
-12– +12 dB
-63– +63
Sets the gain (amplification) of the waveform.
Adjusts the pitch of the oscillator.
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Effects
Parameter
Coarse Tune
(Oscillator Coarse Tune)
Fine Tune (Oscillator Fine Tune)
Value
-48– +48
Description
Adjusts the pitch of the oscillator up or down in semitone steps (+/-4 octaves).
-50– +50
Adjusts the pitch of the oscillator up or down in 1-cent steps (+/-50 cents).
Time
Formant
-63– +63
-63– +63
This sets the playback speed (time).
This sets the vocal quality (formant).
One cent is 1/100th of a semitone.
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MOD
COSM1/2
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Effects
OSC Type (External In)
You can use the signal being received from the rear panel INPUT jack as the oscillator. This allows you to play an
external input source from the keyboard.
fig.06b-23-ps.eps_50
Parameter
Wave Gain
Value
-12– +12 dB
Description
Sets the gain (amplification) of the waveform.
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Effects
Pitch (common to Analog and PCM)
fig.06b-24-ps.eps_50
Parameter
Pitch (Oscillator Pitch)
Pitch Keyfollow
(Oscillator Pitch Keyfollow)
Value
-63– +63
-200– +200
Description
Adjusts the pitch of the oscillator.
This specifies the amount of pitch change that will occur when you play a key
one octave higher (i.e., 12 keys upward on the keyboard).
If you want the pitch to rise one octave as on a conventional keyboard, set
this to “+100.” If you want the pitch to rise two octaves, set this to “+200.”
Conversely, set this to a negative value if you want the pitch to fall. With a
setting of “0,” all keys will produce the same pitch.
Pitch
+200
+100
+50
0
-50
C1
C2
C3
C4
C5
-200
C6
-100
C7
Key
Coarse Tune
(Oscillator Coarse Tune)
Fine Tune (Oscillator Fine Tune)
-48– +48
Adjusts the pitch of the oscillator up or down in semitone steps (+/-4 octaves).
-50– +50
Adjusts the pitch of the oscillator up or down in 1-cent steps (+/-50 cents).
Random
(Oscillator Random Pitch Depth)
0, 1, 2, 3, 4,
5, 6, 7, 8, 9,
10, 20, 30,
40, 50, 60,
70, 80, 90,
100, 200,
300, 400,
500, 600,
700, 800,
900, 1000,
1100, 1200
-63– +63
Pitch LFO Depth
(Oscillator Pitch LFO Depth)
One cent is 1/100th of a semitone.
This specifies the width of random pitch deviation that will occur each time a
key is pressed. If you do not want the pitch to change randomly, set this to
“0.” These values are in units of cents (1/100th of a semitone).
Specifies how deeply the LFO will affect pitch.
In this screen you can make settings for the envelope that affects the pitch. For details on envelope settings, refer to
“Making Envelope Settings” (p. 121).
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MOD
COSM1/2
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Effects
Pulse Width (Analog)
fig.06b-25-ps.eps_50
Parameter
Pulse Width
Value
Pulse Width Keyfollow
-63– +63
-200– +200
Pulse Width LFO Depth
-63– +63
Description
Specifies the amount by which the wave shape will be modified.
Specifies the amount by which the pulse width value will be affected by the
key you play.
Specifies how deeply the LFO will affect pulse width.
In this screen you can make settings for the envelope that affects the pulse width. For details on envelope settings,
refer to “Making Envelope Settings” (p. 121).
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MOD
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Effects
Fat (Analog)
fig.06b-26-ps.eps_50
Parameter
Fat
Value
Fat Keyfollow
0–127
-200– +200
Fat LFO Depth
-63– +63
Description
Emphasizes the low-frequency region of the sound.
Specifies the amount by which the fat value will be affected by the key you
play.
Specifies how deeply the LFO will affect fat.
In this screen you can make settings for the envelope that affects the fat. For details on envelope settings, refer to
“Making Envelope Settings” (p. 121).
If you use the sub-oscillator (p. 98), the Fat will change to the Detune.
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MOD
COSM1/2
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Effects
Detune (Analog, when using Sub OSC)
fig.06b-28-ps.eps_50
Value
Parameter
Detune
-63– +63
Detune Keyfollow
-200– +200
Detune LFO Depth
-63– +63
Description
Specifies the detuning (pitch difference) of the sub-oscillator. This setting is
valid if the Sub-Oscillator Octave Select is set to “-2, -1, or 0.”
Specifies the amount by which the detune value will be affected by the key
you play.
Specifies how deeply the LFO will affect detune.
In this screen you can make settings for the envelope that affects the detune. For details on envelope settings, refer to
“Making Envelope Settings” (p. 121).
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MOD
COSM1/2
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Effects
SS Detune (Analog, when SUPER-SAW is selected)
fig.06b-29-ps.eps_50
Value
Parameter
SS Detune
-63– +63
SS Detune Keyfollow
-200– +200
SS Detune LFO Depth
-63– +63
Description
Adjusts the degree of pitch detuning. As the knob is rotated to the right, the
pitch will be detuned more greatly, making the sound more spacious.
Specifies the amount by which the detune value will be affected by the key
you play.
Specifies how deeply the LFO will affect detune.
In this screen you can make settings for the envelope that affects the detune. For details on envelope settings, refer to
“Making Envelope Settings” (p. 121).
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MOD
COSM1/2
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AP Syn
Effects
Mix (Analog, when SUPER-SAW is selected)
fig.06b-29-ps.eps_50
Value
Parameter
Mix
-63– +63
Mix Keyfollow
-200– +200
Mix LFO Depth
-63– +63
Description
Adjusts the volume of the detuned sounds relative to the central sound. As the
knob is rotated to the right, the detuned sounds will become louder, making
the sound thicker.
Specifies the amount by which the Mix value will be affected by the key you
play.
Specifies how deeply the LFO will affect Mix.
In this screen you can make settings for the envelope that affects the Mix. For details on envelope settings, refer to
“Making Envelope Settings” (p. 121).
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MOD
COSM1/2
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Effects
Harmonics (Analog, when FBACK-OSC is selected)
fig.06b-30-ps.eps_50
Parameter
Harmonics
Value
Harmonics Keyfollow
-63– +63
-200– +200
Harmonics LFO Depth
-63– +63
Description
Varies the sound of the harmonics.
Specifies the amount by which the Harmonics value will be affected by the
key you play.
Specifies how deeply the LFO will affect Harmonics.
In this screen you can make settings for the envelope that affects the Harmonics. For details on envelope settings,
refer to “Making Envelope Settings” (p. 121).
You can create distinctive effects by applying an LFO or envelope to Harmonics or FBK Amount.
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MOD
COSM1/2
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AP Syn
Effects
FBK Amount (Analog, when FBACK-OSC is selected)
fig.06b-31-ps.eps_50
Parameter
FBK Amount (Feedback Amount)
Value
Amount Keyfollow
-63– +63
-200– +200
Amount LFO Depth
-63– +63
Description
Adjusts the amount of feedback to adjust the level of the harmonics.
Specifies the amount by which the feedback value will be affected by the key
you play.
Specifies how deeply the LFO will affect feedback.
In this screen you can make settings for the envelope that affects the feedback. For details on envelope settings, refer
to “Making Envelope Settings” (p. 121).
You can create distinctive effects by applying an LFO or envelope to Harmonics or FBK Amount.
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OSC1/2
MOD
COSM1/2
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AP Syn
Effects
X-Mod (Analog, when X-MOD-OSC is selected)
fig.06b-32-ps.eps_50
Parameter
X-Mod (Cross Modulation Depth)
Value
-63– +63
Description
Cross Modulation is when OSC2 modifies the frequency of OSC1. X-Mod
adjusts the depth of this Cross Modulation. As the knob is rotated toward the
right, the sound of OSC1 will become more complex, with more overtones,
and will be suitable for creating metallic sounds and sound effects.
“Cross Modulation Depth” can be selected only for OSC1.
X-Mod Keyfollow
-200– +200
X-Mod LFO Depth
-63– +63
“Cross Modulation Depth” does nothing if OSC2 is off.
Specifies the amount by which the Cross Modulation value will be affected
by the key you play.
Specifies how deeply the LFO will affect Cross Modulation.
In this screen you can make settings for the envelope that affects the Cross Modulation. For details on envelope
settings, refer to “Making Envelope Settings” (p. 121).
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COSM1/2
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Effects
Time (PCM)
fig.06b-33-ps.eps_50
Parameter
Time
Value
Time Keyfollow
-63– +63
-200– +200
Time Offset
BWD
Time LFO Depth
ZERO
FWD
-63– +63
Description
This sets the range of change in playback speed (time).
Specifies the amount by which the time value will be affected by the key you
play.
Specifies “reverse playback” as the basic speed when the time value is “0.”
Specifies “stop” as the basic speed when the time value is “0.”
Specifies “normal playback” as the basic speed when the time value is “0.”
Specifies how deeply the LFO will affect time.
Time Offset <How the Time parameter is related to playback speed>
Time
FWD
ZERO
BWD
-40
Reverse playback
-2x speed
4x speed
-20
Stop
Reverse playback
-2x speed
0
Normal speed
Stop
Reverse playback
20
2x speed
Normal speed
Stop
40
4x speed
2x speed
Normal speed
In this screen you can make settings for the envelope that affects the time. For details on envelope settings, refer to
“Making Envelope Settings” (p. 121).
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MOD
COSM1/2
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Effects
Formant (PCM)
fig.06b-34-ps.eps_50
You can use this only if the Vari switch (p. 99) is on and when the Encode Type (p. 188) is “SOLO.”
Parameter
Formant
Formant Keyfollow
Value
-63– +63
-200– +200
Energy
OFF, 1–127
Fmt LFO Depth
(Formant LFO Depth)
-63– +63
Description
This sets the range of change in vocal quality (formant).
Specifies the amount by which the formant value will be affected by the key
you play.
Specifies how much the fundamental pitch will be emphasized in order to
make the sound more well-defined. Set this to “OFF” if you do not want to
use the Energy parameter.
Specifies how deeply the LFO will affect formant.
In this screen you can make settings for the envelope that affects the formant. For details on envelope settings, refer to
“Making Envelope Settings” (p. 121).
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OSC1/2
MOD
COSM1/2
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AP Syn
Effects
OSC TVA (common to Analog and PCM)
fig.06b-35-ps.eps_50
Parameter
Level
Value
Level Keyfollow
0–127
-200– +200
Level LFO Depth
-63– +63
Description
Specifies the volume of the oscillator.
Use this parameter if you want the volume of the oscillator to change according to the key that is pressed. Relative to the volume at the C4 key (center C),
positive (+) settings will cause the volume to rise for notes higher than C4,
and negative (-) settings will cause the volume to fall for notes higher than
C4. Larger settings will produce greater change.
Specifies how deeply the LFO will affect the volume of the oscillator.
In this screen you can make settings for the envelope that affects the sub TVA. For details on envelope settings, refer
to “Making Envelope Settings” (p. 121).
If you don’t notice any change when you adjust the OSC TVA values, check the TVA settings (p. 119).
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MOD
COSM1/2
TVA
AP Syn
Effects
LFO (common to Analog and PCM)
fig.06b-36-ps.eps_50
In this screen you can make settings for the LFO that affects the oscillator. For details on LFO settings, refer to
“Making LFO Settings” (p. 122).
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MOD
COSM1/2
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AP Syn
Effects
MOD
In the MOD section, you can not only simply mix OSC1 and OSC2, but also combine them in a variety of ways to
create sounds. This is especially effective when you’ve selected analog oscillators.
Parameter
Modulator Switch
Value
OFF, ON
Description
Switches the modulator on/off.
Value
Description
Adds OSC1 and OSC2.
fig.06b-40-j.eps_50
Modulator Switch
MOD Type
Parameter
Modulator Type
MIX
RING
OSC1
OSC2
Output
FM
OSC1
OSC2
This is a ring modulator. It
generates a complex waveform by multiplying OSC1
and OSC2. For example, if
OSC1 and OSC2 are both
simple analog waveforms,
you can create metallic belllike sounds.
This is a frequency modulator. It generates a complex
waveform by using OSC2 to
apply FM (Frequency Modulation) to OSC1.
Output
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OSC1/2
MOD
COSM1/2
TVA
Parameter
AP Syn
Effects
Value
ENV RING
Description
OSC1
OSC2
Envelope
This is an envelope ring. It
uses the volume changes
(envelope) of OSC2 to control the volume of OSC1.
Output
OSC SYNC
This is oscillator sync. It generates a complex waveform
by forcibly resetting OSC1
to the beginning of its cycle
in synchronization with the
OSC2
OSC2 frequency. The effect
is applied only to OSC1,
and is not output to OSC2.
This is available only if
OSC2 is an analog oscillator. For even greater effectiveness, choose an analog
oscillator for OSC1 as well,
and set the OSC1 pitch
higher than OSC2.
Specifies the volume for the original sound of OSC1.
OSC1
(=Output)
Original Level
(Modulator Original Level)
0–127
Attack
(Modulator Attack Time)
0–127
Specifies the attack time of the OSC2 envelope.
Release (Modulator Release Time)
0–127
Specifies the release time of the OSC2 envelope.
This can be set if Modulator Type is set to “RING” or “FM.”
This can be set if Modulator Type is set to “ENV RING.”
This can be set if Modulator Type is set to “ENV RING.”
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OSC1/2
MOD
COSM1/2
TVA
AP Syn
Effects
COSM1/COSM2
Here you can apply various effects to the sound. COSM effects are similar to the built-in effects (Tone-FX, reverb, chorus)
or to conventional effect processors, but have the important difference that they are polyphonic, so that the effect is
applied to each note you play.
In the COSM section you can select from a total of sixteen types, organized into four categories according to sound.
Parameter
COSM Switch
Value
OFF, ON
Description
Switches the COSM on/off.
fig.06b-50.eps_50
COSM Switch
COSM Type
Parameter
COSM Type
Value
THRU, OD/DS,
W-SHAPE, AMP,
SPEAKER,
RESONATOR, SBF1/2,
COMB, DUAL, TVF,
DYN-TVF, COMP,
LIMITER, F-SHIFT, LO-FI,
TB FILTER
Description
Use this parameter to select from among the 16 available COSMs.
For details on each COSM type, refer to “COSM_EffectsList(E).pdf”
in the “EFFECTS LIST” folder on the included CD-ROM.
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MOD
COSM1/2
TVA
AP Syn
Effects
LFO
fig.06b-51.eps_50
For some COSM selections that you choose in COSM Type, you can make LFO settings. For details on LFO settings,
refer to “Making LFO Settings” (p. 122).
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MOD
COSM1/2
TVA
AP Syn
Effects
TVA
This section determines the volume and panning.
TVA stands for Time Variant Amplifier, and controls the overall volume of each note you play, affecting aspects of the
sound such as master volume (level), envelope, keyboard velocity, pan, and tremolo.
TVA
fig.06b-55-j.eps_50
TVA Switch
Parameter
TVA Switch
Level
Level KF (Level Keyfollow)
Value
OFF, ON
0–127
-200– +200
Level LFO Depth
Pan
-63– +63
L64–0–63R
Pan KF (Pan Keyfollow)
-200– +200
Description
Switches the TVA on/off.
Specifies the volume of the tone.
Use this parameter if you want the volume of the patch to change according
to the key that is pressed. Relative to the volume at the C4 key (center C),
positive (+) settings will cause the volume to rise for notes higher than C4,
and negative (-) settings will cause the volume to fall for notes higher than
C4. Larger settings will produce greater change.
Specifies how deeply the LFO will affect the volume of the patch.
Specifies the pan of the patch. “L64” is far left, “0” is center, and “63R” is
far right.
Use this parameter if you want key position to affect panning. Positive (+) settings will cause notes higher than C4 key (center C) to be panned increasingly further toward the right, and negative (-) settings will cause notes higher
than C4 key (center C) to be panned toward the left. Larger settings will produce greater change.
Pan
+100
R
+50
0
o
-50
L
C1
Pan LFO Depth
-63– +63
C2
C3
C4
C5
C6
-100
C7
Key
Specifies how deeply the LFO will affect the pan.
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MOD
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TVA
AP Syn
Effects
LFO
fig.06b-56-j.eps_50
LFO Switch
Parameter
LFO Switch
Value
OFF, ON
Description
Switches LFO on and off.
In this screen you can make settings for the LFO that affects the TVA. For details on LFO settings, refer to “Making
LFO Settings” (p. 122).
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MOD
COSM1/2
TVA
AP Syn
Effects
Making Envelope Settings
Parameter
Velocity Curve
(Envelope Velocity Curve)
Value
0–7
Velocity Sens
(Envelope Velocity Sensitivity)
-63– +63
Velocity A-Sens
(Envelope Attack Time Velocity Sensitivity)
Velocity D-Sens
(Envelope Decay Time Velocity Sensitivity)
Velocity R-Sens
(Envelope Release Time Velocity Sensitivity)
ADSR Attack
(Envelope Attack Time)
ADSR Decay
(Envelope Decay Time)
-63– +63
ADSR Sustain
(Envelope Sustain Level)
ADSR Release
(Envelope Release Time)
0–127
Env Time KF
(Envelope Time Keyfollow)
-63– +63
-63– +63
0–127, Note
0–127, Note
0–127, Note
-200– +200
Description
Choose from the following seven curves to specify how your keyboard playing
strength will affect the envelope depth. If you don’t want your keyboard playing
strength to affect the envelope depth, set this to “0”.
0
1
2
3
4
5
6
7
Keyboard playing dynamics can be used to control the depth of the envelope. If you
want the envelope to have more effect for strongly played notes, set this parameter
to a positive (+) value. If you want the pitch envelope to have less effect for strongly
played notes, set this to a negative (-) value.
This allows keyboard dynamics to affect the attack time of the envelope. If you want
attack time to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.
This allows keyboard dynamics to affect the decay time of the envelope. If you want
decay time to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.
This allows key release speed to affect the release time of the envelope. If you want
release time to be speeded up for quickly released notes, set this parameter to a
positive (+) value. If you want it to be slowed down, set this to a negative (-) value.
Specifies the attack time of the envelope (the time from when you press a key until
the envelope level reaches the maximum value).
Specifies the decay time of the envelope (the time from when the envelope level
reaches the maximum value until it falls to a constant value).
Specifies the sustain level of the envelope (the level at which the envelope remains
constant).
Specifies the release time of the envelope (the time from when you release a key
until the envelope level reaches 0).
“ENVELOPE” in the lower right of the screen shows a graphical representation of
the envelope produced by the current settings.
Make this setting when you want the decay time and subsequent times of the envelope to be affected by the location of the key you play. Based on the envelope times
for the C4 key (center C), positive (+) settings will cause notes higher than C4 to
have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.
Time
+100
+50
0
-50
C1
C2
C3
C4
C5
C6
-100
C7
Key
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MOD
COSM1/2
TVA
AP Syn
Effects
Making LFO Settings
Parameter
Waveform
(LFO Waveform)
Offset (LFO Offset)
Value
SINE
TRI
SAW
SQR
RND
TRP
S&H
CHAOS
-100, -50, 0,
+50, +100
Key Sync
(LFO Key Sync Switch)
OFF, ON
Delay Time
(LFO Delay Time)
0–127
Rate (LFO Rate)
0–127, Note
Description
Sine wave
Triangle wave
Sawtooth wave
Square wave
Random wave
Trapezoidal wave
Sample & Hold wave (one time per cycle, LFO value is changed)
Chaos wave
Raises or lowers the LFO waveform relative to the central value. Positive (+)
settings will move the waveform so that modulation will occur from the central
value upward. Negative (-) settings will move the waveform so that modulation will occur from the central value downward.
This specifies whether the LFO cycle will be synchronized to begin when the
key is pressed (ON) or not (OFF).
Delay Time (LFO Delay Time) specifies the time elapsed before the LFO effect
is applied (the effect continues) after the key is pressed (or released).
After referring to “How to Apply the LFO” (p. 123), change the setting
until the desired effect is achieved.
Adjusts the modulation rate, or speed, of the LFO.
LFO Rate sets the beat length for the synchronized tempo when the tempo
that specifies the LFO cycle (Patch Tempo) is synchronized with the tempo set
in a external sequencer.
(Example)
For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))
Setting
(half note)
1 second
(60 / 60 =1 (second))
(quarter note) 0.5 seconds
(60 / 120= 0.5 (seconds))
(eighth note) 0.25 seconds
(60 / 240= 0.25 (seconds))
This setting will be ignored if the Waveform parameter is set to “CHAOS.”
Fade Mode (LFO Fade Mode)
Fade Time (LFO Fade Time)
ON <<,
ON >>,
OFF <<,
OFF >>
0–127
Specifies how the LFO will be applied.
After referring to “How to Apply the LFO” (p. 123), change the setting
until the desired effect is achieved.
Specifies the time over which the LFO amplitude will reach the maximum
(minimum).
After referring to “How to Apply the LFO” (p. 123), change the setting
until the desired effect is achieved.
“LFO Curve” in the lower right of the screen shows a wave graphic that corresponds to the current settings.
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MOD
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TVA
AP Syn
Effects
How to Apply the LFO
● Apply the LFO gradually after the key is pressed
fig.LFO-1.e
Delay
Time
Pitch
Cutoff Frequency
Level
Pan Note on
low (less)
high (more)
Delay Time
Fade Mode
Fade Time
● Apply the LFO gradually after the key is
released
fig.LFO-3.e
Fade Time
Delay
high (more)
Time
Pitch
Cutoff Frequency
Level
Pan Note Note
on off
low (less)
Depth
The time from when the keyboard is
played until the LFO begins to be applied.
ON <<
The time over which the LFO amplitude
will reach the maximum after the Delay
Time has elapsed.
● Apply the LFO immediately when the key is
pressed, and then gradually begin to decrease
the effect
fig.LFO-2.e
Delay Time
Fade Mode
Fade Time
Fade Time
Depth
The time from when the keyboard is released until the LFO begins to be applied.
OFF <<
The time over which the LFO amplitude
will reach the maximum after the Delay
Time has elapsed.
● Apply the LFO from when the key is pressed
until it is released, and gradually begin to
decrease the effect when the key is released
fig.LFO-4.e
high (more)
Pitch
Cutoff Frequency
Level
Pan Note
on
low (less)
Delay Time
Fade Mode
Fade Time
Delay Time
Fade Time
high (more)
Depth
The time that the LFO will continue after
the keyboard is played.
ON >>
The time over which the LFO amplitude
will reach the minimum after the Delay
Time has elapsed.
Pitch
Cutoff Frequency
Level
Pan
low (less) Note
on
Delay Time
Fade Mode
Fade Time
Delay
Time
Fade Time
Depth
Note
off
The time that the LFO will continue after
the keyboard is released.
OFF >>
The time over which the LFO amplitude
will reach the minimum after the Delay
Time has elapsed.
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AP Syn
Effects
AP Syn (AP-Synthesis)
AP-Synthesis is the world’s first sound generating technology that is able to apply the “behavioral model” of specific
acoustic instruments to synthesizer sounds, thus creating new synth sounds that are overflowing with living expression.
Conventional physical modeling sound generators model a musical instrument’s “structure” (such as the shape of the
resonating body, the length of the tube, the materials of the vibrating part). In contrast, AP-Synthesis models the way
in which specific instruments behave in response to performance techniques such as trills, portamento, vibrato, or
changes in dynamics.
Based on acoustic instruments that are considered particularly expressive lead instruments, the AP-Synthesis on the VSynth GT provides five different models (phrase models): violin, erhu, sax, flute, and multifade.
By applying the selected phrase model to one of 38 different AP-Synthesis source waves, you can create completely
new “living synth sounds” that have never been heard before.
fig.06b-60-j.eps_50
AP-Synthesis Switch
Parameter
AP-Synthesis Switch
Value
OFF, ON
Description
Switches AP-Synthesis on and off.
Using the MODIFY knob (panel)
If you hold down [SHIFT] and touch a knob graphic in the Modify screen (or the Advanced screen), you’ll be able
to use the V-Synth GT’s front panel MODIFY knob to directly control the selected parameter. An “MD” indication
will appear for a parameter that can be controlled with the MODIFY knob.
fig.06b-69.eps_50, fig.06b-68-j.eps
This is selected for direct control by the MODIFY knob.
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MOD
COSM1/2
TVA
AP Syn
Effects
Phrase Model
fig.06b-61-ps.eps_50
Parameter
Source Waveform
Value
Phrase Model
Soprano Sax
Tenor Sax 1
Tenor Sax 2
Flute
Shakuhachi 1
Shakuhachi 2
Quena Pipe
Pan Pipes
Shino Pipe
Ryuteki Pipe
Qudi Pipe
Uilleann Pipes
Oboe 1, Oboe 2
Wood Winds
Harmonica
Trumpet
Flugelhorn
Violin
Erhu 1, Erhu 2
MG Saw
Saw Wave 1
Saw Wave 2
Square Wave
Pulse Wave
Ramp Wave
Triangle Wave
Sine Wave
Super Saw
Detune Wave 1
Detune Wave 2
Detune Wave 3
Detune Wave 4
Detune Wave 5
Synth Strings
Robot Voice, Noise
Violin
Level
Pan
Erhu
Sax
Flute
Multifade
0–127
L64–0–63R
Description
Specifies the source waveform.
Violin phrase model.
Erhu phrase model.
Sax phrase model.
Flute phrase model.
A model that is not categorized as a phrase model for the above instruments.
The volume of AP-Synthesis.
The panning (stereo position) of AP-Synthesis.
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MOD
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AP Syn
Effects
Pitch
fig.06b-62-ps.eps_50
Parameter
Pitch Coarse (Pitch Coarse Tune)
Value
Pitch Fine (Pitch Fine Tune)
-48– +48
-50– +50
Octave Shift
-3– +3
Description
Adjusts the pitch of the tone in semitone steps (+/-4 octaves).
Adjusts the pitch of the tone in one-cent steps (+/-50 cents).
1 cent = 1/100th of a semitone
126
Adjusts the pitch of the tone up or down in units of an octave (+/-3
octaves).
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MOD
COSM1/2
TVA
AP Syn
Effects
Modify (when Phrase Model is “Violin”)
fig.06b-63-ps.eps_50
Parameter
Attack Time
Value
Release Time
-100– +100
Fortissimo Atk Level
(Fortissimo Attack Level)
-100– +100
Scrape Nz Level
(Scrape Noise Level)
-100– +100
Natural Feel
-100– +100
Vibrato Dly Time
(Vibrato Delay Time)
-100– +100
Vibrato Depth
-100– +100
Vibrato Rate
-100– +100
-100– +100
Description
Adjusts the attack of the sound. Positive (+) values will make the attack slower, and negative (-) values will make the attack faster.
Adjusts the length of the release. Positive (+) values will lengthen the
release, and negative (-) values will shorten it.
Adjusts the volume of the attack that occurs for strong input velocities (-100– +100). The volume will be louder for positive (+) values,
or softer for negative (-) values.
Adjusts the volume of the noise of the bow scraping on the string.
The volume will be louder for positive (+) values, or softer for negative (-) values.
Adjusts the amount of variation in the sound. Positive (+) values will
produce more variation, and negative (-) values will produce less.
Adjusts the time from the beginning of the note until vibrato begins
to be applied. Positive (+) values will lengthen the time until vibrato
begins, and negative (-) values will shorten the time.
Adjusts the depth of vibrato when the dynamics are at the minimum.
Positive (+) values will produce deeper vibrato, and negative (-) values will produce less vibrato.
Adjusts the vibrato rate. Positive (+) values will make the vibrato
faster, and negative (-) values will make it slower.
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MOD
COSM1/2
TVA
AP Syn
Effects
Modify (when Phrase Model is “Erhu”)
fig.06b-64-ps.eps_50
128
Parameter
Attack Time
Value
Release Time
-100– +100
Porta Time (Portamento Time)
-100– +100
Scrape Nz Level
(Scrape Noise Level)
-100– +100
Natural Feel
-100– +100
Vibrato Dly Time
(Vibrato Delay Time)
-100– +100
Vibrato Depth
-100– +100
Vibrato Rate
-100– +100
-100– +100
Description
Adjusts the attack of the sound. Positive (+) values will make the attack slower, and negative (-) values will make the attack faster.
Adjusts the length of the release. Positive (+) values will lengthen the
release, and negative (-) values will shorten it.
Adjusts the speed of portamento. Positive (+) values will make portamento slower, and negative (-) values will make portamento faster.
Adjusts the volume of the noise of the bow scraping on the string.
The volume will be louder for positive (+) values, or softer for negative (-) values.
Adjusts the amount of variation in the sound. Positive (+) values will
produce more variation, and negative (-) values will produce less.
Adjusts the time from the beginning of the note until vibrato begins
to be applied. Positive (+) values will lengthen the time until vibrato
begins, and negative (-) values will shorten the time.
Adjusts the depth of vibrato when the dynamics are at the minimum.
Positive (+) values will produce deeper vibrato, and negative (-) values will produce less vibrato.
Adjusts the vibrato rate. Positive (+) values will make the vibrato
faster, and negative (-) values will make it slower.
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OSC1/2
MOD
COSM1/2
TVA
AP Syn
Effects
Modify (when Phrase Model is “Sax”)
fig.06b-65-ps.eps_50
Parameter
Attack Time
Value
Release Time
-100– +100
Porta Time (Portamento Time)
-100– +100
Breath Nz Level
(Breath Noise Level)
Natural Feel
-100– +100
Vibrato Dly Time
(Vibrato Delay Time)
-100– +100
Vibrato Depth
-100– +100
Vibrato Rate
-100– +100
-100– +100
-100– +100
Description
Adjusts the attack of the sound. Positive (+) values will make the attack slower, and negative (-) values will make the attack faster.
Adjusts the length of the release. Positive (+) values will lengthen the
release, and negative (-) values will shorten it.
Adjusts the speed of portamento when the portamento switch is on.
Positive (+) values will lengthen the portamento time, and negative
(-) values will shorten the portamento time.
Adjusts the volume of the breath noise. Positive (+) values will increase the volume, and negative (-) values will decrease it.
Adjusts the amount of variation in the sound. Positive (+) values will
produce more variation, and negative (-) values will produce less.
Adjusts the time from the beginning of the note until vibrato begins
to be applied. Positive (+) values will lengthen the time until vibrato
begins, and negative (-) values will shorten the time.
Adjusts the depth of vibrato when the dynamics are at the minimum.
Positive (+) values will produce deeper vibrato, and negative (-) values will produce less vibrato.
Adjusts the vibrato rate. Positive (+) values will make the vibrato
faster, and negative (-) values will make it slower.
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MOD
COSM1/2
TVA
AP Syn
Effects
Modify (when Phrase Model is “Flute”)
fig.06b-66-ps.eps_50
130
Parameter
Attack Time
Value
Release Time
-100– +100
Slur Nz Level (Slur Noise Level)
-100– +100
Breath Nz Level
(Breath Noise Level)
-100– +100
Natural Feel
-100– +100
Vibrato Dly Time
(Vibrato Delay Time)
-100– +100
Vibrato Depth
-100– +100
Vibrato Rate
-100– +100
-100– +100
Description
Adjusts the attack of the sound. Positive (+) values will make the attack slower, and negative (-) values will make the attack faster.
Adjusts the length of the release. Positive (+) values will lengthen the
release, and negative (-) values will shorten it.
Adjusts the volume of the slur noise (the transitional sound made
when changing the pitch while continuing to produce sound). Positive (+) values will make this volume louder, and negative (-) values
will lessen it.
Adjusts the volume of the breath noise. Positive (+) values will increase the volume, and negative (-) values will decrease it.
Adjusts the amount of variation in the sound. Positive (+) values will
produce more variation, and negative (-) values will produce less.
Adjusts the time from the beginning of the note until vibrato begins
to be applied. Positive (+) values will lengthen the time until vibrato
begins, and negative (-) values will shorten the time.
Adjusts the depth of vibrato when the dynamics are at the minimum.
Positive (+) values will produce deeper vibrato, and negative (-) values will produce less vibrato.
Adjusts the vibrato rate. Positive (+) values will make the vibrato
faster, and negative (-) values will make it slower.
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MOD
COSM1/2
TVA
AP Syn
Effects
Modify (when Phrase Model is “Multifade”)
fig.06b-67-ps.eps_50
Parameter
Attack Time
Value
Release Time
-100– +100
Porta Time (Portamento Time)
-100– +100
Sub Tone Level
-100– +100
Natural Feel
-100– +100
Vibrato Dly Time
(Vibrato Delay Time)
-100– +100
Vibrato Depth
-100– +100
Vibrato Rate
-100– +100
-100– +100
Description
Adjusts the attack of the sound. Positive (+) values will make the attack slower, and negative (-) values will make the attack faster.
Adjusts the length of the release. Positive (+) values will lengthen the
release, and negative (-) values will shorten it.
Adjusts the speed of portamento. Positive (+) values will lengthen
the portamento time, and negative (-) values will shorten the portamento time.
Adjusts the volume of the noise or sound that is heard in the background. Positive (+) values will increase the volume, and negative
(-) values will decrease it.
* This may not work for some selections of Source Waveform.
Adjusts the amount of variation in the sound. Positive (+) values will
produce more variation, and negative (-) values will produce less.
Adjusts the time from the beginning of the note until vibrato begins
to be applied. Positive (+) values will lengthen the time until vibrato
begins, and negative (-) values will shorten the time.
* This may not work for some selections of Source Waveform.
Adjusts the depth of vibrato when the dynamics are at the minimum.
Positive (+) values will produce deeper vibrato, and negative (-) values will produce less vibrato.
* This may not work for some selections of Source Waveform.
Adjusts the vibrato rate. Positive (+) values will make the vibrato
faster, and negative (-) values will make it slower.
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Effects
Advanced (when Phrase Model is “Violin”)
fig.06b-70-ps.eps_50
132
Parameter
Brightness
Value
Finger Nz Level
(Finger Noise Level)
-100– +100
Tenuto Atk Time
(Tenuto Attack Time)
-100– +100
Low Velo Limit
(Low Velocity Limit)
-100– +100
Low Dyn Ctrl Lmt
(Low Dynamics Controller Limit)
-100– +100
Vibrato Dyn Sens
(Vibrato Dynamics Sensitivity)
-100– +100
Vibrato Reac Tm
(Vibrato Reaction Time)
-100– +100
PitchBend Reac Tm
(Pitch Bend Reaction Time)
-100– +100
Dyn Ctrl1 Reac Tm
(Dynamics Controller 1 Reaction
Time)
-100– +100
Dyn Ctrl2 Reac Tm
(Dynamics Controller 2 Reaction
Time)
-100– +100
Ambience Level
-100– +100
-2– +2
Description
Adjusts the brightness of the sound (five steps). Positive (+) values
will brighten the sound, and negative (-) values will darken it.
Adjusts the volume of the strings hitting the fingerboard. Positive (+)
values will increase the volume, and negative (-) values will decrease it.
Adjusts the attack time when playing tenuto. Positive (+) values will
make the attack slower, and negative (-) values will make the attack
faster.
Adjusts the lower limit of the dynamics produced by the force of
your keyboard playing. Positive (+) values will increase the lower
limit value, and negative (-) values will decrease it.
Adjusts the lower limit of the dynamics produced when you operate
the controller assigned to dynamics. Positive (+) values will increase
the lower limit value, and negative (-) values will decrease it.
Adjusts the linkage between changes in dynamics and changes in
vibrato depth. Positive (+) values will produce deeper vibrato, and
negative (-) values will produce less vibrato.
Adjusts the reaction time when you control the vibrato using the
controller assigned to vibrato. Positive (+) values will make the response slower, and negative (-) values will make the response
quicker.
Adjusts the reaction time when you operate the pitch bender to control the pitch. Positive (+) values will make the response slower, and
negative (-) values will make the response quicker.
Adjusts the reaction time when you control the dynamics using the
controller assigned to dynamics. Positive (+) values will make the
response slower, and negative (-) values will make the response
quicker.
Adjusts the reaction time when you control the dynamics using the
controller assigned to dynamics. Positive (+) values will make the
response slower, and negative (-) values will make the response
quicker.
Adjusts the amount of ambience. Positive (+) values will increase
the amount of ambience, and negative (-) values will decrease it.
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Effects
Advanced (when Phrase Model is “Erhu”)
fig.06b71-ps.eps_50
Parameter
Brightness
Value
Low Velo Limit
(Low Velocity Limit)
-100– +100
Low Dyn Ctrl Lmt
(Low Dynamics Controller Limit)
-100– +100
Vibrato Dyn Sens
(Vibrato Dynamics Sensitivity)
-100– +100
Vibrato Reac Tm
(Vibrato Reaction Time)
-100– +100
PitchBend Reac Tm
(Pitch Bend Reaction Time)
-100– +100
Dyn Ctrl1 Reac Tm
(Dynamics Controller 1 Reaction
Time)
-100– +100
Dyn Ctrl2 Reac Tm
(Dynamics Controller 2 Reaction
Time)
-100– +100
Ambience Level
-100– +100
-2– +2
Description
Adjusts the brightness of the sound (five steps). Positive (+) values
will brighten the sound, and negative (-) values will darken it.
Adjusts the lower limit of the dynamics produced by the force of
your keyboard playing. Positive (+) values will increase the lower
limit value, and negative (-) values will decrease it.
Adjusts the lower limit of the dynamics produced when you operate
the controller assigned to dynamics. Positive (+) values will increase
the lower limit value, and negative (-) values will decrease it.
Adjusts the linkage between changes in dynamics and changes in
vibrato depth. Positive (+) values will produce deeper vibrato, and
negative (-) values will produce less vibrato.
Adjusts the reaction time when you control the vibrato using the
controller assigned to vibrato. Positive (+) values will make the response slower, and negative (-) values will make the response
quicker.
Adjusts the reaction time when you operate the pitch bender to control the pitch. Positive (+) values will make the response slower, and
negative (-) values will make the response quicker.
Adjusts the reaction time when you control the dynamics using the
controller assigned to dynamics. Positive (+) values will make the
response slower, and negative (-) values will make the response
quicker.
Adjusts the reaction time when you control the dynamics using the
controller assigned to dynamics. Positive (+) values will make the
response slower, and negative (-) values will make the response
quicker.
Adjusts the amount of ambience. Positive (+) values will increase
the amount of ambience, and negative (-) values will decrease it.
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Effects
Advanced (when Phrase Model is “Sax”)
fig.06b-73-ps.eps_50
134
Parameter
Brightness
Value
Scoop Depth
-100– +100
Key Nz Level (Key Noise Level)
-100– +100
Growl Sens (Growl Sensitivity)
-100– +100
Low Velo Limit
(Low Velocity Limit)
-100– +100
Low Dyn Ctrl Lmt
(Low Dynamics Controller Limit)
-100– +100
Vibrato Dyn Sens
(Vibrato Dynamics Sensitivity)
-100– +100
Vibrato Reac Tm
(Vibrato Reaction Time)
-100– +100
PitchBend Reac Tm
(Pitch Bend Reaction Time)
-100– +100
Dyn Ctrl1 Reac Tm
(Dynamics Controller 1 Reaction
Time)
-100– +100
Dyn Ctrl2 Reac Tm
(Dynamics Controller 2 Reaction
Time)
-100– +100
Ambience Level
-100– +100
-2– +2
Description
Adjusts the brightness of the sound (five steps). Positive (+) values
will brighten the sound, and negative (-) values will darken it.
Adjusts the amount of scoop. Positive (+) values will increase the
amount of scoop, and negative (-) values will decrease it.
Adjusts the volume of key noise. Positive (+) values will increase the
volume, and negative (-) values will decrease it.
Adjusts the dynamics at which growl will begin to be applied. Positive (+) values will broaden the range to which growl is applied,
and negative (-) values will narrow the range.
Adjusts the lower limit of the dynamics produced by the force of
your keyboard playing. Positive (+) values will increase the lower
limit value, and negative (-) values will decrease it.
Adjusts the lower limit of the dynamics produced when you operate
the controller assigned to dynamics. Positive (+) values will increase
the lower limit value, and negative (-) values will decrease it.
Adjusts the linkage between changes in dynamics and changes in
vibrato depth. Positive (+) values will produce deeper vibrato, and
negative (-) values will produce less vibrato.
Adjusts the reaction time when you control the vibrato using the
controller assigned to vibrato. Positive (+) values will make the response slower, and negative (-) values will make the response
quicker.
Adjusts the reaction time when you operate the pitch bender to control the pitch. Positive (+) values will make the response slower, and
negative (-) values will make the response quicker.
Adjusts the reaction time when you control the dynamics using the
controller assigned to dynamics. Positive (+) values will make the
response slower, and negative (-) values will make the response
quicker.
Adjusts the reaction time when you control the dynamics using the
controller assigned to dynamics. Positive (+) values will make the
response slower, and negative (-) values will make the response
quicker.
Adjusts the amount of ambience. Positive (+) values will increase
the amount of ambience, and negative (-) values will decrease it.
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Effects
Advanced (when Phrase Model is “Flute”)
fig.06b-74-ps.eps_50
Parameter
Brightness
Value
Low Velo Limit
(Low Velocity Limit)
-100– +100
Low Dyn Ctrl Lmt
(Low Dynamics Controller Limit)
-100– +100
Vibrato Dyn Sens
(Vibrato Dynamics Sensitivity)
-100– +100
Vibrato Reac Tm
(Vibrato Reaction Time)
-100– +100
PitchBend Reac Tm
(Pitch Bend Reaction Time)
-100– +100
Dyn Ctrl1 Reac Tm
(Dynamics Controller 1 Reaction
Time)
-100– +100
Dyn Ctrl2 Reac Tm
(Dynamics Controller 2 Reaction
Time)
-100– +100
Ambience Level
-100– +100
-2– +2
Description
Adjusts the brightness of the sound (five steps). Positive (+) values
will brighten the sound, and negative (-) values will darken it.
Adjusts the lower limit of the dynamics produced by the force of
your keyboard playing. Positive (+) values will increase the lower
limit value, and negative (-) values will decrease it.
Adjusts the lower limit of the dynamics produced when you operate
the controller assigned to dynamics. Positive (+) values will increase
the lower limit value, and negative (-) values will decrease it.
Adjusts the linkage between changes in dynamics and changes in
vibrato depth. Positive (+) values will produce deeper vibrato, and
negative (-) values will produce less vibrato.
Adjusts the reaction time when you control the vibrato using the
controller assigned to vibrato. Positive (+) values will make the response slower, and negative (-) values will make the response
quicker.
Adjusts the reaction time when you operate the pitch bender to control the pitch. Positive (+) values will make the response slower, and
negative (-) values will make the response quicker.
Adjusts the reaction time when you control the dynamics using the
controller assigned to dynamics. Positive (+) values will make the
response slower, and negative (-) values will make the response
quicker.
Adjusts the reaction time when you control the dynamics using the
controller assigned to dynamics. Positive (+) values will make the
response slower, and negative (-) values will make the response
quicker.
Adjusts the amount of ambience. Positive (+) values will increase
the amount of ambience, and negative (-) values will decrease it.
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Effects
Advanced (when Phrase Model is “Multifade”)
fig.06b-75-ps.eps_50
136
Parameter
Brightness
Value
Porta Depth (Portamento Depth)
-100– +100
Fade1 Ctl Default
(Fade 1 Control Default)
-100– +100
Fade2 Ctl Default
(Fade 2 Control Default)
-100– +100
Low Velo Limit
(Low Velocity Limit)
-100– +100
Low Dyn Ctrl Lmt
(Low Dynamics Controller Limit)
-100– +100
Vibrato Dyn Sens
(Vibrato Dynamics Sensitivity)
-100– +100
Vibrato Reac Tm
(Vibrato Reaction Time)
-100– +100
Fade Ctrl Reac Tm
(Fade Controller Reaction Time)
-100– +100
PitchBend Reac Tm
(Pitch Bend Reaction Time)
-100– +100
Dyn Ctrl1 Reac Tm
(Dynamics Controller 1 Reaction
Time)
-100– +100
Dyn Ctrl2 Reac Tm
(Dynamics Controller 2 Reaction
Time)
-100– +100
Ambience Level
-100– +100
-2– +2
Description
Adjusts the brightness of the sound (five steps). Positive (+) values will
brighten the sound, and negative (-) values will darken it.
Adjusts the amount of pitch change produced by portamento. Positive
(+) values will increase the amount of pitch change, and negative (-) values will decrease it.
Adjusts the initial tone balance for fade 1 immediately after the sound
is selected (before you operate a controller).
* This may not work for some selections of Source Waveform.
Adjusts the initial tone balance for fade 2 immediately after the sound
is selected (before you operate a controller).
* This may not work for some selections of Source Waveform.
Adjusts the lower limit of the dynamics produced by the force of your
keyboard playing. Positive (+) values will increase the lower limit value,
and negative (-) values will decrease it.
* This may not work for some selections of Source Waveform.
Adjusts the lower limit of the dynamics produced when you operate the
controller assigned to dynamics. Positive (+) values will increase the lower limit value, and negative (-) values will decrease it.
* This may not work for some selections of Source Waveform.
Adjusts the linkage between changes in dynamics and changes in vibrato depth. Positive (+) values will produce deeper vibrato, and negative
(-) values will produce less vibrato.
Adjusts the reaction time when you control the vibrato using the controller assigned to vibrato. Positive (+) values will make the response slower, and negative (-) values will make the response quicker.
Adjusts the reaction time when you modify the tone by operating the
controllers assigned to fade 1 and 2. Positive (+) values will make the
response slower, and negative (-) values will make the response quicker.
* This may not work for some selections of Source Waveform.
Adjusts the reaction time when you operate the pitch bender to control
the pitch. Positive (+) values will make the response slower, and negative (-) values will make the response quicker.
Adjusts the reaction time when you control the dynamics using the controller assigned to dynamics. Positive (+) values will make the response
slower, and negative (-) values will make the response quicker.
* This may not work for some selections of Source Waveform.
Adjusts the reaction time when you control the dynamics using the controller assigned to dynamics. Positive (+) values will make the response
slower, and negative (-) values will make the response quicker.
* This may not work for some selections of Source Waveform.
Adjusts the amount of ambience. Positive (+) values will increase the
amount of ambience, and negative (-) values will decrease it.
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Effects
Control 1
fig.06b-76.eps_50
Parameter name
Controller
(can be changed using VALUE)
Reverse switch
Reverses the direction in which
the controller will operate.
Parameter
Dynamics Ctrl1
(Dynamics Controller 1)
Dynamics Ctrl2
(Dynamics Controller 2)
Fade 1
Fade 2
Portamento
Vibrato
Description
Controls the dynamics.
* If the Phrase Model is Multifade, this may not work for some selections of
Source Waveform.
Controls the dynamics.
* If the Phrase Model is Multifade, this may not work for some selections of
Source Waveform.
Controls the amount of fade 1.
* This can be specified only if the Phrase Model is “Multifade.” This may not
work for some selections of Source Waveform.
Controls the amount of fade 2.
* This can be specified only if the Phrase Model is “Multifade.” This may not
work for some selections of Source Waveform.
Controls portamento on/off.
* This is not supported by the Phrase Model “Flute.”
Controls the rate and depth of vibrato.
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Effects
Control 2
fig.06b-77-ps.eps_50
Parameter name
Controller
(can be changed using VALUE)
Reverse switch
Reverses the direction in which
the controller will operate.
Parameter
Tremolo
Pizzicato
Mono/Poly
Mix Level
Pan
138
Description
Switches to a tremolo sound.
* This can be specified only if the Phrase Model is “Violin.”
Switches to pizzicato.
* This can be specified only if the Phrase Model is “Violin.”
Switches to an always-layered sound.
* This can be specified only if the Phrase Model is “Violin.”
Controls the volume.
Controls the panning.
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Effects
Tone-FX (Tone Effect)
The V-Synth GT contains three high-quality effects: Tone-FX (tone effect), Chorus, and Reverb. The tone effect can be
applied to individual tones, and the amount of signal sent to chorus and reverb can be specified for each tone.
Routing
The effect blocks are displayed as small rack units. By turning each effect on/off you can freely specify the connecting
path (signal flow).
fig.06b-80-j.eps_50
Tone-FX On/Off Switch
Tone-FX Type
Tone-FX Master Level
Tone-FX ➝ Chorus Send Level
Tone-FX ➝ Reverb Send Level
Parameter
TVA Tone-FX Send
(TVA Tone-FX Send Level)
TVA CHO Send
(TVA Chorus Send Level)
TVA REV Send
(TVA Reverb Send Level)
TVA Output Assign
0–127
Value
Description
Sets the level of the signal sent to Tone-FX.
0–127
Sets the level of the signal sent to chorus.
0–127
Sets the level of the signal sent to reverb.
T-FX
0–127
Outputs the direct sound in stereo through Tone-FX. You can also apply chorus or reverb to the sound that passes through Tone-FX.
Outputs the direct sound to the MAIN OUT jacks in stereo without passing
through Tone-FX.
Outputs the direct sound to the DIRECT OUT jacks in stereo without passing
through Tone-FX. Make this setting when you want to use external effects.
Sets the level of the signal sent to Tone-FX.
0–127
Sets the level of the signal sent to chorus.
0–127
Sets the level of the signal sent to reverb.
T-FX
Outputs the direct sound in stereo through Tone-FX. You can also apply chorus or reverb to the sound that passes through Tone-FX.
Outputs the direct sound to the MAIN OUT jacks in stereo without passing
through Tone-FX.
Outputs the direct sound to the DIRECT OUT jacks in stereo without passing
through Tone-FX. Make this setting when you want to use external effects.
MAIN
DIR
AP Syn Tone-FX Send
(AP Syn Tone-FX Send Level)
AP Syn CHO Send
(AP Syn Chorus Send Level)
AP Syn REV Send
(AP Syn Reverb Send Level)
AP Syn Output Assign
MAIN
DIR
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Parameter
Tone-FX
(Tone-FX On/Off Switch)
Tone-FX Type
Tone-FX Master Level
Tone-FX To CHO
(Tone FX Chorus Send Level)
Tone-FX To REV
(Tone-FX Reverb Send Level)
CHO
(Chorus On/Off Switch)
CHO Type
(Chorus Type)
CHO Master Level
(Chorus Master Level)
CHO To REV
(Chorus Reverb Send Level)
REV
(Reverb On/Off Switch)
REV Type (Reverb Type)
REV Master Level
(Reverb Master Level)
140
AP Syn
Effects
Value
OFF, ON
Description
Switches Tone-FX on and off.
00 (Thru)–41
Touch this to jump to the Tone-FX screen (p. 141), where you can choose the
desired Tone-FX from 41 different types. For details on each Tone-FX type,
refer to “COSM_EffectsList(E).pdf” in the “EFFECTS LIST” folder on the included CD-ROM.
Adjusts the volume of the sound that has passed through the Tone-FX.
Adjusts the amount of chorus for the sound that passes through Tone-FX. If
you don’t want to add the Chorus effect, set it to “0.”
Adjusts the amount of reverb for the sound that passes through Tone-FX. If you
don’t want to add the Reverb effect, set it to “0.”
These parameters can be specified individually for each patch.
For details, refer to “Effects (Setting Effects for a Patch)” (p. 76).
0–127
0–127
0–127
OFF, ON
00 (Off)–08
0–127
0–127
OFF, ON
00 (Off)–13
0–127
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Effects
Tone-FX
fig.06b-81.eps_50
Parameter
Tone-FX Switch
Tone-FX Type
Value
OFF, ON
00 (Thru)–41
Description
Switches the Tone-FX on/off.
Use this parameter to select from among the 41 available Tone-FX.
In this setting screen, you can edit the parameters of the Tone-FX that is selected by the Tone-FX Type setting. For details on each Tone-FX type, refer to
“COSM_EffectsList(E).pdf” in the “EFFECTS LIST” folder on the included CDROM.
When you touch <Search>, the Tone-FX Type List window will appear,
allowing you to select the Tone-FX from the list.
Chorus
This effect is applied to the entire patch.
For details, refer to “Effects (Setting Effects for a Patch)” (p. 76).
Reverb
This effect is applied to the entire patch.
For details, refer to “Effects (Setting Effects for a Patch)” (p. 76).
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Editing a Tone (Pro Edit)
Using Steps to Vary the Sound (Multi Step Modulator)
The Multi Step Modulator is a function that modulates the value of various parameters according to a sixteen-step
sequence. On the V-Synth GT, the patterns of this sequence are managed as “tracks.” You can simultaneously use up
to four tracks, with each track containing a different sequence. You can use the panel knobs to freely modify the
sequence pattern.
1. Press [PATCH] to access the Patch Play screen.
2. Touch <Step Mod>.
fig.03-step04
<Step Mod>
The Multi Step Modulator screen will appear.
fig.03-step02
Multi Step Modulator Switch
3. Turn <Multi Step Modulator Switch> ON.
The Multi Step Modulator will be applied to the currently selected patch.
4. Touch < A >–< D > to turn tracks on/off as desired.
* If you turn all of the tracks off, there will be no effect even if <Multi Step Modulator Switch> is ON.
fig.StepModTrackSW
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5. Make settings for the track.
Touch one of the tabs for a track name you turned on in step 4.
fig.StepModTrackSW2
6. While playing the keyboard to hear the sound, input steps 1–8.
The V-Synth GT’s E1–E8 knobs correspond to knobs 1–8 and 9–16. To switch between 1–8 and 9–16, hold down
[SHIFT] and use [
][
] (the frame in the screen will move). According to how you turn the knob, the effect
will be shown as a graph of 1--16 steps, and the color will change.
fig.06b-85.eps
You’ll be able to draw the graph directly with your finger.
fig.handdrow001
If you touch < SMOOTH >, the graph will be smoothed. This will make the change in the sound occur gradually,
producing a more LFO-like result.
The step bar shown at the far right (number 17) is the same as the one that appears at the far left (number 1). This is
helpful when you’re setting up a looping sequence.
The parameter that is modulated by each track will depend on the tone. In the screen, you can touch Destination to
change the assigned parameter.
7. In the same way, make settings for other tracks you turned on in step 4.
8. If you want to stop using the step sequence, turn <Multi Step Modulator Switch> OFF.
For details regarding each parameter, refer to “Multi Step Modulator” (p. 144).
9. Press the panel [EXIT] button to exit the Step Modulator screen.
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Multi Step Modulator
fig.06b-80.eps
Multi Step Modulator Switch
Step Indicator
Step Bar
Parameter
Multi Step Modulator Switch
Value
OFF, ON
Description
This turns the multi step modulator on/off.
* This setting applies to all tracks
(Track A–D).
Step Indicator
Step Bar
This indicates the current location within the step sequence.
This graphically shows the sixteen steps. The step bar shown at the far right
(number 17) is the same as the one that appears at the far left (number 1).
This is helpful when you’re setting up a looping sequence.
If you touch < SMOOTH >, the graph will become a (smooth) line graph.
If you touch < STEP >, the graph will become a bar graph.
Use these knobs to input the sixteen steps.
Step knobs
The V-Synth GT’s E1–E8 knobs correspond to knobs 1–8 and 9–16. To
switch between 1–8 and 9–16, hold down [SHIFT] and use [
][
]
(the frame in the screen will move). According to how you turn the knob,
the effect will be shown as a graph of 1--16 steps, and the color will
change.
fig.06b-85.eps
144
Key Sync
(Step Modulator Key Sync)
Off
Part
* This setting applies to all tracks
(Track A–D).
Voice
When the cursor is at a step knob, you can hold down [SHIFT] and turn
the VALUE dial to simultaneously modify the value of all steps.
The step sequence will not be reset when a note-on occurs.
The step sequence will be reset when a note-on occurs, but will not be reset
if the key was played legato.
The step sequence will be reset each time a note-on occurs.
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Editing a Tone (Pro Edit)
Parameter
Track Button A–D
(Step Modulator Track Buttons A–
D)
Track TAB A–D
(Step Modulator Track Tabs A–D)
Loop (Step Modulator Loop Switch)
Grid (Step Grid)
Value
OFF, ON
Description
These turn the multi step modulator on/off for the four tracks (A–D).
OFF, ON
Note
These access the editing screens for the four multi step modulator tracks (A–
D).
This turns looping on/off for the step sequence.
This specifies the note value of each step.
(Quarter note),
(Eighth note),
(Sixteenth note),
End P (Step Modulator End Point)
Dir (Step Modulator Direction)
1–16
FWD1–3,
BWD1–3
(Dotted sixteenth note),
(Thirty-second note)
This specifies the sequence length as a number of steps.
This specifies the direction in which the step sequence will play.
123
•••
14 15 16
FWD2
123
23
•••
14 15 16
14 15
FWD3
123
123
•••
FWD1
•••
•••
14 15 16
14 15 16
16 15 14
•••
321
BWD2
16 15 14
15 14
•••
321
32
BWD3
16 15 14
16 15 14
•••
BWD1
Zone (Step Modulator Zone)
Destination
(Step Modulator Destination)
STEP/SMOOTH
(Step/Smooth Switch)
Multi Step Modulator Menu
(Dotted eighth note),
•••
•••
321
321
1–16
This specifies the zone (p. 88) to which the step modulator will be applied.
STEP,
SMOOTH
Reset Value
Invert Value
The parameter that is controlled by the step sequence will depend on the
tone.
Touch < SMOOTH > to select a line graph (smooth change), or touch <STEP
> to select a bar graph (stepped change).
Resets the step bar.
Inverts the step bar in the vertical direction.
Reverse Value
Shift Value R
Shift Value L
Inverts the step bar in the left/right direction.
Moves the step bar one step toward the right.
Moves the step bar one step toward the left.
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Vocal Designer
If you select structure type 5, you’ll be able to use Vocal Designer.
Vocal Designer is a function that uses cutting-edge human vocal modeling technology. By connecting a mic to the VSynth GT and playing the keyboard while you sing, you can model an extremely realistic and natural singing voice.
fig.06d-01-j.eps
<VOCAL DESIGNER>
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Vocal Designer
How Vocal Designer is Structured
Vocal Designer consists of four elements: the mic, OSC1/2 (carrier), the vocoder, and effects.
fig.06d-02-j.eps
Carrier
Vocoder
Effects
This corresponds to the vocal cords
of a human. The signal on which
the sound is based (tone and pitch)
is produced according to the
pitches you play on the keyboard.
On the V-Synth GT, this consists of
the combination of the OSC,
COSM, MOD, and TVA.
From the audio signal received via
the mic input, this extracts the
various resonances (formants)
caused by the shape and
framework of the throat and the
movement of the mouth, and uses
these formants to modulate the
signal received from the carrier.
Here you can apply a tone
effect, reverb, and chorus.
OSC1
OSC2
MOD COSM1 COSM2 TVA
With the default values immediately
after initialization, these will be
arranged in structure 1. However, if
you want to use the arrangement of
a structure 2–4, you can temporarily
select the appropriate structure 1–4,
then re-select structure 5 to obtain
the desired arrangement of 2–4.
Mic
This is the mic connected to the rear panel.
Mic
OSC1/2
(Carrier)
Vocoder
Effects
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Vocal Designer
Using Vocal Designer
Connecting a Mic
1. Connect your mic to the “MIC IN jack.”
2. Press INPUT [SETTING] on the panel.
The Audio Input Settings screen will appear.
fig.06d-16-ps.eps_50
3. Check the mic settings.
fig.06d-17.eps_50
While vocalizing into the mic, use the panel’s INPUT MIC LEVEL knob to adjust the volume so that the Level
indicator in the screen does not quite light red.
If the Peak indicator lights, the volume is too high.
4. Press [EXIT] to return to the previous screen.
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Vocal Designer
Make settings for Vocal Designer
1. Select structure type 5.
• Select Structure Type 5 in the Pro Edit screen (p. 86).
• Press STRUCTURE [5], then touch <VOCAL DESIGNER> in the Patch Play screen.
fig.06d-01-j.eps
<VOCAL DESIGNER>
Make sure that UPPER or LOWER is lit as the KEY MODE of the patch for which Vocal Designer is selected.
2. Play the keyboard.
3. While continuing to hold down notes, vocalize into the mic.
The sound using Vocal Designer will be heard according to the volume of your voice.
Even if you’re playing the keyboard, Vocal Designer won’t produce sound unless you are vocalizing into the mic.
Likewise, even if you’re vocalizing into the mic, Vocal Designer won’t produce sound unless you’re playing the
keyboard; you must be doing both.
4. In the lower part of the screen, touch <Vocal Designer>, <Mic Settings>, and <Vocoder>.
In each screen, make mic settings and vocoder settings.
fig.06d-06-j.eps
<Vocoder>
<Mic Settings>
<Vocal Designer>
<Pro Edit>
The sound will stop if you switch the oscillator waveform (p. 150) while holding down a key. If this occurs, release
the key and press it again.
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Vocal Designer
Vocal Designer
fig.06d-10-ps.eps
Parameter
Value
OFF, ON
Description
Turns Vocal Designer on/off.
0–127
Indicates the mic input level.
Use the panel INPUT MIC LEVEL knob to adjust the level so that the peak indication does not light.
OSC1 (Oscillator 1 Switch)
OFF, ON
OSC1 Waveform
(Oscillator 1 Waveform)
OSC1 Level (Oscillator 1 Level)
OSC2 (Oscillator 2 Switch)
–
Specifies whether the sound from OSC1 will be used as the carrier (ON) or
not (OFF).
Selects the waveform that OSC1 will produce.
Vocal Designer Switch
Mic
Level
Carrier
OSC2 Waveform
(Oscillator 2 Waveform)
–
Specifies the level of OSC1.
Specifies whether the sound from OSC2 will be used as the carrier (ON) or
not (OFF).
Selects the waveform that OSC2 will produce.
OSC2 Level (Oscillator 2 Level)
Vocoder
Level
0–127
Specifies the level of OSC2.
0–127
0–127
Specifies the volume of Vocal Designer.
Specifies the volume of the mic input sound (your own voice).
0–127
0–127
Specifies the level of the signal sent to chorus.
Specifies the level of the signal sent to reverb.
Natural Voice
Effects
Chorus Send (Chorus Send Level)
Reverb Send (Reverb Send Level)
150
0–127
OFF, ON
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Vocal Designer
Mic Settings
fig.06d-04-j.eps
Vocal Designer
TVA
Vocoder
Tone-FX
Mic
Settings
Mic effects such as equalizer are provided to enhance the mic input.
You can use these to adjust the character of the mic sound, and make it easier for you to sing.
As mic effects, equalizer (EQ), noise suppressor (Noise Sup), and compressor (Comp) are provided.
These mic effect settings can be stored together as mic settings, and called up when necessary.
Eight sets of mic settings can be stored. This allows you to easily use settings for Vocal Designer that are appropriate
for a particular situation.
Note that when you edit the parameter value, the mic setting will also change simultaneously (and will be
automatically saved).
Mic settings are System settings. They will be remembered even when you turn off the power. If you want to return all
eight mic settings to the factory-set condition, execute a Factory Reset (p. 235).
Mic Type
fig.06d-11-ps.eps
Parameter
Value
Description
Vocal Designer Mic Settings
Mic Setting
Edit Mic Name
1–8
Selects the mic setting.
Assigns a name for the mic setting.
When you touch this, the Mic Setting Name screen will appear.
Here you can assign a name to the mic setting in the same way as
when assigning a name to a patch, etc. (p. 59).
0–127
Adjusts the volume of the mic input.
Mic Level
Level
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Vocal Designer
EQ
Equalizer: Adjusts the character of the low, mid, and high-frequency ranges.
The EQ settings are shown by the graph in the middle of the screen.
fig.06d-12-ps.eps
Parameter
Mic/EQ Switch
3 Band EQ
EQ Low Freq (EQ Low Frequency)
EQ Low Gain
EQ Mid Freq (EQ Mid Frequency)
EQ Mid Gain
EQ Mid Q
EQ Hi Freq (EQ High Frequency)
EQ Hi Gain (EQ High Gain)
152
Value
OFF, ON
Description
Turns the equalizer on/off.
50, 63, 80, 100, 125,
160, 200, 250, 315,
400, 500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000 Hz
-15– +15 dB
Specifies the center frequency at which the low-frequency range
will be adjusted.
50, 63, 80, 100, 125,
160, 200, 250, 315,
400, 500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, 10000, 12500,
16000, 20000 Hz
-15– +15 dB
0.3, 0.4, 0.6, 0.8, 1.0,
1.5. 2.0, 2.5. 3.0, 3.5,
4.0, 5.0, 6.0, 7.0, 8.0,
10.0, 12.0, 14.0,
16.0, 18.0, 20.0
2000, 4000, 5000,
6300, 8000, 10000,
12500, 16000, 20000
Hz
-15– +15 dB
Specifies the gain (amount of boost or cut) for the low-frequency
range. Positive settings will boost the low-frequency range.
Specifies the center frequency at which the mid-frequency range
will be adjusted.
Specifies the gain (amount of boost or cut) for the mid-frequency
range. Positive settings will boost the mid-frequency range.
Specifies the width of the mid-frequency range. Higher settings will
narrow the range.
Specifies the center frequency at which the high-frequency range
will be adjusted.
Specifies the gain (amount of boost or cut) for the high-frequency
range. Positive settings will boost the high-frequency range.
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Vocal Designer
Noise Sup
Noise suppressor: Suppresses noise when no sound is being input.
fig.06d-13-ps.eps
Parameter
Mic/Noise Suppressor Switch
NS Threshold
(Noise Suppressor Threshold)
NS Attack
(Noise Suppressor Attack)
NS Release
(Noise Suppressor Release)
Value
OFF, ON
-60– -36dB
0–127
0–127
Description
Turns the noise suppressor on/off.
Specifies the level at which the noise suppressor begins to operate. Sounds
below the specified level will be muted.
Specifies the duration over which the noise suppressor will disable muting.
Specifies the time from when the noise suppressor begins operating until muting occurs.
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Vocal Designer
Comp
Compressor: Reduces high-level sounds and boosts low-level sounds, thus improving the overall volume balance of
the sound.
fig.06d-14-ps.eps
Parameter
Description
Turns the compressor on/off.
Specifies the compression ratio.
CP Threshold
(Compressor Threshold)
CP Attack (Compressor Attack)
Value
OFF, ON
1:1.0–1:16,
1:INF
-36–0dB
0–100
CP Release (Compressor Release)
0–100
CP Gain (Compressor Gain)
0–24 dB
Specifies the time from when the input exceeds the Threshold until the volume
begins to be compressed.
Specifies the time it is to take after the input falls below the Threshold before
compression ceases.
Specifies the output gain.
Mic/Compressor Switch
CP Ratio (Compressor Ratio)
154
Specifies the level at which compression will begin.
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Vocal Designer
Vocoder
fig.06d-05-j.eps
Vocal Designer
TVA
Vocoder
Tone-FX
Mic
Settings
You can use these settings to modify the character of the vocal sound created by Vocal Designer.
Choose one of the following four vocoder types, which will determine the character of the sound.
Parameter
Vocoder Type
Value
Stereo
Mono
Vintage
Enhance
Description
This produces a spacious stereo sound. It is suitable for simulating choral sounds such as
choir or chorus.
This type emphasizes the intelligibility of the vocal. It is suitable for creating solo vocal
sounds. The output will be mono.
This produces the typical “vocoder sound.” It is suitable for obtaining the sound of a vintage
vocoder such as the VP-330.
This type boosts the high-frequency range. Use this when you want to emphasize the clarity
of the vocal sound.
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Vocal Designer
Stereo/Mono/Enhance
fig.06d-xxx-ps.eps
Parameter
Formant Type
156
Value
Level
Attack
Flat
Soprano
Alto 1
Alto 2
Baritone
Bass
TalkBox
(Mono only)
0–127
0–100
Release
0–100
Consonant Level
0–127
Consonant Detect
0–100
Description
No conversion.
Transforms the mic input sound into the specified voice range.
“TalkBox” is suitable for obtaining metallic talkbox-type sounds.
Specifies the volume of Vocal Designer.
Specifies the attack time of the Vocal Designer sound relative to the mic input
sound.
Specifies the release time of the Vocal Designer sound relative to the mic input sound.
Specifies the level at which the consonants extracted from the mic input
sound will be output.
Specifies the degree to which consonants will be detected in the mic input
sound. Higher settings will make it easier for consonants to be detected.
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Vocal Designer
Vintage
fig.06d-21-ps.eps
Parameter
Vocoder
EQ Low Freq
Value
Description
200–800 Hz
EQ Low Gain
Hi Cut Switch
-15– +15dB
OFF, ON
Level
Attack
0–127
0–100
Release
1–100
Consonant Level
0–127
Consonant HPF Freq
4500–9000
Hz
Specifies the center frequency at which the low-frequency range will be
boosted or cut.
Specifies the amount of boost/cut for the low-frequency range.
Turns the high-frequency cut on/off. If you feel the sound is raspy, turn this
switch on to make the sound smoother.
Adjusts the volume of Vocal Designer.
Specifies the attack time of the Vocal Designer sound relative to the mic input
sound.
Specifies the release time of the Vocal Designer sound relative to the mic input sound.
Specifies the level at which the consonants extracted from the mic input
sound will be output.
Specifies the frequency used when extracting the high-frequency components
from the mic input audio as consonants. Components higher than the specified frequency will be extracted as consonants.
Chorus
Vintage Vocoder Chorus Switch
Chorus Rate
Chorus Depth
Chorus Balance
Chorus HPF Cutoff
Chorus Pre Delay
OFF, ON
0.05–10.0 Hz
0–127
D:0:100E–
D:100:0E
200–8000 Hz
0.0–100 ms
This is an on/off switch for the chorus effect applied to the vocal sound.
Adjusts the modulation frequency of the chorus effect.
Adjusts the modulation depth of the chorus effect.
Adjusts the balance between the vocal sound and the sound with chorus applied.
Specifies the frequency at which the high-frequency range will be cut.
Specifies the delay time until the chorus sound is heard.
The chorus of the Vintage vocoder is applied separately from the patch effect named Chorus.
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Editing a Tone (SOUND SHAPER II)
By using the “Sound Shaper II” function you can edit the tone simply by turning knobs or pressing buttons.
1. Access the Patch Play screen, and select the tone whose settings you wish to modify.
2. Touch <SOUND SHAPER II>.
fig.06c-01-j.eps
<SOUND SHAPER II>
The SOUND SHAPER II window will appear.
Adjust the sound by operating the switches and knobs while you play the keyboard.
In the case of Structures 1–4
fig.06c-02-ps.eps_50
The most suitable parameters for OSC will be assigned.
Mono/Poly
Switch
Portamento Switch
OSC1 Switch
OSC2 Switch
OSC1 Level
OSC2 Level
OSC 1/2 wave (Touch to view a list.)
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Editing a Tone (SOUND SHAPER II)
In the case of Structure 5
fig.soundshape03
Mic Level
The most suitable parameters for editing
the vocoder will be assigned.
OSC1/2 Switch
Vocoder Type
OSC1/2 Wave
(Touch to view a list.)
Cho/Rev Send Level
Adjust the OSC 1/2 level.
3. Touch <COSM> to make COSM settings (p. 160).
4. Touch <AP-Synthesis> to make AP-Synthesis settings (p. 161).
5. Touch <Effects> to make effect settings (p. 162).
6. Save the tone you created (p. 81).
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Editing a Tone (SOUND SHAPER II)
COSM
Here you can use the [E1]–[E8] knobs to edit the most important COSM parameters.
fig.06c-xx-ps.eps_50
COSM1 Type
COSM1 Switch
COSM2 Type
COSM2 Switch
The most suitable parameters for COSM will be assigned.
1. Use the COSM 1/2 switches to turn COSM 1/2 on/off.
2. Touch the screen to select the COSM 1/2 types.
You can also change the type by using the VALUE dial or [INC/+] [DEC/-].
3. Use the [E1]–[E8] knobs to edit the COSM 1/2 parameters.
For details on each parameter, refer to “COSM1/COSM2” (p. 117) or “COSM_EffectsList(E).pdf” in the “EFFECTS
LIST” folder on the included CD-ROM.
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Editing a Tone (SOUND SHAPER II)
AP-Synthesis
Here you can use the [E1]–[E8] knobs to edit the most important AP-Synthesis parameters.
fig.06c-10-ps.eps_50
AP-Synthesis Switch
Source Wave
Phrase Model
AP-Synthesis Modify Parameters
AP-Synthesis Level
1. Use the AP-Synthesis switch to turn AP-Synthesis on/off.
2. Use the [E1] knob to select the source wave.
You can also use the VALUE dial or [INC/+] [DEC/-] to change this.
3. Touch the screen to select the desired phrase model.
The available phrase models will depend on the source wave you’ve selected.
4. Use the [E2] knob to edit the AP-Synthesis level.
5. Use the [E3]–[E8] knobs to edit the AP-Synthesis parameters.
For details on each parameter, refer to “AP Syn (AP-Synthesis)” (p. 124).
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Editing a Tone (SOUND SHAPER II)
Effects
Here you can use the [E1]–[E8] knobs to edit the most important parameters of each effect.
fig.06c-20-ps.eps_50
TONE-FX/CHORUS/
REVERB Type
TONE-FX/CHORUS/REVERB Parameter
(The most suitable parameters are assigned.)
TONE-FX/CHORUS/REVERB Switch
1. Use the effect switches to turn each effect on/off.
2. Select the desired type for each effect.
3. Use the [E1]–[E8] knobs to edit the parameters of each effect.
You can also edit the parameters by using the VALUE dial or [INC/+] [DEC/-].
For details on the parameters of each effect, refer to “COSM_EffectsList(E).pdf” in the “EFFECTS LIST” folder on the
included CD-ROM.
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Sample Mode
In this chapter, we will explain the procedures for:
• Sampling (p. 163)
• Editing samples (p. 178)
• Converting samples so the VariPhrase function can be used (Encoding) (p. 187)
Sampling
What is a Template? (Settings before you sample)
A sampling template is something that holds a collection of settings for sampling (the setup settings, pre-effect settings,
and metronome settings described below).
You can store eight different sampling templates. When you sample, you will always select one of these eight
templates.
With the factory settings, eight sampling templates are preset.
For details on modifying the settings, refer to “Sampling Procedure” (p. 165).
Sampling templates are system settings (with the exception of some metronome parameters). They are remembered
even when you turn off the power. If you wish to restore all eight sampling templates to the factory settings, perform
the Factory Reset operation (p. 235).
Applications of Each Template
The preset templates cover different input settings and pre-effect types.
Mic
Line
Coaxial
Sample in mono from a mic. Connect a mic to the rear panel MIC IN jack.
Connect your portable audio player or similar device to the INPUT jack on the rear panel.
Sample a digital signal. Connect your audio device to the rear panel COAXIAL IN connector.
Resampl
Play a sample on the V-Synth GT and sample the result. This is called “resampling.” For
details on resampling, refer to p. 173.
Use the compressor pre-effect. The sample will be recorded from the rear panel INPUT
jacks.
Use the limiter pre-effect. The sample will be recorded from the rear panel INPUT jacks.
Start sampling when a sequencer start (system realtime message: FA) is received. The sample will be recorded from the rear panel INPUT jacks.
Sampling from a PC USB Audio.
Comp
Limiter
MIDI
USB
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Sample Mode
Factory Settings of Each Template
Setup
Sampling Type
Input Source
Trigger Mode
Trigger Level
Pre Trigger
Pre Gain
PreFX Type
PreFX COMPRESSOR Sustain
PreFX COMPRESSOR Attack
PreFX COMPRESSOR Tone
PreFX COMPRESSOR Level
PreFX LIMITER Thres
PreFX LIMITER Release
PreFX LIMITER Tone
PreFX LIMITER Level
PreFX LIMITER Ratio
PreFX NOISE SUPR Threshold
PreFX NOISE SUPR Release
MetroType
Count-In
Setup
SamplingType
InputSource
TriggerMode
TriggerLevel
PreTrigger
Pre Gain
PreFxType
PreFx COMPRESSOR Sustain
PreFx COMPRESSOR Attack
PreFx COMPRESSOR Tone
PreFx COMPRESSOR Level
PreFx LIMITER Thres
PreFx LIMITER Release
PreFx LIMITER Tone
PreFx LIMITER Level
PreFx LIMITER Ratio
PreFx NOISE SUPR Threshold
PreFx NOISE SUPR Release
MetroType
Count-In
164
Mic
MONO
ANALOG
MANUAL
-12 (dB)
0 (msec)
0 (dB)
OFF
0
0
0
0
-48
0
0
0
1.5:1
-60
0
REC
1MEASURE
Line
STEREO
ANALOG
LEVEL
-12 (dB)
0 (msec)
0 (dB)
OFF
0
0
0
0
-48
0
0
0
1.5:1
-60
0
REC
OFF
Coaxial
STEREO
COAXIAL
LEVEL
-24 (dB)
0 (msec)
0 (dB)
OFF
0
0
0
0
-48
0
0
0
1.5:1
-60
0
REC
OFF
Resampl
STEREO
RESAMPL
NOTE
-12 (dB)
0 (msec)
0 (dB)
OFF
0
0
0
0
-48
0
0
0
1.5:1
-60
0
REC
1MEASURE
Comp
STEREO
ANALOG
MANUAL
-12 (dB)
0 (msec)
0 (dB)
COMP+NS
64
12
0
0
-48
0
0
0
1.5:1
-60
0
REC
1MEASURE
Limiter
STEREO
ANALOG
MANUAL
-12 (dB)
0 (msec)
0 (dB)
LIMIT+NS
0
0
0
0
-36
80
0
0
4:1
-60
0
REC
1MEASURE
MIDI
STEREO
ANALOG
MIDI
-12 (dB)
0 (msec)
0 (dB)
OFF
0
0
0
0
-48
0
0
0
1.5:1
-60
0
REC
OFF
USB
STEREO
USB
LEVEL
-24 (dB)
0 (msec)
0 (dB)
OFF
0
0
0
0
-48
0
0
0
1.5:1
-60
0
REC
OFF
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Sample Mode
Sampling Procedure
Here’s how to input a sound from the input jacks and sample it. For resampling, refer to the following section.
The V-Synth GT has the following input jacks.
• INPUT L, R
• MIC IN (mixed into INPUT R)
• DIGITAL AUDIO INTERFACE
OPTICAL IN
COAXIAL IN
USB (Audio)
Use the input jack that is appropriate for your situation.
• Monaural sampling from a mic
→ MIC IN
• Sampling from an analog source
→ INPUT L, R
• Sampling from a digital source
→ OPTICAL IN or COAXIAL IN
• Sampling via USB
→ USB
983
Howling could be produced depending on the location of microphones relative to speakers. This can be remedied by:
1. Changing the orientation of the microphone(s).
2. Relocating microphone(s) at a greater distance from speakers.
3. Lowering volume levels.
When sampling, you must make sure that the following two items are set correctly. If these two settings are
incorrect, the sample will not be recorded as you intend.
• What type of sample are you recording? (stereo or mono)
→ In the Sampling General screen, set Sampling Type.
• Which input are you sampling from? (select the input jack)
→ In the Sampling General screen, set Input Source.
1. Press [SAMPLE].
The Sample Top screen appears.
fig.04-01_50
165
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Sample Mode
2. Select the location (sample number) that you wish to sample.
Move the cursor to the desired sample. Normally, you will select a sample that has no wave; i.e., a sample number
whose name is “NO SAMPLE.”
In this screen you can use the following functions.
• Select a sample by directly touching it.
• Change the number in steps of eight by pressing [
] [ ].
• Change the number in steps of one by touching <
><
>, located beside the sample list, by pressing
[
][
] [INC/+] [DEC/-], or by turning the VALUE dial.
• Scroll the sample list by dragging the scroll bar located beside the sample list up or down.
• Move to the number 001 sample by touching <Top>.
• Move to the number 999 sample by touching <End>.
• Display information on the currently selected sample by touching <Info> (p. 192). However, this information
will not be displayed for the factory-set waves.
• Audition the currently selected sample by touching <Prevw>.
• When you touch <Search Empty>, you will jump to the “NO SAMPLE” sample number that follows the
current sample number.
3. Touch <Sampling>.
The Sampling Template screen appears.
fig.04-02_50
4. Touch <TMPL 1>–<TMPL 8> to select a sampling template.
If you want to modify the settings of the selected sampling template, perform the following steps 5–7.
5. Touch one of the tabs displayed at the bottom of the screen to access the corresponding setting screen.
<General>: Setup settings (p. 174)
<Pre-Effect>: Pre-effect settings (p. 175)
<Metronome>: Metronome settings (p. 176)
For details on each parameter, refer to the page references given.
6. In each setting screen, touch the touch panel to set the parameters.
Move the cursor to the value box of the parameter you want to edit, and use any of the following methods to edit it.
• Turn the VALUE dial
• Press [INC/+] or [DEC/-]
• Drag your fingertip on the touch panel
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Sample Mode
7. Adjust the sampling level.
Adjust the volume of the device that is producing the sound.
When sampling from the MIC IN jack, adjust the level by turning the front panel INPUT MIC LEVEL knob.
When sampling from the INPUT jacks, press the INPUT [SETTING] button on the front panel, and in the Audio
Input Settings screen that appears, use <Input Gain> to adjust the level.
If you are sampling from the DIGITAL AUDIO INTERFACE IN connector, use the setup Pre gain (p. 174) or the
pre-effect Output Level (p. 175) settings to adjust the level.
8. Touch <START> to start sampling.
The way in which sampling will start depends on the Trigger Mode setting in the Sampling General screen, as
follows.
If “MANUAL” is selected, sampling will start after a count of the number of measures specified by the metronome
Count-In setting.
If “MIDI” is selected, sampling will wait for the sequencer to start (system realtime message: FA). Sampling will
begin when the sequencer start message is received.
If “LEVEL” is selected, sampling will wait for an input signal. Sampling will begin when the input signal exceeds
the level specified by Trigger Level (p. 174).
If “NOTE” is selected, Sampling will begin when you play the keyboard or note message is received.
If you have selected “MIDI” or “LEVEL,” you can touch <START> once again to begin sampling without waiting for
the sequencer to start or the input signal to be received.
In the Sampling window, “Remain Time” indicates the remaining time (in seconds) available for sampling.
If memory becomes full, sampling will be halted. If this occurs, delete unneeded samples from memory (p. 172).
9. When you are finished sampling, touch <STOP>.
The display will indicate “COMPLETED!” Touch <PREVIEW> to hear the sound that you sampled, and check
whether the sample was recorded as you wish.
<Cancel>: Discard the sample that you just recorded, and return to the Sampling Template screen.
<OK>: Finalize the sample that you just recorded, and register it in the sample list.
<RETRY>: Discard the sample that you just recorded, and sample once again.
10. If you’re satisfied with the sound you sampled, touch <OK>.
The sampled sound will be registered in the sample list.
• If you want to discard the sample and try again, touch <RETRY>.
<RETRY> will change to <START>, and now you can touch <START> to sample again.
• If you want to stop sampling, touch <Cancel> to return to the Sampling Template screen.
Even if you touch <OK> to register the sample in the sample list, that assignment is temporary, and will be lost when
you turn off the power. If you want to keep the sample, you must name the sample (p. 168) and save it (p. 191).
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Sample Mode
Sample Name (Naming a Sample)
Assign a new name to the sample. You can assign a name consisting of up to twelve characters.
1. Access the Sample Top screen, and select the sample that you want to name (p. 178).
2. Touch <MENU> in the upper right of the screen.
A pulldown menu appears.
fig.07-03_50
3. In the pulldown menu, touch <Sample Name>.
The Sample Name window appears.
fig.04-04_50
4. Touch the on-screen alphabetic or numeric keys to enter the new name in the text box.
The on-screen keys have the following functions.
< << >< >> >
<shift>
<clear all>
<back space>
<delete>
Move the cursor in the text box to the desired input location.
Turn this on when you want to input uppercase letters or symbols.
Erases all characters in the text box.
Deletes the character that precedes the cursor location.
Deletes the character at the cursor location.
5. When you have finished inputting, touch <OK> to finalize the sample name.
If you want to return to the original unedited name, touch <EXIT>.
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Sample Mode
Sample Copy (Copying a Sample)
1. Access the Sample Top screen (p. 165).
2. Touch <MENU> in the upper right of the screen.
A pulldown menu appears.
fig.07-03_50
3. In the pulldown menu, touch <Sample Copy>.
The Sample Copy window appears.
fig.04-04a_50
4. Move the cursor to “Source” and select the copy-source sample.
5. Move the cursor to “Destination” and select the copy-destination sample.
When you touch <Search>, the Sample List window will appear, allowing you to select the sample from the list.
6. Touch <Execute> to execute the copy operation.
7. Press [EXIT].
The Sample Copy window closes.
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Sample Mode
Sample Move (Moving a Sample)
1. Access the Sample Top screen (p. 165).
2. Touch <MENU> in the upper right of the screen.
A pulldown menu appears.
fig.07-03_50
3. In the pulldown menu, touch <Sample Move>.
The Sample Move window appears.
fig.04-04b_50
4. Move the cursor to “Source” and select the move-source sample.
5. Move the cursor to “Destination” and select the move-destination sample.
When you touch <Search>, the Sample List window will appear, allowing you to select the sample from the list.
6. Touch <Execute> to execute the move operation.
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Sample Mode
Sample Exchange (Exchanging a Sample)
1. Access the Sample Top screen (p. 165).
2. Touch <MENU> in the upper right of the screen.
A pulldown menu appears.
fig.07-03_50
3. In the pulldown menu, touch <Sample Exchange>.
The Sample Exchange window appears.
fig.04-04c_50
4. Move the cursor to “Source” and select the exchange-source sample.
5. Move the cursor to “Destination” and select the exchange-destination sample.
When you touch <Search>, the Sample List window will appear, allowing you to select the sample from the list.
6. Touch <Execute> to execute the exchange operation.
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Sample Mode
Sample Delete (Deleting a Sample)
1. Access the Sample Top screen (p. 165).
2. Touch <MENU> in the upper right of the screen.
A pulldown menu appears.
fig.07-03_50
3. In the pulldown menu, touch <Sample Delete>.
The Sample Delete List window appears.
fig.04-04d_50
4. From the list, select the sample that you want to delete.
To select the sample, turn the VALUE dial, press [INC/+] [DEC/-], or press [
You can also select this by directly touching it in the touch panel.
5. Touch <Execute>.
The selected sample will be deleted.
6. If you want to continue deleting other samples, repeat steps 4 and 5.
7. Press [EXIT].
The Sample Delete List window closes.
172
][
].
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Sample Mode
Resampling
The V-Synth GT is able to resample samples from its internal memory. This is called resampling. In actuality, the sounds
that are output from the rear panel MAIN OUT L/MONO, R jacks are sampled.
For example, you could sample multiple samples played simultaneously, and record them as a single sample. You can
conserve voices in this way.
fig.04-05.e
INPUT
Sound
Generator
Pre Gain
Pre-FX
Sampling
OUTPUT
Effect
Before you enter Sample mode, make settings so that you can play the sample(s) you wish to resample.
The resampling procedure is essentially the same as the “Sampling Procedure” described in the preceding section.
However, please be aware of the following points.
• You must set the Input Source in the Sampling General screen to “RESAMPL.”
• To adjust the sampling level, adjust the setup Pre gain (p. 174) and the pre-effect Output Level (p. 175).
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Sample Mode
Sampling General (Setup Settings)
fig.04-06_50
Parameter
Sampling Type
Input Source
Trigger Mode
Value
STEREO L R
MONO MIX
MONO L
MONO R
ANALOG
USB
OPTICAL
COAXIAL
RESAMPL
MANUAL
MIDI
LEVEL
NOTE
174
Trigger Level
-∞–00 dB
Pre Trigger
0–1000 msec
Pre Gain
-12– +36 dB
Description
Samples in stereo.
Mixes the signals input to L and R, and sample in monaural.
Samples the L input signal in monaural.
Samples the R input signal in monaural.
Samples from INPUT jacks or MIC IN jack.
The sound from USB audio will be sampled.
Samples from OPTICAL IN connector.
Samples from COAXIAL IN connector.
Select this when you wish to resample. The sound that is output to MAIN OUT
L/MONO and R will be sampled.
Sampling will begin when you touch <START>.
Sampling will begin when an external sequencer start message (system realtime message: FA) is received.
Sampling will start when the input signal exceeds the level specified by the
Trigger Level setting.
Sampling will begin when you play the keyboard or note message is received.
Specifies the input level at which sampling will begin when the Trigger Mode
is set to “LEVEL.” The trigger level is shown by the “
” and “
” in the
level meter located at the right of the screen.
If Trigger Mode is set to other than “LEVEL,” this parameter has no effect.
After the selected trigger to start sampling has been received, previously received data for the length of time specified here will be included in the sampled data. When the Trigger Mode is set to “LEVEL” and the early portion of
the sample is being lost, you can use this setting to include the early portion.
Adjusts the input gain. This will apply to the sound that is received from all
input jacks. It will also be applied to the sound being resampled. With positive (+) values, the gain will be higher than originally, and with negative (-)
values the gain will be lower than originally.
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Sample Mode
Sampling Pre-Effect (Pre-Effect Settings)
fig.04-07_50
There are three pre-effects: compressor, limiter, and noise suppressor. By using these you can adjust the level of the
sound being sampled.
Compressor
Limiter
Noise Suppressor
By reducing high levels and raising low levels, this effect smoothes out unevenness in volume.
By compressing sounds that exceed a specified volume level, this effect prevents the sound from distorting.
This effect leaves the original sound untouched, but mutes the noise that is heard during periods of silence.
Parameter
Type (Pre-Effect Type)
■ Compressor
Sustain
Attack (Attack Time)
Tone
Level (Output Level)
■ Limiter
Thres (Threshold Level)
Release (Release Time)
Tone
Level (Output Level)
Ratio
Value
OFF
COMP+NS
LIMIT+NS
NOISE SUP
0–127
0–127
-50– +50
0– +24 dB
-60–0 dB
0–127
-50– +50
0– +24 dB
1.5:1, 2:1,
4:1, 100:1
■ Noise Suppressor
Threshold (Threshold Level)
-60–0 dB
Release (Release Time)
0–127
Description
No pre-effect will be used.
Compressor and noise suppressor will be used.
Limiter and noise suppressor will be used.
Noise suppressor will be used.
Specifies the time over which a low-level signal is raised until it reaches a
fixed volume.
Specifies the attack time of the input sound.
Adjusts the tone quality of the compressor.
Adjusts the output volume.
Specifies the level (threshold level) at which the limiter will begin to function.
Specifies the time from when the input level drops below the threshold level
until the limiter turns off.
Adjusts the tonal quality of the limiter.
Adjusts the output volume.
Specifies the compression ratio.
Specifies the level at which the noise suppressor will begin to operate. When
the signal falls below the specified level, it will be muted.
Specifies the time from when the noise suppressor begins to operate until the
volume reaches 0.
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Sample Mode
Metronome (Metronome Settings)
fig.04-08_50
Parameter
Metro Type
(Metronome Type)
Level (Metronome Level)
Count In
* If Trigger Mode is set to other
than “MANUAL,” this
parameter has no effect.
Tempo
Beat
Value
OFF
1MEASURE
2MEASURE
Description
The metronome will not sound.
The metronome will sound only during sampling.
The metronome will sound whenever you sample (including while you are
making settings in preparation for sampling).
Specifies the volume of the metronome.
A count will not be sounded before sampling.
A one-measure count will be sounded before sampling.
A two-measure count will be sounded before sampling.
20.0–250.0
0–31
Specifies the tempo of the metronome.
Specifies the time signature of the metronome (Numerator).
OFF
REC
ALWAYS
0–127
* If you set this to 0, no time signature accent note will be sounded.
2, 4, 8, 16,
32
176
Specifies the time signature of the metronome (Denominator).
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Sample Mode
Template Name (Naming a Template)
A template can be given a name of up to eight characters.
1. Access the Sampling Template screen, and select the sample that you want to name (p. 165).
2. Touch <MENU> in the upper right of the screen.
A pulldown menu appears.
fig.04-09_50
3. In the pulldown menu, touch <Template Name>.
The Sampling Template Name window appears.
fig.04-10_50
4. Touch the on-screen alphabetic or numeric keys to enter the new name in the text box.
The on-screen keys have the following functions.
< << >< >> >
<shift>
<clear all>
<back space>
Move the cursor in the text box to the desired input location.
Turn this on when you want to input uppercase letters or symbols.
Erases all characters in the text box.
Deletes the character that precedes the cursor location.
<delete>
Deletes the character at the cursor location.
5. When you have finished inputting, touch <OK> to finalize the template name.
If you want to return to the original unedited name, touch <EXIT>.
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Sample Mode
Editing a Sample
When you have finished sampling, you can edit the sample data.
When editing a sample, touching <PREVIEW> will play the sample so you can check whether it was edited as you
expect.
When the editing screens are displayed, playing the keyboard will not produce sound.
It is not possible to edit two or more samples simultaneously.
With some exceptions, editing a sample that has been encoded will cause the encoding data to be discarded. In this
case, you must encode the data once again (p. 187).
The factory-set waves (preset waves) cannot be edited.
Common Procedure for Editing
Displaying the Sample Edit Screen
1. Press [SAMPLE].
The Sample Top screen appears.
fig.04-01_50
2. Select the sample that you wish to edit.
For details on making this selection, refer to “Sampling Procedure” (p. 165).
3. Touch <Edit>.
The Sample Edit screen appears.
fig.04-11_50
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Sample Mode
4. Touch one of the tabs in the left side of the screen to access the desired editing screen.
<Edit>: Edit the sample of the specified region (p. 182)
<Loop FWD>: Specify the loop region for forward playback (p. 185)
<Loop BWD>: Specify the loop region for backward playback (p. 185)
For details on each editing operation, refer to the corresponding page.
5. When you have finished making settings, press [EXIT] to return to the Sample Top screen.
Functions Common to All Editing Screens
“Start,” “End,” and “Current” Settings
The V-Synth GT uses seven terms to indicate locations within a sample.
Sample Start
Sample End
Loop Start, Loop End
Edit Start, Edit End
Current
Beginning of the sample
End of the sample
When the Loop Play is ON, the region between these two points will be played repeatedly.
Editing will affect the region between these two points.
This is the currently selected location of the sample.
Move the cursor to “Start,” “End,” or “Current” to select the point that you want to specify. Then specify the location
by turning the VALUE dial, by using [INC/+] [DEC/-], or by dragging your finger over the sample in the screen.
The region of the sample between Edit Start and Edit End is displayed with the color inverted.
When Current = Loop/Edit Start, moving Loop/Edit Start will cause Current to change as well.
It is not possible to move Loop/Edit Start to the right of Loop/Edit End.
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Sample Mode
(LENGTH LOCK)
This locks the length of the region between the start point (Start) and end point (End) of the sample. It is convenient to
use this when you already know the length of the sample that you need, and want to find the right region to use.
After the length has been locked, you can turn the VALUE dial, use [INC/+] [DEC/-], or drag your finger over the
sample in the screen to adjust the Start and End locations while maintaining the distance between these two points.
You can also use Adjust or Zero Cross Search while the length of the sample is locked.
(LOOP)
This switches loop playback on/off. Turn this on if you want the loop region specified in the Loop FWD/BWD screen
to play repeatedly.
(PREVIEW)
This plays the sample. During playback, you can touch this once again to stop playback.
(Adjust)
In the Loop FWD/BWD screen, the Adjust function moves the Loop Start, Loop End, or Current locations to the nearest
of the following locations 1–5.
In edit screens, the Adjust function moves the Edit Start, Edit End, or Current locations to the nearest of the following
locations 1–7.
1
2
3
4
5
6
7
Sample Start location
Sample End location
Loop Start location
Loop End location
Current location
Edit Start location
Edit End location
Move the cursor to the point that you want to adjust (“Start,” “End,” or “Current”), and touch
Touching
will move the point toward the left, and touching
or
.
will move it toward the right.
In the Sample Encode screen (p. 187), this will move the Current location to the closest event.
For example, if you wish to touch <PREVIEW> to check whether the results of your editing were satisfactory, you can
jump the current location.
In some cases nothing may happen, due to the relation between points or the Length Lock setting.
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Sample Mode
(Zero Cross Search)
This function searches for locations where the sample has a value of zero. When setting loop points or when cutting
the sample, you should search for locations where the sample value is zero so that noise is not heard when you play
the sample.
Move the cursor to the point (“Start,” “End,” or “Current”) for which you want to find a zero-cross point, and then touch
or
Touching
.
will search toward the left, and touching
will search toward the right.
(Zoom)
This expands or shrinks the displayed sample.
In any screen that displays the sample, you can touch the following buttons to expand or shrink the displayed sample.
: Shrink vertically
: Expand vertically
: Shrink horizontally
: Expand horizontally
fig.04-12.e
Zoom bar
Zoom bar
Actual length of wave
The vertical zoom bar indicates the magnification of the sample in the vertical direction. The horizontal zoom bar
indicates the magnification of the sample in the horizontal direction, and shows the current location. As the display is
magnified, the zoom bar will become narrower.
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Sample Mode
Editing the Specified Region of the Sample
You can specify a region of the sample, and edit the region by cutting or copying.
Basic Operation
1. Access the Sample Edit screen (p. 178).
2. Specify the region that you want to edit (Edit Start–Edit End), or the Current location (p. 179).
3. Touch <MENU> in the upper right of the screen.
A pulldown menu appears.
fig.04-16_50
4. In the pulldown menu, touch the editing function that you want to execute.
A window appears, asking you to confirm the operation.
fig.04-17_50
Some editing functions require you to input a numerical value. For details, refer to the following explanations of each
editing function.
5. Touch <EXECUTE> to execute the editing function.
• If you want to cancel without executing, touch <Cancel>.
• By touching “Undo” in the pulldown menu, you can return to the state prior to executing the
operation (Undo). Depending on the type of edit function you execute, or on the state of the work
area, there may be cases in which the Undo function cannot be executed. In such cases, you will
not be able to select <Undo>.
6. If you want to save the edited result, perform the Save operation (p. 191).
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Sample Mode
Sample Editing Functions
fig.04-18
Cut
Truncate
Copy
Clear
Paste
The region of the sample between Edit Start and Edit End will be cut.
The region of the sample between Edit Start and Edit End will be kept, and the remainder
of the sample will be deleted.
The sample between Edit Start and Edit End will be copied.
The sample between Edit Start and Edit End will be set to values of zero.
The copied or cut data will be overwritten, beginning at the current location.
Insert
If there is any sample data following the current location, it will be lost as far as the
pasted portion extends.
The copied or cut data will be inserted at the current location.
Zero Insert
You can cut, paste, and insert between different samples. After copying, press [EXIT] to
return to the Sample Top screen. Select a different sample, access the Sample Edit screen,
and then paste or insert.
This operation inserts silent space at the current location. It can also be used to lengthen a
sample to a precise number of measures and beats.
In the Sample Edit Zero Insert window, specify the length of the silent region that you want
to insert. This setting is made in terms of a number of samples. Data in the V-Synth GT is
handled as 44.1 kHz data, meaning that one second contains 44,100 data samples.
For example, if you wish to insert one second of silence, you would specify “44100” and
execute Zero Insert.
If the amount of remaining memory is small, it may not be possible to execute Copy,
Paste, Insert, or Zero Insert. In such cases, delete unneeded samples from memory (p.
172).
LR-Mix
Trim (Trimming)
The stereo sample will be mixed to L, converting it into a monaural sample. If this is set to
monaural, less wave memory will be used. This will also decrease the number of voices.
If the beginning and end of the sample are values other than zero, noise will be heard when
you play the sample. Trim sets the values at the beginning and end of the sample to zero.
In the Sample Edit Trim window, specify the length that you want to trim. This setting is
made in terms of a number of samples. Data in the V-Synth GT is handled as 44.1 kHz
data, meaning that one second contains 44,100 data samples.
For example, trimming at 100 samples. This will connect the first data sample and the
one hundredth data sample by a smooth line of one hundred points. Similarly, the last
data sample and the data sample one hundred samples before it will be connected by a
smooth line of one hundred points.
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Sample Mode
Normalize
The Normalize operation is used to uniformly increase or decrease the level of the entire
sample without allowing it to distort. This is used when you wish to make the volume consistent with other samples.
In the Sample Edit Normalize window, specify the degree of normalization that you want
to use. The value is specified in terms of a percentage.
For example, let’s suppose that 100 is the maximum volume at which the volume does not
distort. Executing the Normal operation at a setting of 90% will make the maximum value
of the sample be 90.
Reverse
Region
If you normalize at a low setting and then normalize at a high setting, the audio quality
will deteriorate. This means that if you intend to normalize several times, you should start
from the higher value and work downward.
The sample will be reversed between Edit Start and Edit End. If you want the sample to play
backwards, execute Reverse to reverse the sample from the beginning.
The region of the sample between Edit Start and Edit End can be stored in internal memory
as a separate sample. The original sample will remain unchanged.
Perform the following procedure.
1. Select the region that you want to extract as a separate sample, and execute Region.
2. In the Sample Edit Region window, select the sample number to which you want to paste
the extracted region of the sample, and touch <Execute>.
3. Assign a name to the new sample, and touch <OK>.
If in step 2 you select a sample number that already has a sample, the sample data
between Edit Start and Edit End will be added to the end of the selected sample.
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Sample Mode
Loop Region Settings
When the loop switch (p. 180) is ON, you can specify the region that will be played back as a loop. The region of
the sample between Loop Start and Loop End will be played back repeatedly.
In the Sample Loop FWD screen that appears when you touch <Loop FWD>, specify the loop region for forward
playback. In the Sample Loop BWD screen that appears when you touch <Loop BWD>, specify the loop region for
backward playback.
fig.04-13_50
Immediately after sampling or loading a sample, Loop Start will be set to the beginning of the sample and Loop End
to the end of the sample.
If you set Loop Start and Loop End to locations within the sample, the sample will play back from the beginning, and
then the region between Loop Start and Loop End will play back repeatedly.
fig.04-14.e
Wave
Start
Loop
Start
Loop
End
Wave
End
The data in the V-Synth GT is handled as 44.1 kHz data, which means there are 44,100 data samples per second.
The shortest possible loop that can be set is 16 data samples.
Loop range settings are ignored when the Playback Mode (p. 99) is set to “STEP” or “EVENT.”
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Sample Mode
Original Tempo Setting
The Original Tempo is the reference tempo of the sample used when synchronizing it to the master tempo.
Example: A sample whose original tempo is 100
If the master tempo is set to 200 and the sample is synchronized, the sample will play back at double the speed at
which it was recorded. If you set the master tempo to 50 and synchronize the sample, it will play back at half the speed
at which it was recorded.
fig.04-15_50
The exact original tempo can be calculated from the time signature, number of measures, and number of beats for the
sample length between Loop Start and Loop End. This means that you must first specify the loop region, and then set
the original tempo.
If you wish to play back a loop while simultaneously synchronizing another sample, you must specify the correct
original tempo. If you fail to do this, the sounds will drift out of synchronization.
1. Move the cursor to the item that you wish to set.
2. Either turn the VALUE dial or press [INC/+] [DEC/-] to set the “Sign” (time signature), “Meas” (measure), and Beat
values.
3. Touch
.
The precise tempo will be displayed at the right of the “–>.” The tempo displayed here is the original tempo.
You can also move the cursor to the original tempo, and set it by rotating the VALUE dial or by using [INC/+] [DEC/-].
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Sample Mode
Encode (Converting the Sample to V-Synth GT Data)
After you have finished editing the sample, you should encode it. By using the encoding that is appropriate for the
sample, you’ll be able to maintain a higher quality of audio while controlling the pitch, time, and formant.
The factory-set waves (preset waves) cannot be encoded.
Displaying the Encode Screen
Samples whose wave is too short (0.1 sec or less) cannot be encoded, and the Sample Encode screen cannot be
accessed for such samples.
1. Press [SAMPLE].
The Sample Top screen appears.
fig.04-01_50
2. Select the sample number that you wish to encode.
For details on how to select a sample, refer to “Sampling Procedure” (p. 165).
3. Touch <Encode>.
The Sample Encode screen appears.
fig.04-20_50
To Execute the Encode Operation
In the Sample Encode screen, select the encode type, set the encode depth, and delete or add events. Then touch <Execute>.
If you wish to stop the encode during the operation, touch <Abort>.
When encoding is completed, you will return to the Sample Top screen.
For details on these settings, refer to the following sections.
The amount of time required by the encoding process will depend on the sample. You may need to wait a certain
amount of time for encoding to be completed.
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Sample Mode
Selecting the Encoding Type
You can choose from the following four types of encoding. Touch the appropriate button to select a type.
fig.04-21
LITE
This is the simplest encoding type. When you sample on the V-Synth GT, this type is selected
by default. This type can be used with a variety of sounds, but to obtain the highest quality
we recommend that you encode using one of the other types.
SOLO
This is suitable for monophonic vocals or monophonic wind instruments (such as sax, trumpet, or flute). If you encode the sample using this type, you will be able to control the formant (p. 112) and use the robot voice function (p. 99). Even if you encode using SOLO,
you can still play the sample polyphonically.
This is suitable for decay-type instruments. It is particularly suitable for phrases that include
instruments with a clear attack (such as drums, percussion, and guitar chords).
This is suitable for sustain-type instruments. It is particularly suitable when there are smooth
changes in tone (such as choir or strings).
BACKING
ENSEMBLE
• If the data is encoded using “BACKING” or “ENSEMBLE,” it will not be possible to use the formant control or
robot voice functions.
• Once a sample has been encoded, editing that sample (except for some operations) will cause the encoded
data to be discarded. If you then access the Sample Encode screen in this state, “LITE” will always be
selected as the encoding type. Select the appropriate encoding type, and then re-encode the sample.
• Depending on the sample, encoding with “SOLO” may cause the sound to be different than you expect, such
as changes in pitch being incorrect by one octave. If this occurs, re-encode the sample using “BACKING” or
“ENSEMBLE.”
• If a sample that contains large amounts of reverb or delay is encoded using “SOLO,” it may not sound as
you expect. If this occurs, re-encode the sample using “BACKING” or “ENSEMBLE.”
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Sample Mode
Automatically Detecting Events
By specifying the Depth, you can automatically detect and “▼”mark locations where there is a strong attack (i.e.,
locations where the volume changes abruptly). Such marked locations are called events.
fig.04-22
Parameter
Depth (Encode Depth)
Value
0–127
Description
In the Sample Encode screen, move the cursor to “Depth” and set the value.
The higher the value you set, the more events will be assigned.
If the Playback Mode (p. 99) is “STEP,” the sample will play to the next
event, and then stop each time you play the key. When the Playback Mode
is set to “EVENT,” the sample will be divided at event locations, and
assigned to each key.
• If you set Depth to a high value, a large number of events may
be detected. If you encode in such a state, the interval
between events will be too short, and the expected result will
not be obtained when you play back in event units.
• If you change the location of an event after encoding, you
must re-encode the sample. When you encode, the newly
detected event locations will take effect.
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Sample Mode
Deleting and Adding Events
Setting the Encode Depth and automatically detecting events does not guarantee that the events will be added at the
locations that you expect. If necessary, you can delete or add events as you like.
In the Sample Encode screen, you can touch <PREVIEW> to play the sample from the current location until the next
event.
By touching <PREVIEW>, you can play the sample to see whether events have been assigned to the locations that you
expect.
Be aware that if you change the encode depth after deleting or adding events, the events that were modified
manually will be discarded, and the events that were detected by depth will be displayed.
If you modify the location of events after encoding, you must re-encode. The modified location of the events will take
effect when you encode.
Deleting an Event
1. Move the cursor to “Current.”
2. By turning the VALUE dial, pressing [INC/+] [DEC/-], or dragging your finger over the sample in the screen, set
Current to the location of the event that you want to delete.
3. Touch either
or
.
The Current location will move to the location of the next event toward the left or right.
4. Repeat step 3 to move Current to the location of the event that you wish to delete.
5. Touch
to delete the event.
The events at the beginning and end of a sample cannot be deleted.
Adding an Event
1. Move the cursor to “Current.”
2. By turning the VALUE dial, pressing [INC/+] [DEC/-], or dragging your finger over the sample in the screen, move
Current to the location at which you want to add the event.
3. Touch
190
to add the event.
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Sample Mode
Saving a Sample
Samples that you sample or encode will be lost when you turn off the power. If you want to keep these samples, use
the Save Project screen in the Utility Menu.
When you edit the settings of a sample, an asterisk (*) will appear at the left of the sample name in the Sample Browser
screen. When you save the sample to internal memory or USB memory, the asterisk (*) will disappear.
1. Access the Sample Top screen (p. 165).
2. Touch <Save>.
Jump to the Save Project screen in the Utility Menu.
fig.06-06_50
For details on operations in this screen, refer to “Save Project (Saving a Project)” (p. 217).
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Sample Mode
Checking Sample Information
1. Access the Sample Top screen (p. 165).
2. Touch <Info>.
The Sample Information screen appears.
fig.04-10a_50
In
•
•
•
•
•
•
•
the Sample Information screen you can check the following information for the sample.
Encode type (p. 188)
Sampling type (p. 174)
Loop point location (Loop Start, Loop End) (p. 185)
Time signature (p. 186)
Original tempo (p. 186)
Original pitch
Original fine tune
Original Tempo, Original Pitch, and Original Fine Tune can be modified in this screen.
If you want to set an accurate original tempo, make settings in the sample editing screen (p. 186).
Parameter
Original Pitch
Value
C-1 (0)–
G9 (127)
Original Fine Tune
-50– +50
LOOP MODE
One Shot
One Way
Alternate
Description
Specifies the key that will play the sample at the pitch at which it was sampled.
Adjusts the current pitch in one-cent steps (1/100 of a semitone) over a
range of 1/2 semitone upward or downward.
The sample will not loop, regardless of the Loop Switch (p. 99) setting of the
patch.
If the Loop Switch (p. 99) of the patch is on, the sample will loop in the forward direction between “LOOP START” and “LOOP END.”
If the Loop Switch (p. 99) of the patch is on, the sample will loop alternately
backward and forward between the “LOOP START” and “LOOP END.”
3. When you have finished viewing the information, touch <OK> to close the window.
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System Mode (Settings Common to All Modes)
Settings that affect the entire operating environment of the V-Synth GT, such as tuning and MIDI message reception,
are referred to as system functions. This section explains how to make settings for the System functions and describes
the functions of the different System parameters.
How to Make the System Function Settings
1. Press [SYSTEM].
fig.08-01-ps.eps_50
Tabs
Editing Groups
2. The parameters are organized into several editing groups. Touch one of the buttons at the bottom of the screen to
select the edit group containing the parameters you want to set.
3. Touch one of the tabs in the left of the screen to select the desired editing screen.
4. Touch the various screens in which settings are made to edit the parameters.
Move the cursor to the value box of the parameter you want to edit, and perform any of the following actions.
• Turn the VALUE dial
• Press [INC/+] or [DEC/-]
• Drag your fingertip on the touch panel
5. 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 (p. 194).
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System Mode (Settings Common to All Modes)
System Menu
System Write (Saving the System Settings)
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.
When you perform the save procedure, the data that previously occupied the save destination will be lost. However,
the factory setting data can be recovered by performing the Initialization procedure.
1. After you have edited the settings of the System function, touch <MENU>, located in the upper right of the screen.
A pulldown menu appears.
fig.08-25-ps.eps_50
2. In the pulldown menu, touch <System Write>.
A window like the following will appear.
fig.08-26.eps_50
3. Touch <OK>.
The system settings will be saved, and you’ll be returned to the Patch Edit screen.
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System Mode (Settings Common to All Modes)
System Init (Initializing the System Settings)
The current settings of the system functions can be restored to the factory settings.
1. Touch <MENU>, located in the upper right of the screen.
A pulldown menu appears.
fig.08-25-ps.eps_50
2. In the pulldown menu, touch <System Init>.
A window like the following will appear.
fig.08-27.eps_50
3. Touch <OK>.
If you want the factory settings to be in effect the next time the V-Synth GT is powered up, touch <Write> to save the
settings.
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System Mode (Settings Common to All Modes)
Common (Settings Common to the Entire System)
Master
fig.08-02.eps_50
Parameter
Master Tune
Master Key Shift
Master Level
Patch Remain
(Patch Remain Switch)
Startup Patch
Value
415.3–466.2
Hz
-24– +24
0–127
OFF, ON
Last Patch
Patch 001
196
Description
Adjusts the overall tuning of the V-Synth GT. The display shows the frequency
of the A4 note (center A).
Shifts the overall pitch of the V-Synth GT in semitone steps.
Adjusts the volume of the entire V-Synth GT.
Specifies whether currently sounding notes will continue sounding when another patch is selected (ON), or not (OFF).
* This function is valid only when the effect is turned off.
Also, when this is “ON,” changes produced by incoming MIDI messages
such as Volume (CC 7) or Pan (CC 10), as well as tonal quality and volume
changes produced by the various controllers will be inherited.
If you’re using AP-Synthesis, the sound will be interrupted when you switch
patches, even if the Patch Remain Switch is ON.
When the power is turned on, the V-Synth GT reinstates the patch selected at
the time the V-Synth GT was last turned off.
When the power is turned on, the V-Synth GT will be ready to play Patch
“001.”
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System Mode (Settings Common to All Modes)
EQ
fig.08-04.eps_50
System EQ Switch
Parameter
System EQ Switch
Total Gain
Low Freq (Low Frequency)
Low Gain
Mid 1 Freq (Mid 1 Frequency)
Value
OFF, ON
-15– +15 dB
50, 63, 80, 100, 125, 160, 200, 250,
315, 400, 500, 630, 800, 1000, 1250,
1600, 2000, 2500, 3150, 4000 Hz
-15– +15 dB
Mid 1 Gain
50, 63, 80, 100, 125, 160, 200, 250,
315, 400, 500, 630, 800, 1000, 1250,
1600, 2000, 2500, 3150, 4000, 5000,
6300, 8000, 10000, 12500, 16000,
20000 Hz
-15– +15 dB
Mid 1 Q
0.5, 0.7, 1.0, 2.0, 4.0, 8.0
Mid 2 Freq (Mid 2 Frequency)
Mid 2 Gain
50, 63, 80, 100, 125, 160, 200, 250,
315, 400, 500, 630, 800, 1000, 1250,
1600, 2000, 2500, 3150, 4000, 5000,
6300, 8000, 10000, 12500, 16000,
20000 Hz
-15– +15 dB
Mid 2 Q
0.5, 0.7, 1.0, 2.0, 4.0, 8.0
Hi Freq (High Frequency)
2000, 4000, 5000, 6300, 8000, 10000,
12500, 16000, 20000 Hz
-15– +15 dB
Hi Gain (High Gain)
Description
Switches the System EQ on/off.
Adjusts the total gain.
Selects the frequency of the low range.
Adjusts the gain of the low frequency. Positive
(+) settings will emphasize the low-frequency
range.
Selects the frequency of the middle range 1.
Adjusts the gain of the middle range 1. Positive
(+) settings will emphasize the middle range 1
Adjusts the width of the middle range 1. Set a
higher value for Q to narrow the range to be affected.
Selects the frequency of the middle range 2.
Adjusts the gain of the middle range 2. Positive
(+) settings will emphasize the middle range 2.
Adjusts the width of the middle range 2. Set a
higher value for Q to narrow the range to be affected.
Selects the frequency of the high range.
Adjusts the gain of the high frequency. Positive
(+) settings will emphasize the high-frequency
range.
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System Mode (Settings Common to All Modes)
MIDI
fig.08-05.eps_50
Parameter
Device ID (Device ID Number)
Clock Source
Value
17–32
INT
MIDI
USB MIDI
Receive MIDI Ch
(Receive MIDI Channel)
Receive Sw
OFF, ON
Program Change
(Receive Program Change Switch)
Bank Select
(Receive Bank Select Switch)
System Ex
(Receive System Exclusive Switch)
Transmit MIDI Ch
(Transmit MIDI Channel)
OFF, ON
Program Change
(Transmit Program Change
Switch)
Bank Select
(Transmit Bank Select Switch)
Active Sens
(Transmit Active Sensing Switch)
OFF, ON
Edit Data
(Transmit Edit Data Switch)
Clock Out
198
1–16
OFF, ON
OFF, ON
1–16, RX CH,
OFF
OFF, ON
OFF, ON
OFF, ON
OFF, ON
Description
When you want to transmit or receive System Exclusive messages, set this parameter to match the Device ID number of the other MIDI device.
The LFO frequency or Tone-FX change will synchronize to the patch tempo.
The LFO frequency or Tone-FX change will synchronize to the external MIDI
clock.
The LFO frequency or Tone-FX change will synchronize to the external USB
MIDI clock.
Specifies the MIDI receive channel.
Specifies whether MIDI messages will be received (ON) or not received
(OFF).
Specifies whether Program Change messages will be received (ON) or not
(OFF).
Specifies whether Bank Select messages will be received (ON) or not (OFF).
Specifies whether System Exclusive messages will be received (ON) or not
(OFF).
Specifies the transmit channel of MIDI messages.
If you do not want to transmit MIDI messages to external MIDI devices, turn
this parameter “OFF.” If you want the transmit channel to always match the
Receive MIDI Channel, set this parameter to “RX CH.”
Specifies whether Program Change messages will be transmitted (ON) or not
(OFF).
Specifies whether Bank Select messages will be transmitted (ON) or not
(OFF).
Specifies whether Active Sensing messages will be transmitted (ON) or not
(OFF).
Specify whether changes you make in the settings of a patch will be transmitted as system exclusive messages (ON), or will not be transmitted (OFF).
Specifies whether MIDI clock will be transmitted (ON) or not (OFF).
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System Mode (Settings Common to All Modes)
USB MIDI
fig.08-08.eps_50
Parameter
USB-MIDI Thru Switch
Value
OFF, ON
Description
Specifies whether MIDI messages received at the USB connector or MIDI IN
connector when using MIDI via the USB connection will be retransmitted without change from the MIDI OUT connector or USB connector (ON), or will not
be retransmitted (OFF).
USB-MIDI Thru Switch = OFF
USB-MIDI Thru Switch = ON
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System Mode (Settings Common to All Modes)
Audio Input
fig.08-03.eps_50
ON, OFF
Peak
Level
Input Gain (INPUT Jack Gain)
Input Sw (INPUT Jack Switch)
0dB, +10dB
ON, OFF
Ext In Source
(External Input Source)
ANALOG
USB
Selects the source of external input used when Oscillator Type (p.
95) is set to “EXT IN.”
Ext In Type
(External Input Type)
Selects the type of external input
used when Oscillator Type (p. 95)
is set to “EXT IN.”
200
Value
Parameter
Mic Sw (MIC Jack Switch)
STEREO
MONO-L+R
MONO-L
MONO-R
Description
Specifies whether the rear panel MIC IN jack will be enabled (ON) or disabled (OFF).
This will light when the input volume is excessive.
Indicates the input volume.
Sets the gain of the rear panel INPUT jacks.
Specifies whether the rear panel INPUT jacks will be enabled (ON) or disabled (OFF).
The MIC IN jack or INPUT jacks will be the input source.
The USB audio from a computer connected to the V-Synth GT will be the input
source.
Inputs in stereo.
Mixes the L and R input signals and inputs in monaural.
Inputs the L signal in monaural.
Inputs the R signal in monaural.
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System Mode (Settings Common to All Modes)
Audio Output
fig.08-06.eps_50
Value
Parameter
Output Gain
-12– +12 dB
Mix/Parallel
MIX
Specifies how the sound of the entire V-Synth GT will be output.
PARALLEL
Digital Output Frequency
44.1, 48, 96
kHz
Description
This adjusts the output gain from the V-Synth GT’s Analog Out and Digital
Out. When, for example, there are relatively few voices being sounded,
boosting the output gain can let you attain the most suitable output level for
recording and other purposes.
Set this to have the collective output of all sounds output from the MAIN OUT
jacks. When you want to check the final overall sound being output, set to
MIX.
Sounds output from the PHONES jack are the same as those output from the
MAIN OUT jacks. Therefore, any sounds set with Output Assign to be
output from the DIRECT OUT jacks is not output from the PHONES jack. Be
sure to have any sound you want to hear through the headphones set to
“MIX.”
Outputs according to each Output Assign settings.
Sets the sampling frequency of the digital output.
Sounds output from the V-Synth GT’s Digital Out are the same as those
output from the MAIN OUT jacks.
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System Mode (Settings Common to All Modes)
USB Audio
fig.08-07.eps_50
202
Value
Parameter
Mic Sw (MIC Jack Switch)
ON, OFF
Input Gain (Input Jack Gain)
Input Sw (Input Jack Switch)
0dB, +10dB
ON, OFF
Input Source
(USB Audio Input Source)
Monitor Sw
(USB Audio Input Monitor Sw)
Output Dest
(USB Audio Output Destination)
OFF, MAIN,
ANALOG
ON, OFF
OFF, MAIN,
DIRECT
Description
Specifies whether the rear panel MIC IN jack will be enabled (ON) or disabled (OFF).
Sets the gain of the rear panel INPUT jacks.
Specifies whether the rear panel INPUT jacks will be enabled (ON) or disabled (OFF).
When the V-Synth GT is connected via USB to your computer, this specifies
the source of the USB audio that will be output to the computer.
Specifies whether USB Audio Input Source monitoring will be sent from the
V-Synth GT’s MAIN OUT (ON) or will not be sent (OFF).
When the V-Synth GT is connected via USB to your computer, this specifies
the output destination of the USB audio that is received from the computer.
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System Mode (Settings Common to All Modes)
Controller (Controller-related Settings)
Keyboard
fig.08-11.eps_50
Parameter
Keyboard Sens
(Keyboard Sensitivity)
Value
Keyboard Velocity
REAL, 1–127
Aftertouch Sens
(Aftertouch Sensitivity)
0–200
Local Sw (Local Switch)
OFF, ON
Light
Medium
Heavy
Description
Sets the keyboard sensitivity to “light.”
Sets the keyboard sensitivity to “normal.”
Sets the keyboard sensitivity to “heavy.”
Specifies the velocity value that will be transmitted
when you play the keyboard. If you want actual keyboard velocity to be transmitted, set this to “REAL.” If
you want a fixed velocity value to be transmitted regardless of how you play, specify the desired value
(1–127).
Specifies the Aftertouch sensitivity. Higher values will
allow Aftertouch to be applied more easily. Normally
you will leave this at “100.”
The Local Switch determines whether the internal
sound generator is disconnected (OFF) from the controller section (keyboard, pitch bend/modulation lever, knobs, buttons, Time Trip Pad, D Beam
controller, pedal, and so on); or not disconnected
(ON). Normally this is left “ON,” but if you wish to
use the V-Synth GT’s keyboard and controllers to control only external sound modules, set it to “OFF.”
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System Mode (Settings Common to All Modes)
Time Trip Pad
fig.08-12.eps_50
Parameter
X Assign-XY
204
Value
OFF
CC01–31, 33–95
(Controller numbers 1–31, 33–95)
X Assign-TT (X Assign-Time Trip)
OFF
CC01–31, 33–95
(Controller numbers 1–31, 33–95)
Y Assign-XY
OFF
CC01–31, 33–95
(Controller numbers 1–31, 33–95)
Y Assign-TT (Y Assign-Time Trip)
OFF
CC01–31, 33–95
(Controller numbers 1–31, 33–95)
Description
No message will be transmitted.
Specifies the MIDI controller number that will be
transmitted by movements in the ‘X’ (horizontal) direction when the Time Trip pad is in XY mode.
No message will be transmitted.
Specifies the MIDI controller number that will be
transmitted by movements in the ‘X’ (horizontal) direction when the Time Trip pad is in Time Trip mode.
No message will be transmitted.
Specifies the MIDI controller number that will be
transmitted by movements in the ‘Y’ (vertical) direction when the Time Trip pad is in XY mode.
No message will be transmitted.
Specifies the MIDI controller number that will be
transmitted by movements in the ‘Y’ (vertical) direction when the Time Trip pad is in Time Trip mode.
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System Mode (Settings Common to All Modes)
D-Beam
fig.08-14.eps_50
Value
Parameter
Beam Sens L, R
(D Beam Sensitivity L, R)
0–200
1–4 Assign L, R
(D Beam 1–4 Assign L, R)
OFF
CC01–31, 33–95
Description
This sets the D Beam Controller’s sensitivity.
Sens L is the left side, and Sens R is the right side. Increasing this value will make the D Beam controller
more sensitive.
Normally you will leave this at “100.”
No message will be transmitted.
Controller numbers 1–31, 33–95
Specifies the MIDI controller number that will be transmitted by
movements in the D Beam Controller. Assign L is the left side, and
Assign R is the right side.
205
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System Mode (Settings Common to All Modes)
C1/C2 Knob
fig.08-17.eps_50
Parameter
C1, 2 Knob Assign
Value
OFF
CC01–31, 33–95
(Controller numbers 1–31, 33–95)
Description
No message will be transmitted.
Specifies the MIDI controller number that will be
transmitted by movements in the ASSIGNABLE CONTROL knob.
S1/S2 Switch
fig.08-19.eps_50
Parameter
S1, 2 Switch Assign
206
Value
OFF
CC01–31, 33–95
(Controller numbers 1–31, 33–95)
Description
No message will be transmitted.
Specifies the MIDI controller number that will be
transmitted when you press the S1 or S2 switches.
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System Mode (Settings Common to All Modes)
Pedal
fig.08-18.eps_50
Parameter
Hold Polarity
(Hold Pedal Polarity)
Pedal 1, 2 Assign
This specifies the function of each
pedal connected to the CTRL 1,
CTRL 2 PEDAL jacks.
Value
Standard, Reverse
OFF
CC01–31, 33–95
BEND UP
BEND DOWN
AFT
VALUE INC
VALUE DEC
Pedal 1, 2 Polarity
Standard, Reverse
Description
Selects the polarity of the Hold pedal. On some pedals,
the electrical signal output by the pedal when it is pressed
or released is the opposite of other pedals. If your pedal
has an effect opposite of what you expect, set this parameter to “Reverse.” If you are using a Roland pedal (that
has no polarity switch), set this parameter to “Standard.”
The control pedal will not be used.
Controller numbers 1–31, 33–95
Pitch bend (positive direction)
Pitch bend (negative direction)
Aftertouch
The pedal will perform the same operation as pressing
[INC/+]. This is convenient when you want to switch
patches or tones while performing.
The pedal will perform the same operation as pressing
[DEC/-]. This is convenient when you want to switch
patches or tones while performing.
Selects the polarity of the pedal. On some pedals, the
electrical signal output by the pedal when it is pressed or
released is the opposite of other pedals. If your pedal has
an effect opposite of what you expect, set this parameter
to “Reverse.” If you are using a Roland pedal (that has no
polarity switch), set this parameter to “Standard.”
207
V-Synth-GT_e.book 208 ページ 2007年6月21日 木曜日 午後1時23分
System Mode (Settings Common to All Modes)
V-LINK Settings
Tx
fig.08-20.eps_50
Parameter
V-LINK MIDI Channel
V-LINK Audio Sw
(V-LINK Audio Switch)
Keyboard Output Fade Sw
(V-LINK Keyboard Output Fade
Switch)
Patch Palette Local Sw
(V-LINK Patch Palette Local
Switch)
208
Value
1–16
OFF, ON
OFF, ON
OFF, ON
Description
Specifies the channel used to transmit MIDI messages for V-LINK control.
Specifies whether sound from the externally connected video device will be
played (ON) or not played (OFF).
Specifies whether the video output from the video device will be stopped
(ON) or will not be stopped (OFF) when you are not holding down a key.
Specify whether you will press PATCH PALETTE [1]–[8] in V-LINK mode to
switch patches (ON) or not (OFF).
V-Synth-GT_e.book 209 ページ 2007年6月21日 木曜日 午後1時23分
System Mode (Settings Common to All Modes)
Time Trip Pad
fig.08-21.eps_50
Parameter
Time Trip Pad Local Sw
(V-LINK Time Trip Pad Local
Switch)
X Assign-XY (V-LINK X Assign-XY)
Specify the V-LINK function that
will be controlled when you operate the Time Trip pad in the X (horizontal) direction in XY mode.
Y Assign-XY (V-LINK Y Assign-XY)
Specify the V-LINK function that
will be controlled when you operate the Time Trip pad in the Y (vertical) direction in XY mode.
Assign-Time Trip
(V-LINK Assign-Time Trip)
Value
OFF, ON
OFF
PLAYBACKSPEED
DISSOLVETIME
AUDIO LEVEL
COLOR-CB
COLOR-CR
BRIGHTNESS
VFX1
VFX2
VFX3
VFX4
OUTPUT-FADE
T-BAR
OFF
TIME-TRIP
Description
Specifies whether the Time Trip pad and the internal sound generator will be
disconnected in V-LINK mode (OFF) or not disconnected (ON).
The time trip pad will not be used.
Playback speed
Dissolve time (time over which the image switches)
Volume during audio playback
Color Cb (color-difference signal)
Color Cr (color-difference signal)
Brightness
Visual effects 1
Visual effects 2
Visual effects 3
Visual effects 4
Output fade
T bar
The time trip pad will not be used.
Time trip
Specify the V-LINK function that
will be controlled when you operate the Time Trip pad in Time Trip
mode.
209
V-Synth-GT_e.book 210 ページ 2007年6月21日 木曜日 午後1時23分
System Mode (Settings Common to All Modes)
D Beam
fig.08-23.eps_50
Parameter
D Beam Local Sw
(V-LINK D Beam Local Switch)
1–4 Assign L, R
(V-LINK D Beam1–4 Assign L, R)
Specify the V-LINK function that
will be controlled when you operate the D Beam controller. Assign
L is the left side, and Assign R is
the right side.
210
Value
OFF, ON
OFF
PLAYBACKSPEED
DISSOLVETIME
AUDIO LEVEL
COLOR-CB
COLOR-CR
BRIGHTNESS
VFX1
VFX2
VFX3
VFX4
OUTPUT-FADE
Description
Specifies whether the D Beam controller will be disconnected from the internal sound generator in V-LINK mode (OFF) or not disconnected (ON).
The D Beam controller will not be used.
Playback speed
Dissolve time (time over which the image switches)
Volume during audio playback
Color Cb (color-difference signal)
Color Cr (color-difference signal)
Brightness
Visual effects 1
Visual effects 2
Visual effects 3
Visual effects 4
Output fade
V-Synth-GT_e.book 211 ページ 2007年6月21日 木曜日 午後1時23分
System Mode (Settings Common to All Modes)
C1/C2 Knob
fig.08-24.eps_50
Parameter
C1, 2 Knob Local Sw
(V-LINK Knob1, 2 Local Switch)
C1, 2 Knob Assign
(V-LINK Knob1, 2 Assign)
Specify the V-LINK function that
will be controlled when you turn
the ASSIGNABLE CONTROL
knob.
Value
OFF, ON
OFF
PLAYBACK-SPEED
DISSOLVE-TIME
AUDIO LEVEL
COLOR-CB
COLOR-CR
BRIGHTNESS
VFX1
VFX2
VFX3
VFX4
OUTPUT-FADE
Description
Specify whether the assignable controller knobs
1 or 2 will be disconnected from the internal
sound generator in V-LINK mode (OFF) or not
disconnected (ON).
The assignable controller will not be used.
Playback speed
Dissolve time (time over which the image switches)
Volume during audio playback
Color Cb (color-difference signal)
Color Cr (color-difference signal)
Brightness
Visual effects 1
Visual effects 2
Visual effects 3
Visual effects 4
Output fade
211
V-Synth-GT_e.book 212 ページ 2007年6月21日 木曜日 午後1時23分
System Mode (Settings Common to All Modes)
Bender
fig.08-26.eps_50
Parameter
Modulation Local Sw
(V-LINK Modulation Local Switch)
Bender Local Sw
(V-LINK Pitch Bend Local Switch)
Aftertouch Local Sw
(V-LINK Aftertouch Local Switch)
Modulation Assign
(V-LINK Modulation Assign)
Specify the V-LINK function that
will be controlled when you operate the modulation lever.
Bender Assign
(V-LINK Pitch Bend Assign)
Specify the V-LINK function that
will be controlled when you operate the pitch bend lever.
Aftertouch Assign
(V-LINK Aftertouch Assign)
Specify the V-LINK function that
will be controlled by keyboard aftertouch.
212
Value
OFF, ON
OFF, ON
OFF, ON
OFF
PLAYBACKSPEED
DISSOLVETIME
AUDIO LEVEL
COLOR-CB
COLOR-CR
BRIGHTNESS
VFX1
VFX2
VFX3
VFX4
OUTPUT-FADE
Description
Specifies whether the modulation lever will be disconnected from the internal
sound generator in V-LINK mode (OFF) or not disconnected (ON).
Specifies whether the pitch bend lever will be disconnected from the internal
sound generator in V-LINK mode (OFF) or not disconnected (ON).
Specifies whether keyboard aftertouch will be disconnected from the internal
sound generator in V-LINK Mode (OFF) or will not be disconnected (ON).
The modulation lever/pitch bend lever/keyboard aftertouch will not be used.
Playback speed
Dissolve time (time over which the image switches)
Volume during audio playback
Color Cb (color-difference signal)
Color Cr (color-difference signal)
Brightness
Visual effects 1
Visual effects 2
Visual effects 3
Visual effects 4
Output fade
V-Synth-GT_e.book 213 ページ 2007年6月21日 木曜日 午後1時23分
System Mode (Settings Common to All Modes)
Info (Viewing Various Information)
Version (Checking the Version)
Here you can check the V-Synth GT’s program version.
fig.08-30.eps_50
Features (Checking the Functions)
Here you can view a screen that introduces the functionality of the V-Synth GT.
fig.08-31.eps_50
213
V-Synth-GT_e.book 214 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
Utility mode provides various functions for your convenience when using the V-Synth GT.
Press [UTILITY] to access the Utility Menu screen, then select and carry out the desired function.
fig.utility-ps.eps_50
•
•
•
•
•
•
•
•
•
214
Project (Project-related Settings) ................................................ p.
USB Storage (Exchanging Files with Your Computer)................... p.
Beep (Beep Tone Settings)........................................................ p.
E1–E8 Knobs (E1–E8 knob Settings).......................................... p.
Screen Saver.......................................................................... p.
Wallpaper (Changing the Wallpaper)....................................... p.
Calibration (Adjusting the Controllers) ....................................... p.
Format (Initializing Internal Memory or USB Memory).................. p.
Factory Reset (Reset to Default Factory Settings) .......................... p.
215
221
227
228
229
230
231
234
235
V-Synth-GT_e.book 215 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
Project (Project-related Settings)
You can load a project from USB memory into the V-Synth GT’s temporary area, or save the project that’s in the
temporary area.
Load Project (Loading a Project into the V-Synth GT)
This operation will load a project from internal memory or USB memory into the V-Synth GT’s temporary area.
When you load a project, the temporary area will be rewritten. If the temporary area contains data that you want to
keep, store it to USB memory before you load other data.
1. Press [UTILITY] to access the Utility Menu screen.
2. Touch <Project>.
The Project Menu screen appears.
fig.09-01-ps.eps_50
3. Touch <Load Project>.
The Load Project screen appears.
fig.09-02-ps.eps_50
4. To load from internal memory, touch <Int>. To load from a USB memory, touch <USB>. Then select the project
that you want to load.
215
V-Synth-GT_e.book 216 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
5. Touch <OK>.
A Warning window like the following appears.
fig.09-03-ps.eps_50
If you want to cancel the procedure at this point, touch <EXIT>.
6. Touch <OK> to execute the operation.
It will take several minutes for the project to be loaded.
7. When <Completed!> is displayed, loading is finished.
Touch <OK> to return to the Patch Play screen.
216
V-Synth-GT_e.book 217 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
Save Project (Saving a Project)
This operation saves the project from the temporary area into internal memory or USB memory.
1. Press [UTILITY] to access the Utility Menu screen.
2. Touch <Project>.
The Project Menu screen appears.
fig.09-01-ps.eps_50
3. Touch <Save Project>.
The Save Project screen appears.
fig.09-04-ps.eps_50
4. To save to internal memory, touch <Int>. To save to USB memory, touch <USB>. Then select the save-destination
project.
If you want to save the data as a new project, touch <New Project>. The Project Name window will appear. Assign
a name to the new project.
217
V-Synth-GT_e.book 218 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
5. Touch <OK>.
A Warning window like the following appears.
fig.09-05-ps.eps_50
If you want to cancel the procedure at this point, touch <EXIT>.
6. Touch <OK> to execute the operation.
It will take several minutes for the project to be saved.
7. When <Completed!> is displayed, saving is finished.
Touch <OK> to return to the Patch Play screen.
218
V-Synth-GT_e.book 219 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
Convert Project (Convert a Project)
This operation will convert (import) a V-Synth Version 2.0 or V-Synth XT project for use with your V-Synth GT.
1. Using your computer, create a folder named “XT” on your USB memory device.
2. Copy the V-Synth Version 2.0 or V-Synth XT project to the “XT” folder on the USB memory device, and connect it
to the V-Synth GT’s USB MEMORY connector.
3. Press [UTILITY] to access the Utility Menu screen.
4. Touch <Project>.
The Project Menu screen appears.
fig.09-01-ps.eps_50
5. Touch <Convert Project>.
The Convert Project screen appears.
fig.09-07-ps.eps_50
6. Touch the V-Synth Version 2.0 or V-Synth XT project in USB memory to select it.
219
V-Synth-GT_e.book 220 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
7. Touch <OK>.
A Warning window like the following appears.
fig.09-xxx-ps.eps_50
If you want to cancel the procedure at this point, touch <EXIT>.
8. Touch <OK> to execute the operation.
It will take several minutes for the project to be converted.
220
V-Synth-GT_e.book 221 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
USB Storage (Exchanging Files with Your Computer)
By connecting the V-Synth GT to your computer via a USB cable, you can save (back up) projects and other files such
as individual patches, waves, and data from internal memory to the hard disk of your computer.
Using software on your computer, you can also edit wave data you’ve created on the V-Synth GT. Conversely, wave
data created on your computer can be used by the V-Synth GT.
Never turn off the power or disconnect or reconnect the USB cable while using the USB Storage function to transfer
data.
As appropriate for the computer you’re using, please read “Windows Users” (p. 221) or “Mac Users” (p. 223).
Windows Users
Connecting the V-Synth GT to Your Computer
1. Make sure that the power of the V-Synth GT is turned off.
2. Start up your computer.
3. Connect the V-Synth GT and your computer using a USB cable.
fig.09-10_j.eps
USB
Connector
USB Cable
Computer
V-Synth GT
4. Turn on the power of V-Synth GT.
221
V-Synth-GT_e.book 222 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
5. Touch <USB Storage> in the Utility Menu screen.
The USB Storage screen appears.
fig.09-11-ps.eps_50
6. Touch <Mount the Internal Memory> to establish the connection with your computer.
7. When the USB connection is established, the driver installation will begin. A dialog box of “Found new
hardware” will appear near the Windows task tray.
Installation is completely automatic. Please wait for it to be completed.
8. When installation is completed, open My Computer and you will see a new drive icon.
9. Once the V-Synth GT is connected, you can transfer files by operating your computer.
Disconnecting USB Storage
1. Use the device eject button shown in the taskbar at the lower right of your computer screen to cancel the
connection with the V-Synth GT.
2. Press [EXIT].
The USB storage will be disconnected.
222
V-Synth-GT_e.book 223 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
Mac Users
Connecting the V-Synth GT to Your Computer
1. Make sure that the power of the V-Synth GT is turned off.
2. Start up your computer.
3. Connect the V-Synth GT and your computer using a USB cable.
fig.09-15_j.eps_50
USB
Connector
USB Cable
Computer
V-Synth GT
4. Turn on the power of V-Synth GT.
5. Touch <USB Storage> in the Utility Menu screen.
The USB Storage screen appears.
fig.09-11-ps.eps_50
6. Touch <Mount the Internal Memory> to establish the connection with your computer.
7. When the USB connection is established, a new drive icon will appear on your desktop.
8. Once the V-Synth GT is connected, you can transfer files by operating your computer.
223
V-Synth-GT_e.book 224 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
Disconnecting USB Storage
1. Select the V-Synth GT drive icon on the desktop, and drag it into the “trash.”
Alternatively, select “Eject “V-SYNTH GT”” from the “Files” menu.
2. Press [EXIT].
The USB storage will be disconnected.
224
V-Synth-GT_e.book 225 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
Examples of Using Storage Function
Backing Up Patch and Wave Data (Project) from the V-Synth GT
When using USB in Storage function, the data within the V-Synth GT may be damaged if you operate your computer
incorrectly or if your computer crashes. As a precaution against such occurrences, we recommend that you create a
backup as described below.
Backing Up the V-Synth GT’s Internal Data onto Your Computer
1. Use a USB cable to connect the V-Synth GT to your computer as described in “Connecting the V-Synth GT to your
computer” (p. 221, p. 223).
2. Using your computer, copy the V-Synth GT’s files and folders onto a drive (e.g., hard disk) of your computer.
3. Cancel the USB connection (p. 222, p. 224).
Loading Backup Data from Your Computer into the V-Synth GT
1. Use a USB cable to connect the V-Synth GT to your computer as described in “Connecting the V-Synth GT to your
computer” (p. 221, p. 223).
2. Using your computer, copy the files and folders that you previously saved on your computer to the V-Synth GT.
3. Cancel the USB connection (p. 222, p. 224).
Note when connecting the V-Synth GT to your computer
Do not format, optimize, or execute the scan disk command on the V-Synth GT’s user memory from your computer.
225
V-Synth-GT_e.book 226 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
The V-Synth GT’s File Structure
As seen from your computer, the V-Synth GT’s file structure is as follows.
Do not perform operations on your computer to erase (format) or rename these folders or files.
If the V-Synth GT stops operating correctly, break the USB connection between the computer and the V-Synth GT (p.
222, p. 224), and then execute the Factory Reset command (p. 235).
This will erase all the data that has been saved on the V-Synth GT. As a precaution against such occurrences, we
recommend that you always make a backup of your data (p. 225).
Internal Memory
USB Memory
fig.09-20.eps
fig.09-21.eps
[USB Memory]
[V-SYNTH GT]
[Project1.prj]
[Internal.prj]
V-Synth GT System.s00
V-Synth GT Template.s00
V-Synth GT Palette.s00
V-Synth GT System.s00
V-Synth GT Template.s00
V-Synth GT Palette.s00
V-Synth GT Setup.s00
V-Synth GT Setup.s00
V-Synth GT MicSetting.s00
V-Synth GT MicSetting.s00
[Patch]
[Patch]
001 xxxxxxxxxxxx.d00
002 xxxxxxxxxxxx.d00
001 xxxxxxxxxxxx.d00
002 xxxxxxxxxxxx.d00
:
:
512 xxxxxxxxxxxx.d00
[Tone]
512 xxxxxxxxxxxx.d00
[Tone]
001 xxxxxxxxxxxx.p00
002 xxxxxxxxxxxx.p00
001 xxxxxxxxxxxx.p00
002 xxxxxxxxxxxx.p00
:
:
896 xxxxxxxxxxxx.p00
[Wave]
896 xxxxxxxxxxxx.p00
[Wave]
001 xxxxxxxxxxxx.wav
002 xxxxxxxxxxxx.w00
001 xxxxxxxxxxxx.wav
002 xxxxxxxxxxxx.w00
:
:
999 xxxxxxxxxxxx.wav
[Panel]
999 xxxxxxxxxxxx.wav
[Panel]
image001.img
image002.img
image001.img
image002.img
:
:
image016.img
image016.img
[Project2.prj]
[Project3.prj]
226
V-Synth-GT_e.book 227 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
Beep (Beep Tone Settings)
You can specify whether a “beep” will be heard when you touch a valid point in the touch panel.
* With the factory settings, there will be a beep tone.
1. Press [UTILITY] to access the Utility Menu screen.
2. Touch <Beep>.
The beep tone will be switched on/off.
fig.09-35-ps.eps_50
fig.09-36-ps.eps_50
227
V-Synth-GT_e.book 228 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
E1–E8 Knobs (E1–E8 knob Settings)
1. Press [UTILITY] to access the Utility Menu screen.
2. Touch <E1–E8 knobs>.
The E1–E8 Knob Settings screen appears.
3. Specify the parameters you wish to assign to the E1–E8 knobs.
fig.09-37-ps.eps_50
Parameter
Init Settings Sw
E1–E8 Assign
228
Value
Description
Initializes the settings of the E1–E8 knobs.
Specify the parameters assigned to the E1–E8 knobs.
V-Synth-GT_e.book 229 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
Screen Saver
This feature allows you to have a simple animation be displayed whenever the V-Synth GT has not been operated for
a certain period of time.
Because of the characteristics of the TFT liquid crystal display used in the V-Synth GT, leaving the same screen displayed
for an extended time may cause that image to be burned into the screen. To avoid this, we recommend that you use
the screen saver.
1. Press [UTILITY] to access the Utility Menu screen.
2. Touch <Screen Saver>.
The Screen Saver screen appears.
fig.09-45-ps.eps_50
3. Touch the desired screen saver image to select it.
You can touch <Preview> to get a look at the screen saver image at the size of the actual screen.
Parameter
Screen Saver Time
Value
OFF,
1– 60 min
Description
Sets the time (minutes) until the screen saver begins working.
If this is OFF, the screen saver will not appear.
229
V-Synth-GT_e.book 230 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
Wallpaper (Changing the Wallpaper)
You can change the background image of the touch panel.
Via USB memory, you can also use data such as a photo you’ve taken as the background image.
1. Press [UTILITY] to access the Utility Menu screen.
2. Touch <Wallpaper>.
The Wallpaper screen appears.
fig.09-40-ps.eps_50
3. Touch the image that you want to use as the background.
The selected image will appear in the background.
Import (Importing an Image as Wallpaper)
You can import a BMP file via USB memory and use it as wallpaper for the V-Synth GT.
1. Copy the bitmap file that you want to use as wallpaper (Windows BMP format, 24-bit, 320 x 240 pixels) to your
USB memory (the root level), and connect the USB memory to the V-Synth GT’s USB MEMORY connector.
2. Touch <Import> in the Wallpaper screen.
3. Touch the bitmap file in USB memory to select it.
4. Touch <OK>.
The V-Synth GT provides sixteen screens that you can use as wallpaper. The imported file will be overwritten over the
currently selected screen.
230
V-Synth-GT_e.book 231 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
Calibration (Adjusting the Controllers)
Adjusting the Positional Accuracy of the Touch Panel
Perform this adjustment if the touch panel no longer responds as you expect.
1. In the Utility Menu screen, touch <Calibration>.
The Calibration screen appears.
fig.09-30-ps.eps_50
2. Touch <Touch Screen>.
The Touch Screen Calibration screen appears.
fig.09-31-ps.eps_50
3. Touch the center of “+” symbol indicated by the square symbol in the screen, in the following order: left → top →
right → bottom.
When you have touched all four points, the screen will close, and the sensitivity of the touch screen will be
calibrated.
231
V-Synth-GT_e.book 232 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
Adjusting the Positional Accuracy of the Time Trip Pad
Perform this adjustment if the Time Trip pad no longer responds as you expect.
1. In the Utility Menu screen, touch <Calibration>.
The Calibration screen appears.
fig.09-30-ps.eps_50
2. Touch <Time Trip Pad>.
The TT Pad Calibration screen appears.
fig.09-32-ps.eps_50
3. On the Time Trip pad, touch the points indicated by the square symbol in the screen, in the following order: left
→ top → right → bottom.
When you have touched all four points, the screen will close, and the sensitivity of the Time Trip pad will be
calibrated.
fig.09-38.eps_50
232
V-Synth-GT_e.book 233 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
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. In the Utility Menu screen, touch <Calibration>.
The Calibration screen appears.
fig.09-30-ps.eps_50
2. Touch <D Beam>.
The D Beam Calibration screen appears.
fig.09-33-ps.eps_50, fig.09-39.eps
When you place your hand over the D Beam controller, the “L” or “R” level meter in the screen will move upward
or downward.
3. 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.
4. 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.
5. While watching the level meter in the screen, raise and lower your hand to check the response of the D Beam
controller.
6. If you are satisfied with the response, touch <OK>.
The sensitivity of the D Beam controller will be calibrated.
233
V-Synth-GT_e.book 234 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
Format (Initializing Internal Memory or USB Memory)
You can initialize (format) internal memory or USB memory to erase all data.
1. Press [UTILITY] to access the Utility Menu screen.
2. Touch <Format>.
The Format screen appears.
fig.09-50-ps.eps_50
3. If you want to format the internal memory, touch <Internal Memory>.
If you want to format a USB memory, touch <USB Memory>.
4. When you format a USB memory, the Volume Name window will appear, allowing you to assign a new volume
name.
5. Touch <OK>.
A Warning window like the following appears.
fig.09-51-ps.eps_50
If you want to cancel the procedure at this point, touch <EXIT>.
6. Touch <OK> to execute the operation.
234
V-Synth-GT_e.book 235 ページ 2007年6月21日 木曜日 午後1時23分
Utility Mode
Factory Reset (Reset to Default Factory Settings)
This restores all data in the V-Synth GT to the factory-set condition (Factory Reset).
If there is important data you’ve created that’s stored in the V-Synth GT’s internal memory, all such data is discarded
when a Factory Reset is performed. If you want to keep the existing data, save it on a USB memory (p. 217) or USB
backing up onto a computer (p. 221).
1. Press [UTILITY] to access the Utility Menu screen.
2. Touch <Factory Reset>.
The Factory Reset screen appears.
fig.09-55-ps.eps_50
3. Touch <Execute> to execute the Factory Reset.
It will take several minutes for the factory reset to be carried out.
4. When <Completed!> is displayed, the factory reset is finished.
Touch <OK> to return to the Patch Play screen.
235
V-Synth-GT_e.book 236 ページ 2007年6月21日 木曜日 午後1時23分
MIDI Implementation Chart
Synthesizer Keyboard
Model: V-Synth GT
Date: April 10, 2007
Version: 1.01
MIDI Implementation Chart
Transmitted
Function...
Recognized
Remarks
Basic
Channel
Default
Changed
1–16
1–16
1–16
1–16
Memorized
Mode
Default
Messages
Altered
Mode 3
Mono, Poly
Mode 3
Mode 3, 4 (M = 1)
*2
**************
Note
Number : True Voice
0–127
**************
0–127
0–127
Velocity
Note On
Note Off
O
O
O
O
After
Touch
Key’s
Channel’s
X
O
O
O
*1
*1
O
*1
Pitch Bend
O
0, 32
1
2
4
5
6, 38
7
10
11
12
13
16
17
18
19
34
48
49
50
51
64
65
66
80
81
82
83
91
93
1–31, 33–95
100, 101
Control
Change
Program
Change
O
O
O
O
X
X
X
X
O
O
O
O
O
O
O
O
O
O
O
O
O
X
X
O
O
O
O
X
X
O
X
O
X
X
X
: Clock
: Commands
X
X
: All Sound Off
X
X
X
X
O
X
: Reset All Controllers
Aux
: Local On/Off
Messages : All Notes Off
: Active Sensing
: System Reset
Notes
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
(Pedal 1)
(Switch 1)
(Switch 2)
(D Beam1-L)
(D Beam2-L)
(D Beam3-L)
(D Beam4-L)
(Knob 2)
(D Beam1-R)
(D Beam2-R)
(D Beam3-R)
(D Beam4-R)
(Hold)
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
(TT Pad XY-X)
(TT Pad XY-Y)
(TT Pad TT-X)
(TT Pad TT-Y)
*1
**************
: Song Position
System
: Song Select
Common
: Tune Request
236
(Modulation)
(Knob 1)
(Pedal 2)
O
: True Number
System Exclusive
System
Realtime
*1
*1
*2
*3
*4
*5
*3
O
X
X
X
O
O
O
O
O
X
X
X
X
X
X
X
X
X
X
X
O
O
O
X
X
X
X
O (Reverb)
O (Chorus)
X
O
*1
*1
*1
*1
*5
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*5
*5
*1
*1
*1
*1
*5
*5
*1
O
0–127
*1
O
*1
Bank select
Modulation
Breath type
Foot type
Portamento time
Data entry
Volume
Panpot
Expression
Effect control 1
Effect control 2
General purpose controller 1
General purpose controller 2
General purpose controller 3
General purpose controller 4
Breath type
General purpose controller 1
General purpose controller 2
General purpose controller 3
General purpose controller 4
Hold 1
Portamento
Sostenuto
General purpose controller 5
General purpose controller 6
General purpose controller 7
General purpose controller 8
General purpose effects 1
General purpose effects 3
Pedal, Knob, D Beam, TT Pad, Switch
RPN LSB, MSB
Program No. 1–128
X
X
X
*1
*1
X
O
*1
*4
O
O
X
O (123–127)
O
X
O X is selectable
Recognized as M=1 even if M≠1.
Transmitted when the Transmit Edit Switch is ON, or when RQ1 is received.
Recognized when “Sampling Trigger” is “MIDI.”
Not received for AP-Synthesis
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
V-Synth-GT_e.book 237 ページ 2007年6月21日 木曜日 午後1時23分
Specifications
V-Synth GT: Synthesizer Keyboard
● Keyboard
61 keys (with velocity and channel aftertouch)
● Sound Generator Configuration
Dual-core (2 Tones per Patch: Upper, Lower)
Sections per Tone:
Oscillator (envelope x 4 + LFO x 1) x 2
Modulator x 1
COSM (envelope x 2 + LFO x 1) x 2
TVA (envelope x 1 + LFO x 1) x 1
Multi Step Modulator x 1
Tone-FX x 1
AP-Synthesis (Articulative Phrase Synthesis) x 1 (*)
Vocal Designer x 1 (*)
* Usable on either upper or lower (not both)
● OSC1/OSC2 (Oscillator 1, 2)
Analog Modeling: 14 waveforms
(SAW, SQUARE, TRIANGLE, SINE, RAMP, JUNO,
HQ-SAW, HQ-SQUARE, NOISE, LA-SAW, LA-SQUARE,
SUPER-SAW, FEEDBACK-OSC, XMOD-OSC)
PCM/VariPhrase (Preset waveforms + Sampling waveforms)
External Input
● MOD (Modulator)
4 types (RING, FM, ENV-RING, OSC-SYNC)
● COSM
16 types
(OD/DS, W-SHAPE, AMP, SPEAKER, RESONATOR,
SBF1, SBF2, COMB, DUAL, TVF, DYN-TVF, COMP,
LIMITER, F-SHIFT, LO-FI, TB FILTER)
● Multi Step Modulator
Provided independently for the Upper Tone and Lower Tone
Tracks per tone: 4
Maximum number of step: 16
Tempo: 20–250 BPM
● AP-Synthesis
Source Waveforms: 38 types
Phrase Models: Violin, Erhu, Sax, Flute, Multifade
● Vocal Designer
Carrier: Oscillator x 2, Modulator x 1, COSM x 2, TVA x 1,
Multi Step Modulator x 1
Vocoder: 4 types (Stereo, Mono, Vintage, Enhance)
Formant: 7 types (Maximum)
● Zones
Upper Tone: 16
Lower Tone: 16
● Arpeggiator
Patterns: User programmable (supports use of control change
messages)
Motifs: 8 types
Tempo: 20–250 BPM
● MIDI Parts
1
● Maximum Polyphony
28 voices (varies according to the sound generator load)
● Internal Memory
Project: 1
Patches: 512
Tones: 896
Wave Memory (RAM): 64 MB
● Internal Storage
Internal Flash Memory: 49.5 MB
● External Storage Device
USB Flash Memory
● Effects
Tone-FX: 41 types
Chorus: 8 types
Reverb: 13 types
4-band system EQ
Input Effects (Mic/Sampling)
● Sampling Frequency
Internal: 44.1 kHz
DIGITAL IN/OUT: 96, 48, 44.1 kHz
● Signal Processing
Internal Processing
Sound Generating Section: 32 bits (floating point)
Effects Section: 32 bits (fixed point)
DA Conversion: 24 bits
AD Conversion: 24 bits
● Nominal Output Level
MAIN OUT: +4 dBu
DIRECT OUT: +4 dBu
● Nominal Input Level
INPUT (L, R): -10/-20 dBu
MIC IN: -50– -10 dBu
● Display
320 x 240 dots backlit TFT full color touch screen
237
V-Synth-GT_e.book 238 ページ 2007年6月21日 木曜日 午後1時23分
Specifications
● Connectors
Headphone Jack (Stereo 1/4 inch phone type)
Main Output Jacks (L/MONO, R) (1/4 inch TRS phone type)
Direct Output Jacks (L, R) (1/4 inch phone type)
Input Jacks (L, R) (1/4 inch phone type)
Mic Jack (1/4 inch phone type/XLR type, phantom power)
Hold pedal Jack
Control pedal Jacks (1, 2)
MIDI Connectors (IN, OUT, THRU)
USB Connectors
COMPUTER (supports USB 2.0 file transfer, USB 1.1 USB
MIDI, and USB Audio)
MEMORY (supports USB 2.0 Flash Memory)
Digital Audio Interface (24-bit, IEC60958)
COAXIAL (IN, OUT)
OPTICAL (IN, OUT)
AC Inlet
● Power Supply
AC 115 V, AC 117 V, AC 220 V, AC 230 V, AC 240 V
(50/60 Hz)
● Power Consumption
30 W
● Dimensions
1066 (W) x 411 (D) x 125 (H) mm
42 (W) x 16-3/16 (D) x 4-15/16 (H) inches
● Weight
13.8 kg
30 lbs 7 oz
● Accessories
Owner’s Manual
Quick Start
Driver Installation Guide
CD-ROM (USB Driver)
Power Cord
● Options
Keyboard Stand: KS-12
Pedal Switch: DP series
Footswitch: BOSS FS-5U
Expression Pedal: EV-5
USB Memory: M-UF128
Microphone: DR series
(0 dBu = 0.775 Vrms)
962a
* In the interest of product improvement, the specifications and/or
appearance of this unit are subject to change without prior notice.
238
V-Synth-GT_e.book 239 ページ 2007年6月21日 木曜日 午後1時23分
Index
Symbols
[-/+OCT] ....................................................................... 21, 44–45
Numerics
1–4 Assign L, R ....................................................................... 205
V-LINK ............................................................................. 210
A
AC IN ...................................................................................... 24
Active Sens ............................................................................. 198
Adjust ..................................................................................... 180
ADSR Attack ............................................................................ 121
ADSR Decay ........................................................................... 121
ADSR Release .......................................................................... 121
ADSR Sustain .......................................................................... 121
Aftertouch ................................................................................. 43
Local Sw .......................................................................... 212
Aftertouch Assign ..................................................................... 212
Aftertouch Sens ........................................................................ 203
Ambience Level ................................................................ 132–136
Amount Keyfollow .................................................................... 109
Amount LFO Depth ................................................................... 109
Analog ...................................................... 96, 102–110, 113–114
Analog OSC ............................................................................. 95
AP Syn CHO Send ..................................................................... 77
AP Syn Output Assign ................................................................ 77
AP Syn REV Send ....................................................................... 77
AP Syn Tone-FX Send ................................................................. 77
AP-SYNTHESIS .......................................................................... 29
AP-Synthesis ............................................................................ 124
Advanced ................................................................. 132–136
Control ..................................................................... 137–138
Dynamics ......................................................................... 137
Erhu ......................................................................... 128, 133
Fade ................................................................................ 137
Flute ................................................................ 130, 135, 137
Level ................................................................................ 125
Modify ...................................................................... 127–131
MODIFY Knob .................................................................. 124
Mono/Poly ....................................................................... 138
Multifade ........................................................... 131, 136–137
Pan .................................................................................. 125
Phrase Model ................................................................... 125
Pitch ................................................................................ 126
Pizzicato .......................................................................... 138
Portamento ....................................................................... 137
Sax ......................................................................... 129, 134
Tremolo ............................................................................ 138
Violin ............................................................... 127, 132, 138
Waveform ........................................................................ 125
Arabian Scale ........................................................................... 94
Arpeggiator .............................................................................. 51
Arpeggio ............................................................................ 51, 69
Creating ................................................................. 71, 73–74
Keyboard Velocity ............................................................... 70
Motif .................................................................................. 69
Octave Range ..................................................................... 70
Shuffle Rate ......................................................................... 70
Shuffle Resolution ................................................................. 70
Arpeggio Duration ..................................................................... 70
Arpeggio Pattern ........................................................................ 71
[ASSIGNABLE] ..................................................................... 46, 48
D Beam .............................................................................. 20
Time trip pad ....................................................................... 20
ASSIGNABLE CONTROL Knobs ................................................... 50
Assign-Time Trip ....................................................................... 209
Attack
MOD ............................................................................... 116
TVA ................................................................................. 121
Vocal Designer .......................................................... 156–157
Attack Time
Erhu ................................................................................. 128
Flute ................................................................................. 130
Multifade .......................................................................... 131
Sax .................................................................................. 129
TVA ................................................................................. 121
Violin ............................................................................... 127
Audio Input .............................................................................. 200
Audio Output ........................................................................... 201
B
BACKING ............................................................................... 188
Backup
Patch and Wave Data (Project) ............................................ 225
[BANK] ..................................................................................... 21
Bank Select .............................................................................. 198
Beam Sens L, R ........................................................................ 205
Beat Keep Sw ............................................................................ 99
Beep ....................................................................................... 227
Bender .............................................................................. 43, 212
Local Sw ........................................................................... 212
Bender Assign .......................................................................... 212
Bender/Octave .......................................................................... 90
Breath Noise .................................................................... 129–130
Breath Nz Level ................................................................ 129–130
C
C1, 2 Knob
Local Sw ...........................................................................
C1, 2 Knob Assign ...................................................................
V-LINK ..............................................................................
CALC ......................................................................................
Calibration
D Beam ............................................................................
Time Trip Pad ....................................................................
Touch Panel ......................................................................
211
206
211
186
233
232
231
239
V-Synth-GT_e.book 240 ページ 2007年6月21日 木曜日 午後1時23分
Index
Carrier ........................................................................... 147, 150
Category
Patch ........................................................................... 41, 60
Tone ............................................................................ 57, 83
Chorus ..................................................................................... 78
Vintage Vocoder ............................................................... 157
Clock Out ............................................................................... 198
Clock Source ........................................................................... 198
Coarse Tune .............................................................. 97, 100, 102
AP-Synthesis ..................................................................... 126
COAXIAL IN/OUT ..................................................................... 24
Compressor
Sampling .......................................................................... 175
Vocal Designer ................................................................. 154
COMPUTER
USB ................................................................................... 24
Connecting
Amp/Speaker System .......................................................... 17
V-LINK ............................................................................... 52
Consonant Detect ..................................................................... 156
Consonant HPF Freq ................................................................. 157
Consonant Level ............................................................... 156–157
Controller Section ...................................................................... 27
Convert
Project ............................................................................. 219
COSM Type ............................................................................ 117
COSM1/2 ................................................................................ 29
COSM1/COSM2 .................................................................... 117
CTRL 1 Jack ....................................................................... 24, 207
CTRL 2 Jack ....................................................................... 24, 207
Cursor ...................................................................................... 33
Cursor Buttons ........................................................................... 33
[CUTOFF] ................................................................................. 23
D
D BEAM ................................................................................... 20
D Beam .............................................................................. 48, 67
1–4 Assign L, R ................................................................. 205
Calibration ....................................................................... 233
Local Sw .......................................................................... 210
Sensitivity ......................................................................... 205
V-LINK ............................................................................. 210
[DEC/-] ..................................................................................... 22
Decay
TVA ................................................................................. 121
Decay Time
TVA ................................................................................. 121
Default Factory Settings ............................................................ 235
Delay Time
LFO ................................................................................. 122
[DETUNE] ................................................................................. 23
Detune .............................................................................. 97, 105
Detune Keyfollow ..................................................................... 105
Detune LFO Depth .................................................................... 105
Device ID ................................................................................ 198
DIGITAL AUDIO Connectors ........................................................ 24
Digital Output Freq .................................................................. 201
DIRECT OUT Jacks ..................................................................... 25
240
Display ..................................................................................... 21
Dynamics
AP-Synthesis ...................................................................... 137
E
E1–E8 Knobs ............................................................... 35, 49, 228
Edit Data ................................................................................. 198
Editing
Patch .................................................................................. 54
Sample ............................................................. 178, 182–183
Tone ..................................................................... 80, 85, 158
Effect
Sampling .......................................................................... 175
Effects ....................................................................................... 76
Encode ................................................................................... 187
Encoding Type ......................................................................... 188
Energy .................................................................................... 112
Env Time KF ............................................................................. 121
Envelope Ring .......................................................................... 116
Envelope Settings ..................................................................... 121
Envelope Sliders ......................................................................... 35
EQ (Equalizer)
System Mode .................................................................... 197
Vocal Designer .................................................................. 152
Erhu ................................................................................ 128, 133
[EXIT] ........................................................................................ 22
Ext In Source ............................................................................ 200
Ext In Type ............................................................................... 200
External In ............................................................................... 101
External Input Source ................................................................ 200
External Input Type ................................................................... 200
F
Factory Data ...................................................................... 31, 235
Factory Reset ........................................................................... 235
Fade
AP-Synthesis ...................................................................... 137
Fade Mode .............................................................................. 122
Fade Time ............................................................................... 122
Fat .......................................................................................... 104
Fat Keyfollow ........................................................................... 104
Fat LFO Depth .......................................................................... 104
Favorite Patch ............................................................................ 42
FBK Amount ............................................................................. 109
File Structure ............................................................................ 226
Fine Tune .................................................................. 97, 100, 102
AP-Synthesis ...................................................................... 126
Flute ............................................................................... 130, 135
FOOT PEDAL Jacks ..................................................................... 24
Formant Keyfollow .................................................................... 112
Formant Type ........................................................................... 156
Format .................................................................................... 234
Frequency Modulator ................................................................ 115
Front Panel ................................................................................ 20
V-Synth-GT_e.book 241 ページ 2007年6月21日 木曜日 午後1時23分
Index
H
L
Harmonics .............................................................................. 108
Harmonics Keyfollow ................................................................ 108
Harmonics LFO Depth ............................................................... 108
Headphones ............................................................................. 25
Hi Cut Switch .......................................................................... 157
[HOLD]
Time trip pad ...................................................................... 20
Hold
Arpeggio ..................................................................... 51, 69
HOLD Jack .......................................................................... 24, 51
Hold Pedal ........................................................................ 51, 207
Hold Polarity ........................................................................... 207
Legato Switch ............................................................................ 87
Level
AP-Synthesis ...................................................................... 125
Lower Tone ......................................................................... 65
Patch .................................................................................. 65
Upper Tone ......................................................................... 65
Vocal Designer .......................................................... 156–157
Level Keyfollow ........................................................................ 113
Level KF .................................................................................. 119
LFO ........................................................................................ 120
Delay Time ........................................................................ 122
Fade Mode ....................................................................... 122
Fade Time ......................................................................... 122
Key Sync .......................................................................... 122
Offset ............................................................................... 122
Rate ................................................................................. 122
Waveform ........................................................................ 122
LFO Settings ............................................................................ 122
Limiter
Sampling .......................................................................... 175
Loading
Project .............................................................................. 215
Local Sw ................................................................................. 203
Aftertouch ......................................................................... 212
Bender ............................................................................. 212
C1, 2 Knob ....................................................................... 211
D Beam ............................................................................ 210
Modulation ....................................................................... 212
Time Trip Pad .................................................................... 209
LOCK ...................................................................................... 180
LOOP ..................................................................................... 180
LOOP MODE ........................................................................... 192
Lower Level ................................................................................ 65
Lower Pan ................................................................................. 65
I
Icons ........................................................................................ 36
Impact ...................................................................................... 97
[INC/+] .................................................................................... 22
Initializing
E1–E8 Knobs .................................................................... 228
Internal Memory/USB Memory ........................................... 234
Patch ................................................................................. 62
System Settings ................................................................. 195
Tone .................................................................................. 84
Input Gain ...................................................................... 200, 202
INPUT Jacks .............................................................................. 25
Input Source .................................................................... 174, 202
Input Sw ......................................................................... 200, 202
Internal Memory ........................................................................ 31
File Structure ..................................................................... 226
Initialize ........................................................................... 234
K
KEY MODE Buttons .................................................................... 23
Key Range ................................................................................ 68
Key Sync
LFO ................................................................................. 122
Keyboard
Aftertouch ........................................................................... 43
Sensitivity ......................................................................... 203
Split ................................................................................... 88
Transpose (in Octave Units) .................................................. 45
Transpose (in Semitone Steps) ............................................... 44
Velocity .............................................................................. 43
Keyboard Output Fade Sw ........................................................ 208
Keyboard Sens ........................................................................ 203
Keyboard Velocity ............................................................. 70, 203
Keyword
Patch ................................................................................. 41
Tone .................................................................................. 57
M
MAIN OUT Jacks ....................................................................... 25
Map Function ............................................................................. 37
Master Key Shift ....................................................................... 196
Master Level ............................................................................ 196
Master Tune ............................................................................. 196
Matrix Control ........................................................................... 91
MEMORY
USB ................................................................................... 24
Memory
Internal ............................................................................... 31
Sampling ............................................................................ 31
Structure ............................................................................. 30
USB ................................................................................... 31
Metronome .............................................................................. 176
MIC IN Jack .............................................................................. 25
Mic Settings
Vocal Designer .................................................................. 151
Mic Sw ........................................................................... 200, 202
MIDI ....................................................................................... 198
USB ................................................................................. 199
MIDI Channel .......................................................................... 198
V-LINK .............................................................................. 208
241
V-Synth-GT_e.book 242 ページ 2007年6月21日 木曜日 午後1時23分
Index
MIDI Clock .............................................................................. 198
MIDI Connectors ........................................................................ 24
MIDI Message
V-LINK ............................................................................... 53
MIDI Thru ................................................................................ 199
Mix ........................................................................................ 107
Mix Keyfollow ......................................................................... 107
Mix LFO Depth ........................................................................ 107
Mix/Parallel ............................................................................ 201
MOD ....................................................................................... 29
Modes ...................................................................................... 38
MODIFY Knob ......................................................................... 124
Modulation ............................................................................... 43
Local Sw .......................................................................... 212
Modulation Assign ................................................................... 212
Modulation Lever ....................................................................... 43
Modulator Type ....................................................................... 115
Monitor Sw ............................................................................. 202
Mono/Poly ............................................................................... 87
AP-Synthesis ..................................................................... 138
Motif (Arpeggio Motif) ................................................................ 69
Multi Step Modulator ........................................................ 142, 144
Multifade ........................................................................ 131, 136
N
Name
Patch ................................................................................. 59
Sample ............................................................................ 168
Template .......................................................................... 177
Tone .................................................................................. 82
Natural Feel ..................................................................... 127–131
Noise Suppressor
Sampling .......................................................................... 175
Vocal Designer ................................................................. 153
Normalize .............................................................................. 184
Numeric Keys ............................................................................ 34
O
Octave Range ........................................................................... 70
Octave Shift ........................................................................ 45, 90
AP-Synthesis ..................................................................... 126
Offset
LFO ................................................................................. 122
ON/OFF
D Beam .............................................................................. 20
Operation
Touch Panel ........................................................................ 33
OPTICAL IN/ OUT ..................................................................... 24
Original Fine Tune ................................................................... 192
Original Pitch .......................................................................... 192
Original Tempo ....................................................................... 186
OSC1/2 ................................................................................... 29
Oscillator Sync ........................................................................ 116
Output Dest ............................................................................. 202
Output Gain ............................................................................ 201
242
P
Pan
AP-Synthesis ...................................................................... 125
Lower Tone ......................................................................... 65
Upper Level ......................................................................... 65
Pan KF .................................................................................... 119
Panel
Front .................................................................................. 20
Rear ................................................................................... 24
Patch
Creating ............................................................................. 54
Editing ................................................................................ 54
Favorite .............................................................................. 42
Initializing ........................................................................... 62
Keyword ............................................................................. 41
Pitch ................................................................................... 65
Saving ................................................................................ 58
Selecting ....................................................................... 40–42
Startup ............................................................................. 196
Patch Category .................................................................... 41, 60
Patch Category List ..................................................................... 61
Patch Coarse Tune ...................................................................... 65
Patch Common ........................................................................... 63
Patch Init ................................................................................... 62
Patch Level ................................................................................ 65
Patch List ................................................................................... 41
Patch Menu ............................................................................... 58
Patch Mode ......................................................................... 38–39
Patch Name ............................................................................... 59
Patch Palette .............................................................................. 42
Patch Palette Local Sw ............................................................... 208
Patch Play Screen ....................................................................... 39
Patch Remain ........................................................................... 196
Patch Tempo .............................................................................. 69
Patch Write ............................................................................... 58
PCM ................................................................. 99, 102, 111–114
Pedal ...................................................................................... 207
Pedal 1 Assign ......................................................................... 207
Pedal 1 Polarity ........................................................................ 207
Pedal 2 Assign ......................................................................... 207
Pedal 2 Polarity ........................................................................ 207
PHANTOM Switch ...................................................................... 24
PHONES Jack ............................................................................ 25
Phrase Model ........................................................................... 125
[PITCH] ..................................................................................... 20
Pitch ....................................................................................... 102
AP-Synthesis ...................................................................... 126
Entire System ..................................................................... 196
Patch .................................................................................. 65
Pitch Bend ................................................................................. 43
Pitch Bend Lever ......................................................................... 43
Pitch Bend Range ....................................................................... 90
Pitch Keyfollow ......................................................................... 102
Pitch LFO Depth ........................................................................ 102
Pizzicato ................................................................................. 138
Polyphony ................................................................................. 27
V-Synth-GT_e.book 243 ページ 2007年6月21日 木曜日 午後1時23分
Index
Portamento ................................................................................ 87
AP-Synthesis ..................................................................... 137
Portamento Switch ..................................................................... 87
Portamento Time ........................................................................ 87
Portamento Type ........................................................................ 87
Power
Turning Off ......................................................................... 19
Turning On ......................................................................... 18
POWER ON Switch ................................................................... 18
POWER Switch .......................................................................... 24
Pre Gain ................................................................................. 174
Pre Trigger .............................................................................. 174
PREVIEW ................................................................................ 180
Pro Edit ..................................................................................... 85
Program Change ..................................................................... 198
Project .............................................................................. 31, 215
Convert ............................................................................ 219
Loading ............................................................................ 215
Saving ............................................................................. 217
Pulse Width ....................................................................... 97, 103
Pulse Width Keyfollow .............................................................. 103
Pulse Width LFO Depth ............................................................. 103
R
Random .................................................................................. 102
Rate
LFO ................................................................................. 122
Rear Panel ................................................................................ 24
Receive MIDI Channel .............................................................. 198
Release
MOD ............................................................................... 116
TVA ................................................................................. 121
Vocal Designer .......................................................... 156–157
Release Time
Erhu ................................................................................. 128
Flute ................................................................................ 130
Multifade .......................................................................... 131
Sax ................................................................................. 129
TVA ................................................................................. 121
Violin ............................................................................... 127
Resampling ............................................................................. 173
Reset
Factory Settings ................................................................. 235
[RESO] ..................................................................................... 23
Reverb ...................................................................................... 79
Ring Modulator ........................................................................ 115
S
S1, 2 Switch Assign ................................................................. 206
S1/S2 Switch ............................................................................ 67
Sample
Editing .............................................................. 178, 182–183
Encode ............................................................................ 187
Saving ............................................................................. 191
Sample Copy .......................................................................... 169
Sample Delete ......................................................................... 172
Sample Exchange .................................................................... 171
Sample Mode .................................................................... 38, 163
Sample Move .......................................................................... 170
Sample Name .......................................................................... 168
Sampling ................................................................................. 165
Compressor ...................................................................... 175
Limiter .............................................................................. 175
Noise Suppressor .............................................................. 175
Sampling Memory ...................................................................... 31
Sampling Template ........................................................... 163–164
Sampling Template Name ......................................................... 177
Sampling Type ......................................................................... 174
Saving
Patch .................................................................................. 58
Project .............................................................................. 217
Sample ............................................................................. 191
System Settings .................................................................. 194
Tone ................................................................................... 81
Sax ................................................................................. 129, 134
Scale Tune ................................................................................. 94
Scrape Noise ........................................................................... 127
Scrape Nz Level ............................................................... 127–128
Screen Saver ........................................................................... 229
Section ...................................................................................... 29
Selecting
Patch ............................................................................ 40–42
Tone ............................................................................. 55–57
Sensitivity
D Beam .................................................................... 205, 233
Keyboard ......................................................................... 203
Shuffle Rate ............................................................................... 70
Shuffle Resolution ....................................................................... 70
Slur Noise ............................................................................... 130
Slur Nz Level ........................................................................... 130
Sound Generator Section ............................................................ 26
SOUND SHAPER II ................................................................... 158
Source Waveform .................................................................... 125
Split .......................................................................................... 88
SS Detune ............................................................................... 106
SS Detune Keyfollow ................................................................. 106
SS Detune LFO Depth ................................................................ 106
Start Offset ................................................................................ 99
Startup Patch ........................................................................... 196
Structure
Section ............................................................................... 29
STRUCTURE Buttons .................................................................... 23
Structure Type ...................................................................... 28, 86
Sub Level ................................................................................... 97
Sub OSC Octave Select .............................................................. 97
Sub-Oscillator ............................................................................ 98
Sustain
TVA ................................................................................. 121
Sustain Level
TVA ................................................................................. 121
Synchronize ............................................................................. 198
Synchronizing
Music and Video ................................................................. 52
243
V-Synth-GT_e.book 244 ページ 2007年6月21日 木曜日 午後1時23分
Index
[SYSTEM] ................................................................................
System Init ...............................................................................
System Menu ...........................................................................
System Mode .................................................................... 38,
System Settings
Initializing ........................................................................
Saving .............................................................................
System Write ...........................................................................
193
195
194
193
195
194
194
T
TalkBox .................................................................................. 156
Temperament ............................................................................ 94
Template
Sampling ................................................................... 163–164
Tempo
Metronome ....................................................................... 176
Patch ................................................................................. 69
Sample ............................................................................ 186
Tempo Sync Sw ......................................................................... 99
Temporary Area ........................................................................ 31
[TIME] ...................................................................................... 20
Time Keyfollow ........................................................................ 111
Time Offset ............................................................................. 111
[TIME TRIP]
D Beam .............................................................................. 20
Time trip pad ...................................................................... 20
Time Trip Function ...................................................................... 46
Time Trip Pad ................................................................ 20, 46, 66
Calibration ....................................................................... 232
Local Sw .......................................................................... 209
V-LINK ............................................................................. 209
X Assign-TT ....................................................................... 204
X Assign-XY ...................................................................... 204
Y Assign-TT ....................................................................... 204
Y Assign-XY ...................................................................... 204
Time Velo Sens .......................................................................... 87
Tone
Editing ................................................................. 80, 85, 158
Initializing .......................................................................... 84
Keyword ............................................................................ 57
Saving ............................................................................... 81
Selecting ....................................................................... 55–57
Tone Category ..................................................................... 57, 83
Tone Category List ..................................................................... 83
Tone Coarse Tune ...................................................................... 94
Tone Effect .............................................................................. 139
Tone Fine Tune .......................................................................... 94
Tone Init ................................................................................... 84
Tone List ................................................................................... 57
Tone Menu ................................................................................ 81
Tone Name ............................................................................... 82
Tone Write ................................................................................ 81
Tone-FX ................................................................................... 141
Touch Panel
Calibration ....................................................................... 231
Icons .................................................................................. 36
Operation .......................................................................... 33
Touch Screen ........................................................................ 33–34
244
Transmit MIDI Channel .............................................................. 198
[TRANSPOSE] ...................................................................... 21, 44
Transpose .................................................................................. 44
Tremolo ................................................................................... 138
Trigger Level ............................................................................ 174
Trigger Mode ........................................................................... 174
Trimming ................................................................................. 183
Truncate .................................................................................. 183
Tune ......................................................................................... 94
Tuning ..................................................................................... 196
Patch .................................................................................. 65
TVA .......................................................................................... 29
U
Upper Level ............................................................................... 65
Upper Pan ................................................................................. 65
USB
COMPUTER ........................................................................ 24
MEMORY ........................................................................... 24
USB Audio .............................................................................. 202
USB Connectors ......................................................................... 24
USB Memory ............................................................................. 31
File Structure ..................................................................... 226
Initialize ........................................................................... 234
USB MIDI ................................................................................ 199
USB Storage .............................................................. 31, 221–225
USB-MIDI Thru Switch ............................................................... 199
Utility Mode ....................................................................... 38, 214
V
Value
Editing ................................................................................ 34
VALUE Dial ................................................................................ 34
VariPhrase ................................................................................. 32
Velocity ..................................................................................... 43
Keyboard ......................................................................... 203
Velocity A-Sens ........................................................................ 121
Velocity Curve .......................................................................... 121
Velocity D-Sens ........................................................................ 121
Velocity R-Sens ......................................................................... 121
Velocity Sens ........................................................................... 121
Version ................................................................................... 213
Violin .............................................................................. 127, 132
V-LINK ................................................................................ 52–53
1–4 Assign L, R ................................................................. 210
C1, 2 Knob Assign ............................................................ 211
D Beam ............................................................................ 210
Functions ............................................................................ 53
Settings ............................................................................ 208
Time Trip Pad .................................................................... 209
X Assign-XY ....................................................................... 209
Y Assign-XY ....................................................................... 209
V-LINK Audio Sw ...................................................................... 208
V-LINK MIDI Channel ................................................................ 208
V-Synth-GT_e.book 245 ページ 2007年6月21日 木曜日 午後1時23分
Index
VOCAL DESIGNER .................................................................... 29
Vocal Designer ........................................................................ 146
Compressor ...................................................................... 154
EQ (Equalizer) .................................................................. 152
Mic Settings ...................................................................... 151
Noise suppressor .............................................................. 153
Settings ............................................................................ 150
Vocoder ................................................................................. 155
Stereo/Mono/Enhance ...................................................... 156
Vintage ............................................................................ 157
Vocoder Type .......................................................................... 155
Volume ................................................................................... 196
W
Wallpaper .............................................................................. 230
Wave Gain ................................................................. 97, 99, 101
Waveform
Analog Oscillator ................................................................ 96
AP-Synthesis ..................................................................... 125
LFO ................................................................................. 122
PCM Oscillator ................................................................... 99
[WIDTH] ................................................................................... 23
Writing
Patch ................................................................................. 58
System Settings ................................................................. 194
Tone .................................................................................. 81
X
X Assign-TT .............................................................................
X Assign-XY .............................................................................
V-LINK .............................................................................
X-Mod ....................................................................................
X-Mod Keyfollow .....................................................................
X-Mod LFO Depth ....................................................................
204
204
209
110
110
110
Y
Y Assign-TT ............................................................................. 204
Y Assign-XY ............................................................................. 204
V-LINK ............................................................................. 209
Z
ZeroX (Zero Cross Search) ........................................................ 181
Zoom ..................................................................................... 181
245
V-Synth-GT_e.book 246 ページ 2007年6月21日 木曜日 午後1時23分
For EU Countries
For the USA
DECLARATION OF CONFORMITY
Compliance Information Statement
Model Name :
Type of Equipment :
Responsible Party :
Address :
Telephone :
V-Synth GT
Synthesizer Keyboard
Roland Corporation U.S.
5100 S. Eastern Avenue, Los Angeles, CA 90040-2938
(323) 890-3700
For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) this device may not cause harmful interference, and
(2) this device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
Information
AFRICA
EGYPT
Al Fanny Trading Office
9, EBN Hagar Al Askalany
Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: 20-2-417-1828
When you need repair service, call your nearest Roland Service Center or authorized Roland
distributor in your country as shown below.
PHILIPPINES
CURACAO
URUGUAY
NORWAY
JORDAN
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 899 9801
Zeelandia Music Center Inc.
Orionweg 30
Curacao, Netherland Antilles
TEL:(305)5926866
Todo Musica S.A.
Francisco Acuna de Figueroa
1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: 2273 0074
MUSIC HOUSE CO. LTD.
FREDDY FOR MUSIC
P. O. Box 922846
Amman 11192 JORDAN
TEL: (06) 5692696
VENEZUELA
POLAND
Instrumentos Musicales
Allegro,C.A.
Av.las industrias edf.Guitar
import
#7 zona Industrial de Turumo
Caracas, Venezuela
TEL: (212) 244-1122
ROLAND POLSKA SP. Z O.O.
UL. Gibraltarska 4.
PL-03 664 Warszawa
POLAND
TEL: (022) 679 4419
EASA HUSAIN AL-YOUSIFI
& SONS CO.
Abdullah Salem Street,
Safat, KUWAIT
TEL: 243-6399
DOMINICAN REPUBLIC
SINGAPORE
REUNION
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
REUNION ISLAND
TEL: (0262) 218-429
SOUTH AFRICA
T.O.M.S. Sound & Music
(Pty)Ltd.
2 ASTRON ROAD DENVER
JOHANNESBURG ZA 2195,
SOUTH AFRICA
TEL: (011)417 3400
SWEE LEE MUSIC
COMPANY PTE. LTD.
150 Sims Drive,
SINGAPORE 387381
TEL: 6846-3676
Instrumentos Fernando Giraldez
Calle Proyecto Central No.3
Ens.La Esperilla
Santo Domingo,
Dominican Republic
TEL:(809) 683 0305
TAIWAN
ECUADOR
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung
Shan N.Road Sec.2, Taipei,
TAIWAN, R.O.C.
TEL: (02) 2561 3339
Mas Musika
Rumichaca 822 y Zaruma
Guayaquil - Ecuador
TEL:(593-4)2302364
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo II,
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: 262-0788
THAILAND
Paul Bothner(PTY)Ltd.
Royal Cape Park, Unit 24
Londonderry Road, Ottery 7800
Cape Town, SOUTH AFRICA
TEL: (021) 799 4900
ASIA
CHINA
Roland Shanghai Electronics
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai 200090, CHINA
TEL: (021) 5580-0800
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 3 Section Anhuaxili
Chaoyang District Beijing
100011 CHINA
TEL: (010) 6426-5050
HONG KONG
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
TEL: 2415 0911
Theera Music Co. , Ltd.
330 Soi Verng NakornKasem,
New Road, Sumpantawongse,
Bangkok 10100, THAILAND
TEL: (02) 224-8821
GUATEMALA
Casa Instrumental
Calzada Roosevelt 34-01,zona 11
Ciudad de Guatemala
Guatemala
TEL:(502) 599-2888
AUSTRALIA/
NEW ZEALAND
HONDURAS
AUSTRALIA/
NEW ZEALAND
Roland Corporation
Australia Pty.,Ltd.
Almacen Pajaro Azul S.A. de C.V.
BO.Paz Barahona
3 Ave.11 Calle S.O
San Pedro Sula, Honduras
TEL: (504) 553-2029
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
MARTINIQUE
For Australia
Tel: (02) 9982 8266
For New Zealand
Tel: (09) 3098 715
Musique & Son
Z.I.Les Mangle
97232 Le Lamantin
Martinique F.W.I.
TEL: 596 596 426860
Gigamusic SARL
10 Rte De La Folie
97200 Fort De France
Martinique F.W.I.
TEL: 596 596 715222
CENTRAL/LATIN
AMERICA
ARGENTINA
MEXICO
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
Parsons Music Ltd.
8th Floor, Railway Plaza, 39
Chatham Road South, T.S.T,
Kowloon, HONG KONG
TEL: 2333 1863
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico
D.F. MEXICO
TEL: (55) 5668-6699
BARBADOS
NICARAGUA
A&B Music Supplies LTD
12 Webster Industrial Park
Wildey, St.Michael, Barbados
TEL: (246)430-1100
INDIA
Rivera Digitec (India) Pvt. Ltd.
411, Nirman Kendra
Mahalaxmi Flats Compound
Off. Dr. Edwin Moses Road,
Mumbai-400011, INDIA
TEL: (022) 2493 9051
BRAZIL
INDONESIA
CHILE
PT Citra IntiRama
Jl. Cideng Timur No. 15J-15O
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
KOREA
Roland Brasil Ltda.
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
Comercial Fancy II S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
Centro Musical Ltda.
Cra 43 B No 25 A 41 Bododega 9
Medellin, Colombia
TEL: (574)3812529
MALAYSIA
Roland Asia Pacific Sdn. Bhd.
45-1, Block C2, Jalan PJU 1/39,
Dataran Prima, 47301 Petaling
Jaya, Selangor, MALAYSIA
TEL: (03) 7805-3263
VIET NAM
PANAMA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE
PANAMA
TEL: 315-0101
PARAGUAY
COLOMBIA
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
Bansbach Instrumentos
Musicales Nicaragua
Altamira D'Este Calle Principal
de la Farmacia 5ta.Avenida
1 Cuadra al Lago.#503
Managua, Nicaragua
TEL: (505)277-2557
COSTA RICA
JUAN Bansbach Instrumentos
Musicales
Ave.1. Calle 11, Apartado
10237,
San Jose, COSTA RICA
TEL: 258-0211
Suoi Nhac Company, Ltd
370 Cach Mang Thang Tam St.
Dist.3, Ho Chi Minh City,
VIET NAM
TEL: 9316540
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (595) 21 492147
PERU
Audionet
Distribuciones Musicales SAC
Juan Fanning 530
Miraflores
Lima - Peru
TEL: (511) 4461388
TRINIDAD
AMR Ltd
Ground Floor
Maritime Plaza
Barataria Trinidad W.I.
TEL: (868) 638 6385
EUROPE
AUSTRIA
Roland Elektronische
Musikinstrumente HmbH.
Austrian Office
Eduard-Bodem-Gasse 8,
A-6020 Innsbruck, AUSTRIA
TEL: (0512) 26 44 260
BELGIUM/FRANCE/
HOLLAND/
LUXEMBOURG
Roland Central Europe N.V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
CROATIA
ART-CENTAR
Degenova 3.
HR - 10000 Zagreb
TEL: (1) 466 8493
CZECH REP.
CZECH REPUBLIC
DISTRIBUTOR s.r.o
Voctárova 247/16
CZ - 180 00 PRAHA 8,
CZECH REP.
TEL: (2) 830 20270
DENMARK
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
TEL: 3916 6200
FINLAND
Roland Scandinavia As, Filial
Finland
Elannontie 5
FIN-01510 Vantaa, FINLAND
TEL: (0)9 68 24 020
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844
Norderstedt, GERMANY
TEL: (040) 52 60090
GREECE/CYPRUS
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
HUNGARY
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint,
HUNGARY
TEL: (23) 511011
IRELAND
Roland Ireland
G2 Calmount Park, Calmount
Avenue, Dublin 12
Republic of IRELAND
TEL: (01) 4294444
ITALY
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
KUWAIT
PORTUGAL
LEBANON
Roland Iberia, S.L.
Portugal Office
Cais das Pedras, 8/9-1 Dto
4050-465, Porto, PORTUGAL
TEL: 22 608 00 60
Chahine S.A.L.
George Zeidan St., Chahine
Bldg., Achrafieh, P.O.Box: 165857
Beirut, LEBANON
TEL: (01) 20-1441
ROMANIA
OMAN
FBS LINES
Piata Libertatii 1,
535500 Gheorgheni,
ROMANIA
TEL: (266) 364 609
TALENTZ CENTRE L.L.C.
Malatan House No.1
Al Noor Street, Ruwi
SULTANATE OF OMAN
TEL: 2478 3443
RUSSIA
QATAR
MuTek
Dorozhnaya ul.3,korp.6
117 545 Moscow, RUSSIA
TEL: (095) 981-4967
Al Emadi Co. (Badie Studio &
Stores)
P.O. Box 62, Doha, QATAR
TEL: 4423-554
SLOVAKIA
SAUDI ARABIA
DAN Acoustic s.r.o.
Povazská 18.
SK - 940 01 Nové Zámky
TEL: (035) 6424 330
SPAIN
aDawliah Universal
Electronics APL
Corniche Road, Aldossary
Bldg., 1st Floor, Alkhobar,
31952 SAUDI ARABIA
Roland Iberia, S.L.
Paseo García Faria, 33-35
08005 Barcelona SPAIN
TEL: 93 493 91 00
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
SWEDEN
SYRIA
Technical Light & Sound
Center
Rawda, Abdul Qader Jazairi St.
Bldg. No. 21, P.O.BOX 13520,
Damascus, SYRIA
TEL: (011) 223-5384
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
SWITZERLAND
TURKEY
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
SWITZERLAND
TEL: (061) 927-8383
ZUHAL DIS TICARET A.S.
Galip Dede Cad. No.37
Beyoglu - Istanbul / TURKEY
TEL: (0212) 249 85 10
U.A.E.
UKRAINE
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Ground Floor, Dubai,
U.A.E.
TEL: (04) 3360715
EURHYTHMICS Ltd.
P.O.Box: 37-a.
Nedecey Str. 30
UA - 89600 Mukachevo,
UKRAINE
TEL: (03131) 414-40
UNITED KINGDOM
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
UNITED KINGDOM
TEL: (01792) 702701
NORTH AMERICA
CANADA
Roland Canada Ltd.
(Head Office)
5480 Parkwood Way
Richmond B. C., V6V 2M4
CANADA
TEL: (604) 270 6626
MIDDLE EAST
BAHRAIN
Moon Stores
No.1231&1249 Rumaytha
Building Road 3931, Manama
339 BAHRAIN
TEL: 17 813 942
Roland Canada Ltd.
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
TEL: (905) 362 9707
IRAN
U. S. A.
MOCO INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
TEL: (021) 285-4169
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
TEL: (323) 890 3700
ISRAEL
Halilit P. Greenspoon & Sons
Ltd.
8 Retzif Ha'alia Hashnia St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
As of May 1, 2007 (ROLAND)
04566667
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