Manuale d’uso / di manutenzione del prodotto V-Synth del fabbricante Roland
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Thank you, and congratulations on your choice of the Roland V-Synth. * Microsoft and Windows are registered trademarks of Microsoft Corporation. * Windows® is known officially as: “Microsoft® Windows® operating system.” * Macintosh are registered trademark of Apple Computer, Inc.
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.
3 USING THE UNIT SAFELY 001 • Before using this unit, make sure to read the instructions below, and the Owner’s Manual. ........................................................................................................................ 002a • Do not open or perform any internal modifications on the unit.
4 USING THE UNIT SAFELY 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 “Infor- mation” page. ................................
5 IMPORTANT NOTES Maintenance 401a • 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.
6 How To Use This Manual This owner’s manual is organized as follows. Before you start reading it, we’d like to suggest going through the Quick Start manual. For details on all the patches and waves that the V-Synth contains, refer to the separate “Sound List.
7 Contents USING THE UNIT SAFELY ...................................................................... 3 IMPORTANT NOTES ............................................................................... 4 How To Use This Manual ........................
8 Contents Deleting Patches (PATCH Delete) ......................................................................................................... 36 Functions of Patch Parameters .....................................................................
9 Contents Renaming a Files/Folders (Rename) ..................................................................................................... 89 Connecting to Your Computer via USB (USB Mode) ......................... 90 About USB Functions .....
10 Main Features With this synthesizer, every component involved in sound creation has been taken to the next stage of evolution The V-Synth brings together the ideal combination of sound generators, together with an interface that dynamically links your sensitivities with the sound.
11 Main Features ■ Use with other devices for even greater possibilities ● Open system architecture The V-Synth lets you customize all patches and wave data.
12 Panel Descriptions Front Panel Volume Slider Adjusts the overall volume that is output from the rear panel MAIN OUT jacks and PHONES jack. → (Quick Start; p. 4) INPUT [PEAK] (Peak Indicator) This will light when the input volume is too high. [LEVEL] Adjusts the volume of the signal input through the INPUT jacks on the rear panel.
13 Panel Descriptions KEYBOARD Here you can change the pitch range of the keyboard. [TRANSPOSE] Specifies transposing the keyboard in semitone steps. → (p. 22) Pressing this button while holding down [-OCT] or [+OCT] allows you to set the desired amount of transposition.
14 Panel Descriptions EFFECTS Here you can switch the onboard effects (multi-effects, chorus, reverb) on/off. When an effect is on, the indicator for its button will light. [MFX] Switches multi-effects on and off. [CHORUS] Switches chorus on and off. [REVERB] Switches reverb on and off.
15 Panel Descriptions Rear Panel fig.00-02 fig.00-03 POWER Switch Press to turn the power on/off. → (Quick Start; p. 4) AC Inlet Connect the included power cord to this inlet. → (Quick Start; p. 3) fig.00-04 PC CARD Slot A PC card can be inserted here.
16 Overview of the V-Synth How the V-Synth Is Organized Basic Structure Broadly speaking, the V-Synth consists of a controller section and a sound generator section . fig.01-01.e The right side of the V-Synth’s front panel is where the controls for the Sound Generator section are located.
17 Overview of the V-Synth Overview of the V-Synth Memory Memory Structure fig.01-03.e Project The largest unit of memory used by the V-Synth is the project . A project contains up to 512 patches, up to 999 waves, and various system settings. The V-Synth uses one project at a time.
18 Overview of the V-Synth Basic Operation of the V-Synth Changing Operating Modes ([MODE]) The V-Synth has eight operating modes: Patch mode, Sample mode, System mode, Disk mode, USB mode, Calibration mode, Factory reset mode and Demo play mode. To access the desired V-Synth feature, you must select the appropriate mode.
19 Overview of the V-Synth Overview of the V-Synth USB Mode fig.USB_50 In this mode, you can connect the V-Synth to your computer and exchange patch or wave data. Calibration Mode fig.CALIBRATION_50 In this mode you can adjust the response of the touch screen and D Beam controller.
20 Overview of the V-Synth 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.
21 Playing in Patch Mode Playing in Patch Mode Patch mode is the mode in which you can play the keyboard using a single sound (patch or rhythm set). About the PATCH PLAY Screen Displaying PATCH PLAY Screen To access the PATCH PLAY screen, use the following procedure.
22 Playing in Patch Mode Selecting Favorite Patches (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 or a Wave Expansion Board.
23 Playing in Patch Mode Playing in Patch Mode Transposing the Keyboard in Octave Units (Octave Shift) 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.
24 Playing in Patch Mode Playing Arpeggios (Arpeggiator) The V-Synth 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. Access the PATCH PLAY screen (p.
25 Playing in Patch Mode Playing in Patch Mode Making Arpeggiator Settings 1. Access the PATCH PLAY screen (p. 21). 2. At the bottom of the screen, touch <Common>. 3. In the left side of the screen, touch the Arpeggio> tab. The PATCH Edit Com Arpeggio screen appears.
26 Playing in Patch Mode 0, 32, 64, 96, 127, Tie/Clr 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.
27 Playing in Patch Mode Playing in Patch Mode 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.
28 Playing in Patch Mode Applying Various Effects to the Sound The V-Synth provides numerous ways in which you can make your performance more expressive, such as the Time Trip pad, D Beam controller, and assignable controllers.
29 Playing in Patch Mode Playing in Patch Mode If [ASSIGNABLE] is on The effect will be applied when you move your finger up/ down/left/right on the Time Trip pad. fig.02-13 • 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.
30 Playing in Patch Mode Applying an Effect by Turning a Knob (Assignable Controller) 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.
31 Playing in Patch Mode Playing in Patch Mode Example Connections fig.02-18.e Enter V-LINK Mode 1. Press [V-LINK] so the indicator lights. A PATCH PLAY screen like the one shown below appears, and the V-Synth will enter V-LINK mode. fig.02-19_50 In this screen you can view the V-LINK functions that are assigned to the various controllers.
32 Creating a Patch With the V-Synth, you have total control over a wide variety of settings. Each item that can be set is known as a parameter . When you change the values of parameters, you are doing what is referred to as Editing . This chapter explains the procedures used in creating patches, and the functions of the patch parameters.
33 Creating a Patch Creating a Patch Initializing Patch Settings (PATCH Init) “Initialize” means to return the settings of the currently selected patch to a standard set of values.
34 Creating a Patch Naming a Patch (PATCH Name) Before you save the patch, here’s how to give it a new name. 1. Make sure that the patch that you want to name is selected. 2. Touch < ▼ > in the upper right of the screen. A pulldown menu appears.
35 Creating a Patch Creating a Patch • By touching <Compare> you can check the save-destination patch (Compare function). • When you touch <List>, the PATCH List window will appear, allowing you to select the save-destination patch from the list.
36 Creating a Patch Deleting Patches (PATCH Delete) Delete unneeded patches from the internal memory. 1. Touch < ▼ > in the upper right of the screen. A pulldown menu appears. fig.01-05_50 2. In the pulldown menu, touch <PATCH Delete>. The PATCH Delete List window appears.
37 Creating a Patch Creating a Patch Mode (Portamento Mode) Specifies the performance conditions for which portamento will be applied. Value NORMAL: Portamento will always be applied. LEGATO: Portamento will be applied only when you play legato (i.e., when you press the next key before releasing the previous key).
38 Creating a Patch Bend Range Down (Pitch Bend Range Down) 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.
39 Creating a Patch Creating a Patch BEAM-L: D Beam controller (left) BEAM-R: D Beam controller (right) KNOB1: Assignable Controller ([C1]) KNOB2: Assignable Controller ([C2]) VELO: Velocity (pressure you press a key with) KEYF: Note Number Sens (Matrix Control Sens) Sets the amount of the Matrix Control’s effect that is applied.
40 Creating a Patch Arpeggio fig.03-11_50 Arpeggio Switch ◆ Switches the Arpeggiator on/off. Value: OFF, ON Patch Tempo ◆ Specify the tempo of an arpeggio. When Clock Source parameter (p. 75) is set to “INTERNAL,” this setting value is effective.
41 Creating a Patch Creating a Patch Tune fig.03-12_50 Patch Coarse Tune Adjusts the pitch of the patch’s sound up or down in semitone steps (+/-4 octaves). Value: -48– +48 Patch Fine Tune Adjusts the pitch of the patch’s sound up or down in 1-cent steps (+/ -50 cents).
42 Creating a Patch Modifying Waveforms (OSC1/ OSC2) Oscillator Switch ◆ Switches the oscillator on/off. Value: OFF, ON OSC Type Analog Oscillator PCM Oscillator Oscillator Type Selects the type of oscillator. By selecting “EXT IN,” the signal that is input through the rear panel INPUT jack can be used as an oscillator.
43 Creating a Patch Creating a Patch Playback Mode (PCM Oscillator Playback Mode) Specifies how the wave will be assigned to each key. Value RETRIGGER: The sample will play back from the beginning each time you play a key. LEGATO: When you play legato, the playback point will be synchronized with the currently playing sound.
44 Creating a Patch Pulse Width (ANALOG) fig.03-15_50 Pulse Width ★◆ Specifies the amount by which the wave shape will be modified. Value: -63– +63 PW KF (Pulse Width Key Follow) Specifies the amount by which the pulse width value will be affected by the key you play.
45 Creating a Patch Creating a Patch Formant (PCM) fig.03-18_50 The parameters of this screen are ignored when the Vari switch (p. 42) is off and when the Encode Type (p. 70) is “BACKING” or “ENSEMBLE.” Formant ★◆ This sets the range of change in vocal quality (formant).
46 Creating a Patch Mixing/Modulating Two Sounds (Mod) Modulator Switch ◆ Switches the modulator on/off. Value: OFF, ON Mod Type fig.03-21_50 Modulator Type Selects the type of modulator. Value MIX: Add OSC1 and OSC2. RING: Use OSC2 to apply ring modulation to OSC1.
47 Creating a Patch Creating a Patch Adjusting the Volume and Pan (TVA) TVA Switch ◆ Switches the TVA on/off. Value: OFF, ON TVA fig.03-24_50 Level ★ Specifies the volume of the patch. Value: 0–127 Level KF (Level Key Follow) Use this parameter if you want the volume of the patch to change according to the key that is pressed.
48 Creating a Patch Making Envelope Settings This section explains the envelope setting screens. fig.03-26_50 Velocity Curve (Envelope Velocity Curve) Choose from the following seven curves to specify how your keyboard playing strength will affect the envelope depth.
49 Creating a Patch Creating a Patch Making LFO Settings This section explains the LFO setting screens. fig.03-27_50 Waveform (LFO Waveform) Selects the waveform of the LFO.
50 Creating a Patch ● Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the effect fig.LFO-2.e Fade Mode: ON >> Fade Time: The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.
51 Creating a Patch Creating a Patch MFX To CHO (MFX Chorus Send Level) Adjusts the amount of chorus for the sound that passes through MFX. If you don’t want to add the Chorus effect, set it to “0.” Value: 0–127 MFX To REV (MFX Reverb Send Level) Adjusts the amount of reverb for the sound that passes through MFX.
52 Creating a Patch REV fig.03-31_50 REV Type (Reverb Type) Use this parameter to select from among the 10 available reverb. For details on reverb parameters, refer to “Reverb Parameters” (p. 138). Value: 00 (Off)–10 In this setting screen, you can edit the parameters of the reverb that is selected by the REV Type setting.
53 Creating a Patch Creating a Patch 4. In the lower part of the screen, touch <Split>. A window like the following appears. fig.03-33_50 5. 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.
54 Creating a Patch 4. In the lower part of the screen, touch <Drum>. A window like the following appears. fig.03-34_50 5. To change the split point of each zone, refer to the procedure described in the preceding section, “Splitting the Keyboard to Play Different Sounds (Split).
55 Creating and Editing Samples (Sample Mode) Creating and Editing Samples (Sample Mode) In this chapter, we will explain the procedures for: • Sampling (p. 55) • Editing samples (p. 64) • Converting samples so the VariPhrase function can be used (Encoding) (p.
56 Creating and Editing Samples (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.
57 Creating and Editing Samples (Sample Mode) Creating and Editing Samples (Sample Mode) 3. 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.
58 Creating and Editing Samples (Sample Mode) Naming a Sample (SAMPLE Name) 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. 56).
59 Creating and Editing Samples (Sample Mode) Creating and Editing Samples (Sample Mode) Moving a Sample (SAMPLE Move) 1. Access the SAMPLE Top screen (p. 56). 2. Touch < ▼ > in the upper right of the screen. A pulldown menu appears. fig.04-03_50 3.
60 Creating and Editing Samples (Sample Mode) Deleting a Sample (SAMPLE Delete) 1. Access the SAMPLE Top screen (p. 56). 2. Touch < ▼ > in the upper right of the screen. A pulldown menu appears. fig.04-03_50 3. In the pulldown menu, touch <SAMPLE Delete>.
61 Creating and Editing Samples (Sample Mode) Creating and Editing Samples (Sample Mode) Input Source Select the input from which the sound will be sampled. Value ANALOG: INPUT jacks OPTICAL: OPTICAL IN connector COAXIAL: COAXIAL IN connector RESAMPL: Select this when you wish to resample.
62 Creating and Editing Samples (Sample Mode) ■ Limiter Thres (Threshold Level) Specifies the level (threshold level) at which the limiter will begin to function. Value: -60–0 dB Release (Release Time) Specifies the time from when the input level drops below the threshold level until the limiter turns off.
63 Creating and Editing Samples (Sample Mode) Creating and Editing Samples (Sample Mode) Naming a Template (Template Name) A template can be given a name of up to eight characters. 1. Access the SAMPLE Top screen, and select the sample that you want to name (p.
64 Creating and Editing Samples (Sample Mode) Importing a Sample To import samples you will use the Disk Save Project screen of Disk mode. 1. Access the SAMPLE Top screen (p. 56). 2. Touch<Import>. Jump to the DISK Import Files screen in the Disk mode.
65 Creating and Editing Samples (Sample Mode) Creating and Editing Samples (Sample Mode) 4. Touch <Edit>. The SAMPLE Loop FWD screen appears. fig.04-11_50 5. Touch one of the tabs in the left side of the screen to access the desired editing screen.
66 Creating and Editing Samples (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.
67 Creating and Editing Samples (Sample Mode) Creating and Editing Samples (Sample Mode) Sample Editing Functions fig.04-18 Cut The region of the sample between Edit Start and Edit End will be cut. Truncate The region of the sample between Edit Start and Edit End will be kept, and the remainder of the sample will be deleted.
68 Creating and Editing Samples (Sample Mode) 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.
69 Creating and Editing Samples (Sample Mode) Creating and Editing Samples (Sample Mode) Original Tempo Setting The Original Tempo is the reference tempo of the sample used when synchronizing it to the master tempo.
70 Creating and Editing Samples (Sample Mode) 4. 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>.
71 Creating and Editing Samples (Sample Mode) Creating and Editing Samples (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).
72 Creating and Editing Samples (Sample Mode) Saving a Sample Samples that you sample or encode will be lost when you turn off the power. If you want to keep these samples, use the Disk Save Project screen in the Disk mode. 1. Access the SAMPLE Top screen (p.
73 Settings Common to All Modes (System Mode) Settings Common to All Modes (System Mode) Settings that affect the entire operating environment of the V-Synth, such as tuning and MIDI message reception, are referred to as system functions .
74 Settings Common to All Modes (System Mode) Functions of System Parameters This section explains what the different System parameters do, and also how these parameters are organized. Settings Common to the Entire System (Common) Master fig.05-01_50 Master Tune Adjusts the overall tuning of the V-Synth.
75 Settings Common to All Modes (System Mode) Settings Common to All Modes (System Mode) EQ fig.05-02_50 4 Band EQ (4-Band Equalizer Switch) Switch the 4-Band equalizer on/off. Value: OFF, ON LOW Freq (Low Frequency) Selects the frequency of the low range.
76 Settings Common to All Modes (System Mode) Rx Sys-Ex (Receive System Exclusive Switch) Specifies whether System Exclusive messages will be received (ON) or not (OFF).
77 Settings Common to All Modes (System Mode) Settings Common to All Modes (System Mode) Part MIDI fig.05-04_50 Part1–16 Rx Sw (Part 1–16 Receive Switch) For each part, specify whether MIDI messages will be received (ON), or not (OFF). If this is “ON,” you can play that part from an external MIDI device.
78 Settings Common to All Modes (System Mode) KBD fig.05-06_50 KBD Sens (Keyboard Sensitivity) Adjusts the keyboard’s touch. Value LIGHT: Light weight synthesizer keyboard like MEDIUM: Standard HEAVY: Acoustic piano simulation KBD Velocity (Keyboard Velocity) Specifies the velocity value that will be transmitted when you play the keyboard.
79 Settings Common to All Modes (System Mode) Settings Common to All Modes (System Mode) Knob 1, 2 Assign Specifies the MIDI controller number that will be transmitted by movements in the ASSIGNABLE CONTROL knob. Value OFF: No message will be transmitted.
80 Settings Common to All Modes (System Mode) V-LINK Settings (V-LINK) Tx fig.05-10_50 MIDI Channel (V-LINK MIDI Channel) Specifies the channel used to transmit MIDI messages for V-LINK control. Value: 1–16 Audio (V-LINK Audio Switch) Specifies whether sound from the externally connected video device will be played (ON) or not played (OFF).
81 Settings Common to All Modes (System Mode) Settings Common to All Modes (System Mode) Knob 1, 2 Assign (V-LINK Knob1, 2 Assign) Specify the V-Link function that will be controlled when you turn the ASSIGNABLE CONTROL knob. Value OFF: The assignable controller will not be used.
82 Settings Common to All Modes (System Mode) Bend Assign (V-LINK Pitch Bend Assign) Specify the V-Link function that will be controlled when you operate the pitch bend lever.
83 Disk-Related Functions (Disk Mode) Disk-Related Functions (Disk Mode) Here you can load a project from disk into the internal work area (Load), or save the project that is in the work area (Save). You can also format a disk, or copy files and folders.
84 Disk-Related Functions (Disk Mode) Sorting the Files Displayed in the File List In each Disk Utility screen, you can change the order of the files displayed in the file list. 1. In the upper right of the disk utility screen, touch < ▼ >. A pulldown menu like the following appears.
85 Disk-Related Functions (Disk Mode) Disk-Related Functions (Disk Mode) Saving Project on Disk (Save Project) Save the project in the work area to disk. 1. Access the DISK UTILITY MENU screen (p. 83). 2. Touch <Save Project>. The Disk Save Project screen appears.
86 Disk-Related Functions (Disk Mode) 4. Touch <Preset> if you want to import from preset memory, touch <Int> if you want to import from internal memory, or touch <Card> if you want to import from a PC card. 5. From the file list, select the file/folder that you want to import.
87 Disk-Related Functions (Disk Mode) Disk-Related Functions (Disk Mode) Functions Related to Files and Folders (Tools) You can manage files or folders by copying or moving them. Copying Files/Folders (Copy) 1. Access the DISK UTILITY MENU screen (p. 83).
88 Disk-Related Functions (Disk Mode) 5. In the file list, select the file or folder that you want to move. Here you can use the following functions. Touch the appropriate button to execute. Prevw: Preview (audition) the selected file (.w00/.wav/.aif).
89 Disk-Related Functions (Disk Mode) Disk-Related Functions (Disk Mode) Renaming a Files/Folders (Rename) 1. Access the DISK UTILITY MENU screen (p. 83). 2. Touch <Tools>. The Disk Tools screen appears. fig.06-13_50 3. Touch <Rename>. 4. If you want to rename a file or folder in internal memory, touch <Int>.
90 Connecting to Your Computer via USB (USB Mode) About USB Functions The V-Synth has two modes of USB functionality: storage mode for transferring files, and MIDI mode for sending and receiving MIDI messages. You must switch between these two modes on the V- Synth; they cannot be used simultaneously.
91 Connecting to Your Computer via USB (USB Mode) Connecting to Your Computer via USB (USB Mode) 6. Touch <OK>. 7. If a WARNING window like the following appears, touch <ACCEPT> to close the window. fig.07-01_50 8. In the lower right of the SYSTEM Com MIDI/USB screen, touch <Write> to save the system settings.
92 Connecting to Your Computer via USB (USB Mode) 8. Touch <Internal> or <PC Card> to establish the connection with your computer. <Internal>: Mounts the internal memory as an external drive on your computer. <PC Card>: Mounts the PC card as an external drive on your computer.
93 Connecting to Your Computer via USB (USB Mode) Connecting to Your Computer via USB (USB Mode) Macintosh Users Connecting the V-Synth to Your Computer 1. Make sure that the power of the V-Synth is turned off. 2. Start up your computer. 3. Connect the V-Synth and your computer using a USB cable.
94 Connecting to Your Computer via USB (USB Mode) Closing the USB Storage Screen 1. In the V-Synth’s USB Storage screen, make sure that “Access” (the access indicator) is not blinking. 2. Select the V-Synth drive icon on your desktop, and either choose “Eject” from the “Special” menu, or drag the icon into the trash.
95 Connecting to Your Computer via USB (USB Mode) Connecting to Your Computer via USB (USB Mode) Loading an Audio File (WAV/AIFF format) from Your Computer into the V-Synth (Import) 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.
96 Connecting to Your Computer via USB (USB Mode) Exchanging MIDI Messages with Your Computer (MIDI Mode) Driver Installation and Settings In order to use the V-Synth as a USB MIDI device from your computer, you must first install the USB MIDI driver.
97 Other Functions Other Functions Transmitting Data to an External MIDI Device (Data Transfer) Patch, setup and system settings will be transmitted to an external MIDI device.
98 Other Functions Reset to Default Factory Settings (Factory Reset) This restores all data in the V-Synth to the factory-set condition (Factory Reset). If there is important data you’ve created that’s stored in the V- Synth’s internal memory, all such data is discarded when a Factory Reset is performed.
99 Other Functions Other Functions Adjusting the Sensitivity of the Touch Screen/Time Trip Pad/D Beam Controller (Calibration Mode) Displaying the CALIBRATION MENU Screen 1. Press [MODE]. The V-SYNTH MODE MENU window appears. fig.MODE_50 2. Touch <CALIBRATION>.
100 Other Functions Adjusting the Sensitivity of the Time Trip Pad Perform this adjustment if the Time Trip pad no longer responds as you expect. 1. In the CALIBRATION MENU screen, touch <TIME TRIP PAD>. The TT PAD CALIBRATION screen appears. fig.
101 Appendices Appendices.
102 Parameter List Patch Parameters Common Group (p. 36) * 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-D.
103 Parameter List Appendices OSC1/OSC2 Group (p. 42) Parameter Value Oscillator Switch OFF, ON OSC Type Oscillator Type ANALOG, PCM, EXT IN Wave Gain -12– +12 dB Waveform Analog Oscillator Waveform SAW, SQR, TRI, SINE, RAMP, JUNO, HQ-SAW, HQ-SQR, NOISE Impact Analog Oscillator Impact 0.
104 Parameter List Fat (ANALOG) Fat 0–127 Fat KF Fat Key Follow -200– +200 Fat LFO Depth -63– +63 Velocity Curve Envelope Velocity Curve 0–7 Velocity Sens Envelope Velocity Sensitivity -63– .
105 Parameter List Appendices * Mod Group (p. 46) COSM1/COSM2 Group (p. 46) * For details on the parameters of each COSM section, refer to “COSM Parameters” (p.
106 Parameter List TVA Group (p. 47) * Parameter Value TVA Switch OFF, ON TVA Level 0–127 Level KF Level Key Follow -200– +200 Lvl LFO Dp Level LFO Depth -63– +63 Pan L64–0–63R Pan KF Pan Ke.
107 Parameter List Appendices Effect Group (p. 50) • For details on the parameters of each MFX section, refer to “MFX Parameters” (p. 116). • For details on the parameters of each chorus section, refer to “Chorus Parameters” (p. 138). • For details on the parameters of each reverb section, refer to “Reverb Parameters” (p.
108 Parameter List System Parameters Common Group (p. 74) Parameter Value Master Master Tune 415.3–466.2 Hz Master Key Shift -24– +24 Master Level 0–127 Patch Remain Patch Remain Switch OFF, ON .
109 Parameter List Appendices Controller Group (p. 77) Parameter Value Tx Patch Tx Ch Patch Transmit Channel 1–16, RX CH, OFF Tx PC Transmit Program Change Switch OFF, ON Tx Bank Transmit Bank Selec.
110 Parameter List V-LINK Group (p. 80) Parameter Value Tx Channel V-LINK MIDI Channel 1–16 Audio V-LINK Audio Switch OFF, ON Output V-LINK Keyboard Output Fade Switch OFF, ON Local Sw V-LINK Patch .
111 Appendices COSM List COSM Parameters COSM provides 15 types. This section explains the features of each COSM, and the functions of the parameters. Explanations for each COSM Type are given on the following pages. Overdrive / Distortion OD/DS (p. 111) Wave Shape W-SHAPE (p.
112 COSM List Amp Simulator Simulates an amp. Speaker Simulator Simulates the speaker type. Resonator Simulates the resonance of a guitar body. 1st order SideBandFilter By boosting the fundamental and overtones, you can apply a pitch to unpitched input sounds such as a noise or a drum phrase.
113 COSM List Appendices 2nd order SideBandFilter By boosting the fundamental and overtones, you can apply a pitch to unpitched input sounds such as noise or a drum phrase. This lets you create a stronger effect than the first-order sideband filter. Comb Filter A comb filter can be used to boost or cut the fundamental or overtones.
114 COSM List TVF Cuts off a specific frequency band to change a sounds brightness, thickness, and other qualities. Dynamic TVF Cuts off a specific frequency band to change a sounds brightness, thickness, and other qualities. A wah effect can be applied by using the volume of the input sound to vary the center frequency.
115 COSM List Appendices Polyphonic Limiter Compresses signals that exceed a specified volume level, preventing distortion from occurring. Frequency Shifter By shifting the frequency relationship of the fundamental and overtones, a human voice can be given a “groaning” character.
116 Effects List MFX Parameters MFX (Multi-Effects) provides 41 types of effect. This section explains the features of each MFX, and the functions of the parameters. Parameters marked by “#1”–“#3” can be selected as a destination parameter for matrix control (Destination MFX1–MFX3).
117 Effects List Appendices 01: Parametric EQ (Parametric Equalizer) This is a 4 band (low range, midrange x 2, high range) stereo parametric equalizer. fig.MFX-01 02: Graphic EQ (Graphic Equalizer) This simulates a 12-band stereo graphic equalizer. fig.
118 Effects List 04: Isolator and Filter A 3-band isolator, filter, and low booster are connected in stereo in series. Isolator is an equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying ranges.
119 Effects List Appendices 06: Amp Simulator (Guitar Amp Simulator) This is an effect that simulates an guitar amp. fig.MFX-06 Specifications of each Speaker Type The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.
120 Effects List 07: Auto Wah Wah is an effect that modifies the frequency characteristics of a filter over time, producing a unique tone. The wah effect can change in relation to the volume of the input signal, and/or cyclically. fig.MFX-07 08: Humanizer This adds a vowel character to the sound, making it similar to a human voice.
121 Effects List Appendices 09: Dynamic Processor (Stereo Dynamic Processor) A comp/limiter, enhancer, 3-band equalizer, and noise suppressor are connected in series.
122 Effects List 11: Stereo Delay This is a stereo delay. Depending on the length of the delay you set, you can get long echoes, thick sounds, or spatial sounds. fig.MFX-11.e Parameter Value Description Mode MONO, STE- REO, ALTER- NATE Switches stereo, monaural, or al- ternate.
123 Effects List Appendices 12: Multi Tap Delay The effect has five delays. Each of the Delay Time parameters can be specified as a note length of the selected tempo. You can also set the panning and level of each delay sound. fig.MFX-12 13: Reverse Delay Adds the reverse of the input sound as the delay sound.
124 Effects List 14: Vocal Echo This effect simulates a karaoke echo. fig.MFX-14 15: Band Pass Delay This is a delay with a band pass filter (a filter that outputs only a specified frequency range) on each of five delays. A phaser is included before the delay.
125 Effects List Appendices 16: Analog Delay → Chorus This effect reproduces the sound of the BOSS CE-1 Chorus Ensemble. To reproduce the sound of the unit at the time, a monaural analog-type delay is first inserted in series. fig.MFX-16 17: Digital Chorus This is a stereo chorus or flanger.
126 Effects List 18: Space Chorus This effect reproduces the sound of Roland’s SDD-320 spatial expression effects. Greater breadth is added. fig.MFX-18 19: Hexa Chorus Hexa-chorus is a six-stage chorus which adds depth and spaciousness to the sound.
127 Effects List Appendices 21: BOSS Flanger This effect features a pair of the same flanger circuits used in the BOSS compact flangers, connected in parallel for stereo input. This adds a particular metallic-sounding modulation to the source sound. fig.
128 Effects List 23: Analog Phaser This effect features two analog-type phasers arranged in parallel, making it stereo compatible. The sound as it cyclically drifts in and out of phase is added to the source sound, creating the modulation with the characteristic of phasers.
129 Effects List Appendices 25: Rotary The Rotary effect simulates the sound of the rotary speakers often used with the electric organs of the past. Since the movement of the high range and low range rotors can be set independently, the unique type of modulation characteristic of these speakers can be simulated quite closely.
130 Effects List 27: Stereo Pitch Shifter This effect features two pitch shifters arranged in parallel, making it stereo compatible. It can shift the pitch of the input signal up to one octave up or down.
131 Effects List Appendices 29: OD/DS → Delay (Overdrive/Distortion → Delay) This effect connects either Overdrive or Distortion and Delay in series. fig.MFX-29 30: Cho/Flg → Delay (Chorus/Flanger → Delay) This effect connects either Chorus or Flanger and Delay in series.
132 Effects List 31: Enh → Cho/Flg (Enhancer → Chorus/Flanger) This effect connects Enhancer and either Chorus or Flanger in series. fig.MFX-31 32: Enh → Delay (Enhancer → Delay) This effect connects an Enhancer and a Delay in series.
133 Effects List Appendices 33: Vocal Multi A limiter/de-esser, enhancer, 3-band equalizer, and delay are connected in series. A limiter holds down high signal levels to prevent distortion. A de-esser cuts the sibilant sounds of a voice, producing a gentler tone.
134 Effects List 35: Bass Multi Bass Multi provides Comp/Limiter, Overdrive or Distortion, 3-band equalizer, and Chorus or Flanger effects connected in series. This algorithm is a multi-effects for bass. fig.MFX-35 Mod Mode CHORUS, FLANGER Selects whether to use chorus or flanger.
135 Effects List Appendices 36: Rhodes Multi Enhancer, Phaser, Chorus or Flanger, and Tremolo or Auto-pan are connected in series. This effect is used for electric piano. fig.MFX-36 37: Keyboard Multi A ring modulator, 3-band equalizer, pitch shifter, phaser, and delay are connected in series.
136 Effects List 38: Phonograph This effect reproduces the sound of an analog record played on a record player. This includes the various noises with the characteristic of records and the uneven rotation of older turntables. fig.MFX-38 39: Radio Tuning This effect reproduces the sound of an AM radio playing.
137 Effects List Appendices 40: Bit Rate Converter By changing the bit count and sample rate, this effect recreates the Lo-Fi (Low-Fidelity) sounds of the early digital samplers and similar machines. After the Lo-Fi processor, a filter to change the tone is arranged in series.
138 Effects List Chorus Parameters The functions of Chorus parameters are explained. Chorus Type 01: Chorus 1 This conventional chorus effect adds spaciousness and depth to the sound. Slow modulation frequency with less depth. 02:Chorus 2 This conventional chorus effect adds spaciousness and depth to the sound.
139 Effects List Appendices 01: Room 1 Reverb which simulates the reverberation within a room. It is standard room reverb. 02: Room 2 This simulates the reverberation of a room. It is suitable for simulating a fairly small room, and produces a clear reverberation.
140 Effects List 03: Room 3 Reverb which simulates the reverberation within a room. This is suitable for simulating a fairly large room, and produces reverberation with a strong mid and low range. 04: Hall 1 This simulates the reverberation of a concert hall.
141 Effects List Appendices 05: Hall 2 Simulates the reverberation in a concert hall. This is suitable for simulating a smaller room, and produces a clear reverberation. 06: Hall 3 Simulates the reverberation in a concert hall. This is suitable for simulating a fairly large room, and produces reverberation with a strong mid and low range.
142 Effects List 07: Garage This simulates the reverberation of a garage. It produces the reverberation of a room surrounded by hard-surfaced walls with many reflections. 08: PLATE Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate).
143 Effects List Appendices 09: Non-Linear This uses digital processing to create an artificial reverberation that is quite different than naturally occurring reverberation. 10: Delay This is a stereo delay. Depending on the length of the delay you set, you can get long echoes, thick sounds, or spatial sounds.
144 Effects List Balance DRY100:0WET– DRY0:100WET Volume balance between the di- rect sound (DRY) and the delay sound (WET) Ps Low Freq 50–4000 Hz Frequency of the low range Ps Low Gain -15– +15.
145 Appendices Troubleshooting If the this unit does not function in the way you expect, first check the following points. If this does not resolve the problem, consult your dealer or a nearby Roland Service Station. * If a message appears during operation, consult the following section “Message List” (p.
146 Troubleshooting Problems Related to the USB Driver (Windows) Exclusive messages are not received Is the instrument set to receive Exclusive messages? Set the Rx Sys-Ex parameter to ON (p. 76). Does the Device ID number of the transmitting device match the Device ID number of the V-Synth? Check the Device ID parameter setting (p.
147 Troubleshooting Appendices Deleting Incorrect Device Information Use the following procedure to re-install the driver. 1. Turn off the power of your computer, and start up Windows with all USB cables disconnected (except for keyboard and mouse). 2.
148 Troubleshooting 10. A dialog box will ask you to confirm deletion of the device. Verify the contents of the dialog box, and click [OK]. Delete each unwanted occurrence of “Composite USB Device,” “USB Device,” or “USB composite device” indications with an “!” or “?” symbol.
149 Appendices Message List The V-Synth displays a variety of messages. There are three types of message screen. ERROR screen: This will appear if you attempt to perform an incorrect operation, or if an operation could not be executed correctly. WARNING screen: This will appear when caution is necessary.
150 Message List WARNING Screens If a WARNING screen appears, follow the procedure described in the corresponding “Action.” SAMPLE EDIT Memory Full! There is not enough wave memory to execute the wave editing operation (Insert, Zero Insert, Region, Paste).
151 Message List Appendices Message Boxes Message boxes are displayed briefly, and then disappear automatically. Message Meaning Action Canceled! The operation is canceled. Cannot Delete This Event! The events at the beginning and end of a wave can- not be deleted.
152 About MIDI MIDI (Musical Instruments Digital Interface) is a standard specification that allows musical data to be exchanged between electronic musical instruments and computers.
153 Appendices MIDI Implementation 1. Receive Data ■ Channel Voice Messages * Not received in Multitimbre mode or Performance mode when the Receive Switch parameter (MULTITIMBRE/MIDI or PERFORM/MIDI) is OFF. ● Note Off Status 2nd byte 3rd byte 8nH kkH vvH 9nH kkH 00H n = MIDI channel number: 0H - FH (ch.
154 MIDI Implementation This device receives the following RPNs. RPN Data entry MSB, LSB MSB, LSB Notes 00H, 00H mmH, llH Pitch Bend Sensitivity mm: 00H - 18H (0 - 24 semitones) ll: ignored (processed as 00H) Up to 2 octave can be specified in semitone steps.
155 MIDI Implementation Appendices ● MONO (Controller number 126) Status 2nd byte 3rd byte BnH 7EH mmH n = MIDI channel number: 0H - FH (ch.1 - 16) mm = mono number: 00H - 10H (0 - 16) * The same processing will be carried out as when All Notes Off is received.
156 MIDI Implementation ● Global Parameter Control ❍ Scale/Octave Tuning Adjust Status Data byte Status F0H 7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH.
157 MIDI Implementation Appendices 2. Data Transmission ■ Channel Voice Messages ● Note Off Status 2nd byte 3rd byte 8nH kkH vvH n = MIDI channel number: 0H - FH (ch.1 - 16) kk = note number: 00H - 7FH (0 - 127) vv = note off velocity: 00H - 7FH (0 - 127) ● Note On Status 2nd byte 3rd byte 9nH kkH vvH n = MIDI channel number: 0H - FH (ch.
158 MIDI Implementation ● Program Change Status 2nd byte CnH ppH n = MIDI channel number: 0H - FH (ch.1 - 16) pp = Program number: 00H - 7FH (prog.1 - prog.128) * These messages are transmitted when Patch is selected. But not transmitted when Transmit Program Change parameter (SYSTEM Com MIDI/USB) is OFF.
159 MIDI Implementation Appendices 3. Parameter Address Map * Transmission of “#” marked address is divided to some packets. For example, ABH in hexadecimal notation will be divided to 0AH and 0BH, and is sent/received in this order.
160 MIDI Implementation | | | —15 — +15 [dB] | | 00 36 | 000a aaaa | EQ Total Gain (0 — 30) | | | | —15 — +15 [dB] | | 00 37 | 0000 000a | EQ Switch (0 — 1) | | | | OFF, ON | |————.
161 MIDI Implementation Appendices | | | OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, | | | | OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, | | | | OSC2—LFO—FR/FT, OSC2—LF.
162 MIDI Implementation | | | OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, | | | | OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, | | | | OSC1—LFO—FR/FT, OSC1—LFO—LVL, | .
163 MIDI Implementation Appendices |# 00 14 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 5 (12768 — 52768) | | | | —20000 — +20000 | |# 00 18 | 0000 aaaa | |.
164 MIDI Implementation | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 10 (12768 — 52768) | | | | —20000 — +20000 | |# 00 2A | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc.
165 MIDI Implementation Appendices | | 0000 dddd | | | | 0000 eeee | | | | 0000 ffff | | | | 0000 gggg | | | | 0000 hhhh | OSC 2 Start Offset | | | | 0000000h - FFFFFFFh | | 00 68 | 0aaa aaaa | OSC 2 .
166 MIDI Implementation | | | —63 — +63 | | 01 01 | 00aa aaaa | Env 10 Time Keyfollow (44 — 84) | | | | —200 — +200 | |—————————————+——————————.
167 MIDI Implementation Appendices ❍ Patch Controller +———————————————————————————————————————————————.
168 MIDI Implementation 4. Supplementary Material ■ Decimal and Hexadecimal Table (An “H” is appended to the end of numbers in hexadecimal notation.) In MIDI documentation, data values and addresses/sizes of Exclusive messages, etc. are expressed as hexadecimal values for each 7 bits.
169 MIDI Implementation Appendices ■ Example of an Exclusive Message and Calculating a Checksum Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before F7) to make sure that the message was correctly received.
170 MIDI Implementation <Example4> Getting Temporary Patch data of whiole part (RQ1) at once; According to the “Parameter Address Map” (p. 159), the start address of Temporary Patch of whole.
171 Function... Basic Channel Mode Note Number : Velocity After Touch Pitch Bend Control Change Program Change System Exclusive System Common System Realtime Aux Messages Notes Transmitted Recognized .
172 Specifications V-Synth: Synthesizer Keyboard ● Keyboard 61 keys (with velocity and channel aftertouch) ● Sound Generator Configuration Oscillator (envelope x 4 + LFO x 1) x 2 Modulator x 1 OSM.
173 Index Symbols [+OCT] .............................................................................................. 13, 23 [-OCT] ............................................................................................... 13, 23 Numerics [1]–[8] .
174 Index Duration .................................................................................................. 40 E Effect ........................................................................................................ 50 Effects .....
175 Index Load Project ........................................................................................... 84 Local Sw .................................................................................................. 78 Local switch .........
176 Index PC CARD slot ........................................................................................ 15 PCM oscillator loop switch .................................................................. 43 PCM oscillator playback mode ..........
177 Index T T SCREEN CALIBRATION ................................................................. 99 Template Name ..................................................................................... 63 [TEMPO] ......................................
178 Installing the PC Card Protector The V-Synth provides a PC card protector to prevent theft of the PC card. To install the PC card protector, use the following procedure. 1. Use a screwdriver to remove both of the screws from the bottom side of the PC CARD slot.
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC. For EU Countries For Canada This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. As of April 1, 2003 (Roland) ARGENTINA Instrumentos Musicales S.
Un punto importante, dopo l’acquisto del dispositivo (o anche prima di acquisto) è quello di leggere il manuale. Dobbiamo farlo per diversi motivi semplici:
Se non hai ancora comprato il Roland V-Synth è un buon momento per familiarizzare con i dati di base del prodotto. Prime consultare le pagine iniziali del manuale d’uso, che si trova al di sopra. Dovresti trovare lì i dati tecnici più importanti del Roland V-Synth - in questo modo è possibile verificare se l’apparecchio soddisfa le tue esigenze. Esplorando le pagine segenti del manuali d’uso Roland V-Synth imparerai tutte le caratteristiche del prodotto e le informazioni sul suo funzionamento. Le informazioni sul Roland V-Synth ti aiuteranno sicuramente a prendere una decisione relativa all’acquisto.
In una situazione in cui hai già il Roland V-Synth, ma non hai ancora letto il manuale d’uso, dovresti farlo per le ragioni sopra descritte. Saprai quindi se hai correttamente usato le funzioni disponibili, e se hai commesso errori che possono ridurre la durata di vita del Roland V-Synth.
Tuttavia, uno dei ruoli più importanti per l’utente svolti dal manuale d’uso è quello di aiutare a risolvere i problemi con il Roland V-Synth. Quasi sempre, ci troverai Troubleshooting, cioè i guasti più frequenti e malfunzionamenti del dispositivo Roland V-Synth insieme con le istruzioni su come risolverli. Anche se non si riesci a risolvere il problema, il manuale d’uso ti mostrerà il percorso di ulteriori procedimenti – il contatto con il centro servizio clienti o il servizio più vicino.
