Roland V-Synth Book
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Roland V-Synth Book

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The
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R e a l i t y
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The
B e y o n d
t h e
R e a l i t y
Book
Copyright © 2003 ROLAND CORPORATION
All specifications and apperarances are subject to change.
All rights reserved.
All trademarks are the property of their respective companies.
No part of this publication may be reproduced in any form
without the written permission of ROLAND CORPORATION.
WE DESIGN THE FUTURE
Printed in Japan March 2003 RAM-3700 C-3 MI-NK
Visit us online at www.roland.co.jp
www.v-synth.com

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  • Page 1 All rights reserved. All trademarks are the property of their respective companies. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. WE DESIGN THE FUTURE Printed in Japan March 2003 RAM-3700 C-3 MI-NK Visit us online at www.roland.co.jp...
  • Page 2 N e x t- G e n e r a t i o n S y n t h e s i s f o r U n l i m i t e N e x t- G e n e r a t i o n S y n t h e s i s f o r U n l i m i t e Assignable Control p.33 ➝...
  • Page 3 S o n i c C o n t r o l. d S o n i c C o n t r o l. Inside the V-Synth - A Tutorial First Steps Introduction ........6 The Effect Section p.23...
  • Page 4 Randomly moving controls on the panel or changing parameters in the menus is not the best method of arriving at musically useful sounds. Before attempting to create new sounds on your V-Synth, you should be aware of some fundamental audio principles and how these apply to synthesizers in general. The concepts and examples in this section have been kept relatively basic for readers with little or no previous experience of synthesizers.

  • Page 5: Table Of Contents

    Inside the V-Synth - A Tutorial First Steps Introduction Trying out the Presets The Two Basic Approaches to Programming Alternative Methods of Setting Values The Simplest of Patches Basic Sound Parameters The OSC1/OSC2 Sections The Mod Section The COSM Sections...

  • Page 6: First Steps

    I n s i d e t h e V- S y n t h - A Tu t o r i a l I n s i d e t h e V- S y n t h - A Tu t o r i a l F i r s t S t e p s Introduction...

  • Page 7: Trying Out The Presets

    Before delving into the innermost secrets of the V-Synth, you should have a good listen to the presets to appreciate the wide range of sounds the V-Synth already has to offer. If you are not currently in PATCH PLAY mode, press the EXIT button a few times (the mode is always shown in the top left-hand corner of the display) and browse through all the presets using the INC/+ and DEC/- buttons or the VALUE dial.

  • Page 8: The Simplest Of Patches

    The following instructions may seem rather long and needlessly detailed, but there is a very good reason for this – it has to be assumed that you know absolutely nothing about the V-Synth architecture or menu structure at this stage. Please take your time and try to be aware of the reason for everything you are asked to do.
  • Page 9 PATCH Edit / OSC Type page for oscillator 1. If the screen on your V-Synth looks different from the right image, this is probably because one of the other tabs has been selected in this section – touch the OSC Type .
  • Page 10 Touch the Mono pad and switch Portamento on . The sound is now monophonic, but portamento (glide) is applied to every note you play even if you leave gaps between notes. To remedy this, change the Portamento mode to LEGATO .
  • Page 11 . Note that you can Compare a sound to the original before overwriting. We’ll be improving “Simplicity” later on, so please make sure you have saved it. Now it’s time to learn a little more about each individual section in your V-Synth...

  • Page 12: Basic Sound Parameters

    The OSC1 / OSC2 Sections Go to 512:INIT PATCH and touch the OSC1 pad... Analog OSC For each of its two oscillators (per Zone), the V-Synth gives you the choice of two fundamentally different types - Analog and Pulse PCM. Whichever you choose, many of the parameters are...
  • Page 13 Note that PW has no effect on the HQ-SAW waves. Pulse width is normally defined as the ratio between the upper and lower plateaus of a pulse wave, but in the V-Synth this term is also used for similar effects available for most of the other waves. Now try adding pulse width modulation from the LFO by turning up the LFO DP2 knob in the OSC1 section.
  • Page 14 Do you recognize this sound? It is the basis for the first patch in your V-Synth, “001:MadOrchestra”. Of course you can modulate the Time parameter from its own dedicated envelope or from the LFO. Later on you will learn how...

  • Page 15: The Mod Section

    OSC TVA (Analog or PCM) This gives you control over individual oscillator volume. Because the “Hey” in your “Hey You” patch starts rather abruptly, you can smoothen it here by changing the Attack to around 30 . You will find that the R (Release) setting has no effect yet because the main TVA release time is currently very short.
  • Page 16 , go to OSC1 and change the waveform to SAW. Feed a drum loop or drum computer into the V-Synth’s inputs and play a chord. To accentuate the rhythmic effect, use only very short percussive sounds with no reverb etc.

  • Page 17: The Cosm Sections

    The COSM Sections Although these two sections may appear to contain a bunch of add-on effects (like in the V-Synth’s own Effect section or a stand-alone effects unit), COSM is fundamentally different. It is polyphonic i.e. the effects will be applied separately to each and every note you play! Start again from scratch (512:INIT PATCH) and touch the COSM1 pad.
  • Page 18 SPEAKER (Speaker Emulation) The only parameter here is the Speaker Type control, which selects one of 12 preset equalization settings which mimic the frequency response of different speaker cabinet models. Particularly useful for guitar sounds in combination with Amplifier Emulation (see above).
  • Page 19 COMB (Comb Filter) Comb filters in general use several delay lines to boost or attenuate a series of frequencies. The filter frequencies in the V-Synth version follow the harmonic series, so it can be used as a static effect to isolate or remove noise or to boost/attenuate partials within a waveform:...
  • Page 20 DUAL (Dual Filter) Similar to the standard TVF (see below), but with two 12dB/octave filters, either in parallel or in series. The filters can be routed in three different ways: parallel LowPass / HighPass, serial LowPass ➝ HighPass, and parallel BandPass / BandPass. TVF (Time-Variant Filter) A variation on the standard filter you will find on any subtractive synthesizer, but with a total of 12 different types:...
  • Page 21 LIMITER Limiting is a more primitive form of compression where any peaks above a fixed threshold are reduced to exactly this level. Start from the Tom sound you have just made, and select LIMITER instead of COMP in the COSM1 section .

  • Page 22: The Tva Section

    The TVA Section TVA stands for Time Variant Amplifier, and this is the section which governs the overall volume of each note while it is being played - including master volume (Level), the envelope itself, keyboard velocity, panning and tremolo (via the dedicated LFO). Having been introduced to envelopes earlier in this tutorial, you should already know how to set up the most important parameters, but I will go into more detail here.

  • Page 23: The Effect Section

    A comprehensive, high-quality effects section is a must for any modern synthesizer, and the V-Synth offers you plenty of choice here. There are three separate blocks which appear as miniature rack units on the screen: MFX (Multi-Effects), CHO (Chorus or Flanging) and REV (Reverb or Delay).

  • Page 24: Advanced Sound Programming

    The PreTrigger parameter adjusts the size of a special ring-buffer, a short piece of memory (up to 1 second in the V-Synth) to which the input is continuously being written before sampling “officially” starts. This is automatically tagged on to the beginning of the finished sample to ensure that you don’t lose the first bit - especially useful when using...
  • Page 25 Editing Samples - Truncating The first thing you should do is cut off any excess samples (there is usually quite a lot at the end) using the Truncate function. The method explained below involves truncating twice (once for the beginning and once for the end), but it is safer than trying to do this all at once.
  • Page 26 (C, C#, B etc.) if you choose STEP or EVENT mode in the OSC Type page. Touch the Encode pad in the SAMPLE TOP page. The V-Synth operating system automatically analyses samples and inserts Event markers wherever it finds distinct “beats”.

  • Page 27: Effective Use Of Envelopes

    Effective Use of Envelopes You have already seen that many sub-sections in the V-Synth have their own dedicated envelopes. Here are a few tips to help you make the most of them: Typical Envelope Shapes The ADSR envelope was originally developed to mimic the volume, pitch and tonal changes of notes played on existing acoustic and electromechanical instruments using only a few parameters.
  • Page 28 Using the Time Envelope as Event Offset When using STEP or EVENT Playback Modes you may find that some of the Events (i.e. the individual snippets) of the sample start too slowly or too quickly, or they have an unwanted bit at the beginning. Clever use of the Time envelope can solve any such problems: Recall patch number 012:Poppy Day and touch the OSC1 pad .
  • Page 29 If LFOs are otherwise not required (e.g. for pitch or formant modulation), they can be put to good use as additional envelopes. Although there is no special one-shot LFO mode in the V-Synth, this can be simulated using the following trick. Again, this is only an experiment...

  • Page 30: Getting More Out Of A Sample

    Getting More out of a Sample One of the major selling-points of the V-Synth is its Variphrase features, so you are surely aware of all that Variphrase has to offer. However, you may not realize all the implications this has in terms of flexibility i.e. just how far you can go with a “raw” waveform.

  • Page 31: Advanced Performance

    A d v a n c e d P e r f o r m a n c e The Arpeggiator The V-Synth’s arpeggiator goes way beyond what you would normally expect an arpeggiator to be able to do because, as well as handling the usual up/down arpeggio functions, it is also a quite a comprehensive pattern sequencer.
  • Page 32 Stage 2 - Custom Rhythms Reset 024:Nylon Floot by going back to PATCH PLAY mode (press EXIT) and stepping down and up a number (DEC/- and INC/+ buttons). Touch the Common pad and switch on the arpeggiator - but don’t press HOLD yet .

  • Page 33: Performance Controls

    Having said that, such “mistakes” can turn out to be quite funky and highly inspiring! Performance Controls A lot of thought has gone into making the V-Synth one of the most truly “playable” Time Trip Pad Twin D-Beam keyboards on the market.

  • Page 34: The Matrix - Assigning Destinations

    The Matrix - Assigning Destinations The V-Synth’s Matrix Control is used for routing any sources of MIDI data to a wide range of possible destinations. Available sources include the V-Synth’s left-hand controls, all standard MIDI continuous controllers (including Pitchbend and Modulation) as well as Aftertouch, Velocity and Key Follow.
  • Page 35 Activate oscillator 2, touch the OSC2 pad and the Pitch tab . Change Fine to +5 so that the oscillators slowly “beat” against each other. With two oscillators the sound is now much thicker, but pushing the Bender only adds vibrato to oscillator 1 at the moment.

  • Page 36: Backing Up Your Data

    B a c k i n g U p y o u r D a t a Now that you have started making your own sounds on the V-Synth, it’s time you thought about making back-up copies. To be able to transfer entire projects, patches and samples (in WAV, AIFF or the V-Synth’s proprietary W00 format) between your V-Synth and...
  • Page 37 * * E E a a c c h h c c a a p p a a c c i i t t y y o o f f t t h h e e m m e e m m o o r r y y i i s s a a s s f f o o l l l l o o w w s s . . Work Area &...
  • Page 38 Column Un d e r s t a n d i n g S o u n d 2 Time-variant timbral changes (Envelopes) Listening to any acoustic instrument, you will often hear changes in brightness Amplifier Envelope and volume within each note. Synthesizers make use of Envelopes to emulate Notes played on plucked or hammered instruments generally decay down to these effects.
  • Page 39 A p p e n d i c e s Sound Designers’ Comment Howard Scarr Stephane Pigeon Patch List Waveform List Specifications Other Tips Index...
  • Page 40 A p p e n d i c e s S o u n d D e s i g n e r s ’ C o m m e n t Designer: Howard Scarr The Potential of Waveforms As already mentioned in “Getting More out of a Sample”, but they are also very useful for creative sound design when Variphrase-encoded samples are not only capable of covering a more extreme parameter values are used…...
  • Page 41 D-Beam. counterpart adds more body to the patch. Then, the innovative 110:Sidewalk The Side Band Filter represents one of V-Synth unique features. The distinctive sound of [110:Sidewalk] has been achieved by This filter shapes noise-like spectrums into musical waveforms by...
  • Page 42 P a t c h L i s t PatchName PatchName PatchName PatchName MadOrchestra Wondervoice Galaxia Harmny2Chaos Harp Trek LabyrinthArp DBeamPsychic Baby Steps Dusted Loop ARP Trance Glass House Wavescanner MemoryMoke Sine Bell Psycho SteproSwank Hyperballad Mekongscape GlassCluster Pluck-Morph Heavy Drone Bon Voyage Decompose Synapse 2...
  • Page 43 PatchName PatchName PatchName PatchName 140LpMixMenu Eclipse Retro-Disco HitSymphoniq Voxalist Aurora Greasy Comb Fire Bird Formanteer's Ghost Hi-Lo Synth V-ocoder Idle Chatter Tape Strings V-Analog SpectraPiano Thinband Vox VellatronStr Wavezituar AquaticPiano Spongle Stringerz On the Edge JD Piano FmleVocalise Shakin'Str STALKER MK-80 Rhodes MOOD SCAT Think Ployd...
  • Page 44 Wa v e f o r m L i s t The number in front of the name indicates the original tempo (BPM). * W W a a v v e e f f o o r r m m s s w w i i t t h h a a “ “ + + ” ” s s y y m m b b o o l l a a t t t t h h e e e e n n d d o o f f t t h h e e n n a a m m e e : : Events have already been specified for the wave.
  • Page 45 Elements Multi-samples Menu waves Synth Percussion No. Waveform Name No. Waveform Name No. Waveform Name 248 Ac.Piano A-M 280 NylonGt A -M 312 LoopMenu 1 + No. Waveform Name No. Waveform Name 249 Ac.Piano B-M 281 NylonGt B -M 313 LoopMenu 2 + 173 JU-2 Sub OSC 215 Sleigh Bell 250 Ac.Piano C-M...
  • Page 46 S p e c i f i c a t i o n s V-Synth: Synthesizer Keyboard Keyboard External Storage Device 61 keys (with velocity and channel aftertouch) PC CARD slot (Microdrive, SmartMedia or CompactFlash can be used with PC card adapter.)
  • Page 47 Display Options Graphic 320 x 240 dot backlit LCD with touch screen Keyboard Stand: KS-12 Pedal Switch: DP-2/6/8 Controllers Foot Switch: BOSS FS-5U Pitch Bend / Modulation Lever Expression Pedal: EV-5, BOSS FV-300L Time Trip Pad Mic: DR-20 D Beam Controller (Twin beam) Assignable Control Knobs (C1, C2) Connectors Headphones Jack...
  • Page 48 • Adjusting the Sensitivity of the D Beam Controller (p. 50) Reset to Default Factory Settings This restores all data in the V-Synth to the factory settings (Factory Reset). Press [MODE]. The V-SYNTH MODE MENU window appears. Touch <FACTORY RESET>. The Factory Reset screen appears.
  • Page 49 What kinds of audio file can be loaded? WAV/AIFF format audio files created by another device can be loaded into the V-Synth and used in the same way as data you’ve sampled on the V-Synth. What is the resampling function? The V-Synth is able to resample sounds from its internal memory.
  • Page 50 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. Press [MODE]. The V-SYNTH MODE MENU window appears. Touch <SYSTEM>. The SYSTEM Com Master screen appears.
  • Page 51 I n d e x ADSR ENSEMBLE Mad Orchestra RANDOM AIFF ENV RING Rename MAIN envelopes RESONATOR Matrix Analog Events memory arpeggiator EXT IN Reverb Metronome AUTO RHYTHM RING Mono BACKING Flanging MULTI Backing Up Sample BENDER FORMANT Sampling NOTE-ORDER BUTTON Freezing SBF1...

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